The daily dispatch. [volume] (Richmond [Va.]) 1850-1884, 1876-11-29

CHARLES FECHTER.-Charles Fechter,
whose career upon the stage has been mark
cd by the most brilliant successes both in
Europe and America, will commence an en-
eascment at the Theatre December 18th.
Richmond has never been favored with an
opportunity of hearing this eminent actor.
His fame has reached us, however, and we
await somewhat impatiently our turn to see
and hear the Fechter about whom other
cities have gone into such raptures OF adml-
ration. In an article in the atlantic Monthly,
published Just before Mr. Fechtcr left Eng
land for this country, and just subsequent
to his London triumphs, Charles Dickens,
the novelist, thus writes OF his history and
| his acting:
The first quality observable in Mr.. Fech-
ter's acting is that it Is in the highest degree
romantic. However elaborate in minute
details, there is always peculiar dash and
vigor in it, like the fresh atmosphere of the
story whereof it Is part. When he is on
the stage it seems to me as though the story
were transpiring before me for the first and
last time. Thus there is q fervor in his love-
making-a suffusion OF his whole being
with the rapture OF his passion-that sheds
glory on its object, and raises her. before
the eyes Of the audience, into the light in
which he sees her. It was this remarkable
power that took Paris by storm when he
became famous in the lovers part in the
"Dame aux Camelias." It is short part,
really comprised in two scenes; but as he
acted it The was its original representa-
tiye) he left its poetic and eXalting influence
on the heroine throughout the play.
In "Ruy Bias" in the "Master Of Ra-
venswood," and in the "Lady Of Lyons y
three dramas in which Dir. Fechter espe-
cially shines as lover, but notably i'll the
first-this remarkable power OF surround
ing the beloved creature, in the eyes OF the
audience, with the fascination that she has
for him, is strikingly displayed. That OBJ
server must be cool, indeed, who does not
feel when Ruy Bias stands In the presence
OF the young, unwedded Queen OF Spain
that the air is enchanted; or when she bends
over him, leaving her tender touch upon
his bloody breast, that it is better SO to die
than to live apart from her, and she is Wor-
thy to be so died for.
Picturesqueness is quality above oil
others pervading Mr.. Fechter's assump-
tions. Himself skilled painter and sculp-
tor, learned in the history OF costume, and
informing those accomplishments and that
KNOWLEDGE with a similar infusion of ro-
nance (for romance is inseparable from the
man). he is always picture-always pic
ture in its right place in the group--always
in true composition with the background
Of the scene. For the picturesqueness OF
manner-note SO trivial thing as the turn
Of the hand in beckoping from window,
in Ruy Bias, to parsonage down in an
outer courtyard to come up; or his assump-
tion Of the Dukes livery In the same scene;
or his writing letter for dictation. In the
Inst scene OF Victor Hugo's noble drama his
bearing becomes positively inspired and
his sudden assumption OF the attitude OF the
headsman, in bis denunciation of the Duke
and threat to become his executioner, is, so
far as know, one OF the most feroeiously
picturesque things conceivable on the stage.
The foregoing use Of the word .fero-
ciously ), reminds me to remark that this