New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1877-02-22
IRVING AS RICHARD THIRD.
THE TRUE TEXT FOLLOWED.

| FRoM rHE REGULAR CORRESPONDENT or THE TRiBCSEJ
LONDON Jan. 31.-ShakespearSs play of Richard
| Thrd-as distinguished from Cooley CibbeTs OF the
same name--was performed on Monday night mt the
Lyceum Theater for tho frat time during "a period
Of more than 200 years. People thought il a bold
experiment. To that point had dramatic opinion
descended; to the point of believing the genius Of
Cibber superior to the genius of Shakespeare; and
not merely superior, but so far superior that the
public could not be expected to endure the restora
ton of Shakespeare play to the boards on which
Cibber's had so long superseded it. This proved
one of those empty superstitions which collapse at
touch There were not two opinions about Mondays
performances. 1t was seen from the beginning and
from beginning to end the perception grew clearer,
that Shakespearcs knowledge of stage business was
not less than Cibber's but greater. Richard Third
in its genuine FORM with some omissions neces-
sary TO shorten it, and IanspOstions of less
eXcusable kind, was found TO be an 4" acting play
IN every sense of the word. Those most familiar
with Cibber's-that il, those who have more fire.
Guently seen his play acted than they have read
Shakcspcare's-we quick TO recognize the good
sense which had dictated a return to the ancient
ways
Some Of the interest shown in this performance
was due no doubt, TO this novelty but there re-
mains large part fairly attributable to Mr. Iryings
appearauce in "A new part. This actors repeated
experiments upon the good nature Of the public
have diminished but not destroyed his popularity,
and had impaired that something better than pOpu-
laritv the sincere interest with which his career has
been followed by those who believed him 70 possess
rare dramatic powers, and still rarcr devotion to
his art for arts sake. This fceling-t was his Hum
LEI which gave birth to it; it was his Uafbetb which
in some measure chilled it and with his impersona
ton of OibcIio it gave place to painful doubts
ilolK- m inf
fidelity any great Shakespearean character except
his first. 1t is seldom that an actor has shown so
much Oh tnacy and the public much patience.
There WIS a time last year when it needed only the
appearance Of a rival gifted with half his powers,
and better judgment, 40 have displaced Mr. Irving
temporarily if not permanently. II Mr.. Booth had
chosen to come over here, he could have done what
he liked with London. | have been told that Mr..
Booth, from an impulse of generosity which does
him honor, declined all proposals, with the remark
that Mr. Irving had possession Of the town and he
did not wish to contest his place with him. Macbeth
was obviously uusuited to Mr.. Irving. In order 10
bring it within his range, he chose to transform
the Scottish chieftain into hero Of modern melo-
drama though hero is not the word, for the heroic
traits which Shakespeare drew were all wlnuowcd
ont of the cDwardly wretch whom iC pleased Nj.
irving to depict. OtbfIlO was part still more alien
from his nature ana the less said about 1t the better
Upon the reopening of the LyceIIm last month,
Macbeth" was once more brought out We have
reason TO be grateful that it not "Otheo,' but
il was, al any rate distinct challenge to the public,
which the public answered b. staying away from
the theatcr with something that approached to
unanImity.
There was. TO cnt short this too long prologue.
much reason to fear t.at We had seen the best OF
Mr. Irving ana that he would not or could novirce
from, tho Influences abDUt him and
the bad habits that had grown upon him. les
pleasure 20 lee able to say that his Richard lbird"
showed him once more in q better light, inspired by
The sam. feeling winch made paris OF his HdMid
80 much finer than any Hqn'et that had OF late
wears been seen in London. lie has not indeed,
shaken OH I'll his mamcrlsms, but he has plainly
made an effort 10 get rid IF some OF Them and some
O. cl, of them which were intoierJble in " OthellO
A. in well enough with Richard The >iatclincs' Of
bearing the absence of which in the Moor was de-
po.aulr. would De out Of place in Richard, in whom
a considerable ecceutrclty of gait and movement
ma Dee expected. II no such excuse can be made
for the prculaIitc5 of cocution which sill remain
il NAV at iclst bc said that tlcy are rather less
Numerous The proongatlon Of vowel sounds, some
times 10 the point where II becomes udltroUS, may
Sill d. heard. YDu can hardly say he arlcuiateS
certain words he d-articuatcs slell. The most
striking instance was IN the famous cry My KING
dom for horse" M Irving utters thc word kim
dom with protiactcd pause between tn syNab!cs
which tgpcs can hardly rcprc1ent-as H. IN lact, II
were two words king dom inns mi- II
have been set down 20 nervousness, but II was twice
r.i..-,d and seem, fo have been meant for M
"cnccr7 Ii was IN effect, but a bad one; worse
than tha "pa-a-a.a-e" and "t--i-i-ght' which we
have grown used to from Mr.. Irving. His faults of
eocutinn like all other faults of this performance,
v,rp most CONSPICUOUS in the last two acts ~ times
Il, va, uuiutelligibe for sentences together ana
~ the tent scene We were compelled 10 witness
once more those exaggerated eNAIb tcns 81 craven
nature parayzrd by fear. which, "lH,e lever excuse
there NAV be- for them elsewhere, are foreign to the
character Of Richard II i not possible even Tor
SIR. Irving to argue that Shakespeare meant 30
MAX, Richard other than brave man; and the
nmnrntayy horror which The apPanton' nii!ct on
him cannot be enough 10 conyuse his body and
change his nature. VIVA. / must call the ihSchiev'
ou ingenuity of BIZ Irving is displayed in the trst
sentence Of the opening soliloqUy-nay. IN the first
word for he opens it with a strained emphasis
Nor is The winter of CIR discontent' &c-a result
Of too grca. .ubtilty OF Interpretation. OF oi rcso-
luton discover novelties at all hazards. Others
made their appearance before the speech concluded
have dwclt on these detects in Mr. irying'S III
ter 81. They have Lceu pointed out By others whom
ne may think glad 10 insist on them. Ny criticism
he knows 70 be friendly, and Willingly pass from
such cenSures Is these 10 commend ms general con-
.cntion and treatment OF the character ot RchTd.
MANY sides of il are congcnai to his talents and too
much rraiSc can hardly be given to the elaborate
and thoughtful way IN which many of the scenes are
worked ont. Mr.. irving i, always pctuTr,quci he
has. moreover, 50 distinct and sustained a conccp-
tiou Of the parsonage he wishes t. represent chat he
imprc,scs il on lis audience and keep, uP through
out-or ar least thgoagh the first three acts-a CO.