New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1877-04-10
THE DRAMi-MUSIC.
MCCULLOUGH AS RICHELIEU.

htCi JLOOUH A.
There can be no doubt whatever of Mr.. Nc
Culoughs The performances of Virgins
that he gave last week in Booths Theaer exhibited
beyond doubt question his splendid faculty Of magma
ton TO conceive and his extraordinary force of art
TO execute. On Saturday night his auditors
completely thrilled by hs fire and his superb attainment
OF spiritual control that they leaped to their feet in
a tumult OF enthusiasm. This is but an indica-
tive fact. 1t speaks for him, however. very elO-
quently with the other proofs Mr.. Mccullough is
a great actor, and, by and by. when caution and
retcence have far recovered from their natural as
tonshmon that they leave OF picking and choosing
phrases the fact will win It's large and emphatic
acknowledgement. But it is given to any man
TO be equally excellent in all things; and
Mr.. McCulough's personation Of Rteheiieu-whch
lie gave last nicht, in presence Of numerous
thrOngis not great performance. This is not 70 say
that does not attain in it to magnificent nights
This is say that he does not give in strokes Of
which exquisite But sporadic bursts Of force
and intermittent traceries Of delcacy do not make
up the identity OF Richei,eu; and these were.
of ia concrete form, what Mr.. Mccullough
presented the character We suppose it to be true
the result Of test process OF anaYSsthat when the
spectator turn his mental back the ideal which
presents and fix particular observance on the
method IN which he presents it, that the spirit
Of a part is not interpreted. The triumph OF
dramatic artist is when he concentrates our minds
hearts what he does rather than on the way III
which he docs 1t. Mr.. McCunOugh's presentment Of
Richeiicls bristlcd with fine points hut It not
formed into homogeneous and potential personality
and so IL did not prevail. Written comment Ons II.
therefore, following in track observation of
IT, ncues 10 the mention Of its details rather than TO
the portrayal OF II in concentrated picture during
the first act this hceicu practical and lacked TO-
1t did not-as surely 1t ought TO dO-imprcss
as a great at the start 1t beautifully devcl-
oped-but not from sufficiently high source. 1t
,rte t1,f fran plq cd an
from other mcn-in the mystic glamor
OF innate superiority The speech, Well girl to J'HF
f we may indicate by feathers the drift OF the winuI
was violent rather than stern; and the banter TO
Adrien-" How is it with you, Sir,"-was satu-
rated with open leyity. These things and others
like them, 49, notably the crafty, significant
glance at Joseph in the Hnguet scene
made the earlier portions OF the deineation somewhat
100 kindred with common hfc and RirheieH Is never
common In the second act there too much papa-
bic strength. This R,cheiieu could have welded
the sword. and he was by means so
cold" even in seeming. to be innocu-
Gus 10 his Marian de LorHe. lie shOwed-botA
then and lateT-such an almost wholly IN
disguised capacity Of action, that the reserve tire lndi
rccon and the romantic fobes of the Cardinals nature
seemed out OF place. He Indicated, indeed an
abundance Of reserve power; but this was the
reserve power of execution rather than OF soul
He seemed TO he passins through p'rilons strait for
the first tine in his life and not a man 10 whom the
experience OF perous straits j. second nature because
OF that property OF easmess which comes By custom
He was almost perpctuaiy ert: he was scarcely
ever in the sad, sombre. m'lrstical Tepose
OF innate power The exit, with JWte, III
the third act was Indifferent effect by which
we mean that 10 carried simplicity too far stage dohgs
are OF coarse natural unless they produce the
effect OF nature and, when they DO produce tAls
effect, they entirely natural ho|soeVer III
quality eztrayagant. 1t was mistake also to
keep lutte on the scene, at the bedside Tor
only the purpose Of tableau. The facial expression
though throughout this act, wonderfully
fine The defiance of the midnight murderer was eIec-
trc and could not he improved Later there was not
sufficient tremOr Of the whole person. when the old nero
bids Jtlie to "put by the woman In the burst
of power TO which refer however and in the grand
simplicity OF his entire treatment OF the ire
1nendou, scene in the fourth act, Mr. Mccullough
reached an attitude Of heroic passion and hearthreak
ing pathos that can only be described as entirely
noble. What we urge is that the nature which is
thus shown through these riffs OF tumultuous
emotion ought not 10 be obscurcd TIL the
great moments come, but ought 10 play, in freedom,
along the whole line OF the representation Ii did not do
so in Mr. McCuilougns embodiment last night 1t was
massive. and in certain respects lovely piece 81
art: II was not the whole. rounded, fascnat-
ing spiritual, ineflby m0urnul identity that we
ACCEPT ~ Bulwer's ideal Certain parts OF the work
it, hunlor Us tenderness its emotional power its mclAA-
cbo.v vocal beauty in the last act and its severe SIM
plicitv-coud not be too much admired: but II u too
hea!thfn to be sufficiently mystic; too practical 10 be
sufficiently picturesque too robust To be sufficiently
poetic II does enough hurt the heart with It's IA
terror SORROW it does not enough bet"keh the
heart that has been hurt. Mr.. Mccullough was
called out with copiOus applause, at the end Of every
act Miss Granger acted earnestly as JU's dc Mormer
Mr. Warde was efficient De ia"prGt; and a finely
artistic performance Of De BrinChen given 10y Nj
George Becks The play has been produced with the
IA Wi ..N
long ago