, 1877-05-20
AMUSEMENTS.
Rose Eytinge and the Qualify
ofHer Acting.
ared Astray" and "Allss
n1u1ton" at Nc
Vicker's.
frame. Robson, and Rankin
Coming Here with the
"Boarding-House."
Review Of the Opera-Bouffe
Season 80 Green
Room Notes.
The Beethoven society's Per
formance Of ''The Fair
Medusina."
Festival Of the Apollo Club.--Ed-
dy's Recital---Hershey
Hall Meetings.
l,bani in London-.MusicaI Gossip
in the New and Old
Worlds.
rha Reethoven Society's Per
formance Of "The Fair
MeduSina."
Festival Of the Apollo Club.--Ed.
dy's Recital.--Hershey
Hall Meetings.
l,hani in l London-.MusicaI Gossip
in the New and Old
Worlds.
THE DRAMA.


ROSE EYTEGE At M'vIcKER's.
rhe secret Of Rose Eyt1nge's power lies In the
tAnrpushuess OF her methods. She is to-day the
.,oxt xnfshea actress On the American etagc- All
~ at en- do for her; all that assiduous appliea-
nm cau do ill that can be accomplished By atten-
nm and fidelity in the special embodiment Of
,A,acter-ln bdcf, everything short OF the
LATEST ecpius-the possesses Nor are her natural
,;fts compared with those OF her contemporaries,
tdyt.1 or mean. She has an imposing stage
nsesepee, athriIling and melodious voice,-which
n ITSELF might make the fortune Of less intelli
rrut setress,-and quick, instructive apprecia-
tcu Of situation. Her tact is fine and accurate
Re, intellectual comprehension OF character ID
vide md fsr-1caching Her Temperament Ia
s,deat and passionate. She has nearly
eyery qualification for the highest place
eYsr awarded in the dramatic profession;
md ri she lacks, in some degree. the most I'M
port1rt Of all for the want OF which no trimming or
rood Intention will sufice-she has not vivid
IMAGINATION. She assumes character, hut does not
become It. We can never think Of Rose Eytinge
u ustallowed up in character, or as carried away
b fue, poetic frenzy. The mimic ecene will al
x1:s be the place for mimicry while she occupies
tie ssage: no wave OF passion will overwhe1m her
before ahe ha. measured its height, and calculated
oean-depths OF sorrow without groan, II Il g1oan
vii II al add to the horror Of the spectators We
Do not speak Of the want Of Imagination IS fatal
deSeieney. II ia one thnt famous actors have been
convicted Of but it has never been associaled with
tie few lmperishable namea in dramatic history.
Tx ot6ce OF the Imagination 40 q quality OF act
tasis to endow the character with reality By
mstus OF it the artist enters into and possesses,
for The time being, the character chosen for repre-
sentaron. The possession OF it, joined
vita euch dramatic trimming as Hiss
Ertnge has. precludes the impression Of hardness
d tn.h which is the only fault that has hitherto
hesu found with her aching. The difference can De
illustrated in breath By 4 comparison Of Rose
Eytingc With Clara Morris. The former is all art,
IN the good eenee, TO her finger tips; the best
&eaeaer cf acting in America: The most careful and
CONSCIENTIOUS actress on the STAGE, aud in mere
pssaeA expression the strongest. Clara Morris.
feehie in body and mind far the inferior OF Miss
Eyunge. Yet in Imagination she is superior She
u C1astA, Of Miss Hutton, or whatever else she
pretends . be, without watering or shadow Of
tuln rg through az entire evening. She is COM
pelied BY the necessities OF ter n2tusc TO feel and
act Is CdH,lit would II shc were living person;
Miss Est4uze Is compelled only BY the necessities
Of her AT to act in the same manner, but no part
of het nature requires her to feel in the
sane deg1ee rs MISS Morris. Without knowing
The circumstances, it is sale to venture the asser-
Ion tha Mss Ey1inee is always hcrsrif-lanshlng,
chatting, OF Ecolcing- the instant she steps
tetort an Audience, and ereu then is competent to
gse SPECIFICATIONS TO all around her; while Clara
AofA Is Tor the tine being slave OF her 1maglna-
hon md the circumstances which it has conlured
lid Attray" and miss Mnlton ~ were the
pa5s Of the week. There Is disposition in criti-
sltu . condemn them and the class to which they
oeioug without precise statement OF their faults.
Lea AsiTay is full of immoral ties. What can
= thought y honorable Peop'e Of eneh man as
Esaa!ea C4ladoee, who introduces his mistress
u lii ~lia 1'd md daughter: Tho impi,ca-
toa Of the drama is that Rudolph Is
modern hero. but We find in him only
s 1he. hand. is presented as vulgar gambler,
esealeF at cards and panaer. Jet he is the chosen
second 1t duel between gentlemen after his char
aaes M hat oeen discovered, and be is the only man
r. md setf- rn]iance. Then there is .ur. George
0eAFa'7e. 4 man Of the most refined sentiments.
Mao ooasns ~ Introduction to the house Of gen
,s 1s'aaa u fot the ayowed purpose OF accomplishing
- s1m q his wife. The purpose OF the whole
reee Is to make fashionable vice romantic, or to
sa'x That good ana evil are pretty equally mixed
1.sel as sest natu1rs -an endeavor perhaps cotu.
Ms best that can be done for the stage.
aaa Ia The very solid objection to
- sentiment Of the piece; but let us net be :cmpt-
s1ed specimen Of dramatic construction, 1t has
~ ls npon Tue respect Of the public. II 1t were
tAs ssoe .n ,nns nns .stnef ~on!a no. aa.e y hea
IT, tso.ous' ou ipnS a5o 20 suegesslu as " & ~.
pot esrh Tnnr.1 i saooiu oe ouss ~
eeononS ~ X.,s ~ nous aoout tng p!aGe N LUG
~ rh:,s ~ ,;4h ~ scnool Y kne e%ooH %
aot III. oet.aia ana romance 90 m!gnuiy p.esan,
nsctbsr 49, anu pIete1t iot Mnlca a1e 70 n.nS
teutn+n4. ~ eoneoiu-no. OF So1n9s' ~ y.
e1sfuSye rith + Smolonaa scneol aealo anhuge
t,e rrn,s.s ~ tae uomesuc aHeStlons' "acn
dad hsnnEt u s4Iloae Stages OF decay, Or, 4ke
sud, FIVE feaEi1g +hg Esd ciedany yss,at n the the
Actress the dpa3o,nf em1 no aes'1s 81 ;deas
bT snne,,na - '1e IT, aese!opment o. .ueas
tstntsea y .ao 70 tae eynpathics 81 people afeaay
posset.eT -. @1Sa nolses arg spectaess.
out which x,4l a1 no9!e ais,ntetesteo1sss, "sI
II anlend;d Saaa. naz!t. s1ong 1ntsleet 10 ons
Nasl.ii III nv, ,;ssa ,u;e.oinny. y. lniollonatev M.
wao wees ~ H1uS e express ms op1ni9n Q! lnose
French n;.rs tn!ea a1 IN me aomestlc aneet3?n o.
ie,rai erI4ys, a1T pohsessed ol No epecai tntel"
tare ari.sn" -. ineie may oe 9eiosnhIy o. na-
peonle 49, !aom ~ e1cess OF a4ecuoH toE otaes
Ill ~ :, es+ ras.+ ana that deiormltF' Il II e3as1s al
et ts considerable element Of the French plays
.sAlM Hn;,,nn J.. T. ... ...,o
Ylay. rsms."p IN many respects suong
ioot .na =; 1ot te simplicity, its evenness Of
Hg estst ~ a1 correct arrangement A. produced
se1er sn5 = neatfe II contains out eigbt chat-
verroo Ma.. au ~. We bel1eye, the original fFencn
H. n, "naont essential alteration. The fdea OF
'.rss: Is vel known, is the prevalent one OF
eane ~, 1ano, aa and when the French play nfst
heean NH vne .e9 yests ago. Ars. Henry M9od