New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1877-04-14
TIE DRAMA.
MCCULLOUGH AS OTHELLO.

The individuality of this actor, whereby he
10 unlike others variety OF his art whereby he is I'M
like hmse and the rare and astonishing power that he
possesses to rise to perfect equality with great OCCASIONS
were shown in his Ohco with magnificent breadth and
The first qualities that were observed, when this
presentment Of the Moor stood first disclosed, were
beauty and happiness Every other Oeo that our stage
has presented within this generation seemed to have
been struck with incpient blight on the very even
ing Of his nuptias Salvinis embodiment was,
perhaps, exception; but that WORK, stupendous
though was, in pass on and action, was at variance
Shakespeare in ideal IFS love was sensual ana ITS
revenge was beasty and therefore, for reason of two
kinds il may left aaide out of the But Mr.
McCulloughs OiheO IL first TO differ with oil CO.
temporary English versions in ths-hat 1t Ia embodied
health beauty and joy in all the earlier passages OF the
play 1t ls massive ALSO and it is suluscd with stately
nobility and tenderness. The cpithcs that
the mind nvountariy applies to it, as it passes before
the eye, exactly those that Shakespeare himself has
supplied. Constant noble, loving Free merry simple
magnanmOusthis the personality which stands like
grand tower bathed IN sunrise in the foreground OF the
tragedy. When such man is broken TO pieces with
jealousy when that rage which is more cruel than
the grave takes hold upon his heart and tears 1t into
shrods the revulson will be no less pathetic than terri
BILE and tins is what ensuod in tic conclusion OF the
character last night SO much trios make itself said
in description and of his performance that feel
ings and words somewhat oste themselves IN the egres
Here was an OtetO who moved with unaffected dignity
spoke every line with all It's meaning aud with perfect
elocuion; invested the part with Oriental splend0r
OF trappings and appearance revealed nobility IN
burst but dclnesed the encTOachment OF evil passions
by those slow degrees which the " close denote
mcnts" Of art who indescribaby sweet in tho
gentle love stately yet simple before the Soma
tors thrilling while selipOsed in the nigscene on the
watch a tempest of fury In the climax of the great
third act patriotic beyond words in the speech of Fare
al nd vt he
who acted this whole tremendous part with adequate
ideal adequate execution without ever lapsng out
it, for instant. and to keep the public Affection
him all the way, and end ut last in the pubic pity
and Gears Mr. Mccullough at the close OF the third act
was three times called before the Curtainby such sp
paIse as comes the heart and will not be denied
At other points also, the demonstration of popular emo
ton was emphatic and after Oellos ouciy of romOrse
full agony just before his suicide Oucry deeply
and terribly fraught with the derum Of broken heart
and halfcrazed mind than any notes of frenzy that
have been heard in this scene within our
time), the great multitude seemed almost trans
fixed with sympathy and terror. We can but pre-
sent now general statement 81 facts and judgment,
with reference to this work; but we have not the least
hesitation in recording Mr.. McCulOCgh's Otheio as in
all the great essentiasin massvencss, tenderness ole
vaton, power, pathos, grace, picuresqucness, COM
equalcd on the American Stage: IL was more than q
success it was revelation. Miss Granger did herself
uncommon credit, as DcsdemOid. Mr.. Warde appeared
rs ing0 James Collier CaSS0, and Madam POnsi
az Emilia. "Otbeo" will be repeated at the Matinee
al Booths TheateT to-day but Mr.. McCuouch WILL on
this OCCASION be IaGo. Tonight Richard Ill