New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1878-05-07
MUSIC AND THE DRAMA.
McCr1LouGH AS KING LEAR.

Tbis ia q performance which it is much
easier 70 praise than to describe produces great
an effect upon the feengsand this 1t did again I'D the
Grand Opera House nighthat IL seriously impedes
the expression If not the operation, OF thought Such
tribute we pay TO it the instant however, shall
not be withheld. 1t is very remarkable exhim-
ton. alike of the elements Of individual great
ness, the resources of the dramatic art, and the
power and pathos OF stupendOus poetic IDEAL IL
may not a perfect embodiment 1t certainly, last
night lacked at point, continuity Of delrum ana
1t also lacked at two three points element which
can only be indicated as overwhelming agony; but
looked along the whole of its it the ruest
Loar-measured by the standard OF Shakespeare-that
exists within the memory of the present generation
Mr. Mccullough, as II chapccs-and " Nature is above
art IN this lis richly endowed for the PRESERVATION OF
this character. He has the V ice, the pres
euce, the repOse the Imagination. the re-
serve of power, and, above all, the heart
that Indispensable in this assumption We say with
emphasis the heart because the whole structure OF Lear
is built uron the basis OF human affection. His IS
great nature that greatly and purely loves ana no man
can evor adequately denote the outline OF thls ro'h
parsonage except he possess the temper ament tha'
misht be driven into madness by wounded love- The
burdr is of human beings whose feelings laced by
The newest modes in colscts butoneC in with pow
doOrs-ther arms, SO 10 speak, OF human oysters
tnat iufast and hinder all social experience,
do not apprchcnl views of this description
long way beyond the line of conventonality aud it is
in ina. free rcaio-he realm actual love and suffer
ing-tliat lIr. Mccullough finds ana iacrprets There
are many close and sweet Gcn0temcns Of his noble and
aGrc;0nato nature scattered all along the foreground
Of bis Ic0r TIE protective tenderness OF the KING
toward Kent wbo just Ooscd from the stocks, comes
forward and kisses his masters hand, may he named rs
one II these II Is little, Iut fun Of eloqlence.
BY making lis thus 10 love the mau-ior his splendid
nlagnanlny and his virtuous, clingng teEdencss-the
actor prepares ana, N fact, oompcls 20 sympaizr
with the down-falcu King. The wreck is felt t. be
luin Of the most magnificent manhood; and II this be
moi Tie keystone Of ShaEespeare's Lcar then much
study OF the abicct has failed grasp It's central meat
ing. Mr. Mccullough, OF course gives the imprecation
and the frcnzicd speeches with tremendous force They
ought 20 be SO given would be very unsatisfactory
if given in any other way. Leais very strong old
maa ana hs emotions compositions their fury and
ttey make him. for time stronger yet. The actor wGs
IN excellent condition ast night Tor these stormy out
bursts OF tho Gcm 0 love turned back upon itself;
ana his maapi voice full OF tears and misery, made
many hearts swell with grief and filed many eyes Win
Ills mad marked. rs always with most
profound ana just discrimination between the anguish
Of going mad and The strange and awful, but not ago
nizcd repose, Of madness that IS accomplished The
hcaui.ul simplicity Of his style was couspicuousy
shown in the %! Lars awakening IN the presence
OF C0rGei'o and again in ne de1tn scene. Inc com
mand thar this actor has ot himself in sach supreme
moments theSc-!he manner III which he can
let his feelings guide and shape LIS action
,reaturSs in acting aS well as his ntGitive sense OF
symmetry in art \ more brilliant success in tie
province 90 record Mr. Joseph WhcelocE acted fd0dr
aud IN the scene or assumed madness created profound
telling and unusually fine IN treatment. Atss ella
Boaface invested tOrdeG with an requisite sweetness
ard m.IN dignity. The mlSccldncUus cast ana Tie
scenery were bat indifferent. Tonigh; dr. MolUlluuEn
viii act Damon, in tIc drama OF Damon ana Iyth-as