New-York tribune., 1878-10-14
MUSIC AND THE DRAMA.
MODJESKA AS JULIET.

"ROmeO and Juliet" was revived on SatuT-
day night the Fifth Avenue Theatre, and MOdjeska
appeared Julis The audience not large but the
spectators manifested lively interest in the represen
tstOn and at several points it's effect with
the hearest plaudits Modjeskas Juliet remnIka-
bic for the continuity with which tho actress sustained
both the identity Of the and the feeling of the
several scenes remarkable. ALSO for elegant and ilu
mnatlvc byplay-as for example, during the scene in
which the F1Gr explains Ills scheme for the herUiDes
rescue and remarkable, finally, for several excellent
touches Of new business Among the latter 1t may be
worth while to specify the partly real and
partly affected hystercal grief with which
Juliet was made to conclude the wheedling
OF the offended Nurse the subtle and sign hcdnt
the dagger, at Vile earth to earth resign
the subsequent discardng Of this weapon, and the
dramatic resumption Of 1t. at myself have power TO
die" The hurried manner in which Juiet was made 10
throw herself upon her couch at the approach OF Lazy
Cgpulet and the passionate vehemence and hysterica
horror with which she subsequently made TO huT
her little fgure into great chair upon the thought OF
TVbaiPs ghost should, perhaps. also be mentioned as
points of novel treatment We refer particularly TO
these aspects OF the representation for the reason that
its chlet its execution. The right ideal Of
Juliet was indeed. entirely and admirably suggested
but it was neither embodied expressed. There are
dicultlesn the way Of understanding tins character
II is one Of the simplest Of Shakespeares cOnceptons
The difficulty is to convey it. This difficulty
arises from the fact that the part OF Jo While IL eX
acts from its representative the perfection OF youthful
lovelness demands, likewise, the perfectly adequate
uterance OF great and various emotion The passion OF
Juliet Is deep and tremendous that only actress
OF great experience able TO utter it, and the actress Of
great experience generally proves to be unsuted for the
part by the very maturity which has qualified her to act
it, This is the case with MOdeska. She instructs the
spectator cOmpr hensvey and infinitely both as TO the
character spirit ard experience Of Juliet and to the
manner IN which shOuid be crystalzed into sym
metrical end sympathetic personality; but she has
outgrown the lart, aud, moreover, her peculiar
cadences OF eiocution do not harmOnge with
the blank verse of Shakespeare The performance
however possesses certain spiritual fascination, and
ia full Of technical beauties. The peculiar power Of this
actress 10 discriminate between different ndividualites
receives another Illustration this effort Her Juliet
totally unlike the other parts which she has presented
MI Frank II. Clements appeared as ROmeO-imparting
20 the character all requisite deieacy OF sentiment and
neness nf feeling neither the masculine fibre
the electrical passion which, certainly appertans 10 IT,
from the killing Tyb0A onward TO the close The ind-
cations of the performance those OF thought. tai
ent and modcsty II 10 not Romeo IL was at least
Westudcd welllnt0nded, and credtable professional
enort-The revival OF Camille" Is We believe,
proposed, and 1t Is possible that MOdjcska
may be seen IN still another new character.
Romeo and Juliet )" meanwhile. viii be several times
ro1,aatad The ful cas- OF parts Il a. follows: