The Sunday herald. [volume] (Washington [D.C.]) 1866-1887, 1880-11-14
sERNHARDT's DEBUT.
The Great Sarah's First Appearance
fu America aud what the Critics
Sny About Her.

Howard writes TO the Philadelphia Times about this
event rs follows;
wcl', have seen her; Int had deuce Of q tmc |
before succeeded. u appears that Manager Abbey
had some reason to apprchcnd tho presentation OF
bogus tickets and consequently subjected nl that wero
presented to scrutiny that both rigid and dilaory
Tho street was packed Not less than two thousand
mon and women struggled, pushed, sworc, kept on
pushing and made miniature iiades of tho place
over which shono bengnan,ly three four Immense |
electric lights that made tho hoc, rs bright rs day
eight. Promptly tho curtain rose aud the stupid first
proceeded to the accompaniment of slamming seats
the stairs and rs for the space between the seats and
tho wall, II was the tamdest Jam on record. am
patient man. and after this desire to be known as
long sufferer also, Tor bore the inncton Tor good
three quarters OF nm hour before set my foot inside
the door
appearance OF Clara Morris, In pure white costume
and the most extraordinary -scuttic OF bonnet
box, with Mira. Abbey Mrs. Dam. Jennie juno
Crowley, Mr.. Dam, Mr.. Clara Morris Harriet, and
occasionally MIR. Abbey. There great deal Of
good acting In tho fair Caras corner all the evening
The management had reserved the first two rows Tor
the critics and the two long rows Of chairs were heavy
with acnmen and brains. An tho papers well
| represented Eltors- -chief, with low-cut vests
and swell shirt -fonts sat next the slashers In dingcr
Ing to the very In tho amphithcatre ITSELF
was the opcr-cycd and opcn-earcd muititutc whose
At last the gentle SARAH came She wore her own
hair, Of course, but 1t was bought with price. In
other words, she gorgeous wig OF glossy brown.
Her hair is short and yclows and looks like the
bunch at tho end Of lions TALL but this wig Is long
gs hangs a ppng @ sS %Se as s oS Mellow or
something like Agnes Booths without the cver-cN-
pondlng nosirils long neck, that needs lace to con-
zeal the ravages Of time, aud terribly long arma Her
| arms straight as ndde-stck with susges-
tlon Of knob whore the elbow ordinarily Is She Is
tocraby long and very thin from her neck to her
mcagre hips and from these down to her fcet, which
are long and SLIM the distance Is something marvel
GUS Hut her voice Is her fOrtune IL Is liquid music
aud In all Its modulations Is organ OF exquisite pro-
portions, round and full and soothing to the ear. She
that to the critical ear is constant reminder Of Rls-
tori. But at this time Of night don't intend to go
into any nice DETERMINATIONS l prefer tn give you
Her welcome not worthy her fame or her aud-
ence Clara Morris laid herself out and rather overd
1t. Brother Bergh was ianguidly enthusiastic. The
people IN the orchestra sat quiet rule and was
left for tho circles and the standing rcomoniy people
to go into ecstacles. I can't say that was entirely
satisfied with It, Sarah not ovcrlmpresset
either, and her acknowledgment was gracious only.
The play had iosred until she came on. but after that
there seemed to he infused magnetism that affected
both artists and audience. There is doubt that she
eyes WELL better than she her feet, which
smaller nor particularly wel-fashoned. licr hands
and arms though so thin and long to look like skee-
ton frames, constantly utilized and In effective
though not always graceful manner. WAS impressed
witt, her bearing when acknowledging recall. ln-
In the rear tho line with the entrance, and bends
her head only: Possibly You remember how Miss
Carey nclnes her head side like bird In cal
| cuation. Well, Sarah does the same; her attitude
| says PLEASE don't press me, am shy and timld "
| I dare say shc Is, but It's new development for
1 think tho people are pleased with her. They
should DO. She is not pretty faced woman She
doesn' pose her beauty. She Is simply embodied and
Intelligent intensity She has reserves OF emotion, on
which she freely draws. She works from the moment
she strikes tho stage until she leaves It. She has much
art and very little claptrap Her face Is not her for
tune, but her vocels She pulled good six thousand
the city viii be puzzled to know Just how and where
put hor Tomorrow morning. Let the Times chroni-
Gle her success There IL no question OF 1t; but II Is
l nj IA
DIR. Lambdln. Of the Philadelphia Times, writes In
discriminating terms:
need not undertake to describe MILE Bcrniarlt
whose physical peculiarlies have been much dwet
upon. Certainly these did not strike me the first
and fair, with n decidedly Eastern face and eyes
whose natural expression seems Of languor, but that
more than this wonderful grace of her movements and
the exceeding Refinement Of every detail OF gesture
attitude and business Joined with naiyste and
what you further notice, and above all else Is her
quIsitely musical voice. rich full and powerful or
perfectly controlled. j think that In saying this
much, tell wherein Mile Bernhardt's great excel
tive we have had OF that which Is best In the modern
French school, Its refinement grace, and naturalness.
ann 's nir So ncs ss
Indeed phenomenal, but her Adrienne, Mt least is
| did not SEQ Rachel's Adrionne, and I only have
read Of the tiger erocy Of her delivery OF lines
| from "Phedreh and tho prolonged agony OF hcr
lect more distinctly than Ristori's fourth act. The
Immense reserve force 1t showed and tho way In
which she gradually built up her passion until she
teriy overwhelmed tho princess with tho burning
words: " An qni goutant ans 10 crime une honteuse
a ot II fS s n rrc rSat 1 ne rSnE. %
Adrlenne. II Is not an heroic hut essentially a
womanly Impersonation In all things In the great
contest with the princess se gives tho impression Of
modest, shrinking woman surprised into passionate
outburst Ivy the sense OF outraged love, and more
l,x nufl flprSk In An a,,s
nnal act there Is no attempt to pllo on tho agony.
The ecstasy Of her derlum is marvellous plsco ol
d era sS sn notsSg S s o thu
physical horror OF DEATH 1t is tho mental agony Of the
girl who wakes at last to consumnatIon OF her hopes
only to them cruelty snatchod from her grasp. aud
VIII" cries aloud for PITY and help l. TITS Iathe,
Bernhardt's Adrenne Is not heroine; she Is simply
q u woman-a woman who loves with all tho Intensity
and tho complete surrender OF which only woman Il
capable. II she does not play the part others hav,
hcaton with tho art OF the present day, and II sh,
misses many Of the points by which other artists
presents work OF that is trlthfully conceived
faithfully studied. and expressed with completeness
and refinement that entities 1t To most respectful and
! | admring recognition.
N George Edgar Montgomlnery lays himself out 81
follows:
That she fell very short OF really impressive powe
NJ In the great OF the play is unquestiO
able that she misconceivol this scene, and In
ID jected into certain unnatural exaggerated force
10 thearically effective. II Is true but dramatic II
any high and true sense to be eqaly apparent
| Those persons who remember Nine. Modieska's Is man
Of treating this scene-a manner full Of restraine,
= force dignity, and distnetlon-wil understand thi
broader treatment given to the same scene by iisior
viii understand 1t bstter In short, II is opinion
that Mile. Bernhardt failed to reach the level o
this scene and failed emphaticalIy IN make clear IT.
70 In the final scene, In which Adrenne dies--was bs
InuAt fu nf anil hal. mi
70 Cling OF despair hope, and sorrow and tho agon,
- Of death were pictured with realism that a
~ once genuine and tempered. II would DO peasan
ay TO dwell upon the many lovely details OF her act
Ing at this point but what has been written here
u artistic quality, and Of tho most sympathetic beauty
As to tho earlier scenes OF tho play, they treated
In manner that harmonzea perfectly with .h
being full OF the deepest tenderness and the passage
In verse being read with exquisite taste. That Mile
Berniardt displayed any great tragic power or In
spiration, that either IN power In passion she OK
~ hiblted any degrees OF supreme mastery, arc no
FIRST performance to he artist Of very rare type
woman with style Of her own. an Individuality ta
lon, actress amply gifted In respects-a thi
,e IL beyond question. She s IN all likelihood wona
In s,,ns sstra9rna,y % TALENT rather than woman
artist Az to her physical defects and natural gifts
Wa can barely refer to them Of this tims she has
very expressive face, and eyes that glow with emotion
~ hut above everything s'o has voice which, thoug
n lacks the debth aud richness OF Nelson spen
eicn, 10 Cieh HTH vi the mos
~ sivery quality. No those who have thor
NO ongh acquaintance with her native language con,
fully appreciate last night the perfect with wllc
" she used this voice; but every could and hea
IT, and It's effect upon the audience was occasisnal
I'M startling. Mile. ernhardt has u hawless pronuncia
tion an enunciation that Is distinct that each syI
liable tolls, and each whisper is heard with the sharp
ye meas OF bell struck suddenly, method OF inectio
q that IL not often employed upon the French stage
Her gestures are somewhat nervous and abrupt, an,
4 lack tragic breadth She has also u few marked man
nerisms, tho most disag OF which habit
n rolling tho eye. Her bearing In Tepose graceful
IT. with something ~ the sinuous grace swan bl
\, there are moments when sho lacks dignity, and he
Il movements arc moro picturesque than commanding
" Tho Herald does quito damn with faint praise
70 bnI escapes II nearly. II says;
That Mile, Earnhardt II Possessed of many quaIc
NJ which go toward the formation OF brilliant actress
"A musical voice, an expressive face, command of an
propriate gesture. wonderful facility In sIprassi
" the tenderest wDmanly emotions, representing witt