New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1880-03-19
MR. BouCICAULT AS DIOGENEs.

Mr Boucicault, acting in How She Loves Him."
at Wallacks Theatre, appears as an old Irish SER
want, whose employment is the care Of halI-dis-
abled old master There is always a touch of pathos
10 the fidelity OF the poor and humble servant who
follows the fortunes of the rich and great. From
CaLet Balderstone all the way to Kerry his type Of
character has failed to captivate human sym
pathy In tins instance the servant, who IS named
DiOgmes. is characterized by a propensity for
grumbling and for blunt satire, well as by an af
fectionate heart and devoted, unselfsh DISPOSE
tion and this mixed character. at drOll and
lovable Is set into strong relief by contrast with
that OF the master Sir Richard HotspW-beautifully
acted by John Gilbert.
tbs baronet. a wrecked and wretched old gentle
man, whose heart has for many years been wasted
by secret grief, is outwardly irritable and inpe-
rious but inwardy kind and gentle and in his
forlorn condition Is dependent on his eccentric
nurse. Ia some respects the relations of these two
persons are like those of Old DOrHton and Mr. SWlky,
IN 1.-THE Road TO Ruin" Sir Richard and Diogeaes
enter quarrelling, and the several verbal
counters between them which ensue give to
this comedy some very fine lights Of humOr and
shadows OF pathos-and a ntinuous aud unfailing
strain of character. Diogeaes dearly loves his
ter but, in his treatment of him, assumes the attI
tude Of pateut and tolerant guardian. who is
obliged TO enduTe,--thOugh not without rebuke,-
the bad temper of ill-condi'oned peppery
tyrant An "old mustard pot" indeed be calls him.
and he expends upon him some of the wittlest Of
genuine Irish repartees.
Mr. BoucIcaults performance Of DOgenes is almost
faultess, and very admirable. The character,
subordinate one, is never forced into undue prOmi-
hence in the picture. Present IN several painful and
sad scenes, while whatever strokes it has to make
are made with brilliance and pungent force.
L. - A.. Ill Il
to win by the very truth and propnety of its retlr
ing modesty. The actor apses out of the part.
His by-play invariably deepens the interest by in
tenslfying the meaning, of the scene. The perfect
naturalness of his Hibernian ways, his dry voice,
his quick crsp shrewd eDunciatiJn, MS matter-Of-
fact preservation Of the ar OF quiet eynlcism-ail
these are wonderfully droll; and, combined with
most characteristic makeup and firm, distinct,
and well-sustained method of dramatic treatment,
they not only constitute fine type of eccentric
human nature. but they teach very valuable lesson
I'm the art of acting. II the actors stimulation OF
age were not obviously mechanical. and # his emo
ton were transmitted through the nerves rather than
the intellect ths performance would be perfect.
There is one point which Mr.. BOucicanlt strikes
with observation-disclosures upon the very Keynote
OF the highest pathos--the moment, that is, when
Sir Richard completely broken down by trouble,
sickness aud age, bursts into fears and Di0geacs,
changing at once from cynicism TO tender soci-
tude is overwhelm by the spectacle Of his mas
ter's grief Ii is a great pity, certainly, that the
art which thus makes actually love ITS cTea-
tions should be nothing more than art.
Men should be what they seem.
Or, II they be not, would they might seem none y
THIS is personation TO be enjoyed and remeIn-
bered aud all persons who care for good acting
should zee IT. IL ranks with Mr. Bouccauli's per-
formances OF Daddy VD0tod and Kerry and it will
long be cherished IN admiring and tender remem-
branOe.