Daily Kennebec journal. [microfilm reel] (Augusta, Me.) 1870-1975, 1880-11-11

is doubtful whether most persons in the vast
and brilliant assemblage that had gathered to
welcome her were drawn to the theatre by
any feeling higher than curiosity. The ac-
tress, therefore. was confronted by difficult
task, for not only was she called upon to in
terest people by her acting, but also to
elevate vulgar public sentiment to. sympa-
thetic and intelligent appreciation of art.
In what manner she fulfilled this task we
shall endeayor to show. The character
chosen for her first appearance was Adrienne
ecouyreur-the part in which Rachel made
her last appearance upon the American stage
about quarter of century ago. This
character does not enter the play until the
second act is reached, so that the enthusiasm
of the audience was kept pent up, so to
speak. during the first act. 1t broke forth
spontaneously when Mile. Bernhardt crossed
the stage at the beginning of the third scene
in the second act. From this point her
efforts were watched with the closest atten-
ton. Many in the audience were, fortu-
natey, able to compare their impressions of
her acting with that of other famous artists
who have performed with success in the same
part, notably Rachel, Avonia Jones. Janau-
schek, Seebaeh, Ristori, and MOdjeska.
The latter-whom Mile. Bernhardt calls to
mind in manv ways-also made her first ap-
ptaTdntc mere u lew years ago Us AuTltllIt,
and gave fine and artistic rendering of a
conception which is singularv like that of
the French actress. The play. it NAV be
stated here, was originally written for Rachel
by NJ. Scribe and NJ. Legouve, and was at
first rejected by her: she did not perceive its
dramatic effectiveness until LegOuve, who is
a master of elocutiou, read it to her, and
pointed out the opportunities for great acting
in the three or four best scenes of the work.
Once alive to these opportunities, she made
the part her own, and her Adrienne was soon
classed among her most powerful impersona-
tons.
1t is much easier to point out the purpose
of the actress in her performance than to de-
scribe the performance itself; and it would
certainly be premature. if not unjust, to ex-
press anv decided judgment at this early mo-
ment upon her possible scope and strength.
We can merely indicate briefly our impress
ions and suggest the general effect of her i'm
PRESERVATION. That she fell very short of
really impressive power in the great scene of
the play seems to us unquestionable that she
even misconceived this scene and injected in
to it a certain unnatural, exaggerated force
-theatrically effective, it is true, but not
dramatic in any high and true sense-seems
to be equally apparent. Those persons who
remember Nine. Modjeska's manner of
treating this scene-a manner full of re-
strained force, dignity, and distinction-will
understand this criticism. Whoever has
seen the still nobler and broader treatment
given to the same scene by Ristori will I'M
derstand it better. In short, it is our opin-
ion that Nile Bernhardt failed to reach tine
level of this scene, and failed emphatically
to make clear its dramatic significance On
the other hand, her acting in the final scene,
in which Adrienne dies-was beyond doubt
full of truth and beautiful. The mingling of
despair, hope, and sorrow, and the last ago
ny of death, were pictured with realism that
was at once genuine and tempered. Itwould
be pleasant duty to dwell upon the many
lovely details of her acting at this point, but
what has been written here must suffice for
the present; it was acting of the most artis-
tic quality, and of the most sympa-
thetic beauty. As to the earlier scenes of
the play. they were treated in manner that
harmonized perfectly with the actresses con-
ception of Adrienne, the love episodes being
full of the deepest tenderness, and the pas
sages in verse being read with exquisite
taste. That Mile. Bernhardt displayed anv
great tragic power or inspiration, that either
in power or in passion she exhibited any de-
gree of supreme mastery, we are not pre-
pared to admit; that she proved herself by
this first performance to be an artist of very
rare type, woman with style of her own,
an indv duality that makes itself felt in the
most elusive vet certain fashion. an actress
amply gifted in some respects-all this is be-
yond question. She is in all likelihood,
woman of extraordinary talent, rather than
woman of genius; but she is undoubtedly a
great artist. As to her physical defects and
natural gifts, we can barely refer to them at
this time sbp has a foo mi
eyes that glow with emotion; but above
everything she has a voice which, though it
lacks the depth and and richness of Nelson's
splendid tones, is marvelously CLAIR and
firm and of the most silvery quality. No
one save those who have thorough acquain-
lance with her native language could fully
appreciate, last night, the perfect art with
which she used this voice. But every one
could feel and hear it. and its effect upon the
audience was occasionally startling. Mile.
Bernharlt has fawless pronunciation, an
enunciation that is so distinct that each syl-
liable tells and each whisper is heard with the
sharpness of a bell struck suddenly, meth
cd of infection not often employed upon the
French stage. Her gestures are somewhat
nervous and abrupt. and lack tragic breadth.
She has also few marked mannerisms, the
most disagreeable of which is habit of roll
FVSN
full, with something of the sinuous grace of
a swan. but there are moments when she
lacks dignity, and her movements are more
picturesque than commanding. more
thorough judgment of her quality as an ac-
tress can be formed after her appearance in
"Frou-Frou, - hich is the play set down on
the programme for tomorrow night.
The supporting cast was, on the whole,
fairly effective, although Of a somewhat low
grade. NJ. Angelo, the leading man, made,
certainly, a particularly dull and expression
less lover; and NJ. Chamounin. whom we
know to be comedian of some talent, failed
to treat the delightful character of Nichon-
net in any other than a purely conventional
STYLE. The Princess de Bouillon' was per-
formed by Mile. Colombier, who is at least
an experienced actress.
Mile. Bernhardt was called out three
times at the end of the performance, and
was applauded with great enthusiasm.
An old man who was taken for tramp died
- a ,rars;ja Nc n ron. housa upar Schenectady