Public ledger. [volume] (Memphis, Tenn.) 1865-1893, 1880-10-28


The tragedian Thos. W. Keene.
who will be here next week hassprung
into favorable notice within the past
three months, and though for years an
actor, was little known until recently.
The remarkable success which has re
warded his efforts has caused much
interest to be felt by the theater-g going
public regarding him. His first APP
pearance at Louisville on Monday
night last, was as Richard III, and
the COurier-Journ comments on the
performance as follows:
Mr.. Keene's Richard is an une-
quivocal success. The deadly mirth,
the railing disbelief in morality, the
tragic criticism CT the character, we're
most delicately portrayed. There is
a certain humor about the character
which the actor has imbued himself
with. The first three acts reveal the
tyrant as a merry devil, who finds in
finite p easure in his CHASTITY wooing,
aud takes keen zest in removing living
obstacles from his path. In the scene
where Richard wooes Lady Anne,
Mr. keene's acting was artistic in the
truest sense Of the term. The change
in facial expression, from treacherous
admiration to diabolical cunning, were
most delicate. Now the h~unchback
whispered soft words in the fair lady's
ear, enioscingthem with hideous smirks
and then his face seemed to mocl
what he had just said. Never did
the villain take keener delight in
watching how hate changed, in the
lady's mind, to contempt, and con
tempt gave away to indifference, which
in time yielded to faint interest. The
valious feelings, such as appetite, ad
miration, daring and determination,
we're all reflected in the actors face,
and were as delicately distinguished
as the notes off song.
The first three acts afford Opportu-
nifty for finished acting, but it is in
the latter three that.the fire and in
spiration Of the great tragedian are to
be found. At Mr. Keene's hands,
Richard now changed from the demo-
MAC merry-andrew to the kingly VII
Ian. He IS urged to take the crown,
and, like a hardened politician, he
tenderly refuses only to accept in
the end. He has tired his wife, and
tells her so. He finds many of his
old supporters DESERVING him. He does
not keep his promise with Bucking
ham. Themost thrilling words which
the ~tragedian uttered last night were
those famous ones. "0ff with his head;
so much for Buckingham" They
we're spoken with blood-curdling dali
blerie, and kindled the greatest en-
thusiasm.
At last his long-abused conscience
begins to assert itself. 1t is on the
eve of battle, and the tyrant is sleep
ing in his tent. While seeking a rest
so much needed, his conscience grows
strong, and in the grim night, before
the battle, it drags before him the list
of those whom he has slain. He
writhes j his bed as the melancholy
phantom ! appear, AT last Bucking
ham com IS, and Richard starts from
his drea D. lie falls to the floor
trembling like a helpless, palsied
thing. He acknowledges that he has
been felled by that small voice which
he always despised. Mr.. Keene was
terribly rellistic in this scene. The
acme Of horror is reached when he
regains his self-possession, and says,
Conscience, avaunt." Richard has
now entirely discarded bis leyity, and
has become a sour, cross grained de-
mon. He is a 6end incarnate when
he fights for his kingdom with
Richmond. His eyes shine like basil
isks, he breathes like a snake, and
when he dies, he dies like a wild beast,
Mr.. Keene's conception Of the part
is a mastery one. 1t lacks the ex-
tremely careful finish of Mr.. Booths
Richard, but it compares not unfa-
vorably with it in intensity and fire.
The actor is master of the part, and
~impresses his audience with his re-
serve power. His appearance, his
makeup and his voice are admirably
fitted for the tragh roles he plays.
Reeds GiltEdpe Tonic nrevents malarig