Daily Kennebec journal. [microfilm reel] (Augusta, Me.) 1870-1975, 1881-01-22
Dailu kenneber 3ournal.
From the Hub"
SALviNI AT Iur GLoBE.


say also that never before has there been pre-
sented at the Globe anything which was so
| worthy recognition by thea,re-goers.
For one must confess TO having hardly
gotten my breath back yet. aud therefore
crave pardon if my utterances are a tritie in
coherent. 4 diligent study of my pro-
grammS before the curtain rose revealed that
Shewef was to pav Iago, Henry Crisp, Cas-
sio, Miss Ellie Wilton, Desdemona. and
Marie Prescott, Emilia. After that forgot
all about them.
You remember the play opens with a scene
between Iago and Roderigo, wherein the
former explains that
"Servipg the Moor, serve myself;
Heaven is my judge not for love and duty
But seeming so. for INV peculiar end
For when my outward action does demonstrate
The native act and figure of my heart
In compliment extern, tits not long after.
But will wear my heart upon my sleeve
For davis to peck at
Then follows the rousing of Branantio
with the news that his daughter had fled with
the Moor, and the search for her.
But interesting as these opening scenes are
and important too, AS showing the cause and
beginnings of lagos iniquitous plots. they
received but little attention. And it was only
after the little burst of applause which
welcomed Salvini to the stage that people set
tleu uOW II INTO tntiT seats WIFI tUc air WHICH
said. "Now the play has begun"
The audience was gravelv attentive as the
Polvglot dialogue commenced and librettos
were at premium. But as it proceeded peo-
pie began to wear an expression of surprised
pleasure at the ease with which they compre-
hended and at Othello's familiar lines COM
mencing "Most potent, grave. and reverend
signors," the books were generally closed
and cast aside. For had he been speaking
Choctaw, Signor Salvani's mastery of human
passion and power of expression. in voice,
gesture and glance. would have rendered him
ineligible.
The critics expressed, before his coming.
great fear that manager Stetson had made a
mistake in providing an English-speaking
company instead oi Italian, to support the
great actor. Salvini himself called it an
experiment" but it has been eminently sue
cessfnl. In Othello at least, the charm and
illusion of the play was positively enhanced
by this very circumstance. There was the
poor old father crying that his daughter had
been wrought upon
t"with some mixtures powerful o'cr the blood"
| or she would 'er have loved this Moor this
barbarian. since nature could no: $50 pre-
pOsterously err. sans witchcraft.' And then
what more natural than that, when the dark
skinned lover spoke, his fiery impetuous and
manly words. should be in another tonguei
Physically considered as well as from the
histrionic point of view, Salvini made an
ideal Othello, though not so black as my i'm
agination had painted him. Speaking of this
Salvini himself says: Il am of opinion that
Shakespeare intended Othello to be Moor Of
Barbary, or some other part Of Northern
Africa, of whom there were many in Italy
during the 10Th century. have met several
and think initiate their ways and manners
pretty well. You are aware, however, that
the historical Othello was not a black at all
He was a white man and Venetian general
named Mora His history resembles that of
Shakspeares hero in many particulars. Cir
aldo Cinthio. probably for better effect made
out of the name Nora moro, a blackamoor !;
and Shakespeare, unacquainted with the true
story followed this old novelists lead; and
it was well he did so, for have we not in con-
sequence the most perfect delineation of
Moorish temperament ever conceived?"
The costumes worn by Salvini in this play
are not nearly SO gorgeous as those with
which Booth dresses the part, but they are
copied from certain Venetian pictures of the
18th century IN which several Moorish off
GERS appear.
1t is said to have taken Salvini MANY years
to master this role, and he seems to have a
perfect conception of the charater of Othello.
"a free and open nature, too,
That thinks men honest that but seem TO be So
Iago says he has. And again
The Mosr, ,-how belt that endure him not
Is of a constant, lowing, noble nature"
Salvrni represo nts him as a rough blunt soldier
in his love making, in his inexpcrienCe Of
men. in the easy credence he gives to lagos
insinuations, and in the blind force of his
jealous fury. Booths Othello is more scbol-
arly and refined. and does not seem so con-
sstent with his ready duping or the brutal
swiftne.s Of his Jealousy and revenge. But
Salvini's representation is not merely grand
and weighty. for he has as well many strokes
and touches inconceivably fine. His COM
mand of his conntenance is most wonderful
and reveals as does an open page the working
of the mind behind it. Especially can we
note here the effect of lagos words upon him
from the Indifference with which he at first re-
ceives them, through attention, doubt horror.
despair and conviction, to the rage. beyond
all words to depict. that convnlses his features
at the last.
AZ to his support their intellectual fres'
were most certainly paled beside the great
star. Indeed they were to me hardly noticeable
At times, seeming no more than part of the
stage properties, a dull setting from which the
genius Of the great actor blazed forth
1t seems impossible to speak Of Salvinis
acting except in general terms. Since il
one should wish to say This was a fine
stroke"-or "There he interpretedin a master
ly manner" one musteither quote his lines in
toto or seem to make distinctions where there
were none. We know of him that he is a
born actor. his father and mother having
been eminent artists in their day, and even
as lad of fifteen he had won much praise in