New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1881-06-02
THE DK.INl.
ROSE COCuIAN As CAMILLE.

Tha. Cdmiiir H. not dcSpi>rd ~ tlo>r who ought
to pty hrt ha, been con, u>iycly shown. time ami
again. los IA, manif, stations of fcaliy with which
sin. !. continually greeted by the crowds that at
tend her theatrical progress She emerged yr,ter-
d,v afternoon at Walhrks Theatre IN TIE hand
some aud charming person OF Miss Rose C"ghian'
and she was hailed with plandts and viewed
through tcaIs by great conc"urNe of persons,
mostly women. She was ~ ever. an Affecting oh
lrcL Presented by M~S Cochlan she could scarcely
De- otherwise. for she thus had personal Charm and
professional skill The applause for the actress was
abundant. and two or three times there was Ini"l-
gent applause for the performance; and there wen'
numerous hcral tributes. and several friendly re-
calls II wa pleasant "c, aston, and one of rather
more than u.ial significance.
Thr observer uf a pcr~onaton OF camille some
times lcoh, 20 II a. the type of AZ exceptional class
and sometimes ~ the exp ucnt of IN individual eX-
p,rirncc. Ms, CoglllAn as CUniG presented. ex-
clu,lvry. tn" latter image. The passionate" mourn
fllur>s visible through the lee of reckless lcyiiy,
fllt should Dee characteristic of fdmHf a. type
wa entirely absent from her performance. II was
To h, expected. since this was Miss COghlans first
prr,cut,urut Of the part. that the mechanism,
throughout would cYlncc effort and cOnStralnt. and
that the work would be marked by inequality
of execution. and 10y certain intangible
character III lic flflh'ul VA N'NiS'' ~
was not to be cypcrted though. that it would lack
tie essential element of pahos IA Spintua condition.
Those " no have listened. with The heart rs we'll
the cars. 10 the niisc of La Traviata know what
thi, element Is. Miss Coghlan did hot seem 10 have
considered IT, Her Cdpiiic was devoid alike of the
blight Of sin and the undcrtunc of mis- ry. The part.
We mean to SAY. was played from the standpoint OF
a beautiful woman in great alihcilon. Ihre was
little or no subtlciy in the work aud 1t conld be
viewed without clcrcncc to any of the moral or
spiritual questions which this topic commonly
suggests
During the first two acts the nature which
was INSTRUMENTATION for effort and con-
striint-was seen 10 he 80 firmly KNITTED
and 50 rrrsponsiyc Ia impGisr that the l'a "i It's
,cthronrn,n, could not for au Instant he allowed.
There was no driting-no passing tonch OF despair
-Ettle of waywarlncSs and very little Of passion.
Tho observer could not but find that tins embod-
,t of fui,,ine love and grief could we'll bo called
lac so,nr other name than Camlr. Yet it was very
,b,-miug-somctnies really contemplated
~ bcauty in distress Toward the close OF
IN, third act, though, Miss Coghan momcn-
tarily rose to noble height of simple
pathOs and in particular used the low tones of her
voice with most profound feeling, exqnsltcly ex-
pressed. There points of kindred Pathos III the
supplicaion speech in the Of the ballroom in
tcryiew with Ar7ndnd and the monotone of plaintve
woe and 'aIectiouate solicitude that marks the
dcath-sccne was given by the actress with all the
sincerity OF good heart now thoroughly aroused.
Viewing the impersOnstion a. q whole. We should
not think Off a. Camille at all. but the rcvela-
ton of a rich and tcndeIly sensitiye womanhood.
aroused to EXPIRE sion oby painful and hartssing
circumstances. Tho actress had the good
taste 10 divest the desth-So@us of all
sick ROOM associations aud medicinal odors.
Iii scarcely necessary IN Saywth refnrnnce TO one
whose qualities Arc well known here-that Miss
Rose Coghlan IA out Of harmony with tho essential
spirit Of Camille In every attribute Of her oonstitu-