National Republican., 1882-12-12

tagueW There is fore'hadow of tragedy
in the information of this question, and
shudder In the action that accom-
panies it, as though y finger of ice were laid
upon the pulse while its bcatings were hottest
and highest. The nightingale sings to rose
whose thorn already pierces her heart. The
abandonment to her passion that comes
upon the very echo of that sinister
touch is an abandonment to fate
an immolaton devoted and voluntary In
this spirit the work is carried through to its
elimination i'm the potion scene. This pass
age is not likely to fade from the memory of
any one who secs it. Wholly without rant and
free from all the old infections and gestures
which are traditionally its belongings, it is
yet one of the most powerful bits of acting
any audience of this generation has seen.
There is no inclination here to enter into
details upon it, Description would be easier
asked than given.
Tho support given Miss Mathor by Mr..
Hills company is more than fairly good. a
weak Capulet, an insufficient Lady Capulet,
and poor Paris are compensated by the
splendid Mercutio of Mr.. Levick the original
and admirable Romeo Of Mr.. Silvini, and the
very satisfactory performance given of the
nurse, BenvOlio, Peter, and the frlar. After
Miss Mather the artists claiming notice most
distinctly are Messrs. Levict and Salvini.
Mr.. Levick plays Mercutio with rare dash
and spirit His reading of the Queen Nab
speech is admirable; and his scene in the
street with Romeo and the nurse was so well
done that he was forced to accept that most
indecorous of all compliments-a recall in
open scene.
Concerning the Romeo of Mr. Salvini there
| is like to be q diversity of opinion arising
chiefly out of the fact that Mr. Savini has
seen fit to 90 aside from all precedent in the
part and present his hero as a hcadlong, hot
bloodcd impatient, and immature creature
| WlO StOpS ut nntbpu in the fI1ry Df his love
chafes against adversely with the impotcnt
rage of spoiled child, and finally destroys
! himself i'll the sullenness of despair as deep
and sullen as its preceding moods were high
and turbulent. Those who have never
seen any other Romeo would find this
one in such natural accord with the
text that they would make it standard.
| People accustomed to elder Romeos, RomeOs
of the experienced actor sort, will find them
| selves in doubt over it, Yet two of its scenes
must be admitted picturesque and impressive
| in unwOnted degree. These are the
! fight with Tybalt, and the passage commonly
! known as "the Punishment scene" In these
the young artist gives glimpses of dramatic
force and sense of fitness very well worthy of
! the name he bears.
JOSEPH JEFFERSON AT THE NATIONAL.
Mr.. Jeflersons delightful performance of
Bob Acres in "The Rivals' is so familiar to
every one who ever goes to a theater that in
order to fully state how good thing is to be
seen at the National theater this week
it is scarce necessary to say more
than that Mr.. Jefferson is playing
that part in that house. Mr.. Jefferson is too
thorough an artist, and his individual gifts
are too great, to permit his doing anything
quite as any one else has ever done it. He is
an original and a pattern, and whatever he
touches takes on his form and the color of his
imagination. His Bob Acres is distinct
and apart from all others in this, that it has
none of the stable-boy flavor which the old
school of low comedy actors used to consider a
first essential of the part. His Bob is a coun-
tryman, and a weakling, but not boor, and
the humor with which his picture is drawn is
exquisitely heightened in that light 1t may
be late in the day.to thank Mr.. Jefferson for
having tipped precedent aside in giving us so
fine and yet so strong work. 1t will not
grow old.
The company this year is, if anything diff
ferent, an improvement upon that of last sea-
son. The principal members remain the
same.