National Republican., 1882-12-19
ADJUSTMENTS.
TIE NAr1oNAt-MR. rrrNn.

N
When it is considered that Mr. Keeno is
comparatively stranger here, his reception
last evening may be regarded us something in
the nature of compliment. II was, all
things considered, a pleasant and favorable
greeting The audience was comfortably
large, fairly representative, and upon the
whole rather demonstrative.
During the engagement of Mr.. Keene last
season this journal took occasion to express
an opinion of his powers from which there is
now no reason to vary, except perhaps in his
favor. Mr.. Keenes Richard is a peculiar
work, distinct in its faults as well as in its
merits, and equally open to argument in
each. 1t pleases him to present tho character
somewhat after the older conventional fashion,
as perhaps might be expected in one whose
training was with the actors of that elder
school, whose founders patterned their methods
upon the lines laid down by his illustrious
namesake of England. But this preference
displays itself only in the main features OF
the plays action--not in its finer shadinEs ;
and involuntarily q regret obtrudcs itself
that he does not permit his own and evidently
nicer instinct to overcome the pre1udlcts
which tradition has cvideutlyimposed on him.
He is singularly distinct and lucent reader.
Evidently also he has fine and tronchant
faculty of thoughts and it Is patent to any
one who will listen to him carefully that the
robustious features of his performance are
less his own invention than u tribute to the
elder masters under tho influence of whose
minds his earlier walks in art were taken, as
aforesaid.
1t is not to be expected that any actor will
evormcet at all points the views of any un-
professional student of Shakespeare, and, there
fore it is not to be supposed that Mr.. keene,
,,, 1, ;ubt ha
points. Yet it may be questioned whether
any one within the ken of this genera
tion has given more luminous inter
probation to the more subtle pas
sages of this play. His reading is natural
and easy, well considered, fluently delivered
and responsive to many delicate shades o.
meaning, which denote great deal of thought
and study. Richard is commonly looked
upon as a character that calls rather for mag
netism than for mind. Many tragedian'
have built their fame upon representation
of it that excelled simply in turbulence ant
| fire. MIR. Keene prefers to display more
symmetric picture, so far as in him lies to dt
so. He Sights nothing, and If he fails at any
point his intelligence is less at fault than hi
physical vigor. 1t is in the final crisis of the
work he seems most weak. In the scenes o
the last act, where the action of th'
play grows rapid and violent, he fail
to meet the expectation he has himself bull
up. The subtle side of Richard, upon whicl
he spends so much of delicate and effective
effort, here gives place to violence and rag
of combat which his highest power barrel.
suffices to indicate. 1t appears not to be IL
him to carry away his audience upon storm
of feeling such as the more herculean an'
passionate old tragedians used to rise upol
| in these heroic scenes Possibly
is because so much has beef
seen of the ancient two-up.and-two
down" sword play and fury of Boswortl
field that it no longer excites, but rathe
amuses possibly 1t is that Mr.. Keene ha
none of the qualities of the whirlwind in hin
that he dies in moro than one sense all through
this once supreme and crucial scene. But 10
that or whatever other cause, he islcast impres
sive where perfect rounding out of his worl
would require him to be at his highest ant
most brilliant. A consciousness of his lack
as we'll as his points of strength was evidentl,
held in mind when his version of the pla,
was arranged. He has drawn freely upon tn
carly folio edition for his first and secont
acts, and in the second and thir,
consulted Tate as much as Cibber. TIL
council scene is omitted from the first hall
and so is very much with which other con
temporaneous tragedians have made thei
public familiar. Mr.. Keene indeed takes TIL
4 prevailing color of his portraiture from tina
fearful self-examination to which Richar
lsubiects himself in the soliloquy of the frs
| act. He has raked out of rare editions man,
lines and speeches in this same vein
and restored to speech a great deal tina
for many years has been enjoyed only b,
reading. Indeed, whatever there was in tn
original text by which the supernal villain,
of Richard could be made distinct and sell
confessed as well as self-glorifed has beel
found and put to use, at the expense (thougl
not to the obliteration) of those noble
soldierly, courageous qualities which in par
redeemed him from utter fiendishness.
The company supporting Mr.. Keene is t
be commended for mechanical efficiency,
not for any other shining qualities. MI
Learock is an admirable reader and an acto
not devoid of grace Mr.. Hagan is to be CON
mended fora awell-proportioned representation
of Buckingham. Miss Annie Ward Stor
lends to Ann an interesting, though an uneA
pressive, face, q handsome presence, and
palpable desire to do well; and for the res
they are not bad, though better have bee
seen.
FoRD's-BARRY AND FAY.
The piece, "Irish aristocracy," is mil
named when the bills style it a comedy
is loose ended farce of the most uproarior
and irresistibly laughable sort. 1t is a
amplfication of the sketch entitled "Mu
doon's Picnic" which Barry and Fay mad
: famous two or three seasons ago. WhoevC
loves unbridled fun will find it to his fanc.
There are few better representatives of lrisl
American character on the stage to-day tina
| tha pinalS in this comedy They NJ