National Republican., 1882-12-20
ADJUSTMENTS.
MR.. KEENE AS RIcHELIEU.


Mr.. Keene's performance of the titular
character in "Richeieu" was literally APP
plauded by last evenings audience in the
National theater, from which it is to be in
ferred that his view of it was to their minds
good one. The fact that it has been very
well received in many other cities may be
taken with this to show that Mr.. Keenc has
hit upon a popular notion of the character.
For this much his shrewdness is to be cred
tied. 1t is Furthermore to be said in his
praise that his performance is everywhere
consistent with itself Allowing the accuracy
of his Judgment in constituting it, nothing
could be said in his disparagement. What
ever of defect is to be pointed out, it must be
directed first at this.
And here, with all Difference to Mr.. Keene,
leave is taken to question the value and truth
of an Interpretation through which Richie
lieu is presented as noisy old fellow, in
whom tremulous nerves and severe pectoral
disorder are no bars to the most vigorous ac-
tion and conspicuously robust lung power
Richalieu whose dignity is all shouted
away, or who rather may be said to have no dig
nifty at all, cannot be admitted to any great es-
TEEN, though please never so many audiences
never ohighly and such Rcheleu Mr.. Keene
sees fit to show u.s. 1t is difficult to believe
that an actor whose intelligence is fine
enough to follow and light up the intricacies
of Shaksercs Richard is not capable of a
better performance here; and yet the charge
that Mr.. Keene deliberately goes aside from
his own better knowledge for the mere love
of noise on either side of tho footlights is too
serious to be lightly made. Possibly, if op-
portunity were given him, he could in good
terms reason that the part should be played
throughout in one key, and that a high and
hard one; that demonstrative gesture,
much moving about, not little striding,
and generally prevailing turbulence, are the
proper means by which to body it out. But in
the absence of his reasons why, dissent must
be taken from his work. 1t is unnecessary to
go into details upon the subject, or to under
take to analyze the character itself in an at
tempt to show how it could be better repre-
sented 1t is enough to say that this repre-
sentation is at variance with the view any
reader of even the acting version would be led
by the lines themselves to take and foreign to
the spirit that shines so clearly through them.
Specification of merely one scene will suffice
to show how wide of the mark the whole
work lies. No passage in the play is more IA
miliar than that which is known as the curse
scene. 1t is here, when kingly might and the
lordship over life and death have fallen away
from him, that the cardinal of Rome asserts
his priesthood, and in the last extreme of need
invokes that power which "in the age of iron
burst forth to curb the great" and raise the
Iowa power so vast and awful, so solemn
and so high that before its very name knees
seek tho dust and the haughtiest heads
are dropped. This would scarce be
thought an invocation to be roared or
ratified, Some feeling of its fearfulness might
suggest dignity in its delivery. If it is to
come in noise, it should come in noise no less
tremendous and majestic than the voice Of
heavens own thunder. Failing that power
of sound, fury will not express it, nor is it
thing to bluster over. Mr.. Keene blusters
it. The bluster is good bluster; but it is
unfit, if not unseemly.
The members of the company deserve good
words for the care and other merits of their
work. Mr.. Learock's Baradas was a very
satisfactory performance, as likewise were the
Mauprat of Mr.. Hagar, the Joseph of Mr.
Arendt and the Francois of Mr.. Moore. Miss
Storys Julie had the merit of conscientious
effort, and, while it lacked much in some
ways, it was frightened by many very win,
some touches