The Portland daily press. [volume] (Portland, Me.) 1862-1921, 1882-04-15
MUSIC AND THE DRAMA.
..EoRaEr.M E.Nor. =

''FoRGET- ME-NoT.
III Portland could be oftener favored py inc
presence Of such an artist as Miss GeneVieve
Ward there is little doubt the city would re-
gain its old reputation of one OF the pesO tnea'-
rical towns in America. The continuation
system, and the kind of extravaganza, WHICH
have prevailed to such an extent OF late years,
have served the purpose OF destroying all
schools of theatrical art-schools that can only
give perfect training when located IN nrs'-
class theatre-and the consequence pas peen
that slowly but surely the class OF patrons,
which is the most valuable to the drama, mas
been content to turn its attention to otner
amusements unless some striking event oc
CURED. Such an event was that OF last even
ing when Miss Genevieve Ward made her APP
peara ice at Portland Theatre in 'Forgesme-
Not"
The plot of the drama has been already CIV
en- by us. The story of the adventures Is
nothing new in dramatic annals. 1t has been
told in many play under a thousand and one
guises. But there are few actresses on the
stage to-day that could realize 1t as Miss Ward
does; realize in the sense of giving most
realistic representation. Few have had Tue
education, and the experience that she has mad,
Born of one of the best families OF Virginia,
thoroughly educated, welcome visitor IN the
salons of the Second Empire where her protn-
er was an attoche of the American Legation;
married young to Count Guerrabella OF most
ancient Russian family; discarded by him, with
great pluck and perseverance in the deep
SHOWS of winter pushing her way to st. Peters,
burg demanding audience of the Emperor,
and, BY royal ukase becoming the legitimate
wife of the Count; in her turn discarding nim; ;
becoming an opera artist, and, as Mime. Guef,
rabella, delighting the musical world; ana
finally determined to be an actress, like Char
lotte Cushman, demanding her rights from
London managers and bringing that city to her
feet; all these facts go to show why, OF all
other actresses, Miss Ward should make
world-famous success as "Eorget-Me-Not IN
London, Paris and New York.
Miss Ward is, throughout the play, with the
exception OF one scene of weakness, thorough
leader of society Brilliant, accomplished,
sparkling in repartee, every word 9 enumeration
q study, every gesture model, sne enthrails
the spectator. 1t is not MISS Genevieye ward
who is acting that we see, it is Nine. La Mar
quise de Mohrivart, the fascinating woman
in whose hands the handsome wealthy
jefanesse doree of the capitals OF EUROPE, DO.
came as plastic wax, whom all women would
shun and yet dare not defy Where could q
woman be found on the stage to-day who could
enact the scene with Sir Horace Welby, in
which she begs for chance to reinstate her
self in the orld, with such perfection as she?
Where can we find in the annals OF emotional
acting more powerful teacher of nature than
the scene where she is conquered, and trembles
at the sight of the Corsican, or where more
changes of expression-eyes. mouth, voice
which is singularly clear and rich-all go to
make up this remarkable personation. 1t is q
representative bit of acting that will live in
the memory, as one remembers Edwin Booth
Iago, or Charlotte Cushman's Meg MerrilleS.
Miss Ward was attired in elegant costumes by
Worth, the celebrated Partisan dress maker,
and was called at the close of the play.
The support was very good and we can but
regret that we have but few lines to spare for
them to-day. Mr. Clements was good Sir
Horace, and was quite effective in the closing
scenes OF the drama. Miss Barnet was a pref
ty lady-like Alice Verney, Miss Cuthbert
good Mrs Foley, Mr.. Lewis a fair Prince, and
Mr. Leonard satisfactory Barrato.
A matinee and evening performance will
both be given to-day, and there should be
crowded houses. Such an Intellectual treat
will not be afforded our citizens again in long
timA