Memphis daily appeal. [volume] (Memphis, Tenn.) 1847-1886, 1882-01-21

his BEST as he was in the closing act when
he confessed he had drawn the bolt on
on his own head and hers-hsd counseled
and helped the undoing of his own innocent
child. The mingled rage and despair of his
coIloquy with "Aquilla" was wrought with
consummate art and challenged very storm
of applause. The succeeding encounter
with ''rorrelli," in which he tries to lift the
fool out of the agonizing depths to which
his fears for his daughter have plunged him,
and cringed and fawned and obsequiously
begged and beseeched; his appeals to the
duchess and his entry upon the banquet scene
by force, were the quickly taken steps to a
climax to which the audience went
with breathless eagerness and shuddering
horror at every step, gazing appalled, as the
wounded Jester falls near by the body OF his
daughter and the saddest scene OF all
ensues the final taking off, in which love
triumphs again, and the poor fool dies with
folded hands, supplicating. "Pray, o pray
for me-" 1t tells the whole story of the
Of this assumption by Mr.. Booth
that he compelled but few tears but excited
cunning, the vitrio!-like testing, the
hard and hint-like purpose of revenge
were made too real, and were so ever-present
to the close that it was impossible for the
audience to release itself from subiection to
the NJ aster- passion long enough TO put itself
in the bonds OF sympathy with the father
whose absorbing love at the last subordinated |
the motive of revenge to the safety of his |
child and her preservation from dishonor |
Only at the very last moment did pity |
overmaster all contending feeling, and |
extract the heartfelt plaudits which the !
passion OF revenge had |
pushed back, as often as the fathers |
sgony had called them forth. Mr.. Booth |
sxcelled himself as "B-rtuccio," and left an |
enduring impression OF transcencent power
70 deal with all the phases of weak, vacil-
ating and revengeful human nature-to pre-
ent with equal excellence the lightest tints |
If Jest, and joke and gibs and the profound
,st depths of tragic wee and misery. He /
moved with Joy and sorrow either hand |
ind sadness going before, and in the end fell |
hort of the revenge to which he had conse-
rated his life and died to save the
laughter who revived his love for her mother
md made his Tor her still more dear. His
upport was very good, indeed unusually
.ood, when We consider the straits to which
he poor player is reduced by ignorant man.
Igement. The opening scene between
Brigita" (Mrs. Eldridge) and 'Torelli"
Mr.. Pateman) was bright bit of low
omedy we'll done, exciting hearty laughter.
Ir. Whitecar was effective as "Aquilla," aud
Hiss Pateman as "Fiordelisa." The rest were
air. The costumes were rich and histori-
ally correct, and the stage manager made
he most of the filthy, dirty-looking scenes
hat have done duty through so many
easons, and are so lily adapted to the
xtremes of historic plays and the modern
rama. The music, too, was execrable,
hat especially furnished for the play. Per-
APPS it would not be an extreme to say that
The Fools Revenge, as We saw il last night,
Tas as a jewel in a dung heap, SO
and discordant were the set
ings and the accessories. This afternoon
Ir. Booth will appear as Hamlet" when
he ladies will no doubt again brave the
Teather to make farewell for the great
ctor as memorable as the house which last
light honored him despite the waring ele-
lents.