New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1882-09-03

breath. That the wholc performance 70 ht -
piece Is not imagine, 10 DO quE ;i ,,nfri
nature NAV Interfere with the general recognition
of those great qualities in Mr.. warner acIine
which it reveals, and which make u wen WoIi In
while to endure the sight of so much that Is simply
odions The genial, unsuspIcious kindness,
almost incredulous that Lantler can seriously mean
to be such VILLAIN TO Geiyalse that dlstlngusl =.
Conpeau in the first act is carried all through uiitl
Tho stroke Of fate falls. COupeau is a fine fello"
his manliness is more English than French, with
very genial way of making love, hearty good
will to his work and frank contempt for oaiers
and topers. With the scene OF CouPeaus mar
rage TO Geryaise, the subtlety and purpose OF MT
Warmers rendering OF the part reveal themselves
the careless defiance of temptation; the yleldlng,
partly to flattery, partly to ridicule; the growing
excitement and loss of self-contrOl the sudden
access of regret-perhaps presentIneht-as be turns
away from the dancers and burles his head III ms
arms on the table, then turns to them again win
forced spirits: the passionate love and protection
with which he clutches Gervaise. when Lantler
stands before them, to blast their sights with these
the audience begin to appreciate the power OF the
actor aud the cOseness OF the study. WIN thc Iai
of the bright happy young workman from the roof
just after pretty scene with his wife and cnlld,
admirably acted, and in which MIR. Warner conveys
with great skill the narticuateness OF the work,
man, and how he helps himself ont with hlnt' anu
push, and laughter this too, more EnglIsh thah
French all is changed The sorrow, the Shame;
the degradation to eliminate IN the most tflgntlul
spectacle ever presented. we believe on any
stage set in and from that moment untll the emu
there is a grow ing development of Iower and skill
for which no Previous experience can have pre-
pared the audience, and which is unrivalied WITHIN
the knowledge of the present writer. The chahge
in COupeaus aspect when his treacherous c0Irales
induce him to enter the AssOmmor is or ltsei
triumph of art but what is TO he SAID or inc tcr-
rible that follOws-he sincere resistance, the
weakness. the physical craving the lear oil r'GnIe
the stuug PRIDE the furtiye looks at the ed slass
then the recklessncss the rage, the horrible wager
and the ruini Only thls.-that nothing III acting
could surpass them, and that they horny and
offend like reality.
Then comes the dreadful climax. and we see
nit al anIa tIyhf
back to his starving wife and child. FIRST we see
his hand. shrunkcn. defOrUed, shaking steal along
the door and II is enough. The transformation OF
that hand Is a preparation for all the rcst,-i0r the
shrunken limbs, the bowed head the rOunueu
back, the extinct voice. with the dreadful -Ioup
of the drunkard in it the trembling Of every limb
that for instant the creeping cold,
the burning heat. the faint sickness, the craving
thirst. the lanentable half-dsgusted hunger; The
abect selllshneNs the craven lear the vacant mus
ing the jOyess laughter. the sudden fury and hoG-
ror, tho vision of creeping things. the ldiy Dusy
picking OF the useless fingers the shYerng OF the
body under the ragged clothing now viulched
across the breast now torn pantins open, and the
fearful face, That face is no makeup. thOngh
the mechanical skill OF the stage Is perfectly APP
plied.-it is triumph OF acting the dellrum JlSl
gone through. the deiirum Just coming me WIeGE
and ruin of everything that once was IN that sell
destroyed human being, metam0rphosed ny the vice
which Is his master AMI MS tOrJuIcT INTO sohel ihs
unhuman that il has no name are depicted IN IL
with truth and force positively appalling. Inc lace
is haunting. with its boated sickness It's pieslsh'
sunken ewes with no power them 10 TX press any
thing that is not abiect fear or the ravenng lust OF
drink. Its streaming sweat and loose, hlubperihg'
saveIng lips its horrid depravity. and its orlorn
despair. The acting OF that last scene Is worthy Oh
the face nothing to surpasS 1t could. rs We believe
he produced: but while we accord unqualified
admiration and unmixed wonder, we earnestly
deprccate long run y for Drink Just because
this extraordinary performance proves that we pos
in Mr. Charles Warner an actor hrs HgHe Is IL
all the more earnestly to be hoped that he will not
waste such powers on ~ part entirely unworthy OF
them, aud one which must exhaust his energies anu
depTcSs his nerves.