Memphis daily appeal. [volume] (Memphis, Tenn.) 1847-1886, 1883-01-14
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LAScI0rTo, the wAIlike dwarf, LAWRENCE BARRETT
S1unt Faoio ms 9tis Inner
Guido dA Polenta. Lord OF Ravenna-.F. c. Mosley
Pepe. Aalate.ta jester Louis Jazz IS
Cardinal, friend Of Guido Role
Rene. Percy Winter
ToS ryl' friends OF Count PaolO a +. Riddle
Captain, Homer Cope
Messenger .-.---..-..-.. Carrie DAVIDSON
XSckscx Guido: E
Rita, her .-.---.Josle Batcheider
The first three nights OF the ensuing week
Mr.. Barrett will present bis new play, Fran
eesea da Rinstni. Mr.. F. P. Barton, his stage
manager, has arrived and will superintend
the production. The story OF the play Is
takes from Dante, and there is little reason
to doubt that il will be found full OF ro-
mantle incidents and tragic features The
story, in brief, is as follows: "Francescs da
Rimini" is betrothed to the brave "Lsnci-
otto" huncbback. She falls in love with
the hunchback's brother, "Count Paolo," who
goes on an embassy TO. arrange the engage
| ment. While "LaDcioito" is off at the wars
the passion OF the lovers finds guilty con-
summation. The guilt of the wife is laid
| before the bunchbaek, who hastily starts
| back for Rimini. The eliminating scene il
laid in the bOudOI of the wife. The lovers
| ere stricken with fernorse TOR the past. but
| cannot help gloaiing over their love. The
| deformed husband appears upon the scene
bent on Vengeance. So the fine tragedy
| terminates with the death OF the lovers and
the hunchback at the hands of the latter
| The story has been celebrated in uud wing
verse by Dante and other poets. The Iete
groph, Of Philadelphia, says OF this play
Tine mcst striking scenes we're those wher,
'Lsnciotto' Is 6rst inspired with the suspi
cinn OF his brothers love for his wife, wher,
L a
hunchback's lips, the reading of the episod
of 'Launcelof and Queen Guinevere' b,
'Paola' and 'Francesca' in the garden a
Rimini, with the jester as eavesdroper, an,
the climax to the filth act in which Ian
ciotto,' with the truth of his wife's infdelit
brought home to him, rushes maddene
7 from the camp. The final act of the TRACED
is intense with passion from the opening I
the close, and rises steadily without aui
climax to the loftiest hight of vehemene
: and ending in an almost instant catastroph
The enthusiasm OF the audience, inspired
the inherent merits of the work, was arouse
in the third act, and from this point on bot
Judges and actors felt that the crisis mad bee
passed and success assured. Mr.. Barre
; was frequently called before The curtain
and at the close OF the fourth act, move
by the magnificent climax, the house d.
| manded the author in imperative terms, an
he was compelled 10 appear and make b
Acknowledgements, at the same time giyin
uttersnce 10 his gratitude TO the compsn,
Il is difficult matter TO form an esimat
, and hazardous even TO attempt an estimai
of the real value of Mr.. Boxers play TO Ii
. permanent literature OF the acting dram
There 10 no doubt that it is valuable and
very notable contribution TO the standai
American drama, aud an important add
ton to Mr.. Barrett's repertory. II was pr
duced under exceptional circumstance
i with an appreciative audience to pass jud
: ment upon it; but that it has all the esse
|, tials in tin its present form-to make
!, generally popular acting play is a questiC
! which must be LETT for time to determin
. There is no reason why it should not alta
the full measure of popular success. M
: Boxers Francesca dd Ran,ini is TO be conced,
!. the most finished production of his pen, al
the one upon which his reputation will
y built as distinguished dramatic poet.
was the wonderful force and vitality of t
simple story, the paroxysms OF passion, t
striking and logical climaxes OF the aetio
and the extreme beauty of scenic efiec
l. witch asserted themselves and carried 1
pf sentation up 70 a genuine success"
The other plays oabe produced ha
II sireedy haen mentioned, 1t is said that n
Barrett's "Shylock" is an entirely origin
conception.