National Republican., 1883-10-30
ADJUSTMENTS.
FORD's OPERA HOUSE.

| tOED y OfEhA hOUSE.
The tragedy of "Kng Lear" with Mr.
William L. Sheridan Us Lear, was presented
last night at Ford's This play, as Charles
Lamb justly observes, should never be acted.
| 1t Is the grando5t conception of Shakspeare's
genius the master piece, unsurpassed, unsur-
| passable of dramatic art. Its Cordelia is,
with the one exception of Imogen, and per-
haps of Viola, the noblest, most perfect female
creation in all literature. Lear, in all his
moods as the weak impulsive, imprudent
devisor of his kingdom, as the indignant
father at the selfish ingratitude of his daugh-
ters as the mailman, defying the clements
with sublime majesty, or playing with the
tatters that do not hide Poor
Toms" nakedness, is every inch
king. Kent, with his rough, blunt fidelity;
Edgar the unsuspecting and chivalrous (;
Edmund the willy, unscrupulous intriguer;
| Gloster, vain, passionate, and easily deceived;
the slow, but well meaning Albany, Goneril,
Regan-all are finished portraits in the
noblest gallery of ShaSspeare's art. 1t is no
shame to Mr.. Sheridan that he falls below the
grandeur stamped upon Lear at his creation.
A conscientious, painstaking, hard working
actor, with good Judgment, correct taste, and
| ndomitable will, he yet fails to meet tho
quirements Of Lear. Ho does not thrill his
audience with that magnetic touch of genius
which the personator of the British king
must possess If he hopes to avoid dissatlsfac-
| tion. That he labors for it earnestly; that he
| is conscientious, ambitious, and untiring his
closest critic must acknowledge, but though
with very decided ability and close, patient
study, it must be said he is unequal to the
dramatic demands of this great work.
His acting last night, however, had great
merit. His make up was very good, his enun-
citation admirable, his gesture fine. In de-
| livering his imprecation against Goneril, the
careful, even artistic, finish of the acting
must be conceded but it disappoints; it does
not satisfy. He is father and king, who
hurls upon daughters head the terrible
curse; father whose love is passionate,
even to doting; a king whose majesty of
character is never wholly lost, even in his
folly and his madness. In the fourth act,
whore the full storm of madness has burst
upon him, Mr.. Sheridan's personation is re-
markably fine. Unable fully to represent
Shakspeares creation he yet evidently enters
fully into Shakspeare's conception, and tho
result is superb piece of work, natural,
forcible, intensely effective. In that glorious
moment where he responds to Gloster
with "Ay, every inch king" Mr.. Sheri-
dan comes as near representing the
ideal Lear as any actor we have known. II
is impossible, however, for him TO keep his
footing on such dizzy heights, and no falls
thence TO a lower plane. AT the close of the
fifth act where Lear RECEIVERS from his mad
ness, but, with Cordelia on one side and
the faithful Kent before him, distrusts the owl
dence of his weak and tremulous senses, Mr..
Sheridan is especially good In that pathetic
appeal,
/ pray you, mock me not;
am but foolish, fond, old man,
the tone, tho expression, the gesture were
we'll nigh perfect, showing what sound judg-
ment, good taste, and patient toll can
achieve.
Mr.. Sheridan's support is very unequal,
and mono Of it equal to to the requirements
of tho play. In the first act Miss Louise
Davenport as Cordelia was good-indeed, OK
cept in her parting address to hor sister, re-
markably so. She was not equal to herself
in the last part. Mr.. Charles Fyfie as the
Earl of Kent seemed to fully comprehend the
requirements of that character, but failed to
meet them. Mr.. Frederick Book, as Edgar
was deficient in a clear enunciation His
rendition of Poor Tom would have been re-
markably good but for overactng. Beyond
these it is impossible to say much.
= Lear" will be repeated tonight and
Wednesday matinee. 1t is only just to say
that the entire company. have not had suf
ficient time for thorough rehearsal and thor
ough understanding Of each others style and
characteristics.
NATIONAL THEATER.
The magnificent spectacular presentation
of the Black Crook" was revived last night
! at the National with increased splendor. Sc
we'll know is the performance that it is moi
necessary to speak of anything but the balle
and the scrobatics. The former is remarka,
bly, good, both in its personenl and in its fig-
ures. The presence of three great premieres
who made their first appearance in Wash,
ington last night, Franklin Hoischuler, Mile
Bruanzi, and Mile, Cappelini, was an attrac
tion Of unusual merit. In the harmony and
the grace of these rarely gifted ladies, one
can find as much music as in melody o
sound Besides the ballet the acrobatic per
! formances arc marvels, while Duncan, the
ventriloquist, and little Todd, the German
wonder add increased luster to the scene
OF the dramatis personn@, Miss Annie Guen
ther, as Corline, Jos. l.. Mason, as the "grea
and ouly "Von Putfergruntz, Robert Buncher
as Count Wolfenstine, and j. Fleming Peter:
Us Hertzog, the " Black Crook" were espe
ciallv excellent