The Dallas weekly herald. [volume] (Dallas, Tex.) 1873-1885, 1883-11-15

If6 M6O0lioneha and Bsfftil and had andie'
dl1gAfNy lie Gestures NJ ihe pltoes, 81,
M. kseha n IN Age bnt ellghVy ~
vaDoed beyond fbnt M which The hls'0fi'
nd Odl0ns king died, VII, IN hlg sou year
lfete was a character IN had W unuef
afafd fully In order 10 dellneate correctly,
FOR lie was helhg Of most inmdigme anu
relentless ambition Increased y desire lql
accomplishments TO ,,. oo"p na,",s
lad impressed on him when he was sent
into this breathing world, scarce hall made
up, deformed, aud before his time" 10 q
blood.thirsty disposition he united the
deepest OF policy under the most dangeron
DISSEMINATION. Possessed OF undon bted
courage, great capacity and eloqueno', bul
unreliably treaoherous and intensely sell
! fish.
That our tragedian compreben ded all
these characteristics, and portrayed them
! fatthfuly, we believe must be and was con-
! coded. The mAke.ups in the several scenes
were good, and in conformity with the
| history OF the middle of the 10th century,
as nobleman, King and military
commander. There was total absence OF
the hump on the back. The elder Booth
afffcted this in his earlier representation
but subsequently discarded IL. Inc ac-
cepted version now is that Richard was not
SO small OF stature as some histories make
him. nor of such forbidding aspect. The
most authentic accounts make him merely
"halt of walk and with withered hand, "
and this We saw last night.
In the making scene, an anomalous
fancy of Shakespeare, wherein ne MAKES
love to the queen as she is proceeding win
the funeral cortege of her much-loved hus
band, whom the bloody schemer had just
murdered, he was especially elective IN
his expression OF pathos and his ingen-
ious play upon the female heart, which lie
assumed to be 90 susceptibe to hattery
even in the midst of intensest grief. Inc
quick transition of intonation from hefce-
ness to alteration, his rare nobility OF fea-
ture end pleading gazss, were all the WORE
Of an expert in disclosing human char-
acter.
The next most impressive scene IS the
dream in the tent, whereat visions and mes.
sages come to him from those he had un-
timely sent into the other world, was, also,
the conception and effort of careful stu
dent. The sudden rush from his couch IN
the hideous, premonitory nightmare. Ine
at those kinsmen by O rafting
OF his sword against the floor, his a ter rally
aud exclamation of Orchard is himself
again" evidenced at once power OF action
combined with deiicacy OF shading all
through, following this came the inter
view with his mother, the appear OF conu'
dence to his followers, and the various or
ders that an Amy commander must so
hurriedly issue. All these were vivid and
realistic. The meeting and encounter be-
tween himself and the Duke Of Richmond
was likewise true to natural supposltlous
The sword duel was well perfoI med, even
to the dying effort of reaching
out for his antagonist. Shakespeare
varies in this from accepted history which
makes Richard In the desperate strait to
which desertion by his chief leaders and
his general ill-luck had reduced MIN, to-
rush forward, Stay the standard bearer OF
his competitor, and then exhausted, 10
sink under the number of his ASSISTANTS be-
fore he reached the young duke.
On the whole we may say that Ihomas
W. Keene is an actor of force, evidently
student wrapped up in his work.. pos;
sessed of remarkable facial mobility and
rapid changes of required expression, and
correct conceiver of his originals.
The support is more than fair, and es-
peciaily Messrs. Ahrendt, Gottho!d ana
Hogan, who..respectively represented Henry
VI, Richmond and the Duke of Bucking-
ham. The ladies are also good. The cos
tunes are rich and costly and becomingly
assigned throughout,