The Portland daily press., 1883-12-24
MUSIC AND DRAMA.
LAWRENCE BARRETT.

Although Lawrence Barrett is no stranger to
Portland, and has always had many ad-
mrers in this city, it was reserved for his in
depreciation of Lanciotto on Saturday night
to thoroughly arouse the enthusiasm of his
audience. 1t was such an audience too as only
such an actor as Booth or Barrett gathers to-
gether; an assemblage of men and women of
culture, for the most part, to whom the sad
story, immortalized in verse by Dante and
Boccacio, by the pencil of Dore, and the must
cal genius OF List, was already familiar. To
them it was as nothing that the local coloring
of medieval times was almost wholly absent
from the scene; that Guephs and Ghibelines,
the adherents of the hoases of Rimini and
Ravenna, met and mingled in streets, more
familiar to people of modern times. So well
constructed was the play that from the very
first their interest was attracted, aud they be-
came fully absorbed in the fortunes OF the
hunchback. Mr.. Boxer is to be congratulated
on play whose construction is, Dramatically,
SO correct, whose language is terse, vigorous,
often impassioneds even If it may seem to lack
something Of the same medieval coloring of
which We have just spoken; whose action isIso
"S'A A'"iheoihONg anu tAiiud4GS SO we'll WOEkBQ
up. Although written in six acts the play &C.
copies no more time in its representation than
usual, and its incidental music is exceedingly
well chosen Mr.. Barrett has personally super
vised the dressing of the piece, and the cos
Tunes ara all rich and appropriate.
In the character of Lanciotto Mr.. Barrstt's
mannerisms, that have been SO often alluded
to, sink almost out of sight His characterize
ton is lesson that all may study with advan-
tage. 1t possesses many of the best qualities
OF Othello (Which it reSembes) without the
barbaric ferocity with which Salvini invests
him, even when urged beyond the point where
nature o'erleaps reason. The hunchback of
barretps conception, has noble soul, and al
most succeeds in disbelieving the proofs of his
wife's inhdelity. There are touches of fine
acting when these proofs begin to be forced
upon him, that almost indicate the marks of
genius, such as the scene where he attempts to
salute his bride after his marriage aud she
shudderingly wilhdraws from him, and when.
after be has advised the jester, with the cool
est contempt, to run back to Rimini with the
story he has brought him, belief is at last
forced upon him. and he drives his dagger tn
the hit in Pepes heart. The greatest scene of all
however was that at the close of the third act
when IN strain of impassoned elouuence
Lanciotto (whoSe sense Of his physical deform-
ity causes bin to belittle his other great qaali-
he"sinie3 Win superb SplrlJ ana remarkable
sustaining power, tells Francesca what his love
shall do for her. Three times the fully aroused
audience, which packed the theatre, called the
actor before the curtain. In fact from the be-
ginning to the end of the drama Mr.. Barrett's
personation was q most finished artistic effort;
sweet and tender, at times, gloomy, almost
mlsanthropical at others, and still again rising
TO grandeur.
All the other parts we're well taken. Mr..
James's Pope was almost tiendish in its natural
ness. Mr.. SINNERS Paolo was an admirable
Toll TO Mr.. Barretts Lanciotto. Miss VAIN
wright was fair Francesca, though hardly
making all that was possible of the character,
especially in the scene where Paolo cornes to
lead her to the altar. Miss Plunkett was
very amusing aud original Rita