Morning journal and courier., 1884-03-11
HENRY IRVING.

hGNA4
 The event of the New Haven dramatic
 season occurred last evening in the appear ance here of the eminent English actor, MT. Henry Irving, in Louis XI The curiosity ot
 theater goers has been excited ever since MT. Irving came to America by the criticisms
 which have been shoWered upon him and which have varied from lavish praise to
 sharp condemnation. This curiosity resulted l last evening in crowding Carlrs Opera House
 with brilliant audience, which had evident ly come to see and decide for itself. The eminent actor was awaited with eagerness throughout the first act and after his appear
 ance was watched closely for some time, the audience evidently not intending to bestoW praise which was not merited. As the even
 ing wore on, however, and the
 spirit of the actor pervaded his hearers the
 interest grew intense and the ap
 plause was hearty and prolonged, MT. Irving
 being recalled after every act. The play
 Louis XT is full of strong situations, but is in
 many respects unsatisfactory. The action is
 at times too rapid to convey an adequate un-
 derstanding of the idea and at others ap-
 breaches an anti climax. But in spite of
 these defects it contains passages of great
 power, which in the hands of MT. Irving
 thrilled the audience again and again. The
 actors mannerisms have often been
 pointed out and with reason. Every word and every gesture is studied to produce a desired effect, though often the technique shows through and painfully mars the finish of the performance. Last evening. however, these very mannerisms were in accord with the character portrayed. The tottering walk, the trembling hand and at times rasping voice, which in ''Shylock' or Benedict" seem out of place, exhibit perfectly the wasted powers of the old French king. Louis, aged and worn by life of bloodshsd and ungoverned passion and infrm from disease, was crouching with slavish fear of his approaching death and clutohipg at the tyrannical power and crafty diplomacy which were slipping from him. This fear of death was the dark back ground running through the entire play and broken here and there by a gleam of hope inspired by the aattery of favorites and ser wants. It haunted him constantly, making everyone and every act suspected. Occa- sionally, as in the scene with peasants, it seemed to leave him for a moment, but re- turned at the sight of his son, whom he sus- pected of conspiring for his overthrow. It was this which sent him cringing at the feet of the outraged 'Nemours," who threatened to avenge on hipq his many crimes. The old king bowed at the feet of the svenger, moved not by remorse but by terror which thrilled the audience with it's realism. This was the real climax ef tbe play, and the actor gave portrayal of the weak eld man, scarcely able l to stand, but pleading piteously for the continuance of a life blackened by crime and almost ebbed away, which will long be remembered by those who saw and heard it. The death scene heightened tbe effect of the pEeEiopR act and by it's vividness end power exhibited tbe greet genius of the actor in it's highest form. To compare MT. Irving with the worlds other great actors would be impossible. He has distinct method of his own. He does not wait or depend upon the inspiration of the but every point of acting is studied 1 and reduced to degree of perfection seidopl ! yitL Assed. His voice is not unpleasant, bis | face is mobile sud expressive and his gestures yell timed and impressive. Altogether his | last evening was foIlo""Ad with i ] sympathy and applause seldom vouchsafed 1 ID actor here. The support was exceedingly ,ood, especially that of MT. Ferris, who is an
 ctor of no mean ability.