National Republican. (Washington City (D.C.)) 1872-1888, 1884-03-07
ADJUSTMENTS.


Mr. Irving's fourth performance at the Ma.
tonal theater was an impersonation of Shy
lock in 1.-THE Merchant of Venice" and as q
whole it was u disappointment. There was
nothing traditional about the Interpretation,
but 1t seemed to us that in endeavoring to
get away as far rs possible from the conven.
tional the actor went beyond the bounds.
The entire cornerstone of his conception
was deep hatred of Antonio and thirst for
revenge. There is nothing in it to indicate
the better nature of the jew, with perhaps
the single exception of the tenderness with
which he cherished the memory Of his wife,
rs shown by the value which he placed upon
her love token. A wealth of affection came
with the words, ut was my turquoise; | had
it of Leah when was bachelor; / would
not have given it for a wilderness of mon
keys" Our chief objection to Mr.. Irving's
Shylock is that he would make us believe
that oil the while he had some information
that Antonios plans would miscarry, and
that as soon as the bond was signed he felt
as though the pound of flesh was his own.
This was brought into overshadowing
prominence and, while it may have
added some picturesqueness to the i'm
personation, it was totally out Of keeping
with the character as we understand it. I'm
doubleday Shylock thought he was returning
good for evil when he assisted Antonio to
furnish the money to his friend Bassanio,
for Antonio says that there was
much kindness in jew" Mr.. Irving's
Shylock is well considered assumption,
whose definite outlines are quite sharply
tnl hut 10 -, Il, o;N or
his conception to which we enter o
part of our objection. Shylock was q many
sided Jew. Mr.. Irving would have us
believe that hatred, loathing, and revenge
were his sole attributes. He is the best in
the first scene with his dealing with Antonio;
the stimulation Of passionate hatred, mingled
with polite respect and toward the last
where he carries out his scheme for vengeance,
were portions of the play which gave the
actor full swing for his eccentric historic
genius. Deeply suggestive was his bear
| ing toward Antonio where he touches him,
as though to intimate that the pound
of flesh should come from near the
heart. The trial scene" was grandly
given, and toward its close shylock's words,
~ am content" were rendered with dig
nifty evidently intended to cover his deep
disappointment and baffled rage. The little
scene where Shylock gazes at his taunton
just before leaving the stage was a marvellous
exhibition. Never did an actor express with
the eye more ferocious and tigerish look
than that which Mr.. Irving's Shylock shot at
Gratiano. Mr.. Irving is one of the few great
actors who have played on this side of the
Atlantic, and we arc aware that his intel
lectuality is a guarantee that he has a
reason for everything no does on the stage;
but we say it with all candor and modesty
that in our Judgment his Shylock is not to
be compared with that of Edwin Booth, and
does not even rank with that familiar to our
theatergoers as presented by Mr. Lawrence
Barrett. Miss Terry's Portia was indeed the
grandest feature of the evenings perform
ance. She gave US a frosh, graceful, ladylike,
wiusome Interpretation which thrilled the
cord of sympathy between her and her
audience. 1t was, however, in the
scene of pure comedy that the lady
was seen at her best. The interview
with Nerissa. where the question OF disguise
is spoken of, and the episode of pretended
anger with Bassanio, in the fifth act, were
deliciously rendered. In the court scene her
delivery of these lines was the most noticeable
of the entire performance;
The quality of mercy is not strained;
II droppelh as the gentle rain from heaven
Upon the place beneath.
| Miss Terry gave an entirely new reading,
strongly marking the distinction between
straining and dropping the difference be-
tween chilling mist and refreshing and
invigorating dew. Her representation was
one as whole which deserves our unquali-
fed approval. Certainly we have no actress on
our boards who has equaled it. The re-
mainder of the cast played carefully, and as
rule very satisfactorily. Mr.. Terriss, how
ever, seemed i'll at ease as Bassano and the
quality of his work was by no means up to
the standard which he set for himself in his
| previous performances. Mr.. Irving de-
serves the heartfelt thanks of every
true lover of the Shakspeariau drama
for the faithful and generally accu.
rate presentation of the original text. Shy
| locks scene with the Goaler is seldom played,
and the fifth act is too often cut by our
| American tragedans in order to tag on a
farce or comedy at the end of the tragedy
The stage setting was well-nigh faultless il
|
showed the results of wear and travel
Every grouping showed tho touch of the
true artist, and it is not out Of
place here to say bluntly that
outside of Miss Terrys performance, tho
company relied quite as much upon thei,
surroundings for success as upon any in
trinsic merit in their acting. The scene in
the second act of shylock's house by bridge
was a beautiful picture. The sober house
was set on the right, beyond which was I
bridge spanning canal, lighted by crimson
lamp. Over this bridge gay troops of maskera
rushed with song and laughter shylock
gazing at Jessica, babe her Shut door
after her. and spoke his EAST bind
fast find" Lorenzo carries off the "Gentl
Jewess' in the midst of gay throng of merry
makers just as a Rondola, decorated witt
lanterns, is rowed under the bridge, and 1t
occupants give forth most enhancing music
The curtain was then lowered for an instant
and raised again to show shylock slowly re
turning hOmeward and the act ends as til
jew gives three knocks at his door with0u