New-York tribune., 1885-01-06
THE DRAMA--MUBIU.
RE-ESTRAScE OF LAWRENCE BARRsr

REMITTANCE OF LAWRENCE BARRETr,
The recurrence Of Mr.. Boxers tragedy Of (" Fran.
ccsca da Rimini," and the temperance hero q &
Lawrence Barrett as Lanciotto, tho Hxmohlaok II !
forded, last night, at tho Star Theatre, tho mo-
important dramatic event of the week. and one =
tho most important dramatic events of the seaaon
1t was in September, 1882, ON his return fro-
Europe that Mr.. Barrett revived Mr.. Boxers al
tragedy. aud it was in August. 1S83 that he Ar
presented it in this capital. The piece had lais
dormant for more than quarter of century whss
Mr.. Barrett thus started it upon new career and
now for more than two years his treatment d
the play and his acting Of its child
character have made it successful throughout
tho theatres Of America. In its original foru
=" Francesca da Rimini was one of those excolleui
literary but not radically dramatic production
which display an excess of monotonous language
and in which the attribute Of theatrical utilityu
latent Edwin l.. Davenport-by whom it was fin
produced, in 1855, but who did not succeed in it,
took this view Of the work and it is known thai
he desired that we'll known actor and dramatist
Mr.. Henry Watkins TO mako . stage-verson OF
it, for his use Lawrence Barrett. perceiving the
same necessity, mado changes IN the piece before
producing it, Portions of the text were excluded
The arrangement of scenes was modi-
fed. The play was divided into six
acts. The movement was accelerated. Stago-offects
were added, wherevera striking scenic investiturs
became possible. The treatment resolved on was
such would insure stage-pictdres OF an animated
description. and such. furthermore, as would pre-.
sent the principal character of the tragedy In
tempest. torrent, aud whirlwind Of passion
against the background Of a romantic love-story.
set like jewel in the red gold of pictorial times
and scenes. This treatment prosperous, and
par hunchhack nruca
whose heart outran his reason, and whose wife and
brother betrayed his trust. has made the mournful
story of Francesca da Rmini almost as well
known to the modern stage os even that Of
"Othello' or That of" Romeo and Juliet
In the reproduction of this fine tragedy. last
nj ght. Mr. Barrett and his excellent and welt
trained company co-labored in pleasing harmony
and with efficient skill The tragedian
himself was. fortunate. from the ;. first, in
his OF sou n suarsS
and twisted body; intensely passionate.
in every way, because isolated BY his own de-
fornity, and TUNED back upon himself; bitter, a.
der toward truth and affection, but terrific ard
lmplacable toward falsehood and injury-such
being, in short, ought never TO suppose that he
can inspire love, and such as must inevitably end
in hldeous violence, and frenzy if once he trusts
himself to that delnsIon Mr. Barrett impersoa;;
ates this ideal with fiery energy that carries all
before it, At first indeed, and during the nrst hall
of the performance, he preserves, with wonder
fully true instinct, the wistful sadness which would
appcrtan to the face and manner of an heroic and
ailectonate soul shat up in nlisshapen body l'us
there comes to Laaciott0 a moment when he be-
whom 1t is enjoined he shall wed,
and from this ecstacy-whch the actor expressed
in an overwhelming frenzy and tumult OF Joy-the
character deepens and darkens into an agonized
Nemesis of retrbuti0n, so that all his wildness OF
excitement and all his violence OF demeanor and
action, whether momentarily repressed or ruth:
yit,l, tod rio md
superbly effective. After the free and Spontaneous,
because ioyously exultant outburst, at the end OK
act third It might indeed bg doubted wet9sr t fnrh tb'
should not partake of the storm and confct OF tne
antagonistic passions which are now aroused and
show itself full of difficulty, like the
opposing rocks. But Mr.. Barrett in this
character OF Lanciotto has done much more than Is
commonly done in the tragic art Of this period TO
show the frank expression of true and natural fee-
ing and the impulse of approciatlye and thought-
full criticism is to celebrate his victorious achieve
| mont rather than to seek for blemlshes IN his
method He was repeatedly called before the cur.
tain, and loudly applauded by numerous and
In the cooperative cast the chief burden rests
Louis James rs Pepe. the malignant jesterj Marie
Wainwright, as Francesca; aud !: Z. Mosely as
Prince PdOt0. MI. James has acquired great free.
dom of imaginative, action. in his portrayal
of the " bitter fool man originally kind,
but perverted by trouble ,9, and cruelty
thing monstrous in the actors presentation Of tbs
malign vitality and all his action is snttused with
a certain internal gleeful buoyancy. There is re-
markabe vocal beauty, likewise, 10 tie delivery
of tho text. Miss Wainwright made an excellent
point, in Erdncescd's sudden turning upon the re.
vengeful Hmckblok. in the scene of the final
slaughter. The church-scene has been magnin-
Gently set.
Much of the scenery employed is new Thecamp-
scene Is set upon hillside, with tents and trees
under red sunset which changes 10 the white
light of the moon Several of the drops painted
with excellent mellowness of color The dresses are
all new, and generally beautiful. Mr.. Barrett was
eight times recalled upon the scene. and Mr..
James and Miss Wainwright were specially re-
called The personation of Francesca by Miss VAIN
wright has greatly grown in certain sweet ingenu-
business of womanhood and in symmetry Of form
ana treatment. while her poetic manner and aspect
In the love scene gives il a crownng charm: Ihe
revival was welcomed with an enthusiasm OF mos'
auspicious augury.