The Memphis appeal. [volume] (Memphis, Tenn.) 1886-1890, 1886-12-21
THE THEATER.
Rose Coghian In the "SchO0l for
Scandal"

liamentarian and man of the world
was a prodigy of prodigalty, but no.
where in the work he left behind him
mot even in The Rivals hes this
overmasteriDg passion so asserted
itself. Wit and wisdom, and repartee
and rejoinder, chase each other
through every scene, and one is lost IN
wonder that 60 much OF the
essential riches of comedy could be 80
efficiently grouped in tive acts, and
that 80 many bright and brilliant
characters could be brought in con-
tact without cloyiDg the senses. 1t is
more than "SChool for Scandal" it is
q school for comedy in which those
who are moved to write
for the stage as those who are
preparing to act uDon 1t may
learn hundred lessons in grace OF
speech, of manner and OF life. Tbs
ease and aplomb OF the men as well
as women of that time when the fora
fathers OF the Republic were laying its
foundations and George Ill. was yet
King, contrasts almost painfully
with the nervous esgerness OF this
day, the difference being as marked as
that which separates the dignified
and stately minuet from the
feyerish and sensuous modern
waltz Of Strauss. This was most
admirably and aItistically set forth
last night by the company that, fortu-
nately for the theater goers of Mem
phis, is to occupy the stage during the
week. The wide gulf, too, that sepa-
rates us from an age when womanly
virtue was sneered at in the drawing
room as we'll as on the stage, and chas-
tity was convertible term for prudery,
was also made very clear and proved
that il we are more nervous and less
stately we have gained immeasurably,
il not in wit at lesst in the exaltation
of womanly character and the guard
we commonly put upon our tongues
where women are concerned. This
contrast is inevitable in the pres
ence Of one OF the master pieces
Of the English stage 80 well,
30 almost perfectly presented.
But besides this there is ths excelliDg
portrayal OF character. With this, in
Justice to the actors, we must more
imme diately concern ourselves for
their sakes as well as for the public.
Aud frat of Miss Coghlan, who is the
acknowled dyed "Lady TCszle" of this
side of the Atlantic. She
is the product Of notable
school, school in which the finest
diamonds have felt the power NJ an
acknoW Wledged msster of comedy cut
and polish, even after the London lao
idaries had exhausted their skill. No
woman could 30 long lave held her
place in John Lester Wallack's
company ss Miss Coghlan had,
before she ventured upon
her present mission, il her abilities
had not been undentable and her ca
pacity in growth and adaptation been
beyond question. On that stage which
for go many years had been for Amer
lea what that cf the Theatre Ffancsise
has been for France, che stood among
the first for years, and she comes to us
with it's seal and attestatie1, and its
diploma. More than this she could
not have earned, more than this we
could not ask. With an unsated am
bition, laudable IL woman who has
faith in the possibilities Of her art and
in the strength of her own concep-
tions, she has mapped out for herself
career wider than even the
metropolis can afford and has
vsntured, with the support Of one
OF the best companies ever seen out of
London or New YORK, to challenge the
critical ability Of the whole American
public and add its approval as the
crowning laurel Of her artistic life.
Every generous nature will wish her
well, and every lover OF the drama
who can discriminate between art
and its imitation, will specially
applaud her. The bid che made
here last night for this applause was
eagerly responded TO. The quickened
sympathies of the audience were with
her from the first, and the verdict wss
oneof undoubted and complete success.
She left upon the minds of her audi
tors an impression Of very high artistic
excellence, OF mastery in the art in
which nature is supreme, of personal
cultivation that needs no ef-
fort to appear to be, but is, OF con-
sCiencious and painstaking love OF
her art ard conviction OF
the force and power of its rsfiuements
as helpers in the work of civilization.
There was in her delineation the
charms of grace in movement, of wit,
Of raillery, Of repartee and quick re-
joinder, the assurance of refine
ment, and over it all the strength
of womanly worth guarding
its most sacred treasure prompted
by unaffected modesty, honesty and
truth. She was like one Of Addison's
portraits--in and of the world, but
in heart and soul above it. Next to
her in rank of personation, we are
moved to mention Mr.. Walcot's "Sir
Peter Teazle" as an unsurpassable
piece of acting. We say this with
memories Of the venerable and
revered John Gilbert before us.
All the resources OF char
acter 30 charming for its unaf-
feCted genteness and affection were
nicely brought out, and the con-
tradictions OF doubt and affection most
delioa;ely and delightfully."- portrayed.
Emerging from tempered gayety into
the. denouement of the fourth act
in Joseph Surfaces house Mr.. Walcot
measured the distance from the light
of life to the darkness and depths of
despair, The picture of his discom-
future as the screen fell and the force
and effect Of his raillery and wit at
the expense Of the supposed
French milliner flashed upon him
was as fine as anything the stage
has produced at any time, and 1t left a
memory of the possibilities of the
art that holds "as 'twers the
mirror up to nature" What
a picture it was-the culprit
"Lady Teszle," the Rcentral figure
"Joseph," the discounted and hypo.
critical moralist the betrayed husband,
and Charles" the brilliant rake and
roue, making the scene his text for a
sermon for each Ct the other actors.
After Walcot comes ELipmsn,
whose HJoseph Surface" was very
realistic performance, an admirable
photograph Of nature. OF De Belle.
vile it may truthfully and
fairly be said that he was
measurably a disappointment. he
was wanting in the dash and
brillsnce OF manner that is the trsdi