Salt Lake evening Democrat. [volume] (Salt Lake City, Utah) 1885-1887, 1886-02-27
sALyINI IN "TmE GLADIATOR. y
The Great Trngcdiau Huns the
Gamut of the Passions with
Master Hand.


ago would fain close their memory TO the
fact after witnessing last nights perform
ance by the illustrious Salvini. Salvini
might almost be said to have assembled
beyond the reach of criticism in this adj
mirablc impersonation. His appearance
alone-the grand physique, the proud
and defiant carriage, the strong and ex.
/ pressve countenance, all bespeak per
lection at the first glimpse, and the audi
ence is ut once led Involuntary in pursuit
OF the character ITSELF and instinctively
forgets the actor. Salvini's version, too,
OF the great tragedy has undergone Il
series OF adaptations which furnish the
actor with new opportunities that were
lost sight of in the play rs Mccullough
gave it, and which indeed might better
be left alone by any one but Salvini
In the absence of n prologue the
terrible scene upon which the plot
is constructed where Faustina, acting
under the dainning counsel of the Oracle
makes the fatal incision which was to
give her child at the cost OF human
life, is not obtruded upon the audience,
and the Gladiator's unspeakable fortunes
as he lay chained and powerless TO de-
fend the beloved victim must necessarily
be assumed in order to understand the
sentiment OF loathng and hate which
actuate Nero throughout the entire play.
The first scene where Salvini is enabled
TO treat the audience to sample OF his
power and versatility is in the garden
scene where, while undertaking with
seeming good faith to rid the vicious
Empress OF her despised rival, he energies
from the hideous garb OF the executioner
and with refined and gentle, pathetic
grace holds out the precious boon Of COM
fort and liberty to the beautiful
! Neodamia. His magnificent acting
here perfected the climax of enthusiasm
on the part OF the audience which his
silent and unnoticed movements in the
background had awakened, and the hearty
applause which followed only half ex-
pressed the intensity OF the appreciation
that was felt Salvini displayed in this,
as well as in all the notable scenes, an
irresistible and wonderful power to force
an audience into the widest emotion on
the instant and without preparation. His
superb derision of the gods in the third
act, where he is summoned by unrelent-
ing authority to resume his obnoxious
work in the amphitheatre, and when he
| y
too grand to admit of comment, for words
cannot paint the picture with the glow
and grandeur in which it shone.
| His master effort, however, is reserved
for the fourth act in the arena of the amphi-
theatre, where, on recognizing the SEN
| fenced victim to be his own lost child he
appeals to the priest and the people for
her life and liberty. The sudden bursts
OF violent rage followed by the soft and
tender caresses and the affectionatc en-
treaties for the remuneration of the GIRLS
religion, and the final triumphant adj
dress to the Empress, bring out splen-
dour OF histrionic power that seem al
most superhuman. ..
Withal the magnilicence OF appearance
the grace and force of gesture, and the
grandeur OF voice, there is still much lost
by the absence OF the comprehensive Eng
fish in his lines. All the poetry OF sound
and musical fascination OF the Italian
language fall far short OF satisfying the
audience, and in no instance was this
more striking than in his powerful APP
peal to the gods and his remorseiul de-
nunciation of their influence. 1t is not in
sound alone that the power OF language
reposes, but in the exprressiveness OF the
in graceful and forciblc sweetness,
and all this was lost in the jargon of
sounds last night. However beautiful
the italian language may be inRits place,
it was exceedingly out OF place in the
lines OF the great actor, where every word
and every idea, as well rs the gesture, is
Indispensable.
In Miss Viola Allen, Salvini has US per-
feet II Neodamia rs it would be easy to
get to-day on the American stage. She
IN M Ia, ft,a
inal presentation OF MAY Blossom" in
the Madison Square Theatre, New York,
and has been seen here in "Esmeraldu, :"
since which. however. she has made
wonderful advancement. Mrs. Foster
has also been seen here before, but never
TO such good advantage as in "rhe Glad
iator," although it is but proper TO say
she was not heavy enough for Faustna
The younger Salvini was not seen ut
his best last night owing TO indisposition,
but showed enough of his powers to sat
! sfy the audience that he is following
close upon the heels OF his illuslrious sire.
He did his best acting in the marriage
| scene, which, by the way while ii is one
oil the choicest acts in the play, was
greatly dwarfed by the Indifferent acting
OF Origen and the High Priest. We think
we see in the status OF Salvini's male sup
port Il better reason for the shelving Of
"Othello" than that assigned by his in
genious agent, Mons. ID. de Vivo. Mr..
Colville acted the Tribune very credit
ably, but the parts OF Octavins and Lusi-
lis were horrid.
"The Gladiator" in many respects was
enjoyed more thoroughly than "Othello"
| would have been, and certainly the
demonstrations OF the tremendous audi
ence could not have been more favorable
or hearty in any performance than was
the case last night.
In dramatic sense the appearance OF
Salvini is undoubtedly the most notable
event with which the Salt Lake Theatre
has ever been favored, and the audience
was the largest assemblage OF refinement
that ever graced the interior OF either
OF our excellent theatres. From
| pit to dome there was scarcely Il seat re-
manning empty, and when this is consid-
cred, in connection with the fact that
double prices prevailed in all parts OF the
house, something OF an idea may he had
OF the immense financial success oil the