The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1886-05-02
BOOTH-SALVINI.
The Greatest Theatrical Event Of the Sea-
son-0thello and Iago by the Masters.

Special to the Indianapolis Journal.
New YORK, May 1.-The performance of Signor
Salvini and Edwin Booth in the play of 'Othelo. y
supported by Mrs. Bowers, Mr.. Couldock, Barton
Hill and other we'll known actors, at the Acad-
emy of Music, gave US an event of such extra
ordinary dramatic proportions that all the other
stage circumstances of the moment look insig-
nificant.
The event was notable in the class and num-
ber of people it drew together. The Academy
Of Music was literally jammed-boxes and all
--and in the audience were number of promi-
nent clergymen. including the venerable Mr..
Beecher; nearly all the literary workers who are
in town, and certainly all the distinguished for
eigners who happen to be here were present.
So that it may be said that great dramatic
event appeals to the best part of the community,
no matter what the puritanical spirit may say of
the theater.
l don't think I ever saw performance of
"Othello" that 80 poignantly put before the eye
the elemental force and cruelty of the play
Done at any time as Salvini does it, it is a mon
strous conception and a terrific embodiment
Enhanced and sharpened by competent people
in the cast 1t becomes the most magnificent por-
trayal of passions and actions utterly repugnant
to the spirit of our age that can be conceived.
Signor Salvini was strung to his utmost. He put
all his power into the ruthless scenes. Edwin
Booth as Iago was easy, unperturbed and not
quite up to his best condition. have seen him
play the part great deal better.
He submitted to Salvini's version when
"Othello" was on, much to the surprise of
every body. for. as You know, the Italian version,
to use slang phrase. wipes the floor" with
Iago. But ne succeeded, with his sinuous,
alert and subtle manner, his swift, graceful
body, and his oily, crafty methods, in making
just the contrast to tho slow minded Othello
that the text calls for, and it is doubtful if we
shall ever again see two actors whose natural
fitness so absolutely FIJI out the Snakespearean
conception of these unlike personalities.
OF course, Salvini had the play. as any good
OtEello must.
But there were times when the ncisive speech
and contrasting English elocution of Mr.. Booth
won bursts of applause, though he seemed to feel
that it was useless to make any special effort
against the odds of the Italian, who had all the
advantage of the role
They had compromised by Mr. Booths agree
ing to play Iago in Salvinis "Othelo," on cond-
tion that Signor Salvini would play the ghost in
his Hamlet" which was done on Friday night
The scenes in the house during the last act
were much the same as when Salvini originally
played the role here with an Italian company
and that superb Piomanti as Desdemona.
That is to say. the cruelty and horror of it all
wrought upon them as have seldom seen play
do it. How much of this is due to Salvini's art
aud how much to the accident of physical power
need not discuss now, but when he came to the
killing of Desdemona who was impersonated as
she generally is In Salvinis performances, by a
fragile and weak woman, the ferocity of the
man. the helplessness of the victim and the pity
Of it all produced an effect that may be said to
be entirely outside of art Women leaned out
of the boxes white with horror. The whole au-
dience sat spellbound. as if looking at public
execution, and when he seized the poor girl as a
tiger might have seized her. an audible shudder,
if such a thing is possible, ran through the as
sembly, and one lady in front of me said at the
end of the agony, "Well. Pm glad the poor
things dead'
The performance left an impression upon one
not unlike nightmare and suppose the better
we have the play done the more cruel this i'm
preston will be-
One thing is certain. Salvini revives in it the
barbarism and cruelty of another age Mr.
Booth indicates the methods, the discretion aud
the economy of force that will characterize the
dramatic art of the future. NYM CRINKLE.