New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1886-11-16
THE DRAMA-MUSIC
EDWIN BOOTH AS IAGO.

EDWIN BOOTH AS IAGO
The re-entrance of Edwin Booth was effected
las at tho &c ar OF ago an<
his cogeut aud finished assumption OF cheerful msligny
and exutant wickedness was again obssrvsi with won
| der horror and admiration. The house not
crowded one, but tho assembage Included many
periencef paygovrs and It's Interest In this display
| of incarnate evil and of consummate dramatic
| faculty was expressed with frequent and fervd sp-
| plause. Mr. Booth evinced but slightly the weak
ness naturally sequent on severe and even dangerous
illnesa The character Of Io0o makes no considerable
draft upon actors physical power until the closing
scene To this and Ia Iced TO every part OF the action
| Mr.. Booth proved entirely equal. His embodiment Of
| Iago is not o be described novel effort. Tho
| play-going world knows it by hsarL Now. 80
often before, this dark and sinister creature this
hellish villain who fully knows himself to be such.
and joyously oxults IN the knowisdys AMI IN his fine
CONSCIOUSNESS OF lntels,tus power for evil.
bodied with gay. winning, martial. airy manner, full
and comrafeshp, with intense mental conceu-
trston tho delivery Of tue sooanss. and with those
occasional lightninT-like CLEANS Of sinister
gee the flashes Of an inward IRE OF
| peculiar to Edwin Booths acting AMI to no other
actor of In this personaton. although
whit more symmetrical than any other OF this actors
great works, his power OF ABSOLUTE Identification with
O character becomes perhaps more i'm rs istsy appre-
cabe by every observer The unity OF the embodiment
| is almost startling and IL 40 entirely
and consistently brilliant that spectator
can mistake It. In no one OF his
performances does Mr. Booth completely succeed
ip making blank the Language OF nature He
called out with marked enh isiasm At tho end OF the
Cyprus scene the eud Of the great OF
the temptation Of the Moor. In this scene likewise,
Mr. Charles Barron. who acted Otteo caught the sym
patty OF his auditors and made commanding success.
| Notwithstanding lis oratorical delivery. and
| that Worrying use OF the rising infection
~ hta al BARR
noble and touching portrayal OF OmeHo Love; as eK-
pressed IN ms p"n u p,
fee bu cherry. The ecsatie srior So well Ut
in mabroseu sequence the treat encounter OF ,ns
| tniri act The Moor would not be thus absorbed
! dereurrenr of feeling was Invariably true,
aud the exseutou-a-. for example. In the fsrewell
fluent, felicous and powerful Mr. B Tron mai asIesL
| recall aud he we'll deserved H. Once 10 while
and sound traditions Of the English stage
sbskssperean idea. has been distorted almost oat Of
RECOGNITION MIRA Augusta Foster played
fnr Iurs OF vrnemeni passion the close Mis- vaders
appeared "a Desdemona The tragedy was carefully set
| IL will be twice repeated
NATIONAL OPERA IN PHILADELPHIA.
| PHILADELPHIA, Nov. Is. From a soci al
point Of view nothing line OF jubilee entertain
m.nt that Phaie pha surpassed the hrst
OF the American Opera In the Academy
of Music this evening Last some OF tue most sub
sautia support given to the new enterprise came from
Philadelphia yet it would probably not be far from tho
truth say that much money mad Already
flowed into the Golfers of the Institution
when the doors were opened for this perormsnc as
came from all the performances last year The nne
Academy was crowded the roof. the only vacant
| places observable from the stage being tpe aisies
In the parquet, where. for a wonder. no one sa'
| and no ono was permitted to stand IL was an
audience of fine character. too though compared with
Metro potan audience. sober In color as Jenny "ren
| The spirit exhibited was one of ardent sympathy
with representation, and so great was the anxiety
to fad delight and give expression to IT, that greas
deal of applause bestowed uudeservng features
The first ensemble In the fair scene for instance was
enthusiastically appiauded, although the singers were
at skies aud throughout tue magnitude aud bril-
| liaucy OF the stage picture had captivaetd tue
pubic and they did not stop to
TO establish reputation for discrimination aud ta'te
Had they been more particular In this regard they
would probably have frowned thu oufoonery Inject
ed into ambitions chorsters and have
appreciation for tho one really perfect piece OK
artistic work. that which Mr. Ludwig placed to his
credit instead of insisting on repeti-
ton of the gaudy aud commonplace soldiers
chorus But this Is in measure
anticipating what be said concerning tho repre-
septation from artistic point OF view.
The standard Of Judgment invited BY the representa-.
tions Of the National, American Opera CON-
pany s one and applied In the present case,
would compel more condemnation than l fesi disposed
pronounce 1t better perhaps, Ia view OF this TACT
that opera the vernacular feature OF musical cu
ture which patriotic lovers IN America ought 70
feel bound encourage. to treat the representation
from the con ventonal point OF view. The representa-
tion fact, conventional one differing not at all
In essense from thousand ond representations
! OF the past modified only in tho addition OF few
| spectacular features, which. In truth. do not
| add beauty interest TO Gounods mas
| ter work. The feature which commented unquah
fed admiration the counoiseurs IN th3 audience are
summed up tho quality quot the playing OF the
orchestra, the stage Daring few extravagsnces
Of the kind TO Herr Hook has accustomed VEL the
ballet all else Mr. Ludwgs impersona-
MehiSopheles revision OF this estiin Ate after
TWO or three performances Will undoubtedly incluio
Miss Juch's Interpretation Of Marguerite In tho list,
| for t was full of admirable points, and there
| 10 no question that the gifted young woman
has qualities which with little moro experience will
| make her impersonation beautiful aud renned one
This evening sne was handicapped by having to act up
| to" q Faust who was q hindrance Instead OF an
aid The Germans, thinking that Barber. Care ana
ounod had despoed OF their literary ideals In this
opera but obliged to perform it for the cake OF its
music. have tried to quiet their con'oenee.
by remaining it Marguerte They could
not ind Goethe's Faust in :. the -, opera
and refused to call I, s. fs4sS
| tonirhrs opera as .MephI stopneles." A..
creation Of cioctne or Of tae French praDnraser.
| NOT ven a voee ia costuma II.
ROLAND REED In HUMBUG.
| Roland Reed, in the farce comedy of Hum
bug" delighted the audience Pooe's Theatre last
night. Mr. Reeds quips and cranks, his songs and
witty sayings kept those present IN good humor and
laughter throughout the play la Pstrce as hete shdv
Was charming ami when she aud Mr.. Reed tn'ir
encores would satisfy tho audience. The play is we'll
adapted TO Ro and Reeds gceg.s sSnIs: and no, Nc
suited TO her. out susains II In msnner whch drew