The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1886-11-07


BHt FIRST, passing glance should be given Miss
Mathor who is already popular here, having gr,
admiration in the part in which she has now become
famous all the country. To say that she has i'm
proved would be stating the truth very mildly for
while she has maintained her excellence m the sweet
and tender parts of the play, she has made most
marked advancement in the stronger por
tions entering into the tragic scenes with
a nervous force and realism eeualed by few
and surpassed by none on the American stage. In
this respect the opinion that she win prove
arevelaton to those who remember her as she was
whom che appeared here before. From the sweet and
beautiful girl enraptured by her first love she gradu
ally passes through the terrible trials that In the end
leave her maniac and impel her to sefdestruction
The impression she makes when. in her desperation
she beakes herself to Friar Lawrence is startngly
vivid; and when, in the delrium of mad joy at the
thoaght Of having secured the desperate remedy
prescribed by him to her from the fate of being
married Paris she wildly rushes off the stage put
it into use the audience reused to pitch of en-
thusas seldom Witnessed and the house rocked with
applause But the greatest Of all is in the cnl
minaton of her despair when in the tomb where her
apparently hfeless body was laid she arouses only to
fan into the of the dying Rcmeo, after they had
but moment for rush of fervent and desperate
words The realization that at last al
with horrfying reality. The stare her face
assumed and maintained until it became positively
painful was that of a maniac and her suicide over
the body of Romeo comes In as naturally and nevita
bly, can be conceived 1t is safe to say that this
creation of Shakespeare has seldom if ever had more
dramatic and impressive elimination.
The Romeo of Mr. Frederick Pauding was excel
lent In person and dieton makes the ideal lover
The garden scene, under Julet's balcony. is pretty
and effectively wrought out, though there is some
thing about it that makes it trfe tedious, without
regard to who takes the characters He made his
great hit of the evening in the in which he is
forced to kill Tybalt, Juliets cousin. When the deed
is done and be realizes he is murderer the slayer of
his beloveds kinsman, he takes fright and rushes
out of sight in evident remorseful terror The Access
SORES here as in all the throughout the play
such that the effect startingy realistic and the
audience was moved to the heartiest applause.
Mr. Mines levick's Mereutio shows decided i'm
progement and he plays the part with finish that
careful study of the part has made possible In fact
pie that there incongruous inequalities to be
observed from beginning to end and the best possible
effect is the result.
The details are locked after with eerefulness not
attained by Mr. Irvings manager. for in the street
well in those indoors life is portrayed
1t was in the ancient city of Verona There
of people moving about as many would be seen in
the same space in any lively city. Young people and
old children, down to the age of babes almost are
there just they would be in actual existence The
children seemingly, have as much real sport as they
would in the street of their town. and the older
people go about their vocatious as they would any
where III real life. The riot in the first act is partci
pated in by a score either side, while
many or more officers of the law make their appear
and finally succeed in auelling it. though not
til several were left the field dead wounded The
ball scene in the house of Capulet is equally animated
the spacious halls being filed with elegantly costnmed
guests.
AS for the scenery, the very wealth of II renders
adequate description impossible. After the great
plush curtain is drawn aside, there appears section
Of street in Verona with market on the right and
series of broad steps the left passing upward
through massive archway through which the officers
of the law to que the riot. The background
seems to extend indefinitely in the distance, with
river flowing away, spanned by bridges. The ball.
In magnificent mansions OF the time portrayed. The
balcony scene opens with high wall in the fore
ground. Winch Romeo scales to get inside the garden
under Juliet's window After he disappears among
the trees that may be through the lacework Of
q huge iron gate the wall suddenly vanishes through
the floor and the Garden is revealed with the balcony
on the right. wi.ile the landscape bathed in moon.
light stretches away in the dim distance The ga.
den slopes gently down the edge of a beautiful
stream, spanned by bridge. The balcony is not one
OF the card board kind but of such substantial and
massive appearance that fear of o mishap
suggests itself. The tavern in Verona
and the street scene in Mantua are repro
auctions of streets in those cities and deceive the
beholder until he imagines that he is really lootlg
down of these aud crooked thoaoughfares.
The tavern scene is arranged that at zven gignal
II suddenly and almost noiseessy is transformed into
scene IN juliet garden, with residence on the left
fountain and statuary gronps about. But probably
the finest of all is the last showing the tomb of
the uapulets the sepulchral effect Of which marvel
ousy impressive. In all there seventeen scenes
aud number of tabcaux. all the production Of artists
like William Voegtlin. Hughscn Hawley George
Heinemann and others AL these win DO brought to
this city and from the drop curtain the last scene
in the play all win be the property Of the company
Ii is evident that this to be the fashionable attraction
Of the amusement season, and It Is certain that the
house viii be packed every night OF Miss Alathers
engagement here 1t has drawn immensely elsewhere.