The Memphis appeal. [volume] (Memphis, Tenn.) 1886-1890, 1888-01-28

almost oppressiyely artificial. His aggra-
waited mannerisms in this role continually
jar the nerves of his auditors. His own
personality is perpetually intruding. Mr..
Irving plays, as Mercutio would say,
''by the book OF arithmetic" The
calculated step, the measured gesticula-
ton, the studied attitude do not produce
the effect Of naturalness. II is perform
ance for all actors to consider studiously
because of its accuracy and technical fin
ish, but IL never touches the sympathies
OF the audience, nor does it excite thrill.
MIR. Irving is really more teacher of
actors than an actor himself. He
is superb master OF form and
technique. He is sculptor, and his
creations are as cold as sculpture.
Mr. Booths performance Of Shylock
differs from that OF Mr.. Irving in that he
loses his own identity completely in the
part, vitalizes il and tempts the spectator to
believe il is actually Shylock who moves
before his eyes. Mr.. Booth is quite as ex-
pert as Mr.. Irving in DISCUSSES and much
DETER in detail. The capital feature Of his
performance is IFS lucidity. The very
heart Of Shylock is laid bare. One may
not mistake the motives that control him.
II was marked by even greater vigor
than was his lago OF the previous
evening. He was at his very best, and
those who were present may assure them
selves they saw Mr. Booth in the highest
reach Of his ability. Those who do not
sec Mr.. Booth in series Of characters
miss great pleasure. No actor succeeds
so well in eliminating from the business Of
one character everything that might re-
mind the spectator Of his work in another
This serves TO indicate, despite the ease Of
all his performances, how very carefully
and with what scrupulous discrimination
each has been elaborated, how close has
been the actors study and how entirely
thorough has been the labor OF preparation.
Such an impersonation as his Shylock is
today is the ultimate OF long practice, the
consumma,e flower Of genius, arduously
schooled in approved methods. Tho Bas-
sanio OF Mr.. Barrett showed how entirely
an actor may sometimes get out OF his
element. Mr.. Barrett dressed the part
very handsomely, but that was all. He
was awkward and IN at ease throughout.
His lack OF adaptability was never more
strikingly shown. Mr.. Barrett must al
ways be invested with tragic atmosphere
and be engaged in a tragic business TO be
interesting. Almost any other member OF
his company would have made more ac-
ceptable Bassanio. IL seems inn
possible for him TO be jovial or lightsome,
TO make love or TO enter into the com.
cdy spirit. He would do well TO
exchange the part for that Of Antonio.
The Portia OF Miss Gale also fell short OF
the mark, though in the colloquy with
Nerissa in the first act, she gave promise
Of a most delightful performance. In the
caskct scene she lacked anxious
interest, and in the court scene,
where the supreme test is made, she
was quite unequal 10 tho demand
Of the occasion. Mr.. Hanford caught the
humor Of Gntiano most happily and Mr..
Lane could not be overpraised for his An
tonic. Mr.. Fawcetts Launcelot was very
amusing, and the interview between Laun-
cclot and his father (ir. RogeB) was one
Of the hits OF the evening. The play did
not end with the court episode as ordinar-
lily given, but was extended 10 include
the home coming Of Portia and the hus-
bands. The finale was very merrily done,
Miss Gale again proving her ability in light
comedy.
This afternoon "IIamlet" viii be given,
with Mr. Booth as Hamlet and Mr.. Bar
re,t as Laertes. Tonight Julius Casar''
will be produced, with Mr.. Booth as Bru-
tins and Mr. Barrett as Cassius