The Memphis appeal. [volume] (Memphis, Tenn.) 1886-1890, 1888-01-27

him, is that he acts while Others donot. Mr..
Booth is an admirable elocutionst, but there
are Others who can read lines correctly.
Others have skill in dressing parts, and still
Others grace in demcanor But Mr.. Booth
has not only these accomplishments, which
should be mere incidents in an en-
scmble, but he has the faculty OF iden-
titication with the role in hand and he in
tcrprcts with a fidelity that leaves in the
mind Of the spectator an image wholly clear
II is the graphic quality of his art that gives
him such pre-eminence, and when coupled
with this faculty there goes an intelligent
conception of the dramatists own ideal
an indisputable Characteristic of all Mr.
Booths work-criticsm gives way at once
TO admiration. In his performance
of Iago, Mr.. Booth is careful in his avoidance
OF everything that might SAVIOR of heroics'
All the cold-bloodcd villainy, all the sar-
donic deviltry all the abominablc hypoc-
risy and all the unrclcnting malice that enter
into the composition of the basest wretch
that ever dramatist drew, are depicted
without the slightest palliation. Aud then
there's the inimitablo grace Of il all!
No actor has more effectively brought out
the fascinating quality of the rogue, whose
humor, playing in a kind of lurid light
through the malignity in which his soul is
stepped, illumincs the utmost depth OF its
depavity. yet gives to the character
the balcful charm OF the basilisk
of the proverb. In this part Mr.
Booth, whose facial control is mar
velous, puts this rare power TO its most elo-
qucnt uses. The transmu,ations Of his Wis
age, under varying impulses, are oftcntimcs
startling in their significance, his pantomime
being quite incompatible. There is genu-
inc solicitude on the part Of the public
with regard TO Mr.. Booths preservation Of
his powers. II is exceedingly anxious that
he should not grow old, and with each
recurring season, apprehensions grow
more positive. lie cannot well be spared,
and the public would have him enjoy per-
petual vitality. And his performance last
night, viewed from this standpoint, re-
ycalcd no appreciable abatement ofhis yigor,
Possibly there Is a trifc less dash than once
there was; a slight, perhaps immcasurablc,
dimming In the cilulgencc OF the facets
but his performance Is still all-suiiicient still
aglow with the rare fire which the gods
vouchsafe to the elect, still quickcncd by the
old enthusiasm and still distinctive for the
magnetic quality which instantly COM
mands the general sympathy. AS IA
Mr.. Barrett's impersonation OF othello,
Il was n genuine surprise. Othcllo was sim
ply free, open hearted soldier, who was
what he appeared 10 be-frank, conhding
brave and intensely passionate, as fer
vent In his love, as fierce In his re-
vcngcs. Mr. Barrett struck the heroic
note fairly In the very beginning and
maintained Il 10 the end, rcciting the
cxacting climaxcs Of defamation magnih'
Gently. lie was evidently ON his mcttlc
The part demands the highest clocutionary
capability, and that chiefly. II Is not n part
OF complexities and nice shadings ns that OF
Iago, and the simpler the treatment the NOR
effective. Mr. Barrett gave Il without tech
meal elaboration, but infused into II
much pathos, being at his best IL
the trying cxgcnoics ~ the closing scenes
Mr.. Barrett seems TO grow In yigor with hi
added years, and his energetic action las
much n any one In the great audience eycI
saw n more superb exhibition Of dnmati'
power than was shown last night in the thirt
act OF "othcllo," when Iago stimulates the
jealousy Of the Moor aud they strike hand
in their bloody conspiracy. Three timc'
were they recalled In compliment Mr.
Barrett rose gandly 10 the demand upon hii
powers, and none who witnessed the Incl
dent will ever forget Il. The artilicihlity
which once attached 10 Mr.. Barrctts worn
has been almost wholly obliicmted. Moth
ing could have been more sinccu
than his othcllo. IL aboundcd IL
rugged yigor tempered by a certain
refinement which saved Il from all suspicion
Of coarsoness Neither was II afflicted will
manncrisms. In tile pathetic passages h
sounded the true chords. II was all In all
most admirably done, not, u l. true, reach
ing the hight Of Salyini's historic perform
ancc, but, measured by reasonable require
mcnts, most rcfrcshingly adequate. III
last scene was n triumph, aud when the cut
tain fell upon the dead body Of Othcllo, N
dcspairing agony Of whose last moments ha
wrought the audience 20 a high pitch q
sympathy, the hcndish oIultaiion Of lag,
mirrorcd IN hi face, gave emphasis 10
b picture 10 be carried In the mind year an
day.
, The supporting company was excellent
showing the most careful choosing. Mi
Gales Dcsdcmona was interesting for u
charming righteousness and Us gcnuin
: dramatic merit throughout. The only iau
! TO be found with the general presentation {
the play was In the lack Of props
p scenic environment In some respects III
{ setting was ludierous, the bed chamb'
: notably 20. Hut where there was W niue
! good acting the absence Of fitting sccncr
! was condoncd. still, Mr. Irving does niue