Los Angeles daily herald., 1888-07-18
ADJUSTMENTS.
Fanny Davenport i'm ssFedora,, at
the Grand.

evening TO witness Miss Davenport's i'm
personation of the title role of Victorien
Sardou's celebrated drama Fedora.
This play possesses the unusual and
somewhat narrowing popularity of hav-
ing distinct, thrilling climax in each
act, instead of leading up to gradual
elimination. But Miss Davenport's in
genuity divests this distinguishing and
unique feature of all monotouy by de-
lightful and refreshing variations in the
treatment of it. In the first act our in
tently appreciative orbs observe very
fine demonstration OF the law of equil-
ibrium in the adroit, if somewhat peril
GUS manner in which she poises. grief
stricken, on the PROSTATE form of her de-
ceased husband. In the second, the ami
mating support of gratifed vengeance.
In the third, a neat exposition of that
tiresome and inscrutable old Sphinx
riddle of the enigmatical animal that
walks first on four legs, then on two,
then on three, in transcendental
manner. In the fourth, an enlivening
and vivifying introduction of child.
hoods chief diversion of "see-saw,"
with the "now you 60 up, and now you
go down" principle greatly accentuated.
The irrepressible elasticity with which
Miss Davenport ''went up" after having
very forcibly ''gone down." removes the
chief objection of fond mamas to their
offspring improvising temporary tobog-
gan slides with the assistance of the
sofa and the maternal cutting board in
fact, many mamas turned their backs
on that drop curtain, convinced, by ocu-
lar evidence, of the harmless nature OF
the sport.
| Fedora is not Sardou's most masterful
effort. He does not allow his heroine
any gay or light veins which always
serve to intensity the dark shades of pas
sion and render them electrifying. The
plot is developed too rapidly; and the
abrupt confession in the second act re-
lakes the interest somewhat, while
the delicately veneered suggestive
ness that attracts at times is vul-
CARRIED into a broadness that repels.
But it is a play of ungoverned passions
and as such, if it did not enlist the warm
est sympathies of the cool-headed Ameri-
can audience, it at least riveted their
attention.
Miss Davenport is talented, cultured
woman, but she is not genius. She
lacks, above all, quiet, veiled concentra-
ton. Fedora" is an impulsive, deter
mined woman, and, considering her
"strong provocations, bitter, burning
wrongs" Miss Davenport's defense of
Loris seems almost inconsistent; while
her exulting, triumphant glee, at an ac
knowledgment that confirms her suspi-
cions, has superficial ring to it. There
is marked improvement in the third
act; and, in the fourth, she entirely re-
deems herself. Then it is that she
attains the polish of the true artist Her
Fedora" is the embodiment of the low
ing, nervous, repentent, fearing woman.
AS she pleads with Loris, her voice
-softens to doubtful, coaxing
sobbing-like quality that is most flexible
and magnetic. The hesitating, -tremu-
lous prayers for pardon, the fierce love,
the soulful remorse, the great horror of
death, and the vivid imagination and
feeble, wandering gestures OF the dying
woman, are admirably portrayed, and
levince an intellectual comprehension,
and an appropriation of the capabilities
of the scene, which, in conjunction with
a majestic and voluptuous presence, an
undulating an imperious movement.
beautiful arms, bust and chin and
sweet smile, succeeds in insuring the
enjoyment and compelling the admira-
ton of her hearers.
Mr.. Melbourne Mcdowell rendered
Miss Davenport an exceptionally good
support. Though somewhat affected in
his gestures and poses, STACEY in his car
riage, and inclined trife to rant in his
declamations, he invested the char
acter of "Loris Ipanoff" with i'm
passioned emotion and keen feeling.
There is some fault to be found in his
enunciation which is not always reso-
nant, put prone to rage on "the cheap
and chippy chopper" order. His apprecia-
ton OF the statuesque is quite pardonable,
however, for he is the possessor Of
magnificent physique, and his facial ex-
preston is remarkably good. The ac-
cusation that Mr.. Mcdowell brutalizes
the representation in the last act is un-
just, for while his action is, to say the
least, rather vigorous, the authors de-
lipeation hardly admits of that 'sweet
souled endurance which makes clean
the iron hands of anger"
Miss Sadie Montgomery's efforts we'll
merited the frequent applause of the
spectators, which created her appearance
as the Countess Olgo Soukareff."
Mr.. T. Mccullough Ross and Mr..
CharlesJ. Edmonds enacted their respec-
tive roles with much credit.
The Academy of Music.
Fogg's Ferry did not attract very
large audience to the Pavilion last nipht.