The Memphis appeal. [volume] (Memphis, Tenn.) 1886-1890, 1888-01-22
THE THEATER.
Miss Mather's Absurd and Therefore
Indefensible Interpolation OF Shake

Miss Mather's Absurd and Therefore
Indefensible Interpolation OF Shake
speare. 1
THE APPEAL would have further word or
two by way Of comment upon Margaret
Mather and her Interpretation of Juliet
To say that Miss Mather plays the part better
than any actress now on the American stage
may mean much or little. Such compli-
ment might be considered damnation by faint
praise, for Miss Mather would have to play II
great deal better to be considered the ideal
Juliet. Mary Anderson is superb In the
potion scene, but lacks tenderness. Mod
jeska is admirable for the generally exquisite
finish Of her performance, but she is not 30
young ~ she used 10 be, nor Is she entirely
effective in the intensely passionate passages
Clara Morris never included the play in her
reportory. and Agnes Booth has dropped t.
Mary Anderson and Modjeska alone compete
with Miss Mather for honors in this special
part. But though Mary Anderson lacks the
exquisitencss Of Modjeska, and Modjeska the
force and youth OF Mary Anderson. the
Interpretation Of each Is marked by scbol-
arly or studious conscientiousness. IL is In
this respect that Miss Mathcr Is weak. She
Is more sympathetic than either MOdjeska
or Anderson, and her emotional power
stronger and more susceptible TO appeal.
Her nervous organization is remarkable for
extreme sensibility. and she adapts herself
10 the changing conditions OF play wonder.
fully well. But while she has all these
good qualities and more, for she is pretty and
graceful, Miss Mather 20 slurs the text Of
Juliet, and displays 30 little appreciation OF
tho meaning Of words and phrases, that her
performance has but little charm for the
student whose fond imagination has
developed from the suggestions OF
the text itself radiant zig.
urc Of young love incarnatc.
Miss Ma,her should bear In mind that nj.
most any actress can make u sensation by
rolling down n flight Of steps In a spasm OF
grief, or by manifestations Of hystcria, hue
that while the greatest actresses havt
much original business Of this char.
acter they are great not because
Of that alone. but because they
ave followed the advice OF Hamlet 10 the
Player In the matter Of considering "tho
necessary question Of the play" There Is,
Miss Mather. q great deal Of difference be.
tween Deny thy Iat1ey'' aud Deny thy
father" and " you pay no regard 10 those
differences your performance cannot fail 10
make THE judioiou' grieve." Neglect be.
speaks n woful lack Of cultivation. The
German students Of Shakespeare have
counted and weighed every sylla-
BILE OF the masters plays. No writer
In all the history Of literature
has commanded such difference 10 the gram.
NAUTICAL aud rhetorical construction Of his
lines. IL Is true that the plays arc always
cut down for times sake. and Colley cibber
wrote In lines for the acting edition Of some
Of the plays notably Richard III, but no
one ever had the temoriiy TO interfere with
the n unaiic purposes q Shakespeare until
Miss Mathcr assumed 10 give The denouc-
mcnt Of Juliet a meaning wholly foreign
To that Of the poet. TWAS the positive and
unmsiakablc int milton Of the poet that not
one my Of hope should greet the soul Of the
awakened Juliet when she arose from tho
timb. Therefore the text tells us that Ro-
mco was dead when the blood began TO
course again through 'Julicts" veins. r..
mco, according 10 the play, took the poison
gladly and died happy In the belief that he