New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1888-11-13
THE DRAMA.
pnoTH AND BARRETT IN OTHELLo.

Edwi. Booth and Lawrence Barrett appeared =
tho Filth Avenue Theatre last night presenting shake
speare's great tragedy of Othclo'-pcrhaps In tech
nical sense. and viewed as TO construction the mo's
absolutely perfect play that ever was written Ina
announcement that these two distinguished actors'
the lodged leaders of the tragic stage in America
would here In series OF SHAKESPEARE re-
vivals had for long time attracted and Interested the
public mind. and ID failed not TO assemble on this oc]
cason great concourse of sympathetic, eager anu re-
sponsvc spectators. The house was crowded In every
part, and the plauds that greeted both ragedians
were voclferous. emphatic and fun Of the ardor Of
proud and alectionate admiration. Booth played
laGo and Barrett PLAYED Othello. The other char-
actors in the piece were iudiciOnsy distributed and
far than ordinary was taken TO set and dress
III, tragedy in correct scenery and attire Not since
The first OF Booths Theatre u5G9 has this public
seen SO fine mount of "Ohcl!o" as was shown last
night in the Fifth Avenue Theatre This the salient
element OF novelty the revival, and It should be said
at once that the promise OF pageant equally accurate
and umptuOIs combined with a performance correct
in detail, we'll proportional, and complete in general
effect has been literally fulfilled More massive and
tremendous expostions OF the Moor have many times
been seen-by those play goerS for example. who
member Forrest and Brooke and Davenport and Dawi-
son. and who call certain and exceptional nights
In Edwin Booths own professional career A more
colossal and overwhelming although radically wrong
portrayal OF him is I'm the memory OF all who
Savinl 4 more brilliant Casio better Rodergo and
a more simple and sincere Desdemona easily within
general public recollection. Dut. upon the whole.
moro adequate and impressive performance of this
play has not been accomplished upon stage within
the present generation.
Those who write upon tho plays Of Shakespeare
must necessarily walk In beaten track, and
one can be quito sure that the thought which sug
gests itself to his mind has not been uttered many
times already. 1t ought be said, however, and
II cannot be too scrupuously remembered. that the
In which play is represented upon the stage
Is of less importance to the public than the spirit
Of the influence which flows out Of the representa-
ton. For many years the chief comments thas
have been this journal respecting theatrical
performances have been written with due remembrance
of this truth An expert opinion 10 whether
theatrical performance is, technically speaking good
bad may be salutary but it is much less essehua
to the community than the mental habit OF considering
whether tho drift OF a theatrical performance sets
in favor of the public welfare Breadth OF vc~'
directed upon general principles, should transcend the
scrutiny of particulars. Dramatic criticism Is written
for the reader, and for the actor The portrayal
If Otheo,, which is accomplished by Booth and
Barrett and their associates is certainly magnificent
but often heretofore the total effect Of this
tragedy Is TO be that Of grim horror and I'M
mitigatcd a.iiiction Both in tho theme ard the
treatment OF the theme this piece Is heartrending
ard horrible. The mind cannot dwell upon II without
an effort. No one OF Shakespeares great plays Is
loss stimuaiivc to such reflection a sensitive mind
cares to communicate. You leave performance
Of Othello' with mingled emotions Of eonstcr-
nation, disgust and grief. You feel as II you had
seen a murder and attended a funeral This Is not
the case with either Lear, Hamlet,s Macbeth or
even "Richad IIl,' and the reason, probably, Is
that In no Of them, and In no other play, has
shakespeare laid his hand, he has In othello d.
recty upon the most narrowing experience that ID
possible to human nature. 1t is an open question
whether any considerable number OF persons are
benefited by seeing performance OF Othelo.'
Tho fundamental topic OF this piece is Jealousy Colo
ridge profound and most instructive OF all tho
critics of shakespeare long ago noted for all students
OF such a matter, the elemental difference tha'
Shakespeare meant TO show between otheio and
Lesntes-- representative victims OF this passion
Each is a type of jealousy, but othclo is made
jealous against bis will, whereas Leonles Is jealous
hy nature These are the words of Colerdge, and
they should be considered by all persons who caro-
for this subject: Jealousy is vice OF tho mind,
cuipablc tendency OF the temper having certain we'll
known and well-dcnned effects and cOncomitsns, all
of which are visible In Lcontcs and not one
OF which makes rs presence In othcllo such as,
first an excl,abilIty by the most Inadequate causes
and an cagcrness TO snatch at proof; secondly.
erossness OF conception aud disposition to degrade
the object OF the passion by sensual fancies ana
images: thirdly sense ~ shame Of his own feelings
exhibited in solitary moodness Of humor and YET
from the violence of the passion forced TO utter itse
and therefore catching occasions To ease the mnd oy
antiquities equiyokes by talking 10 tbc* VINO can
not and who are known to be able - undeietsho
what il said 20 them-in short, by souoqy In tnS
form Of dialogue and hence confussa, brokens s"s