Los Angeles daily herald., 1888-07-20
AMUSEM ENTS.
Fanny DavenpOrt's Appearance as
s.La Eoscav Last Night.

''La OSCa7' Last NIKhIs
Sardou, in La Tosca, maintains fully
his place as the most finished of modern
writer's in the class of plays to which he
so closely confines his efforts. The new
play is, of course, sensational. 1t is a
series of sensations from the moment it
gets we'll under way until the curtain
falls at the end of five acts upon a most
stirring climax. La Tosca is about
as sensational and as emotional as
article III. The Italian play differs
much from the Russian one which has
preceded it on the boards of the Grand.
The work in La Tosca is concentrated
for the most part in the hands of three
members of the cast. To be sure, Miss
Aubrev looks very chic as "Gemarino,"
and Mr.. Edmunds does some artistic
work as "Schiarone." In fact all the
participants develop the talents of thor
oughly equipped players. But their roles
are not very exigent at any point. except
ing the three leading characters, and great
demands are made on them at all points
Miss Davenport as "La Tosca" approves
herself great master of the histrionic
art in the thoroughly trying role. She is,
of course, much more effective in the
heavier business of her role than in the
lighter passages OF happy love-making
which she is called upon to do. Her
agony when her lover is being tortured
to extract the secret OF "Angellotti's !"
hiding place, gives her her first opportu-
nifty to display her really high order Of
simulated sinoiL Il feeling which makes one ne
almost forget it is not real.
But it is the fourth act where she MUIR
ders the inhuman wretch "Scarpia" that
calls forth all Miss Davenport's re-
sources. Her loathing OF the monstrous
villain her terror when he approaches
and the great effort she makes to sum.
mon all her courage for the fatal blow are
really mastery achievements. AS he
staggers after the stabbing from the sofa
and foil lows her to the door, her face and
pose as she turns like tigress
upon him with the knife uplifted in her
hand, the scene is superb. Her posture
is grand, and her expression terrible.
Then, when he is still and harmless in
death, the pious care which prompts the
relighting of the candles and placing
them religiously by the dead mans head,
and the removal of the crucifx to place
this token of redemption in his hand, is
a marvelously artistic bit of work, and
Miss Davenport performs it perfectly.
| Mr.. Mcdowell has but this one act in
which to develop much of his strength,
but his portrayal OF the tyrannical, re-
| ligious, cruel, treacherous combination
that he is was excellently wrought.
The other part which calls for partic-
ular mention is that of "Mario,"
the lover OF "La Tosca." Mr..
Ross did good deal of strong work in
this role. In its light parts and in those
where demand was made for strength,
he manifested his versatile talents.
Few who know much of the end of the
last century, when Europe was all ablaze
with Revolution and when Kings and
Kaisers were seeking a place to hide
| themselves from the fury of their out
ragged peoples, could fail to reflect as they
see the crnel tyranny Of "Scarpia" and
the sufferings of "Mario" and the lovely
''Tosca," that there were reasons for
the mad uprising of these misgoverned
mobs. 1t is not impossible that Sardou
may wish to suggest to the Europe of the
end of the nineteenth century that they
might here learn lesson from what took
place q hundred years ago. There are
things going on in the old world to-day
which may kindle afresh the flames OF
revolt and set thrones tottering as they
did in the days to which La Tosca takes
us back.
The immense house which witnessed
this thrilling play last night is sufficient
assurance that as large a gathering will
greet it tonight. 1t will hold the boards
tomorrow night also, but Fedora will be
! the attraction at the matinee.