New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1889-03-21

LYcEuM THEATRE-aTHE MAnoUrsr,

sardou, which IN the form OF fresh adaptafka b. =
Nathal, and under the name Of q The Aasvrts.s -
been effected at the Lycsum THEATRE there "a, fus q
public, felcitous illustration Of the yalue 81 80
pense dramatic Ingredient More than hall o. -
forsct play consists Of explanatory dzlotue and -
rative, BY way Of preparation for final tnect a.
preliminary part Is tedious, but the climax ~
reached Affords some recompense for patent atep.
ton. The Asrquise,' accordingly. may b descilee
as weak and dun play, with one strong ma fxsxAt
point In IT. Its weakness and duiness 90 readily 8
expiicaoie II Is tho paraphrssc Of novsl and ths
unnfsmssc element Of narrative largely exceeds 10
the essential animaiins element Of action. Its stosy
1df.aermore relates 10 persons and deeds vh.ch ,n
described Drt not exhibited. The interest which a
aims 10 swakcn and which after awhile II
Is interest in problem and not interest IN ndyidus,
The spectator Is not made 10 care for anyboav -
actually appears 10 IT, A reader may be be6 -
haps, by this process, but not On audience n. -.
who Is on trial for HIS life must be seen The
Of which he Is falsely accused, must DO shown 49,
Ing 10 not Tor the ear a. hst, but for the eye Tbs
spectator must not be nystfed A vnter n, a.
stage who elects to use narrative instead Of s,,or
may well address his public through the poss.acs
through tho theatre. The ob-erver Of this uaeos
must listen and ponder for some time before he s.s
really feel sure that he knows what d going ON Ia.
Is fatal defect ~ mAred she success OF sFervsays
when that play was done Of the linton square Thesar
under A. NJ. Palmers management. with cast q
singular strength, and it is equally unproptous n
that Of "The Marquse," now that the same sub,ect
recurs under Mr. Frohnan's management, with CA
Of comparative weakness. u
There is still another defect and ono which alvss
means fatal disaster to plsythe defect namely d
nnreslity In the characters and creations that an
brought Into relief Mr. Miller and Miss Cayvan n
this piece, called upon TO represent persons Who
are possessed Of secret which they ought TO ~
veal because their revelation OF IL win save an inno-
cent man from shameful death, but which tbsy
cannot reveal without subieotihg themselves 70 NJ
proach. The man and the woman have been lovers
The woms, II married. Both of them know
who did the murder. II they reveal 1t tho womsn,s
Judge who is trying the ease-wn 10,
come acquainted with their past relations. IL Il
loudly proclaimed however, that their past relations
were innocent. At the most they could only DO
reproached with sentimental weakness. Why, then
do they remain Slenti Obviously In order that ths
play may proceed. Tho scheme is felt TO be ARTIFICIAL
Assuming the love to have been sinful, there Is an
adequate motive for the silence, the dread the Der
turbatiOn, the protracted Mysteries. Assuming Il 10
have been innocent, there Is motive at all
Rodolphe and Helene excite no sympathy because
they nsincere. You cannot get an audience 10
win people who would Let an innocent
man so 10 felons death merely In order that thsy
may avoid even tho appearance of veuial fndis-
creton The actor also, when he Is to show suffering
and emotion, must have logical reason for It IN bis
own mind. His Imagination cannot be ignited with n
cucumber
The result Of these defects IN the construction Of
The Marquse" ID that the vital interest OF the psy
centres In the murderer. q suriy, sullen, soddsned
creature, half mad with Jealousy and drink--a PAT
that Is admirably impesonated by Mr. 10 Moyne-and
the public prosecutor, cold alert spccious, perfectly
sehpossessed man. who Is admirably realized by Mr.
Whestcroft The in which these two persona
are opposed aud the willy lawyer entraps the fusezcd
murderer into an admission Of his guilt is one Of
striking ingenuity and absorbing interest and It
acted with great ability. Mr.. lie Moyne might im-
prove his makeup, which at present 10 that of the
regular, oldfashioned DISCRIMINATION toilcd-a
ruitan Of the conventional stage; but he could not
improve his excellent Of showing, through
q transparency, the agony Of conflict in the soul Of
man who Is crazod with love and grief and made
desperate with the sense Of crime and the conviction
OF utter and hopeless ruin. The repression, tbs
collapse, the steathy, dogged air and movement the
glazed eye, the furtive vigilance, and the sudden
thrills OF passion and fury-ai these together with
The VEN OF roriorr tenderness. conrrpure 70 aa
exposition OF truthful and touching
image Of afflicted humanity. Mr.. L. Moyne
surpassed everybody In the piece was virtually
ended at his final exit Miss Cayvau, however, 10
the explanatory scene which follows, attained 10
hne height of dramatic expression. Up TO THIS tina
she had chiefly charmed by her level speaking. which
Is firm, sweet distinct, and remarkably effective; she
had also pleased the thoughtess part Of her sodenos
by much spasmodc and convulsive gurgitaten-the
bellows business Of the old stagsr-and she had made
. laborous but fruitess effort 70 express maternal
passion, which evidently is unknown to her sxpert.
snce and apparently 10 foreign TO her tempersmens-
She now told the story Of youthful love and holly with
really beautiful simplicity-no tone being false,
10 gesture extravagant and nothing IN manner even
remotely suggestive Of unbeet In the reality OF the
character the supreme importance CT the situation
Der Inspect here was noble, her ART exquisite and or
moment the Illusion perfect and the eneot that
u absolute and final conquest.
Mr. Herbert Kelcey,, enactins the hasSand
who expects TO hear OF his wtes
hame, but hears instead her ylndcstlon,
,eriaIly aided this by the restrained emotion
4 his Intent and passionately mournful gaze nne
ony and spasms-which are about all that could DO
* ted with such part There several need
less persons In the play-one Of them young lady
who runs abeut and whimpeIs, another feshionaols
! jurymsn who Is made to obtrude the antics OF
broad farce upon scenes and persons OF tragic imports
Such as would not, In actual life, tolerate his mpro
preties for an instant Mr.; Charles walco, played
his farce mart in humorous Mr.
Nelson Wheatcroft aided Tho piece eDormou 81 by his
distinction OF manner his incisive delivery, and hi.
perfect refinement The sensibility and well-bred
grace Of his demeauor, Ia the last scene, greatly
helghtens its pathetic force The Aarquise
,!ously cut and compressed Il be made something
more In the long run, however Mr. Frohman, with
BIZ present company, WIN probably find it expedeut.
and In fact wise, 10 stick TO comedy.