, 1890-11-16
N me semblo que ,o walls devant tot.

n Inc semble que 1e walls oevant toi.
Antoine"
Under the white drapery of the dead
queen 5 robe the green serpent writhes and
wrigg rs. The tragedy is ended. The cur
tain falls
OF course as a play Sardou's work does
not approach that of Shakespeare. But a,
a play for Bernhardt it is very good. Bern
hardt is the play. Everything centers
about the great actress. All the other
parts--even that of AntonY-are subordi-
mated to hers.
Bernhardt's fine costumes which she
wears as Cleopatra consist merely of uncut
drapery. She wraps something more thar
nine yards Of this about her at once, and to
her own art in its drapipg and to the Ak
traordinary grace of her figure is due the
beauty of the effect. The first is OF pale
blue crepe, the second rose colored, the
third yellow, lavishly embroidered with
gold; the fourth snow white and literally
classic; the fifth, cloth of gold. With the
second costume is worn a girdle OF remark
able form and workmanship. 1t is a golden
serpent, eighty inches long. Its head is an
uncut but polished emerald with ruby
eyes, its scales are enameled and so cum
ningly is 1t constructed that it is as flexible
as would be n living serpent.
Of the scenery much might be said, for
1t is probably finer than anything ever be-
fore attempted on the Partisan stage. Her
arrival before Antony in her rose sailed
barge is gorgeous, and the scene on the
roof of her palace where she receives the
messenger is enchanting with its moon
light effect, and the sphinx, pyramids and
Nile in the background.
cleopatra" will be produced in America
ais by Bernhardt before the season ends,
while those who do not speak French and
prefer to understand the lines n ther thar
see the great French artist may crafty
their desire by seeing Fanny Davenport,
who will enact Cleopatra" in English.
When Bernhardt comes to America she
will bring with her all the scenery and
costumes which she uses in the Paris
performance; but the latter she will prob
ably have TO modify more or less, for
Americans are less tolerant in some re-
spects than the French.
Taken all in all, Cleopatra" is a fit sue
cessor to la Toscar and all of B~ernhardt's
previous successes, but it seems a pity that
the 10000 which had been expended on its
production before the curtain had fallen
on the first night could not nave been de
voted to an equally elaborate presentation
of Shakespeare's version, beside the flow
ing poetry OF which many of Sardou's
lines sound like melodranatic clRptrap
and vulgar heroics. For in Bernhardt the
world has an actress fully worthy of the
immortal bard of Avon's immortal play
more than worthy Of Sardou's.
The snake which Nine. B%ernhardt uses
in the death scene is a great pet with her.
She fondles it affectionately and calls it
Iris, 1t is Fontainebleau adder, known
sometimes .s an "~orvet." 1t is perfectly
harmless, but Is as yenomous looking a
reptile as one can imagine. Its green back
and metallic markings make it appear a
veritable adder.
A curious coincidence is the fact that
there is a remarkable resemblance between
Mime. B~ernhardt's profile and that on the
Egyptian coins preserved in the national
library which were struck during Queen
Cleopatra's reign, and the fact that Mime.
Bernhardt follows the style of hairdressing
represented on these coins makes the SINH
larity still more striking.
DAVIS DEAcoNs.