The critic. (Washington, D.C.) 1890-1891, 1891-02-18
Bernhardt as Cleopatra.

From he NeiD York Times, 11M.
In Sarah Bernhardts impersonation of
Cleopatra seen for the first time in this
country last evening at the Garden Thea
tire by l,500, more or less, uncommonly
well dressed and remarkably patient men
and women, it seems to us that the idea of
the sorceress-a sorceress, unlike vivien,
sincere in her love, but still q sorceress-
predominates. This is beautiful piece
of acting, wonderfully adroit, elaborate,
and harmonious, lovely to the eye, charm
ing to the ear.
But the play is arid as the sands of
Egypt and dull enough to come from
Troynovant instead of Lutetia. -Four of
the six acts Of this piece which was written
by NJ. Moreau and revised by NJ. Sardou,
who has put little of his own vitality in
| it, were finished at midnight. 1t might
be possible to do justice to the perfor-
nance in review this morning, but, it
seems likely that the inordinately long
waits and other unpleasant incidents of
| the first production of an elaborate scenic
| piece in new theatre combined to leave
| an impression of dullness that will be
overcome in future performances 1t Is
more than likely that more life and spirit
can be given to the piece by the actors.
Everybody will want to see Bernhardts s
Cleopatra, and nobody will be disap-
| pointed, for its rare pictorial beauty alone
makes It worth seeing. Although the
genius of the actress is hampered by the
| piece and she has fewer "great moments
in 1t than in any other play of her reper-
tory, her acting is. as usual, fawless, from
an artistic point of view, and she is q
vision Of strange loneliness in every one
| of her queer and costly costumes and
there Is new one for every scene.
| The piece is set with scenery from the
| Port st. Martin Theatre in Paris, which is
handsome enough and suitable, and the
many actors and supernumeraries en-
ployed in the representation are richly
attired. In the costuming the closest at
tention has been paid to the most minute
details. 1t is happily not necessary to tell
the story of the play. Miss Davenport
| has made it familiar here.
Nine. Bernhardts unapproachable art
was manifested in the first scene, and, in
deed IL is doubtful il any succeeding epi-
sode was more effective than the cajoling
of irate Antony by the Egyptian Queen at
their first meeting The golden beauty
of her voice, the play Of light and shade
or her features, were alike fascinating
She made il plain that the love of Cleo
patra for the Roman was q sincere pas
sion, and an all-absorbing one.
This is the keynote Of the play, and il
is taken from Shakespeare. The third ac
is merely a paraphrase of certain scene
in Shakespeare's immortal work. Thi
comprises Cleopatra's grief in Antony'
absence and the coming Of the messenge
with tidings of his marriage to Octavia
Here Bernhardt's acting was exquisitel,
fine, subtle, and human, but she did no
attempt TO rise to the height of tragi
fury. 10 most of the spectators last nigh
tins scene was Disappointing. But tn
beauty of II all cannot be disputed
Ihe French cle9pa'ra IN short ;d IS 81 not th
character is its most significant phase
and Bernhardt indicates the Queens fore
boding of disaster with matchless art. Sh
sees that her love for Antony is the end o
all; that II will bring ruin to both. Shei
afraid, but her love is stronger than he
fear. She steadfastly clings to her love
and goes brayely onward TO death.