New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1891-11-05
THE DRAMA.
REPENTANCE OF SARAH BERNHARDr.

REMITTANCE OF SARAH BERNHARDT.
The chronicle Of theatrical proceedings must this
day record the reentrance Of the distinguished French
actress Sarah Bernhardt who appeared In th5 Standard
Theatre last night and mpersonated Joan Of Arc.
numerous audience, composed mostly of French resi-
dents OF this capital, welcomed this celebrated per-
former and appauded her with exharating vigor.
She was recalled at least three times after the fall Of
each curtain. and the welcome obviously, not less
mat OF hosptable kindness than of popular admiration
she was In excellent health and spirit and in appear
anee Is more robust and handsome now than at any
time Ia the last ten years Her demeanor and gestcu-
lation were those Of perfect grace.
The production Of French drama relative TO the
story of Joan of Arc affords an opportunity for the
student OF French annals TO refresh his knowledge OF
an Old subject and possibly to acquire new light upon
an Interesting character. In the form Of an English
adaptation this piece has already been presented here
and has failed. IL offered by Miss Margaret
Mather, and 1t was found to be exceedingly
tedious. The French original, however, Is more
fluent and nimhle composition than Its English
representative, and Sarah Bernhardt, as everybody
knows, is an actress Of extraordinary facility ana
brilliant attributes Moreover, the French play Is given
with exact embellishments than II had before
An original must always be preferable TO copy
There was ponderous quality In the representation
last night. and the element of spectacle was observed
TO be conspicuous in IT, No form of treatment, prob
ably, can reconcile TO the stage such story as
that of Joan of Arc. woman who, In peace, has
visions of tutelary saints and in am0r and
carries weapons, is creature for the imagination and
not for the eye. The poetic part OF the personality
Ia too ethereal for the purposes of drama the prosalc
part OF it too hard and harsh, Neither as Visionary
nor as an Amazon does Joan of Arc become significant
when actually seen-to sympathetic appreciation.
The of spirits is above humanity; the woman-
solder is below it, No play about Joan Of Arc land
the subject has been upon the stage, internationally fT
more than ninety years., has ever yet really sue
ceeded In holding the public regard If dramatic
portrayal of IL must be seen, however the audience
may surely regard itself favored that sees French
IDEAL however fantastic, of French classic character,
and that ideal interpreted by the most Individual
and expert-though not the highest and best-of the
actresses of France. =
The return Of Sarah Bernhardt,-who had not until
been seen in New-York since she played here, at
the Garden Theatre last February, affords to the stu
dent Of acting opportunity for enjoying and admir-
ing that wealth of professional equipment and technical
proficiency for which this veteran performer is re
markable In the embodiment that she gave this
occasion, furthermore, the local public for the
first time enabled to derive from her acting at least
suggestion OF nobility. Joan of Arc, presented in
this drama, figures in that at times amatOry
for she is vrtuously loved and she is vieiousy
sailed But Joan of Arc is neither coquette
wanton, nor an assassin, nor In any way a woman
diseased or dcpraved. The representations Of Sarah
Bernhardt, hitherto, have usually been Of unwhOe
some and obnoxious klnd-n respect to their spiritual
quality The actress presents ideal of woman
hood in its heroic phase, and this is welcome and it
ought to be honored.> More extended practice In this
artistic direction may, probably make the artist
expert. 1t seems to be difficult all at once to cease
from purring and cooling. 1t is more than difficult to
rise in art above the level of individuality which
is inferior and frivolous in nature Nothing will ever
impart grandeur to the mental constitution of Sarah
Bernlardt; nothing will ever make her great actress,
in the sense in which Sarah siddons was u great
actress, or Mary Duff, Charlotte Cushman Nothing
will ever lift her to the royal dignity and splendid
spiritual exaation of Ellen Terry Yet ii is observed
that IN her assumption of Joan of Arc she was often
earnest and sweet In the ontbursts Of combative i'm
known tumutuous loquaeity and rather unexpected
physical power. In every part OF the embodiment
thers was the ncessant nervous vitality the feminine
bandishment,- inv0untary and seductive-te melodi-
Gus, flexible voice the fine intonation, the ripping
cadence OF delicious speech. And this after all is
tracts as an eccentrlcity and delights a speaker.
Judgment of this distinguished person as an actress will
not be materially affected by her embodiment Of Joan
the opinions of experts respecting her art are sub
stantially needless. She viii leave no abiding in
n9enee upon the stage and therefore is not worth
freak of the hour observed indeed with curiosity, but
remembered with codness Or not remembered at all.
endured long DELAYS with exenavp ane one ana IL
are several inteTludc, of church melody In NJ Jules
BaIber's atenuatd drama and, what with slow music
oseate between a sacred concert and PRAYER meet
Ing Cordial welcome, however, was given to each
energetic apostrophe, closing oct second excited a
sympathetic tumult. and the fire and manly force OF
actor The complete distribution OF parts Is given
here: