The morning call. [volume] (San Francisco [Calif.]) 1878-1895, 1891-10-28

Baldwin stage was tested to its utmost.
Besides this the orchestra. under the lead
ership Of Mr. August Hinrichs. contributed
some delightful selections of music, drawn
from new and old sources. The obllgato
the orchestra PLAYS to the action on the
stage might, with advantage, be made Ill
tie more piano.
THE SCENERY.
Nothing could exceed the magnifcence OF
the scenery which graced and Illustrated
the different acts. These we're the JOINT
work If Messrs. Glare, John A. Thompson,
Henry E. Hoyt and Seymour ID. Parker
While all the settings deserve almost I'M
limited cnmmendation, Hoyts tempest
scene in the fifth act is erhaps the greatest
exhibition of realism that has been seen on
the stage in San Francisco. 1t was
surprise to many that me re-
sources of the Baldwin were aoie 10
respond to such demand, ey n admitting
that two-tnrds of the effects had been CON
trbuted by the Cleopatra Management
TIE scene was managed most ludlci0usly
The tempest grew after the invocation OF
Cleopatra, the heavens gradually darkened,
the ightniugs became more and more VlFid,
the thunder deeper and deeper in Its
volume until between the pauses one saw
the torn ribs If the fighting gaIleys al Actium
reflected against the dark sky. and heard
the desparing cries of the drowning rowers.
MISS DAvENPORT's CLEOPATRA.
Miss Fauny Davenport in the role Of
Egypt Queen made deep impression on
the audience 1t would not he fair to com
pare her with Bernhard in the same char
acter because their natiOnallties are dliter-
emf and thew conceive the serpent OF the
Nile" from different standpoints and put
her into different methods OF action.
Miss DavenporFs Cleopatra Is
heavy. sensu0us character, such as
might be formed from indulgence
in animal passions. Ii history Is
to be believed she was nothing, after an,
but a splendid animal, who brought the
great ones to her feet more by her personal
charms than by her intellectual gifts, and
who gloried in her cnnquests because they
made strong men weak. Miss Davenport
certainly presented a seductive appearance
in her makeup and general cOstumlng, ana
IL was in these respects that excuse might
be found for Antony when he exchanged
ambition for love.
Mcdowell AS MARK ANTONY.
One of the most conspicuous features after
Egypts queen in this production was MIR.
Melbourne MacDowelps persOnation OF the
Roman General who fell victim to her
wies. He demeaned himself in magnificent
form all through. Physically splendid
man, he has, at the same time, mental
grasp which enables him to surround his
heroic position with the necessary
intellige ce to make his arduous i'm
personation complete one. What
ever he does in all the different episodes of
the drama seems to become him. He loves
like man, he fights like soldier, and he
dies like hero when fate and fortune have
defeated him. Antony is superior to small
considerations. He is of that class of men
of whom Napoleon l said: "One who is
filed with large ambitions has no time TO
bestow on small virtues" MacDowelPs
Antony was a clear and splendid rendering.
IN GENERAL.
OF course, cleopatra" may be called
dramatic duet, with spectacular ilustra-
tons. When we get through with Antony
and Cleopatra, there is not great deal to
be said about the acting, and the piece is
prepared in such a way by Sard9u that
there is no occasion TO say much. But we
must say that the part of Kephren, Cleo
patra's slave. played by Mr.. Theodore
Thomas, was most conspicuous one, and
in the "roson scene" where, by the jeal-
ousy Of Antony. he is required to kill him
self. he carried the business In admirable
weeks to come at the Baldwin, and last
evening would seem to give promise that
fortnight's interest will be fully main
fair