New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1891-01-21
THE DRAMA.
DALY'S THEATRE" THE SCHOOL ron
SCANDAL

\ self exactly renected, and upon prospect OF than
! spectacle might perhaps be usefuy admonished TIA
eradication of a vice, however, was obviously not Nc.
| purpose, and neither IL his conscious design A
disseminate noble ideal Of llfe This author is moi
mOralist. lie uses satire because he loves 1t ana
because it is natural to him, and all that he aims N
| achieve is piquant and sparkling literary and the.
| atrca result. He is didactc, and except AZ .
man OF the world taking broad views Of everything Ia
is never in earnest His intention in "The school Tor
Scandal was agreeaby and pungently to portray tn
| manners Of his time-not, indeed, among the beSt
people Of that period who were, as the best people
always are pure. simple unostentatious and genune,
but among people Of average quality and station-ths
vain giddy frivolous, shallow, snowy and veneercd
That intention he brilliantly accomplished He TWEEN
y-sx years old when he wrote the piece. lie had lyen
in Dublin, Harrow. Bath and London, and he had en-.
loved ample opportunities OF observing and comminglna
with the society that he aimed to depict The natural
propensity of his mind for dramatic expression
and that propensity which happened I'm his TO b
associated with faculty,he had diligently stimulated By
q study Of Etherege Wycherey Nanbrugh, Farquhar
| and Congreve From those writers he derived his
STYLE though certainly he bettered their instruction
and from the passing hour he derived his materials
This comedy Is the browning fruitlon OF his genius:
and although it is radically artificial, although IL IA
written in one nvariable strain OF verbal cleverneN
and wit (the like of which has seldom been used any
where by anybody, and although 10 contains not
of cspeclal affection, The School for Scandal no
mains and will always remain, not the sweetest Or
IoveIiest but outside OF Shakespeare, the most In
tellectal pungent and fascinating comedy in the Eng.
lsh language. II naturally recurs at intervals and II
can come amlss.
No scholar at this late day requires 10 be apprisd
NJ thc merit of The School for Scandal, or TO be
instructed as to its Characteristic qualities. The
literature and accessories Of the subject might indeed
he interesting bit the particular point which ought
10 be specified IS the practical point that. although
the custom Of initiating the artificial manners OF Eng.
sh society in the last century has long declined upon
the STAGE a suitable representation OK The school for
scandal is still possible. The thing That Is called
old Comedy has probably had its day; yet there Is no
reason why the dramatic profession should sink in
dos nair before COngrevc and sheridan only because
James Murdoch has retired and John Gilbert Is dead.
Actors who will GO to the author and VIII reproduce his
characters as they exist upon his page,-not striving
10 read into those characters qualities winch 90 Ds
exist in them and not troubling themselves about ar
bitrary traditions. cannot fail to achieve good re-
suit In The school for Scandal actual types 4
character and actual usages Of speech are delcatey
exaggerated The obvious course of the actor must DO
10 conform reariy as he can TO the particular eal
permanent and mentality which are indicated In each
NJ the persons and to the dress and department Of tie
period If George the Third. This Is serious task
but it IS not one Of insuperable difficulty. The late
pllshed it, and did the late John Gilbert who was
born in Boston-and who wore the silver bucaes Of
Lord Ogleby and Sir Peter Teazle as grGce'uly as
ever they were worn by King or Nunden, OF faHea,
or any Englishman that ever put them on Ahd' a.
the venerable provcrb remarks, whatever man mas
done man can do again.
In the representation Of The School for scandd'
which occurred last night in Days Theatrc-wh,re II
WAS followed with interest and delight by one q
the largest audiences of the season. and one OF no
most refined and judcious assemblies that can "
brought together in New-York theatre'-tlere Wc'e
many and gratifying denOtements that TINS method Il
study and Of treatment has here been pursued les
power Of tradition, indeed still fingers upon that Staee'
where the venerable John Moore is the prompteT
and where Mrs Gilbert and Mr.. Charles Wheatle;a
and Mr. Henry Edwards stand forward for the f2s'-
but IL fingers only in the shape OF sale cohser'Aus
Most OF the players in Mr. Days company are Nou'5
people of to-day, who must think for themselves anu
under the guidance and counsel OF manager WHO
emlneny original and progressive. they certainly haSa
Thought for themselves in this instance brilliant per-
tormances OF The school for Scandal have been seen
I'm New York: performance OF 1t has surpassed 's
ono in SIMPLICITY OF design and harmony Of execution;
and while By reason % Individual imperfectohs' II -
felt to lack satisfying completeness, II nevertheless -
entirely right in spirit while 10 great degree 1t IS
brilliantly effective in fulnlment The scenery is rich
and tasteful The incidental music is appropriate
The dressing Is correct and sumptuous. The acting -
marked by fine Intelligence and far more than usual
feeling
Ada Rehan appeared Lady Teazle she Is eh'
cecd,ngly beautiful in the powdered WIG ana uo
elaborate nery Of the period Of George the Ihrd ana
she acted with splendid spirit. There are two ways
of acting this part Mrs. Abingdon. the original per-
former Of it, made Lady Teazle what she herself was,
an artificial fine lady. Mrs. jordan VINO iono"e"
Mrs Abingdon made her an artificial fine lady IN
which still remains zestful tone OF the country er"
The latter way IS the best way and Miss Rehah mas
adopted IT, BY this treatment the part Is somewhat
relieved Of a steady glitter Of hearless frvolty, ara
is mcllowed b. an occasional touch Of sincere feel
inr Adelaide Nelson, when playing Lady Teazle was
especially fecitous in this vein; and Ada Renan' 10
those sudden bursts Of rustic earnestness, much ~
scmbled that lovely actress. In the scene OF ue
wheeling Of Sir Peter and the subsequent quarrei
with him. Miss Rehan created a delightful suspense
In her transition from enticng establishments 70
pctulant irrability, and then 10 open defiance anu
ultimate satircal mockery. Her acting at the cUhdA.
after the fall Of tho had the true dignity o'
aroused and chastened moral sentiment, subdued p
the tenderness OF a. good heart that Is suddenly
awakened II the knowledge OF duty.
John Drew played Charles. Here again was seen
natural performance. Charles is easy to understand
ought not To be difficult for an experienced actor
10 play him. The maintenance OF vivacity bnmnIns
and bubbling with excess, Is essential Du' wv
possession OF innate refinement Is more essential sun
Charles l. a gentleman all the way thrOusi a'o "
never loses his line tone and his distinction VI
manner. Even the touch Of dissipation does nov m''
IT, MIR. Drcw's excellence As Charles Surface Is ~
nncmcnt. lie enjoys life, and lie does no goo1 ou' ~
harms nobody, and apparently lie would not i''
anybody. Mr. Drew presented a true type Oh Fenne1
seltindulgence and easy going good nature ana UNI
lie did with mcessant mirth and nmblc alacry ai'A'
Of mind and action.
The strongest part in this play is Joseph manu-
Gle we'll pdu fct
spccious and plausible bent on gratifying at any oo'''
his luxurious tastes and desires, this repro0ate wv
handspring Of all the action in the comedy. and IL ~
under his influence else In contrast with HIM. u''
each Of The other characters Is developed Mr. "eOFs'
Clarke has all the mind needtul for this ideal Dn ~
the youth and not the formidable force that shouu
tain JOseph's clcl deprNity. lie seemed not lu.o
to mean The mischief that he spoke Of. and even Won