The critic. (Washington, D.C.) 1890-1891, 1891-03-07
"A scoRcuER."
sarah Bcrnhardt as 0camiuc.0

fNFNn lstfnUNfNN NV 'NNN'itfs
Brom ne No,O FORK Tribune, Gh.
In the Garden Theatre last night Sarah
Bernhardt impersonated Marguerite Gau-
tier. the unhealthy aud unfortunate
woman known to the American stage as
Camille. Upon this ease Of theatrical dis
tress It is not essential that any sympathy
or much comment should now be ex-
pended The patient has been gradually
sinking, under the combined influence of
love and tubercles for about forty years,
aud IL appears to be conceded that her re-
coyery is impossible; nevertheless she has
been made comfortable with cod-liver oil
and with coddlc of mushy public senti
mcnt, and her last moments, when they
arrive, will be easy. The community may
therefore console itself with the reflection
that physic and disinfectants, tube roses
and febrifuge have been provided, aud,
thus rejecting, may restrain its grief.
When pulmonary disease gets thoroughly
established in the system, there is nothing
for IL but patience and resignation.
Sarah Bcrnhardps proceedings were OBJ
served with attention by a large assem-
bage. There is deft precision and n deli
cate finish in the dramatic art of this ac-
tress that satisfy the sense of symmetry
and impress the mind by competence Of
executive power The feelings of the au-
ditor, however, unless, indeed. he be ju.
venile or inordinatcly susceptible-remain
quiescent in her presence. IL may not be
case of no flowers; IL is clearly case OF
no tears. Sarah Bernhardt can readily
show you q woman who is trying TO fasci-
nate mem her stage heroine Is nearly al
ways willing to be loved; but she cannot
represent woman who loves. The feel
ing is unknown to her. This fact her per-
formances have long since convincingly
shown. Signs of q disturbance in her
frivolous nature, which is intended to pass
for love, may sometimes be discerned;
but this dcceives only the credulous
A more mattcr-of- fact actress than Sarah
Berphardt never lived. Her superlative
excellence is that her stage machinery Is
of the rarest workmanship and almost al
ways is in beautiful order. Her chief
fault as an artist is prolixity; being en-
raptured with herself, upon all occasions,
she is sometimes willing to linger over
details and thus consume oceans of time;
| but it is the nature of a peacock to strut
upon the garden wall and spread his
| gIittcring plumage in the sunshine, aud
often the spectators gaze dwells delight
edly oh his refulgent colors. Some peo-
| pie, furthermore, like to hear his screech.
The late Lord Beaconsiield, for instance,
liked il, and he kept many specimens of
that radiant fowl at Hughenden.
No useful purpose would be served by
descant on Sarah Bernhardts embodi-
ment of a French courtesan in failing
health. The work is not new here and it
was long ago sufficiently described and
commended in this place. The perform
ance is not better now than IL was then
It's chief merits are refinement and good
taste that is to say, IL does not smell of
either the brothel or the surgery. Sarah
Beinhardt has intellectual character; she
is above the medicinc-chest and slop-
bowl. Nothing, however, can redeem
the subject of which Marguerite Gautier
is the typc--a subject unfit for considera-
ton in work of art and unfit for discus
sion--a subject for religious humantar-
ians and for the doctors. Upon the spec.
tacle that is presented when ladies and
!. gentlemen assemble in q public place to
contemplate and to consider the vile and
lamentable consequences of the worst
foim of female debauchery and degrade
ton 1t would easily be possible to say
sCme unpleasant words; but people who
are deficient of self-respect are little likely
to care for newspaper censure. Sarah
Dernhardt will continue and complete lei
engagement at the Garden Theatre with
LA Dame aux Camcillias." Next week
she will illuminate Boston.