The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1891-10-24
ADJUSTMENTS.
Keene In "otheIio."

Keene gave "Othello'' last night at the Seattle
operahouse, before the largest audience that
has greeted him during the engagement.
Shakespeare might well have named this
tragedy Iago, for he is the greatest character of
she work Iago is the actor. Otheilo
permeates the mind of his master
with the poison of doubt, and then swells with
inward delight as he beholds the conVulsive
sgonies of his victim when the veins stand out,
! the limbs totter with agony and the heart
breaks. Shakespeare was nothing if not ex-
treme. In the creation of the character OF an
arch william he made his crimes great that
1t stands out for all ages the type of intellectual
deviltry. lago was cynical wretch, so insin-
uating that the simple Moor, who knew little
save the rough usage of the camp, was Ike an
infant IN his grasp, TO be pitched
about and moulded at Will. With
oily skill he plants the doubt into his masters
mind, ohScures his reason, manufactures his
proofs, fncites him 10 XIII the sweetest wife that
Venice ever bore aud finally meets death, too
easy for one who had so deeply wronged the
world by having lived. Shakespeare had no use
for mediocrty even in villainy. and in pictur-
ing Iago emphasized the vast extent 10 which
crime could be carried. Ia the earlier scenes he
speaks OF IA suspicion that otheilO had dishon-
ored his couch, but n the next instant he al
ludes to a love of DeSdemona. He cared not for
virtue In any form, but Shakespeare put into his
mouth more brilliant eilSfalns OF wisdom thau
any other of his characters In this work Shake
speare also revealed himself as the master of
contrasts. Othello's simplicity as against lagos
double-dealing; Cassio's purity and Rodergo's
senseless passion, and clear above all Desda-
monss purity, the bright picture standing out
clear against background of suspicion. crime
AMI death. The performance of last night gave
nnslloyed delight The magic lines of the mas
ter dramatist ruug out like sweet notes of men-
tai music. keene made fine othello In the
passages of Iepose, especially In his defense be-
fore the duke, he read his lines with grand e-
feet, bringing out the authors meaning with
Intelligence and c(Carness. Ia the scenes when
bursting with passion and choking with zeal
ousy, carried away by intensity nsrfonahle
though Il Was, his voice became HUSKY with
emotion. and some 81 the respicniant b,st,tv of
the lines was lost But So finely WAS his mart
done, IS a whole, that when the last melancholy
words fall from his lips he is pitie6. even
though lowered with guilt There was 10 mis-
taking the fact that the actor moved his audi
snce, and carried his hearers with him The
people can give no higher tribute Mr.. Frank
Henuing gave an intelligent PORTRAYAL of Isgo
he did not appreciate the humOT of his lines Ia
oil their might, bat his hard, unsvlunathetic
voice stood him in good stead in boring into
oihello'S heart ana dlsSecting bis nerves. lie,
~. carried bis audience with him. Mt Walker
Matthews gave great pleasure by ais rendition
o. the role of Cassie. He las great ability aud,
II q student. has future. Edwin Phillips "a
RodeTigo was painful. He evidently has had
Mite experience. and is constantly mutterlng
his cue over, much TO the discomfort OF the GU
lockers Carl Ahrendt made a hus Brabantlo.
NILS Gaiiaiin as nesdemona did the best work
OF the engagement She threw great soul
np ne reading OF her lines. she
sas 1enueF, sdectionate, ard only one
seeoeu IN binding passion could have
entertained OF her Desdemona, single thought
~ lOs'ui guilt Miss Vaders, as Amelia, had
- a ie" 'ihes 10 read hut by them created dis
go 1AHt 'teSsloa- The other members OF the
solapAhS supported the msin characters splen-
-" rue settings and costumes were fine.
"A' "S'e respectable appearance, their