The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1893-02-05


ing Thursday, Friday and Saturday,
though the result of such weather as ex-
listed was not to be avoided. The list of
attractions and stars that Manager Hanna
has booked for bis theater for the year and
season is perhaps the greatest secured by
any one manager in America. 1t includes
Henry Irving and Ellen Terry, Fanny
Davenport. The Bostonians, Daniel Froh-
mans Lyceum Company, Bronson How
ards "Aristocracy." John Drew, A. NJ.
Palmer's company, Nat Goodwin, Richard
Mansfield, Mr.. and Mrs. Kendall, f. H.
sothern, Joseph Jefferson, Charles Froh-
mans attractions, 1.-The County Circus"
Rosina Vokes, Francis Wilson's Opera
Company, Gillett's Ninety Days" Warde
the Wood" Roland Reed, Robert Mantell,
Joseph Murphy. Annie Pixiey, Howard
/ Atheneum Company, Hanlon's SD
| perba, "A Nutmeg Match" "The Old
Homestead" Primrose and Vests Min
stres. Rich and Harris. Tuxedo" The
LilIiputians, ''The Spider and Fly" Katie
Putnam, Rose Coghlan, James Corbett.
Rhea. Cinderella" 1.-The Prodigal Fa-
ther, 1.-The Crust Of Society" and others.
For this week the famous London As
surance" OF Dion Boucicault holds the
boards. The very name of this play is
enough to insure good houses. 1t is one
of the best-known WORKS of this eminent
playwright. The arrangement Of the cast
will be found below.
Mr.. Clay Clements Hamlet at Cordray's
last week showed considerable grasp
Of the character from an acting stand
point as we'll as from an intel
lectual. He has defects in both senses. it
Is true, but those in the first will wear off
more easily: those apparent in the latter
can be overcome only by closer study,
ripper judgment and a more delicate appre-
citation of Shakespeare's full purpose and
meaning. 1t is in psychological phase of
Hamlet's charac er that Mr.. Clements
representation is especially weak. Coe-
ridge has aptly said of Hamlet that "he
possessed the subtle trick of pretending to
act only when he was very near really
being what ne acted" lie is bordering on
dementia when his companions join him
after the interview with the ghost, and his
manner. more than his speech, should
show it, seeing that the latter includes
pertinent instructions to his companions.
The most difficult scene for an artistic
stimulation of this madness is that in
which Hamlet renounces Ophelia The
actors object is to make it apparent to the
minds of the audience. all through the
scene, that there is a strong deep under
current of affection battling fiercely
with the thought that Ophelia herself has
joined his enemies. The fierce tight be-
tween love and sworn duty also adds fuel
TO the mental fires, and brutal words fall
like molten lead on the tender heart OF
the foriorn maiden, but the actors
part is To dlvest them of their
pointed brutality. Mr.. Clement i'm
pressed one as if his Hamlet delighted
in torturing the shrinking maiden. who in
utter AFFECTION walls from a broken heart.
II am the more deceived" "Get thee to
\ snunnery" is not mocking. cynical COM
mand; it Is rather an emphasized request
that she may keep her honor forever STAIN
iess-a reflection of the Utmost conviction
of bis soul that she is "chaste as ice."
Mr.. Clement makes Hamlet's real condi-
ton manifest only at the close of the
scene, when he kisses Ophelia's hair as she
lies moaning III her woe. This can scarcely
be called artistic. These are few points
that can toe improved upon, and, doubt
less, will be improved upon as Mr.. Glenn
/, ent advances in Shakespearean acting
lie is an actor Of much force and intel
iectual ability. and for so young a man de-
serves hearty praise for his Interpretation,
as II is, of Hamlet