Hot Springs weekly star. (Hot Springs, S.D.) 1892-1917, 1893-10-27
SCENES OF THE STAGE
WHAT PLAYERS ANn MANAGERS
ARE DOING.
Irving Dlseourses His Favorlto rlays-wn-
liam Winters Clever lsook-yvoman uas
Elevated the s~tage-Funny Experiences
With Animals ON the Stage.
Irving's Favoritcs.

EMMY Inv lNES
0GfnM quartet of favorite
9GSM roles, as he writes
ESsM of them in "My
TA.AIA Four Favoritc
NINGHNN& Parts" in tho Fo-
SAEsg&l& GssSS rum, arc Hamlet,
wDS N@M&sa Richard I'LL, Iago,
al ~ @@and King Lear.
= = d 4 I; =; ! !: !: !: !: !: ! 4" !. I : ! ! !
~ M For Hamlet he has
~ ~/Ast "the affccti ion
Ndmr1 u (which springs nat
SSc1eSlHW IEas|urally in the actor
/toward the most
IS SAlS intensely human
" ofShakspcare's Gre
y Is ations." In play
ing Richard he undertook Il duty
which the stage had long owed to
S~hakspeare's rcputation--the rcstDra-
tion OF the play in the form SO long
displayed by Collcy Cibher. The Ly-
ceum version had no single linz which
was not in the original; and Shaks.
pcarc's Richard Mr.. Irving describes
as ia Plantagenct, with the i'm
perious pride of his race, a subtle ill
tcllect, a mocking, not q trumpeting
duplicity q superb daring which
need no roar n stamp" and "a
youthful audacity very different from
the pondcrous airs of the heavy viii
lain" lago is ga simple soldier and
no politician" but he '.reproduces all
the traits of the MEDIEVAL Italian
adventurer delincated by MacauIcy"
in his description of the Italian
statesman OF M~achiavclli's time. lie
is "a young man about eight and
twenty, not cmbittcred 10y disap-
polntmentS but instinct in all his
manhood with the Implicitly which
belongs TO his temperament and his
keneration;" ..he also has a slight
dash of the bull fighter" or Lear
he doubts whether a complete en-
bodiment is within any actors re-
sources, and says:
.;Eor myself; tho part has two singular rs;
soctAtions. 1t broke down my physical
atreAgth after sixty consecutive nights. and
when / resumed tho part after II brief rest.
1swss forced reluctantly to the conclusion
thatsthere is one character in Shakespeare
which can not be played six times AZ week
with impunity. On the first night l had u
curious experience. AS l stood Mt tho
Z wings. before Lear makes his entrance. l
;.ahEdR sudden idea which Tcvolutionized the
& fMpersonation and launched me into an ex-
pertinent uninterrupted at rehearsal. 1 tried
tO}cOmbine the weakness of senility with
b ctempcsto of passion, and tho growing con-
y!l0tion before the play had proceeded far
! that this was IL perfectly impossible task. is
8one Of my most vivid memories of that
night. Lear can not be played except with
the plentitude of tho nctor's physical
powers. and tho idea of representing cN-
nemo old age is futile"
iAs to Lear's sanity. Mr.. Irving
holds that the decay of his intellect
has begun before the play opens and
that 1.-THE actor has to represent the
struggles of an enfeebled mind with
< violent self-will-a mind eventually
reduced to the pathetic helplessness
Of a ruin in which some of the orig
inal grandeur can still be traced.
This is, without doubt, the most
difficult undertaking in the whole
range of the drama
Lawrence Isarrett's Tribute to Women.