The morning call. [volume] (San Francisco [Calif.]) 1878-1895, 1893-09-13

there was a lack of enthusiasm on the
part of the audience that told the story Of
disappointment. CHARLES tn e First"
is indeed. as one critic has describe the
piece. grave historical drama, depicting
the domestic life and the surrounding
tribulatiOns of king. during the DAYS
OF danger and turbulence thatimmediately
preceded tho downfall and death of the
royal Stuart. There is nothing to enliyen
II. The play opens with a scene at Ham,
ton Court, where the King is shown with
his wife and children, and backed by vista
of water scenery from the brush of Halves
Craven. that Porter or Forrest Seabury
would give years of artistic life 10 call his
own. Charles is playing with his hiIdren
needless of the chidings of his French
Queen. Henrietta Maria (Miss Ellen Terry,
that, IN view of the menacing clouds show
inc themselves on the political huriZOn, il
was time for strong and manly action
and not for nursery dalyiugs. 1t was an
excellent illuStI alton of the feeblenesS and
Incidence OF the Stuart character. The
second Charles inherited these qualities
from the first. He, the Mutton eating
King" as Rochester or Killigrew epgram-
matIZed him, was engaged in killing flies
in the apartment of one of his arlstucratic
mistresses al Richmond while the roar of
the Dutch Admiral Won Tromp's cannon
was heard in the Thames, threatening the
existence of London itself.
The second scene is at Whitehall in the
city OF London, where the King and the
stout old Oliver Cromwell are brought face
TO face. IL is n grand scene. The King
and the cOmmoner cross verbal swords on
the question of the rights Of the people.
There is quiet grandeur in Irving's man
ner in this interview, as cOntrasted with
the unseemly action and brnSque speech
of Cromwell, that tells in favor of 1.-THE
divinity which doth hedge n king" Wills
Il. IL Ia
duce in this scene a business that is
derogatory to the h-priucIpled Round
head and contrary TO all historical record.
He makes Cromwell. after dismissing his
colleague IretOn. who ACCOMPANIED him
from the Parliament. chatter with Charles
Offering TO lead him out of all his
political difficulties In consideration of
succession to the title and estates OF Lord
Essex, TO which house he claims TO he re-
mntely allied. There was something superb
in the fine scorn with which the unfortunate
Stuart resented this overture from the
brewer of Nottingham. Again there was
majesty in his subsequent action, when
Oliver, grown insOent, capped himself.
Irving rose to his full height, and extend
ing his arm, Numbered out: Uncover,
sir, in the presence OF your King" AL
though kings, 1t may be supposed, are al a
discount with republican America the
audience gave this incident rousing
greater at The tableau with which tie
scene closed. Cromwell had body of
Parliamentary soldiers at hand To arrest
Charles, and as they entered on one side
of the Stage there came IN on the other a
contingent OF cavaliers led by Queen Hen
rietta, who surrounded their sovereign with
drawn swords and shouts OF Long live
the King ~ kneeling at the same time be-
fore him.
The third scene Ia the royal camp at
Newark where the King has lost a battle
with the Parliamentary troops, and itends
with his betrayal into the hands of his
enemies by a treacnerOus adnerent the
Scotch Lord Moray. for 10000. Moray
promised to come to his royal pa ,rOn's
assistance with body OF Scotch
troops that would turn the fortunes
of the day. Instead of this he
brought force Of Roundheads to The
tents where the Queen was awaiting the
issue of the battle, and where Charles had
come, in full armor. TO tell her all was
lost. and delivered the defeated monarch
into their hands. This is the incident
that has given rise to the saying that the
Scotch sold their King-a Stuart-for a
groat. Irving made great play in this
scene. He called the traitor Moray to
him, and recounted the favOrs he (Moray)
had received from his hands, asking why
he had waited so long TO pay his debt of
gratitude The simple act of surrendering
his sword 20 his Roundhead captors, was,
as performed BY Irving, one of exceeding
gracefulness.
The fourth and last scene is Ellen
Terry's. It is again at Whitehall. The
Queen at first begs Oliver Cromwell to
spare her royal husbands life, and then,
unable to move the future Protectors stoid
obduracy, defies him in words that seem to
make the great commoner vince in his
jack bouts
The pIay would be monotonous Int for
the splendid acting Of Mr.. Irving and Miss
Terry. They make green and lush with
life what in many cases would be sere and
without vitality.
the Merchant of Venice" will be pre-
sented this evening, and the auditorium