The times. [volume] (Richmond, Va.) 1890-1903, 1894-03-11
"IZETL."
Sarah Bsrnh.rdt Makes the Hit of Her

in Izeyl,' drama produced night before
last In her own theatre. the Renaissance.
| This piece is I'm four acts, Is In poetry
and the story rests entirely on a moral
idea, a moral which IS the highest .ba
most absolute. the most touching that
men have ever known, mat OF renuncia-
ticn and sacrifice. The piece H. there
fore, purely philosophical; but IL forces
cur attention. and thereby compels spec
| tatorS 10 think. and. perhaps, the first
thought after enc of admiration Of Sarah
Bernhard, is that 1t is play Of Budd-
hism. Well 'Izeyl' H. India Itself. the In
dia Of rajahs and nabobs, in all the splen-
dor Of its azure. gold. and precious stones.
| II is a drama of splendid verse and touch
! ing philosophy. composed ana signed by
| Armand Stvestre and Eugene Morand, and
ii is, in my humble opinion, a MASTER
| piece, even thought II be Buddhistc. But
between the morals OF Christianity and
that Of Buddhism there are. In principle
striking analogies. The prince-king or
the Saviour; Izeyl or Mary Masdaline are
| the same personages-those preach sacred
words. these are pardoned because they
loved so well
"Buddha Gaoutama, or Chakyamouni,
called usually by his personal name Of
Siddhartha, who was born go years be-
fore Christ, of the Chakyas race, was
the fourth incarnation Of Buddha, or OF
the supreme right When but twenty
nine years Of age he went into solitude.
and was then called Chakyamouni. that Is
TO say. the solitary Chakya, and In due
course Of time he arrived at perfection
and then the name Of Buddha was add
ed to his own. 1t Is IN the first two acts
that we have this legend or the midas,
but in the third and fourth 1t Is no longer
a
religious drama, and the grand hsure
Of the founder OF Buddhism is relegated
10 second place. II Is now the repentanL
cOurtisane, I'm love with the new prophet
on which our attention is concentrated.
and from this moment the play becomes
one Of humanity. But 1t Is not less in
teresting on that account, and, thanks
not only to the superb lines OF the au-
thors but TO the splendid acting Of the
principal artistes, the piece is always IN
tensely dramatic, though perhaps here
and there a few inequalities are noticea-
bic.
THE burden Of the drama is not car
ried alone by Madame Bernhard, for
there are several parts, but she is the UNI
doubted star Of this theatre. | wish you
could See her aye, those Of you who read
these lines who never go into a theatre,
for she is grand beyond all peradventure.
her voice and bearing. adorable, and on
her entrance her costume her grace.
and then her supple and sculptural atti-
tudes provoked q long vibration OF pleas
ure throughout the entire house. From
that time she was mistress over us all, |
she was cajOling. repentant, sorrowful, |
pleading, tragic, terrified by her terri !
bic crime resigned 10 the awful fate TO |
which she had been adjudged, and died |
with divine sweetness 10 reappear with |
light Of love and joy and peace IN lotus |
flower. From act to act, almost from |
verse to verse the public acclaimed her /
with enthusiasm and in the aisles and
halls, when 10 was all over and we were
going nome, the only words spoken were
that this was the grandest creation she
has ever given TO the world.
Il went back to pay my respects TO
Madame Bernhard, anu 70 offer her my
congratulations at the end Of the third
act, after the audience had recalled her
no fewer than eight times. Her dressing
room was crowded with distinguished
men and ladies paying her all possible
honor She was in tears, and, of course,
very much fatigued. but she was glad to
receive these visitors. 1t came my turn
TO approach the spot where she stood,
trembling with joy and emotion. To all
h~'+~N+-~NH'f
but to me she said something more.
Early in the day | had wired her a few
words of congratulation, after assisting
at the dress rehearsal the night before.
and predicted that at the premier she
would achieve TIA triumph of her artistic
life. She took my hand In both OF hers
and she whispered half aloud; Notre petit
mat ma fait une grande jole. Nous etes
blen gentil. Oh, je suis cOntente, je suis
heureuse.'
Ito what had been said of sarah's tri-
umph it may be properly added that il
was achieved before. and hailed by the
usual skepucal. jesting, hard 10 please,
yet accessible TO noble sentiments, first
nighters' OF Paris. that is to say the
cream Of literary journalistic, artistic,
and political circles, which invariably |
make up the audience at these 'premiers.'
No one present could recall more enthu-
siastic endorsement of piece and players.
Frequently the action was stopped by
round after round of applause, and after
the third act the curtain had 10 be raised
on the thrilling picture made By Bern
hardt and her gifted support no fewer
than eight times. Every lady in the
house clapped her hands heartily, the gen
tlemen rose al her. the hall resounded
with cries of Bravo, Sarah, bravo. bra
yaw
Eyes, / assure you the illustrious ac-
Lress was more than admirable, she was
wonderful. marvellous, excellent in the
highest degree. in brief divine, using that
word in the sense as meaning something
apparently above what is human. In the
irst act an audaci0us, melancholic cour-
esan: i'm the second act loving woman
Illuminated by a ray Of faith that enters
ler soul through this very love, in the
bird generous good. proud, touching. and
ragic: in the last, though suffering terri
Div. resigned and ecstdtic, Sarah Bern
iardt gives i'm this drama of Izeyl the
inest impression of art l have ever ex-
There is music also in this beautiful
1Oem, and while actors and actresses OF
'enown are reading us scenes and sit
iations, we hear touching songs and cho-
uses, and instrumental harmony rem
Tered by sklful performers. This music
s by Gabriel Pierne. young composer
# great talent. and he has rhythmed
passages that are sweet and touching.
ich in taste, and overlooking with
owe, and flowers, and bijous
worthy Of the splendid pictures that are
placed on the stage Of the Renaissance
n all, there are ten numbers. and each
$ charming Several deserve special
mention. particularly a serenade in the
ecOnd act. and the funeral chant OF the
Ourth. with its exquisite sentiment OF
adness and resignation. The scenery rs ,
emarkaby artistic and the costumes pic +
ureSQue. r.
And here is my epiogue. though y
ihakspeare says a good play needs none: r
IN infinite profound emotion; acting that I
oil I..