The evening world., 1894-01-02
CO0UsLlN AND HADlNC.

The usual warm reception" for which
New York audience Is famous, ana
which would be accorded Just as grace
fully to troupe OF Russian skirt dan
GERS, or an Icelandic tragedian. was
given last night to NJ. Coqueln and Nine
Jane Hading at Abbey's Theatre. These
artists are not strangers here. and they
both love dear New York and the dear
New Workers.. They did some splendid
work when they were here before and 1t
Is pleasant to see them again, even II
one does not feel called upon to go into
exuberant enthusiasm over plays peo-
duced in the language OF another coun-
try. To some--the humbugs-the French
language will undoubtedly greatly
heighten the value of these plays.
1t seems that We have got to get
"rhermidor" In every shape and form
We had 1t at Proctor's Theatre In 1891
when an English version was pitch
forked on the stage with the misguided
zeal of the entcrprising manager who
insists upon Americans revclling In what
has been discussed In Europe. "Ther-
midor" was n failure then. 1t proved to
be undoubtedly the least interesting OF
Sardous plays, for we had not then
seen "Americans Abroad which | am
still unable to believe that Sardou ever
wrote. "Thermidor" was the cause OF
a political sensation in Paris, and II was
fondly hoped that 1t would 'go" In New
York for that very reason. But 1t
didn't There was no reason on earth
why II should. 1t is essentially play
for France. dealing with their much be-
loved and perpetually discussed Revolu-
ton, and dealing with 1t talkly, too.
The performance lsat night certainly
gave new idea of "Thermidor" The
atmosphere that was lacking at Proc
tors was admirably supplied. and the
role OF Labussiere had "A new signih-
canoe In the hands of the splendidly ef-
fective actor, Constant coquelin. Nobody
but New York manager would at
tempt to cast such play with an Amer
ican company. Can you imagine IA Paris
manager presenting shore Acres" in
Paris with all the good New England
people talking French! Watching "Ther-
midor." you were carried back, the his
tory that you have read rushed back to
your mind: you understood the dreadful
Reign OF Terror, and you felt Il sym
/
Fabienne Lecoulteaux, which, for politi-
cal reasons. could not run smoothly. The
/ splendid art of this company did as much
for this Sardou play as possible 1t rat
| tied through the talkiness and empha-
sized the dramatic value. 1t brought out
the full strength of the third act, and
redeemed much OF the weakness OF the
first. In spite of which. "rhermidor" IL
not a play that will be appreciated In
this country or any country but France.
and / am not at all sure that 1t was
not n good thing for Sardou, after all,
that It was stopped In his native land.
The eminent playwright is growing gar
rulous. and he has ''garruled'' good
, deal in "Thermidor."
> Coquelin's art rs very satisfying. Like
the nice little boy In the story book. he
Is good In all things. His emotion Is as
convincing as his humor and his facial
expression Is always study. Upon his
large tiabby countenanCe mental pano'
rama may always be watched. His de-
livery ls perfect, and the most indiffer-
ent French scholar may understand
nearly all that he says. so perfect Is his
delivery. Nine. Hading played the not
very interesting part OF Fabenne pleas
antly enough. In the second act het
"strong" scene. she became II triflc more
declamatory and tragedy-queen-lik than
the part warranted. She tore the air
and she was entnnEcd in the meshcs OF
a fine old frenzy. Nine. Hading Is not a
great actress. She Is careful artist
who always manages to steer directly
away from the divine spark" NJ
ti.I
and Nine Patry was capital as Fran
coise. The stage setting was admirable
, and the whole presentation OF the play
as good as could he desired. And this
having been recognized, | hope that W.
have finished with "Thcrmidor."
ALAN DALE.