New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1894-01-25
LA MEGERE APPRIVOISEE."


Something very distantly akin to a Shakespearian
performance was given last night by the French
comedians. They brought forward a; Abbeys The
atre comedy in four acts. La Megerc Apprivoi-
see" which the late NJ. Paul Delar based upon
1.-The Tanning of the Shrew.' II Shakespeare is 10
be metamorphosed into foreign language at ali, he
is better adapted than literally translated and this
is especially the case when he Is to be played in
French. 1t is impossible to transmute the poetical
elements of his dramas into that tongue. His verse.
moreover stands but poor chance under the elo-
cutonary traditions of the French stage Those ira
ditions their best adapted TO the interpreted
ton Of the measured eioquence OF MOiiere They
are sympathetic to the ringing. sonorous lines Of
the romantic school as represented for example, by
Victor Hugo. They embrace also the nimb.e dia-
logue of contemporary playwriShts. They are not
calculated do justice to the flexible. rapid, poetic
and. above all. peculiarly artess movemen; Of
Shakespeare dciion For this reason 1t is gratifying
ing that the comedy in which VI. Coqueln and Nine.
Hadlng have just appeared does not pretend 10 any
Of the features which would characterize the per-
Torrance given last night as strictly speaking,
shakespearian revival. 1t leaves the auditor free
70 enjoy insprlting spectacle without any great
resentment OF the freedom with which great dram
atist has been used. Shakespeare it f. not In
tone, in individuality OF style. ShakespeariaD II
is in the rough scantling Of its fabric and IN the
determining impulses OF its personages. Imagine
this framework and these elemental traits of char
acter as wrought into lively comedy with the
neatness and ingenuity of modern Frenchman, and
you have conception Of what the accent of la
Megere Apprivoisee' Is like. Shakespeare's intcn-
ton has been frankly disregarded, and excsions
have been made boldly. The curious induction, with
its quaint episode of the drunken tinker. is aban
doned. Petrucco and Catarna arrest the attention
almost exclusively, the adventures OF Blanca hav
Ing being ruthlcssly curtailed. The nature of Cat
arina's initial entrance Is changed. Shakespeare
brings her upon the stage in mood Of acrid yet
more Jess reroseful. raery. In NJ. Deiair's
version she bursts upon the scene with the tenn
pestuous violence which has before this been rec
ognized as most Electrically effective. These are
only two three Of many notifications which
would be worth closer notice If the comedy were a
confessed translation. but which are unimporant in
view Of the Independent character of NJ. Delair's
production. His alone appears upon the play
biz as author and upon him alone rests the respon
sibity for everything, always excepting those fun
damental points which have been referred TO- and
turns OF speech.
The entrance Of Catarina in this comedy has bet1
described as theatrical. Mime. Hading recognizes
this quality in the situation, ard she adheres to 1t
throughout her performance. NJ. Coquel!n seconds
her persistently in the same spirit Neither artist
was able shake off the feeling of artihclaty with
which they entered upon their work. ii. Coguein
came nearer TO doing so than his conponon, but
ne too offered an mpersOnation which smeled or
the lamp Both we're intent upon securing
richness vivdness of color. the vigor of outline
which would be expected In Il pay thdt IL IhtinSi-
cay a comedy of human sentiment but whlcn -
also, through its time and its scenes pageant.
The defect OF last nights representation was that
was convincing and enjoyable. The tableaus were
exquisite. Goth NJ. Coquelin and Nine. llad!ns
were perfect in the superficial rendering OF thtiT
parts. But both failed to give the play the rounded
Felicity of Interpretation which springs IRON COT
plee understanding of the roles and entire absorp-
ton in them. Nine ilading : impersonation was
very nearly a LAT failure Her Catarlna IS 100
truculent too noisy. masculine by half she
scolds with frantic vehemence that is Vixenisn'
II Is true, but that is also so STACEY ana 50 sus-
touches the auditor In the later scenes, whch
the shrew has been reduced by hunger ana Weari-
sion Nine. Hading succeeded in winning for heT
genuine interest In her scenes OF storm anu
fury she powerless TO inspire any serious Iee1
Ing She then played the parts several n1tes 700
hlgh and achieved only an anti-clinaA me per
Torrance shows nadeqaacy in me grasp Of M cnar
acer i Is too plainly an acquired roe III n, .i, n
6i,tdrallty OF the shrew and make her more
Wonsniy and less theatrical. At present she Is
the perfect embodiment OF ne part 50 iar as sS
as her expression OF It's emotions are concernea:
To the impersonation OF betruGc'o cc9tamaa
bnmor IIe has a delightful breeZiness In his man
ner os ne marches triumphantiy through his play
Gestures. facial expression ana intonation are a
inSom,tsble purpose. The waggishness Of Petruccio
his huge appreciation OF the whole fantastcaine's
are artlsticaly shown. But u Is Just here tnat NJ
Coauelin failed 10 satisfy entirely lie was very ar
tstic He not the veritabIe fetruccio OF tne
comedy. Compared with his Rabbi David. with
his Nascarille or with his Annlbal this latest
achievement OF his talent was lacking IN authority
and depth 1t was Impossible not 70 regard MN ana
their various scenes. They we're both factors IN
such amusing situations and In such ravishing
work uas aDDarent II sparkling. but It's lights
will not linger In the memory