The record-union., 1894-03-15
ADJUSTMENTS.

James O'Neill presented himself at the
Metropolitan last night in the character
of Virginius. 1t was but the ninth time he
had played the part. 1t is a new venture
for him; an ambitious leap. But it is one
that there is no reason for his not UNDER
taking. His Virginius is not up to the
ideal; it is as yet too mundane it lacks in
that refinement which it will have when
he further studies the character and be-
come conscious of the spirit of the Roman
father, and the thought and feeling that
moved him. But while his Nirginius
lacked in the spiritual sense, let it not be
concluded thatit was but ordinary work
On the contrary, it was work "of ex-
ceeding honesty" and of very high char
acter, dramatic labor touched by the
illuminative powers of genius. His Vir-
ginlus was very near to the earth, but it
was charged full with human interest; it
was not complete Illusion; the auditor
only twice forgot that it was acting;
he was but twice carried away from
thought OF the actor, and the fine work
he was doing; but it was sumptuous
show, rich in the rarities of fine art. The
value of such performance is high: it is
gain to dramatic art; it proves how plant
a mistress the art is, though SO jealous. 1t
was touching in its pathos, aggressive in
its strength, powerful in its passion,
though not perfect standard, nor the
most refined Virginius. It proved how
well proportioned an artist Mr.. O'Neill
is: how thoroughly self-trained an actor
he is, and how brilliant is the future for
him, along the new lines and higher
walks OF the drama he has chosen to fol-
low The two exceptions we have made
were in the death scene of Virginia and
the mad scenes in the last act. In these
the artist challenged comparison with
some of the great ex xpOnentS of the char
acter. In these scenes he freed himself
from himself and became indeed the
father of Virginia. Mr.. O'Neill has in
troduced some new business in the play
not warranted by the story-but that can
pass: it is effective and adds to the dram
attic spectacle. His support was not level
with his own effort save in the characters
of Dentatus by Mr.. Turner, Virginia by
Miss Daily and Icilius by Mr.. Johnson.
These were very good foils to the star,
but in other respects the support failed to
furnish the essential contrast or give to
the play the color it needs. Mr.. O'NeilPs
reception was by large audience, most
fiattering, and in one of the recalls he
was twice required to appear and bow
his acknowledgment of the plaudits.
Tonight Mr.. O'Neill will appear in
ssMonte Cristo,'' in which it is conceded
he stands without a peer. In this play
he has made the master strokes of his
life; be has carved fame and fortune out
of it. In it he has proved by subtle
touches, bold fencing, the almost perfect
reflection of nature, what be will be
when be shall have year or so walked
in the classic lights OF such plays as that
of last night. James 0'Neill has become
identified so completely with Monte
Cristo" that the two names are spoken
almost as one by the theater-going pub
lie of America; so it is that Mr.. O'Neill is
recognized as the greatest romantic actor
in Monte Cristo" of the decade He has
played the part of Edmund Dantes over
3 1000 times and has achieved all triumph.
1t is with O'Neill as with Jefferson. The
public insists upon seeing them imper-
senate the characters that their artistic
work first made famous. His great sue
cess in Dumas fascinating play has made
him, as we have said, wealthy and
famous, and the thousands that tlocked
TO hear and see him are as enthusiastic
now as ten years ago. when he surprised
the country by his brilliant presentation
OF the character. The play will be given
IN all detail, as the troupe does not leave
here until tomorrow forenoon.
At the Clunie Opera-house this even
brII