New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1894-07-15

garly-a point on which something n,lsht :. ~.
docs It follow that the part demands A.
Of vulgar!ty beyond tina: which Il Is possbaA ~
Miss Terry as an actress o. experience vA.s.'
played in her time many parts. to dsp.s,.
Whether Mr.. Scott b. right or wrong In hi, IA"
ment on this point, he has put himself IN ~.
position, and as he Is q very leading persors.s
In the critical world of London, he has also ~.
something TO make his London colleague, -
sponsible for an opinion as TO the t-u. funct,,.
Of criticism which they probably do not shsr.
Whether London can support two French en-,
panies at once Is question which would GA.
have been answered very confidently in the ns,,.
tive. Yet here are Nine. Sarah Bernhard sns
Nine. Rejane filling, the one Days Theatre Ana
the other the Gaiety, nightly and that near IN.
end of a season which not many theatres 4,
managers have found prosperous. One paper AL
emily remarked that Nine Sarah had been stim.
ulated by the rivalry Of Nine. Rejane into dotps
her best. II Is difficult 10 speak OF rivalry h.
tween two actresses whose styles and repertoire
are so far apart as are those Of the two actreue,
named. Probably the effect Of the presenu
OF each Is 70 increase the audiences Of both
Under the management Of Messrs. Abbey ana
Grau. the general direction Of Nine Sarah BEN.
hardt's season IL In the hands Of NJ. Mayer WI
has had a larger and more varied experience Win
French plays and companies in London than a.
man living What has been done in this car
is TO vary the programme constantly. where's
Nine Rejane plays one piece only "1zeyr' AM
LES Ros" are the two new plays brought out a
Days. the former for a week, the latter fw
two consecutive nights only. For the rest
the actress has fallen back upon her old repeR
tory; playing ia Dame aux Cameias" IA
Tosca." "Phedre" and Fedora"
bly, "Phedre' is introduced from respect
for the purely tragic art 1t is never popular
play in London, yet he who has not seen Mma
Sarah as Phedre has an imperfect conception
OF her powcrs She IL essentially tragedish
nor would playing a hundred years In NJ. Sar.
dou's dramas make her less essentially trage
dian In other parts comparisons may be posi-
BILE; in tragedy she stands alone There Is nH
another living actress known IL Europe WHOSE
tragic powers could be put very high. And she
has far too genuine a respect for the highest ana
most difficult form OF dramatic art 70 reinqulh
such a role as Phedre. The taste OF the public q
thought TO be for anything rather than tragedy
and II probably Is. though Mr. Irving has proved
that he at least can attract great audiences con-
tnuously to see tragedy acted. But the taste Of
the public is a fluctuating and not permanent
thing 1t depends in great measure not upon fixed
views or deliberate theories Of art, but upon ths
presence or absence Of artists capable OF inter
esting the public What Is called, rather pedan-
tically, the personal equation Is prevailing
force. I do not forget Signora Duse with her
rare and admirable powers. but Sgnora Duse
a comedian. Altogether the series OF perform
ances by Nine Sarah Bernhard has never been
surpassed In evenness, in brilliancy, or In force
II may be taken as evidence OF good feeling b.
tween the two French stars now shining IN the
London heavens that they are TO give sort q
Joint party July II at the Grafton Galleries
They have agreed. says an English paper prone
70 rhetoric to unite their efforts in great social
function. A charity is the excuse; the French
Hospital in London. Here again the propneus
spirit has seized upon the writer. who declares
that Il will probably be the reception par exce'
lence Of the seasonal strong thing t. say. Ihsn
is Just enough doubt as 10 the present temper o.
society toward these Distinguished artists 70 MAKE
their experiment not only interesting but ven
turesOme. u ~ D