New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1894-01-09
THE DRAM1-MUSIC

FRENCH COMEDIANS IN mos INTlMEs."
The second week Of the engagement OF the French
comedians at Abbey's Theatre was begun last
r,cbt with a performance Of mos lntmes." II is
a good play diminished in artistic value by the
pushing to their furhest limits of certain farcical
motives which VI. Sardou must have introduced
IN fit Of splenctlc rage against the bourgeois.
The farclcal side of the comedy is emphasized by
the present company. and especially by NJ. Coque-
lin himself who enacts Marecat. the malicious and
cowardly mschief-Inaker. But as a whole the
work is we'll given. In restoring it on the Ameri-
can stage TO the French tongue and to French
scenes NJ. Coquelin and Nine. Hading restore TO
81 the air verismilitude II was in danger of los
Ing In the last English version made familiar here.
the play called Peril" which Mrs. Langtry pre-
scented in 1894 The action OF the comedy is sus-
tanned IN great measure by a number of informed
ding and wholly false friends. OF whom Mare
cat IS the most oficious and the most detcstabe.
These fall inharmoniousiy into such a picture OF
English manners Mrs Largtry aimed to produce.
The episodes of social life through which they
are introduced would be impossible in England or
America. Strictly speaking. they would be impossi-
bic in France. No French gentleman would
impose upon his family men like Marecat
or the acrid NJ Vigneux. Yet NJ. Caussade,
the much-abused husband and host. is himself
bourgeois type and famous French writer has
left IT on record that tremendous things go on chez
lie bourgeois If NJ. Sardou was justified at all III
placing group o! noisy and vulgar people on the
stage he was justified in doing so to satirize the
nojsiest and wOrst-mannered figures OF the french
middle class. There was. on the whole a piauspie
tone TO the play as 1t given last night. tone
which was not disturbed by the almost burlesque
actions OF two or three Of the characters 1t was
brisk and stimulating. Its production was de-
pendent chiefly upon the efforts of NJ. Codueln
md Nine Hadng, but also, in no slight degree
unon those OF several other members of the COM
pany for there more than two good parts III
the NAV Thoosan, the elderly doctor or aiillapie
disposition and benevolent expedents. mpersoha'eu
by NJ Jean Coquen, is hardly less interesting imam
Marecat himself. and both these characters are
e,ua,,ed more or less In humorous significance, by
Caussade the innocent pivot around which all the
Intriguing in the comedy revolves. Maurice inc
scapegrace, who is the fox In NJ Caussaue 40
nestle preserves. was made falrl! engaging So"s
scamp by Charles Coghlan when the latter pia!eo
the part in Mrs. Langtry's company, but NJ Maury'
1,ho susta,ns the character in the French cast
succeeds in doing more than mystifylhg 'he au-
dlence as to the source OF the heroine ; i"la'u
ton He makes Maurice curied adolesceh' WIN
more Of the attributes OF cad concentrated IN MS
person than commonly are revealed IN rascai oi
twica his inches 1t was distressing 10 see Nine
Hading listening to his sentimental advances ms
rest OF the characters were IN good hd"uS, an" ~
representation gaze go9Gd nonny Hf Moderately
We'll organized company of French actors. =,
,yi M,e and aurement Few parts become her
better than those in which she uses the unforced,
srtless W ha Is OF s,ronS indeed she IS at
est in part like that OF Clorinae wn,E s IN her
te ten But she always owes part OF her l,
triumph to an hides .ribabe charm and This charm
like tsslle She is IS then nas sxa she y
oye4D%ns sh With Il sSmpahy for
happens to cross her path There is a trace S Oa
seassa With IN M asr ast night Which is
at once comic and Impressive u! 'e pass,on viii
destroy das his health she emitted her terror cry
Of feeling whcn was SeS are Revealed by
her from time to time. under the stress OF aoroHs
Of her io.S.itess ana tender, caressng ways. And.
moreover, she finally manages 10 Va a,n nes
last night at her best Early In the boudoir scene
OF the third act. just before Maurice enters 10 ind
of fragile body ana gentle nature Through the
moments Of fear. struggle imploring weakness anu
ton OF surprise. she indicated the depths OF a
rich in eSt T and sneT IN The re coss
and boiling of the window upon the conteInptiple
her wornan's wit was climax which amply de-
served the plauds 1t evoked: ,,
lines and to leave that of Thoosan to his son:
as gives II sRs his f prnepa claim to
e es of w 9s 4. hm Pix e nd perhaps
prove more n ter d. The anei cs Ss
very finest creations would stand him in good
stead In the impersonation Of a reticent masterful
man like TholoSan. man OF incl5ve laconc
speech and mperturbable repose. For as such
man Tholosan Is best interpreted. Mr. Frederick
E.crill proved this in his rendering OF Dr. Thora
ton. the English equivalent Of the part He made
1t one. of the best in the play 1t is conceivable
that NJ. Coquelin would have taken a similar view
Of the character had he studied 1t at all for the as
sumption Of superiority and calm power which
it justihes IL such as appeals to him
strongly. NJ. Jean Coqueln imagines Iho!osan
as voubie as the vociferoas II; Caussade.
ard that Ia saying a good deal II must
be admitted that granting his view OF the part.
his execution is admirable His air OF nonchalance
convincing. His entrances and his exits were
made with the aplomb which is Characteristic of
the god from the machine; In the third act. when
discovery of the catastrophe in the boudOr seemed
imminent. he carried off the scene with such ease
and assurance that the response from the audience
was as Il was spontaneous. The Marecat
Of the elder Coquelin s played on very broad lines
OF comedy. There is warrant for this in the text.
The actor who undertakes this part with dnidence
or with an inclination 10 correct its extraVagances
would have difficult and thankess task: VI.
Coquelin never falters in the enormous impudence
ana absurdity Of the part lie was repulsive IN ex-
ternals. and appropriately hateful IN The accent
which ne gave TO the caustc lines intrnsted to him,
but he never ceased TO be comic. ana therefore TO
maintain his position the stage. His presence
gave large strokes OF color to the general effect or
each which he entered