New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1894-01-13
THE DRAMA-NUSIC
"TARTUFFE" AND LES PRECIEUSES
RIDICITI.ES"

Plays to themselves. far as their present
engagement is concerned brought forward by
the French comedians with frequency that
fleets advantageousy upon their enterprise and
versatility Last night the modern repertoire was
for the occasion abandoned and the largest audi
ence which has greeted NJ. Coquelin and Nine
Hadng since the opening night gathered in A5bey's
Theatre to witness two comedies of Moiere. The
double bill permitted VI. Coquen 20 appear in two
parts and show the great extent of his range. lie
passed from the bitter and piercing satire crystazed
In Tartuff in the play of that name. to the purrnS
Stiffness Of Mascarille in Les Preceuses Ridcules.'
and in the transition he preserved the fascination
of his art intact. OF the two representations 1t
would be hard. IL it necessary. to name the
finer but the Tartuffe claims precedence on the
score Of greater depth. The character is one OF
forbdding aspect. Jesuitical of visage and sick
enngly pious in discourse. the impostor affects
the observer might creeping thing The depths
of his scnsuality and hypocrisy abysinal Ana
the malignant tenor of the part Is increased by
the suggestion of sinister power which NJ Coquelin
imparts to it, He presents Tartuffe as man oil
placid and almost inert temperament, from when
the prOmptings of animalism and malice leap ior'h
herCely. and yet with faint of sluggishnesS that
Is even more hdeous than frank libertnism lie
gives him also a touch of humor, as Mollere IN
tended. and as his own comic instincts would in
eyitably suggest. But humor In TartuHe
himself, or in the through which he
moves dispe the sombre atmosphere III
which he is enwrapped. The part Is meant
be repclicnt. and II is so without any eNlehua.
ing qualities. It rendered inirinscaly pow
crfu by NJ. Coquolin. and st!ll more striking y!
Nine iiading in the contrast which she hlauc ~
it's side. she conceives Elmire matronly person
magnihccntly. All her movements, as Tartune
presses beside her. in the two great scenes OF tl,
play are expressive OF the loathnG felt by woman
of gentle birth at contact with sucn reptlle H'i
lines in the comedy call for no great display OF
strength. but they demand a very deft manage
ment of facial expression in the love passages acteu
in order to entrap Tartuffe and here Nine HadlhS
rich in the resources OF art ana Oh hdtui" al
charm. -
The Mascarille of VI. Coquen is his most mex
presSlOlN comic achievement. The play stlilSS uI-
mercifully The follies of the time for when
IL composed. but gayety pcrvadcs the plecee
and the Incompatible hero OF the lHproihiIru ,
brings nothing but merriment on the stage. ne
polish Of NJ COQuen's method IS generally 10 .,e
perceived In this character he loses himself utterly
and olls the chair between his TWO absurd inter
lOcutOrs with an air Of life that Is as true as II -
funny In this comedy also he exhibits win par
ticuar copousness and hnality the variety OF ms
gestures and the vibrant quality OF ms voice.
He remains seated most Of the time, yet ne Is q
ceaseessly changing picture of dandi,d cont,h,.
ment. He assisted by good GorglbuS liS'
night in the person Of NJ. ChamcrOy. In Tartunc MS
most adequate companions. after Nine. Hadlhs'
were his SON who played OigOn cleVcrlN II not more
than that and Nine. Patry. who was really al
mirahle Dorinc in nearly al her scenes. She Vas
especially successful in her pantomimc .lNsodt =.
But Mmc. Patry made sad havoc OF Moherc :
Aexandrncs. declaiming them In stridGn' snip
snap that was an afliction TO the ear. The com
pany. as a whole is III prepared TO cope with the
grea' dramatists verse.