The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1895-01-02
A MAsTEKLY PERFORMANCE.
Kecne shows Hts Uaimpaiaed Power
in the Rendition or Hamlet.

Inc Hamlet or InDnidS keene at the
Seattle theater last evening was a revela-
ton TO the Shakesperian student, and was
listened to by an audience that sat appar-
emily spell bound through the most thrill
ing passages of the great play. The con-
yersational tone and manner free from
rant and all stsperfiliity OF voice or ges-
ture was the pleasing characteristic
marking the entire Interpretation, and at
the telling points enabled the actor TO
throw a deitcacy and depth of meaning
into his lines that never before had been
apparent. After The tragic clfmaxes the
audience would pause for an instant 80
come back TO realization that after all
it was only d play, and then would respond
with most hearty demonstrations of APP
piause. Mr.. keene was in excellent voice.
giving the falsehood 10 the report sent
out from Sacramento last week and even
his lowest whispers were distinctly heard.
The departure from the old interpreta-
ton was perhaps most strongly marked in
the famous soliloauy, which Mr.. Keene
delivers wllile reclining at the foot of
the throne and in a voice verging close to
whisper. but every tone distinct and
audible in the silence thar reigned The
g
have been termed perfect self-connuu-
ions, the expression of what trarlspsres
between Hamlet and his moral sense, the
effusion of silent meditation. The trans
formation Of Hamlet from grieving son
into an instrument of revenge begins With
the Every like, very like" in the first act.
and becomes perfected In the exclamation
20. my prophetic SOUL when the sad
story OF the fathers taking of dawns
upon the son: and from that fIaosaent is
marked the growth of the determination
to set the time Alright. In the scene with
Opheiia there Is still an absence of empty
defamation or raying, and every word,
every movement, is fun of meaning Dur
ing the strong dialogue between Hamlet
and the queen the most vehement de,sv-
cry OF the lines took place. but after the
appearance OF the shade Of the king the
actors voice softened, and the scene
closed after contrast of expression that
marked an Interpretation of wonderful
strength
ophelia, bf Miss Lawrence, was a mas
terIy performance. She threw into the
character all the perfection of her art.
ard, like Mr.. keene. einbellisheti it with a
wealth or critical knowledge Of what the
part requires. An unexpected touch was
given when she sank helpless under the
influence OF her maiady. and being lifted
up by I.aertes and the queen. she recoils
from the latter as from polluted crea-
ture and with a scream OF horror throws
herself into the arms of her brother.
Laertes was given by MIR. Arden, who
used a fine voice 10 advantage In the Inn
petuous passages. and was all that the
part required OF him. Gertrude, che queen,
was assumed by Miss BeamaIl. whose mo-
her for that role. and whose acting was
second only IN Mr. keens's. Hora-
<io by Mr.. LEVEL was SCHOLARLY
and finished, and tho tiresome aud
voiuble Polonius. BY Mr. Arehrrdt,
was very acceptable The ghost
was given by Mr.. Hennig. who rendered
the passage beginning. Il am thy fathers
seemed 10 echo from the galleries. Cland-
Jus, the king, was assigned 10 Mr.. Eagle
son. and the players TO Mr.. wslpoIe, Mr..
Roberts ami Miss Downs. MIR. walpoio
rendered his speech as 10 Hecuha so we'll
that he was given an encore. Rosencranz
and GuilienStera were represented re-
spectiyely icy Mr.. Crawford and Mr..
Arehndt ard Mr.. Bennett
Tonight the public viii be given an ops-
portUnity 70 witness Mr.. Keenes master
~ portrayal Of the cunning French King
Louis NJ