Birmingham state herald., 1895-12-22
THE THEATER THIS WEEK.
Four Nights of Good Acting Promised-0'Neill
 and SaIyini the Attractions.

and Salvini the Attractions.
 OBrien's opera house has been dark the past week, with the exception of Fri day night, when the ladies of the church of the Advent gave an entertainment for the benefit of their church.
 This week, however, promises to be a lively one in theatrical circles, and Man ager Theiss is to be congratulated on se- curing such splendid attractions for the holidays. The bill for the week is as fol- lows:
 Monday and Tuesday nights, James O'Neill; Thursday night, Tulane Glee club; Friday and Saturday nights, Alex ander Salvini; Monday and Tuesday nights, December 30 and 31, Minnie Mad dern Fiske.
 "Virginius'' and Monte Cristo.''
 From the romantic to the tragic drama is jump that few actors make success fully; the impetuous, insinuating, tender and flexible qualities requisite to play TO- mantle parts are seldom found alongside the dignified, composed, stern, and au- gust characteristics of the heavy trage- dian. An actor, therefore, who possesses both is rara avis, who certainly does not flock with the common herd It is not enough that an actor is capable and talented, and blessed by nature with an undoubted possession of the divine spark; he must also have served long and served honorably in the hard school of dramatic training. At the present time there are very few actors left on the dra- matic stage who belong to the class that was uttered by such men as Edwin For rest and Edwin Booth, and enjoyed the honor of playing opposite to such ster- ling artists as Charlotte Cushman and Adelaide Nelson. Prominent among the few actors who are left stands James fnftc American stage has been one chain of artistic triumph, gained as well in the romantic as in the classical drama
 MT. O'Neills greatest monument is Ed mond Dantes, in Monte Cristo," a ere ation that has few parallels on the Amer ican stage for continued success but long before Dame Fortune put Alexander Dumas strongest play across O'Neills' path did she continue to favor him in winning distinction as an ideal actor in classical parts. Adelaide Nelson said that O'Neills was the best Romeo she ever saw, and Edmond Booth pronounced him excellent as Othello in "Iago."
 Very little not already known can be said of ONeill in "Monte Cristo." The stirring romances contains in itself the best elements of dramatic success. From the moment that the dashing sailor boy Edmond Dantes, jumps off the ship Pha- raon in the first act until the curtain
  Ter and the Count of Monte Cristo in the last the play is one series of stirring incidents, effective climaxes and charm ing pictures.
 MT. O'Neill has staged it in his usual extravagant manner, a carload of scen- cry being carried for the two productions of Monte Cristo" and "Virginius." Much has been said in praise of O'Neills Vir- ginius. Contrary to the methods of other tragedians before the American public MT O'Neill eliminated all buster and ranting from his acting, and speaks the sublime lines of Sheridan Knowles with such musical charm as is very rare ly met with nowadays. O'Neill has not been unjustly called the silver-tongued actor, his voice being as fresh as ever and as clear as bell. He has the build of a tragedian, being powerful and grace full, and at the same time dignifed in bearing impressive in action, volcanic in his sudden outbursts of passion. ten der as woman in his expressions of pa- thos, and during all moments sincere, convincing, lofty inspiring and artistic.
 MT. O'NeilPs company is composed of artists who were selected so that their abilities should enable them to do equal justice both to Monte Cristo" and "Vir- ginius."
 For his engagement at OBrien's op- era house, which begins tomorrow night, MT. O'Neill will present his highly praised performance of "Virgi Nus," while "Monte Cristo" will be pIayed Tuesday night
 Sa]vini.
 The reasons for MT. Salvni's continual rise in popular favor are manifold, and if there is one more than another, it is because he occupies about the same re- lation to the stage as Stanley Weyman. author of "The House of the Wolf" and Anthony Hope author of "The Prisoner
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