Birmingham state herald., 1895-11-01
KEENE IN HAMLET"
The Melancholy Dane at 0Bren's as Presented
 by the Scholarly keene.

Last night Shakespeare's masterpiece was given, with Mir. Thomas Keene in the part of the melancholy Dane, role fdentifed with his fame. Perhaps no character in the whole range of the drama has been so criticised, discussed and quarreled over as Hamlet" There is scarcely a scholar or an actor who has not his own pet conception of characte which yet, With its wealth of comment and explanation, is as little understood now as in the days when its immortal author trod the boards. In fact, it is doubtful if Shakespeare himself under stood Hamlet.
 Sometimes genius confounds analysis by appearing as an independent force for which the mind of its possessor is a medium, not a master In such mo- anent as this was Hamlet born, and the critic must dissect inspiration to analyze his character. He has been the rock on which many a promising dramatic rep utaton has been wrecked. and few flames are there which have made on this rock a sure foundation. Generally strong dramatic character is our making, com manding or moldlng circumstances, act ing on others, directing events, or in- f1uenced by them, in the way of energy and action.
 Hamlet is the antithesis of all this. It Is the power of intellect rather than of passion which makes him a moving IOrCe, the QeNelOpnenl or TeHeCIlOn, more than of action, which outward events bring out in him. The bodily tragedy which is his death Is but a faint reflex of the mental tragedy which has clouded his life. In other characters we see them looming out through outward agencies into our comprehension. In Hamlet we go from outer light into dark and uncom- prehended depths. No mere talent can embody this incarnation of intellect; it requires genius
 Mr. Keene's representation of this weird creation of the poet is familiar to every theater-goer. In the bitter, mor- bid self-torture of the character one would say that he was the man destined from the ages to play Hamlet. The no- ble poetry of the part Is well set in the rich, full tunes of his voice-a gift in which he is not approached by any actor on the stage.
 His sardonic humor was almost saw agely touched, maintaining mastery of fhe character throughout. The tender hess shown Ophelia in the scene when he seeks to protect her spotleSs innocence. even from his own dark passions and stormy war with his mother, in which he tries to wake remorse and penitence in his heart, was well and finely expressed; it was as effective as a strong light thrown across @ strong shadow The conception of the character showed the realization of the poets ideal. There is one thing which Keones Hamlet shows that the true actor is more than an inn personator he is an interpreter.
 Of the supporting cast 1t may be said briefly that such a scholarly Laertes a MT. Lowell, such a dignified and genial Polonius as MT. Shrendt. such a vigorous first actor as MT. Melton, such a woman 1y and impressive queen as Miss Timber man, and such a refined and lovely Ophe. lia as Miss Gallatin can rarely be found together, while the ghost of MT. Hennig was all that could bd desired. The player queen of Miss Baker was also above the average, as were the remaining charac- ters. In fact, the public need scarcely be told that the company MT. Keene has surrounded himself. with is one of the best and most evenly balanced ever or ganized