The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1896-03-06
AMUSEMENTs.
louis James as Hamlet.

Seattle has within but brief space had
the opportunity of witnessing the perform
ances OF two tragedians. the first TO come
being heraided as 1.-The greatest living
American actor" and the second. the one
who appeared at the Seattle theater last
night as Mr. Louis James" Ii was not
intended 10 draw attention TO the circus
poster kind of claims upon public atten-
ton of the one. or the gentlemanly self
Introductory of the other. had not the con-
trast between the men themselves. as
men. and not as actors. been so forced up
on one In the distinctive manner each has
shown in his address TO the Seattle public
from the stage. Each had 10 express peas
ure that in the far West love for the old
classics of the drama still remained true
and honest: each had his own Individual
manner OF expressing this pleasure and per-
sonal satisfaction. Thomas keene- came
out with a smile and a smirk Ito shake
leg" and talk of box office receipts and
hold a sort of colloquy with the gallery,
Louis James last night spoke straight TO
the intelligence of his audience. and fiat
tered that intelligence. 1t was brief
speech that Mr.. James made. but IL was
respectable and manly. not slangy ana
familiar il was couched in scholarly words
and breathed an honest pride that he had
succeeded in his art. while yet modestiy
disclaiming anything but his satisfaction
nave always been received in Seattle with
such appreciation and enthusiasm" Now.
both men are actors of long experience.
public men In the habit of making az
dresses. with the sole object Of winning
the personal appreciation which forms To
some extent their stock In trade. but one
of them undoubtedly made mistake.
Which one?
Louis James gave what some quarter OF
a century ago might have been called the
student Hamlet as distinct from the suited
Hamlet lust kicking out OF the swlddiing
clothes OF stage tradition. But IL is by no
means a new Hamlet today, for Henry
Irving the great student, does not play
him as the mad prince. nor have others OF
recent years made his madness the appdr-
ent aim of Their representation. Mr.. James
has simply followed in their steps, going,
perhaps stiIl further, and he gives Ham
let who is always sane. who may fool, or
appear 10 fool. his uncle, the usurping king,
and old Polonius. with his madness, IN
which there IS much method" but 1t never
for a moment fools the audience. 1t was, in
ALL a mastery performance, unconvention-
al in parts, particularly in the delivery OF
the weIl-known soliloquies, but these new
readings really seemed 10 show minor lights
on subtle meanings. and were at least al
ways acceptable. His acting was easy and
graceful az all times, ''suiting the action to
Although Seattleites are Seattletes. as Mr.
Keene would say. there are many who have
seen most of the famous Hamlets OF the
modern stage, and yet the performance OF
Mr. James gave unbounded satisfaction.
He was recalled two or three times after
each act and warmly applauded
The costuuling was a point that had not
been lost sight OF. either as TO its hiStori-
cal correctness or its effectiveness in the
splendid groupings the play lends occasion
to: and the scenery, also. was in thorough
harmony. OF Mr.. James company. how
ever. the highest praise that can be given
them is that there was an average smooth
ness in their assumption Of the various
roles, and no individual merit
that shone ont with particular brightness
Polonius. Harry Langdon. had careless
makeup. 4 partial impeachment OF speech
and a method Of speaking that. In the ad-
vice 10 his sOn-the lines Of which nearly
every schoolboy knows-was not at all
Shakespearean. Miss Alma Kruger was
very gentle opheIia. and William Harris
was at times good as King ClaGdius Collin
Kemper WAS the Horatio and Guy Lindsey
tbs Laertes