The sun. [volume] (New York [N.Y.]) 1833-1916, 1896-03-19

any report Of Mr.. Minis performance 10 credit
nun WITH an ambition for high thinR,; and
IL lust as much In the duty Of record 70 say that
OF ali parts, the Hdmlet Of Shakespeare seems
20 ne at the srestest distance from MS
preston, and every other quality that might
lead a man to attempt such role. His voice Is
chest the condolences for which his auditors
are waiting. His impersonation OF Hamlet lacks
imagination, naturalness. aud intelligence. Is
there any possible interpretation, OF. the part
be added that he lacks dignity and grace 10
bearing. has no power of facial expression. and
relies entirely for the appreciation Of his audi
The tragedy Jared III in most respects. There
was ar. Opheiid in MARY Shaw. who was poetic.
the pisr whlch. satisfied at once the demands Of
tradition and effectiveness. She was diRnihed,
t ar in the he' %sr q a saSiI pf Hgn ssS Of the play. There
Of most Of his familiar ,spsechcs, and
JswHett spoke we'll the lines Of Isertss. and no.
performance. In many performances Of Shake.
epeare's plays. there Is a dreadful load laid on
the dramatfst's shoulders. Few performances
ever Indicated this truth more strongly than
last nights Hamlet +" at the Broadway.
Even the song and dance team responds to
tho rivalry existing in vaudeville and tries to
give a speciality that at least keeps a new side
outside. A current essay Of this sort Is made by
the Olifans at Proctor's Pleasure Palace. As
they first appear they are Joined together to
make one Rrotesque creature. There are three
heads, topped Off by crimson wigs; three faces,
with exaggerated make-ups, aud three legs
support the figure. OF arms there is q lack,
only two being in view. II soon becomes appar-
ent that one of the two men that make up the
figure has an arm inside tho false head that
rests between the two real ones. and as 1t would
be utterly inartistic to devise q three-legged
creature with three arms. but two are on view.
Thus equipped their dance is singular enough,
and the song that goes with 1t is accompanied
by . variety Of gestures that for violence oven
Guido Lille Laurel, the present holder of tho
record for energetic vocalism. Another
portion of their speciality finds the two
men displaying their accomplishments
singly, and clad in costumes that would
of Fourth OF July "Horribles." One Of them
spends a few moments In trying to convince his
iiss OF spse ehss GDnS wa" ssd I0 afftsr he Il han ans e %a.sei
his ear. famed his fevered brow, and parted his
hair with the toe of hi, shoe. his companion
enters. The latter's feet are encased in cover
ings that look. like huge hands, between his
knees a. huge head hangs, and over his Shout
ders and concealing his head are two dummy
legs. The two engage in a scuftie. and the re-
Versed giant Is easily tipped over. as II he were
Teh,iy snHrr.I on his hands IA ! ro EinS al bcr Their ,h1
big ogre is pulled about, which is a time for
ing that a "centipede dance" comes next.
This promise is begun by that really funny. II
not highly original, preface, With your kind
lowed by n wait of a minute and q half. This is
easily explained by the appearance OF the two
mon when they again appear. Each chap has
two heads. two arms. and four legs. They sing,
"Sho truly was the rage. As she tripped about
the stage" and before the listeners have done
seeking for the connection between words and
makeup. the dance begins. Each man has his
arms inside his dummy, legs, so each has four
legs under control for dancing. With feet that
can do q clog and arms that can simulate high
kicking. involved steps result. Then when each
man winds a pair of false legs about his fellow.
keeping up a click -clack on the floor with their
heels. the number Of legs and arms Is bewilder-
ing. and the Colonel's battle with tho sQuid is
surely recalled.