Richmond dispatch. [volume] (Richmond, Va.) 1884-1903, 1896-12-27

I being absorbed and enthralled with
agony Th- individuality Of the actress
seemed swallowed UP IN the identity
which her ina misunderstanding through the
. hcar1-made real. Il was "a kind OF act
ing that had no apparent laws, ana could
/ be tried by no standard. The artist felt the
grief she undertok to convey. ana she
! allowed her expression Of It 10 follow the
current Of her feeling, without heed 10
/ form or 20 method Of utterance. Having
/ seen her several times IN tie character,
however, the auditor would discover that
I'm fact she followed the same general
line Of action upon all occasions-wnlch
means that tho exciting cause being the
same. her nature would utter itself In
tho same manner. Il seemet evident
3 though that neither intellect nor artistic
/ purpose had much to do with the result
/ The mechanism wa. almost chaotic. Con-
tortions OF tho body. commissions OF the
/ face. dispr0portionate attitudes eXtrava-
CANT gestures spasmOdic starts and
d changes. and iuiescribable wild means
/ and cries were eommlngled in that Won
derful embodiment with moments or
/ sweet dignity, lovely tenderness, exalted
/ fortitude, ana ar exquisitely simple eX-
| preston Of simple emotion. over the
whole effort there was a lawlessness or
/ o genius that r. q law to itself; and the
/ effect Of the effort was that or perfect
| pathos.
There are actors who feel and there
i are actors who do not feel, and the same
results % realism are produced by both.
+ Cara Morris belonged 10 the former class.
There was a deep vein Of rich humor
IN her nature that forms its relief; but
/ there seemed 10 be little or no capacity
Of that Intellectual isolation Of herself
-rrHI how mol .NfIf
her at all times 10 modulate the express
SION of feeling with the absolute propriety
and refinement that maintain It's un-
broken beauty without impairinS It's
power. Clara Morriss exposition OF the
remorse that IS felt by the sinner, and
the torture that she suffers IN living q
false life under the eyes OF moral re-
sentiment and Indignant justice, were
overwhelming IN its bi-ter truth. The
curling Of grief and Of passion in the
scenes Of trial was accomplished with an
affecting tragic power The expression
OF the strong VIII wns intense and noble.
The portraiture Of the peevishness OF
sickness. the half imbecile tone OF
Z wandering nina. and all the presaging
oenotenents Of mortal dissolution was
wonderful in fidelity. The performance
was a memorable reflex Of the indl-
vlduallty of genius, an extraordinary dra-
matte achievement and cogent and
pathetic moral lesson.
The next concert Of the Metropolitan
Series has been arranged TO take place on
the 10Th OF January at the Academy OF
hfuslc. This concert win introduce TO
the public 10 less a light than Madame
Camille Urso. who Will be supported by
Miss Carlotta Deyignes. Mr.. Edwin
Douglas. Mr.. Conrad Behrens, and Mr..
r. SOnnekal.
A. q violinist. Madame Urso stands
to-day a model for many Of the vrtuosi
who have caught the popular ear and live
In the sunlight of popular iavor. Ia her
case the idea OF sex. which so often OBJ
trudes itself and modines critical
Judgment. il never thought o. Beethoven
onco complimented a Prince OF Prussia.
who was an excellent performer and
composer by saying that nc did not play
like a prince. but like a musician. 1t
would not do 20 say OF Madame urso
that she does not play Ike a gitted Wo-
man, but Ike a man, for the speech De-
sides being ungallant. would lift many
masculine artists TO a plane which they
are not fitted TO occupy. 1t is better, per-
hans. 20 paraphrase the remark OF
Beethoven. and say that she does not
play Ike either a man or woman, but
Ike a sound, noble, earnest, and inspired
musician. Her playing IS innocent OF
every vice, It IS rich IN every merit
The programme for this concert VIII
be even better than the last, and the con-
cert will gain additional interest from the
fact that Miss Carlotta. Des Nignes, the
prima donna contralto. who made SUCH
a hin at the last Worcester festival, VIII
be Madame Urso's leading support.
Albert Cheyalier, the coster singer VINO
has secured an enormous reputation by
doing remarkably well a thing that no
one else has ever thought of doing at all
made his debut as music-hall singer
February /. 1891, al the London Pavilion
and created a remarkable impression by
the novelty of his work. Prior TO thdt
time tho coster type had never been seen
on the music-hall stage. II was sup
posed TO be too common. colorless, ana
ircoberont TO warrant imitation, and thus'
while other London characters were
nightly either burlesqued or initiated, the
coster was quite neglected. 1t was wnile
playing IN the buriesque aladdin" at the
strand that Chevalier sang his first coster
song "The Coster Courtship," and II met
Win so much success that he felt jusu-
0sd in developing his new lead. knocked
'Em in the Old Kent Road was devised
,or his music hall debut, and since tnat
niebt he hs been tho recognized as
coyercr Of a new field in the DOMAIN oi