St. Paul daily globe., 1896-04-27
AT THE THEATERs.


That Mr.. Warde has given the tragedy an
appropriate setting, that he has mounted it
with an attention to detail and regard for
all the historical truth ascertainable, is not
an achievement to excite the wonder of the
theater-going public. Mr.. Warde long ago
earned the reputation and the respect due
the actor who approaches Shakespeare with
intelligence, "close denotement," keen appre-
citation, reverence and love. Mr.. Warde is
an ardent student as well as an excellent
actor, and the American stage Is fortunate
In possessing in him one of it's few conserya-
tors OF AL that is nobest and greatest in the
drama-of all that Is fruitful Of the highest
and deepest thought
Lamb. Hazlitt and other acute and discern
ing English critics of the early nineteenth
century and the close of the preceding CEN
tury have doubted the possibility of repre-
senting king Lear" upon the stage. They
have contended, with much show of reason.
that the sublime and massive poetry of this
monumental tragedy, the grandeur of It's
thought, the overwhelming power Of its DOM
lnant character, are necessarily dwarfed and
Delfttled by stage representation They
argue that the actual enacting of the tragedy
before the physical eye produces an effect
rar less absorbing and inspiring than the
solitary reading of the work in which case
1ts beauty, poetry, strength and grandeur ap-
peal to the soul through the minds eye and
visions SO brilliantly as to stir the soul to
lts profoundest depths. However true this
contention may be in the case of the
ultra imaginative reader 1t should be
remembered that these essayists of the
past knew not the theater of the present
doubtless the storm scene on the heath,
as Charles Lamb saw it eighty years ago.
made King Lear seem quite ridiculous when
he cried: elbow, winds, and crack your
cheeks" The effects produced on the mod
ern stage would astound the shades of these
departed critics if they could behold them
and they would no longer insist that Shakes
peare's tragedies were not intended to be
acted.
Mr.. Warde's production of "King Lear
is characterized by the same scholarly judg-
ment and fidelity to the period and story
noticeable in his previous efforts. The storm
scene is managed admirably. The thunder
and lightning, wind and rain are so real
fstic as to render the scene worthy of King
Lear's apostrophe to the elements, and there
fore make it impressive. The stage set
tings are in conformity with the ancient
period, and the back drops are beautiful
specimens Of the scenic artists brush.
OF Mr.. Warde's impersonation of King
Lear, much may be said in commendation.
The actors conception of the roll is thorough
ly in accord with the text. 1t is vigorous,
Herculean that of certain famous play
ers who have surpassed Mr.. Warde in point
of mere physical stature, strength and big
ness Of voice. But there is nothing in the
text to denote that Lear is a physical giant.
This popular impression is largely based
upon the storm scene in which the tottering
old man apostrophizes the turbulent ele-
ments. Naturally the theater goer expects
Lear to outthunder the thunder, feat be-
Warde's Lear should not be assailed upon
this ground, though, doubtless, if he possessed
a phenomenal physique, it might find greater
favor with the people at large.
Mr.. Warde's portrayal is entitled to emphatic
praise for it's smoothness, consistency and
artistic finish. That the pungent, profound
and eloquent speeches were delivered with sig
nifcant emphasis and full appreciation of the
wealth of meaning in every word, 1t is al
most unnecessary to say of Mr.. Warde. 1t
was noticeable with what skill and sympathy
the actor revealed the querulous disposition
and childish nature of the old man. Mr..
Warde was most effective in the mad scene
with Gloster and Edgar, and at the meeting
with Cordelia. His portrayal of the fond,
foolish old man. was indescribably touching
and pathetic.
The company rendered adequate support in
the main. Charles D Herman infused the
role of Edgar with much spirit and sympa-
thy and Beverly Turner contributed Wig
orous and wholesome impersonation of that
fine and noble character, the rugged old Earl
of Kent. Harry Byers was satisfactory in the
role of Gloster, and is especially to be COM
mended for his distinct enunciation. John
G. Hickey was fairly good as "The FOOL
and Charles Sutton made an acceptable Ed
mund, though his characterization lacked
color.
Miss Portia Knight impersonated the noble
Cordelia with becoming gentieness of man
ner. The ungrateful roles of Regan and
Goneril were assumed by Miss Lucia Moore
and Mrs Isabelle Waldron, who proved ac-
ceptable.
Tonight and tomorrow Mr.. Warde will re-
peat "King Lear" Wednesday afternoon
.JuIius Caesar will be the bill, with Mr.
Warde in the role of Brutus, and Wednesday
night Mr.. Warde will present "Virginius."
John ]. Burke and his company made a hit
in 'sThe Doctor" suggestion of Kate Castle
toms ''Crazy Patch at the Grand last night.
Burke is one of the cleverest comedians of his
class that has been seen in st. Paul in a long
time, and the large audience was kept in
rear of laughter from the time the curtain
raised until it went down the last act
1.-THE Doctor" is not play, but combina-
tion of ludicrous situations built on ridicu-
lous circumstance, giving opportunity for
lot of specialties William Smith, an escaped
lunatic, turns the tables on DR.. Arthur Sulli-
van, one of the doctors at the asylum in
which he has been confined. He meets the
doctor in the house of Jupiter Tubbs and has
him placed under restraint, on the ground
that he is the escaped mnatic. He then pro-
ceeds to administer all kinds Of treatment"
from mustard plasters and ice-cold baths to
decoctions of nitro-glycerine, until the poor
doctor has been ''doctored'' almost to death.
OF course Burke is the main floor, cellar and
garret, so to speak, of the performance, and
he is a whole team in himself. He has an
easy, graceful manner of doing the most ludi-
crous things, and one can hardly avoid think
ing that much of what he does and says is
spontaneous; that some new bit of humor has
just occurred to him and he has worked it into
the performance. But, unlike many Of this
class of shows, the star is not the only artist
who can excite a laugh. John Magee, as the
reliable policeman; Miss Alma Earle, Miss
Grace Forrest, Miss Ida Valance and Miss
Edith Ward are all clever specially perform
ers, and shared the applause with the star.
Edward Eagleton sings song, in which he
initiates very cleverly the various animal
sounds heard on the farm. Eagleton sings
fairly well, and the song made a distinct hit.
The buriesque bout with the gloves between
Miss Forrest and Burke set the gallery gods
wild, and they were called out again and
again, until Burke finally apologized for the
refusal of Miss Forrest to come out any more
saying that she had big washing to do after
the show. The same bill continues throughout
the week.
NEARLY FOUR SCORE.
Local Odd Fellows Observe vener-