The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1896-01-07
ADJUSTMENTS.
"ROmeO md Juliet"

she is invariably accompanied with an at
mosphere of sunny chimes. Her very pres
ence suggests to her countless admirers ten
der metaphors, breezes waited from mag
nolia blooms. moonlight on the lake. bar
carolles, romance and lovemaking. Not in
frequently local poets usurp the rights Of
the critics and crown the fair Julia with
graceful verses, for she is about the fairest
most youthful and most graceful OF Amer
lean women who have not strayed far from
the classic portals of Shakespeare. This alone
is enough TO compel an amount OF praise.
even from the most grudging. There has
never been very wide disagreement among
critics regarding certain gifts which Mrs
Taber almost exclusively possesses. Where
the critics bump heads is regarding her
powers when 1t comes to the expression of
high tragic character. The Tabers this year
begin their annual engagement with
Romeo and Juliet" in which they have
been received with the greatest favor and
one in which Mrs. Taber. at least. is de-
serving of great praise almost throughout
Romeo and Juliet" opens like a gentle
pastoral poem, with a touch OF passionate
coloring in the early lovemaking between
the Capulet daughter and young Montague.
These are scene in which Mrs. Taber fairly
with passion, soon suggesting the tragic
and finally terminates in wild orgie of
death. AS the tragic feature progresses
Romeo and Juliet becomes more and more
unsuited 10 the graceful, winsomeness OF
Mrs. TaberS specific ability and II Is only
by the greatest exertion that she rises to
the more exacting situations. This should
not be taken 10 mean that Mrs. Taper falls
in retaining the sympathy OF the audience.
The numerous curtain calls and some times
wild demonstrations toward the last or the
drama are convincing evidence that
she has carried everything before her.
This is due to her gracious personality.
which one must admit is thrilling, even in
her weakest efforts. There is not another
become as justly famous through her man.
nerisms as Henry Irving has with his gut
teral grunts and head shaking She surely
ments of tragic art, but she has a subtle
art that captivates. achieving by her very
weakness effects which great actors are
months to produce. This subtlety is equally
apparent whether the character is Rosa
lind. Constance, Beatrice. Viola or Juliet.
1t would doubtless fit her for an excellent
Ophela, which, II played to such roman
tic Hamlet as Walker Whitesides, would be
combination for both fame and wealth.
has no Interior designs on the part Of the
melancholy Dane. AS for Mrs. Taber's
mannerisms. where is there another who
can smile with such arch invitation. or one
of such soulful signs, or who can make so
many eyes, either gay or sad, to suit the
action; or elevate her dimpled chin so sauc-
lily, walk with such dainty steps, accom-
panying it all with quaint angular gestures
that drive elocution teachers to frenzy? In
these pretty little subterfuges you have the
key to Mrs. Taber's pleasing art. She is
typicaliy feminine, and carries it into the
heavier scenes with SO much naturalnesS
that one is tempted to overlook much which
others. This very femininity enables Mrs.
Taber to give Juliet that is unlike any
other. She has successfully endeavored TO
be all sweetness, innocence and purity. Her
lovemaking in the passionate role Of Juliet
is more OF languid, smoldering passion
than an impetuous, uncontrolled flame. 1t
Juliets of history ever dreamed of success
with picturing her such an anaemic creature.
Mrs. Taber is at her best In the lighter
quarrel with the nurse and the ever-Iiyirg
balcony episode. Her charming personality
alone saves her in the interview with Friar
minating tragedy in the tomb. 1t was in
these latter incidents that Fannie kemble
and Adelaide Nelson are said to have
the tragic side of Juliet's nature that
Mary Anderson compelled favorable criti-
cism even from reluctant critics who shiv-
cred during the garden scene. Had Mary
Anderson been gifted with Mrs. Taber's
delicate, unassuming coyness and warmth
of yielding passion history would have told
different story of the stage impression
she has left on the American public. 1t is
in sounding the tragic keynote to the fate
full doom awaiting Juliet, letting 1t be sug-
tragedy, that an actress can become
what is termed great in the part.
There is a powerful Southern coloring in
the nature of Juliet. Her innocent disregard
Of prophecies made her the toy of fate,
leading her to passionately avow her love
almost before it was asked. There is
gid over this impetuous fondness Of Juliet
with the maidenly reserve of a girl bred
In the north. That she does ii successfully
can hardly be doubted, but that she gives
us the Shakspeanean. Juliet is a question
open for argument.
The production last night was well staged
and generally well acted throughout. There
is not time to. give the proper consideration
of Robert Taber's Romeo. 1t is of an en-
tirely different school from Mrs. Taber's
Juliet. Delicate, romantic roles do not seem
to fit Robert Taber so snugly as something
more rugged, any one will admit who re-
members his Ingomar. Mr.. Taber is tech
nically good as reader, but not always
convincing as an actor.
Thomas Coleman's Mercutio has always
been a favorite with an indianapolis au-
dience and ne was generously treated with
applause last night. Mrs Sol Smith is a
new nurse in the Taber company, and the
comical old lady seems TO have grown older
in her hands without becoming less anus
ing. Dodson Mitchell makes a good Capu-
let.
Tonight 1.-The Hunchback, will be the
bill.
Park-HOpkins's Transoceanics.
When the curtain rose on the first act Of
the Hopkins Transoceanic Star Speciality
Company at the Park Theater yesterday
afternoon the house WAS packed to the
doors. Last night people were turned
away. so great is the company's reputation.
1t Is not too much to say that this season
the TRANSFORMERS are better than ever. The
acts are all good, but that of
the Rossows is decidedly the novel
feature, and yesterdays audiences greet
ed these midgets with a whirlwind
Of applause. The little fellows, Karl and
Franz, are eighteen and twenty years OF
age, respectively. The former stands TWEEN
ty-fve inches high and weighs sixteen and
one-half pounds, while the ia,rer is twenty
years old, stands thirty inches high, and
weighs twenty-five pounds. They are re-
markedly bright keeping the audience IN
and capers. Some OF their feats of strength
are wonderful. They lift weights and snap
chains with the same ease that the big
strong men" do. and the three-round boxing
exhibition that they give is a marvel. Not
OILY are they well yersed in the art OF
self-defense, but they are quick and have
some "half-hook punches, jabs and swings"
in their repertoire that would make even
Gentleman Jim" open his eyes.
Ford and Francis. the operate sketchists;
and Richfield. in their Irish comedy sketch:
Apollo who styles himself the "AdonIs OF
the wire" and Robetta and Doreto. the
Chinese acrobats. enterta lining.
Jester. the great ventriloduist, made hts
first appearance here, as did the sisters
Gehrue in their songs and dances. They
both showed themselves to be artists or
merit. The entertainment wound up with
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