The Providence news. (Providence [R.I.]) 1891-1906, 1896-04-24
IRvING-TERRY ENGAGEMENT.
Henry Irving in "The Bells"--A Remark
able Play TO Be Given Here.

Over score OF years ago Henry Irving
made the first great, absolute, epmhatic
triumph Of his career as an actor, assum-
ing the role of Matthias in Leopold Lewis
adaptation OF ole Juif Polonais." the
Polish jew entitled "1he Bells" This
play is TO be given in Providence during
the Irvipg-Terry engagement here at the
Providence Opera House, and our readers
will be glad TO have in mind the story OF
the production while attending its pre-
sentation:
Matthias, a burgomaster OF Alsace,'
ID years before the opening of the play,
has murdered a Polish jew for his money.
The murder always remained mystery,
but on the 10Th anniversary, friends, while
talking in Matthias house recall the
event. At this juncture Matthias hears,
as in a dream, the jingle of the sleigh
bells which were on the horse OF the mur-
dered man, and when the guests have
departed sees his victim In vivsion and
swoons with fear and terror. At the sign
ing OF the marriage contract OF his
daughter ana her lover, the sounds again
break on him and he joins in the dance
and general gay merriment in bis house
with reckless gaiety. lie recalls the fact
that shortly before,a mesmerist subjected
him TO his influence, and fearing that
in his sleep he may tell his story, locks
himself i'm a bedroom alone. Falling
asleep, he dreams He Is in, court OF
justice dimIy lighted, the judges looking
like phantoms In the gloom. He Is ac-
cused OF the crime, but denies it boldly.
The mesmerist whom he fears is brought
into court and ordered to put him TO
sleep. In spite OF his efforts to resist he
succumbs to the influence, re-enacts the
crime, and when be awakes is confront
ed by his deposition, and hears the de-
cree thst he is TO be hanged by the neck
until he is dead. The vision fades; morn
ing comes; there is loud knocking at
his door; receiving no reply, his friends
burst it open and enter; he springs from
bis bed, falls into a chair, gasps out,
"Cut the rope, and dies.
No more terrible picture OF fear or re-
morse could be conjured up by the wild
est Imagination that what MIR. Irving
gives in the third act during bis dream.
The whole story which he tells, passes
before the spectators. You watch him
robbipg him OF his gold, taking up the
body, throwing IL into the lime-kiln and
watching 1t until II smolders into ashes.
In enacting the Tragedy he cannot re-
strain himself; he grovels, on the floor,
he passes through parxysoms OF fear, bis
scream has an uncartbly sound, the gray
eyes of his victim, glaring on him from
the furnace, pierce his very soul; he
shivers and sbudders and then sinks into
his chair motionless and exhausted. AS
one writer says: "Whether this scene
lasted 10 minutes or an hour, we know
not; a whole lifetime seemed to be con-
| centrated into 1t the spectators sat hushed
and spell-bo in the darkened theater
watching that gas;ly figure, and when
the lights were turned up, an audible
Sigh OF relief was heard, as IL all present
felt that they too, had been under the
spell and were actors In the drama. Never
was success so complete and undeniable;
IL showed what triumph the physical
expressions of fear and remorse can have
over the mental thrilled nsturej it was q
psychological study; while 1t tried il
charmed and told its lesson In trumpet
tone.