The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1896-09-10
AT THE THEATERS.

Shakespeares immortal love story, Romeo
and Juliet" was enacted at the Metropolitan
opera house last night. Otis Skinner imper-
sonating Romeo. Considering that the pre-
sentaHon was in no sense a scenic produc-
tion, invested with the rich and picturesque
surroundings and appointments that are so
appropriate to this tragedy, the performance
merits much praise for Its faithful reflection
of the exquisite beauty and sentiment of the
work.
In Mr.. Skinner the public beheld a Romeo
who commands much respect for his man
hood as he does sympathy for his love and
his grief. The effeminacy which Is so apt
to characterize the representations of this
role did not appear In Mr.. Skinners inter-
probation, yet the actor was entirely success
full in revealing the nature of a love-sick
youth. After ALL the dominant quality Of
Romeo is the passion of his love for Juliet
not In the gross sense OF the word for that
passion Is commingled with a sense of rev.
erence which Is Invariably the chief attribute
OF true love. Between Romeo and Juliet
there existed love so complete in its mu-
tualtty, so absolutely unselfsh, that death
could not separate the lovers but only in
tensify the alteration of each for the other.
At the present writing Romeo is the Shakes
perean character In which Mr.. Skinner I'M
questionably excels. He is in full sympathy
with the sentiment, fervor and spirit Of the
young lover, and he executes his conception
brilliantly. His reading and action in the
balcony scene will long be remembered here.
1t is not an exaggeration to say that Mr..
Skinner portrayed an ideal Romeo in this
scene. In form and moving, how express
and admirable In the subsequent portions
of the tragedy, calling for the exhibition of
fiery passion, as in the killing of Tybalt and
Paris. in the scene with the apothecary, and
last of all in the sublime poetic climax at the
tomb of Juliet Mr. Skinner manifested the
keenest. sympathy with the character, dis
playing much force and virility when re-
quired and imparting deep and eloquent
pathos to Romeos dying soliloquy.
The exacting role Of Juliet was entrusted
! to Miss Maud Durbin. Her impersonation of
Shakespeares most immortal heroine was in
many respects praiseworthy, graced 1t
was with many gentle and pretty touches.
| But Miss DurbiH was too reserved in the
balcony scene. She reminded us of OpheIia
rather than Juliet More color, more warmth
| can characterize Juliet's behavior when she
knows that Romeo has overheard her confess
sion Of love, without causing her to sacrifice
maidenly decorum. Miss Durbin was more
successful In the subsequent scenes, acquit-
| ting herself creditably in the potion scene.
| Frederick Mosley is to be commended for
| his graceful and exuberant impersonation of
| the volatile Mercutio-a role that very few
| players cope with. Like Romeo, Mer-
| Quito is gentleman whom many actors
have slandered by representing him as a
smart, but effeminate popinjay. with a fanci-
full wit, but no dignity Of manhood behind
it. Mr.. Mosley avoided this mistake. His
Mercutio was man to laugh with, not at
gay, light-hearted, jolly boon companion,
with a bright scintilating wit, and heart
| bigger than church door.
| Frank Sylvesters Tybalt was excellent, and
Guy G. Posts impersonation of Capulet was an
admirable characterization Of the testy old
| man.
Tonight, Merchant of Venice" and ''Kath-
| crime and Petruchio."
LADY OF LYONS"
| Seldom has larger audience in st. Paul
| witnessed the Lady Of Lyons" than that
| which thronged the Metropolitan opera house
| yesterday afternoon. The theatre was filled
| and ell the boxes occupied. The audience was
of course, largely feminine, but none the less
| critical and enthusiastic. The play was pre-
scented with smoothness and Mr.. SINNERS
| Melnotte was but another exhibition of his
rare versatility. His performance was equally
satisfactory as those Of the earlier portion
| of the week and he was recalled several
| times.