The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1897-04-03
AT THE THEATERS.

James O'Neill's Hamlet satisfies the eye
beyond that of any other player who has es-
sayed the role in the Northwest saving of
course, Edwin Booth. If he would omit the
scraggy beard and wear dark brown or
black wig instead of an auburn one he would
be moro picturesque and ideal in appearance.
Still, with his beard and auburn hair for they
are matters Of personal taste, Mr.. ONeill Is
picturesque beyond his contemporaneous
competitors. For he possesses a manly figure
as we'll as a clean-cut, handsome face Every
attitude of the man is picture; every move
ment grace itself In addition to these ad-
vantages, partly natural, but greatly intensi-
fed by cultivation, Mr.. ONeil possesses g.
musical nicely moduated voice. eloquent in
It's expression of sympathy and trained by a.
ripe experience upon the stage to reveal the
sentiments and the emotions that actuate a.
man.
With these advantages, both natural and
acquired, Mr.. O'NeiIl is better equipped to
portray the melancholy Dane than the vast
majority Of these our actors.' And he does
excel them In certain respects. His person.
atty is far more in sympathy with the role.
His voice is attuned it. O'NeilPs Hamlet is
good, very good In spots. That describes 1t.
His frenzy at the climax Of the play scene Is
electric. When, in the last scene of all, he
kills the "treacherous, lecherous king" and
for a brief instant falls back in the throes of
death upon the throne that Is his the actor
atta1ns tragic height that none think of
disputing. In these climactc scenes Mr.. O'Nefl
excels- So, In some of the subdued passages
he conveys the subtle significance of the text
in that incsive, comprehensive style so dis
tinctive Of Edwin Booth. But that spiritual
apprehension and sympathy, that union OF
mysticism and poetry, that rare personality,
that indefnable charm-they were not there.
But they are nearer Mr.. O'NeII than TO
others.
His long association with theatric melo-
drama has surrounded him with an atmo-
sphere that cannot be blown away for the
occasion. His Hamlet in short, moves too
often along melodramatic lines There are
times when the prince must be melodra-
matte, as In the climax of the play scene
And there Mr.. O'Neill is wholly ADEQUATE
But there are also moments when Hamlet IL
not an actor but. to quote another com
mentator, "a gentleman thinking aloud" It
is in the solilOquies that Mr. O'NeiH loses
his grasp Of the character. The introspective
spirit does not seem to dwell within him.
Space forbids a detailed analysis of Mr..
O'Neilrs conception of the various scenes. all
of which have their traditions His treatment
of the scene with Ophela was effective. but
too loud. Polonius and the king are not
deaf. Mr.. O'Neill also manifested at times
too marked a tendency to suit the action tn
the word. notably in the speech to Horat1o.
when he bent both knees to illustrate the line
crook the pregnant hinges of the knee"
closer familiarity with the text would also
give Mr.. O'Neill a confidence that would i'm
prove his impersonation. Mr.. O'Neiu read
the speech to the actor with effective en-
phasis, but this epitome of the art of acting
tx oil In mo- 1Hr1a
let lat close range to the player king Rut
when all is said, Mr.. ONeiIl's Hamlet Is one
to be remembered.
The company was UNEQUAL to the eyacrne
task. Mr.. Lingham's ghost was commenda-
bic, but Hallett Thompson's king was a
surprisingly colorless portrayal for an actor
Of his ability. Mr.. Pascoe was uneven IN tha
role Of Laertes. His final scenes at +ba GRAVE
and in the duel were good, but in the com
splracy with the king to accomplish HamIetrs
death ooth these players were too vociferous
for successful conspirators.
James O'Neill will close his engagement A.
the Metropolitan opera house with two ner
Iormanees today, popular price matinee
TINS afternoon and the farewell performance
tonignr- FOR the matinee he will present
Flrglnius, and will repeat Monte Cristo''
at the evening performance.
begin an engagement of three nights and
Wednesday matinee at the Metropolitan
opera house in the greatest artistic and
histrtonic success Of her career 'sCvmha-
!ine" Her revival Of this great play has
been pronounced the most magnifean1
Shakespearean production this country has
ever seen, and her appearance in this citv
after an absence Of nearly FIVE years will
be warmly welcomed by her numerous friends
and admirers amongst local theater-goars
The production of "Cymbeline' at the Met
ropoitan will be one Of the grandest arts
tic events Of the season. and in MANY re-
spects 1t will be one of the most important
A scene rehearsal Of the new play, "Tbe
Showman's Daughter" which Mr. LIT r.
to produce at the Grand Sunday night was
held yesterday, and everything moved ike
clock work. The cast will include Frank
Losee, Marion Elmore Fanny Mcintyre,
Thomas A. Wise and others.
Today at 2:30, at the Grand will witness a
special performance of that popular matinee
play, East Lynne" The cast will be a
strong one, and will include in the leading
feminine role Miss Julia Stuart. an emotional
actress whose dramatic talents said to
be we'll suited to the part William Beach
will essay the role of Sir Francis Levison,
part in which he has scored great success
In the past The assisting company will be
in