The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1897-01-29
AT THE THEATERS.

Frederick Warde presented shakespeare's
profound tragedy, king Lear" at the Met
ropolitan opera house last night. The pro
duction was witnessed here last spring upon
the occasion Of Mr.. Wardes visit in this city,
but not by such large and appreciative
audience assembled at the Metropolitan
last. night. .. III ~
1t was a commendable production then; it
is worthier now. In Mr.. Warde the American
stage possesses a reverent student of Shakes
peare, a conservator Of all that is noblest and
highest in the drama. of all that is fruitful
of the best and deepest thought. Mr.. Warde
approaches Shakespeare with the spirit Of
one who would Interpret the great master,
not seek to improve or mcdernize him, as
some Of these our ac.ors' do. Keen appre7
citation, ardent study, complete sympathy
with the humanity. beauty and grandeur of
the divine dramatist's creations, are all man
ifeSted in Mr.. Wardes presentation Of this
master tragedy. He has given it an appro-
pirate setting-r1 eness is not called for-and
staged it with a due regard for all the his
torical truth ascertanable regarding the early
Britons.
Mr.. Warde's portrayal of ''King Lear is
undeniably vivid. 1t might not be termed
great" for the reason that Mr.. Warde
uOSS NOT SHOW d towering, 6eFCul6dn InOn-
arch, whose strength has waxed greater as his
hairs have whitened, and whose tremendous
rage becomes a mighty avalanche of wrath,
burying all beneath it and amazing indeed
the very faculties of eyes and ears Instead,
Mr.. Warde presents a picture Of an old man,
rugged and vigorous, well .beeop4ing the
scepter and crown. but still an old man,
with old mans natural inflrmities It is
indisputabIe that gigantic stature and a
voice Of thunder-both qualities belonging to
actor, of course-would render Lear's chal-
lenge to the elements in the storm scene more
thrilling and effective, but that is only one
attitude of a character that has many others
far more natural and affecting. Mr. Warde's
delineatiOn Of Lear is always symmetrical
and consistent. Its humanity is it's COM
pelling quality. If single scenes are to be
selected for test purposes it can be truth
fully said that Mr.. Warde's acting reached
the greatest tragic height in the curse of
Goneril and in the delivery of the hysterical
passage beginning with ''I'n weep no more''
The stimulation of almost speechless rage
the haggard, despatring, struggling picture Of
poignant anguish that Mr.. Warde presented
thrilled the beholders. It was a piece of act
ing that disarmed criticism. No suspicion
Of rant blurred it. Mr.. Warde likewise ex-
celled in the scene with the blind Gloster ard
Edgar, in which Lear speaks those trenchant
lines that TEEN with wisdom and philosophy
In the pathetic passages between Lear and Cor
della in the tent, Mr. Warde also acted with rare
sympathy and deIicacy. Here the effect Of
his performance was augmented by the sweet
and unaffected sincerity of Miss Florence
Wilburham, who played Cordelia But from
a comprehensive dramatic standpoint the
storm scene on the heath, in which Lear, the
Fool and Edgar form such. weird and pic
turesque trio, undoubtedly proved the most
effective: The Intense and uncatiny imper-
sonation of Poor Tom" contributed bv
Charles Sutton, who the Edgar, materially
enhanced the strength Of the scene, as it is
bound to do. Mr.. Sutton deserves much COM
mendation. 1t was here, too, that Mr. Warde
revealed that keen insight into Shakespeare's
purpose in contrasting the mad and naked
beggar with the distracted king
The supporting company as already init
mated, excellent in some respects: OAR
rell Vinton's excellent voice and distinct enun
citation, rendered his Edmund a satisfactory
1mpersonation. Beverly Turner acts the role
of Kent commendable but his enunciation is
faulty. The ungrateful daughters, Regain and
Goneril, were not well impersonated nv Miss
Treadwell and Miss Williams The latter
was notably indiscrete. Ernest Warde was a
picturesque fool, but his conception of the
character is not pleasing one, even if it Is
warranted, which may reasonably be doubted
He makes him too old.
Clay Clement, who made such a DELIGHT
full impression on the theatre goers of tbis
city in his character Of "Paron Franz Victor
Won Hohenstauffen,' in "The New Dominion
has been prevailed upon through numerous
requests to return to the Metropolitan opera
house Sunday evening and give one more
performance of this charming comedy.
The Seibert orchestra will give its second
concert at the Metropolitan opera house next
Sunday afternoon Al popular programme
has been arranged fer this occasion.
Mr.. Frederick Warde will repeat "Kine
Lear at the metropolitan opera house this
evening; for theg matinee tomorrow he viii
appear in THE Merchant Of Venice" and
will close his Engagement with Richard
III" tomorrow light.
Local theator- gbers have always SUMMARIZED
productions of a7humcrous nature. and esne
cially this season have productions of this order
been we'll received. The coming week Of tl,e
Grand will witness the presentation of new
comedy, the leading role of which will be
in the hands off that talented comedienne
Miss Emily Banaker. 4 The title of the plav
is "A Divorce Cpre, Z and as 1t would sug-
SesI' Inc play ftedlSae nuInOrously with the
vicistudes OF married life. The company as
sisting Miss Bancker, is said to be made IN
of a list of clever players.
The authors of THE Fatal Card" the
Grand's attraction the present week, can
claim credit for having evolved an interesting
melodramattc play This play has caught
the theater-goers in good shape, and Is meet
ing with liberal patronage There is not
moment in the piece that is lacking in inter
est, and thrilling effects made to follow
each other. Tomorrow at 2:30 the last popu-
lar priced matinee of the engagement will be
given.