The morning times., 1897-02-16
LAST NIGHT AT THE ETHEATERs
Margaret Mather in "cyunbeline.

Margaret Mather in "Cyinbeline."
Margaret Mather reappeared In Wash
ington last night at the Columbia, for the
first time since her retirement from the
stage some four or five years ago. She
has made her return a matter, not merely
stage annals, for it is marked by a Shakes
pearian production the equal of which has
never before been seen anywhere.
Shakespearian revivals are few and far
between. Romeo and Juliet is most
frequently made the subject for pictorial
elaboration. Only once in this generation
has The Comedy OF Errors had promi
nencc, Mary Anderson gave us a sight
Of "The Winters Tale" Julia Marlowe
made an ambitious production of ..Henry
w. Richard Mansfield has Iavished a
fortune on "Richard ILL., with these
and Miss Mather's revival of ''CymbeIine,"
the list is virtually complete. Such pro-
ductions Of Hamlet, - THE Merchant of
Venice, las You Like It," and the other
L
which we are shown have been given
with meager and rarely ever correct
environment.
Miss Mather places nearly all classes OF
playgoers in her debt by this revival The
student surely rcjoices in this opportunity
TO see this infrequently given play, the
artist is charmed by the pictorial display,
and he for whom play is attractive only
for its story's sake discovers that Gym
beline" unfolds "a dramatic tale of much
interest and the precious establishment
which is the sign of all the bard touched
But it is chiefly as spectacle that the
present production coulmcnds itself to
praise. 1t is panorama of intricate, elab-
crate and gorgeous fixtures, any one Of
which might have been elected TO give
distinction to an ordinary produc ton IL
is marvel OF stagecraft and a mystery
TO the unin1tiated how all the wealth of
scenery is handled. There are sixteen sep
arate and elaborate settings, three of these
are shows twice, making nineteen in all.
These settings involve winding steps, fur
niture, h3ngings, several back drops to
give perspective, and other furnishings
that must represent large fortune Each
OF them is the work OF distinguished
scenic artist. and each Of them seems to
have WED with the other in the realization
OF suprrmely beautiful pictures The coast
of Britain is fine perspective. and the
circular room in the palace has tricks of
perspective which lends delightful realism,
but it is in realizing the brilliant sunlight
OF turquoise skIed Italy in the TriChinium
and Atrium to PIilario's house that the
| happiest effect is realized.
In costuming the lavish sumptuousness
surpasses even the splendor OF Irvings
King Arthur or the profligacy of Daven-
ports 'GSmonda.'
The acting is the least notable feature
Perhaps on its own account. perhaps be-
cause the pictures were distraction. In
| the first place, it would he unfair to judge
| Miss Mather on last night S work. She did
| we'll, but might have done better, and
| doubtless will when she has recovered from
the Illness which has kept her ahed for
| four days. The honors went to E. j. Hen
| ley, as IaChiIno: william Courtleigh, as
| Posthumus, and Albert Bruning, as CIoten.
| The last named made a modern comic part
| OF the son to the queen, but he had evi-
| IDENTIFY conceived his idea firmly and acted
! it consistently Herewith.
| Courtleigi. and Henley S scXCcllencies were
drawn respectively from two antithises OF
| clenotement. and the contrast heightened
the effect. Mr.. Henley took a negative
stand and acted with repression and re-
serve. Mr.. Courtleigh keyed his character
| ization in positive, free, open style
| The temptation to the former was to
| under-act, to the latter to over-act, and
! tear passion to tatters; but each survived
| the might been, and may be credit ed
| with performances that commend them to
| discerning praise at every point. Mr. Henley
| acted the chamber scene with Subtlety and
delicacy, and Mr.. Courtleigh gave the
scene, where Posthumus hears of his wife's
supposed infidelity. with authority which
| was moving and convincing.
| The cast was long and in nearly every
| part efficient Mr.. Lynn Pratt has been
| here with Robert Downing with differ
| ent nom de thcater. That the monster
scenery was moved swiftly and smoothly,
| that the lights We're handled effectively
! and the opening performance was in
| all ways u treat to the audience is 10 the
credit of Mr.. George s. Stevens, stage
| manager. who acted in the same capacity
| for the summer stock last June. The
audience entirely filled the Columbia
| Theater.