The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1897-02-12
ADJUSTMENTS.
Grand-"Merchant of Venice

Against all the criticism that might be
hurled at Walker Whiteside in his large
repertory of Shakspearean roles, he is in
a position to reply that he satisfies his
audience and satisfies so well that it is
common thing for the people to interrupt
with applause in the middle of his impress
sive scenes. One who is stickler for ira
ditional dramatic reading of the ever-famil-
lar lines of the bard whose work has in
spired the mimic art in youthful Whiteside
might wonder at his success at times when
they behold some of his original infections
and queer divisions of sentences for
phasis, but that is dilemma in which ex-
perts are constantly finding themselves.
Expert judgment often degenerates into
mechanical analysis Walker Whitesde is
undoubtedly an ambitious reader. Every
thing he attempts suggests intellectually.
His interpretations sure TO be refined
if not always accurate. But above all, it is
this actors personality that is me secret
of his achievement. Whiteside was fash
Toned on delicate lines. He has the curves
and graces of coquette and voice that
thrills with every utterance There is both
heart and intellect to high degree in his
makeup and his effort as Shylock Is re-
warded with sympathy on the part OF the
audience which the character does not de-
serve, and which the lines hardly bear out
one in supposing the author ever intended.
But this is the work of Whiteside. just as
it is his trick to put the audience in tears
of sorrow and sympathy for the ill-advised
Othello. when allowing himself TO be driven
to murder by the designing Iago. White
sides Shylock is no stereotyped character:
it is his art that is frequently apT,lauded
rather than any distinctly new light cast on
the interesting role. This Shylock i1elts TO
tears one instant when memory of his dear
Leah is revived, and the next he curses
Antonio to the depths because of the
grudge he bears him in particular. rather
than because of any grudge he bears the
whole Christian people. The great trial
scene is. of course, the measure Of the art
lists powers in this role. and while
Mr.. Whiteside at times not only
gives false reading. but even
bad grammar. he Eliminates the scene
with artistic spectacularities, If the word
be permitted. until he has the audience
beautiful entertainment. Whiteside is an
inventor in stagecraft and his originality
is the best evidence that he is only on the
threshold OF a career that entirely Justi-
fies his many friends for their extravagant
praise Rather than say that he has been
chosen to wear the mantle of Booth, it
would be nearer the truth to say that he
expects to wear the mantle of Whiteside.
and wear it so gracefully and so becom-
ingly that when he is gone the talk will be
of the mantle of Whiteside.
THE Merchant of Venice" was presented
at the Grand last night to larger audi
ence than some of the much better known
stars have been able to draw this season
in Indianapolis. The great play was staged
with q. pretension and faithfulness that
does Whiteside little credit as a pro-
Queer The company is the best that the
tragedian has ever been seen in here. Miss
Leila Wolstan's Portia needs no apol-
ogy and ranks fairly well along
side Whtesides Shykock. Jose
phine Morses Nerisa and Dorothy
Harper's Jessica deserve more than per-
functory mention. Among the male support
there are half dozen men who appeal to
the audience as actors OF much worth.
Charles Herman a noble BaSsanto.
John Sainpolis caught the tone of Antonios
character nicely and Herbert Pattee lent
credit to the performance as Gratiano. j.
L. Saphore as Old Gobbo. and Edwin Tan
ner as Launcelot Gobbo both made hits that
were we'll deserved.
Tonight Mr.. Whiteside will be seen as
Pichaliar