The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1897-05-07
AT THE THEATERS.

Such scholarly authorities as DR.. Samuel
Johnson and Alexander Pope in their essays
upon Shakespeare, agree with the Greek
philosopher of 1000 years ago, that the DOM
mating purpose of tragedy is to excite two
controlling emotions-Dity and terror Upon
this canon, which no worthy dramatist has
presumed to question, the ilustrious COM
mentators have based their criticisms and the
great dramatists have constructed their trag-
edies. Nobody whose judgment inspires re-
spect will deny that Sardou is a great dram
atist. Indeed, the opinion shared by thou
sands that he is the greatest of the present
time stands unchallenged. Sardou completely
realized the scope and purpose of tragedy
when he brought forth "La Tosca," for if
there is tragedy on the stage calculated to
excite pity and terror surely La Tosca" full
fills to an intense degree the prime motive of
tragedy.
This relentless narrowing, fatalistic drama,
opening, as 1t does, with sort of playful love
scene of woman who is jealous of
the Madonna whom her artist lover paints.
and closing with the lovers lying dead upon
the stage, pierced by the bullets of their
executioners presented at the Metropol-
itan opera house by Fanny Davenport and her
company last night Not cheerful recrea-
tion those who did not witness the perform
ance may say. But those who did do not
regret 1t. The denouement may have ex-
erted depressing effect, but to change it
would be as fatal to the dignity of the tragedy
as it would be to the sublime poetry of
Romeo and Juliet if the good friar's plan
had been carried out and Romeo and Juliet
had sneaked out of the cemetery and escaped
to Mantua.
Several seasons have interviewed since Miss
Davenport visited st. Paul. But like Cleo
patra time has not withered nor custom
stalled her infinite variety" Indeed, her act
ing was, if anything, more spontaneous and
spirited than upon the occasion of her last
appearance. If Miss Davenport's powers be-
tray their limitations in any respect it is in
lack of 1exibility of the voice. She ex-
presses the gayer moods Of La Tosca with
fidelity to nature, her petulant jealousy is
we'll portrayed, her loathing of the sensual
and brutal Scarpia is vividly pictured, and
when at last to save her honor she plunges
the knife deep into his breast, you feel that
it is a case of justifable homicide. This
feeling is a tribute to the players, well as
to the dramatist, for if this intensely dramatic
situation and the bold. if not questionable
scene leading uD to it were not adequately
enacted, the climax must fail and the author
suffer. In the scene where her lover is in the
thrCeS OF tOrture-1n an adjoining room, OF
course-La Tosca must exhibit and express
the very acme of agonizing distress. 1t was
here. if anywhere, that Miss Davenport fell
short of the possible height. Her voice seems
to lack in some degree the heart-rending
quality 1t IS better adapted to the express
sion of reproach and rage than pathos and
sympathy. Miss Davenport unquestionably
excelled in the scene with Scarpia, which,
after all. is the great climax of the play. She
was delightful in the lighter passages in the
first act.
Admirable support was accorded on the part
of Melbourne MacDowell whose impersona-
ton of the sensual, cruel Scarpia is a re-
markedly artistic piece of acting, which con-
tributes much to the successful presentation
of the drama. William H. Elwoods portrayal
of Mario was likewise very commendable.
The present season of vaudeville will ter
inmate tomorrow night at the Grand and
the last two matinee performances will be
given today and tomorrow. The programme
now being presented has attracted good aud
fences all week and is conceded by every
body to be the best of the series. Notable
hits have been scored by Irene Franklin, Mary
Marble, Eugene O'Rourke, Ada Dare, George
Felix, T. Nelson Downs and the living pic
lures Next Sunday night the funny farce
comedy, ga Railroad Ticket" will inaugurate
a weeks stay.