The record-union., 1899-10-14
ADJUSTMENTS.

Whatever the critics here and there
may have said of Modjeska in her later
years this remains, that weak of voice
or not, she was royalty received last
night at the Clunie Opera house, be-
ing called out over and over again by
applause, the sincerity of which could
not be questioned. At the close of
the fourth act, for instance, she was
called to receive applause no less than
four times and in this Mr.. Kelerd
largely shared. After other scenes
and acts, she likewise received hearty
recalls. The audience then, about half
filling the theater did not find the old
school tragedienne tiresome, or so weak
and indistinct of voice as to cool their
recognition of the fine art work of
Modjeska. Assuredly her art percep-
tions are as keen as ever, her delicate
handling of themes as refined, finished
and beautifully delivered to the audi
ence. She remains the artist of spirit
and refinement, one moving in the up
per atmosphere of dramatic conception.
But truth demands that it be said that
Modjeska's vocal powers have sadly
declined. 1t is with difficulty that
followed. There is almost painful ev-
idence that she is constantly holding
herself in reserve for those intense
passages when the old-time volume
and power Of tone is projected and fills
every ear. There were three such
passages, climaxes, last night, in which
the throb of genius and the strength
OF art gave to her voice resonance and
strength that thrilled and captivated.
The greatest of these was at the close
of the scene when Marie Antoinette's
children are turned from her by the
brutal Jailer. She closed that scene
IN splendid burst Of eloquent denun-
cation and defiance. But for all this
there was the overcast of the haze of a
physical weakness against which the
spirit within battles unsuccessfuIIy.
There is no loss of grace of movement
or OF eloQuence of gesture, and very
little loss of the fire and facial express
sion of simulated emotion, passion. iov
or sorrow, for which Modjeska from the
DeSlnnlng or her career has been fam
Gus. The play of Marie Antoinette,'
was magnihcently staged, superbly
costumed and mounted with lavish ex-
pendlture on scenic effects, historically
accurate furniture, hangings, etc. We
nave mad nothing equal to it in many
day In fact such splendid stage
pictures as mechanic scenic artist cos
tuner and property man gave us last
night are treats not to be missed with
out sincere regret. Mr. Kellerd. the
leading man. made an excellent i'm
preston. His Louis XVI. seemed to
US to be close historical study in tba
hands OF man conscious of a weighty
task upon him and perfectly confident
OF his ability to accomplish it. He was
the weak, a1ectionate, compromising
procrastlnating and proud King we
nave read Louis to be; not cowardlv.
but too weak to be guided by the bray-
er soul OF his devoted wife We shouId
class Mr.. Kellerd as a strong. reliant
ana scholarly artist of versatile DOW
ers. The company is not. as has been
represented, weak. On the contrary
1t is large, well balanced, well cast. and
is inspired with worthy ambition to
make each character fill out the full
call Tor IT, AS to the play. it is a lit
erary gem, but not a dramatic fri
umpn. 1t is a series of historical pic
lures In distinct scenes, with no close
connection. The climaxes. as rule
fall TO meet expectation or Justify the
iead up TO them. There are, in fact
but two genuinely reached. But for