The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1899-06-25
BERNHARDPS MH HhhLH
INTENSE AND PASSIONATE PERF0n.
xANCn or TuB CnARACTuAs
A BERNHARDrs I'm

- ARA BERNHARDTS M
* personation of Hamlet,
said NJ. Edmond RoStand
A(OY on leaving the theater q =
~ O'Clock on Sunday morning
at the close OF the first per-
Torrance. lis a revelation. enables me
for the first time to comprehend snare
speare's masterpiece, and can iraHALy
assure you that I have seldom. II ever.
before experienced theatrical emotion AZ
once SO absolute and so exquisite.
Let 1t be said at the outset that sne
verdict of Paris il that In Hamlet sara
Bernhard has attained the nnest
achievement Of her career. The WRITER
was present at the first performance.
which began on Saturday evening AZ :
o'clock and did not end until ten minutes
before on Sunday morning, ana WINCH
owing to an accident OF stage carpehsrS'
was not preceded by dress rehearsal
fact which visibly disconnected the critics
who. although they had expected some
remarkable feats, were one and all unpre-
uared for a series OF such triumphat ef-
forts In part which the great French
actress has studied for three years, ana
which-as she confessed to the writer-
she had serious misgivings about at
tempting. In order to obtain an impress
sion unihfiuenced by the select and bsii-
liant. but often over-enthusiastic gather
ing OF a Partisan FIRST night" the writer
went to see Hamlet" again yesterday,
and can testify that the genuine paying
public were every whit as appreciatve
and jealous as were the select ana Iasn-
ionable who composed the deoutante Az
dience of Saturday.
The Hamlet presented by sara hern-
hardt IL q oraceful, boyish prince OF one
and-twenty, fulfilling 0oethes idea OF q
being imbued with the imperious neces-
sity of performing supreme ACT. nus
lacking the resolution to accomplish u.
Nervous concentration Is rapidly succeed-
ed by nervous relaxation. youthful ex-
uberance ana conviction by skepticism.
irony and doubt, but the prince-a sort OF
Scandinavian Orestes-always remains
the truth-seeking student OF philosophy.
The costumes and makeup are repro
auctions Of De1acroix's famous sketches
and Autographs. The countenance - pale
ana pensive. contrasting with the moving
hrf~ht fiaxen Danish locks. The costume.
worn continuously during the hfteen
..tabfeaux" into which the play Is divided.
is OF black silk. disclosing the outlines OF
the figure, A sable cloak IL worn in grace
ful folds over the left shoulder. The rich
" embroidered black tunic Is trimmed with
q narrow breadth OF rare fur of Siberian
silver sable. Around the waist is belt an
bossed with sapphires. opals. rubies and
emeralds. The scabbafd is black. studded
ONA~sc~~
silver. There Is q small white run about
the neck. Every move and gesture Is that
of a man. Just as in L.orenzaccio. nothing
suggests the travesty of a woman. The only
feminine characteristics OF Sara Bern
hardt's Hamlet II the subtle cunning.
the moral and mental irresolution. and the
delicate perception and instinct-in Snort.
the woman's soul and intellect incarnate Ia
a highly strung. nervous ,soasng man scarce
ly out OF his teens.
Quiet and skepkcal. Hamlet convsrses
with Horatio. when the apparition OF the
specter causes him to fall upon his knees
in Awe-stricken agony. The reading OF
words; words. Words" conveyed an ex-
Quisite irony. original and effective, aceen-
tuated by gestures Of humor. WEAKNESS
and disdain. The speech to the players was
spoken with the same earnest simplicity
that Sara Bernhardt often uses when In
structing the actors Of her own stock COM
pany. In the play scene Sara BernhArdt
toys with Ophelia's golden hair In such q
way as to weave graceful screen which