New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1899-05-01

..,r,, n an end when the TALLER. having failed
ne search for Olivier, returns to ma the
" 1...c,ence- stricken Robespierre on the floor.
..,n,sss and despairing. Sir Henry Irving is
~ great throughout this scene
ana afth act opens with a grim scene In the
=, ~ the Committee OF Public Safety where
'snsnierre's enemies are conspring to compass
.,.sr,hrow. and where Olivier after vowing
=" ,.,e vengeance upon the tyrant Is released.
" tract of highly dramatic effect is produced,
.. lads 10 nothing The agonized father. who
". roscued the mother and has been searching
-. rs. ,,e son in the haunted prison, is now
- 20 the fury Of his enemies In the Conven-
- and among them stands Olivier. with the
-, IN his hand with which he is to take the
~. :, the Dictator NJ Sardou, with his dramatic
-,,,o, must surely have planned the death OF
,shssnierre by the hand Of Olivier. who did not
-, that the tyrant was his father That is
-. Inevitable sequel TO the contrast between
y. ,o,bar's search in the tumbrils and in the
.~uroons for the son whom he would save, and
-. cons frenzied quest for the father whom he
-.,Id s,av. Dramatic unity requires this ghast-
:, I'D Otherwise 1t was hardly worth while 10
,s,.sr, the early intrigue and TO improvise
,n.o,,,n,ete son for Robespierre. who had faults
Ugh 10 answer for. Apparently NJ. Sardou
&C. been diverted rom his purpose. The son
soo. not kill ;.e ather. Robespierre, hunted
-, bv his enemies in the Convention, kills
SVaif and dies in the arms Of Clarsse, while
n1I,Jer stands by with the pistol which ne has
on' sred Sir Henry Irving a year ago found
.,foo,ar the Great. with its conflict between
.,ner and SON TOO strong meat for London
fatmsr e. Possibly he has dissuaded NJ sardou
90, carving the action of the play 10 its log
80 catastrophe. | am convinced that the great
Sramstist would have devised different ending
FOR Paris andiehce'
MARvELLOUsLY REALISTIC PICTURE.
The play ends. however. with a stage picture
=, marvellous realism. The hall OF the Conven-
,ion is crowded with mob OF Deputies bent
pnon silencing and overthrowing the Dictator
!, isa reve OF tumult evil passion and frenzy
o,e member after another ascends the tribune
~ danounce him. Billaud- Varennes is as fero-
,ious as a beast Of prey; Tallien with theatrical
Gesture incites the mob to liberate itself from
servile bondage. and all the enemies OF Robes
pierre band together 10 compass his ruin.
snenced where he sits upon the benches among
his few friends he struggles again and again to
reach the tribune. and is flung aside AT last,
with his coat half torn from his back, he clam
beers into the tribune. but his broken utterances
are lost in the tumult. of which the undertone Is
The blood of DantOn chokes him. Fighting
like stag at bay with a pack of wolves gnash-
ing al him with their teeth, Robespierre falls.
hatred and ne dies by his own hand, craving
the forgiveness Of the woman whom he has
wronged and Of the son who is breathing out
vengeance against MIN. The Deputies sing the
battle song Of the Republic and the curtain falls
upon the best-enacted scene of mob violence
ever witnessed in London.
The obvious criticism upon NJ Sardou's work
Is that the group Of three figures In the fore
ground. which tho light is concentrated for
three acts. is finally overwhelmed by the deep
tnins shadows of the background. The dramatic
motive swerves and stops short after It's logical
direction has been clearly indicated. The mob
takes up the work Of father. mother and son.
and the curtain fails upon the lurid background
ot the Revolution, with its tumutuous violence
Ind passion. The literary motive remains and
{ dominates a complex but symmetrical stu6y
4 what the painters would describe artistic
composition Robespierre's character is re-
'ealed with unerring realism in his foibles, his
weaknesses, his petty vanities and
IFS softer traits. well as In his infexible reso
ution. his mercess fanatcism and his ire
)ressible ambition: and this fantastic figure.
With the coxcomb's love of fnery, the mono
naniac's dream OF an ideal commonwealth Of
'iTtue. and the tyrants lust Of power and insen-
ibility TO suffering Is set against the stormy
background Of the Revolution and made to SYM
)olize It's vagaries Of judgment and evil pas
ions One who sees NJ Sardous "Robespierre"
nay feel that drama is lost midway in stage
pictures Of the Convention, but he has caught
n his face the hot. feverish breath of the
french Revolution.
The play is staged at the Lyceum with all the
esources OF artistic management. The stage IL I
rowded with figures and the scenes are full OF
movement. color and variety. The f6te In the
second act is the most brilliant picture for stage
effect, and the Convention mob Is marvel Of
spontaneous dramatic action: but the harrow
ing heart-rending prison scene at Port-Lbre
and the Conciergerie. with its spectral visitants.
Ire admirably carried out The acting through
)ut is spirited. Miss Ellen Terry, after her
habit. was as nervous as an amateur, and for
got her lines on the opening night but she has
good part. Of which she is certain TO mako
much the play goes on. Mr. Bellew was
strong and fine as Olivier and Mr.. Louis Cal
vert was a most vigorous BillaudVarennes
Nr. Laurence Irving, al the risk of being criti-
Used for overacting, correctly represented
Fallen as theatrical politician. Sir Henry Irv-
ne as Robespierre was great from first 10 last
Ind justified the uproar Of loyal enthusiasm
which he called out from galleries pit and
talls He was in vigorous health, in fine voice
md In full command Of all his resources of
'tsgecraft. Nothing was lacking TO render hio
eturn TO the Lyceum one of the most brilliant
rumphs OF his career. I.N.F
AnnTTTOE