New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1900-09-22
THE DRAMA.
SHAKESPEARE AT THE GARDEN.
Nh soTHERN AS HAMLET.


.sr6ent intellect and sublinity. There are how,
svs- t1superable obstacles IN the wav ~ mos
sctors when they approach this subject II is in
Eee5 readily possible for an experienced actor ~
respectable talent 70 dress in the customary taD
e.ngs q and 20 walk conventioaallv thro,,gr
Re part q Hamlet speaking the words smoothly
I'd giving more less picturesque enobogff-7a-+
u ue5-attve melancholy. and this is all that usual
X IS Accomplished The essential quality OF the
,hs-acce-ics soul o. misery its grandeur Of desc
s-o- rs. significance as an image Of finite man
hees ove-v-heIr1e6 and ruined in The s-r-,e1a =,
.eu-ehe-5 and dominate the awful mystery OF his
,-vt-o1r-e---is scarcely ever even remotely su--
rested. TIE Poet mas created and displayed +vna
= human nature at It's highest and res- o,,ar
Ehalre6 vi-h affection. blasted with grief tainted
vs-h madness. and. alike by innate tendency and
sx-=r-s. propulsion made total failure: the
SAKE ordinarily presents, as correIative Of this
image a handsome young man in black velvet
.r--hes veII-E-ooued and looking as Il inst liner
,-zs from ba1Gbox- with no more sense OF the
terrible facts Ct Ife and death moral responsibility
s7E srtr.-ual destiny than feather has OF the
s-seze by which IT Is blown. Within the last fifty
yez-s -wo actors. and only two. have appeared in
- theatre. who could really ard fully i1persoaate
Hamlet che o. them was Edwin Booth: the other
SIS Henry Irving.
Many actors. 10 be sure. have played Hamlet in
g -=s-er-a1-e manner. F. L Davenport was for
r-e-~ years c-1s-oruarfy accepted and cited IS IN
Al respects Efficient and thoroughly satisfactory
-=1-ess--z--ve Of the part He had a sufficiently
purposes.
ex-7ssse6 that ideal clearly. luently. and with
e~-c-.ve precision. but probably no one q his
auditors was ever thrilled fascinated. or even
sea-lv moved, BY his expression Of i. hovsoever
l---esse5 by his profound reverence for the sub
49, ard by the inherent power and magical charm
Z he play. and -his which was true Of Davenport
zss also ---e q his compeers. such as Forrest
N--5cck Co-i5oCk. Ta1derhoH. Marshall. and
e-1e-s. -1e capable admired and horored chief
ta-s e bv-E0-e age The simple truth Is that
are as L. 0-
cz- ever hope g conquer, unless possessed OF the
temperament Of genius. possessed OF the Hamlet
-a---e-vhtch ccruEn31zIes great intellect, great
Imagination, and great tenderness with nlelan-
Czo.z thar hovers over i-clpien- I1sa-iry.-and
possessed also. q that strange personal allure
rer- rz--'v physical beauty. partly irspirauonal
tight and partly spiritual charm, which never yet
vzs wholly explcable II words. but which never
ysr has failed. II whatsoever branch OF art made
manifest E51use irresistible euChartu1e1t
.5- re human race II many other characters the
ezc.ency II trained talent proves adequate and
victorious: never II Hamlet.
NJ z Il Sotlerl. who. a. The Garden Theatre
has been acting Haullet since last Monday
1lg--. September =. Is urQuestionably man OF
talent ana L may justly be said that his perform
s-ce Is intelligent thoughtful. careful and re-
s5sc-zbly good he has attempted 2 tremendous
task h has measured himself BY colossal
s-z-6a-5- and. considering The slender calibre Of
rs -zt1-aI gifts and cultivated powers i IS much
70 rs credit that ~ has not broken himself all 70
u.soes n TIE Effort He does nor eubody Hamlet
t-- re presents. after The manner OF consistent
,,=5ss--t-~ sufficiently interesting type Of fan
,zz--c mental disturbance and juvenile gloom The
E-nc.va- attributes q his embodiment Of the man
WON he supposes % be Hamlet are sincerity OF
-u-2cse ea--esrness q mind continuity OF strenu-
U-s z@o-- and frfuI, spasUc6ic force. He speaks
re tax with Eue-cy. and though seldom with ex-
E-ssztve meditation such as Is seQUe1t on spou-
-znst-y % feeling, wiki & ProPrtery o. II
diligence that usually apPre1ends and con
vs7s lis surface meaning He indicates
-gz- sense o. hHaI tenderness and reverence
X shows z certain nobility q righteous scorn
ard mora fervor-nota5ly II the Closet
sce.e-s-d cree or twice. as when listening 70 The
Gcos- zpos-ophizing your gracious fgure," and
u-cs-t-g Ez-ls-'s dying words. he becomes mourn
f---- passionate and rnomeuCa--Iy sympathetic On
n 0-As- hand he lacks personal distinction IN
Ez-e C-.--=-- authority, grace Of movement IN
Ta-s5e clarity 4 articulation. mobility OF facial
expression tenderness OF feeling. depth, variety
and charm q voice. that sense Of being haunted
which ---- powerful Imagination awaken
s-5 -z---- and. z certain great pivotal NO
ne--s q -he rraEedy.-zuch as Hamlet's first
meeting ~t-h ne Ghost. his parting with OPheha
h,s 6e-----0 the climax Of '-he mouse trap
psv and his f-euzied JOY and horror al the killing
C Polo-.-s-he couspicuously lacks the passion
taat should &c electrical and the tragic power that
should carr al before i. Or the corrosive misery
{: Es1-e--1ise-y that has Slapped the foundations
c. lis mind and lie. and which steadily, rlerci-
lszsty l-ez--ah-y and irreslstt5ly -5l-ns OUT his
hsar- ard p-ope-s him onward 10 ruin and death
e gives nc 6e1ot-uerr whaJever- IN q word. the
Performance begins. continues. and ends com
Is-eg Within The usual limits Of ST. utility, the
Conventional. and c1e commonplace
-ae-s IS Of course. new business Each fresh
performer T the Melancholy Dane deems il neces-
SAY 10 speak words that are usually omitted, 10
l--- words -lar are usually spoken, and to invent
ce7lees -La- viii diversity action After HaLnle-s
@r EEcs- scene ac LET rs 20 II together" Nj
a1--er- makes The Prince absolutely trivial, oy
a-srg him with mere stage lrickery. 10 sop and
5Ss facing The audience. ii The white glaTe Of q
-le-shl IN the Decoy scene with Ophelia he
Faces Ezz1-e--s discovery Of the eavesdroppl1g
King and Minister. not at Are you honest?" -
where certainly = belongs Il II Is 10 occur at ALL
5-r Co Thy ways 10 a nunne-y''; ana this,
1ecesssr.-. makes TIE whole action meaningless
and 1c-lvelezz II the same scene he turttvely
Kisses TIE back hair OF Cphela---as II Hamlet
were lover when II facr. love mas become 10
hin nothing bur q charrel-house memory. The old
noe Eys-ertcaI CALCULATIONS are preserved. but
EsE.e-'s most ilurn5natIv= speech. the in6!spen-
SAFE Vow might Go H." Is omitted n the Mad
scene VIII ClauCIus q seek Et-n "a -Ee other
pace r5--se-S-r the Prince Is made 10 seize
Ewo-5 t-a- The King has aHab1y picked up and
3iscrd EFor = convenient chair. and 10 assail His
Majesty WIKI --1-5e-ous violence: And fl The
ss--= scene a. 7 see a rlsT-5-'' ne $ made 20
1lsDay rs miniature # has father. and 20 Indl-
cz-s t1z- -ne "che-ub~ IS thai -auan.@d relative
Tie eZr 0f Hamlet from DDle-.a.z funeral IS
made WIKI 2 pro-ong ed burst 81 insane laughter
70 previous 51r.1atlol ~ any zcrr ~ insanity
11F--g been even yen0cz-- suggested In the
Mock Due Hamlet Is made &c receive wound
II r. wrist N dsarr1 La=rtes and tAen 70 compel
re exchange q weapons By greact-g On the ia-4-
en to.. retaining IL Tor himself and forcing
La@r.es ro ACCEPT his own Ia is place Finally
E0rri-bras-a charter good 20 think O. but
tedious to se--ls brought IT the close 70 point
,-s moral cl successful action triumphant over