New-York tribune., 1901-11-02
THE DRAMA.
HENRY IRVING AND ELLEN TERRY.
THE BELLS"


THE BELLS"
Henry Irving's powerful and thrilling embodiment
of Matthias in The Bells again before this
community last night at the Knickerbocker Thea
tre, and again it manifested the wide scope and
splendid intensity OF his gination and the allure
ment of his artistic style. The performance is
unique, and II remains unapproached and unap-
proachabe. 1t is the creation, not Of the dramat-
ist but OF the actor-for the original story contains
warrant for anything half fine The
employment of a preternatural agency is the act
or's device. and the whole treatment of the sub
tect as metaphysical no less than dramatic comes
from his inspiration, and is at once the product
and the sign Of his genius. Henry Irving present
ment Of this part is OF the most difficult ano
most surprising Of all his achievements, for while
he keeps Matthias absolutely within the limits OF
the character as an nnkeeper. ne lifts him. as a
study Of remorse and passion. quite 10 the level
of Manfred 1t IS only great actor who can
move with ease and sustain himself in an at
rnosphere of perfect illusion, in situations that
trench upon border OF the spiritual world Irv-
ings deueanor In the scene Of the appaTltion ere
ates ore OF the most impressive moments OF dFa-
matte effect that have beer known and his blend
ing o. sweet human traits with the inveterate de
termination Of tremendous Will and the ceaseless
horror and agony OF haunted soul conveys the
Iiveest impression potential intellect acute sen
sibiity and consummate art
His performance OF Matthias conducts the Oh
server into the realm OF imaginaJious. spec
tral shapes and awful misery. and II is one Of IN
cessant dramatic vitality and prodigous power II
keeps In artistic sense. the freshness OF per
retuaI youth. It IS without parallel in the realm
"a which u belongs. and II Henry Irving had done
,,ortirg else II would alone suffice stamp him as
one ii the greatest masters OF dramatic expression
OF whom the world has any knowledge. II Was as
Matthias in The Bells" that Henry Irving. thirty
wears ago first deeIsiveiy manifested his superatve
powers OF ipersona ton, and placed hiTnse1 at the
or fha
NANCE CLDFIEID."
A = connanion TO The Bells" the play Of
Nance OdfeId" was presented, and Miss Terry
acted its chief part. That play makes expert and
novel use OF a dramatic exped!ent that Is otteh
encountered IN the English and Spanish cornedlNa
=. the eighteenth century-a gay iady's assuTipt!o"
cf a gawk-like character and behavior In order
70 effect the d!senchantment of an infatuated lover
It vas written by the novelist. Charles 'teede'--
one of Miss Terrys earliest and best friends'-and
II provides an IDEAL OF wonanhood alike romantic
delicate and humorous, such as that actress IS
peculiarly qualified 20 embody-
The story (Which. though the play Is we'll known
il may not be amss to recalD, shows an imaginary
incident In the life Of the once famous actress
Anne OIdfe!d 0Gs3-173o) a youth. who has seen
her upon the stage. thinks that he loves her and
he thereupon causes his prosac, commonplace
father much distress by exhibiting symptoms Of
amatory malady. The father seeks Nance oldieId
and requests her to leave London The coarse
asrerity and selfishness of the old man are re
tuked by the fine demeanor of the actress, and
aster q ri,-nla Of coIloquy between them. Nance
Odneld gives her promise that the youth shall be
cured of his folly. The boy comes to his idol, and
instead of a paragon Of loveltness, he finds
dowdv hoydcn. That plan, obviously, is a modi-
fication of the plan pursued in The Bellies strata
gam ., and also with a difference, In the German
uIav of Doctor Robin" the well known Robertson
comedy of David Garrick, and the French drama
of Sullivan"
The felicity of Miss Terrys acting is denoted by
the deep earnestness with which she
connnaratIveIy slender part and by her delightful
alienation between exquisite refinement and broad
comic humor. That she can be playful, and that
she is an adept in raillery, her embodiments OF Por
tia Beatrice and Letitia Hardy long ago afforded
ample proof. AS Nance Oldfied she changes from
s+ateIy composure and gentle gravity the wild
sprit of unrestricted frolic, and at the same time
with the rare instinct of art that never forsakes
or misIeads her. she uses to excellent purpose the
expedient of transparency, and, through the mer-
riest antics of mischief manfests to her audience
the soul Of purity. elegance and grace The wonder
is to possessed by nature OF the heart
of Imogen and the tremulous sensibility of orelia
who is able also TO pass into the gawky simpleness
of Audrey and to produce by the most delicate ham
ding of rough expedients. the broadly comical
effects. The sweetest, subtlest touch In the per
sonation probably. is the fieetins, woman-iike re-
gret that she must destroy the poor lads Illusion
and dissipate a genuine romantic sentiment. The
comprehensive result is ningling OF character
h1uor and sentiment, most agreeable at the mo-
raent and sure be remembered with delight. All
that is read about the delicious bubhling laughter
Of Dora Jordan becomes a reality in Ellen Terry's
embodiment of Nance Oldield
THE LYONS MAIL"
-rorirht a revival of The Lyons Mail" will be
affected and Henry Irving will appear as LesurQues
and Dubosc No person possesses an exact and
con,prehensive knowledge of his acting who has
not seem him IN wonderfully contrasted
in Lou II.
Tock-with, upon the brighter side. Charles l and
Dr Primrose The announcement is made that
"The Lyons Mali will be acted only once during
+h, t,resent engagement, and playgoers who wish
"a coo II must therefore, attend the performance
tonight The play made by Charles Reade.
an the basis OF the French play Of The Courier
of Lyons" by Messrs Moreau. Sevaudin and Della
cotr Henry Irving's acting, IN the contrasted
characters OF Lesuroues and Dubosc, Is amazing in