The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1901-03-20
ADJUSTMENTS.
Bernhardt and CoqueIin i'm "L'AigIon"
Mt EngIfsh's Opera House.

Nine. Sarah Bernhardt has played in In
dianapOlis TO larger audiences when she
was the sole star of her travelling company
than at her appearance in English's Opera
House last night, accompanied by the dis
tinguished French actor. III. Benoit Con-
slant Coquelin. However, she has probably
never faced a more brilliant or cultured
audience in indianapolis than on the oc-
casicn of her latest and shortest visit. OF
course, the chief desire which actuated
people in focking in such numbers to
"L'Aiglon' was TO learn how the divine
Sara had borne the weight of her years,
which by now amount TO something like
ifty-eight. All who obtained a clear view
of the actress must have felt that she is
truly a living marvel. Beyond a slight stiff
ness in her gait she betrayed scarcely a
hint of her advanced age. Her naturally
slender frame admirably fits her to portray
the young Duke Of Reichstadt, a curly
blonde wig furnishing the proper air of
youthfulness. which is not destroyed by
telltale wrinkles or ''crowfeet." The voice
for which Nine. Bernhardt has always
been noted has been but little weakened by
long years of use. Ii is still vibrant, thrill
ing and marvelously flexible. BY it she is
enabled to portray with c~learness. even to
those who do not understand the language
she employs, all the varied emotions felt
by the in-starred Eaglet.
With matchless art the great actress
shows how the little Joy allowed the UNI
fortunate son of Napoleon was ever hinged
with sorrow. IN the stronger scenes and
situations Nine. Bernhardts superb acting
is most thoroughly realized and aprre-
osoeol TX lnl,os. .g-fI 4...-s-.:-- > II
fathers grande armee. voked by sight
of the mimic soldiers of France painted by
the hand of the faithful Flambeau. was
such a realistic bit that almost every one
In the theater understood it's force and me
scene called forth a prolonged burst OF APP
plause. The strongest scenes were those NJ
the mirror and the battlefield of Wagram.
In the mirror Incident Metternich. the
crafty Austrian minister, sought TO dis
suade the Eaglet from his purpose to flee
TO Paris and proclaim himself Emperor of
the French, by showing him his frail body
and pallld, efeminate features. thus seek
ing 10 weaken his spirit. Metternich calls
up in the overwrought fancy OF the imagi-
native young duke visions OF his fathers
greatness and contrasts them Sneertngly
with the sons pOwerless state. Finally. in
desperation the duke hurts the lighted can
delabra full at the mirror, shattering II
into a thousand fragments. destroying the
images and IN the reaction falls 10 the
A'OA 0AbtAA4o a wiz UlOlCcl against HIS
cruel fate.
Again. on the battlefield OF Wagram, in
the scene In which the young duke called
forth the spirits OF those who died through
his fathers ambition for power, Mime.
Bernhardt rose 10 the full height OF her
histrionic power. and was greeted with a
rtOrm OF enthusiastic applause.
Scarcely less interesting than the appear
ance OF Nine. Be=nhard: was that of her
renowned associate. NJ. Coquelin. The char
acter or Flambeau, the old grenadier OF
Napoleon. played by NJ. Coquelin. is not
OF great length. but il Is nevertheless ~
sufficient importance TO AFFORD him a num-
Der Of opportunities To Justify his reputa-
ton AZ the foremost actor OF the French
stage. Nj. C0quelin's great scene was on
the battlefield OF Wagram-the death Of
Flambeau caused by his own sword rather
than be dragged IN ignOminy back to the
Austrian capital 10 be beheaded as a COM
mon spy. Perhaps many were disappointed
In the mildness Of Nine. Bernhardt's acting
In the final scene OF the play, showing the
death OF the Eaglet. When II Is considered.
however. that the duke was an immature