The times. [volume] (Washington [D.C.]) 1897-1901, 1901-01-15

| Upon his first entry the duke suggests
| the depression of the captive and the fret
| of a gallant but dewncast spirit There
! he stands. the pale-faced. faxen-haired
! youth. in black, with bouttonniere as the
/ only visible color about him-coming in
SO sadly to the villa at Baden, crowded
with the frivolous women of the Austrian
court who fattered and cajoled his fool
ish mother From the. very first speech
Bernhardt's own temperament, abundant
and cenquering. never gets between the
spectator and that other temperament
gentle, excitable. and weak. The irony of
! the duke is set in WEAKNESS and total
lack of heart. In the earlier scenes, in
the quiet opening strokes, the French
actress makes every effect no false note
is struck In the scene with the conspir-
ing tailor, when the emotion is first evil
denced, it starts with distrust and sus-
picion. Then comes the history lesson.
/ and for the first time the dreams OF the
duke break out. This scene with the in
structors is played by Bernhard with
a great deal of happy mockery. relishing
each thrust while the Hapsburg head Is
every once in a while thrown back with
outbursts of gay and bitter laughter. In
the episode that follows, in which the
Eaglet describes Napoleon's deeds in 1905.
the actress thrusts aside for the moment
her genius and takes to gymnastics,
greatly diminishing the effectiveness OF
the scene perhaps. from a critical view
point but thereby frightening the inten-
sity and winning much greater share OF
applause than might have been accorded
/ to a quieter reading. 1t is one OF those
lightning TRADES for which Bernhardt
formerly showed such fondness in the
days of the sardou plays. but it proves to
be but temporary intrusion and not
chief stock in trade arti1ce.
In the second act, the great but
speech is delivered with ripping sar-
casm; her irony is not strenuous and 1t
seems as if the Eaglet almost enjoys the
absurdity and ridicule- An instant. and
the duke is recounting to Prokesch how
Napoleon's mighty name, clashing and
laundering in languid soul ceaselessly
reproaches and poisons his timorous son
among the grandest lines of the drama
and given with glowing and tempered fire.
I Here now, come the toys, the wooden
box the poor tin soldiers of Napoleon's
son. and the scene is given with won
dsrful mixture of awe and charm, the
joy of the youth at discovering that some
, kind friend has painted the toy warriors
so as to resemble the Grande Armee. and
the ascending enthusiasm, dropping so
quick when crossed by the shade Of Met
ternich, are all skillfully shown. Where
are the Austrians?" queries the prime
minister, with sneer. They've run
away" responds the STRIPPING, and Bern
hardt delivers the line without a touch
of exclamation, yet with an indefinable
something that makes a blow Indeed, 1t
is in similar effects of mastery quiet that
she does some of her best work. While
Flambeau tears through page after page
of his biography and reveals himself as
the grenadier, who had kept watch at
Napoieon's tent, the Eaglet sits. motion
Z loyc ay,1 IN ln.,f 49, INIT
ness; listening glowing with pride at ev-
cry mention of mis- great sire's name. adj
miring with an occasional exclamation
The very silence of the actress over
whelming the fests of Flambeau. even
the superb Flambeau Of Coqueln.
1t is In the famous mirror scene that
Q Bernhard resorts TO Theatres more than
/ at any other time during he performance
] Instead of pursuing Metternich across
/ the stage. as is done in the American
I performance. the Frenchwoman does q
very spectacular fall in the middle
! Of the stage. In the working up Of the
/ scene Bernhard is quite ipatchless. and
1 her swift change from self-eonfideDce to
/ doubt from doubt 10 fear. ard from fear
| 10 anguish is admirably portrayed. But
when in climax of, despair the duke
! seizes a candlestick and smashes the
! glass. the actress does not realize the
| fuilness Of effect that is looked for, al
/ though the curtain has to be repeatedly
raised.
| Rostand has made his fourth act a rest
! ing spell before the ordeal Of the great
! Wagram scene which latter is surprise
+ in that il Is the one badly stage-managed
| portion Of the production. The mystical
/ echoes of the wounded and dead, instead
/ OF being given dimly in the distant back
| ground. are conspicuously noisy, to the
extent that the attention of the spectator
| is constantly diverted from the Eaglet in
| the foreground. and what should be the
/ apex OF dramatic interest. In the play ap-
| pears like cheap theatricallsm. With all
| the tumult to overcome, Bernhard domi-
mates the scene with her old-time sweep
| OF confidence and power. with the Won
derful capacity for long continued paroxys-
| nal utterance which has been possible
1 to no other artistic of her day. The death
scene in the final act is splendidly done.
The familiar. languid, tender. and help
less manner in which she has so often
given the poetry the horror, and beauty
| OF death is still at the command of this
remarkable Gallo player, and makes her
\ acting worthy of its subject.
| The original 'L'Aiglon' makes much
more important characters of Metternch
and Flambeau than does the Parker trans
lation. There was last night no question
| in the mind of anyone as to the positive
beau Coquelin as the brave, gruff, loving
old soldier with his quips and changing
humors, was in constant rapport with all.
The playwright has adroitly timed the APP
| pearance OF Flambsau for an uplifting
effect, for the moment has been reached
| in the whirl of irivolity and the play of
| hypocrisy when a great, honest soul Is
required to ennoble the action. From his
first entrance until he pinned upon his
| heart with his own poniard the pink
rosette on the field of Wagram, the night
existed for Coquelin as much as it did for
his distinguished associate and the audi
ence gave every indication OF It's sin
cerest admiration 'L'Aiglon" is largely
deelamatory-indeed so much so that ii is
difficult TO conceive that there are many
artists who could stand the immense
strain beyond these two French ones
and even Bernhard in her best moments
never eclipsed the triumph OF Coquelin.
This actor is seemingly at his best in
the long speeches to Reichstadt and Mar
mont. in which his experiences in holding
up the narrative for lengthy period is
quite remarkable, while the comedian in
him has a legitimate outlet in the exhi-
bition of household and other utensils all
bearing witness to the Dukes popularity
in Paris.
Desjardin's drawing of Met:ernich is
almost Hawless. Graceful. dignifed. I'M
bending and ominous in his ordinary de-
meanor, he rises in the mirror scene
where much of the hardest work falls to
him-to the level OF Bernhard and keeps
| ko- pace throughout the scene. II is
truly fine contribution to the perform
ance. this work Of Desjardin.
The subordinate roles are, as rule
well handled. The stage is at times filled
/