Omaha daily bee., 1901-02-06

comedy indeed. This tragedy OF tragedy
is presented by Bernhard and Coquelin
probably as by others. Americans
have become familiar with the story of the
play not only through successive appear
ances Of the great French actress, but by
reason Of its repeated presentation by emf
nent American actresses. This familiar
ity was a great help to those-and they
were no doubt in the rajority-of the
great audience at Boyds who could not
understand French. One acquainted with
the narration and the situations involved
needs little knowledge of the language
spoken. The tongue of art is universal.
From the first peaceful scene in the old
church. where Mario is enthusiastically
copying a painting and receiving visits
from the woman he loves, to the last
dreadful tableau Of the gun platform where
the final depth OF Scarpia's cruelty is re-
vealed to the woman he deceived, and he
triumphs ever in death, the play is given
with a fidelity to artistic verities that most
effectually supplies to the imagination
what the understanding may lack Of knowl-
edge OF the spoken lines. II is this at
tention to the minutest parts OF the pro-
duction and the nfnitude of detail In ex-
preston that has gained for Nine. Bern.
hardt the title of Divine. NJ Coquelin
would be nothing were he less faithful TO
his art than is the woman by whose side
he stands in the estimation of the world.
With these, assisted by a corps of es.
pecially chosen men and women, and the
whole directed by manager who is more
concerned with the artistic than the finan-
cial success. the affair could hardly have
failed
Nine. Bernhardt's La Tosca" Is well
remembered in Omaha. In her portrayal
Of the rage of passions that swayed her
being from the tenderness of love, through
the fierceness OF jealousy, the sickness Of
despair, the elevation OF hope. the sudden
burst of resentment that ends in murder.
TO the final touch that leads her to place
the candles ard lay the cruciflx on the
breast of her victim, who had been her
destroyer, there was nothing that did not
receive from the great actress the most
conscientious care. And her smile as she
appeared for triple curtain call evinced
satisfaction that her art is understood
II her words are not.
About NJ. Coquelin centered the chief
interest OF the event Omaha had never
seen him, and knew Of him chiefly as the
leading comedian OF France, who had laid
aside his laughter to wade through the
norass OF heroics prepared by Rostand
|
assume the character of Baron Scarpia,
the most consummate of all the Sardou
villains-almost the arch villain OF the
stage world-had centered attention that
surpassed curiosity. Coquelin did not dis
appoint even those who had expected most.
In the great scenes OF the third and fourth
acts Coquelin's Scarpia was a suave, we'll
bred gentleman, who even at the moment
OF his utmost intensity lost little of his
urbanity, and thereby made his cruelty
all the more cruel. In the fourth act, as
he pleaded with passionate eloquence the
depth Of his love for La Tosca and offered
her the chance to purchase her lover
liberty, his smile seemed to be rather at
the infamy he was planning than intended
to engage and reassure her whose down
fall he coveted. NJ. Coquelin certainly
supplied a most satisfactory villain.
| AS Mario, NJ. Deneubourg was all that
could be wished, while NJ Scheer made of
Cesare as much as the part permits. The
| entire cast OF the piece was: