New-York tribune., 1902-12-23
THE DRAMA.
Nr. U7Llnrd at the Garden.
"THE MIDDLEMAN."


Mr.. Villard's impersonation of Cyrus Benkarn.
in Mr.. Henry Arthur Jones's fire play of The
Middleman.'' has been known the American
stage for twelve years. It in the character OF
Blenkarn that Mr.. Willard made his first appear
ance in America, on November TO- 1890, at Palmer )
Theatre; and since that time he has acted the part
far and wide. throughout this country. Last night
at the Garden Theatre, he delighted numerous
audience with this splendid impersonation. and-lt
that were possible-7he deepened in the minds OF
his admirers the sense of his power as an actor
his simplicity sincerity and pathos. and the beau
tful symmetry of his expressive art This suo1ect
has often been considered IN this place. and pres
ent comment 1t must necessarily follow in a
beaten track. The embodiment is much the same
now that it when first displayed. and. now as
then it diffuses the influence of moral fervor
and noble emotion.
In Mr.. Joness play the serious scenes are skill
fully diversified with passages of humor ana
satre.-the second act. in particular. affording an
exceptionally brilliant and instructive example or
the art of dramatic construction,-and the incl
dental vein of thought upon the relation between
the power of money and the dignity of genius 1s
essentially significant 1t is the dramatic present
ment of a strong character. however, that makes
the drama potential and to this character
Mr.. Willard has impaired magnificent physical
force and tremendous stress of human
feeling A simple. confiding nature devoted to an
ideal of artistic beauty. and careless of all per
sonal advantage, that this ideal can be made
actual, suddenly feels itself smitten by the double
blight of afiiction and failure, and thereafter
through terrible ordeal Of suffering, it arises out
of grief. destitution, and frenzy, TO the triumph
of success and the still greater triumph of char
tty, endurance and resignation. The actor must
present good and lovable of genius; must
endear him the spectator by many little denote
ments of sweetness: must show him at once raw
aged with misery and oppressed with the right
eous purpose of vengeance: must pass from the
frenzy of passion to the stocism of endurance;
and must dominate all moods and changes as
to preserve a uniform and consistent personality
and to allow the embodiment gradually to increase
in strength the character is unfolded under the
pressure of affecting experience. This achieve
rrent is accomplished by Mr.. Willard. with an ease
that makes illusion complete, and with an lnteH-
sity of feeling that heart resist MI
Jones's 'NIiddeman' is great play: one that con-
Germs itself in an elemental manner, with a sub
iect of profound and permanent Importance and in
terest; and Mr. WilIard's embodiment of its cher
part is one of those exceptional dramatic creations
that impart not only delight, but nobilitypleasins
while they pass. and making the beholder nopler
and better for having them.
The character Of Joseph Chandler died with
Royce Carleton, who perfection in It, but Mr.
Bassett Roe indicated exceedingly well its SNUG
compIacent indurated selfshness. Mr.. Harry Cane
is still painfully. though comically. true In his
presentment of incarnate worldly meanness and
tricky humbug as Batty Todd-perhaps the most
servile, fawning dramatic parasite that has ap-
peared in English comedy since Paul Pry and Mark
NEEDLE. Mr.. J. S. Taylor is excellent in the sketch
of tipsy old Danks And performance of superior
rnerit-for fidelity to character, and for involun-
tary eccentric humor-is given by Mr.. Ernest
Tallard as Jesse Pegg. The remembrance of ear
lier representations OF 1.-THE Middleman" is not
eclipsed; but this revival is a very pleasant one'
and is gratefully welcomed. The curtain calls for
Mr. Willard were numerous and the applause was
sincere; and once again this wise actor afforded
the good example of never breaking his picture
and never making a speech w. w.