New-York tribune., 1902-12-31
THE DRAMA.
w. .Sothe,n at the Garden.
"HAMLET."


Edwin Karrey Polonus, and Nr Roland Buck
stone the seXton.-these being the only notable
features y the cast. The tragedy was set with
thoughtful regard 10 archaeological detail the ex-
terror view OF EIsnore Castle in particular-a
gloomy, gray. antique fabric overhangfnC the sea-
being imaginative IN composition and beautiful in
effect. Much has been done TO invest the plav with
scenic aIiureInent and if Mr.. Sothern were able to
a. Hamlet in a great manner the result Of the
production. undoubtedly. would be a rrodicious pub
nc benefit. Even with conventional performance
of tho central part the revival improvisation
the play itself exerts wonderful power: the pa
Eantry of it i magnificent: Pclonius though shorn
cf many lines, Is acted by Nj. varrey SO as to af
ford the light and relief of humor: Miss LOTUS
while leaving ophea IN that state Of shadow" in
which she says that she found her is as sweet and
pretty maniac as such a sprighty comedian could
be expected 10 become and, indeed all things har
nonize 20 make the presentnent popular
Experience. however. has proved that unless even
the best OF ac2ofs has peculiar fitness for Hamlet
he cannot endure in it Technical proficiency
not suffice In this part, of all others ''the
many 1ai, the succeeds" George Frederick
Cooke great Richard. must have been. for physi-
cal reasons, offensive in Hamlet. Forrest great
othello' was one OF the heaviest and most tedious
players or Hamlet tnat ever were The elder
Booths Hamlet never lowered like his Richard and
Sir Giles. John MeCullough-Inatchless in heroic
parts. like Eirginius-was always constrained and
Al self-rarianoe in the Melancholy Dane. Eaztt
declares that even the great Kemble. that
jestic figure in Sir Thomas Iawrence's picture,
scted him like man in armor. The truth thus
implied is nor without significance. Though il be
true thai Harplet must be made 1t is, first of all.
essential that he should be born Wherever found.
the authentic actor OF Hamlet will be found
equipped with ample experience. hut that expert
euce VIII be found enErafted upon peculiar apti-
tude. Cola rh II is true, down before shep
herd boy with sling and stone; but the dra-
matte shepherd boy-diviuely commissioned 10
Hamlet Sights. like Royal Charlie. long
e-coming'
To say that Hamlet cannot he precisely defined Is
10 speak within the limit Of truth. A beautiful.
exalted soul, shrined in physical image of perfect
grace. and invested with circumstances OF lofty
social station an6 Of romantic and awful character.
deficient in the attribute OF WILL overladen with dis
tractng thought. and overwhelmed only by
terrible personal experience. but by accumula-
ton Of the shocks and suferings Of earthly en-
vironn1ent, Hamlet remains, and forever must re-
main the inexplcable type Of all that is strange
and dark in the spiritual destiny Of As p
mystery Shakespeare treated him. and his mys-
terry is his greatest charm His ravaged strength
and bloom Of early manhood and his picturesque
position combine with this Rlurement, while the
eloquent language OF stately play. together with
preternatural accessories. complete the glamour II
* not wonderful that actors should aspire 10 play
the Prince Of Denmark, but, as said before, IN
ths place. there insuperable obstacles In the
v-av Of most OF them when they approach TINS
subject II is indeed readily possible for ex-
rerienced actor OF respectable talent 20 dress IN
the customary trappngs Of woe and to walk con-
vsutioually through the part Of Hamlet speaking
the words smoothly, and giving a more or less
picturesque embodiment OF meditative melancholy;
and this is all that usually is accomplished The
essential quality OF the characJer.-ats soul OF
misery it's grandeur Of desolation. its significance
a. an image OF finite man. baffed, overwneImed'
and ruined in the struggle to comprehend ana
dominate the awful mystery OF his INFINITE en-
vironrnent-is scarcsly ever even remotely sus-
eested. The poet has created and displayed a type
of human nature ct its highest and best, over
bslrsd with afniction blasted with grief, tainted
with madness md, alike by innate tendency ana
external propulsion, made total failure; the stage
ordinarily presents corTelafiVe OF TINS inl1ss
a handsome young man. in black Selvee clotheS'
veil e-oouned and locking II just liberated from
q bandbox with no sense Of the terrible facts
~ life snd death moral responsibility and spiritual
destiny. shan feather has OF the nreeze oy WHICH
IL Is blown.
character Of Hamlet was made. at the Garden The
atre on September L, 1900, and his performance
was then recorded and discussed (septenoer 70
sn -hs column IS. substantially. the same per-
sorusnoe that il was then, and * prompts the
,e-,e reflections The short TO greet tts recur-
renee would be exclain, with shakespeaTe-
IL; US not burden remembrance with
a heaz-iuess that's gone
NJ Sothern however, is an earnest ano consci-
entioas actor-lovv, after upward OF twenty years
x confessional service at the meridian Of his career
and his eudeavor play Hamlet. while II cannot
be much extolled should at least be recognized rs
i-ai7l 10
nut not victorious one, and no reason Is apparent
>or modifying 10 any extent, the first estimate
Of II that was here set down Mr Sothern does
not erubody Hamlet but he presents after the
manner Of consistent mediocrity, sutclenly IN
rerestuE type Of fantastic mental disturbance ana
juvenile gloom The principal attributes Of his en-
boeirneut OF the whom he suPposes to be ham
e- a-e sincerity Of purpose earnestness OF Inlnor
continuity Of strenuous effort, and hful sIasinooic
sorce Ee speaks the text with huency. anu ttho"S1
seldom with expressive modulauon such d IL he
yueut on spontaaeity OF feeinge with proFrIeD
f Intelligence that usually apprehends and conveys
its surface meaning. He indicates rlehl sense
a, nlisI tenderness and reverence. He SHOWS
nobility Of righteous scorn ana moral 1erVoF'
hIy in the Closet scene,--ano, once OF l"4Ce' &c ~
listening to the Ghost. when aposuophlzing your
srscto,. ee-,re" and when uttering Harnlets dying
words he becomes momentariy sympatheuc' Ch
-he o.hsr hand he lacks personal distinction, IN
nate princely authority. grace of movement IN
variable clarity of articulation, mobility OF lacid4
7xprexsion tenderness OF feeling depth' NalIe'S,
and charm OF voice, that sense Of being haunpeo
which only powerful imagination can AWAKEN
s,5 ,r,nart and at certain pivotal moments OF the
traredv-such as Ezmlet's first meeting WIN 1hS
Ghost his parting with Ophea. his oeliIluin al me
climax Of the mouse trap play, ana ms IIeI%'9u
Joy and horror at the killing OF Polonlus-he coz,
spicuousiy LACKS the passion tnat shou!d oe
csI end me tragic power that should carry al oe
>c-e :, OF the corrosive misery OF Eamlet--rnlseTy
that has sspped the foundations of his nnino ana
e and which steadily mercilessiy, ineNoraoiy anu
.rreststfhiv burns out his heart ana proPels hii'
onward to ruin and death.-he gives no ue"o'
uent.
Less than this. IN its censure. wou!a ne week
ness. more than this in its praise. would be foiiy'
In mower feeling and continuity. anu IN nice eu-
justInent and fexibiIty Of mechanism M eoI4i ~
.rn's embodiment Of Hamlet is improved sis
hest scene is with the Queen and the Ghost IN me
49, Gnf1