The Saint Paul globe., 1903-03-09
ST.
TIL E. AT r E S

\
S>~~~~e~~~e~r~~
In the course of an essay on the
comedies of Shakespeare and MoIiere.
the lllustrious French actor, Coquetin.
pronounced s4he Tempest" the 'diViR
est poem eyer. dreamed by the mind
OF man." This tribute from brilliant
foreigner, who has adorned the stage of
thls country as well as his own, should
be enough, if indeed any at all were
needed at this 1late day.
ThlS poetic conception of the Bard
of Avon was given dramatic repre-
sentation at the Metropolitan opera
house last night by MesSrs. Louis
James and Frederick Warde and their
company. That two-thirds of the au-
dlence did not comprehend what it
was all about was not the fault of
Shakespeare or the actors.
Those who did contemplate the per-
formanee with understanding marvel
ed much that it had been transferred
to the stage with so little sacrifice.
1t IS difficult, not to say an i'm
| possible feat, to enbody the fancy Of
| Shakespeare. His sprites and fairies
that delight the imagination in their
| 1nv1slbllity are only too apt to offend
/ the vision when their persons are
! thrust before us. It is hard to be-
lieve that nobody but the spectator
| sees Ariel and the other spirits who
/
perO.
1t is but fair to say that all that
| stage mechanism can do to produce
| optical Illusion is accomplished in this
| most commendable presentation. I'M
| agination must piece out the rest. The
| spectator whose appreciation scars not
| above musical comedy is out of
| place at a performance of "Thd
| Tempest" as much so as politician
| who has mistaken an oratorio for
| ward meeting.
The representation upon the ma
| terial stage of a supernatural poem.
| such as "The Tempest" is beset with
| inSurmountable obstacles. AT best, the
| indulgence of the friendlieSt and most
| appreciative audience is appealed to.
The very appearance of the sprites
| that are supposedly invisible, that they
may weave their magic influence, jars
| upon the finer SensibilitieS. To those
| who have not; the slightest conception
| of their purpose, how incongruouS
| must it all seem
But to oneswho has availed himself
| of the easy opportunity to read Shake
| speare's divine poetic drama-for there
| is no royalty today that commands a
| high price for his masterpieces-the
| IS much pleasure in witnessing this
| worthy production. 1t is pleasure un-
| alloyed to hear those matchleSs
| speeches of Prospero, delivered with
1
| characteristic of Mr.. Warde. The
| sublime poetry of Prospero's magnani-
| nous nature imbueS the entire play.
| What a text he affords for the bigoted
| detractors of the stage to contemplate!
| Benevolent enchanter that he is, he
| consummates a most Christian victory
| over evil. He returns nothing but good
| for it, and the audience applauds him.
| for the people are always right at
| heart.
Mr.. Wardes impersonation of this
| grand character cannot be too highly
| commended. His appearance was pic
| tureSque, his mien and bearing dlgn1t
| fed and his speech and action devoid
of the theatrical flourish that denotes
! the lesser actor.
] The other extreme of humanity in
this remarkable creation of the poet
! is Caliban, Prospero's. slave-in the
| material sense, the being who ministers
| to his physical needs. The portrayal
| of this repulsive character by Louis
James is vital. An actor of rare abil-
| ity, Mr.. James invests this strange role
| with compelling individuality Taught
/ to speak only the language that Pros
| pero spoke, Caliban, half brute that he
| is, knows none other. The poetic lam
guage of nature is his and in the ut
| terance of the commonest sentiments
and the expression of his most vindic-
! tive Impulses, he speaks home. The
| poetry of nature finds it's expression
through him even when he bewails his
| lot or berates his master. 10ee-.t
| Mr.. James is uneXcelled, if, indeed,
| he is eQualled as a reader of Shakes
| pearean verse. His resonant voice
and deep tones impart an impressive
| ness to the significant passages that
| other actors attempt in vain. His
1 portrayal of Caliban is brilliant. With
| nice distinction he differentiates it
! from that of the jester and the drunk
! ard who gives him his first taste of
/ wine, thereby indicating the clear in
| tention of Shakespeare to demonstrate
| the greater degradation of the civil
lied topper and fool. More of Mr..
| James in the serious Shakespearean
roles is the great desideraturn in these
| days. when actors without his voice and
| capacity to interpret the poets heroic
! characters are becoming too numer-
| Gus. Io;t
What might justly be set down as an
| impossible rQle-Ariel-Was allotted to
| Miss Edith FasSett. To impersonate
| an airy Sprite, visible to nobody but
| it's master requires a sort of evanes-
| cent, diaphanous personality that it
| would be uncomplimentary to accuse
| any young woman of possessing. Miss
| Fassett certainly does not possess it.
| On the other hand, she has a graceful
| figure, luminous eyes, melodious
| voice and nimble feet, which trip their
way about the stage in fascinating
fashion. Miss Fassett also spoke the
! exacting lines allotted to Ariel with
| good accent, which is quite unusual
| with invisible spirits of good.
1t is pleasure to commend the
truly admirable portrayal of Ferdi-
nand by Norman Hackett. Here is
| young man who can make love with
| out exciting an irreverent or jealous
| litter. In voice, action and facial ex-
| preston he was sincerely personified.
I The love scene with Miranda, one of
| the most exquisite exhibitions of the
| tender passion in all Shakespeare, COM
| pletely conquered the audience, so
| faithful to it's spirit was Mr.. Hacketts
acting.
Miss Maxwells Miranda was accept
able, but not distinctive.
The other roles, necessarily of a mi
nor character, were fairly well sus-
tanned Wadsworth Harris impaired
distinct individuality to Stephano, the