New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1904-11-01
THE DRAM A.
MR. soTHERN AND MISS MARLoWE.
Much Ado About Nothing :"

e.
ebslssn.srs,s comedies and that happily IL
illustrates FOR the student Of literature the great
poets rare faculty OF invention and rlch res0u0
q. buuor In the character OF Beatrice MISS -H9i,
lowe Is enable to rberate her eHuoe'3'l' 80
,,-4ts 70 exert a Ar. talent for raillery 70 snow
e. ,vraet and ingenious manner feminine sat
,xs.c,to, in being admired and beloved ana %
manifest A noble vyoEsn's passionate and spectrum
,.s.n+-nent Of brutal injustice. In the character
~ Rsnedick Mr. sothern escaping from self-n-
ro,sd and overwhelming burdens Of tragic tial
90 nonderous gloom once more shows himself as
sn image % bland good humor, whimsical gayeV'
and simple honest, straightforward. manly iee'
ting Ss.lher Of these representations can bs ac&
counted absolutely ilustrious for neither OF them
has vet had time mature; but both are wei
conceived. both are correctly projected; and both
disclose attributes OF brlliancy. MI sotherns per-
Torrance would be finer Il Il were at Soma times
more runlnant, at some times more dehoera'e' al
All times more elegant: II It were uniformly kept
A. ,bs vein Of light comedy, until the climax; ana
- q were not marred by occasional wrong en-
nhass destructive to various shades OF Piquant
meaning. -.
comp!ete illusion is depende' It's not 10 be OBJ
tsined Al once: and. furthe more, the characters
Of Benedick and Beatrice are not sucn as al Arsl'
endear themselves 10 the actors who represent
them and. by that means, awaken whole-hearted
sympathy and stimulate eng-ossing ardoT- he
knowledge OF them that ensues upon long lhI-
macy perceIves. in their depth. much that Is not
visible on their surface. Both are tumutuous with
the sbUIlent vigo+ OF youth Both are prone 10
sarcasm. Both are self-centred IN a strong per
AonaI conceit. Both dwell in gHttering efdo-
resoence OF physical sensation Both dispense gibes
and both exuIt in p!GUart, singing barbs OF IN
solent wit. Neither has had any experience or
the ministry OF sorrow. Beatrice, born under "a
star that danced and destined TO speak all mirth
and no matter" is radically merry that she
wakes I'd laughing. because Of dream that she
has been sad. Benedick is an m!rth, from the
crown OF his head the sole Of his foot. and what
his heart thinks his tongue speaks But both
these persons are sound, genuine substantial.
worthy. and sincere. Benedick is honest. brave,
and noble. Beatrice Is pure, exalted, ahectonate
and These Eirthful antagonists. striking Hre
upon each other whenever they meet, are, after
all only pretenders 10 heartless indifference. Their
Ievity IS superficial The better they are known.
the more they are loved Elements Of incerttude
cess. or Ianguor, accordingly. that show them
selves here and there IN such performances Of
Renedick and Beatrice as are given by Mr.. Sothern
and Miss Marlowe are, doubtless attributable to
an apprehension OF those characters as yet not
quite complete. and & sympathy with them as yet
fully aroused.
There IS nothing abstruse difficult compre-
bend in either Sha kespeare's treatment Of these
characters the situations that he has devised
for their presentnent Vigorous youth buoyant
spirits ample fire large, broad, fine courtesy of
manner, the quality that the old stagers were ac-
custoTnsd call .gig,"-these associated with per
EorsI beauty and clear. fluent sIvery eocution, are
the main attributes and faculties essential to VIC
torfous acting OF Benedick and Beatrice. Mr.. soth-
er1s personality. Benedick. is gossarner rather
than substantial: he somewhat lacks weight and
authority: but he has possessed himself OF the
stage tradition Of this part.-the tradition trans
rnitted from. least the time OF Charles Kenble,-
snd the gallant soldier that he aims TO embody is
busy. talkative intrepid and exultant. completely
satisfied with himself, and continually disturbing
force for others. The verbal warfare OF Benedick
4vFF Tr-
though with some violence. The complacent soIii-
oQuy OF marriage IS judiciously spoken, and
with the unconscious humor OF conceited sapience,
but somewhat quickly. The astute. dubious
vigilance the puzzled Observance and the drol
nvstIfcation of DenedIck. while he is listening
70 The p,otters IN the garden scene are hunorousy
Characteristic and amply expressive The de-
rcaIOr IN the scene Of the challenge IS appro-
priately resolgte. and the attitude OF dangerous
uenaci1g hostility is vel assumed. IN the Church
scene. the contrary. the actor shows himself
dwarfed by he magnitude Of the situation and by
the potentially and conflict Of the emotions aroused
by IL That Church scene VIII never again be
what II was. when Henry Irving and Ellen Terry
tlurnin@d and gorled #. on the occasion OF
their first prezentuent of Much Ado" IN this
city twenty years ago; nor is it possible that
Ellen Terry's Improvisation Of Beatrice Qncarnate
arch7ess PLAYING over delicious kindness and i'm
parting all of charm that there is in the irresistible
fascination u sensuous wOmanhood), should ever
b equaled. but Miss Narlowe's performance Of
Beatrice becomes, at this supreme point exception
ally lovely and. in its sincerity superb The great
moment for Beatrice IS that u the outrageous ju-
suit 70 Hero.-the pure gentle. hlaneless girl whom
the stronger woman 50 entirely loves All levtv
drops from Beatrice IN an instant and her soul
springs fulI-rtatred 10 the defence Of virtue and
truth Here Miss Marowe's inherent personal no.
biity reinfOrces her decisive emotional power and
she becomes magnificent. Amusement and horror
al the infany Of the accusation against Hero. and
detestaron OF the insensate cruelty with which II
Is made, eliminate IL ptteous and furious frenzy
"hch IS half despair at her helpless ina bility and
nan tbs enthusiasm OF resentment and coveted re-
Nehge- II Is in situations Of this kind that the
genius Of Miss Marlowe is revealed and this fine
performance moro than ever demonstrates her pc
culiar aptitude FOR the passionate heroic robust
characters OF dramatic fiction
The recurrence OF Much Ado" suggests no new
line 81 general comment AS often as this comedy
Is revived the same thought is prompted as TO its
wealth II character and humor and as n the nre
posterous and affecting incident-the brutal insult
10 Hero, al the altar.-in which Its main action
eliminates That incident always did always
should. and probably. always Will initiate against
me entirely sympathetic acceptance Of the plav
Shakespeare found Il in Ari0sto or RandsIIo
whence ne derived the Claudio snd Hero story
anu d course ne has diEnlfed IT, IN MS treatment
a Il, but he has not redeemed IT, Inhrnitfes min
gle with felicities The somewhat insufficient mo-
tive imputed Don John is hatred ~ Claudia be
cause " his succ-sS This young start-up hath all
tne glory n my overthrow. # can cross hin, in
any way 7 bless myself every wav" Bu- as he
fore said n this place Shakespeare seems pro-
foundly 10 have felt the truth that co-sp,cuoue
-e'4' always ef'Sen1ers enmity and that this
'1' Is al me more venomous when the quality Of
the merit IS rather felt than 1r-5e-s+oo5 .,rrLa-e
is daily beauty IN his life that makes ne rI,-
he expedie0t Of making Margaret when Disguised
: nero address Borachio by the name OF Claudio
mas been questioned. ever since III. editorial time
q Ihe'oald Boracho distinctly declares that
A1arEErct -'kuer NOT what sF.a ain ,rt-. -. ,,,o