New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1906-01-16
THE DRAMA.
80 CARTER AT THE ACADEMY.
"Adrea.

.nnesrinr at the Academy, last
Nrs q. I,elasco's tragic play Of "Adrea. re-
rgfb = cordial public greeting by giving an
s7oHo., 80. ,oVerful. inpassioned' and deeply I'M
sIe' .rCorraance The tragedy, made by MI
rsssl' end MI Long. was first produced IN TINS
ssN+ the Beiasco Theatre on January H. lS'0'
a. a Cer,er then established, beyond doubt,
81 Ne - he esteemed n tragic actress. Since
~ ne hoe plaved the part many times: and
as1 ,-eonation of il has acquired the definite
Y .' so-ro that naturally ensues upon continu-
ESTE i.tor Her ideal Of Acrea is faultless. Her
es -, IF that ideal is eloquent, free massive
ap.ts.,c and splendid with authority Her
go .e 70 technical execution, remains, how
susceptible of some improvement the use
sT' 10 caressinE tones and the use of vehe-
z .,,,biIirv (these being substantially fruit
81 sypedents Of art. and. Furthermore, being
.,,e Of the practice Of Nine Sarah Bern
~ might wisely be discarded. together with
= 5i5ing.. panther-like movements, which seem
-+facaI A perfectly erect posture. when
@ q ~. sneech of nlalediction. would height
Co. ~. tremendous effect Of emotional tumuIt-
oorId he more convincingly expressed than
IT, striklng upon the floor: and surely 1t would
IL :, .bet the princess should remain on the
=. a. the loftiest possible height. when sar-
.,11- tumoring Kaso and pronouncing ms ls-
ss,,s doonl-so disposing her drapery mean
.e N Increase the appearance of altitude
" orso for the purpose of dramatic effect
- a-incess should not impair majesty OF pres
r dvarfng the figure but should tower over
- r,aefng suppant. instead of lowering her-
=. = glare into his eyes and should employ 10
- that IS not large, comprehensive. ana SUI
Much nonsense IS promulgated Ghe eminent
: ,sIisric and Photographic Nine Duse mas re-
.-tr contributed to this ample store Of er-
ors and superfuous inforrnaton). about the
- abandonr7ent that becomes apparent when
on overpowers and convulses the body. caus-
n ,tbrare and otherwise comfort itself In
r,s cases as a matter Of fact the passion Is re-
s.,sd m the performer. whereas true acuhs
ia communicate IL to the audience. The right
+bod IS that Of intellectual government which
-. -.esfon in absolute control. guiding and di-
- II without seeming to do SO, and thus pro
sr.ss tic full effect. Mrs. Siddons 0he greatest
..r.ss that ever lived If biographical testimony
=, h. trusted. gave advice that means much and
-. far when she said 70 one of her auXiltar per
t,-uers: IF you feel too much. YOU VIII never
r,ke an actor.
The rlav Of "Adrea'' is replete with occasions OF
,rultuous feeling and with impulses toward wild
,i reckless abandonment: for it is fabric OF the
t-.gipstion. and in dealing with the passions. 1t
igls with them IN much the same spirit that
r,rrss as deep and irresistible under-current.
through the ancient Greek tragedy-which is the
tragedy Of Fate. Every picture in it IS massive
Frev ingredient Of It is fashioned on large scale
The sins
ss5 portentous. Tempests are implicated. Spectres
rsrticfaate MYSTERIES impend. Death a gloomy
shadow stands in the background. watching over
sn The place Of the action is indefinite. Inc
tine Of il is far remote. in the mist Of antiquity
and 50 the appeal of it is made TO the poetic sense
and not to the perception OF fact The heroine
ld7ea. is depicted as woman OF essentially noble
mind splendi5 individuality of character. towering
PASSIONS hut spremely virtuous Will; and this SUI
rsrA creature-a queen. in a realm of semi-bar-
4 rs-ic raguifcence-a lovely and loving woman.
flshtsd in affection. victimzed by deadly treach-
e-v-is ertaneled torments. eXasperated INTO ue-
g-9ys agony made ferocioUs in her resentment Of
r-s2eakable wrongs. made deadly in her revenge
hi, at the last, through sublime self-eonquest'
-serated 10 the dignity of patient forttude and
he resce Of submission TO inscrutable Fate. The
-yestiture Of the play is picfoTially respenoent
and lis feryia. tumuituous movement is frequently
uun,tuatea with theatrical effect but there IS more
IN it than picture or scenic pointer it shows great
character made greater by the discipline of sorrow,
and If imparts the conviction (of all departments
tie most valuable that any form Of art can give.
that raient endurance in the plain path of duty,
is the best Of al virtues in human life.
MIS-. Carriers acting is stronger in the emotions
il is IN the intellect. She meets and endures,
however. the test of tremendous situations in
yolving conflict OF various passions. and in this
respect she proves her possession Of tragic power
IN the ghost scene she clearly indicates magma
tive sense OF preteruatural environment-the shud-
isring awe Of a sensitive human being. confronted
Vsh spectral shadow from another world than
@-s IN the delivery Of the curse she is dominant
Is also she is in The announcement Of the lovers
a'm. and she is eminently aTectng-with the
tlueRce OF stormy GRIFFIN the piteous. terrible
sf-conhct through which the woman. at last
ISIS into an incarnation OF Fate. She speaks the
English language. in q clear, fluent. correct, and
Splendid manner. and she particularly excels in
rsadth and splendor of expressive gesture-having
ne arr, possessed by very few performers, of
making perfectly well those gestures. the most
slHptuous and commanding of all, which require
he lifting Of the arms above the head This IS one
Of the special beauties Of her PRESERVATION of Adrea
NoN, as before. this remarkable performance.
whereof the defects are wholly in the superficial
texture Of the method. comes home TO the heart
WIN an exceeding effect of pathos. because Of the
sa1 knowledge with which it Is freighted-the
kaoT.edge Of suffering and OF grief