New-York tribune., 1906-10-23


OF Imogens inhdelity were presented by him TO
her husband suficed 'to make the noble Leon
aius mad" On that ground only the conduct
OF Posthumus be explained and. even in part, for
given
Mr. Jefferson Winter presented that ideal of the
character and therefore 1T rightly be said that
ne acted the part in accordance with Shakespeares
conception. The words of the part have been cut
in such way as TO deprive Posthumus Of all
verbal means of expressing remorse and repentance
IN definite. adequate manner, and thus of re-
deeming himself from total obloquy. The impera-
lively essential reference TO the bloody cloth (the
kerchief dyed in blood. supposed by Posthumus to
be the blood of Imogen cruelty murdered at his
command) has been omitted. while the ensuing
speech which the poet wrote a sonloquy. to be
spoken before the battle begins. has TO be delivered
by the actor in the midst Of such thunderous
turnult and racket OF warfarethe shouts Of supers
and the clashing of swords.-that scarcely word
Of it could be understood. even If it were shouted
from the lungs of a stentor. Mr. Winter put forth
extraordinary vocal force at that crisis, and he
showed the misery of Posthumus In his haggard
face and frenzied demeanor In the scenes with
1mogen (and II is notable that although Posthumus
and Imogen married lovers. they meet but
twice in the whole course of the drama) he struck
the note OF tenderness, commingling affection and
chivalry. In the with Iachimo, both at first
when the wager Is made. and later when 1t is sup
posed to have been decided he denoted clearly
and effectively, the instructive dangerous, menac-
ing antipathy Of Posthumus toward the odious
ItaianI and his eliminating outburst Of blended
grief and fury had the necessary wildness dis
jointed utterance OF an overwhelming passion. Ex-
ceedng solicitude the part of actor often
will cause him to try to do too much. In this in
stance It somewhat impaired the proportion Of
the performance; IL did not. however, detract
from its correctness OF design deep feeling
distinction or its force This actor ought to be
credited. also. with discretion deiicacy and the
faculty of taste,-for he spoke offensive lines in
such way as to gloss over their rank impro-
priety. without sacrifice Of their dramatic value
For stage purposes the part OF Posthumus is COM
plex, difficult. and bad He is sporadic person.
He appears only at long intervals and, when on
the scene hs remains visible but a few moments
at time so that the representative OF him must
make repeated beginnings, There is no continuity
and consequently, cumulative effect. Further
more, the character is unsympathetic. Its I'M
portance on the stage has been greatly overvalued
1t has been the stage custom to assign Cloten to
the conedian,-neaning, here. the funny man: but
Cloten Is very far from being q comic person
Absurd and ludicrous he may be- by reason OF his
esregious vanity and the self-suficient antics OF
his procedure; but he is both formidable and dam
serous. People speak OF him an ass, and wonder
is expressed that his intellectual potential mother
shouid nave borne such q fool. Nevertheless there
are times when Cloten displays courage and force
MT Sidney Herbert, an admirable actor, could If
he chose inject into his performance OF this part
an element Of characteristic lowering menace that
would explain II, and would convey a sense OF
maHgnity He presents 1t a compound OF such
persons as Osrio. Oswald. Bobadn. and Sir Fred
erick Blount-that Is to say a pert. gasconadlng
donkey and. on going to his death, he makes low
comedy exit while the business" is arranged
that the brave Guider1us IS made to appear capable
or killing an unarrned
The absence OF certain virtues in a performance
OF Pisanio would at be perceived and would
DO deplored the presence OF those virtues is agree
ably felt without always being specifically noticed
Pisanio occupies subsidiary position In the story
hut ha ia ohar altar N9
He was acted. in grave gentle. lovely spirit OF
affection and fidelity, by Mr.. Fuller Meish an
actor Of the old school. whose presence. in any
representation. is not only comfort but posi-
tive blessing. Almost every particle of the 'busi-
ness or byplay used by this actor helps his asso-
ciate actors, while expressing his character,
and whether 1t be prose verse, he speaks with
fine intelligence, Just emphasis, and round. clear
copious delivery. On this occasion he not
always accurate is his custom, but the part
Of Pisanio elevated by him into unusual dis
tinction The King and the Queen, in this drama,
useful but they attract less attention than is
usually accorded to royal persons. Miss Skipworth
placed emphasis the speciousness and maleYo-
lence Of the Queen; not at all on her intellectual
and formidable character. The Princes repre-
sented by young men of pleasing personality
Guderius by Mr. Douglas Gerard and Arviragus by
bIr Frederick Rowland Their recital OF the Dirge
had effect OF grief and solsmnity-though Mr.
Gerards soft Hibernian cadence could not escape
studous. earnest. capable actor having mind feel
ing. refinement and taste Mr.. Hadheld. who acted
Cymbeline, brought to that somewhat thankless
part the virtues OF sincerity gravity, and weight.
He is actor OF experience and solid worth. 1t
a pleasure 10 the veteran Charles Leslie
Allen ("Shouid auld acquaintance be forgot?) IN the
character of Belarius-a part for which he has all
the essential feeling-the sentiment, the benignty,
the sweet1y reminiscent tone-t not the BLUM.
tial power. The part of the retired soldier the
was assumed by Mr.. Myron Callice, actor who.
evidently, thinks It essential that he should be
responsive" and who therefore, indicates. by
tortion, that every remark addressed to him has
pierced his person in vital part. The sensibility
that he displayed toward the OF the old friend.
dead and gone, whom he remembers and mentions
as the savior of his life, such might have
been expected from an
The scenery, especially that representative Of
the mountains OF Wales, is uncommonly handsome
and extremely effective; but it is obviously new,
and, like much Of the scenery usually painted
by. American artists. 1t lacks mellowness Of tone.
The Welsh mountains rugged and dark. The
presence OF heather on them would account for
the peculiar. almost tropical color that has been
chosen The painted mountainseare more sugges-
tive OF ARIZONA and California than they are OF
Wales. The costumes. in general. have been Sc
lected with reference to their suitability the
persons in the play,-each Of whom would. OF
course manifest individuality in the choice of fab
rics and colors-but IN accordance with design
Of showing "the dress of the period" The costume
of CymbeIine makes him ludcrous guy. Iachmo.
in the chest scene, is invested with obstructive
scarlet robe such as Henry Irving Wore when he
acted Mephistopheles he should be in black.
Posthumus IS put into sort OF baby blue" and
40 encumbered with drapery that he scarcely
use his arms his weapons. Cloten IS made TO
wear bright green tunic; salmon pink cloak;
gray trousers made like bags; red shoes and red
eartars. nd gold TURQUOISE ornaments;