New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1907-02-15
THE DRAMA.
THE sOTHERN-MARLOWE SEASON.
"HAMLET."

1t is a pleasure to listen TO the magnificent lam
guage of Shakespeare, and therefore per-
Torrance of Hamlet that is more than merely
respectable imparts a certain enjoyment to its
audience. Mr.. Sothern's assumption of the Prince
which has been known upon our stage for about
six years and which again revealed last night
at the Lyric Theatre, is respectable and such
1t can be enjoyed. More than that could not truth
fully be said, I'm the commentator of it. This
subject has been more than once fully considered
in this place. and opinion OF the actors achieve
ment has been recorded. together with explicit rea
sons for the entertainment Of that opinion. The
detailed reiteration Of former judgment would he
appropriate but 1t does not seem to be essential
The performance. given last night, manifests a
gain in authority. fuency, clarity of design and
eCutive precision but substantially, 1t remains pre-
Clsely as Il was at first conventional and common
place Mr.. Sothern does not possess the tempera-
ment of Hamlet, and therefore he cannot manifest
Uncertainty. at least he does not manifest it. An
actor who appears Hamlet Is expected and not
unreasonaby, to show something more than the or
binary resources of mechanical efficiency and pro-
fessiona skill Hamlet typihes congenital. inherent
misery. His melanchoa is the close denotement of
incipent insanity. His smile saddens His mOmen-
tary playfulness. If IT be called. is more pa
thetic than tears. His personal allurement is not
only that Of exquisite personal beauty-marred IN
deed. with grief though not destroyed,-but that Of
intellect. imagination. tenderness. and spiritual
charm. He IS grandeur In ruins He is the one
made of finite man, broken and desolated in his
fruIess effort to comprehend the vast, overwhelm-
ing mystery OF his infinite environment in the uni
verse. Mr.. Sothern (by means alone In the
customl presents that wonderful creature as a
melancholy IN black Grape and spangles. 1t
answers the purpose-but it is not Hamlet. 1t an
swers the purpose because It inteligently conveys
the surface meaning of the part and admits OF a
practical exposition Of the play. 1t IS not Hamlet
because It lacks his principal attributes and his
potential charm OF poetic inspiration.
signal feature o: this revival OF the great
tragedy is the performance Of Ophelia by Julia
Marlowe. The Character Of Ophelia must be ap-
pretended not only through her acts and words
but through the thoughts and feelings Of those
around her. The dominant fact Is the fact that
Hamlet has loved Ophelia: the kindred I'M
periaI fact is that Of her love for him-which
survives every trial, including the affliction Of
shattered reason. The madness of Ophela IS the
result not alone OF her fathers death but OF her
lovers lunacy.
In Miss NIarlowe's treatment Of the mad scene
that admixture OF motive is subtly and pa
thetlcally indicated. throughout the transitions
Of deIirium. Her business with the flowers
is new. original. and good The custom has been
impairment OF rue. fennel etc, to different per
sons in the mourning group This Ophelia is-
nores them all and communes wholly with visions
Mr. Sothern has wisely restored Hamlets Now
might I do It," etc. but has cut the advice Of
Polonius and also the remorsefUl soiOquy of the
King. The audience large and sympathetic
Hamlet will be repeated tonight w W.