New-York tribune., 1907-12-03
THE DRAMA.
sIGN9R N0YELLI AS a MOOR.
Lyric Theatre.

Lyric Theatre
The eminent italian actor sgnor Erme.e NoveIu
made his re-entrance at the Lyric Theatre last
night and again presented the ignominious person
whom supposes and declares 70 be Shakespeare's
otheio. AS denotement of the actors physical
vitality and ample professional skill the perform
.nce is interesting instructive, impressive and
oou1rnendable AS embodiment Of Shakestpeare's
otheilo Il is completely devoid Of both truth and
poetry whether in ideal or execution. The person
presented Othello is burly cumbersome, a negro
rather than a Moor in facial aspect,-though the
actor uses q lighter makeup now than he did last
year,-ferventy demonstrative in deneanor, sudden
IN wrath. ferocious in temper. and voluble in ut
.erance The Othello drawn by Shakespeare does not
manifest any one those characteristics: on the
contrary, he is dignifed, calm, self-contaned slow
10 exhibit feeling, exceedingly sweet and tender in
temperament, magnaninaous in mind, and de-
iiberate in speech. Signor Novelli. however,
rresents a Moor he comprehends him Toward
Brabantio, the father of Desdemona he is abrupt,
and at point, eXplosively resentful- Toward
Iago,-Othellos friend-his demeanor is that OF a
brusuue martinez toward lackey. With Roderigo
he is suspicious, testy, and fretful The
feeling that he shows toward Desdemona,-
which should be that OF romantic idolatry.-
IS somewhat physical than tender. In the
killing OF her he is murderous, not Sacrihcial In
The suicide he is repulsively literal The whole
performance moves on a low plane. Viewed as an
actors presentment of constitutionally jealous
Moor. animal. fierce. and common. it impresses the
observer as correct and efficient Viewed as
rresentment Shakespeare's Othelo it is radically
false and wrong. This subject has been thoroughly
reviewed in this places and there is no neeo 10
unCer upon IT. Yet word should now and then
be said for the integrity of English literature anu
.he truth of dramatic art Othelo. as drawn by
Shakespeare is the great representative lover IN
she greatest play technically considered ever writ
ten He is no Romeo. IL love with being a lover
veepng and dashing himself upon the ground he
As the authentic type of integrity. simplicity mag
nanirnity. and noble power He is elderly not ola'
81 am declin'd into the vale OF years.-but thaI
moi much" His love for Desdenora is humaa
reor ub,traated by an almost celestial reverence,
humble tender romantic, devoted. He Is con-
sceus Of his truth; further than tha@ he
neither knows nor thinks much OF his exceIiehce.
rIa deems his love for Desdemone almost a pre-
rnn+;on. he rnaryels at her love for hul-the love
that saw Othello's visage in his fflino Inc
love of man for woman never has found en- express
sion more complete and beautiful tan III olheiio
words upon the meeting ar Cyprus;
1t gives me wonder Srsat as my content .,
70 here before me .3,c my caio soas '0s'
Man aifT te Nnas blow iii they have waend death:
If it to de.
'Twere now be most happy; for fea-'
Ny soul ha;h her content S SO a ansola's son
That not another comfort like 10 thhS
Succeeds in unknown fate
The othello Of Shakespeare is slow, not dui'
massive not heavy. His self-controi is srea'. i
IS a commander OF men, and he has ieaFheu 70
command himself. lie is incarnate' UNCONSCIOUS
dignity and authority. In the moment OF 'he SUI
meeting with Brabantio 1t is the MOOT WHO HI
stantly quells the tumult:
Keep I'D your bright swords. for the dew VIII rust
GOOD sen.or you shall more command with years
Than with your weapons
Both you Of my inclining. and the rest; , :,
Were 1t my fight. should nave hAo"h J.
without a prompser :
Iago is othelio's friend. his honest Iaso; ROD
erigo he ignores Toward Brabantio his oemeanor
IS that of respect for venerable man ana me
father of Desdemona: thezwords he speaks as Ria'
,,,h.nn1- father leaves the Senate chamber ere
not those of resentful anger: they are the Simple
uttersnce of his thought-and Othello UNDERSTANDS
the grief and shock that the fathers speech
The pervasive predominant, propusiVe fofce- oi
s-t,.Lerneare,s tragedy is the fendish Venetian
lego whose helf-born intellect dominates the "ioie
action of the drama II is that Villain VINO te
ceves ard remarks that to the jealous trines hsi
as air are combinations strong as holy wiit' anu
he froceeds to instill jealousy into the iohe|
,r,stf,,l mind of general, and then 10 Supply
the -'trifes light air. that coniirfh iis I
s,,snicions II is lagos employment OF the oeFiUS
NOT tte devices themselves that are potenuai- me
killing of Desdemona by Otheiio Is nohe u' nam
a. a. sn;rit os religious sacrifice. Inability has
been expressed understand why oehelio slo-.I' -,
su The last scene, assume soieIhh, :,
,.r srch inability must arise from neglect u
-ead the speeches made by the MOOT IN lhht So
~, zo,,aa,or should be that of incarnate JusuSe'
Fjie noble nature has been abused and oislracio.
until al last his excitement eliminates ih =. -, -
enilenEv from which he recoVers' an o1'"o3
47,,;lia observes that ''he looks genuer IMAM ii
"a Desde,oona is to die. His feeling as 10
,l,at lovely creature has been that II she DC ie'
a then Heaven mocks itselI' NO" h0 iao
fer5isrfv abused: and he believes her ioi0.r Sc,
80 s,e for &c she lives. other men VIII 80
,,aa az he has been; but IL is not ierociouS
,,er that he purposes 1t is. as otheilo tiiiihs'
q, art az retributive Justice. Three uineS' " =,
r7hsppv innocent sleeps. he bends anu . hi -,
.na as he regards her he Weeps' II a. nv -,
cd
a-d 70 pray he hears her speak "hd' ~ 49,.
= ~ . lie that any wildness returns lhou U.s.
60. ,, heart and rnak'st me can "hat M
70 60 ? murder which thought s"o- ~, ae,
then there is nothing ferocious IN iliS 'e' ,,1d
..E7o,np done there is no pause -
. - ,tae linser in thy pain He Is al
,-op,e murderer II you will. for ha"sH. -
8, hate bl,t ell in honor" zone ihas 10. -,
wisely, hut too we'll; 'one not eASiAS ! :, 49,
re,n,, wrought. perpleKd IN inc .
most pitifui sufferer OF aal ioVeiS '-'@
portrayed - .z,o..s5 has been
-a,,ended nv English speaking actoi7 ai
has heen made manifest with 1af 81 ie@' a.. .bn
,o,-- .v sieaor Novelli- Comparison 10 no
80 ,,athcd of dramatic criticism. pu- soiii -
-Sz.ae s,d particularly is IL SC IN 'iio
- = c,gnor Novelli The ltahan actoi ~
g radically false and sometimes Is p.ea .;s
.,nearsnce his power, his voice. his os h,,
.~a,,,.fo, all those have been iar SUI -,
many English speaking actors 20 - Tsarrett:
Fo-re=t brooke Mccullough booth, al 60, -,o.a
90 -. .-a surpassed by Robert Manteii' "I'OS
.--..~-..,ca NJ otheIlo IS the best no" 'ts'''' ~
cur stage ...-sa5 m present
sieror NoveH has not been sa'lshe' -, - stana
his pe-yersions Of Shakespeare anu a. a. ,seessarv
~o- rrhst ,bev are He has deemed A. ,i,r
80 - .-s,,rction as to what actors aho ae'e .
.bo,,s he pe has gene behind ShaheSps y.eI,ou
tragedy TO Justify his performance - -orsrts NAV
alteration Of that play oot' 80. mind on that