New-York tribune., 1907-12-10
THE DRAMA.
SIGNOR NOvELLI AS NERO.
Lyric Theatre.

In one form or another the story Of the Roman
Emperor Nero has held place the English
speaking stage for three hundred years 1t has not,
indeed. been often presented 1t has recurred in
sporadic way, ard it seems not ever to have in
spired more than a momentary interest History
designateS Nero a monster, the ASSASSIN or MS
wife and Of his mother; records an apparently ao-
surd story, that in the of the confiagratlon
of Rome, which occurred in the tenth year of his
reign. he amused himself with singing and with
playing his Tyre; and denounces him as cruel
prosecutor of the sect of Christians, whom accord
ing to Tactus. he accused incendiaries and sub
jected TO the most excruciating tortures and the
most horrible barbarities. At the same time it
represents him person devoted TO the arts and
possessed of talent a musician and an actor
The union OF artistic genius and Internal depravtty
in one individual-and that individual the ruler
of vast enpire.-is. naturally, tempting subject
for dramatist It suggests sharp contrasts
of situation, frequent alterations of mood, ana
quick transition of action. No play of potential
merit, on that subject. however, is known to our
theatre. Even the vital though wild genius of Nat
Lee failed to make the subject attractive: indeed
his tragedy of Nero has been commonly dismissed
as conternptible The late Richard Mansfield pre-
sented drama this theme, but he speedily
found it useless and cast it aside. The italian play
by Signor P. Cossa, that Sgnor Noyelh proouceo
in the Lyric Theatre night leaves the subject
IN much the condition in which II was touliu'
The words are many: the deeds are few Inc pct
ure is copious: the action is little. Many olo eH-
mechanism
used in the old way. Nero is described as an en-
thusiast of art He wishes to make Rome
beautiful city and for the accomplishment OIL ,ha'
object he seizes private wealth by cruel ana lgho-
ninous means. Like Sardanapalus, in Byron S
play,-and indeed like many of the ancient mon
archs. whether in play actual life,-he neslects
public duty and the defence of his empire for the
sake of luxurious and licentious living lie Is art
fully prompted to atrocities by a malignant court
fool named Menecrate-the usual attendant of that
of q
named Egloge. whom he fascinates, and he Is ham
pered and annoyed by a mistress of whom he has
grown weary. named Atte. He causes the nuroer
of a patrician named Cassie Longtno. in order 10
confscate the property of that opulent citizen ana
then he pursues the daughter of his victim lie Is
in brief an imperial blackguard- Once. when DIS
guised, he attacks a gladiator and comes near to
being pulverzed. Once he is In despair because his
discarded mistress Atte has succeeded in exter-
minating her rival. Egloge. At the last, when
successful rebellion has defeated his forces and
destroyed his imperial authority he first covers In
abject and then sufficiently recovers to XIII
himself In order to escape being killed. The play
is very long and very dreary. The actual Nero
perished. by suicide. at the of thirty-one re-
marking is said. he stabbed himself, oh
what an artist perishes in mei' Slgnor Novelli
presented elderly, heavy, coarse type or
Roman character, in way suggesting the
Nero of history. who to have been pictu-
rescue compound of the wanton. wiful tyrant and
the ardent vouptuary. Viewed as acting, however
the performance impressed observation as fraught
with authority and richly illustrated with eX-
pressive gesture dominant pose. and facial play
The bursts of anger, alternating with the iapses
into tolerant good humor, were notably effective
and the clarion delivery created an impression or
prodgal physical force. In moments of blandish-
nent on the other hand this over-mature en-
peror seemed a sort of sentimental goat AS a
whole the impersonation makes no new disclosure
NJ the actors talent nor does II augment his pro-
fessional w W.