Year: 1871

BOOrH's THEATRE.-Aiter O lapse OF ten years
Miss Cusnman, the celebrated ToJedienne, reap
peared on the American stage. The hearty welcome
which was accorded to her proved how deep was
the impression made on the public mind during her
artistic career. IL is not often that we wit
ness so spontaneous an expression OF esteem
as tnat which Miss Cushman received on present
ing herself to the public after her long absence.
For the first representation she rad selected the
part OF Queen Catherine, in the play OF Henry
VIII which would call for an amount or physical
exertiOn that must be trying to q lady
of Miss Cusnman's years. From the nrst moment
of her coming on the stage it was evident thar
Time had laid his hand though not urgently,
on the great trdGedene There was grace
and cultivation in her every action, but
somehow there was missing force
which we felt had been. But it was in the voice
that the change was principally noticed. NO ex-
ceence of elocution could restore the tones,
or give such volume as we should have desired.
AT times 1t was painful 10 note how much the fan
ure OF the voice injured the conception OF the actr-
ess Tne facial action was accurate finished de-
livery display ed Miss Cushmans genius. but the
eject maired 10y weakness OF voice. In the trlai
scene at Blackirlars, indeed. MISS Cushman seemed
to can back her youthful vlgor ana rendered her
conception with remarkable force ana vlgor, her
appeal to the King and reputation OF the court
being worthy OF an indignant queen. But u was In
the dying scene, in the last act that we llKed her
most. The nature OF The scene required no violent



highest art To picture the various emotions OF the
dying Queen, with their gentle lights ana
shadows, and witha to lend them force ana dignty,
Is a task that requires dellcacy OF conception and
force OF thought. None but great drtiste could 10
Justice to the scene and Miss Cushman displays In II
simple force and dignity that appeal powerfully to
the heart. Once or twice only during the play did
and abrupt uut these Impressions were SO soon lost
in admiration OF the general excellence that we
almost hesitate to record the them: ,. uo,.n,o,,s
win carefully studied conception OF Cardina!
Wolsey, which was wanting In od the force and ana
the great Cardinal. This actors face Is wanting
IN mobility, and his voice Is harsh-two grave,
in the third act that Mr.. Creswick began to act in
manner worthy of the great reputation he has
and the interview with Cromwell were forci,ly rem
dered. But even here certain lmmobility OF me
eeTed Wisn S'snee ecct excellent


delivery full q sarv aHa OF feeling q
and Is entirely wanting both in grace and dignity.
s S kns asS as
and unnatural. The most violent men speak and


ke Gsgs dnTs At see%s evsTy r
scene to have Just escaped from unahc
asylum. From the evident interest taken by
the audience and the constant applause given
to the leading Ors there can be little doubt that
Miss Cpshmans engagement Will be an immense
success.


STADr THEATRE-W WAcnrEL.-Now that this cele-





opera in this city, the audience last night being
overwhelming In proportions, can pronounce
decisive verdict on his voice, school and acting.
FIRST as regards his we can safely say that 1t
Is a wonderful organ, nature ana ART having
joined hands in making it such. Mr.. Wachel has
evidently taken pains IN improving 1t to the Ut
most and not only the quality of tone but the delv
cry of the same Is all but perfect. He has this
voice under complete control, and can deliver IL
with any degree of expression. AS an eminent
critic once remarked, 'the delivery of the voice Is
a fundamental part of vocal music, ana very few
know how TO manage their voices 80 as TO produce
Inc most agreeable sounds" In attaining this
point, then Mr. Wachtel mas achieved a great tri-
umph, especially as nature has been so prodigal
of her favors in his regard But after the
proper management OF the voice come very essen
tlal qualities Of artist-schOo and an Intelligent
conception OF roe. In these particulars Mr. Wach-
tel fails to satisfy the critical ear. phrase Is any
regular and symmetrical course of notes which com
mence and complete the intended expression. IL
must be as distinctly expressed & as snge n
iact In his rendition he gives the same enect as
If writer or speaker were TO Ignore the use OF
punctuation. This Is fatal error III the lmpersOna
ton of an operate roe. Again, his desire to DIS
play the brilliant points in his voice tand they are
many, draws his attention away from the roe,
even the most absorbing situations, and thereby
does an injustice to the composer. Both the com,
to the extent that there should be no undue
| prominence in one or the other. MI. Wachtel un
tinuty of idea nseparaDle to the proper de
lfneation OF scene IN occasional guerilla eXcur-
sions into the resons OF sensatonallsm. HIS acting
IS deserving OF the highest praise. Gifted with
fine stage presence every detail or his acting Is
characterized py that grace and ease which Is gen
orally conceded to French actors 2lone The feeling
which he inspires Is that OF mingled admiration and
pity-admiratiOn for those brilliant qualities which
he undoubtedly possesses and pity for the absence OF
a good, thorough musical education. School Is more
desirable In orera than even phenomenal voice Mr.
Wachtei has appeared as yet only In two roles, and
as mis- enthusiastic admirers claim for him the high
est place asnong the Arnods and Raous OF the
present generation we shall look for his appear
8nce In "Gunlaume Tell ana lies Huguenots"
with great deal Of interest. Meanwhile he appears
on Wednesday evening In LA Dame Blanche"


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