Year: 1870

SEEBACHS MARY STUART.


There was a large audience at the Four
Theater last night and it enjoyed an intel


lectua pleasure such it will forget. Madam
seebach appeared for the first tme as Mary Stuart
schlers fine tragedy was OF course the play presented
The difference between that land the acting version Of
Faust" which preceded it, is the difference between
form and chaos With Schlers piece both actors and
artisans knew precisely what to do The definite plan OF


thorough artist had been practically laid and could be
practically carried sout-wihout bitches, delays or
hobbies OF any sort. The tragedy well mounted
richly cosumed and very evenly acted With the story
OF the Queen Of Scots it is crysazed in this play the
whole public familiar. 1t had the great advantage, last
evening Of being presented IN Schilers own text The
work Was offered in nearly complete form, with only an
occasional cutting. There may be some variance be-
tween the ideal Of Mary Stuart herein displayed, and


the real woman OF history. 1t is with the ideal, how
ever that itself here. Madame Seebach was
true to it, The Mary Stuart that We saw the Mary
Stuart OF Schiller and il Of the few entirely per
feet and altogether admirable works OF art with which
we have had the happiness to make acquaintance. Our
latent forebodings that Madame seebach would
endanger herself by challenging direct compari-
son with Ristori, in one OF the great
est and most famous presentations OF the italian
| actress, proved wholly groundless. Madam seebach


looked the character better than any woman who has
played it in this cOuntryand she acted 1t to eclipse
rivalry She peases and satisfies better than Rstor


in this part because she Is melOdamac. In the
stormiest OF the she made not movement or
gesture that did naturally arise out Of the emotion OF
the moment and express it in fitting proportion 1t is
this decacy and subtety of method in the art Of acting
| that makes Madam Seebach the wonder that
| she is. Needless to say that she gave TO
her portrait OF the suffering Queen the requisite hue Of
pensiyc sadness, arising out Of settled sprrOw. Need


less say that her aspect that Of regal dignity.
But the enhancing charm the angel in the woman
| nd ne NO OF
method with which the actress her completest
achievements. In her Gretchen-whch is difii-
cult part than Mary Stuart because it is the complete
emblem OF tragic experience, concerning the
whole Of women, and presented under the rander
| conditions Of circumstance-sho had exhibited the
whole sweetness OF her In Mary Stuart she adds TO
that the elements OF intellectual strength and passion
The former endurance; the latter endurance rs
ing into the submity Of action. Mary Stuart has three
acts in this drama The first shows her suerngs, under
| imprisonment The second portrays her encounter
with queen Elizabeth in which the keenly feels
and enjoys the victory OF the Queen; the third
! exhibits her forttude and her manifold emo
tons In tho presence OF death. To every situation
Madam Seebach proved perfectly competent To dwell
upon particular points would be 10 consume great deal


OF time and space. One point though we pause To men


onand that is the expression of rapture in her first
freedom that Madam seebaoh made so feryent IN the
woodland scene in the third act This prepared the way
for all that to foow-an at the end OF that scene


there broke forth such Of applause as has seldom
resounded within the walls OF this theator-so
haunted with memories OF MADAM seebach was.
of course called before the At the end OF Acs
Third she led forward Mile veneta, whose debut as
Queen Elizabeth, should be recorded decided aud
pleasing success MARY STUART will be repeated to-
night "Valere" will be given Friday, together with
"Thasse Thee There Will als0 be performance on
Saturday evening. Madam Seebach has made a great
success, and one which cannot fail to lead the way TO
other aud equally positive triumphs.