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A DRAMATIC CRITIC was capable of either achievement. In the Biblical play his highest point was at- tained in the fourth act, when he discov- ered the loss of his hair and his strength; and here his cry of agony and his frenzied, vaguely grasping gesture, accompanying the words, " Gran Dio ! La chioma mia la chioma!" were indescribably thrilling and awful. His Samson was in its differ- ent aspects as closely human as the Ajax of Sophocles, as heroic and unhappy as CEdipus, as remote as the Prometheus of yEschylus. Salvini's skill was as high in comedy as in tragedy. His impersonation of Sul- livan, in the Italian play of which David Garrick is a replica, was ideally perfect, even surpassing Mr. Sothern's perform- ance in grace, vivacity, and distinction. He played Ingomar occasionally, in the Baron Munsch-Bcllinghauscn's drama of that name, and filled the part to overflow- ing with humor and virile gentleness. His [ 150 ] !
TOMMASO SALVINI interpretation of King Lear was of great merit, though some of the subtleties of the text did not reach him through the Italian version. His Hamlet was quite unsatis- factory to American audiences, and was seldom given in this country; but his per- formance of the Ghost far surpassed every other that our stage has known. Without dealing with his other admira- ble assumptions, I wish to put myself on record for an opinion which is shared by hundreds of my fellow citizens. Salvini's impersonation of Conrad, the central per- sonage of La Morte Civile of Paolo Gia- commetti, has not been rivaled, has not been approached, by any dramatic pur- formance of our time, in respect of pure and heart-searching pathos. The story is that of an Italian artist, Conrad, who, con- demned to imprisonment for life for the commission of a crime of unpremeditated violence, after many years of confinement escapes from jail, finds his wife and daugh- [ 151 ]
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UNIVERSITY OF CA RIVERSIDE, LIBRARY
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Bit
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COPYRIGHT, 1902, BY HENRY AUSTIN CL
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NOTE The reader is informed of what
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CONTENTS XVII. ADELAIDE NEILSON 1 5
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REMINISCENCES OF A DRAMATIC CRITIC
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INTRODUCTION and fascinating folk,
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INTRODUCTION My equipment for my ta
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II Spectacle, Farce, Melodrama, and
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THE STAGE FIFTY YEARS AGO But what
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THE STAGE FIFTY YEARS AGO men had c
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THE STAGE FIFTY YEARS AGO with two
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THE STAGE FIFTY YEARS AGO of the tr
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THE STAGE FIFTY YEARS AGO a man of
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THE STAGE FIFTY YEARS AGO bill of f
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Ill The Worth and Impotence of Free
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IMPOTENCE OF FREE CRITICISM hinting
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IMPOTENCE OF FREE CRITICISM applaud
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I IV Some Early Experiences and Mis
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EXPERIENCES AND MISTAKES quent appl
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EXPERIENCES AND MISTAKES outspoken
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V Selwyn's Theatre and the Robert-
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SELWYN'S THEATRE Sargent Curtis ; a
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SELWYN'S THEATRE Colorado and the t
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SELWYN'S THEATRE that of the life o
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VI The Ephemeral Drama and the Endu
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THE EPHEMERAL DRAMA culiar to their
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THE EPHEMERAL DRAMA have no essenti
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VII The Great Dramatic QyiNQiJENNiU
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DRAMATIC Q_UINQ.UENNIUM ton : first
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DRAMATIC CtUINQ^UENNIUM — by clos
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VIII William Warren, Comedian BOSTO
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WILLIAM WARREN presented in the dra
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WILLIAM WARREN Apropos of the large
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WILLIAM WARREN must submit to a rec
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WILLIAM WARREN voiced organ. There
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WILLIAM WARREN depth and suggestive
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WILLIAM WARREN through a vast galle
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WILLIAM WARREN Senator from Massach
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TRAINING FOR THE STAGE any other th
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TRAINING FOR THE STAGE actors, and
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TRAINING FOR THE STAGE not brought
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TRAINING FOR THE STAGE rade;" Mr. M
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TOOLE AND MATHEWS Mrs. Rousby, who
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TOOLE AND MATHEWS rapidity against
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TOOLE AND MATHEWS finesse, and dext
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CHARLOTTE CUSHMAN figure and homely
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CHARLOTTE CUSHMAN was great, the ac
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CHARLOTTE CUSHMAN act, has been dis
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CHARLOTTE CUSHMAN be so pronounced
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CHARLOTTE CUSHMAN mendations " and
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THE XII E. A. SOTHERN, Sr. most not
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E. A. SOTHERN, SR. inverted as in a
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E. A. SOTHERN, SR effective for mir
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E. A. SOTHERN, SR. thrown completel
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E. A. SOTHERN, SR traordinary were
Page 123 and 124: E. A. SOTHERN, SR. Tragedian, a dra
Page 125 and 126: E. A. SOTHERN, SR sought or seeking
Page 127 and 128: THE ISOLATION OF ACTORS plish. Behi
Page 129 and 130: THE ISOLATION OF ACTORS fictive mat
Page 131 and 132: THE ISOLATION OF ACTORS rary life w
Page 133 and 134: DURING XIV Charles Fechter the seas
Page 135 and 136: CHARLES FECHTER holding the lease o
Page 137 and 138: CHARLES FECHTER psychic scheme, but
Page 139 and 140: CHARLES FECHTER man, treasure, pabu
Page 141 and 142: CHARLES FECHTER clouds, where Shake
Page 143 and 144: CHARLES FECHTER and in his final dy
Page 145 and 146: CHARLES FECHTER Glavis, there was a
Page 147 and 148: CHARLES FECHTER on lines already in
Page 149 and 150: CHARLES FECHTER internal discords,
Page 151 and 152: THERE is XV Edwin Booth no occasion
Page 155 and 156: EDWIN BOOTH A famous nomen I called
Page 157 and 158: EDWIN BOOTH creations, because of t
Page 159 and 160: EDWIN BOOTH ated with his name. Tha
Page 161 and 162: EDWIN BOOTH gance and distinction o
Page 163 and 164: EDWIN BOOTH thus to distinguish the
Page 167 and 168: TOMMASO SALVINI combination tolerab
Page 169 and 170: TOMMASO SALVINI the past fifty year
Page 171 and 172: TOMMASO SALVINI ing Shakespeare and
Page 173: TOMMASO SALVINI of rare delicacy be
Page 177 and 178: TOMMASO SALVINI Every phase of the
Page 179 and 180: TOMMASO SALVINI and sobbing; strong
Page 181 and 182: TOMMASO SALVINI fresh and unconvent
Page 183 and 184: XVII Adelaide Neilson NO player in
Page 187 and 188: ADELAIDE NEILSON failing health, sh
Page 189 and 190: ADELAIDE NEILSON to be much remembe
Page 191 and 192: ADELAIDE NEILSON ing interview with
Page 193 and 194: ADELAIDE NEILSON " False to his bed
Page 195 and 196: ADELAIDE NEILSON remember the beaut
Page 197 and 198: ADELAIDE NEILSON belongs, and at th
Page 199 and 200: XVIII Memorable Experiences of Sing
Page 201 and 202: MEMORABLE EXPERIENCES carded, and t
Page 203 and 204: MEMORABLE EXPERIENCES mon touch as
Page 205 and 206: MEMORABLE EXPERIENCES worked less s
Page 207 and 208: MEMORABLE EXPERIENCES under the nam
Page 209 and 210: MEMORABLE EXPERIENCES George P. Lat
Page 211 and 212: XIX An American Theatre Privately E
Page 213 and 214: AN ENDOWED THEATRE and let the expe
Page 215 and 216: AN ENDOWED THEATRE for histrionic s
Page 217 and 218: AN ENDOWED THEATRE direction. I saw
Page 219 and 220: AN ENDOWED THEATRE will not always
Page 223 and 224: HENRY IRVING against any lively dis
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HENRY IRVING greatest actor of his
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HENRY IRVING at least to reflect an
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HENRY IRVING have said that he hope
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HENRY IRVING ficial and unessential
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HENRY IRVING the subject of wonder
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HENRY IRVING face is found to be si
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HENRY IRVING grip which he at once
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HENRY IRVING on the stage to the la
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HENRY IRVING superstition, which it
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HENRY IRVING movement of the hands
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HENRY IRVING faculty which is like
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HENRY IRVING that madness with whic
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HENRY IRVING and method to which I
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HENRY IRVING it is the source of th
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HENRY IRVING with beautiful softnes
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HENRY IRVING regal action in mounti
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HENRY IRVING boon to the stage of E
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HENRY IRVING tual with the spectato
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HENRY IRVING courage. Nearly all th
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HENRY IRVING own powers is the chie
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INDEX
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Enchanted Beauty, The, 9. Enchanted
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ElectrotyPed and printed by H. O. H
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