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hand, was involuntarily predominant, unconsciously potent, and generally mature, so that the actress, though sometimes she was merged in the character, sometimes transcended it. The truth would seem to be that, because Juliet is not one of the great women of Shakespeare, but, at her highest, remains only the apotheosis of amatory passion, her character and experience, although the one is lovely and the other pathetic, do not always and entirely awaken the soul, engross the active sympathy, and stimulate the practical faculties of a woman of broad nature, mature condition, and intellectual strain. Miss Marlowe, as Juliet, exhibited admirable art, but surpassed the Juliet type of womanhood; she was more massive than the ideal that she strove to embody, and her method of adapting herself to it,-a method of reserve, restraint, and colloquialism,—though skilful, and sometimes effective, did not create and sustain a complete, continuous illusion.

Sexual idolatry of one person for another,--of the male for the female, or the female for the male,serious enough, when it occurs, as certainly it does sometimes occur in actual life, becomes pitiable, on the stage, unless the simulation of it is reinforced by an exceptionally impressive and sympathetic personality. Count Basil, Claude Melnotte, and Ruy Blas, abstractly considered, are capital parts, occurring in effective plays, but it is only an exceptional actor who can impersonate either of them without seeming weak and trivial. The

representative of Romeo, in order to convince and dominate, must possess personal fascination, must be able to diffuse a glamour of enchantment. Conventional, routine acting, of which all practised players are readily capable,-may satisfy the business exigency of the hour, but it dispenses no charm, awakens no emotion, exerts no influence, causes no pleasurable effect, and is of no value. The lovelorn, dazed, infatuated, delirious condition of Romeo is a condition so fantastic to the eye of reason that the imitator of it can make it authoritatively impressive only by inherent manliness and the charm of personal captivation. He must, in substance, be a person of innate and winning importance, and, furthermore, under the conditions imposed by the tragedy, he must possess reserves of tragic power. At first and during more than a third of the play Romeo is spellbound and subdued. At his swift slaughter of Tybalt he breaks the spell, and from that point onward he lives and moves in a tumult of tragic emotion. Mr. Sothern, as Romeo, showed earnest purpose, professional experience, refinement, and zeal, but, in Romeo exactly as in Hamlet, it was insistently manifest that his personality lacked distinction and allurement; his manner was finical, his vocalism was hard and dry, and his method was that of strenuous, elaborate, artificial effort. No decisive aptitude for tragedy was displayed by him, in either temperament, constitution, voice, or style. In the obvious attribute of melancholy his Romeo

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was good, but in the crucial situations,-Romeo's furious onset and killing of Tybalt and Romeo's paroxysm of agony, in the Friar's cell,—he was merely noisy and vehement. Taking the most favorable view possible of his performance of that part, it could be rationally regarded as little more than another addition to the numerous utilitarian achievements of delusive ambition and perverted effort.


Mr. Sothern and Miss Marlowe were first seen as Benedick and Beatrice in a production of “Much Ado About Nothing” which was effected at the Knickerbocker Theatre, on November 1, 1904. In the character of Beatrice Miss Marlowe liberated her exuberant animal spirits, exerted a fine talent for raillery, manifested, in a sweet and ingenuous manner, feminine exultation in being admired and beloved, and showed a noble woman's passionate, splendid resentment of brutal injustice. In the character of Benedick Mr. Sothern personified bland good humor, whimsical gayety, and simple, honest, straightforward, manly feeling. Both of those impersonations were well conceived and well projected, and both evinced attributes of brilliancy. Mr. Sothern's performance would have been truer to the poet's conception if it had been at some times more ruminant, at some times more deliberate, at all times more elegant, and uniformly kept in the vein of light

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