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the back of a chair in a parlor, she did not suggest the Nile or the shadowy livery of the unvarnished Sun, did she?. She was not a capricious oriental, passionate and voluptuous serpent, was she?.

I'll tell you what she was.

She was a dainty, poetic reader, a high strung, sensitive and very pretty woman, who charmed without coercing you.

There was no clang to her. She did not trumpet forth her sentiments with:

"Dire yell,

As when by night and negligence the fire is spied in the populous cities."

"Rather did she profer us the rhetorical current, "That with gentle murmur glides," and "matter a pastime of each weary step."

I would have as soon looked for Mr. Charles Coghlan to play Macbeth, or Mr. Herbert Kelcey to play Othello, or Mary Anderson to play Faro as for this delicate sensitive creature to don the coptic magnificence of Cleopatra.

But don it she did. And all New York went to see her in her oriental magnificence

I ought to tell you, perhaps that she had come back here in Tom Taylor's pseudohistorical play "Twixt Axe and Crown" her delicate beauty no less than her refined inteligence gave to the part of the daughter of King Henry VIII in that play a subtle charm that neither Scott Siddons nor Mrs. Rousby had succeeded in imparting to it. In such scenes as that in the garden of The Tower in that play, she was singularly mindful of the obligations of character and condition, and thoroughly disregarded the temptations to mere effect. I think perhaps some of her critics, governed by their ears rather than their intelligence, under estimated the sagacity and truthfulness of her portrayal here and expected more clamor and attitudes and gestures. They had not quite recovered from the effects of Mary Anderson's dance.

Howewer, they did the same thing with Jane Hading, who refused to "hands all

round," even to save Shakespeare.

The beauty of Mrs. Potter's work in Axe and Crown can only be understood by understanding the highest requirements of the character.

Elizabeth is no such magnificent courtezan as Cleopatra. She is drawn even in Tom Taylor's play with a direct purpose to show her strength of judgement no less than her depth of affection. And her love scenes are tempered with a resolute will and governed by a clear perception of all the obligations of birth. In other words, Mrs. Potter is required to show in this part that subtle something which is best known by the value of noblesse oblige. She is not only a woman but a king's daughter, living, one may say, both in the light and in the shadow of a throne, behind which not only grows the hopes of a nation but also grows the axe of the headsman.

It is to Mrs. Potter's credit that she conceived and sustained this part along a high poetic level, and refused to lower it to purely theatric devices.

When she comes to play Cleopatra, all the traits of character were reversed, and it is only just to say that Mrs. Potter tried to the limit of her powers to reverse the exhibition.

She put the gorgeous wanton of the Nile on the stage with a blazon that was dazzling, and with a vehemence of endeavor that I did not, till then, think her capable of.

The splendor with which she looked this part won every eye. In the mere matter of regal magnificence, she certainly outstripped all her recent rivals in costumery, and she succeeded in securing a make-up of face and hair and adornment that added the fabled coptic charm of the daughter of Ptolemy Auletes to the well known beauty of the actress.

However, striking as this was, it was of

Mrs. Potter's treatAnd here it should be

One

less consequence than ment of Cleopatra. said that Mr. Kyrle Bellew, to whom we are indebted for this version of the play, has taken some allowable liberties with the disposition of the scenes in the original. Cleopatra, as it is in the editions of Shakespeare, is about as straggling a play as he ever wrote. It is a series of scenes. act has at least twelve. As modern plays are presented it is both futile and ineffective to perform the work as it was originally devised. It simply makes an enormous amount of work without heightening the effect. Mr. Bellew's work is mainly one of grouping the scenes into acts, so as to preserve the story and retain the interest without afflicting either with the mechanical toil that was incident to the early stage.

Such change as is effected in the characters is effected by the actors, and that change is one of conception. Mrs. Potter, resolutely and bravely, makes Cleopatra a comedienne; a teasing, winning, capricious, petulant, quick-tempered and somewhat unscrupulous woman, and not a heavy tragedienne, as the stage tradition presents her. She has ample warrant for this in Shakespeare and in history, if not in the green room.

There is so much servility in the superstition of acting that any performer who thinks out a part in an independent manner will be assailed, for he will commit the unpardonable sin of rising above the herd. This is sufficiently shown in the remark of a critic in anticipation of this production of Anthony and Cleopatra.

In referring to Mrs. Potter and Kyrle Bellew, he said: "Who are these people. who propose to deal with these giants."

That there may be some impertinence in anybody's attempting to deal with Shakes. peare after Mary Anderson, may be true. in a general way, but it ought to be said

that nobody since Mary Anderson has interpreted him downward to the ballet-masters level. And it might be asked with some pertinency who made Anthony and Cleopatra giants-certainly not Shakespeare. Surely not Plutarch. There is a voluptous and selfish side within drama of craft and passion that the critics have over. looked, looked, and which the Bellew version makes very significant.

At all events it must be said of Mrs. Potter that she was not conventional, or pro. saic, or platitudinous. She did not reproduce the stalking horse of stage tradition, but gave us an entirely new Cleopatra, which was in color, in appearance, in womanly craft and delicacy and capriciousness her own, without using any the less Shakespeare's.

Mrs. Potter struck me more than once as endeavoring to do what an imaginative and intelligent actress would try to do with her volition and not what the automaton of the stage ususually tries to do with her voice alone, and it is well worth noting that she gave new significance and new beauty to the work and incidents and business which have hitherto been oftenest overlooked or slighted for the conspicuously tumultuous episodes.

Mr. Kyrle Bellew, who is essentially a romantic actor, and one of the most picturesque actors we at present have on our stage, understands perfectly well the character of Marc Antony for Mr. Bellew is both a student and a Shakesperean scholar He has not overlooked the fact that Antony was a compound of bravery and voluptousness, decision, and effeminacy. Mr. Bellew has not only read Shakespeare but Cicero's Phillipics.

The popular notion that Marc Antony was a giant, an Apollo, and-what he himself claimed to be in his decline-a god, appears to be a purely fictitious ideal

that has grown out of the representations of him usually made by good-looking actors in "Julius Cæsar.'.

Regarded as a production much may be said of Antony and Cleopatra at Palmer's Theatre. The company is so much better all through than the one it superseded and Mrs. Potter is so much better supported than Mary Anderson, that it is a relief merely in its ensemble.

Mr. Kyrle Bellew is a much better actor than his New York critics have been disposed to concede. He speaks with a much finer articulation than any of his associates, and he is a master of stage business. In purely romantic roles there is nobody at this moment who is more picturesque, more intelligible and more effective.

Antony and Cleopatra was not imported entire. It was organized as a production here, and its people selected without reference to their nationality, but with reference only to their fitness. As against some of the imported Shakespearian productions, it is entitled to praise for its independence of conventional restrictions, for its historical verity and for its attempt to retain both the poetic and the histrionic charm of a good work.

I could not help thinking as I saw Mrs. Potter in her superb Egyptian roles-how curiously divergent had been the efforts of the two conspicuous women who have lately engaged our attention. Miss Mary Anderson started at the top of the heroic ladder, and has come down to the idyllic and Arcadian rung. Mrs. Potter started at the level of mild elocution and has reached the most romantic, heroic and resplendent of stage attempts.

Nym Crinkle.

NOTES OF THE WEEK.

THE QUEEN'S MATE was brought

out at the Standard Theatre under the management of Mr. J. C. Duff last Monday night before a large and much attracted audience. It met with the same success that characterized its opening at the Broadway last season when it was much admired for its beautiful setting,

tuneful music and gorgeous lace palace scene with the evolutions of 150 comely women in glittering armor. The cast has materially changed since the first production, but it has in many respects been improved. Both Mr. Richard Golden and Mr. William McLaughlin are decided acquisitions. The former elaborates the past of Pataques and exhibits the quality of a humorist which is so distinctively given by such men as Leslie, Dixie, Wilson, and Davids. Mr. Golden might equal any of them, but he has well nigh ruined his speaking voice by his indiscretions. fortune is yet before him if he will have his ambition fired and go to work seriously and with new resolves. The character of Inez, which was formerly done by iss Russell, is neatly assumed by Miss Halton, and Miss Post brings out her fine voice with effect as Anita. Mr. Paulton has improved his part by judicious pruning and by modulation of his voice.

*

A

THE "Pearl of Pekin" is revived at the

Bijou and is much better in every way than when first seen. A great deal of good humor has been introduced in the lines, and some of the new music and re orchestration is especially attractive.

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RS. LANGTRY is again with us in all

Mher womanly glory. This week it has

been "Peril." Next week it will be Lady Macbeth and there will be even more peril in that.

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THE "Howard Athanaeun Specialty

Company" at the 14th St. Theatre has been delighting people by a performance that is full of rattling merriment, to say nothing of a very considerable lot of ingenuityand talent displayed.

Fileur.

"SWEET LAVENDER" IN BOSTON

THE

event of the New Year in Boston dramatic circles was the production of A. W. Pinero's three-act comedy entitled "Sweet Lavender" at the Museum. Its great success both in London and New York had formed unusual musical interest here in regard to its probable reception, it being well-known that Manager Field had determined to adhere to the original text and action of the play as created by the author, thereby not accepting the alterations instituted by Mr. Frohman in deference to the Lyceum audiences. In view of Mr. Field's action it may be said at once that so far as the approval of the distinguished audience present on Monday night, December 31, can determine, an endorsement of his wish to present the comedy in its original form, thereby leaving it open to critical judgment on its merits, the verdict rendered was wholly favorable to the latter. The interest evinced and the hearty applause repeat. edly given to its many good points leaves. but little question as to its attractivness and ability to hold the stage for many days to come. Carefully constructed as it is in literary strength and brilliant dialogue, fully the equal of any previous work in its line by the author, it is aside from these features that the play appeals most strongly to the auditor, the simplicity and tenderness of Lavender's life and love being allsufficient to win every heart to herself. The story, so charmingly told, has already been given in THE THEATRE in its report on the Lyceum production. In its spirited action, well-drawn characters and strong situations, the play gained a complete success, and it remains to be said that aside from these the remarkably even and telling performance of the company won a distinct and most complimentary recognition, the whole cast being called before the curtain at the close

of the second act in response to the enthusiastic applause.

Interest naturally centered itself in the performance of the two leading characters, upon whom rest the burden of the plot, Dick Phenyl and Lavender. As the former, Mr. George W. Wilson gave an impersonation, that must, on the whole, be placed at the head of his many successes. In conception, strength, artistic finish, and vivid. realism, his work was truly remarkable. Never a moment in which this was over. elaborate; and the portraiture of the nature divided between the desire for strong drink and the impulses of a true, loving heart was grandly and perfectly touching.

Miss O'Leary as Lavender was a genuine surprise to her most ardent well-wishers. She at once touched and won every heart by the naturalness of her acting, its refinement and tenderness fully meeting every demand of a character altered to one key with but litttle variation and therefore extremely difficult to save from monotony of action. Her love-scene with Hale was exquisitely performed. Mr. E. L. Davenport as this gallant and manly lover again proved the strength and versatility of his genius, his performance being exceptionally fine and well sustained. That Mr. Mason made a success of the absurd character drawn by Pinero as an American gentleman is to pay a just tribute to his merits as an actor, for it requires such a one to effectively handle that particular bit of character. Mr. Pitt as Wedderburn easily fulfilled the demands of this lesser personage, again affording evidence of his rare ability to make all his work the fruit of a ripe and talented nature, conscientious in all things. Miss Allen and Miss Clarke and Mr. Abbe are also to be highly commended for their work, the latter in particular making at positive hit in a small character. Mr. Coleman had but little to do and did that with

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PHILADELPHIA NOTES.

JAN. 5.-"Myles Aroon," by Geo. H. Jessop and Horace Townsend was produced at the Walnut Street Theatre Dec 24, with W. J. Scanlan in the title role. The new play offers nothing of dramatic originality, but it admirably serves the purpose for which it was written, that is, framework to surround the clever acting and singing of the best exponent on the American stage of the sunny side of Irish character. Mr. Scanlan sang and talked himself through his new lines in the easy and rollicking fashion that has won him the position of a warm favorite among the admirers of this particular kind of entertainment. The play has been furnished with beautiful scenery. The acting of the company was exceptionally good, especially the

work of Mr. Chas. Mason as the essential villain.

Miss Julia Marlowe made her debut in this city Dec. 24 at the Broad Street Theatre. Although the young actress is a new star lately risen above the dramatic horizon, the fame of her art has preceded her appearance here, making it an event of considerable interest. At the close of the first week of her engagement the critics are unanimous regarding her ability to safely essay roles which have eluded the grasp of some other actresses of more years and greater pretentions. A stronger proof of her merit is the fact that the audiences since the opening night have steadily increased in size, without the stimulus of extra advertising. If the increse continues during this last week of her engagement, Manager Dickson will be compelled to endure the pleasant managerial sensation of turning away ready money from his doors.

At the Grand Opera House the Duff Opera Company revived "The Beggar Student," in the person of Herbert Wilkie, for whom the part was originally composed. The company gave an excellent rendering of the favorite opera. The manager of the Opera House proposes to determine the truth of the saying that variety is the spice of life by bringing out Bartholmew's Equine Paradox next week. The following week will see the Eastern production of Richard Stohl's "Said Pasha."

Jefferies.

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