Word: actor
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Dates: during 1870-1879
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This week, Signor Tommaso Salvini, "the greatest living actor," if we are to believe the bills, has presented us with a third rendering, quite distinct from either of the others. Fechter's imperfect English gives way to the rich Italian of the new comer; but the English was Shakspere's, while the name of the translator of "Amleto" is not preserved. To almost all, it is Hamlet in pantomime; and the labor of mentally connecting Shakspere's words with the action of the player can hardly fail to detract somewhat from the spectator's pleasure. But, pantomime and all, Salvini...
WITHIN a few years we have had the opportunity of seeing the part of Hamlet interpreted by three actors, all of whom have devoted considerable attention to its study and performance. Edwin Booth's rendering had been for many years unequalled and perhaps unapproached, and when we heard of the new actor, whose light hair and broken English had won such triumphs abroad, all were impatient to make the comparison, confident, no doubt, that Booth's glory could not fail to be increased by it. Fechter came well advertised to this country, for his arrival was preceded by a letter...
...excellence of the performance. We have not space to speak at length of the plays, but we must pay a passing compliment to Mr. McMillan, who took the leading parts in both, and distinguished them by so marked a difference of conception and style that a fresh actor seemed to walk upon the stage in the second play, - a difficult achievement for an actor who has to play two parts in the same evening. His acting was marked by a care for details and a full appreciation of all the "points" of the part. Mr. Swift and Mr. Elwood were...
...gentlemen of the troupe we cannot speak with such unqualified praise. Herr Hablemann is a fair actor, and has many good tones in his voice, when he happens to hit them; but his old weakness for singing false has become chronic, and sometimes exhibits itself in a most exasperating manner: witness, the sextette in "Lucia," on Monday night. Mr. Joseph Maas is not a good actor as yet, but has a serviceable tenor voice, fresh, strong, and reasonably well cultivated. Mr. Clarke, the third tenor or falsetto or whatever he is to be called, acts poorly and walks...
...Booth's impersonation of the part is an excellent example of his power of identifying himself with the character he represents. In each look, gesture, and motion we see only Shylock; the personality of the actor is completely hidden in that of the Jew. The interview with Tubal, in the fourth act, and the "trial scene," which closes the play, give the best opportunity for dramatic effect, and Mr. Booth's acting, in those passages, comes as near perfection as any that the present generation will be likely...