Life — March 24, 1887 — page 10: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

~ LIFE: [* certainly was condescendingly gracious of Miss Fanny Davenport to allow Sarah Bernhardt to produce “ Fédora” before a metropolitan public; to permit genius to show what | mediocrity is unable to do, Miss Davenport, however, can afford to be liberal. Her name has been frequently coupled with that of the great French tragedienne, which is in itself something for which the American actress ought to be thankful. The audience which greeted Sarah Bernhardt at the Star Theatre was a curious one. It was distinctly, undeniably and disgracefully cold. It showed, beyond any doubt, that it could not appreciate genius unless the genius were of Anglo- | Only at the end of the third act, when the very | Saxon origin. wax at the Eden Musée would have melted beneath the sublime art of Sarah Bernhardt, did this conventional crowd become in the least enthusiastic. At the end of the first and second acts the applause was of the feeblest, and the actress was only recalled by the persist- ence of a Gaul in the gallery, who insisted upon seeing her again. At the close of the performances, the stirring death scene was witnessed by men and women whose sole ideas seemed to lie in the speedy possession of hats and coats and departure. I was disgusted at the scene. I have witnessed pet for- mances at the Porte St. Martin, in Paris, where no ridiculous “Society People” (as folks who live in decent houses and wear decent clothes are called in New. York) were present— when the house was filled with only the popular elements. There Sarah Bernhardt was appreciated as she should be, and every little courtesy was paid to her art. At the Star Theatre people were present principally | because it was “the thing.” Those whose names appeared in the newspapers the following morning certainly did not waste their time. that they had been to see Bernhardt. The framework of Sardou’s “Fédora” has been made known by Miss Davenport. That is all she can show. can no more realize the spirit of the play than Sarah Bernhardt could understand the wealth of “ Adonis" or he Rag Baby.” Sarah Bernhardt’s work is magnificent. It is something entirely peculiar to herself. It can be seen with no one else. The sensuality of the third act loses the grossness it would have in the hands of an ordinary actress. If any woman other than Bernhardt dared to try the risky close of the act in its unabridged form, she would simply wallow in | immoral. | at the first representation was wretched. | Sarah Bernhardt was furious at the stage setting, and that at But, oh! what a bleak, bleak night it was | for those who were obliged to announce the fact themselves | She | ra | humor in But Sarah Bernhardt rivets all attention to her- makes Fédora the point of interest, and does anyone the time to say that the situations are obscurity. self, She not allow No one can forgive plump, comely Fanny Davenport for her illicit love of Lor#s [panoff. She ought to know better. | She should be supplied with tracts about the lust of the flesh, and.so on. Her diet should be restricted. But with Sarah Bernhardt everything is different. She could not have done otherwise than love Lerés. It was’ per- fectly natural, constituted as she was. Fédora, with Fanny Davenport, might wed a plump alderman at the end of the play, and live unhappily ever afterwards. Fédora, with Sarah Bernhardt, could only die. That fact is apparent in the first act. Sarah Bernhardt’s support is not particularly good. Philippe Garnier is a stick, and nothing is worse than a French stick. Mlle. Malvau is hard-working, but hoarse. M. Angels is, perhaps, the best of the bunch, The scenery I understand that the present time things are better, The great actress should have every aid. I hope they are. Alan Dale. W HEN Mr. James Russell Lowell last visited this city, someone observed that it was a familiar instance of “Rus in urbe.” THE Toothless Invader: The Baby. THE NEW CONVERSATION SUBDUER AND GIGGLE ANNIHILATOR. For the use of young ladies with a superabundance of animat spirits, who are in the habit of attendihg the Opera and Theatre. EXPLANATION OF DIAGRAM, Fig. 1. The Giggle Annihilator adjusted for use. Fig. 2, Rubber Conversation Tube connecting Annihilators, Fig, 3. Padlock securing door of Annihilator, to be locked by the usher, who shall keep the key until after the performance. Fig. ¢. Glass eye-holes. Fig. 5. Hooks from which to suspend diamond ear-rings. comicbooks.com