Booth -- Barrett

The 1888 Southern and Western Tour of These Great Tragedians

Their Appearance Last Night in Othello
at the Richmond Theatre Before an Immense Audience

It is quite unnecessary to say that the anticipated great event of the dramatic season of Richmond occurred last night, when Messrs. Booth and Barrett appeared before an audience that has seldom, if ever, had its equal in number. From pit to dome the Theatre was crowded, and not even standing room could be given. The elite of Richmond society was there. Many in elaborate and beautiful costumes., and the overflowing house, with the wealth and beauty of the city represented, was a pleasing sight to see. The great tragedians playing "Will Shakespeare's Othello," beautifully mounted and costumed, would have rejoiced the heart of the Bard of Avon, could he have seen that immortal play of "Othello," so splendidly rendered by the two greatest tragedians of the day in this, our Western Hemisphere. Both Booth and Barrett, with Irving, take front rank in tragic histrionic art.

Of Mr. Booth's Iago is a something to be seen, but not to be described. The subtile, insinuating policy of the villian, as displayed by him, was to say the least a something wonderful. In declamation natural, in action easy, movement confined within legitimate bounds, are presented a study of the many phases of human duplicity without exaggeration.

Mr. Barrett's Othello astonished his old time Richmond friends, not because of a doubt as to his perfect ability to fill the role, but for his admirably get up as the valiant but jealous Moor. Ably he played his part, and henceforth he must be forgiven, for on his last visit giving only a flying visit of a Monday matinee. As the Moor, last night, he proved the worthy compeer of his brother tragedian, and together they have found an unequalled combination, and deserve success for their enterprise. His performance as the Moor was deserving of all praise, and won constant plaudits. It certainly was an event to witness two such men as Booth and Barrett in the difficult roles of Iago and Othello, and it was thoroughly appreciated by the audience.

Such artists would not venture on a tour such as they have now undertaken without an able and efficient support, and it is enough to say that none were found lacking. Miss Gale as "Desdemona" presents a most attractive appearance, and surely fills her role.

May the hope be expressed that the Booth and Barrett Combination will next season pay another visit to Richmond and stay a little longer.

Edwin Booth was born near Baltimore, Md. November 13, 1833. He was the son of the actor Junius Brutus Booth, and was trained for the dramatic profession. Having filled many minor parts, he made his first regular appearance on the stage as Tressel, in Richard III, in the place of his father, who had been suddenly taken ill. After a tour through California, Austria, many of the Pacific Islands and the Sandwich Island, he re-appeared at New York in 1857, visited England and the Continent in 1861, and returning to New York, commenced a series of Shakesperian revivals at the Winter Garden Theatre, 1863. After a series of successful engagements in Boston, Philadelphia, and other large cities, he commenced in 1868, the erection of a new theatre in New York which he opened February 3d, 1869; but the cost of the building, in which Mr. Booth had invested all his means prevented ultimate pecuniary success, and the theatre, although it still bears his name, passed from his hands. For several years he virtually retired from the stage, but near the close of 1877 he began in New York a series of brilliant performances. He rarely undertakes any but the leading characters of Shakespeare: Hamlet, Othello, Iago, Shylock, and Richard III. Hamlet is considered by some as his masterpiece, but by others his Richelieu and the fool, in "The Fool's Revenge," are considered his best parts. His Iago has no equal on the stage. In 1882 Mr. Booth played in England, receiving great applause, playing in Lodon at the same time as Irving. In 1883 he played in Germany, the company being composed of German actors. As elsewhere he carried everything before him. The Booth family have produced tragedy in real life, as well as being prominent therein on the stage. The father, Junius Brutus Booth, was noted for his intemperate habits, and symptoms of insanity showed themselves just previous to his death.

Since Mr. Henry Irving's visit to America, we have gained a much clearer insight into the direction in which to seek the best development of our state, as well as much better knowledge of the material at our command. Knowing, as we do, what one man has done for the stage in England, we turn, with a natural anxiety, to learn if there be any one here of the profession of the theatre of whom a like achievement may be demanded. Whatever differences of opinion may exist as to the exact position in the ranks of great actors which will be awarded hereafter to Mr. Lawrence Barrett by the final verdict of history, there can be no doubt that he now is and has been for many years, the representative tragedian of the United States. Mr. Barrett has done more than any one else in America to present the higher drama under conditions of artistic completeness and to stimulate the literary and artistic development of a stage, impressed with his own character and taste. What he has achieved in this direction, so far, he has e[missing] without a theatre, and it has b[missing] serious and remarkable an achievement that it is earnestly to be hoped that he may attain as he so earnestly desires to the possession of a house of the drama in the metropolis. Heretofore he has led his cavalcade from town to town the whole year round, subjected to the war and tear of travel, the vicissitudes of varying theatres, and of constant change from character to character. Nevertheless, he has given us an admirable variety--a variety such as only the theatre of Mr. Irving has afforded, and one which has included the best representatives that we have seen upon our own stage, the most profitable for its reputation, and the fullest of promise for its future. It is only needful in support of this belief to point to Mr. W. D. Howell's "Yo?rick," to Mr. Young's "Pendragon," to "The King's Pleasure," etc., and now, latest and most triumphant of all his successes, to "Hernani" All of these are distinctively productions by Mr. Barrett, according to his own lights, and to be considered as such, and as apart from his impersonations of the slandered characters in which he has won his well-deserved fame, and which comprise all there are from Hamlet down to Henri Lagardine. Mr. Barrett has broad capabilities and a fine ambition, and he, if any one, can make a theatre.