Mary Stuart

Long review on Ristori’s interpretation of the role. “We would suggest that brief stage waits are eminently desirable—to put the point mildly. The waits, last night, were very long, and were not enlivened by the concourse of anything but sweet sounds that proceeded from the orchestra. The stage appointments were, as before, shabby.”

“The French theatre, so long deserted and silent, put on its gayest attire last night. Gas jets, diamonds, bright eyes and powdered tresses gleamed and sparkled in box, parterre and balcony, and gloved hands beat together a tiny welcome in unison with the more demonstrative applause of the moustached portion of the audience, to the pale, intellectual, expressive face and the commanding form in the historical headdress and the sable robes of the hapless Queen of Scots, that returned for the last time to the scene of her first American triumph. Welcome to the queen of the drama, who now bids us farewell before she leaves our shores forever. Well do we remember that memorable night in September when Ristori first made her debut in the same theatre, when as the forsaken Medea she came down to the footlights leading the two children of Jason, and the warm-hearted, appreciative American audience welcomed her with unmistakable enthusiasm. Eight months have passed since, and her career in American has been one of continued triumph. Everywhere the first verdict of the New York public has been endorsed in the most unqualified manner. Everywhere her path has been one of triumph, and crowded houses have paid homage to her genius. Last night was no exception. The calm, Christian resignation with which she meets her jailor, the remorse of her early follies, her fears and anxiety at Mortimer’s disclosures of her sister Queen’s treachery, her dignified demeanor and queenly rebuke in her interview with Cecil, her childlike pleasure in her brief span of liberty in the park of Fotheringay, her trembling anticipation of the interview with her haughty, imperious rival, the passionate outburst of indignation and scathing denunciation of that heartless rival, her sublime contemplation of her approaching death and declaration of her innocence, her affectionate parting with her faithful, devoted attendants, her farewell to the cowering Leicester in words of pity and reproach that fell like molten lava on his craven heart, and that last benediction on the heads of the kneeling friends that weep for her as she stands amid the paraphernalia of death, will ever be fresh in the memories of those who have witnessed her Mary Stuart. And a word for those who accompanied her from Italy, shared in her triumphal campaign, and form the artistic background and accessories to each dramatic picture of which she is the central figure. The dark, passionate eyes of Antonietta Cottin, whose Elizabeth is second only to her great model; the matronly nurse, Virginia Cosati, a fit attendant to the Queen of the Scots; the Leicester of Gleck [sic], paler than usual last night, and evidently suffering from long continued indisposition; the diplomatic Machiavellian countenance of Mancini’s Cecil, the ready and unscrupulous tool of his royal mistress; the romantic, enthusiastic and chivalrous spirit of the ill-fated Mortimer, so well represented by Giovanni Carboni; the bluff, hearty, honest, yeoman-like Paclet of Buti, who regards duty as paramount to every other consideration; and the faithful, tender-hearted old Talbot of Cesare Ristori, trying to reconcile his , his queen, and his pity for the innocent sister she sacrifices to her fiendish jealousy, formed a tableaux of dramatic talent around their queenly instructor which we look for in vain in our most vaunted stock companies in this city. To-night we shall have Elizabeth and the same unrivalled cast that has won success in every city; and on Monday Victor Hugo’s Angelo will be produced for the first time in this city. Thisbe is a character well adapted to display Madame Ristori’s great powers, and wherever she has played it the same success which has attended her Elizabeth has followed her impersonation of the rôle.