THEATRE ROYAL.

Press, Volume LII, Issue 9289, 14 December 1895, Page 9

THEATRE ROYAL.

"THE SECOND MRS TANQUERAY."

Whatever may be the diverse opinions as to the advisableness of " holding tbe mirror up to nature " as is undoubtedly done in "The Second Mrs Tanqueray," from an artistic point of view one cannot but feel the strongest admiration alike for the wonderfully dramatic power evinced in tbe construction of the piece and its equally powerful and artistic representation by tbe artists engaged in it. A terribly realistic lessen ia taught by the play that the price for sin mast inevitably be paid, and a wholesome moral is inculcated that the way to escape the consequences which follow upon Paula Tanqueray's frailty ia to avoid evil. There ia no gloasing over nor the painting of wickedness throughout in the play under notice. On the contrary, the author makes it plain, almost from the outaet, that the way of the trausgressor is hard. The only thing unexplained in the piece i 8 the motive which leads Aubrey Tanqueray to sacrifice himself, knowing as he does full well the past history of the woman be marries. Since Mrs Brough played the part here before she has evidently studied it with care and attention. The result is that in many points there ia an elaboration aud a finish, a completeness and truth to the natural sequence of certain events, which makes her impersonation of the character of Paula—complex and exacting as it is—one of tbe finest aud moat complete dramatic picturea we have ever had on our stage. The wayward jealousy of Paula, her horror at finding out the attachment of Ardale for ber stepdaughter, and that most pathetic and intenaely realistic scene where she reveals the truth to her husband were all given with such power aa to dominate the audience completely. Throughout, though giving to the part the fullesL interpretation and weight, Mrs Brough never exaggerated, and ber performance of Paula will long remain as a memory of the highest exposition of the histrionic art. Miss Faber, though in parts very good as Eileen, seemed somewhat heavy. There was an absence of girlishness which one wonld expect from a young woman brought up in the seclusion of a convent, and at times, more especially in the scenes with Paula, Miss Faber seemed too mature—if one may use such an illustration —in her delineation of the character. She was at her best in the scene with Paula, where she for the moment throws off her dislike to her stepmother. Miss Watt-Tanner was good as Mra Corteiyne, as also waa Misa Temple as Lady Orreyd. Mr Titheradge's performance of Aubrey was a finished and artistic one. In the scenes with Paula, where his eyes became opened to her real character, and he sees that his efforts are iv vain, and more particularly that in which he learns the fatal truth, Mr Titheradge was excellent. Mr Boucicauit has evidently made a study of the character of Cayley, and he gave us a really fine piece of character acting. The charm of Mr Boucicault's acting is its versatility, and last night this was perhaps more pronounced than any time during the season. Nothing could have been better or more natural thau the scenes with Paula and Aubrey where he endeavours to act as mediator. Mr Casey and Mr Mclntyre were very good in their respective parts, but both Mr Dorrington and Mr. Bindloss were decidedly overweighted and out of place aa Sir George Orreyd and Captain Ardale. To-night "Dandy Dick" will be played, and on Monday tbe season closes with " Niobe."