Ellen Terry (1847-1928)

"Much Ado About Nothing"
By William Shakespeare.
Produced at The Star Theatre, New York, 13th November, 1884.

The wit, the tenderness, the playful satire, and the humanity of Shakespeare's "Much Ado" charmed an audience that filled every part of the Star Theatre last evening.

Would that it might be written that the play and its performance were tokens of the prevailing theatrical taste, for then there would be no cause for railing at the stage. Mr. Irving's production of this comedy is well remembered here, and it will not soon be forgotten. There have been in the past many other noteworthy representations of tbe same work, with settings equally rich. Old playgoers have memories of unctuous Dogberrys, and impersonations of the wheezing, vacuous Verges, whose true Shakespearean humor is lacking on the contemporary stage; actors who have risen to eminence in their profession and passed away have won distinction in such characters as courtly Don Pedro and the impetuous lover, Claudio, and there nave been in our day more comely and less ungainly Benedicts than Mr. Irving, though none whom we remember have more effectively suggested the kindly nature and the chivalry of that sharp-tongued gentleman. But surely there has never been a better Beatrice than Ellen Terry. Even more perfect in that art the purpose of which is to conceal its own methods than her noble portrayal of Portia, infused with the spirit of all that is pure and lovable in womanhood, sparkling with merriment which does not hide the tenderness of her heart, this embodiment of the niece of Leonato is certainly one of the best dramatic achievements of its time. In person Miss Terry is an ideal Beatrice, and her voice so rich and expressive, imparts the proper emphasis to the lively bantering of the early scenes, and gives rich color to the succeeding passages of sympathy and love.

This performance is also remarkable for its symmetry, and it is so full of important bits of detail that it is worthy to be pointed to as a model for younger actresses. What could be more perfect and delightful in its way than Miss Terry's conduct during the playful scene with the two old nobles in Act I. and how charming that unexpected disclosure of Beatrice's true nature at the betrothal of Claudio and Hero. The restless nature of the actress seems to be congenial to the character of this many-sided woman; and her impetuous utterance, her swift and graceful movements are most effective in such passages as the interview with Benedick after the intsult to Hero.

It has been said with a great deal of truth that Mr Irving's mannerisms are in no other part so disagreeably prominent as in Benedick. Indeed his forced method of speech, and his peculiar stride sadly mar a performance which is in some respects of great beauty and merit. There is a certain fascination in the aspect of this Benicdick as we become used to him, and there are moments in the play in which Mr. Irving is seen almost at his best. The eavesdropping in the garden is fine comedy, and the rebuke to Claudio impels our admiration for its dignity and feeling. Mr. Irving's company are seen to good advantage in "Much Ado," Mr. Alexander and Mr. Wenman deserve mention in particular, for excellent performances of Don Pedro and Leonato.

Miss Winifred Emery is pleasing but not strong as Hero. The scenery did not work as well as usual last night, but otherwise there is not a word of fault to be found with the stage management.

New York Times, 14th November, 1884