Mr. Booth's impersonation of the part is an excellent example of his power of identifying himself with the character he represents. In each look, gesture, and motion we see only Shylock; the personality of the actor is completely hidden in that of the Jew. The interview with Tubal, in the fourth act, and the "trial scene," which closes the play, give the best opportunity for dramatic effect, and Mr. Booth's acting, in those passages, comes as near perfection as any that the present generation will be likely to see.
The applause was frequent and hearty, and given with wonderful discrimination, considering the number of gamins up stairs, and their well-known fondness for applauding in the wrong place. Mr. Booth received the compliment of a call before the curtain, and the members of the company were not forgotten.
The support was, as a rule, good, - much better than that given him at his last visit. Mrs. Barry's Portia was a quiet, lady-like performance, erring, if it erred at all, on the side of mildness. The characters of Bassanio and Antonio were also well sustained, and Mr. Maguinnis deserves much credit for his rendering of Launcelot Gobbo. The mounting of the play was perhaps a little better than usual, and quite outshone the venerable scenery that has done duty at the Boston Theatre as long as any one can remember, and probably a good deal longer. The performance was generally very pleasant, and we have no doubt that the company will acquit themselves as well during the rest of Mr. Booth's engagement.