Grand Rapids herald. [volume] (Grand Rapids, Mich.) 1892-1959, 1892-09-19

pk<r, New York city. The play was indus
ts1ously doomed Ia advance Of its prodnc-
Mon BY means q ingenious paragraphs in
the newspapers, and a majority OF New
York Iheatsr gOers fully believed that Rob
ert HAnEell had &C last found A medium
exactly suited 10 his remarkable If some
what limited powers. And Mantell really
does possess great ability-in a certain line
Tie claim 81 his friends that be- i Richard
Aansfield's equal OK course can have DO
szIect save 10 excite the disabilities or care
f1l students Of actors methods, but Mr.
Aantsil is neyers helrss one OF the greatest
living poCtraysrs 81 robust heroic charac-
ters. for which be - peculiarly fitted by
reslsoa OF his magnificent physique and
full. resonant yoice.
Mr.. Mantell once had the misfortune 20
maze an emphatic hil Ia The Corsiean
Brothers" I use the word misfortune"
advisetly, for ever since. he has appeared
60 feel that his best work Is done In dual
roles. This vagary perhaps il was that
induced him 70 use The Face in the Moon
hight" during Ms New York season
The Face in the Moonlight" WAS writ
ten by Mr. Charles Osborne, and the whole
plot. or rather the vague nothing which
does duty as a plot. hinges upon the re-
sembianee Of = rufiian and murderer,
Jacques Ferrand. - Victor Ambrose. a
monarch.st. who j. condemned 10 die for
having threatened TO shoot some OF his
soldiers who attempted 70 desert 20 Ma
poleOn BOnapsrte. Mr.. ManJell Of course
enacts these Two characters, which afford
him ample opportunity for displaying his
ability az q lightning change artist" but
aside from that are - destitute of posi-
biiities - can well he imagined.
Mr.. Mantell makes the insipid officer
that interesting at times, despite the
Sns1wkisa sentiment contained in many OF
t6e lines which are put into his mouth.
ard the frecracker heroics which he is
compelled 20 fire OF AS the climax Of each
act = approached. The rufiian, under Mr.
ManteIis ridiculous Interpretation of the
senseless character, becomes "A clown. pure
ard simple. and horribly bad clown az
HAT
The Face in the Moonlight" attempts
e. tell story which Is so old that it is
frayed on the edges, and the laboriOus eff
forts OF The author 10 unrsvel the fabric OF
doubt which has not been woven serve
only TO excite amusement. The denoue-
ment il 30 poorly wrought that it is posi-
lively puerile 10 its lack OF color and bald
anticipation OF the final result.
There - one character in The Face in
the Moonlight" which deserves especial
mention on account OF the suhlimely in
discriminate manner in which the author
has used it, in order apparently 10 avoid
bidding 70 the cast. Mime. Pique is in turn
Abe servant Of almost every one OF the inn
portant persoUageS. Wherever the scene
h Laid Of course a "domeStiQue'' is needed,
and Mne. Pique Is invariably rushed In TO
supply the want. This serves to illustrate
fairly the thoroughly stupid manner in
which The Face in the Moonlight is
pasted together. Its only partially redeem
ing feature Is the dialogue. which in some
III the scenes Is bright and crisp. The semi
humorous character OF the play is perhaps
less bad than the others. and the fact that
Il was admirably portrayed by Frank
Lander caused il 10 appear better even
thai IL really j.. On the whole The Face
IN the Moonlight" Is the most pronounced
Successful failure OF the present New
York season from an artistic standpoint,
not even excepting the overirawn and
uaderdODs Kentucky Colonel"
The revival 81 the Black Crook" az the
New York Academy OF Music has created
hstle short Of a sensation among theater
goers generally. and especially among
those who are sufficiently well advanced
L. years 10 remember the original presenta-