The herald., 1898-10-23

by the amount of newspaper notice they
have received, the production of two Eng
lish versions Of Rostand's "Cyrano de Ber-
gerac," by Mr.. Mansfield and MIR. DAILY re-
spectively, and the production of drama
tized version of Hall Gaines story, "The
Christian" in which Viola Allen played the
star part, which is not the name part by
any means.
These plays have each received large
measure Of praise from the eastern press and
the French play has obtained an amount of
critical notice that has not been accorded to
any single production in years. Its story
has already been detailed in these columns,
and it would be useless repetition to give it
again. In the language Of New York
critic: Although founded, 80 far as it's
principal parsonage is concerned, more or
less remotely on fact, it is in the main q
piece of romantic fantasy, which owes its
general popularity primarily to the skill of
ont of the most accomplished French
comedians of the century, the universal ten
dency towards hero-worship, and two or
three good theatrical scenes, and its accept
ance among connoisseurs of its graces Of lit
erary expression, its wit and eloquence, and
the fine, cynical, pathetic and brilliant con-
ception of the central character. Consid
a masterpiece. It is overladen with person
ages Of no account, mere foils to the hero,
who are confusing in their identity and in
their mutual relations; it has minimum of
action to maximum of speech, and it is, to
say the least, exceedingly improbable.
Rich in opportunities as the leading
part is, it is full of difficulties to
the actor, who has to contend against
e
Judge by appearances and to associ-
ate grotesque exterior with a mean,
feeble, or ludicrous character. He has,
moreover, to resist the temptation to utilize
the comic possibilities of a Disagreement by
acting up to them, and thus lowering the
whole tone. There can be no doubt that
the author has done his part with extraor.
dinary skill, for Cyrano, Notwithstanding
his eccentricities and extravagances, and the
apparent irreconcilability of his innate no.
bility and heroism with his habit of swag-
gering braggadocio, is, 80 far as his pre-.
scribed speech and action are concerned,
consistent and, making due allowance for
poetic license, an even plausible identity. 1t
is only when an attempt is made to repro
duce him corporeally that he becomes fan.
tastic and unreal. The problem before the
actor "a to make his deformity sufficiently
aggressive and ridiculous to account for it,
consequences, and at the same time to sug
gest the existence of the precious Jewels OF
character contained in that unattractive and
unpromising casket.
Richard Mansfield has gained almost un-
qualified praise for his personation of the
chief character. His triumph in "Cyrano"
says critic, seems to be complete at every
point. Even certain carping and snarling
critics in New York, who did their best t.,
belittle the production on the morning after
the first performance, have been Obliged to
indirectly confess their blunderine and ma.
licious stupidity. They now admit that
Mansfeld's "Cyrano" is a magnificent and
most artistic inspiration, and that cordial
encouragement Of splendid effort which
should have been given at once is beginning
to crop out in all tho prints. The New York
public, with contemptuous indifference to
yellow journalism in all it's phases, immc
diotely stamped its approval upon the Mans
field production, which is playing and will
continue to play to the greatest receipts
honestly stated-that any New York the
ater will garner this season.
Mr.. Days production of the same play
has been made in order to afford Ada Rehan
principal female character To this end the
piece has been remodeled. and "Cvrano''
has been relegated to the office of playine
second fiddle to Roxane. Mr.. Daly's peculiar
methods of adaptation are familiar, and be-
long to him alone. He remodels Shakes
peare or any old German dramatist with
equal facility and nonchalance. The objec-
tive point is to find part for Ada Rehan
in which she will shine above every one else.
The rest is unimportant.
The production Of "The Christian" is
chronicled as highly successful. The play
does not follow the book closely and re-
Quires a previous acquaintance in order to
follow the story as originally told. All the
same, Mr.. Caine claims to have made a play
that may be understood independent of any
previous knowledge of his book.
According to f. A. Dithmar, the critic of
the New York Times, the play is put to-
eether with small regard for and probably
smaller knowledge Of the laws of stage
craft, and is not interesting until the close
Of act IL. The interest then awakened is
ttfuliy maintained until the close. There is
not new idea in this drama, or an exalted
one, and the commingling Of the crucifix
and church vestments, the singing of the
poxology, and much talk about the saliva
tion OF. souls, with the signs of the physical
love OF man and woman, as in the scene
briefly referred to at the close Of act II. and
in two episodes Of act ", may family re-
mind the spectator who has read HOuo
Vadis" of the contrast of early Christian
asceticism and self-denial in that tremen-
dously successful work of fiction with the
explicit and needlessly minute descriptions
Of certain goings on in the house of Petro-
MUS, in the palace Of Nero, in the gardens Of
Agrippa.
According to the critic of the New York
Journal, Viola Allen reached the high
est point in her theatrical career
in the act in which John Storm
comes to her apartment at mid
night with intention of making her nrav
before killing her. In his fanatical zeal he
considered this to be the only way in which
he could save her soul. 1t was a risky scene
Ibis, in which beautiful creature. in the
hull flush Of healthy womanhood, PLAYED
her abundant physical charms against her
overs purpose of murder. First she loor-
med her full crop of auburn hair, while the
mpetuous young missionary stared with
constantly widening eyes. Then she barred
ler beautiful white throat, cried out her