The Topeka state journal. [volume] (Topeka, Kansas) 1892-1980, 1898-12-08
Mansfield Plays in Chicago to a
Large Audience.
Drama Strong and the Charac-
ter Of the Hero Remarkable.
REVIEW OF THE PLAY.
Leading Player and Cast Given
Approval.
Wonderful Arrangement of
Stage Pictures.

Chicago. Dec. s.-Last night was a
great triumph for Edmond Rostand and
Richard Mansfield. There has been
many interesting nights in Chicago at
the theater, but never anything like the
demonstration Of interest and enthusi-
asm which was given at the Grand
Opera house last night The opening
nights Of the great Grau company at
the Auditorium have often attracted
such audiences, but it remained for M.
Rostand to bring such an expectant
throng to ordinary theater. The
interest which the poem of "Cyrano de
Bergerac' has awakened in the various
cities of Europe and America has grown
in weight until now it has attracted an
extraordinary momentum, which should
easily carry the play through five weeks
of prosperity.
It is easy to say that the "Cyrano''
craze is assuming the proportions of
fad, but it must be remembered that
every great movement has its faddists,
and the fact remains that a play of gen.
uine literary excellence, written exactly
as the author liked to write it, without
a single evidence of SubServience to
popular taste, has by its own sheer
merit caught public applause as no 9TH
err play has done in years. For that
reason the production of "CyranO'' is
inspiring in the highest way, for it does
serve to show that there is an enormous
public use for the best kind of play, if
the best can be found In this case the
best has been found, and the audience
which greeted it at the Grand last night
was by no means unworthy of the oc-
caSiOn.
Taken as a whole, the performance
itself entirely fulfilled expectations and
was one of the greatest achievements
of modern stage work Two things
stood out conspicuous through the five
acts-the figure of Mansfield as CyranO
and the wonderful arrangement of the
stage pictures. From the moment that
CyranO arose out of the Surging crowd
in the Hotel de BOurgogne he held the
center of the stage. There never was a
more effective entrance, or rather lack
of entrance, for a character in any play.
Every one is talking about CyranO and
awaiting his arrival, when suddenly his
voice is heard RICH in the middle of the
throng, and in a few seconds his white
plumes are seen emerging as he mounts
his chair.
The first act as whole was a little
disappointing. The crowd on the stage,
though beautifully managed, was rather
overpOwering in numbers and the dia-
lOgue was practically unintelligible. 1t
is perfectly safe to say that for those
who have not read the play beforehand
the lines during the first twenty-five
minutes might just as we'll be VOlapuk
for all the sense they conveyed.
And the worst offender of the lot is
Mr.. Mansfield himself His enuncia-
ton is at times extraordinary rapid,
and he invariably let's the tone drop al
the end of each word so that it is ex-
ceedingly hard to catch the sense. The
famous nose" speech was given with
much expression and dramatic color,
but even that was hurried.
AS for the ballad it was deliberately
lost For this there is possible excuse,
because the whole point of the duel
scene lies obviously in the cleverness
of the poet swordsman, who can fight
and write a ballad at the same moment,
and the cleverness goes for nothing if
an6iPnOa does hear a of
the poem. Moreover. there is no par
ticular reason why the people on the
stage should hem in the fighters and
thus help to drown the voice.
Still the first act went with a certain
broad sweep which caught the audience
and fixed the attention. From this
point the character of Cyrano continues
more and more to monOpolize the atten-
ton.
But the picture of Partisan life Of
certain sort-about as it was few
years later. under Charles II, in London
was extremely interesting. Besides,
here we learn Cyrano loves Roxane,
though he fears his nose puts him in the
shade. Apparently he is given a rem
devious with her as the act ends. Then
in the next act Cyrano is plainly shown
that Christian, a handsome but brain
less soldier, is Roxane's faVorite. His
discovery of this fact occurs in a won
derfully pretty interview with Roxane
at the poets pastry cooks place. She
makes CyranO promise to watch over
Cn11SLlan, ana the remainder OF the
play is first of all devoted to showing
how nobly and faithfully Cyrano keeps
his word.
The dramatic interest eliminated in
the third act, where Cyrano actually
wooes Roxane for Christian. Under
the cover of darkness Cyrano pretends
to be Christian and addresses to ROXane
the most passionate avoWal of love.
This wins Roxane and by a trick she
is able to marry him then and there.
The evil genius Of the play, nobleman
named De Guiche, now steps in and
ends sentiment by ordering Cyrano and
Christian to the field. Christian is
killed in battle in act 4, but carries his
secret with him, and Roxane mOurns
him as the poet lover whose great soul
had won her. The last act shows us
Cyrano many years later, still a faith
full attendant upon Roxane, and she
great love for her. The secret comes
out at last, and Cyrano expires happy
in Roxane's arms.
Mr.. Mansfield's greatest work illumin-
ated the second and third acts. His
delivery of the splendid lines describing
the cadets of Gascony was the first real
trumpet call, the first rich note of the
philosophy and wit of the succeeding
speech descriptive of his own character
were superbly brought out.
In the great love scene of act g. re-
sembling in it's beauty the balcony
scene in Romeo and Juliet Mr.. Mans
field made a wonderful change to ten
derness, and after that it was chiefly
upon this string he played. The death
scene at the end he made weirdly NOV
ing.
Good Enough to Take