Daily new dominion. [volume] (Morgantown, W. Va.) 1897-1906, 1898-11-18
CYRANO DE BERGEROE.
This Famous Play now presented In
New York in English-Seme gen.
eral Features Of the Drama.

tand has revived many of the best tradi'
tons of the French stage. He is poet,
and has taken his material from the ro-
mantle past instead of wearying the
public with another problem play"
which the modern stage holds dear.
/ In Cyrano may be found a full ex-
preston of all that is attractive and en-
dearing in French character; its wit,
poetic ideality, quick sympathy and ro-
mantle sense of honor This, clothed
! in pure and beautiful language gives us
at once classic. Plays of real literary
merit are not common on the stage,
since they often lack the dramatic ele-
ment indispensable to spectacular sue
cess. 1t is only in France where artis-
tic values are thoroughly understood
that the public are willing to listen to
classic PLAYS the year around. Cyrano
de Bergeroe was real character, but
| the poet has made the hero far more re-
markable and attractive than the origi
nal Cyrano was A truly national touch
is given in Ragenean, the pastry cook,
who makes a religion of his culinary art
and composes verses to Phyllis while
mixing cream tarts.
Roxane, Cyrano's cousin, is an imagin-
airy person of insipid type and his devo-
ton to her can only be accounted for by
supposing his rich Imagination endowed
her with beauties she never really pos
sessed. The English version of the
play now presented by Mr.. Richard
| Mansfield in New York" is not only
an interesting experiment but is most
creditable and on his part. most arts
| tic performance. OF course, in the origi-
! nal French the drama is more beautiful
but even in the cruder English form, it
has charm and distinction quite its
own. Mr.. Mansfield plays the hero
with a romantic fervor, and with
sympathy that is surprising even his
warmest admirers The play has been
pronounced melodrama, and in one
sense it is; there are in this production
as a whole many crudities and some in
efiicienees, but it is the only thing now
on the New York stage that has spark
of ideality or poetry in it. Mr.. Mans
| field has an artistic conscience and a
true taste. for which we cannot be toe
| thankful in these DAYS Of charlatan ac-
tors and authors. In contrast, witness
1.-The Christian" by Hall Game, a piece
of mere religious clap trap.
Cyrano de Bergeroe loves his cousin
Roxane but hopelessly, as his disfigur
| ing nose renders him too unattractive
Che thinks for him to hope for any re-
turn of affection. She in turn loves
Christian, young soldier, very hand
some, but without the wit to WOO her.
! Cyrano, poet and duellist, undertakes to
conduct Christians love affair, writes
I for him the most exquisite love letters
to Roxane and she, delighted with the
supposed beauty of her lovers soul as
revealed in these letters, becomes daily
more devoted to him. They arrange to
meet by moonlight, he under her balco-
ny where he expected to pour forth his
feelings in poetic strains He, in despair
of succeeding begs Cyrano to be rear by
to prompt him and tell him what to say.
Cvrano, happy in the thought OF speak
| ing to Roxane even through another's
! lips, consents. This is the most artistic
scene In the play, and as Christian fall
ters and hesitates over his speech Cyra-
no takes it up and in the shadow of the
balcony tells Roxane the secret OF his
poet heart. Here it is that Mansfield
surprised us all He, master of irony,
very firebrand of contempt, becomes
with perfect ease an ideal lover.
To create an appropriate atmosphere
is the actors most difficult task; to sug.
gest as well as to create is the artists
highest achievement and in this scene
Mansfield succeeds in both. His bear
ing is dignifed, his voice exquisitelv eff
fective land whenChrstian climbs to the
! balcony for the embrace that is Rox-
ane's reward for his eloquence, Cyrano
sinks upon the garden seat and ex-
claims in the very pride OF despair, 1T
is my words she kisses on another's
! lips" Later on in this scene when
Roxane and Christian are being secretly
married Cvrano is stationed outside the
door to detain Christians rival the
Duke de Guiche, should he arrive.
| When the Duke approaches Cyrano en-
/ ploys device to bewilder him that has
| been severely criticised by the press but
which in the present writer's opinion is
supremely artistic. How often, in fun,
one approaches child, or friend, in
bantering way, chanting some non
sense either improvised or remembered.
This Mansfield cleverly employs to con-
| fuse the Duke and keep his attention I'M
til the ceremony shall be over in the
chapel within. Having musical
singing voice he carried on this difficult
'ruse" successfully.
In the next act Mansfield seems less
at his ease. he loses the grace OF the
earlier scene and stalks about in that
hating fashion he sometime affects.
However, in the death scene, at the
close he returns to his best manner,
with genuine art, and without exagger-
alton Cyrano's end is touching and I'M
pressive.
Possibly too impossible for real lie,
| Cyrano makes US wish he were here, In
| propria persona, and one leaves the the
| atre with an impression at once elevated