Evening star., 1899-03-14
AMUsEMENTs. A

had to wait long time for its Cyrano, and
the waiting, while 1t prevented any sur
prise to the plays merits, whetted the
appetite of theatergoers to intense eager
ness. So voluminous have been the chap
ters written in its praise and to SO lofty a
point was expectation led that the greatest
success possible for Cyrano was the alb
sence of that little twinge of dsappoint-
ment which comes when imagination has
been stimulated to pitch which reality
cannot attain. There are no small regrets
to be smothered in the appreciation of this
play and its production. 1t as the culmina-
tion of this seasons series of presentations
which have dazzled by their brilliancy and
surprised by their literary sincerity.
The orchestra, bestowed under the stage
in order to leave the public more space,
gave forth far faint music as the crowds
pressed an and filled the chairs which for
a few hours had become thrones of magic,
from which the occupant might contem-
plate the world in Its idealized aspect; not
as II Is or ever was or perhaps ever will
be; but as 1t would be If the dreamers had
their way. 1t was a fashionable audience;
an audience which pleased the ear with
rustling silks and the eye with gay plu-
mage.
When the curtain arose the theater SEEM
ed for moment to stand before q mirror.
Another playhouse, complete from stage to
gallery, was revealed-but the people were
different kind. The jostling throng that
erns, but of men who, though they toll
ed but slowly, thought and fought quickly;
who dressed themselves in laces and satin
and whose pleasures were of the sort which
linger always on the border of tragedy.
The minuteness with which this scene was
presented was an assurance of complete
and careful stage management throughout
the piece. In spite of the elaborate scenic
mechanism the first act is the least i'm
pressive. The much-discussed scene in
winch Cyrano composeS ballade as he
fences, promises his antagonist that he will
nit when he ends the refrain is deli
cate bit of bravado, but has not a great
deal of dramatic value. Yet it is in key
with the character; CyranO is a man of eX-
travagances. prodigy in all that physical
skill or intellectual force can accomplish; :;
a splendid and consistently impossible ideal.
The central idea is French and fantastic.
Only Frenchman would perceive it's possi-
bilities.
To any other intelligence the nose of
Cyrano would seem an intrusion any
occasion save in Mardi Gras. But Rostand,
whom this play procaims by far the great
est poet of the time, discovered Cyrano.
Coquelin, the eminent French actor dis
covered Rostand. And Mr.. Richard Mans
Held with Characteristic assurance has set
himself to interpret Rostand and Coquelin
to the American public. After his many
successes in light comedy and several dis
appointments more or less conspicuous in
the classics, Cyrano was a bold respon-
siblity for Mr.. Mansfield to assume. His
egotism has been vindicated by this pro-
duction. There is not a jar in the artistic
symmetry, and the company is one which
plays intelEgently and well, but leaves the
star in peaceful and uninterrupted posses
sion of the center of the stage. The play
is and ought to be all Cyrano. He is many
chara cters in one a better brawer than
DArtagnan and better lover than Romeo
The stories which he tells of his valor are
true; when he draws his sword it is for
some high. heart cherished, though Quix-
-, ot-N1A ,lN,, no m
derness is magnified into an alteration
which forbids him to possess All these
phases Mr.. Mansfield presents in a mas
terly manner. There is more spontaneous
fervor than is usual with him.
He brings to bear upon his performance
discriminating intelligence which demands
absolute accuracy. Mr.. Mansfield, actor.
seems constantly in awe of Mr.. Mansfield,
cynic and professional scold, and the result
is a splendid exhibition of art. polished and
refined. Ordinarily it is art without genius;
light without heat. But. as Christian. gift
ed with the superficial graces, found
Cyrano to lend him speech. Mr.. Mansfield
becomes eloquent, poetic and intense under
the promptings of Rostand. His superb
technique interprets the thought of the au-
thor with a closeness which leaves upon
the mind of the spectator the impression
of unmarried perfection. Powerful and
striking as the incidents are, there is Moth
ing forced or improbable In the action of
the drama. Long before Poxane has learn
ed TO love Cyrano the audience has forgot
ten the deformty which made him at first
seem only grotesque and followed his
career with admir- alton, sympathy and rev.
erence.
The staging of this play would eclipse a
less stupendous literary attempt. The print
ed cast CT characters is over half foot in
length. from the Comte de Guiche, well
Played by Mr.. Arthur Forrest, through
CT ristian, acceptably portrayed by Mr. Will
liam Courtenay, and Roxane, finely inter
preted by Katherine Grey. down to the
"ard others which ends the most impos-
ing list of supernumeries seen in a long
time.
By all the accepted rules. Cyrano ought
not to have succeeded. Like the satirical
soldier in Arms and the Man it has per-
sisted in winning the battle the wrong way.
Even blank verse is ordinarily taboo, and
Cyrano has the aGIdacity to be translated
we'll translated too, by Howard Thayer
Kingsbury-in rhyming couplets. Rhym-
ing coupletS have not been tolerated even
in extravaganza for many years, and yet
the word-harmonious fell in Sonorous fit
ne SIS with the srublirnities of thought which
have been introduced into the dialogue as
laViShly as If they We're trifles. The long
speeches by Cyrano would be diagnosed as
fatal symptoms by the ordinary stage ply
scian. But the rhymed couplets ring with
true poetry and the long speeches tell
something that the mind is eager to grasp.
And the public comes forward with the as
surance that while 1t is goodnatured
enough to accept nonsense If nothing bet
ter can be mad, II WILL Wnere tnefe Is OPP
portunity, pay and struggle for the chance
to see good play well acted.
The mere multiplication Of phrases in
praise of "Cyraao de Bergerac'' would be
an idle occupation. The world knows of 1t
and approves without dissent. "Cryano' is
a theatrc religion Rostand Is Rostand,
and Mr.. Richard Mansfield is his American
prophet.
NEW NATIONAL THEATER.-There
were two attractions in one at the
New National last night. One was Rupert
of HentZau,' the companion play of THE
Prisoner of Zenda," and the other was Mr..
James X. Hackett, who made his first stei-
lar appearance here in the former vehicle
which also was given for the first time in
this city. The play is a dramatization by
Anthony Hope of his book bearing the
same name, and interest in the latter to-
gether with Mr. Hackett's popularity, was
responsible for the representative audience
that filled the orchestra and the better part
of the remainder of the house.
In almost any role he might assume Mr..
Hackett would command considerable ad-
miraton and enthusiasm for the reason
that he is manly and wholesome in most
that he does. The moment he makes his
entrance on the stage he naturally becomes
the central figure through the domino ting
power of his dramatic method This was
clearly demonstrated last night and result