The evening times., 1899-03-14
AT THE THEATRES.
CoIambia-.Cyrano de Bergerac."

us 10 WHICH dli TOduS leu i6St hi6A'
was the Columbia Theatre, and even then
there did not seem to be enough streets
to accommodate the crowd that gathered
for the purpose of hearing Richard Mans
field in "Cyrano de Bergerac." This was
especially true after the performance had
been finished and those who had been pack
ed in Luckett & Dwyer's none-too- spacious
auditorium were discharged into the high
ways and byways near. Everyone who pre-
tended to be anyone was present, with
few who felt genuine interest in NJ. Ros-
! tand's drama and in one of the two notable
/ interpretations that have been given it.
Had one asked this latter class Of peo-
pie for its collective opinion when the fl
nal curtain had fallen the sentiment ex-
| pressed would probably have been tinted
with genuine disappointment. Especially
would this have been true with those who
had read the published edition of the play,
| for the Frenchman's work shows possibili-
ties and leads one to imagine the fulfill
ment of opportunities that only the most
surprising genius could place upon the
stage :
Dame Rumor has credited MIR. Mansfield
with possessing this ability when in reali-
| ~ the actor has failed to extract from his
vehicle much that is unapproachable. The
production is elaborate. but not wonderful,
the impersonations of the principals in
| support good but not great Mr.. Mansfield
! himself is only perceptibly better than
| others might be-it is "Cyrano de Ber
! gerac'' that is supreme Undoubtedly one
! of the greatest presentations of a decade,
! the Offering is still not superior in a de-
gree that would call for unqualified praise
were not the piece itself SO generic that
/ in it one forgets the faults that do exist
in the rendering.
As it is the expectations of those pres
| ent were not met, partially because the
charm of the drama had made those eXpec-
Ia ions inordinate. LitJeratsurs and tie trs
goers alike hoped for something which 1t
( was not altogether reasonable to antici-
! pate and felt disillusioniZed when they
| failed to get il. But all OF this was in
! retrospective. The text was the one con-
sideration while II was being enacted.
''Cyrano de Bergerac" is the most Won
derful stage effort of the last half century.
Its interest is so human and its sentiment
so profound that il sways and moves The
! most erudite of audiences. Cyrano is
man who is realize is a being different
from those of whom writers generally
make heroes; an ugly unfortunate whose
love is hopeless and whose life is an ut
ter failure. Gifted with the unseli=hness
and the generosity, the romance and the
sorrow, the brain and the Drawn neces-
saTy to gaining popular sympathy he new
ertheless is the epitome OF emotions and
sufferings so natural that they app a!
strangely to everyone who knows any
thing either of himself or of his fellow
beings.
As mere constructive attempt the
piece is also notable. ''Cyrano de Ber-
gerac" produces its effect by methods
completely hidden The incidents are so
subtle of suggestion. the pathos so strong
and YET so free from maudlinity, the wit
so sharp and the lines so graceful and
beautiful that one cannot help admiring
them after be has ceased to feel their re-
suit altogether the play is the mastery
labor Of masters hand and will hold
rank as such after all those who have
originated parts in il are dead and even
forgotten.
The role of Cyrano itself is so powerful
in suggestion that the poorest actor could
not fail in it. Mr.. Mansfield portrays the
Gascon in thoroughly Mansfeldian man
ner-shOwing two dominant faults. In
the first place his impeTsonation is with
ont that grain Of roughness which would
seem 10 mark The character. While it is
| not necessary To make CyIano a 70 ster-
ing ruflian. neither is there any reason fol
/ idealizing him beyond measure. All due
praise being given Mr.. Mansfield for his
his refusal TO rant. il cannot BE- denied
that d touch more of the swaggerer would
be appreciable in his conception. There
' is also a lack OF sentiment in the stars
creation that is not noticeable because the
house fills in the gap with its imagination
but that is still worthy of observance
The true depth and beauty of the nobl=
being who sacrifices everything to hi:
own convictions of right and his love foI
N,b, h.a
. finds nc note in the tCae OF Mr.. Mans
! fields realization
Despite these remarkable points in his
. 4 rendering. the actors work i essentially
that OF an artist. He achieves great dea
I by pure suggestion and. as has been said
keeps himself in proper relative position
( admirably. Several of the scenes be ac.
oomplishes are maTvelousiy done. If ht
= proves unable TO be consistently heroic. hi,
Introduction OF the Cadets to De Guichl
bears all the swashbuckling fire that mign
be desired, as do also his bits of dialogu.
, in the fourth act. The manner in which h.
assumes a different voice when singing be.
4 meath the balcony OF his inamorata is mar.
veioUs, and in his death scene Mr. Mans.
I field springs into sudden dominance. witt
! pathos hidden before that, and with all hi.
old regard for detail, his capacity fol
! showing varisd emotions, and his wonder
| full physical expression. Were the crea
/ tion not undoubtedly the best of those tha
have been seen in this country il woult
be redeemed by that one fash OF suprem
? merit
!. The leading people in the supportir!
company are good. most of the others fair
: and some very bad indeed. Katherin
Grey makes a charming RoXane-tende
., and delicate and natural. Then Arthu
} Forrest realizes De Guiche 10 the life
= William Courteney's peTsonation of Chris
tian is praiseworthy, and \. G. Andrew
has many negative virtues in his assump
tiOn of the role of Ragueneau. The Cap
tain De CastelJaloux of Francis Kingdo,
and the LIE Bret of j. w. Weaver both arr
meritoriOus. Ellen Cummens is an absurt
1 duenna. and some of the soldiers and sis
ters are as worthy as the single pickpocket
tradesman, and the various other small
II people are worthless.
great quantity of scenery is used Civ
ing the effect of ponderousness more thai
of beauty. In order to produce the effect
required by the piece an almost unimite
II amount of canvas is carried, and this be
; ing true. one can hardly ask more tha
n adequacy. Many details In the presenta
d tion call for further care but with tn
a other demerits they are lost except to tn
h carping in the greatness of a great pla
o done not greatly but effectually.
Lufayette-''The Three DragOons.''
e That music not entirely new may sti
It form distinct impressions through shee
tunefulness: that a subject hardly origins
l.