The times. [volume] (Washington [D.C.]) 1897-1901, 1901-01-19

Ter BOIir
Per Bourgeois .--.-..--...------...M valiant
Ger Musicien.. NJ fusie;
Ter Patssier. Brusset
| lie PORTER NJ STEINER
Lise VINE Da'u
| La Distrbutrice. ACKNOWLEDGEMENT Mime. herwich
! La Duegne -......-.-....-....--- Nine raua
Soeur Marthe. .....................M Nine. Dam roi.
Soeur Claire. ......................M Nine Smonson
| Mere Marguerite -...--.......Am Mime BouIahse,
Ter Page Nine. Plquel
tne Actrice. .....-.-..-.-.....-...M Nine. Baudu
2e Page. Nine Marie
Une Soubrette. Nine. Solters
Ire SOeur Mime. Cellarlus
2e Soeur '.....'...''-...-''-..- Mihe. Dove
NJ Constant Coquelin came into his own
at the National Theatre last night and
emerged from the comparative obscurity in
| which he had been compelled to remain
| during the earlier performances Of the
| Bernhard engagement, and in his original
| role of Cyrauo de Bergerac. in Rostand' S
play of like name, delighted one of the
| largest audiences that has been at the
Rapley playhouse this week Those who
kneY that MIR. Mansfield had had the tene-
| fit of some weeks observation of CoCue-
| Inns Cyrano in Paris before he attempted
| the role in this country two seasons ago,
| looked for a Cyrano from the Frenchman
| along much the same lines as showed by
| the native actor In this however. they
| were disappoin ted-a 3reeably 6isappointe ted
| too-for the Cyrano of Coque .ir last night
proved TO be a fantasy a sp:t Of a mid
| summer nights dream. The French player
| read the LIKES with exquisite taste and a
mastery of expression aiii'ient to ade-
| quately give the varyir shades OF humor
and sadness by the bsre.t touch. The
! soldier side OF the her, as almost OBJ
| liberated. and Coquelin contended him
L. Al.
| fellow at times but poet always. The
peryading tone of the Coquelin perfor-
nance may be said in all verify to be
| poetry. and il is the literary side OF the
| play to which the brilliant player has de-
voted his greatest attention.
The opening act was played SO quietly
| as to arouse no great amount of en-
! thusiasm, and to many who had the
Mansfield creation for their only stand
ard the scene was undeniably disappoint-
ing Rostand has given a warlike exag-
geration to the act, and Notwithstanding
the fact that the crowd is in an uproar.
| Cyrano's cane is wildly fourished." his
mustache on end. and his nose is ter
rifying, he rolls up his sleeves for fight
and the crowd, closing in and grumbling,
| is driven back by his domineering man
ner. This, to any ordinary actor. would
suggest almost unlimited possibilities
| for melodramatics. AS given by Mr..
Mansfield it was unccmmonly effective
| and magnifed the soldierly qualities in
Cyrano-made him a sort of a second
D'Artagnan. Not SO, however. with NJ.
Coquelin. He had the scene all done
in low relief. more as one might read
the episode-done by himself with much
| deiicacy and with no attempt at dash or
| excitement, and by the other actors very
creditably. This same poetic unreality
marked Cyrano's exit to meet one hun
| dred men-not even the suggestion OF the
swashbuckier. but rather a gentle Illus
| tration of the perfectly delivered lines.
The scenes between Ragueneau and his
cooks and poets were sketchy bits, ex-
cellently rendered, and valuable con-
tributions to the performance. 1t is in
this act that CocIelin's first real test
comes, when Roxane, describing her low
er, announces that he is handsome -
Cyrano, listening intently TO her hears
the word. fatal to his hopes, and starts,
visibly affected; but only momentarily,
for he Immediately regains control of
his emotions and seemingly dismisses
the incident from his mind. 1t was only
a bit, but the artistic sincerity with
which it was given last night by Coquelin
was remarkable. The balcony scene was
splendidly enacted.
pitdulnS was tender ana wlSt-
full. always carrying the suggestion of
what fervent utterances he was capable
of, were he but permitted to speak in his
own behalf II is this pathetic hopeless
ness of Cyrano's love for Roxane that
Coquelin excels in showing. while in his
relation of his fanta site trip to the moon
he is simply Incompatible. This identi-
flying himself with the unchartered imaE-
inings of the poet to such a degree that
80. l. ~
Interpreter could hardly have been
greater was one of the great successes
of the performance. In the fourth act,
in which Cyrano rises in his might to
drive out the opposing force, Coquelin
did not seem to grasp all the opportuui-
ties the scene contained and here for the
one time during the evening Mr. Mans
field may be said to surpass his distin-
guished fellow-artist. for it is in this
episode that physical greatness is looked
for and really demanded The fifth act
is notable for the grand work of both
Coquelin and Bernhard, whose Roxane I'D
to this point has only been an unobtru-
sive character, merely appearing In the
foreground when the requirements actu-
ally demanded. But In this last act the
Bernhard genius made itself apparent.
Up to this juncture p the play Roxane
is mere GIRL anc me French woman
with all her art. is not at her best when
portraying girlish simplicity She had
contented herself with doing everything
well. but not brilliantly. but with the
passing of the fourteen years that marks
the difference in time between the last
two acts. RoXane became a woman and
Bernhardt became n great RoXane. She
had Just moment, but II was a marve-
lous period and her final monOsyllable
''c'est" was worth world OF ordinary
acting.
The CyranG of Coquelin harmonized with
his choice OF method and with his under
standing of the Rostand poem. 1t was not
now sad, now gay, now inconsequential,
but on the contrary. rather finely tenn
psred all the time by fusion and bal
ance OF the clements Of his nature-inod-
crate in Jest, light in its sadness. looking
at his own SORROWS and those of the world
with the docility of a philosopher as we'll
as the sensiuyeness OF a poet. Compared
With the Mansfield idea OF Cyrano Coque-
lin is more of a truly great honest man
he is less of warrior, but as good lover
while as a poet and the martyr Of his own
Physical shortcomings, he Is infinitely su-
pi-rior to the American actor.
The production lat night was much the
same rs was exhibited here by Mr. Mans
field. and the only actor who was con-
spicunts BY reason of good work was NJ
Desjardin. whose De Guche was fully as
well drawn as his Metternch.
"cyraiio de Bergerac'' Will be repeated
tonight and at the matinee today La
Dame camiiias" (CamiileD will be pre-
scented.