The times. [volume] (Washington [D.C.]) 1897-1901, 1901-03-19


is distinctly hard. There is too little of
the Prince Hal that should have kindli-
ness for the world for what he had
learned of it in registering. And at times
his reading seems artificial. The words
do not come forth as one looks for them
from reading of the play, at times unc-
tuous, now acrid. now torrid, and even
frequently torrential. They seem forced
out with some difficulty and his blank
verse scansion is something most passing
strange. At places the audience catches
llre from the actor, while at other peTlo9s
iris only a titful. phOsphorescent hash,
warmleSS and without glow. According
to Mansfield, Henry is not insulted by
Dauphin present of the tennis pallS.
The sting to his pride is in the words
Of Shakespeare and not in the actors
utterance of them. And so, too, with
the unmasking Of the conspirators az
southampton, the royal grief, the royal
dignity. the royal nobleness OF heart
that could pardon them for their designs
upon himself but not for the treason TO
the State-these were all lacking last
night And, also, at Harheur. once
more unto the breach. dear friends. he
says. But he utters the words in no rapt
fashion, but cynically, as might captain
Bluntschli in Arms and the Man.
BY all odds the most satisfying work oil
Mansfield is done in the English camp
on the day of st. Crispin before Agin-
court Here the actor gets away from
himself and becomes for the time being
the real Harry, the ideal Englishman, the
most lovable. the bravsst. truest, most
democratic of English Kings and of all
the ShakesDearean Kings the most elO-
qUent. Here Mr.. Mansfield loses all the
mannerisms which have marked his pre-
vious work, and the audience even feels
like getting up and cheering with the sol
dierS on the stage. The metallic Mans
field voice disappears, and his utteranceS
reell with the redness of war they flash
With the sheen of uplifted spears and
stir the heart because they are vital with
the enthusiasm of man assured of the
Kindness of destiny and with the sincere
love for England and for the commonest
man that is to fight with him. At the
conclusion of this scene last night thf au-
dience was tumultuous in its applause and
indicated That the actors gallantry was
contagious. The prayer before Agincourt
Is given with much gentleness and rev
erence, and the manner in which the King
receives the reports of the dead on either
side, after the battle, is nobly fine, and
is infused with not little of the actual
divinity that surrounds truly kingly
King. In his wooing and marriage he is
still the Saxon soldier. but with a great
er play of gayety and wit. pleasing air-
ness that Is doubly effective after the
strenuous scenes of war
Miss Florence Kahn is Rumor, or
Chorus. and to her is assigned the most
difficult part Of the performance. and it
is all the more to her credit that she
scores such pronounced success. Her
lines are read with distinction, intelli-
Sence, and power, and not a syllable is
lost not even in the farthest portions of
called upon to cover in her five splendid
speeches is very wide, ana her success is
equally complete in giving the sadness of
some lines. the martial Chang of others,
the half playful pleas to the ina ination
and the beauty Of every one.
TOT the greater part, the supporting
company is uncommonly good. John Ma
lone as Exeter makes fine impression,
although called upon to deliver but few
lines. Dorothy Chester as the attendant
upon Falstaff is graceful and decidedly
clever in every situation. Miss Myra
l;rooks as Dame Quickley provides a
characterization in which triyiality and
pathos and rare observation are exquis-
itely blended. Ida Brassey the Prin-
cess katherine, and Suzanne Santje as
Lady Alice are exceptionally good. Joseph
! W Whiting as the soldier. Williams carries
of with much distinction a vital, If a
small, part. Ernest Warde lends interest
to the role of the herald of the French
King. Sheridan Block and A. Berthelet
as King Charles and Dauphin. respective
", are figures that stand ont with a good
deal of prominence in the general picture.
The Pistol of w. y. Griffiths is truly
good, while A. G.. Andrews as Fluellen is
very satisfactory.
A review of Henry W would be in
complete without tribute to the stage
manager or the person who is RESPONSE
BILE for the work Of the four hundred
so auxiliary players-the soldiers. the
flower girls, the ballet, the ladies of the
court, the civic and ecclesiastical digni-
taries. the knights and mobiles. and other
personages who furnish the background
for the several pictures. Rarely is dis
played such facility in the handling Of
a large crowd on the stage. and il is
worthy of note that there were none OF
the ludicrous incidents that are so often
witnessed in stage performances when so
many extra players are engaged. The vast
body of actors last night went through
their several parts as though they had
been drilled for months. The lights, too.
We're well managed, and everything that
charaCtcriZes "A capably directed stage
was in evidence.
In his preliminary announcements, NJ.
Mansfield called attention 20 the fact
that Chorus would appear for the first
time at 7:45 o'clock. Last night hardly
half the seats We're occupied when Miss
Kahn made her appearance, but the cur
tain went up on the minute and the
graceful Rumor commenced her declamd-
ton. Regardless of the tardy auditors.
the Archbishop of Canterbury and the
Bishop Of Ely went through their dia
logue as a rehearsal of what they in
tended to amplify in the throne room
scene. which was promptly revealed.
There will be only one matinee per
Torrance of Henry " on Saturday.