The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1902-05-09
Richard Mansfield in ''Beaucaire" at
the Metropolitan.

.. the Metropolitan.
The prlmacy of Richard Mansfield on the
American stage, which has come to be gen
orally acknowledged, has been attained b,
Intelligent effort along two lines-that of the
impersonator and that of the producer.
Travelling along either road alone it would
not have been possible for him to achieve
such a position. The day has indeed, gone
by when leadership on the stage is to be
won by mere representation, great as is the
genius required for that essential branch
Of the art histrionic. - = - '.- -
A study of Mr. Mansfield'ss continually
widening career leads to the r6nclusion that
more has been contributed to his successes
by his talent for stage production than by
his genius for impersonation. Undoubtedly
it was the latter that first brought him into
notice, and gave him the. opportunity to in
dulge his unerring taste zinSthe painting of
great stage pictures. And yet a. nice bal
ance in the use of the two faculties seems
necessary. Recently Mrs2sMansfeld was led
into the error of producing Henry "" by
the possibilities he saws.saE lat Explanatory
history play for ~ SUE On ksofs wonderful
martial spectacles, notwithstandin THE lack
of opportunity for stage =, Characterization
"Beaucaire,' the romantic comedy written
out Of Booth Tarkington's strong novel, is
better adapted to Mr.. Mansield's uses be-
cause in addition to it's opportunities for the
gives him a, character 10 be vitalized that
is we'll within, his grasp.
Even the most ardent admirer Of Mr.. Mans
field as an actor must admit that he has
mannersms and that they seem to become
more accentuated with the passage Of time.
His mincing gait, his over-graceful elaborate
ness of gesture and some of his habits of
speech usually serve to mar the illusion that
would be produced by the complete sub
merging of his personality in that of the
character he assumes, This is the more to
be regretted because Mr.. Mansfield long ago
demonstrated, by his Baron Chevrial and
other characters of his earlier plays, that
he could doff these rnannerisms if he chose.
The impression that they spring from af-
fectation may be unjust, but it is inevitable.
There are, however, certain characters to
| which they are not inappropriate-for- in
stance, Beau Brummel and Beaucaire. One
is not surprised to see a royal Frenchman,
who is masquerading as a hairdresser and
as a fashionable gambler, exhibiting GER
tain Gallo exuberance of spirits, tempered
by an effeminate over-refnementg of manner
that is equally characteristic of France. This
apparent effeminacy is one of the elements
in a striking contrast which Mr.. Mansfield
brings out with deft and mastery touches,
the other element being the dauntless bravery
and unruff1ed GOODNESS of the princes real
nature. o.. -
achievement little short OF. marvellous for a
man Of English tongue It is indeed, so near
perfection as often to mar the ,intellgibility
of his lines for those unfamiliar with French
pronunciation. - 81 1s.s
The emotional side of che Characterization
is not, perhaps, as well developed as might
be- desired. Mr.. Mansfield is not a convincing
lover. In his scenes with Lady. Mary, the
same doubt assails the audience that troubles
her, namely, that this gallant; Frenchman
is playing at love-making. rhere is, perhaps,
"Reminiscences in this of the spreceuse style
of love- making that. was exemplified in
"Cyrano de Bergerac.''5 But as "a fencer with
words or with swords thas Beaucaire is swift
and invincible ~ .ts... '.i&s
OF the play itself enougha has, pefhaps
been said to indicate its character. 1t is a
successful recasting of the story in stage
mold with the simplifcation so necessary
| to the success of that process The disclosure
of the identity of Beaucaire early liz the ac-
| ton, while apparently essential, partially
destroys the suspense and-Sto that extent
| weakens the interest. This is somewhat COM
| pensated for by the uncertainty as to how
| the prince is to confound his enemies and
establish his own proper position, without
at the same time FORGETTING the knowledge,
SO sweet to him, that Lady Mary loves him
for his. own sake. The dialogue is bright
| ened by epigrammatic wit and the action
| moves briskly.
Mr. Mansfeld's support is excellent in the
main. So completely is the play centered on
the name part that the other roles do not
afford opportunity for great acting. There
are a great number Of them and each is
looked after with the scrupulous care charac-
teristic Of Mansfield productions It would
be impossible even to enumerate them all
here, but word of praise is due to Sheri-
dan Block for his plotting Duke of Winter
set and to A. g. Andrews for his Mr.. Molly
neux. Ethel Kingsley Mollison lis satisfy
ing as Lady Mary, but is neither impressive
nor sufficiently beautiful to justify some Of
the lines. , w. B. Chamberlain.