The sun. [volume] (New York [N.Y.]) 1833-1916, 1903-10-13
MANSFIELD OPENS THE LYRIC.
HIS SUMPTUOUS Production or
sold HEIDELBERG."
New Theatre OF tho Shubert Brothers .
Charming Playhouse and Mansneld's
Choice . Pleasing Piay-Fashiona.
BILE Audience Admires All Three.

SuoFMInB fiayuOusc anu N0uSUei0
Choice . Pleasing Piay-Fashona.
BILE Audience Admlres All Three.
A new theatre, an old favorite and a
pretty piece-this trinity of attractions
called the Lyric in West Forty-second
street, which threw open its doors for the
first time Richard Mansfield, actor, art
ST. tragic comedian, though never comic
tragedian, began his regular dramatic
season with novel version OF "Old Hell
delherg," wilhelm Meyer Foerster's now
familiar and capital five act comedy Of
German student life. Visitors to Mr..
Conried's Irving Place Theatre need hardly
be told anything about the piece. while
those who saw George Alexanders per-
Torrance at the St. James Theatre, London
where the play ran six months
enjoy comparing the merits Of the two
productions.
Mr.. Mansfield and his company in this very
sentimental and effective play that the
spirit OF the author has been seduously
preserved. Mr.. Mansfield knows more
than most actor-managers the value of
is to be added to his long list Of successful
and finished dramatic portraitures.
His knowledge of Germany and German
character has enabled him to do what his
predecessors on both sides of the Atlantic
did not do-preserve the distinctively leu
tonic quality of the original, though paying
in a language foreign to it. Az ever, there
was sincerity and there was tone in his
impersonation of the lovesick gallant and
ceremony-hating Prince
The theatre is attractive with its Italian
Renaissance richness. and the delicate
note Of apple green and rose du Barry
which dominates the color scheme is very
grateful to the eye. The stalls are COM
Portable, the auditorium is spacious. The
scene settings showing the garden in Hell
delherg, the castle at Karlsberg and Karl
Heinrichs stsldent room were excelently
painted--the latter especially. Great care
was bestowed upon the handling and group
ing Of the various student corps.
These organizations for the destruction
Of beer and the human countenance were
nrelike in their general jollity, noise and
Youthful horseplav. And they sang very
we'll. Indeed, this same singing was
Heartily applauded. There were dogs, too.
real dogs, not to mention the dachshund.
One touch of realism was missing the
b er stems were far too small; experts in the
audience shook regretful heads. Even
authority, looked askance Mr. Mansfeld's
stage manager must see to this.
The star seemed very youthful. He is
quite slender and ronped gayly over the
scene. His wig is auburn and he kissed
his sweetheart so long, so lingeringly that
henceforth the Mansfield kiss" shall be
blazoned in history with the Abbott and
the Nethersole kisses. Otherwise the part
is facile one for him, with its shy, gangling
hobbledehoy and his quick conversion into
the fervent lover seeking kisses at the Kell-
neron's mouth. The pompous valet was
played by Leslie Kenyon with skill; Francis
McGivin was manly Graf ron Aster6erg;
and l.. G. Andrews the sentimental old tutor.
He did not efface memories Of Max Free
man in Aubrey Boucicault's production at
the Princess. Nor, for that matter is Mr.
Mansfield so handsome or SO charming as
was Mr.. Boucicault. But he is certainly
more German, though hardly matching
the unaffected simplicity of John Feisters
Karl Heinrich at the Irving Place Theatre,
Grace Elliston as the kdthi2 is a bit too
sophisticated for that innocent maid from
Linz, though she looked well and acted
with vivacity Altogether "Old Heidelberg
1T the Lyric is well worth seeing. And that
is what the large and representative au-
dience thought last night