The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-03-22
NGESFELD'S RICHARD III.
MASTERPIECE or ACTING WITH
OUT A PLAY 10 BACK 1T.


ranged 10 Exploit the YirtuOsity OF the
Sthr--A Grotesque Tragic Character
COnsummately Made and Interpreted.
The eight years that have elapsed since
the last previous New York performance
Of Mansheld's Richard IL have not
removed the earlier imp -ession that the
play in itself even under the most favor
able circumstances, "a not Of any very
high order OF dramatic interest, but me
performance last night at the New Am
sterdam strongly corroborated the impres-
sion that Mansheld's imPersonAtion OF
crooked Richdrd ia a creation Of vast artis-
tic originality and force
The liberties he has taken with the text
are scarcely TO he conde mned, even
though among a huge raft Of matter he
has cut out such famous school reader
Passages as the Winter of Discomfort"
Folloquy and Cldrence's dream and murder
entire. These early and semi-Shake-
epeaTean chronicle histories are built at
best "a they are said to build ships in Maine,
hy the rod, pole or perch, and are burdened
with much archaic matter. They may be
cut UP into about such lengths a. may be
desired.
Manshelda incorporation Of the murder
az Henry VI, from the last act Of the third
part Of that monarCh's lengthy and dramatic
story, ia highly to be commended: and the
employment OF the much abused theatrio
version Of the play by Colley Cibber may
be defended on the most reasonable grounds.
Except az the play serves TO exploit the
vtuosity Of the actor II is a dead cock
IN the dramatic pit.
This purpose IL served last night in the
highest measure. Very far removed In
deed is the actors conception OF the part
from that Of the barn storming stage, on
whicl it has chiefly Aounshed.
Instead Of the customary sound and
fury Mansfield imbues Richard with brisk
and varied sense Of individual character,
beginning when he was a stripping, and
carrying him 20 the last throes Of sodden
criminal agony and blank despair.
In the scene of the murder Of Henry he
Is youthfully lighthearted, oynical-even
casual He loafs with ungainly graoe about
the stage, coolly calculating the exquisite
moment in which to run the ageo king
through, as he bends over his prayer book
IN holy devotion.
Up to the moment Of the final thrust
into the old mans body, he twirls his CLINT
ing napier like a dandy's cane. And when,
stealing along the back Of the stage, he
has given the coup de grace he nonchalantly
remarks that he has a good deal Of this
sort Of thing 10 do in the near future be-
fore seating himself on the English throne
all this, Of course, measured, yet grotesQuely
cynical blank verse Of Shakespeare, OF Who
ever wrote the play, Marlowe for second
choice.
The wooing Of the Lddy Anne over the
bier Of her husband whom Richard himself
has slain-he carries on with the light viii
lany, the calculated cynicism Of Bedu
Brummel Of evil address, actually invest
ing the preposteroUs scene with plausibility
Already, however, the weight Of crime
sits heavier on his ungainly shoulders,
power and danger, the seas Of blood about
him cloud and darken his visage and his
mien, Yet he has still confidence TO de-
liver the much mouthed line Of Cibber's,
sOh with his head; 80 much for Buoldng-
ham" with nothing louder than eIultant
cynioism.
II IL a haggard tyrant that sets forth TO
Bosworth field The scene Of the haunting
spirits suffered last night from being played
too far in the back OF the stage, from the
inaudibiity Of most Of the Rhostly lines.
and from the lack Of imaginative effect In
the lighting Of the stage. Yet Mansfeld's
own performance was sombre and terrible
In the extreme. The final fight and death
Of Richard Mansfield imbued with diabolio
vigor and despair,
II was the first two scenes, however
that called forth most applause. For all
the force OF Mansfeld's acting and the in
telllgent modulations Of his portrait Of the
change wrought In the character Of Richard,
the play az a whole lacked dramatic body,
and the interest was sadly impaired by the
waits that divided the tive I've scenes. The
crowded house followed the performance
with rapt interest, but the final curtain
left Il Enthusiastically cold.
The work Of the supportin aotors was
unusually able. As King Henry Mr. A. @.
Andrews was picturesque and sincerely
pathetic, though he LACKED the vocal Arm
ness and strength 10 produce the greatest
effect. The Buckingham Of Mr.. Leslie
Kenyon was picturesque, manly and in
diligently suggestive Miss Mildred Nor
ris Prince OF Wales was pretty and sym
pathetic, though somewhat posed As
the infantie Duke Of York Miss Leena
Powers charmed the eye and the heart
Of the house.
Owing TO a cold Morton Selten was
forced TO resign the part Of Richmond TO
Mr.. McGinn, who played it acoeptably.
Among the minor performances the Tressel
Of Arthur Berthelet was distinguished
by a vigorous voice and presence and
quite remarkable mimetic powers.