New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1906-03-21
THE DRAMA.
MANSFIELD AS BEAU BRuMMEL.

Mr. Mansheld's impersonaton Of Beau Brummel
which was again observed with interest and re-
ceived with favor last night at the New Amster-
dam Theatre, has been known 10 our stage for
nearly sixteen years.-its first presentment having
been made May 49, 1880 at the Madison Square,
and during all that time il has maintained itself
In public sympathy by reason of its original, posi-
tive Characterization, its quaint elegance and its
charm Of blended humor and pathos. Custom has
not defaced its beauty lessened its allurement
The same opulent semblance of delicate lace and
embroidered velvet that made it delightful at the
first continues to invest it, and makes it delightful
still The play that environs 1t is exceedingly thin
and fraI,-beginning well and ending we'll but
having no central substance; no essentially dra-
matte body; no theme of import: no action Of value
The performance is the vital spark of it. and the
performance owes everything 10 the actor It
was a reference TO Douglas Jerrolds portraiture
OF Beau Nash that turned Mr.. Mansheld's atten-
ton to the beau a dramatic vehicle and IL
a passage in Captain Jesses Life of Beau Brum-
mel that determined his choice Of that character
for representation, and led 10 the making OF play
on that subject. The decline and fall of in
terestlng parsonage who has been splendid and
sumptUous, a brilliant figure in a brilliant period.
must necessarily present an impressive and touch
ing spectacle The BrummeI of fact was not
brilliant man, but certainly he interesting,
and nothing could be more desoate and pitiful
than the closing catastrophe Of his butterfly
career Mr.. Mansfield wished 10 embody ideal
of elaborate, artificial manners and Of ceremony
and magnhcence in social station, gradually pass
ing into indulgence and obscurity, and ending as an
image of want and woe. The obvious course was
TO make BrummeI fine character, chivalric and
magnanimous. retaining his attributes of fastidi-
propriety, cool elegance and nonchalaut grace.
That course was taken; and, through the actors
instinct of character, knowledge Of human nature,
dexterity of invention, command of eqiivoke, and
resources Of repartee and cynical wit the part
was created Under the veneer of artifce, in order
that the pathetic climax may not be illogical there
IS in his presentment, refined gentle, self-sacri-
cing nature The condition of pride and dignity is
maintained with superb selfcoutrol; nor does that
attribute dwindle. or for one moment weaken, In
the ultimate circumstances of restitution in which
the broken and miserable gentleman, superb TO the
last. falters forth his dying words amid tho shift
ing lights and grim and baIeful shadows Of physi-
cal and mental decay Every moment OF MI.
AIanshelds representation Of BrUmnel is vital with
authority and the contrast that it affords, between
nrim puuctilious formal consequential artlhce, a.
the opening and the CHASTITY bewilderment wild
hIlrnor and haunted desoIation of breaking heart
and a diseased mind. at the close, affords picture
of stern moral significance and imparts monitor
of profound solemutty. in that pathetic closing
scene last night, he introduced, and sung. with
very sweet and tender expression. stanza of the
old song She Wore a Wreath of Roses singing 1t
as if i'm d reverie. and allowing the voice Of the
enfeebIed man TO break with weakness, an lrress-
tfhe touch of nature. W. W.