New-York tribune., 1906-11-09
THE DRAMA.
MIR. MANTELL AT THE ACADEMY.
'fKing Lear. y

MT. Mantelrs engagement at the Academy OF
MUSIC proceeds IN prosperity. Richard III"
haniet, and King Lear have been produced.
ana numerous audience has attended and ap-
Plauded each production. IN his personation Of
uiosIer Mr.. ManteI has fine moments. With the
character OF Hamlet he reveals no affinity his per-
IoInlahee OF that part being unspiritual unimagi-
HauFe un1ntelleetual, and Ineffective. Like many
o'ier actors Of talent and experience, Mr. Mantei
H give a conventional exhibition OF Hamlet.
ns 'he words Of the pIay-book, and Illus
uating them with the usual stag. business. but
t!o sour Is left out. In King Lear he puts forth
a., nus powers and displays the good results OF
sohcitous study and ampl. practice The part Of
hs Lear though massive and difficult, is moro
NIS accessible 10 an expert actor than either
hamlet or Macbeth, for ths reason that II ues
within tne realm of the feelings somewhat more
than IN that of either the intellect or the iagtna-
uoi. Lear is the loving father. cruelty treated
oy MS heartless daughters. and paternal emotion
therefore, Is the essential attribute OF the part,
though also, OF course he is the monarch de-
tnrohed' and the imperial man made insane by IN
slolous time and barbarous treatment Ths actor
VINO would greatly inpersonate Lear must indi-
cate, IN the sovereigns decay. the grandeur of his
orsIhal personality It is not senile eproletaran
who goes mad. It Is a magnificent old tsfn- a
man or splendid mind and great heart; a person
royal oY nature; and the fall of him is therefore
terrible as well piteous. The radical defects OF
MT Mantelrs assumption of Lear are a certain
called ignobe; deficiency Of power In the Storm
scehe' lack OF clear discrimination between the
agony or going mad and the free wild awful
hghtness OF accomplished lunacy: and an obvious
arunce or elocution; appreciation Of his acting
IheFeIore. necessarily restricts itself 10 praise
OF Its executive points. He does not present a
great Lear'-the Lear OF Shakespeare; he gives a
lslIlhs performance OF afflicted old man, whom
almost any other venerable name would suit as
wen Inc makeup is good. except that there Is
too ihuch halr on the head (ths Fool mentions
Lear baId crown'D, and about the face-partially
oeIeating facial expression and tending to mufHs
tne voice. The whole of the first act-au the de-
Veopment Of the character down to- and Including
'hs prayer and fmprecation.-was rightly and
splehdldly done. This indeed, is recorded as the
hnest acting that Mr.. ManteN has ever shown bera
IN the scene with the two migrate daughters he
oesah 70 weaken and to suggest incertitude. Lear
OF course is paradox to act, because the actor
has TO show the feebleness of extreme age s.forr
score ana upward. with great strength. In the
storm scene his utterance was often indstinct and
many words were lost. He rose again. however
IN the terrible scene with Gloster. and his pose
and utterance, at Every inch king" made a
superb picture and deep and splendid impression
In the recognition Of Cordelia his artifce alike OF
business and Of speech divested that affecting
moment or all pathos, what Is inseparabls
nom the situation and the heart-breaking words
But aside from defects, Mr.. AanteIIs representa-
tlon OF King Lear possesses such solid merit such
sincerity OF purpose, and such frequent tints OF
artistic beauty that 1t ought to be. and can be-
warmly extolled. as honorable to the actor and as
entirely worthy Of public acceptance and deep re-
spect. Mr. Mantell was repeatedly called before
the curtain and earnestly applauded. Among the
auxiliary performances. those of Kent by Mr. Cor
don Burby; Edgar. by Mr. Cecil Owen and GIoster
oy MT Alfred Hastings. especially commend
able for truth of ideal and excellence of execution
w w.