The Washington times., 1907-03-21

exit after the court scene in the fourth
/ act are splendidly conceived and carried
out Both are reticent 10 an unusual
/ degree. In the one there is no OuJcry.
no rage, nothing but the motionless fig
ure at tie silent door. and then a mo-
ment later the tableau of misery and
. overwhelming grief at the realization
. that his daughter has left him Finally.
when Porua has crushed his very soul
win her judgment. and he is dragging
hlmSelt out feeble and shamed. he
catches the eve OF Antonio, and IT spurs
his sinking spirit Proudly he draws
himself 20 his fun height and, looking
his enemy fun IN the eye, fares forth
INTO the city, man sore beset, but 90
the last unCOnquercd and uuCOuqueraDlc.
OF the support, little need be said.
Mr.. Lindsley's atianO is its best fea-
ture, though Mr. CHM Seems better
suited with the part Of BassapiO than
with others In which he has appeared
Portia was acceptably played during
the earlier scenes. but the court scene
is the test and a severe one. Also the
standards Of comparison are high. II
Is not 10 be wondered at that Miss Rus
sell does not measure up 10 them.
Franklin Bendtzen does the Laucelot
Gabbo In an extremely lively fashion,
which borders perllOUSly on clOWnluS.
However, IL was undoubtedly appre-
Cidted by the children. who made up
large part Of the audience.
Indeed. the ShyiOck, and the Brutus,
the only two novelties of Mr.. MantelIs S
repertoire this season. are from plays
so much used I'm the schools that both
have been assigned TO matinees with
a particular view of catering To chill
dren. II is 20 be hoped they vii. enjoy
Julius Caesar on Saturday as much
as they did the The Merchant yesJer-
day.
The Lear which Mr. ManteII diI last
night was the sensational success OF
last season and remains TO my mind
the best OF his notable series OF Shake
spe1reau characters. He makes a mCst
impressive figure of the foolish. fond
old man II Is the most pathetIcauy
tragic and appealing figure In literature
and, as Mr.. Mantell plays ~. 10 has
rarely been equaled on the stage It's
realism Is thing 20 wiring ones heart
from the first scenes OF his ycaruluS
love and Susty passion, when tordeli.t
refuses 10 echo her sisters hollow Pro-
testatOns. through the misery and hu-
initiation of the awakening to "a reaiiza-
ton Of his lost authority. to the terIliJ-
ing denunciation which shrlFe4s the very
soul Of the unnatural GOueril. finally
10 the Wistful, gentle madness. the brlct
interval OF Pickering reason and
finally to death. II is splendIdly done
al the piteousness' an the nlaJesty' a.. az
the kiudliness. the pride, the age, the
piteoLs prayer. the surEiug mpryca-
lion. the gradual decay, servilitg, mad
ress-the whole pitIful tragedy
II one might without ingrautude crlti-
cize what one has greatly enjoyed the
scene in the darkness Uf the tempest IS
too LONG drawn out. II waNed tedious,
the audience grew distinctly restless.
And there is too much TEMPEST. 100
much scenic acCcls1TiesA just there.
too much crash Firmly ass 1lr. Man
tell reads his lines. there were passages
that could not be heard.
The minor parts are reasonably well
taken. Mr. Liudsley's portrayal OF the
fool. and Mr. EUruys stalWart Kent
being the most notable. The stage set
tlngs and costumes are all that can be
desired. N. Med.