Evening star. [volume] (Washington, D.C.) 1854-1972, 1907-03-24

tested in Mr.. Mantell's engage
ment prior to its opening was
not maintained through the week.
The sales from day to day were
not IN proportion to the advance demand
for places and calculation by the ordinary
methods of theatrical forecastng went dis
appointingly astray This means that Mr.
Mantelrs reputation as a trasedian, what
ever 1t may be elsewhere, is still young
in this city 1t also means that his previous
visits won him friends whose confidence In
his merit was so great that they chose to
take no risk on the possibility of seeing
him in their favorite roles. The public is
slow to trust Shakes pearean actor. Every
auditor at this kind of a performance Is a
close and severe critic, who prefers to re-
member interpretations which were salts
factory of yore, rather than seek present
impressions which may prove deficient
Mr. Mantell chooses TO bear the burden OF
responsibility in his productions almost
alone. OF his competency there ls no
doubt and his portrayals, ranging as they
do from the most robust to the most SEN
sitive characters. display marvellous adapta-
.billty He has sought to specialize no single
one of the many parts he plays, and IN
covering so wide a field has sacrificed the
advantage which comes from being popu-
-larly identified with some particular In
rterpretation. Well as he does many Things
there is no one of them which brings his
name to the lips of the entire public In the
Smanner that Forbes Robertson springs
Einto speech when Hamlet is mentioned
.SNIr. Mantells Hamlet is the Hamlet of the
actor rather than of the student. He is
content with a graceful delivery and I'M
-pressive carriage and a sympathetic eluci-
dation of the story. He does not strive to
utilize all the business that has been de-
vised from generation to generation, nor
does he by subtle contrasts OF infection
seek to impress a meaning which the text
does not carry on its face. 1t is Hamlet
for the eye rather than for the ear-an at
tractive but by no means minute study.
There is one unmistakable evidence that
Mr. ManteIl as a tragedian is an eminent
pern1anency lie is beloved of the gods
the gallery gods. No idea of the interest
In his engagement could be formed by
survey of the orchestra chairs Though Kid
gloves and opera hats were missing the
gallery was crowded. Testimony was abun-
dainty addUced to show that the present
generation is a warm in its admiration of
Il good talker and good fighter as were
the audiences that arose with enthusiastic
acclaim to greet the giants OF the drama
who-delig GIFTED our fOrefathers. Among the
paImy-day tragedians it was usually posi-
BILE to pick out at least one member IN the
supporting cast who seemed to nave 1u-
ture as a star. The Iago or the Laertes OF
one season was likely to be the Otheilo or
the Hamlet of the next; this In face OF the
fact that the average merit in the sup
port was often very low indeed There are
no such prophecies to be ventured In con-
nection with Mr.. Manteil's organization.
Why is it so hard to secure capable actors
for support in a Shakespearean produc-
ton? Have Charles Hanford, Louis James
and Robert Downing got them all touring
Texas?
Surely and steadily Joseph and William
Winter jefferson establishing pres
tige of their own and enabling US to forget
that they are the sons OF a celebrated
sire. In their new play, which Is light
almost inconsequential comedy. they are
striking out on their own lines. building up
regulations solid and individual founda-
tions. The same is true of Bouclcauh
whose performances. variable as they may
be in the impression they convey, are new
ertheless always distinguished by the met
tesome animation which bespeaks fine
stock. Boucicault seems to be overtem-
peramental He has often been known to
take a minor part in which the RESPONSE
bilities were comparatively slight and make
1t stand out with sparkling crispness. On
the other hand, it has occurred when the
entire weight of scene rested on his
shoulders that his very artistic anxiety led
to a characterization that seemed nervous
and overweight. Jefferson and Boucicault.
What wealth of Renaissance the two
names bring up for the provident people
who have kept scrap books!
The battle of the butterflies. II Is an at
tractive name for the comedy now being
performed with Messrs. Conried and Saw
age together with members of their re-
spective companies, in the principal parts.
Mr. Conried feels that his particular Mad
anne Butterfly is the one bright and ef-
fulgent creature worthy to disport Itself In
the sunshine of public appreciation. Man
ager Savage Is no less confident concern
ing his own specimen. The Conried pro-
duction bosts the personal supervision of
the composer PuCcini, while Manager Saw
age presents in cold type critical testimony
10 the effect that the Metropolitan show
compared TO his representation Is as
moth TO dragon fly. Prima donnas are
not the only people who experience the
pangs Of professional jealousy.
Spring Is officially announced and the mat
ter of summer amusement already becomes
one OF interest One of the most active
summer seasons that the city has ever
known is in definite prospect The James
town exposition promises an exceptional
and prolonged public interest in amuse-
ments and there will be an ample supply
of theatrical entertainment. The Belasco
iiSiS NuHpltltu It's arrangements
an opening on May IL by stock COM
pany, with Mr.. Edwin Arden at It's head
The National Theater will follow a week
later with a season of opera under the d.
rection OF Milton and Sergeant Aborn The
Columbia Theater will also have a dra-
matte company in the field for which ne
gotiations with several eminent players are
still pending. But as the circus announcer
puts IL, the regular performance Is not vet
nearly over; the best part of II Is yet to
come. In the meantime. gentlemen the
agents will pass among you.
RfilLANDER c. JOHNSON