Evening star. [volume] (Washington, D.C.) 1854-1972, 1907-03-19
THE THEATER.
New National Theater.

Mr.. Robert Mantell at the National
Theater last night presented Macbeth
as the Introductory performance of an ex-
ceptionally lengthy list of plays which will
constitute his repertory for weeks en-
gagement. While not a sympathetic char
acter, Macbeth Is one of profound psyche
logical interest, and the play has the adj
vantage of displaying the best abilities of
the entire cast of supporting players. I'm
pressive as 1t is. the psychology is not of
the subtle and suggestive quality that ap-
peals most strongly to the modern auditor.
The motives which prompt the characters
to their various deeds and emotional eX-
pressions are not left to the imagination,
but are directly supplied by supernatural
devices. The element of popular supersti
ton appears more strongly in this play
than IN any other English speaking drama
OF present note. 1t reflects, no doubt, the
classical influence which dominated much
OF the earlier writings of the theater IN
which heroes and heroines were but the
marionettes over which beings of another
world maintained constant guidance and
authority.
Macbeth is a character seldom inter-
preted 1t requires a physical and tenn
peramental robustness of which few play
ers are capable. 1t is essentially tradi-
tional drama. one whose mention recalls
giants of the stage when actors were
measured by their declamatory vigor as
much as by their intellectual finesse. Mr..
Mantells performance harks back to the
best precedents. He makes the character
stand forth in bold relief and succeeds in
holding the interest in his own personality
80 closely that many deficiencies in the de-
hneations which surround him are easily
dismissed from consideration.
HIS performance is reversion to the
period when one player was often expected
to sustain interest at high pitch, SUI
premely and alone.
Yet there is touch of the modern in
his Characterization. His deep musical
lavish effect His reading aims rather at
mental calculation than the display of
mere vocal power, and the latter is more
striking because not indiscriminately en-
ployed With all it's mysticism and all it's
murderous fierceness, he still preserves the
humanity of the character. His con-
ception of the role is intense in it's
moral introspection as in it's physical
action This latter element reached a fine
climax in the sword combat which con-
cludes the play. 1t a good od-fash-
Toned stage fight full of realism. Blades
have not crossed upon the mimic scene
with such convincing ardor in a long time.
The part Of Lady Macbeth, scarcely less
eXacting In many of its scenes than the
title role itself, was assumed by Miss Marie
Booth Russell. Miss RusselIs stature is
often advocated idea that Lady Macbeth
was a slight and clinging type, even were
she disposed to do so. She adopts tragic
key and gives consistent performance.
Her representation throughout evinced con-
scentious and intelligent study.
The play was given with minute attention
to its scenic possibilities and to artistic
stage groupings. The narrowing impress
sions so often created in Shakespearian pro-
auctions by incompetent or ill-rehearsed
subordinates were most gratefully absent
Tonight Mr.. Mantell will appear as Othello
following this with Shylock tomorrow
afternoon, King Lear tomorrow night,
Hamlet on Thursday and julius Caesar for
the three remaining performances. The
production of Macbeth may be regarded as
an earnest of creditable and interesting pre-
sensations of all these plays.