The Pacific commercial advertiser. [volume] (Honolulu, Hawaiian Islands) 1885-1921, 1909-04-11

Even shakespeare can spell novelty
for us when one of his Ittle-used plays
is given public representation. Mr..
Mantell s production of liking john
at the New Amsterdam Theater, New
York, is received with gratitude on that
score, and with varying comments on
others. Mr.. Winter calls it the most
important dramatic event of the year,
and devetes more than two columns
to its consideration. Other commenta-
tors, such as Mr.. Fyles, of The Even
ing Post, welcome the event with
respect and gratitude, while still
others acknowledge it commendabI
enterprise 1t is at least an occasion
for brushing up ones theatrical his
tory, and here the chronielers show
varying degrees of care. Mr.. Winter,
whose knowledge of stage lore is un.
riyaled, names E. L. Davenport as our
last representative of the part, and
tells us that the American stage has
also seen, as King John, Douglas, Coop
er, Barry, Junius Brutus Booth (both
father and son of that name). Charles
Kean, and Hamblin. The dramatic
writers of The Sun and The World pro-
fess to recall the time when Edwin
Booth used to stir his audience in the
role, though Mr. Winter says he never
assumed it. England has in our day
seen the part enacted by both f. R.
Benson and Beerbohm Tree, and it is
an iateresting coincidence that Mr..
Tree is planning an early revival in
which Miss Ellen Terry viii play Con-
e. IL 4 -.
presents an interesting analysis of the
play, in the course of which he says:
tMr. Mantell manifests a broad
comprehension of the whole subject, !"
and enriehes the stage with a Shake
spearian figure not less magnificent
than true Dramatic critics in these
days infrequently occupy themselves
with the question of acting, and hence
rarely is SO full an analysis of play
ers Interpretation of a part offered
us as the following:
Mr. Mantell. ....... .endues the
miserable sovereign at once with
dangerous personality, nervous tenn
permanent, a disquieted mind, SIMS
ter look, and an impetuous, iraseible
demeanor-making him q man who,
while bold in pretension and expedi-
tious in movement, is, furtively, i'll at
ease. continually rancorous and cap
able of evil, and yet, at vital moments,
weakly irresolute. His impersonation,
accordingly, is all of one piece, so that,
when he reaches the Kings temptation
of Hubert to do murder he only fully
reveals nature that he has already in
dicated That terrible speech of King
John to Hubert-tII had thing to
say'-he speaks in hollow undertene,
placing, however, distinct, blood
curdling emphasis on the conclusive
phrases Death "A grave! and en-
forcing them with gesture and glance
so baleful, and of such fatal meaning,
that the observer shudders with horror.
The sudden change to grisly exultation,
with the words Il could be merry now!
intensifes that impairment of dread.
Indeed, the whole treatment of the
temptation scene is admirable for its
investiture of wickedness with plaue.
ibiHty, and for its subtle transparency
the suggestion of treaehery, cruelty,
and hideous crime being made in such
way that Hubert IS acceptance of it and
compliance with it seem unconstrained
and natural. The Kings cenvulsive,
elinging grasp of the hand of Philip,
when the Cardinal threatens the curse
of Rome, is a significant forerunner of
that submission which his shift
ing, irresolnte mind will, in its subse-
quent access of infirmity. make to his
spiritual lord, and it is all the more
felicitous, as touch of art. because it
follows a splendid burst of passion, in
the defiance of the imperious priest.
ga singularly fortunate makeup In
tensifies every effect of the actor 5 art
Mr.. Mantell IS King John, when he is
first seen, is seen to be a sick man,
feverish in body and distrest in mind.
The aspect is singular, menaeing. al
most repulsive, and yet it is attractive
possessing the reptile fascination of
the serpent. The face is hlanched. The
gaze of the cruel blue eyes is some
times concentrated, cold and stony,
sometimes wavering and shifting, as IS
the habit of self conscious evil. The
lips are full, red, and sensual. The
head is crowned with a shock of red
dish hair. -
Mr.. Winter dwells especially upon the
death scene of the King, and compari-
sons are made with some of the great
est histrionic artists. We read:
FThe body of the King, convulsed
with pain. is shrunken and withered.
His hair and beard are disheveled. his
face is CHASTITY, and, as seen IN the