Evening star., 1909-02-28

lift his symmetrical head in survey
of the theatrical field and declare i'm
1ragically impressive accents, ihere
arc only a few of us left. Like the
bison the Shakespearean actor. VINO once
sound abundant companionship among
his own majestic kind as he roNed al
will across the artistic perspective Is
threatened with utter extinction. Ana
as he becomes more rare he becomes
more precious Now and then an etort
is made to preserve the species by tax
ing a PLAYER of staiwart efficiency IN
modern roles and placing him in the en-
vironment of classic inspira ton MI
MantelI is to some extent the result
of this method. His earlier experience
was in the romantic drama. and there
are many who would be glad to see him
once more roll up his sleeves and go
after the villain with rapier with the
grace of the true melodramatic star. But
Mr.. Mantell has left all this behind
him. 1t is scarce to be expected that he
will ever again vouchsafe an appearance
in ''Monbars" or The Corsican Broth
ers" Why should he? He has made a
place for himself as classic actor; a
place such as is craved by every player
who regards his work as an art or a
profession rather than as mere wage
earning occupation.
Mr Mantell's engagement has proved
that there is a place for Shakespeare in
popular esteem. The interest manifest
ed was greater than that displayed on
the occasion of his visit last year. The
welcome accorded him last week was
such to promise the steady crescendo
of popular enthusiasm by which the
progress of the actor of strictly legiti-
mate purposes is measured. 1t is the
dancer or the singer of comic songs who
may hope to wake up and find himself
the universal idol. The tragedian must
make his way more slowly. compensated
for delayed reward by the knowledge
that once attained it is great and perma-
nent.
'Marcelle' is an example of light
operate composition in which the COM
poser escapes the charge of ''reminis-
cence" only to leave it at the door of the
librettist. The author of the lines and
lyrics of the piece needs all the consid-
Grafton that can be secured by such apOl-
oge;ic phrases "subconscious recollee-
ton or "inadvertent assimilation to
aver the direct declaration of plagia-
rsm. Miss Louise Cunning very eff
ciently proves that there are still posi-
bilities of interest in heroine who
impersonates her own brother and be-
comes involved in Il duel. although The
ordeal of comparison with Alice Nelson
in the same role is a severe one. And
some of Nj. Pixley's versifcat ton has
such familiar ring as TO suggest that
for climax o. his poetic carer he have
the lines beginning Laugh and the
full
garbled and set to nausic. ana then sol
ennly presents himself on the program
as their author "Marcelle' with all its
lack of originality would have command
cd respect as a clean. wholesome bit of
entertainment had it not been decided
TO appropriate bodily the incident
of endurance osculation that rendered
the Soul Kiss" obnoxious.
Between the peaks OF classicism and the
sullies of musical comedy the average
level of human existence was represented
by Paid in Full 1T is a play of ordi-
nary people. told in an unpretentious
way. but with a keen. psychological per-
ception that only intuition could secure.
1t is not a play of ideals, either In SEN
timcnt or scholarship. 1t is a tale of
temptation and moral weakness with
which every newspaper reporter is so
familiar that he boils it down of his own
accord without troubling the copy desk
with its platitudes. But the touch of
dramatic skill wakens it into vivid, pull
sating interest. The author struggles for
no mystical interpretative effects: he tells
his story in the most direct style of
which he is capable and quits when he
gets through. The play gave William
Riley Hatch extraordinary opportunities,
which he has improved to their fullest
possibilities. His delneation of the sea-
farirg man who had been trained to hard
ships and whose estimate of human char
acter though cold. was absolutely just
formed the essential and dominant ele-
ment of the performance.
So utterly beyond sympathy was the
character portrayed by Guy Bates Post
that there is great likelihood of his fine.
artistic efficiency being overlooked. The
better he played the part the worse it
seemed A little incident during the week
showed how completely he absorbed
in the role and how closely he was hold
ing the attention, If not the sentimental
approval, of his audience. During one
of his important scenes a piece of the
scenery's supporting woodwork fell for
ward from the wings out upon the stage.
the end of il landing within few feet of
where Mr.. Post stood There was not
the slightest recognition on his part.
either in gesture or facial expression,
OF any unusual occurrence. And the au-
dience, guided by the subtle hypnotism
that real actor is able to exert. in
stantIy and completely effaced the inter
ruption from it's consciousness. 1t was
something apart from the performance.
OF no more significance than If ii had
never occurred. Considering the eagerness
of the average audience to grasp every
opportunity to laugh in the wrong place,
this bit of Mr.. Posts work should be
sci down to his credit as an especial
triumph.
PHILANDER JOHNSON.
DARING ENTERTAINERS.-Th men
and women who risk their lives in vaude-
vile and circus feats are impelled by the
wish to do something that one else
can or will do. That is the way Schryer
..the death-daring cyclist. explained his
reasons for adopting career that would
scam TO have accidental death as its IN
eyitable goal. Nevertheless II has been
Yearly a dozen years since he began. and
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