New-York tribune., 1909-03-25
ROBERT MANTELL.
Rnmen and Lear.

Al the New Amsterdam Theatre. yesterday
afternoon Mr Nantell again changed the bill ana
sppeared as Romeo. An excellent reason for re-
yiring Romeo and Juliet" is that wherever and
whenever that play is acted, even moderately We'll
I. attracts and delights large audiences: an essen
;tsl consiCera ton every actor. for without an
audience there can be nc acting. Yesterday the
fne old play was acted far more than moderately
well and the performance gave much pleasure to
IN eager multitude. Romeo is not a sympathetic
rsrt for tragedian of Mr.. Mantells exceptional
rover There must he, in an actors nature. some
rerpersmental accordance with the essential
snirit OF The personality that he assumes. Every
good actor is able TO give a good technical en-
bodinent Of practically. any part-thus making
possible the performance Of any play; but more
than that is requisite for a great effect in rep
resentstive character. With the passion Of Romeo
Mr MantelTs performance is entirely harmonious
a. snv observer would expect who might reInem-
Der his acting Of Loris and Of Monbars. But
with the pitiful weakness of Romeo. his portrayal
evinoes only the art:fce Of the accomplished ini-
tster Of the surfaces of Nature. Nr. Mantell, in
this tragedy. is al his hest tas Edwin Booth was.
in the same part) in the outburst OF tragic pas
scn at the killing Of Tybalt, in the combat with
Paris al the tomb. and in the affecting death
scene But Romeo IS more in love with being IN
love than he IS with anything else, and that
makes Il almost impossible for great actor
10 make him greatly effective. However. as long
good part Il would be liable and useless TO
expect him 10 discard il. The colossal Salvini in
sisted on appearing as Hamlet. Forrest went on
for Claude Melnotte. All the girls. from Julia
Dean Il Mary Anderson. thought themselves or
dained 10 act Lady Macbeth. Mr.. Mantell makes
surprisingly bouyant Romeo. and Miss Marie
Booth Russell IS exceptionally beautiful to behold
Juliet.
King Lear is a character far more worthy Of
Mr.. NanteiI than Romeo is and far better suited
to his fine abilities Last night he produced that
tragedy for the first time during his present en-
gagement There are several actors now on our
stage who might, reasonably. be expected to give
e fine performance Of Lear: but Mr.. ManteH is
the only one who actually does present that ter
-ible image of human anguish. awakening pity and
terror, and he does in admirable manner
Lear. accepting the paradox that the weakness
Of age and breaking mind is susceptible Of e1-
preston through the medium Of prodgious
strength. is Of the most easily comprehensive
IF all shs kespesres great characters. He is mas
sive and he requires breadth Of method and
majesty ef nature no Jess than technical expert
ness in the actor who assumes 10 represent him.
But he moves I'm the field Of feeling not that Of
intellect. II the actor viii not accept the paradox
OF stage representation. his task becomes hercu-
lean in difficulty and well nigh imPracticable
Henry Irving tried it. presenting in Lear minute
complex study Of the decadence OF royalty and
humanity; and according tC his expressed opinion,
ne gave the best performance Of his career a
performance. he added which the public did not
understand and would not accept the production
proving failure. Mr.. Manten does accept the
paradox: he shows all the age of four-score years
Tremendous strength His performance is far
the Lear OF Shakespeare than il was when
last seen here, and also-hne as ii then vast
i far more effective