New-York tribune., 1909-03-09

n hoiiow undertone placing. however, distinct.
blood-curding emphasis ou the conclusive phrases
Death "A Erave.''-and enforcing them with
gesture and glance baIeful and Of such fatal
meaning, that the observer shudders with horror.
Ihe sudden Change grislv exultatiou. with the
words i could be merry now tntensifes that i'm
partInent OF dread. Indeed the whole trea trent Of
the temptation scene is admirable for its investi-
lure OF Wickedness with pIausibiIity. and for its
auOlie transparency.-tfe suggestion Of eacheVy,
cruelty, ana hideous crime being made In such a
way LLat Huberrs acceptance Of It and compliance
with Il seem unconstrained and natural The Kings
convusiYe, clinging grasp Of the hand Of Philip,
when The Cardinal threatens the curse Of Rome, IS
significant forerunner Of that submission which
his shifting, irresolute WILL i'll it's subsequent
access Of iufTmity. make his spiritual lord. and
II Is all the more felcltous. touch Of art, be
cause II follows splendid burst Of passion in the
defiance Of the imperious priest But while Nir-
ManteN does not, I'm any scene, act for points
his finest effects are obtained in the scenes with
Hubert and in the death scene. His shrill and
queruious denunciation Of Hubert after the defec-
ton Of the distempered barons.-in the telling
words II had mighty cause 70 wish him dead, but
thou hadst kill him. is exactly in the
fitting tone Of irrational panc-striclen reInor and
sef-pity- while the frantic revusiou OF feeling,
when Hubert eXclsims young Arthur is alive IS
rightly and most effectively made to express itself
in hysteriCal clamor Of relief A singularly fortu-
nate makeup inlensifes every effect of the actors
ART Nh Mantelrs King John. when he is first
seen. IS seen 10 he sick man, feyerish in body
and distressed IN mind. The aspect is singular.
Ienaoing, almost repusiye and Vet is attractive
possessing the reptile fascination Of the serpent
The face is blanched. The gaze Of the cruel blue
ewes Is sometimes concentrated. cold. and stony,
sometimes wavering. and shifting IS the habit Of
seii-conscioLs evil The lips full red. ard sen
sIai The head is crowned with a shock reddish
hair The cheeks are covered but concealed, 10y
red matted beard. The body slightly stoops. and.
while Il indicates physical strength, it conveys
suggestion that the vital forces will long prove
adequate to sustain it. The movements are quick
and, AT some moments, spasnodic. = trick or pluck
ing Al single hair Of the beard exprcssively de
notes nervous. splenetc temperament over
strained and with difficulty held i'm check. AT
the voice Of the King is clear stern and aggressive:
later.-espccisllv in the scenes with Pembroke.
Salisbury and the other discontented lords when he
inquiries why do you bend such solemn brows
me- and after he has been apprsed Of the death
OF Queen Elinor-it becomes thin. hoarse. and fret
ful No essential detail of the part has been for
gotten IuminatiPe characteristic Of # has been
omitted Thought is manifested in every device Of
treatment and prudent care Of the voice is shown
in an improved and fluent elocution, obedient to
each "Tiainmenr Of design Those facts possess a
decisive significance. Mr. Marital has brought TO a
task Of uncommon magnitude fine intuition. sedu-
lous study. profound sincerity. and a faculty
OF in1persouation and the large result Of great
talents and many years Of experience is shown in
noble achievement.
Among the associate performauces-au Of which
are oyershadowed 10y that of Th- kmE.-tlose
which require special mention arc tie Constance
Of Miss Marie Booth Russell. the TauIcoubridEe
OF AIr Fritz Lejber. the Hubert Of Nj Ethel
bert Hales: and the Arthur Of Leila Frost IN
the character of CDuStaure,-uiurh exalted, in
Shakespeare's poetry. from what it was IN fact
the chief element is passionate intensity Her emo
fion. all occasions is at white heat. tnat her
passion helms and defeats her purpose. Miss
Russell. in her assumption Of the part, while her
me hn5 as
what artificial strikes the true note, for she is inn
posing I'm derneanor. fiery ia spirit, and sympa-
thetcally tender ia her expression ~ maternal
feeling while from the first moment q" the last
stance IS but a short time on the scene. and the
representative OF her condition labors under The
disadvantage of NOT being personally present and
manifestiy involved in those affecting proceedings,
treacherous and base. of which she IS required 10
express in FRENZY and tumult, th" distrtetlns Of
feet upon her proud, imperial mind and her ah5c-
tionate passiouete heart That dsadvautaEa would
defeat the endeavor of any but an actress pro-
foundly sincere ia purpose and keenly sensitive.
Miss RFsseII's embodiment Il CGnsraucs is sur
uris- both as action and eiucutiau- because N
both. well IN the element "i lceii.l'a'''"
with character, IL is superior to any performance
she has hitherto given the local stage, and II Is
FUN Of good auzury. Mr.. Leber, VIII" appears as
Fa-conhridge is possessed of a handsome person.
which he much disqUabhes of 1tS 'i"'i 'E
sfoorirg aud 10y unEraceful movemeut--and h" Is
fortunate i'm youth and enthusiasm bur hiS a'"..S
IS crude. and ne has much TO learn IL is obvious
lv self-conscous and he is aware ~ the audience
and takes II into his confidence lie mars ''Ieels
Lax moi taking precisely time enough i'm the making
~ them enc 81 the most essential as IL is one ni
the most difficult. properties Of Acting HlS DEW
cry L. so imperfect that 1t sometime DESTROYS ''e
rr,-tIr,} Of the blank and sometime deprNes
I. of meaning. n words such as land. ltna
etc he clips the final d" His idea of business
is often unu1elliEent. at one point, for example.
r makes Faulcoubridge.-of all soldiers the most