The Birmingham age-herald., 1921-03-22
MIR. ROBERT B. MANTELL

MN HHEN MT. Robert B. Mantell MW leaves the stage. the last
 American tragedian of the "old sehool1 will have been seen and it may be another generation or long er-before we shall see an American actor starring in Shakespearean re- pertoire.
 Of the modern school of actors there are the Barrymores. John and Lionel, Fritz Lieber (formerly of MT. Man tells company. Walter Hampden and others who have essayed Shakespeare but of their achievements the most notable comment from the critics has been that they are modern" as all the shakespearean productions must necessarily be nows outside of Mir. Mantell's, since there are no actors left from whom to learn. except this dis tinguished tragedian.
 Therefore when we have the chance of sitting at the feet of genius" we should make the most of it for Mir. Mantell is a walking conservatory" of dramatic art; and his mind is rich lexicon of the classic drama.
 MT. Mantell served his apprentice ship under the greatest masters of tragedy the stage has ever known; Sir Henry Irving and Charles Calvert, Barry Sullivan, Sam Phelps and that prince of old-time tragedians, G. ", Brooks, from whom he received not only tutelage but Inspiration.
 In his Hamlet you will see the won derful stage business of Irving and Barry Sullivan; his Richard the Third, enriched with traditions of the role handed down by Sam Phelps and G. V. Brooks, while sthe one innovs ton of his Shakespearean repertoire this week-Richelieu he invests with such intellect and such charm that the cardinal of Bulwer Lytton's creation seems to touch the red rose" so that it's perfume is carried over the foot lights into the nostrils, and then laughs over it as the real cardinal would have done himself.
 Time has dealt kindly with the eminent MT. Mantell, and in it's bene fcence has preserved his figure in youthful lines, although his temples are silvered, and best of all his re- sonant eloquent. beautiful voice has lost none of it's oldstime fascination or power.
 MT. Mantell's memory is marvellous he like Fritz Kreisler, king of the violin," never has to study he never has to ehearse"-himself;. every role of the many which he plays he car ries lon tap" as it were, for use al moments notice; he never forget a line. ,.
 There may have been actors in the past who could answer to this role call" but where Is the actor today with the exception of MT. Mantell, who is cable to accomplish what he does and with such charm and fascination?
 Everything MT. Mantell does, he does well; his record Is one of per- sonal achievement, distinctive. fine, from venerable and honored traditions handed down through generations, he fashions his convictions and his art he plays to no clannish audience he plays to a nation and a nation ap- plauds!
 But, let Mir Mantell speak; listen to his words of wisdom about the stage and Shakespeare told me yester- day (when I renewed a very charming acquaintance with him) in golden, liquid tones, his matchless voice and graceful Personality infusing mag netism and charm into his conversa- tion.
 The big thing about shakespeare.' said MT. Mantell, lis that he is living today"
 That's good news" said l. "and where can we find him?"
 Tn the heart of every human being in every audience. There are dozens of Hamlets in every audience I play to and I will wager that there is also King John in every audience and more than one Constance, and good ness knows how many Romeos and Juliets. That is the secret of Shake- speares appeal. He wrote life and ran the gamut of human nature lThere