Loyola University Maryland - Evergreen / Green and Gray Yearbook (Baltimore, MD)

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THE LOYOLA ANNUAL ,5 features are fully chiselled, and this together with a natural conformation of head, throat and chest, enabled Mr. Mantell to present a remarkable specimen of the type of Macbeth. He is true to nature in “ Macbeth,” and, consequently, cannot help but be successful. There have been several productions of “ Othello ” in our city during the past few years ; but in our opinion the portrayal of the Moor by Mr. Mantell far eclipses that of the other actors. He conceives the character of “ Othello,” not as an Ethiopian, but as a Moor; not as black, but as tawny. He meets all the requirements for the part of the Moor, because of his stalwart appearance, and a deep, resonant voice. These two essentials, linked with his subtle forethought, all combine to make his im- personation of the Moor a wonderful one. Mr. Mantell alter- nates the parts of “ lago ” and “ Othello,” but his delineation of the character of “ Othello ” is considered far superior to that of the Ancient. From the view-point of deep Shakes- pearean students, “ lago ” is usually conceived as a slender, graceful figure, with dark eyes and sinister smile; his step is cat-like, stealthy, serpentine and malevolent. Now Mr. Man- tell does not fulfil these requirements perfectly. His produc- tion of “ lago ” has a number of points of merit, particularly the humor, for ‘‘ lago ” enjoys his own malignity ; and the sardonic malevolence of the scenes with “ Rhoderigo ” and some of those with “ Othello” himself, were well conveyed. Mr. Mantell’s presentation of “ the melancholy Dane ” may be considered deserving of great praise. We have become fully convinced of the truth of what Schlegel says of the character of “ Hamlet,” namely, “ many of his traits are too nice and too delicate for the stage, and can only be seized by a great actor and understood by an acute audience.” “ Hamlet” is the most philosophical of all the plays of Shakespeare. The role of Hamlet is characterized by dig- nity, intelligence and melancholy. Indeed, Mr. Mantell in-

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4 THE LOYOLA ANNUAL tions, — regarding ‘ Lear as they generally do, merely as an old despot, and his sorrows and sufferings as measurably de- served by his own folly and tyranny. Nor can youth have ac- quired knowledge enough of mankind to detect and appreciate Shakespeare’s exquisite art and profound philosophy in the drawing of ‘ Lear’s ’ madness, its origin, progress, and climax ; nor his frightfully faithful portraiture towards the fatal denouement of nature’s last and abortive struggle with extreme old age and bodily infirmity, to restore Lear’s mental balance, and re-establish his reason. Therefore, this play is better adapted to the understanding of the sage, and the scenes, especially, to the appreciation of experienced and scientific physicians, who have been accustomed to witness profession- ally and contemplate the subtle workings of the maniac’s mind.” The occasional bursts of anger of ‘‘ Lear ” certainly re- quire of an actor earnest and forcible ex pression, in order to realize fully to an audience the extent of Lear’s ” outraged sensibility. But anger which can find words should at the same moment obtain a comparative temperance, to give it smoothness. All the foregoing can be justly applied to Mr. Mantell’s “ Lear.” In the defiance of the storm — “ Blow, winds, and crack your cheeks,” Mr. Mantell puts forth that wild energy im- plied by the text, and demanded by the circumstances. Few will dispute the fact that Mr. Mantell ' s impersonation of ‘‘ Lear ” is his masterpiece. As Macbeth, in the tragedy of “ Macbeth,” Mr. Mantell presents the theatre-goer with a sublime peace of art. He does not mouth the lines, as many players do, and “ in the very tor- rent, tempest, and as I may say, the whirlwind of passion, he acquired and begot a temperance that gave it smoothness.” What is of great aid to Mr. Mantell is his rich musical voice. His physique and personal bearing are very distingue; his

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6 THE LOYOLA ANNUAL vests the role with a profound melancholy. He has the ease of a gentleman, the dignity of a prince, symmetry of features, and flexibility of voice. His eyes were large, brilliant, and penetrating. His action and gesticulation, though extremely easy and natural, were generally quick, energetic, and very earnest. His voice, when raised, did not become harsh and dissonant ; it was charming, musical, undulating. In the strictly declamatory portions of the character, Mr. Mantell seemed ‘‘ to have inspired the soul of ‘ Hamlet,’ its intel- lectuality and sensitiveness were wrought into transparent prominency. ' ’ Yet, Mr. Mantell’s “Hamlet,” though it en- raptured some, is not greeted by the audiences with as much enthusiasm as some of his other parts. “ Richard the Third ” is one of Mr. Mantell’s most popu- lar and invariably attractive parts. “ Shylock ” is another role in which Mr. Mantell is well received. His “ Shylock ” is an almost perfect presentation of this most difficult of all comedy parts. It has often been said that though the triumphs of the actor are immediate, they are not lasting. The result of his efforts is quickly gathered. He is conscious of and hears the thunder of applauding multitudes, while he is yet before the stage, but it is short lived as it is loud. The fame which re- wards the author, the painter, the sculptor, the poet, and the statesman, slowly ripens until it blossoms forth never to fade. Not so with the actor. When we say actor, we do not mean the ordinary run of men who are on the stage and are representa- tives of merely nothing. But the fame of a really great actor is not evanescent. Roscia is not forgotten; Garrick’s fame will survive memory; Kean and Kemble have a name written indelibly in time; Booth and Forrest have been immortalized. Tradition will preserve the names of Sir Henry Irving and Richard Mansfield. In every truly polished age, people learn- ed and those not so well informed, have taken great interest