Richard Mansfield: The man and The Actor, by Paul Wilstach
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Richard Mansfield: The man and The Actor, by Paul Wilstach
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Richard Mansfield: The man and The Actor, by Paul Wilstach- Published on: 2015-10-26
- Original language: English
- Number of items: 1
- Dimensions: 9.21" h x 1.31" w x 6.14" l, 2.30 pounds
- Binding: Hardcover
- 626 pages
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0 of 0 people found the following review helpful. What the mummer did and suffered By Edward Wright "Great paintings live to commemerate great painters; the statues of sculptors are their monuments; and books are the inscriptions of authors," mourned the late-19th Century actor Richard Mansfield, adding that an actor can leave no such testament. "Only the unseen spirit hovers in the wings ... what book will speak of all the mummer did and suffered in his time?" Mansfield's admirer Paul Wilstach sought to answer that challenge with his biography "Richard Mansfield: the Man and the Actor", published in 1908, a year after Mansfield's death. Mansfield died just as motion pictures were becoming popular, but he probably wouldn't have appeared before a movie camera anyway. He disliked being photographed in costume, though it must have been mandatory for publicity purposes: the book includes about 50 plates, most of them of Mansfield in his multifarious roles. Evidently not even his voice was recorded. (Interestingly, the early film career of John Barrymore included Mansfield's signature roles of Beau Brummel, Don Juan, and Dr Jekyll and Mr Hyde.) Born in Berlin in 1857, Mansfield was the issue of an odd marriage between a London wine merchant Maurice Mansfield, "a short, portly little man with a ruddy complexion", and Erminia Rudersdorff, a somewhat intimidating prima donna acclaimed for her Ortud in "Lohengrin". It sounds like a classic misalliance, but obviously it was a successful love match; and Richard enjoyed a happy, cultured childhood. The boy was 15 when he followed his mother to America, and Mansfield spent the majority of his professional life here. His first hits were in plays that have long been forgotten -- e.g., "A Parisian Romance" and "Prince Karl". His reputation was well established before he approached Shakespeare, beginning with Richard III, later Shylock and Brutus. He never attempted Hamlet, believing that Edwin Booth's performance precluded any other interpretation. His reason for not essaying Macbeth is more reasonable: he could not find a beautiful actress with the seductive corruption essential for Lady Macbeth. (Ellen Terry was too mature by that time, and Vivien Leigh hadn't been born.) Mansfield's attitude towards his audiences was tolerant, though he deplored their ignorance. When he presented a dramatization of Booth Tarkington's "Monsieur Beaucaire" he dropped the "Monsieur" from the title, having learned earlier that American audiences simply couldn't pronounce that basic French word. And when Beatrice Cameron (the future Mrs Mansfield) appeared in "A Doll's House" in Philadelphia the theatre was full of children; patrons assumed from Ibsen's title that the play was a fairy pantomime. A man of aristocratic taste, Mansfield campaigned eloquently for a nationally-endowed theatre, arguing (among other things) that it would raise audience appreciation and expectation. (God knows what he would think of today's mass entertainment, evident in Reality TV.) Wilstach handles Mansfield's personal life discreetly, so we don't learn, for instance, of any relations with women before the actor's marriage at the age of 35. There is, however, a long chapter devoted to the imaginative letters he wrote his son while touring. The scheduling of tours was grueling, city after city after city, performing every night in productions that sometimes lasted from eight o'clock till midnight. (Both his "Henry V" and "Cyrano de Bergerac" were spectacles requiring enormous casts and sets.) And not only was Mansfield an actor, he managed his company and wrote at least one play, "Don Juan", which the company produced. His energy was tremendous, but it took its toll on his temper and his health. In his late forties Mansfield began suffering illness and increased debility, even interrupting a performance of "Richard III" to collapse temporarily backstage. He died at the age of 50 and was buried near his country estate in Connecticut. Here again Wilstach is vague, the final diagnosis never being mentioned. The book's one drawback is the author's overly sympathetic discretion. He was Mansfield's friend for the last ten years of the actor's life and the book is dedicated to Mrs Mansfield, but the prudence may be a reflection of the times. As the portrait of a man the biography is sketchy, but its depiction of an actor and the world he worked in is completely satisfactory.
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