—
SCHNITZLER WRITES A NEW PLAY
Vienna, Which Still Acclaims Him Her Favorite Playwright. Sees.
A Historical Romance From His Pen
VIENNA, March 10. quoted at 20 shillings, tomorrow per- Ily over the dictates of reason as over
haps at 22 or maybe at only 15. Althe life of an aging human being.
HE Viennese stage is running
Love alone triumphs. It is easy to
manager who wants to know how
a high fever. Of its fourteen
understand why this play was the
popular an actor is has an infallible
playhouses two are closing—
+
high point of the season in Vienna.
barometer, the autograph market.
the Kammerspiele and the
Lthe city of song and love.“ Espe¬
He can fix his salary by it.
Johann Strauss Theatre. Moreover,
cially since it is written in beautiful
Of course, playwrights give auto¬
the latter is an operetta theatre and
verse, perhaps the loveliest that the
graphs too and they also have their
the Viennese operetta has thus far
60-year-old poet has given us.
market value. There is only one of
been able to withstand all the on¬
The production at the Burgtheater
them who has kept his commanding
slaughts of the talking pictures. But
was completely faithful to the spirit
position regardless of the fads of the
now the situation seems to be get¬
of the piece. Excellent was a young
moment. This is Arthur Schnitzler.
ting critical. The theatrical mana¬
actress, Ebba Johannsen, as Leonil¬
Since the days, almost forty years
gers have announced that they will
da, while Ewald Balser as the Chan¬
ago, when he wrote Anatol“ and
no longer sign season contracts with
cellor gave the röle nobility and
Liebelei“’ he has been Vienna’s fa¬
their actors. They have no iden
warmtll of feeling. Scenically, under
vorite playwright. Possibly his re¬
what the next year may bring. Per¬
the direction of Albert Heine, the
cent plays have been somewhat lack¬
haps they themselves will be playing
play was presented with a mastery of
ing in dramatie tension. Possibly his
talkers in their theatres.
detail which perhaps only the Burg¬
recent novels have lost touch with
Is it a crisis of the theatre itself
theater of all the stages in Germany
the present day. But everything
or of the drama or of the actor’s
and Austria can give a historical play.
that he has to say goes straight to
drawing power? The last has made
In spite of the undoubted crisis the
the Viennese heart. He is under¬
itself felt least of all. There are still
stage is passing through, the other
stood best here even though his
great actors and actresses who are
Viennese theatres have only suc¬
plays are also given in New York
not tied up exclusively with the
cesses on their bills. At the small
and Tokyo, in Cape Town and Mos¬
films. Indeed, the best, of them go
Komödie, Meet My Sister“ has been
cow.
in least frequently for the films.
running for three months, and
The Viennese actor stands in a
Schnitzler’s latest play is called
Voruntersuchung,“ an absorbing
Ipeculiar relationship to his audience.
Der Gang zum Weiher“ (“The Path
play concerning the miscarriage of
He is worshiped like a god. He loves
tothe Pool''). It was written five
legal justice, has been filling Rein¬
his public because it loves him and
years ago, but then it was not ad¬
hardt’s Theater in der Josefstadt for
because this love is like a sounding
visable to produce a play written in
two months. The Deutsches Volks¬
board, giving resonance to his play¬
verse and, what was even worse, a
theater is playing Ferdinand Bruck¬
ling. Today, just as thirty years ago.
Promantic-historical'' play. Today
ner’s Elisabeth von England“' alter¬
young girls and women, students and
romance is again the fashion, and
nately with Bruno Frank’s“Sturm
Tenthusiasts of the theatre wait
Schnitzler is not the only author who
in Wasserglass,“ and in the Theater
patiently at th. stage door for their
has wrapped a modern plot in a
an der Wien,Victoria und ihr
#darling.“ When he or she appears,
historical cloak. So a play that was
Husar, with music by Paul Abra¬
a regular pitched battle begins.
almost forgotten has achieved a great
ham, is a really exceptional drawing
Everybody wants an autograph. And
success.
card.
until all have obtained a signature to
Would this success be possible in
A complete failure has been the
add to their collections they cannot
Berlin? Or in New York or London?
production of the American play
ibe shaken. There is even a real
I hardly believe so. With Viennese
Myra Bolette,“ by Irving Kaye
market forthese autographs—a price
actors before a Viennese public, who
Davis, at the Renaissance Bühne. A
the
which naturally varies with the popu¬
can understand every nuance of
riot almost took place at the pre¬
larity of the star. It is just as on
play's Viennese psychology,“ its
mière because a oritic, who foune.
uthe Stock Exchange. Today Moissi is
popularity is understandable and jus¬
the scenes in the women's prison too
tified.
crass and exaggerated, shouted
We are in eighteenth century Aus¬
Curtain! That’s a swindle.“ As
tria, in the neighborhood of a capital
far as I know, this is the first time
(probably Vienna) and in the castle
that a critio in Vienna has voiced
sof the former Chancellor, Freiherr
his disapproval in person and not
von Mayenau. He has a daughter,
merely by his pen. The audience
Leonilda. She is a strange human
wanted to show the actors that they
being, full of contradictions. At
appreciated their efforts and
night she often bathes completely
drowned out the haggler with ap¬
nude in a distant pool of the park—
plause. But that could not save the
she herself does not know why. Per¬
play from failure. H. B. KRANZ.
haps it is her longing for love, for
the mysterious, for adventure. A
poet, a boyhood friend of the Chan¬
cellor’s, comes for a visit. He 18
awaited by Leonilda, who has loved
him as a child. The aging poet is
fascinated by the beauty of the
young girl and asks her hand from
his friend. But the father knows
that youth belongs to youth. He
requests time to think it over and
arranges that Conrad, a young of¬
ficer, shall meet Leonilda at the pool.
The two awaken to love. The poet
returns, finds out what has happened
and frees the way for the girl by
throwing himself into the pool.
Again we have the typieal Schnitz¬
ler contrasts: youth and age, love
and death. Here they also frame a
second plot. The Chancellor, who
was dismissed years ago by the Em¬
peror because he was not militaristie
enough, Is recalled because a war is
imminent. This time he shall sup¬
port the cause of peace. But he
comes too late. Fate is pitiless,
Schnitzier says, and rides as ruthless¬
S
SCHNITZLER WRITES A NEW PLAY
Vienna, Which Still Acclaims Him Her Favorite Playwright. Sees.
A Historical Romance From His Pen
VIENNA, March 10. quoted at 20 shillings, tomorrow per- Ily over the dictates of reason as over
haps at 22 or maybe at only 15. Althe life of an aging human being.
HE Viennese stage is running
Love alone triumphs. It is easy to
manager who wants to know how
a high fever. Of its fourteen
understand why this play was the
popular an actor is has an infallible
playhouses two are closing—
+
high point of the season in Vienna.
barometer, the autograph market.
the Kammerspiele and the
Lthe city of song and love.“ Espe¬
He can fix his salary by it.
Johann Strauss Theatre. Moreover,
cially since it is written in beautiful
Of course, playwrights give auto¬
the latter is an operetta theatre and
verse, perhaps the loveliest that the
graphs too and they also have their
the Viennese operetta has thus far
60-year-old poet has given us.
market value. There is only one of
been able to withstand all the on¬
The production at the Burgtheater
them who has kept his commanding
slaughts of the talking pictures. But
was completely faithful to the spirit
position regardless of the fads of the
now the situation seems to be get¬
of the piece. Excellent was a young
moment. This is Arthur Schnitzler.
ting critical. The theatrical mana¬
actress, Ebba Johannsen, as Leonil¬
Since the days, almost forty years
gers have announced that they will
da, while Ewald Balser as the Chan¬
ago, when he wrote Anatol“ and
no longer sign season contracts with
cellor gave the röle nobility and
Liebelei“’ he has been Vienna’s fa¬
their actors. They have no iden
warmtll of feeling. Scenically, under
vorite playwright. Possibly his re¬
what the next year may bring. Per¬
the direction of Albert Heine, the
cent plays have been somewhat lack¬
haps they themselves will be playing
play was presented with a mastery of
ing in dramatie tension. Possibly his
talkers in their theatres.
detail which perhaps only the Burg¬
recent novels have lost touch with
Is it a crisis of the theatre itself
theater of all the stages in Germany
the present day. But everything
or of the drama or of the actor’s
and Austria can give a historical play.
that he has to say goes straight to
drawing power? The last has made
In spite of the undoubted crisis the
the Viennese heart. He is under¬
itself felt least of all. There are still
stage is passing through, the other
stood best here even though his
great actors and actresses who are
Viennese theatres have only suc¬
plays are also given in New York
not tied up exclusively with the
cesses on their bills. At the small
and Tokyo, in Cape Town and Mos¬
films. Indeed, the best, of them go
Komödie, Meet My Sister“ has been
cow.
in least frequently for the films.
running for three months, and
The Viennese actor stands in a
Schnitzler’s latest play is called
Voruntersuchung,“ an absorbing
Ipeculiar relationship to his audience.
Der Gang zum Weiher“ (“The Path
play concerning the miscarriage of
He is worshiped like a god. He loves
tothe Pool''). It was written five
legal justice, has been filling Rein¬
his public because it loves him and
years ago, but then it was not ad¬
hardt’s Theater in der Josefstadt for
because this love is like a sounding
visable to produce a play written in
two months. The Deutsches Volks¬
board, giving resonance to his play¬
verse and, what was even worse, a
theater is playing Ferdinand Bruck¬
ling. Today, just as thirty years ago.
Promantic-historical'' play. Today
ner’s Elisabeth von England“' alter¬
young girls and women, students and
romance is again the fashion, and
nately with Bruno Frank’s“Sturm
Tenthusiasts of the theatre wait
Schnitzler is not the only author who
in Wasserglass,“ and in the Theater
patiently at th. stage door for their
has wrapped a modern plot in a
an der Wien,Victoria und ihr
#darling.“ When he or she appears,
historical cloak. So a play that was
Husar, with music by Paul Abra¬
a regular pitched battle begins.
almost forgotten has achieved a great
ham, is a really exceptional drawing
Everybody wants an autograph. And
success.
card.
until all have obtained a signature to
Would this success be possible in
A complete failure has been the
add to their collections they cannot
Berlin? Or in New York or London?
production of the American play
ibe shaken. There is even a real
I hardly believe so. With Viennese
Myra Bolette,“ by Irving Kaye
market forthese autographs—a price
actors before a Viennese public, who
Davis, at the Renaissance Bühne. A
the
which naturally varies with the popu¬
can understand every nuance of
riot almost took place at the pre¬
larity of the star. It is just as on
play's Viennese psychology,“ its
mière because a oritic, who foune.
uthe Stock Exchange. Today Moissi is
popularity is understandable and jus¬
the scenes in the women's prison too
tified.
crass and exaggerated, shouted
We are in eighteenth century Aus¬
Curtain! That’s a swindle.“ As
tria, in the neighborhood of a capital
far as I know, this is the first time
(probably Vienna) and in the castle
that a critio in Vienna has voiced
sof the former Chancellor, Freiherr
his disapproval in person and not
von Mayenau. He has a daughter,
merely by his pen. The audience
Leonilda. She is a strange human
wanted to show the actors that they
being, full of contradictions. At
appreciated their efforts and
night she often bathes completely
drowned out the haggler with ap¬
nude in a distant pool of the park—
plause. But that could not save the
she herself does not know why. Per¬
play from failure. H. B. KRANZ.
haps it is her longing for love, for
the mysterious, for adventure. A
poet, a boyhood friend of the Chan¬
cellor’s, comes for a visit. He 18
awaited by Leonilda, who has loved
him as a child. The aging poet is
fascinated by the beauty of the
young girl and asks her hand from
his friend. But the father knows
that youth belongs to youth. He
requests time to think it over and
arranges that Conrad, a young of¬
ficer, shall meet Leonilda at the pool.
The two awaken to love. The poet
returns, finds out what has happened
and frees the way for the girl by
throwing himself into the pool.
Again we have the typieal Schnitz¬
ler contrasts: youth and age, love
and death. Here they also frame a
second plot. The Chancellor, who
was dismissed years ago by the Em¬
peror because he was not militaristie
enough, Is recalled because a war is
imminent. This time he shall sup¬
port the cause of peace. But he
comes too late. Fate is pitiless,
Schnitzier says, and rides as ruthless¬
S