n ee
auth#r mamtains betweer. the Professor, the protagonist for truth, merer
uiel renson, and his intelligent opponent, the priest, who is quite naturlly
coneineed that the Professor’s action was wrong, since, according to his
belief, the patient was given a few minutes’ happiness at the exnense ofa
great tune of discomfort in the regions of the soul after deatn. Here
is the very linest kind of controversy, between two sincere opponents,
both, granted their preinises, reasonable in their arguments.
But tliis is not the real message of the play, which is an opportunity
for irong and stinging commentary on certain detestable traits in human
nature. Schnitzler’s purpose is to reveal the mean and contemptible
rasealitg which is called forth by an ineident such as the controversy
between Berhardi and the priest among the canaille of all classes; the
swindling politiclan who“ gasses'’ about ultimate and greater good while
all the tiie hie is feathering his own nest and purely interested in his own
selfish aims, pursuing them with a complete disregard for truthfulness,
honour and faith; the vicious and cowardly assistant director of the
hospital, whose green envy surges up ints gloating persecution of his
jealously-hated superior, persezution tricked out in all the fatuous
hypocrisy of the German Jew-hater; the crawling treachery of the Jew
deserter who wants to show himself more of an anti-Semite than his most
degraded non-Jewish Jew-hater; the frankly opportunist govermment
careerist who, least objectionable of them all, openly admits that only a
fool tells the truth when a lie is popular—these are the meat and bones of
the play. It is no case of a struggle between the Jewish doctor’s
rationalism and the priest’s Christian faith, as might superficially appear.
It is the fight between all that is comprised bar the phrase-ethical decency,
and all that should be includedl in the concept of the foul fiend.
Politics in this play, as is so often the case on the Continent, and
not seldom the case in this countrv, is the synonym for all that is
mnean, treacherous, unscrupulous and selfish. It is interesting to recall
the words of an authoritative writer on that subtle English political
attitude known as Toryism. In reviewing that attitude in its liighest
aspects, he said that it might be regarded, in one respect, das a perpetual
warning that the State, no less than the individual, does well to fear,
lest it do evil that good may come.'' Bernhardi had the misfortune to
take up this Tory attitude on the Continent of Europe, where political
maturity is unknown and where, therefore, the gimcrack dictator thrives
and the human hounds are always ready to smother their cowardice in
the hunt of the defenceless Jew.
As the Professor, Abraham Sofaer gives a magnificent performance,
restrained and convineing, suggestive in every move and inflexion of the
stubbornness for right which has so long been the Jew’s costly heritage.
He makes the man intensely likeable and unaffectedly noble in his
splendid unwisdom, and by his careful definition of the character lights
up much of the purely intellectual argument with an emotion which
is infectious and exciting. Another fine piece of acting is provided by
Ronald Adam, as the “twister'' politician. With much subtlety, the
insincerity of the character is steadily born in upon us, and Mr. Adam
never faulters for a moment in his unobtrusive, I had almost deseribed
it as inevitable, giving away of the smooth scoundrel’s soul. The
large cast in general acts verv well, though there is some tendency to
inaudibility at times. Bernard Merefield, as the priest, invests the part
with sincerity and dignity, and there is a delightfully humorous sketch
of the Government official by that clever actor, Alan Wheatley.
This is a play that every intelligent person, and certainly every
intelligent Jew, should not fail to see. It provides a wealth of food for
discussion, and raises questions which are as lively to-dav as they were
when the piece was written, in many cases more so. It will be a thousand
pities if this production is not transferred, after its fortnight’s run at
the Embassy, to some West End Theatre, for its appeal should be
extremely wide—unless I am unduly optimistic about the brains of
London’s theatre-goers.
Heinrich Schnitzler
PRODUCER OF “PROFESSOR BERNHARDI“
Oue of the vounger generation of theatrical producers, Herr Heinrich
Schnitzler, of Vienna, son of the late Arthur
Schnitzler, the famous author of“ Professor
Bernhardi,? arrived in London recently for
the production of the play of that book at
the Embassy Theatre, Swiss Cottage, whiere
it opened last Monday. Still in the very
early thirties, Herr Schnitzler occupies the
distinguished position of producer at the
Deutscher Volkstheater in Vienna. This 1s
iis lirst vislt to tins count!y.
"An interesting fact in connection with
Professor Bernhardi,?“ said Herr Schnitzler
to a Jzwisn Chkovicrk representative,
that it was produced in Vienna in 1912,
but it was not allowed to be played under
the Austrian Monarchy. At the conclusion
of the Great War, the play was revived, with
chorinous süccess.?
Herr Sehnitzler’s father was a well-known
physician, and practised medieine until hie
HEINRien ScHNITZLEk.
was thirty-five, after whiich he decided to
devote hunself to playwriting and became famous in that profession.
So far as the production of!Professor Bernhardi'’ in England is
concerned, Herr Schnitzler informed ine that it was played in London,
but only at one Sunday nighit performance, about six years ago, by the
Jewish Drama League. This tüne there is an entirely new English trans¬
lation which has been admirably done by Mr. Ronald Adam, who is one
of the Directors of the Einbassy Theatre, and Mr. Lewis Borrel. The
cast is an all-English one.
* The play,?’ he said, “was written before the War, and the anti¬
Seiitism depieted in it is not so much racial as religious.?
For English actors, he has a great admiration—Charles Laughton
and Leslie Howard, for example. British films he also considers very good,
and in this connection he singled out The Informer'' for particular praise.
Asked whether he thoughit that the stage and thie serecn coule pluy
a potent part in countering anti-Jewish propaganda, Herr Schnitzler said
he believes that both the einema and the theatre could exert a great
infiuenee on the publie. No one, however, appeared to be minking use
of these two miedia for the purpose of countering anti-Semitie
propaganda. But it could be done, he believed, with a large mensure
of success.
2.
—
EXTRACT FROM
Lenk Rehetay¬
19 JUNk 1936
Date-
Professor Bernhardi“' by Arthur
Schnitzler at the Embassy Theatre is
the piece de resistance of the week—
or fortnight, as so offen is the case
nowadays. Ronald Adam has the real
flair of the actor-manager at his best,
and in this long-banned (Jewish¬
Catholic controversial) play, not only
is responsible for the presentation and
part-adaptation, but puts up one of
the best performances of this wordy,
but very interesting drama by excellent
mierpretation of the diplomatie Dr.
Flint. That fine Hebraic actor, Abra¬
ham Sofaer, is superb in the title-röle,
and admirably seconded by Bernard #
Merefield as the priest. But most of
the cast are excellent, as usual at the#
Embassy. And we should like to give
3 Command Performance for Hitler !
Extract from:
DATEY TELECRAPH
London
16.6.36
eWeitode Cqaal to-da,!
SCHNITZLER PLAT AT
THE EMBASSY
PROFESSOR BERNHARDI“
By W. A. Darlington
Schnitzler’s “ Professor Bernhardi,'' in
a new and workmanlike translation by
Louis Borell and Ronald Adam, opened last
night at the Embassy.
It is an interesting play, for it sets the
andience arguing about its rights and
wrongs. And it is an incisive satire on the
tegt." Dont act on principle—you are
certain to be misunderstood.?
Professor Bernhardi is
a
Viennese
a
physician who forbids a priest to
D
administer the last rites of the Catholic
Church to a dying patien on the ground
1
that it will hasten her end.
Bernlardi speaks simplv us a doctor; but
because he is a Jew, racial, religious and
1
political quarrels arise. The affair is mag¬
nilied and distorted, and Bernharcli has to
10680
Wie
stand a trial. Public epinion elects to
st 19
believe the evidence of a hysterical nurse
against that of half-a-dozen more sober
5
witnesses (including the priest himseif),
and Bernhardi goes to prison.
r
This story gives Schnitzler plenty of
chance for a fantasia on the theme #ffin“
human failings. Dr. Bernhardi himself is bi
shown as a completely honest man—and ###
therefore a very uncomfortable person to##
have about. There is a good scene in“
which he and the priest, respecting eachs B
other as inen, fail to find a way across the
C
abyss which divides their ways of thought.
Abraham Sofaer (Bernhardil and Ber¬
nard Merefield played this well, though
Mr. Merefield would have been better if
he had spoken up morc. Ronald Adam
gave a neat sketch of a politician with a
gift for justifving private disloyalties on
the plea of public expediency.
„
4600
auth#r mamtains betweer. the Professor, the protagonist for truth, merer
uiel renson, and his intelligent opponent, the priest, who is quite naturlly
coneineed that the Professor’s action was wrong, since, according to his
belief, the patient was given a few minutes’ happiness at the exnense ofa
great tune of discomfort in the regions of the soul after deatn. Here
is the very linest kind of controversy, between two sincere opponents,
both, granted their preinises, reasonable in their arguments.
But tliis is not the real message of the play, which is an opportunity
for irong and stinging commentary on certain detestable traits in human
nature. Schnitzler’s purpose is to reveal the mean and contemptible
rasealitg which is called forth by an ineident such as the controversy
between Berhardi and the priest among the canaille of all classes; the
swindling politiclan who“ gasses'’ about ultimate and greater good while
all the tiie hie is feathering his own nest and purely interested in his own
selfish aims, pursuing them with a complete disregard for truthfulness,
honour and faith; the vicious and cowardly assistant director of the
hospital, whose green envy surges up ints gloating persecution of his
jealously-hated superior, persezution tricked out in all the fatuous
hypocrisy of the German Jew-hater; the crawling treachery of the Jew
deserter who wants to show himself more of an anti-Semite than his most
degraded non-Jewish Jew-hater; the frankly opportunist govermment
careerist who, least objectionable of them all, openly admits that only a
fool tells the truth when a lie is popular—these are the meat and bones of
the play. It is no case of a struggle between the Jewish doctor’s
rationalism and the priest’s Christian faith, as might superficially appear.
It is the fight between all that is comprised bar the phrase-ethical decency,
and all that should be includedl in the concept of the foul fiend.
Politics in this play, as is so often the case on the Continent, and
not seldom the case in this countrv, is the synonym for all that is
mnean, treacherous, unscrupulous and selfish. It is interesting to recall
the words of an authoritative writer on that subtle English political
attitude known as Toryism. In reviewing that attitude in its liighest
aspects, he said that it might be regarded, in one respect, das a perpetual
warning that the State, no less than the individual, does well to fear,
lest it do evil that good may come.'' Bernhardi had the misfortune to
take up this Tory attitude on the Continent of Europe, where political
maturity is unknown and where, therefore, the gimcrack dictator thrives
and the human hounds are always ready to smother their cowardice in
the hunt of the defenceless Jew.
As the Professor, Abraham Sofaer gives a magnificent performance,
restrained and convineing, suggestive in every move and inflexion of the
stubbornness for right which has so long been the Jew’s costly heritage.
He makes the man intensely likeable and unaffectedly noble in his
splendid unwisdom, and by his careful definition of the character lights
up much of the purely intellectual argument with an emotion which
is infectious and exciting. Another fine piece of acting is provided by
Ronald Adam, as the “twister'' politician. With much subtlety, the
insincerity of the character is steadily born in upon us, and Mr. Adam
never faulters for a moment in his unobtrusive, I had almost deseribed
it as inevitable, giving away of the smooth scoundrel’s soul. The
large cast in general acts verv well, though there is some tendency to
inaudibility at times. Bernard Merefield, as the priest, invests the part
with sincerity and dignity, and there is a delightfully humorous sketch
of the Government official by that clever actor, Alan Wheatley.
This is a play that every intelligent person, and certainly every
intelligent Jew, should not fail to see. It provides a wealth of food for
discussion, and raises questions which are as lively to-dav as they were
when the piece was written, in many cases more so. It will be a thousand
pities if this production is not transferred, after its fortnight’s run at
the Embassy, to some West End Theatre, for its appeal should be
extremely wide—unless I am unduly optimistic about the brains of
London’s theatre-goers.
Heinrich Schnitzler
PRODUCER OF “PROFESSOR BERNHARDI“
Oue of the vounger generation of theatrical producers, Herr Heinrich
Schnitzler, of Vienna, son of the late Arthur
Schnitzler, the famous author of“ Professor
Bernhardi,? arrived in London recently for
the production of the play of that book at
the Embassy Theatre, Swiss Cottage, whiere
it opened last Monday. Still in the very
early thirties, Herr Schnitzler occupies the
distinguished position of producer at the
Deutscher Volkstheater in Vienna. This 1s
iis lirst vislt to tins count!y.
"An interesting fact in connection with
Professor Bernhardi,?“ said Herr Schnitzler
to a Jzwisn Chkovicrk representative,
that it was produced in Vienna in 1912,
but it was not allowed to be played under
the Austrian Monarchy. At the conclusion
of the Great War, the play was revived, with
chorinous süccess.?
Herr Sehnitzler’s father was a well-known
physician, and practised medieine until hie
HEINRien ScHNITZLEk.
was thirty-five, after whiich he decided to
devote hunself to playwriting and became famous in that profession.
So far as the production of!Professor Bernhardi'’ in England is
concerned, Herr Schnitzler informed ine that it was played in London,
but only at one Sunday nighit performance, about six years ago, by the
Jewish Drama League. This tüne there is an entirely new English trans¬
lation which has been admirably done by Mr. Ronald Adam, who is one
of the Directors of the Einbassy Theatre, and Mr. Lewis Borrel. The
cast is an all-English one.
* The play,?’ he said, “was written before the War, and the anti¬
Seiitism depieted in it is not so much racial as religious.?
For English actors, he has a great admiration—Charles Laughton
and Leslie Howard, for example. British films he also considers very good,
and in this connection he singled out The Informer'' for particular praise.
Asked whether he thoughit that the stage and thie serecn coule pluy
a potent part in countering anti-Jewish propaganda, Herr Schnitzler said
he believes that both the einema and the theatre could exert a great
infiuenee on the publie. No one, however, appeared to be minking use
of these two miedia for the purpose of countering anti-Semitie
propaganda. But it could be done, he believed, with a large mensure
of success.
2.
—
EXTRACT FROM
Lenk Rehetay¬
19 JUNk 1936
Date-
Professor Bernhardi“' by Arthur
Schnitzler at the Embassy Theatre is
the piece de resistance of the week—
or fortnight, as so offen is the case
nowadays. Ronald Adam has the real
flair of the actor-manager at his best,
and in this long-banned (Jewish¬
Catholic controversial) play, not only
is responsible for the presentation and
part-adaptation, but puts up one of
the best performances of this wordy,
but very interesting drama by excellent
mierpretation of the diplomatie Dr.
Flint. That fine Hebraic actor, Abra¬
ham Sofaer, is superb in the title-röle,
and admirably seconded by Bernard #
Merefield as the priest. But most of
the cast are excellent, as usual at the#
Embassy. And we should like to give
3 Command Performance for Hitler !
Extract from:
DATEY TELECRAPH
London
16.6.36
eWeitode Cqaal to-da,!
SCHNITZLER PLAT AT
THE EMBASSY
PROFESSOR BERNHARDI“
By W. A. Darlington
Schnitzler’s “ Professor Bernhardi,'' in
a new and workmanlike translation by
Louis Borell and Ronald Adam, opened last
night at the Embassy.
It is an interesting play, for it sets the
andience arguing about its rights and
wrongs. And it is an incisive satire on the
tegt." Dont act on principle—you are
certain to be misunderstood.?
Professor Bernhardi is
a
Viennese
a
physician who forbids a priest to
D
administer the last rites of the Catholic
Church to a dying patien on the ground
1
that it will hasten her end.
Bernlardi speaks simplv us a doctor; but
because he is a Jew, racial, religious and
1
political quarrels arise. The affair is mag¬
nilied and distorted, and Bernharcli has to
10680
Wie
stand a trial. Public epinion elects to
st 19
believe the evidence of a hysterical nurse
against that of half-a-dozen more sober
5
witnesses (including the priest himseif),
and Bernhardi goes to prison.
r
This story gives Schnitzler plenty of
chance for a fantasia on the theme #ffin“
human failings. Dr. Bernhardi himself is bi
shown as a completely honest man—and ###
therefore a very uncomfortable person to##
have about. There is a good scene in“
which he and the priest, respecting eachs B
other as inen, fail to find a way across the
C
abyss which divides their ways of thought.
Abraham Sofaer (Bernhardil and Ber¬
nard Merefield played this well, though
Mr. Merefield would have been better if
he had spoken up morc. Ronald Adam
gave a neat sketch of a politician with a
gift for justifving private disloyalties on
the plea of public expediency.
„
4600