box 31/5
25. Professer Bernhad
EXTRACT FROM
JEWISH CHRONICLE,
2, Finsbury Square, E.C.2.
Date
—
Theatre
Professor Bernhardi
Schnitzler’s Magnificent Drama
A STUDY IN ANTI-SEMITISM
Oulya few weeks ago, this brilliant classic of Schnitzler’s was
presented at the Embassy Theatre. It has now been put on in the
West End at the Phenix Theatre; and even secing it again after
so short an interval, the power and interest ofthe work grip one
afresh.
Apart from the intense interest which holds the attention from start
to finish—the brilliant dialogue and the valnable light which the play
throws upon the psychology of anti-Semitism—the very evenness with
which the anthor holds the seales in the cass of the # rofessor, lends the
story a vivid reality and raises the discn-sion to a plane of immediate
importance. What Schnitzler shows —and it is a depressing thought that
this is as evident to-day as it was when he wrote the play many
years before the War—is that the antipathy to the Jew in its
original primitive form, is only a very little of the whole
trouble. It is the thousand and one interests and occasions for
selfish opportunism which, building upon the brutish base of hate, raise
up the hideous super-structure of anti-Semitism as a political or social or
superstitions erced. Again I must point out that this play in no way
attempts to portray the contlict between the Jewish and Christian attitude
on the purely religions plane. Schnitzler carefully shows us the priest
and the Jewish doctor respecting eachother as twohonest men, separated
by differences of dogma, but both capable of contributing to the good of
mankind. It is the intrusion of the mean, the selfish, the billiously¬
hating and dishonestly-jealons among men that produces the urge to
persecute the Jew, and raises an incident into a malicions generalisation.
It has been suggested by no less an authority on theatrical matters
than Mr. Sydney Carroil, writing on this great play, that, from his
experience, Christians as a rule are far more interested in plays of a
Jewish problein nature than are Jews theinselves. There may be some
truth in this, truth whlich is by no means a pleasant reflection on Jewish
theatre-goers. But, thank Heaven, it ouly applies to the least admirable
among our Community, and is not unconnected with that ugly symptom
of minority self-consciousness which, misunderstood and not examined
with a sympathetie reference to its causes, may have helped to produce
that popular theorg that the persecuted “generally ask for it.'' Let
us hope that on this occasion the London Jewish Community will give
practical refutation to Mr. Carroll’s suggestion—no one will be more
gratified than that distinguished writer Mmself.
The cast at the Phoenix is largely the same as that at the former
production. Again Abraham Sofaer gives a magnificent performance
as the Professor. It it amusing to hear people blaming the Jewish
doctor’s stubbornness, inerely because he insisted on doing what was.
in his view, unquestionably right. How the force of morality has weakened
since the days of the categorical imperative! Mr. Sofaer suggests a
genuinely Jewish moral determination and the prophetie refusal to com¬
promise, comtbined with a deep hinnane kindliness whlich sees in man,
physical and sulfering man, not a plav-thing for the gods, but the image
of God Himseif. It is a noble and inspiring performance, inevitably'
winning our syinpathy where we are not too prejudiced. Ronald Adam s
version of the political opportunist is again delightful, wickedly true to
life and oozing the unctuousness of thie fellow. Earle Grey takes the
cold and scheming Ebenwald in a very convineing manner, tie true
obnoxiousness of which, as happens in real life with such persons, rises
mnore as an after-odour than upon innnediate contact—a elever piecc of
acting.
For every one who is not entirely devoid of brains,“ Bernhardi'
presents a real theatre treat—intelligently, exeiting, topically valuablo
and lasting in its impressiveness, For the Jew, it presents a double
attraction, for he is not merely outside it all but verg much Vof'’ the
drama.
"Na! N.1 Masan.“
—.—
25. Professer Bernhad
EXTRACT FROM
JEWISH CHRONICLE,
2, Finsbury Square, E.C.2.
Date
—
Theatre
Professor Bernhardi
Schnitzler’s Magnificent Drama
A STUDY IN ANTI-SEMITISM
Oulya few weeks ago, this brilliant classic of Schnitzler’s was
presented at the Embassy Theatre. It has now been put on in the
West End at the Phenix Theatre; and even secing it again after
so short an interval, the power and interest ofthe work grip one
afresh.
Apart from the intense interest which holds the attention from start
to finish—the brilliant dialogue and the valnable light which the play
throws upon the psychology of anti-Semitism—the very evenness with
which the anthor holds the seales in the cass of the # rofessor, lends the
story a vivid reality and raises the discn-sion to a plane of immediate
importance. What Schnitzler shows —and it is a depressing thought that
this is as evident to-day as it was when he wrote the play many
years before the War—is that the antipathy to the Jew in its
original primitive form, is only a very little of the whole
trouble. It is the thousand and one interests and occasions for
selfish opportunism which, building upon the brutish base of hate, raise
up the hideous super-structure of anti-Semitism as a political or social or
superstitions erced. Again I must point out that this play in no way
attempts to portray the contlict between the Jewish and Christian attitude
on the purely religions plane. Schnitzler carefully shows us the priest
and the Jewish doctor respecting eachother as twohonest men, separated
by differences of dogma, but both capable of contributing to the good of
mankind. It is the intrusion of the mean, the selfish, the billiously¬
hating and dishonestly-jealons among men that produces the urge to
persecute the Jew, and raises an incident into a malicions generalisation.
It has been suggested by no less an authority on theatrical matters
than Mr. Sydney Carroil, writing on this great play, that, from his
experience, Christians as a rule are far more interested in plays of a
Jewish problein nature than are Jews theinselves. There may be some
truth in this, truth whlich is by no means a pleasant reflection on Jewish
theatre-goers. But, thank Heaven, it ouly applies to the least admirable
among our Community, and is not unconnected with that ugly symptom
of minority self-consciousness which, misunderstood and not examined
with a sympathetie reference to its causes, may have helped to produce
that popular theorg that the persecuted “generally ask for it.'' Let
us hope that on this occasion the London Jewish Community will give
practical refutation to Mr. Carroll’s suggestion—no one will be more
gratified than that distinguished writer Mmself.
The cast at the Phoenix is largely the same as that at the former
production. Again Abraham Sofaer gives a magnificent performance
as the Professor. It it amusing to hear people blaming the Jewish
doctor’s stubbornness, inerely because he insisted on doing what was.
in his view, unquestionably right. How the force of morality has weakened
since the days of the categorical imperative! Mr. Sofaer suggests a
genuinely Jewish moral determination and the prophetie refusal to com¬
promise, comtbined with a deep hinnane kindliness whlich sees in man,
physical and sulfering man, not a plav-thing for the gods, but the image
of God Himseif. It is a noble and inspiring performance, inevitably'
winning our syinpathy where we are not too prejudiced. Ronald Adam s
version of the political opportunist is again delightful, wickedly true to
life and oozing the unctuousness of thie fellow. Earle Grey takes the
cold and scheming Ebenwald in a very convineing manner, tie true
obnoxiousness of which, as happens in real life with such persons, rises
mnore as an after-odour than upon innnediate contact—a elever piecc of
acting.
For every one who is not entirely devoid of brains,“ Bernhardi'
presents a real theatre treat—intelligently, exeiting, topically valuablo
and lasting in its impressiveness, For the Jew, it presents a double
attraction, for he is not merely outside it all but verg much Vof'’ the
drama.
"Na! N.1 Masan.“
—.—