ha
25 Prf1
e en e eee
EXTRAGT EROM
Dar #aler
e
##
Vi
11-1900 S 90.
6
Dasti oSe 8.u.
PROFESSCi BengnasZel
Should a doctor do all in bis power to
ensure his patient procuring a happp
feath, even to the extent of preventing
her receiving the last secrament? This
is the substance of the play,“ Professor
Berbardi“ which has met with such
success at the Phoenix Theatre.
Professor Bernhardi, a Jew, is in
oharge of a Viennese hospital, where one
of his patients, a Catholic girl, who has
einned, is dring from septicaemia.
Nothing can save her. Moreover, she
doesn't realise she is ill and dring and
Is in an ecstacv of happiness. A priest
is sent for. Professor Bernhardi says
that the patient is in his charge until
her death and that, whether it is to her
advantage to receive visitors or not, is a
question for him alone to decide. Wihen
the priest comes he refuses permission
to see her. IIe little realises that this
epontaneous act of his, based as it was,
upon a principle, could lead to bad feel¬
ing which eventuallv leads to his resig¬
nation from the position wilich is virtu¬
allv his life, and worst still, to his im¬
prisongnent.
This interesting play is acted by a
splenelid cast, of whom Abraham Sofaer
stands out as Professor Bernhardi. His
is an arduous part as there are few
moments vhen he is not on the stage,
but he maintains throughont his bearing
of one who suffers unjustly. He is never
blatant, alwavs kind, courteous and
polite, even when driven to anger. His
character is in scrong contrast to thatt
of Dr. Flint (Ronald Adam). Minister of
Health, who is essentially the politician
who does not scruple to put his own ad¬
vancement before his real convictions.
Splendid performances are also given he
Noel Howlett, Beruard Merefield, Earle
Grey and Alan Wheatley,
—.——
box 31/5
Lenungs-Ausschnitte
Wienl, Wollzeile 11, Telephon R-23-0-43
X7
We Go lo The
TENRGE
PROFESSOR BERNHARDI (Phoenix).
Play in ihree ucts. by Artbur Schnitaler. Action of tbe play
in Vienna. Four ehanges of scene. 20 Men, 1 woman.
One can best describe this play by stating that had Galsworthy
been educated at Heidelberg instead of at an English Public School,
he would have written just such a play. That is to say, it deals
wich urgent conflicts of loyalties and ideals, but instead of appealing
to the audience’s latent humanitarianism, it presents its theme in a
fury of dialectic, which is as precisely marshalled as a scholarly
debate among professors. It does not therefore fellow that iins 18—
an arid essay in argument and counter-argument. Far from it. This
is a play for the adult intelligence, for the theatre-goer who is not
afraid to bring his brains with him when he takes an evening out.
It is, morcover, dramatic, exciting and moving.
The theme is once more that of the Jew in conflict with the com¬
munity. (Of all topics in these days the most topical.) Professor
Bernhardi, director of a Viennese hospital, refuses to allow a Catholic
priest to administer the last rites to a dying patient, for the very
good reason that the patient is happy, and entirely unaware that
she is dying. From the consequences of what is to him a logical
and humanitarian action, the drama of the play is most ingeniously
developed. Hatred of the Jew, personal ambition, conflicts of belief,
political necessity —all these developments the author has skil¬
fully presented in what rapidly becomes a cange célähre, and results
in a prison sentence for the Professor. The author makes no special
pleading for one attitude rather than andther.
A play for amateurs to act? It is hardly likely, since there is
the tiniest part for one woman only, and he play is the concern
of twenty men. (This results, incidentally, in a refreshing rongb¬
ne# in the play’s vigour. Oue playgoer at least welomed this free¬
dom from petticcat influence!) But all playgoers should see this
vitally dispassionate play. Abraham Sofaer is Professor Bernhardi
as the author must have scen him. Ronald Adam pontificates as
a politician, with an air which is wickedly that of all Ministers scho
unseal their lips to their private secretaries only; and the large cast
is competent from start to finish. Producers who feel that they still
have a little to learn might see Heinrich Schnitzler’s production if
only for the way he has handled a board-room meeting. From this
scene (as throughout) he has created twice as much drama as even
—
W.R.B.
the author put into it.
25 Prf1
e en e eee
EXTRAGT EROM
Dar #aler
e
##
Vi
11-1900 S 90.
6
Dasti oSe 8.u.
PROFESSCi BengnasZel
Should a doctor do all in bis power to
ensure his patient procuring a happp
feath, even to the extent of preventing
her receiving the last secrament? This
is the substance of the play,“ Professor
Berbardi“ which has met with such
success at the Phoenix Theatre.
Professor Bernhardi, a Jew, is in
oharge of a Viennese hospital, where one
of his patients, a Catholic girl, who has
einned, is dring from septicaemia.
Nothing can save her. Moreover, she
doesn't realise she is ill and dring and
Is in an ecstacv of happiness. A priest
is sent for. Professor Bernhardi says
that the patient is in his charge until
her death and that, whether it is to her
advantage to receive visitors or not, is a
question for him alone to decide. Wihen
the priest comes he refuses permission
to see her. IIe little realises that this
epontaneous act of his, based as it was,
upon a principle, could lead to bad feel¬
ing which eventuallv leads to his resig¬
nation from the position wilich is virtu¬
allv his life, and worst still, to his im¬
prisongnent.
This interesting play is acted by a
splenelid cast, of whom Abraham Sofaer
stands out as Professor Bernhardi. His
is an arduous part as there are few
moments vhen he is not on the stage,
but he maintains throughont his bearing
of one who suffers unjustly. He is never
blatant, alwavs kind, courteous and
polite, even when driven to anger. His
character is in scrong contrast to thatt
of Dr. Flint (Ronald Adam). Minister of
Health, who is essentially the politician
who does not scruple to put his own ad¬
vancement before his real convictions.
Splendid performances are also given he
Noel Howlett, Beruard Merefield, Earle
Grey and Alan Wheatley,
—.——
box 31/5
Lenungs-Ausschnitte
Wienl, Wollzeile 11, Telephon R-23-0-43
X7
We Go lo The
TENRGE
PROFESSOR BERNHARDI (Phoenix).
Play in ihree ucts. by Artbur Schnitaler. Action of tbe play
in Vienna. Four ehanges of scene. 20 Men, 1 woman.
One can best describe this play by stating that had Galsworthy
been educated at Heidelberg instead of at an English Public School,
he would have written just such a play. That is to say, it deals
wich urgent conflicts of loyalties and ideals, but instead of appealing
to the audience’s latent humanitarianism, it presents its theme in a
fury of dialectic, which is as precisely marshalled as a scholarly
debate among professors. It does not therefore fellow that iins 18—
an arid essay in argument and counter-argument. Far from it. This
is a play for the adult intelligence, for the theatre-goer who is not
afraid to bring his brains with him when he takes an evening out.
It is, morcover, dramatic, exciting and moving.
The theme is once more that of the Jew in conflict with the com¬
munity. (Of all topics in these days the most topical.) Professor
Bernhardi, director of a Viennese hospital, refuses to allow a Catholic
priest to administer the last rites to a dying patient, for the very
good reason that the patient is happy, and entirely unaware that
she is dying. From the consequences of what is to him a logical
and humanitarian action, the drama of the play is most ingeniously
developed. Hatred of the Jew, personal ambition, conflicts of belief,
political necessity —all these developments the author has skil¬
fully presented in what rapidly becomes a cange célähre, and results
in a prison sentence for the Professor. The author makes no special
pleading for one attitude rather than andther.
A play for amateurs to act? It is hardly likely, since there is
the tiniest part for one woman only, and he play is the concern
of twenty men. (This results, incidentally, in a refreshing rongb¬
ne# in the play’s vigour. Oue playgoer at least welomed this free¬
dom from petticcat influence!) But all playgoers should see this
vitally dispassionate play. Abraham Sofaer is Professor Bernhardi
as the author must have scen him. Ronald Adam pontificates as
a politician, with an air which is wickedly that of all Ministers scho
unseal their lips to their private secretaries only; and the large cast
is competent from start to finish. Producers who feel that they still
have a little to learn might see Heinrich Schnitzler’s production if
only for the way he has handled a board-room meeting. From this
scene (as throughout) he has created twice as much drama as even
—
W.R.B.
the author put into it.