TIIE CAEFGF EHE
TAP CUMIEDT VIIENTE
COMEDY THEATRE—The Actors'
Theatre present Arthur Schnitz¬
ler’s The Call of Life“ English
Dorothy Donnelly
version by
directed by Dudley Digges.
THE CAST
Egon Brecher
Noser
farie his däughter Eva La Galllenne
Edward Rainer, a forester
Douglas R. Dumbrille
Doctor Schindler Thomas Chalmers
Mrs. Toni Richter, Moser’s sister-in-law,
Allee John
Catherine, her daughter.
Katherine Alexander
Max, a lieutonant of tne Blue
Derek Glyune
Cuirassiere
Sebastian, a sergeant... Leéte Stone
Hermann Lieb
The Colonel
Albert, a lieutenant Stanley Kalkhuret
Ireie, the wife of the Colonel.
osalind Fuller
By ALAN DALE.
TITHE Blue Cuirassiers never
came back. Last night’s
audlence at the Comedy Thea¬
tre must surely have determined
to emulate the example of the
aforesald Blue Culrassiers. They
had to sit through a portentious
sample of Schnitzlerism in the
shape of The Call of Life.“
They had to endure for one
tremendous first act that lasted
one solid hour the symboliams
that are 80 often used in oult“
plays. You knowthe sort I
mean. Nobody ever really an¬
swers à question. Everybody
seems to be playing at cross-pur¬
poses, and you are obliged to
wonder what it is all about.
Frinstance, if somebody asks:
„
How do you feel today? the
reply is, “Oh, the birds are twit¬
tering and the heavens are
blue. Or to such a query as
#
What time is it?“ the answer
would be The pink flowers blos¬
som in the Spring.“
That is regarded as singularly
beautiful, and dreamy, and poetic,
and its lack of sense is forgiven.
In fact, if you don't like it, it 18
because you have no soul. You
are material. Nearly all'the first
act of The Call of Life“ was
that style of entertainment.
The lachrymose Marie and the
invalided Moser sit and talk. The
Blue Culrassiers never came
back. They dinned that into our
ears. After the first intermission
I longed to be a Blue Cuirassier.
Why wasn't Ia blue Cuirassier?
Marie loved a Blue Cuirassier,
and was awfully biue herself.
Oh, how blue was Marie, and
how tedius! But a dreen For¬
ester loved Marie, and begged
her to go away with him. She
had Moser to lock after. She
couldn't go. Ard'she lovedthe
other. Then ### dröpped some
merciful drops into öld Moser’s
medieiné (they should have been
used in à prologue; there wasn't
a prologue, but there should have
been, and instantly he fell to the
floor, as tiresome old actors love
to fall, gurgling and prostrated,
and then—Marie put on her bon¬
net and shawl, and went post¬
haste to the officers’ quarters
where her Blue Cuirassier held
forth.
After that we were Schnitzlered
into violet melodrama, with a
soupcon of militaristie symbol¬
ism. Marie hid in a closet, and
there she heard the Colonel’s
wife appear to her Blue Cuiras¬
sler, and tell him how much she
Joved him. And subsequently the
Colonel pops into the quarters
and shoots wifie dead on the
Leads New Cast
0
EVA LA GALLIENNE, who ap¬
pears in Arthur Schnitzler's
drama, The Call of Life,
which opened last night at thel
Comedy Theatre.
spot. Marie thereupon creeps
from her hiding place, and as the
curtain falls she is there with
her Blue Cuiraseler and the
corpse, or prostrate body, of Mrs.
Colonel.
It was all told in dark blue
atmosphere, with frighhteningls
long pauses. The pauses were
simply unbearable. They all
seemed to think that time meant
nothing at all. They super¬
paused, they paused, they extras
paused, and it grew deadeningly
tedious. It seemed an odd play
for the Aetor. Theatre to pre¬
sent. The Actors’ Theatre must
be hard up, indeed, for it takes
more than à label to make an in¬
teresting play. In this case the
Schnitzler“ label was too thin.
Eva Le Gallienne played Marié
mournfully and super-soulfülly,
but Katherine Alexander, whö
had a slight ible, was qüite de¬
lightful and as human as Schnitz¬
ler would permit. Spring didn't
tease her blood as it did Marié's,
but she murinuredFarewell,
flowers! Thei past Is past!“
Derek Glynne was the Blue
Culrassier, whom they all seemed
to dote on, and Alice John, in
the garbs of 1840—that was the
vintage—was an old dame in a
shawl and a poke bonnet.
But the Blue Qulrassiers never
came back. I beg to announde
that as far as this play in con¬
cerned, I fully intend to be a
Blue Cuirassier.
S
TAP CUMIEDT VIIENTE
COMEDY THEATRE—The Actors'
Theatre present Arthur Schnitz¬
ler’s The Call of Life“ English
Dorothy Donnelly
version by
directed by Dudley Digges.
THE CAST
Egon Brecher
Noser
farie his däughter Eva La Galllenne
Edward Rainer, a forester
Douglas R. Dumbrille
Doctor Schindler Thomas Chalmers
Mrs. Toni Richter, Moser’s sister-in-law,
Allee John
Catherine, her daughter.
Katherine Alexander
Max, a lieutonant of tne Blue
Derek Glyune
Cuirassiere
Sebastian, a sergeant... Leéte Stone
Hermann Lieb
The Colonel
Albert, a lieutenant Stanley Kalkhuret
Ireie, the wife of the Colonel.
osalind Fuller
By ALAN DALE.
TITHE Blue Cuirassiers never
came back. Last night’s
audlence at the Comedy Thea¬
tre must surely have determined
to emulate the example of the
aforesald Blue Culrassiers. They
had to sit through a portentious
sample of Schnitzlerism in the
shape of The Call of Life.“
They had to endure for one
tremendous first act that lasted
one solid hour the symboliams
that are 80 often used in oult“
plays. You knowthe sort I
mean. Nobody ever really an¬
swers à question. Everybody
seems to be playing at cross-pur¬
poses, and you are obliged to
wonder what it is all about.
Frinstance, if somebody asks:
„
How do you feel today? the
reply is, “Oh, the birds are twit¬
tering and the heavens are
blue. Or to such a query as
#
What time is it?“ the answer
would be The pink flowers blos¬
som in the Spring.“
That is regarded as singularly
beautiful, and dreamy, and poetic,
and its lack of sense is forgiven.
In fact, if you don't like it, it 18
because you have no soul. You
are material. Nearly all'the first
act of The Call of Life“ was
that style of entertainment.
The lachrymose Marie and the
invalided Moser sit and talk. The
Blue Culrassiers never came
back. They dinned that into our
ears. After the first intermission
I longed to be a Blue Cuirassier.
Why wasn't Ia blue Cuirassier?
Marie loved a Blue Cuirassier,
and was awfully biue herself.
Oh, how blue was Marie, and
how tedius! But a dreen For¬
ester loved Marie, and begged
her to go away with him. She
had Moser to lock after. She
couldn't go. Ard'she lovedthe
other. Then ### dröpped some
merciful drops into öld Moser’s
medieiné (they should have been
used in à prologue; there wasn't
a prologue, but there should have
been, and instantly he fell to the
floor, as tiresome old actors love
to fall, gurgling and prostrated,
and then—Marie put on her bon¬
net and shawl, and went post¬
haste to the officers’ quarters
where her Blue Cuirassier held
forth.
After that we were Schnitzlered
into violet melodrama, with a
soupcon of militaristie symbol¬
ism. Marie hid in a closet, and
there she heard the Colonel’s
wife appear to her Blue Cuiras¬
sler, and tell him how much she
Joved him. And subsequently the
Colonel pops into the quarters
and shoots wifie dead on the
Leads New Cast
0
EVA LA GALLIENNE, who ap¬
pears in Arthur Schnitzler's
drama, The Call of Life,
which opened last night at thel
Comedy Theatre.
spot. Marie thereupon creeps
from her hiding place, and as the
curtain falls she is there with
her Blue Cuiraseler and the
corpse, or prostrate body, of Mrs.
Colonel.
It was all told in dark blue
atmosphere, with frighhteningls
long pauses. The pauses were
simply unbearable. They all
seemed to think that time meant
nothing at all. They super¬
paused, they paused, they extras
paused, and it grew deadeningly
tedious. It seemed an odd play
for the Aetor. Theatre to pre¬
sent. The Actors’ Theatre must
be hard up, indeed, for it takes
more than à label to make an in¬
teresting play. In this case the
Schnitzler“ label was too thin.
Eva Le Gallienne played Marié
mournfully and super-soulfülly,
but Katherine Alexander, whö
had a slight ible, was qüite de¬
lightful and as human as Schnitz¬
ler would permit. Spring didn't
tease her blood as it did Marié's,
but she murinuredFarewell,
flowers! Thei past Is past!“
Derek Glynne was the Blue
Culrassier, whom they all seemed
to dote on, and Alice John, in
the garbs of 1840—that was the
vintage—was an old dame in a
shawl and a poke bonnet.
But the Blue Qulrassiers never
came back. I beg to announde
that as far as this play in con¬
cerned, I fully intend to be a
Blue Cuirassier.
S