11. Reigen
box 19/1
that several months later the Federal Ministry of
the Interior endenvored, under an obsolete statute
of 1850, to prevent further presentation of the play.
The Burgomaster of Vienna, nevertheless, refused
to interfere with the production; and although im¬
peachment proceedings were commenced against
him in April, 1921, he was acquitted and fully vin¬
dicated.
In spite of these legal vicissitudes, the fame of
Reigen“’ spread, and everywhere it was received
with public acclaim. It was produced in Germany
in the following cities:
Hamburg, February, 1921;
Munich, January, 1921;
Leipzig, January, 1921;
Frankfort, June, 1921;
Hanover, September, 1921;
Koenigsberg, December, 1921;
Breslau, May, 1921;
Dresden, July, 1922.
But it is not to be believed that Reigen’ found
acceptance in dramatic form only in German-speak¬
ing countries, It met with success and critical
praise throughout continental Europe. Budapest,
Hungary, saw it on October 13, 1912. It was enthu¬
siastically greeted in 1917 in Moscow and St. Peters¬
burg—during the Tsarist régime which should not
be confused with the present Soviet rule. There
was a memorable tour of Holland in August, 1922,
followed by presentations in Paris, France, Febru¬
ary, 1922; in Christiania, Denmark, March, 1922;
and in Rome, Italy, at the same time.
On March 11, 1923, a reading of the play was
given in the Green Room Club in New York City.
On October 23, 1926, the Triangle Theatre of New
York City, under the direction of Kathleen Kirk¬
wood, opened its fourth season with“Reigen', It