11. Reigen
box 19/2
Des
tungs-Ausschnitte
EN, I., WOLLZEILE 11
TELEPHON R-23-0-43
Ausschnitt aus:
vom:
Tie New- Tors Berzidh, Paris
TTOBER 3, 1932
4 01.
NEwS Or THE THEATREs
THE Pitoéff Company never has the parish priest finally takes matters
in hand and preaches the little girl a
found a more perfect vehicle for
real sermon (under the shadow of the
its art than La Ronde“ of Arthur
cupid by the way). The real difficul¬
Schnitzler, the play banned by censors
ties of the piece secm to lie with the
actors who, along with the audience,
in both Berlin and Vienna, the author's
seem unable to determine whether to
native city. Ludmilla Pitoöff playsthe
röles of the five women, in the seriestake the play serlousiy or not.
of sketches which are destined to
show the fragility and futility of hu¬
man encounter in the realm of emo¬
tion.
In cach of the 10 dialogues, it is
evident that although love presents
che same face to all humans, no matter
where they stand in the social ladder,
the higher they climb the more com¬
plicated the relation becomes. Quly in
the primitive embrace of the soldier
and the street girl is pleasure sought
without other pretext. In the other
sketches, showing the young man wiio
has always wanted to be beloved by a
society woman, the literary man who
wishes to see his reflection mirrored
in the praises of his inamorata, the
adventures of the count and the ac¬
tress, the pretension the disgust, and
the more disillusioning qualities of
cowardice, duplicity and remorse have
increasing parts.
This play is another Maya,“ but
with a finesse which has always marked
Schnitzler's writing and which is
made doubly palpable by the expert in¬
terpretation of the Pitoéff Company.
The sets are enchanting with tricky
little mechanisms.
As is suggested by the title of Avril.“
the new comedy by Louis Verneuil and
Georges Berr, one month more or les:
means a whole lot in the life of a man
who is in love with a ravishing 18-
gear-old girl whom he believes to be
his daughter. After having several
arithmetical sessions with the girl'
mother, who is married to a recentiy¬
bankrupt industrialist, our hero, Phi¬
lippe Menneray (André Brülé), mar¬
ries the girl. Just like that. He
agrees, however, te keep thie wedlock
inthe 1lanche' state which made
the famous Madame Récamier lock
around among the young bloods of her
day, when her father also got the
idea of protecting his child’s finan¬
cial future by marrying her.
There is a conventional happy end¬
ing when Simone's father. whose horns
have been growing for the past 18
vears, says she was born in May and
not April, thus eliminating any con¬
sanguinity. A jolly little piece if a
trifle brittle.
Youki“ is not so gcod. Although
Félix Gandera is an expert playwright,
he seems to have slept a little too
long over this bright idea. In thie first
place, two conventional lyricisme, to
put it mildly, hinder the play. We
have the old accent of the Midi, which
has just about been done to death on
Sthe Paris stage, and also the equally
Atereseig
#
box 19/2
Des
tungs-Ausschnitte
EN, I., WOLLZEILE 11
TELEPHON R-23-0-43
Ausschnitt aus:
vom:
Tie New- Tors Berzidh, Paris
TTOBER 3, 1932
4 01.
NEwS Or THE THEATREs
THE Pitoéff Company never has the parish priest finally takes matters
in hand and preaches the little girl a
found a more perfect vehicle for
real sermon (under the shadow of the
its art than La Ronde“ of Arthur
cupid by the way). The real difficul¬
Schnitzler, the play banned by censors
ties of the piece secm to lie with the
actors who, along with the audience,
in both Berlin and Vienna, the author's
seem unable to determine whether to
native city. Ludmilla Pitoöff playsthe
röles of the five women, in the seriestake the play serlousiy or not.
of sketches which are destined to
show the fragility and futility of hu¬
man encounter in the realm of emo¬
tion.
In cach of the 10 dialogues, it is
evident that although love presents
che same face to all humans, no matter
where they stand in the social ladder,
the higher they climb the more com¬
plicated the relation becomes. Quly in
the primitive embrace of the soldier
and the street girl is pleasure sought
without other pretext. In the other
sketches, showing the young man wiio
has always wanted to be beloved by a
society woman, the literary man who
wishes to see his reflection mirrored
in the praises of his inamorata, the
adventures of the count and the ac¬
tress, the pretension the disgust, and
the more disillusioning qualities of
cowardice, duplicity and remorse have
increasing parts.
This play is another Maya,“ but
with a finesse which has always marked
Schnitzler's writing and which is
made doubly palpable by the expert in¬
terpretation of the Pitoéff Company.
The sets are enchanting with tricky
little mechanisms.
As is suggested by the title of Avril.“
the new comedy by Louis Verneuil and
Georges Berr, one month more or les:
means a whole lot in the life of a man
who is in love with a ravishing 18-
gear-old girl whom he believes to be
his daughter. After having several
arithmetical sessions with the girl'
mother, who is married to a recentiy¬
bankrupt industrialist, our hero, Phi¬
lippe Menneray (André Brülé), mar¬
ries the girl. Just like that. He
agrees, however, te keep thie wedlock
inthe 1lanche' state which made
the famous Madame Récamier lock
around among the young bloods of her
day, when her father also got the
idea of protecting his child’s finan¬
cial future by marrying her.
There is a conventional happy end¬
ing when Simone's father. whose horns
have been growing for the past 18
vears, says she was born in May and
not April, thus eliminating any con¬
sanguinity. A jolly little piece if a
trifle brittle.
Youki“ is not so gcod. Although
Félix Gandera is an expert playwright,
he seems to have slept a little too
long over this bright idea. In thie first
place, two conventional lyricisme, to
put it mildly, hinder the play. We
have the old accent of the Midi, which
has just about been done to death on
Sthe Paris stage, and also the equally
Atereseig
#