11. Reigen
box 19/2
THE Pitoéff Company never hasthe 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¬
ties of the piece seem to lie with the
Schnitzler, the play banned by censors
actors who, along with the andience,
in both Berlin and Vienna, the author's
seem unable to determine wheiher to#
native city. Ludmilla Pitoéff playsthe
take the play seriousiy or not.
röles of the five women, in the series
of sketches which are destined to
show the fragility and futility of hu¬
man encounter in thie realm of emo¬
tion.
In each of the 10 dialogues, it 18
evident that although love presents
ihe 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. Only in
the primitive embrace of the soldier
and the street girl is pleasure sought
without other pretext. In thie otuer
sketches, showing the young man who
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
he 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 tie 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 monti more or less
means a whole lot in the life of a man
who is in love with a ravishing 18¬
Fear-old girl whom he believes to be#
his daughter. After having several
arithmetical sessions with the girl's
mother, who is married to a recently¬
bankrupt industrialist, our hero, Phi¬
lippe Menneray (André Brülé), mar¬
ries the girl. Just like that. He
agrees, however, to keep the wedlock
in the "blanche' 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
years, 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 good. Although
Félix Gandera is an expert playwright,
he seems to have slept a little too
long over this bright idea. In the first
place, two conventional lyricisms, to
put it mildly, hinder the play. We
have the old accent of the Midi, which
has just about been done to death on
uninteresting gag, as a plot, namely
the white hope of the family falling
in love with a Parisian actress, and
then having her almost snatched from
him by his guardian. The dénoue¬
ment of this rumpus is not so edifying
as it might be.
The Paris theatrical season just
wouldn't be complete without some
18th-century, customs and morals
somewhere on the stage. La Lecon“
d’Arour dans un Parc' includes all
these fixings, and in addition, a lovely
granite cupid who presides over
the intrigues in the country house
of the Marquise de Chamarante
(Yvonne Garrick). What this cupid
sees is nobody’s business, certainly not
that of the marquise's 12-year-old
daughter, Jacquette. The action re¬
volves about the alternating bursts of
Texuberance and remorse which flow
through the fond mother's heart until
S e
box 19/2
THE Pitoéff Company never hasthe 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¬
ties of the piece seem to lie with the
Schnitzler, the play banned by censors
actors who, along with the andience,
in both Berlin and Vienna, the author's
seem unable to determine wheiher to#
native city. Ludmilla Pitoéff playsthe
take the play seriousiy or not.
röles of the five women, in the series
of sketches which are destined to
show the fragility and futility of hu¬
man encounter in thie realm of emo¬
tion.
In each of the 10 dialogues, it 18
evident that although love presents
ihe 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. Only in
the primitive embrace of the soldier
and the street girl is pleasure sought
without other pretext. In thie otuer
sketches, showing the young man who
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
he 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 tie 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 monti more or less
means a whole lot in the life of a man
who is in love with a ravishing 18¬
Fear-old girl whom he believes to be#
his daughter. After having several
arithmetical sessions with the girl's
mother, who is married to a recently¬
bankrupt industrialist, our hero, Phi¬
lippe Menneray (André Brülé), mar¬
ries the girl. Just like that. He
agrees, however, to keep the wedlock
in the "blanche' 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
years, 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 good. Although
Félix Gandera is an expert playwright,
he seems to have slept a little too
long over this bright idea. In the first
place, two conventional lyricisms, to
put it mildly, hinder the play. We
have the old accent of the Midi, which
has just about been done to death on
uninteresting gag, as a plot, namely
the white hope of the family falling
in love with a Parisian actress, and
then having her almost snatched from
him by his guardian. The dénoue¬
ment of this rumpus is not so edifying
as it might be.
The Paris theatrical season just
wouldn't be complete without some
18th-century, customs and morals
somewhere on the stage. La Lecon“
d’Arour dans un Parc' includes all
these fixings, and in addition, a lovely
granite cupid who presides over
the intrigues in the country house
of the Marquise de Chamarante
(Yvonne Garrick). What this cupid
sees is nobody’s business, certainly not
that of the marquise's 12-year-old
daughter, Jacquette. The action re¬
volves about the alternating bursts of
Texuberance and remorse which flow
through the fond mother's heart until
S e