Der
uene Kakadu
9. 3. 1
box 15/3
Ingede, Kin., Inncten 1 Wen
hattan Company in Lyeeum.
Hannele,“a translation from the so¬
called "dream poem“ of Gerhart Haupt¬
mann, and The Green Cockatoo,“ a
translation of what has been termed a
Pgrotesquerie“ of Arthur Schnitzler, were
presented by Mrs. Fiske and the Manhat¬
tan company last evening in the Lyceum
Theatre. Mrs. Fiske appeared only in
Hannele“ and in the title role gave an
impersonation of a dying giri in deltrium
after she has been rescued from an lcy
lake into which she has cast herself.
This play represents many features that
are startling to the ordinary Broadway
audience seeking something new in the
way of gayety or of tragedy. It goes with¬
out saying, however, that the Broadway
habitues will find littie to interest them in
st. The two parts of“ Hannele“ reveal first
several thleves quarreling among them¬
selves. Among them the dying girl is car¬
fried. To the view of the audience is pre¬
ssented the drunken father raving about
his daughter; the angel mother, then
angels with wings, an eerle undertaker
who gowns the dying girl as a bride while
gaping Death looks on, a group of angels
who carry a coffln on the stage and place
sthe girl in it; an angel who ralses the girl
from the coffin and leads her up the
golden stairs. All this happens in the
dream of the girl, but is actually pre¬
sented on the stage.
A reheersal of there sallent features of
the play is sufficient for the ord.nary
Broadway audience. But these things are
garbed in poetic thought in such a man¬
ner as to prove uplifting and to deprive
what otherwise might have proved a
weepy“ play of its tears. There is a con¬
trast between the sordid life into which
the girl was born, its hardships and heart
nother
aches, and the dream of a lif
world. The peauty and tenderness of tlie
lting
life of her dreams softens ti
into
conditions of her reai life and the
which she hoped to enter when she cast
herself into the lake.
As ehe murmurs in her delirium che
thinks her mother appears and gives her a
primrose, which is the key to heaven. It
was the alm of the poet to present death
and resurrection in a drama, and to do so
in a manner that Aristotle speaks of a
quality of a poetic tragedy
the “purging
—a play that fills the audience with awe
and purifles by the reverence and the spir¬
is #e#king
#tual uplift. But Broadwa
neither for reverence nor elevating drama.
That Mrs. Fiske could remain on the
stago for an hour and a half lest evening
and hold the attention of her audience in
such a play is a tribute to hei
Tou seldom see Mrs. Fiske. Y
hear her volce in bed. Except f
moments, you only see her lips n
von hear her wonderful volce, cle
3
bell, threbbing with fear as shi
death approach; happiness as the angels
sing to her, and tenderness at the sight
of her mother.
ythe power of her volce alone Mrs.
Fiske carried across the footlights the
poetic impression that the poet-dramatist
wished to convey. She succeeded In over¬
coming the startling setbacks that such
things as coffins, angels. hymns and im¬
personated Death are kely to prove to
any audience that secks amusement and
not the uplift of a sermon.
The translation by Marv Safford and
the metrical passages by Percy Mackaye
were not as #mooth as the original and
undoubtedly lost much of the poetic qual¬
Ity the author’s original verse has. There
ware lines that except fer Mrs. Fleke's
The
oower would have aroused a laugh.
long tragie music preceding the play was
#est on the audience. The orchestra was
conducted by Alexander Z. Birnbaum.
The Green Cockatoo,“ a one-act cur¬
tain ralser, has plenty of life and gayet
with n sudden and grotesquely tragie end¬
ing. The Green Cockatoo is a cabaret in
Paris, erhare members of the nobility in
eustomed to seek amusement.
1789 *
of actors is hired by the pro¬
A
prie co impersonate eriminals and nar¬
rate eir terrible crimes for thé amuse¬
ment fthe titled visttors.
Presently there appears Grain, played
pa Wilfred Buckland cleverly, wiho Is a
real thief. He proves to be the plvot
around which the action moves. The
chief member of the troupe in the cabaret
Henri, who marries Leocadie, an
18
actress.
As he announces his wedding, Grain
tells of the relationship betweer. Leocadie
andthe Duc de Cadignan. The visltors
are startled as Henrl enacts the part of
having killed the Duke.
They do not think he is acting, and then
Grain unwittingly reveals the real situ¬
action to him. Whereupon. as che Duke
suddenly appears, he ie killed by Henrl.
The contrast between the pseudo life of
the stage and the real life of the dive is
grotesquely appealing.
Henri. as played by Holbrook Blinn, 13
interesting. Several otheracts were not
so powerfully interpreted as the ilfe and
vitallty and erlspness of the lines de¬
manded. Allee John plaved Leocadie.
uene Kakadu
9. 3. 1
box 15/3
Ingede, Kin., Inncten 1 Wen
hattan Company in Lyeeum.
Hannele,“a translation from the so¬
called "dream poem“ of Gerhart Haupt¬
mann, and The Green Cockatoo,“ a
translation of what has been termed a
Pgrotesquerie“ of Arthur Schnitzler, were
presented by Mrs. Fiske and the Manhat¬
tan company last evening in the Lyceum
Theatre. Mrs. Fiske appeared only in
Hannele“ and in the title role gave an
impersonation of a dying giri in deltrium
after she has been rescued from an lcy
lake into which she has cast herself.
This play represents many features that
are startling to the ordinary Broadway
audience seeking something new in the
way of gayety or of tragedy. It goes with¬
out saying, however, that the Broadway
habitues will find littie to interest them in
st. The two parts of“ Hannele“ reveal first
several thleves quarreling among them¬
selves. Among them the dying girl is car¬
fried. To the view of the audience is pre¬
ssented the drunken father raving about
his daughter; the angel mother, then
angels with wings, an eerle undertaker
who gowns the dying girl as a bride while
gaping Death looks on, a group of angels
who carry a coffln on the stage and place
sthe girl in it; an angel who ralses the girl
from the coffin and leads her up the
golden stairs. All this happens in the
dream of the girl, but is actually pre¬
sented on the stage.
A reheersal of there sallent features of
the play is sufficient for the ord.nary
Broadway audience. But these things are
garbed in poetic thought in such a man¬
ner as to prove uplifting and to deprive
what otherwise might have proved a
weepy“ play of its tears. There is a con¬
trast between the sordid life into which
the girl was born, its hardships and heart
nother
aches, and the dream of a lif
world. The peauty and tenderness of tlie
lting
life of her dreams softens ti
into
conditions of her reai life and the
which she hoped to enter when she cast
herself into the lake.
As ehe murmurs in her delirium che
thinks her mother appears and gives her a
primrose, which is the key to heaven. It
was the alm of the poet to present death
and resurrection in a drama, and to do so
in a manner that Aristotle speaks of a
quality of a poetic tragedy
the “purging
—a play that fills the audience with awe
and purifles by the reverence and the spir¬
is #e#king
#tual uplift. But Broadwa
neither for reverence nor elevating drama.
That Mrs. Fiske could remain on the
stago for an hour and a half lest evening
and hold the attention of her audience in
such a play is a tribute to hei
Tou seldom see Mrs. Fiske. Y
hear her volce in bed. Except f
moments, you only see her lips n
von hear her wonderful volce, cle
3
bell, threbbing with fear as shi
death approach; happiness as the angels
sing to her, and tenderness at the sight
of her mother.
ythe power of her volce alone Mrs.
Fiske carried across the footlights the
poetic impression that the poet-dramatist
wished to convey. She succeeded In over¬
coming the startling setbacks that such
things as coffins, angels. hymns and im¬
personated Death are kely to prove to
any audience that secks amusement and
not the uplift of a sermon.
The translation by Marv Safford and
the metrical passages by Percy Mackaye
were not as #mooth as the original and
undoubtedly lost much of the poetic qual¬
Ity the author’s original verse has. There
ware lines that except fer Mrs. Fleke's
The
oower would have aroused a laugh.
long tragie music preceding the play was
#est on the audience. The orchestra was
conducted by Alexander Z. Birnbaum.
The Green Cockatoo,“ a one-act cur¬
tain ralser, has plenty of life and gayet
with n sudden and grotesquely tragie end¬
ing. The Green Cockatoo is a cabaret in
Paris, erhare members of the nobility in
eustomed to seek amusement.
1789 *
of actors is hired by the pro¬
A
prie co impersonate eriminals and nar¬
rate eir terrible crimes for thé amuse¬
ment fthe titled visttors.
Presently there appears Grain, played
pa Wilfred Buckland cleverly, wiho Is a
real thief. He proves to be the plvot
around which the action moves. The
chief member of the troupe in the cabaret
Henri, who marries Leocadie, an
18
actress.
As he announces his wedding, Grain
tells of the relationship betweer. Leocadie
andthe Duc de Cadignan. The visltors
are startled as Henrl enacts the part of
having killed the Duke.
They do not think he is acting, and then
Grain unwittingly reveals the real situ¬
action to him. Whereupon. as che Duke
suddenly appears, he ie killed by Henrl.
The contrast between the pseudo life of
the stage and the real life of the dive is
grotesquely appealing.
Henri. as played by Holbrook Blinn, 13
interesting. Several otheracts were not
so powerfully interpreted as the ilfe and
vitallty and erlspness of the lines de¬
manded. Allee John plaved Leocadie.