Fruene Kakadu
Der
9. 3 een enenen
THE WORLD: TU
TRNNTTLEE MOCN OLDEN,
30 Ui. 10 CherHof
Children’s Society Does Not In¬
terfere in This Case of Haupt¬
mann-16-Vears-After.
Hannele“ came back to New Tork
last evening after sixteen Fears. And
there was a difference. No apprehen¬
sions of blasphemy and impiety heralded
the production. No police injunction was
threatened. No Gerry Soclety arose 15
protest the appearance of an Alice
Pierce in the title role. The Haupt¬
mann allegory was presented at the Ly¬
ceum Theatre qufte as a dramatic mat¬
ter of course. The attitude of the audi¬
ence was unusual in no perceptible par¬
ticular. Mrs. Fiske, offering maturity of
art as of person, played the role of the
dreaming, dying child to the ordinary
theatrical measure of appretdation.
It is thus that the times and the visible
public sentiment have changed in the
matter of presenting on the stage the
most intimate and vital suggestions of
the Christian idea. Opinions may differ
as to whether a greater tolerance has
obtained, a greater breadth of view, a
broader perception of spiritual opportu¬
nity, or a degree of carelessness regard¬
ing the environment of the rellgious
thought. Certainly last night’s audience
treated the tender, more sacred stage
episodes with apparent reverence. Yet
soft jests and laughter were heard in
spots at the apparition of Death, and the
lapse between the periods of the play
into the ordinary frivolitles of the boxes,
the orchestra seats and the balcony was
complete and easy.
The effect of this new public attitude
must be considered upon the play itself
and its probable fate. If the change is
a mark of lighter consideratlon for cer¬
tain topies of grave issue, Hannele'
is further than at the time of its earlier
production from the achlevement of
plain popularity. It must depend for
any enduring strength upon some depth
of Interest founded upon serlous con¬
victions as to the religious possibilities
of the drama. Last night’s gathering
afforded no basis for judgment ás to
the existence of such a carrying inter¬
est.
In the main, Hannele“ is presented
at the Lyceum precisely as it was at
the Fifth Avenue Theatre in 1894. Full
advantage is taken, however, of the
advance in stage methods and lighting.
The effectiveness of the apparitions of
Death, the angels and the dying child’s
dead mother is thus greatly increased.
Mrs. Fiske as Hannele preserved re¬
markably in her reading of the lines the
tones of a tortured and ailing child¬
hood, yet it must be sald that the illu¬
sion of the role was not complete even
in the half-lights of the almshouse
setting. The Gottwold of Holbrook
Blinn, the Sister Martha of Allce John
and the Mattern of Fuller Mellish were
very admirable and the support in lesser
roles was capable. There was special
music by Max Marschalk.
Archur Schnitzler’s one-act piece,
UThe Green Cockatoo,“ used as a cur¬
tain raiser, achieved a sensational little
triumph. The principal roles were car¬
ried by Allce John, Henry Stephenson,
box 15/3
0 THE
Mas. FISKE IN CHILD ROLE!
HAUPTMANNS °HANNELF 18
AN ARTISTIC SUCCESS.
Tender-Littie Play, Which a Good Companz
Makes Much Or Despite Some Ihcon¬
gruities—The Green Cockatoo“ I8
Also Presented, Withodt the Star.
Mrs. Fiske carried her policy of artistic
self-effacement a degree further than she
had in The Pillars of Society“ when she
appeared last night at the Lyceum Theatre
asthe childish heroine of Gerhart Haupt¬
mann’s poetic play,Hannele.“ The'
character she enacted holds the stagel
throughout thetwo short scenes, but it
offerslittle or no opportunity to test Mrs.
Fiske’s best powers, or even fe indicate
them faintly.
Her chances for triumph—if ohe may
mention that word in the case of such an
unexacting röle—lie rather in her ability
to leave undone just what her public.
might reasonably be led to expect her
to do. It is readily comprehensible, how¬
ever, that the desire to produce the little
play might appeal irresistibly to her as
a stage manager and a supporter ofthe
best that the contemporary theatre yields.
Hauptmann’s drama is not unknown
bere. It was almost new and had just
achieved fame for its author in Berlin,
when a version by C. H. Meitzer was per¬
formed—and not very adequately per¬
formed—at the Fifth Avenue Theatre
abeut sixteen years ago. Then it was
dismissed almost without a hearing and
has always
the New York
Hauptmann’s
remained indiffer
Sunken
genius, er
ties to
Bell,
ionally
other
hout
rely¬
of
the
n
S
88
bis
en
His
rings
reat
r own
vision
poetry
and its
de in the
beauties as
r all markets
eslightest knowl¬
t is undeniable
that many persons would find little to
interest them even in Mrs. Fiske’s produc¬
tion of the play which left fewofits merits
unrevealed. Yet its original and fresh
poetic charm —despite its sombre subject
—must find admirers.
Mrs. Fiske knew that to play success¬
fully a girl of 14 would be for her a histri¬
onic tour de force without adding mar
terially to her reputation. The Hysteri¬
cal, nervous. frightened state of the
child she depicted strikingly, although her
voice had no juvenile note. Her faith in
her religion and her resignation tothe re¬
wards death promised her were also suc¬
cessfully indicated, but it was her artis¬
tic and appreciative production of Haupt¬
mann'’s play rather than her performance
of" Hannele' that put New York theatre:
goers again under obligation to her.
Holbrook Blinn, Alice John and the
ther members C
Fiske's Conpalry
Der
9. 3 een enenen
THE WORLD: TU
TRNNTTLEE MOCN OLDEN,
30 Ui. 10 CherHof
Children’s Society Does Not In¬
terfere in This Case of Haupt¬
mann-16-Vears-After.
Hannele“ came back to New Tork
last evening after sixteen Fears. And
there was a difference. No apprehen¬
sions of blasphemy and impiety heralded
the production. No police injunction was
threatened. No Gerry Soclety arose 15
protest the appearance of an Alice
Pierce in the title role. The Haupt¬
mann allegory was presented at the Ly¬
ceum Theatre qufte as a dramatic mat¬
ter of course. The attitude of the audi¬
ence was unusual in no perceptible par¬
ticular. Mrs. Fiske, offering maturity of
art as of person, played the role of the
dreaming, dying child to the ordinary
theatrical measure of appretdation.
It is thus that the times and the visible
public sentiment have changed in the
matter of presenting on the stage the
most intimate and vital suggestions of
the Christian idea. Opinions may differ
as to whether a greater tolerance has
obtained, a greater breadth of view, a
broader perception of spiritual opportu¬
nity, or a degree of carelessness regard¬
ing the environment of the rellgious
thought. Certainly last night’s audience
treated the tender, more sacred stage
episodes with apparent reverence. Yet
soft jests and laughter were heard in
spots at the apparition of Death, and the
lapse between the periods of the play
into the ordinary frivolitles of the boxes,
the orchestra seats and the balcony was
complete and easy.
The effect of this new public attitude
must be considered upon the play itself
and its probable fate. If the change is
a mark of lighter consideratlon for cer¬
tain topies of grave issue, Hannele'
is further than at the time of its earlier
production from the achlevement of
plain popularity. It must depend for
any enduring strength upon some depth
of Interest founded upon serlous con¬
victions as to the religious possibilities
of the drama. Last night’s gathering
afforded no basis for judgment ás to
the existence of such a carrying inter¬
est.
In the main, Hannele“ is presented
at the Lyceum precisely as it was at
the Fifth Avenue Theatre in 1894. Full
advantage is taken, however, of the
advance in stage methods and lighting.
The effectiveness of the apparitions of
Death, the angels and the dying child’s
dead mother is thus greatly increased.
Mrs. Fiske as Hannele preserved re¬
markably in her reading of the lines the
tones of a tortured and ailing child¬
hood, yet it must be sald that the illu¬
sion of the role was not complete even
in the half-lights of the almshouse
setting. The Gottwold of Holbrook
Blinn, the Sister Martha of Allce John
and the Mattern of Fuller Mellish were
very admirable and the support in lesser
roles was capable. There was special
music by Max Marschalk.
Archur Schnitzler’s one-act piece,
UThe Green Cockatoo,“ used as a cur¬
tain raiser, achieved a sensational little
triumph. The principal roles were car¬
ried by Allce John, Henry Stephenson,
box 15/3
0 THE
Mas. FISKE IN CHILD ROLE!
HAUPTMANNS °HANNELF 18
AN ARTISTIC SUCCESS.
Tender-Littie Play, Which a Good Companz
Makes Much Or Despite Some Ihcon¬
gruities—The Green Cockatoo“ I8
Also Presented, Withodt the Star.
Mrs. Fiske carried her policy of artistic
self-effacement a degree further than she
had in The Pillars of Society“ when she
appeared last night at the Lyceum Theatre
asthe childish heroine of Gerhart Haupt¬
mann’s poetic play,Hannele.“ The'
character she enacted holds the stagel
throughout thetwo short scenes, but it
offerslittle or no opportunity to test Mrs.
Fiske’s best powers, or even fe indicate
them faintly.
Her chances for triumph—if ohe may
mention that word in the case of such an
unexacting röle—lie rather in her ability
to leave undone just what her public.
might reasonably be led to expect her
to do. It is readily comprehensible, how¬
ever, that the desire to produce the little
play might appeal irresistibly to her as
a stage manager and a supporter ofthe
best that the contemporary theatre yields.
Hauptmann’s drama is not unknown
bere. It was almost new and had just
achieved fame for its author in Berlin,
when a version by C. H. Meitzer was per¬
formed—and not very adequately per¬
formed—at the Fifth Avenue Theatre
abeut sixteen years ago. Then it was
dismissed almost without a hearing and
has always
the New York
Hauptmann’s
remained indiffer
Sunken
genius, er
ties to
Bell,
ionally
other
hout
rely¬
of
the
n
S
88
bis
en
His
rings
reat
r own
vision
poetry
and its
de in the
beauties as
r all markets
eslightest knowl¬
t is undeniable
that many persons would find little to
interest them even in Mrs. Fiske’s produc¬
tion of the play which left fewofits merits
unrevealed. Yet its original and fresh
poetic charm —despite its sombre subject
—must find admirers.
Mrs. Fiske knew that to play success¬
fully a girl of 14 would be for her a histri¬
onic tour de force without adding mar
terially to her reputation. The Hysteri¬
cal, nervous. frightened state of the
child she depicted strikingly, although her
voice had no juvenile note. Her faith in
her religion and her resignation tothe re¬
wards death promised her were also suc¬
cessfully indicated, but it was her artis¬
tic and appreciative production of Haupt¬
mann'’s play rather than her performance
of" Hannele' that put New York theatre:
goers again under obligation to her.
Holbrook Blinn, Alice John and the
ther members C
Fiske's Conpalry