Liebele
6. 1
box 11/2
gemn an; 5
TPSIIN.
PSCHaTzLENS LIEBELeT.
AN ARER VIENNESE TRAGEDT
CALLED“THIE RECKONING.
Best and Most Serlous Work of the
Author of“Souper d'Adlen“ —Polgnant
Pathos Centreing in the Malden Who
Loves Too Well-Albert Bruning Pleases
Arthur Schnitzler, the leader of modern
playwrights in Vienna, whom Charlotte
Wiehe made known to us two years ago at
the Berkeley Lyceum Theatre in bis farcical
Souper d'Adien,“was seen ab the same
house last night in his best and most serious
piece, Liebelei.“ which in English is called
The Reckoning.“ Poth plays are intensely
Viennese, centring in the amours of easy,
careless youth—"Das Süsse Mad’l.“ But
where the former piece deliciously mocks
their sham heroics, this one lays bare with
finely poignant art the tragedy chat may
lie beneath them.
The thematio centre of the play last night
was an old musician of humble fortune.
Unable to provide a marrlage portion for
his sister, he had guarded her with jealons
care, had seen her grow old in virtuous
spinsterhood by his side, and finally die
having never known the joy of youth and
love. The title of her fate might have
been’No Viennese Waltz Music for Her.“
Saddened in his sensuously poeticold heart,
he resolved to let his daughter Christine
taste the wine of life, though illicitly, It
is her “caresses' and the fate of them that
give the play the title.
Her lover is a young student who is just
a mar¬
struggling free from an affa
ried woman in which he
and who takes up with (
before he is well off witl
B
is a duel with the hur
voung man is killed.
above waltz musie.
passionately in love.
have a place at the
not she. She demand
grave, and is told that
woman there. She
and her griefstri
he will find her de
The main inci
acts—the amour,
familiar enoug
What gives t
character is th
and its tragic
the purpose of
is to pave the wa
is probably not desti
fate of the dowerless gir
in general, and the frank unmor
this story in particular, are not li
find any broadly sympathetic hearin
puritan country. But the fun
theme of it all-the right tothe
and love—is universal; and tre.
with fine sympathy and essen
it abundantly rewards an intelli
is
The present productie
direction of Gustav von Seyffen
leading comedian and stage ma
the Irving Place theatre, in colaboration
Except when
with Frederick Sullivan.
cramped by the narrowness of the stage
it is distinctly competent.
The acting is able if undistinguished.
Katherine Grey as the heroine, reveals
unwonted simplicity and charm in the
earlier phases of her interpretation, and s
sincere throughout, though clearly not up
to the intense and poignant emnotionalism
of the last act. As her father, George
Henry Trader gives an able technical pe.
formance, though without mellowness.
Phyllis Rankin is breezy in the part of
the more ordinary type of cocotte, anc
Sarah MeVickar does a character sketel
amusingly. The young lover and his friene
are agreeably played by John Dean and
Robert Conness.
By farthe best work of the evening wa
done by Albert Bruning, as the wronge
Lusband. He appears for only a momen
but bis magnetism and latent force ure
electrie and illumined the scene. Together
with his Rosedale in the ill fated“ House
of Mirth.“ the performance places him very
high among our actors.
The translation, by Grace Isabel Colbron,
is simple, ensy and touched with happy
vernacular.
6. 1
box 11/2
gemn an; 5
TPSIIN.
PSCHaTzLENS LIEBELeT.
AN ARER VIENNESE TRAGEDT
CALLED“THIE RECKONING.
Best and Most Serlous Work of the
Author of“Souper d'Adlen“ —Polgnant
Pathos Centreing in the Malden Who
Loves Too Well-Albert Bruning Pleases
Arthur Schnitzler, the leader of modern
playwrights in Vienna, whom Charlotte
Wiehe made known to us two years ago at
the Berkeley Lyceum Theatre in bis farcical
Souper d'Adien,“was seen ab the same
house last night in his best and most serious
piece, Liebelei.“ which in English is called
The Reckoning.“ Poth plays are intensely
Viennese, centring in the amours of easy,
careless youth—"Das Süsse Mad’l.“ But
where the former piece deliciously mocks
their sham heroics, this one lays bare with
finely poignant art the tragedy chat may
lie beneath them.
The thematio centre of the play last night
was an old musician of humble fortune.
Unable to provide a marrlage portion for
his sister, he had guarded her with jealons
care, had seen her grow old in virtuous
spinsterhood by his side, and finally die
having never known the joy of youth and
love. The title of her fate might have
been’No Viennese Waltz Music for Her.“
Saddened in his sensuously poeticold heart,
he resolved to let his daughter Christine
taste the wine of life, though illicitly, It
is her “caresses' and the fate of them that
give the play the title.
Her lover is a young student who is just
a mar¬
struggling free from an affa
ried woman in which he
and who takes up with (
before he is well off witl
B
is a duel with the hur
voung man is killed.
above waltz musie.
passionately in love.
have a place at the
not she. She demand
grave, and is told that
woman there. She
and her griefstri
he will find her de
The main inci
acts—the amour,
familiar enoug
What gives t
character is th
and its tragic
the purpose of
is to pave the wa
is probably not desti
fate of the dowerless gir
in general, and the frank unmor
this story in particular, are not li
find any broadly sympathetic hearin
puritan country. But the fun
theme of it all-the right tothe
and love—is universal; and tre.
with fine sympathy and essen
it abundantly rewards an intelli
is
The present productie
direction of Gustav von Seyffen
leading comedian and stage ma
the Irving Place theatre, in colaboration
Except when
with Frederick Sullivan.
cramped by the narrowness of the stage
it is distinctly competent.
The acting is able if undistinguished.
Katherine Grey as the heroine, reveals
unwonted simplicity and charm in the
earlier phases of her interpretation, and s
sincere throughout, though clearly not up
to the intense and poignant emnotionalism
of the last act. As her father, George
Henry Trader gives an able technical pe.
formance, though without mellowness.
Phyllis Rankin is breezy in the part of
the more ordinary type of cocotte, anc
Sarah MeVickar does a character sketel
amusingly. The young lover and his friene
are agreeably played by John Dean and
Robert Conness.
By farthe best work of the evening wa
done by Albert Bruning, as the wronge
Lusband. He appears for only a momen
but bis magnetism and latent force ure
electrie and illumined the scene. Together
with his Rosedale in the ill fated“ House
of Mirth.“ the performance places him very
high among our actors.
The translation, by Grace Isabel Colbron,
is simple, ensy and touched with happy
vernacular.