Liebeler
5. S
box 11/2
ia Reallitar
POWDER CO., NEW VORK.
—
ins THE RECKONING‘ GREAT.
Queer Little Berkeley Theatre Again
nst
the Scene of a Stage Master¬
rch
piece of Wonderful Power.
4
Is there nothing eise in life for a.
t
young girl but that she should marry
va
the first young man with a steady jon
who offers himself?“ asks Hans Wehring,
ill- sof Mrs. Binder, in Liebelel.“Am I
agaln to have before my eyes another
ers such as my poor sister, who I guarded so
18
carefully from temptation—and from hap¬
piness?
ny
wning
th such ideas, it iss1
1
ot su
C
e apart¬
anjoying a
bruder¬
nga mad waltz. Tet
bably 1s,
more than reck¬
assion 80
that more
heart
t#
8
was
1e night
fear atlo
inally, the
bell; trem¬
andr
lbstance of
nhang¬
to de¬
,as to
lusband t###
all of ther
eodor is no more a
eep-dyed villain, but t
nge steadlly, when it t.
t a sense of the ful-1d
onition. Christine, too,
s infected by it, and g
the funereal friendit##
rthe truth that Teo¬
at the pistol of an-so
band, that the burial L
urs before, very qulet-Ir
w friends and relatives
spoke of you, too,“ Fritz 181
hen Christine turns to
Hans, the first violln,
ehends, and not to Fri
efat, Jolly comrade.
W
hé screams. He spoke o
a few relatives and friends
ttie cafmer, Christine, pleads Al
ol“ eries the girl In agony. bloc
ether calm to-morrow, and in six Con
s another lover? Let me pray at run
wal
his grave.“ Fritz intercepts her." Tou
wer¬
will find another praying there,“ he says.
This is the little tragedy that may bemen
issten at the Berkeley Theatre, a tiny place bloc
i Von Forty-fourth street, Manhattan, which it w
o, has seen the birth and death of cults in-door
numerable. It is the best work of Ar-star
olthur Schnitzler, a writer whose power com
and genlus rises superlor to a transla- fire!
3,
ter. The English title is The Reckon- alar
9.
aling.“ Seven persons play the piece, giv-itt.
ing in it a truly remarkable exhibition of and
A
supremedramaticart. For instance, Albertithe
Bruning, who has but twenty lines, andwith
Is scarcely five minutes on the stage,flagr
Th.
makes an impression that is positively
profound. Katherine Grey, the Chris-all t
tine, accomplishes feats of emotional de-the
scription that would be almost incred- Com:
ible to relate. To sec her final scene in Wiet
UThe Reckoning“ is a joy no lover of reser
the drama should deny himself. Johnwas
Dean, Robert Conness, Phyllis Rankin, sof r
Sarah MeVickar and George Henry Tra-hatt.
aven
der act the other roles superbly, with
teent
every sense keyed to the demands of
alle
Schnitzler’s master hand. There is no
ferr;
scenery to speak of, simply acting of the
walk
kind that pietures humanlty.
sing
torba
5. S
box 11/2
ia Reallitar
POWDER CO., NEW VORK.
—
ins THE RECKONING‘ GREAT.
Queer Little Berkeley Theatre Again
nst
the Scene of a Stage Master¬
rch
piece of Wonderful Power.
4
Is there nothing eise in life for a.
t
young girl but that she should marry
va
the first young man with a steady jon
who offers himself?“ asks Hans Wehring,
ill- sof Mrs. Binder, in Liebelel.“Am I
agaln to have before my eyes another
ers such as my poor sister, who I guarded so
18
carefully from temptation—and from hap¬
piness?
ny
wning
th such ideas, it iss1
1
ot su
C
e apart¬
anjoying a
bruder¬
nga mad waltz. Tet
bably 1s,
more than reck¬
assion 80
that more
heart
t#
8
was
1e night
fear atlo
inally, the
bell; trem¬
andr
lbstance of
nhang¬
to de¬
,as to
lusband t###
all of ther
eodor is no more a
eep-dyed villain, but t
nge steadlly, when it t.
t a sense of the ful-1d
onition. Christine, too,
s infected by it, and g
the funereal friendit##
rthe truth that Teo¬
at the pistol of an-so
band, that the burial L
urs before, very qulet-Ir
w friends and relatives
spoke of you, too,“ Fritz 181
hen Christine turns to
Hans, the first violln,
ehends, and not to Fri
efat, Jolly comrade.
W
hé screams. He spoke o
a few relatives and friends
ttie cafmer, Christine, pleads Al
ol“ eries the girl In agony. bloc
ether calm to-morrow, and in six Con
s another lover? Let me pray at run
wal
his grave.“ Fritz intercepts her." Tou
wer¬
will find another praying there,“ he says.
This is the little tragedy that may bemen
issten at the Berkeley Theatre, a tiny place bloc
i Von Forty-fourth street, Manhattan, which it w
o, has seen the birth and death of cults in-door
numerable. It is the best work of Ar-star
olthur Schnitzler, a writer whose power com
and genlus rises superlor to a transla- fire!
3,
ter. The English title is The Reckon- alar
9.
aling.“ Seven persons play the piece, giv-itt.
ing in it a truly remarkable exhibition of and
A
supremedramaticart. For instance, Albertithe
Bruning, who has but twenty lines, andwith
Is scarcely five minutes on the stage,flagr
Th.
makes an impression that is positively
profound. Katherine Grey, the Chris-all t
tine, accomplishes feats of emotional de-the
scription that would be almost incred- Com:
ible to relate. To sec her final scene in Wiet
UThe Reckoning“ is a joy no lover of reser
the drama should deny himself. Johnwas
Dean, Robert Conness, Phyllis Rankin, sof r
Sarah MeVickar and George Henry Tra-hatt.
aven
der act the other roles superbly, with
teent
every sense keyed to the demands of
alle
Schnitzler’s master hand. There is no
ferr;
scenery to speak of, simply acting of the
walk
kind that pietures humanlty.
sing
torba