4.9. Anatol
Zyklu-
box 8/7
(Quellenangabe ohne Gewähr).
Ausschnitt aus:
The Morning Post, London
ME
vor
LITTLE THEATRE.
On Saturday Miss Lillah McCarthy opened a
short season at the Little Theatre, where will be
presented for two weeks a selection from the
sequence of dialogues collectively known as
Anatol." The programme is not for every¬
body, inasmuch as all the dialogues turn on
Anatol's gallantries, and Schnitzler, whose
German has been skilfully Englished by Mr.
Granville Barker, is a writer of no less
frankness than it. In this country Anatol,
vain, selfs, cowardly, and indiscreet,
would be regarded less tolerantly than at
Vienna, where his much steadier - going
friend Max seems amused rather than dis¬
gusted by Anatolis utter heartlessness. Five
of the dialogues are given, and in three of
these Mr. Granville Barker has already appeared
at the Palace. In Ask No Questions and You'l
Hear No Stories Anatol falls in with the sug
gestion of Max that if he really wants to know
whether or not he shares Hildas heart with
another he should hypnotise her and then put it
questions. Hilda is only too pleased to be
hypnotised, but after ascertaining from her
that her name is Hilda and that her ge¬
is not nineteen, as she has represented
but twenty-five he fights sy of putting the
crucial question and restores her to conscious
ness. Max observes : "Perhaps you've made
scientific discovery besides. That women tel
lies just as well when they're asleep. In
Ohristmas Present Anatol runs against an old
flame, Gabrielle, in the street, and they tall
together under the shelter of a doorway. The
present is the flowers which she gives him for the
girl who has supplanted her. The scene of An¬
Episode is Max's rooms, to which Anatol
brings all his old love-letters that Max
may take care of them for him. The different
writers are discussed, and one of them,
Bianca, a circus girl, to whom Anatol thinks
himself all in all, drops in. She comes for Max,
not for Anatol, whom she has the greatest diffi¬
culty in recalling. The Farwell Supper is
tolerably familiar. Anatol has fallen out of love
with Mimi, a ballet girl, and into love with
somebody else. He invites Max to supper at a
restaurant. Mimi is coming, and he wants to
break off with her. The two early agreed that
either on tiring of the other should
at once say so.
While Anatol is still
beating about the bush she tells him that she is
tired of him and on the point of marrying a
chorus-man. Lively recriminations ensue, and at
last she sweeps out of the room, having helped
herself to a bundle of cigars. Not for me.
They’re for him," she cries. In "The Wedaing
Morning it is Lona from whom Max desires to
free himself. He is to be married in two hours
and dare not tell her. He pretends that he is
only the best man, but she learns the truth at
last and wrecks the flat. All these dialogues
are very brightly written, the characters being
incisively drawn, and seldom, if ever, saying any¬
thing that sounds forced or unnatural. But
they are not for everybody, and had the Censor
showed more discrimination no one could have
been surprised. Mr. Granville Barker delivers
Anatole lines with the utmost point, but has
hardly the swing or the gaiety one imagines
Anatol should have. The Max of Mr. Nigel
Playfair is perfect. Self-possessed, quietly
taking the measure of his man and of his man's
friends, he contributes comments as caustie in
substance as they are casual in form. Miss
Gertrude Robins is a pretty and vivacious
Hilda, and Miss Katharine Pol is an interesting
Gabrielle. Miss Dorothy Minto a Bianca shows
a good sense of character and of class. Miss Lilla
McCarthy is a handsome, spirited, and subtle
Mimi. Mr. A. B. Tapping is a duly discret
waiter at the restaurant. Mr. Harry Dodd is
most amusing as Anatolis manservant. Miss
Alice Crawford gives an excellent study of the
superb and vindictive Lona and makes a most,
striking figure in the gorgeons and fantastic male
costume Lona has won at the masquerade ball.
Zyklu-
box 8/7
(Quellenangabe ohne Gewähr).
Ausschnitt aus:
The Morning Post, London
ME
vor
LITTLE THEATRE.
On Saturday Miss Lillah McCarthy opened a
short season at the Little Theatre, where will be
presented for two weeks a selection from the
sequence of dialogues collectively known as
Anatol." The programme is not for every¬
body, inasmuch as all the dialogues turn on
Anatol's gallantries, and Schnitzler, whose
German has been skilfully Englished by Mr.
Granville Barker, is a writer of no less
frankness than it. In this country Anatol,
vain, selfs, cowardly, and indiscreet,
would be regarded less tolerantly than at
Vienna, where his much steadier - going
friend Max seems amused rather than dis¬
gusted by Anatolis utter heartlessness. Five
of the dialogues are given, and in three of
these Mr. Granville Barker has already appeared
at the Palace. In Ask No Questions and You'l
Hear No Stories Anatol falls in with the sug
gestion of Max that if he really wants to know
whether or not he shares Hildas heart with
another he should hypnotise her and then put it
questions. Hilda is only too pleased to be
hypnotised, but after ascertaining from her
that her name is Hilda and that her ge¬
is not nineteen, as she has represented
but twenty-five he fights sy of putting the
crucial question and restores her to conscious
ness. Max observes : "Perhaps you've made
scientific discovery besides. That women tel
lies just as well when they're asleep. In
Ohristmas Present Anatol runs against an old
flame, Gabrielle, in the street, and they tall
together under the shelter of a doorway. The
present is the flowers which she gives him for the
girl who has supplanted her. The scene of An¬
Episode is Max's rooms, to which Anatol
brings all his old love-letters that Max
may take care of them for him. The different
writers are discussed, and one of them,
Bianca, a circus girl, to whom Anatol thinks
himself all in all, drops in. She comes for Max,
not for Anatol, whom she has the greatest diffi¬
culty in recalling. The Farwell Supper is
tolerably familiar. Anatol has fallen out of love
with Mimi, a ballet girl, and into love with
somebody else. He invites Max to supper at a
restaurant. Mimi is coming, and he wants to
break off with her. The two early agreed that
either on tiring of the other should
at once say so.
While Anatol is still
beating about the bush she tells him that she is
tired of him and on the point of marrying a
chorus-man. Lively recriminations ensue, and at
last she sweeps out of the room, having helped
herself to a bundle of cigars. Not for me.
They’re for him," she cries. In "The Wedaing
Morning it is Lona from whom Max desires to
free himself. He is to be married in two hours
and dare not tell her. He pretends that he is
only the best man, but she learns the truth at
last and wrecks the flat. All these dialogues
are very brightly written, the characters being
incisively drawn, and seldom, if ever, saying any¬
thing that sounds forced or unnatural. But
they are not for everybody, and had the Censor
showed more discrimination no one could have
been surprised. Mr. Granville Barker delivers
Anatole lines with the utmost point, but has
hardly the swing or the gaiety one imagines
Anatol should have. The Max of Mr. Nigel
Playfair is perfect. Self-possessed, quietly
taking the measure of his man and of his man's
friends, he contributes comments as caustie in
substance as they are casual in form. Miss
Gertrude Robins is a pretty and vivacious
Hilda, and Miss Katharine Pol is an interesting
Gabrielle. Miss Dorothy Minto a Bianca shows
a good sense of character and of class. Miss Lilla
McCarthy is a handsome, spirited, and subtle
Mimi. Mr. A. B. Tapping is a duly discret
waiter at the restaurant. Mr. Harry Dodd is
most amusing as Anatolis manservant. Miss
Alice Crawford gives an excellent study of the
superb and vindictive Lona and makes a most,
striking figure in the gorgeons and fantastic male
costume Lona has won at the masquerade ball.