4.9. Anatol
Zyklus
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Telephon 12801
„OBSER
1. österr. behördl. konzession. Unternehmen für Zeitungs-Ausschnitte
WIEN, CONCORDIAPLATZ 4
Vertretungen:
in Berlin, Basel, Budapest, Chicago, Cleveland, Christiania,
Genf, Kopenhagen, London, Madrid, Mailand, Minneapolis,
New-York, Paris, Rom, San Francisco, Stockholm, St. Peters¬
burg, Toronto.
Wellenangabe, die Verhr.
Ausschnitt aus:
er von
Num.
In Manhattan.
THE AFFAIRS OF ANATOLThis latest production
4 of Mr. Winthrop Ames, with which his dainty Little
Theatre on Forty-fourth Street was opened for its second
season on October fourteenth, has been so freely discussed
and criticised by this time that little can be said about it
which someone has not already said. It is not a play, nor
does it purport to be, but a sequence of amatory episodes
-
in the carcer of man of fashion whose sentimentality
ing the romantic is tied with conicis.
His prototypes may be found in any European capital and even
in New York, though the type is distinctly the product of a
leisure class. The original by Arthur Schnitzler has been re¬
ceived with great favor abroad and there is no reason to
believe that it has lost anything in the English paraphrase by
Granville Barker, which is given at the Little Theatre, or
that it will be less popular here. Clever, is the most apt
term that can be applied to it. It is extremely clever and
satirical and might seem to have been written for the little
playhouse in Forty-fourth Street. John Barrymore plays the
role of Anatol with what would seem a perfect appreciation
or understanding of the type. It has been remarked that this
manner becomes monotonous but how could it be otherwise?
Anatol himself found the same woman monotonous in the
course of a single episode. Oswald Yorke, as his practical
friend, Max, is a perfect foil to Anatol and deserves an
equal share in the honors with Barrymore. The women of
the cast have far less opportunity to shine. Marguerite
Clark's talents are rather lost on the first episode as she has
little to do but look pretty in which she is preminently suc¬
cessful, and answer questions while in an hypnotic sleep.
The cleverest characterization is that of Mimi, the opera sing¬
er, to whom Anatol is giving a farewell supper. This role is
deliciously interpreted by Doris Keene, who makes Mimis
indifference to Anatol ludicrously apparent and brings to
earth all his romantic apprehensions of a painful scene by
emphasizing her fondness for oysters and champagne. In
the fourth episode Katherine Emmet enacts with thorough¬
bred distinction the role of one of Anatols old flames of his
own class. Coupled with rare beauty she has that indefinable
air of good breeding which even the most capable actresses
seem unable quite to simulate unless to the manner born.
The part of the virago who breaks in upon Anatol, while he
is preparing for his wedding in the last episode, falls to Eliza¬
beth Lee, who certainly looks the part and plays it with vigor
if not with consummate finish, though she manages to finish
the bridesmaid's bouquet and smash most of Anatols brie¬
a brac. In the very amusing second episode Gail Kane has a
very slight part. The play has been criticised on grounds of
morality or propriety. It is certainly unmoral if not immoral.
It makes light of what it is not well should be lightly re¬
garded, but it is difficult to imagine any mature person taking
it seriously or as anything more than an amusing study of
cleverly differentiated human types. There is no suggestion
of coarseness or vulgarity in it. At the same time it is not
the sort of entertainment one would recommend to those
who are contemplating theater parties for débutantes.
box 9/1
Wenden!
Räthselte beachten
Wenden!
Telephon 12801
OBSER
I. österr. behördl. konzession. Unternehmen für Zeitungs-Ausschnitte
WIEN I, CONCORDIAPLATZ 4
Vertretungen:
in Berlin, Basel, Budapest, Chicago, Cleveland, Christiania,
Genf, Kopenhagen, London, Madrid, Mailand, Minneapolis,
New-York, Paris, Rom, San Francisco, Stockholm, St. Peters¬
burg, Toronto.
legen der
Ausschnitt aus:
ein fort¬
0
-
LITTLE THEATRE. THE AFFAIRS OF ANA¬
A sequence of episodes by Arthur
Schnitzler. Produced Oct. 14 with this cast:
Anatol, Barrymore; Max, Oswald Yorke; Hilda,
Marguerite Clark; Bianca, Gail Kane; Mimi, Doris
Kane; Waiter, Alfred de Ball; Gabrielle, Katherine
Emmet; Lona, Isabella Lee; Franz, Albert Easdale.
Arthur Schnitzler could hardly have desired
a better stage than that of the Little Theatre for
the production of his fascinating transcript from
This
Viennese life, the Affairs of Anatol.
novel series of dialogues between a young man,
whose vocation is being in love, and five young
women who further his amative career, demands,
above all else, the setting of an intimate theatre.
An account of Schnitzlers work has already been
given in these pages. All that needs to be added
here is that the stagging at the Little Theatre,
with its attention to detail, that is neither exag
gerated nor laborious, left nothing to be desired,
and gave the spectator that feeling of complete
satisfaction which comes from viewing anything
that bears the imprint of a master hand. If the
American audience finds its moral sensibilities
shocked by these risqué episodes, it is because it
allows itself to take them seriously. If it does
not appreciate the subtle it and the delicate
satire of the play, it is either because it is not
understood or because the actors did not quite
succeed in infusing into their performance the
Viennese flavor.
There was finesse and polish in the acting
throughout, and especially in the work of Doris
Kene, who, as the conscienceless and carefree
Mimi of the opera, playing fast and loose with
the weathercock heart of the hero, merited the
most spontaneous applause from her audience.
Though Mr. Barrymore displayed well the fas¬
cination and the inconsequentiality of Anatol, he
never succeeded in making an Austrian bon¬
vivant and collector of a romantic past out of a
prosaic, matter-of-fact American. The monotony
of his voice and gesture helped to foil his good
attempts. The playing of Oswald Yorke in the
difficult rôle of the foil for the hero, though
sympathetic and intelligent, gave rise to the con¬
jecture that, had he portrayed Max in greater
contrast to Anatol, he would have made him
more convincing. Miss Marguerite Clark was so
exceedingly exquisite as Hilda that it was some¬
thing of a shock to learn, later, that she had
found her happiness in marrying a milkman.
Zyklus
Wenden!
Räthselte beaten
den!
Telephon 12801
„OBSER
1. österr. behördl. konzession. Unternehmen für Zeitungs-Ausschnitte
WIEN, CONCORDIAPLATZ 4
Vertretungen:
in Berlin, Basel, Budapest, Chicago, Cleveland, Christiania,
Genf, Kopenhagen, London, Madrid, Mailand, Minneapolis,
New-York, Paris, Rom, San Francisco, Stockholm, St. Peters¬
burg, Toronto.
Wellenangabe, die Verhr.
Ausschnitt aus:
er von
Num.
In Manhattan.
THE AFFAIRS OF ANATOLThis latest production
4 of Mr. Winthrop Ames, with which his dainty Little
Theatre on Forty-fourth Street was opened for its second
season on October fourteenth, has been so freely discussed
and criticised by this time that little can be said about it
which someone has not already said. It is not a play, nor
does it purport to be, but a sequence of amatory episodes
-
in the carcer of man of fashion whose sentimentality
ing the romantic is tied with conicis.
His prototypes may be found in any European capital and even
in New York, though the type is distinctly the product of a
leisure class. The original by Arthur Schnitzler has been re¬
ceived with great favor abroad and there is no reason to
believe that it has lost anything in the English paraphrase by
Granville Barker, which is given at the Little Theatre, or
that it will be less popular here. Clever, is the most apt
term that can be applied to it. It is extremely clever and
satirical and might seem to have been written for the little
playhouse in Forty-fourth Street. John Barrymore plays the
role of Anatol with what would seem a perfect appreciation
or understanding of the type. It has been remarked that this
manner becomes monotonous but how could it be otherwise?
Anatol himself found the same woman monotonous in the
course of a single episode. Oswald Yorke, as his practical
friend, Max, is a perfect foil to Anatol and deserves an
equal share in the honors with Barrymore. The women of
the cast have far less opportunity to shine. Marguerite
Clark's talents are rather lost on the first episode as she has
little to do but look pretty in which she is preminently suc¬
cessful, and answer questions while in an hypnotic sleep.
The cleverest characterization is that of Mimi, the opera sing¬
er, to whom Anatol is giving a farewell supper. This role is
deliciously interpreted by Doris Keene, who makes Mimis
indifference to Anatol ludicrously apparent and brings to
earth all his romantic apprehensions of a painful scene by
emphasizing her fondness for oysters and champagne. In
the fourth episode Katherine Emmet enacts with thorough¬
bred distinction the role of one of Anatols old flames of his
own class. Coupled with rare beauty she has that indefinable
air of good breeding which even the most capable actresses
seem unable quite to simulate unless to the manner born.
The part of the virago who breaks in upon Anatol, while he
is preparing for his wedding in the last episode, falls to Eliza¬
beth Lee, who certainly looks the part and plays it with vigor
if not with consummate finish, though she manages to finish
the bridesmaid's bouquet and smash most of Anatols brie¬
a brac. In the very amusing second episode Gail Kane has a
very slight part. The play has been criticised on grounds of
morality or propriety. It is certainly unmoral if not immoral.
It makes light of what it is not well should be lightly re¬
garded, but it is difficult to imagine any mature person taking
it seriously or as anything more than an amusing study of
cleverly differentiated human types. There is no suggestion
of coarseness or vulgarity in it. At the same time it is not
the sort of entertainment one would recommend to those
who are contemplating theater parties for débutantes.
box 9/1
Wenden!
Räthselte beachten
Wenden!
Telephon 12801
OBSER
I. österr. behördl. konzession. Unternehmen für Zeitungs-Ausschnitte
WIEN I, CONCORDIAPLATZ 4
Vertretungen:
in Berlin, Basel, Budapest, Chicago, Cleveland, Christiania,
Genf, Kopenhagen, London, Madrid, Mailand, Minneapolis,
New-York, Paris, Rom, San Francisco, Stockholm, St. Peters¬
burg, Toronto.
legen der
Ausschnitt aus:
ein fort¬
0
-
LITTLE THEATRE. THE AFFAIRS OF ANA¬
A sequence of episodes by Arthur
Schnitzler. Produced Oct. 14 with this cast:
Anatol, Barrymore; Max, Oswald Yorke; Hilda,
Marguerite Clark; Bianca, Gail Kane; Mimi, Doris
Kane; Waiter, Alfred de Ball; Gabrielle, Katherine
Emmet; Lona, Isabella Lee; Franz, Albert Easdale.
Arthur Schnitzler could hardly have desired
a better stage than that of the Little Theatre for
the production of his fascinating transcript from
This
Viennese life, the Affairs of Anatol.
novel series of dialogues between a young man,
whose vocation is being in love, and five young
women who further his amative career, demands,
above all else, the setting of an intimate theatre.
An account of Schnitzlers work has already been
given in these pages. All that needs to be added
here is that the stagging at the Little Theatre,
with its attention to detail, that is neither exag
gerated nor laborious, left nothing to be desired,
and gave the spectator that feeling of complete
satisfaction which comes from viewing anything
that bears the imprint of a master hand. If the
American audience finds its moral sensibilities
shocked by these risqué episodes, it is because it
allows itself to take them seriously. If it does
not appreciate the subtle it and the delicate
satire of the play, it is either because it is not
understood or because the actors did not quite
succeed in infusing into their performance the
Viennese flavor.
There was finesse and polish in the acting
throughout, and especially in the work of Doris
Kene, who, as the conscienceless and carefree
Mimi of the opera, playing fast and loose with
the weathercock heart of the hero, merited the
most spontaneous applause from her audience.
Though Mr. Barrymore displayed well the fas¬
cination and the inconsequentiality of Anatol, he
never succeeded in making an Austrian bon¬
vivant and collector of a romantic past out of a
prosaic, matter-of-fact American. The monotony
of his voice and gesture helped to foil his good
attempts. The playing of Oswald Yorke in the
difficult rôle of the foil for the hero, though
sympathetic and intelligent, gave rise to the con¬
jecture that, had he portrayed Max in greater
contrast to Anatol, he would have made him
more convincing. Miss Marguerite Clark was so
exceedingly exquisite as Hilda that it was some¬
thing of a shock to learn, later, that she had
found her happiness in marrying a milkman.