4.9. Anatol
y
box 9/4
S
sion Hoping to Approximate the Original
righteousness its due, he wrote that
FTER nearly twenty years. Ar¬
thur Schnitzler's graceful pie- he himself and some of his acquain¬
ture of a Viennese idler and tances had enjoyed seeing "Anatol.
In its own country Anatolis
his love affairs, "Anatol," is
to be performed again in New York not without honor. Appreciating it
this time in a straight, un-British as an expression of the spirit of their
version. That is, it may be called city in the period of its most graceful
un-British because it will lack the charm, the Viennese have cherished
"Oh, I says" and "Really, old the play as something peculiarly
their own.
chaps and rightfully sorres¬
Anatol" is the first piece of sus¬
and other specimens of Londonese
which made the John Barrymore tained writing that Arthur Schnitzler
production of 1912 anything but attempted. And it still remains the
reminiscent of the coffee-houses and work most typical of his attitude and
parks and romances of Alt Wien- manner-which are the quintessence
of what is called Wienerblut. The
old Vienna, to you.
Winthrop Ames was the sponsor of son of a renowned Jewish physician,
this first American production of Schnitzler studied medicine and re¬
Anatol." But when he presented it ceived a degree in 1885. While ser¬
at the Little Theatre on Oct. 14, ving in a hospital and later while
1912, the playor series of plays, engaged in private practice, he wrote
rather was called "The Affairs of poems and skits for the literary pub¬
Anatol," for no presently discover- lications. During this time he was
slowly preparing the sequence of
able reason except, perhaps, for the
same reason that the words of playlets concerned with Anatol.
The first performance of any of
Broadway were added to the title
The Royal Family when that play these playlets was on July 14, 1893,
was made into a talking picture: the when the "Farewell Supper scene
was performed privately. A few
title was more explicit and therefore
weeks later the hypnotism scene was
more show many.
also privately acted in Berlin, Eman¬
Anatole was the name Schnitzler
uel Reicher playing Anatol. The
gave to the sequence of episodes
Anatol was the name under which play was published that year and at¬
Granville-Barker brought out his tracted considerable attention, ai-
though it came a long way from se¬
English paraphrase of it, and "Ana
ting the Danube on fire.
tol" is the title by which the sequence
The young medico-literary man
will be presented by Bela Blau on
Friday evening at the Lyceum. The met a reverse in December, 1883,
longer title was alliterative and came when "Das Märchen," the first of
his plays to be given public presenta¬
tripping off the tongue, but, like the
play as a whole (as then presented), tion, proved to be a complete failure
it was not quite justified by the and was withdrawn after two per¬
formances. But, after the success of
original.
In several instances, the hand of Liebele" in 1895, Schnitzler was es¬
a Nice Nellie was evident in the ver¬tablished firmly as a favorite play¬
sion which New Yorkers first saw wright of Vienna, and "Anatol was
later produced in its entirety with
on that remote Autumn evening
Despite the glossing over of cer¬ high success.
Joseph Schildkraut is playing the
tain passages a bit of a teacup tem¬
title rôle in the more or less un¬
pest was aroused by "Anatolin 1912
People said as they have said so abridged production that now im¬
pends. Perhaps there is some sig¬
many times before and since that
such things should not be allowed on nificance in the fact that he has come
the stage because they were nicht fur from the talkies to act the part first
performed here by John Barrymore,
kinder. Maybe not, retorted the ad
herents of the play, but what about who since that time has gone over to
the pictures and remains there. And
the adulta?
When John Barrymore played Ana¬ then again, perhaps there is no sig¬
toi THE NEW YORK TIMES called it nificance at all.
When Mr. Barrymore played Anatol
a very smart entertainment and
explained that the affairs of the title his friend and confidant, Max, was
were affairs of the heart, or what played by Oswald Yorke. That rôle
is now in the capable hands of Walter
passes for it in the peculiarly sensi¬
tive organism of this highly bred, Connolly. Doris Keane was the rav¬
idle, rich young man. For to have enous Mimi, in which oyster-eating
had such affairs, amid such surround part Miram Hopins will now ap¬
ings, Anatol must have been one of pear. Isabelle Le was the Lona of
the aristocracy of wealth, if not of the original New York production.
brains. And a bit of a blackguard, This lady who so nearly interferes
too, this same Anatol-the sort of with Anatols wedding is now to be
chap who will kiss and tell and run impersonated by Ruthelma Stevens,
Katharine Emmet played the rôle
away."
The following Sunday the then of the respectably married lady,
Gabrielle, which is to be the part of
critic of THE TIMES, Adolph Klauber,
Patricia Collinge. Anne Forrest is the
noted in his column of reconsidera¬
tions of the weeks plays that he new Emily. There was no Emily in
had been called to task by several of 1912, for her scene, the "Keepsakes
his readers for having neglected to interlude, was abridged. (See above
inject some moral indignation into remarks about the changes in the
his review. Brought back in this 1912 version.)
While not a little of the spirit of
manner to the temper of his time,
Mr. Klauber refully admitted that the fragrant, charming Vienna that
created and produced "Anatol die
perhaps the play was not precisely
suited to the tenderest of young with the war, the play remains to do
minds and went on to discuss the its bit in keeping alive some mem¬
ethics of presenting such plays as ories of a glorious city. And that,
a general thing. Having thus given assuredly, is something.
y
box 9/4
S
sion Hoping to Approximate the Original
righteousness its due, he wrote that
FTER nearly twenty years. Ar¬
thur Schnitzler's graceful pie- he himself and some of his acquain¬
ture of a Viennese idler and tances had enjoyed seeing "Anatol.
In its own country Anatolis
his love affairs, "Anatol," is
to be performed again in New York not without honor. Appreciating it
this time in a straight, un-British as an expression of the spirit of their
version. That is, it may be called city in the period of its most graceful
un-British because it will lack the charm, the Viennese have cherished
"Oh, I says" and "Really, old the play as something peculiarly
their own.
chaps and rightfully sorres¬
Anatol" is the first piece of sus¬
and other specimens of Londonese
which made the John Barrymore tained writing that Arthur Schnitzler
production of 1912 anything but attempted. And it still remains the
reminiscent of the coffee-houses and work most typical of his attitude and
parks and romances of Alt Wien- manner-which are the quintessence
of what is called Wienerblut. The
old Vienna, to you.
Winthrop Ames was the sponsor of son of a renowned Jewish physician,
this first American production of Schnitzler studied medicine and re¬
Anatol." But when he presented it ceived a degree in 1885. While ser¬
at the Little Theatre on Oct. 14, ving in a hospital and later while
1912, the playor series of plays, engaged in private practice, he wrote
rather was called "The Affairs of poems and skits for the literary pub¬
Anatol," for no presently discover- lications. During this time he was
slowly preparing the sequence of
able reason except, perhaps, for the
same reason that the words of playlets concerned with Anatol.
The first performance of any of
Broadway were added to the title
The Royal Family when that play these playlets was on July 14, 1893,
was made into a talking picture: the when the "Farewell Supper scene
was performed privately. A few
title was more explicit and therefore
weeks later the hypnotism scene was
more show many.
also privately acted in Berlin, Eman¬
Anatole was the name Schnitzler
uel Reicher playing Anatol. The
gave to the sequence of episodes
Anatol was the name under which play was published that year and at¬
Granville-Barker brought out his tracted considerable attention, ai-
though it came a long way from se¬
English paraphrase of it, and "Ana
ting the Danube on fire.
tol" is the title by which the sequence
The young medico-literary man
will be presented by Bela Blau on
Friday evening at the Lyceum. The met a reverse in December, 1883,
longer title was alliterative and came when "Das Märchen," the first of
his plays to be given public presenta¬
tripping off the tongue, but, like the
play as a whole (as then presented), tion, proved to be a complete failure
it was not quite justified by the and was withdrawn after two per¬
formances. But, after the success of
original.
In several instances, the hand of Liebele" in 1895, Schnitzler was es¬
a Nice Nellie was evident in the ver¬tablished firmly as a favorite play¬
sion which New Yorkers first saw wright of Vienna, and "Anatol was
later produced in its entirety with
on that remote Autumn evening
Despite the glossing over of cer¬ high success.
Joseph Schildkraut is playing the
tain passages a bit of a teacup tem¬
title rôle in the more or less un¬
pest was aroused by "Anatolin 1912
People said as they have said so abridged production that now im¬
pends. Perhaps there is some sig¬
many times before and since that
such things should not be allowed on nificance in the fact that he has come
the stage because they were nicht fur from the talkies to act the part first
performed here by John Barrymore,
kinder. Maybe not, retorted the ad
herents of the play, but what about who since that time has gone over to
the pictures and remains there. And
the adulta?
When John Barrymore played Ana¬ then again, perhaps there is no sig¬
toi THE NEW YORK TIMES called it nificance at all.
When Mr. Barrymore played Anatol
a very smart entertainment and
explained that the affairs of the title his friend and confidant, Max, was
were affairs of the heart, or what played by Oswald Yorke. That rôle
is now in the capable hands of Walter
passes for it in the peculiarly sensi¬
tive organism of this highly bred, Connolly. Doris Keane was the rav¬
idle, rich young man. For to have enous Mimi, in which oyster-eating
had such affairs, amid such surround part Miram Hopins will now ap¬
ings, Anatol must have been one of pear. Isabelle Le was the Lona of
the aristocracy of wealth, if not of the original New York production.
brains. And a bit of a blackguard, This lady who so nearly interferes
too, this same Anatol-the sort of with Anatols wedding is now to be
chap who will kiss and tell and run impersonated by Ruthelma Stevens,
Katharine Emmet played the rôle
away."
The following Sunday the then of the respectably married lady,
Gabrielle, which is to be the part of
critic of THE TIMES, Adolph Klauber,
Patricia Collinge. Anne Forrest is the
noted in his column of reconsidera¬
tions of the weeks plays that he new Emily. There was no Emily in
had been called to task by several of 1912, for her scene, the "Keepsakes
his readers for having neglected to interlude, was abridged. (See above
inject some moral indignation into remarks about the changes in the
his review. Brought back in this 1912 version.)
While not a little of the spirit of
manner to the temper of his time,
Mr. Klauber refully admitted that the fragrant, charming Vienna that
created and produced "Anatol die
perhaps the play was not precisely
suited to the tenderest of young with the war, the play remains to do
minds and went on to discuss the its bit in keeping alive some mem¬
ethics of presenting such plays as ories of a glorious city. And that,
a general thing. Having thus given assuredly, is something.