the deadening similarity of so many
peas in a pod. Lacking in variety,
seeming to be but endless variations
of the same theme, they cannot but
do serious harm both to themselves
and to Schnitzler's play. For variety
was not only the spice of Anatolis life,
but is also the spice of the sequence
of dialogues" which bears his name.
E text used at the Lyceum is sup¬
posedly based on Granville¬
Barkers expert paraphrasing of the
original. But not only does it reduce
the number of scenes to six, and re¬
arrange their order at will, but it also
destroys the subtlety of many of the
lines by attempting to cast them in
what is known as the vernacular.
Anatol, played in the costumes of
the eights, and above the swinging
rhythms of Vannese waltzes, has no
need of the ling of Broadway to make
its points. It only loses by resorting
to it.
Last night, as Anatol, the guided
youth, the toy philosopher, the insti¬
able romantic, talked over his amorous
Max, discussed the girls to
plans wi-
be got rid of and the new mistresses
and rotated in turn
to Emily, from Bianca te
from Hr.
mit
Gabri
became as
lona,
pro
ambarras
an Roman
duction
wise and it
has give
minute ad¬
come
Marc
the obvious fact
a
that
Mr. Schild
from
cor
kraut
sure,
tume¬
are occi¬
hero
ich
durin
as he does, for example
fitfully
noos). But
in the
part M. Schildt at
the

is insen
to preserve in each new experience. He
is an egotist, so in love with himself
that he has not time left in which to
be in love with love or any one else.
Schildkraut
Equally disastros is
etween hi¬
inability to distinguish
and his in¬
alry and obsequiousne
on
sistence upon relyin
the place of
of a sorry sort to
comedy.
n be said for
E N
Miss Forrest
the rest oft
Miss Hopkins
is pretty bad as
ving im
is passable as to
you can name,
and almost any a
you happen to
regardless of who
of Equity or
be thinking of
the little little
of the company
better perform¬
theatre, could
Stevens gave last
ance than Ruth
night as Lona.
nato includes two
The current
performances, wever, which cannot
be overlooked. Indeed, they are its
chief recommendations. One is given
by Patricia Collinge, whose Gabrielle
is as excellent and vivid a bit as the
season has seen, and the other by Jo
Mietziner, whose six striking settings
form the most beautiful series of back¬
grounds that any play this winter has
boasted.
on the whole, however, the produc¬
tion at the Lyceum manages to make
Anatol seem about as sophisticated
as those vaudeville skits used to be
that dealt with love, marriage and
divorce. Had it all been up to the
standards set by Mr. Mielziner and
Miss Collinge, things might have been
different. But as it is not I can only
advise you to reread your "Anatol at
home, and for wear this current per¬
formare.
Joseph Schildkraut, Miriam Hopkins and Walter Connolly in a sce