Lrebele
5
box 11/2
b
FEBRUART 13. 1907
ThL ERAAA
Berkeley Lyceum Theatre.
In the tiny ihdatre of the Berkeley Ly¬
Pecum, iilled wich an andience that was
virtunlig a honseparty er playwrights,
uctorm. dramatie ersties and ocher profes¬
siosal folk. with onlg a springling of
the ouiside Ppublc, was produced
last flight, for the frst time in this conn¬
try, a little gem of a plag called The
Reckoning. It is a translation by Grace
Isabel Colbron of a recent play
thur Schmitaler of Vienna, which has
schieved remarkabla success in many con¬
tinental capitals.
The German title, Liebelei.“ which
mag be rendered in Englich as Tight
Lovs, 18 in itsell a brief summary of the
story. Fritz Sommers, who is already in¬
KATHERINE GRE
Christine
The Rockoning,“
In the role
he Berkeley Lyceum.
volved in an affair!' with u ma
in love—in lris ensy
man, fa
sweet Foung girl, Christi
He#
okeop from her
ies
fthe other woman, an
gives
im her love wh
servedly. The husband of
man te
Sommers he kn
challenges him to u duel.
leave of Christine, on t
has to go out of town
but Christine, alrendy
many little indidents
the period of his ab
of doubt and feur. T
lis friend Theodore to
death. More by intuition
mation, aided by the strang
F
as
Theodore, she learns that the
fought for the sake of another woman.
und that Fritz was killed by that woman's
husband. The ending cannot be deserib¬
ed—it must been sten and heard.
means ruin For Christine and for her aged
father, that much is certain, chough just
how and when each may decide for him¬
self.
It is nod a new or an unusual theme,
and of actual plot there is very little—an
act of gay, irresponsible comedy, just
sounding the tragic note; then an act of
leeper sentiment, with the tragie strain
growing louder; then an act of heart¬
rending tragedy, intense in its naturalness
and hopelessness, and the thing is done.
But the handling of this material is the
play’s claim to distinction. Its delicate
shading of one situation into another,
the terse, half-finished sentences of the
dialogue, the deft character-drawing, and,
ahove all, the simple nakturalness of it,
conrbine to render it a play that counts.
The acting of a small cast—only seven
in all—was woll-nigh flawless.
John
Dean, as Fritz, made the hero both likable
and attractive, while preserving the strain.
of weakness that made bis dilemma pos¬
sible. His mental strain and natural
buogancy werc both admirably depicted.
5
box 11/2
b
FEBRUART 13. 1907
ThL ERAAA
Berkeley Lyceum Theatre.
In the tiny ihdatre of the Berkeley Ly¬
Pecum, iilled wich an andience that was
virtunlig a honseparty er playwrights,
uctorm. dramatie ersties and ocher profes¬
siosal folk. with onlg a springling of
the ouiside Ppublc, was produced
last flight, for the frst time in this conn¬
try, a little gem of a plag called The
Reckoning. It is a translation by Grace
Isabel Colbron of a recent play
thur Schmitaler of Vienna, which has
schieved remarkabla success in many con¬
tinental capitals.
The German title, Liebelei.“ which
mag be rendered in Englich as Tight
Lovs, 18 in itsell a brief summary of the
story. Fritz Sommers, who is already in¬
KATHERINE GRE
Christine
The Rockoning,“
In the role
he Berkeley Lyceum.
volved in an affair!' with u ma
in love—in lris ensy
man, fa
sweet Foung girl, Christi
He#
okeop from her
ies
fthe other woman, an
gives
im her love wh
servedly. The husband of
man te
Sommers he kn
challenges him to u duel.
leave of Christine, on t
has to go out of town
but Christine, alrendy
many little indidents
the period of his ab
of doubt and feur. T
lis friend Theodore to
death. More by intuition
mation, aided by the strang
F
as
Theodore, she learns that the
fought for the sake of another woman.
und that Fritz was killed by that woman's
husband. The ending cannot be deserib¬
ed—it must been sten and heard.
means ruin For Christine and for her aged
father, that much is certain, chough just
how and when each may decide for him¬
self.
It is nod a new or an unusual theme,
and of actual plot there is very little—an
act of gay, irresponsible comedy, just
sounding the tragic note; then an act of
leeper sentiment, with the tragie strain
growing louder; then an act of heart¬
rending tragedy, intense in its naturalness
and hopelessness, and the thing is done.
But the handling of this material is the
play’s claim to distinction. Its delicate
shading of one situation into another,
the terse, half-finished sentences of the
dialogue, the deft character-drawing, and,
ahove all, the simple nakturalness of it,
conrbine to render it a play that counts.
The acting of a small cast—only seven
in all—was woll-nigh flawless.
John
Dean, as Fritz, made the hero both likable
and attractive, while preserving the strain.
of weakness that made bis dilemma pos¬
sible. His mental strain and natural
buogancy werc both admirably depicted.