Liebelei
box 11/2
3. LSEED
NEW TORK COMMERCIAL. WEDNESDAY, FEBRUART 13. 1907
THE DRANA
Berkeley Lyceum Theatre.
In the tiny theatre of the Berkeley Ly¬
ceum, filled with an audience that was
playwrights,
virtualig a honse-party of
actors, dramatie erfties and other profes¬
sional folk, with only a sprinkling of
was produced
the outside "public.“
last night, for the first time in this conn¬
try, a little gem of a play called“The
Reckoning. lt is a translatien by. Grace
Isabel Colbron of a recent’play by Ar¬
Vienna, which has
thur Schmitzler of
achiered remarkable success in many con¬
tinental capitals.
Dhe German title,“ Liebelei.““ which
may be rendered in English as Light
Love,“ is in itself a brief summary of the
story. Fritz Sömmers, who is already in¬
KATHERINE
In the rele of Qlwistines in
thie Berkeiey 1
volved in anCaffair“ wi
man, falls in love—in
Vehring
a sweet young girl, Ch
knowledge
He tries to. kecp from Her
of the other woman, and she in furn
gives to him her Jove wholly and unre¬
servedly. The husband of the other wo¬
man tells Sommers he knows all, and
challenges him to a duel. Sommers takes
leave of Christine, on the plea that le
has to go out of town ffor a day or two,
but Christine, already made suspicious by
many litde incidents and remarks, spends
the period of his absence in an agony
of doubt and fear. Then there returns
bis friend Theodore to tell her of his
dleath. More by intuition than by infor¬
##ation, aided by the strange silences of
Theodore, she learns that ihe duel was
fonght for the sake of ancther woman,
and chat Fritz was killed by that woman's
husband. The ending cannot be deserib¬
ed—it müst beeu seen and heard.
means ruin for Christine and for her aged
father, that much is certain, Tchough Just
how and when each may decide for him¬
seif.
It is not a new or an unusunl theme,
and of actual plot there is verr little—an
act of gay, irresponsible comedy, just
sounding the tragie note; then an actrof
deeper sentiment, with ihe tragie strain
growing londer; 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,
above all, the simple natturalness of it,
combine to render it alay that connts.
box 11/2
3. LSEED
NEW TORK COMMERCIAL. WEDNESDAY, FEBRUART 13. 1907
THE DRANA
Berkeley Lyceum Theatre.
In the tiny theatre of the Berkeley Ly¬
ceum, filled with an audience that was
playwrights,
virtualig a honse-party of
actors, dramatie erfties and other profes¬
sional folk, with only a sprinkling of
was produced
the outside "public.“
last night, for the first time in this conn¬
try, a little gem of a play called“The
Reckoning. lt is a translatien by. Grace
Isabel Colbron of a recent’play by Ar¬
Vienna, which has
thur Schmitzler of
achiered remarkable success in many con¬
tinental capitals.
Dhe German title,“ Liebelei.““ which
may be rendered in English as Light
Love,“ is in itself a brief summary of the
story. Fritz Sömmers, who is already in¬
KATHERINE
In the rele of Qlwistines in
thie Berkeiey 1
volved in anCaffair“ wi
man, falls in love—in
Vehring
a sweet young girl, Ch
knowledge
He tries to. kecp from Her
of the other woman, and she in furn
gives to him her Jove wholly and unre¬
servedly. The husband of the other wo¬
man tells Sommers he knows all, and
challenges him to a duel. Sommers takes
leave of Christine, on the plea that le
has to go out of town ffor a day or two,
but Christine, already made suspicious by
many litde incidents and remarks, spends
the period of his absence in an agony
of doubt and fear. Then there returns
bis friend Theodore to tell her of his
dleath. More by intuition than by infor¬
##ation, aided by the strange silences of
Theodore, she learns that ihe duel was
fonght for the sake of ancther woman,
and chat Fritz was killed by that woman's
husband. The ending cannot be deserib¬
ed—it müst beeu seen and heard.
means ruin for Christine and for her aged
father, that much is certain, Tchough Just
how and when each may decide for him¬
seif.
It is not a new or an unusunl theme,
and of actual plot there is verr little—an
act of gay, irresponsible comedy, just
sounding the tragie note; then an actrof
deeper sentiment, with ihe tragie strain
growing londer; 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,
above all, the simple natturalness of it,
combine to render it alay that connts.