4.9. Anato
box 9/1
Zyklus
Mr. Barry more, for all his good looks and
what, demands the married woman, what
instinctive comedy sense, is, much of the
does she say? The right thing, mutters
time, rather out of his element. He was
Anatol quietly. And what is the right
at his best in the more broadly farcical
thing? The right thing, Anatol repeats¬
last scene and in the very quiet one pre¬
how good it is to have you back again.
ceding it a sort of nocturne in which, be¬
They talk a little more, there under the
fore a lighted florist's shop, in the early
canopy of the florist's shop, in the rain,
evening rain, as they are both out look
and then a cal comes. The married lady
ing for Christmas presents, he meets and
suddenly gives Anatol the bunch of roses
talks for a moment with now a married
she is carrying. "Take these to her, she
lady a girl he used to know. Anatol
says, and tell her they came from one
tells her finally of the girl he knows
who, if she had the courage, might have
now not the sort of girl you would
been as happy as she!" And then she hur-
call on a very humble little person, who
ries away, and Anatol, tucking the flowers
lives in a room up near the roof, papered
under his arm and putting up his um¬
with queer wall paper which she likes
brella, disappears in the rain. It will be
nevertheless, and from which, when spring
seen that "The Affairs of Anatol" is in
comes, she will be able to catch the per¬
a gallery a trifle remote from Broadway
fume of a garden in a neighboring
so different, indeed, that the spectator,
court below. The married lady, a little
having got the "hang" of it, will prob-
bitter, sarcastic, yet (and this is most deli¬
ably enjoy it more the second time than
cately played by Miss Katherine Emmet)
the first.
more and more falling under the spell
It reveals, at any rate, a very deli¬
of this other woman's romance, says
cate and charming, if slightly esoteric
that she supposes the girl knows his
sort of artone of those entertainments
step when he comes up the stairs. Yes,
which it is at least one of the functions
Anatol nods quietly, she knows his step.
of such a playhouse as the Little Theatre
And when he opens the door she says¬
now and then to provide.
ralle, Rom,
en der
Ausschnitt aus:
en fort
von:
HE AFFAIRS OF
ANATOL
R. WINTHROP AMES in¬
augurated the second season
at his little Theatre with a
tasteful presentation of five of
the seven dialogues in Arthur Schnitz¬
ler's famous sequence entitled "Anatol.
Schnitzler, who has already been intro¬
duced to American theatre-goers by Miss
Katherine Greys performance of The
Reckoning," and Mrs. Fiske's produc¬
tion of "The Green Cockatoo, is the
cleverest dramatist writing in Austria
today. His dominant quality is a sinis¬
ter and somewhat cynical worldly wis¬
domincisive, experienced, discomfort¬
ing. Before he took to writing for the
theatre, he had already established him¬
self as a physician; and it is doubtless
from the practice of his primary pro¬
fession that he acquired his almost un¬
canny intimacy with the emotional
phenomena of sex.
Anatol," which has been paraphrased,
in English by Mr. Granville Barker, is
not intended as a play. It is merely a
cluster of conversations, each of which
is independent of the others. The hero
is a young Viennese aristocrat to whom
life is synonymous with love. He can
feel himself alive only when he is falling
in love or falling out of it. Lightly he
flits from flower to flower. The course
of his affairs he is accustomed to
confide (one must protest, a little ca¬
dishly) to his friend Max. The seven
dialogues in Schnitzler's original se¬
quence represent conversations between
Anatol and seven different objects of his
versatile affection. Five of these dia¬
logues, as has been said, are now pre¬
sented at the Little Theatre. Mr. John
Barrymore, as Anatol, is offered an op¬
portunity to make love to five different
leading ladies in the course of a single
evenings entertainment.
The five actresses selected by Mr.
Ames are, we regret to note, not equally
equipped to embody the manifold in¬
tentions of the author. The finest per¬
formance of the evening is offered by
Miss Katherine Emmet in the daintily
emotional sketch entled "A Christmas
Present." In this dialogue, also, Mr.
Barrymore does his best work, though
his performance as a whole is deftly
composed and delicately varied.
It has become almost superfluous to
praise the stage-direction of Mr. George
Foster Platt, but it ought perhaps to be
recorded that the stage settings of these
dialogues are charmingly in harmony
with the aristocracy of tone which Mr.
Ames has so delightfully established at
is tiny, tasteful theatre.
box 9/1
Zyklus
Mr. Barry more, for all his good looks and
what, demands the married woman, what
instinctive comedy sense, is, much of the
does she say? The right thing, mutters
time, rather out of his element. He was
Anatol quietly. And what is the right
at his best in the more broadly farcical
thing? The right thing, Anatol repeats¬
last scene and in the very quiet one pre¬
how good it is to have you back again.
ceding it a sort of nocturne in which, be¬
They talk a little more, there under the
fore a lighted florist's shop, in the early
canopy of the florist's shop, in the rain,
evening rain, as they are both out look
and then a cal comes. The married lady
ing for Christmas presents, he meets and
suddenly gives Anatol the bunch of roses
talks for a moment with now a married
she is carrying. "Take these to her, she
lady a girl he used to know. Anatol
says, and tell her they came from one
tells her finally of the girl he knows
who, if she had the courage, might have
now not the sort of girl you would
been as happy as she!" And then she hur-
call on a very humble little person, who
ries away, and Anatol, tucking the flowers
lives in a room up near the roof, papered
under his arm and putting up his um¬
with queer wall paper which she likes
brella, disappears in the rain. It will be
nevertheless, and from which, when spring
seen that "The Affairs of Anatol" is in
comes, she will be able to catch the per¬
a gallery a trifle remote from Broadway
fume of a garden in a neighboring
so different, indeed, that the spectator,
court below. The married lady, a little
having got the "hang" of it, will prob-
bitter, sarcastic, yet (and this is most deli¬
ably enjoy it more the second time than
cately played by Miss Katherine Emmet)
the first.
more and more falling under the spell
It reveals, at any rate, a very deli¬
of this other woman's romance, says
cate and charming, if slightly esoteric
that she supposes the girl knows his
sort of artone of those entertainments
step when he comes up the stairs. Yes,
which it is at least one of the functions
Anatol nods quietly, she knows his step.
of such a playhouse as the Little Theatre
And when he opens the door she says¬
now and then to provide.
ralle, Rom,
en der
Ausschnitt aus:
en fort
von:
HE AFFAIRS OF
ANATOL
R. WINTHROP AMES in¬
augurated the second season
at his little Theatre with a
tasteful presentation of five of
the seven dialogues in Arthur Schnitz¬
ler's famous sequence entitled "Anatol.
Schnitzler, who has already been intro¬
duced to American theatre-goers by Miss
Katherine Greys performance of The
Reckoning," and Mrs. Fiske's produc¬
tion of "The Green Cockatoo, is the
cleverest dramatist writing in Austria
today. His dominant quality is a sinis¬
ter and somewhat cynical worldly wis¬
domincisive, experienced, discomfort¬
ing. Before he took to writing for the
theatre, he had already established him¬
self as a physician; and it is doubtless
from the practice of his primary pro¬
fession that he acquired his almost un¬
canny intimacy with the emotional
phenomena of sex.
Anatol," which has been paraphrased,
in English by Mr. Granville Barker, is
not intended as a play. It is merely a
cluster of conversations, each of which
is independent of the others. The hero
is a young Viennese aristocrat to whom
life is synonymous with love. He can
feel himself alive only when he is falling
in love or falling out of it. Lightly he
flits from flower to flower. The course
of his affairs he is accustomed to
confide (one must protest, a little ca¬
dishly) to his friend Max. The seven
dialogues in Schnitzler's original se¬
quence represent conversations between
Anatol and seven different objects of his
versatile affection. Five of these dia¬
logues, as has been said, are now pre¬
sented at the Little Theatre. Mr. John
Barrymore, as Anatol, is offered an op¬
portunity to make love to five different
leading ladies in the course of a single
evenings entertainment.
The five actresses selected by Mr.
Ames are, we regret to note, not equally
equipped to embody the manifold in¬
tentions of the author. The finest per¬
formance of the evening is offered by
Miss Katherine Emmet in the daintily
emotional sketch entled "A Christmas
Present." In this dialogue, also, Mr.
Barrymore does his best work, though
his performance as a whole is deftly
composed and delicately varied.
It has become almost superfluous to
praise the stage-direction of Mr. George
Foster Platt, but it ought perhaps to be
recorded that the stage settings of these
dialogues are charmingly in harmony
with the aristocracy of tone which Mr.
Ames has so delightfully established at
is tiny, tasteful theatre.