Vol. VI No. 1 - Modernist Magazines Project

LETTERS FROM ABROAD
cheap, they are still too dear nowadays for the class for which they are
intended.
Because our nerves are not harassed enough these days, the "Grand
Guignol" has paid us its first visit—their speciality of hair-raising horrors
seemed to be unknown here and on some evenings the audience simply fled
from their seats or protested loudly, so that the actors could scarcely continue.
Their humorous repertoire being so delightful, they were begged to make
more copious use of this part of their art, or at least give less harrowing
pieces; they made a compromise but these latter are scarcely less ghastly,
though they were cleverly played.
As a welcome contrast, Barrie's "Was jede Frau weiss" ("What every
woman knows") has been taken into the repertoire of the Staats Theatre and
much appreciated. Here General-Intendant Jessner has produced a revival
of Goethe s "Egmont" and is arranging a Studio, in which, on Sundays, matinee
problem-plays of unknown authors are to be given. The talented poet and
dramatist 'Klabund," whose early death was much lamented here (and
whose Chinese play "Der Kreidekreis" is to be produced in London under the
title "The Chalk Circle" in the late autumn) had a posthumous premiere at the
"Tribune," a kind of commemoration. The play "X.Y.Z." of three persons
is highly amusing and successful with an unexpected ending and is a great
success.
Another of the younger school, Hasenclever, has a tragi-comedy at the
Kammerspiele, "Ehen werden in Himmel geschlossen" ("Marriages are made
in Heaven") which is very original, and, in parts, delicious. I fear, however,
it would shock some English audiences, "der Hebe Gott" in person appearing
on the stage, but as he is made up exactly, in garb and head, as Gerhart
Hauptmann, much amusenfent is caused in the theatre when he enters from
a game of golf on the meadows of Heaven, where two scenes of the play are
laid. He takes coffee with St. Magdalen, to whom St. Peter (played by
Roirianowky, made up as the late Emperor Franz Joseph, with a delightful
Vienna accent and a golden key sticking out of his coat pocket) is paying a
visit. She begs that three suicides (just arrived) may be given another chance
on the earth. This granted, they are sent back, where, of course, they do away
with themselves again. Given another chance and their lives being laid in
humbler places, they muddle up their existences in exactly the same way.
"Der liebe Gott," played by Werner Krauss, is a very lovable figure. He
stands helpless at the end; human beings are not to be saved, they just go
headlong to their own destruction.
Shaw's "Misalliance," here entitled "Eltern und Kinder" ("Parents and
Children"), is having a splendid run at the Komodie. The brilliant dialogue
shows no trace of age. In honour of Tolstoi's centenary, two theatres are
giving "Der lebende Leichnam" ("The living corpse"), each excellent in its
way. Dreiser's "Ton in des Topfer's Hand" ("Clay in the potter's hand")
is clever and well acted, but extremely unpleasant in its subject; Verneuil's
"Herr Lamberthier" (although a French play, it has had its first appearance
here at the Lessing theatre) has two parts only; played by Albert Bassermann
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