PURE REALISM

Sun (Auckland), Volume III, Issue 857, 28 December 1929, Page 22

PURE REALISM

Social Problem Plays Succeed in Berlin

OVERCROWDING AND BIRTHCONTROL

Problems of Germany's home politics are being thrashed out in her theatres.

Unemployment and overcrowding, the horrors of lodgers in a period of housing shortage, of old people occupying their beds too long, and unwanted babies in a too-full world, are the themes of the most important native German productions of this winter's theatre season.

The outstanding success of what is | popularly known as the “birth-control j play” ("Cyankall”), which is still filling crowded houses at the Lessing | Theatre, Berlin, may be responsible ; for more managers putting on seri- | ous social dramas first tried out in | the public performance of dramatic I students, writes an English corresj pondent.

But the fact remains that a period of the purest realism appears to have returned, with impressionism and expressionism as dead as doornails. The young people throw themselves into canals, the old pray for death, to deliver them.

“Stempelbruder,” which may be popularly translated as “On the Dole,” by Richard Duchinsky, at the Renaissance Theatre, has a magnificent scene in which the head of the family, an cut-of-work carpenter, smashes up his furniture in order to have something to do in putting it together again. Satan finds plenty otherwise for the idle hands to do. In “People Like You and Me” (“Menschen wie Du und i£h”), at the Deutsches Volks Theater, by Alfred Unger, a whole house full of unfortunate people is shown, whose tragedies range from the forging of passports for those whose nationalities were changed with the map of Europe, to the darker sides of a bright night-life. In “Schoolboys” (“Pennaler”), the author of “Revolt in a Reformatory” and “Poison Gas Over Berlin” touches on the evils of strict parenthood and erotic and neurotic youth. At' such a moment the production of “America’s Faust,” “America’s Parsifal,” as Eugene O’Neill’s “Strange Interludes” has been severally hailed in Germany, strikes almost an oldfashioned note. It succeeds the short run of “Journey’s End” at the Deutsches Kunsteerhaus.

Dr. Freud needs no explaining in Berlin; what shocked parts of America in this long story of a woman’s life from girlhood to widowhood is rendered, if not new, at least noble by the performance of Elizabeth Bergner.

This season’s Shaw play, “The Apple Cart,” has the advantage of Reinhardt as producer, and Werner Krauss as the King, a rendering ever so faintly reminiscent of King Edward the Seventh as a man in his prime. The conclusive German verdict on “The Apple Cart” is that in spite of flashes of genius, Shaw might have been boring if Reinhardt had not expended all his energies on bringing out the dramatic high-lights of the dialogue by a careful drilling of his actors.

The frankly low-browed prefer Edward Carpenter’s “Bachelor Father” to every other import this season. Independent of stars, producers or advertisement, this is voted a glorious comedy. It is reported a great box office success.

Sybil Arundale, who makes only occasional stage appearances these days, takes the important part of Anna in the production of Heijerman’s play, “The Rising Sun,” 'at the Kingsway, writes a London correspondent. This actress, who is remembered by many Australian theatregoers, is seen as the wife of the shopkeeper, Matthew Strong, played by Frank Cellier. Angela Baddeley, who appeared in Australia in Barrie plays, acts as the daughter, Sonia. A comic undertaker is a part that will be taken by Leo Franklyn in a new musical comedy in Melbourne, “Turned Up,” at the Royal. Carraway Bones is the undertaker’s name. The team of comedians in “Turned Up” will be exceptionally strong, for it will comprise also Gus Bluett and Cecil Kellaway. The cast includes Mary Lawson, Bertha Belmore, Madge Aubrey, Mollie Fisher (who has an attractive ingenue role), Frank Fox, Jack Dunne, Edwin Brett, Nora McManus, John Harper, Millie Engier and Ray Carey. The King’s visit to “Rose Marie” and “The First Mrs. Fraser” in London are bound to react favourably toward the theatre generally in a not-too-prosperous-all-round time. Managers are immensely cheered when the King and Queen are going to the theatre, because their example undoubtedly help business. The plays that the King and Queen go to see are very carefully chosen, and usually their management gets two or three days’ notice before a royal visit. * * * Mr. E. J. Tait, of J.C.W., writes from New York: “I do not hold any special brief for the American author, but I have also seen tons of rubbish in London, and how it gets by is a mystery to me. One has to see hundreds of plays before selecting one or more for Australia —and my friends think Em having a holiday! So far, I have only seen one play which, in my opinion, would prove successful in our country. As that one needs special types of people, it may not be possible on that account.”

Dancing •will be a feature of the J. C. Williamson, Ltd., production of “Turned Up,” in which Josie Melville is to appear at the Theatre Royal, Melbourne. A 1 iFsher, who was responsible for this side of the production of “Hold Everything,” has created some novel dance effects. An interesting feature will be the presentation of a ballet entitled “The Fireflies.” In this ballet a charming story is told in a delightful scenic and romantic setting.