The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1906-11-04

THE, important dramatic event of
the past week, Of course, was
the Chicago production of
sPeer Gynt' by Richard Mansfield
A new Mansfield production is always
an event, but there were circumstances
of peculiar interest in this one. 1t was
the first stage performance in English,
SO far as known, of the Ibsen master
piece. Indeed, the great Norweg ian s
aramatlc poem was not originally un-
tended for stage purposes at all and it
was not till thirty years ago that Ibsen
himself deemed such use for it pos
slb!e; He then made. an acting version
which was produced in Christiania with
Indifferent success. The plays of Ibsen
most often acted are such problem
plays as "Ghosts, - "a Dolls House,
and "IIedda Gabler.'' The popular es-
innate Of the dramatist, naturally, is
based upon this phase of his work and
the pessimism it reveals. "Peer
Gynt,' however, is pitched in an en-
tirely different key and reveals the
master In mood quite unfamiliar to
al save those who read him carefully
While its fantastic symbolism may
pique the student and the scholar, it
has human interest entirely on the
surface for the most unthinking
theater goer. There are scenes of light
and natural comedy, overcast with the
most delicate of Ibsenic irony. There
are intensely human scenes touched by
a poetic philosophy worthy of com
parison with "Hamlet.' Peer. Gvnt
himself is a fanciful and fantastic
dreamer, whose whole scheme of life is
ordered on a false and self-indulgent
basis and who in the end is redeemed,
like Faust and Tannhauser, by a
woman pure love. The poem is in no
proper sense a play, for it has neither
action nor plot. Rather is it a series
OF scenes from one man s life, bound
together only by his identity and his
return atslast to the faithful SoIveip
who awaits him.
The tremendous difficulties in the
way of presenting stage version of
"sPeer Gynt'' would stagger anyone
but Mansfield or an living. The
however, in according Mr.. Mansfield
the need of success. The first perform
ance lasted till after midnight, but held
the brilliant audience till the last. The
version is arranged in two parts the
first being devoted to the youth of
Peer and the second to his old age. The
second part, like the second part of
oNDo3 10 Voo Iull VI amt
defamation to be vitality interesting
on the stage, and while Mr.. Mansfield
is praised for his timidity in cutting
the text too much, he is advised to
abridge these scenes considerably. The
weird and pictorial music of Ibsen s
ccountryman, Grieg, is used to illustrate
the poem and, one -fancies, with tell
ing effect. The mPeer Gynt' suite af-
fords three striking compositions adj
mirably adapted to this purpose, since
it is indeed the very purpose for which
they We're written. To these, no doubt,
is added "Solveig's Song" from the
same composer. The scenic achieve
mentE we are assured, is brilliantly
worthy Of the occasion and successfully
appeals to the eyes of those who might
not otherwise be beguiled into even
superficial appreciation Of the Ibsen
poem.
The point Of chief interest about the
production, no doubt, is that concerned
with the opportunities for acting it
affords Mr.. Mansfield, and the manner
In which he has taken advantage Of