The Birmingham age-herald., 1911-01-01
"O1d Heidelberg"

A pleasing addition to the New the atre's repertory is "Old Heidelberg a German drama by Meyer Foerster, which is exceedingly popular in London and on the continent, and has met with mild suc- cess here.
 This old work has been played many times in this country both in German and in English, and by excellent casts, but never before has it been so beautifully l staged as in the present revival The
 piece furnishes an opportunity for elab- | crate scenic effects and the stage director has taken advantage of it.
 The story in outline concerns the expert | ence of Prince Karl Heinrich, heir ap- parent to the throne of Sachsen- Karls- | burg, who has been reared in an atmos- phere of formality. He is sent to Heidel- | burg for year of study, and there he breaks away from tradition and training | falls in love with his landlords pretty niece, and is about to go holiday making | with her when he is summoned to act as | regent. Unwillingly he goes, but after | two years memories of Heidelburg and the girl draw him back. As a reigning prince his reception by the students be- come formal and the things he likes | have changed, all except the girl. She however, realizing that as prince he | must marry within his rank, sends him | back to his throne and the alliance ar ranged for him.
 l The cast Is composed of the regular New Treatre Stock company with the addition of Frank Gilmore, who plays the role of the prince very effectively. He both acts and looks the part. As Kathie Miss Jessie Busley Is entirely out of the picture. She is vivacious, but lacks sin cerity.
 The best performance is furnished by Ferdinand Gottschalk in the role of Lutz the valet de chambre. Louis Calvert is entirely too English for the role of pr. Juttner, but the performance is, on the whole, good
 While "Old Heidelburg'' is by no means failure, 1t is in no danger of creating sensation.
 ~The Foolish Virgin" European plays that have achieved phe- nomenal success in their native land, on ly to fail on this side of the pond, are too numerous to mention One would think that the shrewd Yankee managers
 would know enough by this time to steer
 clear of foreign-born plays, especially those of French origin.
 But the presentation of "The Foolish Virgin" at the Kickerbocker theatre proves that they have not. This piece is the translation of Henry Bataille's "La Verge Folle," which carried Paris by storm, but it will meet with no such sue. cess on this side. Its subject is entirely French one and will not appeal tc American audiences. Then. too, the text
 has lost considerable force in the trans
 lation Bataille's ability as playwright cannot be questioned. Several of the 1 strong scenes in his new play would con. vince any one of this. But unfortunately | his characters are not drawn for Ameri. | can audiences, and accordingly fail to in terest.
 "The Foolish Virgin is built upon tho 1 familiar triangle of sex complications and Bataille finds convenient means ir | the end to smooth the troubled domestic
 waters after having provided four acti of disruption and theatrically effective complications.
 | At the points of the triangle stant
 Marcel Armaury, his wife, Fanny, anc Diane de Charance, the foolish virgin
 to whom the tale refers. A medlins
 force within he triangle Is Gaston
 an aggressive and resentful brother O. Diane This Diane becomes the objec of the elderly Armaury's infatuatio1 and runs away with him to London
 His ill-treated wife, however, indulgei
 in no recriminations. admits her hus
 bands privilege to fo-o- he dictates of his heart. and to shiel'