New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-29
"COUNTESS JULIA"
Strindberg Play Produced at
48th Street Theatre.

Ii is well that Strindberg should have
fair chance before the public in our the
aires since that is the best way OF reduc-
ing to their proper proportions the eX-
travagant claims made for him by his sd-
mirers. Last season "The Father was
presented in New York this spring We
have already had a special matinee Of
THE Stronger" and "Pariah," and now
trio of afternoon performances Of Count
ess Julia has been put on at William
A. Brady's Forty-eighth Street Theatre.
What strikes one in the Swedish dram
atists work thus far presented here is
not al all the "cosmic meaning" claimed
for it, a consistent analysis Of life
whether constructive or destructive, but
purely theatrical quality. All these plays
contain capital acting parts for exception
ally gifted players. AS for their profound
intellectual content. that is not conyinc-
ing in the production. and far less so in
the reading. Strndberg's characters talk
all around the compass on whatever sub
ject they touch, but one carries away
from all this often extremely clever dia-
loeue no conclusions that are striknSly
new or worth while remembering.
Countess Julia" is one long wailowing
in the degradation of a well-born perverse
young woman (she is twenty-five). vino
gives her honor i'm the keeping Of her
fathers coachman. and finds herself at
the mercy of his ackey's soul. He tri-
umphs over her. he degrades her in her
own eyes, he commands her to rifle her
fathers desk. In order that they may go
to Switzerland together 10 open hotel
there and I'm the end refuses to run away
with her at all, driving her at her own
despairng request. to suicide.
The initial situation appears forced
and unnatural to the American UNDER
standing. but it X familiar enough on the
European stage. this sudden sway OF the
senses. throwing prudence. all social ana
moral considerations to the winds on fes-
tival days that have come down from i'm
memorial pagan days through the early
Church. willing 10 make many concessions
in order to retain its converts. Among
the peasantry this surrender to primal inn
pulses reaWakened by celebrations Of nat
ure's cvcr-renewed life are common
enough. Dramatically. the material is, or
course far more significant II transposed
10 a higher social scale. Countess Julia
ruins herself on St johns eve, the mid
summer nights feast that IS 50 much
older than its Christian name. The same
situation Is found in Sudermann's Fires
81 ST John" and. in an ultra-modern
form. in the Lancashire Wakes that weave
their scnsuous spell about Fanny. the
spinning girl Of Hindle. But whereas the
German play gives poetic touch OF true
rassion to the subject. and the English
drama presents an extremely interesting
situation Countess Julia" bears tine
stamp OF the uEwholesome. debasing
misognist that Strindbers was.
OF the performance yesterday AFTER
noon it may be said that Marcia Nalther
succeeded in suggesting how thankful
mart the title role would be 10 great
emotional actress Duse. for instance
or an intellectual marvel like Mrs. FlsNe'
Frank Recher. as the coachman-valet' re-
vealed the lackeys base soul TO the Ut
most. but could. Of course. read no con-
sistent character study into lines that re
veal none. Adelaide Wilson played the
kitchen maid compctently. and members
Of the Swedish Folk Dance Society gave
their collaboration. The second matinee
will be given to-day. and the third ana
last next Friday.
CAST OF COUNTESS JULIA
co,,,..s I,,ita ..... Miss Marcia Naither
lean a valet Of the Count ..... FRANK KeiSne-
Kristin n kitchen maid. Miss Adelaide "'s0"