New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-12-15
Great Play Superbly Given
by Emanuel Reicher
at Garden.
DRAMA SETS OLD
TECHNIQUE AT NAUGHT
Entire Community Is Made to
Live Through Skilful Pro-
duction of Fine Drama.
By HAYWOOD BROUN.

has elbowed perfection so closely.
Hauptmann's drama, which was
played in English for the first time.
cannot lose a great deal in translation.
The performance at the Garden Thea
ire last night was too effective 20 war
rant such a belief, and yet the play is
almost lacking IN the quality which is
most easily carried from one language
into another. L throws structure by
the board. At any rate, II disregards the
technical standards, or limitations, if
you will, which still surround the mod
ern English drama in spite of Gals
worthy or Barker.
But "The Weavers" marks a more
determined assault than any led by
either Of these men against "the well
made play" Possibly il is too early
70 say whether Hauptmann has created
a new form in his nsturalistic plays or
whether he has simply thrown all form
aside. Perhaps he would say that il
did not matter. An artist who has
much 10 say not infrequently clears
the air for the rush Of his thoughts
by tearing down the poles and wires
set up for him by other men. Then
if the voice be loud enough the mes
sage will carry. The Weavers" car
ries. No one can fail to be thrilled
by it.
And yet the play has neither be
ginning nor an end. Il has no hero or
heroine. Broadways popular heart
interest" is unknown. The play con-
tains no wit, no elegance, no studied
eloquence. II is mighty because 1t
deals with the mightiest Of the emo
tions. While other playwrights were
frittering away their time with love-
revenge. ambition and what not,
Hauptmann was drsmatizing hunger
Love, revenge. ambition and all the
rest may lend impetus to life, but not
one of these has the impelling power
of hunger. -
Kaufman shows US group OF
wesvers. not one or two fsvorite char
acters OF the playwright, but whole,
community OF workers, who reoeI
against starvation and riot oNndly
against the social order.
No,hing has ended when the curtain
falls but the life Of one weaver. me
rioters have driven the soldiers away
for the time being, but we know that
more soldiers will come ana cruz"
them. Nothing has been answered pc
cause there is no answer. II cannot DC
automatically stated that old Hilse Is
prono whom he says: You have your
GOOD things in this world-Pn have
SS,ire in the next" Nor is il suscep-
tible Of proof that Luise Is right wneh
she curses his religion and his plety
and goes out 10 take her place IN the
rush against the soldiers.
OF course. it is old Hilse, the reac-
tionarv. who gets shot, but that proves
nothing except that life moves IN an
ironical wav. His death, however,
serves to give the play its exceedingly
effective termination, with the weaver
living across the loom, while ms desi
and partlv pardlyzed wife across the
room calls TO him again and again 10
find out what is the matter strangely
enough. from the point Of view OF those
who are accustomed 10 plays IN the reg
r,lar mould. the man whose death moves
MS so profoundly is almost stranger
He does not enter the play until the
fifth and last act. and we hear nothing
Of him before that time.
II does not matter that we know him so
short time. We are interested IN HIM
because he ia a member of commu-
nity-more than that, class-ln when
our interest has steadily been built up
from the beginning OF the play. Al!
weavers. all workers, command our al
tentiOn. We must take sides IN the pat
,le Of capital and labor. To an eXtraoT-
binary degree do the playwright and the
players succeed in putting community
on the stage and in bringing the au-
dience into intimate touch with tne
many. The mob is hero and heroine 10
Uauntmaun in "The Weavers.'
Tho success of The Weayers' is
largely in the hands Of the producer
According 20 the programme II was
"produced under the personal super
vision OF Mr. Emanuel Relcher and
stage direction of Mr.. Augustin Dun
can" These gentlemen have done
remarkable thing. They have succeeded
in teaching actors that 1t Is possible
"a STAY in a stage picture without NOV
ing. that a person who sits still ana
does nothing may command as muen
attention as one who runs across the
stage. ,.r
times last night, but, what was more
noteworthy. they were heard by the
other persons on the stage. The art or
listening was developed 10 a hlgh de-
gree among The players Of Mr.. Releher.
The play depends on this art. First
~ ali. for instance, we have the de-
livery room Of a manufacturer where
the weayers come 70 sell their product.
The important thing is not what the
weavers say but how they receive the
words OF the manufacturer and or the
worker who rebels against conditions.
Again. in the second act, IN the nome
OF old Ansorge; in the third, IN the
nublic house; and in the nth, in the
workroom OF old Hilse, the preserva-
tion of the picture Is Of the utmost
importance.
il must be confessed that 70 one
trained in the traditions OF the average
modern play there are slow spots IN me
first and second acts. There IS tne
feeling Of over-hdelity TO life In Jus
boresonle moments which the naturalis-
tic school Of drama 80 frequently IN
spires, but with the third act and the
beginning OF the weayers' revolt inter
est must mount. There is action enough
The weavers smash the house OF the
manufacturer in the fourth act with as
much zest as though they were so many
n AYERS in 90 melodrama. ~ must De
said for the mob, also. that II was as
much alive when 1t appeared as men
il murm .red angrily of stage. Finest
of all is the fift;. act, which fairly BUD
bles with drama.
II the acting Of individuals is 70 be
singled out in q performance which Is
aimed AZ a unity OF effect, it may be
said that Adolph Link gave a remark
able performance as Old Baumert, and
tbat Edith Randolph was so good as
Louise that her exit held the play up
for several moments on account OF the
anplause. Emanuel Reicher was efec-
tive. but the stammer which he chooses
10 read into the part Of Old Ansorge
was rather aggravating, even II II ara
lend added power 70 the old mant out
burst at the end Of the thiri act: ku-