New-York tribune., 1918-02-21

W hcn Les Mauvais Bcrgers" was
hrst given in Paris the authorities saw
Mt to interrupt it's run. fearing that it.
mlght provoke class feeling But. al
though the play depicts the SUFFERING
misery and injustice done the masses
as result of the enjoyment of all the
wealth and power by n few. the an
'hors message Is against revolt as in
ehec'ual and catastrophe. Like Haupt-
mann -" "cavcrs.' the play deals with
snarp crlsls IN the struggle between
capital and labor. In the "Weavers"
the tragic effect is due to the preoter
abuses in industrial life that existed
at, an earlier period than that of dos
Mauvals Bergers," in which the pathos
IS more personal.
Inc application of the title is not
at once obvious. The only reference
20 1t IS IN the third act, when the
Radical and Socialist Deputies are
called bad shepherds. Mirbeau's lesson
would seem to be that capitalists and
demagogues alike. politicians and aei
tators, arc all bad shepherds. who de-
celvc themselves and misguide their
followers.
Almost everything that tho Nicux
Colombier players have done has been
characterized by artistic charm and u
certain illusion OF reality. These
qualities were marked in the vividness
and atmosphere OF the first act, which
was especially powerful. The scene
detail added to the picture of the
workers miserable condition, while
close by, outside, the factory roarcd
end glowed with balcful and demonic
light.
John Roule. an ombittcred agitator
and the promoter Of 4 strike pleaded
eloquently with Madeleine the daugh-
ter Of the workman, for her love to
inspire and heartcn him in his work.
His promise to care for her parents
and little brothers and sisters removed
her only cause for hesitation but the
foment of bliss which she tasted was
interrupted. Her mother, prematurely
aged and broken by harGships. was
the entrance Of her father told that the
end had conc.
The intensity Of the drama was in
creased by tho aNtagonism between
HargaNd, the owner of The factory, and
his son Robert. Socialist. who took
the part Of the strikers. lFargand re
sarded the factory as the creation Of
his brain and will. 1t was his indomit-
able spirit, trained 10 resistance by a
life Of conflict, that compelled him to
refuse TO conccde anything TO the
strikers. When he had driven their
delegates from his house. and his son
along with them, he admitted that their
claims We're just. Bugle calls outside
announced the arrival of troops he had
summoned. Later when his son lay
among the slain he would have given
all his wealth TO have undone his
work.
Jacques Copeau gave 8 striking I'M
personation of Jean Koulo. rising to
the many opportunities of the part, in
tura oppressed by the misery of the
workers, Drawing the capitalist in his
home, awaiting death calmly at the
hands Of his discontented followers
and at last meeting it at their head
with indomitable courage. Suzanne
Bing was very successful in suggesting
Madeleine's WEAKNESS and the beauty
of her courage that transiigured her.
Robert Bogaert was fully adequate to
The part Of Hargand. The younger
lIargand was somewhat suggestive of
The parlor socialist. the subnormal son
Of Il rich man, an idea that is not
found in the text. Ia the second act
the character parts of de la Troude
Duhormel and Capron, Hargand's
friends, supplied excellent comedy.
A. =.