New-York tribune., 1919-11-23
Emanuel Reicher
BY Rebecca Drucker

Hauptmann and Strndbers and host
of other Continental drama-ists to
champion. new anG revolutionary
creed Of stagecraft was developing and
the classics were being rediscovered
in the modern spirit This adventur-
ing has kept Reicher a poor man. but
it has doubtless repaid MIN in other
satisfactions. He has seen the work
of Stanislawsl.i and Reinhardt come to
fruition en- ground that he prepared
IN Europe you can be poor man
and still have great prestige as an ar
t,st,' he said. Here that IS inlpos-
slble. Your artistic achievement is
measured also by money, and if his
work does not earn that it does not
command respect. I do not know
whether it would be wise for an artist
TO do here what | and so many others
have done there
The Modern Theater is a spirit, not
definition of purpose. 1t Is not de-
voted to modern plays, nor even to
national drama. Only 9 small proper
ton OF the plays produced in the Mos-
COW Art Thester are Russian. Rein
hardt produces comparatively few Ger
mn Diavs and the Coincide Francaise
does not limit its productions TO the
French. The modern theater should
shelter ali the great plays of the world,
classic and modern. Il should be open
to all the culture of the world. II
should hold steadfastly 10 what is uni
versal. That is its strength as an in
strument of civilization"
In 1899 Reicher came TO this coun.
try and put on the first production of
Ghosts" ever seen here The ner-
formance was given a Carnegie Ly.
ceun, and in the cast were Marv Shaw.
Reicher and Joan Blair When Reicher
returned he left his son, Frank, who
has remained in this country ever
since.
TO live. In A remote way Pinski's play
The Dumb Messiah which was
produced mere a. the Jewish Art Thea
ter last week, was sponslble for his
coming. Reicher was anxious % be
reunited with his children. Frank and
Hedwlg Reicher. who were acting IN
this country. David Pinssi. whose
play, The Treasure had just been
produced at .Reinhardt's Theater.
heaId OF his wish to go with great
enthusiasm. 81 shall write a NAV in
which you and Hedwig and Frank car
appear, and you shall play it in New
fork.' A little later ne returned with
the manuscript "But how shall
play IN English" said Reicner. when
my English is 20 poor2" "You can
play IT in any language" said Pinski.
rriumphantly. The part ! have
written you IS that of a dumb man"
The English speaking stage has seen
two flashes of Reicher's genius-ths
u,,nniorgettable productions OF THE
Weavers and John Gabriel Bjorkman.r
They were the beginnings Of coura-
geous hope he had of establishing an
american art theater. But the loss
with which he was faced by these TWO
performances forced him to tempora-
rl1y suspend the idea of such single.
handed undertaking. He still owes a
small number of subscribers FIVE Der.
formances to complete the projected
series of seven. 1t is a debt OF honor
that ne regards himself bound 70 full
MI. and one is unscrupulously glad OF
, this mortgage which the American pub
lie still holds on him
These unheralded productions a.
the Jewish Art Theater open a wide
vista before the American theater. We
nave our own talented producers. but
the sophistication and wisdom tha.
gives these few productions symmetry
and force is something that Is not in
the stuff of our culture. We must in
our theater, as in other forms Of art.
fnd universal culture before trans
lluting II INTO something distinctlvely
American.
There are colossal rhythms in CIV
lllzation that take centuries for their
completion and that are written across
the world. In the strophe the old
world discovered America, and now on
the antl-strophe America is finding
the rest of the world No painted
indians Or ..rgin forests hold a more
thrliling adventure than this discovery
IN