The daily worker. [volume] (Chicago, Ill.) 1924-1958, 1934-12-11
Reviewed by
LEON ALEXANDER

Reviewed by
LEON ALEXANDER
THE Sailors of Cattaro marks the
third production of the Theatre
Union. From Peace on Earth to
SteyedOre to the present play, this
important dramatic group has in
creasingly clarified its social aims
and its theological relationship to
its audiences. BY widening its ap-
peal to larger and larger groups it
has become a genuine force on the
cultural front.
Sailors Of Cattaro Is based upon
the fnutiny Of the Austrian feet at
the besit ling of 1918, in the last
year of the World War. Driven by
a growing war-weariness, by the i'll
treatment which they suffered at the
hands of their superior officers, by
the starvation rations they were fed
while their officers caroused, the
men, led by rank and file sailors
and petty officers, revolted, i'm
prisoned their officers. flew the red
flag from the main rnasts of the
ship, and elected sailors councils to
run their ships and to present their
demands for peace.
But their success did not last long.
The very war WEAKNESS, especially
of the older men with families,
which had caused them to revolt,
also prevented them from accepting
a revolutionary action which would
have meant bloodshed. The rest of
the Austrian feet did not revolt.
The Social Democratic DEPUTIES in
Vienna betrayed them. The men
hesitated, faltered, debated; and
while their councils discussed, the
enemy on shore made their plans,
blocked the exit channel with sub
marines, replaced the unreliable ar
tillery men of the land forts with
troops they could trust.
Two days after they had hoisted
/ the red flag, they surrendered, hope
lessly disorganized. The few who
remained true to their revolutionary
pledge were arrested and court
martialled, in spite of the COM
manding officers promise that there
would be no court martials.
THAT is history, and that is also
the play. Friedrich Wolf, the
author, who belongs to that cour-
ageous group Of German writers
who have joined hands with Che
proletariat who have been exiled,
tortured in concentration camps,
murdered on the streets and in de-
tention pens in Nazi Germany. did
not find any need to distort history
for purposes of drama. His char
acters live and breathe; his revolu-
tionary fervor breathes in them and
gives them life. -
Unluckily, the production of the
Theatre Union does not do justice
to the play This is partly due to
the lack of rehearsal time, but the
greater fault lies with Tom Powers
conception of the leading role. In
the walk, in the voice, in the ges-
ures, it is a good, realistic portrayal
of a sailor But Rasch is not just
a sailor. His is the voice of the
revolutionary sailors. He was the
man who fonented, organized and
led the revolt Of 5000 men; he was
a leader, a great visionary; he saw
the unity of workers, sailors, SOL
diers, bringing peace and socialism
His vacillations were not due to per-
sonal weakness; they are part and
parcel of his revolutionary faith in
the masses.
Powers Interpretation of the part
which present Franz IS weak and
hesitant after the revolt, casts a de-
featist mood over the play which his
last words wen do it better next
time" and the last act Of some Of
the crew-to hide the red flag which
had been pulled down and thrown
on the deck-cannot dispel.
The rest of the acting was gen.
orally good. James Mcdonald, as
the lieutenant, is the perfect. rigid
pettifogging junker and military
martinez. Harold Johnsrud's act
ing as the ensign, has the maturity
and the revolutionary fervor which
some of the others seem to lack.
Frederick Roland, as the captain
makes something of caricature OF
the part in his first scene, then i'm
proves considerably as the play
progresses. Howard Da Silva as the
gay, clustering Sepp Kriz is dis
tinct addition to the company Of
the Theatre Union.
WHAT was lacking mainly in the
w play was the strong, controlling
hand of a director. None but tht
first scene of the play carried a sus-
tanned mood. At no point do ths
actors convey the feeling that theil
action is going on Beyond the i'm.
mediate four walls in which they
are playing; scene by scene, we are
not aware of the rest Of the shif
and the rest Of the fleet. Another
failure of the direction is that i
does not carry into the next seent
the tension from the preceding one
as a result, there is no clear drama
tic line and eyef, the cli,nax ri