The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1936-01-14

Shortly after I established tne
Munich Art Theater, principally
for the presentation Of Shake
spearean and Greek dramas. Then,
over a period of years, there were
added to the chain the KleineS
and Crosses SchauSpielhauS, the
former dedicated to classical en-
tertainment and the other devoted
to musical plays; the reconstructed
Josefstadter Theater in Vienna
and the Comedy Theater in Ber-
lin. I, Of course, was not the
business man in connection with
these enterprises. 1t was my
brother, Edmund, who attended to
all this intricate management.
/ had another and more Seri-
Gus clash with Kaiser wilhelm
III, in 1913 during Germany'S
celebration of the centenary Of
the war Of liberation (Of 1879.
Gerhart Hauptmann had writ
ten a festival play which I pro-
duced at BreSlau. Not being
pOet-laureate Of the court, Haupt-
mann dealt in his play with
the shameful aftermath Of the
NapOleOnic war when Germany
broke her solemn pledge to re-
establish constitutional order.
The Kaiser was furious; he did
not wish the country to be re-
minded Of this historical Incl
dent. He did not dare to stop
the performances, but his anger
against Hauptmann and me
knew no bounds. During the
war he made an attempt to
reconcile Hauptma.ln when he
bestowed some kind OF decOra-
tiOn on the author. But it was
a decoration Of the lowest order
and Hauptmann refused to &C
cept it. /, however, remained
his bette nOire to the very last.
Gilmore DuSe had always refused
to come to Germ NJ. claiming
that her Latin art would never
be understood in so Teutonic an
atmosphere. Besides, she was
known to have very little love for
German high society. After the
success of MoiSSi, however. I was
able to convince her to give a
series of guest performances at
the DeutscheS Theater. My judg-
ment was indicated. Buses Euro
pean reputation received a new
impetus after her Berlin expert
ence. AS a matter of fact, I had
to bring her back for the season
of 1908 and 1909 to cope with the
public demand. German audi
ences still understood no italian,
but they recognized in her the
greatest stage personality Of the
day.
1t is rather significant Of the
change that has come over
Germany when one realizes
that most Of the great names
of that time are active in 9th.
er countries. Paul Wegener,
the great character player
whose name was a by-wOrd in
Berlin, is now one Of the most
popular stars of GaumOnt-
British. I am certain, too, that
If Frank Wedekind, who was
not only famous for his act
ing but his writing and direc-
ton as well, were alive today
he would have no place in the
Germany Of today. Ericka
Mann, the talented daughter
of Thomas Mann, the Nobel
Prize winner, is now in exile
in Scandinavia, where she has
become one of the most pOpu-
lar cafe chanteuse artists.
Elizabeth Befgner, whose
great success in Shaw's "St.
Joan" won her stardOm, is
well established in England
and the foremost English
dramatists are writing special
plays for her genius. Fran
els Lederer, who made his de.
but in class drama, with Berg.
ner in Romeo and Juliet" is
in Hollywood. Curt Bots
the Thimigs-Ernst Lubitsch
Peter LOrre-Mady Chris
tianS-alI are scattered. They
have found success in cOun.
tries more appreciative than
the Germany which first
Graded their talent.
Emil JanningS, who was fea.
tured in many of my produc'
tons, proved also to be a most
able director. During the war
he directed and appeared with
LubitSch in the very successful
Hauptmann comedy, "Furhmann
HenSchel." Even as young
man Jannings was fat. He loved
food. Once, shortly after I had
engaged him, my assistant, Heinz
Herald, saw him lunching in a
little cafe adjacent the
Deutsches Theater. He was de
vouring a roast duck with such
gusto that Herald could not re
sist thrust. you seem to en-
joy that duck" he remarked
Jannings scarcely stopped to
answer: cts marvellous! Even
better than the first one I just
had!" The amazed Herald
learned then how Jannings had