PIRANDELLO HOAXES HIS PUBLIC

Evening Star, Issue 19411, 20 November 1926, Page 15

PIRANDELLO HOAXES HIS PUBLIC

Pirandello, tlio contemporary Italian dramatist, who lias been warmly welcomed in Loudon, chiefly on account of his elaborate satire on theatrical conventions entitled ‘ Six Characters in Search of an Author,’ has played a huge joke on his fervent admirers, and on his enemies as well, in the new play he is presenting at tho Theatre des Arts, Paris. ‘ Coramc-Ci ’ is a piece which is described as a comedy in two or three acts, with a prologue, the latter being given with the aid of the cinematograph. After the sensational details of the suicide of Giorgio Salvi have been thrown on the screen the first act commences, and we find ourselves in tho midst of a densely embroiled affair, of which it is difficult to make head or tail. Theories upon theories prove that black is white and white is black then the curtain comes down. Out in tho foyer and vestibule the public inquire of each other what can be the aim. The critics commence to say it is absurd. Pirandello has overstepped the mark this time with his peculiar formula, when all is more obscure than ever.

The sonnette rings, and the second act is about to commence. The curtain goes up, and we find the scene represents the very foyer we have just left, and on the stage 'are seemingly the critics who have just condemned the first act, and we hear again the same remarks: “Absurd. Pirandello has gone too far this time. He is only laughing at his public! ” And the whole house laughs. It is all a great hoax. From_ this on the piece is played as much in the auditorium as on the stage. The reason of Giorgio Salvi's suicide is no further cleared up. Rumor has it that Delia Morello, an actressadventuress, had thrown him over m favor of another, but she says no. Then, when she finds everyone believes her, she is somewhat doubtful as to her otyn belief. Pirandello out-Pirandello-ing himself, the audience murmurs. It ■is all so involved. Rut now the' whole show turns _ to farce. A woman in the stalls who claims to be the real Delia Morello, forbids the progress of the piece. She objects to, the leading lady’s interpretation of her character on the public stage. The third act is not played. The author sends a letter of regret, but ut his agitation he terminated his note in Russian, so the audience never had the explanation of the piece he wanted to present to them. Called forth before the curtain at the close of the evening, Pirandello advanced, looking highly pleased with the pleasantry to which he had treated the Parisians. It was a wonderfully wellperformed burlesque on the Sicilian dramatists favorite pattern of play-writ-ing.