Nationality and the Stage

Timaru Herald, Volume CXXXVII, Issue 19626, 21 October 1933, Page 12

Nationality and the Stage

It was disturbing to read in a recent cable message than an audience in London had demonstrated against a German actor on the grounds of nationality. When Werner Krauss was making his first appearance at the Shaftesbury Theatre in Gerhardt Hauptmann’s play. "Before Sunset,” the occupants of the gallery became so noisy that the curtain had to be lowered several times. Anti-Hitler propagandist leaflets rained down on the occupants of the stalls; a few "stink” bombs made their appearance; and the confusion was increased by shouts of “We won’t let Kruss appear!” and “We want British actors!" From an artistic point of view, events in Germany have. been depressing enough during the last year. But the outbreak of hostility there against non-German actors, authors, and musicians has served to throw into agreeable relief the tolerance shown toward foreigners in Britain. For centuries a haven for political refugees, England seemed to be carrying on her grand tradition. Does that happening at the Shaftesbury Theatre presage an alteration of it? One hopes not. Throughout recent months, all responsible London critics and representatives of the arts have set their faces against any sort of racial discrimination. It would, indeed, be a retrograde step if an actor of Werner Krauss' standing were excluded from the English treatre. Herr Krauss was recently declared by no less an authority than C. B. Cochran to be “the greatest actor in the world.” He gained his most imsxrrtant successes in Germany under Max Reinsardt, who, now an exile, is about to produce the opera, "Fledermaus,” in Paris, and then make a tour of France. Recently, Werner Krauss made some appearances at the famous Burg Theatre in Vienna, where he represented Napoleon ill Mussolini's play, "The Hundred Days.” Signor Mussolini was so delighted with the accounts of thiß performance that he now Insists on

FOREIGNERS NOT WANTED IN ENGLAND

Krauss creating the part of Julius Caesar in his next drama, written round the life of the Roman statesman. Expulsion of Jewish Artists. It is interesting to note how other countries are gaining the benefit of great actors and musicians who have been forced to leave Germany. Max Reinhardt has produced “A Midsummer Night's Dream" at wonderful open-air performances in Florence and in Oxford. Karl Ebert, the former “Intendant” at the Berlin State Opera, has been producing operas at the Florentine “Musical May” festival. Not long ago, it was reported that he and Fritz Busch (formerly musical director at the Dresden State Opera) intended to take a complete German opera company to Buenos Aires. Otto Klemperer (formerly musical director at the Berlin State Opera) had organised a "wandering opera company," which was about to begin its tour with performances in Budapest. Alexander Moissi has renounced his German citizenship, and become once more an Italian. This extraordinary powerful actor has just appeared in "Everyman” in Milan, and will tour Italy in such plays as "Hamlet," "The Merchant of Venice," and Shaw's "The Doctor’s Dilemma," before Joining his earlier director. Reinhardt, In the French tour referred to above. Gltta Alpar, the Hungarian soprano who sang the title role in “The Dubarry" in Berlin, has been appearing in this same play in Sweden and Budapest. She will shortly go to London to act in a film. The unsettled state of Germany seriously interfered with the arrangements for this year's Wagner Festival at Bayreuth. First of all. Arturo Toscanini refmed to conduct, as a protest against the Nazi measures against Jewish artists. Then a large number of foreign visitors cancelled their scat reservations; and the management was forced to give away blocks at lr*e

tickets in order to ensure full houses. The e tickets were presented to “culturally interested circles of German youth.” who were provided also with free rail transport to and from Bayreuth. and free led sings in the town. For the foreign visitors who did attend, the festival, with Hichard Strauss replacing Toscanini es conductor, provided a brill:., nt *t of music. The staging of oj>eru at 3ayreuth. the home of the Wagner tradition. Is always a revelation to Londoner*, accustomed to tie out-of-date and haphazard methods of production at Covent Ga>de»