THE DEUTSCHES KÜNSTLERTHEATER
Readers of THE NEW DRAMA may be interested to hear that the enterprise of the actors of the Brahm Company, which in the winter seemed uncertain, is now secure. The Deutsches Künstlertheater was incorporated on April 20, with a capital of 790,000 marks. Willy Grumwald is really to be manager, Ernst Friedmann, business manager, and among the associates are Tilla Durieux, Carl Forest, Gerhart Hauptmann, Hilde Herterich, Else Lehmann, Emil Lessing (Brahm's stage manager), Theodor Loos, Hans Marr, Emanuel Reicher, Rudolf Rittner (who declares, however, that he is to return to the theater only as associate, artistic adviser, and stage manager, and that he still has no intention of ever acting again; since his blending of blazing passion with austere self-discipline is all too rare, let us hope he will change his mind), Oscar Sauer, Mathilde Sussin (whose sublime Deaconess in 'When We Dead Awake' so fully meets Ibsen's requirement of the actor of this character: complete self-effacement until the close, and then tragic acting of the highest order; Alfred Kerr, whose words—don't you think?—no other living critic can equal, has called her 'eine der Schattengestalten dieses grössten Theaters der Unscheinbarkeit, der Seele'), and Paul Wegener. The Deutsches Künstlertheater is still undecided whether to build a theater or to lease one; it will enter into active being in July, 1914, when Otto Brahm will pass, alas, from the active service of the theater, which he has served as has no other man.