In Germany Le Cloître,[1] as staged by Max Reinhardt, and again in the Deutsches Volkstheater in Vienna, has conquered the interest of a literary public and triumphed unreservedly over the obstacle of its own strangeness. There has been an exemplary production of Philip II. in the Munich Künstlertheater; Hélène de Sparte on the other hand has not yet found the setting it demands. As bodied forth in Paris by Ida Rubinstein, with decorations of a grandiose barbarism by Bakst, with a ground-colouring of music, it was effective more by the external magnificence of this somewhat sensationally advertised mise en scène than by its poetic qualities, smothered as they were by the accessories. A production which shall do justice to the play, leaving its pure lyric line unbedizened with glaring arabesques, is still waiting as a task for some actor-manager of genius who possesses that highest and rarest quality of being able to subordinate himself to the utterance, who is anxious not to ruin a noble simplicity by a spurious plenitude.
FOOTNOTES:
[1] A version of Le Cloître, by Mr. Osman Edwards, was successfully produced by Miss Horniman at the Gaiety Theatre in Manchester in 1910.