ABSTRACT
. . .If the present production at the Garrick Theatre does not bring the signature of Stanislavsky or the exquisite fragility of Chekhova that is no reason for apprehension. There are certain points it must be admitted in which the present team is inferior to that with which Stanislavsky was working recently in the foreign capitals. One constant rule of the Art Theatre was attention to detail: what the directors call their ‘spiritual realism’ was to have a material expression in perfect assimilation of fact to idea, and of the scene to the intention. In the production which we saw to-day the characters all wore clothes which dated them, while Germanova, as the landowner, came back from Paris in fashions of our own time. That was a blunder which jarred and upset the rhythm of the spectacle. Nor was the mise en scene satisfactory, but that was the more excusable in a company which has travelled far at short notice.
