# 88. “Married Life”

*Drama in three acts by Georg von Ompteda  
Performance at the Lessing Theater, Berlin*

This play is one of those plays that can only be enjoyed if one has a point of view in the field of social life that corresponds to that of the parochial politician in public affairs. A certain degree of philistinism is required if the conflicts involved are not to be perceived as too insignificant for a play lasting over two hours. Viktor Schröter is one of those better philistines who "enjoy their youth" and, when they have enjoyed it enough, sail into the harbor of a marriage that would please even the strictest pastor. But as the little ship approaches safe land, a somewhat unpleasant rumor spreads around it. The debt-ridden Viktor needs a dirty fellow to pay his taxes, the matchmaker Suberseaux, who introduces him to the orphaned millionaire Hedwig, who is limping on one leg. The brave matchmaker receives a commission in return, which Schröter hands over from his captured wife's money. The marriage is a happy one. Schröter gradually falls in love with his Hedwig, as if he had not bought her and as if she had not brought millions into his house. She is the "ideal" of a woman. She has fallen in love at first sight, for that is how true love must express itself. She has no idea how Viktor has fallen in love with her and believes that she would be eternally unhappy if a man had taken her for her money. This distresses Viktor, who has become so well-behaved, and he always wants to confess his "secret". In order for there to be a dramatic conflict, this must not go easily. The long-gone matchmaker has to reappear. He comes back to the house because he needs money again. Some kind of sleazy story forces him to quickly flee to America. Viktor is supposed to give him the money if he wants to prevent the wretched fellow from disturbing the happy marriage and bringing to light how to become a happy husband. But Viktor, as I said, has become a good boy, and he shows the fortune-bringer the door. He wants to confess anyway. But such fortune-makers are not so easily fobbed off. He comes back and meets the woman alone. As she is, as already mentioned, an "ideal", she awakens a human stirring even in this filthy mediator's heart, and the brave man tells her that the noble Viktor had also once gambled and that he is now there to collect the gambling debts. Hedwig shows solidarity with Viktor and makes him pay the "debt". But the good guy confesses, and Mrs. Hedwig is quite sad for a while. But of course she forgives him and everything turns out well.

These are conflicts that not everyone can understand. You always have the feeling: why go to all this trouble? But if you are predisposed to take these things seriously, then you have to enjoy the finely constructed, albeit somewhat sluggish pace of the plot. If you are not inclined to do so, then you simply have to realize that you are not one of those for whom such plays are written.

For me, the performance at the Lessing Theater was more interesting than the play. As far as I know the circumstances, I have to say: I don't think that any other stage in Berlin currently offers such good performances. The director's art is quite extraordinary here. And as far as the individual performances are concerned, Ferdinand Bonn's Viktor Schröter, Hedwig Elise Sauer and Adolf Klein's matchmaker were worked out in such a way that it was a pleasure to follow them in every nuance. The performance suggests the very best for the time when the Lessing Theater will be able to offer a drama that can count on a deeper interest. Of course, directors can't just pull good plays out of the ground. But those who want to have their plays performed in a worthy manner now know that it is now possible at the Lessing Theater.