[…]The decorations were extremely simple, clearly modeled on those of the Munich Artists’ Theater, whose limited space he had to contend with. Only the snow-covered castle terrace, the tall forest of halberdiers’ spears, and perhaps Ophelia’s funeral procession, dark against the light sky, had something pictorially imaginative about them, despite the great simplicity of the stylization. The sketches of the castle chambers and galleries were characterized by a restraint that here and there went too far and turned into sobriety. […]
The highlight of the evening, a triumph for the actor Reinhardt himself, who, despite initial failures, unwaveringly challenged his talent—which had been marred by severe affectation—with ever new and greater tasks, was Moissi’s Hamlet. […]
He was a handsome prince, yet without the slightest hint of conventional theatrical idealization, marked by the finest intellectualism, amiable and gentle by nature, a deeply introspective man who, thrown off course by a terrible experience, fought in vain against his paralysis with shame and fear.
Conrad Schmidt: Vorwärts, 19.10.1909