As scholars investigating historical audiences, we are always searching for that magic moment when the theatre critic shifts in his seat, notices the people around him and finds them interesting enough to write down his observations. When such a moment occurs, we are given the rare opportunity to witness a spectatorial presence and spectatorial response not usually represented by theatre reviews. One such magic moment occurred on April 22, 1922, in Frankfurt, Germany at the premiere of Arnolt Bronnen's play Vatermord (Patricide). Carl Zuckmayer, a fellow playwright, drew his eyes away from the expressionist play before him and lifted them to the gallery. He recorded his experience in his review for Die Neue Schaubühne: