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Show t THE CITIZEN 10 The First sentiment, APPEALING music and and scenic effects, and here and there a dash of are the elements that humor, make Maytime bewitching. This play with music was presented as. the seasons last attraction at he Salt Lake theater and was applauded for g melits theme and its heart-searchin- odies. The distinction between a musical comedy and Maytime is obvious. I need not stop to define a musical comedy; all of us have a clear idea what one should be. In Maytime the songs and the incidental music are interpretive of the sentiment. In a musical comedy the song is I see the often apropos of nothing. merry villagers approaching, says the tenor in the musical comedy or comic opera, and he proceeds to Sing Ho! The Merry Villagers. That is not at all the method of Maytime. At some crisis in the wooing, the love affair, the separation of the lovers and the aftermaths of many years, the sentiment of the piece spontaneously voices itself in song. Too much can not be said in praise of the authentic way in w'hich Romberg has caught the sentiment and given it musical utterance. The play is presented in four acts. First scene of all is the Van Zandt mansion in Washington Square, New York City, in the year 1840. The story of the rich mans daughter and her love for an apprentice is told in word and song. The sweethearts are parted, she vowing to wait for him until he returns. The second act introduces us to Mme. Delphines night club in 1855. Ottillie has not waited. To keep the Van Zandt fortune together, she has wed her drunken, spendthrift cousin and on the night in question goes to the club to find him. She is accompanied by her chum, Alice, who has secretly worshipped Richard Wayne, the vanished apprentice. At the club they find themselves in a swirl of gay life. No less a personage than P. T. Bar-nuthe great showman and advertising pioneer, is there with a peppery Spanish dancer and a tenor to entertain the guests. Of course Richard Wayne steps into the scene. He is a millionaire now just back from South Africa. He had a reason for being there, but I failed to note what it was. There is a quarrel between the drunken husband and Wayne .over Ottillie and a challenge to a duel, but of the Van the most Zands thoughtfully announces the engagement of Wayne and Alice. It is the first either has heard of it, but they carry out the illusion to reality and thus save the name of dear, innocent Ottillie. The next act finds us in the 80s. The company has grown sparser, for absent-mindedl- light-heade- d y some must die in the space of forty years. But there is Richard Wayne, who has a grandson now, and Ottillie, who is trying to keep the wolf from her door by means of an auction, of household effects. Richard Wayne appears as the good angel, delicately considerate. 'The final scene is Mile. Browns dressmaking establishment in the old Van Zandt mansion. And still we have Richard Wayne and Ottillie, but they are not the same sad lovers of other years. Indeed, they are different persons altogether. He is the grandson of the original Richard and she the granddaughter of the original Ottillie. We have here the twentieth century New York, its most characters in the latest creations. The finale is the plighted troth of Richard and Ittillie. Two unusually pretty women adorn th play. There is Carolyn Thompson as the enchanting Ottillies with blue eyes and slightly auburn hair. And there is the beautiful Junoesque as Madame Studiford Grace Delphine. as both of John Charles Thomas the Richard Waynes was effective as actor and singer. He grew old most gracefully amid all the pathos, and so, too, did Ottillie, who was a kind of Sweet Alice of the type Ben Bolt loved. Oh, do you remember sweet Alice, Ben Bolt? Somehow I seemed to catch the spirit of sweet sentimentality, like the scent of lavender and old lace, that clings to the song which Du Maurier revived so exquisitely a generation up-to-da- te ago. PANTAGES all odds better than anything seen on the Pantages in a long time is that presented by Colinis Variety Dancers, who starline the bill now playing. Through a maze of intricate steps that require infinite grace and agility, the eight dancers whirl, varying from the Russian school down to the fast jazz dips of today. Charles F. Seaman, the narrow feller, registers a hit with his wide variety of entertainment. His freak musical stuff goes over with a bang, while his monologue wins the crowd. Beth Challis is a dainty little miss who fully lives up to her billing as She has a Little Miss Personality. charming voice, a vibrant personality and an array of fetching frocks. The Four Danubes are aerial artists of major magnitude who put over some breath-takin- g feats above the heads of the audiences. Housh and Lavelle have a laugh act called It Happened in Arizona, which is crammed with spicy mirth and includes several fine tenor solos. The Wille Brothers offer some amazing hoop rolling stunts. A motion picture review of late news events rounds out the show. Eddie Fitzpatricks orchestra gives some breezy musi A DANCE offering that is down-to-the-seco- nd by cal numbers. This bill plays through Tuesday night. Next weeks hill brings Gautiers Animated Toy Shops, one of the most novel acts in vaudeville; Willards Fantasy of Jewels; Rookie Lewis, a tar baby recruit; Fox and Britt in The Stayouts; Joe and Rosie Moy, the Chinese Castles, and Harry Tsuda, Japanese equilibrist. . PA RA MO UNT-EAREAL, red-bloode- d PRESS M story of ranch Arizona and New Mexico, it abounds in thrilling situations, in suspenseful moments and affords the star a wonderful opportunity for fast riding, shooting and roping. Such is William S. Harts new Artcraft picture Square Deal Sanderson, which run at the Paramouopens a three-day Sunday. nt-Empress Forty-eigh- t people, including a lot of real from the range, appear in cow-punche- rs the scenes. There is only one woman in the story Ann Little, who plays the .role of a young ranch owner beset by men determined to steal her hand and her- self as well. Much of the picture is exterior in character and Mr. Hart and Lambert took the comHillyer, pany to a place near Victorville, Cal., for desert scenes and spent two weeks in the open. This picture story, written by Charles Alden Seltzer, appeared in the Argosy magazine, and was pictur-ize- d by Lambert Hillyer. It was by Joe August, who is cameraman for all the Hart productions. a co-directo- rs, pho-tograph- ed ACTORS MEMORIAL DAY rPHERE is a movement on foot among the business men and society people of New York City to recognize the splendid work done by the people of the theatre in all the great war drives in behalf of Uncle Sam and the great share in winning the war performed by the theatrical profession, which succeeded in raising over two hundred and fifty millions of dollars ($250,000,000) for thfe various drives. A day has therefore been set aside, which is called Actors Memorial Day, as a memorial of the actors who fell at the front, for those who served in the trenches, and for the artists who renderd such splendid services, not only in France in enter taining the soldiers, but in consideration of the many benefits given by the profession for the war needs. The date, has been made December 5th. As an aid to the various meetings by the public in commemorating this date, it is proposed to give extra matinees on this date in all the leading theatres of the United States. This as an aid to put the Actors Fund charity on a firm financial foundation, and thus represent the gratitude of the people of the United States for all that the theatre people have done for Uncle Sam. This movement in New York City is to. be extended throughout the United States on that date. In many smaller cities it is designed that luncheons, dinners, or other events can be given in commemoration of this splendid way of recognizing the theatre in the war, for which special? local committees are to be assembled to add to the general fund. The New York commitee has already made rapid progress. The Hotel Commodore, has donated a suite of offices ,and the advisory committee already includes Governor Benjamin Strong of the Federal Reserve bank (Second district), Wm. G. McAdoo, former secretary of the treasury; Geo. Gordon Battle, chairman, first Salvation Army drive; William (New Morgan, York district) Y. M. C. A. drive and president Merchants Association of New York; Mortimer L. Schiff, chairman finance committee, Jewish Welfare Board, and member of the well known banking firm of Kuhn, Loeb & company; Felix M. Warburg, chairman joint distribution committee of all Jewish relief funds; Judge Morgan n war fund J. OBrien, drive of the National Catholic War Council; Joseph Cullman, Jr., Limit Club WTar Savings Stamps; Cleveland H. Dodge, chairman Armenian & Syrian committee; Wm. Sloane Coffin, directeur Adjoint des foyers du soldat, the Y. M. C. A. work in the French armies and members of War Work Council of the Y. vice-chairma- Fel-low- es vice-chairma- n, ; n vice-chairma- M. C. A. TOUGH. The Germans, according to officers from overseas, were more afraid of the American colored troops than any others. When it came to close fighting the darky was there with both feet, a bayonet, and a razor. As one-officer expressed it; The black boya. in the trenches and camps wero mighty frank in saying that they wished they were a long way from France, and nothing in the world made them so frightened as to do guard duty. If a German, wrapped in a white sheet, had stolen up on them, the sambos . would have stampeded. But in actual fighting they were invincible, and their spirit was epitomized by a darky-i- n a New York contingent. Isefroir, NYawk, he stated, 'and dese Gumans done gwine to find us tough customers. Why, bos, de part of NYark I come from am so tough the canary bird sings bass. |