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Show THE 10 CITIZEN With The First Nighters season of THE opens Wednesday night welcome news to every lover of the best in the varieties and joyful tidings to the city at large, for without void exists the Orpheum a hard-to-fiin the amusement life and general of the community. And its to be a distinctive opening week, with The Marion Morgan Dancers presenting an act that for sheer pretentiousness and artistic merit is pronounced the peer of any similar production. Indeed, it has remained for vaudeville to produce the greatest terpsichorean masterpieces, a dance production that would be a credit in any artistic company, a production that if sponsored by a Grand Opera impresario or a dance impresario with a name ending with the last letters in the alphabet, would be hailed as a sensation. This may seem rather a bold statement. It is, however, a statement that can be made without fear of contradiction, because never has there been either in this country or abroad, a dance drama to equal the one now being offered by the Marion Morgan Dancers and described as a dance drama in the time of Attila and the Huns. Just as meritorious in its particular field is the act produced by Harry Holman, the popular comedian, who tops g proclivin genius and ities perhaps any other comedian on the vaudeville stage. Mr. Holman will give us My Daughters Husband, his latest comedy playlet. He is supported by an excellent company. The Great Lester, king bee of all the ventriloquists, offers something new in voice trickster acts fun and artistry combined. Ann Gray, charming personality and talented harpist, will render a program of harp selections. Brodean and Silverman, master and dog, will present The Canine Contortionist, an act which always charms and interests. Le Rue and Dupre are Parisian sand artists with a distinctive act new to Salt Lake. Lloyd and Wells are blackface Gentlemen from Dixie in ragtime songs, dance and Orpheums 1919-2- 0 ll joy-ousne- ss laugh-makin- Starring for the first time with his own company, Mr. Kerrigan has created a role which, it. is said, will remain long in the minds of the audience and unique in the motion picture A field. White Mans Briefly, Chance deals with the adventures of American who ventures a over into Old Mexico for a little inred-bloode- d adventures He has vestigating. aplenty and ends up well, see the picture. The big production extraordinary, The Thirteenth Chair, will open a three-daengagement, starting Tuesy was adaptday. This ed from Bayard Veillers great stage success. Mystery abounds and the picture is conceded by critics throughout the world to be the greatest drama of its kind ever filmed. It is said that only one person in a thousand, viewing the picture, can solve the novel mystery until the denouey super-photopla- ment Mabel Normand is coming. She of Mickey fame will apepar at the American, Friday and Saturday, topping off a wonderful weeks program. When Doctors Disagree is the title of this winsome stars latest picture, and a private exhibition has shown it to rival anything in the comedy line that has been shown in Salt Lake for weeks. Frank Gibney, the popular Salt Lake baritone, will continue to appear before American theatre audiences, singing latest songs and on Friday night will hold a singing contest for the men. PANTAGES Revue is the ANDERSONS dance and title song num- ber that tops the blithe bill now playing at the Pantages. Garnished with a galaxy of pretty girls, two solo dancers and a host of pert songs, at- tractive costumes and gorgeous scenery, this musicai gaiety runs the gamut of songs and dances that lie between classic and classy. Its brimful of pep and fun and makes an immense hit with teh crowds. , Thomas Race and Freeman Edge are two of the funniest fellows alive and they keep their audiences in a perpetual uproar with their England-boostin- g versus American-boostinstories. A playlet that is most capably presented by those two versatile actors, William R. Odams and Agnes g Johns, is The Unexpected Witness, which fairly oozes suspense and at the same time provides many a hearty chuckle. Caites Brothers and Beatrice, the former two nifty chaps who need no formal introductions to their audiences, and the latter a pretty girl with a neat voice, stop the show at every performance with their eccentric dancing and singing. Joe Reed plays a variety of instruments that are way beyond the ken of the average layman and plays them in a way that wins him many an encore. A big brown, furry bear, with a somewhat blase Alice Teddy, manner and yclept roller skates and dances and then warms up to her act in a wrestling . toe-tickli- bout ng that is thrilling. A Fatty Ar-buck- le comedy and a tiptop musical program by Eddie Fitzpatricks or- chestra complete the show, which will play through Tuesday night. Wednesday comes the long heralded Camp Dick Jazz Band, olive drab specialists in the latest jazz time. Other acts will include Tom Kelly, the Irish Fashion Plate; Martha Russell and company in Rocknig the Boat; Rucker and Winifred, the ebony-hue- d entertainers; Lucy Val- - patter. Kinograms and the Orpheum travel weekly will provide the motion picture features of the bill, with movie news and views from all over the world. The Orpheum ticket office is now open for the sale of season reservations and regular tickets from 10 a. m. to 10 p. m. Performances this year will be at the same hours as last, 2:30 p. m. for the matinees and 8:15 for the evening shows. AMERICAN WARREN KERRIGAN comes to the American theatre for a two days engagement, starting Sunday, in A White Mans Chance, the latest, and said by critics to be the best picture this virile star has ever made. J NAZIMOVA in THE RED LANTERN THREE MORE DAYS OF NAZIMOVA IN THE RED LANTERN AT THE ORPHEUM mont and Jack Reynen, Belgian songsters; Hall and Guilda, in Tripping the Light Fantastic. & PARAMOUNT-EMPRES-S the ATdays, starting Paramount-Empres- s, three Sunday, August 3, Hart will appear in his latest Artcraft Wagon picture, Tracks, supported by an excellent cast, Including Jane Novak and Robert McKlm. This with the wonderful Prizma pictures and the pictograph makes up a program of the highest order. y' The star in Wagon Tracks has achieved a masterpiece. It is full of 'historical interest, having to do with the experiences of a leader of the vast caravans of folk who plodded across the the prairie via the old William S. Santa Fe trail in the fifties. Mr. Hart is the central figure, a scout and plainsman, like Kit Carson and his ilk. There is a strong thread of romance, Jane Novak being the girl in the case. There are Indians and pioneers, all the strange figures of that early western period when men had to be strong in mind and muscle to win out against the tides that swept westward. The picture is accurate in every detail and thrilling to the last degree. It is a tremendously powerful story and was directed with great skill by Lambert Hillyer. Lloyd Bacon, son of Frank Bacon, the famous legitimate actor, appears in an excellent role. Leo Pierson, Bert Sprotte and Charles Arlin are also in the cast. Robert McKim has an unusually heavy role. THE STAGE MANAGER every theatre program just beONfore the credits which tell who made that green thing the leading woman wears and who supplies soap for the actors is a list of the staff with the company. The staff includes the business manager, the technical director and the stage manager, or perhaps the first two titles may bo less politely expressed as press agent and head carpenter, but always there is, , the stage manager, just that, no morevj or no less. Who is this person? What does he do? Strangely enough, important as he is to a production, the stage manager is never mentioned in the theatrical, world except on the aforesaid program, and the general public has only the very vaguest idea of him. The writer has discovered this by inquiries. Hence this account of what the stage manager has to do, his responsibilities and worries, which begin the very moment a play goes into v rehearsal and Increase through days and nights all through the plays life until it gives up the ghost years later at some one night stand. Poor stage management means a poor performance, with a consequent loss to the |