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Show THE CITIZEN 10 With The First Nighters While the picture is the feature at Pantages because of its power and the art of Arliss the entire bill is admirable. We have seen some surpassingly excellent pictures this season, but none to excel The Devil, which, in its original form, was a play by the great dramatist, Franz Molnar, and was acclaimed in Europe before it was staged in this country. So gripping is it in its dramatic intensity that. New York managers put on rival productions of The Devil. In one of these George Arliss was the star. His characterization at once took high rank as a piece of histrionic art and when the time seemed opportune for the filming of the play he was invited to become the leading figure in the picture. We assume that he has added much stage business to his characterization, for playing in the films requires a wealth of suggestion which, in the spoken drama, is supplied by the words themselves and the elocution of the player. At any rate Mr. Arliss has made his devil as fascinating as the power of evil which Pope tells us that when too long familiar with its face we first reject and then embrace. Had the playwright called the play Virtue and proclaimed it a morality play he would have conveyed a more accurate idea of its plot and purpose, but The Devil is a flamboyant title better calcudated to attract attention warranted by the fact that and the chief characer. Dr. Muller, is supposed to be the very devil himself. Evil never can overcome good, says Marie Matin to Paul de Veaux, the artist, as they chat in a picture gallery. Dr. Muller, an elegantly attired gentleman of faultless manner, politely interposes some cynical remarks that barely mask his sinister nature. Always he is so graceful and distinguished, so smiling and suave, so apparently interested in his friends, that they receive him at his face value and this affords him a chance to wreck their lives. In the guise of the trusted friend he gives advice which, when followed, produces unhappiness and he stands by gloating at the sufferings of his victims as a demon might gloat at the fiery tortures of the damned. Marie Matin, the fiancee of Geo. Rob-en- , was loved by Paul de Veaux, an artist. Mimi, a model, loved Paul. In these misplaced affections, Dr. Muller saw his opportunity. By subtle suggestions and insidious lies, he ensnared all four in. his plot to wreck their souls. He made Georges unhappy by showing him that Marie and Paul loved each other. He aroused tempestuous Mimis jealousy and pitted her against Marie in a fight for from his hold. Marie weds Roben, but Mueller Dr. continues his still machinations. Roben is about to shoot the artist only to discover, just in time, that the artist is loyal to him Dr. Mueller, and is to wed Mimi. realizes that all is lost unless he acts quickly. He rushes to Robens home and tells the wife that her husband is in trouble and needs her. She goes with Dr. Muellei to his mansion. He locks her in his den and tells her, with a brutal, frenzied leer, that he is Evil, and that evil is about to overcome good. She tries to escape, but the door is locked. He hands her the key as if she were free to go, but as she attempts to flee through the doorway, he grasps her and hurls her back. It is then that she resorts to prayer. Instantly between her and Evil is seen a cross, ghostly in its white radi-ancThe door opens easily at her touch and she passes out. Furious at his failure, still determined to conquer his victim, Dr. Mueller tries to rush after Marie, but the cross stops him. He cannot pass it, for is he not The Devil? Last scene of all Dr. Mueller, his face revealing his infernal nature, is centered in a mass of blood-tinge- d flames, and in this fire he vanishes. eaves-droppin- - g, e. theatrical triumphs Marjorie Rambeau, who only a few years of her early ago was perhaps the most popular . stock star in this region. After leaving Salt Lake City Miss. . Rambeau journeyed east and overnight captured New York with her art and her charm. She will return to Salt Lake City universally recognized in the east as the most popular of American stars. Miss Rambeau will be seen in Chan-ninPollocks gripping American play, The Sign on the Door, which occupied the stage at the Republic theatre in New York for an entire season. For those playgoers who prefer the' virile, energetic drama of the present day, Miss Rambeau and Mr. Pollock's play can be boldly recommended. It is generally conceded that Mr. Pollock has written one of the strongest plays of a generation, and in producing it Mr. A. H. Woods has selected the most brilliant and gifted of artists to impersonate the principal role. Miss Rambeau is acknowledged by metropolitan critics as the most finished artist of the theatre today, and without question the most intelligent and forceful of players who specialize in emotional roles. At any rate, it is the universal opinion that Miss Rambeau and Mr. Pollocks play are delightfully ' suited to one another, proof of which can be easily discerned in the tremendous success of the play in New York last season. The Sign on the Door is melodramatic. It abounds in thrills; it has the most polished villain the stage has produced in a decade; it has a beautiful young matron struggling to avert the threatened consequences of . MARJORIE RAMBEAU it-i- s One of the most distinctive of last seasons New York dramatic successes is announced as the attraction at the Salt Lake Theatre for one week, beginning next Monday, March 17, and it will have a peculiar local interest in that it will bring back to this city TO an innocent indiscretion pi Brilliantly written and skillful there is much to hold an an, close attention during the of the story. Of Miss delineation of the character jpj Hunniwell it (b New. York critics proclaimed umph in the art of actlng- outstanding artistic and pergJ; pl cess of last season. Local playgoers are promise! ished, artistic performance fc ti moment Miss Rambeau steps' may be said . stage. Mr. Woods has surrotn cfl m brilliant star with a company m i tional ability, and has given a production that measures $ th highest standards of the bi drama. In the company willf df Lee Baker, Harry Min turn, i 1 Salter, Hugh Dillman and I Allen ORPHEUM Rae Samuels, at the Orphi week, may be the blue st vaudeville, but nevertheless getting 8 tout. Soon she will' fat and funny. We might hr forty, but the truth is Ek among us like a star of mint: years ago as a mere slip of . - . success and wealth has a test ward en bon point. And spa success and wealth have a ter the same will be necessary ( one comic young lady of thiif bill stout, for she travels on I; ness and makes a joke of ill put her hand behind her bring it around in front on sfde and scratch her fifth rft But escorting ourselves had Samuels we wish to remark f has a sprightly repertoire ( songs. As she has always lie daily gifted in mimicing th she has supplied herself f 1 1 I! colic song that starts a regal fire of merriment. A pretty and dainty d Frances Pritchard, who is two nifty steppers, Edward and James Donnelly, in the1 Rhymes that are gaT the same time descriptive off dancers are dueling about Itf devised artfully by Arthur S, Duel. . and Carey Morgan. You get f the poetry of motion but th kind that you read so mucM books, and they seem to go1 gether. -- Pauls love. But somehow the virtue that is in the little group of friends brings Dr. Muellers plans to naught. Just as evil seems about to triumph comes some slip that releases the victims g . t. The De Wolf Girls, charming dancers who are one of the Orpheum headliners on next week's bill. Robby Randall is a queer i who is a melodious mirthQU1. likes to tell a dirty story and ?h of1 ly does not tell one-te- n cent of what he knows. Tberf, apply our censorship to him' The bill begins with a n ladder act and closes with aJ, act that is of the first cla; theer are other good ads, to , |