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Show I I AMUSEMENTS g f( Salt Lako Thcatro "The Pit," mat-J mat-J inoo today, performance tonight. 1 Lyric Theatre Sam Dovere's com-I com-I pany, ono week, beginning with toll to-ll day's matlneo. II Grand Theatre "Joah Perkins," matl-I matl-I neo today, performance tonight, ill Coming Attractions, ffi Salt Lako Theatro "Girl from Kays," October 24-25; "Duster Brown," Oc- tobcr 30-31, November 1. Hi Wheat, wheat everywhere, and not a grain to eat! Llko "Ben Hur," with Its H I climatic tableaux of tho chariot race, H "Tho Pit" has one big, sensational, HJi thrilling scene, which is tho cause ot Ht Its being. Indeed, if it were not for HJ tho sceno at tho "wheat pit," in which H i Curtis Jadwln is ruined, Channlng Pol- Hf lock's dramatization of a popular novol HV, would have found no nstuto manager, Hjj like W. A. Brady, to set tho machinery HJf going. The play, llko tho book, opened HJij with a scene In the lobby of tho Audi- HJ torlum, on tho last night of tho grand HJ opera season. Hero Chicago society HJ appears in tho fashionable plumage HJ of fuss and feathers. "VVhllo putative opera singers behind closed doors are Hjj heard, tho outer air is vocally dls- HJ3 turbed by society chatter and smart HJ talk. Whether it is to rival tho oper- Hj atic shrieks or meant to illustrato the penetrating volco of Cook county con- HJi vcrsatlon, ono may guess but nover HK know tho social vocallsm Is given Hjj fortissimo. Tho act is trivial and its HJ relation to ensuing events not partic- HJ ularly obvious. Act two is almost HJ equally detached in interest from what HJI follows. The rehearsal by amateurs and tho continued expose of society's HJJ foibles, though of course not intended, HJ is really enough to drivo Mrs. Potter Palmer into a suit for damages against HJ Pollock, Brady, et al. Howovcr, the , . one tragic moment of tho net serves to Hjj show how slippery are tho feet of those Hjj walking upon speculatlvo fortunes, HJ and, In a measure, points out the gath- Hj erlng storm on tho horizon. Tn the HJ follqwlng net is seen Laura, tho wife HJ of tho wheat magnate, coquetting, dur- ing tho wheat engrossment of her hus- HJ band, with tho artistic Corthcll when HJ the wheat's away tho mice will got Into HJ tho grnln-bln. Mr. Pollock's crafts- HJ manshlp limps badly hero. True, there HJ is a warming up of dramatic interest HJ in tho portrayal of tho wife's resent- HJ mcnt at her husband's business ab- HJ sorption and his forgotfulncss of her HJ own clnlms, but tho situation is very HJ clumsily handled. Tho neglected wife HJ and her lover strike stained glass attl- HJ t tides, while tho atmosphere of tho sceno borders on love making in comic opera. It is tho first sceno ot tho last act before "Tho Pit" really makes you sit up and take notice. Hero Channlng I Pollock draws his first red blood. Here frenzied finance and wheat mania run tho sawdust out of tho veins and become be-come a leaping, breathing thing of speculative life. This is in the broker's private office messengers come and go there is excitement in tho air everything Is hustle, bustle and rustic Away out on tho distant farms wheat Is growing and reapers sing while gath ering up tho sheaves. Over tho tide-less tide-less sea of golden grain quiet shadows riso and fall upon tho billowing wheat. What' a contrast away out there, where tho wheat is growing, and hero where tho whirlwind Is blowing! The climax comes when wo see tho contending elements raging in tho pit Itself The fury of tho storm has been preceded by sounds of tho Impending struggle. But tho storm tho struggle Itself, is tho very climax of men gone mad and crazed with tho delirium of success or tho despair of failure. Tho uproar rises like mountainous waves and on tho upturned faces there is a composite compos-ite picture of fierce self-solicltudo the wild instinct of self-preservation the concern of tho gambler who watches with savage impatienco tho fato of his own venture. Up to this point Wilton Lackayo, who Impersonates Curtis Jadwln, Jad-wln, has had little opportunity to display dis-play his merit as an actor. The earlier ear-lier acts are commonplace and artificial, artifi-cial, but tho moment which shows Jad-win's Jad-win's failure- and supremo dlspalr, Is tho moment when the actor thrills his audlcnco with tho conviction of his mastery of himself and his art. Brief as It is, it is a high-light of dramatic power flashing out of tho dark storm ind roaring of the struggle. You want to join the gallery gods and yell. Tho mob sceno ends just whore it should and tho situation is saved. Tho final sceno Is merely a wind-up, revealing Jadwln and his wife planning plan-ning a future a reposeful life, where wheat may grow in Its quiet fields, awny from tho turbulent pit. With the exception of Lackaye, who dramatically dramati-cally estimates every situation, the cast Is of mediocre quality. Miss Jane Oakcr, the leading lady, though personally person-ally charming and richly gowned, neither dissolved Into tho atmosphere of tho play nor does sho rise to tho point of convincing that sho Is a wife at war with herself between love and duty. Walter Pennington no doubt plays Sheldon Corthell as ho conceives that poetic scoundrel, but his portrayal of the poet bears neither tho trademark of Channlng Pollock, the adapter, nor Frank Norrls, tho author. Mr. Pennington's Pen-nington's stained glass poslngs are to: much on tho living plcturo stylo ol anatomical statuary. Whlto Whittlesey, Whittle-sey, by tho way, played this part in tho Now York production, and all the matinee girls cracked nuts over him. Tho play is splendidly mounted. And say! Talk about gowns! No wonder there Is crashing among tho wheat brokers, when so much money goes to tho dressmaker. But go and seo "The Pit." In splto of Its mixture of maundering maun-dering and melodrama, it Is decidedly worth while, for, after all, tho Pit's a hit. In tho death of Sir Henry Irving the classic drama sustained n great perhaps per-haps Its greatest loss. His early struggles strug-gles with poverty and adversity were In themselves a drama a strange mingling of comedy and tragedy. Like Joan of Arc, who heard strange whisperings, whis-perings, the youthful Irving heard the voice of Art. Its siren voice called and he followed her in strango places. In his youth ho was almost a traveling vagabond a strolling actor among tho rustics of tho English provinces. Upon his rudo pillow at night ho saw visions as fair as Jacob tho angles of ambition climbing starward. When he first appeared upon a London stage he failed It was a cruel blow to ambition, to youth, to hope. Returning to the provinces ho again became the strolling stroll-ing actor. To him all tho world was a stage and destiny, after all, makes up tho cast. Before rudo audiences, Henry Irving played his many parts. All tho while he dreamed of the foot- 'lghts whoso glory had been dimmed to him through tears. Ono night a )lay was played and a young actor jlayed well his part Somehow genius ge-nius is always strango tho actor turned his role into a thing of flesh md blood. Words wero spoken which carried conviction; gestures wero made .vhlch gave meaning to tho speech there was a resistless combination or brain and heart thrown into tho part 4v that thrilled and electrified everybody who heard and saw. A now star had trlsen over tho London stage Henry Irving had come into his own. The Emma Eamos concert given at tho Tabernacle last night cannot bo reviewed in this Issue of Truth, owing to tho paper going to press on Friday. This will explain tho necessary omission omis-sion of due notice to such nn Important musical event. "Tho Girl from Kays" is tho noxt attraction at-traction at tho Salt Lake Theatre, October Oc-tober 24-25. Wo are promised tho same production which was so warmly ,4& received in New York In fact, everything every-thing bears tho original metropolitan hallmark. Following the "Girl from Kays" comes "Buster Brown," Melville Mel-ville Raymond's musical comedy, founded on tho well-known Outcault cartoons. "Buster" is played by Master Mas-ter Rico, a precocious kid it Is said and n funny little comedian. "Tlgo," tho dog which always follows tho kid, is played by Arthur Hill. "Buster" and his dog nro assisted by a chorus of pretty maidens, who, wo nro told, are plump nnd pretty and vocally drilled to tho singing point HARRY LE GRANDE. |