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Show , f j'll IWjj ATTRACTIONS THIS WEEK l Salt Lrake Theater Rose Coghlan in J! 1, "The Greatest Thing in the World," 1 (, !, Thursday and Friday, t J II'1 Grand Theater "Man's Enemy" first I ' j'!', ( half of tbo week; "A "Woman's Sacrl- j'.':"' flee." last half, r c'-r ' ) 1 - Rose Coghlan will ho at the Snlt Lake ijlMil Theater on Thursday and Friday in ill , "The Greatest Thins: in tho World." i ), i This play is a Btudy in mother love. p The story, says tho advance man, "nor- Uj. ;! trays three romances, and throush It Wit' nil thero runs the purpose to analyse ' , jjl, the sentiments and emotions which I ; ! may be awakened in a woman who is ' i responsible to her Creator and her own " !'.' !; better self for her son, who is a victim i of a criminal inheritance. Rose Cogh- I i lan has scored a personal triumph in i her fine performance of a delicate and ( jul most arduous part. A woman less con- 'ij! ; fldent of herself, less firmly convinced ' 1 1 j i of what she meant to do. or lacking the ' n, artistic Qualities possessed by Mlsy r't,J! Coghlan, would have come to grief on, ,. ) a host of popular predispositions and prejudices. It is a great tribute to her ,11 art that she commands the unfaltering '(", ( sympathies of her audience for the sen- '(' tlmental passion inspired and reclnro- k J ; : cated by her widowed self, as well as " for the exposition of maternal love and i J) care displayed toward her erring son." I! , At the Grand the Ellcford stock com- ky j pany will present this week "Man's En- , . cmy" -and "A Woman's Sacrifice." The J'i-' I first named play is a sensational come- s dy-drama. The story deals with both , . ji sides of life In the city of London, and f i ! i the. strong characters of the play give ample opportunity for dramatic force, t ' while the location of the various scenes 1 . 1 calls for special scenic effects. The v ! story Is one of much heart Interest. The serious clement is mingled with , comedy, forming a strong combination. If "Man's Enemy" will be presented Mon- , t, J day, Tuesday and Wednesday, with a .,' matinee Wednesday. ''S Thursday night "A Woman's Sacrl- ' ',',- flee" will be put on. This play is a society so-ciety drama which has had much popu- 4, larlty. ' James K. Hackelt has canceled his 1 engagement at the Grand Theater, hav- i ' ' ing decided not to make a visit to the coasf. IK ; ;,1 gi ' As Mansfield is to play "Ivan the fi j ,(l ) Terrible" here when he comes next B j ' ' j month, the following account, furnished I by lla DI'ess agent, of the experience H 1'4 i with it when it was first put on in New I ' ." ' York last winter Is Interesting: "To I Insure the success of his engagement in II , - case appetite was not keen for 'Ivan n ' ' I tne Terr,Dle-' ne framed a most attrac- I ' , t I , tlvo repertoire for the last two weeks B i i ; n's four weeks' engagement. The I, . ' 1 sale openel. The firet night of 'Ivan If , ' ' ; the Terrible sold out instantly. For I f , none of the other nights was there a I i;, ' particularly heavy sale. But the two Hf ,i weeks' repertoire began to sell like hot I 'y- cakes. Mr. Mansfield's first night in I , 'Ivan found nearly J20.000 advance sale, ' 1 of which only S5000 was for the fort- I ) night of 'Ivan the Terrible.' The first ' , ' ' I night was a revelation. 'Booth has his f , f I I Hamlet, Irving had his Louis XI. and . 'M(' , Mansfield has found Ills Ivan,' said one ' (Vj critic. The role as acted was adjudged , i Jli Mansfield's masterpiece. The success I i ' 'j "was not one of mere critical estimation, ; I , J the word passed from mouth to mouth, ;jM ' ; l began to voice the praise of Mansfield's ' , l r 'Ivan. The line formed at the box of- I ' f j i ' nce tnc morning after tlio great produc- ' , I , M 1 1 tion was first revealed and It never ' l J broke day after day until the two j. ! Mi weeks were Hold out complete. Tho '.j. ,!,' speculator had overlooked his oppor- ih f f( ! tunlty. He might have commanded any ' r j price for seats. The project of extend- i'i , j Jng the run of 'Ivan the Terrible' was i "broached, and here we discovered the " f, i ; 1 Ironical objection, there was no 'use . ! i Uj , i changing the bill for the last two weeks j fy'' ior tnov' to- were all but sold out for i H ,' V every performance." B'.'t 'Roso Coghlan's Sad Experiences. , ' : 'f When Rose and Charles Coghlan left PPPJ Jj, j their home In a town adjacent to New PjH ' ,'fj! York, to which they and their aged PjPJ'I i I ',!' mother had moved from England, after PjjPjjW ! 3 J' j te triumph of Rose on Broadway, the PPPJpfi'l ''! ,.' mother begged Rose to care foe PH W .li,) Charles, who was her youngest. At PjM ' tvt i the same tlme KhQ exacted a promise PjjH 'P I'M f from Charles to write to her every day iH y V-i ' ' Fortune was kind to both Charles and iHI ll ' 1 Rose. No flrst-clnss cast wa complete PjjPjVt) I T 'J 'I without the brother or sister In New ifji ji; , M !f York or lxndon. Charles kept his word iHff ' ; I. 'J' ' i loyally and wrote regularly to the little PjjPjVA!' t mother. Rose, too, kept her word to h I ,i;tk watch over the younger brother, and PjPjl ! I jl when the press of England and AmerJ- PjMl L - a 'J . c ws telling of the misdeed of the PjPjf t, ! ; youngest of the Coghlan family, it was PjH i'i Rosemond Coghland who stepped Into PjPjI ; 'I the breach and defended her brother at PjjPJ 11 y ! ; the cost of a ?50,000 residence In New PjPjV ,i ,i , 'j York and almost all her earnings BH 'I y I Flve ycars ago Charles Coghlan,' then PjPjhH t ' , " touring in "A Royal Box," was stricken PjPjS'I, I ( , ' .;j with a mortal Illness In Galveston, and t was burled there. The mother was H' . -;t critically ill at the time. Rose was en PjjPH II I! ; l tour, playing "Peg Wofllngton." Real- PjH , !' lzInfT that news of her favorite child's PjjPjm; . ' 1 death would be a death blow to the PjPjW' ' I i mother, Rose Coghlan, whose chirog'-PjjPjS chirog'-PjjPjS ,i, raphy closely "reBembled that of PH UfAili Ph,a1CM' T''r,ote dally letters to a feeble, PjH- , 't I half-blind lady, then SO years of age L . T Blgned, "Your devoted son, Charles"' PjHw I'i'1 0nl' after her season on the road was PjPHt i rl.i ' done dId Roae Coghlan reveal the truth PjPB' i ; ' to her mother. A year later carhe the PjPjW, r ; ,i!p ' Galveston tidal wave, which engulfed PjjPjjVj ,; ..' ! .the living and dlsintered the dead iH.k'i" Charles Coghlan's body was carried iH l: " 'U 'M L'i! Vay,- noso kept the knowledge of the iHf-'l ! IllfJ tact from her pother, and offered a re- I ( fill W 2M ,for the dIscvery of the s bodj-. A few weeks ago a caslcet was found, which was of tho same make as that used to receive the remains of Charles Coghlan. Without Investigation Investiga-tion a resident of Galveston wired Rose Corhland, who was then In Dallas, 1 Tex., that the body of Charles had been found. A week later, when sho played In Galveston, the remains were Identified Identi-fied as those of a New York man. And the aged mother Is still In Ignorance of the fact that the last resting place of her sbn is unknown. , Mr. Elleford's Experiences. W J. Ellcford, proprietor of the company com-pany now playing a successful engagement engage-ment at the Grand theator, came to Salt Lake- last week from the coast. Mr. Elleford Is one of the old timers In the show business in the West, and has a fund of interesting stories of his experiences. ex-periences. "The execution of Rose in your city," he said yesterday, "recalls an incident of the early SO's In a Nevada mining camp where I was booked for one night. 1 got a letter from the local manager, asking If I couldn't change my date from March Sth to the 15th. as there was going to be a hanging and there would be a big crowd in town that daw "We were playing a piece 1n a sma"ll town in Southern California. On the programme it stated in the synopsis that act three was the same as act one. A fellow and his girl who evidently came from the rural districts, went out after the second act and the man was overheard to aay: 'We might as well go home now, the last act is Just the same as the first and we don't want to I see that again.' "In Virginia City, a number of years ago, wo were to present a thrilling melo-drama of border life. Our property prop-erty plot, which was turned over to the local manager by our agent, called for 3 32 sure-fire revolvers. The local manager man-ager did not notice the division In the in the numbers and when the company arrived he told the property man of the show that he had secured everything but the 332 revolvers and that it was impossible to get more than 219 In the town that was In good condition." Bealism on the Stage. Augustln Daly, tho most forceful and intelligent theatrical manager of his generation, and I dare say of any time, if historical accounts can be used in present-day Judgment, was a man of positive literary attainment, keenly perceptive In art, and a thorough student stu-dent of dramatic qualities. Ho was, moreover, an able business man and a competent admlnlntrator. Perhaps his greatest weakness was In not always being able to adapt himself to pecuniary pe-cuniary conditions. He was a genius and an artist he made artiste and It war not to be expected that he could keep his money-drawer with tho same iron-like politeness and merciless grasp as the corporate "business man." Sometimes he "grabbed nt the spigot and let go the bunghole." as he said to me one day when mourning over the lack of appreciation of the really true and beautiful. "Most of the people are quite as well Satisfied with veneer," said Mr. Daly. "Then," I returned, "why the expense of going any deeper If you are the only one who can see it?" This was all apropos of the production of the "Two Ercutchcons," in which a real parquetry par-quetry flooring that cost several hundred hun-dred dollars was used In the drawing-room so ne. It did not produce the effect that Mr. Daly wished. But the polish of it set off the women's gowns as well as the furniture; and although al-though it was very difficult for Misfi Rehan to glide about on It with all tho ease she would wish, and although George Clarke came near executing a double fomersault on several occasions, occa-sions, yet the parquetry flooring served a very good purpose. It was an evidence evi-dence of Mr. Daly's conscientious care for detail and thoroughness. When Mr. Daly bought anything for stage decoration decora-tion it was generally the real thing. Deshler Welch, In Booklovers Magazine. Mrs. Fiske on Ibsen, As Mrs, Flske has done perhaps more than any other actress in this country to make Ibsen understood, some of her expressions on this author will be of Interest. In the course of a talk in San FranciHcb on Ibsen she said: "The play without psychology does not interest me. The play that merely tells a story, without thought behind It, Is Impossible after Ibsen. 'Mary of Magdala I like for Its spiritual qualitiesthe quali-tiesthe uplifted soul of the woman In that tense situation of the fourth act. Spirituality appeals to women more than to men. I think, But I like the modern play with thought behind Its epoken lines.- the 'play that exacts psychological research from its actors; the play that comes from the modern mind to the inodoun mind. "I still hold that Ibsen might, If only for once, select a subjoct of sweetness and light, and that he has had a bad Infiuenco on his followers other dramatists. dra-matists. But the imitation Is different from the real. In fact, the Imitation only goes to show how great the original origi-nal Is. Think of It! Ibsen has revolutionized revo-lutionized the drama in every country In the world. The peoples do not realize real-ize this, because they sec very little of Ibsen and a gredt deal of the Ibsen ullutions. Ibsen is Just commencing to come into his own. He Is going through the crisis, as Wagner did. It is my belief that tho great repertoire of tho great players of the future will be the plays of Shakespeare and of Ibsen Surely thero will be the Ibsen repertoire, reper-toire, just as thero is now the Shakespeare Shake-speare repertoire. Actors will not be able to escape from the spell of the Ibsen characters. These characters fascinate, fas-cinate, they lure you to study, they bring you closer to life. And though the life pictured by Ibsen is dark and tragic, it is so pitiably true that no one neod ask where the moral is. Ibsen's Ib-sen's truths are merciless." Mrs. Fiake also expressed a wish that America had 'a great theater" for Shakeepeare and Ibsen meaning not especially a great theater building, but a company of great artists. "Think " said she, "of being able to bring together to-gether n band of players of equal rank with the singers of the Metropolitan Opera-house! Call It a national theater, thea-ter, If you like; I should not enre what It was called, so long as we could organize or-ganize such a company Think where it would place the United States In the world of dramatic art!" Mrs. Flqko Bald that to help such a project sha would do anything in her power, and j ' . added: "This Isn't tho Idea of a visionary, vision-ary, a dreamer. Apart from the artistic ar-tistic benefit to the country. It Would be a good business venture. It would pay as well as the opera, if not better. bet-ter. There could be stockholders to back It and subscribers to support It, as there are at tho Metropolian Opera-house. Opera-house. There must be a solid backing, to Insure the actors, many of whom, stars, would be compelled to give up profitable fours, against loss. But If I were honored by being asked to play In such a company, I should gladly play without a guarantee of any kind. Just taking an actor's share of the profits. And this is neither enthusiasm nor nobility no-bility nor foolishness on my part. I say It merely to show my" confidence In tho financial success of the undertaking. under-taking. As things are nowadays In the theater, we never see a really good dramatic dra-matic performance. I mean that always al-ways there are one or more players that are not thoroughly fitted to their parts they are out of tunc. No good conductor would think of leading an orchcBtra In which there was a single Instrument out of tune. He must have and does have trained musicians capable ca-pable of giving the precise value of every note in the score. But In our casts of today, be they never so smnll, there Is always at least one actor out of tune." Tho Way Londoners Boo Plays. The ardor and the personal note in the pittite's devotion make him n conservative con-servative of the conservatives. For long years he stupidly stood for a constant diet of plays stolen, or otherwise come by. from the French, propitiated by the most superficial "adaptation," and the name of an Englishman as the nuthor In the playbill. But let an American play up on the Strand or the Haymar-ket, Haymar-ket, and, leaguered with his humbler relative, the god. he does his best to boo It Into failure. Three years ago Mr. Gillette and his "Sherlock Holmes" were booed; then came Mr. Augustus Thomas's "Arizona," and Mr. Clyde Fitch's "The Cllmbers"-all good and successful pieces of their kind. The right to applaud involves the right to boo. granted freely! What one objects to to vary a saying of Chevalier's is not so much the boo he boos, as the nawsty ways he boos it. Throughout tho evening he permits tho partisans of author and actor to applaud as they will. He even abets them In applauding. applaud-ing. He Is busy, meantime, passing the word along from shoulder to shoulder. shoul-der. At the end. when actor and author au-thor are called before the curtain, the cave of the winds breaks forth. The poor victim, with his neatly prepared speech of modesty and gratitude, waits for the booing to stop, trusting that his friends will again assert themselves. From time to time he tries to make his words of modesty and" gratitude heard above the uproar. They have him now where they want him, and they take the Ktep that-dlvldes the booer from the boor. Every time the speech of modesty modes-ty and gratitude rises to the author's lips the flood of boos again surges over his unhappy head, until he storms at his tormentors In Impotent fury, or is routed from the stage. The chivalry of the pit is no greater than its sense of sportsmanlike fair play. Some years ago Mrs. Cralgie (John Oliver Hobbes) was betrayed Into attempting a flrst-nlght flrst-nlght speech. In fairness It. should be stated that the offense of her being an American was aggravated by tho fact that her comedy was too thin, and the applause of hex friends too thick. But yet she was a woman, and she was booed off the stage. From "Play-Going In London" by John Corbln In the April Scribncr's, Patti Is Pleased. The ease and comfort of her voyngo home the passage was a smooth one, and a cabin de luxe affords the perfection per-fection of travel have restored to Bnroncss Cederstrom her wonted good humor. The angry frown that cleft her brows when she gazed back toward the Narrows and exclaimed to herself that her farewell tour had Indeed been made, disappeared by the time she reached the other side. She is now In her castle In Wales, to which she was Joyously welcomed by her glad peasantry, peas-antry, who already feel Jingling In their pockets part of the money despoiled de-spoiled from the Philistine Americans her face all smiles and her talk full of pleasant, prattling reminiscence. Mark Tapley was never more jolly. If things happened which were disagreeable, disa-greeable, like Webster she has used philosophy and fofgotten them. The sputtering feud Is over; the wounds to her amour propre are either healed, or else, vanity gushing up In a different guise, she Is resolved to conceal their presence. Her tour, she has told the London newspapers, was a most glorious success. suc-cess. The audiences were dellghtod and delightful often would not let hr stop singing, and pursued her with exultant ex-ultant shouts when she was driving from the hall "they would not desist," she says, "until they were told that' I had gone." It appears that the numerous numer-ous cancellations which occurred on the tour were not due to lack of quantity but of quality of audience. "I sang n't forty concerts at which we could get the right sort of audiences." she nays, and adds, "I would not go to the oth-r towns." Doubtless the "towns" which did not hear Patti will feel duly rebuked. re-buked. Everything was lovely, says the diva heaps of flowers, piles of presents, and completest satisfaction. It Is. not set down, however, In the London newspapers that Mme. Patti Illustrated her talk with the photographs photo-graphs of local and other managers showing the delight with which they paid her guaranties. New York Globe Scenery, Not Literature. The American exploitation of "Parsifal "Parsi-fal appears to have renewed Uie Interest Inter-est In what is called the religious drama. dra-ma. There are now "Parsifal" plays and plays that deal less mystically with sacred subjects. It is to be noted that they are all spectacular. Biblical Incidents In-cidents arc used as the basis of many. The Impression seems to be general' putting aside all question oC ethics and reverence In the matter, that the Biblical Bib-lical play cannot depend upon the basic simplicity of the Biblical story for Its appeal. It must, to the contrary be surrounded by tinsel and paint, and made garish with ludicrous costumes to attract and hold the attention of the public to which the appeal is mnd. When the greedy managers casteyes In, the direction of "Parsifal" their, t ( James Corrignn of the Elleford Co., Now Playing at the Grand Theater. minds Instantly conceived a speotacdlnr dramatic production; when 'Ben Hur" was transferred from the p-igc3 of Gen. Wallace's book every effort was bent toward making a mechanical device the center of interest. When Mrs. Flske chose to present an adaptation of "Mary of Magdala." Die first, but fortunately not the whole, thought was given to the scenic Investiture. And, no later than last week, when a young' player with more money than talent staged the story of David under the title "The Shepherd King," his in-v terest promoters laid particular and in-" slstent stress upon the elabora;enes3 of the mounting. The reason for this Is plain. The Bible Bi-ble spectacle is a snare wherein the author's au-thor's hope Is to hide the fiImslne.M3 and Impotency of his handling of a great theme In a mass of painted canvas and behind a.row of shining spears. The true religious play Is yet a problem. prob-lem. Tho spectacles that have been presented pre-sented In a majority of Instance? have depended not upon the great human themes developed at the inception of the Christian religion, but upon the incongruous in-congruous and pnlnfully crude attempts at exterior dressing. And these, far from awaking reverence or -Inflaming churchly opposition, do no more than to excite a generous pity and a healthy contempt for all concerned. Chicago Inter Ocean. Fitch Writes Musical Comedy. Charles Frohman and ClydeFItch are to meet In Paris and when their conference con-ference is over the name of a new play Just finished by Mr. Fitch will have been decided upon. The play to be named Is a departure for Mr. Fitch, in that it is a musical 1 comedy. It Is Intended to be a tuneful satire on the conditions that now exist ' In this city among the people who think they are "in society," but are only wealthy. The principal parts have been written to be played by Mlys Hattie Williams and Sam Bernard. Tho role that Mr. Bernard is to play has been modelled on the personality of a well known New York club member of festive proclivities pro-clivities Miss Williams Is to Impersonate Imperson-ate a well known comic opera actress. To do it she will wear a blonde wig. New York Herald. Embryo Authors' Piecea. Chattering the other day about encounters en-counters with embryo dramatic authors, the manager of a stock company In New York had this to say: "I have from three to five applicants a week from people who declare that they have written a modern masterpiece. master-piece. Easily the oddest experience was with an old woman, who In some manner learned that my office could be reached, from the auditorium. She purchased an admission tlckot. and the llrst I knew she was seated In a chair by my desk as I looked up from my writing. "She explained that she had a manuscript manu-script of a melodrama In rhymed verse. It was tho first of a new sciiool of dramatic dra-matic writing. She read part of one act ! before T could get her out of the olllcc ' on my promise to read it over. "The piece would have run about an hour and u half. The first (hreo acts were poor melodrama. In the fourth, with no warning. whatever, all the characters char-acters were transported to falrylnnd. She came back the next day to explain that she wrote it that way because she thought I miglit like to Introduce a ballet. "I made the last act an excuse for declining the piece. A week later she came back with a new last act, which she left with me. Two days later I received re-ceived ;i note, in which she requested the return of the manuscript, as she was convinced that her mission would S best be served by the posthumous production pro-duction of her works, Qf which there were nlncTy-seven. It was well for her peace of mind, poor soul, that she reached that conclusion. She was happy In her work and - there could be no more disappointment." PLAYS A2HD PLAYERS. Thomas W. Ross, who has been In "Checkers" so successfully, was for the ten years preceding his debut last fall In that play a member of the chief stock companies throughout the country. coun-try. He began his career with the old Boston museum, and his principal engagements en-gagements were with the Pittsburg Kansas City, Salt Lake and Denver stock companies. He played a new role every week, and In the ten years of such experiences he appeared In over J 300 different characters. Ross Is still I In his twenties. j "Light opera has degenerated into I vnudevlllc," declares Miss Marie Tern- I pest. "The score 'Is no score at all I but three or four musicians' expressions I hitched together. There Is a Jumble of I everything and any old thing, as you L- say in America Tho thing Is impossible impos-sible and artificial. Why It amuses the dear delightful public, I'm blessed If I know." Frank Daniels has been booked for an all -.summer ru1 In Chi"'ico. commencing com-mencing April '25th. Mr. Daniels has been unaoie to cover oue-i..i. m c available territory with "The Office Boy," and will! therefore use It next season. When Madge Carr Cook was playing :lhe role of Mrs. Wlgga In "Mrs. Wlggs i of the Cabbage Patch" in LoukvIUe, 'he asked Alice Hegan Rice what particular par-ticular "Mrs. Wlggs" sketch was tho nucleus of her famous creation. Mr" Rice replied that the account of the "theayter party" wns the first thing from her pen in which her now familiar character made her first bow. While discussing the Improvements In stage lighting recently, Henry Irving Irv-ing described the efforts of old-time actors ac-tors to keep In the "focus" or glow cast by the lamps which were once used as footlights, and Illustrated his meaning mean-ing by an amusing story of Edmund Kean, who one night played Othello with more than his usual Intensity. An admirer who met him in the street the nfxt day was loud In his congratulations. congratula-tions. "I really thought you would have choked Ingo, Mr. Kean you seemed so tremendously In earnest," "In earnest!" earn-est!" said the tragedian; "I should think so! Hang the fellow; he was trying try-ing to keep me out of focu!" After four performances, George Alexander Al-exander withdrew "Love's Carnival" at the SU .lames Thoater, London. Tho piece was adapted from the German, dealt with the checkered love story of a gentleman for a woman of humble hum-ble station, and ended as the pair left the scene to commit suicide The piny was received wlthoUyTrr'H of disapproval during th ifeal:l! formance. s lhc Am TH |