Show S Salt lt Lakers Make Good in Opera i r r ii 5 f 45 y r dy s 's S r 5 t sr y 3 5 wS 7 7 t a 4 y- y y f e n v i Fe c cf 4 f l. l t p t sr Naomi Hoffman and Pat Hyland Both Well Known Ino in Salt Lake Score in Important Roles in Each Bach week brings tidings of some Salt Lake man or maid maid- who has made good rood in vau vaudeville musical comedy grand opera or other branch of or the theatrical profession proCession This week It is grand opera that is heard from with popular Naomi Hoffman Iloff- Iloff man and Pat Hyland ag as the principals Both Miss Hoffman and Mr Hyland are well known known known-In In Salt Lake and are students of the department of the the- Egan school in Los Angeles The Los Angeles Times had the following to say after the initial offering cf of R by ba the stUdents students students stu stU- dents That the door to operatic lamor has at last been unlatched to the theas- theas aspiring aspiring as as- student was indicated in the rather daring feat attempted by tl tl-e tl e eEgan Egan school which presented Caval leria yesterday at the Little theatre The performance as a whole was singularly free from the obvious type of amateurishness And it was especially especially espe espe- interesting in some of ot the voices Pat Hyland as and Naomi Hoffman as both in the spirit of their work and their singing at attracted attracted at- at much interest Mr Hylands Hyland's possibilities s seem em excellent although at present he laces the dramatic enthusiasm enthusiasm enthusiasm evinced by Miss Hoffman Her zest was remarkable although vocally she might mellow the quality of her voice especially in the climaxes She possesses possesses evident lyric dramatic abil abil- ity One One thing is certain Los Angeles will never have trouble assembling assembling- a grand opera chorus It will be a lot better as to appearances than most of the visiting choruses too There were some rough edges in the singing singing- yesterday yesterday yesterday yes yes- but as a whole the ensemble proved one of the engaging features both musically anI and ana otherwise and Mr Hyde to preach a new doctrine I I t of ot subtlety of plot and of f subordination of ot scenery to drama I found him at the I Famous amous Players' Players studio on Long Island where he has Just dust completed the screen version of Sir James M. M Barries Barrie's Sentimental Senti Senti I i mental Tommy and where he is about i ito I Ito to produce Elsie Fergusons Ferguson's new picture I Footlights I I 1 dont don't believe in dragging dragging- in gorgeous bets and a galaxy of handsome men and i women omen to embellish h a story declared Mr Ir I Robertson settling his broad six foot frame framo in his directors director's camp chair and smiling with those kindly blue eyes of ot his hiB The Tho sets in my opinion should Lein be Le bein bein in tone with the th mood of oC the story They should not be bo Incorporated in the 1 I with the purpose of enrapturing tho eye leaving the story to hang in midair until the prodigal scene is completed The sets I believe should be in harmony with the story If IC anything they should bo be subservient The story must hold by the I dramatic intensity of its plot ploU And ond the plot the plot that I r. r personally prefer preter I is hat which unfolds through character conflict conflict conflict-conflict conflict through the tho differences of character rather than conflict through I I Ph Physical force is brought about largely I II through situations t that do not bear much I relation f t to life tc The serial rl is kept going 1 by ph physical force There is no conflict through differences of character in this this' I br branch of pictures i In r Dr r and d Mr rr Hyde however I II the Ute story is unfolded and the dramatic element injected through the conflict of ot I good and evil in Dr He is morbidly morbidly mor mor- bIdy infatuated in the Uie evil nature he can bring into existence by drinking the chemical chemic mixture he invents in his labora laborn- I tory Here the tho conflict is within the one manIn manIn manIn man I II I In Sentimental Tommy rommy on the other sand hand it is difference of character in two people which h brings about e e fie conflict I that makes the plot such a fascinating one Grizel is ia a girl with a track dire mind Tommy is a youth with a many track mind He lie cannot understand Grizel's mind it irks him Grizel 1 cannot understand his it distresses her The i friction of the two causes the tho conflict I I which lasts until it is discarded through i compromises Drama of course is con conflict nI ct It is the conflict of ot character that I am chiefly Interested sted In rather than in extravaganza pictures The obvious delineation of ot character more tiresome and certainly less appealing appealing ap ap- pealing even than lavish sets Subtlety should be the keynote It is in real life Why caricature motion picture characters characters characters charac charac- A man with the stage and screen experience experience experience ex ex- that is John S. S Robertson's and with the skillful and delicate understanding understand understand- ing of life and values is bound to be faithful to realism It is a refreshing characteristic of his work since years ears ago he first assumed charge of his first I picture for the old company I from there going to Goldwyn and thence to Famous Players where he has been ever since I There was yet another point I wanted to put to Director Robertson Robertson that that of the sex story Do you believe in it 7 Emphatically no he said I do not believe in the se sex set story in the way the term is usually used I do not believe in the salacious sex story To portray life liCe accurately and faithfully the sex story cannot be aban aban- But there is a difference between the two The salacious sex story aJ appeals als alsto I to the baser instincts Any of the lusts that are stressed too much are detrimental tal to motion pictures The pictures built on such themes will wm eventually become I extinct Succeeding them will win b bt be stories storie that appeal from the standpoint of de- de dej j This may be known as the censorship within Censorship without is the death I k knell eil of pictures It means catering to forty eight states here in our own United States States States-In in the event that every state have havea a censor board as they now threaten threaten- to I have it means ripping and cutting a picture picture picture pic pic- ture to pieces for how can mere mortal I pl please ase people who are strangers to I motion pictures within is a I barricade against encroaching laymen lamen But it means a radical change in screen stories more time and consideration more interest devoted to choosing the proper stories Of course this does not mean creating characters that are little saints That is swinging the pendulum to the other ex ex- ex- ex The story should be human Sentimental Sentimental Sen Tommy is such as tory A hu human human human hu- hu man story is one wherein the good and the tho bad fluctuate There is no doubt about there being so much bad in the best of us and so much good in the worst of ot us is that it hardly behooves any of us So in motion picture characters A little little lit- lit tle of each In that little little- of each ch and andin andin andin in the logical development of the character character character charac charac- ter lies the subtlety that either makes a api pi picure cure very ery good or or- or Very bad Charley CharleO Chaplin has deserted his one one- one one-I year picture program He lie Is going going going go go- go- go goI I ing to make as a's many pictures as possible possible pos pos- sible during the coming season Vanity pos pos-I Fair a two will be the first of them |