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Show r t THK BKK iMf$ mm "AMUSEMENTS THIS WEEK. Salt Lake Theatre. "Puddnheud Wiliam." 2tth, 2.th and 26th. Who la Who?" one New Grand. week. bglnnlng 22rl. sen ted, proved to he what might be ternnl a musical farce comedy' rather than a comic opera; or, If there be a dividing line between "The Idol's Lye" and a musical farce, I must say the line is more Imaginary than real. .f .$ The 'Tdol'H Lye" Is so written as to When, last week. I formally presented Frank Daniels with the theatrical place the work and figure of Mr. I)an keys of the town..! did not think that lel In a most distinctive foreground, the genial comedian would place ho while every other character exists In literal a construction upon what 1 a perspective at once diminutive and without the limitations or curtailments usually found In comic opera. In "The Wizard of the Nile" he Is circumscribed, as It were, by the musical and dramatic requirements of the piece Itself the composer does not wholly subordinate his muse to the In both demands of the comedian. productions, however, the strong personality of Mr. Daniels is pleasantly apparent It meets us at the rising of the curtain; It steals over the footlights, permeates the atmosphere, and plays upon the keyboard of our sympathies with fingers of ozone. There Is one thing which has Impressed me before, but comes to me now with additional force, and that Is: Daniels' comedy', while always hllari- - The company, as an entirety, has been carefully selected. The chorus contains nothing but pretty and shapely girls Indeed, Daniels would not tolerate the presence of a commonplace-lookin- g female among the animated pictures who do the graceful posing. Kato Uart, Helen Itedmond, Alf Wheeler and John Hank render Mr. Daniels a musical and dramatic loyalty In keeping with the requirements of the pieces. The amount of money involved In the procurement of scenery and costumes runs well Into the high figures. s 8 Dorothy Morton, while not doing the business of Frank Daniels, gave us a " real operatic treat in '(iIrolle-OIrofla- v SCENES AND CHARACTERS FROM MARK TWAINs IUDDnHEAD WILSON. leally intended as a rhetorical night. receding. I cannot say' that I am parMr. Daniels, like the celebrated Ju- tial to a piece wherein one character lius, came, saw, and conquered he so distinctly outclasses all others. came to Zion, saw packed houses, and A character, either in opera or his audiences. conquered drama, should derive its strength and .When the curtain was rung up last prominence, not from the weakness of Thursday, it was before one of the the other characters, but in spite of largest and most cultured audiences their strength for this, and other reathat ever assembled within the walls sons, I prefer "The .Wizard of the to "The Idols Eye." uf the Salt Lake' Theatre, and this Njfy i Irf The Idols Eye" Daniels is given llattering."A condition was present throughout'.the Dpniels engagement. a free hand too free; he is allowed all 'The Tdols-Kye- ," the first piece pre-,- 5 the freedom of farce comedy activity, 3 St ) o , N i possesses no and "The Beggar Student" two old elements of differentiation it is al- and popular operas, which still retain ways the same brand of comedy, a charm and fascination despite their whether in comic opera or farce com- age. Dorothy Morton is a winsome edy; the scintillations of wit and hu- woman, and the bewitching manner in mor which sparkled in "The Rag which she tantalized her persistent was enough Baby" and "Little Puck," flash out. in lover in "Girofle-Giroflthe same way', in "The Idols Eye" to drive any mortal into hysterics, or and "The Wizard of the Nile." The worse. I dont wonder he stormed and is of but raved so. capable Danielesque comedy small modification, though it is not Herbert Wilke, Miss Mortons leadwithin our power to yesist laughjng at ing support, has a baritone once sweet, it. though not fully responsive now. Ed- - ous and laugh-provokin- g, a, |