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Show H DRAMA B PRESCRIPTION FOR MERRY WIDOW WALTZ. ffi Mr. Henry W. Savage Is sending here what is HH said to be the best company he has ever organ-HB organ-HB ized to give the wonderful Viennese operetta, HP "The Merry "Widow." Those who have heard the H opera declare it is tho best "Merry Widow" corn-Hit, corn-Hit, ! pany in the world, and that means a great deal HE" when one considers that over three hundred com-H com-H panies have played tho Lehar operetta in Europe. Hbl The real secret of its success lies Hii In that splendid new dance crea- ,-HH ,-HH tion, the "Merry Widow" waltz, Hi" and the equally inspiring and exit ex-it quisite tone pictures appearing HE throughout the Viennese score. HI The waltz which has cast a spell HI' over the civilized world has recent-HI recent-HI ly been described as follows: H ( s "For the 'Merry Widow' waltz, HI , take to your arms a girl of 19 or HI maybe 19V6, and about the same HI, ( around the waist, close your mind ( He to every thought but the gleam in j Hff ! her eyes, languorously abandon j Hi yourself to the glide that makes HI? ' odor of an arbor steals in with the H : the brain dreamy with yearning, H J soften the heart strings until the H I passion of the lyre, and the whole H world is lurid with the blue of the H sea, and on through the dance, but H never give way to the soulful con H fession, I love you,' and that is !j the 'Merry Widow' waltz." I All the world is humming and i singing and dancing and whistling , the strains of the Lehar music; it ( has sot new styles and brought a i new element of harmony and pic- 1 turesque delight into " " present j day existence. hi Owing to the phenomenal suc- H j cess of "The Merry Widow" it is H ! understood that it will be at least H three years before all the cities of H this country will hear this operet- H tat nonce we should feel particu- H larly fortunate that Mr. Savage has H numbered this city among those to H ' be visited so early this season. H "The Merry Widow" will be at H the Salt Lake Theatre for an en- H tiro week, beginning Monday, Au Hi gust 9th. 1 w w w "PAID IN FULL." Hj Eugene Walter's great play, H "Paid in Pull," which was seen H here for the first time December H last, is again at the Salt Lake TUGS' TUG-S' atre, and while the wonderful cre-m cre-m ation of the "Insurgent Dramatist" H has boen greatly enjoyed by the m several audiences it has drawn, it H cannot be said that the perform- , ance is as finished as that given M by the former company. j Three of the cast, Sara Perry, Rose B Snyder, and Allan Atwell, appeared in the m play here before, and of the three, Miss Perry in M particular was cordially greeted by many, who M enjoyed her previous performance. While the 1 acting of tho others is fairly creditable, in com- K parison to Albert Brown as Jimsy, Ned Finlay j falls far short of the requirements of the part, B and besides, he invests it with a nasal drawl that B is quite monotonous As Joe Brooks, Loufs Mor- r rail is equally deficient in comparison to William H L. Gibson, and Charles Relgel, as Captain Will-M1 Will-M1 B1 lams, did not reach the mark set by Scott Sig-gins. Sig-gins. However, there is so much in the play that appeals to the best in everyone, it is such a striking strik-ing picture of certain phases of present day life in America, that it is well worth seeing, and for those who had not witnessed the performance of the former company it has been especially enjoyable. en-joyable. tv &v Perhaps we are a little forgetful, for it isn't an easy thing to remember every bill at the Or- H BKm HH FVi vBhH IH f m HhHMWH Ml f ' lBWHi HKiliy ' hIHH HISiSfflECfasw HBH HKnlxJH SB?lftylsreBHHflBMHfeMgL. l 'Bgte Frances Cameron in "The Merry Widow." phtuni in the seasons past; but if there has ever been a better bill as a whole than that now being gh en at the vaudeville house, we don't know when it wag. There is nothing particularly wonderful about the majority of the acts, and there have boen many single features more beautiful, thrilling, thrill-ing, or spectacular, as the case might be, but for even balance and general excellence throughout, through-out, the work of tho -specialists over on State street this week is good enough for anybody. 11 is a little dlfllcult to pick out the headliner, but that's a condition in any vaudeville bill that is always pleasing to the people In front. Charles Marvello starts things off with many a good turn. Incidentally, he is a contortionist. Stepp, Mehlinger and King present a splendid musical mu-sical act, which would be much better If Willie at the piano would torget his self-conscious and patronizing smirk, which silently said, "The other boys are here, but don't miss me." Elizab' h Murray trailed the musical trio with some l.jsh and negro 3ongs that were an instantaneous hit and called for much applause. Some of the audience au-dience suspected Miss Murray of really being Irish. "Trimmed," a one-act incident In a manicure shop, is a scream and the humor in the sketch comes at the rate of about five hundred shots a minute, fired by Madge Pierce, Albert Peters, Bruce Brayton, and William McKey. Really, it's too bad we live so far inland where most of the manicurists can't hand it out so fast. It is one of the cleverest sketches on the vaudeville stage. Mildred Warren, Louise Meyers and Bert Lyon, in a musical sketch called, for some reason, "When Dreams Come True," is just one more of the many i 3 that caught every crowd that saw it. While all three are clever, Louise Meyers is in a class all alone, and it wouldn't be startling to hear great thiugs of her after while. Adelaide, who has another name but hasn't told It to us, is one of the daintiest of toe dancers, and while the word "cute" has been somewhat abused, it seems necessary to use it in morring to her. She is a comedian, too, and her song which finishes with "Thame! Thame! Thame!" is only one of the hits of her performance. Johnny J. Hughes is the main support in "The Poster's Dream," and a quartette of nimble soubrettes help things along a good deal. The sisters Gasch finish the bill with a strong act. It doesn't seem to make any particular difference dif-ference whether they are standing on their heads or their feet, and they prove equally attractive to the audience in either position. The ease with which they perform their gymnastic stunts is nothing if not remarkable. For the coming week, Manager Sonnenberg (Continued on I'ngo 10) (Continued from Pago 8) announces Joseph Hart's "Futurity Winner," a -one-act racing drama, James Thornton in "Songs and Sayings," the Camille Trio, European bar (horizontal) artists, The Worthleys in a sketch called "On The Beach," Martini and Maximilian in eccentric comedy, Gladys Clark and Henry Bergman Berg-man in "The Chauffeur and the Maid," and the Kemps in "Going to Dahomey." kt i t |