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Show DRAMATIC f "LITTLE EYOLF." By T. G. Compared to almost any other play Ibsen wrote preceding his declining years, "Little Ey-olf" Ey-olf" suffers. There is no question but that in the morbid imagination of Ibsen the play ends happily; hap-pily; but nevertheless the impression, the feeling feel-ing with which one is imbued after having seen it. is depressing. And this, together with the realization that the character of Rita, the wife, is utterly unnatural Ibsen picturing her as an abnormal woman, whose maternal instincts are subordinated to her carnal passion, even after she is the mother of a child, and then through the death of that child leading her through a soul struggle to eventually change entirely makes the play in itself lose much of its force, and makes it pleasing only to the deeply thoughtful among the curious. To divert a moment, and to judge from the many expressions of opinion which came from the supposedly cultured, and a critic whose absurdities ab-surdities are responsible for considerable 1oy, the play was little understood by a great part of the audience, though what thev lacked in warmth they made up for in respectful silence. Their attitude was a reminder of the story they tell on one of the Shuberts, who, when witnessing a rehearsal re-hearsal of "Little Eyolf," said to Nazlmova: "Can't you cut out a lot of that scene? It is tiresome." Why, no, Mr. Shubert," replied the actress. "Lots of people bring their book to the play just as they do their Shakespeare." "Do you mean to tell me," replied Shubert, "that people' peo-ple' read that stuff?" It was evident that not many people had read "that stuff" and those who had expected a musical comedy were greviously disappointed. As for Nazlmova, it is impossible to imagine anyone else playing Rita Allmers after seeing Nazlmova in that fiist act. If she has ever been more wonderful in anything, it has not been the pleasure of those locally to see her. There was not one moment that she did not absolutely portray por-tray her craving for the man who had just re-J re-J turned to her, and her struggle to possess him in 1 the way she would, to have him for herself alone was conveyed with a refinement which no other woman, no matter how innately refined she might be, could help but vulgarize. With her sinuous body posed upon the couch, when she describes to Allmer his return the night before, when she recalls her dress, the rosy lights, everything that had been planned and arranged to win him from his book and his boy, in order that she might possess him, and finally when she says, "There was champagne on the table and you drank it not," it was done in such a way that the meaning was not for a mo-J mo-J ment in doubt in a way, to descend to the vernacular, ver-nacular, that no other woman could do it and get away with it. To go further and to make an absolute statement which cannot be disproven, Nazimova is responsible for the most wonderful piece of acting in that particular part of "Little Eyolf" that can be seen In America today. As captivating as she is and as thoroughly fascinating fascin-ating In anything she attempts, It is doubtful If she will ever find anything which will give her greater claim to first honors. The play Is not one to allow her to run the full gamut of erao tion, but in this one act she is incomparable. As the luring Rat-WJfe symbolical of Death Gertrude Berkeley gives a remarkable performance. perform-ance. It is a hideous thing, this Rat-Wife, and one calling for unusual histrionic ability. In the portrayal there is only one thing which seemingly seem-ingly might be impioved. From the Hues Is con-VPv-Q the impression that in youth she was beau-tilui beau-tilui -then why not in make-up instead of the face J (Continued on Pago 13.) DRAMATIC. r (Continued from Pago G.) and form of a witch, have her appear to be what was left of a beautiful woman. Nazimova still has with her Brandon Tynan, who is no stronger than he was when seen here before, and certainly not the man to play opposite this wonderful woman. The Asta of Elsie Esmond Es-mond was fairly done, though more could be made of the part. And Fred L. Tiden as Engineer Borghelm, gives his characteristic finished performance, per-formance, though having very little to do. Before Be-fore finishing, a word should be said for the stage management, which was splendid; and the pictures, the beauty of which was enhanced by the light effects, particularly in the scene on the cliff, were perfect. ORPHEUM. "Out in San Francisco, there's a dance out there" and in New York and New Orleans and St. Louis and a lot of other places; but for all the moods and tenses in teh dancing game in vaudeville, Rock and Fulton have it over them in pretty nearly everything they do; in their daintiness, dainti-ness, their charm, their grace and sensationalism, and there are three reasons. In the first place they can dance they don't have to prove it, as Brother Howard says, "They admit it." But dancing is not always the story of a successful dancer. There are any number of performers who can really dance beautifully, but their lack of intelligence intelli-gence and personality prevents them from being great drawing cards. In the case of Rock and i GRACE CAMERON Fulton, these are just the attributes that make them winners intelligence and personality first, and then the power transmission that goes to the feet. They had a hard time getting away from any of their audiences. The Six Abdallas, who headline the acrobatic act, have separately enough class for six different differ-ent acts. Maurice Freeman and the audience got more or less pathos and a certain kind of humor out of "Tony and the Stork." Frank Work and Reinhold Ower are screams in their new ideas on the subject of twists and falls; the Kaufman brothers get a lot of laughs out of their black face absurdities. Wheeler Earl and Vera Curtis In "Innocents Abroad" (forget it) and the Australian Aus-tralian Wheelers are other numbers on the bill. Beginning tomorrow La Tortajada, the celebrated cele-brated European dancer and actress in tho one act operatta "The Adventures of a Toreadore." is the headliner. It is said that hers is one of the greatest acts on the circuit. All one will have to do the coming week is to visit the different theatres and get a collection of JJ dances of all nations. La Tortajada is followed t by John P. Wade and Company in "Marso Shel- M j by's Chicken Dinner;" Meyers, Warren and Lyons H I in "A Little of Everything;" the Flying "Martins, M- premier double trapeze artists; Mildred Grover M in original songs and dances; the Joseph Adel- M . i mann family, Xylophone manipulators, and the Balzars, humorous conjurors. H' THE TRAGEDY OF GOSSIP. m i William Faversham, one of the popular stars V, of our time, will present "The World and His B Wife" at the Colonial' theatre on December 9th and K 10th. Charles Frederic Nirdlinger's play, "The M. World and His Wife," is an adaptation ot Jose H Echegaray's Spanish masterpiece, "El Gran Ga- M lee o." Mr. Nirdlinger's drama was given a single B performance by Mr. Faversham In Boston two H years ago, when starring in "The Squaw Man," H' and achieved an astonishing success. One critic H at the time stated sententiously that "The World H and His Wife" is not only a great play, but good H entertainment as well. The title of the play very H well illustrates the theme, the tragedy of gossip. H What the heedless gossip of busybodies can ac- H, complisli is exposed in this play unconquerable Hi calumny instilling doubt, wrecking a man's peace Hi of mind and at last destroying the good name of H his house, his wife, his friend. Gossip is the H theme and motive of the play, and one of the H characters says: "Slander doesn't bother about Ri latitude." Mr. Faversham will be supported by H9 an especially capable company, which will include H. Julie Opp, H. Cooper Cliffe, Lionel Belmore and H Harry Redding and Frank Hollins. W H: "Polly of the Circus'' will be presented at the i Salt Lake theatre for the entire week beginning H Monday, December 5th, with matinees on Wednes- 1 day and Saturday. This is the second time that H Frederic Thompson's successful production will l have been seen here, and those who did not have an opportunity of witnessing the play before will be glad of the opportunity to attend. If there is such a thing as ocular opera, it comes in the form presented by Pavlowa and Mordkin, and no longer may the man with no music in his soul cudgel his brain over the question, ques-tion, "What is it all about?" when the prima donna shrieks in high C. Under the new order of things he need only watch the dancers instead of delving through the argument in his libretto to comprehend it all. Really Russia is responsible for adding the song-less song-less opera to the wireless telegraph, the horseless carriage, the flreless cooker and similar modern improvements which operate to make life a thing of joy. Salt Lake will see the greatest exponents of the art when Anna Pavlowa and Mikail Mordkin Mord-kin with a supporting ballet of sixty will be seen at the Salt Lake theatre on Tuesday afternoon next. It is announced that in conference with their regular performance, these famous dancers have consented to dance their specialties, which in themselves are worth the price of admission. We understand that already the seat sale has been very large, and it would indeed be a sad commentary if they did not here receive the reception re-ception their wonderful performance warrants. Jane Wheatley as Margaret Rolfe, Margaret Dills as Claire Forster and Walter Seymour as Thompson, are almost equally responsible for the excellent production of Blanche Walsh's old success, suc-cess, "The Woman in the Case," at the Garrick this week. As the wife, the now leading woman, Miss Wheatley, plays a most difficult role admirably, and makes of the part as much as has any actress who ever appeared in it here. Mr. Seymour's characterization is convincing and in a role that is easy to overplay, he hews close io a very fine understanding of what the part demands. Mr. Crosby is excellent, and Miss Dills makes "The,, Woman in , the Case" very nearly the dominant feature of the Ingersoll production. It is altogether alto-gether a most creditable offering and is admirably staged. t-Kl The offering at the Garrick for the week to come is "Puddin' Head Wilson," Frank Mayo's wonderful drama which has not oeen seen in this city since Mayo himself produced it here with Ada Dwyer and a notable cast. In "Puddin' Head Wilson" the Garrick players have an exceptional ex-ceptional opportunity to show their versatallty and one which will call for the very best that each and every one of them has to give. " The week at the Colonial begins Sunday evening even-ing with the appearance of Grace Cameron in the comedy "Nancy," supported by a company claimed to be one of the best she has ever had. j. |