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Show BROADIVA Y'S NEW SHOWS BY FRANKLYN FYLES. H New York, August 27. Like the animals into M the Ark various plays of the early season have fl been led Into Broadway two and two. One pair of them introduce Gertrude Quinlan and Clara M L.pman as star actresses; and by a strange chance both assume to be actresses in troublesome clr- H cumstances. Another couple consists of Anstey comedies in which, alike, London life is treated M in the whimsical nstey way. And there are. ex- M travaganzas for other matings in the new shdws. M A fascinating , mother lures a young fellow Q a-waytrom her daughter. That is the gist of "jrhe M Marriage of a Star." The exploit is not Wicked, fl though, for the woman has no wish o acquire the girl's betrothed lover. She is a clever' act ess fl who has a dislike to look as old as" she Is; jand M so, to avoid the usual aspects of a mother-in-law, M she undertakes to Inake the ryoung fellow f olid of M her. She is his merry playmate at tennis, his fl romping and free-matonered comrade, all Without M thought, of harm. But wilk her personal charm of well preserved 'good looks "and kef professional viVaclty, she unintentionally entrances- the'tfpyish M chap and his love shifts to her from the's'edate jH daughter, M That is Clara Lipman's character for starring, M with Consuelo Bailey for the'' girl and Alberjt Par- H ker for the boy. The dlfflculty.of the undertaking H Is where the mother, having unwittingly bro'ken her daughter's heart, strives to mend it.Have jH you forgotten Miss Lipman used to be jigmdy H creature in "The Gin from Paris?" Duringifralf of H the new comedy she is the same things'over H again a French actress in New York learning H English and naively mangjing our slang with good H diction and giving a neat "Parisian accent to both. H She portrays a heedless, ' reckless, wilful, spoilt H child at thirty-six until she realizes whaC aharm- H ful mother she has been". Then the good-1hat in- H heres in her dominates the bad and she disillu- H slonlzes the boy, restores him to the girl and re- unites herself with her estranged husband. JHer H transition is well done and proves that emotional- H ism is one of her assets. H The French original of "The Marriage ,pj a H Star" is BIsson and Thurner. In it the girl's mar- H ents are unmarried and the interest lies In the H fact that, unless Uey legitimatize their child her H suitor's family won i let him marry her." .The H average American Is apt to argue, "let the 'young H folk get their parents' consent if possible, but H marry anyway." in France the law would no : al- H low such defiance. So there is more than pre- H judice or principle for the young folks to" over- H come. In France the star of the title had a Irea- H son for not marrying her daughter's father which H blushing Americans were scared word of. The H play in French goes on to show how the daughter H wins her way into the mother's flighty heart; how H the finer love displaces desire for adulation in the H star's heart. Yet by the seashore with her daugh- H terjs fiance and with thatdaughtor not tbere she. cannot help practicing her wiles. After re- H hearsing a love scene lor a play the youth finally seizes his prospective mamma-in-law in passion- fl ate earnest. fl That episode at the rehearsal Is retained fully. H in the Americanized play, but what fellow's jrf jH new here the strength of a mother's love aroused fl in the formerly careless actress and it betters H the role for Miss Lipman's purpose, although It H wrenches the theme away from the author's S scheme. !H To be accurate about the heroine of "Miss jH Patsy," she is not an actress, but near an actress, H by both ambition and propinquity. She Is nick- H named Fatsy after that Patsy Bolllvar who is H famed to phrase it in newer slang was the goat 'H for those whose mistakes he butted into. Patsy's M Hflj father was a good old actor and she inherited a H desire to act, but no ability. She gets a nearness H'f , t0 it by serving a beloved genuine actress as a jji& '. companion, dressing maid, secretary and stern Hi , chaperone; also by an amiably conceited belief Hili that, but for her abnegatory devotion to a gifted HfJl artist, she might herself have become a greater VLj ' celebrity. Her zeal for her charge is so real and Hjiv earnest that she becomes a nuisance at the the- Hl ' atre, injurious to the actress socially and has to H bo squelched. Patsy is nothing but comic up to H . the middle of the play; then she is meant by her H MAYBELLE BAKER H The handsome and talented girl who has scored a H line personal success at the Shubert this sum- H mer us prima donna of the Curtis Musical H Comedy Company at that theatre. m author, Sewell Collins, to take a sharp turn to M ( common sense and deserve sympathy. m Gertrude Quinlan, for years a soubrette singer 1 in various Savage musical companies, is the ac- M tress put forwards as a star actress in the role H of the near-an-actress. The character is suffi- M ciently origii. to make a new blend of old traits; M and Miss Quinian is equipped to give quaint, m homely, rough-and-ready humor to a lively lot of m Incidents possible to theatrical life, And she stands that old-time test of versatility a quick transition from laughter to tears. That is whon she learns the truth about herself that she Is intolerably in-tolerably obnoxious despite her good intentions that she lacks the smallest dramatic gift that even as a Patsy Bolivar she isn't of any use whatever. what-ever. "I am nothing but a slob," she whimpers in her sudden disillusion. The first audience hadn't been asked to take Patsy seriously. Would it be sorry enough for her now to stop laughing when she declared herself her-self a slob? If it hadn't ceased its merriment in stantly the line would have to be changed to some-thing some-thing less colloquial for the second performance But it silenced its jollity as Patsy sobbed and blubbed over her tumble in self esteem. The moment mo-ment was anxious tor the real actress, although the people thought only of the near-an-actress. Felix Anstey Guthrie, alias F. Anstey in literature, liter-ature, writer of fantastic English tales, gets "Love Among the Lions" and "The Brass Bottle" into Broadway in one week. Anstey has a topsy-turvey wit, as befits a leading joker of Punch. His farces make keenly observed, life-like pictures of humdrum, hum-drum, middle-class Londoners and then distorts them by the introduction of some whimsical, extravagant ex-travagant and grotesque person or occurrence. In "The Man From Blankley's," it may be recalled after a half dozen years, smug and unimaginative cockneys found themselves suddenly lacking a fourteenth person at a dinner party. So an understudy under-study was engaged from the caterer and in their pride they palmed him off as a nobleman. One vulgarian after another scraped off the veneer of good- breeding to his own complete satisfaction and then it transpired that the hired guest really was a lord. However, that is the laugh of yesterday. yester-day. The typical Anstey household of "Love Among the Lions" is kept in ferment by a daughter who pines and fevers for the adventurous, the unheard of, the daringly romantic. Finally phe hits it; and when an ardent suitor a tea-taster in a department de-partment store comes to woo her, she consents to bestow her hand only if he will make her his wife in a cage of lions. The tea-taster is long on love, but short on courage. Although his heart tells him to run any risk to win the girl, the nervous flutter of it advises him to discover every possible possi-ble obstacle to such a ceremony. Not the least amusing of his trembling tribulations is at the very last moment after every hopeful stumbling block to a marriage among lions has been overcome over-come he is in a dressing room at a circus preparing prepar-ing for the ordeal when the lion tamer chides him upon going to greet his bride with a two day's old beard on his face. The groom reluctantly undertakes un-dertakes to shave. That he swallows much soap i3 immaterial; but his hand is so Bhaky that he gashes his visage into a veritable ragout of bloody manhood. Even this he bears bravely until some one reminds him of the infuriating effect of a smell of blood upon a lion, the most docile and domestic of his kind though he may be. The occurrence that turns the Anstey household house-hold upside down in "The Brass Bottle" is far more fantastic. The original portraiture is graph- I ically commonplace. A young architect cannot marry a certain professor's daughter because he has no client and therefore no money. There is no ill-feeling; the girl and her parents are to dine with him at his lodgings, and the professor intrusts in-trusts the architect with getting curious for a collection. col-lection. One purchase the young man makes for himself. It is an Arabian brass bottle and when he uncorks it there leaps out Djin who has been imprisoned 3,000 years; and in his gratitude to his liberator he conjures a wind that picks up a casual millionaire on his way across Waterloo bridge and sweeps him right into the architect's rooms with an order for a costly country house. The over-ardent Genii anticipates the enthusiastic young man's designs by magically creating overnight over-night a wondrous palace on the Englishman's suburban site. But being an Arabian maker of magics, the fabulous structure is unlivably Oriental; Orien-tal; is apt to scandalize the neighbors, and is quite innocent of plumbing. j All this, however, is nothing compared to the trouble the Djin gets his protector into when he i undertakes to help him out with his little dinner party. With a clap of his hands he transforms the London lodgings intq a palace of Oriental splendor. The change amazes the guests without annoying them. But to sit for dinner on the cush- ! ioned floor before a teak-wood table hardly a foot high and be served strongly scented, highly flavored flav-ored foods but no forks to eat with, does not ! please the professor or his family. Nor is the I daughter delighted as the Djin expects when two claps for coffee and cigars brings instead a group of dancing hourls. Someone suggests that they have been engaged for the evening from London's Asiatic fair and some else asks at what price. "No price," replies the hoct; "they dance for , nothing." "Well," the professor's wife retorts; "at least that shows they appreciate their own value." London has been pleased by "The Brass Bot-J Bot-J tLV Here it has Edwin Stevens for the Genii, Richard Bennett for its architect and others to J help the odd fusion of hundrum persons of now and occurrences fit for an Arabian Night's fable 1 of long ago. "Love Among the Lions" has the American Winchell Smith as a collaboraTor with Anstey; but internationality is balanced by an A. E. Mathews, a London comedian, introduced happily hap-pily hero as the alarmingly lionized bridegroom-After bridegroom-After these accounts of four clean new plays, I have to describe a farce that is foul. It is the most vicious stage show (so I feel immediately after seeing it in the producing manager's August output at Atlantic City) that ever I have known, The seriously purposeful shock of a problem drama may make an ethical excuse for itself; the humanity of a xove romance may condone its offense; of-fense; the grossest sensuality of an extravaganza may be glossed by its fine art in live beauty; but what plea is possible for a stage show of vice that is nasty for fun and nothing else?. You ask why give publicity to it? My answer is that you I B have an intelligent person's right to know the J truth about a play, so as to go to it or stay away, according to your own desire. The middle act of "The Girl in the Taxi" fills two-thirds of the stage with a private supper room in the newest and raciest of Broadway's big all night restaurants. There in the carousing of an oldish husband, his youngish married nephew and his boyish son with the wife of a mutual acquaintance, is shown shamefully. Dion Boucicault made one long play by fastening together three of the short farces of lascivity that were prevalent in Paris. The resultant re-sultant "Forbidden Fruit" was the first play of , that kind to fill a whole evening in New York. To-, To-, the expert Dion it was no more than a week's easy job to so rewrite the stuff that a selection oi characters did in three consecutive acts all they had done in the three separate pieces, so similai (Continued on Pago 11.) Mrs. D. E. Mudgett and daughter, Miss Edith Mudgett, who are spending August in Ocean Park, will go later to Coronado Beach for a few weeks before returning home. Mrs. O. C. Nelson and daughter, Miss Neva Hoy, are now in Southern California, where they will remain for some time. Captain and Mrs. W. A. Cavenaugh of Fort Douglas left during the week for California, to spend a month. Mrs. Charles W. Boyd and son, Frederick, have m returned to Salt Lake after spending the summer :n the east. The latter will return in September 1 to attend school at Culver, Indiana. Mrs. C. Percival Tremayne is visiting in Pro-vo Pro-vo with friends and relatives. n October 1 Mrs. Tremayne will leave for Chicago, where she is to reside with her sister, Miss Edith Carmichael. Helen Duncan of Richfield, Utah, who has been studying in Germany the past two years with Liez Bach, has returned to her home, and will come to Salt Lake this fall to teach. . Charles Raymond left early in the week for California, where he will attend the University of California at Berkeley. Miss Francis Cowan has returned from California. Cali-fornia. -J |