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Show SUMMRR SHOWS THE ORPHEUM. 1 You can shut your eyes, grab anything on the Orpheum bill this week and pick a headllner. i It's a little early to ring in the old bromide of "the best of the season," but for a pace maker the week is worth the money. The ttrst nlghters are beginning to get down under the spot light again, I notice, too, and front rows at the "home of vodeville" have been much in demand since Monday. Fluffy ruffles start the bill and close it. IAI few extra fluffs are sandwiched in somewhere around the intermission and with Leipzig, a sketch and the monkeys you don't know whether it's hot or not. The Misses Klrksmith, Maud, Gertrude and Lillian, open the program with an acceptable mu- slcal turn, vocal and Instrumental. Simultaneous ; with the appearance of the three young ladies the first row shows signs of life. Garter and Bluford with a few well done special "drops" hold one through for Edna Phillips and company in "Lost A Kiss in Central Park." The sketch is a scream and well presented. Leipzig is one of the cleverest and most artistic slight-of-hand ; men, to put it mildly, in the business, and his , work is extremely Interesting. The monks In charge of Miss Hathaway have been on the war path all week and have cut Into the act with enough long tailed comedy to make the turn a howling success. The DeHaven sextette with Sydney C. Gibson Gib-son close the bill. Mr. Gibson is clever and new and the six girls with him must keep as many maids busy getting them in and out of a half doz-I doz-I en frocks In the twenty minutes they are on. i The klnodrome winds up the evening with ac ceptable pictui'es. ! i ... i 5 5 The famous Fadettes of Boston head the bill which opens at the Orpheum tomorrow night. They should prove a big drawing card, for their appearance here in years past has been unusually unusual-ly satisfactory. The fact that they are to be 1 seen at the Orpheum this time is but another evi- I dence that there is no act too expensive or large I for the vaudeville people to handle. The manage- ment advertises that the ladles will play the I pieces selected by the public next week. With the Fadettes on' the bill will be Mr. and Mrs. George A. Beane in a "A "Woman's Way." Leo Carrillo will be heard in dialect stories, and W. S. Harvey and company in a strong arm turn entitled "A Room Upside Down." The Majestic Trio, in singing sing-ing and dancing specialties and Besnah and Mil ler in twenty minutes of fun, with the klnodrome pictures, will complete the bill. 7 rw tv With tho approach of September returning boats from the continent are bringing back the wandering Thespians and advices fromv Broadway point to a big season for the theatrical world. f i C& j 1 May Robson will open her season here in "The iEejuvenation of Aunt Mary" at the Salt Lake theater the week of August 27th. j & , The Mirror, of New York, this week handles a 1 half column interview with A. R. Pelton of the I Denver theatrical Arm of Pelton and Smutzer, who i has been east getting together the two high class stock companies that are to be seen at t!he Grand a here and at the Curtis in Denver this winter. Mr. 1 Pelton through Darcy and Wolford secured tho I rights to forty plays for the season of the higher class. The plays, according to the Mirror, in-H in-H elude twenty Frohman plays and several big Daly n productions. This means high class attractions M for the Grand the next few months. jM w " 39 Grace George will begin her annual engage-Ill engage-Ill ment in New York City on November 2, when she I will appear in Give and Take, a play written espo- dally for her by Madame Fred de Grosac, one of J" the authors of the French original of The Marriage Mar-riage of Kitty. This play, if successful, will serve for her next London engagement in April, r 3 5 tv George Ade arrived in New York last Thursday, Thurs-day, bringing the manuscript of a new play called The City Chap. He returned to his home at Brook, Ind., on Saturday, to attend a Taft ratification barbecue. w &9 $9 Madame Melba will be a member of Oscar Hammersteln's Opera company next season, during dur-ing December, January, and a part of February. She will make lier first appearance as Desdemona in Verdi's Othello. i 7 ? William Collier has completed the manuscript of a new play, The Patriot, for his own use. tj O w David Warfield sailed for New York last week on the Adriatic. 5 ffcjv Virginia Harried is a guest of Acton Davies at his summjer home at Athol, Mass. iffi 5 O Mr. Mantell's engagement in New York City will begin with King John, and will bo marked by his first appearance in the respective roles of Louis XI; Woolsey, .in King Henry VUI; Bertuc-clo, Bertuc-clo, in The Fool's Revenge; Sir Giles, in a condensed con-densed version of A New Way to Pay Old Debts, and Sir Pertlnax Macsycophant, in Macklln's The Man of the World. Negotiations have begun for a tour, beginning begin-ning next May, that will take Mr. Mantell by the way of Australia, New Zealand, and South Africa to London, effecting there his promised production of Ibsen's Brand. His Lear and Macbeth will also be shown in London. Florence Roberts opens her season this year on the -26th of this, month at Peoria, 111., in "Louise." w t? w The manner 'in which the foremost actresses and actora of the theatrical world today kiss in playing their various roles Is the subject of an Interesting discussion in the August Theater by Willis Steele. "In her career Maude Adams has had fewer "kissing" parts than her sisters who have had the lead in as many plays," declares Mr. Steell. "But this eomplete artist yields her lips freely and naturally nat-urally when the play demands It. Nevertheless, If by any chance "The Girl of the Golden West" crept Into her repertoire, one could not imagine the five-minute kiss to the accompaniment of banging bang-ing doors and windows in the second act of that piece would bo left in the play. "Miss Adams" kiss is as elusive and arch as her art, and-fcoth reflect her personality. Peter Pan suits her better than Juliet and her idea of a stage kiss Is an illusion. "Let the audience think they see a kiss," she says, "and they will think so if lips do not meet by half an ich. Opera glasses do not betray so slight a measure of distance and an effect of truth is obtainable without the actual labial contact." 11 Margaret Anglin, on the other hand, believes ki tho genuine kiss. In her opinion, if it is essential es-sential for an actor to put his arm around her, he should bo able to do so without causing any shrinking on her part, and the same holds good with the kiss. Reality and not illusion is her creed. Despito Miss Anglln's boldness in defense of siage realism on this point, there has been a minimum of kissing in her stage life. Her theory is strong and bold, but her practice pretty nearly puritanical. "Ethel Barrymore has lately changed her views In regard to stage kissing. She was loath to suffer the warmth of the display of love in Captain Cap-tain JIalcs, and the author of the piece, who also I staged it, had to urge her to throw decorum to the winds. Up to the end of her iirst season as a star it was impossible for her to repress a shrug when the hero pressed his mustache to Madame Tren-toni's Tren-toni's lips. But when, several seasons later, she played the part of Alice in the "Sit-by-the-Fire" play of Barrie, it was she who proffered her lips to the leading man and she who would have been surprised if the kiss had not been real. In the stage kiss, as in every other point, Mrs. Fiske is a realist. She does not see the lip-rouge any more than she sees the grease paint on her fellow-comedians. When rehearsing for production Guimara's play of "Marta of the Lowlands," she insisted upon true and pronounced osculation. "Practice and 'experience have altered Viola Allen's views about stage kissing. She is now a wholesome realist and the snatched kiss in Irene Wycherley was one of the best things she did in the play. Her lips greedy of the lips they longed for, while her woman's soul rose to scourge the rape; clinging to the lips of her lover even while she thrust him from her, this was art that seemed like life. It took a good many plays and a good many leading men to persuade Miss Al- I len that realism in a stage kiss was admirably 1 effective, but she has finally reached that conclu sion. I "Mary Anderson's leading men (for the most part an oppressed lot) used to say that her lips pressed theirs like lumps of ice, but that they did press them. Not all the stage heroes are advocates advo-cates of realism in stage kissing. Kyrle Bellew's" piactice varies with the material, but the rite is one he can, under favorable circumstances, perform per-form most religiously. Nat Goodwin, whom the authors frustrated of kisses in his early days, is now a realist and takes his leading lady in his arms for the purpose of osculation as if he meant it. In 'Wolfville,' which was one of the pieces J ho produced in an unlucky season, he was as real- ' istlc at rehearsals as he proved to be at public i performances. i "Herbert Kelcey is a dignified stage osculator; he has often said that on the American stage we kiss too much. He would prefer to kiss the hand, except that when an actor does that on the road the house takes it as a genuine comedy trick and roais with laughter. In the school in which he was reared, a goodly school if suspected , of being somewhat old-fashioned, there was no leal kissing. Lips did not meet but only seemed j to, and this has left an unmistakable dignity in his love passages. Neither John Drew nor William Wi-lliam Faversham pi ess kissing to the limit. The former can kiss very heartily and sincerely, but in the old Daly days he was not encouraged to clasp Miss Rehan too realistically, and early lessons les-sons long abide. Faversham started out as a most impetuous osculator. At the old Madison i Square theatre he made quite a record during a limited engagement quite twenty genuine kisses of an evening or so but lately he prefers the remote kiss, the kiss on the brow." |