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Show ; : : jl ; ' ... '. iB The "Pit. Trilby. Earner. Musical Comedy. Vm i i i i ( Ill The appearance of I II wilton Lackafe at the ! i If! P $fmfE l should prove to be one of i . ' i ji i i SjKj J e nta events tne itt j j I NIBO success, Channing Pol- f"T!! ! S The pit Frank Nor j ris' famous novel ,and also in a revival of j j ' 1 The most interest will center in "The Pit," be- j i ji j I cause it is new, and because so many have read ; , I I the story, and it is really worth going to see. i j I Of course there are a hundred things in the book I! '-I ; M ml that have no place in the play, but most dramau- j; 1 i:M zations of the modern novel are disappointing for j ; i III that reason, and "The Pit" is not an exception. !: fn Mr. Channing has not made the best of his op- i ; ! portunities, and Mr. Brady is responsible for a j I few glaring mistakes, but there is strength and ! ' novelty enough in the play to make it very in- , teresting, even to critical first-nighters. I i f.;j? .' & & & !h L'f j Madame Eames, the great American prima M 'Hi donna, and her company of splendid fellow-ar- ! ! M tists will be heard at the Tabernacle next Friday J , 'M evening before what promises to be, in every way, ' iw a critical and notable audience. .Aside from hear- , M ing Madame Eames in some of the rarest and ', ; jju most difficult compositions of the masters, there I s ' jiBj will be other selections by her support that alone j 9 would be worth going a long way to listen to. i 1 pi Joseph Hollman, the Dutch cellist, is credited ! If': with being the greatest cellist of the age. His HI obligato accompaniments with Eames, and his ;l solos, are sure to create a furore among local music lovers. Emilio de Gogbrza is a baritone -who is famous in both America and Europe; and Amherst Webber is a pianisfand composer of the first class. In addition, Prof. McClellan will render ren-der the -initial number of the program, the "Prelude "Pre-lude to Lohengrin," and the Tabernacle choir, under the direction of Prof. Stephens, will close the concert by singing the Inflammatus by Rossini Ros-sini from "Stabat Mater," Madame Eames taking the soprano role. It has been a popular notion that Nordica had no equal in the rendition of this splendid piece of sacred music, but it is asserted that that idea is changed invariably after one hears Eames sing it. Friday night's concert will begin at 8:30, and large numbers of people are cities, from which excursion rates will obtain. tS IE VSW fcv Mr.John S. Lindsay has issued a neat volume of nearly two hundred pages, entitled "The Mormons Mor-mons and the Theatre," which is really a history of the theatre among the Mormon people since, under the encouragement of Joseph Smith, the Prophet, the first little theatre was built in Nau-voo. Nau-voo. In that theatre even Bfigham Young played the part of the Peruvian High Priest under the management of John Lyne. Years later Lyne declared de-clared that he was sorry he had given him that role, "for," said he, "he has been playing that part with great success ever since." The first performances per-formances here were in an adobe structure at the Warm springs, then in Social hall, then in the Roney, and finally in 1862 the great theatre was completed arid dedicated. The most interesting history is interspersed . with catching anecdotes; the names of all the early actors and performers in both the drama and the local musical organizations are given; the steps up which the people climbed until Salt Lake became the greatest show town in the world of its size, and is most interesting from cover to cover. The little book ought to be a real' success, for it seems to us that every dweller 'in Salt Lake ought to want a copy. The book is well written, and its chiefest charm is that the author seems all the way through to be striving to give a perfectly fair history, without prejudice, and with no thought except to tell the truth of the story. Mr. Lindsay is entitled to sincere congratulations on his work. w$ Though far from being so clever as Richard Carle or Phil Riley, Oscar Figman at the head of a fair company, piloted "The Tenderfoot" MADAME EMMA EAMES. . ,...' Who will appear at tho Tabernnclo In Grand Concert on Friday, October 20. through a couple of evenings at the Salt Lake theatre the first of the week .with a degree of i success made possible . by the clever lines, and pretty music which. gave this production, a start in life. There was nothing startling in the opera, unless it was the supposed tenor, but it went with some vim, and was really better than most of the third-raters we have had to listen to this season. Of course that isn't saying a great deal for the piece, but the assassination was not so wanton as that displayed in other shows. That's alL Wilton Lackaye has two plays in rehearsal now, for he is to have a large repertoire next season. sea-son. Besides the dramatized version of "Les Miserables," which is to be given in New York this spring, he is preparing Ibsen's "Pillars of Society" for matinee bills. Next season he will add to these plays besides "The Pit" and "Trilby," "Tril-by," which he is now playing, "The .Children of the Ghetto," and "Captain Charles." & & M After ten years "Trilby" is to come back to us. On Friday afternoon at the Salt Lake theatre that same "Trilby" who, for so long, had the country figuratively at her feet. And it hardly seems possible pos-sible that the gentle heroine of Du Maurier's story should fail to find a sympathetic audience. Wilton Lackaye is to appear here with his own company in a magnificent revival of the piece. Mr. Lackaye, it will be remembered, was the ot-" iginal JSvengali. & . .Adelaide Herrman,,.with many clever tricks,, some left by Herrrrian the Great, and others more or less, original, gave two performances at the Salt Lake theatre on Wednesday. There were some meritorious musical stunts' between the magical illusions, and the audience seemed pleased with everything. & t The pretty music which comes to the surface now and then in "Peggy from Paris" is the redeeming re-deeming feature of this loosely constructed' offering, offer-ing, and George Ade did not write that. If he wrote much of the remainder, after the musical features are eliminated, it adds little to his lustre as a writer of musical comedy in view of past . performances. There is a flash here and there of his real laugh-makers, but except for Olivette Haynes and Arthur Deagon, with an occasional helping hand from Eva Bennett and Clara Martin the performance perform-ance would be quite sad. There were two great hits, which were almost al-most worth the money without any assistance. Arthur Deagon's Reginald Hickey, the useful boy, could not be improved upon. His work was fast and' thorough, and easily the finest bit of the kind ever put on the stage. And besides his rough and ready accomplishments, including some clever dancing, he could sing in a way that won him a friend in everyone who listened. The Sophie Blotz of Olivette Haynes was rarely delicious, and easily the honors for the ladies centered on this charming little woman, with her quiet humor and delightful mannerisms. Her "Henny" brought down the house. There is little that is good to say of any who are not mentioned above, though Ed Gorman and Buckley Starkey are worth while. And speaking of them, did you note the resemblance in Mr. Ade's caricatures to the characters in "The Belle of New York?" The French twins, the tough guy with his dancing Mag and the bum actor. Perhaps Per-haps it is a mere concident, but appearances are against Peggy. To return to that bum actor, as portrayed by T. H. Burton, he surely needs no make-up. He was probably chosen for his seven feet five inches of height, and that is all the chooser got, for his stage presence is a positive offense to any audience. au-dience. Peggy, done to a bad turn by Julia West, looked and acted as though she were Peggy from Ike Bloom's rather than Peggy from Paris, and Minnie Olton as Mrs. Fish was another of those monstrosities mon-strosities in which Ade seems to delight. As a poor copy of the lamented Galula, she was a freak due for the wax works with other stage de-formaties, de-formaties, created to amuse and living to repel. ' The chorus, despite a few beripped and be- spotted tights, backed up by muchly mauled scenery, scen-ery, went with a dash, and the singing and dancing danc-ing as a whole were very fair. "Peggy from Paris" is a good vaudeville show as. those. things go nowadays. The simple-minded call the piece a musical comery. |
