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Show , TINNEY AND GABY AT WINTER GARDEN By T. G. New York, Oct. 17, 1911. That Gaby Deslys is constructive as well as (destructive in the making or breaking of kingdoms king-doms is evidenced by the way Frank Tinney is climbing to the top in the kingdom of comedy at the Winter Garden with the help of the act which precedes him, "Les Debuts de Chichine" the offering of the famous Parisian comedienne, come-dienne, to whose fascinating wiles Is atti United the downfall of Emanuel. Every time Tinney has appeared at the Or-pheum Or-pheum in Salt Lake he has been responsible for record breaking crowds, but if any of those who have seen him only in the west are under the impression that he was at his best, they are mistaken, for he has in Gaby's farce a foil that has given him an opportunity in a thousand. And yet after his evening's work is done, one wonders, as usual, what in the world was so excruciatingly funny about his performance. Certainly nothing that could be said by anyone but Tinney in his own inimitable way. " As the curtain drops on Chichine'a boudoir in walks Tinney with a "hello-o" to Sam the ' orchestra leader, and the remark, "Say, Sam she ain't go-in to marry that guy, because she don't haf to marry him, she's only foo-lin, and Sam that ain't Ga-by's bed, nu, that's Slegel & Cooper's, yeh, she don't sleep back there, on-ly the property man sleeps back there di'n yuh know that Sam, she's jes foo-hn the public" "And what are you doing, Frank?" "O! O! I'm foo-lin 'em, too, but I don' haf to haf a gang like that to help me" and so on. It sounds silly, inane, in fact, but the above and more like it puts the audience in hysterics every night and Tinney, not Gaby, is the big hit of the bill. Gaby is a fascinating looking cicature with a Frenchy charm, and a figuie that attests Emanuel's Eman-uel's good taste at least, though it was rather careless in him to be indiscreet enough to let Eortugal go by the board on account of it. She can dance a bit, too, can sing very little, hue thes'e talents are all of small Import beside her appearance, which is exposed to an extent wh'ch makes one gasp instinctively, "ain't nature grand?" The climax of her sketch finds her pre paring for bed, and when she is ready she weais a spider-web something to the knees and a really beautiful smile, and after becoming safely ensconced in the soft pinks and blues of her bed, a couple of suitors enter, one at a time, to plead their cause and while they are doing it, a third enters with a theatrical contract the butterfly has been hoping for, so she gets up and leaves the others in consternation. Thrilling what? But that is what New York likes to fall for at $2.50 a head, for think of the honor of gazing at the charms of the mistress mis-tress of a king! But it is easy to refute the statement that New Yorkers can be amused only by people or things suggestive of the piimrose pathways, for over at Collier's comedy theatre "Bunty Pulls the Strings," a Scotch comedy by Graham Moffat, Mof-fat, is turning tho crowds away nightly, and it it is only a homely, sweet and very domestic little story of life in a middle class Scotch family. fam-ily. But it is set in a frame of greens and thistles and punctuated with a wit that is as ic-freshing ic-freshing as a trip back home after one is surfeited sur-feited with the jading and unnatural influences of Lobster Square. It is interpreted by a company of Scotch actors, and their natural burr is great music to the ears. It Ib a simple natural play of life in the village vil-lage of Lintiebaugh, within the narrow environs of which the natives are reared in fear and trembling of the rules set down by the high lights of the kirk, though strange to say, there is scarcely a moment during the performance that does not carry a laugh. A lemarkable feature fea-ture of the play is the entire absence of stage tricks, a thing that may not be said of half a dosen present day plays. In this lies much of its charm, and so general has been the approval of "Bunty" from press and public alike that it is unquestionably due for a long run. The only fear is that its success will induce the producers to reciuit American companies for the road, and in that event, it is very possible that people elsewhere will wonder what New York saw in the play, for players without the burr on their tongues could easily murder it. 'Bunty Pulls the Strings" is a splendid commentary com-mentary on the way the call of "back to nature" is appealing to the bored and boring theatergoers theater-goers in this great old town. |