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Show I With the First Nighters H 0 . ROBERr MILLIARD H '"The Argylo Case,' by ilarriet Ford and Iiar- H voy J. O'Higgins, is a twentieth ctntury detective H story de luxe with a little blood and not much wM thunder and during the course of the proceedings WW the Sherlock, who is also a gentleman, unravels m a murder mystery according to the latest up- M proved methods demonstiatlng the use of linger prints, the dictograph and the Rtneophone. The H story is one of breathless interest, there is no. M a detail lost sight of in the splendid staging and H the work of Mr. Illlliard and eveiy last member m of his unusual company is perfect. m "The Argyle Case" differs greatly from the M, usual detective play in the care which has seeni- H ingly been taken to eliminate improbabilities, a mm caution which has resulted in complete success. WM We do not recall anyone who could play the pait M of Asche Kayton so well as Mr. Ililliard, who is H peculiarly qualified for a character in which is m combined keenness, determination and subtle wit. H And in this connection the fact that there is a M t vein of rare humor running through the entire H melodrama, for melodrama it is, is a delightful B experience for an appreciative audience. M It is hardly fair to single out any of the mem m bers of such an excellent cast without mentioning H them all, but there are some whose work was- M so exceptionally strong that it is quite necessary. WM The performances of Miss Oliver, Miss Archo 39 and Miss Everett were distinctly individual. Miss H Everett in a character part of a gabby old girl, m such as many of us have seen, created all the M laughs she was entitled to and the, en itional B work of Miss Archer, particularly in the ' ..st act, m and that of Miss Oliver thereafter was of a very B high order. Miss Tureak also had a bit which B she essayed with fine understanding and ability. B Among the men, those who stood out strikingly J were Gustave von Seyffertltz, as Dr. Kreisler; m Edwin Holland as Hurley, the lawyer, and W. T. WM Clark, as Colt, the government expert. H H ORPHEUM M If Mario Lloyd is "England's idol," they wor- H ship at some strange shrines abroad, tnough we M must confess that as an idol she is a novelty. It H is not often one sees an idol with a cracked voice H and an appearance like Marie's together with a M collection of vulgar songs which the idol claims H for its own and which it is welcome to H iPerha s we owe an apology to our readers H for heralding the idol as wo did, but we were de- H ceived into understanding that her act was clever A and were broad enough to forget everything else A if it was. The benefit of the doubt is not always H best as demonstrated by as inane and stupid a H performance as any woman has ever been al- H lowed to give on the Orpheum stage. We wish BA to correct an erroneous impression that some peo- H pie seem to have. Marie Lloyd is not the great- m grandmother of Alice Lloyd, but her sister. No H one would over know, however, that the clever B and fascinating Alice is any kin, judging from M the idol's work. Back to the joss house, Idol! H The rest of the bill at the Orpheum is unique m and entertaining In every particular except a Hj sketch called "The Stranger." That is unique H also, but deadly in its soporific effect. M Opoiung and closing the bill are the Hockney WM people, presenting a gymnastic unicycle act, H and Sam Barton, styled as the king of bike come- QJ dlans, who, whether ho is the king or not, Is cer- Sm tainly in the royal family in that line. The act of 3 the Hockney troupe is full of new and eccentric H features, and Barton is a knockout with his nat ural comedy and skill on the wheels he wiggles around on. Tudor Cameron and Johnny O'Connor put over a lot of nonsense with a hundred good laughs in it; Parillo and Frabito play and sing in a way that takes readily; and Grace Carlisle and Jules Romer offer, "Just a Song at Twlight," which comprises com-prises an artistic array of songs and violin selections. selec-tions. The pictu s of the Castles in the different dances they hav done so much to make famous at the "Sans Souci" in Now York are very welcome wel-come to this city where the dancing craze is just as great in proportion. The pictures are remarkable remark-able and it is very much like seeing the Castles in person to witness the exhibition which is one of the big hits of the Orpheum bill. Opening tomorrow Henry Woodruff is the headliner, who, with his company, will play "A Regular Business Man" by John Stokes under the direction of Joseph Hart. Ray Samuels will be welcomed back. You remember her, don't you that blue streak of ragtime? Mindel Kingston and George Ebner will be seen in "A Vaudeville Flirtation." "Her First Case," is another number with Julia Nash in the leading role. Kaufman Brothers in "Tuneful Nonsense," Helen Ruggles, the demi tasse prima donna, and Matilda and Elvira, El-vira, novelty dancers, complete the bill. Next Saturday the Orpheum vaudeville season closes and no more bills will be in order until the opening of the season 1914-15, which starts August 23. However, the house will not be dark, as it is proposed to run a series of feature films. The first one will be shown twice daily commencing commenc-ing Sunday matinee, May 3, and is an eight reel affair, with a lectuie entitled II. S. Indian Wars "DEARIE GIRL" While a trifle late for a review of "Dearie Girl," Margaret Whitney's opera produced at the bait Lake theatre the latter part of last week, so much praise is due Miss Whitney that wo would not teel comfortable without adding our little to what has already been said. And when it is considered that the young lady wrote the words and the music, acted a part and staged the production so effectively her talent is very ob- . if vious and her work nothing loss than remarkable. remark-able. With "Dearie Girl" ad a starter, though in reality real-ity she has written a number of clever operattas, her future in her chosen profession is certainly illuminated with a iose-topaz glow. The opera is not perfect in every respect; there are slight crudities hero and there, but inconsequential enough to be of little importance, and as a whole the opera as written and arranged by iier, and pei formed with the help of an unusual cast of amateurs, was charming. Dearie Girl" is not w' out a plot, in itself a deviation from the rule, and the songs and other music with which it is replete are of the kind which make the most blase theatergoers recall re-call them for days, which is proof enough of their work. In fact, .Miss Whitney excels in her music which is better than her book, though many of the musical effects were spoiled through the lack of a real musical director on the job. The majority ma-jority of the principals showed splendid natural ability and this combined with the training they had received and the interest they apparently had in their work often raised the performance to a plane considerably above anything amateurish. The chorus was good to look upon and fine to listen to and the lilt and swing of their numerous renditions will remain in memory for a long time Miss Mae O'Neill as Dearie Girl, an English I heiress, sang the part beautifully, and J. Kent , Cobb, the tenor, in the role of Jack Bertin, her American swetheart, won the audience with his voice. However, both could improve by acquiring acquir-ing a little moro pep in their acting. Hazel Ab- LOUISE YATES AND SHOW GIRLS IN "THE PASSING SHOW QF 1913" AT THE SALT LAKE THEATRE FRIDA Y AND SA TURD A Y, MA Y 1 AND 2, 1914 mwmmmmmmmwmmmmmwmmmmmmmmwmmmwmmmmk botf Mclntyre as Violet, and Walter Woolf us uick, her sweetheart, became very popumr ilur-nib ilur-nib the eouise 01 proceedings and Wore justiyTo-eunuu justiyTo-eunuu lime and again. iuiss Whitney s coster girl" was beautliully played in the llrst act, but hor accent varied from coster to Alsace-Lorraine during succeeding acts, .however, this is not said disparagingly. There is no question but What Miss Whitney can play the part but she essayed too much especially under the nervous strain of the llrst night of a production produc-tion of which she was the author. The big leaguer among the ladies was Mlgnon lleywood as Elizabeth Magdaliua Florentine Jones, who was a veritible scream. She is a natural comedienne of splendid .,tago presence and of such originality and personality that every move slfe made and every word she spoke was a signal for convulsive laughter. With a whip hanu over her for a week or two it would be duck soup for her to sign on the "big, time." Lrauk Brown as Bob White, the reporter who played opposite her, gave a very ihrished performance, perform-ance, and seemed to bo an old timer in the business. busi-ness. Wanda Lyon created a line impression, particularly par-ticularly with her lullaby song. Ruth Abbott's ballet was cleverly executed and Russell Mcln-tyre's Mcln-tyre's ability as a comedian was easily seen in everything he had to do. The gifts of Beth Whitney are such that there is little question that she is destined to become a wonderful actress some day, though if we may be pardoned for the suggestion we hope she will not be allowed to continue on the stage at present, but will be" trained in all the accomplishments accomplish-ments that are her due until eight or ten years from now, for the writer has never seen a youngster young-ster of her years on the professional or amateur stage who showed more unmistakable signs of born talent and this with perfect self-possession and an air that would have done credit to a seasoned sea-soned actress. Her character work wuscnarming and her song with Mr. Wolf, "The Jack O'Lantern Man," a perfect delight. The piano bugB and others acquitted themselves them-selves so excellently that we are sorry we cannot can-not devote more space to them though the wop quartette had the nerve of burglars in attempting to sing. PANTAGES Harry Girard seen here years, ago in "The M AlaBlcan," the fascinating opera written by Giravd H and Blethen, is .back again, this time in a tabloid M version of "The Alaskan," called "The Luck of a HI Totem." With him is Agnes CainJBrown and an M excellent company. They are the headliners at H Pantngcs this week and provide an entertainment M full of good music. E. J. Moore, with the assist- M ance of a messenger boy, puts over some clever H tricks combined with a line of talk that is fast M enough to hit. Erwin Keogh and Helen Nelson pro- M duco a scone from "Ingomar" coupled with a lot H of nonsense in a skit that seems to take with Pan- M tago audiences. The Spanish Golanis are aero- M bats and jugglers, one of whom is better than the H average, and Weston and Leon play and sing. H An interesting feature of this week at Pantagcs m is the animated weekly film showing local scenes taken during the visit of Washington Gardiner, commander-in-chief of the G. A. It., when he was entertained in Salt Lake last month. EMPRESS Rossow's Midgets, a treat for the kiddles and the grownups as well, head the bill at the Empress Em-press this week which contains a number of good things and some not so good. The Keystone motion mo-tion pictures are as funny as usual; the Dennis brothers on the aerial revolving ladder open the entertainment with a thriller; Hazel Berke and Alex. Korae, styled "The Little Melba and the Little Paderewski," are winning their audiences with their remarkable renditions of classical mu sic, and Murray Bennett, "Vaudeville's Brightest Singing Comedian," is not. He repeats some songB that have been sung better and if his work is a sample of his brilliancy there are scores of brighter ones in the game. "The Stick Up Man," a yarn of the tenements, put into a sketch by Homer Ho-mer Miles, is well played by Robert O'Connor and company, and McMahon and Chappelle offer a skit entitled "Why Hubby Mise d thfc Train." v For the bill beginning i morrow the management manage-ment announces as the headliners Staines' comedy com-edy circus, a riot of fun with a bucking mule, ponies, dogs and monkeys; Mack & Atkinson, singing sing-ing comedians; Kiernan-Walters-Kiernan, In a travesty on Macbeth; Joe Fenton and his athletes. ath-letes. Edith Clifford, singing comedienne; Kara, the juggler, and a Keystone laugh. H IN THE DEN OF THE COKE FIENDS. A SENSATIONAL SCENE IN "THE DRUG TERROR" A SIX REEL FEATURE PHOTO-ILAY AT THE UTAH THEATRE ALL NEXT WEEK, BEGINNING TOMORROW AFTERNOON |