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Show With the First Nighters , ) H oRPHEUM H O AY SAMUELS is hero again and that Is H -TV enough for most Salt Lakers to know to go Hj to tho Orpheum. The Samuel's punch is seem- H ingly perpetual and we don't like her any less H because she has apparently lost fifteen or twenty M pounds. Maybe that's on account of tho high H cost of living, hut it shouldn't affect her if what H we hear about her salary is correct It's so easy H to he strong for her that to heap on the praise H is superfluous. She sings something about Chi- M cago being her home town, but any town in H which they have seen her in her home town. H The Misses Lightner with Newton and Alexan- H der have an act unusual because of the work H of one of the young women. She pulls something H about "There's a rose in the world for everyone," H which is reminiscent of Sheridan's remark about H George Gordon that he w - "n with a rose in his H mouth and a nightingale oig in his ear. But H sentiment is not the f. . of the act. It is H eo crazy that it is irresistable. For instance, Miss H Lightner states in one part of the proceedings: H "I'm going to lay my head on a railroad track H and if the train comes along I'm going to pull It H right back." That reminds us of another of the H Lightner family we knew at one time. H In "Lots and Lots of It," with Phil White and H Company there is a sketch at the Orpheum so H funny and so filled with human interest stuff that H it is hard to understand why It has not been her- H aided to a greater extent. White is a perfect H type of that made familiar by Barney Bernard. H He is a natural actor and has a sketch that could H not have been written except by one as familiar H With the career of his kind as Montague Glass. Hj There was only one drawback in the personnel of B the company, which was in the character of Mil- H ton Mutterzolb, played by Douglas Hope. But H that did not detract materially. It was worth the H price of admission to hear White say "How you H sleep in your bed is the way you lay in It." H Bert Savoy and Jay Brennan have an act called H "On the Rialto," and the wonder is how they can H go through it twice a day. One of their lines H is: "You can do things in Greece that you can't H get away with here." We don't know what was H meant, hut we have an idea, and are glad we H are in America. The act is just one of those H coarse, vulgar things with which vaudeville audi- H ences must be afflicted semi-occasionally, and M which spoil so many good shows. H The announcement that a company is coming H with old time songs is usually regarded appre- H hensively, but Ralph Dunbar's Maryland Singers H are dainty and pretty and put such vivacity into m their singing that they are anything but bores. The bill closes with tho "Six Water Lilies," who M are clever enough, but if one were in a rowboat M it is just possible that he would have to get a H derrick to pick one. They perform some remark-Hr remark-Hr able aquatic feats in an old setting, which was H probably used by Annette Kellerman. As a whole H the show is most pleasing and worth seeing more H than once. M' PANTAGES Hi Hr Wit C"YJ7HAT do you think of it? George Primrose H - back and going Blrong. It is something like H " the advertisements one reads regarding Johnny H Walker, born 200 B. C. and still going strong. i1' Good old George Primrose, full of pep still. It was way brck in the eighties when we used to fight for a place to see" Primrose and West's minstrels, min-strels, but he is dancing his way to popularity HI t Just as he did before tho majority of his piesent Bl audience were born. r Another feature of the Pantages bill is Ho sista, who is said to weigh ninety-eight pounds. But a lot of strong men couldn't lift her on tho openjng night and whether it is a trick or an ability to change her woight she is a card. "The Good Ship Nancy Leo" has made a retum trip with Gilroy, Haynes and Montgomery. It includes enough comedy and new music to increase its popularity. Izetta is an accordeonist of exceptional excep-tional ability and also much personal attraction, and tho Pantages offering also includes Leo and May Jackson in a clever cycling act and Weber and Elliott whose dialogue and chatter amuse. The motion picture consists of another installment install-ment of "The Lass of the Lumberlands." t t E "THE GARDEN OF ALLAH" T WAS pleased to see during a temporary ab- senco that "in this day of so many 'second' companies touring the country It is a pleasing assurance as-surance to learn that the magnificent production of 'The Garden of Allah,' according to the press agent, is the only and original organization." In as much as Lewis Waller, who was the original Father Antoine, has been dead for some time, and that Mary Mann,ering, who was the first Domini Enfllden, retired from the speaking stage several years ago, both having created the respective parts referred to at the Century theatre in New York several years ago, the announcement was rather hard to believe. The Hitchens' story had a great vogue, probably on account of the language, lang-uage, for the denouement is certainly unnatural. The variance of opinion regarding the book. though there was no question about its popularity, popular-ity, was not paralleled by the opinions in reference refer-ence to the play. Scenically it was splendid if one had the foresight to carry a whisk broom, but dramatically it was a joke. The sacrifice of the Woman that so many critics prate of Is just as natural as Ibsen's idea regarding "Little Eyolf," and the impression follows that, while the ahthor is artistic, he had the good sense to be commercial. com-mercial. We note by the papers that Miss Truax is well remembered, and we verify that, having lived in town thirty or forty years. Mr. Hichens' hero as portrayed by Howard Gould was, we believe, a little different from the author's idea and we would suggest to Mr. Gould that he should have read the book before having appeared in the play. Zion at this seasin of the year is no place for an intrusion of the exotic characters Hichens grabbed out of northern Africa unless they properly prop-erly interpret the color of the place. "THE PRINCESS PAT" THE comic opera, "The Princess Pat," with Henry Blossom's humorous libretto and Victor Vic-tor Herbert's beautiful score, will be the attraction attrac-tion at the Salt Lake theatre, beginning next Tuesday and running for three nights with a Wednesday matinee. The clean, clever lines of the play together with its many pointed epigrams, furnish plenty of action between the lovely, haunting strains whicn dominate the score. This opera comes west with several of the original members in the company. "The Princess Pat" has a tangeable plot. The young person in question is a sparkling, vivacious Irish lass. Her particular girl friend, Grace Hol-brook, Hol-brook, is engaged, for financial reasons, to a widower of sixty years, a millionaire. She does not love him, but is infatuated with his son. In order to arouse her apparently indifferent husband hus-band and at the same time help her friend es cape from a distasteful engagement to wed, Princess Prin-cess Pat decides on a flirtation with the widower. Her plans prove successful, and all end happily. Every one of the twenty musical numbers Is a gem. Among the most popular are "Allies," "Love is Best of All," "All For You," "Two Laughing Laugh-ing Irish Eyes," "I'd Like to be a Quitter But I Find it Hard to Quit," "In a Little World For Two" and "Tho Shoes of Husband Number One i as Worn by Number Two." The cast will include Blanche Duffield, Oscar Figman, Ben Hendricks, Eva Fallon, Alexander Clark, Louis Casavant, David Quixano, Wm. Qulm- ' by, Jack Thomson and Isabelle Jason. YVETTE GU1LBERT t V VETTE GUILBERT has come away from France from all the sadness and the horror of war, and its attendant misery to sing to the f American people the folksongs and ballads of her own wonderful country. Not long since in New York at one of the twenty-four concerts she gave, last season, when after long and continued applause ap-plause she was compelled to respond, she said simply, "I thank you not for myself, but for my country." I Yvette Guilbert's art is a variegated bloom. It cannot be classified it is neither singing, reciting nor acting but rather a combination of all three. She interprets the songs of France, old and new with occasionally an Old English Ballad added in the costumes of the periods from which they date and some of them date way back to the times of the Crusades. i She will appear at the Salt Lake theatre next Friday evening in the following program: j Assisted by i Emily Gresser, Violin; Gustave Ferrar, Piano. PROGRAM. ' j i 1. Concerto (a major) W. A. Mozart ! (First movement) Allegro. I Emily Gresser. j 2. Legendes Dorees (Two Carols of the 15th and , lGth Centuries). A. Le Voago de Joseph et Marie a Bethleem. B. La Passion. YVETTE GUILBERT. 4. A. Ave Maria Schubert-Wilhelmj , B. Rondino Beethoven-Kreisler C. VUlego Spiritoso Senaille Emily Gresser. 5. Chansons du Moyen-Age (Songs of the Middle Ages), A. La ;Mort do Jean Renaud, B. Pourquoi me bat mon Marl? YVETTE GUILBERT, Intermission. C. Deux Chansons du XVII Siecle (Two songs of the 17th Century). Less Aventures de Margoton (The Adventures Adven-tures of Margoton), A. Margoton allant au Moulin. B. Margoton va t'a L'ieau. i Deux Chansons de Mariage (Two Songs of . Marriage, 17th Century), I A. La Mort du Marl, B. Le Lien Serre. Emily Gresser, 7. A. Romanza Andalouza , , Sarsate B. Polonaise (d major) .,,,.., Wieniawski 8. Deux Chansons Crinoline (Two Songs Crin oline Period, 1830), A. Ma Grandmere, B. Oh, no John, ' " YVETTE GUILBERT. Harmonization of all musical themes , by M. Gustave Ferrari. |