OCR Text |
Show Theaters AT THE ORPHEUM. Guv Bates Post, one of the gtoal American actors, who had not visited ogden prior to the present stafion, trod the boards of the Orpheum theatre the-atre last night as "Omar, the Tentnj.i-k Tentnj.i-k r.' and won a reception the lii;,. of which has been accorded but few members- of his profession in recent years it i a dlrflcu'.l thing in this era of light amusement, tn Internal theatre-goers in the poetic lore of it,. ' ancients end for this reason the nanv of Guy Bates Post can well be inseparably insep-arably written with that of Walton Tully's play. "Omar, the Tentmaker,'.' The visit of this actor, with h, splendid company, was no! onl a dramatic dra-matic feast for one of the largest an diences of the season, but waa an event In the annals or thj theatre, "Omar, the Tentmaker," of Itself probablv best known as a spectacle play, In which scenic effects play a bic part in its success, but reihhrk-able reihhrk-able as Is this exhibition of siege- I cfafl the plot and its lines are even mrne interesting. The sceui effectl without question have not been surpassed sur-passed on a local sta;c. and to tii" environment given by them, whs ,in. in a large measure th' enthralling power of the play. Th- lighting ,-(-feels in the Bcond act, when Omar'a soul leaves his suffering body for a time and talks through the veil or the future, was a startling bit of stage craft, and with the reading of the lines, which are written into the play nt that point, by Mr Post, will long stand in the memory oi last nicht' ;iudien-e as a triumph of perfected histrionic ability. In the lines of the play is woven the mystic poetry of the ensl the guile rind fanaticism of the oriental, romance and the philosophy of the poet, Omar Khayyam, and In their reading the star and his fellow plaj ers seemed to reincarnate the characters char-acters which they essayed While the work of the entire- cat was virtually above criticism those sharing honors with Mr Post, particularly, particu-larly, were Louise Grassier, as Shl-reen Shl-reen In the prologue and as The F.vil Banou" In the main action of fhe play, Mabel Emerson, as the "Lit in Shlreen," daughter of Omar and Shi-repii, Shi-repii, and John Hunter Booth, as Hah-rUSS, Hah-rUSS, Omar's Bedouin slave. Though their powerful acting at ill times held the audience, the rich, full and pliable quality of their voices will probablv he longest remembered as they proved beyond question in the lovp scenes that there is musk in tho perfected speaking voice equal in its power to thrill the emotions to that achieved by the singer. All four were perfect In their roles and numerous curtain calls at the close of every scene attested that Ogden theatre-goers, as of old, still appreciate the best in art. oo |