The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1894-02-18


Elated by the success of the charity
lecture last Sunday night, the Press
Hub boys are struggling to Guido the
results of even that in tonight's effort.
70 this end very tempting pogramme
has been prepared. Three reasons
there are for the great success of this
undertaking: First the admission is
very small, % cents; second, the pro-
gramme is very large; third, the pub
DC know that almost every cent taken
n at the door will go to charity, the
expenses being reduced to the minimum,
Everybody connected with it donating
his services. The fund is turned over
10 the Young Ladies Aid society for
distribution. This organization is non
eectarian and its good work in the past
Is well known
The programme this evening has
many attractive musical numbers,
emong which the name Of the Mandolin
club is prominent. Two of our well
known ladies, Mrs. DR.. Ferguson and
Mrs. DR.. Gage, will carry on spir-
tied discussion on the subject Of wo-
mans rights.
There are no reserved seats. and the
get the best seat.
The sFire PATROL" which was book
I'd for an engagement at the Salt Lake
theatre tomorrow night, has not been
heard from and the probabilities are
that we Will have to confine our inter-
5sts in that line to the matter Of the
confirmation or the non-confrmation
Of our new fire chief
The. nearest great light in the book
lngs of the future is that of Warde
and James in a repertoire OF Iegiti-
mate plays. early in March. Mr.. Fred
erick Warde is highly esteemed here as
p strong actor Of the legitimate school.
Mr.. Louis James has a wide circle of
friends and is getting admired both
for his power and his versatility.
The Salt Lake musical world is in a
state of happy anticipation over the
appearance soon of Mr.. Clarence Eddy,
the great organists Many Of our people
have been favored in the past by
hearing this great artist, and ] think
] may safely say that everyone of
these will hear him again during his
stay in our midst.
In the March number of Jerome X.
Jerome's monthly. The Idler, there ap-
pears a very interesting article enti-
tied First Night Notices." 1t con-
tains interviews with the leading crit
les of London IN which each tells Just
how he does it, how he arrives at his
opinions, how he accomplishes the me-
chanical pari Of his work, the time &C.
cupied; and lastly each has his saw
as to the possibilities for honest crit
acism in the immediate judgment re-
quired by the demands of modern jour-
nalism. The article was inspired by
the query Of an old gentleman, which
ran something like this:
L can't understand how first night
notices are done. l go to the theatre
and the play isn't over until long past
IL As walk down the Strand an
hour afterwards, 1 look into the print
ing places and hear the roar of the ma
chinery where the next mornings pa
pers are being printed What 1 want
to know is, how any human being can
be gifted with the supreme omniscence
and decision enabling him to write an
Ineligible account distributing praise
or blame 10 author, actors and man
agement in the space of a few minutes
bow he can judge in a few hasty
sentences work which is the result of
months OF toil-especially when one
remembers that an influential critic
can mar or make the fortunes of hun
OICuc VI pCbbtt-
The methods adopted by the major
ity Of the London critics are the same
IN one particular; the criticism is go
ing on mentally during the progress
of the play, and not one word gets in
10 manuscript form until after the cur
tain is down. the lights out and the
critic is seated in his Office With his
article mentally complete Clement
Scott, of the Daily Telegraph, ploba-
bly, the London critic best known in
America, on this point says:
The article ought to be in the prin-
ter's hands by $50. Very often I don't
reach my Office until 1915, and l never
by any chance write line of my crit
1que until I get there. ! am writing It
in my mind all the time without com
uniting a word to paper. and working
with my brain as hard as possible
That is why 1 never go out between
acts I never talk when I can help it.:
and it would upset me altogether 10
hear the views Of others. 1 am sup
posed to cut all the ladies, and .sulk
with the men. But I am at work
My article seems to be simmering in
my brain somehow, but does not actu-
ally take form until 1 am walking or
driving to the Office.
Mr.. Clements plan is the one gener-
ally adopted by critics everywhere.
Some make marginal notes on the
programme, but like M. Moy Thomas.
of the London Daily News, they find
out afterwards there is no time tc
use them" Mr.. W. Davenport Adams.
Of the Globe, writes his criticism mem
tally as the play goes on, even TO
polishing phrases, and shaping senten-
ces-'unGl, to use his own words, '.bv
the time the curtain has fallen the ar
ficle which describes and passes judy
ment on tae performance IS virtually
composed" This, of course, is IN
usual. Very few writers are capable
of writing mentally half a column or
a column of matter, and of carrying
1t intact in memory. Most
writers. in my opinion, follow
IIr. WallIley'S method, of simply gain
ing impressions. with no definite shape
or form of the criticism until the pencil
IS IN the hand. One or two of the
London critics write during the pro-
Eress of the play Mr.. Spence, for in
stance. follows this plan, but as he
writes two reviews of the play the
same evening for different publications
this plan is necessary. One review he
has ready when the curtain drops, and
one ne writes after the performance
in the usual way. Mr.. Z. A Morton
apparently from choice, adopts the
method Of writing during the progress
Of the play. His idea is that ones
sudgment is passed on the moment
that the critic only has the instant
impressions to guide him.
In the matter of style, all the London
critics admit that first night notices