The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1896-02-23

today-the only surviving four. in
fact. fit to be ranked in the foremost
class-should be punched on one an
othor's heels in the west. One would
suppose that ordinary business pre-
caution would suggest to these gentle
men that they allow a reasonable in
terval to lapse between their visits,
but that is a matter between them
and their booking agent. We have
had James, Keene and Warde, and
NOW comes O'Nein. who this week
gives us. "yirginus," Monte Cristo.' -
Hamlet and THE Courier of Lyons"
a repertoire which ought to COM
Pletely settle the question whether he
can break away from Dantes long
enough to lose himself in another
character. OF Mr.. ONeill's four plays,
probably most interest is felt here in
The Courier Of Lyons" made famous
under the name of 1.-THE Lyon Mali
by Henry Irving; it is founded on the
celebrated Lesurques case which has
left such strong impression on
French history. In this play Mr..
O'Neill viii assume double role. that
OF Desurques, an innocent man, ac-
cused of d grave crime. and that of
puboscq, a. notorious criminal. In
April. 1895, the mail from Paris to
Lyons was stopped by four persons.
robbed Of $4,000 francs, and the postil-
lion killed. DuboSSq was one of the
perpetrators of the deed, and it is on
the fact of the fatal resemblance be-
tween him and Lesruqueg that the
play is based. AS a matter of history
Lesruques suffered death for this sup
posed crime. but in utilizing this case
as material for a play Lesruques is
not executed Other necessary changes
have also been made as were needed
Mr.. O'NeiI's work in this new
play has been spoken of very highly.
and as it is a favorite part with him.
It is very probable that those who at
tend the performance Will enjoy an
unusually interesting play.
O'Neill enjoys a fame all his~own as
being the only American actor who
ever essayed to present the character
of the Savior on the stage. The only
time that the Passion play was ever
produced in this country was fifteen
years ago at the Baldwin theatre, San
Francisco. O'Neill at that time was
leading man of the stock company.
Tom Mcguire was manager of the
Baldwin theatre at the time and re-
quested O'NeilI to play the part of
Christ At first O'Nein refused, al
though according to the terms of his
contract, he was compelled to play any
part assigned him by the management.
He learned. however, that Salmi
Morse'S play had been approved by
Bishop Aliemani Of the Catholic
church in California, and then con-
scented to impersonate the character.
His makeup and his conception of the
part were wonderful Everybody, even
the rough stage hands, passed him
In silence. paying q forced tribute to
his appearance. Really. to Mr.. O'Nein
] that performance was not acting. it
was devotion. He spoke the lines with
all due reverence to their sacred mean
ing. and the whole performance was
in the nature Of a great Biblical les
son. On the day after the tenth per
Torrance the whole company was ar
rested and brought before q magis-
trate. O'Neill was fined $50. while the
twelve apostles were only fined SIS
apiece, that being, in the mind of the
magistrate. the difference between
Christ and his disciples After the
play was taken off in San Francisco.
Mr. Abbey decided to produce it in
New York at Booths theatre: but the
sentiment of the pulpit ard the press
was against it. and the production was
abandoned. After the production in
San Francisco O'Neill EXCHANGED pic
lures with Mayer, the German actor
who played the part at Oberammer-
gau, and it was hardly possible to tell
who was O'Neill and who was Mayer,
so much did both resemble the pic
lures with which we are familiar
The only authentic picture of the
whole performance is the oil painting
owned BY Mr.. O'Neill, which represents
himself and the company in the scene
of the Lords supper. The painting