The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1902-08-17
IT HE local play house. did a tire

IT HE local play houses did tire
mendous business during Elks
week-the Theatre with "Corian-
ton" the Grand with the opera, The
Prince and the Peasant"
II is A noteworthy fact that the pro-
auctions in the two houses, ranging
from tragedy to the lightest of opera,
were the work of Utah men About
the merits of "Corlanton'' there is
much diversity Of opinion, though the
general belief of the thousands who
witnessed the production is that, when
pruned and cut to proper limits and
polished as 10 English. the play will
be great success. The opinion prevails
that Mr.. Bean has, perhaps failed te
work out adequately the germ of q
great thought.
Mrs. Martha Royle King has opened
a studio at 1853 South Fifth EasLstreet
where she will receive pupils in voice
culture and artistic singing. Mrs. King
is a pupil of Signor Achille Errani and
has recently returned from New York
where she has been studying under
Oscar Saenger. the popular vocal
teacher. A series Of recitals will be
given by Mrs. King. assisted by the
Treble Clef club. which she has re-
SrhNtN VI HdAAl[Cu- ne Quiet UnEmDGTS
of the club are Miss Elizabeth Davis,
Miss Cohn and Miss Dwyer.
New York Telegraph: The author OF
"Corianton'' is Orestes q. Bean of Rich
field In the language of it's gifted au-
thor, 1T is one OF the most startling
historical romances ever presented
upon the American stage. II deals with
the ancient Nephite and Lamanite peo-
n 49, 80
Gent America seventy-five years before
the year of the Christian era"
The play was produced last night.
Your correspondent is at present con-
fined TO his room at the Zion hospital.
Ice congresses are being applied half
hourly.
Orestes U. Bean has promised to give
a public hearing to every one who wit
messed the production and explain what
1t was all about. A number of per-
sons in the audience imagined ii was a
portion of the initiation ceremony of
the Elks who are in convention here
this week. Others deny this saving
that the secret order would not require
anything so rough.
The Theatre programme the pa ST
week was very handsome affair. 1t
was produced by Jones & Hammer and
- C%ANNC0AAS1S CIC0lldDle TO them.
Washington Post: Miss Julia Dean.
niece of Julia Dean Hayne. we'll
known on the stage fifty years ago
has been advanced in Nat G. Good
win and Maxine Elliott's company.
and this season viii play the ingenue
part in 1.-THE Altar of Frfendship. -
Miss Dean comes from Salt Lake CITY
where she distinguished herself in
ma tons rn1A
parts with Modjeska, and in a road
company played Maude Adams part in
Rosemary"
Manage and owners OF burlesoue
theatres and road companies have
formed combination under the name
OF the Amalgamated Burlesque Man
ayers association. Thirty-six houses
and as many companies are in the
combine. representing $5.0O0.OoO and
II Is expected that a saving of s. COO
TO each manager will be made through
railroad fares and booking expenses.
Ailsa Craig, who has been engaged
for the revival of 1.-THE Liberty Bellies
the coming season. is a Baltimore So
ciety amateur, who made quite a rep
utation as member of the Garrick
club of that city. She is a daughter
OF the late DR.. Thomas Craig of Johns
Hopkins university.
Robert Downing, the actor, In San
Francisco, recently obtained a divorce
from his wife, who is known on the
stage as Eugene Blair. The petitioner
swore that his wife deseMed him in
November. 1898, and the divorce was
granted on the testimony of the actor
and his daughter.
Daniel SuI1y will have a rural drama.
called 1.-The Old Mill Stream"
Mr.. Charles B. Hanford. in a recent
conversation, spoke as follows of the
value OF applause:
TITS a great mistake to suppose the
excellence of a performance depends
upon the manager, the author and the
actors. On the contrary, the audience
has quite as much to do with it as any
of these other three factors. Generous.
but judicious, applause Is the breat tn
that inspires manag ger, author and ac-
tors alike to do their utmost to de-
serve success. Acting is an art so
simple and yet so complex. so appar-
entity easy and so practically difficult,
that the uninitiated can scarcely un-
derstand how the ladies and gentle
men before them upon the stage are.
anu StN dtC hOl dA the same moment
the personages whom they are sup
posed TO represent. All the applause
comes 10 the actor like the spur to the
spirited steed. like champagne to the
poet 1t exhilarstes him 1t ena bles
him TO Guido himself Achievement
grows upon appreciation. and the audi
ence which applauds most always sees
the best acting. The English fashion
of receptions is a very graceful form
of applause. IL is the recognition
which an actor receives Cas he makes
his first appearance for the evening
sort Of How do you do2' or We are
glad to see you This is no trouble
TO an audience. Tt commits them to
no judgment upon the actors per
Torrance; but the effect upon him is
magical He feels at ease IN a mo-
ment. and he will play the better for
1T the whole evening. During the per-
Torrance an actor who gets no ap-
plause is like an artist painting in the
dark He never knows what he has
accomplished. what effects he has pro-
duced. The only way to let him know
he is right is TO applaud HIM. The
value of applause. then. to an actor
IS incaiculable: but its value to an
audience is as great. The one reacts
upon the other. To get the best acting
an audience must inspire il by hearty.
genial and frequent applause. Try the
two systems for yourself. Sit through
play without applauding anything.