The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1903-11-01

BIZ FRANKLIN TYLGS

called an undressing act OF course
she doesn't sit on a trapeze and toss
her stockings across the fOJtlights. nor
make "a travesty Of bed room bashful-
ness. but IS as uncOnsciously innocent
Of mien as any prima donna ever was
IN the disrobing scene Of FRA Diavo-
10 She takes off her waist and outer
skirt. stands forth In corset and petit
coat. both short. and dances very sin
uously before a mirror. with her
thoughts seemingly all intent on the
hidden burglar. and without so much
as furtive CLEAN OF consciousness
that hundred spy glasses are To-
cused on her from the auditorium.
The rascal affects so much purity or
design and looks il so perfectly that
we are apt TO forget she is bedeviling
us. So we viii say resOlutely once
more that she is degraded artist and
pass on to a subject of contrasting
dramatic dignity.
Henry Irving in Dante goes 10
Hades every evening, with Sunday off,
but an extra trip on Saturday after
noon. So does Tyrone Power in the
current Ulysses So does Blanche
Bates IN 1.-THE Darling of the Gods
IL is as though the internal, internal
eternal fires had broken out at three
spots i'm this city. All this is reverent-
ly done and so is the illustration az
Christian way to earn entrance 10
heaven. Observation of the audiences
shows that piOus people go to see these
three plays based on religion. Grave
men in the garb of clergymen are al
ways present in each asSemblage. The
gods whose darling Miss Bates imper-
90nates. however, are heather Japan
csc, and because their darling shows
disrcSpect for her ancestors. they SEN
farfpa Nay. "a % fhpffeaFH rraaua az mis-
cry IN a japanese purgatOry on her
way from earth to heaven. But Dante
and Ulysses are personally and quick
" conducted by cooked guides through
the fiery CaVeTn5 of a CalvdnistiC hell
as Mortified but unscOrched tourists.
Whatever may be the religious effect OF
Dante's visions Of Satan's realm. as
here given with awful realism. there
can be no doubt of their theatrical
impressiveness. Although the SardOU
play is not a clear blend of Dante BIZ
Ography. with his fiction and the ira
Gitions converting him. but an inco-
herent tumble of them with Sardou
conceits, AIR. Irving is an engrOssing
figure of the great Italian poet, closely
resembling the accepted portrait OF
( him in middle age, and especially a
characterization that viii live I'm your
memory as long as You live. You Will
never forget this Dante in his aspects
( as a spectator Of the agonies Of the
damned.
The lost souls shown are those Of
misers rolling their sacks Of gold.
hypoCrites staggering under cloaks oe
lead. tyrants with brows burned by
red-hot crowns, and clergymen shut In
blazing graves for having preached
falsely. All these writhe and groan as
they pass in a procession over ground
from which heat glows red and flames
shoot up. Is il wrong to tell that the
tongues Of fire are cool for a fact?
They are made Of strips Of cloth at
I taChed TO inteTstices in the floor. blown
WaVingly upward by electric fans and
illuminated by calciums from under
meath, all in the way patented by Ida
May Fuller. a sister-in-law and imi-
i tatOr Of Louie Fuller in 'serpentine"
d dances. other devices Of light. dark
ness. shadows and camera thrown OBJ
JeCts produce a wonderful illusion OF
actually. And Henry Irving proves
/ that he is an actor bigger than his
| mannerisms, bigger even than his
I genius for stagecraft, by being never
/ belittled IN these scenes.
/ Nathaniel G. Goodwin should no more
/ be carelessly called Nat. He is now
the fgurehead and centerpiece in the
showiest and costliest presentation OF