The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1904-11-27

New York, Nov. 25.-Strange. isn't
It. that actors who can make ue laugh
yearn to make us weep? I heard two
southerners and n resident talk about
the choice of q theatre to go to-
What we want is a foolish house. %
said one of the strangers. not a tenn
pie of the drama. We went TO see Billy
Crane in Business Is Business think
ing 1t was farce, and we found it d
tragedy
And next night" said the other
stranger, 1--WE hoped to be tickled half
10 death by Dave VARIED i'm The
Music Master. and it turned out to be
an emotional play. Now we nut our
selves in your hands. and for heaven s
sake take us where there is fun"
All right" said the resident. Louis
Mann comes out tonight i'm The Sec
ond Fiddle. That will be a sure thing"
] wondered If d single bottle Of wine
could square the account of that New
Yorker with his friends after they had
seen Mann do wet-eye acting. But IT
was ] who was surprised, along with
other first-nighters who had heard
that the hitherto funny fellow was al
together dolorOUS i'm the new play It
appears that he had started like that,
but had been persuaded. during
western tour TO give up much Of his
serious purpose and consent TO amuse
his audiences. The change won [ make
him proud. but profitable. while he and
Warfield keeps on hoping each to be-
come a famous ShylOCk ahead of the
other.
The sad portions of THE Second Fid-
die even as reduced. are less Impress
i've than the actor and the author Cor
don Blake, expected they would be,
while the jolly portions. as reluctantly
extended, make the hest of diversion.
Americans have no sympathy with a
dramatist who, when he can't get his
manuscript acted. rather starve than,
saw wood or shovel coal. So the mu-
stefan who trudges from Vienna to
Paris with his opera, has it rejected
and stolen. and thereupon mopes hun
CRY in garnet. is not an object of our
deep commiseration. A new twist is
g.Cen 10 the old story. however, by
simultaneously sending his sweetheart
10 Paris TO seek her fortune as a sing
e. in distress: for the stealer OF the
opera will engage her for its prima
donna, If she will marry MIN: and that
SCENE the only way TO the stage open
10 her. a good though familiar dra-
matte situation is thus brought about
end / suppose that Mann hoped TO sue.
coed with dignity in the fddler's res
cue of the girl without depriving her
a. "a debut, and his recovery of the
ouerd without sacrificing its production
But ] am told that he didn't. The con-
sequence is that New York gets it in
run mostly. ..
The principal scene jocularized is the
one i'm "a dressing room of a theatre
Mann foregOes the pathos of the un-
equal contest with the VILLAIN, turns
the comedy into farce and is as laugh
able as he used TO be in Weber-iFelds
burlesques. Disguised as a Russian
count, he jokes in German dialect
With a Japanese about IL. war in the
east. and with the stage folks i'm
quite tendcrlOin manner. The act as
now presented, is about as gay as any
thing ever seen at the Broadway music
han. Frisky chorus and ballet girls
are on view The Jap is a genuine
Nongol serving as a dressing maid for
the leading actress. He tightens her
corset. buttons her gown up the back.
puts slippers on her silk-stockinged feet
and makes one feel like a Johnnie who
has sneaked in through the stage door
and will be kicked out if discovered
The other introductions within tho
week are musical plays made here in
America. one that strikes out peCu-
larry with Il new use of Old material
J. The Two Roses, in which Stanis-
laus STANCE paUaphrases she Stops
10 Conquer with a setting of music
10y Ludwig Englander. STANCE did that
LIND of a job. you remember. when he
transformed Wycherly's old comedy.
The Country Girl into Dolly Var
den for Lulu Chaser. The process ap-
piled TO the Goldsmith classic provides
role for FRITZ Sched ] needn't tell
YOU that a grand opera training has
developed Miss Scheff's naturally ex-
Cellent voice to a perfection far above
the average of light opera prima dom
mas. But she isn't quite the dainty
and light daredevil i'm a theatre of or
dinary size that she seemed i'm the
opera house, amidst mountainous en-
hodimeuts of vocal splendor. Indeed.
che is little too heavy i'm person and
in method for her present occupation
NAis STANCE version of she Stops 10
Conquer makes the mock barmaid -
French girl represented to the comic
opera MaTlowc rs Rose Marie instead
az tho English Kate Hardcastle The
scene is still in rural England. how
ever, and. Tony Lumpkin isn't mate
rally changed under his alias of Fer
dEand Day.
The wit OF Goldsmith has been re
stored somewhat i'm the manner OF
Narnishers of old masters paintings
with Two many cooks spoil a police
man a little later. ut takes nine
tailOrs TO make a man. and one mil
liner TO break him." then once more
Getting married is like gong to a FIRE
men run there and walk back"
Eather good lines, Ell? But IF you
don't smoke here. YOU will hereafter
antedates, ] think Or. GOldsmiths
original composition There is no
doubt that the Satellites. who are nu-
]neroUS and generally fashionable in
New York, are delighted with FRITZ i'm
her new play. We are soon to have
Lillian Russell i'm one made similarly
from The School for Scandal" Now
that belweather has leaped. the wall
from the over-Ribbled pasture of mu-
steal comedy into another where the
grass is long and green. the whole herd
of sheep will be inclined TO follow.
Who knows but we shall get Othello
ia coon song and Desdemona in a
cakewalk?
George De Long is the new librettist
among the Old ones, and ian naming his
play THE Baroness Fiddiesticks." he
dlsarmed criticism. Who could abuse
'Cmp-tee-tee" for inconsistency? He
simply asks US 10 be amused by folly
and song. and 10 the latter end he
SullObOTated with Emil Bruglliere "a