The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1904-02-07

tic illustration Of The Old oaken
Bucket. Bulger brings out a bucket.
sets it down and sings feelingly The
( Old Oaken Bucket Mozart follows
with an iron hoop. which he places
+ tenderiy around the bucket. and the
duo continues emotionally The IRON
bound bucket" Next Woodward
+ comes on with q bunch Of moss, at
/ tsehes IL reverentIy to the bucket and
/ the trio imparts an air Of tragedy to
The moss covered bucket Finally
+ Cawthorn appears with the curb OF a
well, hangs the bucket In it. and the
+ fun qUartette, in dramatic attitudes Of
! excitement and with quavering voices,
/ rises TO 8 climax with THAT hangs IN
/ the we'll
Two buxom and usually buoyant
I beauties Of the stage are playing IN
/ hard luck this week. Broadway's re-
( lection Of Virginia Harmed in THE
+ Light That Lies in Woman's Eyes p
and Of Amelia Bingham in "Olympe. .
/ has been told in this correspondence
/ But I have found il interesting to
watch those charming women after
such harsh condemnation as they are
not accust 0ned to. and perhaps I can
make IL readable. You have seen them
IN happy aspects of success. Can you
imagine them under the depression Of
failure2 Thu FIRST of the Vanderbilts-
or was IL the second 2-said in his wrath
at harsh criticism. "The public be
damned" Well. Virginia and Amelia
are polite ladies: and. besides that. it
wouldn't be polite to talk back 10
public which has given prosperity TO
them and IS sure to do il again So
these two actresses face their dimin-
I ished audiences with undinlinisbed
smiles and bow in amiable thanks for
less applause and fewer dollars than
they are accustomed to receive. Il hate
to play 10 a half empty house" SAYS
Amelia in the character of Olympic. an
/ actress of the Coincide Francois, and
the people who no more than half iii
the theatre laugh merrily. But she
goes through her part resolutely, turn
ing on all the stops in her vocal or
gan for the emotional passages. but be-
traying her chagTin in spite of herself
at the times when she would be
Sally volatile. It is manifest that she
doesn't feel at all ike that
Virginia Harned's work is more diff
cult and irksome because her role is
that Of a rOguis1. frolicsone. humor-
ously impulsive Irish woman How
hard must it be to face a small. cold
and cOvertly derisive audience, after
the newspapers have said that the
play. written for her by her husband. is
ridiculous? She has TO grin and bear
II, as the part requires her to smile
much Of the time that she isn't laugh
ing. Think Of the poor woman. Just
from a year and q half Of admiration
IN the impressive Iris, having TO dash
ON the stage in an automobile, throw
off cloak, stand forth as the unskirt-
Ell ROsalind and be high-spiFited DUR
ing an amateur rehearsal OF AS You
] ike It2" ard oil tue while conscious
that the people at the other side Of the
footiights are sCOffeTs. However, ViT-
ginia has the comforting knowledge
that she looks well in the tight jacket
and breeches and that no one can see
her in the absurdities OF Sothern's
comedy without feeling that she would
be admirable in the excellences OF
Shakespeare's
A play within a play is a more COM
mon than valuable expedient with dTa-
matte authors. OF course, there are
the classic examples of the interpolat-
ed tragedy in Hamlet" and the farce
IN "a Midsummer Nights Dream" but
/ have in mind the use Of characters
W no are players and whose mimic emo