Truth. [volume] (Salt Lake City, Utah) 1901-1908, 1905-10-07

fragrant as ever grew between the
rosy lips OF spoken words. There is a
brightness, warmth and depth in the
Bohemian life of the first two acts
which show that he is sure of his at
mosphere and color. Indeed his at
mosphere and color might have come
from the very studies he is painting
But, in the framing of them he is less
fortunate-there are some places
where l saw cheap gliding and evil
dences OF coarse brush. The third
act, the scene on the Thames, is a tri-
umph for which scenic artists and
stage carpenters should receive a
union card of credentials. But also
right here, occurs an incident which
shows that Mr.. Armstrong has not
forgotten his Laura Jean Libby 1t is
the meeting between Ann La Mont"
and Richmond" down by the waters
edge, in the moonlight. The episode
is happily spared the audience. There
are, however, so many repeated refer
ences to it in the dialogue of the play,
that ones laughter wants to cry out.
Surely for one moon-struck lover who
repents not, there are ninety and nine
sensible men in the audience who
"ioh hS WOuiu. IL 10 IL IuSTG luClu6uI
"a mere dramatic detail-but alto
gether far reaching in harmful effect
The last act takes place in Hawaii,
and in it Mr.. Armstrong makes his
hnal concession to originality and geo.
graphy. After globe trotting the audi
ence around New York, London and
the Thames, the author out does Jules
Verne and lands in the Sandwich ISL
ands. But that isn't so bad-seven
league boots are something diverting.
The act is an anti-climax. It's fatal
weakness is its melodramatic
strength. The scene is one of the
native huts. There is a fusilade of
blank cartridges. The villain rushes
in and weaves a dark web of deviltry. |
In comes Ann-the villain seizes her
ha! ha!-another blank cartridge.
Strictly on schedule the hero arrives
other blank cartridges explode
bang! bang! Tableau. Ann is seen
locked in her lovers arms. Surely,
Mr.. Armstrong, there must be some
way of clipping the melodramatic
wings from the last act. 1t is a bird. |
Ann La Mont" as interpreted by
Florence Roberts, is triumph of re-
pressed emotional acting. Heretofore
we have seen her in violent outbursts
of denunciation. In "Ann La Mont"
she shows, with true artistry, that
down deep in the heart there are
storms which can be mirrored in the
face, reflected in the eyes. HI. S. |
Northrup, as AIMS evil genius, was
refined, polished meanness from kid
gloves to silk hat. Max Figman over
does the part of Grant Dudley. His
gyrations and dancing master evolu-
lions suggest musical comedy. Lucius
Henderson, always a favorite here,
makes his usual agreeable impression.
Clifford Leigh as Lord Ashley should
be toned down in accents and body
movements-there are many cracks
in the English mirrors he attempts to
hold up to nature.
The ladies of the company are gen.
orally satisfactory. Stage settings
and costumes are sumptuous.
But, unless Mr.. Armstrong Judi
ciously applies the pruning knife and
gives some attention to points de-
handing reconstruction, "Ann La
Mont" will add no laurels to the man
Stronger plays have failed before
now to set Long Island Sound on fire.
~ ~
Next Monday and Tuesday the
"Tenderfoot" will be in our wild and
WOOlly midst Salt Iakers are already