The Salt Lake tribune. [volume] (Salt Lake City, Utah) 1890-current, 1906-05-20

settlement who ts In love with her and
whom she finally marries.
Thers are two clements OF the theater-
| going public which would naturally flock
to see Nance ONcill In Sudermann's Fires
| OF st, John'-students OF the serious dra-
ma and admirers OF Miss O'Neill, There
is one scene In the play which appeals TO
still third class, but 1t isn't worth men
| tioning.
To that large public which dotes on
Miss O'Neill In any role. there is scant
FIR Fires Of sfY'Je 81 john iRro9 Fro@ soS very OBJ
scure playhouse in this city Nance
o'Nenl has graduated 10 the exclusive
Hollis Street theater, Two years ago
the fad She is worthy of this following
1t has made a financial and a really artis-
+, tic success possible.
The Fires of ST. John" which is to be
| repeated tonight aHd tomorrow night. is
| bound to awaken conflicting emotions
among am{onE th9ss hose to whom the PaX is the
may be In spots, utterly falls TO arouse
enthusiasm in tho American theater goer
st, Johns fires do not burn in this coun-
| try. Tho mystical import of German le-
gends are lost on us; we do not grasp the
f1ne-spun psychological vagaries OF the
German dramatist.-Boston Traveller,
James ]. Corbett is to appear next sea,
son In n melodrams of the "Rafaes"
school by Langdon Mccormick
A new play by Claiming Pollock will be
tried out" by Jessie BonsteIle during
stock season In Buffalo this spring.
Margaret AnglIn. like a great many
other observers, believes that American
audiences feel rather than think,
"A play may appeal to the risibilties OF
an audience" she said recently, ''or to its
emotions. 1t should appeal to the mind,
intellect. for that Is appealing TO what
so many have not. l have no patience
with lurid, sensational melodramas. ] am
especially fond Of Bernard Shaw. think
he writes brilliantly, and I think we are
wrong TO expect anything moro of him.
1t is a long list that sets forth the good
work OF our American authors We have
David Belasco with The Girl OF the
Golden West" George Ade with Just out
OF College" Richard Harding Davis with
Tho Galloper," Fitch with "Her Great
Match" Thomas with ~The Embassy
Ball" Edward Peple with The Prince
Chap" Claiming Pollock With Tho Lit
Bon Bon and Edward Milton Royle with
The Squaw Man" The success OF Royle
has been of the most gratifying kind.
The Squaw Man" met with such acclaim
In Chicago that II was brought here direct.
and II prospered In Wallacks for more
than six months. II is strange fact that
the play was an elaboration on a skt pre-
sented at n festive gathering In tho
Lambs club. Now Royle Is doing a sim
liar work TO one-act morality play that
1t has excited some derlsion In certain
quarters that Roylo should set his ambi-
ton at a miracle drama; still. why not7
His ideas in compact form already have
pleased nm exactng audience. and It is
folly to entertain the prejudice that mira
clio plays cannot be part Of tho creative
work of the dramatsts of today. Tho
only question is, can Royle fit his modern
thought to tho close measure OF tho plous
makers of the miracle dramas OF the long
ago? There IS no doubt that tho author
n y on
tho title Tho Struggle Everlasting" and
he purposes TO reveal his characters In
world II is In this resort that Royle may
find he is taking Il long chance with for
tune, We do not look for q Puritan In
a frock coat, silk hat and silver-headed
Avarice and Friendship and tho like,
with whom we came In intimate touch In
Eye5y6aph m H. comm fSohE to 6 US In T,, an array
nue?-New York Press
There is no future for the young actor
In the musical play as II exists today, un-
less he be q low comedian. The man who
Is funny and can dance is the whole
thing-at least as far as the masculine
side OF the musical drama goes. On the
other side there are the soubreto and tho
prtma donna The rest or tho cast merely
fill In.
there were good acting parts for young
actors, for the very reason that tho old
time musical comedies required good act
Ing as well as singing and dancing. Then
tho lbrettists ceased TO write such parts
as you find In Tho Runaway Girl" and
'The Geisha-" Now the parts are wretch
ed. At best the actor reads few lines
and sings a song it Is mostly the voices
of the chorus that carry through a num-
Der in a musical play. and acting has be-
come a secondary matter, for few singers
can act. ! have known but two who
could
In drama IL is different. Fellow-play-
ers are far less In number and the set
tings are moro natural. i had been so