The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1906-03-11

ders into four betrothals simultaneous
". is unconsciously humorous while
some Of the other characters are wit
ty, and he finally lands in marriage
with the one girl he loves.
Tt is a whim and novelty by Thomas
to have all the servants in THE En-
bassy Ball. played by negroes. One
is a grey and black old butler, two are
neat brown housemaids, one is hotel
porter and three are belIboys. So
there will always be a chance to p0pu-
larize the play with negro ditties or
a cakewalk, after it has had its fash
ionable day.
Not a bit of white skin is visible in
''The Redskin," but the red of its
principal young squaw is so very light
that she is called a lily admiringly-
until her fair complexion is detracting-
~ scribed to the visit of a paleface to
the tribe awhile before her birth. That
white blOtch on Adulola's red 'scutche-
on is the theme Of a drama containing
naught else than aboriginal humanity.
The big chief Lonawonda, of the
Ockotchees a century and a half ago,
who is not the father of his wife's
daughter. is so grandly posed and so
sOnorously spoken by Tyrone Power,
that he might be Edwin Forrest
Metamora; but years have passed
since Forests declamatory force NOV
ed people to admire his impersonation
of a Fennimore Cooper Indian, and
several of our humorous critics have
likened Powers LOnawonda to an
image from the front of a cigar store
an easy and not pertinent joke, for
wooden Indian would have to be fitted
out as a talking machine, with a hun
dred discs Of lOQuacity, to stand for
this statuesque old warrior.
There are two tways to look at 1.-The
Redskin," and the two views are so
different that I shall try to put both
before you. Donald MacLaren meant
his play TO be, and many agree with
him that it is, an idyllic, poetic trans
cript of life among the Indians before
we started them downward from ma
tive nobility toward badly civilized
| degradation. The craft is in good imi-
| tation of BelascO's. 4 curtain painted
mistily with buffalo hunts and war
| path encounters gets us into a sympa-
/ thetic atmosphere. The action begins
with a, pow-wow of right savage war
riors, at the tepee of their chef in a
/ forest, and 1t passes through five other
| settings which in dramagraphic art
/ has hardly been surpassed. A roman
| tic tragedy Of the young squaW's love
| is started by the chiefs killing Of the
/ one who tells of the girls illegitimacy,
and is progressed by a combat in
which that hateful talebearer Stays her
/ lover. All of that IS acted skillfully.
A savage rite at the stake where a
/ culprit is to be burned is danced and
sung by Sioux from the Rosebud agen-
/ cy thrillingly. At the end, in the al
! legOrical manner of Belasco, the dying
| visions Of Adulola are shown in beau
tifuI Illusions, the girl lying couched
| beside a river, on which her magma
/ ton sees her dead lover come in a
| canoe to carry her to happy hunting
| grounds The first audience applaud
/ ed nightly
st hope that's on the level" said
/ William A. Brady, the producer, with
tears running down his face and drip
/ ping into his voice, "and that 1 won't
wake up tomorrow morning with the
same old sickening thud. I know that
! If we deserve it we'll get it, but
| hope to God we don't"
On the second night, Mr.. Brady ap-
peared before the curtain in an equal
| yet different state of emotional agita-
ton. Most of the morning Journals
| reviews had taken that other view OF
the play which 1 referred to. Mr.. Brady
was exceeding wroth. He had been
unable to see any fun in the printed
ridicule He declared war on the
humorists and vowed that, If he
| couldn't drive them out Of town, he
would himself go away to make pro-
auctions.