The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1906-05-20
Dances

/
one show, two hundred persons give
another show. and the circumstances
| render hers about as interesting as
theirs. Each has an element Of cussed-
ness that appeals humanity. The one
/ girl dances without shoes or stockings
for dramatic arts sake and San Fran
/ cisco charity The two hundred per-
sons illustrate the holding up and plum
| dering Of a railway train. They do
that once an hour during pleasant aft
ernoOns and evenings, for 1.-The Great
Train Robbery is the first of the big
/ spectacles at Coney Island. An acre
/ or two OF the Rocky mountain is on
| view BY daylight you see a seamy
and blotchy, rough-framed and paint
daubed setting of convasses.
But by night and limelight! Foot
nils stretch away to mountains. above
which a real sky wrinkles with stars,
or has an effulgent moon, or floats gen
uine clouds At the farther edge of the
level across which you are looking, lie
the real tracks of a railway. In the
foreground Is a stretch of actually wet
water On the roof over your head are
calciums to throw artificial light trick
| tly over the scene. What is an absurd
sham in the afternoon becomes a fine
Illusion in the evening.
OF course, it isn't quite natural that
| a spot light should locate itself at the
/ point where mountain maid is to
dash in on horseback, and then follow
| her down the trail till she pulls up her
| mustang beside the river: and then,
again, guess it is natural enough,
/ considering that she is a, graceful girl
and the man Of the spotlight is hired
to devote himself to her. A bad 'un,
though, is Jane Rogers. side partner to
Jim Dalton, the boss bandit. A loco
motive is approaching. You hear its
| choO-choO and see it's smoke. It is a
| veritable locomotive, and it draws two
full-size cars crowded with passengers.
! Jane signals the engineer to stop Jim
/ shoots him. Six assistant robbers ride
| IN from gorge. The passengers are
! ranged in row, searched for valuables,
! driven back into the cars and started
on their way
One Of the cars is inscribed John
| D Rockefeller" and meant to justify
/ jim and Jane on the ground that they
/ and their men rob only those who trav-
el under tainted names! The other. car
is no ones namesake. Perhaps the
/ Snowman is waiting for Roosevelt and
/ congress to designate Havemeyer, Ar
mOur or some, other millionaire in ex-
! celsiS to magnify. AS to Jane, she
/ looks all right and good; and, besides,
| the play has no other heroine. A row
/ Of shauties glide into place where the
/ dance house, where Jane and Jim go
/ with their comrades to liquify some Of
/ their swag. But there's Mike Mulvey
for them TO reckon with-Mike and his
! posse, for Mike is a sheriff and he IS
| minded to run down the bandits: also
| Jane, the banditess. Through gOrges,
| over hills, and finally to the rivers
/ bank go the fight and the chase. The
! horses plunge into the water, swim to
/ the opposite shore, Chamber out and
/ speed away Jim is Cvertaken. Some
/ Of his men are killed and the rest art
/ captured. But Jane HES and hikes
/ herself away into the Businesses Of the
/ mountains, and is seen no more until
/ the next performance.
Martha Leonard gave the one-girI
] show. There were other things in the
/ programme Of that San Francisco char
! ity affair, but they were Of no account
/ It, was to see Martha trip from society
/ to the stage that very smart people
/ filed a theatre with themselves and
| their clothes. For Martha, the Ros La
Tour Of the advertisements, daughter
/ Of Colonel Robert w Leonard and
/ niece Of Delaney NiCOII was going to
| dance barefoot and baTeIeg. Margaret
/ st. John had lately stripped herself
1 like that for light and airy transit
| from private life to publicity as Ria
] d
! as a devOtee Of musical art in her ex-
/ plot. Margaret had coIored her ex-
! pOsures brown. like an East Indian, so
] they didn't look as bare az they were
Martha kept herself blonde, and there
/ fore seemed holder in her service for
| arts sake.
! MaTtha's performance was meant to
! express various musical ecstacies Of a
sensitive soul in a sensuOus body. Mos
] m - writ .
and attitudinize dreamily, as though
she had been brought from her bed to
| her balcony by a lovers song, which
/ filed her with a melody of bliss ChO-
/ pins Funeral March" panied her eX-
| quisitely. and she Ianguished as with
a dying lassitude. Nevin's 'Narcissus'
awOke her with shadows Of herself in
water, and she swayed In willowy pict-
ures Of rapturous standardization. To
( a GODDARD mazourka she whiried in an
abandonment Of jocUnd glee and girlish
/ transports. That was the way Martha
meant you TO look at her.
There was another and less aesthetic
point Of view for most of the spectators.
/ Martha was Just a nice-Iooking girl
pect, and therefore presenting no excuse
| Of ethereality for her audacity. Her
/ body was draped with a cloth so sleasy
that she was outlined in her every mo-
ton. Her arms and shoulders were
/ bare, but nobody looked at them, or at
her face for more than a glance to see
that It was pretty, but not beautiful.
All eyes gazed, and many Of them
through opera glasses or lOrgnettes, at
her feet-which were long, slender and
/ altogether fit to be seen. It was not
! until the mazourka that the whirl Of
the cloth uncovered her ankies-then
her calves-then her knees-then-
Art must make some concession to
prudery," said Martha, before the show,
land so I shall bare my legs to the
/ knees only. Above that point shall
wear silk tights to exactly match my
complexion"
That line Of demarcation, like many
another that. in art, separates the false
from the true, was almost fnvisibly in
distinct It could hardly be discerned
/ through ordinary lenses. Imaginative
eyes were required to see It. A draught
/ Of cold air to cause goose flesh, or a
sudden sense of modesty 20 bring a
| blush was needed to mark any differ