The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1906-09-02
Franklin FyIes' Review of
New York Theatrical Week
Musical Comedy for Which Edwin Milton Roye Formerly of
Salt Lake, Wrote the Book Scores Success.

sold we'll, giving him so much more
than his small salary that he was
dubbed in Broadway the Millionaire
Chorusman. His rhymes not only jim
gle to music. but don't jar grammati-
cally, so that while not poetry, neither
are they doggerel. Miss Cahill ought TO
get more matter from Helm and Burt.
She has a mistaken idea that she is as
good an actress when speaking as when
singing. The play is almost a straight
farce after the first act, with too few
interrupting songs. One Of them gives
her the chance to sing about a colored
coquette. who explains to her special
man that every amatory fellow found
with her is "a cousin Of mine" There
IS broader fun in a duet with Court
leigh Illustrating. as they face the audi
ence i'm two chairs, the jolts and jollities
Of courtship in a motor car.
The oldest actor in any of the weeks
rev plays is Edward Carnatt, such a
mite OF 4 man that he can persOnate
baby in 1.-THE Little Stranger" His in
f2ntile size and voice qualify him
| freakishly for a farce which Martha
Mortons brother. Michael. had to take
to London for an opening. There the
newspapers berated 1t as nauseous, the
paying public thought it vastly anus
ing. and now New York has il with its
/ wholly English company. ! don't Won
der at either the grins or the frowns.
A promoter of belief in the transmigra-
| ton of souls converts the mother Of an
] infant. Her husband, to cure her,
! hides himself and his offspring sends
| home a report that he has drowned
himself, hires dwarf to take the place
of the child. and makes her and the
| family believe that his soul has passed
/ into the infantile body.
The midget imp gives to the sup
! posed baby an astounding precocity.
! He ceases prattling to takes to
swearing, throws away the rattlebox
and calls for cigarettes, smashes the
nursing bottle and fights for a whisky
flask, throws his nurse into Mysteries
] by responding to her caresses man
nishly, and overcomeS the whole house
! hold with amaZement and superstitious
| fright. The mite of an adult fooling the
| family as a phenomenally knowing
! baby, however, doesn't stop his pranks
within merely comic bounds. The wife
and mother distress becomes pitifu
when she is convinced that the soul Of
her dead husband has entered the body
of her baby and made him loaferish
The actress is one OF those long, SLIM
| elegant young women whom DuMau-
rier used to put into Punch pictures;
and it looks like carrying the joke dis
! agreeably far when the midget man, in
the semblance of an infant, displays an
amOrOus disposition toward the woman
who thinks he is her own baby pos
sessed of a devil. Few take a serious
view of the fun, though, and The Lit
! tie Stranger" will fill a barrel with
mCney-possibly a hogshead.
=
! very earnest drama, THE Power
of Money" puts William r. Crane into
the position of an emotional actor-a
position that is dilemma and predica-
mentor in spite of the personal dig
nifty which of late years he has taken
on, audiences still expect him to make
them laugh. Crane has become the
dean of American actors It was a
question fit for a toss-up. after the
death of jefferson, whether Crane
should not be chosen the successor of
Jefferson and Booth, instead Of John
! Drew, as president of the Players club.
And so, after amusing us a long while
with American humOT, perhaps Crane
! owes it to his worthily acquired grav-
! ity to stand for smilelesS love and hate
! in dramatic problem Of wealth and
! poverty. Anyway, here we have him
as one Joe Tremlett, a home body.
/ boOkworm and affectionate husband
and father. who would be happy on a
! small income if only his wife and
daughter were similarly minded. I will
not give you the puzzle of a summary
Of the plot to solve, but tell you at
once what has come about in the third
act.
Cranes wife and daughter have ac-