The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1906-05-22
ADJUSTMENTS


vised stage the folding doors ia q set of
! battered scenery that looked as if it had
/ been through years of srduous service,
and she spoke a few words to a servant.
/ just an ordinary little speech. something
beut preparing supper for few friends.
| In foreign tongue she spoke, 3 tongue
auditors were familiar, but they all knew
| her wonderful voice, her marvellous stage
| presence. Sarah Bernhardt speaks in
deed, a language that is universal And
yet she left In the hearts of most of those
/ who heard her tumult of conflicting
| emotions.
Pleasure in a magnificent characterize
| ton for the wonderful art Of the greatest
/ actress of her time. mingled with a feel
ing of regret at the thought of how i'm
/ measuFabl more the performance might
/ have been enjoyed had the knowledge Of
the French tongue been present The
knowledge is not essential to enjoyment Of
| BeFnhaTdt, but the lack of II is surely
| felt. This is especially true of the flashes
/ OF by-play IN which Camille abounGs.
| In the powerful scenes it is possible to
| forget that English is not being spoken.
These who have never seen Bernhardts
/ camille have never seen Camille
| Those who have never been held by her
| scenes with NJ Duval and with Armand
| in the third act have never beheld the
| acme of dramatic virtuOsity. The audi
| enee knew, in the scene with M. Duval.
| that woman was fighting for her one
| true happiness, struggling with all the
| strength of her nature for a few more
menths OF lite with the only man she had
The cry, when DuvaI had said she must
| leave Armand forever was WFung from
| a tortured heart Never, never, never"
| she said In tone that was half sob half
shrek. DO you not know how We love?
| Do YOU not know that / have neither
! friends, nor parents, nor family; that
when he pardened me he swore to be ali
/ these, and that ] have locked my life in
| his2 II I am to leave Armand. sir. YOU
may as veil kill me al once And later.
in the same scene, what msTvelOusly SOM
Der tragedy she wrought into her speech,
| a speech that was almost an aside begin
ning; -
| creature shall never rise God may for
give her but the world will be infleKible
| must obey Yeu speak to me in the
name of your son, in the name Of your
daughter; it is very good of you to invoke
such names. Well. sir. YOU shall say one
day to this pure and fair young Eiri-foT
| it is to her I wish to sacrifice my happi-
ness-you shall say to her that there was
somewhere a woman wh0 had but one
/ hope, one thought, one dream in the world,
and that when her name was uttered
TINS woman Ienounced all crushed ner
heart in her hand and died: for it will
Kill me, sir. and then, perhaps, God will
forgive me"
Buval has gone with her promise to
leave Armand, when Armand comes in.
And then We see the smile that hides the
bFuise. the laughter that conceals the
broken heart. She plans out their future
she is to be with him always. and she
leaves him, knowing nothing of her inten-
ton with the words: 4 am here, always
yours, always ready to join you, always
loving you There. I smile Goodbye. We
shall meet by and by-forever." And she
means that they will meet beyond the
The final act, the fifth. is regarded by
many as Nine. Bernhardt's GROWING tri-
umph- This IS the act in which Camille
dies IN the arms OF Armand This woman
seemed actually. literally to die When
her head dropped and fell upon Armand s
shoulder her face was the face of a corpse
and the audience was so silent blind
man would have thought nobody was
there The spell was not broken until
Niehette has spoken the last line in the
play: sleep in peace, Marguerite Much
will be pardoned you, for you have loved
II was a most remarkable audience.
| everything considered, that greeted Nine.
Bernhard The auditorium was the in
closed Saltair pavilion. A stage had been
built al the north end and seats for 5G00.
/ chairs and benches. were arranged on the
dancing floor. The place was surprisingly
/ comfortable and the acoustics far better
than anyone had right TO expect The
train accommodations were splendid
Many people were doubtless kept away by
the fear that the open summer cars would
be used This Was not the case
Handsome chair cars were borrowed
from the Short Line and the Salt Lake
Route for the occasion and there Vas
plenty Of room for everybody on the TIVE
trains that carried Salt LakeTs out TO the
resort The seating. after the pavilion was
reached. was accomplished IN as orderly
a manner as if the performance we're be-
ing given in the Salt Lake theateF.
| The society folk were out in such num-
beFs that il might almost be said that all
society was there. The audience was not
If the truth must be told, wildly enthu-
siastic. There were curtain calls at the
end of every act, but with the exception
of those at the close ar the third and
fourth acts they were perfunCtory- The
production went with surprising smooth
ness No attempt was made 10 change the
setting, beyond a. Encouragement of chairs
and tables, and the curtains buCked with
religious regularity, but nothing that
could be said TO really mar the perform
anCe was noticeable
John Mcguire, local manag ger. was more
than pleased with the outcome He said
the audience indicated that the Salt Lake
public was a discriminating public and
that it had given the best possible indlca-
, ton Of this fact To Mr. Mcguire IS due
the credit for the perfection of details
which went so far toward insuring the
| comfort Of the playgoeTs.