The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1907-10-13
TENDERLOIN WAYS ON THE STAGE
BY FRANKLIN FYLE5.

should say. if he were not the bigger
of the two, by talking rashly about his
fathers gossipped troubles with Ac-
tresses Anglin and Nazimova.
J
1 Nothing In the first performance of
THE Gay White Way" as looked be-
tween the lines and beyond the action,
| interested me more than the recall at
the ends of acts. Jefferson De Angels
and Alexander Carr are featured"
which means they are almost but not
quite starred" and no apparent fric-
ton came of that on the opening night:
but Blanche Ring is tripled with them,
while Maud Raymond is not quad
/ rupled; and therefrom trouble arose,
for Maud equalled Blanche in the audi
ence's estimation; and SO, when the De
Angeiis-Carr- Ring triumvirate came
| before the curtain, smilingly hand in
| hand, in accordance with theatrical
etiquette, there was an insistent but
unavailing demand for Maud to share
the honors. Why don't people heed
the big type in the playbills? They hur-
rayed for their pet Blanche. but wanted
their pet Maud, too. and almost .ost
their temper because she wasn't per-
mitted TO come out.
:. x X
The value of amusing songs is ~eai-
| lied by both Blanche and Maud. The
start is given to Maud with Merry
! Co Round" for the chorus of which the
girls come in ON self-legged horses and
form a circling carousal, which is a
pretty oddity. Blanche gets the next
chance with Dixie DAN" for the cho-
rus of which the girls fall fiat on their
backs and dance with their legs in the
air. That is a saucy novelty. Thus
Maud and Blanche are left at a tie.
| Next, Maud is assigned to the singing
of Somebody's Been ROM Heah,"
that being a coon dandy's plant be-
cause his wench has, in his absence,
learned from some other fellow how
to kiss expertly. Next again, Blanche
the Ladder of Love-" with Carr to help
her to mount. That leaves them nip
and tuck. But Blanche gets the odd
number in MY Irish Gibson Girl" as
aforesaid, just before the final curtain,
with six noted Tenderloin beauties
back of her, and a houseful of admirers
in ront of her.
| The actress who plays parts in songs
| has become more and more valuable
| singly, Independently, all bS herself,
and now no twenty merely drama tic
women on the American stage get as
| much income as twenty chdracterizing
| baltadists that l could name. That
may be a sordid way to balance vau-
| deville against drama; but it should be
| taken into account that the singing of
songs and representation is we'll with
in the limits of dramatic art, and
makes exacting demands upon the
| talents of the performer. If you were
theatrical manager, and had in hand
humorous play and a set of several
humorous ballads. you would find a
suitable heroine for the play more
easily than satisfactory actress for
the songs. The vaudeville field is
swept this season by warfare between
two powerfully equipped trusts, and
each is striving to put forward more
attractive shows than the others In
this costly opposition the stress of the
endeavor is to present novelties; 50
the impOrtatiOns of performers are
much more numerous than ever be-
fore; and especially are women ballad
lists from London placed on the tiring
lines TO sing to each other The fresh
antagonists in Broadway this week
are Hetty King and Minnie Linden.
both brought from London.
Neither Hettie nor Minnie wears
skirts when on public view. Both put
on the attire of young man of fash
ION Hetty's clothes are those OF the
London dandy of today. Mimic
dresses like a Paris exquisite of the
Directory peroid. Minnie is tall. we'll
rounded. merry-faced and locks we'll
In her long-tailed coat and tight knee
breeches. with silk stockings 20 match
their light gray satin. and lace 1T her
neck and wrists; and l can conceive 10
other reason why she goes back more
than century in France for a cos
tune, seeing that the subjects of her
10
is sWeetly strong, with the accen- of
Mayfair, and non-suggestive of White
chapel She doesn't act much but her
enuncfation is SO distinct that her sirg-
ing is as plain as speaking. She be
gins with a sentimental ballad to "Fhe
lady of his dreams,Y but passes from
that right into the humor of a quiet
sort with tricky Mary who kept a
dairy" pair of spOoners who made
one umbrella do" and wise old cat
that sat on a mat to see what her mis-
tress was at" Millie Lindon is more
like our Marie Cahill than any other
American balladist l can think of
X X !
Hetty King might be a boy really
for all that one can see when she
stands forth in the evening suit of a
London beau. Her hair is cropped
short her trousers are not bulged at
and nothing in her aspect contradicts
the assertion of her first song that she
is fellow of twenty-one." Not since
Ella WeSner have we had anything
like so real-looking a girl chap. Hetty
doesn't make as handsome fellow as
Ella did. not is her contralto voice as
hoyfsh. but she might saunter In Fifth
avenue by bright daylight without
raising a suspicion of sexual fraud
She introduces five portraitures. that
make rogue's gallery of London dan
dies, each in his own ultra modish
change of clothes, and his fashionable
escapades to sing about from Irritation
to inebriety. These are bright young
gentlemen, not haw-haw swells, silly
asses nor cockney chappies, but true
studies In Mayfair. A common fellow
on an outing at Brighton, and sailor
off for a voyage, are contrasts. The
jacky's song has been marked for spe-
cial popularity. A force Of whistlers I'm
the gallery joins in the melody of its
chorus. I've too many sweethearts in
one nQrf and it's ROT To tbink Of