Deseret evening news. [volume] (Great Salt Lake City [Utah]) 1867-1920, 1907-07-06

Orphcum Stock Company.
ssssaSsesssesSasssss sssssssesssosssssSt
| same, though the physical result was
| far less DANA cling than II he had es-
capped. When the animals, open
| fnouthed and growing fearfully. made
rushes at the trainer, We hoped of
course the man wouldn't be hurt, but
we fingered long at Bostock's. hoping
| for the best. fearing for the worst.
| Then, for one further thrill. we tried
| Hell Gate. which consists OF shooting
| you around in circles and then down
a gaping watery incline into n pitch
black tunnel. You wonder II 1t ought
/ TO he so dark, If something has COMO
wrong, and rs yon bump along In the
| blackness you have little, creepy sensa-
| tons. But eventually we came out all
/ right, save that where the chutes wet
| us from the waist up Hell Gate" conf
| pleted the process, Strictly mindful OF
| the fact that by this time 1t was far
after 10 o'clock, and that Luna Park
was yet UNEMPLOYED, we determined to
| leave, not seeing Creation or the
| Arabian Nights or "Belshazzar s
| Feast" or "Pharaoh's Daughter" all of
which we have no doubt are perfectly
good entertainments, but there was
| Luna left. and so we went. Dream
| lands rival Is filled with novel and
spectacular attractions, such as Might
| and Morning" Tine Days of 49,"
1.-THE Wreck of the Hesperus," and
but what's tho use, we'll be honest--all
we did at Luna was to chute the chutes
and ride in the dipping, thrilling scenic
| railways. That's where Coney is
shrewd; 1t caters to the American idols
of speed and excitement, and It Is so
| arranged that It takes two OF three
visits TO see even part OF II. And We
didn't get home at that till 2.
Dramatic criticism in New York Is
the most curious profession In tina
world said the man In the street.
Profession" sneered the manager,
trade you mean. and not nearly so I'm
portant as bricklaying."
Obi 1 don't know observed the
Press agent. criticism is influential"
"Infiuential?" objected the author
its homicidal."
well, never pay much attention
to it." said the man with the 50 bill
II see show the critics say is great
ana ] can hardly sit 1t OUT
But what do you usually think wher
they say b play is badf" asked the
manager.
II never go to bad plays
EXACTLY" triumphantly observed the
| author: you see the critically accepted
play, disagree with the critic and Their
don't give the author square deal by
| gong 10 the play ana "
| you disagree then, too.
well, I've seen what the critics cal
bad plays and liked EN-" eXpostulatet
the man in the street
Exactly" shouted the author; "that
proves my theory"
But he saw the bad play on pass.
objected the press agent.
THAT doesn't alter the fact that it.
pretty unfair TO allow one man to damn
a play publicly when nine-tenths of hi
readers might like it,"
But the one man is supposed to b
an expert" said the man In the street
Expert nothing" interjected the au
thor.
And it isn't experts that make pla.
a success" added the press agent.
Its usually easy marks smiled the
s2-bill man.
Dramatic criticism in New York is
necessary evil" sighed the manager.
1T isn't criticism [ object to!" crie'
the author; "all sane people welcom
honest criticism. It's the tendency Il
| be personal. to be humorous for tn
sake OF a phrase the truth be hange'
the cynicism OF boredom, the expires
sion OF mere opinion as TACT ana N
eternal desire never TO look on tn
: bright side, never TO give anyone tn
benefit of the doubt, never TO express
tentative opinion and leave the decision
to the people who pay their money an
| take their choice--these are the thing
, 1 take exception to-
!. There Is lot in what you say" re
marked the press agent. IL the play
bad, the public Will decide; likewise
[ it's good.
That's true" mournfully agreed tn
author: i've lost heaps on critical sue
cesses and made II blackstone of Ito
critical failures.
II think the trouble Is you manager
| tt.rI IN q
feel that your careers depend on wha
they write, and of course that make
them chesty and hypercrltlcal"
Seriously. though" said the mana
ger, what ] object to Is the averag
critics superior attitude and In his ow
mind his superior perception. No Ut
thor has his play produced because i
thinks II bad: no manager SPENDS h
thousands because he expects TO HAY
failure. no actor rehehrses thr.
weeks because he thinks he'll have on
a weeks engagement. Everyone col
nected with the play. according TO h
position. Is spending his time, his MOI
=, ey, his labor and his brains because ]
wants 10 make a. success. Then conn
the first night. The critic In wei
!. chosen phrases, often Witty ones. a
7 surnes the manager 10 a bralnless Idle
: the actors, asinino and the author
= sheer imbecila. Maybe-they are rigt
but today's failure Is often tomorrow
/, SUCCESS. and the dividing line betwe
y failure and success Is always slight,
3 why not give us the benefit OF Il
: doubt? II II is bad. it's bad: if 1,
r good. it's good; but IL on the first mig
i it's only pretty good, everwhelmii
r damning criticism may kill the play al
!. the author and the manager. Why
I looking for faults: why not try
see something In the play that ma
h somebody think It worth producing?
y Most critics" the manager cont
v | ued "hAve playg In their poclkets TN