The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1908-08-23
BY FRANKLIN FYLEs.

lltleQ EnSl1sn nuSDdnU WIN a settle
ment" of three-quarters of a million.
The lawyer ascertains that the family
she would pay such a price to marry
into is not only beggarly. but criminal,
and he saves her from its son to be a
wife to himself. All that is stale stuff:
but there is jolly freshe Mining of it by
Booth Harrington with funny lines and
William Hodge with q droll utterance
of them. Maybe you saw Hodge as the
lazy old hummer in Mrs. Wigs of the
Cabbage Patch boisterous and
drunken. His personation or this Indi-
ana lawyer is not like that, but in
quiet drollery resembles his rustics in
Sky Farm and Sag Harbor." Ma
ture has made him long. lank fell
low. with country twang that he
can't help, and a better choice for the
good of the play couldn't have been
made. Yet his last prevSeis starring
venture was a fiat failure with a farce
of his own writing. So l will conclude
that the jocular success of THE Man
From Home" is due equally to Tark-
ington and Hodge.
X \ X
1t was a mistake to promise, a fort
night ago, that I would write no more
this summer about Salomes. 1 might
have known that one or another of the
dancing women would be so singular
that an account would be compulsory
Well. two do 1t this week-one anony
mously and one ridiculously. Egypt
ologists believe that an ancient dance
of the seven wells" was the one with
which Salome bewitched her stepfather
and got st. John beheaded for her
mother. Oscar Wilde accepted that as
authoritative when he wrote his short
play of "Salome." afterward utilized
a q "a 10 he vx-t ha
trustees of the Metropolitan decide
shall not be repeated on their stage.
but which is to be given next winter
at the Manhattan with Mary Garden.
as she says, in a costume that '.bothers
her jeweler more than her dressmaker."
To be historically correct, though, she
should be wrapped in seven wells and
not scrap else. AS the original girl
of the Herod exploit posed and gyrated.
she unwound and cast off one after
another of these strips of gauZe until
she delivered herself nude to the old
wretch. Julia Marlowe, when she
played with E. H. Sothern in John the
Baptist" did all that-except in the one
particular After tossing away the
final veil. she was still draped in white
from neck to heels; but Julia is an
artist, and as she threw herself fat be-
fore Herod. a mantle was spread quick
ly over her by Herodias, and the needed
dramatic effect WAS wrought startling
ly without the smallest sacrifice of
womanliness. by the actress.
X * X
A hundred Salomes and no less are
dancing now in New York, if we add to
Broadway's eight all that are in vaude-
Vile. burlesque. live interpretations in
moving picture shows and even the
10 of IN
from the past. Only one of all these,
so far as / have seen OF heard. gives
the dance of the seven veils.'' The
exception is billed at a Brighton Beach
theatre as who Am II" Two sum-
mers ago the Red Domino made her
self notoriety in roof garden by
reserving her face from the exposure
of herself. A guess was that her COW
cred visage was old and ugly; but the
later removal of the mask, originally
intended to shield teg sensitive eyes
from the footlights' glare. and utilized
as an advertising device, showed the
pretty Daisie. who became the premier
Of the grand opera ballet. Time may
tell how 1t is with Who Am I? Her
idea is to make folks think she wishes
to conceal her identity in her sacrifices
of mOdeSty to art. She is a slender,
1.-THE, expert pantomimist. and she does
not stop short of complete sincerity
with the wells. as Miss Marlowe did,
but upon the removal of the seventh
stands forth with nothing on save the
mask-and partial enclosure so skin
like in texture that IL Is hard to detect
the junctures of the bare arms and
legs with the trunk that is really COW
cred. but doesn't look so. The discrim-
mate eyes of woman discerned the
truth for me.
bolt of a man that you are" she
said; human hides perspire and tights
don't. Now look again"
X <
Now for Eva Tanguay. the Salome
that is funny. Eva Is new Barnum
of bluff in the show business. Able to
neither sing nor dance expertly, she
yet has made more money by doing
both badly than any clever American
within the past year. Her sole qualifi-
cation to start with was symmetrical
figure Her act began in long skirts,
shortened them for her second song. re-
the remnants for the third: and
that process was particularly audacious
because ii hadn't the slightest excuse
in the ballads. She seems to have had
a shrewd mind in the body which she
thus put on exhibition; for. while caper-
ing about the stage with no grace, and
yelling verses with no melody, she be-
haved so violently as to suggest crazi-
ness, and used rhymes declaring that,
though her voice was a freak to
Shrek" and her dance was "a chance
to prance," she defed the mana gers TO
get along without her. the critics to
abolish her and the audiences to dis
like her. The uncritical, unsophistf-
Gated people-especially the women
who make up the audiences at the
audiences at the dozen highly respecta-
BILE vaudeville houses in New York, dote
on her.
That is why Eva Tanguay's Saiome
crowds as big theatre as we have
save three, and it is said think truth
fully, too-that even in midsummer she
gets 81 800 a week: for in the whole
program there is nothing else costly,
and the only incidental expense is the
doubled orchestra, which she insists on
to play the music that one of the
Strausses wrote for Oscar Wilde's
opera. After she has given her usual
four songs, ending with the one for the
refrain of which she screeches. 81 don't
care" in defiance of imaginary enc
mics. the lights are lowered, and on
white screen is thrown the explanation
that Salome has already danced before
Herod to win the head Of John the Bap-
tist While time Is given for a perusal.
the big orchestra plays softly, and
ef. L. hA