The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1908-10-25

huckster's stand to d thriving depart
ment store. while the girls German ia
theirs jewelry shop petered out to
sheriff's sale in bankruptcy. The value
of the play. too. went on diminuendo
down to naught or Whereabouts
1t is rarely that I name theatrical
manager because these letters tell only
of things l see in new plays; but VII
liam A. Brady acted so amusinSly In
the first performance of The Man
Who Stood Still that 1 cannot leave
him out of the account. Louis Mann,
being a parsonage in the very best
Israelite society in New York, faced
an audience whose toilets made the
theatre look like a grand opera. There
We're a dozen enthusiastic recalls for
the actor after the third act: also,
vigorous demand for Author Goodman
who would not come out; ana BRADY
was pulled into view by Mann At once
the audience was silent. eXpectantiY.
for Brady's curtain speeches have been
the most diverting since the late
Charles H. NOyt used TO souse hlmseH
with alcoholic courage for his ordeaiS
as an authOr-manager- Mann hauleu
Brady out from the wings much as
Belasco's star actresses do with MN;
but evidently there had been no re-
Brady to face the audience alone, but
Brady laid hold onto Mann like wres'
tier at atch-as-catch-can and held
him fast though not without strug-
gle
You have heard it said that Louis
Mann is an egotiSt," said Brady, but i
want to tell you that he is an artist.
and l have handed Here Mann
v-riegIad and sduirned to get loose,
/ Tn a
on: whether this play is success
or a failure. my friend Mann has put
three months of hard work into II,
and the manager grasped the actor
with what seemed to be desire TO
kiss him in the French fashion
The audience was merry, but Mann
was not. He had let himself down to
jollity in a pinochle game, 1alllilS OUT
and making up with his crony at each
deal of the cards but he had also put
his very best endeaVOr into denun-
citation of his Maynard daughter; and
he was not disposed to figure in comic
curtain calls. Really. these responses
bv mana gers and authors to applause
should be rehearsed carefully always.
as they usually are, to attain the de-
sirabIe spontaneity without awkward
ness.
PLAYS that make their actors sing
cIassed ana graded arbitrarily. At the
TOP of them are comic operas, in which
the music and the singing are para
mount Close under that high level
and priced the same-that is. 81 per
seat in BrOadway-are the musical
comedies and farces in which the ar
tistry is antic. This style OF enter
tainment drops to half. third and even
quarter cost at theatres for people who
do their dollars, but without change
in design or method. yet with due
economy in salaries and equipment for
shows in low-price houses. Next be-
low in the thea trical scale ana far low
er-as vaudeville of the better sort in
terVenes-iS 'burleSque. which used to
be called female minstrelsy'': and the
makeup of the hundred or more OF
these touring parties is fixed and as
vet unaltera BILE. The charm of even
rough feInininity is expressed in trade
marks resembling Gay Birds of Para
| disc and HOydens of Hellaria- Their
| programs consist of principal eXtraV
aganza. an amusing spell of vaudeville
turns and windup force; and audi
ences may smoke always and drink
/ sometimes. I note these differentiali-
/ ties here and row because Morning
( Noon and Night fooled me by break
/ ing away from usage.
Really and truly. I am painstaking in
my search for new things in new plays
To describe: so I iOurneyed to the far
side of Brooklyn borough TO find a
! matinee audience of. say. 1.500 women
and girls to 300 men and boys packed
/ IN a big. fine theatre that I had never
entered before. II IS a combination"
house with weekly visits by popular
ufays on tour. and never associated in
/ any way with the female minstrelsy''
| type OF ~bUrlesque." In saying that /
was fooled. ! don't mean that / was
I swindIed. / wish that all my pur-
chases of seats and OUTLAWS of time got
as much as the half-dollar that best
orchestra chair cost mex here But I
am bound TO tell that Morning, Noon
and Night is a marvel for its breaking
down Of the separation between mu-
steal farce and female burlesquery Joe
/ Welch. in recent years a star comedian
| in straight plays on the cut-rate cir
/ cults. Is here once more q stage Jew:
and that one thing is enough TO lift
/ the show up A grade More the half
OF the time occupied by Morning. Noon
and Night puts forth stageful of
girls and equipment of costumes fit for
/ a musical farce in a combination
] theatre And the attached names of