The Salt Lake herald-Republican. [volume] (Salt Lake City, Utah) 1909-1918, 1910-03-13

NEW YORK, March 12.-Frivol
IN shows cost more than sane plays
to bring out, lose more If they fail and
make more If they succeed. A staseIul
OF dramatic art and literature uses up
nothing like the money required by
.stagefuf of singing and dancing come
dams and soubrettes. Nor are people
easier to satisfy with mirth and beauty
than with ethics and art. All forms OF
extravaganzas depend much upon the
personality and facility of the perform
ers; and as to them. opinions diner not
only with one observers taste versus
the next mans, but also with his own
changes Of mood.
That fellOw-whats his name on
yes. Cecil Lean-weli, he's a dufter'
and after that stunt he ought to pack
his grip and hike back to Chicago
said a keener at bright Eyes.
The actor had just given an imitation
of q baseball fan watching and crlucls-
ing with wild pantomime and Vocl1era-
ton. from bleaching bench at close
game
That's the right stuff" said another
theatrical sharp; when everybody else
was turning Lean down in roof SHOW,
last summer 4 Sdll u AAeStAC eSON1 ~'--N
now he's doing it.
So there YOU are. A Glowing come
dian may tickle your neighbors while
you feel ike killing him. 1t IS a Won
der. for instance, that New York let
Eddie Foy go back to Chicago from
his first visit alive. so strongly were
his monkeyisms sdisliked; and he has
not changed them a Jot nor added an
lota; yet now after few years no actor
sets Broadway laughing so easily A
dozen other present favorites OF west
ern origin have similarly worked
slow way into favor here.
Bright Eyes"
The title OF Bright Eyes" doesn't
come of d girl who won't make her eyes
stop winking, but from an incidental
song that becomes consequential
through reiteration. The process of
making a musical farce includes one
rhythmic, lifting, jingling tune, easy TO
memorize and hard to forget, which
pervades the show and advertises it
afterwards. The words don't matter so
very much. though often they help, and
in the instance OF Bright Eyes" the
refrain will almost sing the notes to you
as YOU read Bright eyes that beam
for me, gieam for me, dream for me,
that seem to be" something ecstatic.
II YOU sing that at random you won't
be far off from its air IL the play; and
any discrepancy VIII disappear with
Warbling in your own way: Bright
eyes I'll sigh for you, try for you, die
for YOU" Florence Holbrook sings il
at the beginning of the evenings. at the
END and between times-to her mimic
lover and directly to the audience
with the orchestra and without-in 8
spotlight that illumines her face only
and in a sentimental saunter in {
cleaning: and when you quit the thea
tire, with the band playing ii after you
II sounds as familiar as Yankee Doc
die" or Dixie Then on the steps. on
whistles il while another peddles it.
The spoken portions of bright Eyes
have been rewritten by Charles Dick
. son from his and Grant Stewards fare
OF Mistakes Will Happen; and al
with the similarly evolved ''Thre'
Twins it has more Of story than i
usual in folly shows. Stage folk ar
toe prone. I think, to expose the wors
phases of stage life. In this case TIL
intimacies of actresses. managers ant
hackers are represented to be quite a.
deplorable as traducers say they are
hut rollicky fun is abundant and tn
mfschances of a rehearsal are astonish
ingly original. considering how man
hundred of times the subject has beef
used since 1.-THE Critic was new.
Evolution of Gowns.
One chance for the show girls to loo
unusual was when they showed the evo
luton OF gowns in America, starting
with the sober garb of Puritan nlaideDs
passing through the more graceful
period of the revolution and the bai
spells of hoop skirts and distortiv
bl1sflez down to the sfarf1ingfy ffv