The Salt Lake tribune. [volume] (Salt Lake City, Utah) 1890-current, 1910-12-07
Observation-Disclosures: !: = siii-l-f

4 vaudeville, All tho week, Natl =
nee. Els. Evening, Sis.
.-i-i-l-fii.
Salt Lake playgoers witnessed on
Tuesday afternoon what Will always be
| remembered as the most artistic spec
iacle ever presented in that famous old
playhouse, the Salt Lake theater. when
| Anna Pavlowa and Mkail Mordkin and
he Imperial Russian ballet appeared. II
was an artistic triumph Artistic on
tho stage, artistic in the orchestra. an
orchestra, It might be remarked. which
has been heard here before, for Di Sales
was here last year with the Lombardi
grand opera company The music by
this orchestra on Tuesday was delicious.
But about Pavlowa and Mordkin. Their
dancing Is not only wonderful but II is
marvellous. the Dersonitication OF grace,
an art that is OF a kind never seen here
before, will not perhaps be seen again
in years. II was dream. The opening
hs LsfsRd SsRfs Of A7yeaH o1enta from sa ss
composed by NJ, MilSai Mordltin. the
music by Arensky, Blechman, Bourgalt-
Duo -Coudray, Chaminade, Glazounow
A2yiade, the captive queen. is portrayed
| by Mile. Anna Pavlowa; Sett Rahman.
| n tribal chieftain. by NJ. Miltail Mord-
kin, The scene Is Shah Rahmans pal
ace the time in the golden days Of
| Haroun al Raschd. Hero is the view
| taken by an English critic OF the pre-
sentation In London. view that was
packed the theater on Tuesday. II is
a fine description OF the art OF the two
dancers
"The orchestra begins very softly tho
music OF Glinka's mazurka and the cur
tain rises garden OF roses and
statues OF dryads and nymphs brooding
over marble halustrade lake. with the
trees stretching away to tho distant hills
that meet the Sky. Then the stage is
! filed with Russian dancers, and the Rus
sian nights entertainment begins. II is
not yet the time of Pavlowa, these ere
| the dancers who come first to give the
atmosphere. TO attuno the audience TO
| the right key.
"These dancers--thc men in the SNOW
OF crimson velvet and jineIing gold tas
| scled boots. the women with pearls in
their hair and fur-trimmed dresses
make The audience realize for the first
| time what mazurka really means They
N the temperament and the character
| of the Slav with their restless feet
rccklcssness OF spirit. the gay bravado
| Of life in every movement.
Into the garden a Roman comes-a
great broad -chcsted man OF wide. shout
ders and limbs that are large with mus
| cles. His handsome face Is crowned
With jeweled circlct around his hair
His legs are brown and bare. and he
stands like the statue OF Roman glad
| OF triumphant viryity.
And then from the other side OF the
| stage, like rose leaf blown on the wind
| Pavlowa dances toward him Dancing
docs not describe the lightness Of her
movements She floats. The tips Of
| her feet tremble on the stage like the
quivcring, shimmcring wings OF but
terfly. She seems to be thing of air
| "A ghost OF MISUNDERSTANDING across the
garden with trembling feet The pas de
deux is danced. and every pose. every
IF CCtn lie NfS 10,
! TO the looker-on. They pcrsonify the
music. She. light. laughing and elusive,
| is the ripping stream wooed by the sun,
the brown. strong Mordkin. II Is a poem
Later he comes alone a Roman boy.
dancing sprinStime. sending the arrows
| from his CULVER into tho woods Every
| turn OF his body Is taken from some an
cient verse, Those who have Travelled
10 Rome and the cities of Italy 10 sec
| the frescocs Of dead civilization see
them joyousily living again in the mod
ernlty OF London.
"Once again Pavlowa nits across the
| stage. visnalizing every note OF the mu-
sic. Her finger tips and the ripple OF
| her white arms speak TO us. She does
not follow the musicians, but she leads
! them. She is the soul of tho music it
| self and as light as the sound.
Did Rublnsten dream when he wrote
| the 'Nalse Caprice that II would inspire
| such dancers as Pavlowa and Mordkin?
| They are neither Russian nor Roman
| now. Jney are Grcctan boy and girl
| and the eternal spirit OF love is over the
| garden with It's roses and It's lake The
| everyday things OF life fade away-there
are no motor cars. there is no thcatcr:
we seem 10 have lived before and 10 have
danced in a garden OF TJellas, idst as
| this boy and girl are dancing. their heads
garlandcd with leaves
They call up a vision OF tho rcvels
| OF Rome and the purple juice OF grapes
| as they rush on. Pavlowa with parted
| lips and hair dIshevcled and poses OF
| ma gnificenL abandon, MordlSIn. snatch
| ing the crimson veil OF gauze from her
shoulders. dancing. dancing, dancing TO
! the Pipes OF Pan. until Pavlowa sinks
| and swoons TO the grass, pressing the
| red roses TO her lips.
Then il is that when tho curta I'm falls
on the Bacchanalian dance, and the
lights go mp. the people In the thcatcr
| look round at each other as if they had
awakened from a splendid dream, and
| they realize that II was the spell Of the
dancers that led them back TO the days
OF Greece and Rome" and they regret
that they had been awakened from this
splendid dream
| John p. Wade and his company are
making great success al tho Orpheum
in "Marse Shelbvs Chicken Dinner" a
Dlaylet that affords Mr. Wade much OPP