The Pensacola journal. (Pensacola, Fla.) 1898-1985, 1910-10-16
Awakening o. Helena RltehIs.

exemplined in the apple tree In full
bloom that IL used In the garden scene
Of THE Awakening Of Helena Richie.
Standing a. IL does In the center OF
the garden. It's blossom-laden branches
reaching up beyond the windows on
the upper story Of the cottage and
casting It's cool shadow over . great
part Of the garden, II creates . per-
feet illusion Of realism. It u almost
q shame to destroy the illusion by
stating that the tree Is built OF steel
and cork, that its sixteen branches are
oil socketed and each Is detached and
that the mass of leaves and blossoms
al come apart when packed for travel.
inG and the trunk of the tree ID d.
vided into six sections.
The attraction will be at the Opera
House on Oct. Is.
1.-THE Soul KISS"
"The Soul KISS" which comes to
the Opera House on October 18th, Is
said to be in the hands Of . capable
organisation, which has scored heavi-
~ with both the public and press.
It's presentation In our city ID await
I'd with much interest. This delight
full musical comedy by Harry b. Smith
and Maurice Levi, which has to its
credit q run Of 800 consecutive per-
formances in eNw York. months in
Chicago, and 4 months In Boston,
tells better than words how The Soul
Kiss" pleased Metropolitan play-goers.
The story In vivacious, overlooking
with rich humor and hitherto un-
touched ideas.
There IN absolutely nothing vulgar
Mk
There In an atmosphere Of class and
charm in THE Soul Kiss" that Is not
20 be found in any stage Offering OF
its kind that has ever been produced:
"The Dancer" one Of the principal
roles In the piece. Is this season I'M
personated by Ethel Gilmore, q petite
and magnetic premiere dancer. q
newcomer of the American stage, who
has caused q furore throughout Eur
rome by her marvellous exhibition OF
both the classic and modern form OF
dancing. She comes to America d.
rect from her engagement at the
Crystal Palace, London.
There are several new songs that
ore in their way little gems Of har-
mony, melody and humor. A num-
Der in the bal Tabarin" scene In the
flrst act, entitled Meet Me at the
Masquerade" II full Of life and spir-
Il, fetchingly consumed, and present
Ing q most picturesque scene. The
orchestra numbers Of the new finals
are thoroughly descriptive, and are
written In Composer Lewis best vein.
There are many other catchy numbers
throughout the piece, such A. when
the Swallows Return In the Spring"
"That Wasn't AL THE Human
Nisht-Key Of New York" Let's Pre-
tend" "The Soul KISS" my Diabolo
Beau" very Well Then" and ANY
Old Place in the World With You"
"Ths Climax"
Joe Weber's much talked Of play.
tho Climax" II the most original
type Of play that was seen here last
season. The dainty melody has made
. most emphatic hit with the local
theatrsgoers. "The Climax" will be
seen at the Opera House soon.
The piece. in fact, IL 30 very natural
and life-like In the telling Of the story
and the actions Of the people that 1t
can be scarcely called a play.
II 10 the living out Of . novel and
Dramatic story of how q young sing
er's ambition IL nearly thwarted by q
selfish and bigoted young doctor, who
loves the girl but does not wish her
TO take up an operate career. A
slight operation 10 necessary on her
throat in order to remove q certain
huskiness Of tone in the middle reg.
lister. A friend Of the young. doctor
performs the operation and there Is
no danger Of a disastrous result, but
the young doctor uses his theory OF
mental suggestion upon the patient
TO such an extent that she Is practi
cally paralyzed with nervous appre-
hension when she attempts to sing
and her vocal chords fail to respond.
She believes that her hopes are
crushed forever, and Is on the point
Of committing suicide, but Ia stopped
by her old music master. In the last
act she Ia seen happy once more hav.
ing put aside her thoughts Of a thea
trical career and being about to wed
the young doctor. She has not at
tempted to use her voice during the
interval, feeling that 1t Is gone for
ever, but in the great flood Of happt.
ness which overwhelms her at the
hour Of her marriage, she does sing
and sings better than ever before. The
old music master, and Pietro. his son
are both overjoyed. but not 80 the
doctor. who confesses the method he
resorted to keep her from her stage
career. She turns from him in right
eous anger at his terrible trick. and
looks ahead to glorious career az
one Of the great song birds OF the
world. Now. when 1t Is necessary to
have a hero or heroine sing in a dra-
ma II Is usually done by substitute
who Is conveniently behind the
scenes. or polite. or rather POLITICAL
" turns his or her back to the audi
ence so It may seem as II he or she
Is really singing. This same thing Il
true in nearly all instances where II
IL necessary that the plano be played
BY one Of the characters. A pianist
OF stage does the work while the
pianist on the stage operates a silent
keyboard But in The Climax" there
IA no substitution. Adelina stands
there facing the audience and sings
THE Song Of the Soul" and Pietro
young composer. plays the piano-and
has a baby grand upon which to
show his skill. This Is stage realism
In its highest altitude. And II IL
thoroughly appreciated by the au
d,ence to whom the singing IL doubly
81