The Salt Lake herald-Republican. [volume] (Salt Lake City, Utah) 1909-1918, 1910-06-12

in this remarkable reproductions; and
so bravo for FRITZ and boo for Gil
bert. Do you recall the passive way
Of singing the moon song. in which
the girl calmly compares her illumin-
ing beauty to that OF the effulgent orb
OF night? Well, there's no naivette in
the soubrette.
FRITZ Scheff is bright-witted
artist, however. and her tact amounts
70 craft. Her face is roguish, but not
pretty, apd stiff black hair is bad for
II. and her trim figure goes 70 waste
In kimono. with no chance for her
feet TO help her hands in tricks of ges-
ture. So when she has been fixed up
for the wedding she doesn't say, as
rGilbert wrote: 4 som etimes wonder
why I am so much more beautiful
than any other girl in the world" she
changes il TO attractive" She knows
that the other word might bring a
laugh. Then she goes on with the
moon song of self-glorification HUI
morOusly, as though Il were a joke:
and she has devised for herself the
business Of the scene-posturing
skipping about. sitting down, standing
up and making a tremendous success.
What would be the use Of paying a
FRITZ Scheff salary without getting
all OF the FRITZ Scheff value2
Andrew Mack might grumble at the
liberties taken by FRITZ. His Nauki-
Poo rates with William Danforth's
MikadO and Josephine Jacoby's Ka-
tisha as vocally the best three person.
atoms. The man who. on the opening
night. bet n bottle that Andy would
lapse into irish brogue, II not let a
line OF The Wearing OF the Green
into the wandering minstreFs bal
lads, songs and snatches." paid up at
INF
that Andy. I'm the scene Of Nanki-Poo
and Yum Yum's sly defiance Of Titti-
Pu's law against Irritation. cares per-
sOnally whether he and FRITZ deliver
kisses on each others faces-as they
used to: but the actress makes a
sharp point OF hiding the action be-
hind a fan.
The summer shows abound in pecu-
liar Municipalities. For instance, Luz
doubt whether II is a man or a wom-
man. A soprano voice. high and
strong. fills a roof garden before the
singer comes into sight: that IL be
longs TO a women no one doubts dur
ing a whole ballad: but when a per-
son in mans evening clothes appears
uncertainty sets in: for the person
sings another ballad on a barytono
that is thoroughly masculine. He.
eAAN VI II IAlEMA DC. 10 judge nN looks.
a mannish woman or a womanish
man: and the rendering of an operatic
duo, with the one voice changing be-
tween masculine and feminine, doesn't
answer the question.
How we do progress in the show
businessi There was time when n
wirewalker in a circus was tolerated
n he balanced himself with a long.
heavy pole while doing a few simple
feats. In one roof garden a man
leaps. dances and cuts up other capers
on a wire with naught but his waving
arms to keep his equilibrium. 1
thought him a wonder until, in an
other show, I saw a young woman
and heard her also. though the sight
was the marvel-give song and
dance as blithely on a wire as though
she were on the floor. Who says we're
not getting along I'm stage art?
The juggler who used to do no
more than toss balls would be scorned
this summer. We have one whose
tricks-such as catching between his
lips first a cigar. next a match. and
then striking the one with his teeth
and so lighting the other-are accom-
panied by the incessant drollery Of a
negro comedian. We have another
whose assistant is a pretty girl, and
she sings. dances and acts the cut-up
without interrupting his feats, which |
include juggling a feather from her
hat along with the slippers from her
feet: and finally he losses her in air |
10 alight with one toe on his head. TO
be balanced there in many poses. A
third Juggler is a rather facile actor. !
and the sketch runs variety Of
stunts through his visit to a soubrette
of much activity. Dan Rice once
thrived with a literally one-horse (
show. Now II takes hundreds OF ami
mails. human and brute. in a circus Of