Rocky Ford enterprise., 1910-03-11
DIoGnApfIY
OF tie Star IN Widov joosa, st ~
Grand Tomorrow Night.

Grand IOn3offoW NA8nS
Dorothy Aor,on, the noted psinsa
donna eomedienne, vho Is this see-
son starring in J. J. MeNaly's musi- |
cal comedy, Widow Jones'" s.d
who will be seen here at the Grand
Saturday might, March IA. is St.
Louis Girl and occupies distinguish
ed position on the American stage.
Her first musical experience was as
a singer in St. Xavier's church choir
in her native city and she obtained
her musical educate at the Beeth-
oven Conservatory in St. Louis. Dis
she decided to go to New York,
where she studied under Agromonti
and Murio Chelli, the. very best teach
ers to be obtained at that time on this
continent. Studying in the same
class was Eleanor Broadfoot. who is
now the Countess Elenor de Ciscne-
ros, the famous contralto OF the Met
ropolitan opera house. Under the
guidance OF Murio Chelli, Miss Nor
ton developed the wonderful voice
she now possesses. After few years
of nrofes sional work she went abroad
and took a six months course with
Madame Marchcsi, the greatest vocal
teacher OF the age. Madame Marche-
81 gave her the finishing touches
which perfected what was then al
most perfect singing organ. 1t
might be interesting to note few
of Miss Morton's engagements, SO
that our readers will know just who
she is and the range of parts she has
played. Her first engagement in
Dorothy" at the Manhattan Thea
ter, which was followed the next sea.
son as Cleopatra in Frank Daniels
production Of THE Wizard Of the
Nile" which praetieally ran a whole
season at the Casino Theater. B: c.
Whitney then engaged her to follow
Marie Tempest as Francesca in The
Fencing Master" in which piece be
starred her and brought her for the
first time to the Pacific coast. AZ
the close of this engagement Angus
tin Daily engaged her to create the
part of Mimosa San in his production
Of "The Geisha." which ran for s|
solid year at Daly's Theater in New
York. Perhaps one of the greatest
achievements from an artistic stand
point was when she studied San Tug
"a in "Cavaleria Rustieana" in three
days and played It at the Schiller
Theater in Chicago for three weeks
playing San TUNA at the Auditorium
with Maurice Grau's grand oper.
company, and the critics compared
the two so favorably that it was hard
to tell who had the better of it. or
course, we all know of Miss Nor
tons creation of the widow, Mrs.
Crocker. in Henry Savagc's produc-
ton of THE Prince of Pilsen.' which
was originally produced at the Tre-
mont Thcatcr. Boston. and has since
toured every city and hamlet on this
continent. While in Paris few
years ago she sang for Madame Duff
and NJ. Caroe, director OF the Opera
Comiquc. after which he offered her
the part oi Mimi, la Bohcme" and
"Lakmc" for the Paris season ii she
would study the parts for six months
under Madame Duff. but she figured
that a bird in the hand is worth two
in the bush. so she declined the OF
fer so generously rendered, as the
good old United States looked good
to her. While abroad. however. she
filed several engagements in London
at the Tivoli and several music halls.
as well as the Opollo in Berlin.
When the deplorable accident over
took Isadore Rush at Coronado
Beach. Reilly and Fisher were at
loss to know what to do with the
production of "Glittering Gloria
Hearing that Miss Morton was in
San Francisco. they arranged with
her by wire that she should continue
the stadring tour of that piece and fill
in all the Rush time. which resulted
in her opening in Salt Lake four days
after she got the part. and continuing
in the piece until the close of the
season A year ago this past sum.
mer Miss Morton sang Aida" and
al Trovatore" in several Eastern
cities, with great success. in fact the
critics said her voice was being vast
ed on comic opera and that she |
should not wander from the old mas
tiers. as her voice is purely dramatic
soprano.
Her two eccentricities are singing |
with a full military band and auto
mobiling: the latter desire she salts
hcs to her hearts content with her