The Salt Lake tribune. [volume] (Salt Lake City, Utah) 1890-current, 1912-06-16
THE UNHAPPY POLICEMAN, +,
DE WOLF HOPPER.

male singers are as admirable as
the ladies. The clear diction ot
everyone cannot be too highly
praised; nothing is more essential
in the delivery OF such gems or wit
as the unexpected curves and
twists of Gilbert 3 lyrics. Eugene
Cowles seems at times uncertain
about the 'placing'' Of his voice.
but, on the whole, sings the role or
the bumptious, kindly pirate chief
admirably: and nothing is left TO
be desired by the lieutenant of
Richard w. Temple, Although Ar
thur Aldridge's acting, as the sim
ple-minded Frederic, creaks loud
" Of Gilbert G. Sullivan perform
ances in the Sunday school rooms,
10 rai Use money for a new pipe or
gan, his vocal ability more than
makes ND for his histrionic stiff
neck. Much is 10 be said for
tenor who looks as though he could
serve as fullback or longshoreman
if the call came. Perhaps the most
Gilbertian performance is the ma
ior-generaI Of George j. Macfar-
lane, delightful combination Of
thorough understanding and able
execution in both the verbal aud
the musical demands. And last but
not at all least, there is DeWolf
Hopper, good Bunthorne. bet
ter Mlkado and a best Dick Dead
eye His police sergeant ranks
worthlly with It's forerunners. 1t
is safe TO saw that no comedian in
America could both sing and act
these roles more satisfactorily.
Like such nlasterful Thsen and
Pinero performances as Mary
Shaw s "Mrs. Alvine'' and Mrs.
Patrick Campbell's "Mrs. Tan
queray.' Mr.. Hoprer's Gilbertian
caricatures are the best embodi-
ment OF their sort because they ap-
preciate the authors genius and
exact knowledge of the stage so
thoroughly as to do their work
fine work as 1t is-scrupulouslv
within the authors outline.
TNASMUCH as Mrs. Sidney
Drew wrote "Billy'' for her
husband and appeared in
it in vaudeville, she may
readily be suspected OF har-
boring similar expansive
scheme in the case OF her newest
piece, "The Still Voice In that
case, the actor who has been so
invariably mentioned as John
Drew's brother or Ethel Barry.
more's uncle as to have suffered
from the partial eclipse of his abil.
ity by his name. would come before
us In an unfamiliar guise. Whether
in modern play or old comedy,
the younger Drew has always
played a spirited young buck; but
in "The Still Voice" he is hard,
remorseless financier. He has
amassed fortune. generally at the
cost of others. His daughter de-
slres to marry the son OF n business
rival and is, of course, forbidden.
Furthermore, the old man sue
ceeds in bringing about the finan-
cia rum OF the father of the esti-
mable youth. That boy is r9.
pulsed by the tyraut. as ia his
own lovely daughter. But when
the hawking of newspaper eek
tras through the street outside
brings news of the bankrupt 3 sui
eide. the virtual murderer col.
Iapses from the shock and, pres
emily. expires.
NIllS flctional family crisis is
= enacted by five persons who
IRE actually related closely-Mr.
and Mrs. Sidney Drew and their
son. s. Rankin Drew, and that
promising young actors girish
aunt, on the maternal side, Doris
Rankin. and her husband, Lionel
1t is a pleasing Gus,
ON OF the Drews, Barrymores and
3ankins to act frequently IN fam
" casts. Nearly twenty wears ago
saw Ethel and Lionel BarrymoIe,
hen making their very first efforts
IA the stage. IN "The Rivals,
With the majority OF roles filled by
elatives. Thev themselves were
-ulia Melville and Fsg, respective
V: their grandmother. the late
reat Mrs. John Drew, was Mrs.
Ialaprop: Mr.. and Mrs. Sidney
brew were Bob Acres and Lydia
anguish; the latter father and
Ister, Mckee and Phyllis Rankin
,ere Sir Anthony Absolute and
.ucy; and the young folks hand
ONE fnther, the late Maurice Bar
" A hcp