The Salt Lake tribune. [volume] (Salt Lake City, Utah) 1890-current, 1913-10-12

previous divorce; In IEmigre' II is the
role OF the aristocracy 10 our modern So
Slety; In La B1rriSade Il is the class Class
sl5iity FOR politician 70 be true at the
same time 20 Ms Socialist principles and
20 his patcTnai Instincts.
vldualism invented by Rousseau and made
popular by the revolution speak OF the
rights OF man. III. Bourget comes Tor,
ward full OF the rights OF soCiety, and
showing that they can only be main
talncd by a IA cTlfce IN individuals IL
YOU are rich. strong. and contented, NJ.
putting up VIII the woes OF YOUR less FOR
turate brethren; 4 you are weak. ~
treated, and unhappy. you hnd better
keep away from hts, his theaLer .,,.ovsn s,,,.
preachers one might add VI. Mrbeau, NJ
Ancey, Vi. Deserves, and a few others
Of less note Most dranatists. go the
ways OF royelis,s. and as age and fortune
come 10 them they feel q growing pro-
pens!ty toward moralizing
Have you an impression that any OF
20 cause considerable gtlr Gu:Oag the
public. even among piaygoers? Or do
you feel, on the contrary, that all that
may be Interesting. but The proper time
for discussing Il il after dinner IN u
smoking room. while morals. real morals.
are reserved lor private meditation? To
ask the question liz TO answer II No
body VIII get very much excited over the
situation ~ school teochers. or the lazl-
ness of politicians. OF the antcoiuvian
difficulty OF marrying of girls sans dot.
or the grieyous faults OF Dame Justice,
or the grievances OF the French aristoc
racy. One knows that good deal OF
what .s wrong here below is Inherent in
some funda mental w;ongncss. and that
the rest has such deep and intricate
roots that IL Is difficult TO pluck up the
principal one. The notion is philoso-
ply in itself.
what people take a real and living
| Interest In is tangible and not aca-
demic II the high cost OF living could
| be clearly and dramatically exposed on
| the stage. the play would be tre-
mendous success. write against the
| Yorkshire schools or the meat packing
scandals, you secure an audience at
| once. and the indignant feeling you
raise does more than forty years work.
| or take advantage OF some transient
| but very warm emotion. and have
| Electra, performed In spain. or some
| anti -milltarist play in Paris al the
| right moment: You are sure OF endan-
gering several lives and shaking vaTi-
Gus Institutions
what dramas with n purpose have ever
| been effectual. you will invariably nnd
that they summed up and voiced some
dlffused impression. not always the
! make use Of La Dnme aux Canelias
aimed at being a dsnunciation OF phil
| istlnish hypocrisy; and it was that. nc
| doubt, but IL was. above all, the signal
OF a conscious and henceforth avowed
indulgence for certain class OF women.
| Les Avaries.' by NJ Brieux. was also
intended to be an apology Tor out ,
terrible subject, but the feeling II pro-
duccd was selfish and cynical. When.
| ever an Idea is in the air tho least
not. no amount of tragical preaching
| Will create 1t. That Is why, after oil.
successful dramas with purpose are
first good comedies or tragedies. no
| hot ba{r
| II is foolish. II one wishes to be In
formed OF the prcoccupations abroad IN
country, to go 10 the theater: the right
place is the roadside Inn"
One of the most picturesque theatrical
| managers In the United States Is VII
liam a. Brady. With the large number
OF important companlcs under his direc-
tion, and the host OF players on his sal
generally thronged with applicants. II
| has been recorded by special writers
how many applicants cal day AFTER day
| been held against the manager when, as
| d matter OF fact. he Is entirely blame
less as he has so many demands upon
his time that he IS often Obliged TO pass
| by appointments that have been made
| because of new conditions arising that
demand his immediate attention ,,,.,.
| Mr.. Brady Is man OF Impulse. Win
him 1t Is 10 think and TO do. He loses
| no time In trivialties, II he reads a
play that appeals to him, contracts are
| entered into for it's Immediate produc-
| ton. and often no one knows what he
| is engaged in until the actual announce
ment has been made that the production
! is ready. 49,
A few days ago his office was hlled
with applicants for one OF his many com
panles, They We're weary lot, many
and peessa at lne ehs ibis
| army several times, and he noticed one
OF the young women whose good nature
I never deserted her, She was, IN fact
keeping up the spirits OF the entire as
semblage by her own inim!table actions
Mr.. Brady noticed this. and finally sent
out u messenger.
Tell that cut-up out there 10 come
IN here" he demanded.
The message was delivered. ana n
rather attractive young woman. Mary
1Sifa What are You doIng?" Brady de-
Nothing. but am willing to- was
her quick response
"Actress?'
Ever see Little Women"
MANY times"
Know the character OF 'Jo'T'
well. you play IT.
Miss Rehan looked her astonisnment,
bur before she could utter a word MIR.
Brady added.
III You play 1t as we'll on the stage
ing you'll make hit. That's all. Re
hearsai al three o'clock this afternoon.
See Cromwell"
And in a more or less daZed condition
Miss Rehan took the part given her
and started TO work.
Frank Moulan, who is q member of
the cast of ''The Count Of Luxem-
bourg," was asked his opinion OF the
much discussed question: "Do good
criticisms help bad playsi"
'sI presume" he replied. t'you mean
by criticism the printed opinion OF a
recognized and competent critic. such
being the case, how could bad play
get a good criticism' No good criti-
cism or anything else on earth can
help bad play, in my, humble opin-
ion. 1t has to be good-to the pub
lie.
In this connection Mr. Moulan quot
ed an interesting incident of his early
career.
t'I was playing with very small
and obscure opera company" he said,
:'and we were doing what was then,