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fi TRUTH ' u
a ccmber. This play "is a sort of a
1 sequel to "Forty-five Minutes from
m Broadway," in which Mr. Moore
m made a marked success as "Kid"
i Burns in support of. Fay Tcinplcton.
In the new piece he still plays "Kid"
i Burns, translated into a very novel
and interesting story.
I FORGOTTEN STAGE LINES
Was it on' Faversham?
Of the many instances of "stage
waits" vividly in recollection, there
is one that holds the palm. It hap
pened a good many years ago, when
I was playing with Mrs. Fiske. In
the company a't that time was an old
stock actor, nervous as a tyro, whose
x memory was none of the best, and
possessed of a fatal ingenuity in
shifting upon others the trouble of
his impromptu lin:s.
When forgctfulncss seized him,
there was no foretelling what he
would say next, and those who had
scenes with hint were under con
stant strain to keep pace with his in
ventions. The worst of it was his
agility in bundling the responsibility
on to somebody else. At last, with
patience worn threadbare, I deter
mined to teach him a lesson at the
next opportunity. It came very
Late for his entrance in the sec
ond act of the piece, and excited by
the fact, he rushed out on to the
stage, here I was waiting. Only the
opening phraisc of his speech seemed
to have remained in his head.
"Something terrible has happen
ed 1" he gasped, and. then stood still,
waiting for some cue, as was his
habit. But none came.
"Something terrible has happen
ed!" he repeated vacantly, and stop
"Tell me the worst?" I returned,
throwing him back on his wits.
But as usual he was agile in dodg
"It is too terrible, I cannot," he
"I'm strong; tell me the wo'rst,"
"No, it is too much," he fenced.
"That is not right," I returned, de
termined not to let him escape. "The
suspense is terrible; I demand that
you tell me the worst."
He was in a quandary. For an in
stant he hesitated, then he came back
gamely. Quickly taking a letter from
his pocket, he said brokenly, "I can
not tell you. Read it for yourself,"
and, turning walked up the stage.
The prompter was widly gesticulat
ing in the first entrance, but the wily
veteran was out of earshot, the plot
completely forgotten. Any one could
see that the curtain was in danger of
being rung down. But as I had tak
en the letter from him the knowledge
came that it was distinctly up to me
to find a way out of it. Following
him swiftly, and taking him by the
shoulders I said, "You know my eyes
arc bad. I have forgotten my glas
ses; read it to me, Harold."
Nonplused, he looked about him
despairingly, floundered into another
improvised speech, and, knowing the
day lost, fled. Down came the cur
tain. Ten minutes later, after the stage
manager had explained the situation
to the audience, the play proceeded.
During the rest of trie season the
old actor played his part without a
hitch, but he never forgave men.
A Financial Loving-Cup.
Evidence multiplies that David
Warficld's performance in The Music
Master is one of the very great dra
matic successes in the history of the
stage. Artistically, it has been com
pared for technical finish and ripe
ness in the portrayal of faint char
acter to Joseph Jefferson's Rip Van
Winkle; and, though it lacks some
of Rip's mellowness of humor and
poetry of atmosphere, it is doubtless,
on the whole, well worthy of the com
parison. It is, however, on the financial side
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UTAH LIGHT & RAILWAY CO.,
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With Ward. & Curran at the Orphcum Next Week.
that the performance has been most
industriously paragraphed. At Mr.
Warfields latest engagement in the
Academy of Music, New York the
downtown precursor of the Metro
politan Opera House he broke all
records of the box-office.
Booth end Barrett played in their
repertory for two weeks to twenty
one thousand dollars in a week. The
Music Master played four weeks iO
over twenty-four thousand dollars a
week, or, in precise figures, to ninety
eight thousand four hundred dollars.
To commcratc the event, Mr. War
ficld's manager and the manager of
the theatre united to present the actor
wifh a silver loving-cup. On one
side of it was an engraving of Mr.
Warficld as Herr Von Baring, and
on the other a tabulation of the re
ceipts for the run.
Meanwhile, those four weeks prov
ed that Mr. Warficld is no more to
be regarded in his own person as
thriftlessly devoted 'o self-sacrifice
than Jefferson was a shiftless and
drunken vagabond. It is the general
custom for the management to pro
vide all properties used in the play;
but, Jur'S this record run, it was
ordained that the actress who plays
Miss Bates, of Houston Street, should
provide the tea which she serves on
That is one respect in which the
older convention of idealism on which j
Mr. Jefferson always insisted is at
an advantage over modern realism. '
The schnapps which was so liberally (
served in Rip Van Winkle was such
stuff as dreams arc made of, and cost i
Franz Emanuel Kivckas, the well
known Finnish pedestrian, who is
walking around the world on a wager
reached Salt Lake on Tuesday and
secured the signature of Chief of Po
lice Thomas D. Pitt to show that he f
had really reached this city. i
Symphony Orchestra I
1 0 tli Concert I
FRIDAY - - 4 P. M. I
DECEMBER 1 3 til I
MISS HAZEL TAYLOR I
FULL ORCHESTRA I
Conductor A. Shephard H
Concert Master Geo. E. Skelton H
Manager John D. Spencer H
SEAT SALE BEGINS I
Tuesday, December 10, 1907. H