Evening star. [volume] (Washington, D.C.) 1854-1972, 1911-01-29

his efforts to interest the pubic
would figure enormously on his
ledger If he could find some
means OF collecting compensation.
Excuse Me-" whose production is paio
for entirely out of Manager Henry W.
Savagt's pocket, ought, in all business
fairness 10 be subsidized by the company
that derives such enormous revenues by
providing the American public with sleep
ing cars ii takes the idea of hardship
away from travel and makes the annoy
ancaS OF long journey in close quarters
seem insignificant when the fun that may
he derived from little observation Is
pointed out.
The piece is frankly and uncompromis-
ingly farce Yet the announcements
dispense with some Of the familiar phrases
in describing it. For instance 1t Is not
referred 10 as AN irresponsible proouc-
ton designed only TO make you laugh.
II seems that If author can only De
recognized as irresponsible he feels that
his fortune is made. With all its hilarity,
Excuse Me- does not pretend to be III
responsible" 1t may exaggerate, but
there is basis of fact for all its ludierous
happenings Plot and situation sufficient
his intelligence is being trifed with are
provided, and the characters arc neat
caricatures without becoming grotesques.
The customary assurance that there is no
intention 10 teach a moral lesson is also
omitted. The play, in fact, frankly teaches
a moral. which is 1T is better to laugh
at a crouch than be one" or words to
that effect Even the crouch with which
&c laqc al or
il is represented BY a pretty little actress
OF the Billie Burke type, whose piauancy
banishes the faint doubts that arise as to
the prospects for peace and quiet of her
prospective spouse. But farce is no
place for sympathy--unless it is to be ex-
tended to the author or producer, and in
this instance there is no occasion for
such solicitude
A number of managers from New York
saw the new performance and were posi-
lively of the opinion that 1t would "go"
in the big city. With all its bubbling jol-
hty. the piece lacks the suggestion which
is so commonly deemed essential for
audiences largely composed of men who
want to see something sufficiently shock
ing to make them realize that they are
away from home. There are. however,
many opportunities for the introduction of
the rather crude style of innuendo that in
the parance of theatrical trade is called
ginger" which can be utilized If re-
quired.
Enter the serious person with the scrap
book. He chances furtively around with
the air of one who is about to impart
valuable information. He sits down and
speaks with suppressed emotion:
You speak of this play Excuse Me-
as possessing an entirely original and
novel idea. The idea. on the contrary, is
very old. I have here a program which
will give you the date of the appearance
of Aestayers Tourists-a wonderful or
ganization. my boy-wonderful. That was
away back in, let me see-away back
in
His victim seeks to restrain him, but.
seeing that remonstrance is in vain,
makes his escape through door, which he
slams.
Those tourists in Pullman palace car
who made merry under the Mestayer
management were indeed clever entertain
ers. and Gus Bruno's fifty cents all
around, please VAS as smart a satire
on the methods OF the porter as anything
of the sort that Willis Sweatnam sue
ceeds in presenting. But comparison of
the two productions serves to point the
more exact.ng requirements of the stage
of today When the Mestayer players
found the Pullman car too cramped for
any little offering they might have In the
way of song and dance they stepped out
of the side OF the car into what would
logically be the landscape past which
the train was whiZzing and, having com
pleted their speciality, climbed back into
the car amid loud applause. In the Ru-
pert Hughes farce the ccnsistencies arc
rigidly observed, even at some sacrifice OF
ease and freedom in the action.
There is no statute applying to inferior
substitutes or weights and measures
which can prevent visiting companies
from tampering with mid-week matinee
performances.
The Girl in the Train is another OF
the dainty musical shows that charm by
sheer grace of expression. Each season
sees more attention to the artistic side
of musical performances and less de-
pendence of sheer buffoonery. OF course.
Frank Daniels IS no delicate delineator
of psychological subtleties. but his
methods are not emphatic as TO he
out of key with the spirit Of airy whim-
sicaiity which pervades the presentation.
-Une OF the evidences of greater attention
to the finer details of musical presenta-
tions is the augmented orchestra which
Invariably accompanies an organization
e modern pretensions in this field And
ID leadership of this orchestra Is mat
DR. of consequence. De Novellis. vete-
ran of the baton, was in charge of THE
Chocolate Soldier and last week the
thorough experience of Anton Heindl
was brought to bear on the exquisite
DEMONSTRATION of THE Girl in the Train
aAnd there was Chauncey Olcott playing
TIE handsome young hero on the stage
and the deuce with hearts in the audi
ence at one and the same time. Every
uerformance is a matinee when Chauncey
comes into the theater. 1t was play
with a new title. but the story of the
bold boy who wins q lady and defies the
cruel aristocrats was not sufficiently far
from the old tales to make him seem a
stranger. And even If he had been dis
guised from the toe of his boot to the
crown of his hat YOU could have told
him at once by the delicate turns and
the grace notes that drop through his
songs like the tinkle Of fairy bells on a
May morning, SO you could.
pIIJI ANnEyp TnuNCnN