The Richmond Virginian. (Richmond, Va.) 1910-1920, 1912-11-07
"Exeus. Me" at Academy.

Rev. DR. Temple. Harry Mile.
Little Jimmy Wellington, Charles
Edward Wright.
Harold wedgewood. Gaiwey Herbert
Roger Ashton. 7. J. Dongherty.
The Porter. George w. Day.
| Marjorie Newton. steeva Greenwood,
Ann Cattle. Lalive Brownell.
Mrs. Temple. Enid Gray.
! Mrs Wellington. Christine Maier.
| Mrs. Whitcomb. Hazel Voorhees,.
Hudson. William B. Wainwright.
Gambler. Gordon Battle.
First Robber, q. l.. Sutherland
Selby. J. c. Buckley.
4 Shaw. Robert T.. Graham, Jr
Second Robber. W. Nj, Goddard
Candy Boy. William Bourne.
Conductor. Charles Chappeiie
Kathleen. Nellie Jeffries.
Bauman, Frank Manning
When Excuse Me" was first pre-
eented to a Richmond audience last
season those who attended the per-
Torrance at the Academy voted II the
funniest and most natural comedy they
had ever seen IL they had seen any :
thing funnter they had forgotten all
about x.
Those who saw the piece again at
the Academy last night repeated these
assertions Excuse Me" il Apt to
make most persons forget anything
else but the carnival Of hiiarity that
accompanies the adventures OF the
iuckiess troune on the transcontinental
Pullman train.
aThe stout mar. II iio tn bssfied cry HIS
wife, In spite of the fact that she ia
going to Reno for a divorce: the cier-
gyman and his wife, who are travelling
,sxn he .ln NO n
clergyman at every stop. when all the
" tssiss there IL =aas right on the train
II they only new it-and how every
body IN the audience. to use vernac-
sSllar or vulgate--wants to put them
wise. or wise them up TO the presence
of the sky pilot,
The long suffering conductor and the
porter-that porter. how they simply
delight everybody. The girls In the
audience fairly fidget In their sym
patty and desire to put things right.
which lis a tribute to the realism OF
the comedy.
Excuse Mel" is Just as natural as
the expression itself. and In as varied
as the different keys in which II h
intoned to express: the speakers state
of feeling: polite beiligerent. sarcas-
tic. indignant.
One moment It is said in tones
sauye as those of a Japanese butler.
another time Il is said with all the
fighting qualities behind 1t OF an out
ragged Irish disposition, looking for
more trouble and using the phrase
for an overture; the next moment II
Is keeniy cutting as a rebuke from the
late Mr.. Whistler. and the next 1t
fairly bristies with indignation. 1t
- rtainly runs the gamut OF express
sion.
The company last year was all that
could be desired. This year there are
one or two changes. but Mr.. Savage,
who is responsible for the produce
ton, usually sets a very high standard
and the players under his manage
ment are In Aeping with his ideas
Bessie Abott In @Robin Hood"
Bessie ABBOTT, the brilliant yc-ng
American soprano. for whom es-
cagni wrote "Ysobei," will be seen
at the Academy on November 18th
and l3th. She is the Maid Marian
OF the all-star production of robin
Hood"
Her career has been unusual. II
is probable that had not Jean de
Reszke heard Miss ABBOTT sing at a
social entertainment in London, she
operatic career until long afterward.
1t il also probable that II Coqueiin
had not made her acquaintance ON
Hhtpbeard and interested himself in
her. she might not have had the
training under Fideie. koenig and
Capoul that served her in such good
stead later on. Had not Jean de
Resske again. and through him.
Gaillard. the famous director of the
Paris opera, persisted In their belief
In the young woman's capabilities
under trying circumstances. her de-.
but might not have been made under
auspices SO favorable that she be-
came internationally famous over
night.
At fashionable musical in London
Jean de Reszke Was among the guests
who listened to the young American
girls voice, and he urgently advocat-
ed that she try for an operate career.
AT that point Coqueiin came upon
the scene. He made easy tho way
for this talented youtfg American To
slip into prominent place In the
opera In Paris. For three years she
studied under the supervision OF the
very able instructors connected with
that great institution. and on No
vember ~. 1901. Miss ABBOTT placed
her signature to contract with the
Paris opera. Her debut was an
nonnced for the night Of December
eth. She was to sing Juliette. and
the role OF Romeo was assigned to
one Of the leading tenors Of the insti-
tuition. This tenor. however. object
ed to the attention showered upon the
fair debutante.
Al the last moment he refused TO
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