Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1918-02-05

Jerome Kcrn's lively airs, charmingly
orchestrated: Berton Braley's lifting
lyrics and the generous artistry of
Henry w. Savage as applied to cos
tuning and scenic dress are signal
virtues of this new musical comedy
Offering.
More comprehensive praise would
have beGS easy to voice had the high
standard Of infectious gaycty and ex-
pert musical comedy technique dis
played In the first act been sustained
throughout the entertainment. when
the first curtain fell there was every
indication that Mr.. Savage was the
lucky sponsor of an unequivocal sue
cess but one of the most singular
"slumps" In recent footlight annals was
manifested when the librettsts remem-
bered that they were adapting Rupert
lIughes's popular Pullman car farce.
Excuse Me" somehow the humor of
that laughable product failed TO lend
itself to musical and terpslChorean trim
mincs.
Perhaps since some Of the plot out
lines were followed, additional respect
for the original matter might have made
them more divertingly vivid Perhaps
the Comicality of train ride has been
worn threadbare, and Mr.. Hughes may
have quite Cleaned up" the subject
when he handled 1t. In any event. the
fact remains that the opening act de-
voted TO musical comedy foolery, admir-
ably staged dances and haunting song
-. ,,.I Co. hne 10
fabric, provides capital diversion. and
that the last act. where an element Of
extravaganza is infused, Is agreeable
and effective. Almost all the weak
spots are in the Pullman car scene.
For this reason the colored porter.
which was the dominant role in Mr.
Hughes'f work, is relegated to rather
secondary interest in the whlrligg of
musical comedy. Willis p. Sweatnam,
who acted the role in the original farce,
gave a charaCteristically droll perform
ance at yesterdays matinee, but he was
plainly suffering from a severe cold. He
was replaced In the part in the evening
by Harry Fern, ant information was
received from the management that Mr..
Sweatnam had suCcumbed to an attack
of laryngitis. The news is regrettable,
but would be more so If the character
for which he once was so delightfully."-
suited had now its pristine prominence.
The sidetracklng of this garrulous Of
fetal shifts the histrionlc burdens Of
"Toot-Toot" to the hapless would-be
bridal couple, whose frantic search for
a clergyman on the Overland Limited
Is the chief factor OF the farcical in
trigue. Donald Macdonald, as the dis
comhted near-husband. has an ingra-
tlating personality and he dances with
admirable facility. but his acting equip
mcnt is comparatively limited. Louise
Allen lacks due occurrences in the hero
ines role, and her pert style verging
toward overemphasis obscures the fun
making possibilities OF her role.
All the other parts, however, are well
taken. Eddie Garvie, as the bibulous
James Wellington. seeking domestic
emancipation at Reno. and Flora Ia
belle, who hopes to abet him in that
endeavor, handle their rather conven-
tional characters with fluent skill. Billy
Kent's impersonation of the leader OF a
troupe of scantily clothed Greek dancers
has the right comic accent, and the
burlesque Hellenic attitudes of his cory
phees enliven some of the merriest mo-
ments of the breezy opening act in tho
railway station. Louise Groody and
Earle Benham dance with captivating
vivacity.
1t is possible that the saggng center
Of the piece can be repaired As mat
ters now stand, however, Mr.. Kern, with
his whisteable melodies. and Emil
Breitenfeld. whose 'Plattsburgh March,
ing Song" rendered by khak-clad
male chorus. Is a stirring finale to act
one, win the chief honors of "Toot.
Toot !! H.TC.