Exhibitors Herald (1927)

36 EXHIBITORS HERALD March 19, 1927 show, with several artists, took place in this form : Overture: Excerpts from “The Student Prince” and “Rose Marie” with Walter Blaufuss directing his Sheridan Symphony orchestra. Fay Courtney, the well known character comedienne and delineator of blues songs, made her entrance per vaudeville style, assisted by unbilled pianist who also harmonized some of the numbers. Miss Courtney delivers a routine of Southern ballads a la Sophie Tucker, namely, “Lay Me Down to Sleep in Carolina.” “Down in Tennessee” and “Telling the Birds.” She also offered “Just a Cottage Small” in ballad style, but Fay should not sing ballads. She is an artist at syncopating songs and should do nothing else but ! Synco-Jazz Show: Opening Walter Blaufuss and his Sheridan Syncopators playing a medley of r>opular tunes, the Abbott Dancers stepping to a neat routine to the tune of “You’re the One for Me.” Bobby Dales, the only stock-member still on the Sheridan payroll, acted as Master of Ceremonies throughout the show and introduced next — Joyce Sisters who harmonize “Ain’t She (He) Sweet,” and dance to “Birth of the Blues.” The young ladies are nice to look at and dance well but have rather weak voices for singing purposes. Next on the program were — Wallace and Cappo, recently of “Le Maire’s Affairs” and local cafe entertainers, who offered eccentric dancing and novel splits. The boys did fairly well considering the late show. Band Number: “Because I Love You,” with the Abbott Ballet featuring Ivan Bankoff and Beth Cameron and a neat toe routine. The ballet girls, dressed in half white and half black costumes from head to foot, made a nice apr>earance. The specialties rendered by Bankoff and Cameron received a good hand and were worth it. Jimmie Ray, impersonator of famous stage stars, offered “The Coat and the Pants Do All of the Work,” a special show number. Some of his impersonations were of Eddie Leonard, Eddie Cantor, and A1 Jolson. For an encore Jimmie gave, “Lay Me Down to Sleep in Carolina,” which also registered big. Bobby Dales, whose clowning and wise cracking between each specialty had the audience all ready to receive him with open arms, offered “Crazy Words, Crazy Tunes,” and offei'ed some of his musical comedy dancing. Something stronger would have registered better following his clever routine of funny pranks Finale: Entire cast with Joyce Sisters on the Mezzanine strumming their ukes and the entire Abbott Ballet in Jazzbo costumes dancing and shimmying to “Crazy Words, Crazy Tunes.” The two pages who were stationed on each side of the reception hall at the opening set were still standing there for no reason at all. Observation: From official statements the writer learned that the Synco-Jazz Stage show shall be a weekly occurrence at this house. From public expression, it is also learned that these shows are becoming popular. The above, being the first attempt on the Sheridan stage, was produced, staged and all scenery designed by R. C. McMullen. one of the permanent production men of the Ascher Bros. Chicago Chicago Week Ending March 13 Nora Bayes was the headliiied name on this week and she should be included (if anyone has omitted her) as among the vaudeville headliners whose act is practically perfect presentation stuff. (And has it occurred to anyone to wonder if that was one of the reasons she got to where she did in the two-a-day?) The show ran: Overture: “Capriccio Italiane’’ by Adolphe Presentation Editor, EXHIBITORS HERALD, 407 So. Dearborn St., Chicago, 111. Dear Sir: For the information of other organists, I wish to report that I used for my organ solo the week ending (Signed (Theatre) (City) Dumont and his pit orchestra. It’s a great overture and no mistake, but obstinate picturegoers just will chat about this and that while the.se things are on. politely applauding at the finish as they “sit up and take notice” of what’s next. Too bad about this lowbrow public taste, but why not acknowledge it and get with it? “Under Brooklyn Bridge,” Frank Cambria’s Publix road unit version of Frank Cambria’s old reliable Balaban & Katz presentation used repeatedly in pre-Publix days. Best response to it was accorded Helene Heller and George Riley, whom the folks out front recognized despite lack of billing as the folks they’d seen in practically every Chicago picture house and welcomed accordingly. Apparently working under restraint and forced to stick to lines, the pair managed to uphold their local standing without stepping on the toes of other acts on the bill. ’These included a contortionist working atop a lamp post (who must be the fellow who used to do frog in a tree-top) and various singers and dancers who got varied returns. (If Publix employs house programs at the New York Paramount and its frontier theatres, it might as well issue one in Chicago and give us an even break.) Murtagh (see “Organ Numbers”). Nora Bayes came on directly ahead of the film, working in full stage with only a pianist (an artist) and making not an exit until she had finished. Miss Bayes’ way with a song is Miss Bayes’ and it doesn’t lend itself readily to description. She makes ’em cry with so blue a number as “That’s a Good Girl” and storms ’em with “Muddy Water.” Were she to cut out the original used for her second offering, the patently vaude lyric about the pay envelope and all that, she would have made the picture house switch complete. And the way that voice fills that practically unfillable auditorium is nobody’s business. Chicago Belpark Opening Bill On Saturday noon, March 12, Lubliner and Trinz opened the Belpark theatre to the public. As the title implies, the house is a work of art and beauty. The new house, one of the many now controlled by the circuit, is located at Cicero and Belmont avenues, in Chicago’s west side, called Belpark. The doors were thrown open by the cutting of a “Gold Cord” by Beatrice Lillie, stage star now appearing in a loop production. The cord extended from one end of the lobby to the other and was the only means that kept the crowd from crashing the box office. To the officials of the circuit, the Belpark opening meant only the opening of another theatre, but to the public it meant a haven of recreation and a resort to enjoy Loop entertainment at neighborhood prices. It was useless for the writer to even think of entering the theatre at this hour, so upon self-advice the reporter decided to return later in the* evening. After several hours and perhaps several inches of rain your erstwhile reporter again appeared on the scene and the huge crowd was still there. Not the same one that was there from the afternoon, but another one much larger, all cheering and smiling like they were bound for a picnic, some under the shelter of the theatre canopy and many under the shelter of umbrellas. Yes, it was still raining but that didn’t keep them from feeling happy. Some had been waiting for over an hour and at 10 :30 P. M. this happy throng was determined to get in and they did. just about 10 :45 P. M. We finally entered also and our eyes received a treat, for the Belpark is a beautiful structure of modern architectural work, seating about 2300, all main floor seats. The ceiling is artistically decorated and lavish imported draperies were hung on the procenium, with stripes of gold borders and red plush all around it in banner form. At the right of the orchestra pit, a huge Barton organ to be operated by Symphonic Hawley, and a six piece orchestra with Cecil Davidson as musical director. The talent listed on the opening programme was as follows: Jac-Mac and his Music Masters in a revue of song and dance. Shannon’s Playtime Frolics, Ray Conlin, ventriloquist, and the Tripoli Trio, a male comedy turn. The feature picture starred Mae Busch and Pat O’Malley in a Universal production, “Perch of the Devil.” According to statements by Manager Henry Golson, son of Harry Golson, Chicago exhibitor and part owner of the Belpark, the new house will run pictures and vaudeville Saturday and Sunday and straight pictures during week days, with a change of policy later of perhaps full week vaudeville bills supplied by Billy Diamond of the Chicago Gus Sun office. ’The Belpark is a combination theatre, apartment building, with stores in front at a total valuation of about $500,000. Organ Solos Henry B. Murtagh (Chicago Chicago, week ending March 13) did a stretch of numbers grouped as “Popular Classics” interspersed with lines concerning each. He used Triumphal March from “Aida,” Beethoven’s “Minuet in G.” “Miserere,” “Toreador’s Song,” “Anvil Chorus” and “Pilgrim’s Chorus,” all of them played straight save two, which he novelized for comic relief, and they hit like a million dollars. 4! * * Edmund C. Fitch (Chicago Sheridan, week ending March 13) offered a combination of old time tunes and jazz numbers. ’The presentation was offered in a novel way by flashing a supposedly “fan” letter on the screen for each song introduction, closing with an operatic selection from “Aida.” “There Ain’t No Maybe In My Baby’s Eyes” and “Why Should I Say I’m Sorry,” were the two popular tunes rendered. From the reception and variety selection, it seemed that Fitch is pleasing all elements. * * Leo Terry (Chicago Piccadilly, week ending March 13) featured “Song of the Wanderer” (Villa-Moret) with a young man, shabbily dressed, singing a verse and two choruses, slides running on the screen. The house is ripe for scrim presensation and Terry is the musician such require for success, but he’s also the musician to get his returns without even singer and slides for help and he did that in this case. * * * Henri A. Keates (Chicago Oriental, week ending March 13) again pleaded with the audience to sing and some of them did, working for him on “Here Comes Fatima,” “Blame It On the Waltz,” “Four Leaf Clover,” “Hello Bluebird” and “Deleware Lacakwan’.” H: * * Symphonic Hawley (Chicago Belpark, opening bill) did a community singing selection of popular melodies. Mr. Hawley is one of the few singing organists and possesses a clear and powerful baritone voice that can be heard from every part of the theatre. His opening programme pleased the audience so much that after he concluded his playing they still kept up the applause, calling for more. However, due to the lateness of the show and another performance that was still to come, making this the fifth show of the day, Mr. Hawley was not able to comply with their wishes. A cheering crowd was still trying to get in at 10 :30 P. M. Hi ^ ^ Jesse Crawford (New York Paramount, week ending March 11) did a request program made up of varied numbers, finishing by introducing Mrs. Jesse Crawford for jazz specialties. 4^ 4. Milton Slosser (St. Louis Missouri, week ending March 11) broke in a new console with “Dance of the Hours,” interpolating “So Blue,” ‘“Thinking of You” and “Why Should I Say I’m Sorry.” * * * Arthur Richter-Les Hoadley (Milwaukee Wisconsin, week ending March 11) billed as “an original novelty” the contraption known as “Heaven Will Protect the Poor Working Girl,” which other organists have billed similarly and whose it is anyway ? ^ ^ Ken Widenor (Kansas City Newman, week ending March 4) did that “Heaven Will Protect the Poor Working Girl” thing (Is it a Feist group?) and followed (the next week) with “Poet and Peasant,” which no organist yet has billed as his own. * * Ht Robert G. Clarke (Detroit Capitol, week ending March 4) revived a number of old-time hits. • « * Muth (San Antonio Texas, week ending March 11) had Revueltas, violinist, in the orchestra director’s position, accompanying him in special treatment of a water-sky scenic — and does anybody know Muth’s first name — or why he shortens it that way in the billing? ♦ ♦ * L. Carlos Meier (Des Moines Capitol) kidded old-time songs under caption of “Yesterday” before bringing on a singer from the audience to sing a new one. * * St Arthur Gutow (Detroit Michigan, week ending March 4) played the things the audience asked for — and isn’t that a lot better stunt than making the audience sing whether it wants to or not ? Attains that same sometimes desirable degree of familiarity without annoying the non-singing element present.