The Bioscope (May-Jun 1915)

THE BIOSCOPE, JUNE 24, 1915. —— ot 1331 THE MANAGER’S BUREAU. [The Editor is always glad to hear from Picture Theatre Managers on any topic affecting the con trol of their houses. He will also be pleased to receive specimens of advertising matter for comment in this section. All letters asking for personal advice should be accompanied by a stamp for reply.] If we can be of any use to you, write to us. There is ne trouble that we shall net be glad te take, provided we can heip you. Do not hesitate to oonsult us on all points at all times. That Is what we are here for. TALKS TO MANAGERS. NO. 4.—“MUSIC AND THE MANAGER.” It has been said that music is the soul of the moving picture. Whether it be the soul or only the voice, however, it is quite certainly an mtrinsic part of the cinema’s composition and as such is a consideration of first importance to the manager. Nearly all the most successful picture theatres are those at which music is adequately arranged for and worthily dispensed. ‘‘They have such a beautiful orchestra” is as frequent a reason for patronage as “They show such splendid films.’’ Quite apart from the demands of the picture play for suitable accompaniment, the public loves good music for its own sake, and the conditions of the picture theatre—restful darkness and comfort—have been proved to be pecullarly favourable for its enjoyment. Good music, therefore, should be a valuable feature of every picture show. The provision of good music, although it rests ultimately with the musician, depends in the first place upon the discrimination of the manager, and is always, of course, a question, for the latter's critical supervision. For, although blundering interference with technical details by a non-musical manager is obviously a mistake, yet the shaping and smooth-running' of the entertainment as a whole is necessarily, the manager’s work, and some control of the musical side is naturally a legitimate portion thereof. To begin at the beginning, our advice is often asked in choosing between piano and orchestra as a means of music. Where the size of a theatre permits it, we nearly always recommend the orchestra, for there is scarcely any comparison between the effect of one lonely instrument and that of a well-chosen combination. Quality before quantity is usually a wise policy, however, and a really good pianist is preferable to an inferior orchestra at any time. A combimation instrument, of which there are several satisfactory types on the market, allows the maximum scope to a single performer, but it must be good of its kind and not a half-wornout, second-hand article. Google The ideal musical arrangement for an averagesize theatre is, in our opinion, the small orchestra of four, five or six performers, including, it possible, an organ. Such an orchestra has at Its command a tonal variety sufficiently wide to do justice to any picture, and may also form a strong attraction in itself. It need cost no more than a fair-priced exclusive film, especially if it ._plays only in the evening, and there is no doubt that, if it is made use of properly, its drawing power may be enormous. Besides adding immeasurably to the success of the films it accompanies, moreover, an orchestra may actually save money in film hire by its ability to render intervals, not only tolerable but enjoyable. A wellconducted theatre possessing a good orchestra always includes an orchestra interlude in its programme, in addition to an overture and som:times even a special prelude to the principal film. The object of the present article is not so much to discuss the musical arrangements of a theatre, however, as tg emphasise the desirability of advertising them when they exist as a special feature of the show. With the development of cinema music so marked during the last two years or so, managers have shown themselves more and more inclined to draw attention to this side of their entertainment, but in the majority of cases, we think, there is — room for still greater publicity. Since music at a picture theatre is a regular feature of the entertainment, it needs regular ad. vertising. A note concerning the orchestra should occupy a regular position on the day-bill and a regular space on the theatre front, so that the public may be constantly reminded of it and learn in time to associate it with the theatre. A printed programme of music also helps to stimulate interest in the orchestral arrangements. Those who enjoy the music like to know its name, while others may be actually attracted to the theatre in order to hear a piece which they are fond of. No showman would omit to mention jn his pub. licity matter an important feature film. Why. therefore, should he neglect in his advertisements