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January 21, 1922
EXHIBITORS HERALD
43
Fcr "The Lotus Eater" Edward Hyman used a prologue which necessitated expenditures for salaries and little else. The costume of the man is of stock stuff. Those of the women doubtless were purchased by the yard. The drop probably came from the stock room, where it was stored after the run of "The Idol Dancer" or a similar production previously exhibited.
"Place De La Revolution" was the title given the prologue produced by Joseph Plunkett at the Mark Strand theatre, New York, for "All For A Woman." The presentation was similar in many respects to prologues used by exhibitors in almost every city in America for "Passion" when that picture was new.
It is suggested that the prologue, at least the "'expensive" prologue, be discontinued. "Junked" was the word used when a similar suggestion was made in regard to battleships.
The views of this department were set forth in the January 14 issue, with the suggestion that exhibitors write their opinions and bring out of the discussion general good through sincere exchange of ideas and establishment of a basis for profitable cooperation.
Prologues of representative types used by various exhibitors for First National attractions are presented on this page.
Do you consider that this development of the theatre should be ""junked" save temporarily where economic pressure is severest ?
This is a strictly theatre question.
What is your opinion ?
L'Indienne, solo danseuse of the Chicago Opera Company, was featured in the prologue for "One Arabian Night" staged at the Kinema theatre, Los Angeles. The report characterizes the presentation as "prologuing carried to its greatest height." The photograph conveys an impression of its magnitude and general quality.
The prologue staged by Loew's Palace at Cleveland, O., for "A Midnight Bell" was of the more expensive variety, if the photograph received may be accepted at face value. Here special requirements doubtless necessitated the making of a special drop. But the cast was small, cutting down salary expense, and the props were all of a nature that could be obtained at minor if any expense.
The prologue used by Edward L. Hyman at the Brooklyn Strand for Norma Talmadge's picture, "The Wonderful Thing," was of essentially inexpensive character. Aside from the salaries of the players the cost of the prologue was not great, setting, costumes, etc., being of standard type.
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"The Dance of the Butterfly," adequately described by that title, was staged at the Los Angeles Kinema for "Wife Against Wife," a wholly modern story. The prologue in this case was of purely allegorical application to the feature. Where curtailment of expense is deemed necessary this type of presentation should be given special consideration.
At Loew's Park and State theatres, also in Cleveland, "Passion" was presented identically. Two persons were employed for the work. A stock drop, or a drop that should be kept in stock, was all the scenery required. The costumes doubtless were obtained from a costumer for a slisrht fee.