Exhibitors Herald (Dec 1921 - Mar 1922)

54 E XHIBITORS HERALD March 4. 1922 New Showmanship Methods Follow Business Scare Business is better and getting more so. Like life, it is very much "what you make it," and showmen are observing shortcomings responsible and correcting them. Much good work, preceded by analytical study, is being done. Read "What the Picture Did for Me" for signs of better times and this department for reasons. At Ascher's Roosevelt theatre in downtown Chicago, JJNIVERSAL'S series, "The Leather Pushers," is properly advertised in the electric lights at Ascher's Roosevelt theatre in Chicago's loop. electric sign space is divided between the current feature attraction and the Universal series, "The Leather Pushers." Two bids for patronage are made where one was made before. At the Mark-Strand in Brooklyn where Edward L. Hyman has employed more than a score of players for a single prologue, two persons adequately portray the introduction to "The Bride's Play," Cosmopolitan-Paramount production. At Dayton, O., a Kresge music counter is converted into a strong advertisement for Metro's "Peacock Alley" through the simple argument presented by the manage J7DWARD L. HYMAN emphasized the Irish atmosphere of the Cosmopolitan-Paramount production, "The Bride's Play," in his musical presentation. ment of the Auditorium theatre. Call these events trifling, if you will, but look back of them and attach due importance to the thought that preceded them. Observe that showmen are turning over and over in their minds the current box office situation, analyzing it and applying corrective measures where required. It is merely a matter of time until existing flaws of the theatre will be eliminated through this process. These items are grouped solely because of their varied character. Look on any page of this publication, or look about you wherever you are, and you will observe the same process of correction in operation. Then cheer up. J^RESGE'S music counter, Dayton, Ohio, advertising "IViicocU Alley," Tiffany production distrihutcd hy Metro, through the song of the same title. A MOMENT in the presentation of the First National attraction, "Red Hot Romance." at the Criterion theatre, New York, under direction of Hugo Riesenfeld. Criterion Premieres Showmen who regard Broadway openings as criterions of picture values will find of interest the following account of a recent premiere at the Criterion theatre. (The very lame pun is unintentional. Apologies.) Due to its remarkable success during the first week's engagement at the Criterion theatre in New York, "Red Hot Romance," a John Emerson-Anita Loos production, issued by First National, was held over for another week, starting Jan. 29. Despite the handicap of a severe and prolonged spell of bitter cold weather, the Criterion enjoyed unusually good business during the first week's run and business increased so rapidly during the latter part of the period that the engagement was extended for another seven days. In keeping with the "hot tamale" locale of the picture, a dance prelude, "Spanish Jazz" is being used to introduce the feature, with Cynthia Perot and Elliot Taylor, American dancers who are making their first professional appearance in this country since -their return from Europe in November. They have been in London and Paris for a year and a half, dancing under the management of Seymour Hicks. They created a sensation as featured dancers with "The Little Dutch Girl," which ran for eight months at the Lyric theatre, London, and after their first appearance at the Lyric, were immediately engaged to dance at the supper hour at the famous Embassy Club. During this time Miss Perot became a great favorite with smart London society leaders and was in constant demand to introduce American dances, such as the "Paul Jones," etc., at private balls and dances. Following the termination of her London engagement. Miss Perot and Mr Taylor went to Paris, where for over six months these "Whirlwind Dancers" appcared successively at Giro's, The Frolics and the Chateau de Madrid. They plan a few engagements with theatres presenting "Red Hot Romance" and will return to London for the summer season, appearing there in June in a new revue and under the management of Mr. Sacks. "Red Hot Romance" is the work oi John Emerson and Anita Loos, who have been responsible for many successful pictures within recent years.