Exhibitors Herald (Dec 1924-Mar 1925)

February 21, 1925 EXHIBITORS HERALD 41 rTHE THEATRE ^Q-^JX^epartment of Practical Showmanship ADD LESSONS IN SHOWMANSHIP Suggestions For Theatre Development Radical departure from architectural tradition is at least partially responsible for the vogue of Chicago’s new Capitol theatre, which is drawing ticket-buyers who thought they’d never see that part of town. There’s money in departures from tradition, and here are some small investments you might want to try; It’s custom to seat the orchestra facing the audience and let the director face the screen. Musicians are not selected for beauty. Uniforms do not make them uniform. They may make pretty music, but when you look at them you don’t see how they can do it. Neither is there especial charm in a rear view of the best director who ever waved a baton. Why not turn the orchestra around to face the stage, turning the director around to face the audience, thus adding eye comfort to ear? And when the overture is finished, let the director turn around and face the screen also. The backs of 40 uniformed musicians look better than their faces. Music need not be blown directly into the teeth of an audience ; indeed it blends the better if not. A director can direct just as well with the orchestra behind him as before him, and his further forward position enables him to remain standing without blocking the view from a dozen or more front seats. (There will be no charge for this great idea; and here’s another.) Recall (or if you didn’t see it, get someone else to recall) the musical presentation of “The Birth of a Nation” when it was new. Recall the effect of that trumpet ripping out its weird call from first this, then that, distant recess of the auditorium at the psychological moment? Remember what that did to the short hair on the back of your neck? Now, what made orchestra leaders forget that stunt? (They never forget any of the stunts that get them the spotlight. Maybe that’s why.) Anyway, why not revive that with the obvious alterations? (No charge for that one either.) • The trouble seems to be that everybody’s trying to do some big new thing but everybody thinks it must be big and new. It doesn’t need to be either. If it’s just different, that’s enough. The public’s hungry for something to talk about and they’ll pay well for crumbs if given a chance. (That’s gratis, also.) It’s Jazz, Whether You Like it or Not There are two kinds of musicians— only twO‘‘~-*those who like jazz and those who don't^— and all musicians insist upon feeding the public *‘what (they think) it ought to have/' Further, musicians who like jazz play it better than other stuff and the reverse is likewise true. Usually this isn't important, but Just now it's the wise showman's business to see that his audience gets all the jazz music it can absorb. Whether you like it or not, jazz is the thing. It's jazz they listen to by radio, hear in the song shops, in vaudeville and revue, at home and on the street. They don't know anything else and they don't want to learn. How long it will last is a question, but not one to worry about. The theatre that gives them what they'’' want is the one that gets their money and that's all there is to it. (Don't just tell it to your musical director. Make it an order and see that he delivers.) Balaban and Katz Novelty Jazzes Solo Combining specially made motion pictures with filmed lyrics of a ballad played on the twin organ by Mr. and Mrs. Jesse Crawford, Balaban and Katz’ Chicago theatre gave patrons something new in organlogues last week. Here’s how it works out: First verse and chorus of the, number is played in tempo established by rhythmically brightened phrases of lyrics dimly printed over motion scenes illustrating same. At conclusion of first chorus, close-up shows violinist playing chorus. Organ drops all but violin stop and maintains synchronism with bowing and fingering of pictured violinist. Closeup of pianist playing number is substituted at middle of chorus, organ switching to piano stop and continuing in synchronism to end. Then back to full organ and the film illustrated lyrics for repetition of chorus. Execution was perfect at the performance observed and the stunt got a big response. "HE WHO GETS SLAPPED" Los Angeles — Criterion — U s h e r s in clown suits four weeks before opening. Stars present opening night. (By Ray Coffin, Robert Doman and H. D. McBride.) * * * "INEZ FROM HOLLYWOOD" San Antonio — Palace — Day preceding opening girl appears on streets in Flint car bannered “This Is Inez from Hollywood.” Special prologue. ■* * "THOSE WHO DANCE" Philadelphia — Victoria — Five hundred gallon moonshine still displayed in lobby. Chicago and McVickers in Public Test Ever wonder what you’d do with your competitor’s house if you took it over? Sure you have. Everybody does. Here’s what Balaban and Katz are doing with McVickers. Balaban and Katz’ Chicago theatre ripped the downtown situation wide open when it was opened, being several jumps ahead of anything on the horizon, and it had the scene to itself for a year. A year to a day after the Chicago opened, McVickers theatre was opened with evident intention of comijeting with the Chicago on its own terms. If anybody expected much of a scrap they were disappointed, for there was er.«*ugh downtown business for both houses. Nevertheless, the best picture shows in this fair land were made available to downtown Chicago theatregoers and that’s that. Then Balaban and Katz took over McVickers and everyone wondered (when he got through collecting rumors as to the reasons, etc.), what they’d do with it. Would they continue the DeLuxe style of show, or would they cut to straight pictures? Even the public talked it over and, of course, decided to go to both houses to see what happened. (Officially, of course, Balaban & Katz do not assume direction of McVickers until February 15.) Week before last the Chicago ran “He Who Gets Slapped” and Educational’s crossword puzzle short subject, while “The Devil’s Cargo” and another crossword puzzle short was run at McVickers. Last week the Chicago ran “So This Is Marriage” and one of Educational’s Juvenile comedies, while McVickers ran “Miss Bluebeard” and a Pathe Our Gang. In general outline the shows continue as before. The overture, presentation, etc., stick to the old schedules. There is no change in the relative newspaper space. McVickers continues to print its weekly program, while the Chicago continues without one. That’s what’s been done, as the public sees it. Would you have done differently? If so, would you have known the situation better at the end of three weeks? Ask yourself whatever questions you like and answer them to your own satisfaction. If the final answer to the story (Sort of a problem play, isn’t it?) were known it wouldn’t be an interesting story. "HIS HOUR" Johnstown, Pa. — Nemo — Two book and one jewel window displays. (Bv Norman W. Pyle.)