Exhibitors Herald (1925)

June 20, 1925 EXHIBITORS HERALD 39 THE theatre! O^^jDepartment of Practical Showmanship ^ IN THE CHICAGO SHOWSHOPS Copy Service For Exhibitor House Organs House organ or newspaper publication rights to this copy is granted exhibitors by the “Herald” herewith. (NOTE: The copy printed in this space this week is from Jack Gault’s house organ for the Amencan theatre, Oakland, Cal. Mr. Gault’s letter, in which he joins the House Organ Exchange, is printed in another column.) EDITORIAL /^PERATING a motion picture theatre is more than giving the public a show — a picture on a screen ; more than even embellishing it with good music. The keynote— the underlying principle of the successful theatre — is service ! The American theatre aims to give service. It keeps a large, well drilled organization always at the top notch of efficiency —to give the public service with its amusement. The American ushers attend a special “ushers school” to learn more ways of serving the public. John Wharry Lewis and his orchestra rehearse daily — to make sure that every program will go on with lightning-like smoothness. The projection experts run the new pictures over time and time again, to synchronize the music. It all is done to insure a good show — and to make sure that the public gets the maximum of service, just a little more than is paid for at the box office. The American theatre is very close to the public — it is really an Oakland institution. And the reason — is service ! “YOUR THEATRE” THAT’S the way the American’s staff wants you to feel about our house ; as if the theatre and all its attaches were yours. Our business is to give you what you want ; to furnish entertainment — plus satisfaction. Only the finest artists are good enough for our patrons ; the best plays available, and the best presentation we are able to furnish. That’s why we have John Wharry Lewis directing a far bigger and certainly a far better orchestra than many picture theatres can boast — and writing special musical themes to bring out the finer points in the Paramount dramas. That’s why we have only ushers who are gentlemen ; youths who have been hand-picked from the ranks of college and high school students. There are some things one can’t buy with a ticket in a box office, and it is our ambition always to be able to furnish these. Stage Shows Slip Weather Kayo Wallop It was “warm enough for you” in Chicago last week, but not too warm for the populace to line up and wait, wait, wait for admittance to the big houses. And wait, wait, wait said populace did, elaborate stage shows and high powered refrigerating plants luring the wary to the ticket wicket in droves. At the Chicago it was ‘‘Jazz vs. Opera” that got them in. At the Capitol it was a $10,000 (or $100,000) Costume Revue. At McVickers it was Paul Ash in “The Jazz Village.” The feature pictures at these places were “Heart of a Siren,” “A Woman’s Faith” and “Old Home Week” respectively. At the Chicago The Chicago’s “Jazz vs. Opera” show was the best of these that has been contrived to date. The talent was at least as good as that used in any previous attempt and the staging was better. As you know, the idea in this “Jazz vs. Opera” thing is to present syncopated and classic numbers in the light of competitive entertainments, the audience sitting in judgment and indicating decision by applause. In other days the getting across of this contest idea has usurped running time more profitably given to the performers in this instance. A medieval exterior set, jazzed with an illuminated stop-and-go signal, was used for the opening. Against it mailed yeomen had at each other with broadsword and shield, filling the stop periods with classic patter. A modern cop broke this up and strolled into one, facilitating a close in, to announce the first number. Subsequently, the warriors were supposed to be speaking through huge gilt masks (Comedy and Tragedy) suspended high at left and right and spotlighted when in use. Through these they carried on the contest idea and announced the numbers, some of their gags being funny. Numbers were put through rapidly and smoothly, jazz predominating to a degree evidently well approved by the multitude. Boyd Senter, jazz saxophonist, got across in good shape despite use of familiar stuff. Mr. and Mrs. Crawford, at the twin organ in a well lined battle between the classic and lighter things, provided a great laugh early in the routine. A sister act not quite up to standard was the only weak spot (Concluded on page 42) What Showmen Are Doing to Get Business A phototype survey of current exhibitor business effort, with pictures upon the accompanying pages. ‘‘Quo Vadis” Pre-View Brings Thousand To Ol3mipia I am enclosing a copy of a letter which we used in exploiting “Quo Vadis.” We tied up with the “New Haven Union,” whereby Mr. Philip R. Troup, editor and publisher, issued 2,000 letters of invitations, as per enclosed copy, to a preview showing of the picture at this theatre. The newspaper furnished both the letterheads and envelopes and Mr. Troup personally signed each letter. These invitations we sent to all the school teachers in town, heads of the various Italian fraternities, all Yale College professors and to all of the most prominent Italian citizens in New Haven. The preview was a decided success, as close to 1,000 persons were present. H. BROWNING, Olympia theatre. New Haven, Conn. ^ ^ ^ The letter of invitation used is reproduced on another page. Production Manager of Capitol Corrects Report Error I have followed your criticisms of the weekly programs under the caption, “In the Chicago Showshops,” and find them very interesting. I believe such a department as yours is the only one in existence among the motion picture trade papers. In the issue of June 6th I note that you say a stage number from “Carmen” was captioned “An Operatic Nightmare” and that the caption damaged the stage number. I believe that you were confused in this in some manner, as “An Operatic Nightmare” was a syncopation number by the orchestra, done in the pit following the regular overture. This in turn was followed by a stage number called “Carmen” with Loma Doone Jackson in the soprano role and assisted by a ballet corps. Contrary to your assertion that the caption did not fit the number, would like to say that the “Operatic Nightmare” was rendered by the orchestra and “Carmen”