Exhibitors Herald (1927)

32 EXHIBITORS HERALD August 13, 1927 Plagiarism Hurts (Continued from page 31) that someone else who has played that house before him used practically the same routine and in some cases identically the same gags. You, as a theatre manager, should keep close watch on the material used by the artists you employ. By making notes of the gags, or better still, by securing a typewritten copy of all talking routines used by any act playing your house, for the purpose of filing, will enable you to have a record of the time and date it was used. If at any time you find that some other artist has the identical routine or in any way infringes on the one before, you can make it your business to find out whether or not this artist is the true owner of the material or whether he is just trying to rob some other artist of his individuality and trade mark that takes time and money to build. Managers Must Be Careful You may not feel that this is such an important move right now, but unless you are very careful in checking up on these things, you will find that your theatre will fall into the same rut that vaudeville has for the past several years, and your audiences will comment as they leave your theatre, “Why, I heard that joke before,” or “I’ve seen another act do the very same thing in this house not so long ago.” You cannot afford to have your audience talk this way, for it is the word of mouth advertising that either makes your house a success or a failure at the box office. It is taken for granted that a number of artists playing any type of theatre, make a practice of stealing other artist’s material, such as pantomime, and individual tricks, but it is also a known fact that a greater portion of the artists try to be original and are always on the lookout for better and more uptodate material. Our advise to artists who have no sense of honor when they lift bodily another brother artist’s routine which is the bread and butter and the working tools of an actor, is that that certain artist should be taught a lesson, and if one or two little incidents will not curb him of his bad habits, then managers should complain to the booking offices and have same cancel the balance of that act’s route for the protection of the other artists and for the protection of your audience in receiving their money’s worth. Be Yourself (Continued from page 31) The reason why Paul Ash has become so popular is not for the fact that he is a clever musician, but for reasons that he is a clever showman, and to be a clever showman also means that you must be gifted along certain lines, to do certain things at certain times. To know your audience, what they like, when you can clown and when you should be serious, and last but not least to make yourself the leading light without giving the impression to the audience that you are important. This by clever manipulation of showmanship tricks you can cultivate the likes and dislikes of your audiences just by being a regular fellow. Must Select Proper Songs If you are a singer, make sure that you select the proper songs to do your voice justice, and if you have an exceptional good speaking voice that may become you as a master of ceremonies; don’t make the sad mistake of just speaking words that have no meaning or carry no sense of humor along with them. If you are not able to construct a routine that is clever and one that can make a favorite of you to your audience, then select someone who makes it their business to write such material, and in that respect you will not only better yourself but you will be classed as one of those who is different and natural and the manager will wear a happier smile when he notices the long lines waiting at the box office to see your new offering from week to week. Presentation LETTERS In this open forum those interested in presentation may discuss important matters bearing upon this phase of theatre entertainment. Only signed letters will be published. PRESENTATION ACTS— To the Editor: During the last week I used two solos, the first of which was, “The One-Man Orchestra,” which the big Chicago houses all used. It seemed to please the patrons of this 2,000 seat house very well. Thirty-seven or so slides, with audience singing. “When I Think of You.” They love singing out here I The second half I used a novelty of my own, playing my own transcription of “Caprice Vennois” (Kreisler), and “Hungarian Dance No. 5” by Brahms. These I announced myself from the bench by saying, “This evening (afternoon) I am offering a ‘Concert in Miniature’ consisting of two numbers,” then giving the names. They were played with pin-spot on my head and surrounding this a special mottled, changeable spot which was mysterious and interestcompelling in itself. I was fortunate enough to be required to take bows after each number. (Presented eight times.) Will continue this series at intervals. Of course, to put this stunt over the number should be worked down to a nice finish (the audience can, in some way. tell the difference) and one must act sort of “masterly” or they will not go over. Above all, remember the music is the thing and people understand, somehow, when a number is done well. I mean when it is done well it is discernible to the average theatregoer. They may not know just why they enjoy it better but they do enjoy the pieces better for the care and worE which have been put into them. (Hope this will be clear to you ; I am not so good on sentence construction.) Would like to see the suggestion for my last solo get to other organists because I believe it is a little departure and also a means of making them like it. — F. LE ROY NELSON, Organist, Rivoli theatre, Muncie, Ind. • * • PRESENTATION ACTS— To the Editor: I am pleased to see the new music department opened by the HERALD and think it is a great idea and a big help to exhibitors. As I have an orchestra in my theatre here I wish you would kindly get in touch with the various music publishers and ask them to send orchestrations and organ novelties, as we feature these in our ads. Or else, send me addresses and I will get in touch with them. My leader here only has a small library and I am trying to get the latest orchestrations to keep our music from repeating, as this orchestra is a big drawing card here. I also use comic slide novelties here, too. Would appreciate any help in getting new novelties of this type. Hoping to hear from you at any time and also appreciating any help you may give. — F. W. PUTNAM, Manager, Liberty theatre, Beaumont, Tex. * * * PRESENTATION ACTS— To the Editor: As assistant manager and in charge of presentatations and radio distribution of the Cinema Royal, I am particularly interested in the Roxy presentations and his radio program. I. therefore, should be obliged if you would give me fullhand information of his radio distribution. Does he send out his whole show or only certain parts of it? How does he introduce same? As to his stage presentations I would also be thankful for detailed information. Is the show a prologue to the feature picture or is it a revue not linked to the rest of the program? Of course, if we are doing something like a stage presentation over here we have to do it in a smaller way, but anyhow information as to the particulars of a Roxy or Publix presentation will always be very welcome. Thanking you in advance. Very truly yours, EGON A. C. KAPOSI. Cinema Royal, Amsterdam, Holland. GEORGE DEWEY WASHINGTON “Just Songs” Just Finished a Second Tour of Lubliner & Trinz and Balaban & Katz WHAT PRESS AND PUBLIC THINK OF THE “ADMIRALPRESIDENT”— “ACE”, Dramatic Critic of the “Kansas City Post”, says: — “When George Dewey Washington sings a song, you have heard it sung”. This week at the WISCONSIN Theatre Milwaukee Next Week at the ORIENTAL Theatre, CHICAGO, for the Fourth Time Many Thanks to PAUL ASH Jimmie WHITE BROS. Ed<fie Double Dancing DeLuxe **We Dance as One” Now Playing De Ltixe Picture Houses Direction— EZ KEOUGH