Exhibitors Herald (1927)

36 EXHIBITORS HERALD August 13, 1927 Boston Metropolitan Week Ending August 5 “Non-Stop to Mars/* a fantastical revue by Frank Cambria, with the usual lavish Publix entertainers, is the stage feature, with Gene Rodemich and his company of jazz masters furnishing the musical numbers. Cambria*s number is one of rare beauty and calls for the full exercise of the lighting effects to produce the many illusions. Tableaux, action and music are all blended, if such a thing is IXKsible, in the number. Gene Rodemich presents “In the Orient,** a featxire of which is the singing of Alice St. John. Assisting is Boyd Senter, familiar figure to those who enjoy presentation, who is announced as the “king of syncopators.** His work with his saxophone and the jazz clarinet bring forth much applause from his audiences. ‘‘Traumerei** by the Grand Orchestra under the direction of Joseph Klein is the central number about which the rest of the orchestra’s program revolves. It is one in the “Music Master Series” which Klein is presenting. Scenes from the lives of Robert and Clara Schumann accompany the numbers. Arthur Martel presides at the organ. “Time to Love’* is the film. Chicago Granada Week Ending August 7 Benny Meroff in “Montmarte’s Sweetheart’* was this week’s stage attraction. “Is Zat So?** a firstrun feature and Vitaphone, is the other part of the program. The stage presentation took off as follows : Opening: With curtain rising slowly about two feet off the floor, exposing eight pair of limbs doing a dance routine and gradually kicking the curtain up. The next scene, in full stage setting, displays orchestra led by the pianist, Morrie Blumenthal, as Madelyn Killen sings “Montmarte.” The Granada girls come in for a neat routine here and at this point Benny also makes his appearance and leads the orchestra into a very pretty arrangement of “Just Like a Butterfly.** The boys play this tune very nicely, interpolating “Poor Little Butterfly,” intermingled with several instrumental variations. Meroff picks up an odd instrument at this point, undoubtedly made from a cello, having the same body formation but with horn on either side instead of strings. Benny gave a nice solo of this number on this instrument, abstracting some nice harmony from the thing. Ben Metz, the drummer, picks up a chorus of same song and sings it, to very good hand. Meroff then goes into his regular routine of dancing as the orchestra goes at the number for all it’s worth. This number sure got a great plug and it is about the fifth time that it has been \ised in this house, but it always seems to please. Tommy Thompson, a young tenor with a sort of a pleasing harmony voice, sings “Elegie** in French. This young man has appeared in musical shows and local night clubs and seems to please this class of audience with his type of offering. Bruno Brothers, three athletic men, who a short time ago appeared in other local picture houses under the name of the Weiss Trio. They have been reported in these columns before and they again repeated their tremendo\is success in this house, again proving that acrobatic acts can now look to the picture field for recognition. Madelyn Killen came back again after this number and sang “Who,” using Meroff as a foil, later going into a second chorus as a high kicking routine that won her a good hand. Sylvan Lee and Jane Moore, two musical comedy artists, appeared next in a dance routine to the tune of the “Doll Dance,” scoring a big hit, which compelled them to encore to a clever, fast acrobatic novelty step. Benny Meroff next sings “Me and My Shadow,” and although Benny doesn’t claim to be a singer, his delivery was very well received. He followed this up with one of his Russian dance steps performed on a flight of steps. It is needless to say that the audience here go big for Benny’s dancing ; in fact, he has worked himself into the hearts and good graces of this audience through his sincere hard work as a versatile performer. The Granada Girls make their appearance again, half dressed as men and half as girls, and go into a routine of the Apache as Tommy Thompson sings “Montmarte Rose.” Madelyn Killen also comes in for a bit in this scene portraying the Paris Cafe girl, later going into a song offering of “My Man” as she starts to ascend the staircase while the entire cast assembles on the stage for the finale. Observation : Newspaper advertising and other forms of theatre exploitation announce that George Givot, the Chicago favorite, and Buck and Bubbles will appear at this house next week. Here is a treat in store for everyone. Detroit Capitol Week Ending August 6 Syncopatingr redskin tunes, Russ Morgan and his rhythmic musicians wore gay plumage for their share of “Indian Moonshine,” which headlined Boyle and Kramer, musical comedy stars. Inaugural feature: “By the Waters of the Minnetonka,” introduced the orchestra boys fittingly. This colorful event and several other bright episodes took place before a mountainous drop. At one side of the stage a wigwam added to its picturesqueness. Without a break, Ernie Young’s Rosebud Trio stretch their shapely limbs vigorously to a different melody. Sedley, the master of ceremonies, now enters doing "It’s Better to Have Loved,” and spices it for the already highly pleased customers. He is followed by Palmere and Doree’s classical “Indian love call” interpretation, well danced. When this pair made their exit, Moran and White tossed numerous hats around for a time. Their invitations to competitors in the audience and kidding remarks pleased everyone. “Indan Love Call,” included along with the medley supplied by Russ Morgan at the piano, was next, Sedley is back again to perform smart gag work as the bell rings for Jolley, the Capitol tenor, who offers "From the Land of the Sky Blue Water.” All registered nicely and Sedley’s last rendition, “Two-Ton Tessie,” puts a finishing touch on this portion. White and blackface comedy, consisting of songs and words from Kramer and Boyle, drew down the entire house. ’Their word distorting battle was one laugh afer another. “Me and My Shadow,” Boyle’s vocal effort, also pleased tremendously. Finale: Rosebuds and orchestra working to gether. Chicago Chicago Week Ending August 7 The stage presentation offered two stage shows, each of which was extremely beautiful and cleverly presented. The first was called “Impromptu Fantasie and was opened by a long orchestra selection. As this ends the stage reveals a huge set depicting the balcony of a Russian castle. A woman dressed in Russian costume croons “Russian Lullaby” to a baby in a cradle, with stage lights dark, but under amber spot As woman ends song, a group of unseen voices behind center scrim sing "The Volga Boatman.” As these voices fade, the woman sings the lullaby again and scrim cut-out on left discloses a young Russian couple being married by priest. As this fades out, another scrim cut-out on right shows another mother singing her baby to sleep. Then the large center scrim fades into view and shows the 10 singers in Russian costume. ’The woman at the cradle and the chorus sing “A Russian Lullaby” together. The presentation received a fine applause, which it certainly deserved. George Lyons was ne.xt featured in the orchestra pit. He played on the harp and sang “If You See Sally,” and was accompanied by the orchestra. He received splendid applause. A news reel and organ solo were next offered, followed by the second presentation, "Winter Nights.” The stage setting for this presentation was a snow scene done in modernistic manner. Four men, dressed in white Russian costumes, enter from behind scrim curtain and sing Russian song. They are followed by six girls in white costumes trimmed with white fur who do a dance routine. This is followed by the Amaut Brothers, who offer a clown number, playing “Tea for Two” on banjo and mandolin. The number was clever and funny and received good applause. The center scrim lifts to disclose back stage a woman dressed in a beautiful white costume sitting on huge throne of ice. 'This throne is carried out in same modernistic manner, and as the throne glides toward front of stage, the woman sings selections from grand oi)era. The throne then slides to backstage again and scrim is lowered. The entire house applauded. This was followed by a girl who did a very clever burlesque toe dance. The girl won many laughs and a good round of applause. The Arnaut Brothers again appear, this time dressed in clown make-up representing a male and female bird. They give a bird dialogue that is clever, and of the same type as Novello Bros. Their imitation of the singing of birds is great. The number received the best applause of the show. The scrim lifts for the finale and all performers are presented. Milwaukee Wisconsin Week Ending August 6 Yes sii“, this is the week of the Million Dollar Fur Show at the Wisconsin theatre, with twenty models who know their furs, doing their stuff. Dave Schooler opened the show appearing in front of the silk curtain all togged up in a silk hat, raccoon coat and cane, singing “There’s a Trick in Picking a Chicken Today,” And then the curtain was parted showing Dave’s orchestra all dressed in red cloaks with white fur trimmings sitting before a drop representing Arctic seas. A number of the models then paraded back and forth with Dave Schooler’s orchestra furnishing the music, and Dave himself interspersing “wise cracks” now and then. Peggy Hart, the next number on the presentation, did a bit of clever dancing in an abbreviated CORNELIUS MAFFIE (The Admiral of Organists) Featured at the ADMIRAL THEATRE CHICAGO (Also Broadcasting from Station WBBM) Solos Community Singing HAROLD J. LYON Premier Organist CAPITOL THEATRE, OTTUMWA, lA. The Youngest and Most Popular Organist in IOWA “The Best for the Best” HARRY ZIMMERMAN FEATURED ORGANIST BELMONT (Formerly L&T) CHICAGO Now Under ORPHEUM CIRCUIT Management