Exhibitors Herald (1927)

50 EXHIBITORS HERALD September 24, 1927 theatre. This scene was offered with the scrim effect, giving the appearance of rain and the gunshot all for realistic effect to the overture. This was played as the finale, and for a jazz orchestra the number was very well handled by the boys. Observation : A very nice job again done by this producer and probably one of the best shows seen at this theatre. Chicago Sheridan Week Ending September 18 “Jazz Deluxe’* was this week’s stage show featuring Verne Buck and his orchestra. Grace Aldrich with Norman and Constance Shelby headed the cast. The presentation ran as follows: Opening: In full stage with valance part of curtain in blue to match with the music stands and the two pianos also painted in blue. The first band number ; “Swanee Shore,” sung by Norman Shelby, assisted by the Joe Keith girls in a Southern strut later joined by Shelby in a novel eccentric dance. The next artist on the bill introduced by Verne Buck was Miss Chico, who tried to do a character impersonation of the French cabaret girl singing “My Man.” This girl has very little singing voice to speak of, let alone personality for this type of work. She followed with a straight offering of the “Indian Love Call” from “Rose Marie” after a complete change of costume. Although not much of an improvement on the first number, it is never the less more fitting to her type. This was followed by a band arrangement of “Blue River” with a background representing river and valley to comply with the theme of the song. The boys, who are all dressed in tuxedos, put their best in this number. They are led by Verne, who also offers a saxophone solo. After a fine reception Grace Aldrich is introduced opening with a special song called “Hello Everybody,” which takes in a medley of numbers. The next specialty was “A Night in June,” first sung straight and then in syncopated style. Miss Aldrich is a newcomer in this territory and is a comedienne who has an individual way of offering popular songs. The audience seemed to go big for her work here and judging from the amount of applause she probably will do a lot more work in presentation. Norman and Constance Shelby in a ballroom exhibition dance came next, something that has been reported before in these columns. The team is great for looks but lack in routine and in fact the beautiful white plumed fan used by the girl is awkwardly handled and it nearly covers up most of the routine. A band arrangement of “Just Once Again” featured the well known trio here composed of Griswold, Wilson and Buck, who offered a harmony solo in vocal style through megaphones. As usual the boys stopped the show and were compelled to sing another number before the band could proceed. After a fine reception they were followed by Brisco and De Lorto, two comedy men, in a hokum comedy singing and instrumental offering, this team has been reported before and it seems that considerable changes have been made since they were last reported. If this act would only eliminate smut and suggestive pantomime and resort to clean cut comedy they would probably do more in this type of theatre, but as it is the act is typical small time vaudeville and more or less fitted for the burlesque type of houses, in fact, it is very much out of place on a high class bill like this one. Regardless of the encore taken here, it was noticed by this reporter that the applause was scattered in few spots and that those who laughed were really shocked more than amused. Frank Wilson followed next with a vocal selection of “Baby Your Mother,” which he sang in front of band and which he was compelled to sing again before they let him go back to his saxophone. A scrim presentation followed next of “An Old Guitar and an Old Refrain,” which featured Cloyd Griswold in back of a scrim drop bearing a huge guitar design which went up on the second chorus displaying small Spanish Cottage as Cloyd Griswold sang the song as he strummed it on his guitar, at this point a Miss Sears stepped on platform and offered several classical numbers on her violin which won her a fine hand. This was followed by Joe Keith’s girls dressed as Spanish Senoritas in novel costumes while the Shelbys joined them in a tango routine. Finale: Entire cast assembled on stage with girl sitting on settee on platform as Griswold sang last chorus of “Old Refrain” as curtain dropped. Observation: Two of the most noticeable things in the shows here weekly are the wonderful band arrangements and the original and novel costumes, if only good talent were secured, these shows would be the talk of the town. Returns to Circle Mikhail Stolarevsky is back home again at the Circle theatre, Indianapolis, with his concert orchestra. The orchestra, which was moved to the Indiana when that theatre was opened in June, returned to the Circle and presented as the overture an enjoyable selection of airs collected under the heading of “Memories of the Metropolitan Opera.” It is understood the orchestra will remain at the Circle during the entire winter season. Cody Covering Orpheum Lew Cody, movie star, who has decided to abandon motion pictures temporarily to make a tour of the Orpheum Circuit, made his vaudeville debut at the St. Louis theatre, St. Louis, Mo., last week and is in Chicago now. In addition to presenting his own offering Cody will act as master of ceremonies for the entire show. MARK FISHER That Golden Voiced Leader of the MERRY MUSIC MASTERS Alternating Weekly Between SENATE and HARDING Theatres, Chicago Featured in LUBLINER and TRINZ Stage Presentations DAVID GOULD LUBLINER & TRINZ BALABAN & KATZ Production Dept. Chicago ORGAN SOLOS Johnny Winters (Colorado theatre, Pueblo) presented a 6olo, “Ask Me Another,” that proved a great hit. In this decade, when a person delights in getting one over on his neighbor, the organist found great sport in “kidding” his audience with questions and answers, and they liked it to a “T.” Some of the songs included were “Dawn of Tomorrow,” “Nesting Time” and “Under the Moon.” Edmund C. Fitch (Chicago Sheridan) used a novel community stunt this week for his solo called “Favorite Flowers.” The selections were as follows, “Roses of Picardy,” “Knee Deep in Daisies,” “Shade of the Old Apple Tree” and “Morning Glories.” The stunt consisted of many lyric slides used towards the end with certain words printed larger than others, which in turn served to be sung louder than the others and the people seemed to enjoy it very much. A novel idea that has been done before. Bob West (Metropolitan, Houston) does all but stop the show at the Metropolitan, Houston, this week with the cooperation of Paul Spor and the Merry Mad Gang, in “A Musical Battle.” The idea of the combat of sharps and flats was played up in ads and stories for a week in advance, and patrons came into the show all set for the peppy conflict between the organ and orchestra. A special trailer, comically constructed, opened the tilt, with West beginning the battle, after a humorous slide harangue, with “Into My Heart.” Spor and the Gang come back at him with “High Fever,” to a rousing hand. West follows with a popular song, and the solo is terminated peacefully with the combined orchestra and organ rendering a special arrangement of “Faust.” Henry B. Murtagh (Chicago, Chicago) took the mother theme and wove it into a medley which met with general approbation. It was called “Muscal Memories,” and used as the theme song, “Baby Your Mother,** with “At Sundown” used advantageously. In the rendition of the latter song suitable words were composed. Supplementing Murtagh was a soloist, who sang from left stage. In previous numbers Murtagh has used a soloist, and he does the act very effectively. The organ solo was well received. Arthur Richter (Milwaukee Wisconsin) at the organ presented for his selection, “What Are Your Favorite Flowers” and offered “Roses of Picardy,” “I’m Knee Deep in Daisies,” and “Morning Glories,” with the words for each selection flashed upon the screen. Chauncey Haines (Chicago Norshore) offered community singing here for the first time this week. The solo was called “A Bad Dream,” and seemed to please all. It opened with comedy slides to the tune of “Rhapsody in Blue” and followed with a program of three Feist songs, “At Sundown,” “Sing Me a Baby Song,” and “Just Once Again,” all well played by Haines and very well sung by the audience. Henri A. Keates (Chicago Oriental) had a fine organ presentation this week called “School Days." He opened with the old song, “School Days,” and then played for community singing during the slide presentation “How Dry I Am,” “Waiting for the Rainbow,” “After I’ve Called You Sweetheart,” “Highways Are Happy Ways,” “Till Dawning” and “Sing Me a Baby Song.” The whole presentation went over great. Arthur L. Utt (Missouri, St. Louis, Mos.) used a stunt called “Song Birds,” a collection of popular melodies. Utt always gives his people something worth while and they like him for it. Stuart Barrie (Ambassador, St. Louis, Mo.) played “Rachmaninoff's Prelude” in C sharp minor while telling the tale of the composition on the screen. It was part of his “Musical Story” series, and went over very fine. Milton Slosser (Missouri, St. Louis, Mo.), back from a vacation, was at the organ. He played “Hooray, I’m Glad I’m Back, Hooray,” and mixed in some popular songs for a community sing. Slosser is very popular here and always has a treat in store for his public.