Exhibitors Herald (1927)

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October 8, 1927 EXHIBITORS HERALD 41 Chicago Norshore Week Ending October 1 A1 K vale’s stageshow this week was called “Jazz on the High C’s.” Harry Gourfain, the producer of these shows, again put forth some of his clever imagination into the setting of this show. This week the Gould girls make their bow into this house as a permanent ballet, replacing the Abbott girls. The presentation ran as follows: Opening: In front of scrim curtain showing an ocean scene with waves and clouds moving about as the yacht Elavkla (which is supposed to represent A1 Kvale’s name spelled backwards) with the girls assembled on yacht around orchestra as the yacht anchors at the pier. A1 as the captain in typical uniform steps off to sing "When the Morning Glories Wake Up in the Morning,” for which he receives a fine reception. This is Al’s first attempt at singing and he did a very good job of it, again proving his versatility to this audience. He is followed by Billie Gerber, that cut little entertainer whose offering in typical boy’s style is in a class by itself. Billie has been reported many times before in other houses and again proved herself very popular. She was followed by the Gould girls in a routine called “Dancing Sailorettes,” who stepped to the band’s arrangement of a medley of maritime songs in which they do “A Sailor’s Hornpipe” and other steps in flag signaling style. They were followed by Florence Brady in comedy songs which proved to be one of the feature entertaining bits of this bill. Miss Brady was reported in these columns last week, and according to our prediction, she is fast succeeding in this type of work. In addition to three popular songs, she was compelled to take several encores before the audience would let her sign off here. After a fine reception she was followed by Markell and Faun, those two eccentric comedy dancers who have done considerable in making their type of offering successful in picture houses. This team was one of the first of its kind to appear in front of bandshows and this makes their fourth appearance in Chicago houses. It is needless to say that they scored heavily for they never fail to win any audience. For further reports, kindly look up back issues of this paper. The next is a little comedy scene in which Al takes par? in it with two ushers, all based on the B. & K. service, and as the ushers bring on the piano Al rattles off “Doona” while Milton Watson, as firet mate of the yacht, sings the tune of a classical arrangement called “Lilac Tree.” Watson, who is one of the most successful tenors in picture houses, was compelled to sing several other songs before he could say “Thank You.” This was followed by the Gould dancers again in a novel routine ending by going aboard the yacht again as the orchestra and the organ played by Chauncey Haines joins in on the tune while the yacht departs for the finish. Philadelphia Fox Week Ending October 1 Four stage attractions comprised the bill of entertainment at the Fox theatre this week. The Fox Theatre Orchestra, with William A. Krauth conducting, opened with Tschaikowsky’s overture, “Capriccio Italienne.” The Hemstreet Singers, of Greenwich Villiage Follies fame, sang a number of songs that seem to have a permanent appeal, among them “Glow Exclusive Brunswick Artist Worm,” “Mighty Lak’ a Rose,” “Gypsy Sweetheart” and “Kiss Me Again.” They were attired in quaint Colonial styles and each singer stood in a flood of brilliantly colored light, which changed to white, showing the costumes to be made of flowered prints with innumerable little ruffles. Orange draperies completed an elaborate setting. Their voices harmonize beautifully and the audience clamored for more songs. Bert Hanlon, the “Gatlin Gun” of comedy, is great. His monologues bristle with wise cracks and it is not only what he says, but the way he says it, that jollies the audience up and wins the laughter and the applause. He closed with Stanley Lupino’s song, “What Great Men Cannot Do,” which brought down the house. Ed and Ned King, billed as “tip top tappers of syncopated rythm,” did some tap dancing that was the last word in this kind of syncopation. Pauline Alpert played a number of pleasing melodies on the piano, including “Hallelujah” from “Hit the Deck,” and “The Doll Dance.” New York Paramount Week Ending October 7 “Robespierre/* with screen explanations and a tableaux, was the effective combine this week to win big applause. As an overture Marguerite Ringo, soprano, in the tableaux, surrounded by eighteen players, and male ensemble, sings “The Marseillaise/* stirringly, and helped round out the desired effect very nicely. Jesse Crawford uses the mother theme rajther neatly and cleverly in and about the piece “Yiddish Momme,” working in a picture of pilgrims in Jerusalem. A tab with violin player and mother in rocker eventually fades out the picture. They liked it. “Dance Caprice** by John Murray Anderson, featuring Ben Black and the Paramount Stage Band, hit a nice pace, programmed as follows : “Just Once Again** as an opening band number, using a songster from the band, who had a pleasing enough voice to deserve individual billing. “Romantic Ballet** — The Albertina Rasch Dancers, numbering 16, in typical ballet costume, strut their number here pleasingly. A scrim drops in front of the band while the girls work, setting them off by themselves a little more. Crack team work is the key to their big applause. Their routine itself being nothing exceptional. “Dance Caprice** — Arlyne Crandall and Little Marley, do a burlesque on the ballet here in true slapstick style. Okay as far as it went — nothing new that would hit a high mark. “Mile Mimi** — Introducing this new American Legion hit. Ben Black and his songster in the band put it across in great style. A hinky dink parley voo air and quite appropriate just now. “C*est Vous** and “Italian Street Song*’ eung by Llora Hoffman, she of many Winter Garden successes, brought down the house in true Roman style. When you have a voice and personality like Llora’s, you have something. The house enjoyed applauding her and wanted way more. “The Zebra Strut** — The Albertina Rasch Girls. This number brought way more applause than their earlier efforts. The nobby zebra helped some too. Cy Landry, reported before in these columns showed up here fairly well. A lot of clever steps and pantomine, but the latter seemed to drag considerably in spots. “Moonlight and Roses** as the finale using the entire company. A great little piece to close with, using the ballet in a tab above the orchestra, as a background. A nice bill in good taste and holding worth while music and general entertainment. Chicago Harding Week Ending October 2 This week’s stage show with Al Belasco and His Jazz Syncopators was a college presentation called “Rah, Rah, Jazz.” Peggy Bernier and Bernardo De Pace were among the featured players. The show ran as follows: Opening: In college setting as boys cheer, at this point the Gould dancers dressed as boys enter and start to go into one of their numbers as Belasco makes his appearance, finishing the routine with two of the girls in an eccentric Charleston step. Belasco next sings “Who’s That Pretty Baby?” in his usual pleasing manner, assisted by the boys in the second chorus with the band also playing a medley of “Baby Songs,” going back into the first tune as Al prances about in musical comedy style. Gloria and Mary Moore, two of the Gould Dancers, next offer a clever toe routine to a good reception and make room for Jean and Fritz Hubert, that inimitable pair of eccentric dancers. This couple has been reported many times before and we again wish to go on record by saying they are the best yet seen in their line. After a tremendous appreciation shown them they were followed by Bernardo De Pace, the wizard of the mandolin, who is making his first single appearance in these houses. De Pace just completed a tour of de luxe picture houses in a Publix unit and is one of the best entertainers ever seen in front of a stagehand show. He was followed by the Gould girls in a co-ed offering with their arms and legs in a novel pantomine as they lean against the wall on platform level above band. The costumes of red and white worn in this routine made a very unique appearance. Belasco next introduced two of his boys of the band who offer some specialties in the way of comedy pranks. The by-play between Belasco and these two boys kept the audience in a continuous DICK MARJORIE MAXWELL and LEE “The Dumb Bells” With John Murray Anderson’s “Joy Bells” stopping ’em every performance. Now at the INDIANA Theatre, Indianapolis Week of Oct. 15th, AMBASSADOR Theatre, St. Louis, Mo. Direction — Wm. Morris Agency JOE FRED McKENZIE and BISHOP (Formerly with. Babe Ruth) Now Playing Deluxe Picture Houses Throughout the West Under Direction of MORT INFIELD Picked by BABE RUTH as the best singing team in Presentations. Discovered by JIMMY KEEFE, publicity director of the First National Pictures West Coast Studios. EDWARD K. HOUSE “The Singing Organist 99 MARBRO and GRANADA Theatres, Chicago