Exhibitors Herald (1927)

November 12, 1927 EXHIBITORS HERALD 29 him and keep him before the public eye as long as they demand him, but by all means keep your eyes and ears on your audience and the minute you feel that he is slipping from their popularity replace him with a new face and new talent so that they may not get tired of your program and seek amusement elsewhere. By doing this, managers not only keep up the steady patronage of their neighborhood but also instill the confidence in their audience that they may expect upto-date entertainment without being forced with something that has lost its thrill and drawing power. The band leaders also benefit in this respect in that they find new fields to conquer, and in addition to becoming local favorites will create for themselves a national reputation which not only makes them favorites in their particular neighborhoods but anywhere in the country that their names have been exploited. This fact has been proved by the number of name bands and band leaders now touring the country making limited appearances at deluxe theatres and who in most cases will not stay in one locality more than four weeks, thereby retaining their drawing power and popularity which increases each year when they make their reappearance at the same stand. Now that we have stage bandshows with personality leaders that carry a story in miniature musical comedy style let us also keep up with the times and rotate the leaders so that your people will not be fed up on the sameness and can look forward to something new. To substantiate this fact it is learned that Del Delbridge, popular band leader of the Capitol theatre stageshows in Chicago, will replace Lou Kosloff at the Michigan theatre, Detroit, with the latter going to the Paramount, New York, and Husk O’Hare taking the place of Delbridge. This week Paul Whiteman also opens in Chicago and Mark Fisher starts off his duties as the new leader of the Oriental, Chicago. In addition to this, the stageshows start rotating in Chicago from the Norshore theatre to the Harding and Senate with each leader and orchestra remaining in his own theatre as heretofore. 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: I juet read and reread your article pertaining to the necessity of producers of Stage Band Shows to incorporate a “Continuity of Plot or Theme” into the production of the Stage Shows so that from the start of the entertainment a consistent scheme of thought can logically lead up to a finale. I am heartily in accord with your viewpoint and realize that you have struck a keynote that is vitally concerned in the angle of production. Since the Stage Band type of entertainment revolutionized the trend of Public favor, and since it has become an established factor in the Motion Picture theatre, it is reasonable to expect that in lieu of the amount of money, talent and time involved in the conception and preparation of each show that a detailed analysis be defined to evolve a basis for presentation. Usually it seems the case, that the production department, concoct a name for the particular presentation, possibly costume the musicians in the band, routine a few Acts between a couple of Band Numbers, and then, — for no logical reason, display a flash in either stage or electrical effect and down comes the curtain. This method may have sufficed the early days and stages of Band Show Presentation but today the theatre going public are becoming too biased since Stage Bands now are not uncommon. Its the New Order of Things, and in facing this new cycle I for one find that even in the preparation and production of my Organ Scrim Solos, continuity of thought and scheme ie of vital concern in order to develop a reasonable finale. It is the solid basis upon which any presentation should be devised, because to my mind, a Fantastic Title tacked on a presentation, with a conglomeration of theme and thought lacks the zest of Interesting divertisement that the Band Show is striving to achieve. You started something worth while in your expression and I hope you will throw a few more irons into that fire, for not only do your views apply to the Stage Band Shows, under which heading your article appeared, but it goes for Organ Solo Entertainment as well. Sincerely yours, Albert F. Brown, Granada Theatre, Chicago. PRESENTATION ACTS— To the Editor: Just a little note to tell you I am still on Broadway, and still playing two theatres. Strand and Globe. Not so bad do you think? Six shows a day. I am also making records now. I made three vocal choruses with Mike Special orchestra and today I made by first Victor record. Now I hope and pray it goes through. I may be back in your fair city soon, for a little run. We will see. Though New York has been very kind to me, there is only one Chicago. I have been in New York twelve weeks and I worked eleven weeks. Not so bad ? Drop me a line soon. Saw Milton Charles the other day. ORVILLE C. RENNIE, New York City, N. Y. * * * PRESENTATION ACTS)— To the Editor: Just a note to say “Hello.” This is a lovely engagement here. Everything nice about it. They even have brand new dressing rooms ! Only opened since September. So, guess I’m lucky. The old ones were terrible. They introduce me nice, charming singing comedienne direct from New York musical comedy ! Not so bad. Well, very best regards, GRACE ALDRICH, Touring Orpheum Circuit. • * * PRESENTATION ACTS— To the Editor: Following is the report on my blindfold solo : J. Gibbs Spring, organist. State Theatre, Hammond, Indiana, is doing the very unusual this week. "How to Play an Organ” then into descriptive slides explaining the size of organ, that is, how many manuals, stop keys, etc., etc. Setting the combination by standing to one side explaining which is for the feet, left and right hand, etc., etc. Then stepping on the stage and blindfolded twice, then a large white bag put over head and tied tightly around the neck to dispel any doubt on the audience’s part about being able to see from under blind. Then led to the organ and proceeds with slides explaining what you do with the foot, hands, (in succession), etc., etc. The second touch is explained and demonstrated, also the playing of two distinct tunes simultaneously with the air and an usher ties a bag over each hand while demonstrating that jazz is played with much the same principal, that is, second touch, etc., etc. After removing the three blinds, one at a time, you can imagine the applause that received.” This is the biggest thing I have ever done, taking the ovation in consideration. Hope it is satisfactory. Please send me a copy and I will remit to you in cash or stamps, which ever you wish. Yours truly, J. Gibbs Spring, Organist, State Theatre, Hammond, Ind. Ml ; V i f % J 6 t'S EXHIBITORS ! Here are a few Chicago theatres that pack them in with NOVELTY STUNTS. Windsor Are you getting Michigan the Service you Midwest are paying for? North Center If not Okland WIRE —WRITE and others. CALL 54 W. Randolph St., Chicago Tel. State 2147-2148 P. S. See Oct. 15 issue of EXHIBITORS HERALD about “Discovery Nights.” SL Originator of the New Organ SCRIMAPHONE PRESENTATIONS Albert F. Brown FEATURE ORGANIST Alternating at the MARBRO and GRANADA Theatres, Chicago All Solos Conceived by Albert F. Brown and Staged by RAYMOND Q. DALTON REPRESENTS A NEW ERA OF DE LUXE THEATRE ENTERTAINMENT RAMON BERRY Featured Organist ALAMO THEATRE, CHICAGO Photoplay and Solos a Specialty DAVID GOULD ARTHUR RICHTER LUBLINER & TRINZ BALABAN & KATZ SOLO ORGANIST Production Dept. WISCONSIN theatre, MILWAUKEE Chicago UNIFORMS FOR HOUSE ATTACHES COSTUMES FOR STAGE PRESENTATIONS BROOKS 1437 B’way N. Y. City