Exhibitors Herald (1927)

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November 12, 1927 EXHIBITORS HERALD 33 New York Paramount Week Ending November 11 “Ave Maria,” worked into a production overture by Adolph Dumont, with Eugene Dubois, solo violinist, Carl Schuetze, solo harpist, and the Paramount vocal ensemble, all led by Irvin Talbot and the Paramount Orchestra, was a striking and effective piece of work, even better than some of the previous overture productions, and quite naturally, brought more applause than the usual plain overture ever dreamed of receiving. A sure shot from Jesse Crawford, with Mrs. Crawford at the stage console, is the combination of “Just Another Day,” “Charmaine” and “Broken Hearted.” Imagine these three favorites, masterfully played, and you then have an idea of how they went across here. “Moonlight Waters,” Jack Partington’s show, with Ben Black and the Paramount Stagehand, is a nicely rounded out bit of work, well balanced for talent and swing. The band opens with “Beneath Venetian Skie6.” Rosa Marino and the Boris Petroff Dancers, do a tamborine number, “Tarantella,” showing a lot of practice and teamwork. Mario and Lazarin, billed as “Two Strolling Troubadours,” offer “Just a memory” and “An Operatic Comedy Medley,” somewhat along the style of the old Rome and Dunn bit, and the boys know their garlic, for tjiey can sing like few other teams. They went over with a bang. Another orchestration, “Moonlight Waters,” followed by Helen Yorke in a new arrangement of the “Carnival of Venice.” Miss Yorke has been a favorite on Broadway. Yesterday made her a great favorite. Fauntleroy and Van, two tourists from the states, costumed as well broken-in hicks, open with fiddle selections, using small brooms for fiddles, then swing to a pair of bellows for the next laugh producers. A dance, and then something different, working with a saw. The finale is a bit of half yodel, half song and half foolish ditty, but you’ll just have to hear these boys to appreciate them and get a crack chance to hurt yourself and laugh out loud. The finale is a spec bit, using the entire ensemble, and close out a crack show with a gusjo and swing that the house liked greatly. Philadelphia Fox Week Ending November 4 An unusually pleasing feature of the program this week was the first motion picture theatre appearance of Vivienne Segal, star of “The Desert Song.” The Fox Theatre Orchestra, with William A. Krauth conducting, won prolonged applause for its playing of Kelar-Bela’s “Hungarian Lutspiel,” with violin cadenza by Maurice Braun. The Runaway Four, "Comiques Originale,” followed with their amusing tumbling, dancing and singing. The four men in rags and tatters did some clever tumbling and the intricacies of their soft shoe dancing showed them to be past masters of the art. The audience rocked with laughter as they rollicked through their act. Benny Rubin in “Conversation That’s Different” was not quite so successful in drawing laughs. He gave the usual monologue interspersed with singing and dancing and talked about everything in an amusing manner but his songs did not register so well. Vivienne Segal possesses a charming personality, which combined with her attractive appearance in a blue and pale pink bouffant evening gown puts her audience in a receptive mood. Chicago Nor shore Week Ending November 5 A1 Kvale’s presentation was dedicated to the nearby Northwestern university and was called “Hello Northwestern.” With lots of pep and sparkle and good talent, the show is a winner. It opens with the band playing “Go You Northwestern,” the University song. The stage setting is a campus scene of the university. Kvale comes on dressed in collegiate style and leads his band through a medley of college songs. The band boys give yells and the Norshore Girls, dressed in gym suits, do a short routine on the 6tage level above the band. The number is a wow and gets a big hand. The Wizner Sisters, Northwestern coeds (no fooling), follow and sing “A Night in June” and “At Dawning.” When they finally quit the audience is begging for more. If these girls could keep “their school girl complexion,” so to speak, they would go over fine as regular performers. The Dean Brothers follow with some good acrobatic and eccentric dancing. The act gets a fine hand. The band next pays “Just Another Day Wasted Away.” A1 plays his sax and Cloyd Griswold, a new addition to the band, sings the song. The audience took to Griswold right away. The number as a whole isl splendid. This is followed by Meehan and Newman, whose act is a combination of dancing, harmonica playing and what not, and it is all good. The girl yodels “Go to Sleep” in good style. The act gets a big hand. The Norshore Girls run out dressed in gym suits to do a short routine and follow this by singing “Oh, How We Love Our Alma Mater” on the runway out front. Kvale leads in the singing. It's a snappy, pleasing number. Jack North, who has been reviewed and praised in these columns, next plays his banjo and sings a number of clever songs. Then comes Peggy Bernier, who sings “I Ain’t That Kind of a Baby,” “He Don't Wanta” and “Miss Annabelle Lee.” Peggy is as good as ever. For the finale a big illuminated football with players 6een in silhoutte is seen backstage. The moving figures get a good laugh from the house. All the acts come on as the show closes with the band playing “Go You Northwestern.” Kansas City Mainstreet Week Ending November 4 Wilson Sisters and Washburn, in a novelty skit, headed the stage program this week. Walter Davison and His Louisville Loons celebrated their ninetceth week at the theatre, being featured as the stage orchestral attraction. Little Sousa proved worthy of the name in an offering with met with pronounced favor of audiences all week. Rector and Cooper had a diversified act, as did Ferris and Ellis. Gifford and Gresham were versatile enough in music and dialogue. The overture consisted of popular selections played by Walter Davison and H is Louisville Loons. Atlanta Howard Week Ending November 5 A1 Short again donned the master of ceremonies’ cap with his own stage production, “Melodies Entrancing,” a musical revue combining the most popular tunes from “Blossom Time,” “The Student Prince” and “Naughty Marietta,” Doris Ellington of the Chicago Grand Opera, and Orville Rennie, who sang in “The Student Prince,” were imported as leading singers and surrounded by a chorus of 20 local songsters termed “The Atlanta Light Opera Chorus.” Costumes representative of the three musical comedy successes were used. The whole program went over fairly well, with the main criticism being an evident lack of training. “Toyland,” the regular Publix unit, proved rather interesting. The curtain rose on A1 Short and His Melody Boys in the region of toyland, the 6ets crammed with painted toy images. Marie Kelley’s Six Dancers started the bill off with the dance of the red soldiers. An eccentric athletic skater, Johnny Dove, followed, receiving a good hand for hi6 unusual act. Frank Hamilton, a comedian songster, pleased with a stuttering number. C'affery and Miller, dressed as two school boys, the rough sport and the bashful rich kid, came next. The “hit” of the attraction was Mitzi Mayfair, a child dancer called the “Doll Dancer.” Her intricate acrobatic feats brought loud applause. Ginger Rogers, who recently appeared on the Howard stage, returned with an unfortunate song as her feature number, “He Don’t Want To” ; unfortunate in that it has been overworked with the assistance of Director Al. Too vigorously a swinging of arms prevents this young lady from going over strong, although she is capable and well like by an audience. Al Short and His Boys with George Lee Hamrick at the organ were on their jobs, as usual. Pittsburgh Penn Week Ending November 5 There are eight units in the show this week, and but two are on the stage, one being a pretentious overture presentation in three scenes and the other the personal appearance of Buster Keaton playing on the same bill with his latest picture, “College.” Keaton is doing an act running eight minutes, it being a burlesque on “Salome.” Full 6tage is used and as the curtains are parted four negroes and a king walk out. The king seats himself on his throne at which the negroes exit. They come back carrying a pallequin which is entirely closed. They dump it and Keaton rolls out in a wig and mask on his face. They fall off as he falls and as the audience recognize him a big reception follows. Then Buster goes into a dance, using a snake made of wieners, he dressed in hot water bottles and like articles. His dance is full of broad BERNARD COWHAM Oriental Theatre, Milwaukee Heaven’s Gift to the Music Publishers BENNY and WESTERN AND THEIR WHISK-BROOM DANCE Have Made Good In All PUBLIX Theatres Direction Wm. Morris Agency ADELAIDE HALL (The Versatile Artist) Just Completed a Tour of Marks Bros. Theatres Now Playing Deluxe Picture Houses Direction — Murray Bloom and Charles Hogan “JAZZ-LIPS” RICHARDSON The Most Talked of Eccentric Dancer in Bandshows Featured with HUGHIE MACK’S SYNCOPATION-UNIT-SHOW Now Touring ORPHEUM CIRCUIT Direction — EZ KEOUGH