Exhibitors Herald and Moving Picture World (Oct-Dec 1928)

November 10. 1928 EXHIBITORS HERALD and MOVING PICTURE WORLD 47 some very difficult muscular work with hands and feet. A very nice number, and well arranged on the program. "Spirit of the Blues" is presented by Eddie Peabody, with a tiny miniature violin, accompanied by his drummer, bass player, and a Frank Reno — who walk to the footlights and put over a very snappy selection, with the stage orchestra playing effects in the rear. Irene Taylor is billed on the program at this point, and is not in appearance until later. Introduced as a favorite melody which will live forever, "Blue Danube" is played by the orchestra, and a fancy chorus dance by the Gamby Hale Girls, who later snap into a fast routine of toe steps which worked through the chorus, brings them back to the fancy work for a finish. "Dynamite Blues" is the title of Eddie Peabody's own personal routine this week. Peabody has proved himself one of the most unusual entertainers ever seen on this stage, and throughout the West he is well-known as the "Banjoy Boy of Jazz." At this point he devotes fifteen minutes to his unique and individual entertainment, playing the banjo, singing, and executing his musical gymnastics. He plays Earl Carroll's latest "Blue Shadows" and Irving Berlin's "Blue Sky." The usual flashy finish is executed by the entire ensemble, with Frank Stever singing the theme song. A very well placed show, which is received with much applause. Portland, Portland Week Ending October 25 "Big John" Aason, who tips the scales at 453 pounds and stands 8 feet 9% inches helped to make it a big week and had gathered around him on the stage the "Midget Follies" some 16 sprightly, singing, tumbling, xylophoning and boxing actors who performed extraordinarily well in their various stunts. Grace Gould, the troup's Biren went over big with her entrancing song, "After My Laughter Comes Tears." Prince Ludwig plays the xylophone exceptionally well, and Dolly Cramer sings blues in real Sophie Tucker style. As usual Don and Iris Wilkins direct the little folk and help to round out a strong bill. On the screen Richard Barthelmess in "Out of the Ruins." Chicago Paradise Week Ending November 9 The opening scene of Mark Fisher's "Pickin' Peaches" revealed two farmerettes holding in place an enormous basket of peaches, from which emerged six pretty girls, one by one. as Fisher sang some "peachy" song introducing the girls. The song was . one entirely unsuited to Mark's voice, being one of those inane numbers usually sung In musical comedies by pretty chorus men with sweet voices. A dance routine by the ballet girls followed. The curtain went up revealing the orchestra dressed in farmer clothes. The first band arrangement of "Blue Shadows" was played at first hauntingly and then very jazzy. It was well done. The Kenna girls came next with some harmonious singing that won a fairly good hand. The too-coy manner of one of the girls didn't make her appear a bit attractive. Cy Wills was then introduced — and he is one of the funniest of the crazy clowns seen in a long time. He practically brought the house down — but didn't stay on as long as he might have. However, he was so funny that his short stay on the stage proved one of the high spots of the bill. The next number was a dance routine by the ballet dressed to impersonate chickens or birds of some sort. A novel and most entertaining feature was introduced by one of the girls whistling in birdlike manner to her mate, love songs which included that beautiful number, "At Dawning." The mate flirtatiously toe-danced back and forth, encouraging and then discouraging, until the almost despairing lover finally conquered. A scrim behind the orchestra revealed all the "birds" making love. This numoer was extremely well done, and the whistler merits special mention for the delicate artistry portrayed. The mate, too. was very good. The Three Diamonds followed with several dances. Two of them "slow-motioned" "Ice Cream," both singing and acting it, and it made a hit although the writer didn't think much of it. It was somewhat tiresome but the audience seemed to like it. And then came the inevitable singing of Mark Fisher. This time the number selected for him was, "I Wish I Was a Kid Again," for which a series of tableaux depicted the five stages of the singer's life and accompanied by Mark's singing of the following: The first was a woman bending over a cradle — "Cradle Days" ; then came a school room scene — "School Days" ; then, a young couple, spooning in a flowery setting — "When You and I Were Seventeen" ; then a wedding scene with wedding march and appropriate chorus ; finally a white-haired couple and another chorus of the song. The whole was charmingly presented and of course sung in the usual entertaining Fisher manner. And maybe the listeners didn't like the many songs Mark rendered to describe the scenes. Incidentally, the finale showed all tableaux at once, with only Fisher concluding the pleasing number. It was extremely effective, and as usual Mark's voice, of which too much cannot be said, put it over. Omaha Riviera Week Ending October 25 "Flapperettes" was the stageshow at the Riviera during the week, under the direction of Paul Spor. Accustomed to spectacular show6 with entertaining acts on the Publix circuit at the Riviera week after week, the audiences found "Flapperettes" rather ordinary. The giving away of a high priced radio for the best essay on the feature film, "Two Lovers," and the driving up of a woman endurance driver on the stage, helped liven things up. A novel feature of the chorus dancing was when each girl carried a square shield behind which she was entirely hidden, with which they built phalanxlike squares like the Greeks of old. The acts on the program were Billie Gerber, singer and dancer, and Cosica and Verdi, string instrument players. Los Angeles Metropolitan Week Ending November 1 "Funny Face" Frank Jenks, the well known comedian and master of ceremonies, who has been putting the gags to his shows at the Granada theatre in San Francisco, made one of the most triumphal returns seen at this playhouse. With Frank on the bill, and with a free hand, he can get more out of an audience than most of the bill together. He works, plays and entertains with every action. The show opened with several of the bill appearing in front of a scrim, wanting to get on the stage, and Frank offers them an opera-tunity in the event they prove worth while before his orchestra. The curtain is lifted, the orchestra appears and the show starts. The group (six boys and six girls) do a line dance, fast tap and along kindred lines the show is built on. Almlra Sessions, the comedienne, did some very good work, playing along with Frank and Arthur Campbell. Campbell was exceptional in his line and gave the audience a treat, one after another. The Sorrell group then entered for a live dance, dressed in rural costumes, and their fast "hoofing" took a good hand. Barnett and Clark, two fast buck and wing dancers offered their bit. They were pleasantly accepted, but would have been better had they another spot. Frank next introduced the band number. "Main Street to Broadway" featuring members of the orchestra. He has a good band, and the music is sweet. Almira Sessions next offered an operatic travesty on "The Swallow." She was comical and dressed in fussy manner of the "hay days." The boys and girls came in next doing another dance number. Nothing to be remembered but pleasing to the eye and ear at the time. Then as Frank started to announce the next act. Besser appeared to be thrown from the wings, a girl appearing in a dressing gown. Frank started to tease him about looking through keyholes. This drew a laugh. Burday and Norway then did an acrobatic waltz, with ease and grace. Their work is of splendid type Billy Randall the Singing Dancing Violinist" ^ Still Playing S Deluxe Theatres Repeating PUBLIX Tour Starting Nov. 17 Direction Wm. Morris Agency and it appears that the Met audience never 6ees enough of this kind of work. They closed in great style. The finale was entered into by the group doing a short dance number appearing in pretty costumes and the balance of the cast coming in for a bit. The show was better by far than the previous week, and with Sammy Cohen, the prominent stage and screen comedian as a stage guest, the bill left a wonderful feeling that the more the merrier. He tripped through the "Spring Dance" then 6ang, "Me and My Shadow" and closed with a "Snake Dance" which registered. He was not billed but pleased a hundred percent. A good bill and one that goes to make up •he Publix unit. Indianapolis Indiana Week Ending October 26 Ed Resener made his first appearance this week as head of the Indiana concert orchestra, playing from the elevated pit platform. Mr. Resener has been connected with music in this city for several years. After he left the conductor's stand at the Circle, he was transferred to the Indiana. The ovation given him and his orchestra proves beyond doubt that the overture has its definite place in the program of a modern movie house. The stage show is not so strong. It is called. "Wonderful Girl." The first half is a weak musical comedy idea. The second half is devoted to the Davis orchestra and George Riley, who appears in the first part of the revue. The generally bad impression of the firet half seems to be carried over into the second half, even though the second half makes a strong effort to overcome this impression. Milwaukee Wisconsin Week Ending November 9 For the first time. Fiske O'Hara, well-known throughout the country, stepped upon a motion picture theatre stage as master of ceremonies, and he did this at the Wisconsin theatre, the week of November 3. His appearance marks the change in policy of the Wisconsin which will have noted men conduct the ceremonies, each for one week at a time. Francis X. Bushman is scheduled to appear as master of ceremonies on November 24. The Wisconsin review opened with Fiske O'Hara. getting a tremendous ovation as he appeared. Then the curtain rolled up and a beach scene called, "Beach Brevities" was shown with Glenn Welty conducting the orchestra. The Carla Torney girls came out and gave a snappy dance in beach costumes that was applauded by the audience. Then Les Hoadley, organist, played a melody of Irish songs in honor of Fiske O'Hara, and the crowd liked that a great deal. Mills and Shea, two clever sailor dancers, then appeared and made the crowd laugh a lot by their antics. The boys can step and get their stuff off pretty good. Next was Lolita Amiet who has a sweet voice and sang a number of popular songs. Fiske O'Hara himself then sang a number of Irish songs, including "Killamey" and "My Wild Irish Rose." The crowd applauded a great deal and he was forced to sing several encores. This gentleman certainly commands one's respect. He has a number all of his own — and a charm. Again the Carla Tornry girls come into view, dressed in red bathing suits, and the front row begins to wonder what the wild waves are saying. Du Calion who can joke, play and climb a ladder then entertains for quite a while, with the crowd enjoying it a great deal, diaries Barnes, tenor, then sings. Billy Meyer "The Golden Tone Baritone" Now Featured in BALABAN & KATZ Stage Presentations and Picture Prologues Entering Third Successful Year with PUBLIX UNIFORMS FOR HOUSE ATTACHES COSTUMES FOR STAGE PRESENTATIONS BROOKS 1437 B'w»f N. Y. City