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

38 BETTER THEATRES SECTION OF December 22, 1928 Inside Information Synchronization has taught one thing, says organist, and that is that the theatre patron is a lover of novelty By HAROLD DANIELS F eatured Organist, Buckingham Theatre, Chicago SEVERAL weeks ago I was asked to contribute an article on the "sound" situation. Not that I had any authoritative views to disclose but merely because Mr. Gallo thought it expedient to hear from people in various classes of theatres. Hence the article, "The Organist vs. Sound." Mr. Gallo has again called upon me for a contribution and I am glad to comply with his request. In fact, every organist should be a committee of one to further our best interests when ever possible. The Buckingham theatre was the first neighborhood theatre in Chicago to offer synchronized pictures to its patrons. Since its inaugural on October 20, 1928, as a Vitaphone presentation house, I could count the features I have had to play on my fingers. Vitaphone acts have replaced the comedy and similar short subjects which were formerly a part of my routine, and Movietone News has taken away still more of my former duties. However, for every solo I used to do, and these were almost entirely of the "community" variety, I have done five or six and of all types. Synchronization has taught me that the theatre patron is a lover of novelty. I do not doubt but that many patrons heartily dislike synchronized pictures but, at least, their craving for novelty is satisfied. Thus it evolves that in doing so many solos, the point of novelty must always be kept in mind. I have tried several different types of solos and fortunately they have met with some degree of success. In listing the manner in which these solos were worked out I believe I shall be fulfilling the purpose I had in mind in titling this article, "Inside Information." However, do not entertain the idea that what has pleased my audience will please yours. I am merely listing what I have found to be successful organ novelties in my particular case. You are, therefore, at liberty to appraise their value as you see fit. The general point of "novelty" is, I believe, the main point to keep in mind. By way if illustrating that point, suppose your theatre shows a certain attraction three days — say Sunday, Monday and Tuesday. It is, no doubt, a good policy to use your community solos on these days. Then suppose your next attraction is shown on Wednesday and Thursday. On these days, I would suggest the straight type of solo — introducing a new song — or perhaps you could offer an overture, or some other form of curtain solo. In all probability, the next change of show would cover the remainder of the week — Friday and Saturday. On these days I would suggest a song plugger or singer and have him invite the audience to join in on the last chorus. There in the period of one week you have used three types of solos, each different from the other. Not only have you broadened your field of solo playing but you have also pleased possibly 100 per cent of your audience at some time or another during that week. This rotation of solos is merely an illustration of novelty and need not be followed until it becomes a bore. I have tried interspersing my program of solos with several novelties which utilize the Vitaphone amplification system in the theatre. Following are brief resumes of a few of the types of organ novelty: * * * In equipping a house for sound, an ordinary microphone is part of that installation. Have a "plug in" near your console, and use the microphone for your "all talking" solos. This will be a never-ending source of amusement to your audience for not only do they see you at the organ but by means of the microphone they hear your voice over the loud speaker horns, and by cotnbining a feiv pre-arranged gags which you speak over the microphone and a few community choruses with slides, you can entertain even the dullest audience for ten minutes. * * * Another stunt is to place the microphone out of sight of the audience anil have a singer play his song via the loud speaker horn. And in passing let me say that the sight of the words on a screen, and the sound of a voice which seems to come through the words on that screen, and the soft accompaniment of your program is anything hut small time in a house where a scrim solo is impossible due to lack of a stage and the proper settings. Do not entertain the idea that this form of entertainment is a "Meal"' from the "talkies." You are the element which banishes the mechanicalism of the stunt. Still another idea: In presenting my "Kid's Glee Club" each week I zvrite a little story around each meeting and our manager, Mr. Charles Ryan, reads this over the microphone between the songs which the kids sing. He also instructs them as to how the song is to: be sung, "boys only," "girls only," "real soft," "very loud," and so on. He is known as the "Big Voice of the .'Kid's Glee Club'" and this combination of entertaining the kiddies has proven to be ioo per cent novel and interesting and assures even the kiddie in the last row an equal opportunity to hear every instruction and understand what he's to do though he probably couldn't read a slide quick enough to knuK<. I might add that Mr. Ryan is a representative theatre manager and as such is desirous of getting value received from the organ department. Therefore, he cooperates with me in these ideas and your manager will be glad to do the same thing, I'm sure. * * * Now. as a final idea: Should th<' others mentioned not happen to strike your fancy as entertaining I offer the following: Have a couple of slides made up to precede this stunt, then without further ado. interrupt your solo with a. "Before I go any further, let me introduce my new ghost trick — 'the ghost of the organ.' " Then at the proper cue, an assistant will start playing an organ record which can be amplified by means of the Vitaphone system to a degree equal to your oivn instrument. You calmly walk away from the console and arrange the slides to be changed as the song progresses. As the last slide is on, walk back to the console and play a counter melody around the recorded solo (yes. the pitch is identical) for a finish. Follow up by offering a prize to the patron writing the best explanation of the stunt. You will find it highly entertaining and if it is put over right, you will hare stimulated an interest in your solo which will keep people t<dking and thinking. * * * These are ideas which have proved to be cntertainins: and interesting, especially when surrounded by an otherwise "all mechanical" program. I might >ugge~t just one other thing in closing. Why not have an organist's "exchange of ideas" column in this magazine where everyone's ideas could be brought to light and be of benefit to all of us. I feel sure BETTER THEATRES and EXHIBITORS HERALD-WORLD stand ready to cooperate and every organist worthy of the name should do all in his power to place before the profession any idea he deems worthy of a hearing. It's what you get — not what you pay. WBoolh, "Sixteen Facts" OR ft GA NS Binghamton, N. Y. New York Office— 148 W. 46th Street Ckicaqo Aop roil getting RUMORS Monthly 9lcfe No«> for tie, Or^ni.sP