Exhibitors Herald World (Jan-Mar 1929)

January 12, 1929 EXHIBITORS HERALD-VVORLD 51 ORGAN PRESENTATIONS OF GREAT SONGS SMALL SLIDE SETS THE SONG I LOVE MY INSPIRATION IS YOU I'LL NEVER ASK FOR MORE YOU'LL NEVER KNOW ARE WE DOWNHEARTED? NO! MOONLIGHT MADNESS SALLY OF MY DREAMS (Theme of "Mother Knows Best") MY TONIA (Theme of "In Old Arizona") MARION (Theme of "4 Devils") JUDY (Theme of "Romance of the Underworld") We Also Have Small Sets of Slides for All Songs Listed Under Specials SPECIALS "OPEN SECRETS" Introducing THAT'S HOW I FEEL ABOUT YOU (Perfect for Community) "LOVE— AND A PET NAME" Introducing ANGELA MIA (A Beautiful Presentation) "A MEDLEY OF GREAT PICTURE THEME SONGS" Containing SONNY BOY (Theme of "The Singing Fool") SOME DAY SOMEWHERE (Theme of "The Red Dance") ANGELA MIA (Theme of "Street Angel") NOTE: The Theme Song Medley Can Be Presented with Marvelous Results in Conjunction with the Al Jolson Brunswick Record. Ask tor Particulars. Write for All Slides and Information to SAM LERNER, Mgr. of Publicity DE SYLVA. BROWN & HENDERSON, INC. 745 7tl; Ave., New York City ferent class of people whose taste and opinions vary. The same thing applies to Chicago, Los Angeles, or any other important key city. Their own particular type of entertainment might be a huge success in their own community and a terrible flop in another territory. The only sensible way to make presentation pay in deluxe picture houses is not to give the same type of stage show as it is produced in one town. The idea of keeping a unit intact is fine from the standpoint of costumes and scenery, but when it comes to arranging the talent, that should rest entirely upon the local situation and should be programmed in accordance with the likes of that particular audience which the theatre is trying to cater to. Besides if the master of ceremonies means anything to the theatre, which in the past few years has, he should be given an opportunity to display his individual wares and not be hampered by a stereotyped speech. Give the M. C. Something to Do The future success of stage shows with personality band leaders who also act in the role of masters of ceremonies depend on this ^ery same thing. By robbing the band leaders of their individual capabilities you will just have an ordinary man on the stage directing the band. After all any musician can pretend to direct and once he assumes the part of a hundred and one others your audience will immediately lose interest in him and the result will be shown at your box office. It has been learned from past reports and constant survey that independent picture houses produce a more entertaining stage show than the big chain operators. The reason for this is very easy to understand for the reason that they do not try to stage an idea that will endeavor to please forty different towns. Each show is produced with enough human interest of a universal appeal and yet with enough of the local color in it to make it entertaining from every standpoint. The lines are timely, the jokes are not so stale, and the songs are new and up to date. The very same thing could be accomplished by the large circuits by placing a capable producer in certain territories where the unit is expected to fill more than one week's engagement. This producr should be acquainted with the desires of the local audience and should try to cooperate with the management in presenting the entertainment in the manner in which it is wanted. In towns where the units play only one week and the circuit has only one theatre it would be wise to appoint either the theatre manager or the band leader to make the proper and necessary changes in the stage show each week. By allowing each and every member of the theatre staff to observe the wants of the audience and accepting their suggestions means ( only one thing to the chain theatre operator and that thing is a steady, satisfied patronage, with a steady flow at the box office. When less thought is given to the possibility of I hiring cheap talent because of the fact that they will have from twenty-five to fifty weeks of consecutive work, the more successful stagehand shows and presentation offerings will go over in deluxe picture theatres. Instead of trying to save a few hundred dollars on the talent and losing a few thousand at the box office, executives and booking managers should devote more time in giving the public enough : for their money so that they may feel obligated to patronize your theatres. Don't Be Penny Wise and Pound Foolish Trying to eliminate stage programs and cutting or ! gan solos may cut down your overhead but in the ■ long run it may also cut your profits and there is a good possibility of killing your own business by overdoing it. When every theatre, regardless of its size and location, will present talking pictures what are the deluxe houses going to do to keep up their business? What will you offer as an inducement to keep the patrons coming to your theatre? What will any sensible exhibitor do who has a deluxe house of 2,000 seats or up? Why, he will go right back to presentation and featured organists, otherwise there is no distinction between a deluxe theatre and a small neighborhood picture house. Rather than do this later, why not retain the good will of your people by making your talking picture offerings a part of your program and not the most important feature of it? Then on the other hand, if you have a stage band and an organist make sure you give them something worth while to do each week so that the audience will not tire of them. Your theatre should occupy the same important position in your town as that of a civic organization or any other enterprise for the promotion of goodwill and entertainment. Your attractions, whether in stagehand form or otherwise, should be the local stock company and your permanent staff should be responsible for the proper entertainment that will fill your theatres at each show. 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: Organ solo for week ending Jan. 5th, Smoot theatre, Parkersburg, W. Va., Wm. J. Cowdrey, Organist. In conjunction with the showing next week of "The Singing Fool," the organ solo entitled, "What Will the New Year Bring" using appropriate slides connected up the two pictures starring Al Jolson, "The Jazz Singer" and the "Singing Fool." After an introductory five slides, the chorus of "Mammy" was played along with Brunswick record No. 3912, Jolson singing. Then "Sonny Boy." with Brunswick record No. 4033, and "There's a Rainbow 'Round My Shoulder," same record. Records were used on the non-synchronous section of the Western Electric equipment. Slide set closed with a New Year's greeting from the organist to the audience. Sincerely yours, Wm. J. Cowdrey, Parkersburg, West Va. Whitmer Made Publix M.C. Wallace Allen, publicity director, and George Laby. manager of the Olympia theatre in New Haven, a Publix house, sold a new master of ceremonies to the town by an exceptional publicity campaign. For more than a week all the newspapers ran advance news of the coming new master of ceremonies, Ken Whitmer. Every other conceivable form of outdoor billing and window tie-up was also arranged so that when Whitmer opened the public already were familiar with his talents. Specht Gets Honors After an extensive survey the Hoover-Curtis club has finally selected Paul Specht and his orchestra to play for the Inaugural Charity Ball at the presidential affair on March 4th. This information comes from Mathew Quay, president of the club. Those knowing Specht feel that this is quite an honor and cannot help but admire the selection, for he is one of the best in the profession. Reiser Returns After completing a four weeks' engagement as guest conductor at the Stanley theatre in Utica. Alois Reiser has returned to the Mark Strand in New York as musical conductor. During his stay in Utica Mr. Reiser was presented with a beautiful silver cup in appreciation of his work and good fellowship. Hammond Transferred W. Meryle (Jake) Hammond, formerly sole organist at the Strand theatre. Kendallville, Indiana, has been transferred to the Strand theatre in Fremont. Ohio, in a similar capacity. Jake, as he is better known by his friends is the author of "Five Left Hand Forms" an article that was recently published in the Better Theatres section of the HeraldWorld. Playing Loew Time Pedro Rubin, known as Mexico'6 foremost dancer and late dancing star of Ziegfeld's "Rio Rita." is now headlining on the Marcus Loew circuit. Rubin has been booked through the Alf T. Wilton agency. Rubin is well known throughout the country as a director and producer of famous Spanish dancers and he is also the creator of the dancing teams in "Rio Rita." Art Hayes in Memphis Arthu "->ves, well known 6olo organist and for years feafTui.^ in deluxe picture houses has left the Orpheum theatre in Madison, Wis., and is now at the Orpheum in Memphis. This theatre is now under the direction of the Radio-Keith-Orpheum Corporation.