Exhibitors Herald World (Jan-Mar 1929)

50 EXHIBITORS HERALD-WORLD February 2, 1929 STAGE SHOWS Chicago, Chicago Week Ending January 24 Balaban & Katz inaugurated a new stage policy here this week which was heavily exploited in the "dailies" for several weeks in advance. The new policy is vested in the hands of Frank Cambria and H. Leopold Spitalny. The 6tage production took form in several 6cenes which started as follows: Unit I, Tschaikowsky's "1812," a music classia dramatized with an ensemble of 40 voices, which also displayed some pretty effects on the burning of Moscow. Units II and III offered fashions of the day and Fox Movietone news in film form. Unit IV presented Edward K. House in an organ frivolity called "Morning Moods." Unit V was a lavish stage show called "In Old Seville" with colorful settings of tropical brilliance and an' ensemble that consisted of singing and dancing soloists. There were about sixty people in the cast and the setting and costumes were colorful and in keeping with the Spanish atmosphere. Most of the action took place in the set which was of a patio type. The soprano was Lenora Cori and the tenor was Arch Cannon. Hans Meuser first violinist of the Symphony orchestra also took part in the offering as soloist and received a very fine hand for his selection. De Carlos and Louise, a very graceful team of tango dancere. interpreted a native Spanish routine which added the punch necessary to the set. The only sour note on this program was Ben Blue who with the aid of two other buffooners tried to fit in the show, but didn't. After considerable stalling and silly prancing, Blue finally went into his one and only recognized bit of entertainment called the "Dying Swan," a burlesque on Pavlowa's legitimate routine. It seems a shame that a beautiful idea has to be spoiled by injecting hokum when it is not necessary. Blue is popular in his own sphere but this particular offering could have done well without him. The small reception that was accorded him was merely out of respect to the management and the following he has in town. The ballet next presented a novel toreador routine, costumed in red with bright orange cape, typical of bull fighters. The entire cast then joined the procession in fiesta style with balloons and chorus singing. This also marked the finale. Spitalny and his augmented pit orchestra rendered the music throughout the several presentations and was accorded quite an ovation for the splendid interpretation of the appropriate selections. Although quite different from any other type of entertainment presented in Chicago at this time, the innovation was nevertheless not as spectacular as might have been expected from the advertising. To be sure one particular newspaper statement was very misleading as it did not merit the following title "Dazzling, Colorful and Different than any other stage show in the World." New York Roxy Week. Ending February 1 The atmospheric stage program, "Escena Mexicana" was used as a prologue to the first Fox all-dialogue feature, "In Old Arizona." Owing to the tremendous response of the public, this feature, together with the 6tage production will be held over for two weeks. The prologue consisted of dancing and singing by Mexico's foremost performers. They have really brought Mexico to New York. Emil Velazco Added to Roxy Organ Staff S. L. Rothafel has added another important member to his theatre staff in the person of Emil Velazco, recognized as one of the most prominent theatre organists in the country. Although still under thirty Velazco has established himself as a popular organist by the creation of an organ school. His first duties as the Roxy theatre organist commenced on January 26, and hereafter will be heard over the national broadcasting chain where he will feature one of his regular programs. He is a graduate of the Chicago Musical College and was known as the youngest conservatory instructor of that institution. Before devoting most of his time to organ playing he spent considerable study on piano and theory and was for some time an important part of famous orchestras. So successful have his theories been that he has established a school for young organists specializing in the phrasing and handling of themes, also to use the proper pedal rhythms and effects. He has taught such well known organ personages as Don Williams, private organist to William Fox, Henrietta Ridley, playing the largest organ in the world at John Wanamaker's store in Philadelphia, Fred Feibl at the Rialto theatre, New York, Eddie Ford of the Colony, New York, Robert Prado of the Stanley in Newark, Charles Van de Hoven of the Rialto in Newark and Stanley Pinhero of Proctor's also in Newark. In recognition of his outstanding work Valezco was recently elected vice president of the New York society of theatre organists. Pedro Rubin, Mexico's most popular dancer, offered a number of native dances, never before seen in this country. Ofelia Ascencio and Julia Garnica, Mexico's most popular character singers, sang many pleasing native songs. Alicia Perezcaro and Jose Pastor did the national peasant dance, "La Rumba." Forbes Randolph's Kentucky Jubilee Choir sang harmony songs, as only southerners can sing them. Patricia Bowman, Ethel Louise Wright, Harold Clyde Wright, Lillian La Tonge, Antonio Gianelli, M. Vodnoy and Major Johnson had prominent singing and dancing roles. Russell E. Markert's Thirty-two Roxyettes offered the ballet routines. New Haven Olympia Week Ending January 16 "Southern Belles" is the title of the Publix unit opening here this week and it is the best that Paul Oscard has produced also the best Publix has done in the past two months. Opening in one with a scrim showing a boat at the river, a la "Show Boat" with quartet singing Southern songs. End of number scrim is lit from behind showing a gorgeous scene which got a hand. Band then plays a hot number followed by Eddie Matthews dressed as a Civil War Vet doing gun drill and a corking acrobatic dance. Charles Brugge did musical nonsensities and dancing and the Dictators, a fine quartet, sang two song6, the second being assisted by the Albertina Rasch Girls with a production backing. Very big. Ken Whitmer followed with a specialty and then came the Ormonde Sisters who dance and sing both equally well. Finale had a production flash. Whole show excellent each act stopping the show and making a speech or encoring. New York Paramount Week Ending, January 25 "Southern Melodies" was played by the Paramount Pit Orchestra with Dave Rubinoff, that personality director, conducting. An added feature was Osman and Schepp, a banjo duo, who pleased with their selections. They were all well received. The stageshow, "Barcelona," opened in a Spanish setting with the stagehand playing "Chalita" as the Dorothy Berke girls dance and sing special lyrics introducing "Senor" Gene Rodemich who led the orchestra in a fine arrangement of "Carmen" as the ballet did a routine of the "Dance of the Tores." This was a sword dance and it was well received. Joe and Jane McKenna offered a burlesque on "Carmen." Their funny antics got them a good laugh. "I'll Get By" was played by the orchestra and Bobby Gilbert. Gilbert then played his violin and a dance a la Russian step at the same time. He almost stopped this 6how. "Flamingo," a Castanet dance by the Berke Girls was well received. Jack North was himself an encore by his 6inging, joking and banjo playing. Borge Moller played the accordion while the Dorothy Berke girls played concertinas as Rene and Evelyn offered a pleasing tango that got a good reception. Borge Moller then sang "Chalita" as entire ensemble entered as an enormous Spanish 6hawl descended for finale. A special added attraction was next introduced by Gene Rodemich. They were the Duncan Sisters and offered bits from their show, "Topsy and Eva." They sure can put over hokum as none other can. They almost caused the audience to tear up the seats with fun and laughter. The Sisters Duncan, are always a good bet for any theatre. Detroit Michigan Week Ending January 18 There are scandals, vanities, follies and what not of this year and that. But, may we ask you, "Have you seen the 'Miniatures of 1929'?" That is the title of the revue featuring the world famous Singer Midgets which Boris Petroff presented at the Michigan this week. And the tiny little people had everything in the show which might be expected in the full sized editions of scandals, vanities, follies or what nots. The troupe took up the whole stage, and AI Evans and his Michiganders Orchestra went on vacation for the week. Music was supplied by the pit orchestra. The show opened in one with a back drop showing two ocean liners moored at a pier. Doors were cut in the prows of each of the liners, and the little folk made their appearance through these as though landing from another country. The hit of the show was a representation of a farm, the scenery, including a mechanical cow, done in the futuristic manner. Each of the players in the tableaux moved with the mechanical precision of the dolls they were supposed to represent. It got a big hand. To say nothing of the orchestra. Yes sir, like all big league revues, these little folk had their own jazz orchestra. Their big number was selections from "Rigoletto" during which Oscar, the singing duck, quacked in unison with the orchestra. Then they played "The Blue Danube" as originally written, during which two dancers, in old fashioned garb, displayed the steps of yesterday. The second half was the jazz version of the same piece, with incidental stepping by two little girls in green. As a grand finale there was a Moorish setting, a gorgeous palace of the days of the Arabian nights. Three midget elephants and a midget trainer and the entire cast in elaborate and grotesque oriental costumes aided in closing the show with a bang. All in all, it was one of the most novel unit 6hows which Publix has sent this way in many a moon. Chicago, Uptown Week Ending January 25 Verne Buck and his orchestra were featured this week in a bandshow presentation called "Up On Deck." To the estimation of this reporter this was one of the best examples of a miniature musical comedy that was ever produced in Chicago deluxe houses. The cast featured Nell O'Day and the Tommy Atkins Sextette, also Luster Brothers and Vera Van, not forgetting Allen and Can field. As the title implies the stage setting represents the upper part of a deck on a U. S. cruiser. The show opened in typical musical style with orchestra in the ALBERT F. BROWN Solo Organist Producer of Organ Scrim Solos Creator of the *Organ-Phone Presents The World's Finest Organ Entertainment in the World's Finest Theatres MARKS BROS. GRANADA Chicago MARBRO C* Amplification of voice via microphone at organ console.)