Exhibitors Herald World (Jan-Mar 1929)

February 2, 1929 EXHIBITORS HERALD-WORLD 51 pit. The boys in sailor outfit started the proceedings with a musical comedy dance while the rest of the orchestra took their place on the stage in back of the curtain drop. The house ballet followed this with a dance routine bringing Verne Back on the set. Then Vera Van and Bock took center stage and offered a duet of "Who Wouldn't Be Jealous of You." This was followed by Nell O'Day accompanied by the house ballet again and did another pretty dance routine. Several bits followed between Verne Buck and a gob called Tommy that brought forth considerable comedy and laughter. Vera Van again played her wiles on Verne, this time singing to him "Is there Anything Wrong in That." The specialty honors are divided between Nell O'Day and the Tommy Atkins Sextette who disperse some clever song and dance numbers in between each scene, alternating with Vera Van and Verne Buck, who catches the 6pirit of the 6how to the extent that he does everything but high kicks. It is this type of show that enables band leaders like Buck to display their versatility and we don't mind saying that this fellow has plenty if only given the opportunity to show it. The next to closing specialty was a comedy talking offering by Allen and Can field, a man and woman team, who gave a 6eries of 6mart chatter that furnished the necessary laughing tonic. This team is a standard attraction in vaudeville and has always made good with its original material. The girl is unusually clever as a comedienne and more of this type of work should qualify them for regular productions. This ie undoubtedly their first entrance in picture houses and we hope it is not their last. Presentation needs talent such as theirs. Preceding this act the Luster Brothers display their talents as comedy acrobats and contortionists that kept the sailors on deck in good humor as well as the payees. The finale of this show smacked of life and color and was typical of musical comedy ending with the entire cast contributing some bit that lent the necessary touch for a fast finish. This show was produced at the Oriental theatre, Chicago, several weeks ago and the producer deserves a great deal of credit, not only for the idea but also for the talent in it that manages to keep the continuity from beginning to end. Presentation shows will eventually come to this type of entertainment, 60 why not now. Brooklyn Paramount Week Ending January 25 "Beauty Shop Blues," this week's stageshow, opened with Paul Ash playing a piano solo as Helen Lynd entered with her arms full of presents for Paul's birthday. Helen then gave her impersonation of Leonore Ulric and Fanny Brice for which she was well received. Joe Besser then entered and explained to Ash that he was in need of a leader of his orchestra in his beauty shop. The Foster Girls then did their shoeshining routine. Paul Ash led the stagehand as one of the Gibson Sisters did her tap specialty on a music box and the other sister did her acrobatic and high-kicking routine which was very well received. Orchestra next played "111 Get By." which Paul Small sang well. Small then blew several sour notes on the cornet he was playing which caused Ash to fire him. This gave Ash and all the boys an opportunity to do a little hokum that won them a fine hand. Karavaiff, a Russian dancer, again proved a sensation and again stopped the show here upon his return engagement. The "Manicurists Blues," which the Foster Girls sang assisted by the Gibson Sister, proved entertaining and was received well. Joe Besser, comedian, offered gags, chatter and all around clowning that stopped this show cold. He earned an encore and was also forced to come back several times and then finally had to beg off. Charlotte Ayres, assisted by Malinoff, and Carroll and Rashe proved extremely entertaining with their fine adagio work. Paul Small sang "Sweetheart of the Powder Puff" in the finale, as the ballet entered in pretty gowns, that resembled powder puffs. Minneapolis State Week Ending January 24 Using "The Green Mill" as a motif, the augmented orchestra directed by John Ingram, presents a pleasing novelty. The curtain rises on the exterior of "The Green Mill," a night club whose large windows permit a view of the orchestra on the interior. A mixed chorus of nine, six girls and three men come out on the stage in three's, each man with a girl on either arm. The chorines are in formal green brocaded wraps which they doff as soon as they finish their songs and begin to dance. The interior of the night club is then opened to the public view, and John Ingram and the orchestra continue with "The Green Mill." Henry Sasserson, first violinist, adds an unusual touch with his solo in which he uses a crooked violin bow. Don McKinnon, tenor, is another one of the night club entertainers who sings a number of songs at various intervals throughout the presentation. Anthony, the featured star of the show, is billed as an accordeon player. He acquits himself well in this role but he outdoes himself in his following numbers, whistling novelties which are extremely popular with the audience. He is an adept at imitating the different sorts of birds with genuine imitations. There probably is no better proof of their realistic character than the fact that a number of youngsters, within hearing of this reviewer, were able to name the 7 or 8 birds which Anthony imitates. Don McKinnon is on next with some more songs. For the finale the curtain on the upper stage is raised, showing the arms of an electrically lighted mill slowly revolving with a member of the chorus in each arm. The rest of the company assembles on the stage. Portland Portland Week Ending January 17 The final Fanchon and Marco offering opened at the Portland for splendid business, and lived up to its name "Red Hot Mama Goose" idea. Lou Forbes was kept busy introducing the new members and responding to encores which were many given by Rose Valya, Dorothy and Harry Dixon and Bert Prival who furnished the entertaining chatter. The "Hot Mamma Goose" Girls carried off the honors with fancy steps both with and without costumes. Two extra days of the show were given as hereafter the new bills will open Saturday instead of Thursday. Other new features are Paramount's talking specialty "One Word." The feature of the screen, "The Doctor's Secret." Harry Linden again resumes the handling of the augmented orchestra. George Johnson, at organ, brought back some of the old favorites. Publix stage shows start again on January 26, and of which great things are expected. Philadelphia Forum Week Ending January 26 On the stage, Mary and Margaret Gibb, of Holyoke, Mass., whose bodies have been joined since birth, are headlined. Despite their affliction, they are bright and vivacious young ladies and found great favor with audiences at the Forum. They have become talented and diversified entertainers as singers, dancers and pianists, all of which were combined in their act. Rowland and Joyce in their original version of the "Eighteenth Hole," a clever golfing skit, afforded much amusement. The Shurr Boys did 6ome snappy dancing. Sponsored by the New York Stock Exchange, the Forum presented for the first time in Philadelphia "The Nation's Market Place," an exclusive motion picture depicting the entire operation of the New York Stock Exchange during a typical day. Detroit Capitol Week Ending January 25 Del Delbridge and his entertainers went to "Gypsyland" at the Capitol this week, that being the title of the Publix stage presentation. The stage setting was that of a rocky hillside, with one of those covered wagons used by gypsies, at one 6ide of the 6tage. The orchestra, clad in gypsy costumes and with colorful bandanas around their heads, were placed among the hillside rocks. "Just Like a Gypsy," that tuneful favorite of some L CARLOS MEIER Featured Organist Ascher'i TERMINAL Theatre CHICAGO eight or nine years ago was used for opening. The Capitol Girls, gaily attired in gypsy costumes, followed with a snappy dance routine. Next was a plump little girl in a white dress with red trimmings — her name escaped this reporter — who did the raccoon while the orchestra played the song which made that dance popular. The young lady apparently was with the team of Quaille and Kelly, dancing vocalists, for she 6tood by as these two young men did an eccentric dance number. Then they sang a comic number "with gestures," finishing with a buck dance sans music. The high spot of the entertainment was the team of Haines, Lehman and Kaiser, billed as "tons of melody." You know the old saying about "nobody loves a fat man." Well, everybody likes to laugh at them apparently and the trio provokes gales of laughter. They harmonized nicely in "There's a Rainbow 'Round My Shoulder" and then one of them, the fattest of the trio, went into an elephantine dance which literally stopped the show. They closed with a song, apparently written specially for their act, concerning the workings of "Heavy Romance." Walzer and Dwyer had some moments of songful laughter and Balfire Stewart was a soloist with a splendid voice. Not to forget Nat Specter, master of melody and possessor of one of those trick voices. He was heard to advantage in "Revenge" and "Sweet Mystery of Life." Chicago, Granada Week Ending February 1 In conjunction with "The Spieler" the feature photoplay this week, is a prologue called "Poor Punchinello" which gives the orchestra and organ a chance to play a short musical concert before the picture. Albert F. Brown was the featured organist who conceived and staged the idea and Jules was the musical conductor. "'A Modernistic Revue" was the regular stage presentation with Charles Kaley and his band. The cast included Rome & Gaute, Gypsy Lenore, Lillian Massart, William Pruitt and the Ishawaka Troupe, The show opened in full stage setting more of a futuristic idea with the band divided in two sections representing the band box in a zig-zag cutout, with a rainbow background. The first band arrangement directed by Kaley was "I Faw Down and Go Boom" which gave the boys a chance to do some comedy bits. This is an unusually clever comedy song and great for bands who have entertainers. Lillian Massart started the proceedings with a little bit of everything and not much of anything. Kaley helped to put her across by doing straight for her. Her only redeeming feature was a few high kicks with which she exited. This was followed by Ishawaka Troupe, consisting of four Japs who did everything from hand spins to head turns. This is a standard attraction in vaudeville and quite a novelty for picture houses. Some of their stunts were breath taking but were offered in the most graceful manner. They were really the feature of this presentation. Charles Kaley next played a violin selection called "Wandering Home" and the novelty of his playing a violin for the first time in a great while won him an encore in the way of a vocal refrain of the number and was compelled to repeat it. He then announced a specialty feature with Gypsy Lenore and William Pruitt. Julie Stein directed the band during this number. This scene was called "Slaves of the Orient" and Pruitt sang a special 6ong called "A Slave" while the ballet, decorated with dazzling costumes, formed a fashion plate while Gypsy Lenore did her slave acrobatic dance. Her interpretation won her a fine hand. Rome & Gaute followed next with Kaley taking the SUNSHINE SAMMY Star of "OUR GANG" Signed for Talking Short M-G-M Films After Completion of LOEW TOUR Direction — Abe I. Felnberf