Exhibitors Herald World (Jan-Mar 1929)

52 EXHIBITORS HERALD-WORLD February 2, 1929 stick as theee two men, one extremely tall and thin, and the other small and short, offered a contrast in comedy dancing and other foolish pranks. The mere appearance of these two provokes laughter and the comic steps of Rome sets them in solid with this audience. In spite of the fact that Rome only does one or two comedy 6teps, he nevertheless is smart enough in knowing how to 6ell them, for he and his partner were the laughing hit of this show. They were given an encore and probably would have been brought back for more had they not stalled too much doing nothing for several minutes. If a regular act is routined these two can find considerable offers for their type of entertainment. This concluded the stage show and for the finale everybody was on stage to take the last bow. Even the organ joined in even though it was off key. New York Colony Week Ending, January 25 Paul Specht, the new master of ceremonies, and his orchestra opened here this week. They started with a snappy number played by the orchestra and sung by Johnny Maurice, the drummer. "Sweetheart of All My Dreams" was next played by Specht on his violin, with the assistance of the orchestra. Evelyn Dean sweetly sang a few songs, then offered a difficult and clever acrobatic dance that was received well. A trio from the band then sang a modern version of "Sleep-Baby-Sleep." A scrim presentation in which Johnny Maurice's 6ong and recitation received a good hand. Estelle Fratus, hit of this bill, stopped the show and received two encores for her songs and exceptional tap dancing. This young lady has a wonderful personality, works hard, and should make a fine name for herself in presentation houses. Billy Rose, the human pinwheel, was well received for his acrobatic tap dancing. This show closed with a recitation by Paul Specht and the boys singing and playing "Auld Lang Syne." Paul Specht and orchestra as well as the acts were good, but the settings lacked color and life which deadened the entire presentation. San Francisco Granada Week Ending January 24 This week's stage act at the Granada is a humdinger, with one celebrity following another in rapid succession. Local attractions have been added to the Publix revue and the combination makes up a great show. Gmo Severi directs the opening number, "Musical Miniatures," wtiix the orchestra in the pit. Parts of well known classical numbers are played and finally the curtain rises and on one 6ide of the stage, in a miniature setting, a cellist is presented. Next a miniature is displayed on the other side of the stage and Helen Lowe, soprano, renders a selection. Don George, organist, offers a medley of river songs, "Swanee River," "Missouri River," "Old Man River" and "Ready for the River," the latter with words on the screen. "Blossoms" is the stage act and it begins with Arthur Ball singing "Blossoms" as the curtain rises, revealing a country scene with plenty of flowers and artistic fences. The 12 Foster Girls, in striped trousers, short black jackets, with artists' ties, and such with a cane go through well trained paces. Bryant Washburn, long a screen favorite, is introduced by George and takes his place as master of Hello New York Our First Time East The Famous LUCKY BOYS Week Feb, First Paramount Theatre, N. Y. DIR. WM. MORRIS Special Artists Engaged For Huge Roxy Stage Show of Fox Film S. L. Rothafel (Roxy) has prepared an elaborate program as a stage feature to introduce the first Fox outdoor all-talking photoplay, "In Old Arizona," which appears at his theatre this week. The presentation is produced on the huge Roxy style with special artists engaged to emphasize the colorful Mexican locale of the film. Pedro Rubin, known as the foremost enterpreter of Mexican dancing, has been engaged to portray the native steps as well as to stage the ballet corps. Rubin is responsible for the dance routine in Ziegfeld's "Rio Rita." Another novelty is the engagement of Ofelia Ascencio and Julia Garnica, known as the most popular character singers in Mexico. The national peasant dance of Mexico is presented by Allicia Perezcaro and Jose Pastor. Randolph's Kentucky Jubilee Choir contribute melodies typical of the American southwest. The regular Roxy staff of artists, including the Symphony orchestra, the chorus and the Markert girls, will also be seen in prominent parts. DeSylva, Brown & Henderson, Inc., theme song, "My Tonia" will be played throughout the film by the Symphony orchestra. ceremonies. He starts off by telling the audience how he likes being in San Francisco, how welcome everyone makes him feel and how he hop* to return the compliment when San Franciscans visit Hollywood. A little girl, Dolores, member of the team of Dolores, Eddy and Salmanoff, comes on the stage bewailing the fact that she is lost. Bryant asks her if anyone is looking for her and when she shakes her head he pushes her away and tells her she had better stay lost. She sings "He's My Beau of Tenement Row" and does a few steps with Bryant, but one of her partners soon comes on and usurps her for some lively acrobatic steps. Paul Kirkland does an amazing ladder dance and follows this with a novel stunt, balancing a paper cornucopia on his nose and ear and finishing by burning it almost to the end. George Dewey Washington, San Francisco's own star, sings "Chloe" as only he can sing it, and then offers "King for a Day" and "On the Road to Mandalay," as request numbers. The audience takes George to their heart and are most reluctant to let him go. The Foster Girls dance again and Ball sings another number, surrounded by dainty misses in fluffy powder blue and yellow. Maurice Gunsky, local radio star, offers "Paradise," "Good Night" and "Consolation." Dolores, Eddy and Salmanoff appear again and the diminutive miss is tossed about the stage until one wonders that there is anything left of her, but 6he always comes up smiling. The act comes to an end with a windmill at the rear coining into prominence, with the Foster Girls posed about it. The Granada seems to have taken on a new lease of life, with its well selected pictures, elaborate stage revues and local attractions. This week's act serves to demonstrate that it is definitely on its way. Chicago, Paradise Week Ending January 25 This week's stage presentation was called "A Rushin Revue" and featured Ted Healy as guest master of ceremonies. The cast was headed by Arthur Nealy, Warren and Gill, and Sally Tilden. It opened with a sort of prologue in which Arthur Nealy and Jack Peacock Kelly, a member of the Mark Fisher band, and several of the girls discussed the nature of the show in which they as the performers were to take part. The next scene was in full stage and at this time Ted Healy made his entrance. We must say that Healy was the whole show inasmuch as the presentation lacked in both talent and staging ability. In fact it was one of the poorest bandshowB ever constructed in Chicago and its good name was saved by Healy's clever humor and knack of putting it over. The only other outstanding act on the bill was Warren and Gill, two colored fellows, who besides warbling a chorus of "Dream Kisses" put some new twists and turns in an acrobatic tap dance. These fellows know their steps and need never be afraid of holding down any spot in picture houses. The audience was quick to respond to their sincere efforts. Arthur Nealy followed next in a tenor selection called "I Wish I Knew." This chap has been playing a long run engagement at the Oriental in Chicago and has quite a following. He has a pleasing voice that hits the high notes. However, this song did not do justice to his voice, perhaps the newness of the number had a lot to do with it but we know Nealy can handle better numbers. He was given quite a hand at this show. After another specialty by Healy, Sally Tilden was introduced, who offered something different in the way of a singing act. Sally had special material written to the effect that audiences are tried of cute girls introduced by the master of ceremonies as such. The idea of it was very novel and with a little more polishing and proper voice coloring It could be quite a relief from the general run of blues singer. Sally also sang "I'll Never Ask for More." The next to closing specialty wa3 given by Ted Healy and his company of foils consisting of two men and two girls, who offered bits of musical comedy and blackouts familiar in "A Night in Spain." It is needless to say that Healy kept them howling all the way through with his smart talk and clever gags. In fact they forgot all about the show, if there was one, and enjoyed the comedy antics of Healy. The finale was another one of those things with beautiful flash background and dazzling costumes. Whoever selected Healy for this show while Mark Fisher was on a vacation surely knew his bookings. Stage producers for picture houses will have to do more than to display beautiful costumes and sets to carry through an idea for any sensible artist could easily do that much. Pittsburgh Penn Week Ending January 12 The Publix unit entitled "Topsy-Turvy-Town" was the stage offering, and truly a delightful entertainment which won the hearty approval of audiences at every performance. The act receives a novel start, when upon a dark stage, appears several feet in the air a large white bird figure upon which stands one of the Gamby-Hale girls singing a short solo. This is followed by a grotesque dance by the ensemble of Gamby-Hale girls. The stage is still dark, the girls are clothed in black with but their arms and legs visible to the audience. Very unusual and scores heavily. The Phelps Twins, two blonde girls who bear a remarkable resemblance to one another, render a duet. These girls are exceptionally beautiful and make a high class appearance. FoTd and "Whitey," an educated dog and his master, give an interesting skit. The dog plays drunk and brings many laughs. This animal is just about as clever as any ever seen here. Ferry Corwey, billed as a musical clown. Is a comedian who clicks plenty. He plays novel musical instruments, for instance what appears to be a fence is really a series of whistles made to resemble palings in a fence. As the comedian hits the top of these "palings" he gets real music out of them. He introduces many clever little laugh-getting mannerisms, and goes over in big style. Special attention is also called to the rendition of the "1812 Overture," by the Penn Symphony Orchestra under the direction of Elias Breeskin. The rendition was masterful, and in the later moments of this great overture, the house lights flashed red and cannonading was heard on the stage. Proved a sensational offering. JOHNNY PAYNE "The Singing Fool Pianist" Now Touring PUBLIX THEATRES Direction — William Morris Agency UNIFORMS FOR HOUSE ATTACHES COSTUMES FOR STAGE PRESENTATIONS BROOKS 1437 B'wM N. Y. City