The Film Daily (1928)

1 kJ. THE »d February 19, 1928 ■JXl^^ DAILY S )WMANSHIP ANALYSES OF iSENTATIONS AT LEADING THEATERS Presentations A PRACTICAL GUIDE TO ALL EXHIBITORS IN BUILDING UP PROGRAMS , By JACK HARROW EH \11 m m m G Ho! IL UKELOUUT ISN'T iley of American airs comle overture at the Capitol, I'ith a play of red, white and Tits on the orchestra while a 1 of Lincoln unfolds on the "his fades out to a flash of t-e of Lincoln with a group [heir arms in supplication to Incipator with the entire infntered in an oval frame. The launched its overture with jars of the national anthem. the audience half rose to It in indecisive manner when licians launched into another Thus, the bill got ofif to a ^t unfortunate bit of show h at the console in "The |of Yesterday and Today'" ith the audience in pretty mor. "The Brook," a colif shots probably edited by ter staff was the next nume incidental music to the Iped, but the number didn't click. presentation was of variable most of it very mediocre ubbed "The Fast Mail" and y Frank Cambria, it opened tion pictures showing differiums of sending mail and he introduction with a raised and a locomotive headlight oving down on the audience, esner, master of ceremonies, postman, distributing let:he musicians comprising the ms who occupied a full t. A group of Foster girls — steppers — did two numbers. ame Roy Shelton, dancer; Gordon, of the jazz singing a Roman gladiator number Foster girls which was a sad affair; the Three Le ery clever contortionists, and iddie Hill, a singing-talking Han who provided this revith a very annoying five or inutes. Feature "Rose-Marie." Historical "Tab" at the Roxy With the celebration of Washington's Birthday as a nucleus, the Roxy will have a historic pageant called "Tableaux Americana" which is divided into three episodes. The first tableau represents Washington at Valley Forge, a reproduction of the famous painting of that historic episode, in which Washington will be impersonated by William Calhoun. The second episode, representing the period before the Civil War, is characterized by a plantation scene in which Forbes Randolph's Kentucky Jubilee Choir will sing a group of negro spirituals. "Ante Bellum," by Paul L. Dunbar, the blind negro poet will be recited by Leslie Stowe. The closing episode is dedicated to Lincoln. George A. Billings portrays the role of the great Emancipator. Of HIT AT ROXY Itixnrt entertJ is lanii Holiday Shows at Capitol mor of the approaching holi ;re will be five de luxe per es of the stage revue at the on Washington's Birthday. a new Mort Harris produc '1 be part of the stage program SoiitliilUding the feature and in this Ormonde's Sparkling Gems ear in a novel dance routine. kti d 0 iube Wolf at Warfield Wolf, the orchestra leader, is a hit at the Warfield, San CO, duplicating his success at ropolitan in Los Angeles. He luled to remain there twelve more. Tieing up with Lincoln's birthday the Roxy, in opening its stage bill last week, presented a number entitled "In Memoriani," which was in every respect a credit to its production department. A backdrop showed the Lincoln Memorial at Washington and on a flight of steps in the foreground, front stage, were grouped Forbes Randolph's Kentucky Jubilee Choir, negro singers. They sang "Massa's in De Cold, Cold Ground," "I Am Coming Home" and other fitting , numbers. Near the close of the episode the backdrop was lighted in its center to reveal George A. Billings posing as Abraham Lincoln. "A Study in Black and White" was the billing on the second number, which opened with a large inkwell effect front center. Next full stage was used with a background done in Pierrot and Pierrette fashion. Gainbarelli, Nicholas Daks and George Kidden went through a fantastic number and the Roxyettes, attired in black and white costumes, did some Tiller work effectively. Lillian La Tonge sang. The familiar nightclub idea provided the thought for the final stage 'number, billed as "Cabaret." There was nothing startlingly original about the set, which depicted the usual type of club, with a fan-shape background and gold-colored drapes. Frederick Fradkin and his fiddles scored heavily with "Just a Memory" and other selections. Beatrice Belkin contributed a mezzo-soprano solo and Margaret "Mickey" McKee whistled seriously. Tap dancing was offered by Jimmy and George Trainor and the Jubilee Choir helped round out the program along with the ballet and Roxyettes. With the exception of the initial presentation, the stage program didn't register strong. FARM, ATMOSPHERE FOR B'KLYN STRAND STAGE Featured a stage presentation, "Down On the Farm." The stage band was arranged in a full stage setting representing the interior ot a barn, with a barn backdrop showing haystocks, straw lofts, corn husks, wagon wheels and other props. The band boys were outfitted in yellow satin overalls with white shirts and wearing the hayseed hat. The number opened with Down on the Farm Foxtrot, after which a farm boy came on from the side displaying a card "Barnyard Chicks" for the next number. This was done by six girls of the pony ballet who were dressed in unique costumes representing white chicks. The farm boy brought out his card again, this time for La Scala, banjoist, who stepped forward from his place in the band and played "Lollipops" and followed with a hot number for a fine finish. The next card announced "Burlesque Classique," a travesty dance. Pauline Miller came next, singing Rappee's composition, "When Love Comes Stealing" and after her the band played a series of southern numbers. Then came "Carry Me Back to Old Virginny," with a chorus sung by Pauline Miller, and then "Old Black Joe" with a trombone chorus by George Stell. As a finish to these southern numbers the six girls did a fast stepping cakewalk. Minnevitch With Fanchon & Marco Borah Minnevitch and harmonica artists, have signed up for a Fanchon & Marco unit. 'Taka Chance Week" at Paramount The Paramount is staging the annual "Taka Chance Week" starring Saturday, and the entire program is a secret. No billing appears on the front of the theater, and even the title of the picture is kept dark. ry Box Office Prescriptions MURRY LIVINGSTON Creator of Box Office Buildrrs BARRFX O' FUN and PACKAGE PARTX I Phone me at SPRinK 4613 Write me at 339 Lafayette Street. N. Y. C. TAP DANCING FEATURES T STAGE BILL Tap dancing featured the Paramount stage presentation, "Steps and Steppers," designed by Jack Partington. There were six hoofers of each sex, and their formations were the usual stuff. A kick was injected in their final bit as they did their tap formations up and down a staircase clear across the stage. A blackface comedy team, Glenn & Jenkins, dressed as porters with brooms had a good line of patter that scored the laughs. Lots of the gags were old, but the snappy delivery seemed to get them across. They also introduced a colored boy who did a tap shoe shine number that was as good as anything on the bill for real entertainment. Ilomay Bailey sang with the steppers, her number scoring as light as her costume. But Ilomay is awfully good to look at. An unbilled act was a gent with an abbreviated concertina who drew jazz and classic from the instrument, and also played it while rolling over, standing on his head, and like maneuvers. The overture was "Mephisto" v\ith an atmospheric stage set by Paul Oscard that was the neatest thing on the bill. The Spirit of Evil was represented. Moving clouds, and changing beams of liglit gradually illuminating the hidden singers in costume, grouped on a block formation, all contributed to good orchestration. Gene Rodemich led the stage band, a new system having been maugurated by Publix whereby he with Lou Kosloff and Al Mitchell follow a stage unit through New Haven, Boston and New York. This keeps them rotating every three weeks at these cities. Standard VAUDEVILLE for Motion FiciBre Pre^entalJoD The FALLY MARKUS VAUDEVILLE AGENCY Lackawanna 787(» 15-79 HhOAl>WAY, NEWYOKK CITl AMALGAMATED VAUDEVILLE AGENCY Attractions for Picture Theatres Standard Vaudeville Acts 1600 Broadway, New York City Phone Penn. 3580