Inside facts of stage and screen (February 1, 1930)

PAGE FOURTEEN INSIDE FACTS OF STAGE AND SCREEN SATURDAY, FEB. 1, 1930 Vaudeville and ^Presentations R-K-0 ORPHEUM SEATTLE (Reviewed Jan. 25) Here is a pip of an all-round vaudeville bill, with the next-to- shut act sharing honors with the opener for the heavy hand music that each act grabbed off at the opening show. The Alexander Sisters, Ann, Gertrude and Rose, started things in the opening spot. Ann and Gertrude did their Apache and Russian numbers in whirlwind style with Rose clicking on violin and solo dance work. The trio opened and closed w-ith as neat a dance offering that’s been seen here for a little while. The act has improved considerably since playing Pan and merits a better spot. Ken Christy, assisted by Bar- bara Bronell, Helen Huntington and an unbilled bell-hop, offered a domestic comedy skit that had plenty of laughs to it. They threw in a little hoofing that landed nicely. Healey and Cross, in the trey spot, knocked ’em over with their harmony songs, with Healy at the piano. Here is a sweet musical bit, and the boys can hold their places with the rest of ’em. The next-to-shut act had Jesse Block and Eve Sully billed. Due to the fact that the former’s moth- er died a few days ago, Allen Cross of the previous act stepped to the breach and with A1 Boas- berg’s material and the heavy as- sistance of Eve Sully, brought out belly-laughs in rapid succession. Boasberg can take a bow together with the clever pair, for this house hasn’t laughed as much since Ol- sen and Johnson were here and in some cases more. Put this one in next-to-shut any place. Howard’s Shetland ponies and dogs closed the bill in fine style. Tinj' Burnett and his Orchestra, with the able assistance of Myrtle Strong at the organ, preceded the vaude with selections from the next opus, “Hit the Deck.” This gang of syncopaters got their usual big hand. Bebe Daniels’ “Love Comes Along” was the opus, and had ’em standing in line for the early show. Jean. RKO LOS ANGELES (Reviewed Jan. 24) Vaude bills here have been above par for the past two weeks, and the current bill of five acts will contribute more prestige and ac- cordingly pull in future dollars quicker to this house. Tillis and LaRue opened. Flash act, and better than good. Five dancing cuties and okay. Billed team scored nicely with some well- delivered dancing. Fritz and Jean Hubert in deuce spot landed in double forte style. It’s a sure antidote for the Vol- stead Blues plus a flock of laughs. Curly Burns offered a skit titled “Chicago” and clicked in cyclonic tempo. The black-face comic was capably assisted by a duo of as- sistants and his laugh vehicle is just that. Eddie Pardo, delineator of songs and some comedy, had everything his own way and could have stayed longer. A good bet on any bill. Beehee and Rubyette Company sold their strength and agility wares for full value. A fitting closer. “Dance Hall” (Radio Pictures) on the screen. Business excellent as is consis- tently the case. Eddie Meredith. CONTRACT FOR SPARKS Ned Sparks has been signed to a long-term contract by Radio Pictures. CHINESE THEATRE HOLLYWOOD (Reviewed Jan. 25) A1 Norman steps out of the Abe Lyman Orchestra with a limber-leg dance to offer which is great stuff, and thereby A1 saves the whole proceedings, entitled “The Kit Kat Club,” from being just another jazz band program without an outstanding moment. The girl dancer with the outfit, Lucille Page, is both good and with some new steps, rating, well above average, but without Al’s limber-leg stuff she alone wouldn’t pull it up above a routine affair. One thing is certain, the con- clusion being warranted by the applause given Norman and Miss Page, and that is that the pic- ture audiences are hungry for stage entertainment of the right sort. These two took very nice hands indeed, and lesser but still warm applause was accorded other interpolated solos and duets. The band numbers were the least en- thusiastically received of all the offerings. The curtain went up on the one setting of the presentation, a very neatly arranged black and white set, with the not uncustomary staircases to right and left. Open- ing number was “Chant of the Jungle” with Phil Neeley, a mem- ber of the band, singing a chorus of it through a megaphone. Ted and Jack Dale, also from among the band boys, then did a xylophone and p’iano duet, follow- ing it up with the piano and a vocal rendition of “That’s Her Now.” Their comedy was not overdone and they rated the time given them. Lucille Page then came on for her first number, arrayed in a cos- tume, the what-there-was-of-it be- ing silver. Pretty and shapely, Miss Page had on tap some con- trolled kicks and acrobatic stunts which had a delightful element of newness and were well sold, mer- iting her a good hand. Abe Lyman then took the spot- light by doing a drum number with the piano for accompaniment. Then came the highlight of the stage show, A1 Norman’s limber- leg dance. This boy has a per- sonality which he sells admirably, and the unaffected and easy man- ner in which he offers the ludi- crous moments of his dance, com- bined with real ability, mark him for a bet sure to please. The cus- tomers demanded and got an en- core and would have liked more. Phil Neeley followed, singing “Love, Your Spell Is Every- where” in a nice baritone, and Miss Page came back in Dutch pantaloons and waist and with some more new steps. There were GEORGE and FLORENCE BALLET MASTER and MISTRESS Australia’s Largest Theatre — THE STATE, SYDNEY— PRODUCING WEEKLY CHANGE NOW 34TH WEEK And Still Going Strong Address—State Theatre, Sydney, N. S. W., Australia PHIL SYLVIA WHITE and NOIR TENOR SOPRANO Booked Solid Over R-K-O Circuit In “Songs and Steps” some nifties among them, and she deservedly took a good hand at the conclusion as well as applause moments along the route. Finale was another fast number by the band, with individual mem- bers of the group interpolating featured moments. The best of these were the playing of two clarinets by one member, and the old standby blatancy of the trom- bone. Abe Lyman apparently has improved in the art of catching his tossed-about drumsticks since he was at the Uptown here, miss- ing only every once and awhile at this matinee instead of constant- ly, as used to be the case. There is one extremely weak point about the presentation, and that is the lack of a master-of- ceremonies. Such a functionary, brightening up as he does what otherwise develops into a mere rou- tine of offerings, is badly missed, and the chill with which he house received the orchestrations was due no doubt in part to this fact. The lack was especially noticeable without a leader in front upon whom one’s eyes could be cen- tered during the numbers, as the gesticulations of such an individ- ual always relieve what otherwise becomes a matter for restlessness. A cracking good m. c. with a pleasing personality and a gift of humor, would do much to build up this outfit. The feature picture was M-G-M’s “The Rogue Song,” starring ve- hicle for Lawrence Tibbett, and the house was capacity, as has been the case since its opening and as, so it looks, will be the case for some time to come. A. H. F. LOEW’S STATE LOS ANGELES (Reviewed Jan. 24) The “Trees Idea” used the well known musical composition of that name for its theme, and opened in one before a black drop, the center figure of which was a luminous tree. On each side were panels which were un- veiled at intervals to show various varieties of trees. The band was in the pit, under the baton of m. c. Georgie Stoll. Georgie, however, made no an- nouncements in this “Idea” except for his own specialty. Acting as a sort of non-speaking m. c. was Frieda Sullivan, costumed as a woodsprite, carrying bow-and-ar- row. She whistled bird-calls. Ted Reicard, tenor, and Christel LeVine, soprano, registered good voices and personality when they appeared to sing the themie. The panels revealed “Shade of the Old Apple Tree,” with a couple dressed 1900 style; a banana tree with a pair of hula dancers, one of whom faw down at this show; a cocoanut palm with that ace adagio pair Mavis and Ted, and “Trail of the Lonesome Pine,” with a pair of girls dressed mountaineer. Then came the girls of the line in a flash number, costumed in palm headdress and bark tights. Specialty interlude presented Jimmy Fawcett, who hoofed a fast stepping acrobatic routine that won hearty applause, then followed Walter Brower in his perennial dance number. He does it well, but it’s about time he developed a new routine. Georgie Stoll then stepped up on stage with his violin, taking with him his drummer, Lou Erickson; his bass violinist, Vic Delorey, and his pianist, Walter Ruick. They dished up “’Tain’t No Sin” and “Love, Your Spell Is Every- where,” vocalizing choruses. They won a great hand. Next scene was the land of gnomes, butterflies and birds. A pair of girls came on with a big Fairy Tales book, delivering a tap routine, then gave way to the line, which dazzled the fern part of the audience in rose-colored costumes. They gave a pleasing, well-bal- anced routine of formations. Next, Terrell and Hanley in their dumb comedy-acro act, (Continued on Page 15) PAUL MALL “HOT DOMINOES” Idea Elsinore Theatre, Salem, Ore. Thanks to Fanchon and Marco SYLVIA DOREE Featured in Fanchon and Marco’s “JAZZ TEMPLE IDEA” Tabor Grand, Denver, Colo. MURIEL STRYKER Fanchon and Marco’s DESERT IDEA TOOTS NOVELLO Fanchon and Marco’s “Overtures” Idea Direction Wm. Morris FANCHON AND MARCO PRESENT EULA BURROFF BOB Featured in “Eyes” Idea Loew’s State, Los Angeles, This Week LOUISE MANNING THE VERSATILITY GIRL “OVERTURE” IDEA THIS WEEK FOX THEATRE, SAN FRANCISCO THANKS TO FANCHON AND MARCO ARTISTIC SCENIC ADVERTISING CURTAINS BY FAR THE BEST IN AMERICA—CURTAIN PRIVILEGES BOUGHT FOR CASH OR SCENERY 1215 BATES AVE., HOLLYWOOD, CALIF. 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