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

SATURDAY, FEB. 1, 1930 INSIDE FACTS OF STAGE AND SCREEN PAGE FIFTEEN RADIO- KEITH- ORPHEUM CIRCUIT OR THEATRES VAUDEVILLE EXCHANGE General Booking Offices PALACE THEATRE BUILDING 166-i Broadway RKO FILM BOOKING CORP. General Booking Offices 1560 Broadway NEW YORK CORPORATION 1560-1564 Broadway, New York Telephone Exchange: Bryant 9300 Cable Address: ‘'RADIOKBITH” RKO PRODUCTIONS Inc. Producers and Distributors of RADIO PICTURES LAUNCHING AN ERA OF ELECTRICAL ENTERTAINMENT 1660 Broadway New York (Continued from Page 14) scoring big in the laugh percent- ages; a skillful, well-oiled routine. Nayon’s Birds, a performing parrot act, came next, in a tropic woodland setting. A gorgeous feathered display of numerous birds, many of which performed very clever tricks. The customers liked it. Opening the finale, the girls of the line came on in pastel shaded chiffon costumes, then everybody on, many of the girls going up ropes, taking parrots up, Mavis and Ted making adagio center stage, all for a good flash finale. The picture was M-G-M’s 1929 Hollywood Rveu.e FIFTH AVENUE SEATTLE (Reviewed Jan. 23) The “Let’s Pretend Idea” was a weak follow-up to the gorgeous “Black and Gold Idea” seen here last week. It started out like a million, with a finale that had less kick to it than the worst of ’em. The opening scene, a huge pumpkin with the orchestra seated in the center and 12 line girls with pumpkin heads doing the usual routine that was highlighted when Rita Lane, a little blonde soprano, put the necessary kick into the theme number “Let’s Pretend.” George Green, colored skate artist, although not fitting in with the Idea in any way, shape, or form, more than overstayed his limit on the skates, but neverthe- less, to his credit, got a deservedly good hand. Shorten this up with less repeats and he’d go even bet- ter. A couple of hoofers, George Tillyou and George Rogers, had a comedy dance offering that could have been cut short to better ad- vantage. This one dragged con- siderably due to its length, and for no reason whatsoever Ed Chaney, co-producer of the idea, also did some hoofing. The girls did a semi-Tiller number that registered fair and they were entitled to what they got. The outstanding bits on the bill was Rita Lane’s singing and Flor- ence Forman’s high kicking. A couple of the line girls in a specialty acted like they hated each other, which offset their otherwise fair offering. This one needs jerking up badly before it hits east, with lots of rehearsal slated for the line. At present it’s pretty weak. Peabody started out early with his specialty, doing a violin solo with one of the boys at the piano, playing and singing Berlin’s "Love,” theme song of “The Tres- passer,” topping it off with “Rio Rita” in which Joe Woodbury, Billy Barrett and Ralph Meyer joined together in a novelty quin- tette of strings and song to a nice response. , Eddie fitted in later with his banjo specialties using “I’m A Dreamer,” “Talking Picture of You” and “Sunny Side Up,” starting these off with the sextette from “Lucia.” Peabody’s banjo work was the outstanding offering of the presen- tation and naturally garnered the most applause. Irrespective of the quality and length of the stage, offering, the public laid their dough on the line to see and hear Peabody smack the old banjo. It’s what they come to see and hear and if they don’t get it, or enough of it, they go out mumbling. They want anywhere from eight to ten numbers from Peabody in- cluding the “St. Louis Blues,” but he’s finally got ’em to lay off the latter, for a while anyway, but they’ve got to have plenty banjo, and whoever is at fault can take this tip if Peabody’s stay here is to be as successful as his first week. The screen feature was “The Bishop Murder Case.” Jean. KEN DAILEY WEDS Ken Dailey, general Jnanager for the Bert Levey offices, was mar- ried Thursday, January 23, to Ara- belle Wiles, a non-professional. The ceremony took place in the Saint Augustine Church. Dailey is 35 years old and his bride 26. The wedding culminated a romance of two years. NANCY DUE BACK SAN FRANCISCO, Jan. 30.— Nancy Carroll, Paramount star, is expected here this week on a return voyage from Honolulu where she has been vacationing with her husband. Jack Kirkland. Kirkland returned several days ago. SUPPORTING DIX Henry Armetta, Italian actor with 16 years’ film experience, will enact a supporting role in Richard Dix’s second radio star- ring vehicle, “I Love You.” Meiklejohn Bros. ASSOCIATED VAUDEVILLE MANAGERS Fourth Floor, Spreckels Bldg. Phones: 714 So. Hill St. TRinity 2217, TRinity 2218 LOS ANGELES VAUDEVILLE AND PICTURE HOUSE ENGAGEMENTS AVAILABLE FOR STANDARD ACTS WANTED—Acts Suitable for Vaudeville, Picture House Presentations, Clubs and Talkies THEATRICAL AGENCY AL WAGER (Artists’ Representative) 221 LOEW’S STATE BLDG., LOS ANGELES, CALIF. Phone: VAndike 3619 ‘LOVE PARADE’ (Continued from Page 4) lyrics. The story, which is quite ade- quate for operetta purposes, was by Ernst Vadja, with the libretto by Guy Bolton. CASTING DIRECTORS’ VIEWPOINT: Maurice Cheva- lier has added to his usual fern appeal a chance to display himself in various uniforms, and to put across his personality in several sequences well thought out to this purpose. All of which should please his fans. Jeannette MacDonald is a most pleasing leading lady for him, be- ing pretty, appealing, convincing and a real singer. Lupino Lane contributes no small share of the comedy, his al- lotment being the lower portion of it, and his comedy falling prowess comes in for good response. Opposite him is Lillian Roth, who does her part in good stand- ardized stage fashion. There is a Greek chorus of cabi- net ministers, among them being Lionel Belmore, Eugene Pallette and Albert Roccardi. Edgar Norton is well cast as the chamberlain. DANCE HALL’ (Continued from Page 4) it is to be believed that he would have had some touching sequences to his credit. Jane Murfin and J. Walter Ru- ben did the scenario and dialogue. CASTING DIRECTORS’ VIEWPOINT: Arthur Lake did the same as he always does, un- pleasantly-pitched voice and all. Not so good. Olive Borden’s voice registers clearly, but her performance was one of those one-two-three emote procedures. Joe Cawthorn, if any one doesn’t happen to know it, is a comedian that the talkies can use as often as they want without fear of over- doing it. Into the frequently dull footage of this picture he burst like Old Dutch Cleanser to brighten and sparkle. The picture was all his. Margaret Seddon was natural- ness itself in the mother role, and easily took credit for bringing to herself the major portion of the audience’s sympathy. Ralph Emerson’s recitation of lines was just recitation, but ndt nearly so much so as that of Helen Kaiser, who was not un- reminiscent of a Saturday night’s entertainment at the little Red Schoolhouse. Lee Moran was well cast as a soda-jerker, and completing the cast were Tom O’Brien, Natalie Joyce and Patricia Caron. ‘ROGUE SONG’ (Continued from Page 4) EXHIBITORS’ VIEWPOINT: If you have any ability whatso- ever at exploitation, this is a sure- fire cooking for any first run house, either for a run or for a week or two. All you have to sell is Tibbett’s voice and the new type of screen entertainment for the opening shows, and word-of- mouth should do the rest. PRODUCERS’ VIEWPOINT: Lionel Barrymore has scored a distinct triumph in the direction of this picture. His .neat balanc- ing of the Tibbett voice with the story interest is splendid, and many of the scenes have been han- HARRY WEBER - SIMON AGENCY PALACE THEATRE BUILDING, NEW YORK CITY MANAGING ONLY THE BEST IN VAUDEVILLE and PICTURES HOLLYWOOD OFFICE BANK OF HOLLYWOOD BUILDING Corner Hollywood Boulevard and Vine Street HO. 2181—Telephones—HO. 2182 HARRY WEBER died in a manner which keeps in- terest moving at a rate far better than, it is to be guessed, was in- dicated by the script. Other credits are “Based upon the operetta ‘Gypsy Love' by Franz Lehar, Dr. A. M. Willner and Robert Bodansky; Story l)y Frances Marion and John Colton; Suggested by Wells Root; Music by Franz Lehar and Herbert Stothart; Lyrics by Clifford Grey.” CASTING DIRECTORS’ VIEWPOINT: Lawrence Tib- bett has firmly taken his place as a screen star, so long as music lasts at the least, and possibly much longer. Catherine Dale Owen, in the fern lead opposite him, is again in a part which calls for iciness of manner and considerable hauteur. In these roles she is consistently in character and excellent. It would be interesting, however, to see her for once in a more emo- tional part, just to see what she could do with it. Next to Tibbett’s acting, the neatest work is done by Florence Lake. The part, that of the rogue’s sister, is very small in footage, comparatively speaking, being only one sequence of dis- tress at her betrayal, and another one of her death. But it stands out. Judith Bosseli is exceptionally well cast as a haughty countess; Ulrich Haupt plays a short but ac- ceptable heavy; and Elsa Alsen takes fullest advantage of the lim- ited opportunities of a mother role. Satisfactorily doing other minor parts are Nance O’Neil, Lionel Belmore, Wallace MacDonald, Kate Price, H. A. Morgan, Burr Macintosh and James Bradbury, i r - Stan Laurel and Oliver Hardy have frequent cut-ins, doing the same kind of stuff they usually do but this time in Russian clothes. It is not up to their av- erage for laughs, and the casting of this duo of ace comedians in the picture is questionable. They have become so firmly established and familiar in their own two-reel, modern-day field that their pres- ence could not help but jerk the audience out of the illusion of reality whenever they appeared. The Albertina Rasch Ballet had a very pretty toe dance to offer, exceedingly well shot as to angles. CRISP WITH R-K-O Donald Crisp has been signed by Radio Pictures to direct “Cook- ing Her Goose,” which will mark the reunion of the popular silent day team of Mary Astor and Lloyd Hughes. William Sistrom, who recently went from the post of the Pathe general manager to that of associate producer for R- K-O, will have this as his first supervisiorial assignment under his new contract. Starting date is ten- tatively set for February 12. NEW YORKER IN “BRIDE” Arthur Hammerstein has with- drawn Robert Chisholm from the cast of the New York, play, “Sweet Adeline,” and assigned him to a featured role in “Bride 66,” mu- sical production which he will make for United Artists. PATRICK and MARSH (AOEN0Y) VAUDEVILLE—ORCHESTRAS WANTED! ACTS SUITABLE FOR PICTURE HOUSE PRESENTATION AND CLUBS WHITE—WIRE—CALL 807*8 Majestic Theatre Bldg., 845 South Broadway, Los Angeles Phone TUcker 2140 Walter Trask WANTS STANDARD ACTS and ENTERTAINERS for THEATRES, CLUBS, LODGES and SMAROFF-TRASK PRESENTATIONS WALTER TRASK THEATRICAL AGENCY 1102 Commercial Exchange Bldg. 410 West Eighth Street Los Angelas Telephone TUcker 1680 WILLS-CUNNINGHAM Gladstone 9502 7016 Hollywood Boulevard Studio of Dancing Professionals Taught by Professionals Routines Created and Perfected for Single, Double and Ensemble Dancing Acts Walter Wills Theatrical Employment Agency Talent Booked for Pictures, Vaudeville, Production, Clubs Ackerman & Harris EXECUTIVE OFFICES THIRD FLOOR, PHELAN BLDG. Ella Herbert Weston, Booking Manager Market, Grant and O’FarreU Sts. SAN FRANCISCO LOS ANGELES—20 Film Exchange Bldg. Washington and Vermont — Telephone: BEacon 7966 Artists and Acts Register For Theatrical Bookings, Orchestras and Club Entertainment IRA F. GAY AGENCY 206 Majestic Theatre Building 845 South Broadway FA 3421 Los Angeles