Inside facts of stage and screen (February 8, 1930)

SATURDAY, FEB. 8, 1930 INSIDE FACTS OF STAGE AND SCREEN PAGE FIFTEEN RADIO- KEITH- ORPHEUM CIRCUIT OF THEATRES VAUDEVILLE EXCHANGE General Booking Offices PALACE THEATRE BUILDING 1664 Broadway RKO FILM BOOKING CORP. General Booking Offices 1560 Broadway NEW YORK CORPORATION 1560-1564 Broadway, New York Telephone Exchange: Bryant 9300 Cable Address: “RADIOKEITH” RKO PRODUCTIONS Inc. Producers and Distributors of RADIO PICTURES LAUNCHING AN ERA OF ELECTRICAL ENTERTAINMENT 1660 Broadway New York 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 (Continued from Page 14) gling, a few gags and more of the picking ’em up and laying ’em down. Customers went for him in a big way. Show was long, running about SO minutes. Joe Livingtone’s Or- chestra in the pit. Picture was Fox’s “City Girl” with Charles Farrell, part-talk. Business was capacity and is showing an im- provement each week. Bock. FOX SAN FRANCISCO (Reviewed Feb. 3) The Fox had Frankie Richard- son in from the Fox lot in Holly- wood to bolster up F. and M.’s “Overtures Idea,” the “Sunnyside Up” player adding much to the entire stage show with his offer- ings of hits from that picture. With Dave Franklin at the piano, Richardson gave the cus- tomers “Sunny Side Up,” “Walk- in’. With Susie,” “Can’t Give You Anything But Love” and “Mona,” selling them for big response. Balance of the show was okay stage fare, the line of girls open- ing by dancing to classic music and Toots Novello putting in some excellent acrobatic dancing. Walt Roesner, m. c., brought on Louise Manning, who banjoed and sang “Do Something” and then, after making her change on stage, put over a cute toe tap number. Ediosn and Gregory followed with their comedy stuff of playing such equipment as a vacuum cleaner, balloon, etc. Boys, who could get music out of a shoe string, have clever stuff. Dance of phosphorescent boots before a black curtain was excel- lent, with another aero phos. dance done by Novello again clicking. While the orchestra played “II Trovatore,” Huff and Huff surrounded by the girls danced, with Helen Hille singing off stage. As an overture Roesner and the concert orchestra did a repeat on their off:ering of two weeks ago, a “Rain” medley featuring “Singin’ in the Rain.” Any previous doubts as to the advisability of repeating an overture within such a short space of time were dispelled -when the customers started applauding, the orchestra drawing a pair of encores for their notable efforts. Particularly effective was the short music sequence during the lowering of the pit after the over- (Continued from Page 4) WILBUR CUSHMAN’S REVUE STRAND THEATRE LONG BEACH (Reviewed Jan. 2) Cushman brings to this former RKO vaude-booked house, a revue titled “Money, Money, Money” based on the well-known comedy “Nothing But The Truth,” and as pretentious an offering as the beach patrons have been privileged to see for many a season. It’s the first Cushman produced stage show that this reviewer has seen to date, although the producer’s rostrum exhibits are as familiar to coast fans generally as are the crude and blemished similar at- tempts inflicted by other producers. Herewith the hope that it’s not the last we’ll see, although that is what is sure to happen some of these days when some smart pic- ture exec signs this clever and artistic gentleman to a director’s contract. It’s a cinch that the cur- ent sample offering bids him in as a trump hand for any such berth. The polish and finesse labeled on this one is worthy of a mint of praise and the talents exploited by ture. Orchestra played “When the Sun Goes Down” and very pret- tily. Charles Wilson was at the organ. Picture was “Love Is Like That” (Pathe). Hal. GRANADA SAN FRANCISCO (Reviewed Feb. 3) Highlighting this week’s musi- cal show supporting the feature picture was an organ-song offer- ing by Don George and George Bowers, as arranged by Don. It was a medley of sun numbers such as “Sunrise to Sunset” and featured Lloyd Campbell’s new tune “When the Sun Goes Down. 1 Bowers, who is a KYA artist, crooned the tune in an effective tenor voice while Don was at the organ, and Bob Lee supported with stringed instrument music. Frank Siegrist and the orchestra had as their concert “Love Pa- rade” with Siegrist faking The spotlight in a short solo that drew heavy response. Picture was “No, No, Nannette” (First National). Hat. Meiklejohit 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 AL WAGER — L (Artists’ Representative) 221 LOEW’S STATE BLDG., LOS ANGELES, CALIF. Phone: VAndike 3619 the excellent cast show the deft and masterful hand of a real di- rector. In fact, it’s a surprising thing to know that Hollywood so far has failed to capture this lad who has stage directed such out- standing original productions as “Listen Lester,” “Topsy and Eva” and “All For You” plus the many profitable revues with which he has been identified here on the coast. Well-delivered interpolated spe- cialties in song and dance numbers featured members of the cast and chorus, and maintained a fast tempo throughout the interrupted script. Rudy Wintner’s characterization was particularly outstanding. Ap- pearance, stage deportment and comedy results secured him a heavy measure of response. His dancing was better than good, and revealed a versatility in entertain- ment ability, considering the ex- treme opposite from that which the plot role called for. In fact that goes for practically the entire cast, all of whom were extremely entertaining in delivered specialties. Cushman himself played a highly satisfactory part, pen- ciling himself in no doubt on ac- count of the lengthy role list re- quired by this particular story. Ray Angwin is a good bet for any man’s show. Lad has stage appearance and sings tenor ditties that will click anywhere and that takes in Broadway musicals some day, if he makes the right con- tact. Ray Parsons’ conception of the comedy role assigned him was productive of a huge slice of laughs and appreciation. Madelyne Mathews delivered for full value, all business required of her character. This gal has the trademark of a trouper and is an asset to the organization, proving that declaration by the bright in- terpretation of her role. Dale Jackson clicked in double- forte fashion, reading his lines in experienced style and scoring later on with a yodel specialty that landed. Vivian Vance totaled up a full measure of response in return for her well delivered lines. Response was okay to her delivery of song, titled “Mistakes.” Jay Ross clicked with his acor- batic and tap dance specialty. Reva Ogden also made the grade in the brief bit allotted her. Two girls billed as Maurine and Maurice and recognized as for- merly the Sullivan Sitsers were way out in front with a specialty offering. Kids look good and can add value wherever placed. Costuming and scenery is worthy of special mention. Pro- duction is flavored throughout with like qualities which are generally conspicuous by their absence in other attractions. A quartette comprised of Ray Parsons, Rudy Wintner, Dale Jackson and Ray Angwin de- livered a brace of harmony vocals that hit the bell. Prologue opening is a worthy attempt, smoothly initiating the following faultless hour and 10 minutes of real entertainment. Joe Lindebaum’s Orchestra un- der the inspiring baton of A1 Berube, musical director for the Cushman shows, played the music. “Oh Yeah,” Pathe’s talkie fea- turing Jimmie Gleason and Rob- ert Armstrong, held the soreen rounding out a 100 per cent com- edy bill. Eddie Meredith. Ballard’s. This is the first of the new group of shows which Duffy has secured for the present year and if it is a fair sample of the rest but few changes will be seen at the Duffy houses. “Ladies of the Jury” is a much better play than the one in which Charlotte Greenwood established her record at this house and it should run as long and as popularly. Mary Boland is ideal in the principal role. Not a point does she miss and from the moment of her entrance in the court scene of the first act, she has her audi- ence convulsed. First, as the gush- ing society woman making her first appearance in a court of law as a jury woman and afterwards as the only negative voter in the jury room who manages to bring the whole 11 around to her way of thinking. That is the thread of the story but the manner in which it is accomplished is a delightful although slightly irregular expose of court methods and procedure, especially when they were locked up for the night. Three members of the original New York cast were brought out to support the star and they, too, were admirable and gave the show a touch of finesse that was very highly appreciated. George Farren in the role of foreman of the jury was exceed- ingly# good. Both in appearance and acting he left nothing to be desired. Particularly in the last act; with nerves shattered and de- termination gone, when he believes he killed a jury woman, did he rise to splendid acting eminence. Hallie Manning, as the chorus girl juror, also gave a sterling per- formance of the hard boiled show girl whose ukelele was smuggled into her and who knew how to use it. Marie Hunt as the Irish lady juror,'"too, was very fine. She got gales of laughter on her ec- centricities and never for a mo- ment overdid the character which afforded every temptation foi cut- ting up. But good as were these new- comers, they did not outshine our old friends. Brenda Fowler, in one of the severe roles for which she is famed. She gave a very excellent account of the stiff- necked juror who was the last to give in. Barbara Jo Allen and Myrta Hubert were also very satisfactory in parts suited to them. Among the men jurors, Bar- lowe Borland in a Scotch part, was fine and so was Ralf Belmont as a young gunman. Walter Mar- shall, Ronald Telfer and William Macauley completed the jury. Among the others in the court room, Ara Haswell gave a good account as the defendant and Olive Cooper was effective as the chief witness. Then also there was William Lloyd, C. Henry Gordon, Edward Cullen, Frederick Trowbridge, George Guhl, Doro- they Cecil, Donald Campbell and Ruth Van who added to the en- joyment of the opus. The two scenes were very well executed and the direction of Ed- win H. Curtis left nothing to be desired. This play is destined to have a long run or we miss a guess. Jacobs. PATRICK and MARSH (AGENCY) VAUDEVILLE—ORCHESTRAS WANTED! ACTS SUITABLE FOR PICTURE HOUSE PRESENTATION AND CLUBS WHITE—WIRE—CALL 607-8 Majestic Theatre Bldg., 845 South Broadway, Los Angelos 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 Angelos Telephone TUcker 1680 ‘LADIES OF THE JURY’ EL CAPITAN THEATRE HOLLYWOOD (Reviewed Feb. 2) What a sweet production Henry Duffy has given this play of Fred 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 tor 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