Inside facts of stage and screen (February 22, 1930)

PAGE EIGHT INSIDE FACTS OF STAGE AND SCREEN SATURDAY, FEB. 22, 1930 Vaudeville and 'Presentations RKO LOS ANGELES (Reviewed Feb. 13.) Bang! Bang! Bang! Which ade- quately describes the fact that Ol- sen and Johnson were billed as • stage fare for the vaude fans of this, downtown house during the week. Advancing behind a bar- rage of artillery, and supported back and front by their veteran al- lies, the two hoke champs tri- umphed in the usual big style, al- though the personal opinion of this reviewer is that they are not so funny to us at any time, and most of the time bore with their all too often return engagements minus any reai appreciable change of ma- terial. It was a change for the customers, however, and they seem- ed to like, despite the smut de- livered. Fulton and Parker, mixed team, landed okay with a routine of chatter, song and dance. Intimate delivery and the customers voted it good. Gaynor and Byron opened things with a roller-skating exhibition staged on an eight-foot square plat- form. Gymnastics exhibited by these two boys scored heavy re- turns. As flashy a turn of it’s de- scription as has been'seen to date by this reviewer. “Wall Street” (Columbia) held the screen. Maddie Madson held the baton over the RKOlians, augmented by two additional delirious pit jazz- hounds sponsored by Olsen and Johnson. Business capacity when caught. Eddie Meredith. ORPHEUM SEATTLE (Reviewed Feb. 15) Four , acts of vaudevile like those offered here this week is plenty good entertainment, for every one on the bill clicked. The Six American Belfords, who foot juggle each other around, started the ball rolling in the opening spot. They dragged heavy applause on each trick, <and closed with a bang that called for several extra bows. Lorraine Howard and Florence Newton held down the deuce spot attired as “Wedding Belles” in a comedy songologue of the same title. Lorraine was affected by a bad cold but nevertheless got her comedy lines over with a punch with the able assistance of Flor- ence Newton as her foil. The latter disclosed a very agreeable voice that could be used to more advantage. Nice material, deliv- ered to excellent returns under adverse circumstances, with the pair getting away to a nice hand at the close. In the trey spot was Teck Murdock in a thumbnail musical comedy entitled “O! Henry.” The script is lively and with the as- sistance of Iris Kennedy, Marion Meredith, Irma Powers and Charles Randolph, the laughs came heavy. Teck is “Henry” and has the three ferns dated on three dif- ferent nights. The third night finds the three girls visiting, wait- ing to see Teck keep a date with one of the trio. Teck got across his ecentric dance numbers in great style, but the cream of the act fell to Iris Kennedy, who dis- closed some real musical comedy talent in a song and dance spe- cialty. The remaining trio held up their end in great shape. Sunshine Sammy, late of “Our Gang Comedies,” closed the bill with the assistance of Joe Shields and Eddie Duncan. This trio of youthful colored performers brought forth more applause in their few moments on the stage than has been heard in this house for many a long day. Sammy kept the hand music coming hot and plenty ' during his impression of Bill Robinson, and it is very seldom that Seattle audiences ap- plaud during a specialty. There’s a _ youngster in the act, Joe Shields, who knocked ’em over with a couple of vocals. This boy properly handled will go way up towards the top. The third member of the trio, Eddie Dun- can, dovetailed nicely for his lit- tle bits in the dance specialties. Preceding the vaudeville, and evidently putting the crowd in a very good humor, was Tiny Bur- nett's RKOlians, featuring Myrtle Strong at the organ in a variety of late numbers. Myrtle stood out in an organ solo, “Kiss in the Dark,” and clicked accordingly, with a violin specialty by Meyers, Burnett also grabbing a nice hand. These boys are. building quite a following with their overture offerings, which are up to date, nicely arranged, and put over with the same pep and verve with which they adequately handle the show. The screen feature was “Seven Keys to Baldpate.” Jean. STATE THEATRE LONG BEACH (Reviewed Feb. 18) This five-act bill showed a great deal more variety than the usual run at this house, and consisted of three headline attractions, Ben and Sally’s Nine Hollywood Gold Diggers, Blackface Harry Jolson and Fred Sylvester and his Mid- gets.. Bill opened up with a fast hoke act, Beck and Regan. The little girl in his act shows plenty of pep and personality. This coupled up with a fine voice makes her a great bet for any bill or for the talkies. The man puts over some fine whistling and dancing. All together their turn is a very di- verting one. Hal Neiman followed second with his familiar tramp material delivered with a rib-tickling Lon- don accent. Hal not only displays a clever sense of humor, but is the possessor of a remarkably fine voice. Third spot was most capably held by red Sylvester and his Midgets, who gave a fast and snappy exhibition of thrilling feats that made them great favorites with this house. The three mid- gets opened the act with some nice harmony work, then going into a Charleston routine that still seems to be good. Harry Jolsqn, Al’s brother, got a good hand on his entrance and was liked. His best number was a burlesque opera number. He was accompanied at the piano by Jar- vis Denny, song composer. Ben and Sally’s Nine Hollywood Gold Diggers, featuring Kitty Brown, Rita and Rubins and the well-known Ben and Sally Step- pers closed the show. Act opened with a novelty police number and was followed by Betty Dean, per- sonable girl, who did a good soft shoe routine. Rita Ras was next up with a toe number that was a good pay off. Kitty Brown, who is an NBC artist, next presented a burlesque “Bubble Dance” that went over great. This girl has longer legs than Charlotte Green- wood and also possesses a fine contralto voice. Her ungainliness and funny expressions are sure fire. The line then followed with a control kick number that showed a great deal of work and training. The big number in the act was an oriental with the line, and in- troducing Rita and Rubins, nation- ally known team, who are great favorites on the coast. This team is fast and dramatic and had tricks seldom accomplished by others. Kitty Brown followed with a song and some comedy business that scored on funniness through a sympathy pull. Act closed with a fast cakewalk and lowdown by the company. GEORGE and FLORENCE BALLET MASTER and MISTRESS Australia's Largest Theatre — THE STATE, SYDNEY— PRODUCING WEEKLY CHANGE NOW 37tli WEEK And Still Going Strong Address—State Theatre, Sydney, N. S. W., Australia PHIL SYLVIA WHITE and NOIR TENOR Booked Solid Over R-K-O Circuit SOPRANO In “Songs and Steps” The Revue was staged in a novel manner and enhanced by good settings and colorful cos- tumes. Would prove good enter- tainment on any bill. Okay. ORPHEUM THEATRE SEATTLE (Reviewed Feb. 14) A nicely balanced bill support- ing the second week of the screen feature, “Hit the Deck,” had the Four Cirillo Boys working in one in the opener. The lads have a snappy routine of songs and dance steps that click, aided by good personality. Their first offering was a collegiate rendition of a twangy “whoopee” ditty. This was followed by a guitar solo that segues into a tap routine by the other three. Some more singing and dancing and two changes of wardrobe brought the ten-minute act to a close, Monica and Ann Skelly were in the deuce spot with a classy mu- sical skit titled “What Price So- ciety.” Monica played straights with Ann, the comic. They were aided by a little gal, seen as the maid, and two handsome lads who also interpolated some fast hoof- ing. The turn is set into four scenes, the most effective of which is an observation car view. The house went dark on this one and the effect of the train moving was gained by the film flickering on the curtain. This was very effec- tive and took a nice hand. The gals worked in one, two, three and full. They both sang and danced and revealed plenty of pep, personality and talent. The boys were of material assistance to the turn. Scott Sanders came next-to-clos- ing with twm of his popular char- acterizations, “The Picture Palace Sidewalk Attraction” and “The Punch and Judy Man.” Both have lots of laughs, even if some of the gags are antiquated. The first turn displayed Sanders as a broken-down trouper swinging the door at a picture emporium. His lamentations on the passing of the legit were both pathetic and humorous. His “Punch and Judy” turn was equally funny. It is laid in a street scene, dropped in two. Plenty of applause brought an en- core during which he did straight, springing some fast Scotch gags. Pepito, Spanish clown, closed the bill with a routine of tricks that included his old gags and many new ones. He has a male dancing team and a clever little girl, Juanita, with him to assist in putting _ the 20-minute turn across. Pepito’s pantomine is sure- fire and sent the audience into plenty of laughter. Outstanding were his' xylophone imitation, a take-off on the girl’s contortion work, and an egg gag that scored big. The men did some fancy acrobatic dancing, while the girl, in addition to her contortion work, offered a snappy doll dance that was. really clever. The act gave Pepito better opportunity to work than when seen here previously. He had the full stage and the as- sistance of three co-workers. Plenty of entertainment for both juveniles and adults in Pepito’s turn. Myrtle Strong’s organ concert, “Chant of the Jungle,” the fea- ture film, and Tiny Burnett’s band completed the two and a half hours of entertainment. Frog. FOX BOULEVARD LOS ANGELES (Reviewed Feb. 14) A big band week this time fc the Boulevard, with Georgie Sto and his Loew’s State bunc doubled up with Slim Martin an the_ house gang, making 22 piece This was made possible on at count of Paul Whiteman havin the State spot for a week. Bot leaders came in for equal honor from the customers. Slim appeared first, putting th band through “I’m In Love, Lov Me,” featuring Everett Chappell on the trumpet. It was nicel done and got a big hand. Wells and Winthrop, brougl out here bv Fanchon and Marc from New York, and who have ap peared in several Publix unit: started with. a soft-shoe routin and ended with an eccentric nun: ber; the boys make a very natt appearance. ■ Treen and Barnett, anothe Fanchon and Marco feature ac who have been split for about year, appearing together agaii broke in a new eccentric danc number and it was a knockoul took three bows. Slim appeared again and intro- duced Georgie Stoll and got a big hand. Georgie anounced he would play the Orpheus Overture, and during it violined an incidental solo that hit. They could keep this group here indefinitely and build up a big business, judging from the audience reaction. The screen feature was “Clancy in Wall Street,” with Charlie Murray and Lucien Littlefield. Woody. FOX SAN FRANCISCO (Reviewed Feb. 14.) In this week’s overture Walt Roesner and his concert orchestra took another crack at an applause record and with some mighty nice music to their credit came near tapping the bell with all the vim they did in last week’s excellent offering. “Dawning” featuring Charles Wakefield Cadman’s “At Dawning,” and “The World is Waiting for the Sunrise” was on the current calendar and the nifty scenic effects and vocal work of Marie Vogel, aided by Charles Wilson at the organ, did much to help sell the number for big re- turns. Behind the footlights Fanchon and Marco had. their “Havana Bound Idea” which, at moments, looked like it was going to be good stuff, and then drooped to mediocrity. Gauging by applause returns its sole highlight was the Romero family, seen in San Fran- cisco many times before, in various F. & M. units. Roesner and band were on stage dressed in gob uniforms and there were no sailor pants big enough for Fat Wendt who toots the hot trumpet in this organization. Set- ting was on board ship supposedly bound for Havana. Samuel Ped- raza high tenored the initial song to open the show and then Carlos Romero sidetracked his terpsichor- ean abilities for the moment while he also vocalized. Three of the Romero girls in a chain dance clicked and then appeared Stella Royal, quarter-pint sized songstress, who was carried on in a hat box. She sat on Roesner’s knee for a number and topped it off with a little dancing which netted her average returns. Pedraza in a ten- or solo done in his native tongue, the Romeros again and then Harry and Frank Seaman on for comedy acrobatic stuff that in any other house probably would have clicked but which was mildly received here. . The Romeros family numbering six, in a flashy Spanish dance num- ber that got over nicely and then finale. Fox’s “Sky Hawk” on the cel- luloid. Bock. fifth avenue SEATTLE (Reviewed Feb. 16) The F. & M. “Hot Dominoes Idea,” current attraction at the Fifth Avenue this week, while boasting no “names,” can step up and take its place over those that have. It’s plenty fast, eye-pleas- ing, and chock-full of diversified entertainment that more than pleased the cash customers. Each of the specialty performers took their share of the many honors with the payoff going. to Pall Mall, a black-face singing come- dian, who stole the honors of the show. This boy does everything from soup to nuts in ace high fashion, and he’s right, at home in this type of presentation. There’s iio m. c. to the show, and none is necessary when this boy’s around, for he handles the show better than some of ’em. The twelve. girls in the Idea can take their well-earned bows for the nifty way in which they put across their routine. Fredlyn Singleton and Sally Lang have tap specialties that hit the bell. Sally, repeating later with Betty Lee in a vocal chorus to the same returns. Frances Dexter, another specialty performer, landed heavy with a very smooth acrobatic rou- tine, while Webb and Diaz, who work with her to form a banjo trio, garnered a nice hand on their musical offering. There are three very colorful numbers against a background of dominoes that the girls put over in good shape, with the costuming way above average. The boys in the orchestra, led by Karl Horn, house leader, carry out the domino effect, being cos- tumed accordingly, and landed solidly with a symphonic arrange- ment of “Desert Song” numbers earlier in the presentation. The finale started, out with a “Chanticleer” number, very color- ful, in one, and preceded one of the highlights of the evening, Les Klicks’ electrical marionette dis- play. The various animated char- acters set on a black stage above the orchestra, brought forth salvos of applause. Nifty, neat and dif- ferent. The “Hot Dominoes Idea” will click its way merrily in any house between the two coasts. The opus was “The Sky Hawk.” Jean. FOX-BROADWAY THEATRE PORTLAND (Reviewed Feb. 14) A packed house for the first night show greeted Eddie Peabody, banjo maestro, in the first ap- pearances of his two-week stay here. Peabody’s presence called for heavy billing of the “Inter- national Idea” and the turn clicked to the satisfaction of all. The house band worked in the pit. The curtain rose on an ex- otic scene, set in full, that re- vealed a grand staircase centered down stage, flanked on both sides by four massive pillars. Tht “Idea” opened as the twelve line girls entered for their Spanish routine which featured Frederico Florez warbling the “Toreador” song from “Carmen.” Very poor diction here and hard to under- stand. Two comely maids, Patsy Mason and Audrey, led the line girls in the number; their work stood out nicely. Eddie Peabody entered, next, to heavy applause. He worked in one and, in keeping with the trend of the “Idea,” offered “Rio Rita” on the tenor guitar, singing a verse and chorus of the tune. He begged off and let the show go on. Billy Carr did a slow motion Apache dance that was neatly ex- ecuted. Mignon Laird entered for her work at the harp, already on. Miss Laird played a medley of tunes as Carr watched from the wings. The miss worked her- self into a frenzy and interpo- lated a series of intriguing dance steps. The turn was brought to a close with a fast Apache rou- tine with Carr, at the conclusion of which finds Miss Laird going to the head of the stairs, Carr firing a shot and the miss tum- bling down to be caught by Carr. The trick was not only flashy, but very cleverly executed. It took a big hand. . The “Idea,” episodical in its en- tirety, featured the Japanese epi- sode next. Eddie Peabody intro- duces the Osakas, male acrobatic (Continued on Page 9)