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

PAGE TWO INSIDE FACTS OF STAGE AND SCREEN SATURDAY, MARCH 1, 193Q BIGGEST OPPORTUNITY IN RADIO BIO FIGURE FOR PLAYHOUSE D. 0, Frank Craven in “Salt Water” put the Hollywood Playhouse in the forefront of sheckel-getters among the quartette of filmland’s legit theatres—$5900 was the score, the highest that this house has registered in several moons. The El Capitan came next with Mary Boland in “Ladies of the Jury,” collecting $5200 for its next-to-closing week. This will be followed by Violet Hemming in “Let Us Be Gay” next Sunday. The latter comedy was seen here last year when Edna Hibbard pro- duced it at the Mayan. The play has been a great success in the East and this will be the first time it has been offered here at popular prices. The Vine Street did $4700 for the first week of “The Nut Farm.” This one, while not so hot, has caught the fancy of the Holly- woodians to a degree as it deals more or less with a phase of their existence which they understand perfectly. The “Farm” will give way to “Rope’s End,” a sensa- tional thriller, in three weeks, ac- cording to present plans. The Civic Repertory Theatre, holding forth at the Hollywood Music Box, is going along very nicely. This idea of producing class plays for the intelligentsia has met with growing support, and, while the returns at the box- office have been but nominal, the subscription list has been receiv- ing much encouragement. The present play, “A Bill of Divorce- ment,” did $3300 for its first week with indications that the current week will not slip. On March 10, Sierra’s “The Romantic Young Lady,” will take its place. Downtown at the Majestic, the “New Moon” has continued to rise but has not as yet reached its zenith. An increase of $500 over last week’s figure brought the total for the sixth week to $18,700 with practically a sellout indicated for the next several weeks. This is the most phe- nomenal success this house has enjoyed in years. The President is still running strong with Kolb and Dill in “Give and Take,” last week get- ting $5300. This play is slated to be followed on March 9 by Taylor Holmes in “You’re Uncle Dudley.” Raymond Paige Musical Conductor of the En* sembles, and little Synphonies at Radio Station KHJ. Raymond came from the Paramount Theatre, Los Angeles, and is building one of the greatest organizations ever broad- cast. He is not only an arranger, but is a composer as well. 10 BELLAMY CONTRACT NOT CANCELLED BY STUDIO Story that Madge Bellamy, pic- ture star, had negotiated a con- tract with the Fowler Studios, which contract later was cancelled by them, was this week discovered to be without foundation. The story was carried in Inside Facts and other publications, and denials on behalf of Miss Bellamy were shown to be true. The true facts were that a cer- tain singing teacher, under whom Miss Bellamy had been perfect- ing her singing voice, went to the Fowler Studios and represented himself as having full authority to sign a contract in her behalf. Upon these representations a con- tract was negotiated. Immediately upon learning of this Miss Bellamy called the stu- dio, pointed out that the teacher had no such authority as he pre- tended to. and declared she did not v/ant the contract. F. N. SIGNS BROWN Joe B. Brown has been signed by First National to a five-year contract. Brown’s first role is to be in “Top Speed.” By RAYMOND PAIGE (Musical Director RKJ) When asked the other day what the particular troubles were that beset the musical director of a large radio station, I replied that there were no particular troubles, having l'n mind that troubles are never particular. However, it did serve to focus in my mind a situation we have here in Los Angeles that exists, probably, in no other part of the country, and provides a musical director with plenty of problems. The talking pictures are responsi- ble for this situation, as they are for many others. Musicians from far and near have joined in the talkie rush to Hollywood, men, and women, too, with national and international reputations, have spec- ulated in a visit to Hollywood in the hope they can get some of the big picture studio money. When they get here they find that they must have been a resi- dent here for at least six months before they can hope to catch a place in a studio orchestra. Some call it a vacation and go back home, but a great many others try to get other work to keep them going until they can qualify under the resident clause. And so we in the radio stations get the back-wash of Hollywood. We are called upon to interview daily a steady stream of instru- mental talent. Some of them we know by reputation, some have most impressive scrapbooks to ex- hibit. We could get together in no time at all a great orchestra of names equal to that of any musical body in the world. It is no trouble to interview these men, in fact it is interesting and I enjoy some of the contacts thus made. But my own organiza- tion here is built up of seasoned men, trained in broadcasting, thor- oughly capable and happy in their work. Occasionally I lose one to the talkies, but it takes a good proposition to tempt him away. So when a world famous concert master comes in and offers to work at scale, although we might be tempted, there is more at stake than the temporary advantage of the big name. Norman Taurog was signed by Tiffany to direct another picture. GREETINGS: THE HOTTENTOTS STAN BELFILS LEO MANNES JERRY JOYCE Broadcasting Regularly Over KTM - - - - LOS ANGELES WITH THANX TO HENRY HOHMAN AND STAFF OF PICKWICK BROADCASTING CORPORATION, FOR MANY COURTESIES EXTENDED SAN FRANCISCO, Feb. 27.— Lloyd E. Yoder, one of the young- est press relations counsels on the Pacific Coast, has a lot of ideas about radio as a field of endeavor tor youth troubled with the eternal vocation question. Yoder is manager of the Press Relations Department of the Na- tional Broadcasting Company’s Pacific Division, a position he has held since he was 25 years old. Though he won’t talk about himself, Yoder will tell the young man or woman wondering what to do that he thinks radio is a leader in the field of mediums offering real opportunity, especially to the college graduate. Why? “Simple indeed,” said Yoder. “Radio is a new industry. Through- out its short history, those of us who have watched know that scores of men and women from school and other fields have come to radio and really found them- selves—found the medium that of- fers personal expression, numerous outlets for numerous talents. The Answer “The fact that radio still is young obviously answers the ‘why ra- dio’ query. Great things will hap- pen and should happen quickly, and the young man or woman who has the talent might as well be on hand to enjoy the attendant op- portunities.” Yoder hastened to define “tal- ent.” “I don’t mean every body or girl who thinks he can write or sing, or speak well,” he said; “I mean the individual who has demonstrat- ed it practically and conclusively.” The various phases of radio were mentioned by Yoder. “Few people realize the avenues that are open,” he volunteered. “The natural thought in connection with radio is of the entertainment phase. That employs many, • in- cluding the musician, vocalist, ac- tor, reader and the personality- plus individual who becomes a ‘Dobsie’ or a ‘Bennie Walker.’ Other phases are even wider in scope, however. There are direc- tors, producers, contiuity writers, program builders—I could name many more. Chances for Women “There is a place even for libra- rians since the large studios, such as that in San Francisco of the National Broadcasting Company, employ several librarians to handle necessary music and manuscripts. “For women there is opportunity in any of these fields and she also may become a beauty expert, fash- ion designer, dietician or what not —provided, of course, she has a microphone voice, and a knowledge of her subject as well as flare for speaking convincingly, to hold the attention of her audience, the ‘per- sonal’ contact as it is described in the studio. “Like any institution, there is the clerical force which at the ra- dio station necessarily is large. Op- portunities in this phase are sim- ilar to those offered in any ofher business. “If we get into the technical side of radio, we find many opportuni- ties for the man whose mind has that trend. There is the engineer- ing department for the trained technician and the commercial side which opens a major artery for the advertising man. There even is a place for the photographer, artist and cartoonist. Another depart- ment offers opportunity to the traf- fic manager, another to the music arranger, and on through an amaz- ing list. “With the passing of a few years and the advent of television, the radio studio will parallel the the- atre in its demand for costumers, wardrobe mistresses, make-up art- ists, stage managers, property men, special lighting effects will be re- quired and other changes neces- sarily will be made which will of- fer opportunity. “In fact,” Yode'r laughed, “you can’t tell just what is coming. Who thought a little while back that we would be listening to speeches from England, or even that we would hear 50 or more programs every week from New York and other Eastern cities, in fact, when we were boys, who of us even thought of radio?” It Wasn’t His Way A bunch of showmen were talking about the vicissitudes of show business. They recalled names that once were big, and and have disappeared or else are buried in the obscurity of somebody else’s payroll. “Well,” one of them said by way of closing, “it’s a tough game; but after all none of them got the tough break Pantages got.” That turned the conversation to the vaude magnate, and it went into reminiscences. What was said cannot be printed fully here, not only because of its length but also because names and times are involved which many would readily recognize—and the matters never reached that state of legal authentication which would prevent a libel suit if publicly repeated. One of those in the gathering told of the case of a man who, being in Pantages’ employ, had been badly bitten by the night life germ. This man started filching in a small way, cov- ering his takings with business intricacy. Then his pilferings became larger. “Altogether he took about $150,000 of Pantages’ money,” the raconteur declared. “I know it for a fact. But when Pan found it out, he didn’t prosecute—he always believed in giving a man another chance.” Another took up the reminiscences. He named one of the witnesses against Pantages in the recent Eunice Pringle case. This man, so the story went, took $1500 from the Pantages funds. The employe was arrested, but, upon promise to keep straight in the future, was released through Pantages’ refusal to prosecute, and was reinstated in the theatre man’s employ. “He always believed in giving a man another chance,” the speaker concluded. Others of the group related similar instances, and finally one said he had it upon good authority that Pantages had, during the course of his long theatrical career, lost more than $600,000 by malfeasances of his employes. “But he took the loss; he didn’t send them to jail; he always believed in giving a man another chance.” So that was the sum and substance of the talk, a talk which doubtlessly would have delighted Pantages’ heart could he have heard it from his cot where he lay ill in the county jail hospital. He always believed in giving a man another chance, did this man who apparently is not to get that other chance which, he declares, would enable him to prove his complete innocence of the charges of attack brought against him by Miss Eunice Pringle. There’s something mighty sad in a deal like that. BIGGER PROGRAMS COMING; WHAT STYLE WILL THEY BE? By GLENN DOLBERG ■ (Manager, KHJ, Los Angeles) Cheer upl Certainly. Radio programs are going to be bigger and better this year than ever be- fore. It is true, the pendulum swings, and having swung (like the passing of the short skirt), decrees, more or less, what the radio fan of 1930 will have to listen to—like it or not. Perhaps he shall hear, but not listen—but wait a minute. I said programs are going to be made more en- joyable, and I believe it. There is still more uncertainty in the minds of program directors regarding the type of program which will prove interesting to the greatest number of listeners. Can you tell me? If the program is dance music, do you object to a classic being inserted for variety’s sake, and, if the program is classic or grand opera in style, do you welcome a dance band asking “Am I Blue?” Now, one more question. How do you like the real variety pro- gram on which you hear a bit of everything — hot stuff, ballads, skits, light opera choruses, etc? Want New Talent All right, now that we have the program question settled, what will we do for entertainment? For- tunately we have fortified our- selves with a goodly number of fine artists upon whom we can call at any hour of the day or night. But even so, we must al- ways hear new voices and enter- tainers of all kinds who are going the rounds looking for work. The situation is, indeed, pitiful, because many times out of two hundred auditions only a mere half dozen have anything to offer a radio; station that could be classed as professional entertainment. These would-be artists go from studio to studio assuring each radio manager that ‘‘a good bet has been passed up” when told, “Sorry, - have nothing to offer you at present.” The reason for this is that most of these individuals are possessed only of the desire to sing and have not paid the price of serious study and are apparently not will- ing to make any sacrifices along that line. So long as they can carry a tune and memorize the words to “You’re the Cream in My Coffee” and “I’m Following You,” they assume they are. ready to entertain the radio public. Not True Here This is not true, however, of instrumental soloists, orchestra musicians and concert singers. They have made the sacrifice and have studied for years, develop- ing with determination what tal- ent they possess. It is from this group of singers and musicians that entertainment of real worth and lasting popularity is selected. I call your attenion to some of KHJ’s artists whose popularity has lived through the years and whose names are familiar to the ears of millions of people: Wesley Tourtellotte, versatile organist, gives an entertaining re- cital, modulating deftly from one popular air to another, and from popular rhythm to classic, depend- ing entirely upon his mood of the moment; Other Artists Carl Omeron, concert and oper- atic tenor, whose beautiful voice and exquisite artistry have won him first place among tenors on the air anywhere; Eloise Kirkpatrick, coloratura soprano, whose bell-like high F is only duplicated by the world’s greatest prima donnas; Leslie Brigham, operatic basso; also delights his audience with the better class of negro spirituals; Among contraltos, Eleanor Rennie ranks high. Her delight is in singing Brahms and Schu- mann, as well as classics by mod- ern composers; Robert Cheatham is one of the finest ballad tenors that we know of. Perhaps you can suggest one finer; Charlie Wellman, “Prince of Pep,” has been on the air con- stantly for six years; Elvia Allman. Character songs, blues, hot rhythm and ballads, mean more when sung by Miss Allman; June Parker, perhaps the most popular blues singer on the air today, has reigned queen in her line for over three years; Raymond Paige,' musical direc- tor of KHJ, entertains daily, draw- ing music from his great orchestra of twenty-five specialty men. Paige has a strong conviction along the lines of. original interpretation. After giving you a de luxe pres- entation of “Wabash Blues,” or “China Boy,” he is liable to pre- sent one of his opera miniatures, a fifteen minute version of some one of the great operas, giving you the arias and choruses in the exact order in which they appear in the opera. You may hear Paige’s music any night over KHJ, some time between the hours of six and ten o’clock.