Inside facts of stage and screen (April 19, 1930)

SATURDAY, APRIL 19, 1930 INSIDE FACTS OF STAGE AND SCREEN PAGE FIVE NEW PAN TO CHANGE WEEKLY In Hollywood""J\[ow By BUD MURRAY Little did I think when the "Good News" management brought me out two years ago to help in the direction of that fine show, that I would be writing "IN HOL- LYWOOD, NOW." So here it is, and hope you like it. We'll first take you with us into the executive room of "The Masquers," where the first staff meeting was held last Monday to lay plans for the "Masquers' Pub- lic Revel," which will be held at the El Capitan Theatre in May, and we'll say order your tickets "NOW, IN HOLLYWOOD." In this meeting two very active members of the club were present, a certain Larry Ceballos, who has been head man at Warners, in the dance department, since before Warners' stock could be traded in for a lollypop. Well, Larry took us back to 1913 when we were with a Win- ter Garden show, called "The Whirl of Society." Larry was do- ing an acrobatic waltz with his charming sister, and a pair of members of that cast, who are "IN HOLLYWOOD, NOW," are Al Jolson and Fanny Brice, seen at the stadium Friday. As we looked around there was Lew Brice, Fanny's best imitator, who took us back to another Win- ter Garden show we were with in 1915, "Maid in America." Lew was hoofing, which made us re- member a marvelous eccentric dancer who stopped that same show with the drunk dance at 11:20 p. m., none other than our dear friend James Clemons, who isn't doing badly at Warners' studio. The other boy friend at this Masquers meeting was Ben Bard. Ben took us back to 1922 when we were stage directoring a Win- ter Garden Sunday night concert, and a team called Bard & Pearl came over from the burlesque house for a showing. Two acts that night were given the well- known bird, and Jackie was about to run out of the theatre, tout Ben had the "Guts" and talked Jack into going on. The team did, and was a riot, stopping the show and then playing about eight consecu- tive Sunday night concerts at the Century and Winter Garden, and are "IN HOLLYWOOD, NOW." Ben is doing pretty good, hap- pily married, and about to take a flyer in vaudeville, assisted by Bobbie Callahan, another who likes the Hollywood fites. Right back of Bricey was Bobby North all het up over the Payne- McDonald decision. That took us back to a burlesque show called the "Merry Whirl," owned by Gordon & North. We were play- ing a touch jockey part, in 1912. North was just getting rid of the grease paint, and Cliff Gordon was still going big in big vaudeville. On the boulevard, "IN HOL- LYWOOD, NOW," bumped into Walter Wills. He runs a danc- ing school, too. Well, Walter takes your embryo Medbury back to a season of musical comedy stock about 18 years ago, in Allentown, Pa., where Walter was the head man, and we were playing whisker parts and what have you. And, look! At the Roosevelt, Pearl Eaton. "IN HOLLYWOOD, NOW" and for some time, takes us back to when wee were in- fatuated with Pearl, who then had a roommate named Gladys Turner, a former dancer for George White. Well, the reverse English married Pearl to a musical director, and we were the best man, and "NOW, IN HOLLYWOOD," -we still have the same wife, Gladys Turner, with a red-headed daugh- ter named Martha, who isn't bad looking either. And they are all "IN HOLLYWOOD, NOW." So we cannot refrain from men- tioning Pearl's ex-brother-in-law, Oscar Levant, who writes music to Sydney Claires lyrics at the RKO, where Pearl is the head lady, dance director, and doing crreat. Oscar was all burnt up at that decision Friday night. Plenty of dancing masters and hoofers at the stadium, Carl Mc- Bride, who is with Larry Cefoallos at Warners, and Dave Bennett at Paramount, whom we worked with on "The Dream Girl" for Shuberts in 1923 in N. Y. Right behind us sat Sammy Lee. Do you remember North and Lee? What a man, what a dancer. At present Sammy is directing at M-G-M studios. There's Georgie Raft who was with us in N. Y. with "Texas Guinan's Padlocks." He is hot, too. Billy Grant we had in the Winter Garden, 1914; he is at Paramount studios, and Max Sheck, we worked with on "The Last Waltz," just finished at War- ners' studio, directing dances. There were a couple of dance con- tests right in the stadium ring, and they're "ALL IN HOLLY- WOOD. NOW." Once a week, a pun if you don't mind, because it's "IN HOL- LYWOOD, NOW! A hoofer who came out on speculation, complain- ing how tough it was to get in, told me at fites Friday that hun- dreds like him have gone broke waiting to land something. So with a few hundred dollars he has left he is going into the busi- ness of manufacturing pool balls, and make nothing but "8 balls" and sell them at cut rates to those other unfortunates. And even this gag is made "IN HOLLYWOOD, NOW." (I quit.) MUSICIANS ADVERTISE If a radio program is uninspired, it will confer but meagre goodwill upon the firm which sponsors it. For a radio pro- gram that is at once individual and "jolly good entertain- ment," confer with James Madison, 465 South Detroit St., Los Angeles. Phone ORegon 9407. SAN FRANCISCO, April 17.— Local No. 6, A. F. of M., is spend- ing approximately $5000 in print- ing and distributing 200.000 roto- gravure sheets that emphasize the popularity and importance of mu- sic in San Francisco. The sheet has the photos of orchestra lead- ers in San Francisco and Oakland and has two large photos, one of the Symphony orchestra, and the other of the Fox Theatre's 40- pieqe concert group. GET' WHILE EGYPTIAN TO FEATURE WARNER SITE HINTED OAKLAND. April 17.—Unveri- fied reports stated this week that Warner Brothers have purchased the Union Labor Temple for the site of their projected playhouse here. Apparently reliable sources, however, claim that Warners will not build in this East Bay City; insTeaH"~PubTix, it is said, is the only chain contemplating construc- tion here. The Publix house is definitely set and bonds already are on sale to assure construction ;tion v j£ been Kobart Bosworth has signed for the role of General Robert E. Lee in D. W. Griffith's U. A. picture, "Abraham Lincoln." HARVEY KARELS VALUE SCHOOL OF DANCING Riveter, at El Capitan, San Francisco Week of April 17th 7377 Beverly Blvd. OR. 2688 The latest operation policy for the new Hollywood-Pantages the- atres, recently taken over by the Fox-West Coast organization, out- lines a weekly change of talkies, supported by Fanchon and Marco Ideas. This policy, although not yet set, is likely to be the one favored. Policies under discussion in- cluded a straight long-run all- talkie plan. Consideration was given to various plans for in-per- son support to the picture features. With indefinite run films it was no* feasible to play the regular Idea units and for a time there appeared to be a possibility that special prologues would be staged under the Fanchon and Marco banner. Ultimately, however, the loca- tion of the new house and its large seating capacity seemed to justify the weekly change as being the best policy and a definite an- nouncement along these lines may be forthcoming shortly. This will mean a change in pol icy for the Egyptian, which now operates on the weekly change basis and the F. & M. Ideas. The Egyptian policy would simply be switched to the new house, and the Egyptian would go to a policy of long-run pictures. The matter of whether stage presentations would be used to support the film offerings in the latter house has not yet been de cided. The Howard Hughes pro- duction of "Hell's Angels" is spoken of as the premiere picture for the new policy at the Egyp tian, and according to announce merit issued by Hughes this pic- ture is to be supported by an elaborate prologue staged by Sid Grauman wherever it is shown Whether, however, the prologue policy would be continued at the Egyptian after "Hell's Angels" closed is something that has not yet been decided. The new theatre will be opened in May, definite date depending on when the contractors turn the building over to the operators. News Notes of Dance Studios Band boys here are going for hoofing, according to Bud Murray, head of the Bud Murray School of Stage, with Fred Wanng's Penn- sylvanians making a hit with dancing group. Latest band to concentrate on plain and fancy hoofing study is Fred Hart's Bev- erly Hills Orchestra, taking two hours daily under Murray's per sonal direction. Boys want to learn all styles and no faking * * * Harvey Karels, of the Karels School of Ballet and Dancing, was signed to appear for Fox-West Coast at the El Capitan during "- u «>i <*«• me jci Papuan aunng . V the current week. Karels, working twith Ruth Miles, recently did an Apache and adagio routine in the Paramount film, "Let5s Go Na- tive." Walter Wills, executive head of the W i 1 1 s - Cunningham Dancing School in Hollywood, is, by his own admission, an ardent advocate of teaching personality expression as well as "the technical details of the dancing art. Concentration on this phase is the reason for suc- ss of a large number of his upils, Wills claims. « * * Hollywood School of Dance re- ports 111 pupils, all under the age of 16. I. C. Overdorff is business manager; S. E. Granger, instruc- tor, and the ballet classes are un- der the direction of Anton Yarol- ski. A swimming pool is now be- ing installed behind the school. * * * Mack Bisset is daily rehearsing dance units for Fanchon and Marco. Twelve of his pupils are working in the "Goodfellows" Idea at Loew's State this week. Readers Viewpoints THE PRO AND CON Los Angeles, Calif., April 14, 1930. Editor, INSIDE FACTS, Los Angeles, California: In your current issue, dated April 12th, appears an excellent editorial concerning the future of talking pictures provided that there should arise "some man who will see the possibilities, who can sell the new idea to a producer and father a new art of entertainment," et cetera, this imaginary man to serve as a sort of Columbus, plus Moses. He must first discover the proper technique for the presentation of real entertainment through audible pictures, then impart his knowledge to the industry, and thus lead the way toward higher artistry. He must understand—and I might add "feel"—what you refer to as the "tune of the story." His innate sense of showman- ship, his keen knowledge of audi- ence psychology, should instinctive- ly sense not only the high-brow "rhythm" of the entertainment as a concrete whole, but likewise the true boxoffice probabilities, which, while not high-brow in character, are obviously of supreme impor- tance. Surely this man should prove highly valuable, for he must of ne- cessity be widely experienced in the gentle art of showmanship; he must possess an unusual knowl- edge of the "public mind"; he must know the reactions of Mr. and Mrs. John W. Public better than they do; incidentally, he must be ex- ceedingly well versed in art, litera- ture, music, drama—and most of all, in life itself. That's the sort of man, or men, who are needed! Now that we are agreed, let us turn back one page of this issue of INSIDE FACTS. Here we find an article, just as straight to the point as is the editorial mentioned above. This article, headed "Pro- tection Needed," etc., and referring to the dearth of story material and the necessity of providing some sincere means of protecting writers who submit original plots and ideas to the industry, is a topic, surely, worthy of deep consideration. Your assertion that "those who don't know the right contacts are keeping many a golden plot buried for fear of having it stolen" reflects an alleged condition which can well be applied to not only "plots" but likewise to lyrics, music and espe- cially to ideas for general improve- ment. Just who, for instance, would care to play that dual role of Co- lumbus and Moses for one "pri- vate conference" only—and later on realize that there existed with- in the industry no sincere desire to utilize his proffered capabilities openly, but that there did exist a great desire to secretly purloin -his plans or material, whichever it might be? If, as the combined information carried in the editorial and the ar- ticle would imply to any reader of intelligence, men of experience who are gifted with genuinely creative minds are rendering themselves liable to theft of their very brain- power when they approach the in- dustry, then how in the world can the industry ever expect to attract originators in lieu of copyists? Perhaps at least a portion of the apparent mystery of' the industry's alleged failure along such lines is explained by the fact that most men of the type your editorial claims are "badly needed" have not only heard of the brain-theft situ- ation, but are content to occupy other fields until such time as the industry proves that it is definitely interested in openly sincere pur- chase of valuable ideas, whether said ideas take the form of plots, stories, music, lyrics, or even—a better technique. Therefore, pos- sibly your article "answers" your editorial. Yours very truly, WEDGWOOD NOWELL. Los Angeles, Calif. April 15, 1930. Editor, Inside Facts, Los Angeles. Dear Sir: If it is in order 'for a reader of Inside Facts to make a suggestion I would like to make one, and that is that somebody, either the musi- cians' union or your paper, put on a course in showmanship for or- chestra leaders. This is meant well. The musi- cians are spending a lot of money advertising to the public for en- couragement for flesh and blood orchestras, and one way to back that up is to have the bands now in theatres deliver more showman- ship, especially in leaders. The way some of those fellows beat time, they should be set in front of a garage wall with a paint brush and then they might do a fair job of painting or whitewash- ing. Their motions are awkward and about all most of them seem able to do is beat one-two, one- two, anyway. A graceful conduc- tor, with personality, can pretty near sell any band, and the boys ought to take their work more seriously. It would pay. Yours with interest, G. Lloydwell. Hollywood, Calif.. April 13, 1930. Editor, Inside Facts, Los Angeles, Calif. Dear Sir: Enclosed find check for renewal of subscription for one year. Can't begin to tell you how I enjoy your weekly news and how eagerly I look for it each week. It's a great paper and I con- gratulate the entire editorial staff for the good work they are doing. Sincerely, Helen Ware. Leonard Stevens Who has played for Al Jolson, Fannie Brice, Sophie Tucker. Frankie Richardson, Al Trahan. Margie White—and a host of other celebrities at B. B. B. Cel- lar Cafe, Hollywood, nightly. P. S.—Ask Anybody in the Music Business Direction of B. B. B. Night Club Entertainers Desirous of Breaking Their Jump East COMMUNICATE WITH C. WHITNEY PARRY At THE TAVERN 341 South Main St. Salt Lake Chy, Utah HERBERT'S Good Food With Courtesy OPEN ALL NIGHT 745-749 South Hill Street Los Angeles Bachelor Hotel & Grill 151-159 Powell Street San Francisco