Inside facts of stage and screen (October 4, 1930)

PAGE TEN INSIDE FACTS OF STAGE AND SCREEN OCT. 4, 1930 Vaudeville and Presentations RIVOLI THEATRE DENVER (Reviewed September 24) This house, under the manage- ment of Frank “Rube” Milton, old time J/aude performer, is rapidly coming back in public favor, due to Milton’s policy of giving the people good clean entertainment and lots of it. He has done very good business throughout the sum mer, despite the Baby Golf craze and strong competition from two de luxe houses carrying stage shows. He offers two changes each week, with a midnight ramble on Saturday night, and manages to have a full house at nearly every performance. Frank Milton has assembled company, which at present, is up to a standard never before seen in this house. Fie also carries a hot eight- piece band, under the direction of Bill Franklin. The company is under the per- sonal direction of Paul D’Matho- teoux, and for this bill offer “Hey Rube,” a laugh getting vehicle, if there ever was one. Buster Graves, featured comic, as “Toby” keeps the house in an up- roar, which is “something” in this town. Bluey Morey portrays “Rob- erto,” the Gypsy chieftain, in an ex- cellent manner, as does Oney Lea, as “Mary Lou.” Margie and Eddie Page, Fanchon Milton, Tony Yale and Paul D’Ma- thoteoux, in support, all give a per formance that can draw nothing but praise. Each is a polished per- former and take advantage of every opportunity to keep things moving along at a fast pace. If Paul D’Ma thteoux continues to put on shows such as this one, it won’t take long to bring this house back to the popularity it enjoyed a few years back. The ten girls in line, beautifully costumed, execute some very pretty and difficult work and show careful training. Credit Lillian Bergman, their producer, for their excellent work. Girls from the line handled the songs of this bill, a departure from the usual custom, and each was called back for several encores. Two were especially well received, Billy Davis with “The. Vagabond Song,” and Betty Keating with “Little White Lies.” This girl has a mighty sweet voice, lots of per- sonality and puts her numbers over in a manner that has made her a big favorite here. Last, but not the least, were “The Fearless Four,” a quartette under the direction of Eddie Page. These lads surely know their harmony, and the quartette is one of the best seen on a Denver stage. They run a fast line of comedy along with their songs and have the people crying with laughter. They stop the show completely and finally beg off with a gesture number, neatly done by Bluey Morey and Eddie Page. Tony Yale sings the lead, Eddie Page, tenor; Buster Graves, baritone, and Bluey Morey, bass. All have pleasing voices, Eddie Page using them to good advan- tage', arranging their harmony num- bers to where he has a combination that is hard to beat. , The bill ends in nifty fashion, en- tire company on in garden setting, with girls _ singing “Mary Lou,” while wedding is being performed, Tony Yale, Fanchon Milton and Buster Graves doing a fast tap number for closing. All in all, this is the best seen on this stage in many a moon, and the customers voiced their approval with applause aplenty. formance, and with a good picture and excellent stage show, nothing was lacking in the way of entertain- ment. The Denver Grand Orchestra, un- der the direction of Fred Schmidt, presented a symposium of Victor Herbert’s best melodies, at the climax of which Fred Schmidt pre sented his violin solo, playing “Kiss Me Again.” There is little wonder that this group is billed as “The Pride of the West.” They are fine bunch of musicians and always give a nice concert. This New York produced Publix unit is called “Coney Island,” and the stage settings are fitting for the occasion. Bill opens with Clyde Hager and band coming through house mak- ing about all the noise possible. Then the Fred Evans Boys and Girls go through a snappy routine, holding stage, while Clyde Hager, acting as m. c., introduces. Jim the Bear, in regular side show fashion. 1’his bear is well trained and goes through a dance very cleverly. Two unbilled boys then stage a wrestling match with the bear. Funny but rather rough going. Next is a very clever acrobatic dancer, “Mariette,” late of George White’s “Scandals.” The Miss is graceful in her difficult routine, which the crowd responded to with a nice hand. Sonny O’Brien, sang the next number in a pleasing tenor, while ensemble went through a pretty and out of the ordinary routine. Sammy Lewis and Patty Moore, next with a line of comedy chatter that brought the laughs, returning for a hot tap dance on stairs. These two are hard workers and drew heavy applause, which was well de- served. George Dewey Washington, as an added attraction, came on in his familiar vagabond garb to render, “The Vagabond Song.” Encored with “What Did I Do To Be So Black And Blue,” and this number brought the heaviest returns heard here in some time. Called back and gave them “The St. Louis Blues,” in true George Dewey Washington style. Lewis and Moore on for another dance, which drew heavily. Finale with entire company, en- semble doing nice routine to “The Man From The South,” getting a hefty, hand from the audience. Feature was Ronald Colman in Raffles.” Dusty. dances and were prettily costumed Jacobs. RKO VAUDEVILLE RKO THEATRE (Revewed Sept. 25) Bert Walton acting as cere- monies director opened the festiv- ities with a plethora of extra-tran- scendental verbiage, meaning an excess of words of five syllables, but they glide from his tongue like water over a cascade. Bert has suave style of glee urgement and his repartee and flowing comments add no small measure to the merri- ment. The first act was The Berkoffs, two girl dancers, and a man in the pit, who also warbles somewhat. The girls are backed up by 6 other girls doing the usual routine of Russian steps in a fast snappy way that wins them the good act’s re- ward. Don Galvan, nice appearing young man in Spanish attire, twangs banjo. His running fire of goat getting with Walton had hon ors about even. Banjo work was neat and peppy. A sketch on domesticity called “Any Family” had a lot of homely humor and plenty of good laughs. It told of a mother, wife of a car conductor with a marriageable 19- year-old daughter, trying to put on the ritz for a young man with seri- ous intentions who called to take the girl on a picnic. The usual blunders are made with the father and a younger brother adding to the complication of embarrassment, but all ends happily. It vras a very good act. Danny Russo is still guest con- ductor of the R-K-Olians, which adds materially to the pleasure of the occasion. Jacobs. Dusty. DENVER THEATRE DENVER (Reviewed September 27) This big Publix house was filled to the rafters for this afternoon per- DO YOU KNOW YOUR HOLLYWOOD? Read TALKIE TOWN TALES By Two Iconoclasts Talkietown’s theme song of high spots and film personages. It is an education in laughs. A SMART BOOK FOR SMART PEOPLE At your book shops. $1.00. STAGE SHOW HARRY GOURFAIN PRODUCTION (Reviewed at Paramount theatre.) Rubihoff is the star of this pro- duction. His violin has a character and individuality that makes even an ordinary selection a classic. He first played his own composition, “Dance of the Russian Peasants,” followed with a more popular num- ber, “I Can’t Give You Anything But Love,” presented in an inimita- ble manner that won a decided hand. The orchestra under the direction of Irving Talbot played “Slavic Rhapsody” for fine effect as the raiser. Nelson and Knight, a man and woman, had a nice line of smile provoking, which ended with a song and the fem playing the fiddle. She is a fine appearing blonde and feeds well, but her violining was drowned by the orchestra. Babe Morris is truly a sensational tap dancer. She is a diminutive with gobs of personality and she clicks her taps with precision. Nat Spector, -who is announced as a second A1 Jolson, suffers con- siderably from the result of this announcement. He dresses like A1 and sings a “Mammy” song but he’s far from being an A1 Jolson. His work is good and he has a nice style and good voice. He does not need to be rated as a poor imitator when he could go out on his_ own and make them like it. This is an example of how an actor can handicap himself unnecessarily. Heras and Wallace, comedy acro- bats, completed the bill while Jules Buffano and his syncopators fur- nished the stage music. And, oh, yes, the girls had a fine routine of MILLION DOLLAR THEATRE LOS ANGELES (Reviewed Sept. 25) Walter Richardson and Co. opened show in one, with man at piano. Richardson put over four good numbers in big time style. Made a good opening act, but could have been down further on the bill. Voice and appearance is OK. Morris And Towne, in duce spot, opened with comedy talk, then of- fered some comedy business with tie which went over good. Then offered comedy song, in which Mor- ris did his famous crying bit, which went good for finish. Santo, next in full stage. Entered in clown makeup and offered comedy with dog dressed as cow. Girl put over nice high kicking dance, and some contortion tricks. This was followed by many other different tricks and changes by Santo and and the last part could be cut down a lot. However, it is a good act. the girl. The act was too long, Nile Marsh, next to closing, was a repeat in this house, and put over the same three songs that he used before. Marsh is always good, and it did not seem to hurt him by being there before. Went very good. Movie Maniacs, closed this show with eight men and two girls in a revue style, going from full to one and back to full a couple of times. The boys offered dancing and sing- ing, and the one girl put over some novelty dancing. Esther Campbell then put over a couple of whistling numbers in great style to ad much to act. The other girl put over a good hoop dance and looked very nice in her costume. As a whole the act was a flash and a good one. Picture was “Anybody’s Wo- man,” with Ruth Chatterton. Bob. makes change of costume, then more talk and song for finish. Billbrew Quartette, next, put over a series of numbers in great style. These fellows dress in over- alls and look like real colored folks from the south. Their cat number for finish put them over very big. Good act. Hollingsworth and Crawford, next, with their skit in one put over some very good cmedy re- gardoing lady getting her hair bobed. Know how to act and talk, and all in all, it is a very good act. Jack Weston, next to closing, offered some novel musical num- bers and songs. His songs are new and the way he puts his material over makes him one of the best acts ff its kind in the business. The Perrys closed the show in their novelty shooting act. Man opens with some rope spinning, then offers some very novel shoot- ing in which he shoots at different things in woman’s head and mouth. His guns are all new. Good act. Picture was Sally O’Neil in “Girls of the Port. . Bob. LOEW’S WARFIELD SAN FRANCISCO (Reviewe d Se pt. 25) The opening day of MGM’s “Good News,” musical talkie, Dick Spier sold it as a collegiate comedy, packed with laughs, making a play for the students. Business no sen- sation at this matinee. But better than if it had opened as a song and dance flicker. Entertainment was not confined to the screen. Jan Rubini and “his romantic violin” was there also, opening with “World Is Waiting for the Sunrise.” Standard, popular semi-classic ... a big favorite. Takes added luster under Rubni’s masterly violining. Lighting effects always good here. Giv^ credit ot Art Bartlett. Secnd number, “A Little Love— A Little Kiss.” Organ accompani- ment bv Alta Wadsworth. Sold everybody in the house. Peter Paul Lyons and orchestra in the trench. Always good music from this gang. Lyons knows or- chestra direction. Four-reeler, ‘‘Bottom of the World,” educational chronicle of the North Pole, rounds out the bill. Highly interesting. Warfield has new seats. Mighty comfortable. Bock. go for it, production overtures with tableau effects would be a great bet for this theatre. Only trouble is that the pit isn’t entirely visible from the upper part of the house, even from the last row of the loges. There’s a swell drummer in La- raia’s orchestra. Every effect in the silent Kinograms news was caught by him, and he made a mediocre news reel an interesting part of the show. Bock. HIPPODROME THEATRE LOS ANGELES (Reviewed Sept. 28) Hubbard sisters, in two, opened the show, and offered some very clever contortion tricks. These girls put over their tricks in great style, and know how to sell same. It is a much better act now, than with the other dancing that they had in the act before. Good act. Holliday and Willette, in deuce spot, offered some comedy talk in one. In middle of act, lady CALIFORNIA SAN FRANCISCO (Reviewed Sept. 24) Publix management is not limit- ing the California show to the or- chestra pit. here’s as much going on in the mezzanine as there is in any picture house stage, a photo- grapher shooting the customer’s phizzes free. Willis Boardman Zink passing out a lot of his knowl- edge about bridge to the Friday matineers. A beauty parlor treat- ment if you’re a woman and lucky, sometimes a bit of music from Attilio .Laraia’s house musickers, bridge tables - handy if you care to indulge. All that’s missing is beer and pretzels, and maybe that’s a suggestion. Oh, and then there’s the show inside. This picture was Para- mount’s “Monte Carlo.” Then there were Fitzpatrick’s “Travel Talks,” a very funny Paramount Talkatoon and an overture by Laraia, with Dr. Louis Flint at the console of the mighty Wurlitzer. “Faust” was the selection. Flint’s neat console -work built up the offering and Laraia’s capable crew of musicians put it over in great style. That electrician is a pip. He had some classy lighting effects that aided a lot. If the house would “FOUNTAIN OF YOUTH” FANCHON AND MARCO IDEA (Reviewed at Loew’s' State) This idea, staged by Larry Ce- ballos, is one of the classiest novel- ties seen in many a day. A diving bell was set in a tank and the girls, elaborately gowned, walked down a flight of stairs, disappear into the water, to come back in bathing suits. Lottie Mayer is given credit for originating and conceiving the ■water ballet. The girls gave a splendid exhibition of fancy diving. Barton and Young, a team of comics, started the glee fest with a barrage of good gags. They are a unique pair and work together for excellent results of laughter. Frank Stever with his magnifi- cent baritone sang, with the chorus back of him, and received warm commendation for his efforts. Here is a lad whose nice appearance and fine vocal attributes entitle him to picture recognition. Jack and Bob Crosby open their part of the entertainment with ban- jos but it is not until they start stepping that they fall into their own. Ed Chaney, a classy hoofer whose eccentric stuff has many difficult twists, also mixes with the Crosbys for a trio of dancing that is little short of sensational. Lottie Loder kids with Rubs Wolf and sings a song in German, followed by an English version that won her some applause. Rube Wolf and his orchestra render a serious selection of oper- atic hits for their part of the pro- gram. The staging of the numbers was excellent. The girls were properly rehearsed and the colonial fountain setting beautiful. Jacobs Meet me Down Town where? Swagger Inn formerly Coffee Dans (Same Location) SWAGGER INN TO THE BIG AFTER-THEATRE SHOW Every Nite Till 2 A. M. DANCING DINNER DeLUXE, 75c TURKEY OR STEAK WITH DINNER, $1.00 A COMPLETE LUNCH 50 CENTS Catering to the Theatrical Profession No Cover Charge WANTED! CHORUS GIRLS Must be good-looking and have shapely forms. Write or phone. JOHN GOLDSMITH, Manager, Capitol Theatre DAvenport 7179 Sam Francisco CONSTANCE MONTY EVANS and WOLF “BITS OF MUSICAL COMEDY” MISS EVANS IS THE WORLD’S CHAMPION FASTEST HIGH KICKER—47 KICKS IN 30 SECONDS _ • ■ ED KELLER, RKO REPRESENTATIVE