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

PAGE FOUR INSIDE FACTS OF STAGE AND SCREEN NOV. 8, 1930 VIEWS Pictures BLUE ENVELOPES Blue envelopes indicate that a review has been mailed direct to the maker of the picture, with comment on selection and con- struction of story, direction, casting and co-ordination. “LIFE OF THE PARTY” WARNER DOWNTOWN AND HOLLYWOOD (Reviewed Nov. 1) (BLUE ENVELOPE) Producer’s Viewpoint in a Blue Envelope Mailed Direct EXHIBITOR’S VIEWPOINT: Plenty of laughs in this, and they come thick and fast. For direct ex- ploitation, plug racing, furniture breaking and fainting sequences 100 per cent, and you won’t fool the regulars. For this type of comedy, deter- mine saturation point in your neigh- borhood with care, also Winnie Lightner’s drawing power. Volun- tary exploitation value (word-of- mouth) for this picture rates about 20 per cent as very little occurs in dialogue, action or situation that can be called deep audience reaction value. Entertainment value rates 80 per cent, and there will be no disappointments on that score, but do not depend on ’’Life of the Party” to send the customers out, yelling its praises to the neighbors. CAST: There is only one Winnie Lightner. Charles Judels is electric and dynamic. Charles Butter- worth’s comedy clicked way up. Jack Whiting is well cast. Irene Delroy knows her stuff, and how to deliver it. ‘LITTLE BIG HOUSE’ WARNER DOWNTOWN (Reviewed Nov. 1) The chimp short was reviewed un- der unfavorable conditions. It was kid entertainment, bravely trying to inveigle laughs from an adult audi- ence. Four fairly good guffaws were scored for this innovation. Sig Newfeld, producer, is commended for his courage and originality in attempting this novelty, but the job of synchronizing offstage voices to the moving lips of chimpanzes failed to compensate for his efforts. It is difficult to follow character, due to indistinct personalities and manner- isms of the cast. Selection of material was unfor- tunate. It hearkens back to pre- talkie pie-throwing, and that with the bubble-busting-in-the-cake-bat- ter limped. The only synchroniza- tion that convinced was a female chimp. Her work alone could not hold up the entire book. Good laughs came with good syncs. Looks like brains and perspiration put into this could be expended to a better advantage. Ted. “TODAY” RKO THEATRE (Reviewed Nov. 6) PRODUCER’S VIEWPOINT In the BLUE ENVELOPE Mailed direct EXHIBITOR’S VIEWPOINT— This picture is without a doubt 100 per cent entertainment. Audience interest is held and built up to a peak of intensity that is compelling and without any apparent effort on the part of the cast. For a drama of today it stands out; saying so little and meaning so much. It is manifestly a picture for adults and should be billed as such. Story, sur- prise and suspense elements should be billed equally with the names. Give this picture all of the exploita- tion it will carry. CAST: Conrad Nagel never ap- peared to a better advantage. Kath- erine Dale Owen and Judith Vo- celli are well placed. Their roles fit them and they fit the roles. The supporting cast showed good con- ception of w'hat is required of them. “BILLY THE KID” MGM PICTURE (Reviewed Criterion) This is a 100 per cent western. Laurence Stallings and Charles Mc- Arthur make dialogue and action a sweet blend. Superior direction by King Vidor, but this gentleman is diverting genius on this type of story that could serve himself and the industry to a better end. Epic thoughts are waiting for Vidor transcription to the screen. CAST: John Mack Brown and Wallace Beery make this picture everything to be desired. Warner P. Richmond gives a remarkable performance. Russel Simpson and Wyndham Standing, in fact the en- tire cast win special commendation for their work. EXHIBITOR: After all this is a two-gun story and the number of westerns produced dictates caution in spotting this one. Advance pub- licity, and the name King Vidor can easily sidetrack your sense of its true box office value. Exploitation on this picture can easily be misdi- rected, misplaced and mispent as the exact value of the “names” and popularity of the story is indeter- minate. Booking date and western story saturation point for your neighborhood should be gauged carefully. Spotted right and with maximum exploitation this picture should do 80 per cent of normal. After all its a western. They rate 20 per cent of total draw and are low percentage voluntary exploita- tion. “BIG MONEY” PATHE FEATURE (Reviewed at RKO) Far fetched plot is put over by sterling performances of Eddie Quil- lan, Robert Armstrong, James Glea- son, Miriam Seegar, Margaret Liv- ingston and Maurice Black. Eddie, Wall Street messenger boy with good gambling luck, falls in love with employer’s daughter. Fail- ure to deliver 30 grand to bank be- lore closing time results in Eddie’s getting fired and meeting with Ace, gambler through a series of excit- ingly humorous sequences. Gang- land shooting, romance and comedy chase through the picture.,- Good entertainment throughout was well received by the house, par- ticularly work of Quillan, Arm- strong and Gleason. EXHIBITOR’S VIEWPOINT: This is a sure fire picture for laughs, excitement and punch. Excellent entertainment backed by splendid cast. Don’t overlook this in your bookings. CASTING DIRECTOR’S VIEWPOINT: Entire cast is good. James Gleason almost stole pic- ture several times. Hig characteri- zation of a gangster’s henchman is perfect. Armstrong and Quillan also perfect. Miriam Seegar charm- ing as Joan, leading woman. Rob- ert Edeson good as father. Mar- garet Livingston and Maurice Black contributed to success of picture. Art. Presentations “ESPANOLA IDEA” LOEW’S STATE (Reviewed Nov. 6) Absolutely one of the outstand- ing offerings that graced this stage in a score of months. LeRoy Prinz’s “Espanola Idea,” with credit due from line girls to the principals, will bring dough to the box office, as he has packed into forty-eight minutes one of the niftiest little musical comedies seen here. Costumes, lights, settings, con- tinuity are strictly Broadway, the show being admirably handled throughout by Harry Vernon in the role of m.c. This boy is class per- sonified, with an ease that reflects showmanship. His own specialty offering, a vocal, “Song of the Fool,” is a classic. John and Harriet Griffith, a youthful and mighty goodlooking dance team, should soon be headed for the big dough. There' are few teams with niftier or neater rou- tines. Bordering on the sensational, the youngsters grab some hefty hands. Comedy was left to Andy Caruso, Dick Mayo and Susanne, the first duo in the role of “Daisy, the won- der horse.” The entrance was good for laughs, and with Suzanne put- ting the “horse” through its rou- tines brought out belly laughs that sequed into a show stopping hand at the finish. Prinz, in offering his dance en- sembles has set a standard of pro- duction that is a high mark to shoot at. His youthful ensemble drew heavy hands in all of their Spanish routines, and thoroughly deserved every plaudit. He’s dressed ’em to look like a fifty grand production. May Packer in her specialty dance work stood out admirably; Abbie Green, vocalist, handled his song in great shape. This one should be played up as being the outstanding offering of the year. The entire company of the “Espanola Idea,” if the first per- formance is a criterion, will more than live up to this. Babi. “SEASONS IDEA” LOEW’S STATE (Reviewed Oct. 31) This will have to be jerked up considerably before it comes up to the average standard of an F and M “Idea.” Called “Seasons” for no reason at all, no continuity and hoofing from start to finish. Only outstanding bit is toe work of Aida Broadbent, and unbilled trio of two boys and a girl who step out of the line for a nice bit. Comedy in the hands of Frank Molino and company, not getting a g.ggle throughout. Material needs working over heavy, although girl is okay and holds it up to whatever little standard they attain. Outside of specialties, a weak forty minutes of draggy dance num- bers. RKO VAUDEVILE KK.O THEATRE (Reviewed Nov. 6) When this opus opened it occurred to this reviewer that RKO had stumbled in starting off the bill with such topline material as Four Peaches and a Jay. But no error here. The entire bill offers so much in class, talent, laughs, a question of tempo or balance isn’t thought of. Opened with Four Peaches and a Jay. The quartet of femmes starts the turn with a musical comedy medley intro followed by the Jay in a show stopping eccentric dance. Then comes a petite blue costumed medium blues singer who does a petting bit with Dan Russo for laughs. The next gal gives ’em a saxophone obligato that would be at home in Paul Whiteman’s rou- tines. Another shapely miss does an energetic tap routine that out-pa- tricolas Tom. The fourth lady does an acrobatic dance routine that whams them. The ensemble finale left one wondering what could fol- low that would hold up the tempo. Whoever assembled Four Peaches and a Jay knows talent and where to pick it. Distinctly the essence of big time. Every girl should be billed. Joe Howard came next for a re- ception. He is a favorite here and deservedly so. Mr. Howard has ar- ranged his routine with all the astu- teness of a showman. The young lady with him possesses a beautiful voice and adds both class and qual- ity to the, prestige of Joe Howard. Johnny Hyman gave them a new version of the old chalk and black- board hokum and left nothing to be desired. A man who knows his vaudeville and how to get laughs. Closing was the reliable firm of Jack McClallen and Sara. Past master at poise, presence and tim- ing is Mr. McClallen. Sara is there four ways from the ace and the “artist who painted our barn” now a specialist competing with Chick Sales is also an artist instrumentally and histrionically. Whatta show. One of the best bills RKO has ever given Los Angeles. ‘SPORT-LAND’ DENVER THEATRE (Reviewed Nov. 2) Fred Schmitt and Denver Grande Orchestra, offering “Operatic Mo- ments,” pleasing arrangement, fea- turing Atwater-Kent Radio contest winners, Dorothy Wicks and Henry Brooks, who wraw a marvelous hand with their opera numbers. Publix “Sportland Unit” is about as entertaining a unit as has ever played this house, featuring Stan Kavanaugh, juggler, who runs a continuous line of chatter good for plenty of laughs. George Beady, clown, sings several humorous songs in a strong clear voice. Dave Gould Boys and Girls go through several acrobatic routines that were good. Olive Faye, eyefilling blonde, with a mighty sweet voice and a huge ululele, sings several numbers in a pleasing manner. Ted Mack, popular local boy, has established himself as a great fav- orite with the customers as master of ceremonies. Sis and Buddy Roberts, Aero Duo, tumble about the stage in a variety of dances and poses, show- ing remarkable ability. Dusty. FOX OAKLAND OAKLAND (Reviewed, Nov. 4) Following in the footsteps of the San Francisco Fox, where perhaps the country’s outstanding theatre concerts are given, Frank R. New- man has inaugurated a policy of pop symphonic music for this ace Oak- land house, augmenting the orches- tra and giving Hermie King an op- portunity to show the folks what he can do with a baton. This, second of the weekly over- tures, was a medley of operatic hits, featuring quartette from “Rigoletto” with the brass section taking the spotlight. Number was without tableau but was given some neat lighting effects and under King’s capable baton, offering was given a maximum of applause. Even this sparse election day matinee crowd accorded the overture more of a hand than is given an ordinary number in any other theatre with a capacity mob, and that’s saying a lot for King’s direction, and all the work put into the feature. Behind the footlights was F. and M.’s “On the Set” Idea with Gil Lamb and Marian Bellet in excel- lent acrobatic and eccentric danc- ing, Brown and Willa, Rose Valyda, double voice singer; DeLara and Lolita in a striking Apache and a lineup of Carla Torney girls that were outstanding for the quality of their work. Billy Knox was at the organ. Screen features included Par’s “Laughter.” Bock. HIPPODROME THEATRE LOS ANGELES (Reviewed Oct. 29) Adeline opened the bill with a neat wire turn. Weber Sisters har- mony team and hoofers picked up the show for better tempo. Howard Swartz held it with his gags and banjo. Del Oro Trio, two girls and man kept the customers entertained with an eyeful of costume and figure in fair dance routines. Hanley and Terrell with Stanley Russell, next to closing were the h'gh spot, and Hector and his Pals, comedy clog offering, sent them out laughing. Audience well pleased. Picture was “Call of the West.” Bob RKO GOLDEN GATE SAN FRANCISCO (Reviewed Oct. 30) Another good unit, this one in- cluding “Bomby” with his radio gang, Joe Young and company, Danny Small and Harry Mays, and Paul Rernos and Toy Boys. Plenty of variety and good fast action. “Bomby” headlined. Paul Remos and Toy Boys opened, Remos being the under- stander for three midgets who did a clever group of tricks including hand and pole balancing and acro- batic stuff all serving to delay the show. Act was neatly dressed and looked great from the front. Danny Small and Harry Mays, colored duo, did a few songs well and did much better with some tor- rid hoofing that always is a cinch for theatre customers. Weakest part of the turn were the gags, but rest of it was more than okay. Joe Young and Company closed. Young, in white face, did a flock of falls and gags for comedy returns and was aided by Myra Langford who sang a brace of tunes and Eleanor Gibson and Billy Riddell who worked straight. Lot of laughs. “Bomby” and gang closed. Turn was recruited from Eastern radio ranks, “Bomby” possessing consid- erable of a rep as a broadcasting tenor. Another male, two fem singers and fem pianist completed the turn which was composed of well known semi classics, all of which were well delivered by the songsters. Act was attractively set and all its members made a neat appearance. Walt Sullivan made his debut as a dialect comedian in Claude Sweeten’s RKOlian overture doing a “Red Riding Hood” offering to garner a flock of laughs. Bert Lytellin Columbia’s “Brothers” on the the screen play- ed opposition to the stage version of the same play on the boards of the President, further down the rialto. Bock. MILLION dollar THEATRE LOS ANGELES (Reviewed Oct. 30) Scoville Sisters, three ferns in cycle of dance offerings. Work hard and fast to present entire routine in time allotted Alland and Cro- well, with midget piano, offer songs and talks. Woman has nice appear- ance and delivers songs well. Talk needs more attention. The Skatells, with their familiar offering, prove hit of bill. Bill Te- lack play’s repeat date for this house and went well when reviewed. Same offering as last time. Plenty ver- satile. Six Candreva Brothers, in a musical novelty of brass and voice, closed show nicely. With present offering can be spotted in any house. Feature—“Let’s Go Native.” Bob HIPPODROME THEATRE LOS ANGELES (Reviewed Nov. 2.) Philmers, man and woman, do some wire walking and juggling. Nicely presented. Floyd Rath- bourne offers a drunk number with chatter, then goes into dance im- pressions. Decker and Van Epps next, with a high class vocal offer- ing. Voices are good and couple have neat appearance. Palo Gordo, in a comedy musical and unicycle offering. Work on single wheeler brings good applause. Ross and Murry’, two men in comedy talk about golf. Too much talk without any punch. A song would help. Four Covans, mixed four in fast dance offering. Solid hit with their neat foot work. Picture—“A Royal Romance.” Bob Legit “EX-MISTRESS” GREEN STREET, S. F. (Reviewed Oct. 30) In “Ex-Mistress” Sid Goldtree has his most worthwhile stage pro- duction to date. As done by the most capable cast Goldtree has yet assembled, this show looks like it ought to carry off soma of the Green Street’s business honors. It hasn’t anywhere near the spice of previous vehicles, but it does have a lot of good work from the cast and an okay though rather tire- some story. Outstanding in the initial night’s showing was fine work done by Greta Grandstedt in the role of Marion Moore. Re c r u i t e d from pictures for this play, the cute looking ingenue came near running off with the whole shooting match by virtue of an irrestible vivacity and personality that sold her every line and action. Only the good work done by other members of the cast prevented it from being entirely Grandstedt’s show. Belle Foster handled her many sides as Dora Macy in a highly satisfactory manner, giving them a lot of feeling. To his role of Eddie Macy, Ray Edmunds imparted a warmth of action and sincerity’ that sold him heavily. Ari Lorenz as Ethel Rogers and Peggy Tomson as Mrs Howe were two others who had good parts and who did good jobs of them. Blair Kent did two roles in okay style. Others of the uniformly good cast were Gudy Swanson, Gerald Heather, Adin Wilson, Jeanne Mason, Wallace Middleton, and Hugh Metcalfe, who also directed. Metcalfe de- serves a lot of credit for his handl- ing of the cast of IS who were put on and pulled off the postage stamp size stage with amazing foresight. Between the acts the Beale Brothers, piano duo, supplied en- tertainment at a pair of baby grands. “MISTER ANTONIO” HOLLYWOOD PLAYHOUSE (Reviewed Oct. 30) Leo Carillo gives a performance that only’ Leo Carillo can give. Selection of “Mister Antonio” for the playhouse however is unfor- tunate. Thought and activity in Mister Antonio’s hey-dey seems sad- ly out of time yvith the mood of today. Lew Kelley stands out for his fine delivery of the character “Joe,” Cast includes Marion Clayton, Hal Price, Leo Lindhard, Olive Cooper, Byron Hawkins, Virginia Rich- mond, Ruth Matteson, Randolph Hale, Alma Chester, Frank Parry, Lottie Williams, William Turner, Leah Winslow and Capitano, the donkey. There rae faults in direc- tion and casting, but it is expected that these will be corrected. Facts ‘THE APPLE CART HOLLYWOOD MUSIC BOX Reviewed November S George Bernard Shaw lectures the audience through a great many characters, and the audience likes it plenty. Play is laid in the England of 160. Shaw’s sense of humor is the SCENERY SALESMAN WANTED Must Know Business from A to Z .... Write ..... AMERICAN STUDIOS 1060 Folsom St San Francisco ....