Inside facts of stage and screen (March 14, 1931)

Page Fourteen f INSIDE FACTS OF STAGE AND SCREEN Saturday, March 14, 1931 Reviews (Continued from Page 11) tributed the basis for a fine exploi- tation and advertising campaign to pull the people in. And once in the customers couldn’t kick at a lineup of 8 vaude acts, a feature picture ajnd short subjects. Show was copped by Ann Sey- mour, who, with her brother Harry, held the sixth groove, and got over exceptionally well with a most clever layout of songs while Harry did a dance or two and helped his sister generally. Jack Frost was at the piano. Diamond Boys, three roughouse comedians, ryere in next to shut with a routine of gags, songs, hoofing and kicking-on-the-shin comedy. Afternoon mob went for them heavily. ' Roxy La Rocca, in fifth spot, went well with his harp stuff work- ing the folks up into singing and whistling along with him. Okay throughout. Five Jewels proved a good novelty closer with their com- bined juggling. Four local acts opened the bill and did their total stuff in 25 min- utes flat. Opener was Ricardo aiid Ashforth in rather roughly routined aerial work. Eddie and A1 followed with three dances and in the trey Was Bert Nelson doing about four minutes of fooling around in a cage with Princess Pat, his 9 year old lionness. Lane and Harper held fourth position with a few songs and their w.k. baseball gag routine. Claude Sweeten and RKOiians did a medley of baby numbers as an overture. Picture was “The Flood.” Business couldn’t have been better. Maybe they want flesh after all. Bock RKO SEATTLE Joseph Regan, the Irish-Ameri- can with the great tenor voice, topped the vaude bill, and how! His repertoire was par excellence, ■and from the time he sang the first note the audience was with him. Was called back for many encores and the applause he collected was ■well deserved. Accompanied by- Larry Walker at the piano. Bert Nagle and his Tivoli Girls opened the show. Bert puts on a Tom cat bit that is especially amus- ing for the children. Martha Besta stepped out in two well executed dance numbers that went over big. A1 DeVito and Russ Denny in “Anything for a (Laugh” was slap- stick aplenty and brought main- laughs and plenty of applause. Do’t Stevens supplied the scenery and did some fast stepping. Recommend this act as a sure cure for the blues. The Four Ortons did a little wire walking, one chap making difficult stunts look simple. The fourth man went in for comedy in a big way with the assistance of a well trained goose—and we must say the goose stole the show. “The Last Parade,” starring Jack Holy, Tom Moore and Constance Currings, was the screen offering. Ruth. Legitimate MAGGIE MULLDOON” GAIETY San Francisco (Reviewed March 9) The Del Lawrence" Players en- deavoring to cater to the demand for a popular-priced flesh show in this neighborhood house. If the present attraction, is a criterion, we do not prophesy a bright future. “The Makin’ of Maggie Muldoon" just misses being a Toby show. Cast includes Inez Bauer, Aline Nathan, George Ball, Taylor Graves, Kneeland Parker, Florence Printv and Del Lawrence, with Printy and L a w rente featured. Players working on a co-op basis and doing a new show each week. Lines were , spottily delivered at times, apparently through lack of rehearsals. Performers are all ex- perienced troupers and capable of better things than the current ve- hicle. House has been dolled up to some extent, with all seats reserved at a 50-cent top. Policy of eight performances a week with a mati- nee on Saturday. With some at- tention paid to the choice of plays and casting, the house might get over. Jay. “THAT'S GRATITUDE” EL CAPITAN THEATRE Los Angeles (Previewed March 9) If this Frank Craven masterpiece doesn’t hold over at the El Capital! for six weeks and crack a box office score on the third, I am a monkey’s nephew. “That's Gratitude” has ev- erything nine out of ten comedy dramas should have and rarely 'ever, achieve, and that’s a total absence of cloying sweetness and maudlin sentiment. The first item in its fav- or is a motivation so pregnant with interest to the average person it simply represents word-of-mouth made to order. Add to that a tempo from pathos to comedy temperately and intelligently paced, and as many laughs in each act as you’ll find in an eight-reel Lloyd slapstick, and you have a pretty fair idea of what I mean by busting B.O. The house was four-fifths filled on Mon- day evening, its second showing in the El Capitan, and, mister, that spells happy days for the ticket spec. “That’s Gratitude” is so infern- ally' sensible and entertaining and so universally reflective of normal, healthy' altruism on its subject, it reaches pretty nearly everybody. It shows us humans up .without of- fense and ill a way no psycho-an- alyst can ever hope to. Dad will love it, mother will rave about it, and that great percentage of mor- tals who never enter the theatre except when the Church leases it for a special get-together will be urged and wheedled into seeing it. Everybody will be thankful to Frank Craven and every member of the cast for being born in time to appear-in it. Everybody-in Hol- lywood Owes Henry Duffy a per- sonal debt of gratitude for bringing it here, and that includes those in Los Angeles, a neighboring suburb. But let’s get down to persons and things. There’s Frank Craven and Guy r Kibbee—never heard of the gentleman but will from now on— in a nip-and-luck scene; first a nip and they' tuck another, and Guy- told Frank how grateful he was for saving his life. Every move and every- word spoken was a laugh, with a few wows. Leo Linhardt, the attending physician, left noth- ing to be- desired iii his portrayal of that character: dignity, poise, precision and as authentic as a Nor- man Rockwell painting. Effie Alton appeared next. Sweet, pretty, and in her part clear up to her tearful eyes. James Bush, a new type of juvenile who gives his lines that touch of spontaneity that makes one forget one is in the the- atre. Betty Farrington, a mother ty'pe, and out of a mold that comes closer to representing the universal mother of today than anyone I have seen y'et. Juanita Wray—how dis- appointed they' were when Juanita stepped out as Bill’s fiancee and how they applauded when she sang and how they gasped when she stepped out on the stair landing in the third act. Wotta radiance, and can she act? Now -it’s y'our turn to ask foolish questions. There was Billie Van Every' a"s Norma, the maid, on for three min- utes, and drew a hand. Just a smart characterization, that’s all. And Arnold Gra.v, as Clayton Lorimer, the head man in the show that gave Juanita Wray her chance to make good. This hoy' was made to order for the part, and he satisfied on de- livery. Just one closing comment: Go and see “That’s Gratitude.” Go late if y'ou like, but don’t miss that scene where the baritone is prac- ticing in the parlor and Mr. Max- well is trying to get a word in. It’s a gem and alone worth the admis- sion. Ted FRENCH LEAVE HOLLYWOOD MUSIC BOX (Reviewed March 3) ... The Civic Repertory Theatre re- gales its clientele this week with that amusing farce-drama, "French Leave,” by Reginald Berkely, and favors with Patsy Ruth Miller, erstwhile Cinema star, in the fea- tured role. It is a situational thing, cleverly wrought, witty and humor- ous. in dialogue and heartily re- ceived. A good, attendance was a testimonial to Patsy Ruth's popu- larity. The producer was fortunate in the selection of his entire cast. Every rale is fittingly characterized both in personality and talent. -Call- ing in the main for the personnel of an English regimental headquarter’s staff the casting hewed consistently to the line. There were many surprises in store for the civic repertory' cus- tomers, not the least of which was Patsy Ruth Miller’s quick transition from the pure and undiluted French to the broken English and then to the pure English form of speech. Each change, no matter how abrupt, found her ready and equal to the demand on her talent. This lady is all of versatile and this factor should be in mind when appraising her for coming- picture roles. Forrester Harvey and Eric Snow- den were a pleasant and fortunate selection in casting the mess cor- poral and mess waiter. These chaps gave their respective roles that au- thentic touch of the cockney which reflects well not only their skill but the judgment of the director. Henry Mowbray’s blustering, formidable but withal generous natured briga- dier general was -heartily enjoyed. He gave the venerable old survivor of many campaigns a convincing bombast and ruggedness. Ravmond Lawrence did very well with the part of acting staff captain. An un- usually versatile bit of acting- was that rendered by Rose Dione and Allesendro Giglio. Their argument over the -scandalous and dangerous presence of a female spy delivered ANNOUNCING THE OPENING OF THE NEW Supreme j Dollar Hosiery Shop 6382A Hollywood Blvd. $1 The 48 guage 3 thread | picot top DULL sheer Chiffon Hose GUARANTEED PERFECT STORE NO. 1 6623 Hollywood Blvd. STUDIOS 0544 Harrison - Wallack DRexel New Location—2504 W. 7th Street STAGE AND SCREEN TRAINING SPARKLING MUSICAL COMEDY Now Being Staged by Mr. Edward N. Wallack Interviews Given Mondays, Thursdays 2 to 4 P. M. CARLE WALLACE Has Trained and Exploited Many of the Biggest Dance Names in the Business VERMONT AT FIRST BELMONT THEATRE BLDG. EX. 1198 George and Florence Barclay PRODUCERS AND DANCE DIRECTORS now associated DOUGLAS SCHOOL OF DANCING 1416 7th Avenue—Seattle One of the finest theatrical producing dance studios on the Pacific Coast “Regards to our many friends in Los Angeles” (FACULTY)— 3ud and Gladys Murray, Byron Cramer—(BALLET)—Mary Frances Taylor PRACTICAL DRAMATICS AND STAGE DANCING TAP, Off-Rhythm, “Modernized” BALLET & Acrobatics IMARRON” Prologues Conceived and Staged by Bud Murray At Los Angeles and San Francisco Orpheum Theaters—NOW! "THE ORIGINAL MURRAY SCHOOL’’ "3RD YEAR—SAME PLACE" in excited colloquial French, or was it patois, was a classic. Excellent performance all around and highly- enjoyed. “THE BUTTER AND EGG MAN” EL CAPITAN Los Angeles (Reviewed Feb. 24) Henry Duffy rings the bell again. It’s a highly amusing but noisy farce this tirne and well received. How long it will be with us is very ■problematical. The run is in the cards. It bows in with a full hand: word-of-mouth rep from its New York run and Johnny Arthur in the title role. Other names like Helen Bolton, Ben Taggart and Robert Keith, along with a well selected supporting cast, are all in its favor. Performance throughout uniformly good but no high spots. Nature of the -story doesn’t offer much in the way of dramatic meat, but enough luaghs to make it an evening of good entertainment. The display opens with Joseph Lehman, producer, played by Ben Taggart in the middle of a rehears- al and no dough to go ahead with. With his partner. Jack McClure, played by Robert Keith, they' argue the possibility of digging up another angel. They have just about ex- hausted the supply and Lehman's last hope, the wife’s property, is being held onto by' said wife like grim death. She happens to be a trouper who knows the curves. Things look black when McClure runs into Peter Jones, played by Johnny Arthur, a hotel clerk who inherited some dough from an uncle back in Chillicothe. Peter had produced some plays for the hos- pital drive back home and the die is cast. Peter buys 49 per cent of the tur- key. It flops on the tryout. Pie unloads 49 on a hotel keeper who has productitus. The play hits on the New York showing. An at- torney charges plagiarism. Peter works fast to unload on the orig- inal owners and then takes the angel hotel keeper for his end of the profit to buy' a hotel back in Chillicothe. The action moves fast and hilariously through a cycle of chiseling and angling and a good time was had by all. Well*worth the ticket. “MRS. MATT” MOORE THEATRE Seattle This week the Bainbridge-Bostick Players presented as their guest star May Robson in “The Making Over of Mrs. Matt.” This play is a delightful comedy of mother "love and husband who wishes to trans- plant his wife into society. The role of Mrs. Matt Lamson is typically a May' Robson role and she was at her best. With the passing of years she has lost none of her charm and Vivacity and the ease with which she went from comedy' to pathos is marvel- ous. Jack Paige gave a splendid per- formance as the husband and father. John W. Moore is at last being given an opportunity to show what he can do. His portrayal of Junior was outstanding. Dorothy Rich as the Secretary and Georgia Neese as the Fortune Hunter handled their parts com- petently. Jessie Pringle as the overly frank maid was as always, enjoyable. Parts were played by Edgar Reeves, Francis Sayles, Andy Gun- nard and others. Ruth. Fanchon and Marco Route List of “Ideas” Following is the Fanchon and Marco Ideas route schedule, with the opening and closing dates, all of the current month, in parentheses beside the name of- the town: PASADENA (12-18) Colorado Theatre “Olympic Games” Idea Paul Remos Co. - Francia Hal Haig LOS ANGELES (12-18) Loew’s State Theatre “Mickey Mouse” Idea Sully and Thomas Chrissie and Daley Louis and Cherie Toots Novelle Helen Fetch SAN DIEGO (12-18) Fox Theatre “Hollywood Collegians” Idea Dorothy Crocker Guy Buck HOLLYWOOD (12-18) Pantages Theatre “Submarine” Idea Radcliffe and Bob Aerial Bartletts Ward and Pinkie Claire and Stuart Robert Cloy Steve Moroni UTICA (13-19) Avon Theatre “Society Circus” Idea Tabor and Greene Harry Wooding Harris Twins Betty Martin SPRINGFIELD (13-19) Palace Theatre “Moonlite Revels” Idea George Broadhurst Melvin Brothers Charles Brugge Freda Sullivan WORCESTER (13-19) Palace Theatre / “Espanola” Idea Mayo, Caruso and Suzanne Harry Vernon John and Harriett Griffith May Packer Abbey Green HARTFORD (13-19) Capitol Theatre “Gondoliers” Idea Jazzlips Richardson Ben Ali’s Blue Devils Moro and Yaconelli The Romeros NEW HAVEN (13-19) Palace Theatre “Seasons” Idea Frank Melino and Co. Lotti Loder Aida Broadbent Russell and Marconi VIC DE LORY FRESNO (19-21) Wilson Theatre “Talent” Idea The Marinellis George P. Wilson Kohn and de Pinto Gaynor and Byron Jean Carr and Family SAN JOSE (15-18) California Theatre “Moroccan” Idea Ferdna and Co. Gaylene James Gaylord Gayl, Bert and Daro Sherry Louise Eva Nightingale SAN FRANCISCO (12-18) Warfield Theatre “Golden West” Idea Bill and Harriett Hutchins Ben Hur Ponies Chief Eagle Feather Jimmie Ames Valerie Wade Be Ho Gray and Co. Albertina Rasch Girls OAKLAND (12-18) Oakland Theatre “Love Letters” Idea Nelson and Knight Will Aubrey Jeanne Devereaux “Liinberlegs” Edwards George Ward French’s Aeroplane Girls PORTLAND (13-19) Paramount Theatre “Headliners” Idea Mel Klee Great Yakopis Gay Sisters Walter Jennier Wells Winthrop and Stanley SEATTLE (13-19) Paramount Theatre “Top Of World” Idea Gene Morgan Russell and Johnson Fawn and Jordan BUTTE (14-15) Fox Theatre “Prosperity” Idea Lucille Page Danny Beck Jack la Vier and Co. ST. LOUIS (12-18) Fox Theatre “Vaudeville Echoes” Eight Allisons Bobby Henshaw Four O’Connors Aerial Rooneys Doreen Rae MILWAUKEE (12-18) Wisconsin Theatre “Icy-Hot” Idea A1 le Groii Ileras and Wallace Blomberg’s Dogs Helen MacFarland DETROIT (13-19) Fox Theatre “Topical Tunes” Idea Caligary Brothers Alexander Sisters Bob and Eula BurrofT Niles Marsh Don Carroll . Dorothy Thomas NIAGRA FALLS (13-19) Strand Thearte “The Dance” Idea Everett Sanderson Arnold Grazer Lee Murray Patsy Boland Dave Roble BRIDGEPORT (13-19) Palace Theatre “Enchantment” Idea Meyakos Togo Jue Fong Sanami and Co. Jack Lester BROOKLYN (13-19) Fox Theatre “Doll Follies” Idea Les Klicks La Salle and Mack Ramon and Virginia Bebe Sherman NEW YORK (17-19) Audubon Theatre “Way Back When” Idea Chare's Irwin Arthur Turelly Madeleine du Val Three Bennett Brothers Six American Belfords Carla Torney Girls PHILADELPHIA (13-19) Fox Theatre U. S. Indian Reservation Band Brengk’s Golden Horse Marian Belett Gil Lamb De Lara and Lolita WASHINGTON (13-19) Fox Theatre “Fountain of Youth” Idea Lottie Mayer Eddie Hanley and Co. Frank Stever Crosby Brothers Ed. Cheney ATLANTA (14-20) Fox Theatre “New Yorker” Idea Jackson and Callahan Whitey Roberts Marjorie Burke Leah Sonneborn LOUISVILLE (15-21) National Theatre “Southern” Idea Hatt and Herman Jimmy Lyons Derby Wilson Helen Warner Joe Rose MEMPHIS (13-19) Loew’s State Theatre “Modes of Hollywood” Idea Royal Gascoynes Sylvia Shora Helen Moore Ilaline Francis Danny Joy Jack Sherlin NEW ORLEANS (13-19) Loew’si State Theatre “Wild and Woolly” Idea Kirk and Lawrence Aussie and Czech Bud Carlell _ _ .RayAngwin Hart’s Xrazy Kats HOUSTON (13-19) Loew’s State Theatre “Gems and Jams” Idea Joe and Tane McKenna Nee Wong Will Cowan Jim Penman Jean MacDonald Beatrice Franklin Florence Astell