Motion Picture Herald (Jan-Mar 1932)

28 Better Theatres Section February 13, 1932 PREPARING ORGAN SOLOS FOR THE CIRCUIT expressing the point of view of the home office By DAN PARKER I PAUSE and look through my office window. Below me stretches Broadwajs flanked by its myriad of theatres. The lights from the maze of marquees dance before me. My thoughts wander. In my mind's eye, I see countless marquees flashing. I note those of national circuit theatres. These are connected to a spot on Broadway — the home office — by some medium. That's it ! A medium — service. The word turns over in my mind. In every enterprise, the rendering of service is important, so it is in the department that provides feature material for solo organists. When a theatre is served, it inevitably serves that theatre's audience, and nowadays there is a high standard of entertainment to be lived up to. My particular service is to organists — musical showmen catering to varied types of audiences, each using his or her own style. Yet they must be serviced. The details are therefore intricate. My writer and myself discuss an idea for an organ presentation. (An "organ solo" does not mean enough.) The idea must appeal to audiences everywhere. The topic must be appreciated by all of our varied audiences. Then again, it must be flexible for different types of work. Religion, prohibition or other controversial subjects cannot enter into any organ presentation, for we endeavor to serve all. Music, a very important item is next. Songs, which the publishers are exploiting and which are appropriate, are selected. The writer now has his foundation. When he returns with the finished product, a few minor changes are probably made, then it is ready for the okay. The presentation is then discussed with the general musical director. By him it is either rejected or accepted. If accepted, the work goes on. While music for the parodies is being obtained, the lantern slide manufacturer KKO OROAll r-RESEHToTION RErORT 1. THEATRE 2. PRrsratTATiai nuiibeb & title 3. PLAYinO D/.TE 4. POPUUR CHORUSES USED: PEBSOfuL REACTION aUDIEIXI REiCTKM 7, CONDITIOK OP SLniES?_ 6. REMARKS • SUOOESTIOliE and his artist are called in. The writer, the manufacturer, his artist and myself take infinite care in the next step. Each slide is gone over, cartoons are thought of and drawn. When the slide man has the proper information, he is off. In a day or so, I receive hand-painted cards. This gives me an idea of just what the slide will look like. These are okayed and the slides are delivered. Sufficient sets of slide, music and cuesheets are made ready for the theatres. Now for the routing. Popular music is soon forgotten, therefore the presentations must be played very soon. Few presentations can be used after six or seven weeks. This being the case, the theatres are grouped for such a purpose, bearing in mind that the geographical location of each is of vital importance. In most cases, these presentations have but a few hours to reach the theatre next on the route. However, strange as it may seem, they do. Music and cue-sheets reach each organist long before the slides. This gives each enough time to adapt the presentation to his own work. When one of the organists (in my case, RKO organists) receives the slides, he knows exactly what to expect. But the work is not as yet completed. Although a new presentation is being prepared, my department manages to keep two or three weeks in advance of playing date. RKO organists are allowed absolute freedom. The presentations may be used as a whole or only in part. Popular choruses are always left to the individual organist showman's discretion. Surely, he or she knows what his or her audience will sing. One presentation is supplied to each organist per Dan Parker Form used for RKO organists' report. week. Where there is a split-week policy, the organist is expected to supply his or her own presentation for one-half week. This, together with the fact that the organists may use only part of a regular presentation, tends to keep the minds of each in working order in case of any "break" in the service. There is an important detail our office at RKO asks of each organist, with the exception of the regular work. Immediately at the termination of a playing-date, the organist forwards a report to the home office. May I point out the value of such? Primarily, it enables me to obtain a sort of picture of the reaction, both of the audience and of the individual organist, to each of our presentations. Such reactions are of primary importance in the forming of future presentations. Secondly, the popular choruses used are asked for. This is not done for any censorship or "plugging." Publishers of music have co-operated on this service to their fullest extent, and I feel it is no more than proper that I be able to supply them with what little information they may desire. I understand that such information is of great importance to the organ department of any music publisher. My files are open for their inspection at any time. In spite of the fact that few have taken advantage of my offer, they are still welcome. Then again, remarks, suggestions, etc., are always welcome and more than appreciated. And many is the criticism received, which has aided me in bettering service. In times like these the "service" takes on a new significance. A friend of mine dropped in the other afternoon. He had just come from a matinee. "The house was packing them in," he said. "You wouldn't know there was a depression, had you seen the business this theatre was doing." And then he said, "Depression must be a good time for show business." My friend was right. I would put it this way: Show Business is good for the people in times of economic distress. It is "good for one's soul" to be lifted out of one's self through the magic of the theatre. Show business is rendering our people a real service in times like these. One vicarious hour in the theatre is a tonic.