Motion Picture Herald (Oct-Dec 1932)

December 10, 1932 MOTION PICTURE HERALD 77 OP STAGE ATTCACTICNS OP SCLCS DICK LIEBERT (Brooklyn Paramount) presented one of the most outstanding organ novelties since his inaugural program. The first part of it consisted of three songs, straight community numbers : "Say It Isn't So," "Put Out the Lights," and "Couldn't Say Good by." These the audience sang loudly. Then in the spirit of "Thanksgiving," Liebert presented a production number that was the finest and most entertaining he has done. Opening with a beautiful rendition of "Pilgrim's Chorus," as Larry Riley impressively reads a resume of the Pilgrim's trip, a storm scene on film is cleverly worked in, and a peaceful scene of the pilgrim ship ends the number. For a grand finale, the "Doxology" is played by Liebert as a scrim curtain discloses Lester Cole and his chorus of twelve, as pilgrims, who beautifully sing this sacred composition. BETTY LEE TAYLOR (Niagara Falls Strand) is doing things in the way of novelty solos that are giving the patrons from both sides of the border something to talk about. Recently she put over an extremely interesting solo which she built around the popular song, "Shantytown." Miss Taylor introduced the novelty by singing the first five slides and the audience joined in the next ten. This week being "Thanksgiving" week for the Canadians, Miss Taylor composed a special number for their benefit, and not only they but the entire audience joined in singing it. She followed this with "Mighty Lak a Rose," and then offered "Eli Eli," played as a straight solo number, which was enhanced by a purple spot on the organ. Miss Taylor acknowledged the tremendous hand and went into a chorus of "Shantytown," to which a young lady on the stage sang. A final chorus of this number was sung by the audience, after a cleverly worded talk by the popular and attractive Miss Betty Lee. EGON DOUGHERTY (New York Triboro) offered a "Miniature Review" for his closing organ solo at this house, where for the past two years he has been its most popular feature attraction. _ The solo was composed of bits from novelties which Dougherty had presented in the past six months, namely: "Road to Mandalay," a "grammar lesson" with words starting in the letter "S"; a clever parody to "Shanty-town," and a closing chorus of "Chloe." Each number was sung with enthusiasm and the popular organist drew heavy applause. ROSA RIO (Brooklyn Fox) capably entertained the audience with a specially prepared solo which she called "Talking Turkey." Special lyrics to "Constantinople" introduced the novelty and as she played "Shanty-town," "Say It Isn't So," "Love Me Tonight," and "Lullaby of Leaves," ushers passed up and down the aisles giving out candy turkeys to the ones singing loudest. Either all wanted turkeys or they enjoyed the songs ; in any case they shouted out the numbers, and obviously enjoyed the solo, though their applause at finish was weak. Denver Organist Dead Mrs. Ermina De La Vergne, 38 years old, organist at the Ogden theatre, Denver, for the past five years and a featured organist over NBC, died last week after two emergency operations. She is survived by her husband and a daughter. LP AND DOWN THE ALLEY Roxy, director of Radio City Theatres, announced the other day his staffs for the Radio City Music Hall, opening December 27th and the RKO-Roxy, opening December 29. . . . The production department includes: Leon Leonidoff . . . Russell Markert . . . Florence Rogge . . . and Lasar Galpern The music department is headed by Erno Rapee as general director, assisted by Charles Previn . . . Joseph Littau . . . and Macklin Marros, staff conductors; . . . Ferde Grofe . . . Maurice Baron . . . Dezso d'Antalffy . . . Earle Moss . . . Otto Cesana . . . staff composers and arrangers; . . . Leon Rossotto . . . director of radio programs; . . . Dick Liebert and Lew White . . . staff organists; Richard Zimmerman, music librarian; Jules Cocozza, orchestral manager; Leon Rosebrook and Max Herzberg, chorus directors. V Johnny (Ton of Fun) Perkins, who blocked traffic in front of the Palace last week and got himself pinched, is to be a father in February. . . . You've seen that funny fat boy smile many times but you should see him beam now. . . . When he tells about it . . . his face lights up like those million watt lights out on an air-mail field. . . . Let's all give three cheers for Perk and for "Mack," that charming wife of his. . . . V Say . . . have you heard or played that new Feist "Hey Nonnie, Nonnie and a Hot Cha Cha" song, called "Fit as a Fiddle"? . . . It's a sweetheart and all orchestras and organists who have used it say the audience loves it. . . . Bob West, the "cheerleading" organist, is back at the Fox, Brooklyn . . . and is he making them sing . . . boy, oh boy. . . . When I caught him last Saturday, they liked to tore the roof off the house. . . . Arlo Hults, formerly with the RKO circuit, is now at the Paramount, Glen Falls, N. Y. . . . Art Thompson is at the State, Uhrechsville, Ohio, Jimmy Barber is at the Liberty, Maiden, Mo. . . . and Ken Barton is at the Leader, Brooklyn. . . . V There is a young fellow by the name of Hy Derison, over at Irving Berlin's who is taking care of organists in these parts in a big way. ... I have received many letters from fellows outside of New York, asking for more attention to them on slides . . . but all the pedal-pushers around here rave about the good service given them by Hy. . . V Jay Mills, who for 14 weeks was master of ceremonies at the Ambassador, St. Louis, is now working for RKO in a new act with his new wife, Mildred Tolle. V . . . Roxanne, the platinum blond who conducts a male orchestra for the Herbert's Blue Diamond program over WOR, has become so popular with radio fans that her time has been increased again. . . . Bill Dalton, organist at Neth's Grand, Columbus, has organized a Saturday morning singing class, which is doing so well that Bill expects to glut the market with crooners and male sopranos. . . . There might be a shortage of them in Columbus, Bill, but don't send any of them here. . . . We've plenty of that kind now. . . . ED. DAWSON DAVID ROSS (New York Roxy), as usual, capably directs this huge orchestra in Rossini's "William Tell Overture." The overture opens with the cello introduction, and with the approach of the storm, the shepherd's flute is heard over the thundering notes. As the storm subsides, they go into the "Shepherd's Song." The silvery notes of a trumpet herald the stirring finale. The entire overture was beautifully done and earned the tremendous applause as the members took their bows. CHARLIE DAVIS (Milwaukee Wisconsin) and his Wisconsin Gloom-Chasers, augmented by the three Lovely Co-eds, offer some flashy entertainment for their overture. "How Deep is the Ocean" is played by the orchestra with a cornet solo by Davis, followed by the three young women singing "Nobody's Sweetheart Now," accompanied by the orchestra. Jimmy, violinist for the orchestra, played "Say It Isn't So." A peppy piece with the girls singing one chorus and the orchestra another was followed by "Shine on Harvest Moon," with Davis at the piano. SAM JACK KAUFMAN (Brooklyn Fox) and his Joy Band entertained with an overture built up of oriental numbers. Comedy was injected by Sam and the boys in their use of what was supposed to be the oriental tongue. This drew good laughs. Kaufman in his own pleasing style introduced and led his orchestra in a special arrangement of "Chinatown," with a comedy vocal chorus sung by all. A beautifully rendered trumpet solo, with a softly played organ accompaniment, won good applause. A vocal rendition of "Poor Butterfly," by Charles Bennett, a new member of the band, who has a soft quality in his voice that is extremely appealing, earned a good reception. The Overture closed with a snappy offering of "China Boy," to one of the best receptions this reviewer has heard this organization get. FABIEN SEVITZKY (Boston Metropolitan), some weeks ago hit upon the plan of serving classical music in classy style, thereby beating the socalled maestros of jazz at their own game. The result has been increasing interest in his programs, climaxed this week when he scores premiere honors with the presentation of his own version of "Aida," in which he is aided and abetted by a hundred maidens in classical — or shall we say classy — costumes amid settings done to order by Manager Harry Taylor. JACK SPRIGG (Cincinnati Albee) selected a medley of oldtime "drinking" songs for his overture. "How Dry I Am" was played with hammers on a scale of bottles. During a blackout, the brass section gave a perfect imitation of a German band. As a finale, the entire orchestra rose, each raising a glass in accompaniment. Billie Leonard sang "Please" from the stage as her contribution to the overture, finally breaking out in well-directed dance steps. JAY BROWER (San Francisco Warfield) and the Warfield Pep Band present a musical offering which includes both classical and popular selections. Thorstein Jensen, first violinist, offers the Intermezzo from "Cavalleria Rusticana" and there is a splendid rendition of the Miserere from "II Trovatore," with a trombone and trumpet duet, one of the artists being stationed in the boxes. The popular offering takes the form of a musical melange, with the musicians declaring a strike, but in the end they get back to serious work.