Moving Picture World (May-Jun 1925)

June 27, 1925 MOVING PICTURE WORLD 955 Big First Run Presentations CAPITOL THEATRE New York City Featured Picture: "Siege” ( U niversalJewel) Music The Overture played by Capitol Grand Orchestra with David Mendoza conducting, is “Mignon” (Thomas). Capitol Ballet Corps Mile. Gambarclli appears with Doris Niles and a corps of fourteen in one of the most pretentious dance offerings we have been recently privileged to see at this theatre. The presentation arranged by Mr. Rothafel is based on Schumann’s “Papillons’ with an orchestration by Herman Hand. The scene is laid in a garden at Carnival time, where Pierrot, carried away with the spirit of the merriment and music, indulges his soaring fancies. In his imagination he has chosen the fairest of the masqueraders as his beloved, and takes her with him to the land of his dreams. When the dawn begins to flame in the sky; the merrymakers take their departure one by one. Among the last to go is his dream sweetheart, and the broken-hearted Pierrot is left alone once more. The setting is an old garden exterior. A net transparency is hung in folds down in two and is topped with a cut green foliage border which is hung over the scrim in heavy folds. Back of the scrim is a cut drop which is one of the most colorful scenic treatments recently offered. A large gnarled tree with flowering top is center, the branches extending over toward right beneath which is an arched gate set amid foliage. Left of the tree trunk is a cluster of saplings, the trunks being visible with a foliage in the foreground. Grape vines areentwined about the gateway right center Back of the drop is a blue eye drop toned blue and green, upon which a water rippler plays. The scrim is tinted blue and magenta from the sides. The cut drop is highlighted in colors to bring out the purples, canary and pink of the pigments. Characters appear in 1850 costumes. The members of the ballet in white costumes with wings of dull gold, Gambarelli . in costume of white tulle, skirt of which is trimmed with three pale green bands edged with silver, the attached wings being of dull gold patterned and outlined with silver. The green spots with canary from the sides were used on the characters in the foreground. For the final movement of the dance red is slowly brought up on the back drop giving the effect of morning flush from the sky with purplish blue at the base. Roxy’s Gang at the Seashore This setting is one of the simplest that Mr. Rothafel has offered in many weeks, but is one of his most effective treatments. His suggestion of a seashore is excellent, and practically the only things he uses are a few properties with a back drop giving the effect of sky and water. However it is the impression of the seashore. At the base of the drop water ripplers play from right and left which fade into an indistinguishable horizon which is a hazy purplish blue merging into a faint pink at the top. At extreme left is a large beach parasol in orange and red stripes, various lounging chairs are scattered in hemispherical position cross stage, with a pup tent in orange with a green top extreme right. A telescope mounted on a standard is up left of center. Various characters appear in afternoon costumes, the ballet in white sailor uniforms. The program was popularly received with the following artists: Gladys Rice, Lottice Howell, Marjorie Harcum, Hazel Simonson, Lila Saling, Frank Moulan, Lieutenant Gitz Rice. Sigurd Nilssen, Arthur Lang. Joseph Wetzel, James Parker Coombs and Jack Abbott. (1) Opening Ensemble: “By the Sea” Entire Ensemble (2) “The Ocean Sings of You” Mr. Nilssen (3) “Moonlight, Starlight”. . Miss Howell (4) “The Tale of the Seashell” Miss Harcum and Mr. Wetzel (5) “Ask Dad, He Knows”.. Mr. Moulan (6) “Burma Moon” Miss Rice, Lieutenant Rice and Ensemble (7) “Long Shoreman Billy” Mr. Coombs and Ensemble (8) “Sailor’s Hornpipe” Mr. Moulan and Capitol Ballet Corps (9) Finale: “By the Sea” Entire Ensemble MARK STRAND THEATRE New York City Featured Picture: “ The Teaser” ( UniversalJewel) Music Excerpts from “Pagliacci” — Leoncavallo, is given an excellent rendition by the Mark Strand Symphony Orchestra with Carl Edouarde, conducting. Kitty McLaughlin, Soprano, sings “The Bird Song,” dressed in the characteristic costume of the opera. (a) Playing Cards Joseph Plunkett is offering two extreme novelties, simple designs, and very well done. This novelty introduces three dancers, Mile. Klemova, M. Daks and Bourman. The setting consists of three wide frames placed center, right, and left center against brown plush. Within the frames are mounted plaques which represent the backs of playing cards. At the rise these three set pieces resemble gaint cards and are flooded with white and light blue from the sides. Suddenly they revolve revealing the Jack, King and Queen of Hearts dressed in similar costumes who come from the cards which are painted on the reverse side of the plaques and do an excellent dance number emulating the various movements of card playing. For finale the characters revolve with the cards to their original position. (b) Demi-Tasse A dining table with a white cloth falling to the floor is set center. The members of the Mark Strand Male Quartette, dressed in black coats with white trousers are seated right and left of the circular table. In the center of the table is a large jardiniere vase with wide blue stripes running vertically interspersed with thin gold stripes on a white base. A large cluster of pink roses with accompanying greens is in the vase. The black plush is used as a backing. White is thrown from the sides on the Quartette who sing “A Good) Cigar Is a Smoke” — Herbert. The table is set with the final course of a dinner, consisting of a demi-tasse service. At the conclusion of the number the vase slowly turns around and presently the head of Pauline Miller, soprano is seen with the flowers -of the vase forming a background. No other part of the singer is visible. She sings “A Woman’s Smile” (Friml), and turns back at the conclusion of the song, as the Quartette pick up the refrain of their original number for the finale. White spot is used on Miss Miller. Nick Lucas Mr. Plunkett must be commended for holding this popular artist for a second week appearance, as his songs are immensely popular with the audiences. A setting which distinctly contrasts to the one of last week is offered, representing a corner of a tenement area way in which Mr. Lucas appears, dressed in a cap and open blouse, rough trousers. The set which occupies one-third of the area up stage is set on angles, with about a six foot flat running from right of center up right, with two six foot flats adjoining and running up left and off. The flats are painted to represent the walls of a building, brick with a jagged plastered base. Three stories are visible with two sets of fire escapes upon which are hung various garments, foreground on stage is dressed with boxes, refuse cans, etc. Orange, amber and blue headlight the set from the sides, back of the black plush which is used to mask the set. The artist works in a canary spot. For the finale Mr. Lucas sits on a home made stool, and is highlighted from the sides with amber from the right and blue from the left. The background takes on deeper blue tones, lights coming up in the windows in the second story of the house. Toward the finale of his number blues are taken off and the amber on the singer is dimmed at finale. RIVOLI THEATRE New York City Featured Picture: “The Manicure Girl” ( Paramount ) Music “Sixth Hungarian Rhapsody” by Lisz-t, played by the Rivoli Orchestra, Willy Stahl conducting. Harold Ramsbottom presents an intricate arrangement of “Rose-Marie” by Friml at the organ. Russian Divertissements It is rather difficult to properly describe the various settings used as the different backgrounds since they are of such a fantastic nature that in order to be appreciated they must be seen. They represent some of the finest work done by Mr. Wenger in stage settings, and it would be an injustice to this capable artist to attempt to analyze