Moving Picture World (May-Jun 1925)

958 MOVING PICTURE WORLD June 27, 1925 ed in aluminum so that the flood lighting may be toned on the surface to represent the various colors of the particular seasons. If desired a spangle or fabric may be used for this spot and draped to form the arched opening. This would be as effective. 1. Spring A sapling birch tree placed up center with a small foliage set piece extreme left, and a ground row back of the tree and foliage piece upon which may be fastened various reeds. Flood the masking drop with green, tone the eye light blue at the top, green blue at the base. Highlight the green top of the tree from the left with green, and from the right with light blue. Spot the trunk of the tree from left, masking it down with a slit, giving an amber tone to the thin trunk. Catch the set piece left with green. The dancers appear in diaphanous costumes as indicated in Fig. 1. These may be white or light green material. The dancers should work in canary and light amber flood which envelopes them from right and left stage down in one and two. 2. Summer Flood the arched drop at the base with green, ascending towards the top with a pink. Tone the back drop blue with a cloud effect upon it. The ground row, highlight the top from the sides with light amber, the base with green and purple. Highlight the top of the set piece with magenta and the trunks with amber from the left and green from the right. Train a canary spot in shaft formation down in one, to cast a shadow of the trunks of the tree on the foreground of the stage. The dancers appear in a costume as illustrated in Fig. 2. The bodice of green, upper part trimmed in yellow. The first three tiers of the dress should be in orange, the lower tier in green matching that of the bodice. American beauty roses in short stemmed cluster as a corsage. Large fabric flowers with gray blue and dark blue petals, a yellow center tipped with purple are used to trim the lower tier of the dress. The lighting on the dancers should be canary and rose in same arrangement as previous scene. 3. Autumn Flood the arched masking drop with a vari-colored treatment in “spotty” arrangement with reds, blues, greens and canaries in fantastic formation over the face of the cut drop. The blue eye should be toned a deep blue, with purple brought in at the base, or sunset tones. The set tree should be highlighted with canary to bring out the varied colors of the leaves, a dark amber toning the trunk. Dark amber should highlight the ground row. It is suggested that a leaf box be used for falling leaves, that leaves be scattered about the stage, fan set down right and left, blowing the leaves about. The dancers appear in vari-colored costumes, as indicated in Fig. 3, trimmed with bright autumn leaves. A very good effect can be achieved if fans are placed to play upon the area occupied by the dancers, blowing the garments during the various movements of the dancers. The foreground should be flooded from the sides with orange amber and blue. 4. Winter Flood the arched opening with blue, also play a snow effect upon this surface. The eye should be toned a deep purple blue at the base, with a green and dark blue top. A large moon box with steel blue medium should be used up left. Highlight the tops of the trees with blue green and blue green on the ground row. The dancers appear in this number in costumes as indicated in Fig. 4. The materials should be shimmering, such as white oilcloth. White wigs that are powdered with silver metallics should be worn. The body of the dress should give an icy appearance with metallics, or if the oilcloth is not available the dress should be constructed to represent puffy snowballs. Snow box should be used for the finale. The dancers operate in an area flooded with green, blue and steel blue from the sides. The work of installing John Wenger’s new stage and proscenium at the Rivoli is nearing completion and will be finished for next week’s performances. The entire stage has been remodeled and settings built for a variety of novelty effects. This is the first Wenger stage creation for the Rivoli in several years. First Run Presentations (Continued from page 956) EASTMAN THEATRE Rochester Featured Picture: “His Supreme Moment ” ( First Rational ) Music The Eastman Theatre Orchestra present "Academic Festival Overture, Opus 80” by Brahms as the overture feature. Robert Berentsen, at the organ, renders a selection from “Robin Hood” by De Koven. Presentation Eastman Theatre Company in “The Pirates of Penzance” Act II. The first act shows how Frederick, as a boy, was apprenticed through mistake of his nurse to a pirate instead of to a pilot. In this act he attains his majority and prepares to leave the pirate band. They are notoriously tenderhearted buccaneers, who being orphans themselves, never harm orphans. As the first act closed they had just released the daughters of Major General Stanley in order not to leave him an orphan. In the second act, Frederick bids his sweetheart, Mabel, farewell, to lead an expedition for extermination of the pirates. The Pirate King and Ruth, his nurse, show hint that in the apprentice papers he is bound until his 21st birthday and, as his birthday is February 29th, he has had but five. His sense of duty impels him to return to the pirates and he tells them the General’s fictitious orphan story. They attempt to carry off the General, are overpowered by the police, confess they are English noblemen and abandon their piratical career. RIALTO THEATRE New York City Feature Picture: “Steele of the Royal Mounted ” ( V itagraph ) Music Overture : “Hungarian Fantasy” (Liszt), played by Rialto Orchestra with Frank Tours, guest conductor, and Lily Kovacs at piano. Reisenf eld’s Classical Jazz. Alexander D. Richardson, at the organ, played “Variations on a Scotch Air.” August Werner This exceptional baritone charmed with Victor Herbert's “Gypsy Love Song,” costumed in the old Spanish Gypsy seated at the base of the picture screen proscenium, in amber spot, which was lighted from sides and top with soft blue and from foots in old rose which blended harmoniously against the soft blue hangings used to cover picture screen. Alfred Brower A buck and wing dancer of considerable talent danced in front of same proscenium — with the amber spot and a background of stretched black with profile board cut to shape of groomed potted box wood stenciled in futuristic design, about 7 feet high and placed, one on each side, while from the top hung a straight piece of material stenciled with a similar design and hanging to about even with the top of set pieces, ending in a loose knot. _