Moving Picture World (Nov-Dec 1927)

28 MOVING PICTURE WORLD December 24, 1927 Parked Wingless Plane at Theatre Cub SAYS IT WORKS John J. Scanlon, of the Palace theatre, Torrington, Conn., was one of the first to purchase a copy of Building Theatre Patronage. One of the first ideas he adopted was the usher report system, and his ushers are kicking in with a lot of ideas that are really worth while — things that a manager himself never comes in contact with. He writes: “Building Theatre Patronage comes in handy in more ways than one, when you come to think of all the things that can be used out of the book. The foregoing is just one instance.” Scanlon is no novice. He came up from the ranks and he learned the game from actual, practical experience, but he knows that he does not know as much as the several hundred exhibitor who contributed, and he’s willing to learn. Several of this own ideas are in the book, for that matter. Get a copy and you’ll be pleasantly surprised. It’s worth five dollars just to be reminded of the things you’ve forgotten — to have them, neatly arranged, ready at a moment’s notice. It’s $5 at your supply house or $5.20 if mailed. Production Hints from Edward L. Hyman Managing Director, Mark Strand Theatre, Brooklyn The big eye and ear presentation the week “The Gorilla” was thrilling them on the screen, was programmed as “The Jazz Carnival” and offered a big array of talent with plenty of music and dancing. It has been discovered that the Brooklyn public likes these acts as well as they do anywhere in the country, and thus it is good business judgment to give them plenty. The whole show took up an even 2 hours, with “The Gorilla” using up 1 hour and 15 minutes of this. There was only one other attraction on the screen, this being the Topical Review, which ran 7 minutes. The remaining 4 presentations were of a musical type, requiring 38 minutes altogether. The house orchestra started off each of the de luxe shows with the overture from “William Tell.” This was interpreted in scenic and lighting effects showing the approaching storm, the storm itself and afterward the calm with the rainbow in the sky, etc. This overture required 11 minutes. Lighting appeared as follows: amber ceiling spots, blue borders, and blue side strips; bridges amber floods in full, dome amber floor on orchestra; all white at finish. Following the Topical Review came “The Jazz Carnival” in full stage, the carnival effects being attained by varicolored streamers, balloons and lanterns hung from the flies. The back drop was llama cloth upon which were thrown various lights as the act pro gressed. The routine was the following, with the whole incident taking 20 minutes. The opening number was “Annabelle Lee” by the Ensemble. Bridges flesh pink floods and 2 violet floods from dome. Kimm and Ross, made up as convicts, followed with an eccentric dance. Stake black out, bridges off, white spot on dancers from dome. Next came Restivo, whistler and accordionist. Bridges deep blue floods; lemon spot from dome on artist; white at finish. The Mark Strand Dancing Girls (10) then came on for a toe dance. Stage black out again; bridges and dome lemon floods, head light. Then followed Charles Jolley, tenor, who sang, "One Little Dream of Love.” Light blue borders on stage, deep blue borders and light blue box lamps; amber spot on singer from the dome. Veronica, toe dancer, was the next to the last number, closing with the Ensemble on the stage. Next came three violins from the orchestra who stepped out to the apron of the big stage and played Drdla’s “Souvenir,” as arranged by Willy Stahl, conductor of the orchestra. The stage was black and 3 amber spots, one on each musician, was thrown on each violin as he played each part of the arrangement. Toward the finish with all 3 violins playing at once the trio was flooded. This presentation took up 4 minutes. Just preceding the feature photoplay came the atmospheric prologue which was done by Carlo & Norman. The man of this team was in gorilla costume and did a fantastic dance with his female partner. Three minutes was used for this with the opening title of “The Gorilla" fading right into the act. Pull Helped Out in Greely, Col., C. T. Perrin, of the Sterling theatre, got a plane to come all the way from Denver to drop his throwaways on Now We’re In the Air. Perrin knew the “right” man and a pass for thirty days covered the entire cost. The pilot billed four towns with 3,000 heralds and 100 passes, most of the passes being from one to three paid admissions. Coming Down Effigies of Beery and Hatton with an old umbrella as a parachute was the stunt used by J. L. Cartwright for Now We’re In the Air at the Capitol theatre, Macon, Ga. The dummies were suspended from the roof of the theatre with one carrying a banner lettered with the title and the other with the star names. The umbrella was what caught the crowd. Hailed the Hellos J. L. J. Gray, of the Pearce theatre, Port Arthur, Texas, gave tickets to all the te’ephone girls that they might see Colleen Moore in Orchids and Ermine. It not only got press work, but the girls went back to their boards and bragged up the show. Parked a Plane Parking a wingless plane at the theatre curb was one way to put over Now We're in the Air. It was done dy L. E. Davidson of the Princess Theatre, Sioux City, la. As the plane was a long as three autos, it was necessary to obtain a permit from the authorities. Passes on parachutes and a human fly were two other help ideas. Long Distance Among his other stunts on Now We're In the Air, H. L. Jordan, of the Strand theatre, Anderson, S. C., played Lucky Lindv on the phonograph continuously from one to eleven for the two days of the run. The cashier and doorman are doing as well as can be expected. But it helped get business. Cliene Got Busy H. A. Chenoweth, of the Bijou theatre, Uxbridge, Mass., gave a benefit for the flood sufferers with the sanction of the Red Cross. Chene gave a benefit for the Mississippi flood sufferers and points out that this time it is nearer home.