Moving Picture World (Nov-Dec 1927)

44 MOVING PICTURE WORLD O. T. Taylor’s TAGE PIT Flexible Novelty .... Through the Ages . . . . Appeals to the eye and loosens the tongues . . . Favorably. Won’t cost a mint .... IT HAS BEEN our aim to make the Moving Picture World Presentation ideas of a flexible nature ; to suggest stage attractions that may be adapted to the individual producers requirements without losing sight of the dominant feature around which the attraction is built. A large percentage of the ideas submitted for your approval and use during the past year were also planned to be easily adapted to local talent, making it possible for the progressive manager in the smaller town, and in the town so located that the cost of side-jumps by circuit vaude makes this branch of entertainment unprofitable, to stage very creditable presentation with selected local talent. This week’s presentation idea," based on the evolution of man from the primeval age to the present day, we have called “Through the Ages.” The episodes picturing the several periods can be four, or more, in number, depending entirely on how long the show is to run, how pretentious an attraction one feels justified in staging and on talent available. Two of the period episodes are illustrated, the opening and closing numbers, and these are in, form of suggestions rather than construction plans. The intervening periods or ages can be presented in so many different ideas that the producer should have no difficulty in adding appropriate numbers or replacing those suggested in the routine with others better suited to his performers and requirements. THE ROUTINE. (Right and left from audience). Orchestra playing (suggested) “Through the Ages” (Schad) as an overture ,to the presentation, during which drapes part to reveal a huge circular door set in a heavy frame and flanked by big potted trees or palms. On the long wide step in front of the gate two pages, one on each side of the gate, stand at attention. The scene is in magenta and blue side floods. Music segue “Ballet Barbarian” (Zamecnick) as the pages step to the center of the door and open it, the door parting in the center, one half gliding right, one half left. Through the opening a scene depicting the primeval age is seen. Great trees, trailing vines and moss form a background for dancers in tableau. An open wood fire is glowing under the tree in the foreground. Dancers, in red spot from projection room, step out on the stage for weird, interpretative dance of the fire worshippers. On finish of the dance they resume tableau position. Pages close the doors. Music segue dance number from “In a Persian Market,” (Ketelbey). After an imperceptible pause the pages re-open the door to reveal an Egyptian scene, a barge on the Nile, the Pharaoh seated on a dais, slaves wielding huge fans, slave girls (dancers) reclining in front. Introduce oriental dance. The door is again closed. Music segue “You’re iust a flow'er from an old bouquet.” The door opens and this time there is revealed a bit of formal garden from the time of Louis 15th. Singer renders the above song (by Denni) after which two or more couples dance the minuet to interlude of the same number, Paderewski’s “Minuet a l’Antique.” As before the characters reenter the period set. Door is again closed and reopened as music goes to hot popular number for the final, modern, episode. As mentioned before the various episodes can be changed to suit available talent. Thus a baritone or basso could be featured as a viking singing Griegs “Landsighting.” If a mixed chorus is available an epic/ of the pilgrims or puritans could be introduced. Outstanding historical incidents can be made into interesting and entertaining bits. (Please see page 46)