The Moving picture world (September 1923-October 1923)

736 MOVING PICTURE WORLD October 27, 1923 Marks and Kronen Help Sell Picture This time Austrian kronen rather than reichmarks figure as a permanent advertisement on a picture, and Ben Apple, of the American Theatre, Troy, N. Y., is the ad-: vertiser. He bought several million kronen for about seventy five cents and overprinted them: "Yes, this is real money, but it can't buy happiness. See Don't Marry for Money, etc." Production Hints from Edward L. Hyman Managing; Director, Mark-Strand Theatre, Brooklyn A Weber and North Release THE GENEROUS RUBE They were distributed by a Rube with a sign reading as shown in the cut, and not a single sheet was thrown to the sidewalk. Everyone kept them for curiosities, and enough of them came to give Apple a turnaway. This stunt supplemented a teaser campaign which did not cost much but which excited considerable attention For Potash and Perlmutter, with which Eddie Hyman presented some appropriate stage atmosphere in the form of the Moscow Artists Ensemble of Russian Dancers, Singers and Pantomimists, the new glass traps in the floor of the small presentation stage were given their first work-out and added much to the general lighting scheme. These traps extend across the stage just behind the footlights, practically taking up the apron of that stage, and have eight spot lights beneath shooting up and backward. Being flush with the floor the traps can be danced upon or used for tableaux. The most pretentiously lighted number of the program was the symphonized jazz overture. In this there were five selections and four changes of color schemes, all combinations being dissolved in and out. The glass traps lighting remained the same for the entire overture and was as follows : Six color blend spots on the silver draw curtains and three 1000-watt open box lamps, magenta, covering the other lights. Augmenting the glass traps for the opening and second movement were: Two booth Mestrum floods ISO amperes covering sides and orchestra magenta. One dome Mestrum flood 150 amperes, orange, hitting right half of orchestra. Second dome Mestrum, light blue, for other half. Purple borders large stage. For the third movement the two booth Mestrums were deep blue on the sides and orchestra, and the dome Mestrums light pink on half of orchestra and straw on the other half. Two light blue entrance spots covered the small stage. Purple borders on large stage. The next change made t he booth Mestrums violet on the sides and orchestra, with the dome Mestrums on entire orchestra, one deep blue and the other violet. Purple borders on large stage. Two light green spots in top of transparent columns shooting down. Strip lights, red, left half of stage, with right half blue. For the final movement of the overture the booth Mestrums went to light green on sides and orchestra. The dome Mestrums still on the orchestra were one rose pink and the other light amber. In the transparent columns were two orange spots from the base and two light green from the top. Transparent windows on either side were light amber. Large stage foots, blue full and green one-half. The Moscow Artists Ensemble, in five scenes and ten numbers, called for less ambitious lighting because of the inherent color and uniqueness. Any Old Port in a Storm, bass solo, was staged in front of ocean back drop with a light house to the side. On this drop was thrown cloud effect from back-stage side. The singer stood in front of the drop, center, on a set-piece rock, in proper oilskins. He was picked out by light blue spot shooting down from directly overhead. In front of the singer was a scrim curtain covering entire stage, and on this, covering bottom half only, reaching up to the singer's knees, was projected a surf effect film from the booth. The front lights consisted only of blue borders. Sometime, soprano solo on the apron of large stage in front of the orchestra, had white spot from the booth on the singer. Two light green booth Mestrums were on the sides and orchestra. Two dome Mestrums, on the orchestra, were rose pink and light amber. The transparent columns had orange spots in the base and light green from the top. Transparent windows were light amber. Large stage foots blue full and green one-half. Six color blend spots on antique gold curtains through the glass, traps, augmented by three 1000-watt magenta open box lamps. Two light blue entrance spots crossing on canopy. Clusters of Kisses A wholly unimaginative artist working for Rowland and Clark, of Pittsburgh, got out a lobby for the State Theatre, for Six Days. It showed the hero and heroine in six pos tures and as many changes of costumes, getting a kiss (1) for each of the Six Days. There is a good basic idea here, but the Glyn lady never wrote anything about any couple content with one kiss a day. Far from it! To live up to the Glyn ideals the couples should have been animated. A Vitayraph Release HOW THE MOZART THEATRE, CANTON, OHIO, WO RKED WITH THE POST OFFICE ON LOYAL LIVES Hooking to a "mail week" and a "mail early" campaign, the Mozart Theatre not only bannefed all of the mail wagons but obtained a banner across the principal street. The latter picture also shows some of the bannered automobiles which supplemented the postal publicity on this Whitman Bennett production. Hooking to the post office gave the theatre a chance to plastef the mail boxes with its mail early signs; an unusual concession.