The Moving picture world (January 1926-February 1926)

Crhe Theatre oP To-Dau I /PrpJiP.ntnf rnn<: (Pryn/nniific *>^.^Mft<iin i/ ^Presentations ^ffroLogues '^cMusLc Sdited bij CoLbij dfarriman. The Note Book TVyTUCH can be said both for and against lyi screen announcements for the various units of a program. Printed programs are really a necessity as we find that a number of patrons desire to preserve a program either for record or to send to friends. To depend upon a printed program to efficiently inform the patrons of the various units, especially in a house that maintains a continuous policy, is not really advisable. To render the service which we are always taking about, it is a good thing to foJlow the plan generally used by the Publix Theatres in using screen announcements of the various acts which precede the introduction of the unit. The patrons are educated to reading what is on the screen. If the screen announcement is not laden with a huge cast, the titles serve to better advantage. But, if you note how people will juggle, squirm and squint at programs, often missing the introduction of an act and trying to find out what is offered, it can be readily ascertained why the 'largest' circuit has adopted this plan of screen announcements, and a limited amount of pro:grams for those who request them. I WAS talking with a producer who is going to Europe for a few weeks to contribute his part "in the Americanization of European motion picture theatres." There seems to be quite a bit of elation on the part of certain individuals relative to this socajled American invasion. It is suggested that the attitude of the American producer, who is fortunate enough to be invited as a guest of any of the new temples of the motion picture art which are springing up in the various capitals and leading centers of the Old World, be marked with a sincerity and a super-concentration on what he is assigned to do. Europe's development of the new art which is bound to find a reflection in this field may act as a boomerang. It is suggested that we work with the Europeans rather than to attempt to show them. QUITE an interesting analysis could be written on the subject of "Adventures in the Land of Jazz-Rhapsody Compositions." At the Mark Strand Theatre, the orchestra played a new composition by Emil Gerstenberger entitled "Jazz Rhapsody No. 1" which was composed for a symphony orchestra and rendered without employing any of the regular jazz instruments. At the Rivoli Theatre the Elkins orchestra rendered George Gershwin's "Rhapsody in Blue." Both compositions have meritorious moments; the Gerstenberger composition is not so well bailanced as the Gershwin score. The Elkins orchestra is decidedly a jazz playing outfit and while they lack the musical fineness apparent in the larger symphony orchestra, yet the composition in its symphonic form expresses more truly the jaz symphony note which both composers have attempted to introduce. I The News Qalley | ?MII1lllllilli'llllllll!IIIIIIIIIUIUIUIIINIIIIIIIIIIIIIIIlllllllllllllllllllllllllllm KEITH ARMISTICE OR TRUCE? THE question arising in various theatre circles is — Will the recent partnership or co-operative arrangement entered into with Publix Theatres and Keith Vaudeville Organization be the first step towards a recinding of the recent Keith order that Standard Acts desiring Keith time were not to play leading motion picture theatres considered as opposition by the vaudeville interests? Keith is interested with Publix in the new Metropolitan, Boston, and now in a measure in Shea's new theatre in Buffalo. It is a recognized fact that the artists comprising, the presentations offered in the Publix policy houses are recruited from vaudeville, and with the demand for "name" acts, the best ones being under the Keith banner, it looks like a compromise or get-to-gether for better business. The Mail Bag WENGER NOT FOR LONDON A report submitted last week which stated that John Wenger, well known scenic artist, liad sailed on the Leviathan for London has proved erroneous. Plans are off, at least temporarily, for Wenger to be identified with tiie opening of the Plaza Theatre, London. OUMANSKY MARRIES DANCER Alexander Oumansky, ballet master at the new UFA theatre in Berlin was married recently to Peggy White, niece of Sam Rachmann, German Representative of Paramount. Mrs. Oumansky is a member of the ballet, the dancing partner of her husband, who will be remembered as a former ballet master at the Capitol Theatre, New York. EDWARDS THREE PUBLIX PRODUCTIONS Gut Edwards, according to report, has been engaged by Publix Theatres to produce three presentation productions to be routed over the circuit after teh opening at the Rivoli, New York. His first production will be titled "The Garden of Girls." RIESENFELD OPENS OFFICES Dr. Hugo Riesenfeld, formerly managing director of the Rivoli, Rialto and Criterion Theatres, New York City, has opened offices in the new Steinway Hall Building, this city. No announcement has been made as to the contemplated activities of the Doctor. Abe Meyer, who was assistant to Riesenfeld m the theatre days is with him in a similar capacity. PRESENTATION NEWS REQUESTED With motion picture theatres throughout the country starting to add presentations to their regular programs we are particularly desirous of securing direct information, news items and other data relative to the openings, policies, and house personnel. KURT SCHINDLER, prominent choral conductor, who has been recently engaged by S. L. Rothafel to direct the permanent chorus of one hundred voices to be a feat ure in the new Roxy Theatre has communicated to the effect that "Season after season I have given a few performances of my Schola Cantorum in Carnegie Hall, New York, always thinking how I might bring this music before wider audiences. I feel that I have something genuine to offer the public. "The chorus of the Roxy Theatre will function sometimes alone, sometimes with the orchestra, so that many works both of oratorio and opera will be available. One of the unusual features and a wish I have always hoped to see realized will be the performance of choral music with dancing, thus opening an entirely new reportoire of music. In this way we shall be able to present, for example, the folk dances and songs of Spain, Russia and the Balkans in their original form, and no end of choral and dancing novelties." ■\17E are taking the liberty of publishing in part, (withholding the name of the author as he is the head of an influential chain of theatres,) a communication received by us. ". . . . and as you know, I make the rounds of the houses in New York, Chicago and other cities to which my business takes me. I have been trying to do a little bit of detective work on my own hook to discover what is wrong with the presentation business, if any. I use presentations in my houses and have had Very good luck with them. I find that the main trouble is that producers or whoever stages the numbers think of everything but the climax. It is my idea that no matter how much money is spent in staging a number whether in scenery or people, or costumes, unless a 'punch' is added the whole thing falls flat. I also go to see most of the musical comedy shows and revues whenever I am in the vicinity of the new ones, and when you come to dissect the various parts of a musical comedy show, they are nothing but a series of individual scenes well staged with lots of pep, color and action each having a good climax. It seems to me that presentation business could take a good lesson from musical comedy producers. The end of a number must have something in it that sells it, and is strong enough to make its mark, and for the life of me I can't understand why producers allow these conditions to exist week in and week out and haven't enough common sense to realize what is wrong with them and their productions. We have a wonderful opportunity in this game but we are going to lose it unless some of these producers wake up and get busy." It is suggested that copy be mailed directly to Mr. Harriman, care of the Moving Picture World as early as possible.