The Moving picture world (January 1926-February 1926)

January 30, 1926 Moving Picture World 495 ble. A blue painted or fabric drop not hung in folds back of which a large moon box is operated. 4. Rock Piece This may be a single unit scenically constructed qr consisting of painted beaver board cut out and nailed to the platform. At the center of the rock piece there should be a definition of a ledge back of which a platform is placed, a runway may lead to the platform, up, and off to left. Rock piece should be painted to represent a section of a mountainous incline or it may be a solid color achieved with a dark green or blue fabric thrown over the cutout suggesting the rocks rather than depicting them. 5. Ground Row A low ground or rock row is set extending across the opening directly back of the painted scrim. This is placed to mask and give the foreground necessary room to achieve proper distance. 6. Tree Pieces The tree pieces consist of three units, the trunk of a large tree is downstage at right ; two smaller trunks are visible up left, the bases of the trees meeting the top of the rock piece ; a foliage border hung in heavy folds straight may be used to suggest treetops, a painted tree constructed or done on a profile may be used, although a satisfactory effect may be achieved with dark brown or gray fabrics hung on a batten in heavy, uneven folds and streaked with a light colored paint to highlight. If the fabric is used it is suggested that the trees and rock piece be in strict silhouette effect. General Data Platform up center back of the rock piece should be eight or ten feet high. A moon box should have a diameter of at least eight feet. This may be easily constructed or a spot placed on a high standard focused at center to give the effect. Lighting Treatment In the first scene orange amber should predominate. Red and amber foots and first liorder in a warm blend. The returns should 1)6 toned a dark amber and green from the side olivettes, and an orange amber and magenta spot used on the dancers in the first movement of the routine. As Scene 2 is introduced the foreground should change from an orange amber to a deep purple tone which will necessitate eliminating the ambers from the foots and first border, and bring up the blues. As a light back of the scrim comes up the Indian blanket design disappears. The sky drop should be toned a deep blue at the top with a purple intermediate and a deep rose base. The rock piece should be toned a purple and green from the sides. An orange amber spot should be masked down to tone the onstage side of the tree down right. The spot may be set to highlight the lower tips of the foliage border. The same treatment may be used from the opposite side of the onstage edges of the trees situated on the upper part of the rock piece. The characters standing on the platform should be highlighted with a spot from overhead carrying an orange amber medium. The moon box should carry a double medium ranging in the first from a canary to a dark amber in the second. The dark amber tone is brought on when the background changes from the rose base and purple intermediate to a dark green blue. The Routine It is suggested that the prologue be introduced with an orchestral interlude using an appropriate theme from Victor Herbert's "Natoma." The interlude should run for about two minutes. The curtains slowly open revealing the first scene. Off stage may be heard the rumbling beatings of the war drums. Presently Indian dancers enter and engage in a typical war dance. The music for this also being found in the Victor Herbert compositions. At the climax of the dance a voice is heard, oflf stage, in a chant. The characters suddenly stop in their dance, face the large blanket and bow in characteristic fashion as the lights back of the scrim are brought up revealing the figure of an Indian Brave standing on the ledge. As he commences to sing his song the character of the White Girl comes down the runway and meets him. She joins with him in the Indian love song and towards the finale rumblings of the Indian drums off stage are heard again. The characters in the foreground in semi-silhouette pick up the slow movement of an Indian dance and as the girl starts to leave the Brave the beatings of the drums become louder. At the climax the dancers in the foreground pick up the action in a frenzied movement as the character of the Brave poses at center, his hands upraised in an attitude of despair as he watches the departing figure of the girl. At the height of the action the first titles of the picture are brought upon the scrim, the lights in the background are dimmed, the characters in the foreground exit to the tempo of the dance, the beating of the drums gradually diminishes. As the first scene of the picture is projected the scrim is taken away revealing the screen. "MARK STRAND FROLICS" Produced by Joseph Plunkett Mark Strand Theatre New York City. JOSEPH PLUNKETT is introducing another version of his popular "Mark Strand Frolics," and in the matter of quality this production exceeds his previous eflforts. The production is marked for its variety and novelty. The opening scene displays seven large "cigarettes" each b earing the name of a popular brand. The constructed set pieces (cigarettes) are backed with a black plush. Each "cigarette" revolves revealing inside the cylinder a dancer garbed in a costume suitable to the name of the brand; for instance, Fatima introduces a Moorish type, Piedmont, a Southern girl ; Pall Mall, an English chap, etc. After the six cigarettes have revolved and revealed various girls who have done a dance, Rita Owen, in a Sis Hopkins makeup, appears from behind the cigarette at center which is labelled "Lucky Strike." Miss Owen does a very clever song and eccentric dance. This number is followed by a Duo Piano number introducing Dimitri Tiomkan and Michel Khariton who play "Valse in C Sharp Minor" and "Polonaise" in A Flat Major (Chopin). Two grand pianos are placed center, the pianists facing each other against a silver drop toned rose and blue with black patent leather drapes at the extreme sides caught up with a red cord. An exquisite number follows, entitled "Pompadour Days." Pauline Miller appears at right center in front of the closeins and sings, "L'Amour Toujour L'Amour" by Friml. Then the cur tains are drawn revealing a simple but artistic scene which consists of a long oval cutout drop hung in one. A green gauze is hung over a light backing about in three. The gauze is draped in small folds. At right is a constructed balustrade leading to a post at right center surmounted by a large vase. This unit is painted to give the effect of old marble. At left a few strands of vines with long leaves are hung visible at the upper part of the oval opening. Mme. Klemova and M. George dressed in the costumes of the Pompadour period render the "Pompadour Valse" (Fall) assisted by the Mark Strand Ballet Corps. The colorful costumes against the artistic background which was given the impetus of a rapid rythm won plaudits of the audience. This number was followed by De Pace, mandolin virtuoso, who works in front of the silver closeins. The last number is entitled, "The Night Club," and consists of two scenes. It has been devised with the idea of giving the "Frolics" a flash finale. Edward Albano, dressed in evening clothes enters from left, sings, "I Want What I Want" (Herbert). The scene consists of a drop with a huge padlock painted in black at the center ; two windows and a door on the padlock give it the appearance of a building. Over the top of the design are painted the words, "Club Padlock." Silhouettes of housetops are painted on the drop right and left of the center motif. Stars are painted in the blue sky. Toward the conclusion of the song the lights back of the doorway of the padlock are brought up revealing several male singers dressed in carnival costumes. The drop is taken away and a dazzling interior is revealed. A long banquet table about twelve feet in length is placed up center. A white cloth covers the entire table from the top to the floor. Silver ribbons are draped over the face of it in festoon formation. Two lighted candelabras with various vases of flowers are placed on top. The background consists of mirrored panels. As the action progresses the table is pulled upward revealing the ballet ensemble, who come from the steps which have been masked by the table. Table is pulled up until it forms the top of a regal or throne-like canopy with a rich, red background. This mechanical effect proved popular with the audience. The featured members of the "Frolics" are introduced for the finale including Krevoff, a very clever juvenile who does some excellent Russian dancing, and Rita Owen in two specialty numbers. Herbert Arrives on Coast F. Hugh Herbert, the well known novelist, has arrived at the Metro-Goldwyn-Mayer Studios in Culver City where he joins the scenario staff under a contract recently signed in New York. Herbert is the author of "The Oh Boy Girl." "Miss Peter Pan," the stage play "Within the Family," and other noted books and magazine stories. STAGE SETTINGS Built, painted and Installed. Drapvry setting and drapery curtains. Special seta and drops for feature pictures. SCHELL SCENIC STUDIO COLUMBUS OHIO