The Moving picture world (January 1926-February 1926)

746 Moving Picture World February 20, 1926 lights within tlie hox reveal them. There should be a silver cloth backing inside of the box to contrast with the backing of the set. LIGHTING TREATMENT The foreground should be flooded with canary, with orange amber to highlight from the sides. The spots overhead in amber and rose may highlight the fabric backing, small strip lights should be placed inside of the camera which work on and off as the various characters are introduced. Use spots of various colors on the characters suitable to their costumes. THE ROUTINE After the introduction of the orchestra to the prologue, curtains are drawn revealing the front drop, a huge newspaper effect. The breakaway occurs and a singer dressed as a cameraman, his suit entirely covered with bits of newspapers, jumps from the top of the camera and sings a song which is a parody on a modern tune (we will be very glad to furnish the lyrics for this song upon request), and tells of how he travels all over the world to find his news, and uses this song as a means to introduce various girls of other countries who do the "Charleston" with their national characteristics. For instance, he introduces a girl from Holland who does the Charleston wearing wooden shoes : then a girl from China, dressed in Chinese costume enters from the camera and does, it in Chinese fashion ; then comes the girl from Ethiopia, then the Eskimo, the Russian, the South Sea Islander and finally the American girl who enters for a whirlwind Charleston finish, the entire group entering into a finale rnovement of this daiice. The camera man grasps ribbon streamers attached to the backs of the dancers and jumping up on to the box appears driving them as the girls are lined up across stage in a fast moving "Charleston." The lights dim during the last movemeat of this finale as the first title of the news weekly is flashed on the drop and the screen is brought in tor the motion picture subject. A PERSIAN MARKET Produced by Edward Bowes Capitol Theatre, New York City THE most colorful number on the Capitol bill for the current week is the delightful presentation enconsed in a Persian setting, breathing a native atmosphere, and one which carries with it a bit of pantomime well expressed, with Doris Niles and Jack Triesalt as the principal characters. The set represents a Persian market or courtyard, the entire design typical of that part of the world. A large gateway is at center. On either side are stalls or bazaars in which colorful fabrics are displayed, canopies of striped material are placed above the openings of these niches. Above each bazaar right and left is a balcony, with a practical opening in the one right with a high platform back of it which is used by the soloist in the presentation. A few steps in a unit extend across the center opening and lead to a platform up center. Painted exterior wings mask the center opening. A painted drop depicting a Persian sky line is hung back. Minarets, graceful palms, etc., in colorful scenic treatment against an amber sky. At the opening of the presentation William Kobyn, the solist, appeared in the robes of a Mohammeden ritualist standing on the balcony at right, and sang the "Muezzin's Prayer." \'arious members of the ballet dressed in the Persian costumes were grouped about the set. At the finish of the song Doris Niles entered as all of the ballet appeared for a general ensemble movement. The male dancer garbed only in a turban and trunks, his body treated with an olive brown, appeared, and after a bit of action did an excellent and appealing number with Miss Niles. At the conclusion of their dance number the ballet did a spectacular number and left the stage. The male dancer made an exit. Miss Niles appeared, evidently in search of him, was about to turn back in her grief at not finding him when he again appeared, clasped her in his arms, finally picked her up and flinging her over his shoulder made a triumphant exit up center. The curtains closed on the deserted stage. This was an effective bit of direction as the music sounded a vibrant note at the climax which would not have been effective if a single character had been on the stage. Eighteen girls are introduced in the ballet. COMEDY CARNIVAL Staged by Shaw-DeRosa Colony Theatre — New York City A SWIFTLY moving "Musiconiical Revue" is the stage attraction at this theatre as an introduction to the featured picture "What Happened To Jones" (Universal-Jewell). The revue is in three scenes, all of which consist of fabric treatme^nts. The first scene introduces Mignon Hawkes, a sweet little Miss who appears in front of the closeins and recites a bit of a "prologue." She is followed by LeRoy Montesanto who then appears in a clown costume and sings "Smile A Little Bit" which is the theme song of the Revue. The curtains are drawn revealing a dance ensemble of eighteen girls well matched and costumed attractively. They are discovered in an alignment in front of a rose toned drop hung in one. The costumes consist of a black plush jacket with silver and rhinestone leaves embroidered on it. The short skirts consist of varicolored fringe which hangs from the bottom of the coat. Following the introduction of the dance by the girls Al Lentz and his comedy entertainers (orchestra) are introduced in a very simple but effective setting consisting of a gold fabric hung as a backing with a blue fabric tied over it dividing the backing into five equal sections of alternate gold and blue. The backing is toned light purple. Grand piano center with the orchestra g^rouped about it on the stage and on raised platforms covered with checkered material. Two large eight foot basket vases are up right and left of the set Ornate foliage is in each vase. The orchestra are dressed in clown costumes of light figured material which gives a shimmering appearance. They wear red conical hats. The orchestra plays several compositions introducing novelty symphonic jazz selections, comedy stunts, dance specialties, all of which met with audience approval. The girls in this scene do two numbers and the finale embraces the entire company. It is not an elaborate revue but it has entertainment value and gets over with audiences. That is the main thing. MARK STRAND FROLICS Produced by Joseph Plunkett, Mark Strand Theatre, New York City TIE new policy ot stage presentations has been started on its way by Joseph Plunkett, and if any one doubts the popularity of these splendid stage creations and their value at the box office, they should drop into the Mark Strand Theatre, especially on one of these stormy nights, and try to find a vacant seat. This edition of the "Frolics" is the fourth, and according to a managerial announcement, there will be a new production everv' week. The productions are costing money, but they are being properly staged, the artists are excellent, the entertainment value is of high percentage, and the big item is — that they are attracting at the box office, bringing in the money. We made a resolution this year that we would only record the outstanding features of any program, and while we usually find one or two units of particular merit in the average program, the bill this week is excellent in its entirety. The opening scene is entitled "IDYLL," introducing the Tamara Utgoff Harp Ensemble, six ladies, dressed in Colonial costumes, seated on a platform up stage behind a green scrim drop, with a cut out drop of laced edges forming a frame. At the conclusion of their first number, "Rustle of Spring" (Sinding) the lights dim down on the fabric backing of the ensemble, and the lights in the foreground are slowly brought up, revealing the Mark Strand Ballet of twelve girls, and Mile. Klemova. The dancers rise slowly from the floor and two numbers are presented, "Brahms X'alse" and Dclibes Pizzicato. The ballet is costumed in the long, European type of ballet dress, filmy, white, and most attractive. The second number is an extreme novelty, entitled "Billboard Antics" featuring George Stickney. also playing in a Broadway show "The Monkey Talks." The scene is a street with a backing of billboards, the center one advertising a brand of "Longfellow Cigarettes." Stickney, standing on stilts, with long green trousers, red coat, forms a part of the painted advertisement. He steps from the billboard and does a "Charleston" on stilts. This number made a tremendous hit. Pauline Miller and John Quilan are next introduced in an artistic cameo setting, a white gate swinging between two large white posts, with a large heart shaped foliage piece forming the archway. The set piece is at center, and black plush drop to back. They give an effective renditon of "Song of Songs" by De Moya. The final unit is "The Box of Tricks." Edward Albano, as "Harlequin," appears in front of the closeins, sings an introductory song, the curtains are opened, revealing a huge hat box, flanked on either side by pages in uniform. The lower part of the box opens at center, and two dancers enter, first Leonard Workman, then Betty Hale in an eccentric specialty. The Melody Saxophone Sextette are heard, presently the top of the hat box ascends, as the box itself, splits at center and opens flat. The lid is drawn upwards forming a chandelier effect of gold tinsel, with a tinsel background revealed by the interior of the box forming the backing. The sax players, dressed in gay carnival costumes, play a short number, the ballet and dancers, dressed in glittering costumes from an animated background, as the entire company are brought in for a finale brimful of action.