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HURING RUN Provide a strip of linoleum for side walk reading: “Look out! The Devil Dancer’ is here!” Reproduce favorable newspaper crith cisms in big photographic enlargements for the front. —o— Have a man dressed in the strange cos' tume of a Tibetan lama on the marquee blowing weird blasts on a lOfoot horn or tabor. This horn can be built up of pa' pier mache with a practical horn inside of it. —o— Dress a man in the costume of the Black Lama. Be sure he has a very power' ful and beautiful bass voice. Station him in your lobby and have spotlights center him from the top and sides. Keep him absolutely motionless, oblivious to the crowds and to all remarks. Every few minutes have him “Hear Ye, Hear Ye; the sacred Devil Dance is about to begin!”-— p ; nd relapse at once into silence. —o— Get ordinary shipping tags and attach individually to some interesting colored, ex' otic beads. The tags should read: “I’ve been lost off the costume of Gilda Gray in Samuel Goldwyn’s production The Devil Dancer,’ at the......„... Theatre.” -—o—- Arrange with high school and college boys for a parade of flivvers with the fob lowing signs: “Gilda Gray shimmies— I shake.” Get as many as posssible with this sign identical. Offer prizes for the best decorated and a booby prize for the most dilapidated. “BROADCASTER’’ Run a line either from your light board back stage or from your orchestra pit to a loudspeaking horn in the lobby. Have a man announce through the horn the passing of the various sequences of Tie picture exactly as one would do a travel' ogue. For instance: “Ladies and Gentle' men—Stephen has just seen and become spellbound by Takla, the Temple dancer. This scene is laid in Tibet, the almost urn known, most romantic country in die world,” etc. etc. Properly worked this stunt will catch the passerby. TEA PARTY Arouse interest in “The Devil Dancer” by having a local tea dealer serve tea in the lobby or mezzanine of your theatre with attractive girls dressed in Chinese costume. You provide the girls and the dealer the tea and hostess. STAGE PRELUDES One prelude setting could be a dimly lit palm garden with the native drummer pounding his haunting air. Then a pro' cession of the Lamas, leading into the dance with a featured dancer. Another could be a temple scene with the dance in progress and the Lamas watching. Then a sudden blast—a shrink' ing aside of the dancers—and a solo dancer in the blaze of a spot. Also, the interior of the nautch house could be reproduced with Englishmen and natives at the tables, the nautch girls, and finally the soloist. Or a prologue in “One” or “Two” could be arranged by placing a wall set over which a man in khaki and pith helmet, and a woman in native dress escape, cling together for one caress, perhaps a song, and then exit as the picture flashes on. Here is a display idea with life and attraction in it. Mount a cut of the Gilda Gray figure in “The Devil Dancer” three'sheet or twenty four'sheet poster. Replace the litho' graphed drapes with long streamers of tulle. Rig a concealed electric fan or blower to keep the streamers fluttering. Page Three