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The Public Is Never Wrong
I recall, was Lowell Sherman, who later became a Broadway star.
A writer was employed to study the films and prepare scripts for the actors, trying to synchronize dialogue with the action. The players— five or six of them— took their cues from watching the pictures in reverse on the back of the screen. The scheme was popular enough that the Keith circuit booked it as a headliner throughout the country.
That lasted a couple of years and died out for the same reason that Hale's Tours did. We ran out of subjects which lent themselves to dialogue. There were no pictures made especially for the purpose and the moment the available subjects were used up our "talkies" were dead.
By now Marcus Loew was expanding rapidly and I was working closely with him. In fact, when he consolidated his enterprises I became treasurer of the company. Yet we were not corporate figures sitting aloft counting our profits. We toured the city by day and by night and, as I have said, met at Shanley's for a late dinner along with Brady, the Shuberts, the Schencks, and others.
Even my children, Mildred and Eugene, did chores about the theaters. One of their tasks was to go along the rows folding the seats. Mildred tells me that to this day, though in evening clothes at a first night, she instinctively folds up the seats in her row as she leaves.
To manage the Comedy Theater I brought in Al Kaufman, my wife's brother, who had come on from Chicago. He was to play an important part in the rise of feature