Variety (Aug 1937)

Wedaeeday, Aojgast 11» 1937 FORUM VARIETY €9 Here and There WHAT THEY THINK (Cootinued from page 46) dayi ttien oflf to Kansas City, and follows with New York. Virfbii* Seeds* IVLS, Chicago, publicist, married last October, to devote lull time to housekeeping, be- ginning Aug. 15. WLS spot not yet filledL iRalph Nerdberr, WGY, Schenec- tady, commercial manager since last Kovember, has been transferred to NBC's New York headquarters sell- ing time. HarrtsoB Baitey^ V(MOX, St Louis,, continuity writer, resigned to take post of program dir. for WICA, Ashtabula, O. Sobm G«rrc«ht, part time an- nouncer on WGAL, Lancaster^ is a diamond expert in a local jewelers. BIri Fisher, manager of KOMO, Seattle, deepsea angling last week off Mexico with Al Pearce. Gimlwai McNamee renewed as an- nouncer on the Yallee (Boyal Gela- tine) program for another 52.weelcs. NBC Artists. Service handles the mikemep., Mary BfcCemlck, radio trouper working several web script serials out of \New York, set for a film try with Wamer^s starting Jan. 1. Curtis & Allen agency placed. hiaa, CmylBfUn Harrfil, chatterer on WSOC. Ctiarlotte, N. C., lor the past two years, now on WBT, same town. Alberi Miller has been added to the flcripters on the Town Ball pro- gram with Wsilter O'Keefe. Set by Bill Joyce, of tbe William Morris office. J«f«ph I. Aaerhaaa, p.a. of WNYC, New York, is out, being replaced by Seymour N. Si^I, doubling as di- rector of the program division. Kolin D. Bagcr* WGY, Schenectady manager, his wife, and twin daugh- ters, Koline and Norine, are vaca- tioning at Westbrook, Conn. Cvmclfa Osgoo d pi nch-hitting for Kay Brinker on WBBM 'Manhattan Mother' serial, during latter's illness. ArttHr Charcli, KMBC head, in Chicago for stopover before proceed- ing to N. Y. to supervise recordings of more Thenomenon' episodes. Rfceliard O'BrlcB and Dave Caugh- lan have joined sales staff of KSD, Si. Louis. DarlBi: summer months KWK has beieii hitting air at 6:30 a.in.-^n hour later' than usuaL There is no day- light saving law in St. Louis. BriUin OR's V. S. Radie New York, Aug. 9. Editor, Variety; Under the heading ^Britain favors home talent,' the following, as part,' appeared in a recent issue of the N. Y. Times: 'Recognizing itself as the 'Sole Trustee for Broadcasting iri Britain,' the British Broadcasting Corp., in its journal, the Radio Times, asserts it is bound to give its listeners the best. wherever it is. found. - Home telent has succeeded in this aim.' It further says tliat Britain artists are the backbone of British broadcast- ing- Knowing the above utterance to be nothing but self-complacent re- marlcs of one in the ranks, I feel it incumbent on me as one who has been very closely connected with ra- dio in many countries, to say tliat never at any time has Great Britain -been able to hold a candle to Amer- ican programs and that so far as even a knowledge of required tech- nique and showmansl^ip is concerned, British broadcasting is, in the main, amateurish as compared. There are such a majority of listeners at home who wish the programs were even a little more 'homely' and who would welcome an opportunity to be en- tertained by some of their favorite American picture stars, tliat the above utterance becomes even more ridicukius. Unfortunately nothing can be done. British Broadcasting is ah autocracy unto itself. I consider it bad form and un- sportsmanlike to state publicly as this writer did, that 'events picked up from other countries are only the trimmings,' and my fellow coun- tryman could well spend a few months in U. S. A. to send him back with a troubled conscience. Al- though American broadcasting itself, including certain network programs, has room for much improvement, owing, to inefficient directors here^ there is ho doubt that it is On the whole doing the greatest job in the world of radio today. While the present keen competition amongst sponsors keeps up, radio entertain- ment in U. S. A. must leap ahead of that in Great Britain. Under present conditions British programs can never hope to compare with American. To prove this would be quite a simple'thing. A contest could be organized. We compete against America in sporting events, and competition improves talent It would mean an. exchange of artiste and would stimulate and revive pub- lic interest and unless I am gravely mistaken (and I would of course like to be) would give justifiable cause to prevent a repetition of lufair statements. B. Ch«rles-Dcdn. (Pres., Briitsh American Produc- tions, IncJ KWK'a 'Minstrel Show,' bank- jrolled by Slack Furniture Co., East St. Louis, for more than a year, is off the air for a few weeks. Pro- gram is presented in Municipal Auditorium every Monday p.m. be- fore live audience. L. A. Benson^ of WIL, St. Louis, has signed contract with Small Sc Brewer, as national sales repre-' sentatives. same condition exists throughout the country. I recall my entrance into burlesque in 1905 when the two circuits—'the Western and the Eastern Wheels- went their separate ways. The East- em Wheel had the shows and pro- ducers, while the Western Wheel had the theatreis, and was forced to make its own producers. Tliat's how I got my start. Never having seen many burlesque shows, I wasn't familiar wi^ the 'nigger' acts or 'bits,' and -as a result I came iii with new, un- hackneyed ideas. A^ a result I made good from the start I concentrated on ideas, humor, entertainment de- void of vulgarity or filth. In 1908 I produced 'Follies of the Day,' a satirical revue, with traves- ties, and bubbling over with funny scenes backed up by an original mu- sical score. I first got the idea, in- tending it for a Broadway revue. When I got my own franchise from the Empire Circuit I decided to fore- go a Broadway production, several managers being interested in the show^ The wisdom of my judgment at the time was vindicated when tor 18 consecutive years these 'annual productions, absolutely clean and re^ freshing, and always full of new ideas, continued to prosper. I realized many years ago that the name burlesque was doomed and I omitted it from all advertising of every nature. The sprouting of stock burlesque theatres all over the coun- try started the decline of burlesque and the fact that producers without imagination or initiative continued to produce the same bits year in and year out Hien when strip-teasers and -vulgarity of the lowest form was injected, the bottom dropped out Of the burlesque business. Some good will come from it alL There will be a new kind of entertainment rise in its pUce; but producers will have to forget the kind of shows they offered in the past This is a new era-^e only re-^ semblance to tbe old one. is that the public is still willing to be enter- tained. What constitutes entertain- ment? That's what they've got to find out They will have to dig up new blood, just as the Western Wheel did, and history may repeat itself. It always does! Barney Gerard. (Metro-Goldwyn-Mayer Studios) Edgar P. Shutz, conunercial mgr. of WIL, St. Louis, on biz calls in Washington, New York, Detroit and Chicago on way home from vacation. Les-Alien is new staflC announcer ftt K.YA, Oakland. Bob Q«erner has replaced Dudley Manlove as announcer on KROW, Oakland. iV. W. Lukewarm (Continued, from page 2) which ihe theatre owners helped to build and assist in supporting in their taxpayer roles, has been pro- viding an unusually large amount of opposition. There have been weekly ■wrestling cards and a pop series of symphony concerts for the first time and now Harry Hirsch's roller derby is packing 'em in and will run lot 21 days. Because of the. hundreds of lake resorts featuring .fishing other sum- Barney Gcr»rd Baricsk Culver City, Aug. 9. Editor, Varictv: I read with great interest in the Forum of your issue of July 28,' the letters of S. Hapgood Courtenay and of James Henry Sprague. Sprague's mention of travesties, citing those done by Harry Morris, namely on Cyrano de Bergerac* and 'Trilby,' in- dicates he can go back some. But he is right—good travesties have al- ways been entertaining. I used to make them an annual feature of 'Follies of the Day.' Good travesty artists have always been scarce. Such sterling artists as Gertrude Hayes , and Larry McCale were ideal exponents of the art of travesty. For example, their work in the first 'Fol- lies of the Day,' in which they bur- lesqued 'The Easiest Way,' *The Heart of Maryland,' -Uncle Tom's Cabin' and 'Railroad Jack.' But even in those days it was difficult to find actors who could properly portray the characters in such travesties. Another actor who starred in one of my later shows, Edmond Hayes, was excellent in travesties, but like others who were successful in trav- esty, he was a good actor. The aver- ag'^ actor, in essaying travesties, tries to get his laughs by being funny, while the best results are obtained when the mood is played seriously. Mr. Courtenay concludes his let- ter with 'The theatre isn't dead. It's merely suffering from amnesia.' He is absolutely right. The theatre is bound to come back and if it doesn't it will affect the entire amu.sement business which includes motion pic- tures as well as the speaking stage. There is talent waiting to be dis- covered most everywhere if the dis- cerning producer will only detect it. Why Exhiiis Can't C»-mp New Haven, Aug- 8. Editor, variety: I suppose the What They Think department is open to all, but why waste space on the suggestion that exhibitors should form one strong organization instead of dividing their strength? It simply cannot be done. Even before the days of the producer- operated chains there were always a group of malcontents unwilling to trail with the Others for the com- mon good. There always will be. Exhibitors simply will not unite in a common bond, and the producers know it Therefore they don't scare. Any suggestion of complete coopera- tion simply doesn't make sense. Hugo Blaisfield' don't believe in pinning medals on jnvMitors, as you can't eat medals, but I do believe it is importent ,to get inventors set up in their own business, whidi is why I spend .a considerable portion of my time try- ing to aid them financially through my friends in the business world. Any service that I am able to render is freely given. I never have, nor ever will accept any fee, interest or commission, for my efforts in this respect PU get mine from one of the three sponsors who are now dickering with me. Sam Hammer. Vavde's NUcry Cliances New York, Aug. 7. Editor, Vahiexy: The part which hotels and night- eries play in fostering and introduc- ing new talent to the allied fields of entertainment should be recog- nized to a greater degree than at present Demise .of vaudeville and the cor- responding rijse of radio and screen focus new talent discoveries upon the nighteries. In recent months hotels have been providing more and more specialty acts with the floor shows, attempting to re-intro- duce many of the bid-time vaude- ville favorites who are pacing time until television rounds that corner. The object of such attention by hotel managers has changed. Talent discoveries are not predictable al- ways. In the event of a surprise dis- covery—larger, entertainment mag- nates (vis;: screen and radio), con->. tract talent exclusively. Which is not opposed by hotels and nighteries, but which makes for more serious concentration on entertainment set- ups. Recent months have found a new interest on part of the public for hotel entertainment Summer months which used to spell 'BO-NG' now hold plenty of chance for BO. The attitude -of your night-clubber has chanfedi No more Ustlessness and heavy drinking.' Moderation and a new zest for a pleasant -good time has followed the increase in the country's pocketbok. Specialty acts have come into a new vogue with the present tide. Tbe juggler, the roller skating spe- cialists; the high hat dancers, with new routines, the sophisticated ma- gician with the Thin Man' debon- aire—all answer the problems of hotel and nightery enterteinment needs. The top demand, however, still is for a name head for your show. That's why we've been book- ing the biggest music-makers in the biz, and featuring \their shows with novel (and new) specialty acts. Robert K. Christenherrv. Vice-Pres, and Gen'l Mgr., Hotel Astor, N. Y. rners, even lacking, this one's attrac tions, always have given plenty ol j I see plenly of it walking the streets worry to theatres. Ignores latUaiM-s New York, Aug. 5. Ediiot, Vahiety:' Relative to story In last week's issue about my WMCA program, 'Your Invention,' I have no inten- tion of dignifying any of my imita- tor^ by entering into controversy with them. However, as there was an unintentional mis-statement of fact in your story, I would appreci- ate the opportunity of setting the record straight. As to priority—I first presented my program idea to Mr. Hall, pro- gram director of WMCA, on April 6, 1937. At that date it was accepted for production by Mr. Hall. He had no suitable evening time available then; therefore, the show was not announced until the time could- be cleared. My first broadcast was made June 21, 1937. I have never used an advisory board. I did or.ganize a group of my business and financial friends and sold them the idea that they could do a great deal of good by undertaking to see that worthy in- ventors get the capital, manufactur- ing and sales facilities they needed. I think it important that you know the rules under which I conduct the 'Your Invention* program. First, I will not broadcast any invention that hasn't been patented, as with- out a Patent Office claim, I don't believe an inventor Ls adequately protected for broadcasting purpo.ses. Furthermore, I will not allow my program to be used to drum up Plays OuiofTown THE LOST COLONY (Continued from page 58) of Hollywood, and from reports the business lor any patent attorney, I Badio Aaus««nccr's reeve Chicago, Aug. 8. Editor, VAraETv: Am wondering just where we an- nouncers'are going to wind up,-w'ith the effort to uhionisn^' rafdii>., 'jHTe^ve be^n invited ;ihto AC^R^i^; ^'^nie of us belong to , Equity a;;;id^,9j?;V|^ pomes a feeble bid from I^dtp^Guild. I say . feeble : because from > reports I get Actors Radio Guild doesn't care particularly whether we join up or not From my own experience I would say this disinterest or seeming lack of trying to land announcers solid by this Guild is a bad mistake. And one that should be corrected before it is too late. From my own ex- perience I would say the y announcer is more essential to a program than an actor. Don't forget the numer- ous little stations which can get along without actors or live talent but try and dispense with an an- nouncer. They can play records, but they heed an announcer in between times to keep the programs running. I fear that Radio Guild is being swayed by having too many actors in New 'York at these formative meetings.' That's fine and good, but why overlook the announcers scat- tered, into every community of im- portance in the U. S. Besides, get-- ting the.se spieling boys in on the ground floor will give'the organiza- tion backbone and the -strength es- sential for the Guild to amount to something. If I haven't made my- .self clear, just ask some of the pro- duction men, announcers"and vet- erans in this crazy radio busines.s. My under-standing is that the Radio Guild's proposed constitution reads an announcer can't be sn actor. But is there a similar pro- vision slating that. an sictor can't announce or narrate'.' What about a master of ceremonies? Is he an aid of the Lost Cotony Chorus of ex- cellent voices from the Westminister Choir, secured -for tbe summer, a large outdoor organ, and Indian dancers. Theatre stands on the very spot where the .first brave but futile attempt was made against an un- chartered America. The waters of Roanoke Sound form a backdrop, the same waters in which Raleigh's ships dropped anchor. All about tlie orig- inal fort and . buildings stand,. re- constructed to form a part of the theatre. Screening and lights enable the rapid shiftmg of action from Eng- land, to Indian vUlajge In America, to the colonists' own .Fort Raleigh, .and so on. There are three levels of the . 100-foet sta^e and action shifts oii these from stage rlj^t to stage left and back, in panoraibic fa^uon. Principal parts are carried by a group of Federal Thieatre players brought from New York, the second- ary roles are played by members of the Carolina Ploymakers group, mob scenes, use townspeople, and minor Indian parts are puo^ed by boys from a nearby CCC camp. There are 130 in the cast Between scenes a historian catohes up the loose -ends with brief rfeadr ings. The music, which utilizes old English folk songs, baUads and hymn^ to whidi Bfir. Green put new words. Is the maUng of the presen- tation. The show plays for an hour and-90 minutes. The symphonic drama has a deeply rellgtous tone -and theme. Comic relief is provided largiely by the beggar who was kkked from pubs in England, came with the peditioni was made a new .aiian by the new world, and eventually rose to a position of tespett and leader- ship in the little colony. The whole tiling has a natural simplicity, is luuinfingly poetic, and. is diescribMl by many who have fol- lowed closely the cneer tof Paul Green as by far the best thing he has yet done. The drama that has been created on the known fae^ of ihe romantic mystery of the iMt colony creates a man agtunst the wilderness situation. To Sir Walter Raleigh tbe new world is a luring dream, under the Green interpretation. To' Queen EUtabeth it is a teasing shadow that would scatter her resources. To Eleanor Dare, mother ot the first American- born white Child, it is a chance for CTiiritual freedom. To ber husband it is just another post of duty for -a, soldier. To John Bbrdon, hero of the story, the adventure - unlooses a power for leadership. To Old Tom, the beggar and jester, it is the hope of becoming a real man. The first act deals with the flcult enterprise conceived by leigh and undertaken by hb lowers. Swift scenes show tbe set- tlers aroushig the enmity of the In- dians, and so on. The second act treats of a pioneer settlement planted and a civilization begun. 'Hopes are high. Homes are being shaped from the wilderness. The first baby is born. And then supplies fait There is a long brave watching for help tliat never comes, because Elizabem has ruled in the face of activity on the part of the Spanish against England that not even the smallest ship can leave those shores. Hunger, pain and discouragement follow for the tiny band of settlers. .Until one day a warlike Si>anish ship appears in the sound, caiistog |he. band to make their last tragic flight into the dark Wilderness. It has b^en said that it is not a play b^iiSe it doesn't end. The people vanish and the play van- ishes with thenU But there is some sort of unity—if tiot dramatic unity. And the somber tragedy takes on an etheral quality. It ia the story of a failure but not of human weakness. Tbe idieal remains- even after the people have vanished. Nowhere is the realism marred. There is no coming back for curtain calls. The most powerful scene is the last, where the colony is swallowed Up in the wilderness of the new world. The lights dim and the set- tlers file off to be enshrouded in an unbroken veil of mystery. A single beam of light follows them acrcss the stage until the last group trudc;es up the little hillside and behind the trees. The -organ picks up the tab- leau and the play is over. Silence prevails for a time before the audi- ence gets back from the real char- acters that Green has made of the poor, grotesque, brave and pathetic Roanoke Islanders of 1587—350 years ago. If there is a star of the show it is the choir. Harden. actor or announcer? Or a sound effects man? I think it would be a good thing if they kept most an- nouncers from acting, or at least on. the broadcasts they announce. This is where Radio Guild should inaist that a real actor be used. My thought on the birth of this Radio Guild is that it won't amount to much without a full membership of annoimcers, and the hearty wel- come sign hung out for them. Yet, it seems to be .shaping up as .strictly for- the radio actors, with the an- ' iibuncers only tolerated as a .'-.ocond thought. 6'p/cfcr. dif. Ea- fol-