Variety (May 1926)

24 VARIETY REVIEWS Wednesday. May 86, 1986 tlon muit be the molt expansive that the Publix organisalon hu put out :o date. There arc six drop* wed, one set and a special effect for the prima donna's number. Lower? appears in "one" for a number, after which the curtains are parted disclosing a back drop with a "spindle wheel" with the heads of 1C girls showing through the openings, carrying out the gen- eral idea of take-a-chance. After a number with the girls answering from the .wheel locations, there is another number in "one" by Low- ery. and then with the reopening -*f the curtains an arbor set is shown for a number with the master of ceremonies and the girls, who are dressed in sets of fours, which is followed by a dance number by the 16. Frank Judrlch is next on for an accordion specialty of jazzy num- bers played rather hot to a good return In applause. Then seven minutes is turned over to the or- ?anist of the house with the usual .slides and numbers. On Sunday night for the last show Henry Murtaugh managed to work the audience to a fare-thee-well and had them all singing lustily. He managed to work a plug for four numbers, and It appears as though the audience wanted more. He was using a Feist program under the title of "Song Birds, a set of com- edy slides which Introduced "After l Say I'm Sorry." "Horses." "Some- iiody's Lonely" and "Sitting On Top of the World." Lowery pulled the old three-shell sag with the cocoanuts and lemon, and was followed by the Lime I'rlo with their acrobatic and con- tortionists specialty, which regis- ered strong on laughs. Then the introduction of Virginia Johnson, "late prima donna of 'Rose-Marie'" stuff. The novelty effect used for Miss Johnson certainly sent her >ver. A motion picture of the Ca- nadian Rockies used that Alls the entire stage opening showing a mountain* and a great waterfall, rhe screen Is lifted and the picture till shows on a transparency that 3 used behind it and Miss Johnson -ppears to be standing right under he waterfall for her number that is effectively put over. The lighting • f blue used here set off the stage icture wonderfully. "Indian Love all" and "Cottage Small by a Waterfall" were the two numbers used. Then Lowery again for a gag In 'one" and the If American Rockets n a dance routine with a motion icture wave effect. The* girls do- og a mermaid siren bit at the opening and then into a straight lancing routine that makes them ank with any English troupe of lancing girls that has ever been ent to this country. The applause hat they received at Ife concis- ion of the act was weir Earned. Lowery filled in the next spot with Us musical specialty, using the baby ax and the piccolo for two nuni- ters, vocalizing and dancing as well md getting a strong return on his tepping. A couple of hoofers, ilealy and BUven, managed to fill iie next spot nicely and made way or the final scene, which held the 'hinese Syncopators for three num- >ers, leading into the finale which •rought the 16 girls on as a Chinese >ragon. The only heavy set of the resentatlon is used for the finale. It resembles a Mah Jong cabinet •nd has the musicians seated on he East Wind. West Wind and uaybe the Big Wind. As a presentation this one Is a vow, but in all fairness It cannot >e called a presentation. It is in ^ality a sublimated vaudeville show •resented in revue form. Frank Cambria is to be congrat- 'lnted on having turned it out, for it -roves that he can do big things as ell as the "cheaters" and he has hown a couple of the latter. How- ver, if Cambria saved money nough cn the others to turn out ills one, give him credit. This one •oks like $2,500 worth of scenery nd about $7,000 more for costumes, nd maybe a $2,700 weekly "nut." But remember, boys, one or two a <\ar is nil the traffic will stand, •r, after all, it is names that count thrlU picture of cut-outs from P. productions opened the show. ►urinK the work a Luplno Love omedy was also in the bill. Fred. switch*to the three-split week grind policy with an appropriate lowering of prices). Chicago has become spoiled on de luxe picture houses. For that reason Bala ban St Katx should be thankful for Paul Ash. The Oriental is strictly a dazzler in the way of theatres. There Is an abrupt en- trance from the street Into the be- wildering oriental splendor, with no chance for the patron to adjust himself—very disconcerting. The India, which has been made known to the undoubtlng Main Streeter through the pretentious gorgeous- ness of the cinema has been out- done here in sheer spectacularlty. What a juice bill this place must have. Red lights, green lights, purple lights, yellow lights; lights which fade and brighten and blend until 99 and 44-100 percent of the audlenoe sigh ecstacy and the others have a boyish desire to let loose with a slingshot. An overdose of eccentric beauty aptly describes the Oriental. You either like it or you don't. As a regular presentation and picture house it would, after a while, ex- perience some difficulty in collect- ing crowds. That's where Paul Ash comes In. Some trepidlty was experienced by devotees as to the possible sub- mersion of Ash. the showman, in the splendor of his new house..But the redhead dispelled aO doubts at his first appearance. 'The presentation built around Ash for his opening at the Oriental far surpasses the offerings with which he has been associated at McVicker's during the past year. Contributing greatly to the added opportunities for de luxe productions is the "magic stage," a mechanical plat- form on the stage proper which is in two sections, each operating inde- pendently. These sections slide back wards and forwards and up- wards and downwards, presenting innumerable novel effects. The orchestra. It men. Is seated on the front section. The rear sec- tion Is brought into play now and then for artists appearing in col- laboration with the orchestra. As a prolog to the appearance of Ash, 14 girls in brassieres and Long skirts—that's all—executed an Ori- ental dance featured by the rhyth- their recant success at McVicker's. They wars sided by Allyn Reese, soloist. A newcomer showing lots of promise Is Maurine Marseilles, singer. Miss Marseilles has an at- tractive appearance, a meritorious voice and a pleasing personality. To top these assets she can kick as very few girls can kick—her foot in her back kick passes her head by quite a few inches. Productions will soon be utilising Miss Marseilles' abilities. Her skin covered with bronse, Felecia Sorel performed, a classic dance after posing absolutely im- mobile for several minutes. Her perfect muscular control is so amaz- ing that quite a percentage of the audience mistook her for a statue. Specialties were Interspersed with selections by Paul Ash and his or- chestra. An exceedingly well or- chestrated number was "On the Road to Mandalay," rendered In a variety of tempos with great skill. The usual majority of pop num- bers was played. As in the past. Ash acts as master of ceremonies and director. With the best of showmanship he presents die artists in the most favorable light, even carrying the brunt of their work when they appear weak. An entertainer who can't get over with Paul Ash can't get over any place. Henri Keates Is organist at the Oriental. He has brought with him the community singing policy he used at McVicker's and it looks like a sure catch in the new theatre. Harry Langdon's "Tramp, Tramp, Tramp" was selected for feature honors on the opening nine-day bill. An orchestra, probably the Ash aggregation. Is concealed In the ex- tremely deep pit for Intermission and news reel music. With Ash as the beacon the Ori- ental's future Is bright BaL CARTHAY CIRCLE (LOS ANGELES) Los Angeles, May 21. Cart hay Circle, inducted Into the picture fold with a two-a-day .pol- icy and $1.10 top, by Fred Miller, one of Los Angeles' veteran picture showman, can be classed as the last Film House Reviews Limited To remove what is seemingly an erroneous Impression held by many managers and producers, it is not Variety's intention nor wish to cover all presentation houses with reviews. The Intent of this department rather Is to print reviews of the- atres In key cities in various sections. In order that managers, di- rectors and producers everywhere may have the opportunity to learn In this way* how the presentations have been made up or played. In the instance of someone believing he has an exceptional re- view in novelty or Idea (rather than talent) or may wish to pro- tect for the record the originality or creation of some particular point, bit or number. Variety will catch that house If advised* in sufficient time, through Its loval correspondent. ORIENTAL (CHICAGO) m . Chicago, May 18. The crowds which ordinarily .vould have distributed themselves •omforf,ably among the various loop picture and vaudeville houses pre- ferred to line up outside Balaban & Katz's new Oriental theatre at its lebut. All of tho loop houses suf- fered because of the opening. The Randolph street entrance of •he Randolph theatre, directly ad- joining the Oriental entrance, is auslng quite a bit of confusion. Absent-minded customers go to the Randolph, then howl for a money efund, claiming that they mistook :t for the Oriental. Becauao of this the Universal house was forced to place a sign over the box office -eadlng: "This is the Randolph the- Ure." Due tq. the stiff ^opposition ihe Randolph Is scheduled for a mic and contortive movements of Beatrice Gardel in an excellent spe- cialty. Then came Paul Ash, carried on an Egyptian "stretcher" and garbed as the high mucky-muck rajah. "Whoa!" the rajah yelled to the four husky blacks at the handles, and he stepped to the stage, doffing his turban and dress and revealing a truly American tuxedo. Ash made the expected speech thanking the management for set- ting him up in the new house, and the expected handclapping ensued. Then he read some fake telegrams, one said to be from the manager of the Randolph next door, asking him to please play a little louder so that the Randolph customers could hear him more plainly. The orchestra dressed in Oriental garb was Introduced and immediate- ly broke into a pep number. Acous- tics proved practically perfect m the theatre. The orchestra tones carried pure and clear, wltfi no dis- tortion whatsoever. Very low tones are audible to the last row in the gallery. Milton Watson, the youthful tenor so much in favor on Ash programs, sang only one song because of throat trouble. Met royal reception. A youngster associated with Ash during his California days, Hazel Kennedy, was the sensation of the bill. The girl seems to be about eight years old, but has the poise of a veteran showman. Dressed in a comedy "hick" costume she romped out on the stage with all the fervor of a miniature dynamo and songr talked a kid number. The song wasn't so much but nobody was lis- tening to it. Attention was con- centrated on the comedy antics of the little girl, the last word in spon- taneous, crazy gayety. When stum- bling off the stage she had the audi- ence in a riot which didn't subside until she had taken three encores. The kid is a sure winner. Peggy r.ernier. the girl who boasts of having tho world's worst voice, must have the song pluggers after her despite her affliction. What's a voice when you're young and good looking and have enough personality to put over the worst of songs? That's the way Peggy stacks up. The Hicks brothers, ban Joists, put over a snappy number in conjunc- tion with tho orchestra, duplicating word in' construction and-presenta- tion. Miller,* profiting by his pre- vious building experiences, offered to the theatregoing public a house flawless so far as its appointments, comforts and conveniences are con- cerned. He also offered for the opening De Mllle's "The Volga Boatman." which tapped the cash buyers on the chin and will bring them to this somewhat distant house from the Los Angeles theatrical centre. Mr. Miller dealt another wallop or two which had their telling effect, and they were an atmospheric pro- log staged by Jack Laughlin, a new- comer among picture house pro- ducers, and Carli Elinor, orchestra director, who had a 25-piece outfit in the pit, superb musicians to the man. With a $6 opening, the premiere of the house went without a single hitch. It really was remarkable, especially with the elite of the Los Angeles territory on hand to make allowances for a getaway perform- ance. However, it was not neces- sary to make them, as everything went off In srtyooth order as well as in gratifying manner to both the buyers and the management, who, of course, had staked their all on the getaway show. With the dedication exercises brief the performance was gotten under way by Elinor and his con- cert group playing "Russian Fan- tasie," which is based cn the theme of "The Volga Boatman" song It was arranged and composed by Eli- nor and proved a most Impressive score as rendered. After an eight- minute interpretation of the heavier portion of this score, the curtain arose to reveal an atmospherjc set- ting for the prolog. Laughlin, who produced this scene, though a new- comer In this particular field, seemed to have established himself over night as a master. He had on the stage some 50 singers, dancers and musicians, working In a most picturesque and colorful set of an interior of a Tartar drinking house. The settings were rich and a treat to the eye, Indicating at the start that something worthwhile would be seen. What was seen came with a bang, as every one on the stage seemed to be animated at all times and Ihere was something for them (Continued on page 59) PRESENTATIONS (Extra attractions in picture theatres, when not pictures, utill be carried and de scri bed in this depart- ment for the general information of the trade.) "INSULTIN' THE SULTAN* Psul Ash and His Orchestra 60 Mins.| Full (Spec, with Magic Stage) Oriental, Chicago "The Rajah of Jazz" Is elaborately presented In his new home. Besides the regular stage he has the "magic** stage (in two independ- ent sections) for numerous novel scenic effects. The 20 musicians, In Oriental garj>, are seated on the front section. The rear section is utilized by artists appearing with the orchestra in dance or ensemble numbers. The orchestra may be moved backward, forward, upward and downward on its section. Ar- tists may enter the stage from raised rear entrances to the rear section of the mechanical stage. Elephants and minarets provide the keynote of the stage decoration. One of the elephants, resting In a raised position at the rear of the stage, may be used to house one or two persons for a specialty. The opening week the Hicks Brothers, banjolsts, were revealed when the two doors in the head were opened. The present stage production Is simply an elaboration of the famil- iar Paul Ash policy. Song and dance specialties are used to Inter- sperse the orchestra numbers and share spotlights with Ash as he directs the accompaniments. Tho redhead announces each artist, us- ually with a complimentary remark, and encourages applause at the con- clusion of numbers other than his own. The "Insultln' of the Sultan** probably refers to the wholesale utilization of Oriental manners and costumes in the presentation of red hot American jazz. A set of breast- plates and a transparent skirt aren*t so much out of harmony with a clarinet's wail at that Selections by the orchestra, ex- cepting, of course, the rare inter- sperslons of the classical, are de- voted to the latest popular compo- sitions. And as Ash is the best bet in Chicago for the music publishers he gets first crack at many brand new numbers. The theme piece of this production was "On the Road to Mandalay,** the only unjaczlcal number on the program. Turban or tuxedo, Paul Ash con- tinues to be the sensation of Chi- cago. BaL "THE REHEARSAL" (16) Atmospheric prolog for "Kiki" 28 Min.; Full, bare stage Million Dollar, Los Angeles Perfectly good talent was wasted in the endeavor to provide an at- mospheric prolog in connection with "Kiki" at the Million Dollar. The entire presentation was given on a bare stage, with entirely too much detracting in the way of hokum by supposed stage' hands. . An excep- tionally novel and good idea if properly staged, but draggy and placing the performers at a decided disadvantage as carried out. Nine first rate turns, with six at- tractive chorus girls, make up the contingent, intended to give patrons out front an intimate glimpse of the trials and tribulations of a director in rehearsing and staging a theatre prolog. Opening reveals six chorus girls in practice, clothes 'being put through a number by Louella Lee with Jack Joy, musical director, at the piano. Bare stage wall for backing, with a set piece in center. Stage hands constantly walking from side to side, pulling boresome hokum. Girls purposely get out of step and do other "brodles." At the close of number stage director Harry Hume discovered in audience, shouting instructions, and then goes on stage. Enter Bert Barber, Los Angeles newsboy, shouting "Extra, Extra." Dialog with director and newsie starts song. Director, instructing grips, keeps calling "higher'.' or "lower" to direct placing of back drop, which newsie interprets as in- tended for him, raising or lowering voice accordingly. Then into a ballad which drew a good hand. Sherry Louise Marshall, prima donna, entered and engaged in cas- ual conversation with director, pull- ing a couple of stale gags. Props, In the person of Jack Bain, cleverly put over ' Give Me Today," and for an encore a double character num- ber with the musical director, the number being a parody on "O Solo Mlo." Chorus back on, this time in patriotic costumes, for a fast step, ping number, with Louella Lee showing some clever toe dancing. Miss Marshall, despite the noise on stage and other disturbing elements, registered for a hit with "Gl/e Me tho Rain." At finish, assistant props, from top of step ladder, spills pail of water which drenches singer, and by play of her quitting cold. Plenty of hokum as to her being "all wet," and then director announces he will be prima donna, singing a travesty on Grand Opera which won rounds of applause. Johnny Dove, on roller skates, had the audience going with bis hand springs, splits and other gyrations. Then the wow! Peggy Chamberlin, dressed a la "Kiki," a foghorn Bowery dialect, sang "Hard Boiled Rose" as only Peggy can put across a *'tough" number. Her cartwheels and back bends were well received* For an encore Ross Himes, as stage electrician, sang his version of the number, the two finishing with a double jeccentrlc dance and a lot of "wise cracks.** As a finale the set piece in center stage was al- lowed to crash down on Director Hume, for a laugh. While not a new idea, a properly staged offering of this type never fails to Interest a lay audience. Publlx presentations department "muffed and excellent opportunity for. a whale of a prolog* when it hur- riedly whipped this into form. "BANJOMANIA" (18) Singing, Dancing, Music 22 Mine.; One and Full (Special) Metropolitan, Los Angeles Eddie. Pea body, brought here from San Francisco, Is starred in this presentation and given the title of M A Package of Musical Dynamite." Peabody easily established he is all the billing claims for him. He is a small, blond, nervous type of little chap who would be unhappy unless moving and given something to do all the time. This presenta- tion was built entirely around and for him.- He Is a nifty manipulator of the banjo strings and can get everything that spells melody out of the Instrument whether It be Jazz or classical, as well as being able to perform many a nifty trick with it For the opening the house or- chestra, most of which supported Verne Buck, who Peabody suc- ceeded, played and sang a melody, "Here Comes Eddie." As they went Into the chorus, down a contrivance rigged up as a banjo slid Peabody to start the fun. He snapped into his stuff fast, sang a song, led the orchestra, danced and then made way for Drury Lennlngton, tenor, formerly of the orchestra and who was sent to a school of voice train- ing and culture by the house man- agement. Lennlngton rewarded their confidence by putting over a corking good ballad number. Ruth Stanloy, tap dancer, was next trotted out and stepped fast and lively. Then came Edith Grif- fith, a sweet dark-haired miss ef- fervescing with personality and the ability to put over a double jazz song with Peabody. This team worked In great fashion and put over the first part of the enter- tainment with a wallop. Peabody then came on in "one" with his trusty banjo and strummed that hard one, "Poet and Peasant." When he got that out of his sys- tem he put over a couple of popu- lar tunes, until the stage was fixed up for the final big flash scene. When the curtain went up ono of the moving stages brought to the fore some 12 members of the or- chestra strumming banjos. As the boys were getting hot, keeping pace with Peabody who was tickling tho strings as fast as his fingers could manipulate, another of the stages disclosed a dozen more of the mu- sicians, elevated above the others performing the same task on banjos, then for the finishing wallop, the rear moving stage was revealed as holding the ladles of the ensemble and some of the principals follow- ing the other players with banjos. The sight was Impressive and hit home in great shape. Tho Met. is a large house of the Hip type and not every performer can get over in It If the manage- ment will take cognizance of the type of show the customers want here, they should find Peabody a very good selling argument Ung.