Inside Facts of Stage and Screen (July 26, 1930)

STAGE

SCREEN

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Only Theatrical Newspaper on the Pacific Coast

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ESTABLISHED 1924

EDITED BY JACK JOSEPHS

Vol. XII Entered as Second Class Matter, April 29, 1927, at Post-

office, Los Angeles, Calif., under Act of March 3, 1879.

Saturday, July 26, 1930

Published Every Saturday at 800-801 Warner Bros Down-
town Building, 401 West Seventh St., Los Angeles, Calif.

No. 4

500 BABY GOLF COURSES
PLANNED BY W EST COAST

[CLARA BOW PROVES FLOP I

Pictures

In Newer

B; (X Sags

Other Film Theatres
Feel Competition;
Air Film High

Something or other
seems to have affected
Clara Bow’s drawing pow-
er at the box office. The
pash boys no longer ap-
pear to be lured by the
red-haired It gal, and the

frills no longer get vica-
rious thrills from the things she
does that they would like to do
themselves. Unfavorable publicity
has also hurt her pulling power.

Her latest, “Liove Among the Mil-
lionaires,” was under $20,000 at the
cellar ratings of that big house.
At the Hollywood-Pantages, the
Bow girl held the screen with her
“True to the Navy” and a Fanchon
and Marco Idea in support, and
grossed $9838. House average has
been running better than $17,000.

Other key houses suffered box
office doldrums. Moran and Mack
in “Anybody’s War” at the United
Artists scraped up about $8650 on
their second week, which is the
low record for that house so far
this year. “Lawful Larceny” at
the Orpheum, assisted by a mid-
night matinee, grossed around ten
and a half grand, which was a
little better than the week before,
but still away below average.

Second week of “Nancy From
Naples” and the Larry Ceballos
stage show at the Warner Broth-
ers’ Hollywood house grossed
around $16,000. This is ten grand
down from opening week, but is
plenty better than the straight film
policy had been doing during the
summer season. New show now
in there is going very big.

(Continued on Page 3)

Eddie Bruce

“I claim he is the juvenile comedy find of the season. Re-signed with me for seasons
1930-31, R-K-0 Circuit.”— HARRY CARROLL.

Direction: Chas. H. Allen, M. S. Bentham Agency, N. Y.

R-K-0 THEATRE LOS ANGELES

1

Will Run
Scale Of
10c Game

Reported Plan Would
Slash Prices; Free
Dough for Shows

Fox West Coast Thea-
tres was ■ this week re-
ported planning a circuit
of five hundred miniature
golf courses throughout
the west, following com-
pletion of experimental
study of a number of

courses, recently purchased by the
theatre chain.

With plenty of money invested
m what first looked like a fad of
the moment and recent develop-
ments finding investments of as
high as $50,000' on the newer
courses, the theatre group is said
to be planning to bring about a
slash in admission prices with
their proposed chain, which would
operate a scale of 10 cents per
game.

This, it is figured, would re-
lease the money of the average
movie fan for theatre seat buying.
The average fan cannot afford to
play miniature golf at 35 cents a
game and then take in a show.

Negotiations were reported al-
ready well under way this week
between Fox West Coast and the
two leading miniature golf out-
fits, Tom Thumb and Bob-O-Link,
as well as a number of contrac-
tors, capable of handling such a
large order.

Show' business experts predict
that the miniature golf racket, if
it does prove more than a fad,
will follow the lines of the film
game, with the early small oper-
ators being forced out by the
latest developments and financial
resources of the bigger groups.

PAGE TWO

INSIDE FACTS OF STAGE AND SCREEN

SATURDAY, JULY 26, 1930

Film Row
Cuttings

By FRED YEATES

BEACH PICNIC
FILM ROW RELIEF
MONKEY BUSINESS
“OH, MIN”

The Row is drawing up
plans for a big picnic at Santa
Monica, the first in two years.

The date is August 28, and
the place, The Breakers Club.

There will be plenty of op-
portunities for good times at
the festivities, but that is not
the main object. The Film Row
relief fund needs replenishment,
and profits from the picnic will
go to swell its coffers.

Through its relief organization,
the Row does many unsung deeds
of kindly charity, and the boys
and girls who are healthy and
prosperous now are glad to do a
bit for those who have had some
bad breaks.

The fund is now down to about
$1300. A while back it was $4000,
which gives some idea of the
work being done.

The General Committee is
headed by W. H. Lollier, chair-
man, and includes J. J. Milstein,
Lola Gentry, Ben Bernstein, H.
G. Delabar, Jack Nelson, Finley
Benson and William Knotts.

* * *

If Fanchon wants an “Idea” for
this jamboree, how about a bath-
ing-suit revue on the Santa Mon-
ica sands, personnel recruited
from the shapely exchange man-
agers and other execs, with Benny
Benson leading the line and Biil
Knotts doing a contortion dance?

* * *

The stork visited the Row last
Sunday. Fred L. Daniels found a
baby boy in his package, and now
he says he is walking around on
eggshells. Somebody called “Pat”
also got a package — whoever Pat
is.

* * *

The boys around Columbia are
changing the signs which title
their new African picture, ‘Ubangi,’
and making it ‘Africa Speaks.
Monkey business.

* * *

One of those snappy Columbia
brunettes is all burned up. Old
Sol did it. He yelled, “Oh, Min !”
and when she turned around he
gave her a good tanning. It* looks
well on Min Orthell’s shoulders as
she sits there busy billing. The
cooing comes if you touch those
sore shoulders.

* * *

Guy S. Gunderson, U. A. sales-
man, descended on Mexicali and
cleaned up the town, contractually
speaking. And then, being a good
boy, he came right home.

Final results on that nationa
wide U. A. sales contest, in which
the L. A. office jumped from bot-
tom to just under top. are still
held up. That five grand in prize
money looks awfully close to the
local boys.

* * *

W. C. Winship is owner of the
new face around the Paramount
exchange. He was formerly assist-
ant branch manager at Portland,
Ore., and arrived here Friday to
take over sales on Spanish lan-
guage features in this territory.
He is an able linguist, having
picked up knowledge of Spanish
customs along the Columbia River
Highway.

* * *

Dave Biederman, the Warner
salesman bashed up in an auto
wreck couple of weeks ago, was
taken home from the hospital last
Monday. He is doing very nicely,
and the Row boys are making
things as easy as they can for
him.

ONLY TWO L. A. LEGITS OPEN

Duffy Re-financing Plan

Book Sale
Battle

Publication recently of an-
other novel about Hollywood
has burned a number of
bull-evard figures, it is re-
ported, with a number of
them kicking to their favor-
ite book-sellers about stock-
ing the volume in question.

One well-known chatter
writer is reported to have
promised to raise “plenty of
trouble” if a certain book-
dealer didn’t take the story
off his shelves.

However, the yarn is still
available to purchasers, with
sales still hitting a high
mark.

MISS MACKAYE
ON STAGE HERE

W. P. Trumbell and George
Sherwood have begun casting for
“A Cup of Sugar,” slated for pro-
duction here this season.

Dorothy M a c k a y e has been
chosen for the lead. Miss Mackaye
figured prominently in a murder
trial two and a half years ago in
Los Angeles,, and this will be her
first appearance before a local
audience since that time.

Negotiations are under way with
Universal to borrow Glenn Tryon
for the juvenile role, and at press
time this looked like a strong
probability.

There is nothing definite yet as
to opening date or theatre to
house the production.

HOUSE OWNERS
BACK ATTEMPT
TO SAVE DOUGH

BIG COMPANY ON
LOCATION JAUNT

Traveling on a special S. P.
train, one of the largest location
companies ever dispatched by War-
ners left this week for Sacramento
and the foothill country near Au-
burn, Calif., to make scenes for
“River’s End,” picturization of
James Oliver Curwood’s novel.

More than 125 actors, techni-
cians and staff members departed
for the location. Michael Curtiz is
directing the picture. Players in-
clude Charles Bickford, Evalyn
Knapp, J. Farrell McDonald, Wal-
ter McGrail and many others.

DANCE CLASS BUSY

S*AN FRANCISCO, July
24. — By a financing plan
that is now being worked
out Henry Duffy will re-
turn to the legit producing
field within a few weeks,
it was learned here this
week.

Owners of the four remaining
Duffy houses — the K. D. Winship
estate, holding the Alcazar and
President here; Income Properties,
Inc., owners of the Dufwin in
Oakland; C. E. Toberman, Holly-
wood financier, owner of the El
Capitan in Hollywood — are work-
ing out a plan to act as joint
backers of Duffy as operator of
these theatres.

Such an action is seen as the
only way for these groups to get
back the money and rentals they
have sunk in the Henry Duffy
Plapers.

Currently the Dufwin in Oak-
land is being operated by Emil
Bondeson, Leo Carrillo and Rich-
ard Marshall. The President in
Los Angeles was sold last week
for $40,000 to Fox West Coast
Theatres, who will operate it as
a news reel theatre. The Dufwin
in Portland is due to be sold soon.

Paging Mr.
Wyler

Robert Wyler has a new
job at Universal that should
interest playwrights, scenar-
ists and screen writers. Wy-
ler is to be contact man with
the members of the writing
fraternity, not under contract
to the studio, who hie them-
selves to Universal City with
story stuff in mind.

Wyler’s new post is de-
scribed as that of personal as-
sistant to Carl Laemmle, Jr.,
with “authority to eliminate
‘red tape’ in getting ideas of
professional stage and screen
writers immediate considera-
tion.”

Wyler will personally dis-
cuss story themes, plots and
situations with the writers
and assist authors in building
“original and distinctive screen
play stories.”

TWO OPENINGS
THIS WEEK AS
SLUMP STICKS

PUBLISHER AS
BOOK ADVISOR

MISS TOBIN STARTS

Genevieve Tobin, who gave up
the featured lead in the Broad-
,way stage production of “Fifty
Million Frenchman” to befcome a
Universal featured player, is now
at work in “The Lady Surrenders,”
which John M. Stahl is directing.
Miss Tobin began work on her
first motion picture two days after
arriving in Hollywood.

BOLES WITH GOLDWYN

The motion picture division of
the new summer classes at the
Wills Dancing School in Holly-
wood is well represented by well-
known screen actors and actresses.
Regardless of whether or not they
are called upon to dance before the
camera, players find that dance in-
struction adds materially to their
poise and grace. The motion pic-
ture division includes instruction in
all forms of dancing, embracing
tap, acrobatic, waltz clog, off-
rhythm, semi-ballet, ballet and mu-
sical comedy technique. The sum-
mer course consists of individual
and group instruction for business
women, children and professionals.
New routines are taught to pro-
fessional dancers.

GETS NEW CONTRACT

John Boles, Universal’s singing
star, is now at work with Evelyn
Laye on the Samuel Goldwyn pro-
duction of “Lilli,” having been
loaned to that company during the
time his next Universal starring
vehicle is being written.

Lowell Sherman this week re-
ceived a new five-year contract
with increased figures from RKO.
Two months ago he was signed on
a two-year contract to act and di-
rect. “Lawful Larceny” was his
first assignment. He wiff direct
and appear in Samuel Shipman’s
original story, “The Losing Game,”
soon to be produced by RKO.

MacRAE SUCCEEDS WRIGHT

Horace Liveright, one of the
three foremost American publishers
of the works of contemporary au-
thors and the producer of several
of Broadway’s outstanding dra-
matic stage successes, will leave
New York within a week for Hol-
lywood to join Paramount as an
advisor on novels and plays suit-
able for the screen, and will make
a first-hand study of talking pic-
ture-making, it was announced this
week.

Liveright entered the publishing
business in 1918 and made an im
stantaneous success. He published
the works of Theodore Dreiser,
Ernest Hemmingway, Eugene
O’Neill, Sherwood Anderson, Ben
Hecht and George Moore, among
others, and brought out such best-
selling volumes as “The Story of
Mankind,” Emil Ludwig’s “Napo-
leon,” “Gentlemen Prefer Blondes”
and “An American Tragedy.”

Producing for the stage, Live^
right presented a series of hits that
included “Firebrand,” “Hamlet in
Modern Clothes,” “An American
Tragedy,” the Paul Robeson ve-
hicle, “Black Boy,” and “Dracula.”

NEW PLAYS SET
FOR PLAYHOUSE

With “Fata Morgana” at the
Hollywood Playhouse promising to
be one of the most successful of
the local summer legitimate sea-
son, Arthur Grveille Collins, pro-
ducer, has secured two plays with
which to follow.

These are “Confessions,” a so-
phisticated drama in a New York
setting, by Ernest Vajda, who
authored “Fata Morgana,” and
“Death Takes a Holiday,” in which
it is the intention to star Noel
Madison, who starred 'here a few
months ago in the English play,
“Hope’s End.”

Collins will in all probability
take “Fata Morgana” to San
Francisco after it has exhausted
its possibilities here, taking Elsie
Ferguson, Tom Douglas and the
support cast intact. There is some
doubt, however, as to what theatre
will house the succeeding plays as
other producers are bidding for
the Playhouse for late summer
and early fall productions.

No casting will be done until the
housing is set.

Los Angeles joined in the
legit doldrums throughout the
country last week with but
two legits running.

They were: “Fata Mor-
gana,” starring Elsie Fergu-
son, with Tom Douglas in sup-
port, which knocked off $8500

for its first week, excellent busi-
ness for the Hollywood Playhouse,
and a revival otf “To the Ladies,”
starring Glenn Hunter at the El
Capitan, which grabbed off a good
week’s business in its first stanza
at $5500.

All other houses were dark, put-
ting Los Angeles one up on Chi-
cago, which had all legits dark
but one, while New York was at
its lowest ebb in years with 14
shows running.

The sad situation precipitated a
story sent out by Associated Press
to the effect that there were un-
der 30 legits operating during the
week previous in this country,
with many drama eds and pro-
tagonists of the legit coming to
bat with fierce denials.

Estimates of the attackers of
the A. P. yarn ran from 100 to
200 companies supposedly playing,
including stock companies. Even
such figures as those mean new
low records for the stage produc-
tions, which are taking it on the
chin heavily from heat waves and
the other heavy competitive fac-
tors that are also slashing picture
house box-office marks.

With but two houses running
that left the following dark :

Belasco, which reopened this
week with Ina Claire in “Re-
bound” to very good opening
houses ; the Orange Grove, Figue-
roa Playhouse, President, Majestic,
Mason,, Biltmore, Mayan and
Egan’s, all downtown, and the
Vine Street and Music Box in Hol-
lywood.

The first named Hollywood
house reopened on Tuesday night
with a musical show, “Oh, Judge,”
to a good send-off, despite an op-
posish gala film premiere the
same night of “Dixiana” at the
Orpheum.

THEATRE MAN HERE

MURRAY-SIDNEY SHORTS

Henry MacRea, who came to
Universal City in 1914 as a direc-
tor, has been appointed supervisor
of all serial production at the
studios. MacRea succeeds Wil-
liam Lord Wright, who has han-
dled production for over 30 serials.

NORMAN IN EAST

Charlie Murray is due back at
Universal August 6, following a
three months’ vacation in Europe
with Mrs. Murray. With Mur-
ray’s return to the studios George
Sidney will join him and a series
of two-reel talking comedies will
get under way. Clarence Hen-
necke is writing the first of these
Murray-Sidney “shorts” to be pro-
duced under the supervision of Ed
Kaufman.

FRIEDLANDER ACT

John Shaw, of Sydney, Australia,
son of Allen Shaw, the famous
magician, with his mother, is stop-
ping at the Roosevelt Hotel in
Hollywood. Shaw is managing
director of one of the leading
theatres of Sydney. Though an
American by birth, he has spent
the greater part of his life in
Australia. He will return to his
home there in the fall. While
here he is carrying out plans to
take back with him, many of the
latest innovations in theatrical
equipment, for a chain of theatres
now in construction.

IN NEW OPERETTA

Luis Alberni has been assigned
a featured role in “Children of
Dreams,” second original screen
operetta by Sigmund Romberg and
Oscar Hammerstein, 2nd., which
Warner Bros, are producing.
Margaret Schilling, twenty-one
year old prima donna, has already
been signed for the leading role,
with Paul Gregory and Alison
Skipworth in the supporting cast

TAKES MEYER SERVICE

“Moneymoon,” a miniature mu-
sical comedy with a company of
eight, is a new act produced and
written by William B. Friedlander,
and features Bert Matthews, Dor-
othy Adams and Jack La Frac.

VACATIONS HERE

Karyl Norman, recently returned
from a year’s stay abroad, is head-
lining bills in eastern RKO
theatres.

Mile. Edris Milar, with the Chi-
cago company as premier danseuse,
has arrived in Hollywood to enjoy
a vacation prior to opening with
the opera company at the Philhar-
monic Auditorium in October.

Educational Studios and Meyer
Synchronizing Service, Ltd., have
completed arrangements whereby
the latter firm will henceforth take
complete charge of the company’s
music for productions. Marks the
fourteenth producing organization
to sign with Meyer.

DOUBLE ENGAGEMENT

GET LEADING ROLES

The two leading feminine roles
of “War Nurse,” which j^dgar Sel-
wvn is preparing to start at
M-G-M, have been assigned to
June Walker and Anita Page. Miss
Walker gained fame for her crea-
tion of the role of “Lorelei” in
“Gentlemen Prefer Blondes” on
the stage. The cast includes Rob-
ert Ames, Mary Doran, Helen Je-
rome Eddy, Hedda Hopper and
others of note.

SPECIAL BUILT CAR

Charles J. Carter, known to
show business as Carter the Great,
has just purchased from A. B.
Hill, Stearns-Knight dealers, a
new specially built sedan for his
coming ninth world tour. Among
the novelties on the car are a
special built-in radio, capable of
picking up long distance stations;
a Frigidaire with a special motor
to supply ice, special trunks, in-
visibly placed copper mosquito
screen for travel through Oriental
countres, seats that are convertible
into Pullman berths and other spe-
cial additions for travel through
many countries.

DRAMA ED VISITING

Jean Hersholt -has signed to do
two roles simultaneously at Uni-
versal. First of Hersholt’s assign-
ments is the character of Charlie
Yong in “East is West.” Studio
has arranged to divide Hersholt’s
time so that he can assume the
role of the docto rin “The Cat
Creeps” 'between sequences of
“East is West.”

Mabel Baker, who has been dra-
matic editor of the Sporting and
Dramatic News of Auckland, New
Zealand, is now visiting here,
“free-lancing” for other theatrical
magazines. She plans to sail
shortly for Vancouver, from where
she will return to New Zealand.

“SEE AMERICA THIRST”

Universal has started the fea-
ture length comedy “See America
Thirst,” with the company spend-
ing the first week on location at
Santa Paula. Slim Summerville
and Harry Langdon play the fea-
tured roles with William James
Craft directing.

SATURDAY, JULY 26, 1930

INSIDE FACTS OF STAGE AND SCREEN

PAGE THREE

Gene Swift's

THIRTEEN THEATRES CLOSE

Ruminations

THE PLAY SHOP
A BIT OF BOHEMIA
IN HOLLYWOOD
REMARKABLE STAGE-
CRAFT

The lover of the curious, un-
usual and Bohemian will find
it at The Play Shop, “Holly-
wood’s Little Theatre,” at
1141 North Gower Street,
about half way between the
Columbia and RKO lots.

There are many attempts at
Bohemianism, mostly bastard,
where the would-be’s try to be.
The Play Shop Club is some-
thing entirely different from any-
thing else.

“Little Theatres” are often so
cumbersomely, obviously little.
Their dimensions are cut. They
are trimmed down, like a tree
pruned almost to the trunk. They
are subsidized propositions, pro-
moted for the support of lazy
actors and actresses who want to
“do the worthwhile things.” They
are rackets for social climbers and
psuedo intellectuals.

The bored sophisticates will not
be bored for long when he dis-
covers The Play Shop. At first
glance he may mistake it for one
of those ubiquitus. Hollywood
bungalow tea shops. He will ob-
serve a rambling wooden struc-
ture, vine clad, straddling about
three city lots, surrounded like a
sow with numerous little suckling
addenda at its sides.

A scraggly path connects the
building with the sidewalk ; over
it a rustic arch, vine clad, carry-
ing the homemade sign “Play
Shop.” There is mongrel shrub-
bery adjacent to the walk; a gold-
fish pond, muddy, inhabited only
by tadpoles and crickets. Over to
the left someone has started a
bit of gardening. Uncut grass,
here lush, there thin, clothes the
ground.

The property room is outdoors.
Discarded sets, flats, drops, litter
the back and side yards. Bpts of
weathered statuary dot the land-
scape, hinting at past history.
Legend has it that this place was
once the studio of a sculptor.
Before that, ’tis said, it was a
stable. And a police reporter is
authority for the statement that it
was once — and not so long ago- — -
a place where Volstead was held
in open contempt. Beer flowed
freely, rudely interrupted by un-
announced visits of the vice squad.

A. few colored light bulbs il-
lumine the entrance arch at night.
The visitor, decoyed by what looks
like the main entrance, approaches
to find a scribbled notice directing
him to the side door. A pebbly
path leads him to the barnyard.

The box office will be found in
a woodshed or chickenhouse, or
something on that order, several
feet removed from the main build-
ing. Here a young man sits at a
rude— very rude— table, spread
with a newspaper and stacked
with a conservative supply of
tickets, which are used over and
over again.

Although warned by the postal
card notices to “phone for reserva-
tions,” when the visitor is ushered
into the theatre he is told, with a
generous sweeping arm movement,
to take his choice of seats. Be-
fore he does so, however, he stands
transfixed before the scene.

About a dozen rows of benches
provide the seating accommoda-
tion. They look fairly inviting.
The seats are leather upholstered.
The backs are low, evilly designed,
it seems, to_ cut into the spine
and back ribs. As the evening
wears on those leather seats
seem to get harder than oakiest
oak. But the wooden frames are
enameled in the gay colors so en-
ticingly displayed in the magazine
ads of those ‘quick-drying’ brands.
That helps the spirit.

To the right, door generously
wide open, is the Green Room.
Sitting about, informally, are
members of the cast, bewhiskered,
becostumed and be-painted, ready
for the curtain, gossiping with the
audience about whose absence you
were beginning to feel concerned.
A hostess approaches and invites
you to wander in and about. “The
place has been cleaned up,” she
says, “so don’t be afraid of get-
ting dirty.”

There are divans, easy chairs, a
piano, and a weird face stares
startlingly from a picture frame
on the wall. It is so-and-so in the
role of Abraham Lincoln. Afar
off is a kitchen sink, with actors
(Continued on Page 6)

Heavy Sock At Baby Golf

Those Fone
Numbers

The new Los Angeles tele-
phone directory to go to the
printers August 1 will have
six new exchanges: Kimball,
TWinoaks, SYcamore, Michi-
gan, CLeveland and ADams.

Changes in the Hollywood
district are reported -to be
the heaviest in history. The
names stand, 'but the ad-
dresses seem to change about
every rent day for some
reason.

It is estimated that when
the new issue finally gets-
distributed it will be probably
two rent days and three
laundry bills behind.

PICTURE HOUSES
TAKE NOSE DIVE

(Continued from Page 1 )

At the Warner Brothers’ Down-
town house, second week of
“Bright Lights” brought about
$10,000. This was final week of
all-film policy. Ceballos shows are
in there now and skyrocketing
tihe 6. o.

“Hell’s Angels” and the Grau-
man prologue at the Chinese at-
tracted $27,457 during its seventh
week, a three thousand decline
from week previous, but still
seven thousand five hundred over
average. This will be a record-
breaking run.

Will Rogers at the Carthay, in
“So This Is London,” grossed
$15,474, five grand down from
previous week. This was for
fourth week of the run. House
average is $13,791.

Third week of T 'The Big House”
at the Criterion fell off seven
thousand to a gross of $17,304,
but this is still over average.
Loew’s State was very low with
“Good Intentions,” supported by
Perry Askam and F. & M. “Green
Devils” Idea, grossing only $22,-
610 against house average of over
$31,000.

The Boulevard played a second
run on “The Divorcee,” but only
grossed $5142. The Egyptian made
a new low record with “Cuckoos”
and last week of Ben Bernie’s
band, grossing $5637. House aver-
age is" $11,431.

TAP INSTRUCTOR
JOINS WALLACE

Howard Ross has been added to
the faculty of the Earle Wallace
Studio of Stage Dancing to handle
the tap dancing department, ac-
cording to an announcement made
by Earle Wallace. Ross will spe-
cialize in modern tap and the pop-
ular broken rhythm tap dancing.

Ross is well known in the east,
where he was connected with vari-
ous dance schools, especially in
New York City. He is originator
of the Ross Rhythm tap dancing
and specializes in broken rhythm.
He has also evolved a technique of
arm movements that are so impor-
tant to the successful tap dancer.
Ross was for many years in vaude
on the Keith circuit, with the team
of Hart and Ross.

CHIQUITA IN FILMS

Educational has signed Chiquita,
who has toured the country during
the last five years over the major
vaude circuits, to appear with Tom
Patricola . in a new Ideal comedy
to be made at Educational studio.
She has been a member of the mu-
sical trio, Paulo, Paquita and Chi-
quita, an act which remained in-
tact for several years. William
Goodrich is directing.

SPANISH VERSION

Antonio Moreno and Lupito
Tovar will play the leads in the
Spanish version of “The Cat
Creeps,” which is to be made for
distribution in Spanish speaking
nations by Universal. Rupert Jul-
ian will direct the English version
of the new picture during day-
time and the Spanish company
will follow on the set and work
through the night.

NEW ORDINANCE
WITH MIDNIGHT
CLOSING READY

With Lps Angeles County
supervisors passing an ordi-
nance regulating miniature
golf and Beverly Hills, an in-
corporated municipality, rul-
ing the baby golf lots must
close at midnight, the matter
came up before the Los An-
geles city council this week, with
a public hearing Wednesday on
the early closing question.

Inside reports at the city hall
had it that there was little doubt
. but that a regulatory ordinance,
with an early closing provision,
probably at midnight, would be
passed this week or early next
week.

Meanwhile, theatre operators
considered plans for a possible re-
vival of the midnight show gag,
should the golf courses be ordered
to shut down at midnight. Loew’s
State and Grauman’s Chinese are
now running midnight shows, the
Chinese changing with the cur-
rent appearance of the Hunter
Brothers, endurance flight record
breakers, to' a dance contest
stunt.

To' add to possible troubles of
showmen, night baseball was
started here on Tuesday of this
week, the first game being at
Wrigley Field, but this pastime,
according to present indication,
doesn’t look to be a howling suc-
cess, 'chiefly because of, the famed
coolness of Southern California
nights, even though summer days
be particularly hot.

ROSEN ADDS TO
PLAY FOR COAST

A1 Rosens’ “Molly Magdalene,”
which premiered here at the May-
an recently, will open in San
Francisco about August 11, de-
pending on the run of “Subway
Express,” which it follows.

Rosen is elaborating the pro-
duction, increasing the size of the
theatrical troupe involved in the
railroad wreck incident and
bringing them into the action of
the play. After the San Francisco
run they will show in Oakland,
and Rosen’s plan is to follow that
with a Hollywood showing, prob-
ably at. the Hollywood Playhouse,
before taking the production East.

The recent heat wave here cut
down attendance seriously, which
has persuaded the producer to
keep the show on the Coast dur-
ing the remainder of the summer
season, holding off his Eastern in-
vasion for the more favorable fall
season.

STRAND IS LEASED

The Strand Theatre, Long Beach,
has been leased for a period of -ten
years by Vindekoff and Lazarus, of
the Million Dollar Theatre. They
take possession July 31, but so far
have not yet decided whether they
will use presentation or vaudeville
in connection with talkies. Jack
Russell, now in the house with mu-
sical tab, closes this week.

HINES COMEDY STARTS

With William Watson directing,
Johnny Hines’ first picture under a
new arrangement with Christie is
in production at Metropolitan
sound studios. It’s the first of a
series of “Gayety” comedies, to be
released by Educational-Christie,
tentatively titled “Johnny’s Week-
end,” and features Helen Bolton,
Estelle Bradley, Vernon Dent,
Adrienne Dore and Frank Rice.

MENJOU AT PAR.

Adolphe Menjou has been signed
by Paramount to join Gary Cooper
and Marlene Dietrich in the fea-
tured cast of “Morocco.” He will
play Cooper’s rival.

Clever Comic
Featured

Harry Carroll always has
top-notch comedians in his
RKO act. Last season it was
William Demarest, the season
before it was Ken Murray,
and this year it is Eddie
Bruce, whom Carroll declares
is the juvenile comedy find
of the season. He is cur-
rently appearing with Car-
roll at the RKO Theatre, Los
Angeles.

This clever young chap is
a former New York and Chi-
cago night club comic, and
when he recently played the
New York Palace with Car-
roll was nothing less than a
sensation.

Carroll has re-signed Bruce
for the seasons of 1930-’31.
He is under the direction of
Chas. H. Allen, M. S. Ben-
tham Agency, New York.

UNIVERSAL HITS
BUSY SCHEDULE

With four production companies
working at the studio, three more
due to start within the next ten
days, and with considerable activ-
ity in the editorial and script de-
partments, Universal studios are
busier than at any time during the
past year.

Work will begin within the next
ten days on Monta Bell’s new pic-
ture, “East Is West,” screen adap-
tation by Tom Reed and Winifred
Eaton Reeve of Sam Shipman’s
play, which will feature Lupe Velez
and Lewis Ayres.

About the same time Rupert
Julian will start “shooting” on
“The Cat Creeps,” for which no
cast has yet been announced, while
Mai St. Clair is about ready to
start work on “The Boudoir Diplo-
mat.”

William James Craft is on loca-
tion at present, making the first
sequences for “See America Thirst,”
in which Harry Langdon and Slim
Summerville are featured, while at
the studio John M. Stahl is mak-
ing rapid progress on “The Lady
Surrenders,” screen adaptation of
John Erskine’s famous novel, “Sin-
cerity,” in which Genevieve Tobin,
Rose Hobart and Conrad Nagel
are featured.

Other production activities at the
studio include the second chapter
of “The Leather Pushers” series,
and the completion of the first of a
series of short-reel comedies by A1
Ray, as yet are untitled, which
feature Slim Summerville.

Edward Laemmle is preparing
to make “Saint Johnson” in the
near future, while Finis Fox is
busily engaged in putting the final
touches on the script for “Resur-
rection,” which Edwin Carewe is
to make early in August.

TITLE IS CHANGED

“Dough Boys” is the final title
of Buster Keaton’s comedy of
army life, filmed under the work-
ing title of “Forward March.” The
cast includes Sally Eilers, Edward
Brophy, Frank Mayo, Cliff Ed-
wards, Arnold Korff, Victor Potel,
Pitzi Katz and others.

DAVID BURTON SIGNS

David Burton, director of such
stage stars as William Gillette, Otis
Skinner, Alice Brady, Doris Keene,
Billie Burke and Elsie Ferguson,
has been signed as a director for
the Paramount Publix Corporation.
Burton is also a former stage
actor.

REMAKE “ANNA CHRISTIE”

Greta Garbo has started work on
the German version of “Anna
Christie” with Jacques Feyder di-
recting. This is Garbo’s first ef-
fort in foreign talking fields.

ROSSE RE-SIGNED

Universal has re-engaged Her-
man Rosse, who created the mod-
ernistic settings for “King of Jazz,”
to design the Oriental backgrounds
for “East Is West.”

RELIEF SEEMS
IN SIGHT FOR
SMALL EXHIBS

Thirteen picture houses
closed completely and two
more closed part time in the
Los Angeles district, accord-
ing to Film Row figures this
week.

But the advent of cooler
weather and a lessening in
the number of infantile paralysis
cases reported, as well as impend-
ing regulation of baby golf courses,
promised some relief of the near
panic that gripped some of the
smaller exhibitors during the past
two weeks.

Film distributors at no time,
they claim, became in the least
excited over the closings. In the
opinion of some of the leading
exchange executives, quite a few
more of the smaller theatres could
close without affecting the film in-
dustry one way or the other.

According to their statements,
85 per cent of revenue from films
comes from first run and circuit
houses, the smaller rentals from
neighborhood theatres only total-
ing up to the remaining 15 per
cent income 'to the industry.

Rentals lost from small houses
that close, they say, would be
easily made up by additional busi-
ness at percentage houses. In ad-
dition, most oif these small houses
have poor sound and are not re-
garded as any particular asset to
the industry.

NEWPLAY DONE
BY PASADENANS

A preview of the new legitimate
play, “The Man Saul,” will be
offered as the next production of
the Pasadena Community Play-
house, beginning July 31.

The play is from the pen of
Sidney Robert Buchman and is to
be presented in New York in Octo-
ber. It will be produced here un-
der the joint direction of Gilmor
Brown of the Playhouse and
Arthur Lubin, who with Richard
Krakeur will manage the Broad-
way production.

Paul Muni will play the leading
role in Pasadena, supported by
Marion Clayton and James Eagles.
The play is a modern drama of
conflict between two brothers.

NEW BANCROFT LEAD

Jessie Royce Landis, young stage
actress, who has been featured in
Chicago, Detroit, Philadelphia,
Denver, Boston, Rochester and
New York, has been signed by
Paramount for the lead opposite
George Bancroft in his next pic-
ture, a story of the sea. Miss
Landis was signed by Paramount
for the Bancroft picture following
an invitational test made at the
New York studios. The new Ban-
croft film, which will be directed
by Rowland V. Lee, is an original
by William Slavens McNutt and
Grover Jones, with dialogue by
Max Marcin.

LEWIS STONE RE-SIGNED

Lewis Stone has been given a
new long-term contract with Met-
ro-Goldwyn-Mayer. Stone joined
the M-G-M studios two years ago,
when he first played with Greta
Garbo in “A Woman of Affairs.”

FEATURED IN CAST

Reginald Denny and Fifi D’Or-
say will be featured in “Those
Three French Girls,” set to go into
production at M-G-M. Cliff (Uku-
lele Ike) Edwards, Edward Bro-
phy, Yola D’Avril, Sandra Ravel
and George Grossmith are in the
cast, with Harry Beaumont direct-
ing.

CHANDLER IN SHORT

George Chandler, seen recently
in “The Florodora Girl,” is to ap-
pear in “Pure and Simple,” Louise
Fazenda’s first two-reel comedy
for Larry Darmour. Lewis R.
Foster is directing the comedy.

PAGE FOUR

INSIDE FACTS OF STAGE AND SCREEN

SATURDAY, JULY 26, 1930

Picture Reviews ~ Previews ~

‘LOVE AMONG THE MIL-
LIONAIRES’

PARAMOUNT PICTURE
(Reviewed at Paramount)

Clara Bow’s latest picture pro-
vides addenda to the' widely held
theory that the essential talent of a
movie scenarist is an excellent
memory. It is a banally conceived
and very trite production, calculat-
ed to have a further astringent ac-
tion upon the “It” girls’ boxoffice
draw.

Imagine yourself an unknown
scenarist walking into the office of
a film producer.

The lucky fellow seats himself,
lights a cigaret and says, “Mr.
Producer, I’ve got a new idea for
a picture. The girl, a great part
for your star, works in a hash-
house at a railroad center. Two
comedy characters are in love with
her. But she sighs for romance
amidst the atmosphere of hambur-
ger and coal dust, while a mechan-
ical victrola plays haunting rrfelo-
dies.

“Then comes a handsome young
brakeman and they fall for each
other like a ton of bricks. The
brakeman turns out to be the son
of the railroad president, keenly
disliked by the girl’s father, who,
learning of the affair, forbids the
girl seeing the youth.

“She goes to the president’s car
to see him off, and he persuades
her to go with him. They arrive
at the president’s estate in Florida
and the boy’s father tries to halt
the affair also. The girl, con-
vinced she will ruin the boy’s fu-
ture, if they persist in their mar-
riage idea, promises to turn the
boy against her and stages a dis-
graceful drunken scene at a party
given in her honor.

“Meanwhile, the girl’s father, and
the two comedy lovers with a cute
little sister, with a talent for imi-
tations, arrive at the scene and
then, the two fathers forgetting
their old grudge after an argument,
everything is worked out happily
for the young pair — isn’t that a
pip of an original idea?”

“H-m-m*” says the producer
with a recollective gleam in his
eye. “But what is the comedy
punch?”

“Ah,” says the author, “the two
lovers own a Ford jointly and con-
stantly bicker over their half of the
car. All through the picture the
tires blow out with a snappy sound
effect and it gets big laughs with
some smart dialogue' built around
the idea.”

“But,” asks the producer uncer-
tainly, “what kind of a title — one
with plenty of boxoffice — would
you have for such a yarn?”

“Simple as anything,” says the
author, leaning forward to drive
home his clinching point. “I’d call
it ‘Love Among the Millionaires,’
even if it hasn’t got anything to do
with the story.”

What would you do if you were
forced to listen to that story,
which is the story of Clara Bow’s
latest film? You would!

EXHIBITORS’ VIEWPOINT:
Big assets for this one are Clara
Bow’s name, two good comics, Stu-
art Erwin and Skeets Gallagher,
and clever little Mitzi Green as
the young sister. Don’t tell your
audiences about the story. They’ve
seen it too many times already.

MOSCOHI

BROTHERS I

Special routines, stage I
and screen. Tap, toe, I
ballet, musical comedy, 1
acrobatic, new ‘Heel-It’ I

1747 N US PALMAS HOUYWOOO.PHONE HE 9986

PRODUCERS’ VIEWPOINT:
In spite of certain opinionated
commentators, we think Clara Bow
has the possibilities to do fine act-
ing. Certainly her work has stood
out over her recent vehicles. If
the Paramount studio wizards don’t
put their heads together and get
Clara some good stories, they’ll
have another expensive personality
making flopping sounds at the box-
office. The story was credited to
Keene Thompson with adaptation
by Grover Jones and Bill Consel-
man, and dialogue by Herman
Mankiewicz, and was directed by
Frank Tuttle. A number of catchy
songs interpolated into the action
were written by Wolfe Gilbert and
Abel Baer.

CASTING DIRECTORS’
VIEWPOINT: Miss Bow is cer-

tainly looking her best in some
time, "'and gave a good perform-
ance. Stuart Erwin and Skeets
Gallagher did fine work as the
comic duo, while Mitzi Greene was
apparently the hit of the picture
with the audience as Clara’ sister.

Stanley Smith played the boy
fairly well and Charles Sellon and
Claude King gave their usual
skilled performances as the two
fathers. Theodor von Eltz and
Barbara Bennett had minor roles.

GIBBONS.

“SHE’S MY WEAKNESS”

RADIO PICTURE
(Reviewed at RKO Theatre)

A photograph of the stage play
“Tommy,” filled out with different
camera angles of the same set
and the addition of a bazaar scene.
It makes pretty fair entertain-
ment, and the comedy has been
developed. The audience got
plenty of laughs out of the homely
domestic situations.

“Tommy” is played by Arthur
Lake, a young man in love with
Sue Carol but so unfortunate as
to have the support of her par-
ents. She happened to be tired of
having all decisions made for her.
She appears to favor the suit of
Alan Bunce, one of that cocksure
type, who enjoys the opposition
of Pa and Ma. That is the situa-
tion on which one leg of the story
stands. The other leg stands on
a projected municipal golf course.
Both Pa and Tommy own desirable
lands and have bids in.

William Collier, Sr., keeps the
story moving in the guise of Uncle
David, local politician, who works
both ends against the middle and
almost gets caught in the collision.

EXHIBITOR’S VIEWPOINT:
A safe programmer, good for all
ages, lots of homely comedy.
Some local W. C. T. U.’s might
object to having Tommy getting
drunk to enlist Sue’s sympathy,
but in the main it is as pure as
mountain-top air.

PRODUCER^’ ' VIEWPOINT :
Well cast, acceptably photographed,
and reasonably well directed by
Melville Brown.

CASTING DIRECTORS’
VIEWPOINT : Arthur Lake was
a trifle high-schoolish, but gener-
ally satisfactory. He handled his
business well. Sue Carol was O.
K. She is more of a woman and
less of a flapper than she was
just a little while back. Alan
Bunce. is a natural with his ju-
venile “menace,” and William Col-
lier, Sr., troupes professionally.
Lucien Littlefield is there in his
regular type role as Pa, and Helen
Ware assists as Ma. Walter Gil-
bert does a nice little comedy
character bit, and Emily Fitzroy
speaks a couple of dynamic lines.
It is a good job of casting, gen-
erally speaking.

YEATES.

“ROMANCE”

M-G-M PICTURE
(Reviewed at Loew’s State)

“Romance” is strictly a star-
tailored vehicle. It supplies Greta
Garbo with a role that, under
Clarence Brown’s direction, she
has most satisfactorily adapted to
her personality. She gives a bet-
ter performance than in “Anna
Christie,” and the picture is pat-
ently aimed right for the box-
office.

However, the glamour of the
Garbo personality can not ob-
scure the fact that Edward Shel-
don’s famous stage play is quite a
bit out of date, both in its reac-
tions to personalities and its them-
atic conflict.

Then, too, the star is handi-
capped by a combination of vocal
difficulties, which resulted in what
our friend, Edwin Schallert of the
Times, described as “the strangest
Italian accent that ever fell upon
the ears of an audience.” It cer-
tainly was.

The role of the exotic opera
star, Rita Gavallina, which served
Doris Keane so well for years, is
ideally adapted to the Garbo per-
sonality, but the Italian accent
proved a puzzle, and at times, the
conversatoin was hardly distin-
guishable.

The story is too familiar to retell
again, but it has been compara-
tively well handled from the talk-
ing film standpoint by Clarence
Brown, who managed to get con-
siderable screen technique into a
tale that is essentially very the-
atrical, and thus, very talkatively
delineated.

But, though the treatment
breaks toward the screen style in
an attempt to hide the prepon-
derance of talk, it fails in pre-
senting the tale with the imagina-
tive warmth that it might have
been accorded. One is always
conscious that Greta Garbo is giv-
ing a “great performance” rather
than that one is viewing a senti-
mental tale of “the thing that
makes the world go ’round.”

Nevertheless, the picture is a
competent piece of workmanship
from the accepted standards, such
as they are, and a production that
looks like one of the box-office
hits of the summer.

And that to theatre managers, is
the important thing right now.

EXHIBITORS’ VIEWPOINT:
Don’t miss this. It’s a story for
all audiences with that Garbo draw
well worth reckoning on. The
story itself, has a not inconsider-
able appeal. Fox West Coast han-
dling for the opening here is the
key to exploitation, restraint and
dignity, with emphasis on “Garbo
the alluring — here is a story so
beautiful and fragile — so tender
and touching you will never for-
get it.”

PRODUCERS’ VIEWPOINT :
Though they managed to get an
increased degree of action Bess
Meredyth and Edwin Justus Mayer
didn’t show much imagination in
. the adaptation, while Clarence
Brown’s direction, though com-
petent and workmanlike, displayed
no distinct improvement over the
play as done on the stage. It was
very lavishly produced.

CASTING DIRECTORS’
VIEWPOINT : Miss Garbo may
surmount the obstacle of dialect.
Her personality certainly carries
over to the' talkies nicely. But It
remains to be seen how the public
will react to the peculiar accent
displayed here.

Gavin Gordon, screen newcomer,
cast as the youthful minister, will
still have to have his mettle tested.
The role is not a very grateful
one, with its combination of re-

ligious snobbery and naive amor-
ousness, and his personality, as
revealed in the part, did not seem
particularly striking.

Lewis Stone gave another of his
good performances as Cornelius
Van Tile, while the balance of the
cast, all support roles, revealed
capable work by Florence Lake,
Clara Blandick, Mathilde Comont
and Elliot Nugent.

GIBBONS.

“DIXIANA”

RADIO PICTURE
(Previewed at RKO Studio)

“Dixiana” may be rated within
the limited group of satisfactory
screen operettas. It makes a part-
ly successful attempt at combining
screen and stage musical produc-
tion techniques. It has a story
far superior, particularly in its
treatment, to most of its kind,
first-rate comedy, a well-selected
cast and lavish production.

Bebe Daniels and Everett Mar-
shall top the cast as the two
lovers with Bert Wheeler and
Robert Woolsey lending some
great comedy supp’ort.

A neat story idea is built 1 up
with songs and dance bits worked
smoothly into the action in most
instances in nearly straight mo-
tion picture lines with the big
flash coming in the later sequences
in a tony New Orleans gambling
house and winding up with the
Mardi Gras sequences done in
Technicolor.

Action opens with some beauti-
ful shots along the Mississippi
through a series of fades, while
the darkies sing at their work
to the home of a Pennsylvania
Dutchman, played by Joseph Caw-
thorn, who has inherited a great
plantation. His son, played by
Everett Marshall, is in love with
the star of a New Orleans Hip-
podrome show, and brings her
home to become his wife.

Wheeler and Woolsey, assistants
in her act, come with them, while
the “sinister figure” of Ralf Har-
olde,, playing a notorious gambler,
has already “crossed their path.”

Cawtborn’s wife, played by
Jobyna Howland, is a would-be
society dame, and when it is re-
vealed at an elaborate party in
honor of the young couple, that
Bebe came from the circus, the
haughty aristocrats leave in dis-
gust, while the old girl nearly has
fits. Bebe decides to leave, also,
“because she loves the boy.”

Back in New Orleans, Bebe and
her faithful duo, are kept from
work by the gambler, who offers
them a job in his gambling palace.
They are forced to accept. Bebe
becomes a big hit and is nomin-
ated for Queen of the Mardi Gras.
Meanwhile a comedy love duel is
being carried on by Wheeler and
Woolsey over the charming little
Ginger, played by Dorothy Lee.

Marshall comes to the gambling
place and loses money in a stud
game in which Bebe persuades
the gambler to let her play against
the boy with the gambler dealing.
She gets all his money and a note
for a large sum to which Mar-
shall had forged his father’s name,
“saving his honor.” Marshall dis-
covers he is being cheated and
starts a row, when in comes the
escort for Bebe as Queen of the
Mardi Gras.

At the steps of the Mardi Gras
throne, Bebe is kidnapped by the
gambler’s men, on the pretext it
is a joke. The father sees the kid-
napping and tells the boy the girl
loves him, etc. “He rushes to the
gambling place and challenges
Harolde to a duel. Meanwhile,
Bebe has learned that the boy’s
uncle, whom Harolde had shot in

Shorts

a duel, had met with foul play,
and begs the boy not to fight.

When he persists, she locks him
by a ruse and dressed in his holi-
day costume, takes his place for
the duel, and at the crucial mo-
ment charges the pistols have been
tampered with. The one intended
for Marshall has not been loaded,
etc., and then into the spectacular
Mardi Gras scene for the finale.
Action from the argument in the
gambling house is in Technicolor
to the finale.

Worked into the story are a
number of snappy songs, music
by Harry Tierney, and lyrics by
Anne Caldwell, who also wrote
the book. Outstanding are: the
name song, “Dixiana,’ “A Kiss, a
Tear, a Smlie,” “My One Ambi-
tion Is You” and “A Lady Loves
a Soldier.”

An outstanding bit is a tap
dance done by Bill Robinson at
the start of the Technicolor sec-
tion, Robinson appearing as a
darky, dusting off the Mardi Gras
throne, then going into his tap
dance in an imaginatively photo-
graphed sequence on a series of
stairs.

EXHIBITOR’S VIEWPOINT:
A first rate film operetta, well
worth booking. This is one Radio
Picture that very nearly lives up
to the extravagant advertising
claims of this concern. It has
everything needed for an enter-
taining production of its type with
two outstanding personalities in
Bebe Daniels and Everett Mar-
shall with some great comedy
from Wheeler and Woolsey.

PRODUCERS’ VIEWPOINT:
Script and photographic treatment
of this production are much more
imaginatively handled than in
others of its kind. Luther Reed did
a smooth job of adapting and di-
recting and due credit should . be
accorded Roy Hunt, cinematog-
rapher, Pearl Eaton^ dance di-
rector, Max Ree, art director,
Lloyd Knechtel, handling photo-
graphic effects, and William Ham-
ilton, film editor.

Excellent work was done on the
musical end by Musical Director
VictorbBaravalle, Max Steiner, ar-
ranger, and Hugh McDowell,
sound recordist, with one outstand-
ing exception. They fell into that
error that has marked all screen
musicals to date, too much high
pressure tempo, with the constant
recurrence of tremendous orches-
tral fortes to build up numbers.
In a full-length production, this
mechanical stimulation is invari-
ably very tiring. Many of these
screen musicals would seem much
less annoying if their musical sup-
port was handled in piano style,
except for the really big moment.

Marshall’s fine operatic baritone,
however, was very well handled
from a mike standpoint, and none
of the blaring obviously overdone
baritoning of Lawrence Tibbet’s
picture was in evidence. A com-
mendable absence of over-emphasis
(Continued on Page 10)

SYHCHRONIZIHS SERVICE

JlfreOPOtlTAH SlUDD; Houywdoo

Behrendt-Levy-Rosen

Co., Ltd.

General Insurance

Insurance Exchange Building
VA. 1261

THAT SENSATIONAL OFF-RHYTHM DANCER

FEATURED NOW IN LARRY CEBALLOS’

NEW PRESENTATION AT WARNER

BROTHERS’ THEATRE, HOLLYWOOD

SATURDAY, JULY 26, 1930

INSIDE FACTS OF STAGE AND SCREEN

PAGE FIVE

In Holly wood—Now

By BUD MURRAY

A hot week IN HOLLYWOOD — NOW and a weak one
in the theatres — yet we must write of those whom we meet,
whom we worked with and for — or they worked for us — as
that is the “themie note” of this column —
and you can write your own music — and so,
apropos of heat, we will take you to the
beach — for our weekly portion of California
Sunshine —

On the Boardwalk— noticed our pal and
co-worker, formerly at Winter Garden, Lew
Pollack, now writing at Warner Brothers,

and his “ball-an-chain,” Helen Mellette, a
couple of our proteges — just returned from
a year’s tour on the Fanchon and Marco
circuit — Nelson and Thatcher — who mar-
ried one another while en tour (strange
things do happen in show business) — an old-
timer rite off 47th St. and Broadway — Ned “Clothes” Norton — do you
remember those days of “titles” befitting the actor, like “Uke Henry,”
and “Banjo Mike” — a surprise visit from our ballet directress and
associate, Mary Frances Taylor and Lafe Page — and, strolling briskly
along the waterfront, another old-timer from Noo Yawk, Paul
Nicholson, an ex-Geo. M. Cohan player, and IN HOLLYWOOD, NOW.

Two days in advance reserved a table in the Brown Derby for
lunch, and on arrival Nick Junios, genial head man, and formerly
of the Club Alabam, in Noo Yawk, gives us the well-known salve,
of “just a second,” but it’s the way Nick does it, that lets him get
away with it— no sooner did we sit down than Don Kerr, of Kerr
and Weston, a great comedy act, enters a formal complaint about
rumors saying “he went to Noo Yawk, disgusted with Hollywood—
Don explained he never went to Noo Yawk, but in reality, did a few
shorts with Dorothy Burgess— and went to Portland on a fishing trip
to “cool off” — but is now back, ready to take on Clara Bow — who can
tell? — Dotty and Ethel Bryant — two of our former Winter Garden
dancers — we remember when Dot brought Ethel to us in 1921 for her
first job and now Ethel is a very fine specialty dancer — Dot is hap-
pily married to Sidney Mitchell, another very good “themie” boy at
F. N. A, i* A

In a huddle in a booth, are three old pals from “Scandals” — cute
Ann Pennington — looking darling — Georgie Lerch— who likes “garlic
and raviolla” — and Rose Perfect, our wonderful prima donna. Rose
is certainly going very big at the Pantages this week.

Noticed another real musician and “Class A” musical director —
whom we were with in 1918 in “Monte Cristo” at the N. Y. Winter
Garden and Century Roof — yes, it is Frank Tours — and with him is
Sammy Ledner, now at United Artists, who was with George White
for many years — Tommy Dugan, in a make-up, looks like he is
working — and no test, either — Warren Jackson, who was with us in
the “Passing Show” of 1916, now playing vaudeville with Bobby Cal-
lahan, and then bumped rite into a flock of dance impressarios, as
we were fighting our way out — Larry Ceballos, “Barnum of Dance
Directors,” and his assistant, Carl McBride, and also Jack Lester,
who staged the shows at George Olsen’s nite club —

A call from the Fox Studios and into the test department to
meet the head man, Herman Paley, who didn’t “make” us until we
said — “can, you remember back about 1907, when Tin-Pan-Alley was
in 28th Street, Noo Yawk?” — and Herman said — “Yes, why?” — and we
forthwith said — “We used to sing your songs when it was ‘Kendis
and Paley” — we had to take our glasses off and have Paley imagine
a nice head of hair on us — -and then finally he recognized the vaude
ville team of 1907 — “Murray and Armstrong” — on our way out ran into
Andy Rice, Jr., who is now assisting Seymour Felix — a real dance
director with ideas — this is a great spot for Junior, because he will
absorb plenty, and learn a good trade from a real craftsman — then
into our beloved friend — John Swor — formerly of Swor and Mack —
when we were with “Maid in America,” in 1914 —

For a change dropped into the Olympic Fights, and noticed the
most artistic hotel man, in America — the man with the green gloves —
Patrick Francis Shanley — genial host of the Waldorf and Continental
Hotels — Patrick looks younger every day — Sam Kramer saying he
isn’t Redmond Wells’ step-son — but Wells is his silent partner — these
two “buckoos” are proudly showing passport and steamship accom-
modations to sail next month for the old country — did Kramer mean
Russia? — and Wells Africa? — however, here’s wishing them bon
voyage — yes, their wives go with them — no foolin’ — lo ! and behold —
Harry Green, minus his six weeks’ beard, with birds and all gone —
noticed Kitty Flynn, who was a darn good understudy in our produc-
tion of the coast “Good News” — Kitty is sure doing marvelously in
pictures for Universal — Leon Errol — the man with the funny legs —
and Ben Lyon strolling in late —

A surprise visit from that charming little protege of ours — Sylvia
Shore — whom we discovered in the coast “Good News” chorus — and
whom we later groomed — and Sylvia, having just returned from an
F. and M. tour, was immediately re-signed for a unit opening next
week — another visit with Harry Gribbon — for whom we played straight
back in 1909 in Trenton, N. J., stock companies — who is now playing
half of that famous comedy detective duo of “Mulligan and Garrity”
in “The Gorilla” —

Into Henry’s for a snack — and we see that Henry “in person” is
back on the job and conversing with his old friend and pal — Charlie
Chaplin — Charlie looks younger every day — along comes Jack Boyle —
At Tom Gallery’s. Hollywood Legion Stadium Fights Friday night —
we noticed Johnny Murray, who played trumpet in Max Fischer’s
band back with the coast “Good News” company and is now war-
bling a mean tenor under contract to Warner Brothers — in back of
us— a very clever script writer, Cyrus Wood, now at M-G-M — whom
we worked with on “Lady in Ermine” in 1923 — and in 1923 we were
stage-directing “The Dancing Girl” at the Colonial in Chicago, when
an amateur chorine came to us for a job and we placed her in the
company — we saw her at the fights, too— Mae Cairns is the girl —
coming to the front in pictures — another dear friend of many years
ago— Georgie Stone — talked a few minutes with Dad and Eddie Quil-
lan, who are contemplating a vaudeville tour in the fall —

To the Blossom Room for a few minutes and a “snack” — got a
big surprise meeting Lew Hearn, who candidly confesses he arrived
two days ago, with a return ticket to N. Y. — he’s no fool — but a
great comedian — and another old timer and a real comedian — Alex
Carr — Billy Joy — a real Hollywood boy — and not a bad song writer in
his spare time — Ben Harris — a young fellow who operated Young’s
Pier many moons ago, and how surprised we were to meet him —
Jack Haley sitting in the lounge room — looking in perfect health after
his long siege of illness — and our old friend, Paul Gerard Smith — the
man who made “Remington Firearms” famous, with his blackouts.

RADIO PROGRESS TOLD

Two New Plays Being Cast

EL CAPilAN AND

EARLE WALLACE

Always Busy Developing Dancing Star* but Never Too Busy
to Create and Produce

Original DANCE ROUTINES and REVUES That Sell
Belmont Theatre Bldg., First and Vermont
Phone EXpoiition 1196 Lo* Angele*, Calif.

BELASCO SHOWS
REHEARSE SOON

Casting was under way this
week on two forthcoming
legit productions here.

“It’s a Wise Child” will fol-
low Ina Claire’s “Rebound”
into the Belasco, following
which “Lysistra” is scheduled.
Leslie Pierce will direct the
latter production, and will begin
casting in about ten days.

“Tea for Three" is slated to
open at the El Capitan August 3,
following “To the Ladies,” which
is to close August 2. The new
production has not yet been cast.
It only requires three principals.

DIVER AIDS FILM

Tom Owen, a deep-sea diver for
twenty-seven years, is acting as
technical advisor during the mak-
ing of the under-ocean scenes of
Paramount’s “The Sea God,” which
features Richard Arlen and Fay
Wray.

SIGNS NEW CONTRACT

Samuel Spewack, playwright,
journalist and short story writer of
New York, has just signed a new
contract as a member of the Para-
mount writing staff.

McLEOD GETS CONTRACT

Norman McLeod, for many years
a writer for motion pictures and
more recently a director, has 'been
given a directorial contract by
Paramount.

McLeod made his first success
as an illustrator for Christie com-
edy titles.

WARNERS SIGN KEANE

Warners have signed Robert Em-
mett Keane for a featured role_ in
“A Gay Caballero,” forthcoming
Vitaphone comedy. Fay Wray and
Victor Varconi will be seen in the
leading roles, with Alan Crosland
directing.

COMEDY UNDER WAY

Stephen Roberts will soon start
directing the second Mermaid com-
edy at Educational studios. The
story, as yet untitled, features Ber-
nard Granville, Dick Stewart, Kath-
erine McGuire, Jerry Drew, A1 Alt,
Marcia Manning and Rae Daggett.

FINAL FILM STARTS

“For the Love O’ Lil,” final pro-
duction on Columbia’s 1929-30
schedule, went into production
this week. Sally Starr, Jack Mul-
hall and Elliott Nugent have been
signed for the three leading roles
with James Tinling directing.

FLYING FILM STAR

SEATTLE, July 24.— Flying from
the Hollywood studios last week,
Jean Harlow, star of “Hell’s An-
gels. 11 made personal appearances
in coniunction with the presenta-
tion of the picture at the Fox
here.

ADAPT “TOM SAWYER”

William Slavens McNutt and
Grover Jones are working on the
adaptation and dialogue of “Tom
Sawyer,” in which Jackie Coogan
will be seen for Paramount. The
direction of Mark Twain’s classic
will be in the hands of John
Cromwell.

PAULTON JOINS STAFF

Edward Paulton, Broadway “play
doctor,” author, stage director and
dialogue writer, is the latest addi-
tion to the editorial staff at Uni-
versal studios.

WINCHELL IN SHORTS

The Vitaphone Corporation has
closed a contract with Walter
Winchell, Broadway columnist, to
appear in a short reel picture.

Icy Lobby
Stunt

Changing the entire front
lobby atmosphere of the
Warner Brothers’ Downtown
this week, a huge igloo, done
to represent a structure of
blocks of ice, was built in
around the theatre box-office,
which fronts at the corner of
Seventh and Hill streets.

Idea was conceived and
carried out by Hub Robin-
son, theatre sign artist, with
an expenditure of around
one - hundred-and- fifty bucks,
using a wooden frame and
chicken screen and covered
over with plaster, then
painted and touched up to
give the icy atmosphere.

One small sign pointing
out the effective refriger-
ation was the only printed
work used, making an out-
standing lobby setup, of a
semi-permanent nature.

RADIO PICTURES
LOT VERY BUSY

There doesn’t seem, to be any
sign of a slack summer produc-
tion sked at Radio Pictures in
view of the present lineup of pic-
tures scheduled for early starting
dates with the studio now busy
on a large group.

Late in July seven pictures will
be in various stages of produc-
tion : The “Amos ’n’ Andy” special,
with Sue Carol as the feminine
lead, directed by Mel Brown;
“Cimarron,” Edna Ferber’s epic of
Oklahoma, starring Richard Dix
and directed by Wesley Ruggles ;
“Half Shot at Sunrise,” directed
by Paul Sloane. with Bert Wheeler
and Robert Woolsey in leading
roles; “The Silver Horde,” fea-
turing Evelyn Brent and Joel Mc-
Crea, on location in Alaska with
director George Archainbaud;
“Heart of the Rockies,” and “Nick
and Tony” featuring Henry Ar-
metta.

COAST RAPIDLY
ADVANCING FOR
HOOKUP CENTER

FEMININE M. C.

First feminine master of cere-
monies in the Screen Snapshots
series is played by Patsy Ruth
Miller in the snapshots issue No.
25, directed by Ralph Staub for
Columbia release.

NEW MANAGER

M. A. Raymond is the newly
appointed branch manager for
Warner Brothers in Des Moines,
Iowa.

SAN FRANCISCO, July 24.
— Radio’s place in modern in-
dustry is evidenced substan-
tially by the Pacific Coast
division headquarters of the
National Broadcasting Com-
pany, which have been lo-
cated here slightly more than
three years.

Spending approximately $1,500,-
000 annually in this city and repre-
senting an investment of well over
$200,000 in studios and equipment,
the institution remains the only
one maintained on the Pacific
Coast by a nation-wide broadcast-
ing _ system, though representative
stations of other networks have
■been established.

The western division celebrated
its third anniversary this spring
by announcing the inauguration of
a regular weekly schedule of trans-
continental sponsored programs
originating 'in San Francisco. This
is characterized as concrete recog-
nition of the importnace of the
West’s contribution to radio pro-
grams and an expression of faith
in the stability of radio broadcast-
ing nationally. Two NBC sus-
taining programs also are built at
San Francisco for eastern distribu-
tion.

The Pacific Coast unit of the
transcontinental network has en-
joyed spectacular growth since the
inauguration April 5, 1927. From
a hotel suite, the organization has
grown to require the entire top
floor and much of the twenty-first
floor of the Hunter-Dulin build-
ing.

This expansion, which is con-
tinuing, is characterized by Vice-
President Don E. Gilman as a
definite example of the acceptance
of radio in industry 'as an import-
ant and stable item as well as its
acceptance 'by the public as a cul-
tural, educational and entertain-
ment medium which has become
a necessary element.

“The growth of radio is perhaps
(Continued on Page 8)

Geo T. Hood

THEATRICAL MANAGER
Address:

Inside Facts, 801 Warner Bros.
Downtown Bldg., Los Angeles

WALTER S. WILLS

STUDIO OF STAGE DANCING

7010 HOLLYWOOD BOULEVARD GLADSTONE 0502

PROFESSIONALS TAUGHT BY PROFESSIONALS

Enroll Now — New Summer Classes for Adults; — Tap, Acrobatic,
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Enroll Now — Adult Claslses for Fanchon and Marco Ideas

2203 Venice Blvd., Los Angeles REpuhlic 6910

PAGE SIX

INSIDE FACTS OF STAGE AND SCREEN

SATURDAY, JULY 26, 1930

S<SD^(SCm

One Year

Published Every Saturday

$4.00 Foreign

$5.00

Advertising Rates on Application

As a bi-monthly publication: Entered as Second Class Matter, No-
vember 17, 1924, at the Post Office at Los Angeles, California, under
the Act of March 3, 1879.

As a weekly publication: Entered as Second Class Matter, April
29, 1927, at the Post Office at Los Angeles, California, under the Act
of March 3, 1879.

Published by

Inside Facts Publishing Company, Inc.

800-801 Warner Bros. Downtown Bldg., Los Angeles, Calif.
Telephone TUcker 7832

JACK JOSEPHS
ARTHUR WM. GREEN
WILLIAM C. OWENS

- - President and Editor

Vice Pres, and Counsel
Secretary and General Manager

Vol. XII

Saturday, July 26, 1930

No. 4

Daylight Saving Issue

THE MINORITY group that is attempting to foist Day-
light Saving on- the State of California has succeeded in its
first move. The issue will be included on the ballot at the
November elections.

HOWEVER, there is little likelihood that the measure
will ever be put into effect in this state, if it is met with in-
telligent opposition by the many groups and classes to the
interests of whom it is inimical.

PARTICULARLY effective is the method being carried
out by Fox West Coast Theatres in combating the silly idea.
Quiet and dignified opposition to the gag is being slowly
rolled up, while the trailers shown in theatres to date have
demonstrated a strong opposition without ranting and appar-
ent selfishness.

IN THIS controversy, the show business is strong in the
consciousness that it is absolutely in right in the matter and
is supported and joined in opposition to Daylight Saving by
many other important and influential forces.

EVERYONE who is at all interested in the show busi-
ness and the operation of theatres in California should op-
pose to the utmost the attempt of a small and selfish minor-
ity to force the idea on this state. But the campaign should
be carried on in a dignified and sensible manner. Fox West
Coast Theatres organization has set an excellent example.

Louder and Funnier

THAT COMEDY is an essential of prime importance to
the picture theatre stage presentation is particularly exem-
plified in two current stage shows in Los Angeles picture
houses.

AT WARNER BROTHERS’ Hollywood Theatre, Olsen
and Johnson are proving a positive riot, with their funny
antics. At Loew’s State, Joe and Jane McKenna, youthful
pair of comics, are clicking heavily with a first-rate presen-
tation as master-and-mistress-of-ceremonies.

CATCHING several shows at these theatres, the out-
standing item to impress the observer is the roaring, house-
filling laughs that have been missing from Los Angeles thea-
tres for some time.

UNCONSCIOUSLY audiences have been improved by the
talkies into remaining quiet to catch the next gag, afford-
ing a sort of solemnity that does not fit in with the basic
principles of relaxation and entertainment.

BUT WITH plenty of laughs in the two stage shows men-
tioned, audiences let loose with gusto and even hardened
theatre-goers wondered why they were enjoying themselves
so much.

WITH THE NEW stage presentation slipping into a new
assignment of proving a balancer for the talkers, producers
should concentrate more heavily on smart comedy acts. One
first-class laugh-provoker will outbalance a flock of adagio
dancers, tap-steppers, dancing beauties and silent acts, as well
as making these acts stand out brightly by the very contrast.

AUDIENCES are demanding that their stage fare be
“Louder and Funnier.”

COMPLETE ADAPTATION

Tom Reed and Winifred Eaton
Reeve are completing the screen
adaptation of “East Is West” at
Universal. Sam Shipman, author
of the stage hit, has also been
working on the talkie version.
Monta Bell will direct with Lupe
Velez and Lewis Ayres featured.

TO DIRECT ‘SKIPPY’

Victor Schertziinger will direct
the picturization of “S k i p p y,”
Percy Crosby’s novel dealing with
the cartoon figure of the same
name.

WEXLEY WITH U

John Wexley, author of the
stage hit, “The Last Mile,” is now
at Universal working on an orig-
inal story for which he will pro-
vide the dialogue.

Coming from Los Angeles where
she has sung on several stations,
Adele Burian has. been added to
Tommy Monroe’s, and Bib Allen’s
1640 Boys’ progenia over KYA,

CAST IS CHOSEN

The cast of “The Bat Whispers”
at U. A. includes Chester Morris,
Una Merkel, Gustav Von Seyffer-
titz, Grace Hampton, Ben Bard,
William Bakewell, Spencer Char-
ters, Charles Dow Clark, Maud
Eburne and S. E. Jennings.

“ANGELS” OPENING

SEATTLE, July 24.— Approxi-
mately $25,000 is being spent in
the presentation of “Hell’s Angels,”
which will be housed by the Fox.
Sixteen thousand of this sum will
remain permanently in the theatre.
The sound boxes were enlarged
by six extra horns and a new
magnoscopic screen installed.

MARY DUNCAN SIGNS

Mary Duncan, seen in a num-
ber of Fox pictures, is the first
player to be cast for a featured
role in “The Boudoir Diplomat”
which Mai St. Clair is to direct
for Universal.

Gene Swift’s
Ruminations

(Continued from Page 3)
and audience clustered about it,
wetting parched throats with fau-
cet water. A hopeful terrace can
be glimpsed through a side door,
outside of which is garden furni-
ture and the neighbor’s fence.

Suddenly a crashing gong shat-
ters the air. The audience sepa-
rates itself from the cast and
crowds into the front seats, where
they will find themselves presently
thrusting their noses into the
faces of the actors. A plush cur-
tain, bordered with crushed bro-
cade, fills the proscenium “arch.”
_ A hasty glance around reveals
single walls, with scant studding,
rain-stained papered ceiling, ex-
cept. where it is glazed. Drapes,
suspiciously like dyed burlap, hang
about. There are electric lights.

There does not appear to be any
“backstage” in the ordinary sense.
Except on stage-left there is no
room behind the scenes. Left en-
trances are made from the kitchen.
When right entrances are required
the plaj'ers go out the back door,
step lightly through the dew-laden
grass around to the street side and
climb through a hole in the wall.
When off-stage noises and screams
are required the very welkin rings.
New neighbors must be oftimes
startled out of innocent slumber.

Intermission is a friendly thing.
If the night is warm everybody
wanders out into the garden and
hobnobs with the cast. Young
couples find secluded corners
among the shrubs and sometimes
fail to come back. After the final
curtain, tea is served.

Individual tickets cost one dol-
lar. But for one-fifty one may en-
joy membership for a month and
attend such plays, entertainments,
revues, dances and teas as may be
staged during that period. Many
of the elite of Hollywood frequent
the place.

“If you haven’t seen the Play
Shop you haven’t seen Hollywood.”

STORY NAME CHANGE

Universal has changed the title
of Eddie Cantor’s original story
on the stock market to “Quick
Money” instead of “Paper Profits”
as previously announced.

ADDED TO CAST

Johnny Larkin, James Neill and
Charles Sellon have been added to
the cast of Warner Bros.’ adapta-
tion of Ben Ames Williams’ story,
“Barber John’s Boy.”

RETURN TO VAUDE

Joe Smith and Charles Dale of
the Avon Comedy Four have re-
turned to RKO vaudeville after be-
ing starred this season in a New
York production success, “Mendel,
Inc.”

TELA-PHONEY

bj) JAMES MADISON

Hello, Four Hunter Broth-
ers.

Hello, James Madison.

Is your flight record the
world’s greatest endurance
test?

No, sir; we know a man in
our town who’s been married
77 years.

Hello, Bernard Granville.

Hello, James Madison.

Why did President Hoover
refuse to divulge to Congress
the navy treaty secret pact?

Probably because he knew
there are women in Congress,
and therefore it would not re-
main a secret.

Hello, Clara Bow.

Hello, James Madison.

Which do you prefer, lima
beans, or kidney beans?

I'm true to the “navy.”

Hello, Walter Hiers.

Hello, James Madison.

Could you be tempted to re-
duce?

Under no circuferences.

Hello, Charles Ruggles.

Hello, James Madison.

I understand an attempt is
to be made to revive the Key-
stone Comedies.

In Indian vernacular, I call
that “Custard’s last stand.”

Hello, Will Malan.

Hello, James Madison.

Speaking of miniature golf
courses, what’s the putter?

The guy that puts up the
money.

Hello, Constance Bennett.

Hello, James Madison.

They tell me Fleischman will
use his picture, as well as that
of his son and grandson, as a
trademark.

“Three Faces Yeast”

Hello, Joseph Cawthorne.

Hello, James Madison.

What is your definition of
“The Red Terror.”

Tomato catsup on a white
vest.

Hello, Leonard Kip Rhine-
lander.

Hello, James Madison.

What’s your outlook on life?

Dark’s the hours before the
. . . divorce.

Hello, Wm. Le Baron.

Hello, James Madison.

Chicago gangsters have be-
gun using airships instead of
autos.

That means victims will be
taken for a “fly” instead of a
“ride.”

Snacks
Of Facts

LIBERTY SIGNS LANGDON

Harry Langdon has been signed
by Liberty Productions for an im-
portant part in the forthcoming
production of “The Ape,” stage
play by Adam Hull Shirk.

ADDED TO CAST

Joan Marsh, sixteen, has been
added to the cast of Universal’s
The Leather Pushers.”

DORA MAUGHAN BACK

Dora Maughan, who has been a
success in Europe, returned from
abroad this week and opened im-
mediately for RKO at the 86th
Street, New York.

ASKS PHOTO DAMAGE

Suit was filed here this week
by Attorney R. P. Fontana, repre-
senting Harold William Hill, for
$75,000 against the Educational
Film Exchange, charging that the
picture concern made use of a
photo of Harold as a baby in the
“all-together,” for a picture with
his consent, according to the ac-
tion filed in Superior Court,

BACK FROM TRIP

Herman R. Maier, chief of con-
struction for Warner Brothers, has
returned to New York from an
official tour of Texas and Okla-
homa.

Manny Nathan, m. c. at the Walkathon, Egyptian Ballroom, Ocean
Park, putting pep in the contestants and audience — Billy Mack on the
owl shift getting ready for work — Jerry Jarrette acting as nurse and
teaching the lady bunion-busters an oriental dance— Frank and Joe
Kern holding down press seats — Rudy Wintner receiving an offer
from RKO in N. Y. and turning it down for a trip to Juarez — Syl
Cross, Gene McCormick and Jean Armand getting an earful of Jack
Tenney’s latest songs — A1 LeClaire rehearsing with Nietza for a tour
of the RKO — Wilbur Cushman lining up musical comedy talent for
next season — Hap Moore, of Moore and Shy, holding a fanning bee
with old pals at the stage door of Warners Hollywood.

Skeets Gallagher celebrating the arrival of a son and heir — baptiz-
ing himself in the good old Southern way — the kid looks just like his
old man — blonde hair and everything.

Mike Newman in conference with a menu — hand in pocket count-
ing his change — so the reporter stayed away from his table. Eddy
Eckels fixing up crossword puzzles for other people to work out —
Gus McCarthy legging it down a corridor— green shirt fluttering in
the breeze — Red McCarthy wearing blue suspenders and white pants—
three cheers for the red, white and blue.

IN APPRECIATION

... to my professional friends who made my
campaign banquet such a success this week . . .

JUDGE
DUDLEY S.
VALENTINE

. . . candidate for Judge
of the Superior Court,
Office No. 8, at the Pri-
maries August 26

Headquarters: 1204 Lin-
coln Bldg., 724 So. Hill
Street, TRinity 9891.

JUDGE DUDLEY S.
VALENTINE

SATURDAY, JULY 26, 1930

INSIDE FACTS OF STAGE AND SCREEN

PAGE SEVEN

Harold J. Bock

Manager

PHONE DOUGLAS 2213

SAN FRANCISCO

OAKLAND — SACRAMENTO — SAN JOSE

KRESS BLDG.
935 Market St.,

Office Suite 5M

‘BIG HOUSE’ LEADER FOR S. F.
WHILE REST OF BIZ MEDIOCRE

SAN FRANCISCO, July 24. — While other picture palaces
were plodding- along at no spectacular pace, Loew’s Warfield
took a speedy sprint with Metro’s “Big House” the stimu-
lant. All other houses had mediocre box offices.

M-G-M’s “The Big House” opened heavily at the War-
field, breaking all Saturday records and grossing that house’s
second largest figure, topped only by “The Cockeyed World.”
The figure was $42,000 and the picture looks good for at least
three more weeks.

Fox took its lowest gross in
several weks, $38,000 on Fox’s

and

and

to-

and

“Ro-

up-

“Good Intentions” with F.

M.’s “Country Club” Idea
Ann Pennington in person,
gether with Walt Roesner
concert orchestra. Garbo in
mance” holds the screen now.

The Paramount took an
ward jump with William Powell
in “For the Defense” and a stage
show headed by Ken Whitmer, m.
c. Powell is a good draw in this
town and at $19,000 the house was
okay. “Queen High” is current.
The St. Francis, on the other
hand, was a slouch with $6000 on
“The Silent Enemy,” a ' silent pic-
ture. “Dangerous Nan McGrew”
with Helen Kane has followed.
And the California with the deuce
and last week of Richard Barthel-
mess in “Dawn Patrol” took
$14,000, and now has Ronald Col-
man in “Raffles.”

Orpheum wasn’t so. hot with
“Hell’s Island” bowing out after
two weeks to the tune of $7500.
“Dixiana” opens with a mid-
night premier Friday night and
acts from the Orph houses here
and in Oakland at a $1 top.

Wagnon houses sagged. Em-
bassy with $5300 in the safe on
Ed Horton in “Wide Open” was
very low while the Davies even
with two features — “Temptation”
and Buck Jones in “Lone Rider”
drew only a low $4700.

KANSAS CITY, July 24.— Marco
closed a deal here this week to
play Fanchon and Marco Ideas at
the local Pantages Theatre.

PHOTOPHONE IN
SOUND LEADERS

“A LITTLE SMILE”

Words and Music by

GEO. B. L. BRAUN

(A Fox Trot Sensation)

CONCORD PUBLISHING CO,

1179 Market St. San Francisco

Gamba

Since 1905

Theatrical Footwear
and Accessories

150 Powell St.

San Francisco
Phone DOuglas 8268

WHILE YOU’RE
VACATIONING

this summer

WHY NOT LEARN
to write, read and execute
dances the scientific way,
and save weeks of toil
preparing new stage rou-
tines ?

DANCEOGRAPH

pupils execute the most
difficult and intricate
movements with perfect
ease.

BE PREPARED

for the coming trend in
professional dancing.

DANCEOGRAPH
DANCE ART

(Incorporated)

555 Sutter Street
San Francisco

Schools in New York City,
Newark, N. J., Chicago, Indi-
anapolis, St. Louis, San Fran-
cisco, Denver and Sait Lake
City.

Establishing a record that ranks
with the progress of the motion
picture, RCA Photophone, Inc.,
subsidiary of the Radio Corpora-
tion of America and manufacturer
and distributor of motion picture
sound-recording and reproducing
equipment, during the first six
months of 1930, installed nearly
twice as many sound equipments
in theatres as had been installed
in the previous sixteen months.

On October 1, 1928, RCA Pho-
tophone, Inc., made its first instal-
lation, and up to January 1, 1930,
the aggregate number had reached
410. During the first six months
of 1930, 775 equipments were in-
stalled in the United States, in-
cluding, in addition to those placed
in theatres, clubs, steamships and
other non-theatrical enterprises, 51
of the 60 sound equipments con-
tracted for by the government for
army posts throughout the coun-
try, but not including installations
made in foreign countries.

In addition to the eight studios
in Hollywood that record their pro-
ductions by the RCA Photophone
system, the majority of motion pic-
ture studios in England, France
and Italy employ RCA Photophone
equipment.

Market St.
Gleanings

STRICKEN ON TRAIN

OAKLAND, July 20. — Return-
ing to Hollywood from Alaska
where he was on location, George
Berthelon, assistant director of the
Radio Pictures lot, was taken off
the south-bound train in an uncon-
scious condition and removed to
a local hospital where he remained
for three days before regaining
consciousness.

VAUDE TEAM SPLIT

SAN FRANCISCO, July 24.—
Kramer and Boyle split their RKO
act while in the Northwest two
weeks ago and have been replaced
by Geraldine and Joe, kid act.

TRY SPECIAL STUNTS

SAN FRANCISCO, July 24 —
Capitol is advertising three special
nights w e e k ly , augmenting its
regular burlesque show. Chorus
girl contest, audition and perfect
form nights, they’re called.

SAN FRANCISCO, July 24.—
Downtown first run picture the-
atres are due for a pow wow this
week on Greater Talkie Season
which will open August 15. Sev-
eral new angles will be utilized on
this year’s campaign.

COOPER AT FOX

George Cooper has been signed
to play the role of “Biloxi” in Vic-
tor Fleming’s forthcoming produc-
tion, “Renegades,” featuring War-
ner Baxter -at Fox.

NEW DANCE ACT

Edward Faye and Betty Ban-
nister have new act in RKO vaude
called “Dance Patterns,” in which
they are assisted by Paulina Arley,
Faye and Estaire and Ruth Co-
burn.

GIRLS WANTED

Experienced Chorus Girls With Good Specialties
Send photos and details

CHARLES and DAWN

STAGE ARTS STUDIO

1141 MARKET ST. SAN FRANCISCO

PRODUCERS, CAFE MARQUARD

SAN FRANCISCO, July 24.—
Night baseball bowed to Los An-
geles and Seattle this week, ac-
cording to officials of the Pacific
Coast League, stationed here.
Oakland starts August 5. Sacra-
mento has played under arc lights.
San Francisco alone remains a day
time baseball spot, for the current
season at least, and S. F. theatre
managers won’t have to do any
worrying about what this outdoor
attraction might do to box-offices.
* * *

SPOTLIGHTS

John P. Medbury and Hal
Horne in town . . . Vic McLaglen
in to meet three of his Australian
nieces ... Joe Yule, comic at
the Capitol, is the dad of Mickey
McGuire, juve picture toughie . . .
Rose Eliska in F. and M.’s “Coun-
try Club Idea,” is really Rose
Joyner and the sister of Joyzelle
. . . Fat Wendt, who was recently
married, has lost 57 pounds . . .
dieting did it . . . Ann Penning-
ton, who: is a big terpsichorean
shot, wouldn’t follow a mixed
hoofing trio consisting of two
chorines and a male dancer at the
Fox . . .

Frank Mandel of Schwab and
Mandel was here this week visit-
ing his mother . . . Hal Roach, in
town for a. few days, told Fred
Johnson of the Call-Bulletin that
the Laurel-Hardy comedies have
grossed more in Germany, France
and Spain than they did in the
U. S. and Canada . . . the reports
that stage shows soon will be in
Fox houses in Stockton, Sacra-
mento, Oakland and other North-
ern California cities is denied by
A. M. Bowles . . . George Nick-
son is a Petylumi, Cal. (U. S. A.)
boy who has made good in the
city . . .

Ethel Moe has just recovered
from an operation on her eye . . .
Roy Rogers, currently at the
Oakland Orpheum, is a former
cop and jiu jitsu expert, and will
write 10 articles on the j. j. sub-
ject for the Hearst papers when
he goes to Europe next May . . .
the scene now shifts to Rio Nido,
along the Russian River, where
Jesse Stafford took nine strokes
on one hole of the miniature golf
course . . .

Lawrence Tibbett taking a bow
to tremendous hands . . . Chuck
Dutton taking gitter lessons from
‘Dave Kane . . . Eddie Bernard
doing the m. c. job . . . George
Taylor still kibitzing . . . and
in the cold for three hours to
watch a contest . . . Virginia

Spencer ironing out certain diffi-
culties with Mr. Taylor . . . Fred-
die Heward taking his first barn-
yard billiards lesson . . . Arnold
Walters taking a long, long , hike
in the woods.

* * *

Famous Lies of Show Business:

“I’m sorry you caught this per-
formance because last show it was
great — took five encores.”

GALA OPENING

SAN FRANCISCO, July 24.—
RKO Orpheum opens Radio Pic-
tures’ “Dixiana” tomorrow night
with a midnight show at a $1 top,
all proceeds going to the Call-
Bulletin’s health fund. In addi-
tion to the picture the show will
have acts from the Oakland Or-
pheum and RKO Golden Gate
here with Jack Sprigg’s orchestra
providing the music.

WORK TO PINCH HIT

SAN FRANCISCO, July 24.—
Cliff Work has temporarily left the
San Francisco Orpheum for Los
Angeles where he will bat for
Frank Vincent, Coast manager,
while the latter is ill. Clem Pope,
of Oakland, is handling the local
house while Work is gone.

G. & M.

ATTRACTIVE THEATRICAL
CARD SIGNS

510 Kress Bldg., 935 Market St.
San Francisco

TWO NEW LEGIT
SHOWS OPENING

SAN FRANCISCO, July 24.—
The current week was marked
only by the Monday night open-
ings of two top notch shows — -“It’s
a Wise Child” at the Curran and
“Subway Express” 'at Erlangier’s
Columbia. Both got away to good
starts and look set to do an okay
business.

Fay Baimter completed her first
week in “Caprice” at the Geary
with $13,000 the figure and holds
on for 14 more days.

Capitol got $8000 on the third
week of Warren Iron’s burlesque
show.

Alcazar, President and Tivoli
are dark.

Green Street did $1100 on “Hot
’n’ Bothered.”

SHIFT IN COMICS

SAN FRANCISCO, July 24.—
Billy Fields has closed his four
week engagement as comic with
the Irons and Clammage burles-
que show at the Capitol, return-
ing to the Mutual wheel. A week
from today Joe Yule closes to
join the Eddie Daly show on the
Mutual. George Murray and
Charles Fritchard, coming from
New York, replace Fields and
Yule.

SHANE LEAVES PUBLIX

SAN FRANCISCO, July 24.—
Max Shane has resigned as Coast
publicity director for Paramount
Publix to join the home office of
Fox. No one has yet been se-
lected to succeed him and it is pos-
sible job will not be filled.

FOX AT PARAMOUNT

SAN FRANCISCO, July 24.—
When Maury Foladare leaves San
Francisco and his job as press
agent for the Paramount in about
two weeks Gene Fox will fill the
former Foladare shoes.

HATRICK VISITS

SAN FRANCISCO, July 24 —
E. B. Hatrick, vice-president in
charge of finance for the Cosmo-
politan Productions, was here this
week enroute to Los Angeles
where he will confer with M-G-M
officials.

McDonnell to wed

SAN FRANCISCO, July 24.—
William McDonnell of the Fox
West Coast publicity department,
will be married on August 5 to
Dorothy Senger, Foster and Klei-
ser secretary.

VOIGHT VACATIONS

SAN FRANCISCO, July 24.—
Recovering from a recent illness
Fred Voight, manager of the Fox
exchange, has sailed for Hawaii
for a short rest. He will return
the latter part of the month.

NEW LEGIT SET

SAN FRANCISCO, July 24.—
Homer Curran will open Gilbert
Miller’s production “Candle-Light”
at the Geary on August 3, closing
it August 23. Eugenie Leontovich
will have the comedy lead.

Oakland

Pickups

OAKLAND, July 24. — George
Ebey successfully opened four
weeks of comedy with music at
his Fulton, “Little Miss Blue-
beard” with Jane Fooshee provid-
ing the initial piece.

The change in type of offering
has necessitated several shiftings
and addition in backstage person-
nel. John Wharry Lewis has
changed his orchestra from con-
cert to jazz, and a vaudeville pro-
logue to the show has Chuck
Thode at the piano and a line of
six girls headed by Billy Doyle.
Skeeter Hartwell is doing spe-
cialties.

“Nice Women” will follow “Miss
Bluebeard” and it is possible that
“45 Minutes From Broadway”
will be revived.

* * *

Wood Soanes, drama editor of
the Tribune, is vacationing.

* * *

Robert Nurok has been named
musical director of the Dufwin.

* * *

Dufwin, operated by Emil
Bondeson, Leo Carrillo and Rich-
ard Marshall, opened “She Knew
What She Wanted” to okay busi-
ness this last Sunday, drawing
nice notices. Grace Stafford is op-
posite Carrillo in this vehicle,
which was directed by Ferdinand
Munier, who also plays a part.

* * *

Dufwin execs deny stories printed
in other publications to the effect
that Richard Marshall would join
Carleton Miles in the production
of “Cortez” in Los Angeles, with
Leo Carrillo starred.

* * *

Closing after’ two weeks of
“Dracula” at the Fulton, Bela
Lugosi has returned to Holly-
wood where he will make two pic-
tures for Fox. It is possible that
he will return here in September
for several new plays which he is
now reading.

* * *

Barney Lewis and orchestra
opened this week at the Marigold
Ballroom (formerly Melody Lane)
succeeding George Druck.

Dance Art
SANDALS

For Aesthetic Dancing, Aero*
batics and Physical Culture

Grey, Tan, or Black Suede, $1.50
Children’s, $1.25
Non-Slip Elkskin Soles
Calfskin, White or Colors,
$1.75 to $2.00

“Nature’s Fit’’

Manufactured Exclusively by

Dance Art Shoe Co.

Theatrical Footwear Headquarters

WARFIELD THEATRE BLDG.

San Francisco

CATERING TO THE PROFESSION

r. J. MURPHY J. EDW .LOWERY

THE MORAGA TAVERN

Phone HEmlock 7396

1204-6 Market, 7 Grove St., Opp. Hotel Whitcomb, San Francisco
BREAKFAST : : LUNCHEON : : DINNER

See The Management for Speoial Parties

H1RSCH - ARNOLD

BALLET MISTRESSES

created and costumed all dance numbers now en tour Fox Circuit with
F. & M.’s “Brunettes” Idea

STUDIO— 545 SUTTER ST. SAN FRANCISCO

HOTEL GOVERNOR

TURK AT JONES

SAN FRANCISCO

THE HOME OF ALL THEATRICAL PEOPLE
PLAYING SAN FRANCISCO
SPECIAL RATES TO PROFESSIONALS
JACK WOLFENDEN, Prop. BERT HENDREN, A»»t. Mgr.

PAGE EIGHT

INSIDE FACTS OF STAGE AND SCREEN

SATURDAY, JULY 26, 1930

-

REVIEWS

COMMENT

RADIOLAJVR

By FRED YEATES

CHATTER

NEWS

Pickups and Viewpoints

A DANGEROUS PRACTICE

It is a dangerous thing for an artist to tamper with a
style that has struck the public fancy.

The elusive, intangible something that makes popularity is
a thing that has to be guarded and jealously preserved.

Ted White appeared inconspicuously one morning at the
KHJ auditions and had the good luck of only one in a hun-
dred — he made an impression. He was tried out as an
announcer, but failed, which was another break for him. An-
nouncers are executively classed with doormats ; almost any-
thing will serve the purpose. It is the performer who gets
the money and the laurels.

Ted filled in as a crooner and was liked around the station.
He was taken away from the announcer’s mike entirely and
made an entertainer. His sweet lyric crooning not only went
straight to he hearts of the women listeners, but was polished
and refined enough to appeal to the men also. He became
one of Don Lee’s best draws, and was rapidly approaching
star« grade.

But somebody suggested he change his style. Well meant,
of course. And Ted, anxious to please and to improve, did
change his style. He stepped back from the mike and let ’er
go. He became declamatory, slurry, after the best manner
of Jolson, Lewis, et al. Inside of three days he was no draw
at all, but just another radio yeller. All the appeal, person-
ality and flavor were gone.

Since Ted was nobody’s fool, he sensed there was some-
thing wrong and went back to his original style before he
had done heavy damage to his building reputation. The inci-
dent is useful to the radio profession in that it proves the
wisdom of the rule : Never change what “goes over.” The
time to change is when it fails to click. A man on a journey
won’t get very far if he leaves the highway for unknown
trails.

* * *

It should not be deduced from Ted White’s success that any un-
known can step before a mike and immediately ascend the throne of
popularity. Too many think that now. Ted, in addition to a pleasing
personality and engaging appearance, has the equipment of a back-
ground of travel and professional experience.

* * *

A CRITICS FAUX PAS

The music critic of a local morning paper committed a
terrific breach of propriety over the Hollywood Bowl broad-
cast last Saturday night. During the half-time intermission
it is the custom to present somebody of more or less distinc-
tion in a peppy, entertaining talk. On this occasion, following
a prayer-like rave by somebody from one of these Hollywood
“philosophical” schools, the lady critic was run in by a Bowl
dignitary, presumably to speak for two minutes on “Music
and the Child.” She spoke of how a musical education, how-
ever slight, would operate to make more appreciative listeners
out of children. Somehow she seemed to think this education
should be on the piano. Then she capped it by running in an
ad plug for a certain piano school, giving the street address.

In the first place, that was wretched bad taste. It was
also a breach of hospitality. But worst of all, she did it on
radio time paid for by another advertiser, and on an NBC
hook-up. And she kept right on talking, regardless of signals
from the announcer, until Conductor Karl Kreuger was back
on the stand and ready to play, leaving a furious and dis-
mayed Carl Haverlin with continuity in his hand but no time
to read.it.

* * *

UNHONORED BUT SINGING

Can an unknown crash local radio? Does one have to have a
reputation before he can make one of our major stations? Well, there
is a new harmony team functioning on KHj in the mornings, doing
nice work. They are billed as “Hale and Derry,” but when we tried
to find out something about them we could find no one around the
station who even knew their names!

* * *

THAT PSYCHIC MACHINE

Until recently we enjoyed nothing but the best kind of
reception from our — (this space for sale) — set, and then one
day we began to receive weekly installments of a series of
technical articles by G. R. Walters, of the Radio Trades As-
sociation, pointing out millions of reasons for poor reception.
Stucco coating on houses, water pipes, gas pipes, electric light
wires, vacuum cleaners, sewing machines, door knobs, cigar
ashes, alimony receipts, and skads of other things, all oper-
ated to interfere with radio reception. And we had ’em all.
Now, every day in every way our radio gets worse and worse.
Will Mr. Walters please write an article in more optimistic
vein so we may show it to our set? Our readers are yelling
for more reviews.

* * *

DIFFICULTY ON
COPYRIGHTS OF
BOWL NUMBERS

One of the most difficult things
about the Hollywood Bowl con-
cert series, originated by KFI, Los
Angeles, for the National Broad-
casting Company every Saturday
night at 8:30, is the matter of
clearing copyrights on the works
performed.

“‘It has taken us some time to
get adjusted with copyright re-
quirements,” says Glenn Tindall,
general manager of the Bowl, “but
now Carl Haverlin of KFI and
our office has the situation well in
hand.

“Many a time we have had per-
mission from composers to per-
form their works and for a time
assumed the permission was suffi-
cient, but it isn’t. The holder of
the copyright is seldom the con-
ductor or composer.

“In the case of very old works,
like those of Bach, Vivaldi, Corelli,
Palestrina and others, modern ar-
rangements covered by copyright
rendered legally meaningless the
age of the work. It must be con-
sidered a modern, copyrighted
work.

“The unfailing alertness and
sound information of Haverlin and
the courtesy of publishers have,
however, saved us the expense of
legal advice over copyrights.”

COAST ADVANCE
AS RADIO SPOT

(Continued from Page 5)
the most rapid that can be cited
: by any industry,” Gilman pointed
out, adding:

“The rapidity of development
precludes a definite iforecost as to
what will come for there is no
indication that the present tempo
will slacken. Three years ago no
one would have guessed that this
new industry would bold its pres-
ent position today.

The volume of business which
radio is doing is increasing and
indications are that more network
stations will develop in the West
as presentations from this section
become increasingly significant in
the East as well as in our own
area.”

Programs already sent East
from the San Francisco studios
will be increased in number with
completion of the fall schedule
which now is being worked out,
Gilman believes. Under the pres-
ent set-up, more than 150 broad-
casts are built and released weekly
from the San Francisco studios to
the stations affiliated with NBC in
the Pacific Coast and Rocky
Mountain areas. Approximately 60
others are received from the east-
ern NBC studios for distribution
through the coast chain.

Cost of the production work,
rents, salaries and supplies bring
the expenditures by NBC at the
division headquarters to approxi-
mately $1,500,000 per year, Gil-
man estimated. The investment in-
cludes three modern studios and
a rehearsal room, engineering
equipment valued at more than
$35,000 and a music library of
thousands of orchestrations the
value of which is declared to be
between $75,000 and $100,000.

About $250,000 is paid annually
to musicians alone, the salary
schedule reveals. Fees to singers,
actors and producers are not in-
cluded in this budget which al-
lows for several concert and dance
orchestras in the studios.

The present personnel includes

Announcer

Tourney

Resulting from a sugges-
tion by Kenneth Niles, KHJ
announcer, an international
golf tournament among radio
announcers is being arranged
by Ted Plusing, ace sports
announcer for the Columbia
Broadcasting System

Each city will hold its own
elimination tournament, win-
ners meeting for the grand
championship on one of the
nationally famous golf courses.

RADIO DEMANDS
SPECIAL PLAYS
FOR BROADCAST

SAN FRANCISCO, July 24.—
Theatrical successes adapted for
radio presentation have their merit
but the studio drama written espe-
cially for broadcasting, is favored
by National Broadcasting Com-
pany producers at the San Fran-
cisco studios.

“The Cross-Eyed Parrot” is
only one example of the popularity
of drama written for radio, say
producers. That series brought to
the NBC San Francisco studios a
tremendous amount of enthusiastic
audience mail.

“The Dragon in the Sun,” an-
other mystery thriller, bids fair to
excel in popularity its predecessor.
Both productions, presented seri-
ally through the NBC network,
are from the pen of Carlton E.
Morse, former newspaper writer,
now on the NBC continuity staff.

“The Unseen Hand,” written by
Tom Hutchinson and adapted by
Morse, and a series of short com-
edy-dramas by Harry DeLassaux
are other examples of the “legiti-
mate” in the studio. “Memory
Lane” is distinctly a radio pro-
duction which grew into a drama
from a musical performance typ-
ical of the ether fare three years
ago. H. C. Connette is the author
of this serial which draws thou-
sands of audience letters.

CONTINUE OPERA

The full radio productions of
grand opera presented over KFI
recently, under the Adohr banner,
are to be continued by Earle C.
Anthony. Regularly once a month
the station will produce unabridged
opera with the best available radio
talent.

BREAKFAST SWITCHED

Bill Sharpies and His Gang, who
have conducted the Breakfast Club
morning over KMTR for the last
four years, have switched stations,
and are now to be heard over
KTM daily. The change went into
effect July 23.

DON LEE REQUEST

SAN FRANCISCO, July 24.—
Don Lee has applied to the Fed-
eral Radio Commission for per-
mission to increase the power of
his KFRC and KHJ stations
from 1000 to 50,000 watts.

THREE COEDS SIGNED

The Three Coeds have been
signed by KGER to appear over
that station three times weekly.

more than 150 musicians, singers
and actors and a force of office
employees raising the total to
around 300, regularly engaged at
the Pacific division headquarters.

RADIO CANS VARIETY

Radio variety seems to ,be suffering somewhat of an eclipse. “Chas-
ing The Blues,” Saturday night jamboree hour, has been chased off to
make way for auto race broadcasts, and the Merrymakers’ Thursday
night hour of jolly geniality gives way shortly to a period of straight
music in classic vein. Gagmen are now sweeping out the studios.

. * * *

His Majesty Colonel Charles Lindbergh will speak over
the radio August 8. King George will please remain standing.

* * *

Barks from the Office Dog: Ted White having tire-d

trouble, and framing a car swap with Dick Creedon — Dick
shedding his decorum and his clothes and swimming in the

all-together — with Jose Rodriguez setting the bad example —
Carl Haverlin suffering from an embarrassment of riches—
and looking for a louse to put on a music critic— KFI office
in the doldrums — Oma Rhoads is on vacation — June Parker
putting a pinch on Elvia Allman — you’d never guess where — •
Glen Dolberg on vacation — Ken Niles hearing his name on
the radio — from New York — such is fame — Robert Nicholls
missing from the air — where has that boy gone this time? —
Lindsay MacHarrie giving the golf pants an airing — Leigh
Harline walking ’neath sunny California skies — Carl Laemmle
kidding the listeners — Charles Gabriel among the first-night-
ers — Ho, hum — it’s a dog’s life.

WARNERS USING
TRICK SYSTEM
ON BROADCASTS

With Larry Ceballos Revues now
on the air every Friday night from
KFWB, the station has an oppor-
tunity to use the elaborate broad-
casting equipment which was in-
stalled in the Warner Brothers
Hollywood when it was built, and
which has been under steady ex-
perimentation since.

The Hollywood is ideally adapt-
ed for such a remote control pro-
gram, according to Gerald King,
manager of KFWB.

“When the theatre was being
constructed Chief Engineer Frank
Murphy saw to it that a complete
system of microphone outlets was
installed in the orchestral pit, on
stage and back-stage. Ten micro-
phones in all may be employed in
this broadcast,” states King.

Over the stage manager’s desk
in the wings has been erected a
platform, the floor of which is eight
feet above the stage floor. A com-
plete mixing room, far more elab-
orate than that employed in the
ordinary remote control broadcast,
has been installed there.

From this elevation the an-
nouncers view the presentation.
Because stage presentations are
not, as a rule, so accurately timed
as a radio program, a system of
telephonic communication has been
installed, linking the back-stage an-
nouncer with the radio studio it-
self, thus making it possible to
shorten or lengthen the preceding
studio program.

RADIO ORGANIST DEAD

Arthur Shaw, radio organist,
passed away at his home in Holly-
wood on July 17. Shaw was one
of the best of the broadcasting or-
ganists and was known here for his
work over KTM. He was a na-
tive of England and won first hon-
ors for three successive years at
Trinity College, London, for his
organ work. Before coming to
KTM he was organist for KTAB,
Oakland.

ACT JOINS KYA

SAN FRANCISCO, July 24.—
“Dealers In Old Ivory,” mixed
piano duo, have joined KYA.
They will be on the Embassy and
Rhythmic Ripples programs.

KENNETH

RUNDQUIST

Baritone

LEIGHTON'S CAFETERIA

Market at Powell
San Francisco

WM. DON

ENGLISH COMEDIAN
Creator of the Famous
Character, “Dr. Oojah”
National Broadcasting Co.
San Francisco

HAVE YOU HEARD
BILLY VAN?

At KFWB, Hollywood

Says:

Mayer and Evans in town — -
Jack Haley and Ray Mayer
putting on the Ritz for Leon-
ard Stevens — Lou Enderly, fe-
male baritone, back from Chi-
cago — Bee Jackson coming to
the coast — song pluggers story
by Gene Swift in Inside Facts
last week sure great — Al
Herman on the opposish list —
“Oh Judge” opening — so
what!

p. r— m* Tariff « m

Oosmo Street aim xiuiiy wOoa
Boulevard . . . between Vine
and Oahuenga . . . the phone
numbers are GRanite 8 8 8 2
and HOllywood 9 15 9 . . .
parking is free at the lot
across from the CELLAR . . .
the CHRYSLER, and SAM-
SONS are there.

Thank You.

SATURDAY, JULY 26, 1930

INSIDE FACTS OF STAGE AND SCREEN

PAGE NINE

Radio Program Reviews

CROSS-SECTIONING RADIOLAND
THUMBNAIL REVIEWS

LOS ANGELES

(Reviewed July 21)

Racing around the radio dial to beat the ten o’clock apart-
ment house deadline.

KECA, 9:25 p. m. — Peppy dance band playing “Little
White Lies” and “Blue Is the Night.”

KGER, 9:30 p. m. — Dance band, remote from Rendezvous
Ballroom, Balboa, “Somewhere A Voice Is Calling” in waltz
rhythm.

KFOX, 9:32 p. m.- — Organ music, poor reception.

KGFJ, 9:32 p. m. — Appeared to
be a dance band — queer noises,
strange clarinet blue notes, like the
cries of spooks in * * a graveyard at
midnight. Turned out to be the
Blue Blowers, remote from the
Apex Night Club, playing “Wah-
Wah Girl From Caliente.”

KMIC, 9:40 p. m.- — five or six-
piece orchestra; not bad; playing
the typical selections of groups of

tVnc

KNX, 9:42 p. m.— “Look back
on yesterday and say, ‘I did my
best, I tried.’ ” A lady’s voice.
“The day of salvation is here, I
know, but . . . you have no idea of
the poverty . . Soliciting old
clothes, etc., for 'the Good Samari-
tan Relief. “Make somebody else
happy without cost to yourself.”
KFWB, 9:45 p. m.— “A right to
the jaw, then a leftandarightand-
anotherleft . . .” Fights at the
Hollywood Stadium.

KHJ, 9:46 p. m. — Blue Monday
Jamboree from KFRC, San Fran-
cisco. Male voice and orchestra in

the middle of “I Remember You
From Somewhere,” with Edna
O’Keefe in on the dialogue. Hog-
calling contest entries announced
for next week. “Mac” telling a
railroad story, not a funny one.

KTM, 9:52 p. m. — “Come back
to the mountain . . .” Ranch hour,
very good vocal harmony, with
guitar and harmonica.

KMPC, 9:54 p. m.— “. . . which,
with the nucleus, forms a central
core for the atom . . . properties
which are periodic . . . nonperiodic
. . . inner electrons . . . the fre-
quencies of X-rays dependent on
atomic numbers . . .”

KFI, 9:55 p. m. — Grieg’s “I Love
Thee” in a sweet soprano, sounded
like none other than Virginia
Flohri. Packard Concert Orches-
tra under Prior Moore, playing
Spanish piece; very lovely.

KMTR, 9:59 p. m.- — Banjo Boys,
in the “Sunday School Song,” Bible
history in snappy verse, and not
ba,d.

Legitimate Theatres

‘OH, JUDGE’

VINE STREET THEATRE

HOLLYWOOD
(Reviewed July 22)

A newspaper reporter, finding
news dull, arranged a stunt with
the judge of a Saturday night
court to send all culprits from one
particular session to a health
farm, without option of fine. That
night’s grist included a dude
drunk, negro fried-chicken vendor,
wealthy society woman, her daugh-
ter and a guest, a fighter and his
manager and a mysterious gal whq
turned out later to be a sob-sis-
ter from the reporter’s own paper.
(News MUST have been dull.)

They are all condemned to the
health farm, where there are, nat-
urally, love complications, which
are straightened out later at the
magnifique Long Island home of
the society woman, where she
puts on a “Spanish drag,” which
is ended by a police raid and a
visit from Mayor Walker.

This Strong and Wilson pro-
duction of a new musical farce
from the several and joint pens of
Gwen Meredith, George Bowles
and Edward Eisner, possesses
many engaging qualities. The mu-
sic by Lucien Denni is melodious,
and at least one of the numbers,
“In A Little Love Nest On A
Hill,” may catch the popular
fancy. The second half is in-
vested with sumptuous scenic set-
tings, excellent costumery and
some fine ballet work.

There are several points, how-
ever, where the production falls
short, which is not unusual with
a new show. The lines are not
smart. They carry the story
along, but that is all. They do
not sparkle, there is no wit, and
laughs come chiefly from the way
the situations are handled by the
cast and from the antics and dou-
ble entendre of “Clarence Doolit-
tle,” who carries a saxophone
around and talks of horn blowing
but is patently not a musician,
presumably characterizing what is
familiarly known as a “nance.”

There is a scant line of seven
dancing girls in the first half, aug-
mented to eight in the second, and
their ballet work in the latter half
is charming and original. These

Artistic Scenic Advertising
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CURTAIN PRIVILEGES
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Hollywood, Calif.

dances were staged by Eddie
Prinz. In the first half it would
seem that the rhythm dances would
be improved if the girls wore hard
shoes, and if the production de-
partment could afford it, a few
more girls would make the num-
bers a good deal more impressive.

There were two notably out-
standing solo dance specialties in
the second half; a Spanish dance
by Mildred Costello, and a mod-
ernistic novelty by Peggy Cornell,
both being received with tremen-
dous enthusiasm.

Eccentric dancing by Bernard
Granville and Mary Hutchinson
scored at various times through-
out the evening. A bedroom epi-
sode staged by the society lady
for the edification of her guests
promised considerable spice but
ended up quite trite. A little
smartness or sophistication here
would have pleased the Hollywood
crowd, who were obviously expect-
ing it and were not a little dis-
appointed.

The piece was well cast. Rod-
ney McLennan, the reporter, pos-
sesses a nice singing voice and
played his part acceptably. Hal
Redus walked on and off as city
editor. Frank Braidwod was the
judge, Frank Allen was clerk of
the court, a brief bit, and Douglas
Keaton a cop. Albert Cross han-
dled the dude drunk part, sobering
up and becoming a love interest,
Evelyn Hayes playing opposite him
and singing “I Lost My Heart.”

Clarence Muse appeared as the
chicken vendor, and sang “Am I
Smiling?” Marie Wells was the
society lady, and offered a Span-
ish shawl song and dance, as-
sisted by the ballet. Mildred Cos-
tello was her daughter and Peggy
Cornell her guest. Randolph
Scott was the prize fighter who
won the daughter, and Frank
Marlowe his manager. Nenette
Vallon handled the sob-sister part
and teamed up in a very effective
descriptive waltz with Rodney
McLennan.

Bernard Granville was owner of
the health farm, and Mary Hut-
chinson sister to the judge. Vangi
Murray appeared as a vaude ar-
tist and sweetie of Paisley Noon,
who handled the “Clarence Doo-
little” part. Peggee Standlee,
more beautiful than ever, appeared
as sweetie of the judge, who ap-
peared to be falling for the so-
ciety woman, but this issue was
never settled.

A very effective means of story
telling was introduced, in which
the narrative of Nenette Vallon
was illustrated in dumb panto-
mime by players in scrim panels,
similar to the technic of the old
silent pictures. Another good di-
rectorial point was that all special-
ties were appropriate to the story
and furthered it.

Some polishing, dialogue point-

(Continued on Page 13)

Behind The Mike
JVith The
Microphone Club

Florence M. Gilbert, writer of
note and at one time a member of
a well-known dancing team, has
been appointed to the advisory
board of the Microphone Club.
Many well-known people will be
appointed to the board within the
next few weeks.

* * *

Oliver Hickey, attorney with of-
fices in the Pershing Square build-
ing, has been elected assistant vice-
president in charge of the law de-
partment of the Microphone Club.
* * *

Charles Buck, announcer at KFI,
and late, of a Boston stock com-
pany, has been elected to the board
of directors of the Mike Club.

* * *

Harry Hall, program director of
KFI and KECA, is one of the
best-liked young men in radio.
Harry is one of the few program
men that don’t give the artists the
well-known bull to keep them hap-
py — and broke.

* * *

Jack Parker of KFI and KECA
is keeping busy this summer, and
now more work— he has been elect-
ed to the board of directors of the
Victor Herbert Supper Club, Inc.,
besides acting as president of the
Microphone Club, the National
Artists Association, Inc., and the
leading light in the General Broad-
casting Association, Inc.

* * *

Max Mellinger, tenor, of local
radio stations, and former husband
of Mary Ann Belmont, radio and
motion picture singer, has returned
to Los Angeles and will be heard
once more on local stations and
on the Mike Frolic at KGFJ.

* * *

Jack Stern and Grace Plamilton,
local radio stars, want the world
to know that just because they
were left a cool half million they
will not give up their place on the
air. They say that radio means
more to them than money. (Call
for Doctor Mills — something is
wrong.)

* * *

June Foxx, New York radio and
stage star, is in town, and it is said
that a Hollywood picture producer
is keeping his eye on her as a pos-
sible feature member of the cast in
a new picture dealing with life be-
hind the scenes in a radio studio.

STATIONS MUST
STAY ON ALERT
FOR S.O.S. SIGNS

“What’s that fiendish wah-wah-
wah that I hear coming out of the
control room so suddenly at the
most unexpected times?” queried a
high-strung singer recently of
Technician Stephens at KFI-
KECA.

“That, my dear, is the SOS re-
ceiver,” replied the gallant fellow.
“All ships at sea transit SOS
calls over a wavelength of 600 me-
ters. The highest broadcast wave-
length is about 550 meters. Since
these lengths are fairly close to-
gether, it is possible that SOS
signals might be interfered with by
stations.

To avoid this, therefore, the Fed-
eral Radio Commission ordered
that all stations keep a watch on
the 600-meter wavelength. If a
distress signal is heard the station
is obliged to go off the air until
the signal is answered and pro-
visions made to relieve the stricken
ship.

“For this reason there is a
licensed radio operator on duty at
all hours the station is on the air.”

KGER ADDS FEATURE

KGER has added a new daily
feature, broadcasting the Cadets
Concert Orchestra from the open-
air theatre at Belmont Beach. Syd-
ney Northcote, of Australia, is in
charge. Soloists include Murray
Parker, uke; Parmelia Lee, con-
tralto; Mary Edity, harp; John
Barrie, Scotch comic; Charles Hen-
ry, basso, and a vocal trio consist-
ing of Don James, William Days
and Don English.

(Miss Foxx may be the future Mrs.
Jack Parker.)

* * *

Conrad De Jonge, concert or-
chestra director of Europe, was a
visitor at the Microphone Club this
week, and Mr. De Jonge tells that
in the old country the artists
broadcast for the joy of it. That’s
nothing — they do the same thing in
Los Angeles.

* * *

A card from Paul Small, popular
tenor with NBC and CBS from the
New York studios, informs us that
New York is the best hunting
grounds for radio singers in the
world. (James, a timetable.)

San Francisco
Radio Notes

SAN FRANCISCO, July 24.
— A co - operative tieup be-
tween KTAB in Oakland and
the Orpheum in the same city
has been severed. For a num-
ber of weeks it has been the
custom to take acts from the
Orph to the Oakland studios
for a brief period of gratis broad-
casting — a move that gives the
station free talent and at the same
time gives the theatre free pub-
licity.

Last week the Orph acts ar-
rived at the studio to find it dark,
with no one there but the janitor.
They phoned the San Francisco
headquarters of KTAB, obtained
permission to enter, and then got
into an argument with the janitor.
They walked out.

Now the Orph broadcasts over
KROW, Oakland.

* *

NBG’s publicity head in this
city has returned after a six
weeks’ visit in New York and at
his former home in Salem, Ohio.
Three days in Los Angeles with
Amos ’n’ Andy climaxed the tour.
* * *

Eddie Evans of Sambo and Ed,
who broadcast with Dobbsie over
KPO, has gone and done it. He
was married last week to Joyce
Lindsay and the couple spent their
honeymoon on the Russian River.

* * *

Lou Enamel is the newest addi-
tion to the staff of KTAB, where
he sings and does parts. He is
the De Sylva, Brown and Hender-
son representative here.

t * t

The boys in Earl Burtnett’s Los
Angeles Biltmore band need a
chatter and cough clamper. When
they broadcast over KHJ the
other night there was considerable
disconcerting noise of this sort.

* *

Walter Kelsey has -been named
assistant musical director of KFRC,
working under Meredith Willson.
Kelsey, who plays half a dozen
instruments, has been with the
Don Lee station for some time.

* * *

Harry McKnight, KTAB tenor,
is vacationing in Los Angeles.
Carl Tobin, also a KTBA tenor,
has just returned from his two
weeks’ off. And Helen O’Neill,
KTAB program directress, is back
from a trip to her home in Seattle.

I

PAGE TEN

INSIDE FACTS OF STAGE AND SCREEN

SATURDAY, JULY 26, 1930

| VANCOUVER, B. C.

SEATTLE, WASH.

A. K. MacMastin

REPRESENTATIVE

1 NORTHWEST 1

Roy Oxman

REPRESENTATIVE !

618 Homer Street

I 1

630 People Bank Bldg.
Main 0799

‘BLUSHING BRIDES’ JUMPS BIZ
FOR FIFTH AVENUE IN SEATTLE

SEATTLE, July 24. — The Fifth Avenue got back into the
lead this week, grabbing $17,000 of the town’s hard earned
cash. The picture was Joan Crawford’s “Blushing Brides”
and the stage bill was F. & M.’s “Smiles” Idea, which pleased
all the folks.

The Paramount fared fairly well with $16,000. This rep-
resented the works of “The Border Legion” and Gourfain’s
“Jazz a la Spooks” revue. It is hard to bring the customers
up the hill on hot days unless
there is an exceptional bill.

The Fox’s last week of “The
Big House” brought in $15,000,
which is far from bad at this
place. It could have easily run
another week. Owen Sweeten’s
concert was still the talk of the
town.

The Orpheum cash register rang
to the tune of $13,500, which is
considered the average for this
spot. This RKO house is building
up a lot of trade since the com-
ing of E. C. Bostwick as man-
ager.

A cargo of $10,000 was the figure
for the Music Box’s picture,
“White Cargo” in its second week.

At the Blue Mouse, across the
way, “Temptation” tempted the
folks to pay $7,500 for their en-
joyment. Not bad for this aver-
age picture. Vic Gauntlett’s pub-
licity helped greatly.

The Met, with “Hell Harbor,”
took in a pretty fair figure in the
figure of $4,900. This is average
price here for an average picture.

Among the dance auditoriums
there is considerable quiet as it is
too hot for dancing. Coffee Dan’s
does the best business in town
because it has the entertainment
value attached to it. Sam Gore is
becoming a well-liked m. c. and is
doing a great job of it. A dance
team goes in next week. Several
other improvements are being
made by Joe Pinard, the owner.

ATTACK REPORT
SCHULBERG MAY
TAKE NEW POST

B. P. Schulberg is under a long-
term contract as general manager
of west coast production for the
Paramount-Publix Corporation, and
he will remain with the company
for several years to come, it was
declared this week by Jesse L.
Lasky.

Lasky made this statement fol-
lowing persistent reports that
Schulberg is planning to leave the
organization or be transferred to
another post.

“Schulberg is thoroughly satis-
fied with his position in the cor-
poration,” said Lasky. “He has
made an enviable record for him-
self and for our Hollywood stu-
dios, and I am happy to say that
there is absolutely no foundation
for these rumors.” Schulberg made
no comment other than the state-
ment, “Rumors of this sort do not
deserve even denial.”

Vancouver

By A. K. MacMARTIN

Sweet Songs Are Mere!

Professional Copies Now Ready

“OH, MOTHER OF MINE”

Charming Waltz Ballad
and

“IF YOU COULD BE A SWEETHEART”

A Fox Trot Full of Syncopation

Coming Soon!

“MY IDA’S EYES”— Novelty
“GATEWAY OF DREAMS”— Ballad

Alice Lon Sweet, Inc.

“Sing Sweet Songs”

507 Seattle Theatre Studios
SEATTLE, WASHINGTON

There are three non-union houses
in Vancouver operated by W. P.
Nichols, the Royal, Columbia and
Fairview. The last named is a
suburban house and at present is
being used as a training school
for projectionists with W. Scanlon,
operator at the Royal, a,s instruc-
tor. The boys being trained will
be non-union and an endeavor is
being made to form a new local
union. The regular branch of the
I. A. T. S. E. is practically closed
to new members and the member-
ship fees has been boosted to
$250.

* * *

The Strand smashed all b. o.
records with Universal’s “All
Quiet on the Western Front.” It
ran for two weeks to practically
capacity houses.

t t

The British Guild Players at the
Empress are closing for the sum-
mer with the current offering
“The Naughty Wife.” They open
again about the first of September.
* * *

Clive Brook, accompanied by
his wife and two children, are en-
joying the delights of Vancouver’s
temperate summer climate, as
guests of the big C. P. R. hostelry,
the Hotel Vancouver. Mr. Brook
is looking for a quiet spot in the
northern woods near some trout
stream where he will spend some
weeks angling and generally tak-
ing life easy. This is Mr. Brook’s
first visit to Canada.

* * *

Ken Leach, theatre manager
from Calgary, Alberta, has se
cured the rights to the Tom

Thumb patent for miniature golf

courses and is having half a dozen
built in Vancouver. These along
with half a dozen others being
put in by a California man will
certainly slow up the depositors

at the local 'b. o.’s, making a

rather tough break coming at this
season when the beaches and wide
open spaces have already taken
their toll.

RADIO STATION
HEARING ENDED

SEATTLE, July 24. — With pages
of testimony and reams of fan
letters attesting the popularity of
Seattle’s two battling radio sta-
tions, KJR and KOMO, Federal
Judge E. O. Sykes, who has con-
ducted the radio hearing on the
two stations’ petitions for a clear
channel, left this week for Los
Angeles.

His recommendation to the Fed
eral Radio Commission at the
capital regarding awarding of the
970 kilocycle band will not be
made until next fall. Meanwhile
KJR is to keep the coveted wave
length.

Notes Along
Fifth Avenue

MAGILL TO S. F.

TRY NEW SCREEN

SEATTLE, July 24.— The Vene-
tian, Jensen-Von Herberg stand,
introduced a new type of screen
to the Northwest, this week. It is
the vocalite product and it shows
objects in natural form regardless
of where a patron may sit.

AIR FILM OPPOSISH

SEATTLE, July 24. — Paramount
pulled a nifty this week, obtaining
the services of Richard Barthel-
mess for personal appearances in
conjunction with the showing of
Dicks new picture, “The Dawn
Patrol.’ The Fox, opposition
house, has “Hell’s Angels,” with
Jean Harlow doing the honors.

TAKES VACATION

SEATTLE, July 24. — Jean Singer,
a heavy drawing card at Coffee
Dan’s, will be missing from that
place of business for a few weeks
as she is taking a well-earned
vacation. Jean is a tremendous
favorite in the Northwest, having
pjayed a long engagement here
with the old Will King company.

SEATTLE, July 24. — Eddie Ma-
gill, the megaphone crooner, closed
a successful three months’ engage-
ment at the Paramount and was
immediately signed for a similar
job at the Paramount, San Fran
cisco.

BROOK ON VACATION

SEATTLE, July 24. — Clive Brook,
Paramount star, paid the North-
west a visit this week prior to
taking a vacation in the Canadian
woods. He was accompanied by
his wife.

ROACH IS VISITOR

SEATTLE, July 24.— Hal Roach,
producer of the Laurel and Hardy
comedies, was one of the guests
of the many guests who are mak-
ing the Northwest their vacation
destination.

(Continued from Page 4)
on the singing was carried through
the entire film.

CASTING DIRECTORS’
VIEWPOINT : Miss Daniels sur-
passed her previous worki using
a Southern dialect and singing
several songs, with a part that
should certainly set her higher still
as a talker star, while Marshall,
with a fine baritone, and forceful
personality, displayed considerable
dramatic skill in his straight talk-
ing scenes.

Wheeler and Woolsey were a
howl throughout with pip material
to work from, and their feminine
foil, Dorothy Lee, displayed a
charming personality. Miss Lee
looks like a good talker bet, from
her work in this film.

Ralf Harolde played the gambler
— a restrained style that made
the menace of the character an
important part in the action.
Cawthorn and Miss Howland were
effective as the comedy married
couple, while supporting roles
were ably filled by Edward Chan-
dler, George Herman, Raymond
Maurel, Bruce Covington and Eu-
gene Jackson.

GIBBONS.

Eddie Magill and Paul Spor do-
ing a little street dance — what’s
the matter with the stage, boys? —
Bobby Armstrong rushing to try
to get on a suicide — Frank Mc-
Donald doing the same — Owen
Sweeten and his boys going to
Vancouver for a little “interior
decorating” — Paul Tutmarc play-
ing the bold, bad man with two
revolvers — Sammy Gore and the
press doing an impromptu at Cof-
fee Dan’s — what a hot pair!

Myrtle Strong and Tiny Burnett
and his boys all dressed up in new
gray uniforms— plenty of class —
Jean Singer attempting to sell some
week-old violets— she could do it
if anyone could — A1 Schuss stroll-
ing down the street — no cigars in
evidence.

At the Hollywood Ball — Jim
Clemmer dancing with Mrs. Fin-
klestein — Dave and Mrs. Logg with
other air-minded folks — Paul Tut-
marc singing “There’s Danger in
Your Eyes” to Jean Plarlow — with
Owen Sweeten taking it all in-
even though he was only a band
leader — Tiny Burnett drinking gin-
ger ale — and being accused of
drinking something else.

Mayor and Mrs. Edwards at the
guest table — Bob McFarlane and
Gwen Brown tripping the light
fantastic— Buddy Jenkins lending
his pair of pipes to the atmos-
phere — Ray Watkins drumming —
and looking like he didn’t know
what it was all about — Lou Golden

and names — too numerous to
mention— discussing “Hell’s An-
gels.”

Herb Sobottka answering a long-
distance call for Ken Warner — A1
Rosenberg the day after the night
before — and looking like it, too —
Alice Lou Sweet too busy for any-
thing — but business — Frances Per-
ry recuperating — Gus Renstrom
still at the Fifth back-stage — hop-
ing he’s there many more years.

It’s Like
This!

My new monthly publication,
“THE COMEDIAN,” will not

please the performer who still
enjoys telling audiences why
the chicken crossed the street,
or that the woman who ac-
companied him was not a lady
but his wife. “THE COME-
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and caters exclusively to top-
notch entertainers. It’s small,
but good. No.’s 1 and 2 are
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“THE COMEDIAN” will satisfy
qualified fun salesmen, or
money back. Send orders to
the publisher.

WALTER LONDON

P* O. Box 139, Vine St. Station
HOLLYWOOD, CALIF.

WE. 6171

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SATURDAY. JULY 26, 1930

INSIDE FACTS OF STAGE AND SCREEN

PAGE ELEVEN

An Open Invitation To

STAGE and SCREEN
PRODUCERS, MANAGERS
and BOOKING AGENTS

r

i’

“BUD MURRAY’S CALIFORNIA SUNBEAMS,”
“DUMMY NUMBER” AND “DOING THE DER-
BY” THE UNIQUE, EXTRAORDINARY NOV-
ELTY DANCE IDEA. “COWGIRL RHYTHM
DANCE,” STAGED BY LAFE PAGE — DONE
BY MISS MAY LARUE.

V

ALL THIS AND MORE IN FANCHON AND MARCO’S “WEST-
ERN” IDEA, FEATURING THE FAMOUS “BUD MURRAY
CALIFORNIA SUNBEAMS,” BOOKED FOR ENTIRE CIRCUIT.
NOW AT LOEW’S STATE, LOS ANGELES.

V

Note the precision and unison in
the “Sunbeams” work

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We are prepared to supply “Units”
like this on 24'hour notice - - < for
pictures - - revues «• - - presentations

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WRITE — WIRE — PHONE

Bud Murray

School for Stage and Screen

3636 BEVERLY BLVD.

DUnkirk 6721 / Los Angeles

SEE

PAGE TWELVE

INSIDE FACTS OF STAGE AND SCREEN

SATURDAY, JULY 26, 1930

Hot Licks of Music

By JACK B. TENNEY

MTADDEN GETS
S. F. BALLROOM

Why are eastern orchestras more or less a flop on the
Pacific Coast? And — in the same breath — why are western
bands so popular in the east?

It is not my intention to appear localized nor do I wish to
appear State proud and that sort of thing. The facts seem
to warrant the question. Eastern bands come and go but
never attain the popularity of the Coast organizations. On
the other hand, western bands are received with open arms
in the east and, with few excep-+
tions, are made, nationally, after
the first trek to the Atlantic.

In support of the popularity of
western aggregations, note the in-
numerable eastern orchestras being
billed under such cognomens as
“So and So’s Californians,” etc.

The psychology of the west seems
to be deeply ingrained in the minds
of the men of music in the east,
because many of these “Califor-
nian” aggregations do not boast of
a member who has traveled west
of the Rockies.

By “flopping" I do not mean
that these eastern orchestras have
failed musically. They have sim-
ply failed to impress. Great or-
ganizations, in the main — great ar-
rangements, great management and
leadership — and yet they fail to im-
press. I remember two bands that
were sensational on the western
stage and yet a total loss in a
western ballroom.

It may be a question of rhythms
- — it may be western psychology.

But it doesn’t hold up when we
consider the popularity of our own
bands in the east. Some wag be-
yond Chicago may wisecrack that
western bands are like everything
else western, over-advertised, etc.,
but that won’t change the facts.

* * *

Our old friend, Ernie Lorhman,
pianist, has been holding forth in
and around San Francisco these
last few years. Hello _ yourself,

Ernie — and how’s everything?

* * * s

SAN FRANCISCO, July 24.—
In a deal completed last week the
Balconades Ballroom was taken
over by C. H. McFadden, who
will operate the dance spot with
Walter Krausgrill and orchestra
featured. McFadden begins opera-
tion on August 1 and Krausgrill
opens August 4.

McFadden will inaugurate a
number of new policies including
a Saturday midnight dance with
carnival atmosphere. El Patio
Ballroom has been taking the bulk
of ballroom business in town for
the past several years.

NEW UNIVERSAL
MUSIC CONCERN

Owen Fallon has a great dance

Universal Pictures announces the
formation of a new music com
pany known as Universal Music
Company, Ltd., formerly Hand
man, Kent and Goodman Music
Publishing Company.

Frank Goodman remains as
president of the new firm which
will handle- music written for Uni
versal pictures. Lou Handman,
Universal contract song writer,

organization up at Wilson’s Ball- will serve as vi«-president The

room. Owen and his boys leave
nothing to be desired in the way
of rhythm and keep the fans happy
between . times with many clever
novelties. The arrangements used
by this aggregation are exceptional,
combining modern arranging with
clean melody figures that are not
only danceable but dance-provok-
ing. The popularity of this cl’ever
organization is quite evident in the
good business being enjoyed by
Wilson’s Ballroom.

* * * *

Mike Ortiz, trumpet, after tour-
ing California with Marathon bands,
is back in Calexico.

* * *

Conceit, I believe, has ruined
more good musicians than any
other vice. To be good is one
thing, and to be all puffed up about
it is another. If a fellow happens
to be better than the rest of the
gang, it is hardly necessary to be

main offices of the company will
be maintained in New York City.

CAMPAIGN ON THEMIE

Sig Bosley, Pacific Coast repre-
sentative for Robbins, Inc., is put
ting across an extensive compaign
on “Just a Little Closer,” the
themie of “Remote Control,” the
new M-G-M feature starring Wil-
liam Haines. Bosley beat the gun
on this number with -some nifty
tie-ups which should bring big re
suits in putting it -over.

always emphasizing the fact — the
gang will know it and won’t hesi-
tate to say so. But when one is
good and is always rubbing it in —
building up superiority on the oth
ers’ inferiority — then someone is
apt to get mad. And in the long
run the conceited one is bound to
feel the reaction.

THE ORCHESTRA WITH THE LARGEST
DANCE FOLLOWING IN LOS ANGELES

OWEN FALLON

AND HIS

CALIFORNIANS

NOW IN
THIRD YEAR

AT

WILSON’S

BALLROOM

(Formerly Cinderella Roof)

Los Angeles

LOS ANGELES

Very little notable change in
the line-up from last week. Some
hot days hurt the volume of sheet
sales. No. 1 is far ahead of the
field:

1. “I’m Dancing With Tears
in My Eyes” — Witmark.

2. “It Happened in Monterey”
— Eeist.

3. “You Brought a New Kind
of Love to Me” — Famous.

4. “Absence Makes the Heart
Grow Fonder” — Remick.

5. “So Beats My Heart for
You” — De Sylva, Brown and Hen-
derson.

6. “I Remember You From
Somewhere” — De Sylva, Brown
and Henderson.

7. “If I Had a Girl Like You”
— Feist.

8. “Singing a Song to the
Stars” — Robbins.

9. “My Future Just Passed” —
Famous.

10. “Stein Song” — Radio Mu-
sic Co.

Records

’ 1. “Dancing With Tears in My
Eyes” — All recordings.

2. “Singing a Song to the
Stars” — Brunswick.

3. “So Beats My Heart for
You” — Brunswick.

4. “Absence Makes the Heart
Grow Fonder” — All recordings.

5. “You Brought a New Kind
of Love to Me” — All recordings.

y 2 . “Wawa Girl From Agua
Caliente” — Victor.

7. “Dangerous Nan McGrew”
— Victor.

8. “Swinging a a Hammock”—
All recordings.

9. “Old New England Moon”
— Victor.

10. “Highway to Heaven” —
Brunswick.

SAN FRANCISCO

“So Beats My Heart,” “Bye
Bye Blues” and “Old New Eng-
land Moon” were newest entrants
in the song leaders’ list, which
continued to be topped by “Danc-
ing With Tears in My Eyes.”
Here’s the lineup:

1. “Dancing With Tears in My
Eyes” — Witmark.

2. “It Happened in Monterey”
— Eeist.

3. “So Beats My Heart”— De
Sylva, Brown and Henderson.

4. “Singing a Song to the
Stars” — Robbins.

5. “Swinging In a Hammock
— Berlin.

6. “My Future Just Passed —
Famous.

7. “New Kind of Love —
Famous.

8. “Bye Bye Blues”— Berlin.

9. “If I Had a Girl Like You
Feist.

10. “Old New England Moon”
— Berlin.

NORTHWEST

1. “Dancing With Tears in My
Eyes”— Witmark.

2. “Singing a Song to the Stars ’

■ — Robbins.

3. “You Brought a New Kind of
Love to Me” — Famous.

4. “When the Little Red Roses”
De Sylva, Brown and Hender-
son.

5. “It Happened in Monterey —
Feist.

6. “Rock-a-bye-to-Sleep in Dixie’
Cross.

7. “Needin’ You” — Remick.

8. “Telling It to the Daisies”—
Remick.

9. “Tonight” — Cross.

10. “IVfoon Is Low”- — Robbins.

Accidentals

By RALPH KOEHLER

I am writing this in San Diego, California’s most southerly
metropolis, a city of pretty girls, lonesome gobs, gentle roll-
ing hills, thirsty tourists border bound, a noticeable absence
of miniature golf courses and auto parks, the resonant boom
of steamer whistles synchronizing to the rhythm of street
traffic clatter, M. P.’s peeking around corners, marquee lights
revealing a healthy box-office activity.

San Diego has a nice string of picture houses, with one
vaudeville, one stock company, and^--

NEW TUNE HITS

Harry Walker, in collaboration
with Milton Brockman and Jules
Herman, has produced a new popu-
lar song entitled “I See Your
Daddy in You,” published by
Morse M. Preeman, Los Angeles.
The number has appeal in melody
and sentiment, and although only
published a few days is beginning
to move. Walker is manager of
the sheet music department of the
Kress store here.

SUCCEEDS DON GEORGE

SAN FRANCISCO, July 24 —
Jan Philip Schinhan -has succeeded
Don George as solo organist at
Publix’s California.

only one large ballroom. Beach
ballrooms are not packed as they
might be, however, although a few
of the wayside houses are reported
to be doing considerable business.
From the standpoint of the musi-
cian, however, conditions are not at
all so good. I have it on good
authority that of the approximate
500 musicians residing here, not 10
per cent are employed regularly.

* * *

Now let us look around Tia
Juana, sixteen miles below San
Diego. It is not hard to find; just
follow the stream of cars and you
are there. I counted at least twen-
ty-five orchestras in this border
town, ranging from two pieces to
combinations of eight. None of
them outstanding musically, and
very few making good money, the
kittie angle being considerably lean
these days. Mexican musicians
predominate everywhere, of course.
If you haven’t visited Tia Juana
during the past four or five years
you will note some improvements,
but not so very much.

* * *

Four miles farther south we find
Agua Caliente, the “Deauville of
America,” the magnificent spot of
Lower California, where thousands
of trees, shrubs and flowers, with
extensive buildings of Spanish
architecture, stone walls and walks
have transformed a one-time Mex-
ican desert into a thing of beauty,
a mecca for the better class of
pleasure-seeker.

In the dining room of the crowd-
ed Casino one can dance to the
soft, fervent music of Carr’s Agua
Caliente Orchestra under the di-
rection of Perk Carr. This is the
same twelve-piece aggregation that
opened here almost three years
ago. Carr has worked hard to
build up his organization to where
it is now, and his special musical
arrangements, colorful and novel,
are a revelation. Jay Eslick, per-
cussionist, is the vocal feature.
Their feature number — or might I
say theme song — is the “Wah Wah
Girl From Agua Cailente” — and
why not?

* * *

Everyone in San Diego knows
Dudley Nashold for his many years
of musical activities in these parts.
During the past ten months he has
been managing his own Downtown
Ballroom at 11th and Broadway.
Dudley features his orchestra of
ten, and most of its members have
played for him for a good many
years.

A few changes in the personnel
of the band were necessary last
week owing to the fact that Spence
Hill, pianist, and Wallie Rutan,
saxophonist, have left to join Phil
Phillips’ Orchestra at Tulsa, Okla-
homa. Kyle Glazier, from the
Oaks Tavern in Los Angeles, re-
places Spence Hill, and Kennie
Creel will hereafter bat for Wallie.
Ray Watts, formerly of Fanchon
and Marco time, has been engaged
as the new master of ceremonies.

* * *

Edith D. Steele, pianist and or-
ganist, well known among the pro-
fession in San Diego, is receiving
congratulations on her promotion
to the console of the New Fox
Theatre organ. Edith has been
with Fox Theatres for the past
two and one-half years, her previ-
ous post having been at the Fox

North Park. Prior to that she was
pianist for Cliff Webster at the
Pantages. She hails from Illinois,
where she was musical directress
for the Great States Theatres of
Illinois. She also wielded the ba-
ton for Cliff during the latter’s
vacations.

* * *

George Breece is the young tal-
ented conductor of the stage band
of eleven men at the New Fox,
where the Fanchon and Marco
Ideas are presented. George has
been m.c,-ing here for the past
three months. He was elevated
from the first violin chair at the
Fox California to this assignment.
The band broadcasts every Satur-
day night over KFSD between .8
and 8:30, by remote control from
the theatre.

* * *

Drove over to Coronado Beach
by way of the ferryboat and found
the Clark Brothers Orchestra of
seven furnishing the rhythmic
strains at the Tent City Ballroom.
The Clark Brothers, Charles and
Walter, are an ambitious pair, and
have charge of the music at the
Coronado Hotel, Grant Hotel, and
in the winter months play the
Tent Ballroom in San Diego.

* * *

Pulled a fast one on Gus Boerste,
saxophonist, by dropping in on him
quite unexpectedly. Gus and I
have known each other on and off
for the past fifteen years, but we
have a habit of losing track of
each other every so often, and I
take a keen delight in presenting
myself at the most unexpected
times — that is, when I can locate
him.

Gus is now working at the Tal-
madge Tavern on 44th street. In
the band are: Allen Greenwood,
banjo, guitar and trumpet; Joe
Luckett, piano; Paul Rostain, ban-
jo, drums and mandolin; Gus
Boerste, all saxes and clarinet. The
boys broadcast every Monday
night over KGB from 9 to 10., and
they go in for some mighty good
vocal trio numbers.

* * *

Cliff Webster still holds forth
at the RKO Orpheum with a pit
band of nine men.

* * *

Sunny Brooks’ Music Masters at
the Mission Beach Ballroom are
certainly going over big with the
dancing patrons. Their arrange-
ments all bear the stamp of orig-
inality, with unique effects and
much caper-cutting. Sunny Brooks
does a lot of clowning, kidding,
singing and m. c.-ing in general.
There is real showmanship to his
work, the kind that goes over with
a bang anywhere.

* * *

Jamie Erickson, organist at the
Fox California, is the composer of
an original characteristic Oriental
dance, “Persianna,” now published
here by Quincke. — George Bacon,
Superbo Theatre organist, hied
himself off to the Chapel of Roses
at Riverside a couple of weeks ago
and was married. — Edgar Stone is
still playing at the Savoy. — Paul
Mace at the Fox Egyptian.

J. Farrell MacDonald and Lil-
lian Worth will play featured roles
in “The Steel Highway” for War-
ner Brothers.

GEORGE OLSON

AND HIS ORCHESTRA

At the George Olsen Club, Culver City, and via Radio KFWB,
maintain their nation-wide popularity by keeping their pro-
grams up-to-date. Recent feature selections at the class night
club are the M-G-M Hits:

“SINGING A SONG TO THE STARS” — “MOON IS
LOW”— “CHEER UP, GOOD TIMES ARE COMING”
“JUST A LITTLE CLOSER”

ROBBINS MUSIC CORP.

799 SEVENTH AVE. NEW YORK CITY

SATURDAY, JULY 26, 1930

INSIDE FACTS OF STAGE AND SCREEN

PAGE THIRTEEN

Legitimate

(Continued from Page 9)
ing and seasoning, and either a
few more line girls or their elimi-
nation entirely from the first half,
would make “Oh Judge” a very
tasty dish.

Edward Eisner directed, and
Lucien Denni led the seven-piece
orchestra in the pit. First night
audience packed the house tight.

YEATES.

‘FATA MORGANA’
HOLLYWOOD PLAYHOUSE

(Reviewed July 16)

Billed as a “Continental com-
edy of sex,” this is the little story
of a wholesome young country
lad’s education in the ways of
women, and this Collins produc-
tion of it is significant for two
things: expert direction and per-
fect timing, at the hands of Ar-
thur Greville Collins-, and splen-
did acting by a cast headed by
Elsie Ferguson and Tom Douglas.

Elsie is the vivid young wife
of an elderly lawyer. She visits
country relatives to find all ab-
sent overnight except young Tom
Douglas. Intrigued by his evident
innocence and naivity she exerts
all her charms and he succumbs,
resulting in them having “a secret.”
Tom falls terribly in love, and
when Elsie’s husband arrives next
day he demands Elsie’s freedom
so he can marry her.

There is naturally a big fuss.
Elsie breaks Tom’s heart by deny-
ing him in front of everybody.
After private persuasion he re-
tracts in order to save her meal
ticket and the final curtain finds
him holding the entire stage alone
with his boyish grief.

Tom Douglas’ touching perform-
ance took the women of his audi-
ence by storm, nor did it fail to
impress the men. His delivery
was quiet, so much so that there
were many times when his lines
could not be heard more than
half way back.

Miss Ferguson’s splendid tal-
ents were revealed to full advan-
tage, and she gave the role a
positive individuality. Although a
vampish part, sjie was able to de-
lineate it so humanly as to enlist
sympathy for her weaknesses.

Among the support players, Bob
Lawler’s performance as Miss Fer-
guson’s husband was an optstand-
ing piece of work. Others in the
excellent cast were: Alma Powell,
the boy’s mother; Karen Morley,
his sister; Andres Van Haden, his
father; Jessamine Newcombe, his
aunt; Fredrick MacKaye, his
chum;* Harry J. Leland, coach-
man; Josa Melville and Fred-
erick Harrington, friends; Chester
Duddley, village idiot; Brenda
Forbes, pampered cousin. All han-
dled their parts adequately and re-
flected the efforts of the very fine
direction.

Rita Glover designed the single
set, and organ music was fur-
nished by Edwin Yeo between the
whiles.

Very heavy applause greeted the
whole cast and principals at final
curtain. Attendance was very
good, especially in view of the
current heat wave.

YEATES.

‘IT’S A WISE CHILD’
CURRAN

SAN FRANCISCO
(Reviewed July 21)

David Belasco’s production, “It’s
a Wise Child,” opening this night
at the Curran, has much to recom-
mend it. Firstly, it has a cast that
is excellent; second, it has some
of the smartest comedy lines yet
written; thirdly, it has several ace
performances that rank among the
year’s 'best.

jrnls production is a cinch to do
good business here, as it appeals
especially to the women, while
the men, too, get a great bang out
of it.

One of the swellest parts of the
play is handled by Leila Bennett,
who does the maid. Her every
entrance, exit and line is good for
hearty laughs and at this opening
night’s show she carried off the
affair, though she was closely fol-
lowed by one or two others.

Another excellent part was that
contributed by M;inor Watson in
the role of Stevens, the lawyer.
With a broad comedy vein run-
ning through it Watson played
this fat role to its -fullest extent
and got great returns. Harlan
Briggs as Appleby, the wealthy
small towner, gave a pip of a per-
formance.

Sidney Toler, an Oakland boy
who has -made good in the city,
was cast as Cool Kelly, the ice
man. Toler took a neat hand on
his initial entrance and drew heavy

PARAMOUNT HAS
ORGANIST SHIFT

SAN FRANCISCO, July 24.—
Paramount Publix suddenly
switched Oliver Wallace from the
local Paramount this week to- the
Los Angeles house where he suc-
ceeds Milton Charles. Louis Flint
takes over the local console as or-
gan soloist.

NEW NUT TUNE

A new comedy number written
by Ben Bernie, Ed Albertson and
Len Levinson, entitled “Don’t ! I
Love It !” is now being featured
by Bernie and his Orchestra at
the Hotel Roosevelt, Bernie and
his band have made specail ar-
rangements of the new song for
phonograph recording via Bruns-
wick records. The nut tune, which
will be published shortly, will soon
be available in professional copies
and orchestrations.

BUD MURRAY PUPIL

Mae LaRue, now playing in the
F. and M. “Western” Idea, staged
by Bud Murray, which opens at
Loew’s State this week, is doing
an original rhythm dance staged
by Lafe Page, associate and off-
rhythm expert at the Bud Murray
School. Bud Murray pupils are
now being groomed for the “Toe
vs. Tap” Idea, in which modern-
ized ballet steps will be taught by
Mary Frances Taylor, ballet di-
rectress of the above school.

laughs throughout his appearances,
and totaled a neat night’s work
for himself. Helen Lowell was
excellent in the part of the elderly
aunt, Mrs. Stanton. Her charac-
terization was very well done.
Olga Krolow as Alice Peabody,
the dominating wife, was good,
while Porter Hall as her -hen-
pecked husband, was equally ex-
cellent.

In the leading role Mildred Mc-
Coy was too confidential -with her
fellow thes-pians . It was often dif-
ficult to hear -her. George Wal-
cott as her brother, too, could
have been much better. His dic-
tion often -took on the broad A
aspects that were not convincing
in -this role. Josep-h Striker as
Roger Baldwin playied his part
okay.

Laurence E. Johnson has writ-
ten this story in a refreshingly
original vein giving it many
unique and fast m-oving twists.
There are some plenty funny lines
and although the entire plot of
the play deals with one gal who
is about to become a mother and
another gal who claims to be in
the same predicament there is
nothing offensive about the lines
as put over by this cast.

The one setting was by Joseph
Wickes and was good.

The musical program was con-
tributed by Don Banrientos and
orchestra and included pop and
semi-classic music well enough
done. David Belasco personally
staged this production which had
the original New York cast. Tunis
F. Dean is -business manager.

BOCK.

OLSEN-JOHNSON
RATE AS STARS

Tremendous hit of Olsen and
Johnson, who started off as sup-
porting players, but wound up as
the stars, when “Nancy From
Naples” opened a two week run
at the Warner Brothers Hollywood
Theatre, has resulted in a new
change of title, hanging the pic-
ture on the two vaude comics as
a starring vehicle.

Made from Elmer Rice’s stage
play, “See Naples and Die,” with
an “all-star” cast including Chas.
King, Irene Delroy, Noah Beery,
Lotti Loder, Olsen and Johnson,
Vivian Oakland and Charles Judels,
the picture now emerges as “Oh,
Sailor Behave,” with Olsen and
Johnson featured.

After the first few days of the
picture run here, Olsen and John-
son were shoved up in all adver-
tising as the feature of the film.
Picture closed last Thursday after
a two week run.

One of the cleverest and yet
the youngest radio entertainers to
recently come on San Francisco
ether waves is Charlie Carter, a
14-year-old youth, who-se impres-
sions -of Chevalier are mighty con-
vincing. He has been on KFRC
for some little time and only last
week was added to the Cam-el
Hour over NBC, where he made
a distinct hit. He used to do Jol-
son but has discarded that b. f.
singer in favor of the Frenchman.

ADD DANCE DIRECTOR

Addition of Anthony Z. Nelle,
ballet master, to the, dance direc-
torial staff of the Mosconi School
of dancing was announced this
week. Staff includes some of the
best known dance directors in
America and Europe, recruited
from the stage in New York.

NEW CLASSES PLANNED

Lon Murray, director of the Lon
Murray School for Stage Dancing
and Dramatics at 3416 West First
street, announces new classes in
tap under his personal supervision,
and in ballet under the direction of
Signor G. V. Rosi, the famous
Italian ballet director. All classes
are limited to eight, and a new fea-
ture of the Lon Murray School is
the open-air roof garden, which is
the only one in Southern Cali-
fornia.

JAN PHILLIP

SCHINHAN

Solo Organist
PUBLIX’S CALIFORNIA
San Francisco

WEBER VISITING
SAN FRANCISCO

SAN FRANCISCO, July 24.—
As part of a national tour Joseph
N. Weber, president of the Ameri-
can Federation of Musicians, was
here this week* meeting with Al-
bert Greenbaum, local secretary.
From here he continued on to the
Northwest.

MRS. BOND WRITES

Carrie Jacobs Bond’s first song
written for the screen will be sung
by Grace Moore, Metropolitan
Opera star, in her first picture at
M-G-M. “Lovely Hour” is the
title of the new number.

STONE WITH MANAOIS

SAN DIEGO, July 24. — Sammie
Stone, director of the Harmony
Boys, radio artists of St. Louis,
has been appointed personal repre-
sentative for the Manaois Music
Pub., covering Missouri, Kansas,
Iowa, Nebraska and Illinois. Stone
reports that a number of promi-
nent radio artists and orchestras in
that territory are featuring the
firm’s plug numbers, “Senorita..”
and “Am I the Only One For
You?”

SUE CAROL PICKED

Sue Carol gets the feminine lead
with the radio stars, “Amos ’n’
Andy,” in their first film for RKO-
Radio Pictures.

JE1/E HAEFCED

, And His San Francisco
PALACE HOTEL ORCHESTRA
Featuring His and Gene Rose’s Song Hit, “Tonight”

JACK SPRIGG

MUSICAL DIRECTOR

R-K-O ORPHEUM SAN FRANCISCO

PETER PAUL LYONS

AND HIS CONCERT ORCHESTRA
LOEW’S WARFIELD SAN FRANCISCO

f DD TAD ORCHESTRA
▼V JLiLdiLi conductor

NEW STATE THEATRE SYDNEY, AUSTRALIA

RETURNING TO THE U. S. A. IN OCTOBER

TED HENKEL

MUSICAL PRESENTATION

CONDUCTOR and DIRECTOR

CIVIC THEATRE

Auckland, New Zealand

Pit Orchestra of 30 - : - Stage Band of 20

“BUSS” McClelland

San Francisco’s Most Consistent Organist
First to Present

Organ Songologues — Miniature Organ Produc-
tions — Baby Organ Idea in San Francisco

RKO ORPHEUM THEATRE

San Francisco

EMIL

STURMER

Musical Director
Paramount Theatre
San Francisco

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PAGE FOURTEEN

INSIDE FACTS OF STAGE AND SCREEN

SATURDAY, JULY 26, 1930

R-K-0 THEATRE

LOS ANGELES
(Reviewed July 17)

Hot weather outside,

cool at-

mosphere inside, vaude bill not
so hot either. (1) George, Andre
and Company, adagio; (2) Sybil
Vane, songbird; (3) Lander
Brothers, comedy team; (4) Palm
Beach Nights, girl revue-

The adagio opener was billed
“Tropical Nightmares,” which ex-
plains a few things. Tropical is-
land sunset scene, started off with
somebody trying to warble; three
men on, wearing feathers and
capering around in a bird ballet.
Audience thought it was funny and
laughed out of turn. Girl on, and
the boys tossed her around; bad
muff on one catch nearly spilled
the girl. And that was that.

No. 2 was billed “Sybil Vane,”
but a man walked out in the spot
and bowed and smirked as though
expecting a reception, which he
did not get. He agitated the
ivories a while, and held a spot
on himself all through the act.
Miss Vane also sang, and once in
a while could be heard and seen
through the keyboard fireworks.
She warbled “Somehow I Feel
You Near Me,” “Irish Eyes,” “In
the Garden of My Heart” and
“Should I.” Between the piano
player and a guy in the audience
who dropped a bottle and started
the crowd laughing, the poor girl
had a hard time getting a break.
At curtain she introduced her
pianist as a home town boy.

' Harry and Willie Lander dished
up some chatter and a couple of
nut songs and seemed to make
some of the customers forget the
stock market for a time. Then
after paying off they came back in
the closing act, with the girl revue.

Palm Beach Nights did not
show -much of the night life of
the Florida resort. A clever girl
gave a nice aero tap and scored
with it. Most of the act was
taken up with a boiler lid and toy
balloon in the hands of one of
the Landers, and a burlesque wed-
ding, closing with a line dance
that was not very hot. One of the
girls tried a Helen Kane on
“Aintcha,” and another girl of-
fered a buck.

Film fare was “She’s My Weak
ness” (Radio Picture). * *

YEATES.

ORPHEUM

SEATTLE
(Reviewed July 24)

A pleasing organ recital was
opened by Myrtle Strong and
was followed by a well balanced
overture, “Naughty Marietta,”
played by Tiny Burnett and the
boys. The violinist in the band
did some pleasing work when he
played “Ah, Sweet Mystery.” A
very satisfying concert.

One of the classiest dance acts
seen in this section for some time
was first on the menu. Four girls
appearing with Will Higgle and
Betty Frazer present the popular
jazz type of terpischore. One of
the highlights of the act was Hig-
gie’s interpretation of “The Kid’s
Last Fight.”

Roth and Shay, a couple of ec-
centric acrobats, kept the patrons
in a continual mood of laughter
with their antics. Most of their
stuff was new and difficult in ap-
pearance.

Walter Walters and company

offered “The Baby’s Cry,” a mod-
ern ventriloquist skit. The way
Walters handled the various situa-
tions was an art in itself.

The Roxy Gang, which closed
the bill, was one of the best sing-
ing acts to appear in Seattle in
many a day. The classical type of
song was used. Harold Clyde
Wright acted as announcer and
did a good job of it. He also pre-
sented a vocal on “Marching
Home to You,” earning a nice
hand for his efforts. Adelaide De
Loca sang “Mighty Lak a Rose”
in a contralto voice that was deep
and clear as a bell.

John Griffin, tenor, used “When
Irish Eyes Are Smiling” and took
an appreciative hand for his work.
Jeanne Mignolet pleased the fans
with her rendition of “The Last
Waltz.” The outstanding bit was
the quartet offering of Rigoletto.
This went over big. More of this
type could be used to good advan-
tage. Credit goes to Helen An-
drews for the able accompaniment.

OXMAN.

HIPPODROME THEATRE

LOS ANGELES
(Reviewed July 16)

Manager Clayton tried some-
thing new at the Hippodrome. It
was billed Foster’s Indoor Circus
with lobby decoration in keeping
with circus idea, having dogs,
monkeys and pigeons scattered
through lobby m a ki n g a nice
effect.

Circus opens with Phil LaToska
as ring master. Stage setting is
one ring circus and LaToska in-
troduces Foster’s horses, dog and
pony. They went through a very
nice routine of tricks and monkey
and one dog did some clever stunts
while riding pony around ring.
LaToska then introduced Gasca
Twins, two small boys, in a double
trapeze act. This was received
nicely.

LaToska then announces himself
after which he proceeds to go
through a very clever routine of
juggling, clubs, balls, tables, etc.
This went nice. Following this,
he _ announced the Gasca Trio in
a tight wire act. These three boys
put over many novel stunts on the
tight wire.

LaToska then announces Gus
Elmore and Esther in the “Wild
Man.” These folks proceeedd to
put over some very good comedy
with Elmore as the wild man and
Esther as the kid. This was the
only comedy in the show. They
got many laughs and went very
big. Next the Gasca Family, in
which four men and one woman
did many novel acrobatic stunts.
One feature was boy walking on
crutches up-side- down, another
feature was lady walknig on big
ball _ while juggling clubs and
burning candle sticks. Finish of
the act, all did some fast tumbling.

LaToska then introduced Foster’s
High School Horses, two beautiful
horses with man and woman pre-
senting many novel tricks with
these horses while riding around
ring. This added a nice finish to
the circus .idea and as a whole it
was very well received. Leon
Miller was seen all through the
show with his clown eccentricities.

Picture “Broadway Hoofer.”

BOB.

Gloria Lee and the Hauser Boys,
quartet of singers, dancers and mu-
sicians, are in a new act for RKO.

WANTED — Act* Suitable for Vaudeville, Picture House
Presentations, Clubs and Talkies

AL WAGER

THEATRICAL

AGENCY

(Artists* Representative)

221 Loew’s State Bldg;. Phone VAndike 3619 Los Angeles, Calif.

AL LEICHTER

Phone

GLadstone 3404
Theatrical Enterprises and Booking Agency
6912 Hollywood Blvd., Suite 325 Hollywood, Calif.

EDDIE BROWDER and MAX MILLARD, Associates

WANTED — Acts for - Theatres, Fairs and Productions.

CAN ARRANGE — Routes for Standard Acts and Per-
sonal Appearances for Motion Picture Artists Going East

THEATRE MANAGERS and FAIR SECRETARIES:—

Consult Us Before Making Your Booking Arrangements

HIPPODROME THEATRE

LOS ANGELES
(Reviewed July 20)

Mabel Simmons opened the show
with a little tap dance. This was
followed in change of costume for
ribbon dance. For a finish she did
some novel contortion tricks.
Fair.

Pierce and Violette, man and
woman in duece spot, offered some
good comedy then lady put over
a blue number, “Am I Blue,” to
very good effect. Some more com- 1
edy was offered by both and a
double song for finish.

Carter and Dorsey, man doing
Hebe, lady straight, offered a good
routine of hokum comedy. For a
finish they sing “When I Dream
of Old Erin,” in harmony. This
went very big with a Hebe singing
an Irish song. Both have good
voices and clicked very big.

Joan McGowan followed ren-
dering “I Love You” to good ef-
fect. Makes an announcement
that she will sing her next num-
ber in three voices, contralto, so-
prano and mezzo soprano. This
she does very well. Following,
she used a sort of jazz number
with the three voices for a finish.
Went very big. Good act.

Eddie Vine and Brother, next
to closing. Man enters and starts
to sing song with a few interrup-
tions by other man in boob char-
acter, straight man then tells a
few gags and this was followed
by him with imitation of Chinese
boy singing an American song.
This was very good. Straight then
introduces his brother and comedy
is offered as brother wants to go
on the stage and claims that
everything he can do he wrote
himself. He followed this by sing-
ing Victor Herbert’s “Sweet My-
stery of Life.” This went very
big. They double harmony song
for finish which brought them
back for an encore. Good act.

Tom and Jerry Revue closed
show with two men in comedy
make-up, one as a baron the other
as a count and pretty little girl
doing straight. Baron and count
offered comedy talk regarding girl.
At this point, girl enters and a
little flirtation business is offered
followed by girl doing fast buck
dance. This was followed by
count and baron with comedy
magic tricks. Lady then enters
in change and offered another
dance. Count and baron proceed
then tb do some fast juggling
with clubs for a finish. All on for
bows. This is a new act and in a
short time will develop into some-
thing big.

Picture was “Dance Hall.”

BOB.

MILLION DOLLAR

LOS ANGELES
(Reviewed July 17)

(1) Nolly Tate, dog act; (2)
Webb-Diaz and Dexter, banjo and
dance act; (3) Frazier and Ham-
mond, spook act; (4) McGreevey
and Jeffries, nut musicians; (S)
Royal Revue, headline.

Opener presented Tate in a
clown costume, doing his acro-
batics with the assistance of three
dogs. Short, snappy turn, regis-
tered nicely.

The deuce act opened with two
boys and girl banjoing, then the
girl went to hoofing to the boys’
music. The boys then offered
Rhapsody in Blue, one of them in
difficulties with a broken string,
then went into a paraphrase of
“Poet and Peasant.” From then
on the act went aero dancing with
music mixed in, and paid off with
fair returns.

Frazier and Hammond number
was a weak spook act, parading a
few trick props, a ghost and a
skeleton, and quite pointless. Got
a few giggles from the kiddies.

McGreevey and Jeffries, nut mu-
sicians, in next to closing, were a
heavyweight woman and a light-
weight fiddler. One novelty they
had was a new kind of one-string
fiddle, and the audience seemed to
like that a little. For payoff the
girl hoofed and the man fiddled for
a fair hand.

Royal Revue, closing headline
act, in a Spanish set, with a five-
piece instrumental ensemble on
stage. Hungarian girl offered an
original Hungarian song and dance.
Orchestra rendered “Sweet Mys-
tery of Life,” with Paul Igreny
soloing on the cimbalon, cross be-
tween a xylophone and a piano.
Adagio Four then indulged in some

body-passing and tossing, winning
recognition, followed by the Hun-
garian girl in a Russian dance. All
on for the bow.

Film fare was Clara Bow’s “True
to the Navy” (Paramount).

YEATES.

STATE

LONG BEACH
(Reviewed July 16)

St. Claire Sisters and O’Day
proved to be a good opening num-
ber, for this week’s performance.
Sisters performed well on the
bicycles as did O’Day, who mixed
a little hokum into his cycling.
One of the sisters is adept at
staging front and back flips. This
act was interesting, something
different, and did not drag in any
part.

Zelda Santley scored through
her impersonations of Eddie Can-
tor, Fanny Brice, Ted Lewis, Hel-
en Kane, and other notables. Af-
ter pleasing the audience with her
remarkable vocal resemblance to
the above stars, she closed with a
highly emotional rendition of “Ten
Cents a Dance.”

Eddie Nelson entered on his
“trike” and proceeded to pull fake
stuff on a uke. He got a load of
laughs with his attempted yodel-
ing then went to pulling gags,
and ended up by playing an over-
sized trumpet and a snare drum.
A fairly good comedy act.

Ann Pritchard and her Five
Boys closed the show. Miss
Pritchard did ballet work nicely,
three of the boys made a nifty trio
for tapping, and the other two stole
the show with their comedy stuff.
This act was an ideal closing one
and it registered heavily.

Picture was “Once a Gentleman”
(Cruze-Sono-Art.)

OKAY.

R-K-O GOLDEN GATE

SAN FRANCISCO
(Reviewed July 16)

Recent splitting of the Kramer
and Boyle unbalanced this four-
act unit in which Roy Rogers was
easily the outstanding attraction.
Viola Dana drew marquee honors,
but on stage that didn’t mean a
thing. Lane, Osborne and Chicco
and Geraldine and Joe completed
the bill.

The Viola Dana sketch was sup-
posed to have been written by
Anita Loos — probably in one of
her lighter moments. When there
are other (superior sketches avail-
able it’s a mystery why this was
selected as a Dana vehicle unless
it was because it required the
former motion picture player to
do nothing but repeat herself in
a few actions that revolved around
the mechanical idiosyncrasies of
office equipment — and that’s where
all the laughs were hinged. Ed
Arnold and Teddy Sterling sup-
ported Miss Dana, who looked
very chic. Stole one bow and
died in the middle of it. Ho, hum.

Roy Rogers, in the deuce, tied
up proceedings with his very
clever drunk stuff that embodied
a lot of acrobatic work, including
some of the greatest back bends
we’ve glimpsed. Plenty of laughs
in this one, and good comedy was
what this bill needed.

Lane, Osborne and Chicco
opened. Mixed dance team and

mixed harp and piano team made
up this foursome. Opened with
quiet and rather meaningless song
by the hoofers, with piano support
much too loud. Then followed
some ankle work that was high-
lighted by exceptional high kicks
done by the male. Harp team did
some fine solo and duo work.

Geraldine and Joe, kids about
eight years old, closed the opera
with a pot pourri of songs, dances
and aero work. Clicked heavily.

Claude Sweeten and RKOlians
drew the laughs with a “Down on
the Farm” overture in which Walt
Sullivan did. the hick sheriff.
Cleverly presented by Sweeten and
the boys this one driew heavy ap-
plause.

Picture was “Inside the Lines.”
BOCK.

FIFTH AVENUE

SEATTLE
(Reviewed July 19)

The F. & M. “Brunettes” Idea
can be divided into three parts,
mainly ; “slow,” “medium,” and
“fast” when tempo of the show is
expressed.

In order to get the show started
at the right moment, it took three
overtures of “It Happened in
Monterey” to get it under way.
The person or persons responsible
for this amateurish bit of work is
unknown, however it was very
noticeable to the patrons.

The Hirsch-Arnold dancers
opened the show assisted by Jose
Mercado, a baritone. The dancers
presented an attractive Castillian
tango and received an excellent
hand for their work.

Armanda Chirot offered a bit of
grand opera of the type that made
her famous with the San Fran-
cisco Opera Company, by singing
Caro Nome from-- “Rigoletto.”
She displayed a wide range which
included a well trained voice. Then
with the assistance of Jose Mer-
cado she sang “It Happened in
Monterey.” As a climax to this
sequence the girls put on a cos-
tume routine featuring Spanish
combs and adding plenty of color
to the show.

In front of a drop the Slate
Bros., a trio of skilled tap dan-
cers, went through their paces in
great style and rated ace-high.
Each of these fellows is good and
each got the spot for a clever
solo. A wow of an act.

With a picturesque set, on full
stage, depicting a Grecian scene,
the Hirsch-Arnold girls returned
for a very fine toe-scarf number
and the Ali Hassan troupe, as
Grecian acrobats, followed to close
the show with some fast whirl-
wind tumbling and pyramid work
which drew a heavy hand.

Karl Horne and the band re-
mained in the pit during the show
and presented nothing special in
the way of music.

The flicker was “Good Inten-
tions.”

OXMAN.

PARAMOUNT

SAN FRANCISCO
(Reviewed July 17)

The minimization of salaries, as
carried out in this show, i-s ham-
pering the quality of stage produc-
tions. Par-Publix is endeavoring

(Continued on Page 15)

PATRICK and MARSH

(A.QENCY)

VAUDEVILLE— ORCHESTRAS

WANTED!

ACTS SUITABLE FOR PICTURE HOUSE PRESENTATION
AND CLUBS

WRITE — WIRE — CALL

607-8 Majestic Theatre Bldg., S45 South Broadway, Los Angeles
Phone TUcker 2140

Walter Trask

WANTS STANDARD ACTS and ENTERTAINERS for
THEATRES, CLUBS, LODGES and SMAROFF-TRASK
PRESENTATIONS

WALTER TRASK THEATRICAL AGENCY

1102 Commercial Exchange Bldg.

410 West Eighth Street Los Angelas

Telephone TUcker 1(80

Artists and Acts Register For
Theatrical Bookings, Orchestras and
Club Entertainment

IRA F. GAY AGENCY

206 Majestic Theatre Building
845 South Broadway
FA 3421 Los Angeles

SATURDAY, JULY 26, 1930

INSIDE FACTS OF STAGE AND SCREEN

PAGE FIFTEEN

Vaude and
Presentations

(Continued from Page 14)

to hold the salaries of acts down
to the lowest possible level, with
approximately $800 sufficient to
cover the four acts comprising this
unit. The result is easily discern-
ible. This was Harry Gounfain’s
“Join the Navy” unit and it
stacked up about like this:

Opened with Leonard St. Leo
and the dozen girls in a dancfe
routine. St. Leo worked okay, al-
though he was handicapped by an
injured ankle. Then the m. c.,
Ken Whitmer, put the band
through “Anchors Aweigh” in
which Red Gilham and Elmer
Hanks did some featured vocaliz-
ing.

Witmer next brought on the
Three Dears, questionably funny
aero trio who laid considerable of
an egg. (This act was jerked
after the first day and Stone and
Burns, dance duo, substituted.)

A juvenile trumpeter, Kenneth
Bernebaum, followed, doing “With
My Guitar,” following with “Tiger
Rag,” in which he also directed
the band. Kid is lacking in stage
deportment, but plays a good
trumpet for his age.

Whitmer in a few more gags
and then St. Leo and the girls
returned for a rifle drill number.
Lemaire and Ralston, next, in
blackface dialogue. Lemaire is
okay with his stuff but the quality
of the act was seriously lessened
by ithe fern, who wasn’t so hot.

Whitmer followed doing “St.
Louis Blues” as a clarinet solo.
Despite its lateness on the bill this
one went over excellently, being
the best feature of the entire show.
Finale had all on stage in naval
atmosphere.

In his second week Oliver Wal-
lace did a highly original version
of “When My Dreams Come
True,” in which he utilized a
trailer with the lyircs. Clicked

JACK BROOK’S

BANJO BOYS
Honey of Banjo Harmony
GArfield 0890

MARIE LE FLOHIC

ACROBATIC DANCING

Warner Bros. Hollywood, July 4
Warner Bros. Downtown, July 18

Thanks to LARRY CEBALLOS

GRACE BARRIE

THE BEST BLUES SINGER
IN MANY A BLUE MOON

Playing R-K-0 Circuit

THREE

SOCIETY STEPPERS

OPENING AT THE

PARAMOUNT THEATRE
San Francisco, Week July 24
Thanks to HARRY SANTLEY and
HERBERT RUBIN

nicely. Emil Sturmer and Para-
mounteers in -the pit.

Screen attraction was William
Powell in “For the Defense.”

BOCK.

FOX

SAN FRANCISCO
(Reviewed July 18)

Fanohon and Marco’s “Country
Club” Idea had Ann Pennington
as an added attraction, the petite
dancing istar getting some pretty
heavy billing around town.

iShow opened on a country club
setting with Walt Roesnier and
band on stage for the first time in
many weeks. Everybody in polo
outfits. Ray Samuels took the lead
in a polo drill number, backed
up by the unit line and the dozen
girls employed in the house’s stock
lineup.

Roesner and band then presented
an evolution of the blues number,
which the gang had done here be-
fore. Closed with a very hot ren-
dition of “Tiger Rag” and clicked
solidly.

Frank Elmer and Lenora Cori
on to chant while the line went
through another number and then
Roesner brought on Ann Penning-
ton, who opened with, a very poor
song and then went into a dance.
For her second number the band
gave her plenty of featured instru-
mental support, but even then the
Pennington rep didn’t register and
she bowed off to a very weak
hand.

Grayce and Masters followed
with some fast moving comedy
work in which Dorothy Grayce
had an opportunity to put over
some top notch laugh stuff. There
were plenty of laughs spotted
throughout this one, which was
topped off by a dancing conclu-
sion. Got good results.

In one, Ray Samuels returned
with Rose Eliska and Betty
Wright and the trio offered a tor-
rid bit of hip and ankle work that
merited nice applause. To full
stage again and Miss Cori came
on for more warbling with the
girls in a number. Segued into
the finale which had four ponies
racing on a treadmill for a polo
flash closer.

As his concert offering Walt
Roesner did a medley of Victor
Herbert compositions, minus the
usual scenic effects. Highlight was
a violin solo, “Kiss Me Again,”
by Thornton Jensen. Brass a bit
heavy in parts. As a second num-
ber Roesner presented Joaquin
Garay who sang “Old New Eng-
land Moon” to nice returns.

Celluloid attraction was Edmund
Lowe in “Good Intentions.”

BOCK.

PARAMOUNT

SEATTLE
(Reviewed July 19)

This was Harry Gourfain’s
“Northern Nites” unit and in ac-
cordance with the present popu-
larity of mountains, sage and
western stars, rated high.

Show opened with the band, clad
in cowboy regalia, playing and
singing “Song of the Dawn” and
“At Dawning,” followed by the
chorus, as cowgirls, in a square-
dance tap routine, using the tune
“Dangerous Nan McGrew.”

With a novelty number entitled
“Stampede,” the band nearly
staged one, but the arguments
were finally settled peaceably and
some clever work by the wind sec-
tion closed the act well.

Beeman and Grace were billed

WIRTHMAN TWINS

“HOW THEY CAN DANCE!”

Just Completed Orpheum Theatres, San Francisco and Oakland
Per. Address: 4816 10th Ave., Los Angeles — Phone VErmont 9472

SALES RENTALS

SCENERY

STAGE PRODUCTIONS

PRESENTATION SETTINGS

COMPLETE STAGE EQUIPMENT
FABRICS — RIGGING — SCREENS

J. D. MARTIN STUDIOS

4110-18 Sunset Boulevard
HOLLYWOOD, CALIFORNIA

OL. 1101

ALLES print

MA. 1681 -224 E. 4th St., Los Angeles- MA. 1682

next and their act was replete
with a harmonica and banjo duet
and a jews-harp solo, topped off
with a Spanish tango number by
Grace and some fast roller-skate
antics by Beeman. This act is a
complete show in itself and was
well received.

After a kicking routine by the
girls came Tex McLeo, intro-
duced as a real cowboy, drawling
an informal line of chatter which
drew many a good laugh. And at
the same time managing some fast
rope whirling and stepping that
went over with a big hand. Call-
ing in his partner Mazie they fin-
ished the act with a fast rope-
jumping tap duo. An excellent
act.

Following was Bert Darell in
Scotch kilts, doing some snappy
hoofing which got him a nice
hand but which seemed slightly
out of place in this unit.

Closing the bill, the chorus came
on in an Indian sun-worship rou-
tine set to typical Indian music
which was a nice ending to one
of the most colorful shows staged
here to date. Credit goes to Paul
Spor for the fine accompaniment
hte show received. Stanleigh Mal-
otte presented a novelty organ
skit, “It Pays to Advertise,” which
got an enthusiastic round of ap-
plause.

G1VAN.

Fanchon and Marco
Route List of “Ideas”

Following is the Fanchon and Marco
Ideas route schedule, with the opening
dates, all of the current month, in paren-
theses beside the name of the town:
PASADENA (24)

Colorado Theatre
“Modes” Idea

Sylvia Shore and Helen Moore
Harry Srnirl Phil Arnold

Haline Frances Sunkist Ensemble
LOS ANGELES (24)

Loew’s State
“Wild and Wooly” Idea
Hart’s Krazy Kats Bud Carlell

Aussie and Czech Davis and LaRue
Ray Angwin Bud Murray Girls
SAN DIEGO (24)

Fox Theatre
‘ ‘Gems and Jams’ ’ Idea
Jo« and Jane McKenna. Will Cowan

Maxine Evelyn Jimmy Penman
HOLLYWOOD (24)

Pantages Theatre
“Green Devil’ ’ Idea

Peg Leg Bates Harvey Karels

Miles & Kover Nee Wong

LONG BEACH (24)

Fox West Coast Theatre
. “Victor Herbert” Idea

Walter Powell Buddy Howe

Victor Herbert Quartette
Ernest Belcher Dancers

CHICAGO (25)

Avalon Theatre
“Goodfellows” Idea

Liueille Page Bud Averill Helen Burke
Harrison and Elmo
MILWAUKEE, WIS. (25)
Wisconsin Theatre
‘ ‘Milky Way” Idea

Vernon Stiles Noree

Stone & Lee Bert Faye

Steve Moroni

DETROIT, MICH. (25)

Fox Theatre

“Miniatures” Idea
Featuring Singers* Midgets

NIAGARA FALLS, N. Y. (26)

Strand Theatre
“Gyp, Gyp, Gypsy” Idea
Duponts Comedy Jugglers
Frank Evers' and Greta Jack Vlaskin

Jeanne Alexandrea Ruth Leavitt

UTICA, N. Y. (26)

Avon Theatre

“Changes” Idea

Doc Baker and Art Hadley C'ofeatured
Walzer & Dyer Muriel Gar duel

Sunkist Beauties

LOEW’S STATE
LOS ANGELES
(Reviewed July 18)

“Gems and Jams” Idea was
considerably over average for re-
cent State shows, with fast run-
ning continuity and Joe and Jane
McKenna working in and out of
the show as master-and mistress-
of-eeremonies in effective style
and clicking heavily in an inter-
polated act of their own.

Young McKenna goaled them
with his nut falls, while his sister
proved to be a clever comedienne,
the pair working energetically
throughout the show to good ef-
fect.

Will Cowan, slick tap dancer,
and Maxine Evelyn, acrobatic
dancer, were paired in this presen-
tation for songs and dances and
were _ featured with the line
beauties in a series of outstanding
impressively staged ensembles.

Particularly impressive were a
hoop novelty done by the line and
an ensemble idea with the entire
company on wheels, to the song
“Ro-Ro-Rolling Along.”

Flashy and impressive finale was
done with white and very pastel
costumes and garnered a big hand.
Picture was Greta Garbo’s “Ro-
mance.”

WARNER BROTHERS

HOLLYWOOD
(Reviewed July 18)

Two mad wags brought a boat-
load of belly-laughs to Warner’s
Hollywood this week in the best
all-around presentation to be seen
on a picture house stage here in
some time.

t Olsen and Johnson merged their
“mad moments of monkey busi-
ness” with the lavish ensembles
of Larry Ceballos for a lengthier
than usual show that was a real
pay-off in laughs, flash and enter-
tainment.

To attempt to follow the slap-
bang activities of this nutty duo
through the stage bill is scarcely
possible, but they kept things
humming from their entrance to
their hilarious exit.

Featured with them in their
company are Beta Kappels; two
oddly matched but effective com-
ics, Moore and Shy; Sidney Gib-
son, familiar figure in their dizzy
blackouts; Nick Verga, Joe Perry;
an assorted collection of fast
working 'audience plants, and sev-
eral clever colored youths who
dance.

A unique feature was the tre-
mendous hand accorded the men-
tion of A1 Smith followed by Sid-
ney Gibson in his Smith imperson-
ation.

Ceballos built -a snappy group
of ensembles around the Olsen
and Johnson company, cutting in
and out in revue style, with out-
standing specialties by Gordon
Smith and Lu Anne Meredith,
who tore down the house with
their fast stepping, the Four Cov-
ans, Jack Lester, who clicked
heavily in the finale, and Dave
Barnum, who handled the major
singing assignment.

Principal setting was a southern
levee with a steamboat while the
finale was done in full stage by
the whole company in white cos-
tumes against a huge ermine effect
curtain. '

With Carlton Kelsey directing,
Leo Forbstein’s orchestra con-
tributed a snappy overture of
selections from Romberg's tunes,
and handled the complicated show
in first-class style.

MEARS.

* SEYMOUR and CORNCOB

That Sensational Comedy Pair in F. and M. “SMILES” IDEA

FRESNO (24-26)

Wilson Theatre
“In Blue’ ’ Idea

Renoff and Renova Mitzi Mayfair

Webster and Marine Sunkist Ballet

SAN JOSE, CALIF. (27-30)
California Theatre

“In Blue” Idea
(Same Cast as Above)

SAN FRANCISCO (25)

Fox Theatre

“Cadets” Idea

Born and Lawrence Miles Sisters

Rognan and Trigger
Mabel and Marcia
Wallen and Barnes

OAKLAND (25)

Fox Theatre

“Country Club” Idea
Leonora Cori Masters and Grayce

Ray Samuels

SALEM, ORE. (26-27)

Elsinore Theatre
“Seeing Double” Idea
Stroud Twins Featured
And tbe Twins : St. John, Elga, Clute,
Kane, Falla, Maltby, Holly,
Electric Twins

PORTLAND, ORE. (24)
Broadway Theatre
“Romance” Idea

Castleton and Mack Jerome Mann

Mary Price Three Bricktops

Robert Cloy

Mack Bisset Dancers

WORCESTER, MASS. (26)

Palace Theatre

“Broadway Venuses” Idea
Mel Klee Aerial Bartlets

16 New York Beauty Winners
Wells and Winthrop Freda Sullivan

SPRINGFIELD, MASS. (26)

Palace Theatre
‘ ‘Skirts’ ’ Idea

McDonald and Dean Julia Curtiss

Ruth Silver Up in the Air Girls

HARTFORD, CONN. (26)

Capitol Theatre
“Marble” Idea

The Harris Trio Roy Smoot

A1 and Jack Rand
Georgene and Henry Francia

Hector and His Gang
NEW HAVEN, CONN. (26)

Palace Theatre
“Sunshine” Idea

Vince Silk Barton and Young

Arline Langan* and Norman Selby
Mary Lou Richard Wally

BRIDGEPORT, CONN. (26)

Palace Theatre
‘ ‘Eyes” Idea

Six Candreva Brothers Don Carroll

Paul Olsen Bob & Eula Burroff

Keo, Yoki and Toki
NEW YORK (26-29)

Crotona Theatre
“Trees” Idea

Terrell and Hanley Naynons Birds

Ted Reichard and Christel Levine
Mavis and Ted Fawcett and Thurston
Esther Campbell

HALL and ESSLEY

LEE

DANCERS COMIQUE

CHARLINE

F. AND M. “ROSE GARDENS” IDEA

SEATTLE, WASH. (24)

Fifth Avenue Theatre

“Rose Garden” Idea
Red Donahue and Pal Harold Stanton
3 Jacks and 1 Queen Helen Petek

Hall and Essley
Aerial Girls

YAKIMA, WASH. (26-27)

Fox Capitol
‘ ‘Brunettes’ ’ Idea
Three Slate Brothers
Chirot and Mercado
Ali Ben Hass'an’s Bluestreaks
Hirsch-Arnold Dancers

BUTTE, MONT. (24-27)

Fox Theatre
“Smiles” Idea
Seymour and Corncob
Walter Bradbury Dorothy Neville

Lamberti

DENVER, COLO. (24)

Tabor Grand
“City Service” Idea
Shapiro & O’Malley co-featured with
Seb Meza Laddie LaMonte

George Jager Frank Sterling

ST. LOUIS (25)

Fox Theatre
“Box of Candy” Idea
Jones & Hull Frank Hamilton

Reeves & Leu Marie, Lucy and Irene

BROOKLYN, N. Y. (26)

Fox Theatre

“Coral” Idea

Maurice and Vincent Oscar Taylor

The Royal Samoans La Petite Marie

PHILADELPHIA, PA. (25)

Fox Theatre

“Peasant” Idea

June Worth Johnson and Dyker

Deihl Sisters General Levine

Belcher Dancers
WASHINGTON, D. C. (25)

Fox Theatre
“Manila Bound” Idea
Lloyd Brice Romero Family

Stella Royal Samuel Pedraza

ATLANTA, GA. (26)

Fox Theatre

“Overtures’ ’ Idea

Edison and Gregory Toots Novelle

Jack Goldie H(uff and Huff

Helen Hille Louise Manning

NASHVILLE, TENN. (26)
Princess Theatre
“Desert” Idea

Eddie and Morton Beck Muriel Stryker

Cropley and Violet Chief Eagle Feather

Clara Torney Girls
OKLAHOMA CITY (29-31)
Orpheum Theatre
“International” Idea
Markell & Faun Federico Flores

Mignon Laird Billy Carr
Osaka Boys

WALTER POWELL

Following My Brother Jack Powell’s Footsteps
Featured in Fanchon and Marco’s “Victor Herbert’’ Idea

CHARLES GRAPEWIN SIGNS

After an absence of many
months Charles Grapewin makes
his return to the talking screen,
having been signed for an impor-
tant role by Paramount in “Social
Errors,” the picture which features
Leon Errol,’ Richard Arlen and
Mary Brian. Grapewin has been
authoring a few novels these past
few months.

SHORT PLAY GROUP

The Theatre Mart presents a
bill of four new one-act plays for
a run of four nights, beginning
July 23. These exhibits are: “Pier-
ette Buys a Hat,” with music by
C. A. Ridgeway; “Venetian Glass,”
by De Witt Bodeen; “Mata Hari
(Spy H-21),” by Alice Pike Bar-
ney; “The Land of Manana,” by
Jimmy Mac. Francis Josef Hick-
son directs.

GEORGE and FLORENCE

BALLET MASTER AND MISTRESS
Formerly 68 Successful Weeks Producing Weekly Changes
in Australia’s Largest Theatre

THE STATE, SYDNEY

Producers Desiring Originality WRITE or WIRE
Permanent Address; INSIDE FACTS, Los Angeles

PAGE SIXTEEN

INSIDE FACTS OF STAGE AND SCREEN

SATURDAY, JULY 26, 1930

THE WEST’S LEADING DIRECTOR OF
STAGE REVUES-WILBUR CUSHMAN

ANNOUNCES:

Wilbur Cushman Revues

9 now contracting with the leading motion picture theatres of the Pacific Coast
for September openings # seven years of undisputed box-office leadership 9
proven, recognized, dependable # all of the flash, color, speed and good taste
of the best presentations in girl revues 9 combined with ®

PLOT, COMEDY AND ROARS OF
CLEAN LAUGHTER

YOUR AUDIENCE KNOWS THE
CUSHMAN SHOWS

9 for example, we hold the house records in Bakersfield, 79 weeks # Hanford,
Tulare, Visalia, Porterville, Santa Maria, Santa Barbara, 30 weeks San Luis
Obispo, Pasadena, Santa Ana, Fullerton, Albuquerque, 48 weeks 9 others are
9 Santa Fe, Gallup, Butte, Mont., Livingston, Bozeman, El Paso, Long Beach,
San Jose 9 Fox West Coast Theatres, Golden State Circuit Theatres, T. and D.
Circuit Theatres, National Theatre Syndicate Theatres, etc., etc. # and West-
ern authorities will tell you 9 “Your audience ’ knows the Cushman Shows” •
the only high type, flash stage revues ANYWHERE in which comedy pre-
dominates 9

Mr. Circuit Head— Mr. Manager
Mr. Theatre Owner

9 these are parlous times in the show business ® radios 9 automobiles #
“Powder-Puff Golf” 9 imaginary business depression 9 diverting the atten-
tion of your patrons 9 can you afford to gamble with their good will? •

Communicate With Wilbur Cushman
801 Warners’ Downtown Theatre Building
Seventh and Hill Streets, Los Angeles

PERFORMERS AND SPECIALTY GIRLS

9 card carpenters 9 piano leaders 9 card scenic artists # WRITE, DO
NOT CALL • and tell me about it 9 inclose photo in makeup, which will
be filed, not returned 9 and above all these are the Cushman Revues # you know
what is expected of you # don’t misrepresent 9 and expect no answer until we
can place you ® no personal interviews except by written appointment ®

Scanned from the collection of

Karl Thiede

Coordinated by the

Media History Digital Library
www.mediahistoryproj ect.org