Variety 1928-01-04: Vol 89 Iss 12

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22ND ANNIVERSARY NUMBER

Published Weekly at 154 West 46th St., New York, N. Y., by Variety, I bscription, $10. Single cor 25 A Entered as second class matter y, Inc. Annual subscrip 7 1es, cents. December 22, 1905, at the Post Office at New York, N. Y., under the act of March 3, 1879.

VOL. LXXXIX NEW YORK CITY, WEDNESDAY, JANUARY 4, 1928 NO. 12

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YAMES F. GILLESPIE VILLIAM MORRIS

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NEW YORK, WEDNESDAY, JANUARY 4, 1928

LAUGHED WISE _ MEN AWAY FROM FREAK ACT Tom Gorman at Hip Pro- tected H. M. Emde’s “Find”’—Johnson Booked Bernays Johnson at $1,500 a week has been set by Keith-Albee for a tour starting at the Albee, Brooklyn, N. Y., this week. The electrical novelty act “showed” at the Hippo- drome last week at $1,200, asking $2,000. Tom Gorman, the Hip manager, exercised considerable judicious di- plomacy when a representative of the Rockefeller Foundation, Warden Lawes of Sing Sing and an engi- meer from the American Telephone & Telegraph Co., with considerable apparatus, visited the Hippodrome and Johnson. With scientific in- quisitiveness they wanted to know

what it was all about. While Johnson spoke a little out of turn in reiterat-

— ing he could teach Ruth Snyder and Henry Judd Gray how to beat the electric chair, Gorman pulled the old showmanship and talked the eommittee out of it. Gorman’s simple statement that after all it was a theatrical exhibi- tion was graciously accepted by the visitors. Emde’s Discovery Johnson is said to have been dug up as a brand new freak turn by H. M. Emde, manager of Proctor’s, Newark, N. J., a K-A booked vaud- film house. Emde ts said to have persisted, despite discouragement, } ard first played the turn in his own 4 } theatre Johnson was then sent to the Hip

as a test and vindicated Emde’s | : judgment. | i Emde is also said to have been % the Newark manager who recently } put over the best street ballyhoo & the show business had heard of in months, and at a total cost to his theatre of but $30. | 100 Years hes Providence “Journal” recently re- printed an article on New York the- —<

atres from the “Manufacturers and Farmers’ Journal,” which appeared | Dec. 7, 1827, 100 years ago | The story, in part, says: “New York at the present time | supports four theatres which are | exclusively devoted to the legitimate | drama. The number P pears | | large as Paris, whose inhabitants | , are said to live by and on their} : i amusements, neve it time pre- + éents so many Pp a set apart for : . : Z gaiety and mirth The au- “~ 2 1S, flien e&S ap} r m pera j et and isposed rather ¢ ear than to be ard.” ——

First Night itesntis | The fashionable dictum on opening nights seems to be de- pendent upon location of seats.

If in front of “L” tuxedo or evening dress. Behind “L” dress is informal. Critics never dress. st

“SHOW BOAT” MUSIC WHOLLY RESTRICTED! Ziegfeld and ’ Music Publishers | Trying to Prevent Over- Popolarity of Tunes

Figuring that over-popularity of the “Show Boat” music by Jerome Kern may curtail its hox-office longevity, Flo Ziegfeld and Harms, Inc. (Dreyfuss Brothers), the music publishers of the score, are restrict- ing its public performance on dance floors, radio and nite clubs, and going beyond that by holding back the licenses of the “mechanical” re- productions on rgcords and rolls until Ziggy and the music pub- lishers think the time is ripe. The restriction on the recording companies is a departure. Discs with their national and international outlets through thousands upon thousands of sales agencies, serve to act as free advance agents for any musical production Kern's “Who” from “Sunny” was similarly restricted for qa time from the dance floors and radio but not the mechanicals. It brought out a number of “bootleg” orchestrations of that hit song. The nite club and hotel maestros, unable to explain to patrons who requested the selec- tion as to why it could not be played for them, made their own dance ar- rangements from the sheet music Duncan 1 Gals with Pantages $7,500 Weekly and 50-50 —+

‘ RELATIVE. RATING IN ALL COMPANIES By Arthur Ungar

Los Angeles, Dec. 28.

| prea ;enge opening | or in Los Angeles, where he is in a Pantages will play the Duncan Sisters itn San Francisco, late this week, and to follow at! Los Angeles The girls asked Pan $10,000 for San Francisco and $7,500 for L. A Final agreement reached was that the Duncans receive $7,500 guaran- tee and 50-50 in all houses over $24,000 on the week. The engage- ment is for four weeks. Pan's Frisco b. o. record is be- tween $35,000 and $36,000; in Los Angeles around $23,000. The Duncans for the Orpheum Circuit at its Pal- ace, Chicago. On the coast they will again oppose the Orpheums, having previously appeared in the | large coast picture theatres. The girls jumped Keith-Albee’s Palace San Francisco, A week's postponement Frisco date may be agreed rive the Duneans a rest New York, to of upon to } | recently appeared| be on the air, and he would tune | tion In accordance with its custom for the past two years, Variety is rat- ing the value of stars and featured players with the leading American picture producing companies for 1927. Box office value and standing of these players as given herewith have been arrived at as established by the respective companies from returns at the theatre in key cities, the provincial districts and in the foreign market, It is obvious from the chart lay- out herewith that a great many film players have slipped consider- ably during the past year. Two years ago they were right at the top of the list. In their places is the new blood developed during that time and which sprang to the front very quickly. The strength of the new blood, of course, is gathered in the beginning from the key city centers. The producers make a de- termined effort to put them over there first, with the provincial dis- (Continued on page &) Tourist Band Booker Uses Radio Auditions San Francisco, Dec. 31. In addition to his duties as press agent for the Dollar Steamship Co. here Bill McStay, veteran she wman and road agent, has the of all orchestras for the round-the-world and trans-Pacific liners. Heretofore, Bill has been | iging his musicians either here

to hear the bands. Fre- uests from distant mu- the “soft racket” of a position quent sicians for req long ocean trip have been passed up as McStay would not engage an orchestra without first hearing it. Recently, he received an applica- from Chet Shelton’s orchestra in Wichita, Kan., for a steamship engagement, Bill advised the band to hook up with the local radio station, wire him when they would in. Through the local RCA stat-

directly from | fore the ! tion, Bill tuned in Radio station |KHF at Wichita, heard the Shel- don outfit play and tmmediately |}sent them a wire contract, even be- the boys had finished their SCREEN

1 “180 PAGES. LEADING FILM STARS OF ’27

r ) "Igh ’Ats in Gallery High-hat trade in the gallery and balcony of the Maxine El- liott is now the order of things for “Coquette,” where the car- riage trade parks its bodies as the only alternative for lack of choicer seats. The sidewalk spec doing trade in the neighborhood hawks the $2.20 stubs as high as $10 each, and calls it a day early every afternoon for the evening performance. U.A. CANCELS CONTRACT OF CORINNE GRIFFITH Cast of “Eden” and Husband’s Interference Reasons—Miss Griffith Returning to Ist N. Los Angeles, Dec. 31. Corinne Griffith pictures will be released by First National again as United Artists has canceled her con-

tract for four pictures within two years. Cancellation reason is that Joseph M. Schenck objected to the cost of “Garden of Eden,” which he claimed was almost double the amount the original budget called for, Schenck also said U. A. objected to Walter Morosco's, Miss Griffith's husband, interference in production, Miss Griffith will make eight plic- tures for First National, the first to be “The Divine Lady,” directed by Frank Lloyd with Morosco supervising the story. First National figures Miss Grif- fith will tend to cover up whatever loss is involved in Colleen Moore leaving that firm July 1 for United Artists. FF. N. meanwhile has been utilizing Billle Dove as a replace- ment for Corinne. The U. A.-Morosco mixup includes Hobart Henley, director, who walked out on “Garden of Eden,” Miss Griffith's first for United Artists, after ten days of shooting because of interference by hand, the star's hus-

Coney Goes Blooey Again As All-Winter Resort Coney Island has gone bloosy once more in ita attempt to ape Atlantic City. Only the Half Moon Hotel at the seaside remains open as a reminder of what the Surf avenue merchants claimed in August, that they would go the year ‘round without stop- ping Some were washed 16, others stuck until up by Sept. October and ithe rest hung up the shutters early this month.

program. Now McStay figures he'll be able!» to book any orchestra in the coun- try through means of his radio | auditions Next suramer they will promise ach other again and blow the Fame way as ‘hey have been doing ever since the Islanders found a ik tm thetr midet hHoaritu | Statement TALKING FILMS FOR 16 M. HOME PROJECTORS W. B. Bristol, Wealthy Inventor, Will Finance Own Device

Synchronized pictures on 16 mm film for churches and schools is the object of William H. Bristol, mil- lionaire inventor and manufacturer of Waterbury, Conn, Bristol has perfected a talking picture device that can be adapted to the small sized projectors. Bristol has acquired the non-the- atrical rights to James A. Fitzpat- rick’s “Music Master” series. At present he has made only one in- stallation, in a Waterbury theatre but the Bristolphone was demon- strated a few weeks ago before the Franklin Institute of Philadelphia which presented the inventor with a medal. Automatic Adjustment Bristol believes he can get the price down as cheap as the cost of the better grade radios. In this: event talking pictures for the home will be a practical possibility. The Bristolphone is said to con- tain a feature not possessed by any of the other sound devices, namely, automatic readjustment in case the film and dise get out of synchront- zation. It is not nec iry to stop page 8) —— Roxy Says Pictures Must Have Help Addressing a woman's organiza- tion at its regular Wednesday luncheon meeting at the Hotel Ase- tor, 8. L. Rothafel (Roxy) made the that motion pictures- without augmentation by acts or presentations are doomed; that a film program cannot hold its owm minus a surrounding stage bill. Roxy also elaborated on the radie and its national significance and wide public hold, Rothafel was among a list of celebrities addressing the club thas (Continued on

noonday, including Madge Evang Alan Brooks and Gilda Gray. Harry Hershfield presided. - ns

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RITZY Fifth Avenue has been rushing to Broadway of ite One night re- eently three new pi s opened with |} peopl in t hie with Sor ial Reg- ister connections L’Aiglon,” at the Cosmopolitan, had a company headed by Mi« hael Strange, as the wife of John Barry- more chooses to call herself. This Rostand drama title role was cre- | ated in Paris by Sarah Bernhardt, | and in New York by Maude Adams. Originally Blanche Oelrichs, Michael | is a daughter of the fashionable Mr and Mrs. Charles May Oelrichs, of | Newport, and a niece of Mrs. Wil- liam Jay, society dowager. Blanche Oelrichs divorced Leonard M. fhomas, by whom she had a son. Mr. Thomas remarried, and Blanche did likewise. She chose John Barry- more her second husband, be- ecming his second wife. His first wife was a society girl, Katherine Harris, niece of Mrs. Brady Harri- man, of Newport. Katherine also became an actress and played oppo- as site John in “Kick In.” After their divorce, she married Alexander D. B. Pratt. After an- other divorce she married Peon Or- lowski,. secretary of the Polish Le- gation in Washington, and died a year ago. Jay Fassett in “Eagle” On the same night that “L’Aiglon” opened; “The White Eagle” pre- miered, ‘with members of the cast in-luding Jay Fassett and Leon Cunningham. Fassett was formerly in the ‘Social Register as a son of Mrs. J. Sloat Fassett. His mother was Jennie Crocker, of San Fran- cisco, ‘sister of Aimee Crocker, who has long been’ an_ international celebrity as Mrs. R. Porter Ashe, Mrs. Henry Gillig, Mrs. Jackson Gouraud, Mrs. Alexandre Miskinoff and Princess Galitizine. Having di- vorced her fifth husband, Aimee now lives luxuriously in Paris. Jay Fassett’s sister, Jennie, mar- ried Ethelbert Nevin, son of the composer of “My Rosary.” Leon Cunningham, of “The White Eagle,” played boy-parts in various produc- tions. He was befriended by the socially registered Mrs, David Gray, whose husband is a_ playwright. M's. Gray was Maude Livingston liall, a society belle, and divorced Lawrence Waterbury, the _ polo player. For ‘years Mr. Waterbury has’ Known Mrs. Fair Vanderbilt, and, now that she has divorced W. |earlier in the season ‘in K. Vanderbilt, it is believed they will marry. One summer Mrs. Gray and her eon and daughter occupied the town house of her sister, Mrs. Stan- ley Mortimer, and Leon Cunning- ham stopped there as a guest. Later, he had two ill-fated plays preduced , A third recent opening, “Bless You, Sister,” had Robert Ames in the Ames was divorced by Frances Goodrich and Vivienne Se- gal before he marvied Muriel Oakes, a society girl. Befcre this marriage she was in the Social Register, al ne with her mother, now Mrs. Edward W. Packard. Her father was the late Maleolm Oakes, and she has a married brother of that name. At one time she was in the Brady office. When Miss Segal, the musical. prima donna, first sued Ames for a divorce, it was reported he would marry Alida Cruze. AS soon as be married Miss Oaker, Helen Lambert, night club hostess, threatened a $200,000 breach of promise suit. east. Rachel Crothers’ Friends Although “Venus,” which recently opened at the Masque theatre, gat possibly the worst panning of any play this the authoress, Rachel Crothers, has so many per- sonal friends ‘in the that the first night especially smart. Instead of the showier set, equally loud of voice and attire, the con- servative element predominated, represented by the dowager Mrs. W. K. Vanderbilt, Anne Morgan, Mr. and Mrs. Edwin Gould, Mrs. Francis McNeil Bacon and Mrs, Con Van Rensselaer. ‘Elizabeth Marbury was there, too she more than a ,generation ago having mastered the difficult bal- ancing feat of straddling the fence between Society and Bohemia, with many friends on both sides. She was the first woman to become a play agent and author's representa- tive, and has made a great success of it. Miss Crothers started her career as an actress and was on the stage for years. Kenneth Hill‘in Paris Feb. 27, at the Globe, London, the Woods ‘The Trial of scason, best audience was Al success, society | Mary Dugan, by Bayard Veiller, will be presented. The author a id Guthrie McClintic, who will direct the production, sail on the “Aqul- tania” Jan. 27. The company in cludes Genevieve Tobin Morgan Farley, Leonore Harris, Elwood F Bostwick, Anita Kerry, John Mil- ton, Helene Sinnott, Maude Gilbert and Olvester Polk. Kenneth Hill, now abroad, will join the cast. He was in the Woods production, “Mr. What's-His- Name” New York. Hailing from Boston, he formerly occupied a luxurious apartment on 5th avenue and shared a country house at Stamford with another ac- tor, Richard Barbee, recently ap- pearing in “Saturday’s Children.” Last year in Europe, Hill was taken up by Francis Otis, an Ameri- can society man who, a generation ago, was known in New York and Newport social set. The Paris edi- tion of the New York “Herald” re- peatedly noted the presence of Otis and Hill at assemblies, including princes, dukes, marquises, counts, and so forth. Leonore Harris, another member of the London “Mary Dugan” cast, was a well-known showgirl a gen- eration ago. In 1901 she was with Edna May in “The Girl From Up There,” and two seasons later in VARIETY president of the Erie Railroad. Mrs. Gibson Fahnrestock’s daughter, Mar- garet, is heiress in her own right to many millions. She married Syl- | vanus 8S. Stokes, Jr., of Washington “The Girl From Kay’s,” along with During the next few years Margaret hanged entire ly, and blossomed forth in exotic attire, said to have been designed by “Syl,” as Stokes is called. At Newport the young ouple entertained ing brilliant balls and dinner par- ties. Then she divorced him and married a navy officer, Benjamin R. Holcombe. “Syl” has been in Hollywood since last summer, occupying a charming estate and acting in the movies. For several months he merely worked by the day as an extra, but finally was advanced to insignificant “bits.” His two children are in the custody of his former wife. He is now ru- mored engaged to Patty Duval of the studios. The Gould Family Word from abroad that Mrs. Car- ter Gould, divorced wife of George Gould, Jr., of New York, is about to marry Roy Royston, star of the musical comedy, “The Girl Friend,” now running in London, has created much interest, as all concerned are well known, originally Roy Crowden. Mrs. Gould was Laura Carter, a professional dancer, from Freehold, N. J. The late Mrs. George Gould, Sr., had been an actress, Edith Kingdon, of Daly’s theatre, but she objected to her youngest son marry- ing out of society, and for a year extensively, giv- LEON Holiday Greeting to All We are still in England World Representatives, REEVES & LAMPORT The International Artists HELEN KIMBERLY and PAGE Marie Doro. It was not until years later that she essayed legitimate. Madge Kennedy’s Hit Madge Kennedy has made the hit of her life in “Paris Bound,” after a series of ups and downs, first on the stage, then in the movies and, more recently, co-starring with Sid- ney Blackmer. ‘' Born in Chicago, Miss Kennedy's original intention was for painting, and she studied at the Art Stu- dents’ League. In 1910 she made her stage debut with the late Harry Woodruff in “The Genius,” the next year succeeding Margaret Lawrence in “Over Night.” Just as Miss Lawrence then mar- ried a rich man, Orson D. Munn (whom she divorced to marry Wal- lace Eddinger), so Miss Kennedy also married a rich man, the late Hiaro!d Bolster, from whom she in- herited over $500,000. Gilbert Em- also ery, in “Paris Bound,” is an American, despite his English ac- |}eent. Originally Emery Pottle, he long shared a home with Grant Mitchell, and has tried playwriting. Sy! Stokes the Actor The Fahnestock family is pos- | sessed of millions upon millions | Mrs. Gibson Fahnestock, of Wash- ington and Newport, is a daughter- in-law of the late Harris C. stock, president of the tional Bank of New York. Snowden A. Fahnestock, was di- vorced by Elizabeth Bertan, and then married Helen Moran, grand- daughter of the late Charles Moran, Fahne- First Na- Her son, ; ] ; Elsie Ferguson, Marie Nash and |after the wedding the young couple lived unpretentiously in Oil City, Pa., Laura doing the housework. After the birth of a son the family relented. Funds were given George, Jr., and prestige offered his wife. Later Mrs. Gould, Sr., died. Before long Gould, Sr., married again, Genevere Sinclair, who had come to New York from London in the chorus of a musical comedy com- pany. Mr. Gould, after adopting Miss Sinclair’s three children, died, and his widow married Viscount Duns- ford Since divorcing George Gould, Jr., Laura Carter has spent most of her time in Paris. At one time she was reported engaged to Nicholas Basu- aldo, of a wealthy £ uth American family. Eventually Carlos Basual- do, brother of Nicholas, married Leonora Hughes, up to that the partner of Maurice. In Paris >°.s. Carter Gould has had friends in common with a for- mer family connection, Edith Kelly, the chorus girl who married an j}uncle of George Gould, Jr., Frank | Gould, after Frank had been di- voreed by Helen Kelly of New York. Edith Kelly also divorced Frank, and last spring, after a friendship of many years, she married Albert |de Courville, the English producer. Sailings (New York to Bremen) E Newman (Deutschland), Jan. 5 deB Royston’s name was | time | Wednesday, January 4, 1928 | | By N. JOYS AND CLOOMS OF BROARWAY T. G. Some years ago he was an office boy for un imporiant theatre execu- tive, and got his first glimpse of show business accompanying the press agent of the outfit on special |nights at theatres. ile saw bathing | beauty contests, opportunity con- ltests and amaieur nights. It looked like ready money to him, so he quit being an office boy, opened an office of his own and started putting on the same stuff for inde- pendent houses. For a while it was a struggle. The rent was hard to get together, to say nothing about employing a stenographer. Now it’s a different story. A flock of new independent movie houses have opened up a new field. He stages “presentations” for one- night stands only in independent movie theatres which have no other form of entertainment. He _ gets about $50 to $60 a night, and for this offers five or six “presentation” acts costing him about $4 to $5 an act. A natura] question would be, “Where can he get anything worth while for that money?” Cinch, says the producer. He named a few acts who work for him occasionally for this money, and astonished us by naming standard vaudeville acts and others who get real money in the movie houses. The ex-office boy has four or five theatres a night, each presentation costs him about $30, and he makes about $20 to $30 on each one. So he has a big office, four or five as- sistants, runs an automobile and a chauffeur. It’s a new racket. So far he’s all alone. It won't be so easy when he gets competition. Spence and the Cops Chorus girls were riding home from a dinner party at the Pavilion Royal with Ralph Spence at the time the “Gorilla” was at the height of its popularity. Most of the kids had seen the show and enjoyed the thrills. “Weren't you scared when you wrote it?” asked one little dumb- bell of Spence. “Didn't it give you the shivers just to think up that stuff?” “It certainly did,” answered the comic seriously. so scared I police.” “At one time I was had to call in the What'd Yer Have? We've discovered a new spot in New York which is making a for- tune for its two owners and looks like a “natural.” It’s a beautiful five-story house near 5th avenue, looking like many other homes of the wealth. A man in evening dregs opens the door to a beautiful reception room with a fireplace burning and a drawing room in the rear. Up a marble staircase you go, with the spacious drawing rooms laid out as two din- ing rooms and a tiny orchestra playing in the hall between. In the rear is a library converted into a spacious barroom. A gorgeous bar occupies all of one end. Here we found about 15 people, men and women, ordering anything | they wanted. The owner showed me his statement of the preceding night’s receipts, which indicated that his bar take was larger than the dinner business. Bandage as Protector She’s a little dancer in a musical show and whenever she goes out to cafes, where she is well known, is called upon for a dance. The kid is “good natured and doesn’t want to refuse, but found a way out. Every night she leaves the theatre to go stepping on Broadway she slips a bandage over her ankle. When called upon to dance for the chumps she complains of a bad ankle and shows the bandage, Chorister’s Family She was a chorus kid in a local cafe. Going on for her number on | Christmas Eve a telegram came |from her family in Philadelphia lsaying her father was shot and killed by a burglar. Another girl in the show was out sick and the heart-broken kid played the show without a whimper. She left after for Philadelphia, but came back Christmas afternoon. Said she didn’t get along very well with her fam- ily, anyway, and might as well be in New York. 46 Went Hungry | Two vears ago we gave a Christ- mas dinner at our home for home- | less chorus girls. We invited a it |} 20 girls who had no place at | their Christmas dinn One } a dred came and we were able to feed | 54 with a complete Christmas din- ner. It was the only Ch: 4 they had. | Christmas may be tough fo: ihe poor, but it’s tough enough tor hundreds of kids in shows, many alone in New York and most of them broke. Some day some organization will provide a Christmas party and a Christmas dinner for the chorus kids who are alone in New York. That would be a charity. BERLIN Berlin, Dec. 21. Kaiser Wilhelm Gedachtnis Wirche, | This church was built in memory |of the Kaiser William, who died in 1888. It is located on the limits of the inner city of Berlin, a half min- ute walk from the Stadibahn and subway station, “Am Zoo,” where many bus lines and street cars pass. It is one of the liveliest spots of Greater Berlin. Within a five-minute walk are over a dozen first-class dancing Places, mostly high-grade wine res- taurants. Among these Pierrot, formerly Faun des Westens, has a little stage and plays about eight cabaret acts besides the dancing, On the balcony is the Olympia bar with 50 barmaids. Palais am Zoo, Florida, Valencia, Erbe are fash- ionable restaurants playing from three to eight dancing turns. Villa d’Este is a small but exclusive high- priced restaurant. Wilhelmshallen, Regina are of popular style. Kaka- du, Majowski, Bajadere are bars with bands and dancing. The latest feature is the Columbia. former Nelson theatre, turned into a high- class dancing restaurant, Playing six dancing acts and two bandas. One of them, Enoch Light, with an 1l-piece orchestra, is the talk of Berlin: It is the highest salaried band of the kind ever to play Ber- lin in a dancing restaurant. Every- body predicted that the Columbia would not exist on account of tre- mendous expenses, but it is open since September and _ business is very good. A new place called the Delphi will be opened within a short time. A new building with a seating capacity of over 1,200. Besides those 14 amusement places a few cabarets and four le- gitimate houses are also within a five-minute walk of the six first- class picture houses. The Rialto is to be opened soon, although it is about two years since it was started. At Luna Park is a big winter bathing place with artificial sea waves. This is new here and well patronized. It seems as if the surroundings of the memorial church will develop for cabaret, dances and amusement, like Times Square for theatres PARIS Paris, Dee. 22. Rita Bell, in the south of Irance studying with Emma Calve for the last six months, played a week at the new Russian Sherezade nite club here before sailing for New York via London. A revue by Lucien Boyer and Andre Dahl, entitled “Paramount la dessus,’ is listed for the Boite a Fursy, a Montmartre cabaret. Among the American feature pice tures being shown here at ‘present are “Within the Law.” “Ben-Hur,” “The Way of All Flesh,” “The Night Pride,” “Gold Rush” and “Chang.” Enoch Light’s jazz continues to be a presentation attraction, ar- ranged by Tommy Dowd, at the Gaumont - Palace. Mrs. Edward Gallagher, formerly Anne Luther, film star, is on her way to the Riviera instead of Beypt as first intended. Woods, Arden, In Paris: Al Carroll, Evelyn Doran, publisher MIDGETS FOR U. S. Paris, De Rubouchoff’s Midgets, a feature at the former Casino de Paris revue have been booked through Irv Marks for a 25-week tour of Albee and Orpheum theatres H, H, James (jeorge 99 «6 Ket Spanish Theatre Burned Madrid, Dec. 22 The Barbieri, one of the oldest theatres in Madrid, was destroyed bv fire rec ently.

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Wednesday, January 4, 1928 _— — LONDON AS IT LOOKS — By HANNEN SWAFFER London, Dec. 21. The vear 1927 has done little for the English theatre, which still finds itself Americanized, commercialized. English musical comedy has failed whenever tried, “Up With the Lark” and “The Beloved Vagabond” being examples A Barren Year There was no new dramatist and scarcely a new artist. The great exception is Charles Laughton who, unheard of two years ago—he was until recently learning the hotel business and attending the fashionable people who are now his friends—definitely established himself as the greatest character actor discovered in England for many years. Alison Leggatt and Marjorie Mars were the only two new actresses, although Cicely Courtneidge took the lead as England's best revue artist. The Dramatists Do Little Shaw produced nothing; Barrie produced nothing; Galsworthy pro- dgced nothing; Arnold Bennett improved his stage reputation with “Mr. Prohack.” Frederick Lonsdale had two big successes, “The High Road” and “On Approval,” running at the same time that Noel Coward had “Home Chat” and “Sirocco,” two grotesque failures. Pinero, Henry Arthur Jones and Hall Caine all upon their hands, but their output ceased. coming along—not one. “The Fanatics,” by Miles Malleson, a failure on your side, was almost the only serious achiévement of the year. The Carlton Theatre was opened and succeeded with a poor show. The Empire was pulled down for the “pictures.” had unacted plays There are no new dramatists The James White Sensation The most sensational happening of the year was James White's sui- cide on the eve of his bankruptcy. He was the greatest stage gambler of our time. Marie Tempest had a succsss with “A Spot on the Sun.” At the Apollo, “The Music Master,” “Cyrano” and “Abie’s Irish Rose” were all failures, while the Comedy, which had been a failure for years, at last found a success with a Chinese drama called “The Silent House,” which ran for years as a vaudeville success. Ruth Draper, all on her own, broke the records of the Criterion. Duke of York’s had a bad year. salaries. “Scaramouche,” with Lady Martin Harvey as the great female star, and “The Butter and Egg Man,” with Tom Douglas trying hard again, were two of the Garrick’s failures. Margaret Bannerman ceased her reign at the Globe Theatre. “Yellow Sands” ran on through the Haymarket’s year. His Majesty’s saw the fiasco of Cyril Maude’s return in “The Wicked Earl” even survived the catastrophe of Lew Leslie’s “Whitebirds,” and then filled itself with “Oku Kay” and Gertie Lawrence. The “The Girl From Cook’s” did not pay its Unexpected Successes The two unexpected successes of the year were “Dracula” and “Mari- gold.” Neither was expected to last a week. The first was an ama- teurish thriller and the other sentimental slop about Scotland when Queen Victoria was young. Both had cheap companies and they still go on. Tallulah Bankhead once again saved a play by appearing undressed in “The Garden of Eden.” Gladys Cooper and Gerald du Maurier had long runs with “The Letter” and “Interference,” Dennis Eadie, after a series of failures or semi- failures, walked out of “The Crooked Billet” with Phyllis Titmuss, only to find it an unexpected success. Celebrities of all Kinds Edgar Wallace did half the work in London; J. L. Sacks told the Offi- cial Receiver he could not read or write; Albert de Courville’s illness was followed by another bankruptcy; Sybil Thorndike failed to find another “Saint Joan” and had a poor year; Edward Laurillard began to build a new theatre, the Piccadilly; Archie de Bear and Clifford Whitley produced Jack Smith in “Blue Skies” and then quarrelled. (Barry Jackson had a quiet time. No actor was knighted. Tom Walls, who went on from success to success, even on the racecourse, trained actors and rehearsed racehorses. The agents quarrelled with me, but no one threw me out of a theatre. I had rows with five managers, but three of them are speaking to me again. I am speaking to all five of them. America on Herself “Crime” came here with “Broadway” to show us what nice people the Americans are. Edith Evans went into management with Leon M. Lion and started with a failure. Lily Elsie made a triumphant return, but it did not last long. Andre Charlot returned from America, but no one saw him. Arthur Bourchier died in Africa and Florence Mills returned to New York to die, after being enormously popular in London. “Castles in the Air’ and “Happy Go Lucky” were failures at the Shaftesbury and Prince of Wales theatres, and “The Desert Song,” for no reason, was a great success at Drury Lane. Little Bits of Ail Sorts Variety was tried at the Palladium and failed. Jack Smith’s whisper- ing baritone act was one of the year’s London triumphs. The Hallelujah song was altered by the Lord Chamberlain in “Hit the Deck.” England's ex-hangman made his debut as an actor and the Lord Chamberlain approved it. Harry Green tried twice and then went home again. Russell Janney kept on “The Vagabond King” at the Winter Garden, but did not make much money. A Year of Thrills It was a year of thrill plays, with names like “Fear,” ‘Dope,” “The Wrecker,” “The Terror,” and “The Strangler.” Some of them succeeded by frightening us all; others were obviously put on merely to give me personal annoyance. Cabarets died the death. proved the threatre’s new rival. echo in the Aibert Hall. I received over two hundred anonymous letters accusing me of every- thing in the world, and I had two libel actions. Greyhounds raced all over England and Cc. B. Cochran discovered there was an The Best of All the Year The best musical play I saw was “The Vagabond King.” The best straight play I saw was “The High Road.” The best revue I saw was “Clowns in Clover.” The best actor or actress I saw was Bimbo, the monkey in “Chang.” I wish you all a Happy New Year. THE TILLER DANCING SCHOOLS OF AMERICA, Inc. —xaueom sms New Classes 226 West 72d Street MARY READ Now Forming NEW YORK President WILL MAHONEY Leonard Hall, of the Now York | “TRPLEGRAM,” said: “Of all the men who have come to | the front in the last decade—and | there have been many—the one who | has developed to the concert pitch | of variety entertainment is Mr. Will Mahoney. He has reached the point where he could hardly be improved upon. Mahoney is the comic king | of the age.” Direction RALPH G. FARNUM 1560 BROADWAY a An Impolite Husband When He returned home the other evening She wasn't there. Wife and trunks had vamped. He wondered if telling her to go to hell during a scrap that morning had been the cause. Phoning Her at mother’s, He found it had. Asking why over a little thing like that, She answered: “I didn’t mind being told to go to hell, but you didn’t say please.” POLAND Warsaw, Deo. 10. The picture indus here is having a hard time of it. Imagine a tax on picture houses at 100 per cent. That's what they have to pay in Warsaw. Although cinemas in other cities pay less, the burden is still too heavy. In the whole of Poland there are only about 300 cinemas. Producing companies have their hardships, too. Lack of accommo- dation. One really good producing company here, which distributes its own pictures under the name of Sfinks. It is 26 years since they put their first picture upon the market, and they are now engaged upon their 76th. The studio is situated on the sixth floor of an apartment house. Real work is done more or less after reasonable hours on account of the difficulty of getting the artists together. Mr. Gruszczqnski, one of the finest singers in Poland, takes part, although 75 years old. This firm gave Pola Negri hee first oppor- tunity. The “lil” theatrical world is showing much activity. There is a new company playing revues, under the name of “Karuzela,” in English, and “Merry-Go-Round.” Mr. Paw- lowski is its pflot. Also two musical comedies this year, one in the olf building, “Nowoscl,” with & very popular cast, and the other § theatre, “Nietoperz,” intends to produce some operettas that do not require an extensive stage. Cabarets have again started their season by engaging forelen artists; but there does not appear to be anything special to mention. Opera has started with “Hrabina” (“Countess”), by Moniuaszko, fol- lowed next by the whole night ballet, “Pan Twardowski,” and later on “Carmen.” A visit by some of the dancers o? Diaghillieff's ballet was made at the circus, as the opera house had been closed at the time. Wojcikowski had te respond to numerous calls, but had no “corps de ballet” to support. Performance was without scenery. SEEK HEIR IN U. & London, Dec. 22. Counsel here are hunting the heirs of the late Clifford Leigh, an Eng- lish actor, who 4ie@ tm America April 13, 1913. It is understood deceased left an estate of some dimensions. GOVERNMENT AND PICTURES — Wa b> l Omitting what (¢ s is i has been trying to do t I ictures, a del p ime pi ire hay ken in th Ww k of the Gove ment discloses they constitut in importan phase Of possibly the greatest import to those of the pictures is the work of | |the Bureau of Standards, Uncle | Sam's official testing bureau | More than a yea » Dr. George | K. Burgess, director of the bureau, predicted standardization sured control He that as indispensable because of the rapid advance in the addition of color, stereo-relief and sound to the previous developments which had grown to a high state of efficiency in less than 20 years. Science, says Dr. Burgess, is turn- ing more and more to the pictures for help in its studies, discovery | and instruction. The films have done more to popularize science than any other medium through the centuries. Turning from the creation to the selling attention naturally turns to the motion picture section of the Department of Commerce created at the urge of the industry and serv- ing a great need in the foreign mar- ket. During the last fiscal year this section received over 3,000 inquiries for information on selling, legisla- tion, etc., Not all the questions put to the bureau are readily answered, many requiring correspondence with for- eign governments with George Canty, picture trade commissioner in Paris, often making personal in- quiry to ascertain the information wanted. Several trade bulletins have been issued by the section, which is in charge of C. J. North and his as- sistant, Nate Golden, these being titled “Motion Pictures in China,” “Motion Pictures in Central Europe, Spain and Italy,” “Short Subject Film Market in Europe” and “Edu- cational Films Abroad.” But recently LN. Way was added to the section to concentrate on the industrial films alone. The work of George Canty abroad has been highly commended by those of the industry. No adverse legislation, the European method of competing with American pietures, has developed but that Mr. Canty has reported on it first. As a result Congress has been asked for another such trade com- missioner for the Near East, which the department looks upon as a pic- ture market that when fully devel- oped will be even greater than Europe. and mea- | characterized | } Navy Buys Most Of the Government activities pos- sibly the Navy is the greatest buyer of features. Pictures have become a regular part of the daily routine of the ships of the fleet at sea. Programs are purchased in duplli- cate thus running close to 5,000 prints of the usual six-reel subjects. Another 150 in triplicate are also purchased with almost 4,800 reels of short subjects included in the annual purchases, The sailors get day and date showings with the first run houses. The moment a new film is released the Navy starts two prints of the feature on circuits on the West and East coasts over which a film trav- els for three years before it is re- turned to storage. Pictures are bought with care with feature comedies reported as head- ing the list of subjects. In contrast to the Navy which | & ized iinfains an extensive laboratory. nection the Navy, is done considerable produc- also been ft Holly- In this same con s have e pr riucers Of the makers of edu nal films Depart- and the the Departe (formerly, within the Government the ment of Agriculture Rureau of Mines, of ment of Commerce though, under the Secretary of the Interior) are both extensively en- The Bureau of Education is also a maker of educationals while the public parks controlling body has produced several shorts that are | scenically marvels The Department of Agriculture released 25 new educationals during the past year with 15 others now in the course of production for 1928. About 300 films are now in circula- tion, these productions including a wide variation of subjects dealing with agriculture, forestry, rural en- gineering and home economics. The are chiefly one and two reelers. The subjects covered during the past year were co-operative mar- keting, insect control, cotton har- vesting, household problems, forest conservation, livestock management and highway research. Theatre Exhibition Although generally classified as “non-theatrical,” Department of Agriculture pictures include many scenic films produced in the Na- tional Forests and National Parks which have had limited theatrical exhibition. Some theatre managers have found many of the other De- partmental productions suitable for theatrical showings. Small town theatre managers have found their audiences interested in agricultural subjects. No rental fee is made for the loan of these pictures, the ex- hibitor being required only to pay transportation charges on the reela, The department plans to continue its present policy of producing from 20 to 30 pictures each year, although the demand for its productions has greatly increased. Although all de- partment films are kept in constant use, 80 great has become the puwblile demand for these films that it cam only partially be met due to lack of funds. Industrial films have developed into great salesmen abroad for American products. This also ap- plies with equal force to the regu- larly produced pictures from the American studios. London’s Rendezvous London, Dec. 22. Since the Vaudeville Club ia Charing Cross Road closed its doora, seven years ago, several attempts have been made to create a new rendezvous for theatrical people, The Knickerbocker Club was formed and it lasted a few years. It was then replaced by the Cosmo Club, but the profession did not take te it enthusiastically. About a year ago Jim Mooney, Dave Carter and Tucker (Amert- cans) proposed to reopen the old Vaudeville Club, but that fell through. The latest is the forma- tion of the Old Vaudeville Club ta New Compton street, which has just been opened and will be managed by Dave Carter, an old-time ballad singer, who up to recently ran a bookmaking business. LONDON London, Dec, 22. American acts booked for a sea- son in England early next year are spends Government funds for its programs the Army has a self sus- taining picture service under the Adjutant General operating in the posts and camps throughout the en- tire country. January 2, this service celebrated its seventh anniversary. Started as an experiment in an endeavor to work out some system to reach the 60,000 soldiers scattered in over 100 posts—the going was rather hard at first but now each year a profit is shown with the admissions held within the means of the enlisted men. The service is unique among the- atre chains. The plan of operation includes the sale of coupon books to Walter Fehl (husband of Dora Maughan) and His Magic Wand and Jane Dillon, both due to open at Birmingham Feb. 6. The book- ings arranged by *icnry Sherer Elsa Mcfarlane (wife of Clifford Whitley) and Russell Jones (Amert- can), both in “Blue Skies,” recently terminated at the Vaudeville the- atre, have formed a vaudeville alli- ance, doing a double piano act. They are due to open at the Metro- pole hotels at Monte Carlo, Nice and Cannes in January. Fay Compton will appear in “Zero,” a new film from the novel of the same name by H. Collinson Owen. It will be under the direc- tion of Jack Raymond, responsible the soldiers on credit. In addition to this service the War Department has officially, and from funds appropriated by gone into the producing end. thus made have been a great boo to the civilian producers for war stories giving them actual war scenes that are credited with put- ting over many such pictur in Washington the Signa Congress, | Films | for her last film, “Somehow Good.” GsTUMES — ee? 8 Oe SCHNEIDER = oo £. RSET SO 1229 W 36 ST NEW YORK . iad Ging > =e Se ae = er Xe any Sas a Saal gh a pet OI I FE IES RAS: 8 i oS pie = . ed ee a 3 . ” Se ~ - EIEN NE wnat PEEK [ae vanity oa = Pre ite ai ~ Se en eee cela i EN, Mam A head

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; \ 4 \ i i . ia s, ii | ' et : | ; ' ; sa v3 an VARIETY Wednesday, January 4, 1°28 300 IMPORTANT CAMERAMEN BECOMING RECOGNIZED AS PHOTOGRAPHIC MARVELS en . Los Angel LD) ] About v0 men are earning tron $100 to $1,000 a week around Holly- wood who are just as important as producers, supervisors, directors film cutters, actors, scenarists o17 title writers in the making 4nd as sembling of a picture At any time one of these 300 could spoil an entire production if they were not alert and looking out for the interests of their employers as well as demonstrating ability and integrity. They are the camera men or cine- matographers, | They do everything from shoot- | ing straight scenes to the process, | trick, Akeley, news and still photog- | raphy. Little outward recognition is given these men by the producers They are just known as technicians. Hardly a thought is given to their desires and wishes, though they have been actually the more responsible for the fast development of screen photography and various mechanical improvements since the early days of the industry. Their work does not cease when they stop grinding at the studio, nor do they loaf between scenes when others on the set are resting or clowning about. These men must always keep on their and are always active. Their task is not alone to shoot at what the director wants. As a matter of fact the director in many instances is guided by their judgment and experience in making his scenes. These cameramen know the whys and wherefores of picture making. And that, they only learn from ex- perience. They are the only group of craftsmen in the picture industry who for 15 years have been continu- ally experimenting for the purpose of conceiving new ideas and im- provements for their branch of the industry. second toes Organization Most of this experiment work is done through an organization iden- tified with their profession, the American Society of Cinematog- raphers. This organization is the most completely organized of any of the branches of the industry. It’s organization was brought about in 1913 when a group of cameramen got together for the purpose of in- terchanging ideas. Then it was de- cided they should have their own organization, Frank Kugler, Phil Rosen, now a director, and Lewis Physioe formed what they called the Cinema Camera Club. That was when practically all of the producing was done around New York. When it started westward the cameramen out here formed the Static Club. At that time the boys, whether working East of West, were allowed to interchange their membership In 1918 with the War on, the num- ber of camera men rapidly in- creased, Mr. Rosen who came to} the Coast that year thought that a | national organization should be} formed for the men from this thought the ican Society of Cinematographers, which the men of east fold. camera arose took the automatically and west into Creation At that time the only ones invited |} to participate in the membership of the body were cameramen who had attained a recognized standing and who had had a certain experience in the profession. In this way the or- ganization started off by becoming an exclusive group of craftsmen with their entire mission to co- operate for the invention and in- stallation of new methods and ideas in the photographic branch of the industry. Last summer, when the intensive to st idy every pnase of the camera irt. The older and more experienced members, recognized as authorities | on cinema photography, advise and instruct the younger members on everything that comes up. There is | no other craft in studio work where this form of aid exists among its | . ] mem opers, The instructors of the organiza- | tion give demonstrations on new} methods of lighting, camera acces- sories and appliances, lenses or on the way of handling peculiar camera | angle shots. Everytime a member | of the organization discovers or works out a new trick he does not keep it to himself. He goes to the headquarters of the organization and demonstrates it before his fel- low members. More than 40 per cent of the 300 members of this body hold letters | of patent on one or more devices | for improving the working camera or to improve results obtained from certain effects. | Everywhere To allow the camera men to continually experiment on various angles of the cinema art the organ- ization maintains a large suite of offices in Hollywood. There the members have a reference library. In it they will find a complete file of picture locations in the western States and Canada. Though the organization is na- tional and most of its members are employed on the Coast some are |of the cameraman of the cameramen of the early days of the cinema are today among the best in the directorial ranks. Those who have gotten away from the grind to handle the megaphone in- clude George Hill, Victor Fleming, Phil Rosen, Phil Whitman, Fred Jackman, Karl Brown, Howard Bretherton, Irvin Willat, Sylvani Balboni and Byron Haskins. Though directors and actors come and go in the screen world, the life is everlasting. Many of those grinding today have been at it for from 15 to 20 years ind will probably be going for double those periods if they so choose, Salaries Their salaries are based on abil- ity and proficiency. Very few of the first cameramen earn as low as | $100 a week. A majority draw from $200 to $500 weekly, with a few getting above that figure and up to $1,000 a week. In this heavy revenue group are to be found Tony Gaudio, Charles Rosher, James Wong Howe, George S. Barnes and J. Marley. Then, of course, the boys who do the trick shots and glass and min- lature stuff range in pay from $350 to $1,000 a week, with some of the men who shoot the glass stuff get- ting $1,000 a shot. The second cameramen, of whom there are about 75, are generally used to shoot the foreign or second negative. These men draw from $75 to $200 a week. Then come the and | Amer- | organization campaign was on in full force of all crafts in the in- dustry, the A. S. C. let down its} bars and accepted the rank and file of studio cameramen. It resulted in} the body numbering among. its | members practically every one op-| erating a camera of one sort or another in a West Coast studio. With the organization 100 per cent in membership, the old crowd be- came vigorous in their endeavor to see that the new members were benefitting through their association and having pointed out to them up- to-date methods of making pictures from every angle. To do this all members are given an opportunity BILLIE In little more than a year, place in the hearts of tilm fans and her rise has been meteoric, she this beautiful ranks DOVE enviable Though screen film star has won an theatre men the world over. among the outstanding players of the decade because of sheer merit, charm and graciousness, Today, Billie industry. Dove is one of the g reatest box-office attractions of the scattered about the globe. One, at present, is permanently stationed in Riga, Russia, a number are at work in the studios in England, Germany and France, while another’ will shortly accompany Commander Richard Byrd on his scientific ex- pedition to the South Pole. Looking over the roster of the organization finds men of practi- cally every profession. There are musicians, architects, physicists, | sculptors, painters, mechanical sci- entists, aviators, soldiers, radio and telephone experts, writers, linguists. Nationalities of the camera world on the Coast include American, Canadian, English, French, German, Italian, Spanish and Swede. There is also one Chinese in the group. | He is James Wong Howe, the only Oriental who ever handled duction camera. Howe was discov- ered by Sidney Olcott when the lat- | iter was with Paramount. § Since leaving Par, Howe has been with Herbert Brenon on all his produc- tions. Now Directors The ambition of the cameraman does not stop in just turning the crank. He strives to get on further in the screen world. A great many’ a pro- | eon at from $20 to $50 a week, They as yet are not qualified to turn the crank, but are used to aid the cameramen in physical chores. The still cameramen get anywhere from $40 to $75 a week, with a few paid beyond $100. Akeley cameramen, who supply their own cameras and equipment, are very seldom under contract or on the payroll of a studio. They are free lancers and get from $50 to $75 a day. Some of the larger studios own a few Akeley equip- ments and pay the men that oper- ate them the same salary as given the first cameramen. Most of,the camera boys have |} large sums of money tied up in their own personal equipment, | whieh consists of machines and | lenses, with the average investment | of a first class camera operator | running around $3,000. Some of the “Class A” boys have as much | as $10,000 tied up in their outfits. | Pioneer | The cameraman can be classified jas the pioneer research worker of | the industry. It is his unselfish de- for better mand instruments and material to work with that has been (Continued on page 13) Big English Theatre Deal to Stand Off PCT. Combine Dec. 31. London, A $25,000,000 theatre deal is all set. It includes the remainder of the Gulliver houses and various hitherto independent theatres al! over the country grouped as a pic- iture house combine. The company will probably tie up with an American corporation to guarantee films to offset the Pro- vincial Cinematograph Theatres combine with Metro-Goldwyn- Mayer and Joseph M. Schenck. Fox, Wash., Going Now To Stage Band and M. C. Washington, Dec. 31. Fox is again changing the policy of his new house here. Switching this time from a 60-people company presenting the Victor Herbert light operas in tabloid to the stage band and master of ceremonies policy. Ballet under Alexander Oumansky is to be retained, but the principals and chorus finish tonight. Starting with Roxy’s presenta- tions, next were acts with two “names” often on one bill, then the Herbert musicals and now the stage band policy. All in less than three months, Mankiewicz Coming East For More Par Writers Los Angeles, Dec. 31. Paramount is going to resume its Authors’ Council, with Herman Mankiewicz leaving for New York Jan. 8, to remain three weeks. While east Mankiewicz will sign writers to do individual stories for Par. The pen boys are to be brought here for a month’s trial, and the Paramount emissary will also en- deavor to make deals with other writers to come to the Coast to join the staff as permanent staff scenar- ists. Mankiewicz is expected to bring back at least 30 new writing names. Jesse James, Jr., Broke Los Angeles, Dec, 31. Jesse James, Jr., son of the out- law, and who was a practising at- torney here, is financially broke. A wage claim of $18 filed against him by Stuart Fisher, law clerk, was admitted to by Mrs. James \.ho said her husband is in bed suffering from nervous breakdown and had no money with which to pay. James was given until Jan. 5 to make pay- ment, otherwise an order of arrest will be issued. James is said to have closed his law office at the time he served as technical advisor to Fred Thomson, | western film star, when the latter was making ‘Jesse James” for Paramount. Another English Studio | ae London, Dee. 31. British Instructional Film Com- pany is dickering with the authori- ties of Welwyn Garden City for a concession to build a picture studio there and obtain local facilities. Welwyn is an art and craft center, near London. It has large residen- tial labor supplies. The scheme is likely to become jammed because two studios, each capable of handling 30 pictures a year, are proposed for Elstree, where British International is also expanding. | U Starting Four Los Angeles, Dee. 31. Universal will start on four new pictures with the new year. The include “The Michigan Kid,” Rex Beach story to be directed by Irwin Willat; “Cream of the Earth,” Mel Brown directing: “Phyllis of the Follies,’ Ernest Laemmle di- recting, and “Be Yourself,” with William Seiter directing Reg Denny. Greta Nissen on Stage? With Greta Nissen scheduled for a New York stay, and a reported legit show her prospective goal for the remainder of the season, there are several film producers anxious to secure her signed for pictures. No long-term contracts as the proposed productions are on single picture makes only. Artists picture on the Coast. Miss Nissen has been in a United ! ——J = “Street of Sin’? Stopped: “Last Command” at $2? bmi} Jannings’ “Street of Sin” has been stopped on the brir of distribution to make way fo: 8 same actor's “The Last Command.” The latter film is in its final cuttine stages on the Coast. There is some talk of it coming into New York for a $2 showing. This may be plaus- ible as “The Wedding March,” tatively scheduled for the following “The Gaucho,” has set aside as word from the that it’s not ready. “Street of Sin” will have some re- takes made by Victor Fleming, the changes taking place at the finish of the story, and will be released be- tween “Last Command” and “The Patriot,” another Jannings picture. The reason for this is that the latter two films both have Russian locales, Joseph Von Sternberg is the au- thor of “Sin,” which Mauritz Stiller directed; Von Sternberg directed “Command” and Ernst Lubitsch will supervise “The Patriot,” an adaptation of the play of the same name which Gilbert Miller now has in rehearsal. tene Liberty, been West is Van Cleve Divorce Los Angeles, Dec. 31. Mrs. Rose Marie Van Cleve, sis- ter of Marion Davies, has filed suit for divorce in Superior Court here against George Barnes Van Cleve on grounds of infidelity and habit- ual intemperance. She asks $100 monthly for the support of their daughter, Patricia, 8 years old. Several months ago Van Cleve suddenly dropped out of sight, tak- ing the child with him. It was understood he had remained,in an uptown New York = apar,ment, Though no general alarn: was known to be sent out, Van Cleve was said to have been located in a railroad station and the girl re- covered by her mother. Of late Van Cleve has been in New York. Boy Scout Pictures; For Non-Theatres Also The Scout Film Service, Inc., has been formed to produce and dis- tribute from New York special pic- tures for the Boy Scouts of Amer- ica. Pictures will be rented out- right to troops or exhibited on 50-50 sharing terms. It will be a money- making plan for Boy Scout troops seeking to raise funds for organiza- tion purposes, There is a membership of 700,000. The organization has endorsed the service and will have the right to pass on all scripts before being pro- duced. Additional market outlet through schools, churches and Y. M. C. A.’s is expected to be a source of rev- enue, Alfred Walker, business economist, is general manager of the new project. Henley With Par Los Angeles, Dec. 31, Paramount has_ signed Hobart Henley to make three pictures dur- ing the coming year. His first will be “The Super of the Gaiety,” starring Adolphe Men- jou, with production to begin Feb. 1. Fowler-Tamara at Roxy Addison Fowler and Florenz Ta- mara, the international dancers, open at the Roxy, New York, January 7. They were abroad for two seasons as the features of the Folies Bergere in Paris, also ap- pearing in London, Deauville, Can- nes and the Riviera resorts. Fowler and Tamara featured dancers in houses. are the pioneer picture Sherman in Male Lead Los Angeles, Dec. 3 Lowell Sherman will play oppo- site Billie Dove in “Heart of a Follies Girl.” John Francis Dillon directing for First National. L. A. TO N. Y. Harry Rapf Warren Doane J. Leo Meehan Sam Sax William Le Barron coord

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few w&S © of in one in Wet-ocsday, January 4, 1928 27 (00 OLLYWOUD aca IN YEAR Girls and Boys Developed —One Out of Every 450 Possibilities—5 Years Av- erage Screen Life—Some Instances By ARTHUR UNGAR Los Angeles, Dec. 20. In the onward march of the pic- ture industry during 1927, over 100 people, including writers, directors, supervisors and actors, have sprung to the fore. Though there has been considerable talk that the producers are trying to hold the industry in their palms and stem the tide of progress of those in the ranks, more people have achieved recognition and been rewarded for their endeav- ors during the past year than at any time in the history of the industry. The motto of all those interested in this infant field is for the devel- opment of new talent in all branches. A summary of the actual life of talented people in the motion picture industry in ail branches shows less than a five-year average. Producers, directors, writers, supervisors and stars and players come and go. The strides made in picture production during the past two years have sort of weeded out a lot of the old tim- ber, with the heads of the various production organizations on the alert to draft new material. This material comes from all walks of life. Of those who come into the industry for a chance, about 450 make the grade, some way or another. 33 Girls, 24 Men On the feminine side, 33 young women came to the fore in the past year as actresses. On the male side 24 men climbed the ladder to get their names on the cast rosters as important or featured and star play- ers. Then four little youngsters hopped onto the band wagon to show their juvenile versatility. Among the directorial group, 24 new megaphone’ wielders' have found an opportunity to do their stuff. In the list of new writers who have accomplished things are 12 whose work is new for the screen. Then come the dreaded super- visors. With the trend of the pic- ture industry toward the supervis- ors, the producers have had the hardest time in getting the right people to fill the jobs. There are still a number o7 old line supervisors who are guiding the destinies of their respective units, but with the demand bigger than the supply, s0me 10 men have broken into the “golden” circle. In the women’s division of players fast strides have been made during the year by Leila Hyams, daughter of John Hiyams and Leila McIntyre, vaudeville act, who worked her way up in the ranks from an extra girl to the position of a featured player at Warners’; Lupe Velez, a Mexican immigrant, who promises to be an Outstanding rival of Dolores Del Rio; Nancy Carroll, at one time a chorus girl who got a_ stage dramatic lead and then was chosen for Rosie in Anne Nich- ols’ screen, “Abie’s Irish Rose”; Ruth Taylor, an extra only a short time played the title role on the screen in “Gentlemen Prefer Blondes" ; Lina Basquette, widow of Sam Warner, a former Ziegfeld “Follies” principal, now featured by De Mille; Dorothy Kitchen, young- Ster, in stock at Universal and now playing important leads in westerns. Sonia Karlov, former “Follies” girl, now under contract to DeMille; Daphne Pollard, vaudeville head- ‘iner, being starred in the comedy division by Mack Sennett; Mary Nolan, known on the stage as Imo- gene Wilson, now featured at Uni- versal after United Artists imported her as an unknown from Germany. Audrey Ferris, who started her career doing hits on the Fducational ago, VARIETY f * “VARIETY’S” PRESS TIME This Anniversary issue of Variety went to press midnight Friday, Dec. 30 A lot and selected by a supervisor on the Warner lot for ingenue leads; Sue Carol, who got her first chance playing opposite Douglas MacLéan in “Soft Cushions,” now playing leads in the free lance field; Nena Quartaro, found playing leads in westerns at F. B. O., signed for five years by James Cruze, playing a featured role in “The Red Mark,” a DeMille-Pathe special. Viola Richards, who commercial and magazine advertis- ing illustrations, coralled by Hal Roach to play feminine leads in his comedies; Lorraine Eddy, chorus girl with “Topsy and Eva,” who liked the climate of the coast and worked her way up from the extra ranks to a Christie comedy lead; Doris Dawson, youngster from yoldfield, Nev., who also started in the extra ranks and is playing leads for the Christie outfit; Gail Lloyd, with the same concern, who, after graduating from school in San Francisco, joined the ranks of the Central Casting Office group until also picked for comedy leads; Vir- ginia Sale, sister of Charles “Chic” Sale, who came to the Christie lot as an extra and proved her worth for leading roles at the Christie lot. Ann Christy, whom Al Christie saw one day in the mob, now play- ing the lead with Harold Lloyd in “Speedy”; Jeanette Loff, who played an organ until last August in a grind picture house at Portland, Ore., and who trotted out to the DeMille lot in Culver City, where Charles Richards, at the casting of- fice, gave her a look over, which resulted in her being chosen for the lead opposite Rod Ia Roque in “Hold 'Em, Yale.” Sally Eilers, youngster who grad- uated from the Fairfax high school in Hollywood last February, then remained for three months in the extra ranks, to be plucked by Mack Sennett for a five-year contract and the lead in his super-special, “Good Bye Kiss.” Lillian Gillmore, daughter of Bar- ney tillmore, former actor and playwright, who cropped up at the Universal lot from nowhere and was assigned to play the lead op- posite Arthur Lake in a number of short subject offerings. Mona Ray, youngster who was chosen for the role of “Topsy” in “Uncle Tom's Cabin” from the vaude stage, now being featured by Universal. Bar- bara Kent, little girl being carried on the Universal payroll practically to collect her salary until Clarence Brown came along and borrowed her for the ingenue lead in “Flesh and the Devil” which made her very important at the U lot afterward. She has been featured in three pic- tures during the year by her parent company. Others who have jumped to the fore with Universal are Dorothy Gulliver, Ethelyn Clare and Barbara Worth. They all started at the bot- tom and are now playing leads in various pictures turned out on the lot. Sally Phipps, who was picked up by Fox from the extra ranks, and who is now playing leads. Then June Collyer, daughter of a New whom Winnie Shee- han picked out and immediately put into principal roles without any screen experience at all. Marjorie Beebe on the same lot who cropped up one day and found herself play- ing leads in two Fox productions and who looks as though she will hit the starring ranks one of these days. Then Bodil Rosing, brought forth in “Sunrise” by Murnau, who is being given a lot of attention at the Fox lot for featured parts. Over at First National they pick- ed a couple of good plums during the year. Their outstander is Molly York attorney O'Day, sister of Sally O'Neil, who is coming along like a hurricane and probably in another year will be starred by the company. She started in the extra field, then went into the two-reel ranks and F. N selected her for the lead opposite Richard Barthelmess in “The Patent Leather Kid.” Since then it has been a pushover for this youngster. The other girl who came along fast on the same lot is Alice White. Two years ago she was answering he switchhoard in the office of an modeled for | | red Mrs. Torrence’s Little Children EDNA and JOHNNY Wish You A HAPPY NEW YEAR! EDNA Playing “AZURI” in “THE DESERT SONG” Co. Great Northern Theatre Chicago, Ill. agent. girl. should Then she became a script Some one got an idea she be an actress. They gave her the lead with Milton Sills in “The Sea Tiger,” and then other producers wanted her. She was loaned out here and there and final- ly Paramount took her for an im- portant role in “Gentlemen Prefer Blondes” with indications she will be one of the outstanding lights in the picture. Prior to getting that job F. N. did not intend to renew, but now they are holding fast to her for another five years. Another girl on the F. N. lot who clicked fast is Loretta Young, a little extra girl early this year who got her chance in Robert Kane’s “The Whip Woman,” after which the five-year mortgage was put on her career by the company. There are quite a number of girls on the screen who did outstanding work during 1927, not recognized for their ability during the past few years. This list has a score who have stepped out so far. As a mat- ter of fact three years ago they were just incidental on the screen. Today their names are included in all billing and on the electrical dis- plays of the theatres. The Men Who Hit On the male side of the acting end one of the biggest hits of the year is Louis Wolheim, who played the role of Captain Flagg in the stage version of “What Price Glory.” When Wolheim came to the coast Howard Hughes of Caddo produc- tion signed him and his first pic- ture placed him to the fore It was his work in “Two Arabian Knights” with William Boyd as a teammate. Six months ago they asked “Who is this fellow?” Now they think he is the greatest bet of the year. Another stage recruit who clicked practically over night was Robert Armstrong who played the fighter in the stage version of “Is Zat So?” He started out in life as an attorney following his graduation from the University of Washington, a nephew of the late Paul Armstrong. There was the lure of the footlights and then that of the screen. His first job on the silver sheet was at De Mille’'s where he played the fighter in “The Main Event,” directed by Williiam K. Howard. One flash at the preview and Armstrong was made. Everyone wanted him and Fox has used him for two pictures with De Mille having him under a five-year contract. He will be star- by that organization early in 1928 with his first production “Tenth Avenue.” James Gleason, who worked with Armstrong on the stage in “Is Zat So’?”, also got a crack at the screen. Universal used him for a couple of pictures but after he got through t ‘ he 7 f I prologs in the Loulevard ie Al =! Jack Luden of the “cough drop fumliy came here late in 1926 with the Paramount school crowd They ] not think so much of him at first, but when the fan mail returns ime in it Was decided the boy was cKay Now his name is in picture billing as well as on a five-year working sentence for the company Charles Buddy company, is and clicking } Richard Arlen, an extra two years under another Rogers, with that also a si hool graduat« as a feature lead PICTURE UP-STA ——_—_—_—_—_—_— + ago name, got his break in “Wings” and will draw down pay with the company fer a number of years to come Also on the Paramount payroll is |} Gary Cooper, an extra little more than a year ago who got his break in “Barbara Worth" with a Par- |nondescript pictures is | that amount contract tollowing, resulting in his being featured in a of pictures made by including Zane Grey will start his 1928 career by being loaned to play the lead opposite Colleen Moore in “Lilac Time.” Then Eddie Carewe grabbed oft a guy named Walter Goss, who had not done well with Paramount. Possibly he had been a newspaper reporter a short time be- fore trying the screen. Carewe took Goss, changed his name to Roland Drew and the youngster played the male lead opposite Dolores Del Rio in “Ramona.” Carewe thought five years and fea- ture then. Out at the De Mille lot they had (Continued on page 14) number the company, products. He 80 because YEAR IN PICTURES The biggest, most enormous year | here pictures have ever had—1927. Rapidity of movement, and development has marked year the greatest. The picture itself, tracked or clouded here and there by the upgrowing stage presenta- tion, has still remained the picture otherwise. It’s the main drawing eard for thousands of theatres, for millions of people, and probably al- ways will be. Before the picture came into its earned prominence, the stage presentation under other disguises, such as vaudeville, revue, burlesque and tabloid, did not draw this while side- comparatively. Therefore it must have been and must be the pic- ture still. While the picture has developed into the special, the road show kind, of the genuine $2 class, is as scarce | as ever. The special that can stand $2 or $1.50 exploitation In a legit house on the key city route and in those cities of the larger kind, Is much more prevalent than before That sort of picture augurs well for the future of the screen. of a character that can keep apace of the stage show in a picture house and calls for no outstanding attrac- tion other than itself Too Many Features This year also has brought con- viction to the smartest of picture business showmen that there are too many features on the market during a regular season, whether that number is 800, more or less. If that pressure of a large number of to be re- duced, it must be by elimination and seems to call either through agreement by producers or mergers of producers For the independent 1927 turned ous they pated uct +} producers, has out more prosper- than may have antici- The indies with their prod- are up against an avalanche of ¢ regular line producers, with | their pictures contracted before the with them he returned to the east for stage work Gilbert Roland, Mexicar lad Started as an extra two year iZzo They flashed his countenance at United Artists and during the past! year he has been playing leads op posite Norma Talmadge and oth: feminine stars. Gene Morgan is a vaudeville re ruit. Hie was working as master of ceremonies for Fanchon and Marco, Hal Roach lamped him and he signed on the dotted line for work in the Roach comedy outfit He works on the Roach Iot 4d eason fairly has opened. If an ndi as has been done several time o far this year, can work a eature into a big first run, the die is either fortunate or has rned out an exce ptional indie bit goods Classier Films The regular producers have pro duced as a whole a more class set of program features and appar ently have done so within the usua investment appropriation, if not les: than formerly. This has been of I ¢ financial assistance for ; nm grosses have exter , 7 IS INVESTIGATING I \ Ls $1 I l s \ fi Ly partment ¢ lust I ha been invest ! alleged mm of the ant rust law by produ and West Coast Theatres cil lit They have been making pecial efforts to get independent producers ind d butors to make confiden- tia juawks, with only two of the maller be having me through SO lal It is known that ove ill a dozen actors have signed affidavits against prominent producers, claiming they are being deprived of making a in} n picture “Circus” in U. A. at 99c Dec. 31 Circus” Angeles, Chaplin's “The Los Charlie | will play at the new United Artists theatre Feb. 4 at a 99c top, instead jof at Grauman’'s Chinese, Holly- | wood, at $1.50. “Cireus” follows “Love” (M-G), |} which comes in behind “My Best |Girl” (U. A.), the present attrac tion. thought | and GARRETT REMAINS WEST Los Angeles, Dec. 31. Oliver H. P. Garrett, who wrote “Nightstick”’ (picture) for Para mount, formerly with the New York “World” as a reporter, will remain out here as a regular staff writer with Par. as they have abroad Those distribution should statements distributors with free an unlimited field play very nice financial for this year. The current season opened well with a rush of big pictures released dis- | for the picture houses, and also a |more than average collection of pro- gram films. It was said esrlier in ithe year that Metro-Goldwyn-Mayet It’s | (Léeew's) held $12,000,000 in con- tracts for “The Big Parade” in the film palaces. Toward the end of’ November film theatre trade started to fall off Theatres In theatre operation Loew's stands out through its unique situation as a theatre chain. Whereas other circuits, like Publix principally, are burdened by a mass of uncontrol- lable houses that must be adjusted | Loew’s has no such theatres It's circuit is its main chain, nearly every one of the de luxe sort and |'with capacity, especially in Loew's picture end. Fox appears to be | aiming for the same grade of house with Fox wanting nothing less than 3,500 capacity and preferring 4,900 or more. All in good cities Publix prospects are brilliant as a theatre operator. Much will have to be shaken out of that chain and it will need some little time yet. Meanwhile additions to the Publix circuit—and they are innumerable with others to come—are of the big house class with money holding possibilities that should make the Publix statement a rosy and not a red one before very long. It is easy to accept the report that the Para- mount, New York, netted $1,000,000 in its first year, ending in Novem- ber, last. Publix has pooled operations in spots, and also allocated local man- agement in the smaller towns when that could be accomplished Both are said to have worked out for betterment. The Roxy The tar opening ot 1927 } ‘ ! |}the Roxy It’s a theatre that brought a mountain of re it opened d the tall ill ¢ ? on N has been t leti nite the R s overhead yee With nm iZ overhead | | ( ir stage ! t I Sam I I i pr t id it | i $55 rt } has 1 ound weekly since open- ng J huge box office trade t | been printed all nver ¢} , ' has not dor +} ‘ TS nao nist ss) DEPT. JUSTICE ON COAST TY a - } yi ; is i! oi > ; i i ; ; : . . ' 3 | he . ; os ; e ' . ;! ‘% ~ = 4 Tt)

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LEADING FILM STARS OF 1927 (Continued from page 3) tricts falling in line immediately afterward. Establishment of the value of these new people in the foreign ter- | ritory is rather slow, especially in the African and Asiatic territory. There the people seem to remain loyal to their old favorites and are | quite reluctant to trail with the new ones until they have seen ¢ considerable number of their screen efforts. Then, even, they still hold a warm spot for the old ones and keep on patronizing the houses where their product is shown. Picking up of the old favorites is the forte of the independent pro- ducers, with the main draw figured by then so far as these players are concerned from the foreign market as well as the American provincial districts. There are many stars and players who have passed out of the big parade to trudge along with the minors with still an unusually loyal following. That makes it possible for them to command substantial payment for their services from the producer, as well as strong adver- tising and exploitation of the pic- tures they work in. Why Lloyd Leads As in 1926, Harold Lloyd is still the leader of all stars of all com- panies. This despite he has turned out only one picture for Paramount | PARAMOUNT STARS HAROLD LLOYD CLARA BOW RICHARD DIX POLA NEGRI BEERY-HATTON BEBE DANIELS EMIL JANNINGS ADOLPHE MENJOU GLORIA SWANSON THOMAS MEIGHAN FRED THOMSON ESTHER RALSTON FLORENCE VIDOR RAYMOND GRIFFITH DOUGLAS MACLEAN Ww. Cc. FIELDS EDDIE CANTOR JACK HOLT ED. WYNN Featured George Bancroft Chester Conklin Noah Beery Clive Brook Ford Sterling Mary Brian William Powell Betty Bronson Evelyn Brent

New Talent James Hall Louise Brooks Charles Rogers Fay Wray Gary Cooper Lane Chandler Jack Luden Thelma Todd Richard Arlen Josephine Dunn

- this year. His old product, both with Paramount and Pathe, still manages to make the rounds. In glancing over sales sheets one sees where he is way over the top on the percentage of sales. There are very few 100 per cent. sellers among the stars, but Lloyd gets over on ac- count of consistent repeating of his pictures. One will also find that Charlie Chaplin is another 100 per cent. seller, even though he has released only three pictures in the last seven years. The Chaplin product of 10 years ago is still as popular with the exhibitors as when first reis- sued. Chaplin is the box office bolster whom the exhibitors need for a general stimulant when prod- uct is running low. Par. and Fox Though the producers have been declaiming that their °26-'27 prod- uct is the best ever, the public has not been of the same thought all around. Companies have changed in rating so far as product quality is concerned this year, with Paramount and Fox running about neck and neck for the top notch honors, with Paramount, of course, having the edge due to more extensive key city circulation. First National also has jumped to the foreground during the year, turning out some consis- tent box office material. |exploitation, working on the | VARIETY Wednesday, January |, 1928

| While, on the other hand, Metro- |

the leader in sales by a wide mar- Goldwyn-Mayer slipped by the way-| gin. Of course, his pictures are not l side. trailing these companies, other | getting as wide a circulation as they than M-G-M’s huge gross returns| had two or three years ago. The since Labor Day. That has been| Mix brand is used by the company caused by “Big Parade” and “Ben-|in many instances to “bait” the ex- | Hur.” hibitors into buying other program Specials and road shows seem to product of the company. So, actu- | have heen the main concentration ally, Mix can be classified as a langle of these companies for the| plus star. | box office trade. On these pictures Bow and Dix the big companies have done an un- Paramount, with its road shows usual amount of advertising and|and super specials, such as “Wings” basis of selling the picture on title and producer more than on the rating of the stars and feature players. This seems to be most noticeable with Fox. That company has dwelt on the picture and the director, with the players considered of in- cidental consequence, though given liberal recognition in billing. As a result of this method, outside of Tom Mix, Fox’s star western star, and Buck Jones, another western, now off its payroll, Fox has but one general dramatic star, Madge Bel- lamy. Other players with this com- pany, such as Victor MacLaglan, George O’Brien, Edmund Lowe and Janet Gaynor, are held in the fea- tured group, with their personal drawing value rather difficult to determine on account of the method pursued by the company in selling the product, Teams Another departure in the method of selling pictures during the past year is the teaming up of the play- ers, male and male and female com- binations. With very few excep- tions these teamed combinations are known as featured players with their pictures in many cases out- drawing the product of the single stars, on whose name alone the product is sold, instead of on the picture title as the producers get rid of the combination players prod- ucts, Though Wallace Beery and Ray- mond Hatton have sprung to the fore as the leaders of the doubles, George Sidney and Charlie Murray from the cold dollar angle are the combination leaders. This is due to the fact that Murray and Sidney, who have done most of their labor- ing for First National, have been working for other companies, too, especially Universal, and the prod- uct they participated in during the past year has shown more cash at the box office than that of the other comedy team. Of the mixed combination, Lew Cody and Aileen Pringle were the leaders in the M-G-M fold. This combination turned out a lot of the b. o. caliber of stuff, and though the other mixed combinations have clicked from the exhibitor stand- point, the gross intake would give the Cody-Pringle team the van- guard position, During the year a number of new

combinations were established, but their value cannot be properly gauged for this resume, as but few of their product got a chance to cir- culate during the last six months of 1927. For the 1928 rating, the standing of these players will un- doubtedly be much higher, as their product gains momentum in going around the world. Western Market The Western field, on the other hand, was all shot to pieces during the past year. With big key city houses not using Westerns, and these pictures mostly getting the Saturday and Sunday play, a much smaller quantity of production was done in this field during the year. A number of Western stars of the past five years have passed out of the picture as a result. Such draw- ing ecards of the past as Harry Carey, Jack Holt, Buck Jones and Bill Cody, are no longer heading their own units, with the majority playing character roles in the standard productions. Paramount tried to break into this field for a while, but after a number of Westerns were made with unknowns the returns were not so encouraging, and they decided to throw their entire selling organiza- tion behind the Fred Thomson prod- uct. Par got off to a good start with Thomson, practically having his first picture sold before it was in the making stage. They got this one into the key city first run houses, where Thomson was a stranger, and the returns on it were none too satisfying to the exhibitor. Meantime, Paramount is still turn- ing out the Zane Gray western stories, selling on the author’s repu- tation. In the Western field Tom Mix is

and “Underworld” and “The Way of All Flesh,” is rather a proud and aggressive organization. Then again coming after Lloyd, Par has a great bet in Clara Bow. This little “It” FIRST NATIONAL STARS COLLEEN MOORE BILLIE DOVE NORMA TALMADGE RICHARD BARTHELMESS CORINNE GRIFFITH HARRY LANGDON MILTON SILLS CONSTANCE TALMADGE JOHNNY HINES KEN MAYNARD WILL ROGERS Featured Sidney Murray Mackaill-Mulhall Lew Stone Ben Lyon Astor Hughes Molly O’Day Alice White Maria Corda Virginia Lee Corbin Arthur Stone Donald Keith Anna Q. Nilsson Doris Kenyon

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girl, getting into the star class for first time, jumped ahead of all the company’s stars in box office draw- ing power and leads them in popu- larity. Of the male stars, Richard Dix has been the most substantial money earner, with the Beery and Hatton combination right on his heels. Dix has the advantage over this team in being established in the market outside of America, though they might outdraw him inthe home country, Emil Jannings having only turned out two for the company, cannot warrant the rating this year that he will get next when his picture starts moving. Though Pola Negri has been Par’s best on the foreign market, it is said that with pictures released by them of Jannings’, that picture for picture, he ig outselling her. The American following of Miss Negri seems to be getting away from her bit by bit. Though Gloria Swanson has been away from Par for over a year, her old product is etill making the rounds and showing good returns. Douglas MacLean, another of the stars off the Par roster, fell a bit below hig standing of the year be- fore, Bebe Daniels and Adolphe Men- jou, with nominal priced produc- tions, proved themselves “valuable” money getters for the organization. Figured on the percentage of pro- duction cost of their product against that of some of the stars who needed the expensive and lav- ishly mounted stories to get over, they can be qualified as their mas- ters at the box office. Thomas Meighan, one of Par’s old standbys, got some bad breaks on the year, with the company only benefiting through the fact that the Meighan name was sold ‘way in ad- vance and his pictures got the prices. Eddie Cantor, of course, could not get into the big line group, as his wares are but few and just begin- ning to circulate. This is also the case with W. C. Fields, who prob- ably will shine during 1928 when Christie releases through this or- ganization “Tillie’s Punctured Ro- mance.” Then it looks as though Fields will shoot ahead from the box office angle. New to the screen and amounting to nothing in the} check-up, Bd Wynn stands.at the bottom of the Hst with his lone ef- fort, “Rubber Heels.” Featured Players In the Paramount featured group the men players are to the fore

, at the bottom of the list last year, madce with George Bancroft, who was ’way jumping right into the kad. He will be in 1928 listed among the star group and probably give *hose in that column a run. Also strong in this class are Chester Conklin, Noah Beery (now off the payroll), Clive Brook and Ford Sterling. Of the featured women Para- mount had little to boast of, with Mary Brian the leader. Added its Evelyn Brent, who hopped into the big league from the F. B. O. ranks and corraled a following quickly through her work in “Underworld.” Paramount also has a new talent group forging ahead nicely. James Hall leads this crowd of youngsters. If he is properly cast during the coming year it looks as though he will join the star ranks soon. In the women’s division Louise Brooks is the leader. There are two new girls with Par, Ruth Taylor and Nancy Carroll, both having juicy roles in their respective produc- tions, but they can get no classifi- cation for the current year, as the product they were in has not been released yet, though Paramount fig- ures they will be o. k. at the gate. Colleen Moore F. N.’s Best Colleen Moore again has been the pacemaker on the First National roster. Though she had only turned out three on the year, Miss Moore was strongly entrenched in her class and found that the exhibs were with her on every picture. The big surprise with this organ- ization on the year was Billie Dove. In 1926 Miss Dove was rated half way down in the list of featured players. With Corinne Griffith get- ting ready to leave the fold, F. N. gave this girl the starring chance and she caught on like wildfire. The first pick-up of a following by Miss Dove shaded Miss Griffith toward the background. Norma Talmadge is also rated with F. N., as she turned out two for it on the year. Given more prod- uct, she would have been to the fore ahead of Miss Dove, as the prices for the Talmadge pictures are considerably higher than those of the newer star. Barthelmess Repeats In the male class Richard Bar- thelmess repeated as F. N. leader with “The Patent Leather Kid” and “The Drop Kick,” great aids to keep him far ahead of the other F. N. male stars. Harry Langdon did not jump to the fore as expected. His pictures just did not hit a responsive chord while his circulation is being ad- justed, especially in the provincial and foreign territories, where he is just beginning to be known as a feature length comedian. In the feature class two combi- nations head the list, with the Mur- ray and Sidney line-up drawing big- ger returns than a good number of the individual stars. Another cou- ple clicking big are Jack Mulhall and Dorothy Mackaill. Lewis Stone, though out of the company fold now, is a good box office name in his class, with the juvenile Ren Lyon meaning just as much at present. The latter, no doubt, would have ranked ahead of Stone, but has been in too few pictures during the year. Molly O’Day, new with F. N., will bear watching during 1928. It looks as though she will click heavily and land in the star group. Another youngster in this class who will progress fast in the new year is Alice White. U. A.’s Groups United Artists added half a dozen stars to its group in 1927. Of the standards, Chaplin, Fairbanks, Pick- STARS CHARLIE CHAPLIN DOUGLAS FAIRBANKS MARY PICKFORD VILMA BANKY RONALD COLMAN GLORIA SWANSON NORMA TALMADGE JOHN BARRYMORE BUSTER KEATON GILDA GRAY CORINNE GRIFFITH Featured Del Rio La Roque Wolheim-Boyd Gilbert Rowland Don Alvarado Nils Asther Lupe Velez

= ford and Colman-Banky leaders due, with their have been circulating from. the year or years before. Of the newer J

are the pictures

group Gloria Swanson, Norma Tal- and John Barrymore with

— — one picture each aré however. With more circulation during the coming year the drawing power of the stars with U. A. may eee a change. Corinne’ Griffith though listed with U. A. can hardly be classified as she as yet has not the leads rs, had a release. Buster Keaton had a few but they got nowhere, with the Gilda Gray’ picture just getting started on the list and having played little to warrant any sort of grading as to her value with this company. In the feature class Dolores Del Rio and Rod LaRoque as a combina- tion were in the vanguard. La Roque is really to be classified as star as he was starred in ‘“Resure- rection” with Miss Del Rio. The latter cannot be given as substan- tial a rating as she deserves, as she has been working in the product of other companies, such as making two for Fox. Right on their heels come another tandem, Louis Wolheim and Wm, Boyd. They just made one picture it clicked from start and looks like big money maker. Boyd again doeg not rightfully belong in this group as he was loaned from De Mille for this job. Of the U. A. single fea- ture players Gilbert Rowland is the leader. Chaney, M-G-M Leader At M-G-M Lon Chaney is still the van leader. Chaney is the best box office bet that company has had with his product drawing bigger re<« STARS LON CHANEY JOHN GILBERT NORMA SHEARER LILLIAN GISH MARION DAVIES WM. HAINES RAMON NOVARRO JACKIE COOGAN TIM McCOY Featured Greta Garbo Renee Adoree Cody Pringle Sally O'Neil Arthur Joan Crawford Owen Moore Marceline Day Dorothy Sebastian Lars Hansen Gertrude Olmstead Eleanor Boardman Lionel Barrymore Conrad Nagel Roy D’Arcy Ralph Forbes Marie Dressler Polly Moran George Cooper Frank Currier Gwen Lee

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turns than any of the individual starred output. This, too, is due considerably to the limited cost of his average production, while much more is spent on products of other stars. Norma Shearer and John Gilbert are close to each other in draw value, with Lillian Gish now away from the company, cashing in on several of her previous endeavors which still command fairly good grosses, Were Marion Davies classed on the basis of her key city-Hearst newspaper support draw she would be much higher than the other etars placed ahead of her. However, her provincial and foreign draw is not as strong as theirs. In the featured class with M-G-M, Greta Garbo has been the sensation of the year and proved to be the sure fire attraction at the box office. Renee Adoree climbed to the fore nicely, too, during the last 12 months, with the Cody-Pringle com- bination followed by Sally O’Neil, now gone from the company, and the new George K. Arthur-Karl Dane combine. These boys look very promising for coming year. Another couple listed as fair draws in the feature group this year look likely as leaders during coming year, Joan Crawford, being pushed toward stardom, and Dor- othy Sebastian. Marie Dressler and Polly Moran are down on the list as they have only lad a chance with this com- pany as a duo in two releases, one of which did not get any too far with the theatre patrons because of alleged race ridicule. Fox’s Best Fox show just two stars with the organization and one who is away. Tom Mix is classed by himself with

no comparison made on standing of Bellamy, Madge the only other

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Page 9

ws rewrelc CC wOwrmlUC OrlUCUcrOCOCUCUC Or lUCOTlhlhlCr i i ed ee, Mel “o a i dl cP oe wer s Ss oF =P oO ew ene wet KY ee ee ee ee ee ad Wednesday, January 4, 1928 aw ' ee qualified star according to the Hox | front. They have a great foreign policy following and in manvy of their en- In the feature player, Victor Mac- | geavors abroad are listed above the Laglen seems to be most popular star of the picture at the box office with Edmund Lowe | H. B. Warner, having been tied on his heels. Janet Gaynor on ac- up on “King of Kings” for a long period, got little chance to show just _ \ how strong his name is at the box FOX iffice. This concern has a long list f featured players, many of them new in the business, who as yet STARS have been unable to demonstrate exactly how strong they are with TOM MIX the publi MADGE BELLAMY Of the Pathe Western group of BUCK JONES stars, Leo Maloney is the _ top /mounter. Bill Cody, always a good | Featured | bet in this division, did not make | Victor McLaglen Edmund Lowe Janet Gaynor George O’Brien Charles Farrell Lois Moran Virginia Valli Cohen-McNamera Earl Foxe J. Farrell McDonald Margaret Livingston Ben Bard Tyler Brooke L z count of her work in “Seventh Heaven” and “What Price Glory” came to the fore fast and if ‘prop- erly influenced from the outside might hop into the star ranKs next year. George O'Brien was right along with Miss Gaynor in the popularity ‘group and he possibly will get a star rating in the next resume. DeMille-Pathe The DeMille-Pathe group on the feature end had as their leader, Rod La Roque, the best bet that com- pany has for individua! draw power. | DE MILLE-PATHE ROD LA ROCQUE LEATRICE JOY JETTA GOUDAL WM. BOYD MARIE PREVOST VERA REYNOLDS JACQUELINE LOGAN Featured Phyllis Haver Rudolph Schildkraut H. B. Warner Joseph Schildkraut Robert Edeson Dorothy Cummings Harrison Ford Junior Coghlan Victor Varconi Julia Faye Elinor Faire Seena Owen Franklyn Pangborn Robert Armstrong May Robson Alan Hale Virginia Bradford Kenneth Thompson Louis Natheaux Ethel Wales Sally Rand WESTERN STARS Leo Maloney Wally Wales Buddy Roosevelt Billy Cody Buffalo Bill, Jr. Jack Padjam COMEDY STARS Harold Lloyd Charlie Chaplin Harry Langdon Monty Banks Larry Semon SERIAL STARS Allene Ray Walter Miller . J, On his trail are Leatrice Joy and Jetta Goudal, with the latter having high Latin-American and foreign drowing value. Though she is off the payroll at present she probably will be back with the company in few weeks. William Boyd is another one of | the newer crowd with this concern to jump to the fore. His work in “The Volga Boatman” gave him a fiying start and his next few pic- tures helped him a lot. the Metropolitan group of this or- ganization and who is a seasoned trouper, still Ereat hold on her old following and has gathered a new one as well. Jacqueline Logan, though at bot- tom of this list, is just a newcomer in it and has not had sufficient Pathe Classification she might deserve. |near as many pictures on the year, and as well has been off the roster ior a long time In the Pathe serial division, Al- lene Ray leads, with Walter Miller | the tollow-up. In the feature comedy field this manages to have a/| company is still collecting on Har- old Lloyd, Charlie Chaplin and Harry Langdon, with Monty Banks the only one of the present day comics turning out new feature length product. Laura La Plante U’s First Universal saw Laura La Plante shot Denny, on ac- Miss La while its lineup. ahead quickly UNIVERSAL STARS LAURA LA PLANTE REGINALD DENNY JEAN HERSHOLT CONRAD VEIDT MARY PHILBIN NORMAN KERRY GLENN TRYON a ‘s Featured George Sidney Marian Nixon George Siegmann Lya De Putti F. X. Bushman Malcolm McGregor Otis Harlan Barbara Kent Al. Wilson Arthur Edmund Carewe June Marlowe Mary Nolan Lillian Gilmore Raymond Keane Barbara Worth Art Goebel WESTERN STARS Hoot Gibson Rex Wild Horse Fred Humes Ted Wells Dynamite the Dog SHORTS George Lewis Arthur Lake Dorothy Gulliver Charles Puffy Fred Gilman SERIALS Wm. Desmond Jack Daugherty F. X. Bushman, Jr. Hayden Stevenson q — count of product not suitable to him, slipped a bit. Jean Hersholt is a very popular U player, and is not only cashing in on his work done on the home lot, but with other companies. Pos- sibly after his showing in “Abie’s Irish Rose” he will be the biggest of the character stars of the com- pany. A great bet for U is a newcomer. Glenn Tryon. This chap released only two pictures during the year, but returns are almost 100 per cent. for him and he no doubt will be among the first four during the coming year. Norman Kerry, always an ace with U, seems to have slipped by the wayside generally. Possibly his worst break on the year was in be- ing loaned to M-G-M for “Annie Laurie.” His following did not like that type picture for him and sort of shied as a result. He is going off the U payroll this year. De Putti Disappoints In the featured class George Sid- ney, free lance, must be credited with the lead, as he is used at more than frequent intervals by this company. Of the contract all - year - round players, Marian Nixon and George Siegman head the division, with Lya | De Putti somewhat of a disappoint- ment, Plante | creep ahead of Reginald Denny in | VARIETY } jJuvenil fem that means something. comedies strong contenders In the serial class, Bill Desmond,} at the buying gate. a veteran, is the leader, with Jack | Indies Daugherty (at one time husband of | In the independent group Chad Barbara La Mar) showing up in} wick and Burton King wer ; Only ones to have a couple of stars Warners under contract Columbia was in To be four again as leader for; the all-star picture making group VW ner Brothers is Dolores Cos-| and grabbed their players here and te] t M te B! t} runner } there They had as their onlv hold ); ng force Dorothy Revier, always in c ‘ one of these all-star pictures Chadwick used Betty ompson WARNER BROS. and Pauline Garon for a series of pictures, while King had George . Walsh for five pictures STARS | Columbia | the ‘olum! ’ DOLORES COSTELLO I gl repr Mw 0 Miwon MONTE BLUE | Bert Lytell, Eugene O'Briet “John- | JOHN BARRYMORE nik Walker Marguerite de la Motte, AL JOLSON | Jacqueline Logan, John Bowers, | RIN TIN TIN | Ralph Graves, Richard Arlen, Bon- | SYD CHAPLIN |} ner Sisters, Alec B. Francis, Claire | IRENE RICH |; Windsor, Jack Holt, Kenneth Har- GEO. JESSEL | lan, Helene Chadwick, Tom Moore, Norman Trevor, Viola Dana, Ben| Featured | Turpin, Lionel Barrymore, Ricardo | Louis Fazenda Cortez, George E. Arthur. Lois Wil- | May McAvoy |}son, Conway Tearle, Rex Lease Helene Costello | Pauline Garon, Robert Agnew and | Myrna Loy Alberta Vaughn were used with 50 | Clyde Cook or more others. These names all | Leila Hyams ; meant something at the gate. For | q , | the new year the company has three | up. “Rin Tin Tin,” dog, rating very heavy last year, dropped off a lot in draw power. Al Jolson is classified well to the fore, based on the showing of his picture “The Jazz. Singer’ in its initial stages. They are still selling a couple of the John Barrymore products, though he has been off the salary list for over a year. Syd Chaplin, also departed, had a couple of re- leases during 1927. Though qualified. as featured player, Louise Fazenda, leader in this division, really belongs in the star class, as her box office power is almost equal to any of the bigger stars with this company and more than that of their lesser stars. May McAvoy, recently added, still holds her box office sway. Helene Costello is another little lady who has a name which can stand on its own in the electric lights. Leilla Hyams, a newcomer here, gives promise of hopping along rapidly during the new year. F. B. O. F. B. O. has in its starring group the Western contingent. It still has plenty of the Fred Thomson prod- STARS FRED THOMSON TOM TYLER BUZZ BARTON “RANGER,” DOG BOB STEELE “RED” GRANGE Featured Patsy Ruth Miller Belie Bennett Lois Wilson Warner Baxter Hobart Bosworth Ralph Ince Frankie Darro Douglas Fairbanks, Jr. —_— COMEDIES Cooke & Kit Guard Mickey McGuire Three Fat Men ' ro uct and cleaned big on him during the year. Tom Tyler and Buzz Barton are another team of horse riders who bring plenty of cash returns. Red Grange, however, did not mean so much on his last F. B. O. effort as he did on his first one. In the dramatic product stars | were not used, though they had} EDUCATIONAL (Comedies) ~~ LLOYD HAMILTON DOROTHY DEVORE JOHNNY ARTHUR LARRY SEMON GEORGE DAVIS ESTELLE BRADLEY Western group of U has Hoot Gib- | J | son as its leader, with “Kex,’ horse | names which are in the star class, formerly used by Roach, as circulation to give her the! next best seller. In the short sudject field George the | such as Patsy Kuth Miller Charlie Delaney, Tom O'Brien, | Jobyna Ralston, Johnny Walker, Gertrude Astor, Rex Lease, Shirley Mason, Buster Collier, Lucy Beau- BIG BOY Belle | Bennett and Lois Wilson, for mei stars under contract for a series of | pictures each Sterling Sterling Productions, also with no stars under contract, used Helene il ‘ HAL ROACH (PATHE STARS) OUR GANG CHARLEY CHASE MAX DAVIDSON (M. G. M. STARS) OUR GANG CHARLEY CHASE LAUREL HARDY MAX DAVIDSON Featured (Both releases) Edna Marian Martha Sleeper Ed. Kennedy Gene Horgan Viola Richards Dorothy Coburn ‘ Costello, Robert Frazer, Sam Hardy, mont, Creighton Hale, Jane Novack, Robert Agnew, Mildred Harris, Bry- ant Washburn for their feature products. These names, though not under contract anywhere, have had box office value for a number of years and are counted upon to sell the pictures they are used in. It is im- possible to classify their individual drawing strength as to popularity on account of the number of com- panies they work for and the un- certainty of.the circulation of the pictures. Tiffany Tiffany for the 1927 program re- cruited its talent from the big lst of freelancers, but with Tiffany- Stahl realignment such names as Sally O'Neill, Patsy Ruth Miller, Claire Windsor, Malcom MacGregor, 1 ] and Alice Calhoun | —= el he organization, ley, @ newcomer with on his heels | promise of being during tt! Roach that F ciose Dooley the for coming year crew they ace concern For | ' - ‘ CHRISTIE Comedies (Par.-Educ.) STARS BOBBY VERNON BILLY DOOLEY JIMMY ADAMS NEAL BURNS DUFFY -CORNWALL Featured Jimmy Harrison Vera Steadman Sid Smith Billy Engel Frances Lee Anne Christy Bill Blaisdell led with Bill Doo- the concern gives this ‘ all . 4 “Our Gang” were the mainstay both on the Pathe and M. G. M. pro- grams, Charley Chase on his own still played a good solitaire hand. Educational’s individual produc- ing ace was Lupino Lane, with Lloyd Hamilton, who quit recently, the runner-up. 400 Others Mack Sennett, though having Ben Turpin out of the family, still eashed in biggest on the “around the corner” looker’s product, with Billy Bevan next. He also has in his fold Daphne Pollard, who just got started and looks as though she will bring plenty of shekels into Sennett’s money coffers. Besides the list of players enu- merated there are probably 400 around Hollywood who ere on the “freelance” list who find themselves | MACK SENNETT (Pathe Release) STARS BEN TURPIN BILLY BEVAN DAPHNE POLLARD Featured Raymond McKee Dot Farley Johnny Burke Vernon Dent Carmelita Gereaghty Sally Eilers Matty Kemp Ruth Hiatt Mary Ann Jackson { Sunshine Hart picked for their sales department value through the box office. Many of these people five and six years ago were looked upon as leaders in the picture making field, but have been passed by in the major ranks by the present day favorites of the younger generation. HOME TALKERS (Continued from page 3) and re-thread the machine as with the others. Mr. Bristol will finance Every part, including the himself. record- CHADWICK STARS BETTY COMPSON PAULINE GARON Featured Walter Heirs Maicom MacGregor Betty Blythe Barbara Bedford Armand Kaliz L ~ disc and the radio tubes, will be |made at Waterbury by the Bristol Manufacturing Company. While no definite coste have been estimated, it is understood that the non-theatrical installation and equipment will not be much in ex- cess of $1,000, including cost of pro- jector, which varies .from $85 to $190 according to the make. The- atrical costs would be correspond- ingly higher. COAST MANAGERS CHANGED Johnnie Harron and Eve Sothern ST S , Will be in their all-star line-up. AR ' LUPINO LANE | Gotham in its group of all-star casts had such consequential people as Henry B. Walthall, Helene Chad- wick, Robert Agnew, Lilyan Tash- man, Carmel Myers, Gertrude Olm- Los Angeles, Dec. 31 Changes in house managers out here list Tom Formut, former man- | ager for Universal in Kan Citys | as succeeding Frank Brown at the | Highland and Charles Perry, a for }mer manager for Finklestein-Rubin lin Minne apolis, follows Charles Me- |; stead, Walter Heirs, Claire Wind- | sor, Percy Marmont, William Fair- banks, Margueritte de la Motte |; Dorothy Devore, Walter Pidgeon, | | Richard Tucker, Mae Bush, Tom | O'Brien, Grant Withers, John Mil | Jan, Charlie Delaney and Enid Greg or: Christie Of the group of Christi rm eral pictures. In the comedy group Slars on the Paramount In the featured group the Schild- | Lewis and Arthur Lake are the/|the leaders were Kit Guard and Al! cational programs duri: krauts, father and son, are far tn most popular, with Dorothy Gulliver Cooke, with the Mickey McGuire year, Bobby Vernon, tl ear yeu " Mames at the Colorado, Pasadena Leo Laughlin, house manager at | Loe w's State here, has resigned with };no su or picked at this date. Manager Led by Bandits Chicago, Dec, 31 W r Shepherd, manager of the itre wa taken to the ir armed men He was ) n tl h safe, from et ts 1 ved $2,000 in nd ‘ 5. ; 7 7. : ry m a! ; bev! fe tte ; ea 4 7 , hernetin Tek IRs DES Fino nent LDS veers appar spidey SPR, ST! = x + ea ees nage VP ERA sient Senta tinct * mitt ¢ iF

Page 10

« ~ ae Pe ages, we YET .

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Owe yeare aco — VARIETY

$65,000,000 TIED UP IN 24 PICTURE STUDIOS-9,973 WORK DAILY-ON COAST

+ _A8@ ABEZ*.* - : Wr %A 4-2 . e Woe area fF re producer aa imve =t of around $3 Ged wo in 422 acres of stud 4 anc $434 acres cof location anc =. @ading thetic physical equipm-en* A =£2r oy Variety shows t Be 5 € 5 WasG2¢ 224 eoup “ ef these «'otdine tmsid- and * nee E: aré apprermess _ the an 3 ‘at was inve-"+4 é=zr- fee 1927 im the western fc udine foe the turning out of pictures Th proc TS igure that $13 slimate’ at & per cont @f ine = around $194.6. wrt we wad wer La : mest «of at agcun 2 - Crasiin'’s 642 eorers 17 Vier Charte Chapiz Bas eoe of T wis siy recenz emailes: studice. Sat proéatiy pur : Paramiceaunt ac = most waleebie ef al as ‘ar a2 20: _ - s Dee 1 eo At the Worth ts comcervet Here be mat sv Br - Parameaz sos To bis protect of ame picture every t¥ stars og ITT O00 ecuure fee*. oF three yeara Ne eae else & Der ¥. : tke sT4rTaze werk parr mitted t we Ge ot wt Zz € er - sz for LATE persons Here twe acres and Bas CWO Sas ¥ 2 pewertr até equiy " ars 12806 egeere Sect ef ideer acure wort zroormd 6M M4 Ma ssace 94 4Tiere are & peooie wil og= Chagitz’s pay fects woetter First Natere ‘here ss axytting going om @ 2 Tie sew First Naticoal sc z Pat @ valued af S77) 0 was Woillt ¢durize 1936 ed > bawies - silt the « set SF Sow scocspiet bs Paramem ch o Was tmoen «2 tke ae wort a Ss SLT i ae 33 ost is gresenc FD “Naconal s ete mm Baris Mar a2 devue aor gaew aspicinme «af any enrt Sit fad

this (’T-acr= sit- ie Bas - is 4 exh Raving the ig Micre than cw aut ‘ire stages at other sc udics snd Savime 22 agzrecite of 214.700 spuere fer «of Geor space fr the ei rre arin $: tet = —~ ort ano “cer nals - = the} = . tele an¢ a0umercus cutidcer stizes. Thi- scout ies e25t of the « Lask °22 recently aSandened for stzu- P eee . as > fe - that 3 ai ad « on © i 146 9% None 640,006 164 None 8.094 006 275 56 1,660,006 25 None ‘ 1,390,500 146 2.7 6.000.904 1.478 None 8969 04 60 6 1,946,906 ) 33s 36,600,004 3 6,006,056

904 16 $00 996 254 None $40 906 356 Non 1¢6@ 006 15 None 970,060 &4 None 2,006,000 26 None 160,600 15

2 506 965,037,060 9.373

eovering 166 acres. The value of this property and Ke equipment is around $14,556,606 De Mille’s studics own more actual! land for picture making than any of the other studios They have 67 acres on their Culver City plant formerly the Thomasz H. Ince etudice. C. B De Mille has a ranch in the San Fernando valley near Bauguse. where 6.305 acres of land are for production parpane On the Culver City lot De Mille has seven stages, covering 185,000 square feet, with $06 people em- pioyed on an average weekly, the yalue of the eombined property and equipment around $5,000,006 M.-G.-M. “Metro-Goiiwyn-Mayer’s are in Culver De Mille used studios City, with around $10,000.000 invested in realty and equipment. The main studio prop- erty covers 67 acres, mostly occu- pied by stages, warehouse build- ings and laboratories There are 16 stagee covering an area of 256,172 equare feet, with an average of 1.300 people om the payroll weekly during the year. That ie exclusive of directors, stars and players Outside location land belonging to the company covers 75 acres. Paramount Paramount etudics, purchased from Joseph M nA - a ET eas SE, ¢ y? roll haz an average of €00 all the year around with | la Other Studios Even U. M. Dailey |cinemma school where customere to act, has | vested tn studio a plant on onm —o- fr - T 4 ) pu shers, Martin for the Bao anA Charice F 4 riere Her g i I E ! for the “World Pu ation offices will be im the “Her s" suite in Cn Zz With the elimir - 7 , ¥ . ’ 2: ss : - : , * re tr r4re, + - the r [eT 3 ira paper nm 2 th nc - rire r vr c reo. - — - = ** . x g30na pai = are ¢ M z “yr = vw se &F ec Tod and “Harrison's F rts.” th ter _ . 7 ™ . . .

3» ob § ya , a 4 gettiem James ager of from 4b¢€ Hodes ager o ror - rumo! ‘oad u nant par re ‘ (ce ae ve

ported po 3 * chir cr yea ‘ ~43 i n _m {St . n Chr: | the tic said | what apt to A | ent during Pp with rigid curtailment who recently ent paper through ruikshank had a two- 2 with the Co. He accep Chalmers ted a cash

the tt has h ar stie ts -UD With as j¥ their be expressed form i) of roduction of shor 19828 ts accepted?

a whole

ehort ad a good there the shorts ges n itn h since ~9 44 te t na it is ication in +. + the “Tel- | the trade es the “World’ re- | NEW U. £ SKS: IST WEEK, $36,0- ) 2 $5 Premieres aa W ‘Jazz Singer and “Bes —Quaiity Street’ Wez

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+ r. %. r ir . gr ff . yr rr)¢ - 4 z = groes- . ’ Z - lg prem : r > - m2 off = i ee 3 AY 3 Mor , My He ‘ nz hore $17 the ¢ va 24 ain nan extr a. @ - ‘ pert nes . : e he An a ina $2 Al Joleor's “Jazz Hinger”’ wv the es t pening, Tr Cr rion is =wit to a twe ] yy Vie for tre r ms } . nisr ty P $3 well arid ta ; continued £080 Quality Stree didn't look so y at the Metropolitan: ir ym- parisear Her Wild Oat” in Loew's Btate Y the #\z of the Mie drew $27,700, just a wrand une der the larger houme (yr jmar Chinewm w ith “The Gaucho which looked lik it had hot ite bolt last wee), recovered aorme trenzth and with the aid of a New Year's extra performance climbed from $15.9000 to around $24.09 The first week of “Old Ironsides” at pop prices was a fadeout, gete ting only $19,100 at the Million Dol- lar Kolb and Dill at the Egyp- tian wit! “The Gorill on the screen were weak at $8.7 “Old San Frar finished a t ma week rur re Gene Morg «c fole- I g at th B rd helped Ree [ ny’s “On Y Toes” e 14-3 vi t¢ a Estimates for United Artists T ‘ ftir i" 4 = St arting with $5 2 adn $< TAP Boulevard (W. C.)—"On You Toes” (U) (2,164: 25-50). Ir e-

‘His F reien Wife”"-“S nvyside”" \(Cnanlin) (1.600 15-40 D le Hill helmed Heeleo tee ot il ] at $3.5 Leon of ceremoni more, open weeks te Wharry Lew Oakland, Ca ‘Fra cor i

sior Herbert Raw Sor x-picture actor and master of cerer es considers for the berth. is on the West Coast and not comins East Cameramen’s Union Meeting Tk) ¢ mMmeooctine

i! meeting of newsreel execue tives and the Cameramen’s nion L P. M. P. L) scheduled for Dec. 27 was postponed by mut agree- ment until yesterday (Jan. 3). Last night also there was a meeting of camera n in Hollywood I. P. M. P. IL. voted down a propo= sition to admit newsree] cameramen | for $25 instead of the recular $59 initiation fee. independ - | te ts t subjex as certain | because of the tension and the tm feet of|size, walve ané mumber of regular) possit studio i* worth | enpicyees. prices. ility of getting any kind of} Europe Jan. 20 to

Gando is lfi's Travelogs A. G Of travelozues sending | Pathe «? ~ aT) -V t ' He will be Fone about seven! nitas

Page 11

| -- ivr fF 6mhFlmUmUmD ~~ wires ”_ —~ ce Ole 0 por nen $59 Wednesday, January 4, 1928 THE STAR SCREEN COMIC JINX — FOR PRETTY LEADING LADIES VARIETY Los Angeles, Dec. 24. Playing the lead opposite a star gcreen comic such as Charlie Chap- lin, Harold Lloyd, Harry Langdon, Monty Banks, Johnny Hines, Buster Keaton or Douglas MacLean seems to have about stopped the screen progress of ambitious young women who aspired for stardom and figured this was the easiest way to obtain recognition from producer and public. Producer and public are little in- terested as to who plays the lead opposite these screen comedians, if they look pretty, know how to smile a bit and wear clothes. The rest is the outlook of the girls themselves, and they never seemed to get very far on the screen. There are at present four girls fm pictures who played the lead op- Posite screen stars who have reached those heights themselves with the big companies—Billie Dove and Norma Shearer, Marie Prevost and Phyllis Haver. The latter two are Bennett graduates and played opposite Ben Turpin, who now is out of the running so far as feature etar comics are concerned. No leading woman in features with Charlie Chaplin ever reached 6tardom. Edna Purviance, with him through long and short features, got as far as being featured on her own, but never into the star group. Now éhe is off the screen. Then Georgia Hale, heralded as @&ar possibility, appeared in “The Gold Rush,” and is now free- lancing. Chaplin’s other leading lady, Merna Kennedy, who gppeared op- Posite him in “The Circus” and is to be released soon, has not been 6reatly sought by producers since éhe got through. The girls with Harold Lloyd fared no better. That does not include Bebe Daniels, who worked with him im the days when he made the short ones. Mildred Davis, Lloyd's wife, @ppeared in four with her husband, and is now off the screen. Jobyna Ralston, who followed and ap- peared in six, is now free-lancing fm ingenue leading roles, while Ann Christy, his latest, is just com- ——s her work in Lloyd's peedy.” The Keaton Girls _ Of the girls who worked opposite Buster Keaton one has stepped to the fore more than the rest, Sally O'Neil, who almost reached star- G&om on the M.-G.-M. lot, but is now free-lancing. Margaret Leahy, who @ppeared with him in “The Three Ages,” is no longer heard of. Anne Cornwall, in “College,” is working for independent producers. Natalie Talmadge, who worked with Buster for a time and is now Mrs. Keaton, retired from the screen. Kathryn McGuire, in two of his productions, is playing ingenue leads in the free- lance field, while Marion Byron, in Keaton’s last picture, “Steamboat Bill, Jr.,” is a newcomer to the pic- ture world, but has not been listed up by any producer as a find. From the list of girls who worked with Johnny Hines since the days of “Torchy,” Billie Dove, who was in that picture, and Norma Shearer, who played in “Torchy’s Millions,” are the only stars at present. Dorothy Carpenter is no longer heard of after playing with him in “Burn 'Em Up Barnes”; Dorothy MacKaill, with him in one, is now featured player for First National; Doris Kenyon is also with that company playing fem leads. Violet Merserau, Molly Malone, Doris May, Faire Binney, Siguard Holmquist, Mildred Ryan and Brenda Bond are no longer active im the field where names count for anything on the program. Diana Kane retired, and is now the wife of George Fitzmaurice, director, while Edna Murphy, who played in “All Aboard,” is free-lancing as an ingenue lead with Leila Hyams in “White Pants Willie,” is drawing Pay on the Warner lot, and looks as though she will get to the top if they keep her away from playing |ang Brooklyn. Opposite to screen comics, while | | some years ago, | | Marjorie Daw, who was in “Home | Made,” has been playing parts in the free-lance field for the past few years. Miss Daw was also with Douglas MacLean, while others who worked Opposite this comedian who have mot been in the all-alone billing Class on the screen at present in- clude Patsy Ruth Miller, Lillian Rich, Anne Cornwell, Edith Rob- erts, Margaret Morris and Shirley | Mason. The latter was starred but since in “Let It Rain” shares billing with others, and Sue Carol, a newcomer, who was in “Soft Cushions.” Of five full-length pictures that Turpin made, Marie Prevost worked opposite in two and Phyllis Haver in two, with Katherine McGuire in one, “Sheik of Araby.” This was before Miss McGuire appeared with Buster Keaton. The Langdon Lot Of the girls who have worked with Harry Langdon since he started making the _ full-length product for First National, Joan Crawford, opposite him in “Tramp, Tramp, Tramp,” has the _ best chances for stardom, as they are trying to rush her in that direction at the M.-G.-M. lot. Priscilla Bon- ner and Gladys McConnell worked with him in two pictures each, yet sign different payrolls now every time they work in a picture. Girls with Monty Banks have not seemed to fare better up to date. One hardly recognizes any of the following names as leading screen casts today: Helen Ferguson, Anne Cornwall, Virginia Lee Corbin, Jean Arthur and Ruth Dwyer. Very few girls nowadays who are picture-wise seem any too eager to play leads opposite star screen comics. The girls feel that in nine cases out of ten it’s a jinx and they do not want their careers tempo- rarily halted by looking pretty for the boys who cash in on those pic- tures. | A HAPPY NEW YEAR TO ALL MISS PATRICOLA Direction GLADYS F. BROWN State’s, St. L., New Policy Ted Joyce as M. of C. St. Louis, Dec. 31. Loew's State has instituted a policy change with a master of ceremonies to boot. Ted Joyce from the Capitol, New York, is the new m. c. in charge, assisted by a jazz band, 12 girls and a varied vaude- ville bill each week. This policy replaces the “name” bands and stage personalities. Joe La Rose came to town from the Fox, Philadelphia, as production manager and alde to Harry Green- man, local Loew manager. Practically a new stage has been built and a dancing school for the teaching and rehearsing of the girls has been opened on top floor of the theatre building. CHAIN OPERATORS—HOW MANY? What is a chain operator? He's a theatre operator. And what's a theatre operator? What is he? It's a question that can stand a lot of thought. There are not over five men in America entitled to be called the- atre operators in the sense the show business now understands them. Not over five? Maybe only three. Maybe two. But, listen, there may be others. Hidden away, though. If there is latent talent as a chain or theatre operator, it must burst forth. Bankers Know $ Bankers have stumbled upon this great problem of present day show business—the theatre operator. It has been the opinion of Variety’s observant picture report- ers for months that bankers have concluded not to approve of huge mergers until satisfied with the op- erator. Every day that impression becomes stronger. Theatre operators of the legit, vaudeville and burlesque circuits of other days or this day are like babes in arms in knowledge and ability to operate, compared with the lightning-like picture chain operator of today. Every theatre manager, director, booker or general manager of acir- cuit believes he is a theatre ope- rator. He may be in his own opin- ion—he may be in fact. He knows his own theatre or circuit and can operate it. Perhaps he has done so successfully. But the “theatre operator” as he is looked upon now must be able to operate 250, 400, or 750 theatres, and every one from his desk. He must do with that massive chain, every one of them, what the present ope- rator may be doing with one, five or ten theatres. Sub-Operated The chain with city subsidiaries has no general operator. The Stanley Company is the best exam- ple. It is sub-operated in Washing- ton, Baltimore, Newark, New York The Stanley Com- pany has no theatre operator who directs all of its theatres, or if it has that is not known. All of the Stanley group are competent show- men. Its two leaders, John J. Me- Guirk, president, and Abe Soblosky, are, in the eyes of many, among the leading showmen of this era. Merging by subsidiary companies with independent organizations and operation though is not the present day idea of merging. To offset that the oft repeated ex- ample of Standard Of will be brought up. Yet no one will dis- pute that had Standard Of] been divided 40 times instead of once that would not have crowded the Rockefeller crowd out of the opera- tion of the entire lot. And that brings in the Depart- ment of Justice and its shadow upon large picture house mergers, a question all by itself. It is safe to assume, though, that any man qualified to act as an ope- rator of a chain of 500 or more the- atres will be prepared to meet any issue the Government may raise. Requirements A theatre operator as outlined here, the super-operator, and with the liberal limit placed at five in this country right now, must know theatre construction, equipment, operation, manipulation, trading, dealing, buying, selling, and attrac- tions (screen and stage); policies (removable, replaceable, exchange- able, interchangeable), besides adaptability of theatres for such policies, requirements of communi- ties, eliminations of theatres, and opposition (not only in the latter as to current opposition, but for loca- tions where building stops the other feilow keeping the community sewed up); and the booking of pic- ture—one of the most important matters a picture theatre operator must be fully advised upon, al- though his chain has its own the- atre film broker—and the booking of stage attractions, knowing that end as well as the screen booking end, with knowledge of prices of each, where to place and how to cut —in short the theatre operator of this nature herein must know everything his chain departments know. And above all he must be the sole dominating figure of his organiza- tion, the single ruler, the absolute Boss. He must be the most complete mentally equipped showman of all time, for he not only must have ex- pert knowledge as above, but he must know all of the rest of the show business, their theatres, their strength and their weaknesses. And after that do you think that five is too ifberal an estimate? Or | three? | And when you pick those capable | according to these requirements you will have the three forthcoming chain operators of America. Krellberg’s Features in NM. Y. Sherman Krelherg has everything set to make a sertes of feature films in New York. It la understood that he has Hu- | gene O'Briee unGer contract for his | | first film. i THE INDEPENDENT EXHIBITOR | With the acknowledged failure of chain theatre operatior as prac- ticed in the past, the independent | exhibitor gets a new lease o fe How long he will exist before a |} new and more practical system of | chain operation goes into effect is problem atical Under the present circumstances the 7,000 independent exhibitors in the country are still paying prices} for pictures determined by a small group of operators controlling ap- proximately 1,500 to 2,000 of the higher grade houses, who dictate to the producing organizations with which they are affiliated and which they practically control The danger of business trouble | is still present for the larger in- dependent houses or any independ- | ent picture theatre in a choice lo- eation or operating at a _ profit. | With practical control over produc- tion, in a position to deprive oppo- sition of even second or third runs, the chains may gain ownership of any independent houses they may | want. Buying product from independ- | ent producers is not a means in itself for independence from cir- cult control. Independent produc- tions are not strong enough to carry the majority of independent the- atres profitably. Appeals for governmental protec- tion, either through Congress, the Federal Trade Commission or through the Department of Justice and the courts, is not likely to re- sult satisfactorily for the independ- ents. At any rate these appeais can be postponed indefinitely, ac- cording to legal advice. And when they are finally brought for judg- ment the independent exhibitors again are in a different position— maybe. The only out for the independ- ents is a national organization com- posed of elements with an unwav ering determination to proceec ilong lines w will gain them some kind of a power to make pr Ss r } ires If combined 1 the independent exhibitors would buying power The independ- of the greatest economic and political factors in the country The gospel of combination is not new There have been numerous leaders of such movements; their sincerity has been questioned. De- spite this, buying combinations still seem the only means left with which independents can success- constitute a greater l iins ents could be one ‘fully offset alleged chain dictation. Need Trusty Leader There is no likelfhood that the independents will ever combine unless some outstanding, trust- worthy figure is unanimously se- lected to wield the unhomogenous, disorganized and disinterested ex- hibitor factions together. The average independent exhib- itor is not especially interested in organization because the average exhibitor is chalking up substantial profit with pleasing regularity. The independent exhibitor, in the ma- jority of cases, is considered far- sighted if he figures a month ahead’ on business problems. satisfied to anticipate results a week in advance. : Unless the independent exhibitor can be prevailed upon to realize the possibility his disappearance is practically as-— sured with the inevitable consoli-_ dation of the industry until ft is” finally controiled from close gources, And where chains cannot operate profitably they may get ir. partnershipebasis, leaving the orig- inal proprietor, with a knowledge of local needs, to operate. Only the shooting galleries are exempt. PROTECTION CASES’ DECISIONS EVEN Consolidated Win and Lose Against Fox Before N. Y. Film Board Two hotly contested cases came up for trial before the New York Film Board Dec. 28, and in both the parties were the Consolidated Amusement Enterprises and the Fox Film Corp. On the first one the Consolidated sued Fox for $500 for alleged viola- tion of contract. Consolidated was legally represented by Al Suchman, while Louis Nizer (Phillips & Nizer) looked after the Fox in- terests. Consolidated averred that Fox showed “What Price Glory” at the Congress theatre, in violation of the protection granted Consolidated. The Fox defense was that there had been no breach of contract because the protection under the standard contract computed from the first day of the exhibition rather than from the last day of the prior run Attorney Nizer, for Fox, also as- serted that Attorney Suchman had consented to the playing of the pic- ture immediately after the Congress, not insisting on the full seven-day protection period. As a further de- fense, Nizer declared that no dam- age had been proven by the exhi- bition. The Film Board decided in tavor | of Fox, declaring that there had been no proof of damage by the ex- hibitor. The board, however, voiced the opinion the protection period should be computed from the last day prior to the exhibition Another Protection In the other Consolidated claim was for violation of protec- tion granted to Willis-Forum thea- case tres over the Hub and Congress. Consolidated claimed that it had/| played the Fox picture at the Hub the day before it had the Forum. |! The amount of damages sought by | Consolidated was $450 | The Film Board held there was a violation of protection and awarded Consolidated a verdict of $990 damages. These cases had aroused interest among local exhibs, who have heard much wbout the jurisdiction of the protection pertods and c con-| tracts. i Small Neighborhood House. Better Off Than Big Ones: Most are of eventual extinction, ~ a x ; : . 7 - 23 t = 7 * ie on a Milwaukee, Dec. 31. Neighborhood movies which have | ~~ been claimed doomed for bankruptey © due to the erection of de luxe houses © in the outlying districts are weath- ering the storm in perfect shape, the Association of Independent Exhib- itors of Milwaukee announces itn ite annual report, just issued. With the chains, Midwesco, Uni- versal and similar having taken possession of the 2,000- seat houses in the neighborhoods, the 400 to 800-seat houses have been battling hard for the past year to keep their heads above the red ink line, the statement asserts, but thus far have not dropped into the loss column while their bigger compet- itors have, The solution the report points out, is that the smaller houses have banded together for protection and are offering inducements to the pub- lic which the larger houses cannot. Practically every small house in the nelghborhoods has reduced its admission to 10 or 16 cents, while the bigger houses, to meet the over- head, must charge from 25 up to 40 cents, In addition the smaller houses have effected tie-ups with the smaller film agencies and are showing double features, two feature length pictures on the same pro- gram in addition to special nights. According te an authoritative source the three big neighborhoods built by Saxe and now under the Midwesco barner, Orlental, Uptown and Tower have not paid since opening. The same is claimed for Universal’s Venetian and two big houses bullt by independent capital are said to have been in the red since opening. Heavy overhead and necessity of giving elaborate stage shows to compete with downtown theatres at the 40c. admission are blamed for the slide of the expen- | sive houses. ARREST AS A HABIT I) O., Dec. $l. For the third su wive Sunday, George Chrest to scoe Spidell and FY) Allmays cal theatre man- agers, arrested for operating } “Ss iwo previous Sun- lays ive been arraigned on ! ir ind fined $10 and ts. eatre pro- arrests organizations ——_ état EI seni

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eb ened oer on ww wy Se ee AO sD Ww irr wryas - SCAT YS {shit ee ae Tit ate one : 4 eet aaitiea ahd | Paola ‘Loew’ 's Sel 18 Film VARIETY Wednesday, yanmaty 4, ican ———— Houses m Brazil Loew- Metro has sold 18 of Its aaa Brazil, picture -houses to a | Portuguese syndicate, Empresa Riu- —=—=-— eee x = In a year that has been almost @ in the book that has not yet been fWecord breaker for forward move-/ turned. ments in the general stock market Keith Embarks on Adventure list, the amusement group has not The Keith operation is an entirely moved all as a group In the! unknown quantity. So far that face f mounting prices all around) group and its allies (Orpheum it, Paramount ends the year at a} Pathe, P. D. C., DeMille) have not rice level materially lower than it| had an especially inspiring back- started a twelvemonth ago Even; ground Orpheum Circuit started at its current quotation somewhere | at 37 or so and except for an occa- @bout 108, this established leader! sional timid advance into higher of the amusements is close to its/ territory, has declined progressively. best level of a recovery from much | It has been above 40 and as low as lower ground. 12 and for the last year or so has As evidence that the decline in| been neglected in the 20's. When Paramount was something innate in' Orpheum was a young and hopeful | ‘the company itself and not in the! stock market entry, it was a gag to Gtate of the industry, Loew, its| predict that Loew would cross it Mearest parallel in point of import-| some day. Marcus Loew's leader- @nce, has progressed steadily This | ship took Loew, Inc., to 60 while time (mid-December) last year, | Orpheum’s divided council led the Loew wus selling around 45, from/ company into trouble and its stock which point it has moved up almost uninterruptedly to the current price ef about 60. _ Even more conspicuous has been the rapid appreciation of the shares of Eastman Kodak, an interest that probably represents in its market movement more nearly than any other, the actual condition of the film trade It was only a few} weeks ago that Eastman touched its best for all time above 175, a price that, of course, is made pos- sible by its enormous resources of @ccumulated cash, 8 in dividends, or 4 per cent. The. point here involved as be- tween price movements in Eastman and Paramount is that since gen- eral prosperity in the film industry is reflected tn Eastman’s gain in investor esteem, a reverse tendency fn Paramount must be explained by for it pays only Something in the company itself rather than in underlying condi- tions. New Financing The explanation lies, of course, in the fact that Paramount more than any of the other concerns in the amusement field, has gone further into heavy expansion outlay and in consequence is now in the throes hk ef new financing. Figures available at this time in- @icates that American industry within the last year has floated new @ecurities totaling $6,500,000,000, or will have by Jan 1, a staggering ag- geregate. The amusements have been far from modest in contribut- “ine to this bulk. After a year simply punctuated with constant additions to show obligations, there is now pending or under way a @mall tidal wave of new offerings by show interests. Paramount is in the market with $25,000,000 in bonds and stock; Loew has just announced $20,000,000 in a preferred issue and new common. And directly on the heels of these two operations the Keith people un- deriake a campaign to erect a new financial structure representing Probably $35,000,000 to $50,000,000. Altogether close to $100,000,060 in new paper wealth. All these deals came out within the last month, putting a climax on a year dotted with smaller transactions. Nothing Else But Shubert came into the market with 7,500.000 bonds last June. Fox put out $4,000,000 in bonds in April. An obligatior of like amount went on the Roxy in addition to the financing already accomplished. Stanley-Rowland-Clark came the market for still another $4,000,- 000 and even American Seating, theatre, took on $3,000,000 more of preferred stock. These are but a few of many similiar operations. No question is here Substantial quality commitments, or of worth of any or offered to investors. What traders in the amusement @lready outstanding are with is the effect of this new financ- ing upon their old holdings. Each case is governed by its own particu- the lar situation and only the future ean reveal the outcome. At this writing, ticker quotations give no indications one way or the other of trader opinion, for a new Bituation is created. Probably amusement stock prices at this time | @re pretty well “pegged” and will remain so until the underwriters have got their campaigns for dis- tribution under way and some part et least of the new securities have been passed along into investor hands It is possible that, with eonditions favorable, a market run- up may be staged as a demonstra- tion to help along the selling cam- paign. But sooner or later the listed common stocks of the theatre group will adjust themselves to the new situation. Whether the adjust- ment will be up or down is a page 25. The Keith adventure into pictures was scarcely more encouraging from a market standpoint. The consolidation of P.D.C. and Pathe under the Keith wing was trumpeted as a constructive coup. The new Pathe flotation made a brave start | in the 40’s, was ambushed by the to hungry bears and dropped to 20. Just now it is wavering below 25. It paid its last quarter at the $4 anual rate, but at 21-22 its future dividend does not look at all con- nidas, but retaining its main house tialto, in Rio de Janeiro. With Loew's disposition of its holdings Phil Fabello, who wemt to Sao Paolo last summer as general musi- | cal director of the chain, is back in New York. Fabello resumes at) Loew's 7th Avenue, New York, re- placing Charles F. Strickland. Fabello was the originator of the! neighborhood picture house policy | for Loew's in New York, resulting | in the same style of musical enter- | tainment being installed. Fabello’s first hand observations on South American picture tastes rates Ramon Novarro as the ace male player and Lillian Gish among the women. Others popular are Dolores Costello, John Barrymore and Emil Jannings. It was Miss Gish in “La Boheme,” and not John Gilbert, who sold that picture to the fans down there. Loreta Young for “Clown” Los Angeles, Dec. 31. Loreta Young, opposite Lon Chaney in “Laugh, Clown, Laugh” for Metro-Goldwyn, has been loaned by First National. ~ NEIGHBORHOODS—IN CHICAGO Perhaps their most notable mark, besides the ability to do downtown business in the neighborhoods, is that they have shoved their Loop brethren into a lowly secondary po- sition, without apologies and with plenty of excellent reasons. Their foremost medium of attrac- tion and the initial reason is they bring right to one’s doorstep shows that rate in every respect with any similar show that can be seen down- town. The stage talent used is the same as in the Loop. A majority of picture house acts playing Chi- cago may be seen in the neighbor- hoods before downtown. On the screen end the neighbor- hoods are, of course and perforce, beaten to the punch, but a picture is the same picture in its second week as in its first. And the pic- ture house patrons know it. In Chicago now are 13 stage band- film theatres throughout the neigh- into a more or less distant relative of the raised of the of these new intrinsic all the securities the stocks concerned MORTON DOWNEY TENOR SOLOIST AND PHONOGRAPH RECORDING STAR Who Is Appearing Nightly at CLUB RICHMAN, New York’s Smartest Supper Rendezvous Featured with the New Comedy, “EXCESS BAGGAGE,” at the RITZ, New York fident. This does not shine as a record of market sponsorship and of all the new securities, the Keith proposal of 1,100,000 shares of com- mon stock is the only issue that has a speculative character. All the other new securities make their ap- peal to straight investment pur- poses. But all theatre common stocks are strictly speculative, frankly so regarded by financial institutions, subject to a high business risk and most especially subject to the at- tention of professional short sellers when they falter. Not that senior issues of amuse- ment shares are immune to fluctua- tion, Paramount preferred, now about to be retired at 120, several |years ago under severe pressure |sold down below 90, while Warner Bros. 6% notes dealt in on the Curb, recently sank from 120 to 80 flat, | jand even than 90, now command i iess Loew Proposal The amusement business ought to | know a lot about new financing for | it has had a lot pf bitter experience |in that line, experience which should guide it safely this time. Less than a decade ago Loew found itself | badly over extended and tried to remedy the situation by a large is- sue of treasury stock around 20. Before the campaign was far along, (Continued on page 178) Fabian in Sunday F ight; Back to Presentations Newark, N. J., Dec. 31. Stanley-Fabian’s Sanford and Castle in Irvington will open Sun- days hereafter. The Mayor etated publicly two weeks ago that no the- atres will open Sundays. This fight has been going on for some two years, with the Sunday | closers winning so far. A good time is now looked for by all sides. S-F has also changed the policy at the Mosque, giving up the master of | ceremonies policy and going back to presentations which, it is hinted, will be more elaborate than heretofore. | The house was a flop before the M. | of C. went in and remained a flop. | The big house should have tried out the M. of C. idea after the first. The location of the Mosque probably would have stopped anything from doing business there during Decem- ber. Biro Adapting “Lily” Los Angeles, Dec. 31. Pirst National has engaged Lajos Biro to make the screen adaptation of his original story, “The Yellow | Lily.” Alexander Korda wil direct, with | Billie Dove starred. | others eaten. | atres, borhoods. That unlucky number in- cludes only such that play band shows and accompanying attrac- tions, besides pictures, seven days. Against them are two like houses in the Loop. And for a reason why there are not more in the Loop, take a stroll through the neighborhoods. $230,000 Gross for 13 The 13 have an aggregate capacity of 41,924 seats. Normally, their joint weekly income is about $230.,- | 000. Some go to $25,000 and over, and one to $30,000, week in and week out, not inclusive cf holiday weeks or special weeks or weeks ith a “name” on the stage. They are distributed quite equally around the outlying sections of the city and cover the neighborhoods | thoroughly, even too thoroughly. It is a downright case of dog eat dog, with some dogs eating and the The number of the- their immensity and close proximity are the combined cause of the fiercest and most prolonged op- position war ever staged by any |class of theatres in this city. ; They bite each other and kick }each other, attempt to starve each |}other by calling this one and that one opposition and poison, thereby smothering various sources of the- |atrical supply. Yet they all seem ito exist. The past year in Chicago has seen | these neighborhood theatres grow Ww Chicago, Dec. 29. by six in number. The remair ng De thuxe neighborhood picture|seven were established previously houses of Chicago comprise the most | and, with one exception, traveled singular group of theatres in the|the past year without suff ng country. For achievement, utter | major changes. _ The exception ig disregard of established ethics and |the Sheridan, which, by a deal wa the prominence their self-created |summated three weeks ago, passeg policy has nationally attained, they|to Fox. The deal, now already will no doubt go down in theatrical |announced in detail, includes the |annals as something worth the pro-jentire Ascher chain besides the found study of future showmen. Sheridan. Opposition and Ideas So the past year has seen the hot opposition battle become hotter with the growing number of houses, And the results of that competition have been new ideas, ideas, and good ideas, that spring up with re- freshing speed, and ideas that have combined and are combining to make that policy created in Chicagg the biggest thing in show business, Perhaps the standout of picture house creations is the stage band conductor of today. He needs must be an actor as well as a musician, On him depends the steady patron- age of the neighborhood theatre. He has permitted musicians’ unions to Gabble in terms used heretofore only on the other side of the foots and to talk in the jargon of the pere- former. The Chicago musicians*® union, one of the strongest labor organizations in the country, and headed by the most brilliant labor man ever known to Chicago, James C. Petrillo, is more and more ane other Actors’ Equity association. A close second to the band con« ductor in the new picture shows? development is the solo organist, The organist of this day and age must be a jazz hound and slide writer de luxe. Also with a classi- cal back and enough urge in his personality to induce an audience to read words from a film screen, and sing ’em, as a child reads the A B C’s. Among other developments are the military ushers, though better left for the women’s page. Independents Amid the growth of the picture houses in Chicago, the advance- ment of the independents has been remarkable. They have weathered the gaff and the laugh, and for that reason are to be commended, though not always for their tactics, They have shown the initiative and the nerve but few have proven their methods worthy of competing with the more brainy (seemingly) ore- ganized opposers. The main hazard in the path of the indies at the present time is the uncertain source of first-grade films. In most cases they must stack up against the exclusive rights to Paramount and M-G-M pictures, besides the cream of the First National and U. A. product, held by the chairs. The indies have no in their way to the stuff. In stage material, or acts, is no such immediate worry indies, despite they could even on current conditions. For the proper compensation all acts will play all theatres, declara- tions of opposition and “listing” to the contrary. That has been shown, is being shown right now, and prob- ably always will be. It is merely @ question of whether or not the particular theatre is wont to pay for @ particular act, with that act de- manding as high a salary as the opposition has offered, even though not worth it. On the managers’ side, especially concerning the independents of Chicago, there is a way to defeat the “listing” and declaring, and con- sequent inability to vie with others impediments independent there the improve tor for acts. The fact is that the indies of this city are too disjointed, too inclined to self-salesmanship and egoism. Their charm now rests in their pure nerve. Their future charm or strength would rest in their union. An actor doesn’t have to depend on his nose to distinguish the dif- ference between 10 weeks and two weeks, or the comparative value of each. K-A AND MAJESTIC, HARTFORD Hartford, Conn., Dec. 31. Rumors are current that Keith- Albee may take over the Majestic, leased by James Morrison, and closed for the past four weeks due to a lack of patronage. The Majestic has had hard sailing for several years. Lately it used Vitaphone but with no better result, The Majestic failed to draw when its grado of pictures fell down and | the tinkling of a piano as the only | accompanime nt to film flickers not accompanied by the Vitaphone. =

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. sel : L , c atte pe earns => ne January 4, 1928 ~ 300 IMPORTANT CAMERAMEN (Continued from page 6) a potent factor in bringing about improvements in the quality of film stock, cameras, accessories, lenses, special processes, trick shooting, etc. all of which have aided in improving photog- raphy during the past 15 years, Experimenting is always done in spare time by individual camera- men. Among the processes now be- ing developed by them are stereo- scopic photography, trick photog- raphy, natural color photography, improved laboratory practice in developing, better lamps and meth- ods of lighting, improved talking pictures, better projection, televi- sion and camera deviges. Delayed Recognition It is only recently that the pro- ducers began to realize the impor- tance of the camera man in his endeavor to further the progress of the photographic art and to aid in effecting economies of production. Although producers have called in the cameraman in the past to work out trick and stunt effects in pic- tures, the ability and knowledge of the men were never fully recog- nized. During the past three months representatives of raw film manu- facturers, lens makers and experts on incandescent lighting have vis- ited here and conferred with the cameramen on problems they have had confronting them. These con- ferences, it is said, brought many invaluable suggestions to aid in re- search work conducted at the man- ufacturers’ laboratories. Over on the C. B. de Mille lot they have as chief cinematographer J. Beverly Marley. He is 24, one of the youngest cameramen in the business. He started with de Mille as second cameraman on “Ten Commandments.” His work click- ing, he got the job of first man. He did the work on “King of Kings.” While preparing to shoot that picture he worked out all tricks and unusual effects for the production in conjunction with Paul Sprunk, miniature expert of the étudio. raw lamps, Easy for Scenarists Seems as though the scenario writers are always trying to devise scenes which will stump the cam- eramen. They work out sequences in their treatment of stories which call for unusual and trick. effects most of which never have been done before in pictures. When the script gets to the cameramen and technicians the recipients are com- Pelled to conceive ways and means of accomplishing the results that will satisfy the vanity of the writers. Frederick Pinney Earle is credit- ed with first introducing glass shots and art backgrounds for prac- tical purposes when he made “Rubiat of Omar Khayyam,” and demonstrated the commercial pos- sibilities of the method. At that time he did not patent the process. Others later took out patents on Various methods of glass shots. Norman Dawn, director, has ex- perimented on a number of innova- tions connected with the camera. He patented a process for double exposing one scene on another. This patent was purchased by the Pro- ducers’ Association three years ago and has been made available to every one employed by members of the association. In the early days of the films cameramen were generally required to have a knowledge of trick and Special photography and many times were compelled to work out special stunts while in the middle of a picture. At the present time Specialists have developed in vari- ous branches of the work; each of the larger studios have a staff of miniature experts, trick photog- raphers and special stunt men, with laboratory men to aid them in working out particular effects on Im before and after developing. in Comedy Studios Cameramen working for comedy Studios are called upon continually to use ingenuity in working out Special stunts to obtain desired ef- fects. The laugh cameramen have to solve their problems spontane- ously while on location or on the set, and without the aid of trick experts. Comedy companies re- quire cameramen who can work fast and who have an all around knowledge, including miniature and trick work. :' Special process and trick camera- en considered outstanding in their line include Alvin Knechtel, Jackman, Gordon Pollack, Irving Reis, Tony Gaudio and George Benoit. The two last mentioned have invented many effects while working on pictures, and the re- mainder might be termed research men, who devote all of their time in perfecting special stunts required for certain productions Pomeroy’s Processes Roy Pomeroy, who has devised many startling’ effects miniatures and _ special for Paramount, launched into pic- chanical engineer. fected a number of improvements for camera accessories, especially for trick photography. Pomeroy developed a special lens which allows taking a long shot and then moving to a closeup without stop- ping the camera and without going out of focus. The frequent use of airplanes to obtain shots for pictures has de- veloped a number of pilots who have made a close study of the re- quirements of the cameramen taken aloft to get pictures of objects flying or on the ground. Art Goebel, Hawaiian flyer, is especially proficient, and has ob- tained many engagements for film flying through his ability to pilot the plane so the camera is never off the object below. Eyemo and DeVry mechanical hand cameras, with capacity for 100 feet of film, were recently found to be good for spectacular shots from points of vantage where a cameraman could not locate with his regular equipment. Alvin Knechtel, who is employed by First National to work out spe- cial photographic effects, perfected a method of making film dissolves from straight shots after develop- ing. This overcomes the former praetice of having to dissolve shots on the sets, a complicated process and expensive to obtain as one scene had to be dissolved in the camera onto another scene. Knechtel also has devised equipment and at- tachments for trick and weird ef- fects on the film. Don’t Tie Up Although a few cameramen have been identified with one star over a series of years, the majority of cinematographers do not desire to tie up with one player for too long atime. They feel their progress is retarded and that they do not get the variety of lighting and camera effects to keep them abreast of the times. Pauline Frederick, at the height of her film career, made it a con- dition in her contracts that Ned He has VanBuren and Ed Geller be as- signed as her cameramen. Charles Rosher has photographed Mary Pickford for 12 years; Tony Gaudio was associated with Norma Tal- madge for many years; Mae Mur- ray had Oliver Marsh on her staff a long time; with other cameraman- player hook-ups including Daniel B. Clark doing the camera for all of the Tom Mix work; Ross Fisher shooting Fred Thomson; Charles Gilson with Johnnie Hines; Regi- nald Lyons with Buck Jones, and Alvin Wyckoff with Thomas Meig- han. The large studios at present dis- courage the tie-up of a particular cameraman with a certain star and now rotate the cinematographers on different pictures. Cameramen de- sire assignments on special produc- tions that do not have a particular star. A picture of this kind allows them to light each player equally and does not require special lighting for the star and other lighting for the remainder of the cast. With Directors Cameramen hook up more easily with certain directors and there are a number of such combinations existing with excellent results. In an association of this kind the cameraman is able to work closer and faster with the director as he comes in time to know just what effects the director wants to obtain under certain conditions. Director-cameraman associations include Edwin Carewe and Robert Curley; Herbert Brenon and James Wong Howe; George Fitsmaurice and Arthur Miller; J. Peverel Mar- ley and C. B. De Mille; Rex Ingram through | processes | tures after long training as a me- | per- and John Seitz, and Frank Lloyd The duty of the Akeley men is to Fred ' provide for the running shots. For this purpose they have a sw tachment that allows the the camera to closely foll a swift moving obiect. The Akeley machine | is also equipped with. a Aer wea lense that brings the object and Norbert Brodin. | vel at- ‘+ nse of Ow nic | photo » VARIETY GREETINGS JIMMY CONLIN Conlin and Glass Direction TOM MITZPATRICK graphed into a near view although the camera may be 160 to 600 feet away from the subject. The Akeley camera was developed by the Army during the war for map photo- graphing purposes from airplanes and was first used in the picture in- dustry to get running shots of rid- ers in westerns, and later for most of the airplane work. The A. 8S. C. Daniel B. Clark is the president of the A. S. C.; John W. Boyle, 1st vice; Victor Milner, 24 vice; Frank B. Good, 3d vice; with George Schneiderman, treasurer, and Chas. G. Clarke, secretary. Its board of governors, besides the officers, has L. Guy Wilky, Al- fred Gilks, John F. Seitz, King D. Gray, Fred W. Jackman, George Benoit, E. Burtom Steene, Ira H. Morgan and Floyd Jackman. The A. S. C. membership in full, in alphatbetical order and cliassifi- cations, and with present assign- ment or location, is: First Cinematographers Adams, William §. Allen, Paul H. Anderson, Melford A. Andriot, Lucien—De Mille, Ash, Jerome H. August, Joe—Fox. Abel, David—De Mille. Arnold, John—M.-G.-M, Badaracco, Jake, Barlatier, Andre. Bergquist, Rudolph. Boyie, Charles P.—De Mille, Boyle, John W.—Sennett. Boyce, St. Elmo—Sennett. Bridenbecker, Milton—Universal. Brown, James S., Jr.—F. B. O. Benoit, Georges. Barnes, George S.—Goldwyn, Brotherton, Joseph. troening, H. Lyman, Beckway, William J. Carter, Claude C.—Australia, Cline, Robert E.—Scholck Studio. Cline, Wilfried—Universal, Crocker, George G. Cronjager, Edward—Lasky. Cronjager, Henry. Clark, Daniel B.—Tom Mix, Fox. Clarke, Charles G.—Fox. Cooper, Harry H. Cotner, Frank M, Cowling, H. T.—Eastman Kodak. Crockett, E. J. Davis, Charles J.—Warner-Vita- phone, New York. Draper, Lauren—Sierra Pictures. Daniels, William H.—M.-G.-M, Davey, Allen M. Davis, Harry—Fine Arts. De Vinna, Clyde—M.-G.-M. De Grasse, Robert—F. B. O. Diamond, James—Metropolitan. Doran, Robert V. Dored, John— Paramount News, Riga, Latvia. Dubray, Joseph A. Du Par, E. B.—Warnersa Du Pont, Max. Dean, Faxon M. Fagler, Paul E.—M.-G.-M. Eldredge, F. R.—Universal. Fslick, Le Roy—F. B. O. Evans, Perry. Edeson, Arthur—First NattonaL Fabian, Max—M.-G.-M. Forbes, Harry W.—Stern Film Corporation. Folsey, George, Je. Fryer, Richard. Fildew, William. Fischbeck, H. A.—Lasky. Fisher, Ross G.—First National Gerrard, Henry William—Lasky. Gheller, Fdward. Gerstad, Merritt B.—M.-G.-M. Gobbett, David William, Gosden, Alfred G. Gilks, Alfred—Lasky. Gray, King D Guissart, Rene—Paris, France, Good, Frank B.—Fox Studio Griffin, Walter L—David Hart- ford Productions. Gaudio, Gaeti banks. Dougias Fair- ano -— Hallenberger, Harry—Lasky Harris, Emil—Universal, Heisler, Frank B Hilburn, Percy—M.-G.-M, Hunt, Roy—Lasky. Hyer, William C.—Educational. Horne, Phliny Haller, Ernest—Kane Productions. | Heimerl, Alois, Jones, Allen C Universal June, Ray—Fine Arts Studio Jackman, Flovd—Warner Bros Jackman, Fred W.—Technical di rector, Warners, Jackson, H. A.—Corinne Griffin, ae Jennings, J. D.—Buster Keaton | Kirshner, Glen—Metro. Studios. Kesson, Dave—United Artists. Kesson, Frank A. Kirkpatrick, H. J.—Universal Klaffki, Roy H. Kornmann, Anthony Universal Kull, Jacob—Universal. Koenekamp, H. F. Kurrle, Robert E.—First National Linden, Eddie—Universal Lloyd, Art—Hal Roach. Longnecker, Bert. Lyons, Ches Lyons, Edgar—Christie. Lyons, Reginald—Fox. Lundin, Walter—Harold Lloyd. Lockwood, J. R. Marley, J. Mackenzie, De Mille. —~ Douglas Peverel Jack Mc- Lean. Marsh, Oliver—M.-G.-M. Marshall, William C. Martin, H. Kinley—Lasky, Mescall, John J.—M.-G.-M, Miller, Arthur—De Mille. Miller, Ernest W.— Chadwick Studio. Miller, Virgil E.—Universal, Mohl, Hal—Warners. McClung, Hugh C.—Douglas Fair- banks. McCord, T. D.—First National. McDonnell, Claude—-London, Eng. McGill, Barney. MacWilliams, Glen—F ox. Meehan, George—Fox. Morgan, Ira H.—James Cruse, Musuraca, N.—F. B. O. Milner, Victor—Lasky. Murray, James V.—Lasky. McManigal, E. L. Newhard, Robert. Neumann, Harry C.—Universal, Norton, Stephen §S. Oswald, H. M. O’Connell, L. William—Fox, Powers, Len—Hal Roach. Perry, Paul P. Perry, Harry—United Artists, Palmer, FErnest-—Fox. Polito, Sol—First National, Reeves, Arthur. Reynolds, Ben F. Ries, Irving G.—M.-G.-M. Robinson, George H.—Universal. Rosson, Hal. Roos, Len H.-—Sydney, Australia. tose, Jackson J.—Universal. Rosher, Charles—Mary Pickford. Ries, Park J. Scheurich, Victor. Schoenbaum, Charles—Lasky, Scholtz, Abe. Se hlockow, Paul—M.-G.-M, Shamroy, Leon—Fine Art Studio. Smith, Ernest F. Smith, Harold G. Smith, Leonard—Educational. Stengler, Mack—F. B. O. Stevens, George—Hal Roach. Stevens, Jack — Richard Tal- madge, Universal. Struss, Karl—vU. A., Griffith. Stumar, John—Universal. Stumar, Charles—Universal, Sharp, Henry—M.-G.-M., Smith, W. S., Jr. Schneiderman, George—F ox. Scott, Homer A. Seitz, John F.—M.-G.-M. Snyder, Edward J.—Pathe. Thompson, W. Tannura, eatin 9. B. O. Tetzlaff, Ted—Chadwick. Tover, Leo—United Artists. Todd, Arthur L—Universal. Turner, J. Robert—Educational. Tuers, Billy. Tolhurst, Louls H.—Pathe. Valentine, J. A—Fox Studio, Van Enger, Charles J. Van Trees, James C.—First Na- tional. Van Buren, Ned—Eastman Kodak, Hollywood. Vogel, Paul E. Wagner, Blake. Waener, Sidney C.—Fox. Walker, Earle F. Walker, Joseph—Columbia. Walker, Vernon L.—Sennett, Warren, Dwight W. Whalen, John P.—Santa Fe Studios (Monrovia). Wheeler, Wm.—Christie Studio. White, Ben—Fox. Villiams, Wm. N.—Sennett. Widen, Cari—Tiffany. Wrigley, Dewey—Metropolitan. Wyckoff, Alvin. Wells, Conrad—Warners Vita. Wenstrom, Harold. Whitman, Philip Sennett Studio. Wilky, L. Guy. Varrenton, Gilber H.—Directing t—Universal. Young, Jack R.—M.-G.-M Zucker, Frank C.- Harold L] ; Honorary Members Edison, Thomas A., Orange, N. J. Eastman, George, Rochester, N. Y¥, Webb, Arthur C Attorney. | Special Process and Trick Cine- matographers B Friend 8B el R. © M.-G.-M C Hy Russell—Lasky Aver itel Alvin C First Na- , tl nal | Emilay, Earl EK. R. L. Studios. Fulton, J. Phipps—Universal, Pollock, Gordon B Lasky. Smith, Jacl Fox Mammes, Ray—M.-G.-M. Cohen, Eddie Edouart, Farciot Lasky. Flora, Rolla—Lasky Lipstein, Harold—-M.-G.-M Roberts, Oren W.—Lasky Shearer, Douglas G M.-G.-M. Stull, Williliam—EF. Smith, Smith, R. L Arthur—Lasky. Jack—F ox. Akeley Cinematographers Bennett, Guy M. Blackstone, Cliff—Lasky. St udios., De Vol, Norman—Fox. Dyer, Elmer G.—Universal, Fetters, C. Curtis—Fox. Galezio, Leonard T. Greiner, A. Leroy—First National. Hickson, John T. Hoke, Ira B. Larabee, Nelson—-Warner Bros, Marshall, Charles A.—M.-G.-M, Marzorati, Mason, Harry G. Novak, Jos. J.—Universal. Olsen, R. B. Ramsey, Ray Lloyd—Universal, Rand, William—Lasky. Roberts, Josiah—M.-G.-M. Sickner, William—First National. Stout, Archie J.—Lasky. Steene, E. Burton—Lasky. Harold J.—M.-G.-M. News Cinematographers Grimes, William H.—M.-G.-M. *arrish, Fred—Fox, Colorado Springs Staub, Ralph B.—Columbia, spe- clalties. Still Photographers Alexander, Kenneth—U. A.-D. W. Griffith. Archer, fred R.—De Mille. Fryer, Elmer—De Mille. Kahle, Alexander—De Mille. Mannatt, Clifford—M.-G.-M. Parker, Robert M—E. R. Ih Studios. Richee, Eugene Robert—Lasky. Rowley, Les—Lasky. Sigurdson, Oliver—Met Studio, Thomas, Wm. E.—De Mille. Van Rossem, Walter J.—James Cruze. Second Cinematographers Bader, Walter S.—M.-G.-M. tJauder, Steve L.—M.-G.-M, Baxter, George—De Mille. 3Jennett, Monroe. Borradaile, O. H.—-Lasky. Chaney, George—United Artists, Chewing, Wallace D.—M.-G.-M, Cunliffe, Donald—Universal. Davis, Leland E. Doolittle, James N.—First Na- tional. Drought, James B.—Universal. Dunn, Linwood G.—Met. Studios, Dyer, Edwin L. Fitzgerald, Edward—M.-G.-M,. Giridlian, James N.—F. B. O. Greene, Al M.-—Technical Art. Greenhalgh, Jack—F. B. O. Guffy, G. Burnett—De Mille, Haas, Walter. Harten, Charles—New York, Head, Gordon G. Hendrickson, Fred 8.—Lasky, Hugeins, L. Owens. Jenkins, John. Julian, Mac. Keyes, Donald B. Landrigan, John 8.—Lasky. Lang, Charles Bryant—Lasky. Longet, Gaston—F. B. O. Lanning, Reggie—Lasky. La Shelle, Joe. Lazzlo, Ernest. Lindon, Curly. Martin, Robert G.—F. B. O. Marta, Jack A.—F ox. Merland, Harry—Lasky. Mols, Pierre M.—M.-G.-M. MacLean, Gordon—M.-G.-M, Nogle, George G. Pahle, Ted. Palmer, RKobert—M.-G.-M. Parsons, Harry. Pittack, R. W.—Lasky. Planck, Robert H.—Columbia, Prince, Al—Universal, Pyle, Edwin L. Ragin, David-—Fox. Ray, Bernard B. Redman, Frank—De Mille. Reed, Arthur—M.-G.-M. Rees, William A.—Fine Arts. Schopp, Herman—Met. Studios, Shepak, John, Jr—EducationalL Silver, John. Smith, Jean C.—De Mille. Stine, Harold E.—De Mille. Tappenbeck, Hatto—Fox, Trezo, Fred—Universal. Thompson, John—F. B. O. Unholtz, George—Sennett. Van Dyke, Herbert—M.-G.-M. Van Enger, Willard—-Warnere Vita. Wagener, Robert—First National Walters, Joseph J.—F. B. O. Westerberg, Fred—De Mille, Wilde, Harry Williams, Alfred FE.—Lasky. Witzel, FE L Universal. Stock ned at Pantages, Fon Wortl t week with Roy Came ler at its head “The (opener was i‘heyne Donte ce AR ety leigh gt 28 aoe aty grt aoe =a. tae _— ~ AAR Sa ee ob tu cso ons ee x . . AMP sco a 2 pene es Do hs Ae fe wen i, 6 et ti ol

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ae ee SPR tt cee oe, ; ee PT wed 4 4 Tree re pre . — ST Ae oe. oe get ee m + PICTURE UPSTARTS OF 7 one of | its take a pe George Dur Abie” in Irish |} é The lad what they thought was a good type for a ! nd he will play the mal lead in “The rodle ' Cc. B. DeMille-directed Same compat grabbed off a chap named Milton Holmes, 19 Willia: K. Howard a devel per talent picked him for the juvenile lead “His Country.” After C. B flash at the early rushes he up for a five City. Universal has an known lent laying around to be wanted They had a Matty Kemp years. Then Tom's Cabin work and fave of in got one was tied stay in -year Culver iwful lot small of un- pay for used when fellow named this for two bit in Uncle Sennett liked his him the juvenile lead doing hie fot a in his per special “Good Bye Kiss” as well as a three-year con- tract. Metro-Goldwyn-Mayer turned four unknowns during the year with one made a star right off the bat. The likely of the whok bunch is Murray. He was picked out of the meb for a juvenile role in “The Crowd,” without up most James ever | | VARIETY » they have brought Into the ranks of this unit Wheezer, a two-year-old son of Tacoma grocer; Harry Spears, a six-year-old freckle-faced lad; June Darling, six-year-old leading lady, and Mildred Kornman hre year-old sister of Mary Korn man, who graduated in 1926 from the ranks of this outfit Directors Among those who have stepped to the fore in the directorial class is William A. Wyler, nephew of Carl Laemmle, who was making westerns for Universal. He finally sold them the idea he could do better, and is |!now making his first feature prod- uct, “Anybody Here Seen Kelly?” John P. McCarthy, on the M-G-M lot, was around with the westerns and quickies for a long time. Then some one thought he should be taken into the big-time field, he was given the script of “Becky” and LEW HEARN In Vaudeville with Ethel Grey Direction FRANK EVANS so “Lovelorn” to interpret for the screen. SS il Whitman was writing sce- sl ‘ = Phil wage - out a special in “Beau Sabreur.” He | narios for five years on the Sennett lot. Recently he told his boss he could do more, so now he is direct- will be at home on the Paramount lot for another four years. Three men got their chance on the ry his own written stories, which ee : | ing nis own sn tet . rie : Fox lot: James Tinling, assistant |} seem to be clicking in the two-reel! ,, ' ‘ | field director, who is now making feat- ; ; ures; David Butler, | James Dugan was a studio busi- Papel avid , ness manager for several years. He who got tired | | of acting and has turned out to bea | of having had screen experience of any | go]q William Le Baron at F. B. O.| importance before, outside of at- | the idea he could direct, so they let mosphere. lle clicked over night | him make a couple of westerns and and is now looked upon as the best | «~The Master Showman,” which ele- bet the company has. They figure ‘vated him into the class of feature that he will run wey ahead of Wil- | directors. liam Haines, who was elevated to Al Raboch was an assistant at stardom last year. First National for several years. He The star M-G-M made without | got a job with Sam Goldwyn to di- | hesitation is Col. Tim McCoy. Hejrect “The Devil Dancer.” Worked Was a goveltiuneut inspector on | hard on this Gilda Gray picture, but | Indian reservations and capitalized | abdicated in favor of Fred Niblo. | his experience by taking a number of Shawnees into vaudeville with him. Then M-G-M wanted to make Then took a job at F. B. O., where | he turned out good feature in ‘The Coward,” which got him a long-term westerns on their won and picked | contract. him for the starring feature. Another assistant to be made di- Johnnie Mack Brown, all around | rector on the lot was Phil Carle, athlete who played on the Univers- | Who just turned out his first “In a ity of Alabama football team, lay | Moment of Temptation.” Also given around town all last spring waiting | @ chance here was Lewis King, ‘or a chance on the screen. George | brother of Henry King. He had Wawcett thought he was good tim- | been his brother’s assistant for a ber and after a test Brown was | number of years. Then went over given the lead opposite Marion Da- | On “Poverty Row” and turned out a “ies in “The Fair Co-Ed.” Another | couple of fast ones, when Bill La lad okay on this lot was Neil Neely. | Baron brought him over and he has He did a bit in “West Point,” and | directed five westerns for the com- was then chosen for an important | pany. role in “Cossacks,” starring John | Wallace Fox, brother of Edwin Gilbert. Has two years to go with | Sarees, worked as assistant for the the concern. latter for about eight years. ‘This Over on the Fox lot is Charles | year he broke loose, got a mega- Morton, in vaudeville at one time penagen at F. B. O. and turned out and started here playing bits. | six western products, and in 1928 Murnau got a flash at him and he | Will make a score of features for the is going to have a featured role in | company. “The Four Devils.” Another youth- Lynn Shores, also on the Le Baron ful development on the lot is Nick | Pay roll, was an assistant and pro- Stuart, in two featured parts during | duction manager. He worked for the year, afier starting at the bot- | Sam Goldwyn on “The Devil Danc- wiz with the megaphone, and Wal- lace MacDonald, another actor who is making comedies on the lot. Over at the Roach lot Hal Yates, a writer on the pay roll for two years, got his turn and is now di- recting two-reel product. “Big League School” Warner Brothers’ lot, known as a directorial school for the “Big League,” gave three boys an oppor- tunity. Howard Bretherton, who was film cutter for six years, has turned out six features since last January. Ray Enright, who did film cutting for two years, made a few Rin-Tin- Tin’s and then got a couple of dra- matic features in less than 10 months. The latter are “The Girl from Chicago” and “Domestic Troubles.” Ross Lederma:, assist- ant for Roach and on this lot, too, after having directed quickies, got his chance and turned out a couple of Rin-Tin-Tin’s. If they deliver with the dog product they go into the feature class here. Over at First National they gave a 23-year-old kid a chance. His | name is Mervyn Le Roy and he is a cousin of Jesse Lasky. He worked for Lasky as an assistant camera man and property boy after having been a vaudeville actor on the Loew circuit for a couple of years. Then he found relationship did not pay and got a job with Al Green, being gag man on “Sally,” which latter was making for First National, star- Wednesday, January 4, 1928 “Variety,” as well as_ called King of Slang,” has been doing a lot of smart cracking for Para- mount during past six months. He has titled eight pictures since com- brought him 12 picture contracts. Hal K. Willis worked for a pic- ture magazine. He got tired and Christies gave him a job as scen- arist, which keeps him real busy. Ramon Romeo was jack of all trades. He worked as extra around New York, then figured he could get ahead on screen as rep- resentative of Fawcett Publica- tions. Then became a press agent for actors. Got more nerve up, wrote couple originals for De Mille and is now over on the Paramount lot waiting for assignments. Phil Bartholomae came to First National after writing stage mate- rial. They liked his stuff and so far he has made two adaptations for the company. Howard J. Green, also with that concern, was a theatrical newspaper man in New York; then branched out as a pro- ducer of girl acts for Keith's with Milton Hockey. Fowever, when that racket went bad and he was not sure how long it would last he came to the Coast and started off at M-G-M. James Murphy, pro- duction manager for Harold Loyd, weaned him away for one picture and from there he went over to First National. Has been on pay- roll nine months and is doing lot of original writing, gagging and had editorial supervision under Carey Wilson on “Helen of Troy.” Two new title writers on that lot are Sidney Lazarus, who wrote for “Saturday Evening Post” and other magazines, and Gene Towne, a youth who worked on the dailies in Seattle. Malcolm Stuart 30ylan three years ago was press agent for First National. He wanted to write titles, so quit and free lanced. The racket seemed great for him; he’ got plenty of work this way until Winnie Sheehan grabbed him off last spring and made him title editor for Fox, Jim Madison Lands Then James Madison, who edited “Madison’s Budget,” the life saving gag book for many a vaudevillian, joined with Universal after getting tired of wind and snow and has been laboring steadily for the past year on that lot. Harry Brand, at one time sporting editor of Los Angeles “Examiner,” quit the job ring Colleen Moore. The kid clicked and finally, worked his way up to} ace gag man. | tom. “Cradle Snatchers” and “High | er” as an assistant, and followed Then when retakes were being | School Hero” were his opportuni- | Raboch here, directed a few Gold! made on a picture Leroy got the | ties, | Bonds, and is now handling mego-|qirty job and made good. From First National has been having aj Phone for “Skinner's Big Idea,” a there it was just a stepping tone | hard time getting male leads for | special. | to directorship, given him by John' their stars. There was a_ chap Dorothy Arzner McCormick last June. His first as- | named Ernest Gillen on the M-G-M | Over at Paramount they devel-|signment was “No Place to Go,’ | lot doing so-so. John McCormick | oped what they call four good bets! with Mary Astor and Lloyd Hughes. looked him over, changed his name | during the year. Dorothy Arzner, to Donald Reed and for his first job |; Who started in as script girl, then gave him the lead opposite Colleen | became cutter and scenarist, drew Moore in “Naughty But Nice.” Now | her first assignment to handle meg- the boy is working steady. Another |aphone for Esther Ralston in “Ten | future male star they signed was | Modern Commandments.” The littk Larry Kent. le had been playing | girl made food and since has di- here and there in the two-reel com- |rected Clara Bow in “Get Your | edy field. All he got was experi- Man.” She is the daughter of a ence; no dough. Then F. N. came | restaurant keeper. along and gave him a chance for the | Harry A. D’Arrast, a French lad, juvenile part in “The Sea Tiger.” | got his start in the picture racket as He hit the bull’s eye and then got! business manager and assistant di- a Colleen Moore lead and is now. op- | rector for Charlie Chaplin. posite Billie Dove in “The Heart of | branched out for himself, and Para- a Follies Girl.” | mount gave him his first chance to Also promising male leads picked |make “Serenade,” with Adolphe up by that company who _ have | Menjou. erowded forward Lucien Prival, |}man of Paris,” with European importation, who played a | | ' is the same star. Josef Von Sternberg, who had one of the rockiest careers of any of the picture directors, made good featured role in “American Beauty’ with Billie Dove and Paul Vincenti, a Hungarian lad who will hit the | several tries. He started in pictures feature class during 1928. He is be- | as shipper with World Film Corp ing groomed for stardom and had/in New York when William A. an outstanding performance in “The! Brady headed the company. Then Stolen Bride” and “The Love Mart.” | he learned the technique of the Another foreign importation doing | Screen and made a profit-sharing nicely is Nils Asther. He was | picture, called “Salvation Hunters.” brought from Germany with Mary; Charlie Chaplin and Doug Fair- Nolan by United Artists. The boy | banks liked this one, and he made a seemed to have “It” from the start | picture for Chaplin now on the and is now working steadily in pie- |shelf. It had Edna Purviance as tures being made by outside pro-j|star. He gave up hope until Ben ducers of the bigger group who] Schulberg gave him a job, and as make their reservation for his serv- | first assignment he made best pic- ices six weeks to three months in|ture of the year for the company advance and set their shooting |in “Underworld.” Now they all want schedule in accordance with his lib- | this boy erty spells. ;} John Waters, only little over a A ut the toughest jol that Hall year ago was assistant to James| Reach, Warran Doane and J. P. M Cruz it Paramount. When the | Gor hay ] ? 7 hat r 4 S sect te leave, Waters got taient for the ‘ ( " } made a number of the comed During p ya Sauk 3 ( product und then turned He | after | | They liked it so next they gave him | | “lying Romeo,” which he has just | i finished with George Sidney and| | Charlie-Murray co-starred. Now he wiil make “Harold Teen.” | Walter Lang was having quite a time on Poverty Row to make his| sheckels by turning out overnight product. Harry Cohn, of Columbia, | preferred some of his stuff and |gave him one picture to make. James Cruze saw a preview and now |}has the director under contract to | wield a megaphone on the metro- | politan lot. Writers writers class are to be | In the He followed with “Gentle- | found John Farrow, who was a poet} | in Australia. He got a job doing |odd work at De Mille’s. Then he |sold Rupert Julian the idexw he should supply the titles for “Yan- i} kee Clipper.’ That put him over as title man and writer. He wrote i;screen version of “Wreck of the Hesperus,” original of he Blue Danube,” “Menace” and “Toward | the Moon.” He jumped in less than a year from $50 to $1,000 a week. John Monk Saunders on the Paramount lot was a New York newspaper feature writer. He wrote | the original story for “Wings” and | now Paramount will not let him | get away from their wing. Also on | that lot Herman Mankiewicz, for- |mer dramatic writer of New York “Times,” got a job. He sold him- self fast and was made head ot Authors’ Council, brought out many prominent writers from the east, including Ben Hecht, and is now titling to keep hirsself busy. Jack Conway, at ore time a ball player, and later Fporting | who has supplied a load of comedy | He is now traveling abroad getting to become press agent for Josepn M. Schenck and later became busi- ness manager for Buster Keaton. He is now gagging on the Fox lot. Also on that lot is Andy Rice, material for vaudeville actors and stage revues. Rice came to the Coast three months ago and already has titled three pictures on the Fox lot. Harry Hervey, doing fiction work for a number of years, joined the Sam Goldwyn staff and wrote the criginal of “The Devil Dancer.” ing to the Coast, including “Jake,|! ithe Plumber” and “Coney Island” i for F. B. O., to whom he was loaned | for these jobs. Garret Graham, former press agent for Hal Roach, is coming to the front fast among | the title writers. He got tired of| taking a weekly stipend as a press agent so started to free lance on titles. He got a chance recently at First National to do the introduc- tions on “The Texas Steer,’ which ly lot is Arthur Shadur. He starteq as head of the electrical ment, was made studio business manager and this summer promoted to supervisor. He has turned out three pictures, two of which Gex« | Melford directed, with the other 'one made by Mel Brown depart Lloyd | Nossler on this lot started in as handy boy around the still : : seven years ago. Then he became |}a film cutter and later film editor. |He left to edit “Ben-Hur” for |M-G-M and when he _ returned Henry Henigson, general manager , made him a supervisor. vising hére is Julius sernheim, nephew of Carl Laemmle, who at one time was studio general man- ager. He left that to go into theatre and foreign department U. He returned from went with Harry Cohn produc- tion manager. Then Uncle Carl took him back as production man- ager on “Uncle Tom's Cabin,” after which he rewarded him with the post of supervisor. Also super- the ior abroad and as Over on the Fox lot in the past six months two employes have been awarded with supervisorships. Phil Klein, son of the late Charles Klein, playwright, started his career four years ago as writer at Warner Brothers. Then he went to Fox, clicked at writing and is now supervising the John Ford produc- tions. William Counselman, an- other supervisor, has had one of the quickest elevations in the picture business. Little more than two years ago he was a reporter on the Los Angeles “Times.” He also, as a side line, got out a comic strip, “Ella Cinders.” It was sold to First National for Colleen Moore and Counselman went over to do the screen story. Then he went to M-G-M as a press agent. He wanted to write, but they would not let him. Fox gave him his chance and he wrote about a dozen stories, titled a lot of stuff and now is a story supervisor. On the first National lot they hired Carey Wilson early last year to write stories and make adapta- tions. He clicked with this work, with his reward being production supervisor. He has handled six pictures under this assignment. Another new supervisor F. N. lot makes his debut in capacity early in January. His name is Ned Marin. He started in picture business as salesman for Paramount, worked his way up and finally got to be sales manager for First National. Last June, when John McCormick quit as general manager of First National, Marin left the sales department to be assistant to Richard A. Rowland at the studio. There he functioned as business manager until Waterson Rothacker took over the job. From then on Marin studied production, with the reward being a supervisor- ship. : the that on U. A.’s Own House in St. Paul; ‘Outs’ with F.&R. Minneapolis, Dec. 31. On the “outs” with F. & R. as a material for a Gloria Swanson pic- ture. Hervey at one time was a prominent reporter in New York. There are a number of other new writers of all kinds in the picture field but they have just started feeling their oats and probably next year will be pulled out of the ranks of the unknowns. Supervisors In the ranks of the supervisors are to be found Bernie Hyman, who started in business life as a film salesman, then went to Universal's production department under Irving Thalberg, leaving that to become producer for Phil Goldstone and then going under the wing of Thal- berg as a supervisor and associate producer at Metro-Goldwyn- Mayer. The work of Hyman has been a revelation on this lot and he is known as a second Thalberg. He is about 26. Harold Shumate, who wrote sce- narios for M-G-M and Fox, is now a supervising producer for Gotham, which releases on the independent market. Paul Kohner, whom Carl Laemmle picked up in Germany several years ago and made his secretary, has climbed fast in the production field. Two years ago he was made casting director at Universal and early this year “Uncle Carl” gave him a chance as a supervisor. He has been handling the Edward Slo- genius man and Paul Leni units. Another chap to rise fast on the result of a disagreement over pic- ture prices, United Artists now is booking its pictures into the Met- ropolitan in St. Paul, taking the house on ae rental basis and handling the exhibiting end itself. “College” ran for four days this week. “My Best Girl’ opens an in- definite engagement today. Prices are 50c. After its falling out with F. & R. here, United Artists made a deal with Pantages for the latter house to handle its pictures. Two have been run—‘My Best Girl’ and ‘“Col- lege.” The former did big business for two weeks. It is said that United Artists had a 50-50 split on “My Best Girl,” with the theatre furnishing the vaudeville and stand all other expenses. The picture is said to have done over $12,000 the first week and around $6,500 the second. Mae Murray First Loew-Publix Star Mae Murray is the first Publix star act to play for Loew’s under the new Loew-Publix stage production merger. Miss Murray is at Loew's Allen, Cleveland, Jan, 14. An arrangement to carry the Publix billing on all units such as Publix “Russian Revels” is being discussed. So far, Pittsburgh, Baltimore, Washington, Cleveland Kansas City are the Loew houses definitely set for Publix unit bookings. and

Page 15

Vere wvw Ww BY Ss yy Wednesday, January 4, 1928 ~ BRITI Mergers, Fusions, Fluxes, Combines, Politics— VAR SH FILM FIELD Who’s Framing What?—Forecast and Some | Other Facts—Exhibitors’ Jam—A Cold Snap— | Business Down—More Studios and Fiotations to Come—Underwriters’ Fit By FRANK TILLEY London, Dec. 20. There has never been a time when the picture situation here has been go full of happenings which intrigue the imagination. Just figuring out the movements of the past week: First National and Pathe combine and admit it at last. Loew’s (to say, Metro-Goldwyn, not forgetting the theatres), United Artists The- atres and the Standard Film Com- pany, Ltd. (to say, Provincial Cine- matograph Theatres) combine. In the first case for production and distribution; in the second for pro- duction and exhibition. Nothing new in this. Told it long ago: when it was going on, in fact. There’s the Exhibitors’ Booking Combine, too. Gets in a jam with the distributors, who get together and refuse to play. Then former president Major Gale of the Cine- matograph Exhibitors’ Association, s0 they say, goes into conference with F. E. Enders, head of the British Film Booking Offices (noth- ing to do with F. B. O. of America), which releases the Columbia prod- uct this side. They have an idea, have Gale and Enders. To hook up F. B. O. with the Exhibitors’ Booking Combine. But the control of F. B. O. is in the hands of the Gaumont Com- pany, and they do not see eye to eye with Gale and Enders on the prop- osition. Are the Exhibitors’ Booking Com- bine promoters sunk? No! Gale has the idea of going to America directly after Christmas to see what product can be lined up for acquisition by the Booking Com- bine. Which, as it is not yet formed, and doesn’t exist as a company or a syndicate or anything but an idea under discussion, seems a difficult piece of business. Because who are the sellers in New York, if Gale finds any, going to deal with? Them Politics! Have already mentioned Viscount Castlerosse was formerly a director of the Standard Film Company, on the board of which now are Lord Beaverbrook, Lord Ashfield (head of the Underground Railways and the London General Omnibus sys- tems), A. P. Holt, W. H. Evans, and Sir William Jury. The four latter are also on the Board of Provincial Cinematograph Theatres. Castlerosse came off the board (where he was apparently a nom- {nee for Lord Beaverbrook) in July. But he goes over to Hollywood with the Lord this week, so he presum- ably is still in some place. Standard Film Company is a pri- vate incorporation with a capital of $5,000,000 and exists “to finance cinematograph undertakings,” as well as for other purposes. Provincial Cinematograph Thea- tres, Ltd., is a public company, capi- talized at $16,000,000. The amount of this capital issued is $1,146,571 cum. part. pref. ordinary, $100,000 “A” pref., $600,000 “B” pref., $334,- 774 “A” ordinary, and $165,226 “B” Ordinary. This leaves $4,267,145 stock still unissued. Control seems to be in the hands of the Standard Film Company stock in which is held by the Film Investments Company, Ltd. (of which A. P. Holt is a director, as is R. D. Scott, director of Pathe), Coutts, Bankers, Beaverbrook, Ash- field and a few others. Pathe Freres Cinema, Ltd. (to five it its full name) is also a pri- vate incorporation, capital $500,000. Its directors include R. D. Scott and i. M. Smith, both directors of the Film Investments Company, and R. J. Robertson, associated with Lord Beaverbrook’s newspaper enter- prises as business manager of the ‘Daily Express.” Smith, however, retired this week. First National here is merely a nominal incorporation with a capital of $500. They're all in the same things at the same time. The formation of the two new tompanies, Pathe-First National and Loew-United Theatres-Standard, in each case with the control in Brit- ish hands, means one group (which may also be reckoned as mainly Lord Beaverbrook) controlling -four | lines of product in this market as Well as owning the biggest theatre circuit in this country at the mo- ment Big Combine There's an operation going on to form a $50,000,000 theatre combine, and you never can tell whether the exhibitors won't find some way of Brouping in the end Bruce Johnson denied First | | | | Na- | tional here was going into the the- atre field. Nor have they. They've hooked up with Pathe for produc- tion and distribution. W. H. Evans denied frequently and specifically P. C. T. had any intention of selling its theatres or parting with the control of them to any American organization. They haven't. They’ve merely linked up with a _ producing-distributing-ex- hibiting group in America for pro- duction and exhibition here. He threatened, though, when he went to the General Council Meeting of the C. A. A. a short time ago, to sell the P. C. T. Circuit to America if the Exhibitors’ Booking Circuit idea was persisted in. And it is being persisted in. At the very moment it was wavering the stories of the various mergers of the controllers of P. C. T. were allowed to break here without be- ing denied any more. As a result of which the indepen- dent exhibitors have been thrown into a bigger scare than ever as to their future position unless they do get together and not only distribute but also produce their own pic- tures. The comparatively small thrust by American corporations into the picture theatre field here has been used out of all proportion to inflame the minds of the independent ex- hibitors as to the “dangers” of their present position. Stories of gigantic theatre deals are being canvassed to the same end. Feeling between the potential booking circuit and the distributors ditto. When they go try to buy film in New York it is certain in advance they have little chance of success. And equally it might be assumed as a chance shot they would find, if they went to Holly- wood, they had been forestalled by representatives of the recent merger, and most stuff otherwise possibly available was tied up or under op- tion. Thus the went on with independents, if they their Booking Com- bine (and such a situation would make it seem more urgent they “protect” themselves) would have to go into production, as did First Na- tional in not dissimilar circum- stances. This would call for a big corpora- tion with a large capital. And what if the financial control (either at the outset or later through the Ex- hibitors’ Combine getting into a muddle and having to make affilia- tions) was in the hands behind a gigantic operation to get absolute control of the situation here? The folk behind P. C. T. now con- trol 110 theatres, own a lot of sites, will have through the two new com- panies control of Metro-Goldwyn and First National product in this market, as well as their own home- made films, with an outlet in Amer- ica either through their M.-G. or F. N. interests. This already represents about one-ninth of the money-value of release here and some one-sixth of the available produet. Should the independents line up 400 theatres—they are already as- sured of 300—and cannot buy film? Then go make some. Find, after a year, maybe more, they cost too much, especially as they would pre- sumably be shut out of the P. C. T. houses, and could be so undercut in booking outside their own circle they couldn’t do business. As a company the independents would then either have to go out of business or find some one to play with. And who save the P. C. T.-F. N.- M.-G.-Standard crowd would be sit- ting pretty enough to play with—or, at any rate, to call the game? This is the end of 1927. And the above has gone on record. This time next year several bright young scribes will be telling how it all happened and it will be History. Exhibitors and Combine On the whole this is not getting the support from the branches of the C. E. A. which Thomas Ormis- ton, promoter of the scheme, antici- pated. Some branches are support- ing it in principle, but in most cases } they are sitting on the fence, with Headlining and “clicking” at ex- clusive vaudeville and picture houses throughout the country. DON BESTOR and his Victor Recording Orchestra Featuring Miss Frankie Klassen. Exclusive management Music Corp. of America, Chicago and New York SEASON’S GREETINGS MIKE SCOTT’S ANNUAL New York, Dec. 14 Editor, Variety: I am most thankful to my Great | Friends in health at 65 22d letter to versary. Seven years ago when I was in Dublin, as you know, to find my mother, wife, children, all of 13 of the family gone and all alone, I Heaven to be in good and able to write mj) Variety on its anni thought I would never see you, my | Great Friends, again. But here I am, 25 years with you Dec. 14, sun shining, but landed in a snowstorm 25 years ago. My only hopes now is that I may pull along three more years to write you three more letters. By that time Mike will be on his 50th anniversary of dancing Irish reel, pooling the clogs. : I know I have all your good wish to see those three more years. God Bless you all, give you good health and to be happy this coming | year. We are all good friends to- day, but God only knows where we will be tomorrow. From the heart of the oldest singing, dancing Irishman in the world Mike Scott (Your favorite to the end.) MARRIAGES Irving 3erger, Chicago vaud agent, to Betty Brower, profes- sional, Dec. 28, in Chicago. Virginia Reynolds, with Savoy burlesque stock, Syracuse, N. Y., to Ira Flippo, Roanoke, Va., at Syra- cuse. Bride remains with company. Dorothy Duell, playwright and actress, to Rev. Henry Scott Rubel of Milwaukee, Pec. 28, in Pitts- burgh. Beatrice Tracey (burlesque) to Harry Vincent (non-prof), Dec. 28 in Baltimore. BIRTHS Mr. and Mrs. Jo Abramson, at their home in Brooklyn, N. Y., re- cently, daughter. Father is with the dramatic department of the sgrooklyn “Eagle.” Mr. and Mrs. Lew Pollock, at Women’s Hospital, New York, Dec. 29, son Father is a composer; mother is professtonally Helen Mil- | lette, formerly of Millette Sisters. Mr. and Mrs. James Ryan, Dex 27, at Good Samaritan Hospital, Los Angeles, daughter. Father is as sistant general superintendent of Fox Studios INCORPORATIONS Dissolutions opposition to the Booking Combine Mus Box Revue has filed notice w in the majorit: | the Se tary of State that the corporat jori : & aa a he branches | as deez ssolved A grea 4 man’ of the oe nen | Other r 4 cal corpura*,ions taking have held their meeting on the} 4,- ps are: Village Theatre scheme in secret, according to a} Bronx Hal Hodes Short I i recommendation from the General; change, Manh uttam Continent 2 o * ® ' ar » Corn : ttar = r Council of their association But | ™ > Fp ee ¥ a &. “ . lic Cor } nha r Timmy : the Sc ottish Section refused by aj Ficture Corp., New York, and Dante, big majority to accept the request! Magician, Manhattan and discussed the combine (which | Title Changes has now come to be known in the | , “ 2 : Tn : ‘ : ri a8 been given that the Malsoln C. E. A. as the Trading Scheme) in | Film Laboratories, New York, has changed ; open meeting its name to Marks Film Laboratories 4 name of Grosvenor-Siles } (Continued or page Oo) eer hanged to Grosvenor Studios A S } + I re Ut! a i a i € Sar is the = I r of pictures determined et its product by having i \ theatres to play that prod) in, so the theatre exhibitor decided must protect himself, l is the theatre chain arose Whether in a sewn up’ town or ring a State or becoming a na il chain All of it is based upon one of two | things to protect the theatre or to | protect the distributor | But it doesn't always protect | Profit Eaters | The shooting galleries or Lie | losers of the large chains are th: | ‘bane, and the profit eater. It means little if a making $1,000,000 | uncontrollable }eating that up, with a throwing the entire into the red. Those go with the merger. Merging has been gradually de | veloped in the picture exhibition j}end. It started between local oper- j}ators. In the long ago days they | pooled to get the edge on the ex- |change (renter). Then they pooled or bought out to get the best of the other fellow. Then they en- larged by securing sites to build. Then they went into the neighbor- hoods. Then they went into chains. Then they found themselves in national chains. chain's ace i net a year if losers more than chance of theatre chain usually its are losers All of this has taken years The Independents All exhibitors did not go into |} pools or chains. Any number re- are still Sut they don’t know going to land | mained by themselves and by themselves. where they are finish. The national chain seems such a swallower, such a power and a crusher. Its influence goes so far, extends .so far, has so many rami- fications, seemingly knows so much and has so much, that the indepen- dent exhibitor nowadays is tickled to death if left alone, leaving alone his struggles for pictures and his fear for business, Yet the merging will go on. It’s like a ball, not a balloon. The pic- ture business is no bubble, even if the stick of dynamite it stands on is }called Hollywood. Who will or can say that of the national chains in operation at pres- | ent not one is not working somehow j}and under cover with the other? | Which leaves the independent in worse danger, for if he doesn't go with the one he doesn't like he may | land with an affiliated chain, The same may almost be said of the producers or distributors, at least the leaders of each. Perhaps not over-working intogether with another but still with “affiliations” or “connections.” Against the Future of the largest of the local chains have gone in with national circuits. They did not do so hastily, and few got any amount of money that would have proven the in- ducement by itself. They merely tried to forestall the future, to get the price they got while the getting was there. The picture industry is a mam- moth business. That tells every- ; thing or it should For nothing can make the merg- | cease merging. They must; they have gone so far with it—they must go on and on, taking on more |theatres even though they don't | ope rate them themselves. In Smaller Towns As some of the large chains have { | ' | or Some Crs found in the smaller towns—that it is advisable to permit the local man to run his own houses, for local reasons. But the chains want those , they are a supply outlet, no | matter what they pay for service jand no matter if the little town houses State | idvertising vu will rgest T) i from as But ese very same squawkers r pu nnouncem ntinue to ha plans \ ntinue to Ire sites, continue to ild and ‘ ir to m intil one must believe that they e the future— is they Service And without any of this thus far contemplating Service—that serv- fee for pictures that is so absolutely required, regardiess of what any one may say of sta attractions In th Pp il hous The bigger tl chain the wider | tie ups on service, of all services that chain wants If not this sea- | { contracts out- season son through local standing, then next And Service equally counts Skourases Selling Theatre Buildings for $8,000,000 Louis, Dec, 31. Spyros Skouras, president of the Skouras Brothers’ Enterprises, pro- prietors the Ambassador, Mis- souri, Grand Central, Capitol and the largest neighborhood picture theatres in St. Louis, who returned to St. Louis from New York the other day, was preceded by the news that while he was in New York City he virtually closed negotiations with picture interests there which con- trol the Missouri Theatre Building St. of | here for an option on the building. It is believed here that the option is the first step in negotiations which are expected to result in the sale of the Skouras real estate hold- ings, which include the Grand Cen- tral Theatre Building and the Am- bassador Theatre Building. The 8. W. Straus Company and the Greene- baum Sons Investment Company are understood to have made offers for the three theatre buildings which total in the neighborhood of $8,000,000, In one deal the St. Louis theatre magnates are expected to dispose of their equity in two theatres and the Missouri Theatre building, now owned by the Famous Players (Par- amount-Publix) Missouri Co., for $500,000 in cash and $1,000,000 in debenture bonds. Skouras Brothers, it is understood, intend to dispose of their property holdings, obtain long-term leases on the theatres and whatever other spaces they oc- cupy in the buildings and restrict their operations exclusively to pic- ture theatres. The Missouri Theatre building is said to represent $3,000,000 of the $8,000,000 total involved in the transaction, and the Ambassador Theatre building and the Grand- Central Theatre building the re- maining $5,000,000. S. W. Straus Co. financed the Ambassador Thea- tre building, which is St. Louis’ newest and most elaborate office building as well as theatre building. It is 17 stories high, at the corner of Seventh and Locust streets, in the very heart of downtown St Louis. TWO MIDNIGHT SHOWS Practically all Broadway picture houses except the Roxy, but includ- ing those housing the $2 admission films, gave midnight performances New ‘Year’s Eve and Night, Satur- day and Sunday. The Roxy contented Itself with the regular five holiday perform- ances, ——— Loew’s Park Lane Contracts manager says he paid more after; In the taking over of the Park | the partnership deal than he did lane theatre from Universal and | before Charles O'Reilly Loew will take care Or the big chains, the national of all outstanding film contracts un- circuits. No difference. It then | less other adjustments are made be- becomes an item of great efficiency, | tween the Loew people and the film in buying for screen and stage, in| interests. lepartmental savings, in closer A denial is from a Loew executive operation, that Lo: : tl new Universal And then! | theatre in B } ee That’s the future! | _ With the future seeming to hold a Vision of three great theatre Alabama Opened hains in America; two working Birmingham, De 3! hand in hand under cover to crus} Pu ‘ new 2,600-seater Ala- or bring In the third, and with what | bama, opened here Christmas Mon- may be then left of the independent é New York officials attend- in between. ims Over-theatring, ove seating ! I is playing stage units | over-paying, over-financing high from New Orleans On rentals for theatre hig tals for lays the theatre did films, high salaries f ise a i ote ee Oe

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| emg! ve oa ; ae ' ‘ te . o -~rSeypeenerpeies “eee a eee me — ~ BIG TIME circuit When Keith's and the | ft A Orpheum circuit jointly made a| # purchase of the Percy Williams/| 3 houses in Greater New York for a ps consideration reported $5,000,000, | Keith became the dominant factor of big time in the country, exerting |as it did a large influence on the a Big Time as a term and as a Vaudeville show policy carried a ‘tremendous prestige for many years. ;It was a policy and a term exclu- sively applicable to vaudeville Big Time has been variously de- | secribed. The most common descrip- , tion was that Big Time meant the} performance twice daily of a vaude- | tVville bill. But this became indefi- ;mite, since many vaudeville the- atres played twice daily and none of them could be considered in the i big time class. /daily out of necessity. Others | played two shows nightly at an ad- mission of or less, without a ‘matinee, with none presenting a ~program of acts which could be called big time in calibre. Big Time, therefore, was, and is, @ vaudeville theatre playing daily ‘matinee-night performances only of istandard acts at an admission scale top beyond that of the usual pop ‘vaudeville house, with the big time ?theatre selling reserved seats, ' The minimum admission at a big ‘time house, as a rule, has been $1 ‘with a maximum admission, in the /usual course, $2, and in the excep- ‘tional course $3.30, as at the Keith- ‘Albee Palace, New York, for the }boxes on Sunday nights and the ‘eurrent low admission of week-days, 175 cents, at the Keith-Albee River- iBide, Broadway and 96th St., N. Y. ' Two-a-day vaudeville was first ‘and generally adopted as a vaude- ville policy by B. F. Keith, an evo- lution of Keith’s continuous per- formance policy. That Keith con- tinuous performance had been in- fugurated many years prior to the continuous performance later taken on by the picture house. Other per- formances given twice daily and for long years back have been by the burlesque shows and dramatic ‘or musical stock companies. Neither one, however, has ever been alluded to as big time in their class or - otherwise. Big Time struck a popular chord in the limited clientele of the vaude- ville theatre. The hit was the re- served seats. A continuous per- ‘formance doing considerable busi- ‘mess repels a certain percentage of those theatregoers who will not take a chance in obtaining an unre- ‘served seat in the rush of the mob, or stand in line inside or outsidé a theatre to await an opportunity to get in. 50ec. Williams Circuit While B. F. Keith was erecting his big time vaudeville theatres ithroughout the country, with but ‘one house in New York and none in Brooklyn, a Brooklyn outdoor @musement manager, Perey G. Williams, dotted Greater New York with vaudeville theatres. Within a comparatively short time Percy Williams and his showmanly in- stinct, plus the superior booking as- gistance of William Morris, a vaudeville house booker of inde- pendent standing, did more to ex- ‘ploit and promote big time vaude- ‘ville into local and national prom- ‘inence than had ever been done be- ifore, or since, the Percy G. Williams ‘days. The Williams houses in New York and Brooklyn, under the booking guidance of Morris, persuaded the best known stars in legit and music hall favorites of Europe to appear }for what were in those days fabu- slous salaries. These salaries and ‘the Morris-Williams showmanship ‘gave new impetus to big time ‘vaudeville. They packed the Wil- liams theatres, starting at the Co- ‘lonial, New York, and playing suc- tcessively in his houses, of which there were five or more in the bridge-joined boroughs. The Williams circuit, virtually In ‘one city, became the big time leader of America, only rivaled in the world by the Oswald Stoll circuit of England, the English circuit the- atres being called music halls. The Williams circuit, with its leadership and its liberality in sal- ary paying, besides the expert beok- ing direction by Morris, became a menace to Keith vaudeville of the east and also was costly through increasing salaries for the Orpheum circuit, the only other big time cir- euit of the day then and now op- erating a chain of twice daily houses from Chicago to the Coast. Through bocking affiliation, it was understood that the Orpheum cir- cuit would not encroach upon Keith's big time territory in the eust, nor would Keith’s invade Or- p! mi S domain in the west. Mert le, other cities in the | E It time vaudeville the- aires dependently owned but | Be t} izh the Keit} Some played twice | Orpheum circuit and its booking Big Time Peak peak. The vaudeville fan was lim- ited and had to be held. | the legit were mainly engaged the new patronage they might at- tract, rather than to offer the regu- lar attendance a higher greater entertainment. Attached to big time were are known as “standard acts.” A standard vaudeville act is an act capable of playing in any vaudeville house and with its salary fixed ata certain amount. When an act had played the big time and had its salary set, it was accepted and thereafter known as a standard act. The prestige of big time reflected itself on these stand- ard acts. It became a matter vanity with the acts to play time only, whether East or West— meaning Keith or Orpheum. An act could then play a full season of big time on the Keith circuit and the next season play the Orpheum circuit, alternating in that way and not becoming any too familiar even if it did not change its stage ma- terial. This vanity and desire to play the big time worked great hardships upon the small time circuits, then coming along and which would have paid the standard acts salary here and there or even a little more if able to secure a certain act as a feature. All vaudeville not known as “big time” was called “small time.” Opposition Brought Business The records will prove, and many of the Keith-Albee officials will admit, that the best business ever done in the box offices of the Keith-Albee theatres, other than during the war period, was when- ever that circuit had opposition. Small time was not considered op- position to big time. -Big time would go along for years without opposition. Its prestige at- tracted showmen from other divi- sions. The first real opposition the big time encountered was that headed by Klaw and Erlanger. A group of legitimate theatre man- agers with theatres at their dis- posal, decided they would try big time vaudeville. Whether the K. & E. vaudeville was a semi-specula- tive movement has always been open to question. Had it succeeded to the extent its sensational start indicated, it no doubt would either have become a staple venture or would have been bought out by Keith and Orpheum at. a large fig- ure. The K,. & E. vaudeville pace tapered off, however, and rapidly, with the finish being that the K. & E. group accepted $250,000 from Keith and Orpheum under an agree- ment to retire from the vaudeville field and keep out of it for the next 10 years. Morris Circuit No further opposition arose until the same William Morris of the Williams circuit decided to oppose Keith with a circuit of his own. All the former Morris-booked vaude- ville theatres of any importance had been taken away from his office by Keith through Morris having re- fused to place any manager he booked under a written contract. William Morris, as peculiar as it sounds, still conducts his present extensive booking agency in much the same way. His word is 100 per cent and although in the show busi- ness and vaudeville, he still thinks every one else's word is that good too. Morris, through the very virtue of his showmanly leadership, must have succeeded and only went broke through a sad calamity. His per- sonal friend, counsel and financier, George M. Leventritt, died suddenly in the midst of Morris’ struggles. There was no one to replace him. Leaventritt had assumed full direc- tion of the financing and his death threads, It resulted in being obliged to abandon what would unquestionably | been the only successful opposition to big time. And William Morris did not and would not have sold out up the Morris Morris was not a speculator, but a showman only, and despite that he did not have the Big time in that period was at its Stars from for price or what of big came so quickly no one could pick have to Keith or Orpheum at any price. persevered GEORGE ROTSKY Manager, Palace Theatre, Montreal Extends best wishes to all friends and fellow-workers in the profes- sion for the coming year and has warm welcome for any passing through Montreal at any time. Bob Benchley at Palace Robert Benchley, dramatic critic of “Life” and a funny boy hisself, is returning to another monologing stand at the Palace, New York, some time this month. Elsie Janis may be on the same bill. Perhaps Robert will jazz it up with her. Mr. Benchley is not a piano play- er. Harry Jolson’s Wife Writes His Life Story The life of Harry Jolson will be published in the “Saturday Evening Post” as a serial It was written by his wife, Lillian, and is her first literary effort. The story runs in 45,- 000 words on the _ original script. It will carry a Harry Jolson by-line. Al Jolson is Harry’s brother. Though Harry is also a suc- cessful professional, the story by Mrs. Jolson will be from the angle of relatives of a fa- mous star as the Harry Jol- sons have found it. Mrs. Jol- son has appeared on the stage in her husband's acts. \ Vernon Club on Coast Taken by Tucker-Lewis Los Angeles, Dec. 31. Sophie Tucker and Ted Lewis have bought the Vernon Country Club from Jack Doyle, fight pro- moter, and will have Richard Tuck- er, picture actor, in charge of the establishment. The Tucker and Lewis names are not identified with the place at present, but it is understood that both performers expect to take ac- tive charge next summer. The Vernon site has been out of the running as a night resort for the past three years. support ef the vaudeville actor. While the vaudeville actor esteemed Morris highly as a booker and per- sonally, they failed to get behind him in his opposition movement and thereby lost the greatest opportunity those actors ever had for their bet- terment. That they suffered for it, and how, in their later dealings with big time as mainly represented by Keith, they alone can tell the best. Shuberts’ Effort The third and final opposition to big time and again aimed princi- pally against Keith was that insti- tuted by Lee Shubert, called Shu- bert Vaudeville. Lee Shubert had been part of the K. & E. Advanced Vaudeville group. With the expira- tion of the 10-year period those members were free to invade vaude- ville and Lee Shubert thought he would speculate, His brother, Jake, refused to have any part of it, in promotion, financing or direction, altho Jake knew more about vaude- ville than Lee has ever found out. Lee’s idea was that he would be able to sell out Shubert vaudeville to Keith for $2,000,000. At the very least, $1,000,000. This is according to a statement made by Jake who doubted ‘his brother’s judgment in the matter and which was the rea- son for Jake’s refusal to partici- pate in any way in Shubert vaude- ville, Lee financed his vaudeville through subscriptions from business associates and also “investments” from many of the accessory dealers doing business through the Shu- berts’ legitimate offices in supplies for Shubert productions and the- atres. While Shubert vaudeville did lose a large amount of money it has never been believed that one cent of that loss came out of Lee’s own pocket. From reports not one of the donators, or subscribers, or investors in Shubert vaudeville ever recovered a dollar. Shubert vaudeville went through two seasons. One season as a straight big time vaudeville policy and the second season as a unit show proposition. The latter policy was a mixed burlesque and variety program mainly produced by bur- lesque men. In the wake of the Shubert vaudeville flop were pro- ducers who went broke, some into bankruptcy and some into their graves, and it also left hundreds of aggrieved actors. Vaudeville actors who had played Shubert vaudeville, and wished to return to the Keith or Orpheum houses, were first obliged by the Keith office to print advertisements in Variety stating their experiences while with Shubert vaudeville. These advertisements greatly in- censed Lee Shubert and led to the break between Variety and the Shuberts, when Variety was barred out of the Shubert theatres because of its refusal to reject those adver- tisements at the request of Lee Shubert. chief, to the effect that if Variety would stop printing the actor's ad- vertisements and notify him each time it refused that he, Lee, would Lee Shubert then sent word to Va- | riety through his former vaudeville | pay Variety the cost of each ad. This Variety also rejected. Shortly after, as the advertisements contin- ued to be printed, Lee ordered Va- riety barred from all Shubert offices and theatres. Contented Big Time In between these periods of op- position and other than the war days, when all show business was at its flood, big time could see its business droop under the grosses of the opposition era. But big time never took steps to remedy that situation. Although knowing that opposition had kept its forces on its toes, giving its houses the best enter- taining bills they had ever had and interjecting ginger into all of its staffs, which all resulted in better and bigger business, big time, Keith and Orpheum, nevertheless, failed to provide in peace times their own under cover opposition. Had they erected a secondary line of big time houses under their own control, even though that could not be kept thoroughly secret, the opposition spirit would again have been ram- pant and big time would have con- tinued running on high. Picture House Rush That big time neglected to recog- nize the on-rush of picture houses, with their slowly developing stage shows on top of pictures in big eapacity houses at a relatively small admission, was another fatal step leading toward big time’s de- cline. Not only would big time's biggest executives refuse to accept that picture house business meant any more than possible opposition to small time, but one of the big- gest men in big time direction re- peatedly uttered the stupid com- ment to the effect that the present picture business is but a passing fancy with the public. So, today, vaudeville sees what is left of big time from two solid seasons of consecutive bookings to less than 10 wholly big time thea- tres in the United States and Canada. And but three of these houses are east of Chicago, with the chances that but one will be playing big time before the end of this season, that house being the Keith-Albee Palace, New York. While big time may pass out, as it almost has as entertainment, the expression goes on and will prob- ably be incorporated sooner or later in the dictionaries. “Big Time,” as a definition, or expression, is now employed to distinguish the unusual or uncommon in many ways. It is applied to sports and is slangingly used to refer to almost anything indicating something a bit superior. As an expression, “big time” was coined by Variety years ago to dif- ferentiate the two branches of the vaudeville business. Simultaneously with “big time” Variety also coined the small time expression to denote the other branch of vaudeville. sig time has had a career. It has made millions for the Keith and Orpheum circuits and their stockholders. Although on the slide now, the fault is not with big time, but has been with its di- rectors Sime. Wednesday, January 4, 1928 Child Labor Angle A plan to dodge the child labor laws in New York concerns either the Vitaphone or Movietone A theatrical producer, distinguished for his developing of young talent, plans to utilize the movie talkers for the exhibition of his juvenile artists. It is believed this will circum. vent the public performance st: which prohibits minors. Elinor Glyn Asking $7,500, with No Takers Fixing her weekly stipend at $7,500, following a recent engagee- ment at Loew’s State, New York, Elinor Glyn is patiently waiting for word from her agents, Yates, Tish- man & O'Neill of the acceptance of some bookings at that figure. So far none of the vaude bookers have shown any willingness to place her at that amount. When at the State Miss Glyn ree ceived $2,500. Pan’s Cops for $2,000 Los Angeles, Dec. 31. Tom Gurdane, police chief of Pendleton, Ore.,and Buck Lieuellan, state highway officer, who captured William E. Hickman, slayer of Mae rion Parker, open Jan, 2 for Pane tages here at $2,000. There is a possibility the gene darmes will also play San Frane cisco. William Rowland, of the Lyons and Lyons agency, accomplished the. booking. LEONARD DOUBLING An Earl Lindsay revue opens at Harold Leonard’s Club Jan. 17, Ethel Norris continues at the Leon- ard, and the Leonard orchestra con- tinues doubling into K-A vaude- ville. ADELYN BUSHNELL’S SKETCH Adelyn Bushnell, of stock, is to make her first try at vaude under tute the direction of Albert Lewis in “The Chain.” Miss Bushnell authored the skit and will have a cast of two. “PEACHES” IN N. Y. “Peaches” Browning is finally te appear in a New York theatre. The blonde 1s opening at Fox’s Academy on 14th street, Jan. 9. Following she ap»ears at Ridgewood, Brooklyn. STALEYS’ THEATRE Rochester, N. Y., Dec. 31. The new Monroe is open. It seats 1,200 and represents the dream of an old-time vaudeville team, the Musical Blacksmiths, Caff and Will- iam Staley. SOPHIE TUCKER WITH LOEW’S Sophie Tucker opens at Loew’s Fox's Metropolitan, Brooklyn, N. Y¥,, Jan. 9. The Loew route was arranged through Johnny Hyde of the Wil- liam Morris Agency. RUTH ELDER ON COAST At her vaude salary of $4,000 Ruth Elder, the flier, will play the Pantages coast theatres at San Francisco and Los Angeles, opening at the former Jan. 25. Dorothy Berke’s New Partner Boris Petroff, Publix unit pro- ducer, who was to have gone out with his wife, Dorothy Berke, in a Publix unit, “Cuba,” will confine himself to production solely, con- sidering the new Publix-Loew combination. Miss Berke’s new dance partner is Mario Naldi. Soriero in Rochester Rochester, N. Y., Dec. 31. Thomas D. Soriero of New York is manager of the Fenyvessys’ new Rochester theatre. He succeeds Charles H. Goulding. profitable | = ———— OK —_—_— 5 ~ > 2 Z ° William Morris S > : CALL BOARD z : : a z ; . Want Grand Guignol 3 = Sketches in English = E E GNEW YORK, 1560 BROADWAY © + gy et )

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gy me Wednesday, January 4, 1928 a YEAR IN VAUDEVILLE VARIETY Vaudeville is generally accepted fhroughout the country as shot. That vaudeville intended is the former and what is left of the big time vaudeville. Other vaudeville remains. The vaudeville of today as re- ferred to in common and generally, means vaudeville acts, more fluent than ever. There are no lines of limitations to vaudeville now. It is in what @re known as vaudeville houses; it’s in musical and comedy productions; it’s even in a dramatic piece here and there, and more so than all the others combined, it’s in the picture houses. Where there were in the former times one vaudeville theatre play- ing acts, there are now six picture houses playing acts. Some are play- ing the same acts that appeared in the vaudeville houses. But picture houses are playing many acts that have never yet played in vaude- ville theatres. What's an Act? Any person or persons doing a @pecialty upon a stage is or are a turn or an act. A performer of vaudeville, a term rightfully de- acriptive, but gone into disuse over here. The performer, man or wom- an, specialized in the turn he or she did upon the stage of greater or lesser versatility and more often a specialty of a single line. So the performance is now a specialty. By aping, copying and infringing, the area of the act has become widely extended. Any steps now constitute a dancer; any mugger is accepted as a comic, and any per- gon with nerve is still called a nut. If all were ground up together and the real performer extracted from the mass, the mass would develop @ real performer in every 20. This all contributed to the de- cline of vaudeville; big time vaude- ville that decided it could make money back stage by cutting sal- aries of the actors and engaging the apes of the show business for cheaper salary, thereby encourag- ing the material and act thief, or following one style of stage work. That's the vaudeville of the com- mon knowledge kind as is today, the meager number of two-a-day vaudeville houses remaining and others playing the pop style vaude- ville, inaugurated over here by the Loew Circuit, which still continues it as a part of its large variety chain, and since followed in the pop policy by the former big time cir- cuits—Keith’s and Orpheum houses. In a Fix primarily vaudeville cir- cuits and disdaining pictures for years, Keith’s and the Orpheum, when finding themselves confronted with the necessity of adding on pic- tures, also discovered that through that very disdain in years past, they had no one who knew any- thing about pictures nor did they have any source to apply to not already taken over for a reliable supply of weekly program pictures. Besides which, limited in theatre capacities, they found themselves in the complex position that they have been desparately striving to ex- tricate themselves from ever since. In this effort they again found the picture house superior to them, in the matter of bidding for attrac- tions, through the picture people having several large capacity the- a@tres for every one the vaude- ville people operated. It left the Keith and Orpheum circuits short on two ends and the only ends where the box office could depend upon, pictures and vaudeville. Where the vaudeville bookers s0ught to save $50 on a $300 turn or place the limit of $3,500 on any act, the picture houses raised the Balary of the $300 turn to $400 and paid $6,000 for the act the vaude- ville houses wouldn't give over $3,500. Then the Being vaudeville top admis- sion was maintained, according to their precepts, at $1.25 or more up to $3.30 for the vaudeville the peo- ple didn’t materially care to want at those prices, as against the pic- ture house mixed entertainment the masses did want at 60c., 75e., Or, at the very most, 99c. top. There was no comparison in ment or price. 14 vs. W were one differen have reacted in favor vaudeville houses it was the periormance-a-day theatre shows 50c., If there could e that twice- or the the theatres fell away, with those same tre B as entertain- | of the | 14} | & week, as against the 30} pertormances weekly in the picture | twice-daily | theatres r¥verftiiiz t© three or more shows daily, amounting to 23 per- | formances a week; that left but little choice between the 30 of the | film palaces or the 23 of the vaude- ville houses. With again the liberality of the | picture house in believing it should the pay value, contrasted with vaudeville theatre which wanted the act formerly playing 14 shows a week to play 23 at the same salary. The two-a-day act was asked to play ?° shows a week and also often asked to accept a cut in salary by the vaudeville bookers on the plea | that it was difficult for the three- a-day vaudeville house to make a profit. This led the act to conclude it had better go where it could get the most money, because if it had to be shut in all day it might as well be shut in the theatre that paid the most. Cut Salary The big time found that its sweet dressing rooms had no appeal, nor were they any lure for the actor who had to play and dress in them at a’ cut salary. And he found that the dressing rooms, as well as the backstage conditions of the picture theatre were just as pleasant, even if not more so, without house and stage manager telling him how and what to do and without having to waste Monday morning reading the signs on the walls. This condition had been slowly working itself about for nearly three years. It was not new to 1927. This year, however, the condition has reached its apex in the greatest low number of two-a-day vaudeville houses since B. F. Keith founded vaudeville around 1885, and since E. F. Albee joined the late Mr. Keith as his general manager some years after that date. K-A Dominance The real event in vaudeville this year but lately occurred. It’s the merger of the Orpheum Circuit into the Keith-Albee Circuit. For that is the kind of mergee it is. The K-A Circuit will take over the dominance of the entire chain, leav- ing the former Orpheum executives, if any are eventually left, in a very secondary position. While there has been a merger of the two oldest variety circuits of the country, showmen say they fail to see where there will be any im- provement of efficiency in operation. The K-A-Orpheum combination is without a theatre operator. It never had but one theatre operator, J. J. Murdock. Murdock’s also president of the Pathe pictures. That is another K-A merger in the picture field, and, so far, of meagre consequence as a feature film pro- ducer. Murdock’s attention as called for in the development of the picture combination cannot be given to the operation of the combined vaudeville houses. He has operated Keith vaudeville theatres for years. Murdock may engineer the theatri- cal manipulations of the K-A-Or- pheum juncture until the joint chain is finally set, but he cannot operate the theatres, or if he does, Murdock will find it necessary to abandon the picture post. Orpheum’s Handicaps The Orpheum Circuit since Mar- cus Heiman became its president has run without a theatre operator. That was self evident from the manner in which the circuit ran. The Orpheum Circuit since the days of Martin Beck as _ its president, when Beck refused to be- lieve that there was an opposition to it and including the days of the Heiman reign, has never whipped a competitor. It has been hurt by every opposition that arose against it, from the Pantages vaudeville that built itself up upon the misdi- rection of the Orpheum the picture house chains which have licked the Orpheum Circuit without | even giving the Orpheum a thought. It is even said that a picture house | chain when offered the operation of | the Orpheum Circuit here or there} in a pooling arrangement, turned the proposal down on the theory that as the Orpheum was whipping itself, why should they stop it? Non-help Merger Keith-Albee with the merged Orpheum still finds itself in the same position, although now oper- ating from coast to coast It is ,;merely merging without helping, and it cannot help itself until se- | curing a general theatre operator for its entire circuit who can oper- ate, and operate against the oppo- | sition, ture handicap A growing end favorable impres- == ——S————————— =——_= L. WOLFE GILBERT Extends sincere holiday greetings and takes this opportunity of ex- pressing appreciation to the boys and girls of Leo Feist, Inc., and the members of the profession for their splendid co-operation. sion through the Keith-Orpheum merger is that the day of the ter- rible “Association” in Chicago is doomed. That “Association,” with {ts cruel and wicked salary cutter, Sam Kahl, has done even more harm to the good and welfare of vaudeville as a whole than the ma- lignant “black HMst” of the Keith office. And with the merger and perhaps a new era in the Keith vaudeville career that E. F. Albee wants to perpetuate as a memory to himself and its founder in the newly hypen- ated Keith-Albee, there could be no better start at the present mo- ment than for Keith-Albee to abol- ish its entire “black list” from be- ginning to end and to start new, clear, fair and even with the actor; to make that known, and if there is to be another “black list” in vaude- ville, let it be erected upon newer and more justifiable grounds than existed for the petty “black list” K-A has kept on file, ever increas- ing in its numbers and ever de- creasing their business for years. The Orpheum Circuit The passing of the Orpheum Cir- cuit isa momentous event. It started from a beer garden in San Fran- cisco and ended in the de luxe vaudeville Palace of the west in Chicago, taking in 30 or more west- ern: and southern towns mean- while. For many years Martin Beck was its guide, surrounded for the most part by a lot of conservative stockholders who hampered Beck even more than Beck knew. Beck had vision. The Palace, New York, now operated by Keith- Albee, is one of the results of that vision. But that house and the east were lost to the Orpheum by the pressure of Beck’s associates finally prevailing upon him. The Palace went to Keith’s and the Or- pheum Circuit remained west of Chicago, but etill with a booking affiliation with Keith's, and that has continued up to the present time. The history of the Orpheum Cir- cuit is interesting, perhaps more s0 than any vaudeville circuit of this country. In its decline, that it was taken in by Keith-Albee is looked upon as a fortunate circumstance for the Orpheum’s stockholders. Under its misguided management Circuit, to | stocks, even with the seating pic-! vive by the Heiman coterie, such real showmen as the Orpheum possesses seemed to be secreted, placed in the inconspicuous positions given the important posts That the merger has exchanged share for share, with Or- pheum, and the merged stock re- ported to be first marketed at 25, may be the summing up. When Martin Beck and the Or- pheum stockholders agreed to a capitalization of the Orpheum Cir- | cuit some years age, the under- writing price for Orpheum stock at that time was 32 The Or- pheum’s quotation for several months past on the stock market was around 26 he under- writing price for Loew stock, also no par value, was 28. Loew's stock of recent months has been quoted! around 60. In 1928 vaudeville as represented by the merged of Keith- Albee and Orpheum will either sur- vive by itself or more through going larger and rmore extensive merger, having & picture chain connection, and per- circuits into a with | | such executives as Heiman favored likely sur- | | years and no matter what happens A Show of Wise Cracks Jack McGowan, the legit juvenile, who has written “Excess Baggage,” dealing with small time backstage comedy, is being importuned to give a midnight perform- ance of the comedy at the Ritz for the professionals in town The piece will be a roar for the wise crowd Here's a sample: Small time hick show-off is doing pompous tempera- ment among other performers on Dill. Disgruntled tenor of male quartet (addressing single)— “Say, you remind me of some- body.” Single—‘Yeh?” Tenor—“Yeh. It’s Jack Os- terman.” Single — “Osterman? Never heard of him.” At another time the small timers are talking about dif- ficulty of getting big money on thé two-a-day. It’s not so easy to get your figure,” remarks a performer. “You know the big time pays a large staff to do nothing but cut salaries.” Eddie Kane Back, Well Eddie Kane, at Saranac Lake, N. Y., for some time, is in New York and will shortly return :to the stage. He may become a master of ceremonies in the picture houses. When sent to Saranac doctors had given Kane up. He also be- lieved himself licked, but decided to follow rules and beat it. Back in town Kane is robust and looks himself again. NO. 2 ACT HOLDS OVER Unique First Time at Palace The- atre at New York City Wilton and Weber are holding over this week at the Keith-Albee Palace, New York. Last week on their debut in the big timer the men appeared No. 2 on the bill. That meant they did their act twice daily while the house was filling up. They remained in the position throughout the week. In being held over as a No. 2 act they have created a record for that theatre and probably for all of big time—when it was. This week the comedy turn is in the No. 4 spot, the choice place- ment for a hold over. Divorces Jap Husband But Retains Baby Son Spencer, Ia, Dec. 31. Mrs. Mimi Youde Wurlu, local girl, was granted a divorce in dis- trict court here from her Japanese husband, Yasuri Wuriu. She is here following the completion of a tour of the Orpheum circuit. The decree, granted by Judge F. C. Davidson, gives her the custody of her son, Thomas Samuel Wuriu. The petition stated that they were married in New York in 1922 and separated in London, England, in 1925. The charge was that her hus- band struck and threatened her and later deserted. - ee Moss and Frye at $1,000 Moss and Frye, long a standard Keith-Albee vaude turn, have ac- cepted a contract to play 24 weeks of picture house time for West Coast Theatres, opening Jan. 13. Moss and Frye are colored enter- tainers who have stuck to vaude and run their salary up to $1,000, which Fox paid for several weeks of N. Y. independent booking. They were at the Academy of Music last week. FIRST LADY SEES VAUDE Washington, Dec. 31. For the first time in many months the Presidential box at local Keith's (K-A vaude) was occupied. Wednes- day afternoon Mrs. Coolidge attended. During the and her on, John the late President was a regular fan, | occupying this box every week haps another salvation for ide ville, In any event, that same vaude ville, with the start of over 5 or ing where it to brag lands, wi hay noth about | surmise was a complete flop; Wilson administration | 17 FREEMAN WANTS TO TRADE XMAS GIFTS Times Square’s Best Hand- shaker as Alleviator for Dis- appointed Present Getters Freeman best “what have you In this “Hey, there,” bawled Bernstein, Times Square's handshaker, bundle?” ‘Tll bet you are taking your Christmas presents to Simpson’s to hock 'em,” said Freeman. “I have this corner for three hours and you're the 16th guy been standing on doing the same thing.” Mr. Bernstein was advised his that suspected held otherwise the presents package he held known as booze. “Well, that’s better,” said Free- man, “for I couldn't see anyway why anyone should slip you any- thing. But standing here gave me an idea, and if you know a backer, one of those chumps who gives shows away or wants to do a girla favor, you're in. Freeman's Experience “In my experience of taking ‘em without partiality and regardless of the amount, I have discovered that 11 out of every 15 gift getters are displeased with their present | in this happy Yuletime misery. Therefore, says I to Freeman, “Why - ain't you got yourself some easy dough trading them presents” “See?,” said Mr. Bernstein. “Ain't that a corking scheme? We could open up a place like those auction joints and trade presents. . “Don’t ask me about details, I've worked it all out in my head. Let ‘em all come in the joint, show their present and I will ask the mob in . front who wants it and what they have to trade for it? a “Where we come in is that our shills will exchange phonies for the good stuff, for we best lot of junk you can look at without going blind. Taking no chance because it’s none of our poison, stuff. We're only a broker for the | i Ain't that the nuts? © See? The Catch “It's got just one catch and I can’t unreel that. It’s when neigh- bors or relatives meet in the joint or when one person might recog- nize the present he gave another. But we don’t have to worry over that before it happens, and we'll fit up a nice squawking room where those that run into each other may talk it over. “Our rake ought to be pretty good, kid, because we won't let any- one trade anything costing under $50. Every night we can get rid of the stuff we hold out, selling to dealers or privately and our pri- vate sales could be behind the shutters after dark. Year-Round Racket “This racket is good all the year round because some people the longer they see the presents the more tired they grow of them. We could advertise out of town, too, and I'll bet the rush will swamp us. “And think what the poke privi- lege is worth in a joint like that, crowded to the doors with every- one feeling if their wallet is safe. We won't even have to hire lo- caters. “I tested this gag, bozo, and it’s over. Just a little dough to start, and with a flash joint with the phonies all ready and the shills re- hearsed, it's a mop. parties. “The test was going from house to house on three different blocks and inquiring mostly from women: “*‘Were you satisfied with your Christmas presents, and if not, what have you to get rid of? “Bo, I was paralyzed by the lanswers. One woman showed me @ two-diamond bar pin and asked if I knew where she could trade it 'for one with four. I told her I i knew the spot and would be back | the next morning It was that soft, “So if you flop on tl in for the joint Im going it for I have a lready picked “And say, bo, some of the flats in the Square are the berries. Them 3; want to trade for money and blame them. I promise nie Ain't that a racket You an put kid. and ain't down a bet nm rei Loan me a ye bottle of that booze, inspira- mt to spiel orest Mins ashen eo pramernend pawn will have the ee YY. eB PRIME To QUE > sue Siig tips. mayeres ts ers et nae ie “ see : - pay Peng eR? Sp % wre a Sprains Fas = =

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Five miles out from Atlanta’s ‘ Mve Points” as the deputy marshal if jes, set grimly behind a wide “ wn, stands Atlanta Penitentary, | ; retching out its long white wings | ‘om a central portico like some | uge bird crouching for its prey. } This home of the erring was built | bout 1898 but since has had many rehitectural additions and im- rovements intended, first, to ac- ymmmodate S. R. O. conditions, and, tcond, for greater sanitary bene- ‘s. *. j|Along about 1910 the structure | as hospice for fewer than 1,000 de- nmquents; in the spring of 1$27 yer 3,400 men packed the place to se semblance of a 6:30 Bronx ex- ress. Atlanta has a curiously undulat- ‘g population over the year. Up to ane 1, when it receives the last .? ' the teeming cargoes of the courts winter solstice), its registration ‘ows steadily to the above-noted ih-water mark; after June 1 ost of the criminal courts closed), e population steadily diminishes, rough discharge or parole, until pout August 30 the low-water mark is reached and you find per- ps only 3,000 enjoying the equiv- 1 delights of federal hospitality. : although the human tide at

lanta shows these annual gains recessions, the population is dily mounting, and one of these tys fresh cell-blocks will have to » built. ‘Atlanta is architectured Hke unto prodigious dragon fly or aeroplane, he far-streaching wings in front ‘ec A and B cell-blocks; 25 feet thind them, running parallel, are 70 equipollent wings called C and In D are kept the colored in- } jates, whence, at nightfall, when > | » one need bother either walking “= running to the nearest exit, issue ,eird, strident noises of banjo, ‘sulele and guitar or the squeaky rieks of asthmatic cornets, punc- ated with lusty Senegambian ices raised in spirituals or the test jazz tunes from Broadway. ‘ais Niagara of harmony applies to 1 the “blocks.” The “music hour” | Atlanta runs from the 4 p. m. i pneral lock-up until 7 p. m. Any 4 FR tT ) und of sackbut or timbrel there- ter connotes the “hole.” Even y has its Hmits. Pleasant Wings There is a dormitory arrangement each of the four cell-blocks that | ‘akes an agreeable change from ’ |, life. One wing has two-man Psi lis, almost exactly resembling _ P ose in the Tombs; the others have “ibicles about 10 by 20 feet in area hich, on occasion, can accommo- ite eight inmates. But the base- ent of each cell-block has a dor- itory, entirely open from end to id, with cots on the farther sides J i rung two feet apart, in vast re- » vective rows of about 40 bunks; in > @ center, back to back, running ;} so the entire length, are alcoves *} Med “stalis,” to which the ordi- ¥ ary dormitarians graduate by a ‘stem of priority. The “stalls” af- © ‘rd a much-envied privacy and »; alet amid the bewildering volubil- les in each “dorm” of nearly 200 ‘ 4 4 et tien. >| lithe “dorm” aggregations are : ‘isoners holding the better jobs, _} ‘erks “up front,” cooks and butch- "| who have to arise at four, i metimes three, a. m. the phone | Witchboard staff and the like. ‘There was, in the old, bad days ' Atlanta, a “dorm” containing Millionaires’ Row.” One of these ‘utocrats was George Remus, an- _, ‘her Mannie Kessler. That was '\ hder Warden Sartain, who is serv- '\Z now a term in his own hoose- > | Sw. But all the “favoritism” non- -) | snse of 1923-24 at Atlanta came to “sharp and doleful end when John *, Snook, the present warden, » |} &me into power in December of ‘% + 1e latter year. Warden Snook a 1 ows but one kind of prisoner— a te kind that behaves himself. \ iSpeaking of Remus recalls a % i }anny story about that strange, * |’ suropathic personality. One fore- s }i oon, during the latter weeks of ’ 4s term at Atlanta, he visited the : tison doctor with a touching story ' *f his stomach on which, he almost larfully deposed, even warm water ‘ouldn’t le. The good medico, i ‘oved near to lachrymosity him- } elf, finally consented to sign an | AT AGAR By STEVE CLOW

' “der that Remus should order from 1 Atlanta druggist some zoolack. | his was about 11 a. m. At 1:30 m. news flashed through the eat whispering gallery that Re- | us had been nailed by a guard ith a sirloin et. ind some fried

| bins

— eges concealed in his biouse A} session in the “hole” afforded ex- | cellent rest to his alimentary tract. | Luxurious Gentlemen Gentlemen of luxurious habit find Atlanta the most trying of affairs. G. of L h. usually sit up late and rise late; eat at some Ritz or other and lead a more or less nympholeptic existence. Arriving at the southern bastile they find that they must hop out of their bunks—or get prodded out—at the 6 or 6:30 gong, and be on hand to join the “line” for breakfast shortly thereafter. At 4 p. m., after a hard day’s la- a term at

ae SET i Pettey VARIETY ote >

bor, they are locked in until the next morning, to amuse themselves as best they may with checkers or dominoes and what camaraderie they can find among counterfeiters, murderers, burglars and hopheads. They get hash, stew, Boston beans , or soup, plus black coffee, for their meals, though they may order each month eome crackers, ehocolate and malted milk as chef d’oeuvres of their after-houre’ refections. Polly never enjoyed a cracker as does an Atlanta magnate sitting on the edge of his iron cot at 9:30 p.m. But just try to offer an At- lanta alumnus a cracker! He'll slay you on the spot. By the time he gets out his marrow is composed of cracker-dust. Atlanta carries a yearly average of 1,000 hop-heads—punks they are locally ealled. These unfortunates see the most unpleasant side of in- (Continued on page 32)

MAY WIRTH World’s Greatest Bquestrienne Star PHIL AND THE WIRTH FAMILY SEASON’S GREETINGS REPRESENTATIVES LESTER WATERS, PAT CASEY —-

INDEPENDENT VAUDEVILLE

Few changes in the tndependent vaudeville situation since last yéar. Prolonged balmy weather played havoc with most spots, near and far. Many houses operating on notes and a jump ahead of mort- gage foreclosures. Despite 250 houses playing inde- pendently booked vaudeville, all booked out of New York, few of the bookers could declare dividends if projected on a stock issue basis. Most have been carrying the ma- jority of the houses on the cuff, with November figured to balance the deficit, but not materializing because of good weather. The cuff arrangement automatic- ally removed some of the newer independents that entered the field last season. Limited bankrolls and inability to stand the gaff on tardy remittances did it. With the pass- ing out of the newcomers the inde- pendent booking field has returned to normal with the “big four” of yesteryear maintaining supremacy and going along as usual. Fally Markus Leader Fally Markus maintains’ su- premacy of the independent booking field, with Jack Linder a close sec- ond. Markus has 110 houses on his books, including one, two and split week stands. Linder has 105 titled by the recent merger arrangement with the Walters-Denish Agency, Boston. A. & B. Dow aiso bettered their last year’s average this season with 28 houses, mostly split weeks. Ar- thur Fisher has counterbalanced early season's drop-outs through merger of former booked houses with Stanley-Fabian. Fisher and other independents have taken plenty of bookings this season out of the Keith-Albee small time de- partment. Arthur Plimmer rejuvenated his |} former spurt by merging with Law- lrence Leon of Philadelphia. Plim- mer is now booking 20 houses, short stands and split weeks. John Rob- has done a notable comeback and holds as many as formerly. John Coutts also is holding his own booking and producing on the side. Uncertain booking conditions of K.-A. have made more standard acts available for fill-in time with inde- pendents than ever before. Most were picked up reasonably as a buy, especially big production acts willing to eut for independents to keep their casts intact for circuit bookings, if they ever came. Presentations At beast 100 of the smaller picture houses have embraced vaudeville within the past year, with the “big four” getting most of the bookings and a few outsiders getting the re- mainder. Houses operating with so-called Presentations are going in for qual- ity rather than quantity playing feature acts of box office magnetism value and paying the price. Bookers who formerly frowned upon the short bill houses are now competing for them. Commission revenue from the one or two big acts booked often overbdalances the sum derived usually from a five-act show. Nothing especially new in house operation among independents save & greater respect for vaudeville among house managers previously rating it a necessary evil. The swing of the big de luxe picture houses of New York has educated the out-of-town managers previ- ously unable to be convinced that films alone will not draw, especially where vaude competition is keen. Bookers are hopeful the coming year will even send more straight picture houses into vaudeville, but this is problematical. However, the independents are forging ahead still optimistic and gaining ground. Nothing new on organization. They don’t seem to want it. Prefer to go along on the prevailing every- man - for - himself arrangement. Early season plans such as period contract bookings and other im- provements also up in smoke with- out a try.

What one wants is poison to the other, That's competition. Bdbda. Wednesday, January 4, 1928

TT a — ENGLAND, 1921

London, Dec. 15. There is an old saying, knock is a boost.” If that be the case, then vaudeville in England has been boosted sky-high, for there is no other entertainment that has received as many knocks as vaudeville. The dailies make it their business to utterly ignore “Every sional epitaph and gloat upon the fact it has long ceased to exist, and the more merciful deplore that what once was a national habit is past. But vaudeville ts far from dead. It received what looked like a knockout blow when the Gulliver Circuit (London Theatres of Vari- eties) disposed of most of its prop- erties to various syndicates. But, in reality, this has made vaudeville neither better nor worse. Most of the Gulliver houses had not been running vaudeville for a consider- able time prior to the sale of their properties, preferring to stage cheap revues, thus making sure of receiv- ing around 60 per cent. of the gross, with a further rakeoff on anything over a stipulated figure. Now, although the entertainments provided by the new lessees are similar, they (Gulliver people) are on a flat rental plus the amount obtained for leasing the properties. The Variety Theatres Controlling Co., also a Gulliver concern, still adheres to revues and vaudeville. Moss Empires came into the dailies some time ago through a statement it made of changing pol- icy, as it found vaudeville was passe and no longer a paying proposition. Despite all the palaver, they are at present without any policy. At one of their suburban houses recently they ran three distinct policies in as many weeks. One week they had a once nightly production, the fol- lowing a twice-nightly revue, while the week after that vaudeville was the bill. The only concern which seems to have a policy is the Stoll circuit. It plays mostly vamdeville, and with no regrets. Seems so inconsistent that al- though the newspapers in general pass over vaudeville, yet, very often, they eulogize over a bit de- tected in a revue or production, claiming it as original and clever. A case in point is a skit in “Bow- Wows,” played by Betty Chester and Dave Burnaby, as a couple of itinerant players outside a public house (saloon). Although acclaimed as novel, it was done in vaudeville for many years by George Mozart. Then again “Shake Your Feet” is only a conglomeration of variety turns, consisting of Dora Maughan, Janette Gilmore, Hoffman Girls, Jack Hylton, Charles Austin, Max Rivers, Ivor Vintor, Louis Holt, Gwen Farrar and Billy Mayerl, with the difference that they are pre- sented a little differently. That is really the crux of the whole matter. What is really wanted is vaudeville—a little differ- ent. There has been too much of the sameness about English vaude- ville in recent years. Musical acts following each other, likewise com- edy acts, while recently a vaudeville bill consisting of three piano acts followed each other in quick rota- tion. Then talking acts opening bills while dumb acts were given a spot. This has all helped vaudeville fT programs to become monotonous. That is why American acts have helped considerably to stimulate vaudeville in England. They have brought along something a little different. American Acts This year has witnessed quite an | indux of American acts, They are: Lew Hearn (return). Con Conrad (R). Ben Blue. William Kent. Lee and Cranston. Ramon and Rosita. Ed Lowry (R). Glenn Ellyn. Eddie Nelson Jack Joyce. Bert Sloan. Estelle Brody. Deslys and Clarke ¢R) Edgar Bergen. Connelly and Wenrich. Roye and Maye (R). Delaune and Revel Dick Robertson. Jack Smith (R). Park Sisters. Yacht Club Boys. Helen Morgan. Danny Dare. Rigoletto Bros (R). Georgie Raft. Hatch and Carpenter (R). Roseray & Capella. Tracey and Hay (@R). Fay Marbe.

vaudeville except to write an occa-| gradually becoming a thing of the” Phil Cook Cook, Mortimer and Harvey Ula Sharon. | Handers and Milliss (R). | Lonie Nace. Helen Trix and Les Copeland | Sully and Thomas, | Tommy Manahan. |} Anna Chandler (R). | Frances Day (R). |; Montana. Hamilton Sisters and Fordyce Haig & Howland. Val and Ernie Stanton (R). Nan Halperin. Barrie Oliver (R). Trahan & Wallace. Kimberley and Page (R). Mary Marlowe. Venita Gould. Harris and Griffin. Allen and Canfield. Ann Suter. Bert Hanlon. Dora Maughan. Monroe Bros. (R). Noble Sissle (Sissle and Blake). 4 Admirals. Nora Bayes (R). Wells and Brady. Ledova. The Revellers (R). Fanny Ward (R). Rarvard, Winifred and Bruce Nazimova. Ethel Davis. Kraft and Lamont. Stewart and Olive (R). Svbil Vane (R). Conlin and Glass. Kouns Sisters (R). Cook and Vernon. Roxy T.a Roeeco (R). Tola Menzel (R). Kelso and Demonde. Newell and Most (R). Alleen Stanley (R). Joe Termini. Miller and Farrell. Teslie Hutchinson. Prof. Thursby. Fdna Thomas (R). Rurns and Burchill. Ruth Drarer (R), Donovan Sisters, Meanor Rinke, Will Oakland. Maureen Enctlin. Frmine and Brice. Pantzér ard Arden. Ressie Clifford (R). Tyee Morse. 2 Fadies (R). Rueker and Perrin. Dndere Sicters (R). Tanette Cilmore), Rvan and Rvan. Tovner and Foster, Crmnirneham and Bennett Ttica Sinrers, Ponsamond Tohnson. Warmonv Kings. elo Rras. Tarechel Flreriere (R). Wawler and Tamara, TMorace Cal4in (R), Pierce and Roslyn (R) Aarald Griffin, Ptleree and Harris. Hal Sherman (R), Puth Howell Duo. Sehaffanelia, Wrieht and Marion. PRuesell TIohne. George Schreck, e Helen O'Shea, Carl Randall, Mildred Melrose. Tanrie and Ravne. Williams and Taylor. Ruscell and Vivian. De Biere (R). Chic FEndor and Paul Reese Tex McLeod. Barry and Holland. Cyril and Virginia D’ath. Art Fowler. Robert Stickney (R). Herb Williams (R). 50 Percent Successful Fifty percent of this number have been decided successes, most of them staying over for a longer period than their original contracts, and with every prospect of returne- ing next year. Twenty percent could come back, provided they changed their material. Of the bal- ance, 10 percent have proved totally unsuited for English vaudeville, al- though good for production. The remaining 20 percent will never see England again excepting ona pleas- ure trip. A good many of the American acts have been making more money than they ever made in America, due to being permitted to dowble in cabarets. Those that accepted a slight cut have been more than compensated in playing two-a-day, six days a week, no big jumps, and plenty of time to play golf. Despite the decline of vaudeville in England, suitable American acts should encounter no difficulty in booking 28 weeks consecutively in England, provided the money is not exorbitant. These comprise 14 with Stoll, six weeks with Gulliver, four with Moss Empires, three with D. J. Clark and one week Victoria Pal- (R). (R). ace. In many instances acts have played three weeks at the latter house. Of the above, 10 weeks can be played in London. That means that if the acts are adaptable for caba- rets they have no difficulty in

Goubling from vaudeville.

os extem puildi ing 8! rectio reduc and | the s'

Page 19

’ Mark Registered

Trad hed Weekly by VARIETY, Inc. sime Silverman, President 364 West 46th Street New York City sUuBS( RIPTION:

-+-$11

: eh coscaee $10 Foreign....- are Copies ececcee seeeeesesess 25 Cents Yol. LXXXIX ee dees) No. 12 —_

15 YEARS AGO (From Variety and “Clipper’’) Dire predictions were made of an tmpending deflation in the over- extended theatre business. Over- puilding had reached a stage, lead- ing showmen said, where some cor- rectional upset in the form of rent reduction had become imperative, and probably would set in during the summer.

Picture producers and exhibitors of New York formed a protective erganization to fight local censor- ship proposal in the Board of Al- dermen. Carl Laemmle was chosen head of the new trade association. George M. Anderson, “Broncho Billy” of the screen, made his first yisit to New York’ since he had be- eome a public character, and at- tracted so much attention on the street and in public places he had to hire a bodyguard. Anderson was then part owner of Essanay produc- ing unit under the Patents Co. franchise system. Screen stars were just beginning to receive street rec- egnition at this time. New Year’s Eve fell on Tuesday and everything was wide open. Theatres generally put a high price of $3 on orchestra seats and blocks were held by the agencies. Demand turned quiet at the last minute and the agencies took large losses, Res- taurants were charging from $3 to $15 a cover. Shanley’s was said to have done $9,000 on the night. Kinemacolor, the first of the nat- tral color film makers to produce feature length subjects, gave the first showing of its views of the building of the Panama Canal. It made a whole evening’s exhibition and was hailed as the forerunner of revolutionary practice in the in- dustry.

Ching Ling Foo, Chinese magi- eian, was playing Vaudeville dates, farmed out by Florenz Ziegfeld, and it was reported the elaborate Orien- tal act would be placed with “The Follies” later. } / Weber and Fields concluded to quit their new Music Hall (now 44th Street theatre) to tour, leav- ing the house open for musical pro- auctions. 40 YEARS AGO (From “Clipper’)

The theatre scored a victory @gainst reformers when Magistrate Duffy in Jefferson Market Court dismissed managers of Eden Musee, Koster & Bial’s and other amuse- ment places, arrested for Sunday performances, The court said he eouldn’t see any difference between paying a quarter for an entertain- ment and dropping a coin in a ¢ol- lection plate.

Thereupon the reformers went after all the dime museums in the city for Sunday violations, half a dozen being raided on the Bowery alone.

The city was locked in a bitter eold wave. (It was in the following March that the famous blizzard of 1888 happened.) Tobogganing was ® popular sport, chutes having been built in the Polo Grounds and the field of the Brooklyn Athletic Asso- eiation,

A new bicycle was introduced having the small wheel in front and the high wheel (53 inches) behind. It also used a crank and lever drive instead of the old simple crank.

Whippet racing was not prac- ticed, but the game of racing fox terriers was being introduced. Th¢« Fox Terrier Coursing Association held a meet at what is now thé Meadowbrook Hunt Club, at West- bury, L, L, using live rabbits quarry. The “Clipper” number of cock and dog fights, VARIETY -VARIETY’S 22nd YEAR Nothing tse so startling as Time—looking back. In the 22 years so far of Variety is contained an unparalleled record | of the show business; of one branch of it coming up within that period and nearly smothering the entire remainder. Seemingly the condition is world-wide. Call the condition by am name you please, it still spells Pictures, Twenty-two years ago the legitimate stage was the cock-o’-the'walk, the high hat of the show business. It then was the drama, with every- thing easily classed as Variety—hence the title of this paper as given to it 22 years ago.

Still the drama of the speaking stage is now fighting against the drama of the screen with the screen selling its visualized stupendous scenes for 99c. Whilst the drama of the stage in 22 years has advanced from $2 to $3.85, and with no better drama, It looks a forlorn fight for the stage piece away from the largest cities, not only from the competi- tion of the screen, but from the radio and the auto and installments; from the effects of seeing, reading or hearing of a big show in a picture house for one-quarter or one-sixth of what the spoken stage piece may charge. For on the road where the stage has been hit the hardest, the picture house top is seldom more than 50c to 60c, And all other show business has suffered during the uprise of the pic- ture. Vaudeville has been submerged into vaudfilm; burlesque is much like it was 22 years ago, now of the established kind and trying to get its head again, while the outdoor show business, at one time apparently safe in doing its gypsy-like hideaway through fixing, now being fought by the picture house exhibitor who keeps his theatre open all of the year, and employs local politics to keep the rover out tn the summer time. In 1927 little occurred of general importance to any one branch of the show business, except the advance of Picture and the decline of Vaude- ville. Within Pictures is ever a seething load of manipulation, called mer- gers or deals. Pictures is Big Business. It must get set, for it’s grow- ing bigger all of the while. The rest of theatredom has-yet to locate a showman who can cope with Pictures, The rest sulks and reaches for alibis, with Pictures also having no soft snap dodging in and out of overcrowding of houses, over-seating, evading trust actions and finding a profit in harmony with the amount invested,

so than listeners-in. For while the rural districts may hold the most listeners-in who have no place to go, it is accepted that in the cities, the people do go to the theatre—perhaps the picture theatre in the main, but they go. And as a radio man stated, Radio’s best hour is between 10 and 11 at night, “because by that time the people are back from the picture houses.” Making a nation of theatregoers is a tremendous task, and would have been a tremendous undertaking if the picture people had known what they were building. Now that. the country is a theatregoer, they are there to be taken advantage of if the rest of the show business, includ- ing the drama, can take advantage of the fact. If that may be done, 1928 should bring it out. For if the rest of the show business doesn’t go ahead, it must drop back. There’s no standing still for the remainder with pictures rushing onward all of the time. In and maybe above the rest appears to be the banker in the show As to the influence of Wall Street upon the show business, that is not easily detected. But it’s present and probably more so than commonly suspected. To what extent it will go is problematical, but in pictures it seems all-powerful already. INSIDE STUFF ON LEGIT

An incident, indicative of the strength of stagecraft unionism in San Francisco, is the experience of Sid Goldtree, producer of “The Married Virgin,” which is having an extended run at the Green Street. This house, upstairs, has a seating capacity of approximately 300, and a stage that is but eight feet deep with an opening of about 15 feet. The single set takes up practically every inch of room, so that entrances find exits are often made with difficulty by the actors. Despite this condition, the San Francisco stage hands’ union insisted Goldtree utilize at least one member of the local. The producer pleaded there was absolutely no room, and that such an employee was super- fluous, as the curtain was being handled by the stage manager. The union business agent, however, persisted, with the result that a stage hand has been on the payroll at $62.50 per week. Due to lack of standing room on stage, and with every seat sold for practically every performance, the stage hand has been earning his sal- ary by walking up and down in front of the house. When “Los Angeles” played Providence, the opening stand with Christ- mas approaching, business was way off. Max Marcin, collaborator and also interested in the show, decided to issue 200 passes, Of these, only six reappeared at the boxoffice. Two of the courtesy holders refused to pay the Shubert pass tax, so only four couples out of 200 went into the show.

| |German director would | the whe le The next night Marcin figured out another way. the passes were asked to pay, the and giving $20 to this Shubert fund. Producers who book Shubert houses in New York generally insists that there be no pass tax on courtesy tickets especially marked to be “<2. None who presented attraction taking care of the “tax”

Stagehands employed at the Century during the Max Reinhardt season were kept busy on double and triple-time many nights a week The find some fault in an elaborate set and order thing torn down after the show and remade. One week the carpenter bill alone at the Century ran to $2,800. Some of the men rigged themselves up a shake-down and slept back- | stage instead of trying to get home at all. Sidney Cohen, independent picture and stage showman, is about to place in rehearsal a play for Roscoe (“Fatty”) Arbuckle, specially written and designed primarily for the road. Only if it scores a knockout will it get to New York. The big idea is to sell Arbuckle in the amailer centers on the strength of his vaudeville showings. as | reports a)

“Lp

When Zierfeld’s woralie” opened in Boston, the producer sought to secure a musical number from “Strike Up the Hand,” tried out this fall end closed for revision. Zieggy telephoned Bdgar Selwyn, who pro- a ad 7? = na ~ ee 7 - : , Meanwhile the country has become a nation of theatre-goers, more | business, through pictures but not altogether restricted to films just no'w. |

Se <== = d ae eX} wanted to Interpolate the song. Selwyn nts telling Zlegey he could have the number ff be des the losses on “Strike Up the Band.” Zieggy ost t ' } ’ ‘ ' _—_—— — The press agents e complaining of the New York “Work” being the only § lay per ng dramatic stuff. Between Jeffrey Holmsdale und Alis Ss n addition to Alexander Woolkcottand Quinn Martir ‘ t} P daily figures it has enough. T he VW ad I nts to th dramatic editor and In that wise phony pufl fo show titles are gotten across One letter recently mer ned two attr ? signed by Peter Manning, who is a character in “Nightstick,” In the advar notices for Louis Isquith's “Oh, Johnny,” the modest claim is made that the one time lawyer “introduced jazz to Broadway in his ‘Shuffle Alone’ and originated the Charleston.” Some time ago | Variety printed a number of statements from various persons who | claimed to have introduced the Charleston, but Isquith’s name was not among them, nor was he given credit for introducing jazz to New York. The press notice to that effect, however, appeared in an upstate paper, with the added comment that Isquith had evolved a new dance which would be just as popular as the “hey-hey” number. ON PICTURES

A prospective roadshow picture on the Coast is said to be minus 8,000 feet which would be most appropriate and welcome at a stag affair. The “raw” sequences have, of course, been deleted from the film for Ameri- | can distribution but that they will be spliced in on the foreign prints is | @onsidered possible, How the director expected these specified scenes to reach a screen in this country is unexplained. More and more it seems the picture distributors are inclining toward the $1.50 or $2 exploitation idea for pictures. They call such films “spe- cials” though aware they can but make the regular program releases as a rule, where there are not run houses to play at the picture house scale, About five years ago the same plan took hold for a while. Then the producers or distribs were a bit sanguine about having a “road show” proposition. As picture’ after picture fell down under the road show | tour, the “super” became a “special” and the “road show” thing has been since acknowledged to be exploitation. Usually with the “special,” it’s | set principally for Broadway to gather in a larger rental, commensurate with the valuation placed upon it. | At present two “specials” in New York that must take to the regular | houses and forego road showing, cost $2,000,000 and $1,400,000, respec- tively. Each producer admits the amount invested was altogether too hefty, but said circumstances rather than errors in judgment forced the large sums,

A determined effort to clean out the “mashers” around Loew's New York theatre was finally accomplished under the direction of Chanie Moscowitz, through the assistance of policewomen. The campaign was on for about three weeks, with the sheiks made to understand that the New York means a jail sentence for sheiking. One of the most difficult problems of the picture theatres, and espe- clally in Times Square, is the mashing thing. Along Broadway, where thousands of transients pass daily, the masher is numerously prevalent. From street flirtation he turns to the same thing in the theatre. Since Mr. Moscowitz's idea turned out so well, it might well be adopted by other houses annoyed by the same cause,

The Department of Justice Investigation into the matter of the lock- out (stage hands) in Chicago last fall, when some of the independent picture houses were restrained from remaining open through being unable to secure a supply of films or through threats if they did remain open, is actively going on, from recent reports. It Is said the depart- ment’s agents are in Chicago pursuing their queries, and particularly as to the method or procedure under which the indies were prohibited at that time, Exactly what grounds could be utilize4 for prosecution, if the depart- ment decides there are sufficient grounds, no report states. But it ts talked of in Washington that the Department of Justice views the entire Chicago strike situation, insofar as it affected those independent exhibi- tors who wanted to continue business and were forced to discontinue, to their peril of surviving a dark period as unusually extraordinary, in expressed and applied authority. ON VAUDEVILLE

ae

Francis X, Bushman, flicker actor on a yaude tour, has his own ideas about his stage comeback. Bushman has not supplied himself with a particularly strong sketch, but it is understood he figures he needa something sort of mild with which he can build himself up. His Orpheum bookings will cover a period of only six weeks, after which he plays a week each in Portland and Seattle for Pantages. Bushman figures that in order to be a real box-office draw he must be 24-sheeted. This he cannot secure from the Orpheum, but Pantages will bill him like a circus, and the former screen actor feels it will be dollars in his pocket to make the switch. After the Pantages dates in the northwest, Bushman jumps east, and will inaugurate a three-year tour of the world. As far as he is concerned, he is definitely through with pictures. Earle, Washington, a Keith-Albee booked vaudevillian house, switched over to the Stanley Company first run picture and presentation policy, it is said, after it was proved to the satisfaction of everyone concerned that K-A vaude at 75c. top, with such pictures as could be secured, was unable to compete with the larger picture house pop bills in the same vicinity at 50c. K-A and the Stanley Company jointly operated the Earle.

Jack Conway, formerly with Variety, wrote the titles on the FBO pie- ture, “Legionaires in Paris” at the Hippodrome, New York, last week. He must have stuck In one caption as a laugh for the Variety bunch. It got several. In naming a@locality in the film, Jack called it “Pratt Falls, N. Y.” Variety's notice said the only laughs in the pictures came from | the titles

A unique bill for a night club is the new Casa Lopez show, which ts laid out like a vaudeville program opening with Great Maurice, followed by Phelps Twins, Muriel Stryker, Lopez and orchestra. Following an intermission, Lopez doing his piano specialty, next Billie Shaw and Bobby DuPree, followed by Bea Sisters and Carroll, and Jack Oster- man, Goubling from “Artists and Models,” who officiates as master of ceremonies, } —— 8. Z. Poli didn’t know a thing about it, but from Venice, Italy, came A. P. dispatches telling the world that 45 relatives, including nieces and nephews, were preparing to welcome the theatre owner back to the land of his birth. Those relatives had learned the Poll theatres had been sold for $23,000,000 and Poli would return to Italy for the remainder | of his life. Mr. Poli, in New Haven, denied he would return to Italy for a per- ry t itho igh planning to ma a vielt to bis homeland in the future.

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ele = MBG FR APIPS a ee a Sp ee > — tess * nee ee - THe en ~~ ~- 3 2 % -— ae ~_— se — os a eee meee — - rs = ea me eee -_—_£ THIS WEEK (January 2) NEXT WEEK (January 9) Show irying numerals such as (25) or (26) indicate opening this week on Sunday or Monday, as date may be. For next week (1) or (2) with split weeks also indicated by dates. An asterisk (*) before name signifies act is new to city, doing a new turn, reappearing after absence or appearing for first time. Pictures presentatik include in mm aS adjunct. GERMANY Month of January BERLIN | Carl Napp Wintergartea Chas Perezoff Co ‘ Se L de Vine Jeekley Co Divina & Charles Hai Jong Tr Ben Blue 3 Ajaxs Alex Bros Chris Charlton ' Abas Ben Abdull’'h Week of December 29 Apollo Cahuzac G'ms'k’a Demidoft| Tiller Girls Omikron Olympta Charlesky Maria Dubas Ryss Delril Harris Tr Viney & Cleden Capt Relda Mikasa Chokichi Rosellos Novarro Fix & Gabirla Pierre Pradier Artons 56 Harris 2 Gauthier's Dogs ‘ Esmanoff 12 Empire Jane Ares Grock Co Claire Franconay Alibert Andre Zim Alice Neva Germaine Lir Emilia Vidali Robbins Co Shyrkots A Romain Wallend's Seals Paquita Pagan Rinaway Palace Rinoco Sturla Boucot Lacroa Damia Almor 2 Spadaro Henriette Leblond Folies Bergere Lina Tyber Jack Stanford Sarah Ja Josephine Baker Whiard Sis Alibert Max River's Co. Carol Hastings Co Ni¢olska Alice Cox Koniardva Sargius Jane. Vyrac Smirnova & Trip Castel Geo Despaux Rene Rudeau Leib & Thibert Roger Vincent Paul Nast Orch PARIS Gabriello classification picture policy with vaudeville or Picture Theatres a Alex & Santos Rev 2d half (12-15) The Andressens Vic Lauria Bert Gordon Co Vera Kingston (One to fill) Commodore Ist half (9-11) Frank & Alma Billy Haaga Burke & Wilson Diane DeMar Co N & W S8t Clair Maximo 2d half (12-15) Lester & Earle Jack Joyce Montrose & Nace Santiago 3 (One to fill) Delancey St. Ist half (9-11) Lou Rella Co Kramer & Fields Ideals Dale Sisters Robey & Mitchell Rooney Bent & R (Two to fill) BROOKLYN Bedford ist half (9-11) The Andressens Mimi Rollins Kerr & Ensign Burns & Kane Roscoe Arbuckle 2d half (12-15) McDonald 3 Geo Yoeman & L Jim Reynolds McQuarrie Girls (One to fill) Gates Ave. Ist half (9-11) White's Dogs Burnett & Dillion Karyl Norman Co Bobby Henshaw Co 6 Beaucaires 2d half (12-15) W E Ritchie Co Hicks Bros Ulis & Clark 1560 Broacway MARGIE COATE Queen of Syncopation William Fox Circuit Opening Academy of Music, N. Y. MONDAY, JAN. 2 PLACED ALF T. WILTON Incorporated BY Bryant 2027-8 VARIETY [ | Ha | Na zel Crosby ce Nat C Haines Co Coulter & Rose BOSTON, MASS. Orpheum (9) Cath Sinclair Co Tom & Jerry Bobby Carbone Co | Barr Mayo & R | Swartz & Clifford | Shaw & Carroll Rv BUFFALO, N. Y¥. State (9) Little Pippifax Co T & A Waldman Savoy & Mann Scotts & Vernon Lester Lane Co CANTON, O. Loew's lat half (9-11) Margie Clifton V O'Donnell Co Odiva & Seals Jock McKay Senorita Alcaniz Co 2a half (12-15) Will Morris Gehan & Garretson Watson & CohanRy (Two to fill) CLEVELAND, O. State (9) France & LaPell Francis R & DuR Smith & Hart Barrett & Cuneen Harry Girard Co COLUMBUS, O. Broad (9) 4 Hartinis Packard & Dodge Red Carnation Herb Williams Co Nellie Arnaut Bros CORONA, L. I, Plaza Ist half (9-11) Royal Pekin Tr Eddie Selwyn Poor Old Jim Donovan & Lee Crewe Girls 2d half (12-15) Frank LaDent Co Meyers & Nolan Wheeler & Potter Burns & Kane Roscoe Arbuckle DALLAS, TEX. Melba (9) Robbins 3 3 Bernard & Kranz Golden Bird Harry Breen Primrose Minstrels i Marvel Co CHICAGO, ILL. Chicago (2) H L Spitalny Bd HOUSTON, TEX. Harding (2) Metropoliton (31) ‘ Publix Unit Al Belasco Bd - s ; . . Way Out West gr + cone a argaciee Kendall Kapps Norshore (1) Lang & Voelk Al. Kvale Bd Holly oe Oriental (2) Mooney & Ch'rchill Paul Ash Bd = Lani saber vida ee MINNEAPOLIS Kurniker Kiddies State (31) Guila Bustabo Donald Henry Frances W Lester Rezek Hilda Ran Gus Mulca iller Doris Morand Peggy English Heller & Riley y NEW ORLEANS Saenger (31) Tivoli (2) Publix Unit F Masters Ba Tokio Blues " : The Mayakos Uptowa (2) Geo Hirose Ben Krueger Bd Cc H Kuma ATLANTA, GA, | Willie Solar Howard (31) OMAHA Publix Unit Riviera (31) lypsyland Publix Unit DALLAS, THE. | Dixieland % 4 Joe Penner Palace (31) Edith GriMith Publix Unit Luella Lee Making Movies Morris & Rapp EXCLUSIVELY DESIG NED GARMENTS FOR GENTLEMEN N ROCK 1632 B'way, at 50th St., N. Y. City Helen Higgins Co 2a half (12-15) LaFleur & Portia Tarzan Jean Granese Co Lieut Gitz Rice Co (Two to fill) Grand Ist half (9-11) \Aerial Smiths Frank Peg Jones LaFollette Co Marks & Ethel Dorothy Ray & Syn 2a half (12-15) Jordan & Grace Dick Ryan W J Kennedy Co Night at Coney (One to fill) Greeley 8q. ist half (9-11) Deve & Tressie Walter Walters Co Milton Berle 3 Westergards (Two to fill) 2d half (12-15) Alexander Bros Oil Dance Flashes (Three to fill) Lincoln Sq. ist half (9-11) Bert Sloane 3 Abbey Sis Love & Kisses Morris & Shaw (One to fill) 2d half (12-15) Australian Waites Burnett & Dillon Cook & Oatman Zelaya Fantastic Co Rev National ist half (9-11) Australian Waites Lydia Barry Gus King's Bd (Two to fill) 2d half (12-15) White's Dogs Kramer & Fields Frank Taylor Ce Lew Kelly Co 6 Beaucaires Orpheum ist half (9-11) W E Ritchie Co Beth Challis Co Ulis & Clark Calvin & O'Connor Night at Coney 2d half (12-15) 3 Westergards Dale Sis Ideals Milton Berle Dorothy Ray Syn State (9) 4 Bradnas Cynthia & Clare Der rest & Deland Sully & Houghton Louls Mann Casino DeParis Victoria ist half (9-11) Tiebor's Seals Clark Morrell Co Frank Taylor Co Zelaya Walter Fehl Co ’d half (12-15) Eddie Selwyn DENVER, COL. ROCKFORD, ILL. Denver (31) Coronada Publix Unit 2a half (5-7) . Lucille Sis Dance Caprice Cy “pln Brown & Balley Flora Hoffman SAN ANTONIO Rasch Girls Crandell & Morley Texas (31) Publix Unit DES MOINES, IA,/ Joy Bells ‘ « Joe Parsons Capitol (31) Olga Morselll Publix Unit Roma Bros Dancing Brides Charlotte Arrens J & J Walton Mascagno Dancers D & E Barsto Douglas Wright Co Dancing Parson Scotty Weston FT. WORTH, TEX.;| ST. PAUL, MINN, Worth (31) Capitol (31) Publix Unit Bayes & Speck Jazz A la Carte Myrtle Gordon ot NEW YORK CITY] Clifton & Brent American Colonial 6 - Pioneer Dancers Ist half (9-11) Florence Brady LaFleur & Porita Randow 3 Mae Francis (Two to fill) Dance Flashes : Vie Lauria Boulevard Yoeman & Lizzle ist half (9-11) Alexander Bros McDonald 3 (Two to fill) Myrtle Boland 2d half (12-16) Beeman & Grace Bert Sloane Ce Lew Kelly Co Mardo & Wynn Lillian Shaw Helen Higgins Co Melba Ist half (9-11) Clifton & Brent Florence Brady (Others to fill) 2@ half (12-15) 3 Abbey Sis Dave & Tressie Lydia Harris Bobby Henshaw Co (Two to fill) Metropolitan (9) & Perez Moran & Warner A & L Barlowe Sophie Tucker Parker Babb Orch (One to fill) Oriental ist half (9-11) Jordan & Grace Meyers & Nolan Jos Bernard Co Mardo & Wynn Lieut Gitz Rice 2d half (12-15) Gautier’s Dogs Mimi Rollins Walter Fehl (Two to fill) ivans Orch Palace Ist half (9-11) Batch Jamison Co Jack Joyce Santiago 3 (Two to fill) 2d half (12-16) Maximo Pease & Nelson Diane DeMar Co (Two to fill) Premier Ist hatf (9-11) Lillian Shaw Petty Reat Co (Three to fill) 2d half (12-15) The Arleys Myrtle Boland Beeman & Grace Calvin & O'Connor Mr & Mrs Medoffcx ATLANTA, GA, Grand (2) 3 Flying Harpers Stanley & Ginger 4 Diamonds Norton & Brower Co DETROIT, MICH. State (9) Elly Co Casileton & Mack El Cota Masters & Grace Co Emil Boreo Guiran & Matg Co EVANSV’LE, IND. Tivoli Ist half (9-11) Carl Schenck Jack Housch Co Sharon Stevens Co Carney & Jean Owens & Kelly Or HOBOKEN, N. J. Lyric Ist half (9-11) Clark Sis 5 Maxellos (Three to fill) 2d half (12-16) Smiletta Sis McK & Halliday Hay Joyce Co York & O’Brien Co (One to fill) HOUSTON, TEX. State (9) Gautier’s Toy Shop Irving Edwards Leona LaMarr job Nelson Rosita JAMAICA, L. 1. Hiliside Ist half (9-11) Randow 3 Lydia Harris W J Kennedy Co Mansfield Dancers (One to fill) 2d half (12-15) Royal Pekin Tr Beth Challis Co Poor Old Jim Donovan & Lee Braille Pollo Orch MEMPHIS, TENN. State (9) Page & Class Smith & Strong Tin Types Royal Gascoines Brons’n & ReneeRv MONTREAL, CAN. Loew's (9) Mitkus 2 Peronne & Oliver Malia Bart Co Herbert Clifton Bob Brandies Orch (One to fill) NEWARK, N. J. State (9) Van Cello & Mary C & L Gerard Gaudsmith Bros Billy Glason Flo Hedges Co NEW ORLEANS State (9) Howard Girle DuFor Boys Wally Sharples Co L & M Wilson Lew Wilson Gang NORFOLK, VA. State (9) Violet Roy & N Geo Fredericks Co Corbett & Barry (Two to fill) PITTSBURGH, Aldine (9) Dixon Riggs 3 Primrose 4 Meredith & Sn’zer Faber & McIntyre Chas Ahearn Co PROVID'NCE, R.I. Carlton (9) Al Libby Co Joe Roberts Renard & West Margaret Young Leonora’s Jewels TORONTO, CAN. Loew's (9) Joe Fanton Co Hart Wagner & L Steele & Winslow Burt & Rosedale Seabury Swor Orch WOODHAVEN, L.I. Willard ist half (9-11) John Ilms Co Frank Whitman Bert Gordon Co Vera Kingston Paul Brachard Tr 2a half (12-15) Tiebor'’s Seals P & B Coscia Kary! Norman Co Sammy Duncan (One to fill) WM. A Ventriloquial Surprise Presented by LOEW’S STATE New York City This Week Direction MARK J. LEDDY 226 West 47th St. EBS Gateway lst half (8-10) Kohn & DePinto Zeck & Stewart Gate Wayers Bd (Two to fill) MILWAUKEE Miller (9) Harry Rappi Bd KENOSHA, WIS. Wednesday, January 4, 1998 Evelyn Hoffmaa Fid Gordon Burt & Lewhmen Kay Sis Dinah Wisconsin (7) Dave Schooler Bd Nat Nazarro Jr Doheny 2 Pantages NEWARK, N. J. Pantages (9) Cosmopolitan 3 Lester & Stuart Hall Erminie & B Fred Bowers Presentation Rev TORONTO, CAN. Pantages (9) Juggling McBans Siems Ruloff & Elton Winehill & Briscoe DeSylvia's Rev HAMILTON, CAN. Pantages (9) Parker Family Fulmer & Wayne Raymond Bond Doran & Soper Parisian Follies DETROIT, MICH. Pantages (9) Aeroplane Girls Fields & Cook Crisp Sis Bobby Van Horn (One to fill) TOLEDO, O. Pantages (9) 5 Lelands Lubin Larry & A Xmas Letters Dwight Johnson Bd PORTLAND, ORE. Pantages (9) Clifford Wayne Wilmont Sis Paul Kirkland Larry's Ent (One to fill) SAN FRANCISCO Pantages (9) The Worths Taylor & Marckley Jack Marcus Tom Kelly Brandell's Brev LOS ANGELES Pantages (9) Hale Bros Ray Huling & Seal Rubin & Malone Russell & Armstr’g Margot Morel Fox & Maybelle SAN DIEGO, CAL, Pantages (9) The Rickards | LYONS & LYONS ‘4 f } ; show Intimate Chats Commercial Radio Sponsored broadcasting is the new business mab. win program Unique talent commands its own | price. See iE..: E. Tappe, charge. our Mr. who is L. in LYONS & LYONS PARAMOUNT BLOG NEW YORK {Moran Kelo & R Fridkin & Rhoda Burke & Durkin Helen Lewis INDIANAPOLIS Pantages (9) Floretty 3 Dotson Rogers & Donnelly (Two to fill) MINNEAPOLIS Pantages (9) Atkinson & L Marion & Dade Christie & Nelson (Two to fill) DULUTH, MINN. Pantages (9) Petit Leanna 4 Crouch & Moore Billle Goldie Sully & Mack Gibson's Navigators BUTTE, MONT. Pantages (9) Little Jim Co Sandy Shaw Jolly 4 Spencer & Williams Caserta Rev SPOKANE, WASH. Pantages (9) Jack Hughes 2 Marcelle Suite 901 Loew Western CHICAGO, ILL. Avalon (2) Roy Dietrich Bd Lamberti Dick & Edith Prosper & Maret >] Vitaphone Capitol (2) Husk O'Hare Bd Haney Sis Travato Douglas & Claire Uyenos Japs Morton & Mayo Pisano & Lamdau'r Stratford 2d haif (4-7) M Hillbloom Bd Ted Leary Ted Stanley Jim Jean & J DETROIT, MICH. Roosevelt (9) Margaret Taylor Healy & Darne'lla Caranas & Barker Bert Swor Sandy Lang SEATTLE, WASH. Pantages (9) Flores Girls Gari & Baldi DeAndre & Walters Billy Beard Spirit of Winter VANCOUVER, B,C. Pantages (9) Russe!l & Hayes Jolly & Wiid Gilbert & AveryRv Bison City 4 Olympia & Jules TACOMA, WASH. Pantages (9) Amazon & Nile | Temple (9) Enilons Libby Corin Sylvia Peterson Zeck & Stewart Wayne & Bell Rev Hirsch Arnold Rev Volunteers McIntyre & Heath Gautschi & Phelps L’G BEACH, CAL. Pantages (9) Thalero’s Cir Marcel & LaSource Pearl Regay Ray Hughes Nelson Family SALT LAKE CITY Pantages (9) The Wheelers Caledonian 4 Astill & Fontaine Lera & Spencer Jarvis Rev Hungarian Tr OGDEN, UTAH Pantages (9) Aussie & Czech Dancing Cyclones Hickman Bros O'Hanlon & Z (One to fill) OMAHA, NEB. Pantages (9) Merle’s Cockatoos Fargo & Richards Vida Negri Co Baird & Hewitt (One to fill) KANSAS CITY Pantages (9) Chas Willis Dave Rafael Co Lorraine Minto Raymond Wilbert Longton Kinney Co MEMPHIS, TENN. Pantages (9) Fred Henderson Henry Fink Burke & Durkin Fields & Johnson Roma's Tr BIRM’GH’M, ALA. Pantages (9) Fred Morton Youth Stepping Feet (Three to fi) Noodles Faga Oscar Stagg Orch Vitaphone Padgett & Lubin Shriner & Gregory aoe of David Ba . ——— ~ _ en (One to fill) wien = SACK L. LIPSHUTZ 0008" | “maz oo MONDAY; Pantages (9) PLAYING FINISH Canary Opera ut Stanley & Chapm'n PHILADELPHIA SATURDAY Snapshots ' — Edwards & Morris aie - , ~~ * (One to fill) BAY RIDGE, N. Y. Granada (2) Whirl of Thrilis a Loew Chas Kaley Bd (One to fill) ae ist half (9-11 Stewart & Lash = en - A to The Arleys ' Teelak & Dean BVANSVER, END. ssociation Griffiths & Young Vitaphone Victory Cook & Oatman ist half (8-11) toe snannee Marbro (2) OHICAGO, ILL. Diversey Sammy Duncan Schenck & Son Jimmy Gildea Co Benny Merofft Bd Jack Housh American 2a half (5-8) 2d half (12-156) Walter Bradbury Sharrons Stephens 2d half (5-8) Joe Kayser Bd John Olms Co Roberts & Clarke Carne & Jean Keno Keyes Rev Gifford & Gresham Frank Whitman Loomis 2 Owens & Kelly Co Mack & Aubrey Fast Steppers Morris & Shaw Carl Byal ‘ Geo Hunter Frank Richardson Alex Santos Rev Vitaphone 24 half (12-14) (Two to fll) (One to fill) (One to fill) Oceana Capers Belmont BIRM’'GHAM, ALA, Ghestdas .(S) Johnny Duna 84 half (5-8) Englewood Verne Buck Bd Odds & Ends Bud Cartlel 2d half (5-8) | McGill & Beatty i Cooper Sis | { Going North Ray & Harrisoa Selby'’s Orch Majestic (2%) Marie & Pals Willie Rodee Radianna McCarthy & St'n'rd McGrath & Travers (One to fill) Riviera 2d half (5-8) Ina Alcova Co Tony & Norman (Three to fill) CHAMPAIGN, ILL. Orpheum 2d half (5-8) Weston & Lyons Hooper-Gatchet Co (Three to fill) DAVENPORT, Capitol 2a half (5-8) B & J Brown Lon Paris & N Y Alexander Carr Fortunello & Ciril (One to fill) DES MOINES, IA. Capitol 2d half (5-8) Trip to Holland Cole & Snyder Midget Rev (Two to fill) EV’NSVILLE, IND. Grand 2d half (5-8) Dubell's Pets Bartram & Saxon Ribert Reilly Co (Two to fill) KAN. CITY, KAN. Main St. (2) Wilton & Crawley Reed & Duthers Baker & Gray Les Gellis Louisville Loons (One to fill) MADISON, WIS, Orpheum 2d half (5-8) 6 Galenos Hayes & Cody Geo Schreck Co E & M Beck IA. =e Emmy's Pets MILWAUKEE Majestic (2) Aerial Allangs Frozini Hudson W: nderg Goss & Barrows (Two to fill) MINNEAPOLIS jth St. (%) 4 Kadex Bennett & Rock Robert Fulgora Knox 4 Keene & Williams (One to fill) ROCKFORD, IL, Palace 2d half. (6-8) Jue Fong Ray & Harrison (Three to fill) ST. LOUIS, MO. Grand (2) Veronica & H'rif'lig Ward & Watts Subdeb Dancers Goode & Leighton Schichtl’s W’'d'r'teg (One to fill) ST. PAUL, MINK, Palace 2d half (5-8) Beehee & Rubyatte Gilbert & Maye Borde & Robinsoa Kennison Sis Ba Will Aubrey Bd SIOUX CITY, Orpheum 2d half (5-8) Shean & Cantor (Others to fill) sO. BEND, IND, Palace 2a half (5-8) Haynes-Lehm'n &K A Night in Dixte Tilyou & Rogers (Two to fill) SPRINGF’LD, IND, Orpheum 2d half (5-8) Zelda Bres Johnny Hyman Zermaine & Farr'ry Lei Kam! & S'm'ne (One to fill> IA, Interstate AMARILLO, TEX. Fair ist half (9-11) (Same bill plays Wichita Falls 2a half) Riblo Lacotina Co Ann Clifton Janet of France Rody Jordon Jack Kneeland Co Sargent & Lewis ATLANTA, GA, Ritz (9) Flying Hartwellis Melroy Sis Master Jay Ward Roy Cummings A & P Gypsies AUSTIN, TEX. Hancock O. H. Ist half (9-11) (Same bill plays Galveston 2d half) B & B Donna Sargent & Lewiss Kelso & Demonde 4 Camerons Woodland Rev BATON ROUGE Columbia (Same bill plays Alexandria, 10; Monroe, 11; Shreveport, 12; Texarkana, 13-14) Gertrude Co Nawahi Haunted Hickey RBros Muriel Kaye Co BIRM’GH’M, ALA, Majestic (9) H Carroll Show DALLAS, TEX. Majestic (9) Jack Hanley Maddox ‘Tricks Rice & Newton HOUSTON, TEK, Mertini (9) Guilly & Jeanny Philson & Duncadg Paskman’s Mins Primrose Semon (One to fill) LITTLE R’K ARK, Majestic ist half (9-11) Sim Moore & Pal Harry Jolson Count Berni Vici Nathane & Sully 2d half (12-15) Alexander & G Talent & Merit Count Berni Vict (One to fill) N. ORLEANS, LAs Orpheum (9) Gibson & Price Adele Verne Al K Hall Co Tad Tieman’s Bd (One to fill) OKLA, CITY Orpheum Falis Reading & B Estelle Fratus Henry Santrey Co (Two to fill) S. ANTONIO, TEX, Majestic ist half (9-11) (8ame bill plays Waco, Tex, 2d half) Nugold Rev Ev Sanderson Co Want Ads Derickson & Brows Mande! Bros TULSA, OKLA, Orpheum (9) Alice de Garmo Blue Grass 4 Bert Lytel!l Co OFFICIAL DENTIST TO THE N. V. & DR. JULIAN SIEGEL 1560 Broadway, New York Bet. 46th and 47th Sts. This Week: THE NIGHT CLUB BOYS; EVA SHERMAN The Petleys (One to fill) FT. WORTH, TEX. Majestic (9) Herbeta Beeson Murray & Irwin Harry Levan Co Frank Conville Blue Blowers FT. SMITH, ARK. Jole (9) Nathane & Sully Sim Moore & Pal Harry Jolson (Two to fill) — Forsythe & Kelly Leff & Demarest Sis WICHITA, KAN. Majestic ist half (9-11) Marshall & LaRue Walzer & Dyer Haynes L'man & K May Usher (One to fill) 2a half (12-15) Walter Neilson Robinson & Pierce Diam'’d & Brennan Frisco Harmonists | Ned Norvo Co Orpheum CHICAGO, ILL. Palace (2) Hal Hart Olsen & Johnson Jack RBenry Brown & Whittak’t Countess Sonia Lee Morse | Cardir Valarie Bergere eS 2a Ann ‘ Flore! 4 of Toney (One DE. Or sma! Yat hi Harr: Odali Pat | Spotl Koki KA 0 ch'rl Beve Bart Hale The L0 i John Ethe Cha! l] Mai Wo Blu Gus Bil. Alp Au Jot Br Hf moti eo et OMA et

Page 21

= Wednesda a ; et J nuary 4, 1928 ‘ state-Lake (2) Doc Bak (2 coward & Bradd@’ aker Co : fae , LaSalle & —_ “a tem & Case Variety 4 oe VARI Raffin’s Monke ager Remos — E y Nit Mid Al y P anes @ — Nite at a Club (Two to _ UTOONA, PA e + ~ ° ' cy Carl Freed Ba OMAH* F Mischler Ashley & Page os A & M Have! ‘ ‘ , NEB. > ordham 3a half (6 (Two to fill) GREENSB'RG j —=-- Barry & WwW hitledge Drpheum (2) ®a half (5-8) Marcus R -8) . RG, PA. . —— 148 eA & Marion Fred Hughes Davis & ties AM schaiare Shiel @ (2) + Strand e a. Saunders I ors ———--. Pred Ardath Cc Chz e " Rome y arnell AMST'D/ shield d } _— y ¢ "1 —— —--— °) MeCar - ~ as A + ~ Irwin ss es Gaut TDAM, WN. ¥ Marehe & Delenay Kan als (6-8) | Hiowar 4 — Rev TISBURGH, P a #1 ) 8 F Stedr n Sanc . 1 all & L ezana 3 | i r : , 4. eneneaaiemaaiaiiaial " - dman , anchos Rialt Car¢ aRue Th , East . Dav . Medl — sce Tow Ned Waybu Venita G — oa oe — lini = e Ushers i & Dur 4 is (2) - lley & Du; —— Cc er . wurn’s Co} &Y . rOUIC a alf Neilson : ~_———ve } a 1 Sis T - i ea ly Du yre caaiaie : ra ea h se 48-8 | (Un to fill) ‘ Ons » fill) Suit o If (6-8) Gerdes fg Hh. , Rg ut 6 « - quins DuVr . Cross . W'T'RT'WN, N x a 6 ) > | ie * , 1 & ia a Mura ° . a ‘ nn " e set co ° ° Flot Codec PORTLAND, ORE Franklin Melody Man etree ag nes (One to fill) WRN'N, N. ¥.| Hubert Faye | (One to fill) | oy i lorence V , C. . Thre Mansion ayto th) i > . t . ' a 4 of v Vernon Co| , Orpheum (2) Ww 2d half (5-8) | (oases te all) ag & Rane H’K'NSAC? svespect Edd vas TRENTON } 3d half (5-8) Ss 3 Vaer: , ayburn’s 4 AS fill ye = ~ } ‘ ie Be Craddo _ Toney & Nori » a comer y | (Others t Rev SHTABUI — I ‘IN ‘ Dave \ , J. ock & C TLL, (One to _— ice > Broe | 1ers to fill) mart _ pF c a w. WA + wric fe Halve Capitol ~ mnett Bros Nance O'Neil e ce »bi = A. = nalf (6-8 2a half { ar tote eta Re 8) DENVER, COL amg Holmes - Hamilton 2a half (5-8) 7 om Grand >= ay Tees : , ~waseres Rents M Se) | Iwo t ° oye f 26 P o-t 2 alf as ; i é z 4 _ - : : con oe Co i) Orpheum (2) = gg ag lnc Bentall & Gould a Dubas ~~: (Three to All) Pr E, TENN. | yy H | WHLINe on sma : F & Tierne Ric} . = Gould oster & S C t 2 i ll) | incess (2) Mor & rR .» Ww vA 1 & Mays s 1 & Che Banjo! emon ooper & C HAR rs F . ‘ YY, N. ¥ | vi : ) Yacht Club m 8ST. LOUIS Larry Ric rie jJanjoland Gru Pn Clifton RISB'R : 7 ; . & Wils , ctoria Boys 18, MO oe tich (Two t ~ ers A G, PA § wr n Proctor’ Harry Conle = oO ,*S ‘ (Two . o fill) (Tw ‘ nimals M . . ; " ' ors | P MO. Odali Ca nley Co - rpheam (2) to fill) ATLAN o to fill) - ajestic | I s Fash May M » 4 , ha 4% ) — areno ‘illie W - Hi ANTIC eee . : half 2 Seed bor i . - ( 8) Fru s ) Pat Hening Co George est & McG — ippodrome (2) cITy CLEVELAND Exposition (9 8) i Cal : Aus ) | 4 Pes : ur iM I les rif'lig Spotlight Rev Tir 2 MeLennon Frank Van Farle 105th § » ©. | Tom Smit Jubilee | eht Hawks | P!ATTS , . _ Shakers G f is Kokin & Gaie | Seo ag gy tetany 6 Se i 2a half (65- Clayt treet (2) | Nelso = | NEWA BG, N. ¥.| & Bar | «cc : - jetti foes ae a Sis ft Grems F bert El Cleve (5-8) 1 layton & Len Tw n’s Elephan | RK, N. J Strand Dale ¢ } n mae oO 1 ols d _ itz & s eo W ennie ‘ o to fil hants | : : v- | . 1 (O | ) hton KANSAS CITY ne to fill) Je rry Baby Gras oa ae No 19 aes an right H are Proctor's 2a half 8) : in) WHITE PI 'r'tee Orpheum (2) St. Louis Reena ate| Sees be oe Seen ORNELL, N. ¥Y. | nant Bae Sere? McCoy & Davis UNION CITY, N Kei ene Ch'ri'tte Geena Valeric B (2) Manhattan St’ppe ai De Paris (Two t mp Co Shattuck . - Costes Appolon Ce (Others to f vis Capit : - a. | ; ecith's 1 Beverly Bayn ood | Spotligh ergere J ore e to fill) » all) 2a pore to & sea a : rs an we ae GS-8) NE, Barto & e Co Va ght Rev efferson Al Pala P half (5-8 N. B’'N rOoORTLAND . } d half (5-8 1 i ) . Hale & _— Mme ag F 2a half (5-8 BURN, N. ¥ oar t ce (2) ‘on & Cortes ) . SW’K. N. J.| ane gas me eith's arie M . 8) The = Moog hy Tt Sun pean line oe : n Strand = - , . ae wrue Orpheum (2) Rivers ? BEAV’'R F’LS _—_ oo 2 34 bh N ——— Or ree to fill) eee « per e Orpheum (2) 2 oo Nick Lu ae Regent nl. @ervers Gaieties | LONDON, CT. | Barl & Ri woto mi) Bill Rob adowegr Ch cas 2 ( o Arcar eties Capitol Rial © insc T . aph as Frink a half Two to ry Bros (One ° ° B&E on rahan & W Flo Ge (5-8) fill) Lane & ° 2a h to fill) Ww Newel Jack Wallace Meyers c > orge Go Lee R ’ alf (6-8) Pr — Nielson ‘e Bill Redmond Co qonane &J > Kirk & tam Uptown (Two to fill) ‘Onh s Midgets POUGHKEPPSI u urora 3 [0 y Farrel a happe ohnson | ‘Tre rence 2a aK hers to fill E 4 : ic pell et h SONV Nl) . Morris & C P Fays . Butler a & Cartes = 9 fill) Job alf (6-8) NVW’LE, FLA,| X=W Avon t. 0 a e j . iG , . ’ Soha Steel mpbell ter Higgins Conlin & p nachna INGH’MT’N, N.Y warner & Baker Palace (2) ROCHELLE 2a half (5-8) in ne Buil EX, Beooke ig iii SEATTLE. WAS mene Krios 7 Binshemnten -¥. | Foy od > sny A Goonts i tem = Proctor's ete Abbott « ey & Cas oO “ H rry Holm 2a Sine —_ os Fr ; halt ’ st _— e r . es ha nelair azere (5-8 L anton Loew ; 4 MILWA 3 Po iia (2) Royal - lly yg (Cue -_ a, ee paling ' 7 san i Yala ing a Publix are aa JAUKE 8 ani ams C c ) ir cone s Pa an ieee 6 8 2d hal ne a DUNK Worth a Willim (Three to fill). PROV'D’ the P¢ productions exe ncentrat- - n lace (2) Son A ee oaaa7-" °° ree to fill) IRK, N. ¥ Willing _ ROV'D'NCE, R. 1. | & aramount executives 1 Elsa E ae 2 Se Rey BOSTO Capito - | SAM’ST’WN NIAGAR! A » & 8 | Sere buildin = = Nat Ayer Shandieen thobert isi N, MASS 24 half Shea's ” Bel A FALIS | Goosi Ibee (2) Hale : art departmer 4 Arthur Harry 4 Res ore Roberts ee to fill) 6 Gerdon’s a (5-8) s . leview ossips of 1927 and Mort it; Chest — 9 Rage pen a CONEY ISLAN (Scollay pag Wilson te oun half (5-8) an nent (5-8) QUEBEC, CAN eg 4 peal nr are pores nd , Pe YCOUV R ) @ ros ner yLw , CAN, st 8 rating 1) Bit O’Denishaw COUVER, B.C Til = ,— & De ) | Chew Hin Gibb Bi & Harris Rody & te Aaditort n ide of Broad grating to the © “ een & n Orpl .C. you Cliffe neg | (Tw g Tr 8 ilson um ey and EB way ms Marjorie H FP 1eum (2) 2a half (6 Rem og © to fill) K Carvet Co (Three to fill) 2a half (6 Teow ad Ed Schiller . lL. KK. @i4- MINN ‘arrison & D George W -8) unten avons BE LB (Two to fill N. A Pa (6-8) building remain in el H NEAPOLIS Laney a Joe Phillips. Seeus Eaton Bh ERTY, PA. ) . ADAMS, MASS qotne Creations Nathaniel _ the y N ennepin (2) ates & Rogers Miss Juliet : Bros eridan Square JERSEY OITY Empire . ers to fill) charge of Finston has ancy Gibb * 4 eano rs (Two to fi Gordon’ 24 half Btate 24 h READING b ; music in complete 5) : R & D De s Co poser MacKech FA Nl) cw - Olympia Al St (6-8) 2a h Ervill a. (5-8) ING, PA. r= the produci all houses served Carl McCoul i—_:. R ROCK ash. Sq.) (2) | & ryker J alf (6 c ell Rajah is i ng @ e ’ > OC - , . cr -8) Yahill & nclude malgamse Altrock cCoullough Ww 7 s AWAy | 4} Weber C ) a 2 & Pauli (Oo lippen C 4G Wales 2a che es sta mation : C “a a s wer the 0 Greece G half (6-8 ‘hestras ge band ° . : (One t & Schach INNIPEG trand Bmmet 90 racy & EI) ine rs to fi tirls ) and s, pi ‘ict e to fill t » CAN 2a mett O’Ma Jero wood i) (Two t Paul Yoc It is organi » pit or- ) ° 2d half 3 Kirki ra me & R J HN o fill) ocan C is als sts. eans.ae PP se (2) am Bn Th cage og Robbins wWaseths ST’WN, N. ¥ OTTAWA Montes & ides might Bone understood tl LA ——o CAL, | B len MocKellar gg paces > a an Nl) maorest rn - Majestic ° seca CAN. ee = Joseph pitals” on or cnc soodinetier what cum (2 ar deen” ‘ ields th’s (2 , PA, half ‘s o fill) ( © este on “hos- | Joo Browning , 1 pla sag yg & Rea a Neiman saad . Kelth’s peemees — - bait (5-8) RICHMOND, VA 4 pond cities. Pages in Bsa le & Dell Gast H’UTE, INI eber & 8) rome (2 Burns & n Lo »b Murph mn & Me in an E and K : — S, IND. Roy oc ) Wilso UISV Bart y (Oth orrell ser 1 Engi arno’s —= Indi Hurst > ‘onner Fz (One t D ILLE, arto & Cla ers to fil arvin sh Musics VAUDEVILLE-C — (uame to Om Madeline Patrice — National ny. | Welder sis BAY - ea ag the latt aical Hal” VILLE-COMEDY MATER! e to fill) Keiso Bros — F’RMONT, W. V 8a hal hear & Finke VANNAH, GA WwW padding. er half, with Al B EDY MATERIAL on (Three to an ¥ a A. Raith eee 88-6) ell O'Dell Co e, Bijou (2) PB ces the rece = ASB geen a (5-8) BUTLER, P4 2a half (6-8) , we & Higgins Crows Keys Rita Shi ee eoncrag merger 86s at Columbia- A 3333 G June _— Majesti ae Gruber’s Ani mreaté & Baker 24 half (5 Rock nN rley ® and musi effected wi LO . West 4 H Joe “ Evers mals ad & Hamilt’ The Dic -8) J Blossom was invite cals dr ‘ th S ANGELES th St. arry Gree " 2a half 5 Bil! & Gretta (Two to fill ilt'n ictators yhnny Herr b ited to @ opped, Hill Telephone D CALIFORNIA (Two to il). toed Brilliant a, LOWE! . Rahman Bey a show tage a regulati i - © It 70 e rt C - o Radio. woes nanraredeieo Orpheum c rian (one tol) enn wees Path a” — Ss “Mutt ad . 2a AM . 8 ather.” “Bri ’ " ae ———E we nee DEN, HN. d. FINDLAY, © aa half (5-8 Tren 2.4.8" Aca spell The result og Up ae \ (Two hago Co He 2a half (5-8) Soman & te _. Sverum an peewee & Wills BONDS FO SLOAT lesqu hich did not bere “Peek-A = } arry Wai v5 - Ge 2a }t . auli . R es 2 x amen bane (Others to fill) - Chishe Grant oom dl 2d half (6-8) Ada Brown © A. B. Leach & Co. In pytycolnlpaarlig tandare. e the bur- iy N B’Y, WIS is Ay 4 ‘ c., 57 ™ “d 24 h , WIS.| WINDS (One olm & Breen oo & Prencic Chelm & 8t Orr Eastman & asec — 57 William St.. N.Y - Verne alf (5-8) SOR, CAN > to fill) idnight Rolli = Bylvester & V Coley & Jax ‘oan a Mrs N. (Others Capitol a Pros ~ mgd Fanea song rs | (Three to i" (One to i) LeMaire & Ralat SS ° Downs Is ore te S18) 2a half (6 24 —- Ine to fill) GLEN x Robinson & Ca on | SOH'N'CT’Y so Operati HAMMOND Weldon B “igg ons ae te CANTON NS F’LS, N. ¥. ACON, GA. , seg Lorraine Palace als arlem’s Col seied Parth _— | Manley a 2 wares Rev N, 0. Rialte Grand (2) ye to SS) ‘ 24 pe A 0 ored Ho ie . enon Billy Pes Baldwin AKRON Palace 2a half May & Ki half (6-8) new progr uses 2a half (5-8 Wilso earl Co N, O. 2a half (5 Wilton Si (6-8) G Lioyd — Karle (2) Jean La Cr effect at th gram plan is K 8) ‘(one tony Pe Rosalie me 5-8) | on Mohor Co — | co on ors = ai (hasten). = Lincoln in 135th st - wad me z re 1 er per 4 A , w ) - H. 2 (6-8) re Ruby Three to fill) I — Lillie re agg & Bayard hree to fill) program h here musica! tat street e Séaret Bre eh Ric —_* Ford GL’V’RSV’L Gibson Rogers & W STEUB’NV’L Afte onors with fe #8 share e m Micho on B > Foy : E, N.Y, MANS Cuck ynne . LE, 0. r 10 years’ eature fil eee ae: illy Hallen Glove ° FIELD, 0 Master Capitol ice as manage s’ consecutive ms. ce Billy or : Hall CH'L’S x ; 24 hal Madison . asters Ba 24 half mon oe er of the “ » gerv- an NEW YORK Cl Billy House Co ~ et W. VA. Bilz Ba (5-8) Pe ga half (6-8) Grasd 0. H Luley ‘ 7 oe Snyder has uty Ray- , taldw 7, - . 5 , ; . 4 ‘ Broadway ai ren ndel & Gould ALBANY ‘~ 2d ae en See y = ag a mg B 2a half (6-8) The. Fen Mrs. Mari ed connec- Jave i - lice 3 FOUL ai ’ N ‘4 -8 e , 44uc on jum? 2 " ynologis : ar Hi: . Zepell . W. Keeler Si ) (Tw : ey (Thre ns (Twe st one P a M. Do ou irris C | (Two t pelli Procter’ Gia Sis o to fill) ee to fill) Jones & I » to fill) perating c wns (w pd & Bill to fill) Pr ee a Darling G. RAFI WREESPORT othaen hg eraacue Seated g the Lincoln and hite) is (Thre werOn i 86th Street The G “§ f (9-8) a Legs DS, MICH Hi » PA. JI Fishe! i E, N. ¥ bi and has the Al- ree to fill) | 24 half (5 } ch Pee ~ pie =? fill) Ramona Par : ppodrome Doran & - Keith's . | Digger attrac decided te b Colis | Gracel sage ge § 1) arlotte Wortl C 24 24 half 7 Rives 24 ranks tions from ‘ ring a Y : eum re: la & Thee lim Timbli i TINCINNA - half (6- la (5-8) half (6-8 s to her }¥ the col é gle a $4 helt (1 Others to fi , | Sin ins = ng Co ati ATI, O. on Tour 8) The ; Brown Keith's (2) Facest Tr ) The Li 1ouse. olored : - lezande: (5-8) stan er eo as e 4 Nick e Fic ; Belle B; ex ane zinc vr The ander & Olsen Fifth Ave. Lee & Glae | wil J We (2) + 2 Musere A Denahve C somal Baker Walia . "Tip Top a last week : Hard ar a lB 2d half (518 | ALLENTOWN |} Bertram _"S Mi taught y (Two to fil). Jack noe Severn Steer oli — port, Lorr tevue,” with Bill oes (Two ‘ | Surns & ie ) N, PA.| ‘Three t oo The J in & EB MEAI : Pithnd yrworth (One te W birl whi 12 Mack ; silly Gul- to fill | Ge Coloni » fil ansle DVILLE # Bre » fil ile th and D aon Oe ) aoowne ecny ie P vlonial a ) (One to fil ts = LE, PA.| Fe'o s ae ) late ¢ se tab this week olly Ross j | ure . st 2 nh oad } if (6- Wanze . yon — ine . wi ee 4 7 __ wringer a * i ' a « 7 amen _

Page 22

LP Re Se ae gE RRR EER

anne ry o6orry tut 262k ie eR “ en Morosco, 22 a BUT SOME HITS flo} t] holiday week itself witl found an exceptional Of the 11 night other percentage of successes openings on Christmas eral stood The cates indicated success wore on and a couple of ’ listed this week Three musi out. cand as the out and iark houses were Some out al shows gave the money Boat” i i cinch at the Ziegfeld j Another, “Lovely Lady,” looks like | something at the Harris. The third ” ; prom se of being in Sno “The White Eagle,” shaped up well the Casino. “Behold the Cort drew some is re } sound” from the for class at Bridegroom” at the mixed notices, but arded a class draw. “Paris at the Music won raves critics, and is also rated business, meaning sure agency support on the lower floor, § “The Royal Family” appeared to ' have an even better chance for real money at the Selwyn. “Excess Baggage” was smothered ; at the opening with other pre- ; mieres, but was conceded excellent ; entertainment and got good trade. “Celebrity” at the Lyceum is fig- ured to have a chance for moderate success at least. “Bless You, Sister” attracted attention at the Forrest and “It Is to Laugh” may do some- thing at the Eltinge, but got little ' efter opening. S| - Movers The jury may be still out on some of those attractions mentioned, but most of the other new shows have little in sight. Some have already ,#2@- gone. “L’Aiglon” stopped after one week, at the Cosmopolitan. Same for “Venus” at the Masque, also ; “Sisters” at the Klaw, which re- | trieved “Trigger” from the Little 5; Monday. testless Women” at the . “Paradise” at the 48th : Street and “Mongolia,” Greenwich qi Village were promptly dumped into cut rates. sl Other closings “Los Angeles,” 1 epee , <4 7 a. ns nn et IPP Saturday included withdrawn from the | |y Hudson, and “The Banshee” at Daly’s, which now offers “Red Dust.” “Banshee” is playing the Bronx this week and claims to have a house on Broadway for next week. ee | This week the : at the New “Rosalie” New “Follies” winds up Amsterdam, which has next week; “Sidewalks of York” takes to the road from oe i the Knickerbocker, which will house nt ot the Irish Players, now at the Gallo; . BY “Mikado” and Gilbert and Sullivan rep leave the Royale for the road, the house announcing no new at- traction. “She's My Baby” at the Globe is the big debut this week. Max Rein- | hardt’s German players continue i their repertory at the Cosmopolitan, having moved from the Century; “Nightstick” returned to town at we the Cohan after a week in Buffalo, oe |! “Oh, Kay” is at the Century for a : two weeks and “The Medicine Show" held over from last week, is ‘ carded at the Princess. High prices for choice attractions ol | was the rule along Broadway for New Year's eve performances. Most musicals were scaled at $11 top, but that didn’t mean anything in agen- cles not bound by the federal stipu- - lation 4 TERRY DUFFY EAST Henry (Terry) Duffy, now the } stock magnate of the country with e the Pacific Slope his exclusive ter- } ritory, was in New York last week, am * with his wife, Dale Winter. ek cl! The Duffys came east to look over plays. Terry said his stock : ventures on the coast are in staple ' condition but mounting costs out a | there have considerably cut down Pay On ins profit chances at the scales A wee charged, $1.25 top. * : New Duffy stock theatres are be- ag ing built by local capital in Holly- if wood and Oakland, Otherwise Duffy is the sole owner of his the- atre stage propositions. MIAMI’S ROAD SHOWS Miami, Dec. 31. The program at the Fairfax for ; the winter season ts the best offered Miami visitors for several years. ye Road shows will run Thursdays, Fridays and Saturdays. Those booked include “The Con- stant Wife,” Dec. 29-31; “Queen f High,” Jan. 12-14; Ziegfeld “Follies,” 1g Jan. 26-28; “My Maryland,” Feb. 2-4 foe.

| FLOCK OF FLOPS | The Newer Manager

Sx r ‘ 4 I man [ 4 how ' J ul I ( I j , ' y ‘ I pit, iS ' iit he want fo a q b r sked he | ent was I n r Vhy Max Hart

flop “COMPROMISE ON ACTOR MEANS $190 RAISE Arbitration re Miller and McKaig Over E. G. Robin- son on “Patriot” Under a compromise agreement involving arbitration between Gil- bert Miller and Alexander McKaig over the services of E. G. Robinson, now with “The Racket,” the actor remains under McKaig’s manage- ment. 3ut after Jan. 16 Robinson will receive a salary increase of $150 weekly, equalling the amount he would have gotten if going with Miller to create the title role in “The Patriot,” now in rehearsal. The case grew out of McKaig’s representation that he held a run- of-the-play contract with Robinson, whereas the contract held a two- week clause. Testimony was in- troduced at the arbitration hearing that Miller had mentioned the sub- ject of the part to Robinson a year and a half ago. “The Patriot’ opens Jan. 16 at the Majestic. It is a translation Alfred Neu- In London Are Dan- from the German of man by Ashley Dukes. it was called “Such Men gerous.” Lynn vesmatancieed will pany the role. Equity ‘and Sharpshooters Equity has tamed up on form- er promiscuous handing out of con- tract blanks to casting agents. It is now demanding the status of managers for whom the casters are securing blanks before issuing them Equity was prompted to take this stand because of sharpshooting pro- ducers sending casters over for con- tract blanks and signing them, re- gardless of security. Equity mem- bers signing figured the producer okay when the regulation contract was offered. In some instances they later learned they had been duped when shows that had rehearsed sev- eral weeks were abandoned without redress. Equity is checking up on several commonwealth shows in rehearsals, suspected promoted by managers posted on Equity’s unfair list but attempting a dodge by dummies, In cases where managers indebted to Equity members are attempting to work this racket, Equity will order the company out. VARIETY

| ALL BROKERS CAN CHARGE PREMIUMS, U. S. Att’y Agrees with Ticket Agencies—Criminal Cases and Appeal Discontinued At final conferences between U.S Attorney Charles Tuttle | neys representing Broadway's thea- and attor- | tre ticket agencies it was agreed to the ticket cases, as forecast last week discontinue litigation over iby Variety. All brokers will sell for whatever the traffic will bear, starting this week, and give the government its share of the premium. The stipulation made by the fed- eral attorney is that all books be kept according to the law, all re- turns made to the tax collector and all moneys due the government be paid. Under the Tuttle stipulation as of last summer, leading brokers agreed not to sell at over 50 cents above the box office price, pending the outcome of the Alexander case. The’ conviction of the Alexanders was upheld by the U. S. Circuit Court, with an appeal to the Su- preme Court pending. With a statement pending from Tuttle, it was reported he con- sented to settle the assessments made out against the brokers on the basis of 10 per cent. The high- est assessment is $225,000, covering a five-year period. So the highest assessment to be paid in lieu of non-payment to the government of half the excess premiums would be 22,500. It is understood the Alexander case will be disposed of. Although the Alexander brothers face im- prisonment and heavy fines, the prosecutor is understood to have evidenced a desire to ask the court to suspend their sentences. The brokers entered the new agreement with Tuttle rather than risk appeal to the U. S. Supreme Court over the legality of the 50 per cent. levy feature of the admis- sion tax law. They were advised the appeal would be costly and that they had only a 50-50 chance of winning.

Keefe-Moorehouse Play “Gentlemen of the Press,” by Ward Moorehouse and Willard Keefe, has been se¢ured for produc- ition by the Actors’ Theatre. Pro- duction in March. Keefe authored “Celebrity,” cur- rent at the Lyceum. Moorehouse is assistant dramatic editor of “The Sun.”

Mrs. Garrity’s Role Chicago, Dec. 31. Mrs. John J. Garrity, wife of Shubert’s Chicago representative, understudying in “Murray Hill’ at the Princess, will open ‘in the same theatre Jan. 15 in “It Makes a Dif- ference.”

Photo by SEASON'S ADA- “RIO

Hal hyfe GREETINGS MAY RITA” Wweeeeany, January 4, a

~ 1905 MINSTREL CONTRACT Below is the first contract ever signed by Bobby Clark ana Paul McCullough as a team Its date is 1905 and for Culhane, (© . and Weston's Minstre! The system of anes imposed on members is unique at this date in- cluding $1 for being late at rehearsal; $2 for missing parade and $5 for “mashing” The Red Letter Attraction

This

daily. ) Salary paic Lani by le. Ah paid on said ___ We he fo!

within two blocks of theatre or hotel, jng Rules a pte eens of this Contract, sud=sed PLE agree to sWbniit to me or forfeit “. entry gagement. Two Weeks’ Notice given in Writing will suffice to cancel this Contract. etc The Big Boom Culhane, Chace & Weston’s Minstrels ARTISTS’ CONTRACT. “ff Made and entered into this the fF ager of above Company, and t oale aS Me Elle + _ that said . engages (eeeneeté, | themselves, ) for eee season of mare or less as_ ¢ Leip Lou a mr sist of Railroad Fare after joining Company.) Board, (2 meals and 1 lodging oldback of 4 dayyon First Week to be

cached

2/4 ro and Expenses, (Expenses to con-

are a Pa

1.—Drunkenness, 2.—Late at Rehersal, $100. 8.—Late at Parade, $1.00. 4 —Missing Parade, $2.00. 5.—Stage wait, $1.00 disposal. 8.—Muddy Shoes in Parade, $1.00. The Rules and Fines of this Company are as Follows: Immediate discharge. 6.—Playing of Musical Instruments in Hotels, 7.—Loud Arguments or Swearing in Hotels or Theatre, $1.00. 9 —Dirty Shirt Fronts, Collars and Cuffs, on First Part, $1 00, 10.—And most important, Mashing within 2 blocks of Hotel or Theatre, $5.00 Musicians are vot allowed to carry trunks, dress suit case the limit. 11 —When Company is Obliged to Lose a Night through Inability to Fill same, we Pay Expenses, but No Salary. 12. —Half Salary only week before Christmas and Holy Week. No fine. 200. Theatre at your

Our Success is Yours, Essential Point of Success. Ae Sign here I agree to above terms, aod Weston’'s Minstrels. Agree wees CP Wines dh by WE WILL TRY TO AVOID FINES IF YOU WILL HELP US. For First Part you must have Bleek-Brece- Suit, Patent Leather Pumps, Ret Neatness in Street Appearance is the most That is what we va after,

gr. Culhane, Chace

“L’ Aiglon’s” Short Life Cost Someone $85,000 The quick collapse of “L’Aiglon” counts as the outstanding fatality among the holiday offerings. It was among the 11 premieres of Christ- mas night. Off at the Cosmopolitan Saturday, it played a lone week. The revival represents a loss of $85,000, some of that money having been used up in road losses. John D, Williams presented the attrac- tion, operated by the Williams- Strange Co. Michael Strange, wife of John Barrymore, was reported financially interested and appeared in the title role. Wednesday matinee was good, but night trade was so bad that it was decided to withdraw the at- traction rather than double the losses. The Max Reinhardt com- pany of German players moved over to the Cosmopolitan from the Century Monday. Hall on “Telegram” Leonard Hall, brought from Washington as dramatic critic for the New York “Evening Telegram,” remains with the “Telegram” as critic. He was not active last week, Robert Garland covering the pre- mieres as substitute. Hall resumed his review duties Monday. Hall denies he has been slighted by other newspapermen and ex- pressed his pleasure at having been so cordially treated since coming to New York. It was said late last week that tobert Garland, who subbed for ‘Hall on the “Telegram” during his illness, might take up dramatic criticism on another New York daily, with the “Mirror” mentioned. If the latter, Robert Coleman, its current dramatic editor, would probably confine himself, also re- ported, to his “Manhattan” daily column and the editing on the ‘Mirror.’

NORMAN TREVOR BETTER

Los Angeles, Dec. 31. Norman Trevor is recovering from an operation for ulcers at the ornia Hospita! here. Cali- i | Women” at the Frolic, FRANK WILLIAMS DIES; SAM WILSON WANTED Victrola Thrown During Xmas Party—Hit Williams—Both Actors in Kongo Cleveland, Dec. 31 As the climax of a Christmas celebration Frank Williams, of “Kongo,” at the Colonial, was fa- tally injured when hit on the head by a Victrola, alleged thrown at him by Sam Wilson, who plays the giant part of “Fuzzy” in the same show. Williams died Dec. 29 at the City Hospital of a fractured skull. Police are searching for Wilson who is supposed to have headed east. Wilson invited guests to the Ho- tel Lincoln Christmas night. The boys are supposed to have gotten pretty rough, with the alleged hurl- ing of the Victrola topping the af- fair. Williams had “Kongo.” the ghost part in “Happy” Cuts, 35 to 507, Salary cuts ranging from 35 to 50 per cent went in last week on the musical “Happy,” produced by Mur- ray Phillips, casting agent, and cur- rent at the Carroll, New York. With acceptance of the cut the cast Was guaranteed three weeks at the new figure and also a stipula- tion that if the show grosses over $11,000 full salaries will obtain. Percy Helton and Fred Santley are leaving “Happy” because of the cut. Ethel Jackson in Role Ethel Jackson, creator of the title role of “The Merry Widow,” is coming out of retirement to replace Helene Mitchell in “Jimmie’s New York. Miss Jackson goes into the cast next week.

w Kem ture pusi ones pit Bris that you one boy: clea hav way Lon twit be ar one ma ne\ ble sir out pia as W: ar all E: ete bi ~_- samen ho CR oo Ot CO SO

Page 23

—=> Pay] and in. F few 4 a 4 ] 7 - — of at OD cr oo 8 ~~ .

Wednesday, January 4, 1928

| Morosco's when the firm of Wagenhals & Kemper made the mi enificent ges- | ture of retiring from the show business with a fortune, the wise ones said they'd return like the pitcher to the well-known well Bright light logic is to the effect that you may make your pile, but you always give it back. This was one time the rule didn’t work. These boys came from retirement with a clean-up, “The Bat.” They still have “It’—the magic “It” of Broad- way, a B. R.—short for bank roll. Long before Elinor Glyn gave a new twist to the word, plungers who had parted with their jack were spoken ef as “Good guys when they had —s IXxceptions prove nothing. Some- one will finally marry Peggy Joyce, maybe, and stay married. I am never surprised when I see a hum- ble looking individual cross at 44th street and Bradway, on foot, with- out being stopped by eager Thes- pians or hangers-on, who once was as hard to see as the Prince of Wales on a night off. A few years ago he was found—when found at all—-behind a mahogany desk as big as a pool table, courted like an Eastern potentate. Dramatists, stars, and would-be stars, the world of aspiring players, looked to him for fortune and fame. He was a successful Broadway manager, who knew where the golden apples

grew on the tree of success. Joe Gaites The picture changes. Now he works for somebody else, or vainly secks an “angel” to try out another venture. In the interval he went broke on the street that wasn’t surprised, merely expectant. For it fs a proven fact that picking suc- cesses never becomes a habit in the show business. It isn’t so long ago that Joseph M. Gaites had a number of produc- tions. “The Thret Twins,’ which brought in a golden shower, at one time had eight companies playing to capacity in the principal cities of the country. It made over a mil- lion for Mr. Gaites and his backers, the Witmarks, music publishers. Followed “Bright Eyes’—not so good. Then “Thais,” for which the producer wanted Mary Garden, but couldn’t get her, a beautifully staged spectacle that somehow didn’t “click; “Doctor De Luxe,” with Ralph Hertz; the lovely Kiity Gordon, cold as her audiences, in Victor Herbert’s “The Enchant- ress’; a host of others, quickly draining the bank roll. All looked good enough, at the time, were finely put on, directed and acted. Mr. Gaites never smoked or drank; a terrific worker and executive, 20 hours at a stretch were not too much for him. Just poor breaks, unlucky picking, after a _ million dollar find. Today Gaites has the late Ed Bloom’s job in the Shubert office, working on a salary. A born showman, he went broke choosing expensive wrong ones—and backing ‘em too long. George Lederer Remember “The Belle of New York,” and afterward “Madame Sherry”? They were both million dollar bonanzas. But where is George Lederer, who produced them? Wintering on the Riviera? No. Ahead of an Erlanger show as advance agent. Reason, slow shows and fast expense, and a desire to live like Morgan. When the dream was over Mr. Lederer went looking for a job. A charming gentleman, he takes the switch philosophically. He is a showman. Maybe he will hit again. Who knows? Oliver Morosco Two of the biggest dramatic hits of recent years were “Peg of My Heart” and “The Bird of Paradise,” both sponsored by Oliver Morosco. He had the theatre which still bears his name, but now he has no finan- cial interest in it—or much of any- thing else. Recently he sued to have the name of the playhouse changed because he received no rev- enue from the place. Seemingly impossible, one might think, but Morosco’s fortune evapor-

ated in less than two years. His first wife, on the coast, tied up his properties securely, and he was | ‘short of ready cash; then he was | beguiled into a stock selling scheme | that sent several men to innocent himself, he was used as a dupe, so the court declared. In the past five years Morosco has made aj} dozen efforts to come back. Once he used thousands as pawns. Re- cently he was sued for a small hotel bill at The Alamac. enormous fortune hit the toboggan it was a quick one. Nothing was saved from the wreck but Oliver When his | Atlanta, | | | | cesses Alf Hayman made it. By JOHN WILSTACH bious fame of introducing Name and his titanic en- ergy Now he is out on the Pa Coast, where he st d, but didn't know enough to remain, and z to come back again Several years age man died in harness as manager k with a K & E attraction—Fred C. Fischer. | |The name meant nothing to the| public. Yet Mr. Fischer, with Tom Reilly, produced “Floradora,” and the sextet that stepped from there into the ranks of the 400. After! that they put on, lavishly, “The| Silver Slipper,” which had the du- |} : | Valeska Surratt to the public as The Gibson | Girl, This ditto. lost plenty. Others— Did you ever notice you can't re- | member the names of theatrical frosts? Yet they melt money, they fade out, right enough. Reilly, Fischer’s partner, been heard of in recent years producer—yet he is still on way, even if he no longer owns the street. has not as Charles Frohman When the great Charles Frohman died many were surprised that his estate proved him practically penni- less. How come? Well, Cc. F. had theatres here and in London, and liked to produce expensive English shows with imported casts. They used to say when they were flops he lost money, when they were suc- Any- way the latter, the financial power as | Tom | | horizon a | Broad- | VARIETY

GOING BROKE ON BROADWAY strauss oper a Vanish A great untry home is expensive, to pu ip and p up, and to get a mor gage S easy But only the first couple of ‘em Then the bani gets that frosted smile that need no shake of the head to gx with Carle Carleton Carle Carleton at one time held : major interest in “Irene,” and wa married to the star of it, Edith Day He sold out his one third share fo the privilege of taking Miss Day to England in the piece—and so left a cool half million—a half million anyway, whether cool or not. Jimmy Montgomery, the author and his time partner, always mentions thankfully, in his prayers. After this with Edith Day, anyway Pat Somerset arose and Carle Carleton wife. Last season of closed suddenly after the first week on Broadway. The butler didn't wait without, but some of the actors did. The list of those who once were in the money on the big street and then got in the also ran class could | be elongated. And if we, editorially speaking, could be real deep, we could tell the why and wherefore. | | one him, he with deal or she rash parted him: on thé had no star a troupe - or his There is no definate answer—but experience does teach something. Picking hits is not a _ business. Now it happens, then again it does not. The crafty managers and

SEASON’S GREETINGS FROM MARY EATON - STAR OF “THE FIVE O’CLOCK GIRL” Forty-fourth Street Theatre, New York

| | } | | |

of the firm—in the background— died very wealthy. He did not de- sire the fame of a producer—just to be known as a retainer. Ann Murdock was left a large portion of Mr. Hayman’s fortune and re- | tired from the stage. John Cort Some time ago John Cort came east with 500,000 berries in actual cash in his sock to be a New York producer. I have this on the au- thority of Will Molitor, who repre- sented him at the time, also the fact that Mr. Cort lost this amount | picking losers. “The Alaskan” be- gan a string of failures. This pro- ducer had a costly perseverance; he kept shows going if he them, whether the public responded or not. When “Listen Lester’ finally hit pay dirt he only had a small piece of it. Once he owned or booked every theatre west of the Missis- sippi; now he has the Cort Theatre and Daly’s, New York, recouping as a house manager in which he first showed genius, instead of producing where he voted alone In Broadway parlance, a guy should stick to his own racket. Besides which John Cort has made himself judgment-proof, so the lawyers say. Fred C. Whitney once said he had | made s0 much money on “The Chocolate Soldier’ that he didn't know what to do with it. He could use some of that cash now. Cosily million and a half profit on the j

—_ 5 A Habit . The re t st d has i bee ed I I ps at t I nor t! now offering The M ‘ I man was t » I " of t ew \ J

Hassard Short as “Ghost” Producer for Shuberts Hassard Si former stagger of | Music Box Re ©” and producer on his own, h een set a “ghost producer for the Shuberts “Sweet Daddy, musical version of “A Kiss in the Taxi,” will carry Short’s name as producer, with the Shuberts financing and Short on| salary for staging and getting a percentage of the profits Short is also in on Mirrors,’ which Sam H. Harris and Albert Lewis are producing Short had |! the script when producing on his | own, but s ibseque ntly passed it on to Harris and Lewis, retaining a piece of iff lic is the prime reason these pro- ducers went broke on Broadway. They refused to follow the old hotel maxim: “The guest is always right!” And Also—! (Peculiarly enough, in his article Mr. Wilstach has not brought out one point: that all of the producers mentioned as going broke were pro- ducers only, with an exception. Whereas the trio mentions as crafty producers, Golden, Woods and Brady, op- erators as well. One could go on ud libitum along this line, even picking up the recent instances of the several young pro- ducing firms along Broadway taking over their own houses for their own productions. It is the fact that the wealthiest showmen, also those who have hung onto their money, are theatre own- ers, The biggest one of these is A. L. Erlanger, operating theatres for nearly 40 years, likewise producing here and there in splits of partner- ships, but holding out as much in- terest for himself in theatres as possible. Or the Shuberts, with Lee just a shrewd, hard-boiled, cold-blooded business man who wouldn't let a nickel escape from any source

he Me Ssrs. are theatre

if there’s any way to stop it, but fall- | ing down in double the majority on all productions he tries to super- vise. Ever the same with the un- usual exceptions as with Anne | Nichols, For the reverse, David | Belasco, owner-producer with an enviable rep but without much money. Yet another’ producer- owner, Arthur Hopkins, now rival- ling Belasco’s rep as a producer, looks to be in line for wealth, al- though Hopkins appears indifferent to big money, that making him and Belasco the producers they are, Safety First Shows 4 | Al Woods probably has made shrewd, like John Golden, William | more money out of theatre manip- A. Brady and A. H. Woods, have! ulations -the past two seasons than one rule to go by. It is: “Don't | he has out of his show productions, battle the public!” Let us say one/taking in “Shanghai” but not the of them tries out a play on the dog current “Mary Dugan.” Golden is | —a nice dog, like Stamford, Conn a conservative who built up with]! No matter how much the manager | Winchell Smith on the safety first likes the piece, if the audience dis- | plays, the kind Larry Weber likes agrees, off it comes so quickly you/and which Lee Shubert wants to can't see the dust while it rushes | be behind, those 30c. productions if to the storehouse, | the production is new. Golden is The Public As Judge still a safety first He can never Any one of these three men figure | go in the box very much and as an the populace is always right—and owner now, he's first safe all of right away. No earthly or financial| the time. | use trying to push something down Probably ever thus, in the legit— | its throat that isn't welcome. liked | | | | for his ticket. | | with “Abie’s Irish Rose.” Once in a blue moon a show will get under way slowly, as was the case The pub- lic didn’t take to it kindly at first, but after a long wait and resolute pushing—well, you know what hap- pened. But this is a terrible ex- ample. It doesn’t follow once out of 500 starts in this way. As a general thing the men who have lost their fortune thought they could make the dear old public stand for shows that were origin- | ally received with indifference. throwing good money after | | } ru J bad. | Davis is a case with “The Ladder,” | | fiascos like “Paron Trenck” made the | which has been on a year against the wishes of audiences. gut may- | be he first stepped under it? Any- way Mr. Davis can afford the going —he wallowe, they ray, in oll. And | he’s not a showman, In cases I have mentioned, go- ing against the verdict of the pub i) ‘ties the the percentage is against the pro- ducer—only it Is so far against him that it appears as though that per- centage must get him sooner or later. The record seems to prove it. And it may be that the pro- ducer-theatre owner enabled to secure production backing easier than the producer only. And yet there is Lew Fields with the Shuberts and broke for 17 years. And not a flop, nothing but hits since leaving the Shuberts Not so in moving pictures, though where the producer has a break. is tras and everything else that hog- lewit

| Perhaps the sharing terms, the ex- | Strausberg 23 STOCK MANAGERS ARE FOR ORGANIZATION Organizing Committee of Nine Calling General Meeting in N. Y.—General Benefits Another mov ‘ tne o 7 ‘ <S pre rs to promote genera ie rhe latest drive I } opportune - cause of the growth of st wit n the past yerr The committee of organizers com- prises nine, mostly managers of one or more stocks operati: through- out the country. They include Les- ter Al Smith, William H. Wright, © 1). W oodward, Al Jackson, George Roberson James Kelly, James Carroll, Eskell Gifford and James Nolan. The committee is at work on plans for a general convention of stock managers for New York later this month, at which the platform |; will be submitted. Several previous efforts have made to with none been organize stock producers, materializing FUTURE PLAYS ——__ — “It Makes a Difference” goes into rehearsal this week with Lawrence Weber producing. Kenneth Me- Kenna, Thais Lawton, Mayo Methot, Lawrence Grattan and Irene Ford are in the cast “The Queen’s Husband,” by Rob- ert E, Sherwood, has gone into re- hearsal as next for Brady & Wiman, Roland Young, Katherine Alex- ander, Gladys Hanson, Lyle Isham and others are in the “Spring 3100,” previously out and brought in for being readied for another George (Lefty) Miller. rehearsal next week, “John Ferguson” will be revived for special matinees at Daly's 63d Street, New York, Jan. 9 through an arrangement between Augustus Duncan and Charles Mulligan. “The Banshee,” current at the house, re- mains for regular performances. Augustin Duncan will stage and play the title role in the revival. Mulligan is producer of “The Ban- shee” and has a sharing interest in “John Ferguson.” “The High Road,” by Frederick Lonsdale, announced for Ina Claire, has been sidetracked indefinitely by Charles B. Dillingham. Dillingham may import the cur- rent London company for an Amer- company. tried is by into revision, try Coes jlean tour next spring. “The Booster,” tried out in Bay- onne, N. J., is off this week for re- vision and may reopen at a New York house next week. “Children Never Forget,” with Schulman and Goldberg behind, goes into rehearsal next week. | Ludwig Satz and Leon Blank will be “Possessed,” by Vincent Lawrence, will reach production next month. William Harris, Jr. “Marriage on Approval,” Michael Kallesser, author and producer, is being cast, “La Gringo,” by Tom Hamilton MacFadden an@4 Charles Wagner producing, goes into re- hearsal next week. Claudette Col- bert wil] head cast. MacFadden will stage. “The Stepchild,” by Sam Orange, is next on list for Ray Mont Pro- ductions. In rehearsal next week. “Quicksands,” by Warren Law- rence, goes into rehearsal as the second production venture of Anna Held, Jr. Lawrence is general man- ager for Miss Held and will also direct the play. “Quicksands” was first produced last spring by Seth Arnold and shelved for revision. “The Whip Hand,” by Marjorie Chase and George 8S. Brooks, has been secured for production by Shumlin & Streger. In rehearsal next week. co-featured, Cushing, Leventhal’s F our Stocks The proposed stock burlesque pol- icy for the DeKalb, Brooklyn, N. Y., has been scrapped with dramatic stock going in instead. Through a deal closed between J. J. Leventhal and the Small- interests Leventhal takes POoSsest ion Jan. 9 and will play producer are absent | dramatic stock. in the picture division Or maybe Leventhal! will also take over the there are more film theatres more | Opera House, Bayonne, N. J., Jan. evenly distributed among more!16 for dramatic stock owners than in the legit, without Above acquisitions will give Lev- the legit bocking offices, which say | ont! il four stocks, with tt others take it or leave it. no giving nor ‘the I Ito, Hloboke New nd Ful- all of the rest of the stuff ') ¢ ' a - - » i i ' i if - 4 ¥ i bh } ES x & ia ae

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OR a ST OF a ee 4 A DE Wednesday, January 4, 1928 LEGIT 1927 has been filled with impor- tant developments and occurences | in the legitimate theatrical field. | Perhaps the outstanding events were the most effective dirt play disclos- ure which led to the singing of the Wales Padlock bill and the Broad- way theatre ticket investigation by | the government, which brought | about arrests of over a score of ticket brokers. Last February the dirt play sit- uation became an impertant issue. Arrests of the players and managers of three attractions running in New York were made. It was discerned that publicity at- tendant the arrests and salacious play charges, did harm rather than attract business to the box offices. “The Captive” had been getting $22,000 weekly and was in high de- mand at the agencies. As soon as the papers started running stories, business dropped perceptibly. The show commanded a class draw and patrons of that class shy away from things to which unfavorable pub- licity is attached. “Sex” started slipping the day the arrests were made. It dragged along until the trial, but business went away off and the cast had to take a salary cut. “The Virgin Man” was about to close when arrests were made. The backers figured on mak- ing a winner out of a flop, but went further in the box. Sale of tickets for both the latter shows sharply declined even in cut rates. Public, Real Censor The lesson pointed out by such phenomena was that the public is the real censor. There was an epi- demic of censorship throughout the country. Censorship bills were in- troduced in the New York Assem- bly, but not passed. Governor Smith did sign the padlock bill, which pro- vides for closing a theatre for one year, if a salacious play conviction is secured. The Committee of Nine, a committee consisting of managers, authors and actors, was expected to go far in cleaning up the stage, and it is credited with being a factor that knocked out political censor- ship. After the labor of months the Committee of Nine disbanded, but it may be revived later and mean something for the welfare of the theatre. The first real rumble in the ticket matter came with the decision of the U. S. Supreme Court declaring New York's state law limiting the premiums on tickets resold by agen- cies to be unconstitutional. The high tribunal voted five to four, the decision stating that such a law amounts to price fixing by legisla- tion. “The sale of theatre tickets bears no relation to the commerce of the country,” read the decision. The court based the ruling on old precedents, but there was a strong dissenting opinion to the effect that New York’s law was “a wise and rational provision,” with present conditions of tleing up theatre tick- ets cited. In May federal investigators started collecting information against nearly all the leading Broad- way ticket agencies who failed to pay the government one half of the excess premiums over 50 cents per ticket. The federal men were tipped off to the inside dope, some of his information coming from prominent clubs handling tickets for mem- bers through established agencies. Tickets An inquisition was started before U. S. Commissioner H. Garrett Cot- ter, with U. S. Attorney Charles H. Tuttle handling the investigation. Employees of ticket brokers were summoned to the post office build- ing. As the investigation proceeded an indictment of the Alexander Agency was obtained, it being de- cided to try the brokers in alpha- betjcal order. Edward and his half brother, Oscar, were convicted for failure to file the returns and pay the tax as prescribed. They were fined $5,000 each with double that fine for the agency, and sentenced to spend eight months in jail. It was an unfortunate break for the elder Alexander Edward, whose rep- utation was of the best. The shock go affected him that he retired from business. Some 23 other brokers pleaded guilty of the same charges and their eases are being held in abeyance pending the final result of the Alex- ander decision, which is to be the test case, the brokers contending the law is illegal. Should it be upheld, the Alexanders face jail, while the others are liable to be freed with fines. The U. S. Circuit Court of Ap- peals affirmed the Alexander con- viction While that was antici- pated, it was hoped the court would be divided. All three judges agreed. An appeal to the Supreme Court is now being considered, Late last month (December) a@ proposal to clarify the ticket situ- ation was made. This came after conferences between the federal prosecutor and counsel for the brokers. This plan calls for the ticket agencies to make the proper returns and pay the government its 50 per cent. share of excess pre- miums. Guarantees would have to be made that further violations will not occur. Assurances are sought from the brokers that they will not charge abnormal premiums, Fur- ther prosecution of the pending cases and the appeal of the Alex- ander case may be dropped, if the new proposition is adopted. The investigations proved that money was paid managers as con- cession fees, that box office men re- ceived gratuities, so that it was not all gravy for the agencies. Also they were forced to take losses by the managerial system of forcing the brokers to buy for poor shows to get tickets for the hits. : When Tuttle found that out he changed his mind somewhat as to placing all the blame on the brokers, but did not cease his endeavors to clean up the ticket situation. From the brokers’ viewpoint they welcomed the investigation in a way, feeling that the tax was uncol- lectible, but realizing that by with- holding the money it was a violation of the law. Their error in that re- gard lay in the fact that they did not contest the legality of the statute, on the books for six years or more, Shuberts Got Money It was brought out in testimony that the Shuberts figured largely in the concession money paid by the ticket brokers. The Shuberts’ audi- tor testified they got $55,000 from the agencies in the past year, and in addition collected some $12,000 more from their own box office peo- ple. The latter item is half of the gratuities paid the ticket sellers by the agencies. Tuttle advised the auditor to pay the government one- half of all such money, which he stated was based on the number of tickets sold by the managers above the box office price. The law calls for even split with government of such excess ticket money, the same as when a broker sells at more than 50 cents premium per ticket. During the ticket investigation agitation, Joe Leblang, the cut rate ticket king, proposed establishing a central ticket office. He offered to finance the plan. It looked for a time as if the central office would be established, the managers meeting frequently on the matter. The idea was to charge 10 percent more than the box office prices on all tickets over $2. The proposed agency called for at least 80 percent of Broadway's legitimate theatres to participate, meaning 66 houses out of a total of 70. It was never proven that the re- Ma and Pa wish everybody in the world a Happy and Prosperous New Year. From me, too, sez BILLY DIAMOND, JR. quired percentage was committed to the Leblang plan, but most of those managers were completely sold on it. The Erlanger, Ziegfeld and Dillingham faction steadfastly refused to entertain the idea. They bluntly declared they would have nothing to do with any ticket agency dominated by the Shuberts. The reasoning was that as the Shu- berts control more houses they might easily assume control of the proposed central office, if not at the start, later on. The central office idea enthusiasm finally went into eclipse. Leblang apparently came to the realization that he would assume a heavy fin- ancial responsibility and he asked for guarantees in that direction. Also the individual managers started to ask the meaning of many points in the agency agreement that were glossed over. Following the collapse of the Leblang plan, the McBrides proposed a different sort of central office. The same man- agers were for that idea, too. It was to have a limited number of agencies and keep careful tab on the prices charged. It seems some pro- ducers used the idea for publicity, but it also fell through. On the in- side it was known that the McBride plan was never seriously considered by any of the brokers. That was something the dailies never could understand, nor the publicity angle either. Carroll’s Error In April Earl Carroll started for Atlanta to serve a year and a day for perjury in the famous bathtub case. He had given a party on the stage of his theatre and a nude girl entered a tub supposed to contain wine. He was indicted because he insisted that the nude girl never got into the tub. The grand jury discarded the dry law violation factor. The conviction was regarded a sad mistake, punishment being meted out because of a prank. Bad advice appears to have gotten Car- roll into the jam. He was promptly released when eligible for parole, SIDELL 4 SISTERS Sensational Dancing Hit with Ziegfeld's “Showboat” WE ARE EXTENDING 70 OUR FRIENDS “A HAPPY NEW YEAR” ‘IN NEW YORK WITH A HIT By VICTOR MOORE — And get so hoarse you can When you are hungry and And there’s always time for To every friend you happen You try out and come in for Then it’s hell to be in New When you have traveled, and traveled, and traveled And for a change, you travel some more; And you've played in every That there is from shore to shore. When you've had to stop in bum hotels That almost gave you a fit, You can appreciate how nice it is To be in New York with a hit. one-horse town When you play the first half in Toledo, And the last half in Kalamazoo; And you have to do four shows a day in Dayton, When you only expected to do two; When you have signed for a whole week in one town, And on Saturday they change it to a split, Then is the time that it’s kind of nice To be in New York with a hit When you sit in the cold train and shiver, hardly speak; the only restaurant Is the Vienna cafe run by a Greek. Then you appreciate home and a good cook; When you eat you clean up every bit, And your legs are under your own table, When you are in New York with a hit. If you have a good home and you like it, With kids that make a home worth while; When you've had the same wife for over 20 years, And she still knows how to smile; When you have a bed that is a bed, And “comfy” chairs when you sit, Then’s when it’s kind of nice To be in New York with a hit. And on matinee days you dine at the club, With the pals you like to know, a pool or billiard game Before you go back to the show, And on Sundays, if there’s no benefit to do, You can stay at home and read or knit. And life is really worth living then, When you are in New York with a hit. But after you have rehearsed for five long weeks, And you buy a wardrobe you can’t wear on the street, And you keep saying you have a great part to meet. the big opening night, Hoping you soon will be way up on top, And the piece only lasts for just one week, York with a flop. CANADA The past year held no startling change in entertainment conditions in the Dominion. There is no legitimate business to speak of there. Every attempt to start any- thing of this nature having met with failure. American road shows, with sec- ond or even third rate companies, can now be assured of a cleanup if stopping over in two or three big towns while making the jumps through the northeastern part of the United States. Every town in Canada is show-hungry but the returning to New York and going into virtual retirement for a time. The season’s end last spring found Gilbert Gabriel of the Eve- ning “Sun” the winner of Variety's critics’ box score for the second year in succession. “Abie’s” World Record “Abie’s Irish Rose” broke the world’s run record Aug. 9, 1927, continuing on at the Republic un- til Oct. 23 for a consecutive Broad- way engagement of 283 weeks or five years and five months. The Anne Nichols’ comedy champion then played for record engagements in the subway circuit houses and four companies are still on tour, with three more in foreign lands. arly this fall a dispute arose be- tween Equity and the Protective Managers’ Association over a viola- tion of the 10 years’ agreement en- tered into by the so-called Shubert managerial faction and the actors’ organization in 1924. Equity de- clared the agreement abrogated, but the P. M. A. entered a contention that the supposed violation was not made with design and suggested ar- bitration. Since then Equity has been working on proposed changes to the agreement and for the time the agreement is intact. Film Houses Hurt Hits arrived on Broadway early this season. They have been get- ting the money, with general busi- ness hardly up to normal, however. The counter draw of the major pic- ture theatres is believed to be a vital factor in the drop. One thing is certain. Through most of the fall there have been plenty of dark theatres on Broad- way. That is a condition never be- fore known during autumn, a period as the harvest time for the legiti- mate, That Broadway will be 100 per cent. tenanted with attractions this — is doubtful, save perhaps for a short time after Christmas, grosses would hardly warrant stop- overs in the smaller cities, leaving the few large centers the only pos- sibilities. Picture business has increased generally. Neighborhood houses are rolling up tremendous profits. Money for investments of any kind and especially for theatrical pur- poses, is not nearly as easy as in the U. S. so that the overseating problem does not exist. Picture house construction can be under- taken, with few exceptions, only by those already controlling the field. Stage Shows Keep The stage policy adopted in the States, while not influencing the trend of picture house entertain- ment in Canada, has resulted in im- proved conditions in several in- stances. Picture houses operating at a loss for years, through being unable to obtain product, are now enabled to rank with the former leaders for grosses, In Montreal, two houses operated by the same company, Palace and Capitol, resulted in an even break and possibly a loss’. previously through the losses of the Palace. The houses are within two blocks of each other. The Capitol formerly had preference over the Palace for pictures and profited accordingly. The Palace now rates first for pic- tures with the Capitol putting on a big stage show. As a result the Palace grosses are equal to the Capitol while the latter house has had no drop in business. There are now approximately 1,000 picture houses in the Domin- ion. Exhibitors are without an or- ganization and minus a trade paper of any merit. Taxes are levied and restrictions, from government and film producers, are imposed with little or no opposition. Picture house grosses throughout the country register an increase over last year and show a large increase over preceding years. CAPITAL INCREASES The capital stock of Cleon Throckmorton, Inc., has been in- creased from $5,000 to $25,000. Throckmorton is one of the best known scenic designers working on Broadway productions. Another Manhattan corporation that has filed notice of an increase in capital stock is Fleetwood Thea- tres, Inc., which has changed its 7,500 shares, valued at $5 each, to 7,500 shares of common, no par ' Value, Yi a. oA) - em CG. ww we OO uw tS nan — ~

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Tr 7 =a "Pw OV lo = “Wednesday, January 4, 1928 _€ag0. good chunk of it. VARIETY ~~ THE "NDEPENDENT LEGIT = = | fhe past year has been signally a panner one for the indepedent legits ett, rather, the leading producers of that division. These independents | have kept abreast if not having bet- gered the hit pace of the veterans. Schwab & Mandel, rated as most prolific among the independents is the music show division again top with “Goods News,” the collegiate musical current at Chanin's New York and another company in Chi- This follow-up on “The Des- ert Song” and “Queen High,” also ace musicals produced by this firm Jast season, gives them a par aver- age and great standing for a young firm of young men, Aarons and Freedley also lean to- ward girl and music show produc- tion have set the Adaires in “Funny Face” at their own new theatre, Al- yin, New York. The firm also has the Broadhurst, New York, on lease, and have cashed plenty of this since the tenancy of “Broadway,” still current. “Oh, Kay,” produced earlier in season also, cut some neat coupons for the boys, and has since been disposed ef to the Shuberts for the road. Eddie Dowling, who invaded pro- duction ranks last season as author- star-producer of “Honeymoon Lane” (in association with A. L. Erlanger) bas paralleled that smash again this geason with “Sidewalks of New York,” starring Ray Dooley (Mrs. Dowling) and standing them up at the Knickerbocker, New York, the game spot where Eddie bowed in last season. Charles B. Dillingham is the presenter of the latter, al- though Eddie is claimed to have a In and Out Edgar Selwyn, who got plenty with “Gentlemen Prefer Blondes,” which went better on the road than fn the cosmopolitan stands, dropped plenty in his first plunge at musi- eals, “Strike Up the Band.” It closed and was scrapped before coming in. Selwyn may salvage it later. Sel- wyn’s co-interest with C. L. Wag- ner in two companies of “The Bark- er’ netted good coin. Selwyn has several new ones up the sleeve, which he will get busy on early in the new year. Charles L. Wagner has not fared #0 well this season, save for ‘The Barker.” “The Springboard” and “Ink” met sad fates practically sim- ultaneously and slowed up the pro- ducer, but he will try again. Jed Harris, whose “Broadway” smash landed him solid last year as @ producer, has done it again with “Coquette.” Crosby Gaige, inter- ested it both of these with Harris, also is turning profit with “Shan- mons of Broadway” and “Night- stick.” Earle Boothe is in on “Shannons” with Gaige doing a solo en “Nightstick.” Harris and Gaige are fast workers on bad ones and waste little time on them. Early in season they elosed “The Good Fellow” after a single performance and paid the cast two weeks’ salary, after the New York reception had convinced them it was hopeless. Gaige re- cently did almost a similar stunt with “Wild Honey.” Arthur Hopkins balanced his out- put with one hit and a flop. “Bur- lesque” clicked heavy and is current at the Plymouth, New York, while Hopkins’ other one, “House of Wom- en,” co-starring Nance O'Neill and Elsie Ferguson, had but a brief career at the Maxine Elliott. “Bur- lesque” will more than counter- balance the deficit on the other and gives Hopkins his first solid hit since “What Price Glory.” Brady and Wiman beat their pre- vious flop average in landing “Road to Rome” and “The Command to Love.” Both are a financial clean- up for the new firm which previous- ly had dropped considerable on four er five bloomers. Two companies of “Rome” are currently raking in the shekels, Jane Cow! heads the New York company, while Grace George is touring in the western company. One Producer Through James La Penna, who last season éropped a fortune on “Sweetheart Time,” took another fling recently ness extravagance, ever, wealthy angel doesn’t mind. Oshrim and Grisman, operators of | the Waldorf theatre, also plunged with a musical, “All About Girls,” which dropped much in two weeks To make matters worse, they had shifted “The Ladder” cash customer to make way for their own show. Since, they have leased the house to Gene Buck for “Take the Air,” Buck’s second try on his own, and which leoks possible. Prior to “Air” with Will Mahoney and Trini co- featured, Buck dropped on “Yours | Truly.” Wally Glick also tried a musical, “Half a Widow.” It lanquished a few weeks at the Waldorf, to be closed when salaries were not paid. Richards Reynolds, heir of the to- bacco king of same name, was re- ported as having angeled this one for Glick. Robert Newman struck a perfect average with two outs in “Off Key” and “Pardon Me,” the latter a mus- ical. Both closed, but Bobby has another. Daniel Kussell made two stabs for a comeback, with neither clicking. “Plastic Perjury” and “Very Well,” the latter musical. Edward Everett, downtown bank- er, went twice, first as bankroll for Texas Guinan’s “Padlocks,” pro- duced by Scibilia and Morganstern, also “The Girl from Childs,” which quickly perished. Othera Joseph Santley took a plunge this | season with “Just Fancy,” current at the Casino, New York, rating a class musical but hooked up too heavy on production and payroll to cut any big coupons. Carl Hemmer, who staged the dances in “Dearest Enemy,” came into the fold with “Allez-Opp,” later relinquishing interest when it took to the road. Philip Goodman holds to average only because of the click of “Five O’Clock Girl” at the 44th Street, New York, having flopped with “Wild Man of Borneo” and the road tour of “The Ramblers,” having been off enough to dent some of the previous season’s coup by the same “Ramblers” last season. but the | Lew Fields and Lyle Andrews maintain pace with “Connecticut Yankee” and “Peggy-Ann,” both products of that prolific trium- virate, Herbert Fields, Lorenz Hart and Richard Rodgers. Vincent Youmans in association with Lew Fields, launched “Hit the Deck,” another musical smash, as an independent venture which would have rated him atop of the inde- pendents this season had not You- mans gone association with Fields’ withdrawal some months ago. “Deck” has been doing capacity, but because of expensive cast and house hookup hes not turned a profit despite its long run at the Belasco, New York. Two additional companies are out and reported do- ing good. Flops Henry Baron made another try with “Hearts Are Trumps,” which wound up in Cain’s after a few weeks. Murray Phillips has made several with little success with his latest “Happy,” musical, at the Earl Carroll, and in doubt. Marty Sampter in on “The Noose” last year, brought out “Weather Clear, Track Fast,” with the show since passing to other managerial auspices. Chamberlain Brown also did a nosedive on a quartet with his lat- est attempt, “Immoral Isabella,” winding up on subway dates. Paul Trebitsch made two unsuc- cessful stabs in “Collette” and “Footlights,” both flops. The Actors’ Theatre, which had “Saturday’s Children” as its big smash for last season, did not get a running start this season. Its first, “John,” folded up in a few weeks. Messmore Kendall landed with Katherine Cornell in “The Letter,” aging director of the Actors’ The- atre. Richard Herndon had three bad ones in a row in early season: “Up the Line,” which lasted a féw weeks at the Morosco; “Sinner,” flounder- ing briefly at the Klaw, and “The With “White Lights” and sunk | $125,000 in a couple of months. La | Penna says he’s through with the | racket, permanently. When pals kid | Jimmy about his producing venture he points to Edgar B. Davis and “The Ladder,” the latter having dropped over $759,000 to date on his | hobby that is still going at the Eel- | mont with tickets free. The latter ie the greatest freak of show busi- Merry-Go-Round,” which followed in at the same house, raising very little dust, nothing in comparison to Hierndon’s former intimate revue “Americana.” Herndon is currently represented by “Trigger” and “The Small Timer” in association with A. H. Woods. Alex McKaig has also become an individual producer’ with “The Racket,” which looks good. McKaig oe = i RUSSELL JOHNS After 13 weeks in “BLUE SKTRS” at the VAUDEVILLE THEATRE, LONDON, booked for MONTE CARLA, NICE and CANNES. Business Representative: T. D. KEMP, New York. had been business manager of the Greenwich Village theatre produc- ing group. Conrad and Bryant brought out “Fog” and “Tenth Avenue,” with both figuring moderately, and are now at work on “It Is to Laugh,” by Fanny Hurst. Clark Painter eut no heavy cou- pons on “The Hornet's Nest,” neither did Harry Cort with ‘Love in the Tropics.” Mae West's “Wicked Age” did not parallel “Sex” and was with- drawn after a few weeks, but may Start again. Dave Chasen took a flier with “Mating Season,” but is not bragging about it. Lew Cantor, who brodied some seasons back with “Sunshowers,” is in again with “Brass Buttons,” another pass-out. Charles Mulligan has “The Ban- shee” at Daly’s. Myron C. Fagan, who manages to turn neat profit on near ones and whose “Little Spitfire” of last sea- son is a mop-up for him on the stock releases, has another, “Jim- my’s Women,” at the Frolic, and while not panicking grosses, doing nicely in the spot. Gustav Blum has a similar racket with the other upstairs theatre, Bayes Roof, with “Her First Af- faire,” current, and hovering be- tween $4,000 and $5,000 weekly, profitable to Bium who has a lease on the house and cheap hookup on cast. Sub Houses The subscription theatres which rate independent classification are again topped by the Theatre Guild. The Guild struck a perfect average of an all success year last season with “Ned McCobb’s Daughter,” “Brothers Karazoff,” “The Second Man,” “Pygmalion,” “The Silver Cord” and “Jaurez and Maximil- ian.” The current season has the Guild off to a flying start with “The Doctor’s Dilemma” at the Guild, “Porgy” at the Republic and the Guild Repertory company on tour in last season’s hits. “Marco Millions” and “Strange Interlude,” both by Eugene O'Neill, have gone into re- hearsal simultaneously and will be due next month. Eva Le Gallienne’s first season of Civic Repertory was sufficiently en- couraging and with the subscribers constantly increasing. The Princetowners have not shown much activity thus far this season, but may get into action later, while the Playwrights Theatre has shifted from uptown to the for- mer Cherry Lane, Greenwich Vil- lage, A generally good year for inde- pendent production. More hits than usual and less sharpshooting by the short bankroll guys, due to their im- pression, from oft repeated tries, of ithe futility of getting away with it. Actually Independent The outstanding mark of the year staged by Guthrie McClintock, man- | amongst the independent legits is |their actual independence. They |have shown such marked advance- |ment as producers not only of mu- | sicals but in the drama that instead lof pleading | they are being pleaded with for | their productions, to be placed in lthe pick of the Broadway houses and for the best time and terms on the road. | This is a condition never before reached in the legit business of this country. For the number of inde- pendents that have arisen and are current, the successful ones in the face of the former tyrranical situa- tion and condition in legit theatre: nd bookings are phenomenal. . | , ership of legit theatres in the |cities or on the week independent producers at € nt larger stands, the the pres- moment along with the increas- ing number of theatres they are ———————— | | according to THE ALGONQUIN-SARDI CROWD THE RUSSIAN THEATRE Washington, Dec. 24. George Canty, motion picture commissioner, has forwarded the following on the Russian theatres and films to the Department of Commerce: The exterior and interior appear- ances of Russian cinemis are ex- tremely varied. The installation, western taste, is mod- even primitive, but in accord- ance with the Russian general way of living. Russians do not seem to care much for the musical part of pro- grams, that is, the accompanying music to the film. The program it- self usually consists of a feature film and a news reel, and the pub- lic seems to be quite content with this sort of performance, which | est, could be qualified as ascetic in Europe and more especially in America. The Russian theatres give gen- erally two performances a day, from six to eight, and a night perform- ance. The first performance is ap- parently reserved for members of the labor unions, and the second is for the general public. The mini- mum admission price is from 25 to 30 kopeks for the evening perform- ance in better class cinemas. The make-up of posters seems somehow neglected in Soviet Rus- sia, unlike the highly artistic man- ner in which they make their pic- tures. The Russians seem not to miss the comfort and outfit of the theatre, nor the make-up of licht- ing effects, posters, etc., so natural to the western movie goers. Lunatscharsky, the Soviet com- missioner for public instruction and films, is not only a sensitive art and theatre critic but also a re- nowned author and busy journalist. In one of his numerous articles he describes what could be called the soul and essence of Soviet films. He says that the realistic and truth- bearing character of the film alone would not have called the attention of the whole world to their motion pictures. It is because they choose their truths themselves and also be- cause the Soviets do not picture the “dreadful sides of life” without mo- tive. Their best films are propa- ganda films in the highest artistic sense of the word, he claims. They are gsavoured with the strongest humanism, with a proud love for all the oppressed; they are filled with deep hatred, protests and indigna- tion against oppressors. They are the bearers of a victorious irony of the Old World. “We understand very well that we can not clothe our propaganda in naked formulas and programs,” he continues. “Our propaganda must remain artistic. It is transformed into a specific ideol- ogy which thus forms the charac- teristics of our films. Our films are serious films. “Tt is no secret that the Puropean and the American films are first of all commercial objects. The enter- tainment idea comes only in ond place. A European or Amer!- can film company would find it most ridiculous to make films for the sole purpose of conveying a certain Aoctrine. We make such films. Our films may be better or worse from the artistic or ideologic standpoint, but they are impossible without fdeology. They are all expressing more or less our conception of art, but the special flavor of our films, which enthuses the sensitive Furo- pean, originates from our revolu- tion.” —I ilm-K urier. seC- operating may be said today to be nearly supreme in the legit. If those successful ones of this mo- ment should wish to combine they would control the legitimate field. Without them the largest theatre owner of the $3 class, the Shuberts, |might be swamped over night. for houses or routes, | The testimonial to this is found in the reported terms of the George White’s “Scandals” playing the Shu- bert houses (road) this season. They are up to $35,000 weekly on the road with White to take all over BO-20 $35,000 These are extraordinary | terms, and only previously allowed libv the Shuberts for their own big Without regard to the chain own- | shows, with the provision all to go show over a certain hitherto unknown, doubt the 80-20, but admit that 75-25 is quite possible for “Scandals.” The independent producers on | Broadway now operating produc | tions in their own theatres may be foretelling the future |stage. And of course by $3 is m: Adta to the '$3 or more. vv i*meet me at |} nections which A tendency to glorify professional personages over a limited period has been going on ever since the first press agent phoned his buddy, the Algonquin at 1.” And believe it or not, this little 'coterie of journalists and highbrow ip. a.’s, priding themselves on sin- |gling out individuals who have al- ready achieved a certain celebrity, and marking them as characteristic of their day, this Algonquin-Sardi crowd is actually able to set up these personalities as a tempo for the rest of the country. It’s the result of this Algonquin- Sardi crowd being writers them- selves or with daily “column” con- prove a means of spreading the propaganda in favor of the person chosen. This clique even has a habit of lifting gags or smart sayings from one another to help their own reps, although a cer- tain esprit de corps is claimed to exist. They are inveterate rounders, readers and tremendous conversa- tionalists. Often they get across their ideas by sheer repetition. But they figure and, perhaps rightly, that once New York lends an ear the rest of America is apt to listen, with the new made personality reaping a harvest while the moon shines. Candidates Selected Among the early winter list of candidates converted to the rank of “classics” by the semi-literati who decide such things are Jim Tully, the ex-hobo; Harry Langdon, one- time hoke vaudevillian now in pic- tures and rated as “significant”; and Walter Winchell, the Ely Sobel graduate with a rough, teugh Broadway vocabulary which he uses either in his column comment, or dramatic reviews as circulated by Macfadden’'s “Graphic.” As a rule and after the shouting has died down, the “Classics” re- sume their normal importance. This is sometimes of note but it is never as great as during the puff the press aristocrats give them. While the vogue for them is on, those so desig- nated gather the coin with a maxi- mum of speed, the majority being well aware that it won't last long. The Arlen Drop Michael Arlen, who took America by storm not so long ago, is an example of a “classic” who quickly found his way to a lower shelf in the bookcase. It was not uncom- mon a few seasons ago to hear Ring Lardner compared to Mark Twain; Irving Berlin and George Gershwin to the great composers, and Corey Ford to Lewis Carroll. Others come and go on the same basis of com- parison, Apparently the semi-professional critics of the arts, letters and drama who hold court at the Algonquin and Sardi’s are out to prove that modern times are quite as rich with individualists as former generations, Always they single out a person whose work is distinctly novel as John Held, Jr., Milt Gross, Ralph Barton, Tony Sarg or Anita Loos, Meanwhile, there are numerous solid reputations existent without benefit of the lunch room endorse- ment. Commonwealth Cast Out After 4 Weeks’ Rehearsals “The Medicine Show,” scheduled for the Princess, New York, last week, was temporarily if not perma- nently called off. The players were in on a com- monwealth basis and without re- dress for the four weeks of re- hearsals. Internal troubles cropped up when Eugene Webber stepped out to join “What Do We Know?" at Wal- lack’s. Some of the cast have been rushing around to interest new money in the venture with hopes of getting the show started at the Princess this week or next. MARY BOLAND FORCED OUT Owing to Mary Boland having trouble with her nose, which neces- amount | Some produc ers of the $2} sitated an operation, ‘““‘Women Go On Forever” was obliged to ring down Monday night before the end of the first act at the Br oad, Ne ix, EXPY! ra “B | PRESENTATIONS COSTUMES (a2 BW. 4AOUSTN.Y. CS. i ¥ ae tala bin chasers te sr « ek oe ee OY Re “fit "ey aR wep ’ : hith ~~

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"SHOWS IN N. Y. AND COMMENT r | | | ; 7a

mediocrity or loss. The variance play is also considered. admission scale given below.

Figures estimated and comment point to some attractions being successful, while the same gross accredited to others might suggest house capacities with the varying overhead. with consequent difference in necessary gross of profit. in business necessary for musical attraction as against dramatic Classification of attraction, house capacity and top price of the Key to classification: D (drama); R (revue); M (musical comedy); F (farce); O (operetta). in the difference in Also the size of cast, Variance is explained Cc (comedy);

(As this section of Variety's Anniversary edition went on the presses before the Christmas to New Year's week was completed, no grosses for | that period are estimated. are estimated or rating indicated.) Average grosses during prior normal weeks

“A Connecticut Yankee,” bilt (10th week) (M-882-$5.50). With extra matinees last week and holiday scales tilted for the occasion of New Year's Eve (Sat- urday), biggest figures of season anticipated; “Yankee” climbed even week before Christmas; over $22,000. “And So To Bed,” Bijou (10th week) (C-605-$3.30). Third house to get costume comedy; appears to be making money, though grosses moderate; $8,000 and $9,000 aver- age. “Artists and Models,” Winter Gar- den (8th week) (R-1,492-$5.50). Reported around $40,000 during Thanksgiving week, but estimated under £20,000 week before Christ- mas. “Behold the Bridegroom,” Cort (2d week) (CD-1,043-$3.85). Stood out among welter of holiday pre- mieres; general critical praise and agency activity after opening indicates success, “Bless You, Sister,” Forrest (2d week) (D-1,015-$3.30). Satirical play opened same evening; too early for detinite forecast, but re- ported doing business. “Broadway,” Broadhurst (68th week) (CD-1,148-$3.85). After an- other week run leader will move to Century; balance of engage- ment to be cut-rated; last sea- son’s dramatic smash. “Burlesque,” Plymouth (19th week) (CD-1,041-$4.40). One of this season's smash successes; topped fleld during fall with “The Trail of Mary Dugan”; average $24,000 and over. “Caste,” Mansfield (3d week) (C- Came in just before 1,117-$3.30). Christmas; did not really get started and business under ex- pectations. “Celebrity,” Lyceum (2d week) (C- 957-$3.50). Satirical play with prizefighting champ as hero; re- garded amusing and expected to make showing. “Coquette,” Maxine Elliott's (9th week) (D-942-$3.85). Caught on from jump and capacity ever since; last week, with holidays added, went considerably over av- erage of $18,500. “Dracula,” Fulton (14th week) (D- 914-$3.30). Figured strong enough to last into spring; started around $14,000 and has averaged over $12,000; highly profitable for this attraction. “Escape,” Booth 708-$3.30). (llth week) (D- Started out at $16,000 pace, capacity for house; should have equalled or bettered that mark last week and looks set for run. “Excess Baggage,” Ritz (2d week) (C-945-$3.30). Something of nov- elty and though not definitely rated, figures to have a good chance on strength of business after premiere. “Fallen Angels,” 49th Street (6th week) (CD-708-$3.30). Disap- pointment so far; estimated under $5,000, though probably more last week; new attraction for house likely soon, “Five O'Clock Girl,” 44th Street (18th week) (M-1,490-$5.50). of season's major musicals; nor- mal pace around $40,000, and last week estimated at considerably more, “Follies,’ New Amsterdam (2ist week) (R- 1,702 - $6.50). Final week; going out sooner than an- ticipated, but attracted big money, with grosses over $44,000 for sev- eral munths; “Rosalie’’ next week. “Four Walls.” John Golden (16th week) (D-900-$3.85). Two weeks more to go, then touring; “The Strange Interlude,” lengthy Eu- gene O'Neil drama, due Jan. 23. “Funny Face,” Alvin (7th week) (M - 1,100 - $5.50). Class musical comedy right up with leaders and figures to run through season; normal grosses around $38,000; more Inst week. ood News,” Chanin’s 46th Street (1gsth week) (M - 1,413 - $5.50). Most popular of musicais during first section of season; bettering $39,000; more last week; always capacity. appy,” Earl Carroll (M-997-$3.85). Moderately paced musical which may go through winter; dependent on draw after this week; started around $11,000. “Hit the Deck,” Belasco. (37th week) (M-1,000-$$5.50). One of most popular of Broadway's musical offerings, though holding over since early summer; maintained pace of $25,000 weekly. “interference,” Empire (12th week) (D-1,099-$4.40). English melo- drama which, while not biz money getter, has done satisfactory trade because of class draw; average $15,000 until pre-holiday slump. “* Is To Laugh,” Eltinge (24 week) (5th week)

One Vander-@¢— (C-892-$3.30). New play by Fan- nie Hurst came in on Christmas rush; while it did not stand out, chances better indicated by this week's trade. “Jimmie’s Women,” Frolic (15th week) (C-602-$3.30). Has occu- pied roof house for three months under rental arrangement; ap- pears satisfactory at $4,000 to $5,000 “Los Angeles,” Hudson (3rd week) (C-1,094-$3.36). Closed last Sat- urday; played three weeks; ar- rived during dull time before Christmas, getting little money. “Lovely Lady,” Sam H. Harris (2d week) (M-1,051-$4.40) Opened late last week (Thursday); had several titles when trying out; one was “Ain't Love Grand?” “Manhattan Mary,” Apollo (15th week) (M-1,168-$5.50). Among musical leaders; normally around $40,000; slipped somewhat before holidays. “Mikado,” Royale (17th week) (O- 1,117-$3.30). Final week for Gil- bert and Sullivan repertory which goes on long tour; no fresh at- traction mentioned last week. “My Maryland,” Jolson’s (17th week) (O-1,777-$5.50). Doubtless making some money but away under expectations; estimated

es VARIETY

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a Jessel and Jolson Owing to the several inquir- ies by Iay readers of Variety as to whom was whom in the play and picture versions of “The Jazz Singer,” these are the facts: George Jessel stars in the pias Al Jolson stars in the picture.

— | but much more last week; moved here from Ziegfeld. “Road to Rome,” Playhouse (49th week) (CD-879-$3.85). Final week; | great run; held over through fall to strong trade; $17,000 for many weeks; lately around $11,000 but more last week; “A Free Soul” next. “She’s My Baby,” Globe (ist week) (M-1,416-$5.50). Presented by Charles Dillingham, Beatrice Lillie starred; very well regarded out of town. “Show Boat,” Ziegfeld (2d week) (M-1,750-$5.50). New contender for money honors; few shows have come to town with such high rating on strength of out of town showing. “Sidewalks of New York,” Knicker- bocker (14th week) (M-1,412- $3.85). Final week dipped down- ward after Thanksgiving like most others, but was expected to last longer. “Sisters,” Klaw. Was taken off last Saturday, playing a week and one day. “Trigger” moved in. “Spring Song,” Bayes (3rd week) (C-860-$3.30). Moderate money indicated; small cast, one set, which is right tie-up for roof house; cut rated. “Take the Air,” Waldorf (7th week) (M-1,111-$4.40). Got off to fairly good start; been making money; average estimated over $20,000. “The Baby Cyclone,” Henry Miller's (17th week) (F-946-$3.30). Aver- aged $10,000 during first several months; length of engagement indicated by trade from now on.

SEASON’S GREETINGS TO EVERYBODY FROM CLAIRE LUCE

average trade around $25,000; house capacity double that. “Nightstick,” George M. Cohan (8th week) (D-1,111-$3.30). Resumed Broadway engagement after ap- pearing out of town last week (at Buffalo); expected to maintain pace better than $10,000. “Paradise,” 48th Street (2nd week) (1D-969-$3.30). Like many others that arrived last week, no real line yet indicated as to chances for landing. “Paris Bound,” Music week) (C-1,000-$3.85). traction arrived in favorable reports points; same play Box (2nd This at- town with from tryout originally an- nounced as “The Wedding”: ex- cellent notices here. “Porgy,” Republic (13th week) (C- $96-$3.30). Distinct dramatic nov- elty which has good chance to go into spring period; getting $14,000 and over; virtual all colored cast. “Red Dust,” Daly's 63rd Street (1st week) (D-1,173-$3.30). Indepen- dently presented; drama of trop- ics; one of few New Year's week premieres. “Restless Women,” Morosco week) (CD-893-$3.30). Christmas week entrant; rect line on show's so good at tryout. “Revels,” Shubert (6th week) (R- 1,395-$4.40). Fast show, trade light for some reason; estimated averaging around $16,000 before holidays. “Rio Rita,” Lyric (49th week) (M- 1,406 -$5.50). Nearly year for classy show, musical smash of (2nd Another no cor- chances; not

last season: around $32,000 lately

“The Banshee.” Moved to Bronx after playing four weeks to little grosses at Daly’s; management claims show will be brought downtown again. “The Command to Love,” Longacre (16th week) (C-1,019-$4.40). Got off to excellent start and up to end of November averaged over $20,000; off before Christmas, but good trade assured. “The Desert Song,” Imperial (58th week) (O-1,446-$6.50). Another week; stand-out musical last sea- son and held over profitably; “The New Moon” next. “The Doctor’s Dilemma,” Guild (7th week) (C-914-$3.30). Agencies took it as buy when subscription season over; will run indefinitely, but alternating with ‘“Marco’s Millions,” due soon. “The Golden Dawn,” Hammerstein's (6th week) (O-1,265-$6.60). Dif- ference of opinion, but indications are for run; claiming over $30,- 000; better line after this week. “The Ladder,” Belmont (64th week) (D-517-$3.30). Giving away all tickets for this freak, backed by oll magnate, who has dropped over $750,000 with show. “The Love Call,” MajJestic (11th week) (M-1,700-$3.85). Leaving after another week or two; trade slumped away off; never was good; “The Patriot” due soon. “The Marquise,” Biltmore (CD-951- $3.85). Costume play indefinite; business moderate; started around $14,000; lately around $19,000 with more last week.

“The Merry Matenes/ Eriancer's Windy cccvccecsccesceces ..Alan Campbell QUEOETIOG cecccceersecerseesess Aunt Jemima StOVS ceccccessccssecscsccssss Charles Ellis Pete ccccs Seocececeseeds Bert Chapman Parthy Ann Hawks...... Edna May Oliver Cap'n Andy..........-.-Charles Winninger | Ellie ee oceoncsoeredsese Eva Puck | Frank enbeéees 0000000enc sae

Wednesday, January 4, 1998 ~ * = an.

| PLAYS ON BROADWAY

SHOW BOAT ping, rich with plot and . navacter it's almost a pity . the Edna Ferber Florenz Ziegfeld production of Edna | novel wasn't dramatized “str ‘ight Ferber's novel, musicalized by Jerome! sans the musical setting ’ ? Kern (score) and Oscar Hammerstein a - 7 : (libretto) Settings by Joseph Urbar, | But, musicalized and Ziegfeldizea lances by Sammy Lee, dialog staged by/ it’s a worthy, sturdy entert Linment. Zeke Calvan, cpstumes 4 bee mind be has everything, and tops every. rider, musical direction by Victor ara- | ‘@ 2 > > , @ " valle, and $5.50 top by Mr. and Mrs Pub- | (hing ever done before by Ziegfeld, lic. In two acts and 18 scenes. Opened | ‘© 245 Story, music, production, cast. Dec. 27 at the Ziegfeld, New York. jing and consistent entertainment Rubber Face....... ..Francis X. Mahoney

DUEED - ccucdscesessceesesvecde Helen Morgan Gaylord Ravenal......e+++. Howard Marsh Vallon ecbbnes ..-Thomas Gunn Magnolia --Norma Terris Dealer sccocccccceccccccceseces Jack Wynn Gambler eececcs eee .«-Phil Sheridan TOO cccepedccneccecs «+e. Jules Bledsoe Backwoodsman ...csceesceseses-Jack Daley BOO castdben teksts « cees opeaveens Jack Wynn La Belle Fatima...... «.-+.-Dorothy Denese Old Sport... .cccsce eeseeese.- Bert Chapman Landtady eecossecsecseeeeess-- Annie Hart Ethel c.cccce PPT TC TTTT TTT Tt Estelle Floyd Sater sccscse geevtocecces Annette Harding Se RO eee Eleanor Shaw Kim (as young woman)..... Norma Terris SD -enkeceewdscescevessonees Robert Faricy EL . Weuhe dhbctodedessbesteawen Jack Daley Biome With Getta. ..<ccecsceces Ted Daniels Charlie—Doorman at Trocadero J. Lewis Johnson BOETED woo ddsdh edad estncenbtacs Tana Kamp 2 MEE eee eT ee Hazel Jennings Old Lady on Levee........ laura Clairon CHORUS Ethel Allen, Costello Dinorah, Dorothy Foster, Rose Gallagher, Maurine Holmes, Hazel Jennings, Tama Kamp, Martha Marr, Ethel O'Dell, Mildred Schwenke, Frances Hope, Annette Harding, Modette Hunt, Peggy Udell, Peggy Green, Helen Chandler, Adrienne Armand, Lillian Clark, Betty Collette, Mary Farrell, Sophie Howard, Bettye Junod, Nancy Kaye, Gertrude Lowe, Constance MacKenzie, Pansy Maness, Nellie Mayer, Essie Moore, Clemintine Rigéau, Kathryn Ringquist, Roselyn Smith, Eleanor Tierney, Una Val, Berly Wallace and Kathryn Downer. MEN John Daly, Ted Daniels, William Ehlers, Dell Frandenburg, William Galpin, Ed Hale, Ries Jenkins, Raiph Knight, Roy Mace, Pat Mann, Joseph Minetello, Farl Sanford, Phil Sheridan, Jack Wynn, Wil- liam Lawless and Joseph McGuire. JUBILEE SINGERS Blanche Thompson, Henrietta Lovelace, Estelle Floyd, Bert'a Wright, Josephine Gray, Mamie Cartcr, Lolo Waters, Gert- rude Harris, Bertha DesVerney, Maine L. Briggs, R. Jamison, Maude Simmons, Angeline Lawson, Emma Williams, Julienne Barbour and Gladyg Greenwood. George W. Nixon, James A. Lillard, J. Mardo Brown, Willis Bradley, Clarence Hill, William Waithe, J. Berni Barbour, J. Lewis Johnson, L. Pinard, D. E. Kil- lingsworth, Richard Cooper, J. W. Mober- ly, H. G. Ivano, Edgar Hall, R. 8S. Conn and George Myrick. Jubilee singers directed by Will Vodery. JUBILEE DANCERS Nettie Anderson, Rita Walker, Billie Cain, Ethel Sheppard, Lull Williams, Rose Gilliard, Theresa Jentry, Elida Webb, Catherine Pease, Dorothy Bellis, Betty Allison and Vivian Baber. A Ziegfeld black and tan at $5.50. That’s “Show Boat,” and a Levia- than of a show. Meaty and grip-

(15th week) (M-1,500-$4.40). Stand-out musical; one of Geo. Cohan's best productions, with Cohan appearing; average over $30,000. “The 19th Hole,” Little (13th week) (C-530-$3.30). Moved here from Cohan theatre Monday; getting around $3,000; more last week. “The Racket,” Ambassador (7th week) (D-1,200-$3.30). While not spotted in most advantageous house, has been doing fairly well; rated over $11,000. “The Royal Family,” Selwyn (2d week) (C-1,067-$3.85). Came, in Dec. 28 “The Shannons of Broadway,” Mar- tin Beck (15th week) (C-1,198- $3.30). While not among leaders appears to have been making money; average around $12,000 weekly. “The Trial of Mary Dugan,” Na- tional (16th week) (D-1,164- $3.85). Dramatic smash. and clean-up; average over $24,000 weekly prior to pre-holiday slump and bigger last week. “The White Eagle,” Casino (2d week (O0O-1,477-$5.50). One of last week's entrants regarded having excellent chance; substantiated favorable out-of-town reports. “Trigger,” Klaw (5th week) (CD- 831-$3.30). Moved here from Lit- tle Monday; business picked up - — last week that it may and, “Venus,” Masque (24 week) (CD- bt Pas 30). Indications not favor- apie, “What Do We Know?” Wallack’s (3d week) (D-770-$3.30). Arrived during pre-holiday lull and did not get much of break from critics.

“Companionate” for Reps “Her Companionate Marriage” is a topical play for the tent and rep shows around the country, based on the recent Judge Ben B. Lindsey theory of matrimonial companion- ship. Fred Fisher has been musically inspired with a ‘My Companionate” song which the songwriter-publish- er sang to several of the other music publishers over the telephone as a stunt to sell the song. He may pudtidh it himself.

from the 8.30 to 11.80 curtains, ang is a show which defies fidgeting ag the conventional zero hour of thea. tre curtain time approaches One forgets the clock. The principals are Norma Terris Eva Puck and Sammy White, How. ard Marsh, Charles Winninger, Helen Morgan, Edna May Oliver, Jules Bledsoe (colored barytone) and Aunt Jemima (big Tess Gar- delia of the varieties), rating ip order named. Miss Terris, who was with the Shuberts, is a revelation under Zieggy’s glorification. Puck and White, recently features in their own right in an intimate Vanderbilt theatre musical comedy, are actual- ly the axis of plot motivation, with their appearances most prolific and their talents registering most con- sistently. March, the perennial juvenile, is of nice voice, fine car- riage and dramatic ability. He ig the ideal male lead. Winninger scored a personal tri- umph as Cap'n Andy Hawks, master of the Mississippi show boat. Edna May Oliver as his unbending spouse was perfectly cast. Miss Morgan, from the nite clubs, could have made her impression a wow click, instead of passably fair, with a song specialty in lieu of the mild “Bill” number. Striving hard for a “Mon Homme” type of song, Hammerstein and Kern just missed out in that reach. Were it not for a natural desire against an inter- polation, the song from George Gershwin’s flop, “Strike Up the Band,” comes to mind as an ideal number for Miss Morgan. It is the nearest approach to an American “My Man” yet, and Harms, Gershwin's as well as Kern’s pub- lishers, knows the title referred to. Still, Miss Morgan, perched atop the upright, as in her nite club, regis- tered with this serenade to her “Bill.” Bledsoe, the colored barytone, in- troduced “Old Man River,” one of the song hits, early in the proceed- ings, and dovetailed neatly into the ensuing developments. Aunt Jemima (white), doing her familiar mammy, was ideal for the assignment. The Caucasian and Aframerican girls and boys of the ensemble num- ber 96. The whites are in the ma- jority with 52—36 girls and 16 boys, Jubilee Singers (colored) number 32, equally divided as to sex, and the Jubilee Dancers total 12 girls. In combination a great flash. On costume and production, Zieg- feld's characteristic sumptuousness and pretentiousness are here. Noth- ing stinted, and a pretty penny does that costuming bill come to, consid- ering those trick pre- and post- Spanish-American war periods. (Action starts in 1890 and develops through three generations.} The levee at Natchez on the Mississippi shows Cap’n Andy Hawks’ popular show boat. The daughter, Magnolia, marries the happy-go-lucky leading man of the troupe. Their joys and sorrows are in direct ratio to Gaylord Ravenal’s fortune at the gaming table. An inveterate gambler, he decides it’s best to leave Magnolia and their child, Kim, who is being raised in a convent, The passing years bring fame and fortune not alone to Magnolia but her daughter as well. The transi- tion takes the characters from thé “Cotton Blossom” (the show boat) into the Chicago World's Fair, & Windy City hinky-tonk, the Troca- dero Restaurant on New Year's eve and ‘finally back to Natchez and the show boat. Youth, romance, mellowed retro- spection and genuine pathos has “Show Boat,” a somewhat tfncon- gruous conglomeration for a mu- sical comedy on the face of it, but charmingly motivated. The reunion of Magnolia and her likeable but profligate husband after 20 years is a throat-catcher and a larynx- tickler. Great for the femmes and just the right touch to top off a corking entertainment, Jerome Kern’s music is typically Kernian, titillating, infectious, re- freshing and never tiring. “Ol'’ Man River,” “Can’t Help Lovin’ Man,” “Why Do I Love You?,” “Only Make Believe,” “Bill” and “You Are Love” are among thé likeables. That latter, the waltz, is the dark horse of the score and will surprise Ziegfeld, Kern, et al “Why Do I Love You?,” by Miss Terris, Marsh and Puck and White, develops into the theme of the second act. “Only Make Believe,” “Or Man River” and “Can't Help Lovin’ Dat Man” are the themes of the first stanza. Of the _ principals, Constance MacKenzie with an eccentric, and Una Val registered with a specialty (both choristers) and the Sidell Sis- ters with two wow dance specialties were a card in themselves. The Urban settings are typical, although that convent scene with @ full length statue of the Christus on the Cross, very prominently Inc., °

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Page 27

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Wednesday, January 4, 1928

the fore, is open to spotted % whe stained glass set- _ the sisters’ cowls and appro- _. sacred musical background — sufficient unto the purpose, “Show Boat” should stay a year on Broadway. It may be handi- apped by what is already assert- : itself as a keynote of comment ve that it’s muchly overrated Word of mouth advertising, the second night on, had it that the dailies spread it on a bit too ye deservedly so. It’s a corking production and the best in its class If the public is led to anticipate radium studded cuspidors and dia- mond embossed props that’s an ex- ctation that is the fault solely of a superlatively-inclined homo New cer. aecill, a condition like that almost assumes the proportions of a prob- Jem despite its seeming negligence. ‘rhe third night evidenced that. After the Wednesday morning re- views the “wise” mob that attended the premiere and the second night commenced opining that while it’s a great show there’s nothing phe- nomenal about it. An elementary psychology manifested itself along Broadway for the two days after the premiere, and with that mental handicap a third night reviewer's opinion is all to the Ziegfeld. “Show Boat” defies disparagement in any respect or any attempt of analysis. To consider the basic ingredients and assets of the musical will only enhance the retrospective opinion of the show. Worth five “tears” and the pub- lic will shed them copiously. Abel. THE ROYAL FAMILY Comedy by George S. Kaufman and Edna Ferber, presented by Jed Harris at the Sel- wyn, December, 28. Staged by David Bur- n. Delia ebeccess wosescesess-dJ0Sphine Williams BO. .ccvccceses esctccocoesess aga: ©. Giaut Blah BOY. oc iccccsesccdcccsecsses Wally Stuart McDermott. csvecscssvvveces> Murray Alper TOehOTe -TROAR nc ccs icspccccces Orlando Daly Kitty Dean......Catharine Calhoun-Doucet DUCTAL, - ote Ce eece ke 6eoek Hoke Sylvia Field | Perry Stewart. ....csccccccseses Roger Pryor } Fanny Cavendish......+.... -Haidee Wright Oscar Wolfe........ +. Jefferson DeAngelis Julie Cavendish....... Sheoseee Ann Andrews Anthony Cavendish....s..++.-- Otto Kruger Another Hall Boy..... eoeees- Lester Nielson GOMMOUP. 2c ccccce cocccosseeKvank Vollmer tel Marshall.....++.e..--+--Joseph King unga

Hubert Courtney Miss Peake.......- .Phyllis Rose Author! Author! In this case there are two authors. When George S. Kaufman and Edna Fer- ber get together to write a play, they ought to turn out a good one, both having such a sure sense of the gatirical, and they did, For two acts it was so good that the first nighters could hardly re- press’ their’ enthusiasm. The last act goes with a “however.” Seemed too long, was the most quiet of the performance. Had the comedy value of the earlier going, “The Royal Family” would be something of an outright smash, Little doubt that the premiere was especially appealing to the in- fitiated out front. This group knows considerable about the theatre, and the play is about a supposedly fa- mous family of actors, named Cav- endish. Yet the comedy content is certainly there and wring laughter from metropolitan and visiting patrons alike. It was said that “Family” from | is bound to was Jed Harris has sefected a fine cast Too bad some of the players did not get all their lines across. David| | Burton has directed well, but he jeither had his characters talk too | fast at times, or they were nervous Haidee Wright, as Fanny Caven- dish, radiated the purple of her| | Stage reputation, a delightful per- |formance. Ann Andrews hasn't had such a role as Julie in a long time jand played it with absolute sin-| |} cerity. Orlando Daly, as the matur- ing cousin who hasn't had a real | engagement in a long time, was al- ways effective. Sylvia Field was} the very sweet Gwen. This girl has| got something. Otto Kruger was the fun in the | temperamental episodes. Here, too, was an actor in a part that does not come his way often. His summing the sunshine.” And there was Jef- ferson DeAngelis as the manager, Wolfe, using a slight dialect. A lovable character that, In the smaller parts there was good work by Josephine Williams, Royal C. Stout and Roger Pryor. “The Royal Family” is among the blue-blooded shows of the season. Even with that last act, it is “in.” Ibee. EXCESS BAGGAGE Barbour, Crimmins & Bryant, Inc., pre sent this three-act comedy by John Mc- Gowan. Staged by Melville Burke. Stage designs by P. Dodd Ackerman. Technical director, Edward Clark Lilley. At the Ritz Dec. 2. Jimmy Dunn....e.+ee0++-+-.Frank McHugh

Sarah Benton..... e ecceccecs Maud Blair Jack Merrill...ccccsccesseees Nace Bonville Bod. Kicece eecoccesesees Vladimir Dubinsky Charlie.. e cecccceccecceses “harles Dalton ME 6 06 bes. censscesneed e++++Merald Tollefsen Frank Arnold,...sceesssees John H. Dilson Mabel Ford. ..ccocesess: .. Suzanne Willa | Marvin....... ecvoess+sLawrence O'Sullivan BAdie9o Kane, coccccccccsccccios Eric Dressler Setty Ford. woccccccccscedeccces Doris Eaton Disa McCoy.....ceees Seecce Miriam Hopkins Herbert Crammomn,...s.+.++- Boyd Marshall Val WP BerieOc ec cccccessocces Herbert Clark Al BOM. ocvccccsccccccececess Frank Horton George McCarthy....... «-+»-Mort Downey George DeLe@oOn...escesecses William Boulia Harry Hart..... PTTTTITTT TEES Denton Vane Teste, FRVGGI: ccocccesescoss Frances Goodrich DOG. ccccccepveceseoesesecs Howard Morgan Admirals Band......Direction Bruce Healy A play of backstage life, written by Jack McGowan, who knows his footlights and deals with the sub- |ject with profound insight and jhumor. The night clubs have had their day on the Broadway stage; so has burlesque. It is almost too perfect that Jack McGowan, the oldtime hoofer, should do as much for the small time and the big time, for it is with these divisions of the theatre that “Excess Baggage” con- cerns itself. It doesn’t seem to be the same McGowan who turned out “Tenth Avenue.” Here he writes with kindly, mellow humor, spiced with sometimes cutting and hard-boiled wit. It is upon the intimate peek at backstage vaudeville and the human comedy of the grease paint types that the new piece will rest, and rest safely ,for these things are dealt with in broad comedy terms understandable to the generality. The future of the piece is bound up in mechanical considerations. There are more than 30 people in the cast, counting a special orches- tra of nine men, and the payroll is said to represent nearly $6,000 a week. In a medium-sized house like the Ritz it will have to be a built around the Drew-Barrymore| consistent draw for a profit. But family, but that is a stretch of|)even considering these things, the imagination. Cavendish and Barry-| piece looks promising for a run. It more are three syllable names, and the latter is a family of star play- ers, further. but that’s about all. The action occurs in the duplex apartment of the Cavendishes in the east 50’s, and it is an excellent set- ting. but the resemblance to the characters in the play hardly goes The authors appear to have taken the actor-family idea, The story has much to do with the temperamental side of an actor’s character, how one born to has a broad appeal, especialiy on the comedy side, and there seems to be a vogue on just now for dramatic studies of the inside stuff of show- dom. The gem characterization is a self-assured vaudeville single, Jimmy Dunn, a_ thorouchgoing show-off played to the life by Frank McHugh. Companion pieces in portraiture are the Ford Sisters, a pretty innocent kid and her hard- boiled mother (Doris Eaton and ‘the life never gives it up. Julie| gi7o.nne Willa) Cavendish is the dramatic toast of |*~ 7; ‘ E : her day.. Ghe hes an 18-year-old Jimmy wants to marry the kid, daughter and is thrilled at the pros- pect of the chit appearing with her. out of the picture. But Gwen is in love with a lad not of the theatre, and she refuses to turn aside from marriage with him. is out The father is Julie’s brother, on the Coast Anthony, in pictures. A tele- gram arrives saying he is on the He had walloped the di- But way back. rector and got into a row. worse yet, he is fleeing from a Po- lish screen star who wants to sue for breach of promise, asking $200,- 000. for Europe that very day. do he the first act uproariously funny. The to- Wolfe, the manager, is for putting on She is a real trouper, the elderly tour again. wnlike cousin Herbert, who is de- Fanny Cavendish scribed as a Lambs club actor and value on the road. is too feeble to travel, and at the end she passes on after toasting Gwen's jnfant as the future great Aubrey therefore of no It turns out that the old lady Cavendish, named after her husband Julie is for relaxing and marrying | an old sweetheart. But when she listens to the man tell of his planta- tion in South monial she ambition wanes, and asks Wolfe to let her read the play he has selected. While the authors impressed as tarring in “They Royal Family,’ Nothing else but he must leave creates makes the finish of America, her matri- So they and finally but mama won't have it. zo into a three act, reach the Palace. But their career is a delight Jimmy’s brass and fast talk don’t go far with mama, who has a murderous comeback for each of the kidder’s wisecracks. Mama’s only weakness is that she will fall for the young men on the bill All this is just one angle of the backstage picture. The main story deals with Eddie Kane, wire- walker, and his wife, Elsa McCoy, who does “atmosphere” in the turn and hates everything about the shabby little theatres they play. She gets her chance when a movie sheik sees the act and falls for her across the footlights. Straight to Holly- wood for her at $500 a week, while Eddie fades out of the picture, until for publicity purposes they publicly get married a year later. Now it is Eddie wo finds him- self the excess baxszage of the family. He suspects that Elsa has an affair with the movie sheik and breaks away to go back to his old act. This brings the action to the Palace, where Eddie 1s making his first bie time date. Here is staged a novel dramatic climax, when »| Eddie as the wire-walker does his sensational feat of walking up to the gallery top on an inclined wire and doing the slide for life back to the stage.

’ up of the picture racket was im- mense, Tired of Hollywood, the sunshine, the camera. “God, | VARIETY

| dramatic situation the stage |! ness is a wallop. Of course, as « might anticipate, Eddie falls and is injured, and Elsa, who witn !

nae “> > Bo HUMAN BROADCASTING STATION ANNOUNCING

JOYOUS SEASON'S GREETINGS Through Station F, U. N. Nightly at Coffee Dan’s, Los Angeles, California, “City of Movie Stars and Sunshine” accident from out front, rushes bax | to his dressing room for a tea trips | happy reconciliation. Ji 1 La The piece is full of meaty bit n There is one scene in the N. V. A ns ! t where Mort Downey, known to met \ i ropolitan vaudeville and nig) ‘ t! > | clubs, has a bit at the piano that dk o |}ariot. Downey is the song plugs: have t { ! feeling wher who is selling a number to the! Richard Parrish, a young musiciar three-act and at the same time/|with whon she M ked durin: being “made” by the mama of the! Jim’s absence, takes he&® into his sister act. His two sympathetic} arms She cannot understand it ballads in a@ syrupy tenor killed that} loving Jim the way she does. Noth $3 audience dead, while the comedy /|ing really happens, however. Nor! was a hurricane. jis it proven that Jim did stray. | The first act is largely persiflage| Upon his return, it isn’t long be- between performers as they pass| fore the couple are again the joy- | from dressing room to stage in a/ ous pair as before | Los Angeles dump, but rich with} Arthur Hopkins drew a_ prize Pl 2 - a 4

humor, such as a male quartet re- hearsing new arrangements made by the bullying head of the act, who thinks they’re great, while the others call them lousy; the passe legit pair, who are sour on all vaudeville hicks. Eric Dressler does extremely well with the sympathetic role of the wire-walker, while Miriam Hopkins is a heroine who blends into the picture, The five sets represent quite an investment, making an always con- vincing background for the play. Rush. PARIS BOUND Comedy in three acts by Philip Barry presented by Arthur Hopkins at the Musi Box, Dec. 27; Madge Kennedy starred; di- rected by Mr. Hopkins. Mary Hutton........-+. -»..- Madge Kennedy Jim Hutton .... Donn Cook Nora Cope. Southbrook

e+ Ellen ee eeererae Helen White ..ccoccsceses::: Martha Mayo Fanny Shippan....cecese++ Hope Williams SUNNOR TEOCUON < 6 cccccosesecoes Gilbert Emery Richard Parrish.........Donald MacDonald Peter Cope...ccessccoseess+- Edwin Nicander Noel Farley...ssesessessoeess+-Mary Murray Julie ..ccoccccccccccscecccesss. Marie Bruce That college graduate, Philip Barry, has been oncoming for some time. Several of his plays attracted attention but not much money, such as “White Wings” and “In a Gar- den.” More recently there was “John” from his typewriter and it was a solid flop. jarry’s latest, “Paris Bound,” first known as “The Wedding,” looks like a winner It is a sophisticated comedy of married life, a play that should en- joy a class draw if not the wholly popular success the critics heralded it as. “Paris Bound” has a silken web of romance, has shafts of high intelligence, has some laughter and change of pace between comedy and drama. What is more in its favor is the propulsion of the theory of “un- derstanding” matrimony. Jim Hut- ton, an upstanding lad, has just married the sweet Mary and at the reception Jim’s father and mother

who were divorced 15 years prior meet for the first time. Father had blamed mother entirely True, he had been caught in an affair wit! another woman. To him that wa nothing Always devoted to his wife, he still wants her to come back. As he states his case “a may have committed adultery, but | I never committed divorce.” To Jim and Mary nothing like that eould ever happen. Mar wanted Jim to have all the friend he wanted and as her theories con- formed to that of his father's, shes believed ff Jim showd fall ints a vagrant love affair on the outsid:

ment. It probably isn’t a smash but is an agency show and should last until warm weather, Its at- tractive title is not the smallest factor either. Thee. 7 . BLESS YOU, SISTER A E. and R R. Riskin present John Meehan and Robert Riskin'’s three-act play starring Alice Brady. Staged by Meehan and George Abbett; settings by Yellentt. Onmened De« 26 at the Forrest Rev. MacDonald ..... a George Alison Sandy MacDonald...cecess Mildred MacLeod Mary MacDonald...scoscesses Alice Brady MWreGGy GribDi@..cccecesseceos Robert Antes Senator Gribble... ccesceces George Lessey Timothy Bradley.....«-. Charles Bickford Fisther Lew Dorothy Estabrook Tony ASOITO. c cdcccese Eugene Donovan | Daisy peerseeocecsoses Eloise Keeler Mise Hyde. .ccccccscccses Marie Ilka Miss Quigley....cccccscses Marjorie Dalton George Hunter sesccccse ene Gurnee | Chole LRGGSS.ococveccctevenvs Olivia Martin when he cast Madge Kennedy as} Mary. Sure a sweet girl who not only looked the part but made her audience feel the changing moods of her sadness and happiness. Donn Cook seemed excellently spotted, too, as the eager, adoring, human the | Spiration,” it = —— a ’ Mary MacDonald “on the road,” i the tabernacle tent where ahe ts her flock hit the trail her manage! induced said ymank: suitable exhol to had oll for list’s the strong the last the ink that sl never meant a line of As a tale has <come- the pipe, rm sSWweetl I il! tor LO! id s squad (ait ex-pusg) puts t Of Commission lr tine <R in Wie exe lLive tent t he } background, a song nd-dance by the heroine's kid sister, whe torch out for the het plicates matters However up her “affair” and so, the happy ending While the Scotch prefix of the surname suggests a McPherson “in- ends there Sinclair Lewis’ chapters on evangelism in “Elmer Gantry” may also have in- spired a thought or two here The show has a corking cast with the value of the star’s name un- questionably an asset, although her predecessor, Ann Davis, for all of her lack of cognomen distinction, did ‘her stuff creditably on the out- of-town break-ins. flap ‘feses is a Robert Ames by arrangement with Dwight Deere Wiman) is a good bet as the boy friend, and Charles Bickford, best remembered for his “Outside Looking In” per- formance scores a personal tri- umph as the high-pressure Gideon peddler who admits that the way he sells the testaments, “you'd think it was forbidden literature.” Some of the nifties, and a touch here and there of the slangy col- loquialisms, listen very much like George Abbott who co-staged with Meehan; the latter in turn co-au- thored with Riskin who is the co- producer. Such co-operation must have its rewards. “Bess You, Sister’ is a problem. If the exploitation is right, and op- portunities are there for freak stuff, the opus may land. As is, and with Miss Brady as an asset, it should fare moderately well anyway Abel. Comedy-drama in three acts by Sydney Stone Staged by Warren Lawrence Pro- duced by Anna Held, Jr. At Moroseo Thee atre, Dec. 26 RES WO WES sc ccecctbecécce Lella Frost 4. BO” RRS eter Robert Crozier Co ee, ero Mary Young Arthur Van Werne..ccocres Eric Kalkhurst ‘ Sonia Jamieson,...... e Marie Churehill Ethel Jamie@on....ceccccess Madeline Grey Ned POIUNR 50:02 tb acces Alfred Kappeler Wihna Faweett...ccccoses -+.++.Kisie Hitz POU MUNN: kachcvcese vacua Wilfred Lacae Santa Claus played a mean one on Anna Held, Jr. (Lianne Carrera), when he slipped her this one for her initial entry into the legit producing field. It’s diverting in spots, but much too tame to stand the gaff of Broadway competition Warren Lawrence and his producer boss have great faith in the play and are conscientious about it, but it will be a battle to put “Restless Women” over.

Jim Gilbert Emery as the father handled the telling lines with ex treme care and his points never failed if they did not always pre vail, Edwin Nicander, called upon again to enact ae polite, witty inebriate, delivered most of the laughs. Trouble was he didn’t have much to do as could be wished Hope Williams with her long stride and decisive manner shared in the comedy honors. Miss Williams has not been noticed before, but she is a type and attractive. Donald Mac- Donald attracted attention as tichard, the young composer. Mary Murray as Noel had a small but effective part. “Paris Bound” is good entertain- as Mary Young diverts from a danc- ing mother to a romancing one, and snares a struggling artist, much younger than her previously ac- quired spouse. Daughter Wilma is dispatched from Paris by the pa- ternal provider, and plans @ cam- paign to snare the dauber away from her mother. She's gonna make him fall hard and let him stay there, Sut the plan boomerangs in the seec- ond act, and in the final chapter Wilma’ exits with the canvas dauber as her own. No sympathy from the family, but plenty from the audience. And there you have it, Miss Held confessed prior to per- formance that she plucked this one out of a grab bag in the dark in order to gmake an inauspicious start asa producer. She's a smart young woman and will hit soener or later. Miss Young gives an adequate performance of the romancing mother, but despite her stellar fea- turing, Leila Frost as the flapper daughter cops honors through a great part and ability to play It. Wilfred Lucas gives a superb In- ternretation of the resigned husband and Eric Kalkhurst qualifies af# the great lover. Robert Crozier makes much of the juvenile sap lover, while Elsie Hitz does well by the none too fat nart of Wilma. Maric Churchill, Madeline Grey and Alfred

If sufficient controversial discus- | sion can be created for this inside | stuff on evangelism, “Bess You, Sis- | ter’ has a chance for a run; other- | wise its chances are limited. High |} pressure bible salesmanship, coup- | led with a rather interesting ro- | mance, and the asset of a feminine star, portend optimistically for this Riskin venture Basically it just | misse being an unquestionable | cli k | From the daughter of an obscure | pastor M iry MacDonald becomes a a gospel merchandizer under | Timotl bradiey’s efficient and effi- cacious sponsorship. As Tim ad- | mits, he is getting good results from this wholes ng of the gospel Not | on] does pr: ise Halle} I and sing } nnas, but } showma ship does mucr to fetcl the f cheque via the mails Th second is ine ]j I in ? bs ne ey With ite background of ® would make no difference. But! ! Kappeler are adequate in their as- sigenments. “Restless Women” 1s not here for long Too , bad, for its a game try Pedba. JOLSON’S WINTER ON COAST Los Angeles, Dec. 31. Al Jolson is arriving here the morning of the premiere of “The Jazz Singer,” at the Criterion, and

will leave the next morning for New Orleans, where he will sing | on the Dodge Brothers’ radio pro- gram Jan. 4 over a network of 43 station: | Following the broadcast, Jolson | will return here to spend the bal- | ance of the winter % - “WEATHER” SHOW CLOSED “Weathe Clear Trac} Fast,” |starring Joe Laurie, whic took to t ¢ ( uit following Its } m at the Hudson, ere r ent upset its plaving plat tl e, with Ear! Car- ly r its presenter later,

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‘| ~~ HARLEM—THE BLACK BELT

Vot long ago nobody knew much | about Harlem other than it was| considerably kidded as being New| York's most fertile goat pasture. In markably short time, due} to N York Negro commercial | progression, the international fame | that its theatrical celebs achieved, the popularity of books having the section as its locale, stage pieces | that included its atmosphere and haracters, these and a host of other | reasons have made Harlem one of| he best known spots in the entire| rid And the New York Negro ivy wherever h roes points with | ride that he’s from Harlem and rlem to the professional is really happy playing ground from vhich he is never separated It's | Black Belt in fact as well as name, Harlem in yesteryear had its dead ines but its amazing growth from he Negro angle has swept aside the heretolvre established dead lines. It is still taking in latitude that for years since the Indians sold the old island for a few slugs of white man's liquor was out and out white man territory. Yet steadfast rock- ‘ibbed holdings of the whites slowly | were acquired by the Negroes until | today the blacks are up to 155th} street .and still reaching out for new areas 125th Street Edgecombe avenue and St. Nicho- is place are now unquestioned col- ‘ed sections and one recalls for “urs that the colored folks never ent be'ow 125th street, a dead line \t in the sweep of the territorial ynquest in Harlem went down to 10th street on the south. And in he southern flood comes the fulfill- ment.of the Harlem colored man's dream that of seeing a Negro busi- ness concern established in 125th street, The big wide 125th street thor- oughfare was always kept clear of the colored business encroachment until a colored dentist got office room and started what is expected to be the vanguard of all kinds of Negro —business interests in that street. And one of New York's old- est department stores, Koch & Co., on West 125th, seems caught in the stream, Going uptown, 145th street, pointed out as the dead line. were was Bets readily waged that the day would never come when a colored man would live or own property beyond that point. Today hundreds of the race have swept past that street and are within a stone’s throw of the old Polo Grounds. And so the residential and busi- ness area of Harlem has acquired unusual significance for the Negroes who now regard Harlem as “Nigger Heaven.’ Carl Von Vechten wrote a book of that title and centered his story about a colored romance in Harlem. While Harlem Negroes didn’t like the word “nigge-” they had to admit that Van Vechten's book added popularity to Harlem. When Florence Mills recently died (Miss Mills was regarded as the colored folks’ leading stage ex- ponent in her characteristic style of

stage entertainment) over °100,000 people turned out for her funeral And the attention the New York papers paid to Miss Mills added to ‘Tarlem’s prestige as the home of little songbird who had been ich a tremendous success on both -ides of the ocean. . The Fame of Harlem The fame and popularity of Har- lem as a Negro section of New York has been taken to all parts of the world and especially in Paris and London. The old plantation melo- dies, the spirituals, the hotsy totsy the shimmering shakes of all the old dances known to the southern and northern Negroes were shown to foreigners by the dusky Harlem natives, The population of Harlem has grown by bounds. An estimated to-| tal of its colored population is 350,- 000, perhaps more. What evidenced more than anything else its unprec- edented increase the unusual plurality that tabulated by Fred Moore, Republican, in the re- cent primary election. It was the biggest and by far the most astounding yet recorded in all Har- lem. Harlem has long been hold for the Democrats, and Tam- many Hall has ruled there, with Ferdinand Q. Morton, colored Dem- ocratic leader, turning in large Democratic pluralities, Moore, Re- publican, sweeps in, and the after comment said that the Harlem Ne- groes gave too much credence to the report that seeped from abroad was was a strong- | full Harlem has its sordid side; its tragedies and its underworld ro- | mances, It springs into the lime- light now and then with an inter- marriage such as that of Kip Rhinelander and Alice Jones, the | | | ! | | | ' ' | | walked out of a Rome cabaret be- cause there were Negroes there at! the tables. This was later branded as a polit- ical story, but it was vicious propa- ganda that did the Democrats a world of harm in Harlem. And all this despite “Mayor Walker's per- | sonal appearance in Liberty Hall, Harlem, the night before election and Jimmy vehemently making a personal cenial, Rockefeller Gardens Another proof that Harlem is get-

break is the construction -of Rockefeller Gardens, a living section for colored people that occupies a | city block, from 148th to 149th street and from Tth to &th avenue. This is the work of J. who plans to rent from to eight- room units for $10 and $14 a room, ting a D.’s son, three or less. Incidentally, young Rocke- feller engaged a Negro, Roscoe 3ruce, of Washington, former as- sistant superintendent of the public schools there, as supervisor of Rockefeller Gardens and to see that all taking rentals got an even break. truce’s reported: an- nual stipend is $10,000. Harl everything that a colored man could desire. There are schools, churches, Y.M.C.A., Turkish baths, dance halls, the- atres, boxing arenas, skating rinks, Negroes ‘m has playgrounds, speak-easies,: homes, business places, and night clubs galore. Only recently it opened a colored highbrow night club, Ebony Club, at 65 West 129th street. It has added to its popularity by now weekly broadcasting its entertainment via WGBS. Of the old stand-bys, Con- nie’'s Inn and Small’s Paradise still remain, There are any number of lesser noted places, although Har- lem for years had Baron Wilkins old place, which was perhaps the best known to whites seeking diver- sion in the night life section of the black belt. None of its theatres are excep- tionally large. The biggest no doubt is an out-and-out movie, the Douglas at 143d and Lenox avenue, seating close to 1,800. Its oldest vaude and musical tab theatre is the Lincoln, operated by a white woman, Mrs. Maria C. Downs, who only last week took over the Al- hambra, to be devoted to exclusive Negro shows. The Lafayette Seventh avenue, more colorful than the Lincoln at 58 West 135th street, due to the fact that were one to stand outside its front for 12 hours he would see every known stage and professional celeb in the country, i. e., any col- ored person worthwhile. It seems to be human nature for them to either congregate there or pass by every day in the year. It is believed the day is not far distant when the biggest colored combination house in the U. S.— and this takes in Harry Crandall’s Washington house—will be built in Harlem. Even the oldest of Har- lem's Negro denizens believes that is certain to come, Like White Dancer Many shows) given in Harlem theatres are white. It seems strange that of all the dancing acts that one white boy, Ginger Burke, plays, the Lincoln some seven or eight times a year and is hailed with applause; this considered all the more remarkable as Negroes are natural dancers and to: them the whites go to pick up steps. The adid test of any kind of hoofing comes from an appearance at either the, Lincoln or Lafayette. Harlem has long been the Mecca of whites of distinction seeking color for books or offering some up- lift movement for the race. Of all the whites that within the passing years have visited Harlem the out- standing favorites are Clarence Darrow and Louis Marshall. Mr. Darrow, America’s famous criminal lawyer, has entrenched himself so solidly in Harlem that when he visits Harlem it is almost a Harlem holiday. is at 132d and This house is former of one of the richest of New York’s old families, and the latter just a plain Negro girl. Harlem has long boasted of one of the greatest of all colored basket ball teams, the old Commonwealth Five, now the Renaissance Five, that made it possible for Jess MacMahon popular as (white) to become as he did and who later

that Mayor James J. Walker, Demo- cratic Mayor of New York, became the matchmaker for the ‘ATELIER SOE Ei LN AL AE VARIETY Wednesday, January 4, 1922

| Well Gowned Pick-Up Apropos of a newspaper syn- dicate’s desire to use the photo- graphs of celebrity attendants at the “Show Boat” premiere,

the news photographers had an eye only to superficial outward appearances. When a well-meaning news- paperman pointed out such and such notable, the photographer was not interested. A striking looking blonde exiting from the Ziegfeld theatre caught his eye because of her ermine coat and other “glad rags.” 300m - boom-boom! went the battery of flashlights. The newspaperman, inquisi- tive as to who this personage was, asked the photographer. The latter said, “I don’t know, but she looks good. She must be somebody. Wait, I'll ask her escort.” He did. The escort replied: “Tell you the truth, I don’t know who this woman is; I just picked her up in my hotel lobby and brought her along.”

\. 4 MacMahons, Eddie and Jess,

ran the old Commonwealth Sporting Club in East 135th street where fights and basket. ball were the features, and particularly basket ball. Celebs There are so many Negro celebs living in Harlem and engaged in business there that a list would be impossible... The name of Madame Walker, who not only amassed a fortune through the Walker Hair Straightener, and the Madame Walker system of organizing schools is still magic; the. Walker interests and business being carried on by her daughter, Mme. Alelia Walker. The Walkers have a show place as a residence on the Hudson but Harlem the Walker money piles up. Up in Harlem names in fistic circles like the late Tiger Flowers and Harry Wills are spoken with reverence. Flowers has passed on but his ring career is just as well! known in Harlem as though enacted yesterday. Harry Wills, though now deposed as a heavyweight contender, is still loyal to Harlem. And that Wills will always stick by Harlem was further evidenced last week when he bought two apartments over- looking the National League base ball grounds on 155th street as an investment. Wills became more the beloved of Harlem clubs when he refused to raise the rents of those two flats. It is always cus- tomary among Negroes buying apartments to immediately raise the rents. But not Wills. The rents remain at $10 and $12 a room. The Wills holdings are on St. Nicholas place. Up in Harlem another fact looms up. Irvin C. Miller, now regarded as the Flo Ziegfeld of his race, owns one of the most centralized buildings up there. Some day it may be torn down and house the biggest colored theatre in Harlem. Yet it now stands as a monument to the success Irv Miller has made in producing colored musicals. Mark. in still Acts on Air Joe Cook and Dr. Rockwell take the air shortly over WEAF on the Eveready Hour. It includes 29 stations. Cook broadcasts Jan. 3 and Rock-

well a week later, Jan. 10. Both bookings were arranged by Leo Morrison.

WMSG Sold for $20,000 Madison Square Garden's radio station, WMSG, has been sold to the group operating it under lease. Purchase price was $20,000. Harry Propper, Bill Norrins and another partner from Cleveland are in on the buy. The station has been selling advertising on monthly contracts averaging around $150 for 30 times, etc. THAW DOESN’T KNOW Los Angeles, Dec. 81. Harry K. Thaw, in his defense against the $100,000 breach of prom- ise suit brought by Forest Hope Wall, categorically denies every point in the Supreme Court com- plaint, with the comment that he doesn’t know what the girl is talk- ing about. BILLY CURTIS BETTER Billy Curtis, vaude and cabaret agent, who was forced into retire- ment three months ago because of

| authors MUSIC TRADE IN ENGLAND —

London, Dec. 16. The music business in England, so far as the sheet end is concerned, still seems to euffer from loss of vitality—in fact, the slump in some cases is so acute that music men are wondering just where it is going to end. This condition is not entirely con- fined to the popular music houses. Some of the standard music houses have suffered from diminished sales and profits perhaps to a greater ex- tent than their brothers handling the lighter side of music. During the last 12 months one famous standard house, Enoch & Sons, has passed out of existence, and two or three others are pre- paring to give up the ghost, while ;}one firm which has been established over half a century recently issued a balance sheet showing a paper profit of under four figures. All kinds of explanations are ad- vanced to account for this lack of interest in the personal playing of music. They include phonographs, radio, dancing and the popularity of cheap cars purchased largely on the time system. Undoubtedly all four are factors in the situation. In any case, they are all enjoying a boom, particularly the phonograph indus- try, and the royalties received from the latter business to some extent help the music publishers, especial- ly the popular section, to keep coing. Records of popular numbers are marketed at all prices from the 12c. dises sold in the Woolworth’'s Stores to the more expensive makes re- tailed round the 75c. figure, and ap- parently they are all doing well. For some time past. publishers, and composers have been agitating for an increase in the statutory royalty of 5 per cent pay- able on the double-sided disc. With the evidence of the prosperity of the recording companies before them it is felt that they have a very good case. Easy Money, but Costly As an accompaniment to dimin- ished sales the expenses have gone up—in fact, expenses have an un- canny knack of ascending in the in- verse proportion to the sales. One of the biggest items in the publish- ers’ overhead is graft (payments) to performers, whether they be or- chestral, radio or vaudeville artists. They all come in for their share. Never was there a time in the his- tory of the business when it was so rampant. An orchestra leader who combines. broadcasting with the

making of phonograph rex rds can gather in the easy money in laree lots. ; Once in a while the music men, through their association, meet to discuss this evil. After agri that it is an iniquitous state fairs and should be go straight out of the or if Stopped, they and meeting again outbid one another for the services of the performers. No Outstanders During the season there have been no outstanding successes, and this has perhaps had a wilting effect on the business. The public are a little tired of the sameness of the everlasting fox trot and waltz and are looking for something new, When it does arrive, it may help to revive interest. The best of the current hits are “Charmaine” waltz and “The Doll Dance,” which have brought Keith Prowse back again into the music publishing business. Francis, Day & Hunter is in strong with “Rus- sian Lullaby,” “Spanish . Town,” “Blue Skies,” “Just Like a> Buit- terfly” and “Me and My Shadow.” Lawrence Wright is working hard on a new number, “Souvenirs,” but has had a good season with: “Shep- herd of the Hills,” “Ain't. She Sweet?” “Crazy Words; Crazy Tune,” and “Shalimar.” Feldman has nothing very big in the popular fieid, but is trying to put. over “Leonora.” The most enterprising of the new firms, Campbell, Connelly &- Co., has done well with “So Blue,” and is going out after. “One Summer Night.” Chappell & Co., though not con- sidered as competitors in the popu- lar field, have winners in “Birth of the Blues” and “My Heart Stood Still’—these in addition to their long string of musical comedy hits, With these to go on with, pub- lishers are still looking forward with that irrepressible optimism that seems to bulk so largely in their make-up to a better season next year.

Ash Home; Fisher Back Chicago, Dec. 21, Mark Fisher goes back to his own band at the Senate this week after six weeks of subbing for Paul Ash at the Oriental. Ash returned last week, Fisher taking a week off be- fore making his return. Sammy Kahn, who rotated with Al Belasco at the Senate and Hard- ing theatres during Fisher’s ab- sence, is out.

WORDS and MUSIC

The elevated intelligence plane of the American public has developed of recent years a higher standard in the nation’s song output. Particu- larly on the quality of the pop song lyries, even more so than the melo- dies is this improvement mani- fested. For the main, the musical tastes remain simple. For every “Rhap- sodie in Blue” or “Dancing Tam- bourine” there are hundreds of simply constructed melodies that prove more effective in intriguing the public ear. It is the lyrics with their more intricate phraseology and poetic Ssimiles, at times, that are compli- mentary to the inielligence stand- ards of the popular music public. It wasn’t so long ago when the conventional moon - June - spoon- ecroon and the blue-you-two-true doggerel were still the accepted standard in production and popular song lyrics. Along came some new thoughts, new rhythms, new rhymes and new constructions by such expert lyric- ists as Irving Berlin, Irving Caesar, Lorenz Hart, Howard Dietz, B. G. DeSylva, et al. and put the Billy Roses and Benny Davises to shame. Not that the Rose-Davis clan does not gross as much and more than their high-falutin’ contemporaries, because, after all is said and done, a simple idea simply retailed clicks biggest with the great American Babbitry, but considering songs and song styles relatively, the cleverer word-tricksters and lyric contriv- ers who dared to introduce some- thing of a higher standard to the public are to be highly commended for their initiative. Progression

illness, has recovered. He will shortly resume his agent-{ had Madison Square Garden bouts. The ing activities. The development, of course, was governed hy a certain natural pro-

gression. First a Berlin tricked up a punch-line; then a Caesar or a DeSylva improved on that with flowery expression; and from that the Hart and Dietz school were in- Spired with courage to dare some- thing really fine in the field of song lyrics. A contention that Hart and his team-mate, Richard Rodgers, rate as America’s nearest approach to Gilbert and Sullivan has been vig- orously disputed on occasion, and while the odious comparison is con- siderably far-fetched, the question of relativity should not be over- looked. If they are not the nearest approach, it’s a subject of debate how near or far that approach may be. Concededly, it is too much of a tribute for a writing team as young as Rodgers and Hart. 10 vs. 25c. It is the Hartian lyric flavor that reminds of W. S. Gilbert in their general sophistry and expression, although lacking the Gilbertian finesse, necessarily so, considering the varying tempo motifs of a con- temporary era and that of yester- year. In line with the improved styles in wordsmithing, the general tenor of the nation’s songs is of a higher plane. Whether it has had its com- mercial advantages or not, is an- other topic for debate. . The retail price figures in comparing the 1,000,000 copy Woolworth syndicate sales with the present-day 300,000 and 400,000 gross of a present day sensational seller; a matter of 10 cents ys. 25 cents retail. This dovetails into the radio slant and its effect on songs and song sales, a matter that has been debated and mulled over time and again. Radio “makes” and “kills’ & song with equal efficiency and ex- pediency. Abel.

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eae Ww sc SBS we oreo weep rr = @& es — Sa SS | = an Wednesday, January 4, 1928 —_-— THE DYING NITE CLUBS That the great American gintelli- gentsia is tired of being buncoed and couvert-coveted by gyp and fake and take night club managers, under the subterfuge of dispensing nocturnal joy, is evidenced by the terrific brodie the New York night clubs are taking, and have been taking from the start of the new geason. No sooner had the majority of places opened than they closed. Geveral tried reopenings, but with the same negative results, as wit- ness the 300 Club [the former Texas Guinan “human museum” ], over which Ethel Waters presided for a brief spell. The 300 Club again flopped after five days’ existence as the Club Hitchy, with Raymond Hitchcock as the shining light. Hitchy was paid off in laughs. The Broadway spenders just ain’t and haven’t been from the start. Beemingly tired of, or sensitive to, the butter and egg appellation, the heavy sugar boys are taking their financial punishment, if any, on the q. t., either in apartment hideaways or in less ostentatious or more per- gonally satisfactory directions. Even chump spenders, unless doing an occasional tourist trip through the joints, are acquiring a Httle dignity to their profligate night deportment. The boys are going in for the “polite” stuff with the girl friends, starting moderately fn some conservative hotel or res- taurant, perhaps, or in a hideaway speakeasy, but getting real hot and low-down towards dawn in the thousand and one saloons and bars frequented by the sophisticates. The Bar at $1 It’s the bar at $1 a throw that’s doing the trade these days. They ean afford to overlook the down- stairs couverts and food checks— little food is sold, anyway, regard- less of conditions—and do better on the gross at the buck per copy Nquid dispensing. Many of the night clubs have bar adjuncts ad- Jacent to or on the premises, but “independently” operated and thus clear of the enforcement law’s machinations and machinery in the event of an unsocial visit from the gendarmes. So heavy was the rush on one Popular bar’s liquid dispensary for a time that the clients complained the five bartenders did not give ’em fast enough service. The trade stands several deep waiting its turn, with the thing this season being for extensive broadcasting of the latest gossip and manifestation of ultra sophistication. As the booze lends freedom to the tongue, plenty of wise stuff and Broadway dirt are aired. For the Element Those who want after theatre divertissement around a table are few and epicurean in their tastes. Broadway can only hold forth a handful of popular attractions for this element. The Shnozzles, yclept Chyton, Jackson and Durante, are the sure-fires for the element, al- though the boys’ radio hokum has been drawing plenty of the Strand Roof type of patronage. The Club Richman, with George Olsen the particular draw this season, is going great guns, at- tracting the Park avenue mob as well as the hybrids. But their con- sistent patronage is what counts On the gross with a stiff couvert, 80 what’s the diff? Then there are the Silver Slipper, Frivolity and Everglades, with their undress revues and name draws, like Van and Schenck at the former. They do consistently well, but all under par compared to last year’s takings. Texas Guinan was an in-between- er at best this season. Her Century theatre's basement was against her, her “hello sucker” boomeranged, her Over-exploitation scared away the tourists who dared not risk ex- aggerated conceptions of what the tariff might total, and her draw slipped generally. Last month she transplanted the scene of her ac- tivities to the Salon Royal, as co- Star with Tommy Lyman, having the advantage of a hotel room and & non-curfew restriction. Tex was in bad with “the boys downtown” which forced the closing of her Cen- tury spot owing to their insistence of the 3 a. m. closing law being observed. Like everything else, fickle New York has established itself else- where as the place to see and be | seen. Yhe past summer the Chateau Madrid, the roof atop the 54th St. night life entrepreneurs, enjoyed that vogue as the see-and-bdbe-seen spot. With the Hi’ ‘Ats Of the high hat places, the Lido, Mirador and Montmartre, with shifting attractions and so-so trade, have been drawing but mildly. Somehow the Broadway lure for the smart east side has waned. They’re sticking east of Fifth ave- nue at the Colony and the Embassy as of yore. Even the Ritz is a social risk, considering the con- glomerate collection of femmes at- tracted there for tea—anything from a dowager with a payrolled gigolo to a demi-mondaine frankly on the make. On the question of hotels, some have been doing well, before and after theatre. The really “nice” people are strong for the hostelries with their conservative charges for water and food, and their good dance music. That takes ’em all in, the Biltmore, Roosevelt, Wal- dorf, McAlpin, Astor, Park Central, Plaza and Savoy-Plaza, Ritz and Ambassador. Dance music accounts for Vin- cent Lopez’s draw at the Casa Lopez with the shows changed and the takings good but meriting bet- ter response for the value. This is the best indication of New York’s general apathy to night life. Two other jazz maestros opened their own nite clubs the past month: Ben Bernie at the Intime and Harold Leonard at Harold Leonard’s, nee the Mimic. That made four nite club syncopating impresarios in- cluding Olsen and Lopez. After the Raw It’s the familiar rounder who ts the backbone of the night clubs. With strict curfew restrictions, the booze thing and the type of attrac- tions offered, the wise ’uns revert to form and look for nocturnal playing in the raw—raw liquor, raw comedy, raw companionship. Off and on, a black-and-tan pops up like Florence's (formerly Gui- nan’s 48th Street Club) in mid- town, or the old Harlem standbys, Small’s, Barron’s Exclusive Club, Cotton Club and the new Ebony, but their play is spotty and their existence ever precarious. Other established cafes hang on and hope for the best. Switching from the black-and-tan idea to straight entertainment, the Little Club (nee Alabam) has been draw- ing some. The Kentucky, now the Club Monterey, has its own follow- ing, chiefly personal, while the Knickerbocker Grills and the like stick along hoping for and getting little. Eating Places The popular eating places, Cau- casian and Chinese, get a heavy play. That includes the Strand Roof, a standard Meyerowitz hold- ing, and the several Chinese res- taurants, like the Palais D’Or, Chin’s, Chin Lee’s, Yoeng’s and the new Jardin Royal. All offer dance orchestras and revues to pop food scales—$1,25 or $1.50 table d’hote dinner, and no couvert at all times. A restaurant like the Palais D’Or is said to have grossed as much as $25,000 a week in receipts In the season’s height. The same Palais has paid its stockholders 600 per- cent in dividends. But this pop price figures unim- portantly in relation to the spend- ing night lifers. They're the cafe going bunch that is willing to pay and pay well for its manufactured fun. With con- ditions what they are, this bunch is not particularly keen for step- ping out. They can make their fun where they find it, and if a conven- fent apartment, shielded from the arched gazes of strangers, is avail- able, that’s the spot. Reduced to its fundamentals, the sex equation makes the night life. The sex urge accounts for the high scales and the low ceilings, the hard liquor and the soft lights, the ex- pensive tolls and the free love. The dance halls cash in on this premise in generous measure and gets ’em coming night after night VARIETY What Hitchy Did When Raymond Hitchcock wes kiided into becoming master of ceremonies in the former 300 Club (nite), New York, some weeks ago, it be- eame evident after the second night the thing was a Bust. } At the opening the gross re- ecelpts were $1,200. For the re- mainder of the only week Hitchy played there, less | | than $800. On the second evening Hitchy toki the proprietors who were on a short bankroll and knew that Hitchy had to bring them the coin to pay off, that he would remain for the full week, without salary or percentage, go that the chorus girls and waiters would re- ecive their money. Hitchy kept his agreement, but neither the girls nor the waiters were paid. The waiters { were working for $1 a night. Booze Raiders Wreck Chez Helen Morgan | The descent of Prohibition Direc- tor Major Maurice E. Campbell and 25 of his enforcement agents and 15 moving van truckmen on Helen Morgan’s Chez Helen Morgan, one of the most irridescent spotos in Broadway night life, was the most drastic and destructful visit of any prohibiition squad on any single night ciub. The complete demol- ishment of the cafe, with damages totaling $50,000, and the removal of all properties and belongings, lead wise Broadway to believe that “Washington” had been nursing a particular grouch. The room was stripped bare, the tables and the chairs removed to the Knickerbocker Warehouse and even the bandstand was carted away. Axes and hammers were in active use from the start of the raiding party at 2 a. m. Friday morning until dawn, when the nite club at 145 West 64th street was no more, Two bottles of liquor were found in the barroom on the second floor of the club; a few others, including flasks on or under tables where the guests were seated. The room was crowded with con- vivial souls, many of the Park avenue haute monde, when the agents in evening clothes, some ac- companied by women, invaded the premises. Several had been mak- |stars have PAYING THE PLUG Slipping the pl Ureers,. The practice still exists in music business but not under the} former system of weekly easing $10 $15 or $25 to the vaudeville and specialty revue performers. The | acts have lost out while band di rectors, master of ceremony and come in on ; basis, The from racket $1,000 to $2 salary charged against any royalty new 000 a year these names are likely to run up on the song supposedly written by them and published their firms. by respective For instance, a big Chicago pic- ture house band name has been working for 12 years, but has never been known to write a song in his life. For the first year or two in the Windy City this band leader was considered a great plug medium by the publishers. It wasn't until after an undeniable wave of popularity had carried him to the public front that he was put on the payroll of various firms. In the past year this personality has blossomed forth with around five songs to his credit and admits to being a staff writer with one concern for $10,000 yearly and acts in the same capacity with another for $7,500. Well known ——————— ——— 2+ | modern composers appear on the a royalty | as | | ing | practically | the | title page as collaborators. As to Isham Jones Chicago has ea number of these now, as also has the Coast and New York. The most shining example Its, per- haps, Isham Jones. Riding the crest with his’ band at the College Inn, Jones started “writing’’ numbers which had his name on them and which were all popular successes. So runs anywhere | much so that Jones started a music firm as all his numbers started to edge into the money. The follow- year he met with reverses, disbanded his orchestra and for the two years he was away from the spotlight his name did not appear on any song or in con- nection with any music house. Some of the latest luminaries to be mentioned as song writers in- clude Ruth Etting, who carved @ niche for herself in the Ziegfeld “Follies” and on Columbia records, and Mrs. Jesse Crawford, wife of the Paramount organist and herself at home before a console. Band leaders, picture house m’'s and c’s and organists all now be- come staff writers over night if their popularity warrants. It’s a 1,000 per cent. coin increase over the former routine of putting songs across. lt's the same old racket having its clothes made by a more expen- sive tailor. 10% “Breakage” on Discs Called Out by Publishers Music publishers have decided to eliminate the 10 per cent reduction evil which mechanicals have been taking advantage of for many years. On the record and roll royalty ac- countings, the canned music firms made it a habit of discounting 10 per cent on the gross for breakage, a practice dating back many years when the phonograph disk was a brittle subject and apt to break. In later years with the composi- tion much improved, the breakage on records has been negligable, but nonetheless the mechanicals accept- ed the benefit of the 10 per cent, costing the music publishers and songwriters many thousands of dol- lars annually. ing scouting visits to the Chez Helen all along the week gathering evidence. Hideaway Liquor However, the anticipated large liquor cache was not discovered, proving the wisdom of the liquid dispensaries in hiding their wet goods at remote spots. It is believed that the Morgan club, which had been wide open for a number of months, was giving up plenty. Nick Blair was the leading spirit behind the “torch song” war- bler. Major Campbell made no state- ment on the raid, but it is under- stood the dry agents admitted At- torney General Sargent had issued instructions to create as much dis- comfort as possible for the owners of raided premises. Campbell stated his enforcement squad did not exact the names of guests at the Chez Morgan, but there have been statements to the contrary. The guests were per- mitted to secure their wraps and coats and pay off before departing. Biggest Business The Chez Morgan is a wreck on the inside. Booths and walls were wilfully defaced and mutilated by the axes of the raiders. Supersti- tion must have halted any damage to a big mirror behind the bar which was a feature of the old Club Anatole before it became the Chez Morgan. The club had been doing the big- gest nite trade in New York, al- though it fell off following Miss Morgan’s departure on the short because of the moderate tap. That’s more than any night club can do And there isn’t enough of a ma- the supper rooms to thrive con- Club, operated by Louis Schwartz, ne of Broadway's most astute Company. jority to distribute it profitably for sistently. Abel. Milton Weil Continues Chicago, Dec. 31 Milton Weil denies his political duties will force him to leave the music publishing business. Besides holding a high State of- fice, Weil will continue as active president of the Milton Weil Music road tour of Ziegfeld’s “Show | Boat.” Its top receipts for a week ‘had been reported at $18,000, phe- |nomenal business. At times the |crowd in the place looked like ea | waiting line to get service. Several lwere concerned in the eluwb, run- jning in “pleces” from 6 to 655 per |cent., sbout six partners in al). Lopez at Kingsway | Kingsway, 2,200-seat picture | house which A. H. Schwartz has added to his chain, reopens tomor- row (Thursday) with Vincent Lo- LESLIE OPENING CALLED OFF Lew Leslie was to have opened his Ambassadeurs Thursday night, but the turn-outs at the opening were turned back. Fuse trouble was alleged by Leslie, stating some com- petitor might have cut the electric cables in retaliation. The Ambassadeurs is Roger Wolfe Kahn's ertswhile Le Perro- quet de Paris, nee Ciro’s. COMIC STRIP CELEBS WGBS induced a number of comic strip celebrities to talk over its eir last week, including Harry Hershfield, Rube Goldberg, Jack Lait, Jack Callahan, Zere and Wal- ter Hoban. The stunt was primarily a boost for “All the Funny Folks,” a, pri- vately published colored story book in which the famous characters of the strips live in a mythical king- dom, and to which Gimbel’s had the exclusive retail sales rights. COWAN BACK WITH FEIST’S Returning to the firm he first started with, Rubey Cowan be- comes a staff writer with Feist’s this week. The veteran songwriter has since been head of his own music house, Stark & Cowan, and also writing extensively for the presentation houses, doing special songs and lyrics for Publix units. Broadcasting Morris Dinner Old Gold cigarettes may broad- pez and his Casa Lopes orchectra as the teature. 2 emcee Feist’s “Blue Heaven” And Other Best Sellers Considering the holiday season, the music business is pretty fair, with sheet music selling nicely and including a couple of outstanding hits in “My Blue Heaven” (Feist) ang “Among My Souvenirs” (De- Sylva, Brown & Henderson) along with “Charmaine” and “Diane,” both the Sherman-Clay song hits based on the musical themes of the film features, “Big Parade” and “Seventh Heaven.” Other good pop song sellers mM- clude “Broken- Hearted,” “Baby Your Mother,” “An Old Guitar and an Old Refrain,” “Cobble-Stones,” “Give Me a Night in June,” “High- ways Are Happy Ways,” “Did You Mean It?” “Rain,” “Sweetheart of Sigma Chi,” “Without You Sweet- heart,” among others. The dance folios marketed by the larger firms like Feist, Remick, Shapiro, and DeSylva, Brown & Henderson are also selling big. Of the production music, there is a wealth of selling stuff from shows like “Good News” (DeSylva) and “Five O’Clock Girl” (Harms) which top everything followed by “Desert Song,” “Funny Face,” “Show Boat,” “Rosalie.” HERE AND THERE Royce Taylor's Orchestra has re- placed Ted Fiorito's at the Hotel Sinton, Cincinnati. ° Henri Keates, until recently solo organist at the Oriental, will rotate with Eddie Hansen at the Uptown and Tivoli beginning this week. Milton Charles replaced Keates at the downtown house. Al Payne will head the Paul Specht band unit at the Club Lido Venice, Palm Beach, opening Jan. 14, Egyptian Serenaders at the new El Torreon dance hall, Kansas City. William J. Smith has published “Ukulelepops,” a book collection of 18 comic uke ditties by John Milton Hagen and F..Henri Klickmann. Vodery in Nite Club Although there was spirited bid- ding between Fox and the Keith- Albee bookers for the Will Vodery Orchestra, with Fox giving the col- ored aggregation several weeks in New York with cther time offered, cast the coming William Mborris|the act turned down all further dinner at a cost of $5,000. vaude time to go into the new night The tribute to Mr. Morris is|club that Lew Leslie is promoting scheduled for Jan. 8 at the Com-|in New York. modore Hotel. AOD a CANTON’S NEW DANCE HALL , Canton, O., Dec. 31. | Girls’ French Date Green Mill Gardens, dance hali, | Helen Gray and Maria Kearns | was opened last week as a combina- from the Broadway nite clubs sails|tion ballroom and supper. club. Jan. 14 on the “Paris” for an en- | Location is just a few miles east of fagement at the Ambassadeurs | Canten. Cannes. | Abe Dryer and band will be the Lou Irwin booked ett: ¢ for n indefir period. » ett E” ET

Page 30

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30 ~ h of t pi } } t th ty +) the it 1 nt in the comm thea I expansio oO ym Tri¢ i Ss n on bel ilf of ! sus merchandizers who are cashing in on a radio-cr« ated good-will has brought about a new form of advertising and ex- ploitation, greatly to the advantage of the artist The many commercial broadcast- ers in the field, all anxious to com- mand as much concentrated atten- | tion for their recular weekly “hour,” | have brought about a bidding ft r | name talent at fabulous rates of} compensation for the few minutes | they are on the air. The $100 a minute standard for} average names has given rise to the! sensational top of $500 a minute to} Gene Tunney for five minutes of} radio “performance” early this month for Palmolive. The utilization of the ether for exploitation purposes has been es- tablished as to value, direct and in- direct. Where for a time it was deemed abstract good will publicity, merchandizing experts soon found that increased sales in radio-cov- ered sectors were the direct result of the ether plugging. It was best manifested when a commercial com- pany broadcasting on one station or over a limited network of three or four stations, added one or two em- bracing new territory. Ergo, the eall for their product jumped up- wards in that new field before long, and so the commercial firms were definitely sold on radio’s value for advertising purposes, Names and Salaries As competition grew keener and commercial broadcasters battled each other for ether importance, the battle of big names and big salaries developed. Competing commercial firms on rival stations decided one or the other must ultimately anmex the-majority of audience reception. The greater the ether “circulation,” the greater the effect of their radio campaign. It was decided that only the names or outstanding radio talent would command this concentrated attention. Hence, the booking of important people for radio per- formance. Eveready the Pioneer Eveready started things with its $100-per-minute scale for Eddie Cantor. The Eveready Hour, mak- ers of Eveready radio batteries and allied electrical products, were pion- eers in the name thing, and paved the way for Socony with Van and Schenck, the General Motors gi- gantic entertainment programs that include such celebrities as Weber and Fields, Leo Carrillo, Willie Col-

lier, etc., the recently new Palmolive Hour with Tunney and the Duncan Sisters among the high money- getters, et al. Radio entertainment as a new show business is concededly in its Infancy. It is developing whatever it will develop as a natural result of its own growth. Whatever shortcomings there may be or faults that exist,*are genially ascribed by the radio broadcasting powers-that- be to a simple case of “growing pains.” No Showmen Wanted All the well meant advice about a radio program czar or arbiter is consciously ignored. Radio does not want showmen experienced in the theatre to mix into their own field. Radio feels that radio will from its own source develop an outstanding broadcasting luminary who will be best qualified to advise about and foster the growth of ether enter- tainment. Right now, commercial radio seems to be taking the initiative. Those who control the broadcasting facilities, ie. the physical operators of the stations, are not doing so badly on their own, on a straight leasing arrangement for the use of their facilities. An organization like the National Broadcasting Co. contributes but a fraction of the millions spent by commercial broadcasters for enter- tainment. The N.B.C.’s $500,000 budget for 1927-8 entertainment is only for the maintenance of perma- nent organizations to fill in and round out the “hours” consumed by the commercial advertisers. The beauty of radio from the theatre’s standpoint is that its ef- fect on the box office is aimost negligible in proportion to its tre- mendous grip on the entertainment- hungry public. Where there are instances of concert recitals being “killed” by advertised broadcast- ings:: where there are complaints from: colleges, as happened last PS Se <A agg ts pee — ~ et en TOE” eae staeeneenimmanall ppememeninn ppe nee m prove to is the fault of too much ether publicity, thers ire innumerable’ instances when the reverse is true to the leather pushing racket, than | otherwise Radio talent like Lopez Ipana Trouba- Davis Saxophone Octet, com- fancy salaries in houses on their radio rep sively. Two of the biggest male names of recent years came to fame via radio alone—Harry Richman when a WHN broadcaster from the night clubs, and “Whispering” Jack Smith, whose $1,250 salary does not compare with the $75 he earned as a Waterson - Berlin- Snyder song plugger. name Happiness dours mand s0YS, Compensation The long advocated campaign of compensation-for-the-artist by ‘“Va- riety” was but a natural develop- ment in radio’s growth. No such vital American influence could long exist on the type of programs first offered in the days of radio's youth. It was paramount that after the song pluggers and the free-for- all warblers and the tin-pan bands had had their sway, radio would be forced to keep the ball rolling. Twenty million American fam- ilies with 20,000,000 radio sets in- volving an estimated population of 50,000,000 listeners-in, could not be trifled with. America prospers; families grow; new sets, new ap- paratus, new tubes, new batteries, new this-and-that underwrote a gigantic business enterprise from the start which was economically obligated to maintain the pace, for financial if not for other reasons. The important money concerned, and the ether magic of spanning tremendous distances for the selec- tion of this and that source of en- tertainment, were two vital factors in the growth of radio. The juve- nile spirit in all of us of playing with a graduated circular spindle and making certain marks bring forth certain things at certain hours could not be denied. The mature capitalization of this take-it-easy and sit-by-the-fire means of enjoy- ing warm or chilly evenings paved the way for the advance of radio entertainment. Romance and humanitarianism were but incidental elements. The gratefully emotional responses from Shut-ins and convalescents were but a by-product of radio’s purpose. Radio can only exist on the re- action from hale and hearty and prosperous humans and it was this commercially-responsive majority that the radio advertisers appealed to and are capitalizing on now. Commercial Radio And so, with the radio public radio-wise beyond the years of radio existence, commercial radio finds that only the importance of their programs and program talent will continue to command radio au- dience attention. For, unlike the movies and the legitimate theatre, with its handful of trade and fan periodicals, radio finds media of publications galore at its beck and call. Every evening newspaper is a miniature radio fan magazine. Every week end newspaper devotes special sections with millions of inches of free space devoted to radio programs, radio artists, inventions, developments and improvements, All this has tended to educate the radio fan to become epicurean in his tastes for the free ether enter- tainment. He must now be “sold” on when and where to twirl that magic disk which, only three or four years ago, satisfied his hunger if only a broadcast phonograph disk were etherized. Abel.

Larry Siry Incoporates Albany, Dec. 31. Larry Siry, who for several years has been playing with his unit at “class” hotels in New York, has in- corporated under the name of “Larry Siry’s Music” to engage in the general orchestra business, His attorney, D. F. Feldman, of 476 Fifth Avenue, drew up the incorpo- ration papers, the capital stock be- ing set at $5,000.

Paul Seott, veteran dramatic

agent and caster, after an accident, is back at his N. Y. office. picture | exclu- | Tex Rickard after first frowning jon radio, built WMSG atop the | |Madison Square Garden and en- courages fight-by-round broadcast- ings, concluding radio is a stimulus

VARIETY January

5 Miss Morgan’s Personal Nite Club Draw, $3,500 A personal draw of $3,500 weekly for the house was at- tributed to Helen Morgan. She was the entertaining head of the nijte club in New York named after her up to Friday morning, when prohibition en- forcement raiders demolished the premises. It’s the first and only esti- mate yet made of the amount any cabaret star could draw on their own standing. Miss Morgan was reported re- ceiving $1,000 weekly and a percentage of the gross in the Morgan nite club, where the gross receipts have reached as high as $18,000 in one week q this season. BRITISH FILMS (Continued from

page 15) Ormiston, who is touring the country boosting the scheme, took the usual line about the danger of pre-releases and key theatres, and declared Paramount- Famous, in spite of assurances to the contrary made by J. C. Graham, was still ac- quiring theatres through nominees, instancing the Capitol, Cardiff, and the Scala, Dublin (latter house os- tensibly acquired by Major Charles Bell, but as he has been employed in various ways by Famous for some ten years and has been in charge of their building operations in France, no one took much ac- count of the alibi). Replying to questions, Ormiston stated there would be no difficulty in getting films despite the attitude of the distributors, but he did not explain where or how, nor mention the failure of the promoters of the Scheme to tie up with the independ- ent distributors, Those of the big Scottish exhibitors who were at the meeting kept out of the discussion, and the general result can be safely said to be that Scotland is by no means sold on the Scheme. Days of Frost What with the mercury é6everal degrees below and the closeness of the holidays, there is a good old- fashioned Christmas slump all round this week. Several theatres are playing reissues to save money on their film hire and the others are doing bad business, too. “Uncle Tom's Cabin,” at the Lon- don Pavilion, is costing around $14,- 000 a week, what with the house rent, the colored show and the over- heads, and it would need good to capacity business to get away on this. “King of Kings” is doing thin to fair. Overhead here much less than the “Tom” show, and P. D. C. may break even, But not this week. Flood Before Quota One of the most noticeable ef- fects of the passing of the Films bill has been the extraordinary number of trade shows (pre-views) of American and other foreign films. These are being shown and booked ahead so as to have the field clear, for when the bill starts to operate next year the limitations on booking in blocks and ahead would seriously handicap those dis- tributors who were loaded up with product. In the current week, at writing, 32 American, two foreign and one British film have been shown, including “King of Kings,” “Uncle Tom” and “The Garden of Allah.” The De Mille film does not create the furore its pre-publicity led one to expect. As it is presented here there is nothing to offend anyone's feelings, save they have a funda- mental objection to the living pre- sentiment of Christ in any form. Apart from this, the film is innocu- ous, and in parts almost static. Why “The Garden of Allah” has received so much praise at its first Tivoli showing this week I do not know. As entertainment it is not in the “super” class, and as a pro- duction it simply serves to show how much Hollywood, despite its perpetually canvassed defects, does contribute to the manufacture of a polished article. this More Revivals Besides those mentioned last week, other Christmas week revivals include “Ben-Hur” at the Tivoli for afternoons only, “Vaudeville” at the Capitol, and a general reissue of “Safety Last.” A Film Scare Police around the ports were busy this week watching out for a film on the life and execution of Sacco and Vanzetti, which someone was trying to smuggle in. It is said this film was made in the States, and Communists were using every means to get it here. If made in America it has been kept mighty quiet. There was one made, or

going to be made, in Germany, and maybe that’s the ons all the time. Wednesday, 4, 1928

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A mechanic’s wife haled her spouse before the Court of Domestic Relations, charging wilful neglect because of his membership in too many clubs. Agreeing he provided adequately financially, she admitted it was the club thing that burned her up. The wife offered in evidence a packet of cards, purporting to be membership cards to organizations without sick or death benefits he had joined. The husband stepped to the bar. Addressing the justice, he volun- teered: “Your Honor, they are merely okay cards for speak- easies.” His honor perused the bunch of vari-colored cards, smiled sardoni- cally, handed them back to the de- fendant and dismissed the case, The growth of the speak-easy, flourishing since prohibition, has put it upon the basis of New York's nearly second largest industry, with bootlegging the first. The last unofficial census of the whisper-lows showed that there were over 20,000 in operation in Greater New York. At least a quar- ter of that number operate between the Macy-Gimbel line and Columbus Circle, taking in East and West. Since the obliteration of the ma- jority of public thirst quenching parlors of the old-fashioned saloon variety during the regime of the Mullen-Gage law, its subsequent re- peal has increased the locked and unlocked joints quadruple of the number slowed through the State enforcement act. The 20,000 or more in operation provide a variety to appeal to the whims and taste of all. Where Speaks Are Thick Within the past year the blind tigers have gone through a process of evolution, with most now aping the better grade night clubs and getting the play from the in- betweeners with limited coin through cut-rate prices and enter- tainment without cover charge. The speaks are spotted so thick in the upper 30s, 40s and 60s that a stranger in town need but pull a phoney collapse in front of any spot to be dragged in and resuscitated with the cup that jeers. An out-of-towner recently stum- bled into a traffic copper on crowded Broadway, imploring he must have a drink, and wanted some inside info as to where to get it. The cop, having a sense of humor but still unwilling to commit himself, point- ed to a bootblack stand and im- parted to the stranger that that was the only place around where he couldn't get a drink. Sounds like a gag. But there’s more truth than fiction in it. The evolution of the speak- easies, starting originally with stag and stagger joints, has progressed within the past year to such an ex- tent that the mixed points (those permitting women) have eclipsed the stags by several hundred per cent, It's the latter that have been do- ing the real dressing up to catch the fem eye and hold them as regu- lars. In these places escorts are de- sirable but not necessary. Class Joints The se-called class joints of the racket are well appointed as to decoration, offer entertainment and dancing and with drinks scaled moderately. Beer brings two bits; gin, four bits; Scotch or rye, 75 cents; same for Canadian ale (pint) and $1 for mixed drinks, brandies or cordials. Some have kitchens attached. Most haven't. Food is inexpensive, with the joints figuring on the liquor for the big take. — Those offering entertainment offer a one-man orchestra (pianist), some singing waiters, few paid hostesses and many more voluntary hostesses. The latter depend-upon how adept they are in running up a check for their remuneration, aside from what other revenue they may acquire on the side. The vols rarely get a real live one, but do get the overflaw of saps from the regular hostesses in majority around re “~~ the more moderate price s k parlors, where one can nam: Times Sau poison from 25 cents up, prey - east and west of Broadway Also various take-out joints, where a concoction labeled “Cape Smoke" or “Squirrel Whiskey” can be had frrm 75 cents to $1 a pint, made while you wait. These are reported as doing land office business from those with the inclination, if not the price, for regular stuff. Student Trade The better class places with long bars are getting much of the student trade once monopolized by Green. wich Village places. Women—~ young and old—just stepping out love the thrill of drinking up against the bar. In most of the class placeg drinks over the bar are 15 to 25 per cent. cheaper. This, of course, appeals to the student out with $5 and his girl. Previously Leblanged he can make it a big evening on a ten-spot. While the speakeasy racket hag increased by a large margin in 1927, not all are doing business. Many are resorting to all sorts of subter- fuges to build up a steady trade, Taxi drivers, pedestrian steerers, male and female, are sent out nightly to steer those who look good sans flat feet or pocketbooks, in with percentage arrangement as re- ward. Less police molestation since the repeal of the Mullen-Gage law has provided less headaches when busi- ness is good. Despite the number operating and seemingly not enough patronage to go around, others are still coming in when able to get spots. The latter has been tougher than ever of late, with landlords holding out for high rentals and in- sisting upon a year’s rent in od- vance. The latter is protecrive measure for the owners, two ways, in case of flop or padlock. It goes without saying that the dolled-up speakeasy has nicked much of the night club trade around New York. The clubs may claim they don’t want the cheap ones, but their attitude is much after that of the proverbial fox and the grapes. Speakeasies are flourishing, some more than others. And it seems as though they are here to stay until prohibition goes into effect. Fdba. HOTELS GOT BEST OF NEW YEAR’S EVE DRAW Olsen Copped Record with $15 per Couver Charge—Every- thing But Water Extra

Nite club biz was disappointing generally New Year's Eve. Reserv- ations were slow, and whatever ma- terialized in the cafes was last min- ute trade, although a few did big biz. That went most for George Olsen, as the Club Richman draw, where he was booked, sold a week in ad- vance for the 500 capacity limit at $15 a head as couvert alone, this charge including mineral water, but nothing else. Food, etc., were a la carte, making this a record high for nite clubs. Hotels did the record business. A hostelry like the Roosevelt had 1,300 reservations weeks in advance. The hotels opened all their dining rooms for the patronage, including the grills, main dining rooms and addi- tional banquet hall. Each room had its own band, with the stellar lumi- nary of the hotel shifting from room to room to conduct a set of dances. The hotel reaction is the direct result of last year’s holiday celebra- tion, when it was found the hostel- ries’ charges and other tolls were nominal, and that one could have a

when the latter are unable to handle. The growth and their the the of the speakeasies “dame” angle has revived | old Tenderloin in New York only difference being that its boundary now is unlimited. It prac- | Bronx, but with the most lucrative spots in Times Square. The matter of entertainment for the speaks is a small item. The pianist gets a moderate stipend and his rum. The waiter-entertainers depend upon tips. The paid hostesses rate $25 weekly or less with a per- centage on checks. Despite the high hat joints being

| tically runs from the Battery to the | |

| Frisco Feb. 4. | great evening at normal cost and | with much more convenience and |elbow room than in the cafes. The favors, too, equalled anything given away in the nite clubs. The house party thing was an important factor in the off-holiday eve trade. The many stagger-in and stagger-out household oases appealed more to the celebrants.

Paul and Lloyd Waner, the Pitts- burgh baseball brothers, are set to play three weeks of Orpheum time. On the west coast they open in The Pittsburghs will train on the coast in the spring.

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Page 31

or

"Wednesday, . penny 4, 1928

OUTDOORS BUSINESS

future of the outdoor show the U. 8. but In the busine ss in ean be That business has been growing less and Canada seen little brightness. profitable annually for many years. For the past three or four years the breaks were all against the out- door showmen. Not only was the weather fn the open air season, thing fo be. The doesn’t seem to get over so well nowadays. Long ago the outdoor fixer only had the local authorities fo square. Now there is the other showman, the indoor man who runs a picture palace the year ‘round and he won't have the outsider coming inside to take the show money out continuously against them but every- and everyone else appeared fixing of previous seasons ef town. Nor can he be squared. And the reformers have grown more numerous. They are more familiar with the tricks of the outdoor trade. Anything there’s a chance in the reformers call gambling and then they call upon the sheriff or local police to stop it. As the church is almost always behind the reform element the sheriff or the police listen. The carnival man argues there is no gamble and presents his arguments but the reformers seem to know the ttricks too well. Whether they have been wised by the picture exhibitors or studied the many exposes of the outdoor racket of the recent past, the fact remains they know and hamper the arnival operator. No Advancement Nor has the carnival, as the have flown by, advanced prestige, standing or credit. They are still the roving gypsies, wait- ing for a break, either at the fairs later or next season. Obligations are a gag. Catch me if you can and if you do Ill show you the thattel mortage. years their And when the coin is scarce, on goes the gaff. To hell with the other fellow. Let him fix, too, or ¢rawl out of town. The few responsible carnivals with reliable showmen at their head are dwindling. But a meagre few remain, very meagre. Even those acting and playing right, without the gyp, gaff or dirt, must stand for the ignominy of their calling as erected for the outdoor business by the crooks of that trade. But the grifters of the outdoors don’t believe they are crooks—they just think the Ford owners are chumps and let it go at that. That some of these outfits can return time and again to the same towns, with the same kind of show, doing the same things may be the rea- 60n why the carnival people be- lieve everyone else but themselves are chumps. In the picture exhibitor the out- door men have found someone they can’t get to. They have also found the exhibitor is a local political power and they know they are be- ing curbed continuously. When not actually closed or shut out of a town they are held down to where they dare not take much of a chance. More Cities Closed More cities each year are being closed to the traveling carnival. If not for one reason, for another. Boards of Health have had con- Siderable to do with this success- ful agitation, even when the native exhibitor may have been disposed to be lenient. Health boards get behind adverse legislation. Books like Jim Tully’s “Circus Parade” will work an injury as well. Tully sounded as though he had been a common roustabout with a cheap grift circus but the inaccuracies in the Tully story can’t be explained to a public that prefers to believe the worst all of the time. Even in “The Barker,” the stage Play that was a season's hit on Broadway last year and with a company of it now on the road, the immoral side of the carnival was given the greatest attention; that of the show owner having a mis- tress and the barker mixed up with a cooch dancer. That play has not improved any standing impression of the carnival show. Fairs as Life Savers throughout the country are the life savers for the carnivals. But all of the carnivals can not Play the fairs. And the fairs can’t fuarantee good weather or good crowds, for the week or less that they run once yearly. Anyway the outdoor Fairs showman the most. There's no principle in that kind of a showman and all others pear to know it; they don't him and. they don’t want him. He’s got to go. ap- like

Hunt Carnival Worker In Murder Indictment Utica, N. Y., Dec. 31. authorities

Oneida County have pee ed efforts to locate Roy Scott, alias Frank Marton, carnival worker, indicted for second degree murder in the stabbing of Frank Hess at Boonville, N. Y., Sept. 7 Sheriff John G. Thomas is mail- ing circulars containing a photo and detailed description of the fugitive to all sheriffs and heads of police departments in the United States and Canada, Scott is 30 years old, five feet 10 in height, weighing 160 pounds, ha- zel eyes, dark sandy hair, medium erect build, southern accent and good personality. He has an Indian girl tattoo on his center breast, a butterfly tattoo on the right side of his breast and tattoo on both arms and wrists. Scott was in Boonville selling tickets for the Travers Carnival Shows at the time the crime was committed. Homer Scofield, colored carnival worker, is being held in connection with the crime. The stabbing was in Hess’ roadhouse, adjoining the fair grounds, the carnival was held. where VARIETY | } | | Bankers are as highly interested |‘ in the picture business as ever. In two or three important directions | they are more so and in some chan- | ! ' ' |

, the YEAR IN PICTURES. | (Continued from page 7) looks at it, there isn't much hope. | ouse 1 ; _ " \ He finds mighty few outside his | ; fc business with him and he can't | *>' “ Ol hari trust those in the business. The net | Talkers result is the outdoor man feels he Since t Vitaphone ‘ |must stand by himself. The single | , no than at MN hi ; If the roving carnival owner of \ © more than what will happen the gypping type is unpopular, he fter the first natural color film at did it. He cheated his chumps and !over lOc. a foot is located. his creditors, but cheated himself] News reels this year have also displayed their drawing power. nels the bankers are really running ichances the manipulations of the chains! they are behind. Foreign Trade In the foreign trade is a more de- termined antagonism to the U. S$ picture product than ever. So far foreign elements promoting the native found themselves against the un- surmountable wall of commencing to equal the American film. Contin- ued propaganda, however, has loos- ened money and incited much feel- ing against the American made, also desirous of industry have its manufacturer. Taking the example of Great Britain if the British Quota Film Bill should prove profitable for the English producer, much of the same thing as far as possible may be found throughout the world While it will have no immediate ef- fect upon the American distributors, its effect will be felt in other ways and cause the U. S. film men con- siderable money, trouble and annoy- ance. France but lately threatened to follow the model of the German contingent 1-for-1 legislation. It is now estimated that the for- eign distribution of an American made in demand outside the U. 8S. is 40 per cent. of the entire gross of that picture. Percentages of American showings in Europe have been cut down within the past two years, this occurring through Euro-

OBITUARY

OLGA WALTERS (Mrs. Guy Harrington) Olga Walters, 30, in private Jife wite of Guy Harrington, stock actor, now playing in Wilkes-Barre, Pa., was found dead Dec. 29 in the bath- room of her apartment, 617 West 190th street, New York, the police advancing the belief that the act- ress had met with foul play. Mrs. Harrington had filed suit for divorce in Binghamton, N. Y., which | A final decree was expected some time this month. Mrs. Harrington had come from Binghamton just before

|. Christmas, | with the understanding she woul tee several years. EVA RANDOLPH Randolph, 64, legit Metropolitan Hospital, Dec. 27. stricken Eva died in York, been actress, New but failed to rally. Miss Randoiph’s last stage appear- ance was in “The Auctioneer” in support of David Warfield. She had also appe ared in “The Whip,” “Alias the Deacon” and E. H. Sothern com- Harrington had failed to contest.| panies. The veteran actress left the to care for her husband, the Fred W. Lindo, manager, who under the care of the Actors’ stage late was

Marcus Loew

dispose of her New York apartment and make Binghamton her perma- nent home. Miss Walters, as she was known professionally, had appeared with the Harrington Players at the Stone, Binghamton, for several seasons. After Harrington’s stock opening in Wilkes-Barre, his engagement was published with Mrs. Grace Lake, widow. named as his prospective second wife. Police examination in New York stated that Miss Walters had come to death from four or five blows struck by an instrument carried away by her murderer. Jewelry, pocket-book and a winter coat were | missing from Miss Waltere’ apart- ' ment.

Miss Randolph is survived by her sister, Mrs. Elizabeth Seelig, and a niece, Mrs. Hattie Jacobs, New York. ° Under auspices of the Actors Fund, Christian Science services were held at Campbelie Parlors Dec. 30.

Thomas Joyce, 74, father of Mona Lamar, wife of Ed Milne, New York booking manager for Pantages Cir- cuit, died Dec. 37 in New York of

heart trouble. Interment in the Gate of Heaven cemetery, Mount Vernon, N. Y. The mother of Fred W. Hixor @ted Dec, 28 in M. Louis.

Miss Randolph had | while on the street | and she was rushed to the hospital |

Fund | J t Colun NI ve 2 st ? Ss ‘ ‘ is s ! th « the flor ‘ t) ‘? " { 1 St \ Hi » pol ‘ e ¢ ! i q \ ee Ww ai i Rt i } 7 y ) t; ! rs reti } or tw d field left W } he a matics dropped hrough and the opposition ang I gated, with both wheels work- | ne for the same principle of mak nz communities as they were for real burlesque, it gives this class of eatri Is pl t ya new start The truce affected in the near- merger solidifies wheel burlesque as ommon enemy to stock burlesque Through its wide scope of lid lift ing, stock figured as dangerous op position to the wheel shows at one time In certain spots the resident out limits of the part nts the force had gone beyond order to for the th it for a regular wheel shows out for ‘ould not take such were figured mildly stocks and naturally all around. The wheel show future was in a bad way but the merger fixed it. Stocks figuring the sky the limit in indecency extremes have been checked, with most out. Authorities of various cities that have attempt- to slough burlesque entertain- ment on argument of the stock in- decencies have since been won ove! ind assured the wheel shows will adhere to legitimate burlesque. The merger happened in prelim inaries set with Sam 8S. Scribner, head of Columbia, shaking hands with I. H. Herk, head of Mutual. It was noised then that the mitting | stuff had more significance than a decency in office and vay Ww The a season most while grat and the dropped igainst business ed handshake. The succeeding get to- gether of both wheels has borne this out. Mike Joyce of Columbia and Emmett Callahan of Mutual form a censorship committee and tour from time to time to see that the joint attractions are up to standard. Producers on Cuff The merger was a veritable god- send to Columbia with many of the box |) di rs on - rm for I t > t } = ¢ \is ~ ee i? T ’ t ( r ? i ‘ é Ww kly payr t ‘ ] Y «) \ nt $ 1 WeekK!\ ] Mutual's $1 $0 T : Cc sm shows remain nd | genuir bur- lesques have sh overhead to keep wit gui: intee and at a profit he pre ducer The flat guarantes btair for all with a possibility of an ad ditional percentage irrar men after this season, as soon as Scrib ner and Herk can work out the plan When Herk swung the merger he convinced Scribner that a nondescript policy would not be ipractical for burlesque. He con- d that burlesque did not want the legits mixed in Lew Talbot White Cargo Phil elis did the same _ with Kongo.” Gus Hill withdrew “Bring- ing Up Father” and staged another “Peek-a-Boo,” title formerly used by Jean Bedini and backed it with a regular burlesque show. The lother legits just passed off the Co- jlumbia wheel. Herk’s Policies Herk's policies had weight Scribner since Herk had taken the Mutual out of chaos and placed it upon a protitable basis. Herk tn his star chamber with Scribner that the idea of “refined burlesque” was out and that the shows should be burlesque without attempt to ape broadway musicals with less expen- over in Vinee oO rdshowse ad De Ang unit with conferences convinced the latter

sive casts. The latter just made them “turkeys.” The working understanding, al- though in infancy, has done much for the betterment of burlesque. It | has given performers as to where they are at, an as- surance that burlesque is here to stay instead of petering out, and lhas also removed the former petty jealousies which naturally obtained assurance houses

between the two wheels because of opposition. Everybody's happy hiven§ the girls on the runway are grinding more vigorously. Edba,.

pean pictures penetrating more | as a record for its gross, as Jolson freely into the foreign territories | did $57,000, hitherto held almost exclusively by Increasina Scales the Americans. The recent Capitol (Loew's), New Stage Shows York, change of policy into “big An extreme advance this season) names” lasted but briefly. This may in the picture houses has been with have been a reaction from the Jol- the stage show, the presentation, | son engagement, with Loew's and stage band unit, master of cere-| maybe Publix agreeing that too |}mony or merely a vaudeville addi | much is too much, Notwithstanding tion to the picture. With it has|the Capitol’s grosses fell backward come resentment from that division | as quickly as they had gone to $95,- of picture people and its trade pa } 000 the first week of the change pers that do not want to see the} They were normal again within four sereen submerged. Exhibitors have | weeks. Meanwhile the striking Cap- simple answer to give them pic itol bills had been ubdued until tures that will draw by themselves.|/the “name” portion was almost en- That is a terrific argument, and|tirely dropped. {Simple. If the film producers can fill! Jt. should not be overlooked, and 1, 4,000 capac ities with their pictures | it’s a peculiar Loint with some pic- only, the exhibs, chains or indies|ture house managements, that they iwill gladly throw out the stage | think the opportune moment to in- show. But the producers must do it | crease the seale is with a change in levery week. policy. Thusly the Capitol held to It's the same old box office figur the 99c it used for “Ben Hur” when ling, and the argument is only On| changing policy immediately after- et e side. With a theatre's « poet ity | ward to names, and still has that stiec enough to drop from $20,000 | 99c, top, although the business tum- - 30,000 below full capacity, the | bled back. The Strand did the same it a manager deems himsel |} thing, going from 75c. to 99c¢., with ler azy if missing an opportunity to), slight variation of its stace show fill in that void, Smaller picture) noijey that endured but shortly | houses, taking the lead from the With the Strand, however, the top | large r ones, have followed suit, reverted to 75c. with the next policy using stage shows as special attrac- switch. tions according to their means. Always remembering that on Better Business Broadway and almost without ex- In drawing talent from vaudeville ception the screen feature is always | ness for their

ind musical managements have comedy the picture been doing busi- attractions with vaudeville people, and the lat- ter are perfectly satisfied. They are free from the bother of the former big time booking methols, the actions and vexations. In the picture are given action, quick contracts if reasonable stage the prompt answers, agreeable and a salary. There is no cheating as in vaude, no “copy” acts attempted, no effort to steal peopk or acts, and all of the picayune tics of the former big time place in the better picture operations for its stage units. While it is undoubtedly true that e payment of $15,000 as week's salary to Al Coa Theatres fo Lac- house one We st California Jolson circuit of DY that week in W. C.’s Metropolitar Los Angeles, excited the actors and the trade, Hareld Franklin's 1s ment was vindicated through puse netting $18,000 itself the Jol son week, also a record for? itable side of the theatre as ex- | | booking offices they find no} ] a big factor. The only one who has consistently beaten that to date has been Roxy; he has made them come to see his stage picture and hear the orchestra, for Roxy has had to

| play many cats and dogs upon his sereen. As ever, the picture industry is | whirling as fast as its cameras. Even as this year goes out there | are big deals under way, and no one }can tell or foretell. A year from now there may be a different story }for a year in filinville is a long | while nowadays. And the wift changes may occur in production theatre operation or stage shows one or all, and at any time. ALLIGATOR FARM AT PARK Canton, O., Dee. 31. izer of Meyers nnounced that on theatre recent farm will be in- will ' Cal Sinclair Uy ce Park, has the site of the oid mar lligator ed The park one! ta middle |

a cand + egeee., _

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Page 32

Hl ; ' ‘ ' ‘ ' 4 nad - a a OR Td eee ——————— - 7 AT ATLANTA |} justment to his novel career bars and concrete. Bit by (Continued from page 18) earceration for, due to their addic- | tion, they are usually denied all but | the most inferior working assign- | ments; they are the perpetual men- ace of prison discipline and morale. The customary first term for nar- | cotics is one year, for narcotic ped- @lers two years—and “up.” From their first to last day behind bars they undauntedly scheme and fight to get hold of drugs. the drug problem at Atlanta, as at all prisons, one which turns the warden’'s hair white. Every now and again the “source” of the deadly contraband will be lo- cated and grave punishments ad- ministered; in a few weeks it is dis- | covered that drugs are again coming in. A masterly watch is kept on mail and packages, the favorite me- diums of transmission; for this rea- son every register in the prison has | the “punks’” names in red ink and everything they get from outside is rigorously censored. In addition a searching physical exploration is made on all narcotic admits—often it reveals hidden one and two-ounce phials of heroin or morphine. Warden Snook is the protagonist of a movement that, if successful in Congress, will most effectively selve this momentous penal problem. He has advocated for a long time the institutional segregation of addicts. It is his idea that the addict is not go much a criminal as a sick person with no right to be dumped in among other violators. In a sep- arate structure the addict could receive the special hygienic hos- pitalization his case warrants. It fis amply proven that even two years at Atlanta is ineffectual in re- moving narcotic hunger. The Raw Recruit In this penal world in miniature all is not gloom and shadow. It is @ peculiar thing how committed men 80 soon learn to accommodate them- selves to conditions such as—if first offenders—they never have even conceived of, much less known. The raw recruit is an interesting study. For the initial four or five weeks he is in process of depressed ad- This makes —— — SY When in Chicago Visit These Hits A A. H. WOODS’ Matinees Wednesday DELPH and Saturday BLANCHE YURKA in A CYCLONIC HIT! SAM H. M Wea Harris aap oak satavhes JILBERDT MILLER ETHEL Presents BARRYMORE in ‘THE CONSTANT WIFE’ eed W. SOMERSET MAUGHAM MINTURN. CENTRAL, aa gat. New Yerk Success Here “A GOOD BAD WOMAN” BLACKSTONE A. L, Erlanger & Harry J. Powers, Mgrs. Pop. Matinees Wednesday and Saturday GLENN HUNTER in “Behold This Dreamer” WOODS ! Now Playing to Capacity in he 3 Largest Cities of the World—Chicago, New York, London Presents His O Vincent Youmans ae eS HIT the DECK With QUEENIE SMITH, CHAS. PUR- CELL and TRIXIEK FRIGANZA MATS. s THURS., SAT. JED HARRIS Presents the World Famous Drama of the Cabarets BROADWAY By PHILLIP DUNNING and GEORGE ABBOTT RATE REDUCTION Single Rooms -_—- « Double Eooms - = $10.50 and $12.00 VAN BUREN HOTEL 1589 W. VAN BUREN S&T. CHICAGO Phone Harrison 0254 idrab and frightful routine of prison; $8.00 and $9.00 VARIETY among comes to adjustment, makes new friends or—as so often happens— finds old ones, starts to attend chapel or night school, sees movies | once a week, learns to toss the medi- cine ball or play tennis on the | stockade and works eventually into ithe odd equilibrium of confinement. His abruptly-found companions advise him to “forget it,” to plan out his life just as he would on the | outside, to take interests” wher- | ever they expose themselves, to | realize that he’s “in” and must make the best of it or he will soon fur- |lnish material for the nearby mor- |ticians of Atlanta. With a thousand complexes thus suppressed he slowly falls into the now and again—if a “weak sister” —he actually gets to like it. I recall the case of a 50-year-old convict, who had served a long sen- tence, working on the prison ledger, who wrote back—not long after re- lease—saying he wished he could come back; he said he missed his old pals and the irresponsible ex- istence of the fortress. Light a pipe on that! Still Planning Few of the men at Atlanta seem to suffer from compunctions for their misdeeds. It was really com- ical to hear some planning fresh coups among safes and second-story windows when once they got out. Unanimously they decided that only for some slight defect in technique —now perfectly plain to them— they’d never in God’s world have been caught. The next time—ah! they’d know how to handle the “rod” (gun) or the “soup” (nitro) with- out that miserable bungle they made before. I often wished I could have fol- lowed their post-release doings to see how the “improved technique” worked out. Such men as these are, it is neediess tio say, congenital criminals, who will—in 95 per cent. of the instances—spend virtually the remainder of their lives in prison. Neither the grace of God nor that of their fellows can save them from such awesome. destiny. Yes, there are many men who will go out to “go straight”—no doubt of it. The one trouble with incarceration, however, is that its rigors and disgrace often metamor- phose into life-long delinquents men who otherwise would have stopped short at one crime—a crime, in such cases, often indicated not from a twisted brain but arising from so- cial environments and domestic or- deals against which they fought unsuccessfully. Of course the most hope conse- quently resides with the “first of- i peated the fender,” though Warden Snook has never been convinced that “the greatest sinner” may not “return.” He will point you to innumerable instances of second, third and fourth offenders who left Atlanta to com- pletely rehabilitate themselves as honored and useful members of society. Awaiting the Show As I said, life at Atlanta is not all gloom. Perhaps one of the most Titles by MALCOLM STUART BOYLAN FOX EMILE CHAUTARD Now Playing PERE CHEVILLON in “THE SEVENTH HEAVEN” FOR FOX HOLLYWOOD Ox 6463 or Hollywood 3546 JOHN F. GOODRICH 2nd Year with Paramount- Famous-Lasky JOHNNIE GREY WH. 2132 LORNA MOON “MR. WU” Wednesday, January 4, 1928 |welcome and popular reliefs from bit he | its dull chronology is the annual prison show. This is put on usually on Lincoln's Birthday each year, re- day following. For weeks previously the place is in a state of feverish anticipation and preparation. Talent lies around and there is always some es- pecially efficient inmate, formerly in theatrical lines without, who takes charge of the presentation. The 1927 production, for instance, was generaled by B. F. (Cowboy) Hughes, prisoner-dentist, who spent many years with shows and circuses out where the west originates, and he made this year’s show the high- spot in prison history. Hughes “took up a collection” of about $200 with which to buy costumes and props, superadding from the sar- torial department of the institu- tion, more vulgarly known as the “tailor shop”—that’s the place they make your ideal of what the neatly dressed man should wear when gg ing out! B. F. worked in and out of hours training and rehearsing his singers, artists and stage crew, and on the two fatal days flashed several “beauty” ensembles that would not have disgraced Union Hill or Phila- delphia on “dog” nights. The vil- lagers sat entranced; the encores were as loud and long as at a Ro- tarian blow-out. But in prison circles the clock and the gongs don’t combine for en- cores—and a bow or two was all that got through, At that the show ran for over two hours and the dramatic editor of “Good Words,” the prison monthly, offered as his opinion that “no more artistic and classy performance has ever graced the stage of our institution.” On the two consecutive show- days the gallery gods are com- posed of specially invited ornaments of the Atlanta elite, and there is a wild scramble each season for one of the Warden’s coveted red admis- sion-cards, In former years it was occasionally the practice to allow the entire production to go in to Atlanta under guard and repeat the performance there but the new dis- cipline forbids it. In the 1927 show was a colored chap who told me he had been with Eddie Leonard for many years. Hearing him sing “Ida” to vocifer- ous acclaim I had queried him. Re- splendent in old rose and glistering silk and shining topper he was the hit of the occasion—a dreary mem- ory to many down front of other places and other times, and other happier environments. Everybody was agog in the early weeks of 1927 as to the possibility of Barl Carroll coming in in time to produce the show. But that unique experience was denied the captive thespians, for Earl lay gaz- ing helplessly at the celling “way up no’th” in 8 C. for a long time after the event had been staged. What entrepreneur will guide the loose, in the lap of the penal gods. For the famous “B. F.” is due to leave in the meantime. Religion and Attention Another striking feature at At- lanta are the chapel services. For over a year a little cheery Scot, Fred Ladlow, has been chaplain, an Adjutant of the Salvation Army. Into the religious doings he has brought much of the atmosphere and mannerisms of his far-flung or- ganization; a beautiful spirit of kindliness and service never before known, His Sunday morning serv- ices are crowdedly attended: a thousand men ifn blue in the pleas- ant auditorium respond to his mag- netic appeals, and the old gospel hymns rise in thunders as he paces the platform, with hands upraised, leading the familiar tunes. Clear of his inspiring supplications, no one will easily reckon what cheer he has brought, through vast Army connections, to impoverished sisters and mothers and brothers of in- mates scattered over the entire land. An herole little figure, that Chaplain—working largely for the love of it there, for his salary is weekly not hal¢ of what a favorite night-club cigaret girl makes in one evening from tips. At Atlarta you will never have cause for complaint as to medical attention. They have a prison hos- pital, equipped and manned just as perfectly as the best on the out- side. All operative procedure is under the care of Atlanta's most celebrated eurgeon, and his tri- umphs in saving by the knife are widely known. There are resident and visiting physicians, two men of the first calibre in their line. In- deed, with such hospitalization as Atlanté affords it is little wonder that many inmates go out proclalm- “THE LOVE WEB” (Preparing) ing that the medical service re- ceived was not only superior to destinies of the 1928 production is what they could have purchased outside—and outside many of them could not have paid a nickel—but that their lives had been indefinite- ly prolonged through the chance of their incarcernation. I saw one man, the mejor part of whose stomach had been extirpated six weeks be- fore, spryly stepping out to a taxi; the most unbelievable surgical feat of which I have ever heard! Atlanta a Builder Governors, mayors, district-attor- neys, bankers, lawyers, ministers beggermen, thieves—there they are, crowding one another; as odd a company as life can exhibit. It’s prison, sure enough; but it’s a federal prison, with all the tra- ditional humanities the adjective connotes. Atlanta is a builder of men. A spot of mental stresses and com- parative ignominy it may be—but it is not a place that should end a career, if the man is still a man, but the place to begin a new 1 better one, Its own recidivists are fey whether by violated parole or new delinquency. Maybe some of them go “somewhere else” east of Suez the next time—God knows! But it is mainly a place of new faces. Nothing is more patheti of course, than to see a man come back there. In my own incumbency there were a few. membered against them in any retributive way. In a few davs they’re plumped back into the ola routine they knew so well--andg@ start all over again at the prisoner’g favorite indoor sport of the days to release, When the morning arrives for re- peating the old “checking out” tine they skip forth like freshly dismissed from school. If only all of us had claustro- phobia! But it is not re- counting rou. boys Theatre NEW AMSTERDAM "iS. Pop. Mats. Wednesday & Saturday 2:16 LAST WEEK iegfeld Follies with Eddie Cantor Music & Lyrics by IRVING BERLIN THEATRE W. 42d St. MATS a SAT. INCOMPARABLE RIO RITA 3 Mats, Next Week: Mon., Wed. & Sat. ZIEGFELD wets ‘rnors ana SAT. The All-American Musical Comedy SHOW BOAT Seate at Box-Office for 12 Weeks LYRIC Thea., 44th St. Eves. 8:30. Mats. ‘eee & Sat., 2:30. BELASC 9TH MONTH VINCENT YOUMANS’ International Success HIT THE DECK with LOUISE GROODY 9q Thea., W. 44 St. PEN 7963 ERLANGER s Dir, A. L. Erlanger Eves. 8:30. Matinees Wed. & Sat., 2:30 THE GREATEST LAUGHING SONG AND DANCE SHOW ON EARTH The MERRY MALONES with GEORGE M. COHAN and 15@ DANCING COMEDIANS 376 GOOD SEATS AT $1.10 THE SHANNONS OF BROADWAY with JAMES and LUCILE GLEASON MARTIN BECK Theatre tm sre Eves. 8:30. Mats. Wed. and Sat., 2:30 VANDERBILT Thes., W. 48th St. Evs. 8:30 Mts. W. & S., 2:20 Lew Fields and Lyle D. Andrews Present THE MUSICAL COMEDY SUPREME MARK TWAIN’S “A Connecticut Yankee” Adapted by FIELDS, ROGERS and HART Thea., 124 W.43d St. Evs. Henry Miller’s fixer’ saw. There & Bat, GEORGE M, COHAN Presents Grant Mitchell in The Laugh Sensation “The Baby Cyclone”’ EXTRA MAT. JAN. 2 LAST 8 WEEKS WALLS 2: with Muni Wisenfrend By Dane Burnet and George Abbott Theatre, 58th St. John GOLDEN East of Broadway Eves. 8:30. Mate Wed. and Sat., 2:30 ANEW PLYMOUTH seh St.. W. of B’way. Evs. Mats. Thur. & Sat ARTHUR HOPKINS Presents URLESQUE A Comedy by George Manker Watters and Arthur Hopkins A. L. ERLANGER presents FRANK CRAVEN in His New Comedy The 19th HOLE LITT THEA., 44th St., W. of B’y, Evs. 8:30. Mats. Wed. & Sat, “Blithely blood-curdling.” —Herald Tribune. HORACE LIVERIGHT Presents New York’s Newest Shudder DRACULA FULTO BILTMORE fresr's30. ists wea. '& Set “Lovely—Radlant—Glowing—Charming.’’— Mirror, Billie Burke in THE MARQUISE with ARTHUR BYRON and REGINALD OWEN HAMMERSTEIN’S ™.?7, & 52 St, En. 8:30. Mts. Wed. & Sat. Tel. Columbus 8380 Arthur Hammerstein's Music Play “GOLDEN DAWN” Presenting LOUISE HUNTER Libretto by OTTO HARBACH and OSCAR HAMMERSTEIN, 2nd Music by EMMERICH KALMAN HERBERT STOTHART THEA., West 46th St, Mats. Wed. and Sat., 2.30 and The Theatre Guild Presents PORGY REPUBLIC Thea. W. 42d. Evs., 8:40 Matinees Wed. and Sat. Theatre Guild Acting Co. in Bernard Shaw’s Comedy The Doctor’s Dilemma Thea., W. 62d. Ev 8:20 GUILD Mats. Thurs. & Sat. 2:20 MARK D B’WAY Al S TRAN 47th St “A TEXAS STEER” with WILL ROGERS and ALL-STAR CAST A First National Picture EDDIE ELKINS onctettna JACK MILLER — ARTHUR BALL MARK STRAND SYMPHONY ORCH. presents the Motion Picture © UNRISE with Symphonie Movietone Accompaniment By the Master RNAU Director W. with GEORGE = BRIEN & JANET GAYNOR EAR and SEE MUSSOL INI THE VATICAN CHOIR on e Movictone, d Ti FOX om - ag ane, ime ea., 42d St., s Squar e Twice Dally, 2: 3 ROX Y 7th Ave. and 50th St.—Under Personal Direction of S. L. ROTHAFEL (Roxy) THE SILVER SLAVE Starring TRENE RICH A Warner Bros. Production Rory Revels—ié6 Roxyettes—Roxy Ballet Corps — Chorus — Ensemble Roxy phony Orchestra of 110 Alse Eight Complete Stage & Musical Productions WILLIAM FOX APITOL Broadway at 5ist St Doors open at 11:45 4. M. in “WEST POINT” with JOAN CRAWFORD An M-G-M Picture MIDNIGHT REVUE with CAPITOLIANS Conducted by WALT ROESNER CHESTER HALE GIRLS and Many Features CAPITOL GRAND ORCHESTRA Pop. Mat. Daily 2:45 50¢- - 75¢ + - $11 te

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0- dx Sel i t. 30 y. t. -@2e

Wednesday, Janv: 4, 1928

©& VILLAGE AND SQUARE

Semi -official playgrounds for the chump and his money, Village and Times Square. Greenwich Village has been stag- gering from a knockout wallop for two years but won't throw the towel into the ring. Times Square bas bettered its previous record as aping the old Bowery in its heyday as a sucker baiting lane. Auction rooms, museums, palmist shops, penny arcades, nondescript novelty shops, street vendors, fakers and gharpers, patent can openers and counterfeit Parisian naughty pic- tures have all moved uptown from the Bowery and l4th street. Talk to a few of the take ’em quick boys and they'll tell you the uptown chump is much softer than the downtown one ever was, Tilt- ing prices for bunk stuff you don’t want and can’t use won't stop the chumps. On Broadway it must be good—much better than the Bowery —so they buy. The average bunk commodity, re- gardiess of classification, that had been spurned on the Bowery for a dime brings two bits in the Square and no questions asked. Greatest Midway Times Square is the _ greatest midway of the world. Its chump population has got the stix district beaten 40 ways. The carnival boys have found that out and are cash- ing in heavily, offering their wares with the former lot spiel while keeping the eye peeled for a pos- sible hostile copper who may either move them on or grab them in. The lower section of the Square which once held thirst-quenching emporiums, take ’em in and knock ‘em down joints, has passed for- ever. The Old Tenderloin has gone to the sordid '70s, where aside from a select few fashionable menages are whisper low joints and call houses. A little off the Square but part of the former Square's night life. Also maintaining contact through chauffeurs and waiters who ean fill any want of the lonesome out of towner or localite. As to structural changes the erec- tion of the Paramount theatre on the former site of the old Putnam Building was probably most im- portant. The theatre is topped by a skyscraper modern building and particular about tenants. High rentals and rigid system have kept the The Roxy, in the '50s, other notable addition, Chanins have temporarily halted theatre erection of the district to go in for two skyscraper hotel buildings on 45th street between Broadway and Sth avenue. reference £yps out. was an- while the The realty boys are certainly copping on the inflated values of Square property, enhancing their coffers through leaseholds and other realty manipulations by far more lucrative and quicker turnover than show business. Lucrative For Beggars The beggars, maimed, blind, par- alyzed and what not have also found the Square a lucrative spot. Despite activity of the Mendicant Squad of the Police Department they are there aplenty and doing well. irosses may fluctuate but they're away ahead on the year despite many bad nights. Tab- loids exposition of professional mendicancy hurts temporarily, but is soon forgotten by the madding, gay, albeit, four-flushing mob that plays the main stem. The phoney joints that have been unable to stand the gaff of Broad- way rentals have diverted to 6th and 8th avenues, many getting in for soft rent because of the devas- tated condition of the street or pos- sible demolition of their present quarters on 30-day notice. Since the short term lease ar- rangement went into effect the up- per '40s on 8th avenue are getting &ypsy fortune tellers, crystal gazers and other seers and seeresses which lower 6th avenue claimed before that section went cloak and suit “Model Exchange” While on the commercial angle it would be well to take in the “Model Exchange’ which hovers between 84th and 42nd street. Former chor- isters have diverted into the “mod- eling” racket, finding the remunera- tion far better than themselves before out of town hicks for practically half the sum they fet modeling. The scale ranges from $50 weekly up. No rehearsals and short hours are the lure, with Plenty of entertainment thrown in for girls who don’t carry their mothers as chaperons. In touching the Square this re- Port adheres mainly to ths leay ng the side avenues h j mea streets unto: Greenwich | | upon

disporting | because of “Speakeasy their classification Alley” and elsewhere. Village Sloughed As for the Greenwich Village cab- as commented aret belt, it's shot and has been for years. Many of the former playgrounds where the collegiate and his sheba had staged hea necking have been sloughed tu make way for the subway extension The few places existing are just about. Former note of optimism is gone The big joints with uptown fol- lowings are getting the business spasmodically. Not because they're in the Village. It would be the same in Yonkers for the joints with a following. Smaller places are hard hit as usual. Proprietors hold on with meager profits because they can't think of another racket. The little theatre groups profi: more or less, usually less, and talent is practically voluntary for the Vil- lage shows. Mostly newcomers hoping to be discovered but seldom are. Still they gamble and like it Some may call it a deterioration for both. Perhaps. But neither believes. Both areas still think there's a Santa Claus, at least on the sur- face, even though tongueing their cheeks in accompaniment with such declaration. Both playgrounds headed toward nowhere but happy. Edba. 2,000 INDIE EXHIBS’

| | VARIETY

LETTERS When Sending for Mall te VARIETY, address Mail Clerk. POSTCARDS, ADVERTISING oe OIBCULAR LETTERS WILL NOT BE ADVERTISED LETTERS ADVERTISED @& ONE ISSUE ONLY

REPS CONFERRING IN N.Y. Los Angeles, Dec. 31. Sam Saxe, head of Gotham Pic- tures, is en route to New York to confer with a committee reported | representing 2,000 independent ex- | hibitors, planning an extensive pro- ducing-distributing organization. This organization would be sim- ilar to First National, making and distributing pictures on a negative cost plus basis. Labor Comm’r Calling Columbia Studio Men

Los Angeles, Dec. 31. | | | | } Chief Deputy State Labor Com- | missioner Thomas Barker is con- ducting an investigation on the ob- servance of the eight-hour labo: law in regard to mechanical partments of the independent stu- dios, especially in Hollywood and also the laboratories. Barker's first step will be to sum- mon Sam Briskin, studio manager for Columbia, as to why the law was not bein: de- | Joyce Gladys Wells & Winthro; Kaye Muriel Zweifel Fred R CHICAGO OFFICE \lbano V F Lee Harriette LeRoy Dot Rayer Babe Long Tack Sam ennett Joseph Leslie Dora jennington Charles Leslie & V'nd'rgrift Beunnies Merrett Lester Housen & © Bimbo Charlie Bonn Walter McDermott Lorett: Tooth Wade McDondal Trio Butler Geneve McElga Aubrey McGuirl J S Cameron Katheryn Mole Joseph Cathro J L Morgan Chas Chamberlain H J Morris Elmer Churchill Ben Murray H & M Clifford & Healy Myers & Sterling | Coffman & Carrol | Conlan Paul L Oliver Marie Corbette Selma Oliver & Vespo Crable Geo Craig Catherine Paimer Hy to answer questions | obeyed and also to explain the rea- | son for which his company refused admittance to a deputy sent to ths studio to investigate working ditions. Everybody connected with con- Columbia will visit the Labor De- | partment offices this week for a hearing on the matter. It marks the first time any studio has been indifferent to investigations mad: by the Labor Bureau. Also to appear during the week will be officers of the Chester Ben- nett Film Laboratory. Harry Arthur Reported As Head of T.-S. Chain Portland, Ore., Dec. 31. It is reported here that Harry Arthur is to head the theatre in- terests of the new Tiffany-Stahl | combine which contemplates the ex- | hibition end of the business on the coast. Arthur is with West Coast Thea- tres circuit. Tiffany-Stahl dea] involves Cas per Fischer of Washington Theatres Enterprises, Inc., presently building a large first-run house in Seattl« and another in Astoria, to be oper ated by Tiffany. M. H. Hoffman, president of Tif fany, is reported en route to Seatt] to confer with Arthur about ths proposition. 125th St. Quits Stocks Stock burlesque at the 125t Street, New York, closed last week with the house reverting to p tures. Too much burlesque oppositiol precipitated the closing. With Minsky’s Apollo also with stock policy wheel was overburlesqued, Hurtig & Seamon the and playing shows, RECTION

ns Bill Keenar r J \ n Nicholas Kecna Sis Anderson Kramer Mae A Arnold LT Lea Mabel Raker Al Lorner Girls Beasley Jack Lucking Me'ita Bell Jack Lyman Abe Bernard Billy Liew Bernice Mohoney Jack Bloom M McNally Ben Boyd W H Marsh Charles I Braase Stella Marsh Lloyd Fraudies Bob Martine Janet Brooks & Nace Marvin & Davis Budd Ruth Mason lois Burns & Wilson Maye Billee Bussey & Case Mathewson M’'rg't Meehan Jimmie Calanie Ed Moore George A Calm & Dale Moore Ray Cenerose Vera Capman Harry O'Mara Emmett Cardiff & Wales Cathbert Rupert Page Sid Clark Florence Paggar Hal Clifford P Parson Joseph Cook Eddie Perry Harry Cowan Thomas Rehfeid Dave Davies E Reno Eddie W Davies 3 Renshaw Rose he Tonego Reser Harry L‘oyle James Riess Sidney lrovilard J C€C Riley Joe Rose Mae Faery Irene Rose & Tiorne Faust Billy Roth Lillian Fisher M Roye Harry Fisk Francis Ryan James 4 Playmates Beville Sylvia Seymore Harry Silvers Sam Spencer Helen Stevenson May Gillette Bob Greenleaf Ralph Grenville Claire Hafter & Paul Hershon Louis Tunis Fay lfloward’s Ponies Tucker Sophie Homburg Robert liouourt Daisy Heward William Huebrer Mary Hulen Boo Hiuntley Bruce Wadsworth Wales Mary Wall A! Wells Len Western Helen Weston Nellie Henry Pymm F & P Darrell Emily Dell Delano Ray & Dayton Devine M Reed & lucey Doherty L & V Regent H Drew Virginia Rene Mignon Dumont Adolphe Rhea Mle Robinson Charlie Early & Late tobinson & Pierce Evens EB Rogers & King Rome & Dunn Faye & Thomas Ross Katharine Foley Bernice Ross & Gilbert Follies Girls Rothchild Irving Freed Carl Russo Mabel Frohman Bert Seymore Grace Gibson & Betty Shannon Helen Gifford W C Sharp Hilly Gilbert Bert Shaw Keta Sherry Edith Hamblet Viene Siggie Hammond Al Sigworth & Snow Hart Anne Smeck Roy Hart Lyle Steinbeck Bruno Harter Kathryn Sylvester & Vance Hartman Marie Harvey Morton Tingley Lillian lHinssen Ben Tip Tops 8 Heller & Riley Tishman Irving Herman Lewis Hertz Lillian Vict'rs Am Beaut lilogan & Stanley Holmes F W Wayne Clifford Ilunter George White Joseph White Pierre Iversen Fritzle Whitman Flo Williams Dixi« Kawakams Aida Williams & Wes'on Woody Arch Lamont Alice Wright Geo Landry Robert Wynn Ray Larry's Ents Bob Lee Mrs Zeigler L & H London “Dugan” Co. A. H. Woods has completed a cast for London's “Trial of Mary Du gan.” It will rehearse here and sa late this month. Company includes Morgan Farle Genevieve Tobin, Lenore Harri: Anita Kerry, John Milton, Helene Sinnott, Maud Gilbert, Sylveste Polk, Kenneth Hull and Elwood Rostwick.

| BURLESQUE ROUTES | COLUMBIA Week of January 2 and 9

4 Perfect 36—Casino, B« imbia, New York Mare Facts Columbia, New Y« 4. Empire, Newark Be Happy—Palace, Baltime G ety, Washington Cock-a-Doodle - Doo Gavet liochester; 9-11. Colonial Utica

| New York; 9 Dancin: ‘ ( |’ s hy ( ‘ Flying Db mar Cc vi! Prov dence 2, Casino, Bost Foolin’ Around—Olymy Cincin nati: 9, Gavety, Toront Galeties of 1928—Gayet loro! %, Gayety, Buffalo liere We Are Gayet ] 9 Rochester I n Hat hie e 4 ‘ { i: 5 Capt Albar » Gay Vv. Be n Lid Lifter Empire, Broo) n; 9 Casi », PI iladelp) a Let's Go Carino Philadse peri 9 Palace, Baltimore | Merry Whirl—Gayety, Boston; 9, Casino, Brooklyn Nothing But G = . ino, Brook lyn; 9, Empire, Newark Saratora ‘ ips Kmnp.re, New ark: 9, L. O Snyder Bo; 7 Washing ton; 9, Gavet Pittsburet Tip Top Revue Mine Bronx Empire, Providence MUTUAL Band Boy R real: 9, Hloward Banner u (,a.vety Boston Burlesquers Niont -H adson Union City; 9, Orpheum Union City. Bathing Beauties—Lyric, Newark 9, Hudson, Union City. Big Pevur H. & S. Musie Hall N z.. 2G vety Lroo!} ivn RBowery Purl uers Strand Wash'n«ton; 9, Gavety, Baltimore Finnel), Carrie—Gale Scranton 9, Gaiety, Wilkes-Barre Follies of Picasure— ety, Minn +} eapolis; 9, Gavety, Milwaukee French Models—Gaycty, Wilkes Barre; 9, L. O. Frivolities of 1928 Trocadero

Philadelphia; 9%, Strand, ton. Ginger Girls—-Grand, Akron: 49%, Garden, Buffalo. 33 Girls From Happyland-—Gayvety Baltimore: 9, L. O. Girls From the Follies Lyric Dayton; 9, Empress, Cincinnati Girls of the U. S. A Gayety Louisville; 9, Mutual, Indiana Happy Hours—Garden Buffal 9, Corinthian, Rochester Hello Pare« Corinthiar Re ter; 9-10, Geneva: 11 13-14 Schenectady High Flyers—Gavyet i City 9, Gayety, Omal High Life Empire, Cl lane Grand, Akron. Hollywood Scandals impress Cincinnati; 9, Gavety, Louisville Kandy Kids-—L. O.; 9. St Broo) lyn Jazztime tevue 2-3 Gene 1-5, Oswego; 6-7, Schenectad ‘ Gayety, Montreal Laffin’ Thru—Sta Rrookly1 9 Trocadero, Pfiiladelphia Moonlight Maids—-jayety, Omaha 9 Garrick, Des Moines Naughty Nifties Garrick Des Moines; 9, Gayety, Minneapol's Night Hawks—-Empress, Chicago 9, Cadillac, Detroit Nicht Life In Pavis—Plaza, Wor cester; 9, State, Philadelphéa. Parisian Flapner — Garrick Ss: | Louis: 9, Gayety, St. Louis Pretty Pabies Orpheun Pate son; 9, Gavety, Scranton Record Preake L. O.: &, Acas emv, Pitts>/urch Red Tle’ nad lilac, Detroit: ; Empire, Toledo Social Noid Mmpire, Totedo Washing- | rmopire, Cleveland. Speed Girls-—Gavety Lyric, Newark, Step Lively Girls--Gayety,. Mf waukee; 9. Empress, Chicago. Stolen Sweets—Acnademy, bureh: 9, Lyric, Dayton. Sugar Rabies—-Mutual, Indianap- vlis; 9, Garrick, St. Louis. Brovkliyvn: ‘ Pitts

eee Cosa Lopez Elileon Dee Cee Vineont Lope Or | Montereynians lack Octerman Billy Lustig Or Great Maurice Club Richman Phelos Twins Geo Olsen Orch Muriel Stryker Mort Downey Shaw & lu Pree i Juliette Johnson Bea Sis & Carrol! !|Geo Murpny Chez Florence Fvercindes

Geo |

CABARET BILLS NEW YORK Hoter Ambassador Park Centr'l Hotel Grace Hil Marshal) Van der Zanden Or Hotel Biltmore Madli'ne Northway / \Cass H igan Or Parody Club | Jimmie Divrante Lou Clayton Eddie Jacksron Ceo Chiles Parody Rev B Cummins Or satalvg. Bee Durante'’s Orch Hotel Manger

Florence Bunny Weldon Re’itrwin Abrams Or Pennesylvania Hote! Sneeze & Palmer Eddie Chester Johnny Johnaeon Or Florence's Orch Calvert Shayne &M Jardin Royal Chez Helen Morgan Rhona Lloyd Jimmy Carr Orch Salon Roya) Mary Titus red Reilly Rev 4 a Iielen Morgan beth, Stavitibem . _ Texas Guinan Arthur Gordon} - - «wr — Knickerbocker Grill Tommy Lyman Robbe Arnst ~ wee Sylvia Hanley Georgie Taye s Jerry Friedman Ori. eee rrixie Hicks Silver lipper eee See ite Hart y Club Barney FRieanor Terry ‘ ‘ERY Van & Schenck H R Orch | Sylvanians Grace Ashley Dan Heary Rev pill nips —_ ; Bert Kauff Orch Dolores Farris Clay Lide 54th St. Club Reth Challis Tithe Club Moss & Fontana Renny Davis Genes Maen Don & Mae Meyer Davis Orch Fddie Cox Mr P’) "Be , Vercelli Sis »? | Fuz K nicht siding « Benjamin | tom Gott Or Connte’s Inn lEthel Nor Embassy 3 Leonard Herper Rl y,, ee _ | Billie West Small’s Paradise Silie P —_ 2 - 2 SR ena ‘ ey ‘ a

‘ aS £ \; i s 4 4 ; \ ‘ . - , e 2 * iP + ~# . ; ia 4 to 2 L = i x - é bsg t La 2 t , + - 4 * 4 : i... } - ” try - 3 i ie i} § 2 :

ons 2 Spe « _ ot ens rere ate ~~

Page 34

STOEL GENTLEMEN PREFER BLONDES From the famous story by Anita Loos and the play by Anita Loos and John Emerson. Hector Turnbull Produetion. Directed by Malcolm St. Clair. Esther Ralston im “Love aNnD LEARN” 4 “Peaks or DesTiv¥” Ufa Production Dee EGGieweae lll. lg ke elf “KF ighting Fanny” (Paramouni-Christie Comedy) “Save the Pieces” (Paramount-Christie Comedy) "Dad's Choice” (Paramount-Horton Comedy) “Frenzy” (Paramount Novelty) PARAMOUNT NEWS (twice weekly) Wednesday, January 4, 1928 NI

= Bl

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li we Wednesday, . January 4, 1926 VARISTY 33 —$———_—__—_— — ——— —— el RUDY WIEDOEFT Wizard of the phone compose ore mier recording radio star. America’s most popular saxophor ist, now on tour Dec. 24; Michigan atre, Detroit, week Dec. 31; of Jan. T; atre, Chicago, Jan. 21; atre, Chicago, Jan. 28; The Triumph of hen the viewpoint and knowledge of both the master musician and the master builder meet, the results achieved must be unusual—and are! It was so with Herbert Clarke and Frank Holton back in 1916, when these two men overcame the poor carrying power and faulty tune of the cornet. The result was the Holton-Clarke ‘The Miracle which, with two possible exceptions, American cornetist of national prominence. Cornet,” REVELATION TRUMPET Gustav Heim, first trum- pet, Damrosch's N. Y Symphony, also colla- borated in the design of this trumpet in the Liewellyn Model, which has taken America by storm Write for spe- cial catslog artist, Shea’sa Buffalo theatre, week o Indiana the autre, Indianapoks, week Ambassador theatre, St. Louis, week of Jan. 14; Chicago the week of Uptown the week of Tivoli theatre Chicago, week of Feb. 6 Wie ibeft MODEL : Holton Saxophones FRANK HOLTON HERBERT CLARKE EDWARD Recognized world’s For over a quarter of LLEWELLYN premier cornetist. a century recognized as Wonderful first trum- .Director Soloist, Her-« the Master Buikier of pet of the Chicago bert Clarke’s Long Band Instrumenta Symphony. It was Beach (California) Band Veteran of over 6,000 eolos. Feat- ured star of Sousa’e Band for 18 years, Designer of the Trombone soloist of in- ternational fame and first trombonist with Sousa at Chicago World's Fair. Elbert Hubbard said of him: the suggestions of Heim and Liewellyn, interpreted by Hol- ton, that created the sensational Holton- Liewellya Medel Holton-Clarke “Mir- acle Cornet.” “And in his own chosen work, Frank Holton has set the world a stand- ari which his com- petitors have not ap- proached, much lees eurpassed,.” Master Artist and Master Builder Again history repeats itself—and that this time so great a popular artist as Rudy Wiedoeft should turn to Frank Holton is proof of Holton quality no musician can overlook. The new Rudy Wiedoeft models retain every feature of the famous Holton Revelation models, augmented by special Wiedoefe mprovements, including changes in body and mouthpiece dimensions, Low Bb is moved from right to left side of bell, giving direct, faster action. Forked fingering to low Bb, B natural and C#- G# permits perfect slurring to G#. And here is tone that really embodies the ideals is used by every It was so again in 1926, when Gustav Heim and Edward Llewellyn collaborated im the design of tthe now famous Holton New Revelation Trumpet. A biting, sparkling tone—true to scale and rich in every register and requiring but litle effort—was sought for and accomplished, astound- ing the trumpet players in the results they attain. You'll mever rest eontent until you try this new saxophone—com~ pare tt with your present instrument. the eppertanity to do it. Write for Application FREE TEN-DAY LOAN. ee card of this wonderful artist—+rich and resonant—a tone so ideally musical—+so entrancing, that new possi- bilities open before you and new ambitions are created And the instantaneous response—marvelous light action—balance—lay of the keys—perfect tuning —all contribute to such extreme ease of playing as you have never known before. Gur Ten-Day Free Leaa Hank, FRANK HOLTON & CO., 367 Church St., Elkhorn, Wis. TRADE IN ON A It AMERICA’S GREATEST BAND INSTRUMENTS | = = ee -— -_— AMERICAN MODEL Holton Revelation Trombone ta the wo? can Model—tunes by touch of the thumb? Patented. Biggest toned trombone yet bullt Arthur Pryor (above) Bas used Holton Trom- bone eachuadvely for Pre a

Page 36

te . PASE Ra SS aoe LEELA EGLO: a a a en FF ‘LOST LOST LOST CHIC ROSE YORK » KING FOUND WITH GENE BUCK’S “TAKE THE AIR” CO. AT THE WALDORF, NEW YORK 1). 36 VARIETY Wedne esday, January 4, 1928 de BT ieee ..5 = = ee Be ° BIBS ESB PAIZIE ID IDSA IE IE PEIDIE IOSD IO FA TG Fo 0% eet -— R | Rienwis SEASON‘S GREETINGS a ADOLPHE MENJOU Pe weenie iit uk i Mil MAE HEME NE MLE CEEOL OES EE LE LELELE LE LE ACA AE AEE LEBEL SES : i is i ws ee ee ee - ae RT Oo aN.

Page 37

© : PLEO. - ..£ i oa oes = # PRL PELE LOLOL OLE LEE LE ELEE PL POE PL: a. Ls PED B PATE ~ ae ¥ a

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EO ELE LE LE LE LE LE ECE EEE LE LEE LES Ao) x 2 __ Wednesday, January 4, 1928 VARIETY § Po SAREE PERS RE RSI 9B BE EE EEE LEE ESE EEE EEE

2” Season’s Greetings ““< PEPE EA NOW, “THE CHASER” RECENTLY “THREE’S A CROWD” “THE STRONG MAN” RELEASING THROUGH FIRST NATIONAL

SESAISSEPAFIS FAIS FOSOPO PA Ps OC is Oi Pa PELE CBS LB EB GE EEE GE GE CBOE CB OE etinndiiaine t tamed er ————————— a PEED

gi SAS SSS ri ny oF ig a ow. "Aa FS AES a A, 4 rie | y oF et a ee We _- Pa See . Pt s ae « ARRY LANGDON | “LONG PANTS” “TRAMP, TRAMP, TRAMP” ¥ 2S CE CELE

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- nee — — ms OO EE et i i * % ‘ | ud ‘ INE EN ED Be ar ea : —— ——— HELEN OF TROY First National release and production featuring Maria Corda, Lewis Stone and Ricardo Cortez. Based and the John Erskine novel, adapted by Carey Wilson, with Alexander Korda directing. Pho- tographers, Lee Garmes and Sid Hickox. At the Globe, N. Y., for three weeks commencing Dec. 9. Running time, 87 minsg Helen wmmneinie. Maria Corda Menelaus .... »uas...uewis Stone POTIS cnococnwdteaninetencwsn MATEO Cortes Ete ONeuS cnnmanuternmmnnne George Fawcett ROTOR prciintainccninmanonn ee White Telemachus ..aordon Elliott Ulysses ..Tom O’Brien AGRIC. msenecge Bert Sprotte AjOX geeemncsenne anmeumme Mario Carillo er es Acorking. to particularly delight what is cur- .. release that figures rently smart in picturegoers. De luxe house loge clientele should en- joy it thoroughly and others will signify hearty acceptance, but pot and pan Annie may have her doubts because there are no cus- tard pies bombarding the walls of Troyes At that. there’s nothing subtle about ‘this satire as screened. Situations, bits and titles are broad, and those situations, with the titles, make the picture. First National has given it a splen- original l¢ will PAY uou to READ EVERY WORD of this Varie did production, including some-tnek camera work that commands ad- miration. .... 1. victure is nothing like the book. obert E. Sherwood adapted “Road to Rome” on the Erskine plan and Carey Wilson, making the “Helen” film adaptation, evidently had vivid memories of the play. More so than the novel. So “Helen” on the screen is more like Sher- wood than Erskine, although the latter will collect, and rightly, inas- much as he’s the instigator of the whole thing. Erskine was on the stage at the opening, before the picture, offering what was prob- ably the best verbal introduction any New York film has ever had. It was funny and it was short. It also served to introduce Maria Corda in person. Those who saw this girl in “Moon of Israel” are going to be surprised. The difference between the German and American idea of makeup. Miss Corda looks good here and in cer- tain spots the camera makes her For “Helen” she’s ‘‘the type,” and plays it nicely if a little blank at times. look great. In future pictures this will have to be overcome, On performance no one touches Lewis Stone, even if he is still reaching for his coat lapel despite wearing tu review- armor. Few will know that Cortez is in the picture. “Helen” is all comedy, including the score, and the big houses can do no better than to use the Edou- arde orchestration. Satirizing an- cient myth in general and Helen’s affairs particularly, the titles are topical, while the music is mainly based on the pop dance tunes. Wheeling the giant wooden horse inside the gates of Troy is accomp- lished to the strains of ‘Horses, Horses, Horses,” etc. The film kids the husband-wife complex through- out, the king, following the con- quest of Troy, making a beeline for Helen’s dressmaker to destroy the shop. Meanwhile he has been try- ing to go fishing since 9 o'clock. When it looks as if Helen is about to take another vacation with her second prince, the king is con- vinced he’s going to get in his trip, and that finishes the picture. No battles and no slow spots. The action is lively all the way, with Miss-Corda in various stages of slight clothing. .... “Helen”... . is well made, lively and funny,, , on it, and it’s broad enough not to be over the heads of the John Held, Jr., models here or abroad. — Sid. The smart set will dote EL CLO MY OLE E ES 4 IRST NATIONAL - Wednesday, January 4,

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We (SEES dnesday, January 4, 1928 VARIETY Oy os -HIELEN fey TROY. by JOHN ERSKINE Presented by RICHARD A.ROWLAND wit LEWIS STONE, MARIA CoRDA ad RICARDO CORTEZ > written for the Sereen and Produced by % CAREY WILSON : Ducted by ALEXANDER KORDA HOLIDAY WINNER ATTHE ( Fecay GLOBE,BROADWAY ROAD- \“@P SHOWENGAGEMENT st 222ty CELE OTe? hoe

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4 d é : BFE FA Fd —— .at the hub of the Wednesday, January 4, 1928 -main dining room, grill and .servidors, circulating library, .. twenty theatres within two minutes’ fifty within ten.. Central and Pennsylv .one subway station from Grand ania Terminals /. busines-and-pleasure zone. ’ ly moderate Fe O JANUARY * 4: "1928 moderate.. all RARE A offering transient and residential guests a VALUE far in excess ofits moderate rates.. . Nn ‘ = v a ~ ~ _— ~D - - ~ ~ oo —_— ~~ fo ~ = = _ - - -_ ~ * ~ cafeteria, walk, each with a tub and shower hath. 44th STREET 45th. STREET ¢ 8/h AVE. NEW YORK CITY SUIpTISING i. NCOLN ‘1400 ROOMS ER TIBIRUT FEE rt he oe peE TO be am. €. ; SILVA LITH! «oe cer TanenIm Eee ? ! Bier hi. BB Be 212 es ee twee Rw SR pom a Bo pr era hat Rs. &y. time 8. jm bh oe Bs: i 3 pS ae Sy ga Kis eo ba at as kB ie fe antag ee | IS As te bi! to te ke ba Le Cite et. ivi Fe nus ta (mitts Lapse ts ie : ams Bick fe Ay Mb eds he ela (8 by tate ko Gta 4 eB eM. seraprrg ates taat ie - VARIETY Fr’. W Pe A EG crt RES a HR! REESE I Pei, he we) Um we tne Le be wa (a be Uw UB Oa ow ta | > Sth BE RY ere eT I TITTIES p Sagitorrss asad scoot, ie te th We Le Ee Ve We Ob ee GE vod so ul a a toi let. tote ua em & La uw Le, ‘ais ES Oa Nn 8 Se Re a a ‘ rit! ke ar wie a io ia be Lo uaa le b- fai i 2st te Be i p Bi bo be tate et a UL why ko Dh Lut em Ud U8 BAR, 5 ) ee (ua Sea Sos sae 1 Re Lagos Aan tig y PRE st ew reer oan 4 mee ; , ¥ SHPERRE LISLE LH TTUTeET - + * J — e > . is “c 2 : . SR rs we New Year’s Greetings Built by the Chanin Construction Company s st x. * 3 > eae: ’ mc. m9 * mah MA DESES ESS ee ea ay ae wn Vic tw Ass. tm $= a9 lan. ‘sas pee i EPG ee kx rename ete east in ges vets SARE S Be he Me. avira; ee te ne Be see Ye reg Ga Pee eT oi At is ce We te La tat fargest Hotel in the Times Square District i eee + i in ree nt / , ee = _— - i Pa rican eens enannnilit-semnetit tana ieadiaiaided en isninw aa a Prc2: i CLS TIE Te: emo . — a a. - ee — — er a i ee ee am 2 a * : - = " -—= a “y 4 bial - Ce ii nuk > of RE ee me a “

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Wednesday, January 4, 1928 this Son is | the Rage of te)alslole' and the class dance tune of every smart place in New York. Int roduced to. the Dance Floors by Johnny. Hamp at,eWestchester Biltmore ‘Club. An entirely. different rhython that's dance You can fe wrong, with any ye ist. son - VARTE’TY" 41 x ARTISTS COPY] I Fell Head Over Heels In Love Words by Music by DONOVAN PARSONS PAT THAYER Moderato Strange are the won- der - ful ways of Dame For-tune, She sets you a- When I am lone-some and think ~ ing of you, dear, It all seems a => => > . = : r — -danc. ing to her tune not your tune.’ Twas all through Dame For- tune, my sweet - heart, I dream, far too good to be true, dear. Yet some-how I know that our meet - ing was j ; a | { 1 + 4. \ i” 1 r = found you, ‘Tis her l must thank that my arms. are a- round you fat - ed, That your love and my love were meant te be CHORUS A a Ben ¥ ; ; Fee iF : a 7 In “your eyes I _saw the way to Heaven, 1 fell heado-ver heels in love and I vow the a An ee hm 4 2 "We F “ F world that we lve in Was nev-er worth. lv_ing, ti) 1 a a Copyright. MCMXXVI_ by Francis, Day & Hunter, Lid., London- Engiand International Copyright Secured and Re served Leo. Feist, Inc., New York, Sole and Exclusive Agents for North America Pie Bitton authorized for sale and distribution im the Cowntries of North America, butnot eisewhere Dance i a OAT trations 405 Majestic The a. Bidg ae r DE XO 8 : Sb. AL ow Cs A, EN GLAND Si ‘OR DIRECT | oad AUSTRALIA, © MELE BOURNE Path Troe OST Titre’ aes

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de i) 42 VARIETY "Wednesday, January ¢. 1-~’ oH LE EE LEE ALAA ¥ ize SA SESE SE RES SESE SESE EPA RE RATE PEPER Fé 2S Fe Fs oS THE OFFICE OF ’ er: {| Greetings of the season are extended to all business friends and artists with whom association has been so pleasant. ¥ This office will continue in the production of acts and management J : of such personages as consistent with the standard established. 7 : | {| Salutation, 1928! And the advent of the year’s NEW and most A j brilliant luminaries, FOUR ARISTOCRATS, KING AND KING, 1 i HERMAN AND SEAMAN, PEDRO RUBIN, PAULINE | a H ALPERT, MARGARET SCHILLING, CAFFERY AND Hi. MILLER, LAFAYETTE AND LA VERNE. | i 226 West 47th Street (Hanover National Bank Building) NEW YORK CITY | Benjamin David 3 x ASS SATS SORE PB RAPD RAPE PEE EE EE LE LEE EE EEE AEE EEE 3 gS IS RASS BS SEPARA RATE SE ESAS SES SA SA SS SASS CSS BE PE FS SES SES acc RLREREREN STARTING THE NEW YEAR WITH A BANG!! f TWO NATURAL SONG HITS “RAIN” By EUGENE FORD THE BIGGEST MELODY FOX-TROT SINCE “APRIL SHOWERS” ‘When Love Comes Stealing”: THE NEW WALTZ SONG SENSATION By the Writers of “CHARMAINE* and “DIANE” ERNO RAPEE---LEW POLLACK---WALTER HIRSCH | Robbins Music narporation 799 7th AVE., NEW YORK WE GE Ae Os i GEE OE PEGE OE OEE GEE GE GE GE OL IE EOE IESE GE GELS BRARA SASS SAHA SS SA SA SAFES FO ; x en v4 rena

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Wednesday, January 4, 1928 VARIETY 43 = = —— — IA SND Walter |DYoys¥-¥lek-yo) k=} TONE - Citta a€-Vebek> LYRIC— Makes This A Great | Jo¥-VOR-\e MM love Any Act/ All Kinds OBUE er.) ee = a | Wiereonl Sond You Can sing/ / | You Cant Go Wron¢ Pemee With Any FEIST Song" GUS KAHN just at just ‘cause it’s get -tin’ toward sprin [ARTIST'S COPY] My Ohio Home BALLAD Andaaote Moderato ~~ Music by WALTER DONALDSON patempo mf Some-how it Feel-ing this way, I think a-bout is beck-on-ing Wher-ev-er I Each blos-som - ing the closeof the day____ CHORUS ~~ 7 I seem to drift On-ly to - day far-ther a - mead-ow - lark far-ther and I heard a way, sing, bes true. long.’ Im blue ’cause I'm blue ’cause ————_—s«—if ~wish-es come a > “Hur-ry a - ° oe —— But 14 nev-er be And his lit - tle old > up in the morn- > hear the bird-ies say“Good Morn-ing”’ I weed to meet her in the moonlight, In “ O-hi-o Home. Copyright MEMXXVII oe LEO. PEIST, Inc., Feist Building, New York, U. 8. A International C opyright Secured and Reserved CANADA: LEG. PEIST, Ltd., 198 Yonge St., Toronto ENGLAND: Premeis, Day & Hunter, Ltd, Rendon. FRANCE: Publications, Francie-Day, Paris AUSTRALIA: Allan &Co., Prop. Ltd., Melbourne Orchestrations 5 0° WAT. NOUR, 2DEALER.” OR: DIRECTS Lip 105 Majestic Thea. Bidg ip yy. very ab RRATTA* Me Lpourne

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. SO ee me an RRR I En ou a - : — = i wo pe ~~. is a - eA ieee VARIETY 2 : Wednesday, January 4, 1928 Ale WE LE EL OE EEE ee ce vf ee ‘ ¢ ; al : is ve i | ‘ PRODUCTIONS x p| ; | “ATTABOY” | “HORSESHOES” a “A PERFECT GENTLEMAN” j “FLYING LUCK” Stories by CHARLES HORAN DISTRIBUTED THROUGH PATHE-DeMILLE HOLIDAY GREETINGS FROM DWIGHT JOHNSON ji; ORCHESTRA HEADLINING PANTAGES CIRCUIT, WITH THANKS TO ALEXANDER PANTAGES UNIVERSITY TRAINED A HANDFUL OF BOYS WITH UNIVERSALLY LIKED A BANDFULL OF MELODY BOB DICKINSON CLAUDE BURCH RAY JOHNSON DEL PORTER PRENT GROSS Reede—Violin—Arranger Trumpet—Arranger Ptano—Violin—Voice—Arranger Reeds—Violin—Voice Banjo—Violin—Piano WALLY MARKS RALPH DOUGHERTY LOUIS KINLEY BILL STEWART ART MOST Drums Brass and String Bass Reeds—Voice Trumpet Beombone | DWIGHT JOHNSON \ Director e “OUT OF THE WEST COMES THE etl sciiatidaaiclaaiclan GR I SP HE RE RS Ss FA FAG RA SAFE FASE SA SARA SA SASS SARASAS2 AOS PS Pe Pe, —————— Se —— —————— —_——— —— wie : TO YOU, AND YOU, AND YOU, AND YOU, AND YOU EVERYWHERE, MY FRIENDS _ THE HAPPIEST OF HAPPY NEW YEARS FLOR ENCE MOORE “ARTISTS AND MODELS,” WINTER GARDEN, NEW YORK {

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ee

os { W-dnesday, January 4, 1928

— ————————————— — Se iF pize)el liked that. peculiar - rhythm that. made Sleepy Time Gal’ sucha Sensational . Hit.— Here’ s. Another’

You Cant Go Wro ong With ar FEIST st ti tnglch-ovk Lae VARIETY

Words by ~ NED MILLER Moderato tig ine j— ions / Ceaser

—~— ——

v —

, Ive made you

an - gry, Please dont be its break-in’ my Kiss And Make Up Fox-Trot Song

an - gry with me, Musi¢e by AL BOGATE & CARL HOEFLE mo

a z Al-though I know _ I re - al-ize tha yin

iF ' I've tried to show you heart Am I to be a - if = s L

I was mis-tak-en And now a) Bere ne a * te that I am sor-ry, I -lone and for-sak-en? Are we cant you fur - get?

to

xf

Give mo just like be ~ fore, CHORU fw

lso are you, 1 i

need your sym-pa - thy. drift a - ‘part?

bd more chance you know that I Tell me yoa for - gave b Why cant we kiss and make u

that, 4

I have your heart? * we j

4 o ae Rees A es too, a Oh, tell me,

1 ON = -

- Why should we have to be part - ed? kl go back to oe re we i zs §? ~ Lia) - T I a + T = ae — ose Eee ~ ne —_1—_4-—_—__4—— 7 = — . &_F - ta ef ur

Kise and make AUSTRAL Let's kiss and make up Copyright MCMXXVII by LEO. FEIST, Inc., Feist Building, New York, U.$:A. ’ nrsevern ae LEO FRIST Inc. new vorx ca he ake ee 1 Es = it ee Ps “— 33 jestic caries ei Agcods n* MELBOURNE olfins

@ - gain. gain.

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MY DEAR THEATRE OWNERS: SEASON’S GREETINGS — . ». ! I extend my sincere greetings to you all ; } —my best wishes for your prosperity— ~ | #& and my sincere thanks for your kind } | support. | ALL MY FRIENDS - PS es EAE EEE EE EE EEE EAE EES, | | JACQUELINE LOGAN | VERA REYNOLDS A. See. See Soe ee ee * i wa %~ 4 7 rd SUITABLE FOR }ir/ NEWSPAPERS - TRADE-PAPERS MAGAZINES LETTERHEADS--PRESS BOOKS SHOWCARDS --FOLDERS COARSE-SCREEN HALFTONES || MATS ELECTROTYPES il il \ ~ STEREOTYPES I pa STANDARD ENGRAVING C0.é 5 WEST 39rnST. NEW YORK,NY. ; rae Se ht CA Ct CT CCF Ce FCI I DI I I OI a a IO AI I I A a a hh a thane, | POPE LORE | SOLO LD SD A PORE EE EE TO PO es es en lle te

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af S if as Fe FE Se Ce ee Se Fe Se ee Se ES

VARIETY

SEASON’S GREETINGS WALTER DONALDSON

Wednesday, January 4, 1928 | 5 AS SS A AE AE AE AE AE EE EE EE EEE IE ELE EE EEE EAE EE EE EEA EE ELE ELE LEE RE RELAE ELE LE DEDEDE LEE LE EELS : _ arene “he -- — <—- —— . *

Page 48

oe an, tm

CE TET OF Te ae = — - BS ie ei 8 iy rot . . —=—s So ta hy ote ee ne “es PAS SEE 4 * . on - * “ —* ees 7 . : ‘ —e —a a . —_ ¥ . . . Filia tte Xe: = TN ve iy : : ie RS ” rte sy bs - r= ~ 7s

Z = SOLO ORGANIST Zp A FEATURED AT THE PILLION me = 7) =) TTS DOLLAR, TERMINAL. ett THEATRE LA CLA CHICAGO

Yo, Where

' HEAR YE ALL

ad Pare PO Pe PS PS SE Fe

A POERRY CHRISTIOAS BE YOUR FATE SMILING f° REAL SUCCESS IN TWENTY E/GAHT eae’ UBL Ci CONGRESS THEATRE

EGE KLE EE A TELM -“e Se “

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Wednesday, January 4, 128 ‘VARIETY 49 7; SS RE a PIE ELSA A EEE LOLLY f NM xf : ‘ - THE GREATEST COMEDY PICTURE EVER MADE IS “THE CIRCUS” AND IF A GREATER ONE IS EVER MADE CHARLIE CHAPLIN WILL MAKE IT DEM’S MY SENTIMENTS AL JOLSON OH, BOY; WAIT TILL YOU SEE IT! —_— TT

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Nechecoecane. de January 4. 1998 JACK WHITING — ULA SHARON NICK LONG, Jr. IRENE DUNNE | ! Frank Doane, Pearl Eaton, W. J. McCarthy, Joan Clement, Phyllis Rae, | The Nightingales, Tiller’s 8 Cocktails, Salzer’s Band and many others # } Book by GUY BOLTON, BERT KALMAR, HARRY RUBY Music by RICHARD RODGERS “Dillingham offers hit of bis career In “She’s My Baby.” —Jotn Daly, : WASHINGTON “POST.” | “A hit, all done up in a neat package, signed, sealed and ready for tm- ! mediate delivery to Broadway.”—WASHINGTON “HERALD.” iimapararararar FORASE SOROS Lyrics by LORENZ HART Entire production staged by EDWARD ROYCE | Veh. % VARIETY Wek rere rE ee SRS ASRS SEB 25 EE EE EEE EE EES anane Renee REET LY . ‘ b \ \. og HOLIDAY GREETINGS 44 b \; | x from aX . ® \ @ =~ CHARLES DILLINGHAM —s§ , ‘; XY L : s ‘. \; : ; | / & who cheerfully announces the premiere of \ j - . “the world’s greatest comedienne” in the new \; | & musical farce comedy at the Globe Theatre \ , January 3 iX hi 8 ic x : i w £ rs ah. i oe in the new musical farce comedy ‘ ; N P\ g 4 | } | ' Ny \ a \, XR i .: \ + . with CLIFTON WEBB ; oa of ae “ff WILLIAM FRAWLEY MARA RE TA FATS RA BLL A HAPPY NEW YEAR FROM I & MASSE ano DIETRICH The Dancing Highlights in John Murray Anderson’s “HIGHLIGHTS” NOW TOURING PUBLIX CIRCUIT Direction ARTHUR SEELIG, LYONS & LYONS | nanan Re Ra Ra REPRE SPE LS AS a a The Season’s Greetings ED MEIKEL'S ORGAN CLUB HARDING THEATRE 86th Week and Still Growing EUGENE COX ~ SCENERY 1734 Ogden Avenue CHICAGO SEELEY POL OPOTO ss SEASON 1927-28 EDGAR SELWYN ATTRACTIONS “POOR LITTLE EVA” By KENYON NICHOLSON A Dramatization of “MOVE OVER” By E. PETIT “JUDY” By EDGAR SELWYN “STRIKE UP THE BAND” The Gershwin-Kaufman Musical Comedy : For the New Y ear—Health and ‘Masoines KENDALL CAPPS DANCE STUDIOS OF THE STAGE Odeon Theatre Building, St. Louis, Mo. Kendall Capps opened his new studios in the Odeon Theatre Building, January 3, 1928. Devoted to teaching and producing talent and revues for clubs, vaudeville and picture theatres. Every modern facility. Specially made apparatus for the correct and safe teaching of acrobatics. Special bars and pads, Maple- wood flooring. Individual dressing rooms. Wash- room. Lockers, etc. Artistically furnished and decorated throughout, creating an atmosphere of inspiration for those who work, and comfort for those who wait. Cordial invitation extended to all. KENDALL CAPPS DANCER—TEACHER—PRODUCER—WRITER An Artist Supreme in His Field The most accurate and expert tap and acrobatic dancer extant A teacher of teachers and stage stars Dance Studios and Office, Odeon Theatre Bldg. St. Louis, Mo. Literature sent gratis upon request GRRE SET SA SESE SA SASA SSIES SEASON’S GREETINGS - FRANKIE MASTERS § and HIS ORCHESTRA BALABAN & KATZ UPTOWN and TIVOLI THEATRES CHICAGO, ILL. itvaxi va WW, BENS | MOMs We POLO Shower. WAP OLe, VIVE IYaN i aXl/aX @\i7@\\Ye\a\n @\n/@\i/arn/ey ‘Ye MOL LOO Oye) aN Ta\ 0 (aN (AN OFT a | SAMO Bancinrincncnencmencncacecmcncecnct SRNR TS SS AS EERE ELE EERE EN il\ \ 2

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Wednesday, January 4, 1928 VARIETY 51

Hello Chicago!! Will be at the CHICAGO THEATRE for three weeks, beginning Monday, Jan. 9, 1928.

Can't bring the Missus, as she has been chosen to replace me at the PARAMOUNT, N. Y., during my absence.

Best wishes for the New Year from THE JESSE CRAWFORDS Jesse, Helen and Jessie

VS ———————— | SexgEIE Ee ES SEE EPL GL GE CELE CE: we Bk OEE IE PEE EE REELS A HAPPY NEW YEAR TO ALL FROM THE CIRCLE THEATRE COMPANY INDIANAPOLIS OPERATING INDIANA THEATRE ACE BERRY, Managing Director HOOSIERLAND’S FINEST (In Affiliation with Publix Theatres) PLAYING PUBLIX STAGE SHOWS FINEST OF MOTION PICTURES CHARLIE DAVIS AND HIS BAND MAURICE COOK AT THE BARTON—TIM CRAWFORD INDIANA BALLROOM ATOP THE INDIANA THEATRE JONAS PERLBERG, Genera! Manager é 9 , ¢ ‘INDIANA’S OWN’ AMERICA’S FINEST DANCE MUSIC with RUSSELL STUBBS and BOBBY JONES &

—

THE CIRCLE THEATRE ALLAN &. GLENN, Genera! Manager THE PRIDE OF INDIANA SHOWING BEST MOTION PICTURES DESSA BYRD Presentations and Symphony Orchestra EDWARD RESENER

THE UPTOWN THEATRE R. G. HESSELDENZ, Manager FEATURE PICTURES — NOVELTIES THE OHIO THEATRE HARRY KOCH, Manager FEATURE PICTURES—-CONNIE’S BAND

ASA SESS SESE EAA SESE RA BARS PATA Fe FE Fa 2S PS ER SSS SESS Gap oe ei yep fe mA ape ee

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eh | i _ Bog | q ’ i 1 | | ' ‘ ' 4 : aa } 4 4 4 } } 7 a me nT I OE PTL ee a se CFO sek ee a vale ~ or . +s . od rete ca TE nani _ ' ¢ 2 2 Pn ; ry ame DNAS eet ort / * « Sy ry 4 = “4 ‘, bs E 7 ’ Ss : ee SS a ae ae ra a SE: am , _ ; VARIET sad Wednesday, January 4, 1928 | , SISA A HAPPY NEW YEAR TO ALL MY FRIENDS BOTH HERE AND ABROAD MEE om, ! | CREE EE EE EEE EE EEE EEE EE Sent ee PAPA Ste ' F. RAY COMSTOCK & MORRIS GEST : Have the Honor to Announce : DIRECT WITHOUT STOPOVER, NEW YORK TO CALIFORNIA y - SAN FRANCISCO PASADENA LOS ANGELES ar? oy ih th ahaa WORLD’S MOST UNUSUAL ENTERTAINMENT CLARA BOW ET cee RE ODD DEBE PERO RREPERERERE Te ||.

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VARIETY | | | amt. co January 4, tase r x | _— REALE ERE RE DEE EO A _ i erence SSS VIVIEN ROSETTA t Ro Santa Claus 2??? a Ui Who Says There A BY) Rahs epee ween eg oe ere eae ee er en NBEn Shr ht het Wepre ef eh enn eae ener eee a Ct CT PAPE PARE Me Leh Lin Fae Pa Se

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‘) VARIETY So : * S! Rares OY, 34 ae ee es ~ mn M a. oe ge a » | ‘ 7 Xt ey i Ran ite dada ee ad TO OUR BOSSES AND OUR PALS “L. L.” and “M. S.”” MARKS BENNY _ MEROFE WORLD’S PREMIER DANCING DIRECTOR Best Luck And A y / Sincere Good pL” Wishes f For & 3 CHARLES \ KALEY AS: / WORLD'S PREMI! SINGING DIRECTOI . 1928 Production Department i, THE EMPLOYEES OF MARKS BROS. A. COPPOCK A. LAMBERT C. WHEELER SONNY MILLER R. LAWRENCE Best Wishes for 1928 and Take this means of expressing their good wishes for the coming year to MARKS BROS. and those two great showmen Albert F. Brown Organist—Marbro and Granada Good Luck to You MESSRS. L. L. AND M. S. MARKS It is their earnest wish that the coming year may Good Luck and Best Wishes “L. L.” and “M. S.” MARKS see a continuance of the phenomenal succes that has made the Granada and Marbro the two most successful theatres in the middle west and For 1928 to that the triumphs of the past year may be suc- FROM THE ceeded by greater good fortune in 1928 STAFF OF THE EXECUTIVE The loyalty which their consideration and kind- OFFICES ness have developed will endure through the coming period of activity and improvement. It is our intention to make those two great palaces of entertainment, the Granada and Marbro, per- Happy New Year LEO SALKIN Film Booker Asst. Organist, Marbro Theatre fect institutions and testimonials in themselves to the keen showmanship and judgment which made their erection possible, and trust that JEAN ANTHONY Marks Bros. may extend their activities to fur- ther fields of endeavor for the amusement of the people of Chicago and as creators of newer and finer standards of entertainment. GRANADA THEATRE ALVIN D. POPEL Manager BERTRAM KERBY Assistant Manager GORDON R. BALDWIN Assistant Manager HERBERT GARLAND | MAI We have abiding faith in the organization of * -_ Marks Bros. and in its principles and we assure “L. L.” and “M. S.” of our faithfulness and in- Senaan tention of making 1928 an outstanding year in the history of the growing organization. After PROJECTIONISTS STANLEY A. LUKES ROBERT BURNS HARRY ELMAN HOWARD LORENZ BERTRAM FELTES STAGE CREW HARRY HERSH WM. McKENZIE CHAS. IMLACH R. E, LEWALLEN RAY DAVIDSON WM. L. ALLEN STAFF HARRY ODENDHAL TED SILLS DOORMEN W. THOMAS “4 pp en at Granada Technical Staff a period of achievement in the face of seemingly insuperable obstacles we are confident of crown- ing success in the coming year. HERE’S HEALTH, HAPPINESS AND PROSPERITY TO YOU BOTH. The Employees of Marks Bros. Marbro Techn JACK O’BRIEN JAMES COONE} HOUSE — T. CHARLES GOTTSCHALK EDDIE MARINI IT ’ r r 7 rr eee JOHN FARIWELL CHARLES STEIN AND THE WILLIAM JOFFERS 58 USHERS ee ee

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wednesday, January 4, 1928 VARIETY 55 CRESAFATA Se BFBSE FASE SESESO SOS ESAS A Si i ces aa a as ols tg Cag a Os bs Gn Cs tts Fis Fis Fa fe FS Fe & ys v™ de % i in a S& ir. ide Ka Wa f rm Pi iS a t\ 4s VK f de va ; tr nN i De A NS n f KX Sx i SEASON’S GREETINGS ‘. ts re is i KX fh PAUL ASH VE GEE GEE SE SFE FE ZE ZS ZSES 6s Feo # *e re ins Fare satheetnatntindetcecatacpeacanagtnie sseeieetccaiciniain Ze Pei OS ek ee ek a ae a a Ok es ae Sk Sk ¥ & FAFA TASS So Se Sa pa eae rae ee Se RE SE EE EE EEE a ak ES es a as ES bs MY EVERY GOOD WISH “4 if t N Ni § ‘ TO EVERYONE : 4 : vf ys ) f “Harry J.” R 4 ' “4 “Joe’’ : af and N ; “Joe” : is : 4 ; : LE a». : 4 : 7 } ~ HARRY J. BROWN : S SB SESE SESS RADE IS PSPSPS PB PRIS PS PS PS PEE PSS PS PLE EL CE ELL EL LS EEE secwencney , * “ * * ” ” Ve De PD ee ee es 7 ed. ‘>. ” —'". ——— » ES Ae pe

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wen ee ee et ete ; anne ~ . — 4 oe ad ee VARIBTY | Wednesday, January 4, 1928 So Sa RE SER Be RE : SESE PE IE SSPE IES 0 Y na CO. JACK | ONNELL “nn O. i WITH i PEGGY PAUSINF BOBBY LANGE | HELEN BOBBITT H. WILKINSON Personal Management ARTHUR SPIZZI | Representative, JOE FLAUM | | | MEYER NORTH OFFICE i ‘NOW CELEBRATING OUR 11Sih WEEK WITHOUT A’ LAYOFF | Greetings to All My Friends in the Theatrical Profession All Over the World a i : ig LE GEL OL OLE GE GE GE GEL GE GE DE OE OE OE GE GE GE GE EL ; : | SEASON’S GREETINGS FROM ; AND HIS ORCHESTRA OPENING---- NEW | UNITED ARTISTS THEATRES | LOS ANGELES is ANS SERENE Sa ta a es ee Se [PARE RS RAPA SAE RASA ERE A EE URENTaErE ene: } RFA RARARE SATO LODO SAS A SESS SA SAP PS SEE EEE EERE OS PB SS IE RE OS SS HEE SS PARES RASS HOLIDAY GREETINGS FROM J. WESLEY LORD , " ( SELECTED TO OPEN AS ‘es FEATURED ORGANIST | ie AT THE BEAUTIFUL NEW ae: UNITED ARTISTS THEATRE : it) § LOS ANGELES 0 FE EEE EE ELE LE ELE LE LE LEE LEIS SBS GE SS NEE DELETE BEDE BLEDEL GE DED eas ey

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ne re ee * moat VARIETY Wednesday, January 4, 1928 COLISEUM SYNDICATE, Ltd.; THE ALHAMBRA Co., Ltd.; STOLL PICTURE THEATRE (KINGSWAY), Ltd.; Ltd.; Telegrams: OWASTOLL, WESTRAND, LONDON STOLL OFFICES Telephone GERRARD 7903 (7 Lines) COLISEUM BUILDINGS, CHARING CROSS, LONDON, W. C. 2 WOOD GREEN EMPIRE THEATRE OF VARIETIES, Ltd.; HACKNEY AND SHEPHERD’S BUSH EMPIRE PALACES, MANCHESTER HIPPODROME AND ARODWICK EMPIRE, Ltd.; LEICESTER PALACE THEATRE, Ltd.; CHISWICK EMPIRE THEATRE OF VARIETIES, Ltd.; CHATHAM EMPIRE THEATRE OF VARIETIES, Ltd.; ST. AUGUSTINE'S PARADE HIPPODROME BRISTOL, Ltd. Chairman and Managing Director, SIR OSWALD STOLL Secretary and Chief Accountant, W. S. GORDON MICHIE ARTISTS’ DEPARTMENT: Negotiations—A. D. DAVIS; Dates—LLEWELLYN JOHNS Address all communications to the Se ee See Director Two Performances Daily, 2:5 Monday at 18 a. m LONDON COLISEUM CHARING CROSS, Facing TRAFALGAR SQUARE 0 and 7:46 Rehearsals every Proprietors: COLISEUM SYNDICATE, LTD Monday and Tuesday. Rehearsals every Monday at 10 a. m, ARDWICK EMPIRE, Ltd. THE. ALHAMBRA LEICESTER SQUARE MANCHESTER HIPPODROME OXFORD STRENT Two Performances Nightly at 6:20 and 8:36 Matineea Proprietors: THE MANCHESTER HIPPODROME and —-_ NOTE: All sketches played at the above theatres must be licensed by the Loni Chamberlain, and a copy of the Itcense, together with script as licensed, must be sent to the Stoll offices at least 21 at Monday at 12 noon. _ PIR PALACES, Ad: SHEPHERD’S BUSH EMPIRE SHEPHERD'S BUSH GREEN, LONDON, W. Two Performances Nightiy at 6:20 and 8:35. Rehearsals roprietors: HACKNEY and SHEPHERD'S BUSH EM- Daily, 2:30, 6:10 and 8:46 Rehearsals every Monday at 10 a. m Proprietors: THE ALHAMBRA CoO... Lid HIGH STREET Two Performance Nightly at 6:15 and 5& Rehearsale every Monday at 2 p. m Proprietors CHATHAM EMPIRE THEATKE OF VA- RIETIES, Ltd. Joint Managing Director ALD. H. B DAVIS, J. P TRAMWAYS CENTRE Two Performances Nightly at 6:20 and 8:30. Rehearsaisa every Monday at 12:30 p. m. Proprietors: ST. AUGUSTINE'S PARADE HIPPO- DROME, BRISTOL, Ltd. every Monday at 12 noon. PIRE PALACBS, Ltd. HACKNEY EMPIRE MARE STREBT, LONDON, N. E Two Performances Nightly at 6:20 and 8:36. Rehearsals Proprietors: HACKNEY and SHEPHERD'S BUSH EM- CHISWICK EMPIRE > CHISWICK HIGH ROAD, W Two Performances Nightly at 6:30 and 8:50 every Monday at 12 noon, Proprietors: CHISWICK BMPIRE THEA’! RIETIEBS, Id Rehearsals RE OF VA- every Monday at 12 noon. LEICESTER PALACE BELGRAVE GATE Two Performances Nightly at 6:40 and 8:40. Rehearsals WOOD GREEN EMPIRE HIGH. ROAD, WOOD GREEN, LONDON, Two Performances Nightly at 6:20 and 8:35 Re ) -arsals every Monday at 12 noon. Proprietors: WOOD GREEN EMPIRE THEATRE OF VARITIES, Ltd. THE STOLL PICTURE THEATRE (LONDON OPERA HOUSE), KINGSWAY Daily, 2:00 to 10:45 (continuous). Pictures and Varieties Proprietors: STOLL, PICTURE THEATRE (KINGS- WAY), Ltd ARDWICK EMPIRE ARDWICK GREEN Two Performances Nightly at @:40 and 8:46. Rehearsals every Monday at 12:20 p. m Proprietors: THE MANCHESTER HIPPODROME and ARDWICK EMPIRE, Ltd STOLL PICTURE THEATRE BEDMINSTER, BRISTOL PICTURES and VARIETIES Proprietors: ST. AUGUSTINE'S PARADB HIPPO- DROME, BRISTOL, Ltd FLORAL HALL, LEICESTER (Adjoining Leicester Palace) PICTURES Pro.: THE LEICESTER PALACE THEATRE, iad THE PICTURE HOUSE, CHATHAM PICTURES Pro CHATHAM EMPIRE T. OF VARIETIES, Ltd STOLL PICTURE THEATRE (TYNE THEATRE), NEWCASTLE PICTURES and VARIETIES Lessee: SIR OSWALD STOLL date of performance, BANO PARTS REQUIRED.—14 different parts for Moglish Orchestrationg and 17 for Foreign Orchestra- Hippodrome requires 20 parts, including three first violins and plane part for harp STAFE DEPARTMENT.—Songs proposed to be sung should be tions Bristol submitted and special stage requirements theatr« —————— days before stated, in letters marked ‘‘Stage Department,’’ ADVERTISING MATTER.—Bilis, blocks, photographs and specimens of pictoriais really representing the by artistes three weeks before opening. act should be ferwarded three weeks before opening COARSENESS, VULGARITY, etc., is not allowed. ARTISTES’ SCENERY AND PROPERTIES must be 4 ved they cannot bvrough' This is by order of the Licensing Authorities is aad ” ; o> — —* ee _s eae Ce oe ee 4 \ 5 Ser er ER a ee a JUST COMPLETED WARNER BROTHERS SPECIAL PRODUCTION Starring DOLORES COSTELLO “TENDERLOIN” with CONRAD NAGEL MICHAEL URTIZ WARNER BROS. DIRECTOR Wishes All | His Friends | the Best | . ‘ ee WIGWAM THEATRE SAN FRANCISCO MORRISON HOTEL CHICAGO World's tallest, 1944 rooms and baths BEN HOLMES Featured im “Gay Paree” JOSEPH C. | * PERSIE PSPSPS PERE RE RARE RARE RATE SEASON’S GREETINGS FROM BOYLE ust DIRECTOR FIRST NATIONAL

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— —_—

Wednesday, January 4, 1928 VARIETY \ —_ 8 pip ESERIES SS SSS PASE ESA SASE SLE EE SE SESE SOSA SOS IA SAID SESE SESESESE SE EDDA FEM © = a rd - BOOKED SOLID UNTIL JANWARY 1, 1929 MAL HALLETT and his OLUMBIA RECORDING ORCHESTRA Take This Opportunity to Thank the

Pennsylvania Dance Promoters for a Very Successful Dance Tour and Express Appreciation for Their Corking Co-operation

Helsislclsisicieiticicind MAL HALLETT And His ORCHESTRA BACK ON BROADWAY

OPENING JANUARY 16 AS THE ANNIVERSARY FEATURE OF ROSELAND BALLROOM (Booked in by Mr. Lowis J. Brecker at the biggest figure ever paid a band attraction by the Roseland Amusement Co., Inc.)

Thanks also to the Comerford Circuit for Its Vaudeville Tour During Lent Mal Hallett’s Personal Representative and Exclusive Manager CHARLES SHRIBMAN SALEM, MASS. 1 ee r . ie a) ' ! 4 Re ees «eae i ie. ee * “ - a. vr —-

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ar: toe treet : — ~. —_ - a os = 7 . ~e "9 a es ate Te ET EP etier-ya™ ne oe. , . - 83 2 ae | nn mY fy VE ~ - ret — V 4 R I R2 TY - atts ' Wadngday. January, 4, 1926 Wed! | i to all our friends | | F haps The Anglo American Music Publishers | FRANCIS, DAY¢ HUNTER fei - LONDON and, PARIS FRANCIS, DAY¢ HUNTER LC? PUBLICATIONS FRANCIS-DAY sa a 138-140, CHARING CROSS RE SORVE DE LU ECHIQUIER a8 LONDON PARIS 2 y 2 ay ia Gc Se. PSAP AAA EEE EEE ! TN Bi RE RE AE PEE ESE EEG GE GEE GE SES re -| CHARLEY | -; TOBIAS SEASON’S GREETINGS JAMES FINLAYSON Just Finished ‘LADIES NIGHT TURKISH BATH” First National TO MY FRIENDS SEASON'S GREETINGS CLAIRE WINDSOR “The Boy Who Writes the Senge = Sing” aanemiitneres “ME TOO" “DEW- DEW-DEWEY DAY” “JUST ANOTHER DAY WASTED AWAY” Wishing All My Friends the Very Best for 1928 » pe ea oe ee le SS NE ie eae. ‘- ete en on | SEASON'S GREETINGS | BEN BENTLEY Bentley’s Theatrical Exch. 602 Delaware Bldg. CHICAGO Just Started "LADY BE GO0D” First National riety 00d papengpttoscodl he Professi to nds t HATTIE a os MINNIE C.. |MOOSER ' 4 laddim Stadio Tiffin Room | Sse ee ee evey Less Ban Franclaco #8 ECE LEOLLL LEE EGE DE GEOL PEGE i OO Os Oi i i NM GE REE EE — ee ses > ie ee hy ee i gene ee ra ~ SSOP OR a. ce ARK Reney sa crmy ne nie a ape cans = We 2

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Wednesday,’ January 4, 1928 VARIETY 61 as _ =——— — = a THE — > ll THE BIGGEST NEWS OF THE NEW YEAR! $2 ASTOR SMASH HIT! Get ready to play it simultaneous with its sensational Broadway run VICTORY! JOHN GILBERT GRETA GARBO in eh) 2 All Advertise it for - 4? played ] } aataalaycane lanantaanye time if is: the rage Broadwas it; 32> EC MOASSN your theatre VICTORY! Et RAMON opular ) NOV ARRO . ° NORMA prices SHFARER in while ERNST LUBITSCH’S i, tHE STUDENT PRINCE [i in Old: Fleidelberg Advertise indirect from — $2 4 hig months on Broadwas at: $2 at Astor T nett in Starring LILLIAN GISH directed by ss FRED NIBLO §- | who made “Ben-Hur” a > a rt . | ‘ , “ Dbesed on Cnanning Pollock s workd-famed_ stage classic ea { } ; re adi IE ” 2 1 i, ie i 4 4 : . 1} ~* ae emai” pile

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——— ES ee ra ™ a EE ns 2 ee. 2 2 5 pet o ~eee ; a : — * —— m4 wen - . “ " ’ . = on — “ " ca : ‘ : — . we * fa nS. ake. a = ; ' a Pym 4 — a ae _ PE a Z = a “ gum ’ ¢ ; “Se Les :. * Ds m —- 5 os: A ae ey ee ROT sae _ a Pee ; A vs 62 VARIETY ____ eRaneeag, January 4, 1928 PESEIA SS SAE SE SEES 2 Ss EK EEE EEE MRE RE EEE AEE EEE ELLER EL SEASON’S GREETINGS FRANK CAPRA DIRECTOR “STRONG MAN” HARRY LANGDON First National “FOR THE LOVE OF MIKE!” j ROBERT KANE PRODUCTION First National od Bi SESE LE LE LE LEE LE Se “THE ROYAL FAMILY” By GEORGE S. KAUFMAN and EDNA FERBER SELWYN THEATRE, W. 42d ST. HELEN HAYES IN THE DRAMA “ COQUETTE” By GEORGE ABBOTT and ANN PRESTON BRIDGERS MAXINE ELLIOTT’S THEATRE, W. 39th ST. CURRENT RELEASES “SO THIS IS LOVE!” “THAT CERTAIN THING” FOR COLUMBIA qaCs URES | Re SSE : | j ¢. \ | iTS WX } ialg « ‘ } A. : } wl 4 “BROAD WAY” World-Famous Drama of the Cabarets By PHILIP DUNNING and GEORGE ABBOTT BROADHURST THEATRE, W.:44th ST. SEASON’S GREETINGS ¢ MILTON SLOSSER SEEDER: | ae Bb ORGANIST MISSOURI THEATRE, ST. LOUIS, MO. SEASON’S GREETINGS = GREETINGS! : GRANT WHYTOCK ; NOW EN ROUTE TO TAHITI FOR METRO-GOLDW YN-MAYER we SE: / | | : $ » Gere Season’s Greetings from EVELYN ELLIS LEADING LADY with “PORGY” REPUBLIC THEATRE, NEW YORK GERTRUDE OLMSTEAS ROBERT Z. LEONARD Mik PEELE ELE SAE SE ATE ER | ESE a ‘ : al SEASON’S GREETINGS BOYD SENTER Spending Xmas at Home with My Wife and Baby , with JACK RUSSELL at the Piano LEE LE ELE GE EGE GE GE DE GL OE . gravemrs RPA PAPAS RS PAPA FARAPAFE: RIPE ES SR AE PEE ES eee PASE SA SERA BASE BP EEE: ee FOR MODERN SENSATIONAL STAGE DANCING Stretching and Bat eax ieee | SEASON’S GREETINGS HSE HELEN MacKELLAR » — "| FRANK H. WILSON Leading Man with ” 9 “THE MUD TURTLE” PORGY ec wewumgcswpopecereseseceeet acy on Seamer te | REPUBLIC THEATRE, NEW YORK a * Season’s Greetings Bs

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RPE NS PAPE PE TEAR RAE See | LLANE N EPL EELE LED EL AM | OLB TOSRPOSED SR | RESESARE SE Ss ES ad || VARIETY BRITISH SONG HITS! ANN SUTER “WHY DID YOU SAY--?”’ ANN SUTER ELLA SHIELDS Sentimental Song Valse With a Story Behind It! FEATURED BY ANN SUTER, JOE TERMINI AND MANY OTHERS TALBOT O’FARRELL “ALMOND EYES” ALBERT WHELAN Britain’s Biggest Super-Oriental Fox-Trot Song Success! “ROTTEN COTTON GLOVES”’ The Jolliest, Funniest Fox-Trot “Nonsense Song” for Very Many Years “POOR FELLER’”’ A Particularly Clever Comedy Fox-Trot THE BANDS: JACK HILTON’S BAND DEBROY SOMER’S BAND, Etc., Etc. MONTGOMERY & COMPANY PUBLISH f WILL FYFFE’S “IN AMERICA” Latest Success: The Last Word in Tuneful Fox-Trot Comedy “The Spirit of the Man Frae Aberdeen” “JUST AS LONG AS WE’RE TOGETHER”’ A Rousing, Lilting ““Cheer-Up’’ Chorus Fox-Trot Number Worth Hearing! ‘““SING TO ME OF OULD IRELAND”’ The Prettiest Irish Waltz Ballad Ever Written by an Irishman! Correspondence from Reputable American Music Publishing Firms Invited MONTGOMERY & COMPANY 25, DENMARK STREET, LONDON, W. C. 2 AND AT GLASGOW, PARIS, BERLIN AND BRUSSELS SEASON’S GREETINGS TO ALL BENNIE KRUEGER | Balaban & Katz UPTOWN and TIVOLI Theatres, Chicago, Ill. Pe ULES IE OLGOE GEO EOL OEE OE CECGECE SEES Fas LS Fe ERS ESSE Se Se eS ELEC ILA IEE RPAPERSIAMS SASASASE PEPE IA PARE SAIS ESB SASASASO SOSOBASO SO SOPOLOPOCOPESOFOPEPCOPCOPCO DEY L3 SEASON’S GREETINGS FLORENCE BRA vy “NOTHING BUT SONGS” CAPITOL, NEW YORK, THIS WEEK (DEC. 31-JAN. 6) JIMMY STEIGER at the piano Direction JERRY CARGILL, LYONS & LYONS OFFICE 4 EE AE AE Di OE AE AE EEE EOE ELE BEB ES FBS vemmanai ashe bias one Ns "|S 2 | Z : s a er Re Ci EEE EEN ag et

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ee ee ee ee, eT eer | ae Oe LIPO GLE AE ae arene emcee = mye : 1 in’ hie “MELODY WEAVERS” |. ' ) \ X, FLOYD MARIE LUBIN, LARRY and ANDRE i 7 ’Proclaimed by Critics the Fastest, rr Comedy Classic Next to Closing Act in Show Business ] \ | ( RAFAEL BARISH Presents a | _ CECILE Bl § iFulmer Wa ne D’A Wz f ia Al AND y ndrea AND iors eli § “A GRAND BOY AND GIRL” accompanied by a Li KAY BALLINGER’S “SERENADING MISSES” wil|Us HELEN MURIEL HS DOTSON Rubi Male Re | ‘4 ys UDIN ano Wiaione 1am “Lightning Steps and Laughs” ig inate ug “WHAT DO MEN PREFER?” ‘ BARTEE SISTERS CARNIVAL OF VENICE KNOX and STETSON JACK MARCUS and CO. CARL SCHENK DUO . ‘ AL ABBOTT FRANK DOBSON McDE VITT, KELLY and QUINN MISS MARCELLE THE TEXANS | | 6 foe they pede ye Bey pane LORRAINE and MINTO MODENAS FANTASTIC REVUE SULLY and THOMAS _ '@e HOLLY and LEE FLORES GIRLS LANE and BYRON ROMAS TROUPE WILSON and KEPPEL ct | Kg CLIFTON and DE REX FRANK HUGHES and CO. JACK LA VIER SULLY and MACK WINEHILL and BRISCOE | | ( All of the Above Acts PLAYING the P ANTAGES Circuit NOW and Routed by | ARTHUR SILBER, Inc. |

At | f i Bnansa na ans ans RATER TA RATE PATO ARRAN Cb EAE EEE EES yrenarena re RPE TERA PERE PEREA Sa a RE RE RR REE RRA Re ee pe ee { WITH EVERY GOOD WISH TO YOU and YOU and YOU : "HERSCHEL STUART t ‘ WEST COAST—SEATTLE a | i, eee EEE EEE EE EE AEA OA AA AEs ee Bi DEGEG GS GEM Zs

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"Wednesday, January 4, 1928 VARIETY | 65 EEE CSAS Se a ao ae deve, "Se AND HIS | : ORGANIZATION EXTEND HOLIDAY GREETINGS he TO ) 7 ’ SHOW BUSINESS i 4 THE WORLD OVER a | a ;, wy

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ELLE LEI I IT =e wh ake ‘ aiheuabiod ei : > ne Ur-Qas. ar quae 2° eH ge — - oe 66 VARIETY Wednesday, January 4, 192g ame | / “THE CALIFORNIA PLAYBOY” IAM ANETTE CHARLIE MELSON [acc] | WISHES EVERY ONE A HAPPY NEW YEAR Se ee ee a} NOW IN HIS 22nd WEEK AT THE ee public Unie 1) BRANFORD THEATRE “LISTENING IN” ah! NEWARK, N. J. | | - Direction Stanley Company of America) Joins Charlie in ; ! Wishing You the | sk am. gong ony ten as es ee ee ee : | HARRY W. CRULL | JAMES F. (JIM) THOMAS) GEORGE TH. | a at the Branford Wurlitzer, Sends MORGENROTH a | | BRANFORD THEATRE NEW YEAR’S GREETINGS CONDUCTOR f 2 NEWARK, N. J. iden eisttite: salle: ante Metin ies BRANFORD ORCHESTRA i i Also Devising and Staging All Productions for could sing have become larks under the Wishes You a Happy and hit Friend Charlie spell of his organ novelties Prosperous New Year SEASON’S GREETINGS BENNY ‘RUBIN OPENING JANUARY 6 FOR A #4 WEEKS’ ENGAGEMENT AS MASTER OF CEREMONIES LOEWS STATE, LOS ANGELES Direction MAX HART SE RATE ISIE AG IS PE NG PAR PA PS PE PAG PARA WS RA RE ME RAP PS PAPO RS PE EE EE SUSUR Na Re a ha ere eee Season’s Greetings from Paris DORA MAUGHAN A NEW ACT “They Say I’ve Gone to the Devil, But I Am Having a Heavenly Time” JENIE JACOBS HENRY SHEREK inet oe - TT Reerqeer ter; got rien ae ae ’ : BSS es ee ee er eS tee IF Pa Te ERAS SESE PEE PEPE

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VARIETY 2) ~ Wednesday, January 4, 1928 — Pi SEPERATE PAIS PE ISPS EES L de) \ | Che Bells of Chrishnas a ae a : A Ry or When the final curtain boomed down upon the Great War there were those blind enough to say that never again would the Bells of Christmas have the same meaning to the world. The war-makers had proven their power. Brother- ly love was a joke when dollars, francs, marks and pounds were at.stake. What was the lesson of Galli- poli, of Verdun, of Ypres, of Chateau-Thierry? Chris« tianity was a failure, a farce, a laugh. Thereafter Christmas Bells and Christmas Carols would fail upon deaf ears. Right-thinking folks found such pessimism sickens ing. They new that the world had been boiling in the great crucible of Fate and that from this would surely come far finer metal than we had ever known. Cer: tainly, in the meantime there would be the scum of crime, vice and hate, but all those enemies of life would pass with the years. Gradually, as the fires are smouldering and the great mass of molten humanity is simmering, we behold that more and more the finer virtues, the glad and noble ideals, the music of joy and of love, are being reclaimed and the baser elements eliminated. Out of the Master Refiner’s moulds come new Bells of Christmas, ringing more joyously than ever. New Bells of Christmas everywhere! Can’t you hear them pealing the same old glorious song of Bethlehem, with greater sweetness, greater richness, greater power, greater ecstasy than any music the world has ever heard? PEACE ON EARTH, GOOD WILL TO MEN! MERRY, CHRISTMAS TO EVERYONE! Tom Mix SEPA PASO ’

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Ae esha ies nen ARR: ea a NT oa ae mE cha an Be . di a oe Sh ee a a eA LM a = . Te ee eee : ws - aod, 4 _ 88 VARIETY _ a Wednesday, January 4, 1928 ar ra SESE POPES OPOPOCOCOPO SS SERS SESS AERA SE RE SE DERE RE PE Be EE POPOSOCO SOSA Se x SEASON’S GREETINGS FREDDIE MARTIN. THE ORIGINAL AND ONLY “LEGAMANIAC” Featuring my original character and comedy dances NOW PLAYING LOEW'S DELUXE PICTURE HOUSES Week Dec. 24—LOEW’S PALACE, WASHINGTON. Week Dec. 31—ALDINE, PITTS- | BURGH. (With entire Publix Circuit of Theatres to follow) Personal management, MAX TURNER, WM. MORRIS OFFICE Spent Xmas with my friends in Washington, Congressman Noble Johnson and Secretary to President, Everett Sanders SE ELE EE EEE ELE LE EE De x af ae A Happy New Year to Everybody GEKORGE SIDNEY ee rt eee cert _——~ ee ae em Se eee - remnerers + oe emer: — SPARE REE SREPEPE IEE: SB SE EE EGE OLE GLEE DEDEDE DS Ge SEASON’S GREETINGS LILLIAN BERNARD » HENRIE THE FEMALE VAN and SCHENCK WITH JACK PARTINGTON’S “FLYING HIGH” UNIT Direction: WM. MORRIS OFFICE Personal Management: JOHNNY HYDE TOURING PUBLIX CIRCUIT OF THEATRES PELE LE LE LELE LEE I : . 5} o WASASASOSASEFSALE TOPE SA SOTESA SFO FO FO FOTO FOLO FO FOSOLO POLED Pe Aas Ae Ae ee ie CECES Introducing the new oe ees HOTEL When in Pittsburgh, Pennsylvania Stay at THE ROOSEVELT A BETTER HOTEL FOR THE DISCRIMINATING Six Theatres Within the Radius of a Block Shubert: Alvin Pn Me rake Stock oe ..06@ ere we ot Ow et a OE oo A eT AD 6 En, I OA i OA ee nO i En... Le 6 Le ee a. Le ee. ce ee. ee ee. ae a. Le ee ee ee. ee od ed es ea ee ee ee ee 2 eee ee es ee ae ee

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is . as & a a a oR i — @ By: Wee oo ; — LONE as ee ¥ ~ Seok. op Sees ge CSE > sf iP nat te e- -- ee as, hae | ER SES SE AE REE EE REE EI EEE EE EEE RE EE EEE EEE ¥ 69 SUR WE CREEL EK LEE LEE CL LL LR VARIETY 7 ee Wednesday, January 4, 1928 fi COLLEEN MOORE — PETA PAIA ISIS PS PAIS PS PAIS PE EE EEE EEE EEE ENE LE GEE GE CE EEG EE GE GEE a mnie

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A cee | 1° a ee ey te i el —- — —- » Pe PP eS eo ee ls VARIETY Weeneneny, senuary 4, 1 4, 1928 SPS RE TEPER PERE RARE TET SURE LEE EEE LE EEE EY Season 1927-28 ARTHUR HAMMERSTEIN ATTRACTIONS “THE GOLDEN DAWN" Now Playing the New HAMMERSTEIN’S THEATRE NEW YORK “ROSE MARIE” — ot. “ROSE MARIE” =» £zea “ROSE MARIE” = Frc “ROSE MARIE” = = 4vsats Executive Offices ARTHUR HAMMERSTEIN HAMMERSTEIN’S THEATRE, Broadway at 53rd Street RATATAT: PASO ROLE FARES FA RCTS PELE ELEN, See SARE SESE SESE SESE EEE SEES: oe il a BEST WISHES OF THE SEASON BSE TO MY FRIENDS BIE IEIAIS SEs SSS AND TO “VARIETY” JACK laren FIRST NATIONAL EEE AE EE EE ELE EEE EEN % FITATACK MCELROY CO. 202 South State Street CHICAGO, ILL. #& COMPLIMENTS of VARIETY’S FRIEND Who Felt lt Was Time He Was Heard From FANCHON and MARCO Present WILF CUSHING and HUTTON IN THEIR 3d YEAR AILEEN FEATURED IN THE “LACE IDEA” NELL KELL, Sends Holiday Greetings To All Her Friends — S

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Be a te i ee ao (|'E eee ve wes eva eae Oe eee pik - Welt: 2 yenuary’ 4, 1928 V A R 1 E TY 71 SS amadaiaiaie PE SEP PES EEE EE EERE ASA DAA Heartiest Greetings and Worlds of Good Luck to All for THE NEW YEAR “SPEEDY” and “SPEEDY” “THE HAROLD LLOYD CORPORATION” HAROLD LLOYD “SPEEDY ” UNDER LONG TERM CONTRACT TO HAROLD LLOYD CORP. RPA PAPA PAIS IS APA PA PAA PA PA PAPA PA AOA IS PPE EEE A I hg a gg or gS

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SARS SNPS °K Se

tha to sl Ne NPI AI. i! OE RAP. IR eee © = RS

VARIETY Wednesday, January 4 1928

Sy <a a . a —a — - — ——————— =

AMBASSADOR THEATRE ST. LOUIS, MISSOURI.

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Season’s Greetings ST. LOUIS, MISSOURI. Wednesday, January 4, 1926 POR i

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REL ET oO eae eer, iS ae A RCT te RI A A PE YH me : — " VARIET? SSS SSS. ee ' ° Jay Smad ul Season's Greetings and a Hapow New Year GENE AUSTIN VICTOR RECORDING STAR TOUCRING THE ORPHELM CIRCLTE ? Ws Th Hal Fest Ha Pak RA hd ead A HAPPY: PROSPEROUS NEW YEAR TO ALL W. S. BUTTERFIELD THEATRES, Inc BUTTERFIELD MICHIGAN THEATRES COMPANY NMschi Cecuit of Ww. S&S BUTTERFIELD, Presiciemt E. C. BEATTY, Gemeral Manager |

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Bteasveneses Januaty 4, 1928

—_ VARIETY

95 PAPE IE IE ISIE ISIS PE ISS IE IS PENS REISS FFE SE PEPE PEPE SE PE SEF PEEPS PEPE Sareea Bi " THE JEWISH THEATRICAL GUILD | a te a SS SS SS SS SS SS SS SSS * a 7 RECEPTION AT SIX-THIRTY

RPA FS PA PAPAL ERA PAS oN iN . \

OF AMERICA ANNOUNCES A TO

ITS PRESIDENT WILLIAM MORRIS To Be Given in the Grand Ball Room HOTEL COMMODORE SUNDAY EVENING, JANUARY 8, 1928

The Committee begs to announce that due to a possible over-subscription, you are requested to file your application for reservation at once. No application can be accepted after Wednesday, January 4th, and reservations will be filled in the order of their receipt. TICKETS: TEN DOLLARS PER PERSON Tables Will Seat Ten Persons DANIEL FROHMAN, Chairman SOS GE LE GE CE GE PE CE SE CE CELE ELE LEE CE LE CREE CEE LE LE SE LE EE LSE

Cg SE EE w. ws Lo a { e t $ H DINNER AT, SEVEN

s 7S PEPE ZS LE SLES

oom, ae - mo sail ; 2

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“4 ‘, - ? ihe . yt » EE RE RP Co oey FT PREP Tt et : eo = A z ee nS et ee ee “ = et ~ — - - _ deg” Se es TD a eS teens Bs “wt Soh vet 4 VARIETY , ——— ———————— a TITS PE IE EPA PA RS PARAS PIE EEE EEE EEE He ; Joyful Season’s Greetings and a Happy New Year : GENE AUSTIN " ~ VICTOR RECORDING STAR TOURING THE ORPHEUM CIRCUIT A HAPPY; PROSPEROUS NEW YEAR TO ALL W. S. BUTTERFIELD THEATRES, INC. BUTTERFIELD MICHIGAN THEATRES COMPANY Michigan Circuit of Theatres W. S. BUTTERFIELD, President E. C. BEATTY, General Manager

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etn ——— Soe SE Re | | te — —— ——eaeEQEV&_ a a ——_ Te fe Ge of eG ee fe fe Ry p&p oe es 4 ‘ 7 »d 4 »4 _ . ~ iz : i i ie ae hae _ Wednesday, january 4, 1928 VARIETY | THE JEWISH THEATRICAL GUILD OF AMERICA ANNOUNCES A TO ITS PRESIDENT WILLIAM MORRIS To Be Given in the Grand Ball Room HOTEL COMMODORE SUNDAY EVENING, JANUARY 8, 1928 RECEPTION AT SIX-THIRTY DINNER AT, SEVEN The Committee begs to announce that due to a possible over-subscription, you are requested to file your application for reservation at once. No application can be accepted after Wednesday, January 4th, and reservations will be filled in the order of their receipt. TICKETS: TEN DOLLARS PER PERSON Tables Will Seat Ten Persons DANIEL FROHMAN, Chairman % 95 RE SASE PEPE SEIS SS PEEPS SE SESE PRE SE SE SUEUR REIL RRR R ERC aman rae Gib OS OS OS O. a WS UE 2 Pe Pt 2 rs Sw o MI _- - SE LS LEGS CECE GE LE GE DLE CE CE CECE OE ELDER hy hg Ch Chg Ch Gly Dy Dh Ch Ds hy Gh ha ERE LEE ELE ECL y,

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= Cm, er Fe wn ere y pe Sajt ut ot gine

i spect pene eT a ps mp == a ST ad Hip Wacen. _ oo - Sone 5 " : sess es Ge = ty* : a - } 2 bi PS ee a. 3 . ‘ in a: Bane : ee ak ee eee gy Ree giagenitnp ti yang cn = =x ? “Re Se spits onStaae aie cette nee ae ae — POO Fe Poe os PE age Ta a Wis a > Oe

¢- e % DP eee te . ee ein AR Me Someta Eee . . . “ =:

~ 2 eo ~_ , ie ee Tea

Wednesday, _ January 4, 1928 eee

LAURENCE SCHWAB & FRANK MANDEL at 234 West 44th Street | NEW YORK CITY “THE DESERT SONG” | New York—Chicago—London and Provinces— GRANITE 4141: 5360 MELROSE AVE. HOLLY WOOD, CAL.

90 From the Season’s Trio of Successes Brooks Costume Company Brooks Uniform Company Brooks Costume Rental Co. 1437 Broadway New York City

EDWARD I. LUDDY DIRECTOR “MAN WHO WAITED” PRODUCED FOR PATHE “SPUDS,” with Larry Semon PATHE | | “PLAY SAFE,” with Monty Banks PATHE “JAKE THE PLUMBER” F. B. O.

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Wednesday, January 4, 1928 VARIETY ~J “2 SEES ESE aE EEE EE EEE IEEE EAD xf x 1927 Releases RY bd & Vd % “sUST ANOTHER DAY WASTED AWAY” ‘ & Victor’s Biggest Seller for Four Months L\9 ¥ “AFTER | CALLEO YOU SWEETHEART” , ‘a “GIVE ME A NIGHT IN JUNE” i 7” 3 “BLUE SKIES” L\.9 ‘ “SIDE BY SIDE” ¥ 4 é “RED LIPS” \4 S “ CAN’T BELIEVE THAT YOU'RE IN LOVE WITH ME” Rd 5 “AIN'T THAT A GRAND AND GLORIOUS FEELING?” . | “"DEED | DO” By, & “IN A SHADY NOOK” 4 “IT’S A MILLION TO ONE YOU'RE IN LOVE” “| WALKED BACK FROM A BUGGY RIDE” \ 4 “I'M AFRAID YOU SING THAT SONG TO SOMEBODY ELSE” “MAGNOLIA” x “MEMPHIS BLUES” \4 “OH! HOW SHE COULD PLAY A UKELELE” +i “THERE'S SOMETHING NICE ABOUT YOU” By, “TWELFTH STREET RAG” Vd “MARVELOUS” | “IT ALL BELONGS TO ME” b 4 ; id “ ‘V4 Y te \ \y . »" » SEASON’S GREETINGS \ _- | JOHNNY MARV Exclusive Victor Artist x 1928 Releases (Forthcoming ) “FROM MIDNIGHT TILL DAWN’ 3 “SWEEPING THE COBWEBS pps , KEITH-ALBEE CIRCUIT OFF THE MOON’ 1927-182 : “1S SHE MY GIRL FRIEND?” : Direction PAUL DEMPSEY AND MY OWN in Association with FRANK EVANS “JUST AN : OLD FASHIONED LOCKET” ¥ y & | aa i + i 8 SESS SESS SES SE SAE SSSA SE SEES SAAS CECE EER EE EEE ER EE ESE BB RE oe nee at Ae 7 ~ = — oe Se ef ae ae al en —» | - - . ;

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tp ais +s : ca te at ety a 4 a 4 ‘ : eg i ; . iz ap eA wea i . 02 etal wal 5 ee At Ot a Bo 0g 5 Y betteiee's " -ee ee ee oe ‘ 1 me et Oe Se ere) os. tee ame te SA ee ee aod eg Se ee ee Ree ee ee ee ’ engin oo Somer pemeiiene OST SASS IES Liss 8 VARIETY Wednesday, January 4 » 1088 - —————— oS aati SESE SESE SEEPS LED PER PE EE ER EASTER EL ETE EEE LEER EL AY HOLIDAY GREETINGS! Paul Bern METRO: CLDWYN-MAYER Success for the New Year BEST WISHES is the Wish of | RICHARD | WALLACE! Director of “A TEXAS STEER” FOR THE NEW YEAR HARRY CROCKER A IE oe matey a Urrercane. on x — SE SES SESE SESSA SESE IASASPO OD FOFOFOSOIOVOVOLO LO ye ee . tom —— wn = PRAPS PAIL SE SAPALAIACIOTOIO SS LS PPE SA PEPE SE SAIS SSPE IA SAPO FE Fe

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——— = yanuary 4, 1928 _ VASEETE \ \ \ Cal Gi Ae es ee REESE IEPA PEEPS PEPE PAIL IE IIS ISIE IE EE EEE EE mAwPese Mermnwne SEASON'S GREETINGS TO ALL Producer of SIXTEEN AMERICAN ROCKETS and BALLET in JONES & GREEN’S Latest Production “RAIN or SHINE” Address Variety New York . EN EEE EAL LF eH OE AE BOD A A EE EE EE EE EE EE LE EE LE LEE AEA LEA MEE LEB hE AON + ii ¥ b> vf BRE a —— - - - _ 5 ~ “oe Si Ta = ee 5 ie

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eh. | ' § | ‘ W a s ja o~- < r

a ee ee =— - aS ) VARIETY __ Way, January 4, asses

BE OL OL CL OL GEOL GLE GEER CL CREE VICTOR HEERMAN

“LADIES MUST DRESS” “LOVE HUNGRY” FOX FILM CORP.

2: a? 2 wt fa att 6 eee poems oa pisans SASAPS FA PAIE FAFA SATE FER ee eee SPARE RA RATETA FAFA FA. PAPE Te: PASERA PERERA RAPA POH is M i HARRIS: ATTRACTIONS sete THE MARX BROTHERS Soe “THE COCOANUTS” Music by IRVING BERLIN Book by GEORGE S. KAUFMAN PEELE EEE LEE

Sd & x] FRANCINE LARRIMORE — IN —. “CHICAGO” By MAURINE WATKINS

a & ad (in Association with ALBERT LEWIS) JOHN HALLIDAY _—_, “THE SPIDER’”’ By FULTON OURSLER and LOWELL BRENTANO Ya & ad ad

RAFASASE SS SOFC SOLO TOSOLO FAA 2B OL GEE EEE GREETINGS—“V ARIETY” READERS ANNOUNCEMENT EXTRAORDINAIRE! HOOT GIBSON IS NOW MAKING HIS OWN Hoot Gibson Productions FOR UNIVERSAL RELEASE

“THE SPIDER” WiTH WILLIAM COURTENAY & a] a GEORGE JESSEL —— {| poem “THE JAZZ SINGER” By SAMSON RAPHAELSON

Td & a “MIRRORS” By MILTON HERBERT GROPPER POSADA SO SO SOO a SB OEE OE SESE EE SEE ee ee SEASON’S GREETINGS ;GEORGE AMY : FILM EDITOR

20 mee . WC OAR an ASASS

JOHNNY HINES’ PRODUCTIONS “ALL ABOARD” “WHITE PANTS WILLIE” “HOME MADE” Coming “CHINATOWN CHARLIE” MAE ASS AS PEE EE PE SE SESE SELES pe

1% | #

GFBAFOFOTOTE SESE ES BE EE BaD EK EEE EE GL ILE <7 DORIS CHICAGO ARTHUR Solo Organist Solo Organist STRATFORD MICHIGAN THEATRE THEATRE | [RRARARARARARASAFA TA TS FATA Pe SS EER eae RS EES ES ERNE RA TARA PATA RAPATE SOSA SA SATE S oe eee FERLRERE EERE ERE

DETROIT a

SEASON’S GREETINGS ANGELO WVITALE anp His ALLEN THEATRE ORCHESTRA CLEVELAND, O., INDEFINITELY

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Wednesday, January 4, 1928 VARIETY 81 PESAIDID ID IS ISIE ISIE IESE IE IE PE IES SESE EIEIO SE HEME IE IESE FOTO TEESE FEE ESET E EIEN | BIGGER and BETTER Entering its third year of catering to the discriminating theatregoers of America’s leading cities, the Publix Theatres Corporation pledges to the pleasure-seeking public of the country an ever-new continuity of that supreme and varied entertainment which it has been its privilege to originate. Since its inception the Publix Theatres Corporation has ever been on the watch for the best in the theatrical field. Millions of theatre-patrons in the finest de luxe theatres in New York, Boston, Chicago, Detroit, Denver, Dallas, San Antonio, New Orleans, Birmingham, Omaha, Des Moines, Atlanta, New Haven and elsewhere around the country have enjoyed healthful relaxation and wholesome diversion from the freshness and youth and the talented experience that comprises its unit shows. Publix has brought to the stage, at the minimum in admission prices, artists that it would have been impossible to otherwise see except at a greatly advanced scale of prices. Such stars ° as Gilda Gray, Paul Whiteman, Eddie Cantor, Borah Minnevitch, the Duncan Sisters, Mae Murray, John Philip Sousa, Gertrude Lawrence, and others have appeared behind the footlights of Publix Theatres. CE SE DE Sa Se Ss Pe oS a ee a EE

Since its inception, Publix has felt the public pulse.and knows what that public wants in .) entertainment. The unit shows have become better and more entertaining. That playboy of .} Broadway who, through the medium of a cigar and a derby, became famous overnight—Joe ¥ Frisco—once happened to ask a brother actor where he had been. . . ‘\ y “Out on a route,” was the reply. 4 “H-h-how m-m-many w-w-w-weeks?” stuttered Frisco. *\ “Fifty-two,” came the answer. ‘\ ; “A route,” sputtered Frisco, “th-th-that’s a c-c-c-career.” \ . ‘ And that’s just what the Publix unit system is becoming. Denver opened a new house a few weeks. ago, Fort Worth followed, and later Birmingham. <4 \ Artists are insured of real contracts and plenty of work. — Publix uses the cream of talent. “4 That means bigger and better unit shows and they mean bigger and better opportunities for artists. “4 : if Hitch your vehicle to the star. X. ; ’ “\ “

RFD IS SEPSIS SS SE SASSI FAIS PSIG PS IAFBA FO FOPBIOPO PO FO. Pls Cb Fi OS OB A as PE a Fs Fa Fe? SEPA PAS PS ISAS IE

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82 VARIETY be ‘7 eee Se Wednesday, January 4, 1928 Thanksgiving Day This poem appeared on the call board of the af ALVIN THEATRE, NEW YORK qh “BE THANKFUL” yt | Be thankful, every “FUNNY FACE,” | | And each one do your bit, : ‘ a And thank the Lord some time today a That you are in a hit. | And when in silence you will kneel | And say your little prayers, ‘| Just add another thank or two i For THOSE MARVELOUS ASTAIRES. if Drop a thank for “BILLY” KENT, 1 | 4 . The boy we all adore; nh ‘ And say a pair of extra thanks ¥ mn: For dear old VICTOR MOORE. i aD - anny A thank for BETTIE’S nimble feet aa: And GERTRUDE’S graceful turns. Sik | 4 ee 9 ‘ Hel i And don’t forget a real big thank : j .: For Mr. ALLEN KEARNS. m: For SMITH’S and THOMPSON'S clever wit, Bh: And GERSHWIN melodies. OAM And don’t forget those wonder boys lag iN Upon piano keys. : i : - . s ia (ie And the members of the “CREW,” ss ay We The RITZ BOYS, with song a hobby. | | \ UR And when you kneel, please don’t forget i ; Our own big patient BOBBY. ‘i af i And those soldiers in the ranks, i ii tg They have been a blessing for us. . q | Be For there will never be again 5 ‘ A sweeter, gamer chorus. . iat. . . at « And just before you say Amen, \ | L % This thank please twice repeat. \ i me: You're working for TWO DEAD GAME MEN ‘ 4 aL: Who never got cold feet. ‘ 4 ‘ | \ : ei tf ( y \ lla & TED MaclLEAN _ —«& “Funny Face” Co. )

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wednesday, January %, 1928 VARIETY DIRECTED “THE TRAIL OF '98” M.-G.-M. EXEL CES, EEN | etaetaetae athe aetaeraetaeacrereraare GLARENGE BROWN bs Pa Se Ss Seer BLANCHE YURKA ‘THE SQUALL’ ADELPHI THEATRE CHICAGO, ILL. NOW 9: Pai Pal Pao LEE LEE A. L. JONES and MORRIS GREEN JOE COOK “RAIN or SHINE’ WITH TOM HOWARD, DON VOORHEES and His Recording Orchestra and a star cast 48th STREET THEATRE, NEW YORK CITY IN PREPARATION SAUL ABRAHAM General Manager Eastern Company of “THE SQUALL” “TAMPICO,” by Bartlett Cormack Dramatization of Novel by Joseph Hergersheimer “FOR TWO CENTS,” by George Brooks WILLIAM A. FIELDS SSN ere tf a. 4 jean AR HAPPY NEW YEAR EDDIE HARKNESS § : and his VICTOR RECORDING ORCHESTRA TAIT’S-AT-THE-BEACH, SAN FRANCISCO (The show place of the Pacific Coast) P. S—Just completed a successful tour of California We ER PL LE IE RETR EEE EEM LASSE SATE SA SESE SASE: a | RSS SSSA RE PARERA i The Musical Supervisor of Loew Stage Bands ° err | t oo w International Syncopated Impresario Radio‘and Phonograph Artist ; ey, Rn Ss Pa ul'S echt Wishes All of His Associates, Friends, and Press All Over the World A VERY HAPPY NINETEEN-PLENTY-EIGHT Particularly to Mr. LOUIS SIDNEY Mr. JOE VOGEL Mr. J. H LUBIN Mr. MARVIN SCHENCK Of LOEW’S, Inc. ss s&s To the CAPITOLIANS; Major EDWARD BOWES, Mr. MORT HARRIS, Mr. WALT ROESNER, Of the CAPITOL THEATRE, NEW YORK To the STAFFS b the COLUMBIA PHONO- GRAPH CO. and Other LOEW THEATRES To the ARTHUR’ “SPIZZI AGENCY and Mr. SAM SMITH PAUL SPECHT Suite 221 R 1585 Broadway, N. Y. Phone Chick. 4429 . RE EEE CE EE EEN | EE EE EE EE EE EES, : Public | oom LAEMMLE Director of f i EDWARD LAEMMLE PRODUCTIONS - o for 2 UNIVERSAL i THREE of the BIGGEST BOX-OFFICE SUCCESSES of 1927 va j “HELD BY THE LAW” ay “CHEATING CHEATERS” ae | “THIRTEENTH JUROR” ff yy NOW JN PRODUCTION Ht FALLEN ANGELS” & ¥ WITH AN ALL-STAR CAST \s 4 APAPARARA RAMS MARA RA RARE TATA RA PSM ll HAPPY NEW YEAR | ULDERICO MARCELLI CONDUCTING IN BALABAN AND KATZ THEATRES CHICAGO ane’ > -~peaaad Gus Prendne, Ot. gf Rests = mate | Director of Publicity HAPPY NEW YEAR [ JACK— —SKISH , Offer Their 1928 Version m. of Podunk ~ | The Rural —" of the ART DIRECTOR * ’ SAM ROBERTS—West : { BOB BAKER—East AG | Pre ® ee Cearint © Se | PUBLIX- BALABAN & KATZ : i} “ A conDiom ace eer | CHICAGO 1 ¥ ie FLEE, Vi ¥

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VARIETY

i At eek Soe le Pete ee phd sé ah Sox aie tata gl e aeeieeneiemiaaremen ate gener wg

CORDIAL GOOD WISHES OF THE SEASON RICHARD DIX

=. —_

hon REE RL EEE ;

IEA ERSHOLT |

“One of the Four Horsemen’”’

Direction NORMAN JEFFRIES ey Se Qrerarenarerars PEPE REPO FETE SESAME SEASON’S GREETINGS To All My Friends from

~ HAL NEIMAN ; ; SuSE

Universal’s Character Star, who has

A AAPPY NEW YEAR FROM ‘been loaned to Paramount for the | . featured role of “SOLOMON ee IRISH ROSE,” Sea ERE TERY MME LAS ee “ABIE’S

ddie Gordon

, everyone a Fortunate NEW YEAR.

a = bp te Bt, ier - ere a y

PANTAGES, SAN FRANCISCO

THE AMERICAN || THEATRICAL AGENCY THREE BOUNDING GORDONS Holiday Greetings | VIRGINIA COX Past 10 Years in Pictures Organist NOW STARRING IN

N- - x a Pe eres po te cae oe Fs te , of, NS ORL EN a cane ae At Feet - — ellen. — enemies

Wednesday, January 4, 1998

a

SE EE EEE EOE EEE ELE REEDED ls Oe *, HG: hs

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ednesday, Januery 4,192 VAR 4 ae ee FELIX YOUNG MYRON SELZNICK n= INC — oe 7 al SATs BUILDING—-HOLLYWOOD i e WEL GS DS OL DE OS GSE GE OE CCE GS IE GES 8 Fee Fete eee ae i . ae —— ies om coe come or —r Ah, - teed com onate Peace - — ee 7 felis oa saa od on i Sti * ‘ ’ " ‘ ~ i!

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¥ 2 4 cade nan - 5 eR a ts et er re i se . BAe Og tN ORE LEAL, GOES Ce ee Te. os i ee ae oe eee ooh Baha ane ote Fo Men ay oe — ae ana Se ty oe ; — Mertince WOE | | J] ia Ff . | ' « ij ; | : 7 le

eg PO. RI IR ot nape nei ci

ne ee ee : - see pga Oes Ste 3 . 7 sa! ive Me. 9 ° — cs jada teeing 2 ‘aoe é ba a io —— ——— oe eee — ee naan: a ee ee eel nee [PTS «20 ‘“s ~ a*-*S ae MEL EL LEED OLED, OD 2 ma ts ee ad j $ = Ti eR et eke ; Tr ra Se Se Oe Se pe AR EEN ERK our Menage ene > i"

ee oe ~ * ys - -- rs nee on

VARIETY

—<—<—<—_——— — EEE

Wednesday, January 4, 1993 | qedn ae lee

NOAH BEERY LAWRENCE GRAY JOHN FARROW RUTH CHATTERTON

Under Exclusive Management to FELIX YOUNG MYRON SELZNICK INC,

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923 | qednesday, January 4, 1028 VARIETY 87 =| —— ———SS————————————————————— ————————————————— eee - WILLIAM K. HOWARD | 9 || EVELYN BRENT CHARLES == REISNER ROBERT HOPKINS Under Exclusive Management to FELIX YOUNG TI MYRON SELZNICK 1 INC.—

Page 90

LLL E AI eee vo = Seis emg ee Pp oh _ -- -————=> - —---- -~— —- -— —— EEE : CN : ~ —— ———r, 88 VARIETY Wednesday, January % 1928 —a a een ew Orem RG ETE OE mee — a - = ea vas ” -F* om a” - fe a, ea ae cat i i RS NS meas oe OWEN MOORE || SONIA KARLOV || » | NEIL HAMILTON: LEWIS MILESTONE 2? - =e Under Exclusive Management to FELIX YOUNG MYRON SELZNICK INC, a - ean et ep ~~ yee ey ... d " oe » a gy titi ano > a tas (ee cee. oe - SS Sen ke és, wt o-=e ied D an 7 - » : , eee ee nll 23 . a e ~ oe PT ee gee ee TT. Merce 7 mae ¢ sntenietneeyettibaeniaiiticae en | apyes a . P ars . wr) _ % - a. 2. epuyas COWES Ale, Sites ee He. : a ‘ b . i wee 3 ot eee thinning

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= Vednesday, January 4, 1928 v A R Tr E T eee: 89 i ERE MEME MEE % PEEL EE EEE EEE EEE IE Be RARE PS PSPSPS ISIE PERS xeee ZS% ee eae ee oe es pS S 3 ae 3 fla poe SEASON’S GREETINGS TO EVERYBODY FROM DGE BELLA : : "s “SUMMER BACHELORS” “SILK LEGS” FOX FILM CORPORATION A =. : HESESESESE SEPESE PERERA SESE SES SESE POPE POSOVOSOCO POCO wnrcncmerencecnenenenenseses’ -_ TAPAS OSE POPES BSE ELE LES: GE GELELE CECE GE LE DE OLE OLE GEL OO hg hg OE IDES. SEASON'S GREETINGS EAN GOLDKETTE AND HIS ORCHESTRAS DETROIT BSESE SA SE SESE SE SESE EIA IOIOFSOFOSOIOFOVOFOSOFOFD SCLC LCG PAE LE LE LE EEL LE LE LEG Se OR EN a ee | eRe es E SEASON’S GREETINGS J. G. BLYSTONE Director, WM. FOX STUDIO “PAJAMAS” “ANKLES PREFERRED” “SLAVES OF BEAUTY” “SHARPSHOOTERS” “WINGS OF THE STORM” , rie ;

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SEASON’S GREETINGS FROM JANETTE GILMORE EMBASSY CLUB, 5 WEEKS GREEN PARK HOTEL, 5 WEEKS CAFE DE PARIS, 4 WEEKS LONDON HIPPODROME, 17 WEEKS LONDON PALLADIUM, 7 WEEKS natir comedienne America has sent us sin Adele Astaire landed here. She reminds one curiously of Miss Astaire, though she is taller, fair and has not quite her elfin quality. She has much charm, and she dances with great cleverness. She achieves

SEASON’S GREETINGS RENEE

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j feats of remarkable gymnastic skill, 5 / yet carries them off without ever . } losing grace of movement. A free (a { interpretation of a hornpipe which | 33 ' she danced to the tune of “Every iw 1 “ +P 1 rye . . Little Movement’ was singularly i MORNING POST’ (London) tion remains that Miss Janette Gil- fascinating. ia . ' “SHAKE YOUR FEET” ment 2 the pone ge in _ ¥ . te ties . “ pe on. She was a perfec urore w ems murs _ ryt . i ae Shake Your Feet, the successful she first came among us, and her NEWS OF THE WORLD” (Lon 53 : } revue was transferred last nigh popularity has increased as the weeks don), July 24 ‘ froin the Hippodrome to the Palla- have gone by z } dium, where it started off again with ar Miss Gilmore surely is th high ‘s i a rush Miss Janette Gilmore, the conn » gmacompe , ‘ priestess of high kicking and bewil- | | dancer, is worth at least all the rest THE STAGE (London), July 14 dering acrobatics The old-fashioned :e of the show put together; she is The only member of the company contortion act that used to make us 4 y quite the most remarkable dancer whose ability as t know and shudder at the music halls has been 5 , a who has reached this country for , SOUny Was RO owe a transformed into a thing of sinuous 4 . i many years. appraised beforehand by English beauty by this fair lady from the _ a : | e . audiences is Miss Janette Gilmore, an United States. She is easily the most ‘ i] NEWS OF THE WORLD" (Lon- American comedienne, who in a sense fascinating performer before the don), Oct. 10 was at home in Liverpool, since her West End public today, ' ; JANETTE parents’ home was in the city before “Shake Your Feet” suggests a riot , : : - they went to America, Miss Gilmore of dancing, and so it is, but even in No matter how | many times one is clearly destined for a great suc- this assembly of talent Miss Gilmore 2 sees “Shake Your ‘Feet" the convic- cess, She'is perhaps the most fasci- is incomparable, ie ty t an ; a ‘ = | ; ’ 7 i br ‘ ¥ 7 fog | : ; . PST TPR

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ao Cae OTe. z a Cue ae Wednesday, January 4, 1928 ; VARIETY —_ — SATA ISTE IS FPA IA PAPA PSPS SS SB SESS GPO SA SESE SSE SE PEPE SESE SESE SO SESO SEE IE SEIEIE SEIN. Season’s Greetings tO hb ALL OUR FRIENDS IN THE THEATRE WORLD PUBLIC SERVICE TICKET OFFICE, Inc. JOE LEBLANG, President WEE Gib il Cll Gil Gh OG Ohh ah Ri AREAL ORELLEE EL hp SL Liha ERAS 93 t 4 ‘ * 1: aS. oF" s x ® = by -* = . ™ 7 ‘

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« = eee alt ag ‘ AecRtT - = _— - — - tydeecran inate Danas ee OEE ALLELE LEI CEM SO te me 6 ¥ es - Z “ ~~ rn in ; wins ~ ae jc ntala eaa Bg Reis as Fecha 6 re ~~ oe : * ~ 4 dew “ ee oon, SRP c eee Yn Se we ~~ aees —AR, SS eS ee nae ——— = * eneceecren —— nl 7 Pa StS Se Py SO Ae A Ee eH Een Keeney gee ee b.: A R 1 E T Y a deans dd January 4, 1928 al 9 ALR RE EE EE SE EE EE EE ER = ee ae: wo SEEPS PASSE PE PEE IE IE IE IEEE a 12 6 LE LS LS ALS SL ' ib \- f i I wish everyone the same as I have been wished this year ROSCOE “FATTY” ARBUCKLE : STILL BREAKING HOUSE RECORDS Ask Our Opposition Address care WM. MORRIS AGENCY é Gf 9 Ra PE RETS SESE SE SESE SESE SES SEE TEEPE ROPE ROPE 4 HS scomy HOTEL GE The Most Convenient and Popular Hotel in London Actually in Piccadilly Circus, Within Walking Distance of | x Y A : y if West-End Theatres and Best Shops PLAYTIME AT THE PICCADILLY DE GROOT London’s Leading Cabaret And His Orchestra -- DANCING EVERY DAY -- Two Famous Restaurants PICCADILLY GRILL — LOUIS XIV RESTAURANT A Free Message From Ship to Shore Will Secure a Room % Cable Address: PIQUDILLO, LONDON New York Address: 247 PARK AVENUE, NEW YORK CITY | PICCADILLY HOTEL }|¢ FINIS FOX Screen Author “RAMONA” and “RESURRECTION” WMAFAS FAPAPOSOLOTOTOLO Dts Ha a a FSGS ws Fae GZEe : Season’s Greetings from Richard Obee, T. P. R. In dear memories of those who have departed; In good thought of those who are absent and present: In giving and in receiving; In feasting and making merry ; In parent’s gladness and in children’s mirth. “God Bless Us—Everyone” RICHARD OBEE. LEAH WARWICK | and Frisco Harmonists Featured on Loew Circuit Booked by SAM ROBERTS 1052 Jackson St. San Francisco. —— | MOST ORIGINAL COFFEE SHOP im the Golden Weet Cai l--MULLER’S—LIill “TWO OLD TIMERS” Direct from Train or Theatre You Are Welcome 724 Bo. Hill St. Los Angeles WISHING YOU ALL A “WAY BETTER THAN LAST YEAR” 1928 W. S. PERUTZ, Manager ARNOLD FLINK, Assistant Manager United Artists Theatre, Seattle

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oF. et AOL ISO LLL BORO NOL OL OPES OLOLOPOPOCE A te he he Oe a 2 ppretncey: January 4, 1928 Vv A R [BT Y 95 PE EE il ik i PEPE EEE ELE — SCE EEE ELSA OSE GE GEE CEE BED SA PASO AR OS >) as 64th SEASON ng RIAPASA PA FATA TA ALOLO SOSA SO SASSO TOPE SO SOSOIOSOSD POPOLESOLSOPOLOLOLOLORO TOE POTOSOCBRTODS Wik ELE LEE EEE LES ELE ERE SAID PE PESE PASE SE PESO SE SB SE EE AEA AS, SEASON’S GREETINGS FROM THE MARX BROTHERS | | deems RIAPS PSS SEPSIS a OO a as a i 5 SOS ESE SE EE EE SE SSE RAYMOND = CAVERLY-"= | Are Going to Hop Off in Their Aeroplane, “Spirit of Nothing’”’ and Surpass LINDBERGH-BYRD-CHAMBERLIN-LEVINE-ELDER In Their New Comedy “THE AERONUTS” Suitable for Picture and Presentation Houses and Revues All Material and Songs Fully Protected by U. S. Copyright AL RAYMOND, 645 West End Avenue, New York City Phone: SCHuyler 4425 a GE OE GE OE OE IE GCE DE DE OE DEE LE LE OE OS CECE LE CE Ob CE CELE EE LE ELE EEE ees ASSSERE oS SESE SESS PES PS PS PASE DADS BA PSSA RE PEPE PEPE FE IPE HEHE FE HE PAPERS PS PA IEA IESE x IN CHICAGO EVERYONE IS SAYING— . “DON’T FAIL TO SEE THAT INIMITABLE COMEDIAN” RANK LIBUSE AMERICA’S GREATEST CAFE ATTRACTION NOW 20th WEEK, ORIENTAL ROOM, DAVIS HOTEL, CHICAGO 22 WEEKS AT CASA LOPEZ,.NEW YORK—BREAKING ALL PREVIOUS RECORDS : — St RE SE SZ SG SA SAFE RAPE SEPA FA FASO FOSESOPOFO SO ? Hs ee Fs Fis ECB FE FE AE FE CEES BFS FS SASSSASA SATA SO Sone :

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| bf | a2 — v ARIE ee Y | ee Bcheenesstnn it ptay | 4 1928 4 i | EEE EEE LE EEE LE EES SEM | URAPE PEPE PREPS IS PSPS PEPE PEED 7 ¥ RS ; Ry is : Compliments of the Season it : HOLIDAY GREETINGS aes if Ri e iS ; || ™~ he = .BWITBECK we sg x un MORRIS & GREEN x N A’ | ‘H AN q Producer, and : if 4 & Wy fi nee |: ge © MYRONC.FAGAN 1h x Wi E IBURKANE, sewer | 4 | | | ¥ & “ ] ” x a ¥ IX JIMMIE’S WOMEN . abl Y Is f aa vt he | vf a | Bechet teen eet tate ‘ Now Playing : ai 1 MPR RE RRL EL EK RE ETEK TK RELL FROLIC THEATRE, NEW YORK ‘ . ) * . ° } : | | : . , NS i 4th Month N ai in All Best Wishes to “Variety i “4 ai | ; ; and the Show World ; REEL GEE PEE EEE LE EE EE ELEY, f R | “DESPERATE SAM” i WW GE GE GEOL OE GLI DE GEIL GEG: SEEEOEN Pl) : GREETINGS - . | | g AR To Our Friends in America and Abroad i | | § WIRTH & [ |: / AFAI ‘ Vaudeville Circuit ; : 1, “4 ELLA H. WESTON, Booker ® : Y | “BF HAMID, 1c. i . : HEAD OFFICE: ~ ¥ INC. 4 : 4 | ¥ Phelan Bldg., San Francisco rs 1560 Broadway New ta City | iF bt « M4 Telephones: i if q | ' RRARARA RARE RARE SARA RARA RA RAR REM YE Local and Long Distance, Bryant 2410-2411 i it es paeaonepenenongsnenman 5 LEE EEM, ‘ FRANK WIRTH, Provident GEORGE HAMID, Vice-President B : 1 5 “SEASON’S GREETINGS” <3 | FAIRS FIREWORKS ’ =} || VERA WILL J. HARRIS § : E= ae | : 4 4 SPECTACLES STYLE SHOWS \ " KINGSTON : PRODUCTION DEPARTMENT : BOSTON OFFICE ‘ ; an BALABAN & KATZ CORPORATION, CHICAGO iY 238 TREMONT ST. : ff Slesnase pasa napenererecereeneaeee 8 (EA Wt AFTERPIECE | gsssasssanarars tk Kk REE MOPAR PAPERS ane i | a L Happy New Year to All My Pals es : 8 with , ‘ i at bs | | ‘AL BEILIN| ST. JAMES THEATRE | | a | Irving Berlin, Inc.—Chicago Office Mg King Street, St. James's, London, S. W. ' | LaF Sole Lessee and Manager....... GILBERT MILLER iG | HURL ae LEE ES EEE OES a —_ ate: R. SEASON’S GREETINGS : - ; —— ag | x TO ALL MY FRIENDS m 7 a i | Entitled |i be 4 | fseemlt EVA MANDEL #) “INTERFERENCE Jae , : . ii Sa NE NI scvencveneneee® By ROLAND PERTWEE and HAROLD DEARDEN : It | I Wish You More Pleasure and Prosperity | on “ak fl | E. C. JEFFRESS | SATURDAY; JANUARY 28 ie | | Still Fighting for Business Under Herschel Stuart’s Banner | ‘a | a RPA PARA PARAS a a EE SB

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OO RELI ELIE LOE LOE LE LOE LOE PROTO EL RPO LODODORELOM | MEE LEE LEEDS DL GES EIS IPOD DEAE EAE EEE LIE LE EEE ENE EEA Wednesday, January 4, 1928 VARIETY ——a_a_e=eOoeeeeeee _ — = —=— —> = ———— _Season’s Greetings To All My Friends Marilyn Miller Starring In “ROSALIE” | Management FLORENZ ZIEGFELD Ws as as eS —— ae a : _ . e Ke wacecaccecmcncccccseeen \* \ : 7 ' £ | a a ? fi.

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4 ub | _ VARIE T , Wednesday, January 4, y 4, 1928 | ERLE REEL ERE REE ELLE REALE ELL LEE LE ELE EEE EEE TELE EY § Ns xt Wy, xf M4

World’s Master Musician a . GALLA-RINI | - : BRUNSWICK RECORDS—KEITH-ALBEE CIRCUIT Tatu, ant’ ge RA hae Pe» ale 4 we . ee .* aa ht eh - : 7 4 - , re ' . . PE - m er = a so ° ors, r — o —-~_ —-- ~ ¢-=* tet

2 | RPE REIS PS PS PEPE PAPA PEPE PEPE PES WES RE PERERA PE PERE ERE SESE SESE FO FEFEIE FEI EFE TET I HE Aa : SEES REA EEE LEE EL GEIS GEL IED. GE GE GE GE GE GE GE GE GE DE GE GM | aii WiLL. KRING BT | BREAKING RECORDS FOR WEST COAST THEATRES, Inc. WISHING YOU THE SAME WA PA RAPA PE PAPA PAPA PARA PAPA PA PFA PAPA TA PAPE PAPA PALE PALS PARLE ELE LE LE GE LE LE LEE EEE: PS PSPS SEPA IS RAPS PARAS RS SES ASS SS SE SSIS PAA EEE EE GE GE GE GEE GE GE GEG In the New Musical Comedy “THE MADCAP” Under the Direction of the ii MESSRS. SHUBERT if RPARARS PSPS PAPERS PAPAS PARARE PERE PERERA PSPSPS PSPS THE SEASON’S BEST GREETINGS FROM DAVID REESE PLAYING SOME MORE FOR FANCHON and MARCO AFTER REPEATING FOR FOUR WEEKS AT METROPOLITAN, LOS ANGELES CPA PARAPA TATA TE

Alb GREETINGS from

SS SESS SSSA SE SESE SA SA SSSA ISSA SA SEIS SESE SESE SE SESE SDI B CLLR DEDEDE GED SENDS SEASON’S GREETINGS TO TMT" Na : " VICTOR VARCONI STIS To AKET ES SARA DARA RADA RRA A Ps EE SAS aR TE TS RR ER RE oa a 6 a RRR PELE LER HOLIDAY GREETINGS AND BEST WISHES FROM CAROLINE SCOVILLE and STEVE GILLIS in “THE CORNER DRUG STORE” with DOROTHY KANE, ETHEL FISHER, BOB DENVILLE and GUY DEAGON

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Wednesday, January 4, 1923 VARIETY 99 = = estsinsiicnsaniisineniaet HAPPY OOK new YEA A ¢ WILLIAM MORRIS ' ABE LASTFOGEL WILLIAM MORRIS, Jr. vf | : Established 1898 Branch Offices: é “WILLMORRIS, N. Y.” LOS ANGELES xf 1560 BROADWAY Telephone Bryant 3646 The Only Booking Office Representing Artists in Every Branch of the Show Business VAUDEVILLE HE best vaudeville booking office in the country—centering around John Hyde with Edwin Meyers, booking Loew, Pantages, Amalgamated and Fox. Efforts of Al Lloyd and Jess Martin confined mostly to Independents and Sunday Concerts. Spe- cialized service in assembling and directing of smaller acts, permitting booking for full year’s routing. No act too big or too small. PICTURE A TYPE of entertainment that practically owes its inception to the William Morris Agency. Every picture circuit included in booking lists. The best ideas and talent THEATRES for this most popular style of American entertainment has been furnished to Publix, Loew, Stanley, Fox, and others through its co-operation. Abe Lastfogel, Harry Lenet- ska and Joe Cornbleth direct. 7 : hs ici 2 a i ere PRODUCTION W [LLIAM GRADY and William Perlberg—experts in supervising legitimate and production artists—their wide experience proving invaluable to producers in casting. CONCERT COMPLETE knowledge of management of foremost artists. Closely associated with local concert bureaus throughout the country. NEW outlet for show business, but considered the show business of tomorrow. BROADCASTING Wisdom and foresight prompted identification with the Adams Art Service—a subsidiary of the Wolfsohn Concert Bureau. This combination is the largest booking office in Radio Broadcasting. Morton Milman directs our interests. ROAD TOURS Books touring dance bands, special attractions and outdoor amusements in smaller cities. Successfully directed for past fourteen years by Martin M. Wagner. Wil- lard Coxey and Harry Keller travel in advance on larger attractions. WILLIAM GRADY, supervising, has first call on all departments. Private parties PRIVATE and social organizations considered equally important as larger expositions and ENTERTAINMENTS gga Assembled and routed the Flying Coast to Coast Dodge Brothers Motor Ow. a. HICAGO branch office patterned after New York. Acts independently and co-oper- CHICAGO C ates with Home and Los Angeles offices. Directed by Max Turner. Bookers: Phil Tyrrel, Sam Bramson and Henry Santley,. LOS ANGELES OS ANGELES covers Pacific Coast. Conducted independently—co-ordinates its ef- forts with those of Home and branch offices. Film, production, presentation, and vaudeville bookings by Walter Meyers and staff. IRECTED from New York office. Representatives in the capitals of Europe, FOREIGN Australia, and Far East. More than three hundred artists booked in past five years. Assembled, produced and exploited the “New York to Paris Revue” at Sayag’s Ambassadeurs. BANKING A CONVENIENCE to artists—through the Times Square Trust Company. The accounting department headed by Nat Lefkowitz attends to this service for Deposit and Thrift Banking. Assistance is also rendered in the preparation and filing of tax returns. FORWARDING HENRY BERLINGHOFF foliows through bookings of artists—forwarding photos and billing essentials. Departmental matters discussed at tri-weekly meetings—assuring artists of capable and thorough representation in every branch of the theatre. The quality and number of artists managed attest our merit. Each artist represented by the heads of firm with assistance of the staff. THE MOST EFFECTIVE SALES FORCE IN SHOW BUSINESS | FAMOUS SAN ANTONIO SIAMESE TWINS = ee eee PAUL WHITEMAN DAISY and VIOLET HILTON JAN. 30, 1928 WORLD TOUR BEGINS JULY, 1928 ee ___) | ES | |

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Shatiihenteneiee i ee —— or ee a ne eG ne ee ger eg or ananee weer eee oo a WF TF Ne or et Let ee yee we e yet. Space in Mtns = Neath Mth Wi a aed eee OW oF, Vek Oe Bc Wek Dek OU Be ck ee te os eh wy is SAFE CI LO OO NEE I! TL SES yt wv { :

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MAJOR E. 0. LEADLAY, M. C. } LONDON, ENGLAND s Pve Been With CHARLES B. COCHRAAN for Five Years I Did— “No, No, Nannette” “Anna Christie” “Little Nellie Kelly” “The Rodeo” “Bertram Mill’s Circus” “Music Box Revue’”’ “It Pays to Advertise” “Castles in the Air” “The Girl from Cooks” “Mr. Prohack”’ “Robin Hood’”’ Over 300 Other Shows, Moving Pictures, Sporting Events in Five Years = 1 TI a ae me ee ae eS ee ts ee or VARIETY

SELLE EEL EO hh ARE REEEA — GEE LE LE Git $EE%

FREELANCE I Did— “Cecile Sorel’’ “The Guitry’s”’ “Duse’”’ ‘“‘White Birds’”’ “Black Birds” “Pirandilla” ‘“Juno and the Paycock’”’ “One Dam Thing After Another” “Piccadilly Revels” “The White Rose’”’ AND

heen de _January 4, 1998 p oh PRATALORES

I Had the ie PICCADILLY HOTEL m Account for 4 Years \¥ NG | I Did— ‘< “Wembley Amusement Park’”’ ig “Jack Hylton’s Band’”’ “Kit Cat Club” “Suzanne Lenglen”’ “Walker-Milligan Fight’”’ “‘The Charleston Ball” “Casali’s Hotel’’ “Up With the Lark” “On With the Dance’”’ “Paul I’ “Florence Mills’’

1] Always Busy, but Never Too Busy to Take on Another Job—Cable or Write to i LEADLAY, LIMITED ia “Sha f Cable Address: Publicists: Telephones: Bliy Fe: a CLEMENTS INN, STRAND, Aon att Ui “LEADLICITY LONDON LONDON, ENGLAND HOLBORN 6542 (Five Lines) maby fh) 1 | 24 * bi Seok Soe a he es SS Ses pee Se SS Sk PS SS SS aE a OS EEE ESS Ps a _ Wie A Ait

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ae arenes sday, ee 4, 1928 — VARIETY 3 Te r rsugrsuaenevemnrm ac ecaunumuaciesa aitatiraniatitetitet suueueuau eueuaienmnmaceais ia re Sui ‘ Under the Sole Management of DAVID BELASCO Season 1927-1928 GREETINGS SPELT PEED OEOR ER ON TOUR LENORE ULRIC LULU BELLE By EDWARD SHELDON and CHARLES MACARTHUR t + + + Sten oahtetat sguggrammusnananaceneuenanas . >) 2 ‘ ’ = » (25 / F : ba 1 \ “& \i _ . i \ | - @ \ ‘ 7 : ~F | Y ' \ f , ! 7. ii ag f 4 at. ' = — : : ad ee Ld wd ig Oe gd —- AO Weitere a! . BTaMA TA TSPETEMTATEPTE TAT TETAT of “HIDDEN” By WILLIAM HURLBUT f cena: acc WITH BETH MERRILL—PHILIP MERIV ALE JOE ROCK: HOLLYWOOD fina name mene nana ra Rana rarcrensrs § yd. WALTER unc STAFF SCENARIST Paramount-Famous-Lasky vee ee oe ne ae Sore) IN JANUARY ten he Aart Liu an r a ae “THE BACHELOR FATHER” By EDWARD CHILDS CARPENTER WITH JUNE WALKER--GEOFFREY KERR C. AUBREY SMITH And an Unusually Distinctive Cast es gd hata tahite iw iteite ADAPTING ZANE GREY STORIES 84) jet eee WIJ suigweals wry ul Liu poy aa UU Mr) BELASCO THEATRE City of New York i Wu —s 81 | “THE LAST OUTLAW” : SHOOTIN’ IRONS” “OPEN RANGE” | Fcsoenemngscaosnoanteneeceseeaeceeeseneemmenmasetaoen “UNDER THE TONTO RIM” | “Sensen’s Grestinas”® | HAPPY NEW YEAR - ALEXANDER) MILLER SISTERS REVUE Pia | PEGGY | MADELON—PAULA—AND BROTHER BOB In Preparation: | | te ‘ , | eookensoutn ~=—Ss | | EImer—BURNS & GORMAN —Billy WHEN ROMANCE RIDES”) ¥sitcteccomesm crt) py oris BECAN & MILLETT—Larry | | “Y ence tected EDNA BARRETT 3 q . fe. nes

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_ : EC nh OI | LIE AT, ERT Nt OEE es OS ty ee ee ee ES pee TTR to lll ON eee msi : 3 ig Ao, LO -” a « eee - = ante i aa Se ee la ee ve dee oe ee a 102 FOTO FORE ZF Ce. TMe*. EOE L a VARIETY UNIQUE Al Belasco “The Dynamic Band Leader” He's the Last Word Harding and Senate Theatres CHICAGO SAROTESE CEPOL E A. J. BALABAN JCHN BALABAN SAM TRINZ LOUIS LIPSTONE WM. K. HOLLENDER hoa! we te MANY THANKS TO _eaeaaney, Sey, January 4, 1928 SA SAREE SARE SE SESE SE SS SAE EEE EE EEE EE IRE SE IE IEE IE IEEE FIED REI A Happy and Prosperous New Year to All WM. MORRIS CHICAGO OFFICE CHAS. NIGGEMEYER AL HANEY HARRY GOURFAIN FRANK WOOLEN DAVE GOULD EMIL STERN HERMAN STERN HERBERT ELLISBERG HARRY LUSTGARTEN FOR HIGHER AND BETTER THINGS IN 1928 IRENE SMITH WHOSE UNSELFISH CO-OPERATION AND ENCOURAGEMENT HAS HELPED CREATE MY SUCCESS AND HAS GIVEN ME AN INCENTIVE TO STRIVE CHESS IS RESETS EES SBSBSASASASA ee BPE SESE ELE LES Fea DIRECTOR 4 SEASON’S GREETINGS BILLY: WEST. FOX FILM CORP. WEST COAST STUDIOS oe GREETINGS @ vy HARRY § TYLER GLADYS | CROLIUS “| 4 “Shannons of xd Dg GE LEE RELELE OS PELE PS. ae CLOTS FEES en y B d ”? wi 4 roadway q 3 A Martin Beck a | wa New York Ja ee “4 ‘ an x “4 NPE RASA Se RS 2 At e ———= JAY «| BROWER Greetings WAL ( Pad 4a i » s “4 , / , LGR) ONG, « + AS DEIN Sig me oN “. , yey . \ as . ve P 5: x “a A ‘> ss . UX) © She Y ae ‘3 ss 3 ', nN . M “ aA “a S S «ss (From San Francisco) Now Guest Conductor CAPITOL NEW YORK POPOTOCOLO» BPD Fe Fe PERE LS Ps AE PEE RE FE PEASE RSS AS AS SS SSS SS SGECEGELE EGER Re Way), AXIS ae —— —wa 2 —e 4), Wee ees cL ee LeLw LoL Lees es eee. CY Hail, Brother Fleas! amen Yee ny AE BEE LE LE EEE E EEE EEE, or SS SE SE SESE SE SESE SESSA SESE ES HOLIDAY GREETINGS POSTERS SINCE 1849 SAN FRANCISCO t Th FRANCIS-VALENTINE Co. CALIFORNIA uk *"RESS BURBEAL MPS SSPE RE RS PAPERS TS ananananannem [ited OSCE De cecmee i | CALIFORNIA \{ | Theatre - - San Jose i, Direction FANCHON and MARCO % —— DIXIE HINES iN PERNATIONAL my past year so successful. AMERICA’S GREATEST NOVELTY DANCER, HARPIST AND DRAMATIC IMPERSONATOR SEASON’S GREETINGS 4 Oldest Press Bureau in United States 43 News—Features—Pictures NS Drama—Music—Films KX Anywhere or Everywhere ccremerendseseet nies GEE RRA RAPA Ra Ba Pa Ra PA Pa SE SO POPO POTD Pa As Ha a EE Seees eres eae SEASON’S GREETINGS Wy HFA RASA OOS OOO SOP OSD IOPOTOFOPOLO POL FES SO OS Oe as en ln te Oe OR OEE DE IE GEE DEE A: Zl 65% “The remarkable versatility of this unusual artist accounts for the continued drawing power of her act at the beginning of its third week showing. and acrobatic dancing and harp playing, Miss Laird holds an appeal with her thrilling and vivid impersonations.” Chicago “H viento xaminer”’ In addition to her interpretive

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PR RA AS A A A A RE, |) RR RR RE SEPESIN | tS SI. SGA EAD LON LCN ETN ETD SGD EIGN EGER SOD TIO STEN, ETD. ETD IAG y » ee de | Wednesday, January 4, 1928 — VARIETY 103 — . — . $$ = a = at ¥ DIRECTING xo PRODUCING FOR AAS AAS ALAS ALARA RA EAA SE CGE GEE GEE GE EGE GEE LLG aoul Walsh 1927 “WHAT PRICE GLORY?” “LOVES OF CARMEN” 1928 i “SADIE THOMPSON” with GLORIA SWANSON x (United Artists Release) OF oe Se CES Te VO PRO Ve with DOLORES DEL RIO and CHARLES FARRELL AND THEN ta “THE COCKEYED WORLD” with VICTOR McLAGLEN, EDMUND LOWE, TED McNAMARA, SAMMY COHEN and All Their “Bezoks”’ if : ¢ wh ‘4 xf i f ‘ if ¥ ¢ vf x Ss f ¢ i s xf 4 \ \ ¥ ‘ vf xf PR ¢ { ‘t if af “Ms ®

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eer 9 te sud. 2 Oa Ae Se CO rer a iA = 7 o—_ To" x asae oe =

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, — ——= ee = 104 VARIETY Wednesday, January 4, 1928 aaiieeiaien : —— a

SSO SS SS PES EEE SE PE PE SE SE SEE SEE PEE IO I FIO HARA AEG eae RUTH ETTING SWEETHEART OF COLUMBIA RECORDS des s is 8 X

FEATURED IN “ZIEGFELD FOLLIES” OF 1927 WISHES ALL HER FRIENDS A HAPPY and PROSPEROUS NEW YEAR

{SEES Eee ee ee es ee

SEASON’S GREETINGS FROM VAN : SCHENCK ailisieesidieenen EERE REE EEE EES Se “et

MR. and MRS. BENNY DAVIS Say—' Ditto” P. S.—The new Benny Davis song hits include “Are You Thinking of Me, Tonight?* “Sweetheart Memories,” “Mery Ann,” “I Still Remember, Do You?” “Blue Bird, Sing Me a “Song,” “We Ain't Got Nothing to Lose,” “How Long Has This Been Going On?”

Sereagres mr

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Wednesday, January 4, 1928 o— = = EES ge Sa 2 BF Si Ut Bee SE bet Whee es a ee ee et : , , : "BRR IBPASE DI PEPEPO SE LE SBS SESE SPEIER AR PO > w,, 2A "a SASS SP ers a! oy ts AIS “> TED RN. SR. St a Oo te. BOS LO LE ee > r Ae Wet. Sa ey ” fs hi * HAPPY NEW YEAR Al Jolson Ns EEE LEE GE LELERE LEA

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106 VARIETY __ Wednesday, January 4, 1972

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{SA PAS RS ES LE EEE LL LLY Ge: ii | | Ms RPA PASESESESE SE SESOAFO FOIE CEA ee ees: 6 (eae ~ . - ’ vi ‘ Ng BEST HOLIDAY WISHES ¥ “3 it wy 4s } B from ¥ Y GREETINGS is | Ni Ny ¢ iN Bi 4 ee is hr | x (Starring in “Sidewalks of New York’’) t. : is a 4 5 i a <4 SRP id : ek and : vf os Pill & i Pail Nx Bill) & is Ni | alii RY NGM : ae : (Starring in lial Lane’’) i : ° a MP xe 8S * “f es 1: oe, IE B. es x 1927-1928 as RRA RA RA SASSO SE FO SO SOLO LO FO ae Oe FEE SERS AE AES qh - SEASON’S GREETINGS CHARLES HINE DIRECTOR JOHNNY HINES’ PRODUCTIONS | RIBRA RAPA PAPA RATA AE AREAS ES EE, RRA RAPA PS PA PS REE LE EE EEE SEASON’S GREETINGS ‘ + WILLIE HORWITZ Waterson, Berlin & Snyder Chicago, IIl. } PO IBIA IO POPE IO TOS La Fe Fe A PE BE. Bs

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PEPE PEEPS IEPA PEPEIE SE a | yecenenecny

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Season’s Greetings WILFRID DuBOIS JONGLEUR TOURING KEITH-ORPHEUM CIRCUIT West. Rep.. GUY PERKINS East Rep., MARTY FORKINS JACK WEINER, Associate “ALL ABOARD” “WHITE PANTS WILLIE” “HOME MADE” In Preparation “CHINATOWN CHARLIE”

—

| SEASON’S GREETINGS Released Through FIRST NATIONAL 4 Ni ¥ q y 4 BOYCE COMBE WRAIS TARA RATS RS RENARD IE PEE LEE EEE a Rs FS RS PS S| | PT A Ee mer er

——

SEASON’S GREETINGS JOHNNY JOHNSON AND HIS STATLER PENNSYLVANIANS HOTEL PENNSYLVANIA, NEW YORK (Exclusive Victor Artists) P. S—JOHNNY JOHNSON’S BAND UNITS at the POST LODGE, LARCHMONT, N. Y. (Directed by NEAL LITT), and HOTEL BILTMORE, ATLANTA, GA.) (MACK DAVIS, Director), Also Broadcast Greetings ,

—_————

ia fl : 4 4 | Holiday Loew’s Warfield SEE Greetings San Francisco Ms Be / a MUSICAL DIRECTOR = ee '

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: eel | LE LEE LR Wedne oday, January 4, 1088 VARIETY 107 BSESEPE PS PE SESE PE PAIS SESE SE PIES Re SAS RE RARE TERETE PB POPE EPA PERE ROPE FE RA TOIS POPE PEREELEY | San Antonio’s Siamese Ciwins Daisy and Violet Hilton EXTEND SEASON’S GREETINGS BOOKED THROUGH MARTIN WAGNER OF WILLIAM MORRIS AGENCY dint ‘ SSS, PEPEPS PERERA PS PEP TE PETERS RS RAPPER SEASON’S GREETINGS ir LAMBERT HILLYER : IRVING fio anor SS “THOSE WHO DANCE” CUMMINGS | | ist wi banc” f MISS. NOBODY” : | “THE WAR HORSE” i : —_—— > DIRECTOR FOX FILM CORP. NOW WITH FOX FILM CORP. | Sea Brae ik Ak ah A ER IE hv GAG 2 : : Li > - , Sn Se Wee Sp yee ae ee eee eS ee ee

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7 | | oa 4 ; ef me it ‘og . bi | | | iz a ‘eI , i San k i i | j | | man =) : Pee Sie | i Sit | | ian ) ae lig i] ia ae | ae 2 > | | Se & = /

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ee on : an. | fi a4 - oof ‘e) 1 me “y ; Z Me a a 4 a 4 a ¢ ol ' i 4 4 + 4 P - # sang | " Fl ; y | ‘ # r bu 4 i } ; Sy : . 4 { 7 ; e ' " ’ 4 ' 1 t, i ’ e Vey a» ce ; ¢ ¢ & { a ; i he f ‘ —- VARIETY | Wednesday, January 4, 1928 : ——SE———— ee +o = ——— * SESE SE RETA REPEATERS BEES

EEE ES * mT ¢ a

The Season’s Greetings to All

>) » eee «ee JACK HYL And His BANDS

me et Set ee er EEL % X < BE LE LE GOEL REEDED DE Oi GELELE LE DEGEGEGE GEG EGE DEDEDE GE GE GL GL GLE GL ae

we sans PERERA TAREE RS SESERARES SaREsETETs RASA SE SE SESE RE one ene ee os ee " : SEASON’S GREETINGS FROM : ANATOLE FRIEDLAND iinenenenonenemenamamamemanane SO APEPALERORA T BPE SES SOE. SPONTA RE REMATE MERE TEIM

~srarapatoagi SEASON’S GREETINGS UPTOWN TO EDDIE HANSON v0 TIVOLI BALABAN & KATZ SOLO ORGANIST CHICAGO

SEASON’S GREETINGS PAUL HOWARD Me, Too—GAUTHIER TWINS Direction: WILLIAM MORRIS OFFICE

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a eee eee eee, eee eS ~~-~—~—~—~<t~;C ]73C; Umm—m—hl_—cteee Oe SS ee eee eae see

Wednesday, January 4, 1928 _ SSS===E OO ———

VARIETY 108

KNICKERBOCKER ICE COMPANY “Supply”

FRANK VAN HOVEN

WHY NOT YOU? : es ame br Aes - ee Seal od _ amass reine

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ed se LD i _ oe oe 2 + i ; hal _—_ — ee ee ee eee ~ macs os weet “ tat ree a sas gee A ; ; x 9 1) eg ‘ole s —_ . ~~ ba - : i is , “ — ~ my ¥ obi ming the om TA it oma —, oe 110 VARIETY y q % lt TT ee TT Re NNT ea ANU BA} aE rT Ea ee ik cS SS MTN SM Uae ah CORAM MN “iaan a # EEE LEE EEE 54 il | Wedneetay, January 4, a 6 LE LEE EEE LES EEO THE PUBLIX PRIDE ‘ ALEX HYDE ; WISHES EVERYBODY A HAPPY NEW YEAR NOW is uK SHEA’S BUFFALO. THEATRE 36th CONSECUTIVE “PUBLIX” WEEK Mike Shea Applauds Me, Too! Direction JOHNNY HYDE, WM. MORRIS OFFICE RIBSA SASS SSSA SAIS AIA IAS SEE at PES GE OE OS OE DE GS OS OS OSG OL GD: “ SEASON’S GREETINGS th STEARNS Eccentric Dancer Extraordinary * “on” Juvenile and Character Parts “The best presents of all are the presence of friends” Direction JOE CORNBLETH WM. MORRIS OFFICE ‘RPARARE PS PAPA RERA BIOTOPOPOFOTO ‘RA RAPA RASS PARE RA RS MS PAPE IS TS PS ae -Season’s Greetings B. F. GOODRICH SILVERTOWN CORD ORCHESTRA JOSEPH KNECHT, Director with in « The SILVER MASKED TENOR ‘ ys EXCLUSIVE VICTOR ARTISTS ELE ELE EEE RE LEG DE GEE REO SEASON’S GREETINGS HERMIE KING MASTER OF CEREMONIES WEST COAST'S FIFTH AVENUE THEATRE SEATTLE, WASH. SEASON’S GREETINGS “SONNY ’’ The Boy Tenor LOEW'S ALLAN, CLEVELAND INDEFINITELY ee ee SESE See QEGECEOLS OLDE DE OE DEDEDE DL GL OL OE We SEASON’S GREETINGS ; FROM : REBECCA and SILTON . AND THEIR PLAYERS SAE LE LE LE LE IE LE ELE LE EFS PBIB RFE FE FO FO FO IO PO LEE LE LE LEE LEE LEE AE RE REEDED - Zs? SEASON’S GREETINGS NEW HOTEL MUFEL” BACH, KAI SAS CITY, MO. ITED i ee and HIS ORCHESTRA VICTOR RECORDS

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mana January 4, 1928 VA R T E T Y 111 sspsnanesezezczensrcm THE CHARLES FROHMAN COMPANY .-»- GILBERT MILLER, Managing Director it : ¥ i ¥ ¥ ¥ : ‘ GILBERT MILLER Presents -THEL BARRYM IN “THE CONSTANT WIFE” By W. SOMERSET MAUGHAM GILBERT MILLER Presents GILBERT MILLER and A. H. WOODS Present HOLBROOK JEANNE BLINN | EAGELS “THE PLAY’S THE THING” “HER CARDBOARD LOVER” By FERENC MOLNAR By JACQUES DEVAL Adapted by P. G. WODEHOUSE Adapted by VALERIE WYNGATE and P. G. WODEHOUSE GE EEE IN Glee le lhe oh iky AL GILBERT MILLER Presents AT THE EMPIRE THEATRE, B’WAY AT 40th é 4 ; Matinees Wed. and Sat., 2: oe Bondy 8:30 7 ry By ROLAND PERTWEE and HAROLD DEARDEN with ARTHUR WONTNER, PHOEBE FOSTER, KATHLENE MacDONELL, A. E. MATTHEWS GILBERT MILLER presents MAX REINHARDT’S SEASON Eves. at 8:15. At the COSMOPOLITAN Theatre. Mats. Friday and Sat., 2:15 MAX REINHARDT WILL RETURN TO NEW YORK IN THE AUTUMN OF 1928 ON JANUARY 19, AT THE MAJESTIC THEATRE, GILBERT MILLER will present An Intense and Vivid Play of the Life and Times of Tsar Paul I of Russia THE PATRIOT Adapted from the German of ALFRED NEUMANN (Winner of the Kleist Prize) By ASHLEY DUKES With a Notable Cast, Including LESLIE FABER, MADGE TITHERADGE, LYN HARDING With Five Settings Designed by NORMAN-BEL GEDDES ib os On Oe OE OL OL OL OLDE OL OE IL GLGE GE DGGE GEOL GED LEDERER LEAL nies ee ee rg eng eel alii aed : ” ? ‘ = N i MG GE GL OE OL OS OS GE GE OE GE OE

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Wednesday, January 4, ocundll A CHICAGO BREEZE BREEZES INTO NEW YORK MASTER OF CEREMONIES MARK STRAND THEATRE, BROOKLYN, N. Y. ie i. | EXCLUSIVE COLUMBIA ARTIST Beaucoup Thanx to MR. EDWARD L. HYMAN Sole Management LYONS & LYONS, INC. Paramount Bidg., NEW YORK CITY Sa sUUR RARER RRA TA RENEE NEE A RAIA ESE ERE IE IE PA POE a note caocaases ot —————— rl el rrrt—— pe

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haemo January 4, 1928 VARIETY ———— ll — VINCENT YOUMANS’ INTERNATIONAL SUCCESS NOW PLAYING TO CAPACITY IN FIVE OF THE LARGEST CITIES OF THE WORLD NEW YORK - CHICAGO - SAN FRANCISCO - LONDON - MELBOURNE “HIT THE DECK” Book by HERBERT FIELDS—Music by VINCENT YOUMANS IN NEW YORK BELASCO THEATRE with LOUISE GROODY CHARLES KING STELLA MAYHEW MADELINE CAMERON IN CHICAGO WOODS THEATRE with QUEENIE SMITH CHARLES PURCELL TRIXIE FRIGANZA SOUTHERN COMPANY ON TOUR WITH MARION SAKI THREE ENGLISH TOURING COMPANIES—ALSO PRODUCTIONS BEING ARRANGED FOR SOUTH AFRICA, BERLIN, PARIS, VIENNA and BUDAPEST General Offices, 67 West 44th Street, New York, N. Y. Phone Murray Hill 4166 4 4 > b] h \t / . ‘By : ‘d ea Ye -y “7 is ) +? LR »\\ A \¢ , 4 aaa ae OS ee a een eee CS = ll ll 3 —— ae “THE MASTER” 80 WEEKS AS MASTER OF CEREMONIES STRATFORD THEATRE, CHICAGO AND JUST SIGNED FOR 52 WEEKS MORE Many Thanks to the COONEY BROS. ta — — _— | La ] 5 | } Of | } | SB SSPE PS PAPE PERE RS PSS PSPS ISIE SA SAPS IAPS PS PA PS PAPA PAPA PA eesetiurcnecnmaei SEASON’S GREETINGS from MONTE BLUE WARNER BROS. STAR to SIME and My Trade Friends on, ite ee ee I Be Te a

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Pe PO pi eee ee ria ASS SS Fb Se Fe SEER LEELA id jrevererererere ree tS re * BILLY DOOLEY | SEASON’S GREETINGS “THE GOOFY GOB OF THE MOVIES”

By courtesy Los Angeles “Times” hd L STARRING IN x Paramount-Christie Comedies RARARA RATA IA TARA TA RATA PATA RA RA FARR RATA PA RAPA FAS

ROE ST OE OP 7 A R I E T Y Wednesday, January 4, 1928

—————— 4 R : , EMILE | BOREO. LOEW HEADLINER GE Oil OS PEGE OL OL GE GE GE CSO DL GEG, Many thanks to Messrs. J. H. Lubin, Marvin Schenck, Sam Salvin, Arthur S. and Sam Lyons LE ELE EARLE inanarenis PERRET RE TET PQPARA KARAS PARES SS SESS SSS FOX “rs

x ..' ay - " GOOCE OPO | e PLAYING DE LUXE PICTURE HOUSES, CHICAGO 4 Sema na RENE RETA RE RATS RPE RA RATS hianapaparire SIM |

—=====| EDDIE CHESTER ecas 3 6 Decided Success!

"GAM ROBERTS | “Artists and Models” GEORGES end JOUNNY I WINTER GARDEN, NEW YORK | HARDCROVE | AFTER THEATRE at EVERGLADES CLUB

“The Dancing Midshipmen”

. ee

“THE CHASER OF BL MN

“SEASON’S GREETINGS” INER S| MAKE UP. Cc 0 NSTANC E DU N

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ke VARIETY re ---and mine too —_—_—— ——_ ERROR EERE TERETE BEL Wednesday, January 4, 1928 -_— - * ——-, OS te OS. 4 . t (A AA A A AOA ED AE Cha AA a” Ota” a 1) lee Ce eee =

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116 Wednesday, January 4, 1928 A it GREETINGS A PROSPEROUS NEW YEAR FROM MACK SENNETT AND HIS CAST OF i Tht GOODBYE KISS” A 10-Reel Special Just Fimished ; : SE SESE SS SESE E EE EE EIEIEF | RAPES PARSE PERE IA PEPE PERSIE PIS x | . "i COMPLIMENTS OF THE SEASON \ : : | FROM : if 1 CHARLES B. COCHRAN’ : : i 49, Old Bond Street LONDON, W. : Cables: Cockranus, Piccy., London MICKEY McGUIRE COMEDIES AL COOK KARNIVAL KOMEDIES STANDARD FAT MEN COMEDIES Produced by LARRY DARMOUR PRODUCTIONS. STANDARD CINEMA CORPORATION ——————————————— LEE SEASON’S GREETINGS JULES | BUFF ANO. Master of Ceremonies and Director Publix’s Chicago Theatre CHICAGO INDEFINITELY ar aa BTL | RPE REPS PERSP RETEST :. is is BLE GE GLEE EE GE BE GE IE EGE GE GEESE GE LEDE DEG EG: eal iDEA SA RARE REESE SS RARER SERED ; ERE RS RS SS SS SSSA SASESS PASS SSA GECLOCL OLS: DE GEE GEGL £05 0: GE GE GE GL GL GL GE GI GH DB: ca . Season’s Greetings to All My Friends WILLIAM Wee Willie ROBYN | | NEW YORK’S FAVORITE TENOR ¥ i P cece EEE IEEE EGE EE EEE ELE EEE EAE ELELELE GEA E LE EGE BEBE ine tate, tes ei, ben | x ng eeeeaeaey aa en — . Se OS LA ORY mr coe MG JOE BROWN Direction ARTHUR SPiZZ! STAN SEASON’S GREETINGS FROM BAILEY HESTER BAILEY

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Wednesday, January 4, 1928 VARIETY o— EVE LE EEE ELON hh SE. TOA. BER. ES [5 Oe a eee Season’s Greetings ote RAYMOND HATTON SE RESETS SES PE PASE ISIS PS FD FAS IOIOLOLD FO HO PAPE ID a et he er he be be

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= j cr Lame rea] J p : | we 3 ; tng 4 ¢ | 4 , 7 1% ¥ ‘3 ; u | ee é — « .~ = _ ~ —_ : -_ a - , . i 7 I

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oe es Pitta rs a || SEC a Le An en ID HO FOO LO LO OS EO EO eee naan aaa | RAS EEE SS : | , Wednesday, January 4, 1928 — VARIETY 119 ERASE SEPSIS IAISIOIO FASS SSSA SSIS SE SOSESOSO IO FES EEE EEA EELS PEE EEE LS The ha Yy DUFFY Players, Inc. PRESIDENT THEATRE, SEATTLE EXTEND SINCERE HOLIDAY GREETINGS WILLIAM B. McCURDY RESIDENT MANAGER FORREST CUMMINGS LEONA POWERS STAGE DIRECTOR HOWARD MILLER LEONA POWERS | HOWARD MILLER RICHARD ELLERS MARION STERLEY THOMAS L. BROWER EDDY WALLER FRANCESCA ROTOLI LILLIAN DEAN COLLINS McRAE HOWARD HULL GIBSON GEORGE ROGOVOY and His PRESIDENT ORCHESTRA RG SEPA SEPA IE FOSASO FEI OF OF FB SOGOFOLOPOTO POPES OVO OP ORO 33 | a A PACIFIC COAST INSTITUTION H Pina RARE Pa RADA RA RAPA Ra ha RAPA PEPEK RE REE AS Fe As FF aE Bes Fes es eh Be EERE RE REM Ng were MERE RERERETE EEL LES, BSE ZS ZER ee AS Bo BES: PERLE GLEE DEM, PEELE EM te HENRY DUFFY Piers MUSIC BOX, PORTLAND, ORE. EXTEND SINCERE HOLIDAY GREETINGS SEPA SESE PADS ELE SESE EEE AS Ss en SO enite JEAN MAY HARVEY STEPHANS MYRA MARSH (LEADING WOMAN) (LEADING MAN) (SECOND LEADS) DORIS BROWNLAE RALPH REMLEY JANE DARWELL (INGENUE) (COMEDIAN ) (CHARACTERS) ARTHUR PIERSON RALPH KLINE EDWARD LYNCH (JUVENILE) (CHARACTERS ) (SECOND LEADS) CHUCK WHITEHEAD ARTHUR FRAHM AND CONCERT ORCHESTRA eeeunet biatea ite ELZA UHLES, Violin sh HARRY CROCKER, Clarinet LOUIS DEAN Ps JACK SHIELDS, Trumpet hel is WARREN STEWART, Flute is SYDNEY CRASE, String Bass WALTER SIEGFRIED is M. J. CRUSOE, Piano chai Giana ie FERD SORENSON, ’Cello rc i A PACIFIC COAST INSTITUTION ; RS EE PEE IRA PAPA PA PAPA PS TAPAIAIOTOIE ITD 0 Se ETOP OO TA FO POTO TOTO DR

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—s VARIETY Wednesday, January 4, 1928 ze. aT PSE SESE SE PE SE EP EE EE EEE EL CAPITAN HENRY DUFFY ~ AT THE Extend Holiday Greetings SSE EEE SEE EIEIO EEE IE IE I EL ED Pate HOLLYWOOD GAY SEABROOK FLORENCE ROBERTS KENNETH GAMET ALICE BUCHANAN EMERSON TREACY GOUNOD ROMANDY ana His EL CAPITAN ORCHESTRA MAY BUCKLEY EDWARD SEABROOK GUY D’ENNERY EDWIN H. CURTIS, Stage Director JOHN MACKENZIE, Stage Manager JOSEPH SANTLEY Presents . The Merry Musical Romance . Y a RAYMOND HITCHCOCK + IVY SAWYER wi ERIC BLORE MRS. THOMAS WHIFFEN " H. REEVES SMITH JOHN HUNDLEY “g BERNICE ACKERMAN BOBBY TREMAINE ¢ FRANCES NEVINS CHARLES BARRON s+ GERTRUDE LEMMON | 10 CHESTER HALE GIRLS AND JOSEPH SANTLEY Opening Olympic, Chicago, Jan. 8 APOTE LA aes | EWA MAKE TITLES (For Paramount-Famous-Lasky) § “THE CITY GONE WILD” “FIGURES DON’T LIE” % “A GENTLEMAN OF PARIS” “SHOOTIN’ IRONS” “THE LAST WALTZ” “THE STREET OF SIN” “THE SPOTLIGHT” “HONEYMOON HATE” “THE GAY DEFENDER” “SERENADE” “TWO FLAMING YOUTHS” “LOVE AND LEARN” “SPORTING GOODS” l : . : i i

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) y HERE’S WISHING ‘ALL MY FRIENDS IN ‘AMERICA : |i A MOST PROSPEROUS NEW YEAR ‘ | | ’ To All Those I Have Done Business With, Here’s Hoping for More Business Together ‘ : | To Those Who Don’t Know Me, Ask My American Business Friends— : | | 4 | | SHAPIRO, BERNSTEIN, Inc. ‘ : } if JACK MILLS ‘ | | @ —— AGER, YELLIN & BORNSTEIN | 8 IRVING BERLIN | | ® — DESYLVA, BROWN & HENDERSON |i EDGAR LESLIE 1% HARMS, Ine, : S = HARRY VON TILZER f | LEO FEIST, Inc. BROADWAY MUSIC CO. BIBO, BLOEDON & LANG THEY WILL TELL YOU LAWRENCE WRIGHT is the Fellow Who Sells Most of the Popular Music in England DROP IN AND SEE ME WHEN YOU ARE OVER HERE If You’re Not Coming Over in the Near Future, Send Your Songs on to Me THE LAWRENCE WRIGHT MUSIC COMPANY “WRIGHT HOUSE” i DENMARK STREET (CHARING CROSS ROAD) LONDON CABLES: VOCABLE, LONDON, W. C. 2 SA PES SA PAPE IAP SE EIA ASAE SO IE SOPE SEFC IOFE FOFEIAPGIEIDIEIOFCIOICROLOFOCOSE FPBFOTOTO TE wy SE EE ee is OE OS OE IE OE EDL OE GEIL IS IS SS PS PSPS PB FB FO FO PO PBT CM LE LEE, C5 GE CB FE LR Ses SR E sa

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122 VARIE * Y Wednesday, sonaany 4, 1928 Ps PARE RR RARE PERE Ra a PE Pa RE EEE EEE IEE coi PS PEIB PATE TEIE PETA PEPE Re * j r SEASON 1927-28 | | : : “THE BEST OF LUCK” RTHUR HOPKINS Productions “BURLESQUE” By ARTHUR HOPKINS and GEORGE MANKER WATTERS NOW PLAYING PLYMOUTH, NEW YORK MADGE KENNEDY “PARIS BOUND” A Comedy by PHILIP BARRY NOW PLAYING MUSIC BOX, NEW YORK is the Wish of EDWARD J. MONTAGNE Scenario Editor-in-Chief

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UNIVERSAL PICTURES CORPORATION EEE EE LE EDERAL REDE LERELELELE DA

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Holiday Greetings from VIC DE LORY Fanchon & Marco’s New Idea

IN PREPARATION PAULINE LORD “SALVATION” LELELELELEDE AC LESS

‘ By SYDNEY HOWARD yi ———— a8 and CHARLES McARTHER it PR KERN : FEATURED ORGANIST 7 PLYMOUTH THEATRE t D ¢ ‘ Direction of ARTHUR HOPKINS 6 METROPOLITAN, LOS ANGELES ES SEHR AAR PAS SG PSS PSE EEE EE ELE EEE EI, THE SEASON'S GREETINGS

|

; So SERENE RE PE RAREST SESESE SEE EEE 8 DE OE GE IE OE GS os AT THE MEETING PLACE OF THE WORLD JERRY FRIEDMAN And His ORCHESTRA NIGHTLY at the CHEZ HELEN MORGAN, 145 WEST Sth STREET, — YORK CITY Personal Direction TAPS, 1587 Broadway, New York. Chickering 2 | RPRRERARA TA RETA TE: PLETE POPOTOTOFATE iii adenine LE LEER LEE ; Rapamarast |

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RUDOLPH SEASON’S GREETINGS CATHERINE MALENOFF AnD GRAY LATE FEATURED DANCERS WITH “MUSIC BOX REVUE’ AND “YOURS TRULY”

East. Rep. ARTHUR SPiZZI NOW APPEARING IN DE LUXE PICTURE THEATRES AND NIGHT CLUBS West. Rep, ROY MACK

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siiipsenasiogien lt LED A ES 8 See we a a a AS een. eS AS OAS HS. Wednesday, January 4, 1928 124 VARIETY (RARE RARE RA TERA PERERA PETE PAPER TEM BIEIS RAPES AEE CE CE LEE aS CS A a es en a a % ‘ SEASON’S GREETINGS RUSS MORGAN and His Orchestra Me Ss, , Cy . yet UG ra. oe Ee Pa ee ae aoe Si: cs a ar. *

Pao Ps TEE. year ONE SOLID YEAR AT STATE, DETROIT ONE SOLID YEAR AT CAPITOL, DETROIT cs NOW PLAYING UNLIMITED ENGAGEMENT AT SAVOY HOTEL, DETROIT MICH. RRA PAPAS RS PA PAPA PAP PZ PS PAPA PAIS PDA IS PAPA SA PA PALE A a | see |

SEASON’S GREETINGS BERNARD GRANVILLE PRINCIPAL COMEDIAN “DESERT SONG” CO., GREAT NORTHERN THEATRE, CHICAGO | It Looks Like Chicago For Life |

MAE EE EAE LE ES Dg DE PGE GED hee 4 SEASON’S GREETINGS GERALD MARKS and HIS HOTEL TULLER ORCHESTRA EXCLUSIVE COLUMBIA RECORDING ARTISTS DIRECTION OF SEYMOUR SIMONS ORCHESTRAS 1504 Broadway DETROIT, MICH.

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BSS RE PARE RASA PS PASS PE PE RSS PPE PS PS PS PS RS PSPSPS PS IS PS SS SPE SARE AS BS PSE AE “HIT THE DECK” “HIT. THE DECK” “HIT THE DECK” “HIT THE DECK” “HIT THE DECK” “HIT THE DECK”>% o = =) — ul SEASON’S GREETINGS 2 Le 2 ~~ ae ea a. en Oo ee, Oe See, ee Se oe ne A es > + 2 SD o. 2 OD >. 4 > ee Oo oe eee ~ ¢

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FROM ey ; |) AND HIS

Palais D’Or Orchestra BROADWAY AND 48th STREET, NEW YORK CITY THE LONGEST RESTAURANT BAND ENGAGEMENT ON BROADWAY Y EDISON RECORDS WEAF RADIO STARS RS “A RFESO FESO LOSES OS OC OSOLOPOSO SO Re a es Fe Fe Fi BS EE FE Fah LE LE ee ee es FS es SS EE a JULIEN JOSEPHSON SCREEN AUTHOR

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DIRECTOR COMING RELEASES: ORIGINAL STORY “MY COUNTRY” (Wm. K. Howard Production)

“HIGH SCHOCL HERO” “PIGSRIN” ADAPTATIONS: “THE RED MARK” (James Cruze Special) “MY COUNTRY” (in Collaboration with Sonya Levien)

FOR FOX FILM CORPORATION

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SEASON 1927-28 SEASON’S GREETINGS to His Friends and Patrons

EARL CARROLL THEATRE 50th ST. and 7th AVE, NEW YORK CITY Unquestionably America’s Finest Playhouse

EARL CARROLL | EXTENDS | OK OLA OG 7 GF eave 63 CR VP Pay ~ < — re ett ae 77 a P* EF EDS CS SS FSS

WALLACK'S THEATRE 42d ST., WEST OF BROADWAY

STOCK RELEASES “WHITE CARGO” “LAFF THAT OFF “MARY'S OTHER HUSBAND” “NUMBER 7” Also Under Earl Carroll Management |}, VARIETS

Waianae, January 4, 1928

EDWARD L. HYMAN Famed Mark Strand Orchestra WILLY STAHL, Conductor Art Kahn the Play-boy of Modern Music and His Twenty-piece Stage Band in Permanent Presentations THOMAS FARRAR Art Director s SEASON’S GREETINGS i a... Managing Director Bs Sh SPAS PE SS EEE IE EAS

MME. SONIA SEROVA ' Ballet Mistress LEE S. FERGUSON Publicity Director

“WHAT ANNE BROUGHT HOME” |:

CHAS. K. HARRIS’ Up to the Minute 1928 Song Hits “THE GIRL WHO KNEW IT ALL” “DON'T CALL ME IN THE MORNING” “JES’ WOND’RING” “| KNEW” “SONGS WE LOVE O'ER THE RADIO” “IF 1 CAN TAKE YOU FROM SOMEONE, (SOMEONE CAN TAKE YOU FROM ME)” “THE LAST DANCE OF THE BALL” “MY MOTHER’S KISS” CHAS. K. HARRIS Columbia Theatre Bldg.

es ae alvaranananarsrs PARA RA RG PARE ERCP EEE CEE OM One of the Five Biggest Hits on Broadway “The Command to Love” WILLIAM A. BRADY, JR., and DWIGHT DEERE WIMAN Now (and All Season) Longacre Theatre, N. Y. la Preparation—Another Hit: “The Widow I Left Behind” By THOMPSON BUCHANAN re SELLE EOE EL GLID EDGED GE GEG GE DOE GEOL John Tuerk producer of in association with at the Now Available for Stock: “One of the Family” By KENNETH WEBB

NEW YORK

SEASON'S GREETINGS , ARAGON TRIANON World’s Wonder Ballrooms Chicago

“Season’s Greetings” a ae FARL ABEL) i: JOHN SIDNEY SOLO ORGANIST sci |? RUCKER PERRIN CHICAGO ; AND 4 ‘PERSONALITY PLUS” | Send Season’s Greetings : BE A BOOSTER FOR ; To Their Friends Both Here and Abroad Y pt PR After Successful European Trip, Are Again in America an d SCHUSTER | jf S201 tr the Sento of 1805, Felony with Another Me 36 W. Randolph Se ; Trip to Eu ope and Australia “SEASON’S pain al Ata?” L: “4 “ nd LE LE LE OE EGE LE OS EL GEOL GL OL GL OLN, J —| °° ———

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Wednesday, Janusry 4, 1928 VARIETY 127 ‘- i i fi bet ttt ae rs J oo THE PAVILION, GLASGOW Twice Nightly, 6:45, 9:00 Week Commencing Monday, Oct. 31, 1927 JOE TERMINI _RALFINI and HIS BAND THEO and CECILE TRIBOLLO and SMILES Selections by the Grand Orchestra under the Direction of Howard Croft NEW “G Comic variety stage, the firmament the fact is clown, oe the ever since Waf,r,. FRANCINI OLLOMS ance in this cou! try ot Joe Termini. the audience MLLE. HAYDEE this \\ eek “THE RECORD” November 5, 1927 ROCK” FROM AMERICA MUSICAL GENIUS OF JOE TERMINI musical geniuses are few and iar between on so that when a new star swims into one to be recorded, ‘The French held supremacy in this particular field he captured London in the early days of the Special interest attaches, therefore Grock, has to the appear \merican Grock Ile came over for a short engagement in London, and ; EDITH ATHEY ae has not seen fit to return again to the States. When he KAY pe JAY made his debut at the Holborn Empire, London, he —_— created such a sensation that he put the show out of joint. He was sucha completely new experience that the would not let him go. JI looked in to see him at the Glasgow Pavilion and was able to share And Her Marionettes London’s enthusiasm. ‘The feature of Jermini’s act is its Giieinnitianmanititimmaneaideaae -—_-___——- originality. Jor himself is different trom any other comedian I have met, and his act emphasizes this difference. EXTENDS THE COMPLIMENTS OF THE SEASON To All His Friends—ALSO MANAGERS —on Both Sides of the Atlantic Expected to Spend the Holidays at Home, but the English Bookings Prevented HACKNEY EMPIRE In Association with the London Coliseum First Performance, 6:20; Second Performance, 8:35 Week of Monday, Nov. 14, 1927 JOE TERMINI Semnolent Melodist ALBERT WHELAN The Australian Entertainer TOM PAYNE and VERA HILLIARD In Burlesque Episodes REBECCA BRODIE Contralto HARRY CLAFF ‘The White Kaight” VIVIAN FOSTER Phe Vicar of Mirth JACK BROWNING The Demon Dancer Cinema Impressions of Kecent News HONG KONG TROUPE With Back-bending Novelties ALHAMBRA Leicester a are, Ww. C. 2, Week Commencing Monday. Noy. 21 Dally, 2:30, 6: 10, 8: i5—Program Changed Weekly GRACIE FIELDS Comedienne JOE TERMINI Somnole nt Melodist VAL and ERNIE STANTON The Superb Idiots i in English as She is not Spoken THREE EDDIES late Stars of “Blackbirds’ ’in a Lot of Nonsense TOMMY FIELDS and NINO ROSSINI In an Entirely New Come dy Offering Se ————————————————— THE JOVERS _Eccentric, Music al, Ac rob atic, G rotesque HONG KONG TROUPE With Back-bending Novelties © es oc ‘inema impre ssions of Topical E vents _—_. —_ CON KENNA and HIS PILOT | The Funny Airmen a ae ST. VINCENT SISTERS * 4 In a Te prpsic ‘-horean Re view National Sunday League Concert Every Sanday of 7 Dp. ™ BELFAST HIPPODROME Twice Nightly, at 6:45, 8:50, Monday, Sept. 5, 4 Splendid Variety Company Entirely Composed of Artistes New to Belfast \ New American Musical Comedian JOE TERMINI “Sompolent Melodist”’ Norris Smith and Frank Cumminger Vresent The SOUTHERN SERENADERS _ tirst Appearance in Europe of THE DOLINOFFS (Reva and Daniel)) in their French Specialty Novet Dancing Act CLOWN DECARS With his Miniature Circus, introdacing Beavtiful Midget Per forming Pony, “Mignon,” Wonderful Geese, Comedy Monkeys and “Tomato,” the Finest Trained Donkey in the World Supported by a Spiendid Variety Company of Artistes new tw Belfast entirely composed HOLBORN EMPIRE 6:30 -— MONDAY, SEPT. 726, 1927 — 9:00 Keturn Visit of the Pamous ST. LDA: S BAND ~Artinte Vorld’s Champions, 1912, 1920, 1921, 1924, 1926 A record never equalled by any band—Entire change of program—‘A huge triumph in artistic playing” ALBERT WHELAN PEEL and CURTIS JOE TERMINI FRANK MELBOURNE FYNE and HURLEY BESSIE CLIFFORD NORRIE MARTIN KAY and JAY MONROE BROS. —— = — —————— —_ = ome = All Communications Care of VARIETY, Londen

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_ 128 er — .

‘ia. aranarers SS SA SESE SE SEE EE EEL VARIETY relieving the Dean and Originator of the Paul Ash Policy— MR. PAUL ASH CELE LSA LE ELLE LE LIL

SEASON’S GREETINGS NS To Friends Throughout the Country MARK FISHER eee = 4, 1928

Just Completed a Very Successful Seven Weeks Engagement at Balaban & Katz Oriental, Chicago,

- : os A ee - = . Tae Fm obs a8 ee chebetedl ne m lv 86 Aa NE oe =i - ¥ is ; + ea : eos rote a ee ee .

: M4 : P. S.: Many thanks to Mr. Louis McDermott, Paul’s producerfor his co-operation and a very pleasant engagement. a | 6 :

EE EE EE EE EE EEE EEE EEE

a BSS SESE SESS SAE SAS GELELEOE LES THE SEASON’S 59 : A Zo ir @ SEASON’S GREETINGS as MS TO YOU | 66 » | 8 | PD i i L ROM AN O i SKEETER k We Extend GREETINGS and BEST WISHES AS For A “ *| HARTWELL |? | } Radio and Recording Orchestra a From Los Angeles “Examiner” I: HAPPY NEW YEAR aa , ‘|| DANCER SIGNED XX | | ; | at the New and Beautiful 4 FOR TEN YEARS iL )}) 1) DE WITT CLINTON HOTEL 8] oes. :65py 2 w Vaal Albany, N. Y. ‘ Searine ee i % \ ii AN | nd Marco for ten ye ie ;) 8 | Featuring sesh ot teat tee eee ithe a env i & ’ | { is ore gg ¥ Se 1e we Fl a toe e. auch | gn BILLY CAROLA & aye cies an vy y= mae - te K as ? || in “SONGS WITH A GUITAR” is Ainerican stage, and West. tc oust 5 ODDITIES OF THE JUNGLE | Broadcasting Through WGY, Schenectady a «i bh sig 7 “pe m | x KEITH-ALBEE CIRCUIT (|| @earasassrasareecwerererere ees ete nis LEE ES SPE PELE GE LE SF: eeeemcese SARA RAPA RAPE RB HELE LE LEE EEE eos wy : ts ee [RPE PEPE PE PAPE IS SE PEPE PE SE PEE ITE A HAPPY NEW YEAR <4 |! Eke a aided | IE ) With Due Appreciation to NY ; Na FANCHON and MARCO i Md met ix ; xe | wR 4 CHICAGO, ILL “4 x | MO | | q RIAA RATS PS PAE EES PELE B ecen GEGEGEGEGE CE GE CE GE OLDE GED, a Wl | RRA RRA Ras ARR RRO | pevererevesereneremene na are aL re Compliments of the Season NN ® aE : | AS SEASON’S GREETINGS | Seb u | x ® OWEN TIFFANY ¢ Bit} | ‘ \ Presents His Latest Composition i ig i “The World’s Hand - 4 BE | po ~ } | Ne Kin ergpemennen nn | 4 2 orld s Handsomest an” . Blt ) sie on CHARLO! TE JANE me BEAUTIFUL I. ECCENTRIC DANCING COMEDIAN % ; . nN VERA NODA MY Now with Fanchon and Marco Pacific Coast NY uidhde derioachncagltionta cope srwspeweh|| With, “BLOSSOM TIME” |/f RY PREPARA RA RAPA TA SAS GE OL OE OE OL OE GES oe ON PACIFIC COAST | es sat tctenictenistenians QE PE GE CE CECE CECES SEASON’S GREETINGS TO ALL MY FRIENDS OPENING GEORGE LIPSCHULTZ ~22%- SEATTLE, FEB. 1 MANY THANKS TO IVAN HYLAND, CREIGH NELSON AND CASPER FISCHER FOR GIVING ME THE OPPORTUNITY OF OPENING THEIR NEW THEATRES 4

| 3 | | ) | | ' ) |

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ee See Oe Fee Cee COE Cy Ce ee ee Ce ee ee ee re a eg ee a ey a aa ee EE ee ae Oe ee ee ee ee we ewes = « Saas DD RS a a a Oe A LD PC eA TR, FER I ER ST SLE TEN Wednesday, pry 4.1008 VARIETY pReAPAME TERETE RE IER SE TREE LE EE EE Ae eesti Aappy New ear IN STORE FOR ALL EXHIBITORS BOOKING DOLORES DEL RIO “RA MONA” HELEN HUNT JACKSON’S Great American Love Story An EDWIN CAREWE Production Fig siiiittaeel \ ta a ie an A i Re Se SE || oe, ~_ : CPAP PAPE IIS PRESSE PEON ab Presented by INSPIRATION PICTURES, Inc. (WALTER CAMP, Pres. J. BOYCE SMITH, Treas.) AND EDWIN CAREWE SCREEN STORY BY UNITED ARTISTS FINIS FOX PICTURE NOW BEING FILMED AT TEC-ART STUDIOS, HOLLYWOOD i a is i i th ES eee a eg we ges es EE EEE EEE MLE CIE

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VARIETY

<r eee gpa yes eee -—~ : ————— eee é SEASON’S

KEITH. ALBEE CIRCUIT LEW GOLDER, Representative

PAUL YOCAN wilh His Dancers Gn ARTIS TIS, — y MOMENTS — The Most Charmins and Artistic of This Seasons Many a nsOee. ¢ i : ( y 32 DF Tes 2) < i ae A SRY "= ee ee WAR iy A eae Progress Goer oe

ARTHUR PEARCE, Associate GREETINGS

LEON ERROL “YOURS TRULY” (ON TOUR) 2nd Season GENE BUCK Presents , TAK K, AIR”, WILL MAHONEY and TRINI

——— in PAUL LANNIN'S AVIATION ORCHESTRA

OPPOSITE ROXY'S THEATRE

Seats on Sale 8 Weeks Ahend AND The Season’s Greetings CELE DE EARLE,

: Me SEASON’S GREETINGS

i: E E 177 NORTH STATE STREET, CHICAGO, ILL. RATS GENE Thea, 506t St. EB. of B'y BUCK WALDORF | eg g:30 “Mts Wed., Sat ELLIOTT NUGENT

LE A =

SEASON’S GREETINGS GEORGE DEWEY WASHINGTON Playing Publix De Luxe Presentation Houses BOOKING THROUGH WILLIAM MORRIS AGENCY MAX TURNER THANKS TO PAUL ASH! PHIL TYRELL

Happy New Year from “Jimmie” of “Jimmie’s Women’ JOHN GALLAUDET KAM TAI COMPANY

A inernncsoen.td January 4, 1928 ee eS FE: HELE LL OLE OL GL 0%

FS Best Wishes for a Happy and Prosperous if PN New Year vf Ny xf ; : x AND f nr f SS Ns ; L ‘ Ny THEATRES, INCORPORATED _ ' i CHICAGO : RSASAFS FSFE SSSA S ASA eegegs get

SESESS SSS FE FASS FESS ies: ; Best Wishes to All ROCCO VOCCO ¥ RPAPSE SSPE PS SAAS % PECEGEOL OEE We LELEE LE LEE EGE EEE EEE GES,

{ SAM ROBERTS | ARTISTS’ REPRESENTATIVE JACK HOLTZ, Associate SL cmeaiiemall Ss SARE ENG BENE RE RE PEE TA POTOLOLE: BTOLOLOTOPOPODO TE: {

““Season’s Greetings” “HOOSIERS ABROAD’

“A HAPPY NEW YEAR” ORIENTAL NOVELTIES

BELL and COATES SEASON’S GREETINGS New Assort t of 15 el Pp ORIGINAL CALIFORNIA SONGBIRDS i, oe eee ¢ Greetings. ally STILL PLAYING BALABAN & KATZ Direction PHIL TYRELL—WM. MORRIS AGENCY Dolla DE LUXE PRESENTATION HOUSES, CHICAGO

|DOROTHEA ANTEL 226 W. 72d St., New York City The Sunshine Shoppe OPERA LENGTH HOSIERY

SEXSON'S GREETINGS ||Lee Barton Evans

oo

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le | VaRPPat?y AREA EOE OLEATE LN SS WBE EL BLE AE BLS LE ME ES EE EE EE ae —— } ' ERLANGER’S THEATRES = ERLANGER’S THEATRES ERLANGER'S EXCHANGE Booking the First Class Attractions in all the Principal Cities of the United States and Canada. Address all communicattons to A. L. ERLANGER New Amsterdam Theatre 214 West 42nd Street New York, N.Y. ERLANGER’S THEATRES SAULVAHL S.\YADNV 183

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Oe eee RE coe x rz iW . i - a 7 ee oo _ * : ff . += ee ee) ce ere — eee ee a A OL CL CL AOE, OR —- 132 Wednesday, January 4, 1928 BPA SASS SS FS FE FS FS SAFE FAREIAPAIAFAD FA Ks SE FAFASASAFO SA SA SES WFELLIAM MORRIS, Sr. ABE LASTFOGEL WILLIAM MORRK, Jr. } WILLIAM MORRIS THEATRICAL AGENCY, Inc 11th Floor, Butler Building, CHICAGO, ILL. MAX TURNER, Resident Manager PAPEPE PEPE PA PE PA PS PHIL TYRRELL, SAM BRAMSON, HARRY SANTLEY, Associates TELEPHONES CENTRAL 7838-9 MYRTLE GORDON NORSHORE — HARDING — SENATE — ORIENTAL THEATRES \¥ Thanks to SAM BRAMSON BABE CARTER “THE DANCING FEMININE BELLHOP” OPENING FOR BALABAN & KATZ JAN. 8, 1928 CHICAGO, ILL. UNIT TO FOLLOW WM. MORRI6 AGENCY § MARGUERITE BALL “WHIRLWIND DANCING” SCOTTY WESTON “THE DANCING GOB” PAUL TREMAINE King of Saxophonists and His ARISTOCRATS of MODERN MUSIC COGERT and MOTTO THE HUMAN JAZZ BAND TOURING PUBLIX CIRCUIT SEASON’S GREETINGS HELEN McFARLAND XYLOPHONIST Singing and Dancing With John Murray Anderson’s “HIGHLIGHT UNIT” Direction MAX TURNER A Sure Fire BOX-OFFICE ATTRACTION A Sensational Singing Ensemble of Twelve Artist Musicians DOUBLE VOCAL SEXTETTE SAXOPHONE SEXTETTE PIANO-ACCORDIONIST STRING QUARTETTE JERRIE THE DANCING ACCORDIONIST Just Completing Tour of AH Balaban & Katz Chicago Theatres BERNICE and EMILY “PEANUTS AND POPCORN” “Acrobatic Dancing That Is Different” OPENING JAN. 14, 19283— PARAMOUNT, NEW YORK With Publix Unit VOCAL QUARTETTE BRASS QUARTETTE MARIMBA TRIO BANJO TRIO COMEDIANS DANCERS DIRECTION WM. MORRIS AGENCY CHICAGO Thanks to SAM BRAMSON Opening Oriental Theatre Jan. 5th with the Rest HELEN KENNEDY of the Publix Theatres to Follow Direction: SAM BRAMSON — WILLIAM MORRIS OFFICE “FUNSTERS” LLE BROS. Direction: SAM BRAMSON a 4 pavement WHEREVER YOU FIND om MILLS and SHEA = YOUW*EL FWD A MERRY XMAS WHLEIAM MORRIS — CHICAGO OFFICE

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; : ; : : : k eee Shes Shes Sees ee eS es Wednesday, pouaary 4, 1928 mi AR I Ez T Y 133 0 ASSERTS: Ta a RASA IE PE RS SEE SEIS EE EES Crab te ere ee BBB RRRBSK HENRY SHEREK “INTERNATIONALLY KNOWN” 17, Lisle Street, Leicester Square, London, W. C.1 (Cables: “SHEREKIUM,” LONDON) Wishes All His Friends the Best of Luck in 1928 . “ "™* "4 “~ ‘ "\ \ \ 4 } Recent American Bookings in England Include: DORA MAUGHAN, ESTELLE BRODY, JANETTE GILMORE, DARE and WAHL, MILLER and FARRELL, FRED- DIE RICH and HIS HOTEL ASTOR BAND, WALTER FEHL and HIS MAGIC WAND, JANE DILLON, WILL OAK- LAND, HELEN MORGAN, HANDERS and MILLIS, YACHT CLUB BOYS, NEWELL and MOST, HAMILTON SISTERS and FORDYCE, GERALD GRIFFIN, CUNNINGHAM and BENNETT, STEELE and WINSLOW, KELSO and DE- MOND, WRIGHT and MARION, HARVARD, WINIFRED and BRUCE, Etc., Etc. My Very Best to JENIE JACOBS icin ett en deaithnin Pa nicinsciatlaaiciaicicilatiiatilatiiatiiatiatiiasie 5 SU ER EXTENDING MY GOOD WISHES FOR TODAY TOMORROW AND ALWAYS BEVERLY BAYNE | CE OE OE OE OE OEE OE CE SE Wie Cin te en FE PRE ELE SRENRSIREIEIEIREINCIN DEX LEE BELELE LL LG BS es eS IEE LE ELE EE EEE EL DEOL EDDIE BUZZELL | ONA MUNSON Principal Comedian “DESERT SONG” as “MANHATTAN MARY” SECOND YEAR in George White’s Smash EMARASE Sas 2 PE FBFEFE FE FO FO ie . * se ¥ a .

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ert = = mitcshaiaaielth iii eemnenmemnts . 4 a 134 VARIETY Weauvatay, January 4, 1928 bP te PETE TE REFERER TOTO TOE BPS PSI REIS PETE PETS IANA PAA IES PETER TATE FD TOTS HE Pa Fe Pas | Wes yO 4 My we . t : . ‘ JuKle Gown ( ‘ ose VMIERING and reuiben MURIEL | WITH ie ‘RIO RITA” hs FEATURED PIANISTS wth FOX MOVIETONE ss COLUMBIA PHONOGRAPH—AEOLIAN DUO-ART } } Your i aa cel aaa ISTE TSTMS MSE FROM | , | aces i i BABE EGAN And Her HOLLYWOOD REDHEADS ORIGINAL RED-HEADED GIRLS’ BAND | | } | EDITH GRIFFITH BILLY FARLEY ESTELLE DILTHEY \ PIANO BANJO DRUMS ‘ if eet eae vita Bue somal 1A ,vosoenas on + : FERN SPAULDING BABE EGAN DOROTHY SAUTER t® ) TROMBONE VIOLIN BASS ihe SUCCESSFULLY HEADLINING KEITH-ORPHEUM CIRCUIT— Thanks to NORMAN JEFFRIES and FRANK DONNELLY | . & PERSONALITY OPENING PALACE, Coane, JANUARY 22 ae ee e ee ~ SEASON'S GREETINGS | || ie 1 BILLY "MANN 1) 3 : } “6 “Good-Bye” to Park ‘enue ” All His Friends and 1] ¢ “HELLO, DEAR OL’ LONDON ONCE MORE” \ i ~~ a Fees ’ iene Sailing on the S. S. Aquitania January 6, 1928 OPENING JANUARY 16, 1928, at the KIT CAT CLUB, London as MASTER OF CEREMONIES and CONDUCTOR OF THE KIT CAT CLUB BAND AMERICAN REPRESENTATIVE: LONDON REPRESENTATIVE: WALTER BATCHELOR FOSTER AGENCY 226 West 47th St., New York City 32 Shaftesbury St., Reenaaven had 1 A HAPPY NEW YEAR Hi---JOHNS and MABLEY---Ewve Presenting “30 Years Ago” PLAYING BALABAN & KATZ SUPER PICTURE HOUSES JAN. 9, ORIENTAL; JAN. 22, NORSHORE; JAN. 29, HARDING; FEB. 5, SENATE, CHICAGO, ILL. Personal Direction MORT INFIELD Keith-Orpheum Circuit, SIMON AGENCY Thanks to WM. MORRIS CHICAGO OFF a WEE FEE ES OS SS iS AS SS eS SS RS ES SERS ES ESS PE PS RE SESS HOLIDAY GREETINGS FROM THE FAMOUS ETHEL MEGLIN KIDDIES FEATURED BY FANCHON and MARCO

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Wednesday, January 4 1928 VARIETY

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) 4 I WWASZASZA ANS YN INAR IESE. | AtanteyCompanyjof Omerica We NOOSE SZ OOSSZOST OSLO. LNZN NENTS AENEAN lf, SARITA SSR ARIAS, SEASON’S GREETINGS To all our friends in vaudeville, the legitimate and motion—the actor, the manager, the producer, the exhibitor—our cordial greetings are extended at this holiday season. We, of the Stanley Company, are deeply appreciative of the many manifestations of good will that have come to us directly and indirectly during 1927, and are happy now to be able to publicly acknowledge innumerable inspiring courtesies. Our sincere wish is that there shall be for everyone a glorious period of holiday observance and that prosperity shall continue for all.

JOHN J. McGUIRK President yy ABE SABLOSKY MORRIS WOLF | \’ Vice-President Secretary |

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a i! A waa = a: . - —— elena « a name ‘ 4 5 Fae Saw. ¥ an ‘ . oP ee " mY es Saree © ak eh . Pid i, . < . uh ‘A es st 2 o . Gs. Sn a err tte OC CRAM: Slee . oe - wee ewe oe a - <tedes ae ht is 4 136 VARIETY Wednesday, January 4, 1928

ME and My Two Boys Wish Everybody in the Theatrical World

A Happy and “B. B. B.” Prosperous FRANK SHAW Los Angeles New Year San Francisco “Coffee Dan’s” “Coffee Dan’s” P. S.—HE Also Got His Start in Coffee Dan’s WHO? AL JOLSON “THE JAZZ SINGER” My Two Boys Ain’t Bad Either

‘COFFEE DAN’ A atl SEASON 1927-28 BARBOUR, CRIMMINS AND BRYANT Attractions

NOW PLAYING Paany Hurst’s New Comedy Drama John MeGowan’s New Comedy ‘TT IS 10 “EXCESS LAUGH? BAGGAGE”

— with Eric Dressler, Miriam EDNA Hopkins, Frank McHugh, HIBBARD and Morton Downey ELTINGE wnet ns Ae ans RITZ THEATRE, 48th Street, | West of Broadway

5 ae eee en ete ee

PSSA is CEE EERE DEEL LELELELE LEE Pew Vear’s Greetings FROM OTTO HARBACH 098 FETS PERE ISIS PEE SIE PE PEPE KALLE,

PECELE RE ZEE | Management BARBOUR, CRIMMINS and BRYANT - a —— ——E - | | BEN M. GIROUX | SARE RARE RARE RAS: BROPAPAIATOTO TE te CEECESESES | “TENTH AVENUE’’ with WILLIAM BOYD, RUTH LEE and HARRY BANNISTER

ELTINGE THEATRE, N. Y.

NOW IN REREARSAL “THE SANDY HOOKER” “CHINESE 0’NEIL” By CHARLES BICKFORD, FRED BALLARD and By CUSHING DONNELL and SAMUEL SHIPMAN RALPH STEWART

New Year’s Greetings from RECENT ENGAGEMENTS Kit Cat Club, Piccadilly Hotel, AL PAYNE Royal Palace Hotel and The Trocadero, London, England; and His Orchestra Metropole Cinema and Rest., of Dublin, Ireland; Seminole A PAUL SPECHT UNIT Lodge, Miami, Fla.; Saga- Opening more Hotel, Brooklea Coun- The Venice, Palm Beach, Fla., try Club, and Rose Garden Jan. 14th Rest., of Rochester, N. Y. Direction, PAUL SPECHT Cable Address 1595 Broadway, New York City SPECORCH

SEASON’ S GREETINGS FOX FILM CORP. TROUPING IN CALIFORNIA

wt HELD OVER FOR 1928 BY THE MANAGEMENT OF THE | AND HOW! af SILVER SLIPPER, NEW YORK : And His VAN AND SCHENCK ORCHESTRA FOR PICTURE HOUSE BOOKINGS APPLY TO MY EXCLUSIVE REPRESENTATIVE “4 Nightly After Theatre at the Silver Slipper Cafe, New York--- Sunday Broadcasts Through WHN “ : *@ 1560 BROADWAY, NEW YORK CITY — LOU IRWIN, Inc. (Nat Chaiken, Orchestra Booker)

BRYANT 1626-1627 &

SEASON’S GREETINGS FROM LEO FORBSTEIN »»: INDEFINITELY AT THE MPLLION DOLLAR, LOS ANGELES ORCHESTRA

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= | = 1 |oK _ Wednesday, January 4, 1928 VARIETY ——$—_—$ LT a HE PE REALE EEE EEE EE EE EE LE EE EE EEE EE EE EE EM JONES, LINICK & SCHAEFER THINK TET IS THE WORLD'S GREATEST TRADE PAPER RPAPA SASS PS PSSA SASS SESS SS SASS SESSA SAE BELLE: snhemaneenniamnenianet FS Fe Be Fk 8 PS eS “eee a | RRARARARA RATS PARARARA LA LALO POD Aa Ae A te He i A LB LB LE LE EE AE x ; SE RESE RARE SE SATE IE PASE TESA SE SESE TE PEI ® OS RE RA PETE IE IEEE FOTOLO TOD OM ) ae x ae | : | an SEASON’S GREETINGS a | ar ‘ FROM “4 re ‘ is x Ss PRODUCER OF ) i 4 | i 4 is % | h BOX OFFICE SUCCESSES “ | MARIE |: : i i | OR 1927-1928 if PRE ar “THE GORILLA” = is * i “LADIES NIGHT IN A TURKISH BATH” * rf ghey RR rr : is ” ! ; i FIRST ‘ ‘e g | i NATIONAL RELEASE “4 38 | HS N: WOE OL EL OL OL OL GL TL OL CLP DGLIL IL OLGLILOLGLR | pO GL OE DE PEPER GL GL IL DL IL OL IL IL OL OL OLY a. OF ss. eres Pe poe =

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VARIETY Wednesday, January 4 1028 | semen i : IN WASHINGTON, D.C. . WE HAVE? ? | ——— Harry To | I FOx THEATRE — ad All My E i ake : if ae ae Friends | N Crandall N | Jack Stebbins ocutianin. os CHE BEST i bE | MANAGING DIRECTOR OF YULETIDE a IW _ TRE GREETING W ‘ | A W. S. Scott William McGrath CRANDALL a | | BUSINESS MANAGER DIRECTOR PUBLICITY—ADVERTISING THE ATRES Col by A rile is NOW OPERATED Harriman || ¢ a = BY THE aa Adoiphe S. Kornspan ey ae tii Ey CONDUCTOR Sten'oy-Crandali Loew's =| : Fox Symphony Orchestra Company L : | | I — of Washiagton Paiace ¥ ail | N Leon Grusiloff Pa eDEN tate de WN a il ASSOCIATE CONDUCTOR—PERSONAL REPRESENTATIVE DANIEL Loew's Rs | . G Se BREESKIN Century G Ae ad aes DIRECTOR OF MUSIC BALTIMORE iW T Fred Stark np or agi ey Fox Symphorry Orchestra , ‘14 |O Washington's MONT 0 ie N Finest Orchestra ' . cn S A anny Alexander Oumansky BELL N ; | + 5 BALLET PRESENTATION DIRECTOR Makes it New York, Berlim, Los Angeles, and now Pox Circuit Theatres ih sini WALTER Good ; Hil Ip : - BROWNLEY _— ii Charies Sinolais D | || oa LONG . Mt . Oheatre Organ __OnGOET : | | Cc MONTA Fer hime Metropolitan LIVE Cc | | | . BELL [RENE JUNO PAUL LINEN e ' Mak os Washington College FIDELMAN Ww Qeed eof Music Durecting METER pave C caus = Compiets Facitities and Practice CHANTICLE Pictwres 714 17th Street MARSHALL WwW E Rictional "Theatre E Ghe Washington MONTA Ptayers ms DAILY NEWS _ Deecion . . CLIFFORD BROOKE VIONTA Fy BELL Management ; . S. E COCHRAN . a PALMER “1 — a A | Makes JACK Makes VU Dramatic Good CONNOLLY Geed V Editor... Pictures Sox MOVENCIE sewe Pletares A E. | | season's GREETINGS TO ALL! a wRC E LIDO ORCHESTRAS MIONTA || oun bcamn ¢ EMORY DAUGHERTY BELL > OLUB LIDO JARDIN LIDO —_ Ane ’ ? BAM OK SW Nemo Ace & 1 Sa We Makes “he Ideal Announcer MAURICE H. KAFKA JAMES H. SDAON Geea for Ghe @apital of ? Washington's Gayest Nite Rendevous Pictores Ghe Nation” IN WASHINGTON, D.C. WE HAVE ??

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Wednesday, January 4, 1928 = VARIEBTY == Sa —_ IN WASHINGTON, D.C. .. WE HAVE ? ? -ZOHOZ=ntunes Ze } subd pi wns Station WRC || My Offices at 1451 Broadway (Tele of the phone Wisc. 7580), New York City— Radio Corposation of Aemertes or my offices in Washington, D. C., Sihineesd and Coeniah te are open during the entire year to serve MEYER Breadeasiing Co. write, or telephone either office. Congratudates VARIETY | |Cescressmee S0l Bloom “ Fourth ise Season Cae || uate, || NATIONAL || nanoun pease | LE PARADIS BAND Orgente LAOMARD &. SCUNLOSS MILTON THEATRE Stanley-Crandall THE ONLY THEATRE DX Coteny Heinz Roeemhold RIALTO as “ROX” DAVIS ORGANIST STANLET-CRANDAELL Earle Theatre MONTA BELL Makes good Ptetares J. VIRCIL HUFFMAN PEATURED ORGANIST Loew's Palace WASHINGTON'S LEADING THEATRE LOEW'S THEATRES PALACE LARRY BEATUS O. J. RATTO ROSCOE DRISSEL WASHINGTON OFFER- ING EXCLUSIVBLT AMERICAN and FOREIGN STARS OF THE FIRST RANK SIDNEY HARRIS MEYER DAVIS’ WARDMAN PARK HOTEL ORCHESTRAS Weshiagtoa Aaditoriam Oerp. Booking Season 1923-29 Motwon Picters Adteor Washington Pest The Capital's Only Real Picture Medhem MONTA BELL Makes Geed Pictures omen LEROCW'S, Ino. LOWS J. FOSSE OOLUMBIA Geneval Manager BURKI MOAMYAGEMENT MARK GATES Theat rieai HARRY HOWE J. W. WOOD Satie Gieansers WILLOW GROVE PARK Met aan A. | SWANEE BALLROOM Walter Saib Por Wever Davie MONTA Organist — FOX THEATRE SAUL LEVITAN BELL SOLO VIOLINIST Phat bs e Dick Loibert MEYER DAVIS’ Qeed A Washingtonian now at FAMOUS LOEW’S PENA LE PARADIS BAND Pietereos Pittsburgh pomwet || MONTA [| won AND THE BOYS IRA J. LA MOTTE, Manager Daes Herman, Violin Al Abeita, Banjo Prank Leithner, Piano Ireing Levick, Drwms Lew Bates, Bass Mew Madrilion Cafe Maken Qeod Pieteres STRAND THEATRE Presenting MUTUAL BURLESQUE HARRT O. JARBOE, Manage George W. Fuller District Manager Fex Fitm Corp. AL KAMONS Director Meyer Davis’ WRC Pour Consecutive Seasons WIZ Swauce Syneopators SWANEE BALLROOM MONTA BELL Makes Qeod Pletures NATHAN BRUSILOFF Directing Washington's Finest Hotel Orchestra THE NEW WILLARD ., FOR METER DAVIS JUST GUY WONDERS LE ROY SHERMAN Assistant Manager STANLEY-CRANDALL EARLE -ZOH DAZ Mavs Zr Q v3 NI PH HS IN WASHINGTON, D. WE HAVE ? ?

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Sa Gee tii kk ee Wednesday, January 4, 1928 i me Ras Pa Pa RA RA PERE RS PERE RA ETE PLP EEE EE EEE EE ELLE Ee ne I GREETINGS! aE [' i Our Gratitude to West Coast Theatres, Inc., | ‘ and Their Staff Also the many artists and others who aided us in making the Fanchon and Marco “Ideas” so successful during the past year. SEE eg Oe PRE IE RE LE « Fanchon and Marco MW ‘ it ALEX. A. AARONS and ‘VINTON FREEDLEY VICTOR MOORE ALLEN KEARNS m the Season’s Musical Comedy Triumph “FUNNY FACE” ALVIN THEATRE, NEW YORK GERTRUDE LAWRENCE ; A ° th we e mit = o4 é & 5 7 Elis Majesty’s Theatre 4 International i ib ro . . {, j Musical Hit 9 se Indefinitely it i _ FRED and ADELE ASTAIRE OFFICES: ALVIN THEATRE BUILDING, 250 WEST 32ND STREET, EW YORK CITY

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laa as Rant Congratulations On Your 22nd Birthday From WEST COAST THEATRES, Inc. HAROLD B. FRANKLIN, President M. GORE A. L. GORE Chairman Board of Directors Vice-President “THE BEST THEATRES EVERYWHERE ON THE PACIFIC COAST” ba PEPE PERS PS PEE RAE EE ‘re ‘SS Se Se ee Ss HE ES SS PS PSS RS a EEE EEE PE ES SS RS RS a} yrs _ ae ee:

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i" a — VARIETY Wednesday, sonuney 4, 1928

a =—— — —P— PASE PEPE PE PE ERASE RAPE SE IESE SEE LE EE LE EES, EEE LEE LEE %

—— rr ——— ——— = The Season’s Greetings To All My Good Pals AL KVALE> WITH His JAZZ COLLEGIANS

= a u

FAS WE LE WS De

THE SEASON’S GREETINGS FROM SLA YMAN AL ‘ts HIS SLAYMAN ALI ROBERT COLEMAN BEN TAHER LUPIE MIJARES HADJ NASSER ERNEST GEIBEL MULAY ALI DAVE SHARP | P. S.—Thanks to H. H. Campbell, Fanchon and Marco and Bert Levy WEE OE OE OE EGLO OL DE DEOL DEOL GL 8 GE GES EGE OS OL OL OS DL ILE GE GE DL GE GE DE DE GL OL OL ILS \ ‘\ ; MAURICE MENGE «: EL PATIO BALLROOM

“SEZ” “THE SEASON’S GREETINGS” THIS SEASON AT THE BEAUTIFUL ORCHESTRA eee eee eee ae ee OOOO

LOS ANGELES § bad ¥ Be SE SA ARAN RA SE EE EE EEE EE EE EE IE GE GE OE DE OL GL GEIL GE GEIL IL FRANK CORNWELL Are Pleasurably Engaged in Their Second Season as the Dance Features at WEAF Radio Stars

: : ’ : | | } : » . | P ee 5 : | oq i i hs ; | ' ’ ‘ft | ; ; 7 » emt ; ¥ ' | Se | : 4 : Bl ; : 7 fi o> - : 7 , Ly 4 am : eb ae sy “ £ : A 2 .. * 4 t x - A - : ‘aa “8 j b — 2 ; wai ; hay f : : 4 =a Pat “ 1b - > 7 , | ; e a i -G - + 7] % oF 4 as . ey, ue ; is r a ‘ 1% rms ; * s > Pa * _ . - = ~s, ~~ Se =F =, y »< y ; - . o ta + - ‘- y 3 ‘2 yz 2 4 ‘ha * a J eee ¥~e rors re 7 Et ee oe ee ee ee a | . . 79 a ee ie gms Pant a n ae nS ™ fe - SEASONS GREETINGS and His ORCHESTRA JANSSEN’S Midtown HOFBRAU Broadway and 53d Street, New York City Edison-Cameo-Harmony Records EE LEE EE EEE GEILE ILO

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_ . - ~le ece — . ° ng eee a . pa 2 Es ae San i meri ert Oe en , ee es E Wetaseday. gauuaty 4 1928 VARIETY 143 as ~ ee — * Riki ws GSASERAIETE TRIE TERE RS RARE RATA TANG 2 PS Ra Pa RARE RAVERE IE TE PERG PE TERA HATS PATS PETA RETA ON —_ . x 7 7 a % bs ere Leth GREETINGS BLOSSOM SEELEY | BENNY FIELDS “GREENWICH VILLAGE FOLLIES” Management, MESSRS. SHUBERT : See pate 2k Oded rin t gs 7? GER? - i, $ ' : ELE OL LIES ¥ . 2b Fh Fe ZS OU GOTTA "EM LAUGHS EDDIE CLINE Directed “LET IT RAIN” “SOFT CUSHIONS” “LADIES’ NIGHT IN A TURKISH BATH” “ “ALL GREEK TO ME” (ELE EEE AGA AM - — mate Sear Om

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ri. ae, CaS a a ee IE > ein wodlaay Woah —. ye er i | | | i } tf | 1] fi ign NE TE TS IE,

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SSO SOPOT OCOPOCOROEO

A HAPPY NEW YEAR PAUL ASH MAURICE ADLER MATTY AMATURO BARRY ANDERSON EDGAR AMSTEIN | ROY BARGY AL BEILEN SIDNEY BERMAN HENRY BUSSE SOL BLUM LEW BUTLER FRED BECK JOE BENNETT WALTER and BERNIE CUMMINGS ANGIE VAVALLO- CRONIN HART CHARLES DAY MIKE DURSO WALTER DONOVAN JIMMY EGGERT RUDOLF FAHSBENDER JOE FRANK JOHN FIELD PAUL FAIRCHILD Thank you for your past favors and patronage. TO MY CLIENTS MILDRED FITZPATRICK ART GRAHAM SERVANDA GARCIA TUBBY GARRON MAX GRUBER FRED HAMM WILLIE HOROWITZ jOS. HALEC CHAS. HOGAN JUD JERNBERG BILL JACOBS SADIE JACOBS JACOB KAPP WAYNE KING EZ KEOUGH AL KVALE JOE LYONS JESS LIBONATI ART LAYFIELD ANTHONY LANGO TOM LEAHY JOIE LICHTER TED LEARY HAYDEN R. MILLS FRANKIE MASTERS FLORENCE MOISAN LOUIS McDERMOTT JAMES THOMPSON NOBLE MARION OWEN GEORGE PIANTADOSI GUY PERKINS ANDY RIZZO FRED ROSE PRESTON SELLERS SOL STOCCO ELMER SCHOEBEL FRANK SPAMER HAROLD SCHOLER HERMAN SCHENCK ASHER SAMUELS LEO TERRY MILTON WEIL THERESA- WHITE LUCKY WILBUR JACK and JERRY WALLER BERT WHITE LEW WEST H. EMERSON YORKE 1928 promises to bring BIG returns to my clients. In the New Year, I will devote my entire time and ability to furthering - Cwre2c./| dv2axtxco your interests. — —— a aR oe a ——— Sy SEE SSE EE EEE EEE CL LEELA DE CAS CA AC

_ ~~

“A : ; ae no OE, TS RST noe RSA SSSA SS FA Fe Hi $5 SG FBSA FESO SO SOTO .

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Wednestag, January &, 1008 VARtIBTY = ———S————

; SSO TESTES TE PABA BBB BB BS Pt GI PE FF SS HTP PPS REPS SESE ae, Pe ee SASS

I TAKE THIS MEANS OF CONGRATULATING < DOUGLAS FAIRBANKS GRAUMAN’S CHINESE THEATRE, HOLLYWOOD HIS SUPERB PRODUCTION “THE GAUCHO” Douglas its the greatest showman in the world and has displayed his ability as a venuine in this his latest box-office winner. SID GRAUMAN HOLIDAY GREETINGS TO EVERYBODY UPS SAE FERS ESS Pa Fe ah Pea Res Fes Pat Ss es Fes es ss eS RES SE}

SRA RARA RARE RARE RE RARER BIOSOTOFOPPCOPOCE SESAME REE SE Sa Se SE POROSALE: PERE RERE REE t WILLIAM A. BRADY, Jr., and DWIGHT DEERE WIMAN \ in Association with JOHN TUERK \ Present MARY NASH BASIL RATHBONE VIOLET KEMBLE COOPER ‘ Ina New Comedy : “THE COMMAND TO LOVE” By Rudolph Lothar and Fritz Gottwald Adapted by Herman Bernsteim and Brian Marlow \ with HENRY STEPHENSON NS and a Distinguished Supporting Company _ LONGACRE THEATRE, 48th Street, West of Broadway Evenings 8:30—Matinees Wednesday and Saturday 2:30

. WILLIAM A. BRADY, Jr., and DWIGHT DEERE WIMAN Present “JANE COWL” in Her Smartest and Most Successful Comedy ar Oa Le ae EE ELODIE OEE. I REAEEE RE AESE ALLE RELELELELES, |

YY “THE ROAD TO ROME” “ By Robert Emmet Sherwood 4 Now in Its Eleventh Month at the it PLAYHOUSE, 48th Street, East of Broadway Evenings 8:30—Matinees Wedneeday and Saturday 2:30 SFL EL TO EP Be Oe ee Se ewe ee er KX ° . “ 7 * J. ’ “G 7) s ? we - . ’ 7 a 7 T 7. <A) ‘ PE EO OIE EE OS SSS ; p —— a)

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VARIETY Wednesday, January 4, — es ag tsi a A AIOE Di aa ig ce a Peng eee RODE 5: EO: George Marion, Jr. PARAMOUNT TITLES “WitP Not half!” “TATLER” (London) “Tout ce quil y a de plus cochon.” " AUS TRIAN STATE ARCHIVES” (Vienna) “Marion is the cleverest wit in Holly- wood. Her antics kept the set in an up- roar during the filming of her starring vehicle, “Tillie the Toiler.’ ” “EXAMINER” (Los Angeles) “Marion’s philosophy, sometimes Graeco-Roman, sometimes catch-as- catch-can, is redeemed from negation only by indwelling realities appearing through.” GENE TUNNEY (Chicago) Pea th a SS OE OE AE OE A ~ oe rs _ . A I CL LL CL CC = 1. ere e of lind Scant ialipsiieel : = ~ - ee " JUST AN OLD-TIME GREETING WITH AN OLD-TIME WIS?! A HAPPY NEW YEAR TO ALL Edna ns SE Sk NL EL OLE OE OL OE IE IE OL OL 8 “ ~y — o . . - ca Se a Ss Se eo CER SS PS eS SEES F BEBE CLL oh

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ad a i a i i i EE EO DO DD BD ea al Ba BD _ 4 8 ‘4 ry 2 eee EXEL ELE DA BD Be Be Be Bie oe oe Fi Oe ee ee Ee Ee OE OE a Ce eee ee ee —— ee ning cand -~ cs « is. eet January 4 1928 VAR J E T VY a | = ; —————— ee ee : =——— — SS WCE EEE EEE ELE EE GEOL GL OL BEBE BEE. EEE EEE EEE EEL OE EOL a aE ee a eo 3 7 THE FOREMOST CIRCUS OF ALL TIMES AND ALL COUNTRIES THE RINGLING BROS. and BARNUM & BAILEY GREATEST SHOW ON EARTH WILL INAUGURATE THE SEASON OF 1928 WITH AN ENGAGEMENT IN THE NEW MADISON SQUARE GARDEN © NEW YORK CITY THE AUGMENTED “GREATEST SHOW ON EARTH” WILL PRESENT MANY NEW SURPRISES IT WILL BE “GREATER THAN EVER’ \ S 2 5 : : \ ; | % : ‘ . : = J 7% 7 s = + . : % 43 Z . 7 7s & Fie 4 es ts 5% : ~ oc ——:, i

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‘ ade an) tinal cation Se ~ Rigg = he eS ry 4 y isi a inmmmanel cannons Ae AE te ' ee et a eee ———e A a A A LS AO — VARIETY __Weenstay, januney 4, 1928 SSPE PE SESE RE SE SEES EPS IT ISD IRE POETS IO EID IE LEE SE IE IE HEH Fit MARSHALL NEILAN Just Completed Direction of “HER WILD OAT,” with COLLEEN MOORE and - “AFTER THE SHOW” with MARY ASTOR and LLOYD HUGHES for FIRST NATIONAL PICTURES CORP. Author of “HELL’S ANGELS”’—CADDO PRODUCTIONS United Artists Release Dei Cb GLAS LE EEE CE EEA PE EELS 1927-28 BLANCHE SWEET Marshall Neilan Studios 1845 Glendale Blvd. HAE EEE ELE TELE EE EE LEE ELE LE EE IEEE EGE GEL EEE EOE LE GEEN, 4 Meera PLE OE GE EGE DEDEDE DL te co FAFATOL OTA SERERESS PAPO FER AE AEE EE FE EE FES ESSE ®. “4 SEASON’S GREETINGS \4 FROM AMALGAMATED VAUDEVILLE AGENCY 1600 Broadway NEW YORK CITY Ae ee 4 S CAZ 7 SL. M. E. COMERFORD, President Telephone Pennsylvania 3580 EPO SO POLO TOVESOPOPELOTOTOPOPO ine RSS SESASA SASS SA FSOSASA LOSE SOLS SOTOCOCE SOP OCOPE POCO CE POCOVTOPESEFASASASE IA SOSEIOSOSOES 4 = —

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SR. SR. SE. SR. SR. FE ET EN Oe OL ee ee ee ee ee See ee ee ee eee eee a. Wednesday, January 4, 1928 ba VARIETY BRYANT 1335-1336 PARIS—LIBRETTI 1 Rue Des Bons Enfants BERLIN—PAUL SHULTZ 204 Friedrick Strasse ACK FAUE SEASONS GREETINGS CABLE ADD.: DICKENRY CK HENRY 560 BROADWAY ASSOCIATE «. (The following acts booked this season Through DICK HENRY OFFICE) MICKEY ALDRICH, Associate BABCOCK and DOLLY “The French Vamp and the Fall Guy” 6 DAUNTON SHAWS Australia’s Trick Cyclists OMER HEBERT’S REVUE of Syncopations of 1928 CAUL SISTERS “The Cycle of Life” GLORIA DE VON and CO. in “A Night in Russia” MURRAY and ALAN “Jesters of 3,000 Years Ago” PAUL MOHR REVUE in “I Don’t Care” With HERB CRAWFORD & FOUR NIGHT CLUB GIRLS 9 LELANDS IN AN Acrobatic Surprise VERA POST “Just a Girl’ ROGER WILLIAMS “Broadcasting” ATKINSON LUCINDA CO. in “Stepping Some” PURDY and FAIN n “I’m Falling for You” TAYLOR HOWARD & Them “Meet the Family” STANLEY and ATTREE Gymnastic Specialties ISHIKAWA BROS. Japan’s Noted Hand Equilibrists FABER and WALES in “Give My Regards to Carrie”’ YVONNE and VICTOR Aerial MEYERS and STERLING “Well, We’re Here” McDONALD TRIO Cyclists of Merit RENARD and WEST 1 “Left-Overs”’ THE LITTLEJOHNS “A Display of Jewels” NEWHOFF and PHELPS in “Just Songs” KAFKA-STANLEY & MAE International Aerial Stars BERTRAM and RAYMOND “Newly Married” JOE and ELSIE FARRELL “At the Barber’s”’ Miss Shuron De Vries Revue n “Dance Classics” DEKOS BROS. and CO. “Fun on Stilts” MISS MADELEINE RANDOLPH CODY QUINTETTE 1 “Musical Moments” Barbarina Lorenz and Pal “The Dog” SLOW -MOTION ATHLETES HERBERT BOLT TRIO COOK’s TOUR CARMEN & ROSE CARL & IRMA GRESS CORIDINES ANIMALS AMAC ACT BEAUTIFUL ART FRANKS CO. ADAMS & RASH ALLMAN & NALLY ANDERSON & GRAVES ANTHONY & ROGERS ALLAN SHAW ANTHONY ARTHUR & BROWN REVUE ADELE JASON REVUE ALLEN’S MINSTRELS BOBBY C — co. BUD CARLEI BARBARIN LORE NZ CO. CAPITOL REVUE DIAZ MONKS DARENA BEACH DANCE STUDIO DANCE CARNIVAL DE KOS BROTHERS DREIS & COLLINS EDMONDS & FANCHO EMILY DARRELL COOK, MORTIMER & HARVEY DUNN & WEST REVUE DIAMOND & WALLMAN FRANK MELINO CO, FOLLIS & LE ROY FOUR ROUNDERS GBORGIA HOWARD GRORGE LOVETT CO. GARDNER’S MANIACS GOSSLERK LUSBY REVUE GREAT JOHNSON GEORGE LLOYD & ©0. GORDON & GROFF HELEN ELY CO. HUNTER & PRERKCIVAL HAYDEN & TAYLOR HARRY COOPER KEVUE HARRY BREEN HERBERT FAYE & CO. HENRY REGAL & CO HARRY GERRARDS ENSEMBLE KEELER SISTEKS KERK & ENSIGN KNOWLES & HURST KUMA JAPS KLEO LAMBERTI LEACH LA QUINLAN TRIO LANG & HALEY LEWIS & AMES LAGAN SISTERS LUSTER BROTHERS LAWTON LITT LEJOHNS IQORET & BUKT MERKE’S BIRDS MONTY MULLEN & FRANCES MELVA SISTEKS QUAIL & KELLY KEDFORD & WALLACE ROSEMARY KYDER KAYMOND BARKET (Oo. KITZ BROTHERS ROYAL PAKIN TROUPE KUBY THKIO ROONEY TRIO KEVELATIONS RODERKA & MALEY SEKLANY TRKOLPI SID LEWIS SIX GELITNERS SIN; WALTONS SEVEN UKMANNS SANOY SHAW STANLEY CHAPMAN & LYONS SPENCER & WIELIAM BRONSON & GORDON cocua @ rT. b> ay ANS HAYNES & BECK MYSTIC MIKKOR KMILETTA SISTERS BERNanpS os EARL HAMPTON & CO HILTON & CARROLL MACK & COKKELL SMILETTA BROTHERS BLER AED & KELLER EMMA RAYMOND TRIO HOLLAND & DOEN MILLER & MACK : STORY & LER BAKE S TROUPE ED & LEE TRAYER HATHAWAY & CO MADELINE KANDOLPH SHEKKY & ADAMS BER = & GREY EDWARDS & LE ROY HORTON & SMALI MOKGAAN & LANE TAVIOR & BORKBY BERTRAND & RAYMOND pan & 8 OE MEWS INEZ & DE WYNN MAKES & ETHEL TOMMY LEVINE CO. BILLY Same FLYING HARPERS IRMA MILO TRIO pong RE VERDI & PENNELLE BON ELL CO. PO NTER & PEGGY JIM & BETTY PAGE MAUD ELLET CO. LE & oo JOHNS GIRLS oe rset TEROME & RYAN NORTON & HALEY VAN CELLO & MARY BROWN & LA HART FET ENDERSON CO. JOE MARKS & CO OMER HERBERT REVUE WILBUR SWEATMAN ORCH BILLY LA MONT FOUR FRED TITY TRIO JENSON & FULTON PICKAKOS ENTERTAINERS WILKENS & RILEY BURNS & WEST rLoees. RIO J. FRANCES HANEY REVUE POTTER & GAMBLE WELFOKD & NEWTON BURKES & SAWN FRANCES LONS JEWELL’S MANIKINS PHIL DAVIS WINNIE BALDWIN BILLY GREEN FOUR Sn PAMILY JOE & ELSIE PARRELL PAUL YOCAN REVUE WINIFRED & MILLS BERNET & CLARK FRITZ K NE JACKSON & TAYLOK POWEKS DUO . WEST & PRICE CAR nas. SAREE REVUB ceo & Finns KIRBY & DUVAL PUTNAM O'BRIEN TRIO WATERS & LEE ws . 4 ‘eo DOG

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350 ee GSE SS 3S PS RE Sa Ba Be Ba Pod FF FAG b. 4 VARIBTY Re et Se eS SS Se FAFA ATO AMERICA’S GREATEST GIRL BAND PARISIAN RED HEADS FORTY WEEKS IN THE EAST— MANY TWO-WEEK ENGAGEMENTS— MANY RETURN DATES PARISIAN RED HEADS SPELL FOX OFFICE Here are a few reports: | tainment and A DRAW, MOSQUE, NEWARK Ist Week. “PARISIAN RED HEADS A PHENO- MENAL Hit! Held over for another week.” —‘VARIETY.” FOX, PHILADELPHIA Ist Week. “PARISIAN RED HEADS Real Enter- Held over.” —‘'VARIETY.” MOSQUE, NEWARK 2nd Week. “RED HEADS proved their worth by con- tinuing to PACK them in.” —*VARIETY.” FOX, PHILADELPHIA 2nd Week. “Another picture that didn’t mean a great deal, but PARISIAN RED HEADS, held over, BETTER than first week, drawing $27,000.00,” —“*VARIETY.” PANTAGES, HAMILTON, ONT. “Parisian Red Heads best-liked girl band we EVER played.” —GEORGE STROUB, Mer. PANTAGES, TORONTO “Parisian Red Heads BIG HIT here.” —FRED M. SHAFFER, Mgr. CAPITOL, ATLANTA “Parisian Red Heads TWO Weeks’ En- gagement here. Very satisfactory from FINANCIAL as well as entertaining stand- point. INCREASED second week’s business FAR in excess of first week. Glad to play again near future.” —M. L. SEMON, Mgr. CENTURY, BALTIMORE “PARISIAN RED HEADS scored HEAY- ILY—$22,000.00.” —“VARIETY.” GRAND, PITTSBURGH “PARISIAN RED HEADS spelled BUSINESS.” —“VARIETY.” ORIENTAL, DETROIT “Success of Parisian Red Heads here has been PHENOMENAL. Will play ANY time on reasonable notice.” —J. G. WODETSKY, Man. Dir. PARISIAN RED HEADS AFTER 40 SUCCESSFUL WEEKS EAST, NOW INVADING THE WEST With FRED MEYER—ALHAMBRA THEATRE, MILWAUKEE—for Two Weeks To Our Wonderful Friends in the Show Business, a Most Happy Holiday Season THE PARISIAN RED HEADS BOBBY GRICE JUDY FAY CLAUDIA PECK RUTH HUTCHINS ALICE MILLER CECILLE NUTTER DAPHNE MALCOLM GRACE BROWN MARTHA TRIPPEER BETTY SCHOFIELD MITZI BUSH VALERIA EVERSON PEGGY PRICE MARIETTA GIFT CHARLES E. GREEN 28 W. North Street INDIANAPOLIS WILLIAM MORRIS AGENCY 1560 Broadway NEW YORK PARISIAN RED HEADS AMERICA’S GREATEST GIRL BAND .. “Sa - -- Sane Va iG ko Se —_— a t fe pa » t

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ee a er ee eee ee ee a oe or Se ahem de _Jenuary 6, 1028 VAR IETY Wik EE EEE I 4 ee tet ee BELLE BAKER } : THE SEASON’S GREETINGS TO ALL MY FRIENDS HERE, THERE AND EVERYWHERE GOD’S GIFT TO MR. and WiRS. MAURICE ABRAHAMS Born December 25, 1920 SRS RARE RE RARE RATA RE RATA TA PAK RE REET TE REE CECE CECE HERBERT ABRAHAMS Ce i SS et ag SEASON’S GREETINGS FROM RAYMOND L. SCHROCK GENERAL SUPERVISOR OF TIFFANY-STAHL PRODUCTIONS WEE LE EE Fe EE PEE LE EE EES GE DL OE GE GLC EGE GE GE OE OE CLO OE DE DEOL OL OS GL 2b 2b GE ERLE EEE EEE " SESE ASA A I EE OEE EEE LO hhh heh AMERICAN BALLERINA Assisted by CORNELIA NILES Interpretative and Character Dancing NOW IN CONCERT Management of DANIEL E. MAYER “NEW YORK AMERICAN” October 26, 1927 , DORIS NILES DELIGHTS IN CHARMING, AMBITIOUS DANCE RECITAL kk Ge By GRENA BENNETT i SAA we: | 3 | “The charming talents of Doris Niles delighted a large e at Carnegie Hall last nigh t wi en that popular American dancer appeared for he first time this year. Miss Niles tho izh young in year long since p: ed her peri od of apprenti ship and has arrived at that stage of her profe ion when she can be classed as a vistue so—a “fini hed artist In each dete iL “Her scope is broad. This was ably demonstrated last evening when the interpretations ranged from the severely classic to vivacious gypsy dances and from dainty poetic silhouettes to fervent dramatic versions in which romance and tragedy were eloquently designated, “The most ambitious number was ‘Saint Joan,’ presented in five colorful tableaux One might question the fidelity of depicting that warlike maid in the act of highstepping to rhytnn but as history d not state the contrary, Miss Niles’ version of Joan’s propensities was probably correct. “Notwithstanding this, the program was diverting and disclosed ar tty tive artist, a mn able in her a lineations h4 support a6 tr her equally gear emi Bn relia; a@ ce f t nda band of troub: i who played Spanish m usic in a ravishing fash ion. POCOTOCO — SPs es TE LEER AAA irik — Aare eS ZS: EE GSAS EAI I LERELELELER, > a a a SS : ie ee ee Sa ey on

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_ sr - -_—— POSOSOCOTOCOTO SESESESESE OSA SSS SEE TEESE ED

. * mS ir THE SEASON’S GREETINGS FROM WILLIE EUGENE HOWAR FEATURED WITH

GEORGE WHITE’S “SCANDALS”

% . SEASON’S GREETINGS FROM LONDON, ENGLAND

MORLEY “HIT THE DECK” London Hippodrome Indefinitely

As “LAVINIA” in America As “MAGNOLIA” in London JUST AS IS ; re . : . By. Waa Welln ah KSaad ae NORA LT, NE AS WR LS oP. ) pa ea en Sea ee GRADE DE SEPARA SE SESE ES BLOOD POLOLOLOVO SOLO COTOCOPE SOO SESE IBEIESE SS SESE SE SOSESE SI

_ ~~ ee eee eee eaneee eee Oe ee ee eee eee eee eee ee ee ee ee ee ee eee eee ee

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om Fete,

a ee Ae ee ee Se areas Sarit ease ae : sf Wednesday, January 4 1928 VARIETY — PATA ERA RA RA RA RS RATS RS PS RSE RA TSB RARE RA PA Ps PSPSPS RE PSPSPS PEPE S32 Se PHILIP GOODMAN > ~~ OSCAR 'MARY EATON “ SHAW IN THE newest hit.” : sical show in # —Times New York.” if —New Yorker ¥ “A grand show” : ~ or (Fe)

. PELLET | ‘

“The season’s Mi A te A Sa ak ak ee ee Sel tel et eT —

: —Herald Trib. a on ¥ Ny agiege mus see > i “Musical com- O 7 § a O - oA, list."—Mirror 4% iS edy at its best.” « \ es ins World The current 4 ‘ season’s flash.” J ‘ .. fy § “Will be playing aie ct S this time next “A great show! year.” Don’t miss it.” « —American WITH —Life 3 PERT KELTON : LOUIS JOHN BARTELS | SHAW and LEE . DANNY DARE

“5 O'CLOCK GIRL” AT $4400, SMASH; | 1, FROM “VARIETY’S” SHOWS IN NEW YORK AND COMMENT:

LEADING EVERY SHOW IN NEW YORK IN WEEKLY GROSSES’ Lick os og cl Cl ak eel eee eh AIEEE ERIE LEAR LEE LE LEE “Five O'Clock Girl,” 44th St. (1st “Five O'Clock Girl,” 44th Mt (84 “Five O’Clock Girl,” 44th B8t. (5th “Five O’Clock Girl,” 44th St. (7th 2 week) (M-1,490-$5.60). Presented week) (M-1,490-$6.60). Philip week) (M-1,490-$6.50). Ag — week) (M-1,490-$5.50). One of “\ by Philip Goodman; newest musi- Goodmen has a winner; selling call excellent, indicating season's tc eehiatn tendinn teks en a . cal opened Monday; authored by out since opening; gross rated stay; getting around $40.0 00 yuT musica ading Hs bs around " Bolton, Kalmar and Ruby; highly over $40,000. we ekly, biggest firures ever in $40,000 and over since arrival. ®) x rated out of town. this house. 6 i . ae . , 4 lod 2d , ; XX ie Pee ol 60), Haaity on “Five O'Clock Giri,” 44th Bt (4th “Five O'Clock Girl,” 44th St. (6th “Five O'Clock Girl,” 44th St. (5 “4 NS pase A show of last week’s en- week) (M-1,490-$5.50). One of the week) (M-1,490-$5.50). No addi- week) (M-1,490-$5.50). With th 4 : tr ree so phan: week’s gross figured mewest successes; among the tional shows, but three $6.60 per- performances topped at $6 ans “4 ; % at $44,000, over capacity. $6.60 leading musicals; virtual capacity formances because of holidays extra matinee, Phil Good it charged ‘Diademai us day evening ali performances with gross over with gross rated over $42 000, pista 0-5 ; a t ; pgoale tp $6.00 Saturday nearly equal] to almost any figure uccess registered biggs 1 is — a’ a7 i bp 4 ;

a

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Sr Ee a ee ” WE... Ca Miediteeumane 3 Wee oe “ ——— ne —— o » ean x ~ oe a rie . a a bab. oy ae ‘ par é. ; A eos A | , el - a * as - eu Y 4 R ee ti ang oni ee ~~ ies a6 PBB I Rk REP a. ~ — See ed mm ~ \ i a“ be! df 1) VARIETY Holiday Greetings and Announcing JOHNNY HAMP’S Season of 1928 JOHNNY HAMP’S Kentucky Serenaders Exclusive Victor Record Artists CONGRESS HOTEL CHICAGO, ILL. BERNIE CUMMINS Brunswick Recording Artists BILTMORE HOTEL NEW YORK CITY JOHNNY STROUSE BELLVIEW BILTMORE BELLAIRE, FLORIDA LOUIS HOOD BELLVIEW COUNTRY CLUB BELLAIRE, FLORIDA AMBASSADOR HOTEL ATLANTIC CITY WESTCHESTER BILTMORE RYE, N. Y. All Under Personal Direction JOHNNY HAMP | TTT wit at and Most Temple TTT aL TTT wait t CHICAGO PO ee Nt wenn = _ssnanscaenssenrvneaenn iene : AT Y | } | | | ++ Thy Tenor with the gg Diction’ Stage Band Director Master of Ceremonies Chicago’s Newest Picturesque Cinema AVALON A National Playhouse 79th and Stony island FROM THE } Only American born vaude-circus agent in Europe Formerly Booking Manager Ed. Mozart Clreult, Independent Booking Ageny, J. J. Quigley, W. S. Cleveland and the late Frank Bohm : NOW SOLE BOOKING AGENT ROYAL AGRICULTURAL HALL, LONDON THE OLYMPIA, LIVERPOOL HIPPODROME, GREAT YARMOUTH LE TT TUPELO CHAE ceo GUY LOMBARDO And His ROYAL CANADIANS GRANADA CAFE, CHICAGO Also Booking Chief Attractions for CHICAGO THE TOWER, BLACKPOOL “« . _—" Now at 33, Queensborough Terrace, Hyde Park, London, W.2 Steaks That Do Not Require Steel Knives FRIENDS IN THE PROFESSION BILL BOTHAM wishes to extend to you his sincere wishes for a New Year of real happiness and pros- perity, and wishes to acknowledge the wonderful support given him in 1927, PETE’S STEAKS 161 N. Dearborn Street PE: STOSe TEC-ART STUDIOS : F. A. LUMLEY’S CARNIVAL, EDINBURGH ® ® A DEPARTMENT DOUBLE EXPOSED CARD SHOTS 3 ENHANCING PRODUCTION VALUE AT A GREAT SAVING 4); MAKING THE IMPOSSIBLE POSSIBLE \ NO FURTHER NEED OF BUILDING HUGE SETS WHEN THE wz SAME RESULTS CAN BE OBTAINED FROM A PAINTING SOMETHING EVERY PRODUCER SHOULD BECOME FAMILIAR WITH INVESTIGATE NOW CINEMA ART SERVICE LEWIS W. PHYSIOC POSSE EES GEE EE GE CE GE GE CL GS i FOR GR 4141 HOLLYWOOD GREETINGS ABE REYNOLDS PLAYING KEITH-ALBEE VAUDEVILLE EXIE Butler a» Santo and Their ENTERTAINERS Touring Keith-Orpheum Circuit SEASON’S GREETINGS JACK DON “..--and, Boy, Howdy!” TEL | SEASON’S GREETINGS LIBBY 4ND STONE HARMONICA KINGS with Exie—BUTLER and SANTO—Don ENTERTAINERS 38) Tune in on Happiness, “That Musical Pal o’ Mine” 5 Station H-O-H-N-E-R SAM SEASON’S GREETINGS LES KLICKS Direction: FRED DeBONDY, JACK LEWIS OFFICE rie PSE gee tb cet ED oi eo a eet

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Wednesday, Jenuaty 4, 1058 VARIETY

-— <a — — ——$$$—$$__ —

( ( ( ( { ( ( {

THANK YOU Sy In extending the season’s greetings, we wish to sincerely thank all of

our Professional Friends, Artists, Managers, Producers and others for the patronage you have favoured us with during the year. We wish to assure you that during the yar 1928\~, and always \ we will endeavor to conduct our business in such a manner that you will receive merchandise of the

highest standard of style and quality ~ and courteous, intelligent service, Mat Lewis Inc. rUBSES F CISTS € BSOSEERT ag Cire a te New Sr. Regis Shop Fifth Avenue at 55tb St. 409 Madison Avenue Waldorf-Astoria 1580 Broadway at Forty-eighth St. 34th St. and Fifth Ave. (With Men's Dept.)

AMERICA’S MOST aeiccthacthced strata scott ACCESSORY SHOP TTT ml it tl imlt-tt-l inl t-1t-li-ft-ti-fi-lt-++-tt-fee_ te) BSED PS 9 OP OPO ES 0S 0S POE S ED 9DEDES OBES PSPDPO HS MOD POHOPCO?P BEDE OESEDEPD PO EDED 0699S PDPDEDE DES 9S OO PNG HO FO POPS PO*O*O

Greetings JACK OSTERMAN “Artists and Models” Winter Garden, New York

Best Wishes JACK OSTERMAN Master of Ceremonies Winter Garden, New York Every Sunday Night

Good Luck JACK OSTERMAN Theatrical Photography OSTERMAN-ROBERTS 135 W. 44th Street Opposite Lamb’s Club NEW YORK

“Jackie's Activilies of 1928” Happy New Year JACK OSTERMAN Casa Lopez, New York

NOW

“3 . iii = -_- ot a OS ot ER ne 8, tn oe ee Dk ae peed © eG © ae ’ aA De Bae A BES SS SSS SE SESE SE SE SOSA FB FOSS FO SOFOFOFOFOFOFOPO FO FO FO Da Cia Cs Le CS ES Fe Fa Pe eS ~ Geese mR mar rememr

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156 VARIETY | & x a ¥ xt x x x Re ¢ x xf | x = eo %, Greetings ater OO Ree eoe - SO ce Re a RTT ar cee TWN Oe 2s — PHILIP SPITALNY Takes This Opportunity to Wish All His Friends "A HAPPY NEW YEAR Phil Spitalny and His Victor Recording Orchestra Now Being HELD OVER at the LAFAYETTE THEATRE, BUFFALO e Wednesday, senuiry % 4, a: SOs Set SEE RE RE RE Be TAPER PARA | SRR RRR RE REE EE RE EE RE ETE EE EEE EEE EE EER De DE DE GE OE OE SETS EE DED DL OL OLDE OS Dk Gk aE OS EERE SEE EEE ee Season's Greetings br hed — . - wee es Reakeath JOHN M. STAHL + ey . a ~ oo) EU ae " +o ae ~v ~~ ete heed eer _ ag ee .o. - _— ~- FD, Me | REEL Bb EE EE ELE CEE OE EEE LE CEE DEGE GE OLDE GE GEG. CCE GE CE GEE CELE LEE EE CECE LEE n 2

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Wednesday, yummy 4, 1928 _V: ‘*21ET Y 157 —— ———_——— —os — — ee ~~ — ON es ee or ——— ae. b.) b b \ b\: a b \ ih \ ‘\ ‘\ Happy New Year ‘\ to everybody in the moving picture business and especially to the 8,875 exhibitors who \ have bought our First National Pictures for the last three vears and made them happy and | prosperous for us. » ry b) J ohnn y Hines bY b \ has made a type of picture for which Harriet Underhill of the New York “Tribune™ Ky coined the name “‘mellow-comedy” some years ago when reviewing “BURN "EM UP « BARNES” or “CONDUCTOR 1492,” and this formula has survived every cycle of >) entertainment and always pleased both exhibitors and public, and as the strictly farcical \ tupe of comedy and even comedy-drama recedes in popularity, the mellow-comedy, or , the old, fast-moving, hair-raising thriller type of comedy still furnishes outstanding box \ office drawing power in all theatres. ,\ The first of our series of laughing and thrilling romances will be the Owen Davis play \ adapted from the Al Woods’ version of “Chinatown Charlie” It will not mark any particular innovation in Hines’ pictures, except that it is a departure b from the more recent pure comedy type of pictures we madz up to “THE BROWN DERBY,” and which were very successful while the country demanded comedy of the “team” and farce variety. In “WHITE PANTS WILLIE” and “HOME MADE” we have worked back to the original Hines type and formula, and find the public receptive and our business bigger and better. We hope your business will increase as much in volume as ours has, and in quality as well, although we have never had any complaints on that score. » We particularly thank the big first run exhibitors who have had foresight enough to keep playing and plugging our pictures, and have built us up in their localities to a point 4 where they had one more steady drawing card that could be depended upon to draw whenever a picture is firished. Im fact, we extend the Compliments of the Season and Best Wishes 4 To Everybody in the Motion Picture Business B. & H. ENTERPRISES INCORPORATED Cc. C. BURR, Managing Director Studio, MELROSE and BRONSON AVES., HOLLYWOOD, CAL, New York Office, 135 WEST 44th ST.. NEW YORK, N. Y. ELE LE EE LE IE GLEE Ds BE GE Ge OS OE DE GOS OE DLE OE DE GEE OE OEE OE GEE OE SE LE CS CL OE Fk LE PE PEE FE ASS PS RE Ze E Seer —

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ee EEN ARE ERTS RR EIR ey * i ene PIL NS TEE ees EET II tanita _—_y woe ewer cow ~ oe nd rere die bo een en _ - a ee ee ecncriernapenestis eae. - Pee * et ~ - - —— zm 4 e fore Sa laaateal . a , . no . VaRinee Weaneetay, January 4, 1028 —— —— COE PARRA RE RARE RARE RARE ARAB A FOLO FE bo h 2 WEEKS—SENATE THEATRE, CHICAGO 3 WEEKS—TIVOLI THEATRE, CHICAGO SEASON'S GREETINGS | | | BOB LASALLE Enjoying a Most Successful Season for Publix-Balaban & Katz Circuit 1 WEEK—CHICAGO THEATRE, CHICAGO 2 WEEKS—NORSHORE THEATRE, CHICAGO 3 WEEKS—UPTOWN THEATRE, CHICAGO 3 WEEKS—HARDING THEATRE, CHICAGO 5 WEEKS WITH PAUL ASH, ORIENTAL THEATRE, CHICAGO NOW SECOND CONSECUTIVE WEEK AT HARDING THEATRE, CHICAGO Direction, WILLIAM MORRIS —— OFFICE (In Association with Hamilton MacFadden) Will Present a New Play by TOM CUSHING “‘LA GRINGO” with CLAUDETTE COLBERT RICHARD BENNETT “THE BARKER” Now playing the Broad St. Theatre, Philadelphia. Will play a limited engagement in New York beginning April 9, after a year on the road WILL ROGERS Opens Season January 25 Management CHARLES L. WAGNER 511 Fifth Ave., New York City SEASON’S GREETINGS TO PARIETY FROM EDDIE GRIBBON aos sa uu eae pa me eee rEnerememcereremet | EAE PA IE PS a EEE EEE ieekeaaieeieaiieaiiaideai intima eas” | ' TANGLING THE TANGO: PATCHING THE APACHE : THAT DIZZY DOUBLE “4 {BACK AT THE CAPITOL, NEW YORK ’ THELMA ‘ {LYNDON AND FARMAN \ ORIGINAL TRAVESTY DANCERS \ Sime says: “The girl seems but a piece of rubber and the tall \ fellow handles all for continuous laughs. Should stop any show.”’ b Direction WM. MORRIS AGENCY, 1560 Broadway, New York BEST OF THE SEASON | PAUL KOHNER SUPERVISOR FOR UNIVERSAL NOW IN PRODUCTION “THE MAN WHO LAUGHS” A PAUL LENI PRODUCTION aa ee ela ppg SEASON’S GREETINGS : DANIEL MANDELL | FILM EDITOR siahiaidlastapintninamal WAR ARIE PR ER EEL EE 2 SEASON’S GREETINGS WALLACE FOX DIRECTOR re ° ‘ d Q . ce Ye. cde GRESAC UNITED ARTISTS -

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mcr Jamury 4, , 1928 VA R I iz T ‘7 159

| Si RETA IO SATA RAPA PB PATA RE TERS PETS RPS FE PSE PD PONG OSE FE SE PE REISE IS PE IEE IEE SAO \% Si | ‘ | Y : \ CREATOR of the new DANCE “BALTIMORE” PRODUCER OF \ “SILVER SLIPPER REVUE,” New York City } ¥ (World’s Most Famous Night Club) ‘\ one “COTTON CLUB REVUE,” New York City \ “PICCADILLY REVELS,” Philadelphia, Pa. \ “GOLDEN INN REVELS,” Atlantic City, N. J. \

. ‘ » ‘ bs ‘ h Y as CHAMBERLINoHIMES 9 FARS

THREE

“TEGFELD 45 FOLLIES” ||— FRANCES % \ : UPTON > COMEDIENNE EXTEND < Direction L..ONS & LYONS THEIR

‘ NEW YEAR'S PATSY. LORAYNE, BOBBY i | ‘ GREETINGS - ‘ fe N D R EW ~*~ *+ + Glorifying the American Song ‘|: #TOMBES 4 * wr ia VICTOR RECORD ARTISTS . | ‘ f /} HARRY McNAUGHTON | ‘ Direction LOUIS SHURR

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FRANKLYN BAUR | ‘RENE DELROY INGENUE PRIMA DONNA

EXCLUSIVE VICTOR ARTIST Direction LOUIS SHURR

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: Sapa PERERA RE DERE RE RRR TETE TES ‘ t KITTY 0’ CONNOR § THE GIRL BARITONE FEATURED WITH © GENE BUCK’S “TAKE THE AIR” WALDORF THEATRE, NEW YORK Columbia Recording Artiste

TINSEL | METAL CLOTH FOR DROPS 36 in. wide at 75c a yd. and up A full line of gold and allve- bro adea, ‘metal cloths, gold and silver trimmings rhinestonea, epangies, a hose, oe , otc., for stage omen. "bameite @ upom request. J.J, Wyle & Bros, Inc. (Successors to Slogman & Weil) 18-20 East 27th Street

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NEW YORK

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THE SEASONS GREETINGS RITZ QUARTETTE ARTHUR HERBERT NEIL EVANS ALEX MASON JESSE PHILLIPS with Aaron Freedley’s “FUNNY FACE” Direction—HERMAN PALEY

SEASON’S GREETINGS

SEASON’S GREETINGS “AL WILLIAMS ASSOCIATE ORGANIST MISSOURI THEATRE

ST. LOUIS, MO.

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ee ee _ VARIETY ——$— 9 SARIS TATE RAIS PPPS AA PPS PS ARES ISPS ISP PERE SESE SESE : STARRING IN “RAIN OR SHINE Direction A. L. JONES & MORRIS GREEN AAS Fess AE PELECE SEES | Ree ees os, REE ELE EEE EEE EEE GED EERE EEE REE EAE A AAA ALARA ‘NEN PSPSPS PARA PARA RARE PSPSPS PAPE PAPA RAPA IA PS PAE PS PE PETS PAPE IIE EIEIO IATA FE FD IO Season’s Greetings to All Our Friends SELLS-FLOTO CIRCUS HAGENBECK-WALLACE CIRCUS JOHN ROBINSON CIRCUS RPE ELO LE LAR I || SAR 1 AR Rae AND HIS BOYS : SHERIDAN THEATRE, CHICAGO hs 95 APPA ERE AEP ESP I BI Pia Rt Di Hi Fi it ec cst i el Le GAG

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163 VARIBTY ee Stay 4 00s — —$ —_ ———— = 32 — 3 — PASE PEPE SERED PAPA IE IPEDS EIDE ———— 3rd Consecutive Year JUST GETTING ALONG 4 Consecutive Years with PUBLIX and 2 FANCHON and years to go MARCO, California JOHNNY PERKINS “The Master of Master of Ceremonies” WISHES EVERYBODY A HAPPY NEW YEAR 30 Weeks with 2 Years Coffee Dan’s PAUL ASH Cafe, San Francisco, . at with Johnny Davis, : Oriental, Chicago Direction MAX TURNER, WILLIAM MORRIS OFFICE My Pal THE SEASON’S GREETINGS MARY ano WIARGARET GIBB AMERICA’S ONLY NATIVE BORN JOINED TOGETHER “SIAMESE” TWINS W. HERBERT ADAMS, ATTORNEY, 5 E. 44th ST... NEW YORK CITY ‘ “CHUCK” CALLAHAN PIE SPE SE EE EEE EE EE EE iE PEE SE EE EES PEEL EE OS OE OE OE OE EE OEE : HOLIDAY GREETINGS FROM ¢§ GENE MORGAN and Associate ’ MASTER OF CEREMONIES FOR FANCHON and MARCO Y AND FEATURED IN HAL ROACH COMEDIES .) Direction of FRED QUIOL RAARA RATA RA RATS LPO FOE PRO Fe ee ee ee ee a eS SE ARID OTA ae OS ee en en es ee ee eS yi oe PETE HOLIDAY GREETINGS FROM GEORGE LEJRA ana SPENCER To ALEXANDER PANTAGES, CARL WALKER, BOB BURNS, EDDIE MILNE and EVERYBODY! SEASON'S GREETINGS _WEST, LAKE and HANE DISPENSERS OF HiLARITY PLAYING THE DE LUXE PICTURE THEATRES ee ee a ne nant ~~, ae Week Jan. 8—NORSHORH, Chicago. Week Jan, 16—HARDING, Chleage. "Week Jan. 23—SENATE,Chicago. Thanks to MAX TURNER -WM. MORRIS OFFICE. Personal Bep.. SCHALLMAN BROS ‘ = od aa, one « - ew - _ ~ 7 :— = = — THE SEASON’S BEST GREETINGS FROM “JELLYBEAN” JOHNSON «cer Read what that critical critic, Harrison Carroll, says in the Los Angeles “Herald,” Nov. 4, 1927: « in addition to the feature picture Fanchon and Marco offer 2 colored dancer, ‘Se ltybean’ Johneon, who STEALS THE SHOW FROM THE HEADLINERS OF THE ACT” SEINE

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= = Oo Wednesday, January 4, 1928 VARIETY A) -~ = res t RNa er a rSonson’s Grech Bas, | ‘ MARCUS LOEW BOOKING AGENCY Loew Building Annex, 160 West 46th St., New York City. Bryant 9850 J. H. LUBIN MARVIN H. SCHENCK General Manager Booking Manager Chicago Office: 600 Woods Theatre Building JOHNNY JONES in Charge innate © os. SI Ae? A

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; 164 VARIETY | | ii ET ip | r\ ' A\( 7¢h AVENUE & 50%”? STREET | =f Under the personal direction of §.L.ROTHAFEL ( ROXY) BE | =e it | he worlds greatest theatre [ fh / A) presenting p ams thatare i | the sensation of New YorR....... |F rig) ie Symphony | ; Ee Or1chestia Of 110.. IE | se THE GREATEST OF THEATRE ORCHESTRAS AE / Al _ROXY CHORUS BALLET CORPS } ¥ at XY IG ROXYETTES el an el Soloists KS ih. (A\_ BEATRICE BELKIN GLADYS RICE f a iil Ai \\ DOUGLAS STANBURY = HAROLDVANDUZEE /(7//R 4 Bi red S,MARIE GAMBARELLI = JEANNE MIGNOLET 4gXl[FeS ) 4 iy al eff ——

4), 7 KN, Tene: <a TT ee,

ve x t oe = ey — | =, <7 g [—} Gaim.

Russell Janney’s Attractions AT THE CASINO THEATRE, NEW YORK (In Association with Olga Treskoff) “THE WHITE EAGLE” The Musical “Squaw Man” with ALLAN PRIOR and Cast of 175 Music by RUDOLF FRIML Playing the Winter Garden Theatre, London “THE VAGABOND KING” Music by RUDOLF FRIML On Tour in America “THE VAGABOND KIN@’ with CAROLYN THOMSON IN PREPARATION Two New Musical Plays Book and Lyrics of all productions by W. H. POST and BRIAN HOOKER All Productions staged by RICHARD BOLESLAVSKY i London Office N a ben? Winter Garden Theatre Drury Lane

Wednesday, January 4, 1928 aml 3 Marcus Loew BOOKING AGENCY General &xecutive Offices LOEW BUILDING ANNE X| 160 WEST 46"ST-: BRYANT: 9850~NEW YORK CITY J. H. LUBIN GENERAL MANAGER MARVIN H. SCHENCK BOOKING MANAGER CHICAGO OFFICE 600 WOODS THEATRE B’LD’G JOHNNY JONES IN CHARGE

BACK HOME AGAIN

— a - Send ‘Cu Dates! We have no film peddlers—we do alli business by mail—these 3 Big Sensations are booked on past performances

CREATOR OF STAGE-BAND ENTERAINMENT Known as the “PAUL ASH POLICY”

BALABAN & KATZ ORIENTAL THEATRE, CHICAGO WATCH MY SMOKE! “EXCLUSIVELY COLUMBIA

RECORDING ARTIST” We control the rights to the entire world for these 3 pictures—-consult ué for dates anywhere

Paul Ash Presentation Staged by LOUIS McDERMOTT

Percentage Bookings only considered There Is No Substitute fo Paul aa feelers SAMUEL CUMMINS PUBLIC WELFARE PICTURES CORP.

Eyebrows Darkened Permanently 723 Seventh Ave. Eyebro should bt dark ] 0 hai tec b gg Ay FB aa NEW YORK CITY |B ficient until new hair grows. Unaffected by | water, creams, perspiration; harmless, per- - }§ manent. Order black or brown; box $1.10, a ‘ | postpaid | | C. Spiro, 26 West 38th St, New York /NEW HOTEL ANNAPOLIS . :

» f_ aan ~ Washington, D. G tare Hes

MARCO IDEAS Will Be Bigger and Better During 1928 Announces THE “HAPPINESS GIRLS” A Dozen Dazzling Date-Breakers Just Signed for Tour The Season's Real Novelty West Coast Theatres. Inc. CLIFF (UKE IKE) EDWARDS

THE STANDARD ENGRAVING CO. Inc “ “223 West 39 $t NEW YORK.

Single, $17.50 | SCENERY singe, $17.89 DYE SCENERY, VELOUR CURTAINS | Bil trace a in the Heart of R. WESTCOTT KING STUDIOS BERaRAE Pheatre an a 2215 W. Van Buren St.. Chicago 11-12 and H Sts —,

BREAKING RECORDS FOR WEST COAST THEATRES MAKING RECORDS FOR VICTOR HORACE HEIDT AND HIS VICTOR RECORDING ORCHESTRA SREATEST MUSICAL ORGANIZATION EVER DEVELOPED ON THE PACIFIC COAST

www were eter or een eS MAX (action) LANDAU CAN ALWAYS USE GOOD ACTS WOODS THEATRE BLDG. CHICAGO MARCUS GLASER, Associate

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sted January 4, 1928 yore tea TEPe Pe PERE RE Ra Pa Raa RARE SORES PERE IE IS RR CEE EEE ELE LE LEE EGE SL VARIETY GREETINGS HOBART HENLEY PRODUCTIONS First Production Adolphe Menjou in “The Super of the Gaiety” For Paramount v FEATURED DANCERS with FRANK CAMBRIA’S PUBLIX UNIT “TREASURE SHIP” CARLO and NORMA DANCERS UNIQUE THIS WEEK (DEC. 31), PARAMOUNT, NEW YORK (Thanks to Mr. FRANK CAMBRIA and Mr. SENIA GLUCK) Direction SAMUELS MUSICAL BUREAU koe eee se SESESE REE CHLOE BZ LOLOL OL DLO GL GLI OL GL OL GL GL GL GL OL GL OLD: B 2E9 xe SEASON’S GREETINGS Py N& WERNER JANSSEN : ‘ X% ASSOCIATE CONDUCTOR AND STAFF COMPOSER ‘ ¥ ROXY, NEW YORK 3 EE SRE RE RE HE LE ELE EERE EEE SEASON’S GREETINGS DARLING TWINS Direction MAX TURNER, WILLIAM MORRIS OFFICE

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wae Sins 4 nel ae Ce ai gaan eee es. Scena es ee a. eee! nh ee II a RR RR _— ee Went BREA Be Sn RED pe pane See ay ~ —— 3 SEPARA SERA RESASASE FE PEPE PREECE TEL ELLE ‘gsane SASSER SEIS SEPA SEITE Tae | : WILLIE CREAGER | SEASON’S GREETINGS : H. LEOPOLD SPITALNY BALABAN & KATZ Chicago Theatre, Chicago, Il. VARIETY Wenner, _Jamuary 4, 1928 PECECE FE LEE tee | VICTOR MOORE It’s Almost Too Good to Be True. Now in My Third Annual Success on Deediieky “Easy Come, Easy Go” “Oh Kay!” “Funny Face” Why I’m Happy! Alex A. Arons and Vinton Freedley great fellows to work for Louis Shurr, who got me the job, is a real agent Alvin Theatre wonderful place to work at Fred and Adele Astaire lovely stars to be with William Kent and Earl Hampton bully guys to troupe with Funny Face” outfit a big happy family A happy family of my own at home, Baldwin, Long Island. The same wife of 24 years---A real pal Three healthy children--- Three Moore pals So ” shouldn’t | be happy? The whole “ VICTOR MOORE Bes Sa Sa SS Se Sa Se ee ee AND HIS ORCHESTRA Permanent Band Feature Presentation LOEW’S MELBA, BROOKLYN, N. Y. ; (Opening January 16) POPOL OLELOCOPOSE LF Direction MANDEL & ROSE REE LEE EEA AAO 5 | RPA PA PASSES, 7 in Teen! Season Before Last, 34 Weeks Last Season, 36 Weeks This Season, From Now On , % .and I wish everybody the same. 5S eee TS aS SS oa et caren rece teebe LEE CELEEEEEM PELE LESS ALES : MONROE SILVER En Tour With the 8 Victor Artists Author of Monroe Silver’s “COHEN ON THE TELEPHONE” Published by IRVING BERLIN, Inc. is | HERB’ WILLIAMS “BIG TIME” SEASON’S GREETINGS KX | Reminiscences This Week Fourteen Years Ago KEITH’S, LOUISVILLE (Fall Week — Two-a-Day) ARE BROTHERS KIL McKINLEY ELLY and POLLACK LLEN DINEHART and Co. JOE and LEW COOPER “SERGEANT BAGBY” “HERB” WILLIAMS and WOLFUS HERBERT GERMAINE TRIO dD. N K A : AL Markell AND SISUe we woreces This Week Eight Years Ago ROYAL, NEW YORK (Fall Week — Two-a-Day ) RAMSDELL SISTERS and DEYO BARTRAM and SAXTON EDDIE HERRON and Co. GRACE NELSON “HERB” WILLIAMS and WOLFUS CORA YOUNGBLOOD CORSON WM. DEMARESTa ndC OLLETTE LEON ERROL and Co, PVPS PPPS Ye GAY + Faun This Week Six Years Ago KEITH’S, SYRACUSE (Full Week — Two-a-Day) 1, WILLIE ROLLS SHELDON and EARLE KAYMOND BOND and Co. i. HEGEDUE SISTERS WAITE HOYT and TOMMY om GORDON i} 6& “HERB” WILLIAMS and WOLFUS 7. HORACE GOLDIN (Sawing a Woman in Half) | RAPA RO PETES LE LE EEE LE EAE AE ELE AEA weet “A UREA SEES ERS. a ALEX PANTAGES He Knows Why I Am Being Featured on His Circuit «RUBE WOLF | on VERY BEST WISHES J. WALTER DAVIDSON MUSICAL CONDUCTOR BALABAN and KATZ THEATRES CHICAGO . A Natural Vocal . and Dance Hit 132 W. 48th St. SEASON’S GREETINGS O & W RESTAURANT M. WACHTEL 148 W. 4th St. NEW YORK 4, Making Good on Its Merits “RAIN” 1734 B’way % HENRY F'iInK SENSATIONAL COMEDY SINGLE b b WATCH THESE GROW MIRTH OF A NATION Going Back to 4 I heey -aigege- San Francisco, Jan. 14, Through Petition of {| Sen Francisco “Wolf” Fans

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§il¢ > 1 Wednesday, January 4, 1928 167 A. H. WOODS wishes you A Happy Nei Uear and as happy an outcome of all your troubles as “THE TRIAL OF MARY DUGAN”

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168 VARIETY Wednestay, jmemy 4, 192

RAT zZ SEPERATE SESERASEE ‘The Season’s Success Novelty the Globe Theatre will run. a | to him. ap dion 3 Pe perhaps ancient) via

POPOTOPOTOE SR ee eh REE EEE “HELEN of TROY”---A HIT s ‘The Private Life of Helen of Troy.’ and not even the saddest of the newspaper critics has ventured to predict how long it “A drama domestica with the bickerings, frets and boredom of the wedded state taken out of modern life is a great trick if you do it and CAREY WILSON has done it.’ It opened uproariously at

“CAREY WILSON, who wrote and produced ‘Helen’ from John Erskine’s popular book, has given the screen its first real satire and he has done his work so well that the world at large should be profoundly grateful (and ARTHUR JAMES. Bs pr i Wk RA PARA BABA PS PAPA PADS PS RATS BS PS PD 9 TS BE OE AE EE LE EE EEE IE LE LEI LE LE LE LEI ELEN

| [THEATRE GUILD PRODUCTIONS SEASON 1927-1928 Plays to Be Presented in New York if “THE DOCTOR’S DILEMMA,” by Bernard Shaw ie “MARCO MILLIONS,” by Eugene O’Neill |

Sana ae

PA a a 6 —— Ss

“PORGY,” by Dorothy and DuBose Heyward “STRANGT INTERLUDE,” by Eugene O’Neill

a aa “FAUST,” by Goethe | R | Additional Plays to Be Announced | On Tour | THE THEATRE GUILD ) REPERTORY COMPANY With GEORGE GAUL and FLORENCE ELDRIDGE “ARMS AND THE MAN, ” by Bernard Shaw | “THE SILVER CORD,” by Sidney Howard |

Fin RAs priate Representing Artists for ENGAGEMENTS Bryant 0554 Suite 913

“MR. PIM PASSES BY,” by A. A. Milne Picture Theatres, Legitimate and Ail Independent Time CAN BOOK YOU FOR IMMEDIATE |. R: SAMUELS, Inc.| FORMERLY WITH KEITH-ALBEE CIRCUIT I. R.. SAMUELS Bookings in Vaudeville, EVERYWHERE 1560 B’way, New York

> notes = _

ae . E. ee - av IE ~ wae ys = visit our new store |

*TAY LOR’S SPECL AL | w ARDROBE TRUNK, $50. QUALITY—SERVICE |— Under Same Management Since 1859 28 E. Randolph St., CHMAGO STORE £

~ HELENE HUGHES ROY SMOOT Featured with FARO HON and MARCO TEE TASH STUDIOS The day of the unadorned stage in Picture Houses has passed THE LOOMIS TWINS

RENOWNED FOR ITS FRENCH CUISINE AND PASTRY PIROLLE’S 145 WEST 45th ST., NEW YORK Pirolle’s Special Table D’hote Dinner, $1.25 Sunday—Noon to 9 P. H. J. KUCKUCK, Gen. Mgr. 1818-1838 Amsterdam Avenue, New York («Bradhurst 4907) For designs and prices of

za LUNCHEONS SPECIAL DISHES DAILY POPULAR PRICES SETTINGS 5 Se RELIST ONS | Exclusive Brunswick Artist | CASA LOPEZ | B’way & 50th St., New York City a I "GEORGE McMURPHEY | and his KOLLEGE KNIGHTS (Reg.) McDonald Theatre University of Oregon—Eugene

Campa Shoppe

|| BARNEY RAPP |

AND HIS Palm Beach Orchestra } Permanent Address /RAPP’S ARC ADIA, New Mieven. Conn. | Conn Instruments Dir. MAX HART | CHARLEY STRAIGHT | AND HIS Brunswick Recording Orchestra Back Home Again RENDEZVOUS CAFE Chicago

FROM DETROIT (JEAN GOLDKETTE| Orchestras VICTOR RECORDS Woodward and Eliot DETROIT

Office: | MAL HALLETT | AND HIS ORCHESTRA NOW EN TOUR THROUGH PENNSYLVANIA

lament Address CHARL = "SHRIBM AN, “Manager, SALEM, MASS | GEORGE OLSEN EN | AND HIS MUSIC FEATURED IN “GOOD NEWS” CHANIN’S 46TH STREET THEATRE NEW YORK CITY Nightly at CLUB RICHMAN 137 West 56th Street, New York City

| B.A. ROLFE |

AND HIS PALAIS D’OR ORCHESTRA WEAF ARTISTS Edison Records ROLFE ORCHESTRAS, Inc. 1600 Broadway, New York City Phone Penn, 5580 PAUL WHITEMAN| And HIS GREATER ORCHESTRA

Dance Tour

Direction WILLIAM MORRIS

& € x *

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a Qos a os oe | 4 - =z > > . FLAS LAE Lg OE OOD ERR Best Wishes HENRY B, MURTAGH Feaiured Organist BALABAN & KATZ CHICAGO THEATRE CHICAGO RPAPAPS ELE TER Snappy Titles That Tell The Story by Viola Brothes Shore and Harry Braxton ££4555 igo? = i " to fal : s In Oexas its 4 3. BakerHotels © . T.B. BAKER, PRES. S| ; THE BAKER | = DALLAS ies The Same To You- and Many of Them! UL \ay Le W Peete i Wednesday, January 4, 1928 ¢ I. ¢ THE TEXAS THE AUSTIN 2) | 1} THE MENGER THE GUNTER 3) ‘ .. al! THE CENTER OF EACH CITY et T heatrical bel Bel Rates Bl is] PiAnimiamAmiAmAm man Wi Mmm ie | AMUSEMENTS Minneapolis Regienal, December 27, 1927 ee Reprinted from ae @6 tet VARIETY COLUMBIA PICTURES Go Over Great with Movie Audiences Everywhere— Exhibitors’ Reports from All Over the Country Fur- nish the Undeniable Proof | Batting Averages reports—look ’em over. place, three points behind an .800 label. REATER totals with one apiece. too. 771. Why Keep On Cheating Your Box-Office When You Can Play Pictures That Pay! ASK YOUR COLUMBIA EXCHANGE ABOUT THESE: Jack Hout in THE WARNING A GEORGE B. SEITZ PRODUCTION Grane Winpsorn in THE OPENING NIGHT DIRECTED BY EDWARD H. GRIFFITH COMING: A POPULAR STAR IN A HEW ROLE! ESTELLE TAYLOR IN LADY RAFFLES 75; Fox (13), .850; HARRY LOSE. MISS MAE MURRAY’S DANCING PARTNER NOW ON PUBLIX TOUR WEEK DEC. 31, SHEA’S, BUFFALO, N. Y. CSAS SESSA EES / SESE REESE i in iN nN Ds nN iN i i i tS rN iN is K a | PREPRESS SSSA SSIS BSOPOSOFAFO FOTO Me RPAIAIAICSAIAIAOIOFAIOSAF¢A SEASON’S GREETINGS FROM JOSEPH P.. 220 West 42nd Street NEW YORK a i AS Columbia maintains its hold on first place by virtue of reports without a bad one 3 among them, giving them an .875 rating, which is fair for that exalted position. Exhibitors must be running Paramount slipped us 31 report As to the heawy hitters, Metro continues to bé “The Babe” and chalked up two homers while Paramount and Universal boosted their good Columbia entered the home-run race with a 100 per cent report, The line-up for this week is: Columbia (10), .8 839; Paramount (31), .830; United Artists (4), .825; Universal (14), .795; Pathe (14), .789; First National (17), .776; Warner Brothers (12), — Tiffany-Stahl (9), FBO (21), .805; M-G-M (29), .7973 ed - ¥ ; ' BICKERTON, Ji. COUNSELLOR-AT-LAW LEE LEE EEE EEE Fox ~ comes up for air this week and climbs into second place with an .850 average, which ig © far behind Columbia and not so far ahead of Tiffany-Stahl which dropped from second ~4 place last week to third but still maintaining a good average of .839. As to number of ~ How they did come in this week! continuous shows with hourly changes of programs. & blanks with the blank parts filled in nicely enough to give them a fourth place rating @ with an average of .830. Metro-Goldwyn-Mayer was not far behind Paramount in number of reports with a good 29 but they lagged far behind in quality and hooked seventh ~ cpa einai a Maite ee eee Ta a | 7 i atte Chiat. ~ oe Ours - n > ee -~

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VARIETY Wednesday, January 4, 1928 { SEASON’S GREETINGS || Phil Fabello 1s Back Home Again and Reopens with His Orchestra as the Presentation Feature Jan. 9 at Loew’s 7th Avenue Theatre ty 7th Ave. and 124th St. Bb New York City | following a successful six months’ tour ; for Loew-Metro-Goldwyn in South America = Thank Y ou gin MR. ARTHUR LOEW . Ban Thee MR. LOUIS K. SIDNEY 4 se Bit MR. C. C. MOSKOWITZ wilt MR. JOE VOGEL li , | For the Opportunities Given Me y LOUIS F. WERBA New Amsterdam Theatre Bldg. NEW YORK CITY WERBA'S, BROOKLYN WERBA'S RIVIERA, BROOKLYN THREE OTHER THEATRES TO BE ANNOUNCED FIRST LEGITIMATE PRODUCTION IN MARCH — ——ae TP A Happy and Prosperous New Year to All LEO STEVENS STAR AND GARTER and A Happy New Year Everybody * From the “Good News” Boys and His Brunswick Recording Orchestra Opening Soon with ; Chicago Company of “GOOD NEWS” P. S—R. W. “Did you get the Lincoln?"—A, L. HEADLINER ROY SMECK “Wizard of the Strings” RECORDING and VITAPHONE RIALTO THEATRES, CHICAGO ARTIST Hear his new Columbia Record No. 1127-D, demonstrating his NEW STAGE MODEL B & D SILVER BELL BANJO New Illus. Catalog, 1928, FREE The Bacon Banjo Co. Incorporate: GROTON, CONN. BETTY LOUISE | TAYLOR and LAKE CROONING HARMONISTS 8th month for FANCHON and MARCO | Featured in West Coast Theatres eS and Doing Very Nieely MERRY XMAS, EVERYBODY! Says FRANK S'TTEVER BARITONE SOLOIST INDEFINITELY WITH FANCHON AND MARCO “IDEAS” | AT SENATOR, SACRAMENTO “Sure Fire. Can’t Go Wrong, Boys. —VARIETY. FRANK MITCHELL and JACK DURANT A Positive Hit with “HIT THE DECK” TH BIG WEEK, LAURIE SAN FRANCISCO SEASON’S GREETINGS GETTING MORE POPULAR EVERY DAY FRANK JE™KS “Handsome Funny Face” and His Band ee a (¢ NOW—GRANADA, SAN FRANCISCO—SEVENTH BIG MONTH 5th YEAR MILTON SLOSSER ORGANIST i Theatre, St. Louis, Mo gg. n,n ees Sn wae So wee, 3 3 We ne Se ee Se ae on ~s “s » . 7

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? so» Wednesday, January 4, 1928 —— ==————————== . « « « « 7 « . e e . . on . 7 4 ; _ . . 2 GSARARATOLOLOLTOLOCOLO COCO COCO OOOO Ea i Si OFS Pa R Doig ie BS OL LE DEL SSSI GE GEE GE GEE LEELA LE EEE EAE EEE LE ET casts wi VARIETY PLILIOLO FOSOFOFOCOFOPOFOASOA Kb FAFA R AR AR A RA RA 7 Season’s Greetings to All Our Friends in the Profession” FROM THE FOLLOWING FEATURED ARTISTS NOW APPEARING IN BROADWAY MUSICAL COMEDY SUCCESSES ONA MUNSON HARLAND DIXON | VICTOR MOORE McCARTHY SISTERS PAUL STANTON BETTY COMPTON GERTRUDE McDONALD AMY REVERE MAE CLARK EARL HAMPTON DOROTHY JORDON In George White’s “Manhattan Mary” In Aarons & Freedley’s “Funny Face” EDDIE BUZZELL In Schwab & Mandel’s “Desert Song” FRANK GARDNER NINA WALKER In Aarons & Freedley’s “Oh, Kay” GUS SHY SHIRLEY VERNON INEZ COURTNEY WILLIAM GAXTON EDWIN MICHAELS NANA BRYANT WILLIAM NORRIS In Schwab & Mandel’s ‘““Good News” CONSTANCE CARPENTER PAUL EVERTON JUNE COCHERANE JACK THOMPSON BORERT HALLIDAY WILLIAM ROSELLE CELESTE DUETH MARGARET IRVING EDWARD BASSE |‘ !n Lew Fields’ and Lyle D. Andrews’ “Connecticut Yankee” In Schwab & Mandel’s “New Moon” MARGARET BREEN LESTER COLE STARKE PATTERSON In Lew Fields & Lyle D. Andrews’ “Peggy-Ann” ALEXANDER GRAY CARLOTTA MILES _ In Schweb & Mandel’s “Desert Song”—Chicago IRENE DELROY CHARLES KING te ea a ie MADELINE CAMERON STELLA MAYHEW ma FRANKER WOOD EDDIE ALLAN In “Ziegfeld Follies of 1927 In Vincent Youman’s “Hit the Deck” HARRIET HOCTOR In Ziegfeld’s “Three Musketeers” RICHARD KEENE é‘ _— In Charles B. Dillingham Eddie Dowling’s JACK WHITING IRENE DUNN “Sidewalks of New York” In Dillingham’s Beatrice Lillie Show, “She’s My Baby” r BARBARA NEWBERRY AL SEXTON BOBBIE PERKIN In A. L. Erlanger and Eddie Dowling’s “Honeymoon tap = In Hammerstein’s “Golden Dawn” BERNICE ACKERMAN JOHN HUNDLEY HUGH CAMERON i | In Joe Santley’s “Just Fancy” In Harry Delmar’s “Revels” i | . 4 Artists Who Will Be Seen in New Musical Comedy Productions After January 1, 1928 = N JANE GREEN VIVIAN HART ; or gre ™ KITTY DONER GEORGIE HALE 4 LESTER ALLEN TED DONER NELLIE BREEN 4 RUSS BROWN and JEAN WHITTAKER CLARENCE NORDSTROM LAINA BLAIR e LILLIAN ROTH JOAN CARTER WADDELL BILLY HOLBROOK 4 WILLIAM SULLY DOROTHY BARBER HERB DE BELL 4 LUCILLE BALLANTINE BRENDA LANE JUNE O’DEA : HELEN LYND DOROTHY CROYLE JOHN BYAM a : FLOYD CARDER VIRGINIA FRANCK JOE DONOHUE ‘ : HELEN CARRINGTON SACHA BEAUMONT VIRGINIA BARRETT 2 ROBERT EMMETT KEANE PERQUITA COURTNEY HENRY WHITTAMORE CLAIRE WHITNEY LOLA and LEOTA LANE The DE MARCOS EVELYN HOEY STANLEY RIDGES KATHRYN RAY Emil Coleman and His Orchestra, European Tour PERSONAL MANAGEMENT UIS SHURR‘*™ MANAGER OF ARTISTS “OLLINS er Klidg Phone: 2979-1912 Bryant FITZGERALD BUILDING 1482 BROADWAY, NEW YC"

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™ it a. an “4 172 VARI E T Y Wednesday, January 4, 1928 YE SAA PAS PEEPS REFS FARE RA PE PGE EDS PE PERE PE PE ILE LEE LE EL DEALEAL LS 226% BERT LYTELL Archie Bell, S CLEVELAND “NEWS.” e¢ ea TT re ry he || N “He stands in the very front ¥ *. rank of American actors.’ Direction HARRY WEBER : RIATALATATALOIALALOFOLOSOSA PBFA LOPODOFOIOD ae PETE EES FESR sa SF a a FS a8 —_ ] PLAYERS IN LEGITIMATE DIRECTORY ts eS a - sa T ae GREETINGS A BOBBIE "TREM AINE FLO BROOKS as | Featured Dancer in FRITZIE DEVERE } ce >”? in HAPPY | Just Fancy MANHATTAN MARY 3 | 7 £ | Casino Theatre, New York APOLLO, NEW YORK ‘ See | NEW J Fatrcui.p and RAINGER | eee en ee ‘ FEATURE PIANISTS JEANETTE MacDONALD “ oe ~~ | Exclusive Victor and Ampico “ZIEGFELD FOLLIES” FEATURED IN New Amsterdam, New York Direction LOUIS SHURR “7 ym ee - “SWEET DADDY” The Members of the Cast of “DRACULA,” celebrating their fifth month at the Fulton Theatre, send their CECIL CLEO HARRY Warmest Seasonal Greetings to All Their Friends of LEAN and MAYFIELD McNAUGHTON the Press and the Theatrical Profession. ; Starring in e “ZIEGFELD FOLLIES” ALL Se-OO" NEW AMSTERDAM THEATRE GARRICK, PHILADELPHIA New York City : ) Representative—Louis Shurr : . ELIZABETH MURRAY GARDINER HART coc see HY COHEN [vce See swe oa dae | : MARIE SAXON CLEO PERGAIN Lurie, San Francisco $ PREMIERE DANSEUSE | Percy | CARE VARIETY, NEW YORK — GEORGE M. COHAN’S “MERRY MALONES” HORACE LIVERIGHT PRODUCTIONS | Heath POLLY WALKER JACK WHITING as 61 West 48th Street wy MOLLY MALONE | : Featured in in NEW YORK CITY Paramount “THE MERRY MALONES” “SHE'S MY BABY” Famous-Lasky Erlanger’s, New York | Stories—Scenarios | _— FOR RENT | am | => >> NOTE NEW ADDRESS PAUL FOR ANHATTAN OPERA HOUSE} |) "ster: ‘« Yom'||] TAUSIG —SATLINGS & SON 34th St. and Eighth Ave. : T I ’ Steamship Accommodations Arranged on All Lines at Lowest Rates 13% Available For e It to Sweeney Oldest Agency in U. 8. Specializing on Theatrical Travel aq MUSICAL PRODUCTIONS, DRAMAS, OPERA, CONCERTS, Etc. T FI ° Y th ’ EUROPEAN CONNECTIONS — Passage Taken Care of Both Ways | cisosnie nantes |] ‘Wo Piammg fouths TIMES SQUARE TRAVEL BUREAU att 9 PAUL TAUSIG & SCN Mana t ae APPLY—S. SCHNEIDER =—_ \f Seventh Ave. & 40th St.— Times Square Trust Oe. NEW YORK it al BROADWAY CHICKERING 2200 || Sacer en eal PHONE PENN, 2800 4 i= + Te = Season’s Greetings | = to Everybody Tes ‘1D WEEMS | Allen Summers ACME BOOKING OFFICES, INC. Booking All Theatres Controlled by ry and HIS ORCHESTRA . Can Always “Names” STANLEY COMPANY OF AMERICA and Acts of Merit A route of 10 weeks within 90 miles of New York NOW HOTEL MUEHLEBACH = = = KANSAS CITY, MO. SUITR 402 Artists invited to book direct 4D CONSECUTIVE SEASON VICTOR RECORDs || | 36 West Randolph St., Chicago J J. McKEON, Pres. Telephone State 6378 1560 Broadway New York City SINCERE HOLIDAY GREETINGS FROM | PHIL LAMPKIN ws MASTER OF CEREMONIES AT DOME THEATRE, OCEAN PARK, CALIF. P. S—REGARDS TO ABE LYMAN W IN SECOND YEAR

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— a aS A le ae es Se “ demmesenatade January 4, mae 7 VARIETY 7. | WITH COMPLIMENTS OF THE SEASON WE PRESENT UN A RAINY DAY” By WHEELER—KAHAL—FAIN HERE’S YOUR COPY Let A Smile Be Your Umbrella (On A Rainy Day) WATERSON, BERLIN & SNYDER CO. NEW YORK mec. 7 Bldg Wood's Thea. Bldg. OUR RESOLUTION FOR 1928 TET AOWVILE Bt UR UMBREL A CHEER SONG DANCE ARRANGEMENTS FOR BY AMERICA’S EVERY AUDIENCE FORTMOST ARRANGERS ALL KINDS ORGAN SLIDE NOVELTIES OF VERSIONS THAT ARE DIFFERENT A MARVELOUS ORCHESTRATIONS PATTER IN ALL KEYS NCH CHICAGO WILLIE HOROWITZ{()§ ANGELES?!CK POWERSBOSTON DON RAMSAY DE TROT cee nn JOE HILLER Gen. Prof. Mer. TJ WiLL COLLINS Bee nee Oe Sa ee) ee os I tS ous Fa hess hoe Pa ae te cn te ae RE tat te Bs © cial ate DS. we Serae! % A in i ae 4 . pew Poeee aa ~ ¢ » 7 “ei ii age ‘ we y= ee ee Allth , —s == oe . re Pe ee

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174 VARIETY ll etl. es cw en SEASON’S GREETINGS FROM GOLM oT, GLAI DIRECTOR DBS ee ek EE A TE a ae aa moe De ; ul . : Ns PARAMOUNT-FAMOUS-LASKY RIAPARARA PARA PALO PATO DE. SATE TARTAE EERE RIALS JOHN MURRAY AN DERSON Extends NEW YEAR’S GREETINGS To All Members of the Theatrical Profession, and Especially to the Following Artists Who Have Appeared Under His Direction: Lily Langtry, Blanche Bates, Fannie Brice, Irene Castie, Helen Ford, Mary Lewis, Lew Fields, Charles Purcell, Fred Allen, Ivan Bankoff, Richard Bold, Leon Barte, Beth Beri, Lena Basquette, Jay ‘Brennan, Joe E. Brown, Don Barclay, Tom Burke, Clark and McCullough, Cecil Cunningham, Frank Crumit, Grace Christie, Berte Coote, The Cansinos, Bessie McCoy, Gordon Dooley, Irene Delroy, The Dolly Sisters, Charles Derickson, Gretchen Eastman, Irene Franklin, Rosalind Fuller, Gloria Foy, Ada Forman, Yvonne Georges, Marion Green, Martha Graham, Gallagher and Shean, Al Herman, Jack Hazzard, George Hassel!, Beatrice Herford, Alice Hegeman, Olin Howland; Georgie Hale, Tom Howard, Frankie Heath, Brooke Johns, Charles Judels, Lupino Lane, Vincent Lopez and Orchestra, Ludmilla, Ted Lewis, Jane and Katherine Lee, Grace Moore, Bird Millman, Moran and Mack, Will Morrissey, Mordkin, Lulu McConnell, Donald McDonald, Howard Marsh, Karyl Norman, Virginia O’Brien, Georgia O’Ramey, Daphne Pollard, Ann Penning- ton, Lennox Pawle, Margaret Petit, Marjorie Peterson, Stella Powers, George Rasely, Carl Randall, Oscar Shaw, Hal Sherman, Fritzi Scheff, U!a Sharon, Al Sexton, The Trix Sisters, Toto, Valodia Vestoff, Billy B. Van, James Watts, Frances White, Clifton Webb, Buster West, Paul Whiteman a) se and Also to the Many Hundreds of Ladies and Gentlemen Who Have Composed the Ensembles of His Fifty-eight Productions IMPORTANT ANNOUNCEMENT The John Murray Anderson-Robert Milton School of the Theatre and Dance 128 East 58th Street, New York Offers A Special Comprehensive Course in Stagecraft Under the Personal Instruction of JOHN MURRAY ANDERSON The Course will comprise Stage Deportment, Rhythm in Movement and Speech, Diction (Phonetics), Gesture, Pantomime and Expression, and is especially planned to appeal to all students who are preparing for the Dramatic, Operatic, ‘Musical Comedy or Revue Stage. For further particulars, avply to Registrar at the School, or telephone Plaza 4524. THE SEASON’S GREETINGS FROM HARRY DAVIS AT THE IVYORIES FOR RUBE WOLF AT METROPOLITAN, LOS ANGELES P. S—HELLO, EDNA AND JOHNNY TORRENCE HOLIDAY GREETINGS GINO SEVERI MUSICAL DIRECTOR CALIFORNIA THEATRE, SAN FRANCISCO —— Wednesday, January 4, 1928 Season’s Greetings ee BPD SOD SESSA ESE SEASON’S GREETINGS CHAUNCEY HAINES Jr. Now Entering Third Year as Solo Organist BALABAN & KATZ NORSHORE THEATRE CFeCAGO Ni ee SEASON’S GREETINGS GRACE and ERNIE FORREST GOLD and SUNSHINE COMPANY Direction WM. JACOBS AGENCY c2a2k2E% “BERT LEVEY CIRCUIT OF VAUDEVILLE THEATRES New York Main Office: Chicage 226 ALCAZAR THEATRE BULLDING Woode W. 47th St. SAN FRANCISC Building Kans. City Detroit Seattle L. Angeles Denver Dallas Chambers Barium Empress Lincoln Tabor O.H, Melba Bidg. Bidg. Bidg. Bldg. Bidg. Bidg. Direction: GINO SEVERI MUSICAL DIRECTOR CALIFORNIA THEATRE, SAN FRANCISCO FANCHON AND MARCO The Comedy Sensation DAYTON RANCY ‘KALAMBOOR’ Next to closing on any bill Keith-Albee Circuit Touring the World © IVAN BANKOFF (The Dancing Master) and BETH CANNON AND CO. in “AMERICAN AFFAIRS” Personal Direction, IVAN BANKOFF x) ~ a: 1 4 ry. . we 2 td } > Be Ne TAVE RN A CHOP HOUSE OF EXCEPTIONAL MERIT 156-8 WEST 48TH STREET East of Broadway ———~ LURIE smeatre, San Francisco Matinees Wed. and Sat. LILLIAN ALBERTSON Presents with VINCENT YOUMANS His “HIT THE DECK” The “Hallelujah Show” “Cha 4 Mr. As fession develo them | Mr. As produc sonabl ft gence cane |

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Wednesday, January 4, 1928 — ————— . DEENA DREW | BRILLIANT YOUNG COMEDIENNE FORMERLY OF “Charlot’s Revue,” “George White’s Scandals,” Etc. AND NOW APPEARING IN “OH KAY” (Century Theatre) Has Been Exclusively Trained by LOUIS ASCHENFELDER | TEACHER OF SINGING Mr. Aschenfelder specializes in training and PROMOTING singers for all pro- fessional purposes. He not only trains the singing and speaking voice but develops the acting ability and personality of each individual pupil, coaches them in such song specialties as will insure success. Mr. Aschenfelder’s work is indorsed by world-famous singers, conductors, critics, producers, etc. He has been the exclusive teacher of many stars. Terms rea- sonable. Free voice trial daily, 12 to 1 and 5 to 6 o'clock. STUDIO, 42 WEST 69th ST.. NEW YORK CITY Booked Solid = HIBBITT HARTMAN it in “Before and After” Rajon ice No Mage vag . ay Miss Marie Hartman World’s Champion a Comedienne Wroraae artnet The Ambassador of Good Will, flies qth. CONSECUTIVE into the hearts of her audiences, hits z = b six potion a oe voi cae YEAR- CHEZ PIERRE- Shot) s VARIETY LMILLER *ustirutrlion INTERRMATIONALES Wishes You a Happy New Dear enST! iF ELLER jrtennationnitos A NAST INTERNATIONAL ST ORGANIZATION PRESENTING MEW FASHIONS IN FOOTWEAR AND ACCESSORIES Bai DELUXE SHOES UTIFUL SHOES MODELS Just as happy as we are to wel- come you to the Showfolk’s Shoeshop! Just as new as the beautiful slippers we are pre- paring for you. . . . May 1928 prove a year of lasting joys, finer friendships and greater prosperity for us all! Showfolk’s Shoeshop BROADWAY at 46th STREET OPEN UNTIL 9 P. M. When in Hollywood Visit the Shop of 1. Miller H.P. of laughs. : , CHItACoO??. MANAGEME The Lindbergh of the Theatre = MUSIC CORPORAT [ATION OF OF AMERICA -j BILLY HIBBITT Pitot HIBBITT and HARTMAN Ne ee ee A = = 1 Now sailing to introduce in Europe the latest popu- lar dance originated by and named after them— |) THE KIRBY : DeGAGE Featured by the inimitable “Monk” Watson at the “Grand Riviera,’ Detroit, last week Cali Sindelar, Artiste Cond. Kirby and DeGage will stage in Paris the two numbers created by them in California— , : | NEXT WEER: | RIVIERA, CHICAGO HE ADE INING KEITH-ALBEE and IRPHEUtM CIRCUITS : Wee ri AP d's foremost Mora TOL | . . “ “ “se . . O A eel —= | “The Poppy Dream” A Fantastic Ballet, and EN FRY “Glimpses of Chicago's Gangland” || | A unique present: ition with authentic | sharack -rizations ef Chicago's | and DRAPERI underworld SCHELL SCENIC STUDIO. Columbus, O, {| —BEsT SCREEN PRODUCTIONS ¢|| BEST STAGE PRESENTATIONS Stupendous Revues Weekly Home of Major Edward Bowes and the Capitol “Family.” who broadcast . direct from the Capitol Theatre studio through station WEAF and chain of stations every Sunday evening through the courtesy of National ° Broadcasting Company. : oe Featuring The Capitolians, Broadway's famous syncopators (under the direction of WALT ROESNER), Stage Celebrities and numerous specialty artists of renown Capitol Grand Orchestra David Mendoza, Conductor A Happy Blending of the Popular and Ctnestont at All Times Capitol ‘Ballet Corps and Chester Hale Girls CHESTER HALE Ballet Master coummemmamnese | —s a REED GP 4 - Aly we cap de a ae oo” denen . a

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WOOF WO et @ oe se

LD MEDAL COLU ys ST Vprerrs

VARIETY |G» Td WHERE TO. Wednesday, January 4, 1928 MIN

BLUE-;~+RIBBON ~LI Bo & OD OMe, Sy BS Bee 2) Ps 8 ACCESSORIES | FABRICS | LIGHTS | MUSIC AND MATERIAL SCHOOLS i —-_—_—— ee ee ee a ema —~ LL ew” eee ~~ Oe ene S. MICHEL DAZIAN’ S. INC. Edwards Electrical Constru’n Co.' Allegro Music Printing Co., Inc. De REVUELT Dance Studios Hand-Made Lingeri d Negli Specialis 8 dalists in Eve Branch Professionals taught for Hotels and Clube Exe tusive—Ine xpenalve —Original = ng AL bopomeg Theatre L ‘ighting ey Electrical = ‘of Music Printing ie é pace. p. — ms. eect ~’ this gaan —— oo ——- 11 West 86th St. Schuyler 9631 KOSEBUD SHOPS | MAHARAM TEXTILE O., Inc. “Stores Everywhere” Unusual

Lingerie Opera Length Hose Gloves| SCENERY AND COSTUME FABRICS Rehearsal Rompers All Accessories | from our own mills. Bryant 2511 Present this ad and benefit by 10% | 107 W. 48th St. Opp. Friars’ Club discount ——e a 1587 Broadway (48th St.)

The LITTLEJOHNS Biincctenss Anything in Rhinestones Also PERFECT Machine 254 West 46th St. = ——— BEA UTY CULTURE ALEXANDER’S Hairdressing Parlors MENDELSOHN’S TEXTILE CORP. THEATRICAL FABRICS Silks—Tinsels——Plushes 156 w. 45th St. Bry. 7372-5234 FLORISTS — Nc ttt age | Seto eves for Setting Coiehering 7725

Permanent Waving Hair Dyeing A Ter eenr arte OS (Next Door tof rooks) Motel Aster Tack. pa 1439 ‘Broadway (40th St.) — a ————— oo F OOTW EAR CLEANERS MISCH BEN AND SALLY Theatrical Footwear “Noi-z-less” and “Perfect” Toe and Ballet Slippers 244 West se St. wis 0548 Theatrical Cleaner and Dyer Work Done Overnight Goods Cailed for and Delivered 225 W. 47th St. Lackawanna 3892

COSTUMES GOWNS RENTED EAVES COSTUME CO, |°°™™® *utta"aiv Guten t™ Widest Sclection, Exclusive Designs and VERY MODERATE RATES — You Will Find It Interesting and Economical to Call at MME. NAFTAL 69 West 45th Street Bryant 0670 DRAPERIES =— ——— JEWELRY — I, WEISS & SONS Curtains -—- Draperies — Furniture 1548-4 BRYANT ANY REQUIREMENT E. HEMMENDINGER, INC. 508 W. 43rd St. Lack 1629-30 — JEWELERS 33 West 46th Street OTTO | MEERS ~nner- — oy Curtains and Cycloramas 110 East 59th St. ‘Regent 4283 Musical Instruments, Clothing All Kinds of Personal Property Liberal Loans on Furs While in Storage PrP NOVELTY SCENIC STUDIOS AUL KASKEL & SONS Draperies, Scenery, Stage Settings 9 a otembus Ave. (59th St.) Col. 1442-3 840 West Ast St. Lack. 9233 = —————— POOR Se MOVIE ‘CAMERAS > EVERYTHING IN DRAPES |-~— for Motion Pictures and Theatres National Theatre Supply Co. Costumes of Every Description For Every Occasion 110 West Westy-Bizth Street

NNN Take Personal Movies with Full particulars at Movie Camera Headquarters Filmeo

) 1560 Broudway Bry. 24180 WILLOUGHBY’S i " nee 110 West 32d St. - N. ¥. TRIMMINGS _ Consolidated Trimming Co., Inc. PROPERTIES: Manufacturers and Designers ee es Upholstery & Drapery Trimmings E. J. MORTIMER CO. 27-33 West 23d St. of ihe] SHUBERT PRODUCTIONS "7643 So. Olive Street Theatrical Properties = Papier Mache Work—and Effects Vaudeville Work Solicited 430 W. 46th St, Pennsylvania 4249 DESIGNERS — ee eee JOHN WENGER Ne

j—— — a

Art Director and Designer of N, Y. MOTION PICTURE PRESENTATION Theatrical | Properties § Studio ICTU C *"RESENTATIONS h iP 939 Sth Ave. Columbus 4569 | re I: a ve rae — ——————=_ | Productions Furnished Complete—We Also Rent ~ 502 West 44th Street Penn, 7377 CARMINE VITOLO Rf - pean SS Art Director L IG HTS oe SS et tl ge Display Stage Lighting Co. “A LIGHT FOR pare EVERY PURPOSE” Y/i\\\S 334-340 W, 42th St. PUBLIX THEATRE STUDIOS WATSON BARRATT ART DIRECTOR AND DESIGNER

of work Grand Central Terminal, New York EJ Electric Sestolietion Co. ~ MANUSCRIPTS ———— ACTING PLAYS

Electrical Construction in Theatres,| Monvlogs, Recitations, Drills, Minstrel Motion Picture Studios and Laboratories | %"4 Vaudeville Jokes and Sketches; References: ideas for Entertainment. Catalog

Paramount-Famous Players, Wm. Fox DRAMATIC PUBLISHING ce: Theatres, Loew's Inc., and B. 8. Moss | 542A 8S. Dearborn St. Chicago Theatres 155 East 44th St. Murray Hill 6979 SAMUEL FRENCH Incorporated 1898 DUWICO ay Play-Publishers in the World . me Edwards, Managing Director 25 ‘West } St., NEw _ Fees. Bm. F. ~ PIANOS “EVERYTHING ELECTRICAL FOR THE THEATRE” 303 West 4ist St. Penn, 2450-1590

American Academy of Dramatic Arts The leading institution for Dramatic and Expressional Training in America Winter Term begins Jan. 16 Free catalog describes all courses Secretary, 195 Carnegie Hall, New York

John Murray Anderson, Robert Milton School of the Theatre and Dance A Professional School for Professionals Diction, Acting, Dancing of All Types Routines Arranged Acts Staged 128-130 Fast 58th St. Plaza 4524 JACK BLUE Supreme Authority on all Character Song and Dance Impersonations Routines Arranged—Professionals Preferred All kinds of Tap and Fancy Dancin

CHARLES I. NEWTON BALDWIN PIANO CO. Moving clouds, water ripples, ocean waves, fall- a * = 5 ing snow, rain, fire, lightning, butterflies, birds | The Official Piano in 30 Theatres and Stereopticons, Sciopticons, Spotlights _ in Thousands of Homes 244 West 14th Street, New York Uprights, Grands, Players and Tel. Chelsea 217! All Hours Reproducing Pianos 20 East Sith St. Plaza 7186

STAGE HARDWARE "SCENIC CONSTRUCTION

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ee ae

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THEAT TRE EQUIPMENT —————

ON ON GOON ON ON Carrier Engineering Corporation Manufactured Weather Air Conditioning Refrigeration Automatically Controlled 39 Cortlandt St. Rector 3941

Wittenmeier Machinery Co. Manufacturers of REFRIGERATING APPARATUS Air Conditioning Apparatus 850-860 N. Spaulding Ave., Chicago, Til. 380 Church St., New York CHARLES J. WEINSTEIN CO. Importers and Makers of

231 West Slst Street Circle 61 SUPPLIES Rhinestones for Costumes Also machines for setting the stones Jewels—Beads—Spangles NELSON IMPORT CO. 44 West 37th St. Wisconsin 1954 J. J. WYLE & BROS., INC. A full line of Gold and Silver Brocadeg metal Cloths, Gold and Silver Trime mings, Rhinestones, Spangles, Tights, Opera Hose, etc., for stage costumes 18-20 East 27th St., New York City THEATRICAL HATS Spanish Sailors, Sombreros, Shakos, Valentinos, Beau Brummels, Silk and Opera Hats. Manufactured by JOHN REINITZ 1587 Broadway (48th St.) Lack. 0606 THEATRICAL TRUNKS TAYLOR’S Theatrical TRUNKS The standard trunk of the profession Fall line of leather goods TAYLOR’S 115 West 45th St. CHICAGO BLUMENFIELD’S Coats cleaned, glazed and relined, Storage and Remodeling

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Crystal Chandeliers Specializing in Theatre Lighting PHYSIOC STUDIOS, Inc.

| 345 West

2 West 47th St. ant 1936 N. Y. Productions furnished complete he eee ae Detening ane Senns WE Properties, raperies, etc. SIMPLEX and POWER’S 106-108 Central Park South | Circle 4618 PROJECTORS INTERNATIONAL P eS ao CORP. 90 Gold Street EW YORK DE FLESH FLETCHER ncaa DESIGNER , PAINTER TYPHOON FAN CO. mpg: an see Specialists in 701 Tth Ave, (47th 8t.) Bryant 1385 Theatre Cooling, Heating and Ventilating 39th St.

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Motion

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‘The Fally Markus Vaudeville A Astor Theatre Bldg., N. W. Cor. 45th St. and

Single Rates NOW OPEN Double Rates and up . . : Luxuriously Furnished =e = ABSOLUTELY GUARANTES This ultra-modern Hotel is but five minutes’ walk from the Loop and all the- , = atres. A conifortat home at moderate rates for discriminating show people. INSPECTION WILL CONVINCE YOU! Personal Supervision of Mr. Thomas Henne ssey, Owner-Manager PHONE SUPERIOR $1386 - A VAUDEVILLE AGENCY WHic + PRODUCES MORE THAN IT PROMISES T SERVICE SINCE 1913 eney roadway New York City

GUSTAVE ACKERMAN (Formerly with John & Co.) | | | | | PERMANENT WAVING | & HARRIS PHELAN BLDG. SAN FRANCISCO Hairdresser to the Profession Specialist in HAIR COLORING and EXECUTIVE OFFICES: THIRD FLOOR, 119 West 48th Street MARKET, GRANT and O’FARRELL STREETS cet, ih Th Aros ELLA HERBERT WESTON, Booking Manager a ey LOS ANGELES—63¢ CONSOLIDATED BLDG.

BIATO PATS ¢

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taal Wednesday, jaany 4, 1928 n PaNBTE PETS TENS TETENSTSTETATEPE | Na it This Space Was Not Contributed by: e | : : : Ralph Spence vi | i “alcolm Stuart Boylan Y is George Marion, Jr. ‘ Joe Farnham . or Will Rogers adh cabinet nade —_—- A Sree. eeelinarenseeemmencenee 177 SEASON’S GREETINGS MRS. WALLACE REID \e SE GE EE EEE EGE AEE ELEN 1 RAPA RA TARA PAPA PAPE SPARE PAPAS S aaa HOLIDAY GREETINGS GOLDSMITH, GOLDBLATT & A HAPPY NEW YEAR TO THE PROFESSION 91 W. Randolph Street A PEAS secmeneecedt REEL LE LEE LELE aN a: | WEP CHICAGO f HAROLD M. GOLDBLATT ¥& STILL ALIVE #$ «LEONARD R. HANOWERs i FREDERICK E. GOLDSMITH M4 i Counsel : HAPPY NEW YEAR CHICAGO, ILL. | : My | is M4 | GLEE EE EEE EERE EEE | SEASON’S GREETINGS EARL STANLEY J. WILLIAM GILSON ™» SCOTT THE RADIO ACES THE TWO BOYS WITH THE GOLDEN VOICES TOURING KEITH-ORPHEUM CIRCUIT Direction MAX RICHARD THE SEASON’S GREETINGS EDWARD K. HOUSE | SOLO ORGANIST GRANADA and MARBRO THEATRES, CHICAGO 7 eeeeeesaeaameaeamamaeaeaanen”| | : Ma ‘ SEASON’S GREETINGS ¥ i M KS M | VICTOR PHONOGRAPH ARTISTE 4 5 : JANE GREEN } ! i J x: Siren of Syncopation : e Accompanied by Va ) “RANK JEFFERSON Na tr ‘4 iS Personal Management LOUIS SHURR “I RRELL ALLE LESS S ESSE TELLER EIEN UDBSEREDE PE SEPA LE PEPE SEPA FO FE FE . GREETINGS AY LO LE me “HOLIDAY GREETINGS” JOSEPH GALLICCHIO MUSICAL DIRECTOR STEVENS HOTEL ORCHESTRA CHICAGO ‘BERNARDO De PACE: RMIT EM es ey ae a SEASON'S GREETINGS Emil M. Umann ‘ “Wizard of the Mandolin” : “3 Direction—WM. MORRIS xf WEL E SL GL IL GEOL OL GL GL GL GL OL IL OLY 2nd Big Yea Personal Direct irector of Pu blic RODNEY PANTAGES PANTAGES THEATRE Genera! Ma San Francisc PANTAGES CIF SUIT | ANNES RESTAURANT| Season’s Greetings WARING’S Pennsylvanians OPENING KEITH-ALBEE TOUR JAN. 1-14 KEITH’S PALACE CLEVELAND Direction CHAS. MORRISON

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RE be VARIETY —_——— Wednesday, January 4, 1928 HOTELS FOR SHOW PEOPLE Se —= HOTEL HUDSON ALL NEWLY DECORATED $ 8 and Up Single $12 and Up Double Hot an ld Water and Teleph in Each Root 102 WEST 44th STREET NEW YORK CITY Phone: BRYANT 7228-20 HOTEL FULTON (In the Heart of New York) $ 9 and Up Single $14 and Up Double Shower Baths, Hot and Cold ater and Telephone Electric Fan in each room 264-268 WEST 46th STREET NEW YORK CITY Phone: Lackawanna 6990-1 >. Opposite N. V. A. - Se Be ern —— HOTEL MANHATTAN 157 WEST 47m ST NEW YORK CITY TO THE PROFESSION We offer more for the money than any hotel in Now York ALL MODERN CONVENIENCES 200 ROOMS 200 BATHS MARION ROE HOTEL Broadway and Pine ST. LOUIS, MO. Laclede Cars at Station Pass the Door (Continued from page 12) the outstanding stock slumped to 10 and stayed there for a long time. That experience will not occur again, one may be sure, One reason is that the company is this time strong in established and going business and prestige and backing of financial support in its directorate represented by William C. and Charles M. Schwab. views have not especially has YSN SS “Once a Guest Always a Patron” a — ee, the powerful Durant Trading relished the idea of Loew’s reported issue of - PBENNY MEROFE and ORCHESTRA THE MOST VERSATILE OF LEADERS OKEH RECORDS WURLITZER INSTRUMENTS NOW MARKS BROS. $3,000,000 MARBRO and GRANADA THEATRES SINGLE BROOM, DOUBLE ROOM, BATH, $17.50 DOUBLE WITHOUT BATH LEONARD HICKS, $2.00 UP AND $21.00 WEEKLY $1490 WEEKLY Pre-ident l GRANT SINGLE ROOM WITHOUT BATH, $1.25 AND $1.50 PER DAY BATH, $2.00 PER DAY ROOM WITHOLT BATH, $14.00 PER WEEK DOUBLE ROOM WITH BATH, $17.50 AND $21.00 WEEKLY SINGLE DOUBLE ROOM, Hiotels LORRAINE and GRANT --Chicago LORRAINE BATH, NEW HOTEL 100 Rooms 100 Showers and Tubs Double Rooms $3—$4—$5 Single Rooms $2.50 and $3.00 HOTEL KILKEARY, Pittsburgh PITTSBURGH'S HOTEL FOR THE PROFESSION Conveniently Located Within Five Minutes of All DOWNTOWN THEATRES Announcing the Opening of New Restaurant and Coffee Shop THE FAYETTE in Connection with the Hotel—Something Different, Good Food, Reasonable Prices Absolutely Fireproof Artistic Stee! Furniture J. F. KILKEARY Proprietor NINTH ST. and PENN AVE. PHONE 4 = —_ LOU HOLTZ’S | YANDIS COURT 241 WEST 43D STREET, NEW YORK CITY LACKAWANNA One and Three Rooms, Bath, Kitchen Completely Furnished In the Heart of Times Square WRITE, PHONE OR WIRE FOR RESERVATION | 7740 vhone: LONGACRE 6805 THE BERTHA COMPLETE FOR HOUSEKEEPING, 325 West 43rd Street Private Bath. 3-4 Rooms, GEO. P. SCHNEIDER, Prop. FURNISHED APARTMENTS CLEAN AND ATRY. NEW YORK CITY Catering to the comfort and convenience of the profession. STEAM HEAT AND ELECTRIC $15.00 UP LIGHT- - = = = Jor NTINENTAL BROADWAY ar 41=ST., NewYork 3 | SPECIAL PROFESSIONAL RATES | Cup barn i ee (wEERENP J QC up BATH —_ Convenient te ALL MiDtown Activities HOTEL ELK 205 WEST 53D ST. Cor. 7th Ave., N. Y. C. — — > ee . Single, $10-$14 weekly Double $3 extra vi, bret ‘ Tel. CiRcle 0210 o Modernly furnished. Transients, i z’ « & MANSFIELD HALL THE BEST VALUE IN TIMES SQUARE SINGLE DOUBLE $10.00 UP $12.00 UP Our Best Front Rooms, $16.00 226 W. 50th St., New York Phone 8170 Circle a new preferred which would come before the common nor is the pur- pose of the new flotation clear, Meantime the ticker has con- tinued to report the stock in strong position, with prices close to their best for all time and reporis freely circulated that an extra will be voted before the end of the year. Nobody has go far explained how the board can declare an extra and at the same time go into the market for funds, but the acid test of buy- ing on ascending quotations stamps the proposition with approval, which is reasonably conclusive. As to Underwriting The fact that the enormous new bulk of financing has all ! 1 derwritten by bankers and their | syndicates, brings up interesting | considerations. In the case of Par- | amount, Kuhn, Loeb & Co. have agreed to take up not only the $16,- | 000,000 of bonds but also such of | the new common stock issue as is not subscribed. ing to take unavoidable on logic heavy lines, The is that amusement business. The standing of the bankers con- cerned in the Paramount transac- tion precludes the likelihood of market manipulation of the familiar sort to bring about distribution, such as the lurid drive in Warner Bros. a year ago or the recent run- ning up of Shubert. The alterna- tive is a long and conservative se- curity sales campaign during which Announcement Extraordinary! After 25 years, the co-authors, RICHARD H. GERARD and HARRY ARMSTRONG, writers of the World-Famous Ballad, | | “Sweet Adeline,” have just com- pleted their quarter-century hit “SWEET ELAINE” the sister song to “Sweet Adeline” Quartettes, Trios, Duets, Singles, Orchestras JOHN E. HAYES, Inc. 1595 Broadway, N. Y. City It looks from this angle as though | the underwriters all around are go-|on { }merger and every the banks will keep a supervising eye upon the business, In short Wall street will go fur- ther into the picture business, The ticker player reaction to this state of affairs is interesting, as mani- fested in brokerage offices since the announcement of the Paramount amd reports of the forthcoming Loew flotations. The immediate inference is that increased Wall street influence in filmdom will ulti- mately work out into further con- solidations and mergers of enor- mous scope. The trading com- munity has for years revolved the favorite idea of a Paramount-Loew move either com- pany makes is regarded in the light of such a consummation. Signs in Sky Even trivial happenings are given Importance and conjecture grows to credulity, credulity to certainty and certainty to accomplished fact. A customer in one of the down- town brokerage branches observed an evening stroll through Times Square an illuminated caption on bankers | the side of the Paramount Building. will have from now on increasingly | It weighty say in the conduct of the | beam of was projected by a powerful light from the Capitol seven blocks away and the sign was in advertisement of the entertain- ment current at the Capitol. The incident was retailed with lively interest to the whole cus- tomers’ room next morning, as a bit of evidence that the Capitol and the Paramount—or Paramount and Loew—were allied that they already were using each other's street fronts for advertising, The facts were that somebody was experimenting with a new and powerful machine for projecting advertisements and had obtained the use of the Capitol for a demon- Stration (it was filmed for the Metro-Goldwyn-Mayer news reel). Out to the Capitol the a slide adver- so closely of compliment inventor made WRITE — WIRE — CALL) BUDDY DOYLE Featured with LANDSEER APTS. 245 West 5ist Street Columbus 8950 IRVINGTON HALL 355 West Fist Street Columbus 1360 341-347 West 45th 1-2-3-4-room apartments. theatrical district. Principal Office: 600 HOUSEKEEPING APARTMENTS HILDONA COURT Street. Each apartment with private bath, phone, kitchen, kitchenette. $18.00 UP WEEKLY—$70.00 UP MONTHLY The largest maintainer of housekeeping furnished apartments directly under the supervision of the owner. All fireproof buildings. Address all communications to CHARLES TENENBAUM Landseer Apts., 245 West 5ist Street, New York Apartments can be seen evenings, Will Lease by the Week, Month or Year — Furnished BENDOGR COURT 343 West 55th Street Columbus 6066 HENRI COURT 312 West 48th Street 3830 Longacre 3560 Longacre Located in the center of the Office in each building. or Unfurnished. Single Weekly Rates ROOMS Hotel Claridge BROADWAY AT 44TH ST., NEW YORK AN ADDRESS TO BE PROUD OF THE HOME OF THE PROFESSIONALS LARGEST ROOMS IN THE CITY $17.50 up ROOMS 3:28 BALLROOM Booking 1927-28 Now Open at MODERATE RATES $21.00 up Rates HOUSEKEEPING FURNISHED APARTMENTS 330 West 43rd Street, New York Longacre 7132 Three and four rooms with complete kitchen. Modern in every particular. Will accommodate four or more adults. $12.00 UP WEEKLY bath, tising the show and it was pro- jected on the Paramount because that was the tallest available sur- face. But for one whole day the circumstances were propaganda for the Wall street rumor factory. ILL AND INJURED Bitten by a monkey while playing in stock at Dayton, O., Dorothy Holmes, ingenue, is recovering from a serious case of blood poisoning in Chicago, here she was removed for treatment. Affie Martyn is ill home in New York. Clarence Stroud, convalescing at Somerset Hospital, New York, from appendicitis operation, Anna Pepper (Harry and Anna Pepper) is at the General Hospital, Buffalo, recovering from an opera- tion for appendicitis. Mrs. Tom Waters, seriously ill in Samaritan hospital, Philadelphia. James D. Peare and Jack Bird, vaudeville, were cut and bruised last week while en route to Roches- ter, when their automobile skidded near Batavia, N. Y, 7 “PAT” BALLARD “The Collegian Song - THE DUPLEX | 4 Coming to Washington, D. C.?_ The LEE HOUSE FIFTEENTH AND L 250 Rooms Each with Tub & Shower Special Professional Rates Single, $17.50; Double, $25.00 Twin Beds, $28.00 Bob Block, Manager Houses Opening Regent, Syracuse, N. Y., has been added to the books of John Coutts, independent booker, who begins booking the house this week, Four acts on a split week. ENGAGEMENTS Lorraine Tumbler, prima donna, for Publix unit Kisie Free, dancer, for a new Earl Carroll show. HELENE GEORGE Heller -- Riley Our 97th Week for Publix Played 47 Weeks in Chicago A GOOD IDEA FOR FANCHON and MARCO And a Good Idea for Anyone Direction Max Turner. Wm. Morris Chicago Office Writer Week Dec. 31 Fanchon and Marco Ideas }||| wishes vou A Happy New Year! |||], Size Theatre, Minneapoti ill 3) WEST 52d 8T., NEW YORK | “THE SEASON’S GREETINGS” . 4} i

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VARIETY

= 7 Steinway Piano Columbia Record :

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@I take pleasure in announcing the opening of my new night club, Harold Leonard’s, located at 132 West 52nd Street, N.Y. City.

@1I am sure that you will enjoy my little show, featuring my own orchestra unique, assisted by Miss Ethel Norris and a novel RRS ae AERA A_CAIIO _ CPO TSR 9 E_CHk SS 9 supporting entertainment. @May I take this opportunity also to wish | each and every one of you everything good % and all that your hearts desire for the New Year.

_ 14 Leonard and His $7 Violin as" -_ a a

é Selmer—Buescher—Conn—Yorke Instruments Exclusively x _— 4 we oan a ee }% {, 9 ~ 4 Se ‘ “Gs 3" oF Oe al, ~ eae ee a ZR | BPI DZ_ NYO SECM ODE Ch Peo ASK Mee “F.€ En inches ba A ila

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