Books › Musical Courier 1927-04-07: Vol 94 Iss 14, 1927 › scan 44
Scan 44
Musical Courier 1927-04-07: Vol 94 Iss 14, 1927
67 lines. Read by computer on 27 September 2026, twice; the two readings disagreed in places. Printed page 45. See the scan on archive.org.
1April 7, 1927
3MUSICAL COURIER
5to the ordinary method. While rehearsal of the action goes on, in another room the man in charge of the vocal end checks up by means of a reproducing device connected with a microphone in the studio. Standard film is used and on this is recorded both the picture and its sound accompaniment.
7The Fox Case Studios explain how Movietone is used in the theaters in the following manner: "The standard film, containing the record of both picture and sound, is run through a standard projection machine to which has been attached a sound reproducing unit. This unit includes a light which is focused through a slit on to the sound record of the film. As the film passes the slit, it interrupts the constant light shining through it and sets up light variations corresponding directly to those photographed. These changes in light variations then fall on a photo-electric cell, which changes them back to electrical variations. These electrical impulses are then amplified and carried from the projection booth to loud speakers placed behind the screen."
9Movietone is said to be the result of years of experimentation in the Case Research Laboratories in Auburn, N. Y. A method of photographing sound waves on a strip of motion picture film, as used now in the Movietone process, was evolved under the direction of Theodore W. Case. The use of amplifiers, microphones and loud speakers is necessary where certain telephonic apparatus is needed. These devices were acquired exclusively by Vitaphone from the Western Electric Company, so a special agreement has been made for their mutual use between Vitaphone and the Fox Case Corporation. And as a result, since the telephonic equipment is the same for the two companies—and it is an important part of the installation—reproducing attachments for the two systems are being designed to fit one projection machine. An advantage that Fox Case claims is that because both the sound and picture are on one film, this prevents their being separated and therefore there is no disturbance in sound and picture synchronization.
11CHERRY BLOSSOMS
13The Shuberts may be relied upon to provide new touches in their successive productions. In Cherry Blossoms, which opened last week at the 44th Street Theater, there is the more or less novel idea of having a group of mixed singers stationed in the orchestra pit from where they sang, in Japanese costume, at the opening and between the acts. It proved refreshing. The voices are up to the standard maintained by the Shuberts since the advent of The Student Prince. It would seem that memorable male chorus of Romberg's earlier production will go down in history. It will undoubtedly be used as a basis for real voices in musical comedy choruses.
15In Cherry Blossoms there is also a touch of the military provided by midshipmen, supposedly from one of Uncle Sam's ships, who sing and dance equally well. Gladys Baxter, "the daughter of a naval officer," helped them in I Want To Be There, a dashing number, well sung. With such an admirable body of singers it is not surprising that Romberg seems to have concentrated upon the choruses. Some are good—some are noisy. Harold Kravit as The Bonze did some fine solo work with them, his voice being of a rich and pleasing quality—and, thank goodness, freely produced. He was one of the pleasant memories of the production.
17Of course, Howard Marsh, late of Student Prince fame, was expected to do some good singing in the leading part of Ned Hamilton; he did. If in the beginning of the evening he did not do his best work, he warmed up during the latter half of the production and carried off a large portion of the honors. He has a serviceable voice and did some effective falsetto work in one of his songs. He did the more serious moments with spontaneity and sympathy and on the whole his contribution was worthy of him, even if this particular part suffers in comparison with that of the Prince in the other Romberg musical comedy, which had such favor throughout the country, and some in London.
19Desiree Ellinger, who stepped into prominence when she replaced Mary Ellis in Rose Marie a year or so ago, was ideally cast as Yo-San, the little Japanese counterpart of Cho-Cho San in Puccini's Madame Butterfly. In fact, Cherry Blossoms, which is based on the story, The Willow Tree, by Benrimo and Harrison Rhodes, more than once aroused memories of the opera, as far as the plot was concerned. In the musical comedy, however, Yo-San leaves her American lover on her own account, in order to protect and insure his happiness. Like the Cho-Cho-San in the opera, she dies, but some few years after their baby is born. In the last act, we see the father return to the land of Cherry Blossoms—the scenes of his real love—and is united with his winsome daughter, now seventeen, who is the counterpart of her mother.
21Desiree Ellinger sang charmingly and looked the part; she will alternate with Helen Norde in the role. Willow Tree, which she and Mr. Marsh sing frequently during the evening, is the song hit. It has melody and lingers in the mind. Another good tune is Happy Rickshaw Man, with decidedly clever lyrics, and still a third is Neath the Cherry Blossom Moon. An effective touch in one of these was the choruses (in the pit) humming along while the principals sing.
23The comedy falls to Bernard Gorcey as George Washington Goto, who is fair, and an eccentric dancer, Fred Harper. He is capital and won the first real applause of the evening. Costumes are attractive and the scenery quite lovely, while the orchestra is well handled by Conductor Alfred Goodman. The book and lyrics are by Harry D. Smith, and, as was said before, the music is by Sigmund Romberg. Cherry Blossoms is not a great production, but it is pleasing.
25THE COLONY
27The latest of motion pictures based on Biblical themes is that shown at the Colony Theater this week and entitled The Fourth Commandment. Heart interest has been created through the age-old mother love theme, the love of a son for his mother and the jealousy of his wife, who lives to regret her folly when her son grows up and is married and she is faced with the jealousy of his wife. These were indeed progressive country folk to have had such things as an electric sewing machine as long ago as thirty years. Then, too, the lip stick was not in such universal use at that time that it was likely to have reached small towns. And how one wished that the old mother had at least taken an umbrella when she ventured forth in that terrible storm because of the unhappiness her daughter-in-law claimed she was causing in the household. These are, however, minor matters, and the film doubtless has a message for those confronted with the mother-in-law problem.
29The new Vitaphone presentations include a rendition of Von Suppe's Poet and Peasant overture by the Vitaphone Orchestra, with Herman Heller conducting. Bernard De Pace plays several selections on the mandolin in his usual virtuoso fashion, and Sissle and Blake, who were well received in New York in The Chocolate Dandies and Shuffle Along, give their version of The Big Parade and also sing a Negro Spiritual, All God's Chillun Got Wings. Ernestine Schumann-Heink was scheduled as the feature Vitaphone attraction, but at the performance on Saturday afternoon she was not heard. In her place there was an unusually fine record of Gigli, assisted by members of the Metropolitan Opera Company, in a scene from Cavalleria Rusticana.
31It might be advisable to have an intermission between the Vitaphone presentations and the feature picture, as to some it is a strain to keep the eyes focussed on the screen for two hours or more.
33PARAMOUNT
35The first orchestral number at the Paramount this week is a compilation of musical comedy numbers under the heading of Broadway Hits. Following comes Josi Bohr and his Argentine musical Gaucho, playing a variety of native numbers, closing with an excellent exhibition of the Tango by Amerique and Neville. The scenic poem by Edgar Guest is a very pretty presentation entitled The Yellow Dog, wherein is given a beautiful scenic effect and a stray dog who found his boy.
37Jesse Crawford then entertains from the organ, playing The March of the Toys, To a Wild Rose, Rhapsody in Blue (repeated from last week) and What Does It Matter. While Mr. Crawford plays Sam, The Accordion Man, Mrs. Crawford at the second console, picks up the theme. They also give a joint rendition of Sousa's famous Stars and Stripes Forever, a fine example of co-ordination and musicianship.
39Following the Crawfords comes a John Murray Anderson divertissement, Memory's Garden, the introduction of which is well sung by John Quinlan. The curtain goes up to disclose the Twelve Liebling Singers in attractive costumes amid a lovely stage setting. They sing the Caprice Viennois, and Rae Eleanor Ball plays the Caprice Basque (Sarasate) on the violin. Unfortunately she was off key throughout the selection and her tonal quality was not of the best. In the next number, a Birdland Fantasy, Miss Ball, assisted by Michael Hall, cellist, did not come up to expectations. Ruth Matlock sings the Song of the Mocking Bird and does an effective dance. The Fountain is rendered next by four of the Liebling Singers as a preliminary to a remarkable exhibition of strength and statuesque posing by the Roma Brothers. Their turn is somewhat out of the ordinary and was very well received. Ann Balthy and the Liebling Singers then offers In the Gloaming, and John Quinlan sings Song of Songs, the entire company doing the finale.
41The feature picture for the week is Wallace Beery in Casey at the Bat. He has little material to work on in the story, but by his splendid acting and characterization of Casey the Junk Man and baseball idol, he carried the picture, ably assisted by Zasu Pitts. The setting and costumes are strictly of the "gay nineties" and the present day titles rather clash. Did anyone know of halitosis in those days? But the picture is funny even though the story is thin and ridiculous. And Beery gets many laughs from the audience. That's the test.
43THE CAPITOL
45Lon Chaney, in the Metro-Goldwyn-Mayer picture, Tell It to the Marines, is being shown this week at the Capitol for the first time at popular prices. It is no wonder it enjoyed such a good run on Broadway. One could not hope for a more entertaining picture, well produced and well acted by Chaney and a strong supporting cast, prominent among whom are William Haines and Eleanor Boardman.
47The first portion of the bill leads up appropriately to the feature film. David Mendoza and his fine orchestra gave an inspired rendition of Elgar's Pomp and Circumstance. Dr. Mauro-Cottone assisted at the organ in the finale, which was magnificent. The audience applauded, enthusiastically for several minutes, showing again a growing appreciation for better music.
49The ballet—Harlequin's Defeat, with Joyce Coles, John Triesault, Roland Guerard and the ballet—was effective and original. The Chester Hale girls provided an odd touch with their black and red caps which were used with skillful effect. In Chester Hale, the ballet master, Major Bowes has a young man of ability, who seems to keep away—happily—from the stereotype form of ballets.
51The Capitol Magazine ended with scenes of the U. S. Marines embarking for and arriving in Shanghai, and as the curtain was raised at the news reel's finis, it disclosed a detachment of the United States Marines seen in a short drill. A well devised prologue, indeed, to a fine picture! And a capital bill for one and all!
53THE STRAND
55With the arrival of April it was most appropriate that Joseph Plunkett's stage presentation this week should be (Continued on page 48) one of two readings
56With the arrival of April it was most appropriate that Joseph Plunkett's stage presentation this week should be one of two readings
58(Continued on page 48) one of two readings
60LUCILLE CHALFANT
61COLORATURA SOPRANO
62Management R. E. JOHNSTON 1451 Broadway, New York City
63Knabe Piano Used
65Frances Nash
66FOREMOST AMERICAN WOMAN PIANIST CHICKERING PIANO
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