February 16, 19 2 2
MUSICAL COURIER
56
AMUSEMENTS
“Hippodrome’s Greatest Show.”—Evening World. CHARLES DILLINGHAM’S 6th Annual Wonder Show
“GET TOGETHER”
with a Cast of National Fame
PRICES CUT IN TWO DBÄ$I.OO,EVE’S ״Jft»
Direction J. L. Plunkett, Broadway at 47th Street
Week Beginning Feb. 19.
BARRY
WESLEY
in “Penrod”
THE STRAND SYMPHONY ORCHESTRA
Carl Edouarde, Conductor
B’way at 51st St. “Subway to Door” EDW. BOWES, Mng. Dir.
CAPITOL
World׳* Largest and foremost Motion Picture Palace
Week Beginning Sunday, Feb. 19.
SPECIAL HO LI DA Y PROGRAM
Messmore Kendall
“CARDIGAN”
Capitol Ballet Corps
CAPITOL GRAND ORCHESTRA ER^°n^0ErE
Presentations by S. L. ROTHAFEL
SPara/nau/il №icture&-
Theaters under the direction of Hugo Riesenfeld
CRITERION I I
Continuous There Afternoon to 11.
Beginning Tuesday Eve., Feb. 21, at 7:30
No Advance in Prices.
THE LOVES of PHARAOH”
66
An Ernest Lubitsch Production With Emil Jannings, Paul Wegener, Dagny Servaes MATINEES ALL SEATS
50 cents avlelnseats 99 cents
Continuous—Beginning Sunday, Feb. 19.
Broadway at 49th St.
RIVOLI
GLORIA SWANSON
in “HER HUSBAND’S TRADEMARK”
RIVOLI CONCERT ORCHESTRA
Frederick Stahlberg and Emanuel Baer conducting
I Continuous—Beginning Sunday, Feb. 19.
Times Square
RIALTO!
ETHEL CLAYTON
In “HER OWN MONEY”
FAMOUS RIALTO ORCHESTRA
Hugo Riesenfeld and Joseph Littau conducting
being a number that responded to the mood and atmosphere, the organist evidently felt that the louder and harder he played the more impressed his hearers would be. This blare and blast was the only jarring note in the entire program.
The Criterion.
A new picture came to this theater last week for a limited stay—“Where Is My Wandering Boy Tonight.” Moyie fans can judge the type of picture by the title. It is hardly worthy of the same consideration as the “Golem” or other special features that are usually shown at this house. Still the photography in spots, and the story, had a certain appeal. The overture was “Badinage” (Herbert), with Victor Wagner and Drago Jovanovich conducting.
Mr. Riesenfeld offered an original number as the prologue, “At the Cross Roads,” with Miriam Lax, soprano; Susan Ida Clough, mezzo soprano, and Charles Nash, tenor. It was a thoroughly enjoyable selection. The soloist following immediately after the feature was Lillian Powell, dancer, who was charming in the valse in C sharp minor, Chopin. The big feature—“The Loves of Pharaoh” —will begin on February 19. Those who have seen this newest production of Ernest Lubitsch consider it a wonderful film.
The Rivoli.
Instead of the usual overture at the Rivoli Theater last week a unique motion picture, “The Enchanted City,” by Warren A. Newcombe, was given with musical accompaniment consisting of Wagner’s “Dreams” and Liszt’s “Love Dreams.” There were some gorgeous scenic effects in this picture. Dorothy Dalton was the star in “Moran of the Lady Letty,” and as an appropriate introduction George Richardson, baritone, sang Squire’s “Three for Jack.” He was dressed as a sailor and the background furnished him was entirely in keeping with the song. Mr. Richardson was exceedingly well received, and deservedly so, for his interpretation of the number was excellent. Victorina Krigher did a charming bit of dancing to a Schubert “Moment Musicale.” The Rivoli pictorial and a Funny Face Comedy, “Cracked Ice,” made up the remainder of the program.
May Johnson.
Daniel Mayer Secures Erna Rubinstein
Erna Rubinstein, the youthful violinist, whose playing created a veritable sensation when she made her debut, under Mengelberg, with the New York Philharmonic Orchestra on February 3, will be under the management of Daniel Mayer hereafter. Mr. Mayer will present her in recital in Town Hall on Sunday evening, February 19, assisted by Maurice Eisner at the piano. Mr. Mayer announces that Miss Rubinstein will be available for engagements on this side until May, and will be here during the entire season of 1922-23.
Musical Comedy-Drama-Motion Pictures
The prelude, which precedes the picture, is an example of good showmanship. It is a combination of orchestral and pictorial effect, and introduces a novel prologue. The overture, which was also written by William Axt, offers a highly condensed and descriptive musical version of the story.
Ornstein in the Movies.
It is reported that Leo Ornstein, the noted pianist, is the hero of a motion picture drama called “Immortalized.” There are also other well known musicians in the film. It was shown at the Hias Bazar here.
During the past week there were four new productions. “The Law Breaker” opened at the Booth Theater; Frank Fay’s “Fables,” a revue, began at the Park, after a postponement; “Cat and Canary,” a mystery play, opened at the National; “The Blushing Bride,” a new musical comedy, was begun at the Astor.
This week “Madame Pierce” comes to the Ritz; “Mont-marte” takes the place of “S. S. Tenacity” at the Belmont, the latter being moved down town to the Neighborhood Playhouse.
New Features at the Hippodrome.
The Rialto.
“Boomerang Bill” with Lionel Barrymore as star, attracted enthusiastic audiences here last week. The feature had certain interest, but was not nearly so finished a work as some of the other popular star’s film dramas.
The program opened with “Les Preludes” (Liszt), with Hugo Riesenfeld and Joseph Littau conducting and giving a most creditable reading of the old classic. There were two soloists: Mary Fabian, soprano, who sang charmingly the “Bird Song” from “Pagliacci,” and Raymond C. Ellis, who played as his number a popular medley, for the Xylophone, by Irving Berlin. The writer likes this idea of Director Riesenfeld’s, of having the members of his orchestras as soloists. It not only familiarizes the audience with the different orchestral instruments, but also gives his musicians the opportunity of appearing as artist-soloists. The program ended with a Snub Pollard comedy.
The Strand.
It was a gala occasion here last week owing to the eminent musician, Nahan Franko, who was guest conductor for the Strand Symphony Orchestra. At every appearance of Mr. Franko there was a real ovation, proving without doubt the great popularity of this well known figure in the musical world. The selection for the overture was “Beauties of Badn” (Viennese waltz), by Komzak. The audience was not satisfied with a single selection, so Mr. Franko encored with a number of his own, “Serenade of the Cats.” This was an interesting composition and easily could have been repeated. Herbert Waterous, well known
For the first ten weeks of “Get Together,” Fokine and Fokina, the Russian dancers, were the soloists in their big ballet, “Thunder Bird,” created for the production. After that time they withdrew from the cast, and one of Fokine’s
SIDNEY BLACKMER,
as he appears in “The Mountain Man,” which is having a successful run in New York at the present tune, having been produced by Charles L. Wagner. Mr. Blackmer was discovered by the New York manager, and his extremely skillful and impressive portrayal of the crude boy from the mountains who is “made over” through the war’s influence, has attracted the notice and most favorable criticism of the dramatic critics.
pupils took his place, a young dancer, Mr. Gluckoff. Until last week this spectacular musical number was one of the feature attractions at the Hippodrome. A new ballet, created by R. H. Burnside, called “Bees and Butterflies,” will take the place of the Fokine ballet, which has been withdrawn.
Musical Score for “Four Horsemen” by William Axt.
What is perhaps the most interpretative and complicated musical score ever made by S. L. Rothafel was arranged for the Metro screen spectacle, “The Four Horsemen,” which attracted record crowds to the Capitol Theater for two weeks. Those who have seen the picture during its previous appearance on Broadway have found that a second visit to the Capitol brings to the surface new beauty in the picture.
In creating this setting, Mr. Rothafel has adhered to his belief that a score should do more than merely accompany the picture. It should interpret the character and action of the picture in so effective and realistic a manner that it becomes an integral part of the picture itself. The score for the “Four Horsemen” has been created according to these principles, and prominent musicians, who have visited the Capitol this week have commented on its musical and descriptive qualities.
This score probably contains more individual numbers than any other ever made at the Capitol. This is due to the shifting panorama of the picture, the myriad details, and the quick and eloquent flashes. Each of these widely contrasting and equally colorful scenes has been scored to music that is descriptive and at the same time is a symphonic and correctly constructed composition. The principal themes are all original music, especially written by William Axt, to meet the requirements. Perhaps the outstanding themes are those given to the Four Horsemen—Conquest, War, Pestilence and Death—which are distinctively individual, and so constructed that they can be played together. An effective interlude is furnished by the singing of “La Marseillaise” by Virginia Richards during a corresponding scene.
well known conductor and violinist, who was guest-conductor at the Strand last week. Mr. Franko has joined the list of distinguished musicians who have occupied the conductor’s stand of this motion picture theater ivithin the last year. Considerable interest was manifested and large audiences greeted Mr. Franko at every performance. (Mishkin photo.)
basso, was again one of the soloists. His number was “Bedouin Love Song” (Pinsuti).
After the topical review, which was unusually interesting, Richard Bald, tenor, and Eldora Stanford, soprano, sang a duet, “The Garden of Your Heart” (Dorel). This was enhanced by an effective setting, specially constructed for this number.
The feature picture was Hope Hampton in “Star Dust.” This feature is suggested by Fannie Hurst’s story of the same name. It is far from being a! good picture. The story of Lilly, the heroine, is exaggerated and unreal. It is much more difficult to become a famous singer than one is led to believe from this story. In order to lend additional interest Hope Hampton, the star, made a personal appearance. There is very little that can be done to improve this picture, for it does not rank with the usual feature shown at the Strand Theater. A Harold Lloyd comedy ended the pro-
The Capitol.
gram.
So popular was the showing of the “Four Horsemen,” that the Dig historical feature is held over for this week. In the mind of the writer this film so far is the finest achievement in motion pictures produced in this country. It would be impossible to criticize any part in the production. The vast audiences have sat spellbound through the .two hours in the showing. The musical score by William Axt is another detail that added to the impressiveness.
Instead of the organ selection during the intermissions,
NAHAN FRANKO.