SID GRAUMAN PROLOGUE

1. The Overture
"Ebony and Blue" A symphony in color, arranged and interpreted by Georgie Stoll, musical director, Chinese Theatre Symphony Orchestra. Though comprised of many modern melodies, you will note throughout the musical fabric the aboriginal rhythms . . . the weird strains of the jungle . . . the measured beat of the tom toms . . . which are the background of today's popular spirituals and symphonic jazz compositions.

2. The News
Hearts Metrotone News . . . Fox Movietone News These two great news subjects bring a kaleidoscope of interesting, timely happenings all over the civilized world . . . in scenes . . . in sound . . . in dialogue.

3. The Prologue
"Rhapsodie in Black" Presented by Fanchon & Marco. Staged by LeRoy Prinz. Featuring the Norman Thomas Quintette with Etude Ethiopian Chorus of 30 voices, directed by Freita Shaw . . Laura Smith . . George Green . . James Johnson . . and 30 African dancing beauties. A Classic of stagecraft . . a highly impressionistic portrait of primitive African peoples, rhythms and melodies depicting the birth of rhythm.

(The Norman Thomas Quintette was touring with an act they called "Harlemania" with the personnel consisting of:

Freddie Crump - Drums
Frank Allen and Norman Thomas, Jr. - Dancers
Norman Thomas - Pianist
Ceele Burke - Tenor and Instrumentalist

Wednesday, Janaury 28, 1931 Film House Reviews - Grauman's Chinese - Hollywood, Jan. 23. The Chinese in a revival of its past atmospheric prologs is spreading itself colorfully for the 'Trader Horn' world's premiere, with 'Rhapsodie in Black' as the Fanchon & Marco presentation staged by LeRoy Prinz. While atmospherically intended to be African in motif, in keeping with the Congo locale of the film, it's more a throwback from Harlem and the black-and-tans. Regardless, salable stage stuff. Everything is colorfully blended, breaking up the black man's jungle chants with a hot line of 20 dig-diga-does doing that thing with rumba variations. The Norman Thomas sextet is the kingpin of the presentation, which is embellished by the Etude Ethiorian chorus of 30 voices; Edith Spencer, soubret (sic); Laura Smith; George-Green, James Johnson and Freddie Crump, the eccentric drumming specialist with the Thomas sextet. Indeed to suggest the African evolution of rhythm and melodies, it's oke popular entertainment despite the high-sounding purpose of it all. That torrid coaching line of hi-yallers, all nicely featured chorines; the vocal flash of the Etude Ethiopian chorus, plus the eccentric comedy of the Thomas sextet, makes it a commercially sound stage flash. Freddie Crump is one of those belly-sliding, cymbal-clashing traps experts who works a la Jack Powell. The Thomas sextet, of which he is the featured member, otherwise comprises Thomas at the irovies; a nifty 'snake-hips' hoofing team and a trumpet soloist. Miss Spencer, well known around the Harlem nite clubs and doubling from the Apex, a local black-and-tan, does her vocal stuff satisfactorily. Laura Smith and Jimmy Johnson click with an eccentric s. and d. opportunity, and George Green doing buck and wings on rollerskates is another acceptable stop-gap. The prime idea of rhythmic flash and color is well gotten across with LeRoy Prinz's staging counting effectively along those lines. Overture was equally in keeping with the 'Trader Horn' motif. Georgie Stoll, directing a corking 'Ebony and Blue' symphony of his own arrangement, got in all the atmospheric weirdness of the jungle and tribal fetich (sic). Usual newsreels wound up the preliminaries to the rather long feature, which the atmospheric African forepart tended to make seem even longer. The Chinese should do some trade with this show. — Abel.

Saturday, January 24, 1931:

"First and Only Midnight Matinee" at 11:30 PM: "Trader Horn and Extras, including "W. S. Van Dyke presents the entire cast on stage: Harry Carey, Edwina Booth, Mutia Omoola

Reported Gross "Trader Horn" @ 75¢ - $1.50

Week Week Ending Perfs. Gross

1 Sunday, January 25, 1931 (4 Days) 8 $23,600

2 Sunday, February 1, 1931 14 $32,000

3 Sunday, February 8, 1931 14 $30,000

4 Sunday, February 15, 1931 14 $33,000

5 Sunday, February 22, 1931 14 $27,300

6 Sunday, March 1, 1931 14 $22,000

7 Sunday, March 8, 1931 14 $17,000

8 Sunday, March 15, 1931 14 $16,000

9 Sunday, March 22, 1931 14 $13,500

10 Sunday, March 29, 1931 14 $15,200

11 Sunday, April 5, 1931 14 $8,000

Totals

74 Days Daily Average: $3,211 -- --

11 Weeks Average Performance: $1,605 148 $237,600

Source: Motion Picture Herald

FANCHON AND MARCO PROLOGUE

A:
Hearst Metrotone News (All the news at a glance)
--
Fox Movietone News (It speaks for itself)

B: The Overture:
Overture Inspirations Chinoises (Chinese Inspirations)
Arranged by Georgi Stoll, conducting the Chinese Theatre Symphony Orchestra
--
A fabric of melodies of Old Cathay inspired by the atmosphere and architecture of the Chinese Theatre.
--
Liberating the music and rhythmic poetry of line and color which is the soul of the design of the Chinese Theatre, Georgie Stoll, conductor, has arranged a blending of compositions of the Far East.

C: The Prologue:
"Trois Grandes Figures" (Three Big Figures)
--
An ultra-modern extravaganza centering around three scenic figures. . ."The Orchid Lady," "The Peanut Vendor" and "The Old Fashioned Lady."
--
Fanchon & Marco strike an ultra-modern note in novelty, the action being staged around three mammoth scenic figures, representative of various types in dramatic interpretation. These figures were prepared in the scenic department of the Roxy Theatre in New York City especially for this prologue.

Stars attending the premiere:

Jack Holt / Ralph Graves / Fay Wray / Eddie Cantor / Gloria Swanson / Frank Capra / George Bancroft / Evelyn Brent / Hobart Bosworth / Harold Goodwin / Roscoe Karns / Elsie Janis / Bert Wheeler / James Gleason / Norma Shearer / Edmund Lowe / Lilyan Tashman / Matt Moore / Bessie Love / Aileen Pringle / Eddie Buzzell / Laura Hope Crews / Eileen Percy / Count and Countess De La Falaise / Countess Tukine / Monte Blue / Joseph Schenck / Louis B. Mayer / Irving Thalberg / Carl Laemmle / Cecil B. DeMille / Daryl Zanuck / Al Christie / Charles Christie / Will Hays / Sol Wurtzel / Howard Hawks / Harry Rapf / Hunt Stromberg / Erle Kenton / Fred Beetson / Harpo Marx / Sally Blaine

John P. Medbury - Master of Radio Ceremonies

Tune in on KFWB at 8:30 PM

Forecourt Music provided by the English-Gibson Orchestra

Premiere Tickets: $5.00

Wednesday, Janaury 28, 1931 Film House Reviews - Grauman's Chinese - Hollywood, April 7. Columbia went 25 grand on the nut for the western premiere of 'Dirigible' and put it over in style. Lights, dirigibles, radio-telephony, ballyhoo from airplanes, special ether announcer (John P. Medbury), were part of the trimmings. But probably most noteworthy, and not paid for, was the unofficial but wholehearted good-will manifested by the first-nighters towards Harry Cohn's latest important production. The entire Hollywood bunch seemed to be rooting 100% for this $5 opening to click, taking the kindly attitude that a lesser studio like Columbia's merited all the breaks when and if turning out a big flicker opera like 'Dirigible.' The stage show preliminaries preceeding were refreshingly apart from any 'atmospheric prolog' idea to the film theme. It worked out very well by reason of contrast. If nothing else, it eliminated the steeping of both stage and screen atmospherics along the same general lines. 'Inspirations Chinoises' overture took it motif from the Chinese aura of the theatre. Georgie Stoll conducted his brilliantly colorful blending of Oriiental themes, working in the 'Limehouse Blues' and 'Chinese Lullaby' with the rest of the orchestral hors d'ouvres and producing a nifty overture. There was novelty muted violin instrumental bit, through a large megaphone, that futher punctuated the presentation. Prolog was titled 'Trois Grande Figures' ('Three Big Figures'), employing the novelty stage pieces which the program credits to the Roxy, New York, scenic department for origination. The first part of the trio, a mammoth 'Peanut Vendor,' reclining in the indolant fashion with the 40 girls emerging from his basket, won the enthusiastic salvo which it merited. It gave the galls some limming opportunities and again worked in skillful orchestrating of the 'Vendor' number, the 'Bolero,' 'Marchela,' etc. Tom and Hank, Rita Owin and the five Jansleys, latter unbilled, were specialty highlights. Norce, contortive specialist, Helene Hughes, prima, and Harold Stanton, local tenor, completed. Tom and Hank and the Jansleys arrived on the afternoon of the premiere from New York. The former look quite juvenile and do lariat stuff in engaging style; also top pff with some cross-stage rodeo stuff on spotted ponies. The Jansley's with their lightning risley and pedal artistry built up the speed element by a highly tensioned nervousness which is great showmanship. The other two 'grandes figures' were the 'Orchid Lady' and 'Old Fashioned Lady,' dovetailing into Miss Owin's eccentric hokum, including a sitting-down chair-dance. Miss Fanchon personally staged the pprolog which runs 35 minutes and could be chopped to some advantage. One sluggish interlude in the old-fashioned number will take up the slack nicely. Usual newsreels rounded out. — Abel.

Performances at regular price schedule Twice Daily, 2:30 and 8:30 P.M., starting Wednesday, April 8. Seats at Box Office, GL 5184 or Owl Drug, 6th & Broadway, and all agencies.

Reported Gross "Dirigible" @ 75¢ - $1.50

Week Week Ending Perfs. Gross

1 Wednesday, April 8, 1931 (8 Days) 14 $19,100

2 Wednesday, April 15, 1931 14 $12,500

3 Wednesday, April 22, 1931 14 $12,200

4 Wednesday, April 29, 1931 14 $8,500

5 Monday, May 4, 1931 (5 Days) 10 $6,500

Totals

34 Days Daily Average: $1,729 -- --

5 Weeks Average Performance: $891 66 $58,800

Source: Motion Picture Herald

1. Chinese Theatre News Events - Selected from latest Fox Movietone and Hearst Metrotone pre-releases
2. "Hunting Thrills" A Grantland Rice Sportlight
3. "The China Plate" A Silly Symphony / Directed by Wilfred Jackson / A Walt Disney Production, released by Columbia Pictures
4. The Masquers Club of Hollywood presents "Stout Hearts and Willing Hands" Starring Frank Fay and Lew Cody / Directed by Bryan Foy / Released by R-K-O Radio Pictures

Reported Gross "Women of All Nations" @ 25¢ - 75¢

Week Week Ending Perfs. Gross

1 Thursday, June 4, 1931 14 $9,600

2 Thursday, June 11, 1931 14 $6,400

Totals

14 Days Daily Average: $1,143 -- --

2 Weeks Average Performance: $571 28 $16,000

Source: Motion Picture Herald

1. "Blue Rhythm" Starring Mickey Mouse / Directed by Burt Gillett / A Walt Disney Production / A Columbia Pictures Release

2. Grauman's Chinese News, Fox Movietone and Hearst Metrotone Pre-releases

3. Grantland Rice Sportlight "Battling Silver Kings"

4. Chic Sale in "The County Seat" / Directed by Mark Sandrich / An RKO Short Subject

Reported Gross "Bad Girl" @ 25¢ - 75¢

Week Week Ending Perfs. Gross

1 Monday, August 31, 1931 14 $9,800

2 Monday, September 7, 1931 14 $10,200

3 Tuesday, September 16, 1931 (9 Days) 18 $7,400

Totals

23 Days Daily Average: $1,191 -- --

3 Weeks Average Performance: $596 46 $27,400

Source: Motion Picture Herald

1. Grauman's Chinese News / Hearst Metrotone News / Fox Movietone News

2. "Pearls and Devilfish" with Pete Smith / Directed by Harold Austin / A Metro-Goldwyn-Mayer Short Subject

3. "I Surrender Dear" A Mack Sennett Special Comedy, starring Bing Crosby / Directed by Mack Sennett / A Sennett Picture Corporation Production

Reported Gross "Merely Mary Ann" @ 25¢ - 75¢

Week Week Ending Perfs. Gross

1 Wednesday, September 23, 1931 14 $9,000

2 Wednesday, September 30, 1931 14 $7,500

3 Monday, October 5, 1931 (5 Days) 10 $3,500

Totals

19 Days Daily Average: $1,053 -- --

3 Weeks Average Performance: $526 38 $20,000

Source: Motion Picture Herald

Wednesday, Janaury 28, 1931 Film House Reviews - Chinese L. A. - Hollywood, Nov. 13. In the endless shuffling of theatre policies locally, Grauman's Chinese has again popped up as a $1.50 two-a-day stand for run pictures with stage shows. Resumption of this policy after a stretch of day-and-dateing straight pictures with the downtown Criterion is of much gratification to Hollywood boulevard merchants, who have said that when the glamor of Grauman's Chinese departs, so goes the glamor of the boulevard. These merchants led a vigorous campaign for return of the $1.50 shows. Hollywood boulevard was again its former self with the $5 opening night of 'The Champ.' There was the battery of roving arc-lights, the dense knot of peasant fighting for glimpses of ermined picture royaly, and a squad of marines in the forecourt to greet the guest of honor, Vice-President Charles Curtis, in Louis B.Mayer's party. It was all so typically Hollywood as to bring lumps to the throats of those who have been classy rents just to have Hollywood boulevard as their store address. Inside, 'The Champ' (Metro) demonstrated its ability to give the $1.50 policy a rousing send-off, but it is getting little assistance from the stage show, 'Once Upon a Time,' which is a reconditioned Fanchon & Marco unit produced by Gae Foster and first seen by audiences at the Poll, New Haven. Only portion of the unit bearing any resemblance to the price and intended atmosphere of the house is a spectacle employing a huge smoke-breathing dinosaur which was brought from the Roxy and brings $630 royalties to the manufacturers. Talent section includes Keith Wilbur with an outmoded vocal imitations routine; Franklyn Record, tenor, who failed to make a harmonious hookup with the orchestra at the first performance; Dorothyea and Helene Blossom, roustabout sister team who have no voices but sing, and Raye, Ellis and LaRue, two-man and girl adagio act who have added much grace to the routine by working in waltz time. The 16 line girls have no number employing footwork, but make an impression with a Zulu hut routine wherein they turn the half-shell huts about, sit in them, and on a dark stage manipulate their arms covered to the elbows with phosphorous in a fast succession of patterns. Props for this were also brought from the Roxy, but the effectiveness was somewhat dimmed by another similar savage number done to 'Minnie the Moocher.' Opening number had the tenor singing against a projected full-stage motion picture of a rocky seacoast while the ballet eased through a veil dance. The girls were also in on the dinosaur finish, screaming and hotfotting around while the mechanical dinosaur lifted the female member of the adagio trio and with it flexible neck neck projected her over the audience and back. Without that the show would have been a dud, and even with it the unit as a whole is weak stuff. The Blossom sister team reciting introductions to numbers in strained voices and then tearing into the childish hoke were a strange sight in the formal quality of the opening night display. Likewise Wilbur's beast-fowl-and-banjo imitations. Dion Romandi's pit orchestra carried the stage show accompaniment assignment capably. Pete Smith's 'Athletic Daze' (Metro) and Fox and Hearst newsreel clips completed. Feature has demonstrated a fine draw and will compensate for the below-par stage performance. Fanchon & Marco should have no trouble bettering the stage end, which must be of higher quality after 'The Champ' moves out. Egyptian, also on Hollywood boulevard, is now day-and-dating on a grind with the Criterion. — Bang.

Monday, December 2, 1931:

"Tonight is Shriner's Night - visiting Nobles and Members of Al Malaikah Temple will attend - WEAR YOUR FEZ!"

SID GRAUMAN PROLOGUE "With 100 Artists," including Daisy and Violat Hilton

Chinese Symphony Orchestra, Oscar Baum, conducting

"Desert Regatta" with Pete Smith / Directed by Jules White / A Metro-Goldwyn-Mayer Short Subject