Word: keiths
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Dates: during 1930-1939
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From England out of Germany comes this screen comedy with music, now being presented at the RKO Keith Theatre. Originally produced in the Rhineland, it has been recast and filmed by Gains-borough, and now is released in America by RKO. Thursday night brought to Boston the American premiere of the picture , with Klieg lights and motion picture cameras vainly striving to turn Washington Street into Hollywood boulevard...
...black brothers were hanging around Harlem jobless. Four years ago vaudeville all over the U. S. was flat on its back. Talking pictures, long & short, were filling entire bills. But talking "shorts" did not satisfy. Today, cinemansions are putting on 60% more flesh & blood acts than in 1929. Radio-Keith-Orpheum spent $12,000,000 on its vaudeville last year. The four Mills Brothers, their engagement at Manhattan's Palace Theatre extended for a third time, rolled about town last week in their automobile driven by a liveried chauffeur...
...Keith's-"Murders in the Rue Morgne,"-screen adaptation of Poe's classic...
...films, plots with newspaper or gangster settings have undoubtedly fulfilled the wishes of the movie going public, but they have also fitted in happily with the producers' campaign to cut costs. "Frankenstein", "Dr. Jekyll and Mr. Hyde," and "Murders in the Rue Morgue," the latter opening at the R.K.O. Keith today, constitute a trio of carefully contrived hair-raisers. A survey of other current titles reveals additional evidence that melodrama and the effects of the spoken word are being capitalized...
When Singer Kathryn Elizabeth Smith first sang at Keith's Theatre (then Crandall's) in Washington, she got nothing for her performance. That was in 1926, when, while she was studying to be a hospital nurse, she made her stage début in a benefit production. Pleased by her quivering technique, Funnyman Eddie Dowling presently gave her a job in Honeymoon Lane. Singer Smith had barely had time to continue her musicomedy career in Hit the Deck, Flying High, when Fleischmann's Yeast put her on the radio which concealed the comical incongruity between her strong, low sentimental voice...