Word: romberg
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...leaves his show in its present form for long. There are too many bare spots, moments when graciousness turns into just plain dullness. More sparkle, more vitality must be had before the New York run is attempted. Everett Marshall and Evelyn Herbert sing some grand songs by Romberg and Hal Skelly still seems to know how to handle his women. With just a little something to do and more help from the chorus "Melody" might uphold a real ideal and, incidentally, be about fifty percent better...
East Wind. Sigmund Romberg (Nina Rosa, The New Moon) is the lushest musician working for the musical comedy stage. His melodies, usually boomed by a great big band, come out thick as fudge. For East Wind Composer Romberg has done his fudgiest. Pleasing result: a martial number called "East Wind," a stomp-time ballad named "You Are My Woman" and a lament "I'd Be A Fool...
This year the Romberg romance has been laid in French Indo-China by Librettists Oscar Hammerstein II and Frank Mandel. In this comparatively virgin territory a young woman (Charlotte Lansing) weds a young man (William Williams) although his upstanding brother (J. Harold Murray) is also in love with her. Unfortunately, Actor Williams succumbs to the swimming hips of a dancing girl (Ahi). The musical journey leads to Paris, where Actress Lansing goes from good to bad, then to Marseilles, where she goes from bad to worse. Honest Actor Murray, of course, finally finds, redeems...
...Boston Square and Compass Club male choir assisting: "Father of Victory" march Ganne "Roman Carnival" overture Berlioz "La Source" ballet suite Delibes "St. Botolph" Boston Square and Compass Choir Chadwick "Marche Slave" Tchaikoysky "The Night March" Kountz "Mother of Mine" Boston Square and Compass Choir Burleigh "Nina Rosa" selections Romberg "Love's Dream After the Ball" Czibulka "March of the Sardar" Ippolito-Ivanov
Viennese Nights (Warner). On every costume plate and scene design used in making Viennese Nights appeared the work "Oksroh"-a word meaning that the article on which it was placed had been approved by Sigmund Romberg and Oscar Hammerstein, authors of the story and the music. Although this kind of supervision-a reaction from a period when the cinema was condemned for giving authors nothing to say at all-is merely a mannerism of the studio, the picture is satisfactory. It succeeds principally because of its music, on which Romberg and Hammerstein did not have to pass judgment since they...