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I EING Grouped on the stage of Grauman's Chinese Theatre in Hollywood are the 13 finalists in National Theatres' "Talent Quest" contest, together with members of Manny Harmon's orchestra. Fox West Coast officials and makeup and costuming experts from the studios. The ultimate winner, Charles Nelson, Ls fifth from left in the front row. Nelson was the Fox Midwest circuit contestant. 'Talent Quest' Pays Off For National Theatres Here's a report on how a major circuit streamlined an old idea and used it to stimulate additional business. e By IVAN SPEAR advanced with increasing frequency in these uncertain times, when theatre revenues are dwindling, is one suggestion highly regarded by its adherents as a panacea for balky boxoffices—a return to "old-time showmanship" through the blending of live entertainment with film fare. Proponents of the policy argue—and with some logic—that the public in constantly growing numbers is according vaudeville an enthusiastic welcome and that exhibitors therefore should capitalize on it, to the probable ultimate benefit of their fiscal operations. Such reasoning recently was accorded a thorough test—with results labeled, after a preliminary survey, as "very helpful"— by one of the country's leading circuits. National Theatres, through the staging of its "Talent Quest" contest, designed to unearth previously undiscovered and or unexploited newcomers antong the nation's aspiring amateur entertainers. The contest final.s were held in Hollywood late in April after several weeks of intensive preliminary competition among NT's subsidiary circuits—Pox West Coast, Fox Inter-Mountain, Fox Midwest, Pox Wisconsin and the Evergreen chain. Other showmen may wish to emulate the stunt as a means of building community goodwill and patronage, either along the lines set up by NT or in some modified, possibly less elaborate form. Therefore, and even though somewhat belatedly, a detailed analysis of how the circuit staged its "Talent Quest" may prove of some value: Starting early in February, each district -selected a "test house" and staged a preliminary contest, of five acts each, for the purpose of determining the best procedure for launching the stunt in other theatre locations. In FWC's southern California division, for example, after the initial "test run," 49 showcases were chosen to participate, ranging from Santa Barbara on the north to San Diego on the south and east to Phoenix, Ariz. Prom mid-February to mid-March, on a specified night each week for five weeks, these 49 theatres held "Talent Quest" programs using five different acts each week, selected from audition tryouts. The winners, chosen by audience applause, qualified for finals in each individual theatre. In a subsequent cne-week period, individual theatre finalists then competed for first place at their respective theatres, whereupon the winner entered the dstrict finals. Each of FWC's eight southern California districts staged such finals, the winners of which were then sent to Loew's State, PWC first-run outlet in Los Angeles, to compete in the divisional finals. The same procedure, varying only in minor details, was pursued by NT's other divisions. The winners in each division were trans- Plenty of exploitation went into the "Talent Quest." Here is one type of lobby poster designed as an advance teaser, being examined by Polly Sloan (left) and Gerry Pattison, contest entrants. ported to Hollywood to compete on the stage of Grauman's Chinese Theatre, with Dick Haymes, radio and video star, as master of ceremonies, and music supplied by Manny Harmon's orchestra. The finals were highlighted by personal appearances by film luminaries including Shirley Temple, Sid Grauman. Celeste Holm, Eddie Bracken, Roy Rogers, Dale Evans, the Riders of the Purple Sage, Edgar Bergen, Dan Dailey and Richard Widmark. All of the contestants' expenses, including travel, hotel and meals, were paid by NT. An important adjunct to the smooth staging of the entire contest—and an imperative "must" for other exhibitors planning something of a similar nature—was a tiein with newspapers, radio stations and merchants in each community. In Los Angeles, for example, the "Talent Quest" was jointly sponsored by PWC and the Daily News, while a prominent jewelry firm contributed several thousand dollars' worth of custom-made jewelery and watches to the ultimate contest winners. In other Pacific coast areas newspaper cooperation was arranged via the San Francisco News, the Seattle Post-Intelligencer, the Spokane Chronicle, the Portland Oregonian and scores of newspapers in smaller communities such as Long Beach, Compton and Inglewood. Similarly, in other parts of the country newspaper and radio backing also was secured. In the Fox Wisconsin territory, for example, sponsors included the Milwaukee Sentinel, the Kenosha Evening News, the Ozaukee News, the Beaver Dam Citizen and the Fond Du Lac News. pOR the sake of the record, a recapitulation of the winning amateurs is necessary. First place went to Charles Nelson, 15-year-old Salina, Kansas, baritone, who was awarded $1,000 in cash, a $1,000 diamond ring and a custom-made wrist watch. Additionally, he was given a screen test by 20th Century-Fox. In second place was Gordon Leigh, 13-yearold boy soprano from Seattle, who walked off with $500 cash, a $500 ring and a watch; Alfred Purcell, 13, concert pianist from Alhambra, Calif., bagged third spot, $250 in cash, a $250 ring and a watch; and $100 in cash, a $100 ring and a watch went to the fourth-place winner, Albert Uhalde, 30, baritone from San Francisco. The remaining five competing acts each (Continued on next page) COVER PHOTO: The finals of the "Talent Quest." Young Charles Nelson gets the first place prize, as Bob Duke (left), manager of Loew's State, and Manny Harmon, the house band leader, look on. BOXOFFICE : : May 28, 1949 21
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