In 1926: living at the edge of time - Monoskop

192 ARRAYS
as powerful loudspeakers, colored lighting, telephones, even huge movable
swimming pools (Schafer, 3). [see Telephones] It is thus no wonder
that their advertisements emphasize sheer quantity above all else: "Fifty
enormous pictures, one hundred delightful models, two hundred enchanting
women, one thousand innovative ideas, two thousand fantastic
costumes" (Carle and Martens, 66). Since numbers matter, money matters;
and since money matters, revue spectacles are a feature of affluent
cities where theaters can fill their expensive seats once or even twice every
day (Jelavich, 165). Some of Berlin's largest traditional theaters, such as
the Komische Oper and the Grosses Schauspielhaus, which can hold up
to three thousand people, are now hosting revues, while others are being
transformed into huge movie palaces. As the young journalist Siegfried
Kracauer laconically states, "It cannot be overlooked that there are four
million people in Berlin" (313). [see Movie Palaces]
A dramatic economic gap separates this flourishing industry from the
popular forms of entertainment in colonial cities and provincial towns.
Wherever the revue culture finds sufficient interest and financial support,
it develops into veritable systems of competing companies and shows.
Nine revues are inaugurated in Berlin alone during the fall and winter
season. Among them, James Klein's program at the Komische Oper has
a reputation for being the most licentious; Erik Charell's show at the
Grosses Schauspielhaus presents the widest international range of performers;
and Hermann Haller's spectacle at the Admiralspalast boasts
the most sophisticated sets (see Carle and Martens, 66; Jelavich, 165ff.).
The advertisements on the back page of the 8 Uhr-Abendblatt indicate
the extent to which successful revues depend on balancing the immense
size of their productions with sufficiently large audiences: "The only true
theater sensation in Berlin! Grand revue, 200 performers, low prices"
(Komische Oper, August 29). "150 girls, 400 performers! Sunday afternoon,
3:00. Entire show at much reduced prices" (Grosses Schau spielhaus,
October 19). "Often imitated-never matched! Two Sunday performances,
3:00 and 8:15. Afternoon show half-price" (Admiralspalast,
October 22). The September 22 issue of the New York Times runs
announcements both for Florenz Ziegfeld's Follies, with the show "Glorifying
the American Girl" (in two "popular priced" matinees on
Wednesdays and Saturdays), and for Earl Caroll's Vanities, "The Greatest
of All" (with matinees on Thursdays and Sundays). In Paris, Le
Figaro of March 17 advertises the program of the recently reopened