Exhibitors Herald (1927)

March 19, 1927 EXHIBITORS HERALD 33 Artistic arches in the ceiling of the Roxy theatre illuminated hy concealed lights emphasizing architectural details. THE ROXY THEATRE {C ontinucd from page 29) and is one of the features of the Roxy theatre. Here Roxy with his gang will broadcast to his friends throughout the country on a scale never before attempted. * * ^f: The size of the theatre favors an elaborate enframement of the picture program. Productions supported by anywhere around 150 people on the stage at one time, and 100 additional voices concealed in the choir chambers, may be presented to the mammoth audience. Reference to the sketch will show that a portion 40' x 100' is devoted to the main entrance. A portion 100' X 100' represents the large elliptical foyer, and 190' x 200' 10" the auditorium proper. The main floor has a seating capacity of 2,982 seats, the mezzanine 1,054, Walter W. Ahlschlager, nationally known theatre architect of Chicago, who designed the Roxy theatre. The Roxy is ornate outside as well as inside as shown by this view of one side of the huge playhouse. and the balcony 2,178 seats, total 6,214. Probably the first interesting deviation from ordinary theatre design is the method of staircases and approaches to the three groups of seats. The patrons to the main floor of the auditorium, having passed through the entrance, will travel the long axis of the elliptical foyer to the auditorium. Patrons to the mezzanine floor will travel one-half the length of the long axis and then up a separate and private marble staircase sixteen feet wide to the mezzanine floor. Patrons for the balcony, immediately upon entering the large foyer, will turn to the left and travel by means of a sixteen foot wide winding marble staircase to the tunnel floor. Patrons to the balcony will at all times have a vista, through the colonnades to the entire foyer, and likewise will be visible, as they are enroute up the stairway, to ail persons on the main floor of the foyer. For those who desire to reach the balcony via elevator, two large elevators are provided. A digest of the line of travel shows that an important problem — the mastery and control of large crowds by the operators, has been simplified and made possible by dividing each set as soon as possible and sending them on their respective and separate journeys, each in a definite direction of the shortest possible length. To enframe the spectacle of an audience over six thousand has in itself presented a possibility unfolding architectural ideals never before made possible. Every architectural form dictated by the practical conditions of the structure have been made useful to the producer to put in force any fanciful idea of stagecraft. An innovation in organ building has been designed in placing the organ chambers beneath the stage. Vibration affecting patrons of balcony seats. Architectural study of detail of a portion of the upper part of the Roxy theatre. (Photo by Tebbs & Knell, N. Y.) where organ lofts are elevated on either side of stage opening, has been eliminated and that space heretofore so allotted has been used for the creation of vistas and architectural embellishments, such as a pair of huge richly carved winding stairs starting at the ground floor on either side of the proscenium which twist upward to odd pulpitlike landings until they reach the ceiling. The ancient Greek idea of putting the chorus out into the audience may be actually put into use and likewise choir presentations and processions may be produced as effectively as in the largest European cathedral. Taking into account that the arrangement of a great amount of color lighting, architecturally concealed, working balconies for spot lighting, it becomes evi-j S. L. Rothafel, better known as “Roxy,” who will operate the new theatre bearing his name.