Exhibitors Herald and Moving Picture World (Oct-Dec 1928)

October 27, 1928 EXHIBITORS HERALD and MOVING PICTURE WORLD 45 Chairs, Theatre To equip a theatre properly, the first requirement is a thorough understanding of the uses to which the building is to be put. Having determined that, a seating diagram or layout should be made to insure the maximum seating capacity consistent with comfort, safety, facility of entrance and exit, compliance with local or state building requirements, proper sight lines, elevations and other mechanical adaptations and adjustments. The arrangement and width of aisles and passageways should be such that transient patrons may move about with a minimum of disturbance to those who are seated. For this reason, the number of seats in each row between aisles should be kept as low as is possible and consistent with the desired seating capacity. It is well to have not more than ten or twelve seats in a row between each aisle, although this number may, if necessary, be increased slightly. Many theatres, however, have established a maximum of fourteen seats. The distance between rows varies between 30 and 32 inches. Experience has demonstrated that this distance is necessary to accommodate all sizes of patrons, and to facilitate entering and leaving the center seats of a row while others are seated. In planning the seats for a theatre, it is a safe policy to plan for the accommodation of persons who are above the average in size, since seating that is too large does not produce discomfort. In the larger theatres, therefore, the majority of the seats are 20 inches wide, with an occasional 19-inch chair to fill in. An exception to this ruling is the seating for loges, which frequently is as much as 24 inches wide. Every patron is entitled to a direct and open vision of the stage. Sloping and terracing of floor and the curvatures of the balcony are, of course, intended to facilitate this, but unless the seats are specially made to meet the requirements of each and every part of the house, these avail but little. For so greatly do theatres vary in plan and design that the seating construction problem must be solved individually in each instance. The relative length of chairs, front and back, must be so adjusted as to conform evenly to the slope of the floor and still keep the chair in its normal position. Then the occupant is assured of a natural, easy and comfortable position in sitting. He is neither tilted too far forward nor too far back. His feet and those of the chair should rest very naturally in exactly the same line or plane. Where there are sloping sides toward the center, a two-fold problem presents itself. Not only must the inclination toward the front be right, but there must be a mechanical adjustment in the fastening of the seats to standards, so that the seats will be perfectly level and parallel with the natural floor level and the sitter will not be tilted at an angle. The necessary converging of seats from the outer circumference toward the stage, both on the main floor and in the balconies, is another problem. There must be no loss of chair space and resultant decreased capacity, but the symmetry and a general pleasing and orderly appearance must be preserved. The placing of chairs in rows and the arrangement of the aisles, to make ingress and egress as easy, speedy and safe as possible and to conform in every way with the building and fire ordinance of each community, is another important point requiring careful thought and planning. Frequently a very simple rearrangement makes possible an appreciable increase in house capacity, and if not in actual increased numerical capacity, actual increased box office receipts by transforming otherwise less desirable and less valuable seats to a higher grade of valuation and desirability. Almost equally as important as proper arrangement of the chairs themselves, is the quality, comfort and service they will give. The element of comfort is an especially outstanding consideration as the ability to provide rest and ease for the audience during the performance augurs for more solid en joyment of the show. Roominess, correct springs, smooth, well upholstered backs, correctly placed arm rests, a perfectly level placing with the floor, serviceable hat holders, smoothly operating and noiseless seat-hinges — these are but a few of the things that go to make up a comfortable theatre chair. Strength, stability, durability must be embodied in every chair. A broken seat, while apparently not of great importance in itself, is nevertheless an annoyance that reflects unfavorably on the theatre as a whole. Veneer chairs range in price from $2.75 to $6.00. Upholstered chairs are from $6.00 up. American Seating Company, 14 East Jackson boulevard, Chicago, III. The A. H. Andrews Company. 107 South Wabash avenue, Chicago, 111. Arlington Seating Company. Arlington Heights, 111. Furniture Buyers Service, 605 Broadway, New York City. HE YWOODWAKEFIELD COMPANY, 209 Washington street, Boston, Mass. NATIONAL THEATRE SUPPLY COMPANY, 624 South Michigan avenue, Chicago, III. E. W. A. Rowles Company, 2345 South LaSalle street, Chicago, 111. E. H. Stafford Company, 367 West Adams street, Chicago, 111. Steel Furniture Company. Grand Rapids, Mich. Union City Body Company, Union City, Ind. Wisconsin Chair Company, Port Washington, Wis. The Wooten-Gedge Company, 7310 Woodward avenue, Detroit, Mich. Chair Covers In addition to giving a pleasing and inviting appearance to the auditorium, chair covers serve the practical purpose of coolness and sanitation. An interior otherwise drab may be transformed into a cool, clean, cheerful looking place through their use. Theatre chair covers have been used extensively in dramatic and larger motion picture houses but it is only recently that they have been adopted on a greater scale by the smaller houses. No doubt one of the causes has been the belief that they were an expensive proposition. This, however, is not the case. Recently chair covers have been developed which are reversible, effecting an important saving in laundering costs. There are several things that should be borne in mind in connection with the use of chair covers. It should be remembered that auditorium and balcony chairs as a rule require two distinct and different styles of covers. The auditorium chair should be equipped with a cover which covers the entire chair back while the balcony chair need only have a quarter back. This is because of the slope on which balcony chairs are placed. Working from blue prints provides the most satisfactory way of assuring a perfect fit of the cover for each chair. Allied Cloth Specialties Company, Greenville, O. Dura-Tex Fabrics Company, 216 Webster street, Cincinnati, O. Goldie Linen Company, Not Inc.. 14 West Lake street. Chicago, III. Made-Rite Fabrics Company, 911 Broadway. Cincinnati, O. Nu-Tex Fabrics Company, 526 Broadway, Cincinnati, O. Textile Specialties Company, Pioneer and Broadway, Cincinnati, O. Chairs, Folding The folding chair, solidly constructed, plays an important role in the theatre today. With presentation and the stagehand, and the need for compactness behind the scenes, the folding chair serves manifold purposes. The durability of this type of chair as made today adds to its value as a stage requisite. Many very small theatres likewise find the folding chair suitable owing to the frequent necessity of clearing the auditorium floor for other forms of entertainment. The folding chair combines neatness, durability and practicability. Tucker Duck & Rubber Company. Fort Smith, Ark. Clarin Manufacturing Company. 2456 Crawford avenue. (^C t^fc Change Makers Speed and accuracy are obtained at the box office through the use of coin changing machines which in addition to their time saving facilities offer a valuable protection against annoying mistakes in making change to patrons. With the coin changing machines a light touch at the keyboard is all that is necessary to deliver the correct number of coins to the patron who easily scoops them up from a cup at the side of the change maker. Coins may be delivered either from the right or left side and these automatic cashiers as developed for theatres have been improved in recent months until now they are available in sizes which occupy only about nine square inches of space in the box office. In the handling of crowds the coin changer plays a particularly important part in reducing to a minimum delay at the ticket window. Fumbling of coins and the dropping of them which is characteristic of the old fashioned method is eliminated and the coin changer enables the ticket purchasers to be served at from three to five times as fast as under the old way. Change makers sell for $125 and up. Brandt Automatic Cashier Company, Watertown, Wis. Hedman Manufacturing Company, 1158 Center street, Chicago, 111. Hoefer Change Maker Company, 3700 East 12th street, Kansas City, Mo. Universal Stamping & Manufacturing Company. 3839 North Western avenue, Chicago, 111. t^? Change-Overs A device for changing from one projection machine to another or from projector to stereopticon which is accomplished by pressing a button. The list price ranges from $30 to $65. Dowser Manufacturing Company, 225 Broadway, New York City. ESSANAY ELECTRIC MANUFACTURING COMPANY, Maywood, 111. (,$8 ^£ t($C Chimes, Organ Refer to ORGAN CHIMES t$ t$ t$ Choppers, Ticket Refer to TICKET CHOPPERS Cleaners, Film Refer to FILM CLEANING MACHINES Cleaners, Vacuum Refer to VACUUM CLEANING EQUIPMENT Clocks Advertising Refer to PUBLICITY CLOCKS Color Hoods Artistic color effects on electric signs are possible by the use of color hoods which are available in six colors : ruby, blue, green, amber, opal and canary. The color hoods are made of fadeless glass and are made to fit any standard size lamp where they are held in place by spring fasteners, and are readily taken off and replaced for cleaning. In connection with sign flashers color hoods are an important feature in achieving life and color to make an attention compelling display. Prices of color hoods range from 22c-40c to 50 cents. Curtis Lighting Company, 1119 West Jackson boulevard, Chicago, 111. KLIEGL BROTHERS, 321 West 50th street, New York City. REYNOLDS ELECTRIC COMPANY, 2651 West Congress street, Chicago, 111. Color Wheels Wheels to accommodate colored gelatine sheets for producing various lighting effects with spot lights or projectors. Prices range from $2.50 to $7.50. KLIEGL BROTHERS, 321 West 50th street, New York City. t£ Coloring, Lamp Refer to LAMP COLORING