Showmen's Trade Review (Apr-Jun 1939)

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Page 36 SHOWMEN'S TRADE REVIEW June 24, 1939 Theatre Suits Its Community A Picture House, ''Different'' in Every Architectural Detail Thrives Because it ''Belongs'' The Community Theatre in Morristown, N. J. Left, unusual exterior. Below auditorium. Lower center, monument to George Washi n g t o n , of which Morristown is proud. white walls and ceiling. The auditorium, nevertheless, can be given all the color and "punch" required for the dramatic purposes of the theatre by means of a 3-color lighting system. The lighting is all indirect, cove lighting. This cove lighting plan is carried out around the ceiling and in the pilasters along the side walls. The carpets are modern blue in color. The seats are upholstered in plum colored mohair. The Community has a stage, with full P^XPRESSING the spirit of the community architecturally as well as in matters of service, the Community Theatre, Morristown, N. J., was built more or less as an experiment. After two years of existence during which the theatre has flourished, the experiment has proved beyond doubt that both the showmen responsible for its building and the architect who designed it were fundamentally correct in the assumption that the theatre should fit into the community which it serves and from which patronage is sought. The Community Theatre was built and is operated by Walter Reade Enterprises, operating more than 30 theatres in New York and New Jersey. The architect who designed it is Thomas Lamb. Remarkable in the respect that it gives conclusive evidence as to the sound idea, both from a standpoint of economical construction and box office success, is the fact that since its opening in December 1937, The Walter Reade company has adopted the Colonial style of architecture for all community theatres built since that time. Conforms to Background The locality which it was to serve set the style for the Community. Morristown is widely known as the rather select center for homes of many wealthy and socially prominent people. It is a historic town, with a background flavored with episodes associated with the American Revolution. Still standing, as a monument, is the house where General George Washington made his headquarters. The fine Colonial building has set the pat tern for the majority of the homes and public buildings in Morristown. The Walter Reade company adhered strictly to this tradition, making the Community Theatre thoroughly Colonial in its exterior and interior design. The flashing lights, multi-colored exterior of the conventional theatre were daringly disregarded, and as may be seen in the photograph of the exterior illustrated here, the Community presents instead the appearance of a fine colonial home. Poster frames, set in the exterior frontal walls are brightly illuminated, carry the message of the current and coming attractions — ^but otherwise there is only the pleasing appearance of a public building that conforms to its surroundings. The Community has a seating capacity of 1476; 160 loge seats, 1178 seats in the orchestra, and a balcony floor with 138 seats. Its interior is very simple in decoration and design, following the Colonial style with all stage and lighting equipment. Air conditioned throughout, the auditorium of the Community has been treated for acoustical correction. The exterior construction is of red Champlain brick, pressed stone and concrete. Box office, doors, windows and display frames are of white enameled wood. Interior doors are of formica and aluminum. Hand rails are of bronze and steel. Equipment a Feature The following list of equipment which is installed in the Community Theatre will convey more forceably than description the quality of the service and comfort which is provided the people of Morristown by this unusual picture theatre : Chairs — American Seating Co., full-spring. Switchboard — Frank Adam, Inc. Projection machines — Motiograph. Lamps and effect machine— Brenkert, Inc. Asbestos tile — JohnsManville Co. Carpet — Karagheusian. Furniture— J. Rosenheim Co. Rubber mats — Swern & Co. Ticket Register — General Register Co. The Theatre presents an example that deserves study and thoughtful consideration by showmen, in that the more flambuoyant trappings of conventional showmanship have been completely ignored in the design of the Community Theatre, with results that are far from discouraging to such a daring plan. Since the early days of motion picture theatre operation there has been a keen sense of the value of making the theatre conform to the background of the town which it serves — in terms of the style of operation. But here is a case in which the theatre itself is a part of the community.