Showmen's Trade Review (Oct-Dec 1939)

Page 26 SHOWMEN'S TRADlE REVIEW October 14, 1939 Proper Functioning of the Service Staff Is Important Kuehn Gives Some Hints On How Ushers Should Conduct Themselves In the Theatre THE finest equipment in the world is of no avail unless your employees know how to use it. When we say that we don't mean that an usher must run the projection machines or anything like that but that every employee must know how to make the fullest use of everything in your theatre. This especially applies to ushers, one of the most important cogs in the unit of the theatre machine. Rud}' Kuehn, district manager for Warner Bros., New Jersey Theatres, has compiled a complete manual for ushers, which is about as thorough an exposition of his duties as we have ever seen. So we are going to pass along to you some of his suggestions. Everything herein is subject to change for different conditions but it can serve as a basic guide to facilitate the service in any theatre. ExpSain Service To Usher First step when an usher is hired, is to give him a talk on the whys and wherefors of theatre service. Putting the boys through military drill is not for the purpose of making soldiers or wooden Indians out of. them but to teach them discipline and how to walk and stand correctly. Posture is important. The head should be back-, chest out and stomach in. They should walk snappily with a military carriage. When standing at attention the usher should stand with his arms in back of him, his hands folded at the base of his spine. He may look relaxed without looking indifferent. He should smile as the old slogan "Service With A Smile" is not just installation, get the facts on Vallen's new. better, lower-cost No. 150 all-steel, noiseless, ballbearing track, offered with special features at no extra cost. WRITE TODAY FOR FULL DETAILS AKRON OfflO ^\(x.'b FIG: 4 prosaic in a theatre but an axiom. When addressing anyone whether a patron, the manager or assistant or his chiefs, the usher should stand a foot or two from the person to whom he wishes to speak and say, "I beg your pardon, sir," and then state his business. He must never touch a patron to attract his attention. If the patron should stumble when the usher is addressing and touching him, it might lead to a lawsuit. The only time when an usher may touch a patron is if requested or in the case of old or feeble people who obviously need assistance. In addressing his confreres, ushers should address one another as Mr. So-and-So, never using either the first or last name alone. This upholds dignity and should be practiced when in or about the theatre. He Must Know the Layout The usher should know the layout of the theatre perfectly. He should know the number and location of each exit and where it leads, the location of every fire extinguisher and how to handle it and the location of fire hose stations. The porter's room, projection booth, engineer's and artists' rooms and manager's office should all be familiar to him. The number of each aisle should be familiar to him as these things are important to him at all times. Signals used in various houses difler widely. Kuehn cites one system which is particularly good. Figure one in the illustration on this page shows the signal when the manager is wanted. One finger would indicate that the chief of service is wanted, three for the treasurer and four for the assistant manager. As shown in the illustration it can mean that one of these persons is wanted at the box office or with the hands reversed that he is wanted on the telephone. Other signals can be used for the matron, the porter, etc. System of Signalling Numbers can be communicated in a similar way to show the number of available seats. Figure two shows kow to indicate a single seat. The required number of seats can be shown with more fingers. Figure three shows how to indicate 20 seats. Thirty or forty would be shown by more fingers. Figure foar indicates how to signal for 200 seats. The usher's chief function, of course, is to escort patrons down the aisles to seats. This must be done with the utmost courtesy and satisfaction, for that is what makes good service. The flashlight may be held in either hand but in back of the usher and pointing downwards. In this position it will give a good light to patrons and will not glare in the eyes of those already seated. The usher should be three or four feet ahead of the patron and should turn and face him when he finds the proper row. The seat >h(iiild not be pointed out with the flashlight. Necessary Courtesy Phrases WHien the house is not crowded, service and courtesy are easier than otherwise. At such times, the usher may say, "How many, please?" and "How far down, please?" This gives the patron the feeling that the usher i§ trying to do the best he can for him. Wlien the house is filling, a director should stand inside and direct patrons to the bes't available seats with some such phrase as, "Use entrance to the right, please" or "Seats directly forward, please," etc. In this manner the patrons are directed to those seats which it is desired to fill first. The usher must be something of a salesman, too. When the house is full he must use every effort to convince people that he is doing the best he can for them. Such phrases as "I have two good seats in the front in a good place" will do the trick. Selling Single Seats In a crowded house where most people come in couples it takes salesmanship to persuade people to separate. In such cases, the usher can say, "I have two good single seats close together where you can see each other and join later." This sort of phrase will convince people that they should take these single seats. Otherwise, you'll have a lot of single seats about and people standing although there is room enough to seat them. In the next issue of STR's Equipment and Maintenance Section, Nov. 11, more hints on service will be given. Oscillating Sign a Novel Feature for the Theatre An oscillating vertical sign is one of the outstanding features of the newly remodeled State Theatre in Miami. The sign represents a new departure for theatres in Miami and offers special advanatges in that it is visible from each direction on Flagler Street, where the State is located. The State, one of the many houses recently remodeled by Wometco circuit underwent a complete overhauling job while being darkened for only three weeks, day and night shifts carrjnng on the work. The facade was completely refinished with a new marquee, surmounted by the oscillating sign, and neon light, approximately 16 ft. wide by 40 ft. high running up the center of the front. Structural glass with new display frames was used for the refinishing of the front under the marquee. Interior improvements included installation of all new seats, carpets, wall and ceiling treatment for acoustical correction, curtains and drapes for the stage, and replacement of the heating plant with a thermostatically controlled air conditioning unit. Plans were drawn by Robert E. Collins, Wometco architect.