Publix Opinion (Oct 4, 1929)

6 PUBLIX OPINION, WEEK OF OCTOBER 4ru, 1929 UR THEATRE CHECKING UP YOUR 1 i |e Se Gn ar Are all of their borders hung true? {know that the cooling plant is one THIS OUTLINE OF INSPECTION WILL AID PUBLIX MANAGERS The following is the text of an address made by C. B. Stiff, divisional manager, before the Fifth Managers’ School in Char~ lotte, N. C., during its field training tour. In it, a Publix manager inspects his theatre, checking up, operation which means business success or failure. It should prove invaluable to other Publix showmen in checking up their own houses. TRIP THROUGH MY THEATRE Iam a theatre manager returning to my theatre for the evening’s performance. I turn a corner and see my theatre two blocks away. I look down the street. Does my theatre stand out above all others on the street? Can I read my sign above all others? From that distance has my front the a p pearance of a theatre? Has it theatre atmosphere? I walk on down the street toward my theatre. Does my front attract me? Does it at Cc. B. STIFF tract the average person on the street? I reach the front of the theatre. look up. Have T the right lamps in my upright sign? Have f the proper lighting in my marquee? Are my letters readable? Have I the proper sales copy in my marquee? Does it deliver a message? Does it sell tickets? Does it create a desire to see my show? Is my shimmy border on my marquee working properly? Is my border on. the upright sign working properly? Are all lamps burning on the front? When I realize that people will follow light I ask myself “have I enough light on the front of my theatre?”’ After I have satisfied my mind as to whether these things are right I walk up to the front of my theatre. I look at the curbing. Is it clean? Is the gutter clean? Does it stand out differently from the front of any other building on the street? Is it properly marked off to prevent parking in front of my theatre so that it is easy for my patrons to drive up and in case of an emergency is my theatre front clear so that there is no danger .of a traffic jam? Is my sidewalk clear and clean? Is it covered with gum? Are there papers, cigarette stubs on it? Does it look neat and tidy and inviting? I again look up. Have I sufficient intensity of lighting. underneath my marquee. Is it the brightest spot in town? Is the ceiling of my marquee properly painted to reflect the full intensity of light? Have I the right advertising under my marquee? Have I marquee strips selling my show? Am I selling the fact that I have a cooling plant? That it is the coolest spot in town? Does that front create a desire to visit my theatre? Does Art Work Sell? J next look at my art work. Have I the right kind of artist? Have I the right kind of display frames? Does my artist know color? Does he use easily readable lettering? Could every person passing in front of my theatre read the copy placed there? Is my artist selling the stars? Is he selling the picture, the title? Has he just the right amount of sales copy on that work to create a desire to see the show? Does that sales copy have a punch that can be read ata glance? Is my show being sold in its entirety? In other words, is each and every unit in that show being sold? Have I my advertising properly dated? Does my current attraction read ‘‘Now Show | inner lobby neat and clean? point by point, the details of his ing?”’ I should sell nothing in my outer lobby but current attractions. I should not confuse my patrons, so again I ask myself “Have I the Right Kind of Artist? Does he know color? Does he know selling values? Is he creating an immediate desire to see that show?” I walk on up to my box office. When one approaches the front of my theatre, besides the footman and the sidewalk man the first employee to be seen is my cashier. Have I the Right Kind of Cashier? Is she attractive? Does she sell tickets for me? Does she know how to smile in the right way? Is/ she neat? Does she say ‘‘Thank You” to the patrons? Is she properly informed. of everything pertaining to the theatre? Could my cashier answer any questions that should be put to her by a patron without hesitation? Is my box office kept neat and clean? Is money kept off the shelves? Is money kept properly stacked? Does my cashier know how to make change properly? Is she an asset to my theatre? Is she known by everyone in town as being a refined girl and just the girl for my theatre? Does she realize that she is one of the first employees that patrons see and that the first impression is everlasting? Is Doorman Neat? I enter my outside lobby. I next come into contact with the man on the door. Have I the right kind of doorman? Is he neat in appearance? Is his hair combed? Are his teeth clean? Is his uniform worn properly? Are his shoes shined? Does he look a part of my theatre? Does he know how to accept a ticket properly from a patron? Has he been informed as to company rules concerning handling tickets at the door? Can he answer any. question a patron might ask him? Does he know the schedule? Is he capable of memorizing it? Does he know what time each and every unit goes on and what time the DeLuxe shows start? Does he know what the next picture at the theatre will be and the names of the stars in that particular picture? Has the doorman been informed as to the popufar musical hits in the show now playing? If he does not he may disappoint a patron who makes an inquiry. I must always remember that from the time a ticket is purchased at the box office until the time the patron reaches the sidewalk in front of my theatre when leaving that this patron is in my hands and that it is up to me to make him happy and to entertain him. ; I go on into the inner lobby. Am I selling my coming shows? Am I selling them! in their entirety? Am I selling the feature attraction? Am I selling the acts, the names of the stars, and using the proper billings and_ sales values? Does my artist understand that his colors must be selected for the requirements of lighting on the inside of the theatre as well as to pass the requirements of daylight on the street? I realize I must not sell too many attractions at once in my theatre. I must not confuse my patrons. I want to particularly sell my next attraction in my inner lobby, giving some thought to the next one coming, and probably a little thought to some outstanding attraction coming in the near future. aa EEE TS PRN EOL | Lights in Lobby | Have I proper lighting on the inside of my lobby? Is the lighting sufficiently subdued? Is my Is MORE SEATS! to accommo§ great crowds § In order date the which have been regular§ ly attracted into the New § York Rialto theatre by § such box-office magnets as § “Close Harmony,” “The § Mysterious Dr. Fu Man§ chu,” “Bull Dog Drum§ mond,’”’ and others, a § double box office will be § installed and 100 more § seats are to be added. BELLELLLE KEZSSEL z to pick up cigarette butts, pieces of paper or anything that might accumulate on the floor? Are my display frames sitting in the right positions? Are they neat? Is the paint on them fresh and inviting? Have I the right kind of standee rails? Can I at all times propery control my lobby hold-outs? I enter the back of the auditorium where I find my service staff. Is this staff an asset to my theatre?) Are they fine looking young men? Do they come of good families? Are they wearing their uniforms properly? Is their hair combed, teeth clean, shoes shined, and do they look immaculate? Do they look a part: of the company I represent? Are they enthusiastic about the company? Are they well enough informed to answer any question put to them? Have they been properly trained in case of an emergency? As I stand in the rear of the auditorium I look over and see the crowd. My house is comfortably filled with men, women and children. I ask myself, ‘‘In case of an emergency is my service staff capable of handling these people so that I can tell the world that a man can send his wife and his children into my theatre and that they are going to be taken care off?’’ Does my service staff know how to usher properly? Have they been informed and do they know how to control patrons when they walk down the aisle with them and there is a talking sequence on the screen. I ask myself: ‘Have I talked to my service staff and assured myself that these things I expect of them are properly understood by every member of the staff?’’ Sound is Important . Do they understand that at the present time sound is the backbone of our business? Have they been taught to watch out as they are going to and from the front of the house to listen for defects without noticing the picture? Do they know when the fader setting is too high or too low? Has my service staff been trained to such an extent that without looking at the picture while on duty that their instinct will tell them that there has been a bad change-over or that there is a blank screen? Does every man know where the emergency medical kit is located? Has my staff been properly informed as to touching or handling patrons? Am _ I training my service men to be future assistant managers and managers? Have I got the type of men who will take pride in keeping their ushers’ rooms in such a condition that I can invite a patron or anyone into the rooms at any time and not be ashamed to do so? Are the ushers’ uniforms being cared for properly? Do the ushers realize that in handling these uniforms they are handling the company’s money and that these uniforms cost a great deal of money? Are the ushers taking care of their own clothing?. If they are taking care of their own clothing then. they will take care of the company’s uniforms. Is my chief of service informed properly? Is he having regular service meetings? As I stand in the back of my theatre I look toward my stage. Have I the right crew? Are they men who do the right job? Are they handling close-ins properly? there a man prepared at all times S| being hung properly? Is there any surplus light coming from off stage to spoil my picture? I walk back stage. Do I find visitors? Do I find smoking or drinking? Is my equipment being kept up? Is the stage floor properly cleaned, with no trash accumulated in the corners from which fire might start. If I, have a straight sound policy, do I find the regular stage equipment that nfight be used at another time being kept up? Are the stage brackets hung up? Is the flat material put in the scene docks? Is the hanging material Is it let down, examined and cleaned often enough to prevent dust from flying into the auditorium, into ventilating ducts and on to the stage? Are ail the lights in the border lights burning? Are the border lights hung properly? Am I getting the proper illumination? Have my color frames been taken care of or am I using cracked gelatine which kills the effect I am trying to get? Am I satisfied with my stage crew? * I walk out into the auditorium again and I look at the projection. Have I the right operators? Is my picture clear cut, brilliant, but not to the point where it hurts the eyes. Is the picture in focus? Are change-overs being handled properly? Do I see any blank screen or end pieces? I listen. Do I hear any loud talking in the booth? Are the fader settings being handled properly? Have I an observer on the phone in the auditorium controlling the sound with the operators? Is he at his place? Have I the right horn settings in my booth? I go up to the booth. Are my operators conscientious men? Are they men who enjoy their work? Are they men who realize that they. are highly specialized mechanics and not just doing a job? Is the booth spotlessly clean? Is surplus film being kept in the film cabinet? Are the rewind shelves clear of such film? Is the equipment clean? Are the machines, the lamp houses, the reflectors, the motors and the lenses clean? Are the fire shutters in good working order? Could they be dropped instantaneously in case of an emergency? } Do my operators realize that they have the lives of my patrons in their hands? Is there smoking or drinking in the booth? Do my operators study sound? Do they realize that sound has brought to them what it would have taken ten years for them to get without sound pictures? Do they understand that they are in a new business? Do they understand that they are one of the most important assets to the performance? Do they understand that they above all must live the show? : | Basement Equipment | After I have satisfied myself as to my booth I go back downstairs. I decide to go into my rear basement. Patrons do not see the rear basement but they feel it. If my rear basement is clean the front of my theatre is clean. I realize that the company has thousands of dollars invested in equipment that is in my charge in the basement. Am I looking after it prop erly? Expensive boilers. It is now summer time. Have those boilers been cleaned out? Have the grate bars been cleaned? Has the front of the boiler. been painted to prevent rust? Do I realize that if I allow my grate bars to have clinkers clogged up on them that a set of grate bars are going to burn out'in one season when ordinarily they would last from four to five years? Have I the right engineer handling my boiler? Have I the right engineer for my cooling plant? Does he make the rounds of the house properly and regularly? Does he understand the cooling plant and keep the equipment properly? Has he the right assistant so that in case of an emergency the assistant could take over that charge? I of the most important assets jp my theatre in the summer time. ee | Guarding Supplies | I visit my room. Is it being kept under lock and key with one man only helq responsible for those supplies? Do I realize that these supplies repre_ sent the company’s money? Tg g chart being kept showing every light being used in the theatre, just when and where it is used? Have I a proper check-up on replacements? Do I realize that the waste in electric light lamps coulq be my weekly profit over a period ofa year? Havela cleaner’s sup. ply room? Have I those supplies under lock and key? Are they being kept in containers and are they issued as needed? Am I ordering cleaners’ supplies properly? ] should not order too much at one time. Is the man who is responsible for those supplies familiar with all the materials? Does he issue those supplies to cleaners in the proper way and in the proper amount? I have a sound house that was formerly a vaudeville or unit show theatre. The company has a tremendous investment in dressing rooms, mirrors, supplies and fixtures in these rooms. Are these rooms cleaned out thoroughly weekly? Are they being kept locked and one man held responsible for the key? dressing rooms are not being used am I allowing people to go back there and use these rooms for card playing or anything of that nature? I should not allow that. I should have those dressing rooms in a condition so that, if I should receive a wire from the New York office that my policy was to change, within twelve hours’ notice I could open my back stage with little expense and no effort. Am I keeping myself prepared at all times for any emergency? While I am back stage I look up at my rigging loft. Is my stage man going up there once a week, keeping the rigging loft cledn, examining ropes, etc? I must realize that it does not take long to accumulate much dirt: in the loft and that the dirt .goes' into my theatre and ruins carpets, draperies and chair upholstery. | Avoiding Damage | I realize that with the dead weight hanging that the ropes might easily rot and break and injure someone. More important, a panic might be caused in my. theatre by. a set of lines breaking, allowing a drop to fall to the stage, and I can avoid this by weekly inspection of all lines hanging from the rigging loft. While I examine the rigging loft it occurs to me that I must also inspect my roof. While the roof does not sell tickets at the box office I save many dollars by avoiding an accumulation of trash which causes the down spots to become clogged. This would cause back water and this water remaining on my roof would cause a weakened condition. If water is allowed to remain on my roof it will bring mosquitos and before long my entire theatre would be filled with electrical supply When the 7 Eee cc rc ee mosquitos, with the result of loss | of patronage that would take months to overcome, and the answer would be red figures for 2 long time. I realize the importeurS of carefully inspecting my roof. Have I typhoon fans on my roof? If I have, are the fans being watched, properly oiled, belts being taken care of so that they will not become slack and make a flopping noise? Is the motor being inspected regularly? Is the housing over the fans painted twice a year to avoid rust? Do I examine the roof around the motor and the fans to see that it is not giving in in any way because of the strain? Again, am I trying to protect my patrons? I come back down to the thea (Continued on page 7)