Boxoffice (Apr-Jun 1939)

ESPITE generally upset economic conditions that until lately have been anything but encouraging to the spirit of showmanship, which always fights hardest when it gets hit, theatre business is going ahead, heroically. The fear and timidity which thwarts progress in other lines of business, while moderately extant in our field, is not affecting the determination of thousands of theatre owner’s to work out their own economic salvations. In respect to progressive property modernization and plant improvements, the operating branch of the moving picture business is no longer “leaning on its shovel” and waiting for someone to put it to work. It is propelling itself and by its own momentum is rolling its own in the race for industrial security. A few remain idle, of course, who would rather wrap themselves in their imaginary misgivings and hibernate or more conveniently hide their heads in the sands of indecision. But there are so many bright exceptions that one may safely disregard the few who openly discount the future of show business. A Commendable Instance A particularly bright example of what theatre business is doing at present to im A towering pylon sign topped by a ball of light in revolving effect beneath which is a brilliantly lighted marquee, with modern methods of advertising feature attractions to prospective patrons of the new Wisconsin. prove its current income status and assure its security for the future is the concluding subject of this article. The locale of the recital is Wisconsin Rapids, Wisconsin, a thriving little city of less than ten thousand population near the geographical center of the state. Before presenting the project which assumes the particular point of the narrative, may we present a brief prologue of events leading up to the interesting climax. On July 18, 1923, Mr. and Mrs. Frank Eckardt came to Wisconsin Rapids from Minnesota, where Mrs. Eckardt and a son had been in the theatre business for ten years. They purchased the old Palace Theatre and promptly proceeded to put it in physical good order. The first of many improvements to the Palace was the installation of a new canopy and electric sign immediately on acquiring it. In 1930 the lobby and auditorium were remodeled, sound equipment was installed and new seats were added. Further improvements were made in 1936. A new front, air conditioning, acoustical treatment and improved sound and projection equipment, followed in routine order. On May 28, 1927, the Eckardts purchased the Rapids Theatre and have since operated it in conjunction with the Palace. The Rapids Theatre has been remodeled and improved many times and at present is a modern, air conditioned theatre with the latest projection and sound equipment and all facilities for the comfort of its patrons. In June, 1938, Mr. and Mrs. Eckardt acquired the property on which the new Wisconsin Theatre is built. High regard for House Appeal as expressed in this brief outline of management policy preceding now finds further expression in this latest fine theatre for Wisconsin Rapids — the new Wisconsin — designed by Architect Donn Hougen. High Lights of House Appeal A towering sign in the form of a tapered pylon ablaze with colored neon and incandescent lamps, with an illuminated globe to which automatic light control lends an appearance of revolving, attracts attention from afar and invites theatregoers to the new Wisconsin Theatre day and night. Hundreds of Mazda lamps sparkle on the theatre front, about 1,400 bulbs lighting the sign tower and surmounting ball. The marquee attraction boards are emphasized with more neon and incandescents. About 400 feet of tubing was used on the theatre front. The base of the Wisconsin’s front ele vation is of rose marble in a dark shade. Above it is structural glass and above the canopy are yellow porcelain panels. The colors on the front, while more brilliant, are the dominating shades repeated in many variations throughout the theatre. Patrons pass under the well-lighted marquee into a lobby and foyer which give the key impressions of color and design that are carried throughout the theatre’s plan. Richness and taste in appointments, wall decorations, base colors and furniture are apparent in every particular. The lobby, 20 feet wide and 48 feet long, has a tiled asphalt floor. A distinctive mural is at the left and comfortable benches upholstered in colored leather are set into the walls. The lobby lighting is indirect; both neon tubing and incandescent lamps are employed. At the left of the foyer entrance, a stairway with ornamental iron rails leads to the “cry” room and lounge, where soft color schemes in decoration and furniture invite the patron to relax. The men’s smoking room and the women’s powder room open off the lounge. Both are furnished and decorated in the modern manner. The powder room is appropriately trimmed in yellow, white and dubonnet, the men’s room in green and gold. The lounge walls and ceiling are in dubonnet, green and gold. Practical Comfort Provision The “nursery” room has a seating capacity of 22. It is a complete little theatre unit in itself, where parents with small tots may take their charges and enjoy the program without causing the common audience disturbance. The screen is viewed through plate glass and a loud speaker brings the sound completely and naturally into the room. No noise from the “cry” room reaches the auditorium. Two rows of chromium posts with velour rope railings to guide patrons to the auditorium entrances were placed in the foyer, The MODERN THEATRE SECTION