Boxoffice (Apr-Jun 1939)

advantages, such as cushioned arm rests, would be appreciated by the patrons. A problem arose in laying out the seating plan because of the fact that the auditorium was at an angle across the lot, creating many odd corners. Nevertheless, after a careful study was made and by taking advantage of the new Chicago Building Code, the seating capacity of the theatre was increased from 500 to 558, a result especially desired by the owner. An Example in Proof of Our Past Contentions By Hanns R. Teichert* lipj^ATHER than to Jll^C merely discuss theories with you in this article, we would like to present a specific case in point to demonstrate their practical applications. Last month, we were awarded a painting contract to execute work on the rein o d e 1 e d Plaisance Theatre in Chicago and, believing that the problems met and solved by the architect and owner parallel the task to be faced in many other theatre modernization projects, we asked the architect to outline for us, and for you, a brief accounting of the way the scheme was approached and problems solved. For your information, we want this story to substantiate our past contention that an architect, with his vast knowledge, must be consulted on any building project — be it a remodeling of a completely outmoded theatre, or the construction of a new million dollar enterprise. The competent architect will enlist the aid of reliable contractors whose specialty is theatres and with all trades working in harmony you can pretty safely bank on the fact that your money will be wisely and effectively expended. The following information on the Plaisance Theatre is given you just as it came to us from the architect, Roy B. Blass, of Chicago, Illinois. Obsolescence Overcome The Plaisance is one of Chicago’s older suburban theatres. When built some twenty-odd years ago, it was considered the most modern theatre of its time. However, until now, little had ever been done to change its appearance other than an occasional painting. This particular house is located in a better class neighborhood, therefore, it must cater to a high type of adult patronage having a fine sense of appreciation and taste. In contemplating the remodeling, the new owner of the theatre laid considerable stress on this point, so in deciding on a scheme it was necessary to consider the fact that the old gaudy atmosphere of the theatre must be sub ordinated and in its place a treatment worked out to give an impression of simplicity and richness. One of the first problems was to decide how far to carry the remodeling. As usual, the amount of money to be spent was limited to a certain degree so there were two choices; first, to spread the work out and take in the entire building, which would necessitate using cheaper materials and few actual changes; or second, to concentrate on those portions which needed changing the most and finish them up completely. The latter choice was made and plans were prepared accordingly. Starting with the auditorium, a very important item was new seats, since the old ones were uncomfortable and shabby. After conference and careful consideration, the new push-back type of chair was chosen with the feeling that the advertising value of this new style of chair would be worth while and that its several unique A New Decorative Scheme Outside of the minor changes required by the new seating layout, no marked additional changes were made in the auditorium other than to remove all of the ornamental plaster from the walls and ceiling and building an indirect neon lighting cove over the two side loges. New acoustical material units were also installed to cover the rear walls and ceiling panels with the result that the sound is now perfect. Since the seats were in a coral shade, the decorating scheme was worked out in tones of blue and white for contrast. The fluted columns were achieved with spray gun work and a modern “Baroque” feeling was introduced by the motive painted over the lighting cove, the lighting fixtures and the stage setting. In working out the lobby, it was definitely decided to disregard all of the original high “barny” lobby treatment and to build a shell of metal channel, lath and plaster inside the older lobby. With this freedom, an entirely new effect could be obtained. The ceiling was dropped and a center cove formed to hold concealed neon lighting. The side walls were furred out to allow for recessed poster displays and an indirect lighting cove carried entirely around the lobby. In this cove as well as * Theatre Decorator, Chicago, Illinois. (Photos by Hedrich-Blessing Studio). Auditorium of the Plaisance Theatre as it now appears after modernization, designed arid supervised by Roy B. Blass, Architect. Ceiling, deep delft blue; walls, soft powder blue with decorations in oyster whites; dado, navy blue. Below— Lobby: Ceiling, champagne; walls, rosewood veneer; carpet, blue, sand, rust; furniture, coral tones. 58