Boxoffice (Apr-Jun 1962)

land decor in the remodeling — lush carpeting, draperies, crystal chandeliers and paneling. Pour large chandeliers were cleaned and new lamps added. Many pieces of the original furniture were restored and reupholstered. Original art objects and paintings which added glamor to the theatre have also been restored to continue to give pleasure to patrons. A good many seats at the front section of the main auditorium which had been taken out to make way for bowling apparatus had to be replaced and seating in the first 30 rows was respaced on wider centers. Seats in the remaining portion of the house could not be changed because of floor construction. This work was done by Eaker Seating & Fabrics, and the company also checked the seating in the entii’e auditorium, including the balconies, mechanically, and wedged-up the front edge of the cushions to make them more comfortable and correct the feeling of slipping forward out of the seat. Recovering of the cushions was not necessary at the time, although it is planned for later. GREEN AND GOLD COLOR SCHEME Side walls in the auditorium were painted green and gold and the floor has new green carpet aisle runners. A bittersweet drapery covers the front of the proscenium. Stage facilities were restored to allow live stage performances, including the use of an orchestra pit. The Studio has an inside boxoffice in its lobby and this area is decorated with gold and white flocked wallpaper and walnut paneling. A staii*way leads down to the small auditorium which can readily be converted for small stage attractions by reversing the free-standing director chairs. The screen is at one end and a small stage at the other, and the screen can be flown Continued on following page This view of the Studio shows the stairway leading down to it, and the director chairs set to face the screen which is covered with gold draperies and is flooded with a band of fluorescent light. Antique paintings are set about ten feet opart on the walnut paneled walls, and the gallery lights which are on a dimmer also function as house lights. This view looks back toward the small stage which may be used for live performances when the chairs are reversed. Also, may be seen, on the stage, a small portable concessions stand which is rolled out during intermissions. When movies are not being shown, the Studio is available for meetings. Informal Seating for More Than 80 Persons in Beekman Lounge The unusual "dynamic" seating in the Beekman Theatre, New York City. An immense sculpture, which is actually a sofa capable of seating more than 80 persons, is the key feature of the Beekman Theatre lounge. New York City. Rolfe Myller, prominent New York architectsculptor, was the designer of all the fui-nishings which were made expressly for the Beekman. The design, called by Myller a “dynamic” seating plan, accommodates twice as many seated persons as before, and also allows for rapid movement of the line of patrons entering the auditorium as the feature changes. Divided into three sections, the sofa was sculptured in a series of free form curves. The curves enable patrons to be seated in intimate, separate, conversational groups. “Floating” table tops are placed at each curve, so that a patron is never out of reach of an ash tray or a spot to rest his cup of coffee. Completing the design of the new lounge are fom* abstract paintings by David Chapins, which were commissioned by Myller and are considered an integral part of the overall design. BOXOFFICE May 7, 1962 11