Boxoffice (Jul-Sep 1940)

CONDUCTED IN COLLABORATION WITH LEADING THEATRE ARCHITECTS AND ENGINEERS Redskins and Covered Wagon Days Recalled in Modernization An old-timer is replaced by a sparkling new modern theatre, in Kearney. Nebraska, but the interesting traditions of another day are most cleverly preserved . . . Pictures and particulars by R. S. BALLANTYNE. Foyer of the Fort Theatre, a richly carpeted, well-lighted and modernly furnished convenience room for the customers. The locale of our subject, the new Fort Theatre at Kearney, Nebraska, is steeped in the traditions of the plainsmen. It is the site of old Ft. Kearney and out of the past and not so dimly as one might suppose come memories of charging blue-coated cavalrymen, pony express riders, skulking redskins and the inevitably to be protected prairie schooner that once wended its way Westward. To build a modern theatre in Kearney without recalling in some suitable manner the historical background of the community would have been a serious oversight indeed. But Exhibitor George O. Monroe, Sr., of Lincoln, kept faith with both tradition and modern trend in the planning of his new Fort Theatre, which opened August 2, 1940. Fire Prompted Project Last January, the Empress, a small and rather nondescript theatre in Kearney, was destroyed by fire. Fate sometimes conspires in the interest of modernity. At any rate, Mr. Monroe bought the ground previously occupied by the Empress, which he had operated, and proceeded with plans for a more pretentious picture playhouse with all the comforts and conveniences now demanded by picture patrons, no less in Kearney than elsewhere. Edward J. Sessinghaus, the architect, was commissioned to draw plans and under a joint contract with Scott-Ballantyne Company, equipment contractors of Omaha, the new theatre soon took definite form as an example of thrift in theatre planning and provisioning. The Fort, with a seating capacity of 689, cost its owner approximately $45,000. The pictures here presented afford some idea of the outcome of the venture. Associated with George Monroe in the A modern front of unusual attractiveness and functional efficiency establishes the Fort as the center of interest m its community. erection of the Fort was his son, Don, also of Lincoln, who assisted in the supervision of building activities and furnishing details. The upper facade of the Fort Theatre is in a modified streamline design with a surface of red granite in tile formation and a neonized name sign unit looping gracefully up over the parapet and down to a broad V-shaped canopy extending completely across the front. Two thousand feet of neon tubing are used in combination with a new type of incandescent lamps for outdoor illumination. The canopy has provision at both ends for three lines of changeable silhouette letters. The lobby has a partially rounded ceiling to provide for concealed lighting. Here too, the floor has link matting with the theatre name inset and a floor border and wainscot of two-tone tile in black and orange. In the foyer all indirect neon lighting is employed. The carpet is a combination modern pattern in deep maroon and red with wall painting that blends harmoniously with the carpet colors. Concealed spotlights illuminate the two 40 by 60inch built-in display frames at each end of the foyer. Chrome steel furniture upholstered with modern contrasting fabrics and other functional pieces create an inviting and restful atmosphere. The rest rooms are quite complete in every detail, with tiled floors and walls in pastel shades, large mirrors and standee type powder and make-up shelves for the ladies’ room. Sanitary drinking fountains are located in the lounge section of each of the rest rooms. Planned for House Appeal The auditorium side walls and ceiling are done in acoustical plaster and the rear wall in a modern type of acoustidecorative material. Decoration of the auditorium starts with the cement floor which was dyed and waxed in a deep maroon to match the carpeting. On the side walls from wainscot to ceiling a beautiful blending of color grows gradually lighter in each horizontal panel of the wall finally fading into the blue and ivory pastel shades of the ceiling. The centers of attraction in the decorative scheme and the traditional effect previously referred to are two huge “black The MODERN THEATRE SECTION