Building theatre patronage : management and merchandising (1927)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

162 Building Theatre Patronage be avoided. In some sections, it is held that a manager has a perfect right to give presents to his patrons so long as his generosity is not determined by chance. He simply comes on the stage, looks the audience over, and announces that he is going to "give the scooter to that nice little boy with a red necktie sitting in the third row." This robs the country store of its appeal, but it avoids confliction with the law. In the original form, merchants donated the prizes. Their distribution was determined by lot. It made for a heavy increase in business on dull nights, but was difficult to discontinue, since business immediately fell off. The Country Store does not build permanent patronage. 17. Ragamuffin Contest. — This is usually started on the streets with the ragamuffins parading to the theatre. In some cases, the entrants are so amusing that managers have had them appear on the stage and there awarded the prize. 18. Dancing Academies. — The management of local dancing academies and dancing schools, especially those for children, welcome the opportunity of having their classes perform at the theatre because of the advertising. When not repeated too often, and where the dances are properly selected, the entertainment value and local interest in performers justifies these contests. The old-fashioned dances can be built into a prologue for an appropriate production, or used with the proper stage display to stimulate word-of-mouth advertising for a coming production. 19. Harmonica Contest. — Interest in harmonica playing is being stimulated through the medium of radio instruction and through the efforts of the M. Hohner Co., 1 1 4 E. 16th Street, New York City. The latter has supplied practical promotion plans for harmonica contests in motion picture theatres. There are available instruction booklets, window trim tie-up material, posters, and booklets on how to secure the co-operation of local schools for such contests. A list of local dealers in your community carrying a stock of harmonicas is available, and with their co-operation the details of the prizes awarded and of co-operative advertising can be worked out. 20. Take-a-Chance Program. — This is not suitable for a house newly opened, or a house whose reputation is not well