The Exhibitor (1951)

LAYIMi IT Theatre Public Relations The term “public relations”, a somewhat abstruse phrase by its very nature, is rather loosely used nowadays to describe any sort of dealings between seller and consumer. While it is true that the term is quite difficult to define precisely, it actually may be said to mean, in its purest sense, the sentiments of the public toward an individual, a group of persons, or a firm selling a product or a service. In recent years all types of businesses have become increasingly aware of the importance of this intangible element as it affects their prestige and sales. The more progressive factions have also come to realize that public goodwill is not automatic, but must be instilled in consumers by the efforts of management to convince them that the customer’s best interests are always at heart. Just how public relations apply to the theatre was neatly outlined by Emil Bernstecker, of Wil-Kin Theatre Supply, Atlanta, at the recent TOA convention. First of all, a sound theatre public relations program must be directed toward one primary goal — developing and maintaining in the public mind a favorable opinion of the theatre, the company that operates it, and the man or men who own or run it. It is not, as some exhibitors seem inclined to think, getting publicity for the theatre or for the show currently playing. When all is said and done, the responsibility for a theatre’s public relations does not rest on the shoulders of any one particular individual, such as the manager, but rather is centered in every one who has anything at all to do with the house, from the top executive to the booker, ushers, candy girls, cashier, doorman, down to the lowest janitor. In short, all who say or do anything in the theatre make an impression on the public mind, and the net result is public relations, good, bad, or indifferent. Every employee must, of course, make his or her contacts with the public courteous and answer promptly any requests for service on his own initiative, but it is up to the exhibitor himself to set a good example for them in his own personal conduct. It is well to mention at this point that a fair employee rela¬ tions plan is one of the keystones of a sound public relations program. The payment of prevailing wages for similar work, exercise of leadership, efficient management of business, a spirit of sportsmanship, and a willingnfess to bend an attentive ear to their ideas will not only win for the exhibitor the respect and confidence of his employees hut that of the public as well. Next, the exhibitor who is sincerely anxious to win public favor for his house and himself must see to it that all services in the theatre, such as tele¬ phones, rest rooms, and lost and found systems, are in working order and readily available. Likewise, the theatre should exhibit indisputable signs of good housekeeping by its cleanliness and good housekeeping. Furthermore, the conduct of the show should be properly supervised by good programming and booking, convenient schedules and intermissions, intelligent deletions in accordance with local tastes or prejudices, and shows to coincide with com¬ munity events, interests, and preferences. All attractions should be advertised and sold with sincerity and honesty in a clean and wholesome fashion. Thirdly, the exhibitor should be a good businessman by listening to all complaints and suggestions with an open mind, paying his bills promptly, running a legitimate operation, establishing a fair pass policy, and by being on the floor as often as possible to keep an eye on things. In addition, he must have contacts in the community from the youngest juvenile patron to the most influential politician, who can keep him informed on entertainment tastes among various elements of the populace. Finally, the exhibitor ought to seize every opportunity to provide the noteworthy community services for which his theatre, by virtue of its audi¬ torium, screen, stage, personality, and the ability of its management to stage, devise, advertise, promote and produce is eminently suited. In short, his theatre must be established as an institution through which the community’s civic life flows and is enriched. The exhibitor who directs his energies toward the accomplishment of the above objectives is bound to have good public relations. He will find that with public sentiment behind him all the way there will be little cause to fear that the legendary wolf will come knocking at his door. Goodwill is a priceless asset which cannot be bought, hut the rewards are rich to those who cultivate it. PHYSICAL THEATRE • A sectional department of EXHIBITOR, published every fourth Wednesday by Jay Emanuel Publications, Inc., 1225 Vine Street, Philadelphia 7, Pennsylvania. All contents copyrighted and all reprint rights reserved. EFFICIENT • DEPENDABLE RECTIFIERS for Every Type Projection Lamp 2 -Tube 4-Tube 6-Tube Single and Three Phase Models for • Rotating Feed Angular Trim High Intensity • Copper Coat¬ ed Coaxial High Intensity • 1 K.W. High Intensity • Low Intensity Smooth Output Current • Long life Low Operating Temperature Flexibility in Control Write today for literature or free demonstration. 2 CITY PARK AVENUE TOLEDO 2, OHIO PROJECTION LAMPS • RECTIFIERS SPOTLIGHTS • REFLECTORS modernize 'pAtfiAA e Backed by 30 years of r ILLUSTRATED CATA ■ Prominent Theatres H Using Electric-Aire. * ELECTRIC-AIRE ENGINEERING CORP. Dept. J. 209 W. Jackson Blvd. Chicago 6, III. • Phone WEbster 9-4564 specialized dryer experience March 7, 1951 PHYSICAL THEATRE DEPARTMENT of EXHIBITOR PT-3