The Exhibitor (1951)

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.

PHYSICAL THEATRE Volume VT March 7, 1951 Number 3 OPEN FRIDAY TWO PM THE TRIANGULAR FRONT OF THE CARVER MERGES QUITE NEATLY INTO ITS STREET CORNER SITE ALTHOUGH the colored population of the United States has been steadily increasing for the past few decades, there has been an unfortunate tendency in the entertainment world to overlook the importance of this rapidly growing minor¬ ity. The theatre industry, for example, has until recently failed to recognize the prominent position of this group from a potential patronage viewpoint. Due to their steadily improving eco¬ nomic situation, the country’s Negroes now have more entertainment dollars to spend than ever before in their social history, and it is incumbent upon theatremen to make a more concentrated effort to attract a greater portion of these amuse¬ ment funds. They can do so by convinc¬ ing the Negro that his patronage is as welcome as anyone else’s and by seeing to it that houses in colored neighborhoods are just as finely appointed as other sur¬ rounding modern houses. The Negro patron, too, is entitled to as much for the ticket he buys. THE CARVER, NEW ORLEANS In a noteworthy and commendable effort to build up a loyal and sizeable patronage in one of the heavily colored sections of New Orleans, the de luxe 1050-seat Carver was opened at 2101 Orleans Street on Sep¬ tember 29, 1950, by Jack A. Dicharry and Mrs. Henry Lazarus. The former is a pioneer theatre operator in the city with approximately 25 years of local experi¬ ence, while the latter is owner of the Henry Lazarus Theatres chain in New Orleans and three Bryan, Tex., houses. The Dicharry-Lazarus partnership, which presently functions under the name Jadel Theatres, Inc., was originally formed in 1937, when the two joined forces to build the Circle in New Orleans. Exterior Construction Named in honor of the famed Negro educator and scientist, George Washington Carver, the house was designed by archi¬ tect Jack Corgan, of Dallas, and features a fireproof construction of steel, brick, and concrete blocks. The building was erected on a lot approximately 78' by 155' and provides ample office space in addition to the exhibition facilities. The front combines both light and dark brick facings with two-tone buff above and oatmeal color tile with maroon trim below. An “island” type boxoffice faces A Modern All-Negro Theatre facilities Of Highest Order Are Present In New Orleans House For Colored Patrons Only INDIRECT CONCEALED LIGHTING sheds a warm glow over the tasteful simplicity of the auditorium in the upper illustration. ABOVE — Popcorn, candy, soft drinks, and a wide variety of other types of refreshments are sold at the attractive and well-staffed foyer concession counter to outside trade also. March 7, 1951 PHYSICAL THEATRE DEPARTMENT of EXHIBITOR PT-5