Exhibitors Herald (Dec 1924-Mar 1925)

8 BETTER THEATRES SECTION OF January 31, 1925 An Analy and IT IS within the remembrance of all of us when the attractions known as a prologue and presentation were added to the regular program in the better motion picture theatres. What dubious forebodings were prevalent among the majority of managers as to the ultimate success of this innovation. Skepticism ran high in most circles and these theatrical novelties were branded as temporary digressions from the picture program, which would flourish for a little while and then die of exhaustion. Like the motion picture itself, this particular form of production, has shown a consistent and steady development until it has reached a proportionate importance. It has forced a critical recognition, and not only has it demanded serious thought in its construction and ultimate production, but has challenged the art, creative genius and ability of the leading stagecraftsman of the country in the preparation of its subjects. The experimental stage has been passed. The test has been made. The millions of patrons who daily come in contact with this form of production work have been the refining forces. The public received it, the public, usually in courteous silence, remained through innumerable boresome periods while it was struggling to assert itself, and finally, the public set themselves as the supreme tribunal, as the dictators of what calibre this form should shroud and present itself. “Anything” will not suffice today. Mediocre attempts are frowned upon. Repetition in idea or fact are generally met with vociferous objections. Only those creations which have the hallmark of originality are approved, that which savors of detailed preparation and the ability to attain a perfected interpretation of the subject matter. This attitude is a fortunate one, be Better Theatres Advisory Staff In order to render its readers assistance on various problems of equipment and construction that arise from time to time, Better Theatres has obtained the co-operation of the individuals and associations listed following in this work. Through the co-operation of this advisory staff this department feels that it has allied itself with sources of expert knowledge on virtually every phase of theatre building and furnishing and is able to offer theatre owners a valuable service in providing information and answers on a wide range of subjects of a general nature. sis of the Prologue Presentation By COLBY HARRIMAN cause it enables one to safely state that insofar as anything artistic can be standardized, the prologue and the presentation have reached that plane. That sturdy little band of pioneers in this capacity, showmen and artists with a vision, sowed the good seeds from which a plant of sturdy fibre has sprung. The plant is prolific, engendering after its kind a variableness in productive forms that will reflect to the credit of intelligent husbandry. It is not for those engaged in this garden to produce new forms of the plant itself, but to perfect the fruit of it by proper cultivation. Too often these forms of production are not given proper treatment. Their full value is not achieved owing to the lack of a correct action, or corresponding factors, which may be attributed to a confused understanding as to the basic principles underlying each. A presentation is a divertissment. It is complete in itself, and does not, necessarily, relate to the feature picture. It may be interpolated for relaxation, or to break the continuity of thought of the optience. It is a production devised for entertainment purposes marked with individuality. A prologue is directly related to the feature picture. The very nature of its conception could not properly render it otherwise. In the old Greek theatre we find reference to the “prologas,” the speech before. This was a vital factor in those creative dramatic days; The prologue epitomized the story or play. It presented the theme. That is the purpose of the prologue. The prologue can create a more effective atmosphere for a picture than a corresponding number of minutes consumed with introductory titles and scenes. The prologue is the preface, the introduction, and to create it and present it in such a manner as to effectively link it to the picture is an art demanding profound preparation. ROBERT O. ROLLER, Boiler Brothers, Architects. A. B. COPPOCK, Presentation Producer. E. B. CRESAP, Secretary, National Association of Fan Manufacturers. JOHN EBERSON, Architect. G. E. EICHENLAUB, Architect. COLBY HA.RRIMAN, Stage and Theatre Lighting Specialist. W. S. HAYS, Secretary, National Slate Association and The National Federation, Construction Industries. F. J. HUSE, Chief Engineer, Hollow Building Tile Association. CLELL JAY, Projectionist, New Theatre, Little Rork, Ark. SAMUEL R. LEWIS, Member, American Society of Heating and Ventilating Engineers. A. C. LISKA, Remodeling. E. M. LURIE, Assistant to Commissioner, Associated Metal Lath Manufacturers. But the prologue and presentation have created other angles in the course of their development. The advertising, exploitation and box-office values must be heeded. When they are produced correctly, and in true form, they may be tied-up with various publicity agencies, and will seldom encounter barriers in securing ample space in newspapers accompanied by pictures and stories. The producer of either form should take into consideration not only the entertainment values of his production, but to what extent it may be profitably appraised in via the box-office. When variety predominates in the subject matter during the period of preparation, the ultimate success of the production may be assured. Similarity breeds the contempt of any audience. It is human to strive towards diversity, to demand something new, and this especially applies to our art and entertainment facilities. The new idea always attracts, it will hold the interest of the patron. It may be an old story, a familiar song, or some other well-known attribute, but if it is offered in a different manner, if it is disguised so that its former self is not discernible, a successful reception is accorded it. The de luxe theatres, with adequate facilities and efficient staffs, can no longer lay claim to the sole production of these features of the better programs. The smaller houses are engaged in a limited measure of incorporating these aids in their programs. Prologues and presentations when conservatively, consistently, and correctly presented are of value to the manager and a delight to his patrons. No better theatre or house striving for more business can afford to shun them, to ignore them, as they have made a sufficient inroad to firmly imbed themselves in the customs attending the motion picture program. VIRGIL C MARANI, M. Am. Soc. C. E., Chief Engineer, The Gypsum Industries. HENRY L. NEWHOUSE, Architect. J. F. O’MALLEY, Architect. GEORGE L. RAPP, Architect. GEORGE W. REPP, Service Division, American Face Brick Association. R. L. SIMMONS, Architect. HENRY J. SMITH, President, Motion Picture Equipment Dealers of America. HORACE L. SMITH, JR , Theatre Engineer. NORMAN M. STINEMAN, Assoc. Mem. American Society of Civil Engineers, Portland Cement Association. MAX Y. SEATON, Technical Director, National Kellastone Company. J. L. STAIR, Chief Engineer, Curtis Lighting, Inc.