Exhibitors Herald and Moving Picture World (Oct-Dec 1928)

46 BETTER THEATRES SECTION OF December 22, 1928 The auditorium of Hamrick's Music Box theatre as it now appears, showing the Spanish garden treatment suggested in the former interior and used as a basis for the decorative scheme. This worked out effectively at reasonable cost. Meanwhile, the trusses were supported by shoring from inside the building until the concrete had time to set. Due to the collapse of an old building nearby, the city asked the owners to place steel trusses in the structure. These were laid across the building beside the old ones, and then the two were tied together. In the old theatre, the stairway ran from the center of the foyer to the center of the balcony. This was torn away so that a highly decorated foyer could be built the full width of the building. In turn, the stairway was built up on the side nearest the entrance, and it is broad and winding. It leads to the lounge, which probably is the most attractive feature of the theatre, not only from the standpoint of richness, but in artistry as well. In order to secure this space, it was necessary to remove the offices which previously had occupied the second floor. When these were torn away, additional trusses were placed across the ceiling to support the weight previously held by the partitions of the offices. When this was completed, a modernistic decorative scheme was worked into the lounge. The walls are covered with figured paper, and the other decorations are mirrors and a wall hanging of orange brocade. The largest mirror is quite bizarre. The center section of the mirror is bordered by leaded plate glass, which has been lacquered orange on the under side, and forms angles representing rays of light. Burnt orange and blue are the prevailing colors throughout this room, although a number of others are represented in minor proportions. Rich satins and deep-piled velvets have been used, as well as rich and unusually high quality woods. Each piece of furniture is of modern design. Comfort as well as appearance has been carefully sought. In the chairs, for example, the springs are 20 inches deep, instead of seven, which is more common. Four wrought iron screens arc hung with orange satin. A dressing room, entered from one end of the lounge, is decorated largely in blue and silver. All the woodwork is silvered, while the upholstery is of Holland blue moire silk. Silver sntin hangings frame the windows, and blue silk hangs over the casements. Three poudresses, which are modern renditions of the make-up tables used in the French courts, have been equipped with adjustable mirrors. The only wall decoration in the dressing room is a painting, which shows a woman holding a mirror. An opening from the lounge leads to the cross-aisle of the balcony. The upper loges are reached through a doorway halfway up the stairway. On the lower floor each aisle is closed by a door so that no draft from the foyer may cause patrons discomfort, for three exits to the side street open from this section. A difficult engineering feat was performed when the lower floor was remodeled. Previously, two large concrete columns obstructed the view. These were taken out and a double 55-inch box plate girder, 58 feet long, was inserted under the balcony to hold it up. This girder was supported on either end by large concrete posts. The old balcony had to be held in place by temporary shoring while this work was being done. To improve the view, the floor was remade on a slightly more acute plane. This served to elevate the proscenium arch and gave better vision to all those on the lower floor. The stage was cut down to a minimum and the additional room used for seats. This was necessary, since the larger and more comfortable chairs which were installed required more space than the old ones. The new chairs, one of the most talked of features in the theatre, are similar to the ones used in the United Artists theatre in Chicago, and are said to be superior to any used on the Pacific coast at this time. Many improvements were made in the balcony. In the old theatre, the seats were set in a straight line across the house. This was changed so that they form a crescent. A complete change of the balcony steps was thus made necessary. The decorative scheme of the balcony and theatre walls leading up to the proscenium arch is based on three colors — orange, green and mulberry, with their variations. A new modern heating and ventilating system was installed. The heating plant is located under the stage, which is 20 feet below the level of the street. The hot air from the furnace is distributed evenly over the theatre by a system of pipes running through the walls. A sprinkler system has been added for protection in case of fire. The face of the old Majestic was chipped, and a finishing of stucco now gives the theatre all the appearance of being new, for the interior has not only been altered but completely redecorated as well. This picture house has the brightest marquise and the largest display sign in the city. The sign on which appears the name of the theatre ' extends farther above the building roof than the building is high. The sign is an(Continucd on page 64) The lounge of the United Artists, built on the second floor in space previously occupied by offices. A smart room, as this picture specially taken for 'Better Theatres," shows, and an example of shrewd remodeling.