Exhibitors Herald World (Oct-Dec 1929)

126 BETTER THEATRES SECTION OF October 26, 1929 (CONSTRUCTION of motion picture theatres in England goes on apace. The insular Briton, notorious or notable, as you wish, for his conservatism, yet resists the American idea of boisterous exterior and superabundant interior, quite as persistently as he refuses to embrace the mechanistic severity of the Continental designers. Yet, though in their own way, the English exhibitor and theatre architect are going in for luxury, and among the notable houses of recent construction, are the Commodore in suburban London, and the Beaufort in Birmingham. To consider the Beaufort : It is an architectural achievement, as a theatre, of unusual interest. The design is by Hurley Robinson. The style is Tudor, which is one that has seldom lent itself in the minds of architects as especially suited to the requirements of a gay palace of pleasure. The adaptation of this motif in the Commodore is arresting, if not entirely convincing, to those who have not been closely associated with it. It is no style for the blatant, for the proverbial theatricalism which in many instances clings to the motion picture in a degree unwarranted by its prestige and method. Set back a good distance from the thoroughfare on which it is located, the Beaufort stands on a spacious site, its flags flying and its mullioned windows aglow with color. Nearby are two sentinel lantern towers which at night flood the facade and reveal below the parapet of the entrance hall the two gargoyles stationed there. Passing through massive oak doors, one finds oneself in a domed chamber which might be the outer court of a 16th Century fortress, or even the vestibule of a cathedral. Here are stained glass windows which tell in their designs a story of Tudor life, the designs being based on the careers of the five Tudor sovereigns who occupied the English throne from 1485 to 1603. There are also secondary panels which represent events and personages of the period. The main facade presents a variety of interesting features. The main entrance is circular in plan, with the flanking walls set at an angle of approximately 30 degrees with the main axis. This provides an equally effective elevation from each of the four principal approaches and a very convenient vestibule. Three pairs of Tudor headed doors provide ample room for incoming traffic and emphasize the main approach. Above each pair is a delightfully traceried panel in Guildstone sur NEW BRITISH THEATRES IN LONDON AND BIRMINGHAM Tudor design is adapted to a screen theatre in the Beaufort, while the Commodore is a semi-atmospheric theatre built for suburban patronage mounted by a nine-light Tudor headed window. This arrangement very cleverly provides the first floor foyer with an ample supply of natural light. The main facade is boldly set upon a broad plinth of Guildstone which gives an effect of great solidity, and the side walls are enlivened by four mullioned windows, with additional interest provided by pierced and traceried panels in the parapet above in effective combination with multi-colored brickwork. Patrons enter through heavy oak doors glazed with antique glass, the glazing being protected with a series of wrought iron Fleurde-lis standards, secured with wrought iron studs. Across the vestibule is a handsome oak screen, effectually shutting out all unwelcome draughts and street noises. Within the booking hall, visitors cannot fail to be impressed agreeably by the harmonious and beautiful decorations. The ceiling is enriched with mediaeval plaster work of intriguing design, providing an excellent foil for the massive oak staircase leading to the crush hall. The ticket-issuing office is well arranged and conveniently placed, the hall being skil The rotunda and foyer of the Beaufort above and opening into the foyer. 7 he windows are of stained glass. fully planned to provide the maximum amount of accommodation without crowding. The grand staircase is broad and spacious, a notable feature being the boldly carved lion finals surmounting the two initial newels. The color scheme is restful and restrained throughout. Special attention has evidently been given to the various electric light fittings, which are in strict accord with the oldworld atmosphere of the decorations. The spacious well on this floor is surrounded with a very fine oak balustrade, above which rises a highly decorative dome, enriched with mediaeval glazing and designed in sympathy with the general scheme of decorations, as are the three large windows overlooking the main entrance. From this hall, the oak staircase leads in easy stages to the balcony, where patrons obtain their first impression of the auditorium. A luxurious carpet covers the floor, and well-appointed seats provide comfortable support for the body and free the mind to extract the utmost enjoyment from the program, whilst appreciating to the full the beautiful surroundings. A striking feature is the massive masonry arch boldly spanning the proscenium opening and flanked with delightfully traceried pilasters terminating in canopies of exquisite design. The walls are treated in bays of half-timbering, alternating with panels of random masonry interpierced with many playful devices of oldworld design. The balcony rises above the auditorium ceiling, supported on an immense timber truss spanning the auditorium. The balcony ceiling is divided into a number of bays with heavily moulded beams, the auditorium ceiling being upheld by a series of arched ribs enriched at intervals with gorgeously colored and gilded motifs of delightfully varied design. Above the balcony rises an exceptionally fine dome, the base of which is encircled with a broad moulded band. Above this band is a wide frieze enriched with beautifully modelled foliage and surmounted with a mediaeval cornice studded at intervals with old-world motifs. The dome itself is enlivened with a series of moulded ribs supporting a wonderful traceried lantern illuminating the dome with softly glowing color. A pair of smaller lanterns of similar design hang suspended from the main ceiling, alternating with traceried vents. The whole ceiling has been treated in skilfully blended colors to represent mottled hide. The walls are ablaze with light from a