The Exhibitor (1959)

A Veteran T heatreman E xamines The Role There has been considerable discussion re¬ cently concerning the role of the concession¬ aire in the theatre refreshment stand opera¬ tion. With some 45 years as a theatreman and 25 years as a concessionaire behind me, there are certain phases of this relationship which I think bear reexamination. In the early days of theatre concession operations, merchandise was generally limited to candy sales — which were, in a great many cases, a matter of selling rolls of choco¬ lates from machines installed on the back of the seat. Later, upright vending machines put in their appearance, followed finally by regu¬ lar stands. Phenomenal Growth The theatre candy stand has been a phe¬ nomenon. Since its inception, confection mer¬ chandise has been supplemented by items involving expensive and complex equipment: popcorn machines and warmers, drink dis¬ pensing machines, and stands or cases for ice cream, frankfurters, and custard. Indoors, and even more spectacularly at the drive-in, the concessionaire has gradually expanded his operation into one which is an important part of the theatre’s revenue. Progress in the development of the theatre refreshment operation is very important. But this progress must be cautious and compatible with the financial capabilities of both ex¬ hibitor and concessionaire. The theatreman must attract the patronage essential to the economic health of the expanding stand, while the concessionaire must be prepared to cater to the taste of the clientele attracted. A Problem One of the concessionaire’s problems today, in contrast with the years during World War II, is that he has an abundance of merchan¬ dise to offer from excellent equipment, while fewer customers, as a rule, patronize the theatre. During the last war, circumstances were the opposite. Today, therefore, the con This stand in the century Circuit's Norstrand, Brooklyn, reflects conscientious attention given to the problem of odor and noise. The stand is located adjacent fo the auditorium, several seats having been removed to accommodate it. Soundproofing has been placed behind the back and sides to eliminate any popping or other noises. A hood over the popcorn machine contains an exhaust fan which is operated by a V4 horsepower, 1750 rpm motor. This removes not only the fumes from the machine , but also from the space around the stand. Of The Concessionaire by Emanuel Frisch cessionaire is faced with the problem of extracting higher cents per person sales from a smaller number of people. Fortunately, many circuit operations have succeeded, in the last few years, in increasing sales per person from a low in 1953 to a high in 1958, thereby compensating for the proportionate drop in attendance. Different Relationship The concessionaire must never lose sight of the fact that the relationship of patron to theatre refreshments stand and the theatre is entirely different from that of patron to ter¬ minal or subway stand. In the first case, there is a complete identification of one with the other — the customer does not distinguish between management of the stand and the theatre; in the second case, such identifica¬ tion is missing. The theatre suffers directly from the effects of a poorly managed con¬ cession stand. In order to protect the theatre, the con¬ cessionaire must take the long range point of view. He must spend more on help — help of a superior kind, and accept a smaller profit on merchandise. But, in the long run, he will benefit from a larger volume of sales. Special pictures, such as “The Ten Commandments,” “Sinbad,” “Tom Thumb,” and others require maximum help for short periods of time. The concessionaire must watch the bookings of the theatre carefully to be well prepared in advance. Quality Sells Quality merchandise is an obligation of the concessionaire. He should always feature name brands, not attempt to promote un¬ known names. Quality merchandise both in product and brand should be sold at all times, even if the profit margin is smaller. Fresh goods, excellent service, absolute clean¬ liness of the facility and the atmosphere in general, will retain customers and keep them out of the neighborhood outlets for items similar to those the theatre oners. The concessionaire must know the person¬ ality of the theatre he serves. Each is differ¬ ent to some degree and probably requires a different variety of products. Soft ice cream in one theatre may be no good, while the same item in another house ten blocks away may be excellent. Prices, too, must vary. With two-a-day picture experience — where there is an intermission behind us, we have found that frankfurters, ice cream, and drinks will not move at 25 cents; franks had to be cut to 20 cents; drinks to 15 cents; and ice cream to 15 and 25 cents. Cheaper price items must be stocked for children, even if they are not on display. However, we have learned that even with lower prices we still have ex¬ cellent sales per person. At two stands, we used one or more specially-purchased for¬ mica-top tables. In every house, franks were sold, kept warm with infra-red lamps. Rules For Success Some of the things the theatre must do to contribute to the successful concession stand operation is to help sweep up around the stand in the aisles and rows between shows; soundproof the ceiling above and near the stand; and erect glass partitions at standee rails with drapery on the audience side to absorb sound. Acoustical blocks on the stand wall in back of the seats are a big help. On the other hand, the concessionaire must contribute such devices as an exhaust fan to carry out heat and odors; he must keep the stand and the equipment clean beyond re¬ proach; and he must check light in the thea¬ tre when it is empty and dark to avoid reflec¬ tion on the screen. Profits For Both Cooperation and understanding of mutual problems of concessionaire and exhibitor should lead to increasing profits for each. PE-12 PHYSICAL THEATRE • EXTRA PROFITS DEPARTMENT of MOTION PICTURE EXHIBITOR July 15, 1959