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MANAGEMENT
...in its relations to the theatre property, to the public, and to personnel
By MAUREY L. ASHMANN
Zone Manager of the Interboro Circuif in Long Island, N. Y., communtfies
The Good Manager and His Toughest Boss
let's talk about a good manager. Let's talk about you. Why not? No reason I know of why we need not assume that you are a darn good manager.
Let's talk, then, about your boss — your toughest boss. Now look in the mirror,
chum. Yep, that's the boss we're speaking of. The fellow you really answer to, for accomplishment or failure.
Whether you work for an individual exhibitor, a small circuit, or a large one with a great array of administrative officials, field executives, etc., your immediate boss has to be you. And since you are a good manager, you don't find your other bosses half as tough as the fellow in the mirror, who knows your capabilities, your faults, your ambitions better than anyone else.
Remember the first time you were checked into a theatre? Quite a workout, wasn't it? Your predecessor was all right, you admit — but he certainly missed up on a lot of things. You were the live wire then. And you are now, we assume. Or should it be suggested, after all, that you look back on that occasion to see if you've lost any glow?
Wonder what your ushers, porters, cashiers, projectionists think about you. They
talk about you, of course. Not just at the theatre, but lots of other places. Do they think you are a good fellow to work under because you are easy or because you know your stuff and make them toe the line without being unreasonable ?
A STAFF NEEDS LEADERSHIP
If your porter, for example, is worth his salt, he won't think the less of you for those early inspections, your insistence on cleanliness, for your checking of the to'flfet tissue containers, your inventory, or your detailed instructions on the proper handling, storing and conservation of equipment and supplies. He, and your doorman, too, will respect you for the knowhow and care with which you trained them to keep the lobby clean of stubs, to watch for lighting when needed — and to be alert and courteous to those grand people who buy the tickets. Yes, it's nice to be thought a good fellow by the staff, but only if that thought is accompanied by respect.
Your staff and the building they work in reflects your personality. Were you sharp with that youngster who ran across
the floor? Some adult patron may have heard your tone. Do your telephone conversations in your office leak out into the theatre? If a patron makes a complaint, do
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BETTER THEATRES, JUNE I, 1946