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modeled decoratively to p»ovide a restful environment, this space is now equipped with two large candy counters in addition to two stainless steel soda fountains and a 60-foot S-shaped service counter with 26 fixed stools.
The Rosetta Soda-Snack Bar is completely open on the lobby side. Along the street side adjoining the theatre vestibule are sidewalk counters and an entrance for pedestrian trade. Besides the conventional confections of soda fountains, the SnackBar offers popcorn — there are two of the latest type Manley popping machines — soft drinks, fruit juices, sandwiches and coffee.
The color scheme of the Snack-Bar is red, white and black. The wall opposite the street side is finished in red and white
Here are scenes typical of what is happening today in theatre vending. The refreshment bar of substantial proportions, open to pedestrian as well as theatre trade, is not confined to the larger theatre, as the El Cajon theatre in E1 Cajon, Calif, (above) testifies. At left is how popcorn has come to patrons of Kansas City's palatial, dignified Newman. Immediately below is the elaborate refreshment bar installation of the Fox in San Francisco. Here several girl attendants serve candy and ice cream as well as Coca Cola and other beverages. The counter was especially built, with an 18-inch Formica top rimmed with brass. Padded Tolex simulated leather faces the counter and covers the canopy frame. . . . Distinct from the developing refreshment services are accommodations for checking coats, parcels and umbrellas, as illustrated in the lower view of the installation of American Locker Company coin-operated equipment in Boston's Keith Memorial Theatre.
wallpaper with mirror 3 feet square placed at eye level. The wall opposite the lobby is completely mirrored. Potted plants help to contribute to an atmosphere of leisure. This service is in charge of Mrs. Gwen May, former supervisor of confection for the Wometco circuit. She has a staff of eight fountain and counter girls. The Rosetta is managed by Ed May.
SERVICE IS THE OBJECTIVE
The profits of confectionery vending and more elaborate refreshment services were always potentially there, but for years theatre operators fought off the temptation, fearing that it would lead them too far afield, aggravate their present headaches, dirty up the place beyond reasonable levels of maintenance, and — in the case of the deluxe operation — lower the dignity of the house. The change in the theatre vending is also convincingly illustrated in Kansas City's austere Newman theatre. Architecturally, the Newman is one of the first of the nation's monuments to the arrival of the motion picture as a respectable art form. It has maintained that dignity throughout the
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quarter of a century since its erection. But it is selling popcorn to its patrons today.
M. B. Cohn, manager of the Newman (once managed by G. S. Eyssell, now managing director of New York's opulent Radio City Music Hall), admits that the management, which had previously allowed a modest candy counter, has added popcorn on demand of patrons. It J (Continued on page 41)
BETTER THEATRES, APRIL 5, 1947 4B|