Motion Picture News (Mar-Apr 1923)

March i o , 1923 1199 NEW THEATRE Construction & Equipment projection department P. M. ABBOTT CAMERA TECHNICAL EDITOR Behind the Scenes With Edward L. Hyman, Mark Strand, Brooklyn Description of Method and Construction for Prologue Presentation WITH the building of new, modern theatres and the remodeling of others to bring them into popular favor again, presentation is the thing which is being most considered by the live exhibitor to keep his house three jumps ahead of the sheriff. Presentation may mean merely a song number, or a dance, or a jazz orchestra sidetracked in a box, or it may mean a synchronization of lighting, staging and orchestration to bring out not only an entertaining effect but an artistic one as well. In the latter instance it is true that the number of theatres is in the minority, but their ipace is being followed by more and more as time moves forward. Probably the best equipped theatre in the country for presentation is the Brooklyn Mark Strand, of which Edward L. Hyman is managing director. Because Hyman is a firm believer in presentation has brought this fact about. This house was not so well equipped when he took charge of it, but through installing lights and other equipment it has been brought on a par with the finest in the land — it was already architecturally so. Its success proves the wisdom of this. The stage presentation number which we take for example this week, in expectation it may prove beneficial to exhibitors in various sections, is a prologue to " Fury " used by the Brooklyn Mark Strand the week of February 18. Managing Director Hyman, because this photoplay is heavy drama, wanted lighter stuff in the specialty presentations, thus he chose a song number that had to do with the sea (in keeping with the picture) and to be sung by a bass singer. The usual doleful, sad vocal numbers heard frequently were avoided, and instead one with a lilt, a carefree note, was selected. This was " Bells of the Sea," by Lamb, and sung by Carleton Gerard. Now, with the song number and singer all set, the question of staging came next, and from Articles by Lee S. Ferguson THROUGH the courtesy of Edward L. Hyman, Manager of the Mark Strand Theatre, Brooklyn, N. Y., and also with the cooperation of his Publicity Director, L. S. Ferguson, this department of the MOTION PICTURE NEWS is to present a series of descriptions on the prologues presented each week at the Mark Strand Theatre. These descriptions will take up in detail the mechanical construction and lighting employed to secure the desired effects which are employed in that theatre permitting the proper atmosphere for the picture showing. The mechanical construction and lighting of such prologues is in itself relatively simple and may be easily duplicated as a whole or in part by other theatres. The art in this presentation is in knowing how to secure the most striking results from inexpensive equipment. As this series of articles progresses, the majority of managers will undoubtedly find valuable suggestions which they will be able to incorporate in presentations in their own theatre. prologue, "Bells of the Sea," used with the picture, "Fury." at Brooklyn Mark-Strand the possibilities were chosen the stage setting as photographed herewith. Its effectiveness, however, can not be fully realized from the pictured reproduction, because lighting played an important part, and as yet the photographer has not found a way to " shoot it. The presentation stage at the Brooklyn Mark Strand is about forty feet wide, thirty feet high and ten deep. The back drops are, therefore, made 30 x 40. In this prologue the back drop was a neutral blue, a painted drop that can be used to denote sea and sky. Immediately in front of this drop, centered, was placed the set piece representing the boat. This set piece consisted of a straight canvas, battened, for the outline of the boat to be painted upon. A light scaffolding, and legs, behind this held it secure, and a platform is used for the singer to stand upon. For " water " in front of the boat a ground cloth is laid. This is scrim dyed light blue, and undulating from about one-third the way up the boat to the floor of the stage, reaching out toward the orchestra a distance of about six feet. Upon this ground cloth is thrown the surf effect from lights at each side of the stage. Thus surf effect gives the appearance of water splashing against the boat. To the right is the -lighthouse in the distance, and to get the proper effect a " skiddoo " light, or flasher socket, was used. This flashes on and off regularly, a glowing, white light. For a smoke effect from the funnel of the boat, salamoniac placed on an electric heater turns the trick, making a steady and easily seen smoke without fumes or disagreeable effects. The windows of the cabin of the boat are transparencies, and behind them is placed a single red light, to lend that touch of necessary color, or contrast. Now for the lighting. A steel blue spot light was focused on the singer from off stage, on a line with his face; the cove lights were blue; two magenta (reddish purple) entrance spots and two medium green,