Motion Picture News (Mar-Apr 1923)

March 24, 1 9 2 3 1473 NEW THEATRE Construction & Equipment pr°jection Department P. M. ABBOTT CAMERA TECHNICAL EDITOR Behind the Scenes With E.L.Hyman Brooklyn Mark Strand Plans for Combination of Three Stages for Separate or Unified Presentation Articles by Lee 8. Ferguson stage lights are down. On each of the three stage openings there should be a tab curtain, a draw curtain and an iris, providing all that is needed from most any kind of number desired. With a cyelorama back drop around the three stages and with the front curtains drawn, the effect of one large stage is given, merely divided with two columns. If glass traps are placed in the floors of the stages still further effects in lighting may be obtained. The large stage could use three traps and the smaller stages one or two each. Over the stages X-ray reflectors could be used instead of border lights to good advantage. The ceiling should be solid and half round. This would act as an excellent sounding board for the orchestra, and with the use of X-ray cove lights some magnificent effects could be obtained. In the way of further equipment, six Kliegl 1,000-watt lens lamps should be placed back of the columns of the smaller stages, three to a side. Six should also be placed back of the AS far as we know there is no motion picture theatre using at the present time three stages for presentation specialties. We will therefore take up part of the space this week in describing a stage layout which Managing Director Edward L. Hyman has devised, and which will no doubt furnish many ideas for exhibitors building new houses or remodeling others. Of course, this setting is suggested for motion picture palaces of the larger sort, running from 4,000 to 6,000 seats, but it would not be out of place in smaller theatres if moderated in parts. In planning this equipment the largest stage of the three should, of course, be in the center. On each side of it would be a smaller stage, these two to be probably half the size of the big stage and ranged at a 45-degree angle running down to the proscenium arch. The stages would be divided by pillars topped by arches, thus making three independent stages, which can be used separately or can be working all at the same time. They suggest to the active minded exhibitor an endless variety of staging methods, permitting the use of tableaux on the small stages while the large stage is being set or even while a specialty is being used which has a bearing on the tableaux. Just the thought of the three stages causes a myriad of ideas to spring up. permitting the theatre to be practically in a class by itself if this paraphernalia is used to the best advantage. For these three stages there would be four columns, two on the main arch over the main stage, and one at each end of the smaller arches, marking the end of the stage nearest the wall. Each of the columns should have a transparent window in proportion to its size, thus permitting lighting harmonies from strip lights placed behind the transparencies. A very striking effect may be obtained from these windows when the Layout for special stage which can be used for three separate stages, design by E. L. Hytnaii columns of the main stage, making twelve for this platform. Overhead, a canopy ceiling underneath the solid ceiling will aid in getting more artistic color effects. This canopy may be made of pineapple cloth, a fascinating thing as viewed from the auditorium, standing up well under any lights used. On the steel bridge across the stage, four Mestrum 100-ampere spot lights may be placed. It is, of course, advisable that the regular equipment of foot lights and borders be on hand. In addition to the four Mestrum spots on the bridge, ten 1,000-watt Kliegl lens lamps may be used for soft lighting. About sixteen 1,000-watt open box lamps may be used for flooding purposes. In the dome of the theatre four 150-ampere Mestrum combination flood and spot lights may be utilized. This, of course, is taking it for granted that the proscenium arch is of sufficient height to allow the spots to hit any place on the stage. Eight 1,000-watt Kliegl lens lamps should be placed back stage for side lighting. With a layout like this an exhibitor need not take a back seat for anyone, provided, of course, this equipment is used with a sense of showmanship. There is a magnificent theatre up-state which was built to typify the ideal theatre, and there should be ideal programs and presentations as well. But it is common knowledge that this house has not been utilized to the fullest. The equipment is there, and that is about all. It has been said that a singer who had been booked in for a specialty was asked when she went in for a rehearsal what kind of lighting she wanted for her "act." If lighting were left to singers and dancers, then it would probably be best to take out the equipment and run just the picture alone. In striking contrast to this is the set of over forty color combinations that have been worked out bv Hvman.