Motography (Jan-Jun 1918)

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April 20, 1918. MOTOGRAPHY 735 Proving That Ideals Pay A STORY OF A CHICAGO THEATRE By Genevieve Harris WHEN Balaban-Katz, the Chicago exhibitor company which consists of Balaban Brothers and Samuel Katz, early last winter opened one of the most costly and beautiful of picture theatres at a location not only several miles from Chicago's downtown district, but in the southwestern part of the city in what may be called a middleclass neighborhood, the film trade watched the experiment with interest. Having the theatre most artistically designed and efficientl}' equipped, the owners did not stop there, but set out to present programs in a manner befitting the worth of the house itself. They have achieved their purpose and they are demonstrating as well that the system pays in any neighborhood. Draws on Entire City The Central Park theatre is, at the end of its first few months of existence, drawing patronage not only from all parts of the city, but from several of the suburbs as well. It is just another example of the fact that the world will eventually seek out real worth, wherever it ma}' be. No large advertising campaign was launched for the theatre. Its programs were published in a dignified and effective way in the daily papers and the people who came once not only came frequently thereafter, but they sent all their friends. Here was a theatre which gave real entertainment; not just a "picture show." Seats 2,600 Persons The accompanying photographs give some idea of the beauty of the theatre, which is a 2,600-seat house. Soft, pleasing colors, an attractive lighting system, comfortable seats, with plenty of space, perfect ventilation — all these assure the physical well-being of the patron who visits this theatre. There is an air of refinement here, which the attendants of the house emphasize by their courtesy. In the first place, no glaring posters or three-sheets are used to advertise the programs. Instead, in the lobby there are artistic, nicely framed, original posters, the work of Alexander Frank, the house director. These posters are so good and illustrate so well how effective this sort of announcement can be, that Motography will publish several of them in a later issue, with further explanations from Mr. Frank. Announcement of the two features next to come is made. Since the theatre runs each picture three days, this gives Mr. Frank time to work out his posters as a daily change would not. The theatre finds that the longer runs of pictures are profitable, according to Mr. Balaban. The third day's business is the best, not only on an unusually good feature, but on the average program picture. For this reason it is only a matter of time until arrangements will be made to run each feature a full week. Program Worked Out Carefully The program of the theatre is worked out carefully. Entire dependence is not put either on the star or the picture itself. Instead, the whole program must be good, so that even if the feature picture should not make a great appeal to some pa,trons, they will still find entertainment. Pictures are shown from two o'clock until eleven, continuously, the orchestra playing both afternoon and evening.. During the orchestral overture, the theatre's five-color lighting system, is used to attain beautiful effects. A storm imitation, worked by the electrician with these lights and sound effects, accompanied by the orchestra's rendition of the "William Tell" overture, is espe Mildred Keats, daughter of Harry Leslie Keats, Millionaire automobile distributor^ of Portland, Ore., who has joined the William Fox forces following her appearance in "Queen of the Sea." cially popular with the patrons and wins more applause than any other feature. Following the overture is the topical review, a selection of scenes from various news weeklies, with brief scenic views. An interesting idea in this connection is the use of a military scene to begin and end this number. This gives the orchestra a chance to brighten up the program by catchy military selections. A solo musical number follows, vocal, violin or piano. Care is taken that this number is in harmony with the tone of the feature picture. For instance, frequently the song which the singer uses is made the theme of the orchestra's accompaniment for the photoplay. Seat None During Solo The ushers seat nobody during the overture or solo number. Patrons needed to be educated to this system, but diplomacy was used and performers and seated patrons both appreciate it. The orchestra is under the direction of Leo R. Lipstein, and he and the managing director, Leopold Kohls, arrange the accompaniment for the pictures. Pictures are screened in a private projection room in the basement and the music carefully cued and well rehearsed. A speedometer in the operator's both and one in the orchestra pit assure co-ordination between picture and music. Never Speed Picture That pictures are never to be speeded is a rule of the theatre. A time schedule is made out for the entire day's program, so that there is no confusion. But while there is no speeding, the program is never allowed to drag. There are no pauses. When one number is finished, another begins at once. A play-room for children is one of the conveniences of the theatre. In this room, provided with swings and toys, restless little children can be left to amuse themselves instead of annoying patrons. This room is also useful when a "pink permit" picture is run. Instead of leaving the children at home, the mothers bring them, knowing they will be cared for. For in spite of its wide drawing power, the Central Park does not cease to have the friendly spirit of a neighborhood house. It is proud of its automobile trade, of the many cars which line the street near it each evening, but it is also proud of the line of baby carriages lined up before it each afternoon while tired mothers enjoy the matinee in as rich and beautiful a theatre as they could wish for.