The Moving picture world (September 1922)

404 MOVING PICTURE WORLD September 30, 1922 Better Equipment Qonducied i>i? E.T.KEYSER What Hays, Richards and Horater Have to Say Regarding Seating APROPOS of the article on house seating, which appeared in our issue of September 23, we print below the views of three men whose opinions are well worthy of con- sideration. Theodore L. Hays is general man- ager of the Finkelstein & Ruben Theatrical Enterprises, of Minne- apolis ; E. V. Richards is vice presi- dent and general manager of the Saenger Amusement Company, Inc., of New Orleans, and H. L. Horater is vice president and general manager of the Patheon Theatre Company, of Toledo, Ohio. We feel sure that the viewpoints of these three eminent authorities will be of both interest and value to those of their fellow exhibitors who con- template re-seating an old house or laying out the plan for a new one. Comfort Important, Says Hays The psychology of successful purveyance to patrons of entertainment lies in provid- ing an environment as near ideal as possi- ble; an atmosphere which will tend towards the creation of a receptive attitude on the part of theatregoers. Many elements enter into or contribute to the so-called ideal environment. Har- mony in decorations, appropriate furnish- ings, cfifective lighting, proper ventilation, cleanliness and especially comfortable seating. There is no question but that the last named factor is one of the most important. In the early days of the motion picture industry, it was possible for the Exhibitor to get by with seat platforms measuring from 28-in. to 30-in. in depth, notwith- standing the fact that seating conditions were crowded and uncomfortable. This is no longer the situation. State and City building regulations quite generally provide for a minimum depth of platform of at least 32-in. measured from back to back of seats. Space for Long Limbs This space is sufficient to provide com- fort even for persons with long limbs and will permit of patrons passing those who are sitting without much annoyance. The problem of the motion picture ex- hibitor is a dififerent one than that of the manager conducting a theatre in which the patrons are seated in accordance with re- served coupons and as a rule remain seated during the entire period of performance. The motion picture audience (except where seats are reserved) is a continually chang- ing audience with the result that the seat platform should be sufficient in depth tc permit persons to pass the patrons who are seated without necessitating their ris- ing to permit such passage. To permit of this condition seat platforms would necessarily require a depth of at least 34 inches. This latter width is quite desirable but involves a sacrifice of considerable floor space and is not generally adopted, except where ample floor space is available. Favor 20-inch Seats For a number of years past 32-in. depth has been generally accepted by architects, engineers, and managers as adequate spac- ing for seat platforms. Regarding the width of seats, 17-18-19- inch were formerly the customary widths given to seats of motion picture theatres. The manager with fore-sight recognizes the fact that unless patrons are comfort- ably seated, no matter how excellent the performance, the full measure of enjoy- ment is not to be accomplished if the patrons are forced to sit in a crowded condition during the period of the per- formance. It is generally recognized now that 20- inch is the proper width of an opera chair. Chair manufacturers, architects, and engi- neers do necessarily provide for some 19-inch chairs and some 21-inch-22-inch wide, in order to reconcile spacing, but a " general use of the 18-inch and 19-inch chair is a thing of the past. As to the style of chair. A wood frame, not too heavy In style and construction, square seat and panel back of leather is in my judgment most desirable. The plush covered seat and back chair is a thing of the past. Sometime some enterprising chair manufacturer will design a model rattan back and seat, one that will provide both comfort and ventilation.—Theodore L. Hays. 3S Inches Says Richards In my opinion, comfort is the most essen- tial service of any theatre because with- out it no theatre, or any other business could prosper.—Thirty-two (32") inches should be the minimum space between each row of seats, but a thirty-five (35") inch would give maximum comfort to patrons without any great sacrifice of floor space. The type of chair is a matter of choice,— climatic conditions largely governing. In the cooler climates heavy upholstered chairs seem to be the preference. A recent inno- vation throughout the South and South- west, where the warmer weather predomi- nates, a cane bottom chair has been found adaptable. This eliminates the laundrying of seat covers, which is quite an expense and runs into money. The backs are porous and give ample ventilation, relieving the heat discomfort to patrons. The curved back chair seems to fit better than the straight back type.—E. V. Richards. Stop Crowding, Says Horater I am of the opinion that seats should be comfortable and believe that an eflort to crowd, unless one has an exceptional at- traction, has a tendency to keep people away. It isn't necessary to have too much leg room, and the same people like to stretch their legs, particularly if they are bored with an attraction and the seats are uncomfortable. I believe that the most comfortable type of a chair seat is the ordinary veneered one. I would strike a happy medium were I to build and equip a theatre and install 20-in. chairs.—H. C. Horater. 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