Showmen's Trade Review (Jan-Mar 1940)

February 3, 1940 SHOWMEN'S TRADE REVIEW Page 37 Installment Plan Improyements ACCORDING to competent and informed observers, there never was a period in the life of the motion picture theatre when owners and operators of these properties were more generally interested in ways and means of improving their plants on the sound economical plan of "installment renovations." The widespread urge to brighten and renew existing theatres thus finds the means under existing conditions of achieving a desired end on a basis which fits into current economic trends and desires. In view of a situation calling for a knowledge of what the market af?ords in materials for improvement of buildings — from the utilitarian as well as the esthetic standpoint— this journal here begins a brief survey of some of the articles that American manufacturers have developed for purposes of building and building decoration. Before referring specifically to any particular material, however, it is only right that state here that there is no attempt to be made toward a technical study of any of these materials. Merely, we hope to be of service in calling attention to some of the man\r products which have value in producing effects and results at costs which are within the modest budget. Made Cellar Useful One of the places which in a great number of buildings — private dwellings, public office buildings, as well as theatres — is greatly neglected is the cellar. When oil burners and also automatic coal stokers became available to home owners, many a man who for years lived in a house of his own building and owning, suddenly discovered that there was a lot of good space down there under the layers of dust and grime. Thereupon America became cellar conscious, and plaj-rooms, bars and ping-pong courts came up like mushrooms in the habitual place of domesticated mushroom culture — the basement or cellar. What the home owner discovered about his own living place, many a theatreman has yet to learn about his own building. But there's no longer any excuse for having a "mystic maze" down there under the water pipes. There's valuable space for store rooms or work shop where exploitation display material can be wrought. In most cases all that's needed to reclaim the no man's land under the orchestra floor, is a good cleaning and some paint brushed on the walls. Dampness that leaks in from seepage, unless it be excessive, can be eliminated Exhibitors Looking at Method as Sound Way to Renovate Their Theatres by the same investment and operation used to brighten up the cellar. This is done by a process which gives a handsome interior finish though primarily its purpose is to prevent dampness from ruining the cellar as a usable store space or work shop. This material may be applied inside, or outside the walls — several successful applications to the interior walls proving that water can be kept out by the treatment. Floor Treatments On several occasions STR has emphasized the importance of eliminating dust from the projection booth, with special emphasis on the destructive properties of dust particles which arise from uncovered floor surfaces. Covering material is used in many of the modern booths. But in addition to linoleum, there is a surface hardening material for all concrete floors — applied after the floors have been cured and dried. Now, regarding the exterior of the theatre. Many houses, built some years ago, now present a grimy and unmviting appearance which simply cannot be covered up by bunting and cutouts, and, except at night, can't be corrected by lighting. Brick surfaces, unless they are very sound from an architectural standpoint, and smooth cement exteriors, which have become discolored and unattractive, need not be ripped out altogether to give the theatre a pleasing appearance. If the material is good and the structure sound, why not consider that old reliable freshener — paint? There are paints which have special applications to exteriors of cement, brick or stone. Color ranges are wide, giving the theatreman choice of effects which are best suited to his location and his particular building. These exterior paints, in the bargain, have an even greater value in protecting the surfaces and preventing dampness inside. So far as floors in the lobby and the interior of the theatre are concerned, there is nothing that gives a place that down-at-the heel look so completely as worn and unsightly floors. The lobby can be fixed up in this respect with the addition of some new rubber mats — a necessity for appearance as well as utility during bad weather. If an entirely new floor is needed, the opportunity to put in one that will add greatly to the appearance and appeal of the lobby is even greater. For nowadays terrazo, or cement, floors that are laid in designs worked out by manufacturers of dividing strips (of metal) are not expensive when their effect and their wear is considered. As to the wall treatment of lobby, foyers, auditorium and lounges, there the theatreman has something for the supply of which the market is rich and abundant. Plastic materials grained authentically and beautifully to conform to the finest woods; veneers processed so that they may be applied with all the ease of wall paper; "leatherettes" which are also as easy to handle as wall paper— a variety of materials are at hand. Perhaps insertions of panels on certain wall surfaces are all that is needed to give a rich, redecorated effect to the auditorium or other parts of the theatre. So far as wash rooms and toilets are concerned, the messy effects of water splashed on exposed plaster surfaces and wood floors are things that will take the joy out of ever}^ visit to the theatre for the patron who makes use of these places on a trip to the movies. For the wall surfaces above wash basins and in places where water is likely to be splashed, there are materials that can be put on as easily as a piece of shingle on a roof. They have waterproof surfaces, can be scrubbed and polished down with a cloth. Large Store of Materials Thus, without even beginning to scratch the surface, are indicated only a few of the many products that can be used without great expense to accomplish wonders in the way of improving some of the bad spots that may exist — which do exist — in many a theatre. They are but a drop in the bucket of the large store of materials available for "installment improvement" for the theatre. That these and other materials of equal value are being overlooked in many a consideration of improvement jobs by theatremen, there is no doubt. If tlie reader is interested in more detailed information regarding any of the materials sketchily mentioned above, we will be glad to send him descriptive material. To receive this, merely drop a post card to STR, but please be sure to state specifically what type of product you wish more fully described. The Schine Circuit will construct a new theatre, seating 400 and to be in the "junior" class for the chain, in Canandaigua, N. Y. Above, is the exterior as reproduced from a drawing by Architect M. j. DeAngelis. Another theatre for New York state, above, the Fredonia, N. Y., house to be built for Herman Lorence, as shown in the drawing by its architect, M. J. DeAngelis. It will seat 850 and will cost approximately $50,000.