Showmen's Trade Review (Jan-Mar 1949)

HOWMEN S TRADE REVIEW, February 5, 1949 E-11 Modern Theatres Cost More But— They Are Much Better Theatres Showman Who Builds Today Pays More but Gets More for His Money— Modern Design Reduces Both Operating and Maintenance Costs, and Brings in Higher Revenue Drew Eberson When the aesthetic and artistic approach of the architect to theatre design are under discussion the average owner or exhibitor merely waits patiently until the word "cost" is mentioned. As an architect who has also had the experience of owning and operating his own theatre I fully realize the importance of considering carefully the monthly "nut" that will carry on long after the architect has gone his ways. The original construction cost of course is a large determining factor in this carrying charge. Our office has a very interesting set of files covering theatres built from 1904 to 1948 and ranging in size from 200 capacity to 6,000 capacity. Construction costs varied from $50.00 a seat to $350.00 a seat. In the late twenties, costs without theatre equipment were in the $200.00-aseat bracket. In the middle thirties and up to 1940 they were $80.00 or $90.00 a seat. (In the late twenties and thirties, of course, there were such items as $50.000 00 for ornamental plaster on a 2,000seat house, and $20,000 for a marble and bronze box-office for a 3,500-seater.) But— what did you get for your money in those days? Modern Design is Better The latest in design has streamlined the theatre to its essentials. Today's theatres cost more to build but they are so planned that they cost less to maintain, less to operate, and they bring in higher revenue. To meet rising prices, the cubical content of today's theatre has been reduced, which results in an important reduction in heating and cooling bills. Reduction in stage areas is a further aid in the same direction. Foyer and hold out facilities are planned now to render full service to the patron with fewer ushers. Centrahzed vacuum cleaner systems, unwieldy large refrigeration plants and comphcated electrical controls have been eliminated by the architect. The majority of dust-catching lighting fixtures have also been eliminated. Development of tube and cove lighting got rid of the continual expense of relamping incandescent bulbs. Or consider the change in one element of the theatre alone— the sanitary facilities. Hanging the toilet partitions, doing away with the pedestal urinals, bringing the janitor's slop sink to close proximity to hi" work and similar steps for reduc By Col. Drew Eberson ing maintenance expense are built into theatres today. Toilet room ventilation has taken great strides. Architects now expend much greater effort on acoustics, and in improving sight lines. Still further, many new safety measures have been put into effect. These also are a factor in today's increased costs, bu;— both the public and theatre owner are very much better protected than even ten years ago. In other words, the design of the modern theatre makes it a much more practical, workable unit in the exhbitor's hands; it is simpler and more economical to operate. The architects, I think, should take a great deal of credit for the development of this workable package. New Theatres Earn More Although today's investment in theatre construction is higher than in the past, the return on the investment is proportionately as great as at any time. There are two reasons for this: and one of them is, again, a contribution by the architect. Full consideration is now given, as never in the past, to the design, appearance and location of that all-important factor in current theatre operation — the candy and soft drink concession. Many of our latest theatres, both in this country and in Latin America, include soda fountains and light luncheon bars. All of these improvements increase the owner's revenue. The second reason why a theatre built at today's higher costs brings back a pro portionately higher return is that these tall costs are not unique to theatre-building. They are part of a pattern which also includes increased admission prices and increased attendance. They are merely one part of the facts and conditions of the times in which we live. Fi/ New National Pattern If the per seat cost of building a thetre now is more than in 1940, so is your bus fare and milk bill and grocer's account. The bricklayers, plasterers, laborers and mechanics whose wages have increased 100 per cent since 1940 are the same people who are filling your theatre and maintaining your latest grosses. Therefore, in my opinion, it is pointless to compare dollar for dollar of investment. The dollar of 1949 is not the dollar of 1940. In order to obtain men and material to build now we must pay even higher than union scales for labor and more than list price on material. We can't expect to hire men at the scale of the thirties, a period in which both men and bread hnes were plentiful. At present there are more jobs than men — but there are also more men with the price of an expensive theatre ticket in their pockets. With increased admission prices and the increased buying power of the public the return on investment is certainly as great, if not greater, than it was during the depression thirties when building costs were at their low ebb. The low costs of those thirties cannot be used as a criterion in evaluating theatre construction investment. We are an office that has served and (Continued on Page E-23) Unusual Interior Designed by Author for Mexican Theatre Auditorium of the Orfeon Theatre opened last December on Luis Moya Calla in Mexico City, first of several now in construction in that city according to designs by the firm of John and Drew Eberson.