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1945 Theatre Catalog, 4th Edition, Page 234 (210)

1945 Theatre Catalog, 4th Edition
1945 Theatre Catalog
1945 Theatre Catalog, 4th Edition, Page 234
Page 234

1945 Theatre Catalog, 4th Edition, Page 234

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Since the use of fabrics was the obvious answer to their problems, theatre owners throughout the country were quick to realize that, in addition to its proven utility value, the use of proper fabrics in theatre interior decoration undoubtedly has done a great deal towards making the theatre a very pleasant and restful place in which to spend an evening and the most important medium of entertainment for our American communities. Fabrics have also been used to create warmth and beauty in menis and womenls lounges, which, in recent years, are given as much attention as other parts of the house. Special fabric effects have been used above standee rails combining a decorative purpose and utility one, namely keeping out noise and drafts. Bare, uninteresting box offices have been beautiiied by the use of interesting materials, such as small motif damasks, satins and casement cloths. In the silent theatres converted to sound, organ grilles were covered with sheer,

THE MERRICK THEATRE, Jamaica, Long lsland, New York, shows further use of fabrics in the modern theatre, for their decorative as well as acoustic effectiveness. At the left is the ladies' lounge with a wall treatment of Trituft damask.

THE ART THEATRE, Quincy, Massachusetts, in these tore-and-att, before-and-after pictures, shows how Maharam fabrics, installed by William Riseman Associates, were utilized to create a "new" cinema.

shimmery, rich fabrics of porous texture, to permit the sound to come through easily.


For the past 50 years fabric manufacturers have been working in close association with the countryis leading architects and scenic studios, executing ideas for the interior decoration of our worldknown cinema houses, theatres, night club, and so forth. The industry can take pardonable pride in the many beautiful damasks, plushes, velours, and the like, that have been created and woven and that are now gracing the walls and stages of thousands of theatres throughout the country. Through the years solution has been found to many unusual problems, such as having a damask made of the same motif as the carpeting of a theatre and to designing a fabric to carry out the theme of an intricate Indian design, and so on.

And so with this experience, accumulated over the past years, the industry


is now engaged in weaving damasks and novelty fabrics for the new modern trends, utilizing the many new yarns that have been developed recently, such as glass fibres, nylon, better types of rayon, and the like, thereby obtaining many new effects and textures. There is still a great deal of research being done with the new yarns, and such materials will be used as soon as they become available.

The theatre-going public is takingmore and more recognition of these changes in theatre decoration, and enjoys being surrounded by the same glamor and atmosphere they find in beautiful night clubs, homes, and moving-picture sets. With World War II behind us, and with its restrictions rapidly becoming a thing of the past, fabric makers are again consulting with the many scenic studios and designers for the express purpose of creating designs and fabrics which will beautify theatre interiors. The post-war period will see the execution of a great deal of work in this field.

At the right is the promenade, showing other wall-fabric treatment. The Maharam Fabric Corporation furnished all the fabrics used, as well as the Swirl plush front curtain for the proscenium opening. The architects were John and Drew Eberson.

1945 Theatre Catalog, 4th Edition, Page 234