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1948-49 Theatre Catalog, 7th Edition, Page 336 (323)

1948-49 Theatre Catalog, 7th Edition
1948-49 Theatre Catalog
1948-49 Theatre Catalog, 7th Edition, Page 336
Page 336

1948-49 Theatre Catalog, 7th Edition, Page 336

UIn the Fairview Theatre of Cleveland, Ohio, the upper large areas of wall surface in the auditorium are covered With a pearl grey velour, while the lower portion of the wall is contrasted to the grey with a ruby red velour. Separating the two color areas is a running baroque ornament finished in bone white.

"The wainscoting is painted in slate grey and to continue the grey theme, the seats are covered with grey mohair. Relief is provided by green standards. At the stage end, columns flanking the stage, as well as proscenium members, are painted white. In interesting contrast, the front drapery on stage is ruby red satin in contour effect and the screen curtain stands out vividly in silver satin.

itA feeling of luxuriance arises in the foyer from tufted wall treatment utilizing grey patent leather covering augmented with red buttons for color highlights. Against the walls are benches covered with white leatherette. A rich carpet in red and grey provides a perfect foil for a domed recessed ceiling finished with silver leaf. Directly beneath the dome and centrally located in the foyer is a circular concession stand whose vertical outer circumference is strikingly finished in white tufted leatherette to match the wall benches.

ftIngress and egress gain added pleasure by the use of entrance doors padded and covered with grey Duran leatherette and upholstery buttons. From lobby to auditorium the central theme consists of getting the patron into a satisfied frame of mind by the use of pleasing decorative effects. Maximum relaxation and happiness have an excellent chance of being realized in such an environment?

For Mr. E. L. Gossage, president of Great Western Stage Equipment Company, the time is ripe for a renaissance in the utilization of theatre draperies. Although draperies have long been a part of theatre decor, first in the auditorium and then at the stage, it is only in the past twenty-five years that they have come into their own. At the same time there has been a decline in the use of bric-a-brac, ornaments and murals on the walls and in the lobbies, while on the stage gaudy painted drops and medieval sets are the exception rather than the rule.

Mr. Gossage states: "With the disappearance of the legitimate theatre in the majority of towns and villages and its replacement by the motion picture house, there seems to be a decorative trend towards graceful waterfall and contour curtains. These embellish the proscenium arch, behind which appears the necessary picture setting and close-ins to mask the screen.

uIn the auditorium, graceful drapes are used as wall hangings for their beauty and for their excellent acoustical properties. Aisle entrances, exits, and even the box ofiicc are further cmbellished by rich, beautiful drapes, properly and gracefully made and hung. Whereas deep heavy colors of a somber


nature were most popular in the past, the trend today is to use bold designs in bright colors. This is carried out both on the stage and in the auditorium with a rich and striking effect.

HDraperies, when properly selected by the artist and decorator, play an extremely prominent part in the furtherance of the new mood psychology in theatre lighting. Mood changing of colors by controlled lighting continues to gain in acceptance. And new theatres are using colors in their house lighting which, blended by dimming devices, are controlled to fit the mood of the picture on the screen. If desired, these colors can be pre-set and ffplayed" at the specified time with quite impressive resultsfi

In a terse, philosophic statement, one modern decorator meditates on his profession and the direction that theatre design is taking. ffTheatre architectsil, says Mr. Harold W. Rambusch, of Rambusch Decorating Company, uare called

anything but artists. They are usually hailed as engineers, physiologists, economists, politicians, and sometimes a courtier. This amazing phenomenon with the many titles has been having a hard time seducing investment capital for major building structures.

"Everyone you meet seems to agree, that in the vast output of the year

1948f, continues Rambusch, uthat piece of competitive virtuosity which we fondly call Theatre Technocracy was conspicuous by its absence. The reasons for this are many, and vary according to the source you are listening to. Some even whisper darkly about television, and rumors have reached the press of certain people buying into this new nuisance. However, ever since the days of the first circus, the basic pattern of the Theatre remains unchanged.

UTodayis nationwide trend in decorate ing is clearly developing toward esthetics without clumsy masses. Todayis interiors, a combination of functional and decorative surfaces, demand spindrift elegance with iron bound service ability. Today, decorators stress the use of monocolor architectural cosmetics. This gives the so-called sophisticated look and is usually heightened by a sharp accent in the color of the fabric},

Rambusch concludes with a belief that, uthis will be a normal condition for the present, whether its an old house with its feeble mimicry of past styles, or one of the latest structural designs in which the controlled lighting and ventilation elements have really come of age?

And so, as in horse racing, it is the different opinions, the different philosophies, and the different approaches, that breed finer and finer accomplishments.

GREAT WESTERN STAGE EQUIPMENT submits the main contour draperies oi the Kansas City Music Hall.
1948-49 Theatre Catalog, 7th Edition, Page 336