> > > >

1948-49 Theatre Catalog, 7th Edition, Page 47 (37)

1948-49 Theatre Catalog, 7th Edition
1948-49 Theatre Catalog
1948-49 Theatre Catalog, 7th Edition, Page 47
Page 47

1948-49 Theatre Catalog, 7th Edition, Page 47

hance the mural color scheme by redection and augmented perspective.

The painting is the result of a Canadawide competition sponsored by Odeon Theatres of Canada Limited with the object of encouraging young Canadian artists to produce Work in this medium. Depicting the modern motion picture industry, the mural was designed by Bernard McLoughlin, young Canadian painter. Over-all, it is 56 feet in length and at one end, 15 feet deep. But at the upper end of the staircase, it narrows to a depth of only slightly more than two feet. In addition, the first 20 feet of the painting curve with the turn of the staircase. In executing the mural, McLoughlin was assisted by three other Toronto artists: James Williamson, William Gee, and Frank Armitage. Taking a leaf from the book of Alfred Hitchcock, all four managed to work their own faces into the painting very subtly, disguised as cameramen and other n10tion picture industryites.

The main foyer carries the same color scheme as the auditoriumea soft shade of grey-with accents of deeper turquoise and clear shrimp color introduced in settees along two long walls and by two large curved Settees in blue on each side of the decorative fountain at the west end. The foyer ceiling, with clear lemon yellow in the lighting coves, contrasts with the blue carpet.

Although the auditorium is large enough to accommodate 8,000 cash customers, this maximum number has been sliced to 2,321 to provide additional leg room for the comfort of Odeon-Toronto patrons. Seating has been chosen to blend with the color scheme throughout the auditorium. The chairs themselves are finished in rich gold upholstering which is set OH by the green metal work and delicately sculptured gold aisle standards. This is said to be the first Canadian installation of fully Dunlopillo Seats, back and arm restshtruly lounging luxury seats.

The decorative scheme of the auditorium is unique. Basically, the only color visible is soft shades of French greys in graduating pale to darker tones. However, behind overlapping itleaves" or bays closing in towards the proscenium, Thyratron Electronic illumination has been installed in twenty color Circuits. When the theatre is open for business the decorative scheme is worked out in endless combinations of colored light on the grey walls and ceiling.

This upainting by lightingll (for a detailed description of the Thyratron Electronic system, see THEATRE CATALOG 1947-48 Edition pages 268-274) is the. most distinctive feature of the auditorium. With three primary colors red, Mile, and greeneit is possible to create any color or hue from a soft white to a deep Purple. A little known fact is that by projecting the three primary colors on the surface of the cove walls in a Wattage proportion of one for red, two for. green. and three for blue, a soft Whth is obtained.

Colored reflectors are placed in each bay 0? 1ighting cove. The colors alternate up both sides of the walls and :CTOSS the ceiling. By suitably varying he DTODortion of wattage, it is possible


FROM THE GRAND STAIRCASE. the inner and outer lobby of the theatre is shown. A ticket counter a! stainless steel is on either side of the entrance. The terrazzo iloor is heated and movable display trames. as shown, are finished in natural woods. Center, a short flight of steps leads to the inner foyer. checkroom. restaurant, and smoking loges. Bottom. the inner foyer on the mezzanine floor. The art promenade is beyond the ticket-takers box but may be enjoyed by nonradmission paying guests of the restaurant.

1948-49 Theatre Catalog, 7th Edition, Page 47