Boxoffice-January.07.1950

This auditorium yiew of the Lake Theatre
illustrates clearly the structural economy
possible with close cooperation of
decorator and architect. The turquoise
satin wall drapes which extend onethird
of the way back into the auditorium
form a decorative wall over the
outside masonry wall. Exits are made
by curtain draping.
Heights, a fast-growing new suburb of Cleveland where building
of both residential and commercial units is mushrooming. At
the outset this theatre project was put into the hands of architects
Matzinger and Grosel, of Cleveland, and Rex M. Davis, of
our studios, was called in to coordinate interiors with the architectural
theme as it progressed. This advance planning was called
for by Howard Reif who heads the Mayland Theatre Co.. composed
of P. E. Essick and J. J. Jossey. Reif took an active personal
interest in the new theatre from the drafting board stage
to opening night, which came off exactly on the date scheduled.
Our second example, the Lake Theatre, is located in a similarly
fast-growing suburb east of Cleveland, and was handled in the
same manner by Matzinger and Grosel and Rex M. Davis. Also
an inspiration of Reif's, the Lake is controlled through the Lake
Shore Theatre Co. which includes M. S. Pine. A. Kramer, James
Kalafat, S. Stecher and James Templeton.
As to economy, let's see if you don't agree that a beautiful
interior was achieved in both of these theatres, even though some
of the constructional details were revolutionary. Rather than the
usual ornate and expensive type of architectural proscenium
treatment, both of these houses employ rich drapery hung in a
curve free of the outside walls in such a way as to form a decorative
inner wall by itself. The curtain is simply caught back in
graceful folds to form an opening at the exits. This material,
fireproofed of course, not only creates a most luxurious effect, but
contributes to the fine acoustics of a theatre while providing an
architectural short-cut to beauty that represents a tremendous
savings over the conventional handling. Still another impressive
saving was registered in the auditoriums by the application of
acoustical blocks directly to the outside masoni-y walls. This surface,
in turn, was decorated with hand executed murals.
The illustrations of these theatres certainly give no impression
that they are economy houses. For example, the lobby of the
'4*
This refreshment stand in the Mayland Theatre is cleverly accented by the
use of artistic display lighting. A portion of the domed ceiling is visible
here, showing one of the four seasons of the year gracefully done in mural
treatment and indirectly lighted from coves.
Below is the mural adorning one sidewall of the Mayland Theatre. Done in
fluorescent paint, this decorative wall presents one appearance under ordinary
light, and an entirely different aspect of the same scene under black light.
BOXOFFICE January 7, 1950