Boxoffice-11.04.1950

H
plastic-covered doors to the inner lobby is
faced with gold-leafed plastic which forms
a simple but brilliantly attractive area to
be seen through the glass doors from the
street. This rich treatment scintillates
under batteries of down-lights set flush
with the tropical-red ceiling and is given
contrast by the carpeting of exotic, overscaled
flowers in reds, golds, sand and
black.
But the focal point of the room is the
wall which the patron faces as he buys
his ticket from either boxoffice. It is this
mural which takes up practically all of the
end wall with the exception of the wide
framing of the white-veined black marble
around it.
Perhaps a first glance at the black and
white reproduction shown here may not
reveal anything other than a very wellconstructed
contemporary composition, for
it lacks the brilliance of its rich green,
flame, electric blue and white coloring
against the deep slate gray of its background.
But it does not rely for its effect
altogether on any of the above. It has
dared to use color and composition as pure
adjuncts to its main components which are
rhythmic portions of the work picked out
in solid metal.
These strips of polished brass, projecting
from the composition on edge, form the
key to the design as the main stems of the
foliage and the skeleton around which the
work is constructed. This three-dimensional
effect in metal, color and line designed
by Rex M. Davis and executed by
Prank Lackner of this studio, is also expressive
of the best and most progressive
in this particular art and has met with
instant and wide aclaim.
The inner lobby continues the pigskinplastic
doors with the gold-leafed plastic
blocks on the walls over and beside them,
with hand decorations applied over the
latter. These are free-flowing compositions
suggesting tropical plantings in the colors
of this area, mainly cobalt blue, flame,
white and the deep grape of the ceiling and
walls.
This depth of color serves to accustom
the patrons' eyes to the further darkened
area ahead. One side of the inner lobby
features the refreshment niche, divided
into two sections, one for popcorn and the
other for all other refreshments. A Coca-
Cola cup vending machine is located separate
from, but adjacent to the regular
refreshment center. The whole has been
well incorporated into the lobby with concern
for efficiency and dignity, which is
another feature of the best contemporary
handling of decoration and planning. The
designing here is outstanding for effective
merchandising of refreshment without interference
with traffic.
Another point of interest is the distinctive
lighting formed by the squared downlights
with their amorphous-shaped plastic
tops catching the light along their outer
rims and forming a delightful pattern
against the grape ceiling.
Opposite the candy niche is an inviting
Framed in metal sash, brick wall, drapery and outdoor plantings, the unusual "third dimensional"
mural of the State Theatre makes an outstanding impression from the sidewalk.
lounge area with a bluegreen plasticcovered
settee against a back wall of large
squares of dove-colored, padded plastic.
This is lighted in an interesting manner
and served by a convenient tortoise-shell
table. A very beautiful arrangement of
colorful large-scale foliage, made of plastic
more than seven feet high, flanks the setting.
This sort of luxurious appointment
is another outstanding contemporary expression,
as is the use of plastic in such
practical variety.
Decor of the ladies' powder room ably
demonstrates, the trend away from little
individual settings for make-up. The mirror
forms almost one whole wall, with a
shelf for purses and small articles running
the full width. Not only does this offer
Beyond the flair for merchandising
a theatre's decoration, as supplied
by the Teichert studio, the
convenient arrangement of the State
was capably handled by the architect,
George Ebeling.
From the simplified
blueprint at the right the two boxoffices
are seen in the lower left
corner of the lobby and at the right
center.
One, near the front entrance,
serves pedestrian patrons, while the
second one accommodates patrons
alighting from cars under the covered
driveway. Both are indoors so that
lines ore not formed along windswept
sidewalks.
both close-up and full-length views, but
it also serves to enlarge the room visually
and to provide further light by the reflection
of overhead illumination.
The powder-pink wall surrounding the
mirror is in contrast to the other pearl
gray walls on which Victorian rose and
white decorations offer both contrast and
charm. The smart white plastic-covered
chairs, studded with brass, accent the
brushed brass lamp which is built into the
sturdy white and tortoise-shell table.
The ceiling is white, for good make-up
value, with a rose hand-edged border to
key it into the walls. Every surface to be
found here can be easily washed or maint
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BOXOFFICE November 4, 1950