Boxoffice-October.19.1959

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the Capri shows American classics to 100.
There's considerable elasticity in this arrangement,
of course. If a domestic show
pulls better than a foreign one it would
be moved over to the Riviera.
The builder thought it would take at
least six months for the public to become
acquainted with the new operation. But
the impact was so immediate however, that
the goal was reached within eight weeks.
Since redesigning the theatre, Lippert
has sold the property to Raymond Rohauer,
in order to devote more time to other
properties in both production and exhibition
of films.
BANDBOX THEATRES
The Riviera and Capri are promoted as
"bandbox'' theatres to emphasize their
small size. Advertising stresses the point
that patrons get screening room intimacy,
formerly the privilege of top Hollywood
executives.
Everyone who forks over his $1.25 at
the boxoffice is invited to fill out a request
card indicating what shows he would like
to see. An important by-product growing
out of these cards is a mailing list which
now totals 9,000. Promotional material is
sent out periodically, including six-week
programs for the two theatres.
Approximately 75 per cent of the regu-
4 handsome gold inlaid mirror dominates an entire wall of the foyer, and there is gold carpeting
on the floor. Entrance to the Capri is at left. The mirror reflects a pair of handsome chandeliers
Cinemascope is shown in both theatres.
Matching screens to projectors eliminates
any necessity for cropping, producing the
best possible picture for every foot of film.
Projection room equipment includes Simplex
in the Capri, Ashcraft lamps in the
Riviera and Goldberg rewinds. Servicing
is by RCA, and both theatres have Simplex
sound systems.
A view of the lobby in the opposite direction of that in the photo at top of page shows the entrance
to the Riviera. Street doors are at extreme right, and ladies' restroom is in background at the right.
lar customers are connected in one way
or another with the motion picture industry.
Many are writers, producers and directors.
Some are faculty members from cinema
and drama departments at various
colleges and universities.
Despite the preponderance of professional
movie people among the clientele,
the management is convinced that the
double theatre idea can prove effective
in
any community. The professionals are
probably responsible for the fact that
foreign films prove more popular in this
location, but the basic concept of an
intimate theatre would attract many adherents
in any area.
Everyone attending the Riviera or Capri
gets the red carpet treatment. All
patrons are greeted personally.
At intermission an attendant serves coffee
in the Continental Lounge, compliments
of the house. Free coffee is also
available on a self-service basis for those
awaiting the end of a feature.
The auditoriums are fully covered by
a gray carpeting, flecked with black, and
the closure curtains are gold drapes. Auditorium
ceilings are finished in tan acoustic
plaster for sound control, with perforated
acoustic tile on the back wall.
"BOUNCE-LIGHT" SYSTEM
Because of the existing structure's low
ceiling it was impossible to shoot directly
out from the projection room's openings.
This problem was solved by a series of 12-
inch mirrors. One mirror picks up the image
from the projector and casts it down
to a second mirror which is placed at the
proper angle to relay it to the screen.
Almost perfect reproduction is achieved
with this "bounce-light" system. There are
four sets of mirrors in the common projection
booth serving both theatres. In addition,
each of the two operators has
separate monitoring equipment providing
him with a clear view of the screen on a
conveniently located mirror.
One of the most critical features of the
entire remodeling program was to build
a partition wall which would effectively insulate
the two auditoriums to kill all sound
transference between the two. Architect
John P. Edwards, AIA, with whom W. F.
Overpeck, AIA, was associated in
drawing
up the plans, solved this problem by staggered
stud construction and batt insulation.
Unlike the ordinary partition, where wall
covering is nailed on either side of common
studs, Edwards specified separate rows
of studs for each face of the wall. Thus,
when wallboard was applied, nails did not
extend into members reaching through to
the other side.
(Continued on following page)
BOXOFFICE October 19, 1959 15