Theatre Evolution

Sun (Auckland), Volume III, Issue 852, 21 December 1929, Page 8 (Supplement)

Theatre Evolution

Architects should be as famous as noted authors, when they design buildings worthy of public praise. The architect is the “author" of the structure which arises in accordance with his designs. The Civic Theatre is a notable illustration of this view and it is of special interest as an example of speed in designing and building, without sacrifice of the high qualities demanded throughout one of the largest and most up-to-date and one of the most elaborately decorated picture theatres in the world.

Only four weeks were allowed the architects, Messrs. Bohringer, Taylor and Johnson, in which to prepare the plans for submission to the various

authorities, and only eight months have elapsed since the firm was instueted by Civic Theatres Limited, to proceed with the plans and specifications in accordance with the style of theatre required by Mr. Thomas A. O’Brien. This surely is a record in the architectural profession, as the theatre now stands dominant in its position attracting the public gaze by its beautiful architectural masses and detail covering the exterior facades, a distinct change from other periods of architecture now existing on the sky-line of Auckland. Messrs. Bohringer, Taylor and Johnston have achieved prominence and fame throughout Australasia, evidence of keen attention and devotion to their work, with an organisation capable of complying with all departments of architectural and building requirements. This firm has, during the period of the last three years, constructed more than sixty theatres and numerous other large buildings throughout the Commonwealth of Australia. They have offices in nearly every capital city and the firm’s activities will shortly be extended to Hong Kong, China, Siam and Manilla, where they are engaged to erect breweries and woollen mills. This comes under the industrial department of their organisation. It is recognised that this architectural firm is now the largest of its kind in Australasia, an extraordinary achievement, for all the members consist of only young men. Mr. C. Bohringer, 8.5. A., M.1.A., is the member of this organisation on whom fell the lot of designing and supervising the Civic Theatre. The whole of the work in the theatre has been under his personal supervision, with the able assistance of the firm’s New Zealand managing architect, Mr. W. T. Leighton. Architect Interviewed. In an interview with Mr. Bohringer, his opinion on theatre evolution is of great interest: I have served a long apprenticeship in theatre design, says Mr. Bohringer, “during which time I have met men and conditions of all kinds, and to have played a part in the development of the amusement business with its kaleidoscopic changes has been an education in itself. When reflecting, I cannot help but marvel at the progress that has been made in the development of the amusement business and in the erection of modern edifices for the presentation of entertainment for the public’s benefit. My career has been full of wonderful experiences in designing theatres, hotels, and in town-planning, in Australia and other parts of the world. Recognising that the public are crying out for better amusements and entertainments, I realise the paramount importance of a thorough knowledge of the show business while posing as a theatre architect, and I am proud today to have this intimate contact with so many of my old friends and clients now successful and well known in the amusement field. I have chosen to give my services to the picture-loving public in designing the theatres, for the reason, that, while all theatres of today have become old-fashioned and the opportunity was there to create something new, these friends and clients, together with the team work of young architects and artists who are in our service, are in a large degree responsible for the successful theatre designs executed by my organisation. It would have been utterly impossible to assume the architectural trust for the many theatres which I have had the pleasure of designing were it not for some of my associates, but I have always considered my biggest battle the battle with my best friend, my client. The average client’s desire is to imitate and excel places of public amusement which have been built along lines of pronounced similarity; this shackles independent thought, and makes a virtue of what is really weak imitation and an utter lack of artistic invention, often driving us to despair. We believe in ornament, and are prepared to be lavish with it, but we are diligently' cautious not to

MR. BOHRINGER’S VIEWS

We observe that with the multitude of new palatial theatres opened week in and week out, differing from their predecessors only in point of decorative splendour and rich garnishment, that the public has noticed and feels languidly this very apparent similarity.

infringe upon the cannons of good taste by over-design and over-elabor-ateness which only achieve vulgarity. We must believe in colour—Nature gave us colour; man gave us ornament; and it is most deplorable that in the present, in Renaissance, and in Medieval times alike, architects have been prompted to place upon their buildings as much ornament as their clients could afford. Colour and the harmony of Nature have furnished us with more inspiration and more successful thought, thus opportuning us to develop architectural treatments which have inspired effect and affection in the minds of beholders. We designed the Ambassador Theatre in Perth, and the State Theatre in Melbourne—theatres entirely different from the traditional. They represent a new thought and a new idea in theatre-designing in Australia.

Individuality. “Why should it come to pass that only accepted lines, style and treatment, be followed in theatre designing? We have the French Baroque, the Colonial designs expressed in the Adam style, and a few scattered examples of Greek and Pompeian architecture serving us as the standards and basic ground for the creation of hundreds of picture houses of unavoidable similarity. All too often stock pattern lines must groan under the yoke in the necessity of establishing individuality for the particular theatre, through no other means than the efficient and splendrous expenditure of money. Thus, yesterday’s theatre is old-fashioned today, and today’s average theatre is virtually a replica of yesterday’s, except that it is more elaborately dressed up with more marble, ■ more intricate enrichments, more draperies, more cut-glass chandeliers in foyer and lobbies, all bearing correct architectural comparison and character of design. Since variety is the primary demand of an amusement-loving public, and we mean decisive variety, it is only reasonable to assume that such variety will be appreciated in the places of entertainment as well as in the entertainment itself. The opening performance in one of our gorgeous picture palaces of gold, glitter, rich ornament and elaborate decorations, is truly an inspiring sight, but it must be observed that the rapture of the audience and the overawing effect on the masses often fails to be particularly lasting—the surroundings soon become something akin to oppressive and embarrassing to the average steady patron who is not accustomed to live in such gorgeous surroundings.

With an appreciation of these facts in mind, the atmospheric type of theatre suggests itself. We visualise and dream of a magnificent amphitheatre, to be under a glorious moonlight sky, in an Italian garden—in a Persian Court—in a Spanish Patio—or in a mystic Egyptian Temple yard, all canopied by soft moonlight sky. The masses may not know art, but they feel it, and therefore from the ancient classic and definitely estab-

lished architecture, is brought the shape, form and order of house, garden, logia or garden wall, with which to convert the theatre auditorium into a meeting-place surrounded by Nature’s setting. Colour is the most important instrument to create effects and influence the appreciative mind and sensitive soul of the public. We create the deep azure blue of the Mediterranean sky with therapeutic value, soothing the nerves and calming perturbing thoughts. The punch of light and brilliant colour of exteriors and lobbies may charm and attract the amusement-loving public, but it is in the softly-lit foyers and in the blue-domed auditorium that our mesmerism is performed, calming excited feelings and spluttering nerves. The aim is to frame the minds of patrons and prepare them to receive the entertainment without the influence of an over-elaborate interior design with repeated ornament always in view and persistently claiming attention. Atmospheric Effect. The atmospheric theatre seems to create a very desirable feeling of intimacy and illusion, making an atmosphere which is always new, fresh and alive. In an outdoor atmosphere, in addition to the warm foreign picturesqueness of some of our conceptions, the spectator enjoys the natural beauties of scenes and flowers which it is his nature to love. He does not feel himself called upoD to absorb grandeur and majestic, palatial architecture. (Continued on Page 15)