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The mezzanine foyer spanned the width of the theatre. The stairs (centre) lead to one of two entrances to the balcony.
The void (right) beneath the soffit of the balcony gives an airiness to the promenade. Hoyts Archives.

The proscenium and stage were
substantially larger than elsewhere. The
depth of the stage was 12m. (37ft.) and
the width and height of the proscenium
opening was 16m.by 8.7m. (54ft. by
29ft.) The splay walls contained two
royal boxes, elaborately draped, the
material concealing organ chambers set
above them. Special lighting effects for
stage prologues and house lighting
were controlled from large dimmer
racks installed backstage. The fly-tower
contained some 30 lines for the
movement of backdrops and scenery.
The dressing rooms were also at the
rear of the theatre.
For the introduction of
CinemaScope, a new screen, 15m.
(50ft) wide and new curtains replaced
the old brocade. The main act drop was The projection room reconfigured for CinemaScope. Matching Thompson and Houston
deep burgundy, and the stage tabs were arcs are on Gaumont Kalee projector heads. The closest projector is a C&W back-up.
gold. Generous swags completed the
the rear of the projection room held two heads were installed, along with new
rich stage setting.
rotary converters to supply power to the carbon-arcs manufactured by the
The Projection Room arc-lamps. British company Thomson and
The first Chief projectionist, Mr. F. For the premiere of The Robe in Houston. The projectors were mounted
Shipley controlled three Cummins and CinemaScope on 31 December 1953 on Westrex TA 7400 sound heads on
Wilson projectors. Alongside them the projection equipment was three-legged bases. One of the original
were two large carbon-arc spotlights completely upgraded. Two new C & W projectors with Peerless lamp-
and a slide machine. An engine room at Gaumont Kalee model 21 projector house was retained as a spare.

16 2005 CINEMARECORD