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They were blind and filled with a celadon and ivory brocade overdraped with simple tied-back legs of dark crimson velour fringed in gold color rayon. Their signature sunburst motif was present above the rather simple arches used along the walls from floor to ceiling on the balcony level.
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Her demurely draped figure did little to reveal her origin as the parlor ‘maiden’ in one of the city’s former houses of ill repute! Just how this creation from Italy got to the theatre is not known, but before demolition it was removed to the lobby of Centennial Hall at the central library where its beauty and its appraised value of $50,000 adds to her value in the eyes of all who see her.Įntering the auditorium on any of its three levels one encountered a pleasant space, but one certainly less ornate than those accustomed to Rapp & Rapp’s other works might suggest. There were also six smaller chandeliers along the mezzanine promenade arcades.Īmong the statues here was one of a Grecian maiden labeled "IONE," 8-½ ft. Three huge chandeliers with rose colored light bulbs hidden behind a body of milk glass with candolier arms and crowns of stud lights in white frosted bulbs lent an elegant glow to the two levels of heavily gilded ornamentation in a myriad of forms.
WHERE IS HIDDEN COLORS 4 PLAYING IN THEATERS MOVIE
Those coming to the first real movie palace in Milwaukee (transitional theatres such as the Riviera Theatre in 1920 bore signs of the palaces to come) were not disappointed upon entering the Wisconsin Theatre’s white marble lobby with a split grand staircase carpeted in forest green leading to the mezzanine and balcony and to flanking arcades that had oil paintings and statuary to soothe those impatiently waiting to enter the auditorium for the next show. with the words "ROOF DANCING," a puzzlement to the younger generations who danced to rock, but never on a roof! The bandstand on the roof was also carried out in the French baroque used throughout the theatre.įor many years a darkened neon sign up there looked down upon the intersection of 6th St. Nearly a thousand people could dance up there in open-air refreshment in summertime in the days before air conditioning (actually, air cooling which the theatre below enjoyed) became common. This part of the project was the work of local architect Martin Tullgren, but the Rapp’s were also responsible for a large Roof Garden dance hall on the roof of the building. The reported $1 million spent on this project could not go to the theatre alone, for it was only part of the surrounding six story Carpenter office building. Only a few other theatres in the state used this more expensive form of construction. Since this inward extension toward the stage brought the pit beyond the seal-off position of a dropped fire curtain, the authorities here and in Chicago, at least, eventually caused the owners to later remodel to the traditional pit line to be in front of the stage and beyond the line of the fire curtain for effective seal-off of the stage in the event of fire.Ī feature that allowed so many seats on only a quarter of a city block was the addition of a mezzanine under the balcony.
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This design also allowed the first rows of seating to be closer to the picture sheet (screen) which in that day was less than a third of the size we are used to today. This not only allowed more room for the orchestra, but it also allowed for two organ consoles - but they both played the same 17-rank Barton theatre pipe organ to accompany the silent films. Still, the Rapp’s did bring along some of their favorite features, such as a recessed orchestra pit that not only extended out toward the audience with the Rapp’s signature curve, but it also extended inward beyond the line of the proscenium arch to the concave front line of the stage. While they were not given the budget they enjoyed in creating the super palazzi such as the Tivoli Theatre and the Chicago Theatre in 1921, that extravagance was not needed here since the competition was much less in a smaller city. The noted firm of theatre architects Rapp & Rapp of Chicago was commissioned to create the first of the four theatres they would do here. Aside from civic exhibition halls and recent stadia and outdoor amphitheaters, the largest indoor theatre ever built in Milwaukee was Saxe’s Wisconsin Theatre, "the flagship of their fleet of 28 theatres,"* which presented all 3,275 of its seats to the public on March 28th of 1924 smack in the middle of a blizzard.