It is interesting to view the above photograph as forty years later in 1978 I managed to obtain a copy of “Stepping Toes” as part of a Film Festival of British Musicals screening at Nettlefold Hall cinema West Norwood London SE27. Although very difficult at the time to obtain, even more so when trying to locate the star to attend and field questions from the sell out audience.
Mike you are correct, so many comments on this multi named building place the entrance as being two shops down left where the first floor
has a semi circular plate glass window!!
Ron
Definitely not. Probably came with one of the many changes after the War, do you think that is a real cashier? Have several photographs somewhere of the Eugene Mollo’s foyer somewhere, gradually working my way through all M&E cinemas that are not attributed to them. Uploading another of the front today.
Garbo reigned supreme at the Empire in the the 1930’s and for this film Queen Christina which was shown at the Empire in 1934 for four weeks from 16th February - 16th March there were 233,688 admissions. Much later when a student in 1965 the old Ritz next door used to have Garbo Seasons, remember a group of us used to go to each of the six films screened. I think they changed every two weeks and you had to queue to get in, admission around 3/- (30p). It was the first time I ever heard of Garbo. During the last week of the Season asked the doorman if it would be possible to have a poster he said come next week when the Season finishes and will save one and still have it, the poster is a montage of Garbo from her various films shown during that season.
As this was the first cinema to be built by David Nye, Shipman & King engaged Leslie Kemp FRIBA as consulting Architect for the Embassy Maldon. Kemp was engaged by S&K for their new cinema Embassy Braintree the previous year.
Leslie H Kemp Collection.
Ron Knee
The very first Mollo & Egan Marine panel was installed in the Princess Theatre Dagenham which opened 8th October 1932 with similar panels continuing in other cinema interiors until 1936.
The main entrance doors were finished in black with chrome fittings, were protected by a semicircular canopy specially designed by
Swanser & Sons which was stepped to facilitate the display of programme details and was illuminated by neon lighting. The distinctive appearance of the entrance was enhanced by modern display frames manufactured by Coltman Displays.
I fully agree with your final paragraph and I worked for them. The
Plaza/Gaumont Southsea is a typical example. The auditorium and queuing
lobby had amazing hand painted panels, which when Rank Bingo took over
all but one was over painted. The surviving panel in the queuing lobby
lasted for many years, see my details on Plaza Southsea. However, this too was overpainted after this building was listed and before it became a Mosque. Sadly it is only when the building has Grade II* or Grade I is it safe.
As mentioned in Ken’s Overview, the two very large pendant light fittings which featured in the auditorium were made by cinema specialists F.H. Prides of Clapham. Sadly these spectacular light fittings rarely survived demolition because of their size, whereas smaller wall and foyer lighting did.
The old Empire was sold to R.L. Kemp (Cinemas) Ltd in 1930. The New
Empire Architect was Alfred Thraves, constructed by J H Metcalf Bros. Doncaster, who were also Directors. Interior decorations were carried out by W.J. Wilson & Son of Mansfield. This was the third cinema to be build by the Kemp Group, the two previous were Majestic Retford October 1927 and Majestic Mapperley October 1929. In May 1933 the group built another Majestic in Swadlincote.
Architect James McKissack was in poor health during the construction of the Cosmo with his Partner W J Anderson shouldered the responsibility including draughting McKissack’s designs. He died the following year.
Ron Knee
The interior design of the Playhouse was by Mollo & Egan. This was their first theatre to be designed by them after becoming a Partnership. They met whilst working for Marc Henri & Laverdet in 1930 who were decorating the Astoria Streatham. Michael Egan was employed as a Draughtsman and Eugene Mollo as head of scenic design.
This Post War photograph shows the splay wall and very little has changed except there are no longer the original feature swags have been
removed, also the barnacle speakers could have been more sympathetically installed.
Architect Leslie Kemp was Supervising Architect on behalf of Robert Cromie. It was Kemp that designed the Wurlitzer Console. The whole of
the interior was designed and supplied by the Walturdaw Cinema Supplies
Yes, the Sheds and Warehouses that are called cinemas are within sight, they were really only there to sell food, not interested in those of us who wished to enjoy the film!!!! Now that Disney has joined Warners, who will be next?
This was one of two cinemas that used Eugene Mollo’s Photoscan technique the other was the Lansdowne News Theatre Mayfair January 1937
It was a very difficult procedure and expensive. Mollo had Patented the
process both here in 1935 and United States 1937.
This area as described by Marc-Henri as the Ladies' Rest-room, with a
triple-coved cornice and glass lighting at frieze level, the settee is specially designed with flood lights in the back to fit under a coloured relief mural decoration of an Egyptian female figure bathing
amidst lotus flowers, the lower part of the panel being covered with grooved glass, to represent water, fixed into a chromium plated metal frame.
This Mural was hand painted by Eugene Mollo.
When I spoke to Michael Egan many years ago, who also worked at the time for Marc-Henry & Laverdet and where he first met Eugene Mollo. He confirmed that the murals here and those within the ladies powder room were painted by Eugene Mollo and possibly other areas. This was to be Mollo’s first cinema interior work in 1929 since leaving the Royal College of Art. Had these panels survived there is no doubt this cinema
would now be listed Grade II*. Sadly so much of Mollo’s work is lost.
There is a full listing of the Streatham Astoria Opening Brochure on the Arthur Lloyd Theatre web site.
This island Pay Box is a design by Eugene Mollo, there many of a similar design by him. There was one at the Embassy Fareham, though the
back section was embedded into the foyer granolithic steps!!!
Leslie Kemp told me he designed the neon lighting with the firm Ionlite. “It took long hours of designing and redesigning, it was a wonderful display, there were not many technical problems with the installation, the only difficulty was getting it approved by the London
County Council”. He said.
This modern futuristic auditoria design was by Eugene Mollo, who worked
with a series of stencils to achieve it. A year later in 1936 Mollo and
Egan were responsible for thirty eight cinema interiors. As his partner
Michael Egan told me many years later he worked at a furious pace, not entrusting anyone to assist him. You can understand why by this time he was a recognised authority on Cinema Designing. Mollo must have hated the Regal’s exterior design by Cromie.
It is interesting to view the above photograph as forty years later in 1978 I managed to obtain a copy of “Stepping Toes” as part of a Film Festival of British Musicals screening at Nettlefold Hall cinema West Norwood London SE27. Although very difficult at the time to obtain, even more so when trying to locate the star to attend and field questions from the sell out audience.
Ron Knee
Mike you are correct, so many comments on this multi named building place the entrance as being two shops down left where the first floor has a semi circular plate glass window!! Ron
Definitely not. Probably came with one of the many changes after the War, do you think that is a real cashier? Have several photographs somewhere of the Eugene Mollo’s foyer somewhere, gradually working my way through all M&E cinemas that are not attributed to them. Uploading another of the front today.
Ron Knee
Garbo reigned supreme at the Empire in the the 1930’s and for this film Queen Christina which was shown at the Empire in 1934 for four weeks from 16th February - 16th March there were 233,688 admissions. Much later when a student in 1965 the old Ritz next door used to have Garbo Seasons, remember a group of us used to go to each of the six films screened. I think they changed every two weeks and you had to queue to get in, admission around 3/- (30p). It was the first time I ever heard of Garbo. During the last week of the Season asked the doorman if it would be possible to have a poster he said come next week when the Season finishes and will save one and still have it, the poster is a montage of Garbo from her various films shown during that season.
Ron Knee
As this was the first cinema to be built by David Nye, Shipman & King engaged Leslie Kemp FRIBA as consulting Architect for the Embassy Maldon. Kemp was engaged by S&K for their new cinema Embassy Braintree the previous year. Leslie H Kemp Collection. Ron Knee
Poundland also closed earlier this year!!!
The very first Mollo & Egan Marine panel was installed in the Princess Theatre Dagenham which opened 8th October 1932 with similar panels continuing in other cinema interiors until 1936.
The main entrance doors were finished in black with chrome fittings, were protected by a semicircular canopy specially designed by Swanser & Sons which was stepped to facilitate the display of programme details and was illuminated by neon lighting. The distinctive appearance of the entrance was enhanced by modern display frames manufactured by Coltman Displays.
Ron Knee
I fully agree with your final paragraph and I worked for them. The Plaza/Gaumont Southsea is a typical example. The auditorium and queuing lobby had amazing hand painted panels, which when Rank Bingo took over all but one was over painted. The surviving panel in the queuing lobby lasted for many years, see my details on Plaza Southsea. However, this too was overpainted after this building was listed and before it became a Mosque. Sadly it is only when the building has Grade II* or Grade I is it safe.
Ron Knee
Does anyone know why the original Shaws buff tiles were removed from the front?
Ron Knee
As mentioned in Ken’s Overview, the two very large pendant light fittings which featured in the auditorium were made by cinema specialists F.H. Prides of Clapham. Sadly these spectacular light fittings rarely survived demolition because of their size, whereas smaller wall and foyer lighting did.
Ron Knee
ABC sure had taste when it comes to refurbishing the light fittings!!!
Ron
The old Empire was sold to R.L. Kemp (Cinemas) Ltd in 1930. The New Empire Architect was Alfred Thraves, constructed by J H Metcalf Bros. Doncaster, who were also Directors. Interior decorations were carried out by W.J. Wilson & Son of Mansfield. This was the third cinema to be build by the Kemp Group, the two previous were Majestic Retford October 1927 and Majestic Mapperley October 1929. In May 1933 the group built another Majestic in Swadlincote.
Ron Knee
Architect James McKissack was in poor health during the construction of the Cosmo with his Partner W J Anderson shouldered the responsibility including draughting McKissack’s designs. He died the following year. Ron Knee
The interior design of the Playhouse was by Mollo & Egan. This was their first theatre to be designed by them after becoming a Partnership. They met whilst working for Marc Henri & Laverdet in 1930 who were decorating the Astoria Streatham. Michael Egan was employed as a Draughtsman and Eugene Mollo as head of scenic design.
Ron Knee
The Illuminated surround of the Wurlitzer console was designed by the Supervising Architect Leslie Kemp.
Ron Knee
This Post War photograph shows the splay wall and very little has changed except there are no longer the original feature swags have been removed, also the barnacle speakers could have been more sympathetically installed.
Ron Knee
Architect Leslie Kemp was Supervising Architect on behalf of Robert Cromie. It was Kemp that designed the Wurlitzer Console. The whole of the interior was designed and supplied by the Walturdaw Cinema Supplies
Ron Knee
Yes, the Sheds and Warehouses that are called cinemas are within sight, they were really only there to sell food, not interested in those of us who wished to enjoy the film!!!! Now that Disney has joined Warners, who will be next?
Ron
This was one of two cinemas that used Eugene Mollo’s Photoscan technique the other was the Lansdowne News Theatre Mayfair January 1937 It was a very difficult procedure and expensive. Mollo had Patented the process both here in 1935 and United States 1937.
Ron Knee
This area as described by Marc-Henri as the Ladies' Rest-room, with a triple-coved cornice and glass lighting at frieze level, the settee is specially designed with flood lights in the back to fit under a coloured relief mural decoration of an Egyptian female figure bathing amidst lotus flowers, the lower part of the panel being covered with grooved glass, to represent water, fixed into a chromium plated metal frame. This Mural was hand painted by Eugene Mollo.
Ron Knee
When I spoke to Michael Egan many years ago, who also worked at the time for Marc-Henry & Laverdet and where he first met Eugene Mollo. He confirmed that the murals here and those within the ladies powder room were painted by Eugene Mollo and possibly other areas. This was to be Mollo’s first cinema interior work in 1929 since leaving the Royal College of Art. Had these panels survived there is no doubt this cinema would now be listed Grade II*. Sadly so much of Mollo’s work is lost. There is a full listing of the Streatham Astoria Opening Brochure on the Arthur Lloyd Theatre web site.
Ron Knee
This island Pay Box is a design by Eugene Mollo, there many of a similar design by him. There was one at the Embassy Fareham, though the back section was embedded into the foyer granolithic steps!!!
Ron Knee
Leslie Kemp told me he designed the neon lighting with the firm Ionlite. “It took long hours of designing and redesigning, it was a wonderful display, there were not many technical problems with the installation, the only difficulty was getting it approved by the London County Council”. He said.
Ron Knee
This modern futuristic auditoria design was by Eugene Mollo, who worked with a series of stencils to achieve it. A year later in 1936 Mollo and Egan were responsible for thirty eight cinema interiors. As his partner Michael Egan told me many years later he worked at a furious pace, not entrusting anyone to assist him. You can understand why by this time he was a recognised authority on Cinema Designing. Mollo must have hated the Regal’s exterior design by Cromie.
Ron