Theatrical Enterprise in France.
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Two Interesting Applications2of Motors for the Transportation of Theatrical Equipment are here.described by our Paris Correspondent.
Travelling theatres, circuses and lairs in France are not usually _strong supporters of mechanical traction, and it is quite possible that M. Sckramson's claim to be the first proprietor of a self-contained travelling-theatre to make use of commercial-motor vehicles is well-founded.
M. Sckramson, a French proprietor of a large cinematographtheatre undertaking, had ample experience with horses before deciding to make exclusive use of motors. His two theatres, one seating 500 persons, and the other 1,000 persons, set out from Poissy, near Paris, early each year, for two distinct, tours round France. The two theatres were originally drawn by 14 horses ; six of these died or had to be killed, or sold as unfit for further service, every season. As the theatres remained on the road for six months each year, this meant an average loss of one horse per month. Food for the horses cost on an average 2s. 6d. each per -day, or a total of 35s. per day.
A fresh team of horses had to be bought at the commencement of each season, and, as there is always .a demand for horses in the early spring, high prices had to be paid. When they had to be sold at the -commencement of the next winter, prices had always fallen to such an extent that the animals could only be disposed of at a. serious loss.
It was eventually decided to replace the horses by motors, and an order for suitable chassis was placed with the de Dion-Bou ton Co. The smaller theatre is now carried on four 15 h.p. trucks, the first two of which we illustrated in our issue for the 17th September,
1908. Two of these vehicles are used to form the front of the theatre, one as the entrance and general offices, and the other to -contain the cinematograph apparatus. The two other vans remain empty while the theatre is estabhshed, for they are used on the road to carry the tents, seats, etc.
The small theatre is equipped with two 8 h.p. de Dion-Bouton generating sets carried in one of the closedvans with the cinematograph apparatus, and these serve for the lighting of the large tent.. The motors have to work for 21 hours each evening, the performance beginning at 9 p.m. and finishing at 11.30 p.m. The tent is taken down, mounted on the trucks, and the vans are closed in half-an-hour, so that the staff is free at midnight. At 9 o'clock the next morning the four vehicles are on the road towards the next town, 20 to 25 miles away, and in one or two hours the tent is re-erected. During the afternoon the entire troupe makes a round of the town in a couple of touring cars. The large theatre outfit, having a seating capacity for 1,000 people, is carried on three 30 h.p. chassis, one of which is a closed van with living accommodation as well as suitable fittings to allow it to be used as a booking office, whilst the other. is a closed van carrying the machinery as well as sleeping accommodation for two mechanics ; the third machine is an open truck for carrying the tent, the seats, and the other paraphernalia necessary for the theatre. The theatre lighting is electric, the current being produced by a de DionBouton 72 h.p. generating set.
A couple of light touring cars are attached to this train ; one of them is a fast two-seater and is used by the proprietor and his assistant, and the other is a small car specially fitted to carry the four musicians, the driver, and one other person. These two cars are used to make known the arrival of the theatre in the town selected for the performance.
It is stated that a journey of 14 miles formerly cost 35s. in food for the horses, while the small theatre with its four vans now covers the same distance for 8s., the cost of oil and fuel. Naturally to make a close comparison it is necessary to have a. complete balance sheet for one season's operations ; but although. this is not available, the proprietor declares that the motor outfit is considerably cheaper.
Within a few days of writing the President of the Republic will inaugurate on the Esplanade des Invalides, Paris, a travelling theatre which can claim to be unique in the world, It is the creation of M. Gamier who has sought to produce a peripatetic theatre equal in luxuriousness, scenic effects and the quality of its acting, to any subventioned establishment of Paris. Whether theatrically inclined or not, Britishers will take an interest in the new venture by reason of the fact that the theatres will be hauled throughout the
length and breadth of France by tractors which were built, in Great Britain. Application was made to French firms for the necessary machinery, hut, as it was impossible to obtain delivery in less than one year, the order was placed with Aveling and Porter, of Rochester, for four 60 lip. steam engines capable of hauling 50 tons each, and four 8 h.p. tractors. They were delivered within three months, and were ready-long before any portion of the theatre was completed.
The designing of the theatre was placed in the hands of Moreau Brothers, of Paris, and the construction entrusted to Boutard et Cie., of Montreuil-sous-Bois. It is intended to visit all towns of not less than 8,000 inhabitants—such towns being on an average 30 to 40 miles apart, to make very short stops in each place, and to provide accommodation for 3,000 people.
The theatre itself, that is the hall, the seats, the stage and fittings without scenery and electric lights, are in duplicate. Thus there are three distinct road trains, two carrying bare material, and one consisting of the electric equipment, the artistes' dressing-room cars, the scenery, and the private boxes. The two first visit alternate towns, and while one is stopped for a performance, the other is either on the move or being erected in the next town. The I hird train, consisting of vehicles which can be packed up or opened out within half an hour, visits every town on the route.
A large canvas tent consisting of 38,000 sq. ft. of fireproof canvas, and weighing altogether 31tons, forms the theatre. The tent is erected on five steel girder columns, each 56 ft in height, and each in three sections which are bolted together for convenience in handling. No foundations are dug for the columns, and when they have been assembled on the ground they are hauled into a vertical posit ion by means of the tractors. One of the columns, which forms the head of the theatre, is mounted in a central position behind the stage ; two others form the front extremities of the stage, while the second pair is placed near the rear of the hall. The two pairs of pillars are united by transverse girders, and two pairs and the head column are linked together by a steel cable. All five columns are stayed by external steel cables. This design makes it possible to have a large tent without any visible internal props, and free from the sagging and flapping so common with tents. The roof of the tent is placed in position around the five columns, and the entire mass, weighing 24 tons, is hauled into position and made taut by winches. The canvas which forms the surrounding walls is hooked into position afterwards. The three pillars at the head of this bare tent form the framework of the stage, the rest being an assemblage of trestles, planks, and steel girders. The scenery is carried on long vertical rollers, which are mounted in the wings and are capable of being unrolled by means of winches. The bare tent is transformed into an elegant hall by the erecting of prepared trestles on the ground, and over these the flooring is laid in sections. A certain number of the trestles project through the floor and form the supports for the seats, which are very light incurved benches which are really comfortable to sit on despite the absence of backs. The first halfdozen front rows in the hall consist of light but elegantly-upholstered armchairs ; carpets are laid for the whole of the orchestra, for the gangways, and for the spacious pronaenoir. The theatre in this condition is complete so far as the advance train with its gang of 90 fitters is concerned. It is not necessary for the second train to arrive until near the time for the performance, for the electric lighting plant consists of a long, closed wagon with a dynamo at each end and a couple of small dynamos held in reserve, all ready to be placed in position outside the tent, connected up to the two tractors by belt, and made ready for producing current. The switchboards are mounted in a second closed vehicle which is placed inside the tent, at the back of the stage. Six artistes dressing rooms—long closed wagons resembling railroad coaches—are also brought into the tent behind the stage These dressing rooms are a remarkably fine piece of work ; they are fitted up with hot and cold water, lavatories, mirrors, electric light and electric fans, and a series of very complete but compact lockers. The private boxes are also complete vehicles resembling Army Service wagons when on the road, but transformed, when opened out, into very luxurious "loges." One of the 14 wagons connected e i th each theatre is composed of a large steel tank which, when emptied of its material, is used to contain, a quantity of water to be used in quenching fire in case of an outbreak. The water is drawn from the tank by means of an electrically-driven pump. As an additional precaution against fire all the wood used in connection with the theatre has undergone fireproof treatment.