Evening star., 1942-01-18

from the stage and a suave master
Of ceremonies takes over.
Each theater manager Is now an
air warden. He has been trained by
the police and fire departments for
that job. His doorman, stage hands,
projectionists, every one on the thea
ter staff, has been assigned very
definite duties which they are to
take over during an emergency. For
weeks all usherettes have been TAX
ing Red Cross courses in nursing.
Suggested Theater Bureau.
The theater plan sprung into ac-
ton from the very ground floor OF
Los Angeles defense activities. A
few days after the Pearl Harbor at
tack, the long-established city de-
fense council started to put into
effect rules and regulations to gov
ern every citizen, every business in
the city.
Attending the first meeting was a
theater man, B. v. Sturdjvant, be-
lever in the doctrine that the screen
is the worlds No. morale builder.
Sturdivant suggested the formation
of the Theater Defense Bureau, for
the purpose Of:
l. Building public morale and pa
triotism
2. Educating the public in emer-
gency methods.
g. Educating all theater employees
In measures for the complete safety
Of every man, woman and child in
an audience.
4. Keeping the amusement CEN
ters open, provided, of course, that
the theaters were safe, class A
structures.
With the words of President
Roosevelt. of Winston Churchill, of
Mayor La Guardia in praise Of
movies as morale builders ringing in
its collective ear. The defense coun-
Gil gave Sturdivant a fatherly pat
on the head. cloaked him in plenty
of authority and the now-powerful
Theater Defense Bureau came into
being. A program was developed in
this chronological order:
MANUAL Prepared.
The idea of the defense bureau
was told to every theater manager
in the city at mass meeting. Po-
lice and fire chiefs were on hand to
explain problems that might con-
front them in case Of panic or an
incendiary attack
Rules for meeting every emergency
were dispatched to all employees,
along with advice on emergency
lighting, impromptu entertainment
and emphasizing the necessity of
remaining calm.
Preparation Of a comprehensive
manual. by Rodney Pontages. on
the handling of any situation in
case of blackout or attack.
Organization of 26 different thea
ter zones, each with a captain and
from three to five lieutenants, each
zone covering from two to three
square miles. The managers them
| selves police their theaters to see
that all fire and police safety reg
ulations are enforced.
Establishment Of communica-
ton committee, with quick tele-
phonic contact with every amuse-
ment place in the city for the dis
semination of pertinent informa-
ton. All theaters in this network
can be reached within five minutes.
Preparation of films advising the
public what to do in an emergency
whether at home, on the street,
or in the theater
Screening of patriotic subjects
to help unite any disbelievers.
Formation of a central bureau to
handle all requests for benefit films
or special performances for worthy
| causes.
AS their clinching inducement to
timid movie fans to forget fears
and come out and see show, the
showmen proudly point out that
theaters are class A buildingS-of
concrete and steel. Ordinances
throughout the country provide for
the same type Of theatrical con-
struction.
In this connection, it is interest
ing to note that London theaters
are now doing a record breaking
business-bigger than before the
war
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