The Staff. Its Duties and Salaries. … As a general rule, it may be taken that from ten to twelve persons are required for the competent management of a theatre running a continuous show. These are: Manager, Cashier, Doorkeeper, Checktaker, two male or lady Attendants, Operator, Assistant Operator, Spool Boy, Effects Worker, and in some cases Program and Chocolate Sellers.
The Manager. Many a proprietor owes his success to his manager’s personality … The public like to go to a place of entertainment where the manager evinces a personal interest in them … His salary is calculated on the seating and earning capacity of the hall and may vary from £3 to £5 …
Much will depend on the way in which the manager engineers the opening ceremony … It is well to secure the attendance of the Member of Parliament for the Division, the Chief Magistrate of the City or Town, … Vicar of the Parish or some equally big wig to declare the show open.
Advantage should always be taken of this occasion to press home the educational aspect of the kinematograph and the high class nature of the entertainment which is to be provided.
The Doorkeeper. His wages run from 25s. to 40s per week.
The Box Office Attendant. It is best to put a woman in charge of the box office, partly because women are apt to be more reliable, and in part because they ask less money … One who is not too old to be attractive, and one who is steady enough to refuse the numerous opportunities for flirtation will become an asset … she is not too well paid at £1 per week, although cashiers can be had at 12s 6d.
The Ushers – Inside Attendants. You want bright youths or young women who are willing to work and whom you can trust to do as well when you are absent as when you are there … In many houses the attendants are supposed to polish up the brasswork in the morning and help with the place generally … As a rule these attendants are paid from 10s to 18s. per week, to which of course has to be added their commission on the sale of chocolates and programs.
They should each be provided with an electric torch … and should be instructed to always direct the light from their torches towards the ground and away from the faces of those who are following them.
The Pianist. Get a good one – the best you can afford. … [T]he patient plodder with a fair technique will sometimes be found to be better than a brilliant performer who has a soul above the pictures The man or woman who can read music well enough to memorize standard melodies, and who can pick up popular stuff “by ear”, is better than the more advanced player who cannot play without the music on the rack. … An automatic piano is to be preferred to a bad player.
The duties and responsibilities of the accompanist are by no means light or few – always excepting the cases where a mechanical piano is left in charge of the erratic and ubiquitous “chocolate boy”. Besides, a complete command of the keyboard, the pianist must have quick discernment, and a sense of the fitness of things …
The skilled accompanist will manage, with well-timed improvisations, to smooth over any awkward pauses and abrupt transitions … Finally, the pianist should commit to memory, or have to hand, a selection of pieces which are likely to suit the various idiosyncracies of the films …
The pianist should have the films at every change of program projected for his special delectation in order that he may arrange his musical program to suit the pictures and may know what is coming next. Too often films are changed and the man at the piano has no inkling of the subjects excepting what he has gained from a perusal of the synopsis … £2 to £3 a week is none too much to pay him. Where there is an orchestra, of course, the pianist’s salary is allocated to the conductor.
The Effects Worker. … It falls to him to give life to the picture by the aid of mechanical or other means … From 12s to 15s. a week is the usual age for a boy and 30s. for a man.
Program and Chocolate Sellers. …the vending of their wares shall not be to stentorian, for nothing detracts more from the pleasure of patrons than to have a loud voiced boy or girl continually brawling in one’s ears “Chocolates” or “Programs”.
The Operator and his Assistant. … The young man who knows a little about the machine, but who needs more experience and is willing to work cheaply in order to obtain it, is the most expensive operator who can hire. He only takes one pound out of the box office on pay day, but presently you have to pay for repairs to an abused machine that will run up, the shows will have been so poor that your attendance will have dropped off, and all at once you will realise that there are occasions when it is cheaper to pay a man three pounds than one. Your operator will cost you up to £3 a week, or even more.
You can get men to turn the crank for very low fees if you have only night shows, but a night operator who has other employment during the day is not apt to be in shape for his work, and a good operator is worth every penny you pay him.
How the Staff Should be Uniformed. The male attendants should be uniformed … The female attendants should be attired in black dresses with white aprons and caps or of preferred they may be made up as vivandieres, or in the style made famous by Marie Antoinette with powdered hair, patches and pannier dresses, as is done at some London theatres.
Next, we will need to consider how to go about selecting a programme of films.
The Bioscope 