Page 6 - CinemaRecord Edition 3-2002 #37

The Some theatres give up
their secrets grudgingly.

The early years of the theatre
which became The Mayfair
are a bit of a mystery but not
MAYFAIR its last decade.

The Mayfair struggled to find a
loyal audience and relied on the
inventiveness of its management
to stay afloat. Vern Deutsher
Gardenvale recalls his happy time there in
the fifties as Assistant
projectionist.

he building was of brick In about 1953 Mel Elliott was this, booking a special matinee for their
construction and was situated at brought into the partnership to manage language students to brush up on their
T208 Nepean Highway, and operate the theatre. Mel had conversational French or German.
Gardenvale. The location was on the started in the industry during the war The interior was sober but relieved
inbound side of the Highway near as an assistant projectionist at a by simple light effects. The black outline
North Road. number of theatres in the north and of the proscenium suggested leadlight
The theatre opened in 1925 as the west, beginning with the Western and may have been inspired by Tiffany
New Gardenvale Theatre. It was said West Brunswick and later in other lamps. The patterns and colours looked
that the theatre had a spell as The theatres linked to Frank Selleck. like butterfly wings. Mel emphasized the
Nepean but I knew it only as the Two factors helped to turn The patterns by using the translucency of
Mayfair. During the Depression, it Mayfair into profit. Mel was crepe paper with coloured globes behind
was closed for several years before re- resourceful and interested in presenting it. The globes were changed to reflect
opening under lease to Selleck and the interior to best advantage and there the season; cool colours for summer,
Ward. was the Selleck experience with warm for winter. Bringing in the ladder
Prior to the post-depression re- European films at the Savoy Russell St. to change burned-out 15 watt globes in
opening, the auditorium underwent Audiences in the fifties were jaded by the shells was routine.
some cosmetic improvements; an open much of the standard screen fare and The auditorium was on two levels.
weave proscenium, illuminated wall were prepared to look (at least for a One CATHS member remembers the
shells, a lathe and plaster ceiling time) at continental films. The example vinyl seats of the stalls as rather
(except over the stage where it was of the Savoy meant that the Mayfair uncomfortable, only the lounge seats
richly patterned) and ceiling lights had a running start when it became a were upholstered in fabric.
were added. Each ceiling light was a suburban venue for subtitled films.
ring of six globes above a pearl saucer. Schools sometimes took advantage of

The lounge view. The walls were painted to suggest a A pattern above the proscenium and a plaster rose
timber finish. Most of the shell wall lights were lit by above each light were the ceiling decorations. Large grills
orange globes. The lowest (front to rear) was yellow, red, above the exits left and right covered air intake chambers.
green and blue respectively. (Photos courtesy of Ken Newell.)
(Photos courtesy of Ken Newell.)

6 2002 CINEMARECORD