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Plaza Theatre Perth
A Cinematic Study
(Page under construction)
Please note: there is no legal access to this permanently closed venue, particularly due to the heavy levels of asbestos. We have been given these photos, which were taken a few years ago.
Designed by architect William G. Bennett, in consultation with Taylor, Soilleux and Overend, the Plaza Theatre began on 24 May 1937. It was constructed on the site of the Armstrong Motor and Cycle Agency and Majestic Theatre by the Saw family, who owned the land.
Officially opening some six months before the Picadilly Cinema, the Plaza Theatre was the state's most modern cinema at the time, constructed over a busy throughfare area. Encompassing the Plaza Arcade, the three-storey building's facade "featured a stepped skyline with a tall projecting centrepiece presenting a symbolic skyscraper effect".
Extensive use of pigmented structural glass was incorporated into the design, marketed under the name of Vitrolite and a common element in Art Deco buildings, with chrome-plated trimmings. Sadly, it doesn't seem like it exists anymore.
The vertical sign, with its stylized lettering and neon tubing, read the name HOYTS PLAZA.
In 1965, Hoyts decided to rename the theatre to Paris Cinema.
The Cinema
Officially opening on 17 September 1937 with a screening of Lloyds of London. The cinema seated 1000 people in the stalls.
The dress circle seated 300 people in the upstairs level.
Seats
The Dunlopillo seats were covered in an autumn-shaded thick-pile fabric.
The Dunlop Perdriau Rubber Company, who had a controlling interest in Latex Products Pty Ltd, created Dunlopillo seats from latex, “the milky secretion from the inner bark of the rubber tree”, which differs from the common sponge rubber used at the time for seating products. Vulcanizing agents (usually sulphur), compounding ingredients and a froth inducing agent are added to the latex which is then beaten together to form a froth in a machine, which combines the right amount of air to do so.
Placed in a mould for approximately an hour while it sets, it is then immersed in hot water to vulcanize (a process of hardening) the product.
Decorative cast metal panels could be found at the end of each row with elaborate bas-relief (when the surrounding surface of the art is slightly lower than the art itself) stepped art of a “pyramid-shaped hooded light to assist usherettes” (1)
Walls
Engraved horizontal grooves lined the walls in Chinese red lacquer paint with silver angled edges. Bands between the grooves began with a cream colour towards the ceiling and a graduation of colour finished in a darker autumn tone towards the floor.
Grooves of these type would become a major feature in acoustic designs, whether it be for cinemas, theatres and sound recording studios. Also referred to as “parallel ridges,” they run along the surface of the wall, creating “small pockets of air that act as an acoustic barrier, trapping and absorbing sound waves before they can bounce off walls or other surfaces”.
Carpet
As a result of Hoyts having a contractual arrangement with Wilton Carpets, 1000 yards of burgundy pile texture carpet, specially designed for Hoyts theatres, was imported in from Melbourne.
