International studio (47.1912)

The Little Theatre

A ■ A HE LITTLE THEATRE
The Little Theatre, which opened
A in New York on March ii, 1912, marks
a new era in theatre design. As its
name implies, it is of limited proportions, the
object of this being to secure that intimacy be-
tween actor and audience which is necessary for
the best interpretation of modern intimate drama.
Whether viewed exteriorly or interiorly this
theatre gives eminent satisfaction; there is hardly
a discordant note. It presents a good example of
the Georgian in its design. The materials used in
the exterior are red brick and French limestone,
and the outside woodwork is painted white. The

shutters are a “blind green,” and the ironwork
flat black. The effect of the building at night,
when concealed lights are reflected upon the
facade, is very pleasing.
The lobby is done in white, in Colonial style,
with a fireplace at one end, opposite the entrance.
A stairway leads down to the smoking room and
the tea room. The only relief to the white walls is
a large piece of valuable old Spanish brocade vel-
vet that still holds its rich coloring.
The ladies’ parlor, which opens from the lobby,
has white woodwork and walls and is furnished in
mahogany. Downstairs the smoking room has
woodwork in walnut effect, with a red tiled floor
and red leather upholstery on the wall benches.
A number of old English
prints of actors hang on the
walls.
The tea room, which is
half as big as the auditor-
ium, has white woodwork,
and also has a big fileplace
at one end. The furniture
is of oak, of the period of
William and Mary. The
other rooms of the building
follow closely the Adams
period of Colonial design.
In the tea room there is a
large service table and a
number of small tables.
Here tea and coffee are
served free during the in-
termissions.
The auditorium is eliptic-
al in shape; the woodwork
is of birch, stained a deep
walnut brown, and repro-
ductions of the Bouche tap-
estries have been hung in
the panels. The curtains
are of blue and silver bro-
cade, with tapestry borders,
and the drop curtain of
Gobelin blue. The carpet
is mouse gray, and the
seats are upholstered in
brown leather.
The placing of the seats
entirely on the main floor,
thus making them all of
equal importance, has elim-
inated the impressions of
class distinction between


Robt. W. Tebbs, Photographer
THE LITTLE THEATRE

HARRY CREIGHTON INGALLS AND F. BURRALL
HOFFMAN, JR., ASSOCIATED ARCHITECTS

LXVIII