Saraton Theatre

External signage

The building that comprises the Saraton Theatre and four shops is situated on the western side of Prince Street between the railway viaduct (that crosses the street) and Pound Street. It is one of only two historic buildings on the western side of Prince Street between the viaduct and Fitzroy Street - the other being the Commercial Bank Building - not to have been modified in an unsympathetic, modern commercial manner.[1]

The Saraton building must be viewed in two separate time zones - the exterior that dates from 1926, and the interior of the theatre that dates from 1940.[1]

The exterior

Street entrance

The building is substantial, built in (cement rendered) brick with, for the auditorium, a steel truss and corrugated iron roof.[18] The stage is of lightweight construction, recently reclad in "Colorbond" ribbed coated steel sheeting.[19] Portions of the theatre, such as the stairway and floor of the dress circle foyer, and projection box floor are built in reinforced concrete.[1]

From the street there is a cantilevered awning of unusual design. It possesses an extraordinarily deep flush fascia finished in almost square panels of fibre (probably asbestos) cement without cover strips.[18] The owners appear to have exercised moderate control over the tenants of the shops insofar that only two have painted signs on the awning fascia, and two have modified the windows on the shop fronts above the awning. Otherwise, the awning, the face-brick facade of the shops above the awning and the rendered almost Edwardian theatre facade above the awning are as original. Seven out of the eleven multi-pane windows in the facade also appear to be original to 1926.[1]

The soffit lining to the awning is, for the length of the theatre, in pressed metal of an angular Art Deco style design (consistent with the 1940 alterations). The shop-fronts themselves are varied and not of high quality; none, except for a fragment above the door of one being original to 1926.[1]

The pavement front to the theatre is original to the 1940 rehabilitation with the exception of the double doors or glazed panels at the northern end (in front of the candy bar or former "cafe"). The four sets of 1940 vintage double doors are handsome with their varnished timber finish and heavy triple horizontal, chrome push bars. Above the doors, for their full length, is one of the largest seen (for a single screen cinema) rear-illuminated opalescent program sign to take removable letters (for the films currently being shown).[20] It is also a typical element of the late 1930s, but has continued through until today.[1]

The interior prior to the 2008-10 redevelopment

Foyer

Upon entering the front doors one is in a commodious carpeted rectangular foyer. (The foyer was also carpeted when the building was reopened in 1940; wall-to-wall carpet being indicative of a luxury rarely seen in domestic environments.) The present design gives a modest impression of Art Deco in buff and brown tonings.[21][1]

Unlike so many cinemas of the 1920s and 1930s where the stairways were tucked to one side of usually a small lobby, the stairway at the Saraton is on the axis from the front door to the auditorium. For the full length of the foyer, beyond a candy bar off at the right, there is a flight of four risers to a landing directly off which leads the main stair (15 risers) up to a landing, then splitting into two dog-legs back up to the dress circle lobby. This main stair flight occupies almost one third of the width of the foyer.[1]

On each side of the dress circle stair the lower landing continues to two sets of double doors giving entry to the stalls. The doors contain two almost half circle panels of glass (of typical late 1930s design). Along these extensions of the lower landing are the toilets, each with an illuminated frosted glass panel (above the door) painted with either a man or woman dressed in cocktail or evening dress.of the period.[22][1]

Ceilings

The ceiling is in fibrous plaster that, apart from flat sections, uses four decorative elements of what might be termed late Art Deco, but not Art Moderne. They are flat ribs, ribs of cross fluting, longitudinal panels of shallow Vee section, and longitudinal flutings. The small cornice is also fluted vertically. The ceiling is painted all-over cream at present.[1]

The candy bar, recessed off the northern side of the foyer, has been modified since 1940 with a carpeted front to the counter. A "Formica" type laminated plastic top has replaced the original which may have been either marble or plate glass.[23] The original display shelves and their backing behind the serving area have been replaced with simple shelves on "peg-board".[1]

A contemporary description of the theatre mentions a mirror on the stair leading to the dress circle. It was possibly on the wall that backs the mid-landing, thus providing a greater feeling of spaciousness. The original light fittings on the ceiling have been replaced by cream opalescent glass "oyster" fittings which, although available in the 1940s, were more appropriate for plain surfaces without decoration. It is suspected that the original fittings were square boxes of "frosted" sand-blasted glass in metal frames.[1]

With the exception of these minor points the foyer, its dado bands, skirtings, door architraves and doors, and the ceiling, remains an excellent example of a foyer for a better class of the late 1930s large theatre, built in a small country city or well-populated suburb of Sydney (in which city they are now almost all demolished).[1]

The lobby to the dress circle is relatively narrow[24] after entering it from the two flights of stairs that provide access.[25] Windows are opposite the stairs as are also two toilets, above the doors of which are the same type of illuminated signs as over the toilet doors on the ground floor. At the two ends of the dress circle lobby there are (curtained only) entrances to flights of stairs leading up to the dress circle. The (non-original) ceiling light fittings are in a poor condition.[1]

The auditorium, originally seating 1166 persons (from the 1959 Chief Secretary's license list) possesses an almost grand spatial quality. It is, for the most part, original as of 1940.[26] The principal alteration seems to have only been the removal of some 20 wall lamps. The rectangular sand-blasted "frosted" glass flush-to-the-ceiling light fittings remain. Fortunately the owners have not been tempted to destroy the proscenium for an extra-wide screen presentation. The proscenium opening is currently about 10 metres wide - sufficiently wide for most travelling live shows if, and when these are permitted.[1]

The 1926 interior design was plain with the roof trusses exposed. Typical of many picture theatres the bottom chord of the roof trusses were not fully horizontal: they were divided into three sections with only the central section being horizontal, while the other two sloped down to the springing point on the wall piers. The central height was dictated by the projection beam of light from the operating (bio) box to a screen that provided suitable sight-lines. Possessing a flat floor for most of the stalls floor (for social events) the stage and screen are required to be raised to provide reasonable sight-lines from this part of the auditorium. This requirement forced the trusses (and the later ceiling) to be high over the front portion of the theatre, thus creating a noble visual quality to this part of the auditorium space.[1]

At the rear of the auditorium, over the dress circle, the roof was stepped up in relatively short lengths, to provide both adequate headroom and space for the projection light beam. The 1940 architect, George Rae, very skillfully lined the ceiling beneath the trusses' lower chords, stepping it under the raked section of the chords, but retaining flat sections as high as possible in the centre in order to prevent impediment to the beam of light. To the non-expert viewer this ceiling appears to be an abstract blocky composition of steps, overlaid with flutes and bands, tumbling down the auditorium.[27] Apart from the now demolished Kings Theatre at Mosman (Sydney), this is the best example in NSW (now the only example) of this type of intricate design of suspended (apparent) weight within a given envelope. Apart from some criss-crossing strapping elements on the bulkhead rise linking the steps in the ceiling, the ceiling plaster repeats elements found in the foyer (except that the edge bands of vertical flutings have been painted gold which helps to accentuate the different levels of the ceiling).[1]

The side walls have a unique pattern of grille decoration (in cast fibrous plaster) to cover the former ventilation openings. The basic pattern element is a square in which there is a hexagon, in which in turn, are three horizontal lines (forming four ventilation spaces). Sixteen of these basic elements form one panel in the stalls area, and twelve in the dress circle. Forward of the dress circle there are two panels (one above the other) in each bay between wall piers.[1]

The splay walls that lead into the proscenium opening possess an Art Deco style element of three half (stylised) urns from which light (symbolising flames) rise, washing the wall recesses above each. Finishing each recess at the top is an inverted arrow element. Immediately in front of the stage is an orchestra pit, about 10 metres by 1.5 metres wide.[28][1]

The dress circle is partially supported from the floor below by four columns. The front of the circle is the only apparent remnant of the 1926 interior. The facing to the balustrade ha been formed, in a slightly bellied shape, with sheet-metal pressed lightly with a repetitive pattern of stylised vertical "stalks". A flower or plant motif is at the top of each second stalk. The stalls floor beneath most of the dress circle has a very slight slope up towards the entrance doors, otherwise the remainder of the floor is flat extending to an orchestra pit that is immediately in front of the stage.[29][1]

Heritage boundaries

The Saraton Theatre building is highly significant because of its integrity and rarity as an example of a picture theatre built in a small country city during the heyday of the development of, and high audience attendance for cinema (i.e. the first half of the 20th century). As an example of Greek immigrant interest in theatre construction in country NSW to supply entertainment to the majority Anglo-Celtic population, it has been owned by the Notaras family for the 73 years of its existence. As one of only 4 per cent of the country picture theatres built up to World War II, that are still operating in recognisable original condition, both its exterior 1920s style and interior late 1930s style of design provide a now rare insight into the setting of the major leisure activity of the period.[1]

Saraton Theatre was listed on the New South Wales State Heritage Register on 9 June 2000 having satisfied the following criteria.[1]

The place is important in demonstrating the course, or pattern, of cultural or natural history in New South Wales.

It is important in the course or pattern of NSW's cultural history because, like the very few remaining picture theatres of its era it is of historic, social and cultural significance due to 'its association with past events, persons and groups who contributed or participated in an important social and cultural phenomenon of the 20th century, namely "movie going". The importance of such historical phase or phenomenon may be gauged...by its physical manifestations, including the number of theatre buildings then existing [from 1910 to 1960], the amount of employment created, the fact that "picture going" was second only to sport as a leisure time activity, and by its impact on popular taste of the time where concerned with fashion, design generally, language, music and behaviour. Such phenomenon can . . . be regarded . . . as being "historic - meaning noted in history" and 'historical - belonging to history'[30][1]

Special association with the life or works of a person: As far as is known it only has a modest link to Sir Earle Page, MHR for the district, former long-time leader of the Country Party, Deputy Prime Minister first to Stanley Melbourne Bruce, then to Ben Lyons; and Prime Minister for a brief period. The importance of this link is the importance he placed on entertainment (and therefore their settings) for the general population (as well as the armed forces) during times of war, when he reopened the Saraton Theatre in 1940.[1]

The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales.

The item is quite important to Grafton and NSW for its aesthetic characteristics - they denoting its being one of the few superior designed buildings of the first half of the 20th century that remain in the commercial centre of Grafton. It is noteworthy for both the external (1926) streetscape and internal rebuilding (1940). For the state of NSW it represents the best of what was built in a country city of modest size - its owners being complimented by the Mayor in 1926 for investing so much money, and for their setting an example to other people in the town whom he hoped would follow suit. The theatre has been noted for its aesthetic qualities, together with a recommendation for its retention, in the 1984 Report to the Heritage Council, Theatres/Cinemas in New South Wales by R. Thorne with K. Cork and L. Tod; and again in Thorne, Tod and Cork (1996, p. 266 ) and Thorne, Tod and Cork (1997, p. 275) where it was claimed that "the theatre is one of the most decorative and architecturally handsome in NSW".[1]

The place has strong or special association with a particular community or cultural group in New South Wales for social, cultural or spiritual reasons.

The Saraton represents the involvement by Greek immigrants during the first half of the 20th century in the exhibition of films in country towns. Out of the 385 country picture theatres at some time owned and/or operated by Greek immigrants this is possibly the last being operated by members of the family of the original Greek entrepreneurs. It makes a century of involvement in Grafton by the Notaras.[1]

The place has potential to yield information that will contribute to an understanding of the cultural or natural history of New South Wales.

The Saraton Theatre, as erected in the period when attending a picture theatre was second only to active (non-professional) sport as a leisure pastime, can be regarded as a physical record of the important social and cultural phenomenon of cinema at a time when going to the pictures was almost a universal regular activity. (Entertainment Tax on admissions shows that many more people attended picture theatres than all sports, including racing, combined, on an annual basis.) This theatre, as with other types of the genre that are in rare quantity in the state, shows young people and future generations what it was like for their forebears to attend cinema and participate in the major commercial leisure and social activity of the time (from, say, 1910 to 1960).[1]

The place possesses uncommon, rare or endangered aspects of the cultural or natural history of New South Wales.

The Saraton Theatre is an example of a building type and style that was once common in country towns but now rare with only 14 still operating, and in recognisable original condition to their pre-World War II designs (13 of which were built before 1942). In 1951 there were 385 enclosed movie theatres in 295 country towns in NSW. In 1999 only 66 country towns possess 83 cinema buildings containing 184 screens. (Source for 1951: A list compiled from the Film Weekly Motion Picture Directory, 1951-52 with town entries checked against "urban centres" in the 1954 ABS Census. The source for 1999 is a table compiled by R. Thorne and L. Tod from the Movie Theatre Heritage Register for NSW, 1896-1996, and personal files.) The Saraton is therefore one of nearly four per cent of country picture theatres still operating in relatively original design condition as existed in the first half of the 20th century. Its interior also symbolises the design of many Sydney suburban cinemas that were built or refurbished in the 1930s, almost all of which have been demolished.[1]

The place is important in demonstrating the principal characteristics of a class of cultural or natural places/environments in New South Wales.

The Saraton very well demonstrates the principal characteristics of the settings or environments built in the larger country towns or populous Sydney suburbs for the viewing of the cultural phenomenon of the 20th century namely, movie film-recorded performance of traditional narrative stories, and film-recorded news and information documents.[1]