House Lights included the light blue circuit of the sky coves, amber and red in the organ boxes, and a glow from the various windows set into the side walls. Picture House included the deep blue circuit of the sky coves, blue circuits in the balcony soffit and organ boxes and a portion of the rear ceiling (gallery) fixtures. The Footlights could disappear via a hand crank control located on the ceiling of the trap room below. This plan shows the locations of the Switchboard, Side Bridges, Cyclorama Footlights and Floor Pockets. Two dimmers (not shown here) controlled the four outlets in the downstage Footlights for pin spots. Boxed on the left are dimmers for the Proscenium Spots, a vertical stack of eight PC spots located on the downstage edge of the Side Bridges which gave out a strong sidelight for the very important IN ONE playing position. Left to right, a typical MG set; the contactors which allowed DC lamps to be blacked out in unison with the incandescents; the stop/start controls for each MG; the Voltage and Amperage Meters above the board for each MG, which also provided current for the rail and cove gel change solenoids. On the top right-hand section of the Switchboard were the Houselights, subdivided into Picture House (those lights which remain lit when the house is occupied) and House Lights, which were dimmed out before the stage show or picture.
Stars were simulated by one hundred and twelve 25 watt general service lamps with reflectors placed on the top side of the plaster sky, beaming through pin holes in the plaster and magnified by prisms The clouds were projected onto the sky by two Kliegl effect machines containing “moving fleecy cloud” discs which rotated at an imperceptible pace. The Masters could be locked into either the top or bottom of the Slow Motion Wheel (right) by turning the handle to either left or right of center. Dimmer control handles (left) could be interlocked into a Master control handle (center) by rotating the dimmer handle a quarter turn clockwise. The Fox Switchboard contained 120 dimmer control levers (exclusive of master handles) to operate the 200 resistance dimmers, ranging in capacity from 275 to 3,680 watts, the largest capacity ever manufactured. Five gang pockets were a deluxe feature, and lighted pockets were another Hub exclusive. The excellent copper and glass color screens were an exclusive to Hub.
The striated glass is all original and free of chips, cracks or repairs as is the overlay. It wasn’t a case of just brushing it off, I had to pinch it and pull it off.. Backlit and numbered gel colors were shown closest to the stage director, in this case Leon Leonidoff at the Radio City Music Hall (1932) where Roxy’s LD Eugene Braun spent the remainder of his long and distinguished career. Gel color changes were preset and controlled from the board. A five prong pin plug connected the color changer. Inc Pockets illuminated when the lid was lifted, and jewels indicated the circuit color. Hinged cleanout doors on the underside of the floor pockets provided an easy cable route to the basement for dummies or ghosts. Six DC pockets were also provided. Direct current for the Fox stage carbon arcs was provided by twin Westinghouse 455 DC ampere Motor-Generator sets located beneath the stage and distinct from the booth machines.
Two circuits per side were provided for DC follow spots. Dimmers were wired to interrupt the neutral side of each circuits. For the many large loads, multiple dimmers were mechanically ganged to a single control lever (right). Overhead and balcony “floods” were actually plano-convex (PC) spotlights, twelve 1500 watt units in each position ganged in groups of six, as well as four 2K specials for organist and band leader. Thus the sun would rise over the balcony (east) and appear to travel to noon position (auto-sunrise); hold for a given period; then set over the stage (auto-sunset). Stumptown coffee over at The Trails cafe off of the trail, and eat your meal at their outdoor picnic tables. Click Here for more details. And all here are the imported forty piece English symphony orchestra and its conductor, Kristen Blodgette, as well as the English principal players from the English National Opera production which starred Glenn Close when she played the show in London to resounding acclaim.