Common in theatre design at the time of the construction of the Capitol Theatre was the layout of a small entrance frontage and a long narrow lobby with the auditorium opening out behind street-front stores. This was because taxes were based on street frontage, land for the larger auditorium was cheaper on back lots and a long narrow lobby connecting the entrance to the auditorium worked well for ticket line-ups. as a theatre built exclusively for talking pictures, it had a small stage, low rake to the floor, no back-stage facilities, a minimal number of washrooms and limited lobby space. Built at the beginning of the [Great Depression in Canada], the capitol was designed as an
atmospheric movie theatre, a low cost, highly visual Theatre design. Twilight sky, hanging vines and castellated battlements are all part of the Norman Courtyard design; an outdoor illusion, enhanced by clouds projected on to the seamless ceiling by a Brenograph (an innovative machine of the 1920s). The facade begins the illusion that one is approaching a medieval castle with its leaded, diamond paned windows. The exterior Egyptian-motif "Capitol" sign is original to the theatre. It was, apparently erected on instructions from
Famous Players, and was not in the original designs. The projecting marquee emulates a drawbridge to the outer lobby with its stenciled detail, faux painted walls and original terrazzo floor, show boards and ticket window. The
Art Deco influence of the 1930s construction period is most evident in the paint colours and stencils used in the lobby and auditorium. From the inner lobby with its original furniture, one ascends the steps to the auditorium where frescoed walls and ceiling suggest one is sitting in a medieval castle courtyard, which was created with the use of faux plaster work walls that are finished in 17 different colours. Ceiling plaster was applied in one continuous operation by recruiting a large team of plasterers from miles around, who worked around the clock standing on cedar pole scaffolding, to obtain a seamless sky before the plaster had a chance to dry. Much of the artwork was rendered not in paint but in wet coloured plaster, according to the traditional fresco method. In the trade, these theatres were sometimes called "soft tops" since the illusion was of no ceiling—of being out of doors. Stencils on the
proscenium arch are original, as are the wall lanterns. ==References==