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Entirely encased in liberally ornamented terra-cotta (literally meaning baked earth), the Egyptian’s facade is widely recognized for its elaborate, multi-colored beauty. In all probability the Peery’s Egyptian facade is the most ornate of any standing Egyptian-design theatre in the United States. The two statues perched high upon the red-tiled roof initially emitted wafts of steam from the bowls cradled in their laps.
Entirely encased in liberally ornamented terra-cotta (literally meaning baked earth), the Egyptian’s facade is widely recognized for its elaborate, multi-colored beauty. In all probability the Peery’s Egyptian facade is the most ornate of any standing Egyptian-design theatre in the United States. The two statues perched high upon the red-tiled roof initially emitted wafts of steam from the bowls cradled in their laps.
Extensive street level alterations occurred to the terra-cotta facade over the decades, including destruction of portions of the four columns that divide the front of the Egyptian into three equal widths (the Egyptian’s outer lobby being the center third). The two columns framing the outer lobby were chiseled away to create flat surfaces for installation of movie poster display cases.
At about the time Fox Inter-Mountain Theatres took over operation in 1936, a marquee four times the size of the original was constructed by expanding it upward and downward over the original. The lower expansion necessitated installation of a drop ceiling be positioned from the outer edge of the marquee to the doors leading to the inner lobby, a drop ceiling which encased and concealed the elaborate, original Egyptian ceiling designs.
When restoration happened, the drop ceiling proved to have been a positive. It had protected all of the hidden artwork from the weather and other ravages of time. Other than minor water damage, most of this hidden art needed only to be cleaned rather than repainted.
The ornate outer lobby box office is a replica created from photographs of the original which had been replaced by a smaller, unembellished structure in about 1936 when Fox Inter- Mountain took over operation. The smaller box office remained in use into the early 1980s.
Extensive street level alterations occurred to the terra-cotta facade over the decades, including destruction of portions of the four columns that divide the front of the Egyptian into three equal widths (the Egyptian’s outer lobby being the center third). The two columns framing the outer lobby were chiseled away to create flat surfaces for installation of movie poster display cases.
At about the time Fox Inter-Mountain Theatres took over operation in 1936, a marquee four times the size of the original was constructed by expanding it upward and downward over the original. The lower expansion necessitated installation of a drop ceiling be positioned from the outer edge of the marquee to the doors leading to the inner lobby, a drop ceiling which encased and concealed the elaborate, original Egyptian ceiling designs.
When restoration happened, the drop ceiling proved to have been a positive. It had protected all of the hidden artwork from the weather and other ravages of time. Other than minor water damage, most of this hidden art needed only to be cleaned rather than repainted.
The ornate outer lobby box office is a replica created from photographs of the original which had been replaced by a smaller, unembellished structure in about 1936 when Fox Inter- Mountain took over operation. The smaller box office remained in use into the early 1980s.
Entrance to the inner lobby is through a set of eight tall doors. The width of this lavishly decorated space occupies the center third of the building; its depth equal to its width delineated at its length by a second set of eight doors.
Its walls offer a fascinating study in authentically colored Egyptian figures and designs further enhanced with authentic Egyptian hieroglyphics; that is for the most part, authentic.
Lou Hodgson Homer, daughter of architect Leslie Hodgson, recalled somewhere amongst the authentic Egyptian hieroglyphics, is a poem: “Little drops of mortar, Little bits of tin; It’s a damn good theatre, for the shape it’s in!”
The inner lobby ceiling is a study in multicolored, intricate stencil work decorated in authentic bright Egyptian colors and designs.
When Conrad Schmitt Studios (the Egyptian’s interior restorers) were conducting tests to determine the original paint color of the base board running around the bottom of the inner lobby’s walls, the workers were shocked to discover it was not painted wood at all. Hidden under several layers of varied paint colors was beautiful black marble! So delighted with the discovery, it was decided the bottom of every wall in the Egyptian and conference center would be adorned with a black marble strip.
Entrance to the inner lobby is through a set of eight tall doors. The width of this lavishly decorated space occupies the center third of the building; its depth equal to its width delineated at its length by a second set of eight doors.
Its walls offer a fascinating study in authentically colored Egyptian figures and designs further enhanced with authentic Egyptian hieroglyphics; that is for the most part, authentic.
Lou Hodgson Homer, daughter of architect Leslie Hodgson, recalled somewhere amongst the authentic Egyptian hieroglyphics, is a poem: “Little drops of mortar, Little bits of tin; It’s a damn good theatre, for the shape it’s in!”
The inner lobby ceiling is a study in multicolored, intricate stencil work decorated in authentic bright Egyptian colors and designs.
When Conrad Schmitt Studios (the Egyptian’s interior restorers) were conducting tests to determine the original paint color of the base board running around the bottom of the inner lobby’s walls, the workers were shocked to discover it was not painted wood at all. Hidden under several layers of varied paint colors was beautiful black marble! So delighted with the discovery, it was decided the bottom of every wall in the Egyptian and conference center would be adorned with a black marble strip.
The Egyptian’s main claim to fame is its “atmospheric” auditorium, where with special indirect lighting the time of day can evolve from high noon, to sunset, then dusk, followed by the dark of midnight, illuminated with twinkling stars in a matter of moments.
The Egyptian’s original 1924 stage was encased in an inner proscenium and an outer proscenium, each proscenium sided with elaborately decorated Egyptian columns and topped with massive depictions of deities, animals, ships, innumerable hieroglyphics and scenes of everyday activities in ancient times.
Originally built as a movie palace, the Egyptian’s stage was a mere 13 feet deep with the motion picture screen painted on the back wall. Only minimal stage presentations could be accommodated.
The inner proscenium was eliminated during restoration and a much larger stage house constructed along with an adjoining rehearsal hall, dressing rooms, and a good-sized orchestra pit on a lift converted the old movie palace into a full-functioning performing arts center.
Designed without a balcony, seating in the Egyptian is all on one level with the exception of two “boxes” located halfway up the auditorium back wall, with adjustable seating for a dozen or so additional patrons in each.
The Egyptian’s main claim to fame is its “atmospheric” auditorium, where with special indirect lighting the time of day can evolve from high noon, to sunset, then dusk, followed by the dark of midnight, illuminated with twinkling stars in a matter of moments.
The Egyptian’s original 1924 stage was encased in an inner proscenium and an outer proscenium, each proscenium sided with elaborately decorated Egyptian columns and topped with massive depictions of deities, animals, ships, innumerable hieroglyphics and scenes of everyday activities in ancient times.
Originally built as a movie palace, the Egyptian’s stage was a mere 13 feet deep with the motion picture screen painted on the back wall. Only minimal stage presentations could be accommodated.
The inner proscenium was eliminated during restoration and a much larger stage house constructed along with an adjoining rehearsal hall, dressing rooms, and a good-sized orchestra pit on a lift converted the old movie palace into a full-functioning performing arts center.
Designed without a balcony, seating in the Egyptian is all on one level with the exception of two “boxes” located halfway up the auditorium back wall, with adjustable seating for a dozen or so additional patrons in each.
