Ogden's Magnificent New Theatre Shrine of Beauty Dedicated to Best in Art

Photographic Masterpieces to Be Wedded to Music and Distinctive Architecture for Cultural Advancement of Community.

Walls are articulate things that speak with the tongue of an ideal that gave them birth – so, think of these as Temple Walls.  Peery's Egyptian theatre of Ogden is an unique institution in the world of theatricals.   It stands on the Highway o'er which must pass all Art in its march of glorious pageantry toward the ultimate.  It echoes the timid steps of the shadow child of yesterday, and mirrors the full blown beauty of She who was born from the womb of Light.

A Shrine dedicated to things well done, its walls likewise encompass a magic crystal into which may gaze this silent daughter of the drama to read the tales of coming days.  Its stage shall be an altar to wed artistry to the Sunchild and give melody as a willing slave.  Here she will wind the rainbow showering its opulent array and dance hand maiden to her throne.  Within will tinkle the Laughter of the Gods and He that makes dark thunder will beat the drums that sound of tragedy.  Here in its truest phases will the art of the motion picture find its fullest expression.

It is fitting that Ogden should be the center of the motion picture activity of the state.  Peery's Egyptian theater will present each week, the most noteworthy of screen productions.  Only these plays that reflect the highest ideals of the Silent Art will find place upon its Silver Sheet.  Only subjects that possess the true artistic values and qualities of entertainment will be included among the unites that compose the program.  Paramount pictures, laden with history and achievement, will form the source of supply for its attractions.  The greatness and the dominance of Paramount pictures is beyond question.  Tastes, styles, standards have changed.  But in each year of the past twelve, the biggest pictures, the most popular and widely seen pictures, have been made by this keen intelligence of the industry.  And in Peery's Egyptian, their future monuments to the masters will be shown.  To the Peery estate may be awarded the distinction of bringing to a realization this shrine of the silent art.  To Harmon Perry, managing director and Louis Perry, house manager, who have shared in cradling its idealism, has been entrusted this artistic success of this institution.

Theater Jewel Box

The theater itself! A jewel box, the assembling of perfect coloring, blending into the elaborate ornamentation.  The architect dreamed of its mission and drew his plans that this might be a treasure chest, for he has studied the interior with jewel lights that gleam and glow red, amber and blue from above, a sunburst cluster spread in opalescent effulgence, their radiant tones punctuated with brilliant primary color blend.  The ceiling is in an Egyptian blue, or cobalt, colored like the heavens and studded with the stars of night. In line and spirit, it carries the mode inspired by temples built by Theban Nobles about 1350 B. C.  What more fitting to house a dream of an onward march for a modern theater?   It readily suggests itself as a meeting place of friends, a social center, which before the play and during the Entr'act will glisten with the temple jewels and twinkle with its laughter.  The stage is bordered with richly polychromed Egyptian effect, denoting a Pharaoh altar.  On either side of the stage, are excellent examples of early statuary when Egypt at the height of her civilization was endeavoring to puzzle out the riddle of creation.

True Reproductions

“The pained and sculptured scenes used throughout the theater have been selected from authentic example and faithfully reproduced in their original colors in the true Egyptian spirit.

The proscenium wall of the auditorium as well as the walls of the foyer, lobby, nursery, ladies' salon and the men's lounge are decorated with sculpture and paintings of subjects in keeping with their location.  Each subject, of course, in its original use illustrated the story of some great achievement or a god or monarch or perhaps a religious ceremony.

On the ticket booth will be found sculptured panels, one of which represents a sunrise.  There we see the “disc” of the sun resting on the top of the loop of the symbol of “life” and supported by two human arms and hands.  The loop of life rests upon the top of the Tet, which represents Osiris, who was, in one aspect, the dead sun of yesterday, and from it proceeds the power of “life,” which sends forth the solar disco on its course.  On the upper part of the Tet are the two “utchate” or eyes of the sun and moon, with the symbol of “good” between them.  On the left of the Tet is the goddess Isis and on the right, the goddess Nebt-het, or Nephthys; each goddess kneels on the emblem of “gold” and each has her hands raised in decoration of the Sun-God.

Five Shows Daily

Five performances will be given each day.  A gong sounds.   Pages are alert to render service.  The auditorium fills.  The lights dim and fade away.  Magic melody fills the room like a silken scarf perfumed with the mystic flowers of fancy. Pierrot and Pierrette, Harlequin and Pantaloon have found a new abiding place.

The film itself is but an un-played symphony that needs the reeds and strings to strike it into life.  A scaffolding around which artists in music, color, pantomine, where the mistress of ballet and the Creator of things that lie beyond the boundary of the proscenium arch lend their gifts that the structure will rise as a tower radiant with the jewels of these allied arts..

That music should play such an important part is not to be wondered, for as the pipes of Pan lured one beyond the mystic gates of Fancy, and bore away on the wings of enchantment, so has music become the Soul of the Eye.  At Peery's Egyptian theater the divinest of the arts has been welded to the universal language of the silver sheet in a new harmony.  Not the blatant blare of trumpet, but a musical counterpart mooded to and paralleling the drama's theme.  Here is the voice that will creep beyond the shadow and speak with the understanding tongue of all – a symphony of sight and sound which with its subtle alchemy can sway the soul in perfect rhythm.

What is art, but the one great moment when its thrill cascades the emotions and races on, a surging torrent to overwhelm the soul.  Perhaps man's consciousness first was color and down through the ages its kaleidoscope has lured him on to its tinted bacchanalia.  So color will play an important part in Peery's Egyptian theater presentations.  It's stages decores will tend toward the imaginative and the idealistic forms in their motifs – each setting a drama expressed in color.

Theater Has Mission

Thus has been told the story of an Ideal – and its abiding place.  The Peery's Egyptian theater has a mission – an obligation – to reflect in it's truest phases the art of the cinema and as the crucible draw forth the dross and prove the gold, mistress of that will-o'-wisp we so lightly call diversion and slave to it's fullest realization.

The commonplace will find no welcome on the Peery Egyptian program.  The cultural arts must send their messengers with a new expression.  And likewise it sends outstretched hands to welcome those, who on the broad highway of Dreams are marching on toward the Ultimate.