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What is another word for usherette?

Pronunciation: [ˌʌʃəɹˈɛt] (IPA)

An usherette is a female usher, typically found in theaters and cinemas. However, there are various other terms that can be used as synonyms for usherette. Some commonly used words are ticket taker, box office attendant, attendant, hostess, front of house staff, and theatre guide. The role of an usherette involves greeting visitors, showing them their seats, answering any queries, and ensuring that the attendees have a comfortable and enjoyable viewing experience. In essence, an usherette is responsible for ensuring that the event runs smoothly and without any issues. The term 'usherette' can sometimes be considered outdated, so using other synonyms in contemporary society can often be preferred.
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Synonyms for Usherette:

What are the hypernyms for Usherette?

A hypernym is a word with a broad meaning that encompasses more specific words called hyponyms.

What are the hyponyms for Usherette?

Hyponyms are more specific words categorized under a broader term, known as a hypernym.

  • hyponyms for usherette (as nouns)

Usage examples for Usherette

At the door of the Field Office the reporter, after turning Garlock over to a startlingly beautiful, leggy, breasty, blonde receptionist-usherette, hurried away.
"The Galaxy Primes"
Edward Elmer Smith

Famous quotes with Usherette

  • I passed by a corner office in which an employee was typing up a document relating to brand performance. … Something about her brought to mind a painting by Edward Hopper which I had seen several years before at the Museum of Modern Art in Manhattan. In (1939), an usherette stands by the stairwell of an ornate pre-war theatre. Whereas the audience is sunk in semidarkness, she is bathed in a rich pool of yellow light. As often in Hopper’s work, her expression suggests that her thoughts have carried her elsewhere. She is beautiful and young, with carefully curled blond hair, and there are a touching fragility and an anxiety about her which elicit both care and desire. Despite her lowly job, she is the painting’s guardian of integrity and intelligence, the Cinderella of the cinema. Hopper seems to be delivering a subtle commentary on, and indictment of, the medium itself, implying that a technological invention associated with communal excitement has paradoxically succeeded in curtailing our concern for others. The painting’s power hangs on the juxtaposition of two ideas: first, that the woman is more interesting that the film, and second, that she is being ignored because of the film. In their haste to take their seats, the members of the audience have omitted to notice that they have in their midst a heroine more sympathetic and compelling than any character Hollywood could offer up. It is left to the painter, working in a quieter, more observant idiom, to rescue what the film has encouraged its viewers not to see.
    Alain de Botton

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