I was lucky to see the PARAMOUNT during a November 2004 holiday show. It was really something, filled to the gills with happy citizens enjoying a holiday variety show. The lobby and the street were both alive with activity related to the show. This site has such a great history of continuous yet different use … an armory turned opera house, turned cinema, turned performing arts center … that I feel it would be shortsighted to not rebuild a similar venue for continued entertainment/community-building use. For those who have not seen downtown Goldsboro, it is really an American treasure. It makes Mayberry look like a dump. And note all of the surviving nickleodeon storefronts nearby … a couple blocks of cinema treasures, no kidding! I wish Goldsboro and these planners the best. The PARAMOUNT was really something — something worth seeing again!
Thanks, Brian. Please note the taggers may vandalize the exterior but the building itself remains vacant, secure, guarded and alarmed. “Efforts to secure the building” remain active, successful and complete.
While graffiti is an unsightly nuisance that will be removed when the weather warms and resources are available, it is something that vandals do to all buildings everywhere in urban centers. If you look in Chicago up and down the Red Line, the UPTOWN is not alone in receiving tags last week (or any week). In fact, it was one of the last high-profile, far North Side buildings to get hit in this period of warm winter weather.
Unfortunately, the tags are beyond the scope of the city’s Graffiti Blasters. That means the owner or receiver spends thousands of dollars each time they remove a batch of tags. This is done one to three times annually, depending on resources and priorities.
Until such time it is renovated and reused, there are many more significant challenges facing the UPTOWN that deserve our focus, efforts and combined resources.
Some designers and appraisers specialize in theatre art objects. You can research and purchase copies of vintage prints of the PARAMOUNT via Theatre Historical Society of America, http://www.historictheatres.org (630) 782-1800. If you drop me a line, I will refer you to an additional resource … Do you have some digital photos to share?
How can we learn more about the Balaban and Katz Foundation? Which state is the foundation registered in, how may we access its archives for the purpose of research for nonprofit Chicago-area tours, and how should we contact its leadership?
Is my understanding correct that the 1930s performance list you mentioned above is no longer available and there is not more information that we should contact you about?
How can we learn more about the Balaban and Katz Foundation? Which state is the foundation registered in, how may we access its archives for the purpose of research for nonprofit Chicago-area tours, and how should we contact its leadership?
The book, the TV documentary and the foundation all sound very exciting. Generations of entertainment-seeking Chicagoans are now unfamiliar with the Balaban & Katz name, although they may be enjoying some of the surviving venues under successor owners and operators!
Again, your familial interest and active support in any aspect of the Friends of the Uptown promotional and advocacy work would be appreciated. We look forward to hearing from you and working with you toward some common goals soon.
(Note: You may want to check your email account. All emails to have been bounced back.)
Volunteers in Uptown, Chicago read your most recent posting on Cinema Treasures with great interest.
How wonderful it is that you found a list of 1930s performances at the “Balaban & Katz” Uptown Theatre, Chicago! That is the era in which people claim Cab Calloway and Duke Ellington performed here. Maybe your findings will help fill in the gaps!
Is the list something we could share on tours of the neighborhood and with Theatre Historical Society of America archives? We could also add it to the “history” section of the Friends Web site, if you like.
Your familial interest and active support in any aspect of our promotional and advocacy work would be appreciated. There are many opportunities here if you would like to follow up.
Hmmm. The organ was removed and sold in 1961. While the console survives and has been restored, the rest of the parts have been scattered to the four winds.
Do you, perhaps, think you played the GRANADA, to the north in Rogers Park on Sheridan Road in 1976? Or, were you playing a plug-in or Hammond B-3 at the UPTOWN during some rock show?
We appreciate the good turnout, the feedback and the support. Margaret Mead has prolly been quoted on this site before, but here goes: “Never doubt that a small group of thoughtful, committed citizens can change the world.†Please bring your friends … see youse on May 2.
In response to the above comment, yes, photograph Christoper Jackson and designer Erica Zupancic are credited in the introduction to the calendar. See Page 2.
Yes, graffiti taggers hit the building again last Wednesday night on the upper east elevation – just one day after its private owners paid to have even more graffiti removed from the west elevation. The vandals were given easy access because tenants of an adjacent building left a gate open for several successive nights after dumping their trash. Unfortunately, the tenants did not heed earlier warnings about the significance of keeping the gate secure. Each grafitti removal job costs between $1,500 and $3,000, depending on height and number of tags or murals.
Additional security measures are being taken in order to limit access to the fire escapes that taggers use to reach the high-visibility spots that you are observing from the elevated train. Overall, grafitti is going to happen. It happens on every side of town, including the Loop.
A public presentation of some kind is always good idea, and we do tend to have at least one public event or lecture each year. You can check out details of these activites in the archives of Uptown Adviser, http://www.uptowntheatre.com
This year, in honor of the approaching 80th anniversary, we organized the free online publication of the “Faces of the Uptown” calendar via http://www.uptowntheatre.com We are quite proud of its artistic accomplishment and its PR potential. We can tell by the Web site hits that it has already reached 5,000 people.
In the meantime, all significant parties who actually have some relationship to the building, including volunteers, ownership, local officials, neighborhood groups, et. al. are in touch and do communicate to accomplish positive goals. Cooperation exists among those who matter and do good work here. We all look forward to the day when a significant prospect with a good plan and proven resources steps up and takes the challenge. It hasn’t happened yet and all significant parties appear to be in it for the long haul, i.e. they do not appear to be frantically searching for some quick, uninspiring fix.
All interested volunteers and enthusiasts are invited to advocate and participate. You can start today by writing a letter of support to the owners and local officials. You can start today by subscribing to Uptown Adviser at http://www.uptowntheatre.com
Here is the full text of the introduction from page 2 of the calendar.
Faces of the Uptown
Our history in terra cotta, plaster and people
CHICAGO – The Uptown Theatre, Chicago, which opened in 1925 and has been closed since 1981, is, perhaps, the most photographed and documented cinema building of our time. Its tremendous success of serving an estimated 65 million patrons and its long tenure as an endangered historic landmark have earned it international acclaim, concern and study.
It is a strange thing, no doubt, to live near and do volunteer advocacy and promotion for one of the largest remaining freestanding theatre buildings in the United States, particularly because this very large-scaled venue is closed, mysterious and strictly off-limits. However, artistic photography of venerated movie palaces such as one might find in a coffee-table book is not a new thing. The files of Theatre Historical Society of America in Elmhurst, Ill., for example, are filled with beautiful pictures of old theatres.
The unique opportunity that the “Faces of the Uptown†calendar by Chicago photographer Christopher Jackson offers is the chance to see all of the hidden characters of the Uptown Theatre’s lavish ornament in a revealing and animating light. They are mixed bunch of gargoyles, grotesques and reliefs that run wildly through the Animal Kingdom and The Realm of Heraldry. You will meet the dream figures of myths and storybooks. Beauty and Horror will enchant you, side by side.
Stepping back from this cyclorama of visages, we see that there are many faces — past and present, real and dramatic — that make up this dream venue. The Uptown is the last theatre to still bear on its marquee the mark of the Balaban & Katz Corporation, of Chicago, which got its start in the nickelodeon business and grew to own or control a score of venues, dominate the market and lead to the creation of the successor company of Paramount Pictures. It is interesting to note that entrepreneurs A.J. Balaban, Sam Katz and their families began showing films in storefront rooms similar in size, scale and capacity to the majority of today’s popular and profitable “multiplex†cinema auditoria worldwide.
We have come full circle, leaving the palace vacant and unused along the outskirts of what was an entertainment empire. While the Uptown was made “FOR ALL TIME†by its architects and builders, Balaban & Katz failed to anticipate changes in market, culture and entertainment. Gone are the stageshows, the orchestra, the chorus line, the organ, the bronze and crystal chandeliers, the paintings and sculptures, the “Oriental†teas, the flower arrangement contests, the cooking schools, the plate nights, the ushers, the stagehands, the engineers, the candy girls, the projectionists, the projectors, and the screen.
Instead we find only a few workers and tradesmen who keep watch, mark time and fix leaky or broken things. Outside, volunteer advocates are hopeful that some enterprise will organize and fund a renovation, but two decades of waiting has taught them to be patient and to not sound the trumpet too soon. Staff and inspectors come and go to ensure security and safety. Officials and potential investors tour as they work numbers on the privately owned building. Tour buses roll by.
At times, the Uptown is visited only by its resident aerie of peregrine falcons. Their shrill calls echo around this towering peak of our Garden City.
These scenes show how the Uptown is a high place of darkness and light. We hope that you enjoy what is revealed in the light of “Faces of the Uptown†and that we might all see each other’s faces there someday for a show of some kind. Please note that the volunteer publishers of this calendar have accepted this art and design for sharing with the public free of charge on the occasion of the 80th anniversary of the Uptown Theatre. As the building remains privately owned, there is not an opportunity to make donations for its repair and maintenance at this time.
New ‘Faces of the Uptown Theatreâ€\ Calendar Released Online
Free publication a gift to fans and historians of Chicago
architecture
CHICAGO – “Faces of the Uptown Theatre,†the first calendar
published by Chicagoâ€\s Friends of the Uptown, was released
today in a free downloadable format by visiting the Web site www.uptowntheatre.com The four-color, 2005 calendarâ€\s intent
is to launch celebration of the Uptown Theatreâ€\s 80th
anniversary (Aug. 18, 2005) while increasing public awareness
about the renovation and reuse potential of the endangered
historic building.
Subtitled “Our history in terra cotta, plaster and people,â€
the calendar pays tribute to the architectural gargoyles of
the Uptownâ€\s elaborate Spanish Baroque-styled ornamentation
and to the international constituency of people who have
voiced support for renovating the Uptown Theatre. The
calendar is free, volunteers said, so that it will be shared
widely and will reward fans of Chicagoâ€\s history and
architecture who have supported many city landmarks through
memberships, donations, pledges, banquets and tours.
The Uptown Theatre, Chicago, 4816 N. Broadway, is the
nationâ€\s largest freestanding vintage theater building.
Opened as Balaban & Katz movie palace in 1925, it featured
custom stage shows, orchestras, organ music and silent
films. Before being closed in 1981, the venue also served as
a cinema, a television event broadcast venue, a rock-n-roll
palace, a movie location (“Home Alone II,†“Backdraft,†“I
Love Trouble†and “Soul Survivorâ€), a Chicago architectural
and history tour destination (Chicago Architecture
Foundation, Chicago Neighborhood Tours and Theatre Historical
Society of America) and a special events space (banquets,
benefit dances and one wedding). Designed by the Chicago
architecture firm of C.W. and George L. Rapp, the Uptown
Theatre shares a design and use heritage with the surviving
Central Park, Riviera, Chicago, Oriental and Gateway theater
buildings, all of which Rapp and Rapp designed for Balaban &
Katz.
Friends of the Uptown is a volunteer advocacy
organization that was founded in 1998. Volunteers do
promotions and research in the effort to preserve the
building but do not solicit donations for it. The group
operates as an outreach activity of Landmark Uptown Theatre
Corp., an Illinois not-for-profit organization that owns the
Uptown Theatreâ€\s unique bronze and crystal chandeliers. All
of the fixtures that were not stolen or sold before this
arrangement were removed and stored in anticipation of the
buildingâ€\s renovation.
The Uptown Theatre building remains privately owned and is
awaiting a renovation and reuse project for entertainment of
some kind. You may learn more about the Uptown Theatre,
Chicago, and Friends of the Uptown via the Web site http://www.uptowntheatre.com or by calling (773) 250-7665.
(In an answer to the above comment, the theatre is not in “misery.” It is closed and in need of a renovation and reuse. The building is privately owned by Lunn Partners, of Chicago. While grassroots volunteer efforts like Friends of the Uptown are helpful and well-intentioned, the scope of the Uptown project requires support, cooperation and funding well beyond their imagined scope. “Friends,” for example, is a volunteer advocacy organization. They assist in promotion of the building. They do not portend to have the solution nor do they take donations for a privately owned building. The challenge is complex. The solution will have to be a well-organized, well-funded organization that cracks the riddle of what entertainment the building can serve and how a large-scale renovation can be paid for.)
The brief history of the theatrer, above, states “landmarked exterior.” Where is that documented?
To my knowlege, the building has no such protection.
It was once proposed for city landmark designation but was declined and cannot be re-proposed because of ordinance preventing a second bite at the apple, so to speak.
GATEWAY HOSTS SILENT SUMMER FILM FEST
Six Fridays Remain in Chicago’s Best Annual Silent Film Presentation
CHICAGO – AN ANNUAL FILM SERIES that should not be missed is the
Silent Summer Film Festival at the GATEWAY THEATRE, Milwaukee at
Lawrence, in Chicago. This Silent Film Society of Chicago
presentation continues Friday, Aug. 6, through Friday, Aug.
27. Don’t miss this opportunity to see how historic cinemas were used in their halcyon days!
In fact, the Friday, Aug. 6 show includes organ and orchestra! “The
Iron Horse” will be accompaniment by the 30-piece American Music
Festival Orchestra with music director Philip Simmons, conducting.
The ensemble will highlight international photoplay organist Dennis
James at the Gateway Grande Pipe Organ.
Remaining dates in this year’s Silent Summer Film Festival schedule
include the following programs. All shows begin at 8 p.m.
August 6: “The Iron Horse,” starring George O'Brien
August 13: “It,” starring Clara Bow
August 20: “Lilac Time,” with Colleen Moore
August 27: “Blood and Sand,” starring Rudolph Valentino
Tickets for individual films (except Aug. 6): $8 seniors and
students, $9 regular. Aug. 6 (The Iron Horse): $14 seniors and students, $15 regular. Day of show: Aug. 6, $17; all other shows $11.
(Popcorn, snacks and a variety of beverages is available at a modest
price from the friendly GATEWAY candy counter.)
Designed by the Chicago architecture firm of C.W. and George L. Rapp, the 1930, 2,045-seat GATEWAY THEATRE, 5216 W. Lawrence Ave., is the second to last major cinema building built here for the tremendously successful local corporation of Balaban & Katz. And, it is the only remaining “atmospheric” theatre (a simulated outdoor-courtyard auditorium with stars and clouds above) from architects Rapp & Rapp.
“The unusual interior detail of the GATEWAY’s open-arcade side arches was used some three years earlier by architect John Eberson in his PARADISE, Chicago. Rapp and Rapp copied the detail here and in the firm’s SOUTHTOWN THEATRE (1931), Chicago,” according to Marquee magazine of Theatre Historical Society of America, Elmhurst, Ill.
The GATEWAY shares a design heritage with the CENTRAL PARK, RIVIERA, TIVOLI, CHICAGO, UPTOWN and SOUTHTOWN theatres, all of which were designed by Rapp and Rapp for Balaban & Katz.
Today the building serves the Chicago Polish community as the
Copernicus Cultural and Civic Center and as venue to many special
bookings, such as film festivals. The building’s clock tower and
facade, added 1980-5, is said to be a one-quarter interpretation of
the royal castle in Warsaw, which was rebuilt following its
destruction in World War II.
The Silent Summer Film Festival is partially supported by a Community Arts Assistance Program grant from the City of Chicago Department of Cultural Affairs and the Illinois Arts Council, a state agency.
For more info about the films, the venue and the not-for-profit
society, please view this Web site: http://www.silentfilmchicago.com
Or, call (773) 205-SFSC to leave a message for Silent Film Society of Chicago volunteers.
In the words of Paul Harvey, the REST of the story is what I should have read before commenting.
City Seeks Theater Study, OKs $10,000
By DWIGHT ESAU
Journal Reporter
In its 76th year, the Pickwick Theater has come to this:
It is one of the most famous building landmarks in the Chicago area, and the single most prominent structure in the City of Park Ridge.
It is an official historical landmark, through the efforts of hundreds of Park Ridgeans and others who value its 1920s art deco architecture and its attractive, unique interior furnishings.
It is reportedly in need of extensive repair and renovation, according to some reportedly knowledgeable persons.
Its owners say the theater business is booming and that the building is in “great” condition.
It is the center of a growing controversy that involves the Vlahakis family that owns the property, the city, and the Pickwick Theatre Council.
A divided city council voted 9-5 Monday night (Apr. 5) to donate $10,000 in city funds to the council, but it is unclear if the funding will have any kind of positive impact on the theatre’s preservation or future."
Complicating matters is that the city, which wants to inspect the theater to determine its physical condition and need for upgrades and repair, was advised by Attorney Everette Hill Monday night that it cannot legally enter the theatre property without the consent of owner Dino Vlahakis and his family.
A five-member Park Ridge Pickwick Theatre Property Committee was formed by aldermen Monday night to pursue the possibility of inspecting the theatre and possibly developing some cost estimates for renovation work. It includes Ald. Donald Crampton as chairman along with Ald. Mark Anderson and Mayor Michael S. MaRous. Plus Thomas Brady, a local architect who reportedly has historical preservation credentials, and Aurora Bella-Autriaco, a new member of the city’s Appearance Commission, which deals with the architecture and appearance of all structures in the community.
Voting against the $10,000 donation Monday night were Ald. Howard Frimark, Andrea Bateman, Sue Beaumont, Larry Friel, and Rich DiPietro. Most of them said they did so not out of any criticism of the Theatre Council or lack of funds, but because of the “adversarial relationship” between the Theatre group and the owners.
Shedding some light on that relationship Tuesday for the Journal was Catherine Kenney, Pickwick Theatre Council president.
“Yes, we are adversaries,” she said. “The owners regard the Pickwick as a piece of real estate. We regard it as a valuable historical landmark that needs a lot of repair and upgrade, and as a marvelous place for live theatre events.
“In 1999,” she went on, “the owners promised us they would donate the theater to us as a tax credit. Since then, they have rescinded that, and they have found out that the theatre isn’t worth as much as they thought it was.”
“We would like not only to raise funds for the theater’s preservation, but we would like to hold live events there, as we have in the past. But now that’s not possible. We are now holding events at the public library, like we did last week with the Ernie Pyle celebration, to promote the theatre from other venues.”
She said the owners have withdrawn from the council and its activities, and the council does not have access to the theatre itself for the purpose of planning activities.
“We just want to make sure the theatre is not torn down for redevelopment,” Kenney said. “The city wants that also.”
“A theatre offering discount prices on first-run movies, it is a dinosaur,” Kenney said. “It needs to diversify. It needs to be upgraded and renovated.”
Disputing this in a letter to Mayor MaRous on Mar. 30 were the Vlahakis and Loomos families, owners.
“The Pickwick building and Theatre are not for sale,” they said. “We are currently running a very successful business and envision many successful years to come. Last year, over 200,000 people attended movies and special events here. In the 23 years we’ve owned and operated the theatre, the last three have been our best movie years ever (thanks to movies like ‘My Big Fat Greek Wedding’‘).
They went on to say that the Pickwick building, which houses retail shops and offices surrounding its movie house, experiences one of the highest occupancy rates in the area. “As the Uptown redevelopment project progresses, the Pickwick Theatre will be a major anchor, as it has been for the last 75 years.”
The letter adds that the families have put more than $500,000 into maintenance and repairs in recent years. “We feel a feasibility study of the building is an unnecessary expense for the taxpayers and the City of Park Ridge.”
The city is especially interested in its future because of the Uptown redevelopment that is planned to take place across Prospect Avenue from the theatre beginning later this year.
Sorry to miss that. I guess I am used to seeing a link to the news source/article at the bottom or somesuch.
And, yes, the story does seem vague, one-sided and rather pointless. I will pen a note to Mount Prospect Journal. You do see where I am coming from?
Speaking from personal experience, I have found the owners to be: a) open to theatre and organ enthusiast events, b) open to public tours, c) cooperative with journalists, d) decent landlords, and e) enduring operators in times when the community would rather have had a mall or housing in its place.
The aforementioned adversaries might do well to learn how to become advocates and boosters until such time they own the building and have operated it profitably for a couple decades before they speak out of turn.
What is the source of this story? It does not appear to be from a news agency. Please clarify and cite your sources in the future.
Personally, I do not see what value these comments have without comment from the owners. Overall, the Pickwick appears to operating quite well. It is strange to me to hear people complaining about “discount priced movies” in a historic theatre! What, precisely, is the alleged struggle?
Let’s all try to present each side of the story (if there truly is one). Owners of such private property are the key sources of information, the holders of the keys and the keepers of “cinema treasures.”
Well-intentioned individuals or groups with or without a vested interested (and/or expertise) may have grand ideas for any given theatre. However, why take issue and “poke the bear” of an apparently successful, open, operating theatre?
SEE A MOVIE IN THE ‘INSPIRING’ CENTRAL PARK
Unique Feb. 15 event begins renovation effort
CHICAGO – “It may not get any better than this for history buffs in Chicago,†is the theme organizers are singing in promotion of a special event this weekend.
$7 to $10 tickets. Call (773) 205-7372.
In fact, there’s no underestimating the uniqueness of a cinema opportunity this Sunday, Feb. 15, at the historic Central Park Theatre/House of Prayer building in Chicago’s North Lawndale neighborhood, event organizers said today.
The event is a singular showcase and celebration of African-American and Chicago-theatre history that is planned for one show only – 3 p.m. The Central Park Theatre building is located at 3535 W. Roosevelt Road (at Central Park), with free adjacent, supervised parking.
Organizers are touting the event as a kick-off for a renovation effort. The church and volunteers are pursuing repair funds, city landmark status and National Register listing.
Now the House of Prayer, Church of God in Christ, the venue will screen “Within Our Gates,†a controversial 1919 silent film by prolific African-American director Oscar Micheaux. The program features theatre organ photoplay accompaniment by Jay Warren and an introduction to the theatre’s history by Joseph R. DuciBella, both of Chicago.
“It is a special event because it tells what Mr. Micheaux did back in his day. He was a great mind. He produced magnificent work, garnering the attention of the professional and cinematic world,†Rev. Dr. Lincoln Scott, pastor of the House of Prayer and 33-year owner and caretaker of the building, said in an interview. “I am inspired by Mr. Micheaux. He didn’t back down because of opposition. He told the truth and it lives today. He had conviction.â€
Dr. Scott also said that the Central Park Theatre building has inspired him and his congregation through the years to build a ministry, transitional housing, foodservice and other provisions for the North Lawndale community.
“My environment inspired me to do what I wanted to do,†Dr. Scott said. “I wanted the theatre to be an extension of my vision. I asked myself (in 1971) ‘What am I going to do with a place with all of these seats that was once the highlight of the city but is now in disrepair?†It wanted to shine again. I put myself in that place – that feeling of looking used and tired and kicked around. What I saw was the artistic and magnificent craftwork that was still a part of the building. It gave me hope and purpose.
“The beauty of that craftsmanship is what stimulates people,†Scott added. “The builders worked with their hands in such a way that the architect’s vision was made plain to the craftsmen, and they brought it into the world. That was giving life to something for the first time. The facelift we want to give the theatre today is ‘life’ in the minds of the people. It’s a great inspiration.â€
With just three days left until the historic movie event at the Central Park Theatre, Dr. Scott and his volunteers local have issued a final appeal to those who are interested in vintage venues and silent films. Seating is limited for the event, which will be the first film to be exhibited in the theatre since ABC Great States closed it in the 1960s.
ABC was the successor to Balaban & Katz, which opened the Central Park in 1917 as its first cinema presentation house. Its success gave rise to the Riviera, Tivoli, Chicago, Uptown and Oriental theatres. The success of Balaban & Katz culminated in market domination, multiple movie palaces and the successor corporations of Paramount and Publix.
Dr. Scott and his congregation and staff have operated the venue since 1971. They recall the last cinema feature there was a double-bill of “James Brown, Live at the Appollo" and “Children of the Damned.†Later, during the riots that followed the murder of Rev. Dr. Martin Luther King Jr., the theatre was used as a local headquarters by the Illinois National Guard (subsequent to its 1968 closing and prior to it becoming the House of Prayer in 1971).
The event is partially supported by a Community Arts Assistance Program grant from the City of Chicago Department of Cultural Affairs and the Illinois Arts Council, a state agency.
For more about the event, please view the following Web sites:
Yes. Let’s not clutter up Cinema Treasures any more.
Uptown Adviser is not a message board. It is a newsletter/mailing list. It will advise of any opportunities, events, etc. You may also contact volutneers directly via email, , or by voicemail, (773) 250-7665.
Until such time there is funding for stabilization, or a viable prospect of some kind, there is really no point in getting people excited. Depending on how the building is reused and to what degree it is renovated, the project is easily a $40 million venture.
Many Friends of the Uptown will be participating in the Feb. 15 show at the CENTRAL PARK, Chicago. See Events for details.
I was lucky to see the PARAMOUNT during a November 2004 holiday show. It was really something, filled to the gills with happy citizens enjoying a holiday variety show. The lobby and the street were both alive with activity related to the show. This site has such a great history of continuous yet different use … an armory turned opera house, turned cinema, turned performing arts center … that I feel it would be shortsighted to not rebuild a similar venue for continued entertainment/community-building use. For those who have not seen downtown Goldsboro, it is really an American treasure. It makes Mayberry look like a dump. And note all of the surviving nickleodeon storefronts nearby … a couple blocks of cinema treasures, no kidding! I wish Goldsboro and these planners the best. The PARAMOUNT was really something — something worth seeing again!
Thanks, Brian. Please note the taggers may vandalize the exterior but the building itself remains vacant, secure, guarded and alarmed. “Efforts to secure the building” remain active, successful and complete.
While graffiti is an unsightly nuisance that will be removed when the weather warms and resources are available, it is something that vandals do to all buildings everywhere in urban centers. If you look in Chicago up and down the Red Line, the UPTOWN is not alone in receiving tags last week (or any week). In fact, it was one of the last high-profile, far North Side buildings to get hit in this period of warm winter weather.
Unfortunately, the tags are beyond the scope of the city’s Graffiti Blasters. That means the owner or receiver spends thousands of dollars each time they remove a batch of tags. This is done one to three times annually, depending on resources and priorities.
Until such time it is renovated and reused, there are many more significant challenges facing the UPTOWN that deserve our focus, efforts and combined resources.
Some designers and appraisers specialize in theatre art objects. You can research and purchase copies of vintage prints of the PARAMOUNT via Theatre Historical Society of America, http://www.historictheatres.org (630) 782-1800. If you drop me a line, I will refer you to an additional resource … Do you have some digital photos to share?
How can we learn more about the Balaban and Katz Foundation? Which state is the foundation registered in, how may we access its archives for the purpose of research for nonprofit Chicago-area tours, and how should we contact its leadership?
David:
Thank you for your kind reply.
Is my understanding correct that the 1930s performance list you mentioned above is no longer available and there is not more information that we should contact you about?
How can we learn more about the Balaban and Katz Foundation? Which state is the foundation registered in, how may we access its archives for the purpose of research for nonprofit Chicago-area tours, and how should we contact its leadership?
The book, the TV documentary and the foundation all sound very exciting. Generations of entertainment-seeking Chicagoans are now unfamiliar with the Balaban & Katz name, although they may be enjoying some of the surviving venues under successor owners and operators!
Again, your familial interest and active support in any aspect of the Friends of the Uptown promotional and advocacy work would be appreciated. We look forward to hearing from you and working with you toward some common goals soon.
(Note: You may want to check your email account. All emails to have been bounced back.)
Uptown Adviser via http://www.uptowntheatre.com
email: (preferred)
voicemail: (773) 250-7665
Hi David Balaban!
Volunteers in Uptown, Chicago read your most recent posting on Cinema Treasures with great interest.
How wonderful it is that you found a list of 1930s performances at the “Balaban & Katz” Uptown Theatre, Chicago! That is the era in which people claim Cab Calloway and Duke Ellington performed here. Maybe your findings will help fill in the gaps!
Is the list something we could share on tours of the neighborhood and with Theatre Historical Society of America archives? We could also add it to the “history” section of the Friends Web site, if you like.
Your familial interest and active support in any aspect of our promotional and advocacy work would be appreciated. There are many opportunities here if you would like to follow up.
Uptown Adviser via http://www.uptowntheatre.com
email: (preferred)
voicemail: (773) 250-7665
Hmmm. The organ was removed and sold in 1961. While the console survives and has been restored, the rest of the parts have been scattered to the four winds.
Do you, perhaps, think you played the GRANADA, to the north in Rogers Park on Sheridan Road in 1976? Or, were you playing a plug-in or Hammond B-3 at the UPTOWN during some rock show?
Thank you for sharing the history and chain of events, Lowell. Highest regards, Andy
We appreciate the good turnout, the feedback and the support. Margaret Mead has prolly been quoted on this site before, but here goes: “Never doubt that a small group of thoughtful, committed citizens can change the world.†Please bring your friends … see youse on May 2.
Fyi
Contact info for Friends of the Uptown, Chicago
Phone (773) 250-7665
Email (preferred)
Web site http://www.uptowntheatre.com
#
A very nice memory.
Could this perhaps be posted to the running CT history of the OASIS THEATRE, Ridgewood, New York, page, rather than in news?
Thanks.
I would suggest adding:
LOEW’S KINGS, Brooklyn
NEW REGAL (AVALON), Chicago
In response to the above comment, yes, photograph Christoper Jackson and designer Erica Zupancic are credited in the introduction to the calendar. See Page 2.
Yes, graffiti taggers hit the building again last Wednesday night on the upper east elevation – just one day after its private owners paid to have even more graffiti removed from the west elevation. The vandals were given easy access because tenants of an adjacent building left a gate open for several successive nights after dumping their trash. Unfortunately, the tenants did not heed earlier warnings about the significance of keeping the gate secure. Each grafitti removal job costs between $1,500 and $3,000, depending on height and number of tags or murals.
Additional security measures are being taken in order to limit access to the fire escapes that taggers use to reach the high-visibility spots that you are observing from the elevated train. Overall, grafitti is going to happen. It happens on every side of town, including the Loop.
A public presentation of some kind is always good idea, and we do tend to have at least one public event or lecture each year. You can check out details of these activites in the archives of Uptown Adviser, http://www.uptowntheatre.com
This year, in honor of the approaching 80th anniversary, we organized the free online publication of the “Faces of the Uptown” calendar via http://www.uptowntheatre.com We are quite proud of its artistic accomplishment and its PR potential. We can tell by the Web site hits that it has already reached 5,000 people.
In the meantime, all significant parties who actually have some relationship to the building, including volunteers, ownership, local officials, neighborhood groups, et. al. are in touch and do communicate to accomplish positive goals. Cooperation exists among those who matter and do good work here. We all look forward to the day when a significant prospect with a good plan and proven resources steps up and takes the challenge. It hasn’t happened yet and all significant parties appear to be in it for the long haul, i.e. they do not appear to be frantically searching for some quick, uninspiring fix.
All interested volunteers and enthusiasts are invited to advocate and participate. You can start today by writing a letter of support to the owners and local officials. You can start today by subscribing to Uptown Adviser at http://www.uptowntheatre.com
Here is the full text of the introduction from page 2 of the calendar.
Faces of the Uptown
Our history in terra cotta, plaster and people
CHICAGO – The Uptown Theatre, Chicago, which opened in 1925 and has been closed since 1981, is, perhaps, the most photographed and documented cinema building of our time. Its tremendous success of serving an estimated 65 million patrons and its long tenure as an endangered historic landmark have earned it international acclaim, concern and study.
It is a strange thing, no doubt, to live near and do volunteer advocacy and promotion for one of the largest remaining freestanding theatre buildings in the United States, particularly because this very large-scaled venue is closed, mysterious and strictly off-limits. However, artistic photography of venerated movie palaces such as one might find in a coffee-table book is not a new thing. The files of Theatre Historical Society of America in Elmhurst, Ill., for example, are filled with beautiful pictures of old theatres.
The unique opportunity that the “Faces of the Uptown†calendar by Chicago photographer Christopher Jackson offers is the chance to see all of the hidden characters of the Uptown Theatre’s lavish ornament in a revealing and animating light. They are mixed bunch of gargoyles, grotesques and reliefs that run wildly through the Animal Kingdom and The Realm of Heraldry. You will meet the dream figures of myths and storybooks. Beauty and Horror will enchant you, side by side.
Stepping back from this cyclorama of visages, we see that there are many faces — past and present, real and dramatic — that make up this dream venue. The Uptown is the last theatre to still bear on its marquee the mark of the Balaban & Katz Corporation, of Chicago, which got its start in the nickelodeon business and grew to own or control a score of venues, dominate the market and lead to the creation of the successor company of Paramount Pictures. It is interesting to note that entrepreneurs A.J. Balaban, Sam Katz and their families began showing films in storefront rooms similar in size, scale and capacity to the majority of today’s popular and profitable “multiplex†cinema auditoria worldwide.
We have come full circle, leaving the palace vacant and unused along the outskirts of what was an entertainment empire. While the Uptown was made “FOR ALL TIME†by its architects and builders, Balaban & Katz failed to anticipate changes in market, culture and entertainment. Gone are the stageshows, the orchestra, the chorus line, the organ, the bronze and crystal chandeliers, the paintings and sculptures, the “Oriental†teas, the flower arrangement contests, the cooking schools, the plate nights, the ushers, the stagehands, the engineers, the candy girls, the projectionists, the projectors, and the screen.
Instead we find only a few workers and tradesmen who keep watch, mark time and fix leaky or broken things. Outside, volunteer advocates are hopeful that some enterprise will organize and fund a renovation, but two decades of waiting has taught them to be patient and to not sound the trumpet too soon. Staff and inspectors come and go to ensure security and safety. Officials and potential investors tour as they work numbers on the privately owned building. Tour buses roll by.
At times, the Uptown is visited only by its resident aerie of peregrine falcons. Their shrill calls echo around this towering peak of our Garden City.
These scenes show how the Uptown is a high place of darkness and light. We hope that you enjoy what is revealed in the light of “Faces of the Uptown†and that we might all see each other’s faces there someday for a show of some kind. Please note that the volunteer publishers of this calendar have accepted this art and design for sharing with the public free of charge on the occasion of the 80th anniversary of the Uptown Theatre. As the building remains privately owned, there is not an opportunity to make donations for its repair and maintenance at this time.
Friends of the Uptown
P.O. Box 409472
Chicago, IL 60640
Email:
Web site: http://www.uptowntheatre.com
For release Aug. 18, 2004
New ‘Faces of the Uptown Theatreâ€\ Calendar Released Online
Free publication a gift to fans and historians of Chicago
architecture
CHICAGO – “Faces of the Uptown Theatre,†the first calendar
published by Chicagoâ€\s Friends of the Uptown, was released
today in a free downloadable format by visiting the Web site
www.uptowntheatre.com The four-color, 2005 calendarâ€\s intent
is to launch celebration of the Uptown Theatreâ€\s 80th
anniversary (Aug. 18, 2005) while increasing public awareness
about the renovation and reuse potential of the endangered
historic building.
Subtitled “Our history in terra cotta, plaster and people,â€
the calendar pays tribute to the architectural gargoyles of
the Uptownâ€\s elaborate Spanish Baroque-styled ornamentation
and to the international constituency of people who have
voiced support for renovating the Uptown Theatre. The
calendar is free, volunteers said, so that it will be shared
widely and will reward fans of Chicagoâ€\s history and
architecture who have supported many city landmarks through
memberships, donations, pledges, banquets and tours.
The Uptown Theatre, Chicago, 4816 N. Broadway, is the
nationâ€\s largest freestanding vintage theater building.
Opened as Balaban & Katz movie palace in 1925, it featured
custom stage shows, orchestras, organ music and silent
films. Before being closed in 1981, the venue also served as
a cinema, a television event broadcast venue, a rock-n-roll
palace, a movie location (“Home Alone II,†“Backdraft,†“I
Love Trouble†and “Soul Survivorâ€), a Chicago architectural
and history tour destination (Chicago Architecture
Foundation, Chicago Neighborhood Tours and Theatre Historical
Society of America) and a special events space (banquets,
benefit dances and one wedding). Designed by the Chicago
architecture firm of C.W. and George L. Rapp, the Uptown
Theatre shares a design and use heritage with the surviving
Central Park, Riviera, Chicago, Oriental and Gateway theater
buildings, all of which Rapp and Rapp designed for Balaban &
Katz.
Friends of the Uptown is a volunteer advocacy
organization that was founded in 1998. Volunteers do
promotions and research in the effort to preserve the
building but do not solicit donations for it. The group
operates as an outreach activity of Landmark Uptown Theatre
Corp., an Illinois not-for-profit organization that owns the
Uptown Theatreâ€\s unique bronze and crystal chandeliers. All
of the fixtures that were not stolen or sold before this
arrangement were removed and stored in anticipation of the
buildingâ€\s renovation.
The Uptown Theatre building remains privately owned and is
awaiting a renovation and reuse project for entertainment of
some kind. You may learn more about the Uptown Theatre,
Chicago, and Friends of the Uptown via the Web site
http://www.uptowntheatre.com or by calling (773) 250-7665.
#
(In an answer to the above comment, the theatre is not in “misery.” It is closed and in need of a renovation and reuse. The building is privately owned by Lunn Partners, of Chicago. While grassroots volunteer efforts like Friends of the Uptown are helpful and well-intentioned, the scope of the Uptown project requires support, cooperation and funding well beyond their imagined scope. “Friends,” for example, is a volunteer advocacy organization. They assist in promotion of the building. They do not portend to have the solution nor do they take donations for a privately owned building. The challenge is complex. The solution will have to be a well-organized, well-funded organization that cracks the riddle of what entertainment the building can serve and how a large-scale renovation can be paid for.)
The brief history of the theatrer, above, states “landmarked exterior.” Where is that documented?
To my knowlege, the building has no such protection.
It was once proposed for city landmark designation but was declined and cannot be re-proposed because of ordinance preventing a second bite at the apple, so to speak.
GATEWAY HOSTS SILENT SUMMER FILM FEST
Six Fridays Remain in Chicago’s Best Annual Silent Film Presentation
CHICAGO – AN ANNUAL FILM SERIES that should not be missed is the
Silent Summer Film Festival at the GATEWAY THEATRE, Milwaukee at
Lawrence, in Chicago. This Silent Film Society of Chicago
presentation continues Friday, Aug. 6, through Friday, Aug.
27. Don’t miss this opportunity to see how historic cinemas were used in their halcyon days!
In fact, the Friday, Aug. 6 show includes organ and orchestra! “The
Iron Horse” will be accompaniment by the 30-piece American Music
Festival Orchestra with music director Philip Simmons, conducting.
The ensemble will highlight international photoplay organist Dennis
James at the Gateway Grande Pipe Organ.
Remaining dates in this year’s Silent Summer Film Festival schedule
include the following programs. All shows begin at 8 p.m.
August 6: “The Iron Horse,” starring George O'Brien
August 13: “It,” starring Clara Bow
August 20: “Lilac Time,” with Colleen Moore
August 27: “Blood and Sand,” starring Rudolph Valentino
Tickets for individual films (except Aug. 6): $8 seniors and
students, $9 regular. Aug. 6 (The Iron Horse): $14 seniors and students, $15 regular. Day of show: Aug. 6, $17; all other shows $11.
(Popcorn, snacks and a variety of beverages is available at a modest
price from the friendly GATEWAY candy counter.)
Designed by the Chicago architecture firm of C.W. and George L. Rapp, the 1930, 2,045-seat GATEWAY THEATRE, 5216 W. Lawrence Ave., is the second to last major cinema building built here for the tremendously successful local corporation of Balaban & Katz. And, it is the only remaining “atmospheric” theatre (a simulated outdoor-courtyard auditorium with stars and clouds above) from architects Rapp & Rapp.
“The unusual interior detail of the GATEWAY’s open-arcade side arches was used some three years earlier by architect John Eberson in his PARADISE, Chicago. Rapp and Rapp copied the detail here and in the firm’s SOUTHTOWN THEATRE (1931), Chicago,” according to Marquee magazine of Theatre Historical Society of America, Elmhurst, Ill.
The GATEWAY shares a design heritage with the CENTRAL PARK, RIVIERA, TIVOLI, CHICAGO, UPTOWN and SOUTHTOWN theatres, all of which were designed by Rapp and Rapp for Balaban & Katz.
Today the building serves the Chicago Polish community as the
Copernicus Cultural and Civic Center and as venue to many special
bookings, such as film festivals. The building’s clock tower and
facade, added 1980-5, is said to be a one-quarter interpretation of
the royal castle in Warsaw, which was rebuilt following its
destruction in World War II.
The Silent Summer Film Festival is partially supported by a Community Arts Assistance Program grant from the City of Chicago Department of Cultural Affairs and the Illinois Arts Council, a state agency.
For more info about the films, the venue and the not-for-profit
society, please view this Web site: http://www.silentfilmchicago.com
Or, call (773) 205-SFSC to leave a message for Silent Film Society of Chicago volunteers.
Please correct:
Architect: Edmund P. Krause
Central Park Theatre, Chicago
http://www.centralparktheatre.com
(More info and official launch coming soon.)
In the words of Paul Harvey, the REST of the story is what I should have read before commenting.
City Seeks Theater Study, OKs $10,000
By DWIGHT ESAU
Journal Reporter
In its 76th year, the Pickwick Theater has come to this:
It is one of the most famous building landmarks in the Chicago area, and the single most prominent structure in the City of Park Ridge.
It is an official historical landmark, through the efforts of hundreds of Park Ridgeans and others who value its 1920s art deco architecture and its attractive, unique interior furnishings.
It is reportedly in need of extensive repair and renovation, according to some reportedly knowledgeable persons.
Its owners say the theater business is booming and that the building is in “great” condition.
It is the center of a growing controversy that involves the Vlahakis family that owns the property, the city, and the Pickwick Theatre Council.
A divided city council voted 9-5 Monday night (Apr. 5) to donate $10,000 in city funds to the council, but it is unclear if the funding will have any kind of positive impact on the theatre’s preservation or future."
Complicating matters is that the city, which wants to inspect the theater to determine its physical condition and need for upgrades and repair, was advised by Attorney Everette Hill Monday night that it cannot legally enter the theatre property without the consent of owner Dino Vlahakis and his family.
A five-member Park Ridge Pickwick Theatre Property Committee was formed by aldermen Monday night to pursue the possibility of inspecting the theatre and possibly developing some cost estimates for renovation work. It includes Ald. Donald Crampton as chairman along with Ald. Mark Anderson and Mayor Michael S. MaRous. Plus Thomas Brady, a local architect who reportedly has historical preservation credentials, and Aurora Bella-Autriaco, a new member of the city’s Appearance Commission, which deals with the architecture and appearance of all structures in the community.
Voting against the $10,000 donation Monday night were Ald. Howard Frimark, Andrea Bateman, Sue Beaumont, Larry Friel, and Rich DiPietro. Most of them said they did so not out of any criticism of the Theatre Council or lack of funds, but because of the “adversarial relationship” between the Theatre group and the owners.
Shedding some light on that relationship Tuesday for the Journal was Catherine Kenney, Pickwick Theatre Council president.
“Yes, we are adversaries,” she said. “The owners regard the Pickwick as a piece of real estate. We regard it as a valuable historical landmark that needs a lot of repair and upgrade, and as a marvelous place for live theatre events.
“In 1999,” she went on, “the owners promised us they would donate the theater to us as a tax credit. Since then, they have rescinded that, and they have found out that the theatre isn’t worth as much as they thought it was.”
“We would like not only to raise funds for the theater’s preservation, but we would like to hold live events there, as we have in the past. But now that’s not possible. We are now holding events at the public library, like we did last week with the Ernie Pyle celebration, to promote the theatre from other venues.”
She said the owners have withdrawn from the council and its activities, and the council does not have access to the theatre itself for the purpose of planning activities.
“We just want to make sure the theatre is not torn down for redevelopment,” Kenney said. “The city wants that also.”
“A theatre offering discount prices on first-run movies, it is a dinosaur,” Kenney said. “It needs to diversify. It needs to be upgraded and renovated.”
Disputing this in a letter to Mayor MaRous on Mar. 30 were the Vlahakis and Loomos families, owners.
“The Pickwick building and Theatre are not for sale,” they said. “We are currently running a very successful business and envision many successful years to come. Last year, over 200,000 people attended movies and special events here. In the 23 years we’ve owned and operated the theatre, the last three have been our best movie years ever (thanks to movies like ‘My Big Fat Greek Wedding’‘).
They went on to say that the Pickwick building, which houses retail shops and offices surrounding its movie house, experiences one of the highest occupancy rates in the area. “As the Uptown redevelopment project progresses, the Pickwick Theatre will be a major anchor, as it has been for the last 75 years.”
The letter adds that the families have put more than $500,000 into maintenance and repairs in recent years. “We feel a feasibility study of the building is an unnecessary expense for the taxpayers and the City of Park Ridge.”
The city is especially interested in its future because of the Uptown redevelopment that is planned to take place across Prospect Avenue from the theatre beginning later this year.
Sorry to miss that. I guess I am used to seeing a link to the news source/article at the bottom or somesuch.
And, yes, the story does seem vague, one-sided and rather pointless. I will pen a note to Mount Prospect Journal. You do see where I am coming from?
Speaking from personal experience, I have found the owners to be: a) open to theatre and organ enthusiast events, b) open to public tours, c) cooperative with journalists, d) decent landlords, and e) enduring operators in times when the community would rather have had a mall or housing in its place.
The aforementioned adversaries might do well to learn how to become advocates and boosters until such time they own the building and have operated it profitably for a couple decades before they speak out of turn.
What is the source of this story? It does not appear to be from a news agency. Please clarify and cite your sources in the future.
Personally, I do not see what value these comments have without comment from the owners. Overall, the Pickwick appears to operating quite well. It is strange to me to hear people complaining about “discount priced movies” in a historic theatre! What, precisely, is the alleged struggle?
Let’s all try to present each side of the story (if there truly is one). Owners of such private property are the key sources of information, the holders of the keys and the keepers of “cinema treasures.”
Well-intentioned individuals or groups with or without a vested interested (and/or expertise) may have grand ideas for any given theatre. However, why take issue and “poke the bear” of an apparently successful, open, operating theatre?
SEE A MOVIE IN THE ‘INSPIRING’ CENTRAL PARK
Unique Feb. 15 event begins renovation effort
CHICAGO – “It may not get any better than this for history buffs in Chicago,†is the theme organizers are singing in promotion of a special event this weekend.
$7 to $10 tickets. Call (773) 205-7372.
In fact, there’s no underestimating the uniqueness of a cinema opportunity this Sunday, Feb. 15, at the historic Central Park Theatre/House of Prayer building in Chicago’s North Lawndale neighborhood, event organizers said today.
The event is a singular showcase and celebration of African-American and Chicago-theatre history that is planned for one show only – 3 p.m. The Central Park Theatre building is located at 3535 W. Roosevelt Road (at Central Park), with free adjacent, supervised parking.
Organizers are touting the event as a kick-off for a renovation effort. The church and volunteers are pursuing repair funds, city landmark status and National Register listing.
Now the House of Prayer, Church of God in Christ, the venue will screen “Within Our Gates,†a controversial 1919 silent film by prolific African-American director Oscar Micheaux. The program features theatre organ photoplay accompaniment by Jay Warren and an introduction to the theatre’s history by Joseph R. DuciBella, both of Chicago.
“It is a special event because it tells what Mr. Micheaux did back in his day. He was a great mind. He produced magnificent work, garnering the attention of the professional and cinematic world,†Rev. Dr. Lincoln Scott, pastor of the House of Prayer and 33-year owner and caretaker of the building, said in an interview. “I am inspired by Mr. Micheaux. He didn’t back down because of opposition. He told the truth and it lives today. He had conviction.â€
Dr. Scott also said that the Central Park Theatre building has inspired him and his congregation through the years to build a ministry, transitional housing, foodservice and other provisions for the North Lawndale community.
“My environment inspired me to do what I wanted to do,†Dr. Scott said. “I wanted the theatre to be an extension of my vision. I asked myself (in 1971) ‘What am I going to do with a place with all of these seats that was once the highlight of the city but is now in disrepair?†It wanted to shine again. I put myself in that place – that feeling of looking used and tired and kicked around. What I saw was the artistic and magnificent craftwork that was still a part of the building. It gave me hope and purpose.
“The beauty of that craftsmanship is what stimulates people,†Scott added. “The builders worked with their hands in such a way that the architect’s vision was made plain to the craftsmen, and they brought it into the world. That was giving life to something for the first time. The facelift we want to give the theatre today is ‘life’ in the minds of the people. It’s a great inspiration.â€
With just three days left until the historic movie event at the Central Park Theatre, Dr. Scott and his volunteers local have issued a final appeal to those who are interested in vintage venues and silent films. Seating is limited for the event, which will be the first film to be exhibited in the theatre since ABC Great States closed it in the 1960s.
ABC was the successor to Balaban & Katz, which opened the Central Park in 1917 as its first cinema presentation house. Its success gave rise to the Riviera, Tivoli, Chicago, Uptown and Oriental theatres. The success of Balaban & Katz culminated in market domination, multiple movie palaces and the successor corporations of Paramount and Publix.
Dr. Scott and his congregation and staff have operated the venue since 1971. They recall the last cinema feature there was a double-bill of “James Brown, Live at the Appollo" and “Children of the Damned.†Later, during the riots that followed the murder of Rev. Dr. Martin Luther King Jr., the theatre was used as a local headquarters by the Illinois National Guard (subsequent to its 1968 closing and prior to it becoming the House of Prayer in 1971).
The event is partially supported by a Community Arts Assistance Program grant from the City of Chicago Department of Cultural Affairs and the Illinois Arts Council, a state agency.
For more about the event, please view the following Web sites:
The Silent Film Society of Chicago
http://www.silentfilmchicago.com
Central Park Theatre, Chicago
http://www.centralparktheatre.com
See a photo of the Central Park Theatre
http://cinematreasures.org/news/11227_0_1_0_C4/
Yes. Let’s not clutter up Cinema Treasures any more.
Uptown Adviser is not a message board. It is a newsletter/mailing list. It will advise of any opportunities, events, etc. You may also contact volutneers directly via email, , or by voicemail, (773) 250-7665.
Until such time there is funding for stabilization, or a viable prospect of some kind, there is really no point in getting people excited. Depending on how the building is reused and to what degree it is renovated, the project is easily a $40 million venture.
Many Friends of the Uptown will be participating in the Feb. 15 show at the CENTRAL PARK, Chicago. See Events for details.