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The Meyerland Cinema I and II was being designed by Boston architects William Riseman & Associates, with local architect Thompson McCleary associated, according to a Boxoffice Magazine item of July 20, 1964.
William Riseman designed many multi-screen theaters for General Cinema and other companies during this period. It’s likely that all the “butterfly” style twins GC built at the time were Riseman’s work.
Boxoffice of January 4, 1965, reported that 1000 invited guests had attended the formal opening of the Cinema Theatre on December 16, 1964. The article said that Cinema 1 had 705 seats and Cinema 2 seated 1,100. The project was designed by architect William Riseman.
The January 15, 1968, issue of Boxoffice listed Redstone’s Cinema 3, with 1,140 seats, among theaters that had been opened in 1967.
The Toledo twin was not unique. An October 5, 1964, Boxoffice item said that Redstone Management was building a twin theater at Pontiac, Michigan, which “…will be identical with other Redstone projects at Toledo, Louisville, Washington, and Springfield, Mass.” All of Redstone’s theaters during this period appear to have been designed by William Riseman & Associates. The same firm designed a number of locations for General Cinema during this period, too, which probably accounts for the similarities noted by CWalczac.
The first item Boxoffice published about this theater, in 1963, gave the address where the project was to be built as 3436 Secor Road. An Internet search on that address today fetches various real estate web sites that say it is a 13 acre parcel of vacant land, being offered for sale at $7,000,000. Has the Showcase been demolished?
An article about the Laurel Theatre appeared in Boxoffice Magazine’s issue of July 2, 1949, and a photo of the theater’s lounge was featured on the cover of that issue’s Modern Theatre section.
Information about the Laurel’s architect, Frederick W. Quandt, is scant on the Internet, but Therese Poletti and Tom Paiva’s book “Art Deco San Francisco: The Architecture of Timothy Pflueger” contains the interesting revelation that Pflueger’s maternal grandfather was named Frederick Quandt. I’ve been unable to confirm a connection, but it seems possible that architects Frederick W. Quandt and Timothy Pflueger were cousins.
Quandt designed more theaters then the two currently listed at Cinema Treasures (the Stockton Theatre was the other), but I’ve tracked down only two others, and can’t confirm that either of these projects was completed. A June, 1938, report in Architect & Engineer said that Quandt had drawn plans for a theater to be constructed at Sonora, California, by Harvey Amusement.
An article in the Eugene (Oregon) Register-Guard of February 8, 1946, said that theater operator A. West Johnson had gone to San Francisco to consult with architect Frederick Quandt on the final plans for a new theater he would build at Broadway and Charnelton Street in Eugene. Construction was to begin as soon as materials became available.
There’s also a possibility that Quandt designed the Manor Theatre in San Mateo, built in 1941 for Westland Theatres, a company associated with Harvey Amusement. Other houses designed for Harvey or Westland during the 1930s and 1940s might be Quandt designs, but I’ve been unable to find any confirmation for any of them.
If anybody has additional information about Frederick Quandt please share it.
I think I had a comment on this page, too, and it’s gone. It looks as though the comments on the page all got lost in some sort of digital disaster. Blasted computers.
The January 2, 1978, issue of Boxoffice mentions the 1863 Cinema at Smithers, West Virginia, operated by James Kilburn.
It appears that Bill and Al Thalhimer’s Logan Theatres operated the Fountain Theatre for a while in the late 1940s-early 1950s, according to a couple of mentions in Boxoffice. I’ve been unable to find any connection between Logan Theatres and the Fountain in later issues of Boxoffice.
In fact I’ve not found the Fountain mentioned in Boxoffice later than 1955, but it’s mentioned in the May 19, 1931, issue of Exhibitor’s Forum as one of several houses that had recently installed Photophone (or Phototone) sound equipment.
Oh, wait. The Paramount is already listed. I just didn’t click the link to the second page of theaters in places called Hamilton. D'OH!
The Cummins photo collection at Lane Libraries has a photo of a demolition site captioned “Future Jefferson Theatre.” It’s dated 1901, so the theater must have been completed that year or the next.
There is also an undated photo of the house as Smith’s Theatre.
The Cummins Collection has pictures of several theaters in Hamilton, most of which are not yet listed at Cinema Treasures. The most glaring absence is the 1931 Paramount, a Rapp & Rapp design.
Boxoffice usually misspelled this theater’s name as Emcee instead of the Emsee that clearly appears on the marquee.
The August 17, 1946, issue of Boxoffice reported that the Emsee Theatre had opened on August 10. Though an earlier Boxoffice report of its construction said it would have 900 seats, the opening announcement said there were 1,062 seats. The Emsee was originally operated under lease by Roy A. Shook. The March 10, 1958, issue of Boxoffice said: “The Emcee Theatre at Mount Clemens is switching to an art film policy and being rechristened the Emcee Art Theatre.” The house was then run by Robert Vickrey’s R&V Theatres.
A page of Boxoffice Magazine’s issue of October 25, 1971, was devoted to the Alpine Twin Theatre (its original name.) There were a few pictures of the theater. The twin auditoriums each had 325 seats in a continental arrangement. The side walls were curtained, and the back walls were faced with acoustic tile. The project was designed by Mel Glatz Associates.
The Colby was remodeled in 1971 but apparently not twinned at that time. It was scheduled to reopen on October 27, according to the October 25 issue of Boxoffice, and the opening feature would be “Big Jake” with John Wayne. There were 430 seats. The remodeling project was designed by Mel C. Glatz. I don’t know if Glatz was responsible for the shingled faux-mansard the building now sports, but the brick front with carriage lamps was part of his design.
The Colby Theatre was long run by Don Phillips, who also operated the town’s drive-in and a theater called the Lyric, which dated back to at least 1925 (then being operated by J.P. Phillips) and was open part time at least as late as 1956.
Boxoffice of October 25, 1971, has an item about Lake Theatre operator John Huebel’s intention to build a 296-seat theater next to the Lake. The two houses would have separate entrances, but would share lounge space and concessions area, and would share one box office during most of the year but would use separate box offices during the summer season.
I don’t know if this project was carried out or not, but the Boxoffice item says that the architect for the small theater, Lloyd Borget, had worked with architect Alden Dow on the original plans for the Lake Theatre in 1942, and was the architect for a remodeling of the Lake done about 1967.
I’ve been unable to find any other movie theaters designed by Alden Dow, but he was the architect of McMorran Place, a public facility in Port Huron, Michigan, which includes a small arena, a convention hall, and a 1,157-seat theater used primarily for live events but which is also equipped to show movies. McMorran Place dates from the early 1960s.
I’ve been unable to find any other theaters attributable to Lloyd Borget, either, but he did work for the Houston architectural firm MacKie & Kamrath during part of the period during which they designed several theaters in Texas.
The Lake’s web site is gone, but it now has a MySpace page.
I’d just assumed that it was a renaming that took place in 1934. The Boxoffice item didn’t give any details, and didn’t mention the name Liberty, but that’s often the case with Boxoffice items.
I found a May 14, 1949, Boxoffice item about the remodeling of the Manos that year, and it said that Victor A. Rigaumont was one of the guests at the reopening, so he was most likely the architect for the project. He did design a number of projects for the Manos circuit.
The Electric Theatre was a couple of doors north of the Liberty, in a much plainer building. It is listed at Cinema Treasures under its later name, Glockner’s Automatic Theatre.
The Kayton Theatre in Franklin opened May 8, 1946, as reported in Boxoffice of May 18. The new theater, designed by architect Victor A. Rigaumont, replaced the smaller (550 seat) Park Theatre which had burned in November, 1944, not long after a costly renovation. The Kayton’s lobby occupied the site of the Park, and the auditorium was built on formerly vacant land behind the Park’s site. On opening, the Kayton had 1037 seats. The house became the flagship of the small Kayton Amusement Company circuit.
On June 1, 1946, Boxoffice published a photo of the Kayton’s spacious auditorium, but it was printed upside down. The art moderne ceiling looked as though it would have made a splendid dance floor.
The Kayton was originally operated by a partnership consisting of Leonard T. Houghton of Franklin and Paul V. McKay of Montgomery, West Virginia, where they operated another Kayton Theatre. The partners also then operated the Avalon Theatre in Montgomery, the Orpheum in Franklin, and the Camden and Hollywood theaters in Weston, West Virginia. A Kayton Theatre the partners had operated in Grove City, Pennsylvania, at least as early as 1938 had been sold in early 1946 and renamed the Lee Theatre by the new owners.
Not especially relevant, but the history section of the Barrow Civic Theatre’s web site features the delightful observation that “…in 1991, provenance shined on Civic through the generosity of Franklin native Charles A. Barrow.” Oh, how wonderful it is when provenance shines- especially in some place more needful of its shining than, say, Rhode Island!
The Kayton at Montgomery was in operation prior to 1946, when its operators, Leonard T. Houghton of Franklin, Pennsylvania, and Paul V. McKay of Montgomery, opened another Kayton Theatre in Franklin. The Kayton Amusement Company also operated the Orpheum Theatre in Montgomery during this period.
There had also been a Kayton Theatre at Grove City, Pennsylvania, operating at least as early as 1938, but it had been sold in early 1946 and renamed the Lee Theatre by its new owners.
The July 17, 1937, issue of Boxoffice said “F. W. Rolands is about to build a 1,500-seat house at 1336 E. Main St., Columbus. General contract has been let to N. J. Mulligan, Columbus.” An August 3, 1946, Boxoffice item mentioned that “Contractors… Mulligan & Case… designed and built the Main Theatre.”
The December 25, 1937, issue of Boxoffice said that Fred Rowlands was opening his new Main Theatre in Columbus on Christmas Day. Rowlands also operated the Parsons Theatre in Columbus.
On April 3, 1954, Boxoffice said “Fred Rowlands' Main neighborhood was the first subsequent-run house here to install CinemaScope equipment.”
On January 16, 1961, Boxoffice said “Frank Yassenoff purchased the Main from Fred Rowlands and installed a reserved-seat policy for ‘Can-Can.’”
An item in the July 31, 1937, issue of Boxoffice said that J.G. Carruthers and H.M. Carruthers had bought the Guthrie Theatre from Mrs. Martha Guthrie, widow of the original owner, and would take over operation of the house on August 2. John Guthrie had opened the house ten years earlier, on August 1, 1927. The Guthrie Theatre had 870 seats at the time of the sale.
An August 7 Boxoffice item about the sale said that J.G. Carruthers had begun his theater career in John Guthrie’s Lyric Theatre at Grove City, the town’s first movie house, which Guthrie had opened in 1907. Carruthers mentioned the Guthrie Theatre’s mascot, a stuffed eagle then mounted over the foyer fireplace, which had originally been placed over the boxoffice of the Lyric and had thereafter been displayed in each of Guthrie’s theaters.
Mrs. Guthrie, who had taken over the theater after her husband’s death in December, 1934, was interviewed for Boxoffice Magazine’s issue of June 1, 1935. The article included three small photos of the theater, and said that Mrs. Guthrie (to whom it referred rather quaintly- or perhaps disturbingly- as “an exhibitress”) had recently redecorated the theater. She described it thus:
“The stage set represents a Spanish exterior, side walls treated with over drapes and backings decorated with placques copied from the ‘Guthrie’ and ‘Montgomery’ coats of arms (Martha Montgomery having been my former name.) The curtain is appliqued with a Spanish character design. The organ grilles have balconies decorated with Spanish shawls, carrying out the same scheme as the balcony of the theatre. The foyer arch and standee rail are also draped, and double doors with glass panels were also added to the foyer, as well as a fireplace which was built in. The ceiling is covered in a canopy effect. A baby grand piano refinished in antique ivory is placed on the stage. The organ has been entirely overhauled by Mr. Herman Stahl of Erie, Pa., who built it.”
Martha Guthrie made use of her Mad Decorating Skilz later on, as the August 28, 1943, issue of Boxoffice said that she was then running an interior decoration business in Grove City. She continued to be mentioned in the magazine occasionally as late as 1948, then vanished until 1969 when the issue of July 28 carried a brief notice of her recent death. By then she had become a “former exhibitor,” rather than a former “exhibitress.”
Mike Manos opened the Manos Theatre in Ellwood City in 1934, according to the “Ten Years Ago” feature in Boxoffice of September 16, 1944.
The May 21, 1949, issue of Boxoffice revealed that the Manos Theatre had reopened after a $70,000 remodeling. The May 28 issue gave the exact date of the reopening as May 5.
An October 15, 1949, Boxoffice item about a remodeling of the Majestic said the house had originally opened in 1917. Through most of its history, the Majestic was operated by members of the Biordi family. The web site Ellwood City Memories says that Frank Biordi operated the Majestic from either 1918 or 1921 (the page has contradictory information) until selling it in 1924, then repurchased the theater in 1936.
Andy Biordi is mentioned as operator of the Majestic in many issues of Boxoffice from the 1930s into the 1960s. Mrs. Frank Biordi was mentioned as owner of the Majestic in Boxoffice Magazine as late as 1977. Frank Biordi died on October 29, 1974, according to a notice in Boxoffice of December 16.
norelco, the Internets can help jog your memory of the date. The story of the Strand projectionist who died in the booth appeared in the November 2, 1970, issue of Boxoffice, and it said the event had taken place on Monday, October 9.
The scan of the magazine online is a bit fuzzy, but it looks like it says the unfortunate projectionist’s name was Clermont M. Zimmerman. If my given name were Clermont, I think I’d prefer to be called Harry, too.
An architect’s rendering of the proposed Texas Theatre in Kingsville was published in the July 2, 1949, issue of Boxoffice. The Texas Theatre was designed by Jack Corgan.
The July 2, 1949, issue of Boxoffice has an architect’s rendering of the proposed Ben Bolt Theatre. It, too, attributes the design to Boller & Lusk.
The Don Theatre was built in 1947. Boxoffice Magazine’s issue of December 6 that year featured an illustrated article about this strikingly modern house. The base of the facade was described as being faced with Minnesota cold water granite at the base, and the upper portion of the facade was of horizontally fluted blue porcelain, striped with aluminum.
The interior was rather severe, except for the leaf-pattern carpet used throughout the lobby and auditorium, but the auditorium had a stepped ceiling with coved lighting. The curved walls of the auditorium narrowed sharply toward the screen, and I would imagine that installing a full-sized CinemaScope screen would have necessitated removing a few front rows of seats in order to bring it far enough forward to accommodate its width. I don’t know if this was done or not, but the original proscenium would have been much too narrow to accommodate a proper wide screen.
The Don Theatre was the fifth house in the small circuit operated by Don George. According to Boxoffice it had 1,200 seats.
Boxoffice misspelled the names of the Don Theatre’s architects as Nield and Sobol once, and as Nield & Sombal once, but the correct name was Neild & Somdal. The successor firm, Somdal Associates, is now the oldest architecture firm in the state of Louisiana, founder Edward F. Neild having begun his practice in Shreveport in 1908.
Edward F. Neild, lead architect of the firm until his death in 1955, was one of the architects who worked on the reconstruction of the White House during the Truman administration, and was the lead architect for Truman’s Presidential Library, though he died before that project was completed.
It’s especially unfortunate that this theater has been demolished, as it might have been the only movie theater designed by this regionally important firm that was actually built. The Somdal Associates web site features a time line that shows a small drawing of a hotel and theater project planned for the Interstate Company, on a site on Lafayette Street in Baton Rouge, in 1931. Although the hotel was built, and is now called the Hotel King, I’ve been unable to confirm that the theater part of the project was ever completed.
Boxoffice Magazine of April 3, 1948, said that the Capitol Theatre had closed on March 31 that year. The building had been leased to Rubenstein’s Department Store and was to be remodeled for their use. The building had been converted into the theater in 1925.
I wonder if this theater could have been called the Grand at one time? The July 14, 1945, issue of Boxoffice has an item saying “Lloyd Royal of Meridian is expected to open the new Grand in Waynesboro, Miss., July 12.”
The Strand was extensively remodeled by United Paramount Theatres in 1951. The project included the demolition of a building next door to provide space for a greatly expanded facade and lobby. Boxoffice Magazine of March 3, 1951, says that Michael J. DeAngelis was the architect for the remodeling.