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This theater opened in 1998. It was designed for Signature Theatres by San Francisco architects Uesugi & Associates, principals Daniel T. Uesugi (founder, 1978) and (since 1994) Erin K. Uesugi.
There’s a small photos of the Signature Theatres Visalia 10 with its original signage on this page of the Uesugi & Associates web site.
The Platinum Theatres Dinuba 6 was designed by the San Francisco architectural firm Uesugi & Associates. The firm was founded by Daniel T. Uesugi, AIA, in 1978. His daughter, Erin K. Uesugi, AIA, joined the firm in 1994. Uesugi & Associates has designed or remodeled more than 80 cinemas in the western United States, Hawaii, and Asia.
An October 1, 1989, article in the Oakland Tribune indicated that United Artists' 10-screen Emery Bay Theatre complex had been open for some time. The shopping center in which it was located had been launched the previous year.
The article gave the seating capacity as 3,600, but it might be a bit lower now. Currently, Regal lists this house as the Emery Bay Stadium 10, and I’m not sure it had stadium seating when it opened. The Tribune article didn’t mention it. If it has been renovated for stadium seating it’s likely the capacity was reduced a bit.
This multiplex is one of several designed for UA during that period by San Francisco architect Daniel T. Uesugi, of Uesugi & Associates. The firm has designed or remodeled more than 80 cinemas since its founding in 1978.
CWalczak: It was the drawing you linked to that made me realize that this theater was probably a Vincent Raney design. That’s his drawing style. The attribution in the AIA Directory then came up immediately in a Google search. I don’t know how I missed it before.
There are two photos of this theater on the web site of TK Architects, the designers of the project (click on links reading “Cinemas” then “Traditonal” then “Commercial Revitalization”). The caption gives the seating capacity as 2300.
Here is an early interior photo of the Empress Theatre.
One large and two small photos of the Signature Stadium 14 can be seen in this album at the theater’s Facebook page.
The Kalispell project, like many Signature multiplexes, was designed by the San Francisco architectural firm Uesugi & Associates. The firm has designed or remodeled more than 80 cinemas in the western United States, Hawaii, and Asia. The firm was founded by Daniel T. Uesugi in 1978. His daughter, Erin K. Uesugi, joined the firm in 1994.
The architect of the Marketplace 6 was Daniel T. Uesugi, of San Francisco-based Uesugi Associates. The firm designed several projects for the United Artists circuit.
This building originally housed an automobile dealership. The conversion into a theater was designed by San Francisco architect Daniel T. Uesugi, Uesugi & Associates. It was one of a number of projects Uesugi designed for the United Artists circuit.
The design of this theater is credited to architect Vincent G. Raney in his listing in an edition of the AIA’s American Archtiects Directory.
A history of Fort Wayne published in 1917 says that the Majestic Theatre opened on October 24, 1904. The postcard Don Lewis linked to above also shows the Airdome theater that was tucked into the “L” of the Majestic’s auditorium and entrance buildings.
The facade of the Majestic had been altered by the time this photo was made, perhaps in the 1920s.
The Allen County Public Library also has this interior shot from 1906.
Here is an aerial view of downtown Fort Wayne about 1950, showing the Majestic building at left. The caption identifies it as the Civic Theatre, but Civic was an aka for the Palace Theatre, so the caption is probably in error, unless both the Palace and the Majestic used the name Civic at different times. They probably meant to write Capitol Theatre, though.
The Lyric was built in 1908, according to a history of Fort Wayne published in 1917. Originally a vaudeville house, it had been converted to a movie theater by the time the book was written.
The Historic Hawaii Foundation has this information on their web page about the local newspaper, the Honolulu Advertiser:
“Although not its first home, the Advertiser was located in the W.W. Dimond building on King Street, between Fort and Bethel Streets, until 1913. (W.W. Dimond & Co. sold home furnishings. In 1936, the King Theatre was built on the site, now a multi-story parking garage).”
That’s a grim replacement for the pleasant building that housed the Filmarte. The new building is probably bad for the mental health of people who have to look at it every day.
The theater’s name comes from the SModcast, a weekly podcast by Kevin Smith and Scott Mosier. They replaced the p in podcast with the initials of their surnames and came up with SModcast, and thus SModcastle.
Here are two photos of the Isis from a 1913 issue of the trade Journal The Moving Picture World. The pictures are rather small, but the interior photo gives an idea of just how big this theater really was. For such an early movie house the place was vast.
The September 25, 1901, issue of the Paducah sun said that the Kentucky Theatre had been designed by Paducah architect William Brainerd.
An article in the March 9, 1904, issue of the Paducah Sun said that Brainerd had just returned from Henderson, Kentucky, where James English (manager of the Kentucky) was contemplating building a new theater. I’ve been unable to determine of this project was ever carried out.
The July 9, 1904, edition of the Sun said that William Brainerd had been hired to design a new opera house at Owensboro, Kentucky, and that it would be “…a similar plan to the ‘Kentucky’ of this city….” So far I’ve been unable to discover if this theater was built either. If the Owensboro and/or Henderson projects were carried out, they are either not listed at Cinema Treasures or are missing their aka’s.
Here is a small photo of the Rex in 1913, from the trade journal The Moving Picture World.
The original East Broadway Theatre opened as a movie house in April, 1908, and originally seated 300. It was the third movie theater in Louisville. According to an article about the house in the July 5, 1913, issue of The Moving Picture World, the house was rebuilt twice over the next few years, expanding its seating capacity first to 500 and then to 700. During its five years of operation, the theater had not missed a single performance despite the alterations to the building, and despite a fire that had destroyed the stage area.
At the time the article was published, architects Joseph & Joseph were working on the plans for another major remodeling which would more than double the size of the theater. The operators had acquired an additional 15 feet of frontage to expand the existing 30-foot wide building.
This is where it gets a bit tricky. I’ve been unable to find any articles explaining the delay in the project, or why the Broadway as completed in 1915 was considerably smaller than the project as planned in 1913. I’m not even sure the new theater was at exactly the same location as the original, which the magazine gave only as Shelby Street and Broadway (the theater today is much closer to Logan Street, at the other end of the block.) Is the existing Broadway Theatre an entirely new building, or is it the final remodeling of the original East Broadway Theatre? We won’t know until additional information surfaces.
In the meantime, here’s a small photo of the original East Broadway, ca.1913. It looks nothing like its successor.
Trade journal The Moving Picture World for August 2, 1913, had this to say about the conversion of the Walnut Theatre into a movie house:
“The Walnut Theater, Louisville, will shortly open as a moving picture theater, according to a recent announcement. The Gus Sun Theatrical Company, of Cincinnati, is the power behind the project, it is said. Twenty-five and fifty cents will be the fees, and the way In which this announcement is received by the Louisville public will be watched with a good deal of interest by exhibitors and others interested in the business. It is the plan of the Sun people to show only high class feature films, running from five to seven reels in length. This also is an Innovation in Louisville. Whether the public prefers the lengthy subjects to the short single reels has been a subject of discussion among exhibitors for some time, and the reception accorded the Walnut policy will be noted carefully. Women as ushers, cashiers, ticket-takers and other employees will be a feature, and about the only man around the theater will be the manager. The attaches will be attired in natty uniforms.”
A book called “Maryland’s Motion Picture Theaters”, by Robert K. Headley, says that the first Willou Theatre opened in a former harness shop in 1908, and that the Bijou was also in operation by that year. The 1918 opening date Jack Coursey mentions for the New Willou must be when the theater was renamed. Headley says that the State was opened by Durkee Enterprises in September, 1927.
Headley also says that the City Opera House, on Union Avenue, had exhibited movies by 1908; became a full time movie theater in 1917; burned and was rebuilt in 1921, and ran movies as late as 1929, when it was leased by Durkee.
Possibly, Durkee leased the rival house in order to shut it down and thus eliminate their State Theatre’s competition.
The original architect of the Wildey Theatre was George H. Kennerly. Four years after the Wildey was built, Kennerly formed a partnership with architect Oliver W. Stiegemeyer. The firm of Kennerly & Stiegemeyer operated from 1913 to 1931 and designed several theaters.
The recent renovation of the Wildey was handled by the St. Louis architectural firm Trivers Associates, in association with the local firm of Henderson Associates Architects.
Trivers Associates, architects for this project, also handled the restoration of the Moolah Temple Cinema in St. Louis, and (in association with the local firm Henderson Architects) the renovation of the Wildey Theatre at Edwardsville, Illinois.
For what it’s worth, I’ve found a single source indicating that the architect of the Colonial Theatre was George N. Page, then working in Clarence Blackall’s office. In 1902, Page moved to Cleveland, Ohio, where he opened the firm of Blackall & Page. Partner Blackall remained in Boston. The firm was listed in Cleveland directories as late as 1913, according to this web page from Cleveland’s Landmark Commission.
The source that attributes the design of the Colonial to Page is the trade journal The Ohio Architect, Engineer and Builder, in an article in the issue of September, 1911. Here is a quote:[quote]“The firm of George M. Page and J. W. C. Corbusier was formed in November, 1908, as the outgrowth of the firm of Blackall & Page.
“Both these gentlemen had their early training in the Mechanics' Institute at Rochester. N. Y., Mr. Page beginning his architectural work in Buffalo and going from there to New York City and thence to Boston where he became identified with that greatest of theater
experts, C. H. Blackall. While there he designed the famous Colonial Theater of Boston. He then came to Cleveland where his work has since become so well known.”[/quote]Given the fact that there is only this source for the attribution of the Colonial to Page, I’d be reluctant to remove the design from Blackall’s credits, but considering how busy Blackall’s firm probably was at the time, and the fact that he was willing to open a Cleveland office with Page in charge as his partner, only two years after the Colonial was built, it does seem plausible that Blackall could have let Page handle this important commission.
I wonder if the Nuluna Theatre was a replacement for, or a remodeling of, the Luna Theatre, two photos of which appeared in the January, 1912, issue of the trade journal The Ohio Architect, Engineer and Builder?
The issue featured a portfolio of the works of Sharon architect E.E. Clepper, and in addition to the Luna photos there were photos of two other Sharon theaters he had designed. There was one photo of the Alpha Theatre, a house that featured Keith vaudeville, and two photos of the Thomas Theatre, one exterior shot and two interior views.
At this time, neither the Alpha nor the Thomas is listed on Cinema Treasures. The trade journal article has no information about any of the three theaters.