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The Colonial Theatre was open by 1913, and was pictured in an article in the trade journal The Moving Picture World, issue of December 20 that year (clip of the article from Google Books.)
The 408-seat Colonial was designed by local architects Thomas Benjamin & Sons, Frank Van Der Til, and Blakslee Brothers.
An interesting item in the November 8, 1913, issue of the trade journal The Moving Picture World says that construction of the foundations for a new Poli theater at Main and Gold streets in Hartford had begun. If that was not the exact location of the Loew’s Poli then it must have been very close. The item said that construction was being rushed on the project, in hope that the house could be opened in January, 1914. Architect for the project was Ferdinand Von Beren of the New Haven firm Brown & Von Beren, who did other work for the Poli chain.
I’ve found no later references to this project in the trade publications. I’m wondering if Loew’s Poli was later built on the foundations begun in 1913? Or did something else get built there, or nothing at all? Maybe the city decided it needed part of the site for a street widening project or something of that sort, and the theater project was halted? Perhaps Mr. Poli ran into financial difficulties and the project had to be delayed? A mystery, anyway. Does anybody know the answer?
In my previous comment, that should of course be a construction year of 1866, not 1966, for the theater that burned in 1912 (unless we have one of those rare, time-traveling theaters on our hands.)
I’ve yet to find a University library with a user-friendly web site, but you can find the photos of the Myers by going to the UW library’s Digital Collections page, then putting Myers Theater (that spelling exactly) in the search box.
It’s possible to right click on any given size of a photo there and copy the link address, then paste that here (thus), but then those who click on the link here won’t get the data page with all the details about the photo, just the photo itself. Also I don’t know how long the resulting link will last.
A 1901 issue of The Engineering Record said that Butte architect H. M. Patterson (Henry M. Patterson) had prepared the plans for a theater to be erected on Broadway for the Sutton Theatre Company. This was probably one of Patterson’s last projects in Butte, as in 1902 (or 1905— sources conflict) he relocated to Los Angeles. There he specialized in the design of churches, though he did design at least one Southern California theater, the Washington in Pasadena, done in association with architect Clarence L. Jay.
I’ve found a reference to Poli’s Bijou Theatre being in operation at least as early as 1913.
This essay about architect Ferdinand Von Beren, published in 1918, attributes the design of the Bijou to him.
His firm, Brown & Von Beren, also designed the Globe Theatre in Bridgeport, and in 1913 construction began on a Brown & Von Beren-designed Poli theater at Main and Gold streets in Hartford, though this project appears not to have been completed (it might have been completed several years later as Loew’s Poli, which is attributed to Thomas Lamb.)
The firm of Brown & Von Beren (see my previous comment above) is also mentioned in a 1913 issue of Motion Picture World in connection with a theater they were designing for the Poli circuit in Hartford. It was apparently never built, but it’s yet another connection to S.Z. Poli.
The biography I linked to in my previous comment atributes the design of Poli’s Bijou Theatre in New haven to Ferdinand Von Beren as well.
I’m more certain than ever that this theater should be attributed to Ferdinand Von Beren, Brown & Von Beren (the biography, published in 1918, says that partner David R. Brown died in 1911, but that the firm name remained unchanged.)
A publication of the North Adams Historical Society says that the Empire Theatre was built in 1912 to replace an earlier theater dating from 1966 that had burned down.
A Billboard Magazine item from early 1942 reveals that, at that time, the Sixth Street Theatre had been a Warner Bros. house for at least nine years.
Boxoffice was not always reliable in reporting dates of events in the distant past. The weekly magazine’s news items from most places relied on local theater operators or managers, film distributors who traveled the territory, and often on local newspaper reports which were themselves sometimes hastily written. Contemporary newspaper reports from the time and place of an event are better sources for information, but unfortunately very few of these are yet available on the Internet.
Here is a pdf file of the obituary of Oscar Cobb from the July, 1908, Quarterly Bulletin of the AIA. It says that he was from Maine and only arrived in Chicago in 1871. It’s rather sketchy about his career prior to his arrival in Chicago, but does say that began building theaters “about 1875” so it’s probably safe to rule him out as the architect of the original 1870 Myers Opera House.
According to the book “When Dayton Went to the Movies” the McCook Theatre opened on July 10, 1941. The house was designed and built by the F & Y Building Service. Originally seating 900, its capacity was reduced to 700 when Todd-AO projection equipment was installed in 1958.
The book “When Dayton Went to the Movies” says that the Mecca Theatre was designed by Dayton architect Gustave A. Niehus.
The Columbia was one of the Dayton theaters designed by architect Gustave A. Niehus (others included the Apollo and the Mecca.) The Columbia’s recent opening was announced in the Decmeber 27, 1913, issue of The Motion Picture World.
The Grand Theatre that opened in 1909 was apparently replaced by this theater, originally called the New Grand when it opened in the latter part of November, 1913. The December 27, 1913, issue of Moving Picture World ran an article about the new house (click on the Page 1546 link here) with a description and a small photo. Though it now has a modern front, the gabled roof in recent photos is recognizable in the 1913 picture.
The New Grand was designed by the Louisville architectural firm of Joseph & Joseph in a restrained style. The building was faced with white and green enameled brick, and details such as classical moldings and window pediments were of galvanized iron painted to resemble stone. The theater was 60x120 feet, with a stage 25x60 feet for vaudeville and other live performances. The New Grand seated 700 on the main floor and 300 in the balcony. The article doesn’t mention an organ, but says that a four-piece orchestra was employed.
This theater was listed in the 1901 edition of Julius Cahn’s Official Theatrical Guide as the Van Buren Opera House. A web site listing supposedly haunted buildings in Arkansas gives 1901 as the year the theater was built, but it doesn’t name a source for the information.
Gin is correct about this theater having its entrance in mid-block between Nevins and Bond. The photo of the Keeney Theatre’s facade in a 1915 article in the trade journal Architecture and Building shows slivers of the adjacent structures on both sides. A person approaching Livingston Street from the north along Hanover Place would have seen the ornate theater front almost directly ahead of them. The theater’s auditorium, at right angles to the lobby building, was on the south side of the block, adjacent to Schermerhorn Street.
The article also has three interior photos of the Keeney Theatre. It’s now available online at Google Books (click on their Page 140 link.)
Brooklyn’s current Greyhound bus terminal has an address of 288 Livingston, and takes up the half block bounded by Livingston, Bond, and Schermerhorn streets that once included Loew’s Melba. This is not, as the intro currently states, a high-rise office building, but a four-level parking and commercial structure. The theater’s entrance was located where the garage entrance is now, opposite the end of Hanover Place. The tiled hipped roof above the entrance can be picked out in a 1954 aerial photo available for viewing at Historic Aerials, so it was still intact at that time.
The full name of the local associate architect for the Tivoli was Reuben Harrison Hunt.
The National Register of Historic Places confirms that the Malek Theatre was designed by the Des Moines architectural firm of Wetherell & Harrison.
The Capitol was designed by the Des Moines architectural firm Wetherell & Harrison. The caption on this Flickr photo page has the story.
Here are two small photos depicting the Riverside and Riviera theaters, featured in an ad for the builder, Libman Contracting Company, from the Year book of the Architectural League of New York, 1914.
The Riviera was builtin 1913, by the way, not 1912. The Riverside was built in 1911.
This article from a Bangor newspaper says that the Opera House was designed by architect Edward J. Bolen.
I don’t know if the opera house it replaced, which burned down in 1914, ever ran movies, but it had been built in 1881 and had been designed by architect Arthur H. Vinal.
A 1912 issue of the quarterly Bulletin of the American Institute of Architects ran the obituary of architect Charles Henry Israels, which named a Hudson Theatre as one of the projects in which he was engaged. As this house is the only Hudson Theatre in New York City from the period of Mr. Israels' death that is listed at Cinema Treasures and not yet attributed to another architect, it seems the most likely candidate for his project.
Israels was a fairly well known artist and architect in his day, but the Internet reveals that his widow, under her later name, Belle Moskowitz, far surpassed his fame.
A book called Spirits Of The Border: The History And Mystery Of El Paso Del Norte says that the Ellanay Theatre opened November 8, 1918, with a seating capcity of 940. The original owners were J.M. Lewis and Victor Andreas.
The following quote comes from a 1918 issue of the trade journal “Architect and Engineer” under the headline “Unique Terra Cotta Work”
“The Los Angeles Pressed Brick company is finishing a unique piece of colored terra cotta work for the Ellanay Theatre at El Paso, Texas. It is a decorative panel, 14x25 feet, to be installed in the vestibule over the main entrance. The panel was molded in two sections, later to be cut into subdivisions before burning. It is a portion of two carloads of terra cotta which the company is furnishing on this contract.”
The fact that a Los Angeles tile company was chosen for this project suggests that the architect of the building might have been a Californian familiar with their work. The Los Angeles Pressed Brick Company was the leading producer of face brick in Southern California during the early 20th century, but the product itself was produced by many companies throughout the nation, including Texas. A Texas architect would probably have been more likely to use a closer source. So far I’ve had no luck tracking down the name of the Ellanay’s architect, though.
Is there a source attributing the original, 1910 design of this theater to John Eberson, or did he just design a later remodeling? (The project index from the Wolfsonian Collection should say, but I can’t check it now as the computer I’m stuck with won’t open .xsl spreadsheets.)
I found this index entry citing an item in a 1912 issue of The Western Architect which attributes the design of a Majestic Theatre in Houston to the St. Louis firm of Mauran & Russell. I would presume it referred to this house built in 1910. Mauran & Russell designed a number of buildings in Texas during this period, judging from the results of a Google search on their name, so it seems plausible that they designed the second Majestic.