Historical photos of Brooks Opera House, Pollard Theatre, and Highland Theatre can be seen on below links- View link
and Hollywood stars at the Pollard- View link
On Okie Medley’s Feb 07, 2006, 3:51pm Mayo link, after Rialto Theatre architectural drawing is opened, click on it again to pop up a super-sized image. On the lower left corner architectural credit is clearly given to Leon B. Senter.
Architect Leon B. Senter, who designed this theatre, apparently also created a 1940’s facelift for Tulsa’s Rialto Theatre. See Rialto listing for details.
Operators of the Grand Theatre in Tulsa agreed to an exclusive booking agreement with Grand National Pictures, in association with Monogram Studios, to exhibit only product from those two mentioned production companies. During WWII years this contract was mutually cancelled to allow the Grand to switch over to showing only newsreels.
Symco; looks as if Cinema Treasures will not be posting any time soon any vintage photographs of Okmulgee theatres. Suggestion-why don’t you go ahead and submit your Okmulgee theatre images to Adam Martin’s Cinema Tour? Then the rest of us theatre buffs could also enjoy seeing them.
Miss Melba; caught your drag act the other night. Your Diana Ross rendition of “Good Morning Heartache” was “Supremely” flawless! I actually wiped away a tear.
Sorry to report that I have nothing on small towns of Okmulgee County. Perhaps the Beryl Ford Collection will eventually post something on this subject.
Would imagine these were like most other Oklahoma tank towns. After the turn of the century saloons added a silver screen and projector, and began showing magic lantern flickers.
Oklahoma City based Mort Lowenstein operated this house, and the Yale.
Lowenstein Theatres built in Oklahoma City the Colonial (AKA-Majestic), Blue Moon, Gem, Joy, and Paris Art.
In Tulsa Lowenstein owned the Downtown, Midtown, and Uptown.
By accident I saw Farris only once, inside Beverly’s Diner across from the May Theatre. He was sitting in the next booth, telling a guest how Spectro had caused the old May to go under. Theatre history had not yet embraced me, so I did not approach Mr. Shanbour, but that was the spark that ignited my interest in theatre architecture.
Frontier City was once quite an unusual enterprise. It functioned as a thrilling amusement park during summer seasons. When cold winter months arrived; rides, concessions, games, and souviner shops shut down, and the park metamorphosed into a unique bazaar.
In the mid 1980’s Paramount Pictures stepped in and bought the place lock, stock, and barrel. Gladly, Six Flags Frontier City expanded into a first class theme park, but today it operates strictly as an amusement enterprise with an admission fee, those specialty shops are no more.
After looking at the interior photos of the Ritz Theatre on the BFC site, I can’t help but wonder if John Eberson had something to do with designing this auditorium. It sure carries his style.
Another reason I suspect this may be an Ebersonian work is that I remember my grandparents mentioning a stuffed parrot suspended from a swing inside the auditorium. They also talked about a colorful stuffed peacock in front of an organ grill. And what about all those stuffed doves?
The PENN Theatre usually presented second run double features. During the late 1960’s it was given a spiffy facelift and renamed TREND, it then began specializing in foreign and vintage silent pictures.
AcademiX was a reverse cinema, meaning; from the lobby one entered the 150 seat auditorium from either side of the movie screen, and faced the projection booth. Restrooms were located beneath the booth, and rear emergency exit (alarmed) doors were located here.
Could they have come up with a more imbecilic theatre name?
When Joe Vogel first asked if I had ever seen the Main Theatre my first reaction was that I had not. After reviewing some old notes and devoting some thought to this subject, it turns out that indeed I did visit this little porn house once in 1983.
Flashing neon outlined the Main Theatre. A cinema faded that appeared to date back many decades. Admittance was through a single set of hammered glass doors. The lobby was a long and narrow hall, decorated in 1940’s bright modernist design. An elongated chrome trimmed boxoffice/concession counter guarded the mirrored right wall. At the far end of the lobby were four steps that lead up to the auditorium entrance. Steps necessary to provide a slope the auditorium floor.
One tufted leather door opened onto the one and only auditorium isle that ran along the left sidewall. All chair rows dead ended against the right sidewall. Back rows were of the loge variety. All other rows were typical upholstered metal theatre seats. Walls were veneered in knotty pine. Scalloped plumb velvet covered the worn ceiling. A bunched purple velvet valance dressed up the proscenium arch, but no other stage drapery was apparent.
In 1983 the Art had become quite run down. The lobby was barely big enough to hold a boxoffice and compact concession stand. One center isle seperated a long, narrow auditorium. Back rows held over stuffed loge chairs. Rest rooms were nestled behind the screen. Floors, walls, and ceiling were painted black throughout the interior.
Somewhere in my messy file cabinets I hope a copy of that ancient report still exist. Brother Andrew donated his copy of this (under my real name) paper to THS. Thank goodness I was able to locate some of my yellowed notes on this subject.
My original intent was to document studio back lots, but by the time I got to filmdom most of them had been paved over. I decided to study early silent era theatres instead.
In order to conduct research I was living in downtown LA at the Rainbow Hotel, next door to the public library. Almost twenty-five years have passed since then and my memories have grown vague. After viewing an image of the Main Theatre, I don’t think I ever saw it. Then again, all those S. Main St. porn houses looked so much alike.
It took a lot of effort to get inside the closed down Optic, only to find everything of interest had been removed, or stolen.
Nuf sed …
When I visited the Regent in 1983 the place was shopworn, but didn’t stink. The sound was much too loud.
For my study project I conducted research on early day motion picture theatre architecture. During this program I went inside every existing theatre in downtown Los Angels and Hollywood, large and small, open and closed. Brother Andrew Corsini had requested to read my thesis, and I sent a copy to him. What I wrote then matches what I wrote above.
I also documented that the Pussycat (Nee Town) and Regent interiors were somewhat similar in style.
During the early 1980’s I regularly made trips to NYC, and on my busy itinerary always set aside a date to go see a gay movie at the Circus Big Top. Seems every time I went inside that porn emporium I always fell in love five or six times!
While taking summer courses at UCLA in 1984 I went over to Hollywood to see a movie at the Century Theatre. It had recently been remodeled and looked nice, lots of burnt orange tile, chrome, and orange draperies…
After purchasing a membership the cashier advised that plain clothes vice squad frequently staked out the auditorium and warned against making any type of physical contact with other patrons.
There were no dark back rooms, no gay activity inside rest rooms, and definitely no cruising inside that auditorium. Everyone seemed afraid to even look at each other, sexual tension was thick! I stuck around fifteen minutes or so, then headed toward West Hollywood
I remember the Regent Theatre because it looked as if it dated way back to early silent picture days. A nice size lobby had obviously been modernized with a sleek look, but the seedy auditorium appeared to be of the original Gothic treatment. Gothic style arches lined sidewalls, with an intricate vaulted ceiling. Everything was turquoise, walls, seats, stage drapes, even the carpeting, which was a bit overpowering.
Two XXX hard core porn loops were shown the night I attended the Regent and both of these films were of the cheapest quality. Feature one was quite annoying to watch as the camera angle switched back and forth to always show only the person being talked to. Loop two was even worse with the same awful jazz tune playing over and over and over, underneath an irritating soundtrack of constant, monotone ooh, oooh, aaah moans that repeated about every fifteen seconds.
Older gay men cruised back rows. Bums snored in side sections. Couples snuggled together in center seats.
Historical photos of Brooks Opera House, Pollard Theatre, and Highland Theatre can be seen on below links-
View link
and Hollywood stars at the Pollard-
View link
Sorry Symco, I have no idea who the webmaster is for this site. From all those Ken Mc postings I would take a wild guess that it is he.
You may find usefull the Leon Senter info recently posted on Tulsa Rialto page.
On Okie Medley’s Feb 07, 2006, 3:51pm Mayo link, after Rialto Theatre architectural drawing is opened, click on it again to pop up a super-sized image. On the lower left corner architectural credit is clearly given to Leon B. Senter.
Architect Leon B. Senter, who designed this theatre, apparently also created a 1940’s facelift for Tulsa’s Rialto Theatre. See Rialto listing for details.
Operators of the Grand Theatre in Tulsa agreed to an exclusive booking agreement with Grand National Pictures, in association with Monogram Studios, to exhibit only product from those two mentioned production companies. During WWII years this contract was mutually cancelled to allow the Grand to switch over to showing only newsreels.
Symco; looks as if Cinema Treasures will not be posting any time soon any vintage photographs of Okmulgee theatres. Suggestion-why don’t you go ahead and submit your Okmulgee theatre images to Adam Martin’s Cinema Tour? Then the rest of us theatre buffs could also enjoy seeing them.
Miss Melba; caught your drag act the other night. Your Diana Ross rendition of “Good Morning Heartache” was “Supremely” flawless! I actually wiped away a tear.
Sorry to report that I have nothing on small towns of Okmulgee County. Perhaps the Beryl Ford Collection will eventually post something on this subject.
Would imagine these were like most other Oklahoma tank towns. After the turn of the century saloons added a silver screen and projector, and began showing magic lantern flickers.
Oklahoma City based Mort Lowenstein operated this house, and the Yale.
Lowenstein Theatres built in Oklahoma City the Colonial (AKA-Majestic), Blue Moon, Gem, Joy, and Paris Art.
In Tulsa Lowenstein owned the Downtown, Midtown, and Uptown.
By accident I saw Farris only once, inside Beverly’s Diner across from the May Theatre. He was sitting in the next booth, telling a guest how Spectro had caused the old May to go under. Theatre history had not yet embraced me, so I did not approach Mr. Shanbour, but that was the spark that ignited my interest in theatre architecture.
Symco, please look at the Morris Star Theatre listing. Do you have any material on this?
Frontier City was once quite an unusual enterprise. It functioned as a thrilling amusement park during summer seasons. When cold winter months arrived; rides, concessions, games, and souviner shops shut down, and the park metamorphosed into a unique bazaar.
In the mid 1980’s Paramount Pictures stepped in and bought the place lock, stock, and barrel. Gladly, Six Flags Frontier City expanded into a first class theme park, but today it operates strictly as an amusement enterprise with an admission fee, those specialty shops are no more.
Wish somebody would post recent pictures of the brick & glass block Agnew Bldg.
I’ll bet ten to one that the Victory Theatre opened around 1918 to honor battles won WWI!
After looking at the interior photos of the Ritz Theatre on the BFC site, I can’t help but wonder if John Eberson had something to do with designing this auditorium. It sure carries his style.
Another reason I suspect this may be an Ebersonian work is that I remember my grandparents mentioning a stuffed parrot suspended from a swing inside the auditorium. They also talked about a colorful stuffed peacock in front of an organ grill. And what about all those stuffed doves?
The PENN Theatre usually presented second run double features. During the late 1960’s it was given a spiffy facelift and renamed TREND, it then began specializing in foreign and vintage silent pictures.
AcademiX was a reverse cinema, meaning; from the lobby one entered the 150 seat auditorium from either side of the movie screen, and faced the projection booth. Restrooms were located beneath the booth, and rear emergency exit (alarmed) doors were located here.
Could they have come up with a more imbecilic theatre name?
Symco, this old movie house sounds fascinating. Do you have snapshots to post?
When Joe Vogel first asked if I had ever seen the Main Theatre my first reaction was that I had not. After reviewing some old notes and devoting some thought to this subject, it turns out that indeed I did visit this little porn house once in 1983.
Flashing neon outlined the Main Theatre. A cinema faded that appeared to date back many decades. Admittance was through a single set of hammered glass doors. The lobby was a long and narrow hall, decorated in 1940’s bright modernist design. An elongated chrome trimmed boxoffice/concession counter guarded the mirrored right wall. At the far end of the lobby were four steps that lead up to the auditorium entrance. Steps necessary to provide a slope the auditorium floor.
One tufted leather door opened onto the one and only auditorium isle that ran along the left sidewall. All chair rows dead ended against the right sidewall. Back rows were of the loge variety. All other rows were typical upholstered metal theatre seats. Walls were veneered in knotty pine. Scalloped plumb velvet covered the worn ceiling. A bunched purple velvet valance dressed up the proscenium arch, but no other stage drapery was apparent.
ken mc; I will rush a copy to you as soon as I can locate my composition.
Jo Vogel; please see my Main Theatre comments.
In 1983 the Art had become quite run down. The lobby was barely big enough to hold a boxoffice and compact concession stand. One center isle seperated a long, narrow auditorium. Back rows held over stuffed loge chairs. Rest rooms were nestled behind the screen. Floors, walls, and ceiling were painted black throughout the interior.
Somewhere in my messy file cabinets I hope a copy of that ancient report still exist. Brother Andrew donated his copy of this (under my real name) paper to THS. Thank goodness I was able to locate some of my yellowed notes on this subject.
My original intent was to document studio back lots, but by the time I got to filmdom most of them had been paved over. I decided to study early silent era theatres instead.
In order to conduct research I was living in downtown LA at the Rainbow Hotel, next door to the public library. Almost twenty-five years have passed since then and my memories have grown vague. After viewing an image of the Main Theatre, I don’t think I ever saw it. Then again, all those S. Main St. porn houses looked so much alike.
It took a lot of effort to get inside the closed down Optic, only to find everything of interest had been removed, or stolen.
Nuf sed …
When I visited the Regent in 1983 the place was shopworn, but didn’t stink. The sound was much too loud.
For my study project I conducted research on early day motion picture theatre architecture. During this program I went inside every existing theatre in downtown Los Angels and Hollywood, large and small, open and closed. Brother Andrew Corsini had requested to read my thesis, and I sent a copy to him. What I wrote then matches what I wrote above.
I also documented that the Pussycat (Nee Town) and Regent interiors were somewhat similar in style.
During the early 1980’s I regularly made trips to NYC, and on my busy itinerary always set aside a date to go see a gay movie at the Circus Big Top. Seems every time I went inside that porn emporium I always fell in love five or six times!
While taking summer courses at UCLA in 1984 I went over to Hollywood to see a movie at the Century Theatre. It had recently been remodeled and looked nice, lots of burnt orange tile, chrome, and orange draperies…
After purchasing a membership the cashier advised that plain clothes vice squad frequently staked out the auditorium and warned against making any type of physical contact with other patrons.
There were no dark back rooms, no gay activity inside rest rooms, and definitely no cruising inside that auditorium. Everyone seemed afraid to even look at each other, sexual tension was thick! I stuck around fifteen minutes or so, then headed toward West Hollywood
I remember the Regent Theatre because it looked as if it dated way back to early silent picture days. A nice size lobby had obviously been modernized with a sleek look, but the seedy auditorium appeared to be of the original Gothic treatment. Gothic style arches lined sidewalls, with an intricate vaulted ceiling. Everything was turquoise, walls, seats, stage drapes, even the carpeting, which was a bit overpowering.
Two XXX hard core porn loops were shown the night I attended the Regent and both of these films were of the cheapest quality. Feature one was quite annoying to watch as the camera angle switched back and forth to always show only the person being talked to. Loop two was even worse with the same awful jazz tune playing over and over and over, underneath an irritating soundtrack of constant, monotone ooh, oooh, aaah moans that repeated about every fifteen seconds.
Older gay men cruised back rows. Bums snored in side sections. Couples snuggled together in center seats.