The handbill (see photos) dates from May 1914, and a cutting from the [Harrow] Observer records that the Picturedrome did, indeed, close in 1914, not 1913. After the First World War it was converted into a second-hand furniture shop run by Harrow-based Biggs and Company. In 1928 Arthur Adams and Sons Furnishers took over and, since then, it was known as the Adams Building. The cutting is dated 1st August 1985, and records the demolition of the building, which had been “in a state of disrepair for the last year and even had a dangerous structures order slapped on it by Harrow Council’s engineering department”.
In May 2017, five months after his death, Screen 1 was renamed the Sir John Hurt Cinema. The Derbyshire-born actor had been a patron at QUAD. And Screen 2 is now RDS Cinema, in recognition of one of QUAD’s sponsors, Responsive Digital Solutions.
Cinema Theatre Association member Audie Phillip visited Gravesend in September 2020, and found that the building was occupied by Dental Care Centre (at the front) and NRG gym (at the rear).
The entire ‘leisure terrace’, including the Cineworld, was evacuated and closed at 1pm on Sunday 9th February 2020 when Storm Ciara resulted in some of the exterior cladding being pulled loose. The cinema subsequently lost out on lucrative half-term custom but, following remedial work, it was able to re-open at 2pm on Tuesday 3rd March.
I visited the Odeon Luxe & Dine on Tuesday 4th February 2020, and saw the satirical black comedy drama"Jojo Rabbit" in Screen 5. It is an interesting concept, perhaps influenced by the success of the USA’s Alamo Drafthouse cinemas, which are specifically designed to encourage patrons to have a meal while watching the film.
Having been made very welcome by a member of staff, who showed me around, I ordered my Wagyu Beef Burger at 1.45pm and settled down for the 2pm screening. The ads and trailers ended at 2.15pm, and the film started, but the food wasn’t delivered until 2.30pm. This appeared to allow everyone to be served at the same time, but it was a little distracting having the waiter bustling about while the film was under way. (Interestingly, there were about 15 patrons, and, from what I could see, we all had something to eat, so the concept is clearly a winner – though eating isn’t compulsory!) And, I have to say, once the waiter had finished, it was quite nice to tuck into a rather tasty burger while enjoying the film! (I should add that I suppose it should be: I also had a small diet Coke, and the food & drink bill came to £18.15 – which I was surprised to discover included a Service Charge of £1.65!)
The watchword for this cinema is, of course, state-of-the-art luxury. So I was very pleasantly surprised to see a large ‘traditional-style’ “ODEON” clock in the downstairs entrance, and, on the stairs, an equally large plaque commemorating circuit founder Oscar Deutsch. These were lovely ‘heritage’ touches in an otherwise utterly modern cinema.
Further to my Comment, I am delighted to report that funding was secured in early 2019 for an extension of this very popular cinema at its original location. Work began in July 2019 on the creation of two new screens, in adjacent vacant space at first floor level, in addition to a much-needed lift, and a new bar. Screen 2, with 29 seats, opened on 18th September 2019, and Screen 3, with 38 seats, followed sometime before Christmas. It is wonderful to see this cinema doing so well.
The Fellowship and Star was built on steeply sloping ground. Indeed, cinema patrons arriving at its entrance on Randlesdown Road are directed down steps on the left hand side to the cinema entrance at the rear, which is off Knapmill Road. That entrance is branded as Milky Way Bar and Cafe. The 1920s function room that houses the Film Palace has, understandably and inevitably, lost much of its original decor in the transformation into a very comfortable, modern cinema, but there are still nice traces (in particular, columns down each side and the ceiling features) and the original entrance doors have been retained. Another ‘plus’ these days is the presence of tabs, resulting in a very welcoming atmosphere. Also welcome, at least when I visited, on 19th November 2019 to see the early evening screening of romantic comedy “Last Christmas”, was the absence of any adverts or trailers: the film started straight after an excellent short film about the restoration of the inn. The staff made me very welcome, and I wished them good fortune for this wonderful venture.
When I visited, on 24th October 2019, I was made very welcome by the clearly very enthusiastic staff. I saw “All at Sea”, starring James Fox, and with Lauren Bacall, in the smaller auditorium, designated “The Ballroom Screen”. That seats 60, while the larger auditorium, “The Balcony Screen”, seats 140. This is another splendid project from the Mundin family.
Further to my Comment dated 2 July 2018, after a delayed start to the work asbestos was discovered in the roof space, leading to all work being halted whilst additional funds were sought in order to employ a firm of asbestos analysts as well as one to actually do the removal.
Because the roof space was full of fibre-glass insulation material this was deemed to be contaminated and it all had to be removed as if it was asbestos. Fortunately, Historic England awarded a grant of £300,000 and the National Lottery Heritage Fund increased their grant specifically to cover the additional costs of removing the asbestos, enabling the work to proceed.
In order to facilitate access to the ceiling, the entire roof had to be removed, with the building being protected by sheeting supported by scaffolding. In October 2019 I was invited by Chris Strachan to join a site visit to take a unique view of the ceiling from above. See the series of photos dated 4th October 2019.
On 29th October 2019 the Picturedrome re-opened as the latest venture from Nick Johnson, the developer behind Altrincham Market and Manchester’s Mackie Mayor. The market includes some familiar traders including craft beer offer Jack In The Box and wine bar Reserve. There are nine food operators, with pasta company Terroni making its debut at the Picturedrome.
Ex-Urban Splash man Johnson secured planning permission to convert the Picturedrome, which was owned by local businessman Karl Massey, in 2018.
A post on social media said: “Picturedrome is the third spiritual sister in the Market Operations family. Home to over seven outstanding kitchens, a coffee shop, chocolatier, craft beer bar, and wine bar and merchant, Picturedrome is an attempt to enrich lives by providing high-quality, everyday food in a social setting – where families, friends, and strangers get together around shared tables.” See photograph sourced from CheshireLive.
My friend Robert Farrow grew up a couple of streets away from the site of the Central/Plaza. He recalls playing in the ruins in the mid/late 1950s, and that the walls were reasonably intact, but the roof had completely gone. He was told it had taken a direct hit by a bomb.
Further to popcorn_pete’s Comment, the Hall was, indeed, sold off. In a letter published in the weekly newsletter, in 2015, Fr Mullan said it had been running at a loss and was “costing the parish considerable expense”. He added that the falling numbers attending the parish bingo, which closed at the end of last year due to competition in the town, was a contributing factor behind the decision to sell the building. He revealed he had been approached by Irish cultural organisation Glór Dhún Geimhin, who had been seeking premises for a cultural centre with the intention of staging music, drama and allied Irish cultural events. In discussions, when they agreed to accommodate all existing users of the Hall if they managed it, and it was felt proper by the Parish Finance Committee and the Diocesan Authorities to sell St Canice’s.
The ownership was therefore transferred to Glór Dhún Geimhin, a voluntary Community Organisation established in 2009 to promote and develop Culture, Language and Heritage in the wider Dungiven area. Glór Dhún Geimhin said the Hall was in great need of modernisation and refurbishment. They successfully secured over £300,000 of Social Investment Funds, and the centre re-opened in early 2019. Regrettably, film screenings do not appear to be part of their cultural activities.
When I visited the Loft Cinema, on Thursday 20th June 2019, I was delighted to meet owners Jon Jones and Fiona Bain. Their background is in bars and clubs (Jon owns the nearby Mamma Jammas nightclub), but more recently they ran AJ’s pool and snooker venue in the premises now occupied by the Loft. A rent increase led them to rethink the business and, both being film fans, they hit on the idea of transforming the space into a boutique cinema, with comfortable sofas and table service. The first film, on 19th December 2018, was Quentin Tarantino’s “Pulp Fiction”. The premises are surprisingly spacious, and allow for an extensive bar. They are still experimenting with the programming: On my visit I enjoyed a rare big screen outing for Francois Truffaut’s “Jules et Jim”, the latest in a series of films from the French New Wave. (Sadly, the Dog House restaurant, on the ground floor, closed in early 2019.)
Sadly, when I visited, on a Thursday in June 2019, despite the banner pleading “Save our Welfare” and “Let’s Bring it Back to Life”, there was no indication that any work was underway.
In July 2018 I was asked by Claudia Materna, at ODEON, for permission to use one of my October 2000 images in a display the company was creating, at the cinema, to celebrate this historic movie palace. I was only too pleased to provide this, and the history wall, a permanent installation, was unveiled in October 2018. (It is situated in the upper foyer.) In these days of ever more futuristic, state-of-the-art all-digital multiplexes (such as ODEON’s own Luxe brand) it is heartening that the company is so mindful of its proud heritage. (Similar history walls have been installed at the ODEONs at Salisbury, Weston-super-Mare and Glasgow Quay.)
In July 2018 I was asked by Claudia Materna, at ODEON, for permission to use my March 1998 images in a display the company was creating, at the cinema, to celebrate this historic movie palace. I was only too pleased to provide this, and the history wall, a permanent installation, was unveiled in October 2018. (It is in the upper foyer.) In these days of ever more futuristic, state-of-the-art all-digital multiplexes (such as ODEON’s own Luxe brand) it is heartening that the company is so mindful of its proud heritage. (Similar history walls have been installed at the ODEONs at Salisbury, Exeter and Glasgow Quay.)
In March 2018 “Crofton Park Pictures” started a series of a pop-up cinema screenings, the first being Quentin Tarantino’s “Pulp Fiction” on Friday 16th March. Since then, films have been shown roughly three times a month, on Wednesdays, Thursdays and Fridays. Projection is from Blu-ray/DVD. On Friday 14th June 2019 I attended the screening of “The Lost Boys” (1987) starring Jason Patric and Kiefer Sutherland. I estimated there were over 100 patrons, showing there is a healthy interest in screenings at iconic venues such as this wonderful former cinema.
By June 2019, the seating capacities were Screen 1:96 and Screen 2:49. The Springhaver operates in association with the city’s Louis Hartlooper Complex.
In May 2019 it was reported that local entrepreneur Kevin Newton and his restoration team have brought back to life features from the “Great Gatsby” era to create Pillars Bar and Grill in the former cinema, which had been a nightclub until it closed after a New Year’s Eve Party in 2016.
Original features, including the arched tin ceiling, have been painstakingly restored and twinned with stunning furniture and fixtures. The £1 million project incorporated features celebrating the history of the building with a big screen installed, a baby grand piano for visiting performers and a ceiling feature created from the nightclub décor. Stunning new art deco doors form the entrance while a garden is accessed through bi-fold doors. See related photo.
On Thursday 9th May 2019, passing Darlington with Gene Sorkin, I paused at the Majestic primarily to take a look at the refurbished exterior. However, venturing inside, we got talking to a young lady, Colette, in the box office (which at that time was servicing the children’s play area in the former stalls) and, recognising our interest, she offered to show us the upstairs theatre. She is clearly very proud of this, which is building up a regular programme of live events. With the council concentrating on the Hippodrome, the Majestic has to be self-supporting but, in addition to the theatre, there is also a large bar area available for hire – and a cinema screen has been erected in an adjacent upstairs foyer area, where a local film society hosts regular film shows. Although, inevitably, still a work in progress, much has already been achieved and the upstairs spaces are in very good shape, all of which bodes well for the future.
I visited the ‘new’ Star and Shadow on Wednesday 8th May 2019, and was given a very warm welcome by the volunteers running this multi-faceted centre. There is certainly a lot more space than in the earlier building (a second performance space is being created in the room housing the bar) and, of course, there is still much more to do. The principal auditorium is very comfortably seated with seats obtained from the Tyneside cinema when it underwent its own refurbishment.
The events programme is primarily of films, but performance and music are also included. On the night I visited, I experienced a mixed presentation, with “Laughing at life”, a 1981 Tyne Tees TV documentary profiling North East comedian Pauline Petty (stage name Scarlet O'Hara), being followed by local stand-up poet Kate Fox, who talked about her research into Northern female comedians. This was part of a season of Revealing Women, supported by the BFI Film Audience Network.
The photographs from the Cinema Theatre Association Archive only add to the confusion! Perhaps the ‘original’ photograph is the rear of the building?
The handbill (see photos) dates from May 1914, and a cutting from the [Harrow] Observer records that the Picturedrome did, indeed, close in 1914, not 1913. After the First World War it was converted into a second-hand furniture shop run by Harrow-based Biggs and Company. In 1928 Arthur Adams and Sons Furnishers took over and, since then, it was known as the Adams Building. The cutting is dated 1st August 1985, and records the demolition of the building, which had been “in a state of disrepair for the last year and even had a dangerous structures order slapped on it by Harrow Council’s engineering department”.
In May 2017, five months after his death, Screen 1 was renamed the Sir John Hurt Cinema. The Derbyshire-born actor had been a patron at QUAD. And Screen 2 is now RDS Cinema, in recognition of one of QUAD’s sponsors, Responsive Digital Solutions.
Cinema Theatre Association member Audie Phillip visited Gravesend in September 2020, and found that the building was occupied by Dental Care Centre (at the front) and NRG gym (at the rear).
The entire ‘leisure terrace’, including the Cineworld, was evacuated and closed at 1pm on Sunday 9th February 2020 when Storm Ciara resulted in some of the exterior cladding being pulled loose. The cinema subsequently lost out on lucrative half-term custom but, following remedial work, it was able to re-open at 2pm on Tuesday 3rd March.
I visited the Odeon Luxe & Dine on Tuesday 4th February 2020, and saw the satirical black comedy drama"Jojo Rabbit" in Screen 5. It is an interesting concept, perhaps influenced by the success of the USA’s Alamo Drafthouse cinemas, which are specifically designed to encourage patrons to have a meal while watching the film.
Having been made very welcome by a member of staff, who showed me around, I ordered my Wagyu Beef Burger at 1.45pm and settled down for the 2pm screening. The ads and trailers ended at 2.15pm, and the film started, but the food wasn’t delivered until 2.30pm. This appeared to allow everyone to be served at the same time, but it was a little distracting having the waiter bustling about while the film was under way. (Interestingly, there were about 15 patrons, and, from what I could see, we all had something to eat, so the concept is clearly a winner – though eating isn’t compulsory!) And, I have to say, once the waiter had finished, it was quite nice to tuck into a rather tasty burger while enjoying the film! (I should add that I suppose it should be: I also had a small diet Coke, and the food & drink bill came to £18.15 – which I was surprised to discover included a Service Charge of £1.65!)
The watchword for this cinema is, of course, state-of-the-art luxury. So I was very pleasantly surprised to see a large ‘traditional-style’ “ODEON” clock in the downstairs entrance, and, on the stairs, an equally large plaque commemorating circuit founder Oscar Deutsch. These were lovely ‘heritage’ touches in an otherwise utterly modern cinema.
The postcard view confirms the entrance to the Castle was the white frontage to the left of the Boots store.
Further to my Comment, I am delighted to report that funding was secured in early 2019 for an extension of this very popular cinema at its original location. Work began in July 2019 on the creation of two new screens, in adjacent vacant space at first floor level, in addition to a much-needed lift, and a new bar. Screen 2, with 29 seats, opened on 18th September 2019, and Screen 3, with 38 seats, followed sometime before Christmas. It is wonderful to see this cinema doing so well.
The Fellowship and Star was built on steeply sloping ground. Indeed, cinema patrons arriving at its entrance on Randlesdown Road are directed down steps on the left hand side to the cinema entrance at the rear, which is off Knapmill Road. That entrance is branded as Milky Way Bar and Cafe. The 1920s function room that houses the Film Palace has, understandably and inevitably, lost much of its original decor in the transformation into a very comfortable, modern cinema, but there are still nice traces (in particular, columns down each side and the ceiling features) and the original entrance doors have been retained. Another ‘plus’ these days is the presence of tabs, resulting in a very welcoming atmosphere. Also welcome, at least when I visited, on 19th November 2019 to see the early evening screening of romantic comedy “Last Christmas”, was the absence of any adverts or trailers: the film started straight after an excellent short film about the restoration of the inn. The staff made me very welcome, and I wished them good fortune for this wonderful venture.
When I visited, on 24th October 2019, I was made very welcome by the clearly very enthusiastic staff. I saw “All at Sea”, starring James Fox, and with Lauren Bacall, in the smaller auditorium, designated “The Ballroom Screen”. That seats 60, while the larger auditorium, “The Balcony Screen”, seats 140. This is another splendid project from the Mundin family.
Further to my Comment dated 2 July 2018, after a delayed start to the work asbestos was discovered in the roof space, leading to all work being halted whilst additional funds were sought in order to employ a firm of asbestos analysts as well as one to actually do the removal.
Because the roof space was full of fibre-glass insulation material this was deemed to be contaminated and it all had to be removed as if it was asbestos. Fortunately, Historic England awarded a grant of £300,000 and the National Lottery Heritage Fund increased their grant specifically to cover the additional costs of removing the asbestos, enabling the work to proceed.
In order to facilitate access to the ceiling, the entire roof had to be removed, with the building being protected by sheeting supported by scaffolding. In October 2019 I was invited by Chris Strachan to join a site visit to take a unique view of the ceiling from above. See the series of photos dated 4th October 2019.
On 29th October 2019 the Picturedrome re-opened as the latest venture from Nick Johnson, the developer behind Altrincham Market and Manchester’s Mackie Mayor. The market includes some familiar traders including craft beer offer Jack In The Box and wine bar Reserve. There are nine food operators, with pasta company Terroni making its debut at the Picturedrome.
Ex-Urban Splash man Johnson secured planning permission to convert the Picturedrome, which was owned by local businessman Karl Massey, in 2018.
A post on social media said: “Picturedrome is the third spiritual sister in the Market Operations family. Home to over seven outstanding kitchens, a coffee shop, chocolatier, craft beer bar, and wine bar and merchant, Picturedrome is an attempt to enrich lives by providing high-quality, everyday food in a social setting – where families, friends, and strangers get together around shared tables.” See photograph sourced from CheshireLive.
My friend Robert Farrow grew up a couple of streets away from the site of the Central/Plaza. He recalls playing in the ruins in the mid/late 1950s, and that the walls were reasonably intact, but the roof had completely gone. He was told it had taken a direct hit by a bomb.
Further to popcorn_pete’s Comment, the Hall was, indeed, sold off. In a letter published in the weekly newsletter, in 2015, Fr Mullan said it had been running at a loss and was “costing the parish considerable expense”. He added that the falling numbers attending the parish bingo, which closed at the end of last year due to competition in the town, was a contributing factor behind the decision to sell the building. He revealed he had been approached by Irish cultural organisation Glór Dhún Geimhin, who had been seeking premises for a cultural centre with the intention of staging music, drama and allied Irish cultural events. In discussions, when they agreed to accommodate all existing users of the Hall if they managed it, and it was felt proper by the Parish Finance Committee and the Diocesan Authorities to sell St Canice’s.
The ownership was therefore transferred to Glór Dhún Geimhin, a voluntary Community Organisation established in 2009 to promote and develop Culture, Language and Heritage in the wider Dungiven area. Glór Dhún Geimhin said the Hall was in great need of modernisation and refurbishment. They successfully secured over £300,000 of Social Investment Funds, and the centre re-opened in early 2019. Regrettably, film screenings do not appear to be part of their cultural activities.
The very generous seating capacities are: MAXX:267, Screen 2:191, Screen 3:131, Screen 4:157, Screen 5:149, Screen 6:127, Screen 7:122.
In the event, the new Omniplex opened in the Outlet shopping centre on 17th June 2016. See separate Cinema Treasures entry.
When I visited the Loft Cinema, on Thursday 20th June 2019, I was delighted to meet owners Jon Jones and Fiona Bain. Their background is in bars and clubs (Jon owns the nearby Mamma Jammas nightclub), but more recently they ran AJ’s pool and snooker venue in the premises now occupied by the Loft. A rent increase led them to rethink the business and, both being film fans, they hit on the idea of transforming the space into a boutique cinema, with comfortable sofas and table service. The first film, on 19th December 2018, was Quentin Tarantino’s “Pulp Fiction”. The premises are surprisingly spacious, and allow for an extensive bar. They are still experimenting with the programming: On my visit I enjoyed a rare big screen outing for Francois Truffaut’s “Jules et Jim”, the latest in a series of films from the French New Wave. (Sadly, the Dog House restaurant, on the ground floor, closed in early 2019.)
Sadly, when I visited, on a Thursday in June 2019, despite the banner pleading “Save our Welfare” and “Let’s Bring it Back to Life”, there was no indication that any work was underway.
In July 2018 I was asked by Claudia Materna, at ODEON, for permission to use one of my October 2000 images in a display the company was creating, at the cinema, to celebrate this historic movie palace. I was only too pleased to provide this, and the history wall, a permanent installation, was unveiled in October 2018. (It is situated in the upper foyer.) In these days of ever more futuristic, state-of-the-art all-digital multiplexes (such as ODEON’s own Luxe brand) it is heartening that the company is so mindful of its proud heritage. (Similar history walls have been installed at the ODEONs at Salisbury, Weston-super-Mare and Glasgow Quay.)
In July 2018 I was asked by Claudia Materna, at ODEON, for permission to use my March 1998 images in a display the company was creating, at the cinema, to celebrate this historic movie palace. I was only too pleased to provide this, and the history wall, a permanent installation, was unveiled in October 2018. (It is in the upper foyer.) In these days of ever more futuristic, state-of-the-art all-digital multiplexes (such as ODEON’s own Luxe brand) it is heartening that the company is so mindful of its proud heritage. (Similar history walls have been installed at the ODEONs at Salisbury, Exeter and Glasgow Quay.)
In March 2018 “Crofton Park Pictures” started a series of a pop-up cinema screenings, the first being Quentin Tarantino’s “Pulp Fiction” on Friday 16th March. Since then, films have been shown roughly three times a month, on Wednesdays, Thursdays and Fridays. Projection is from Blu-ray/DVD. On Friday 14th June 2019 I attended the screening of “The Lost Boys” (1987) starring Jason Patric and Kiefer Sutherland. I estimated there were over 100 patrons, showing there is a healthy interest in screenings at iconic venues such as this wonderful former cinema.
By June 2019, the seating capacities were Screen 1:96 and Screen 2:49. The Springhaver operates in association with the city’s Louis Hartlooper Complex.
In May 2019 it was reported that local entrepreneur Kevin Newton and his restoration team have brought back to life features from the “Great Gatsby” era to create Pillars Bar and Grill in the former cinema, which had been a nightclub until it closed after a New Year’s Eve Party in 2016.
Original features, including the arched tin ceiling, have been painstakingly restored and twinned with stunning furniture and fixtures. The £1 million project incorporated features celebrating the history of the building with a big screen installed, a baby grand piano for visiting performers and a ceiling feature created from the nightclub décor. Stunning new art deco doors form the entrance while a garden is accessed through bi-fold doors. See related photo.
On Thursday 9th May 2019, passing Darlington with Gene Sorkin, I paused at the Majestic primarily to take a look at the refurbished exterior. However, venturing inside, we got talking to a young lady, Colette, in the box office (which at that time was servicing the children’s play area in the former stalls) and, recognising our interest, she offered to show us the upstairs theatre. She is clearly very proud of this, which is building up a regular programme of live events. With the council concentrating on the Hippodrome, the Majestic has to be self-supporting but, in addition to the theatre, there is also a large bar area available for hire – and a cinema screen has been erected in an adjacent upstairs foyer area, where a local film society hosts regular film shows. Although, inevitably, still a work in progress, much has already been achieved and the upstairs spaces are in very good shape, all of which bodes well for the future.
I visited the ‘new’ Star and Shadow on Wednesday 8th May 2019, and was given a very warm welcome by the volunteers running this multi-faceted centre. There is certainly a lot more space than in the earlier building (a second performance space is being created in the room housing the bar) and, of course, there is still much more to do. The principal auditorium is very comfortably seated with seats obtained from the Tyneside cinema when it underwent its own refurbishment.
The events programme is primarily of films, but performance and music are also included. On the night I visited, I experienced a mixed presentation, with “Laughing at life”, a 1981 Tyne Tees TV documentary profiling North East comedian Pauline Petty (stage name Scarlet O'Hara), being followed by local stand-up poet Kate Fox, who talked about her research into Northern female comedians. This was part of a season of Revealing Women, supported by the BFI Film Audience Network.