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Both sides of the block are lined with tall, modern buildings, so the Regent has been demolished.
Architect J. Harry Randall practiced in his native St. Louis during the 1890s. Around 1901 he moved to Seattle, where he remained for a few years. By 1909 he had established his practice in Oklahoma City. There’s a hint that he might have moved to California by 1921, but I haven’t been able to find anything definite about that.
Architect J.Harry Randall practiced in St. Louis during the late 19th century. Around 1901-1904 he was working in Seattle, and by 1909 had established himself in Oklahoma City.
The news that J. Harry Randall had prepared plans for a $20,000 vaudeville theater at Oklahoma City for W. F. Burnell appeared in the August 7, 1909, issue of The Engineering Record. The house was in operation prior to October 17 that year, when the Oklahoma City Daily Pointer ran an article about various legal troubles Mr. Burnell had run into in connection with the Princess, Colonial, and Dixie Theatres, all three of which properties Burnell owned.
The Historic Toronto post robboehm referred to says that the St. Clair Theatre opened in 1921 and had been designed for the Allen circuit by the architectural firm of Hynes, Feldman & Watson. Design work began in 1919. James Patrick Hynes and Albert Edward Watson were the firm’s principals when this theater was completed. Isadore Feldman died suddenly of pneumonia in January, 1919, at the age of 32, though his name was retained as part of the firm’s name for some time thereafter.
I never saw the Colonial Theatre, nor have I seen photos of its interior, but it was a legitimate house built in the early 20th century and I’ve never come across any good-sized theaters with stages from that era that didn’t have boxes. It’s very unlikely that the Colonial would have been an exception to the rule. Boxes were typically the highest-priced seats in a house, as a lot of well-to-do customers preferred them.
Boxes were sometimes removed from old theaters that were extensively modernized for movies in the 1930s or later, and during the silent movie era the pair of boxes nearest the stage would in some cases have to be removed to accommodate pipes and an organ screen if a pipe organ was installed, but I don’t think the Colonial was ever extensively remodeled, so it probably kept at least some of its boxes even if it got an organ.
The site of the Fox 4 is now under the overpass which carries traffic from westbound 19th street to the southbound lanes of the Marsha Sharp Freeway. The ramp overpass was still under construction when some of the current Google street view shots were taken, so it’s pretty recent. Historic Aerials has views from 2012, 2004, and 1995. The theater and an adjacent motel closer to Quaker Avenue were both still standing in the 1995 view, but they are gone in the 2004 view.
Historic Aerials has changed its format for links and only provides for linking to Twitter now, so I don’t know if this link will work or not, but lets try it.
Scott: Your photo of this house at CinemaTour shows the building quite changed from the drawing in the grand opening ad Mike uploaded. The exterior was obviously remodeled at some point and its clean, Midcentury look was replaced by a portico with some of those rather retarditaire precast concrete columns with brackets that marred a lot of late (and decadent, to my eye) modern design.
The Buena Vista Tuscon, which was not designed by Pearson & Wuesthoff but by Charles “Bud” Magee, had that clumsy late modern look from the beginning (follow the links in this comment by rivest266), and the Tucson house must have been taken as the model for the later remodeling at the Lubbock and Amarillo houses.
Late in his career Bill Pereira adopted similar precast concrete elements for many of his designs, including the Los Angeles County Museum of Art, and Charles Magee worked in Pereira’s office for a while during that period, which may be where he picked up the style. I’ve always found it clunky and awkward, and I was terribly disappointed when Pereira, who in 1938 had shown his mastery of early modernism in designing the splendid Esquire Theatre in Chicago, began using a style so fussy and graceless.
Usually I hate to see theaters demolished, but I’d say that the people of Lubbock are fortunate that they don’t have to encounter this eyesore anymore- though naturally it would have been better if somebody had just stripped off the extraneous junk and restored Pearson & Wuesthoff’s original design.
northernparade: Just about everything I know about Jay English (and it isn’t much) is already in comments I’ve made on the Cinema Treasures pages for various theaters he designed (list here.) He was born in 1903 and died in 1947. He was for some time the chief designer for Odeon Theatres Canada, but had designed a few theater projects for other chains. The earliest projects listed on his page at the Biographical Dictionary of Architects in Canada (see the first link in my previous comment) is dated 1937, and the first theaters are dated 1938. I’ve found nothing online about his earlier career, though I would imagine that he spent a decade or more as a draftsman or associate in some firm, perhaps even Kaplan & Sprachman.
Obituaries of English were undoubtedly published in newspapers (and probably in professional journals) in 1947, but I’ve found none online. There might be some behind paywalls at sites to which I don’t have access. An obituary would most likely give some details about his background and career, including the schools where he had studied and the firms where he had worked.
The best history of Odeon Theatres Canada that I’ve found online is an extensive article by Paul S. Moore in the Fall, 2003, issue of the Canadian Journal of Film Studies, which you can read in this PDF.
At the time English died he had about twenty unfinished theater projects on the boards. When Canadian Odeon’s parent company, the J. Arthur Rank Organization, sent Leslie Kemp to Toronto to oversee their completion by English’s staff (which was probably quite large) the amount of work left to be done on each of them would have varied quite a bit. The fact that the Odeon Port Arthur was given to Kaplan & Sprachman to complete, rather than Kemp and English’s staff, suggests that it might have been in a very early stage, and if so then Kaplan & Sprachman might have had a lot more to do with the finished design than English did. It’s a possibility that you might want to look into, though I can’t tell you where the information might be available. At this late date it might be impossible to find out.
The Springfield architectural firm Butler Rosenbury & Partners designed the 2011 renovation and expansion project for this theater. A thumbnail link to six photos of the Springfield 11 Cinemas can be found on the entertainment projects page of the firm’s web site.
The Gateway 12 in Mesa was designed by TK Architects. There is a slidshow with several photos here at the web site of Luke Draily Construction Co., the contractors.
This PDF of a document prepared for the Colorado State Register of Historic Properties has a fairly extensive history of the Emerson/Sands Theatre. It includes the information that the house opened on March 4, 1916. The house originally seated 360, with 300 seats on the main floor and 60 in a small balcony.
With the addition of a stage and the closing of the balcony in the early 1960s, plus subsequent re-seating with larger seats, the seating capacity of the house has been reduced to 226. The house was renamed the Sands Theatre in 1966.
The October 16, 1915, issue of The American Contractor had this item about the Emerson Theatre:
“Brush, Colo.—Theater: 2 sty. 40x 118. $6M. Archts. Baerresen Bros. 408 Chamber of Commerce bldg., Denver. Owner Mr. Emerson, Brush. Architects taking bids.”
Howard Hughes' production Hell’s Angels was released nationwide in late 1930, shortly before the La Nora opened, so this photo probably dates from early 1931 (I’d guess January or February, judging from the amount of snow on the ground.)
The November 20, 1915, issue of The Music Trade Review had this item which was probably about the Strand: “Willingham Tift will erect a new $8,000 moving picture theatre at Tifton.” Henry Tift founded Tifton as a site for his lumber mill in 1872, and the Tift family remained a force in the town’s economic life long after.
The November 20, 1915, issue of The Music Trade Review had an item about this theater:
“The Plaza Theatre Co., of Waterloo, has taken a lease on the Selzer building on Pierce street, in Sioux City, and will convert it into a high class moving picture house.”
I don’t know how much the exterior of the Selzer Building was altered in the conversion to a theater (probably very little,) but according to the records of the American Terra Cotta and Ceramic Company the original architect of the 1905 structure was Henry Fisher. I’ve been unable to discover the architect for the 1915-1916 conversion, but it would not have been Fisher, who retired in 1909.
Surprisingly, even without an address to work with Google Maps has put the pin icon for this theater almost exactly at its actual location. The seven-story building prominent in the vintage postcard Don Lewis provided is still standing at the northeast corner of Pierce and 4th Street, and the Theatre was in the second building south of 4th on the same side of Pierce. This block is now mostly parking lot, so we can mark the Plaza Theatre as demolished.
The Plaza Theatre would have been roughly across the street from the entrance of the modern Great Southern Bank building which uses the address 329 N.Pierce, so the theater’s address would probably have been approximately 330 N. Pierce (Google street view estimates the location as 351, but of course it exaggerates.)
Thanks, Ferretman. I see from Google’s satellite view that the entire block the theater was on is now a parking lot, but it looks like there aren’t many places nearby to go to once you’ve parked your car.
norfolk356: What is on the corner now (and extending along Boush Street all the way to College Place) is an enormous building called Harbor Heights. It has retail space on the Boush Street side of the ground floor, with fourteen floors condominiums and lofts above. The parking garage extends east along Tazewell about two thirds of the way to Granby Street, so the Colonial’s site must be under its footprint.
Chestnut Hill is an unincorporated village that is mostly inside the incorporated city of Newton, which is the part of it that the Showcase SuperLux is in. Newton contains all or parts of thirteen villages, but none of those villages are legal entities, just traditional names.
One part of the town of Brookline is also considered part of the village of Chestnut Hill, and Chestnut Hill also spills over into part of the city of Boston itself (parts of the Boston neighborhoods of West Roxbury and Brighton are considered part of the village Chestnut Hill.) Massachusetts is just kind of odd when it comes to place names (so is Pennsylvania, but that’s another story.) Things like that don’t happen in Iowa, by gosh!
Anyway, the Showcase SuperLux should probably be listed as being both in Newton (the incorporated city) and in Chestnut Hill (the unofficial but traditional neighborhood.) If any theaters ever open in the entirely unrelated Chestnut Hill neighborhoods of the Massachusetts towns of Blackstone or Belchertown, well, we’ll just have to figure out what to do about them then.
The vaudeville program at the Central Square Theatre in Lynn starting October 23 had done good business, according to an item in the October 28, 1911, issue of The New York Clipper.
An item from an issue of The Moving Picture World earlier that year (which I’ve been unable to date exactly) had said that the Central Square Theatre had opened on December 29. A late 1910 opening matches up nicely with the item in The American Architect of March 3, 1910, which said that plans for the proposed Central Square Theatre in Lynn had been prepared by Boston architect E. W. Maynard.
The Rowland Theatre was to open on October 23, according to a belated item in the October 28, 1911, issue of The New York Clipper. The item said that the new house, which would open with vaudeville, had been “…modeled after Maxine Elliot’s playhouse in New York.”
I’ve been unable to find much about Stotser & Associates on the Internet. They have no web site of their own that I can find, and the business web sites that have pages for the firm give very little information about them. They are an architectural or architectural engineering firm headquartered in Columbus, Georgia, and have the aka R S E International, presumably an acronym for partners Ron Stotser and Sia Etemadi. The firm was established in 1993 and all the business sites agree it is rather small, though more recent postings show higher revenues and more personnel than earlier postings so it must be growing rapidly.
I have found a few construction related web sites that list Stotser & Associates as architects of various multiplex theaters, especially for the Rave Cinema chain (page at Continental Building Systems), but construction companies often deal only with supervising architects, who are not necessarily the actual designers of the projects they oversee.
Still, I don’t see why a small firm in Georgia would be supervising construction of a large project in Massachusetts, or other distant locations that have had projects attributed to them. Supervising architects are usually small firms with their only office near a given project, or larger firms with a branch office near that project. It’s a bit puzzling, and I’m not sure what function Stotser & Associates fulfilled in the Showcase SuperLux project, while the two firms named in my previous comment were undoubtedly both major players in it.
This article about The Street in the New England Real Estate Journal says that the Cambridge architectural firm Prellwitz Chilinski Associates (PCA) designed the reconstruction of the old Chestnut Hill Shopping Center into The Street. PCA also designed the Legacy Center, site of one of National Amusement’s earlier multiplexes.
The interiors of the Showcase SuperLux itself are the work of the British firm Julian Taylor Design Associates, with offices in the market town of Romsey, Hampshire, England. Their web site features a slide show with nine photos of the project.
Thanks for that link, Howard. It’s remarkable that the Playhouse building has not only survived for so many decades after the theater closed, but will now have a second life as an entertainment venue.
The vaulted auditorium ceiling as seen in the slide show must have been original to the theater, though there is a possibility that the circular reveals for indirect lighting could have been added in a later remodeling while the theater was still in operation.
Bill Counter’s page for the Playhouse has a photo from 2009, when the auditorium was being used as a church by Victory Outreach. There is also a 2014 photo taken during the conversion of the space to the Teragram Ballroom. The stage seen in both photos must have been added by the church, but the ballroom’s developer has added a traditional proscenium to it as part of the renovation. The side wall decoration is also modern.
Counter has discovered that the auditorium served as a print shop for some time after the Playhouse closed. My family was in the printing business so I know that presses are very heavy, so when the floor was leveled it must have been done with a very thick pour of concrete. The Ballroom must have kept that floor. It would have been prohibitively expensive to dig it out. But even though the ceiling is likely all that remains of the Playhouse’s original interior, it’s nice to know that the building has entered its second century still standing, and is once again providing entertainment.
Code Two was released in 1953.
A June 15 opening means that the Chelsea Theatre presented its last show on the 28th anniversary of its opening.
Even numbered addresses are on the north side of 4th Street, so the Chelsea was on the site of the glassy, four story building at the northwest corner of 4th and Wyandotte Street.
A more detailed history of the Lyric Theatre can be found in this PDF of another Hartford Historical Society newsletter, from 1995. It includes a map showing that the Lyric was indeed on the west side of North Main Street a short distance north of Bridge Street.
The grainy photo of the Lyric in the 1994 newsletter Ron referred to (PDF here also shows the building next door to the south. Though there is not much detail in it, I’m pretty sure the neighboring building is the three-story brick commercial structure still standing at 42 North Main Street, on the northwest corner of North Main and Bridge Street.
That means that the theater would have been on one of the lots now occupied by a larger, post-modern structure called the Dreamland Building, which is at 58 North Main Street. The theater’s actual address probably would have been lower than 58, say approximately 50 N. Main.