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Here’s a memorial tribute to Mr. Alex Kouvalis, who I was fortunate to meet shortly after he took over the PATIO. http://www.findagrave.com/cgi-bin/fg.cgi?page=pi&GRid=104918232 Comments and tributes are welcome.
The STAR Theatre was refurbished and reopened as the SHINGLEHOUSE Theatre in 1939 and later acquired by Kenyon Reed. It came under the ownership of Marian and Don Enstrom and Margie and Neil Barnhart in 1949.
(Janesville WI Gazette, November 21, 1923)
THEATER CLOSED FOR TAX FAILURE
Konosha. —Representatives of the federal collectors of Internal Revenue this afternoon padlocked the Strand Theater in Kenosha on the claim that the theater had failed to pay taxes on admissions since January. The tax with penalties was alleged to amount to more than $3,000.
Add to the 1987 paragraph that on the night of December 29, 1987, which was the GATEWAY (LAKE) Theatre’s 60th Anniversary, the Theatre Historical Society (THS) toured the theatre.
Manuel Ramos Rejano was born in Palma del Río (Córdoba) Spain on October 19, 1851. Having perfected a ceramic enameling process, he founded his ceramics factory in the district of Triana in Seville. At thirteen, he arrived in Seville intending to join the Spanish army, but took employment instead in a hardware store until he was 25. His brother motivated him to open the Bazar Sevillano shop in Seville, initially a toy and fine-jewelry store which eventually added pottery. Through this he met potters Francisco Diaz Alvarez, Fernando Soto Jimenez, and Mensaque (of Mensaque Rodriquez and Co.). During this time he perfected techniques for clearcoating without impurities. As production increased, he moved the factory in 1905 to San Jacinto. Its output in the early Twentieth Century along with that of competitors Manuel Garcia and Carlos Montalvan Pickman started a new boom in Seville ceramics, receiving awards at the 1930 International Fair of Liège and the Grand Prize of the 1929 Ibero-American Exhibition of Seville (1929). Besides the benches depicting the Don Quixote legend in the Grand Lobby of the 1927 Gateway Theatre in Kenosha, his work was seen in the 1929 Latin American Exhibition of Seville in ceramic decorations on the exhibition buildings, the fronts for Metro Buenos Aires, Madrid’s Palacio de Comunicaciones interiors, and Hospital Day Laborer Maudes on commission from architect Antonio Palacios. Manuel Ramos Rejano died in Seville on October 26, 1922. The factory continued on with a change in the name to Vda. Rejano Ramos and Sons and later as Rejano Ramos Sons
until its final closure in 1965.
Manuel Ramos Rejano was born in Palma del Río (Córdoba) Spain on October 19, 1851. Having perfected a ceramic enameling process, he founded his ceramics factory in the district of Triana in Seville. At thirteen, he arrived in Seville intending to join the Spanish army, but took employment instead in a hardware store until he was 25. His brother motivated him to open the Bazar Sevillano shop in Seville, initially a toy and fine-jewelry store which eventually added pottery. Through this he met potters Francisco Diaz Alvarez, Fernando Soto Jimenez, and Mensaque (of Mensaque Rodriquez and Co.). During this time he perfected techniques for clearcoating without impurities.
As production increased, he moved the factory in 1905 to San Jacinto. Its output in the early Twentieth Century along with that of competitors Manuel Garcia and Carlos Montalvan Pickman started a new boom in Seville ceramics, receiving awards at the 1930 International Fair of Liège and the Grand Prize of the 1929 Ibero-American Exhibition of Seville (1929).
Besides the benches depicting the Don Quixote legend in the Grand Lobby of the 1927 Gateway Theatre in Kenosha, his work was seen in the 1929 Latin American Exhibition of Seville in ceramic decorations on the exhibition buildings, the fronts for Metro Buenos Aires, Madrid’s Palacio de Comunicaciones interiors, and Hospital Day Laborer Maudes on commission from architect Antonio Palacios. Manuel Ramos Rejano died in Seville on October 26, 1922. The factory continued on with a change in the name to Vda. Rejano Ramos and Sons and later as Rejano Ramos Sons until its final closure in1965.
The CAPITOL was originally the CARMODY Theatre.
Note WHITEHOUSE Theatre to the right.
I’m wondering if the Three Stooges festival I attended in March, 1986 was on the last night the Granada was open. It was cold in the Granada although the heat was on, but the large audience remained throughout. In the poster cases outside, there were announcements of new ownership and presentations to come, yet I never read of anything else ever offered at the Granada.
I put together an online memorial to Walter Klein, Jr.
Comments and remembrances are welcome. http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=103679729
A news article reports that the HOLLYWOOD (nee BUTTERFLY) Theatre is being reborn as “Circa 1880.” Plans announced by the new owners include restoring “some of its past features, with a vision toward creating a special events destination by incorporating details that would awe guests, while keeping the space neutral enough to host wedding ceremonies, receptions and all manner of banquets.” The venue will feature a 9-foot dressing room and lounge area. The auditorium will showcase the original 22-foot tall ceilings and a new grand staircase leading to the balcony, and the owners say “We’re trying to keep the historical integrity of the building. Over the years, a lot of things were taken out.” The Polish Legion of American Veterans will still meet there for free once the occupancy permit is secured, probably in late February or early March.
In these 1957 photos, the BURNS name seems to have been painted out.
STAR Theatre official site: http://www.wvi.com/~starcinema/history.htm
‘’‘Today is the GATEWAY Theatre’s 85th Anniversary.’‘’
(Thursday, June 1, 1939)
Onyx Club Orchestra to Play at Gateway Theater
“Stuff” Smith, composer of “I'se a Muggin” and the leader of the famed Onyx Club orchestra, will be at the Gateway theater in Kenosha next Saturday and Sunday, June 3 and 4, at the matinee and evening performances, to entertain with the swing music which
has made the name of “Stuff” Smith a Broadway and Chicago byword.
When Walter Winchell wrote “Look for the next wallop in swing bands when "Stuff” Smith and his boys open at the Onyx club,“ he was right, for "Stuff” and his boys have made the Onyx Club nationally famous as “The Cradle of Swing.”
This great colored orchestra has recently completed a successful five month engagement at the Blue Fountain room of Chicago’s Hotel La Salle.
Featured with the orchestra are several of the hottest stars of swing, including Jonah Jones, Harlem’s famous
“Gabriel of the Trumpet.”
Regular admission prices will prevail.
Apparently the 1960-era “Smell-O-Vision” gadget that wafted odors to match the action on the screen in “Scent of Mystery” wasn’t so new, according to this article from the Rivoli’s opening:
“Another and in this case an entirely novel feature of The Rivoli will be the introduction of perfume to supplement the appeal made to the other senses.
Several thousand dollars have been expended on a newly devised compressor plant which operates in connection with an intricate system of atomizers and by means of which any delicate odor desired can be wafted instantly to all parts of the house; incense for Oriental scenes, clover and new mown hay when the stage setting reveals a country landscape at dusk, a myriad variety of floral scents if a garden is to be suggested, and any other blending of odors so long as they are aesthetically possible and have a definite suggestive value.”
The rest of the article reads:
“In the way of stage setting and scenic effects Mr. Rothapfel will have far greater scope for his ingenuity than he has had heretofore. For the opening
of the theater the stage setting will be known as "The Conservatory of Jewels.” It will consist of a dome within a dome, each studded with huge crystal gems after the manner of the celebrated Tower of Jewels at the Panama Pacific Exposition. These will flash with kaleidoscopic effect when the light plays upon them from the front and will glow softly in their several colors when another set of lights is brought into play behind them. The base of the inner dome will be incrusted with a fine jeweled mosaic and at the rear of the scene the eye will be led away in perspective down a magnificent avenue of palms. The brightest
jewel of all of course will be the screen and this will be arranged so that it fits in as a component part of the stage picture.
There will be two sets of curtains, a screen curtain and a tableau curtairf, thus adding another innovation
to houses of this character.
Fifty in Orchestra
“So far as music is concerned, interest in the new theater centers largely around the orchestra. Mr. Rothapfel announces that it will consist of approximately fifty musicians, under the general direction of Hugo Riesenfeld, though except on
special occasions Dr. Riesenfeld will continue to conduct at The Rialto. Unusual interest has been stimulated by the announcement that once each week the
orchestras of The Rivoli and The Rialto will be combined in what is to be known as the Rothapfel Symphony Orchestra, of a hundred or more pieces,
which will render a popular symphony concert in the new theater. Members of both orchestras will be liable for duty at either theater and the conductors and
assistant conductors will interchange duties also upon occasion. Just as the conductors at the Metropolitan Opera House are called upon to interpret those
compositions best suited to their special training, so the men handling the batons at The Rialto and The Rivoli will be assigned to whichever program will best
bring out their particular capabilities.
The grand pipe organ at The Rivoli is the largest and most complete ever installed in any theater in the world. It was built by the Austin Organ Company,
of Hartford, Conn., and delivered at the theater on four huge auto trucks, in order to avoid possible delay because of freight tie-ups. It is equipped with
every attachment known to the organ builder’s art and will supply adequate musical atmosphere for those performances at which the orchestra is not present.”
On November 7, 1917 the MADISON SQUARE Theatre opened, seating 2,000 people and owned by the West End Amusement Company, which also controled the Virginia and Crawford Theaters. The West End Amusement Company
was formed by William E. Heaney (vice-president of the Illinois Branch of MPEL of America and manager of the
Virginia and Crawford theaters), his father James B. Heaney, J. D. Murphy, and H. A., Paul A. and John Arm-
strong. There was a $6,000 Wangerin & Weickhardt pipe organ. Admissions were 10 and 15 cents including the war tax.
The CRYSTAL Theatre opened Thursday, November 8, 1917 on the site of an earlier CRYSTAL Theatre. It was
operated by Peter J. Schaefer of Jones, Linick & Schaefer and Fred and Frank Schaefer of the Schaefer Theaters Company, and seated 1,800 on the ground floor. An eight-piece orchestra was employed and the architect was Henry L. Newhouse. The opening attraction was “The Man From Painted Post” with Douglas Fairbanks. Admission was 10 and 15 cents, including the war tax.
The Broadway-Strand Theatre address was listed in Moving Picture World as 6141-53 W. Twelfth street, and opened November 10, 1917 by Marshfield Amusement Company officials Louis L. Marks, Julius Goodman, Meyer S. Marks and Louis H. Harrison. It seated 2,100 people without a balcony, employed a fifteen-piece orchestra, and the architect was A. L. Levy. There was a playroom for children and a gymnasium for the employees. Marshfield Amusement Company also then
operated the Orpheus, Illington and Marshfield theatres.
A Mrs. R. D. Frazier owned the GRANT Theatre in 1917.
This looks to be the same theatre as the IMPERIAL (qv).
The Times reopens on Friday, December 28, 2012 at 6 PM with a floodlight and a red-carpet runner after being dark since March when its lender began foreclosure proceedings. New owner Lee Barczak bought the Times at auction in May, and on Sunday, December 23 he announced details of the Times' reopening ceremonies, which will feature “Django Unchained” at 7:30 PM.
(New York Times)
Theater Fire Damages Interior of the Biltmore Theater
By ESTHER IVEREM, December 11, 1987
The interior of the Biltmore Theater in Manhattan, which recently received landmark designation, was damaged by fire early yesterday in a blaze that officials say was deliberately set.
At about 2:30 A.M., firefighters responded to an alarm set off by a sprinkler system at the theater, at 261 West 47th Street. Firefighters found the stage and a portion of the orchestra seating ablaze. Heat damaged the ornate plaster ceiling, sending some slabs falling 60 feet to the floor.
“The chief at the scene has deemed the fire suspicious,” said a spokesman for the Fire Department, Lieut. Frank Martinez. “There was a flammable substance poured onto the stage.”
According to the police, there is evidence that someone broke into the 948-seat theater, which has not been used since the musical “Stardust” closed in May. Hypodermic needles were found inside the theater, indicating that drug users may have been using it as a shooting gallery, and storage lockers had been rifled.
Vagrants and Squatters
No one was seen fleeing the building at the time of the fire, said a Police Department spokesman, Det. Joseph K. McConville.
Lieutenant Martinez said, however, that there has recently been a problem with vagrants and squatters breaking into the building.
One month ago, the city’s Landmarks Preservation Commission designated the interior of the 52-year-old theater as a city landmark, protecting it against demolition or alteration. The commission praised the Biltmore’s detailed and refined neo-classical architecture.
The commission is still considering designation of the exterior of the theater.
According to city records, the Biltmore is owned by Murray Hill Investments, represented by Sam Pfeiffer, whose address was listed as Madison Investments in Manhattan. There is no phone listing for Murray Hill Investments or Mr. Pfeiffer, and the telephone for Madison Investments has been disconnected.
Lillian Ayala, a spokeswoman for the Landmarks Commission, said that despite fire damage, the building’s interior would retain its protected status. Any reconstruction would be reviewed by the commission.