The Kunz Brothers opened the 300-seat Grand Theatre on the North Side of the Square on May 7, 1910. The venue added a 2,000 pound plate glass mirror screen to have a bright, larger than life screen - 10' x 14'. Co-Owner Adolph F. Kunz said the screen cost $500. The Kunz’s programming was different - very much one of a pre-art film approach in which anything involving world exploration would play there. The Kunzs appreciated the ability of film to present the wider global society to their audience - which was apparently never that large.
In 1912, Kunz said of the movie theater industry, “I think the nickel show will disappear.” He envisioned dime and quarter movie houses with “better and more expensive (movies) will be in demand all the time;” these longer films would allow people to spend hours at the theatre instead of a single hour or less. He suggested that the movie theater would be more important to communities than live stage opera houses.
Kunz also added a phone to be one of the first movie theaters in Springfield that you could call for showtimes. The Boys Candy store at 525 E. Washington was the de facto concession stand for the Grand. It’s safe to say that the Kunz Brothers, Edward and Adolph, understood the exhibition business model; but were not in a position with a single, non-capacity house to be leaders like Gus Kerasotes was. And the movies stopped in October of 1916 as the Grand scuffled against better theaters.
The venue became a retail furniture store for Westenberg Furniture and the building remained a retail spot until the early 1970s. Kunz continued in retail clothing sales until closing January 11, 1930 and passed the store to a competitor. But the location was probably best known for bargain shoes and a long-running Thom McAn shoe store through January of 1972. Likely just as well that they moved to new digs as not that long after the vacant building just gave up on July 21, 1972 self-demolishing in a collapse that injured nobody. The glass mirror screen, if still in the venue, would have undoubtedly been damaged beyond repair.
The Pekin Theater’s Dec. 7, 1914 Grand Opening ad with two episodes of “Lucille Love, Girl of Mystery” starring Grace Cunard, in photos. The Pekin did not covert to sound and switched to public affairs live programming - meetings, boxing and talent shows into the 1940s.
After the War, it became two different nightclubs: first the Pioneer Club and then the Savoy Club. In the 1950s, it became a funeral parlor. In the 1960s, a house of worship. In 1965, the City used urban renewal to condemn the entire area including 813 E. Wash. to ensure that the commercial and social heart of the African American community in Springfield - which wasn’t in particularly good shape - was severed and could not mount a comeback.
Mid-America Cinema Corp. closed the venue following the September 5, 1983 double feature of “Octopussy” and “Pink Floyd The Wall.” The venue continued as The Giant Flea Market to 1986.
Gus Kerasotes took on the Royal and the four-year old Savoy on February 16, 1913. The Savoy closed unable to convert to sound after the February 24, 1930 with Ken Maynard in “Seňor Americano.”
Sort of interesting to have two different listings in the database with the same photo. Good news: they didn’t move the theatres physically but they did do a name swap. Harry T. Loper’s entry into the movie industry was unusual by any standard. During Springfield’s Race War Riot of August 14, 1908, Loper’s Restaurant located at this address was set ablaze in fatal fire that ended his restaurant. How bad was the situation? The Governor intervened and had reinforcements from Lincoln, Bloomington, Normal, Peoria, Pekin, and Taylorville deployed. And as an odd footnote, Loper - who was trying to mitigate the violence based on his experiences in another city.
So with the restaurant gone and with that incident on file, in 1909, Loper opened the Lyric Theatre with nickel movies. (The 223-225 South Fifth Street location was where his restaurant once was.) Above the Lyric was a popular dance hall, the Lyric Dance Hall. Loper found success and said he enjoyed this business far more than that of the restaurant industry.
Across the street was the Vaudette Theatre (#2). Basically, the Vaudette bebopped across the street displacing the Lyric here at 223-225 S. Fifth Street. It was the third and final Vaudette location for Springfield. (The original Vaudette - a vaudeville theatre - had opened on Sixth Street in 1904 and appears to have closed quickly. ) So what happened across the street at the former Vaudette locale of 216-218? The venue received a brand new Mark Evans-create terra cotta front as the New Lyric Theatre. A swap.
W.W. Watts opened here removing the pillars The Vaudette became a lower tier, discount sub-run double feature house here at 223-225 S. Fifth Street displacing the Lyric Theatre to now become a 550-seat venue effective at its relaunch on September 26, 1920 to the plans of Samuel A. Bullard of Bullard & Bullard Architects and likely on a ten year leasing agreement. So what happened at the former Vaudette locale of 216-218 S. Fifth? Harry P. Loper reopened there on July 31, 1920 with a terra cotta front as the New Lyric Theatre. (It would become the Tivoli Theatre which has its own Cinema Treasure listing.)
At this location, the inherited occupant upstairs - the Lyric Dance Hall retained its name not accepting the new Vaudette’s moniker - take that. A bit confusing though to have the Lyric Dance Hall not above the Lyric Theatre and Karma occurred as the Dance Hall was gutted by a fire on January 21, 1921.
Effective on November 4, 1928, Dominic Frisina’s Frisina Amusement took on the Vaudette, the Lyric and the Princess to make the transition to sound with Movietone equipment. On October 22, 1929, Fox Theatres took over 14 Frisina locations including the Vaudette, Princess and Tivoli. The slightly rebranded Fox Vaudette closed on May 30, 1930 at the end of its 20-year leasing agreement. Their final ad (in photos) read, “Say Goodby in a blaze of dazzling glory with Bebe Daniels in “Rio Rita.” The location was transformed into a W.T. Grant variety store (1930-1965) followed by a Thrifty Drug store with cafeteria. And I would say still standing although nothing is original.
Entry should be the Vaudette Theatre formerly known as the New Vaudette Theater, the Fox Vaudette Theatre, and the Lyric Theatre.
The Tivoli was a movie house that housed two other major venues in a 44-year time span. The original Vaudette - a vaudeville theatre - had opened on Sixth Street in 1904 and appears to have closed quickly. The second of three homes for the unrelated Vaudette “#2” was here when it opened in October 1908. It closed in the Summer of 1910 doubling its size as it took over the neighboring retail storefront at its reboot.
The Vaudette scooted across the street to 223 S. Fifth Street displacing the Lyric Theatre to now become a 550-seat venue effective at its relaunch on September 26, 1920 to the plans of Bullard & Bullard and likely on a ten year leasing agreement. So what happened here at the former Vaudette locale of 216-218? The venue received a brand new Mark Evans-create terra cotta front (see picture above) to the plans of noted architect George Barrington Helmle of Helmle & Helmle Architects. Harry P. Loper reopened on July 31, 1920 as the - why not - Lyric Theatre (#2). The Beaux-Arts styled theatre wowed at launch.
Across the street, the Lyric Dance Hall retained its name above the Vaudette - take that. It seems a bit confusing, though, to have the Lyric Dance Hall not above the Lyric Theatre and karma occurred as the Dance Hall was gutted by a fire on January 21, 1921. Effective on November 4, 1928, Dominic Frisina’s Frisina Amusement took on the Vaudette, the Lyric and the Princess to make the transition to sound with Movietone equipment. Frisina gave the Tivoli a more moderne look under the Tivoli nameplate relaunching on July 27, 1929 with “On With the Show.” That show and operation didn’t go on long, lasting just three months.
On October 22, 1929, Fox Theatres took over 14 Frisina locations including the Vaudette, Princess and Tivoli. The slightly rebranded Fox Tivoli lasted until 1934 when Fox, in bankruptcy, reorganized. Frisina Amusements was back in charge and gave the Tivoli Theatre a minor refresh in November of 1935. The Tivoli was pushed back to third-tier status. On May 7, 1952 it played an exploitation double feature of “Marijuana” and “Confessions of a Model.” Frisina moved on and the theatre was torn out in April of 1954 as it transitioned to retail. After a period of vacancy, the former Vaudette “2” (1908-1920), New Lyric / Lyric “2” (1920-1929), Tivoli / Fox Tivoli (1929-1952) was demolished at a cost of $8,500 in April of 1983.
Harris Hickox, Jr. opened the Vogue Theatre on the West side of the square on April 1, 1914 with “Wolves of the Underworld” and a “Mutual Weekly” newsreel. The short-lived venue closed on August 5, 1917 with Charlie Chaplin in “The Immigrant.” Woolworth’s expanded into the space operating 50 years and going out of business there on December 24, 1968
The World’s Dream Theatre opened here as an early Springfield nickelodeon. It opened March 14, 1908 presumably on a 10-year leasing agreement with highlights from the Jimmy Britt and Fighting Nelson boxing match. The Casino Theatre had opened as an outdoor theater as part of the White City Amusement Park in 1908. So successful was it that indoor digs were found right here. The Casino bumped the World’s Dream and was operated by John Kargin and George Mills.
Leo Burnstine and George Shepherd ran it to the end of the 10-year leasing agreement during WWI; but they closed before War’s end as the pair moved on to more modern theaters.
The Capitol Airdome opened at Capitol and Sixth with seating for 1,800 folks on May 28, 1910. Isadore Burnstine and William Evans decided that a hardtop Capitol might be the ticket and created the Capital Theatre which would run on a (likely) 25-year leasing agreement 1912 to 1937. Burnstein lost Evans and Gaines partner Joseph W. Shepherd transformed the Capital from a nickelodeon to a more then-current era theatre now with an “o” as Capitol (likely they ordered a modern sign and it had that spelling). The pair also took on the AmuseU and Empire theaters.
Frisina Amusement Circuit acquired the location effective on June 7, 1931 giving it a new look and equipping it with a contemporary sound system. Frisina ended the Capitol’s run on April 25, 1937 for a significant upgrade - keeping - reportedly - just the walls of the theatre. The new streamline moderne State Theatre was designed by architect Carl T. Meyer (sketch in photos). The State Theatre launched December 2, 1937 with “You Can’t Have Everything.”
The State closed on July 1, 1960 with “Jukebox Rhythm” and “Curse of the Demon” along with the hopeful message, “Watch for Reopening.” That was a long way off. It was listed for sale or lease with real estate ads for about 10 years.
So after that much vacancy, it was time for the State to really earn its stripes. American Amusement Co. of Durand, Michigan - the most prolific purveyor of porno chic cinema in the United States - reopened here on May 26, 1970. The first double feature was Tony Curtis in “On My Way to the Crusades, I Met a Girl Who….” followed by an unnamed film that Lad Nelson of American claimed was an “acceptable picture….” but only for those over 18. And probably not that acceptable.
It finally ended on January 30, 1986 with that final two advertised films of Michelle Bauer in “Night Dreams” and “Dixie Ray: Hollywood Star.” The lease was terminated and the building demolished in 1986 with the former State Theatre joining the parking brigade. CT Corp. of Chicago carried on with Cinema Springfield - the capitol city’s exclusive adult film house. The Durand, Michigan folks would retain its Land of Lincoln presence taking it over and rebranding it to its Deja Vu moniker.
This is the wrong address and name of the ozoner. Percy Duplissey built the Surf Twin Drive-In Theatre about a mile from Southern Amusement’s Round-Up Drive-In Theatre. The idea was to out screen the venue. But six months after opening, Southern bought out the venue. Meanwhile, Walter’s Gaurino’s Open Air Theatres Inc. was opening the New Moon Twin Drive-In.
The Surf Twin was located at your choice of 1001 9th Avenue or 2450 Broad Street. The address currently listed here is for the single-screen Round-Up Drive-In a mile away. The Surf Twin reportedly opened May 2, 1953 and was the first of the venues to drop by the wayside in the early 1960s.
The Midway launched Feb. 26, 1951 with “Summer Stock” (ad in photos). It was still being used for church services in 1972. It maps to: 3610 Highway 90 Westlake, LA 70669
C&C Enterprises opened the Ritz in November of 1934. Southern Amusements took on the venue. It eventually closed here on March 30, 1952. The Ritz became a church in 1954.
The Arcade opened September 26, 1910 with Mr. and Mrs. Sydney in the live play, “Billy.” Designed as an opera house, the venue scuffled in the town of 11,500. In late August 1912, Josiah Pearce & Sons, an early New Orleans circuit of movie theaters, closed deals in Houston and here to convert failing opera houses into movie theaters with a live vaudeville component. It relaunched for films on September 2, 1912 with Mary Pickford in “An Indian Summer,” supported by “The Greed for Gold” and Francesca Bertini in “The Wandering Minstrel.”
Southern Amusements took on the venue and dominated the growing Lake Charles movie marketplace with the four major movie theatres in 1916. A fatal $1 million fire in Lake Charles on December 1, 1925 likely should have ended the Arcade save the efforts of the local firefighting team - despite losing three firefighters that day. The theatre reopened quickly and Southern Amusement would convert the theaters to sound later in the decade. By the 1950s, Southern had the Paramount, the Arcade, the Lake and both the Round-Up and Surf drive-ins. The Paramount was converted to widescreen for presenting CinemaScope titles in 1954 and the fading Arcade was not. It was a portent of things to come.
An exposé by one of the local newspapers questioned what appeared to be overly favorable taxing valuations for the aging theaters. While good journalism, a more contemporary view would suggest that the valuations of the late 1950s were based on a combination of the fading prospects for dying movie theaters and the tremendous costs associated with redeveloping them for other retail uses. The combination of drive-ins and suburban theaters offering newer technology, better seating and ample free parking had pretty much decimated downtown movie theaters - especially in a growing city like Lake Charles.
The Arcade fit the bill as Southern closed the Arcade at the end of lease on March 30, 1956 with “Lady & the Tramp.” The theatre was dormant until used by a non-profit Lake Charles Little Theatre beginning December of 1960 for stage plays. That lasted regularly until the April 30, 1967 staging of “Alice!” As part of the Downtown Mall urban renewal, the theatre had many fewer events. But the Arcade’s listing in 1978 on the National Register of Historic Places helped secure a renovation in the mid-1980s.
On Thanksgiving Day 1985 - days prior to the 60th Anniversary of the fatal fire that could have ended the Arcade in 1925, two fire calls were placed. The first fire was quickly extinguished. The second took out the theatre which was undergoing renovations. The venue was delisted on July 22, 2016 but the Arcade Theatre, Miller Building, the Paramount and the Weber Building are commemorated by a historical marker in honor of the fallen building.
There were two (or three) Magic Theatre locations. The newest one opened in 1950 and was a quonset hut with a false front. That newer one appears to have been demolished as it is basically where the new City Hall is. It was used as a fraternal hall by the Longshoreman local #1830 after the theater left. There is a building listed in 1943 as the “old” Magic Theatre indicating a potential of three locations for the Edith turned Magic Theatre.
The Edith Theatre in Port Allen dates back to the early silent era of film exhibition. It was equipped for sound to remain viable. It transferred from J. T. McDermctt to W. H. Tastay to J. T. McDermctt during the Depression with Tastay renaming the venue as the Magic Theatre in 1933. It was modernized with fireproof material, a more moderne look and two new projectors. The theatre is transformed to widescreen projection to present CinemaScope title in 1954. The Magic was closed temporarily for repairs after Thanksgiving shows in 1958. And the Magic’s last act was to vanish.
Theatre Wilbert launched February 3, 1918 and got its name specifically from Antoine Wilbert’s Songs Lumber and Shingle Company which built the theatre though it additionally serves as an homage to the 19th Century Antoine Lambert family and the Wilbert Brothers. It opened with “When a Man’s a Man” with Warren Kerrigan and supported by a Charlie Chaplin short and a Pathé weekly newsreel. The opening was a success and pictures prove this in photos.
Lionel DeLaCroix ran the theatre at opening on a five year lease and renewed. He had started his career renting at the Hope Opera House in 1910 before running silent films there as the Electra Theatre until 1917. He then built the Wilbert. Delacroix was soon affiliated with Saenger Amusement which booked the house. Theatre Wilbert’s initial instrument was a Wurlitzer Style O pipe organ, 2 manuals and 5 ranks that was later sold off. Peter Lawrence Mars of New Orleans did the mural work entitled, “The Dance of the Goddess of Joy.” And all of the bricks were locally sourced from the Plaquemine Brickyard.
Five years later, the theater was electrified and had modern fans at a total cost of installation of $13,000 (the total cost of many small town theaters). The theatre initially costs $82,000 and had swelled to over $100,000 in that period - very unusual for a theater in a town of under 5,000. He equipped the theatre with Vitaphone and Movietone sound in February of 1929 to play talking films. Delacroix opened the Osage Theatre in 1940 - his last. Theatre Wilbert also received a streamline moderne makeover.
Sam Daigre took on the venue in 1948 at Delacroix’s passing. He operated it to closure in 1953 as it was too expensive to convert it to stereo sound and widescreen - and the air conditioning bills too high for such a cavernous auditorium - containing two balconies. It was demolished in January of 1959 for a parking lot.
The Osage Theatre launched March 23, 1940 with Fred McMurray and Barbara Stanwyck in “Cross Country Detroit” supported by a short, “American Saddle Horses.” It burned down prior to its September 14, 1945 showtimes.
The Denham Springs turned briefly Patrician Drive-In is what maps to 402 S. Range Avenue, Denham Springs, LA 70726 in Central D-springs. It launched first of the town’s two ozoners in April 1952. It operated a swimming pool beginning in the 1960 season. In its final season, it relaunched on May 11, 1961 as the Patrician Drive-In “The Magnificent Seven” and “The Conqueror.” The theatre stopped advertising after the July 27, 1961 showing of “Ice Palace.” The swimming pool continued for another season. The site was torn down for a Food Town Grocery Store that opened in 1964.
The Joan Drive-In was southwest of town at what now maps to 1401 Hol-U-Bar Rd, Denham Springs, LA 70726. It operated in the 1952 and 1953 seasons and co-existed with the Denham Springs Drive-In. The Joan opened May 30, 1952 with Audie Murphy in “The Cimarron Kid” & Ronald Reagan in “Bedtime for Bonzo” supported by the Woody Woodpecker cartune, “The Puny Express.” Violet Muse Clark operated it and winds on May 20, 1953 damaged the screen. It was repaired and then seized for failure to pay certain bills. The Joan ended up in a sheriff’s sale auction on July 25, 1953. It completed its second / final year of operation. It was demolished.
The Regina Theatre was a new-build $60,000 venue named for the fourth of operator Joseph A. Barcelona’s daughters, two year old Regina. It opened February 14, 1942 with “Small Town Deb.” It had a streamline moderne appearance in its exterior and interior.
Barcelona had started working in movie theaters at age 14 as a rewinder but elevated to operator when he bought the Gem Theatre in 1927 and renaming it as the the Tivoli Theatre. Under Joseph A. Barcelona Enterprises, he added the Peoples - which he closed in favor of the new-build Istrouma Theatre - the new-build Avenue Theatre and his final theatre here with the Regina.
Barcelona would sublease the Tivoli, Avenue and Istrouma effective on January 3, 1943 to Jefferson J. Rebstock and Roy E. Pfeiffer of Rebstock-Pfeiffer Theaters. He retained the Regina, however. A lawsuit against Rebstock-Pfeiffer by RKO, Loew’s, Paramount and 20th-Fox over box office percentage fraud would change the subleasing deals. Rebstock-Pfeiffer soon split. They ended their subleasing agreements early with Barcelona effective February 4, 1951 and the Tivoli and Avenue were returned to Barcelona Enterprises. (Pfeiffer bought out the Istrouma Theatre for $85k.)
Barcelona now had to figure out how to deal with not only the Regina but the Avenue and the Tivoli in the TV age. He closed the Avenue immediately and followed that with the Tivoli in 1955. In the interim, a massive new-build department store changed the 2500-block of Plank Road when Abbot-Wimberly opened thereAugust 21, 1951. It brough abundant parking in the rear and cash flow to Barcelona. He equipped the Regina with widescreen projection to present CinemaScope films.
The theater drifted under new operators to adult programming and blaxploitation in the 1970s before closing.
The Peoples Theatre of Istrouma / North Baton Rouge at Bayou Sara Road. That theatre operated for more than 10 years as a near neighbor to this address dating back to the silent era with vaudeville between the films. The Peoples had added sound to remain viable. Both the Peoples and the Istrouma were located at Bayou Sara Road (later Scenic Highway). The Peoples stopped advertising after its November 27, 1937 show as the replacement Istrouma Theatre was completing construction.The new theater was likely using some of the same Peoples' equipment.
The new Istrouma Theatre launched on December 5, 1937 with “Top of the Town.” Joseph Barcelona Enterprises moved on from the Peoples which has since been demolished.
The Istrouma Theatre’s genesis dates back to the Peoples Theatre of Istrouma / North Baton Rouge at Bayou Sara Road. That theatre operated for more than 10 years as a near neighbor to this address dating back to the silent era with vaudeville between the films. The Peoples had added sound to remain viable. Both the Peoples and the Istrouma were located at Bayou Sara Road (later Scenic Highway) and Wynadotte. The Peoples stopped advertising after its November 27, 1937 show as the replacement Istrouma Theatre was completing construction. It was likely using some of the same equipment.
The new Istrouma Theatre launched on December 5, 1937 with “Top of the Town.” Joseph Barcelona Enterprises - which operated the Tivoli and Peoples theaters - additionallyhad the Avenue Theatre and the Istrouma Theatres on the drafting table in 1937. At a cost of $14,500, the new Istrouma Theatre was low budget and created from Superock concrete panels. Architect Robert H. Goodman’s exterior sketch showed an austere streamline moderne design. He added Indian portraitures to honor the Houma Indians who are credited with the Istrouma naming. A tight concession stand and rest rooms completed the venue.
Barcelona would add the Regina Theatre in 1942 before subleasing - effective on January 3, 1943 - the Avenue, Tivoli, and Istrouma theaters to Jefferson J. Rebstock and Roy E. Pfeiffer of Rebstock-Pfeiffer Theaters. Those theaters would not make it to the end of the subleasing’s 10-year agreements. RKO, Loew’s, Paramount and 20th-Fox filed separate percentage fraud suits in Federal Court against Rebstock-Pfeiffer which were likely settled out of court. But (or, perhaps, because of that) Rebstock-Pfeiffer would soon split. They ended their subleasing agreement with Barcelona effective February 4, 1951 and the Avenue and Tivoli were returned to Barcelona Enterprises. Pfeiffer bought out the Istrouma Theatre for $85k.
Pfeiffer closed the Istrouma on October 31, 1953. He stated, “Old Man television got me!” Neighboring auto dealership Peterson Chevrolet offered up $70,000 to ease the sting and demolished the building for more space for new vehicles. And there is a lot more information about this theatre including virtually every booking and even a back and forth argument with a minister who criticized the theater’s programming in the 1950s. So removal of the Chuck-attributed, “Not much info available on this theatre” at a minimum could be excised.
Joseph A. Barcelona Enterprises opened the Avenue Theatre in September of 1938. The operator of the Tivoli and Istrouma theaters equipped this house with Super Simplex projection. Robert H. Goodman’s architectural plan was a streamline moderne concept using Superock panels to speed up construction.
Barcelona would add the Regina Theatre in 1942 before subleasing - effective on January 3, 1943 - the Avenue, Tivoli, and Istrouma theaters to Jefferson J. Rebstock and Roy E. Pfeiffer of Rebstock-Pfeiffer Theaters. Those theaters would not make it to the end of the subleasing’s 10-year agreements.
RKO, Loew’s, Paramount and 20th-Fox filed separate percentage fraud suits in Federal Court against Rebstock-Pfeiffer which were likely settled out of court. But (or, perhaps, because of that) Rebstock-Pfeiffer would soon split. They ended their subleasing agreement with Barcelona effective February 4, 1951 and the Avenue and Tivoli were returned to Barcelona Enterprises. Pfeiffer bought out the Istrouma Theatre for $85k.
Barcelona continued operation of the Avenue Theatre for less than two months. He closed the Avenue and reopened the Tivoli in March of 1951. The Avenue became the Calvary Assembly of God church in 1952. It has since been demolished.
The Kunz Brothers opened the 300-seat Grand Theatre on the North Side of the Square on May 7, 1910. The venue added a 2,000 pound plate glass mirror screen to have a bright, larger than life screen - 10' x 14'. Co-Owner Adolph F. Kunz said the screen cost $500. The Kunz’s programming was different - very much one of a pre-art film approach in which anything involving world exploration would play there. The Kunzs appreciated the ability of film to present the wider global society to their audience - which was apparently never that large.
In 1912, Kunz said of the movie theater industry, “I think the nickel show will disappear.” He envisioned dime and quarter movie houses with “better and more expensive (movies) will be in demand all the time;” these longer films would allow people to spend hours at the theatre instead of a single hour or less. He suggested that the movie theater would be more important to communities than live stage opera houses.
Kunz also added a phone to be one of the first movie theaters in Springfield that you could call for showtimes. The Boys Candy store at 525 E. Washington was the de facto concession stand for the Grand. It’s safe to say that the Kunz Brothers, Edward and Adolph, understood the exhibition business model; but were not in a position with a single, non-capacity house to be leaders like Gus Kerasotes was. And the movies stopped in October of 1916 as the Grand scuffled against better theaters.
The venue became a retail furniture store for Westenberg Furniture and the building remained a retail spot until the early 1970s. Kunz continued in retail clothing sales until closing January 11, 1930 and passed the store to a competitor. But the location was probably best known for bargain shoes and a long-running Thom McAn shoe store through January of 1972. Likely just as well that they moved to new digs as not that long after the vacant building just gave up on July 21, 1972 self-demolishing in a collapse that injured nobody. The glass mirror screen, if still in the venue, would have undoubtedly been damaged beyond repair.
The Pekin Theater’s Dec. 7, 1914 Grand Opening ad with two episodes of “Lucille Love, Girl of Mystery” starring Grace Cunard, in photos. The Pekin did not covert to sound and switched to public affairs live programming - meetings, boxing and talent shows into the 1940s.
After the War, it became two different nightclubs: first the Pioneer Club and then the Savoy Club. In the 1950s, it became a funeral parlor. In the 1960s, a house of worship. In 1965, the City used urban renewal to condemn the entire area including 813 E. Wash. to ensure that the commercial and social heart of the African American community in Springfield - which wasn’t in particularly good shape - was severed and could not mount a comeback.
Mid-America Cinema Corp. closed the venue following the September 5, 1983 double feature of “Octopussy” and “Pink Floyd The Wall.” The venue continued as The Giant Flea Market to 1986.
Gus Kerasotes took on the Royal and the four-year old Savoy on February 16, 1913. The Savoy closed unable to convert to sound after the February 24, 1930 with Ken Maynard in “Seňor Americano.”
Sort of interesting to have two different listings in the database with the same photo. Good news: they didn’t move the theatres physically but they did do a name swap. Harry T. Loper’s entry into the movie industry was unusual by any standard. During Springfield’s Race War Riot of August 14, 1908, Loper’s Restaurant located at this address was set ablaze in fatal fire that ended his restaurant. How bad was the situation? The Governor intervened and had reinforcements from Lincoln, Bloomington, Normal, Peoria, Pekin, and Taylorville deployed. And as an odd footnote, Loper - who was trying to mitigate the violence based on his experiences in another city.
So with the restaurant gone and with that incident on file, in 1909, Loper opened the Lyric Theatre with nickel movies. (The 223-225 South Fifth Street location was where his restaurant once was.) Above the Lyric was a popular dance hall, the Lyric Dance Hall. Loper found success and said he enjoyed this business far more than that of the restaurant industry.
Across the street was the Vaudette Theatre (#2). Basically, the Vaudette bebopped across the street displacing the Lyric here at 223-225 S. Fifth Street. It was the third and final Vaudette location for Springfield. (The original Vaudette - a vaudeville theatre - had opened on Sixth Street in 1904 and appears to have closed quickly. ) So what happened across the street at the former Vaudette locale of 216-218? The venue received a brand new Mark Evans-create terra cotta front as the New Lyric Theatre. A swap.
W.W. Watts opened here removing the pillars The Vaudette became a lower tier, discount sub-run double feature house here at 223-225 S. Fifth Street displacing the Lyric Theatre to now become a 550-seat venue effective at its relaunch on September 26, 1920 to the plans of Samuel A. Bullard of Bullard & Bullard Architects and likely on a ten year leasing agreement. So what happened at the former Vaudette locale of 216-218 S. Fifth? Harry P. Loper reopened there on July 31, 1920 with a terra cotta front as the New Lyric Theatre. (It would become the Tivoli Theatre which has its own Cinema Treasure listing.)
At this location, the inherited occupant upstairs - the Lyric Dance Hall retained its name not accepting the new Vaudette’s moniker - take that. A bit confusing though to have the Lyric Dance Hall not above the Lyric Theatre and Karma occurred as the Dance Hall was gutted by a fire on January 21, 1921.
Effective on November 4, 1928, Dominic Frisina’s Frisina Amusement took on the Vaudette, the Lyric and the Princess to make the transition to sound with Movietone equipment. On October 22, 1929, Fox Theatres took over 14 Frisina locations including the Vaudette, Princess and Tivoli. The slightly rebranded Fox Vaudette closed on May 30, 1930 at the end of its 20-year leasing agreement. Their final ad (in photos) read, “Say Goodby in a blaze of dazzling glory with Bebe Daniels in “Rio Rita.” The location was transformed into a W.T. Grant variety store (1930-1965) followed by a Thrifty Drug store with cafeteria. And I would say still standing although nothing is original.
Entry should be the Vaudette Theatre formerly known as the New Vaudette Theater, the Fox Vaudette Theatre, and the Lyric Theatre.
The Tivoli was a movie house that housed two other major venues in a 44-year time span. The original Vaudette - a vaudeville theatre - had opened on Sixth Street in 1904 and appears to have closed quickly. The second of three homes for the unrelated Vaudette “#2” was here when it opened in October 1908. It closed in the Summer of 1910 doubling its size as it took over the neighboring retail storefront at its reboot.
The Vaudette scooted across the street to 223 S. Fifth Street displacing the Lyric Theatre to now become a 550-seat venue effective at its relaunch on September 26, 1920 to the plans of Bullard & Bullard and likely on a ten year leasing agreement. So what happened here at the former Vaudette locale of 216-218? The venue received a brand new Mark Evans-create terra cotta front (see picture above) to the plans of noted architect George Barrington Helmle of Helmle & Helmle Architects. Harry P. Loper reopened on July 31, 1920 as the - why not - Lyric Theatre (#2). The Beaux-Arts styled theatre wowed at launch.
Across the street, the Lyric Dance Hall retained its name above the Vaudette - take that. It seems a bit confusing, though, to have the Lyric Dance Hall not above the Lyric Theatre and karma occurred as the Dance Hall was gutted by a fire on January 21, 1921. Effective on November 4, 1928, Dominic Frisina’s Frisina Amusement took on the Vaudette, the Lyric and the Princess to make the transition to sound with Movietone equipment. Frisina gave the Tivoli a more moderne look under the Tivoli nameplate relaunching on July 27, 1929 with “On With the Show.” That show and operation didn’t go on long, lasting just three months.
On October 22, 1929, Fox Theatres took over 14 Frisina locations including the Vaudette, Princess and Tivoli. The slightly rebranded Fox Tivoli lasted until 1934 when Fox, in bankruptcy, reorganized. Frisina Amusements was back in charge and gave the Tivoli Theatre a minor refresh in November of 1935. The Tivoli was pushed back to third-tier status. On May 7, 1952 it played an exploitation double feature of “Marijuana” and “Confessions of a Model.” Frisina moved on and the theatre was torn out in April of 1954 as it transitioned to retail. After a period of vacancy, the former Vaudette “2” (1908-1920), New Lyric / Lyric “2” (1920-1929), Tivoli / Fox Tivoli (1929-1952) was demolished at a cost of $8,500 in April of 1983.
Harris Hickox, Jr. opened the Vogue Theatre on the West side of the square on April 1, 1914 with “Wolves of the Underworld” and a “Mutual Weekly” newsreel. The short-lived venue closed on August 5, 1917 with Charlie Chaplin in “The Immigrant.” Woolworth’s expanded into the space operating 50 years and going out of business there on December 24, 1968
The World’s Dream Theatre opened here as an early Springfield nickelodeon. It opened March 14, 1908 presumably on a 10-year leasing agreement with highlights from the Jimmy Britt and Fighting Nelson boxing match. The Casino Theatre had opened as an outdoor theater as part of the White City Amusement Park in 1908. So successful was it that indoor digs were found right here. The Casino bumped the World’s Dream and was operated by John Kargin and George Mills.
Leo Burnstine and George Shepherd ran it to the end of the 10-year leasing agreement during WWI; but they closed before War’s end as the pair moved on to more modern theaters.
The Capitol Airdome opened at Capitol and Sixth with seating for 1,800 folks on May 28, 1910. Isadore Burnstine and William Evans decided that a hardtop Capitol might be the ticket and created the Capital Theatre which would run on a (likely) 25-year leasing agreement 1912 to 1937. Burnstein lost Evans and Gaines partner Joseph W. Shepherd transformed the Capital from a nickelodeon to a more then-current era theatre now with an “o” as Capitol (likely they ordered a modern sign and it had that spelling). The pair also took on the AmuseU and Empire theaters.
Frisina Amusement Circuit acquired the location effective on June 7, 1931 giving it a new look and equipping it with a contemporary sound system. Frisina ended the Capitol’s run on April 25, 1937 for a significant upgrade - keeping - reportedly - just the walls of the theatre. The new streamline moderne State Theatre was designed by architect Carl T. Meyer (sketch in photos). The State Theatre launched December 2, 1937 with “You Can’t Have Everything.”
The State closed on July 1, 1960 with “Jukebox Rhythm” and “Curse of the Demon” along with the hopeful message, “Watch for Reopening.” That was a long way off. It was listed for sale or lease with real estate ads for about 10 years.
So after that much vacancy, it was time for the State to really earn its stripes. American Amusement Co. of Durand, Michigan - the most prolific purveyor of porno chic cinema in the United States - reopened here on May 26, 1970. The first double feature was Tony Curtis in “On My Way to the Crusades, I Met a Girl Who….” followed by an unnamed film that Lad Nelson of American claimed was an “acceptable picture….” but only for those over 18. And probably not that acceptable.
It finally ended on January 30, 1986 with that final two advertised films of Michelle Bauer in “Night Dreams” and “Dixie Ray: Hollywood Star.” The lease was terminated and the building demolished in 1986 with the former State Theatre joining the parking brigade. CT Corp. of Chicago carried on with Cinema Springfield - the capitol city’s exclusive adult film house. The Durand, Michigan folks would retain its Land of Lincoln presence taking it over and rebranding it to its Deja Vu moniker.
This is the wrong address and name of the ozoner. Percy Duplissey built the Surf Twin Drive-In Theatre about a mile from Southern Amusement’s Round-Up Drive-In Theatre. The idea was to out screen the venue. But six months after opening, Southern bought out the venue. Meanwhile, Walter’s Gaurino’s Open Air Theatres Inc. was opening the New Moon Twin Drive-In.
The Surf Twin was located at your choice of 1001 9th Avenue or 2450 Broad Street. The address currently listed here is for the single-screen Round-Up Drive-In a mile away. The Surf Twin reportedly opened May 2, 1953 and was the first of the venues to drop by the wayside in the early 1960s.
The Midway launched Feb. 26, 1951 with “Summer Stock” (ad in photos). It was still being used for church services in 1972. It maps to: 3610 Highway 90 Westlake, LA 70669
C&C Enterprises opened the Ritz in November of 1934. Southern Amusements took on the venue. It eventually closed here on March 30, 1952. The Ritz became a church in 1954.
The Arcade opened September 26, 1910 with Mr. and Mrs. Sydney in the live play, “Billy.” Designed as an opera house, the venue scuffled in the town of 11,500. In late August 1912, Josiah Pearce & Sons, an early New Orleans circuit of movie theaters, closed deals in Houston and here to convert failing opera houses into movie theaters with a live vaudeville component. It relaunched for films on September 2, 1912 with Mary Pickford in “An Indian Summer,” supported by “The Greed for Gold” and Francesca Bertini in “The Wandering Minstrel.”
Southern Amusements took on the venue and dominated the growing Lake Charles movie marketplace with the four major movie theatres in 1916. A fatal $1 million fire in Lake Charles on December 1, 1925 likely should have ended the Arcade save the efforts of the local firefighting team - despite losing three firefighters that day. The theatre reopened quickly and Southern Amusement would convert the theaters to sound later in the decade. By the 1950s, Southern had the Paramount, the Arcade, the Lake and both the Round-Up and Surf drive-ins. The Paramount was converted to widescreen for presenting CinemaScope titles in 1954 and the fading Arcade was not. It was a portent of things to come.
An exposé by one of the local newspapers questioned what appeared to be overly favorable taxing valuations for the aging theaters. While good journalism, a more contemporary view would suggest that the valuations of the late 1950s were based on a combination of the fading prospects for dying movie theaters and the tremendous costs associated with redeveloping them for other retail uses. The combination of drive-ins and suburban theaters offering newer technology, better seating and ample free parking had pretty much decimated downtown movie theaters - especially in a growing city like Lake Charles.
The Arcade fit the bill as Southern closed the Arcade at the end of lease on March 30, 1956 with “Lady & the Tramp.” The theatre was dormant until used by a non-profit Lake Charles Little Theatre beginning December of 1960 for stage plays. That lasted regularly until the April 30, 1967 staging of “Alice!” As part of the Downtown Mall urban renewal, the theatre had many fewer events. But the Arcade’s listing in 1978 on the National Register of Historic Places helped secure a renovation in the mid-1980s.
On Thanksgiving Day 1985 - days prior to the 60th Anniversary of the fatal fire that could have ended the Arcade in 1925, two fire calls were placed. The first fire was quickly extinguished. The second took out the theatre which was undergoing renovations. The venue was delisted on July 22, 2016 but the Arcade Theatre, Miller Building, the Paramount and the Weber Building are commemorated by a historical marker in honor of the fallen building.
There were two (or three) Magic Theatre locations. The newest one opened in 1950 and was a quonset hut with a false front. That newer one appears to have been demolished as it is basically where the new City Hall is. It was used as a fraternal hall by the Longshoreman local #1830 after the theater left. There is a building listed in 1943 as the “old” Magic Theatre indicating a potential of three locations for the Edith turned Magic Theatre.
The Edith Theatre in Port Allen dates back to the early silent era of film exhibition. It was equipped for sound to remain viable. It transferred from J. T. McDermctt to W. H. Tastay to J. T. McDermctt during the Depression with Tastay renaming the venue as the Magic Theatre in 1933. It was modernized with fireproof material, a more moderne look and two new projectors. The theatre is transformed to widescreen projection to present CinemaScope title in 1954. The Magic was closed temporarily for repairs after Thanksgiving shows in 1958. And the Magic’s last act was to vanish.
The Rosso dates back to the silent era and converted to sound in May of 1930.
Theatre Wilbert launched February 3, 1918 and got its name specifically from Antoine Wilbert’s Songs Lumber and Shingle Company which built the theatre though it additionally serves as an homage to the 19th Century Antoine Lambert family and the Wilbert Brothers. It opened with “When a Man’s a Man” with Warren Kerrigan and supported by a Charlie Chaplin short and a Pathé weekly newsreel. The opening was a success and pictures prove this in photos.
Lionel DeLaCroix ran the theatre at opening on a five year lease and renewed. He had started his career renting at the Hope Opera House in 1910 before running silent films there as the Electra Theatre until 1917. He then built the Wilbert. Delacroix was soon affiliated with Saenger Amusement which booked the house. Theatre Wilbert’s initial instrument was a Wurlitzer Style O pipe organ, 2 manuals and 5 ranks that was later sold off. Peter Lawrence Mars of New Orleans did the mural work entitled, “The Dance of the Goddess of Joy.” And all of the bricks were locally sourced from the Plaquemine Brickyard.
Five years later, the theater was electrified and had modern fans at a total cost of installation of $13,000 (the total cost of many small town theaters). The theatre initially costs $82,000 and had swelled to over $100,000 in that period - very unusual for a theater in a town of under 5,000. He equipped the theatre with Vitaphone and Movietone sound in February of 1929 to play talking films. Delacroix opened the Osage Theatre in 1940 - his last. Theatre Wilbert also received a streamline moderne makeover.
Sam Daigre took on the venue in 1948 at Delacroix’s passing. He operated it to closure in 1953 as it was too expensive to convert it to stereo sound and widescreen - and the air conditioning bills too high for such a cavernous auditorium - containing two balconies. It was demolished in January of 1959 for a parking lot.
Architect Douglass V. Freret
The Osage Theatre launched March 23, 1940 with Fred McMurray and Barbara Stanwyck in “Cross Country Detroit” supported by a short, “American Saddle Horses.” It burned down prior to its September 14, 1945 showtimes.
This is two different drive-ins.
The Denham Springs turned briefly Patrician Drive-In is what maps to 402 S. Range Avenue, Denham Springs, LA 70726 in Central D-springs. It launched first of the town’s two ozoners in April 1952. It operated a swimming pool beginning in the 1960 season. In its final season, it relaunched on May 11, 1961 as the Patrician Drive-In “The Magnificent Seven” and “The Conqueror.” The theatre stopped advertising after the July 27, 1961 showing of “Ice Palace.” The swimming pool continued for another season. The site was torn down for a Food Town Grocery Store that opened in 1964.
The Joan Drive-In was southwest of town at what now maps to 1401 Hol-U-Bar Rd, Denham Springs, LA 70726. It operated in the 1952 and 1953 seasons and co-existed with the Denham Springs Drive-In. The Joan opened May 30, 1952 with Audie Murphy in “The Cimarron Kid” & Ronald Reagan in “Bedtime for Bonzo” supported by the Woody Woodpecker cartune, “The Puny Express.” Violet Muse Clark operated it and winds on May 20, 1953 damaged the screen. It was repaired and then seized for failure to pay certain bills. The Joan ended up in a sheriff’s sale auction on July 25, 1953. It completed its second / final year of operation. It was demolished.
The Regina Theatre was a new-build $60,000 venue named for the fourth of operator Joseph A. Barcelona’s daughters, two year old Regina. It opened February 14, 1942 with “Small Town Deb.” It had a streamline moderne appearance in its exterior and interior.
Barcelona had started working in movie theaters at age 14 as a rewinder but elevated to operator when he bought the Gem Theatre in 1927 and renaming it as the the Tivoli Theatre. Under Joseph A. Barcelona Enterprises, he added the Peoples - which he closed in favor of the new-build Istrouma Theatre - the new-build Avenue Theatre and his final theatre here with the Regina.
Barcelona would sublease the Tivoli, Avenue and Istrouma effective on January 3, 1943 to Jefferson J. Rebstock and Roy E. Pfeiffer of Rebstock-Pfeiffer Theaters. He retained the Regina, however. A lawsuit against Rebstock-Pfeiffer by RKO, Loew’s, Paramount and 20th-Fox over box office percentage fraud would change the subleasing deals. Rebstock-Pfeiffer soon split. They ended their subleasing agreements early with Barcelona effective February 4, 1951 and the Tivoli and Avenue were returned to Barcelona Enterprises. (Pfeiffer bought out the Istrouma Theatre for $85k.)
Barcelona now had to figure out how to deal with not only the Regina but the Avenue and the Tivoli in the TV age. He closed the Avenue immediately and followed that with the Tivoli in 1955. In the interim, a massive new-build department store changed the 2500-block of Plank Road when Abbot-Wimberly opened thereAugust 21, 1951. It brough abundant parking in the rear and cash flow to Barcelona. He equipped the Regina with widescreen projection to present CinemaScope films.
The theater drifted under new operators to adult programming and blaxploitation in the 1970s before closing.
The Peoples Theatre of Istrouma / North Baton Rouge at Bayou Sara Road. That theatre operated for more than 10 years as a near neighbor to this address dating back to the silent era with vaudeville between the films. The Peoples had added sound to remain viable. Both the Peoples and the Istrouma were located at Bayou Sara Road (later Scenic Highway). The Peoples stopped advertising after its November 27, 1937 show as the replacement Istrouma Theatre was completing construction.The new theater was likely using some of the same Peoples' equipment.
The new Istrouma Theatre launched on December 5, 1937 with “Top of the Town.” Joseph Barcelona Enterprises moved on from the Peoples which has since been demolished.
The Istrouma Theatre’s genesis dates back to the Peoples Theatre of Istrouma / North Baton Rouge at Bayou Sara Road. That theatre operated for more than 10 years as a near neighbor to this address dating back to the silent era with vaudeville between the films. The Peoples had added sound to remain viable. Both the Peoples and the Istrouma were located at Bayou Sara Road (later Scenic Highway) and Wynadotte. The Peoples stopped advertising after its November 27, 1937 show as the replacement Istrouma Theatre was completing construction. It was likely using some of the same equipment.
The new Istrouma Theatre launched on December 5, 1937 with “Top of the Town.” Joseph Barcelona Enterprises - which operated the Tivoli and Peoples theaters - additionallyhad the Avenue Theatre and the Istrouma Theatres on the drafting table in 1937. At a cost of $14,500, the new Istrouma Theatre was low budget and created from Superock concrete panels. Architect Robert H. Goodman’s exterior sketch showed an austere streamline moderne design. He added Indian portraitures to honor the Houma Indians who are credited with the Istrouma naming. A tight concession stand and rest rooms completed the venue.
Barcelona would add the Regina Theatre in 1942 before subleasing - effective on January 3, 1943 - the Avenue, Tivoli, and Istrouma theaters to Jefferson J. Rebstock and Roy E. Pfeiffer of Rebstock-Pfeiffer Theaters. Those theaters would not make it to the end of the subleasing’s 10-year agreements. RKO, Loew’s, Paramount and 20th-Fox filed separate percentage fraud suits in Federal Court against Rebstock-Pfeiffer which were likely settled out of court. But (or, perhaps, because of that) Rebstock-Pfeiffer would soon split. They ended their subleasing agreement with Barcelona effective February 4, 1951 and the Avenue and Tivoli were returned to Barcelona Enterprises. Pfeiffer bought out the Istrouma Theatre for $85k.
Pfeiffer closed the Istrouma on October 31, 1953. He stated, “Old Man television got me!” Neighboring auto dealership Peterson Chevrolet offered up $70,000 to ease the sting and demolished the building for more space for new vehicles. And there is a lot more information about this theatre including virtually every booking and even a back and forth argument with a minister who criticized the theater’s programming in the 1950s. So removal of the Chuck-attributed, “Not much info available on this theatre” at a minimum could be excised.
Joseph A. Barcelona Enterprises opened the Avenue Theatre in September of 1938. The operator of the Tivoli and Istrouma theaters equipped this house with Super Simplex projection. Robert H. Goodman’s architectural plan was a streamline moderne concept using Superock panels to speed up construction.
Barcelona would add the Regina Theatre in 1942 before subleasing - effective on January 3, 1943 - the Avenue, Tivoli, and Istrouma theaters to Jefferson J. Rebstock and Roy E. Pfeiffer of Rebstock-Pfeiffer Theaters. Those theaters would not make it to the end of the subleasing’s 10-year agreements.
RKO, Loew’s, Paramount and 20th-Fox filed separate percentage fraud suits in Federal Court against Rebstock-Pfeiffer which were likely settled out of court. But (or, perhaps, because of that) Rebstock-Pfeiffer would soon split. They ended their subleasing agreement with Barcelona effective February 4, 1951 and the Avenue and Tivoli were returned to Barcelona Enterprises. Pfeiffer bought out the Istrouma Theatre for $85k.
Barcelona continued operation of the Avenue Theatre for less than two months. He closed the Avenue and reopened the Tivoli in March of 1951. The Avenue became the Calvary Assembly of God church in 1952. It has since been demolished.
The Gordon opened July 3, 1951 with Excuse My Dust.