Built in 1912, the Amuzu lasted until the end of 1952 likely doing two 20 year leases. On April 6, 1930, the theater got Photophone sound equipment to enter the talking picture era.
The Rialto Theatre opened April 19, 1918 with J. Warren Kerrigan in “A Man’s Man”. It was designed by local architectural firm Kraetsch & Kraetsch with the Younker Bros. known for their Younker’s Department Stores doing the interior design along with A. Jasinski. Though Wm. Knudson was the contractor, Winkle Terra Cotta of St. Louis provided the distinctively tinted terra cotta front.
S. Nelson Roper opened at the Robert Morton Symphony Orchestral Organ. Pathé and Goldwyn films were block booked at the Rialto, nicknamed “The Temple of the Silent Art.” With abundant competition from the Strand, Des Moines and others, the “temple” quickly was outmoded and outmarketed.
On January 1, 1922, the Rialto rebranded from the “Temple of the Silent Art” to the “House of Proven Successes: The Finest for the Least” or a sub-run house. The Rialto would continue to struggle unable to complete its ten-year lease. The Rialto Theatre was closed February 14, 1926 with Natacha Rambova in “When Love Grows Cold”. It has since been demolished.
Fred H. Rike opened the Feature Theatre on December 20, 1915 at 214 North Kentucky St.in McKinney. The Brockman Brothers – Tom S. and Roy L. – took over the struggling theatre and after a quick remodel in June of 1916 reopened it as the Queen Theatre on Jun 17, 1916. In 1922, the Brockmans took the Queen equipment and signage to Frisco to open the Queen Theatre there. The Brockmans sold the Queen to E.L. Black or his brother. Black sold it to John T. Northcutt. Northcutt then sold it to E.L. Black in 1927. Black sold it again – but when the stock market collapsed – the new owners seemed to flounder so Black got it back. The theater appears to fulfill a ten-year lease and close.
Robboehm – Not really dangling as I can’t add pictures or continue threads on theaters not in the database. The Queen of Frisco isn’t in the CT-DB today (I can’t add theaters); so I did the best that I could for you – just added a picture of the E.L. Black run Frisco Theatre here in the McKinney entry. The Brockmans sold the Queen to John T. Northcutt. Northcutt then sold it to E.L. Black in 1927. Black sold it – but when the stock market collapsed – the new owners seemed to flounder so Black got it back. Sorry to dangle.
The Jerry Lewis Cinema was called that for less than one year changing names to the Westgate Cinema in March of 1973 when the Lewis brand was cratering. Later, the Westgate Cinema was operated by William B. Boren’s fledgling circuit consisting of the Eastgate Cinema in Garland, the Wilshire Showcase I & II in Euless, Cineworld 4 and Lancaster Showcase in Fort Worth and two theaters in Blackwell, OK.
Last show was October 9, 1963. Fire closed the theatre which became eyesore and partially demo’d October 1964 then completed after controversy in December 1966.
This theater was the Arcade Theatre by Mr. and Mrs. E. Black. It was purchased by the operators of the neighboring Texas Theatre and nearby Pope Theatre. In 1936, it was remodeled and renamed the State Theatre. The State went out of business on December 29, 1951 sith a double feature of “The Mysterious Rider” and “Flying Disc Man.”
Architected by Lang & Witchell with opening date of June 16, 1913 (or June 14, 1913 – which was advertised but apparently delayed) on North Kentucky Street on the West side of the square. Three people managed the Pope in its run: L.D. Perkins, Charles Kimble and Roy Brockton, Sr.
On June 5, 1945, Mr. and Mrs. Shipman Bullard remodeled the Pope Theatre and reopened it as the Rio Theatre. The theater struggled in the TV era taken over by its last owner, C.D. Barnes. A minor fire early in 1956 caused minor damage fire and a fire on April 18, 1956 appears to end the Rio Theater’s operation despite the building holding up well to the blaze. The building stood vacant for seven years before being razed in 1963.
The short-lived Columbia Air Dome which, along with the Columbia Theatre, were both purchased by Charles Kimball — operator of the Pope Theatre, the Happy Hour Theatre and Happy Hour Airdome. The Columbia Theatre became the Interurban station stop on North Kentucky in downtown late in 1914 after being demolished. Both Columbia operations' equipment was sent to Farmersville, TX.
Fred H. Rike opened the Feature Theatre on December 20, 1915 at 214 North Kentucky St. The Brockman Brothers – Tom S. and Roy L. – took over the struggling theatre and after a quick remodel in June of 1916 reopened it as the Queen Theatre on Jun 17, 1916. In 1922, the Brockmans took the Queen equipment and signage to Frisco to open the Queen Theatre there ending the Queen’s run in Fall of 1922.
Built by T.R. North as the Adel Opera House in 1903 and launching with a live comedy March 21, 1904 at 911 Court Street. It was mostly live and when the Palace Theatre launched as a movie house in 1914 on Main Street, films became more frequent at the opera house. Stitt Wilson made an impassioned plea on behalf of the suffrage movement and the National Woman’s Party apparently getting many converts for women’s right to vote at the Adel in May of 1916. When the Opera House switched to full time movie exhibition in 1921, the opera house became the Rialto Theatre.
The Rialto had a popular bank night in the Depression era that became subject of a lawsuit before being discontinued. In the television era, it was converted to widescreen films in 1956. But soon after, it was destroyed by fire on May 27, 1956 ending its service or more than 50 years. It was replaced by the Ben Franklin store which had a long run in Adel. Pictures of the Rialtos in photos.
The Film Guild Cinema launched February 1, 1929 with “Two Days.” It was conceptualized by Symon Gould – one of two people along with Michael Mindlin commonly cited for the art film movement shown in decidedly non-palatial diminutive theater – and architected by Frederick Kiesler. His sketches including the four screen concept is in photos. On May 14, 1930, the theatre changed to the Eighth Street Playhouse. It announced just one month later that it would usher in early experimental television as part of its programming mission.
Micahel Mindlin’s fledgling circuit of theaters were anti-palace and frowned upon Hollywood mainstream fare. Starting a small cinema, art movement, Mindlin’s most important stake in the ground was the Carnegie “Junior”. Though Mindlin had theaters in Brooklyn, Rochester and Buffalo, the Carnegie was the most high profile.
The modernity of the original Carnegie “junior” upon opening in 1928 was reflected in the architecture of Wolfgang Hoffman, decoration of Pola Hoffman, and staging and design from Beatrice D. Mindlin, the Carnegie was a place not only to watch a film but to dance, play bridge, chess and ping pong, and for some period have a cocktail.
But within a year, new controlling operators sacked Mindlin who also would exit his other locations. While the art cinema movement would eventually catch on, Mindlin’s control was no longer in evidence.
The $400,000 John W. Schladitz architected Queensboro was a very modest $400,000 theatre seating 2,012 at opening – 1,365 downstairs, 56 in the loge with the rest in the balcony. Schlalditz was said to have been trying to recreate a Spanish medieval castle with Italian influences popular in atmospheric theaters of the day. But murals throughout were Spanish landscapes and of the area. Silver ceiling had twinkling star effect. The Link 3-unit organ was installed for maximum versatility and demonstrated at opening in 1928. Scenic Studio and Novelty Scenic Studio both did great jobs in getting the stage and the rest of the house’s furnishing staged appropriately for impact at opening.
Opened Nov. 4, 1927, Saenger Amusement and Dent Theaters created the Arcadia to be an experimental workshop to perfect theater management skills. Built for just $95,000, the theatre put another 50% into equipment including top of the line Simplex projectors, Brenkert spotlights, dual-dissolving lantern projection for pre-show, and a large Renter 12-pipe organ with echo organ and a multitude of instruments.
The Mediterranean garden themed atmospheric interior was punctuated with six different colors of chairs (orchid, cafe-au-lait, green, Chinese Red, sky blue, desert sand and black) to add to its creative flair. Wrought iron was found everywhere from lighting fixtures to mirrors to poster frames to railing. The rustic tree stump sign out front was another quirky calling card supported by railroad ties and featuring a high-tech one-line scrolling text attractor.
The neighborhood Arcadia and Dent would get a plum when the Queen Theatre decided to discontinue a foray as Dallas' first theater to equip for Vitaphone. The management wasn’t pleased with the quality or the release schedule leaving the door open for another Vitaphone theater. When the downtown theater passed, the Arcadia became the Vitaphone theater. Its success would quickly be imitated by the all of the downtown palaces almost instantly except for the Queen.
Two fires would change the course of the original W. Scott Dunne look. One in 1940 leading to a new auditorium in 1941 and the final in 2006 leading to the demolition of the Arcadia.
Built in 1912, the Amuzu lasted until the end of 1952 likely doing two 20 year leases. On April 6, 1930, the theater got Photophone sound equipment to enter the talking picture era.
The Rialto Theatre opened April 19, 1918 with J. Warren Kerrigan in “A Man’s Man”. It was designed by local architectural firm Kraetsch & Kraetsch with the Younker Bros. known for their Younker’s Department Stores doing the interior design along with A. Jasinski. Though Wm. Knudson was the contractor, Winkle Terra Cotta of St. Louis provided the distinctively tinted terra cotta front.
S. Nelson Roper opened at the Robert Morton Symphony Orchestral Organ. Pathé and Goldwyn films were block booked at the Rialto, nicknamed “The Temple of the Silent Art.” With abundant competition from the Strand, Des Moines and others, the “temple” quickly was outmoded and outmarketed.
On January 1, 1922, the Rialto rebranded from the “Temple of the Silent Art” to the “House of Proven Successes: The Finest for the Least” or a sub-run house. The Rialto would continue to struggle unable to complete its ten-year lease. The Rialto Theatre was closed February 14, 1926 with Natacha Rambova in “When Love Grows Cold”. It has since been demolished.
Fred H. Rike opened the Feature Theatre on December 20, 1915 at 214 North Kentucky St.in McKinney. The Brockman Brothers – Tom S. and Roy L. – took over the struggling theatre and after a quick remodel in June of 1916 reopened it as the Queen Theatre on Jun 17, 1916. In 1922, the Brockmans took the Queen equipment and signage to Frisco to open the Queen Theatre there. The Brockmans sold the Queen to E.L. Black or his brother. Black sold it to John T. Northcutt. Northcutt then sold it to E.L. Black in 1927. Black sold it again – but when the stock market collapsed – the new owners seemed to flounder so Black got it back. The theater appears to fulfill a ten-year lease and close.
Robboehm: I think I’m an idiot! I had no idea I could add a theatre.
Robboehm – Not really dangling as I can’t add pictures or continue threads on theaters not in the database. The Queen of Frisco isn’t in the CT-DB today (I can’t add theaters); so I did the best that I could for you – just added a picture of the E.L. Black run Frisco Theatre here in the McKinney entry. The Brockmans sold the Queen to John T. Northcutt. Northcutt then sold it to E.L. Black in 1927. Black sold it – but when the stock market collapsed – the new owners seemed to flounder so Black got it back. Sorry to dangle.
The Jerry Lewis Cinema was called that for less than one year changing names to the Westgate Cinema in March of 1973 when the Lewis brand was cratering. Later, the Westgate Cinema was operated by William B. Boren’s fledgling circuit consisting of the Eastgate Cinema in Garland, the Wilshire Showcase I & II in Euless, Cineworld 4 and Lancaster Showcase in Fort Worth and two theaters in Blackwell, OK.
Last show was October 9, 1963. Fire closed the theatre which became eyesore and partially demo’d October 1964 then completed after controversy in December 1966.
This theater was the Arcade Theatre by Mr. and Mrs. E. Black. It was purchased by the operators of the neighboring Texas Theatre and nearby Pope Theatre. In 1936, it was remodeled and renamed the State Theatre. The State went out of business on December 29, 1951 sith a double feature of “The Mysterious Rider” and “Flying Disc Man.”
Architected by Lang & Witchell with opening date of June 16, 1913 (or June 14, 1913 – which was advertised but apparently delayed) on North Kentucky Street on the West side of the square. Three people managed the Pope in its run: L.D. Perkins, Charles Kimble and Roy Brockton, Sr.
On June 5, 1945, Mr. and Mrs. Shipman Bullard remodeled the Pope Theatre and reopened it as the Rio Theatre. The theater struggled in the TV era taken over by its last owner, C.D. Barnes. A minor fire early in 1956 caused minor damage fire and a fire on April 18, 1956 appears to end the Rio Theater’s operation despite the building holding up well to the blaze. The building stood vacant for seven years before being razed in 1963.
The short-lived Columbia Air Dome which, along with the Columbia Theatre, were both purchased by Charles Kimball — operator of the Pope Theatre, the Happy Hour Theatre and Happy Hour Airdome. The Columbia Theatre became the Interurban station stop on North Kentucky in downtown late in 1914 after being demolished. Both Columbia operations' equipment was sent to Farmersville, TX.
Silent-era theater run by R&R and Roy L. Brockman that opened in 1917 and closed in 1928. Demolished in 1928 for the long-running. Ritz Theatre
Fred H. Rike opened the Feature Theatre on December 20, 1915 at 214 North Kentucky St. The Brockman Brothers – Tom S. and Roy L. – took over the struggling theatre and after a quick remodel in June of 1916 reopened it as the Queen Theatre on Jun 17, 1916. In 1922, the Brockmans took the Queen equipment and signage to Frisco to open the Queen Theatre there ending the Queen’s run in Fall of 1922.
Architected by Lang & Witchell
Architected by Lang & Witchell
Correction: Lang & Witchell architects
Built by T.R. North as the Adel Opera House in 1903 and launching with a live comedy March 21, 1904 at 911 Court Street. It was mostly live and when the Palace Theatre launched as a movie house in 1914 on Main Street, films became more frequent at the opera house. Stitt Wilson made an impassioned plea on behalf of the suffrage movement and the National Woman’s Party apparently getting many converts for women’s right to vote at the Adel in May of 1916. When the Opera House switched to full time movie exhibition in 1921, the opera house became the Rialto Theatre.
The Rialto had a popular bank night in the Depression era that became subject of a lawsuit before being discontinued. In the television era, it was converted to widescreen films in 1956. But soon after, it was destroyed by fire on May 27, 1956 ending its service or more than 50 years. It was replaced by the Ben Franklin store which had a long run in Adel. Pictures of the Rialtos in photos.
Warner Brothers bought the Piccadilly for $835,000 on August 9, 1925 remodeling it and reopening as the Warners Theatre in October of 1925.
Address was 185-189 Third St. in Milwuakee.
Grand opening ad January 24, 1916 is in photos.
The Film Guild Cinema launched February 1, 1929 with “Two Days.” It was conceptualized by Symon Gould – one of two people along with Michael Mindlin commonly cited for the art film movement shown in decidedly non-palatial diminutive theater – and architected by Frederick Kiesler. His sketches including the four screen concept is in photos. On May 14, 1930, the theatre changed to the Eighth Street Playhouse. It announced just one month later that it would usher in early experimental television as part of its programming mission.
Micahel Mindlin’s fledgling circuit of theaters were anti-palace and frowned upon Hollywood mainstream fare. Starting a small cinema, art movement, Mindlin’s most important stake in the ground was the Carnegie “Junior”. Though Mindlin had theaters in Brooklyn, Rochester and Buffalo, the Carnegie was the most high profile.
The modernity of the original Carnegie “junior” upon opening in 1928 was reflected in the architecture of Wolfgang Hoffman, decoration of Pola Hoffman, and staging and design from Beatrice D. Mindlin, the Carnegie was a place not only to watch a film but to dance, play bridge, chess and ping pong, and for some period have a cocktail.
But within a year, new controlling operators sacked Mindlin who also would exit his other locations. While the art cinema movement would eventually catch on, Mindlin’s control was no longer in evidence.
The $400,000 John W. Schladitz architected Queensboro was a very modest $400,000 theatre seating 2,012 at opening – 1,365 downstairs, 56 in the loge with the rest in the balcony. Schlalditz was said to have been trying to recreate a Spanish medieval castle with Italian influences popular in atmospheric theaters of the day. But murals throughout were Spanish landscapes and of the area. Silver ceiling had twinkling star effect. The Link 3-unit organ was installed for maximum versatility and demonstrated at opening in 1928. Scenic Studio and Novelty Scenic Studio both did great jobs in getting the stage and the rest of the house’s furnishing staged appropriately for impact at opening.
Architects were T.H. and O.H. Williams, Utica-based architects OPerated by the Mohawk Valley Circuit — one of 14 theaters owned by William C. Smalley
A picture of T.W. Sharp in front of the Prospect is in photos.
Opened Nov. 4, 1927, Saenger Amusement and Dent Theaters created the Arcadia to be an experimental workshop to perfect theater management skills. Built for just $95,000, the theatre put another 50% into equipment including top of the line Simplex projectors, Brenkert spotlights, dual-dissolving lantern projection for pre-show, and a large Renter 12-pipe organ with echo organ and a multitude of instruments.
The Mediterranean garden themed atmospheric interior was punctuated with six different colors of chairs (orchid, cafe-au-lait, green, Chinese Red, sky blue, desert sand and black) to add to its creative flair. Wrought iron was found everywhere from lighting fixtures to mirrors to poster frames to railing. The rustic tree stump sign out front was another quirky calling card supported by railroad ties and featuring a high-tech one-line scrolling text attractor.
The neighborhood Arcadia and Dent would get a plum when the Queen Theatre decided to discontinue a foray as Dallas' first theater to equip for Vitaphone. The management wasn’t pleased with the quality or the release schedule leaving the door open for another Vitaphone theater. When the downtown theater passed, the Arcadia became the Vitaphone theater. Its success would quickly be imitated by the all of the downtown palaces almost instantly except for the Queen.
Two fires would change the course of the original W. Scott Dunne look. One in 1940 leading to a new auditorium in 1941 and the final in 2006 leading to the demolition of the Arcadia.