The first organ in the Lucas Theatre was a Pilcher, Opus 1088, two manuals and 19 ranks, installed in 1921. The Lucas then purchased a “true” unit theatre organ, a Wurlitzer, in 1925. This instrument was a Style 235 with three manuals and eleven ranks. It was removed in the 70’s by ATOS members Edd and Norma Simmons and was stored in their home near Atlanta, GA. The organ was later conveyed to the Atlanta Chapter of the American Theatre Organ Sociey and, in turn, the organ was offered back to the Lucas. After initiating some restoration on the instrument by A.E. Schleuter Organ Co. of Lithonia, GA, the Lucas management shelved plans to re-install the instrument.
In reference to Elvis Presley’s first indoor stage appearance occuring at the Florida, it is interesting to note that the Wurlitzer organ installed in the theatre (now at Grace Baptist Church, Sarasota, FL) was evidently used for Elvis' evening performance. Photographs of Elvis on stage during the matinee performance shows the organ covered, but photographs of the evening performance show the console uncovered. Most probably Jimmy Knight, the house organist, played the organ on that auspicious night.
The upper facaded of the Atlanta Howard/Paramount Theatre was purchased around 1960 by my friend, Mr. Robert Byrd Wright, Jr., of Moultrie, GA. He comissioned my uncle, architect William Frank McCall, Jr.,FAIA, of Moultrie to design an Italian villa in the Palladian style utilizing the upper facade. This remarkable house is now owned by Mr. Bill Cole, formerly of Atlanta. The bronze marquee boards were also utilized as cased openings in the residence’s foyer. The house is on Tallokas Road in Moultrie, GA, a few hundred yards from where I am currently writing this commentary.
The Howard/Paramount was of special architectural interest as it was designed by Philip T. Schutze and Neil Reid of the firm Hentz, Reid, and Adler. Schutze and Reid are recognized as some of the finest classicists in the world of American architecture. Schutze was awarded the prestigious Classical America Award and later, William Frank McCall, Jr. won this same honor, in 1986.
An Allen theatre organ was donated and installed in the Tift during its restoration and reopening by John Clark McCall, Jr. Mark and Carrie Renwick, of Jacksonville, FL, were musical artists (organist and soprano) featured in the Tift’s inagural gala.
The Florida had a Wurlitzer, a three-manual 235 Special, Opus 1384, shipped from the North Tonawanda, NY factory on July 8, 1926. Stanley Malotte was one of the more famous organists who presided at the console.
Built in 1921 by Americus businessman Walter Rylander, this theatre hosted live entertainment and motion pictures until its closure in 1951. Designed by C.K. Howell of New York, the Rylander was (and is!) a visual feast of ornate plaster work, stencils, and painted murals. Closed for over 40 years, the theatre reopened in October, 1999 with former president Jimmy Carter and his first lady in attendance. In a second inaugural on October 31, 1999, the Rylander’s “Frank Sheffield Memorial” organ—a Moller—was dedicated with the talented Ron Rhode at the console (this was the third organ to be installed in the theatre after a small Kimball and later a Robert-Morton performed silent film duties.) Since then, numerous first tier theatre organists have been featured here, and the organ has been professionally recorded by Ron Rhode. The organ is often featured prior to shows and in concert. Dr. Fred Boska serves as house organist, assisted by John McCall and other members of the Atlanta Chapter of the American Theatre Organ Society—an organization that has had a close association with the Rylander.
The restoration architect was Lane Green who has won several honors and awards for his effort at the Rylander. The theatre’s restoration was spearheaded by Americus' “Renaissance Man”, former mayor Russell Thomas and his wife, Andrea.
To correct Mr. Hall’s comment about the Roxy organ being re-installed in the Strand Theatre, Marietta:
The actual organ being re-installed in the Strand is from the Roxy’s next-door neighbor, “The Capitol”. The Capitol’s organ is a 3/15 Robert Morton, Opus 2310. The Roxy organ, a Wurlitzer Style 260 Special, went to the J.B. Nethercutt Museum in San Sylmar, CA. Over the years this organ has been significantly enlarged and now reigns as the second largest privately owned theatre organ in the world. Almost every major theatre organist has recorded it.
For more information on the Strand Theatre’s Robert Morton installation, see the listing for that theatre in Cinema Treasures.
Thank you, Don! I am slowly but surely trying to add to the body of knowledge, especially in the area of Georgia theatres. My last contact with someone knowledgeable about the Madison indicated that the restoration effort has come to naught.
I even went to a revival meeting there under the guise of writing a paper for my graduate class, “The Sociology of Religion” (at GSU), so that I could see the auditorium. I was amazed at its good condition (this was around 1978-79), and the lovely detail and ornamentation that still existed!
The Buckhead Theatre (later Capri, currently Roxy) was designed by Daniell and Beutell and opened on June 2, 1930. Daniell and Beutell used similar architectural ornament on their earlier Madison Theatre (at 496 Flat Shoals Avenue, in West Atlanta) which opened in 1927.
The theatre was one of the first purpose-built houses for sound pictures in Atlanta, although it was bestowed with functional organ chambers and grille screens which never heard the sound of a theatre organ. Originally seating 1,056 patrons with a stage 25 feet wide, the Buckhead represented an expenditure of $250,000 (according to the Atlanta Constitution). The house curtain was of burgundy velour with heavy gold applique and fringe.
Davis and Coart were early lease holders of the theatre, and in 1935, they sold this lease to the Alabama company of Terry McDaniel of Montgomery. The Buckhead was also used for civic functions, including early concerts of the Buckhead Symphony Orchestra.
According to the Atlanta Constitution…“When Mae West’s first film, "She Done Him Wrong” was suppressed in [downtown]Atlanta, the Buckhead Theatre presented it with extraordinary success, and its repeated presentation there was something of a national sensation among theatre operators.
The Madison Theatre was designed by Daniell and Beutell, Architects, who had their offices in the Healey Building in downtown Atlanta. They were also architects for the Buckhead Theatre, Atlanta, and the Grand, in nearby Cartersville, GA. Joe A. Fernandez served as painter/decorator.
The opening of the theatre, on July 2, 1927, featured Hoot Gibson on the screen in “The Buckaroo Kid” and a personal appearance by silent film star Ethlyne Claire Williamson. A small reproduco organ was installed in the theatre. Whether it utilized the two organ chambers to the left and right of the proscenium is unknown to this author.
The architecture of the Madison demonstrates how even smaller houses in the twenties could wow patrons. It is of the “Spanish Drip Castle” variety and features a multi-colored half tile roof, pierced by two large arched balconettes at the second level. A series of five connected arched windows appear on this same level above the marquee. Many of these design devices appeared in similar form on the Buckhead Theatre which was the first purpose-built theatre for sound films in Atlanta. The Buckhead opened after the Madison, on June 2, 1930.
The Ritz Theatre was built at a reported cost of $250,000 and opened around 1927. It immediately became a landmark for the art of the photoplay in South Georgia.
Among its treasures was a Robert Morton pipe organ, a 2/4 Style 16 Special, Opus 2305. The Ritz was featured in the book, “American Theatres of Today” and the photograph featuring the stage, proscenium, and organ grilles shows the extensive decoration by Benjamin. An outstanding feature was the scenic curtain which was elaborately painted.
The Ritz was demolished (sometime after 1970) for a bank addition. Its imsposing facade featured five large arched windows and an elaborate plaster frieze above them. The theatre accomodated about 1,200 patrons.
Lucas and Jenkins operated the theatre in the fifties and possibly early sixties. The original organ was a two-manual, four-rank Wurlitzer, Style 135A, opus 372, which was later moved to the York
Theatre, Chattanooga, TN, in 1925. A 2/6 Wurlitzer, Style 160 was installed in December, 1925. In August, 1927, the Capitol recieved its THIRD Wurlitzer organ: a Style “E” (divided), Opus 1698. The Capitol probably holds the distinction of having the most Wurlitzer organs ever installed in a Georgia theatre!
Mr. Will Dunkin’s comment regarding the theatre organist who opened the Saenger (Rosa Rio) is incorrect. The opening artist was John Hammond, who was Rosa’s husband. Mr. Hammond taught organ at the Eastman School of Music in Rochester, NY and was brought to New Orleans to open the Robert Morton at the Saenger. Rosa Rio, who is a national treasure, did later play at the theatre.
The interior of the Lucas is not “Italianate” but is rather almost pure Adam and Neoclassical as seen through the eyes of architectural practioners of the early twenties. The Adam interior is a surprising contrast to the Italian Renaissance exterior of the building.
The first organ in the Lucas Theatre was a Pilcher, Opus 1088, two manuals and 19 ranks, installed in 1921. The Lucas then purchased a “true” unit theatre organ, a Wurlitzer, in 1925. This instrument was a Style 235 with three manuals and eleven ranks. It was removed in the 70’s by ATOS members Edd and Norma Simmons and was stored in their home near Atlanta, GA. The organ was later conveyed to the Atlanta Chapter of the American Theatre Organ Sociey and, in turn, the organ was offered back to the Lucas. After initiating some restoration on the instrument by A.E. Schleuter Organ Co. of Lithonia, GA, the Lucas management shelved plans to re-install the instrument.
In reference to Elvis Presley’s first indoor stage appearance occuring at the Florida, it is interesting to note that the Wurlitzer organ installed in the theatre (now at Grace Baptist Church, Sarasota, FL) was evidently used for Elvis' evening performance. Photographs of Elvis on stage during the matinee performance shows the organ covered, but photographs of the evening performance show the console uncovered. Most probably Jimmy Knight, the house organist, played the organ on that auspicious night.
The upper facaded of the Atlanta Howard/Paramount Theatre was purchased around 1960 by my friend, Mr. Robert Byrd Wright, Jr., of Moultrie, GA. He comissioned my uncle, architect William Frank McCall, Jr.,FAIA, of Moultrie to design an Italian villa in the Palladian style utilizing the upper facade. This remarkable house is now owned by Mr. Bill Cole, formerly of Atlanta. The bronze marquee boards were also utilized as cased openings in the residence’s foyer. The house is on Tallokas Road in Moultrie, GA, a few hundred yards from where I am currently writing this commentary.
The Howard/Paramount was of special architectural interest as it was designed by Philip T. Schutze and Neil Reid of the firm Hentz, Reid, and Adler. Schutze and Reid are recognized as some of the finest classicists in the world of American architecture. Schutze was awarded the prestigious Classical America Award and later, William Frank McCall, Jr. won this same honor, in 1986.
An Allen theatre organ was donated and installed in the Tift during its restoration and reopening by John Clark McCall, Jr. Mark and Carrie Renwick, of Jacksonville, FL, were musical artists (organist and soprano) featured in the Tift’s inagural gala.
Sorry, I do not.
The Pheil had a Wurlitzer, Style 135, theatre organ, Opus 756, shipped 12/28/23.
Does anyone have photos of this theatre?
The Florida had a Wurlitzer, a three-manual 235 Special, Opus 1384, shipped from the North Tonawanda, NY factory on July 8, 1926. Stanley Malotte was one of the more famous organists who presided at the console.
Built in 1921 by Americus businessman Walter Rylander, this theatre hosted live entertainment and motion pictures until its closure in 1951. Designed by C.K. Howell of New York, the Rylander was (and is!) a visual feast of ornate plaster work, stencils, and painted murals. Closed for over 40 years, the theatre reopened in October, 1999 with former president Jimmy Carter and his first lady in attendance. In a second inaugural on October 31, 1999, the Rylander’s “Frank Sheffield Memorial” organ—a Moller—was dedicated with the talented Ron Rhode at the console (this was the third organ to be installed in the theatre after a small Kimball and later a Robert-Morton performed silent film duties.) Since then, numerous first tier theatre organists have been featured here, and the organ has been professionally recorded by Ron Rhode. The organ is often featured prior to shows and in concert. Dr. Fred Boska serves as house organist, assisted by John McCall and other members of the Atlanta Chapter of the American Theatre Organ Society—an organization that has had a close association with the Rylander.
The restoration architect was Lane Green who has won several honors and awards for his effort at the Rylander. The theatre’s restoration was spearheaded by Americus' “Renaissance Man”, former mayor Russell Thomas and his wife, Andrea.
To correct Mr. Hall’s comment about the Roxy organ being re-installed in the Strand Theatre, Marietta:
The actual organ being re-installed in the Strand is from the Roxy’s next-door neighbor, “The Capitol”. The Capitol’s organ is a 3/15 Robert Morton, Opus 2310. The Roxy organ, a Wurlitzer Style 260 Special, went to the J.B. Nethercutt Museum in San Sylmar, CA. Over the years this organ has been significantly enlarged and now reigns as the second largest privately owned theatre organ in the world. Almost every major theatre organist has recorded it.
For more information on the Strand Theatre’s Robert Morton installation, see the listing for that theatre in Cinema Treasures.
Thank you, Don! I am slowly but surely trying to add to the body of knowledge, especially in the area of Georgia theatres. My last contact with someone knowledgeable about the Madison indicated that the restoration effort has come to naught.
I even went to a revival meeting there under the guise of writing a paper for my graduate class, “The Sociology of Religion” (at GSU), so that I could see the auditorium. I was amazed at its good condition (this was around 1978-79), and the lovely detail and ornamentation that still existed!
The Buckhead Theatre (later Capri, currently Roxy) was designed by Daniell and Beutell and opened on June 2, 1930. Daniell and Beutell used similar architectural ornament on their earlier Madison Theatre (at 496 Flat Shoals Avenue, in West Atlanta) which opened in 1927.
The theatre was one of the first purpose-built houses for sound pictures in Atlanta, although it was bestowed with functional organ chambers and grille screens which never heard the sound of a theatre organ. Originally seating 1,056 patrons with a stage 25 feet wide, the Buckhead represented an expenditure of $250,000 (according to the Atlanta Constitution). The house curtain was of burgundy velour with heavy gold applique and fringe.
Davis and Coart were early lease holders of the theatre, and in 1935, they sold this lease to the Alabama company of Terry McDaniel of Montgomery. The Buckhead was also used for civic functions, including early concerts of the Buckhead Symphony Orchestra.
According to the Atlanta Constitution…“When Mae West’s first film, "She Done Him Wrong” was suppressed in [downtown]Atlanta, the Buckhead Theatre presented it with extraordinary success, and its repeated presentation there was something of a national sensation among theatre operators.
The Madison Theatre was designed by Daniell and Beutell, Architects, who had their offices in the Healey Building in downtown Atlanta. They were also architects for the Buckhead Theatre, Atlanta, and the Grand, in nearby Cartersville, GA. Joe A. Fernandez served as painter/decorator.
The opening of the theatre, on July 2, 1927, featured Hoot Gibson on the screen in “The Buckaroo Kid” and a personal appearance by silent film star Ethlyne Claire Williamson. A small reproduco organ was installed in the theatre. Whether it utilized the two organ chambers to the left and right of the proscenium is unknown to this author.
The architecture of the Madison demonstrates how even smaller houses in the twenties could wow patrons. It is of the “Spanish Drip Castle” variety and features a multi-colored half tile roof, pierced by two large arched balconettes at the second level. A series of five connected arched windows appear on this same level above the marquee. Many of these design devices appeared in similar form on the Buckhead Theatre which was the first purpose-built theatre for sound films in Atlanta. The Buckhead opened after the Madison, on June 2, 1930.
The Ritz Theatre was built at a reported cost of $250,000 and opened around 1927. It immediately became a landmark for the art of the photoplay in South Georgia.
Among its treasures was a Robert Morton pipe organ, a 2/4 Style 16 Special, Opus 2305. The Ritz was featured in the book, “American Theatres of Today” and the photograph featuring the stage, proscenium, and organ grilles shows the extensive decoration by Benjamin. An outstanding feature was the scenic curtain which was elaborately painted.
The Ritz was demolished (sometime after 1970) for a bank addition. Its imsposing facade featured five large arched windows and an elaborate plaster frieze above them. The theatre accomodated about 1,200 patrons.
Lucas and Jenkins operated the theatre in the fifties and possibly early sixties. The original organ was a two-manual, four-rank Wurlitzer, Style 135A, opus 372, which was later moved to the York
Theatre, Chattanooga, TN, in 1925. A 2/6 Wurlitzer, Style 160 was installed in December, 1925. In August, 1927, the Capitol recieved its THIRD Wurlitzer organ: a Style “E” (divided), Opus 1698. The Capitol probably holds the distinction of having the most Wurlitzer organs ever installed in a Georgia theatre!
Let us all hope that someone had the presence of mind to take the Robert Morton organ console to the up position on the lift prior to Katrina!
Mr. Will Dunkin’s comment regarding the theatre organist who opened the Saenger (Rosa Rio) is incorrect. The opening artist was John Hammond, who was Rosa’s husband. Mr. Hammond taught organ at the Eastman School of Music in Rochester, NY and was brought to New Orleans to open the Robert Morton at the Saenger. Rosa Rio, who is a national treasure, did later play at the theatre.
John McCall
The interior of the Lucas is not “Italianate” but is rather almost pure Adam and Neoclassical as seen through the eyes of architectural practioners of the early twenties. The Adam interior is a surprising contrast to the Italian Renaissance exterior of the building.