Opened in 1928 as the Braverman Theatre and was dubbed the Boulevard Theatre shortly thereafter for Salasin & Freed. In 1937, architect Victor A. Rigaumont reimagined the theatre for the Warner Bros. Circuit reopening that November.
Grand opening was February 25, 1926, the seventh theater for operators Max Lefkowich and Abraham Polster – three downtown and this being the fourth neighborhood house. It was not to be confused with the original Lyric which was at Bolivar and 9th just across the street where the Cleveland Indians stadium was in the 21st Century. The $200,000 New Lyric had 1,200 seats at opening. The pair fulfilled a 20-year leased and moved on. The last show ran its final showing July 21, 1962 of “Thunder Road” and “The Big Country.” Had a nice run as the Masonic Temple with events to the public including crafts shows over the next three decades.
J.J. Lyon built the Majestic Rooftop Theater in 1912 seating 265 at the site of a former church. The Majestic Theatre was also created there opening in 1913 with lots of seats (original seat count is listed at 1,800). The Big Three Corporation — operators of the Garden, University, Pictorium and Seventh Ave. Theatre among their seven theaters at the time operate it for much of the decade before divesting their operation. The Braddon Amusement Circuit took on the theatre next and one of the few claims to fame for the Majestic was housing a radio transmitter for radio telephony that hit experimenter’s radios in Washington Heights just prior to commercial radio taking off in the U.S. It existed alongside the rooftop theatre.
Jaydo takes on the theatre transitioning it to sound and also its Gem from silent into sound theatre. Jaydo sells the struggling theater to Fairdeal Enterprises which leads to a lawsuit in 1936 of little consequence other than the holding of the Majestic passing to Springer & Cocalis' Spraco Corp. It is that circuit which changes the name to the Loyal Theatre in 1937. But patrons aren’t loyal and the theater ceases in 1941. The auditorium is gutted and the 1493 St. Nicholas facility is converted into the Palace Bowling Center launching in 1942. Though ending this addresses' cinema exhibition, Architect William L. Hohouser’s conversion project makes the national magazine, Lighting, among others as a creative transformation of a faded cinema locale.
Launched September 30, 1916, the $100,000 City Hall Theatre was the Reliable Theatre Circuit’s attempt to convey Old New York from large interior hand-painted murals and large photos to portray a NYC from bygone days. The rationale was simple: the City Hall was replacing a 2,700 seat class often identified as the city’s first theater and the Ambush Co. delivered the decoration of the space. Louis Steinhart’s frame of brick and steel housed solid copper doors, ornate glass transoms for ventilation, and ivory and gold chandeliers. It was said to be designed as a downtown mini-Strand with just 520 seats.
Patrons enjoyed the Kimball Orchestral Organ prior to showtime and then projection by Powers 6B projectors. David Weinstock was the original manager. Open from 9:30a and last admittance at 11p daily came with a cost – 15 cents, a bit steeper than the 10 cent theaters of its day. Picture at opening in photos.
Architected by William E. Lehman, the 750-seat Goodwin was named after the Reverend Hannibal Goodwin, former Rector of the House of Prayer in Newark. He invented a photographic film for stereopticons at the church. The theater was built in 1913 and run by the William Y. Webbe Co. Circuit at opening.
Missouri Valley was home to the Palm and Majestic (see photo of the latter) in the silent era. In the sound era it was the Valley and the Rialto, the latter surviving into the 21st Century.
When Bradberry and Brandon opened the Bunny Theatre in 1913, the seating capacity was 1,300 but also housed a roof garden fanned by the Hudson River where patrons could also watch features using the very same Powers projectors 88' away from the screen as in the indoor theater. An 88 note Photoplayer was in the orchestra pit to entertain the gathering crowds. And in less than a year, the Bunny Program Guide had 1,500 subscribers to keep potential patrons up to date on forthcoming shows
Grand opening for the Crown Theatre was on August 29, 1909 by Carruthers and Rickson. After a ten-year lease lapses, Ascher Brothers takes on the Crown with an August 9, 1919 grand opening that is posted in photos along with Robert Berlin sketch.
Opened December 27, 1915 with the Triangle films, “Edge of the Abyss” and “The Submarine Pirate.” All 1,467 seats were filled at the open. A $15,000 Austin organ played by E,J. Napier along with a Parlor Grand Chickering piano entertained the patrons. Raymond H. Allen was the manager on behalf of the East Liberty Theatre Co. Circuit that operated the theater.
The H.E. Kennedy & Co. teamed with Palmer and Hornbostel to achieve architectural plans that were said to be an homage to the NYC Strand in a more miniaturized form. It was Hornbostel that is credited for the exterior with its distinctive white, glazed terra cotta tiles that framed a patriotic World War I era American flag illuminated by red, white and blue light bulbs. The victim of both end of lease issues and eroding patronage, the Liberty shuttered just shy of its 50th anniversary and was bulldozed four years later after being defaced by vandals.
Launched November 22, 1918 just after WWI with Mayor James Rolph commending new owner Samuel H. Levin and his 700 patrons for the fine playhouse. A Robert Morgan organ entertained the crowds once inside followed by the Coliseum Orchestra.
The Lyric opened February 7, 1918 with all proceeds going to the Red Cross. The Fitzpatrick-McElroy Circuit operated the 1,000 seat theatre at its opening with George H. Kennedy as its first manager. Distinctive “automobile box seats” in the balcony saluted the auto manufacturing industry while allowing groups to sit together.
Launched February 3, 1918 and got its name from A. Wilbert’s Songs Lumber and Shingle Company which built the theatre. Lionel Delzcrois ran the theatre at opening. The opening was a success and pictures prove this in photos.
The Owl Theatre opened in 1911 and during its run operator Samuel Orbach signed a contract with Paramount Pictures. By decade’s end, the Owl struggled and Orbach blamed Paramount for not getting the films to Lowell in a timely manner. The Owl closed and Orbach sued Paramount in Orbacj v. Paramount in which Orbach was found correct but couldn’t get the damages he sought. So new owners come in and change the theatre to the Rialto.
Opened in 1928 as the Braverman Theatre and was dubbed the Boulevard Theatre shortly thereafter for Salasin & Freed. In 1937, architect Victor A. Rigaumont reimagined the theatre for the Warner Bros. Circuit reopening that November.
Grand opening was February 25, 1926, the seventh theater for operators Max Lefkowich and Abraham Polster – three downtown and this being the fourth neighborhood house. It was not to be confused with the original Lyric which was at Bolivar and 9th just across the street where the Cleveland Indians stadium was in the 21st Century. The $200,000 New Lyric had 1,200 seats at opening. The pair fulfilled a 20-year leased and moved on. The last show ran its final showing July 21, 1962 of “Thunder Road” and “The Big Country.” Had a nice run as the Masonic Temple with events to the public including crafts shows over the next three decades.
Sorry…. the location of the Habit was 120 N. Vermilion and was 1914-6 as stated above. It then had life as the Midway Theatre in 1916/7.
A shot of the theatre at opening in May 1913 by P.E. Coe is in photos.
J.J. Lyon built the Majestic Rooftop Theater in 1912 seating 265 at the site of a former church. The Majestic Theatre was also created there opening in 1913 with lots of seats (original seat count is listed at 1,800). The Big Three Corporation — operators of the Garden, University, Pictorium and Seventh Ave. Theatre among their seven theaters at the time operate it for much of the decade before divesting their operation. The Braddon Amusement Circuit took on the theatre next and one of the few claims to fame for the Majestic was housing a radio transmitter for radio telephony that hit experimenter’s radios in Washington Heights just prior to commercial radio taking off in the U.S. It existed alongside the rooftop theatre.
Jaydo takes on the theatre transitioning it to sound and also its Gem from silent into sound theatre. Jaydo sells the struggling theater to Fairdeal Enterprises which leads to a lawsuit in 1936 of little consequence other than the holding of the Majestic passing to Springer & Cocalis' Spraco Corp. It is that circuit which changes the name to the Loyal Theatre in 1937. But patrons aren’t loyal and the theater ceases in 1941. The auditorium is gutted and the 1493 St. Nicholas facility is converted into the Palace Bowling Center launching in 1942. Though ending this addresses' cinema exhibition, Architect William L. Hohouser’s conversion project makes the national magazine, Lighting, among others as a creative transformation of a faded cinema locale.
Launched September 30, 1916, the $100,000 City Hall Theatre was the Reliable Theatre Circuit’s attempt to convey Old New York from large interior hand-painted murals and large photos to portray a NYC from bygone days. The rationale was simple: the City Hall was replacing a 2,700 seat class often identified as the city’s first theater and the Ambush Co. delivered the decoration of the space. Louis Steinhart’s frame of brick and steel housed solid copper doors, ornate glass transoms for ventilation, and ivory and gold chandeliers. It was said to be designed as a downtown mini-Strand with just 520 seats.
Patrons enjoyed the Kimball Orchestral Organ prior to showtime and then projection by Powers 6B projectors. David Weinstock was the original manager. Open from 9:30a and last admittance at 11p daily came with a cost – 15 cents, a bit steeper than the 10 cent theaters of its day. Picture at opening in photos.
Architected by William E. Lehman, the 750-seat Goodwin was named after the Reverend Hannibal Goodwin, former Rector of the House of Prayer in Newark. He invented a photographic film for stereopticons at the church. The theater was built in 1913 and run by the William Y. Webbe Co. Circuit at opening.
Missouri Valley was home to the Palm and Majestic (see photo of the latter) in the silent era. In the sound era it was the Valley and the Rialto, the latter surviving into the 21st Century.
When Bradberry and Brandon opened the Bunny Theatre in 1913, the seating capacity was 1,300 but also housed a roof garden fanned by the Hudson River where patrons could also watch features using the very same Powers projectors 88' away from the screen as in the indoor theater. An 88 note Photoplayer was in the orchestra pit to entertain the gathering crowds. And in less than a year, the Bunny Program Guide had 1,500 subscribers to keep potential patrons up to date on forthcoming shows
May 1, 1915 was the start of the Strand Theatre operation. Ad posted in photos along with new look stage.
Launched April 24, 1916 with “The Gentleman from Indiana.”
Grand opening for the Crown Theatre was on August 29, 1909 by Carruthers and Rickson. After a ten-year lease lapses, Ascher Brothers takes on the Crown with an August 9, 1919 grand opening that is posted in photos along with Robert Berlin sketch.
Opened December 27, 1915 with the Triangle films, “Edge of the Abyss” and “The Submarine Pirate.” All 1,467 seats were filled at the open. A $15,000 Austin organ played by E,J. Napier along with a Parlor Grand Chickering piano entertained the patrons. Raymond H. Allen was the manager on behalf of the East Liberty Theatre Co. Circuit that operated the theater.
The H.E. Kennedy & Co. teamed with Palmer and Hornbostel to achieve architectural plans that were said to be an homage to the NYC Strand in a more miniaturized form. It was Hornbostel that is credited for the exterior with its distinctive white, glazed terra cotta tiles that framed a patriotic World War I era American flag illuminated by red, white and blue light bulbs. The victim of both end of lease issues and eroding patronage, the Liberty shuttered just shy of its 50th anniversary and was bulldozed four years later after being defaced by vandals.
Launched November 22, 1918 just after WWI with Mayor James Rolph commending new owner Samuel H. Levin and his 700 patrons for the fine playhouse. A Robert Morgan organ entertained the crowds once inside followed by the Coliseum Orchestra.
That’s Nov. 12, 1918 – end of the War announcement and public celebration at the five-month old Dayton mt mgr Mark Gates.
Allied — opened during World War I early in 1918 with C.H. McCroskey operating.
The Lyric opened February 7, 1918 with all proceeds going to the Red Cross. The Fitzpatrick-McElroy Circuit operated the 1,000 seat theatre at its opening with George H. Kennedy as its first manager. Distinctive “automobile box seats” in the balcony saluted the auto manufacturing industry while allowing groups to sit together.
The Cosmo was launched by J.C. Lakin in May of 1917 with 448 seats and Simplex Type “S” projectors at opening.
Launched February 3, 1918 and got its name from A. Wilbert’s Songs Lumber and Shingle Company which built the theatre. Lionel Delzcrois ran the theatre at opening. The opening was a success and pictures prove this in photos.
Was a World War I Liberty Theatre named in 1916 and retaining it to the end of its silent era. Otis Hoyt ran it and the Strand.
The original Quinn’s Rialto was architected by A.R. Walker in 1917 and utilized some of the aspects of the outgoing Hampshire Hotel which it replaced.
“Restoring” . AKA Lavon Theatre. Royal Theatre (1913-)
The August 27, 1907 local paper lists the opening of the Lyceum at this address.
Was open in the early 1910s and was refurbished in April 25, 1918 with a full house under the direction of William Stewart.
The Owl Theatre opened in 1911 and during its run operator Samuel Orbach signed a contract with Paramount Pictures. By decade’s end, the Owl struggled and Orbach blamed Paramount for not getting the films to Lowell in a timely manner. The Owl closed and Orbach sued Paramount in Orbacj v. Paramount in which Orbach was found correct but couldn’t get the damages he sought. So new owners come in and change the theatre to the Rialto.