Various fragments on the Internet indicate that, in the 1930s, Nelson E. Ward was the owner of the Mt. Sterling Amusement Company, operating the Trimble and Tabb Theatres in Mount Sterling. The Tabb opened in 1910 on South Maysville Street as the Tabb Opera House. It was listed by Julius Cahn as a 700-seat, ground floor theater. The Trimble Theatre isn’t listed in any of the Cahn guides available, so it probably opened after 1922.
The Canby Cinema 8 was designed by Seattle architectural firm The Design Collective, headed by James R. Blissett. Five photos can be seen in the Portfolio section of the firm’s web site.
James Blissett, principal architect with The Design Collective, the Seattle firm that designed this multiplex, is also a partner in SEEfilm, the company that operates it. SEEfilm intends to build additional cinemas serving smaller, under-served markets such as Bremerton.
Built atop a parking garage in downtown Bremerton, this 1,400-seat multiplex features auditoriums seating between 48 and 280. Four screens are equipped to show 3D movies, and one auditorium, admitting only patrons over 21, will have beer and wine available.
The Design Collective has designed at least ten other cinema projects, some newly built and some expanded or remodeled, at locations in Washington, Oregon, California, Alaska, and one project in Ohio.
There is a Jason Theatre at East Weymouth listed in the Film Daily Yearbook at least as as late as 1953. If it is the same house as the Victor, the name changed after that. This Weymouth chronology says that there were three movie theaters in Weymouth in 1946: the Cameo in South Weyouth, the Weymouth at Weymouth Landing, and the Jason in East Weymouth. The Roosevelt Theatre is mentioned in a 1936 issue of Motion Picture Herald.
Parts of Center Street were incorporated into Lincoln Avenue, but that did not include the part that was between Anaheim Blvd. and the railroad tracks, as well as a stretch west of Anaheim Blvd. to a point near Harbor Blvd.. The stretch just east of Anaheim Blvd. was realigned about 100 feet north, but it is still called Center Street. See this aerial view at Historic Aerials to see where Center Street has survived (select “All Roads” from the overlays menu to see the street names.)
The stretch of Center Street just west of Anaheim Blvd., where the Star Theatre was located, was covered with new construction in the 1970s, as part of an urban renewal project. As the theater was on the north side of the street its site is now part of the driveway and parking lot just north of where Vons Market is presently located.
After the Star Theatre closed, Mr. Beddig operated a house in Anaheim called the Mason Theatre, according to the November 21, 1914, issue of Southwest Contractor & Manufacturer, which said that he had let a $5,000 contract for installation of a Wurlitzer pipe organ in the theater.
The Mason was probably the theater on the ground floor of the Masonic lodge built at Center and Emily streets in 1913, and designed by local architect Fred H. Eley. That part of Center Street still exists, so when the Mason is added to Cinema Treasures it should keep its historic Center Street address. The Grand Theatre was also east of Anaheim Blvd., so it too should be listed on Center Street, not Lincoln Avenue.
Google Maps has its pin icon way off again. The Melody Theatre was on the east side of Moorpark Road just south of Columbia Road, somewhat more than a mile south of the pin’s location. I’ve moved Street View. The entire shopping center in which the theater was located has been rebuilt, so the Melody Theatre has been demolished.
As RickB pointed out, this theater was of similar design to the Community Theatre in Eatontown, New Jersey. In fact, comparing photos of the Cherry Hill house with those of the Eatontown location that appear in this article from Boxoffice of November 9, 1964, the two are virtually identical. The article attributes the design of the Eatontown house to architect David Marner, so it’s probably safe to assume that he designed the Cherry Hill project as well.
The Boxoffice article Tinseltoes linked to says that the Community Theatre in Eatontown was designed by architect David Marner. As the article says (and photos demonstrate) that the Community Theatre in Cherry Hill, New Jersey, opened in 1963, was almost identical to this house, it’s probable that Marner designed that house as well.
Both the Boxoffice article that Tinseltoes linked to and this page of the October, 1964, issue of International Projectionist attribute the design of the Fox Rossmoor Theatre to the firm of Burke, Kober & Nicolais. However, Millard Archuleta joined the firm in 1961, so the design should probably be attributed to Burke, Kober, Nicolais & Archuleta. Archuleta was probably left off the list because the original firm had begun designing the shopping center in which the theater was located four years before the theater itself was built.
The June, 1964, issue of International Projectionist featured a two page article about the Lenox Square Threatre which can be seen at this link. The house was designed for Georgia Theatres by architect J. B. Finch, of the firm Finch, Alexander, Barnes, Rothchild & Paschal.
This page of the May, 1964, issue of International Projectionist was devoted to the Wayne Theatre, and features four photographs (click the + sign in the toolbar at lower right of the page to enlarge.) The Wayne Theatre was designed by architect Drew Eberson.
Half a dozen photos of the 34th Street Theatre appear on this page of the April, 1964, issue of International Projectionist. (Enlarge the images by clicking on the + sign in the toolbar at lower right corner of the page.)
A brief article with photos of the last RKO 23rd Street Theatre appears on this page of the March, 1964, issue of International Projectionist. The house was designed by architect John J. McNamara, in collaboration with Herman J. Jessor, architect of the Penn Station South development, in which the theater was located.
Maybe somebody who saw Mutiny on the Bounty at the Jesse James Drive-In will recognize their car in the nocturnal photo that appears on this page of the October, 1963, issue of International Projectionist. (Click on the + sign in the toolbar at the lower right of the page to enlarge the image.)
This house opened as the Shoppers' Haven Cinema. A small photo of the screen end of the auditorium appeared in the October, 1963, issue of International Projectionist. The house featured a maskless Schlanger screen, which suggests that theater designer Benjamin Schlanger was probably the consulting architect for the house. He played that role for Genreal Cinema’s Cinema Shoppers' World in Framingham, Massachusetts, an a number of other General Cinema projects of the period.
The architect’s surname is Zelnik, not Selnik. His surname is spelled correctly on the Playhouse Theatre and Joyce Theatre pages, but his middle initial is missing from both.
A two-page article about the Festival Theatre with photos appeared in the July, 1963, issue of International Projectionist. See it at this link.
The 1962 remodeling of the Empire Theatre is the subject of an article starting on this page of the June, 1963, issue of International Projectionist. There are two photos of the auditorium. Enlarge the image by clicking on the + sign in the tool bar at lower right of the page. Scroll down for the second page of the article.
The Cinema Theatre is the name given for this house in the article That appeared in the July, 1963, issue of International Projectionist. Stewart & Everett’s new 600-seat house was designed in a spare, Modern style by architects Charles H. Wheatley & Associates.
this page of the magazine has four photos showing the theater’s front and public interior. Not surprisingly, subsequent pages feature a couple of photos of the projection room and a description of its equipment.
The April, 1963, issue of International Projectionist ran a brief article about Walter Reade-Sterling’s new Continental Theatre in Forest Hills, which had opened on March 21 with director Joseph Strick’s film adaptation of Jean Genet’s play The Balcony. The 600-seat Continental Theatre was designed by architect John J. McNamara, and featured rooftop parking and a permanent art gallery that was to be devoted to exhibiting the works of artists from Queens.
Various fragments on the Internet indicate that, in the 1930s, Nelson E. Ward was the owner of the Mt. Sterling Amusement Company, operating the Trimble and Tabb Theatres in Mount Sterling. The Tabb opened in 1910 on South Maysville Street as the Tabb Opera House. It was listed by Julius Cahn as a 700-seat, ground floor theater. The Trimble Theatre isn’t listed in any of the Cahn guides available, so it probably opened after 1922.
The Canby Cinema 8 was designed by Seattle architectural firm The Design Collective, headed by James R. Blissett. Five photos can be seen in the Portfolio section of the firm’s web site.
James Blissett, principal architect with The Design Collective, the Seattle firm that designed this multiplex, is also a partner in SEEfilm, the company that operates it. SEEfilm intends to build additional cinemas serving smaller, under-served markets such as Bremerton.
Built atop a parking garage in downtown Bremerton, this 1,400-seat multiplex features auditoriums seating between 48 and 280. Four screens are equipped to show 3D movies, and one auditorium, admitting only patrons over 21, will have beer and wine available.
The Design Collective has designed at least ten other cinema projects, some newly built and some expanded or remodeled, at locations in Washington, Oregon, California, Alaska, and one project in Ohio.
There is a Jason Theatre at East Weymouth listed in the Film Daily Yearbook at least as as late as 1953. If it is the same house as the Victor, the name changed after that. This Weymouth chronology says that there were three movie theaters in Weymouth in 1946: the Cameo in South Weyouth, the Weymouth at Weymouth Landing, and the Jason in East Weymouth. The Roosevelt Theatre is mentioned in a 1936 issue of Motion Picture Herald.
Parts of Center Street were incorporated into Lincoln Avenue, but that did not include the part that was between Anaheim Blvd. and the railroad tracks, as well as a stretch west of Anaheim Blvd. to a point near Harbor Blvd.. The stretch just east of Anaheim Blvd. was realigned about 100 feet north, but it is still called Center Street. See this aerial view at Historic Aerials to see where Center Street has survived (select “All Roads” from the overlays menu to see the street names.)
The stretch of Center Street just west of Anaheim Blvd., where the Star Theatre was located, was covered with new construction in the 1970s, as part of an urban renewal project. As the theater was on the north side of the street its site is now part of the driveway and parking lot just north of where Vons Market is presently located.
After the Star Theatre closed, Mr. Beddig operated a house in Anaheim called the Mason Theatre, according to the November 21, 1914, issue of Southwest Contractor & Manufacturer, which said that he had let a $5,000 contract for installation of a Wurlitzer pipe organ in the theater.
The Mason was probably the theater on the ground floor of the Masonic lodge built at Center and Emily streets in 1913, and designed by local architect Fred H. Eley. That part of Center Street still exists, so when the Mason is added to Cinema Treasures it should keep its historic Center Street address. The Grand Theatre was also east of Anaheim Blvd., so it too should be listed on Center Street, not Lincoln Avenue.
Linkrot repair: Here is a fresh link to the 1950 Gulistan Carpet ad with the photo of the Academy Theatre’s mezzanine lounge.
Here is the web site of the Bijou Art Cinema.
The official web page of the Bijou Metro gives the address as 43 W. Broadway.
Google Maps has its pin icon way off again. The Melody Theatre was on the east side of Moorpark Road just south of Columbia Road, somewhat more than a mile south of the pin’s location. I’ve moved Street View. The entire shopping center in which the theater was located has been rebuilt, so the Melody Theatre has been demolished.
A few photos of the Coronet Theatre appear on this page of the July, 1963, issue of International Projectionist.
A couple of photos illustrate an article about the Town Theatre that begins on this page of the July, 1961, issue of International Projectionist.
As RickB pointed out, this theater was of similar design to the Community Theatre in Eatontown, New Jersey. In fact, comparing photos of the Cherry Hill house with those of the Eatontown location that appear in this article from Boxoffice of November 9, 1964, the two are virtually identical. The article attributes the design of the Eatontown house to architect David Marner, so it’s probably safe to assume that he designed the Cherry Hill project as well.
The Boxoffice article Tinseltoes linked to says that the Community Theatre in Eatontown was designed by architect David Marner. As the article says (and photos demonstrate) that the Community Theatre in Cherry Hill, New Jersey, opened in 1963, was almost identical to this house, it’s probable that Marner designed that house as well.
Both the Boxoffice article that Tinseltoes linked to and this page of the October, 1964, issue of International Projectionist attribute the design of the Fox Rossmoor Theatre to the firm of Burke, Kober & Nicolais. However, Millard Archuleta joined the firm in 1961, so the design should probably be attributed to Burke, Kober, Nicolais & Archuleta. Archuleta was probably left off the list because the original firm had begun designing the shopping center in which the theater was located four years before the theater itself was built.
Three photos of the renovated Strand Theatre can be seen on this page of the July, 1964, issue of International Projectionist.
The June, 1964, issue of International Projectionist featured a two page article about the Lenox Square Threatre which can be seen at this link. The house was designed for Georgia Theatres by architect J. B. Finch, of the firm Finch, Alexander, Barnes, Rothchild & Paschal.
This page of the May, 1964, issue of International Projectionist was devoted to the Wayne Theatre, and features four photographs (click the + sign in the toolbar at lower right of the page to enlarge.) The Wayne Theatre was designed by architect Drew Eberson.
Half a dozen photos of the 34th Street Theatre appear on this page of the April, 1964, issue of International Projectionist. (Enlarge the images by clicking on the + sign in the toolbar at lower right corner of the page.)
A brief article with photos of the last RKO 23rd Street Theatre appears on this page of the March, 1964, issue of International Projectionist. The house was designed by architect John J. McNamara, in collaboration with Herman J. Jessor, architect of the Penn Station South development, in which the theater was located.
Maybe somebody who saw Mutiny on the Bounty at the Jesse James Drive-In will recognize their car in the nocturnal photo that appears on this page of the October, 1963, issue of International Projectionist. (Click on the + sign in the toolbar at the lower right of the page to enlarge the image.)
This house opened as the Shoppers' Haven Cinema. A small photo of the screen end of the auditorium appeared in the October, 1963, issue of International Projectionist. The house featured a maskless Schlanger screen, which suggests that theater designer Benjamin Schlanger was probably the consulting architect for the house. He played that role for Genreal Cinema’s Cinema Shoppers' World in Framingham, Massachusetts, an a number of other General Cinema projects of the period.
The architect’s surname is Zelnik, not Selnik. His surname is spelled correctly on the Playhouse Theatre and Joyce Theatre pages, but his middle initial is missing from both.
A two-page article about the Festival Theatre with photos appeared in the July, 1963, issue of International Projectionist. See it at this link.
The 1962 remodeling of the Empire Theatre is the subject of an article starting on this page of the June, 1963, issue of International Projectionist. There are two photos of the auditorium. Enlarge the image by clicking on the + sign in the tool bar at lower right of the page. Scroll down for the second page of the article.
The Cinema Theatre is the name given for this house in the article That appeared in the July, 1963, issue of International Projectionist. Stewart & Everett’s new 600-seat house was designed in a spare, Modern style by architects Charles H. Wheatley & Associates.
this page of the magazine has four photos showing the theater’s front and public interior. Not surprisingly, subsequent pages feature a couple of photos of the projection room and a description of its equipment.
The April, 1963, issue of International Projectionist ran a brief article about Walter Reade-Sterling’s new Continental Theatre in Forest Hills, which had opened on March 21 with director Joseph Strick’s film adaptation of Jean Genet’s play The Balcony. The 600-seat Continental Theatre was designed by architect John J. McNamara, and featured rooftop parking and a permanent art gallery that was to be devoted to exhibiting the works of artists from Queens.