The Century San Francisco Center was also the last of several multiplex projects designed for the Century chain by the San Diego architectural firm Fehlman LaBarre (partial list from Reed Construction Data. The page for this project mistakenly gives the address as 1835 Market Street.)
The Fehlman LaBarre web site used to have information about their theater projects, but the domain name was allowed to lapse and it’s now a spam site, so avoid it. Partner Mark Fehlman has retired from architecture to pursue a career as an artist, and partner Michael LaBarre has merged his practice with San Diego firm Carrier Johnson + CULTURE.
The Century 16 Santa Fe Station is one of several multiplex projects designed for the Century chain by the San Diego architectural firm Fehlman LaBarre (partial list from Reed Construction Data.) The Fehlman LaBarre web site used to have information about their theater projects, but the domain name was allowed to lapse and is now a spam site, so avoid it.
Partner Mark Fehlman has retired from architecture to pursue a career as an artist, and partner Michael LaBarre has merged his practice with San Diego firm Carrier Johnson + CULTURE.
The Century 20 in Daly City is one of several multiplex projects designed for the Century chain by the San Diego architectural firm Fehlman LaBarre (partial list from Reed Construction Data.)
I’ve removed my earlier comment with a link to the Fehlman LaBarre web site, which used to have information about the project. The domain name was allowed to lapse and now belongs to an Asian spam site, so avoid it. Partner Mark Fehlman has retired from architecture to pursue a career as an artist, and partner Michael LaBarre has merged his practice with San Diego firm Carrier Johnson + CULTURE.
Harkins Chandler Fashion Center 20 was designed by the Phoenix architectural firm Level 4 Studio. The firm has desgined several multiplexes for the Harkins chain, as well as two projects for Ultrastar (partial list.) Tim S. Ward and Nik E. Perkovich are the principals of Level 4 Studio.
Harkins Arrowhead Fountains 18 was designed by the Phoenix architectural firm Level 4 Studio. The firm has desgined several multiplexes for the Harkins chain, as well as two projects for Ultrastar (partial list.) Tim S. Ward and Nik E. Perkovich are the principals of Level 4 Studio.
Harkins Gateway Pavillions 18 was designed by the Phoenix architectural firm Level 4 Studio. The firm has desgined several multiplexes for the Harkins chain, as well as two projects for Ultrastar (partial list.) Tim S. Ward and Nik E. Perkovich are the principals of Level 4 Studio.
Harkins Norterra 14 was designed by the Phoenix architectural firm Level 4 Studio. The firm has desgined several multiplexes for the Harkins chain, as well as two projects for Ultrastar (partial list.) Tim S. Ward and Nik E. Perkovich are the principals of Level 4 Studio.
Harkins SanTan Village 16 was designed by the Phoenix architectural firm Level 4 Studio. The firm has desgined several multiplexes for the Harkins chain, as well as two projects for Ultrastar (list.) Tim S. Ward and Nik E. Perkovich are the principals of Level 4 Studio.
Utlrastar’s Surprise Pointe 14 was designed by the Phoenix architectural firm Level 4 Studio. The same firm designed Ultrastar’s 10-screen multiplex at Lake Havasu, opened the same year, and several multiplexes for the Harkins chain (list.) Tim S. Ward and Nik E. Perkovich are the principals of Level 4 Studio.
The Village Theatre opened about 1965. It was owned by Ed Rabb’s Acme Amusement Corporation, which also operated the Ascot and Starlight Drive-In Theatres.
The Palace Theatre was taken over by Herman Schoenstadt in 1908, according to an article about him in the February 23, 1918, issue of The Moving Picture World. This 250-300 seat house was the first theater Schoenstadt operated. He and his two sons would go on to build an extensive chain of neighborhood theaters in Chicago.
The caption of a photo on page 40 of Cleveland County People and Places, by Barry E. Hambright and U. L. Patterson (Google Books preview) says that the Princess Theatre was built in 1917 and was later known as the Carolina Theatre. It was closed in 1960 and the building converted into a Woolworth store.
The aerial photo shows that the theater was in the block south of the town square, which is now the 200 block, so Shelby must have renumbered its blocks at some point. I can’t tell from satellite view if any part of the building is still there or not, but there’s certainly no sign of the fly tower.
There is a photo depicting part of the lobby of either the Rialto Theatre or the Orpheum Theatre in Omaha, published in 1926 in a trade journal for the marble industry called Through the Ages. The magazine used the same photo twice, one caption identifying it as the Rialto and the other as the Orpheum. This is the photo, as scanned and displayed by the web site Quarries and Beyond, which has copyrighted the scan (so don’t upload it to the photos section here.)
I think the photo probably depicts the Rialto, though. The lighting fixtures have an Art Nouveau look, which doesn’t match the French Renaissance style of the Orpheum (1926) but might well have been used in the older Rialto (1918.)
A March, 1914, item in The Moving Picture World has a different address for a Bijou Theatre that was still upstairs:
“Three upstairs theaters — the Jewel, 30 Michigan avenue; the Bijou, 24 Monroe avenue; and the Avenue, 996 Michigan avenue — in Detroit were ordered closed by the state fire marshal.”
This house was called the Princess before it was called the Liberty. The February 21, 1914, issue of The Moving Picture World said that the Princess Theatre in Roswell had been opened on July 28, 1913. The house had 725 seats. The building was 35x155 feet, and the projector had a throw of 92 feet to a screen which was 13x18 feet. The house employed a three-piece orchestra, and could present live events on a stage that was 23 feet wide and 18 feet deep. The owner of the Princess was James Halper, and the manager was G. W. Morgan.
The February 14, 1914, issue of The Moving Picture World mentions the Olympic Theatre and gives its seating capacity:
“Mr. and Mrs. C. E. Wirick paid a visit to The World office last week. Mr. Wirick is owner of the Olympic and Majestic Theaters in Sioux City, seating, respectively, 300 and 400 people.”
The item also has this useful line: “There are 11 moving picture theaters in Sioux City, the largest being the Royal, with a capacity of 600.”
At for right in the photo of the New Theatre on its page, part of a marquee can be seen with the letter “M” and part of the letter “A” on it. That must be the Main Theatre at 106 Main Street.
That means there’s something wrong with the information from the Arkansas Historical Society magazine that Chuck cited in his previous comment. The theater at 106 Main was clearly the Main Theatre at some point, either before or after being the Rex.
I have no clue if the Rex at 213 Main (not yet listed at Cinema Treasures) was ever called the Main or not. Is it possible that it was the replacement for this theater, and when it opened this one was renamed the Main, rather than the other way around?
As the Ambridge Theatre was apparently only house of ample scale in the town, it was probably the recently-opened theater that was mentioned in the January 14, 1929, issue of The Film Daily:
“Ambridge, Pa. — M. B. Nadler has been appointed manager of the new Ambridge Amuse. Co. house here. The house seats 1,600 and built at a cost of approximately $500,000.”
There is a vacant lot directly across the street from 625 Merchant Street now. That must be where the Prince Theatre was located. The building adjacent to it is an old J. C. Penney store of 1940s or 1950s vintage, which would not have been the theater, though it might have been built on the theater’s site. It looks like the Prince has been demolished.
The Plaza Theatre opened in 1916. Here is an announcement from the January 8 issue of The Moving Picture World that year:
“SIOUX CITY. IOWA.— Plans have been filed for the new Plaza theater in Sioux City which St. Elmo Bateman of Waterloo is promoting. A wholesale liquor house is to be transformed at a cost of $35,000. It will contain a pipe organ, the only one in a Sioux City photoplay house.”
Given its location, the Penn Theatre might have been the project that was the subject of this item in the April 10, 1915, issue of The Moving Picture World:
“COL. KEENAN TO BUILD THEATER.
“Col. T. J. Keenan, the Pittsburgh newspaper man and capitalist, has announced that he will have work started in a few days on a fine large theater block covering his lots on the southeast corner of Merchant and Fifth streets, Ambridge, Pa. While the details of the construction of the building cannot be given at this time, it is known that the building will cover the whole of Col. Keenan’s lot-holding at this point, which consists of four lots, an area of 88x1OO feet.
“The new theater will be one of the finest between Pittsburgh and Cleveland. It will have seating capacity for more than 8OO persons and in modern construction and architectural design it will be the last word. Besides the commodious theater a couple of splendid business rooms, suitable for mercantile purposes, will be included in the new block. When built the theater will be placed in charge of an experienced and efficient manager.”
The Century San Francisco Center was also the last of several multiplex projects designed for the Century chain by the San Diego architectural firm Fehlman LaBarre (partial list from Reed Construction Data. The page for this project mistakenly gives the address as 1835 Market Street.)
The Fehlman LaBarre web site used to have information about their theater projects, but the domain name was allowed to lapse and it’s now a spam site, so avoid it. Partner Mark Fehlman has retired from architecture to pursue a career as an artist, and partner Michael LaBarre has merged his practice with San Diego firm Carrier Johnson + CULTURE.
The Century 16 Santa Fe Station is one of several multiplex projects designed for the Century chain by the San Diego architectural firm Fehlman LaBarre (partial list from Reed Construction Data.) The Fehlman LaBarre web site used to have information about their theater projects, but the domain name was allowed to lapse and is now a spam site, so avoid it.
Partner Mark Fehlman has retired from architecture to pursue a career as an artist, and partner Michael LaBarre has merged his practice with San Diego firm Carrier Johnson + CULTURE.
The Century 20 in Daly City is one of several multiplex projects designed for the Century chain by the San Diego architectural firm Fehlman LaBarre (partial list from Reed Construction Data.)
I’ve removed my earlier comment with a link to the Fehlman LaBarre web site, which used to have information about the project. The domain name was allowed to lapse and now belongs to an Asian spam site, so avoid it. Partner Mark Fehlman has retired from architecture to pursue a career as an artist, and partner Michael LaBarre has merged his practice with San Diego firm Carrier Johnson + CULTURE.
Harkins Chandler Fashion Center 20 was designed by the Phoenix architectural firm Level 4 Studio. The firm has desgined several multiplexes for the Harkins chain, as well as two projects for Ultrastar (partial list.) Tim S. Ward and Nik E. Perkovich are the principals of Level 4 Studio.
Harkins Arrowhead Fountains 18 was designed by the Phoenix architectural firm Level 4 Studio. The firm has desgined several multiplexes for the Harkins chain, as well as two projects for Ultrastar (partial list.) Tim S. Ward and Nik E. Perkovich are the principals of Level 4 Studio.
Harkins Gateway Pavillions 18 was designed by the Phoenix architectural firm Level 4 Studio. The firm has desgined several multiplexes for the Harkins chain, as well as two projects for Ultrastar (partial list.) Tim S. Ward and Nik E. Perkovich are the principals of Level 4 Studio.
Harkins Norterra 14 was designed by the Phoenix architectural firm Level 4 Studio. The firm has desgined several multiplexes for the Harkins chain, as well as two projects for Ultrastar (partial list.) Tim S. Ward and Nik E. Perkovich are the principals of Level 4 Studio.
Harkins SanTan Village 16 was designed by the Phoenix architectural firm Level 4 Studio. The firm has desgined several multiplexes for the Harkins chain, as well as two projects for Ultrastar (list.) Tim S. Ward and Nik E. Perkovich are the principals of Level 4 Studio.
Utlrastar’s Surprise Pointe 14 was designed by the Phoenix architectural firm Level 4 Studio. The same firm designed Ultrastar’s 10-screen multiplex at Lake Havasu, opened the same year, and several multiplexes for the Harkins chain (list.) Tim S. Ward and Nik E. Perkovich are the principals of Level 4 Studio.
The modern address of the Carolina Theatre’s location would be 230-232 Lafayette Street.
The Village Theatre opened about 1965. It was owned by Ed Rabb’s Acme Amusement Corporation, which also operated the Ascot and Starlight Drive-In Theatres.
The Palace Theatre was taken over by Herman Schoenstadt in 1908, according to an article about him in the February 23, 1918, issue of The Moving Picture World. This 250-300 seat house was the first theater Schoenstadt operated. He and his two sons would go on to build an extensive chain of neighborhood theaters in Chicago.
The caption of a photo on page 40 of Cleveland County People and Places, by Barry E. Hambright and U. L. Patterson (Google Books preview) says that the Princess Theatre was built in 1917 and was later known as the Carolina Theatre. It was closed in 1960 and the building converted into a Woolworth store.
The aerial photo shows that the theater was in the block south of the town square, which is now the 200 block, so Shelby must have renumbered its blocks at some point. I can’t tell from satellite view if any part of the building is still there or not, but there’s certainly no sign of the fly tower.
There is a photo depicting part of the lobby of either the Rialto Theatre or the Orpheum Theatre in Omaha, published in 1926 in a trade journal for the marble industry called Through the Ages. The magazine used the same photo twice, one caption identifying it as the Rialto and the other as the Orpheum. This is the photo, as scanned and displayed by the web site Quarries and Beyond, which has copyrighted the scan (so don’t upload it to the photos section here.)
I think the photo probably depicts the Rialto, though. The lighting fixtures have an Art Nouveau look, which doesn’t match the French Renaissance style of the Orpheum (1926) but might well have been used in the older Rialto (1918.)
This house was called the Victory Theatre at least as early as 1943, when it was mentioned in the December 25 issue of The Billboard.
Just for the record, Chuck1231 originally uploaded the photo of the New Theatre, not me.
This item is from the September 9, 1936, issue of The Film Daily:
The house must have opened before the end of 1936, but I haven’t found it mentioned in later issues of the magazine that year.A March, 1914, item in The Moving Picture World has a different address for a Bijou Theatre that was still upstairs:
This house was called the Princess before it was called the Liberty. The February 21, 1914, issue of The Moving Picture World said that the Princess Theatre in Roswell had been opened on July 28, 1913. The house had 725 seats. The building was 35x155 feet, and the projector had a throw of 92 feet to a screen which was 13x18 feet. The house employed a three-piece orchestra, and could present live events on a stage that was 23 feet wide and 18 feet deep. The owner of the Princess was James Halper, and the manager was G. W. Morgan.
The February 14, 1914, issue of The Moving Picture World mentions the Olympic Theatre and gives its seating capacity:
The item also has this useful line: “There are 11 moving picture theaters in Sioux City, the largest being the Royal, with a capacity of 600.”At for right in the photo of the New Theatre on its page, part of a marquee can be seen with the letter “M” and part of the letter “A” on it. That must be the Main Theatre at 106 Main Street.
That means there’s something wrong with the information from the Arkansas Historical Society magazine that Chuck cited in his previous comment. The theater at 106 Main was clearly the Main Theatre at some point, either before or after being the Rex.
I have no clue if the Rex at 213 Main (not yet listed at Cinema Treasures) was ever called the Main or not. Is it possible that it was the replacement for this theater, and when it opened this one was renamed the Main, rather than the other way around?
As the Ambridge Theatre was apparently only house of ample scale in the town, it was probably the recently-opened theater that was mentioned in the January 14, 1929, issue of The Film Daily:
There is a vacant lot directly across the street from 625 Merchant Street now. That must be where the Prince Theatre was located. The building adjacent to it is an old J. C. Penney store of 1940s or 1950s vintage, which would not have been the theater, though it might have been built on the theater’s site. It looks like the Prince has been demolished.
The Plaza Theatre opened in 1916. Here is an announcement from the January 8 issue of The Moving Picture World that year:
Given its location, the Penn Theatre might have been the project that was the subject of this item in the April 10, 1915, issue of The Moving Picture World: