The August 26, 1939, issue of Boxoffice reported that the remodeled Ritz was set to reopen that week.
The obituary of Foster McSwain published in Boxoffice, May 19, 1969, said that he had built the Ritz and Kiva theaters some time after building the McSwain, but didn’t give the years of their opening. McSwain operated theaters in Ada in partnership with Griffith United Theatres, later Video Independent Theatres.
Boxoffice of April 24, 1972, reported that as of April 6, the Gemini Twins in Ada were more than 35% complete. The house was to be operated by Vista Theatres, and the total investment including equipment was estimated at $250,000. An earlier Boxoffice item had given the seating capacities of the auditoriums as 312 and 224. I haven’t found any items about the opening itself.
I’ve come across a couple of references to architect Bud Magee as Charles Magee and Charles “Bud” Magee. In addition to the Christown, and the Buena Vista at Tucson, he designed at least one other NGC house, the Fox Theatre in Provo, Utah, opened in 1967. There’s a rendering of the Provo Fox in Boxoffice, April 24, 1967.
Brad is correct. Boxoffice Magazine of February 5, 1973, has an item saying: “Owner of the recently opened Malibu Cinema, a United General Theatres Franchise operation, is David O'Meara….” The house was still a single-screen theatre at least as late as early 1982, when the February issue of Boxoffice published a letter from David O'Meara in which he mentioned that the theater had 250 seats.
A view of a Trans-Lux Modern Theatre was featured in an ad for Carrier air conditioners in Boxoffice Magazine, March 7, 1936. I think it’s the same theater seen in the two exterior photos linked in ken mc and Warren’s comments. If this theater closed in 1933, Carrier must have been using an old photo of it. It’s possible that the ad had already been in use for a few years and Carrier was just too cheap to have a new one created.
On February 18, 1936, a little over a year after it opened, the Colony Theatre hosted the world premier of Walter Wanger’s “The Trail Of the Lonesome Pines,” the first dramatic feature film in full color. Two days later, the New York premier was presented at the Paramount Theatre there. Paramount Pictures congratulated itself with this two-page spread in Boxoffice Magazine of March 7, 1936.
The October 23, 1948, issue of Boxoffice reported another world premier at the Colony, that of the Ingrid Bergman-Charles Boyer movie “Arch of Triumph.”
A brief item in Boxoffice of September 23, 1950, mentioned “…Paramount’s Colony, Miami Beach, now called the Colony Art Theatre….” This name and policy change does not appear to have lasted long, and Boxoffice was again calling it simply the Colony Theatre by 1952.
The theater was apparently closed in late 1953. The November 12, 1955, issue of Boxoffice reported that the Colony would be reopened by Florida State Theatres on December 23 with the southeastern regional premier of “Guys and Dolls.” The house had been closed for two years, the item said, and was being refurbished and would be equipped for wide-screen movies.
After that, the Colony appears to have thrived as a first-run house, with occasional road shows, for a couple of decades, and was mentioned in Boxoffice frequently.
The Square Theatre was renovated in 1936. The March 7, 1936, issue of Boxoffice has an article by architect William I. Hohauser, illustrated with a few photos of the Square Theatre, which was one of his recent modernization projects.
Unfortunately, the scan of the article is very blurry, and about half the text is unreadable, including the part that makes reference to the Square Theatre. The photo caption is readable, but doesn’t give much information. It does, however, specifically say the project was a renovation, so the Square must have operated before 1936, perhaps under a different name.
The exact opening date of the Normandy Theatre was Wednesday, January 28, 1948, according to Boxoffice Magazine of January 31. Normandy was the spelling Boxoffice used. The house was locally owned and independently operated, the item said. The Normandy was air conditioned and would be open the year around, with a top admission price of 74 cents. The first manager was named Nat Hern.
The scan is not very clear, but it looks like Boxoffice gave the address as 1401 Collins Avenue.
The October 14, 1950, issue of Boxoffice said “The formerly-independent Normandy Theatre in Miami Beach appeared this week under the banner of the Claughton circuit. This brings to six the number of theatres now operated by Claughton in this area. The theatre is on a single-feature policy.” From the phrasing, and the fact that the first Boxoffice item said that the manager was not revealing anything about the owners of the house except that they were operating as the Normandy Theatre Company, it’s possible that Claughton owned the place all along and just wasn’t telling.
The sale of the Normandy to Wometco was noted in an August 7, 1961, Boxoffice item which said the house would be converted to an art policy. Among changes would be the addition of a turnstile at the entrance and the replacement of the concession stand by vending machines. An art theater with vending machines? Oh, Wometco!
Though I’ve tried, I’ve been unable to find any references in Boxoffice calling this house the Normandie Theatre. There’s a photo of the marquee in Boxoffice of March 8, 1976. The marquee doesn’t look like it had been updated since 1948. I’m wondering how they ever managed to squeeze squeezed an ‘IE" into the space occupied by that “Y.”
The Moore Theatre was opened on October 18, 1946, according to the issue of Boxoffice dated the following day. The owner-operator of the independent house was named Harold A. Soard.
The first Orpheum was designed by the architectural firm of Kees & Caldwell. The same firm later designed the Loring Theatre and the Stimson Building, the two-floor commercial block associated with B. Marcus Priteca’s Pantages Theatre in Minneapolis.
The new Fox Theatre in Amarillo was set to open on July 30, 1967, according to the issue of Boxoffice dated the previous day. This 800-seat house was, like a number of theaters built during NGC’s expansion in the late 1960s, designed by the Los Angeles architectural firm of Pearson, Wuesthoff & Skinner. Amarillo architect Harold Mitchell was the local associate.
A May 12, 1969, Boxoffice item about the groundbreaking for the Central Park Fox said that the twin was designed by the Los Angeles architectural firm of Pearson, Wuesthoff & Skinner. Johnson & Dempsey of San Antonio were the local associate architects.
Boxoffice of October 15, 1938, mentions “…George Halligan, who recently opened the Liberty in Blythe….” The October 1 issue also mentioned the reopening of the Liberty, saying it had been closed for more than two years, but this item mistakenly places it in the nonexistent town of Blythe, Arizona.
By 1941, the Liberty had been taken over by Bob Dunagan (or Dunnigan- Boxoffice spelling) who had opened the Rio Theatre at Blythe in April, 1937.
A June 28, 1965, Boxoffice item said that Robert Lippert had taken over two indoor theaters and a drive-in at Blythe from “Bob Dunnigan,” who (the item said) had operated theaters at Blythe since 1933. It doesn’t give the names of the theaters sold to Lippert, but the last mention of the Liberty I’ve found in Boxoffice is the 1944 item.
A March 20, 1948, item says that “Bob Dunnagan” had opened the Hub, his second theatre at Blythe, so the Liberty must have been closed by then. The houses Lippert bought were probably the Hub and the Rio.
The Hub Theatre opened in 1948. The March 6 and March 20 issues of Boxoffice both mention the opening. The March 20 issue says it was owned by Bob Dunnagan, operator of the Rio Theatre, but the March 6 issue has two items, one saying that Dunnigan (Boxoffice uses several different spellings of his name) owned it and the other saying the owner was Dick Simmons. Perhaps they were partners. In any case, issues of Boxoffice a couple of years later give the name of the operator of the Hub as Dave Jarvis.
A later operator of the Hub, Jim Meyers, wrote a letter to the editor that was published in the July 11, 1977, issue of Boxoffice. The address he gave in that letter was “Hub Theatre, 222 E. Hobsonway, Blythe, Calif., 92225.”
Google Maps (which gives the correct street name of Hobsonway— Bing mistakenly calls it Hobson Way) shows a theater-like building at that location in its satellite view, but street view shows that the building has been demolished since the satellite photo was taken. Bing Maps has the same satellite view, but no bird’s eye view is available for this location, unfortunately.
The Overton Theatre opened in 1938. The July 23 issue of Boxoffice said that the house sold out two shows. Among guests at the opening was W.B. King of King Scenic Company, the decorator of the theater.
The January 29, 1938, issue of Boxoffice ran an item about the origin’s of the Overton Theatre, which was to compete with the Jefferson Amusement company’s Strand Theatre:[quote]“Business men have raised money to finance a new and independent theatre there, according to information reaching Dallas during the week. The new house will be operated by T. W. (Ted) Lewis of Texarkana, where he now operates the Princess and a Negro house, the report said. Lewis is a died-in-the-wool independent.
The mayor of Overton is said to be head of a $25,000 stock company behind the new theatre building, construction on which is ready to start, the report said.“[/quote]A March 12 Boxoffice item said that Ted Lewis had reported that $40,000 was available for building and equipping the new theater he would operate at Overton. The July 2 issue of Boxoffice reported that the Overton Theatre was scheduled to open on July 8.
I’ve been trying to find out who designed this theater, but so far no luck.
This house was called the Queen before it was the Lamar. Unless the original name was later restored (I can’t find any evidence that it was), the page should be renamed. Boxoffice of August 25, 1951, had this information in an item about the installation of an air conditioning and heating system in the Lamar: “It’s the first major work on the house since it opened in October of 1946. Operated years ago as the Queen Theatre and later as the Cole, the Lamar has served three generations of Richmond moviegoers.”
The Queen in Richmond is mentioned in Motion Picture Times of June 17, 1930, when H.A. Kruger sold his half interest in the house to his partner, Mart Cole. The pair had opened the house in 1928. Cole still owned the Lamar in 1951. The Cole circuit also opened a 256-seat house called the Dixie at Richmond in 1950.
I’ve found items about the October, 1946, opening of the Cole Theatre, but have found no indication that it was an entirely new building or that anything untoward had happened to the original Queen Theatre building. It appears to have been an extensive remodeling, but I can’t be positive. If the Queen burned, I can’t find anything about it in Boxoffice, and I can’t believe that Boxoffice would have passed up an opportunity to report a major theater fire. I’ve also been unable to find the date of the name change to Lamar Theatre.
Boxoffice Magazine reported on January 24, 1942, that Lou Bard had sold his Colorado Theatre in Pasadena to Fox West Coast. The house was to be closed soon for “extensive alterations.” The recent opening of Fox West Coast’s refurbished Academy Theatre was announced in Boxoffice of July 11, 1942.
I’ve always had the impression that the Academy lost its original Egyptian style and got its modern interior at the same time the exterior was remodeled in 1957, but the photo of the mezzanine lounge in this Gulistan Carpet ad in the April 1, 1950, issue of Boxoffice shows that at least this part of the interior had already been redone in the art moderne style by then. It’s possible that the interior was entirely modernized during the Fox project in 1942, and the carpeting touted in the Gulistan ad could have been part of a later refurbishing.
An article featuring photos of Shea’s Theatre in Ashtabula was published in Boxoffice, April 1, 1950. Written by the theater’s architect, Michael DeAngelis, and Roy Anderson, the acoustic engineer on the project, the article delves into the methods of providing proper acoustics in movie theaters, with particular emphasis on how the problem was dealt with in the design of Shea’s.
In 1950, the Madison Theatre was owned by the local volunteer fire department and operated under lease by Mrs. Regina Steinberg. That year, the February 25 issue of Boxoffice reported plans to enlarge and remodel the theater, with plans by architect/engineer Samuel Sanner. A May 13, 1951, Boxoffice item said that the Steinberg family had been operating the Madison for 21 years.
The enlargement of the house is not mentioned in the February 17, 1951, Boxoffice item about the reopening, which was to take place on the 14th. But one Boxoffice item about the project said that the building was to be extended to reach the alley behind it, and a 1971 view of the area at Historic Aerials shows one building on that section of 3rd Street that reaches the alley, and the rear portion has a different colored roof than the front portion. It that was the theater, then the expansion must have happened.
The renovation was extensive, in any case, and included building a new floor, reconditioning the seats, complete redecoration, and other improvements. The house was closed from January 6 until February 14.
An April 23, 1955, Boxoffice item said that Mrs. Steinberg had sold the Madison. After that I can’t find it mentioned in Boxoffice, but there are probably a dozen American towns called Madison, and all of them seem to have a namesake theater, so it might be hiding in there somewhere.
The Main Theatre celebrated its 50th anniversary on February 9, 10, and 11, 1965. Boxoffice of February 22, 1965, reported that operator Joe Blum, son of Peter Blum who had opened the house in 1915, on those nights presented three admission-free movies which had been chosen by the theater’s patrons. The three movies shown on successive nights were “Muscle Beach Party,” “McLintock,” and “PT 109.” The 300-seat house was packed each night.
Fox Midwest’s Rockhill Theatre had been closed for over a year when, in 1956, it was purchased and reopened as an art house by Louis Sher and Edward Shulman. A $75,000 renovation and redecoration was carried out by the Teichert Studios of Chicago. The seating capacity was reduced by nearly half, to 720, with new 21-inch seats in 44-inch rows. Decoration throughout the house was simplified, and a coffee bar was installed in place of the lobby concession stand. The new screen had a 3 degree curve and flexible masking to accommodate a variety of aspect ratios.
Boxoffice Magazine of September 1, 1956, announced that the renovation project had been completed ahead of schedule and that, after a benefit premier on September 5, the Rockhill would have its public opening the following day with “The Proud and the Beautiful.” On the 19th, the house would participate in the world premier of “Lust For Life,” the Vincent Van Gogh biopic which featured paintings loaned from the collection of the nearby William Rockhill Nelson Art Gallery.
L.L. Thatcher penned a three-page article about the Rockhill’s renovation for Boxoffice of October 20, 1956. There are several photographs illustrating the article.
The August 26, 1939, issue of Boxoffice reported that the remodeled Ritz was set to reopen that week.
The obituary of Foster McSwain published in Boxoffice, May 19, 1969, said that he had built the Ritz and Kiva theaters some time after building the McSwain, but didn’t give the years of their opening. McSwain operated theaters in Ada in partnership with Griffith United Theatres, later Video Independent Theatres.
Boxoffice of January, 1987, said: “Cinemark… has opened the new North Hill Cinema 6 in Ada, Okla.”
Boxoffice of April 24, 1972, reported that as of April 6, the Gemini Twins in Ada were more than 35% complete. The house was to be operated by Vista Theatres, and the total investment including equipment was estimated at $250,000. An earlier Boxoffice item had given the seating capacities of the auditoriums as 312 and 224. I haven’t found any items about the opening itself.
I’ve come across a couple of references to architect Bud Magee as Charles Magee and Charles “Bud” Magee. In addition to the Christown, and the Buena Vista at Tucson, he designed at least one other NGC house, the Fox Theatre in Provo, Utah, opened in 1967. There’s a rendering of the Provo Fox in Boxoffice, April 24, 1967.
Oy. I meant Kees and Colburn, of course. Where did Caldwell come from? I need to get more sleep.
Brad is correct. Boxoffice Magazine of February 5, 1973, has an item saying: “Owner of the recently opened Malibu Cinema, a United General Theatres Franchise operation, is David O'Meara….” The house was still a single-screen theatre at least as late as early 1982, when the February issue of Boxoffice published a letter from David O'Meara in which he mentioned that the theater had 250 seats.
A view of a Trans-Lux Modern Theatre was featured in an ad for Carrier air conditioners in Boxoffice Magazine, March 7, 1936. I think it’s the same theater seen in the two exterior photos linked in ken mc and Warren’s comments. If this theater closed in 1933, Carrier must have been using an old photo of it. It’s possible that the ad had already been in use for a few years and Carrier was just too cheap to have a new one created.
On February 18, 1936, a little over a year after it opened, the Colony Theatre hosted the world premier of Walter Wanger’s “The Trail Of the Lonesome Pines,” the first dramatic feature film in full color. Two days later, the New York premier was presented at the Paramount Theatre there. Paramount Pictures congratulated itself with this two-page spread in Boxoffice Magazine of March 7, 1936.
The October 23, 1948, issue of Boxoffice reported another world premier at the Colony, that of the Ingrid Bergman-Charles Boyer movie “Arch of Triumph.”
A brief item in Boxoffice of September 23, 1950, mentioned “…Paramount’s Colony, Miami Beach, now called the Colony Art Theatre….” This name and policy change does not appear to have lasted long, and Boxoffice was again calling it simply the Colony Theatre by 1952.
The theater was apparently closed in late 1953. The November 12, 1955, issue of Boxoffice reported that the Colony would be reopened by Florida State Theatres on December 23 with the southeastern regional premier of “Guys and Dolls.” The house had been closed for two years, the item said, and was being refurbished and would be equipped for wide-screen movies.
After that, the Colony appears to have thrived as a first-run house, with occasional road shows, for a couple of decades, and was mentioned in Boxoffice frequently.
The Square Theatre was renovated in 1936. The March 7, 1936, issue of Boxoffice has an article by architect William I. Hohauser, illustrated with a few photos of the Square Theatre, which was one of his recent modernization projects.
Unfortunately, the scan of the article is very blurry, and about half the text is unreadable, including the part that makes reference to the Square Theatre. The photo caption is readable, but doesn’t give much information. It does, however, specifically say the project was a renovation, so the Square must have operated before 1936, perhaps under a different name.
My link didn’t work. Boxoffice marquee photo should be here.
The exact opening date of the Normandy Theatre was Wednesday, January 28, 1948, according to Boxoffice Magazine of January 31. Normandy was the spelling Boxoffice used. The house was locally owned and independently operated, the item said. The Normandy was air conditioned and would be open the year around, with a top admission price of 74 cents. The first manager was named Nat Hern.
The scan is not very clear, but it looks like Boxoffice gave the address as 1401 Collins Avenue.
The October 14, 1950, issue of Boxoffice said “The formerly-independent Normandy Theatre in Miami Beach appeared this week under the banner of the Claughton circuit. This brings to six the number of theatres now operated by Claughton in this area. The theatre is on a single-feature policy.” From the phrasing, and the fact that the first Boxoffice item said that the manager was not revealing anything about the owners of the house except that they were operating as the Normandy Theatre Company, it’s possible that Claughton owned the place all along and just wasn’t telling.
The sale of the Normandy to Wometco was noted in an August 7, 1961, Boxoffice item which said the house would be converted to an art policy. Among changes would be the addition of a turnstile at the entrance and the replacement of the concession stand by vending machines. An art theater with vending machines? Oh, Wometco!
Though I’ve tried, I’ve been unable to find any references in Boxoffice calling this house the Normandie Theatre. There’s a photo of the marquee in Boxoffice of March 8, 1976. The marquee doesn’t look like it had been updated since 1948. I’m wondering how they ever managed to squeeze squeezed an ‘IE" into the space occupied by that “Y.”
The Moore Theatre was opened on October 18, 1946, according to the issue of Boxoffice dated the following day. The owner-operator of the independent house was named Harold A. Soard.
The first Orpheum was designed by the architectural firm of Kees & Caldwell. The same firm later designed the Loring Theatre and the Stimson Building, the two-floor commercial block associated with B. Marcus Priteca’s Pantages Theatre in Minneapolis.
The Loring Theatre was designed by the firm of Kees & Colburn. Here is a page about it from the City of Minneapolis web site.
The new Fox Theatre in Amarillo was set to open on July 30, 1967, according to the issue of Boxoffice dated the previous day. This 800-seat house was, like a number of theaters built during NGC’s expansion in the late 1960s, designed by the Los Angeles architectural firm of Pearson, Wuesthoff & Skinner. Amarillo architect Harold Mitchell was the local associate.
A May 12, 1969, Boxoffice item about the groundbreaking for the Central Park Fox said that the twin was designed by the Los Angeles architectural firm of Pearson, Wuesthoff & Skinner. Johnson & Dempsey of San Antonio were the local associate architects.
Boxoffice of October 15, 1938, mentions “…George Halligan, who recently opened the Liberty in Blythe….” The October 1 issue also mentioned the reopening of the Liberty, saying it had been closed for more than two years, but this item mistakenly places it in the nonexistent town of Blythe, Arizona.
By 1941, the Liberty had been taken over by Bob Dunagan (or Dunnigan- Boxoffice spelling) who had opened the Rio Theatre at Blythe in April, 1937.
A June 28, 1965, Boxoffice item said that Robert Lippert had taken over two indoor theaters and a drive-in at Blythe from “Bob Dunnigan,” who (the item said) had operated theaters at Blythe since 1933. It doesn’t give the names of the theaters sold to Lippert, but the last mention of the Liberty I’ve found in Boxoffice is the 1944 item.
A March 20, 1948, item says that “Bob Dunnagan” had opened the Hub, his second theatre at Blythe, so the Liberty must have been closed by then. The houses Lippert bought were probably the Hub and the Rio.
The Hub Theatre opened in 1948. The March 6 and March 20 issues of Boxoffice both mention the opening. The March 20 issue says it was owned by Bob Dunnagan, operator of the Rio Theatre, but the March 6 issue has two items, one saying that Dunnigan (Boxoffice uses several different spellings of his name) owned it and the other saying the owner was Dick Simmons. Perhaps they were partners. In any case, issues of Boxoffice a couple of years later give the name of the operator of the Hub as Dave Jarvis.
A later operator of the Hub, Jim Meyers, wrote a letter to the editor that was published in the July 11, 1977, issue of Boxoffice. The address he gave in that letter was “Hub Theatre, 222 E. Hobsonway, Blythe, Calif., 92225.”
Google Maps (which gives the correct street name of Hobsonway— Bing mistakenly calls it Hobson Way) shows a theater-like building at that location in its satellite view, but street view shows that the building has been demolished since the satellite photo was taken. Bing Maps has the same satellite view, but no bird’s eye view is available for this location, unfortunately.
The Overton Theatre opened in 1938. The July 23 issue of Boxoffice said that the house sold out two shows. Among guests at the opening was W.B. King of King Scenic Company, the decorator of the theater.
The January 29, 1938, issue of Boxoffice ran an item about the origin’s of the Overton Theatre, which was to compete with the Jefferson Amusement company’s Strand Theatre:[quote]“Business men have raised money to finance a new and independent theatre there, according to information reaching Dallas during the week. The new house will be operated by T. W. (Ted) Lewis of Texarkana, where he now operates the Princess and a Negro house, the report said. Lewis is a died-in-the-wool independent.
The mayor of Overton is said to be head of a $25,000 stock company behind the new theatre building, construction on which is ready to start, the report said.“[/quote]A March 12 Boxoffice item said that Ted Lewis had reported that $40,000 was available for building and equipping the new theater he would operate at Overton. The July 2 issue of Boxoffice reported that the Overton Theatre was scheduled to open on July 8.
I’ve been trying to find out who designed this theater, but so far no luck.
This house was called the Queen before it was the Lamar. Unless the original name was later restored (I can’t find any evidence that it was), the page should be renamed. Boxoffice of August 25, 1951, had this information in an item about the installation of an air conditioning and heating system in the Lamar: “It’s the first major work on the house since it opened in October of 1946. Operated years ago as the Queen Theatre and later as the Cole, the Lamar has served three generations of Richmond moviegoers.”
The Queen in Richmond is mentioned in Motion Picture Times of June 17, 1930, when H.A. Kruger sold his half interest in the house to his partner, Mart Cole. The pair had opened the house in 1928. Cole still owned the Lamar in 1951. The Cole circuit also opened a 256-seat house called the Dixie at Richmond in 1950.
I’ve found items about the October, 1946, opening of the Cole Theatre, but have found no indication that it was an entirely new building or that anything untoward had happened to the original Queen Theatre building. It appears to have been an extensive remodeling, but I can’t be positive. If the Queen burned, I can’t find anything about it in Boxoffice, and I can’t believe that Boxoffice would have passed up an opportunity to report a major theater fire. I’ve also been unable to find the date of the name change to Lamar Theatre.
Boxoffice Magazine reported on January 24, 1942, that Lou Bard had sold his Colorado Theatre in Pasadena to Fox West Coast. The house was to be closed soon for “extensive alterations.” The recent opening of Fox West Coast’s refurbished Academy Theatre was announced in Boxoffice of July 11, 1942.
I’ve always had the impression that the Academy lost its original Egyptian style and got its modern interior at the same time the exterior was remodeled in 1957, but the photo of the mezzanine lounge in this Gulistan Carpet ad in the April 1, 1950, issue of Boxoffice shows that at least this part of the interior had already been redone in the art moderne style by then. It’s possible that the interior was entirely modernized during the Fox project in 1942, and the carpeting touted in the Gulistan ad could have been part of a later refurbishing.
An article featuring photos of Shea’s Theatre in Ashtabula was published in Boxoffice, April 1, 1950. Written by the theater’s architect, Michael DeAngelis, and Roy Anderson, the acoustic engineer on the project, the article delves into the methods of providing proper acoustics in movie theaters, with particular emphasis on how the problem was dealt with in the design of Shea’s.
In 1950, the Madison Theatre was owned by the local volunteer fire department and operated under lease by Mrs. Regina Steinberg. That year, the February 25 issue of Boxoffice reported plans to enlarge and remodel the theater, with plans by architect/engineer Samuel Sanner. A May 13, 1951, Boxoffice item said that the Steinberg family had been operating the Madison for 21 years.
The enlargement of the house is not mentioned in the February 17, 1951, Boxoffice item about the reopening, which was to take place on the 14th. But one Boxoffice item about the project said that the building was to be extended to reach the alley behind it, and a 1971 view of the area at Historic Aerials shows one building on that section of 3rd Street that reaches the alley, and the rear portion has a different colored roof than the front portion. It that was the theater, then the expansion must have happened.
The renovation was extensive, in any case, and included building a new floor, reconditioning the seats, complete redecoration, and other improvements. The house was closed from January 6 until February 14.
An April 23, 1955, Boxoffice item said that Mrs. Steinberg had sold the Madison. After that I can’t find it mentioned in Boxoffice, but there are probably a dozen American towns called Madison, and all of them seem to have a namesake theater, so it might be hiding in there somewhere.
The Main Theatre celebrated its 50th anniversary on February 9, 10, and 11, 1965. Boxoffice of February 22, 1965, reported that operator Joe Blum, son of Peter Blum who had opened the house in 1915, on those nights presented three admission-free movies which had been chosen by the theater’s patrons. The three movies shown on successive nights were “Muscle Beach Party,” “McLintock,” and “PT 109.” The 300-seat house was packed each night.
Fox Midwest’s Rockhill Theatre had been closed for over a year when, in 1956, it was purchased and reopened as an art house by Louis Sher and Edward Shulman. A $75,000 renovation and redecoration was carried out by the Teichert Studios of Chicago. The seating capacity was reduced by nearly half, to 720, with new 21-inch seats in 44-inch rows. Decoration throughout the house was simplified, and a coffee bar was installed in place of the lobby concession stand. The new screen had a 3 degree curve and flexible masking to accommodate a variety of aspect ratios.
Boxoffice Magazine of September 1, 1956, announced that the renovation project had been completed ahead of schedule and that, after a benefit premier on September 5, the Rockhill would have its public opening the following day with “The Proud and the Beautiful.” On the 19th, the house would participate in the world premier of “Lust For Life,” the Vincent Van Gogh biopic which featured paintings loaned from the collection of the nearby William Rockhill Nelson Art Gallery.
L.L. Thatcher penned a three-page article about the Rockhill’s renovation for Boxoffice of October 20, 1956. There are several photographs illustrating the article.