The marquee came off quite some time ago. This article posted on the Mountain Statesman web site on September 4, 2018 notes that the marquee was unsalvageable. The restoration underway apparently involves stripping away much, if not all, of Victor Rigaumont’s 1948 rebuilding project.
This 2015 post from the Preservation Alliance of West Virginia indicates that the Manos was not “built on the site of the Strand”, but actually is the Strand’s building, extensively remodeled. The house opened in 1912 as the Hippodrome Theatre with 325 seats, and has undergone expansion, and has been renamed twice over the years. It was still the Hippodrome in the 1914-1915 American Motion Picture Directory, but had been renamed the Strand by 1923.
This 2019 post from the theater’s Facebook page has a photo that shows the original brick arches that have been uncovered as Rigaumont’s modern overlay is removed. The Facebook page has not been updated since May 18, 2020. I suspect that, like many other projects, the Manos renovation has been struggling with the consequences of the Covid-19 pandemic.
This web page says that Fred Romano opened the Keystone Theatre on February 21, 1925, ran the first sound movie on November 27, 1929, but closed the house on September 30, 1930. The house was reopened by Comerford Theatres as the Grand Theatre on October 20, 1930, but Romano regained control and restored the name Keystone on August 25, 1931.
In May, 1934, the house became the Roxy under a new management, and yet another owner renamed it the Ritz in 1938. There were numerous changes of management over the years, and business declined with the advent of television, leading to multiple closings and re-openings, and the Ritz last operated in 1961. The building was demolished in 1977.
It’s not a certainty, but it’s possible that this notice from Moving Picture World of February 10, 1923, was about the project that was built in 1924 and opened as the Keystone Theatre in early 1925: “WEATHERLY, PA.— Fred Domott has plans by C. F. Storch, of Summit Hill, for one-story brick moving picture theatre, 30 by 95 feet, to cost $10,000.”
An Oil City Derrick article says that the Venango Theatre was at 228 Seneca Street. The well-maintained brick building is still standing, currently shared by a hair styling salon and an office. It’s right next door to the I.O.O.F. building.
The March 10, 1917 issue of Moving Picture World featured an article about the theaters of the Ascher Bros. chain, and the Metropolitan, which had opened on January 20, was described in this paragraph:
“The Metropolitan theater, Forty-seventh street and Grand boulevard, is the thirteenth link in the chain of houses in
Chicago operated by the Ascher Bros. On Saturday night, January 20, 1917, the doors of this theater were opened to the public for the first time. Three overflowing performances were given that evening, and many were turned away. Automobiles were lined up for more than a block on either side of Grand boulevard, which is one of Chicago’s most fashionable thoroughfares. The photoplay program consisted of Metro’s production, ‘The White Raven,’ starring Ethel Barrymore, a two-reel Sidney Drew comedy, a Pathe weekly and a scenic, in addition to which were five musical numbers by an orchestra of six pieces, and a large pipe organ, directed by Lynne A. Hazzard. In the way of decorative appointments and general construction the Metropolitan is without a rival in the city of Chicago. With the beautiful arrangement of the interior and the visual advantages of the large auditorium, it might well be said that this theater is early perfect in modern moving picture theater design. The lobby walls are finished in Italian Verdi marble, while the floor is covered with black and white mosaic. The auditorium is decorated with a harmonious blend of colors, and is lighted by a large dome placed in the center of the ceiling which contains hundreds of colored bulbs blending into rays of softness and beauty. There are 20 exits from the Auditorium, and 1,600 finely-upholstered seats on the main floor. There is no gallery. The entire building, in which the theater is included, is of fireproof construction and cost about $250,000. The management of the house has been given to Harry E. Ascher.”
This paragraph about the Lane Court Theatre appeared in Moving Picture World for March 10, 1917, as part of an article about the Ascher Bros. circuit:
“The Lane Court theater, on Lane Court and Center street, was opened to the public on Saturday, November 25, 1916. This is one of the most recent acquisitions to the Ascher chain. Henry W. Peters was chosen to manage this house, and the Ascher policy is being maintained in the selection of the programs. Only the latest feature releases are shown with a daily change in the entire program. The musical accompaniment is furnished by a five-piece orchestra and a
pipe organ. An unusual ventilating system has been installed in this building, the air being introduced and exhausted from the side walls, thus eliminating any possibility of draft and dust. There are 1,000 seats in the auditorium, upholstered in leather. The house has no gallery.”
This description of the Oakland Square Theatre was featured in an article about the Ascher Bros. chain that appeared in the March 10, 1917 issue of Moving Picture World:
“The Oakland Square theater, on Oakwood and Drexel boulevards, was erected under the personal supervision of the architect, Henry L. Newhouse, and is recognized as one of the finest in the country. Until the erection of the Metropolitan, a description of which will follow, this house was unequalled for beauty and modernity by any moving picture theater in Chicago. On the opening night, March 4, 1916, nearly every section of the city was represented in a crowd of nearly 5,000 people who sought to gain admission, and many hundreds were turned away.
“This beautiful house is located in the heart of an exclusive residence district on the South Side. The interior decorations are carried out in a modified French Renaissance style. The exterior is of the Italian type, and in the copings are quaint grotesque figures. In the auditorium are 1,525 seats all so arranged as to afford a perfect view of the screen, no matter where one may sit. The Oakland Square has been doing a capacity business ever since its successful opening. This can be attributed somewhat to the capable management of Max E. Ascher, whose personal attention is given to the details of every exhibition. The Ascher policy of operating for the convenience of patrons rather than for employees is always in evidence here.”
Here is a description of the Columbus Theatre from an article about the Ascher Bros. chain in Moving Picture World of March 10, 1917:
“The Columbus, Ashland avenue and Sixty-third street, seats 1,500 people, and was annexed to the Ascher chain on Christmas Day, 1915. This theater has the distinction of being the first ‘cornerways’ house ever built, the auditorium being practically square, with the screen across one corner. An immense dome with hundreds of concealed lights produce a beautiful effect. The entire side walls are covered with life-size mural paintings. With its wonderful acoustics the fine tones of a huge pipe organ are heard to fine advantage, and
organ selections are given at each performance. The exterior of the building is lighted with powerful pylon beacon lights with a terra cotta border lighting, giving a flaming fire effect which can be seen for a mile around. A feature program is shown twice daily. D. E. Rice recently succeeded Harry Ascher as the manager.”
This description of the Frolic, which was a reverse theater, is from an article about the Ascher Bros. circuit that appeared in The Moving Picture World on March 10, 1917:
“The ‘Frolic,’ Fifty-fifth street and Ellis avenue, is a favorite place for the students of the University of Chicago. Located within a block of the campus, it is quite handy and one can usually see a number of students at every show. This theater represents an investment of about $150,000, and it is rather unique in design. The auditorium is arranged so that on entering, the patron faces the audience instead of the screen. Few theaters in Chicago have been planned in this way. One thousand seats, upholstered in leather, are on the main floor. The interior color scheme is banana, offset in blue and gold. The lobby is finished in Italian vein marble and mosaic work. The Frolic is equipped with a large pipe organ, and two Simplex motor-driven machines are used to project the pictures. Joseph A. Schaefter is the manager.”
This description of the Calo Theatre is from an article about the Ascher Bros. chain in the March 10, 1917 issue of Moving Picture World:
“Conspicuous in the construction of the Calo theater, on Clark street and Balmoral avenue, is the large foyer directly off the lobby. Oil paintings of various actors and actresses
adorn the walls, and the fixtures are very unusual in design. Particular attention has been given to the seating arrangement in this theater. There are 1,000 comfortable seats on the main floor, and the spacious seating plan is noticeable. The Calo is managed by Joseph Koppel, who had had considerable experience as an exhibitor. His program selections continue to meet with the approval of his patrons, most of whom are ‘regulars.’ The house is open afternoon and evening, and the music is furnished by a large two-manual pipe organ. The cost of the complete building was close to $125,000. It fronts on Clark street and there are seven stores besides the theater proper.”
This description of the Terminal Theatre is from an article about the Ascher Bros. chain in the March 10, 1917 issue of Moving Picture World:
“The Terminal theater, Lawrence and Spaulding avenues, is designed architecturally along the same lines as the Frolic. It has the same reverse seating arrangement with the screen hung in front of the auditorium. The exterior of the building is of rough cast tapestry brick. The foyer and ticket booth are of grain white marble. There are 1,000 seats all on one floor, and a feature picture, a comedy and occasionally a scenic completes the program each day. A pipe organ furnishes the music. Edward Nikodeon is the manager.”
Here is a description of the Lakeside Theatre from an article about Ascher Bros. in the March 10, 1917 issue of Moving Picture World:
“The opening of the Lakeside theater, Sheridan road and Lakeside place, marked the entrance of the Ascher Bros, to
the North side section of Chicago. This beautiful house was formally opened to the public on Saturday, September 4, 1915, and it has been doing a large and profitable business ever since. It is situated in the busiest neighborhood on the North Side, known as the ‘Wilson Avenue’ district, where more business is done each day than is transacted in an ordinary small town. There are close to thirty hotels in this neighborhood alone to draw from.
“Matinees are held daily in this theater and three shows are given in the evening. An orchestra of select musicians accompanied by a large pipe organ furnishes the music at all presentations. The seating capacity is 1,000, and the admission price is 10 cents for matinees and 15 cents at night. The theater is under the management of William C. Lamereaux.”
An article about the Ascher Bros circuit in the March 10, 1917 issue of Moving Picture World had this paragraph about the Cosmopolitan:
“A good deal of credit is due Bruce Goshaw for the success of the Cosmopolitan theater, Halsted and Seventy-ninth
streets, which was the first thousand-seat house to be erected for the Ascher Bros. Manager Godshaw enjoys the distinction of having managed this house since its opening on Saturday, September 6, 1913. This fine modern structure is situated in the suburb of Auburn Park far out in the southwest end of town and is strictly a neighborhood theater.
Although in its fifth season, some of the ‘opening night’ patrons can still be seen in the audiences. The foyer of the house is finished in marble and the general color scheme is old rose and blue. The equipment is modern in every detail from the box-office to the operating room. Feature subjects are exhibted [sic] both afternoon and evening, at an admission price of 10 cents.”
Ascher Bros. took control of this house as early as 1912, according to a list of the Chicago chain’s important theaters published in Moving Picture World of March 10, 1917:
“The President theater, Garfield Boulevard and Calumet avenue, was the first of the larger houses operated under the Ascher system. It was taken over by the Ascher Bros, and opened to the public under their management on September 30, 1912. Previous to this time it was used exclusively for vaudeville. The President is located on one of Chicago’s finest boulevards, within a short distance of Jackson Park. It has a seating capacity of 800, and pictures are shown every afternoon and evening, at an admission price of 10 cents. There are six exits from the large auditorium which is decorated in white and blue. The music is furnished by a Kimball organ and a five-piece orchestra. Harry F. Beaumont is the resident manager.”
If the Princess was still in operation in 1929, it’s possible that there were two different theaters of that name in Oil City. A 2009 comment by kencmcintyre on the Lyric Theatre page cites a 1974 Oil City Derrick photo caption saying that Princess was one of the aka’s for the second Lyric Theatre, at 216-218 Seneca Street. We don’t yet have a page for the first Lyric, but it was at 106-108 Seneca, and was in operation prior to 1916, when it was renovated, and then the Lyric name was moved to the former Orpheum/Princess/Cameo location in 1927. One page says that the house became the Cameo in the early 1920s, so the listing for the Princess in 1929 was either a different house or the FDY just hadn’t gotten around to removing the name from their listings.
Per kencmcintyre’s comment above, this page is missing the aka’s Princess Theatre and Cameo Theatre. We don’t yet have a page for the first Lyric Theatre, at 106-108 Seneca Street. (I’ve found out that the first Lyric was in operation prior to March, 1916, when it was reported to have reopened following a major renovation.) According to the current Lyric web site, this house opened as the Orpheum in 1906.
A July 16, 1921 article in The Moving Picture World gave the names of the four movie theaters then operating in Oil City, and the Star was not among them, so it must have closed by that time. The four houses in 1921 were the Venango, the Princess, the Lyric, and the Temple. The Temple, which was open by 1916, was at 230 Seneca, so if the Temple and Star’s periods of operation overlapped they were fairly near neighbors.
Also, I came across an article from the January 28, 2021 Oil City Derick (I can only see a small part of it as it’s behind their pay wall) and it gives the address of the Majestic as 102 Seneca Street.
A July 16, 1921 article in The Moving Picture World gave the names of the four movie theaters then operating in Oil City, and the Majestic was not among them, so it had either closed or been renamed by that time. The four houses were the Venango, the Princess, the Lyric, and the Temple.
The April 17, 1920 issue of Moving Picture World reported that the formal grand opening of the Venengo Theatre in Oil City had taken place on March 22. As the item specifies that this was the formal opening, it’s possible that the house had already been informally opened to the public earlier.
This web pagehas a very early photo of the Baby Grand, and says that it opened on February 1, 1917, and was rebuilt in 1927 (which must have been the project for Universal noted in my previous comment.)
Universal’s control of the house was brief. The June 28 issue of Film Daily reported a deal in which E. J. Sparks took over most of Universal’s theaters in the region, and the Baby Grand was not listed among the few that were excluded.
The Baby Grand closed in 1940 when the Colony Theatre opened, but had a brief afterlife in 1947 showing westerns and adventure films for less than a year.
Universal Pictures took over operation of the Baby Grand in early 1928, according to this item from the January 22 issue of Film Daily that year: “Orlando, Fla.— Universal’s new Baby Grand at Winter Park, the millionaire winter colony closely adjacent to Orlando, opened last week.”
The 1939 redecoration of the Studio was occasioned by a fire on June 7 which damaged the interior and destroyed the sound system, as reported in The Film Daily of July 21. The house was then being operated by Intermountain Theatres.
The “Theaters Planned” column of Film Daily for July 21, 1939 had this item datelined Maxton: “Maxton, 300 seats, City Square; Builder: M. S. Weaver; Architect: M. S. Weaver; Cost: $3,500; Operator: James Finch.”
In 1956, the Buck Theatre was owned and operated by a Mr. E. V. Landaiche, as noted in the July 28 issue of Motion Picture Herald. Landaiche also had the Beach Drive-In at Biloxi, and was in process of selling the Bay View Theatre in that city. He also had the Carver Theatre at Prichard, Alabama.
The marquee came off quite some time ago. This article posted on the Mountain Statesman web site on September 4, 2018 notes that the marquee was unsalvageable. The restoration underway apparently involves stripping away much, if not all, of Victor Rigaumont’s 1948 rebuilding project.
This 2015 post from the Preservation Alliance of West Virginia indicates that the Manos was not “built on the site of the Strand”, but actually is the Strand’s building, extensively remodeled. The house opened in 1912 as the Hippodrome Theatre with 325 seats, and has undergone expansion, and has been renamed twice over the years. It was still the Hippodrome in the 1914-1915 American Motion Picture Directory, but had been renamed the Strand by 1923.
This 2019 post from the theater’s Facebook page has a photo that shows the original brick arches that have been uncovered as Rigaumont’s modern overlay is removed. The Facebook page has not been updated since May 18, 2020. I suspect that, like many other projects, the Manos renovation has been struggling with the consequences of the Covid-19 pandemic.
This web page says that Fred Romano opened the Keystone Theatre on February 21, 1925, ran the first sound movie on November 27, 1929, but closed the house on September 30, 1930. The house was reopened by Comerford Theatres as the Grand Theatre on October 20, 1930, but Romano regained control and restored the name Keystone on August 25, 1931.
In May, 1934, the house became the Roxy under a new management, and yet another owner renamed it the Ritz in 1938. There were numerous changes of management over the years, and business declined with the advent of television, leading to multiple closings and re-openings, and the Ritz last operated in 1961. The building was demolished in 1977.
It’s not a certainty, but it’s possible that this notice from Moving Picture World of February 10, 1923, was about the project that was built in 1924 and opened as the Keystone Theatre in early 1925: “WEATHERLY, PA.— Fred Domott has plans by C. F. Storch, of Summit Hill, for one-story brick moving picture theatre, 30 by 95 feet, to cost $10,000.”
An Oil City Derrick article says that the Venango Theatre was at 228 Seneca Street. The well-maintained brick building is still standing, currently shared by a hair styling salon and an office. It’s right next door to the I.O.O.F. building.
The March 10, 1917 issue of Moving Picture World featured an article about the theaters of the Ascher Bros. chain, and the Metropolitan, which had opened on January 20, was described in this paragraph:
This paragraph about the Lane Court Theatre appeared in Moving Picture World for March 10, 1917, as part of an article about the Ascher Bros. circuit:
This description of the Oakland Square Theatre was featured in an article about the Ascher Bros. chain that appeared in the March 10, 1917 issue of Moving Picture World:
Here is a description of the Columbus Theatre from an article about the Ascher Bros. chain in Moving Picture World of March 10, 1917:
This description of the Frolic, which was a reverse theater, is from an article about the Ascher Bros. circuit that appeared in The Moving Picture World on March 10, 1917:
This description of the Calo Theatre is from an article about the Ascher Bros. chain in the March 10, 1917 issue of Moving Picture World:
This description of the Terminal Theatre is from an article about the Ascher Bros. chain in the March 10, 1917 issue of Moving Picture World:
Here is a description of the Lakeside Theatre from an article about Ascher Bros. in the March 10, 1917 issue of Moving Picture World:
An article about the Ascher Bros circuit in the March 10, 1917 issue of Moving Picture World had this paragraph about the Cosmopolitan:
Ascher Bros. took control of this house as early as 1912, according to a list of the Chicago chain’s important theaters published in Moving Picture World of March 10, 1917:
If the Princess was still in operation in 1929, it’s possible that there were two different theaters of that name in Oil City. A 2009 comment by kencmcintyre on the Lyric Theatre page cites a 1974 Oil City Derrick photo caption saying that Princess was one of the aka’s for the second Lyric Theatre, at 216-218 Seneca Street. We don’t yet have a page for the first Lyric, but it was at 106-108 Seneca, and was in operation prior to 1916, when it was renovated, and then the Lyric name was moved to the former Orpheum/Princess/Cameo location in 1927. One page says that the house became the Cameo in the early 1920s, so the listing for the Princess in 1929 was either a different house or the FDY just hadn’t gotten around to removing the name from their listings.
Per kencmcintyre’s comment above, this page is missing the aka’s Princess Theatre and Cameo Theatre. We don’t yet have a page for the first Lyric Theatre, at 106-108 Seneca Street. (I’ve found out that the first Lyric was in operation prior to March, 1916, when it was reported to have reopened following a major renovation.) According to the current Lyric web site, this house opened as the Orpheum in 1906.
A July 16, 1921 article in The Moving Picture World gave the names of the four movie theaters then operating in Oil City, and the Star was not among them, so it must have closed by that time. The four houses in 1921 were the Venango, the Princess, the Lyric, and the Temple. The Temple, which was open by 1916, was at 230 Seneca, so if the Temple and Star’s periods of operation overlapped they were fairly near neighbors.
Also, I came across an article from the January 28, 2021 Oil City Derick (I can only see a small part of it as it’s behind their pay wall) and it gives the address of the Majestic as 102 Seneca Street.
A July 16, 1921 article in The Moving Picture World gave the names of the four movie theaters then operating in Oil City, and the Majestic was not among them, so it had either closed or been renamed by that time. The four houses were the Venango, the Princess, the Lyric, and the Temple.
The April 17, 1920 issue of Moving Picture World reported that the formal grand opening of the Venengo Theatre in Oil City had taken place on March 22. As the item specifies that this was the formal opening, it’s possible that the house had already been informally opened to the public earlier.
The church no longer occupies this building, which is currently being offered for sale on LoopNet.
This web pagehas a very early photo of the Baby Grand, and says that it opened on February 1, 1917, and was rebuilt in 1927 (which must have been the project for Universal noted in my previous comment.)
Universal’s control of the house was brief. The June 28 issue of Film Daily reported a deal in which E. J. Sparks took over most of Universal’s theaters in the region, and the Baby Grand was not listed among the few that were excluded.
The Baby Grand closed in 1940 when the Colony Theatre opened, but had a brief afterlife in 1947 showing westerns and adventure films for less than a year.
Universal Pictures took over operation of the Baby Grand in early 1928, according to this item from the January 22 issue of Film Daily that year: “Orlando, Fla.— Universal’s new Baby Grand at Winter Park, the millionaire winter colony closely adjacent to Orlando, opened last week.”
The 1939 redecoration of the Studio was occasioned by a fire on June 7 which damaged the interior and destroyed the sound system, as reported in The Film Daily of July 21. The house was then being operated by Intermountain Theatres.
The “Theaters Planned” column of Film Daily for July 21, 1939 had this item datelined Maxton: “Maxton, 300 seats, City Square; Builder: M. S. Weaver; Architect: M. S. Weaver; Cost: $3,500; Operator: James Finch.”
In 1956, the Buck Theatre was owned and operated by a Mr. E. V. Landaiche, as noted in the July 28 issue of Motion Picture Herald. Landaiche also had the Beach Drive-In at Biloxi, and was in process of selling the Bay View Theatre in that city. He also had the Carver Theatre at Prichard, Alabama.