Opened April 4, 1925 with “Broke Barriers.” It closed at the end of lease in June of 1968 and got new operators reopening in August of 1968. On May 8, 1971, it played “The Aristocats” before closing. It reopened under new operators a year later on May 20, 1972 running through to Oct. 7, 1972 when it closed with a triple feature at 90 cents admission with “So Sad About Gloria,” “Encounter with the Unknown,” and “Scream and Scream Again.”
In 1976, the Maplewood Film Festival Theatre Company got permission to reopen the venue. They play repertory films beginning June 4, 1976 weekends only. In December of 1977, that closed. Richardson Theatres Co. reopened it as a discount dollar house on June 14, 1978 The Manchester closed for films on Feb. 15, 1979 gong “Up in Smoke” with Cheech and Chong. It had sporadic live events later in the year. It was listed in the real estate marketplace through 1986. In 1988, the Maplewood Theatre Apartments were offered for lease.
The Beverly turned art and repertory film in December of 1963 becoming the Beverly Art Theater launching with “An American in Paris.” Four years later, Mid-America Theaters rebranded this as the Fine Arts Theater on October 4, 1967 turning art house with “King of Hearts.” The venue also closed as the Fine Arts Theater almost 20 years later on May 31, 1986 with “April Fool’s Day.”
The Shady Oak Theater opened May 3, 1933 with “The Kid From Spain.” The Colonial Revival architectural sketch of Campbell Alden Scott, John A. Lorenz and Frederick Dunn is in photos. Just four years later, the venue made a momentous decision to go from neighborhood second run house to an arthouse rebranding as the Shady Oak Cinema on October 3, 1937. It would shorten that banner to the Shady Oak Cine closing on August 26, 2000 with “Autumn in New York.” It closed with 475 seats and was demolished in November of 2008.
The Shady Oak Theater opened May 3, 1933 with “The Kid From Spain.” But four years later, the venue made a momentous decision to go from neighborhood second run house to an arthouse rebranding as the Shady Oak Cinema on October 3, 1937. It would shorten that banner to the Shady Oak Cine closing on August 26, 2000 with “Autumn in New York.” It closed with 475 seats and was demolished in November of 2008.
The Ozark Theater launched on October 12, 1921 with Clara Kimball Young in “Charge It.” In 1925, the venue was known as the Ozark Theater and Airdome with the large outside area used for screenings that avoided the ventilation-challenged hardtop theater. On June 9, 1930, the venue added sound to remain viable. The Airdome closed after the 1945 season returning to its Ozark Theater nameplate.
You can please leave the credited Chuck Van Bibber entry as is. My research shows a bit more detail though the fate of the building is a bit of an educated guess. It’s as follows:
The 81-store Public Arcade Market opened at the southeast corner of West Pine Boulevard and Sarah Street in St. Louis' Central West End neighborhood on January 3, 1924. Architect George Wells' design was a cross between an open public market like Soulard and a more traditional shopping arcade. Unlike most public markets in the area, it also had upper floor office space. Within the year, The Arcade Airdome, billed as “Where the Stars Shine,” launched just beyond the Arcade on August 21, 1924 with “The Fighting Coward.” It advertised at 4051 West Pine Street putting it on line with the Public Arcade Market and likely pictured in photos.
The Public Arcade was going for a mix of retailers relying heavily on butchers, local produce and flower distributors, and boutique sellers along with offices for lawyers, architects, and dentists. A confectionery in the Arcade likely served as the de facto concessionaire for the Airdome. Arcade vendors undoubtedly signed short-term, year over year or seasonal leasing agreements. It was a newer, more mixed-use approach than the venerable Soulard Market about four miles away but it was likely done in by the higher-profile Union Market that would open November 5, 1925 about 3.5 miles away in St. Louis' central business district. And what the established and new public market spaces didn’t take away vendor-wise at the Market Arcade, the Depression appears to have taken an even more significant toll.
Despite the arcade’s inability to compete against other markets, the Arcade Airdome chugged along adding sound in its 1930 season to remain viable. Steve Major of the Grand Opera House was the final operator taking it on in the 1947 season and operating to 1950. The Arcade Airdome closed some 20 years later, shuttering on August 6, 1950 with “Feudin', Fussin', Fighting” and “Family Honeymoon.” The entire Arcade Market was later demolished likely in 1961 based on the movement of the center’s remaining vendors and aerial shots of the period.
The Plymouth Theater opened at the corner of Hamilton and Plymouth on April 25, 1914 with movies. The Plymouth added sound to remain viable. It closed on April 19, 1953 with “Invasion U.S.A.” and “A Streetcar Named Desire.” It became a house of worship for the Calvary Temple the next year.
The Lexington opened on July 4, 1934 with “Ever Since Eve” and “Bottoms Up” supported by a cartoon. Its final showings were “Golden Stallion” and “Streets of San Francisco” on June 2, 1950. It was then listed as “Closed for the Summer” the next day. The next ad for the venue was in the for sale section where it sold for $41,000 first becoming a fraternal hall and then becoming a house of worship.
One of the spectacular failures in St. Louis move theater history was the Delmonte Theater which was part of the Delmonte Way project that included space for 29 diminutive boutique stores opposite the large, six-story 83-suite hotel complex housing its theater and a never-built but proposed, adjoining 4,000 seat airdome. Months prior to the Delmonte’s debut, the building owner and theater operator, Famous Players Lasky - Missouri Corporation, were in court over lease transferrals. It was an ominous beginning.
The theater moved toward its September 4, 1920 launch with “Humoresque” on the big screen which included an opening address by Mayor Kiel. A bizarre race involving 1,500 war-trained homing pigeons included the names of 1,500 children who hoped their bird would win the contest. Once in the theater, the Adam Style architecture of E. Price Porter featured an impossibly large and long, one-floor theater. It was going to be the crown jewel for Famous Players Lasky Missouri. The Delmonte was billed, as noted above, as “The Largest One-Floor Theatre in the World.“ The $600,000 project launched in 1920 and looked like a winner just based on seat count, alone.
FPL-Missouri had hoped to draw 7,000 patrons to a single film when the airdome launched. But three lawsuits later, including disappointing reviews due to very poor sight lines, stifling ventilation, ticket pricing woes, and a wide array of other issues mired the theater in its six plus years of dreary operation. And keep in mind that these failures were before the onset of the Great Depression. The $36,000 annual lease would be terminated as Famous Players and building owner, Frederick L. Cornwell, parted ways on poor terms. William Goldman took on the venue with a grand reopening on September 1, 1922 showing “Slim Shoulders.”
The biggest moment for the Delmonte was signing Famous Players Lasky star Rodolph Valentino to a six-day contract for a major personal appearance schedule at the Delmonte. But even that came with a dark cloud. Famous Players Lasky filed an injunction barring the six-day appearance and forced the operator to appear in an appellate court allowing Valentino to appear on stage to explain the imbroglio in December of 1922. Embarrassing. Then after the Delmonte prevailed, Mr. and Mrs. Valentino hit the six-day appearance on the stage in February of 1923. Larger crowds meant that more people could see the deficiencies of design at the venue. The theater was soon reduced in stature thereafter to a second-tier house with live vaudeville before reducing prices. In Fall of 1923, Goldman had nothing to say about the theater’s operation likely rejecting a second year of leasing liability.
Failing to get the airdome off the ground, the theater next had to address the massive issue with ventilation problems. The third owner was none other than Frederick L. Cornwell, himself - who had lowered seat count to 2,688, installed a cooling system in late July of 1924 trying to save the summer season. Like the previous operator, Cornwell was soon in court over the box office splits with Fox Films while dealing with small audience sizes. Cornwell had reportedly bought a year’s worth of films to get pricing down for patrons. That plan went south when patrons didn’t appear. Singer Eva Tanguay reported that she was guaranteed $2,000 for her appearance at the Delmonte. She received just $300 and the owner bolted the doors and didn’t reopen. So, bottom line, the Delmonte was in search of yet another operator. And Cornwell was in court with an antitrust allegation against Famous Players Lasky-Missouri as the gloves were off.
Fourth operator Samuel G. Hoffman came with optimism circa 1927 and had made the decision to reduce seat count to 1,588 in hopes of finding better sight lines. Hoffman held the last of several grand openings at the failed Delmonte launching January 21, 1927 with “Lone Wolf Returns.” Just two weeks later, the theater closed permanently with “Stepping Out” on February 6, 1927. Hoffman stepped out with a sizable loss just on the remodeling to say nothing of the broken lease. And, yes, Hoffman was the third straight operator to appear in court - this time suing the building owner about lack of heat. The lack of heat delivery was likely due to the failure of the hotel which was a massive misfire and likely had the operator a bit stingy on utilities. The Delmonte was a dud and there was no chance of thinking about wiring the cavernous theater auditorium space for sound films. The Delmar Hotel, meanwhile, had turned from a new facility targeting the upper crust and socialites to a low-cost daily… weekly… monthly… anything - second or third tier operation.
The theater space was retrofitted as “Club Diablo,” a mis-timed roarin' 20s, major night club and dance hall. And, yes, they marketed as the “Largest ground floor entertainment restaurant in St. Louis.” The theater’s pipe organ was left in place to help provide nightclub music. Seemingly, it was a mismatch but this - at least - reduced the potential cost of the organ’s removal. Club Diablo opened with high hopes on December 29, 1929. And you probably know what happened… They ended up in two courtrooms - criminal and civil. Unpaid employee wages, receipts being seized, and - finally - a major behind the scenes brawl between management and stiffed employees led to one employee being shot and the operator going on the lam. The venue was closed officially within one year’s operation.
Another operator tried again in the space relabeling it as “The Rendez-Vous” beginning on January 1, 1931 - middle class operation - and lasting long enough for a single rendez-vous. A month later, the entirety of the venue was stripped of all tables and someone must have said, “This would make a great skating rink.” You probably know how that ended. In court! During the skating rink’s short operational cycle, the foreclosure process took place in Circuit Court and the default dollars were fairly head-spinning for the times. The hotel had converted into low-cost furnished apartments, in part, due to the onset of the Depression; the Delmonte Hotel Apartments facility was said to be 75 percent vacant.
The entire Delmonte operation (not including Delmonte Way’s 29 boutique shops) was sold at foreclosure for just $75,000. An ad in February of 1932 offered all of the contents of the former hotel / apartment building as the buyer likely was trying to recoup anything from their investment. The former theater / roller rink space became home to Tom Burke’s Frolics Night Club, a lower class affair that opened on Halloween 1931 and closed desperately shy of patrons just three months later after New Year’s Day. And, yes, it had a criminal court appearance associated with its operation. So that’s the Delmonte Theater and its progeny - not a winning proposition.
Louis K. Ansell Interests incorporated as U-City Theatres Corporation in 1935 with the purpose of converting a terra cotta retail building at 6215-6217 into the U-City Theater to the plans of Bruce F. Barnes. That project foundered and they tried again here at 6608-6612 Delmar again with plans by Bruce F. Barnes and with a new name, The Varsity. The theater would be the company’s third along with the acquired Ritz and Empress.
The Varsity Theater launched here on a 15-year lease opening December 5, 1935 with “Broadway Melody of 1936.” Final operators Grace Viviano Piccione and Peter Piccione operated the venue from 1960 until January 3, 1988 closing appropriately with “The Rocky Horror Picture Show,” a film that first played the Varsity in 1976 before playing every weekend from May 1978 to its 1988 closure. The space was almost immediately converted to a short-lived Medicare-Glaser Drug Store (picture in photos) followed by the Vintage Vinyl record store.
Charles Arthur Kalbfell and his wife spent $15,000 to build the Pauline Theater in 1915 on behalf of his independent Echo-Pauline Amusement Company. The Pauline Theater had a neighboring airdome that operated at least until 1928 in the warm summer months. In 1917, the theater is listed as the Echo-Pauline Theater.
Meanwhile, Charles' brother, Howard T., had previously opened the Robin Theater while brother Arthur helped operate the Pauline Theater. The city forced the closure of the Robin Theater in 1947 due to major safety concerns. The Pauline Theater closed with Arthur in poor physical health on April 15, 1956 with “Honky Tonk” and “Billy, the Kid”. The theater would immediately be used as a house of worship and Arthur Kalbell passed away before year’s end.
The independent Echo-Pauline Amusement Company operated by the Kalbell family opened the Robin Theater and then the Pauline Theater. The Robin Theater opened in 1910 at the corner or Harney and Robin in the Walnut Park neighborhood of St. Louis in an existing building. The theatre opened with vaudeville with short films in the programming mix. Charles Arthur Kalbfell and his wife spent $15,000 to build the Pauline Theater in 1915
The trade press reports installation of a new Minusa Gold Fibre screen and new projectors as the Robin Theatre goes almost exclusively to motion pictures. New operators in 1928/9 switch the silent house to talking pictures. The Kalbells returned to operate the theater.
On April 2, 1947, the theater paid for its annual operating license only to be shut down five days later over a fire code restriction put in by the city. The city condemned the theater and ordered is demolition within 7 days. The Kallbells lost their legal battle on appeal to the State Supreme Court making the last showing there as “The Showoff” on April 5, 1947.
Told not to reopen the theater, the building remained dark. Tthe vacant theater was damaged by a fire on September 6, 1952 (image in photos) and was eventually demolished. The Kalbells later closed the Pauline Theater on April 15, 1956 ending the Echo-Pauline Amusement Co.
You can leave the Charles Van Bibber entry above. My own research would suggest a slightly different take with the builder, the address, the status of the venue, and some of the basic facts reworked. So in case you want a slightly different take, here goes:
William B. Powhatan opened on Sutton in the summer of 1909 as the Powhatan Airdome. Then in 1910, operator/owner William B. Powhatan was arrested for not paying the $20 monthly license to run a nickelodeon. And I’m sure he’d be surprised to see that Franchon & Marco gets credit here for building this theater since they didn’t but they also didn’t have to pay his bail, either.
Powhatan built a hardtop theater next door to the Airdome in 1913 becoming the Powhatan Theater & Airdome. This 1913 configuration was at 3111-3115 Sutton Boulevard. (It’s very possible that the 1909-1912 Airdome address was 3107 Sutton leading to the confusion of the address above and the directory note.) The St. Louis Meramec Railroad Company operated an electrical rail service that ran from downtown St. Louis to the Sutton Loop. It ran right past the Powhatan Theater and Airdome. The Manchester Line gaveth - as the Powhatan was able to get live vaudeville performers from St. Louis thanks to the convenient rail service that ran all night - and it tooketh away when Mr. Powhatan left his glass lantern song slides on the trolley one day likely having picked them up in St. Louis at the distributor’s office before losing them. Oh well!
The property was actually owned by William B. Powhatan (one “t”) all the way to October of 1949 but he leased to various operators; so one must challenge the notion that Franchon & Marco “built” the theater as they took on the venue much later. In fact, Spyros Skouras took on the venue in on October 23, 1925 passing it through to St. Louis Amusement and it became a de facto Paramount / Publix house until its bankruptcy protection in the 1930s. St. Louis Amusement wired the Powhatan Theatre & Airdome with Western Electric and Vitaphone sound to keep the venue(s) viable in December 16, 1928. Its first sound film after a week’s long closure was “Caught in the Fog.”
In January of 1933, the Paramount/Publix Corporation was forced into receivership and entered into bankruptcy in 1934. The Powhatan went back to independent operation. In 1937, it becomes part of the Roxy Theatre Corporation with the Roxy, Avalon, Columbia, and Whiteway. Under Roxy operation, it uses the two “t” Powhattan for much of the decade without any reason so should be “also known as” the Powhattan Theatre and Airdome (sic) just to make researching a bit easier.
For a period of time the address listed above for this entry - 3107 Sutton - was home to the M&M Confectionery that served as the de facto concession stand for the Powhatan Theatre and Airdome. The Powhattan ran into labor issues with Roxy Theatre Corp’s Bess Schulter shutting the venue down in 1940 due to a Union dispute on September 24. The confectionery survive the closure and would become home to a tavern that’s pictured in photos. The Powhattan reopened about seven months later on Easter Sunday of 1941.
The theater passed to Fachon & Marco (there they are) with a new manager in February of 1943. The Powhattan was again temporarily shut down effectively in September of 1945 by the local union for the Powhattan Theater’s manager refusal to allow union inspectors in. It reopened on May 30, 1946 back officially as a St. Louis Amusement Corp. property.
In 1949, the Powhatan property was was sold outright by the Powhatan family to St. Louis Amusement on October 30, 1949 apparently as land speculation. In fact, hey closed it permanently a month later likely when the deal was closed on November 27, 1949 with “It’s a Great Feeling.” I’m not sure the neighborhood agreed about the feeling. The Powhatan was listed as “CLOSED!” for two weeks before being removed from newspaper listings altogether.
An April 27, 1956 fire almost ended the property. A second arson fire just three days later then took care of the hardtop theater. The corner lot to the middle of the block were cleared and became a National Food Grocery Store a year later (picture of that in photos to clarify). As noted, the 3107 Sutton property pictured above was at one time a confectionery and later in the 1940s became a tavern in the 1940s lasting into the 1950s and possibly beyond. But that’s the only connection to the theatre - sorry - as it was a tavern in the late 1940s and 1950s when the theatre was still standing.
This venue’s 37-year career as an Airdome/Theater combo appears to stand as a record number of years for a Theatre/Airdome combination in the city and its 41 seasons also a record for overall airdoming operation in St. Louis. We salute you Powhatan/Powhattan (sic) Theatre & Airdome!
September 6, 1908 opening ad as the Bijou Dream in photos. The nearby Casino Theatre on Olive and 6th lost its lease. The two theaters became one as the Bijou-Casino on January 29, 1911. That combo lasted seven months with the venue becoming the Bijou Dance Academy.
Technically, One City Center is what sits there presently (formerly St. Louis Centre Mall)
The Webster Theater opened on December 16, 1909 with motion pictures. The Webster has the City of St. Louis record for second longest operation with both hardtop and outdoor airdome theater trailing only the Powhatan / Powhattan Theatre and Airdome. The ventilation challenged Webster Theatre used its Airdome in the summer months. It is documented from 1918 to 1948. The Webster closes for the summer on June 8, 1952 with “Lone Star” and “Blondie Has Servant Trouble.” It did not operate its Airdome or reopen.
dallasmovietheatersdallasmovietheaters on November 3, 2024 at 11:07 am (remove)
This could be incorrect but the local paper and trade press indicate that this venue opened as the Grand and Cass Tent Theater in 1910. In 1911, it is given a roof likely under threat of closure by the City which was cracking down on tent and airdome venues in 1911. It appears to be called the Fair Theater with 600 seats from 1911 to early 1916.
Building operator Frank Obear & Son offer the lease of it and the neighboring retail store for a very low price. Soon after in 1916, it becomes the Acme Theater. That ends within months. New lessee J.J. Barrett operates it along with the Chippewa and Kinckerbocker that same Fall . On April 17, 1919, William Jaskiewic reopens it as the Wilson Theater on a grind policy showing films until 11p daily. Pete Rybaki owned the theatre as the Wilson in 1927. The theater is said to have finished silent as the Colonial Theater though there is little evidence of its operation.
The King Bee Odeon opened in 1910 as a tent theater. In 1912, it is renamed the King Bee Theater remaining a tent show. After five successful seasons and likely under duress from the City of St. Louis which was cracking down on tent picture shows due to well-placed safety concerns, it was rebuilt late in 1914 and early 1915 as a hardtop venue continuing as the King Bee Theater by Mike Nash. United Pictures Theatres of America booked the venue beginning in 1918. An adjoining candy store / confectionery served as the de facto concession stand.
George P. Skouras took over the King Bee in October of 1925. Skouras added Tiffany-Stahl’s Tiffany Tone sound to the King Bee to remain viable in 1929. Skouras technically closed the venue in 1930. In 1931, it was taken over by Barbara Schmoll Pautler who operated it until 1947. It got new owners from 1947 to 1952. The King Bee was deposed on July 20, 1952 after showings of “Drums in the Deep South ” and “Pistol Harvest.”
Please don’t change the original Charles Van Bibber entry which is just fine. My research indicates the following:
The origins of the Ashland Theatre date back to its construction in late 1909 replacing a residential property and becoming the Ashland Tent Picture Show in 1910 (picture in photos). D.T. Williams & Wife Co. began the theater and it was considered one of the few area theaters managed by a female operator. The independent operators in early St. Louis found their entry into the movie business in airdromes and tents as chain operation was already beginning to limit newcomers.
The Williams were active in ensuring independent theater operation as active members of the St. Louis Motion Picture Protective Association during World War I. The Williams were threatened with closure as many tent shows were found to be unsafe by the City due to the high incidence of nitrate film projection fires. So at the end of its fifth successful season, the Williams tore down their tent picture show in favor of a $20,000 hard top Ashland Theater built with the predecessor’s proceeds.
The “new” hardtop Ashland Theatre opened in May of 1915. Louis W. Vick took on the venue. He would wire it with DeForest Phonofilm sound in 1929 to keep the Ashland viable. Lena Vick Fiorito co-operated the Ashland and Lee Theaters. The Lee was closed for the summer on May 28, 1949 with the ventilation-challenged venue closed permanently.
Her Ashland Theatre soldiered on to its 36th Anniversary on May 12, 1951 closing with “I Killed Geronimo” & “Timber Fury.” Listed as closed for renovation and likely due to lack of modern ventilation, the Ashland’s renovations don’t take place and the closure is permanent. Both the Lee and the Ashland are listed for sale in 1951 and 1952 with the Ashland becoming a church in 1952. It is assumed that the Ashland is all but demolished serving as the foundation for a new church as the two buildings have little if anything in common.
The Vaudeville Theatre Company began to build this venue in 1911 at a cost of $20,000. The project was picked up by the Montgomery Theatre Corporation opening in May of 1911. Reopened as the Hi-Way Theatre on September 19, 1937 with “Sing and Be Happy” and “A Star is Born.” Closed at the expiry of a 20-year leasing agreement on June 30, 1957 with “Fear Strikes Out” and “Three Violent People.”
Edward Scholl created the Bremen Theatre Company and built the Bremen Theatre for $10,000 in 1910. Orrin T. Crawford joined the Bremen Theatre Company and became President of O.T. Crawford Vaudeville Exchange. He would take on the Bremen in April of 1915 when Scholl’s company went into receivership.
Mogler Amusement took on the venue in 1925 moving its offices next door to the Bremen. Mogler Amusement sold it to William S., Mildred H. and Marguerite A. Kaimann. But a disagreement over ownership took place in 1947 with William S. shooting Clarence who was trying to take control of the venue for his own Hyde Park Entertainment. William then committed suicide. The courts then ruled that Marguerite would be the rightful owner and she continued to the end of a 30-year period. The Bremen’s last advertised films were November 19, 1967 with “The War Wagon” and “Tammy and the Millionaire.”
The Lindell Theater opened on August 15, 1914. St. Louis Amusements and Arthur Theatres closed here on May 7, 1961 with “Count and Die” and “Prescription for Murder”. That was followed by the canopy and attractor crashing down in the early hour morning ending the venue’s lifecycle. It was torn down in January of 1962. The space was proposed as parking for Busch Stadium that did not transpire.
W.A. Meagher built and opened an airdrome in 1912 at this address. He appears to have enclosed the operation in 1913 as the Marquette Theatre. Louis Spiros took on the venue in 1922 and equipping it for sound to remain viable by decade’s end.
On November 26, 1943, the Marquette’s policy changed to serving African American customers. St. Louis' first female African American police officer, Floy Jones, arrested a robber at the theater in December of 1956. Sprios retired, closing the Marquette on January 22, 1957 with “The Bold and the Brave” and “Slightly Scarlet.”
Under new operators, the Marquette came back on February 12, 1960 with a triple feature of “Rodani,” “3:10 to Uma” and “Carnival Rock.” The theatre appears to have closed permanently on July 13, 1961 with “On the Beach” and “Jonny Concho.”
Opened April 4, 1925 with “Broke Barriers.” It closed at the end of lease in June of 1968 and got new operators reopening in August of 1968. On May 8, 1971, it played “The Aristocats” before closing. It reopened under new operators a year later on May 20, 1972 running through to Oct. 7, 1972 when it closed with a triple feature at 90 cents admission with “So Sad About Gloria,” “Encounter with the Unknown,” and “Scream and Scream Again.”
In 1976, the Maplewood Film Festival Theatre Company got permission to reopen the venue. They play repertory films beginning June 4, 1976 weekends only. In December of 1977, that closed. Richardson Theatres Co. reopened it as a discount dollar house on June 14, 1978 The Manchester closed for films on Feb. 15, 1979 gong “Up in Smoke” with Cheech and Chong. It had sporadic live events later in the year. It was listed in the real estate marketplace through 1986. In 1988, the Maplewood Theatre Apartments were offered for lease.
Opened Oct. 23, 1935 with “Escapade” and “Murder Man.”
Closed in style with a Blaxploitation quadruple feature on November 26, 1980 with “Blackula,” “The Mack,” “J.D.’s Revenge” and “Youngblood.”
The Beverly turned art and repertory film in December of 1963 becoming the Beverly Art Theater launching with “An American in Paris.” Four years later, Mid-America Theaters rebranded this as the Fine Arts Theater on October 4, 1967 turning art house with “King of Hearts.” The venue also closed as the Fine Arts Theater almost 20 years later on May 31, 1986 with “April Fool’s Day.”
The Shady Oak Theater opened May 3, 1933 with “The Kid From Spain.” The Colonial Revival architectural sketch of Campbell Alden Scott, John A. Lorenz and Frederick Dunn is in photos. Just four years later, the venue made a momentous decision to go from neighborhood second run house to an arthouse rebranding as the Shady Oak Cinema on October 3, 1937. It would shorten that banner to the Shady Oak Cine closing on August 26, 2000 with “Autumn in New York.” It closed with 475 seats and was demolished in November of 2008.
The Shady Oak Theater opened May 3, 1933 with “The Kid From Spain.” But four years later, the venue made a momentous decision to go from neighborhood second run house to an arthouse rebranding as the Shady Oak Cinema on October 3, 1937. It would shorten that banner to the Shady Oak Cine closing on August 26, 2000 with “Autumn in New York.” It closed with 475 seats and was demolished in November of 2008.
The Ozark Theater launched on October 12, 1921 with Clara Kimball Young in “Charge It.” In 1925, the venue was known as the Ozark Theater and Airdome with the large outside area used for screenings that avoided the ventilation-challenged hardtop theater. On June 9, 1930, the venue added sound to remain viable. The Airdome closed after the 1945 season returning to its Ozark Theater nameplate.
You can please leave the credited Chuck Van Bibber entry as is. My research shows a bit more detail though the fate of the building is a bit of an educated guess. It’s as follows:
The 81-store Public Arcade Market opened at the southeast corner of West Pine Boulevard and Sarah Street in St. Louis' Central West End neighborhood on January 3, 1924. Architect George Wells' design was a cross between an open public market like Soulard and a more traditional shopping arcade. Unlike most public markets in the area, it also had upper floor office space. Within the year, The Arcade Airdome, billed as “Where the Stars Shine,” launched just beyond the Arcade on August 21, 1924 with “The Fighting Coward.” It advertised at 4051 West Pine Street putting it on line with the Public Arcade Market and likely pictured in photos.
The Public Arcade was going for a mix of retailers relying heavily on butchers, local produce and flower distributors, and boutique sellers along with offices for lawyers, architects, and dentists. A confectionery in the Arcade likely served as the de facto concessionaire for the Airdome. Arcade vendors undoubtedly signed short-term, year over year or seasonal leasing agreements. It was a newer, more mixed-use approach than the venerable Soulard Market about four miles away but it was likely done in by the higher-profile Union Market that would open November 5, 1925 about 3.5 miles away in St. Louis' central business district. And what the established and new public market spaces didn’t take away vendor-wise at the Market Arcade, the Depression appears to have taken an even more significant toll.
Despite the arcade’s inability to compete against other markets, the Arcade Airdome chugged along adding sound in its 1930 season to remain viable. Steve Major of the Grand Opera House was the final operator taking it on in the 1947 season and operating to 1950. The Arcade Airdome closed some 20 years later, shuttering on August 6, 1950 with “Feudin', Fussin', Fighting” and “Family Honeymoon.” The entire Arcade Market was later demolished likely in 1961 based on the movement of the center’s remaining vendors and aerial shots of the period.
The Plymouth Theater opened at the corner of Hamilton and Plymouth on April 25, 1914 with movies. The Plymouth added sound to remain viable. It closed on April 19, 1953 with “Invasion U.S.A.” and “A Streetcar Named Desire.” It became a house of worship for the Calvary Temple the next year.
The Lexington opened on July 4, 1934 with “Ever Since Eve” and “Bottoms Up” supported by a cartoon. Its final showings were “Golden Stallion” and “Streets of San Francisco” on June 2, 1950. It was then listed as “Closed for the Summer” the next day. The next ad for the venue was in the for sale section where it sold for $41,000 first becoming a fraternal hall and then becoming a house of worship.
One of the spectacular failures in St. Louis move theater history was the Delmonte Theater which was part of the Delmonte Way project that included space for 29 diminutive boutique stores opposite the large, six-story 83-suite hotel complex housing its theater and a never-built but proposed, adjoining 4,000 seat airdome. Months prior to the Delmonte’s debut, the building owner and theater operator, Famous Players Lasky - Missouri Corporation, were in court over lease transferrals. It was an ominous beginning.
The theater moved toward its September 4, 1920 launch with “Humoresque” on the big screen which included an opening address by Mayor Kiel. A bizarre race involving 1,500 war-trained homing pigeons included the names of 1,500 children who hoped their bird would win the contest. Once in the theater, the Adam Style architecture of E. Price Porter featured an impossibly large and long, one-floor theater. It was going to be the crown jewel for Famous Players Lasky Missouri. The Delmonte was billed, as noted above, as “The Largest One-Floor Theatre in the World.“ The $600,000 project launched in 1920 and looked like a winner just based on seat count, alone.
FPL-Missouri had hoped to draw 7,000 patrons to a single film when the airdome launched. But three lawsuits later, including disappointing reviews due to very poor sight lines, stifling ventilation, ticket pricing woes, and a wide array of other issues mired the theater in its six plus years of dreary operation. And keep in mind that these failures were before the onset of the Great Depression. The $36,000 annual lease would be terminated as Famous Players and building owner, Frederick L. Cornwell, parted ways on poor terms. William Goldman took on the venue with a grand reopening on September 1, 1922 showing “Slim Shoulders.”
The biggest moment for the Delmonte was signing Famous Players Lasky star Rodolph Valentino to a six-day contract for a major personal appearance schedule at the Delmonte. But even that came with a dark cloud. Famous Players Lasky filed an injunction barring the six-day appearance and forced the operator to appear in an appellate court allowing Valentino to appear on stage to explain the imbroglio in December of 1922. Embarrassing. Then after the Delmonte prevailed, Mr. and Mrs. Valentino hit the six-day appearance on the stage in February of 1923. Larger crowds meant that more people could see the deficiencies of design at the venue. The theater was soon reduced in stature thereafter to a second-tier house with live vaudeville before reducing prices. In Fall of 1923, Goldman had nothing to say about the theater’s operation likely rejecting a second year of leasing liability.
Failing to get the airdome off the ground, the theater next had to address the massive issue with ventilation problems. The third owner was none other than Frederick L. Cornwell, himself - who had lowered seat count to 2,688, installed a cooling system in late July of 1924 trying to save the summer season. Like the previous operator, Cornwell was soon in court over the box office splits with Fox Films while dealing with small audience sizes. Cornwell had reportedly bought a year’s worth of films to get pricing down for patrons. That plan went south when patrons didn’t appear. Singer Eva Tanguay reported that she was guaranteed $2,000 for her appearance at the Delmonte. She received just $300 and the owner bolted the doors and didn’t reopen. So, bottom line, the Delmonte was in search of yet another operator. And Cornwell was in court with an antitrust allegation against Famous Players Lasky-Missouri as the gloves were off.
Fourth operator Samuel G. Hoffman came with optimism circa 1927 and had made the decision to reduce seat count to 1,588 in hopes of finding better sight lines. Hoffman held the last of several grand openings at the failed Delmonte launching January 21, 1927 with “Lone Wolf Returns.” Just two weeks later, the theater closed permanently with “Stepping Out” on February 6, 1927. Hoffman stepped out with a sizable loss just on the remodeling to say nothing of the broken lease. And, yes, Hoffman was the third straight operator to appear in court - this time suing the building owner about lack of heat. The lack of heat delivery was likely due to the failure of the hotel which was a massive misfire and likely had the operator a bit stingy on utilities. The Delmonte was a dud and there was no chance of thinking about wiring the cavernous theater auditorium space for sound films. The Delmar Hotel, meanwhile, had turned from a new facility targeting the upper crust and socialites to a low-cost daily… weekly… monthly… anything - second or third tier operation.
The theater space was retrofitted as “Club Diablo,” a mis-timed roarin' 20s, major night club and dance hall. And, yes, they marketed as the “Largest ground floor entertainment restaurant in St. Louis.” The theater’s pipe organ was left in place to help provide nightclub music. Seemingly, it was a mismatch but this - at least - reduced the potential cost of the organ’s removal. Club Diablo opened with high hopes on December 29, 1929. And you probably know what happened… They ended up in two courtrooms - criminal and civil. Unpaid employee wages, receipts being seized, and - finally - a major behind the scenes brawl between management and stiffed employees led to one employee being shot and the operator going on the lam. The venue was closed officially within one year’s operation.
Another operator tried again in the space relabeling it as “The Rendez-Vous” beginning on January 1, 1931 - middle class operation - and lasting long enough for a single rendez-vous. A month later, the entirety of the venue was stripped of all tables and someone must have said, “This would make a great skating rink.” You probably know how that ended. In court! During the skating rink’s short operational cycle, the foreclosure process took place in Circuit Court and the default dollars were fairly head-spinning for the times. The hotel had converted into low-cost furnished apartments, in part, due to the onset of the Depression; the Delmonte Hotel Apartments facility was said to be 75 percent vacant.
The entire Delmonte operation (not including Delmonte Way’s 29 boutique shops) was sold at foreclosure for just $75,000. An ad in February of 1932 offered all of the contents of the former hotel / apartment building as the buyer likely was trying to recoup anything from their investment. The former theater / roller rink space became home to Tom Burke’s Frolics Night Club, a lower class affair that opened on Halloween 1931 and closed desperately shy of patrons just three months later after New Year’s Day. And, yes, it had a criminal court appearance associated with its operation. So that’s the Delmonte Theater and its progeny - not a winning proposition.
Louis K. Ansell Interests incorporated as U-City Theatres Corporation in 1935 with the purpose of converting a terra cotta retail building at 6215-6217 into the U-City Theater to the plans of Bruce F. Barnes. That project foundered and they tried again here at 6608-6612 Delmar again with plans by Bruce F. Barnes and with a new name, The Varsity. The theater would be the company’s third along with the acquired Ritz and Empress.
The Varsity Theater launched here on a 15-year lease opening December 5, 1935 with “Broadway Melody of 1936.” Final operators Grace Viviano Piccione and Peter Piccione operated the venue from 1960 until January 3, 1988 closing appropriately with “The Rocky Horror Picture Show,” a film that first played the Varsity in 1976 before playing every weekend from May 1978 to its 1988 closure. The space was almost immediately converted to a short-lived Medicare-Glaser Drug Store (picture in photos) followed by the Vintage Vinyl record store.
Charles Arthur Kalbfell and his wife spent $15,000 to build the Pauline Theater in 1915 on behalf of his independent Echo-Pauline Amusement Company. The Pauline Theater had a neighboring airdome that operated at least until 1928 in the warm summer months. In 1917, the theater is listed as the Echo-Pauline Theater.
Meanwhile, Charles' brother, Howard T., had previously opened the Robin Theater while brother Arthur helped operate the Pauline Theater. The city forced the closure of the Robin Theater in 1947 due to major safety concerns. The Pauline Theater closed with Arthur in poor physical health on April 15, 1956 with “Honky Tonk” and “Billy, the Kid”. The theater would immediately be used as a house of worship and Arthur Kalbell passed away before year’s end.
The independent Echo-Pauline Amusement Company operated by the Kalbell family opened the Robin Theater and then the Pauline Theater. The Robin Theater opened in 1910 at the corner or Harney and Robin in the Walnut Park neighborhood of St. Louis in an existing building. The theatre opened with vaudeville with short films in the programming mix. Charles Arthur Kalbfell and his wife spent $15,000 to build the Pauline Theater in 1915
The trade press reports installation of a new Minusa Gold Fibre screen and new projectors as the Robin Theatre goes almost exclusively to motion pictures. New operators in 1928/9 switch the silent house to talking pictures. The Kalbells returned to operate the theater.
On April 2, 1947, the theater paid for its annual operating license only to be shut down five days later over a fire code restriction put in by the city. The city condemned the theater and ordered is demolition within 7 days. The Kallbells lost their legal battle on appeal to the State Supreme Court making the last showing there as “The Showoff” on April 5, 1947.
Told not to reopen the theater, the building remained dark. Tthe vacant theater was damaged by a fire on September 6, 1952 (image in photos) and was eventually demolished. The Kalbells later closed the Pauline Theater on April 15, 1956 ending the Echo-Pauline Amusement Co.
You can leave the Charles Van Bibber entry above. My own research would suggest a slightly different take with the builder, the address, the status of the venue, and some of the basic facts reworked. So in case you want a slightly different take, here goes:
William B. Powhatan opened on Sutton in the summer of 1909 as the Powhatan Airdome. Then in 1910, operator/owner William B. Powhatan was arrested for not paying the $20 monthly license to run a nickelodeon. And I’m sure he’d be surprised to see that Franchon & Marco gets credit here for building this theater since they didn’t but they also didn’t have to pay his bail, either.
Powhatan built a hardtop theater next door to the Airdome in 1913 becoming the Powhatan Theater & Airdome. This 1913 configuration was at 3111-3115 Sutton Boulevard. (It’s very possible that the 1909-1912 Airdome address was 3107 Sutton leading to the confusion of the address above and the directory note.) The St. Louis Meramec Railroad Company operated an electrical rail service that ran from downtown St. Louis to the Sutton Loop. It ran right past the Powhatan Theater and Airdome. The Manchester Line gaveth - as the Powhatan was able to get live vaudeville performers from St. Louis thanks to the convenient rail service that ran all night - and it tooketh away when Mr. Powhatan left his glass lantern song slides on the trolley one day likely having picked them up in St. Louis at the distributor’s office before losing them. Oh well!
The property was actually owned by William B. Powhatan (one “t”) all the way to October of 1949 but he leased to various operators; so one must challenge the notion that Franchon & Marco “built” the theater as they took on the venue much later. In fact, Spyros Skouras took on the venue in on October 23, 1925 passing it through to St. Louis Amusement and it became a de facto Paramount / Publix house until its bankruptcy protection in the 1930s. St. Louis Amusement wired the Powhatan Theatre & Airdome with Western Electric and Vitaphone sound to keep the venue(s) viable in December 16, 1928. Its first sound film after a week’s long closure was “Caught in the Fog.”
In January of 1933, the Paramount/Publix Corporation was forced into receivership and entered into bankruptcy in 1934. The Powhatan went back to independent operation. In 1937, it becomes part of the Roxy Theatre Corporation with the Roxy, Avalon, Columbia, and Whiteway. Under Roxy operation, it uses the two “t” Powhattan for much of the decade without any reason so should be “also known as” the Powhattan Theatre and Airdome (sic) just to make researching a bit easier.
For a period of time the address listed above for this entry - 3107 Sutton - was home to the M&M Confectionery that served as the de facto concession stand for the Powhatan Theatre and Airdome. The Powhattan ran into labor issues with Roxy Theatre Corp’s Bess Schulter shutting the venue down in 1940 due to a Union dispute on September 24. The confectionery survive the closure and would become home to a tavern that’s pictured in photos. The Powhattan reopened about seven months later on Easter Sunday of 1941.
The theater passed to Fachon & Marco (there they are) with a new manager in February of 1943. The Powhattan was again temporarily shut down effectively in September of 1945 by the local union for the Powhattan Theater’s manager refusal to allow union inspectors in. It reopened on May 30, 1946 back officially as a St. Louis Amusement Corp. property.
In 1949, the Powhatan property was was sold outright by the Powhatan family to St. Louis Amusement on October 30, 1949 apparently as land speculation. In fact, hey closed it permanently a month later likely when the deal was closed on November 27, 1949 with “It’s a Great Feeling.” I’m not sure the neighborhood agreed about the feeling. The Powhatan was listed as “CLOSED!” for two weeks before being removed from newspaper listings altogether.
An April 27, 1956 fire almost ended the property. A second arson fire just three days later then took care of the hardtop theater. The corner lot to the middle of the block were cleared and became a National Food Grocery Store a year later (picture of that in photos to clarify). As noted, the 3107 Sutton property pictured above was at one time a confectionery and later in the 1940s became a tavern in the 1940s lasting into the 1950s and possibly beyond. But that’s the only connection to the theatre - sorry - as it was a tavern in the late 1940s and 1950s when the theatre was still standing.
This venue’s 37-year career as an Airdome/Theater combo appears to stand as a record number of years for a Theatre/Airdome combination in the city and its 41 seasons also a record for overall airdoming operation in St. Louis. We salute you Powhatan/Powhattan (sic) Theatre & Airdome!
September 6, 1908 opening ad as the Bijou Dream in photos. The nearby Casino Theatre on Olive and 6th lost its lease. The two theaters became one as the Bijou-Casino on January 29, 1911. That combo lasted seven months with the venue becoming the Bijou Dance Academy.
Technically, One City Center is what sits there presently (formerly St. Louis Centre Mall)
December 13, 1908 shot
The Webster Theater opened on December 16, 1909 with motion pictures. The Webster has the City of St. Louis record for second longest operation with both hardtop and outdoor airdome theater trailing only the Powhatan / Powhattan Theatre and Airdome. The ventilation challenged Webster Theatre used its Airdome in the summer months. It is documented from 1918 to 1948. The Webster closes for the summer on June 8, 1952 with “Lone Star” and “Blondie Has Servant Trouble.” It did not operate its Airdome or reopen.
dallasmovietheatersdallasmovietheaters on November 3, 2024 at 11:07 am (remove) This could be incorrect but the local paper and trade press indicate that this venue opened as the Grand and Cass Tent Theater in 1910. In 1911, it is given a roof likely under threat of closure by the City which was cracking down on tent and airdome venues in 1911. It appears to be called the Fair Theater with 600 seats from 1911 to early 1916.
Building operator Frank Obear & Son offer the lease of it and the neighboring retail store for a very low price. Soon after in 1916, it becomes the Acme Theater. That ends within months. New lessee J.J. Barrett operates it along with the Chippewa and Kinckerbocker that same Fall . On April 17, 1919, William Jaskiewic reopens it as the Wilson Theater on a grind policy showing films until 11p daily. Pete Rybaki owned the theatre as the Wilson in 1927. The theater is said to have finished silent as the Colonial Theater though there is little evidence of its operation.
The King Bee Odeon opened in 1910 as a tent theater. In 1912, it is renamed the King Bee Theater remaining a tent show. After five successful seasons and likely under duress from the City of St. Louis which was cracking down on tent picture shows due to well-placed safety concerns, it was rebuilt late in 1914 and early 1915 as a hardtop venue continuing as the King Bee Theater by Mike Nash. United Pictures Theatres of America booked the venue beginning in 1918. An adjoining candy store / confectionery served as the de facto concession stand.
George P. Skouras took over the King Bee in October of 1925. Skouras added Tiffany-Stahl’s Tiffany Tone sound to the King Bee to remain viable in 1929. Skouras technically closed the venue in 1930. In 1931, it was taken over by Barbara Schmoll Pautler who operated it until 1947. It got new owners from 1947 to 1952. The King Bee was deposed on July 20, 1952 after showings of “Drums in the Deep South ” and “Pistol Harvest.”
Please don’t change the original Charles Van Bibber entry which is just fine. My research indicates the following:
The origins of the Ashland Theatre date back to its construction in late 1909 replacing a residential property and becoming the Ashland Tent Picture Show in 1910 (picture in photos). D.T. Williams & Wife Co. began the theater and it was considered one of the few area theaters managed by a female operator. The independent operators in early St. Louis found their entry into the movie business in airdromes and tents as chain operation was already beginning to limit newcomers.
The Williams were active in ensuring independent theater operation as active members of the St. Louis Motion Picture Protective Association during World War I. The Williams were threatened with closure as many tent shows were found to be unsafe by the City due to the high incidence of nitrate film projection fires. So at the end of its fifth successful season, the Williams tore down their tent picture show in favor of a $20,000 hard top Ashland Theater built with the predecessor’s proceeds.
The “new” hardtop Ashland Theatre opened in May of 1915. Louis W. Vick took on the venue. He would wire it with DeForest Phonofilm sound in 1929 to keep the Ashland viable. Lena Vick Fiorito co-operated the Ashland and Lee Theaters. The Lee was closed for the summer on May 28, 1949 with the ventilation-challenged venue closed permanently.
Her Ashland Theatre soldiered on to its 36th Anniversary on May 12, 1951 closing with “I Killed Geronimo” & “Timber Fury.” Listed as closed for renovation and likely due to lack of modern ventilation, the Ashland’s renovations don’t take place and the closure is permanent. Both the Lee and the Ashland are listed for sale in 1951 and 1952 with the Ashland becoming a church in 1952. It is assumed that the Ashland is all but demolished serving as the foundation for a new church as the two buildings have little if anything in common.
The Vaudeville Theatre Company began to build this venue in 1911 at a cost of $20,000. The project was picked up by the Montgomery Theatre Corporation opening in May of 1911. Reopened as the Hi-Way Theatre on September 19, 1937 with “Sing and Be Happy” and “A Star is Born.” Closed at the expiry of a 20-year leasing agreement on June 30, 1957 with “Fear Strikes Out” and “Three Violent People.”
Edward Scholl created the Bremen Theatre Company and built the Bremen Theatre for $10,000 in 1910. Orrin T. Crawford joined the Bremen Theatre Company and became President of O.T. Crawford Vaudeville Exchange. He would take on the Bremen in April of 1915 when Scholl’s company went into receivership.
Mogler Amusement took on the venue in 1925 moving its offices next door to the Bremen. Mogler Amusement sold it to William S., Mildred H. and Marguerite A. Kaimann. But a disagreement over ownership took place in 1947 with William S. shooting Clarence who was trying to take control of the venue for his own Hyde Park Entertainment. William then committed suicide. The courts then ruled that Marguerite would be the rightful owner and she continued to the end of a 30-year period. The Bremen’s last advertised films were November 19, 1967 with “The War Wagon” and “Tammy and the Millionaire.”
The Lindell Theater opened on August 15, 1914. St. Louis Amusements and Arthur Theatres closed here on May 7, 1961 with “Count and Die” and “Prescription for Murder”. That was followed by the canopy and attractor crashing down in the early hour morning ending the venue’s lifecycle. It was torn down in January of 1962. The space was proposed as parking for Busch Stadium that did not transpire.
W.A. Meagher built and opened an airdrome in 1912 at this address. He appears to have enclosed the operation in 1913 as the Marquette Theatre. Louis Spiros took on the venue in 1922 and equipping it for sound to remain viable by decade’s end.
On November 26, 1943, the Marquette’s policy changed to serving African American customers. St. Louis' first female African American police officer, Floy Jones, arrested a robber at the theater in December of 1956. Sprios retired, closing the Marquette on January 22, 1957 with “The Bold and the Brave” and “Slightly Scarlet.”
Under new operators, the Marquette came back on February 12, 1960 with a triple feature of “Rodani,” “3:10 to Uma” and “Carnival Rock.” The theatre appears to have closed permanently on July 13, 1961 with “On the Beach” and “Jonny Concho.”