I’m really quite confident that this is a William B. Betts design. The tudor style is so rare, and it reappears 4 times in the Chicago area. The Deerpath was similarly attributed to local architect Stanley D. Anderson – a well-connected Lake Forest architect – despite the fact that its interior is a dead ringer for the Catlow. On top of that, William D. Mann’s office was directly next door to Betts & Holcomb. I’m pretty sure it was just attributed to Mann to gain local support.
It was built in 1915 as the Grand Oak for the Alfred Hamburger chain and became the Peerless in 1917 for Ascher Brothers. It was noted as having “A very special ventilating system that actually ventilates!”
The seats are the largely same ones that were in there when it was a twin. Seating has been reduced to 1321 due to a much-expanded stage, larger seats, and deeper aisles. Also as an interesting note, the original (tiny) stage and proscenium is still behind the screen, blacked out so as to not interfere with the modern screen, now among the largest in Chicagoland.
I think someone at the theater told me it was office space now but they were looking at using it. LTS, how was it accessed? Also, please email me some time, i’d like to chat.
The Chicago has apparently created a second venue in the basement of the Chicago called “Chicago Theatre Downstairs” opening in July. I believe they were once considering putting two shoebox theatres in this space in the early days of the 1980s renovations.
You’d really need to specify things like where you are, what condition it’s in, etc. If you just need new neon, any good signmaker or neon electrician should be able to handle it; you might want to go with a larger outfit that can do maintenance too. If it’s more than that, like a full replacement, you might need to go to a major manufacturer like Wagner (http://www.wagnersign.com/theatermarquees.htm). Same with the box office; it all depends on the complexity. It’s quite possible it’s a job a local general contractor could handle, or it could be far more complex.
It originally opened for Ascher Brothers, but was sold two years later to L&T after they opened their new Pantheon a short distance away, probably to avoid pricing wars. Good old anticompetitive practices!
The lobby was among the largest contructed at the time, at 40x100, and the lease was the largest paid for an outlying theater, at $175,000. It was also one of the largest in the area in seating at the time.
No, it isn’t. There is nothing of the Iroquois. The Iroquois, after the fire, was remodeled into Hyde and Beman’s Music Hall and shortly thereafter became the Colonial Theater, which it remained until the Oriental was built. The Iroquois was not nearly as big as the Oriental.
Here is the CT page for the Paramount. I’ll be very impressed if Grande Venues pulls this one off. I think most people on this site have expressed their feelings about this company may times already; if we could refrain from treading that worn ground again, I think we’d all be better off.
How is it that nobody has yet mentioned the 210 foot octagonal tower that made this theater so unique and distinctive? Also, the firm was actually spelled “Fridstein & Company”. Fridstein was primarily an engineering firm; they had also built theaters like the Portage, Howard, and also the Coliseum had housed Buffalo Bill’s Wild West Show during the Columbian Exposition.
The Tower was built on the site of Chicago’s first Coliseum, which was part of the Columbian Exhibition, and home of the 1896 Democratic Convention, where William Jennings Bryan made his landmark “Cross of Gold” speech.
Sometime between 1923-1927 it became the Vic. In 1927 it became the German Theater, featuring operettas, then shuttered with the Depression; it reopened for Essaness as the Vic from 1934-1952; it was then remodeled and served for a few years after remodeling as the Plasterer’s Institute (I can’t figure out what the remodeling consisted of) and later was an auto parts warehouse; it reopened in 1972 as a porno house; the next year it was renamed the Roberto Clemente and screened Mexican films. Later it showed Indian films until 1979. It was restored to its current state in 1984, with one of its first bookings being a Second City special filmed for HBO.
A word on how the ramova got its name: During the building’s construction, a contest was held through a local Lithuanian newspaper to name it. The Reverend Anicetus M. Linkus named it, explaining it was a Lithuanian word that meant peaceful place. More accurately, it described a sanctuary for religious rites where the eternal flame was kept in the days of flame-worship. It was a common lihuanian name for social centers.
Architect was Edwin H. Clark.
Here is a sun-times story on the changes: View link
I’m really quite confident that this is a William B. Betts design. The tudor style is so rare, and it reappears 4 times in the Chicago area. The Deerpath was similarly attributed to local architect Stanley D. Anderson – a well-connected Lake Forest architect – despite the fact that its interior is a dead ringer for the Catlow. On top of that, William D. Mann’s office was directly next door to Betts & Holcomb. I’m pretty sure it was just attributed to Mann to gain local support.
It was built in 1915 as the Grand Oak for the Alfred Hamburger chain and became the Peerless in 1917 for Ascher Brothers. It was noted as having “A very special ventilating system that actually ventilates!”
The Irving was always the Irving. The Irving Park was a nickelodeon at 4835 W Irving Park Road, at Six Corners.
The seats are the largely same ones that were in there when it was a twin. Seating has been reduced to 1321 due to a much-expanded stage, larger seats, and deeper aisles. Also as an interesting note, the original (tiny) stage and proscenium is still behind the screen, blacked out so as to not interfere with the modern screen, now among the largest in Chicagoland.
In fairness, Modern Times was a last minute addition and had virtually no advance publicity.
I think someone at the theater told me it was office space now but they were looking at using it. LTS, how was it accessed? Also, please email me some time, i’d like to chat.
The Chicago has apparently created a second venue in the basement of the Chicago called “Chicago Theatre Downstairs” opening in July. I believe they were once considering putting two shoebox theatres in this space in the early days of the 1980s renovations.
You’d really need to specify things like where you are, what condition it’s in, etc. If you just need new neon, any good signmaker or neon electrician should be able to handle it; you might want to go with a larger outfit that can do maintenance too. If it’s more than that, like a full replacement, you might need to go to a major manufacturer like Wagner (http://www.wagnersign.com/theatermarquees.htm). Same with the box office; it all depends on the complexity. It’s quite possible it’s a job a local general contractor could handle, or it could be far more complex.
It originally opened for Ascher Brothers, but was sold two years later to L&T after they opened their new Pantheon a short distance away, probably to avoid pricing wars. Good old anticompetitive practices!
The lobby was among the largest contructed at the time, at 40x100, and the lease was the largest paid for an outlying theater, at $175,000. It was also one of the largest in the area in seating at the time.
I saw an article that said the architect for the fourth McVickers was Thomas Lamb with Newhouse & Bernham associated.
Henry L. Newhouse was architect
Architect was W.C. Heinbeck
No.
Nah, it’s on here as the Lansing 8. I’ll look it up and see if I can refine any further though.
No, it isn’t. There is nothing of the Iroquois. The Iroquois, after the fire, was remodeled into Hyde and Beman’s Music Hall and shortly thereafter became the Colonial Theater, which it remained until the Oriental was built. The Iroquois was not nearly as big as the Oriental.
…?
Here is the CT page for the Paramount. I’ll be very impressed if Grande Venues pulls this one off. I think most people on this site have expressed their feelings about this company may times already; if we could refrain from treading that worn ground again, I think we’d all be better off.
How is it that nobody has yet mentioned the 210 foot octagonal tower that made this theater so unique and distinctive? Also, the firm was actually spelled “Fridstein & Company”. Fridstein was primarily an engineering firm; they had also built theaters like the Portage, Howard, and also the Coliseum had housed Buffalo Bill’s Wild West Show during the Columbian Exposition.
It’s a real shame that this is a strip mall now.
The Tower was built on the site of Chicago’s first Coliseum, which was part of the Columbian Exhibition, and home of the 1896 Democratic Convention, where William Jennings Bryan made his landmark “Cross of Gold” speech.
Sometime between 1923-1927 it became the Vic. In 1927 it became the German Theater, featuring operettas, then shuttered with the Depression; it reopened for Essaness as the Vic from 1934-1952; it was then remodeled and served for a few years after remodeling as the Plasterer’s Institute (I can’t figure out what the remodeling consisted of) and later was an auto parts warehouse; it reopened in 1972 as a porno house; the next year it was renamed the Roberto Clemente and screened Mexican films. Later it showed Indian films until 1979. It was restored to its current state in 1984, with one of its first bookings being a Second City special filmed for HBO.
What was the interior like?
A word on how the ramova got its name: During the building’s construction, a contest was held through a local Lithuanian newspaper to name it. The Reverend Anicetus M. Linkus named it, explaining it was a Lithuanian word that meant peaceful place. More accurately, it described a sanctuary for religious rites where the eternal flame was kept in the days of flame-worship. It was a common lihuanian name for social centers.