Vincent, there’s a seperate listing for the Jefferson Theatre, but the address I found was 309-311 Jefferson Ave not 291 Madison. Ideas about the descrepancy?
KenRoe et al, I’ve heard a rumor that the II/8 Wurlitzer from this theatre survived in Chattanooga in a person’s home into the 1990’s. Any confirmation or knowledge on this topic?
During the late 1980’s the Lamar’s side doors (on the side away from the cross street)were so rotten that they had fallen out of the door frames, leaving the theatre open to -ahem- exploration. The building was ruined, the roof mostly gone, however, enough remained of the interior to know what it had alooked like. The seat end standards were ornate, but every other row of seats had been removed – apparently to facilitate the live portion of the adult entertainment shown in its last days. There were two organ chambers at stage level, one on each side of the small stage. No sign of the organ of course. No dressing rooms or stage facilites. There was a boiler room under the stage. The auditorium side walls had simple plaster moldings creating large rectangular panels.
Coming in from the front doors, there was a very small lobby with floor sloping up. Doors opened into the standee area with a cross aisle to exit doors at each end. There was no balcony.
The biggest surprise was up in the projection booth: it was obvious that the wall between booth and auditorium had been an exterior wall – there were bits of stone moldings and details which would never have been placed there just for the projectionist to look at. If you look at the photos of the front, you’ll see an arched top window, just above the marquee. That opens into the projection booth. The small window on the angled portion was the generator room. Directly below the booth (main floor) were two small restrooms, an office, the concession stand (later addition) and of course, the tiny “lobby.” That front 10-15 feet seems to have been added to and existing building. What was it previously? Don’t know. Theatre? Storefront? Couldn’t say.
TLSLOEWS, your patience is admirable. BTW it’s taken me forever to get restablished on CT. The new format looks great, but I got unsubscibed from EVERY page I was watching. I thought everyone had given up and gone home.
Jack, from Wikipedia, the source of all knowledge: “The name ‘Mazda’ was (a brand name of light bulbs) used from 1909 through 1945 by … General Electric… The company chose the name due to its association with Ahura Mazda, the transcendental and universal God of Zoroastrianism whose name means "Wise Lord” in the Avestan language."
In the longer version of the story, there is an association between Ahura Mazda and the triumph of light – so a movie theatre with the name Mazda is pretty clever.
Friends: a bit of clarification please – I just found this link to a theatre organ, currently located in the Asbury Park Convention Center. The photo certainly does not seem to be the Paramount auditorium. Is the organ over in the other part of the building? Out over the water? http://www.gstos.org/asbury.htm
Mike: I think it says “Ford.” I know it sounds odd that cars might be on display at a movie theatre, but I know for sure that cars were occassionally displayed on the stage of Knoxville’s Bijou. It’s a thought anyway.
Yes yes yes, I know, very odd to hear about having 70mm in a new multiplex, but that was what was in the paper. Can’t say if they’ve ever used it or not, but with the thousands of screens that Regal owns, you don’t think they could have moved a couple of old 35/70mm machines from a different location, especially since this is their biggest venue in their hometown? Does Regal call the Pinnacle their flagship theatre? They didn’t initially, that was the West Town Mall theatre (not to be confused with their Downtown West theatre which is their Knoxville art house). At this point in time, I suspect anything they wanted to show which had originally been released on 70mm would now be transfered to digital. Now let’s all take a deep breath snd be grown-ups and refrain from saying how much we hate digital projection.
SiliconSam: Looks like Broad Street was renamed University Boulevard (see the first photo on Wikipedia). A quick look at MapQuest and the address 2322 University Boulevard gives us a red star near a suspiciously theatre shaped parking lot in downtown Tuscaloosa.
And Lost, thanks for the “source” link you posted 2/26/2008. That article shows a local man, D.O. Whilldin as the Bama/Druid/Cobb’s architect. He must have been a pretty talented guy.
Recently found a photo of this theatre. The 2-story front shows modest tapestry brickwork, 3-over-1 double hung sashes in the 2nd story windows complete with stripped canvas awnings. The marquee did not have changable letter boards – only the name Hollywood spelled out in single-stroke neon and a pair of horizontal neon stripes. The marquee seems to have had 3 (!) metal columns at the curb – the center one also held the downspout for the marquee roof. In the (apparently mid-1950’s) photo, a round Coca Cola sign has been mounted on top of the marque. There are no outstanding architectural features but it is a solidly handsome little building. A fine, small town theatre.
According to the friend who shared the photo, the Hollywood was built in 1936 replacing an earlier theatre. The Hollywood has itself since been torn down and a new-ish commercial building stands on this site.
Kilgen organ company records show a 3 manual pipe organ installed in the Bama Theatre. It must be this hall since the later Bama would not have had an organ.
There is a record of Kilgen organ company installing a 3 manual organ at a Loew’s theatre in Birimingham. The record does not give a date or an opus number. Was this it?
The following is taken from Variety October 21, 1923.
MEMPHIS ORPHEUM COMPLETELY RUINED IN SPECTACULAR BLAZE TUESDAY NIGHT
BURNED TO GROUND WHILE TOWNSPEOPLE WATCHED FIRE AROUND MIDNIGHT – $250,000 LOSS – ARTISTS ON BILL SAVED TRUNKS – 34 YEAR OLD THEATRE
Tuesday October 17, 1923, Memphis Tennessee
The loss in the fire that destroyed the Orpheum, the Tri-State Manufacturing Co., and the stores on the lower floor early this morning was estimated at over $250,000.
The Orpheum, for 34 years the home of theatricals on Main Street, was destroyed by a spectacular fire that left in place of the once beautiful auditorium, the former palatial Chickasaw Club, only a mass of blackened, jagged ruins.
Starting at 11:16 o'clock last night, exactly 30 minutes after the last of the vaudeville playgoers had filed out, the blaze, as though spread to every part of the four-story structure by a massive torch, within two hours had completely devastated the building.
Vaudevillians and second men tugged and struggled to save their baggage and personal effects, and succeeded.
The theatre, erected in 1889 by a little handful of Memphis men at a cost of $100,000, was owned by the heirs of Colonel W.D. Bethell, at one time mayor of Memphis.
It was insured for $150,000, J.P. Edrington, one of the owners, said late last night.
The Orpheum theatre’s loss in scenery, stage effects and other properties, may reach another $50,000. Insurance was carried at the eastern offices of Vannah Taylor, manager of the local house, was unable to say to what extent the circuit was indemnified.
The second, third and fourth floors of the front part of the structure were rented by the Tri-State Manufacturing Co., makers of women’s dresses and aprons. It was in the workshop of this concern on the Beale avenue side of the building that the fire was first observed by Charley Toler, whose association with the theatre is almost as old as the theatre itself.
Although eight pumpers, two trucks and two water towers were on Main and Beale streets playing half a dozen streams of water through the upper windows of the building, within three minutes the blaze as though fanned by a master power blower was beyond the control of any group of men. Tremendous and continuous sweep of wind from the southeast seemed to reverse itself and carry the fire forward to the front part of the third and fourth floors of the building as though a tremendous eddy was surging forth with it.
Parapets and fire walls proved futile. First the front half of the structure went.
The blaze illuminated the sky for miles around and sending vast billows of flaming sparks into the air. As the roof and each successive floor and partition fell a new eruption of cherry red sparks and burn embers would be sent hurtling to the heavens to circle and spread about the buildings across Beale avenue and Front street. Even the Hotel Gayoso was given a baptism of fire.
Thousands of spectators, after the show diners and late partyies joined with hundreds of Memphians who had left their homes to view the spectacle, more stupendous than Pain ever dreamed of in his wildest days. “The Fall of Pompeii” and “Last Days of Rome” were hand plays by comparison.
At exactly midnight while the lights in the theatre still blazed and Blossom Seeley’s name burned with undimmed fervor on the big electric sign on Main Street, the cupola on the south corner of the Main street side fell with a resounding crash. The heat became terrific on the streets and policemen unnecessarily gave spectators instructions to move back.
The crowd surged forward and as each of the four great outside and two great inde brick separations toppled and fell, it slowly moved back, awed by the impressiveness of the blaze.
Just how the blaze started will probably never be known. It had its beginning on the third floor of the building in the showroom where a score or more of women have been wont to spend their daylight hours toiling over a similar number of sewing machines in the manufacturing company’s plant and which was owned by Joseph and John Kriveher. Their loss was placed at from $25,000 to $35,000.
On the street level floors Jim’s Barber shop and a small confectionery and the Singer Sewing Machine Company’s Property was covered by the quick work of the salvage corps and partly saved.
The musicians defied the flames which were rapidly sweeping towards the big proscenium arch and stage and rescued most of their instruments.
Actors rushed in and frantically saved their trunks. Those who had been assigned to upper floors were not so fortunate.
Blossom Seeley and her husband, Benny Fields, were the heaviest losers among the actor folk. Their setting was completely destroyed. An ermine wrap costing $3,000, Miss Fields said, was burned, too. Fields was able to save but one of his trunks before ordered from the theatre by police, he said. Others saved part of their effects.
The loss hardest to replace will be that of Jewell, who owned the Manikin act, although in figures it will not be as great as that of Miss Seeley’s. Jewell expects to experience much difficulty in creating a new set. One actor who came out of the theatre without his collar and necktie defied the police to stop him from going back after them and got away with it.
Whether the Orpheum will be rebuilt as a theatre is problematical. When the front half was destroyed and it appeared as though the stage and auditorium were going to be saved, Mr. Edrington was hopeful that it could be rebuilt.
“Probably put some offices in front,†he said. Then as the flames spread further and further back, over the parapet and he saw his hope fading, he remarked to a friend, “Well, it’s a nice site for a fine hotel.â€
In 1889 a small group of Memphians led by Col. Bethell decided that the thrown was entitled to a new and fine theatre. They built the house and in the years that followed every celebrity of note trod its boards. Emma Juch, operatic queen, opened the house in October of its first year with a fine production of “The Huguenots.†It was the pride of Memphis in those days. The silver voice of Adelina Patti was heard there before variety and later vaudeville became popular. Frederick Warde, Otis Skinner, Richard Mansfield, James O’Neill, every Shakespearean actor of note during the nineties and every musical comedy celebrity on the American stage appeared at the Grand Opera House.
In the meantime Col. Bethell had bought the interest of his associates and became sole owner of the theatre. Then in 1894 Col. H.L. Brinkley and some of his friends decided that Memphis needed another theatre, so they built the Lyceum. For 10 years the competition was keen and the rivalry intense.
While the road shows and “combinations†were flourishing the late Frank Gray, beloved of all newspaper men, was made manager. In 1899 the theatre was thoroughly remodeled and overhauled. A.B. Morrison, still one of the most popular theatre managers ever known, was placed at the helm.
The bill consisted of Blossom Seeley, Burns and Lynn, Bert Hanlon, Lahr and Mercedes, Anderson and Burt, Van and Bell and the Jewell manikins.
I found an early photo of the Peabody Theatre in the book “The Wurlitzer Pipe Organ, an Illustrated History” by David Junchen and Jeff Weiler on page 150. It is a reproduction of a 1927 Wurlitzer advertisement showing several small theatres equipped with Wurlitzer “Organettes” or photoplayers. The Suzore (q.v.) and The Peabody Theatres in Memphis are both shown having these little instruments.
Found a photo of what I believe to be THIS Suzore in the book “The Wurlitzer Pipe Organ, an Illustrated History” by David Junchen and Jeff Weiler on page 150. It is a reproduction of a 1927 Wurlitzer advertisement showing several small theatres equipped with Wurlitzer “Organettes” or photoplayers. The Suzore (spelled differently in the photo and the text) and The Peabody Theatre (q.v.)in Memphis are both shown having these little instruments.
The photo shows the Suzore on a corner lot, a 2 story front of brick with light colored stone (?) accents around windows. The marquee is a canopy without sign boards. It’s handsome and simple.
This does date the theatre to the silent era rather than the 1930s as stated above.
Went to see Harry Potter and the Half Blood Prince last weekend at the Riviera. In the last couple of years, I’ve seen several shows there. The theatre really is comfortable, the presentation excellent and the popcorn quite good. I am VERY glad to have the new Riviera in downtown. But jeez, every time I look at it, I realize it’s just another suburban cineplex on a downtown lot. Regal’s West Town Mall 9 is a much more handsome facility, inside and out.
Vincent, there’s a seperate listing for the Jefferson Theatre, but the address I found was 309-311 Jefferson Ave not 291 Madison. Ideas about the descrepancy?
KenRoe et al, I’ve heard a rumor that the II/8 Wurlitzer from this theatre survived in Chattanooga in a person’s home into the 1990’s. Any confirmation or knowledge on this topic?
During the late 1980’s the Lamar’s side doors (on the side away from the cross street)were so rotten that they had fallen out of the door frames, leaving the theatre open to -ahem- exploration. The building was ruined, the roof mostly gone, however, enough remained of the interior to know what it had alooked like. The seat end standards were ornate, but every other row of seats had been removed – apparently to facilitate the live portion of the adult entertainment shown in its last days. There were two organ chambers at stage level, one on each side of the small stage. No sign of the organ of course. No dressing rooms or stage facilites. There was a boiler room under the stage. The auditorium side walls had simple plaster moldings creating large rectangular panels.
Coming in from the front doors, there was a very small lobby with floor sloping up. Doors opened into the standee area with a cross aisle to exit doors at each end. There was no balcony.
The biggest surprise was up in the projection booth: it was obvious that the wall between booth and auditorium had been an exterior wall – there were bits of stone moldings and details which would never have been placed there just for the projectionist to look at. If you look at the photos of the front, you’ll see an arched top window, just above the marquee. That opens into the projection booth. The small window on the angled portion was the generator room. Directly below the booth (main floor) were two small restrooms, an office, the concession stand (later addition) and of course, the tiny “lobby.” That front 10-15 feet seems to have been added to and existing building. What was it previously? Don’t know. Theatre? Storefront? Couldn’t say.
Joe, you might also remember that the Memphis Loew’s State (q.v.) auditorium had been built into the shell of an existing warehouse.
TLSLOEWS, your patience is admirable. BTW it’s taken me forever to get restablished on CT. The new format looks great, but I got unsubscibed from EVERY page I was watching. I thought everyone had given up and gone home.
Jack, from Wikipedia, the source of all knowledge: “The name ‘Mazda’ was (a brand name of light bulbs) used from 1909 through 1945 by … General Electric… The company chose the name due to its association with Ahura Mazda, the transcendental and universal God of Zoroastrianism whose name means "Wise Lord” in the Avestan language."
In the longer version of the story, there is an association between Ahura Mazda and the triumph of light – so a movie theatre with the name Mazda is pretty clever.
Friends: a bit of clarification please – I just found this link to a theatre organ, currently located in the Asbury Park Convention Center. The photo certainly does not seem to be the Paramount auditorium. Is the organ over in the other part of the building? Out over the water? http://www.gstos.org/asbury.htm
Mike: I think it says “Ford.” I know it sounds odd that cars might be on display at a movie theatre, but I know for sure that cars were occassionally displayed on the stage of Knoxville’s Bijou. It’s a thought anyway.
Put in the address listed above in Google Earth and the street view photos take you to a sad sad street. That might be the Dixie on the corner.
Tim
In the photo “Auditorium 1929” what’s with the trellis-like railing at the orchestra pit? Never noticed that before.
Yes yes yes, I know, very odd to hear about having 70mm in a new multiplex, but that was what was in the paper. Can’t say if they’ve ever used it or not, but with the thousands of screens that Regal owns, you don’t think they could have moved a couple of old 35/70mm machines from a different location, especially since this is their biggest venue in their hometown? Does Regal call the Pinnacle their flagship theatre? They didn’t initially, that was the West Town Mall theatre (not to be confused with their Downtown West theatre which is their Knoxville art house). At this point in time, I suspect anything they wanted to show which had originally been released on 70mm would now be transfered to digital. Now let’s all take a deep breath snd be grown-ups and refrain from saying how much we hate digital projection.
Here’s some good news.
View link
Got an e-mail today saying that the new marquee was lit up for the first time last night.
SiliconSam: Looks like Broad Street was renamed University Boulevard (see the first photo on Wikipedia). A quick look at MapQuest and the address 2322 University Boulevard gives us a red star near a suspiciously theatre shaped parking lot in downtown Tuscaloosa.
And Lost, thanks for the “source” link you posted 2/26/2008. That article shows a local man, D.O. Whilldin as the Bama/Druid/Cobb’s architect. He must have been a pretty talented guy.
The original Riviera’s page is
/theaters/16357/
Gastonia NC. Good way for a projectionist to get fired.
Recently found a photo of this theatre. The 2-story front shows modest tapestry brickwork, 3-over-1 double hung sashes in the 2nd story windows complete with stripped canvas awnings. The marquee did not have changable letter boards – only the name Hollywood spelled out in single-stroke neon and a pair of horizontal neon stripes. The marquee seems to have had 3 (!) metal columns at the curb – the center one also held the downspout for the marquee roof. In the (apparently mid-1950’s) photo, a round Coca Cola sign has been mounted on top of the marque. There are no outstanding architectural features but it is a solidly handsome little building. A fine, small town theatre.
According to the friend who shared the photo, the Hollywood was built in 1936 replacing an earlier theatre. The Hollywood has itself since been torn down and a new-ish commercial building stands on this site.
Kilgen organ company records show a 3 manual pipe organ installed in the Bama Theatre. It must be this hall since the later Bama would not have had an organ.
There is a record of Kilgen organ company installing a 3 manual organ at a Loew’s theatre in Birimingham. The record does not give a date or an opus number. Was this it?
Records show a Kilgen pipe organ opus 3459 at the Lyric.
The following is taken from Variety October 21, 1923.
MEMPHIS ORPHEUM COMPLETELY RUINED IN SPECTACULAR BLAZE TUESDAY NIGHT
BURNED TO GROUND WHILE TOWNSPEOPLE WATCHED FIRE AROUND MIDNIGHT – $250,000 LOSS – ARTISTS ON BILL SAVED TRUNKS – 34 YEAR OLD THEATRE
Tuesday October 17, 1923, Memphis Tennessee
The loss in the fire that destroyed the Orpheum, the Tri-State Manufacturing Co., and the stores on the lower floor early this morning was estimated at over $250,000.
The Orpheum, for 34 years the home of theatricals on Main Street, was destroyed by a spectacular fire that left in place of the once beautiful auditorium, the former palatial Chickasaw Club, only a mass of blackened, jagged ruins.
Starting at 11:16 o'clock last night, exactly 30 minutes after the last of the vaudeville playgoers had filed out, the blaze, as though spread to every part of the four-story structure by a massive torch, within two hours had completely devastated the building.
Vaudevillians and second men tugged and struggled to save their baggage and personal effects, and succeeded.
The theatre, erected in 1889 by a little handful of Memphis men at a cost of $100,000, was owned by the heirs of Colonel W.D. Bethell, at one time mayor of Memphis.
It was insured for $150,000, J.P. Edrington, one of the owners, said late last night.
The Orpheum theatre’s loss in scenery, stage effects and other properties, may reach another $50,000. Insurance was carried at the eastern offices of Vannah Taylor, manager of the local house, was unable to say to what extent the circuit was indemnified.
The second, third and fourth floors of the front part of the structure were rented by the Tri-State Manufacturing Co., makers of women’s dresses and aprons. It was in the workshop of this concern on the Beale avenue side of the building that the fire was first observed by Charley Toler, whose association with the theatre is almost as old as the theatre itself.
Although eight pumpers, two trucks and two water towers were on Main and Beale streets playing half a dozen streams of water through the upper windows of the building, within three minutes the blaze as though fanned by a master power blower was beyond the control of any group of men. Tremendous and continuous sweep of wind from the southeast seemed to reverse itself and carry the fire forward to the front part of the third and fourth floors of the building as though a tremendous eddy was surging forth with it.
Parapets and fire walls proved futile. First the front half of the structure went.
The blaze illuminated the sky for miles around and sending vast billows of flaming sparks into the air. As the roof and each successive floor and partition fell a new eruption of cherry red sparks and burn embers would be sent hurtling to the heavens to circle and spread about the buildings across Beale avenue and Front street. Even the Hotel Gayoso was given a baptism of fire.
Thousands of spectators, after the show diners and late partyies joined with hundreds of Memphians who had left their homes to view the spectacle, more stupendous than Pain ever dreamed of in his wildest days. “The Fall of Pompeii” and “Last Days of Rome” were hand plays by comparison.
At exactly midnight while the lights in the theatre still blazed and Blossom Seeley’s name burned with undimmed fervor on the big electric sign on Main Street, the cupola on the south corner of the Main street side fell with a resounding crash. The heat became terrific on the streets and policemen unnecessarily gave spectators instructions to move back.
The crowd surged forward and as each of the four great outside and two great inde brick separations toppled and fell, it slowly moved back, awed by the impressiveness of the blaze.
Just how the blaze started will probably never be known. It had its beginning on the third floor of the building in the showroom where a score or more of women have been wont to spend their daylight hours toiling over a similar number of sewing machines in the manufacturing company’s plant and which was owned by Joseph and John Kriveher. Their loss was placed at from $25,000 to $35,000.
On the street level floors Jim’s Barber shop and a small confectionery and the Singer Sewing Machine Company’s Property was covered by the quick work of the salvage corps and partly saved.
The musicians defied the flames which were rapidly sweeping towards the big proscenium arch and stage and rescued most of their instruments.
Actors rushed in and frantically saved their trunks. Those who had been assigned to upper floors were not so fortunate.
Blossom Seeley and her husband, Benny Fields, were the heaviest losers among the actor folk. Their setting was completely destroyed. An ermine wrap costing $3,000, Miss Fields said, was burned, too. Fields was able to save but one of his trunks before ordered from the theatre by police, he said. Others saved part of their effects.
The loss hardest to replace will be that of Jewell, who owned the Manikin act, although in figures it will not be as great as that of Miss Seeley’s. Jewell expects to experience much difficulty in creating a new set. One actor who came out of the theatre without his collar and necktie defied the police to stop him from going back after them and got away with it.
Whether the Orpheum will be rebuilt as a theatre is problematical. When the front half was destroyed and it appeared as though the stage and auditorium were going to be saved, Mr. Edrington was hopeful that it could be rebuilt.
“Probably put some offices in front,†he said. Then as the flames spread further and further back, over the parapet and he saw his hope fading, he remarked to a friend, “Well, it’s a nice site for a fine hotel.â€
In 1889 a small group of Memphians led by Col. Bethell decided that the thrown was entitled to a new and fine theatre. They built the house and in the years that followed every celebrity of note trod its boards. Emma Juch, operatic queen, opened the house in October of its first year with a fine production of “The Huguenots.†It was the pride of Memphis in those days. The silver voice of Adelina Patti was heard there before variety and later vaudeville became popular. Frederick Warde, Otis Skinner, Richard Mansfield, James O’Neill, every Shakespearean actor of note during the nineties and every musical comedy celebrity on the American stage appeared at the Grand Opera House.
In the meantime Col. Bethell had bought the interest of his associates and became sole owner of the theatre. Then in 1894 Col. H.L. Brinkley and some of his friends decided that Memphis needed another theatre, so they built the Lyceum. For 10 years the competition was keen and the rivalry intense.
While the road shows and “combinations†were flourishing the late Frank Gray, beloved of all newspaper men, was made manager. In 1899 the theatre was thoroughly remodeled and overhauled. A.B. Morrison, still one of the most popular theatre managers ever known, was placed at the helm.
The bill consisted of Blossom Seeley, Burns and Lynn, Bert Hanlon, Lahr and Mercedes, Anderson and Burt, Van and Bell and the Jewell manikins.
I found an early photo of the Peabody Theatre in the book “The Wurlitzer Pipe Organ, an Illustrated History” by David Junchen and Jeff Weiler on page 150. It is a reproduction of a 1927 Wurlitzer advertisement showing several small theatres equipped with Wurlitzer “Organettes” or photoplayers. The Suzore (q.v.) and The Peabody Theatres in Memphis are both shown having these little instruments.
Found a photo of what I believe to be THIS Suzore in the book “The Wurlitzer Pipe Organ, an Illustrated History” by David Junchen and Jeff Weiler on page 150. It is a reproduction of a 1927 Wurlitzer advertisement showing several small theatres equipped with Wurlitzer “Organettes” or photoplayers. The Suzore (spelled differently in the photo and the text) and The Peabody Theatre (q.v.)in Memphis are both shown having these little instruments.
The photo shows the Suzore on a corner lot, a 2 story front of brick with light colored stone (?) accents around windows. The marquee is a canopy without sign boards. It’s handsome and simple.
This does date the theatre to the silent era rather than the 1930s as stated above.
Went to see Harry Potter and the Half Blood Prince last weekend at the Riviera. In the last couple of years, I’ve seen several shows there. The theatre really is comfortable, the presentation excellent and the popcorn quite good. I am VERY glad to have the new Riviera in downtown. But jeez, every time I look at it, I realize it’s just another suburban cineplex on a downtown lot. Regal’s West Town Mall 9 is a much more handsome facility, inside and out.
Bob, the link doesn’t work – at least for me. Can you check your end?
I can just hear Bill playing “The Time Warp” on the Wurlitzer.