The Ritz Theatre was built on the site of a blacksmith shop and later a department store that was burned down in early 1928.
When the Westgate Cinema opened on July 5, 1972, both the Ritz and the McKinney Drive-In were trying to keep both theaters alive. At the time, the Ritz was operated by the Texas Cinema Corporation alongside the McKinney Drive-In.
The McKinney Drive-In closed in 1974 and the Ritz was still operating when first-run features gain more popularity at the Westgate. That same exact year, ads for the Ritz Theatre no longer appear in the Courtier Gazette meaning that it is very hard to tell on when the Ritz ended its life as a full-time movie house. It appears that the Ritz closed in 1975 and sat abandoned for a time.
The Ritz briefly made a surprise comeback on April 10, 1980 by independent operators Mr. and Mrs. Manuel Rosales. They managed to show English movies by any genre on Thursdays and Fridays, and a Spanish feature on Saturdays as well as live entertainment during the weekends. Unfortunately this did not last pretty long at all. Lasting for several months, the Ritz closed again that same year.
The actual opened date is February 14, 1973 with “What’s Up Doc” at Screen 1 and “Doctor Zhivago” at Screen 2. It originally opened with 600 seats (with 300 in each auditorium). The original manager of the theater is Farmington resident Bill Hickman.
Screen 1 features all red draperies with red seats while Screen 2 features black and red draperies with black seats and red aisle carpeting. Some original installations include Cinemeccanica projection and Xenon lamps (both installed by the Ringold Cinema Equipment Company) as well as Altec-Lansing stereo sound equipment. The lobby area is also paneled with wainscoted paneling in both auditoriums. The building itself is completely fireproof and contains a total of 6,000ft of space.
The original Grand Theatre building was destroyed by a fire on September 5, 1914. It was rebuilt and the Grand Theatre reopened on March 15, 1915. One of the original proprietors of the theater is Charles A. Miller.
The Grand Theatre throughout most of its later years was once operated by Fox Midwest Theatres, who operated the theater for three decades in total. It was once known as the Fox Grand Theatre.
Last operated by the National Theatres chain, the Grand Theatre closed for the final time on February 9, 1960 with James Garner in “Cash McCall”. It comes one month after the announcement of J.C. Penney planning to relocate to the Grand Theatre building, which it did.
One of its last managers of the Grand Theatre is A.H. Pekarek, who had been managing the Grand since May 1957 before moving to Topeka, Kansas to work as the manager for the Jayhawk Theatre in January 1960.
The DeGraw Opera House was named after the theater’s owner, Dr. Hamilton DeGraw, and opened its doors on December 1, 1905. Fred Dickinson was the local manager and the building was owned by Frederic Lehman, who was the father of Mrs. George Zeihr and Fred Lehman who at the time went to Riverside, California for unknown reasons.
The DeGraw Opera House was renamed the DeGraw Theatre several years later. Silent films were screened there and was followed by installations of Western Electric sound on June 3, 1929. The DeGraw Theatre was then renamed the Fox DeGraw Theatre the following year after it was taken over by the Fox Midwest Theatres chain.
The Fox DeGraw Theatre was remodeled on September 26, 1940 reopening with Bing Crosby’s “Rhythm On The River” (unknown if any extras were added).
Information about the Fox DeGraw Theatre as of 1940 goes as follows: Compared to the original and the 1940 remodel once you open the doors, it featured an updated box office in the foyer instead of being at one-sided which was where the doors were formerly located and was glass incased. To the left of the foyer is the office for Steve Souttar, who was the manager of the Fox DeGraw, and to the right is the concession stand. There are three entrances to the first floor proper. The main entrance is in the center and the entrances to each side of it. To the left is the men’s lounge and smoking room and to the right is the powder room for the women. The cushioned rugs are draped in salmon pink. To the side of the entrance to the balcony with broad stair casing with deep rugging.
As of 1940, the DeGraw had a capacity of 750 seats, with 550 seats in the main auditorium and 200 seats for the balcony. The back walls of the stage are shutoff by huge drapes, the ceiling was dipped in Nu-wood and there are two large exits that will make it possible to empty the theater in a very few minutes in case of any emergency located to both the left and right of the auditorium. On each side and in the lower ceilings are fluorescent indirect lights, and the projection room is in its original south wall spot in the back of the balcony and is entirely in fireproof being of reinforced concrete and steel. And lastly, to each side of the stage proper are the automatic air conditioner/heating units.
It was remodeled in 1958 when the entire front was covered over with wavy panels in white on the outside and down the middle with red and white. The theater was renamed back the DeGraw Theatre several years later after being part of the Fox Midwest Theatres for a few decades.
During the mid-1970s, the DeGraw Theatre was renamed the Cedar Cinema and was later remodeled in August 1976 after Charles (Chuck) Truesdell bought the theater. The capacity of seats was then downgraded from 750 to 504. Another remodel was done in 1982 with its capacity of seats downgraded again to 410 seats. During the early-1980s, Associated Theatres of Des Moines operated the Cedar Cinema for a short period of time until Hurschell Lain of Marceline purchased the facility in late-August 1985. Lain previously operated both the Star Drive-In in Marceline and the Lin-Vu Drive-In in Brookfield. At the same time, the theater was renamed the Lains Cinema.
This opened as the Plaza Theatre on May 28, 1930 featuring Western Electric sound, and was renamed the Courter Theatre in September 1933 (named after manager Earl J. Courter).
The Silver Theatre opened its doors on September 23, 1948 with Jack Carson in “Two Guys From Texas” (unknown if any short subjects were added). It was closed in the early-1970s.
The Princess Theatre opened in October 1908 and was first operated by Mr. Frank G. Cochran of Sedalia. It was later operated by W.C. Buskirk of Ute, Iowa, who closed the Princess Theatre in May 1912 following his departure to Sioux Falls, South Dakota.
Once known as the State Fair Twin Cinemas, and Commonwealth Theatres took over the theater on August 4, 1976 while Joe Matthews Jr. was still the local manager. Two more screens were added in the mid-1980s.
Correction: It was Leo J. Hayob who took over the Auditorium Theatre in November 1960 and not George H. Hayob. George passed away on the early afternoon hours of September 27, 1957 due to health condition failure.
The Auditorium Theatre officially became the only indoor movie house in Marshall following the closure of the Mary Lou Theatre in October 1964. The theater was renamed the Marshall Cinema 3 in the early-1980s after it was tripled.
There are two Mary Lou Theatres throughout its history.
The Mary Lou Theatre on 115 North Jefferson Avenue opened its doors by the Hayob Brothers (George H. & Leo J. Hayob) on June 16, 1949 with Jack Carson and Doris Day in “My Dream Is Yours” along with a cartoon and a novelty, as a replacement of the older Mary Lou Theatre on 159 West North Street (which was renamed the North Street Theatre that same day and it’ll have its own Cinema Treasures page soon).
The newer and second Mary Lou Theatre on Jefferson Avenue was built at a former site of a dealership garage known as the Rieman Motor Company which that dealership was relocated to 68 West Morgan Street at the time of the theater’s construction.
The second Mary Lou Theatre featured a Streamline Modern design with a capacity of 795 seats, then-latest RCA 2-way sound system, and was constructed along stadium lines or known as “station type houses”. The entirety of the 795 seats were Haywood-Wakefield chairs which were spring operated self rising seats. The aisles are four feet wide and the ramps from the foyer up into the theater are 6½ft wide. The seats are set 34in apart.
When a patron enters the Jefferson Avenue Mary Lou Theatre, it features the following: To the left is the arranged concession stand that the patrons can be served from the lobby or the foyer or on the street. The street outlet for the concession will be identical in appearance with the box office which is situated on the north side of the front entrance. Proceeding from the lobby the patron goes into the foyer which is 10x55½ft and going down four steps from the foyer he enters the lounge which is 27x18ft. Off of the lounge at each side are restrooms for both genders. To the right of the lobby is the manager’s office as well as the front furnace and air conditioning room located to the right of the lobby.
There are three sets of double-doors from the street into the lobby and another three sets of double doors from the lobby into the foyer. At each end of the foyer there is an outside exit, the south exit opening on the alley and the north exit on a sidewalk which will run the entire length of the building on the north side. Despite the theater completely fireproof, it is best to use it for emergencies. The stage is 40x18ft which provides ample space for stage presentations and first-run A features. It also includes hearing aid equipment which is tied into the regular reproduction units. There is a full basement under the stage which has a heating plant.
Construction of the theater was first planned in August 1947 and began construction in June 1948. Robert O Boller and Dietz Lusk Jr. are the architects of the Jefferson Avenue Mary Lou Theatre. Boller was the one who also did the North Street Mary Lou Theatre alongside his brother Carl. The newer Mary Lou features black light units which illuminate the walls of the Old Tavern and Missouri Valley College. These black lights consist of mercury vapor arcs which generate ultra violet rays. These rays are beyond the visible spectrum and the units are equipped with filters which prevent any visible light from escaping. All wiring through the theater is enclosed in conduit pipe running through the attic and under the concrete floors providing the best in safety. Approximately 3,000ft of conduit of various sizes have been used in making the installations. It is almost enough wire to extend a length of 15 miles that has been installed on the job. Control panels of lighting are located in the office, booth, and back stage. To provide convenience in the operation of stage, lighting 3-way controls were installed to take care of the stage flood lights and both automatically-operated stage curtains. Fluorescent lighting will predominate throughout the theater in all cove wall installations and in all shadow boxes or poster cases. All the ceiling lights in the auditorium are recessed and faced with concentric louvres for control of the light to prevent glare. The stage flood lights are each mounted on a swivel arm for the purpose of adjustment if needed. These lights are concealed in vertical light recesses at each side of the spandrel walls in front of the auditorium. These are 12 of these lights in each recess with 3-circuit controls and all these spotlights are equipped with roundels of five different colors which provide much flexibility in selecting colors fitting in with the various seasons of the year.
There are 12 different electrical circuits controlling the marquee, and the entire front of the theater over the structural glass is Streamline Modern illuminated with neon lighting. The marquee features the cursive colored concrete letters “Mary Lou” 4ft high across the top on each side. The marquee has a 3-line flashed opal glass attraction board which will be used 10-inch Bevelite letters of red plastic material. The ceiling under the marquee contains a total of 54 receptacles for 25-watt bulbs which with the three 150-watt recessed entrance flood lights will illuminate the sparkling sidewalk.
The newer Mary Lou Theatre did not last very long at all, and on October 24, 1964, the Mary Lou Theatre ended its life with Elizabeth Taylor’s “Cleopatra”, leaving the Auditorium Theatre the only indoor movie house in Marshall.
The Parkside Drive-In actually opened on August 2, 1949 with Glenn Ford in “The Return Of October” along with a couple of cartoons and a newsreel. It was first operated by Charles Ralph Thomas and managed by John Lindsey.
On May 4, 1950, both the 37x50ft screen and the east side of the original 56ft tower were blown off by heavy winds. Lindsey said that the east section of the tower and attached screen were the first to blow away, and the entire tower had rocked and swayed two and three feet in the wind. The gale was of sufficient strength to uproot wooden poles sunk in concrete to a length of 8ft. Just after the first slab of the tower had gone, the entire top section of the structure including the huge “Drive-In” sign were blown down. The wind continued to blow sections of the corrugated metal sheeting of the tower away at intervals, some swirling across the highway. Both Lindsey and Thomas saw the tower section falling on the telephone cable and began stopping cars to warn them of any danger. A telephone service unit soon arrived with red warning flags which were also placed at both approaches of the drive-in. Several cars were passing at the time of the theater’s original tower was damaged, but none were hit by any of it. The theater reopened several weeks later after both a new screen and screen tower were built.
The Key’s Auditorium Theatre opened its doors on January 15, 1915 with a live presentation of Henry W. Savage’s “Every Woman”. It originally housed 1,000 seats when it opened. The original stage measures 60x30x16ft with the auditorium measuring 115x70ft. The theater’s name was shorten to just Auditorium Theatre in 1926 after being taken over by Ray Higgins who also installed Vitaphone and Movietone sound in June 1929.
In December 1930, the theater was renamed the Fox Auditorium Theatre under the ownership of Fox Midwest Theatres and the manager of Frank J. Celoud (later Steve Souttar since 1946). The Fox name lasted until November 1960 when the Fox name was dropped following the National Theatres chain taking over both the Auditorium Theatre and the Mary Lou Theatre led by George H. Hayob, and was renamed back the Auditorium Theatre.
The Ritz Theatre was built on the site of a blacksmith shop and later a department store that was burned down in early 1928.
When the Westgate Cinema opened on July 5, 1972, both the Ritz and the McKinney Drive-In were trying to keep both theaters alive. At the time, the Ritz was operated by the Texas Cinema Corporation alongside the McKinney Drive-In.
The McKinney Drive-In closed in 1974 and the Ritz was still operating when first-run features gain more popularity at the Westgate. That same exact year, ads for the Ritz Theatre no longer appear in the Courtier Gazette meaning that it is very hard to tell on when the Ritz ended its life as a full-time movie house. It appears that the Ritz closed in 1975 and sat abandoned for a time.
The Ritz briefly made a surprise comeback on April 10, 1980 by independent operators Mr. and Mrs. Manuel Rosales. They managed to show English movies by any genre on Thursdays and Fridays, and a Spanish feature on Saturdays as well as live entertainment during the weekends. Unfortunately this did not last pretty long at all. Lasting for several months, the Ritz closed again that same year.
Once operated by Fox Circuit.
Once operated by Fox Circuit.
The actual opened date is February 14, 1973 with “What’s Up Doc” at Screen 1 and “Doctor Zhivago” at Screen 2. It originally opened with 600 seats (with 300 in each auditorium). The original manager of the theater is Farmington resident Bill Hickman.
Screen 1 features all red draperies with red seats while Screen 2 features black and red draperies with black seats and red aisle carpeting. Some original installations include Cinemeccanica projection and Xenon lamps (both installed by the Ringold Cinema Equipment Company) as well as Altec-Lansing stereo sound equipment. The lobby area is also paneled with wainscoted paneling in both auditoriums. The building itself is completely fireproof and contains a total of 6,000ft of space.
The original Grand Theatre building was destroyed by a fire on September 5, 1914. It was rebuilt and the Grand Theatre reopened on March 15, 1915. One of the original proprietors of the theater is Charles A. Miller.
The Grand Theatre throughout most of its later years was once operated by Fox Midwest Theatres, who operated the theater for three decades in total. It was once known as the Fox Grand Theatre.
Last operated by the National Theatres chain, the Grand Theatre closed for the final time on February 9, 1960 with James Garner in “Cash McCall”. It comes one month after the announcement of J.C. Penney planning to relocate to the Grand Theatre building, which it did.
On January 2, 1939, Commonwealth Theatres took over the Hermo Theatre.
Once operated by Fox Midwest Theatres.
Once operated by Fox Midwest Theatres.
The DeGraw Opera House was named after the theater’s owner, Dr. Hamilton DeGraw, and opened its doors on December 1, 1905. Fred Dickinson was the local manager and the building was owned by Frederic Lehman, who was the father of Mrs. George Zeihr and Fred Lehman who at the time went to Riverside, California for unknown reasons.
The DeGraw Opera House was renamed the DeGraw Theatre several years later. Silent films were screened there and was followed by installations of Western Electric sound on June 3, 1929. The DeGraw Theatre was then renamed the Fox DeGraw Theatre the following year after it was taken over by the Fox Midwest Theatres chain.
The Fox DeGraw Theatre was remodeled on September 26, 1940 reopening with Bing Crosby’s “Rhythm On The River” (unknown if any extras were added).
Information about the Fox DeGraw Theatre as of 1940 goes as follows: Compared to the original and the 1940 remodel once you open the doors, it featured an updated box office in the foyer instead of being at one-sided which was where the doors were formerly located and was glass incased. To the left of the foyer is the office for Steve Souttar, who was the manager of the Fox DeGraw, and to the right is the concession stand. There are three entrances to the first floor proper. The main entrance is in the center and the entrances to each side of it. To the left is the men’s lounge and smoking room and to the right is the powder room for the women. The cushioned rugs are draped in salmon pink. To the side of the entrance to the balcony with broad stair casing with deep rugging.
As of 1940, the DeGraw had a capacity of 750 seats, with 550 seats in the main auditorium and 200 seats for the balcony. The back walls of the stage are shutoff by huge drapes, the ceiling was dipped in Nu-wood and there are two large exits that will make it possible to empty the theater in a very few minutes in case of any emergency located to both the left and right of the auditorium. On each side and in the lower ceilings are fluorescent indirect lights, and the projection room is in its original south wall spot in the back of the balcony and is entirely in fireproof being of reinforced concrete and steel. And lastly, to each side of the stage proper are the automatic air conditioner/heating units.
It was remodeled in 1958 when the entire front was covered over with wavy panels in white on the outside and down the middle with red and white. The theater was renamed back the DeGraw Theatre several years later after being part of the Fox Midwest Theatres for a few decades.
During the mid-1970s, the DeGraw Theatre was renamed the Cedar Cinema and was later remodeled in August 1976 after Charles (Chuck) Truesdell bought the theater. The capacity of seats was then downgraded from 750 to 504. Another remodel was done in 1982 with its capacity of seats downgraded again to 410 seats. During the early-1980s, Associated Theatres of Des Moines operated the Cedar Cinema for a short period of time until Hurschell Lain of Marceline purchased the facility in late-August 1985. Lain previously operated both the Star Drive-In in Marceline and the Lin-Vu Drive-In in Brookfield. At the same time, the theater was renamed the Lains Cinema.
Once operated by Fox Midwest Theatres.
Once operated by Fox Midwest Theatres, and was once known as the Fox 4th Street Theatre.
The actual grand opening date is June 25, 1950 with Shirley Temple in “The Story of Seabiscuit” with no extra short subjects.
This opened as the Plaza Theatre on May 28, 1930 featuring Western Electric sound, and was renamed the Courter Theatre in September 1933 (named after manager Earl J. Courter).
Once operated by Carisch Theatres.
The Silver Theatre opened its doors on September 23, 1948 with Jack Carson in “Two Guys From Texas” (unknown if any short subjects were added). It was closed in the early-1970s.
The Princess Theatre opened in October 1908 and was first operated by Mr. Frank G. Cochran of Sedalia. It was later operated by W.C. Buskirk of Ute, Iowa, who closed the Princess Theatre in May 1912 following his departure to Sioux Falls, South Dakota.
Actual closing date is July 16, 2009.
The Mainstreet Theatre opened on March 1, 1933 with Joan Crawford in “Rain” (unknown if extras added).
Once known as the State Fair Twin Cinemas, and Commonwealth Theatres took over the theater on August 4, 1976 while Joe Matthews Jr. was still the local manager. Two more screens were added in the mid-1980s.
Correction: It was Leo J. Hayob who took over the Auditorium Theatre in November 1960 and not George H. Hayob. George passed away on the early afternoon hours of September 27, 1957 due to health condition failure.
The Auditorium Theatre officially became the only indoor movie house in Marshall following the closure of the Mary Lou Theatre in October 1964. The theater was renamed the Marshall Cinema 3 in the early-1980s after it was tripled.
The Star Theatre located in the Gilkeson building opened on March 17, 1915, and was first operated by Tom Goodnight. It was still open in the 1960s.
This was taken several days before the theater closed its doors for the final time. And yes, this was the final attraction shown on the marquee.
There are two Mary Lou Theatres throughout its history.
The Mary Lou Theatre on 115 North Jefferson Avenue opened its doors by the Hayob Brothers (George H. & Leo J. Hayob) on June 16, 1949 with Jack Carson and Doris Day in “My Dream Is Yours” along with a cartoon and a novelty, as a replacement of the older Mary Lou Theatre on 159 West North Street (which was renamed the North Street Theatre that same day and it’ll have its own Cinema Treasures page soon).
The newer and second Mary Lou Theatre on Jefferson Avenue was built at a former site of a dealership garage known as the Rieman Motor Company which that dealership was relocated to 68 West Morgan Street at the time of the theater’s construction.
The second Mary Lou Theatre featured a Streamline Modern design with a capacity of 795 seats, then-latest RCA 2-way sound system, and was constructed along stadium lines or known as “station type houses”. The entirety of the 795 seats were Haywood-Wakefield chairs which were spring operated self rising seats. The aisles are four feet wide and the ramps from the foyer up into the theater are 6½ft wide. The seats are set 34in apart.
When a patron enters the Jefferson Avenue Mary Lou Theatre, it features the following: To the left is the arranged concession stand that the patrons can be served from the lobby or the foyer or on the street. The street outlet for the concession will be identical in appearance with the box office which is situated on the north side of the front entrance. Proceeding from the lobby the patron goes into the foyer which is 10x55½ft and going down four steps from the foyer he enters the lounge which is 27x18ft. Off of the lounge at each side are restrooms for both genders. To the right of the lobby is the manager’s office as well as the front furnace and air conditioning room located to the right of the lobby.
There are three sets of double-doors from the street into the lobby and another three sets of double doors from the lobby into the foyer. At each end of the foyer there is an outside exit, the south exit opening on the alley and the north exit on a sidewalk which will run the entire length of the building on the north side. Despite the theater completely fireproof, it is best to use it for emergencies. The stage is 40x18ft which provides ample space for stage presentations and first-run A features. It also includes hearing aid equipment which is tied into the regular reproduction units. There is a full basement under the stage which has a heating plant.
Construction of the theater was first planned in August 1947 and began construction in June 1948. Robert O Boller and Dietz Lusk Jr. are the architects of the Jefferson Avenue Mary Lou Theatre. Boller was the one who also did the North Street Mary Lou Theatre alongside his brother Carl. The newer Mary Lou features black light units which illuminate the walls of the Old Tavern and Missouri Valley College. These black lights consist of mercury vapor arcs which generate ultra violet rays. These rays are beyond the visible spectrum and the units are equipped with filters which prevent any visible light from escaping. All wiring through the theater is enclosed in conduit pipe running through the attic and under the concrete floors providing the best in safety. Approximately 3,000ft of conduit of various sizes have been used in making the installations. It is almost enough wire to extend a length of 15 miles that has been installed on the job. Control panels of lighting are located in the office, booth, and back stage. To provide convenience in the operation of stage, lighting 3-way controls were installed to take care of the stage flood lights and both automatically-operated stage curtains. Fluorescent lighting will predominate throughout the theater in all cove wall installations and in all shadow boxes or poster cases. All the ceiling lights in the auditorium are recessed and faced with concentric louvres for control of the light to prevent glare. The stage flood lights are each mounted on a swivel arm for the purpose of adjustment if needed. These lights are concealed in vertical light recesses at each side of the spandrel walls in front of the auditorium. These are 12 of these lights in each recess with 3-circuit controls and all these spotlights are equipped with roundels of five different colors which provide much flexibility in selecting colors fitting in with the various seasons of the year.
There are 12 different electrical circuits controlling the marquee, and the entire front of the theater over the structural glass is Streamline Modern illuminated with neon lighting. The marquee features the cursive colored concrete letters “Mary Lou” 4ft high across the top on each side. The marquee has a 3-line flashed opal glass attraction board which will be used 10-inch Bevelite letters of red plastic material. The ceiling under the marquee contains a total of 54 receptacles for 25-watt bulbs which with the three 150-watt recessed entrance flood lights will illuminate the sparkling sidewalk.
The newer Mary Lou Theatre did not last very long at all, and on October 24, 1964, the Mary Lou Theatre ended its life with Elizabeth Taylor’s “Cleopatra”, leaving the Auditorium Theatre the only indoor movie house in Marshall.
The Parkside Drive-In actually opened on August 2, 1949 with Glenn Ford in “The Return Of October” along with a couple of cartoons and a newsreel. It was first operated by Charles Ralph Thomas and managed by John Lindsey.
On May 4, 1950, both the 37x50ft screen and the east side of the original 56ft tower were blown off by heavy winds. Lindsey said that the east section of the tower and attached screen were the first to blow away, and the entire tower had rocked and swayed two and three feet in the wind. The gale was of sufficient strength to uproot wooden poles sunk in concrete to a length of 8ft. Just after the first slab of the tower had gone, the entire top section of the structure including the huge “Drive-In” sign were blown down. The wind continued to blow sections of the corrugated metal sheeting of the tower away at intervals, some swirling across the highway. Both Lindsey and Thomas saw the tower section falling on the telephone cable and began stopping cars to warn them of any danger. A telephone service unit soon arrived with red warning flags which were also placed at both approaches of the drive-in. Several cars were passing at the time of the theater’s original tower was damaged, but none were hit by any of it. The theater reopened several weeks later after both a new screen and screen tower were built.
The Parkside Drive-In closed in the mid-1980s.
The Key’s Auditorium Theatre opened its doors on January 15, 1915 with a live presentation of Henry W. Savage’s “Every Woman”. It originally housed 1,000 seats when it opened. The original stage measures 60x30x16ft with the auditorium measuring 115x70ft. The theater’s name was shorten to just Auditorium Theatre in 1926 after being taken over by Ray Higgins who also installed Vitaphone and Movietone sound in June 1929.
In December 1930, the theater was renamed the Fox Auditorium Theatre under the ownership of Fox Midwest Theatres and the manager of Frank J. Celoud (later Steve Souttar since 1946). The Fox name lasted until November 1960 when the Fox name was dropped following the National Theatres chain taking over both the Auditorium Theatre and the Mary Lou Theatre led by George H. Hayob, and was renamed back the Auditorium Theatre.