The 850-seat Virginia Theatre launched October 30, 1913 with 300 seats in the balcony. The rear balcony was reserved for African American audiences. The Suffolk Theatre Company launched to a capacity crowd. Film-wise, the two day appearance of “Birth of a Nation” in Oct. 1916 was the biggest hit. The theater bowed out with another live show on Mary 30, 1919. A lumber sale took place as the theater was disassembled for its next usage.
R/C Theatres closed the Plantation in style on October 29, 1982 with a triple nurse feature of Ashley Porter in “The Young Nurses,” Xenia Grass in “The Student Nurses,” and Pegi Boucher in “Private Duty Nurses.”
The Nansemond Fotosho (no “w”) opened on December 31, 1914, a 900-seat silent movie house with a Pannell’s screen on a 10-year lease. In was managed by H.C. Everhart. The first Fotosho had opened in Norfolk at 242 Main on February 25, 1911. The second was known as the Superior Fotosho and opened in November of 1913 in Richmond. The Nansemond Fotosho (named after the county housing Suffolk) was the third and it would be taken on by Suffolk Amusement Corporation which shortened the name to the Fotosho Theatre.
On the north side of the Fotosho house was J.F. Rawles confectionery which served as the de facto concession stand there. Suffolk Amusement decided to build a new theater, the Chadwick, nearby designed by architect Alexander DePre Breeden. That would replace the Fotosho and was named the Chadwick Theatre opening in January of 1925. The Fotosho announced a closure on June 2, 1925 with Hoot Gibson in “Hit & Run.” That’s the way the Fotosho Theatre would soon feel as the four walls of the Fotosho were all that remained as Suffolk built an entirely new theater within the old Fotosho space and was on the books as the “New Fotosho”.
That project was delayed, renamed, and also designed by Alexander DePre Breeden. It became the Cavalier Theatre opening with “The Tempest” on December 20th, 1928. In 1938, the Cavalier received a streamline moderne redesign by architect Claude Knox Howell. The Cavalier closed on February 4, 1956 with “Heart of the Golden West” and “New Orleans Uncensored” and was demolished shortly thereafter for a new-build J.C. Penney store.
Leggett’s Department Store purchased the Palace building at 157 North Main Street in 1963 and razed the former theater November of 1964 for its new store
July 7, 1971 Grand Opening ad with Patton in Mash in photos. Rebrand - grand opening ad as a Jerry Lewis Cinema on July 14, 1972 with “Play it Again, Sam” also in ads. Rebranded to Plaza Cinema with “Westworld” on December 27, 1973 and closed as a discount house on May 25, 1995 with “Billy Madison.”
January 26, 1925 as with launch with “The Top of the World” and a the “William Tell Overture” played on the Chadwick’s $25,000 Hope Jones Orchestral pipe organ played by J. Shepherd Brinkley in photos.
The Broadway Theatre was reopened at 347 East Washington Street on a 15-year lease with Pola Negri in “Forbidden Planet” on January 29, 1925 by Suffolk Amusement Corp. with a policy for African American patrons. The neighboring Suffolk Ice Cream creamery served as its de facto concession stand. And its near neighbor, the Phoenix Bank, was operating as an African American owned financial institution as the community was beginning to gain financial power. The theatre was converted to sound in 1929 to remain viable. But the economy cratered soon thereafter. Suffolk Amusement went into bankruptcy on November 18, 1930. And, worse yet, the Phoenix Bank went into receivership just months later.
But the Broadway Theatre was resilient. Pitt-Roth Circuit operated the Broadway through its 15-year lease. In 1940, the circuit gave it a streamline moderne makeover and the venue was renamed in a contest in December of 1940 which changed its name to the Carver Theatre in honor of Dr. George Washington Carver. The refreshed Carver now with its own concession stand opened January 24, 1941 likely on a new 25-year lease with Jane Withers in “Youth Will be Served.” Langston Fortune took over the neighboring creamery turning into the long-running Silver Slipper Cafe and Night Club. The Carver Theatre operated continuously with films through December 16, 1962 closing with Richard Todd in “The Hellions.”
After being used for live events, it was refreshed and reopened on March 17 1963 as the Lee Theatre with “Affar in in Havana” and “Attack of the Crab Monsters.” On July 23, 1964, it was reopened as the East End Theatre with “Cattle King.” The East End closed with “The Sandpiper” on March 13, 1966 reaching the lease’s expiry. The venue reverted back to the Carver Theater moniker and was a private club that had one public-facing live stage event before closing permanently. The theatre and neighboring Silver Slipper was torn down and an unimproved parking lot was created in its former footprint. The Phoenix Bank building survived into the 2020s with its ghost signage still in place.
The Carver Theatre launched February 9, 1948 with “Intrigue” By Maurice Rosenberg’s Amusements, Inc. It was known for its modern art mural depicting Carver’s life.
The Paddock Shopping Center opened theater-less in 1961 anchored by an A&P grocer. Ten years later the Ceter expanded adding the cinema March 26th, 1971Paddock Hills Closed May 29, 1988 with “Broadcast News” and “Sunset” splitting a screen with “Critters II.”
The Grand Opening of the Rainbow Theatre in Houston took place May 16, 1937 with “Pennies from Heaven” on the big screen but preceded by the marriage of Miss Lillie Mae Parker to Kenneth Arnold Gamble.
Sam S. Vigran opened the Marion on March 28, 1912 with Gilbert ‘Broncho Billy’ Anderson in “The Bandit’s Child,” Hazel Nelson in “Lulu’s Anarchism,” and D. W. Griffith’s “A Strong of Pearls.” The Marion’s lease expired on March 25, 1929 just as the New Indiana Theatre was about to open and the new-build Paramount Theatre was being completed. Thus, operator Sam Neall made the Marion’s closure permanent.
Ray and Chester O. Allen’s Opera House launched in early 1896. Their candy kitchen on the east room served as its concession stand. In January of 1898, Burk & Hallady Bros. took on the venue. It was remodeled as the New Grand Opera House and later becoming the Grand Theatre. Elsewhere in downtown, the Royal Theatre launched April 10, 1909 in the existing Johnson Block on West Fourth Street by Leroy Tudor who operated Marion’s Star Theatre. It operated on a grind policy from 2-11p playing motion pictures. George and Dolly Spurr took over with Dolly Spurr becoming the town’s first female theater owner. Alan Spurr played piano and led the Spurr Orchestra there. It was at capacity much of the time and needed more seats.
On March 14, 1912, Spurr merged with O.G. Murray’s well-established and larger, 800-seat Grand Theatre (he also of the Indiana Theatre) to create Spurr’s Royal-Grand Theatre. The grand opening titles were King Baggott in “Shamus O'Brien,” “Song of Childhood Days” with Marion Leonard, A Bad Investment,“ Anthony O'Sullivan in “Bedelia and the Suffragette,” and a song short, “In the Land of Honeymoon” with Hazel Custer.
The legendary William “Billy” Connors took on the venue and, in 1925, put in a $22,000 Page pipe organ from Defiance, Ohio, and enticed Dallas-based Palace Theatre organist Herbert Lee Kock to move to Marion. The interior was given a major refresh and it had a grand reopening to celebrate the new look and the pipe organ in August of 1925.
Fourth Ave. Amusement Co. of Louisville took on the Royal Grand, Indiana and Lyric in 1928 to update the venues and convert the Indiana and Lyric to sound to remain viable. The Royal Grand’s film days closed on Sept. 20, 1929 with Alice Day in “His New York Wife.” Fourth Ave. must have determined that the R-G wasn’t a candidate for sound especially with the new Paramount Theatre just weeks away from its debut. The Royal Grand was opened for boxing matches and sporadic live stage entertainment thereafter.
In 1932, Paramount-Publix Corp. took control of the Lyric, Indiana, and Royal Grand. They declared bankruptcy and, in 1933, suit was brought against them for failing to pay any rent on the three properties. The theaters were assigned to the Washington Theatre Company and they announced the closure of the Royal-Grand immediately and permanently. The building was torn down in 1941.
The Princess Theatre launched here with J. Warren Kerrigan in “The Hand of Uncle Sam” and “Prascovia: The Russian Heroine” on March 28, 1910. (Sorry, Marion had no “Orpheum” Theatrein the 1910s but it did have one beginning on in 1920 when the Indiana was renamed.) Under new operator L.C. Norris, the seats were spaced further apart and the venue was renamed as the Luna-Lite Theatre at its grand relaunch on Feb. 28, 1914. William “Billy"Conners took on the venue in 1916. On January 19, 1918, Ora Parks took over the Luna-Lite. Conners would go on to the Lyric, the Indiana, and the Royal Grand in Marion before building the Marionair Drive-In.
In 1925, the venue lost the hyphen becoming the Luna Lite Theatre. It was equipped with sound to remain viable. In 1946, “Lite” was dropped becoming the Luna Theater operating to January of 1949. The legendary Billy Conners came back reopening the theatre on January 17, 1950 renaming it as the Luna-Lite Theatre - yes, with the hyphen from yesteryear. Same 372 seats but new popcorn machine. The Luna-Lite closed again April 30, 1950 - this time permanently with “Hopalong Cassidy” and “Fighting Ranger.” It was offered for lease which didn’t work out and it was razed in November of 1952.
This one should be the Luna-Lite Theatre, also known as the Princess Theatre, also known as the Luna Lite Theater, and not known as the Orpheum.
Oct. 23, 1920, it was rebooted as the Orpheum Theatre - ad in photos - as the circuit took on the venue. Billy Conners took on the venue and restored the venue to the Indiana Theatre moniker effective September 16, 1924.
Movies ended on June 15, 1978 with “Smokey And The Bandit" followed by two live vaudeville stage shows on June 16 and 17th that perm. ended the Indiana programming run.
The Lyric Theater opened September 3, 1916 with “Ramona.” It was opened by Ora O. Parks for $45,000. Films were booked from Chicago and vaudeville from the Western Vaudeville Association Circuit. It added to sound to remain viable.
The Lyric closed for the summer on May 5, 1958 as the Marionaire Drive-In season was beginning. That closure proved to be permanent making the final showtimes on May 4, 1958 as “The Deep Six” and “Daniel Boone, Trail Blazer.” The theatre was demolished in July and August of 1959.
The Southway launched November 5, 1938 (grand opening ad in photos) with Joe Brown in “Fit for a King” supported by Sally Eilers in “Danger Patrol” and Leon Errol “Should Wives Work” and the comedy short, “Phony Boy.” It closed February 29, 1956 and reopened under new operators on March 21, 1956. It closed permanently May 13, 1956 with “The Phenix City Story” and “Night Frieght.” It was converted to a house of worship thereafter.
Address - 114 East Front Street. B. P. Abbott opened the new Dream Theatre in 1914 in an existing retail storefront. That same year, Mr. and Mrs. James Chenaur took on the venue. storefront. Jack McGregor “Mack” Davis took on the venue next. He would eventually replace the Dream with the Mack Theatre in 1924.
In 1926, the Lincoln Theatre Company operated by the Halbergs (of the local Lincoln Theater) bought out Davis' film interests giving it both the Dream and the Mack Theatre. The Dream Theatre hung on and used sporadically through the beginning of the sound film era in 1927. It would be demolished and the Elwha Theatre would take over its footprint along with the neighboring building. The Halbergs would rename the Mack Theatre as Halberg’s Olympian.
Jack McGregor “Mack” Davis of the Dream Theater announced this $60,000 project in May of 1924. It would be built to the plans architect George B. Purvis and carry a 25-year lease upon completion. Opened as the Mack Theatre on November 24, 1922 Mack sold off the theater in 1926.
The venue remained the Mack Theatre for a brief transitional period. Prior to the name change, the new operators, Edwin and Evan Halberg, installed a three manual and pedal $25,000 Robert Morton Orchestra Organ was installed with the venue teasing a new name. That year it would be renamed The Olympian.
In 1927, it received a major overhaul and reopening (see ad in photos) and a new Robert Morton pipe organ. That theater was then donated by the Halbergs to the Lutheran church which used the venue and organ through 1957 before replacing it with a new organ in a new location in 1963. The Olympian operated until 1961 when the City closed it for safety issues. DelGuzzi Construction demolished the Olympian in July of 1969.
According to court documents, the Osage Theatre construction project began in August of 1936 and launched January 8, 1937 with “My Man Godfrey” and “Mine with the Iron Door.” Henry Wendt and his wife, Charlene, operated the theater until his death in August of 1960. Charlene Wendt took it over running the same policy for seven years.
Wendt changed to an art policy on April 28, 1967 starting with “A Thousand Clowns” and “Blow-Up” under the name of the Osage Art Theatre. She hired architect James Ham to conduct a major $125,000 renovation the next year with the venue becoming the Kirkwood Cinema. It opened June 28, 1968 with “Bonnie and Clyde.” It would pass from Wendt to Arthur Theatres Enterprises.
Arthur’s Circuit was in deep financial trouble in 1977 when the Granada and Avalon were sold at foreclosure auction. The final four Arthur locations were the Kirkwood, the Fox, the Webster Groves and the 270 Drive-In. After going independent under the original property holder, Mid-America Theatres Circuit took on the Kirkwood in December of 1979. In 1984, it became part of RKO-Mid-America Theatres. December of 1985, AMC got a foothold in St. Louis by purchasing the RKO-Mid-America Theatres.
The Brentwood and Kirkwood theaters both closed July 31, 1986 as AMC was reducing its portfolio of one screen locations. Lemay Theater operators Marty Tribl and Mark Friedrich were approached by AMC to sublease both venues until they were either sold or demolished (or both). They agreed. The Brentwood relaunched August 29, 1986 closing October 23, 1986. But the Kirkwood was the cinematic renaissance leader opening also on August 29, 1986 continuing to a closure in June of 1989.
It then reopened on September 20, 1991 by Harman Moseley with “Barton Fink.” That ran all the way to October 7, 1999 when the theatre closed for films with “The Thomas Crown Affair” and “Tea With Mussolini” splitting with “The Castle.”
According to court documents, the Osage Theatre construction project began in August of 1936 and launched January 8, 1937 with “My Man Godfrey” and “Mine with the Iron Door.” Henry Wendt and his wife, Charlene, operated the theater until his death in August of 1960. Charlene Wendt took it over running the same policy for seven years.
Wendt changed to an art policy on April 28, 1967 starting with “A Thousand Clowns” and “Blow-Up” under the name of the Osage Art Theatre. She hired architect James Ham to conduct a major $125,000 renovation the next year with the venue becoming the Kirkwood Cinema. It opened June 28, 1968 with “Bonnie and Clyde.” It would pass from Wendt to Arthur Theatres Enterprises to Mid-America Theatres to AMC over the next 18 years.
The Brentwood and Kirkwood theaters both closed July 31, 1986 as AMC was reducing its portfolio of one screen locations. Lemay Theater operators Marty Tribl and Mark Friedrich were approached by AMC to sublease both venues until they were either sold or demolished (or both). They agreed. The Brentwood relaunched August 29, 1986 closing October 23, 1986. But the Kirkwood was the cinematic renaissance leader opening also on August 29, 1986 continuing to a closure in June of 1989.
It then reopened on September 20, 1991 by Harman Moseley with “Barton Fink.” That ran all the way to October 7, 1999 when the theatre closed for films with “The Thomas Crown Affair” and “Tea With Mussolini” splitting with “The Castle.”
The 850-seat Virginia Theatre launched October 30, 1913 with 300 seats in the balcony. The rear balcony was reserved for African American audiences. The Suffolk Theatre Company launched to a capacity crowd. Film-wise, the two day appearance of “Birth of a Nation” in Oct. 1916 was the biggest hit. The theater bowed out with another live show on Mary 30, 1919. A lumber sale took place as the theater was disassembled for its next usage.
R/C Theatres closed the Plantation in style on October 29, 1982 with a triple nurse feature of Ashley Porter in “The Young Nurses,” Xenia Grass in “The Student Nurses,” and Pegi Boucher in “Private Duty Nurses.”
The Nansemond Fotosho (no “w”) opened on December 31, 1914, a 900-seat silent movie house with a Pannell’s screen on a 10-year lease. In was managed by H.C. Everhart. The first Fotosho had opened in Norfolk at 242 Main on February 25, 1911. The second was known as the Superior Fotosho and opened in November of 1913 in Richmond. The Nansemond Fotosho (named after the county housing Suffolk) was the third and it would be taken on by Suffolk Amusement Corporation which shortened the name to the Fotosho Theatre.
On the north side of the Fotosho house was J.F. Rawles confectionery which served as the de facto concession stand there. Suffolk Amusement decided to build a new theater, the Chadwick, nearby designed by architect Alexander DePre Breeden. That would replace the Fotosho and was named the Chadwick Theatre opening in January of 1925. The Fotosho announced a closure on June 2, 1925 with Hoot Gibson in “Hit & Run.” That’s the way the Fotosho Theatre would soon feel as the four walls of the Fotosho were all that remained as Suffolk built an entirely new theater within the old Fotosho space and was on the books as the “New Fotosho”.
That project was delayed, renamed, and also designed by Alexander DePre Breeden. It became the Cavalier Theatre opening with “The Tempest” on December 20th, 1928. In 1938, the Cavalier received a streamline moderne redesign by architect Claude Knox Howell. The Cavalier closed on February 4, 1956 with “Heart of the Golden West” and “New Orleans Uncensored” and was demolished shortly thereafter for a new-build J.C. Penney store.
Leggett’s Department Store purchased the Palace building at 157 North Main Street in 1963 and razed the former theater November of 1964 for its new store
July 7, 1971 Grand Opening ad with Patton in Mash in photos. Rebrand - grand opening ad as a Jerry Lewis Cinema on July 14, 1972 with “Play it Again, Sam” also in ads. Rebranded to Plaza Cinema with “Westworld” on December 27, 1973 and closed as a discount house on May 25, 1995 with “Billy Madison.”
January 26, 1925 as with launch with “The Top of the World” and a the “William Tell Overture” played on the Chadwick’s $25,000 Hope Jones Orchestral pipe organ played by J. Shepherd Brinkley in photos.
The Broadway Theatre was reopened at 347 East Washington Street on a 15-year lease with Pola Negri in “Forbidden Planet” on January 29, 1925 by Suffolk Amusement Corp. with a policy for African American patrons. The neighboring Suffolk Ice Cream creamery served as its de facto concession stand. And its near neighbor, the Phoenix Bank, was operating as an African American owned financial institution as the community was beginning to gain financial power. The theatre was converted to sound in 1929 to remain viable. But the economy cratered soon thereafter. Suffolk Amusement went into bankruptcy on November 18, 1930. And, worse yet, the Phoenix Bank went into receivership just months later.
But the Broadway Theatre was resilient. Pitt-Roth Circuit operated the Broadway through its 15-year lease. In 1940, the circuit gave it a streamline moderne makeover and the venue was renamed in a contest in December of 1940 which changed its name to the Carver Theatre in honor of Dr. George Washington Carver. The refreshed Carver now with its own concession stand opened January 24, 1941 likely on a new 25-year lease with Jane Withers in “Youth Will be Served.” Langston Fortune took over the neighboring creamery turning into the long-running Silver Slipper Cafe and Night Club. The Carver Theatre operated continuously with films through December 16, 1962 closing with Richard Todd in “The Hellions.”
After being used for live events, it was refreshed and reopened on March 17 1963 as the Lee Theatre with “Affar in in Havana” and “Attack of the Crab Monsters.” On July 23, 1964, it was reopened as the East End Theatre with “Cattle King.” The East End closed with “The Sandpiper” on March 13, 1966 reaching the lease’s expiry. The venue reverted back to the Carver Theater moniker and was a private club that had one public-facing live stage event before closing permanently. The theatre and neighboring Silver Slipper was torn down and an unimproved parking lot was created in its former footprint. The Phoenix Bank building survived into the 2020s with its ghost signage still in place.
The Carver Theatre launched February 9, 1948 with “Intrigue” By Maurice Rosenberg’s Amusements, Inc. It was known for its modern art mural depicting Carver’s life.
Reopened in May of 2023 and hinted but has not confirmed a January 1, 2025 closure. I would remove renovating and go for open. Will update later.
Closed October 1, 1960 after showing “Tarzan, the Magnificent”
Opened Nov. 23, 1921 with movies for African American audiences
The Paddock Shopping Center opened theater-less in 1961 anchored by an A&P grocer. Ten years later the Ceter expanded adding the cinema March 26th, 1971Paddock Hills Closed May 29, 1988 with “Broadcast News” and “Sunset” splitting a screen with “Critters II.”
The Grand Opening of the Rainbow Theatre in Houston took place May 16, 1937 with “Pennies from Heaven” on the big screen but preceded by the marriage of Miss Lillie Mae Parker to Kenneth Arnold Gamble.
Sam S. Vigran opened the Marion on March 28, 1912 with Gilbert ‘Broncho Billy’ Anderson in “The Bandit’s Child,” Hazel Nelson in “Lulu’s Anarchism,” and D. W. Griffith’s “A Strong of Pearls.” The Marion’s lease expired on March 25, 1929 just as the New Indiana Theatre was about to open and the new-build Paramount Theatre was being completed. Thus, operator Sam Neall made the Marion’s closure permanent.
Ray and Chester O. Allen’s Opera House launched in early 1896. Their candy kitchen on the east room served as its concession stand. In January of 1898, Burk & Hallady Bros. took on the venue. It was remodeled as the New Grand Opera House and later becoming the Grand Theatre. Elsewhere in downtown, the Royal Theatre launched April 10, 1909 in the existing Johnson Block on West Fourth Street by Leroy Tudor who operated Marion’s Star Theatre. It operated on a grind policy from 2-11p playing motion pictures. George and Dolly Spurr took over with Dolly Spurr becoming the town’s first female theater owner. Alan Spurr played piano and led the Spurr Orchestra there. It was at capacity much of the time and needed more seats.
On March 14, 1912, Spurr merged with O.G. Murray’s well-established and larger, 800-seat Grand Theatre (he also of the Indiana Theatre) to create Spurr’s Royal-Grand Theatre. The grand opening titles were King Baggott in “Shamus O'Brien,” “Song of Childhood Days” with Marion Leonard, A Bad Investment,“ Anthony O'Sullivan in “Bedelia and the Suffragette,” and a song short, “In the Land of Honeymoon” with Hazel Custer.
The legendary William “Billy” Connors took on the venue and, in 1925, put in a $22,000 Page pipe organ from Defiance, Ohio, and enticed Dallas-based Palace Theatre organist Herbert Lee Kock to move to Marion. The interior was given a major refresh and it had a grand reopening to celebrate the new look and the pipe organ in August of 1925.
Fourth Ave. Amusement Co. of Louisville took on the Royal Grand, Indiana and Lyric in 1928 to update the venues and convert the Indiana and Lyric to sound to remain viable. The Royal Grand’s film days closed on Sept. 20, 1929 with Alice Day in “His New York Wife.” Fourth Ave. must have determined that the R-G wasn’t a candidate for sound especially with the new Paramount Theatre just weeks away from its debut. The Royal Grand was opened for boxing matches and sporadic live stage entertainment thereafter.
In 1932, Paramount-Publix Corp. took control of the Lyric, Indiana, and Royal Grand. They declared bankruptcy and, in 1933, suit was brought against them for failing to pay any rent on the three properties. The theaters were assigned to the Washington Theatre Company and they announced the closure of the Royal-Grand immediately and permanently. The building was torn down in 1941.
The Princess Theatre launched here with J. Warren Kerrigan in “The Hand of Uncle Sam” and “Prascovia: The Russian Heroine” on March 28, 1910. (Sorry, Marion had no “Orpheum” Theatrein the 1910s but it did have one beginning on in 1920 when the Indiana was renamed.) Under new operator L.C. Norris, the seats were spaced further apart and the venue was renamed as the Luna-Lite Theatre at its grand relaunch on Feb. 28, 1914. William “Billy"Conners took on the venue in 1916. On January 19, 1918, Ora Parks took over the Luna-Lite. Conners would go on to the Lyric, the Indiana, and the Royal Grand in Marion before building the Marionair Drive-In.
In 1925, the venue lost the hyphen becoming the Luna Lite Theatre. It was equipped with sound to remain viable. In 1946, “Lite” was dropped becoming the Luna Theater operating to January of 1949. The legendary Billy Conners came back reopening the theatre on January 17, 1950 renaming it as the Luna-Lite Theatre - yes, with the hyphen from yesteryear. Same 372 seats but new popcorn machine. The Luna-Lite closed again April 30, 1950 - this time permanently with “Hopalong Cassidy” and “Fighting Ranger.” It was offered for lease which didn’t work out and it was razed in November of 1952.
This one should be the Luna-Lite Theatre, also known as the Princess Theatre, also known as the Luna Lite Theater, and not known as the Orpheum.
Oct. 23, 1920, it was rebooted as the Orpheum Theatre - ad in photos - as the circuit took on the venue. Billy Conners took on the venue and restored the venue to the Indiana Theatre moniker effective September 16, 1924.
Movies ended on June 15, 1978 with “Smokey And The Bandit" followed by two live vaudeville stage shows on June 16 and 17th that perm. ended the Indiana programming run.
The Lyric Theater opened September 3, 1916 with “Ramona.” It was opened by Ora O. Parks for $45,000. Films were booked from Chicago and vaudeville from the Western Vaudeville Association Circuit. It added to sound to remain viable.
The Lyric closed for the summer on May 5, 1958 as the Marionaire Drive-In season was beginning. That closure proved to be permanent making the final showtimes on May 4, 1958 as “The Deep Six” and “Daniel Boone, Trail Blazer.” The theatre was demolished in July and August of 1959.
The Southway launched November 5, 1938 (grand opening ad in photos) with Joe Brown in “Fit for a King” supported by Sally Eilers in “Danger Patrol” and Leon Errol “Should Wives Work” and the comedy short, “Phony Boy.” It closed February 29, 1956 and reopened under new operators on March 21, 1956. It closed permanently May 13, 1956 with “The Phenix City Story” and “Night Frieght.” It was converted to a house of worship thereafter.
November 5, 1938 grand opening ad in photo section.
Address - 114 East Front Street. B. P. Abbott opened the new Dream Theatre in 1914 in an existing retail storefront. That same year, Mr. and Mrs. James Chenaur took on the venue. storefront. Jack McGregor “Mack” Davis took on the venue next. He would eventually replace the Dream with the Mack Theatre in 1924.
In 1926, the Lincoln Theatre Company operated by the Halbergs (of the local Lincoln Theater) bought out Davis' film interests giving it both the Dream and the Mack Theatre. The Dream Theatre hung on and used sporadically through the beginning of the sound film era in 1927. It would be demolished and the Elwha Theatre would take over its footprint along with the neighboring building. The Halbergs would rename the Mack Theatre as Halberg’s Olympian.
Address: 114 East Front Street
Jack McGregor “Mack” Davis of the Dream Theater announced this $60,000 project in May of 1924. It would be built to the plans architect George B. Purvis and carry a 25-year lease upon completion. Opened as the Mack Theatre on November 24, 1922 Mack sold off the theater in 1926.
The venue remained the Mack Theatre for a brief transitional period. Prior to the name change, the new operators, Edwin and Evan Halberg, installed a three manual and pedal $25,000 Robert Morton Orchestra Organ was installed with the venue teasing a new name. That year it would be renamed The Olympian.
In 1927, it received a major overhaul and reopening (see ad in photos) and a new Robert Morton pipe organ. That theater was then donated by the Halbergs to the Lutheran church which used the venue and organ through 1957 before replacing it with a new organ in a new location in 1963. The Olympian operated until 1961 when the City closed it for safety issues. DelGuzzi Construction demolished the Olympian in July of 1969.
According to court documents, the Osage Theatre construction project began in August of 1936 and launched January 8, 1937 with “My Man Godfrey” and “Mine with the Iron Door.” Henry Wendt and his wife, Charlene, operated the theater until his death in August of 1960. Charlene Wendt took it over running the same policy for seven years.
Wendt changed to an art policy on April 28, 1967 starting with “A Thousand Clowns” and “Blow-Up” under the name of the Osage Art Theatre. She hired architect James Ham to conduct a major $125,000 renovation the next year with the venue becoming the Kirkwood Cinema. It opened June 28, 1968 with “Bonnie and Clyde.” It would pass from Wendt to Arthur Theatres Enterprises.
Arthur’s Circuit was in deep financial trouble in 1977 when the Granada and Avalon were sold at foreclosure auction. The final four Arthur locations were the Kirkwood, the Fox, the Webster Groves and the 270 Drive-In. After going independent under the original property holder, Mid-America Theatres Circuit took on the Kirkwood in December of 1979. In 1984, it became part of RKO-Mid-America Theatres. December of 1985, AMC got a foothold in St. Louis by purchasing the RKO-Mid-America Theatres.
The Brentwood and Kirkwood theaters both closed July 31, 1986 as AMC was reducing its portfolio of one screen locations. Lemay Theater operators Marty Tribl and Mark Friedrich were approached by AMC to sublease both venues until they were either sold or demolished (or both). They agreed. The Brentwood relaunched August 29, 1986 closing October 23, 1986. But the Kirkwood was the cinematic renaissance leader opening also on August 29, 1986 continuing to a closure in June of 1989.
It then reopened on September 20, 1991 by Harman Moseley with “Barton Fink.” That ran all the way to October 7, 1999 when the theatre closed for films with “The Thomas Crown Affair” and “Tea With Mussolini” splitting with “The Castle.”
According to court documents, the Osage Theatre construction project began in August of 1936 and launched January 8, 1937 with “My Man Godfrey” and “Mine with the Iron Door.” Henry Wendt and his wife, Charlene, operated the theater until his death in August of 1960. Charlene Wendt took it over running the same policy for seven years.
Wendt changed to an art policy on April 28, 1967 starting with “A Thousand Clowns” and “Blow-Up” under the name of the Osage Art Theatre. She hired architect James Ham to conduct a major $125,000 renovation the next year with the venue becoming the Kirkwood Cinema. It opened June 28, 1968 with “Bonnie and Clyde.” It would pass from Wendt to Arthur Theatres Enterprises to Mid-America Theatres to AMC over the next 18 years.
The Brentwood and Kirkwood theaters both closed July 31, 1986 as AMC was reducing its portfolio of one screen locations. Lemay Theater operators Marty Tribl and Mark Friedrich were approached by AMC to sublease both venues until they were either sold or demolished (or both). They agreed. The Brentwood relaunched August 29, 1986 closing October 23, 1986. But the Kirkwood was the cinematic renaissance leader opening also on August 29, 1986 continuing to a closure in June of 1989.
It then reopened on September 20, 1991 by Harman Moseley with “Barton Fink.” That ran all the way to October 7, 1999 when the theatre closed for films with “The Thomas Crown Affair” and “Tea With Mussolini” splitting with “The Castle.”