True: but I would like to echo the sentiment you began with. As much as we may be interested in preservation, the human factor is what really matters in this disaster. I would sign a demolition permit for this building if it meant all those people could get their homes and lives back.
Story above is not entirely correct. Cineplex Odeon gave it the face lift and put the BROADWAY name out front (and, for the record, it was also Cineplex that ran the Biograph in the late 80’s). It must have ended up in the hands of Meridian through the Loews – Cineplex Odeon merger. Now owned by a private party, Defending the Caveman is enjoying a long run in this venue. The lobby has been completely altered. But the auditorium still contains original design features. A stage, complete with dressing rooms behind it, has been constructed at the front of the auditorium. This required the removal of seats. So my guess is that the capacity is under 300 now. They are tossing around the idea of running a brew and view series, as they hold a liquor license.
Regarding CVB comment of 8/29: I think this sort of debate is part of the preservation landscape. If it bothers an individual, I think it is the responsibility of that individual to stay off a page where such conversation takes place. There are some 11,000 theatres listed after all. Perhaps some comments get a little emotional and/or silly (I have probably offended in this manner). But I don’t think this sort of debate should be discouraged.
How stupid do you think I am Paul? It’s abundantly clear that you like to throw law suits at people. You want me to hand over my contact info? For what? So you can have this lawyer of yours serve me for attacking your character through my statements of opionion? Granted: the judge would laugh. But why should I deal with it? At best, if I called you, I would have to listen to you try and convince me that you are a respectable businessman…which is almost a lost cause at this point. Ray Shepardson, your competitor and a man you like to attack, has examples of theatre restoration success stories all over the internet. There are no positive news stories or grateful postings for the services of Paul Warshauer…the only people who seem to say nice things about you are those who have only known you for a few months.
Let’s say, for the sake of argument, that you are correct about Shepardson having dubious events in his past. Everyone knows that Shepardson has been involved in high-profile successful restorations such as Playhouse Square in Cleveland (four aprox. 2,000 seat movie palaces), and the Sioux City Orpheum in Sioux City, Iowa. A quick look around the internet reveals this.
Everybody knows that you have been involved in controversy. Nobody seems to know what projects you have completed: there is nothing on the internet about you successes, and you refuse to reveal any references (as if it were some sort of sensitive information). Your own web site looks little better than an undergraduate HTML project, and you have pictures of theatres (like the New Regal in Chicago) that you have no connection to.
Let’s put these two theoretical guys with dubious events in their past next to one another. The one on the left has a long list of successful projects going back to the 70’s. No research is required, as his accomplishments are known to the public. The one on the right apparently has no successful projects, and won’t talk about what he’s done. It’s not a tough choice…especially when you take into account that the the guy on the right seems to be offending the community in question at a rapid pace.
By the time it was demolished this building was a hulk. I photographed it in the late 80’s. You could climb through the boards on the front entrance into lobby. There was concession equipment (and other objects) scattered all over the tile floor of the lobby, which still had “Michigan” inscribed below the entrance. The fire doors had been bricked up, I guess to prevent gangs from entering. The theatre had an interesting attraction sign. Like the Loews Paradise in the Bronx, it did not extend out over the sidewalk. There was not a stage house. So, if the theatre did have live attractions, they were carried out on one of those small (non-working) stages. Strangely enough, there was one retail tenant left in the building: a beauty shop. The rest of the store fronts were abandoned. The offices above also seemed to be. I was once told that the Michigan closed in ‘69, which would mean that the theatre went unused for twenty-five years before it came down.
I photographed the Maryland in the late 80’s. By that time it had become an urban ruin. Boards had been torn off the main entrance and you could walk right in. Decided this was not in my best interest, as the building sat in the middle of a volatile neighborhood. Who knows what might have been waiting in that dark auditorium. The lobby was intact, despite being open to the elements. There was garbage everywhere though. Hard to imagine the lobby was once filled with happy patrons. An amazing example of how times change.
Years ago someone told me that the auditorium dome still exists above the hardware store. Can’t confirm that, and don’t suppose it matters much at this point.
The pattern I thought I saw a few months ago only seems to be getting reinforced: you charm your way into a community which has emotions tied to a historical theatre, find a way to scam them out of some money through theft, deception and legal action, then disappear. Can’t say for sure. But that’s what it looks like.
And that’s why I give you a hard time Paul. Finding new use for classic American theatres is difficult enough without having to contend with the issues that seem to follow you around (and this latest information seems to date them back to the 60’s rather than the 70’s!). I think that an enthusiastic group might lose heart for the cause after dealing with scandals of this nature. If you really do the things people say you have done in all these places where you have worked, you are perhaps the greatest enemy of theatre preservation in the United States. At least you can see a greedy developer for what he is.
So, are all these people liars too Paul? I swear, if you really are a model citizen, you are the most misunderstood man in history. It appears you like to sue people, which I could have guessed. And you wonder why I don’t want to give you my contact information? It really appears that you are the enemy here Paul. Legitimate businessmen don’t refuse to post references, they make them available on their official internet site. And if you had legitimate references, why would you give the Wheaton Grand Theatre as a reference to the media in the newspaper article you mention above. By all accounts, your work there was hardly a success.
Photographed it in the late 80’s. Last movie still on the marquee. Think it was Fort Apache: the Bonx. But don’t quote me. Wasn’t very big. Maybe 800 seats. Photos I took now are part of the THS archive.
Great web site. Couldn’t agree more. Maybe it won’t serve as a theatre again, but the interior should be preserved. There are examples of this sort of conversion all over the United States. No need to gut it out, especially when the building is tied to the emotions of many people.
Someone explain this to me: I was recently told that this building has been listed on the National Register of Historic Places since 1987. If that’s the case, isn’t it afforded some sort of protection?
I want to extend a compliment to Willis Johnson and Classic Cinemas. The company has managed to make historic theatres viable in a manner that shows respect for their architectural features. It is hard enough to succeed under normal circumstances, let alone in a manner that takes historical value into account. I hope their creative and business-minded adaptation ideas will serve as an example to others.
Again with this, “we do the real work” stuff? My opinions are perfectly valid. I have told you in a general sense who I am. I don’t see the point in giving you specific contact information. In my view this exposes me to a lot of potential annoyance. Plus: I don’t have anything to prove. I’m not asking anyone for business.
Post some completed restoration projects…and not this smalltown theatre that just reopened within the last month. I will admit I was wrong and let you go on your merry way. Until then, all I have to go on is the behavior you exhibit and what I read in the press: cease and desist order at the Portage Theatre, a firestorm of financial scandals at the Uptown, being fired by the Wheaton, inability to secure a loan in downstate Illinois due to lack of assets, etc. I find it hard to believe that you were the victim of circumstance in each of these cases.
Restoring classic American theatres is difficult enough without the terrible issues that seem to follow you around. If you really do the things people say you do, I think you are working against that cause. I can see how a good-intentioned community group might give up on their restoration project after dealing with some of the situations you have been involved in. That is my “ax”.
Regarding July 28 comments: at least this Waukegan guy, for all the trouble on that project, can produce a resume. From what I can see the theatre in Waukegan is also pretty consistently booked now…as one auditorium. I don’t plan to give it a rest, no matter how many personal attacks you may levy. You employ the hallmark of a cheap salesman: say as many mindless things as you can to try and create doubt about another party. My opinions are perfectly valid.
Post some completed restoration projects…and not this smalltown theatre that just reopened within the last month. I will admit I was wrong and let you go on your merry way. Until then, all I have to go on is the behavior you exhibit and what I read in the press: cease and desist order at the Portage Theatre, a firestorm of financial scandals at the Uptown, being fired by the Wheaton, inability to secure a loan in downstate Illinois due to lack of assets, etc.
That’s a cute move, Paul. Trying to bolster our terrible public image by filing a lawsuit and telling the media about it, are we? If you were so worried about falling plaster and faulty systems, why were you booking concerts and allowing crowds of teenagers to enter the building? The day we met, you didn’t have a problem with giving me a tour of the entire theatre building (and then asking for an on-the-spot donation). There’s no way you would have taken on that potential liability if you were truly worried. You think you are owed $100,000? I certainly don’t have statements of cash flow, but I can’t believe your community rock concerts and little murder mystery presentations were generating that kind of money. This is not illuminating. It gives the impression that your company, on top of apparently having no assets and no references, wants to waste the time of a busy court system for it’s own petty designs. I will be very interested in seeing how long the judge allows this to go on.
For the record, I think your ideas on how to reuse the building were good ones. I had no issue with your tri-auditorium concept. But, unless a global conspiracy exists against GVI, I see far too many accusations out there (dating back to the 70’s) for me to believe in the validity of your firm. I am sorry the gentleman from Canada finds my comments distasteful. But, at the same time, I think he has wandered in here mid-stream. Finding productive uses for old theatres is a difficult task. I see no evidence that GVI contributes to that cause in a meaningful, long-term manner.
Now I am a jobless con man who abuses this web site? Give me a break…you are the one who is all over this site trying to entice people with investment opportunities.
It is always a shame to see a theatre demolished. But, it’s a good thing they took this one down. I was worried that the auditorium was going to fall over onto the elevated railway. The roof was torn off in a storm, and the walls had decayed to the point where you could see into the attic from the Howard Street railway station. Plus, people you wouldn’t want to meet (without weapons at least) were hanging around in there.
Well, it certainly is too bad that the building ended up this way. But Brian has a point. Better to remove some detail than lose it all when the building is demolished, as I imagine the Nortown eventually will be.
True: but I would like to echo the sentiment you began with. As much as we may be interested in preservation, the human factor is what really matters in this disaster. I would sign a demolition permit for this building if it meant all those people could get their homes and lives back.
Story above is not entirely correct. Cineplex Odeon gave it the face lift and put the BROADWAY name out front (and, for the record, it was also Cineplex that ran the Biograph in the late 80’s). It must have ended up in the hands of Meridian through the Loews – Cineplex Odeon merger. Now owned by a private party, Defending the Caveman is enjoying a long run in this venue. The lobby has been completely altered. But the auditorium still contains original design features. A stage, complete with dressing rooms behind it, has been constructed at the front of the auditorium. This required the removal of seats. So my guess is that the capacity is under 300 now. They are tossing around the idea of running a brew and view series, as they hold a liquor license.
Regarding CVB comment of 8/29: I think this sort of debate is part of the preservation landscape. If it bothers an individual, I think it is the responsibility of that individual to stay off a page where such conversation takes place. There are some 11,000 theatres listed after all. Perhaps some comments get a little emotional and/or silly (I have probably offended in this manner). But I don’t think this sort of debate should be discouraged.
How stupid do you think I am Paul? It’s abundantly clear that you like to throw law suits at people. You want me to hand over my contact info? For what? So you can have this lawyer of yours serve me for attacking your character through my statements of opionion? Granted: the judge would laugh. But why should I deal with it? At best, if I called you, I would have to listen to you try and convince me that you are a respectable businessman…which is almost a lost cause at this point. Ray Shepardson, your competitor and a man you like to attack, has examples of theatre restoration success stories all over the internet. There are no positive news stories or grateful postings for the services of Paul Warshauer…the only people who seem to say nice things about you are those who have only known you for a few months.
Let’s say, for the sake of argument, that you are correct about Shepardson having dubious events in his past. Everyone knows that Shepardson has been involved in high-profile successful restorations such as Playhouse Square in Cleveland (four aprox. 2,000 seat movie palaces), and the Sioux City Orpheum in Sioux City, Iowa. A quick look around the internet reveals this.
Everybody knows that you have been involved in controversy. Nobody seems to know what projects you have completed: there is nothing on the internet about you successes, and you refuse to reveal any references (as if it were some sort of sensitive information). Your own web site looks little better than an undergraduate HTML project, and you have pictures of theatres (like the New Regal in Chicago) that you have no connection to.
Let’s put these two theoretical guys with dubious events in their past next to one another. The one on the left has a long list of successful projects going back to the 70’s. No research is required, as his accomplishments are known to the public. The one on the right apparently has no successful projects, and won’t talk about what he’s done. It’s not a tough choice…especially when you take into account that the the guy on the right seems to be offending the community in question at a rapid pace.
By the time it was demolished this building was a hulk. I photographed it in the late 80’s. You could climb through the boards on the front entrance into lobby. There was concession equipment (and other objects) scattered all over the tile floor of the lobby, which still had “Michigan” inscribed below the entrance. The fire doors had been bricked up, I guess to prevent gangs from entering. The theatre had an interesting attraction sign. Like the Loews Paradise in the Bronx, it did not extend out over the sidewalk. There was not a stage house. So, if the theatre did have live attractions, they were carried out on one of those small (non-working) stages. Strangely enough, there was one retail tenant left in the building: a beauty shop. The rest of the store fronts were abandoned. The offices above also seemed to be. I was once told that the Michigan closed in ‘69, which would mean that the theatre went unused for twenty-five years before it came down.
I photographed the Maryland in the late 80’s. By that time it had become an urban ruin. Boards had been torn off the main entrance and you could walk right in. Decided this was not in my best interest, as the building sat in the middle of a volatile neighborhood. Who knows what might have been waiting in that dark auditorium. The lobby was intact, despite being open to the elements. There was garbage everywhere though. Hard to imagine the lobby was once filled with happy patrons. An amazing example of how times change.
Years ago someone told me that the auditorium dome still exists above the hardware store. Can’t confirm that, and don’t suppose it matters much at this point.
Well…we have the Ford Oriental and the Cadillac Palace. So why not? If it helps the building survive, I am all for it.
A homosexual affair with a minor?!? Paul, you have outdone yourself. Are these people liars as well?
View link
The pattern I thought I saw a few months ago only seems to be getting reinforced: you charm your way into a community which has emotions tied to a historical theatre, find a way to scam them out of some money through theft, deception and legal action, then disappear. Can’t say for sure. But that’s what it looks like.
And that’s why I give you a hard time Paul. Finding new use for classic American theatres is difficult enough without having to contend with the issues that seem to follow you around (and this latest information seems to date them back to the 60’s rather than the 70’s!). I think that an enthusiastic group might lose heart for the cause after dealing with scandals of this nature. If you really do the things people say you have done in all these places where you have worked, you are perhaps the greatest enemy of theatre preservation in the United States. At least you can see a greedy developer for what he is.
View link
So, are all these people liars too Paul? I swear, if you really are a model citizen, you are the most misunderstood man in history. It appears you like to sue people, which I could have guessed. And you wonder why I don’t want to give you my contact information? It really appears that you are the enemy here Paul. Legitimate businessmen don’t refuse to post references, they make them available on their official internet site. And if you had legitimate references, why would you give the Wheaton Grand Theatre as a reference to the media in the newspaper article you mention above. By all accounts, your work there was hardly a success.
Photographed it in the late 80’s. Last movie still on the marquee. Think it was Fort Apache: the Bonx. But don’t quote me. Wasn’t very big. Maybe 800 seats. Photos I took now are part of the THS archive.
Great web site. Couldn’t agree more. Maybe it won’t serve as a theatre again, but the interior should be preserved. There are examples of this sort of conversion all over the United States. No need to gut it out, especially when the building is tied to the emotions of many people.
Someone explain this to me: I was recently told that this building has been listed on the National Register of Historic Places since 1987. If that’s the case, isn’t it afforded some sort of protection?
I want to extend a compliment to Willis Johnson and Classic Cinemas. The company has managed to make historic theatres viable in a manner that shows respect for their architectural features. It is hard enough to succeed under normal circumstances, let alone in a manner that takes historical value into account. I hope their creative and business-minded adaptation ideas will serve as an example to others.
I don’t have a clear idea of the proposal at hand. Does the city want to gut the Ramova for this restaurant, and only retain the facade?
Yeah…that’s what I heard as well.
I think that there were Essaness and Plitt ads near eachother in major Chicago papers at least until the mid 80’s.
Again with this, “we do the real work” stuff? My opinions are perfectly valid. I have told you in a general sense who I am. I don’t see the point in giving you specific contact information. In my view this exposes me to a lot of potential annoyance. Plus: I don’t have anything to prove. I’m not asking anyone for business.
Post some completed restoration projects…and not this smalltown theatre that just reopened within the last month. I will admit I was wrong and let you go on your merry way. Until then, all I have to go on is the behavior you exhibit and what I read in the press: cease and desist order at the Portage Theatre, a firestorm of financial scandals at the Uptown, being fired by the Wheaton, inability to secure a loan in downstate Illinois due to lack of assets, etc. I find it hard to believe that you were the victim of circumstance in each of these cases.
Restoring classic American theatres is difficult enough without the terrible issues that seem to follow you around. If you really do the things people say you do, I think you are working against that cause. I can see how a good-intentioned community group might give up on their restoration project after dealing with some of the situations you have been involved in. That is my “ax”.
Regarding July 28 comments: at least this Waukegan guy, for all the trouble on that project, can produce a resume. From what I can see the theatre in Waukegan is also pretty consistently booked now…as one auditorium. I don’t plan to give it a rest, no matter how many personal attacks you may levy. You employ the hallmark of a cheap salesman: say as many mindless things as you can to try and create doubt about another party. My opinions are perfectly valid.
Post some completed restoration projects…and not this smalltown theatre that just reopened within the last month. I will admit I was wrong and let you go on your merry way. Until then, all I have to go on is the behavior you exhibit and what I read in the press: cease and desist order at the Portage Theatre, a firestorm of financial scandals at the Uptown, being fired by the Wheaton, inability to secure a loan in downstate Illinois due to lack of assets, etc.
That’s a cute move, Paul. Trying to bolster our terrible public image by filing a lawsuit and telling the media about it, are we? If you were so worried about falling plaster and faulty systems, why were you booking concerts and allowing crowds of teenagers to enter the building? The day we met, you didn’t have a problem with giving me a tour of the entire theatre building (and then asking for an on-the-spot donation). There’s no way you would have taken on that potential liability if you were truly worried. You think you are owed $100,000? I certainly don’t have statements of cash flow, but I can’t believe your community rock concerts and little murder mystery presentations were generating that kind of money. This is not illuminating. It gives the impression that your company, on top of apparently having no assets and no references, wants to waste the time of a busy court system for it’s own petty designs. I will be very interested in seeing how long the judge allows this to go on.
For the record, I think your ideas on how to reuse the building were good ones. I had no issue with your tri-auditorium concept. But, unless a global conspiracy exists against GVI, I see far too many accusations out there (dating back to the 70’s) for me to believe in the validity of your firm. I am sorry the gentleman from Canada finds my comments distasteful. But, at the same time, I think he has wandered in here mid-stream. Finding productive uses for old theatres is a difficult task. I see no evidence that GVI contributes to that cause in a meaningful, long-term manner.
Now I am a jobless con man who abuses this web site? Give me a break…you are the one who is all over this site trying to entice people with investment opportunities.
It is always a shame to see a theatre demolished. But, it’s a good thing they took this one down. I was worried that the auditorium was going to fall over onto the elevated railway. The roof was torn off in a storm, and the walls had decayed to the point where you could see into the attic from the Howard Street railway station. Plus, people you wouldn’t want to meet (without weapons at least) were hanging around in there.
Well, it certainly is too bad that the building ended up this way. But Brian has a point. Better to remove some detail than lose it all when the building is demolished, as I imagine the Nortown eventually will be.
Who is “Concerned Taxpayer”?