Grand reopening as the (Frederick) Douglass Theatre on September 1, 1927 with Ralph Graves in “The Swell-Head” supported by live vaudeville and selected film shorts. The venue added sound to remain viable. It closed at end of lease on April 22, 1962 with Elizabeth Taylor in “Butterfield 8” and, appropriately enough, “The Last Sunset” with Kirk Douglas.
The Movie Theater opened in 1914 and its second owner was 20-year old Tom James of the Brighton Airdome and World’s Dream Theatre. In 1915, he repositioned the venue for African American audiences. The Movie Theatre added sound and was remodeled reopening on May 24, 1930 likely on a new 20-year lease and rebranded as the New Movie Theater. Because, why not? In 1950, the theater was offered for sale after closing.
The Palace Theater opened by John H. Tielkemeyter in June of 1910 with vaudeville. By 1912, it was a movie house run by O.T. Crawford. Sold to Franklin Amusement, Yiddish vaudeville takes place there during World War I in addition to films. Things are a bit confusing in 1924 as the neighborhood’s composition was such that Franklin Amusement sublet the venue to Jesse S. Horowitz.
On February 29, 1924, the Palace reopens with an all-inclusive policy allowing integrated audiences. Based on the lawsuit that followed, it’s assumed that this transition was unsuccessful in part because Horowitz claimed that clashes were common between White and African American audiences requiring police presence. Horowitz identified Edward P. Laurent and the Little Theater Corporation to run the venue which they did officially as the New Palace Theatre. Their policy in June of 1924 separated audiences with 502 lower floor seats exclusively for White audiences and the 250 balcony seats were for African American audiences.
The Palace audience composition lawsuit in July of 1924 came from lease-holder Franklin Amusement saying that the subleasing agreement allowed for an integrated, “mixed colored and white” or all-African American audience composition. Franklin claimed that an all-White seating area lower floor policy drew audiences away from its Majestic Theatre just three blocks away. Horowitz claimed that the separate seating area was within the mixed audience clause of the leasing agreement. Hyman Komm’s lawsuit on behalf of his Franklin Amusement was tossed.
The most successful Palace event of the 1920s was when Ethel Waters appeared there for a week beginning May 4, 1924. But the venue would definitely makes its mark playing movies. The Palace would install Vitaphone sound under new operators on May 16, 1930 to remain viable. However, the sound mustn’t have been success as the theater veered back to more live events. In 1932, it’s rebranded as the Globe Theater and they bring in Bessie Smith and Her Gang in person August 4-6, 1932. New operators appear on January 27, 1933 installing new RCA sound on film technology and veering the theater back to films. Its policy is as a sub-run grind house policy. The Globe lasted 11 years closing in April of 1943.
The venue reopened under new management as the Carver Theatre on February 19, 1944 with “Pacific Blackout” and “Moonlight Masquerade”. It closed permanently on October 9, 1955. Monsanto Chemical purchased the building demolishing it in March of 1956 in favor of an office building. The entire business area there has been removed.
The Anderson Theatre was opened by former Sanger Theatre manager, C.B. Anderson, with Monte Blue in “Red Hot Tires” on November 14, 1925. supported by the Fox comedy short “Sweet Marie” and a Fox newsreel. Anderson headed to Texas four years later and the lease transferred to the Majestic Theatre Company which renamed it as the Majestic Theatre on August 30, 1929. It opened with talking pictures featuring Leonard and Dunn in “Melody Lane” supported by the short, “The Medicine Man.” Actor Jack Hoxie made a personal appearance there on October 16, 1929. The Majestic closed on October 29, 1929.
Prim S. Broadus took on the venue and, after a $10,000 refresh to the plans of architect Juan G. Landry, he relaunched it as Prim’s Rio Theater on July 4, 1932 with “Wise Girls.” Broadus closed two months later. A.H. Yeomans was next changing its name to the Rose Theatre on October 3, 1932 with Jack Holt in “The Sporting Age.” The Rose Theatre got new operators in Paramount-Richards Theatres Circuit briefly rebranding as the New Rose Theater after a makeover in 1940.
Paramount-Richards closed both the Rose and the Buck theaters on September 10, 1949. After a refresh and under new ownership, the theatre became the Ritz Theatre on March 1, 1950 with a double feature of “The Family Honeymoon” and “The Countess of Monte Cristo.”
Lloyd Royal of the Royal Circuit was bought out of his location a block away where he was operating the Rebel Theatre in December of 1958. So he moved the Rebel Theatre to the Ritz Theatre and reopened there after a refresh on Feb. 28, 1959 with the religious film, “I’ll Give My Life.”
The former Anderson turned Majestic turned Rio turned Rose turned New Rose turned back to Rose turned Ritz turned Rebel was purchased by Gulf States operating briefly as the Rebel Art Theatre showing adult/overseas titles. That rebranding occurred on September 1, 1967 with “I, A Woman.” Mayor Paul Grady instructed Police Chief Hugh Herring to either arrest or shut down the Rebel Art for obscenity. Gulf States bowed to the pressure reducing “adult” fare. They then opened the new-build Cinema Theatre elsewhere in town in early 1968. Within weeks, they subsequently closed the Rebel which closed March 1, 1968 permanently with “Enter Laughing.” The Rebel Art Theatre was later demolished. The Rebel’s former home at the Lomo was also demolished.
The origins of the Booker T Washington Theatre date back to the Booker T. Washington Airdrome that operated in the summers of 1911 and 1912 on the site of the new-build Booker T. Washington Theater. It was created for live events with windows providing cross ventilation throughout the building. It launched on July 14, 1913 with Mayor Henry Kiel making the opening address. Charles Turpin, operator of the B.T.W. Airdrome, also opened the $30,000 hardtop theater.
Josephine Martin lived within a block of the Booker T. Washington Theater at 23d and Market. She debuted unbilled at the theater in 1919 (perhaps numerous times, though unconfirmed) and won a contest October 13, 1920 held at the Booker T. before changing her maiden / stage name to her married name of Josephine Baker. She appears to be billed just one time at the Booker T. - in 1921 - before leaving St. Louis. She came back in 1935 to the site of the former theater which had been demolished.
The “Uncrowned Queen of Blues” Ida Cox and Cab Calloway would also appear at the Booker T. Washington. The Washington Theater appears to have closed September 28, 1930. It would be demolished not long after as Market Street would be widened necessitating the theater’s demolition.
March 23, 1940 opening ad with Paul Robeson in “Big Fella” and Elsa Maxwell in “Hotel for Women" is in photos. In 1958, the St. Louis Land Clearance for Redevelopment Authority bought out 2,355 structures in the Mill Creek Valley neighborhood leaving just 125. It used condemnation suits to get the others out.
The first building acquired was the Baptist Church just across the street and the demolition project began Feb. 16, 1959 on Laclede Avenue. Despite incredible noise and traffic issues, the Laclede Theatre survived a bit longer before its date with the wrecking ball. Its closing film was June 22, 1959 with “I Want to Live” and “God’s Little Acre.”
The New Comet Theatre launched in 1912 at 2110 Market Street. The venue converted to Western Electric sound in January of 1929 to remain viable. However, it closed on March 13, 1933 with Clark Gable in “No Man of Her Own” to comply with the widening of Market Street. Its bookings were temporarily moved to the Strand Theatre. Those bookings proved to be permanent as the Comet fizzled. The building known as the Band Box Building was turned into a dry cleaner. A new Comet location would later open on Finney.
The Retina Picture Show was an early silent movie house opened in January of 1910. John H. Gentner took on the venue in November of 1910 changing names to the Retina Moving Picture Show. In 1913, the name is changed to the Retina Picture Theater. In 1916, the name is changed back to the Retina Moving Picture Show advertising in the African American press and often the Retinal Theater.
In 1920, it becomes the Retina Picture Show. It switches permanently to the Retina Theater not long after continuing to its final show on September 28, 1929 with John Gilbert in The Cossacks. An ad the next day indicates that 20th Street road project will be going through the theater ending its run. They direct their patrons to attend the nearby Comet Theatre.
The Easton-Taylor Trust Building was built in in 1910 and 1911. It first housed the Easton-Taylor Hall used for a dance academy in 1911 and the Easton-Taylor Trust financial institution beginning July 8, 1911. The vaudeville theater appears to have opened in 1912 as the Easton Taylor Theater. By 1915, the Easton-Taylor is playing films under that name until September of 1925.
From 1926 to 1936, it becomes the Easton Theatre. In 1936, the Easton-Taylor Trust Building is sold outright. New lessee of the theater space, Henry Mabel, installed new projectors, sound, and a streamline moderne makeover. Mabel opened it refreshed as the Circle Theatre on Sep. 19, 1936 with “Private Number” and “Human Cargo.”
The Queens Theater opened 1912 and its Queens Airdrome opened on June 29, 1915 with Charlie Chaplin in “Work.” The New Queen Theatre replaced a 7-year theater on November 22, 1919. The Queens Airdome closed September 25, 1949 with “Gun Smugglers” and “Variety Time.” The Queens May 31, 1951 closing ad with “Out of the Past,” “Trail Street” and “The Harlem Globetrotters” is in photos. It became a church shortly thereafter.
The Queens Airdrome opened on June 29, 1915 with Charlie Chaplin in “Work.” The New Queen Theatre replaced a 7-year theater on November 22, 1919. The Queens Airdome closed September 25, 1949 with “Gun Smugglers” and “Variety Time.” The Queens May 31, 1951 closing ad with “Out of the Past,” “Trail Street” and “The Harlem Globetrotters” is in photos. It became a church shortly thereafter.
The original Maffitt Theatre opened in 1910 with films and live vaudeville from the O.T. Crawford Circuit. In 1911, likely due to poor ventilation, the Maffitt Airdrome was built and opened on the lot adjoining the hardtop Maffitt.
In 1917, William Goldman acquired the lots 3853-3859 Maffitt Avenue and an opening at 2812-4 Vandeventer for entry to a new build, $75,000 venue. The Airdrome and former venue were razed and likely better ventilation was in store for the New Maffitt. At launch, the New Maffitt Theatre opened under Goldman’s Consolidated Theater Company. The New Maffitt Theatre appears to have opened on October 27, 1917 with “In Again – Out Again” supported by “Soul of Satan.” Sound was later added to keep the Maffitt viable.
Modernization occurred with Leo F. Abrams' 1941 streamline moderne architectural refresh sketch which is in photos. The Maffitt Theatre closed at the end of its 30-year leasing agreeing on June 12, 1953 with “World in His Arms” and “Outcasts of Poker Flat.” Kids under 12 got in free with a parent with the women getting free dinnerware. The building was converted for retail purposes thereafter.
The origins of this theater date back to 1911 when the Aubert Theatre and Aubert Garden were situated two doors away at 4937 Easton. On February 8, 1923, the “new” Aubert Theatre. The star of the show was the $25,000 Robert Morgan Symphonic Organ two manual six ranks organ. The theatre was equipped for sound to remain viable.
Conn Theatre Circuit reopened the theatre for African American audience in 1951. That seems to have failed on March 8, 1953 when the theatre closed with “Across the Wide Missouri” and “Fearless Fagan.” Conn Theatres sold the operation to National Food Center who remodeled the venue to the plans of Gerhardt Kramer Associates in 1954.
The Star Theatre opened May 17, 1918. It converted to sound to remain viable. It switched to widescreen projection in 1955 to present CinemaScope titles. It closed on January 29, 1959 with “The Tunnel of Love” and “Forbidden Island.”
June 23, 1923 grand opening ad with Harold Lloyd in “Grandma’s Boy” in photos. At its 15th anniversary in 1938, it received a streamline moderne makeover.
The Theatre opened with Movies by October 1, 1925. By October 17, 1925, it begins advertising as the Imp Theatre. The theatre closed on March 12, 1932 unable to convert to sound. It reopened on October 29, 1932 still silent. Open sporadically through 1934, it finally showed a sound film in March of that year.
Lead Belt Amusement Circuit took on the venue in June of 1934 equipping with a sound system. R.C. Jordan and R.H. Shy renamed it as the Strong Theatre with
“Police Car No. 19” on June 23, 1934. It remained operational into the 1950s.
This entry will encompass all three Piedmont Missouri Theatres. Jules A. Freeman announced the the Princess Theatre in July of 1915 in a converted retail building at 106 South Main Street. He was unable to open until securing Mutual films from a St. Louis distributor and, according to the local reports, figuring out “the mysteries of his new projecting machine.” The first date was September 20, 1915 and by the end of the month, the correct lens was secured making the film presentations that much better.
Freeman’s was the first of three locations for movie houses in downtown Piedmont, Missouri. New operator W.H. Dunn installed sound in the Princess Theatre in July of 1930. A week later, however, the Princess became the Piedmont Theatre on July 28, 1930 with “The Love Racket” at the Piedmont’s relaunch. The Piedmont was basically the venue’s “sound era” name.
Alva Brinton (A.B.) “Jeff” and Maude “Maudie” Jefferis bought the movie house and were chagrined to find that it had only one projector and was not up to modern safety standards. They decided to move across the street to 107 South Main Street to create the New Piedmont Theatre on April 6, 1933 opening with “The Big Broadcast.“ That ended the Princess / Piedmont Theater run.
The 210-seat New Piedmont ended as the Piedmont Theatre on August 22, 1940 with “Pride of the Navy.” Earlier in 1940, the Jefferis had purchased the Blaine Building at 105 West Elm and would open their Jefferis Theatre there. It launched on August 28, 1940 with the Bob Burns in “Comin' ‘round the Mountain.” The Jefferis would add the Pine-Hill Drive-In Theatre to the mix opening it in 1953.
The Jefferis had one more refresh in store for their hardtop theatre equipping it with widescreen projection and giving the interior a completely new look and signage change to the exterior. They celebrated it with a grand reopening on October 27, 1954 playing “The Boy from Oklahoma.” The couple would retire at the end of 1957. Mr. and Mrs. Lacy Ragan, who operated Greenville’s Lux Theatre, took on both the Jefferis Theatre and the Pine-Hill Drive-In on January 1, 1958. The grand opening film for the renamed Melinda Theatre on January 1, 1958 was Bill Haley & The Comets “Don’t Knock the Rock.”
Mr. and Mrs. Sonny Bazzell followed the Ragans who, in turn, were followed by final operators Mr. and Mrs. Leroy Ross. The Rosses closed the Melinda Theatre on March 10, 1985 with “The Flamingo Kid.“ There would be no rebirth with the Melinda Theatre burning down just after its lease expired nine months later. The fire on December 29, 1985 was ruled as arson.
–Note that this entry should technically be the Melinda Theatre at 105 West Elm Street. The local paper claims 300 seats.
The Jefferis opened on May 19, 1953 with Sterling Hayden in “Kansas Pacific” supported by a Popeye cartoon and a comedy short. On the menu were JuicyBurgers (a Sloppy Joe sandwich) and sno-cones using an S.T. Echolls ice shaver. Just one year later, the screen was adapted to widescreen for presenting CinemaScope film titles.
This entry as contributed by Bryan Krefft reads, “The Cosmo Theatre on Main Street in Merrill is housed in a vintage theatre building which has been twinned, and screens first-run films. The Cosmo Theatre’s facade features an Art Deco-style marquee lit with pink, blue and white neon lighting.” My research indicates there’s a bit more history to this venue as follows:
The new-build Fox Theatre by William Fox’s Fox Midwestern Theatres Circuit opened on December 7, 1929 with Will Rogers in “They Had to See Paris.” The theater was equipped with Warner Bros.‘ Vitaphone and and Fox’s Movietone sound equipment. Charles Brewster was the architect of the project from the Fox side and Oppenheimer & Over from Wausau had the multi-use building plans. The project carried a 15-year lease with an option for another ten-year period thereafter. Fox would make it through three of those years having declared bankruptcy at the onset of the Depression.
The original Cosmo had opened on May 6, 1908 on the main floor of the Grand Opera House. That building was built by Peter Berard in 1885 opening September 11, 1886 as Berard’s Opera House on the second floor with the play, “Kathleen Mavourneen.” At the end of its 20-year agreement, the venue became the Grand Opera House with Dan J. Dwyer taking on the new lease. The Cosmo moved into a former retail / saloon spot on the main floor in 1908. In 1922, the second floor opera house was removed and in 1927 the theatre received a massive upgrade including a Killgen organ and 400 seats.
As the Cosmo Theater was reaching its 20th Anniversary, operator Albert L. Robarge leased the theater to the Cheesney Theater Corporation. Later that same year, it burned down on December 17, 1928. Parts of the Kilgen organ and some musical equipment pieces were saved but much of the theater was destroyed. The Bellevue Cafe, which was serving as the de facto concession stand for the Cosmo was also destroyed.
With the cost of rebuilding the theater and the price of equipping the theatre for sound too great, property owner Robarge contracted with Fox / Fox Midwest to build a new theater. The venue would be established ostensibly kitty corner moving from the 900 East Main location to the 813 East Main location.
Fox’s bankruptcy on February 28, 1932 left property owners all over the country with Fox-branded theaters scrambling. Robarge was the building owner and served papers finally closing the Fox after the January 30, 1933 shows well after Fox had stopped paying its leasing fees.
Under new management, the former Fox reopened as the Merrill Theatre on February 12, 1933 with the film, “Dangerously Yours,” and a naming contest. The 1,700 pound Fox signage was later removed in favor of the contest-winning “new” Cosmo Theatre which started under that moniker with “Broadway Bad” on March 8, 1933. Delft Theatre Circuit took on the Cosmo and the Badger. In 1948, the Cosmo was given a shocking streamline moderne makeover. After its closure on December 9, 1947, for the refresh, the “new” Cosmo opened January 16, 1948 with “Road to Rio.”
Following the Badger’s lead of conversion to widescreen in 1954, the Merrill converted to CinemaScope in 1956. It was twinned and given a third screen to remain viable which it was into the 2020s. It closed March 16, 2020 for the COVID pandemic and reopened 21 weeks later on August 28, 2020 with “The New Mutants” and “Shrek.”
Molly and Irvin Degonia partnered with Bill and Violet Basden to launch the Killarney Drive-In Theatre named after nearby Killarney Lake opening July 13, 1950. The partners opened on a 35-year leasing agreement.
The theater’s future was threatened three times - once when the land owner announced the creation of a pig farm and twice during storms in 1965 is and 1973 (during a screening of “Wrath of God”) that tore down the screen tower. One closure led to a sign on the Killarney’s attractor reading, “Closed Temporaly” (sic) which confused the local newspaper.
“Gone with the Wind” had the most successful run with fireworks nights always at capacity for the seasonally-operated ozoner. But the Killarney closed at the end of its 35-year leasing agreement on September 9, 1985 with “Silverado” and “Perfect.” An article five years later found the operators still on the adjoining property with the original, matching Ashcroft projectors still functional and ready to go despite never reopening.
Grand reopening as the (Frederick) Douglass Theatre on September 1, 1927 with Ralph Graves in “The Swell-Head” supported by live vaudeville and selected film shorts. The venue added sound to remain viable. It closed at end of lease on April 22, 1962 with Elizabeth Taylor in “Butterfield 8” and, appropriately enough, “The Last Sunset” with Kirk Douglas.
The Movie Theater opened in 1914 and its second owner was 20-year old Tom James of the Brighton Airdome and World’s Dream Theatre. In 1915, he repositioned the venue for African American audiences. The Movie Theatre added sound and was remodeled reopening on May 24, 1930 likely on a new 20-year lease and rebranded as the New Movie Theater. Because, why not? In 1950, the theater was offered for sale after closing.
The Palace Theater opened by John H. Tielkemeyter in June of 1910 with vaudeville. By 1912, it was a movie house run by O.T. Crawford. Sold to Franklin Amusement, Yiddish vaudeville takes place there during World War I in addition to films. Things are a bit confusing in 1924 as the neighborhood’s composition was such that Franklin Amusement sublet the venue to Jesse S. Horowitz.
On February 29, 1924, the Palace reopens with an all-inclusive policy allowing integrated audiences. Based on the lawsuit that followed, it’s assumed that this transition was unsuccessful in part because Horowitz claimed that clashes were common between White and African American audiences requiring police presence. Horowitz identified Edward P. Laurent and the Little Theater Corporation to run the venue which they did officially as the New Palace Theatre. Their policy in June of 1924 separated audiences with 502 lower floor seats exclusively for White audiences and the 250 balcony seats were for African American audiences.
The Palace audience composition lawsuit in July of 1924 came from lease-holder Franklin Amusement saying that the subleasing agreement allowed for an integrated, “mixed colored and white” or all-African American audience composition. Franklin claimed that an all-White seating area lower floor policy drew audiences away from its Majestic Theatre just three blocks away. Horowitz claimed that the separate seating area was within the mixed audience clause of the leasing agreement. Hyman Komm’s lawsuit on behalf of his Franklin Amusement was tossed.
The most successful Palace event of the 1920s was when Ethel Waters appeared there for a week beginning May 4, 1924. But the venue would definitely makes its mark playing movies. The Palace would install Vitaphone sound under new operators on May 16, 1930 to remain viable. However, the sound mustn’t have been success as the theater veered back to more live events. In 1932, it’s rebranded as the Globe Theater and they bring in Bessie Smith and Her Gang in person August 4-6, 1932. New operators appear on January 27, 1933 installing new RCA sound on film technology and veering the theater back to films. Its policy is as a sub-run grind house policy. The Globe lasted 11 years closing in April of 1943.
The venue reopened under new management as the Carver Theatre on February 19, 1944 with “Pacific Blackout” and “Moonlight Masquerade”. It closed permanently on October 9, 1955. Monsanto Chemical purchased the building demolishing it in March of 1956 in favor of an office building. The entire business area there has been removed.
The Anderson Theatre was opened by former Sanger Theatre manager, C.B. Anderson, with Monte Blue in “Red Hot Tires” on November 14, 1925. supported by the Fox comedy short “Sweet Marie” and a Fox newsreel. Anderson headed to Texas four years later and the lease transferred to the Majestic Theatre Company which renamed it as the Majestic Theatre on August 30, 1929. It opened with talking pictures featuring Leonard and Dunn in “Melody Lane” supported by the short, “The Medicine Man.” Actor Jack Hoxie made a personal appearance there on October 16, 1929. The Majestic closed on October 29, 1929.
Prim S. Broadus took on the venue and, after a $10,000 refresh to the plans of architect Juan G. Landry, he relaunched it as Prim’s Rio Theater on July 4, 1932 with “Wise Girls.” Broadus closed two months later. A.H. Yeomans was next changing its name to the Rose Theatre on October 3, 1932 with Jack Holt in “The Sporting Age.” The Rose Theatre got new operators in Paramount-Richards Theatres Circuit briefly rebranding as the New Rose Theater after a makeover in 1940.
Paramount-Richards closed both the Rose and the Buck theaters on September 10, 1949. After a refresh and under new ownership, the theatre became the Ritz Theatre on March 1, 1950 with a double feature of “The Family Honeymoon” and “The Countess of Monte Cristo.”
Lloyd Royal of the Royal Circuit was bought out of his location a block away where he was operating the Rebel Theatre in December of 1958. So he moved the Rebel Theatre to the Ritz Theatre and reopened there after a refresh on Feb. 28, 1959 with the religious film, “I’ll Give My Life.”
The former Anderson turned Majestic turned Rio turned Rose turned New Rose turned back to Rose turned Ritz turned Rebel was purchased by Gulf States operating briefly as the Rebel Art Theatre showing adult/overseas titles. That rebranding occurred on September 1, 1967 with “I, A Woman.” Mayor Paul Grady instructed Police Chief Hugh Herring to either arrest or shut down the Rebel Art for obscenity. Gulf States bowed to the pressure reducing “adult” fare. They then opened the new-build Cinema Theatre elsewhere in town in early 1968. Within weeks, they subsequently closed the Rebel which closed March 1, 1968 permanently with “Enter Laughing.” The Rebel Art Theatre was later demolished. The Rebel’s former home at the Lomo was also demolished.
The origins of the Booker T Washington Theatre date back to the Booker T. Washington Airdrome that operated in the summers of 1911 and 1912 on the site of the new-build Booker T. Washington Theater. It was created for live events with windows providing cross ventilation throughout the building. It launched on July 14, 1913 with Mayor Henry Kiel making the opening address. Charles Turpin, operator of the B.T.W. Airdrome, also opened the $30,000 hardtop theater.
Josephine Martin lived within a block of the Booker T. Washington Theater at 23d and Market. She debuted unbilled at the theater in 1919 (perhaps numerous times, though unconfirmed) and won a contest October 13, 1920 held at the Booker T. before changing her maiden / stage name to her married name of Josephine Baker. She appears to be billed just one time at the Booker T. - in 1921 - before leaving St. Louis. She came back in 1935 to the site of the former theater which had been demolished.
The “Uncrowned Queen of Blues” Ida Cox and Cab Calloway would also appear at the Booker T. Washington. The Washington Theater appears to have closed September 28, 1930. It would be demolished not long after as Market Street would be widened necessitating the theater’s demolition.
March 23, 1940 opening ad with Paul Robeson in “Big Fella” and Elsa Maxwell in “Hotel for Women" is in photos. In 1958, the St. Louis Land Clearance for Redevelopment Authority bought out 2,355 structures in the Mill Creek Valley neighborhood leaving just 125. It used condemnation suits to get the others out.
The first building acquired was the Baptist Church just across the street and the demolition project began Feb. 16, 1959 on Laclede Avenue. Despite incredible noise and traffic issues, the Laclede Theatre survived a bit longer before its date with the wrecking ball. Its closing film was June 22, 1959 with “I Want to Live” and “God’s Little Acre.”
The New Comet Theatre launched in 1912 at 2110 Market Street. The venue converted to Western Electric sound in January of 1929 to remain viable. However, it closed on March 13, 1933 with Clark Gable in “No Man of Her Own” to comply with the widening of Market Street. Its bookings were temporarily moved to the Strand Theatre. Those bookings proved to be permanent as the Comet fizzled. The building known as the Band Box Building was turned into a dry cleaner. A new Comet location would later open on Finney.
The Retina Picture Show was an early silent movie house opened in January of 1910. John H. Gentner took on the venue in November of 1910 changing names to the Retina Moving Picture Show. In 1913, the name is changed to the Retina Picture Theater. In 1916, the name is changed back to the Retina Moving Picture Show advertising in the African American press and often the Retinal Theater.
In 1920, it becomes the Retina Picture Show. It switches permanently to the Retina Theater not long after continuing to its final show on September 28, 1929 with John Gilbert in The Cossacks. An ad the next day indicates that 20th Street road project will be going through the theater ending its run. They direct their patrons to attend the nearby Comet Theatre.
The Easton-Taylor Trust Building was built in in 1910 and 1911. It first housed the Easton-Taylor Hall used for a dance academy in 1911 and the Easton-Taylor Trust financial institution beginning July 8, 1911. The vaudeville theater appears to have opened in 1912 as the Easton Taylor Theater. By 1915, the Easton-Taylor is playing films under that name until September of 1925.
From 1926 to 1936, it becomes the Easton Theatre. In 1936, the Easton-Taylor Trust Building is sold outright. New lessee of the theater space, Henry Mabel, installed new projectors, sound, and a streamline moderne makeover. Mabel opened it refreshed as the Circle Theatre on Sep. 19, 1936 with “Private Number” and “Human Cargo.”
Announced closure to occur perhaps in November 2024. Will keep posted if this transpires.
The Queens Theater opened 1912 and its Queens Airdrome opened on June 29, 1915 with Charlie Chaplin in “Work.” The New Queen Theatre replaced a 7-year theater on November 22, 1919. The Queens Airdome closed September 25, 1949 with “Gun Smugglers” and “Variety Time.” The Queens May 31, 1951 closing ad with “Out of the Past,” “Trail Street” and “The Harlem Globetrotters” is in photos. It became a church shortly thereafter.
The Queens Airdrome opened on June 29, 1915 with Charlie Chaplin in “Work.” The New Queen Theatre replaced a 7-year theater on November 22, 1919. The Queens Airdome closed September 25, 1949 with “Gun Smugglers” and “Variety Time.” The Queens May 31, 1951 closing ad with “Out of the Past,” “Trail Street” and “The Harlem Globetrotters” is in photos. It became a church shortly thereafter.
Closed on February 5, 1952 with “Outlaw Women” and “Geisha Girl.” It was used by a youth church as a house or worship and for sporadic live events.
The original Maffitt Theatre opened in 1910 with films and live vaudeville from the O.T. Crawford Circuit. In 1911, likely due to poor ventilation, the Maffitt Airdrome was built and opened on the lot adjoining the hardtop Maffitt.
In 1917, William Goldman acquired the lots 3853-3859 Maffitt Avenue and an opening at 2812-4 Vandeventer for entry to a new build, $75,000 venue. The Airdrome and former venue were razed and likely better ventilation was in store for the New Maffitt. At launch, the New Maffitt Theatre opened under Goldman’s Consolidated Theater Company. The New Maffitt Theatre appears to have opened on October 27, 1917 with “In Again – Out Again” supported by “Soul of Satan.” Sound was later added to keep the Maffitt viable.
Modernization occurred with Leo F. Abrams' 1941 streamline moderne architectural refresh sketch which is in photos. The Maffitt Theatre closed at the end of its 30-year leasing agreeing on June 12, 1953 with “World in His Arms” and “Outcasts of Poker Flat.” Kids under 12 got in free with a parent with the women getting free dinnerware. The building was converted for retail purposes thereafter.
The origins of this theater date back to 1911 when the Aubert Theatre and Aubert Garden were situated two doors away at 4937 Easton. On February 8, 1923, the “new” Aubert Theatre. The star of the show was the $25,000 Robert Morgan Symphonic Organ two manual six ranks organ. The theatre was equipped for sound to remain viable.
Conn Theatre Circuit reopened the theatre for African American audience in 1951. That seems to have failed on March 8, 1953 when the theatre closed with “Across the Wide Missouri” and “Fearless Fagan.” Conn Theatres sold the operation to National Food Center who remodeled the venue to the plans of Gerhardt Kramer Associates in 1954.
The Star Theatre opened May 17, 1918. It converted to sound to remain viable. It switched to widescreen projection in 1955 to present CinemaScope titles. It closed on January 29, 1959 with “The Tunnel of Love” and “Forbidden Island.”
Opened December 17, 1937 with Paul Robeson in “King Solomon’s Mines” and “Escape By Night.”
June 23, 1923 grand opening ad with Harold Lloyd in “Grandma’s Boy” in photos. At its 15th anniversary in 1938, it received a streamline moderne makeover.
Following an Open House on June 10, 1940, the Cameo Theatre launched on June 11, 1940 with “The Lone Wolf Strikes.”
Opened February 18, 1934
The Theatre opened with Movies by October 1, 1925. By October 17, 1925, it begins advertising as the Imp Theatre. The theatre closed on March 12, 1932 unable to convert to sound. It reopened on October 29, 1932 still silent. Open sporadically through 1934, it finally showed a sound film in March of that year.
Lead Belt Amusement Circuit took on the venue in June of 1934 equipping with a sound system. R.C. Jordan and R.H. Shy renamed it as the Strong Theatre with “Police Car No. 19” on June 23, 1934. It remained operational into the 1950s.
This entry will encompass all three Piedmont Missouri Theatres. Jules A. Freeman announced the the Princess Theatre in July of 1915 in a converted retail building at 106 South Main Street. He was unable to open until securing Mutual films from a St. Louis distributor and, according to the local reports, figuring out “the mysteries of his new projecting machine.” The first date was September 20, 1915 and by the end of the month, the correct lens was secured making the film presentations that much better.
Freeman’s was the first of three locations for movie houses in downtown Piedmont, Missouri. New operator W.H. Dunn installed sound in the Princess Theatre in July of 1930. A week later, however, the Princess became the Piedmont Theatre on July 28, 1930 with “The Love Racket” at the Piedmont’s relaunch. The Piedmont was basically the venue’s “sound era” name.
Alva Brinton (A.B.) “Jeff” and Maude “Maudie” Jefferis bought the movie house and were chagrined to find that it had only one projector and was not up to modern safety standards. They decided to move across the street to 107 South Main Street to create the New Piedmont Theatre on April 6, 1933 opening with “The Big Broadcast.“ That ended the Princess / Piedmont Theater run.
The 210-seat New Piedmont ended as the Piedmont Theatre on August 22, 1940 with “Pride of the Navy.” Earlier in 1940, the Jefferis had purchased the Blaine Building at 105 West Elm and would open their Jefferis Theatre there. It launched on August 28, 1940 with the Bob Burns in “Comin' ‘round the Mountain.” The Jefferis would add the Pine-Hill Drive-In Theatre to the mix opening it in 1953.
The Jefferis had one more refresh in store for their hardtop theatre equipping it with widescreen projection and giving the interior a completely new look and signage change to the exterior. They celebrated it with a grand reopening on October 27, 1954 playing “The Boy from Oklahoma.” The couple would retire at the end of 1957. Mr. and Mrs. Lacy Ragan, who operated Greenville’s Lux Theatre, took on both the Jefferis Theatre and the Pine-Hill Drive-In on January 1, 1958. The grand opening film for the renamed Melinda Theatre on January 1, 1958 was Bill Haley & The Comets “Don’t Knock the Rock.”
Mr. and Mrs. Sonny Bazzell followed the Ragans who, in turn, were followed by final operators Mr. and Mrs. Leroy Ross. The Rosses closed the Melinda Theatre on March 10, 1985 with “The Flamingo Kid.“ There would be no rebirth with the Melinda Theatre burning down just after its lease expired nine months later. The fire on December 29, 1985 was ruled as arson.
–Note that this entry should technically be the Melinda Theatre at 105 West Elm Street. The local paper claims 300 seats.
The Jefferis opened on May 19, 1953 with Sterling Hayden in “Kansas Pacific” supported by a Popeye cartoon and a comedy short. On the menu were JuicyBurgers (a Sloppy Joe sandwich) and sno-cones using an S.T. Echolls ice shaver. Just one year later, the screen was adapted to widescreen for presenting CinemaScope film titles.
This entry as contributed by Bryan Krefft reads, “The Cosmo Theatre on Main Street in Merrill is housed in a vintage theatre building which has been twinned, and screens first-run films. The Cosmo Theatre’s facade features an Art Deco-style marquee lit with pink, blue and white neon lighting.” My research indicates there’s a bit more history to this venue as follows:
The new-build Fox Theatre by William Fox’s Fox Midwestern Theatres Circuit opened on December 7, 1929 with Will Rogers in “They Had to See Paris.” The theater was equipped with Warner Bros.‘ Vitaphone and and Fox’s Movietone sound equipment. Charles Brewster was the architect of the project from the Fox side and Oppenheimer & Over from Wausau had the multi-use building plans. The project carried a 15-year lease with an option for another ten-year period thereafter. Fox would make it through three of those years having declared bankruptcy at the onset of the Depression.
The original Cosmo had opened on May 6, 1908 on the main floor of the Grand Opera House. That building was built by Peter Berard in 1885 opening September 11, 1886 as Berard’s Opera House on the second floor with the play, “Kathleen Mavourneen.” At the end of its 20-year agreement, the venue became the Grand Opera House with Dan J. Dwyer taking on the new lease. The Cosmo moved into a former retail / saloon spot on the main floor in 1908. In 1922, the second floor opera house was removed and in 1927 the theatre received a massive upgrade including a Killgen organ and 400 seats.
As the Cosmo Theater was reaching its 20th Anniversary, operator Albert L. Robarge leased the theater to the Cheesney Theater Corporation. Later that same year, it burned down on December 17, 1928. Parts of the Kilgen organ and some musical equipment pieces were saved but much of the theater was destroyed. The Bellevue Cafe, which was serving as the de facto concession stand for the Cosmo was also destroyed.
With the cost of rebuilding the theater and the price of equipping the theatre for sound too great, property owner Robarge contracted with Fox / Fox Midwest to build a new theater. The venue would be established ostensibly kitty corner moving from the 900 East Main location to the 813 East Main location.
Fox’s bankruptcy on February 28, 1932 left property owners all over the country with Fox-branded theaters scrambling. Robarge was the building owner and served papers finally closing the Fox after the January 30, 1933 shows well after Fox had stopped paying its leasing fees.
Under new management, the former Fox reopened as the Merrill Theatre on February 12, 1933 with the film, “Dangerously Yours,” and a naming contest. The 1,700 pound Fox signage was later removed in favor of the contest-winning “new” Cosmo Theatre which started under that moniker with “Broadway Bad” on March 8, 1933. Delft Theatre Circuit took on the Cosmo and the Badger. In 1948, the Cosmo was given a shocking streamline moderne makeover. After its closure on December 9, 1947, for the refresh, the “new” Cosmo opened January 16, 1948 with “Road to Rio.”
Following the Badger’s lead of conversion to widescreen in 1954, the Merrill converted to CinemaScope in 1956. It was twinned and given a third screen to remain viable which it was into the 2020s. It closed March 16, 2020 for the COVID pandemic and reopened 21 weeks later on August 28, 2020 with “The New Mutants” and “Shrek.”
Molly and Irvin Degonia partnered with Bill and Violet Basden to launch the Killarney Drive-In Theatre named after nearby Killarney Lake opening July 13, 1950. The partners opened on a 35-year leasing agreement.
The theater’s future was threatened three times - once when the land owner announced the creation of a pig farm and twice during storms in 1965 is and 1973 (during a screening of “Wrath of God”) that tore down the screen tower. One closure led to a sign on the Killarney’s attractor reading, “Closed Temporaly” (sic) which confused the local newspaper.
“Gone with the Wind” had the most successful run with fireworks nights always at capacity for the seasonally-operated ozoner. But the Killarney closed at the end of its 35-year leasing agreement on September 9, 1985 with “Silverado” and “Perfect.” An article five years later found the operators still on the adjoining property with the original, matching Ashcroft projectors still functional and ready to go despite never reopening.