The Palace Theatre closed at the end of lease on April 6, 1967 with Tempest Storm in “Mundo Depravados” and Karen Drake in “The House of Cats” and a live burley show starring Miss Naja and here $100,000 wardrobe along with six comics and five exotics. The Palace’s Saints and Sinners Grand Finale had been staged on February 28, 1967 but that was followed by an encore month of shows thereafter. Legendary operator Dewey Michaels found a new place to move the operation to for the next ten years while the original Palace was demolished soon thereafter to make way for the Church Street Extension project that was previously known as the Elm-Oak Arterial Highway.
Note: In case anyone was curious, The Monkees never played the Palace Theatre in Buffalo and had no concert dates prior to the launch of their series in September of 1966 (their first concert was in December of 1966).
While the above two-sentence entry succinctly describes the Pheil Theatre and its 40-year history in downtown St. Petersburg - and that two sentence synopsis should be retained as is - the Pheil Theatre and Hotel Building might best be remembered for its presence symbolizing the city’s growth from single- and double-storied wood-framed downtown structures to modern skyscrapers associated with perhaps more cutting-edge cities nearby and beyond. Some details of the theater and its adjoining hotel’s history follow.
Abram C. Pheil first announced the Pheil Theatre in August of 1917. Pheil had a significant role in the growth of St Petersburg during Florida’s “land boom” in the 1910s and 1920s. Pheil was the first passenger on the first commercial flight in 1914 from St. Pete to Tampa in 1914. He also removed an island in Bayboro Harbor to ease waterway navigation. He announced his intention to build in the 400-block of Central way back in 1905. His plans continued to balloon and he acquired more lots from 410 to 424 Central. The skyscraper concept was announced in 1916 but began much more modestly with a theater to bear his name that was built beginning in 1917. The Pheil Theatre’s entry was constructed with a temporary wooden shed built to protect pedestrians on Central Avenue from falling debris. It was apparently a necessary but unsightly structure in 1917.
Work on the theater continued in 1918 as a domed structure (see photos). Brooklyn artist Josh Gutchbar worked overtime on the hand-painted 20' dome of the auditorium that was a mural of the sky with cherubs, along with its figurines representing happiness, sadness, pleasure and pain. The screen featured figurines on either side representing work and recreation. The color scheme was ivory and grey with rose drapes. And a large $12,000 pipe organ was installed comparable to the “big city” theaters yet likely not actually meeting that expectation as it was replaced by a mighty Wurlitzer 135 organ (Opus 756, 4 ranks and two manuals) just four years later during a late 1923 refresh.
The Pheil Theatre may be remembered for its small Central Avenue footprint that had a 25' lobby to its back that included a 20' dome allowed the venue to house the projector in the alley allowing people to enter and exit screen-side. The “reverse entry” concept was an innovation designed by the theater’s architect and collaborated to by the theater’s first manager. More importantly, the venue’s foundation allowed for growth as Pheil’s architect, William S. Shull, ensured that it could support a ten-story building if needed in the future. So certain were these plans, that the temporary wooden shed remained in place as the theater prepared its 1918 launch that was delayed until 1918.
The dangers of nitrate film presentation were very well known at the time of designing the building and safety was taken into consideration as the building’s materials were almost entirely wood free save some doors and some ornamental trim. This was a move certainly designed to ease the insurer’s minds. In fact, the original architect and theater manager said that in case of a fire, people would have the option of a natural egress following the “decline” slope of the auditoriums to the familiar Central Avenue front or selecting a back egress into the alley. The theater’s concrete and steel reinforced fireproof projection booth was built up over the rear exit and over the alley. A 1920 booth fire led to a slight reworking of that booth and some interior refinements to the venue.
The long-awaited Pheil Theatre opened February 20, 1919 with Dr. Minor C. Baldwin at the pipe organ and soloist Gretchen Miller as the vocalist. Then St. Pete Mayor Al Lang made the opening speech with followed by Major Lew B. Brown, Postmaster W.L. Straub and former St. Pete Mayor, City Council member now theater owner Pheil (1912-3) making remarks. The venue operated thereafter on a grind policy with continuous shows from 1-10:30p daily. Patrons long remembered coming in during the continuous showings because seated ticket holders would see everyone who entered as they came up through the screen area.
The Pheil would be guided by numerous operators including Southern Enterprises under Paramount beginning in 1920, briefly under Consolidated Theatres and the bulk of its time under E.J. Sparks Enterprises circuit beginning in 1927, and closing under Florida State Theatres when associates of the retiring Sparks took over the Circuit on July 1,1941 through November of 1959.
The theatre was also remembered for the giant Pheil Hotel that would be associated with it for decades. In 1920, Pheil obtained a permit to add the ten-story hotel on to the theatre’s Central Avenue entry along with ground floor businesses to either side. That temporary shed that had been constructed 1917 would remain in place as the hotel was built in 1920 with a targeted opening date in 1921. Or longer as it turned out.
Construction continued with major issues dogging it forcing Phiel Theatre patrons to go to the loud theater through the ugly wooden shed entry in 1920 and 1921. And then continuing in 1922 and 1923. Not ideal. An eleventh floor was then added to the building plans by a new construction company in 1922. But Pheil, who had approved that change, died on November 1, 1922 and the family - led by Bertha and Abraham Pheil - vowed to finish what would become the town’s first commercial skyscraper with a new targeted opening date in 1923.
On April 21, 1924, the Pheil Theatre – still in continuous operation and with the unfinished hotel above it - handed out what were described as “funny pairs” of red and green glasses as it presented its first ever 3D films. To those who had seen 3D stereopticon still images, the effect was a predictable advance but yet an innovative presentation. The theatre closed for the summer and received a refresh bringing improved projection and its new Wurlitzer.
Meanwhile, in the hotel project’s fourth full year of construction, a dual marquee was installed in July of 1924 - one for the hotel and one an improved attractor for the Pheil Theatre. This allowed the removal of that nearly seven-year old eyesore, the temporary wooden shed. The shed’s removal – in and of itself – was an actual news story. A large smokestack was added to the building’s roof in part functionary and in part, apparently, to stake its claim as the city’s tallest structure.
On the second anniversary of his death and some three years behind schedule, R.L. Thorn / Thorn Brothers opened the hotel bearing Abram C. Pheil’s name. The facility was known as the Pheil Theatre and Hotel Building. Hundreds of photos and post cards show the hotel and the theater’s Central Avenue entry. Yet few actually show the theater on its backside. The theatre would continue to innovate becoming only the second theater in the state of Florida to equip with sound and the first in the U.S.A. in a city with fewer than 50,000 residents relaunching on November 11, 1927 with Vitaphone sound. Opening the talkies era at the Pheil were associated shorts and the synchronized sounds of John Barrymore in “When a Man Loves.” And the audiences loudly cheered with approval setting the wheels in motion for other St. Petersburg theaters to equip for sound in 1928. The Pheil followed that up by booking the World Premiere of “Glorious Betsy” with Vitaphone on April 7, 1928.
Once better theaters had sound, the Pheil scuffled during the Depression which included summer closures and reduction to three-day a week operation. It was closed due to lack of business from June of 1929 to early 1930. The theater came back to life operating seasonally. Its 1934 lasted all summer all the way to Christmas of 1934. The Pheil’s new 20-year leasing period began in 1939 under E.J. Sparks but transferred to the renamed Florida State Theatres in 1941. The theatre’s summer closures continued through 1953. The theatre had announced a plan for air conditioning in 1949 that was finally carried out in 1954 by its final operator Florida State Theatres. Florida State also converted the venue to widescreen projection for the purpose of showing CinemaScope films in 1954.
Operating year-round, Florida State operated the venue until the end of the Pheil’s second, 20-year lease. It closed permanently on November 18, 1959 with Dick Miller in ”A Bucket of Blood” and Yvette Vickers in “Attack of the Giant Leeches.” The Cuyahoga Wrecking Company commenced demolition days later continuing into 1960 in demolishing the Pheil in favor of a new First National Bank. That project that lasted from 1960 to 1968 were the first changes for the commercial area since its World War I era construction and also a time that the Pheil would lose its distinction as the city’s tallest building.
High winds destroyed windows in November 1959 even prior to the wrecker’s work. Its entry way and attractor signage on Commerce Street was converted during a major overhaul of the Pheil Hotel property which received a new aluminum Brise Soleil screen wrapping as the building was known as the “cheese grater” for the next 45 years or - officially - as the Madison Hotel toward its new 99-year lease.
The Pheil turned Madison Hotel closed on May 31, 1973. A disposal sale offered everything in the hotel at exceedingly low prices. In that were apparently some of the figurines from the former theater’s lobby. The plan was to raze the hotel in 1973 and 1974. Its demolition was delayed just slightly as the vacant building was finally razed… in 2016. Preservationists efforts to save the structure were simply too late in coming.
For the very unlikely few who care, the Pheil Theatre entry and official address was at 412 Central in the middle of the building and not at the 424 Central address Cinema Treasures uses above. 424 was the entry and address of the Pheil Hotel whose entry was at the right-most side of the property. After the theater was demolished, the former theater entry’s address became 410 Central which - though technically incorrect - is the lowest address associated with the property at 410-424 Central at the left-most side of the property. However, the 424 Central address above is certainly more than close enough as it was within the same structure and works great for mapping purposes.
Bert Schrieber announced the Rosetta Theatre in 1925 which - along with the Ruben Building across the street - was providing what was then the Little River neighborhood with a moderne nexus of retail and entertainment. Paramount Theatres opened the 1,045-seat venue with Spanish architecture primarily as a movie house but had a stage for live stage shows and vaudeville. Its large Kimball pipe organ was a huge hit as the venue opened at the tail end of the silent era. The first film on February 16, 1926 was Tom Mix and Tony, the Wonder Horse, in “The Yankee Señor” and was preceded by an organ concert.
On May 5, 1929, the venue added sound to remain viable with Pauline Frederick in “On Trial” playing on the big screen. Wometco assumed the Rosetta in time for its big fifth anniversary celebration in 1931. As the 20-year leasing period was reached, a new Rosetta was in the works. In 1946, Wometco closed the venue for a full month to give the building a shocking streamline moderne makeover to the plans of Roy A. Benjamin and Charles P. Neider. Those plans were complete with a new Flexlume neon attractor, all new box office and lobby and a new air conditioning plant in time for the August 1, 1946 relaunch with Chester Morris in “Counterfiet.” With temperatures in the mid-to-upper 80s at its launch, the air conditioning would be welcomed. The new building also had a confectionery to its right and another retail operation to its left to provide improved economic benefits. It is assumed that a new 25-year lease came with the refresh.
By 1970 and in its 24th year of operation since the refresh, the theater was scuffling with Wometco repostioning it as a double-feature, ultra-discount house with all seats for 35 cents. Wometco left the venue at the expiry of its lease and a new operator tried a new approach. It moved the Rosetta to an adult movie house named the 2nd Avenue Arts Theatre beginning on February 17, 1971 with Lindis Guinness in “101 Acts of Love” and “The Proficient Professor.” Controversy hounded that change. On January 3, 1973, the venue was briefly taken on by the Southland Cinemas circuit as the New King Cinema / King Cinema returning the venue to double feature Hollywood fare. Success was not to be found for Southland.
It was subleased to Waldrick Theatre Corp. Circuit who renamed it the King Art Cinema. “Art” was in the eye of the beholder. On September 7, 1973, the King Art booked “The Devil in Miss Jones.” On September 10, 1973, the film was confiscated with manager Ceasr Alonso booked on an obscenity charge. The King Art Cinema became the subject of a high-profile litmus test for the Miller v. California standard that the Supreme Court had promulgated on June 21, 1973. That ruling said that, using contemporary community standards, obscene films and other content did not have First Amendment protection.
Though many municipalities had used the Miller standard to impound films in the weeks following the landmark decision, most of those situations did not reach a jury as quickly as the the King Art Cinema case. The case was teed up, launched and decided within weeks of the film being impounded. A jury had viewed the film and was deadlocked on the matter leading to a mistrial and the venue and its manager was off the hook all within the month of September 1973.
But the State did not rest and pushed the case further. That civil case is considered perhaps the first known application of Miller v. California. And those sensing the end of “smut” were sadly let down. The second case was decided on December 14, 1973 and the presiding judge spiked the prosecution’s case by saying, the State wanted the court to “miraculously” interpret Miller in such a way that was not “the role of the courts” in exonerating the film, the exhibitor (Waldrick Corp.) and its manager (Alonso). Similar cases within months in Florida’s Orange and Osceola counties went the same way. Threats by the State to appeal the verdict(s) remained just that as that as they appeared to have no grounds to potentially overturn these early decisions on appeal.
To spike the football, “Devil” had an uber successful 6-month run at the King Art Cinema. The venue was renamed as the Rex Art Cinema on April 19, 1974 likely under new ownership. Though the venue was never known as the King Art Theatre, it was known both as the King Cinema (showing Hollywood fare) and the King Art Cinema (showing adult content). And it should be labeled as either the Rosetta Theatre - its name for some 45 years (1926-1971) or the Rex Art Cinema (final four years) as it was never the Rex Art Theatre. It’s believed though not confirmed that the cinema may have closed in 1977 when its license was pulled along with the 79th Street Twin I & II under a new battle waged by Dade County against obscene content. Also, the theatre was at 7929 NE 2nd Avenue across the street. It has long since been demolished and one might say that the Devil made them do it.
The Center Theatre lists all the way to March 28, 1974 with its last showtimes of Henry Yu Yung in “Fists of Double K (Fist to Fist)” and Wang You in “Blood of the Dragon.” (The theater’s final transition had been from adult cinema earlier in the 1970s to Chopsocky films.) The theatre reached the expiration of its lease but is then listed for sale thereafter for $89,500 with the caveat of “needs work.”
This venue closed as the Parkway Twin 1 & 2 Theatres on October 17, 1985 following showings of “Rocky III” and “Sorceress” splitting a screen with “Alone in the Dark.” For those who came the next night for a film, they got the latter minus the movie.
The Colonial Theatre closed as, by many accounts, a scary 24-hour grindhouse on February 27, 1975 at the end of a leasing period with a continuous quadruple-feature of Karl Malden in “The Summertime Killer,” Strother Martin in “Sssssss (Snake),” John Wayne in “Rio Lobo,” and a fourth film.
Following its purchase in 2015 by AMC, the venue became the AMC Starplex Mesquite 10. After acquiring the Carmike chain late in 2016, the AMC circuit rebranded many of its inherited brands as AMC CLASSIC locations in March of 2017. A refresh brought a sometimes open MacGuffins bar and upgrades including Coca-Cola Freestyle dispensing units. The venue continued as a discount sub-run house. This location was the AMC Classic Mesquite 10 from that point forward.
AMC closed after showtimes on March 16, 2020 here and at all of its locations due to the COVID-19 pandemic. In August of 2020, AMC made the closure permanent becoming one of many theatres closed during the pandemic. It officially closed as the AMC Classic Mesquite 10 and its “forever” posters remained in the exterior poster frames for more than two years. However, in 2022, the building was retrofitted as a retail furniture store.
In 2016, AMC purchased the Carmike circuit. In 2017, the Dupont would receive AMC’s CLASSIC tag that was generally given to inherited locations and those locations that would be less likely to receive a major refresh and/or expanded options under the banner, the AMC CLASSIC Fort Wayne 20. AMC closed here temporarily with the rest of the AMC locations on March 16, 2020 due to the COVID-19 pandemic. It reopened on August 27, 2020. AMC announced the permanent closure of the AMC CLASSIC Fort Wayne 20 following showtimes on July 31, 2022.
Oakwood Mall opened October 15, 1986 with the Carmike six-plex as an original attraction though launching on November 21, 1986. The Mall was overhauled in 1996 and Carmike would expand here to twelve screens on November 5, 1997 as the multiplex era had morphed into the megaplex era. In 2005, Carmike refreshed the megaplex with stadium seating.
In 2016, AMC purchased the Carmike circuit. The Oakwood would receive AMC’s CLASSIC tag that was generally given to inherited locations and those locations that would be less likely to receive a major refresh and/or expanded options. The Oakwood Mall would shed three anchors in 2017/8 in Macy’s, Younkers, and Sears. The AMC Classic Oakwood closed temporarily with the rest of the AMC locations on March 16, 2020 due to the COVID-19 pandemic. It reopened on September 3, 2020. AMC announced the permanent closure of the AMC CLASSIC Oakwood 12 following showtimes on October 2, 2022.
Add the Sun Sun Theatre to the also known as. That name change occurred on July 25, 1975 as the Sun Sun showed chopsocky films. The venue was then added by the operators of the Star Mall Twin and the Miller Road 93 as the Sun-Sun Cinema later in the year. The Sun-Sun sunsunset on July 29, 1976 at the expiry of a year over year sublease with David Chiang in “The Tong Father,” SuperChan - Kung Fu King in “Forced to Fight,” and Michael Wai-Man Chan in “Chinese Mack.” They didn’t go half way at the Sun-Sun.
The venerable Lyric Theatre closed permanently following the December 11, 1971 showing of Alan Alda in “Paper Lion.” The new Viking Theatre opened the next day, December 12, 1971, with “West Side Story.” It became the Viking 1 & 2 and then the Viking 3 in 1993.
Ellen Larsen opened the Lyric Theatre on September 7, 1914 in the Mrs. Iver Larsen building in downtown Decorah. Bathed in ivory and olive, the venue sold out its first motion picture show. The theatre added sound to remain viable. In the 1960s, it rotated bookings seasonally with the local drive-in. The Lyric closed permanently following the December 11, 1971 showing of Alan Alda in “Paper Lion.” The new Viking Theatre opened the next day with “West Side Story.”
The Grand Theatre closed for the season on June 16, 1965 with “One Man Way.” The drive-in carried the summer schedule. However, only the Lyric opened in the Fall. The Grand was next used for an art gallery.
The new-build Frana Opera House launched March 23, 1916 by L.J. Frana with “As Years Roll On,” a live show starring Al Wilson. The building also housed a drug store. The town already had a movie theater in the Palm Theater’s Movies at Calmar and Frana quickly learned that the townspeople liked movies more than live shows. Frana would briskly reposition the opera house within two months as the movie-centered Olympic Theatre after installing a $3,500 Wurlitzer pipe organ and getting the coveted Paramount Studios exclusive film contract. That would be enough to unseat the Palm Theater.
In 1930, he equipped the Olympic Theatre venue with sound and played his first talkie in “Rio Rita.” Frasna sold the theatre after 29 years of operation to John Ladue in November 1944. After a refresh that included a new sound system and new seating to the count of 280, the venue was rebooted as the Calmar Theatre. It appears that the Calmar Theatre closed June 1, 1957 with Esther Williams in “Unguarded Moment.” So while it was the Calmar Theatre also known as the Olympic Theatre, it was never the Olympia Theatre though it started as the (also known as) Frana Opera House.
The Majestic Theatre was opened by Mr. Carson with motion pictures accompanied by a Deckert piano on April 17, 1913. The grand reopening of the Majestic turned Princess Theatre occurred on September 29, 1917 with “Womanhood" and new Powers film projectors.
L.E. Palmer closed the Princess Theatre permanently on August 4, 1929 with Richard Dix in “Red Skin.” He cited the lack of patronage for silent films as the reason and there was competition just about ten miles away where the Postville Theatre had talkies. The Princess Theatre heatre was dismantled in early January with the seating and equipment moved to a nearby town’s theater.
Hod Engbertson opened the Decorah Drive-In on August 5, 1953 with a double feature of “The Lone Hand” and “Ambush at Tomahawk Gap.” It appears to have closed August 3, 1986 with “Spies Like Us” and “Cobra.”
AMC announced the permanent closure of its Classic Duncan 6 just four days after the circuit had shut down all of its locations due to COVID-19 on March 16, 2020. But the theatre reopened as the Heritage Park Theatre 6 by the Heritage Park Theatres Circuit which relaunched the 6-plex on September 8, 2020.
The local paper contends that John and Opal Gray converted a decade’s old retail building in downtown Chickasha and converted it into the Pix Theatre. Looking at the 311 Chickasha Avenue address, retail businesses are in it for decades which corroborates the newspaper’s account. Posted in photos is a February 1941 announcement of its impending opening less than a week away.
Opal Gray took over full control over the Pix Theatre during its run. She regularly advertises through December of 1952 but nothing after. That may be indicative - or not - of its closure. The paper lists a different venue for the home of the Ismo so believe it could be stricken from this entry.
The Golden Triangle is the area extending from Denton at the north point to Dallas at the southwest point and Fort Worth on the southwestern point. Each had a role in the marketing of the area to industrial, educational, and commercial development. Developers announced the mall project in 1978 under the name of the Golden Triangle Mall. It had its groundbreaking on June 22, 1978. The original outparcel United Artists was announced as one of the original tenants. That venue opened in June of 1980 (as noted above, it made it to the end of its 20-year leasing term and was shuttered). To answer the question, that outparcel has long since been razed and was later replaced by a Staybridge Suites hotel.
Competition for mall space occurred when the Vista Ridge (later Music City) Mall opened in 1989. With folks bailing out of the tarnished Golden Mall at their 15-year lease opt-outs, the Mall was refreshed including an interior space carved out for the U.A. Golden Triangle 5. The theaters thrived until major competition from a modern Cinemark megaplex across the highway. From there, the interior Mall theater fought against insurmountable odds to try and make it to the end of its lease. UA achieved that but only as a sub-run discount house. Silver Cinemas continued the venue as a discount house.
Following COVID-19, the theatre staged an unlikely comeback relaunching after a year and a half after its March 16, 2020 closure likely negotiating a sweetheart year-to-year lease on September 29, 2021. On paper, Landmark Theatres took over the venue from its own Silver Cinemas in February of 2022 when the circuit dissolved the Silver Cinemas nameplate. The theater escalated to first-run when discount titles were challenging to find and customers of second-run product almost as rare. The customer base was thin with the theater finally operating only on weekends as it reached its first anniversary in its post-COVID closure existence.
Landmark closed here on September 25, 2022 likely bailing instead of opting for another year (if that was indeed the agreement). That left Texas with a single Landmark location in the Inwood Theatre. The Mall management obviously likes the foot traffic offered by a theater and hopefully it will return. But the odds seemed likely against it with modern megaplexes and destination bar/food alternatives very close by.
The Palace Theatre closed at the end of lease on April 6, 1967 with Tempest Storm in “Mundo Depravados” and Karen Drake in “The House of Cats” and a live burley show starring Miss Naja and here $100,000 wardrobe along with six comics and five exotics. The Palace’s Saints and Sinners Grand Finale had been staged on February 28, 1967 but that was followed by an encore month of shows thereafter. Legendary operator Dewey Michaels found a new place to move the operation to for the next ten years while the original Palace was demolished soon thereafter to make way for the Church Street Extension project that was previously known as the Elm-Oak Arterial Highway.
Note: In case anyone was curious, The Monkees never played the Palace Theatre in Buffalo and had no concert dates prior to the launch of their series in September of 1966 (their first concert was in December of 1966).
While the above two-sentence entry succinctly describes the Pheil Theatre and its 40-year history in downtown St. Petersburg - and that two sentence synopsis should be retained as is - the Pheil Theatre and Hotel Building might best be remembered for its presence symbolizing the city’s growth from single- and double-storied wood-framed downtown structures to modern skyscrapers associated with perhaps more cutting-edge cities nearby and beyond. Some details of the theater and its adjoining hotel’s history follow.
Abram C. Pheil first announced the Pheil Theatre in August of 1917. Pheil had a significant role in the growth of St Petersburg during Florida’s “land boom” in the 1910s and 1920s. Pheil was the first passenger on the first commercial flight in 1914 from St. Pete to Tampa in 1914. He also removed an island in Bayboro Harbor to ease waterway navigation. He announced his intention to build in the 400-block of Central way back in 1905. His plans continued to balloon and he acquired more lots from 410 to 424 Central. The skyscraper concept was announced in 1916 but began much more modestly with a theater to bear his name that was built beginning in 1917. The Pheil Theatre’s entry was constructed with a temporary wooden shed built to protect pedestrians on Central Avenue from falling debris. It was apparently a necessary but unsightly structure in 1917.
Work on the theater continued in 1918 as a domed structure (see photos). Brooklyn artist Josh Gutchbar worked overtime on the hand-painted 20' dome of the auditorium that was a mural of the sky with cherubs, along with its figurines representing happiness, sadness, pleasure and pain. The screen featured figurines on either side representing work and recreation. The color scheme was ivory and grey with rose drapes. And a large $12,000 pipe organ was installed comparable to the “big city” theaters yet likely not actually meeting that expectation as it was replaced by a mighty Wurlitzer 135 organ (Opus 756, 4 ranks and two manuals) just four years later during a late 1923 refresh.
The Pheil Theatre may be remembered for its small Central Avenue footprint that had a 25' lobby to its back that included a 20' dome allowed the venue to house the projector in the alley allowing people to enter and exit screen-side. The “reverse entry” concept was an innovation designed by the theater’s architect and collaborated to by the theater’s first manager. More importantly, the venue’s foundation allowed for growth as Pheil’s architect, William S. Shull, ensured that it could support a ten-story building if needed in the future. So certain were these plans, that the temporary wooden shed remained in place as the theater prepared its 1918 launch that was delayed until 1918.
The dangers of nitrate film presentation were very well known at the time of designing the building and safety was taken into consideration as the building’s materials were almost entirely wood free save some doors and some ornamental trim. This was a move certainly designed to ease the insurer’s minds. In fact, the original architect and theater manager said that in case of a fire, people would have the option of a natural egress following the “decline” slope of the auditoriums to the familiar Central Avenue front or selecting a back egress into the alley. The theater’s concrete and steel reinforced fireproof projection booth was built up over the rear exit and over the alley. A 1920 booth fire led to a slight reworking of that booth and some interior refinements to the venue.
The long-awaited Pheil Theatre opened February 20, 1919 with Dr. Minor C. Baldwin at the pipe organ and soloist Gretchen Miller as the vocalist. Then St. Pete Mayor Al Lang made the opening speech with followed by Major Lew B. Brown, Postmaster W.L. Straub and former St. Pete Mayor, City Council member now theater owner Pheil (1912-3) making remarks. The venue operated thereafter on a grind policy with continuous shows from 1-10:30p daily. Patrons long remembered coming in during the continuous showings because seated ticket holders would see everyone who entered as they came up through the screen area.
The Pheil would be guided by numerous operators including Southern Enterprises under Paramount beginning in 1920, briefly under Consolidated Theatres and the bulk of its time under E.J. Sparks Enterprises circuit beginning in 1927, and closing under Florida State Theatres when associates of the retiring Sparks took over the Circuit on July 1,1941 through November of 1959.
The theatre was also remembered for the giant Pheil Hotel that would be associated with it for decades. In 1920, Pheil obtained a permit to add the ten-story hotel on to the theatre’s Central Avenue entry along with ground floor businesses to either side. That temporary shed that had been constructed 1917 would remain in place as the hotel was built in 1920 with a targeted opening date in 1921. Or longer as it turned out.
Construction continued with major issues dogging it forcing Phiel Theatre patrons to go to the loud theater through the ugly wooden shed entry in 1920 and 1921. And then continuing in 1922 and 1923. Not ideal. An eleventh floor was then added to the building plans by a new construction company in 1922. But Pheil, who had approved that change, died on November 1, 1922 and the family - led by Bertha and Abraham Pheil - vowed to finish what would become the town’s first commercial skyscraper with a new targeted opening date in 1923.
On April 21, 1924, the Pheil Theatre – still in continuous operation and with the unfinished hotel above it - handed out what were described as “funny pairs” of red and green glasses as it presented its first ever 3D films. To those who had seen 3D stereopticon still images, the effect was a predictable advance but yet an innovative presentation. The theatre closed for the summer and received a refresh bringing improved projection and its new Wurlitzer.
Meanwhile, in the hotel project’s fourth full year of construction, a dual marquee was installed in July of 1924 - one for the hotel and one an improved attractor for the Pheil Theatre. This allowed the removal of that nearly seven-year old eyesore, the temporary wooden shed. The shed’s removal – in and of itself – was an actual news story. A large smokestack was added to the building’s roof in part functionary and in part, apparently, to stake its claim as the city’s tallest structure.
On the second anniversary of his death and some three years behind schedule, R.L. Thorn / Thorn Brothers opened the hotel bearing Abram C. Pheil’s name. The facility was known as the Pheil Theatre and Hotel Building. Hundreds of photos and post cards show the hotel and the theater’s Central Avenue entry. Yet few actually show the theater on its backside. The theatre would continue to innovate becoming only the second theater in the state of Florida to equip with sound and the first in the U.S.A. in a city with fewer than 50,000 residents relaunching on November 11, 1927 with Vitaphone sound. Opening the talkies era at the Pheil were associated shorts and the synchronized sounds of John Barrymore in “When a Man Loves.” And the audiences loudly cheered with approval setting the wheels in motion for other St. Petersburg theaters to equip for sound in 1928. The Pheil followed that up by booking the World Premiere of “Glorious Betsy” with Vitaphone on April 7, 1928.
Once better theaters had sound, the Pheil scuffled during the Depression which included summer closures and reduction to three-day a week operation. It was closed due to lack of business from June of 1929 to early 1930. The theater came back to life operating seasonally. Its 1934 lasted all summer all the way to Christmas of 1934. The Pheil’s new 20-year leasing period began in 1939 under E.J. Sparks but transferred to the renamed Florida State Theatres in 1941. The theatre’s summer closures continued through 1953. The theatre had announced a plan for air conditioning in 1949 that was finally carried out in 1954 by its final operator Florida State Theatres. Florida State also converted the venue to widescreen projection for the purpose of showing CinemaScope films in 1954.
Operating year-round, Florida State operated the venue until the end of the Pheil’s second, 20-year lease. It closed permanently on November 18, 1959 with Dick Miller in ”A Bucket of Blood” and Yvette Vickers in “Attack of the Giant Leeches.” The Cuyahoga Wrecking Company commenced demolition days later continuing into 1960 in demolishing the Pheil in favor of a new First National Bank. That project that lasted from 1960 to 1968 were the first changes for the commercial area since its World War I era construction and also a time that the Pheil would lose its distinction as the city’s tallest building.
High winds destroyed windows in November 1959 even prior to the wrecker’s work. Its entry way and attractor signage on Commerce Street was converted during a major overhaul of the Pheil Hotel property which received a new aluminum Brise Soleil screen wrapping as the building was known as the “cheese grater” for the next 45 years or - officially - as the Madison Hotel toward its new 99-year lease.
The Pheil turned Madison Hotel closed on May 31, 1973. A disposal sale offered everything in the hotel at exceedingly low prices. In that were apparently some of the figurines from the former theater’s lobby. The plan was to raze the hotel in 1973 and 1974. Its demolition was delayed just slightly as the vacant building was finally razed… in 2016. Preservationists efforts to save the structure were simply too late in coming.
For the very unlikely few who care, the Pheil Theatre entry and official address was at 412 Central in the middle of the building and not at the 424 Central address Cinema Treasures uses above. 424 was the entry and address of the Pheil Hotel whose entry was at the right-most side of the property. After the theater was demolished, the former theater entry’s address became 410 Central which - though technically incorrect - is the lowest address associated with the property at 410-424 Central at the left-most side of the property. However, the 424 Central address above is certainly more than close enough as it was within the same structure and works great for mapping purposes.
The Liberty Theatre was an African American Theatre in St. Petersburg.
Bert Schrieber announced the Rosetta Theatre in 1925 which - along with the Ruben Building across the street - was providing what was then the Little River neighborhood with a moderne nexus of retail and entertainment. Paramount Theatres opened the 1,045-seat venue with Spanish architecture primarily as a movie house but had a stage for live stage shows and vaudeville. Its large Kimball pipe organ was a huge hit as the venue opened at the tail end of the silent era. The first film on February 16, 1926 was Tom Mix and Tony, the Wonder Horse, in “The Yankee Señor” and was preceded by an organ concert.
On May 5, 1929, the venue added sound to remain viable with Pauline Frederick in “On Trial” playing on the big screen. Wometco assumed the Rosetta in time for its big fifth anniversary celebration in 1931. As the 20-year leasing period was reached, a new Rosetta was in the works. In 1946, Wometco closed the venue for a full month to give the building a shocking streamline moderne makeover to the plans of Roy A. Benjamin and Charles P. Neider. Those plans were complete with a new Flexlume neon attractor, all new box office and lobby and a new air conditioning plant in time for the August 1, 1946 relaunch with Chester Morris in “Counterfiet.” With temperatures in the mid-to-upper 80s at its launch, the air conditioning would be welcomed. The new building also had a confectionery to its right and another retail operation to its left to provide improved economic benefits. It is assumed that a new 25-year lease came with the refresh.
By 1970 and in its 24th year of operation since the refresh, the theater was scuffling with Wometco repostioning it as a double-feature, ultra-discount house with all seats for 35 cents. Wometco left the venue at the expiry of its lease and a new operator tried a new approach. It moved the Rosetta to an adult movie house named the 2nd Avenue Arts Theatre beginning on February 17, 1971 with Lindis Guinness in “101 Acts of Love” and “The Proficient Professor.” Controversy hounded that change. On January 3, 1973, the venue was briefly taken on by the Southland Cinemas circuit as the New King Cinema / King Cinema returning the venue to double feature Hollywood fare. Success was not to be found for Southland.
It was subleased to Waldrick Theatre Corp. Circuit who renamed it the King Art Cinema. “Art” was in the eye of the beholder. On September 7, 1973, the King Art booked “The Devil in Miss Jones.” On September 10, 1973, the film was confiscated with manager Ceasr Alonso booked on an obscenity charge. The King Art Cinema became the subject of a high-profile litmus test for the Miller v. California standard that the Supreme Court had promulgated on June 21, 1973. That ruling said that, using contemporary community standards, obscene films and other content did not have First Amendment protection.
Though many municipalities had used the Miller standard to impound films in the weeks following the landmark decision, most of those situations did not reach a jury as quickly as the the King Art Cinema case. The case was teed up, launched and decided within weeks of the film being impounded. A jury had viewed the film and was deadlocked on the matter leading to a mistrial and the venue and its manager was off the hook all within the month of September 1973.
But the State did not rest and pushed the case further. That civil case is considered perhaps the first known application of Miller v. California. And those sensing the end of “smut” were sadly let down. The second case was decided on December 14, 1973 and the presiding judge spiked the prosecution’s case by saying, the State wanted the court to “miraculously” interpret Miller in such a way that was not “the role of the courts” in exonerating the film, the exhibitor (Waldrick Corp.) and its manager (Alonso). Similar cases within months in Florida’s Orange and Osceola counties went the same way. Threats by the State to appeal the verdict(s) remained just that as that as they appeared to have no grounds to potentially overturn these early decisions on appeal.
To spike the football, “Devil” had an uber successful 6-month run at the King Art Cinema. The venue was renamed as the Rex Art Cinema on April 19, 1974 likely under new ownership. Though the venue was never known as the King Art Theatre, it was known both as the King Cinema (showing Hollywood fare) and the King Art Cinema (showing adult content). And it should be labeled as either the Rosetta Theatre - its name for some 45 years (1926-1971) or the Rex Art Cinema (final four years) as it was never the Rex Art Theatre. It’s believed though not confirmed that the cinema may have closed in 1977 when its license was pulled along with the 79th Street Twin I & II under a new battle waged by Dade County against obscene content. Also, the theatre was at 7929 NE 2nd Avenue across the street. It has long since been demolished and one might say that the Devil made them do it.
The Center Theatre lists all the way to March 28, 1974 with its last showtimes of Henry Yu Yung in “Fists of Double K (Fist to Fist)” and Wang You in “Blood of the Dragon.” (The theater’s final transition had been from adult cinema earlier in the 1970s to Chopsocky films.) The theatre reached the expiration of its lease but is then listed for sale thereafter for $89,500 with the caveat of “needs work.”
This venue closed as the Parkway Twin 1 & 2 Theatres on October 17, 1985 following showings of “Rocky III” and “Sorceress” splitting a screen with “Alone in the Dark.” For those who came the next night for a film, they got the latter minus the movie.
The Colonial Theatre closed as, by many accounts, a scary 24-hour grindhouse on February 27, 1975 at the end of a leasing period with a continuous quadruple-feature of Karl Malden in “The Summertime Killer,” Strother Martin in “Sssssss (Snake),” John Wayne in “Rio Lobo,” and a fourth film.
Opened in 1914 likely on a 20-year lease and re-upping once more from 1934-1954
Following its purchase in 2015 by AMC, the venue became the AMC Starplex Mesquite 10. After acquiring the Carmike chain late in 2016, the AMC circuit rebranded many of its inherited brands as AMC CLASSIC locations in March of 2017. A refresh brought a sometimes open MacGuffins bar and upgrades including Coca-Cola Freestyle dispensing units. The venue continued as a discount sub-run house. This location was the AMC Classic Mesquite 10 from that point forward.
AMC closed after showtimes on March 16, 2020 here and at all of its locations due to the COVID-19 pandemic. In August of 2020, AMC made the closure permanent becoming one of many theatres closed during the pandemic. It officially closed as the AMC Classic Mesquite 10 and its “forever” posters remained in the exterior poster frames for more than two years. However, in 2022, the building was retrofitted as a retail furniture store.
Final showtimes were January 11, 1963 “The Humanoids” and “Magic Voyage of Sinbad.”
In 2016, AMC purchased the Carmike circuit. In 2017, the Dupont would receive AMC’s CLASSIC tag that was generally given to inherited locations and those locations that would be less likely to receive a major refresh and/or expanded options under the banner, the AMC CLASSIC Fort Wayne 20. AMC closed here temporarily with the rest of the AMC locations on March 16, 2020 due to the COVID-19 pandemic. It reopened on August 27, 2020. AMC announced the permanent closure of the AMC CLASSIC Fort Wayne 20 following showtimes on July 31, 2022.
The theatre had a great 50-year run until closing after October 2, 2022 showtimes.
Oakwood Mall opened October 15, 1986 with the Carmike six-plex as an original attraction though launching on November 21, 1986. The Mall was overhauled in 1996 and Carmike would expand here to twelve screens on November 5, 1997 as the multiplex era had morphed into the megaplex era. In 2005, Carmike refreshed the megaplex with stadium seating.
In 2016, AMC purchased the Carmike circuit. The Oakwood would receive AMC’s CLASSIC tag that was generally given to inherited locations and those locations that would be less likely to receive a major refresh and/or expanded options. The Oakwood Mall would shed three anchors in 2017/8 in Macy’s, Younkers, and Sears. The AMC Classic Oakwood closed temporarily with the rest of the AMC locations on March 16, 2020 due to the COVID-19 pandemic. It reopened on September 3, 2020. AMC announced the permanent closure of the AMC CLASSIC Oakwood 12 following showtimes on October 2, 2022.
From the Dipson Theatres Facebook feed announcing its closure
Add the Sun Sun Theatre to the also known as. That name change occurred on July 25, 1975 as the Sun Sun showed chopsocky films. The venue was then added by the operators of the Star Mall Twin and the Miller Road 93 as the Sun-Sun Cinema later in the year. The Sun-Sun sunsunset on July 29, 1976 at the expiry of a year over year sublease with David Chiang in “The Tong Father,” SuperChan - Kung Fu King in “Forced to Fight,” and Michael Wai-Man Chan in “Chinese Mack.” They didn’t go half way at the Sun-Sun.
The venerable Lyric Theatre closed permanently following the December 11, 1971 showing of Alan Alda in “Paper Lion.” The new Viking Theatre opened the next day, December 12, 1971, with “West Side Story.” It became the Viking 1 & 2 and then the Viking 3 in 1993.
Ellen Larsen opened the Lyric Theatre on September 7, 1914 in the Mrs. Iver Larsen building in downtown Decorah. Bathed in ivory and olive, the venue sold out its first motion picture show. The theatre added sound to remain viable. In the 1960s, it rotated bookings seasonally with the local drive-in. The Lyric closed permanently following the December 11, 1971 showing of Alan Alda in “Paper Lion.” The new Viking Theatre opened the next day with “West Side Story.”
The Grand Theatre closed for the season on June 16, 1965 with “One Man Way.” The drive-in carried the summer schedule. However, only the Lyric opened in the Fall. The Grand was next used for an art gallery.
The new-build Frana Opera House launched March 23, 1916 by L.J. Frana with “As Years Roll On,” a live show starring Al Wilson. The building also housed a drug store. The town already had a movie theater in the Palm Theater’s Movies at Calmar and Frana quickly learned that the townspeople liked movies more than live shows. Frana would briskly reposition the opera house within two months as the movie-centered Olympic Theatre after installing a $3,500 Wurlitzer pipe organ and getting the coveted Paramount Studios exclusive film contract. That would be enough to unseat the Palm Theater.
In 1930, he equipped the Olympic Theatre venue with sound and played his first talkie in “Rio Rita.” Frasna sold the theatre after 29 years of operation to John Ladue in November 1944. After a refresh that included a new sound system and new seating to the count of 280, the venue was rebooted as the Calmar Theatre. It appears that the Calmar Theatre closed June 1, 1957 with Esther Williams in “Unguarded Moment.” So while it was the Calmar Theatre also known as the Olympic Theatre, it was never the Olympia Theatre though it started as the (also known as) Frana Opera House.
The Majestic Theatre was opened by Mr. Carson with motion pictures accompanied by a Deckert piano on April 17, 1913. The grand reopening of the Majestic turned Princess Theatre occurred on September 29, 1917 with “Womanhood" and new Powers film projectors.
L.E. Palmer closed the Princess Theatre permanently on August 4, 1929 with Richard Dix in “Red Skin.” He cited the lack of patronage for silent films as the reason and there was competition just about ten miles away where the Postville Theatre had talkies. The Princess Theatre heatre was dismantled in early January with the seating and equipment moved to a nearby town’s theater.
Hod Engbertson opened the Decorah Drive-In on August 5, 1953 with a double feature of “The Lone Hand” and “Ambush at Tomahawk Gap.” It appears to have closed August 3, 1986 with “Spies Like Us” and “Cobra.”
AMC announced the permanent closure of its Classic Duncan 6 just four days after the circuit had shut down all of its locations due to COVID-19 on March 16, 2020. But the theatre reopened as the Heritage Park Theatre 6 by the Heritage Park Theatres Circuit which relaunched the 6-plex on September 8, 2020.
The local paper contends that John and Opal Gray converted a decade’s old retail building in downtown Chickasha and converted it into the Pix Theatre. Looking at the 311 Chickasha Avenue address, retail businesses are in it for decades which corroborates the newspaper’s account. Posted in photos is a February 1941 announcement of its impending opening less than a week away.
Opal Gray took over full control over the Pix Theatre during its run. She regularly advertises through December of 1952 but nothing after. That may be indicative - or not - of its closure. The paper lists a different venue for the home of the Ismo so believe it could be stricken from this entry.
The Golden Triangle is the area extending from Denton at the north point to Dallas at the southwest point and Fort Worth on the southwestern point. Each had a role in the marketing of the area to industrial, educational, and commercial development. Developers announced the mall project in 1978 under the name of the Golden Triangle Mall. It had its groundbreaking on June 22, 1978. The original outparcel United Artists was announced as one of the original tenants. That venue opened in June of 1980 (as noted above, it made it to the end of its 20-year leasing term and was shuttered). To answer the question, that outparcel has long since been razed and was later replaced by a Staybridge Suites hotel.
Competition for mall space occurred when the Vista Ridge (later Music City) Mall opened in 1989. With folks bailing out of the tarnished Golden Mall at their 15-year lease opt-outs, the Mall was refreshed including an interior space carved out for the U.A. Golden Triangle 5. The theaters thrived until major competition from a modern Cinemark megaplex across the highway. From there, the interior Mall theater fought against insurmountable odds to try and make it to the end of its lease. UA achieved that but only as a sub-run discount house. Silver Cinemas continued the venue as a discount house.
Following COVID-19, the theatre staged an unlikely comeback relaunching after a year and a half after its March 16, 2020 closure likely negotiating a sweetheart year-to-year lease on September 29, 2021. On paper, Landmark Theatres took over the venue from its own Silver Cinemas in February of 2022 when the circuit dissolved the Silver Cinemas nameplate. The theater escalated to first-run when discount titles were challenging to find and customers of second-run product almost as rare. The customer base was thin with the theater finally operating only on weekends as it reached its first anniversary in its post-COVID closure existence.
Landmark closed here on September 25, 2022 likely bailing instead of opting for another year (if that was indeed the agreement). That left Texas with a single Landmark location in the Inwood Theatre. The Mall management obviously likes the foot traffic offered by a theater and hopefully it will return. But the odds seemed likely against it with modern megaplexes and destination bar/food alternatives very close by.