Alhambra Theatre
25 N. Washington Street,
Knightstown,
IN
46148
25 N. Washington Street,
Knightstown,
IN
46148
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Additional Info
Architects: John Adam Hasecoster, C. Frank Mitchell
Styles: Romanesque Revival
Previous Names: Alhambra Opera House
Nearby Theaters
The IOOF Lodge Building was constructed in 1897-1898 and was designed in a Romanesque Revival style by architect John Adam Hasecoster. The ground floor contained the 965-seat Alhambra Opera House. By 1914 it was in use as a movie theatre. It was remodeled in 1940 to the plans of New Castle, Indiana based architect C. Frank Mitchell.
The Alhambra Theatre was closed as a movie theatre in 1966. By the early-1980’s it was briefly in use as a live theatre. The building fell into disrepair and was demolished in the late-1980’s. The site is now a small public park.
Contributed by
Bryan Krefft
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Recent comments (view all 5 comments)
The Alhambra theatre was open in 1925.
Built by the Oddfellows in 1897 it was originally the Alhambra Opera House. I’ve uploaded a postcard image of the Opera House currently being offered on eBay and a later photo of the facade of the building proclaiming the date it was erected.
Recollections by Wayne Kelly that accompanied photo added to gallery via Facebook:
“Generations of Knightstownians used the Alhambra Theater as the “great escape.” Youngsters dreamed of becoming cowboys, movie stars, soldiers of fortune, detectives or police or firemen. Teens held hands and traded kisses along the “great wall” at the rear of the auditorium. Young men and women dreamed of futures filled with romance and adventure. Oldsters relived their lives or dreamed of “‘what might have been” as handsome and beautiful Hollywood stars danced across the silver screen.
As a youngster, like most Knightstown kids, I was a devoted Alhambra fan. When my brother and I were 7-8 years old we used to earn show money by collecting newspapers and bottles for sale to the junk recycler, Andy Judt. We tried not to miss a change of shows. Entrance was nine cents and a box of popcorn was five cents! The characteristic theater marquee was a beacon for movie goers. The glassed poster boxes on both sides of the entrance described the current showings. The box office was a tiny closet that housed a ticket sales person who resembled one of the mannequin fortune tellers one might see in a glass cage at an arcade. She sold tickets pulled from two reels: one color for children and another for adults. Money was carefully stored in a cash drawer that slid under the counter.
On entering the theater it was customary to stop at the small refreshment stand to the left of the big, double-doored entrance. A taste-tempting selection of candies beckoned from the glass display case. If that did not work, the tantalizing aroma of fresh popped corn was the clincher.
The short walk up the gentle incline to the ticket taker was an adventure, too. Walls on both sides displayed large posters of Hollywood luminaries such as Gary Cooper, Betty Grable, Clark Gable, Veronica Lake, David Niven, Claudette Colbert and a host of others. The ticket taker collected the tickets, carefully tearing each in half so patron had a receipt. From there it was a few steps across a crimson carpet decorated with gold swirls into the inner sanctum of the 800 seat auditorium. Lighting was dim and only bright enough to find a seat. Many youngsters headed for the front row where they would crane necks upwards watching the action from as close a position as possible. A gigantic, deep red curtain covered the stage area where the screen lay concealed until the projectionist in the upstairs booth opened them. Then a few slides of local interest, perhaps a News of the Day newsreel, a short subject, perhaps a cartoon and finally the featured film.
Not everyone sat in the auditorium . There was the “balcony” where adults could pay extra and sit in a smoking area in comfortable lounge chairs. Usually, the theater owner, his friends and Knightstown businessmen had first choice at the special seating. Sunday and Monday were usually major productions while Tuesday/Wednesday and Thursday/Friday/Saturday were “B” movies. In those days Hollywood required smaller theaters to screen a number of “B” movies each week in order to get a major production. This process kept film land churning out movies for many years on studio lots that were actually small cities within Los Angeles and the surrounding area. They had their own doctors, restaurants, commissaries, fire and police departments. Many of the employees and their families lived on the lots.
A “B” feature was usually produced each week by the six or seven major studios of that day. The need for quick film making was real, too. Thousands of theaters across America had insatiable audiences and the 10-25 cent admission price fueled one of America’s largest industries.
Near the end of World War II, as I recall on Wednesday night, a cash drawing was held. The theater manager would pull ticket stubs from a box and a few lucky patrons walked away with cash in their pockets. Manager Alfred (Mick) Richey ran a tight ship, too. He did not tolerate talking or disruptive behavior. When he walked down a darkened aisle, flash light in hand, for a first warning it meant once more and the violator would be ejected. To make sure they behaved, Richey would often hide behind the stage curtains and watch those he had warned. There was no second chance. Just ejection. It was to this “theater” that I was drawn.
The Alhambra had always been a magic place, a retreat where I could dream of the future. The Knightstown Alhambra had been a part of the community for many years, and I was drawn to this tradition. In the spring of 1951 I was hired as a ticket taker. It was a dream come true. Not only did I feel it was a prestigious job, but I got to see every movie. And I did not miss many over the next 18 months. Richey was responsible for keeping the facility running smoothly. The Alhambra was owned by Harry Watts who, it seemed to me, maintained a low profile and let Mick manage the day to day operations. Attractions were booked weeks ahead and at each screening change large metal boxes containing the film reels were left next to the theater’s front door. The heavy metal cans would contain four to six. 18-in reels. Collecting tickets was indisputably the easiest job I ever held. I soon became familiar with all operations and started visiting the projection booth after the theater had emptied from the first screening and I was waiting for the latecomers to go home.
Lon Craig (who was also the local lawn mower repair guy) was the chief projectionist and always glad to have company. He was friendly and allowed me to sit in the booth and watch the loading of the giant, carbon-arc projectors. His skill at changeovers from projector to projector was amazing. Remember those little buttons that would flash in the upper right hand portion of the giant screen? There were two and were called “cue” buttons. The first button was for turning on the projector that contained the next reel and the second was for actually switching projectors. Hollywood always made the changeover in scenes that involved switching scenes, camera angles or the screen fading with some other cinematic device. For a few weeks I watched him operate the twin projector system and he began showing me how to perform the job. In the fall of 1951 Richey asked if I would also like to hire on as a relief projectionist. I thought I had died and gone to heaven. Craig stepped up his instructions and within a couple of weeks I was working under his supervision. I clearly recall the first night I had the booth to myself. I was terrified but fortunately did not make any mistakes. I worked a couple of nights during the week and usually a shift on Saturday.
I held the job until I graduated from high school. At one point in my senior year I even hosted a Saturday afternoon cartoon festival to raise money for the Class of 52 senior trip. Lots of Alhambra memories and I am sure every theater-goer has his or her own story to tell."
The Alhambra was one of three movie houses listed at Knightstown in the 1914-1915 American Motion Picture Directory, the others being the Grand and the Superba, the latter located on West Main Street.
The 1909-1910 Cahn guide lists the Alhambra Theatre as a 965-seat, ground floor house with a stage 30 feet deep from footlights to back wall and 60 feet between the sidewalls. The NRHP form (PDF here) for the Knightstown Historic District, which included the Alhambra, says that the 1897-98 IOOF Lodge building and Alhambra Opera House was designed by architect John Adam Hasecoster, and the theater was remodeled in 1940 with plans by New Castle architect C. Frank Mitchell. It was probably at that time that the building lost much of its original Romanesque Revival detailing.
The Alhambra was still standing when the NRHP application was made in 1986, but a few years later the structure, which had operated briefly as a theater in the early 1980s after having closed in 1966, had deteriorated to such an extent that it had to be demolished. Its site is now a small public park.
Possibly AKA Washington Theatre which was apparently it’s name in April 1924, unless someone can find otherwise. The Washington and the Strand which I added a page for were both managed by. H.H. Diffenderfer. Print ad image added. I can add a page for the Washington Theatre if it was not the Alahambra. But I can find no other information on one of that name.