SiliconSam: Looks like Broad Street was renamed University Boulevard (see the first photo on Wikipedia). A quick look at MapQuest and the address 2322 University Boulevard gives us a red star near a suspiciously theatre shaped parking lot in downtown Tuscaloosa.
And Lost, thanks for the “source” link you posted 2/26/2008. That article shows a local man, D.O. Whilldin as the Bama/Druid/Cobb’s architect. He must have been a pretty talented guy.
Recently found a photo of this theatre. The 2-story front shows modest tapestry brickwork, 3-over-1 double hung sashes in the 2nd story windows complete with stripped canvas awnings. The marquee did not have changable letter boards – only the name Hollywood spelled out in single-stroke neon and a pair of horizontal neon stripes. The marquee seems to have had 3 (!) metal columns at the curb – the center one also held the downspout for the marquee roof. In the (apparently mid-1950’s) photo, a round Coca Cola sign has been mounted on top of the marque. There are no outstanding architectural features but it is a solidly handsome little building. A fine, small town theatre.
According to the friend who shared the photo, the Hollywood was built in 1936 replacing an earlier theatre. The Hollywood has itself since been torn down and a new-ish commercial building stands on this site.
Kilgen organ company records show a 3 manual pipe organ installed in the Bama Theatre. It must be this hall since the later Bama would not have had an organ.
There is a record of Kilgen organ company installing a 3 manual organ at a Loew’s theatre in Birimingham. The record does not give a date or an opus number. Was this it?
The following is taken from Variety October 21, 1923.
MEMPHIS ORPHEUM COMPLETELY RUINED IN SPECTACULAR BLAZE TUESDAY NIGHT
BURNED TO GROUND WHILE TOWNSPEOPLE WATCHED FIRE AROUND MIDNIGHT – $250,000 LOSS – ARTISTS ON BILL SAVED TRUNKS – 34 YEAR OLD THEATRE
Tuesday October 17, 1923, Memphis Tennessee
The loss in the fire that destroyed the Orpheum, the Tri-State Manufacturing Co., and the stores on the lower floor early this morning was estimated at over $250,000.
The Orpheum, for 34 years the home of theatricals on Main Street, was destroyed by a spectacular fire that left in place of the once beautiful auditorium, the former palatial Chickasaw Club, only a mass of blackened, jagged ruins.
Starting at 11:16 o'clock last night, exactly 30 minutes after the last of the vaudeville playgoers had filed out, the blaze, as though spread to every part of the four-story structure by a massive torch, within two hours had completely devastated the building.
Vaudevillians and second men tugged and struggled to save their baggage and personal effects, and succeeded.
The theatre, erected in 1889 by a little handful of Memphis men at a cost of $100,000, was owned by the heirs of Colonel W.D. Bethell, at one time mayor of Memphis.
It was insured for $150,000, J.P. Edrington, one of the owners, said late last night.
The Orpheum theatre’s loss in scenery, stage effects and other properties, may reach another $50,000. Insurance was carried at the eastern offices of Vannah Taylor, manager of the local house, was unable to say to what extent the circuit was indemnified.
The second, third and fourth floors of the front part of the structure were rented by the Tri-State Manufacturing Co., makers of women’s dresses and aprons. It was in the workshop of this concern on the Beale avenue side of the building that the fire was first observed by Charley Toler, whose association with the theatre is almost as old as the theatre itself.
Although eight pumpers, two trucks and two water towers were on Main and Beale streets playing half a dozen streams of water through the upper windows of the building, within three minutes the blaze as though fanned by a master power blower was beyond the control of any group of men. Tremendous and continuous sweep of wind from the southeast seemed to reverse itself and carry the fire forward to the front part of the third and fourth floors of the building as though a tremendous eddy was surging forth with it.
Parapets and fire walls proved futile. First the front half of the structure went.
The blaze illuminated the sky for miles around and sending vast billows of flaming sparks into the air. As the roof and each successive floor and partition fell a new eruption of cherry red sparks and burn embers would be sent hurtling to the heavens to circle and spread about the buildings across Beale avenue and Front street. Even the Hotel Gayoso was given a baptism of fire.
Thousands of spectators, after the show diners and late partyies joined with hundreds of Memphians who had left their homes to view the spectacle, more stupendous than Pain ever dreamed of in his wildest days. “The Fall of Pompeii” and “Last Days of Rome” were hand plays by comparison.
At exactly midnight while the lights in the theatre still blazed and Blossom Seeley’s name burned with undimmed fervor on the big electric sign on Main Street, the cupola on the south corner of the Main street side fell with a resounding crash. The heat became terrific on the streets and policemen unnecessarily gave spectators instructions to move back.
The crowd surged forward and as each of the four great outside and two great inde brick separations toppled and fell, it slowly moved back, awed by the impressiveness of the blaze.
Just how the blaze started will probably never be known. It had its beginning on the third floor of the building in the showroom where a score or more of women have been wont to spend their daylight hours toiling over a similar number of sewing machines in the manufacturing company’s plant and which was owned by Joseph and John Kriveher. Their loss was placed at from $25,000 to $35,000.
On the street level floors Jim’s Barber shop and a small confectionery and the Singer Sewing Machine Company’s Property was covered by the quick work of the salvage corps and partly saved.
The musicians defied the flames which were rapidly sweeping towards the big proscenium arch and stage and rescued most of their instruments.
Actors rushed in and frantically saved their trunks. Those who had been assigned to upper floors were not so fortunate.
Blossom Seeley and her husband, Benny Fields, were the heaviest losers among the actor folk. Their setting was completely destroyed. An ermine wrap costing $3,000, Miss Fields said, was burned, too. Fields was able to save but one of his trunks before ordered from the theatre by police, he said. Others saved part of their effects.
The loss hardest to replace will be that of Jewell, who owned the Manikin act, although in figures it will not be as great as that of Miss Seeley’s. Jewell expects to experience much difficulty in creating a new set. One actor who came out of the theatre without his collar and necktie defied the police to stop him from going back after them and got away with it.
Whether the Orpheum will be rebuilt as a theatre is problematical. When the front half was destroyed and it appeared as though the stage and auditorium were going to be saved, Mr. Edrington was hopeful that it could be rebuilt.
“Probably put some offices in front,†he said. Then as the flames spread further and further back, over the parapet and he saw his hope fading, he remarked to a friend, “Well, it’s a nice site for a fine hotel.â€
In 1889 a small group of Memphians led by Col. Bethell decided that the thrown was entitled to a new and fine theatre. They built the house and in the years that followed every celebrity of note trod its boards. Emma Juch, operatic queen, opened the house in October of its first year with a fine production of “The Huguenots.†It was the pride of Memphis in those days. The silver voice of Adelina Patti was heard there before variety and later vaudeville became popular. Frederick Warde, Otis Skinner, Richard Mansfield, James O’Neill, every Shakespearean actor of note during the nineties and every musical comedy celebrity on the American stage appeared at the Grand Opera House.
In the meantime Col. Bethell had bought the interest of his associates and became sole owner of the theatre. Then in 1894 Col. H.L. Brinkley and some of his friends decided that Memphis needed another theatre, so they built the Lyceum. For 10 years the competition was keen and the rivalry intense.
While the road shows and “combinations†were flourishing the late Frank Gray, beloved of all newspaper men, was made manager. In 1899 the theatre was thoroughly remodeled and overhauled. A.B. Morrison, still one of the most popular theatre managers ever known, was placed at the helm.
The bill consisted of Blossom Seeley, Burns and Lynn, Bert Hanlon, Lahr and Mercedes, Anderson and Burt, Van and Bell and the Jewell manikins.
I found an early photo of the Peabody Theatre in the book “The Wurlitzer Pipe Organ, an Illustrated History” by David Junchen and Jeff Weiler on page 150. It is a reproduction of a 1927 Wurlitzer advertisement showing several small theatres equipped with Wurlitzer “Organettes” or photoplayers. The Suzore (q.v.) and The Peabody Theatres in Memphis are both shown having these little instruments.
Found a photo of what I believe to be THIS Suzore in the book “The Wurlitzer Pipe Organ, an Illustrated History” by David Junchen and Jeff Weiler on page 150. It is a reproduction of a 1927 Wurlitzer advertisement showing several small theatres equipped with Wurlitzer “Organettes” or photoplayers. The Suzore (spelled differently in the photo and the text) and The Peabody Theatre (q.v.)in Memphis are both shown having these little instruments.
The photo shows the Suzore on a corner lot, a 2 story front of brick with light colored stone (?) accents around windows. The marquee is a canopy without sign boards. It’s handsome and simple.
This does date the theatre to the silent era rather than the 1930s as stated above.
Went to see Harry Potter and the Half Blood Prince last weekend at the Riviera. In the last couple of years, I’ve seen several shows there. The theatre really is comfortable, the presentation excellent and the popcorn quite good. I am VERY glad to have the new Riviera in downtown. But jeez, every time I look at it, I realize it’s just another suburban cineplex on a downtown lot. Regal’s West Town Mall 9 is a much more handsome facility, inside and out.
Well, I’ll be interested in hearing thoughts/reviews from others interested in the Bijou. The new vertical sign is an approximation of one of the Bijou’s previous signs. The new marquee is, (sigh) also, very much an “approximation” of one of the old theater’s previous signs. It is nice to have real theatrical signage on the front of the building. Really it is. And signs are expensive. Good looking signs are VERY expensive. It’s a step in the right direction. Keep in mind that Knoxville is extremely fortunate to have retained two grand theatres. Both the Bijou and the Tennessee are looking better than they have in decades.
Ha! The ghostly, white, mystery organ played by a spectral Jesse Crawford? Could it be cradled in a clandestinly created climate controlled crypt? Or does it reside only in the memories of organ interludes past? Where or when should we find the cadaverous claviers again? The sepulcural stops? The phantom pipes? The reaper’s ranks? Quote the Raven: “How the hell should I know?”
The Tennessee’s console was always red with gold trim.
Here’s a photo of another moorish Wurlitzer console, this one quite similar to the Tennessee’s, though this one appears to be monochrome gold, rather than the If the link doesn’t work, search for Bob Castle on YouTube.com.
At the risk of releasing another avalanche of posts, please see the virtual tour of the auditorium here and the June 2008 photo LM posted at 10:47 this morning.
The console is red. RED. R E D! It has gold trim. The keys are white and black and the stop tabs in black, ivory, red and mottled yellow. The toe studs are nickle plated and the black swell shoes outlined in chrome. The music rack lamp is gold-toned. The natural pedal keys are clear-finished maple with ebony sharps. The undersides of all the pedal keys are lightly coated with dust and cobwebs which at first glance appear to be white, but upon closer examination are actually light gray. Dr. Snyder’s hair is a charming shade of white and he usually wears a black dinner jacket or occassionally black tails, there being, thank the gods, no sequins in his wardrobe.
Ooops, sorry, that should read, “…polluted beyond belief, so every duct, gap, crack, crevise and cranny has to be cleaned and repaired. Anyone who has ever been in the basement of a movie palace knows that could be an incerdibly daunting job.”
Sorry, the boss walked in and distracted me while I was writing.
If memory serves, the Saenger’s stage is only one or two steps down from the sidewalk. Water in that particular area was not nearly as deep as elsewhere in the city. The Saenger was already closed for a renovation and the seats and other equipment had been removed. The organ console was raised to the top of the lift. The water rose to just below the bottom manual keyboard. Aesthetic damage to the theatre was minimal, but the mechanical systems were ruined. And of course, the water was polluted beyond belief, so every duct, gap, Economics of running the facility have been dicey since the disaster: reduced population means fewer possible ticket sales.
The city already owned and operated the Mahalia Jackson Theatre. Though the MJT is far less interesting architecturally, it was also in much better condition, (and let’s face it, MUCH better equipped) so the city concentrated on getting it open first.– (it also needed far fewer repairs.)
The agreement between the Saenger’s manangement company and the city of New Orleans seems VERY similar to that worked out between the Memphis Orpheum (q.v.) and the city of Memphis, where the city technically ownes the building (and land) but leases it for a nominal amount back to the management company. (The rent is something like $1 a year.) This has been HUGELY successful in Memphis and we can hope the Saenger does as well.
I heard from John Hiltonsmith on Sunday. He cares for the Saenger’s Robert Morton organ. He had been contacted by the theatre management and told of the renovation plans. They are planning to renovate the organ, however, details, funding etc are not yet finalized. They indicated that he would be “kept in the loop.”
Also visible in the deeper background on the left is the vertical sign for the Lowe’s State. Almost directly across from the Warner, the building nearer to us from Dreifus, is the Majestic, long since converted to retail, but it is still standing (q.v.). The Strand should be visible just this side of the State and the Malco’s large vertical sign (nee Orpheum)should be visible in the deep right background – though I’m not seeing either of these last two. The Warner went down not long after this photo.
Here’s some good news.
View link
Got an e-mail today saying that the new marquee was lit up for the first time last night.
SiliconSam: Looks like Broad Street was renamed University Boulevard (see the first photo on Wikipedia). A quick look at MapQuest and the address 2322 University Boulevard gives us a red star near a suspiciously theatre shaped parking lot in downtown Tuscaloosa.
And Lost, thanks for the “source” link you posted 2/26/2008. That article shows a local man, D.O. Whilldin as the Bama/Druid/Cobb’s architect. He must have been a pretty talented guy.
The original Riviera’s page is
/theaters/16357/
Gastonia NC. Good way for a projectionist to get fired.
Recently found a photo of this theatre. The 2-story front shows modest tapestry brickwork, 3-over-1 double hung sashes in the 2nd story windows complete with stripped canvas awnings. The marquee did not have changable letter boards – only the name Hollywood spelled out in single-stroke neon and a pair of horizontal neon stripes. The marquee seems to have had 3 (!) metal columns at the curb – the center one also held the downspout for the marquee roof. In the (apparently mid-1950’s) photo, a round Coca Cola sign has been mounted on top of the marque. There are no outstanding architectural features but it is a solidly handsome little building. A fine, small town theatre.
According to the friend who shared the photo, the Hollywood was built in 1936 replacing an earlier theatre. The Hollywood has itself since been torn down and a new-ish commercial building stands on this site.
Kilgen organ company records show a 3 manual pipe organ installed in the Bama Theatre. It must be this hall since the later Bama would not have had an organ.
There is a record of Kilgen organ company installing a 3 manual organ at a Loew’s theatre in Birimingham. The record does not give a date or an opus number. Was this it?
Records show a Kilgen pipe organ opus 3459 at the Lyric.
The following is taken from Variety October 21, 1923.
MEMPHIS ORPHEUM COMPLETELY RUINED IN SPECTACULAR BLAZE TUESDAY NIGHT
BURNED TO GROUND WHILE TOWNSPEOPLE WATCHED FIRE AROUND MIDNIGHT – $250,000 LOSS – ARTISTS ON BILL SAVED TRUNKS – 34 YEAR OLD THEATRE
Tuesday October 17, 1923, Memphis Tennessee
The loss in the fire that destroyed the Orpheum, the Tri-State Manufacturing Co., and the stores on the lower floor early this morning was estimated at over $250,000.
The Orpheum, for 34 years the home of theatricals on Main Street, was destroyed by a spectacular fire that left in place of the once beautiful auditorium, the former palatial Chickasaw Club, only a mass of blackened, jagged ruins.
Starting at 11:16 o'clock last night, exactly 30 minutes after the last of the vaudeville playgoers had filed out, the blaze, as though spread to every part of the four-story structure by a massive torch, within two hours had completely devastated the building.
Vaudevillians and second men tugged and struggled to save their baggage and personal effects, and succeeded.
The theatre, erected in 1889 by a little handful of Memphis men at a cost of $100,000, was owned by the heirs of Colonel W.D. Bethell, at one time mayor of Memphis.
It was insured for $150,000, J.P. Edrington, one of the owners, said late last night.
The Orpheum theatre’s loss in scenery, stage effects and other properties, may reach another $50,000. Insurance was carried at the eastern offices of Vannah Taylor, manager of the local house, was unable to say to what extent the circuit was indemnified.
The second, third and fourth floors of the front part of the structure were rented by the Tri-State Manufacturing Co., makers of women’s dresses and aprons. It was in the workshop of this concern on the Beale avenue side of the building that the fire was first observed by Charley Toler, whose association with the theatre is almost as old as the theatre itself.
Although eight pumpers, two trucks and two water towers were on Main and Beale streets playing half a dozen streams of water through the upper windows of the building, within three minutes the blaze as though fanned by a master power blower was beyond the control of any group of men. Tremendous and continuous sweep of wind from the southeast seemed to reverse itself and carry the fire forward to the front part of the third and fourth floors of the building as though a tremendous eddy was surging forth with it.
Parapets and fire walls proved futile. First the front half of the structure went.
The blaze illuminated the sky for miles around and sending vast billows of flaming sparks into the air. As the roof and each successive floor and partition fell a new eruption of cherry red sparks and burn embers would be sent hurtling to the heavens to circle and spread about the buildings across Beale avenue and Front street. Even the Hotel Gayoso was given a baptism of fire.
Thousands of spectators, after the show diners and late partyies joined with hundreds of Memphians who had left their homes to view the spectacle, more stupendous than Pain ever dreamed of in his wildest days. “The Fall of Pompeii” and “Last Days of Rome” were hand plays by comparison.
At exactly midnight while the lights in the theatre still blazed and Blossom Seeley’s name burned with undimmed fervor on the big electric sign on Main Street, the cupola on the south corner of the Main street side fell with a resounding crash. The heat became terrific on the streets and policemen unnecessarily gave spectators instructions to move back.
The crowd surged forward and as each of the four great outside and two great inde brick separations toppled and fell, it slowly moved back, awed by the impressiveness of the blaze.
Just how the blaze started will probably never be known. It had its beginning on the third floor of the building in the showroom where a score or more of women have been wont to spend their daylight hours toiling over a similar number of sewing machines in the manufacturing company’s plant and which was owned by Joseph and John Kriveher. Their loss was placed at from $25,000 to $35,000.
On the street level floors Jim’s Barber shop and a small confectionery and the Singer Sewing Machine Company’s Property was covered by the quick work of the salvage corps and partly saved.
The musicians defied the flames which were rapidly sweeping towards the big proscenium arch and stage and rescued most of their instruments.
Actors rushed in and frantically saved their trunks. Those who had been assigned to upper floors were not so fortunate.
Blossom Seeley and her husband, Benny Fields, were the heaviest losers among the actor folk. Their setting was completely destroyed. An ermine wrap costing $3,000, Miss Fields said, was burned, too. Fields was able to save but one of his trunks before ordered from the theatre by police, he said. Others saved part of their effects.
The loss hardest to replace will be that of Jewell, who owned the Manikin act, although in figures it will not be as great as that of Miss Seeley’s. Jewell expects to experience much difficulty in creating a new set. One actor who came out of the theatre without his collar and necktie defied the police to stop him from going back after them and got away with it.
Whether the Orpheum will be rebuilt as a theatre is problematical. When the front half was destroyed and it appeared as though the stage and auditorium were going to be saved, Mr. Edrington was hopeful that it could be rebuilt.
“Probably put some offices in front,†he said. Then as the flames spread further and further back, over the parapet and he saw his hope fading, he remarked to a friend, “Well, it’s a nice site for a fine hotel.â€
In 1889 a small group of Memphians led by Col. Bethell decided that the thrown was entitled to a new and fine theatre. They built the house and in the years that followed every celebrity of note trod its boards. Emma Juch, operatic queen, opened the house in October of its first year with a fine production of “The Huguenots.†It was the pride of Memphis in those days. The silver voice of Adelina Patti was heard there before variety and later vaudeville became popular. Frederick Warde, Otis Skinner, Richard Mansfield, James O’Neill, every Shakespearean actor of note during the nineties and every musical comedy celebrity on the American stage appeared at the Grand Opera House.
In the meantime Col. Bethell had bought the interest of his associates and became sole owner of the theatre. Then in 1894 Col. H.L. Brinkley and some of his friends decided that Memphis needed another theatre, so they built the Lyceum. For 10 years the competition was keen and the rivalry intense.
While the road shows and “combinations†were flourishing the late Frank Gray, beloved of all newspaper men, was made manager. In 1899 the theatre was thoroughly remodeled and overhauled. A.B. Morrison, still one of the most popular theatre managers ever known, was placed at the helm.
The bill consisted of Blossom Seeley, Burns and Lynn, Bert Hanlon, Lahr and Mercedes, Anderson and Burt, Van and Bell and the Jewell manikins.
I found an early photo of the Peabody Theatre in the book “The Wurlitzer Pipe Organ, an Illustrated History” by David Junchen and Jeff Weiler on page 150. It is a reproduction of a 1927 Wurlitzer advertisement showing several small theatres equipped with Wurlitzer “Organettes” or photoplayers. The Suzore (q.v.) and The Peabody Theatres in Memphis are both shown having these little instruments.
Found a photo of what I believe to be THIS Suzore in the book “The Wurlitzer Pipe Organ, an Illustrated History” by David Junchen and Jeff Weiler on page 150. It is a reproduction of a 1927 Wurlitzer advertisement showing several small theatres equipped with Wurlitzer “Organettes” or photoplayers. The Suzore (spelled differently in the photo and the text) and The Peabody Theatre (q.v.)in Memphis are both shown having these little instruments.
The photo shows the Suzore on a corner lot, a 2 story front of brick with light colored stone (?) accents around windows. The marquee is a canopy without sign boards. It’s handsome and simple.
This does date the theatre to the silent era rather than the 1930s as stated above.
Went to see Harry Potter and the Half Blood Prince last weekend at the Riviera. In the last couple of years, I’ve seen several shows there. The theatre really is comfortable, the presentation excellent and the popcorn quite good. I am VERY glad to have the new Riviera in downtown. But jeez, every time I look at it, I realize it’s just another suburban cineplex on a downtown lot. Regal’s West Town Mall 9 is a much more handsome facility, inside and out.
Bob, the link doesn’t work – at least for me. Can you check your end?
I can just hear Bill playing “The Time Warp” on the Wurlitzer.
Here’s a YouTube performance by Ron Reseigh the Riverside’s III/13 Wurlitzer. Sounds like the old organ got a top to bottom make-over recently!
Astounding technique and humor by a first rate organist!
View link
Well, I’ll be interested in hearing thoughts/reviews from others interested in the Bijou. The new vertical sign is an approximation of one of the Bijou’s previous signs. The new marquee is, (sigh) also, very much an “approximation” of one of the old theater’s previous signs. It is nice to have real theatrical signage on the front of the building. Really it is. And signs are expensive. Good looking signs are VERY expensive. It’s a step in the right direction. Keep in mind that Knoxville is extremely fortunate to have retained two grand theatres. Both the Bijou and the Tennessee are looking better than they have in decades.
The Bijou just got its new vertical sign and marquee. Looking good!
Ha! The ghostly, white, mystery organ played by a spectral Jesse Crawford? Could it be cradled in a clandestinly created climate controlled crypt? Or does it reside only in the memories of organ interludes past? Where or when should we find the cadaverous claviers again? The sepulcural stops? The phantom pipes? The reaper’s ranks? Quote the Raven: “How the hell should I know?”
The Tennessee’s console was always red with gold trim.
Here’s a photo of another moorish Wurlitzer console, this one quite similar to the Tennessee’s, though this one appears to be monochrome gold, rather than the If the link doesn’t work, search for Bob Castle on YouTube.com.
http://www.youtube.com/watch?v=SIvhJ_JBZFo
At the risk of releasing another avalanche of posts, please see the virtual tour of the auditorium here and the June 2008 photo LM posted at 10:47 this morning.
View link
The console is red. RED. R E D! It has gold trim. The keys are white and black and the stop tabs in black, ivory, red and mottled yellow. The toe studs are nickle plated and the black swell shoes outlined in chrome. The music rack lamp is gold-toned. The natural pedal keys are clear-finished maple with ebony sharps. The undersides of all the pedal keys are lightly coated with dust and cobwebs which at first glance appear to be white, but upon closer examination are actually light gray. Dr. Snyder’s hair is a charming shade of white and he usually wears a black dinner jacket or occassionally black tails, there being, thank the gods, no sequins in his wardrobe.
Ooops, sorry, that should read, “…polluted beyond belief, so every duct, gap, crack, crevise and cranny has to be cleaned and repaired. Anyone who has ever been in the basement of a movie palace knows that could be an incerdibly daunting job.”
Sorry, the boss walked in and distracted me while I was writing.
If memory serves, the Saenger’s stage is only one or two steps down from the sidewalk. Water in that particular area was not nearly as deep as elsewhere in the city. The Saenger was already closed for a renovation and the seats and other equipment had been removed. The organ console was raised to the top of the lift. The water rose to just below the bottom manual keyboard. Aesthetic damage to the theatre was minimal, but the mechanical systems were ruined. And of course, the water was polluted beyond belief, so every duct, gap, Economics of running the facility have been dicey since the disaster: reduced population means fewer possible ticket sales.
The city already owned and operated the Mahalia Jackson Theatre. Though the MJT is far less interesting architecturally, it was also in much better condition, (and let’s face it, MUCH better equipped) so the city concentrated on getting it open first.– (it also needed far fewer repairs.)
There’s a nice article about the MJT here
View link
The agreement between the Saenger’s manangement company and the city of New Orleans seems VERY similar to that worked out between the Memphis Orpheum (q.v.) and the city of Memphis, where the city technically ownes the building (and land) but leases it for a nominal amount back to the management company. (The rent is something like $1 a year.) This has been HUGELY successful in Memphis and we can hope the Saenger does as well.
I heard from John Hiltonsmith on Sunday. He cares for the Saenger’s Robert Morton organ. He had been contacted by the theatre management and told of the renovation plans. They are planning to renovate the organ, however, details, funding etc are not yet finalized. They indicated that he would be “kept in the loop.”
Also visible in the deeper background on the left is the vertical sign for the Lowe’s State. Almost directly across from the Warner, the building nearer to us from Dreifus, is the Majestic, long since converted to retail, but it is still standing (q.v.). The Strand should be visible just this side of the State and the Malco’s large vertical sign (nee Orpheum)should be visible in the deep right background – though I’m not seeing either of these last two. The Warner went down not long after this photo.
Poodles, Click on my name below and send me an email. Will