This venue opened as the Bluebonnet Gardens Theatre on November 4, 1926 with Mary Pickford in “Little Annie Rooney.” The silent theater’s formative days were rustic with large fireplace with real fire (a bit risky in the days of explosive nitrate prints), indoor trees, and wall decor including elk heads.
The venue changed to the Bluebonnet Theatre wiring for Vitaphone sound in June of 1929 and subsequently was dynamited likely due to hiring non-union sound projectionists. The rustic look and non-union policy ended with a major redesign by Interstate Theatres which relaunched it as the New Bluebonnet (aka “Don’t Dynamite Us, Please”) on August 19, 1936 with “Mutiny on the Bounty.” All new seating and improved sound system was a short term success.
The Bluebonnet scuffled at the outset of the TV age as the neighborhood changed and the programming veered between third-tier sub-run double and triple features and four-wall exploitation. It closed February 1, 1953 with a double feature of the Producers Releasing Corporation’s bad girl exploitation opuses of “Secrets of a Sorority Girl” and “Why Girls Leave Home.”
in 1954, it became a house of worship. In 1959, it had a brief rebranding as the Jubilee Theatre with live country music. It returned to a house of worship in 1960.
The Al Ray Theatre Circuit took on the Avalon rebranding it as the Fiesta Theatre on January 14, 1962 with Pedro Armendariz in “La Carcel de Cananea” and Silvia Paňal in “Pecado Mortal.” That seems to have ended in 1964.
It rebranded as the Capri Art Cinema on July 7, 1965 with “At Lil’s Place,” “Nudist Memories,” and “Soho Strip.” The venue appears to have closed as the Capri Theatre on July 29, 1979 at end of lease with the last known bookings being Christina Lindberg in “Anita: Swedish Nymphet” and Bree Anthony in “Satan Was a Lady.”
The former adult venue became home to the United With Christ Cathedral, a house of worship in February of 1988 likely to reduce taxing liability on the property. The name of this venue should be the Capri Theatre. The building was torn down further reducing its taxing liability.
This venue opened as the Bluebonnet Gardens Theatre on November 4, 1926 with Mary Pickford in “Little Annie Rooney.” The silent theater’s formative days were rustic with large fireplace with real fire (a bit risky in the days of explosive nitrate prints), indoor trees, and wall decor including elk heads.
The venue changed to the Bluebonnet Theatre wiring for Vitaphone sound in June of 1929 and subsequently was dynamited likely due to hiring non-union sound projectionists. The rustic look and non-union policy ended with a major redesign by Interstate Theatres which relaunched it as the New Bluebonnet (aka “Don’t Dynamite Us, Please”) on August 19, 1936 with “Mutiny on the Bounty.” All new seating and improved sound system was a short term success.
The Bluebonnet scuffled at the outset of the TV age as the neighborhood changed and the programming veered between third-tier sub-run double and triple features and four-wall exploitation. It closed February 1, 1953 with a double feature of the Producers Releasing Corporation’s bad girl exploitation opuses of “Secrets of a Sorority Girl” and “Why Girls Leave Home.”
in 1954, it became a house of worship. In 1959, it had a brief rebranding as the Jubilee Theatre with live country music. It returned to a house of worship in 1960.
Predominately live events with some first-run titles and some rep. This is not a second run theatre.
The Al Ray Theatre Circuit took on the Avalon rebranding it as the Fiesta Theatre on January 14, 1962 with Pedro Armendariz in “La Carcel de Cananea” and Silvia Paňal in “Pecado Mortal.” That seems to have ended in 1964.
It rebranded as the Capri Art Cinema on July 7, 1965 with “At Lil’s Place,” “Nudist Memories,” and “Soho Strip.” The venue appears to have closed as the Capri Theatre on July 29, 1979 at end of lease with the last known bookings being Christina Lindberg in “Anita: Swedish Nymphet” and Bree Anthony in “Satan Was a Lady.”
The former adult venue became home to the United With Christ Cathedral, a house of worship in February of 1988 likely to reduce taxing liability on the property. The name of this venue should be the Capri Theatre. The building was torn down further reducing its taxing liability.
This is definitely not a second run house.
Heavy mix of rep/revival with some first run art. Definitely not a second run house.
First run films with occasional rep film. Definitely not a second run cinema.
Definitely a live house with an occasional rep film. No second run film house operation here.
It plays live shows and first-run films with some rep. It is definitely not a second run cinema.
Straight classic / rep films. Not a second run house.
This is a rep/revival house with live events. It is definitely not a second run cinema.
This is a first run cinema with rep and some live events. Not a second run cinema.
First run theater with some rep mixed in. This is definitely not a second run cinema.
First run theater with some rep mixed in. This is not a second run cinema.
First run theater with some rep mixed in. It is definitely not a second run theater.
This is a rep/revival house. It is definitely not a second run cinema.
This would not be a second run cinema. I’d also suggest that it may not exist as a functioning cinema though have no idea.
Closed
This is a rep/revival house with live events. It is not a second run cinema.
This is a live and rep/revival house. It is not a second run cinema.
This is a live event, rep/revival, first run movie house. It is definitely not a second-run theater.
This is a live events theatre. No films
Art Theatre and not a second run theatre
This is a first run theatre playing occasional repertory titles. It is no longer a discount, second run theatre.
They play first run films with some repertory mixed in. They are not a second run house.
This is a rep/revival house. It is definitely not a second run house.