2015 Conclave Souvenir Book

8/20/2019 2015 Conclave Souvenir Book

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R I C H M O N D

, V I R G I N IA

2 0 1 5 C O N

C LA V E T

H EA T R E

T O U R


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TABLE OF

CONTENTS

2 | 2015 Conclave Theatre Tour: Richmond, Virginia

CONCLAVE CHAIR

James Johnson, THS Member

BOARD OF DIRECTORSCraig Morrison, President

Dulcie Gilmore, Vice-President

Suzanne Leworthy, Secretary

Joe Masher, Treasurer

Lowell Angell, Lisa M. DiChiera

Jon Flynn, Ed Kelsey

Ward Miller, Dave Syfczak

Mark Wretschko

Welcome o Richmond! 3

Daily our Schedule 4

About Richmond, Virginia 6

About Washington, D.C 8

About Norfolk, Virginia 9

Altria Teater 10

Byrd Teatre 11

Bow ie Cinemas’ Movieland 12

Sara Belle and Neil November Teatre 13

National Teatre, Richmond 14

Carpenter Teater 15

Henrico Teatre 16

Ashland Teatre 17

Lincoln Teatre 18

Howard Teatre 19

Warner Teater 20National Teatre, Washington, D.C. 21

Attucks Teatre 22

Chrysler Hall 23

CC Roper Performing Arts Center 24

Wells Teatre 25

Wayne Teatre 26

Blackfriars Playhouse 27

Staunton Performing Arts Center 28

Jefferson Teatre 29

Paramount Teater 30

Beacon Teatre 31

Commodore Teatre 32

Kimball Teatre 33Teatre Contact Information 34


3/36Theatre Historical Society of America | historictheatres.org

2015 CONCLAVE HEARE OUR

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The 2015 Conclave Theatre Tour will visit over 20 different theatres in 11 cities and towns across Washing-

ton, D.C. and Virginia, including:

1. Richmond, VA 2. Henrico, VA 3. Ashland, VA 4. Washington, D.C.5. Norfolk, VA 6. Charlottesville, VA 7. Staunton, VA 8. Waynesboro, VA9. Hopewell, VA 10. Portsmouth, VA 11. Williamsburg, VA

The Theatre Historical Society of America would like to welcome you to our 2015Conclave Theatre Tour, of the Greater Richmond, Virginia and Washington,D.C. area. This tour marks our 46th annual tour celebrating the diverse wealthof America’s theatre histories. From grand symphony halls, to small town opera houses,THS recognizes and celebrates the unique qualities that make the theatre experience great.

This tour marks the Theatre Historical Society’s rst full scale tour of Virginia andWashington D.C.’s theatres. Virginia has been home to theatres since America’scolonial days, and tour stops like Blackfriars Playhouse and the Kimball Theatre takevisitors right back into the 17th and 18th centuries. Cities and towns celebrate theatres,whether through the continued maintance of awe-inducing movie palaces like theByrd Theatre, or the restoration and reopening of main street theatres like the Beacon.

We welcome our members to this wonderful tour of the historic theatres of Virginiaand Washington, D.C and invite you to join us in honoring this state’s undeniable placein theatre history.


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TUESDAY JUNE 23 Registration in the Omni Richmond Lobby from 1:00-6:30 p.m.

2:00 p.m. Downtown Walking Tour (À la carte) Explore Richmond’s historic Shockoe Slip district on this docent

led tour.

6:30 p.m. New Attendees Reception Meet and Mingle with other rst-time attendees Pool Deck, Omni

Richmond

7:00 p.m. Opening Reception Kick off Conclave with new and old friends at this opening

night reception. Bring cash to purchase tickets in our

opening rafe. Cash bar available. Pool Deck, Omni Richmond

WEDNESDAY JUNE 24Coaches depart the Omni Richmond at 8:00 a.m.

8:15 a.m. Arrive at Altria Theatre9:10 a.m. Depart9:30 a.m. Arrive at Byrd Theatre10:25 a.m. Depart10:35 a.m. Arrive at Bow Tie Cinemas’

Movieland11:00 a.m. Annual THS Member’s Meeting11:30 a.m . Intermission

Lunch at Bow Tie Cinemas Movieland.

12:30 p.m. Depart1:00 p.m. Arrive at November Theatre1:55 p.m. Depart2:05 p.m. Arrive at National Theatre3:00 p.m. Depart3:10 p.m. Arrive at Carpenter Theatre4:05 p.m. Depart4:35 p.m. Arrive at Henrico Theater5:10 p.m. Depart5:40 p.m. Arrive at Ashland Theatre6:15 p.m. Depart6:45 p.m. Arrive at Omni Richmond

4 | 2014 Conclave Theatre Tour: Steel City

D A I L Y T O

U R S C H E

D U L E


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SATURDAY JUNE 27Coaches depart Omni Richmond at 7:30 a.m.

9:30 a.m. Arrive at Wayne Theatre10:25 a.m. Depart10:55 a.m. Arrive at Blackfriar’s Playhous11:50 a.m. Depart12:00 p.m. Intermission

Lunch at Trinity Church, Staunton.

1:00 p.m. Depart1:10 p.m. Arrive at Staunton PerformingArts Center 1:45 p.m. Depart2:35 p.m. Arrive at Jefferson Theatre3:30 p.m. Depart

3:40 p.m. Arrive at Paramount Theatre4:15 p.m. Depart5:45 p.m. Arrive at Omni Richmond7:00 p.m. Closing Reception and Banque

Join us for the last ofcial activity of the week as we prese

our Annual Awards and recap the week. Cash bar availab

Magnolia Wine Bar and Magnolia Room, Omni Richmond

AFTERGLOW | SUNDAY JUNE 28 (À la carte)Coaches depart the Omni Richmond at 8:00 a.m..

8:50 a.m. Arrive at Beacon Theatre9:45 a.m. Depart11:45 a.m. Arrive at Commodore Theatre12:20 p.m. Intermission

Lunch and Short Screening at Commodore Theatre

1:20 p.m. Depart3:00 p.m. Arrive at Kimball Theatre and

Colonial Williamsburg4:30 p.m. Depart5:50 p.m. Arrive at Omni Richmond

*Schedule subject to ch

Theatre Historical Society of America | historictheatres.org

Pictured:(lef column, top to bottom) Lincoln Teatre, Washington, D.C., courtesy o Te Lincoln Teatre; Te November Teatre, Richmond, courtesy o the NoveTeatre; Te Jefferson Teatre, Charlottesville, courtesy o Kirby Hutto; (right column, top to bottom): Altria Teatre, Richmond, courtesy o Wilson Butler Architects; Carpenter Teatre, courtesy oRichmond Centerstage; Attuck Teatre, Norolk, courtesy o Michael Pennello.

THURSDAY JUNE 25Coaches depart Omni Richmond at 7:00 a.m.

9:30 a.m. Arrive at Lincoln Theater 10:25 a.m Depart10:35 a.m. Arrive at Howard Theatre11:05 a.m. Depart11:20 a.m. Arrive at Warner Theatre12:25 p.m. Depart12:30 p.m. Intermission

Enjoy lunch on your own in Washington, D.C.’s historic

theatre district.

2:00 p.m. Arrive National Theatre2:55 p.m. Depart5:35 p.m. Arrive at Omni Richmond

FRIDAY JUNE 26Coaches depart Omni Richmond at 8:00 a.m.

10:30 a.m. Arrive at Attucks Theater 11:30 a.m. Intermission

Lunch at the Attucks Theater.

12:25 p.m. Depart12:35 p.m. Arrive at Chrysler Hall1:30 p.m. Depart

1:40 p.m. Arrive at Roper Performing ArtsCenter 2:35 p.m. Depart2:45 p.m. Arrive at Wells Theatre3:40 p.m. Depart6:30 p.m. Arrive at Omni Richomd


6/366 | 2015 Conclave Theatre Tour: Richmond, Virigina

About

Richmond,VirginiaAlthough Native Americans inhabited the area thousands o years prior to the arrival o the English, the

Richmond Region’s written history didn’t begin until 1607. Tat was the year that Captains Christopher Newportand John Smith made the first attempt to settle at the Falls o the James, located between downtown’s 14th StreetBridge and the Pony Pasture, a recreational area along the James River south o the city. (Four years later theCitie o Henricus, which later became home to Pocahontas and her husband, John Role, was established.) One

o Virginia’s most amous and lucrative crops, tobacco, was scientifically cultivated at Bermuda Hundred in 1612while the first American hospital, Mount Malady, was established at what is now Henricus Historical Park.Te 18th century was about growth or the Richmond Region. In 1709, the first coal was commercially mined

in Midlothian. St. John’s Church, the site o Patrick Henry’s amous “Give me liberty or give me death” speech, wasbuilt in 1741. In 1780, the state capital was moved rom Williamsburg to Richmond, and a year later, the Capitolwas burned by British troops, under the command o Benedict Arnold.

Richmond’s contributions to the history books were greatly expanded during the 1800s when the Civil Warbroke out and Richmond became the Capital o the Conederacy. During this time, the population o Richmondswelled rom less than 200 at the start o the century to more than 60,000 by 1880. During the early part o thecentury, the city’s first bank, Bank o Virginia, was chartered, and the first public library was established.

Troughout most o the 1900s, Richmond, like the rest o the South, was segregated, offering separate, but not

equal, opportunities to blacks and whites. Despite these obstacles, Richmond’s Arican Americans succeeded,creating many firsts or blacks in the Region and the United States. Many o the Richmond Region’s most popularattractions, including Maymont and the Virginia Museum o Fine Arts, opened during this century as well. Bigbusiness also came to the Region during this century with the arrival o many large corporations including PhilipMorris and Reynolds Metals Co.

Te Richmond Region continues to make history in the 21st century. Completion o Richmond’s floodwall in1995 led to new development o the Richmond Riverront, including trendy lo apartments, restaurants and shopRichmond-area shoppers delighted in 2003 when Short Pump own Center and Stony Point Fashion Park, theRegion’s first upscale, open-air shopping malls, opened, giving Richmond more shopping centers than any otherU.S. city based on population.

Pictured: Te Viriginia State Capital, designed by Tomas Jeffersonext and image courtesy of www.visitrichmondva.com


8/368 | 2015 Conclave Theatre Tour: Richmond, Virginia

About

Washington,D.C

Te Capitol Builing, image by Jake McGuire

Washington, DC is unique among American cities because it was established by the Constitution o the UnitedStates to serve as the nation’s capital. From the beginning it has been embroiled in political maneuvering, sectionalconflicts, issues o race, national identity, compromise and, o course, power.

George Washington, the first president and namesake o the city, chose the site and appointed threecommissioners to help prepare or the arrival o the new government in 1800. In 1800 the ederal government

consisted o 131 employees. Pierre Charles L’Enant designed the city as a bold new capital with sweepingboulevards and ceremonial spaces reminiscent o his native France. Benjamin Banneker, a sel-taught AricanAmerican mathematical genius, provided the astronomical calculations or surveying and layout o the city. Teull development o Washington as a monumental city, however, did not come until a hundred years later whenthe McMillan Commission updated its plan to establish the National Mall and monuments that most visitors toWashington now know.

In its 200 years as the nation’s capital Washington has developed as a complex and layered city with multiplepersonalities. As home to the ederal government, it has attracted a diverse mix o government workers, members oCongress rom every state, oreign emissaries, lobbyists, petitioners and protestors.

Courtesy of www.washington.org



About

NorfolkVirginiaLocated in the center o the mid-Atlantic, and considered the dynamic heart o the storied Coastal Virginiaregion, Norolk attracts thousands o travelers each year to enjoy its lively downtown waterront and 144 miles oshimmering coastline. Offering a vibrant blend o history and heritage with contemporary attractions, outdooradventure and cultural institutions, Norolk is an exciting destination. Visitors will find an easily walkabledowntown that offers eclectic dining options, a rich arts scene, high-end shopping and year-round special events.

Te City o Norolk is an important 400 year-old port city tracing its roots to soon aer the first English settlers

landed in the New World just a ew miles to the east. It was in 1636 that William Willoughby was granted 200acres by King Charles I or what is today downtown Norolk. Since then the story o our city has intertwined withthe history o our nation. From being attacked by English ships under the command o Lord Dunmore in 1776 (acannonball rom thebombardment is still in place in St. Paul’s church) to be becoming home to what is present daythe world’s largest naval station, Norolk has been the jumping off point or much o the United States’ efforts in twworld wars and modern operations across the globe.

And rom the clash o the ironclads off its shore, to the first aircra to take off rom a ship, to serving as the finalresting place or General Douglas MacArthur, Norolk has witnessed and continues to make history.

Courtesy of www.visitnorfolktoday.co

Norfolk’s historic Ghent neighborhood, image courtesy of VisitNorfolk


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Richmond, Virginia

Altria Teater

ALTRIA THEATRE6 North Laurel Street

Richmond, VirginiaOPENED: October 28, 1927ARCHITECT: Marcellus Wright Sr.

Charles M. RobinsonCAPACITY: 3,565

Located at 6 North Laurel Streetin the heart of VCU’s MonroePark campus, the newly-renamedAltria Theater, formerly The Mosqueand Richmond's Landmark Theater, isone of the best-known and most striking

buildings in Richmond.Opened in 1927 as an entertainment

venue owned and operated by the ACCATemple, the Altria Theater was designed

by architects Marcellus Wright, Sr.,Charles M. Robinson and Charles CusterRobinson, with original plans includingfour lounges, six lobbies, 18 dressingrooms, 42 hotel rooms, a gymnasium,locker rooms, a pool, a three-lane bowlingalley, ofces and a restaurant called “The

Mosque Grill” in addition to the theater

itself.In 1940, the building was sold to the

City of Richmond and was later renamedRichmond's Landmark Theater in 1995after a $5 million renovation.

Altria Theater re-opened to the publicin November 2014 after a comprehensive2 ½ year renovation project. Updated

patron-centered amenities include brandnew restrooms, upgraded in-house soundand acoustics, two new patron elevators

and – perhaps most appreciated by the public – 3,600+ refurbished seats withcushioned backs.

Further, the facility’s infrastructure hasalso been greatly improved, with upgradedelectrical systems, plumbing, HVAC, re

alarms and re suppression system. For

historic preservation, the building’s façadehas been repaired and the historic tilework, oors and fountain in the building’s

lobby have also been fully restored. The

designs and paint inside were bashistoric photographs to bring it back

original 1920s look.Performers will also be able t

the benets from the renovation pr

with refurbished dressing rooms, amanagement ofce, a new crew

with a kitchenette, a new stage o

brand new curtain, a wardrobe area laundry room and over 50 set lines, will allow complex scenery and set pto be moved much more efciently.

Some of America’s greatest enterthave appeared on stage beneat

towering minarets and desert muralsseating capacity at 3,600 and a staaccommodate the largest productiontheater is a great complement to theCenterStage venues downtown.

Text courtesy of www.richmondcente

stage.com. Image courtesy of Wilson

Butler Architects.


11/36Theatre Historical Society of America | historictheatres.org Theatre Historical Society of America | historictheatres.org

BYRD THEATRE2908 W. Cary St.

Richmond, VirginiaOPENED: December 24, 1928ARCHITECT: Fred BishopCAPACITY: 1,400

The Fred Bishop-designed ByrdTheatre is a true standoutin Richmond’s Carytownneighborhood. The opulent theatre was

built in 1928 by Charles Somma andWalter Coulter to the cost of 900,000dollars, the equivalent of over 12 milliondollars today. Named after William ByrdII, the founder of Richmond, Virginia, theByrd has become recognized as both astate and national landmark.

The Byrd’s premiere showing was onDecember 24th, 1928. Crowds of adultsand children-- charged 50 cents and 10cents, respectively-- came to see the First

National Film production, “Waterfront,”

starring Dorothy Mackaill and JackMulhall. When these rst patrons entered

the theatre, they were greeted with agrandeur Richmond had never known.

Richmond, Virginia

Byrd Teatre

The Italian Renaissance-style theatrefeatured 916 orchestra seats and 476

balcony seats, luxuriously appointed by New York’s Arthur Brunet Studios. Theinterior was decorated with eleven grandCzechoslovakian crystal chandeliers,imported Italian and Turkish marble,hand-crafted velvet drapes and oil paintedcanvases of Greek mythology.

The Byrd offered more than lavishdesign; it was also technologicallyadvanced, with a central vacuum systemand a system using a natural spring tosupport an air conditioning system. Therst theatre in Virginia built with a sound

system, the Byrd, in fact, featured not one, but two! Outtted with both a Vitaphone

and a Western Electric sound system, theByrd was built in the transitional period

between silent and sound lms and also

included a Wurlitzer Organ.With only minor remodels, to

accommodate contemporary movie screen preferences and to the lobby to provideconcessions, the Byrd exists today almostexactly as it did upon opening. The theatreis open 365 days a year, and has not been

shuttered or remodeled in its 90-year run.The Byrd is currently run by the Byrd

Theatre Foundation, an organizationthat has gone to great efforts to continuefundraising to preserve the Byrd Theatreexperience and to make sure the theatre

plays a role in the lives of Richmondersfor generations to come.

Text courtesy of the American Theatre

Architecture Archive. Images courtesy of

the Byrd Theatre (left) and Ariel Skelley

(right).



Bow ie Cinemas’ MovielandRichmond, Virginia

BOW TIE CINEMAS’

MOVIELAND AT BOULEVARD

SQUARE1301 North Boulevard at West Leigh StRichmond, VirginaOPENED: February 27, 2009ARCHITECT: Jonathan Taylor CAPACITY: XXX

The 2009 opening of Bow TieCinemas’ Movieland at BoulevardSquare was a historic marker forRichmond theatre patrons- the rst new

movie theatre build in the city for 40

years. Though Movieland is a new theatre,it is built on a historic foundation, both asa redevelopment of two historic structuresand as a part of the Bow Tie Cinema’schain.

Movieland combines the old and thenew by offering the latest in movie theatretechnology in a setting marked by history.Boulevard Square is comprised of twoseparate historical buildings, a 53,000square foot former locomotive assembly

plant and a 6,000 square foot former brassfoundry. The entire 53,000 square foot

locomotive factory has been reshapedinto the luxouriously outtted Movieland.

The theatre represents the sort of themedadaptive reuse that keeps historicalstructures alive, even if in different formsthan they were originally imagined.

Movieland anchors Boulevard Squareand represents the most exciting and up-to-date technologies and comforts ofcontemporary movie theatres. Bow TieCinemas pride themselves on “Returning

Style and Elegance to the MoviegoingExperience,” and Movieland is certainly

part of that tradition. With 17 differentscreens, Movieland is able to program awide variety of lms, from Hollywood

blockbusters to more independantfare. The theatre also offers special

programming, including their “Movies

and Mimosas” weekend morning lm

series and “Insomia theater” midnight cult

classics series.The theatre has been designed to meet

all levels of patron comfort. From Closed

Captioning and Descriptve Audio devicesto custom designed rocking chair seats,

nothing has been ignored when it comesto making sure patrons fall in love withthe moviegoing experience at BowtieCinemas’ Movieland.



SARA BELLE AND NEIL

NOVEMBER THEATRE114 West Broad StreetRichmond, VirginiaOPENED: December 25th, 1911ARCHITECT: C.K. HowellCAPACITY: 600

Having opened its doors onChristmas Day, 1911, theNovember Teatre is the state’s

oldest major stage house and a linchpinin Virginia history. It operates today asthe vibrant home o Virginia Repertory

Teatre, and as a living museumcommemorating and exploring the rolesthis landmark building has played in therich cultural lie o Central Virginia.

Built by Moses Hofeimer with aninterior design by amed Italian artistFerruccio Legnaioli, the November wasnamed the Empire Teatre or the firstthree years o its existence. With a keenocus on fire saety, Hofeimer modeledhis Richmond Empire on the world-renowned Empire Teatre in New York.New York’s Empire was amous or being

“thoroughly fireproo.” Richmond’s Empirewas the first theatre in Central Virginia toreplicate all their advances. Te Empirewas also Richmond’s first “air conditioned”theatre, allowing it to be open during thesummers. Small tunnels can still be oundinches beneath each aisle. Largeblockso ice were placed under the stage atthe mouths o these passageways, andpowerul electric ans blew across this icesending chilled breezes up through floor

vents situated near the ends o each row.When the Empire opened in 1911, it

operated as a legitimate theatre, presentinglive perormances o great plays instead o

vaudeville or silent movies. Te renownedactress Lucille La Verne, assembled herown stock company at the Empire in 1913.She presented 80 perormances in ourmonths, selling 147,000 tickets! EdithLindeman, imes-Dispatch theatre critic,wrote that the Empire “was a populartheater with audiences, especially on

Wednesday matinees when each womanin attendance received a quarter-pound

box o Huyler’s chocolates and a daintylinen handkerchie to wipe her eyes duringthe sad scenes.”

During its earliest days as a legitimatetheatre (1911-1914), the Empire was hometo several national stars who worked in theEmpire’s own stock company or severalmonths out o every year, dividing theircareers between Richmond, New York andthe emerging film capital o Hollywood.

In December 1914 the Empire wasrefitted or the emerging art orm o film,and renamed the Strand. Te Strand serveduntil 1927 as one o Richmond’s mostprominent and popular homes or filmand vaudeville. In 1927, a fire damagedthe space, and it lay dark until it was re-

opened in 1933 as the Booker Teatrwhich eatured films and vaudevi

perormances until 1974.In 1977 Teatre IV (now known

Virginia Rep) rented the Empire Teatrlaunching its first main stage (non-tourinseason o major productions designed serve elementary age children and theamilies. Teatre IV purchased the theatand its neighboring Walker Teat(which later became the Little Teatre anfinally, Teatre Gym) in 1986. Restoratiowere completed in 1990, and Teatre presented perormances or children anamilies in the renovated space, which threnamed the Empire Teatre.

wenty-one years later, with the Empin need o new renovations, Sara Belle aNeil November made a $2 million gor restoration, and in 2012 the EmpiTeatre was renamed the Sara Belle anNeil November Teatre. Barksdale Teatand Teatre IV merged in 2012 to becomVirginia Rep. In 2013, the stage at tNovember Teatre was renamed to tMarjorie Arenstein Stage to honor tlegacy o prominent Richmond actre

Marjorie Arenstein. ext and images courtesy of the Sara Beand Neil November Teatre.

November TeatreRichmond, Virginia



National TeatreRichmond, Virginia

NATIONAL THEATRE

708 E Broad St Richmond, VirginiaOPENED: November 11th, 1923ARCHITECT: C.K. HowellCAPACITY: 1300 (original)

Owners John Pryor and FrankFerrandini formed the First National Amusement Company toconstruct the half-million dollar NationalTheater. Their company had nancial ties

to the nationwide group of lm exhibitors

in the First National circuit. For publicity,the National’s backers posted signs at theconstruction site asking Richmondersto vote for types of entertainment theywanted the new theater to house. Citizensresponded by voting for silent movieswith a live orchestra. Nevertheless, the

National was built for more than justmovies. The adaptable stage and orchestra

pit could accommodate theatrical, musicalcomedy, and vaudeville companies, aswell as picture shows.

November 11, 1923, was the National’s opening night, and Governor

Lee Trinkle, Mayor George Anslie, andmore than 2,000 eager patrons jammedinto the 1,300-seat auditorium to see theThomas Ince lm Her Reputation, starring

May McAvoy. Admission to the theaterwas 40 cents, and the building’s eleganceattracted even the most conservative of

patrons. The interior boasted a marblestaircase and opulent decoration paintedin gold, coral, and turquoise. In additionto the tiered seating of the main oor,

the theater had a balcony and four boxes along the sides. The orchestra pit

was the largest in Virginia, seating 24musicians. There was a billiard parlor inthe basement, restaurant and retail spaceon the ground oor, and theatrical booking

ofces on the second oor. The second

oor also provided a nursery and ladies’

retiring room. Tea was served here everyafternoon from 3:00 to 5:00 p.m. Theatercritics have called the National Theater theclosest thing Richmond has ever had to aBroadway-style playhouse.

Richmonders’ fascination and love ofmotion pictures led to the building of moretheaters throughout the 1920s. MortonG. Thalhimer, the local departmentstore owner, established NeighborhoodTheaters Incorporated (NTI), which grewinto a powerful local chain. His rst theater

was the Capitol Theater at 2525 W. BroadStreet. The Capitol had the distinction ofshowing the rst “talkies” in the city…

…By 1966, NTI had acquired all of

Theater Row--the National, Colonial,and State Theaters. The company feltthat remodeling would improve the

National’s attendance, and architectWilliam A. Briggs and interior designersMilton Glaser Associates were chosen tomodernize the theater.

The National was closed on March 8,1968, and reopened in June after $150,000was spent on the remodeling. The facadewas steam cleaned and a new two-sided,stainless steel marquee was installed. Theseating of the balcony was re-spaced,reducing the capacity from 1,332 to 1,096.Rather than restoring the plasterworkof the lobby and auditorium, the walls

were coated with gray and red paint.The bathrooms were modernized, a newstereophonic sound system was installed,the orchestra pit was covered, and a newwide screen was hung.

Suburban theaters began replacingdowntown theaters in the 1970s and1980s, and by 1983 the National Theaterwas empty and closed. The Nationalunderwent restoration and renovations inthe 2000s and reopened in 2008 as a music

performance venue.

Text courtesy of the National Register of Historic Places. Image courtesy of the

American Theatre Architecture Archive.



Carpenter TeatreRichmond, Virginia

CARPENTER THEATRE600 E Grace StreetRichmond, VirginaOPENED: April 9, 1928ARCHITECT: John EbersonCAPACITY: 1800

The Loew’s Theater at 6th andGrace streets in Richmond isa handsome example of movie palace architecture of the 1920s. Designed by the renowned theater architect JohnEberson, Loew’s was considered the mostup-to-date theater in the South when itopened to capacity crowds on April 9,1928. Richmond’s Loew’s displays all thetheater accoutrement deemed necessaryfor a successful theater of the twenties.On the exterior these include an exotic,romanticized image of a distant land; animposing corner tower establishing the

building as a major visual and culturallandmark within the urban landscape; anda large marquee woven into the facade byday and a blazing standard by night.

A mixture of Moorish and SpanishColonial Revivals provided the appropriatefanciful image for Richmond’s Loew’sTheater. The image on the interior beginsin the entrance lobby and foyer withstuccoed walls, turned woodwork, colorfulSpanish tile designs and culminates inthe auditorium. Facades line the sides ofthe theater, presenting the illusion of anopen Spanish plaza. To the front a large

proscenium arch with Spanish Baroquedetails separates the audience from the

stage. A sky-colored ceiling completes theillusion of sitting in an outside Spanishcourt. One reviewer attested to the successof Eberson’s special atmospheric effects,remarking at the theater’s grand opening.“Going into the theatre was like going

out of doors, except it was raining out ofdoors. Stars twinkled in a cerulean ceilingand clouds drifted slowly by.”

Over 12,000 people streamed into thetheater on opening day...In addition to thespeeches and movie, the audience wastreated to several patriotic orchestral tunes,a short comedy, and, what one reviewercalled “the most impressive part of the

bill ...’Wild Oscar’, an organist of parts,a deft exponent of syncopation, a nimblemusical trickster and a singer of pleasantand agreeable voice.” Accompanying“Wild Oscar’’ and his music was a series

of stereopticon slides.Entering into a period of decline duringthe late 1970s, Richmond’s Loew’s Theaterclosed in June 1979. During its last yearsas a movie house it played mostly grade“B” movies catering to fans of Bruce Lee

and Kung Fu. In June 1979 the theater was purchased by the Richmond Symphonywith the intent of using the building as thesymphony’s home theater. The Richmond

Loew’s has now been reopened as theCarpenter Theatre, part of Richmond’smulti-venue CenterStage complex.

Text courtesy of the Virginia Depart-

ment of Historic Resources. Images

courtesy of Richmond CenterStage.



HENRICO THEATRE

305 East Nine Mile RoadHighland Springs, VirginiaOPENED: April 25, 1938ARCHITECT: Edward Francis SinnottCAPACITY: 820 (orginial) 400(currently)

Located in Highland Springs, theHenrico Theatre was the most prominent and architecturallysophisticated theater, and the best exampleof Art Deco design in Henrico Countywhen it opened on Monday, April 25,

1938.The owners Charles A. Somma andB. N. Somma, were not new to theatrearchitecture. Charles A. Somma (withWalter Coulter) was the builder of theByrd Theater, built in 1928 to the designof architect Fred Bishop. The HenricoTheatre was constructed with the most up-to-date features possible: air conditioning,high tech lighting and

projection equipment, superior acousticaltreatment, streamlined and cushionedseats, plush fabrics throughout, neon tube

façade lighting at night, and plenty ofadjacent parking. The general contractorwas Doyle & Russell, who went on towork on Richmond’s City Hall. Severalof the subcontracting companies are stillin business today and were consideredtopnotch at the time: Decorative

plasterwork and painting by E. Caligari& Son (Norfolk and Massachusettesofces),theater chairs and lounge furniture

by Heywood-Wakeeld (who had launched

their “new modern” line a few years prior),

stage drapery and equipment by NoveltyScenic Studio from New York City – eventhe exterior clock was a high tech creationfrom the International Business MachineCorporation (later IBM.)

No expense was spared in creatingwhat was intended to be the most modernmovie facility around in both function anddesign. The building was constructed of

poured in place concrete, which createda monolithic structure that appears much

larger than it actually is. In it’s grandopening advertisement in the RichmondTimes-Dispatch, it was touted as “…a

modern ‘Big City’ temple of entertainmentset in beautiful rural surroundings…”

It was so well received, that in the 1940Architectural Record “Poll” it was

nominated by a distinguished panel ofcitizen to be one of the most outstandingexamples of recent architecture inRichmond.

Buildings designed in the Art Decomode embraced modernity: as in the caseof the Henrico Theatre, the design could

be seen as a statement both embracing thenewness and modernity of motion pictures,as well as making a clear statement aboutthe possibilities for advancement of thisonce-rural, and then-emerging suburban

portion of Henrico County. The motion picture industry, including the theatres inwhich lms were shown, exemplied the

modern transformation of informationdistribution, and embraced a wide rangeof developments in technology and

transportation available to places formerlyconsidered too isolated. Art Deco was

just the style to convey this promise omodernity, and the Henrico Theatre is, forthese reasons, an excellent example of it.

Text courtesy of the National Register of

Historic Places. Image courtesy of the

American Theatre Architecture Archive.

Henrico TeatreHenrico, Virginia



ASHLAND THEATER 205 England StreetAshland, VirginiaOPENED: 1948ARCHITECT: UnknownCAPACITY: 330

As in many towns across the UnitedStates, Ashland, Virginia’s mainstreet theatre served as a hub ofcommunity engagement. Opened as asingle screen theatre in 1948, the AshlandTheatre is a simply designed theatre witha mauve and green interior and gold trim-

the overall look sleek in keeping withits Art Deco style. For generations, theAshland was tightly packed with local

patrons, gathering at the only place intown to catch the latest lms.

As times changed, however, theAshland began to suffer under competitionfrom the larger megaplexes along thehighways that offered more luxuriousaccommodations and a larger selection oflm titles.

When the Ashland Theatre was closedin the late 1990s, the theatre became a

symbol for the economic downturn and forthe competition local businesses saw fromlarger, national chains. The bright lightsof the theatre remained dark, remindinglocals of what a gathering place the theatrehad once been.

In 2013, Preservation Virginiaincluded the Ashland Theatre on its listof the 10 Most Endangered Historic Sitesin Virginia, and there was concern that,if left as is, the Ashland would turn intoa major eyesore. Things began to turnaround for the theatre quickly when A.D.and Jean Whittaker donated the AshlandTheatre to the town government in Mayof 2014. Though the theatre had beenclosed since the late 1990s, the city was

pleased to nd that the theatre was not in

complete disrepair and was foundationallysound. The city moved forward cautiouslywith the theatre, seeking appropriatemanagement and devising the mosteffective ways to use the Ashland Theatre

Ashland Teatre Ashland, Virginia

to benet all of Ashland.

Through the efforts of the AshlandMain Street Association, the AshlandTheatre has been sporadically openfor community entertainment eventsand lm screenings, but recent grant

funding could serve to move the theatre’soperations forward at an accelerated pace.In late 2014, the Ashland Main StreetAssociation received $25,000 dollars instate grant money to fund an engineeringand architectural study of the Ashland’scurrent conditions. Then, in the springof 2015, the Ashland Theatre received

$500,000 in Industrial Revitalization Fundmonies. The town of Ashland hopes to usethese funds to continue to improve on the

theatre, making it a focal point of the maistreet. Like many other cities and town

working to renovate and reopen their oncgrand theatres, Ashland seeks to turn thAshland Theatre into an anchor, bringin

patrons not only to the theatre but to othedowntown destinations as well.

Text and image courtesy of the American

Theatre Architecture Archive.



Lincoln TeatreWashington, D.C.

LINCOLN THEATRE1215 U Street NW

Washington, D.C.OPENED: January 22, 1922ARCHITECT: Reginald W. GeareCAPACITY: 1,225

The Lincoln Theatre was built bytheatre operator Harry Crandall,with designer Reginald Geareduring the summer of 1921. When thetheatre opened in 1922, it showed bothsilent lms and vaudeville performances,

with a special focus on Washington D.C.’sAfrican American community. Due to the

combinations of a large African American population and segregation laws that keptAfrican Americans out of other D.C.theatres, where was a large market fortheatres like the Lincoln.

In 1927 A.E. Lichtman, a theatreoperator who would go on to own manyAfrican American theatres throughout theD.C. and Richmond areas, purchased theLincoln. He transformed the theatre intoa luxury destination, with an upgradedauditorium and a new ballroom, known

as the Lincoln Colonnade. The LincolnTheatre and Colonnade were key to anera when Washington D.C.’s “Black

Broadway” thrived. Many famous performers, including Duke Ellington,Pearl Bailey, Louis Armstrong and EllaFitzgerald performed at the Colonnade.

The theatre was just as popular asthe ballroom, however, with upgradedtechnologies like the television projectionsystem that was installed in 1952. Thanksto this technology the Lincoln was able tohost screenings of popular boxing matchesand other television events.

After desegregation laws were passedin 1953 all movie theatres in WashingtonD.C. were open to African Americans, andthe Lincoln began to suffer nancially.

The Colonnade was demolished in the late1950s, and by the late 1960s the theaterwas in great disrepair. In 1978 the Lincolnwas twinned, and experienced somesmall success with its “All-Night Movie”

screenings until the early 1980s. DeveloperJeffrey Cohen purchased the Lincolnin 1983 and closed it for renovations.

Cohen ran into nancial difculties in his

development plans, however, and declared bankruptcy, leaving the Lincoln closedand unrestored.

1993 was the year o the LincolnTeatre’s turnaround. Te theatre waslisted on the National Register o HistoricPlaces and was restored by the U StreetTeatre Foundation, due in large part to$9 million dollars o support rom the D.C.government.

ext and image courtesy of the AmericanTeatre Architecture Archive.



Howard TeateWashington, D.C.

HOWARD THEATRE620 T Street NW

Washington, D.C.OPENED: August 22, 1910ARCHITECT: J. Edward Storck CAPACITY: 1,242

Washington D.C’s AfricanAmerican community gotits rst major theatre in1910, when the National AmusementCompany opened the Howard Theater.With an original capacity of 1,200, the J.Edward Storck designed theatre featuredorchestra and balcony seats, along witheight proscenium boxes. The exteriorwas designed in a mixture of styles thatcombined elements of Beaux-Arts, ItalianRenaissance and Neoclassical aesthetics.

In its early days, the Howard catered tothe upper crust of D.C’s African Americancommunity, showing slides from theTuskegee Institute and performancesfrom the most popular African Americanvaudeville acts. From the teens to the1920s, the Howard was managed by localAfrican American theater entrepreneurs

until 1926, when Abe Lichtman purchasedthe theatre and it became part of theLichtman Theatre circuit. By the 1930s, theGreat Depression began to affect theatre

attendance and the Howard briey served

as a church. Soon thereafter, however, the

theatre returned to its original purposeand, through the rest of the 1930s, theHoward was a major entertainment venuefor people seeking out the most up-to-dateAfrican American entertainment. In 1941,the theatre’s original designed was alteredto the then-trendy Streamline style.

The Howard remained a successfulvenue through the 1940s and 1950s,featuring important R&B acts of the day,including Lena Horne, the Supremesand, Marvin Gaye. The 1960s broughtdesegregation, however, which had anegative effect on many once Black-onlytheatres.

The Howard closed in 1970 due todifculty in attracting patrons. In 1973,

the Howard Theatre Foundation wasformed and succeeded on getting historiclandmark status for the theatre only a yearlater, but the 1975 grand reopening of theHoward turned out to be a false start. By1980, the Howard was once again closed.

In 2010, thanks to publicity that had been gathering since the DC Preservation

League listed the Howard as one ofits Most Endangered Places in 2002,renovations began to restore the Howardto its original 1910 look and purpose.

The Howard reopened on April 9, 2012after 29 million dollars in renovations

from the rm of Martinez + JohnsonArchitecture. Since its reopening, theHoward has played host to many oftoday’s most popular jazz, R&B, andhip hop performers and has assisted in

bringing more attention and business tothe Shaw neighborhood of WashingtonD.C.


Architecture Archive. First image, of

the Howard Theatre in 1976, courtesy

of the American Theatre Architecture

Archive. Second image, of the Howard

Theatre after its 2012 reopening, cour-

tesy of the Howard Theatre.



Warner TeatreWashington, D.C.

WARNER THEATRE513 13th Street NWWashington, D.C.OPENED: December 27th, 1924ARCHITECT: C. Howard CraneCAPACITY: 1,847

Originally known as theEarle Theatre, this theatre’sdevelopment began in 1922.

Founded by Aaron and Julian Brylawski,the Warner was designed by C. HowardCrane and Kenneth Franzheim II. Thetheatre had its grand opening as theEarle on December 27, 1924. The theatre

provided a full evening experience, with arooftop garden, a basement ballroom, anda full-service restaurant.

The theatre featured its own precisiondance team, the Roxyettes, who performed

before and after most lms until 1945.Their stage show also featured livecomedy performances from performersincluding Red Skelton and Jerry Lewis.In the 1930s and 40s the theatre hosteda wide variety of music and comedy

performers, including Bob Hope, JackBenny, and Duke Ellington. In 1945 thetheatre switched to a lm-only policy,

two years after hosting the premier of themovie This Is the Army.

In 1947, the Earle was renamed

the Warner after its then-owner, HarryWarner. Harry Warner, one of the foundersof the Warner Brothers, is said to have toldJulian Brylawski, whom was showing himthe city, “I own that theatre, put my name

up there!”The 1950s saw the auditorium

retrotted for Cinerama screenings, butthe Warner had a hard time keeping opendue to the economic downturns of the1970s, and the generally poor state ofWashington D.C. at the time. In the late1970s, however, the Warner saw newlife by bringing back live performances,including a famed secret show from theRolling Stones in 1978.

The Warner continued to host livemusic acts through the 1980s, but by 1989was in a state of disrepair. The theatre wasclosed for extensive renovations from

1989 to 1992. The Kaempfer Company’s10 million dollar renovations broughtthe Warner back to its glamour dayswith custom upholstery, drapes importedfrom Portugal, new gilt for the wallsand ceilings, and updated production,sound, and lighting equipment. TheWarner reopened in October 1992 witha headlining performance from FrankSinatra, his last show in Washington, D.C.

Various awards ceremonies have been hosted from the Warner Theatre’s

stage, including the Library of CongressGershwin Prize for Popular Song andthe BET Honors ceremony. The WarnerTheatre remains one of the city’s topvenues for popular music acts, with

performers from Kenny Rogers to Jay-Z performing to sold-out auditoriums.

Text and images courtesy of the AmericanTheatre Architecture Archives.



National TeateWashington, D.C.

NATIONAL THEATER 1321 Pennsylvania Avenue NWWashington, D.C.OPENED: December 27th, 1835October 15, 1948 (remodel)ARCHITECT: John and Drew EbersonCAPACITY: 1,683

Located only three blocks from theWhite House, the National Theatreis one of the United States’ oldest

continuously operating theatres, though ithas gone through many names and manyrenovations. The National was openedon December 7, 1835 by local prominentcitizens who wanted the nation’s capital tohave rst class entertainment options. The

National went through many changes in itsrst century, including name changes from

Grover’s National Theatre to Grover’s

Theatre, and many reconstructions andrenovations-- including several after ve

separate res. The theatre’s current form

was constructed in 1923.The National remained open in

the following decades, though its popularity waxed and waned. In 1970,the Nederlander Organization took overmanagement of the theatre, and four yearslater a not-for-prot called the National

Theatre Corporation was established to

revitalize the National, which had suffereda major downturn in attendance due toshifts in the neighborhood’s makeup.

The early 1980s brought about majorrenovations in the National and itssurrounding neighborhood, includingthe opening of new shops, a agship

hotel, and renovations of the NationalPress Building. This neighborhoodredevelopment brought its fair share ofcontroversy, due to the planned razingof nearby historic buildings. Luckily, the

National remained intact and renovated,with the current building still restingatop the original 1825 stone foundations,though currently reinforced with erosion-resistant steel caissons.

The National’s long reign in the worldof Washington D.C. theatre has featuredhistory making performances, such as

“Swedish Nightingale” Jenny Lind’s riot-causing 1850 concerts, and the long tenureof famed march composer John PhilipSousa as conductor of The President’sOwn United States Marine Band and theJohn Philip Sousa Band, both of which

performed often at the National from 1882to 1916.

Throughout its history, the NationalTheatre has been home to great events inAmerican musical theatre, including the

1927 premiere of the musical Show Boatand the 1957 premiere of West Side Story.

With it’s location so near the WhiteHouse, it should come as no surprise thatthe National Theatre has also hostingmany political events, from Sir WinstonChurchill’s lecture on the Boer War in

1900, to the speech given by then-presidentRonald Reagan at the Gala Benet performance of the musical “42nd Street,”held to celebreate the 1984 reopening ofthis great place of American history.

Text and images courtesy of the American




Attucks Teater Norfolk, Virginia

ATTUCKS THEATER 1010 Church Street

Norfolk, VirginiaOPENED: 1919ARCHITECT: Harvey N. JohnsonCAPACITY: 835 (original) 624 (currently)

The Attucks Theatre was erected bya group of black businessmen whofounded the Twin Cities AmusementCorporation, which operated theatres in

Norfolk and Portsmouth. It wasnanced

by two black nancial institutions in

Tidewater, the Brown Savings Bank andTidewater Trust Company. Situated inthe center of a fairly concentrated areaof blackcommercial activity and adjacent

to a large black residential area, theAttucks Theatre building was designed

to accarmnodate not only the motion picture theatre, but also variousretailshops and ofces for realtors, doctors,

insurance agents, and dentists. Along withthe emergence of a growing and more

prosperous black population in Tidewatercities after World War I, there was alsoa marked tendency to segregate races inall public places. Although segregationin places of public entertainment wasnot written into the law of Virginia until1926, society in the Old Dominion wasmoving in that direction much earlier, andthe Attucks Theatre symbolizes the blackcommunity’s attempt to deal with thereality.

The architect for the Attucks Theatrewas Harvey N. Johnson (1892-1373).

Born in Richmond’s Jackson Ward, theson of a successful carpenter, Johnson waseducated at Virginia Union University inRichmond and the Carnegie Institute ofTechnology in Pittsburgh. In 1919 at theage of 26, he moved to Norfolk to designand supervise the building of the Attuckstheatre.

The extant plans of the theatre aresigned by Johnson and Charles T. Russell,anotherblack architect who designedthe renovation for the St. Luke Buildingin Richmond, as wellas supervised theadditions to the buildings of VirginiaUnion University.

By 1924, the Norfolk Directory showsthat the Attucks Theatre was occupied byseveral lawyers, a dentist, realtors, and the

National Benet Life Insurance Company.

The coming of the Great Depressionseems to have halted the prosperity ofthe Attucks Theatre and thesurroundingChurch Street area. As early as 1931,there were a number of vacancies intheneighborhood, and the theatre building

was ultimately purchased by Stark andLegum. The theatre building itself, alongwith the surrounding businesses thatourished as a black comercial center in

the 1920s, entered into a period of rapiddecline, but was still able to host numerousfamous national and local entertainers,including Norfolk’s Gary U.S. Bonds andPortmouth’s Ruth Brown

The Attucks was added to the NationalRegister of Historic Places on September16, 1982, but was not fully restored until2004, in a partnership between the City

of Norfolk’s Department of CulturalFacilities and the Crispus Attucks CulturalCenter.

Text courtesy of the Virginia Landmarks

Register and image courtesy of Norfolk

SevenVenues.



Chrysler Hal Norfolk, Virginia

CHRYSLER HALL215 Saint Pauls Boulevard

Norfolk, VirginiaOPENED: 1972ARCHITECT: Williams & TazewellPier Luigi NerviCAPACITY: 2500

Built in 1972, Chrysler Hall is part ofthe Norfolk Scope, an entertainmentcomplex consisting of an 11,000 person arena, a 10,000 square foot exhibitionhall, and the 2,500 person Chrysler Hall.Chrysler Hall was always imagined as being

part of this amazing Norfolk cultural center. Norfolk architects Brad Tazewell and JimWilliams were inspired by the 1960 RomeSummer Olympics’ Palazzo and Palazzettodello Sport, and made a plea to SenatorA. Willis Robertson to build a similarsports complex in Norfolk. When Senator

Robertson was later asked by PresidentLyndon B. Johnson to support federalfunding for a cultural and entertainmentcomplex in Colorado, Robertson tookup Tazwell and Williams’ idea, and saidhe would support a cultural complex inColorado if President Johnson wouldsupport one in Norfolk. Williams andTazwell were commissioned as designers,and they in turn commissioned Pier Luigi

Nervi, the Italian architect who designedthe Olympic structures they had earlieradmired.

Chrysler Hall has been Norfolk’s

cultural center since its earliest days,currently hosting over 140 events a yearand welcoming over 150,000 attendeesannually. The Virginia SymphonyOrchestra, Norfolk Form, VirginiaArts Festival, and the Virginia Balletall call Chrysler Hall home. Chrysler

Hall is always a place for more avangarde entertainment, hosting thGeneric Theater’s off-Broadway sty

performances. The Generic Theate brings new and unique theatrical workto Norfolk’s public, helping to round ouChrysler Hall’s role as the place for tharts in Norfolk.


Architecture Archives. Image courtesys o

Michael Pennello.



Roper Performing Arts Center Norfolk, Virginia

JEANNE AND GEORGE ROPER

PERFORMING ARTS CENTER

300 Granby Street Norfolk, VirginiaOPENED: May 10, 1926ARCHITECT: Thomas W. LambCAPACITY: 2,100 (orginial) 861 (currently)

The Tidewater Community CollegeJeanne and George RoperPerforming Arts Center wasoriginally built in the early 1900s, not as atheatre but rather as Gilmer’s DepartmentStore. For much of the 1910s and 1920s,

the building served as the Philip LevyFurniture Stores, but in 1924 the buildingwas purchased by Loew’s. Loew’s broughtin architect Thomas Lamb and localinterior designer Anne Dorrin to shapethe department store into a world classtheatre, at an estimated cost of just under$1,000,000.The Loew’s State, as it was called, opened

on May 10th, 1926 with a programthat included lms, organlogues, and

vaudeville acts.The theatre remained open as a movietheatre until 1978, although in the lateryears the quality of entertainment shiftedto X-rated lms and b-grade materials.

It was briey reopened as the Premiere

theatre in the early 1980s, when newmanagement attempted to make it a live

performance venue for jazz and rock acts, but by 1984 they too shut the doors. Asthe downtown area underwent urbanrenewal attempts, the theatre’s marqueewas removed and retail spaces were built

along the building’s front.The building was eventually purchased

by Tidewater Community College, in partnership with the city of Norfolk,and renovations began in 1999. Thougha leaking roof had caused a great dealof damage, much of the auditoriumwas intact, with restorations done tothe ceilings, chandeliers, theatre boxes,

murals, leaded glass windows, andoriginal auditorium seating. The rear

section of the building was most affected by the water damage, leading that areato be converted into lecture halls andclassrooms. The restoration process led tothe rediscovery of many artifacts from thetheatre’s heyday, including hand-paintedlm posters from 1929, set pieces from

the Loew’s vaudeville circuit, and several programs from the early 1930s.

Text and image of the theatre stage

during the Loew’s State era, courtesy of

American Theatre Architecture Archives.



Wells Teatre Norfolk, Virginia

WELLS THEATRE110 East Tazewell Street

Norfolk, VirginiaOPENED: August 26, 1913ARCHITECT: E.C. HornCAPACITY: 641

The Wells theatre is named afterJake Wells, a major gure in late19th century Virginia theatre. Wells began his career as a professional baseball player, was struck one day by an idea andstated to a friend “I believe there is money

waiting for the man who gets hold of that building and puts on the right kind of popular-priced vaudeville.” That buildingwould become the Bijou Family Theatre,Richmond’s rst vaudeville house. Wells

and his brother would go on to manageand own- over 42 theatres throughout theSouth, including the namesake Beaux-Arts Wells Theatre, opened in 1912.

Economic sufferings following theGreat Depression led to a suffering inattendance and, by the 1960s, the WellsTheatre met the fate of many greatAmerican theatres and was only open to

screen adult lms. A large cinderblock wallwas put up in front of the stage to serveas a movie screen, and the backstage areawas repurposed as the “Jamaican Room,”

a bar and house of ill repute cateringto sailors. In 1979, the Virginia StageCompany took control of the theatre and,after using money from its own pockets to

pay back the decit, began the fundraising

process to fully restore the theatre to its previous glory.

Under the guidance of architect JohnPaul Hanbury, the restoration process

brought beauty back to the Wells. Whenthe Virginia Stage Company moved in, thetheatre was marred by a leaking roof whichdamaged the statutes, murals, stainedglass, brass rails, and Tiffany lamps whichhad been painted over, then left to ake.

A 3.85 million dollar renovation inthe late 1980s included work on theouter vestibule and house, with work onthe plasterwork and ceiling murals. Inadjusting the theatre for live performance,

the audience arrangement was changeand a full stage and rigging system wer

refurnished. The Virginia Stage Companalso purchased the adjacent ofce buildin

to expand the support spaces. While threstorations updated many aspects othe theatre to 20th century standards, thWells uniquely retained its traditional roprigging system. One of the few Americatheatres still existing as a “hemp house,

the Wells makes use of the traditionacomplex system of ropes, pins, pulleyand sandbags to lower scenery and proponto the stage.

Upon completion of the restorationJohn Witt from the Richmond TimesDispatch wrote “Cosmetic surgery an

skilled makeup artistry have transformethe Wells Theatre from an aging actresinto a classic beauty”


Architecture Archives. Top image, of

the Wells Theatre in its current restored

condition, courtesy of Michael Pennello.

Middle and bottom images of the Wells

Theatre circa 1922 and of the theater

interior, courtesy of the American Theatr Architecture Archives.



Wayne TeatreWaynesboro, Virginia

WAYNE THEATRE521 West Main StreetWaynesboro, VirginiaOPENED: January 18, 1926ARCHITECT: C.K. HowellCAPACITY: 625 (original) 384 (current)

The Wayne Theatre opened onJanuary 18, 1926. The ValleyVirginian reported that the six-month construction period had resultedin a 625 seat auditorium. The interior wasdecorated by the Richmond rm of Jones

and Davis. The color scheme was ivory,old rose and blue with textured wall anddecorative plaster borders. A numberof bronze chandeliers were suspendedfrom the ceiling and dimmed by what the

paper called “the most up-to-date lighting

system possible.” The system was built byLee Lash Studios of New York City.

A major feature of the Wayne Theatrewas the Arthur Jordan Orchestra PipeOrgan. Touted as the “largest and most

expensive in the state” it cost $10,000. Theconsole was located in the small orchestra

pit at the front of the stage. The pipeswere concealed in the auditorium ceilingand walls. In 1929, the Wayne followedthe lead of the Dixie Theatre in Stauntonand installed a “talking machine” by RCA

which allowed the Wayne to show the rst

full-length talkie, The Jazz Singer.In 1949, it was decided to enlarge

the Wayne. The original stage area wasremoved and the backstage area wasaltered, effectively doubling the size ofhe auditorium. A two-story extensionwas added to the rear of the building and

a lounge was added in an addition on theeast. A few years later, a second storywas added to the lounge to serve as anapartment for the manager.

The corporation continued to operatethe theatres until 1964 when it sold itsinterests to The B & K Virginia Corporationwhich leased the Wayne to the DavidsonTheatres of Washington, D.C.

A re on June 2, 1980, created the

opportunity to again alter the interior of

the Wayne. The auditorium was dividedin half with the rst screen placed at

approximately same location as theoriginal vaudeville stage. The secondscreening room was at the end of the 1949

expansion. Audiences accessed the secondspace via a narrow hallway on the right ofthe auditorium. The creation of a movieduplex gave the Wayne a few years of

protability, but by 1999 the theatre was

no longer a viable business venture. Theowner closed the Wayne and deeded thestructure to the city of Waynesboro.

In an attempt to turn the defunctmovie theatre into a cultural asset, theCity of Waynesboro sought the advice ofits Cultural Commission. The result wasthe establishment of the Wayne Theatre

Alliance under the leadership of LillianMorse. She called the rst meeting together

on April 10, 2000. The stated purpose ofthe Alliance was “to provide the residents

and artists of Waynesboro, Virginia, andthe Shenandoah Valley, through the useand development of the Wayne Theatre,with an environment in which all the artsmay be appreciated, enjoyed, learned, andsupported.”

On June 8, 2000, the organization was

incorporated as the Wayne Theatre AlliancInc. With the city assuming the cost of tapplication, the Alliance sought a 501 (c) 3 no

prot status with the Internal Revenue Servic

It was nally granted on March 14, 2001.

After a competition to select an architect fthe renovation, Bushman and Dreyfus Architeof Charlottesville was chosen. The architectuhistorian, Mimi Sadler, was engaged to usher t

plans through the approval process for histotax credits. In October, 2007, the VirginDepartment of Historic Resources (DHgave its approval followed by the Federal PaService.

The new plans call for a 384 seat auditoriuwith an addition of wing space and y loft. T

addition of the wings and an extension for t bathrooms and meeting room on the east side

the building were the only changes to the 19footprint of the Wayne.

In 2014, an amendment to the plans wsubmitted to DHR. The changes were to adjuthe layout, and create a performance space on tsecond oor behind the auditorium to be know

as the Custin Cabaret. No other changes wecontemplated. Approval for the amendment wforthcoming.

Text and image courtesy of Wayne Theatre



Blackfriars PlayhouseStaunton, Virginia

BLACKFRIARS PLAYHOUSE10 S. Market StreetStaunton, VirginiaOPENED: September 21, 2001ARCHITECT: Tom McLaughlinCAPACITY: 309

The American Shakespeare Center hostsan internationally acclaimed theatrecompany that performs Shakespeare’sworks under their original staging conditions-- on a simple stage, without elaborate sets,and with the audience sharing the same lightas the actors. Home to the ASC’s resident

troupe and the ASC on Tour, the BlackfriarsPlayhouse has been established as one ofAmerica’s premier Shakespeare destinations.“This stunning re-creation of the rst indoor

theatre in the English-speaking world, whichWilliam Shakespeare and his colleagues builton part of London’s Blackfriars Monastery...is, in itself, a reason to visit Staunton.” --Frommer’s Virginia guide

Situated in the heart of the ShenandoahValley in historic Staunton, Virginia, the300-seat Blackfriars Playhouse -- theworld’s only re-creation of Shakespeare’sindoor theatre -- opened its doors inSeptember 2001 and has already delightedtens of thousands of enthusiastic audiencemembers from around the world. The

product of years of research, this unique,historically accurate performancespace provides the perfect backdropfor the ASC’s Elizabethan staging

practices, and has already been called...

“One of the most historically importanttheatres in the world.” -- Andrew Gurr,Professor of English, University ofReading, England and former Directorof Research, Shakespeare’s GlobeTheatre, London.

The Blackfriars Playhouse is open year-round for Shakespeare productions, hailed

by The Washington Post as “shamelessly

entertaining” and by The Boston Globeas “phenomenal…bursting with energy.”

It’s also the perfect venue for meetingsand conferences, or for the wedding ofyour dreams. Additionally, the Playhouseis open for special musical and theatricaevents, workshops, educational programsand theatre tours.Southern Living believes that “Staunton’

Blackfriars Playhouse will make you falin love with Shakespeare.”


Shakespeare Center.



Staunton Performing Arts CenterStaunton, Virginia

STAUNTON PERFORMING

ARTS CENTER 828 N. Augusta StreetStaunton, VirginiaOPENED: June 16, 1913ARCHITECT: T.J. Collins and SonsCAPACITY: 1,200 (original)

Three investors, Witz, Schultz andOlivier formed the New TheatreCorporation, purchased land andhired Staunton’s T. J. Collins and Sons ashe architects to build the New Theatre.

The grand opening was June 16, 1913,

and seated 1,200 people on its orchestraand two balcony levels. The interior hadgilded plasterwork ornamentation witha bucolic mural above the box seatingand continuing over the top third of theproscenium.

Somewhere around 1926 control of theNew Theatre Corporation was purchasedby Isaac Weinberg, a theatre circuit ownerfrom Clifton Forge. Later, he sold acontrolling percentage of his ShenandoahValley Theatre Corporation to UniversalStudios. When Universal, facing nancial

strains around 1928 or 1929, exited theheatre business, Mr. Weinstein invited

Warner Brothers to become his controllingpartner.

On January 23, 1936, ames broke

out in the rear of the New Theatre, only20 minutes after the theatre was closedfor the night. The destruction was limitedo the roof, top level and rear sections ofhe building, while the elaborate Collins

design along the front was preservedalmost intact.

The third day after the re, John

Eberson, the premier theatre architect, metwith representatives of Warner Brothersand surveyed the destruction. Eberson’sstylistic intentions were given, in aquotation published in the Staunton NewsLeader on Tuesday, December 15, 1936,he day of the opening:

Forsaking the path of troddenconvention, I therefore am aiming tomake available to the motion picture

industry, auditoriums designed and

decorated to be seen and felt “inthe dark” – eschewing super- palatial architecture and glitteringover-ornamentation…Thanks to a

management that has granted mefreedom of architectural expression,Warner Brother Dixie embodies myideas of ‘streamline design’, the sturdystone exterior is in dignied

modern style – NOT ‘modernistic’…

The moldings were gilded, pulled plaster,each separating soft gradations of green

along the sides and continuing over theceiling in the balcony. Contrasting redupholstery covered the seating and thecarpet was a bold geometric design.Blue and green plush upholstered the

proscenium arch, accented by decorative“plaques.”

For the exterior Eberson retained mostof the existing T. J. Collins design for thefront, second oor elevation, modifying it

only by closing off the ve windows with

bright tile Art Deco designs. Horizontal bands are used along the rst oor

exterior, interrupted by the new box ofceand anked by display windows holding

posters of coming attractions. The neon blade sign is hung off the wall and justabove the new marquee by a curved top

bracket attaching it to the roof and by azigzag bracket at the bottom connecting tothe decorative band of the retained designfrom 1913.

After the Consent Decree of 1948removed ownership of the theatres fromthe studios that built them, The Dixiewas rst transferred to the Stanley Warner

Corporation, later merged into GlenAlden, and then the theatre division was

purchased by Esmark and then renamedInternational Playtex, Inc. Once thetheatre returned to local ownership, theonly design change made was to divideit into four theaters somewhere aroundthe end of the 1970s. Eberson’s designis intact, under sheetrock or shirred fabric

panels. In contrast to the Dixie’s decline,the spirit of historic preservation for the

city began in 1971with the formation of theHistoric Staunton Foundation. The result ofthese early efforts led to Staunton’s revival.Yet the Dixie and the adjacent Arcadia, alsoowned by SPAC, remain the only major

buildings along Beverley Street that havenot been restored.

The Staunton Performing Arts Centerwas formed in 2003 to raise the fundsto renovate the Dixie and return it to theglory of its opening in 1936. During theintervening years we were able to continue

presenting lms. In 2014, the theatre went

dark for the rst time in its history due to the

costs of the temporary digital conversion.However we are pleased to add that anexciting new concept, one that will makeour historic space vibrant and relevant forthe 21st Century, will be announced in June

of 2015.

Text courtesy of the Staunton Performing

Arts Center. Image courtesy of the Ameri-

can Theatre Architecture Archive.



Jefferson TeatreCharlottesville, Virginia

JEFFERSON THEATRE

110 East Main StreetCharlottesville, VirginiaOPENED: December 25th, 1911ARCHITECT: C.K. HowellCAPACITY: 600

The Jefferson National Bank con-structed its rst building in 1901. Atwo-story Greek Revival buildingdesigned by Charlottesville architect W.T.Vandegrift, the multi-columned buildingwith its large Romanesque arches wouldserve as the town bank for the next ten

years. In 1912, when the bank decided tomove headquarters, Kendler-Zimmer Co.(who later changed their name to Jeffer-son-Lafayette Theaters, Inc.) purchasedthe old bank building and hired local ar-chitect W.W. Keenan to lead extensiveinterior remodels and the construction ofan extension of the building, transformingthe town bank into its newest theatre.

The new Jefferson Theatre opened tothe public on October 21st, 1912 with alive performance from a theatre troupe all

the way from New York. Charlottesville’s

citizens showed up in droves to pay their$1.00-2.50 ticket fee for the premiere per-formance of the comedy, “The Man from

Home.”For the next three years, the Jefferson

Theatre showed a mixture of vaudevilleand lms to Charlottesville audiences, but

in 1915 a huge re erupted and complete-ly gutted the theatre. Richmond architectC.K. Howell was brought in to rebuild thetheatre, and the new Jefferson opened ayear a later. The Jefferson continued un-der Jefferson-LaFayette Theatres’ man-

agement until 1966 when it was sold to ateam of local businessmen who updatedthe seating and changed the name to theCinema Theater. In the early 1980s, thetheatre was twinned and renamed TheMovie Palace. While the twinning did re-quire the separation of the theatre’s mez-zanine, it allowed the theatre to continueoperating through the 1980s.

The 1990s brought nancial difcul-ties to the Jefferson, thanks in large partto competition from major theatre chains

along Route 29, causing a shut down 1992. From 2006 to 2009, the Jefferswas reconstructed to open as a live msic performance venue. Many historic dtails were restored in the theatre’s desigwhile many other updates were made

bring the venue into the 21st century. TJefferson is now one of the best placesCharlottesville to catch a musical perfmance, with guests ranging from counmusic hitmakers to popular hip hop artis


Architecture Archive, image courtesy of

Kirby Hutto.



Paramount TeaterCharlottesville, Virginia

PARAMOUNT THEATRE215 East Main Street

Charlottesville, VirginiaOPENED: November 25th, 1931ARCHITECT: George Leslie RappCAPACITY: 1,300 (original) 1,100 (current)

The Paramount Theatre’s Rapp &Rapp designed Greek-Revival building ts perfectly with thetheme of classic Virginian architecture.Inspired by the architectural leanings offamed Charlottesville native Thomas Jef-ferson, the theatre’s neoclassical design isunique among Rapp & Rapp theatres.

Although it opened in 1931, near the beginning of the Great Depression, the

Paramount was always a popular Charlot-tesville destination. Droves of movie-go-

ers came to the luxuriously appointed the-atre to escape their day-to-day lives andenjoy Hollywood’s latest offerings. TheParamount offered more than just mov-ies, however, hosting community eventslike war bond drives , fashion shows, and

popular music acts as well.In spite of decades of popularity, the

Paramount met the fate of many greattheatres and was ofcially closed in 1974.

Though memories of the theatre’s heydaynever faded, it would be almost twentyyears before restoration would begin. The

building was purchased in 1992 by a localnon-prot calling themselves Paramount

Theater, Inc. Their rst project was to

restore the theatre’s marquee as a calling-card to the community, letting them know

changes were coming to the Paramount.After continued fundraising, Washing-

ton D.C.-based architectural rm Martinez

+ Johnson Architecture, the same rm that

worked on the restoration of Washington’sHoward Theatre, and local Charlottesville-

based Bushman Dreyfus Architects begana 16.2 million dollar renovation projectwhich included both the restoration of the

building’s original stunning aesthetics andthe addition of new facilities to transitionthe theatre into a regional performing artshub.

The Paramount reopened on December15th, 2004 and has once again become acrown jewel of Charlottesville. Fans oftheatre, dance and classical music nd all

of their favorites at this historic theatre,which also programs live screenings of

popular sports events and performancesfrom award winning comedians and musi-cians.


Architecture Archive. Image courtesy of

the Paramount Theatre.



Beacon TeatreHopewell, Virginia

BEACON THEATRE401 N Main Street

Hopewell, VirginiaOPENED: November 28th, 1928ARCHITECT: Fred BishopCAPACITY: 981 (original)

674 (current)

The Beacon Theatre was the brain-child of M.T Broyhill, C.B. Swainand John Cunningham, all threethe original partners of the HopewellAmusement Corp. They commissionedtwo architects, local Osbert L. Edwards,and Richmond’s Fred Bishop, and gen-

eral contractor W.W. Thompson to build anew Art Deco-style theatre for Hopewellat a cost of $150,000, which includeda $10,000 organ. The theatre opened in1928 as the Broadway Theater

In 1932 the theatre was purchasedat auction by George Rollo and GeorgeStath, for $46,480. They changed the the-atre’s name to the Beacon. In 1982 thetheatre was closed. In 1987, the HopewellPreservation Inc. was formed to work torestore and reopen the Beacon Theatreas a performing arts center. They ob-tained ownership of the building in 1989.Though Hopewell Preservation Inc. wasable to begin some renovations, the the-atre remained in stasis. In 2010, the cityof Hopewell took ownership of the Bea-con and began the planning and fundrais-ing process, leading to a 4.1 million dollarrestoration project that began in 2013.

In 2014, the Beacon once again openedto the public as part of an even larger pushto revitalize Hopewell. Since its reopen-ing, the Beacon has brought many famous

performing acts to Hopewell, includingan opening night premier with Leon Rus-sell. The Beacon has also garnered praisethroughout the state, included winning theaward for Best Cultural Project from theGreater Richmond Association for Com-mercial Real Estate.





Commodore TeatrePortsmouth, Virginia

COMMODORE THEATRE 421 High Street

Portsmouth, VirginiaOPENED: November 15, 1945ARCHITECT: John J. Zink CAPACITY: 1,015(original)508 (current)

Located in the historic coastal town ofPortsmouth, Virginia, the Commo-dore Theatre celebrates 70 years ofmovie-going experiences in 2015. Designed

by Baltimore architect John Zink and built by Portsmouth native William S. “Bunkie”

Wilder in 1945, the Commodore Theatrecontinues to be at the center of entertain-

ment and community events in the HamptonRoads, Virginia, region. Named for Com-modore James Barron, a nineteenth centurynaval man who is buried in the church cem-etery next door to the theatre, the buildinghas nautical motifs throughout.

The Commodore operated as Ports-mouth’s premiere movie house from 1945until 1975, when it closed its doors becauseof the national trend of declining trafc in

downtown areas of cities. It remainedclosed for twelve years until it was pur-

chased in 1987 by Norfolk native FredSchoenfeld, who began the restoration andrevitalization process. Schoenfeld’s visionwas to restore the beautiful old theatre, yetchange the concept to combine rst-run

movies with full-service dining, the rst

such theatre in the country.From over 1000 original seats, the ca-

pacity was reduced to 190 seats for din-ing and 318 balcony seats. Artwork in theauditorium and the lobby areas was pains-takingly reworked, created by artists fromWall Illusions in Norfolk, Virginia, princi-

pally artist James Nelson Johnson. The 20x 40 foot murals on each side of the audi-torium, depicting scenes from Portsmouthhistory until the 1940s, were repainted andenhanced, new chandeliers, each weighingover 300 pounds of Italian leaded crystal,replace old, uorescent chandeliers, and,

in two alcoves in the inner lobby, artistsrecreated scenes of the original theatre be-fore restoration.

A kitchen was created from the manager’s ofce and men’s smok

lounge; the women’s lounge was restowith its 1940s ambiance. The house tain was made especially for the Commdore Theatre in 1989 by Greenville StCompany, while the screen curtain is Commodore’s original curtain from 19The marquee, with an estimated weiof over 20 tons, twinkles with over ashing lights. Excellence in sound

image presentation is a hallmark of Commodore, based on Schoenfeld’s gineering expertise and his collaboratwith the George Lucas THX group in C

ifornia. With a screen that is 41 feet wand 21 feet tall, 9 large JBL speakers 22 surround sound speakers, and genexcellence in movie exhibition, the Comodore Theatre has had THX certicat

from its opening, one of the few on East Coast. The theatre switched to dig

presentation in 2012.When Wilder built the theatre in 19

he said, “It is our wish that the Comm

dore Theatre shall be used by the peoof this community, and we invite your operation to the end that it may beco

‘Your Community Center.’” In the hof Portsmouth’s downtown, the Commdore Theatre remains a hub for communevents, as well as movies. It has hosPublic Library Forums, Coast Gumeetings, weddings, lm premieres,

dent art and lm showcases, nation

known bluegrass bands and other musevents, an Extreme Makeover broadcastelevised opinion group during a Presidtial debate, and many other communactivities.

The Commodore Theatre is listedthe National Register of Historic Plaand the Virginia Landmarks Register. TCommodore is recognized nationally internationally as a unique movie-goexperience.

Text and image courtesy of the

Commodore Theatre.



Kimball TeatreWilliamsburg, Virginia

KIMBALL THEATRE428 W Duke of Gloucester

Williamsburg, VirginiaOPENED: January 12, 1933ARCHITECT: Perry, Shaw & HepburnCAPACITY: 535 (original) 440 (current)

The Kimball Theatre was originallyopened as the Williamsburg Theatrein 1933. Construction began in 1931under the direction of John D. Rockefeller,who was the major nancial force behind

the colonial restoration and recreation ofWilliamsburg. Rockefeller had the Wil-

liamsburg built by the same contractor whoconstructed New York’s Radio City MusicHall, and his RKO Pictures operated thetheatre until the 1940s when it switchedhands and was managed solely by ColonialWilliamsburg. The exterior was designedin classic Colonial style, while the originalauditorium interior featured Chinese Chip-

pendale style, with scenic Oriental wallpa- per in the interior. Other sections of the the-

atre were in more straightforward Colonialstyle, including an exit door designed to

be an exact replica of those in the SupperRoom of the Governor’s Palace, also lo-cated in Colonial Williamsburg.

The Williamsburg Theatre was themain street movie theatre, and served asa community locus, drawing in both tour-ists to Colonial Williamsburg, but also lo-cal residents and college students. EvenRockefeller would show up for screen-ings, as he had seats in the back speciallyreserved from him and his wife.

In 1999, Bill and Gretchen Kimball ofBelvedere, California made a donation of

three million dollars to nance the full ren-ovation of the then Williamsburg Theatre.Renamed in honor of these benefactors,the newly revamped theatre was crafted toincrease the working relationship betweenColonial Williamsburg and the nearbyCollege of William and Mary.

The renovations were headed by toptheatre consultant Lawrence L. Graham ofCape Dixson Associates Incorporated.

They included a lobby enlargement (ding original construction R.K.O Pictures e

couraged a small lobby, arguing that a line people outside would encourage onlookersattend), extending the stage apron, increasirestrooms, installing scenic drops and stacurtains, and conguring an integrated sou

system.Both lm and live productions are p

sented at the Kimball. The Kimball Theacurrently shows a broad program of art, feign and independent lms, along with H

lywood hits and classics. Live performancat the Kimball range from contemporary pductions from student groups at the Colle

of William and Mary to productions thatthe Colonial Williamsburg theme--includiGrand Medly of Entertainments, describas a sort of “18th-century vaudeville sho

and Nation Builders, a series of interviewith actors portraying historical gures l

Thomas Jefferson and Patrick Henry.

Text and images courtesy of the Americ




HEARE CONAC INFORMAION

Attucks Teatrewww.sevenvenues.com/events/venue/attucks-theatre(757) 622-4763

Altria Teaterwww.altriatheater.com(804) 592-3368

Ashland Teatrewww.ashlandtheatreva.org

Beacon Teatrewww.thebeacontheatreva.com

(804) 446-3457

Blackfriars Playhousewww.americanshakespearecenter.com(540) 851-1733

Bow ie Cinemas’ Movieland at Boulevard Squarewww.bowtiecinemas.com/locations/movieland-at-boulevard-square

(804) 354-1969Byrd Teatre

www.byrdtheatre.com(804) 353-9911

Carpenter Teatrewww.richmondcenterstage.com/venues/carpenter-theatre(804) 592-3330

Chrysler Hall(757) 664-6464

www.sevenvenues.com/venues/detail/chrysler-hall

Commodore Teaterwww.commodoretheatre.com/

(757) 393-6962Henrico Teater

henrico.us/rec/places/henrico-theatre/(804) 328-4491

Howard Teatrewww.thehowardtheatre.com(202) 803-2899

Jefferson Teaterwww.jeffersontheater.com

(434) 245-4980

Kimball Teatrewww.colonialwilliamsburg.com/do/kimball-theatre(757) 565-8588

Lincoln Teatrehttp://www.thelincolndc.com(202) 888-0050

National Teatre, Richmondwww.thenationalva.com

(804) 612-1900

National Teatre, Washington D.C.www.thenationaldc.org(202) 628-6161

Paramount Teaterwww.theparamount.net

(434) 979-1333idewater Community College Roper Performing Arts Cen

www.ttcropercenter.org(757) 822-1450

Sara Belle and Neil November Teatrewww.va-rep.org(804) 783-1688

Staunton Performing Arts Centerwww.stauntonperormingarts.org(540) 885-3211

Warner Teaterwww.warnertheatredc.com

(202) 783-4000Wayne Teatre

www.waynetheatre.org(540) 943-9999

Wells Teatrewww.vastage.com(757) 627-6988


35/36Theatre Historical Society of America | historictheatres.org 35 | 2015 Conclave Theatre Tour: Richmond, Virginia

and all the venue owners, operators and staff that assisted in

making the 2015 Conclave Teatre our successful.

Tank you for sharing Virginia and Washington D.C’s the-

atre history with us.

HS EXENDS

GRAIUDE O:

ake thememorieshome with you!

Order 20”x 30” poster-

sized photo prints of

Pittsburgh theatres

from the American

Teatre Architecture

Archive online at

historictheatres.org/shop.


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