Farragut Hall, "A Popular Brooklyn Theatre"

Operated by the Oetjen Brothers, Farragut Hall opened 1910 at 1371 Rogers Avenue in the Flatbush section of  Brooklyn, New York.

Excerpts from Moving Picture World, December 10, 1910:
"Farragut Hall is one of the most beautiful, inside and out, as well as one of the most adequately equipped and best conducted places of amusement in that exclusive residential section of Brooklyn, where perfect moving picture theaters abound and where to excel it is necessary to reach the top notch. In fact, it seems as if Flatbush were trying to corner all the perfect ones in Brooklyn."

"The [exterior] color scheme is worked out in shades of green and the windows are of panels of stained glass. The two suspended lights are Adams & Bagnell flaming arc lights of 1,600 candle power each. Over the ticket booth is the rewinding room, the operators booth being projected inside the main auditorium. At presented the management are constructing a plate glass storm front directly under the large outside arch, thereby giving the place a kind of lobby or vestibule."

 "The main hall is 110 feet long by 33 feet wide, giving a total floor space of 3,630 feet. The interior colorings are varying shades of light and dark green pleasingly harmonized, and one of the features is the lighting. There are eight handsome four-light side fixtures, four ceiling Tungsten lights, and in addition to these are four large dark green globes a foot in diameter mounted on tall brass pedestals on either side of the rear entrances to the aisles.  These can be plainly seen in the picture as well as the heavy brass rail which divides the seating space from the 825 square feet of standing room in the rear."

"The seats are hardwood stained dark green and highly polished. The floor is hardwood polished smooth, sloping to the front, with heavily carpeted aisles. A $1,000 Fischer grand piano is the only musical instrument."

'The place is steam heated throughout, special care having  been taken to place a radiator in the ticket booth, which is unheated in so many places, leaving the ticket seller to shiver and often resulting in an illness with a fatal termination. Four steel beams do away with all center supports.

"Last but not least is the operator's booth which is one of the best features of Farragut Hall. As can be seen in the picture this projects out over the standing room space and is supported at the outer corners by steel braces. It extends eight feet and is six feet wide. It is entirely of steel, with a ventilator in the ceiling. The floor of the booth is eight feet above the floor of the auditorium and the booth itself is ten feet high. It is equipped with a Model B Edison, with a Fort Wayne Compensarc. Back of the operators booth and directly over the ticket booth is the rewinding room. This is five feet by six feet, and eight feet high.

"The running staff of the place consists of seven."

"Every patron of the matinee receives a coupon bearing a number. Every Wednesday afternoon the patron with the lucky number is presented with a piece of cut glass of really excellent quality. As most of the matinee patrons are ladies, the idea of a new piece of [article cuts off in mid-sentence]."

Farragut Hall closed with the opening of the Farragut Theatre, at 1401 Flatbush Avenue, in 1920.

Cezar Del Valle is the author of the Brooklyn Theatre Index, chosen 2010 Best Book of the Year by the Theatre Historical Society.

"The Nostrand," a model Brooklyn Show House

Excerpts Moving Picture World,November 19, 1910:
"The 'Nostrand' is indeed an exemplification of all that we have been trying to teach our readers a thoroughly high-class place of amusement should consist of."

 

"As you enter the 'Nostrand,' instead of passing directly into the auditorium you enter a handsome spacious foyer about twenty-five feet square. Here are large easy chairs, settees and tables of green crex and the decorations are carried out in a deep shade of green.

"The floor is white tile and a few white marble steps lead up at the rear of the auditorium. There are mirrors where in the polished surface the ladies can assure themselves that their hats are set on the latest chic angles before leaving. This, so Mr. [Henry L.] Schloh believes, banishes one of the greatest terrors that the ladies have in removing their hats."   

 "On entering the auditorium you seem almost for the moment to have found yourself in some tropical country from which the last dim light of day is receding. The walls from about one-third of the distance up all the way to the ceiling are painted with an artistic mural frieze showing waving palms, sand beaches, long stretches of blue ocean and sloping hillsides. The artist has accomplished his work perfectly  and has left nothing to be criticised or desired."

"The auditorium is forty-seven feet wide and a trifle longer, and there is an incline from the back to the front of about eight feet perpendicular. There are three large skylight ventilators and four exits. The center aisle is six feet in width and there are two side aisles each four feet wide. The floor is heavily carpeted.

"For the convenience of the patrons a telephone booth has been installed, and by this means it is possible for doctors who wish to seek a few moments relaxation to visit the 'Nostrand,' for they are within instant touch with their offices and the hospitals."

 

"The operating booth is nine feet in length by seven feet in width and is topped by a skylight ventilator so that the operator is always supplied with plenty of fresh air. Recently a new Power's No. 6 machine was installed."

"One of the features of the 'Nostrand' is the music and not to mention this important adjunct would be to leave half unsaid."

"Mr. Martin Savage, who has charge of this department, has been in the game a long time, and judging from his gray hairs he might be said  a veteran in it."

"He operates with excellent taste about fifty-three 'traps' and is also a proficient bell-ringer. He keeps his bells on the table at the front all the time and renders selections on them between reels. This is the nearest approach to vaudeville that will probably ever enter the 'Nostrand.'"

"The 'Nostrand' is owned and operated by partners, Mr. William Haase and Mr. Henry L. Schloh. These two men can be easily classed among the leading exponents of moving picture exhibiting in Brooklyn."

The Nostrand was located at 657 Nostrand Avenue. "Those of my readers who know anything about Brooklyn, know that to live in the St. Marks section means that your bank account is a large one" (Moving Picture World).

Cezar Del Valle is the author of the Brooklyn Theatre Index, chosen 2010 Best Book of the year by the Theatre Historical Society. 

Liberty Theatre, 266 S. Main St., Los Angeles, CA 90012

Seating Capacity: 540

Architect: A. C. Martin

Construction: P. J. Bolin

Proprietors: Kaiser, Sturm, & Hughes 

Excerpts from Moving Picture World, April 1, 1911:
"The 'Liberty' is one of the city's eight first-class moving picture theaters. The selection of the theater site was chosen with exceptionally good judgement. The theater is located in the heart of the business district at 266-68  South Main Street, at the intersection of Third and Main Streets."

"The front facade is of stucco and plaster-covered brick, the paneling and cornices outlined in small electric lights at night. The gold leaf statue crowning the cornice is ten feet in height, and, symbolizing liberty, holds aloft an electric torch. At the base of the statue in a laurel leaf gilded shield is the date of erection, 1910. Below this, on the crown of the shell-shaped lobby ceiling, is a second shield in gold leaf with the theater name 'Liberty.'
"The floor of the lobby is of white tile, inlaid with a series of swastika design borders in green tile. The side walls of the lobby are wainscoted in white Italian marble to a height of eight feet, crowning which is a twelve-inch moulded cap of mahogany. The entrance doors are of mahogany, their bases trimmed in brass, and their upper panels of plate glass.
"The box office is roomy. It is also wainscoted in marble, the woodwork of the upper part  being in mahogany and the windows of plate glass.
"The brick wall of the lobby contains a beautiful leaded art glass window, semi-circular in shape, with a landscape design of beautiful coloring, especially so when seen illuminated at night. Bordering the design are the words 'Continuous Performance.' Radiating from the art glass window, which forms the nucleus of the shell, are a series of stucco shell ribs, each containing fifteen clear-globed eight-candlepower lights."

"The inner lobby leading to the auditorium is 15x20 feet in size. The floor is of white tile, with six inch baseboard of marble. The lobby is paneled in oak to a height of 30 inches, above which it is covered with an imitation leather fabric."

"Opening off the lobby are retiring rooms for both men and women, the rooms also being finished in tile and marble. A narrow stairway opening off the lobby leads to the office, operators booth and organ loft.
"The operators booth is roomy and is equipped with the latest apparatus, including two Edengraph projectoscopes and a stereopticon. To the right of the operator's balcony is the organ loft, containing a large pipe organ, a valuable addition to the orchestra in accompanying religious and special films."
  
"The [auditorium] seats are of wood with iron standards. The side walls of the auditorium are paneled to a height of three feet in oak, above which are a series of five landscape paintings on each side, the borders of which are outlined with stenciled designs of a darker shade than the light green color scheme of the side walls.
"The height of the auditorium is twenty-four feet, and the stage is sixteen feet square. Facing the stage on each side are singing booths. The auditorium is illuminated by ceiling lights and ten pairs of art glass side lights of tulip design with green globes. The ceiling is of white plaster with cream trim, and from it are suspended five electric fans.
"The theatre is showing four first-run licensed films, and one illustrated song, except on Saturdays and Sundays, when two songs are used.
"The theater employs ten people. Girl ushers look after the seating arrangements. Five cents admission is charged to all parts of the house."

"The theatre was completed early in the year and has played to good business ever since."

For more on the Liberty Theatre

 Cezar Del Valle is the author of the Brooklyn Theatre Index, chosen 2010 Best Book of the Year by the Theatre Historical Society.    

Part Two: College Theatre, 441 S. Hill St., Los Angeles, CA 90014

Excerpts from Motography, August, 1911

"One of the best known and most popular men connected with the amusement business in Los Angeles is L. M. Nelson, chief operator and electrician for the Arthur S. Hyman circuit of theaters."

"Upon the opening of the first Hyman theater his services were secured by Mr. Hyman, and as the houses were added Mr. Nelson was given charge of the projection of the entire Hyman circuit, comprising the Hyman Theater at Eighth and Broadway, seating 900; the College at Fifth and Hill, seating 600; the Neptune at Venice, seating 600; the Walker at Seventh and Grand avenue, seating 800; the Rounder at Fifth and Main street, seating 350, and the Royal at Third and Broadway, seating 300.
"The distance separating the Hyman houses made the purchase of a runabout necessary, consequently some months ago Mr. Nelson invested in a Hupmobile, and since then the two (Nelson and the Hup) are to be seen on their journeys of projection at all hours.
"At the College Theater the operating room is 9 by 18 feet with a ten-foot ceiling, having a 34-inch flue in the center of the ceiling for ventilating purposes, together with an exhaust fan.
"The equipment consists of two Edison 'type B' machines, a double dissolving stereopticon, a Menchen spotlight and the necessary accessories. Two operators are on duty, giving a continuous performance.
The equipment is the same in all the houses with the exception of the Neptune at Venice, where the alternating current made the use of a mercury arc rectifier necessary.
"Many and favorable are the comments heard on the projection in the various Hyman houses, which is no doubt due to the careful selection of skilled operators and the close personal attention given to the equipment by Mr. Nelson.
"The action of the Hyman management in placing Mr. Nelson in charge of projection in all its theaters shows the care that is taken in the western city to get perfect pictures."

 
From Motography:
Top: L.M. Nelson, in his Hup Runabout, parked in front of what appears to be the College Theatre
Bottom: Booth at the College Theatre. Unidentified operators.

Cezar Del Valle is the author of the Brooklyn Theatre Index, chosen 2010 Best Book of the Year by the Theatre Historical Society.

College Theatre, 441 S. Hill St., Los Angeles, CA 90014

Opened:  "Matinee" December 14, 1910
Proprietor: Arthur S. Hyman
Architects: Hunt & Burns

Part 1: Excerpts from  Moving Picture World, May 27, 1911:

"The theatre is of brick construction and covers the full width and depth of the lot measuring 40x120."

"The front of the building is decorated with an intricate design of white staff to the height of the three sculptural groups, the central figures of which hold aloft torches composed of white globes. Above the sculptured groups and extending to the roof cornice, the front is laid off in marked squares tinted in a light orange color.
"The lobby is wainscoted to a height of ten feet with selected white Italian marble. On the sides of the marble wainscoting, at a height of five feet, are placed four small decorative panels of leaded art glass; two on each side of the lobby. Above the marble wainscoting are five pairs of leaded art glass windows with mahogany sashes."

"The box office is also wainscoted in marble. Above the plate glass extends a decorative bronze grill. The ceiling of the lobby is in white plaster from which is suspended  two square 12-inch drop lights with leaded art glass panels, each of the four panels representing a phase of college athletic life in which appear athletes in college athletic costumes."

"The entrance doors are of solid mahogany. The exit doors facing the street are of Gothic design."

"The height of the auditorium is twenty-nine feet. The walls are tinted in a light green, and the plaster decorations in a light orange with gold leaf and white trimmings. The ceiling is arched and paneled in white with stenciled borders in gold and green. The ceiling contains six circular ventilators with bronze grills. The side walls of the auditorium support four eighteen-inch fans on each side, and between them are hung art glass side-lights in miniature of the lobby drop lights. The railings about the orchestra, the bases, the door facings and stairway leading to the operator's room are of mahogany. The screen is roomy and on each side of it are two singing booths.
"The tapestries of the auditorium are of valour with dark green inside face, and the other side plum colored. At the rear of the auditorium are retiring rooms for both men and women, with a maid in attendance in the latter. The seats are upholstered in light green leather, with brass-plated standards, and backs in ark green enamel. The seats are large and roomy and well spaced for the comfort of patrons. The carpers are of green. On the right of the auditorium an exit passage way four feet six inches in width connects with the side auditorium exits and extends down to the stage.
"The orchestra consists of six pieces and is under the leadership of Miss Lillian May Lancaster, a noted composer, and known the country over as the newsboys' friend. The orchestra will feature the college music of the different universities.
"A notable decorative feature of the auditorium is a series of banners six feet long by four wide containing the seals and pennants in gold and college colors of the following universities: Yale, Harvard, Cornell, Princeton, Pennsylvania, Chicago, Michigan, California, Standford, Southern California, and other well known universities."

"The program consists of five reels of the best of first-run Independent films, and several song specialties.
"The admission prices charged are 10 and 15, with five-cent admission for the children. Young men ushers, in uniforms of blue, with white braided trimmings, look after the seating of patrons. The musicians' uniform are white graduation college gowns and white square college caps to match."

Next week in part two, we visit the booth with Motography  

For more on the College Theatre

Postcard: Theatre Talks collection

Cezar Del Valle is the author of the Brooklyn Theatre Index, chosen 2010 Best Book of the Year by the Theatre Historical Society.

Butler Theatre, 608 S. Hill Street, Los Angeles, CA 90014

From the trade publication Moving Picture World, February 24, 1912:

"The Butler Theater, located at 608 South Hill Street, Los Angeles, Cal., is one of the prettiest five-cent houses in that city. The seating capacity of the house is 250. The latest model Powers No. 6 machine is used, with a Mercury Arc Rectifier attachment. The  throw is eighty feet and a picture 9x12 is projected."

"In the picture, Mr. A. L. Butler, proprietor of the house, and Mrs. Butler, are seen standing on each side of the box. The young men at the extreme right and left of the lobby are Messrs. C. C. Jonas and E. Apperson, operators. This house enjoys a very nice patronage and is one of the most prosperous theaters in Los Angeles."

For more on the Butler Theatre

Cezar Del Valle is the author of the Brooklyn Theatre Index, chosen 2010 Best Book of the Year by the Theatre Historical Society.

Horne's Nickelin Theatre, 423 Spring Street, Los Angeles

The trade publication Motography, May 1911, features an article on Horne's Nickelin, the theatre's name an obvious reference to the five-cent admission. However most sources list this early movie house as Horne's Big Show. That is how it appears in the photograph accompanying the Motography article. Perhaps the theatre had just undergone a change.

Excerpts from Motography, May 1911:
"Horne's Nickelin Theater, 423 S. Spring street, is one of the popular motion picture theaters of Los Angeles."

"....Horne's show is devoted to pictures exclusively; there are no vaudeville stunts, nor illustrated songs. The only music is that which accompanies the films."

"The program consists of three reels all second run -- another distinctive feature. Every film  is thus fresh and up-to-date. They are run through the machine with only a slight pause in between, and no intermission. It is a continuous performance, lasting from 10:30 A. M. to 11 P. M. The work is done by two machines with two operators in attendance all the time. A third machine is kept in readiness in case of accident. The two 'busy' machines bear the brand of Nicholas Power; the auxiliary machine is an Edison.
"New we come to the rarest feature of all. The screen is neither canvas, white-wash, mirror or patent paint. It is a piece of pure satin! What do you know about that? It is Mr. Horne's  own invention, and he has kept it a secret up till now."

"Horne's theater seats 350 people. It is not such a large place, as motion picture theaters go nowadays, but like many nice little things it cost a good deal of money. A glance at the sumptuous exterior will give an indication of the style in which it has all been carried out.
"The architecture is Moorish and those pillars in front are of solid 22-karat gold--at least they seem to be. It is known as 'The Place with gold pillars.' It was built in 1908; the house has a 25-foot frontage and a dept of 120 feet; the admission price is five cents; the place keeps ten employees busy; there are seven large fans and a cooling apparatus to entice pedestrians out of the California heat; and at night some 350 incandescent lamps blaze a welcome."

"The 'Nickelin' is a favorite with everybody, especially with theatrical folk. Members of the Biograph stock company make it their own particular haunt."

"All who have ever met Manager W. T. Horne know just why his place is what it is."

It is unclear as to when the Nickelin/Big Show closed. The building was demolished by the mid-1920s.

For a  little bit More

Cezar Del Valle is the author of the Brooklyn Theatre Index, chosen 2010 Best Book of the Year by the Theatre Historical Society.