Blog posts matching ‘James A Little Theater’ (2024)

Openings

From the Star-Tribune: It’s a plotline straight out of a Mickey Rooney-Judy Garland flick from the 1930s: “Hey, kids! Let’s fix up the old barn and put on a show!”

And that’s what they did, hundreds of people in and around this western Minnesota city of 1,800. They came from Dawson and Minneota, from Marshall and Porter. They pitched in and brought back to life the Canby Theatre, opened in 1939 as a grand movie palace and closed in 2012 as a tired mess. Electricians and plumbers donated their skills. The mayor hung drywall and acoustical tile.

Across the area, even over the nearby border with South Dakota, cities and civic groups raised money through bake sales, burger fries, music shows and cruise nights. They sold calendars and $200 sponsorships for the theater’s 210 seats. They put jars on store counters and dropped in their spare change. Local businesses donated money and bought ads.

Out here in the heart of the Minnesota prairie, the people raised $300,000 from their own pockets to buy the theater and renovate it for the 21st century with digital projectors and reclining seats — and, more important, to send the world a signal that their town is still going strong.

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Closings

From San Jose Inside: Downtown San Jose is losing its only first-run movie theater. Camera 12 Cinemas, San Jose’s largest independently owned movieplex, announced today that it will punch its final tickets this Friday, Sep. 9. Camera Cinemas’ two other theater complexes—Camera 3, located just blocks from Camera 12, and Camera 7 in Campbell—will remain open.

“I’m really sad—really sad,” said Jack NyBlom, a managing partner of Camera Cinemas. However, he added, the closure simply could not be avoided. “A decade’s loss of revenue from a promised growing residential market, that’s just now coming online, coupled with the staggering costs of maintaining a large, aging, poorly designed building has led us to this decision to close.”

Camera Cinema’s spokesman, Dan Orloff, said that years of accumulated debt posed a challenge to the local ownership group. The “straw that broke the camel’s back,” Orloff says, was the tenant’s obligation to maintain and repair the roofs, escalators and other building elements, which were in serious disrepair.

Camera 12 took over the taxpayer-subsidized cinderblock building next to the federal courthouse and Fairmont Hotel in July 2004, several years after United Artists moved out of the complex without notice in the middle of the night. The $11 million, 70,000-square-foot complex received $4.4 million in city redevelopment funds after another national chain, AMC, abandoned its plans for a 16-screen complex as part of the Pavilion, a Redevelopment-sponsored retail mall that was eventually converted into a computer server farm.

In December 2000, just four years after the theater was built, Redevelopment Agency director Susan Shick tried to knock it down. “The theater is obsolete,” Shick said. “It’s not a theater built to modern-day standards.” Things turned around after the Cameras leased the facility, and both private and public money was poured into maintaining the operation.

And yet it was not enough. According to NyBlom, after a tile fell from the cieling a few weeks back, it was discovered that the building had some serious plumbing issues. Plus, he added, the theater’s escalators were proving to be both a hazard and a money pit. “It’s just not a safe environment for our customers anymore,” he said.

NyBlom is pleased that Camera Cinemas’ other two locations, Camera 3 and Camera 7, will be able to keep showing films. But even though both theaters are doing well, he believes the loss of the independent Camera 12 represents a major blow to downtown San Jose culture.

For starters, Camera Cinemas has always made it a priority to work with the local community in ways larger theater chains might not. At Camera 7, for instance, on the first and third Wednesday of every month, there are special showings for parents with infants—the idea being, if everyone in the crowd is bringing a baby, no one will object to a little crying.

Camera 12 has also been a major hub for screenings during the Cinequest Film Festival. “We’re going to try to continue to work with Cinequest,” NyBlom said, noting that Camera 3 will remain available as will Camera 7. However, that does leave a big vacuum when it comes to downtown screenings. “We have a 27-year relationship with those guys. We’ll try to get them placed wherever we can.”

Camera Cinemas has also served as a force for good in sticking up for other independent theaters. After moving into the Camera 12 building in 2004, Camera Cinemas sued the national Century Theater chain over their practice of creating “clearance agreements” with movie studios. These agreements would guarantee Century had exclusive rights to screen certain movies for a certain period of time within a given region—sort of like the radius clauses live music venues make bands sign, preventing many acts from playing both San Francisco and San Jose in succession.

Their legal action proved fruitful—at least in San Jose—after then-Attorney General Bill Lockyer launched an antitrust investigation into the practice of clearance agreements. Though no legal action was taken, Century backed off and Camera Cinemas won the rights to screen first-run films at Camera 12, a major coup for the independent theater.

The suit may have also played a role in spurring other independent theaters to take fight clearance agreements in their regions.

See below for the full Camera Cinemas news release.

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Theaters

From the Knoxville News Sentinel: The Tennessee Theatre had its best attendance month ever in April, drawing more than 25,000 patrons. And right now it is on track to recording its most successful year in history. Not to be outdone, the Bijou Theatre across the road has experienced its first profitable period in its modern history.

Much of the theaters' success is attributed to AC Entertainment’s unique management style. AC Entertainment started working with the Tennessee Theatre 20 years ago and partnered with the Bijou Theatre 10 years ago.

“April was an amazing month for both the Tennessee and the Bijou,” said Ashley Capps, who founded AC Entertainment 25 years ago. “The Tennessee had its most successful month ever, by any metric. ‘The Book of Mormon’ drove that along with a number of sellout shows.”

This is no overnight success. “I would love to say that we had this impulse to revive the theater and that we knew what we were doing,” he said. “But we were making it up as we went along.”

Capps started promoting shows at the Bijou back in 1980 — “just for the fun of it.” Then he started promoting shows at the Tennessee Theatre about 1982 and continued to do so throughout the 1980s.

In 1996, James Dick, the owner of the Tennessee Theatre, gave AC the opportunity to take over the day-to-day operations and management. “When we took the reins at the Tennessee Theatre we had one primary objective — we didn’t want to see it close, its future looked a bit shaky,” he explained.

“In the late 1990s, the theaters were in rough shape,” Capps said. “The bones of the Tennessee were in good shape but there were no amenities for touring personnel and the dressing rooms were fairly frightening. The tractor-trailer trucks had to pull up on Gay Street and roll everything in through the lobby onto the stage, all of these heavy cases with sound and lights and band instruments were not good for the lobby.”

AC leveraged its extensive network of venues and festivals and industry experience to bring top acts to Knoxville. AC are co-producers of the Bonnaroo Music & Arts Festival with Superfly Productions and the producers of Big Ears Festival and other events in Ontario, Kentucky, Alabama and North Carolina.

“We were young and aggressive,” Capps admitted. “We just rolled the dice and worked it really hard. We were able to bring some amazing acts.” Capps recalls Chet Atkins performing his last concert and Johnny Cash performing his last full concert, and Bob Dylan and Santana all taking to the Tennessee Theatre stage in the late 1990s.

At the time, The Tomato Head was the only restaurant open downtown at night. “Most of Gay Street was boarded up, buildings were empty,” he said. “I remember a visitor driving downtown, rolling down his window — I thought he was going to ask for directions, but he asked what had happened there? It was like a ghost town.”

At the same time AC had to overcome the fact the Tennessee Theatre was designed as a movie house, not a modern concert venue. “I’m a Knoxville native, my first memories are going there as a little kid,” Capps said. “We would go to see all of the first run movies, I would see Disney and John Wayne movies when I was 5 years old.”

In a sense it has all become easier, according to Capps. “The big challenge is that there is a lot more of it. The challenge is not so much booking it but managing it. With all of this volume, still delivering the highest experience that we can. Being committed to crafting an experience for both the artist and the fans.

“For the theaters, we are the staff, that’s the simplest way of looking at it,” Capps said. “We take care of all of the day-to-day operations, manage the theater and the calendar.” AC also works closely with the Knoxville Symphony and Knoxville Opera as well other groups that want to use the theaters.

With just 1,600 seats, the Tennessee is considered a secondary venue making it financially challenging for many promoters. Capps said that they make it easier for those outside promoters to use the theater effectively.

“They are definitely different,” Capps said of the two Gay Street theaters. “The philosophy is similar. (However) because of its size and amenities you could never do a real touring Broadway production in the Bijou. It is a little scrappier, it requires a lot more from our team in some ways — they are super hands-on with every aspect of the show.”

AC Entertainment is not resting on its laurels. “We are always looking for ways to further develop programming for everything that we do, I’m very excited and proud of what we have accomplished up until this point,” Capps said.

The Bijou is primed for a whole new phase of its existence, according to Capps. “We are excited to be working with the Bijou, crafting the vision for the next 10 years and really exploring the other facets of what the Tennessee Theatre can be in the future.”

Although the theater has been active for almost 88 years, Becky Hanco*ck, Executive Director of the Tennessee Theatre, said the real turning point was when it was restored and renovated in 2005 so that it could function in the 21st century.

“But a crucial component was making sure that the theater could book and secure great entertainment,” she said. “We are fortunate to have AC Entertainment in town. Their management and bookings have played a great role. They have great contacts with artists, agents and producers, they know the market well and they know the venue well, they have been an integral part.

“April is the top of the heap, we have been doing very, very well,” said Hanco*ck of the theater’s success. “For the rest of the year things look good. We don’t book too far out in advance, Ashley would be the first to tell anyone that it is a volatile industry, it’s affected by many factors. In some ways we hedge our bets, but I feel that the formula we have will work well.”

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Events

JERSEY CITY, NJ —

At The Landmark Loew’s Jersey Theatre 54 Journal Square, Jersey City, NJ 07306 Tel. (201) 798-6055 Fax: (201) 798-4020 Web: www.loewsjersey.org The Landmark Loew’s Jersey is a historic theatre operating as a non-profit arts center

Friday, October 24 8:15PM “Nosferatu” Starring Max Schreck, Alexander Granach, Gustav von Wangenheim, Greta Schroeder. Directed by F.W. Murnau. (1922, 84mins., B&W). Suitable for most audiences.

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Commentary

“South Pacific” 55th Anniversary
The Roadshow Engagements

Compiled by Michael Coate

Presented here in commemoration of the 55th anniversary of the release of South Pacific is a list of the Rodgers & Hammerstein musical’s roadshow engagements in the United States and Canada, which offers an opportunity to name-drop some once-glorious movie theaters. These were shown exclusively in major cities prior to the film being given a nationwide release. The roadshow engagements included reserved seating with an advanced admission price and an average of ten scheduled showings per week. Much like a Broadway show, the roadshow presentations included an overture, intermission, entr’acte and exit music. As well, souvenir programs were sold. And, unlike the majority of the film’s general-release presentations, these roadshow engagements were presented in 70-millimeter and six-track stereophonic sound.

This article/list was created for the sake of historical record, but is also a celebration of the mostly now-closed and fondly-remembered “Cinema Treasures” in which the film played. The bookings are arranged chronologically by premiere date. Duration data, measured in weeks, has been included for selected entries. At the time, many of these engagements established a long-run record for their respective city and/or theater (and a few hold to this day).

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Events

At The Landmark Loew’s Jersey Theatre 54 Journal Square, Jersey City, NJ 07306 Tel. (201) 798-6055 Fax: (201) 798-4020 Web: www.loewsjersey.org

A Not-For-Profit Arts Center in a Landmark Movie Palace

Fri., February 22 8PM
“The Trouble With Harry” Starring Shirley MacLaine, Edmund Gwenn, John Forsythe. Directed by Alfred Hitchco*ck. 1955, 105mins

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Events

JERSEY CITY, NJ —

1 “Matrix” + 2 “Things"
= Sci-Fi on the Big Screen

At The Landmark Loew’s Jersey Theatre
54 Journal Square, Jersey City, NJ 07306
Tel. (201) 798-6055 Fax: (201) 798-4020 Web: www.loewsjersey.org

A Not-For-Profit Arts Center in a Landmark Movie Palace

Includes A Special Make/Remake Presentation!

All Titles Screened in 35mm.

Friday, April 29 8PM
The Matrix Starring Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Hugo Weaving. Directed by the Wachowski Brothers. 1999, 136mins., Color

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Events

RED BANK, NJ — The Count Basie Theatre will be holding its annual Free Film Series started on Wednesday, March 30. The Free Film Series is presented by Friends of film, The Film Foundation and The Count Basie Theatre Foundation. Tickets are free, but must be obtained through the Count Basie Theatre Box Office. The following is a schedule of the upcoming films:

Friday, April 1 at 7:00 PM Fantasia 1940
Disney’s animated classic Fantasy

Sunday, April 3 at 2:00 PM The Black Stallion 1979
Kelly Reno, Mickey Rooney, Teri Garr
Director: Carroll Ballard Adventure

Sunday, April 3 at 7:00 PM Chicago 2002 Renee Zellweger, Catherine Zeta-Jones, Richard Gere
Director: Rob Marshall Comedy/Musical

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Memories

[b]HAPPY 30TH, “EMPIRE"
REMEMBERING "THE EMPIRE STRIKES BACK” ON ITS 30TH ANNIVERSARY

Compiled by Michael Coate[/b]

Dedicated to:
Leigh Brackett (Screenwriter), 1915-1978
John Barry (Second Unit Director), 1935-1979
Graham Freeborn (Chief Make-Up Artist), 1938-1986
Jack Purvis (“Chief Ugnaught”), 1937-1997
Alec Guiness (“Ben ‘Obi-Wan’ Kenobi”), 1914-2000
Terry Liebling (Casting), 1942-2001
Des Webb (“Snow Creature”), 1932-2002
Bruce Boa (“General Rieekan”), 1930-2004
Peter Diamond (Stunt Coordinator), 1929-2004
John Hollis (“Lando’s Aide”), 1931-2005
Michael Sheard (“Admiral Ozzel”), 1938-2005
David Tomblin (First Assistant Director), 1930-2005
Gareth Wigan (20th Century-Fox Executive), 1931-2010

Has it really been thirty years since the world was introduced to Yoda, the Imperial March and the thought that Darth Vader might be Luke Skywalker’s father?

On the occasion of the 30th anniversary of (one of) the greatest sequel(s) ever made, I thought I’d present a package of information that includes some production history, historical data, trivia, and, for movie-theater enthusiasts, a list of the theaters in which Empire played upon its initial release. Those who saw the movie in one of the featured venues can reminisce about the experience while others can imagine what the experience must have been like.

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Events

Those of us who advocate for the renovation and reuse of historic theatres always learn something when we look at successfully operating vintage theatres. Sometimes, you can find them in what you think are unlikely places.

In that spirit, I would like to invite you to consider joining us June 22-27, 2010, for the Theatre Historical Society of America’s statewide tour of Indiana. (THSA tours a different area in the U.S. each year for its annual “conclave.”)

Among the 33 historic venues we will see are at least three “movie palaces.” You can see how the INDIANA (Indianapolis), EMBASSY (Fort Wayne) and PALACE (Louisville) survived the decades and have been renovated for contemporary entertainment. We will travel daily in buses as far north as South Bend, as far south as Lexington, Ky., as far west as Danville, Ill., and as far east as Richmond. You are free to roam on your own in the evenings. Indy has much to offer in the way of theatre, movies, bowling and other amusem*nts.

In addition to the movie palaces, there are a wide variety of opera houses, cinemas, fraternal halls, ballrooms and other unique venues on the tour that really don’t fit into one category. Their diverse stories of survival and endurance are encouraging and inspiring to those of us who are working to preserve great theatres.

You may read the full conclave brochure and contemplate the registration form on the THSA web site:

What follows after the jump is the complete introduction I wrote for the current edition of Marquee magazine that covers all of the Indiana theatres we will tour. It includes a lot of personal history that explains how I came to have this interest. I’m including it here because space limitations and good editing have appropriately truncated it for Marquee.

Thank you for considering this invitation. If these kinds of thing sounds like fun to you, then I hope to see you on the bus plowing through the corn and bean fields of Indiana!

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