Hippodrome Theatre – Drypigment.net

Tales from a Scenic Artist and Scholar. Part 1018 – John H. Kunsky of Detroit, Michigan

In 1919, Thomas G. Moses delivered scenery to two Detroit movie houses owned by John H. Kunsky. A decade later, the “Detroit Free Press” published an article about Kunsky and his chain of theaters. It provides a good perspective when considering the declining demand for painting scenery during the second and third decades of the twentieth century.

From the “Detroit Free Press,” July 22, 1928, page 11.

Here is the “Detroit Free Press” article from July 22, 1928 (page 11):

“More than 20 years ago, in 1905, John H. Kunsky brought the first motion picture machine to Detroit. It was a cumbersome affair, far from reliable, but it served its primitive purpose, and the first Kunsky theater – formerly a store – prospered.

As the idea of motion pictures took hold upon the public, the firm benefitted. There came into being in 1908 the Theater Royale, the first 10-cent theater Detroit every had seen and the first link in the Kunsky chain. On one occasion a charge of 25 cents was made during the showing of ‘The Passion Play,’ the first ‘super-feature’ of multiple reel length.

In quick succession there followed the Majestic and the Empress. As they too, prospered, there came into being the Garden, located in the then residential section of Woodward and Selden, the forerunner of the chain of de luxe suburban and residential theaters sponsored by the Kunsky Theater corporation.

The Hippodrome, and the Columbia followed, in short order, the latter still being operated by its founders, but none met with the huge success of the Liberty, the first , with its 15-piece orchestra under Eduard Werner, its organ, and pleasant atmosphere, did much to popularize the motion picture with the so-called ‘silks and satins.’

In 1914 the Kunsky chain took over the old Washington theater previously operated by a none-too-successful stock company. This was the beginning of the march toward Grand Circus park, and so profitable was the venture that in 1916 the Madison was erected.

Other followed quickly. In 1917 the Adams came into being followed by the Capitol; in 1925, by the State; and in 1926 by the Michigan.

Meanwhile the suburban field had not been neglected. More and more attention was given to providing entertainment in the residential sections, until now the chain owns and operates the Birmingham, the Redford and the Royal Oak, all opened during the last 10 months; the Strand, the De Luxe, the Alhambra, and the Columbia, in addition to its five big downtown theaters.

Unusual attention has been given to making the anniversary celebration a big one. Jackie Coogan, child cinema star, is appearing in person at the Michigan, with Frank Beaston’s Publix show ‘Sunshine Days,’ while Eduard Werner and Arthur Gutow offer musical specialties and Laura La Plante stars on the screen in ‘Home, James.’

The Capitol brought on Lou Holtz, ‘Scandals’ star, especially for this occasion, to appear with Del Delbridge in a lavish Publix stage show ‘Fine Feathers;’ Samuel Benavie and Don Miller assist musically, while on the screen William Boyd stars in ‘The Cop.’

The Adams offers Norman Keery in ‘The Foreign Legion,’ with Lewis Stone and Mary Nolan, with symphonic accompaniment by the Adams Symphony orchestra, while two talking pictures, ‘The Jazz Singer,’ starring Al Jolson, and ‘The Lion and the Mouse,’ with Lionel Barrymore and May McAvoy are seen and heard at the Madison and the State respectively.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 889 – Thomas G. Moses and Shea’s Theatres in Buffalo, New York, 1914

Shea’s Hippodrome, from the “Buffalo Courier,” 30 August 1914, page 8.

In 1914, Thomas G. Moses wrote, “Did a drop curtain and two gardens for Shay’s Theatre, Buffalo. “ In 1914, Buffalo was home to Shea’s Theatre and Shea’s Hippodrome. Shea’s Hippodrome on Main Street in Buffalo, a venue that opened in 1914. It is likely that the drop curtain and two garden settings were for Shea’s Hippodrome, as garden scenes were frequently used as a setting to frame a projections screen. Shea’s Hippodrome is not to be confused with the 1926 Shea’s Buffalo Theatre, a 4000-seat venue that is now known as Shea’s Performing Arts Center and features touring Broadway musicals. Shea’s Theatre hosted vaudeville acts and kinetograph pictures. Shea’s hippodrome opened in 1914 and is the focus of today’s post. The namesake for both venues, however, was an interesting man in his own right.

Michael “Mickey” Shea was born on April 17, 1859 to Daniel and Mary (Griffin) Shea. After graduating from public schools, Shea first worked on the docks as a labor. He soon found employment as a structural ironworker at the Union Iron Works before trying his hand at entertainment. It was not until 1884 that Shea started his own business, opening a saloon at 535 Elk Street in Buffalo. By 1892, he opened the Shea’s Music Hall at 11 Clinton Street in the Arcade building. Unfortunately, fire destroyed the complex the following year. This did not deter him from continuing in the entertainment business, and in 1898 he opened Buffalo’s first vaudeville theater, Shea’s Garden Theatre. By 1905, he opened another venue called Shea’s Vaudeville House on Court Street, advertising as “Shea’s – Devoted to the Highest Class of Exclusive Vaudeville Attractions.”

In 1914, Shea opened Shea’s Hippodrome on Main Street near Chippewa in Buffalo, New York. He purchased the property from B. F. Keith, who had abandoned it as a theater site some years before. The “Buffalo Courier” reported, “As soon as Mr. Shea came into possession immediate plans were made for the erection of a theater, although the policy of this house was not decided upon until the present season. (Buffalo Courier, 30 Aug, 1914, page 8). The article continued, “The photo play is attracting world-wide attention at present and Manager Shea, ever abreast of the times, has secured for his Buffalo patrons for Shea’s Hippodrome the exclusive rights to screen the dramas of the famous players.”

This was during a time when Shea expanded from vaudeville into motion pictures. When it opened, Shea’s new venue was considered one of the finest picture houses between New York City and Chicago. Theaters opened after this one by Shea included Shea’s North Park Theatre on Hertel Avenue, the Great Lakes Theatre, the Seneca Theatre, the Century Theatre, the Community Theatre, the Park Theatre, the Bailey Theatre and the Riviera Theatre in Tonawanda.

Shea’s Hippodrome opened its doors on August 31, 1914, and was advertised as “the handsomest and most complete photo-play house in America” (The Buffalo Times, 30 August 1914, page 47). The “Buffalo Times” reported, “Manager Shea has always given his patrons the best and the latest in the field of amusement that money could procure, and he is now placing in this magnificent theater the great photo-plays from the world’s greatest producers. Within the few years that the screen drama has been attracting attention of theater-goers that form of amusement has undergone a great change and that rapidly growing business is now placed on the high plane its merit deserved. Manager Shea has secured for Shea’s Hippodrome patrons the output of the Paramount Picture Corporation, which represents the best element of the various interests involved in photo-play production, Through this corporation the public is promised the best plays and the best stories, interpreted by the best talent; presented in the best theaters for the entertainment of the best people. The famous plays to be seen at Shea’s Hippodrome have been produced by such master artists as David Belasco, Daniel Frohman, Charles Frohman, Henry W. Savage, Jesse L. Lasky and Hobart Bosworth; famous stories from the pens of such popular writers as Jack London, George Barr McCutcheon, Hall Caine, Anthony Hope, Thomas Hardy, Harold McGrath and others of equal note. Those attractions from the Paramount Corporation will only be seen in Buffalo – Shea’s Hippodrome – and after their production here will not be shown at any time in any other house in the city; and for this service and privilege of exclusive use, Manager Shea is paying the sum that has that has made this same service prohibitive in any other theater in the city. The great seating capacity of Shea’s Hippodrome makes the use of this service possible, as patrons will see these great productions for the low price of admission of 10, 15 and 25 cents.”

Shea’s Hippodrome was under the management of A. R. Sherry and George Bouchard. Among the great features was the $25,000 orchestral organ that played at every performance.

To be continued…

Tales from a Scenic Artist and Scholar. Part 865 – Chicago’s Great Northern Hippodrome Theatre, 1913

In 1913, Thomas G. Moses wrote, “A new set for the Hippodrome, city.” Moses was referring to a cityscape setting for Chicago’s Great Northern Hippodrome Theatre. Later that year he added, “I did a drop curtain for the Great Northern Theatre. A very delicate Italian Landscape.” For such a popular space to see live entertainment, little is known of the actual venue.

Postcard with Great Northern Theatre, date unknown.

Postcard of Great Northern office building with theater next door to Great Northern Hotel.

Here is all that I could track down:

The Great Northern Hippodrome was located in a massive high-rise building at 26 West Jackson, between State and Dearborn Streets. The Great Northern Office and Theatre Company building was designed by D. H. Burnham and Co. in 1896 and adjoined an earlier Great Northern hotel building. Burnham & Root designed the Great Northern Hotel before John W. Root’s passing.

Great Northern Hotel with theater and office building.

Opening on Nov. 9, 1896, Great Northern Theatre productions included legitimate theatre, vaudeville, movies, and stock company productions. During February 1910, the Schuberts took over the building, redecorating the theater and renaming it the Lyric Theatre. The theater was again renamed, becoming the Great Northern Hippodrome.

The new theater offered a variety of continuous performances from 11 a.m. until 11 p.m. daily. Advertisements promised, “All that’s great in circus, vaudeville, hippodrome, and novelty features” (Chicago Tribune, 23 May 1913, page 10).

From the “Chicago Tribune,” 28 Dec 1913, page 49

From the “Chicago Tribune,” 5 Oct 1913, page 20

From the “Chicago Tribune,” 13 Oct 1913, page 8

From the “Chicago Tribune,” 23 May 1913, page 10

When Sosman & Landis delivered scenery to the Great Northern Hippodrome in 1913, it was part of a program change, the venue now focused on live entertainment. On July 27, 1913, the “Chicago Tribune” reported, “The Great Northern Hippodrome, having discontinued motion pictures, is now offering fourteen acts of vaudeville divided into two bills of seven acts” (page 14). Moses’ drop city setting and drop curtain were part of this makeover.

Like many historic venues of the time, the Great Northern Office and Theatre Building were demolished, in 1961 to make room for the Dirksen Federal Building.

To be continued…