picture palaces

of the golden west

First published in 2016 by
NATIONAL TRUST OF WESTERN AUSTRALIA
PO Box 1162
West Perth WA 6872
www.nationaltrust.org.au/wa

Copyright National Trust of Western Australia, 2016

Copyright text Vyonne Geneve and Ron Facius, 2016
Copyright images individual copyright holders

The moral rights of the creators have been asserted.

This book is copyright. Apart from any fair dealing for the purpose of private
study, research, criticism or review, as permitted under the Copyright Act,
no part may be reproduced by any process without written permission.
Enquiries should be made to the National Trust of Western Australia.

Publishing consultant:
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IIIII/11
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National
Trust
Editor: Amanda Curtin
OFAUSTRALIA !WAI
Design and cover: traceygibbs.com
I

Printed by Everbest Printing Company, China.

picture palaces
National Library of Australia Cataloguing-in-Publication entry
Creator: Geneve, Vyonne, author.
Title: Picture palaces of the golden west / Vyonne Geneve and Ron Facius.
ISBN: 9780646946962 (paperback)

of the golden west

Notes: Includes bibliographical references and index.
Subjects: Motion picture theatersWestern AustraliaHistory.
Motion picture theatersWestern AustraliaDesign.
Historical buildingsWestern AustraliaHistory.
Decoration and ornament, ArchitecturalWestern Australia.
Art deco (Architecture)Western Australia.
ArchitectureWestern AustraliaHistory20th century.
Western AustraliaSocial life and customs20th century.
Other Creators/Contributors: Facius, Ron, author. Vyonne geneve and ron facius
National Trust of Australia (WA).
Dewey Number: 791.4309941
 contents
.-..-.
. ....
. ...
.....
:-....:-...~ Foreword by the Hon. John Cowdell AM 6
Preface and acknowledgements 7
Introduction: While youre taking your seats
The Picture Palaces and their Influence 11
Part 1: The curtain rises
Motion Pictures Come to Town, 18961929 17
Beginnings 17
Early Industry Players 18
Perths First Theatres 20
Perths Wartime Theatres 22
Fremantle Theatres 24
Suburban Theatres 26
Goldfields Theatres 31
1/ Other Regional Theatres 33
Travelling Showmen 38
Original Picture Palaces of Perth Profiles 41
Theatre Royal, 1897 41
Grand Theatre, 1916 42
Majestic Theatre, 1916 44
Prince of Wales Theatre, 1922 45
Hoyts Regent Theatre, 1927 47
Ambassadors Theatre, 1928 49
Capitol Theatre, 1929 52
Part 2: Intermission
Open-Air Picture Gardens 59
1929, Talkies and the Great Depression 65
When We Went to the Pictures 71
Part 3: The main feature
Art Deco and the 1930s Picture Palaces 79
Western Australias Art Deco Heritage 79
Piccadilly Theatre 81
Plaza Theatre 89
5
Metro Theatre 95
Royal Theatre (refurbishment) 101
Ambassadors Theatre (refurbishment) 107
Grand Theatre (refurbishment) 111
Hoyts Oriana 115
Princess Theatre (refurbishment) 119
Beacon Theatre, South Fremantle 121
Windsor Theatre, Nedlands 125
Como (Cygnet) Theatre, Como 133
Wembley Theatre 139
Regal Theatre, Subiaco 143
Ritz Theatre, Mt Hawthorn 149
Astor (State) Theatre, Mt Lawley (refurbishment) 153
Premier Theatre, North Perth (refurbishment) 161
Mosman Park Memorial Hall (refurbishment) 163
Lido Picture Gardens, Cottesloe 169
Cottesloe Picture Theatre 171
Cremorne Theatre, Kalgoorlie (refurbishment) 175
Palace Theatre, Boulder 179
Radio Theatre, Geraldton 183
Lyric Theatre, Bunbury (refurbishment) 189
Mayfair Theatre, Bunbury 193
Beverley Town Hall and Picture Gardens 197
Part 4: Thats (not) all, folks
Cinema Since the 1950s 203
Drive-In Cinemas 204
Cinema Complexes of the 1970s 205
Beyond 2000: Revival of Open-Air Cinema
and the Demise of Film 207
Featured Photographs 210
Cinemas Collage 220
Principal 1930s Cinema Architects 221
Illustration Acknowledgements 222
References 223
Index 225
 FOREWORD
Picture Palaces of the Golden West takes us back to the golden era of cinema in Western Australia.
It is a celebration of the theatres that were built in the centre of the city, in our suburbs and in our regional towns to screen the movies.
From sheds and town halls there was a progression to purpose-built theatres, some of which took on palatial proportions by the end of
the 1920s.
The thirties saw an explosion of purpose-built cinemas, in the deco style, as well as the refurbishment of existing theatres. There were, in
many instances, picture gardens adjoining the theatres, which proved to be uniquely suited to Western Australias climate.
This book also provides an important social history of the changing role of cinema in our lives from the advent of the first moving pictures
in 1897 to the present day.
Vyonne Geneve and Ron Facius are uniquely placed to bring this history to life. Vyonne completed a masters thesis, Versions of Modernism
in Western Australian Cinema Design 19301940, and brings a wealth of information to the book. Ron has used his graphic arts skills to
highlight this very important part of Western Australias built heritage.
Together Vyonne and Ron have campaigned, through the Art Deco Society of Western Australia and the National Trust, to preserve and
highlight the importance of Western Australias art deco heritage.
They have, through various National Trust committees, assessed all significant art deco and inter-war structures, leading to the classification
of over 300 buildings by the Trust, including thirteen picture theatres featured in this book.
They have been ably assisted by the committee members, including Rosalind Lawe Davies, in this assessment and advocacy role. Vyonne
has chaired a separate Art Deco Standing Committee of the National Trust since it was established in 1996. She adds a contemporary flavour
to the book with her unique reminiscences, not to mention the photo of her with Shirley Temple locks.
It has been my pleasure as president and chairman of the National Trust in Western Australia to be involved in this project. As an
avid movie-goer, and director of the Guild Film Exhibition Board (at The University of Western Australia) for seven years, I have come to
appreciate our cinema heritage, and the role that movies have played in our lives.
Western Australia was put on the world art deco map with the holding of the 2nd World Art Deco Congress in Perth in 1993. It is to be
hoped that this publication will further enhance our standing as a community that values and celebrates our deco and cinema heritage. The
book appropriately ends with a colour section highlighting our deco cinema inheritance as it stands today.
There remain cinemas to be saved, and a rich heritage to be conserved and interpreted.
The Hon. John Cowdell AM
6 7
Preface and Acknowledgements
While picture theatres are inextricably linked with the glamour and excitement of the movies, it is the theatres themselves the buildings in
which the products of the Hollywood Dream Factory were shown that have always fascinated me. This fascination led to my undertaking
research on the history and development of Perths picture palaces for a masters thesis at The University of Western Australia.
The architectural style so vibrantly expressed in many of these structures also awakened my interest in art deco. After a study trip to the
United States, where I met Barbara Baer Capitman, leader of the preservation society for art deco buildings in America, I was encouraged to
found the Art Deco Society of Western Australia ADSWA (now the Art Deco and Modernist Society of Western Australia ADMSWA) in
1987 and have remained its president to this day.
Picture Palaces of the Golden West combines these interests, drawing on the information gathered in my academic thesis and many
personal conversations undertaken before and since with those intimately involved in the motion picture industry and in the design and
construction of the buildings. Many of the people interviewed have since passed away, and a number of the cinemas have disappeared
or gone dark. Nonetheless, greater Perth has more art deco cinemas still standing than any other capital city in Australia (and perhaps
elsewhere), and I believe the story of these theatres, the handful of architects who designed them and the important part they played in the
community deserves to be more widely known.
The National Trust of Australia (WA), where I chair the Art Deco Committee, has encouraged me to embrace the wider history of the
states picture palaces. In this I have been ably assisted by Ron Facius, vice-president of ADSWA, who as architectural designer and graphic
artist has provided many of the illustrations in the book as well as some of the text and architectural descriptions.
In preparing this work for general publication, I have had to omit some sources and much of the specialist detail and technical information.
Anyone seeking further information should refer to the following:
Vyonne Geneve, Versions of Modernism in Western Australian Cinema Design 19301940, vols 1, 2, 3, masters thesis (The University of Western Australia), 1991.
Copy held at Reid Library, The University of Western Australia.
Vyonne Geneve, The Inventory of Significant Buildings of the 1930s in Western Australia, vols 1, 2, report prepared for the National Trust of Australia (WA) and
funded under the National Estate Grants Program administered by the Australian Heritage Commission and the Heritage Council of Western Australia, 1994.
Copy held by the National Trust of Australia (WA).
Grateful thanks go to the National Trust of Australia (WA), especially its former chairman, the Hon. John Cowdell AM, for his enthusiastic
support and genuine interest in the subject and in this publication; to its former CEO, Tom Perrigo, for his strong advocacy to preserve the states
art deco heritage, and to his staff, including Karl Haynes, Manager of Heritage Services, and Lisa Sturis, Coordinator of Heritage Services.
Appreciation for professional guidance in the publication process goes to Jane Fraser and the staff at Fremantle Press, especially project
manager Naama Amram. Thanks to designer Tracey Gibbs and to proofreader Deb Fitzpatrick. Special thanks to Dr Amanda Curtin for her
editorial skill and interest in the content.
Assistance with this project has also been forthcoming from architect Garry Leighton who gave access to the Leighton records and his
specialised knowledge of cinema design; Ivan King, archivist, who shared his extensive collection from the Museum of Performing Arts,
Perth; Jean Clark who assisted with additional research; Linda Montgomery who collated the many images relating to the project; and Colin
Winter who gave initial advice on the printing process.
I hope that the contributions of the many movie-goers who shared their experiences and fond memories of the golden age of cinema will
boost interest by the younger generation in the states built heritage.
Vyonne Geneve
 introduction

WHILE YOU'RE
TAKING YOUR
SEATS...
 The Picture Palaces
and their Influence
For well over a century, picture palaces have played a significant role in
Western Australias social history and community life. Every major centre
in WA featured a large, conspicuous structure, generally on the high street,
with strident banners declaring it a location for showing movies. Ablaze with
light, visible for miles, each building quickly became an important focus
of social interaction and a popular centre of entertainment, excitement and
information for the whole community.
Australians originally referred to them as picture theatres, rather than
using the American term cinema. Young movie-goers simply went to the
\I
Left: Ambassadors Theatre, Perth: palatial proscenium arch with stuffed pigeons above and
orchestra pit below, renowned red velvet curtain decorated with embroidered lyrebird.
Above: Opulent detailing of the lounge foyer, Ambassadors Theatre, Perth.
10
pictures or the flicks (the latter coming from the flickering images of early
films). They were also widely known as picture palaces, although this term
more accurately described the large, highly ornate city theatres.
The concept of the picture palace came from America, where the
great theatrical showman Roxy Rothapfel and his architects introduced
movie theatres with an ambience of luxury, flamboyant extravagance and
ingratiating deference from an army of theatre staff,1 dazzling audiences and
truly justifying the name. Conversely, from around 1905 the movies attracted
huge American audiences in the small shopfront nickelodeons of major city
neighbourhoods. As the name suggests, they were cheap and convenient,
with films screening continuously until late at night.
Australias more successful early entrepreneurs adopted the model
of the traditional theatre, catering for large audiences in relative comfort
and comparatively sumptuous surroundings at ten times the price of
US nickelodeons. As with live theatre, one show only was offered. This
commenced at 8 p.m. and ran six nights a week, with one or two matinee
performances. Rather than the drop in after work US version, working men
had time to return home, change clothing and attend a formal outing at the
cinema with their partners, as was the custom for an evening at the theatre.
By the mid-1920s, the theatres had successfully combined film with
live entertainment. The program generally included a prologue, an overture
presented by the theatre orchestra or Mighty Wurlitzer organ, a newsreel
and a stage show (by a vaudeville comedian, juggler, magician or the
resident ballet corps), followed by a two-reel comedy, travelogue or local
scenic promotion, and finally the feature film. In WA, this formula varied,
eventually to include a second feature film, usually a B-class movie, so that
interval could be incorporated into the program, allowing audiences to
mingle and socialise. An important part of the whole experience was the
ambience created by the interior decor.
11
 From the outset, two eclectic American architectural concepts dominated
the huge investment in building picture palaces in Australia in the late 1920s.
One embraced the tasteful predominantly renaissance or Adam classical style
used by Thomas Lamb and the Rapp brothers, with mock theatre side boxes
encrusted with plaster decorations, vaulted ceilings and crystal chandeliers.
The other popular design was based on John Ebersons atmospheric theatres,
adopting Spanish, Moorish, Florentine or Indian exotic garden courtyard
decor, complete with twinkling stars and moving clouds on an azure ceiling.
It was no easy task to reproduce past architectural styles while meeting
the new functional requirements of the cinema. It became necessary to
accommodate as many patrons as possible near the stage or screen, without
the acutely angled viewing common in the traditional theatre. Undistorted
and unobstructed observation of the screen was paramount, as were concepts
of crowd control and easy access.
In Perth, entrepreneurs competed to create ambiences of grandeur and
aristocratic unreality appealing to the better classes. Most of these palaces
of entertainment were widely regarded as splendid and generally improved
the cinema image, although there were others, despite the world of fantasy
and dreams projected, that were not so palatial. In the early years, the patrons
' 1
generally considered their local picture house to be as near to a palace as
most would ever experience.
The naming of early theatres such as the Theatre Royal, the Prince of
Wales and His Majestys Theatre directly implied association with royalty and
opulence, together with allegiance to the homeland. Later, several venues
honoured a Prince Regent; at least three celebrated the idea of Majesty;
three were dedicated to Ambassadors of the Crown; patrons rejoiced in
three Princesses and witnessed the openings of two Palace theatres. Even the
unassuming Crystal Theatre, East Perth, hinted at a London forerunner, the
Crystal Palace.
Until the arrival of modernism, designers generally followed conservative
theatrical traditions of decor, emulating Western European details and
ornamentation or exotic Moorish influences. Trappings of past cultures were
freely employed in every effort to create an atmosphere of splendour and
elegance and to stimulate the imagination of cinema-goers.
Despite the harrowing experiences of the Great Depression, the tradition
continued into the 1930s and, with the advent of art deco modernism, the
terminology and ambience of richness and flamboyance were not abandoned.
The Windsor Theatre was named for Edward, the briefly crowned King,
12
and the Regal Theatre for George VI, who ultimately took the throne. The
tradition was reinforced with the Crown Theatre (later renamed the Oriana)
at Fremantle. The metaphor of affluence and luxury was reflected in the Astor
and Piccadilly theatres, several Mayfairs, a Ritz and a Savoy; and several
Roxy Theatres honoured the original American showman.
The popularity of the picture palaces, the well-known landmarks they
became and the films shown there asserted a huge influence on the lives
and thoughts of the populace. In consequence, these buildings and all that
they offered can be seen today to have made a significant contribution to
community lifestyles and the social history of the state. The climate of WA
and the enthusiasm for the outdoor lifestyle also encouraged the provision of
many open-air picture gardens as an adjunct to the theatres a distinctive
feature of the medium that flourished in this state more than anywhere else
in the world (see pages 5863).
Early in the twentieth century, the sheer size of some theatres, seating
several thousand, with impressive interior ornamentation, was awe-inspiring.
There were exceptions, however; before the introduction of air-conditioning,
some establishments were labelled flea pits. Indeed, one country character
with a penchant for rhyming slang, responding to a radio talkback show,
\I
referred to them as the fleas and itches. Fortunately, these venues lost favour
quickly and did not survive.
In the days before dominance of the small screen, the picture theatres were
not only a major focus of entertainment but a source of information. Today,
it may be difficult to imagine a world before telephone, radio, television
and digital devices, but people of older generations might still recall with
pleasure the excitement and glamour associated with going to the pictures
and the window on the world they provided.
Although cinema today is still an important focus of social interaction
for many young people, in the days when every picture show also featured
live performances and presentations on stage, the cultural impact was
immense. Picture theatres were places of fantasy, where patrons could forget
their worries for a few hours and laugh at the antics of a ragged comedian
or gasp at the daring and skill of acrobats or illusionists, while a pianist or
small orchestra played. As part of the show, flickering images on the big
silver screen (which really was silver in those days, to better reflect the light)
showed hitherto unseen spectacles. Audiences could glimpse the streets of
London, the fashions of Paris and New York, or view the wide open prairies
of the American West or even the outback of their own country. They
could thrill to heroic adventures and share the fictional romantic lives of
the rich and famous. When sound came to Perth, these fascinating images
were complemented by regular newsreels of world-shaping events and a
grandstand seat at international sporting events.
Legitimate theatre had once been the province of the middle class and
social elite, who patronised plays, concerts, opera and ballet, whereas
vaudeville, music hall and low comedy entertained the common people.
With the advent of full-length feature films and more luxurious surroundings,
going to the movies became relatively egalitarian. Picture palaces took a
prominent place in the lives of WAs rich and poor, arguably more than in
many other parts of the world.
Notwithstanding todays ready access to travel and instant communication,
Perth is still one of the worlds most isolated cities. When the early movies
became established, even the most geographically remote areas of the state
could feel more connected to the major centres of Europe and the United
States.
Right: Paddy Hannan statue
and drinking fountain near
Kalgoorlies Regent Theatre
(1929).
13
Movies and
the Golden West
The history of WA cinema closely parallels the story of the gold rush,
and the early development of Perth was hugely influenced by the
discovery and mining of gold in the regions. In 1893 the fledgling colony
had a population of a mere 65,000, but within three years after gold
was discovered this figure doubled, and by 1900 it had nearly tripled,
to more than 180,000. The populace was hungry for entertainment and
eager to experience the newly arrived, fascinating novelty of motion
pictures.
A major goldfield was proclaimed at Coolgardie in 1894, followed
by another to the east at Hannans Find (named after Paddy Hannan
and later called Kalgoorlie), sparking an enormous rush to what
became the most productive goldfield in the country. In 1897 a
460 ounce nugget was found at Wiluna (then the largest find in
Australia). The trickle of gold-seekers became a deluge, and tens of
thousands swarmed to WA through the ports of Albany, Esperance
and Fremantle, many making their way on foot through the bush,
following the tracks of early sandalwood cutters.
The huge population boost opened up new business opportunities
in WA. With increasing wealth, coinciding with a recession in the
eastern colonies, many architects, tradesmen and master builders
travelled west. In less than two decades, Perth and Fremantle were
virtually rebuilt and a period of Edwardian prosperity followed.
In 1896, the year that Kalgoorlie became the regional centre
of the Golden West, the first showing of the new motion-picture
phenomenon arrived in Perth, which was now a busy commercial
centre and social hub. Financed largely by a stream of gold, the
scene was set for motion pictures to play a significant role in the
development of the colony of Western Australia (which, with
federation, became a state in 1901). The first major theatre, with
facilities to show the new medium, soon followed.
 part 1

The curtain
rises...

\I
Left: Impression by Ron Facius of first street screening,
with images projected onto building across Barrack Street.
Below: Early Barrack Street, showing hotel balcony used
to project images and part of the name of Dease Studios
opposite.
Right: Impression by Ron Facius of Palace Gardens, Perth.
Motion Pictures Come to Town,
18961929
Beginnings
Quite remarkably, cinematography arrived in this far-flung place soon after
its European invention in 1895. It would, however, take another twenty
years before Perth would see the construction of its first cinema designed
specifically for the showing of motion pictures.
Initially, the medium was primitive, with a few short glimpses of daily
life in various locations and, of course, without sound. Films were shown
as a novelty, invariably in conjunction with other forms of entertainment,
edged into place alongside melodrama and vaudeville and gradually almost
replacing both. Early audiences could scarcely have imagined the rapid
development that would take place within a few short years.
17
In 1896 the citys first motion picture show was screened to a street
audience by projection from a Barrack Street hotel balcony onto an opposite
wall owned by Dease Photographic Studios. John Dease brought the
equipment and film to Perth as a publicity gimmick, to astound the populace
and promote his business. The free picture show was financed by increased
bar trade at the hotel and by slide advertising. After several weeks, the
police tried to close down the enterprise because crowds were blocking the
street. Subsequently, the equipment was taken on tour, and by 1902 had
been involved in various escapades during its 2500-kilometre journey to the
extreme north-west of the state.2
Soon after Deases groundbreaking showing, the first regular picture show
for a seated audience took place at Cremorne Gardens, in a congenial open
space at the rear of the Cremorne Hotel and Theatre, in Murray Street, later the
site of the YMCA headquarters. Extending through to Hay Street, the gardens
had hitherto been used for summer open-air concerts and vaudeville acts,
frequently attended by the Governor and senior members of the establishment,
together with their wives and families. Small pavilions for the comfort of
patrons were arranged around the venue, which, it is believed, was named
after Cremorne Gardens in Battersea, London, part of Lord Cremornes estate
and a popular place of entertainment. Later, in 1904, the venue reopened as
the Palace Gardens, with a covered stage and facilities for showing motion
pictures. These were screened with varying frequency during the following
year, along with vaudeville, pantomime and music hall acts.
1904 also witnessed the states first purpose-built open-air picture garden,
at the foot of William Street. Designed with a sloped auditorium and bench
seating by architect Harold Boas, Kings Pictures was run by entrepreneur
Cozens C. Spencer, who successfully showed motion pictures and other
entertainments such as boxing tournaments there for more than a decade.
The site was eventually developed for the Capitol Theatre, the most original
and finest picture palace in Perth.3
 Early Industry Players
Initially, a few opportunistic showmen hired premises and arranged screen-
ings of the limited supply of fast-deteriorating nitrate films then available, until
the novelty declined and audiences hungered for new material. Once new
film stocks were procurable and the potential became appreciated, hundreds
of would-be entrepreneurs materialised, keen to invest in the fledgling
industry. Foremost were two showmen from England, lured to the country by
Australias reputation as a profitable market for commercial entertainment.
Unquestionably, the most successful was Thomas James West, who
already owned one of the largest cinema circuits in Britain when he arrived in
Australia in 1904. By taking up leases of existing theatres, he formed cinema
chains throughout Australia and New Zealand, quickly becoming the largest
exhibitor in Australia. Around 1910, West commenced showing films in
the Methodist Churchowned Queens Hall, William Street, Perth. He then
rapidly established Wests picture theatres in Fremantle, Midland, Bunbury,
Albany and Kalgoorlie, later opening Melrose Gardens and subsequently the
Melrose Theatre in Murray Street, Perth.
\I
The other prominent entrepreneur of the time was flamboyant English
showman Cozens Spencer, who arrived in Australia shortly after West.
Spencer gained control of a chain of popular picture theatres in Melbourne,
Adelaide, Perth and Sydney, bringing him into immediate competition with
West. Spencers most winning venture was the leasing of premises from
Sydneys Methodist Church. His main interests in Perth were the leasing, for
a time, of Queens Hall and Esplanade Gardens. While he did not acquire
as many venues as West, his circuits were equally popular and profitable.
Both Spencer and West shared the belief that the cinema should closely
resemble live theatre and, largely by adopting this model, they were the most
successful of Australias early entrepreneurs.
By the onset of the Great War, many cinemas were being run by independent
Above: View over Esplanade Gardens towards Swan River and Mt Eliza, c. 1910, showing
showmen, while rival circuits were controlled by established theatrical firms open-air picture garden, Kings Pictures.
like J.C. Williamson and J. & N. Tait. Together with West and Spencer, these
Right: Theatre Royal and Hotel Metropole, Perths first purpose-built theatre, in 1897 at the
organisations dominated the early years of the motion picture business in WA. time of the theatres opening show, The Silver King. Note the doorman in guardsmans uniform.
Of the hundreds of small operators dabbling in the movie industry in Street-level shops included a bar, a dentists surgery and a jewellery store.
the early decades of the twentieth century, those with a natural aptitude for
making money assembled chains of theatres, sharing distribution costs.
Locally, Victor J. Newton, gaining experience at Cremorne Gardens and

18 19

with Wests, opened Vics Pictures at the Queens Hall in 1912 and ran a
circuit of picture shows in local halls, including the Fremantle Town Hall.
Newtons ostentatious approach to picture presentation saw his conversion
of the William Street facade of Queens Hall endeavour to emulate European
renaissance architectural detailing although he did concede to the need
for some degree of modern comfort inside.
As programs of the time indicate, venues such as Vics Pictures still relied
on vaudeville as an important component of the entertainment offered. City
theatres employed small orchestras and a ballet troupe and the show usually
opened with a concert overture. In the years before World War I, as many as
twelve or fifteen short films, each of one or two reels, made up the program.
Most were British or of Continental origin, with an occasional local item that
had been filmed by a visiting cinematographer.
The most influential local entrepreneur was Thomas Melrose Coombe,
who managed Wests Pictures in conjunction with Brennan-Fuller Vaudeville
Circuit. Coombe eventually took control of the Melrose Theatre in Murray
Street, Perth, and within five years created his own chain of WA theatres.
Becoming successful, he decided to replace the Melrose with the larger and
more sumptuous Prince of Wales Theatre. Backed by all-British shows, this
' 1
became Perths leading picture theatre until the end of the 1920s, and was the
venue chosen to screen the first talkie in Perth. Coombes confident reign
in the theatre came to a premature halt (like many others) with the Great
Depression, but he managed to survive the downturn and went on to become
the most successful exhibitor of the post-Depression era in WA.
In 1916 J.C. Williamson commissioned the Majestic Theatre in central Hay
Street, Perth, and Wests Pictures merged with Spencers chain to become the
Sydney-based Union Theatres, soon the nations leading distribution chain.
Later Thomas Coombe, as both manager and lessee of the Grand Theatre,
allied himself to this venture, with his own theatre chain as the nucleus of
Union Theatres in WA. Wests continued to operate a theatre in Hay Street,
Subiaco, until the late 1930s, when a plan to redevelop the site eventuated
in the construction of the Regal Theatre.
The Grand Gazette, a publication that probably began with the opening
of the Grand Theatre, traced the development of the Coombe chain from
this one theatre to Perths Theatre Royal and Fremantles Princess Theatre,
which opened in 1911. His connections with the developing interstate chain
enabled him to secure a large share of the output from Hollywood, and by
the 1920s he was referred to as the Picture King of Perth.
20
Perths First Theatres
To meet the original demand for a purpose-built theatre and centre of
entertainment, T.G.A. Molloy and his business partner, Mayor Alexander
Forrest, persuaded Perth council members to finance the construction of
the Theatre Royal in central Hay Street, incorporating an up-to-the-minute
theatre and hotel. Opening with much publicity and celebration on 19
April 1897, the theatre, which shared a frontage with the Metropole Hotel,
was reported to be indeed palatial and included facilities to project motion
pictures. Films were screened on several occasions during the first year of the
theatres operation.
Until the 1904 opening of His Majestys Theatre in Hay Street West,
where movies were occasionally shown, the Perth Town Hall in Barrack
Street regularly hosted concerts and theatrical performances, sometimes
complemented by the screening of films, as did St Georges Hall, Hay Street.
Just two years after opening, His Majestys hosted a free film show for some
4000 noisy children and a smattering of parents in honour of Perths first
Arbor Day, when many of Perths street trees were planted. In the evening the
theatre reverted to hosting a live comedy performance. \I
Built by the Methodists in 1899 in William Street, between the 1870-built
Wesley Church and Murray Street, the Queens Hall was the first venue
in Perth to show motion pictures as more than just a novelty adjunct to
live theatre performances. Initially it was intended for meetings, lectures
and concerts and the popular magic lantern shows (the black and white
forerunner of modern slideshows). Audiences were also thrilled to hear live
Above: Queens Hall entrance, showing its use by Vics Pictures as Above: His Majestys Theatre, c. 1906, showing public queuing for film show.
performances by Dame Nellie Melba, happily queuing in the streets for her
host for silent movies.
and other celebrities.
Not long after the halls completion, and due to the persuasiveness of
certain film distributors, the Methodists agreed to lease the hall for showing Queens Hall was leased by several entrepreneurs, including Victor combined with shops flanking the entrance gate. Prior to the 1920s, many
motion pictures. It must have taken a great deal of urging to convince these Newton, who eventually bowed out in 1918 as a result of the Great War, city and suburban picture gardens were no more than yards.
rigid conservatives, who foreswore drink, dancing and most other forms of when he could no longer obtain films from European suppliers. Later this The postal directory of 1914 lists Melrose Gardens as a theatre, and a
social enjoyment, to permit their hall to be used for the radical new form of commodious late nineteenthcentury building shared a common film program dated 21 January 1914 suggests the gardens were converted to
entertainment. Indeed, the content of some films shown on their premises program with the Theatre Royal. hardtop around 1913, providing live entertainment and motion pictures
gave rise to a good deal of consternation and heated discussion. When it was Early records indicate that before 1911, the Melrose Theatre, named for and using the title theatre. A later program includes a small sketch of the
pointed out that the church could not lease a cinema and, at the same time, Thomas Melrose Coombe, operated as a picture garden for Wests Pictures. substantial three-storey building.
set itself up as a board of censors, it relented, maintaining one reservation: Far from a garden setting, Melrose Gardens was a bare, fenced yard at 258
no Sunday night films. Murray Street, with a screen at one end and a projection booth at the other,
21

The Rise
\ Iand Fall
of Early Australian Filmmaking
The burgeoning Australian film production industry became hugely
profitable during World War I, with a number of morale-boosting
feature films shown. The previous focus on stories of the bush and
outback, especially tales of bushrangers, gave way to propaganda dramas
such as Will They Never Come?, The Hero of the Dardanelles, The Loyal
Rebel, How We Beat the Emden, Australias Peril and The Martyrdom
of Nurse Cavell. In fact, 1918 was the Australian industrys peak film
production year, with eighteen feature films released. Approximately a
third of these were comedies, indicating that audiences were ready for
a good laugh after the years of suffering. Unfortunately, Australias early
film promise was overtaken by the influx of American products and
the marketing expertise of their producers and distributors. Also, the
release of Australias major silent movie, For the Term of His Natural Life,
coincided with the advent of sound, and the local industry never fully
recovered.
22
Perths Wartime Theatres
World War I saw the demise of most forms of entertainment and a virtual
\I
cessation of film production in Britain and Europe, paradoxically producing
an increase in demand for motion pictures concurrent with new developments
in film exhibition and distribution from the United States. The movie camera
had been much improved and developed as an effective means of recording
events and boosting public morale, as well as collecting military intelligence.
With European filmmaking halted, American film producers seized the
opportunity to fill the gap. Output from Hollywood expanded rapidly and
quickly came to dominate the whole motion picture industry.
Within three years, at least three comparatively unpretentious nickelodeon-
style picture houses opened in central Hay Street, Perth. The short-lived Britannia,
and the Palladium and Pavilion theatres, were adapted from commercial premises
for the purpose of screening movies on a continuous basis, like the American model.
The Pavilion Theatre, affectionately known as The Pav, was the citys first
picture theatre providing continuous day and evening sessions. In contrast to most
of Wests and Spencers theatres, it was a small venue with a modest dress circle,
seating about 650. A former manager of Ace Theatres, John Pye, recalled that:
for threepence and sixpence one could see one of four or
five sessions consisting of two films and a newsreel.
23
It was described as:
a gloomy little flea-pit that needed to be sprayed regularly
with eau de Cologne where you could sit in the gloom and
look at flickering shadows of Mary Pickford and Charlie
Chaplin for a humble three-penny bit.4
Known as the working mans theatre, and the workers paradise,5
the Pavilion eventually closed in 1930, to become a mini golf course.
The Palladium (later Worths mens clothing store) was said to be a more
up-market, cultivated venue. The Pavilion and the Palladium sat almost side
by side on the south side of central Hay Street, and according to Pye, the
come anytime, go anytime continuous sessions were promoted by spruikers
parading out front, enticing people to enter. One of the rival spruikers was a
typical doorman, in red livery with a commanding voice, while the other was
a low comedian who appealed more to the working-class patron. During
the summer months, film programs were frequently shared between the
Palladium and Spencers Esplanade Picture Gardens, requiring the apprentice
projectionist to run between with spools of film. Both movie houses also
hosted vaudeville acts such as the Akabah Arabs.
During the war years, the motion picture industry became well established
as the premier form of public entertainment, providing important up-to-date
information about the war and a means of boosting morale. The pictures were
well attended, encouraging the construction of larger, more elaborate and
considerably more comfortable picture palaces. The first of these purpose-
built movie houses, in 1916, was Coombes Grand Theatre in Murray Street,
followed three months later by the Majestic Theatre, replacing the Britannia.
The 1920s gradually introduced longer feature films and improved quality,
and city audiences became more sophisticated and discriminating, as well
as more demanding. As a consequence, the new theatres programmed well-
defined sessions between 11 a.m. and 11 p.m. on each weekday, as opposed
to the come anytime and go anytime approach.
Opposite page: Wests Melrose Gardens, Murray Street, Perth (left); Melrose Theatre replacing
Melrose Gardens (right).
Top left: Majestic Theatre, Hay Street, c. 1930.
Top right: Grand Theatre, c. 1917. A brass band plays to attract customers to the gigantic
spectacle of Armageddon, immortalising Australias fighting sons and the ANZAC spirit.
Left: Pavilion Theatre and close neighbour the Palladium, both in Hay Street.
 Fremantle Theatres
In the well-populated port township, films were shown from time to time at
the Fremantle, North Fremantle and East Fremantle town halls, and movies
were also screened, on an irregular but gradually increasing basis, from
around 1911 at several popular vaudeville venues in central Fremantle.
The facade of the Kings Theatre can still be seen at the junction of Market
and South streets, adjacent to the Newport Hotel. Almost opposite, the old
Palladium Theatre once stood, on the corner of Bannister Street, while around
the corner in High Street, the facade and balconies of the old Majestic Theatre
are still evident. The Olympia Picture Palace, also in High Street in 1914, has
disappeared.
Fremantles foremost early picture house, the Princess Theatre, was
commissioned by Coombe and designed by Claude H. Nicholas in 1911.
It was constructed in Leake Street, with a front entrance from busy Market
Street leading to the railway station. Patrons entered through an arcade
between shops and crossed a right-of-way before entering the inner vestibule
and the Edwardian-style auditorium, with seating for 1266. Doors opened
on to Leake Street, for a quick exit after the show. The Princess featured an
orchestrelle used for recitals and to accompany silent films.

PRI N c Es
Today ' s ". F'REMANTLE $ P.OPULAR Note: Theatre Ope,,.
1.45 p.m. Tomorrow
Gre a t New (Xm.uDa7).
Holid a y s,HATRE Pren
ommeatlri C'I
Sanda1 Nfibl : "Dick
A ttrllctio n1 J II AM.TollP.M.PhoneL2525 Turpin" (Vic; McLA,lm).

Fresh from tbreeweelt 1ea1<>nd Theatro Ro7al- ALSO-Lionel
BARRYMORE,
Maur,,tn O'SULLIVAN,
F remon/l e Polr ons <;
on only
Robert TAYLOR - Jean HARLOW
REGINA LD OWEN, CORA WITHERSPOON, In
"THE MAN IN POSSES SION." Frank LAWTON, In
"THE DEVIL DOLL
Anotber
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tonlcbt onl,.
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Above: Press advertisement for films showing at Fremantles Princess Theatre.

Top: Princess Theatre, Fremantle (Market Street entry).

Right: CineSound advertisements for the Princess Theatre.

Opposite page, left: A film advertisement for the Prince of Wales Theatre. Comi113to
Opposite page, right: Fremantle Town Hall was leased by Wests Pictures in March 1909 showing Prince
ofWales
Theatre
silent films, accompanied by a pianist and sometimes by a small orchestra. Later it was leased by Wl.... ~.,

Muagrove' Limited
Vics Pictures.

.!ln:ltlriwy~o/~~'",,t='~"'"'t-
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Suburban Theatres Left: Coliseum Picture Gardens,

As Perths suburbs expanded, commodious picture palaces with
\I
accompanying summer picture gardens followed. By the late 1920s, every
suburban centre in the metropolitan area featured a local movie house. In
addition to offering movies, along with live performances such as concerts,
these exciting places of entertainment provided an opportunity for people to
interact and quickly became part of the tradition and history of the movies in
WA. Audience participation was encouraged, and singalongs were a regular
part of the show.
Population growth during the first decades of the century saw rapid
expansion and reorganisation within the Perth metropolitan area. Well
before motorcars were widely obtainable, the construction of a railway
spine between Midland in the east and Fremantle in the west facilitated this
residential expansion. Supplemented by an expanding network of tramlines,
public transport was the most common means of access to work and
recreation, including the cinema.
As rail links were provided, houses quickly followed, and the suburbs
were rapidly populated with families eager for their own picture theatre.
Generally within walking distance or a quick tram ride, a movie house or
picture garden soon appeared, becoming immediately popular and important
to the development of the community.
\I
Top: The Lyceum Theatre and Blue Bird Tea Rooms, with adjacent picture gardens
site on the right. When films became the dominant program, the name of the theatre
was changed to the State Theatre (later remodelled as the Astor).
Above: Extending the tram tracks past the Lyceum Theatre in Beaufort Street, Mt Lawley.
One of the earliest and most important suburban venues, enjoying palatial
aspirations, was constructed in Mt Lawley in 1911. Strategically positioned
on the corner of Beaufort and Walcott streets, the Lyceum Theatre sprang
up shortly after the establishment of the new Garden Estate (as Mt Lawley
was then known). Extensions of the tramway helped gentrify the area, and
provided easy access to the theatre.
The theatre was designed by architect D. McClure and constructed
by S.B. Alexander and his son John, who also built the complementary
Broadway Building on Walcott Streets opposite corner. The Lyceum was
a solid and substantial structure with Edwardian-style pediments and
arches. The upper-floor facade featured flat pilaster columns and strongly
emphasised, horizontally recessed string courses, faintly suggesting the
stonework of a Florentine palace. A row of shops occupied the buildings
ground floor.
Inside the auditorium, the columns and arches clearly demonstrated the
desire to create an environment beyond the patrons usual surroundings,
assisting transition into a world of make-believe. Like other theatres of
Subiaco, c. 1916 (replaced in the
1930s by the Regal Theatre).
the time, the Lyceum played host to vaudeville and various other forms
of entertainment, as well as film. An open-air picture garden was created
adjacent to the building in Beaufort Street, with a modest but well-
proportioned entrance. Images taken as late as 1938 show the name change
to State written large across the Walcott Street face of the building and
repeated on a vertical neon sign over the corner.
In addition to Mt Lawleys Lyceum, which showed movies from 1911,
the Globe Pictures opened in 1913 in Claremont, together with the Tivoli
Pictures at West Guildford (later Bassendean) and Empire Pictures in Midland
Junction. The Coliseum Picture Gardens were constructed in Subiaco, the
Shaftesbury Gardens in North Perth, and the Cottesloe Picture Gardens in the
beachside suburb. Screenings also took place at the Midland Town Hall and
the old Vaudeville Theatre at Guildford.
Despite the anxious times that followed the declaration of war in 1914,
the period saw the opening of Wests Palace Theatre in Subiaco, the Princess
Theatre in Bay View Terrace, Claremont, the Empire Picture Gardens,
Leederville, and several others.

26 27
 Remembering the Renown
Ivan King, archivist at His Majestys Theatre, Perth, recalled that for
many years his grandfather, the Renowns projectionist, Bill Simmonds,
made his living quarters in the theatres biobox. In reminiscing on his
own childhood experience at the Renown, King vividly remembered
being ordered to get off the bloody stage while rearranging the curtain
for the next program.
At Midland Junction, the Theatre Renown and Peoples Pictures opened
their doors around 1920, and motion pictures were immediately shown at
both venues. The Renown is believed to have been named after the British
warship bringing the Prince of Wales to visit WA. While the decorative
treatments of these buildings were rather austere, they were a major advance
on former community halls.
In the 1920s and the decade that followed, the construction of suburban
picture theatres spread rapidly, with no fewer than fifteen new purpose-
built hardtop venues in the metropolitan area, mostly with adjacent picture
gardens. Films continued to be screened in a variety of modest district halls
and open-air venues that proved enormously popular in the long summer
\I
months in the era before air-conditioning.
The latter part of the 1920s witnessed openings in the suburbs of the Regent
Theatre, Guildford; the Gaiety and Hurlingham, South Perth; the Broadway,
Victoria Park; the Richmond, North Fremantle; the Lyric Theatre, Maylands; the
Premier, outer Perth; the Broadway Theatre and Gardens, Nedlands; the New
Oxford, Leederville; and the Rosemount Theatre and Gardens, North Perth.
Most of these buildings were designed in rapid succession by the pioneer
cinema architect Samuel Rosenthal, and the first of his forays into the new
medium was the Regent Theatre, constructed in 1926.
Commissioned by George Hall at a time of relative economic hardship,
the Regent was a modest, low-budget venue facing the busy thoroughfare of
Great Eastern Highway that forms Guildfords main street. The only purpose-
built picture theatre on that stretch of the highway, it attracted movie-goers
from as far afield as Belmont. At the time of opening, it was considered to be a
good indication of the civic progress that had been achieved in the Guildford
district. Film distributors provided publicity and large floral decorations for
the opening ceremony.
The Regents forerunner in Guildford was the 1886 corrugated iron
and timber construction adjacent to the Guildford Hotel. Owner George
28
Pioneer cinema specialist
SAMUEL ROSENTHAL, FRAIA (18881967)
Samuel Rosenthals involvement with cinema design in WA began in
the mid-1920s, continuing until the commencement of World War
II. Returning with firsthand experience after war service, the cinema
specialist found an abundance of work, designing and overseeing the
construction of more suburban and regional cinemas than any other single
architect. Like his friend and mentor Harold Boas, Rosenthal exerted a
\I
pioneering influence on the development of modern architectural styles
in WA. His cinema designs encompassed the transition from 1920s
Edwardian style through geometric art deco to 1930s functionalism,
and many of his cinemas were accompanied by open-air picture gardens
situated adjacent to the hardtop venues. Rosenthals style modified
and developed to incorporate modernist elements such as stepped
silhouettes, simple geometrical shapes, emphatic vertical piers and
asymmetrical massing.
Hiscox built a stage capable of hosting a wide variety of events, including
concerts, dances, musicals, puppet shows and magic lantern shows. The Old
Vaudeville Theatre quickly became the centre of Guildfords social life, and
with the advent of silent movies was well known for its popular Saturday
afternoon films, with Keystone Cops and Charlie Chaplin special favourites.
The structure still stands, without its foyer and ticket box but with the original
floor, stage and proscenium arch largely intact, though now filled with
commercial imported bric-a-brac.
Guildford, on Perths outskirts, had recovered sufficiently from hard times by
the mid-1920s to aspire to a purpose-designed picture theatre. By contrast, the
nearby largely working-class suburb of Bassendean, with whom it shared movie
reels, suffered grim economic problems during the inter-war years. Nonetheless,
motion pictures were screened in the Bassendean Town Hall and Wonderview
Picture Gardens throughout these years. Arrival of film spools was critical to
the shows continuity. Any mishap caused a break in filming, occasionally
punctuated by whistles and catcalls. One can sympathise with the unfortunate
assistant projectionist employed to cycle several kilometres in all weathers with
heavy film canisters to ensure timely exchange between the two venues.
The Regent was one of several picture theatres in WA whose naming
coincided with a state visit by the Duke and Duchess of York (later King
George VI and Queen Elizabeth), who travelled through Guildford in 1927
en route to the goldfields. York was never a Prince Regent, but the regency
of his grandfather still resonated strongly with the populace, and Rosenthal
employed decorative elements, including cartouches, making reference to
regal England. While lending a little dignity to Guildford, the architects
relatively simple theatre frontage offered no grand aesthetic pretensions.
Operated by Bob Yelland of XLTone Amusements, the Regent was planned
29
Opposite page: Theatre Renown, Midland: entrance (left)
and auditorium and proscenium (right).
Far left: Front of Guildford Town Hall, 1937.
Above left: Proscenium of former Old Vaudeville Theatre.
Above right: Cartouche featured on building parapet.
Left: Theatre building after adaptation as Slovenian Hall.
to recognise and harmonise with surrounding James Street structures, the
overriding factor being a budget for a medium with an uncertain future.
Movies were later shown at the Guildford Town Hall, designed by John
Fitzhardinge (1936), who also designed the Applecross District Hall (1934)
with screening facilities. The Guildford Town Hall showed one of Australias
first feature films, The Soldiers of the Cross. With no doubts about the staying
power of the medium, movies were periodically shown at the town hall and the
Regent and continued in the neighbouring Midland Town Hall. The Guildford
Town Hall and the Applecross District Hall (now Tivoli Theatre) have been
classified by the National Trust of Australia (WA) and heritage listed.
Bob Yelland, in addition to installing his talkie equipment in some local
venues, screened at Midlands Renown on Friday and Saturday evenings, while
the Kanzler Brothers operated at the Empire until the 1950s. Meanwhile, the
Rex Theatre Circuit serviced Mt Helena, Chidlow, Parkerville and Darlington.
Wally Coxon showed movies at the Darlington Hall, and his daughter, Valerie
Prescott, remembers her friend rushing to the nearby shop to buy frozen
custard creams the instant the film ceased.
 Goldfields Theatres
In the WA goldfields, the heart of the Golden West, fortunes were made
and lost and the destinies of showmen like Paddy Baker (see page 147) and
the notorious entrepreneur Claude de Bernales were decided. According to
William Leighton, it was said of theatre entrepreneur E.P. Nelson that, he
went to the goldfields with nothing and returned a millionaire, later financing
a chain of theatres including the Windsor Theatre.
The gold rush of the 1890s had seen the twin townships of Kalgoorlie
In 1927, shortly after designing the Regent, Rosenthal was responsible
and Boulder develop at an astonishing pace from bare earth to thriving
for Victoria Parks Broadway Picture Theatre. Situated at a high vantage point
communities. With the coming of the railway (1897) and C.Y. OConnors
on the corner of Albany Highway and Harper Street, it was given more
great engineering feat (now known as the Golden Pipeline), which brought
prominence by the parapet sign spelling out the name BROADWAY in bold
fresh water 530 kilometres from the Perth hills to the goldfields (1903),
letters. In 1938 the theatre was modernised in the art deco style by William
the facilities of the towns grew rapidly. Newly settled families wanted
G. Bennett (see page 72).
entertainment, and the new phenomenon of motion pictures along with
Confidence that the movie industry was here to stay quickly grew, and
other theatrical shows and performances was as enthusiastically embraced
Rosenthal was much in demand for new cinema designs, producing ten
along the pipeline as in the coastal cities of Perth and Fremantle.
new picture theatre buildings within the next four years. His work gradually
Such was the demand that by 1911, a substantial Edwardian-style brick

'
acquired a more modern appearance, and by the time he designed the
I
New Oxford Theatre in Leederville, he had developed a successful blend of
monumental Edwardian classicism and early modernism.
The New Oxford, constructed by A.E. Allwood at 155 Oxford Street,
' I building another Cremorne Theatre was constructed at the eastern end
of Kalgoorlies main street, replacing an open-air venue. Built primarily for
live entertainment but also immediately showing movies, the Hannan Street
building was designed with a sliding roof to assist ventilation in the hot climate.
on the north-west corner of Vincent Street, was opened on 1 March 1927
In addition, an adjoining open-air summer picture garden was established.
by the Minister for Works, Alex C. McCallum, before a capacity audience
of 1286. The opening program featured the New Oxford Orchestra and
included vaudeville, comedy, a short play and a special appearance by Miss
Australia, Beryl Mills. Silent movies were shown to full houses, with either
piano or organ accompaniment, and on the occasion of the theatres second
anniversary every seat in the building was said to be filled, with hundreds
turned away. It is believed to have been the first suburban Perth theatre to
show talkies, with installation in September 1929.
The New Oxford has a relatively plain facade, free of classical columns and
ornaments and relieved by Edwardian frames in stucco with flat pilasters. The
busy street corner was addressed by a chamfered elevation, now containing
the entrance doors under a cantilevered awning. A pleasing dynamic balance
Top left: Broadway, architects elevation drawing, 1927. Top: Gaiety Theatre, Angelo Street, South Perth.
was achieved overall through strong horizontal banding and the verticality of
the pilasters. The side and rear facades were bare brickwork with expressed Top right: Old Broadway Theatre, Victoria Park, 1927. Above: New Oxford Theatre, Oxford Street, Leederville (c. 1980).

buttresses. Above: Foyer of 1927 Broadway Theatre, Victoria Park. Right: Cremorne Theatre, Kalgoorlie, converted to indoor sport centre.

30 31

\I
Wiluna
In the Mid-West goldmining town of Wiluna, the population shrank
rapidly after World War I until, in 1924, Claude de Bernales sponsored a
drilling program, reviving the mine, creating employment and boosting
the towns population to 9000. The need for entertainment attracted
the picture-showing Nelson brothers, who erected the Ambassadors
Theatre and Gardens in the towns main street in 1931, selling in 1933 to
Goldfields Pictures, who in turn on-sold to the local community in 1945.
Siblings Wendy Folvig and Professor Lloyd Finch, whose family ran a
sheep station in the area, recall town outings that often involved visits to
the local Ambassadors. Wendy once fell through a deckchair while she was
pregnant, while Lloyd told of some of the local lads entering the theatre
free of charge by crawling through the hatch at the rear of the dunny.
Above: Ambassadors Theatre, Wiluna.
Right (top): Cremorne Theatre, Kalgoorlie: Tympanum escutcheon detail.
Right (bottom): Paddy Hannan statue opposite Regent Theatre, Kalgoorlie.
32
Other Regional Theatres Moths and Mayhem at the Bijou
Movies were shown in country towns almost as soon as they were available Thelma Jones, whose family operated a boarding house for goldminers at
in Perth. They were screened in the few existing theatres, together with live Ora Banda and came to Esperance for summer holidays, finally settled there
entertainment, or, more often, in a local hall or open-air space. in 1948 when the band of gold had lost its sparkle and the mine closed. She
Fitzgeralds Circuit Pictures operated out of Toodyay, servicing areas regularly attended the Saturday picture shows, and one of her vivid memories
such as Gingin, Chidlow, Bindoon, Bakers Hill and Meckering, while the was the major distraction caused when her brother, Graham Saunders, released
a boxful of moths, which fluttered across the screen during the film.
Boddington Power and Light Company controlled Mundaring, Serpentine,
,. ,,.
Jarrahdale and Williams.
One of the earliest rural theatres constructed was the small and modest like neighbouring hotels, featured a two-storeyed, cast-iron verandah over
1896 Bijou Theatre at the port of Esperance, an isolated outpost on the far fine metal shop-front windows, an Italianate parapet, and a boom-style
south coast of WA, some 890 kilometres from Perth. Intended primarily for live cupola surmounted by cast-iron cheveux de frise.7
performances, it provided all varieties of theatrical entertainment. Symbolic of By 1929 another Princess Theatre, of similar Edwardian style to the original
the way silent movies ventured into remote settlements, the Bijou screened films Lyric, had made its debut in Stevens Street, Bunbury, and despite the onset of
brought by a travelling projectionist from the early 1900s, and commenced its the Depression was a popular venue for people from the surrounding area.
own shows around 1929, using a biobox installed in the gallery. Residents of the first settlement and port of Albany, on the south coast, were
Most major rural centres boasted a fully equipped theatre early in the clearly focused on British royal palace connections, as is evidenced by the
century. The first of these, the Lyric Theatre, was built in the service centre naming of King George Sound and Princess Royal Harbour and, later, the early
and southern port of Bunbury, a year after His Majestys, Perth. picture palaces. Conversely, a very early picture venue was the unpretentiously
Opened on 5 April 1905, the Lyric hosted concerts and plain and fancy named open-air Reynolds Garden Theatre, which screened silent movies behind
dress balls,6 besides screening movies almost from inauguration. The theatre, the Royal George Hotel in Stirling Street, overlooking the harbour.
By 1912 five more venues in the twin cities were advertising film screenings Left: Lyric Theatre, Victoria Street, Bunbury, 1910.
in the amusement columns of the Kalgoorlie Miner: the Empire Picture Palace/ Below: Bijou Theatre, Esperance, 1904, with probably a majority of the regions population at
Stadium, Radio Pictures and Kings Summer Gardens in Kalgoorlie, and the that time.
Palace Gardens and Kings Glideaway in Boulder.
In 1917 J.C. Williamson opened the Majestic Theatre in central Hannan
Street, and according to a 29 April 1931 issue of the Kalgoorlie Miner the
theatre was still in full operation then, screening Man Trouble. In 1929
another Regent Theatre appeared at the western end of the street.
In neighbouring Boulder, the Palace Gardens, in the towns main street,
screened movies during the long, hot summer months and operated as a
skating rink in winter. Later, Goldfields Pictures Ltd converted the skating
rink to the hardtop Lyric Palace Theatre, showing films on a regular basis in
summer alongside the open-air Lyric Palace Gardens. Audiences for these
venues included not only the townspeople of the Kalgoorlie-Boulder area but
people from mining sites and townships for many miles around.
 In 1908, Kings Pictures advertised regular screenings, with musical
accompaniment by professional pianist Otto Berlinger, four nights a week
at the Albany Town Hall in York Street. In 1911 Kings was faced with the
prospect of serious competition when Wests Pictures announced plans for
building a picture palace large enough to seat 1000 people. Although this
did not proceed, more competition came from Princess Pavilion Pictures,
believed to have been presenting movies at the first Salvation Army Citadel,
also in York Street. Threatened with competition, the municipal council was
persuaded to upgrade the town hall to keep regular bookings. In 1913 a
gallery and staircase were added, and in 1918 the tower was converted to
a projection box. Kings Pictures then advertised its dress circle seating as
the most comfortable and roomy opera chairs in this state.8 Tickets cost two
shillings for the dress circle and one shilling for the stalls (with children half
price), and the management arranged a special charabanc service to transport
patrons home after the show.
Wests Pictures finally came to Albany, building a dual picture theatre
and rollerskating rink in central York Street. It was named the Empire Theatre,
presumably considered appropriate homage to King and country. When the
\I
rollerskating craze abated, a new Empire Theatre building was built further
down York Street in 1912, just for screening pictures, with permanent seating
for 1000 patrons. This building still stands.
The regal theme continued a decade later with the construction of the
Regent Theatre a few doors away in York Street. This smaller venue, with
its white tiled foyer and elegant central staircase, was considered by
local residents to be stylish. The Regent and Empire held separate twice-
weekly programs and remained popular places of entertainment and social
interaction until the 1960s.
In the Mid-West wheatbelt distribution centre and port of Geraldton, 424
kilometres north of Perth, silent movies were shown during the first decade of
the century at Kings Pictures. The lease of this corrugated iron building was
later taken over by exhibitor Alfred Wheat, who came to Geraldton in 1921
to manage the Soldiers Picture Theatre. Wheat gave Kings Pictures a new
name: Radio Theatre.
The coalmining town of Collie, with a sizeable population, commissioned
Samuel Rosenthal in 1928 to design the splendid Edwardian-style Theatre
Royal. Now gone, the building rivalled some of Perths theatres for size and
quality of workmanship. Its demise may have been influenced by the 1951
construction of the Collie Mineworkers Institute building, which was designed
by architect John Fitzhardinge to include provision for film projection. Collie
also had an Amusu picture venue.
Another remarkable example of the popularity of motion pictures and
their association with regality was the tin shed constructed in the main street
of the south-western town of Kojonup. Ironically, it was also known as the
Theatre Royal and stood near the Royal Hotel. Built just after World War
I to raise funds for construction of a memorial hall to commemorate local
servicemen and women killed in the war, the theatre was so popular in the
entertainment-starved area that local police were frequently posted outside
to turn away patrons unable to be accommodated. This hugely popular and
Far left (top): Families leaving the Princess Theatre, Albany, c. 1910.
Far left (bottom): The original Empire Theatre in York Street, Albany (with buggy outside).
Left (top): Empire Theatre, lower York Street, Albany.
Left (bottom): Theatre Royal, Collie, 1927.
Right (top): Artists impression of the tin shed dubbed Theatre Royal, Kojonup.
Right (bottom): Corrigin Town Hall, 1923.
35
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Left: Cummins Theatre, Merredin.

Right: Palace Theatre, Northam.

Far right: Programs for the Palace Theatre,

Northam, by Vics, Wests and Spencers.

' I
' I
Below right: Cummins Theatre proscenium.

Below far right: Ticket box and early projector

in Cummins Theatre foyer.

successful fundraising project enabled the building of the fine 1926 Kojonup
Memorial Hall, which had good facilities for showing films.
Besides these modest community halls, handsome edifices in larger
centres, such as the well-patronised 1923 Corrigin Town Hall and the 1900
York Town Hall, were included on the Baker Circuit.
In 1928, a substantial brick theatre, embodying considerable history and
links to the goldfields, was constructed in the centre of Merredin, midway
between Perth and Kalgoorlie, by James Hurtle Cummins, who owned
breweries in Merredin and Kalgoorlie, built many hotels in WA and, at that
time, was mayor of Kalgoorlie. Residing in Merredin with his musically
talented daughter, Alice, and keen to provide her with a venue in which to
display her skills, Cummins was also motivated to provide the community
with a centre for live performance and entertainment (including films).
In order to do this, he used materials salvaged from the Tivoli Theatre in
Coolgardie to construct the Cummins Theatre.
When gold ran out at the turn of the century, Coolgardie declined and
many buildings were dismantled and relocated around the state. Cummins
purchased and dismantled the old theatre and transported it by rail to Bates
Street, Merredin. The Department of Public Works insisted that wooden walls
be rebuilt in brick, so Cummins recycled bricks from delicensed goldfields
hotels, owned or built by him, to house the tiered seating, pressed metal
ceiling, proscenium and stage in a handsome, sturdy building. Doors
salvaged from the Ambassadors Theatre were installed in the 1970s, and
the interior is now a substantially intact example of late nineteenthcentury
design modified to meet 1920s and 1930s decorative ideas.
Although built primarily for live performances, from inception the Cummins
Theatre screened motion pictures. A publicity brochure for the theatre claims
the Cummins to be one of the earliest theatres in the country to show talkie
films and the second picture theatre in WA equipped for sound. Regular film
evenings continue to be part of the programs that have been the main focus
of cultural and recreational life in the Merredin district since the theatres
establishment, attracting audiences from a wide area of the wheatbelt.

36 37
 Travelling Showmen
In smaller rural centres, the screening of motion pictures relied on travelling
showmen who, always eagerly anticipated, covered vast distances to take
movies to even the most isolated locations. They generally each operated
a circuit that included a number of neighbouring but widespread districts.
Although projection equipment was primitive by modern standards, it would
still have been prohibitively expensive for rural communities to own their own
equipment and purchase or hire films, particularly if films were screened only
occasionally. Consequently, country centres relied on the visits of travelling
projectionists to bring the magic of motion pictures to their local hall, where
dances and other social events would otherwise be held. Since the floors
of these buildings were level, not raked, patrons would hope to find a seat
where the view was not obscured by a burly farmer in front; however, as the
seats were moveable, it was usually not too hard to find another position.
The travelling showmen, a different breed from early exhibitors, operated
from the first decades of the twentieth century. These men moved from
town to town, setting up their primitive paraphernalia in local halls, usually
\I
accompanied by a piano player to provide appropriate sound effects and
background music. Because country towns of WA were mostly a days horse
travel apart, they could put on a show to an eager crowd of locals seated on
wooden forms one night, and the following night do the same at the next place.
While not the first to show silent films in the rural areas of WA, Clarence
(Paddy) Baker (18981986) was one of the earliest and undoubtedly the most
successful and well known. Bakers father was a goldminer at Leonora, and
when work at the mine ran out in 1905 he packed up the familys belongings
Below: Renowned travelling show picture man, Paddy Baker, with Bakers Photoplays
Deluxe crew.
38
and, with his eight-year-old son, set off on the outback track with their horse
and cart to find employment. Father and son were further tested when their
horse died during the hot and dusty journey. Undaunted, the pair packed a
swag, hid their worldly goods, and walked for two weeks until they arrived
at the mining settlement of Sandstone, where Baker found work at the local
mine. Young Paddy too found work, assisting the local picture projectionist, a
Mr Hebberd, for a shilling a week, thus commencing a lifelong involvement
with the motion picture industry. Not long after, Paddys father died, so Paddy
returned to Perth to complete his education at Christian Brothers College.
In 1916 he and his mother and sister took a flat at the rear of the Coliseum
Picture Gardens, where the Regal Theatre now stands. Here the family was
able to supplement its meagre income by selling confectionery and ice-
cream to picture garden patrons during the summer months. During one of
the winter spells, when the gardens were not operational, the family was
forced to leave and Baker vowed to return to the picture gardens one day
and buy the place outright! He worked as a mechanic until 1919, when
he purchased a second-hand picture show plant and a horse and headed
To advertise the show, he employed youngsters with handbells, who would Above left: Old Pemberton picture theatre,
for the bush to begin the new venture that he optimistically named Bakers
loudly announce the performance throughout the town. The mill generator now recycled as holiday apartments.
Photoplays Deluxe, travelling from Esperance in the south to Coolgardie and
was used to supply power for the projector lamp but, like most at the time, Above: Peoples Pictures travelling outfit in
almost as far north as Geraldton, screening films en route.\I Jones needed to wind the film by hand throughout the screening. With only Kalgoorlie.
Conditions were harsh in the rural areas in the early 1920s, and
a single projector, the show had to stop every twenty minutes for a change of Right: Picture show entrepreneur Clarence
farmers continued to suffer deprivations from the 1914 drought and lack of
reel and, no doubt, to rest Jones arm muscles and perhaps the fingers of his (Paddy) Baker later became proprietor of the
superphosphate to aid their crops. Bakers popular travelling picture show Regal Theatre (see also page 147). Hes shown
pianist, May Hutchinson, mother of MLA Ross Hutchinson.
was the only entertainment to brighten the lives of these outback farmers, here at the Regal ticket window in later years.
When the mill was destroyed by fire, Jones was forced to move away
and they would travel for miles by horseback when his show came to town.
from the town, establishing a touring picture show covering nearby towns
Screening at a different venue each night, Baker worked long hours, setting
like Bridgetown. Fitting his Buick car with a Delco lighting plant and all
up and dismantling equipment. Often, after a sixteen-hour shift, he would
the necessities for showing films, he brought popular entertainment for a
sleep under the stars, or at best in the local hall. Later he was able to purchase
while to these outlying towns. However, at admission charges of two shillings
an old van and, with the aid of a belt and pulley, use the car engine to
for adults and sixpence for children, his small audience numbers did not
provide light and power. By jacking up the rear wheels with the projector
justify his expenses and he was forced back to work at the timber mill, while
mounted on the back of the van, the show was soon up and running. Bakers
continuing to provide picture shows.
operations gradually improved and became more profitable, and eventually
With the advent of the Group Settlement Scheme and a general increase
he was able to obtain three picture show vans fitted with projection machines
in population, Jones recommenced his travelling picture shows with a new jarrah-built picture theatre, has endured to this day, regularly screening
and all the attendant gear. In 1946 he fulfilled his dream and purchased the
Chevrolet van, expanding his circuit to include Boyup Brook, Greenbushes, movies until quite recently. Now used for holiday apartments, the building is
Regal Theatre.
Northcliffe and Pemberton. These shows became popular enough for Jones listed on the local Municipal Inventory and is National Trust classified.
Another movie enthusiast, Allan Jones, brought films to the mill towns
to build a permanent theatre, Adya Hall, at Pemberton in 1929. Erected in Jones later built the Roxy cinema in Manjimup (1956) and established a
of the South-West. He commenced showing films as a sideline in 1923 at
a record six weeks, the multipurpose hall, believed to be the worlds only theatre and picture gardens and subsequently a drive-in at Busselton.
Deanmill, near Manjimup, and for twelve months ran occasional film nights.
39
 Original Picture
Palaces of Perth Profiles

theatre Royal, 1897

The opening of Perths first purpose-built theatre, in central Hay Street, was
a major milestone in the development of entertainment venues in Perth. As
\I the city grew from what was often called little more than a large village, it
was much in need of an up-to-date entertainment venue, and T.G.A. Molloy
and Alexander Forrests entrepreneurial spirit and capital met that need.
The opening ceremony was delayed by two days due to the late arrival of
the ship carrying actors and scenery, but then, amid much fanfare, the play
The Silver King was performed in the presence of a brilliant assemblage that
filled the auditorium in all parts, standing room being scarcely obtainable. The
managers of the theatre were said to have spared neither time nor expense in
their endeavour to cater royally for the play-going public of the West.9
The design of the palatial theatre, in red plush and gilt, followed the
horseshoe plan, then considered most suitable for bringing the audience
close to the stage. The concept of uninterrupted views of the stage apparently
excluded the unfortunate patrons who found themselves seated behind
one of the pillars supporting the upper levels. The original interior is said to
have been similar to the design of His Majestys Theatre, which was built a
few years later for the same proprietors. The 40-foot-deep stage included a
gridiron capable of supporting any scenery, and the dome of the auditorium
was fitted with a sliding roof that could be opened, enabling the audience to
experience the benefits of fresh air on warm summer nights. The theatre was
Left: Theatre Royal and Hotel Metropole taking deliveries by horse and dray in its early days.
Above: Theatre Royal prior to 1937 renovations, with Lieut. Governor Sir James Mitchell and
Lady Mitchell prominent in dress circle.
said to have provided all the modern appliances and should experience
little difficulty in staging pieces of every description.10 This included the
ability to project the latest entertainment craze motion pictures and
these, along with concerts, plays and vaudeville acts, were shown on various
occasions during the first year of the theatres operation.
The Theatre Royal continued to host a wide variety of theatrical acts and
performances over more than thirty years, interspersed with increasingly
regular screenings of feature films starring Charlie Chaplin and other
comedians, along with a circus act. With improvements in technology and
the quality and content of films, the popularity of the movies increasingly
supplanted the various forms of live entertainment in the theatre. By the 1930s,
what had been the premier home of live theatrical entertainment retained
little more than a small orchestra and an organ providing incidental recitals.

41
 Grand Theatre, 1916
The late 1910s and early 1920s brought the larger, more elaborate and more
comfortable cinemas to Perth, and the first of these, the Grand Theatre in
Murray Street, was Perths first purpose-built picture palace. Commissioned
when live entertainment was on the wane, it was the first WA theatre to
eliminate the stage, while retaining a classical proscenium flanked by pilaster Left: Grand Theatre front on Murray Street, Perth,
columns. The interior featured decorative arches and plaster cornices in a free advertising continuous pictures (c. 1920).
classical manner, and the dress circle was supported on slender columns. Right: Grand Theatre foyer and box offices (c. 1929).
The theatre was originally to be called the Anzac, but with the disastrous
defeat of Australias armed forces at Gallipoli, a name change was considered
with no incoming revenue. It was an enormous encumbrance on the new contracts from Universal and Paramount. Needing more theatre outlets to
circumspect. By the time of its completion, it was known as the Grand Theatre.
owners. James Stiles then suggested to his partners that they should take fulfil the contract, the company negotiated in 1934 to purchase the Princess
The venue was built for Thomas Coombe, who employed architect R.J.
\I
Denneby to design a large theatre in the Edwardian style, seating 842 in the
\I over management of the theatre themselves. Because of Stiles experience in Theatre in Fremantle from the Coombe family, and two years later leased the
building South Perths Gaiety and Hurlingham theatres, his partners agreed to Theatre Royal from owner T.G.A. Molloy, at the same time arranging with
stalls and 274 in the dress circle. Using his connections with the developing
support him, and on 25 August 1932, with a paid-up capital of just 50, they MGM to obtain WAs first-screening rights with the company.
Union Theatres chain, Coombe secured a large share of Hollywoods output,
formed the Grand Theatre Company. In 1938 Stiles managed his most spectacular coup, with a ten-year lease
and the Grand opened on 20 September 1916 with the movie Girl in a Taxi.
Stiles wasted no time, according to his nephew. At two oclock in the on the planned Piccadilly Theatre. With this success, the partners decided to
By 1921 the venue had become the nucleus of the large national
morning he telephoned a Sydney distributor, gaining permission for the modernise their three older cinemas and commission a new one, the Como
distribution chain that controlled pictures in WA. Coombe and real estate
company to screen its first program, Emma, starring the comedienne Marie Theatre, in South Perth.
agent James (Jimmy) Stiles were well known for their contribution to the
Dressler, together with an appropriately named short film, When a Fella Full houses were essential to raise funds, and this meant extravagant
business. The formation of the Grand Theatre Company by Stiles was one of
Needs a Friend. At the end of the first week, the partners counted a profit of promotions to draw the audiences. Arthur Stiles, then a junior member of
the outstanding success stories of the states cinema industry.
70, and Stiles embarked on stage two of his career in the motion picture the company, recalled the eye-catching display of an enormous King Kong,
The company dates from 1928, when four local businessmen paid
industry. Within a short space of time, he was elected president of the WA and personal appearances of stars of film and radio such as Bert Bailey, who
170,000 for the twelve-year-old Grand Theatre building, a transaction
Motion Picture Exhibitors Association, and the venture began to move with played Dad Rudd in the popular comedy series Dad and Dave, and Sir Charles
described later by Arthur Stiles (nephew of James Stiles) as the biggest
speed and energy. Kingsford Smith, who launched the air epic Old Bus. Stiles organised popular
property deal of its kind in Western Australia. James Stiles, together with the time, appeared an eminently sound investment. Little did they know the
The cinema industry was in a state of turmoil at that time, and many bigger parties and special events for children, including a meccano-building contest
senior executives of Boans Department Store Horace Davenport and James Wall Street Crash would turn the profitable asset into a potential disaster.
companies had formed a collective pool to control distribution. The smaller at the Grand Theatre.
Vivian, and Roy Taylor, an Australasian (now ANZ) Bank executive, raised Nevertheless, in 1929, when Perths cinemas were being wired for sound,
companies who did not join this pool had great difficulty in obtaining film When Jimmy Stiles died in 1946, he was succeeded by Arthur Stiles, who
20,000 to acquire the theatre from Thomas Coombe (now Sir Thomas), taking they approved alterations to the Grand to accommodate the talkies.
programs, a discouraging situation for a newcomer. On learning that Universal ran the company, later to become the City Theatre Group, until his retirement
out a mortgage for the remainder. The consortium formed an agreement with The Depression had Australia well within its grip, said Arthur Stiles,
Studios, Paramount Pictures and Metro Goldwyn Mayer (MGM) were not in 1986. During Arthurs time, City Theatres took over the Hoyts Oriana in
Union Theatres, giving them a twenty-one year operating lease, which, at and in 1932 when Union Theatres collapsed, the Grand Theatre was left
associated with the pool, Stiles boarded a Sydney-bound train, returning with Fremantle and the Astor Theatre in Mt Lawley.

42 43
 Majestic Theatre, 1916
Opened on 21 December 1916 by the Hon. J.D. Connolly, the Majestic, at
660 Hay Street, was designed by architect John Ochiltree to the specifications
of lessee J.C. Williamson. According to the authors of The Plaza Story,11
the entire proceeds of the opening night were donated to the Parkerville
Childrens Home, the Home of Peace and the Foundling Home at Subiaco.
The building of the Majestic the fifth continuous picture house in the
central business block by an established architect to replace the older
fleas and itches venues in Hay Street indicated the level of demand and
competition for the business. Ochiltree appears to have used his experience
in the goldfields, where natural ventilation methods such as the sliding roof
were employed successfully to cope with heat generated in the theatres. The
Daily News12 reported on the theatres launch:
\I \I
The new building has been erected after the style of the
most modern theatres and special regard has been given to
the important matter of ventilation. The theatre was crowded
last evening but the audience was very comfortable, the air
within being fresh and cool. A sliding roof is portion of the
ventilation arrangements. The interior appointments are very
fascinating and speaking generally, the theatre is quite up to
the standard of the picture houses of the Eastern States.
The Prince of Wales seated 2300, with a large lounge and an enormous
Movies shown at the Majestic ran continuously from 11 a.m. to 11 p.m., Prince of Wales Theatre, 1922 dress circle accommodating 400500 patrons. The theatre was beautifully
including a range of exciting offerings such as Australia at War and Flirting with decorated, fully carpeted and featured she-oak joinery, and the large stage
Fate, starring Douglas Fairbanks. Regular news gazettes brought events of the When Thomas Coombe replaced the Melrose Theatre, at 258 Murray hosted live shows as well as motion pictures.
war in Europe to Perth, all reliant on the resident pianist to supplement action Street, with what was sometimes called the mighty Prince of Wales, it was In 1929 this showpiece was Perths first theatre to screen The Jazz Singer.
with stirring tunes or patriotic songs for the fighting forces, romantic music for considered Perths leading picture palace for several years. It was named for Robert Selby, Vyonne Geneves father, recalled viewing the part-talkie film
Above: Illumination of the Majestic Theatre at night.
love scenes and exciting tunes for the dramatic action pieces. For the cost of Prince Edward, who opened the building in 1922 while on a national tour to screened to an audience out in the street. At a time when most films at city
threepence for a downstairs seat, movie-goers could come at any time, or for Right: Central Hay Street frontage to Majestic Theatre (c. 1929). thank Australians for playing their part in the war. His bust stood in pride of theatres ran for one or two weeks, Al Jolsons film easily took the record,
sixpence they could enjoy a seat in the Gallery de Luxe upstairs. Far right: Audience emerging from the Prince of Wales, Westralias only All-British theatre. place in the foyer. playing for five weeks. Although the Hoyts Regent, just around the corner,

44 45

Above left: Prince of Wales Theatre usherettes.
Above centre: Attendant assisting patron to leave perishable shopping in Prince of Wales foyer
fridge before meeting friends upstairs in the lounge.
Above right: Audience seated upstairs at the Prince of Wales Theatre, 1930.
Right: Foyer of Prince of Wales Theatre. \I
almost simultaneously presented the 1928 part-talkie film The Red Dance,
starring Dolores del Rio, the Prince of Wales claimed in its program to be
Perths leading talking theatre, featuring the new CineSound system.
Prior to World War II, local audiences had a strong preference for British
and Australian film productions, generally considering Hollywood movies
inferior. Although several theatres preferred showing British films only, the
Prince of Wales claimed to be Westralias only All-British theatre.13
A Prince of Wales program dated 12 May 1923 advertises the theatres
connection, through a rear door, to the Globe Hotel on Wellington Street,
where patrons could purchase refreshments during the interval. The venue
was also a popular meeting place for young matrons, who would take
advantage of the refrigerator in the entrance foyer, where shoppers could
place their perishable goods while enjoying the movie.
The theatre ceased operations in 1935, making way for Bairds Department
Store and other shops and offices.
46
Hoyts Regent Theatre, 1927
Upon opening, the Hoyts Regent, 95 William Street, was said to be Perths
most palatial monument. One of the more elaborate and comfortable
venues constructed in Perth at the time, its impressive edifice resulted from
nationwide expansion by the Hoyts distributing company, challenging the
supremacy of the Sydney-based Union Theatres.
In 1926, when Hoyts began constructing the large Regent Theatres
in Sydney, Melbourne, Adelaide and Brisbane, it chose to first lease and
then remodel the old Queens Hall in Perth. The extensive renovations were
carried out to the design of architect Charles Bohringer (of Bohringer, Taylor
and Johnson), who sent Melbourne architect H. Howard Bonner to supervise
the project.
Redeveloped as a purely commercial picture theatre, the Hoyts Regent
\I opened on 27 September 1927, transformed into a distinctive Edwardian-
style picture palace equalling anything Perth had to offer. Prior to the
Ambassadors and Capitol theatres, it was considered to be a handsome
landmark, competing successfully with the Theatre Royal and the Prince of
Wales for pride of place.
Not long after the Regents rebirth, the film industry was shaken and
competition reached an exciting new level when the Regent and the Prince
of Wales both screened talkies. While the two films shown were only partially
wired for sound, Dolores del Rio played the part of an exotic Russian dancer
in William Street and Al Jolson sang just around the corner in Murray Street
on the same night, with audiences queuing at both places to experience the
new phenomenon.
In the mid-1930s the lease of the Regent was taken up by MGM and the
building renamed the Regent Metro.
Top: The blaze of light attracting the audience by night to the Hoyts Regent Theatre, 1932.
Above: Typical theatre corps de ballet.
47
 Ambassadors Theatre, 1928
On 29 September 1928 another opulent picture palace was inaugurated by
the recently knighted Sir Thomas Coombe. Said at the time to be the last
word in cinema construction, the Ambassadors, in Hay Street, was the first
of three prestigious atmospheric motion picture houses built in Australia for
Union Theatres with the backing of its then manager, Stuart Doyle. Together
with the Capitol Theatre in Sydney and the State Theatre in Melbourne, it
was built with great confidence within a few short months at the height of
the boom, quickly becoming an immense favourite. Patrons were drawn to
admire the exotic ambience as much as the film program.
A great admirer of John Ebersons picture palaces, Doyle travelled to
America in 1927 with his architect, Henry White, who subsequently designed
Sydneys State Theatre. Doyle chose Melbourne firm Bohringer, Taylor and
Johnson for the Perth theatre, with Howard Bonner the supervising architect.
The Ambassadors was opened by the Premier, Philip Collier, MLA, with
a concert program supplied by Bert Howell and his Ambassadors Orchestra.
The souvenir program for the gala opening night enthused over the exotic
\I items adorning the theatre, including Gothic banners from Paris and Rome,
art panels from Berlin, capes from Madrid, statuary and art panels from
Naples, ornamental wrought-iron work from London, mirrors, candelabras
and antiques from New York, and stuffed peacocks and pigeons from Durban.
Constructed in the Florentine style, the architects created a garden effect,
with terraces and balconies, elaborate cornices, windows and friezes.
Delicate tracery and modelling of works such as the Venetian Bridge of Sighs
made a huge impression. Patrons were fascinated by the garden, with its
classical statuary surrounded with pavilions and colonnades, all decorated
with synthetic vines, trees and birds.
Audiences could easily lose touch with reality, looking up at a cobalt
blue sky, where stars twinkled and clouds floated across the heavens. The
striking decor enhanced the atmosphere of fantasy inherent in the ethos of
the movies, and encouraged patrons to forget their everyday cares and allow
themselves to be spirited away to other worlds.
The bizarre objets dart, furnishings and decorations, which astounded
and delighted the audience, no doubt complemented the opening feature Left: Ambassadors Theatres original Florentine style facade to Hay Street, with motor float
film, Glorious Betsy. This mostly silent, black and white Warner Brothers advertising coming film program (1928).

movie of 1928, starring Dolores Costello and Conrad Nagel, featured the Above: Audiences were fascinated by the richness of detail in the palatial garden ambience.

49
 \I
forced breakup of Jrme Bonaparte, brother of Napoleon, from his southern
American wife, Elizabeth Patterson.
The theatre had its own concert orchestra and ballet troupe and featured
vaudeville and even acrobatic performances. A popular feature was the
Wurlitzer organ, which rose into the auditorium on a lift while the organist
played all the latest favourite melodies.
Before todays sophisticated advertising methods, theatres regularly
flaunted their programs using street parades, shop window displays and
billboards, as well as front-of-house displays. The Ambassadors regularly
promoted forthcoming programs with motorised floats cruising the
streets, often full of hussies in flimsy dresses, to quote Vyonne Geneves
grandmother. Even Mickey and Minnie Mouse had arrived at the Maylands
50
Opposite page: Ambassadors Theatre, view from dress circle.
Above left: The richness of the original ornamentation certainly lived up to the promoters idea
of a fantasy palace garden where dreams might be realised.
Above: Plaster model of the famous Venetian Bridge of Sighs in upstairs lounge (top); patrons
might well have imagined themselves in a regal palace in the Ambassadors lounge (bottom).
aerodrome for a personal appearance at the theatre and toured the city to
musical accompaniment.
Within a short space of time, the situation changed drastically. The
extravagant expenditure of Union Theatres entire capital coincided with the
arrival of the Depression and contributed to the dire financial problems the
company would experience during the early 1930s.
51
 featured a spacious balcony commanding views of Kings Park and the Swan
River. The four-storey Temple Court building, which housed the theatre, also
included a two-level garage, offices, a tearooms and the renowned Embassy
Cabaret and Ballroom on the upper level. The sloping site enabled the upper
garage to be entered from the William Street level and the lower one from
The Esplanade.
The designers for the huge enterprise were Perth architects George Temple
Poole and Christian Mouritzen, who entrusted the building of the eagerly
Capitol Theatre, 1929 anticipated project to well-known builder Mr E. Allwood, proving that a local
venture, using local skills, could produce the largest block of buildings in
Described as the finest, largest and most original of the picture palaces of Perth. It was an impressive achievement at a time when the movie industry
Perth, the Capitol was the only theatre in WA to incorporate examples of was increasingly dominated by fewer and larger exhibitor chains.
native flora in its architectural design. It was built in the states centennial The grand new picture palace was heralded, in the flowery language of The powerful eye took the form of a large sign illuminated by 2500 electric
year, and this special occasion was celebrated with pressed cement banksia the day, in an article published in the West Australian on 1 May 1929: lamps spelling out the buildings name in white lights. This daring new feature
and wattle blossoms on the facade, with more local flora in the interior was surrounded by 250 twinkling blue lights in a specially constructed frame,
decorations. Coloured leadlight panels with images of Perth in 1870 and -OMORROtl/
7
Like a mighty Cyclops, pabla< . To,11
AA
the
,.n11nu,,.
d u.,orkmw1sh
fflO"')'
,, drr~I it Capitol
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ip ea,...a-o,up/
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rft.e
Knll 111,;~k 1hn, Theatre
ri.::
lh(
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W:c oJ,Jw
iu,, ,lti/1, has reared its with the rays of the rising sun illuminated with amber and red lights that
OnrA e o/ n1.q1t Jor,,,r,(-w 0~11-a irl,
, .,n,,,.
,;,,,
nwlvi.c.
:turr t,uolrn.,
head in massive splendour ir,1/. among the giants of the city, and
J.1ff HVII 11
11
.,.
,.,1,
,,.
1928 respectively, enhanced the upper stairway, illustrating the states /wurL.!1~11 a
ri,yol r#'rrh- .,.,C:np
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remarkable progress in its first hundred years since colonisation. According
to historian John Honniball, these panels were relocated to the FTI (Film and
\I
Television Institute WA) cinema at Fremantle.
Constructed on the site of the old Esplanade Picture Gardens at the foot of
William Street, the ornate, heavily decorated, late Edwardianstyle frontage
f'~'", ontfo,f,ff,,.,'"'""J
,.,. t(u appeared to burst into flame sixty-four times a minute. The 45-foot-long sky
rl,t.,roh
/ /1rdnron ru/au,p
r.Jro( , "''" ~t,m ,,..r,lil"f, 11,.-.,c,r
u11.;,,.//,,.,/w llat.1,;.
nightly its powerful eye flashes a message for miles. It now
n,1.--,,,,...,
,,,.,., ,1,.,.
sign required the use of 10,000 yards of electrical wiring and ran at a cost of
rests resplendent, an imposing spectacle, while an army 18 shillings per hour.
of minions make busy about it, decking it gaily for its first \I The Capitol featured a spacious lobby and a vestibule reminiscent of
public function on Saturday next. Dionysius has bestowed an Italian terrace, enriched with brilliant gold and red ornamentation, red
on Perth a bountiful birthday gift. and gold tiles at dado level and gold painted doors and ticket boxes. The
upstairs lounge displayed colourful art nouveaustyle painted or stencilled
wall decorations and double-height gold columns carrying the eye up to the
gilded decorative coffered ceiling.
A handsome bust of the matinee idol Rudolph Valentino graced the lobby,
and a central marble staircase led to the foyer, which, in turn, opened into a
spacious and tastefully furnished lounge. Stairs led to the dress circle, where
every seat commanded a fine view of the huge stage.
Designed to accommodate a wide variety of live performances and concerts,
as well as motion pictures, the stage was the biggest ever built in Perth. While
Left: Temple Court buildings, including the Capitol and
the Embassy Ballroom on the Esplanade corner at the the auditorium was not the largest in Australia, it was the longest, at 202 feet,
bottom of William Street. and required the longest projection throw of any constructed at that time.
Right: Daily News supplement featuring the opening of A dome spanning 40 feet and rising 9 feet above the ceiling supported
the Capitol. a spectacular cut-crystal chandelier specially imported from Austria.
Above right: Capitol Theatre frontage to William Street. According to Professor Ross Thorne,14 this handsome object weighed 2 tons
and contained 62,000 hand-cut crystal stones. The West Australian referred
Above far right: Arresting light display, making the
theatres presence impossible to miss. to it as one of the finest in the world.15

52 53
 Stion
of
Theatre
CapitolInterior
TheCapito l 1'heane , as a
stnicture, is distinctly of the
nobility . h tooknearly two
andr,1halfyear& tocon struct.
Ther~ultIt.as justifiedthe
tim~ andtheex:pc-nditun . h
is !iafe to prcdic-t thatit will
outlive thenexttwogenera-
tions.Architec ts havevled
witheach olher inpayinc hom -
~g~ to iu c.ons truct.ion. Imm
foundat ion lorooftop.Gov -
trning:rnthorititt haveeulo -
giiiic
dit,andthepublic has en-
thused thatmenhadsuch con-
fidcnc .e inthe Westas ,ocon -
irtnict such:aTheatre.
Origina lityorde$ign . is in
keynote. Jmit.o,tion played no
paninit. Butcreativemen
gavoor theirbest,andtheir
b6t was aninspira:tion.
Thedome andthecha .nddier
arefeature s of greatbe.aUly in
n Theatre abounding infeat-
url!s.
Cre.ative Ar-tLighting, onii
~c:
hrme "' orfourcolo urs. de-
light1ht!! t!!)'t!!
.ind::idd to the
g:eneral magn ificence.

Opposite page (clockwise from

top left): Capitol Theatre lounge;
chandelier; auditorium from the
stage showing dome and chandelier;
view from the gallery.

Far left: Scouts jamboree, Capitol

Theatre, with every one of the 3260
seats occupied.

Left: Artists impression of matinee

idols Rudolf Valentino and Jean
Harlow.

Below: Upper circle lobby with art

' I
' I
The electrical installation for the Capitol, including 78 miles of wiring,
18,000 electric light lamps and 2000 candlepower projection lamps in the
nouveau painted panels and pierced
ventilation ceiling lights.

ceiling, was said to be the most advanced for its time.

Ventilation of such a huge space was crucial, and prior to mechanical
air-conditioning this was provided by means of forced air currents. The
walls of the immense auditorium were punctuated by decorative ventilation
grilles that continued down to the triple-arched proscenium. The dome of the
proscenium was pierced by three panels through which specially treated fresh
air was provided by two huge fans above and behind the arch, distributing air
throughout the theatre to be extracted by panels at the rear.
Seating approximately 2300 in the stalls, with 963 patrons in the dress
circle, the auditorium was frequently full to capacity. The impression
of spaciousness was reinforced by the wider than usual spacing between
the handsome, roomy and comfortable seating (club chairs with cushions
provided in the dress circle), allowing for plenty of spectator space. The
provision of a wire rack under every second seat for gentlemens hats provides
an interesting reflection on conventions of the time.

54 55
 part 2

Intermission...
 Open-Air
Picture Gardens
The outdoor picture garden is a distinctive feature of movie-going in WA. film shown at weekends. Most offered one or two family nights midweek, when
Relatively uncommon elsewhere in the world, the phenomenon was exploited a pair of old B-class movies was offered for the admission price of sixpence.
universally here. Warm, dry summer nights in the states South-West and hot, One source claimed that distributors disliked the family nights and made few
humid nights further north contributed to the immense popularity of this kind concessions as to cheaper rentals; however, such measures saved many a
of movie-going experience. struggling cinema during the lean years, and those who persevered through the
In the days before air-conditioning, when homes and offices absorbed the difficult period of the Depression reaped the benefits when times improved.
sizzling summer afternoon heat, a popular form of relief was a relaxing evening The open-air venues built adjacent to hardtop cinemas were mostly planned
at the local picture garden. By the end of the 1930s, the Perth metropolitan to use the indoor projection equipment in the conventional manner, avoiding
area boasted twenty-five to thirty open-air venues, with more than a hundred costly duplication. This required the physical repositioning of the projectors for
throughout the state. projection into the gardens.
\I From the earliest recorded showing of movies in the streets of Perth, open-
air screenings were a regular feature in the colony. Early showings at the
Cremorne Gardens (later Palace Gardens) were followed by the purpose-built
open-air Esplanade Gardens at the foot of William Street, remaining popular
until 1928. Melrose Gardens in central Murray Street was joined by another
modest open-air entertainment venue, Olympia Gardens at 800 Hay Street,
where motion pictures were shown, together with concerts and variety shows,
from around 1912 to 1934.
In 1927 William Somerville, historian and foundation member of The
University of Western Australia senate, inspired the creation of an outdoor
theatre in a cathedral of pine trees on the university campus, which became
the Somerville Auditorium. Intended specifically for foreign language and art-
house films, it has been the main venue for Festival of Perth film seasons ever
since (see page 207).
As the city expanded, a plethora of picture gardens appeared in suburban
Perth, such as the Coliseum in Subiaco, and eventually in the regional areas,
becoming so popular that when a hardtop auditorium was constructed, it was Left: Interior of the Coliseum Picture Gardens, Subiaco (where the Regal Theatre now stands),
mostly accompanied by an adjoining outdoor venue. c. 1916.

As many as three different programs were screened each week, with the best Above: Typical WA open-air picture gardens showing a Popeye cartoon.

59

\I
Top: Typical open-air picture gardens seating arrangements deckchairs and garden benches.
Above: Premier Theatre, corner Stirling and Bulwer streets, Perth, showing adjacent picture gardens.
Pioneer cinema architect Samuel Rosenthal used an interesting variation
on this arrangement in his plans for North Fremantles Richmond Theatre and
the Beacon Theatre in South Fremantle. His designs enabled the projectors to
be rotated instead of having to be unbolted and physically manhandled into
the alternative positions, and then resecured to the floor. As can be imagined,
this process took time and caused a delay if there was unexpected rain and
patrons needed to move indoors for continuation of the film. The relocation
of the audience could be chaotic and often gave rise to rowdy behaviour,
with whistles and catcalls if the changeover took too long. The projectionists
became skilled at completing the operation in record time.
At some venues, such as the Renown Theatre and Gardens at Midland
Junction, the site did not permit the provision of a common projection room,
and two separate bioboxes and sets of projectors were installed, despite
those for the gardens potentially lying idle for the winter months and the
others in the summer. In Rosenthals Richmond Theatre, the fan-like shape Far left: Front entrance to
of the open site created an ideal space for maximum seating capacity and a summer gardens adjoining
the Premier, North Perth.
good relationship between audience and screen by placing the proscenium
at the short end of the wedge. Left: Cameo Picture
Gardens, Cambridge
The inner suburban venues generally made an attempt to create a
Street, Wembley.
\I
garden atmosphere and give some substance to the entrance. This was
often achieved by the erection of latticework at the sides and rear of the regional centre of Beverley, William Bennett also included a picture garden hardtop cinema. Seating 1100, the block plan shows a stage and proscenium
structure, with creepers and plumbago plants climbing onto the lattice in the town hall complex he designed for the shire. flanked by gates at the eastern end, with an entrance building opposite facing
fence constituting the garden atmosphere. Pencil pines were occasionally The Cameo at Wembley was another example of a cinema garden Fitzgerald Street. This modest, symmetrical brick and tile entrance, with a
used along the sides of a grassed area and a few pot plants strategically designed to operate independently from the adjoining hardtop. Two other ticket window and poster boards advertising the latest movie either side,
placed. summer gardens commissioned by the picture-showing partnership of resembled the popular domestic Californian bungalow style. The Rosemount
Some picture gardens, such as the Amusu at Victoria Park, operated During and Parker included the venue built adjacent to the Premier Theatre, and Ritz gardens shared films and regularly advertised together in the press
independently from hardtop cinemas and closed during the winter months. North Perth, designed by Oldham Boas Ednie Brown. A more interesting for their common programs during the summer months; the advertisements
Many were situated at seaside suburbs and holiday resorts and amounted to design for neighbouring Mt Hawthorn was constructed on the western side employed radiating perspective and a sun motif to attract the attention of
little more than a lattice-topped fence protecting the deckchairs, a biobox of Oxford Street on a trapezium-shaped block intersecting North Beach movie patrons.
and a screen. Occasionally, the screen had side wings, and, towards the end Road, complementing O.V. Chisholms Ritz Theatre, constructed on the In 1935, an outdoor venue seating 3000 opened on Vincent Street opposite
of the decade, stepping and other design motifs were introduced, such as at adjoining block. The architects design for a moderne-style brick structure the New Oxford Theatre. Reputedly the states largest picture garden, the
Herbert Parrys Capitol Picture Gardens at Northam. More open-air venues included a setback corner, central windows and a prominent, centrally New Oxford Beautiful indicated the huge popularity of both medium and
were constructed during the 1930s, and the earlier versions were upgraded placed stepped feature culminating in a flagpole. Oddly, this attention- location. In later years, the venue was reduced in size and finally closed in
during this active period in the states cinematic history. getting facade did not include the entrance. Patrons entered through 1964, to be replaced by a service station.
Three of the states picture gardens were incorporated into local adjacent gates to purchase seats from the ticket box located on the left of From the mid to late 1930s, better economic times returned, based largely
government buildings. The Kreitmeyer and Rowe refurbishment of Mosman the building. on the recovery of gold prices. This encouraged renewed building activity
Park Memorial Hall to incorporate Road Board offices and picture theatre One sizeable structure, the 1934-built Rosemount Gardens erected on throughout the state, and there was a demand for new, modern cinemas,
also provided for an open-air garden, as did the Cottesloe Theatre. In the the east side of Fitzgerald Street, accompanied Samuel Rosenthals 1928 most with an adjoining open-air picture garden.

60 61
 Deckchair Memories
Memories of family outings to the picture gardens invariably include
mishaps with the canvas deckchairs. Years of use and weathering of
materials occasionally resulted in an elderly relative falling through
the seat, causing a loud ripping sound and momentarily interrupting
the drama featured on the screen to the amusement of those seated
nearby. Former South Perth resident Shirley Dercksen witnessed an
overweight woman seated at the Como Picture Gardens who, to the
mortification of her husband, fell through a deckchair and had to be
rescued by an obliging attendant. Moved to alternative seating, she
repeated the graceless performance! (In the words of the advertising
catchphrase: Its moments like these you need Minties.)
Jean Hartzs family managed possibly the most prestigious of the
picture gardens built solely as an open-air venue, Howard Bonners
Lido Picture Gardens at Cottesloe. As a general rule and in the event Left: Typical multicultural audience at the Sun and seating arrangements in the early years.
of inclement weather, the deckchairs at this fashionable venue were Right: A common situation Above: Street frontage, Sun Pictures, Broome.
stacked away after each performance. However, during one of the hot resulting from outdoor
summer weekends, the chairs remained in place, and as the picture- weathering of the canvas
chairs.
no other cinema can match.17 The magic obviously worked for twenty-five-
\I
showing family were about to close up for the night, they responded \I year-old Renae Jamieson, who experienced her first kiss at the Sun Pictures
to a desperate telephone call alerting them that the caller had left an at fourteen years of age.
umbrella and torch behind and had also mislaid little Johnnie. After
constructed behind the building in 1972 to protect Chinatown from flooding. Further afield in the north, Kimberley meatworkers had a welcome palace
a search, Johnnie was found fast asleep under one of the deckchairs!
When Broome was the centre of the pearling industry and many of the to thirty minutes while the projectionist struggled with unwieldy equipment of their own under the stars at Wyndham; kindly nuns screened unbelievable
pearl divers were Japanese, the building was a dry-goods store owned by in a steamy biobox. The theatre changed hands in 1924 and a moveable wonders for patients at the Derby Leprosarium; and Marble Bar residents
In the later 1930s, designs by William Leighton for the Como Theatre the Yamasaki family, who also performed Japanese Noh plays. The site was stage was made to roll across the screen, for use at school concerts and other watched images at their Modern palace. While undertaking research, the
and the Windsor Theatre at Nedlands presented a sophisticated and unique purchased and converted to a picture theatre and gardens by master pearler entertainment. The biobox equipment was upgraded and in 1933 adapted for authors discovered the site of the unfortunately located Wittenoom Picture
interpretation of the combination of outdoor and indoor cinema. Ted Hunter, to a design by architect Claude Hawkes. Built of corrugated iron sound. The first talking movie, Monte Carlo, starring Jeanette MacDonald and Gardens in the Pilbara, where over several decades the mining community
In the 1950s, two solely outdoor cinemas opened in suburban Perth: the on timber framing, the picturedrome, as it was called, is partly covered, partly Jack Buchanan, played in Broome to a packed and excited audience. would have relaxed, unaware of the deadly nature of the asbestos fibres to
Star at Gosnells and the Melody at Bentley. A Melody picture garden was also open-air, with a variety of seating types. Broome has always had a multiracial In recent years Sun Pictures has been extensively refurbished, courtesy of a which they were exposed.
erected beside a hardtop Melody Theatre in Rockingham, all run by Mrs S. population and, to avoid arguments, the early owners set up strict seating Heritage Council of Western Australia grant, and placed on the State Register With the introduction of air-conditioning in hardtop theatres and the
Ray and Gerald Moss, who also operated the Medina Picture Gardens. arrangements, with cushioned cane chairs in the centre for whites (many of Heritage Places. It has also been classified by the National Trust of Australia development of drive-in cinema, the outdoor picture garden rapidly lost
Sun Pictures in Broomes Chinatown, in the states far north, has shown permanently booked), canvas deckchairs or garden seats behind for Asians, (WA). The character of this historic structure has been faithfully retained and, its appeal, and by the 1960s most had been abandoned or redeveloped.
movies almost continuously since 1916 and is claimed to be the worlds and wooden benches at the front for Aborigines, with a low lattice fence with its lattice screens, timber verandah and corrugated iron clad walls and Only a few rural venues survived, such as the partially roofed Sun Pictures
oldest operating picture garden. Old-timers spoke of the days before levee dividing them from the rest. The segregated seating arrangements continued roof, it is still typical of the character of old Carnarvon Street, Broome. in Broome, and in the Perth suburban area only the Somerville Auditorium
banks were built, [when] high tides often flooded the picture house, forcing until 1967, when it became illegal to discriminate on the basis of race. Despite the advent of television and video, the theatre is still popular, continued its long-running presentation of quality films in a relaxed open-air
patrons to hitch up skirts or roll up trousers before wading to their seats.16 The silent-movie era saw Broome residents flocking to favourites such especially with visitors to what has become a tourist hotspot. In the words picnic setting. Another thirty years were to pass before Perth would see a
Arguably the worlds only picture theatre regularly subjected to tidal flooding, as Mary Pickford and Douglas Fairbanks, and with only one projector for of writer Pat Elphinstone, Watching a movie under the Kimberley stars, in reawakening of interest in the pleasures of watching movies under the stars
a compacted pindan sand bund or levee, designed by Chris Fitzhardinge, was movies requiring four or five reel changes, audiences sometimes waited up picture gardens that are nearly as old as Hollywood itself, has a magic that (see page 207).

62 63
"Jiudiences
are

1929, Talkies and

the Great Depression
Atlast; TAL"
that
PICTURES
like
LIVl~G
PEOPL
E/"
Vitttpltt111rTalkiocr Pi,tur_ Donotonfu,- 1Jituplw11c \1ith By 1929, the City of Perths centenary year, the entertainment needs of its
iin: 1ll umli,:1111"
'Cll"if:vi11~ the mr1"!'(omi,1 cti ,t.'."'
country ov1r! tlw0\ 8proH'
l'itnp/mr,v citizens were well provided for, with five or six magnificent picture palaces,
ForVit11plume brin"toyou uc~"' fultaJl.iu
..pi<lun --<'~
tlu: ~ralI of the world ' C"lu i c prnclatL of \~anwr including the brand new, grandiose Showplace of the West the Capitol
grtul tnlcrtain,r:.. . n,o!<.
~,rrert,.cturi,. ~latt , tar I R~me1 uber thk- if ii- nul Theatre and, just seven months earlier, the wondrous Ambassadors Theatre.
p'Ta~tnrs ! 1- 'llmou orelll'"'"urnt"r Uro~. ffit<1plm1w. it'
Ink! ,\la.,;ln :mu~i !
ian.-. N01' llwNulliJi--Jik t>
. talking These two ambitious ventures, in particular, presented Perth audiences
l'iw1,l11me r~cr,aks thmA.I.JI, ]lil'lurt..
bd'orcout"<n "S. )'nu ,.,. ancl Vitaplw11~ (Lima, 1 all pre, - with spectacular venues providing first-class movies and a variety of live
luartJwmacl,1.1,lk. iUf! :nt ad,hn
artcl ion ,uLtrt,aiumc
anh iul!iutlw m ut Stt
plu-likthum h\urthbnwr
a111]
{1('h! ,eloftl1' llf!.t
~-n,al'/"'"' entertainments.
With the nation in a buoyant mood and expansion of the entertainment
industry on the minds of more than a few, Perth celebrated one hundred years
of development and growth. The people of WA had enjoyed the newfound
\I freedoms and excitement of the 1920s: for most, it had been a utopian
universe.
The confidence of the movie entrepreneurs in 1929 was boundless,
despite the arrival of the talkies, which some considered a fad that would not
last. (Many had said the same when motion pictures first appeared.) In April,
barely a month before the opening of the Capitol, the first talkies were shown
in Perth to packed houses.
In reality, being only part-talkie, these films were difficult to screen. Huge
sound discs had to be played in synchronisation with the film a system
subsequently abandoned. But release of talkies in Australia had already been
delayed for several years by the American producers so that they could first
satisfy their local exhibitors; distributors had not wanted further delays in
showing what would be an obvious money-spinner. such grand style, had been forced to dispense with its orchestra and ballet
Then confidence came to an abrupt end with the stock market crash. and some of its huge number of staff (see above).
Overnight, gloomy economic forecasts and the threat of widespread In Perth, as elsewhere, talkies and the Depression combined to deal a
Left: Vitaphone advertisement for pictures that talk. unemployment featured in every headline. The Perth correspondent of the devastating blow to dozens of musicians, variety artists and stage performers,
Above: Flappers enjoy the Charleston. national trade paper Film Weekly stated in early October 1929 that business whose talents had supplemented the silent film programs. Picture-goers
in all theatres was far from what everyone would wish. It was also reported became watchful of their purses and deserted theatres that were slow to
Right: Line-up of theatre staff, management and performers
outside the Capitol. that after just five months of operation, the Capitol, which had opened in convert to sound.

64 65
 Despite being Perths favourite picture palace, the Ambassadors completed
that years trading at a loss and reduced the size of its orchestra from fourteen
to nine players. The Capitol fared even worse, its owners facing bankruptcy,
until the management succeeded in negotiating a business deal with Hoyts
Theatres, which took on a ten-year lease from November 1930, with an
option for another ten years.
As the Depression deepened, the Union chain was severely hit in Perth
and elsewhere and finally collapsed. From its ruin, however, came Greater
Union Theatres, a parent company operating with local subsidiaries. By
November 1931, Perths Ambassadors, Prince of Wales and Grand theatres
came under Greater Unions control, with Sir Thomas Coombe emerging
from three years semi-retirement as local managing director.
The Ambassadors continued as the local flagship for the company and,
following a precedent set in the eastern states, Greater Union instituted a policy
of all-British films. First the Grand and then the Prince of Wales acquiesced to
this policy as a protest against the Americanisation of the industry.
As exhibitors of the silent era, Union Theatres had captured an
overwhelming share of the total product available, but in the early 1930s
the relative strength of the Hoyts chain improved tremendously as a result
\I
of contracts it had secured for early sound films. The firm weathered the
Depression as a result of longstanding corporate ties with Fox Films and later
secured contracts with Paramount Pictures.
Within six months of the introduction of talkies in Perth, there were five
theatres fitted out for sound in the city, as well as the Princess in Fremantle.
Silent films continued to be available for some time, because the producers
had stocks of unsold films, as well as stars with unsuitable voices still on
contract, and cinemas and studios that were acoustically unsuitable.
Suburban theatres and smaller exhibitors were slow to convert to sound, as it
was expensive to install and existing projectors had to be scrapped. Also there
were rival sound systems and, just as with later video systems, disagreements
over which was best. An excellent and economical system was developed
in Australia, but the power wielded by American distributors ensured that
the American systems became standard. As the technology and the product
improved, suburban theatres began to wire for sound, and by October 1930
the Rosemount, North Perth, the Premier, East Perth, and Wests in Subiaco
had all taken the plunge.
Most of the old theatres, however, had problems with acoustics. At the
Gaiety Theatre in South Perth, owner James Stiles experimented with curtains
66
Above: Tramcar advertising for the talkies.
to reduce the echo, while some suburban exhibitors followed the example
\I
of James McKerchar at the Empire, East Fremantle, who painstakingly stuck
tissue paper to the ceiling of the auditorium to soften the acoustics. Phil
Hatfield, who operated a chain of suburban cinemas, recalled his continual
experimentation with speaker types and positions, acoustic tiles on the
ceiling and drapes at the back of the auditorium. Despite these efforts, the
acoustic characteristics of a number of theatres proved totally unsuitable for
reproduced sound, and theatres such as the Palladium and Pavilion ceased
operating altogether, reverting to retail trading businesses.
Greater Union and Hoyts found it expedient to enter into a pooling
arrangement throughout Australia. The Perth connection was formed in
January 1933, when Westralian Cinemas Ltd gave Hoyts the management of
five Perth theatres the Capitol, Ambassadors, Regent, Prince of Wales and
Majestic together with the Majestic and Palladium theatres in Fremantle. In
the face of strong competition, the Prince of Wales closed and was converted
to shops and offices.
Despite these changes, a few theatres in Perth managed to endure even
the harshest years of the Depression. Shirley Temple movies from 20th
Century Fox and Fred Astaire and Ginger Rogers shows from RKO generally
ran into a second week. The Ambassadors continued its weekly changes,
and double-feature bills were augmented by recitals on the Wurlitzer organ hear familiar cultured voices and accents from Britain instead of American
plus a vaudeville item or two. People were only too grateful, for the cost of tones that grated on Australian ears. Nevertheless, pressure from the US
a shilling, to enjoy a few hours of pleasant respite from their daily worries. was strong, not all Australians were of British origin and many were happy
American-style publicity gimmicks were widely used in the intense to identify with the Hollywood film stars whose lifestyles were so heavily
rivalry for customers, particularly in the city. There was a strong emphasis publicised and envied and whose homes were so eagerly emulated.
on dramatic front-of-house displays to catch the attention of passers-by and With economies of scale made possible by the size of the American home
draw them into the theatre. Much creative effort was applied to transforming market, Hollywood films were generally cheaper to purchase than the local
theatre foyers into an African jungle, a desert fortress or a Moroccan bazaar, product or those from other sources and were consequently preferred by the
depending on the film being shown. Promotional displays were also featured distributors, who were also frequently locked into block bookings, sometimes
in store windows and banners draped across trams and prominent buildings. even before the movies were made.
The big theatre chains were keen to promote the film industrys contribution
to public morale and stimulation of trade. Billboards (see below) proclaiming
WAs Depression Years Hoyts Prosperity Mammoth Movie Month of May featured the slogan Your
Although many suffered great hardship, the Depression did not affect WA patronage will increase Employment, in a bid to boost confidence in the
as severely as it did the other states. For those fortunate enough to have industry and persuade more people into the theatre. Because of the huge
jobs, the effects of wage cuts were balanced by falling prices, and those capacity of the Capitol, filling its auditorium was a real challenge.
with spare cash to invest found they were in an advantageous position to As the worst of the Depression abated, the metropolitan area of Perth
buy cheap assets, especially property in the metropolitan area. again began to expand, with most suburbs being well served by tramlines.
In rural areas, times were especially hard and many farmers simply For the majority of suburban residents, the pictures provided a regular social
walked off their properties due to drought conditions. In the goldfields, outing and a convenient source of cheap family entertainment.
existing mines were exhausted and declining ore bodies eventually
defeated mine managements. Towns that had once thronged with
thousands of miners and their families withered and died with the
mines. Whole buildings were jacked up and carted away, sometimes as
far as to Perth suburbs, and by 1930 there was a general air of neglect
over thousands of square miles.
In reaction to the depressing poverty and threats to the social fabric,
the entertainment industry produced ever more glamorous shows. The
public were invited to immerse themselves in opulence and frivolous
unreality. Arguably, it was a safety valve that, for some, relieved an
otherwise intolerable pressure.
After the demise of the Prince of Wales, the Hoyts Regent continued the all-
British policy for a further three years, with the Majestic subsisting on second
runs. Union Theatres had long maintained a case for the distribution of British
films, and for many years this idea held strong appeal for local audiences,
with advertisements for British film programs vigorously emphasising the
country of origin. These made a point of saying how much pleasanter it was to
67
 Local exhibitors were kept busy bringing movies to the suburbs, generally
only after their first showing in the city. In some instances they hired local
halls hastily converted to show films, and during the summer months regular
screenings took place in open-air picture gardens and venues such as
Leederville and Loton Park football clubs.

Hot Rods in the Biobox

Robert Selby sometimes assisted a friend showing movies at Loton Park
and recalls the occasional fire in the projection room, requiring the film
to be quickly doused in a handy bucket of water. In those days, with
carbon rods burning fiercely to light the image, sometimes the film
would melt mid-screening, and the movie would come to a shuddering
halt, met with jeers from the audience.

By 1934 world markets had begun to improve and the economic situation
in WA took a turn for the better, thanks to new gold discoveries. In the country,
the drought eased and improvement in overseas prices assisted farmers. The \I
large crowds of unemployed had disappeared from the city streets, and
capital generated by new wealth from the goldfields renewed confidence.
With the return of prosperity, at least for some, design and construction
of substantial new cinema buildings in the city and suburbs took on new life,
creating further sources of employment. The mood of optimism for the future
was reflected in the new style of jazzy streamline architecture emanating
from America and deemed appropriate for the new cinema buildings. These
new picture palaces, in the art deco moderne style, heralded a resurgence
of the motion picture industry.

Left: Mobile advertisement for entertainment at the Theatre Royal. Left: Magic supports the films at the Hoyts Regent Theatre.

Top: Sound equipment arrives at the theatre amid much excitement in preparation for Perths Top: Motorised float promoting a 1929 stage presentation at the Ambassadors.
first talkie, The Jazz Singer. Note that the theatre is still also featuring trampoline artists.
Above: Mickey and Minnie Mouse arriving at Maylands airport for a promotional tour
Above: Window display promoting Maurice Chevalier film, records and sheet music. of the city and an appearance at the Ambassadors.

69
 When We Went
to the Pictures
Going to the pictures has been an important part of the lives and memories of
generations of Western Australians, and the years encompassing World War II When I was growing up, nothing could match the excitement of going
were the states golden age of cinema. The authors recall, with nostalgia, regular to the pictures. Even Grandmother, who had left England at the turn of
childhood outings at modest suburban theatres, along with experiences at the the century and was a product of the Victorian era, enjoyed watching
grand picture palaces in the city the Wurlitzer organ rising mysteriously from her favourite movies, like the film adaptation of Pearl Bucks The Good
the depths of the Ambassadors; the sophisticated, gold-curtained ambience of the Earth, at our local picture theatre. Before the early1940s, she would
Plaza; the striking modernity of the Piccadilly, where they would be fascinated have preferred an outing in town, which might have included a visit
by alluring imagery and chic decor. Anecdotal offerings provide a soundtrack of to the Prince of Wales or Theatre Royal, to an appearance at the local
memories and glimpses of life in the middle decades of the twentieth century, pictures. But in a changing world (and by now she was a widow), her
contrasting with the fantasy lives of movie stars and the romance of happy-ever- Victorian upbringing was all but a distant memory when she attended
after scenarios played out on the screen. The pictures were the principal form
\I of entertainment, and during the war years audiences could forget the threat of
the pictures with her daughter and grandchildren. Movies brought
other places and lifestyles to an otherwise uneventful existence on the
enemy attack by being transported to a glamorous world of love and laughter. periphery of Guildford in a way that no other medium could in the late
When daytime sessions were introduced in the city, it became fashionable 1930s to early 1940s.
for shoppers to meet friends in the theatre lounge, and the pictures were a
The Regents adequate platform stage also ensured regular community
Saturday night ritual and social occasion almost regardless of the program.
use, and I was drawn into that fantasy world with Judy Garland when
Families would mingle at interval for refreshments and a chat. Patrons
I sang Somewhere over the Rainbow at an eisteddfod held there. On
attending with friends often met their subsequent partners at the local
my one and only visit to the adjoining picture gardens, I accompanied
pictures, with many still recalling their first romantic evening there. For the
my father to the film version of the 1940 book I Married Adventure,
kids, it was unthinkable to miss a weekly episode of the serial at the Saturday
recounting the exploits of Osa and Martin Johnson. To this day I
matinee, and there were regular competitions, prizes and other incentives
remember the waft of cigarette smoke at that outing and, despite
provided by the management, including birthday parties or a free bag of
liberal splashes of citronella, being eaten alive by mozzies even before
lollies to every child on entry.
we stood for the royal anthem! Cigarette smoking was widespread and
Guildfords Regent Theatre was Vyonne Geneves local picture theatre,
just had to be endured by those attending outdoor cinema. Although a
the venue of her first experience of cinema, and features prominently, and
non-smoker, my father permitted my brother to collect iconic cigarette
fondly, in her childhood memories. The Regent remained the only picture
packets, and a number of these are included among the artworks in
theatre fronting Great Eastern Highway, with the exception of a large unraked
this book (see page 220).
hall, the Rivervale Picture Theatre (also known as Ascot Theatre and Gardens).
Constructed in 1939 on the corner of Norwood Road, the 350-seater was run Vyonne Geneve
by R. Perrie.

70 71
 Jaffas in the Aisles
Dr Ian Alexander recalls many breakdowns in screenings during
Saturday afternoon matinees at the Regent during the 1960s. His
particular vigilante favourite, The Shadow, was enlivened by Jaffa-rolling
contests on the partly raked floor, prompting management threats to
send all culprits home with no refund!

Cheap Seats
Former Rivervale resident Peter Cole one of many people who met
their future partners at the flicks vividly remembers the Ascots
adjoining picture garden, with its separate entrance cleverly screened
from the highway to deter roadside watchers. Management was unaware
that young Peter and friends regularly scrambled up the sloping toilet-
block roof to watch the movies free of charge! He recalls sudden 1950s
\I
summer storms sending garden patrons scurrying to the hardtop venue \I
while the film spools were removed to continue the show indoors.

The limited nature of professional services available to outer Guildford

is difficult to appreciate today. During the early 1940s, when my family
sought medical advice it involved a Beam Bus trip and a lengthy The original 1927 Broadway Picture Theatre, designed by Samuel Rosenthal all traces of the Amusu disappeared soon after its closure in the 1950s.
walk to Albany Highway, Victoria Park. For me, the dreary hike was and built by the Totterdell Brothers, was modernised a decade later by popular Expansion of residential development along Albany Highway and
enlivened by strategically placed posters advertising the latest Rita architect William G. Bennett. The remodelled theatre reopened on 15 March the railway line to Armadale saw the use of existing suburban halls, with
Hayworth picture showing in the neighbourhood. My mother, either 1938 with Green Light, billed at the time as one of the pictures of the year.18 film screening equipment run by Star Entertainment Ltd, at Cannington,
carrying a sibling or pushing a perambulator uphill, was always relieved After his recent experience with Perths Plaza Theatre, Bennett paid particular Maddington and Byford (other Star venues included Kalamunda and Rottnest
when we reached the Broadway Picture Theatre. Here we would attention to the acoustic qualities of the auditorium, ensuring the best results Island). D. Briggs operated at East Cannington and Kenwick, as well as Herne
stop for a while before venturing on, and I would clutch my knitted with newly installed talkie equipment. The Broadway, the Savoy Theatre and Hill, while Perrie ran the pictures at Queens Park, Gosnells and the Boas-
soldier doll and gaze, entranced, at the display bill promoting the latest Amusu Theatre and Garden in Victoria Park were controlled by Jimmy Johnston designed Armadale District Hall, and Colin Hatfield showed at Roleystone.
Hollywood war movie. as part of the extensive Goldfields Picture Circuit. Said to be one of the most Although movies are no longer screened at Cannington Town Hall or
Top: Former theatre with sign reused on adjacent shop.
Vyonne Geneve popular theatres in the suburbs,19 the Broadway closed its doors in the 1960s. Armadale District Hall, these have been classified by the National Trust of
Above: 1938 remodelled Broadway Theatre, Victoria Park.
The building that housed the Savoy still stands on the corner of Mint Street, but Australia (WA) and have attained state heritage listing.
Opposite page: Savoy Theatre on Albany Highway, East Victoria Park, as it stood in the 1930s.

72 73
 '
JUST
ASYOU READ
ITSITTING
UPALLNI
.GHT ...BUT
NOWReal
PLACE:S
Real
PEOPLE.. , Real
ADVENTURES

We were anxious to find out how the cowboy hero would

Community Hubs extricate himself from the dire situation in which he was
inevitably left the previous week. We would all give a cheer
Former Governor General of Australia, Michael Jeffery, whose family
lived at Cannington when he was young, used to go to the Cannington
when the introduction screened.
Town Hall in the 1940s. Reaffirming the significance of local community We always had a cartoon or two before the main film and
halls, he still recalls the local venue as good value for money, as well as were especially thrilled by wartime adventure movies. We
one of the few social hubs (other than our own homes) where young cheered again when our side was shown bravely defeating
people could meet.
Metre-C~fa,yw the enemy in films like In Which We Serve or Sergeant
MICKEY'i
ONEY
HliciiiiMiiiN
- WAIT!'I
C:ON
,N!.C
'l!!IUIA'lllf'Ur'WL:ff
11UllliOUll
'L'lllllluav"Q!!
J_.,.,_..,..._
York or, better still, Forty Thousand Horsemen, starring our
own Chips Rafferty. Charlie Chaplins Great Dictator was
screened at the Windsor, too, but I must confess much of the
irony went over my young head.
Other general favourites were adventures like the story of
l'lu:
Lol~,.i Guildfords Regent continued screening until the late 1960s, when it was the French Foreign Legionnaires in Beau Geste. Also popular
iltltNlit-e

Airllf@ir
N-11. hired for social functions, including bingo sessions, and later occupied by the was Mickey Rooney in The Adventures of Huckleberry Finn
Air Force Association, which removed the prominent neon sign. Except for and as star of the Andy Hardy films.
minor alterations, including conversion of part of the upstairs lounge to office
I mostly saw Walt Disneys feature-length films in the grand
space and levelling of the raked floor, the building has been maintained in
I:-:::!..
"IDl
:OTSDELIGHT" ,!uriQ \I original form and relatively good condition, presently housing the Museum
city theatres, and I would spend many hours afterwards
of Natural History. The old theatre banner sign has been recycled on an copying characters like Bambi or Pinocchio and Jiminy
adjacent premises (with altered name) and recalls the fact that the Regent Cricket from colouring books my mother bought me, honing
was so popular, and the crowd eager for refreshment at interval so large, that my drawing eye. Fantasia made a huge impression on me
in addition to the theatres confectionary shop the adjacent Gordons General when it showed at the Windsor and I credit its linking of
Store and nearby McHenrys Newsagency would remain open on theatre image and melody with awakening my interest in music.
nights to help meet the demand.
While Vyonne Geneves early recollections of picture theatres focus Fond memories and personal reminiscences have been related to the authors
on Guildford and Victoria Park, Nedlands is where Ron Faciuss boyhood by nearly all those interviewed. Vivid impressions left from childhood
memories take him. experiences of going to the flicks seem to awaken recollections of a world
Ron (named after the popular film idol Ronald Coleman) saw his first and a way of life that have gone forever. More anecdotes are included in the
movie, Boys Town, with his older brother at Nedlands Broadway Theatre. next section of the book, The Main Feature, which highlights the art deco
Later, in the early 1940s, together with all the young lads of his suburb, moderne picture palaces of the 1930s.
he could not wait for the next episode of the serialised program at the
childrens matinee session at the Windsor. Ron recalls that the program often
commenced with the manager coming onstage to announce a competition,
Above: Ron Facius impression of Armadale District Hall (1936).
present a prize for a lucky winner or honour the birthday of one of the
Right: Press advertisement for film adaptation of Mark Twains The Adventures of Huckleberry Finn. regulars. But it was the serial that the audience was waiting for:
Opposite page: Press advertisement for Forty Thousand Horsemen.

75
 part 3

The main
feature...
 Art Deco and the
1930s Picture Palaces
Western Australias Art Deco Heritage
Construction of picture theatres recommenced in earnest after the economic
revival in the mid-1930s, coinciding with a major period of growth and
development in Perth and the regional centres. These edifices signified
the cinematic thrust from Hollywood, and were significant cultural icons
encapsulating the new age and symbolising the states aspirations to
modernism prior to World War II. In pride of place in every major centre was
a futuristic-looking showpiece for the Hollywood Dream Factory, its vertical
neon sign beckoning eager patrons to indulge in a few hours of fantasy.
WA enjoyed a prevalence of art deco cinemas, purpose-built or
remodelled, funded by the recovery of goldmining. As a result, the greater
1/ City of Perth retains more 1930s cinema buildings than any Australian
capital city (and arguably anywhere else), and these can be considered
a major part of our art deco heritage. Together with some regional
examples, these landmark structures epitomise an era of great adjustment
in community life and attitudes and represent a significant contribution
to the states cultural heritage. The movie industry was also a catalyst for
change in fashions and lifestyle aspirations, exposing to the masses new
ideas, manners and hitherto undreamed-of possibilities. The new picture
theatres springing up were designed to consciously reflect this potential,
presenting an element of luxury and fantasy that appealed to the newly
awakened desires of patrons.
In WA the unique blend of art deco and Hollywood moderne structures
reflected the optimism of a generation keen to distance itself from the ethos of
the past and foster new-found confidence in the future. The success of these
cinema designs lay in their modernity and their identification with general
feelings of optimism at a time when the state was emerging from a period of
depression and disillusionment.
Opposite page: The Cygnet Theatre (formerly Como) is a popular survivor of the art deco era.
79
The art deco style was the culmination of efforts by European designers
to break away from the tired old styles and confused decoration of the
nineteenth century and create fresh expressions of the decorative arts
fit for a new age. The style reached its peak at the Exposition des Arts
Dcoratifs et Industriels Modernes in Paris in 1925, aimed at promoting an
exciting modern style combining beautiful materials with excellence in
craftsmanship and relative artistic clarity. Transported to the United States
in 1926, it was transformed into a uniquely American version known as art
moderne, synonymous with the fast, streamlined era of the motorcar, the
ocean liner, the aeroplane and, most significantly, the movies.
In the mid-1920s, Americans were searching for a new, sophisticated
lifestyle. It was a period when the wealthy enjoyed paradisiacal lifestyles,
and versions of art deco and art moderne, in particular, became the style of
architecture employed to reflect this way of life.
On the other side of the world to Hollywood, another sun-loving city
was also seeking a modern identity, and a handful of Perth architects looked
to art moderne to move beyond the post-Depression era. The glamour of
Hollywood was sought to enhance new residential suburbs such as Nedlands
and Como, which were expanding rapidly during the years between the
wars, and found its way into designs for the Australian milk bar, the hotel
and the cinema.
The style ultimately known as art deco merged with the purist
modernism of European designers such as the Swiss architect Le Corbusier.
In designing a house built entirely of white concrete and suggestive of an
ocean liner, Le Corbusier and his machine for living in20 inspired some
of the most successful architecture of the 1930s and influenced the pre
World War II architects of WA.
 PICCADILLY THEATRE
(and Arcade)
Central Hay Street, Perth, 1938
Leading cinema architect: W.T. LEIGHTON of Baxter Cox and Leighton
Designed as a sculptural composition of cubist blocks, the buildings original
Hay Street facade is dominated by a towering curved edifice reminiscent of
the Egyptian pylon, a strong influence on the art deco style. The perpendicular
\I lines of the building and its form were echoed by a neon sign spelling
out PICCADILLY. The arrangement of this frontage, with its setback tower,
presented a masterly asymmetrical balance of elements, creating a dramatic
presence in the streetscape.
When Lieutenant Governor Sir James Mitchell opened the Piccadilly
Theatre on 10 March 1938, many of Perths dignitaries attended in full
evening dress. Proceeds from the glittering evening aided the Childrens
Hospital (later Princess Margaret Hospital for Children).
As reported in the West Australian the following day, the Governor, in his
speech at the gala occasion, said:
Perth has gone ahead with its building progress, even in the
depression period, and now this latest tribute to the skill of
the architects, builders and workmen a really beautiful
building is open for us all to see.
This purpose-built complex built by the General Construction Company was a
groundbreaking design by young cinema specialist, William Leighton. It was
described as the greatest acquisition to Perth and the last word in luxury.21
80
Courtesy of the goldmining boom and fortunes made by entrepreneurial
owner Claude de Bernales, no expense was spared in supplying the very latest
modern fixtures and fittings and up-to-the-minute technology for the brand
new complex. Local newspapers carried full-page spreads describing the
theatre and the arcade in glowing terms, with accompanying advertisements
by firms involved in construction and fit-out.
Designed to entice shoppers, the Hay Street entry continued the arcade
ceiling out under the street awning and provided a moving neon sign on the
awning face. Patrons were greeted by an island ticket box made of chromed
metal and black vitrolite, with a suspended glass canopy. Bold elongated
lettering of polished chrome, cubist style, proclaimed the cinema entrance
on an overhead bulkhead of curving black glass. In contrast, simplicity of
detailing and prominent block lettering define the arcades Murray Street
entrance. The architects choice of lettering on these and for his other theatre
designs assisted in projecting a distinctive 1930s modernity.
Decorative elements throughout the Piccadilly (still in place today) provided
a fine feeling for art moderne, and were hailed by many as the finest expression
of modernism in the country. Extensive publicity emphasised these features,
considered the epitome of elegance and luxury, befitting a modern palace. The
Piccadilly was claimed to be the first theatre in Australia to provide an elevator,
with patrons delivered direct to the upstairs lounge. It was also the first cinema in
WA to be fully air-conditioned, providing a level of comfort hitherto unknown.
81
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Opposite page, far left: Press

advertisement for Piccadilly gala
opening, 1938.
I Opposite page, top left: Childs
\
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impression of mouth entrance to
the theatre.
~~ LUXURIOUS
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Opposite page, bottom: Full-height

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Above right: Approach stairs to

lounge foyer.

Right: Former lounge foyer.

Far right: Press advertisement

featuring lobby to lounge elevator.

I can clearly recall my first outing as a child to the Piccadilly with a generous relative. The floodlit fearsome image of the mask on
the facade remained in my mind, and I fancied we entered the theatre through a three-dimensional mouth of black glass. The shiny
elongated lettering became a moustache and the black and onyx lined staircase metamorphosed into a tongue, swallowing us up to the foyer!
A bizarre floating head greeted us at the top of the stairs and we passed through two immense pillars like the funnels of an ocean liner.
In the luxurious lounge foyer I was confronted by an ethereal naked lady on a floor-to-ceiling mirror welcoming us to the fantasy-land of cinema.
Could this spectre be the origin of the ghost said to haunt the Piccadilly?
Vyonne Geneve

83
 ---
--'
I -
- - -
~ _-
I

\I

Left: 1938 entry to theatre with original ticket booth

and arcade.

Right (top): Piccadilly ticket box with patrons

queuing down the arcade in the 1950s. Note black
vitrolite entry and neon ceiling lights.

Right (bottom): Distinctive cubist style lettering on

Murray Street facade.

84 85
 Leading Cinema Architect
WILLIAM THOMAS LEIGHTON
FRAIA, ARIBA (190590)
Fremantle-born, William Leightons early artistic ability saw him
apprenticed to local architects Allen and Nicholas, where he quickly
became a proficient draftsman. The sixth architect to appear on the
register of the Royal Australian Institute of Architects (WA Chapter),
in 1926 he joined architects Eales and Cohen, and in 1928 was offered
employment by Bohringer, Taylor and Johnson on the construction
of the Ambassadors Theatre, Perth, and with that firm in Sydney
and Melbourne. He supervised the construction of the State Theatre,
Melbourne, and later the 4000-seat Civic Theatre, Auckland, placing him
in the forefront of cinema design. Working with speed and efficiency,
Leighton designed and supervised the construction of a record number
of cinemas in WA in a short space of time.
Internally, an illusion of movement was created by incised bandings
sweeping around the subtly variegated, softly textured walls. Lighting
throughout was based on the elimination of visible globes, and creative use
of ceiling planes enlivened the expanse, contrasting markedly with older
\I
theatres. Indirect auditorium lighting created a softly diffused effect, bathing
the ceilings in many colours, fading out at commencement of the show and
adding interest and mystique to the world of film. Now commonplace, these
effects were revolutionary at the time.
In addition to the indirect cove lighting, large circular overhead light units
created a space-age effect, echoed by the prominent circular wall mirror.
Elegant polished chromium balustrades of distinctive art deco design divided
the stair levels with style and panache.
The lounge foyer, with plush seating and soft lighting punctuated by chic
wall-mounted light fittings, provided a restful ambience. Discreetly positioned
in one corner of the foyer, the ladies boudoir and gentlemens toilet were
marked by 1930s versions of a top-hatted male and a nose-powdering female
of earlier times.
The floor-to-ceiling mirror in the lounge foyer, with its elegant etching of a nude
figure, provided a sophisticated touch, preparing the audience for the decorative
bas-relief panels in the auditorium, based on the architects sketch designs.
Still evident, these panels make reference to theatrical traditions of the past
and feature art deco versions of classical figures. Panels at ceiling level depict
a whimsical approach to Music, Comedy and Drama. The exaggerated attitude
86
of hands, combined with the stylisation of these neoclassic figures in profile,
subtly suggest the motifs and art symbols of ancient Egypt, popularised by
designers and architects at the time. Combined with the exciting architectural
lighting, these details and the shimmering gold curtain provided visual
\I
entertainment for the expectant audience. Neoclassical stylisation is apparent
in the large bas-relief crouching male figures on either side of the auditorium.
Leighton regularly used decorative elements to highlight his architecture
and frequently employed the services of the overseas-trained Edward Kohler to
execute his designs. The work of this highly skilled artist was influenced by the
Paris Exposition of 1925, and his neoclassical sculpture was adopted in many art
deco buildings and regularly featured in contemporary architectural magazines.
Despite extensive press coverage given to the Piccadilly Theatre and
others constructed in the genre during the late 1930s, this popular design
style eventually termed art deco rarely achieved recognition as such blend with decorative sculpted features in
in professional architectural journals. Rather, it was seen as transitional to
international modern. Yet the designs epitomised in these picture theatres
provided a resonant expression of societal aspirations and a significant
contribution to the built environment. From all the essential aspects of
aesthetic appeal, user satisfaction, stylistic integrity and design effectiveness,
building projects such as the Piccadilly Theatre were highly successful and
said to be of a standard comparable to projects elsewhere.
The cinema remained a popular venue for many decades and was long
considered one of the two most up-market film theatres in the state. Many
remember their first visit to the Piccadilly and the movie showing. Former
Redcliffe resident Pauline Webster forgot who escorted her there but certainly
recalled the glamour of the occasion: It was somewhere you went when you
had a boyfriend with a car, and you always dressed up.
Tailor John Marzo recalled an incident at the Piccadilly in the 1970s
involving an elegantly dressed female patron, whose flowing skirt became
accidentally entangled in the trouser-zipper of a gentleman patron who was
standing to let her pass to her seat. Despite desperate, embarrassing efforts to
disentangle their garments before the curtain rose, it became necessary for
them to be removed elsewhere to be separated.
Restoration work on the Piccadilly Theatre and Arcade was undertaken in
1966, and a complete makeover in 1984 saw a number of major changes
detrimental to the complex. Despite this, the theatre continued to attract
audiences, and over recent years had the distinction of being the only cinema
remaining in the city block. At the time of writing, the authors were saddened
to hear that the Piccadilly, with its delightful collection of bas-relief sculptures,
has now gone dark, joining the Plaza as an empty space in the city.
Piccadilly Theatre (and Arcade) (1938)
Opposite page: Streamlined elements
700704 Hay Street, Perth
auditorium.
Architect: W.T. Leighton
Left: Stalls entrance with circular mirror and
chrome balustrade. Remodelled by I. Tucker (1984)
Above: Decorative elements in theatre Theatre closed 2014. (Submission for
and arcade. Clockwise from top left:
refurbishment of Arcade under review.)
Whimsical bas-relief sculpted wall
decoration in auditorium; distinguishing
graphics for restrooms; one of two bas-relief
National Trust classified: 05/12/1988
sculptured neo-classical nudes flanking
auditorium; bas-relief nude figures over State Heritage Register: 2065, 20/12/2002
theatre exit in arcade.
87
 PLAZA THEATRE
Theatre Beautiful
Central Hay Street, Perth, 1937
Architect: WILLIAM G. BENNETT (in consultation with Taylor, Soilleux and Overend)
Remodelling architect: W.T. LEIGHTON, 1940

Pre-dating the Piccadilly by six months, the Plaza represented a new direction
in the states architectural development, comparing favourably with eastern
states and overseas examples. The citys first modern cinema and first to
\I be built over a busy thoroughfare, it formed part of a three-storey complex
(including Plaza Arcade) extending from Hay to Murray streets. The buildings
Hay Street facade featured a stepped skyline, with a tall projecting centrepiece
presenting a symbolic skyscraper effect. With extensive use of vitrolite glass
and chrome-plated trimmings, it was seen to embody the notion of dynamic
progress and faith in modern technology that was the essence of modernism.
The emphatic vertical fin carrying the name HOYTS PLAZA, in stylised
lettering and highlighted in the new neon tubing, quickly became one of
Perths better-known landmarks. The sign stepped from the centrepiece of
the projecting bay and rose above the parapet before curving back into the
ziggurat-style roof. The buildings striking verticality, then the tallest building
in Perth, was accentuated at night with floodlights promoting the new theatre
and arcade.
The commercial arcade, with eye-catching facades over both entrances,
attracted consumers into the sheltering pedestrian thoroughfare lined with
Right: Art Deco rows of attractive shops, forming a convenient link between railway station
Society of WAs and business district.
first Art Deco
Development of the Plaza site made local headlines on 13 November
Discovery Walk
(1987). 1936, announcing the local architects trip to view the latest arcade designs.

88 89
Above left: Massive girder lifted into position to support the dress circle balcony.
Above centre: Transportation of 12-ton steel girder for construction of the Plaza Theatre. Redrawn by Ron Facius.
Above right: Hoyts eye-catching space age globe ticket booth.
Prolific 1930s Architect
WILLIAM GARNSWORTHY
\I BENNETT,
ARIBA, ARAIA (18961977)
Victorian-born William (Bill) Bennett came to WA in 1910, and in 1920
was articled to architect F. J. Coote. In 1924 he was the first locally trained
architect to register with the Architects Board. Employed by architects
Eales and Cohen, he was then accepted into the partnership. By 1931 he
was the first WA architect to become an Associate (overseas) Member of
the Royal Institute of British Architects. Bennetts cinema commissions
demanded a bold, sophisticated, modern image, and he readily adapted
to this new approach. The distinctive Beverley Town Hall and Picture
Gardens stands as a major example of his work and is arguably his most
individual and successful involvement in cinema design, albeit one
combining cinema with the functions of a public municipal building.
Although not initially envisaged, the incorporation of a new cinema in the
arcade development was proclaimed after Bennetts meeting with Hoyts
Melbourne architects, Taylor, Soilleux and Overend. The design was declared
to conform to the latest ideas in talkie houses.
90
Commencement of construction again drew press attention, on 24 May
1937, when a 61-foot steel girder was photographed just outside the city,
awaiting transportation at midnight for a Big Job at the Plaza.22 This 12-ton
\I
support for the theatres dress circle was said to be one of the largest one-
piece steel girders ever used in Perth. Four days later the ticklish job of
positioning the giant beam was again featured in the daily paper.
The Theatre Beautiful, seating 1000 in the stalls and 300 in the dress
circle, opened with Lloyds of London on 17 September 1937. An impressive
Sunday Times double-page spread marked an important addition to Perths
entertainment and business centre.23 The stairs to the cinema above the
arcade were enlivened by a futuristic spherical glass and chromium ticket
box, a novel feature for Perth.
The walls of the auditorium (the nearest Perth had to a modern palace
in 1937) were lined with incised horizontal grooves painted in Chinese red
lacquer with silver bevelled edges; the bands between the grooves were
shaded from cream near the ceiling to a slightly darker autumn near the
floor. The groove became a major feature in acoustic design for the talkies,
intended to help prevent excessive sound reflection and standing sound
waves between parallel surfaces. The ceiling carried an 84-foot trough with
specially imported concealed lighting, the shape of which accentuated
the long dimensions of the theatre. The plain, but artistic, lines24 of the
proscenium were enlivened by the mottled burgundy velvet pelmet and
Left: Rectangular overhead lighting coffers.
Above centre: Ceiling plaster mouldings and lighting troughs.
Above right: Decorative ventilation grille.
twisting tormentors, combined with a peach coloured crushed velvet
curtain imported from Vienna, designed to effect two-toned shades under red
and green lighting. This dappled effect reduced light reflection.
The original Dunlopillo seats were covered in autumn-shaded moquette.
The end of each row featured decorative cast metal panels, with stepped art
deco pylons in bas-relief flanking a pyramid-shaped hooded light to assist
usherettes. Due to contractual arrangements with Hoyts, 1000 yards of
burgundy Wilton carpet for the aisles was specially imported from Melbourne.
Other furniture and fittings came locally from Bairds Ltd, which supplied
ribbon walnut doors and joinery, enhanced with large, plain mirrors and
modern25 table lamps. Gondola-shaped settees, upholstered with green and
gold tapestry and burgundy velvet buttons, graced the lounge, all contrasting
with the plain modern exterior.
Despite the Plaza being declared the latest and proudest link in the chain
of Hoyts great modern theatres,26 such were the advances in technology that
within three years the theatre was completely upgraded to incorporate air-
conditioning and better acoustics.
The brief period of prosperity experienced in WA after the Depression
evaporated when the threat of another world war loomed. A mood of
austerity prevailed and the building trade virtually came to a standstill, with
available funds and materials diverted into the war effort. Nevertheless, strong
competition prompted Hoyts to tear down the old Plaza27 and reconstruct
91
a more up-to-date version based on the companys faith in the future of
Western Australia. Work on a new Plaza, with internal reconstruction and
redecoration by William Leighton, commenced early in 1940, when Hoyts
justified its investment in those unpredictable times in the following terms:
This intense spending does not end with the workmen or
merchants receiving the money, for they in turn spend it. So
it goes on until it would be difficult to find a person who has
not in some way benefitted from the additional 15,000 to
the citys spending power.28
There were no strikes in those days, Bill Leighton remarked, and the
refurbished theatre reopened in September 1940, just a year after war
commenced. The opening program included a topical Fox News special
showing The Italians fleeing from the British fleet.
The refurbishment made extensive use of vitrolite and chrome at the
entrance, including a new jarrah, glass and chrome ticket box to Leightons
own design, contrary to Hoyts usual policy of imposing its own booth. New
chrome-plated metal balustrading, similar to those used at the Piccadilly and
Como theatres, was installed in the foyer. Wall surfaces in the stalls were
retextured, and the appearance and acoustic qualities of Bennetts horizontal
banding improved, focusing attention on the proscenium by stepping the
 lines and deflecting each band downwards. The original ceiling head was The Plaza continued as a premium city venue for more than thirty-five years,
removed and a more dramatic focal point created by enhancing the screen with many memorable shows and promotions, until after a reshowing of
surround with glamorous indirect lighting effects: a successful innovation the Snow White and the Seven Dwarfs in 197778 Hoyts Limited terminated
architect introduced into his other remodelled cinemas. its lease with the Perth Arcade Co., and the Plaza was taken over by Ace
Some of Bennetts earlier decor was retained in the refurbishment, Theatres and renamed the Paris. The main staircase was demolished, leaving
including semi-circular logues (seating alcoves) provided for waiting patrons. no access for the public except by the fire escape on the opposite side of the
New audio equipment was installed, to accommodate this new demand for arcade. According to Garry Leighton, the rental subsequently received for the
life-like reproductions, achieving a broadening in the tonal range and a new space occupied by the former staircase was more than that received for the
roundness in the higher register.29 entire cinema.
The Miracle of Air-Conditioning was heavily promoted, with mention of With dwindling audiences, the cinema became too large for modern
the specialist engineers and the new 9000 Carrier equipment that controlled demands and was no longer deemed financially viable. Most of the plush
.~
...
, the weather, said to be the only installation in WA that: velvet seating and streamlined fittings were relocated and the proscenium
removed to make way for the teenage Angels Disco, in turn giving way to
warms the air in winter and cools it in summer No longer Spiders Dance Club; at this time, the art deco motifs were repainted and
GRANDGALA
OPENING
... does one need to go outside for a breath of fresh air, because
TOMORROW
AT11A.M. decorated to reflect the tastes of new occupants. The building closed in
~*
~l'hm,N"'Wi>n11a.m.
f)a(ly, ..:.!ia.m,,
i;a.ia. Con
tlnuou
IIa.m.u,,)
P.N
,)
I I l l N
J~~
.,,._-:::-
-;; the air inside the theatre is scientifically cleansed, free of November 1987, leaving the theatre dark and empty. In 1988 Vyonne
I dust, petrol fumes and other impurities and so is more pure Geneve discovered many original features still in place, including moulded
nr'ffliibiiliw
M
11< OBPii16@1
TBP'i M<
1s
iuNs ADb
rn@ml, than the air out in the street.30 plaster ceiling panels and circular light fittings, fluted jarrah and chrome

' '
pillars marking the former dress circle entrance, and etched floor-to-ceiling
I I As schoolgirls passing through the city to catch the bus, my friends mirrors reflecting the former glory of the lounge area. Plaza Arcade was
and I were lured by front-of-house displays endorsing the latest Lana purchased by an overseas investor in March 2013.
Turner movie from Hollywood. We longed to be old enough to swish
in and preen at the glittering mirrors in the theatre foyer on the arm
of a handsome boy like those on the film stills. Sometimes our school Plaza Theatre (and Arcade) (1937)
would crocodile down to see an approved movie. I recall suppressed
650658 Central Hay Street, Perth
schoolgirl giggles when we spied our young Irish teacher weeping
during the screening of Song of Bernadette. Architect: W.G. Bennett (in consultation with
Later, as part of the generation known as the first teenagers, I was Taylor, Soilleux and Overend)
permitted to attend the pictures in town with my friend June, with the
Remodelling architect: W.T. Leighton (1940)
proviso that Forever Amber (then showing at the Plaza) was unsuitable
for our viewing. The illustration on page 88 depicts my mother crossing Closed 17/08/1965 to become Paris cinema.
Hay Street just in time to catch us leaving the theatre, wide-eyed after
watching the Linda Darnell classic. I knew youd go, she said. Closed 1984. Theatre now disused.
Arcade revamped 2005/6.
In the mid-1950s, wed drop in for a lunchtime viewing of a James
Fitzpatrick travelogue or a Passing Parade at the 1947 W.G. Bennett National Trust classified: 03/12/1990
Above: Press advertisement for the 1937 gala opening of the Plaza Theatre. designed Mayfair Theatrette.
State Heritage Register: 3613 Not registered
Right (top and bottom): Detail plans for 1940 remodelling by William T. Leighton. Vyonne Geneve

92 93
 METRO THEATRE
Theatre of the Stars (former QUEENS HALL/HOYTS REGENT)
95 William Street, Perth, 1938
Remodelling architect: W.T. LEIGHTON
The Metro was the most impressive of William Leightons remodelled theatres
and considered by the architect as his finest work in the genre. Seen as a
prestigious luxury for Perth, and the third theatre to be built on the site, it
\I was described by Garry Leighton as the best of Fathers designs. MGM
commissioned the Metro as a deluxe model to screen its products in Perth,
where the roar of Leo the lion was proving popular.
The new Metro was a distinctly individual design by the young
architect and a worthy addition to his portfolio of theatre projects, all
responding to specific site requirements. Whereas the standard pattern
normally dictated by MGM included details for the American climate
complete with snow scrapers! such was the respect afforded to
William Leighton that he was given full control of the design and planning.
Ironically, it is the only example of his work from this busy period to
be demolished.
Although the style of the new theatre was dramatically different to
its ornamental Victorian neighbours, the frontage was designed to take
into account their main lines and thus to create a unified streetscape.
The Metros facade was decorated with sunken panels in eggshell finish
vitrolite and relieved with twin decorative flowered plaques, echoing the
earlier ornamental period. The bas-relief precast panel designs, combining
decorative and geometric elements, are a recurring feature of the architects
cinema designs and relieve the overall plainness and clean lines of the
94
facade. Spotlighting was added to create strong beams of light to make a
beautiful and impressive effect, in accordance with Perths perceived need
for a brighter and cheerier face to show after sunset. The floodlighting of the
entire facade at night was said to use sufficient electrical power to illuminate
a small town and afforded plenty of light to guide movie-goers through
the door.
John Doust, son of the Metros builder, spoke to Vyonne Geneve of the
complete transformation of the old Hoyts Regent into the most modern
development in theatre construction:
The whole building was redesigned and the facade stripped
and remodelled. The main entrance was faced with black
vitrolite and there was an illuminated program sign set into
the vitrolite above the entrance doors.
Twin box offices were situated either side of the wide entrance lobby,
with an octagonal island ticket box at the foot of the stairs for emergency
ticketing. Two sets of double doors led to the stalls, while a wide, thickly
carpeted double staircase led to the mezzanine floor above and lounge and
dress circle beyond. The new Metro Theatre seated slightly fewer than its
predecessor but in greater comfort, with 877 in the stalls and 581 in the
lounge and circle.
95
 Metro Glamour
The Metro carpet and the ripple it caused in Perth
were long remembered by usherettes employed there
over its forty-three years of operations. Interviewed in
the West Australian in 1981 former Metro usherette
Jean Allen said she had been enthralled by it and
passers-by would peer through the doors to gaze
at its elegance.31 Prescribed for all MGM cinemas .A/R~coNDlTIOHED
throughout the world, the red and grey leafy-
patterned marvel was the only feature imposed on
the Perth cinema. The carpet was complemented with
horizontal banded walls in graduated shades of grey
and set off by red leatherette seating in the front stalls
and maroon velour in the lounge and dress circle.
ForSeas-on
Co1111mencit119
F1rid',ay,
January
17,1941,
According to Jean Allen, We, the Metro girls, were
an institution. We were the glamour girls of Perth
I~NATIONAL
Render.td
9raphed
rn
ANTHEM
by HisMajesty's
color
byJamesGrrnadler
Guards,
A.FIUpatdck.
1 alild
I
p'hot,o-
the chosen few. She remembered the extensive 2- METROTONE AIR MAIL NEWS
Presentl11:g
Current
World.Wide
Evems
ni$
'!iedtoAustralia
use of mirrors and the round chrome containers in byAirMail.
the restroom that tipped perfumed soap on to your
3. Advance Glimpse.,, of "EDISON THE
MAN/'
' ournex .t M..G-M pre1en.tation..
hands all adding to the glamour of the occasion.
''llnd wa!JJ'eauli/ul''
4. METRO
9.ne ;.,
..GOLD'WYN-MAYER pr,etents-

Top: Theatre lounge foyer (left)

and confectionary counter in
theatre lounge.

Above: Large bas-relief wall

sculpture of neo-classical figure
(left) and bas-relief sculpted
wall panels from the Metro Top: EXIT nightclub postcard featuring bas-relief images from the Metro (left);
Theatre later relocated at EXIT entrance lobby with emergency ticket box (centre); view to screen curtains
nightclub. and proscenium from dress circle.
Far left: Souvenir opening Above: Sandbagged theme in lobby for wartime movie Sands of Iwo Jima.
program booklet, 27 September
1938. (Note then-American Left: Metro program advertisement.
spelling.)

Left: Architects detail drawing

showing placement of figure
and decorative elements.
 -....u
..._....,
___ H-~--
---~
..
.........
1..._

"We
'reoffto
sectheWh:ard
-
theWonderful
Wizard
ofOz!"
Audift(Jmdntxl
lo//,,Mrlro
Tlxatn:
\I
Left: Glamorous Metro lounge, a popular city meeting place.
Centre: Metro News cover featuring The Wizard of Oz.
Right: Author is advised that MGMs Gone With the Wind is not suitable for children.
After experiencing the cool comfort of the Piccadilly, Perths movie-
goers demanded nothing less from the most modern and luxurious new
cinema. The Metro, with its opulent foyer featuring mirrored columns
and lay-lighting, became a popular meeting place for fashionable young
matrons, who would flock there for the eleven oclock show to view the
latest from Hollywood. Before sashaying down through London Court to the
Mint Grove for a cooling spider, they would straighten the seams of their
stockings and preen in the glittering mirrors, and perhaps admire the huge
bas-relief panels depicting stylised male figures on either side of the candy
bar or the pair of gambolling centaurs decorating the curved walls of the
foyer. These sculpted panels, enlivening the gently curving rear walls of the
auditorium that allowed extra space in the biobox behind, also provided a
striking balance to the horizontal banded geometry delineating the entire
theatre. The bas-relief neoclassical art deco sculptures were, arguably, the
\I
most arresting and memorable element of the interior decor, adding a touch
of humour to the general restraint of the design.
By the end of the 1930s, when the deprivations of the Depression
had eased considerably, labour-saving devices had been introduced into
many Perth homes and life became easier for the majority. In contrast to
the homely atmosphere promoted at Bunburys Mayfair Theatre, which
opened a few weeks earlier than it, the Metro deliberately appealed to
sophisticated pleasure-seekers during those heady days just before
World War II. It was said that many modern innovations for the comfort,
pleasure and entertainment of patrons had been incorporated in what was
described as the most modern theatre in the Southern Hemisphere, where
Seasons are banned forever by reason of the introduction of an air-
conditioning plant which will maintain an even temperature the whole
year round.32
Opening to a blaze of publicity on 27 September 1938, with Jeanette
MacDonald and Nelson Eddy in the appropriately named Girl of the
Starstruck
Golden West, the 30,000 symmetrical poem of steel, bricks and mortar
was described in the splendid Souvenir Opening Program as A Dream During the Metros later years, Katanning girl Ann House recalls that she
Materialised. This florid prose was enlivened by illustrations of the buildings and fellow boarders at Perth College were permitted to tram down to the
interior details, previewing the glamorous environment awaiting patrons. Metro on an occasional Saturday afternoon, evoking memories of heart-
The programs dramatic cover image depicted the spotlit cinema with an aura throb of the day, Mario Lanza, starring in The Caruso Story.
of fantasy and an assembled night crowd resplendent in evening dress, with
Georgina Woodcock, working in the city about that time, admitted
to searching through the bins behind Metro House in Murray Street for
top-hatted gentlemen (rare for Perth) escorting fur-wrapped and bejewelled
the lobby cards, featuring MGM stars, discarded after every program.
ladies to Perths newest entertainment attraction. Certainly, the Metros
glamorous sophistication encapsulated the desires and dreams of an era soon
to be brought down to earth by the realities of World War II. Jean Hartz recalls Hatfields Cottesloe Circuit paying twice as much to
Comfort and Modernity were the catchwords on the inaugural occasion hire Gone With the Wind than any other movie. She spoke of fierce wrangling
as lavish a function as Perth could muster at the time. The Lord Mayor, Mr among exhibitors to obtain the best deal for their company, although
C. Harper, opened the new modern picture palace with a guard of honour, wed all meet up for a good time at the annual Christmas cricket match at
supported by three officers and fifty others from the City of Perth Regimental Rockingham.
Band. The West Australian gave extensive coverage of the occasion, including In October 1973, thirty years after Scarlett OHara breathed her famous
numerous congratulatory messages from companies keen to advertise Tomorrow is another day and Rhett Butler uttered his I dont give a damn!,
their association with the enterprise. The cinema featured in many trade the famous mirrors of the Metro glittered for the last time. Within hours,
advertisements over the months following, as any association with this wreckers destroyed seventy-five years of picture theatre history.
impressive building was a matter of pride and considered good publicity.
Leightons meticulous watercolour-rendered drawings provide a restrained
comparison to the dramatic graphic version depicted on the opening program,
demonstrating a major change from Bonners Regent. The elevation drawing
to William Street shows the stepped back facade, creating a flat-roofed
balcony serving as an exit for the projectionists, who were well catered for in
a biobox extending the full width of the cinema.
Former projectionist Lynn Huxtable, employed at the Metro decades later,
recalls the changeable advertising panels showing MGMs latest releases
beneath the Metros suspended cantilever awning, while overhead a vertical Metro Theatre (1938)
banner supported a 40 foot neon sign spelling out METRO (one of the largest
95 William Street, Perth
of its kind in WA). According to Huxtable, the stainless steel construction
held multiple bands recessed in green and yellow panels. Architect: W.T. Leighton
MGMs 1939 blockbuster Gone With the Wind arrived at the Metro early in
the following decade, with special instructions for its screening, and breezed Demolished: 1973
quickly through suburban Perth and regional WA. Laura Raiter, daughter of
Formerly Queens Hall / Hoyts Regent.
Corrigins medical practitioner, remembers accompanying her parents to the
Corrigin Town Hall to see the film very soon after the opening in Perth.

98 99
 ROYAL THEATRE
(refurbishment)
Theatre of the Stars
634637 Hay Street, Perth, 1937
Remodelling architect: W.T. LEIGHTON

It seems fitting that the Theatre Royal, the first purpose-built theatre
constructed in Perth, was also the first of the citys old picture palaces to be

' I
remodelled in the modern style. Given a new logo and streamlined front-of-
house treatment, it became, simply, the Royal, with the motto Theatre of the
Stars signifying that it was MGMs flagship for Perth. A year later, however,
the Metro opened and the Grand Theatre Company, lessees of the Royal, lost
the valuable first-run product to the new theatre.
The old Theatre Royal had undergone a number of structural changes
during the thirty-nine years since its construction, including innovations
made by the companys quick-witted businessman, James Stiles, after he had
decided it would be advantageous to take over the Royal and negotiated a
lease with owner T.G.A. Molloy in the mid-1930s, following a bright idea
which came to him while golfing.33 Stiles contracted for the states first-
screening rights for MGM at the Royal, at the same time obtaining films from
Paramount and RKO Studios. With effects of the Depression still lingering for
some, the theatre operated with a double-feature policy, pairing films such
as Ramon Novarros The Sheik Steps Out with Romance of the Limberlost
(see right). During those lean years, exhibitors also commonly resorted to
giveaway gimmicks to attract audiences.
By 1937, when 77 per cent of the worlds movie fare emanated from
Hollywood, better pictures were being produced, and stage successes like
Show Boat and bestselling novels and literary classics such as Captains

100 101

Courageous were being brought to life. Among the distinguished films
released to the new Royal management was the 1936 version of Camille,
'
starring Greta Garbo. Improved colour systems made films set in exotic
I
locations more tempting to audiences. The Royals owners now felt justified
in commissioning William Leighton to upgrade the theatre.
Leighton had been previously employed by architects Howard Bonner
and Tracey to assist in rebuilding the Royals gallery and dress circle, to
eliminate the old Victorian posts and replace the horseshoe-shaped balcony
that, while suitable for stage shows, was unsuited for the screen. As a result
of this experience, the young architect already knew the theatre well. As
part of his 1937 modernisation of decor and lighting, he restyled the circular
roof opening, with groups of recessed grooves running across the opening
surround, more closely integrating it with the wall treatment.
In an interview conducted by Vyonne Geneve many years after this work,
the elderly architect recalled the ease with which the old plasterwork came
down around the proscenium, and spoke of his preference for the moulded,
curved and ribbed forms he also used for the interior modernisation of
Fremantles Princess Theatre.
The horizontal theme of the Royals ribbed side walls was broken by a
series of vertical panels around the exit doors and curvilinear decorative
panels relieving any monotony of line. Ornamental panels were also
incorporated on either side of the dress circle towards the back of the
102
auditorium. These featured a wave and floral design, similar to those Leighton
would use in various guises in his later purpose-built cinemas and adopted
at the Stiles-managed Princess. Fierce competition in the cinema industry
fostered eagerness for new design trends and dictated the modern treatment
Leighton gave to the foyers and auditoriums of both theatres. In contrast, the
street frontages of the original Victorian buildings were retained, and both
facades still stand as a reminder of the early days in old Perth and Fremantle.
Once inside the entrance to the Royal, the austere but refined design based
on the horizontal banded motif led movie-goers up the central staircase to
the lounge above. The old marble staircase was simply reclad and octagonal
ticket boxes placed on either side of the entrance.
As illustrated on page 100, one of my early childhood
memories was the retracting roof at the old Royal, which revealed the
stars above and cooled the auditorium. The open dome roof at night
Above left: Proscenium and roof opening
made the theatre semi open-air.
after modernisation in 1937.
This novel feature was all but forgotten on my next visit, when
Above right: Auditorium from the stage after
modernisation.
Right: Detail decorative panels flanking
auditorium walls in dress circle (see also
' I Walt Disneys second animated classic, Pinocchio, came to the Royal in
1941. At a time when an air-raid shelter had appeared near my family
home, life-sized Disney characters placed outside the theatre
page 101). proved a great distraction. What young girl would be concerned with
talk of national peril, intoned in the newsreel, when a
wooden puppet could be brought to life right before her eyes by the
magic wand of the Blue Fairy?
Queuing at the ticket box was part of the excitement when Disneys
third animated film, Fantasia, was released for showing at the Royal in
1942, rejuvenating the popular appeal of Mickey Mouse. Larger-than-life
images of the much-loved cartoon character, who had been a constant
during my formative years, decorated the foyer, and the film comes to
mind to this day when I hear The Sorcerers Apprentice on the radio.
Under the baton of Leopold Stokowski, Mickey and the relentlessly
programmed magic broom brought the music of Paul Dukas to life for
many a new fan.
Vyonne Geneve
Top: Front of house display in theatre lobby.
Above: The author in 1942 with her (ARP warden) father and two of her siblings.
103
 The management regularly used the open front of the entrance to create
eye-catching promotional displays for the films, bringing the characters and
ambience of the movie out onto the street in order to entice passers-by.
Later, box office hits such as Mr Smith Goes to Washington were shown and
displayed at the open front of house. Regular serials were first run at the
old Theatre Royal and Queens Hall, where on Saturday afternoons children
flocked to the matinee movies in droves, to be thrilled by cowboy adventures
and other exciting productions, for just a few pence. One Mt Barker
caller to a talkback radio interview with Vyonne Geneve was accustomed
as a boy to viewing films at his local hall at night, and remembered the
novelty of leaving the theatre after a matinee at the Royal and finding it was
still daylight.
In July 1954 the Royal was purchased from the estate of T.G.A. Molloy
by Town and Suburban Properties on behalf of the Grand Theatre Company,
changing its name to City Theatres in 1955. In February 1973 City Theatres
sold the building to a consortium that converted the site to a Hoyts Multiplex
venue, on-selling it to TVW-7 in January 1978. TVW-7 closed it a month later
when the building was converted to business outlets.

Opposite page: Audiences were segregated by gender for viewings of Male and Female.

Below: Press advertisement for the Royal.

Royal Memories
Ninety-seven-year-old Rose Constantine recently spoke of the days when
young pram-pushing mothers left their babies in the charge of usherettes
at the Royal to administer the occasional babys bottle. Usually, mothers
would know if their child needed more attention, she said. Sometimes
older children would be dropped off whilst Mother shopped in Hay
\I Street. Rose recalled regular visits from police detectives who scanned
the theatre (and others in the city) for suspicious naughty men. Today,
she said, there is another term for them. Her most precious memory
was dressing up as Scarlett OHara when Gone With the Wind came to
the Royal after its season at the Metro.

Sex Ed 101 Royal Theatre (1937)

A boldly successful event was staged at the Royal in the 1960s, when 634637 Hay Street, Perth
the sex education film Male and Female, considered too shocking to be
shown to mixed audiences, was screened in a session for women only, Refurbishing architects: W.T. Leighton; G. Leighton
followed by a session for males only. It was a common sight during the (1960)
films run to see hundreds of men and boys thronging the street outside,
Demolished: 1978
eagerly waiting for the crowds of women to pour out of the theatre so
that they could, in their turn, be fascinated by the mysteries of sex. Formerly Theatre Royal (1897).

105
 AMBASSADORS THEATRE
(refurbishment)
Central Hay Street, Perth, 1939
Architect: H. HOWARD BONNER of Howard Bonner and Tracey

The original 1928 supervising architect, now heading Howard Bonner and
Tracey, was again used for the bold 1939 art deco modernist facelift of
the Ambassadors Theatre. Bonners refurbishment of the buildings internal
\I structure retained the terraces and balconies, elaborate cornices, friezes and
the simulated Bridge of Sighs in the upstairs lounge, and removed the exotic
statues and other artefacts. His pastel-toned decorations reduced what was
I remember an early summer afternoon outing with Grandmother
to the magical new Ambassadors to see the film version of Gilbert
and Sullivans The Mikado. Stars twinkled in the sky-blue ceiling above
as I sat clutching my box of Fantales. When the organ descended to the
depths, the lyrebird curtain rose and I was prodded into standing to
acknowledge our gracious King George VI. Grandmother had travelled
from the mother country in 1902 to be married in Australia, and
although she never returned to her native homeland she never really
left it either. Throughout her life she referred to England as home.
She admired the original facade of the Ambassadors for its exotic
Mediterranean decor, which reminded her of visits to elegant Italian
buildings and gardens before arriving in Australia; however, she did not
care for the newfangled Hollywood frontage.
Vyonne Geneve
seen as escapist vulgarity34 associated with the 1928 atmospheric picture
palace. The architects plans show the relationship between old and new
facades screening the auditorium behind. An open roof garden was created
between the new facade and the auditorium front, and within the garden was
a domed skylight that covered the upstairs foyer below the garden, providing
light and protection to the foyer.
Bonners revamp was referred to as the last word in cinema construction
and considered the essence of modernity, but was later unfavourably compared
with the handsomely restored Sydney and Melbourne atmospheric theatres.
The new look facade would have been influenced by the modernisation of
the foyer and auditorium of the neighbouring Royal and the opening of the
Early Modernist Cinema Architect
H. HOWARD BONNER
FRAIA, FRSA (18941975)
Howard Bonners career began in WA in 1926, when he was employed
by Melbourne architects Bohringer, Taylor and Johnson to supervise the
construction of Hoyts Regent, Perth, and later the Ambassadors Theatre.
His cinematic style matured with his design for the Cottesloe Picture
Theatre, arguably the first truly modern building in WA.

106 107
 ! At9a.m:JOE
TOMORROW E.BROWN'S
PARTY.
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6d Jun C.11ft,rM.pc-ft,t'nUnr
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soft pastel colour scheme of the foyer was echoed in the auditorium, where In December 1953 Hoyts introduced Cinemascope to the Ambassadors.
TODAY
...--.e:=:;,.. Seuiolll cream, beige, champagne and suntan were complemented by the cobalt When the Ambassadors was razed on 8 February 1972, film critic Diana
There' no up!
let..... Coaliaaoo1
.. ,..,
vlaa&b !a&rlll
' ,... u..
m..,..,,i,.._._ blue of a morning sky replacing the original night-sky effect. Warnock wrote in the West Australian the next day:
meal.II.. w M
U..rf,I:
111rrieo During the restoration process, 2000 new, comfortable seats were
installed throughout the theatre, modern toilet facilities were provided for as always, the demolition men have the last word, and soon
stalls patrons, and a glamorous new beauty parlour was added at dress circle the old entertainment palace will ring, not with the thunder
level. Most city and regional cinema buildings supplemented income by of hooves or the screams of a frightened victim, but with the
leasing to small business premises, such as a confectionary, millinery or sound of a wreckers hammer.
chemist shop. Three Boyatsis brothers ran a teashop below the Ambassadors
Theatre, sharing prominent street-front space with opticians Sainken and The building took eight weeks to annihilate, during which time all remaining
Sainken, where brothers Sol and Dr Ike Raiter were employed in a professional artefacts were auctioned off. The demolition firm left their calling card: All
capacity for a number of years. Both recall pressure to maximise shop space, We Leave Behind are the Memories.36
including the use of a mezzanine floor. The general contractor for the whole The lyrebird curtain is now stored at His Majestys Theatre, Perth.
operation was Fairweather and Sons, who had worked on several earlier
cinema projects.
During the 1940s, childrens matinee sessions at the Ambassadors were
enlivened by monster birthday parties (see press advertisement opposite),
accompanied by tuneful drumming on a xylophone, said to have replaced the
Wurlitzer organ after it was dispatched to Melbournes Regent Theatre in 1946.
\I \I
Above: City Theatres staff representatives meet under simulated Bridge of Sighs.

Plaza diagonally across the street. Bonners restrained modern frontage drew
attention to itself, contrasting with the adjacent Hay Street facades.
The Florentine ornamentation was stripped from the frontage and a new
cement-rendered centrepiece constructed to support a large vertical neon
sign. Fashioned from tapestry brick, the commanding sign culminated in a
strong protruding fin banded in chromed metal at top and base. This dominant
element was embellished with the name of the cinema, each letter separated
by chrome bands. The prominence of the name was further reinforced with
twin chromed lettering strips on either side of the centrepiece.
At street level, chrome lettering defined the Tyla-glass fronted shops on
either side of the entrance to the theatre. Overhead Bonner added a new
ceiling to the awning and a fascia with an interchangeable program sign
illuminated by neon lighting. Patrons entered the vestibule through five sets
of plate-glass doors and were confronted with a considerably modified foyer.
The marble staircase remained intact, although reclad, and the Islamic-style
column arches still marked the entrance to the upstairs lounge. The new
Fleeing Snakes and Flying Films
The old Ambassadors regularly promoted forthcoming programs with
front-of-house displays, shop windows, billboards and street parades.
These marketing ploys continued with the new generation. Russell
Elsegood, whose father Ron worked there in the 1950s and 1960s as
projectionist (and was later manager of the Mayfair Theatre, Bunbury, Ambassadors Theatre
and supervisor of Goldfields Pictures), was in awe of the innovative ideas (1928) (1939)
employed to attract patrons. He singled out a front-of-house jungle-
themed display involving animals borrowed from Perth Zoo, including Hay Street, Perth
a python. Unfortunately, the creature escaped, to find its own palace
of dreams, surviving for some time on resident rodents until it became Architect: H.H. Bonner in conjunction with
obese and was readily caught and returned. Bohringer, Taylor and Johnson (1928)
According to Russell, the projectionists, plagued by persistent heat in
the biobox, frequently left the door overlooking Hay Street open, and on Remodelling architect (external): Bonner and
one occasion a film spool flew off, rolling its contents across the street, Tracey (1939)
to be flattened by a passing tram!
Demolished: 1972

108 109
 GRAND THEATRE
(refurbishment)
Murray Street, Perth, 1939
.
,. ...... .. ,,.
,. Refurbishing architect: W.T. LEIGHTON

When James Stiles Grand Theatre Company negotiated long-term contracts

for Hollywood movies, screenings recommenced immediately following the
collapse of Union Theatres and a campaign was launched for the buildings
\I upgrade. William T. Leighton, earlier contracted by Stiles for work on the
Piccadilly and the Como, was awarded the commission to undertake internal
modernisation. Work began in 1938 and the fresh, forward-looking building
opened early in 1939 with My Man Godfrey, starring William Powell and
Carole Lombard. Never had the Great Depression been so amusing,37
it was said of this comedy depicting hard times contrasted with the antics of
a wealthy and privileged socialite played by Lombard.
Shortly after the Grand reopened, the Western Mail featured the theatres
remodelling in its regular feature Progress in the Building Industry. The
article focused on the demolition of the old dress circle and the design of
the new one, which the architect (himself a tall man) extended forward to
allow for more leg room, with a space of 2 feet 10 inches between each row
of seats. Leightons plan for the new gallery included the introduction of steel
beams, spanning the entire width of the auditorium, allowing removal of the
columns required in the 1916 building and permitting a clear view from all
parts of the theatre. At the same time, the old cornices were removed and
Above: Theatre lobby and stairs to lounge. arches bricked up to conform to the new design. The foyers were given a
modern decorative treatment, as were the walls. A new ventilation system
and neon lighting were installed throughout.

110 111
 Opposite page: Grand Theatre illumination.
Lets go to the pictures after school, dared Katy OHara, youre only
Left: Grand Theatre auditorium after
a non-Catholic so it wont matter much. Never one to pass up a dare,
remodelling.
particularly a Catholic dare, I agreed to enter the forbidden territory
Below: Demolition of the Grand Theatre with
for an afternoon showing of The Body Snatcher at the Grand. After just the rear wall standing, showing the original
all, grandmother had said, the film is based on a story by Robert Louis painted screen.
Stevenson and cant be that unpleasant. Never had she been so out of
touch with the powers of Hollywood technology to bring to the screen
such terrifying grave-robbing scenes and never before had I witnessed
Katy OHara reach for her rosary beads with such fervour! Some said
we deserved such punishment for our sins, mortal or not. We promised
each other not to tell, but the memory has lived with me to this day.
Vyonne Geneve

\I \I

During the 1940s the Grand was renowned for its policy of screening
all-British films, catering to an innate conservative preference in WA at that
time for British rather than American culture. Pat Elphinstone remembers
Grand Theatre (1916) (1939)
with affection the permanent Saturday night bookings held by her family Murray Street, Perth
during those years. She also vividly recalls the antics of street performer
Percy Button, who put on his own acrobatic act for picture-goers spilling into Architect: R.J. Denneby
Murray Street after the show (see illustration on page 106).
Remodelling architect: W.T. Leighton
Memory is all todays movie-going public has of Perths first purpose-
built cinema. Converted to a Chinese restaurant in the 1980s, the Grand was Demolished: 1990
demolished in 1990.

112 113
- - -llfTIO HOYTS ORIANA THEATRE
corner High and Queen Streets, Fremantle, 1938
00 000 0 Architect: HAROLD BOAS of Oldham Boas Ednie Brown
In October 1937 Hoyts commissioned a new cinema in Fremantle for its fast-
growing circuit. The wide architectural experience of Harold Boas, consulting
with acoustic specialists Vivian Taylor and Soilleux of Melbourne, produced
\I an outstanding example of 1930s modernism.
Boas adapted the functionalist style of architecture favoured by Hoyts
to project a progressive image consistent with the companys corporate
identity. While not necessarily West Australian, the design produced an
effective solution to an awkward triangular sandwich-shaped corner site.
The plan emphasised modernity and efficiency by utilising simple geometric
shapes, with large areas of unadorned rendered concrete creating a dramatic
sculptural composition.
Pioneer Architect and City Planner
HAROLD BOAS, FRAIA, FAPI (18831980)
Harold Boas practised architecture in WA from 1905, after arriving
from Adelaide aged twenty-one, until late in his long life. His work
demonstrates a gradual transition in style from federation to art deco
moderne. Influenced strongly by Hoyts consulting architects, Boas
developed a design for the 1939 Hoyts Oriana, Fremantle, indicating a
rapid departure from anything seen in WA at the time.
114
The Hoyts Orianas corner-facing entrance, with central axis bisecting the
angle between two streets, made for interesting planning. With the theatre
constructed in a commanding position on the intersection, it would have
been tempting to utilise its plain walls to incorporate bold print in the design.
Instead, a vertical neon sign placed over the entrance, spelling HOYTS, was
the only use of lettering.
Working drawings indicate that the theatre was to be named Crown,
honouring a former building on the site, but was later called Hoyts Fremantle.
According to musician Norman Wrightson, a visit by a group of Fremantle
dignitaries and businessmen to the ocean liner Oriana, then moored at the
port, prompted the name-change to complement the theatres maritime
ambience. The streamlined building, with its nautical connotations, was
thought appropriate to Fremantle and was the first truly modern building
constructed there, bringing the port city up to date with Perth.
A well proportioned structure, its dominant semi-circular entrance facade
and large areas of glass emphasised its clean lines, providing a noteworthy
comparison with most cinemas designed in WA prior to its construction.
The rounded exterior and curving interior forms reflected the characteristics
of European modernism more than any other building in the state at that
time. The Swiss architect Le Corbusier noted that the ship could be used as
a visual reference for buildings, extolling the pure, neat, clean, clear and
healthy38 possibilities. The Hoyts Oriana demonstrated these highly desirable
115
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Above (left and right): Architects plan views. Note building originally named Crown. Top left: Snow White childrens party cinema ticket
An enduring memory from a never-forgotten outing at Fremantle
Right: Hoyts Fremantle usherettes with prize-winning floral display. Top centre: Hoyts Oriana foyer and ticket booth, illustrated in a program.
long ago was a matinee performance of Walt Disneys classic Snow

' I
attributes, with six double doors opening onto the street, matched by a similar
number on the first floor, forming a half circle fronting the intersection. The
steel handrail following the rounded facade accentuated the ship-like image,
' I White and the Seven Dwarfs, when all children present were offered
a small promotional gift. I have treasured the small green bracelet
presented to me by Snow White to this day.
Above: Theatre staff undertaking wartime training for possible bombing raid.

Vyonne Geneve
repeated in the auditorium and balconies to the lounge and dress circle.
The architects paid special attention to sound qualities in the auditorium
by introducing a new ripple roof with streamlined fins extending from Hoyts Orianas usherettes at the time would scarcely have envisaged of the states larger theatres and, like the Plaza, was considered too large for
proscenium to circle level, designed to assist faithful sound recording. These that just a few years later, the port of Fremantle would be used as a vital later audiences. When it was demolished in 1971, City Theatres continued
moulded shapes, ribbed in a manner suggesting the organic waved forms of shipping and submarine base. But later, with the Queen Mary anchored out showing at the Princess Theatre.
seashells, also subtly hinted at the nearby ocean. Regular visitor and former to sea at Gage Roads, together with other giant liners converted for carrying
projectionist Lynn Huxtable was impressed with the Hoyts Orianas spacious, troops to the war zones overseas, theatre staff were trained to deal with any
emergency arising from enemy attack. On Monday 10 June 1946, just after
well-organised biobox, a great improvement on the space provided in some
wars end, the City of Fremantle and management of Hoyts Theatre invited Oriana (Hoyts Fremantle) (1939)
earlier cinemas. This dream of eight years, with its typical Hoyts spherical
ticket box, a floating screen that appeared to hang suspended over the Fremantle residents to attend a Special Film Show at the theatre to celebrate Corner of High and Queen streets, Fremantle
stage, rich blue carpets and chic curtained spaces decorated with large floral Victory Day.
displays, must have appeared luxuriously palatial to Fremantle movie-goers.39 Goldfields Pictures, in association with City Theatres, bought the Architect: Harold Boas of Oldham Boas Ednie
The cinema was officially opened by Premier J.C. Williams on 4 August controlling interest from Hoyts Sydney in July 1959. City Theatres then took Brown (in consultation with Vivian Taylor and
1939, in the company of a distinguished gathering including visiting Hoyts over the building in 1961, when modifications were made to the auditorium. Soilleux, Melbourne)
Sydney representatives. A gala screening of the first full-length film animation, The restrained furnishings for the lounge foyer installed in 1939 were replaced
Demolished: 1971
Snow White and the Seven Dwarfs, was held a few weeks later. by items unflattering to the original design. The Oriana, seating 1371, was one

116 117
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PRINCESS THEATRE
(refurbishment)
corner Market and Leake streets,
Fremantle, c. 1911
refurbishment: 1937 W.T. LEIGHTON

Above: Former entry to theatre from Market Street with new neon sign.
The remodelling of the Princess by William Leighton was a commission
resulting from the 1934 purchase of the building by the Grand Theatre
Company. The work was carried out in association with Fremantle architect
\I Claude H. Nicholas, to whom Leighton had been articled until 1926.
According to Garry Leighton, his fathers designs for the Princess were the
first of a series of commissions from the Grand Theatre Company, preceding
those for the Theatre Royal and the Grand and Como theatres and, more
significantly, the Piccadilly. All Grand Theatre Company theatres frequently
advertised together in the press.
Original drawings in Garry Leightons possession clearly outline the
modification of two linked buildings to create the Princess, involving
demolition of the front wall and pier between the existing Market Street
shop and arcade, and the relocation of the shopfront behind a newly created
vestibule. An ornamental plaster wall and ceiling with decorative cornices
were introduced into this vestibule space, opening directly on to the footpath.
Neon strip lighting was installed to draw the eye of the patron to the cinema
Right: Princess press advertisement (top); art deco ticket booth and theatre entry via lengthy passageway.
beyond, and an octagonal-shaped ticket box placed near the entrance. The
floor was surfaced with checkerboard slabs that Leighton specified were to be
precast terrazzo as Piccadilly Arcade40 (being designed at the time).
The new approach to the arcade then provided an inviting entrance to
the picture theatre, where a flashing sign, incorporating a radiating circle
placed over the arcade entrance, was used effectively to capture the attention
of passengers from the Perth train. Reminiscent of the rising sun, the neon
tubes blinked in sequence to create a radiating soundwave pattern, a popular
graphic device of the period.
The arcade leading to the inner vestibule was illuminated by opaque
glass panels providing a clean-cut modern touch to the cinema entry. The
auditorium featured a series of rectilinear fin moulds starting at the vestibule
and stepping down progressively towards the proscenium. Horizontal lines
on the walls drew the eye to the screen, and decorative fretted plaster grilles
were boxed over the fanlights of the existing high-level windows.
A downstairs lounge, part of a clever conversion of an existing cramped
area to a spacious lobby, was based on a cruciform plan. Further decoration
was provided by bas-relief panels on the walls of the stairs leading to the dress
circle. Leightons drawings for these depict neoclassical figures, similar to
larger versions planned for the Piccadilly and Metro theatres in the following
months. This combination of ornamental fretted panels and horizontal run
moulding became a regular theme in Leightons remodelling of existing
buildings and purpose-built cinemas.
Converted for commercial use, the Princess was put to good reuse in the
late 1980s as an ice-cream factory and is now occupied by grocers Kakulas
Sisters, where the arcade ceiling can still be seen.

118 119
 13~\i()()~
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2

BEACON THEATRE
corner Hampton Road and Wray Avenue, South Fremantle, 1937
Architect: S. ROSENTHAL

The Beacon Theatre (locally known as the Beaky), in South Fremantle, was

I \I
designed by Samuel Rosenthal. It was originally to be named the Astoria, but
its directors, J.C. McKerchar and J. Veryard of the Swan Picture Co. Ltd, decided
to attract publicity and involve the community in a public competition to name
the building. The new title, honouring the Beaconsfield district and its shipping
beacon, was chosen over 400 others submitted in a competition conducted
by the Advocate newspaper. Competition entrants, along with many local
dignitaries, were present when the Beacon was officially opened by Fremantles
mayor, F.E. Gibson, prior to the screening of Small Town Girl, starring Janet
Gaynor. A local documentary showing the opening of South Beach twenty-
seven years earlier was also featured. Apparently, the entrepreneurial creativity
of exhibitors at that time prompted Reverend Eric Nye, of the Fremantle Central
Methodist Mission, to complain to the council about a picture theatre company
using the opportunity of the gathering at South Beach on Sunday afternoon
to advertise one of its screen attractions by means of a treasure hunt on the
beach,41 seriously affecting Sunday school attendances.
James McKerchar showed films at Fremantle Prison before World WarI,
and then operated at North Fremantle Town Hall in 1928 and the Empire
Above: Beacon Theatre tower feature with vestiges of its name.
Hall, East Fremantle, changing its name to Swan Suburban Picture House. He
later went on to operate cinemas at Maylands, Bassendean and North Perth.
The Swan Suburban Picture House was remodelled by W.G. Bennett as the
Mayfair Theatre and Gardens.

120 121
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Far left: Souvenir program
booklet (17 August 1937).

Left: Corner view of former

pharmacists shop after
refurbishment.

Right: Architects elevation

drawing showing planned
name of Astoria.

Far right: Reflected plan

view of auditorium ceiling
decoration.

The Beacon was originally designed as a stadium-type auditorium seating
639 in the stalls and 153 in the lounge. Although one of the states smaller
\I
theatres, it was claimed to offer Fremantle residents a place of entertainment
equal to any other and one that ranks with the foremost theatres in
Australia!42 Conveniently situated on a main road intersection, with buses
and trams passing the door, the building included a row of shops and a
corner pharmacy.
Rosenthal displayed a keen concern for sculptural massing (one of
the characteristics of the inter-war art deco style), successfully balancing
strong vertical and horizontal elements. For the first time, the architect
used pronounced streamlined effects, triple banding and geometric curves,
assisting to articulate the individual building elements.
The vertical feature bearing the buildings name defined and emphasised
the theatre entrance, concentrating ornament on the upper part of the
building. The three upright pillars were broken by a horizontal band on which
the name of the theatre was initially outlined in raised letters. Here a series
of fluted panels helped strengthen the perpendicular aspect of the building,
balancing its dominant horizontality. The use of this treatment in Australia
pre-dated its use overseas in the same period, as Vyonne Geneve discovered
when she found a similar cinema at Waikiki, Hawaii.
The buildings strong horizontal emphasis is typical of early twentieth- The Beacon Theatre building was used for many years as a supermarket.
century modern architecture, with continuous ribbon windows under a tied The scale of the Beacons frontage integrated well with the pre-existing shops
cantilevered canopy running the entire length of the frontage. This effect is in Hampton Road, while the strong entrance feature balanced the hotel
reinforced by the horizontal raised bands on the facade, which wrap around building on the opposite corner. The exterior details of the building are still
the building and help accentuate the curved corner. The bands are interrupted clearly in evidence and demonstrate the successful blend of angular and
over the shop entrance with vertical ribbed panels and again more strongly curvilinear shapes. Now converted to a medical centre and apartments,
over the cinema entrance. the structure has been recently refurbished and repainted, highlighting the
The Beacons interior displayed striking zigzag diamond and chevron decorative nature of the facade and returning much of its potential as an asset Beacon Theatre and Gardens (1937)
shaped motifs in the vestibule and auditorium, where the dramatic ceiling to the local streetscape.
decorations would have impressed movie-goers. The architects longitudinal 91 Hampton Road, corner of Wray Avenue,
section drawing illustrates curved decorative panels doubled as combined South Fremantle
air vents and lighting fixtures. These overlapping bullet-shaped devices,
Architect: Samuel Rosenthal
symbolising streamlined motion, featured on both sides of the auditorium.
The area on the south of the site, later developed as new apartments, Current use: commercial premises
was originally occupied by the open-air picture gardens accompanying the (formerly Stammers Supermarket)
hardtop venue. Rosenthal arranged for projection from the same biobox by
swivelling the projectors, minimising movement of equipment in order to National Trust classified: 06/06/1995
change from outside to inside screenings. The larger projection booth reduced State Heritage Register: 3615 Not registered
the angle of the throw within the main auditorium, making it possible to
accommodate the picture gardens at an angle to the auditorium. Municipal Inventory: 18/09/2000

122
WINDSO R
THE.ATRE WINDSOR THEATRE
(and Gardens)
98 Stirling Highway, Nedlands, 1937
Architect: W.T. LEIGHTON of Baxter Cox and Leighton

The Windsor was Leightons first cinema in metropolitan Perth to combine
an indoor theatre of the stadium type with a picture garden. Preceding the
\I Piccadilly, it was quickly followed with a similar design for the Como Theatre.
These buildings embodied international modern design principles as modified
by the streamline and nautical moderne styles popularised overseas, while
also embracing distinctly art deco elements. All three purpose-built cinemas
incorporated features that resonate with romantic images of the ocean liners
of the period.
Above: Architects perspective drawing of Windsor Theatre; originally to be named Hollywood Theatre.
The determination of Nedlands residents to maintain a high-quality
environment, while still enjoying the facility and comfort of an outdoor
picture garden, encouraged Leighton to develop his singularly successful
solution for the Windsor and Como.
Several rival exhibitors negotiated for the right to operate in the up-and-
coming area. Amid much controversy, residents wanted none of the eyesores
that characterised previous attempts to erect picture gardens there. Nedlands
saw itself as a progressive suburb, and to gain approval from the local
authorities only the most modern structure incorporating the latest ideas
from overseas would be tolerated.43While picture gardens were considered
a desirable part of urban life, there were many complaints from residents and
others planning to build nearby, who felt that noise emanating from an open-
air venue would lower property values. Approval for the project was preceded
by a lengthy history of negotiations including claims of undue politicisation
of the planning process.44 No fewer than five proposals were examined by
Nedlands Road Board before an application from cinema entrepreneur E.P.
Nelson, director of Claremont District Pictures, was successful. The plans
were submitted by A.R. Baxter Cox, using the expertise of William Leighton
for the project while the cinema specialist was waiting for the Piccadilly to
commence construction. Nelson, who owned an extensive picture circuit,
was sufficiently impressed by Leightons work to commission him to design
the new Nedlands theatre.

124 125
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\I
in pressed cement block lettering, is integrated into the Windsors facade,
a feature Leighton repeated at the Piccadilly and Como and, subsequently,
with the remodelling of the State/Astor Theatre, where the letters became
more cubist in appearance. Bold lettering also appeared on the vertical sign
intended to attract the attention of passers-by (since removed).
At the time, new picture theatres were perceived as exciting symbols of
progress, and local newspapers featured copies of architectural plans and
regular reports on stages of development, equipment and fit-out. Coverage
of the Windsor culminated in a full-page Daily News spread on the eve of
opening night, 9 September 1937 (see right). Under the heading A New
Link in the Nelson Circuit, a symbolic chain representing a string of picture
theatres owned and operated by Nelson (including the Princess, Claremont;
Swanbourne Pictures; and the Broadway, Nedlands) was featured,
accompanied by trade advertisements of firms associated with the project.
The press of the day described the virgin land chosen for the theatre as an
admirable site on a large block in the centre of a thickly populated area.45
Garry Leighton recalls playing in the sand as a youngster while watching his
father pace out the block. The building still dominates this position, standing
proud of others in the area, with its sculptural qualities readily appreciated.
for those who travel between Perth and Fremantle, whether by private vehicle \I
or public transport. Trolley buses began operating from Perth to Claremont
in 1933.
The north-facing Windsor is complemented by an adjacent art decostyle
commercial building also designed by Baxter Cox and Leighton. The cinemas
frontage is perceived as a three-dimensional sculptural form, possessing
considerable depth and a masterly balance of vertical and horizontal
elements. The appearance of the building from the highway, wrote the West
Australian as the theatre neared completion, relies on the judicious masses
with due regard to balance.46 Aware of the requirements of local residents,
Leighton produced an elegant integration of modern styling with functional
planning, presenting a unique solution to the challenge of the indoor/outdoor
concept. The stylish asymmetrical design epitomises the modernist dictum of
When I was taken to see Deanna Durbin in Three Smart
form follows function, making an aesthetic virtue of a functional solution to
Girls Grow Up, the trolley bus ride around the Swan River, to be
a potentially difficult practical arrangement.
dropped off right outside the Windsor, was a memorable part of
The most eye-catching and distinguishing feature of the Windsor is the
the occasion, together with a newsreel featuring Princess Betty,
dramatic semi-circular end to the projection room, with ticket box and
who would one day be Queen.
managers office beneath. This feature is an essential element in Leightons
design, growing from the concept of wheeling the projectors laterally from Vyonne Geneve

126 127

\I
Above: Frontage to Stirling Highway with front wall of former adjacent picture gardens.
one screening area to the other. The notion of a pair of expensive projectors
lying idle one pair in summer and the other in winter was not
considered economically viable, and it is this concept of rapid movement
from one location to the other that sets the Windsor and Como theatres apart
from all others in WA. In researching the subject, Vyonne Geneve concluded
that the design of these two cinemas is unique and the concept has not been
duplicated anywhere else in the world.
The theatre is set back from the road, where a forecourt and a large
area defined by planter boxes were originally intended for car parking. This
plan was also adopted at the Como, where access to a small parking area
is still operational today. However, street-front parking at the Windsor was
abandoned at the outset, as free parking, including parking attendants, was
offered at a service station opposite. The unusually wide paved area was
\I
Above: Prominent art deco typeface lettering and decoration to tower.
used by patrons as a terrace/promenade for a smoke or a breath of fresh air
during the intermission between films. The horizontality of the base of the
Windsor is emphasised by a large cantilevered canopy over the entrance
doors, linking the building with the two shops that project forward onto the
pavement. This horizontal emphasis is balanced by the vertical thrust of the
tower, neon sign and biobox.
The nautical styling of the exterior is repeated at the entrance to the
auditorium, which is flanked by columns suggesting the funnels of a ship.
This influence from the design of luxury ocean liners was a styling clich that
found its way into modern architecture from the perception that ships were
the epitome of the modern machine, with all their overtones of speed and
power. An essay entitled Architecture Afloat in the October 1935 edition
of the British journal Architecture described the maiden voyage of the RMS
128
Ninety-year-old architect Leighton discussing his plans with the author.
Orion to Australia a month earlier, suggesting the architectural influences of
its design. Like numerous architects, Leighton was familiar with and exploited
this fashionable influence in a largely ornamental way, yet managed to employ
the forms in a functional manner. For example, the cantilevered balcony that
circled the curved end of the projecting biobox wing, with its marine-type
metal railing, emphasised similarities with the flybridge of a large vessel. The
balcony enabled the projectionist to escape from the oppressive heat of the
biobox to get a breath of cool night air while still supervising the running of
the film in the gardens. It also connected to an escape stair to the gardens in
the event of fire.
Referring to himself as a decorative architect, Leighton always
endeavoured to include some ornamentation in his work. Blueprints in the
possession of Garry Leighton reveal that his father originally intended more
129
embellishments for the Windsors auditorium, but adopted a simpler finish
in keeping with the exterior of the building. The geometric and decorative
elements in his cinemas combine well and are enhanced under dimmed
lights. Leighton used this combination in his early commissions in Sydney,
Melbourne and New Zealand prior to returning to WA.
According to a press report, the auditorium was decorated in streamlined
bands of green near the proscenium and squares of pastel green at the back.47
Ornamental fretwork ventilation panels, similar to those used later at the
Astor, adorn the walls of the auditorium. These motifs are balanced centrally
by a vertically thrusting finial directing the eye to the decorated ceiling,
where four large linear, torpedo-shaped lighting fixtures provide additional
illumination. These are enlivened with a series of triple-speed lines, a popular
art deco motif linked to streamlining to reduce wind resistance in fast-moving
objects and also applied to stationary objects.
A sculptured gargoyle-like mask still grimaces at movie-goers from on
high in the outer vestibule and is repeated on either side of the proscenium.
This link with traditional theatre was a favourite theme of Leightons, whose
moulded plaster designs both here and at the Piccadilly are clearly shown
on his drawings.
The austerity of the Windsor facade is relieved by the vertical lines of
the tower, drawing the eye to the panels of Mayan plant decoration above,
creating an effect similar to a decorated capital. Raised lettering also created
an enlivening texture. It is a tribute to William Leightons skill that he was
able to combine the latest design trends with his own decorative style.
The main lines of the theatres frontage were outlined with the new neon
tubular lighting, where coloured flashing lights and strips added a touch
of the excitement and glamour of the movies. The renowned American
cinema architect S. Charles Lee liberally employed these eye-catching
methods to attract audiences to the movie houses he designed for the intense
competition on the boulevards of Los Angeles and other American cities.
During a discussion with Vyonne Geneve about the Windsor, held in Lees
Hollywood office, he invoked his edict the show begins on the sidewalk to
emphasise the flamboyance of his many spectacular US cinemas. Although
the suburban environment in WA was free of competition, the large vertical
flashing neon sign on the Windsor tower from 1937 to the late 1980s (but not
on Leightons original drawings) was considered necessary to promote the
cinema and draw maximum attention along the highway to attract cinema-
goers to the latest release from Hollywood.
 Like many Nedlands residents, Jill Thomsons family, living nearby at
Florence Road, regularly patronised the Windsor, although she and her
mother always went to town for daytime movies.
Suburban Theatres Ltd operated the Windsor, as well as the bamboo-lined
Broadway Gardens, which some considered useful for re-runs missed on the
first round.
This company also operated the Princess Theatre, Claremont, but was
forced to close the theatre after the nearby Lakeway Drive-in opened in late
1955 and took away most of its audience. The building became an art gallery
and its projectors were relocated to the Sunset Mens Home, which had been
running an in-house cinema since the early 1930s. The building was later
absorbed into the Old Theatre Lane development.
Despite similarities of climate between California and Perth, the United
States was almost devoid of open-air picture gardens, so popular in WA.
Eventually, more than forty such venues emerged in the metropolitan area; of
these, the Windsor and the Como were the most elegant.
\I
My family, like most of the regulars, went to the Windsor every
Saturday night, no matter what was showing. While my mother caught
the trolley bus, my father and I would walk to and from the Windsor,
and all of us thought both the programs and the venue superior to the
nearer old Broadway Theatre. I did see the swashbuckling rogue Errol
Flynn at the Broadway in The Adventures of Robin Hood and afterwards
walked home, imagining myself the hero of the film. Eighty years later,
music written for The Adventures of Robin Hood was acknowledged as
a groundbreaking score for the film industry, with accolades belatedly
bestowed on its composer, Erich Korngold.
The Broadway also brings back memories of my first taste of chewing
gum and Coca-Cola. In 1942, United States Navy personnel were
stationed at nearby Matilda Bay, Crawley, and introduced these new
tastes to local kids when they threw a party for us at the Broadway.
Ron Facius
130
With the installation of air-conditioning in the mid-1960s, the Windsors
outdoor gardens were used less frequently (although the screen remained
in place until 1978). In 1983 the Windsor was forced to close its doors.
According to Max Bell, this was due to the popularity of hard-core
pornographic films that have saturated Perths video shops.48 In 1988
Independent Cinemas used the outdoor space to twin the venue and
reopened the theatre. Earlier, in 1965, under the management of Lionel Hart,
the common entrance to both hardtop and outdoor venues was stripped
of its characteristic moderne design, and the polished she-oak and satin
sycamore fittings replaced with incongruous panelling and chandeliers in
time for the screening of Lawrence of Arabia. According to Harts niece
Pamela Birt, Virginia McKenna, the female lead of a later drawcard, Born
Free, made an appearance at the Windsor.
\I
Windsor Theatre and Gardens (1937)
100 Stirling Highway, Nedlands
Architect: W.T. Leighton (A.R. Baxter Cox and
Leighton)
Twinned: 1988; continuing use as cinema.
National Trust classified: 03/12/1990
Above: Auditorium with stadium-type layout as opposed to separate balcony.
Opposite page (clockwise from top left): Foyer with confectionary and ticket booth, auditorium State Heritage Register: 1831 Not registered
stairs to the right; angular-style strip lighting fixture; Mayan plant decorative ventilation panel
in ceiling; Mayan plant design wall panel; bas-relief sculpted mask as feature in foyer; Mayan Municipal Inventory: 15/04/1999
design circular ventilation grille.
131
 COMO (CYGNET) THEATRE
(and Picture Garden)
16 Preston Street, Como, 1938
Architect: W.T. LEIGHTON

The Como venue was completed just six months after the opening of the
Windsor, during an extremely busy period in the architects working life.
\I William Leighton must have been working at great speed, as, concurrent with
the construction of the Como, the Piccadilly was being built in the city to his
design. The two cinemas opened to the public just five days apart. Such was
the rush to capitalise on the newsworthy character of the events that there
was some confusion in the press, with an image of the Como featured with a
description of the Piccadilly!
It was also a busy time for the Grand Theatre Company and its manager,
James Stiles, who had commissioned Leighton to replicate his successful
design for the Windsor south of the river. In addition to commissioning the
Como Theatre and taking out a long lease on the Piccadilly, Stiles was still
responsible for South Perths Gaiety and Hurlingham theatres.
Leightons drawings for the Como (now Cygnet) indicate the prominent
feature of the extended projection room, replicating the concept designed
for the Windsor. The three circular porthole windows and horizontal ribbon
of brickwork on the completed Como are not as aesthetically pleasing as
Leightons original drawing, where the compositional balance of vertical
window panels and horizontal-run moulding, together with the lettering,
makes for a more satisfying result. The tower, made bold by the exposed Above: William T. Leighton, photographed at the Como Theatre later in his life.
brickwork, is more modern in its absence of decoration, but lacks the
refinement and unity of its Nedlands counterpart.

132 133
 At the Como, the top of the projecting biobox rises higher than at the
Windsor and is made more visually interesting by incorporating the name
of the cinema in relief lettering. This successfully focuses attention on this
groundbreaking feature of the design. The circular porthole windows were
considered very contemporary, in keeping with the nautical theme of the
_---.=:-
==
--
building overlooking the nearby Swan River. The shop adjacent to the theatre
~ ~ ~
has a chamfered corner entry that relates well to the cinema entrance. On the
opposite side of the building, the window under the biobox appears on the
flat front face, as opposed to the curved window on the Windsor.
Although the site of the former picture gardens adjacent to the Como still
exists in that form, the shrubbery, screen and seating have been removed and it
is no longer used as picture gardens. Images from 1988 (right and far right) show
the projection ports facing the garden and the extension of the balcony into a fire
escape for the operators and upstairs patrons. The functional basis of the dominant
sculptural extension and rearward projection ports can be clearly seen.
The asymmetrical nature of Leightons designs for these purpose-built
cinemas was a relatively new feature for public buildings in WA, where
Above: Rounded end of extended biobox showing nautical design influence. Note projection
classical symmetry had previously been the norm. One of the characteristics
ports for garden screening and escape stairs for projectionist.
of modernism in early twentieth-century architecture was the acceptance
\I
of such asymmetry in designs often expressed, for example, by the With faith in Comos future, Stiles planned a theatre and gardens, each
offsetting of a stairwell or entrance, or by varying the heights of sections. As seating about 800 persons, with provision being made for the extension of
at the Windsor, the asymmetrical design of the Como was a direct result of both parts when expansion became necessary. Growth of the district was
functional requirements. Another innovation at the Como was access to the newsworthy at the time, and Como Strides Ahead! was the message when
flat roof over the shop from the upper foyer, so that patrons can merge and the new theatre opened on 5 March 1938, its distinctive architecture setting
sit among shrubs in the cool of the night, while they enjoy the magnificent a new standard in suburban theatre design.50 Together with local dignitaries,
river view.49 This certainly was a rare advantage in theatre comfort in the hot stylish young women residing in the fashionable new suburb flocked to view
summers of Perth before the advent of air-conditioning, and one unlikely to Smartest Girl in Town, starring Ann Sothern. Already a proven arrangement
be provided for cinema patrons elsewhere. It is indicative of the way in which at the Windsor, one ticket box served the two venues, and a crying room for
a visit to the cinema was viewed at that time as a social family outing. infants was used as an auxiliary ticket box for the picture gardens in summer.
Top row: Theatre foyer showing art deco detailing still evident.
Until the mid-1920s South Perth was a quiet, conservative backwater of The Mirror remarked on the attractive decoration that had been reduced to
Note former ticket office and garden entry.
mostly undeveloped bushland. Promotional literature from the mid-1930s a minimum in accordance with the requirements of modern functionalism.51
Middle row: Cygnet Theatre auditorium and upper circle.
began to advance the virtues of Como as a holiday locale and a desirable Unlike its twin at Nedlands, the Comos auditorium has a separate upper
place of residence. When bus and tram services came, the latter running down level and curved balcony. The extra height appears more impressive than Bottom row: Decorative blend of streamline and floral motifs.

Preston Street to the jetty, the area developed rapidly and Stiles visualised the
commercial advantage of establishing a cinema in the area. The Preston Street
location, serving both the growing residential district and the holidaymakers
and daytrippers who flocked to the beach at the foot of the street, proved to be
a well-founded enterprise. It was a success from the outset.
the stadium-type theatre. Some of the fixtures and fittings are similar in both
theatres, while others also appear in the Piccadilly and, later, the Astor Theatre,
including the continuous wave motif on the auditorium walls and chrome
balustrading in the foyer. The wave motif can be seen as symbolic of the short-
lived wave of prosperity that swept through WA from the mid to late 1930s.

134
 l'ONTGJJT
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NEXT
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may account, to some extent, for the identical fixtures in several cinemas
built to his design. The interior of the Como was described in the West
Australian as having a modern decorative nature with comfortable seats
and an ornamental lighting system.52 Sweeping curves and judicious use of the Royal theatres. At the Como, strongly expressed horizontal banding flows
decoratively patterned, backlit ventilation panels emphasise the horizontally around the vertical column-like forms flanking the proscenium opening, on
banded walls, which alternate with decorative panels; vertical, centred light either side of which, and close to the screen, are backlit decorative vertical

' I
fittings send upward rays of light to focus attention on the wave motif overhead.
This motif is more subtle than a similar one featured at the Piccadilly.
horizontal mouldings similar to those employed first at the Princess and, later,
Top left: Architects front elevation drawing of Hurlingham Theatre.
Top right: Half-section plan drawing of Hurlingham Theatre with
Assyrian inspired decorative details.
Above: Press advertisement for three South Perth cinemas showing
concurrent programs sharing film spools.
Opposite page: Art Deco Society of WA members help celebrate the
Comos half century in style, 1988 (left); a new lease of life for the
Cygnet Theatre, 2013 (right).
'
I
The plain rectangular opening of the proscenium is framed with linear
Gaiety, Goats and Gatecrashers
South Perthborn Peter Woodcock, living central to the Como, the
Gaiety and the Hurlingham, could take his pick, depending on what was
offering. As a primary-schooler, he recalled being taken to the Gaiety
to see Bush Christmas. After an evening show at the Hurlingham, Peter
and brother George would buy fresh bread from Noonans Bakery and
feed leftovers to the horses. Peter said a local lad paid to deliver the
Hurlinghams advertising pamphlets would feed them to goats kept in
a nearby paddock.
Peter also recalled returning home from the Como with a group of
youngsters during wartime, past the Swan Street Hall where American
soldiers had organised a dance. As young lads would, he and his mates piled
into the lobby, to be quickly dispensed with by the Americans, who gave
them threepence apiece to clear off.
panels, accentuating the stage and effecting a soft reflected glow on the ceiling
above. Overall, Leighton created an ambience of soothing softness, helping
to counter the mixture of decorative motifs. Due to finance limitations, the
Como did not have the continuity of design achieved at the Piccadilly.
Stiles group continued to show and advertise the Como with the Gaiety
Theatre and the 1929-built Hurlingham Theatre and Gardens. Both designed
by Rosenthal, the latter was the first purpose-built theatre in WA constructed
after the introduction of sound. Built for screening movies only, with a Cygnet Theatre (former Como) and
raked floor and without a stage, it introduced the horn box required for the Gardens (1938)
reproduction of sound, and was the first to feature art deco motifs.
Threats to demolish the Como (later Cygnet Theatre) in 1988 were met 16 Preston Street, Como
with much popular protest. Efforts supported by ADSWA succeeded in
Architect: W.T. Leighton
averting this fate and, after several heritage listings, the Cygnet has enjoyed
a popular revival, happily supported by residents such as former Lieutenant Picture gardens abandoned mid1960s.
Governor Ken Michael and Mrs Julie Michael.
Continuing use as cinema.
As the cinema celebrated its 75th birthday year, the management
was concerned about the effects of digitisation on the buildings future. National Trust classified: 02/05/1988
Nevertheless, at the time of writing, ADSWA members were rallying in
period costume once again to support the theatre, as they did for its 50th State Heritage Register: 2404 30/06/1995
anniversary, and to view the Australian-made movie The Great Gatsby.

136 137
 WEMBLEY THEATRE
(and Gardens)
--
-~-- --~#-- 205 Cambridge Street, Wembley, c. 1937
Architect: F.J. COOTE

Funded by renewed activity in the goldfields during the mid-1930s, plans
for the indoor/outdoor venue at Wembley were filed with the Public Health
Department in September 1936 by New Zealandborn architect F.J. Coote.
\I Little is known of Frank Coote except that he came to WA from Victoria before
the 1920s and worked for C.J. de Garis on the Group Settlement Scheme at
Kendenup. The Wembley was completed early in 1937. Commissioned by
a Mr Alexander near the Rosenthal-designed Cameo Picture Gardens, this
simple, basic structure was one of the first built after the recovery of the
states economy.
Both indoor and outdoor theatres were of similar size, with provision
for future extensions to the hardtop venue. Seating 730 indoors and
accommodating 850 in the picture gardens, Cootes plan shows two
screens designed in parallel, necessitating two bioboxes for the theatre and
the adjacent garden venue. Given the cost of movie projectors, with the
knowledge that one would be lying idle, this was an expensive arrangement.
The Wembley building is enhanced externally with angular, geometric
stepped decorations in the early art deco mode, creating a well-known
landmark in the area. The eye-catching decorative corner feature rises above
other contemporary buildings in the vicinity. Theatre and shops flanking the
Cambridge Street entrance, with a third at the corner of the building, were
readily accessed by a new mode of transport that commenced operations
in the same year. When the trolley bus service became available in 1937,
young people would often go to the Wembley to catch a movie theyd
missed in the city.
The angled corner tower rises above the roof line and parapet, partly
concealing the gabled roof of the auditorium behind, running parallel with
Station Street. The cantilevered awning extends around the corner of the
building and is lined with pressed sheet metal, repeating the diamond pattern
found elsewhere in the building. Windows under the awning reinforce the
buildings horizontal emphasis.
The stepped theme continued with the marquee above the entrance and
again in the doorways at street level on both hardtop and outdoor venues.
The motif was carried through to the auditorium, where an irregular-shaped
curved balcony was decorated with angular motifs. The proscenium displayed
a series of angular and interlocking steps similar to the design used at the
outdoor venue.
Popular with the locals, although not showing first-release films, the
Wembley was operated by Phil Hatfield, who began screening films in
outback WA. His circuit also included the Shenton Park Theatre, Empire
Theatre and Gardens and Cameo Gardens. Jan Waddells family owned the
shop across the road from the Cameo, and Jan remembers preparing more
chocolate-coated ice-creams than they could possibly sell on the night!
In 1961 J.L.C. Zelinski was consulted to renovate the building as the
Wembley Lodge for Messrs Horawicz and Zen. It is of some interest that

138 139
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Left: Stylised verticality of corner feature of the Wembley Theatre.

' '
Above: Cambridge Street frontage featuring vertical fin with theatre name outlined in neon
I tubes. Site of former picture gardens on left. I
Zelinski planned to make use of the buildings vertical neon sign. Although
this feature did not appear on Cootes working drawings, it is assumed that
the original sign (no longer apparent) was erected around the time of the
theatres opening. Some evidence of neon lighting appears on the corner Wembley Theatre and Gardens (1937)
parapet, together with the pattern of triangles and diamonds. In the early
1960s this was painted over with a cream and green colour scheme, after fire
202205 Cambridge Street, Wembley
damage costing an estimated 250,000. In more recent years the building Closed: 1960 (Refurbished in 1961 as Wembley
has been readapted for commercial use and has a high level of protection Lodge)
afforded by the Cambridge City Council.
Above: Magazine advertisement featuring the advent of the trolley bus that opened up the
Architect: F.J. Coote; J.L.C. Zelinski (1961)
Wembley area and provided easy access to the cinema.
Current use: commercial premises
Right: Interior stairs to balcony of the theatre.
National Trust classified: 06/11/1995

Municipal Inventory: 11/12/1996

Heritage Council Place No. 3611.

140 141
 REGAL THEATRE
northwest corner Hay Street and Rokeby Road, Subiaco, 1938
Architects: W.G. BENNETT and W.T. LEIGHTON

Constructed on the site of the Coliseum Picture Gardens in Perths oldest
suburb, the Regal was outstandingly modern for its time and continues to
attract many admirers to this day. Such was the popularity of the venue the
\I Regal replaced that to avoid depriving locals of their entertainment after
demolition, a new outdoor summer picture garden was constructed on the
eastern side of Rokeby Road, at a site nearer the railway station.
In celebration of the theatres 50th anniversary in 1988, manager John
Thornton enlisted the support of the newly formed ADSWA to help re-
enact the style and festivity of the original opening night. Guests dressed
in period costume and searchlights probed the night sky. Society members
were seated with Subiacos mayor, Richard Diggins, to view a special film
presentation of Ladies Night. With the 2nd World Congress on Art Deco
to be held in Perth in 1993, Thornton commissioned ADSWA to produce
a two-page promotional brochure detailing the buildings architectural and
social history. Used for associated events held at the theatre, it encapsulates
the Regals story.
Vyonne Geneve has shared memories and anecdotes, intermingled with
much merriment, in the theatres former crying room when it was refurbished
as John Thorntons office. The walls were lined with memorabilia and
signed posters from performers who have played at the Regal since its 1977
transformation as a live theatre, when Thornton was brought in to manage
the venue. The images included Barry Humphries in the guise of Dame
Edna Everage, and Kate Ceberano, who both expressed fondness for the art
deco building.
The unique design of the Regal, constructed by A.D. Coade as a movie
theatre, has been attributed to William G. Bennett, although his friend William
Leighton told Vyonne Geneve late in life that an architectural assistant left
Leightons employ to work with Bennett, taking the drawings for the Regal,
prepared in Leightons office, with him. Stylistically, the design is not typical
of the work of either architect at the time, and the treatment of elements is
different to that of any of their cinema designs, so that version seems plausible.
Despite the absence of surface ornament, the Regal is clearly of art deco
rather than functionalist origin. Use of stylised sans serif lettering was another
indicator of modernity, combined with stylistically typical chrome metal trim
and glass detailing, and other modern materials such as marbled rubber
flooring. The interior presents restrained geometric decoration typical of the
art deco style, without any of the more exotic ornamentation characteristic
of Leightons designs.
Initially planned as a replacement for the Rosenthal-designed Wests
Theatre and Gardens about 100 metres further east in Hay Street, this was
abandoned in favour of the present location and, except for some minor
omissions (for example, the elimination of the bicycle room), the layout of
the Regal retains the features planned for the earlier building designed for the
rectangular site.

142 143

~e Ylew

\I
Above: Inaugural souvenir program booklet for theatre opening (23 April 1938).
Right (top): Original proposal for theatre on Wests site in Hay Street, Subiaco.
Right (bottom): Architects perspective sketch of the Regal Theatre (1937).
\I
The Regals most prominent feature is the semi-circular tower, which
creates a focus on the corner site and entrance, establishing a sympathetic
relationship with structures on the opposite corners and making it the only
cinema in the state still extant to address an intersection and the only one
with such a tower. The centre-line of the facade and foyers lies on a diagonal
through the corner, while the axis of the auditorium is parallel to Rokeby
Road. This mismatch was not unusual in earlier architecture, where facades
were often designed independently of the interior, an approach that is the
antithesis of modern functional design as adopted by William Leighton for
the Windsor and Como theatres.
The Regal is a transitional design, retaining the fixation with classical
symmetry of earlier times, where the strongly expressed verticality of the
tower is visually a separate entity from the rest of the facade, growing out
of it in a series of stepped forms that emphasise the symmetry and produce
a stepped silhouette against the skyline. The ribbing, and decorative use of
the applied vertical elements, coupled with the tile banding, also signify a
restrained art deco idiom, as does the concentration of stepping around the
banner, a classic indicator of the style.
Due to this concern with symmetry, the Rokeby Road facade consists of
a large area of false walling, including false windows, to balance the area of
the biobox on the Hay Street facade. The dominant horizontality created by
modern continuous ribbon windows under a concrete eyebrow, multiple
string courses and the cantilevered awning is strikingly balanced by the
vertical pilasters and name banner on the tower.
At the entrance, a linear fountain design and the letter R (for Regal)
decorate the front doors. These give access to the octagonal entrance lobby,
with the shape repeated in the light fitting in the centre of the area and the
lettering style repeated at the chrome and glass ticket booths still in use.
Because of the mismatch between exterior and auditorium, the interior layout
of the Regal is, by comparison, somewhat awkward. The combination of the
Top left: The Regal picture theatre in 1945.
parallel auditorium and diagonally oriented foyers on the corner necessitates
Top right: Upper crush space at head of stairs at the Regal.
an unwieldy circulation pattern, with additional wide corridors or crush
spaces, and theatre-goers frequently experience some disorientation inside. Above: Entrance lobby and ticket office with stairs to upper level.

144 145
 The ground-floor crush space running parallel with Hay Street has large
windows providing daylight and is lined with polished chrome-framed
showcases featuring posters of past shows and advertisements for coming
attractions, illuminated at night by octagonal light fittings. Access to the
female toilets, the pram room and the crying room is at the end of this space.
The crying room, with the nameplate on the door, is a nostalgic memento
of the 1930s, and still in evidence are the marked bays for perambulators,
where mothers could, before the era of babysitters, tend their babies while
viewing the movies through a special window. The former managers office,
located under the stairs leading to the upper level, still has the glass peephole
through which the manager could keep an eye on patrons entering the foyer.
Alongside the auditorium, an escape corridor running behind the
confectionary shop today houses the theatres museum relics and leads to
the male toilet, indicated by a painted sign featuring a top-hatted gentleman
rather sophisticated for working-class Subiaco during the late 1930s. (It
is doubtful whether top-hats were ever worn to the Regal, even on opening
night.) The Regal unashamedly emphasised the more sophisticated motifs of
the period. The upstairs toilet doors feature glass sandblasted with distinctive
' I
'
art decostyle designs indicating Miladys and Gentlemens. Lounge chairs
I
from the era furnishing the lounge and crush space are accompanied by a red
upholstered chair recently installed in memory of the former owner, Clarence
(Paddy) Baker, who held long associations with the site.
1938 was a busy time for the states construction industry, and although
delayed by a builders strike, the Regals inauguration was a gala affair, opening
with the films Love Under Fire, set during the Spanish Civil War, then raging in
Europe, and Shall We Dance, starring Fred Astaire and Ginger Rogers.
With the bonus of special events such as colouring competitions, the
Regals management regularly attracted young viewers to Saturday morning
matinee sessions, where images of child stars were distributed.
Subiaco at Night
In the late 1940s, fifteen-year-old Daglish resident Dorothy McGinnity
would walk with girlfriends all the way to the Regal Theatre at night
from her home near the Daglish Station, then back afterwards, eating
chips together on the way; there was no need for concern about their
Top: Lounge space in upper part of corner tower. safety in those times.
Above: Auditorium from dress circle at time of theatre opening.
146
Dressed in the latest slacks and wearing Shirley Temple curls,
I was taken to see the worlds tiny sweetheart in Curly Top.
---
., Shirleys popular song Animal Crackers in My Soup was constantly
Right: Young Vyonne
played on the radio in the mornings throughout my childhood, and
in Shirley Temple curls
my mother would whistle the tune to herself in her kitchen. and trendy 1930s slacks
Vyonne Geneve proudly displays the car
her father made for her.
~--~-H.--
......
J.I.Jj:,-ll;'A!ai;t-lri-...J11
~n...i,
Industry Veteran Paddy Baker
Paddy Baker, a veteran picture showman who had been associated with
the industry since childhood, bought the Regal in 1951. Tales abound
about Paddy, including his alleged involvement with tax-free money
stowed in a drainpipe in the goldfields that he was able to legitimately
claim many years later. It was well known that Mr Baker did not care
for the company of women, so it was with some gratitude that Vyonne
Geneve was able to wangle an interview with him, learn of his love of
the building and receive scraps of treasured memorabilia, some of which
are reprinted in this publication. Residing in a flat above the theatre he
maintained almost single-handedly for forty-two years, Paddy met his
death in 1986 while changing a light bulb on the back stairs. He left his
beloved theatre to the people of Western Australia.
It was Paddys love of the building, together with his notorious
Left and above: Picture show entrepreneur and
Regal owner Paddy Baker (left) usually included
competitions and prizes (above) in the regular
childrens matinee programs at the Regal.
frugality, that conserved the Regal in almost original condition, and a
testimony to his efforts that most of the 1930s features reflecting the
way of life and customs associated with the cinema have been preserved. Regal Theatre (1938)
These include the love seats upstairs (seats without intervening arms),
474 Hay Street, Subiaco
the art deco chrome and jarrah fittings and the unique ticket box.
Architect: W.G. Bennett / W.T. Leighton
In 1977 ADSWA member and managing director of Interstar, John
Thornton, together with Stan Bird, leased the Regal, converting it to a live Current use: live theatre retaining ability to
theatre with picture-showing facilities still intact. Later a fly tower was added, screen films.
attracting international standard shows to the venue.
Fly tower added in 1994.
In 1986 Baker set up the Paddy Baker Theatre Trust, with himself as chair
and four other members (including Thornton), as owner of the theatre on behalf National Trust classified: 05/06/1990
of the public of Western Australia and to maintain the building as a venue
to be used in perpetuity as a place of entertainment. With the retirement of
Register of National Estate: 30/06/1992
Thornton as chair of the Paddy Baker Theatre Trust, the enterprise became the State Heritage Register: 2454 28/02/1995
Regal Theatre Foundation Ltd, with Richard Diggins as chair, in June 2013.
147
 RITZ THEATRE
Oxford Street, Mt Hawthorn, 1938
Architect: OSWALD V. CHISHOLM

The demand for new, modern city and suburban cinemas was at an all-
time high on Saturday 23 April 1938, when the Minister for Works, Mr M.
Millington, declared the Ritz open for all to enjoy. The same evening also
\I saw the opening of Subiacos Regal all just weeks after the Piccadilly
and Como began operations. When the West Australian reported the two
ceremonies, the New Picture Theatre at Mt Hawthorn was given much
praise and top billing, while due homage was paid to the utility and beauty
of Subiacos venue.53
It is clear that the conspicuous and attention-seeking modern54 Ritz
was widely viewed as a catalyst for improvement in general architectural
standards and as something that would advance the status and reputation of
this predominantly working-class suburb.
In congratulating the architect and builders at the opening ceremony, the
Minister stated that the new theatre was a good indication of the degree
of civic progress which had been achieved in the Mt. Hawthorn district to
date, suggesting that the large audience present bore testimony that the
confidence of the proprietors had not been misplaced.55 This display of faith
was supported by the Film Rentals Association and British Empire Films,
which both sent splendid floral decorations to the cinema for the opening
ceremony.
Constructed in Oxford Street near what was then known as North Beach
Road, the Ritz was built by T. Snook and Son to the design of prominent
architect Oswald Chisholm, who was responsible for several buildings in the
modern idiom at the time, including a Hollywood-style residence for his own
family at Genesta Crescent, Dalkeith. The Ritz was planned on simple lines,
demonstrating a stepped-back block effect, with a perpendicular sign with
curved top carrying the name of the theatre. The theatre was a new challenge
for the young architect, who installed the very latest in modern fixtures and
fittings and up-to-the-minute technology to create a truly modern building
comfortably seating 1000 patrons.
Modernist architect
OSWALD VICTOR CHISHOLM,
FRAIA, FRIBA (190389)
WA-born Oswald (Ossie) Chisholm was articled to Powell and Cameron
in 1921, registered as an architect in 1927 and admitted to the firm as a
junior partner in 1929. In the 1930s the firm was responsible for several
rural community buildings that incorporated facilities for showing
movies. Late in the decade he was solely responsible for the design
of the Ritz Theatre, Mt Hawthorn, which was said to match the finest
aspirations of the newly established suburb.

148 149
 1,,rn0a1
.:Uun:s
,
l1JJ:11u:u:1mtlii!f
WEMBLEY
THEATRE.
aMN. BE.~CON E,
THE.!\TH
UIDYU i.n,&.
................- .....tkll. .... n.a......
1-Uell&IIU A number of Mt Hawthorn residents, including the Geneve and Georgeff
"ST AND
,\IN ida&D4
IN."
I.ewe
i.
"FAREWELL
AmPAUL
AGAIN
aoauoN bi
.'"
"1.~DU con~ OFNIGHT ." IUN
'O SOLO>IOl'f"S
.IIL'IIES.'" families, held permanent Saturday night bookings at the Ritz, always
--,RICHMOND
&__. _,.a-THEATRE,
AlnaMar aEAST FREMANTLE._J;Z.ll,L
- 11:A.DY.
.................... ,...,_.. an la -
WILLllfG
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,.
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IEGENT THL\Tll, GUIU>FOID.
W. f'UIU.TNIOMT~ - their local cinema.
JeeL.ABrowa "lrislit
ill
la...,._.,.Sn&& Lisllb."
la
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- --.w-r.:... MYSTEST ." l.en<taYIH
JNO..... 0..naE.'"
--- Cinema managers During and Parker, who also ran North Perths
- .....
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11
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."
Rosemount, opened the Ritz with Personal Property, starring the two
darlings of MGM, Jean Harlow and Robert Taylor. The venue was a popular
haven during World War II, and in the late 1940s, when Fred Astaire
danced Puttin on the Ritz for the locals, the movie Blue Skies became
IIJCl(ff
"SLAVE
SHIP"
"'THI!'
IIOVRCAIITOOl'lf,
WOtM1'tft.Q.
one of its memorable screenings. It continued to attract audiences until the
JACK
BENNY
ba---- "ARTISTS
ANDMODELS."
~9~EM
.9u~,.
-- . .._.... SJMI
Jittlil"'tttlll . ... JIil.... 11.... -.
late 1950s, when the onslaught of television and the drastic reduction in
audience numbers brought about the theatres demise to accommodate a
T_ldl,al , . .. .. lr.6:ll
.
~ ~
T-lalll al 1.W.
aoat:aT
TAn..o.-
...
IIA&BAL\
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ANN
YOUNG
~OTIIIE&N
&Ad
I more profitable enterprise.
"HIS AFFAIR."DA.NCEROUS NUMBER .' 0

.U. a.a.rtYnnrI
-OANGUOUS
..... &MTUPL
A._WffMIIP
Ila~ In
NUIIBL"
. P- '4. N,alllb .
"'Bat:l:Zlt,(fa HOME." During an interview with Ossie Chisholm in 1989, Vyonne Geneve
COlll!liG Nl!llT!4ATV&DAY .,
W'D
...... .... TRVae
.a114 , Plar
. DtltD,- '41
cotlO . TOW
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''la.rateca
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aa41N
.
.,,.,._.,
. ..
I_......, noted that the architect made light of his only cinema building and, like
COTTESLOE
NEWTHEATRE
fl825 William Leighton, placed greater value on his structures of the 1950s and
1960s. He was, however, involved with designing a number of rural halls
with projection facilities, including the streamline moderne Narembeen
Hall, which served as a cinema for that part of the wheatbelt.
\I \I

Ritz Theatre and Gardens (1938)

424 Oxford Street, Mt Hawthorn

Architect: O.V. Chisholm

Top: Architects sketch for Public Hall designed by O.V. Chisholm in rural Narembeen where movies were regularly Opposite page: Press advertisement for Personal Property starring Robert Taylor and
screened. Image supplied by K. Chisholm. Jean Harlow.
Demolished: mid1960s
Above: Corner of Oxford Street and North Beach Road, where the Scarborough bus and trolley bus both passed the Above: Press advertisement for suburban cinema programs.
doors of the Ritz Theatre.

150 151
 ASTOR THEATRE
(former State Theatre; originally Lyceum Theatre)
corner Beaufort and Walcott Streets, Mt Lawley, 1939
Remodelling architect: W.T. LEIGHTON
Refurbishing architect: Philip McAllister, 1989

~tt1S'06 The illustration opposite depicts the 19 May 1989 celebration marking the
Astors 50th birthday, following Philip McAllisters refurbishment. The gala
occasions invited audience, including ADSWA members and the Premier
\I of Western Australia, the Hon. Peter Dowding, MLA, were given a special
presentation of Dead Poets Society, starring Robin Williams.
More than half a century earlier and with the coming of sound, the old
Lyceum had changed its name to the State Theatre, and by the mid-1930s, with
finance again available, producers encouraged local exhibitors to upgrade.
Competition was particularly keen in Perths northern suburbs, where tramline
extensions to the end of Beaufort Street and into Walcott Street improved
access to the area. A regular Saturday night visit to the pictures with family
and friends became almost obligatory, and with residents of Menora and
Inglewood demanding their own picture theatre, the important commercial
intersection at Beaufort and Walcott streets was overdue for modernisation.
William Leighton was commissioned to remodel the old theatre in the new
moderne style, to match the aspirations of the area and showcase the latest
from Hollywood.
The extensively renovated and remodelled building continued as the
State Theatre until June 1941, when the WA Government decreed that no
privately owned building could use the designation State. The theatre
Right: State Theatre
as remodelled by
was renamed by the owner-builders wife, Mavis Alexander, who recalled
W.T. Leighton (1939). pleasant associations with an Astor Theatre in Townsville, Queensland. Both

152 153
the original theatre and the Broadway Building on the opposite corner were
constructed and owned by S.B. Alexander, whose son John subsequently
modernised the latter, renaming it the Alexander Building before supervising
Leightons remodelling of the entire theatre building.
Both Bill Leighton and son Garry, who accompanied his father to the
worksite as a child, described the pains taken by John Alexanders craftsmen
to complete the 1939 building. The years when work was less available were
remembered by many and they were keen to provide a good days work
for a good days pay. Building supplies had also become more plentiful at
decades end, with a greater choice of decorative plaster mouldings, fixtures
and fittings.
The rapid transformation of the building to revitalise the commercial
centre left the basic structure intact but altered its appearance by replacing
the Edwardian arches and pediments with a restrained but imposing
modern facade. Leighton removed what he described as a highly ornate
affair decorated by plaster scrolls, urns and columns from the interior
and, acknowledging the role of ornament, created contemporary-style
embellishments.
After a five-month intensive effort, the State Theatre reopened with a
\I
British comedy, Keep on Smiling, starring Gracie Fields, followed by a Cary
Grant and Katharine Hepburn remake of Holiday. With war clouds looming
in Europe, Mt Lawley audiences (as elsewhere) blithely continued their love
affair with Hollywood movies, which lent an air of modernity to their up-and-
coming suburb. In enjoying MGMs Honolulu, portraying an idyllic Pacific
paradise, little could they imagine the bombing of Pearl Harbor to come.
Saturday Hopalong
Former Menora resident Professor Sassoon (Sonny) Gubbay recalls
that he never missed a Saturday afternoon matinee in the 1940s when
his cowboy hero, Hopalong Cassidy, was on the Astor program. As a
young lad, Sonny would be instructed to walk safely along Walcott Street
with eight pence in his pocket sixpence for admission to the pictures
and tuppence for an ice-cream and not a penny more! That would
necessitate crossing busy Beaufort Street to buy sweets. There were
sixty-six movies starring the black-hatted Hoppy and his white horse,
Topper, and Sonny thinks he may have seen them all.
154
Leightons remodelling provided for a popular grocery store on the busy
corner, together with a millinery boutique, a confectionary servicing both
theatre and picture gardens, and a beauty salon between the two. Although
commercial arrangements have changed over time, Leightons design has
retained its modern character to the present day, albeit with a heightened
1989 colour scheme.
The 1939 facade featured the marked horizontal emphasis of modern
buildings of the period, balanced by the vertical end bays marking entrances
to cinema and corner store, and three tall glass-block windows replacing
the original arch. The widely admired design can be seen as an aesthetically
satisfying essay in geometric balance.
Rectangular forms used throughout the theatre include polished gold
and tan terrazzo flooring in the vestibule, uncovered during McAllisters
restoration. Lateral banded lines on the foyer walls led patrons to the stalls
through polished jarrah and chromium doors, materials repeated throughout
the building and retained in the 1989 restoration. Floor-to-ceiling mirrors on
the stair landing, reflecting the horizontal wall banding, enabled dress circle
patrons to pause and check their attire before continuing to the upper foyer.
Here lighting is supplied by two large circular glass fixtures, layered at ceiling
level and complemented by wall fixtures. \I
Top left: W.T. Leightons auditorium design (after 1939 refurbishment). Sweeping horizontal lines direct
the eye to the proscenium and screen, the effect reinforced by the linear patterns on the ceiling. Floral
motifs on ventilation grilles and circular and indirect lighting features relieve the rectilinear geometry.
The clean, uncluttered appearance of the art deco moderne style was in marked contrast to the overly
ornate, dust-collecting ornamentation of the old Lyceum Theatre.
Top right: Rolling wave of prosperity decoration (top); banded auditorium walls with Mayan pattern
ventilation panels (bottom).
Far left: Streamlined wall treatment around proscenium.
Left: Ceiling ventilation panel in upstairs foyer.
Above: Entrance lobby and new confectionary counter after 1989 refurbishment.
155
 Right: Astor Theatre during refurbishment
by architect Philip McAlister in 1989.
Far right: Ron Regan, former lessee and
manager of the Astor Theatre.
Geometric decorative elements on the ceiling of the auditorium and foyers.
Linear, rectangular and circular with exotic designed air vents.
Left: Main auditorium.
Below left (top and bottom): Upstairs foyer.
Below centre (top and bottom): Entrance foyer.
Below right (top and bottom): Dress circle.
\I
The Astors auditorium remains Leightons most ornate interior.
A combination of floral and banded motifs entertains the eye, and intricate
ventilation panels based on the Mayan plant design compete for attention
before the show with a flowing wave of prosperity. These and decorative
plaster friezes on either side of the auditorium featuring a repetitive wave
and chevron design were emphasised by McAllister with intensified colours.
Walls in the upstairs lounge are embellished with another version of the
continuous wave motif, and squared and floral fretted grilles complement the
decor at the rear of the dress circle.
The 1939 remodelling reduced the number of seats in the theatre to
around 900, permitting a more spacious interior by Perth standards, and the
number was decreased to 750 in 1989.
After fifty years of operation, during which drive-ins came and went and
television and videos were commonplace, the Astor went through a period
of relative neglect, reduced to showing blue movies. Demolition plans to
make way for a shopping centre were mooted, and in a bid to conserve the
building the fledgling ADSWA presented documentation for National Trust
classification based on the cinemas heritage significance. Rallies held in
support of retaining the Astor caught the attention of Sydney banker Ron
Regan, who was attracted to the idea of owning a cinema providing quality
entertainment and leased the theatre. Described as the Astors Errol Flynn,
swinging down in dashing style to save a damsel in distress,56 Regan was
advised by ADSWA to use the services of leading art deco restoration architect
157
Philip McAllister, who subsequently carried out extensive renovations,
emphasising the buildings late 1930s stylistic integrity. By peeling back
the layers of paint from the intervening years, McAllister rediscovered
Leightons original colours and planned a heightened version, using the
original decorative elements and imparting freshness to the whole structure.
The exterior colours were somewhat controversial when first applied, but as
McAllister remarked in an interview with Vyonne Geneve, strong colours
were necessary to cope with the powerful Perth sunshine which would soon
soften the effect.
In an interview given at the reopening, Regan said: I could just as easily
have walked in this March and begun showing films. Technically, it was all
there. I didnt need to close it for four months and sink over $500,000 into it
to make it run.57
McAllisters restoration upgraded facilities and equipment and
incorporated seating by Atelier. A new screen, with Dolby stereo sound to
accompany it, was installed and the cinema was reborn. The fact that the
building was considered worth the half a million dollars spent is a testimony
to both Regan and the original architect, whose work had endured for more
than fifty years. Regans wise selection of quality films restored the theatres
popularity, and four years later McAllister added a twin theatre to the popular
venue, opening in time to host the closing ceremony of the 2nd World
Congress on Art Deco, held in Perth in October 1993. The Astor is now used
to stage live performances, including Festival of Perth events.
 nu;M\Tl'.'il - 2.u,r.:u
.t.S TODA\" .

I
- y rHEATR fl:nGIIT
l"IIOSi!I
- PERTH'S
LUXVR ES. -- ~ ICOND.,1,1'
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' MADDEN"
(a) Competition increased in the Mt Lawley area after 1946, when
,,wOMAN
:xcAIN.sT~wOMAN I ': *
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Ai..R~tt1lkats"O"Jud
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J1 :,
[OTTESLDE
I DISTRICT
' ,- I r.. ,l...,,Cm,o. For many years the State/Astor shared film spools with Inglewoods Judaic symbol) for Russian migr (via Palestine) Abraham Machlin. A
"SERVICE
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PICTURE -tf CAMEO
decade later, Machlins three sons, Jack, Amos and Max (said to be the
.............
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,

Civic Theatre. Local rhymester Gerry Cohen, residing halfway between

F.uaM.UI
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the two, availed himself of the choice, and reflected nostalgically about youngest cinema proprietors in WA) constructed the hardtop Menora
.. iit1iiiiiw;uiii4iiiiiiiiii
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,t lit his youthful matinee favourites, the Green Hornet, the Three Stooges Picture Theatre with the aid of builder Steve Perica. They used cement
EUROPE"BENGAL" .._ AUCS
"ROSEOF WASHINGTON
00..0YCUJ'OOlf
-..own
OWL
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ta
SQUARE " and Mickey Rooney. His rhyme concluded: abandoned by the American military, iron from wheat silos and surplus
1:2496
RICHMOND
- MAYFAIR
... on.u
JWIQRT , LZ198. bricks from around the state. The suburb of Menora is a rare example of
UJR __..n:rn::a:1'
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"YES, MY DARLING DA UGHTER "
a district named after a picture theatre. Due to the theatres proximity
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And for us, were almost holy! to the Astor and Rosemount theatres, first-release films were initially
We werent too critical in youth difficult to acquire, but this relatively unadorned, modern building was
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for Judaic culture. Engineer Amos Machlin, whose family also built the
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The Civic Theatre was a 1935 upgrading of a complex with the adjacent shopping centre and supermarket (claimed to be Perths first),
adjoining Piccadilly Picture Gardens. Designed by civil engineer C.S. said that his father always wanted to build a picture theatre.
Steele, it was the first cinema building constructed in WA after the
Depression and, according to architect Ken Rosenthal, the states only
picture theatre designed without architectural input until the Menora

' I
' I Picture Theatre appeared two decades later. Situated at a dogleg on the
junction of Beaufort Street and Dundas Road, the Civic complex was
built by T. Snook and Son, who later constructed Mt Hawthorns Ritz
Theatre. Due to its prominent position at the end of the Beaufort Street
vista, the building incorporated a slate-clad spire, complete with clock
and flagpole, suggesting a civic building. The only purpose-built picture Astor Theatre and (former) State
theatre in WA to include a clock tower, it was used for live entertainment
and as a restaurant for many years by entertainer (currently president of Theatre (1939)
the National Trust of Australia [WA]) Max Kay, AM. 659 Beaufort Street, Mt Lawley
Samuel Rosenthals 1927 Rosemount Theatre (formerly Regent),
claimed as the first suburban venue to deliver sound, continued to attract Remodelling architect: W.T. Leighton
audiences at Fitzgerald Street, North Perth. Maylands old Edwardian
Lyric Theatre, operated by the Robinson family, shared spools in summer Refurbishing architect: P. McAllister (1989)
with the Roxy Picture Gardens, near the Bayswater Town Hall, until the
Current use: live theatre
later 1950s. Opening in 1929, the Roxy closed in 1958. Nearby, Bedford
Picture Gardens, in Beaufort Street, operated from 1930 until 1957. National Trust classified: 01/08/1988
Nearer the city, the Crystal Theatre in Hill Street, Perth, was popular
with local families and, like many suburban cinemas, screened open-air State Heritage Register: 2425 14/05/1999
Top: Press advertisement for State and Civic. films during summer.
Original building: Lyceum Theatre and Gardens
Above: Former Civic Theatre building with clock tower and later additions.
(D. McLure 1911)
Right: Press advertisement for suburban cinema programs.

158 159
 ----- ~_REMIE~

PREMIER THEATRE
(and Gardens) (refurbishment)
corner Bulwer and Stirling streets, North Perth, 1938 (1928)
Refurbishing architect: W.G. BENNETT, 1938
Original: S. Rosenthal, 1928
Demolished: 1970

The Premier Theatre and Gardens was commissioned by W.S. Haynes in

1925, following successful screenings on Perth Oval. Designed by Rosenthal,
the hardtop was refurbished in 1938 by Bennett, who was responsible for the
\I Beautiful, Modern and Artistic Transformation58 in time for the screening of
Dangerously Yours, with Latin heart-throb Cesar Romero.
In 1945 Cyril Norton, secretary of the East Perth Football Club, purchased
the hardtop and gardens and continued to provide film entertainment for the
locals. Nortons son Graham recounted:
My dad was solely responsible for the success of the
Premier. For as long as possible, he kept cheap family nights
going through the week so people could afford to come. The
family used to live next door but my dad always made me
pay to watch the films because the other kids had to and he
thought it was only fair.
After Cyril Nortons death, the picture gardens ceased to operate, and Italian
movies were shown at the indoor cinema until its eventual closure. It became
an icerink and then a teenage disco, and Bennetts art moderne facade was
drastically altered. The theatre was finally demolished in 1970.
Rattling to the Premier
Dr Ike Raiter, who spent his early life in North Perth,
recalled that, as a boy, he and his friends would hop
on the tram and rattle down the Beaufort Street hill
to the flicks at the Premier to enjoy the adventures of
their cowboy heroes. He recalls one Saturday afternoon
invitation by a schoolmate to see a Marx Brothers movie.
On reaching the ticket box, the friend admitted he had no money
with him and asked Ike to pay for his ticket. In the words of Groucho
Marx, Ive had a wonderful evening, but this wasnt it!
A Peaceful Night at the Pictures
Former North Perth resident Esther Schenberg, who grew up in the
area, remembers that her parents never failed to attend the Premier on
a Saturday evening. Her early childhood memories include the illicit
excitement of being dragged out of bed by her older brothers to run
round and round the lake at Hyde Park in the dark in night attire while
their parents were happily seated at the movies, confident their children
were safely tucked up and fast asleep in bed.

Above: Premier Theatre, corner Stirling and Bulwer streets, Perth, showing adjacent picture gardens.

160 161
 - .

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MOSMAN PARK MEMORIAL HALL

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(refurbishment) (camelot picture gardens)

16 Lochee Street, Mosman Park, 1939
Architects: A.B. KREITMEYER and G.A. ROWE
Original: J. Oldham, 1921
Refurbishment: Marcus Collins, 1989

\I
Above: Old Cottesloe Beach Hall housing the Mosman
Park Road Board prior to 1939 remodelling.
Right: Detail of above with advertising of coming
attractions for Mosman Park Pictures.
The original Soldiers Memorial Hall, also known as the Cottesloe Beach
Hall, designed by J. Oldham in 1921, was extensively altered in the art deco
style in 1939, to improve facilities for the Mosman Park Road Board and
provide better accommodation for screening motion pictures. The board was
pleased to link its administrative offices with a community hall used as a
cinema. Although movies were shown in town halls all over the state, the
notion of redesigning the local town hall to accommodate a purpose-built
cinema was uncommon, and the Mosman Park Memorial Hall was one of
WAs rare examples (along with the Beverley Town Hall and the Cottesloe
Picture Theatre).
The original solid symmetrical building was completely modernised
internally, retaining the basic structure. The windows were blocked off for
picture showing and, with the existing summer gardens in mind, a three-
dimensional front was superimposed over the old Edwardian one. The original
seating capacity of 900 in the hall was extended to 1200 (with 200 upstairs).
Similar to many British Odeon cinemas, though unique for Perth,
the remodelling presented a deeply recessed and dramatic frontage that
expressed the buildings duality of function, focusing on the cinema
entrance to attract movie-goers, while providing separate access for Road
Board business. The prominent tower over the entrance was the most
arresting feature and was decorated with a vertical ladder-like formation of
fins supporting the neon-lit name. The fins, which were repeated over the

162 163
Above left: 1939 hall incorporating cinema and picture garden with projection ports on the
right side. Note this was the only picture theatre in WA at that time to bear the title cinema.
\I
Above centre and right: Ladder-like feature above doors to balcony, and frontage after 1993
refurbishment.
balcony openings, and the horizontal bands they intersected were the other
striking aspect of the building, creating a satisfying vertical balance to the
main horizontal emphasis.
The prominent semi-circular tower housed the staircase to the upper
level, unlike the towers on Leightons Windsor and Como designs, which
were a result of his innovative scheme for efficient transfer of projectors from
outdoor to indoor.
Kreitmeyer and Rowe
WA-born Augustus B. Kreitmeyer (Creightmore) was educated in
Melbourne, completed his studies in Perth and was articled to Eales and
Cohen. He qualified with George A. Rowe in 1933, and they formed a
partnership in 1936. It is almost certain that Rowe designed the Mosman
Park Memorial Hall, and both are known for other significant works.
164
more compatible with the angle required for outdoor projecting, even Above left: Architects front
The larger of the balconies overlooking Lochee Street provided access
considering the natural slope of the site. He also described the difficulty of elevation drawing for 1993
for patrons from the upstairs foyer, while the smaller balcony served as a
\I
platform for council officers to raise the flag, the support for which survives.
transferring projectors from the gardens to the inside venue when a sudden refurbishment.
change in the weather occurred. While the audience were being settled Above: Theatre entry and bio-box
The main balcony was initially protected by a small brick parapet wall so front.
into the auditorium, few realised what a complex and finely calculated
that patrons could stroll to the west side overlooking the outdoor garden
performance, involving complete removal and repositioning of the Left: Organ pipestyle ventilation
and enjoy the evening breeze during intermission. Both garden and hardtop panels flanking proscenium.
projectors, was taking place. The projectionists prided themselves on the
venues were served by a ticket box, accommodating two operators, under
ability to execute a speedy operation.
the staircase.
The building was originally painted pale cream with light green touches,
According to projectionist Lynn Huxtable, who grew up in the
and the vestibule leading from the street was paved in green terrazzo. A
neighbourhood and worked in the building during the 1950s, the queue
unique eight day clock completed the decor in the foyer, while upstairs
of waiting patrons often snaked around the building and sometimes all the
movie-goers were able to rest on a comfortable green lounge circling a
way down Lochee Street. The noise was deafening, he commented. The
mirrored column.
cinema was always well patronised during the 1940s and 1950s, especially
Decorative ventilation grilles, backlit with blue and green neon lighting,
on Saturday nights, when booking in advance was essential. Queuing
patrons were able to admire the glamorous images and posters promoting
replaced the former windows, and other ornamental grilles lit with pink
neons covered false walls framing the proscenium. This was flanked by two
coming attractions surrounding the entrance, and this area was illuminated
large Egyptian-style pillars banded top and bottom. Exit doors on either side
at night by pink and green neon strip lighting that extended around the
were decorated overhead by impressive organ-pipe grilles, serving as a
building contours.
reminder of the days when organ music accompanied silent movies.
Projection for the picture garden was at right angles to the hall, and
The level auditorium floor enabled regular dances and other events to be
according to Huxtable the angle needed for projection to the indoor
held there, and one of the major attractions in the multifunction hall was the
auditorium was an awkward 14 degrees: The position of the biobox was
165
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' I
Mosman Park Memorial Hall and
Picture Gardens (1939)
Above: The author discussing heritage assessment with Above: Memorial Hall, theatre, community centre and Camelot outdoor cinema in recent times. 1216 Lochee Street, Mosman Park
National Trust (WA) CEO Tom Perrigo.
Remodelling architect: A.B. Kreitmeyer and G.A.
Rowe (1939)
local flower show. The upstairs dress circle, consisting of ten rows divided ADSWA in October 1993. At that time, the raked gallery seating was
by a crossover, was raked for comfortable viewing. Operated by the Hatfield removed and the gallery walled off from the cinema to create a separate Refurbishing architect: Marcus Collins (1993)
family as part of the variously named Cottesloe District Pictures circuit (see performance area.
Current use: community activities /
page 169), both hardtop and summer gardens proved very popular until The recent return to popularity of open-air movies in Perth has seen
Camelot Outdoor Cinema
their closing in the late 1950s. the resurgence of the picture garden, now known as Camelot, which was
ADSWA submitted the building for National Trust listing in 1990, officially opened by Vyonne Geneve in 1995 and continues to be a popular National Trust classified: 07/10/1991
supported by the proprietor of Glyde Galleries, Greg Manzie (who venue for summer movie shows.
occupied part of the building), and was able to avert demolition and
Top left: Vestibule, service counter and garden entry with stairs to upper level. State Heritage Register: 3832 27/08/1999
Top centre: Program cover for the 2nd World Congress on Art Deco held at the hall and The
encourage refurbishment by the local council. Extensively renovated Original building: Cottesloe Beach Hall (J. Oldham,
University of Western Australia.
by architect Marcus Collins, the venue was completed in time to 1921)
Top right: Curved corner window characteristic of the style.
welcome delegates to the 2nd World Congress on Art Deco hosted by
Above: Outdoor cinema entry showing projection ports on bio-box wall.

166 167
 LIDO PICTURE GARDENS
Forrest Street, Cottesloe, 193536
Architect: H. HOWARD BONNER

In 1935 Lewis Hatfield commissioned prominent architect Howard Bonner

to design the Lido Cabaret and Restaurant, with an adjacent picture garden,
at Cottesloe for the Hatfield Picture Circuit. A biobox was planned above
the cabaret building to project into the gardens off Forrest Street. Opening
in 1936, the cabaret/restaurant was leased and, together with Lido Picture
Gardens, quickly became hugely popular with patrons from all over Perth.
The tastefully decorated and furnished cabaret was hailed in the press as an
ideal place for hostesses to arrange their parties, bridge afternoons etc. and
was said to fill a long-felt want for some place to go after dinner, the theatre
or dance, or round off a pleasant evening.59 The dinner and supper dance,
held every night, proved a popular method of entertaining.
The picture garden was managed and operated by Hatfields daughter Jean
and her husband, Alec Hartz, who both lived over the cabaret building. Jean
Hartz maintained a meticulous garden ambience; in addition to attending to
the deckchairs and storing them safely away when not in use, she supervised
the ticket box and usherettes and ran a refreshment kiosk inside the gardens.
When Jean had the opportunity to obtain Gone With the Wind for the Lido,
she certainly did give a damn for her clients, paying double the usual fee.
The Lidos walled gardens were attractively laid out, with lawns and
plants overlooked by Norfolk Island pines. The screen was incorporated into
a substantial structure in an eclectic oriental style, said to be one of the most
attractive in the state. A Chinese-style tiled roof sheltered the screen under
an arched parapet supported by pillars topped with curved Chinese cappings
and lined with neon lighting. The exotic effect was reinforced by curved
168
Pagoda-style lanterns decorating the rear wall.
As a six-year-old I went off to see the Wizard at the Lido Gardens,
where the whisper of pines and the lull of the nearby Indian Ocean
sent me gently off to sleep before the main attraction.
Vyonne Geneve
Hot and Heavy and Rowdy at the Lido
Former projectionist Lynn Huxtable says that because the projection
room at the Lido was situated above the restaurant, the assistant
projectionist was obliged to carry heavy steel canisters loaded with spools
of film through the restaurant kitchen, up a staircase, through the switch
room and then up a steep steel ladder to reach the biobox and rewinding
room. On at least one occasion, this arduous and delicate job created an
enormous clatter when, during a tense moment on the screen, and to the
amusement of the startled audience, a canister plummeted down.
While films were being shown, the restaurant was forced to close the
kitchen window to shut out sound, making conditions rather unbearable
during the hot summer months. Nevertheless, an employee would pass
refreshments through the window to the projectionist and the assistant
who had toiled so hard to keep the show running.
The projectionists became aware of youngsters watching the film from
the adjacent verandah of the Hostel Manly (now demolished). They were
often rowdy and distracted the audience, so Alec Hartz erected a trellis
fence and grew a grapevine to block their view.
 Tony Hammond, now a Cottesloe resident, visited the Lido as a young RAF
officer in the 1940s, favourably comparing the relaxing, pleasant ambience
with the smoke-filled Odeon cinemas of his native England.
After World War II, and especially after the introduction of later hotel bar
. I'II opening hours (then television and later drive-in theatres) drew audiences
.I
I
I away, the cabaret continued for some time, eventually closing when the
,.r picture gardens site was redeveloped as apartments, and new accommodation
s.
COTTESLOE PICTURE THEATRE
was constructed over the cabaret building.

Lido Picture Gardens (193536) corner Stirling Highway and Leake Street, Peppermint Grove, 1937
Corner of Marine Parade and E Architect: H. HOWARD BONNER
Forrest Street, Cottesloe N
Demolished: mid1960s. I
Architect: H. Howard Bonner R
Lewis Hatfield ran this popular Stirling Highway cinema as part of his family-
Linked to former Lido Cabaret building. owned circuit that included the Lido and Cottesloe Beach Hall at Mosman
Park. Having designed the Hatfield home behind the picture theatre in
\I \I Leake Street, Peppermint Grove, Bonner had a good relationship with his
client, leading to the commissioning of the Cottesloe Picture Theatre. The
architect was given a free hand to produce what was seen at the time as
a daring exercise in modern architecture. Designed in the international
modern idiom, and claimed as the most modern and substantial Picture
Theatre in the metropolitan area of Perth,60 there were numerous new
aspects, including horizontal mullioned, steel-framed windows and plain,
undecorated rectangular masses. The architect completely transformed the
old Wells Hall, which faced Leake Street, including several shops and the
offices and boardroom of the Peppermint Grove Road Board.
Commencing in October 1936, Bonner removed the old wooden verandah
posts, superimposing an impressive, unadorned modern facade facing the
highway. The remodelling featured a projecting central rectangular block
with stepped sides, and a central perpendicular fin and prominent neon sign
supported by additional stepping, pre-dating by approximately six months
the vertical fin at Perths Plaza. The main body of the building, a massive
rectangular block, surfaced with a series of horizontal recessed courses and
Above: Highway frontage to Cottesloe Theatre. a simple overall pattern of vertical lines, was relieved by a chamfered wall
Left: Lido Cabaret advertisement. Opposite page: Cottesloe Theatre souvenir opening program booklet (27 April 1937). plane recognising the street corner.

170 171
 ~~ fottesloe.,;
, &rlosman
Tar~
, Lido There was no mistaking the cream-coloured building, said projectionist flanked by angled exit doors and lit from above by layered, coloured neons,
:::::::
LIDOOCEAN DENS
CAR
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ot BOTH
PLACES:
Lynn Huxtable, employed by the Hatfields from 1956 to 1961. Patrons
could not miss the large cement-rendered lettering announcing COTTESLOE
illuminating the drop-festooned, gold-fringed curtain. Overhead, a series of
angular, bullet-shaped light fittings, running lengthwise down the ceiling,
SONJA
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HENIE
"HAPPY and
MADELEINE
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PICTURES on the north wall and the tall double-faced neon sign flashing off
and on at night. The theatre was said at the time to establish Cottesloe in
''BLOCKADE." NoT
AvA1LABL s ORH
e: SATURDA ~Y N 1GHT
S
the forefront of the modern trend in cinema building.61
The Cottesloes striking modernity was repeated in the interior of the
building. Movie-goers passed under a stepped marquee through a set of
glass doors to a large outer foyer. A terrazzo floor inclined towards the
central staircase, allowing access to the fully carpeted lounge and dress
circle through a large, irregularly shaped foyer above, angled at one end
to correspond with the street-level shop. The foyer widened and extended
around the building facing Leake Street in an impressive crush space,
illuminated by a large vertical window overlooking the intersection below.
Two large, horizontal, steel-framed windows, in this upstairs foyer, fronted
on to the main highway.
In the auditorium, modernity was accentuated by the zigzag horizontal
banded wall that curved gently down to the proscenium, which was
provided the main illumination. While waiting for the entertainment to
begin, the audience could admire the impressive circular white plaques on
either side of the proscenium. Two of these, Huxtable remembers, featured
the masks of Comedy and Tragedy, with another depicting a globe of the
world surrounded by neon lighting.
Jean Hartz, aged ninety-six at the time of writing, was justly proud of the
family business and spoke of the eye-catching floral displays placed in the
foyers to provide a decor comparable to the best found in city venues and
expected by the clientele. Mrs Hartz said that theatre management ran the
cinema with pride and regularly created front-of-house displays designed to
attract the attention of passing traffic. One exhibit featured a pair of womens
panties on a washing line, advertising a Marilyn Monroe film, and another
a hospital bed, complete with bloodstained sheets, for Doctor in the House
until the local constabulary ordered their removal as distracting traffic
hazards!

\I \I

Top: Press advertisement for Cottesloe and Lido picture gardens.
Above: A young Jean Hatfield at the family Cottesloe Picture Gardens.
Top: Complimentary ticket to cinemas on Hatfields Cottesloe District Pictures circuit.
Above: Cottesloe Theatre proprietors and staff members.
Special Delivery
Odette Ward recalls that her niece, Yvonne Christian (mother of Bret
Christian, editor of the Post Newspapers group), was very nearly born
at the Cottesloe Pictures, soon after it opened on 27 April 1937. When
Yvonnes mother suddenly went into labour during a Saturday night
viewing, her grandfather, Edmond Ward, rushed his daughter home in
their Minerva, delivered the baby and returned to the cinema to retrieve
the remainder of the family. When asked why the family stayed at the
Cottesloe Picture Theatre (1937)
cinema during the delivery, Bret retorted, It must have been a good
movie! Aunt Od, who was ninety-five years of age when interviewed, Corner of Stirling Highway and Leake Street,
remarked that, due to that memorable event, Yvonne was always special. Peppermint Grove
Odette Wards family resided at Claremont, and prior to the construction
of the Cottesloe Theatre she recalls watching silent movies, with piano Architect: H. Howard Bonner
accompaniment, while seated on a canvas chair at the Hatfields open-
air picture gardens located behind Wells Hall. Demolished: 1961

Formerly Wells Hall and Picture Gardens.

172 173
 "ff.MORN~a;,
'-' THEATRE

CREMORNE THEATRE
205 Hannan Street, Kalgoorlie, 1935
Refurbishing architect: J. FITZHARDINGE

In the mid-1930s, goldmining activities began to yield high profits again,

and Goldfields Pictures Ltd commissioned the internal refurbishment of
the old Cremorne Theatre in Kalgoorlie specifically as a picture theatre.
\I The Cremorne was the first WA Edwardian cinema refurbished internally
in 1930s style after the Depression. In the 1940s it became especially
popular, allowing the Brazilian bombshell, Carmen Miranda, to Chica
Chica Boom Chic her way to the goldfields, and Bing Crosby, Bob Hope
and the swathed Dorothy Lamour to be escorted in film canisters on the
Kalgoorlie line to appear on screen in The Road to Morocco.
Plans for internal modernisation of the Cremorne were drawn up by
John Fitzhardinge of Hobbs, Forbes and Partners, and the theatre was
upgraded with modern cinema facilities and art deco detailing, effecting
a complete change of style. After its conversion, it was considered the
most modern interior in Kalgoorlie.
On the Cremorne facade, which was retained and is still evident, the
pediments positioned over the matching blind arcades remained, while
the original entrance doors at either end of the building were bricked up
during the conversion.

Left: Vivacious Latin movie star Carmen Miranda, visualised by Ron Facius.

174 175

Far left: Stylised poppy wall decoration in pressed cement.
Left: Hannan Street frontage to Cremorne Theatre, Kalgoorlie.
Below: Hannan Street frontage to Cremorne Theatre.
\I
176
lounge area. At a time when Violet Crumble bars had given way to Mars Bars,
Pioneering Art Deco Architect this streamlined glass and chrome piece was surely the most moderne fitting
to arrive in Kalgoorlie. Other trappings of the era included noticeboards
JOHN BERKELEY FITZHARDINGE advertising coming attractions and the glassed-in ticket box, with gold-leaf
FRAIA, FPIA (19112000) lettering spelling out HOW MANY PLEASE (see page 174). By the late 1980s,
Born in New South Wales, John Fitzhardinge came to WA at the height when the building was documented for National Trust heritage assessment,
of the Depression, aged eighteen, and qualified as an architect in the 1930s detailing remained in the converted foyer, but, due to the activities
1934. While working with Eales Cohen and Bennett, he designed the of a teenage nightclub named King Tutts and other indoor sporting activities,
Applecross District Hall (1934), with a projection booth for showing some of the fittings had been marred.
movies. In 1936, when the development of Guildford necessitated the
construction of a new civic building, architects Eales Cohen and Bennett
were given the commission. After the first set of plans was rejected, John
Fitzhardinge joined the firm and took responsibility for the design of
the art decostyle Guildford Town Hall. Fitzhardinges design closely
resembled his earlier design for the Applecross District Hall, including a
fully operational biobox and facilities for screening.
Fitzhardinges ground-floor plan included two lounges, a perambulator
room and a staffroom. The central entrance opened on to a wide foyer, which
led to a long passage providing access to the cinema. A new stadium-type Streamline art decostyle
confectionary counter
platform was constructed at the rear of the auditorium and a new soundbox recycled from the Plaza
behind the screen. A sliding roof, supported by large steel trusses, was Theatre, Perth.
shown, which no doubt helped to alleviate the intense summer heat prior to
the installation of air-conditioning, although the adjacent picture garden was
generally a preferred option. Cremorne Theatre (1907) (1935)
During refurbishment, the architect removed the stage walls of the older
205 Hannan Street, Kalgoorlie
theatre and introduced a new proscenium and viewing screen bordered
by decorative panels and flanked by fretted grilles. Fitzhardinges art deco Architect: T. Roberts (1907)
motifs included several fibrous-plaster ceiling panels bearing typical art deco
Remodelling architect: J. Fitzhardinge (1935)
stepped shapes, including a vertical geometric sculpted panel reminiscent of
a portcullis, featuring a stylised poppy bounded by a budded wreath. Ceased operating: circa 1986
In the 1970s, unsuccessful attempts by Goldfields Pictures to sell the
Cremorne culminated in a virtual gift to the local council, with the proviso Currently used for community purposes.
that the building be used for community purposes.
National Trust classified: 06/06/1995
In the 1980s, according to Heritage Council documentation, Westralian
Drive-ins Pty Ltd, which operated Twin City venues at Kalgoorlie, took a ten- State Heritage Register: 3468 12/05/2000
year lease on the building and installed art decostyle furniture and fittings
from Perths Plaza, including a splendid snack bar counter in the former
Constructed on site of early outdoor theatre.
177
 THENEW

P~LAC1t
THEATRE
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l~~T~[E PALACE THEATRE
corner Burt and Brookman streets, Boulder, 1937
Architects: J.L. OCHILTREE and J.O. HARGRAVE

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Residents from Boulder were just as keen to enjoy the movies as their
neighbours in Kalgoorlie. After 1910 the Palace Gardens screened movies
in the summer and operated as a skating rink in the winter. As a boy, builder
\I Ronald (Jack) Davies, who from the 1930s worked on many Perth cinemas,
watched silent movies for threepence at the Palace. In 1930 Goldfields
Pictures converted the skating rink to the hardtop Lyric Palace Theatre, with
open-air gardens alongside, and showed films on a regular basis until 1937,
when a more substantial palace was erected on the adjacent lot. Here locals
enjoyed the antics of Mickey Mouse, laughed at the mischievous Felix the
Cat along with their city cousins, and wondered if the Norse gods sang while
Sonja Henie skated on Thin Ice in outback Boulder.
English-born architect John (Jack) Learmonth Ochiltree travelled to WAs
goldfields from Victoria, to be joined in the 1930s by his younger partner,
John Harrison Osborne Hargrave. They designed a number of impressive art
decostyle buildings in Perth, including the St Johns Ambulance building
and First Church of Christ, Scientist. While the Palace demonstrates none of
the fine proportions of these two later buildings, it has some interesting art
deco detailing.
Essentially a substantial hall, to which was applied a two-dimensional
facade of rendered brickwork, the Palace employed bold vertical elements to
Right: Art decostyle detail
produce a strong visual impact. This motif was repeated in the lintel over the
in fibrous plaster on the
ceiling at the Palace. door, with Aztec stepping carrying the date of the construction.

178 179
 J
IA'LGOOILIE
TH& MlNER,
WEDNESDAY,
JULY
11,1940.
Alllllllffl
MATINEE
MUHTICTHEATRE
Deaa
aa iaTHII
Durbia, MORN
"1-'JRSING,
10.30
T LOVE" O'CL.OCK
The stepped form covering
Plua
30mloutcs
the slope ofNews.
ofQ\oreasandAustralia.a
the roof was a widely accepted
-, TONIGHT5 ENTERTAINMENTS
method of constructing a brick~argarct
parapet on
';-.
4 \..~',; 'r I
Lockwood, Geo rgethe
Roboy, end
in of a gable roof; however,
"A QIRL MUS T LIVE "
PlusEdith
by emphasising and curving this, "PRIDE the
CinesountlOauJ
FTHI plain
fo
~ellowa,
:i;BLU
Ovc facade
in
QRA88
r~f'A~c~ s". acquired more style, and
suggested a modern approach within a limited budget. The brick and concrete
Deaunn. Durhio.
"FIRST Eul(eoc Pallettc. in
structure was as soundly built Plus as:'llany ofLOVI!"
chynDouglas,
"Tl!LL NO- the
Loui
TALES" more
se Pl.ll, i11 decorative cinemas in the
;Metro, (;aum onL,Fo :i;~ewuc Ii<
.
state, unlike many rural halls that display an impressive frontage, with the
Anuulmlla . Robert. \'011
11
11,i11
main structure constructed of weatherboard "BR IDAL au ITE"
or
" corrugated iron.
PhuJane Withers
"ALWAYS
, Arthu
IN
r Trenche
TROUBLE
r,in
Lt\urelandHardy Comedy, Nwreel
The interior of the Palace incorporated art deco styling in the mouldings
and covings. For example,
OREMORNI
AND the
MAJH1'10
Ti111dv,
Authent
Tsloping
HIATRl!S
iiie'l'hrillin~
NEXT
. .
ceiling
,SATURDAY in the foyer featured a
"THE LlON ASWUiOS"
prominent decorative central design. Dominating the decor, this moulded
plaque contained a circular disc imposed over a squared pattern of radiating
lines. On the fibrous plaster circle, a second series of squares was set on the
diagonal, surrounded by cloud-like forms with a chain at the circumference.
Sunrays meeting in the centre completed the pattern. The design embellishing
the moulded coving featured radiating chevrons and was complemented by
another wave-like pattern near the entrance to the auditorium. The original
decorative pressed tin ceilings can still be seen in some parts, but the
remainder of the auditorium has been stripped of its decorative elements and

' '
I The indoor theatre seated around 900 downstairs, with a further 180
Top left: Decorative plaster ceiling boss in the form of abstract explosion.
Top right: Corner detail of decorative border treatment to foyer ceiling.
Above: Abstract starburst plaster ceiling decoration.
a false ceiling installed.
Left: Press advertisement for Goldfields theatres.
I
Above: Regent Theatre and picture gardens, Kalgoorlie.
upstairs. The outdoor gardens, situated east of the building, accommodated
about 950. Projection was angled from the hardtop cinema. Entry to the
summer gardens was through the right side of the theatre foyer, while the
other side provided a lounge for downstairs patrons, a pram room and a Other Goldfields Venues
managers office.
Also in Kalgoorlie, the Majestic Theatre was still operating in 1966, and
The theatre, along with the adjacent summer picture gardens, operated Palace Theatre and (former) the Regent Theatre, built around 1929, continued screening movies.
until the early 1970s. Towards the end, competition from drive-in movies and Gardens (1937) Both were in Hannan Street.
television reduced audiences to the extent that films were screened at the The audiences for all Kalgoorlie theatres included not only the
Palace only once a week. The building was then converted and used for some 127 Burt Street, Boulder
townspeople of the Kalgoorlie-Boulder area but those from Coolgardie
years as a popular rollerskating rink and still operates as a youth recreation Architect: J. Ochiltree and J. Hargrave and mining sites and townships for many miles around.
facility. Elsewhere in the goldfields, movies were supplied to Southern Cross
Hardly palatial, Boulders Palace cannot be considered a great architec- Current use: youth recreation centre by A. Godwin and to Ora Banda and Laverton by Sullivans Pictures.
tural achievement. Nevertheless, the building represents an important part of Various touring companies, such as Bakers Photoplays Deluxe and
National Trust classified: 06/06/1995 Fitzgeralds Circuit Pictures, serviced other towns along the pipeline and
the social history of the goldfields and, together with the Cremorne, was part
of the Goldfields Picture Circuit. Municipal Inventory: 0186 09/07/2001 in the wheatbelt.
In the goldmining town of Wiluna, movies were regularly screened at
Theatre replaced earlier venue. the Ambassadors Theatre.

180 181
 .PTHEATREO
t\01
.
,

. _. w-i .~. ~ . _.._ ..

RADIO THEATRE
205 Fitzgerald Street, Geraldton, 1937
Architect: S. ROSENTHAL

The Radio Theatre, in the Mid-West port city of Geraldton, was the first
of the purpose-built modern cinemas of note to be opened in WA after
the buoyant upturn in the states economy in the mid-1930s, and the
\I first art decostyle picture theatre opened in the state. Rosenthals clever
design for the corner site was also the first to include a drive-through
service station (with a motor showroom later added to the original plan).
There was no space available for the usual picture garden. The complex,
including shops and flats, replaced the earlier corrugated-iron building
owned by Alfred Wheat. An interview with Wheats son, Alwyn, revealed
that his father chose the name Radio for his belief that the newfangled
marvel would, in the future, be used in the sound system of films. (This
idea was probably also behind the naming of the RKO film production
company.) Wheat senior was also managing director of Radio Motors, a
garage workshop where he sold radios.
When Alfred Wheat came to Geraldton, it was a rough and ready
town, little more than a fishing port and distribution centre. By the 1930s,
rapid expansion of both harbour and town site reflected the growth of the
regions activities, and by mid-decade it had become a major commercial
centre and port for the Mid-West region and beyond. Growth can be
measured by the spate of significant buildings erected in the town,
including the Roman Catholic Cathedral of St Francis Xavier designed by Above: Architects elevation drawing of Marine Terrace frontage providing for drive-in car servicing.
Monsignor Hawes. The construction of a modern cinema, with its neon

182 183
 Radio Days
Demure Nan Whitelaw, daughter of a former prominent Geraldton
businessman and now residing in Canberra, recalls open fields behind
the Radio Theatre, and a shop across the road selling frozen fruit
(possibly past its prime). Nan said: Four kids could go to the Radio for
two shillings in those days. Nan was a St Hildas boarder. We girls would
sit downstairs with the Hale School boys two rows behind and wed all
shift when the lights dimmed. In contrast, a youthful Ruth Marchant
James, author of Cottesloe: A Town of Distinction, was given a ticket to
the Cottesloe Picture Theatre by a youngster who sat with his mates
behind her and passed lollies across the seat!

The Radios facade reflected a concern for three-dimensional massing,

\I
Above: Art deco ornamented mouldings to proscenium. Above: Auditorium and proscenium during occupation by church organisation.
sign spelling out RADIO, was a symbol of increasing prosperity in the
region. As the theatre was erected on a prominent site, its flashing sign
the largest in Geraldton caused some concern among locals, who
considered it a shipping hazard. Contrarily, as the sign could be spotted
way out to sea, local fishermen used it as a navigation aid. The sign was
removed during World War II, when it was feared it could become a
guiding beacon for enemy ships or submarines.
Such was the popularity of the movies and the desire to be newest
and best that the 12,000 Radio opened seven weeks ahead of schedule,
on 10 April 1937, to steal a march on Bonners Cottesloe Picture Theatre
by two weeks. The Radios opening ceremony, celebrated by Mayor
R. Carson, saw elegantly attired guests make an undignified entry on
duckboards over a muddy footpath during a rainstorm, to view Clark
\I
Gable and Jean Harlow in China Seas. Those with tickets to the upstairs
balcony proceeded past the jarrah-lined ticket box, up the handsome
jarrah staircase, to behold a glamorous modern interior with much bas-
relief ornamentation in the auditorium. Decorative ventilation grilles
either side of the proscenium suggested the organ pipes of earlier opulent
theatres, complemented by jazz age zigzag and chevron motifs in the
remainder of the auditorium.
Work continued for several months, adding finishing touches to the
remainder of the building, referred to by the Geraldton Guardian as an
important and interesting acquisition to the architectural appearance of
the town utilising a valuable site in the main thoroughfare that hitherto
remained idle.62
combined with the use of stylised art deco decoration that Rosenthal had
pioneered in his earlier cinema designs. These included an emphatic vertical
fin and pylons, a stepped skyline, and modern stylised lettering on the
parapet and sheltering marquee. The upper part of the building featured a
concentration of ornament, with RADIO THEATRE lettered on the parapet,
flanked by decorative wheat sheaf designs on the pilasters, honouring the
owner. Perhaps these attractive arrangements impressed Penny Sutherland,
whose interest in films as a girl began in Geraldton. She attended the Windsor
as a sixteen-year-old and later progressed to film critic for the Edinburgh Film
Festival.
The cement-rendered two-storey facade blends into the Fitzgerald Street
frontage at the street corner, with transitional symmetrical corner detailing.
The Guardian commented on the architects carefully planned modern
ventilation arrangements whereby roller shutters were installed to protect
the openings from extreme climatic variations. Despite the resilience
of the populace in those years, these measures were hardly adequate for
subtropical Geraldton, where the temperature would regularly climb to 40
degrees Celsius. Within a year, such arrangements were outmoded in Perth,
when air-conditioning arrived at the Piccadilly. It is ironic that, considering Clockwise from top left: Rosenthals decorative wall and ceiling treatment at balcony level;
entry tower featuring wheat sheaf designs; Egyptian motifs featured on cast metal seat ends;
the proliferation of open-air cinemas in WA, the Radio remained solely a
auditorium ceiling decor.
hardtop venue.

184 185
 Going to the Pictures
at Other Northern Towns
Further north, films were shown in many locations, including the
Swansea, Carnarvon, by Carnarvon-Gascoigne Memorial Fund. AWU
Pictures screened at the Royal and Gardens, Meekatharra, and travelling
~
14PRICE L!\f
MIDCOAST
CINEMAS
~P~;fj ~
salesman Peter Carrigg recalls seeing Show Boat and San Francisco at the
Mt Magnet Gardens, run by Consolidated Theatres.
GUESTP~!
REt,\~i~e.
i'~ie
;:-,:;,_
ADMIT
....,ANY
ONE Former MacRobertson Miller Airlines and Flying Doctor pilot
p,t-1'/ Valid . SESSION
.
"",:,
~L.DTt>tJ _______
MOOA HOSPITAL
Valid
..--
C<'~N
..-- Captain Kay Paterson transported canisters of film to WA coastal towns
TALKIES
Bt' TEiiCRABBE right up to the north Kimberley. Two films, including a Western (enjoyed
by the Indigenous population), arrived progressively for screening in
each town before being flown to the next, finally reaching Derby. After
many en-route splicings of breaks due to uneven hand-cranking, Kay
CHAPT
ER1 would repair the films at his home, five miles out of Derby, return to
"THE
PLANET
OF
PERIL
"
A4 ~ntrtJr,11111I
for,.Juliwdl cltildr
l'I town on a Lambretta with his family, and operate the projector in the
local hall, frequently diverted by dogs fighting in the aisle.
Above left: Flanking wall detail to right of proscenium.
\I \I
Above right: Radio Theatre building facing Marine Terrace reused as
Christian meeting hall.

Left: Admission passes for Radio Theatre and Geraldton drive-in.

During World War II, when service personnel were stationed in Geraldton,
the Radio experienced a boom period, and in 1951 Goldfields Pictures
purchased the building. By the late 1950s the first of three Geraldton
drive-ins had arrived, sounding a death knell for the Radio. Closing
in 1971, it reopened in the early 1980s, when pictures were screened
in the upper circle, but finally closed in 1988. With a new owner and
occupation by a teenage nightclub, the raked floor was removed, and
by 1989 a Christian church group was occupying the building and had
bricked up the ornate proscenium. Since that time, the building has been
used as a restaurant.
En route to Geraldton, films were shown at places like Moora, along
with a regular serial thriller such as Flash Gordon.
Radio Theatre (1937)
205209 Marine Terrace, Geraldton
Architect: S. Rosenthal Above: Multipurpose regional structures, such as W.G. Bennetts 1936 art deco styled Mullewa
Town Hall (top) and John Fitzhardinges 1950s modernist Morawa Town Hall (bottom), are
Current use: restaurant (formerly Potters typical of the rural community buildings that included projection rooms and all facilities for
screening the movies.
House church)
Left: In Moora, weekly serialised adventures regularly screened for both children and adults.
National Trust classified: 01/10/1989
State Heritage Register: 1060 16/12/2000

186 187
 THE IL,Yl
ll~llll~
l1
[ J~
-

LYRIC THEATRE
/ 01.o
nW.
lll'D o,a11
-1QI'.
F=F
~=!l1Tfl
llR~==L--
u:,,.
...
0\:..:..:':...?
r":,.-.:,0
.

corner Victoria and Symmons streets, Bunbury, 1937

1.11
.,. .:--:
..
o

-\: ..- .:..

--~-
....
_..
..
W
.1'
:
..
Remodelling architect: W.T. LEIGHTON

Refurbishing the old Lyric was William Leightons first commission after
returning to WA from the eastern states. Early in April 1937 the building
was purchased by the Nelson brothers, keen to expand their chain of five
\I picture theatres scattered around the state and thus to increase their stake
in the profitable industry. Shortly after the change of ownership, the front of
the insured building was badly fire-damaged and the Nelsons immediately
announced plans for restoration and remodelling, hastening to assure
the public that the new theatre would include modern improvements
incorporating the latest safety features.
Only the very best cinema architect would appease Bunbury
residents, who did not wish to be without their popular theatre for long.
After plans by several architects were rejected, William Leighton, with a
growing reputation for designing with speed and efficiency, was given
the commission, and by July 1937 the building was once again open to
the public.
The remodelled face contrasted markedly with the edifice that had been
Above: Architects front familiar to Bunbury for the previous thirty-five years. Leighton retained
elevation drawing for
remodelled facade.
the proportions of the building, replacing the verandah and its posts and
balconies with a tied cantilever awning; this gave the facade a modern, yet
Right: Detail of
architects Mayan flower
decorative, appearance with a dynamic balance of horizontal and vertical
ornamentation for geometric shapes, relieved by decorative sculpted panels based on Mayan
refurbished facade. plant forms he had used on earlier buildings.

188 189
 LAST
, NIGHT
. TONIGHT ,. At the Lyrics gala reopening, Nelson Theatres Ltd introduced its
itHE
ADVENTURES
OF
TOM
SAWYE~'J
CIN
n;r.nNt<.:OI.OUltt
'
refurbished building with the slogan Style and Simplicity the Keynote.
The occasion featured Girl in a Million, starring Sonja Henie, supported by
. With
Tommy May
IC~lly Robson
TOCETJll::R
W.iTU..,_
LYJ.,g _,,,._.
TALBOT . an extensive advertising display in the local press, promoting the work of
associated local tradespeople.
LIMITED"
"V.'&)TBOUND
l'LUSi-lllCHUCHTS
OFTtlE.FlllST MATCH
TEST . Within a year of the remodelling, the Nelsons sold to Goldfields Pictures,
WEDNESDAY - FRIDAY.
-THURSDAY which was happy to capitalise on the going concern. The new company
.Ttl'a&E
11ntWANT
orUGllT lAkS
0
IN;AbLA
TOCE'fll~R Z
OOME.DY
. - . changed the advertising format to a style that would reflect its progressive
J:OAN
CRAWFORD
.... .
\VILLIAM
POWELL . attitudes, including the use of the Broadway font style, popular in WA from
-
ROBERT -MONTGOMERY
IN .....L . .. . the mid-1930s.
'".fl1e
Last
With
oMrs.
-Morgan
Frank
Cheynef
f.:.Jessie !'
Raiplt.

Despite these modernising efforts, rapid developments in the industry
were such that by the following year, competition from Bunburys new
- A~SOCIATE ATTRACTION- .
A.y.,.,. L.
D~- ' M'"' Bet.1...1
..._CrtaJef11.eLaw Mayfair, owned by the same company, brought about the closure of the Lyric.
"AFAMILY
\Vith
Liond
AFFAffi"
Barrymore
Cecilia
Parker. The building was subsequently bought by local retailer Bill Browne, who ran
COMMENClNG
SATURDAY
NEXT
)
a furniture store there for many years.
FOi\ASIXNIGHT
SEASOl(
.\ValtDisncy;s
"Snow
and
the
Seven
,VI1ite Dwarfs"
-
.

NOTJ~.
- Rox
Plans
Filling
Rapidly.

\I \I
All Leightons 1930s cinema commissions endeavour to balance the
use of ornament with a strictly functional approach. Some of these designs
appear to be of his own invention, such as the circular wave motif decorating
the auditorium wall at the Lyric, a theme he repeated in subsequent Perth Lyric Theatre (1905)
cinemas. A variation on this wave motif was included in Leightons plans
7377 Victoria Street, Bunbury
for refurbishment of the Theatre Royal, completed in the same year, and
the Como Theatre, constructed in 1938. A more sophisticated version was Architect: F.W. Steere (1905)
applied to the auditorium walls at the State Theatre.
According to the local press, the light fittings in the refurbished Lyric
Remodelling architect: W.T. Leighton (1937)
were the very latest importations and naturally new to Bunbury,63 and were Closed 1939.
lowered considerably to minimise visibility of the overhead metal girders.
Although at some variance with the new design features, aspects of the old Current use: commercial premises
theatre, such as the 1905 painted wooden staircase and the Tuscan-style
National Trust classified: 04/05/1981
columns supporting the balcony, were retained in the facelift. The installation Opposite page, left: Local press advertisement for Lyric Theatre program.
of a glazed island ticket booth, however, was another novelty for the town. Opposite page, top: Victoria Street frontage of Lyric Theatre building reused as furniture store. State Heritage Register: 0374 23/05/1997
After renovation, the theatre seated 683 in the stalls and 263 in the dress
circle.
Top: Fanlight grille over doorway.
National Estate Register: 18/09/2014
Above: Ceiling ventilation grille.

190 191
 MAYFAIR
THEATRE
BEAUTIFUL

MAYFAIR THEATRE
Stevens Street, Bunbury, 1939
Architect: S. ROSENTHAL

Two years after completing the Radio Theatre, Samuel Rosenthal bypassed
the new, expensive sophisticated climate control64 in his design for
Bunburys Mayfair Theatre. He opted again for natural air-conditioning
\I
for the south-western seaside town, where, at the height of summer,
temperatures rarely exceeded 32 degrees Celsius, being cooled by the
afternoon/evening sea breeze.
This tribute to the South West65
was Rosenthals last and most distinctly
modern theatre design and, arguably,
his finest. Like other new enterprises of
the period, the Mayfair was seen as a
symbol of faith in the regions economy,
strengthening an expansion program by
Goldfields Pictures, which, in addition to
its existing venues, had acquired Collies
Theatre Royal and the lease of the nearby
Lyric.
Ten years earlier, the Princess Theatre
had made its debut on the same site, and,
despite the severely depressed years that
followed, the old Edwardian venue was
popular with Bunbury residents.
From Cheap Seats to Padded Seats
During the years of the Princess Theatre, Bunbury resident Myrtle
Bergersen recalls that she was given permission to go to the pictures
only when childrens matinee sessions were reduced from sixpence
down to threepence. She well remembered the old lift-up seats, and
how annoying it was to have to stand for latecomers during an exciting
moment. A decade later Myrtle welcomed the replacement of the old
Princess with the new 10,000 Mayfair, which included comfortable
(Finest in the World) Dunlopillo-padded seats promising to make one
feel one is at home. 66
When Bunburys Modern Show House opened on 4 August 1939, never
before, stated the generous commemorative program, had a country theatre
in Western Australia been built on such a lavish scale The notion of just
like home conflicted somewhat with the luxurious and modern atmosphere
that takes you right away from your everyday environment. In fact, the
Mayfairs comfortable furnishings and spacious seating were the antithesis of
home to many hardworking country folk. The viewing of Three Smart Girls
Grow Up, with Deanna Durbin, in what the management claimed was one
of the first country theatres in the whole of Australia to boast a Lounge and
Lounge Foyer, was an unaccustomed delight.

Above: Mayfair usherettes as depicted

in souvenir program booklet.
192 193
 FIELDS
GOLD ES
PICTUR
LilllTED
Next
WA.
wa.AI.
Week-End
,.
""-Dt ..... " .. .. "" - - .. ClD'U(ll~ Going to the Pictures
Attractions
~-..-
\YF
~L ,URTBEATRE
BUNBUR'[
CREMOl lNETheatre Tonight
,_ -,-KALGOORLIE ......,_. (Tuesday) Wedne
dayat7.45p.m.
sdayandThurs-
concealed lights on the canopy, throwing the theatres name into strong relief Elsewhere in the South-West
,...,_s.--
.....
"Kcn1Uck1 Three
',Smart
,"......
""'Dll'""'
h,..,ti.-v..
Girls Gogi 1, W1ll
G,o.n i0-
Sto,,-withJou- Rocl-
Nkl
l\n,dr(I
m Reynolds, rlin ond 18 Top
oll- Bollo
N-R J
di-Blue
I The Mayfair was one of the Goldfields Pictures Ltds chain of cinemas,
Rtt0t-d11io
Grow U p
and no doubt evincing a sense of wonder in the expectant crowds.
I "THE (G)
0
C---f.,,.,, ......::.,
uGunsca Din BIGBEAT"
InColour
REGENT THEATR E
initially under the direction of W. (Bot) Clemenger, who had purchased
Tm:AT HEROYAL KALGOORLIE Plui n
Ra dolph ,
Scot1 Hole,
Bo,boro Jay C . fhppen .
-HICOE - .lwof""""""'--'
LLI Ice" "
'!'.....,"-"n.-.4,
"I S..,
""":r.-,,..,-r.,._~-
King"
Were
"7thCAVALRY" (G)
In Ttchn1eoror In fact, the facade of the Mayfair was basically symmetrical, with an
a small circuit of Kalgoorlie and Northam theatres from E.P. Nelson in
u

..__ HARVEY
PALACE THEATREFriday,
BOULDER Saturday andMonday, 14th
,.at7.45p.m
, 15th
. off-centre vertical tower to which the name banner was attached. Because
D
CINEMA and17thNovember
,
......
DD
DDD!\nl_I
u-..1o
_.....-.
11..,w....,

D
_ ..,_1t-....,
ll,,1

.:- 1934. Clemenger expanded the circuit to include many suburban and
"11I Were ..Suez" , Norol,e,Wood , J,m8ocll.us

.
King" 1,Oton
Jorne
of the regular nature of the site, there was no functional reason to adopt
~

'
-~ .J
<.-
T- - - - C --:,',-
~
~

-~
c_~ _,.,. --
CAPITOL
"Four
THEATRE
NORTHAM ....,..
....l~
11,,,,,....,
Daughter,."
Ambassadors
_,W/LUNA
owboy
"C
Theatre
,,....,
.and
"Reb elW ithou
InColour
t a
orion:fG)Fe-Gene
theLady" Ct-ruor~1pClon.ifk
Su1tobl,e
Co
CinernoSc;Qpe
/lySelectt'd
W,rhSo:10
u
fitur-tttN
ralExh1
.
fo,-Children
se" (A)
, WNot
bir1on
an asymmetric approach other than to emphasise the connection between regional theatres, including the Amusu Theatre near the Duke of York
Hotel, Narrogin. (Former Narrogin resident Ella Smith remembers
- - - ~

modernity and the cinema. Nevertheless, construction of a building that

Despite glowing reports of the states increasing prosperity in the late
1930s, the upturn was slow to take effect in the South-West. Local business
owed much of its outward appearance to European modern sources in a
relatively small WA regional centre was groundbreaking at that time.
Flanked by shops, wide terrazzo steps led eager movie-goers through
chromium-plated glass doors to a richly carpeted entrance. Supplied by
Aherns in Perth, this multicoloured floor covering, continuing to the dress
circle and lounge, was itself an innovation for Bunbury. In contrast to earlier
theatres, the Mayfairs auditorium offered clear, uninterrupted views for
1200 patrons, where a stepped decorative plaster moulding drew attention
to the proscenium and its off-gold curtaining. This pink-flecked object of
wonder, complemented by pastel-shaded walls and intermingling neon hues,
completely dominated the interior.71
the Amusu as a terribly cold place even for Narrogin!) Eventually,
Goldfields Pictures became the largest circuit in WA (thirty to forty
venues) and one of the largest in Australia. Former travelling showman
Ron Elsegood, who managed several of these theatres, became supervisor
of the chain and eventually managing director.
The Boddington Power and Light Company and the South West
Picture Company showed films in various other South-West community
town halls, and Circuit Pictures, operated by E. Kanzler, brought the
movies to Pinjarra, Dwellingup, Waroona, Yarloop and Brunswick. The
latter two halls were designed by Powell, Cameron and Chisholm, which
was responsible for the Harvey Town Hall, utilised as Cinema Harvey
by Goldfields Pictures and where film historian Ian Stimson, owner of
Moving Image Museum, North Yunderup, worked as a technician.

' '
houses were swift to identify with the largest and most up-to-date structure
I I
built by Goldfields Pictures.67 In a bid to capitalise on client potential and
capture attention, Boulters Clothing Store advertised that Therell be no
place for a NUDIST at the opening of the New Mayfair Theatre!68 now
that Bunburys modern showplace encouraged more formal attire. Sartorial
elegance may have influenced Rosenthals choice of a natural ventilation
system, to allow free access of the sea breezes a feature of summer
evenings in Bunbury.69 It was claimed there could be no improvement
upon the glorious climate with which Nature endowed this portion of the
State.70
The theatres frontage certainly presented a very different image to
anything most people in Bunbury had experienced. Even the modernised
art decostyle Lyric was ornamented and classical compared to this smart
but austere exterior. The Mayfairs asymmetrical massing of cubic forms and
Top (left to right): Architects drawing of front elevation to Stevens Street; plain smooth surfaces, the balancing of predominantly horizontal lines of
program illustration of popular film star Deanna Durbin superimposed on Mayfairs stage; visually connected windows with a vertical tower, and the incorporation of
Goldfields Pictures advertisement for coming attractions in theatre chain;
large lettering printed in the facade all pointing to the direct influence of
press advertisement for Mayfair Theatre film program, including Rebel Without a Cause.
the international modern movement must have been a new experience
Above: Mayfair Theatre lobby and ticket office.
for many country folk. A flashing neon sign reinforced the off-centre vertical
element, and on opening night the cinemas facade was floodlit from
Within a month of the Mayfairs sparkling debut, the declaration of war
heralded the end of the purpose-built art deco movie houses. The only
cinematic building work undertaken during the war years was Leightons
refurbishment of the Plaza and William Bennetts Hay Street newsreel
theatrette, also called the Mayfair.
Rosenthal did design another Mayfair Theatre for the nearby agricultural
town of Harvey, but due to hostilities this did not eventuate. During the
war, the Mayfairs management and staff, under Ron Elsegood, were highly
commended for their assistance and cooperation in raising war loan funds,
offering two seats in their luxurious lounge to every applicant to war bonds,
free passes for the best bonds sellers and special film nights as fundraisers.
Demolished in 1972, the Mayfair is well remembered by Bunbury
residents, including former ice-cream salesboy Melvyn James, who, as a
young lad, caught the bus from South Bunbury to the Mayfair every Friday
evening to meet up with his friends. Mel was offered free movies (and 20 per
cent commission) to don a green jacket and carry a tray of chocolates and
ice-cream to serve patrons during interval, leaving some under the front seat
to finish up later. Mel, together with former Minister for Heritage, the Hon.
John Castrilli, MLA, spoke of attending Bunburys Forrest Theatre and Drive-
In Theatre, built and run by Arthur Dunne, operating into the 1970s.
Dr Leo Marzo, son of Harvey tailor Alfred Marzo, was a fan of the
Hollywood comedians Bud Abbott and Lou Costello, who were showing
at Cinema Harvey when he was young. Leo recalls that one of his fathers
clients resembled Lou Costello, and young Leo naively thought they
were one and the same, so when Leo was asked to book tickets for the
evening show he ordered them in the name of Lou Costello! The amused
attendant made the booking and was further amused when the local
Lou Costello arrived for the evening show.
Meanwhile, Allan Jones expanded his South-West circuit, building
the Roxy at Manjimup and the Allan Jones Cinema at Busselton in the
1950s.
Mayfair Theatre (1939)
Stevens Street, Bunbury
Architect: Samuel Rosenthal
Demolished: 1973

194 195
 BEVERLEY
PICTURES
BEVERLEY TOWN HALL
AND PICTURE GARDENS
- ~~ ... .-:!.
,_ -
138 Vincent Street, Beverley, 1938
Architect: W.G. BENNETT
The Beverley complex is an excellent example of Bennetts work at its best.
It still lends distinction to the main street of the wheatbelt town, while
residents in older towns like York and Toodyay continue to watch movies in
\I community halls.
The complex has changed very little since inauguration by Lieutenant
Governor Sir James Mitchell, seventy-five years ago. The first screening on
10 September 1938 included After the Thin Man, starring Myrna Loy and
William Powell.
Sir James Mitchell opened just about everything of note during
his years in office, and made a point of inaugurating the new picture
theatres. The Beverley Town Hall and Picture Gardens was an important
civic building of architectural merit obviously warranting the 200 mile
return car trip by the Lieutenant Governor.
I remember that Sir James morning strolls many years ago often
coincided with my arrival by bus at the corner of St Georges Terrace
and Victoria Avenue. Almost without fail, he would doff his bowler
hat and exclaim, Hello little lady. Off to give those nuns a run for
their money?
Vyonne Geneve
196
In September 1938 the Western Mail included the Beverley building in a
photographic survey of the most distinguished modern structures in the state
at that time. In February of the same year, the West Australian had announced
Bennetts plans for the Town Hall, Cinema and Picture Gardens, including
a perspective drawing of the proposed complex. Tenders for erection of the
new building and demolition of the existing Road Board offices had been
invited the previous November. Builder J. Thompson was successful, with a
cost of 5575. Bennett designed many local government buildings around
the state, and the Beverley project is considered his most successful in the
genre. The only other WA examples of a shire office combined with a cinema
and picture gardens are the Mosman Park Memorial Hall, the remodelling
of which pre-dates the Beverley complex by twelve months, and Wells Hall,
forerunner of the Cottesloe Picture Theatre.
The building presents a very modern facade, combining a monumental art
deco style with a predominantly horizontal emphasis, reinforced by the use
of recessed string-courses and mouldings. These, together with a concrete
eyebrow over the windows, tie the various elements together, suggesting the
effect of strip windows. This horizontal emphasis is balanced by the strong
vertical blocks of the entrances to the two halls, and these, in turn, are linked
at the upper level by the continuous form of the common projection room.
In contrast to most urban theatres, the roof line of the hall is part of the
total effect, with the gabled roof successfully integrated into the design by a
197
 .J
rrirl.a7
.~t .lHI

BEVERLEY
PICTURES
I ANNOUNCES
ITS The Beverley Picture Gardens ceased operations after the advent of

Gill
OPENING
CHAND . ON
television and the drive-in theatre. Despite the construction of a new shire
office, Bennetts complex is still regularly used by the local community,
forming an important focus of the towns main street.

SATURDAY~,
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ID,
ByMr.
G.L.Weaver,
Chairman
Beverley
Road I
Board
1
The Beverley Town Hall has been classified by the National Trust of
Australia (WA) and registered by the Heritage Council of WA.
In the decade after the end of World War II, picture shows in regional
and city outlets remained a major source of entertainment for most Western
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I=====- --- -- ~ - - - -~ --~ - ~ youngsters eagerly anticipated family outings to the Ambassadors and Royal
theatres to enjoy blockbusters like Chitty Chitty Bang Bang and Oliver. In
triangular parapet. This links the hall body to the Egyptian-influenced tower rural centres such as Beverley, Bunbury, Geraldton and Kalgoorlie, going
structure forming the main entrance. This theme is sustained throughout the to the pictures on a Saturday evening continued to be much anticipated all Above: Entry to Main Beverley Hall Above: Entry to Lesser Hall, Beverley, with
\I \I
design in a series of sarcophagus-shaped soffit mouldings expressing the through the 1950s and into the 1960s. featuring Egyptian-style sarcophagus shape. projection room above.

Above: Press advertisement for Beverley Pictures gala opening.
Above right: Beverley Town Hall facade.
Right: Site of former picture garden (no longer in use).
main entrances as the principal element and focus of the building. The tall
main entry is decorated with the state emblem on the spandrel infill, under
which the buildings date is recorded. Above, the letters HALL are spelled
out in typical deco modernestyle. This important focus of the frontage is Beverley Town Hall and (former)
emphasised by multiple stepping on the tower, where a centrally placed Picture Gardens (1938)
flagpole is balanced by three horizontal raised bands.
LESSER HALL and PICTURE GARDENS are similarly lettered over 138142 Vincent Street, Beverley
the other doorways, and the access to the lesser hall, which repeats the Architect: W.G. Bennett
sarcophagus-shaped motif, is marked with a stylised cartouche. The entrance
to the picture gardens, opening on to the corner, is unadorned except for the Refurbished 1980.
lettering above, which is repeated under the eyebrow canopy linking all the
Continuing use as community hall.
components of the building. The main hall is separated from the lesser hall by
a light area capable of accommodating 650 people, and the picture gardens National Trust classified: 06/06/1995
were catered for with similar capacity, serviced by a biobox placed above the
lesser hall entrance on the front elevation of the building. By linking the two State Heritage Register: 0154 15/08/2003
bioboxes across the facade to form part of the sculptural massing, the overall Use of picture garden discontinued mid1960s.
appearance is enhanced. No attempt was made to emulate the innovative
concept devised by William Leighton for the Windsor and Como theatres.

198 199
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 Cinema
Since the 1950s
With the end of hostilities, the wartime boom in cinema attendances ceased,
and by 1948 it was no longer possible to fill all the seats in the large city
theatres. During the 1950s, when postwar difficulties had eased, several new
cinemas began operations in Perth. These included Barrack Streets Liberty (later
Kimberley) Theatre and the Savoy Theatrette in Hay Street. The Liberty was
fashioned from an Edwardian building in 1954 by architects Krantz and Sheldon,
operated by Independent Theatres and run by Lionel Hart. Improvements were
made in 1957 and during the 1960s (with assistance from Iwan Iwanoff), Krantz
and Sheldon were responsible for the redesign of the Liberty Theatre after a
major fire. Art-house films were screened, followed by revivals. It was taken
\I over in 1978 by Consolidated Pictures, run by Bob Yelland.
Hart, proprietor of the Premier and Windsor theatres for a time, also ran
the 300-seat Savoy Theatrette from 1956, showing newsreels, shorts and
cartoons, after converting it from a billiards saloon beneath the Savoy Hotel.
In 1975 the Savoy was Perths only cinema to screen R-rated movies.
Rapid proliferation of television in the 1960s threatened complete collapse
of the motion picture industry. The regular night out at the local flicks virtually
disappeared, as former patrons were seduced by the novelty of being entertained
by the flick of a switch in their own living rooms. With audience numbers
down to a mere handful, many cinemas and open-air venues, especially in the
suburbs, were forced to close. Yet in 1968, as a result of judicious programming,
audiences flocked to a newly constructed Village Theatre (replacing the former
Dalkeith Picture Gardens in Waratah Avenue), and the theatre remained viable
for special release and Festival of Perth films until recent years.
Above: Rebirth of Samuel Rosenthals New Oxford Theatre as Luna Cinema. Young journalist Diana Warnock, who reviewed films from the early
1960s and later joined the festivals film selection committee, remarked in an
interview with Vyonne Geneve: those movie houses were as familiar to me
as homes of my friends alas, so many are gone, and we must treasure and
work to preserve those few that still remain!
202
Of the pre-1930s cinemas designed by Samuel Rosenthal (including
the Gaiety, Broadway, Premier, Richmond, Beacon, Radio and Theatre
Royal, Collie), the only one to survive the vicissitudes of the motion picture
industry by a chameleon-like adaptation to changing circumstances is the
New Oxford. After a short closure in 1966, the theatre reopened under new
ownership as the Nickelodeon, and then in 1972, in response to changing
local community values, presented predominantly Greek and Italian films
under the name Olympia. Seven years later, the cinema was upgraded and
the name returned to New Oxford, with the intention of showing family-type
films. The response to this policy, however, proved disappointing, and in an
effort to boost audiences, the lessees elected to show R-rated movies, which
was a profitable move. In 1981 the theatre was revamped, with a wide screen
and new equipment, carpet and seating, and the coffee bar and upstairs
lounge converted into a small cinema. Seating about 150 and renamed Star
Theatre, the venue also provided live music sessions on Sunday afternoons.
Around this time, the management obtained the film The Gods Must
Be Crazy. Hugely successful, it became the cinemas longest running film,
showing continuously for three years. With the cinema fully refurbished and
with a new raised roof line, the management then showed other independent
films and in the 1990s was named Best Indie-Urban Cinema in Australia by the
Australian Independent Distributors Association. In 1996 a new Luna picture
garden opened at the rear of the adjoining shops in Oxford Street, with seating
capacity of 200. The Luna Palace group, which leased the Windsor Theatre and
two cinemas in Fremantle, took over the theatre in 1999. Another renovation
was carried out and the theatre became the Luna Leederville.
Unlike the Luna, many cinemas did not survive after the 1950s, and
distributors and exhibitors alike realised that drastic changes would be
essential if the industry were to survive the inroads of television. One
successful strategy (for a time) was the development of drive-in cinemas.
203

Drive-In Cinemas
The drive-ins, as they were known, were hugely popular by the late 1950s,
due to their appeal to younger audiences and increased car ownership among
West Australians. This period has been dubbed by some the Holden age.72
By this time, various technological advances, such as wide screen,
improved colour and stereophonic sound systems, all helped boost the
\I
popularity of big-screen movies; however, it was another twelve or so years
before audiences, tired of the novelty of the small screen and its diet of repeat
programs and advertisements, returned to movie houses.
Although drive-ins were an American concept, according to Max Bell, an
early recorder of Perths cinema history, there is anecdotal evidence of patrons
occasionally attending country WA open-air picture shows in automobiles as
early as 1938, pre-dating the first American-style drive-ins.
Drive-ins were a popular and widespread feature of movie-going in WA.
Many West Australians, as children rugged up in night attire in the back of
the family Holden or Ford, first experienced the fantastic movie world in
the best seats in the house. Some, it is said, may even have been conceived
there! The convenience of being able to drive the family to the venue and,
without leaving the comfort of their vehicle, pull in a mobile speaker from
the stand beside the car, and then settle down to watch films appealed to
West Australians in their thousands. Even peering through windscreen wipers
during the occasional rain shower did not deter most.
Initially, suburban hardtop theatres and gardens retained priority release
rights, but it was not long before this situation was reversed and the drive-ins
were given priority.
204
My young sons could never be deterred from seeing a movie at
the drive-in. They pestered me to be taken to see Jaws at the
Melody Drive-in an outing my daughter, very young at the time,
remembers to this day. Fast asleep in the back seat, she suddenly woke
to be confronted by the menacing monster devouring all in sight.
Vyonne Geneve
\I
The Highway, opening in Bentley in October 1955, with a 642-car capacity,
was the first American-style drive-in cinema established in WA, followed by
a number of others in quick succession throughout suburbs and the state. By
decades end, eight were operating not far from the city: the Skyline, Floreat,
opened in November 1955; Motts, Gosnells, and the Panorama, Roleystone,
in 1956; the Metro, Innaloo, and Lakeway, Mt Claremont, in April 1957;
and the Melway, Melville; Wirrina, Morley, and Eastway, Belmont, all in
1959. During the 1960s another nine venues appeared in the suburbs, with
a further five in the 1970s.
The Metro, operated initially by MGM until the relinquishment of all its
venues, then by Roadshow and later Ace Theatres, held a staggering capacity
of 1011 cars.
The Line venues were run by Grand Theatre Company and the Ways
by Ace Theatres. Architect Garry Leighton, involved with more than a dozen
drive-in venues, added a cinema to the Viewway site in Kalgoorlie in 1983
and then, due to its huge profitability, added another two hardtop cinemas
in 1999, when the drive-in closed. Leighton added a hardtop on the Metro
site at Innaloo in 1983, twinned it in 1984, expanded it in 1990 to an eight-
More than Just the Movie
Some drive-ins, like the Highway, provided a childrens playground at
the base of the screen. National Gallery of Australia senior curator
Dr Robert Bell, whose family moved from Kelmscott to Bedford after
the Highways construction, confessed he was never too old to join
younger children on the swings. According to Bell, the early part of
the venues program was oriented to kids who, dressed in night attire,
were usually permitted to purchase soft drinks and choc-bombs at the
refreshment kiosk.
cinema complex and, three years later, with the closure of the drive-in,
added further cinemas. In 1989 he also twinned the Highway site, which
closed in 1994.
In 1980 a number of metropolitan drive-ins were fitted with Cine-fi, a
radio technology that enabled patrons to listen to the soundtrack of the
film on their car radio, and the venue to do away with speakers for each
car space.
Due to lagging television broadcast availability in country areas, the
boom in drive-ins did not occur there until the 1960s, with only three
constructed in the 1950s: the Mayfair, Bunbury; the Avonway, Northam,
and the Morcady in Wongan Hills. This changed rapidly, with no fewer
than sixty-one opening in the late 1960s and another seven after that.
A number of the travelling showmen, particularly Paddy Baker, saw the
possibilities and constructed a chain of small drive-in venues in the rural
areas they knew so well.
From around 1983, increased use of videos and, later, home theatres
began to keep potential patrons at home again. Most drive-ins have now
closed, with the large area of land they occupied on-sold for housing
development or shopping centres. At the time of writing, the Galaxy in
Kingsley is the only drive-in still operating in the Perth suburbs, although
there are still a number of country venues, including those at Busselton,
Exmouth and Dongara.
205
Cinema Complexes
of the 1970s
Another bold plan for survival of the motion picture industry, particularly
among city theatres, was the construction of the cinema complex, where a
number of smaller venues would be grouped together under one roof, with
common facilities.
Whereas earlier audiences could be drawn in the thousands to the large
picture palaces for a run of one to three or even four weeks, by the 1970s there
was an overabundance of competing entertainments and new recreational
opportunities. However, exhibitors had realised that while only small numbers
were being attracted to the cinema at any one time, the total number of people
attending over a longer period could be sufficient. By reducing auditorium
size, drastically reducing staff and maximising efficiency by running several
films simultaneously, the venue could remain viable and, indeed, profitable.
Gone were the armies of obliging staff, the entertainers and orchestras
and the pram and crying rooms. Gone too were the references to exotic
places and cultures in the architecture and decor of those early palaces of
dreams. In their place was a cinema with a bland exterior structure, often
indistinguishable from a bus station, and a futuristic interior admittedly, of
palatial proportions full of glamorous imagery, jazzy promotional displays
and commercial opportunities. The foyer usually boasted a coffee shop, a
fast-food outlet or restaurant, a candy bar, and an amusement parlour with
pinball machines and video games, inviting the cinemas use as a place to
meet and spend time (and money) before other activities.
By using a common ticket and booking office and single-level access
to as many as seven or eight cinemas, staff could be minimised, and with
programmed, automatic projection equipment operating lights, music,
curtains and commercial advertising, as well as films, only one or two
projectionists were needed to operate the whole group of cinemas, at the
touch of a button, from a common biobox.
As a result of their big investment in these large cinema complexes, in July
1978 Hoyts Australia Ltd announced a half-year profit in excess of $2 million,
a substantial increase over the previous year.
In Perth, the trend was towards smaller audiences in complexes of two to
four cinemas, with many established theatres being twinned or split, providing

greater flexibility. Hoyts Theatre Group constructed Cinema One as part of
City Arcade in 1970, following this with Cinema Two in Wanamba Arcade
(on the site of the former Ambassadors Theatre) in 1973. The two cinemas
were similar, with a parabolic shape and a capacity of 750 in modern,
comfortable seating on one level, with drapes each side of the proscenium
and auditorium. Cinema One was equipped with projectors that came from
the demolished Metro Theatre, indicating the quality of the 1940s equipment
previously used. Hoyts Cinema Two was further divided into two smaller
cinemas, bringing immediate gains by being able to screen two films at once
with one set of staff, and illustrating the difficulty of filling large houses.
The Town Cinema was built by Ace Theatres in late 1970 in the western
part of Hay Street, as part of a hotel complex across the road from His
Majestys Theatre. The first ground-floor cinema constructed in Perth after the
hectic period of theatre construction just prior to World War II, it seated 636,
on one level, with a curved screen area. It was one of the first in Perth to be
completely draped.
Designed by Garry Leighton, the Cinecentre complex was constructed on
the corner of Murray and Barrack streets, with two small cinemas above an
arcade and an even smaller third cinema in the basement. Some economies
\I
were achieved in reduced staff numbers, but three separate bioboxes were
still required.
The 1970s saw an expansion of City Theatres (formerly Grand Theatre
Company), the oldest remaining company in the cinema business in Perth,
later to be wholly owned by TVW Enterprises (Channel Seven). In January
1975 it opened Academy One and Academy Two cinemas, operating
independently of each other with separate box offices, within the Wellington
Street Entertainment Centre. One seated 400 and Two, 370, both on one
level. The main colour scheme was red with dark brown and natural pine,
with similar coloured carpeting. The walls were covered with Soundfold
drapes and curtains, and each cinema featured push-button lighting controls.
The Port Cinema, also operated by City Theatres, opened in Fremantle
in 1976, seating 850. This successor to the Princess and Oriana, with an
auditorium above an arcade, was constructed in the 1970s modern manner,
with exposed brick and concrete exterior and lavish use of glass in the foyers.
The Cinema City complex, on the corner of Hay and Barrack streets
opposite the old Perth Town Hall, opened on 6 November 1980 with a gala
performance of four first-release films including The Blues Brothers. The
glass-encased building, designed by architect Anthony Brand, contained four
cinemas with a single projection room, said to be the largest in Australia at
that time. Fifty-one metres long by 6 metres wide, it housed four projectionists
in comparative luxury with their own showers, toilets and tearoom. It was the
only cinema in Australia where four films could be shown simultaneously.
Each cinema was equipped with a Dolby sound system, with five speakers
behind the screen and four along each wall for surround sound and stereo
track films. All systems were controlled by computer from the central biobox.
\I
The Theatre Royal closed in 1978, after eighty-one years of providing a
palace of entertainment for the people of Perth, and similarly the Grand met its
end after sixty-five years of service. Of all the picture palaces that once lit up the
night sky in Perth, the Piccadilly was the last to draw patrons to the city centre.
By contrast, Philip McAllister, after his success with the Astor, designed
Cinema Paradiso (named for the popular movie of the period) at Northbridge
in 1992, for Ron Regan of Entrevision Pty Ltd.
Beyond 2000:
Revival of Open-Air Cinema
and the Demise of Film
The world of visual media continues to evolve and change, and as Australians
moved into the new millennium the local cinema industry was again under
pressure to remain viable. Widespread use of home videos, DVD and
downloading of movies to electronic devices continually accelerated the
shrinking of cinema audiences. It became a common experience for movie-
goers to watch a film with fewer than a dozen others in the theatre.
Picture palaces designed for large audiences had long ceased to be viable
and had either been divided into smaller cinemas or, prior to intervention by
ADSWA, succumbed to the jackhammer. Those that closed, but still stood,
survived by adaptation to other uses or, as with the Plaza, remained an
empty shell.
Film producers, determined to stay in business, have fought back with
improved quality films using advanced technology and special effects
including 3D, producing blockbuster movies that continue enticing
audiences, especially the young, away from home. Relentlessly sophisticated
promotional material presages almost every movie, continuing to seduce
audiences to the big screen and the prospect of an entertaining outing.
Film festivals still attract audiences to more modest film productions,
especially foreign language movies, and Perth has witnessed a renewed
enthusiasm for the relaxed pleasures of viewing films in the outdoors. The
ongoing Somerville Auditorium summer festival at The University of Western
Australia spearheaded the revival of outdoor venues, combining festival films
with open-air viewing in pleasant surroundings. Former Governor of Western
Australia Sir Charles Gairdner was a great supporter of the Festival of Perth,
both in formal capacity and informally for sheer enjoyment, and especially
appreciated film evenings at the Somerville Auditorium. Wendy Birman, wife
of former Festival of Perth director John Birman, recalls the evening we sat
through persistent drizzle because Lady Gairdner, who had previously seen

Far left: CineCentre building,

Murray Street, Perth.
Architect: G. Leighton.

Left: Cinema City building,

Hay Street, Perth.
Architects: Brand Deakin & Hay.

Right: Somerville Auditorium

open-air picture gardens at The
University of Western Australia
operating continually in the
summer season since 1956.
Redrawn by Ron Facius.

206 207
the film, insisted that Charles should see it to the end. The aide who arrived
to escort him to his car was duly told to sit whilst the rest of the audience
disappeared in the rain. His Excellency thoroughly enjoyed his evening.
During that period, Swedish director Ingmar Bergmans films, such as
Wild Strawberries and Smiles of a Summer Night, ranked high among a host
of stimulating European films. Wendy remembers: One of the earliest and
most exciting nights I recall was Marcel Carnes film Les Enfants du Paradis
starring the French actress Arletty. It was a magical, unforgettable night in the
Auditorium.
The refurbished Mosman Park Memorial Hall re-established the outdoor
picture garden as the Camelot Cinema in 1993, and has remained a popular
outdoor venue every subsequent summer. Very soon after, the Pines, an open-
air venue at Joondalup in Perths northern suburbs, began showing festival
films, and the volunteer-led Movies by Burswood operate similar outdoor
venues at Burswood, Bassendean and Curtin University. The Luna Outdoor
Cinema, behind the Oxford Street venue, and the Kookaburra Outdoor
Cinema in the Perth hills have been joined by the Moonlight Cinema at
Kings Park. Screenings at several South-West vineyards, such as Howard Park
Wines, have become popular.
More recent additions in the city include the installation of big
outdoor screens at the Northbridge Piazza and between Perth Institute of
Contemporary Arts and the Alexander Library in the Perth Cultural Centre,
and Rooftop Movies atop the City of Perth multistorey car park in Roe
Street. These new big screens that can be viewed in daylight have been
made possible by the use of digital technology. The screening of movies on
these giant digital screens has been claimed to be the future of cinema, in
some cases dispensing with the necessity for projectors and projectionists
altogether.
In conventional cinemas, the conversion from film to digital cinema
projection (DCP) not always affordable in the case of small operators
has already brought major changes to the entire industry. It has been
predicted that there will be virtually no film projectors operating in the US
by the end of this year, and Australian cinema will inevitably follow suit.
Digital technology is even now available to movie-goers at the Rottnest Island
Picture Hall. As the history of cinema in Western Australia approaches 120
years of operations, original cinema entrepreneurs may marvel at present-day
technology permitting the screening of film at the Sun Pictures in the states
far north-west simultaneously with that presented in Perth.
\I
Left: Bijou Theatre, Esperance, as seen today.
Bottom left: Northbridge Piazza digital screen, Perth.
Bottom right: Situated near the end of the
Broome airfield, audiences at the Sun Pictures are
occasionally startled by an airliner passing just
overhead on its landing approach.
Whatever the future of cinema, we have certainly seen the end of the threat posed by proposed road widening, ADSWA continues to press for it to
Golden Age of Perths picture palaces. A number of cinemas had long gone be state heritage listed.
before the Art Deco Society of WA Inc. began its program of assessing theatres
for their heritage significance and for classification by the National Trust of Ah for the buildings that escape the rigid rectangularity. It
Australia (WA). The many still extant, including local community halls where seems to me that the matterhorns of Manhattan used to be
movies were shown, have now been Trust classified, and most included on better than they are today. Oh for the inspiring spire of the
local Municipal Inventories and afforded high protection levels on local town Chrysler Building.
planning schemes. The Regal Theatre was listed by the Australian Heritage
perhaps some of the greatest triumphs of architecture
Commission prior to the commissions discontinuation. The Piccadilly,
have been built by the unknown architects who built the
Como, Astor, Radio, Cremorne and Cummins theatres, as well as Broomes
cinemas of the thirties, giving them architectural relief to the
Sun Pictures, have entered the State Register of Heritage Places. The Regal
onward march of the Metropoli.
and Astor are now used for live entertainment, while the Sun, Cummins
and Camelot at Mosman Park have experienced a resurgence of use. The Phillip Adams73
former Regent, Civic, Princess, Beacon, Wembley, Palace, Lyric, Radio
and Pemberton Picture Hall have been adapted for reuse. Only the Plaza In Western Australia we are fortunate that a handful of architects have left a
remained an empty space. Although modified and somewhat degraded, the legacy of 1930s cinema buildings of spirit and relief. The authors have been
Piccadilly, managed by Cyril Watson, remained the last commercial cinema privileged to be acquainted with these designers and/or their families and
operating in Perth city, but it has now joined the Plaza as empty. Despite have dedicated this book to their memory and work. Many of these remaining
these inevitabilities, Perth retains more 1930s cinema buildings than any places are listed by the Heritage Council of Western Australia and all have been
other capital city in Australia; the challenge now is to find viable adaptive classified by the National Trust of Australia (WA), sponsors of this publication.
reuse for these buildings. From the glorious picture palaces, to the open-air gardens, to the small
The Piccadilly, Regal and Cygnet theatres are now approaching eighty theatres that were the hub of communities, the old picture theatres of WA
are still fondly remembered by generations of people who went to the
years of age. The first has closed and the popular Cygnet, despite numerous
heritage listings and enthusiastic support of the movie-going community, was pictures. Those memories are embodied in the surviving buildings and,
in danger of going dark. Fortunately, the Cygnets manager financed the with the help of the Heritage Council of WA and the National Trust of
necessary digital equipment from his own pocket, ensuring the first digital Australia (WA), it is hoped they will be conserved as records of a fascinating
screening of the movie One Chance in November 2013 (see photo of ADSWA part of the states history.
group at the event on page 137). That one chance has since been reinforced
with a restoration grant. A similar welcome grant has been received by the
Regal Theatre for its restoration and refurbishment, enabling both well-loved
venues to continue into Western Australias cultural future.
Two of the states oldest purpose-built theatre buildings that also screened
movies Guildfords Old Vaudeville and the Bijou at Esperance are still
extant. Now state heritage listed, the latter continues to provide popular
theatre entertainment, while films are screened digitally at the nearby
Fenwick Cinema Complex.
The unique and iconic Windsor Theatre, classified by the National Trust
of Australia (WA), is still vulnerable. In order to protect the building from the
209
regal theatre astor theatre
'' '
\

como theatre beacon theatre

mosman park memorial hall / camelot piccadilly theatre
 -
----
--
...
-
..-
-

windsor theatre plaza theatre

 ------
-

,.

,.. ~
-, ....
,.
.., r
_,..
t
f"'"
I
,.,~

..... ...
r.., .r- ,,
lt'"" "
I",.

Radio theatre Lyric theatre

 principal 1930s cinema architects

\I William T. Leighton William G. Bennett H. Howard Bonner

Mixed media collage and watercolours, with Samuel Rosenthal Oswald V. Chisholm
cigarette brands of the period, from a series on the
cinemas by Vyonne Geneve.

221
 Illustration acknowledgements
The organisations and individuals listed have kindly provided the images on the pages specified. Where there is more than one image on a page, the image is described.
State Library of Western Australia Battye Library
89 & 21; 13; 1415; 16; 18; 19; 21; 22; 23 (Majestic
Theatre); 32 (Paddy Hannan/Regent); 32 (Wiluna Theatre);
33 (Bijou Theatre, Esperance); 34 (Theatre Royal, Collie);
38; 39 (Peoples Pictures); 40; 41; 42; 43; 44; 45; 46 (Prince
of Wales); 47 (Hoyts Regent); 48; 52; 53 (Capitol facade);
54; 55; 5657 & 66; 60; 61; 63; 65; 67; 68; 69 (Regent);
73; 7677 & 113; 85 (patrons queuing) ; 98; 104; 108; 111;
112; 147 (Paddy Baker); 160; 181; 200201; 206.
Museum of Performing Arts His Majestys Theatre
10; 23; 24 (CineSound advertisements); 25 (Don Juan); 27;
28; 30; 31 (Gaiety Theatre); 47 (corps de ballet); 49; 50; 51;
54 (chandelier); 84; 118 (ticket booth); 187 (Flash Gordon).
Albany Library Service
34 (Princess & Empire).
Bunbury Library Service
33 (Lyric Theatre); 190 (press advertisement); 194 (lobby &
press avertisements).
City of Greater Geraldton
187 (Morawa Town Hall).
Fremantle City Library
24 (Princess Theatre); 25 (Town hall); 116 (usherettes); 117
(theatre staff & foyer drawing); 118 (theatre entry).
Northam Library Service
37 (Palace Theatre photo & advertisement).
Peppermint Grove Public Library
163; 170.
Town of Vincent Library Service
150 (Ritz corner).
Australian Cinema VII.15
103 (front of house display).
Astor Theatre brochure
157.
West Australian Newspapers (held at Battye Library)
21; 22 (Wests Pictures); 23; 24 (Princess Theatre press
advertisement); 27; 39 (Paddy Baker); 45 (Prince of Wales); Byron Geneve photographs
53 (Daily News supplement); 60; 72 (Broadway Theatre 121; 128 (facade).
1938); 74; 75; 82; 83; 90; 92; 101; 105; 108; 113; 118
(press advertisement); 127; 129; 133; 136; 137 (50th); Philip McAllister photographs
141 (trolleybus); 150 (press advertisement); 151 (press 1 & 155 (Astor auditorium); 154; 156 (ceiling treatment);
advertisement); 158 (press advertisements). 157 (theatre from corner).
Kalgoorlie Miner Lynne Robbins photographs
181 (press advertisement). 83; 86; 89; 91 (overhead lighting and vent); 131; 134; 140
(Cambridge Street); 177.
Turners Magazine
170 (cabaret advertisement). Noella Ross photograph
91 (auditorium ceiling).
Subiaco Historical Society
39 (Paddy Baker); 58. Tony Davidovsky photographs
135 (auditorium); 137 (ADSWA group).
W.G. Bennett Diaries
72 (Broadway Theatre (1938). Neil Wallace photographs
4; 29 (Guildford Town Hall); 31 (Cremorne Theatre); 36;
H.H. Bonner collection 37 (Cummins Theatre); 78; 85 (Murray Street lettering);
11 & back cover; 51 (Bridge of Sighs & lounge). 122; 126; 128 (name & tower); 163 (banner); 164 & 165
(refurbishment details); 166 (facade); 167 (refurbishment);
R. Elsegood collection 176; 198 & 199; 210219.
46 (usherettes).
Vyonne Geneve collection
G. Leighton collection 11, 51 & back cover (lounge foyer); 30 (architects plans);
102; 125; 126. 31 (Gaiety Theatre & New Oxford Theatre); 32 (Cremorne
Theatre gable); 42 (logo); 51 (Bridge of Sighs); 53 (Daily
Marcus Collins collection News supplement); 64; 82; 90; 92; 96; 97; 101; 103; 105;
164 (1939 frontage); 165 (architects plans). 108; 113; 116 (plans); 117 (party); 118 (press advertisement);
122 (program); 123; 125; 127; 130; 131; 133; 136; 137;
Jean Hartz collection 141; 144; 145; 146; 147; 150 (architects drawing); 151;
172. 171; 172 (entry ticket & press advertisement); 183; 186
(tickets); 189 (architects elevation); 193; 194 (architects
Mount Lawley Society collection elevation & stage drawing); 198 (press advertisement); 204
26; 153. (ticket); 220 & 221.
Lynn Huxtable collection Ron Facius drawings
9697 (photos). 16; 17; 26; 27; 35; 43; 52; 59; 62; 70; 72; 74; 80; 81; 82;
83; 87; 88; 89; 90 (redrawn); 94; 95; 98; 100; 101; 106;
Ron Facius photographs 107; 109 (redrawn); 110; 111; 112; 114; 115; 119; 120;
29 (Regent Theatre); 31 (New Oxford Theatre); 35; 39 (Old 121; 124; 125; 132; 133; 138; 139; 142; 148; 149; 152;
Pemberton Theatre); 72 (Regent Theatre); 127; 135; 140 153; 161; 162; 167 (program); 168 & 169; 174 & 175; 178
(feature); 141 (stair); 145 (crush space); 155 (details); 158; & 179; 182 & 183; 188; 189 (ornament & logo); 192; 196;
166 (V. Geneve & T. Perrigo); 180; 184 & 185; 186; 187 204; 207 (redrawn); 208; 209 (redrawn).
(Mullewa Town Hall); 190 & 191; 199 (garden); 202; 208.
222
References
1 Ross Thorne, Picture Palace Architecture in Australia, Sun Books, 1976, p. 5. 25 ibid.
2 Ted Joll, When movies came to Perth, Daily News (Weekend Magazine), 26 ibid.
15 June 1968. 27 Daily News, 11 September 1940.
3 Ross Thorne, Cinemas of Australia via USA, Architecture Department, 28 ibid.
University of Sydney, 1981, p. 102. 29 ibid.
4 Revisiting lost glory, West Australian (West Magazine), 19 April 1997. 30 ibid.
5 Ted Joll, When movies came to Perth, Daily News (Weekend Magazine), 31 West Australian (North Suburban News), 9 December 1981.
15 June 1968. 32 Opening program, Metro Theatre, 27 September 1938.
6 Southern Times, 27 April 1905. 33 The Australasian Cinema, 27 August 1982, vol. 11, no. 5 (City Theatres
7 Ian Molyneux, Bunbury National Estate Study, South Perth, 1978, p. 90. 50th Year Jubilee edition), p. 11.
Copy held at the Battye Library. 34 Ross Thorne, Picture Palace Architecture in Australia, Sun Books,
8 Bonnie Hicks, The flicks, Great Southern Voice (n.d.), p. 14. Melbourne, 1976.
9 West Australian, 25 April 1897. 35 Western Mail, 19 January 1939.
10 ibid. 36 Advertisement in the West Australian, 9 February 1972.
11 Diana Chase & Valerie Krantz, The Plaza Story, Confidential Print and 37 The Australasian Cinema, vol. 11, no. 15, 27 August 1982, City Theatres
Design Centre, Perth, 1988, p. 28. 50th Jubilee edition.
12 Quoted in Chase & Krantz, The Plaza Story, Perth, 1988. 38 Le Corbusier (Charles-douard Jeanneret), Vers une Architecture, Paris,
13 Simon Brand, Picture Palaces and Flea-Pits: Eighty Years of Australians at 1923.
the Pictures, Dreamweaver Books, Sydney, 1983. 39 Review, Turners Magazine, August 1939.
14 Ross Thorne, Cinemas of Australia via USA, Architecture Department, 40 Notes on an architects drawing in the care of Garry Leighton.
University of Sydney, 1981, p. 106. 41 Letter to Mayor and Councillors dated 13 February 1934.
15 West Australian, 1 May 1929, pp. 12, 13. 42 Opening program, Beacon Theatre, 17 August 1937.
16 Pat Elphinstone, Picture gardens still shines bright, West Australian 43 West Australian, 3 March 1937.
(Habitat), 3 December 1996. 44 West Australian, 22 May 1936.
17 ibid. 45 Daily News, 7 September 1937.
18 Daily News, 15 March 1938. 46 West Australian, 3 March 1937.
19 ibid. 47 Daily News, 7 September 1937.
20 Le Corbusier (Charles-douard Jeanneret), Vers une Architecture, Paris, 48 M.D. Bell, Perth A Cinema History, The Book Guild Ltd, Sussex, 1986,
1923. p. 51.
21 Sunday Times, 5 March 1938. 49 Saturday Night Mirror, 28 February 1938.
22 West Australian, 24 May 1937. 50 ibid.
23 Sunday Times, 27 September 1937. 51 ibid.
24 Sunday Times, 11 September 1937. 52 West Australian, 9 March 1938.
223

53 West Australian, 25 April 1938.
54 ibid.
55 ibid.
56 West Australian (Big Weekend), 5 August 1989, p. 8.
57 ibid.
58 West Australian, 14 August 1938, p. 17.
59 Sunday Times, 15 March 1936.
60 West Australian, 18 November 1936.
61 ibid.
62 Geraldton Guardian, 10 April 1937.
63 South Western Times, 3 July 1937.
64 Gala Premiere souvenir program, Mayfair Theatre, 4 August 1939.
65 South Western Times, 28 July 1939.
66 Gala Premiere souvenir program, Mayfair Theatre, 4 August 1939.
67 South Western Times, 28 July 1939.
68 ibid.
69 Gala Premiere souvenir program, Mayfair Theatre, 4 August 1939.
70 ibid.
71 South Western Times, 28 July 1939.
72 Susan Kurosawa, The Holden age, Weekend Australian, 14 June 2013.
73 Phillip Adams, The folly of architecture, Design World, November
1988.
224
index
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Donec tristique elit porttitor aliquet mattis.
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Aliquam quis nisi in erat aliquam commodo.
Integer pharetra mauris ut orci venenatis tempus.
Etiam dapibus enim a auctor ultricies.
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Mauris at urna tristique, iaculis eros quis, egestas purus.
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Cras non libero euismod, pharetra odio ac, dignissim magna.
Aenean molestie sem egestas posuere efficitur.
Cras molestie nisl at malesuada porttitor.
Phasellus eu nisi iaculis, molestie augue ac, dignissim risus.
Nulla volutpat nulla non odio tincidunt tincidunt.
Donec a risus ultrices, mattis lorem sed, consequat massa.
Maecenas vitae enim sed orci vulputate interdum.
Nulla eget odio at sapien ultricies interdum quis vulputate sem.

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Integer varius purus ut eros malesuada faucibus.
Sed eget sem facilisis, lobortis mi id, porttitor sem.
Quisque sodales magna eget hendrerit commodo.
Phasellus rutrum dui ut mollis ultrices.
Sed fermentum mi nec mi maximus, sit amet congue ante sodales.
Curabitur posuere massa et urna pharetra blandit.
Nam eget dui nec nulla tempor imperdiet non eu enim.
Suspendisse viverra quam a libero gravida, nec mollis nulla varius.
Nulla non turpis gravida, laoreet arcu eu, luctus ex.
Aenean vehicula quam at massa gravida sodales.
Nulla imperdiet sapien eget maximus feugiat.
Sed maximus leo ac ante bibendum, vitae fringilla ex pellentesque.
Maecenas commodo diam ac nibh condimentum vehicula.
Morbi eget augue in lacus egestas faucibus.
Etiam a libero at arcu laoreet finibus.
Sed mollis lacus sit amet elit pretium porta.
Nullam id ex congue, tincidunt ipsum id, ultrices ante.
Mauris porttitor nisl vitae risus imperdiet pellentesque.
Proin non quam sed nibh faucibus placerat.
Ut at turpis ut quam cursus facilisis nec sed eros.
Fusce volutpat leo ultrices convallis egestas.
Suspendisse aliquam diam sit amet felis porta sagittis.
Curabitur pretium nibh sit amet vestibulum finibus.
Praesent porttitor turpis sed neque semper, eu cursus felis iaculis.
Morbi a lorem ut nunc sodales iaculis.
Pellentesque pulvinar quam et purus egestas, non blandit nisi elementum.
Aenean vitae orci quis leo pulvinar aliquet.
Aenean elementum felis vitae libero auctor, non ullamcorper orci hendrerit.
Cras sit amet elit eu sapien posuere molestie eget ut enim.
Nunc non purus ut sapien dictum pellentesque.
Mauris aliquet orci a nisl fringilla, nec feugiat lacus facilisis.
Pellentesque eget erat vitae dolor condimentum tincidunt eu ut tortor.
Vestibulum id erat ultricies, lacinia mauris vel, auctor felis.
Duis nec mauris in est ornare consequat.
Nullam ac risus eget arcu lacinia scelerisque.
Mauris et odio sit amet nunc euismod viverra.
Morbi mollis metus id elit facilisis consequat.
Nunc sit amet felis ut arcu sollicitudin blandit.
Sed hendrerit sapien eu eros aliquet tincidunt ut vel libero.
Cras ultricies eros eget neque fermentum rutrum.
Ut et quam vel mauris vulputate tincidunt.
Morbi nec ex venenatis elit tincidunt aliquam at a lacus.
Fusce condimentum sem eu orci tincidunt tristique.
Sed fermentum magna in mi condimentum pulvinar.
Nunc sollicitudin nisi ut dui auctor gravida.
Ut consequat turpis id posuere placerat.
Sed eget enim consectetur, placerat neque finibus, viverra tellus.
Quisque sed quam eu sem elementum ultricies et ut turpis.
Ut a lectus et ipsum bibendum elementum sed id tellus.
Phasellus in libero fermentum, aliquam risus non, congue ante.
Donec vitae ex eu elit interdum mollis eget non augue.
Aenean aliquam lacus at auctor mollis.
Cras et leo laoreet, feugiat enim quis, gravida mi.
Nunc eu est lacinia, imperdiet enim eu, hendrerit orci.
Pellentesque in magna eu dolor efficitur faucibus.
Nulla malesuada leo nec ipsum ornare elementum.
Pellentesque dignissim nibh vitae justo finibus bibendum.
Cras interdum odio ac odio tempus varius.
Vivamus placerat nisi id elit tempus convallis.
Pellentesque euismod justo sed ullamcorper varius.
Praesent at risus in mi hendrerit pellentesque id non nibh.
Cras scelerisque elit at ipsum pulvinar, in consequat odio tristique.
Cras eget quam iaculis, fringilla dolor sed, gravida tortor.
Maecenas cursus ipsum commodo, convallis purus id, gravida eros.
Etiam at libero fringilla, pulvinar mi a, gravida purus.
Mauris facilisis dolor vitae justo eleifend, non interdum lacus placerat.
Fusce ultrices mauris non turpis vestibulum semper.
Praesent aliquam tellus quis lorem aliquet, vitae consequat neque lacinia.
Vestibulum cursus metus vel metus luctus, nec consectetur lorem cursus.
Phasellus vehicula erat scelerisque sem interdum vehicula.
Cras pharetra dui in iaculis venenatis.
Integer scelerisque urna vel risus elementum vestibulum.
In quis turpis at massa posuere sagittis at sit amet augue.
Ut non neque non purus cursus egestas.
Nulla aliquet erat non mi semper gravida.
Suspendisse quis libero quis urna suscipit semper sit amet vitae nisl.
Fusce venenatis arcu id euismod congue.
In venenatis orci ac leo molestie malesuada et vel eros.
Pellentesque auctor ipsum vel rutrum condimentum.
Vivamus gravida quam ut porttitor laoreet.
Nunc a mauris eu est finibus vulputate a eu purus.
Suspendisse porttitor nulla sed lacinia tincidunt.
Curabitur placerat est porta, scelerisque dolor pharetra, hendrerit est.
Vivamus auctor enim eu quam pellentesque, dignissim scelerisque nulla finibus.
Aliquam a turpis ornare, porta risus vitae, fermentum odio.
Nam commodo magna id odio rutrum, non semper velit consequat.
Aliquam mattis magna eget rhoncus imperdiet.
Mauris ullamcorper nibh vitae sagittis interdum.
Quisque vulputate est eu purus pellentesque, ut cursus mauris tempus.
Donec non odio elementum, cursus mi sit amet, rutrum nisi.
Proin viverra orci malesuada turpis eleifend blandit.
Quisque vel tortor ac turpis ornare aliquet.
Aliquam et ante ut enim commodo ultricies ac in augue.
Ut at risus mollis, posuere augue quis, elementum ante.
Phasellus ultrices dolor vel diam vulputate sagittis.
Suspendisse sit amet nulla id tellus auctor bibendum sed sed metus.
Nullam eu justo eget est ultricies mollis.
Maecenas eget ante auctor, consectetur enim eget, ullamcorper nisl.
Duis pulvinar sem eu dui placerat rhoncus.
Nullam convallis diam non arcu porttitor gravida.
Aliquam sollicitudin ligula et convallis lacinia.
Pellentesque mattis mi eu hendrerit vehicula.
Mauris id quam pellentesque, laoreet elit vel, tincidunt nisi.
Cras cursus risus eget urna malesuada, in sagittis ex pulvinar.
Nunc et lacus quis nisi accumsan placerat facilisis sed nibh.
Suspendisse ac nisl a tortor venenatis rhoncus non a odio.
Praesent ac tellus non nibh consectetur sodales.
Pellentesque volutpat tellus ultrices ante mollis, eget fringilla erat pharetra.
Etiam ultricies magna vel orci laoreet tincidunt.
Sed ac nunc quis mauris hendrerit dapibus sed et odio.
Etiam vulputate lectus eget libero ornare posuere.
Nulla aliquam libero nec lectus euismod dignissim.
Curabitur vel eros a nulla tincidunt imperdiet.
Curabitur varius arcu eget aliquam mollis.
Vestibulum mollis urna a enim accumsan porta.
Praesent interdum ex eu arcu molestie laoreet.
Integer rutrum justo nec dictum pellentesque.
Sed ac elit aliquam, interdum quam vel, porta mi.
Donec ut sapien pharetra lacus dignissim sodales.
Integer dictum augue blandit justo cursus, ac placerat sapien vulputate.
Vivamus nec lacus commodo, tincidunt sapien in, varius orci.
Praesent eget elit hendrerit, bibendum eros nec, semper quam.
Duis quis odio et nibh tempus tristique.
Morbi nec tortor et quam rutrum pretium.
Aenean ultrices arcu vel nulla ultrices, id ultrices turpis vestibulum.
Donec non justo eget odio consequat hendrerit.
Sed et tellus vel libero consectetur euismod.
Fusce imperdiet felis id odio sollicitudin, at efficitur mauris congue.
Pellentesque eget dui auctor, tincidunt leo at, aliquet nunc.
Suspendisse eu velit at nisl lobortis elementum.
Pellentesque posuere arcu ac libero elementum dictum.
Nam pulvinar erat id consequat semper.
Aliquam tincidunt urna eu justo fermentum lobortis.
Nunc ullamcorper mi at enim semper vestibulum.
Donec fermentum eros sit amet nulla sagittis commodo.
Sed tempor sapien eu felis fringilla, bibendum ornare dui consectetur.
Pellentesque porttitor justo vel ante efficitur, ac euismod erat tincidunt.
Phasellus varius urna at fringilla scelerisque.
Sed eget ligula sit amet diam commodo accumsan ac accumsan eros.
Pellentesque et nunc a purus tincidunt tempor.
In in felis eu augue interdum egestas ut in tellus.
Phasellus venenatis nulla sed feugiat molestie.
Ut placerat sem eu dui egestas accumsan.
Nulla vestibulum nisi eu maximus congue.
Ut quis ante eu justo pretium vestibulum porta eu nulla.
Vestibulum nec nunc vulputate, tempus nibh eget, congue lorem.
Fusce vehicula risus id scelerisque pretium.
Vivamus id magna in nunc posuere pulvinar sit amet id orci.
Fusce convallis purus porta arcu porta, vitae commodo diam dignissim.
Donec eu justo ut nibh pulvinar auctor et ut est.
Suspendisse ac ante at dolor fermentum rutrum ac in lectus.
Nulla a dolor laoreet, convallis sem quis, venenatis ante.

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Fusce tristique mi ac nisl porttitor ultricies.
Nam et leo vel justo cursus pulvinar.
Pellentesque eu leo dignissim, tempus sapien id, maximus ante.
Etiam eget leo consequat diam faucibus pellentesque nec sed metus.
Integer volutpat nibh ut urna cursus, non rutrum sem ornare.
In ac nisi id nisl vehicula dapibus nec eget tortor.
Phasellus non ante rutrum, porttitor odio a, vestibulum eros.
In eget nibh tincidunt, accumsan augue vel, molestie enim.
Nunc nec mi id velit tempor semper sed in magna.
Sed vel diam ut ex aliquet convallis.
Fusce in libero imperdiet, aliquet arcu nec, mattis arcu.
Morbi vitae arcu eget leo feugiat volutpat at non mi.
Suspendisse consequat lacus at pharetra malesuada.
Integer nec nunc in libero mollis rutrum eget sit amet massa.
Vivamus eu ligula luctus, pellentesque enim ac, rhoncus diam.
Phasellus ullamcorper libero non viverra interdum.
Fusce pulvinar ante sodales felis porttitor scelerisque.
Sed euismod quam ut diam iaculis tristique.
Vestibulum in lectus luctus, iaculis magna quis, maximus leo.
Donec rutrum arcu sit amet interdum blandit.
Suspendisse nec diam vitae turpis vestibulum fermentum non sit amet nisi.
Nulla venenatis sapien nec gravida sollicitudin.
Nulla eget ante nec massa pretium egestas sed eget nisi.
Morbi pulvinar dui quis ornare cursus.
Quisque aliquet dolor et arcu hendrerit consectetur.
Proin vel dolor ornare, consectetur orci id, eleifend lacus.
Vivamus eget ipsum congue, ornare mauris sit amet, gravida ipsum.
In interdum tortor ut turpis porttitor, ut rhoncus felis pharetra.
Mauris in eros quis nunc consequat sagittis.
Suspendisse dignissim sapien tempor, venenatis mauris quis, maximus diam.
Donec at purus eleifend, ultricies nisl non, volutpat felis.
Mauris auctor massa quis turpis ultrices, ut dignissim felis semper.
Integer volutpat nibh ut urna cursus, non rutrum sem ornare.
In ac nisi id nisl vehicula dapibus nec eget tortor.
Phasellus non ante rutrum, porttitor odio a, vestibulum eros.
In eget nibh tincidunt, accumsan augue vel, molestie enim.
Nunc nec mi id velit tempor semper sed in magna.
Sed vel diam ut ex aliquet convallis.
Fusce in libero imperdiet, aliquet arcu nec, mattis arcu.
Morbi vitae arcu eget leo feugiat volutpat at non mi.
Suspendisse consequat lacus at pharetra malesuada.
Integer nec nunc in libero mollis rutrum eget sit amet massa.
Vivamus eu ligula luctus, pellentesque enim ac, rhoncus diam.
Phasellus ullamcorper libero non viverra interdum.
Fusce pulvinar ante sodales felis porttitor scelerisque.
Sed euismod quam ut diam iaculis tristique.
Vestibulum in lectus luctus, iaculis magna quis, maximus leo.
Donec rutrum arcu sit amet interdum blandit.
Suspendisse nec diam vitae turpis vestibulum fermentum non sit amet nisi.
Nulla venenatis sapien nec gravida sollicitudin.
Nulla eget ante nec massa pretium egestas sed eget nisi.
Morbi pulvinar dui quis ornare cursus.
Quisque aliquet dolor et arcu hendrerit consectetur.
Proin vel dolor ornare, consectetur orci id, eleifend lacus.
Vivamus eget ipsum congue, ornare mauris sit amet, gravida ipsum.
In interdum tortor ut turpis porttitor, ut rhoncus felis pharetra.
Mauris in eros quis nunc consequat sagittis.
Suspendisse dignissim sapien tempor, venenatis mauris quis, maximus diam.
Donec at purus eleifend, ultricies nisl non, volutpat felis.
Mauris auctor massa quis turpis ultrices, ut dignissim felis semper.
Integer volutpat nibh ut urna cursus, non rutrum sem ornare.
In ac nisi id nisl vehicula dapibus nec eget tortor.
Phasellus non ante rutrum, porttitor odio a, vestibulum eros.
In eget nibh tincidunt, accumsan augue vel, molestie enim.
Nunc nec mi id velit tempor semper sed in magna.
Sed vel diam ut ex aliquet convallis.
Fusce in libero imperdiet, aliquet arcu nec, mattis arcu.
Morbi vitae arcu eget leo feugiat volutpat at non mi.
Suspendisse consequat lacus at pharetra malesuada.
Integer nec nunc in libero mollis rutrum eget sit amet massa.
Vivamus eu ligula luctus, pellentesque enim ac, rhoncus diam.
Phasellus ullamcorper libero non viverra interdum.
Fusce pulvinar ante sodales felis porttitor scelerisque.
Sed euismod quam ut diam iaculis tristique.
Vestibulum in lectus luctus, iaculis magna quis, maximus leo.
Donec rutrum arcu sit amet interdum blandit.
Suspendisse nec diam vitae turpis vestibulum fermentum non sit amet nisi.
Nulla venenatis sapien nec gravida sollicitudin.
Nulla eget ante nec massa pretium egestas sed eget nisi.
Morbi pulvinar dui quis ornare cursus.
Quisque aliquet dolor et arcu hendrerit consectetur.
Proin vel dolor ornare, consectetur orci id, eleifend lacus.
Vivamus eget ipsum congue, ornare mauris sit amet, gravida ipsum.
In interdum tortor ut turpis porttitor, ut rhoncus felis pharetra.
Mauris in eros quis nunc consequat sagittis.
Suspendisse dignissim sapien tempor, venenatis mauris quis, maximus diam.
Donec at purus eleifend, ultricies nisl non, volutpat felis.
Mauris auctor massa quis turpis ultrices, ut dignissim felis semper.
Integer volutpat nibh ut urna cursus, non rutrum sem ornare.
In ac nisi id nisl vehicula dapibus nec eget tortor.
Phasellus non ante rutrum, porttitor odio a, vestibulum eros.
In eget nibh tincidunt, accumsan augue vel, molestie enim.
Nunc nec mi id velit tempor semper sed in magna.
Sed vel diam ut ex aliquet convallis.
Fusce in libero imperdiet, aliquet arcu nec, mattis arcu.
Morbi vitae arcu eget leo feugiat volutpat at non mi.
Suspendisse consequat lacus at pharetra malesuada.
Integer nec nunc in libero mollis rutrum eget sit amet massa.
Vivamus eu ligula luctus, pellentesque enim ac, rhoncus diam.
Phasellus ullamcorper libero non viverra interdum.
Fusce pulvinar ante sodales felis porttitor scelerisque.
Sed euismod quam ut diam iaculis tristique.
Vestibulum in lectus luctus, iaculis magna quis, maximus leo.
Donec rutrum arcu sit amet interdum blandit.
Suspendisse nec diam vitae turpis vestibulum fermentum non sit amet nisi.
Nulla venenatis sapien nec gravida sollicitudin.
Nulla eget ante nec massa pretium egestas sed eget nisi.
Morbi pulvinar dui quis ornare cursus.
Quisque aliquet dolor et arcu hendrerit consectetur.
Proin vel dolor ornare, consectetur orci id, eleifend lacus.
Vivamus eget ipsum congue, ornare mauris sit amet, gravida ipsum.
In interdum tortor ut turpis porttitor, ut rhoncus felis pharetra.
Mauris in eros quis nunc consequat sagittis.
Suspendisse dignissim sapien tempor, venenatis mauris quis, maximus diam.
Donec at purus eleifend, ultricies nisl non, volutpat felis.
Mauris auctor massa quis turpis ultrices, ut dignissim felis semper.
Integer volutpat nibh ut urna cursus, non rutrum sem ornare.
In ac nisi id nisl vehicula dapibus nec eget tortor.
Phasellus non ante rutrum, porttitor odio a, vestibulum eros.
In eget nibh tincidunt, accumsan augue vel, molestie enim.
Nunc nec mi id velit tempor semper sed in magna.
Sed vel diam ut ex aliquet convallis.
Fusce in libero imperdiet, aliquet arcu nec, mattis arcu.
Morbi vitae arcu eget leo feugiat volutpat at non mi.
Suspendisse consequat lacus at pharetra malesuada.
Integer nec nunc in libero mollis rutrum eget sit amet massa.
Vivamus eu ligula luctus, pellentesque enim ac, rhoncus diam.
Phasellus ullamcorper libero non viverra interdum.
Fusce pulvinar ante sodales felis porttitor scelerisque.
Sed euismod quam ut diam iaculis tristique.
Vestibulum in lectus luctus, iaculis magna quis, maximus leo.
Donec rutrum arcu sit amet interdum blandit.
Suspendisse nec diam vitae turpis vestibulum fermentum non sit amet nisi.
Nulla venenatis sapien nec gravida sollicitudin.
Nulla eget ante nec massa pretium egestas sed eget nisi.
Morbi pulvinar dui quis ornare cursus.
Quisque aliquet dolor et arcu hendrerit consectetur.
Proin vel dolor ornare, consectetur orci id, eleifend lacus.

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