More State Theatre pages: vintage exterior views | recent exterior views | ticket lobby | lobbies and lounges | vintage auditorium views | recent auditorium views | projection booth | backstage | basement cafeteria |
The News: The theatre is currently vacant and awaiting its next act. Perhaps there will be a party on its 100th birthday in November 2021. The State had been used as a church for 20+ years.
Opened: November 12, 1921 as Loew's State. This view of the theatre rising in April 1921 is a Los Angeles Public Library photo. The building is on a 160 x 169 foot lot. The location at 7th and Broadway was at the time the busiest intersection downtown. In addition to the Broadway entrance, until 1936 the theatre also used an entrance at 306 W. 7th St.
Wonderfully successful as a vaudeville/movie house, the theatre later featured elaborate stage shows by Fanchon and Marco with leading performers. Judy Garland sang here when she was still one of the Gumm Sisters. Through at least the late 30s there was a cafeteria in the basement with Moorish themed decor. The office building that the theatre is part of is now known as the United Building.
The opening attraction was Metro's "A Trip To Paradise," an adaptation of the stage play "Liliom." Marcus Loew was in attendance with a bevy of stars. Nat Holt was the first manager. He was formerly at the Hippodrome on Main St. Thanks to the Los Angeles Historic Theatre Foundation for the opening day ad, a post on the LAHTF Facebook page.
The State Theatre is now owned by the Delijani family's Broadway Theatre Group with Ed Baney as General Manager. BTG also owns the Los Angeles, Palace and Tower theatres. Beginning in 1998 the State had been leased out to a church. After their lease was up in October 2017 they stayed on awhile on a month-to-month deal, leaving in January 2018.
Phone: 213-629-2939 Website: www.statetheatre.la
Seating: 2,404 at one time. Now it's 2,119. It has the largest capacity of all the Broadway theatres. A December 3, 1921 article in Exhibitors Trade Review gave the initial capacity as 2,800.
Pipe Organ: Long gone. The December 3 Exhibitors Trade Review article noted: "A six-manual Moller organ, costing $50,000, and an orchestra leader with twenty-five pieces furnishes the music." Other sources more realistically say the organ was a 3/18 Moller and the cost was $9,000. Later a Style 235 Wurlitzer was in the house. It was stolen in the late 70s. An item in the June 1978 issue of the magazine Console about a group of ATOS members paying a visit to the house when planning their 1979 convention noted: "The group...inspected the Style 235 Wurlitzer at the State and believe it to be complete. There has been a persistent rumor that a hole was knocked in one part of the theatre building and half the organ stolen, about two years ago."
Although pronounced complete at the time, it evidently vanished within the next several months. Earlier, the organ at the Los Angeles had gone missing as well. A September 1978 Console item noted that the gossip was that Mike Ohman, owner of The Great American Wind Machine Pizza Parlor, and also vice chairman of Los Angeles Theatre Organ Society, had both organs. He offered tours of his warehouse for anyone interested. A December 1978 Console item about the missing Los Angeles Theatre organ quoted an employee there as saying that the gang that took the Los Angeles organ "was the same bunch that took pipes out of another theatre." Thanks to Mike Hume for digging through the Console issues.
Architects: Charles Peter Weeks and William Day of the San Francisco based firm Weeks & Day designed the theatre and the striking red brick and terracotta clad twelve story office building. It's the largest brick-clad building in downtown Los Angeles. The firm designed many other theatres including the Fox theatres in Oakland, San Diego, San Jose and Sacramento. Associated with them in the design was the firm of the Reid Brothers, well known for their many designs of theatres and other commercial buildings. They were also based in San Francisco.
The theatre was built as the west coast showcase for the product of the Loew's subsidiary Metro Pictures which later evolved into MGM. Loew didn't operate the theatre himself. That was initially contracted out to the San Francisco based theatre operators Ackerman and Harris, dubbed Loew's "west coast representatives." Note their names on the construction signage.
Ackerman and Harris had previously worked with Loew in San Francisco. They ran Loew's Hipppodrome for him, a venue later known as the Union Square Theatre. In 1922 when Loew built the Warfield on Market St. in San Francisco Ackerman and Harris ran that for him as well. The State Theatre in Long Beach was also called Loew's State in the early 20s. Ackerman and Harris also ran that one for Loew.
Earlier California theatres under the Loew banner had included some remnants of the Sullivan and Considine vaudeville circuit that Loew picked up in 1913 when that circuit fell apart following the death of one of the partners. San Francisco's Empress Theatre (later known as the St. Francis) was the Loew's Empress from 1913 to 1916. The Empress on Spring St. in Los Angeles was also called Loew's Empress during the same period. It ended up being called the Capitol.
West Coast Theatres took over management of Loew's State in 1925. They also ended up with the Warfield. At the time, these were the only west coast houses for the Loew circuit. In 1949 United Artists Theatre Circuit took over the operation due to consent decree stipulations. In 1963 Metropolitan Theatres took over the lease and were the final operators of the theatre as a film house. It closed in 1997.
Exhibitors Trade Review discussed the opening in their December 3 issue:
“The new theatre is of Spanish renaissance architecture, in keeping with a California style. It is combined with a Moorish effect, which gives a gorgeous interior decoration. Every seat in the house gives a broadside view of the stage. The ventilating system provides a mushroom distributor under each seat. A vacant seat call designed by Manager Holt and W. F. Scott, the house stage director, and which is known as the Holtscott system, has been installed....The theatre was christened by Viola Dana with a bottle of real champagne broken over the facade of the building on the the opening night. Of the 2,800 seats, one thousand were sold to the public at a box office sale which started Thursday, Nov. 10, at 10 o’clock and closed at noon the same day.
who participated were Buster Keaton, Ora Carew, T. Roy Barnes, Wanda
Hawley, George Beban, Herbert Rawlinson, Bebe Daniels and Wallie Reid.
Fred Niblo was master of ceremonies and Bert Lytell introduced Mr. Loew. The
theatre was a blaze of lights both inside and out. It is the 200th
theatre built by Marcus Loew and is the most completely equipped on the
coast. It is housed in a twelve-story building costing $2,500,000. The
theatre proper cost $1,500,000. It was built by Woods Brothers [sic], Weeks
and Day, and is under the direction of Ackerman and Harris, Western
managers for Loew in San Francisco. Manager Nat Holt was formerly in
charge of the Hippodrome."
The new theatre got a page in a 1922 issue of Architectural Digest survey issue of noteworthy southern California buildings. It's on Google Books from the Stanford Library collection. Several photos of the theatre appeared the July 1923 issue of Architect and Engineer as part of a portfolio of work by Weeks & Day. It's on Internet Archive.
A 1923 view north on Broadway. The theatre is running "The Meanest Man in the World." It's a Los Angeles Public Library photo. Here they've already added a readerboard up on the second floor. The marquee would soon get more elaborate as well.
In 1924 Marcus Loew engineered the merger of Metro with the Goldwyn Co. (which Sam Goldwyn had departed from in a 1922 power struggle) and the Louis B. Mayer group -- resulting in Metro-Goldwyn Pictures. By 1925, Mayer's name was also part of the company name, thus becoming MGM. MGM's prestige product was well suited to the type of theatres operated by the Loew's Corporation. At its height in the late 1920s the circuit totaled only about 200 theatres but they were typically lavish first runs in major cities. Most of the Loew houses were on the east coast.
West Coast gets the management contract:
A 1925 ad for Loew's State after a change of management. This ad for "The Unholy Man" with Lon Chaney notes: "direction West Coast Theatres, Inc." In addition to the film, we got the Fanchon and Marco "Orchids Idea." From 1925 until 1935 (with a few breaks) Fanchon and Marco were responsible for the elaborate prologues that accompanied the features.
These "Ideas" frequently were staged at a suburban house like the Manchester, got their debut at Loew's State, and then toured the West Coast Theatres circuit. The chain would become Fox West Coast when William Fox got a controlling interest in 1929.
Consent decree divorcement: In late 1949 Fox West Coast turned the operation of Loew's State over to United Artists Theatre Circuit as part of the 1948 Supreme Court consent
decree ruling mandating separation of the studios from their theatre chains. Fox and its predecessor company, West Coast Theatres, had operated the State since 1925 under contract from Loews, Inc., the parent company of MGM. In addition to a requirement that the circuit shrink its size by about 50% over the next few years, they were required to spin off certain key theatres to improve the competitive situation downtown, in Hollywood, and in certain other areas.
A remodel was announced in this November 6, 1949 L.A. Times item. They make it sound like MGM will be taking over the operation.
This item in the November 9, 1949 Boxoffice issue gave no hint that a transfer was in the works.
An item in the November 12, 1949 Boxoffice has the writer a bit confused about who was taking over the theatre. It was to be United Artists Theatre Circuit, not Loew's. This transfer does, of course, raise the question of when Loew's ceased to have any involvement with the property. Fox had been operating it for Loew's under contract. Perhaps Loew's got out of their master lease when the operation was transferred to UATC, even though their name continued to be used.
Finally we get a mention of which circuit is taking over. This November 27, 1949 L.A. Times story notes the transfer from Fox West Coast of the State, the Egyptian and the California in Pomona (renamed the United Artists) to the newly energized United Artists Theatre Circuit, previously just a holding company that didn't actually operate any theatres. By then this had become a company separate from the UA film production and distribution operation. Thanks to Mike Hume for finding these 1949 items.
The additional theatres DeCicco mentions in the article to get the circuit up to fifteen were twelve theatres that UA had built in the 1927-1932 period that had been managed for decades by Fox. The February 1, 1950 transfer of that bunch was discussed in "Twelve FWC Theatres Under UA Banner," a short article appearing in the February 4 issue of Boxoffice. The theatres included the United Artists downtown, the Four Star, and the United Artists houses in Inglewood, East Los Angeles and Pasadena. The article termed it the "last step in the complete severance of the joint interests of Fox West Coast and United Artists."
The consent decrees revisited: Some provisions of the consent decrees were still affecting the distribution and exhibition business seven decades later. Variety's August 2018 story "DOJ Will Review 70-Year-Old Consent Decrees..." discussed a pending overhaul. The L.A. Times also had a story that month titled "Justice Department to review.." that noted that "Warner Bros., 20th Century Fox and MGM...were barred from reentering the theater business without court approval, though others were not. Universal, Columbia and United Artists didn’t own theaters at the time, so they weren’t banned from acquiring them in the future. Paramount Pictures itself was not blocked from owning exhibitors, because it settled its case early."
Deadline's November 2019 story "Justice Department Wants To Terminate Paramount Consent Decrees" noted that the administration would be asking a federal court to terminate the decrees as the exhibition landscape had drastically changed in the era of streaming and multiplexes. Of course, in recent decades there have been many instances of studios owning theatres with no government opposition including Universal having a big stake in Cineplex Odeon, Sony taking over the Loew's circuit (later sold to AMC), Paramount and Warner in a joint venture operating the Mann Theatre chain and Disney operating the El Capitan. Disney, not one of the majors in 1948, was not subject to the ruling but its current status is in doubt after acquiring 20th Century Fox. Netflix and Amazon are not subject to the decrees.
Exhibitors have been wary, especially about the possible return of block booking. Related stories on Deadline included "Exhibitor Stocks Gain..." and "Will Studios Rush To Buy..." The conclusion in the latter article was "Don't bet on it." Variety's November 2019 story "Justice Department Moves.." also discussed the developments as did the L.A. Times story "Justice Department to throw out..." It became official in 2020. Bret Lang's August story for Variety, "Judge Approves Ending Paramount Antitrust Consent Decrees," noted that prohibitions against block booking and circuit-wide dealing will also be ending, after a two year sunset period.
The Loew's name comes down: As late as 1953 the UA ads still called the theatre Loew's State. Later it was sometimes listed in UA ads as the United Artists State or as The State. The Loew's name didn't come off the signage until 1955.
In 1963, the State Theatre lease was acquired by Sherill Corwin's Metropolitan Theatres. Thanks to Mike Hume for finding this January 14 item in Boxoffice. Note the mention that Loew's still owned the building at the time. One by one as the larger circuits left downtown Metropolitan bought buildings and acquired leases. After downtown could no longer support major first-run bookings the State was used for action flicks as well as Spanish language product in its final years.
The State appears in this detail from an ad touting the "premiere presentation" venues for the 1969 release of the 20th Century Fox film "Che!" starring Jack Palance and Omar Sharif. Thanks to Ron Mahan for sharing this from his collection. Those swarms of things around the theatre? Cars on the freeway going to the movie, of course.
Closing: Metropolitan Theatres closed the State in 1997.
Use as a church: In 1998 the State was leased to a church group. The final lease term expired in October 2017 with the church staying on with a month-to-month deal until January 2018.
Status: Broadway Theatre group's stated intention is to once again make the venue available for theatrical use. As of mid-2020 work had not begun.
One of many views of Harold Lloyd and the alley side of the State in "Never Weaken." He has some dazzling scenes up on what looks like an unfinished building in this 1921 Pathe release. Some shots were from 1st and Hill but here we're at 7th and Hill looking east at the back of the Loew's State building -- then under construction. See the Historic L.A. Theatres In Movies post for shots of the Pantages / Warner Downtown and the Mason Theatre from the film.
We get a scene in the alley behind the State in James Cameron's "The Terminator" (Orion Pictures, 1984). Amid lots of plasma-like special effects, Michael Biehn plops out of the future, naked, and goes looking for Linda Hamilton. He's been sent to help save her. Arnold is trying to kill her. We get quite a tour of downtown. See the Historic L.A. Theatres in Movies post for a shot with a sliver of the front of the building as well as several showing the Warner at 7th & Hill.
We get a look at the State in a big cruise down Broadway during the opening credits of Dennis Hopper's "Colors" (Orion, 1988). We also see the Million Dollar, Palace and Broadway Theatres. It's all downhill after that. The credit sequence can be seen on YouTube. See the Historic L.A. Theatres in Movies post for several more shots from the film.
"Action Jackson" (Lorimar, 1988) with Carl Weathers and Craig T. Nelson is set in Detroit but we get a number of Los Angeles views including the Alexandria Hotel, Cole's P.E. Buffet and this shot of the State. You probably don't want to watch it unless you're obsessed with picking out the L.A. filming locations.
Sade makes a run south on Broadway past the State (running "Hellraiser III") in her 1992 music video "No Ordinary Love." Thanks to Sean Ault for spotting it -- and figuring out where we were. The video is on You Tube.
The State interior was used for scenes supposedly at the Olympia in London in Brian Gibson's "What's Love Got To Do With It" (Touchstone Pictures, 1993), a film about Tina Turner and her abusive husband Ike that stars Angela Bassett and Laurence Fishburne. The exterior they use for the Olympia was a backlot creation. See the Historic L.A. Theatres in Movies post for several more shots at the State as well as views of the Academy in Inglewood and the Hollywood Playhouse.
The State appears in Emile Ardolino's 1993 made for TV movie of "Gypsy" starring Bette Midler as Mama Rose. Here she's at the State trying to persuade the manager of Weber's Theatre in L.A. to hire the act her kids are in. We get a view of the rigging offstage right. The theatre also doubles as a theatre in New York for an audition sequence. See the Historic L.A. Theatres in Movies post for more State shots from the film as well as views of the Orpheum and the Palace.
"Blankman" (Columbia, 1994) is set in Chicago but various L.A. locations keep creeping in around the edges. Damon Wayans, a self-styled crime fighter, is trying to catch a Chicago bus in front of the State Theatre to reach a crime scene. See the Historic L.A. Theatres in Movies post for another view of the State as well as a shot of the building that was formerly the Liberty Theatre at 3rd and Main and two views of the villain's hangout in the Shrine Expo Hall.
The State is seen briefly as New York's Bowery Theatre in the 1870s in Walter Hill's "Wild Bill" (United Artists, 1995). The film stars Jeff Bridges as Wild Bill Hickok, Ellen Barkin as Calamity Jane and Keith Carradine as Buffalo Bill. Thanks to Mike Hume for the screenshot. See more on the Historic L.A. Theatres in Movies post.
We're supposedly in Hollywood in John Carpenter's "Escape From L.A." (Paramount, 1996) but we get this view of the 7th St. side of the building. They've added some exit doors, a readerboard, and a faux version of the sign that's in the alley north of the Los Angeles Theatre. See the Historic L.A. Theatres in Movies post for a shot of Grauman's Chinese and half a dozen lobby shots at the Los Angeles from the film.
Christian Bale and Brian Dennehy spend a lot of time inside and on the roof of the Palace Theatre in Terrence Malick's "Knight of Cups" (Broad Green Pictures, 2015). Here in one roof shot we get a look south toward the State Theatre building. In addition to many scenes in the Palace, the film also has brief views of the Los Angeles, Warner Downtown and Wiltern theatres. See the post on Historic L.A. Theatres In Movies for more from the film.
The Delijanis have announced various other plans over the years to revitalize all four of their theatres and in 2013 applied for liquor licenses and use permits that would have, for operational purposes, designated the four buildings as a single complex. They were asking for permits for possible 24 hour operation (but drinks stopping at 2 am). The various venues could have been operated by the owners themselves or in conjunction with outside operators. The point was to get licensed for whatever combination of uses eventually evolved. The 2013 plans envisioned up to 4 separate uses. The auditorium, lobbies and part of the basement would have been considered one venue with a maximum occupancy of 2,818 people or 2,487 seats. This could have been either with theatre seating or some removed for a dance floor.
Three additional bars and clubs were outlined for the basement. A basement bar and lounge with a DJ entertainment might have had 202 seats and a 250 square foot dance floor. Another basement bar and lounge was listed as a possibility with 96 seats and a 335 square foot dance floor. There might also have been yet another basement bar with a DJ, 159 seats and a 460 square foot dance floor. Some of these basement uses would have been in the former cafeteria space. See "Delijanis Move Forward With Plans...," a May 28, 2013 story for the Downtown L.A. News for more details.
The liquor licenses were obtained but later surrendered as a requirement that the theatres all have kitchens for food service wasn't met. Later work has included installation of kitchen facilities in the basements of the Palace and Los Angeles Theatres. The basement of the State remained unused except for some areas used by the church.
More information: The State Theatre website has a fine history page.
The Cinema Treasures page on the State Theatre has lots of historical detail and particularly interesting discussions of operational history of various theatre circuits in downtown Los Angeles. The Cinema Tour page on State Theatre has a short history and some nice 2003 photos by Adam Martin, including interior views.
See the Bringing Back Broadway site for information on Councilman Jose Huizar's initiative to revitalize the street. Frank and Maria of the blog Franklin Avenue got into the theatre in 2012. For all the details (and photos) check out their post "Sneaking Inside Downtown's State Theatre."
Visit Mike Hume's Historic Theatre Photography page about the State for lots of data and many fine photos of different areas of the building. Wikipedia has a page on the State Theatre.
"Fanchon & Marco Forms Million Dollar Firm," an article about the duo's national expansion plans, appeared in the November 10, 1928 issue of Exhibitors Herald and Moving Picture World. Thanks to Mike Hume for spotting it on Internet Archive.
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