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Opened: The theatre opened June 26, 1911 as the Orpheum with two-a-day vaudeville. Many famous performers have appeared on the theatre's stage including Sophie Tucker, Al Jolson, Sarah Bernhardt (1913), the Marx Brothers, W.C. Fields and Will Rogers. This is reported to be the oldest surviving theatre that was built for the Orpheum circuit. Photo: Bill Counter
Phone: 213-629-2939 Online: btgla.com | on Facebook | on X
The Palace Theatre is owned and operated by Broadway Theatre Group, Jason Rodriguez, General Manager. The firm also owns the Tower, State and Los Angeles theatres. The initial developer of the project was the Orpheum
Theatre and Realty Co., a subsidiary of
the theatre circuit. The land it was on was leased for a term of 50
years.
This was the 3rd home for Orpheum Circuit vaudeville in downtown Los Angeles. Prior to the construction of this theatre, Orpheum had presented at the Grand Opera House on Main St. and at the Los Angeles Theatre on Spring St., a venue later known as the Lyceum. This house on Broadway was renamed the Broadway Palace when the circuit moved down the street to the present Orpheum Theatre in 1926. Later this theatre was known as the Fox Palace and, eventually, just as the Palace.
Seating: Currently 1,068 with the 2nd balcony not in use. The
theatre's website gives a main floor capacity of 608 with seating for
460 in the balcony. No seat is farther than 80 feet from the stage. The
seating got rehabbed as part of the 2011 restoration. On the main floor,
several rows are missing at the front. The orchestra pit is covered.
Originally it was touted as 2,200. A perhaps more realistic total is the
number 1,956 that appears on the theatre's website. They offer a breakdown of
774 on the main floor, 389 in the 1st balcony, 645 in the 2nd balcony,
and 148 in the boxes. 1,956 is also the number that appeared in a 1910
L.A. Times article announcing the project. After a Fox remodel in late
1929 that included removal of the boxes, the L.A. Times reported, with a bit of puffery, that the capacity would be 2,250.
Architect: San Francisco based G. Albert Lansburgh designed this lovely French renaissance bonbon. Robert Brown Young and Son was the firm serving as the local associate architect and probably was responsible for the commercial spaces.
The polychrome terracotta facade, reported to be the first in Los
Angeles, was executed by Gladding, McBean & Co. The four figures
on the facade by Domingo Mora represent the muses of vaudeville: comedy, dance,
song and music. The building was designed with fire safety in
mind. There are 22 exits and one of the city's first sprinkler systems.
A young Mr. Lansburgh. It's a photo that appeared
with the article "The New Orpheum Theater Building, Los Angeles" in the
September 1911 issue of Architect and Engineer, available on Internet Archive. Thanks to
Mike Hume for locating it. See the
Palace page on his Historic Theatre Photography site for many of his fine photos.
Following the main Architect and Engineer article, Lansburgh adds "An Architect's Tribute to Domingo
Mora," the artist who did the sculptural work on the project. The ceiling dome paintings were done by Domingo's elder son Francis Luis Mora. Domingo died in San Francisco in July 1911, shortly after the theatre's opening. His younger son Joseph Jacinto Mora had assisted on the project's sculptural work and later went on to do the exterior sculpture for the Million Dollar Theatre.
Lansburgh's model for the theatre. It's a photo Hillsman Wright acquired for the collection of the Los Angeles Historic Theatre Foundation. Thanks to Mike Hume for making it available.
A main floor plan of the building from the September 1911 issue of
Architect and Engineer. It's on Internet Archive. They noted that the theatre's lot is 150' wide and 122' deep. Cost of the building was $350,000.
On the left note the original configuration of the exit passage on the north side of the building with a stage door at the east end. The fire escapes and side main floor exits all lead toward Broadway. This was revamped around 1930 with the Broadway end becoming retail space and a passage cut through the stagehouse so exits could be toward the alley. That's the office building entrance in the lower right. It connects to the exit passage on that side, which leads toward the alley. Both passages are 10' wide.
A detail of the Broadway end of the plan. The boxoffice for 2nd balcony patrons is indicated in red with the two dedicated sets of stairs to the 2nd balcony shown in green. The main boxoffice near the theatre's entrance doors is shown in blue. The office building stairs are indicated in yellow.
A 1st balcony plan that appeared in the February 4, 1914 issue of The American Architect. The issue, on Internet Archive, has five pages of plans and photos but they
goofed on their second facade photo. It's the San Francisco Orpheum, also a design
by Lansburgh. Note the false proscenium shown on the stage. In the upper left it's the 2nd floor dressing rooms. In the upper right are the stairs to the alley from the front of the 2nd balcony.
A detail of the back of the auditorium from the 1st balcony plan. It's split down the centerline so on the left, indicated in red, we get the house left half of the mezzanine ladies restroom and, at center, the lounge that protrudes forward into the ticket lobby. The men's smoking room and restrooms were in the basement. Both levels have been remodeled so that each now has restrooms for both men and women.
On the right the plan shows the seating risers all the way to the top of the 1st balcony. A bit of the projection booth is indicated as a protrusion into the back row, just right of the centerline. It was later enlarged. In green it's the short flight of stairs going down to a firedoor and into a space that connects with the stairs to the 2nd balcony. Down a level indicated in blue is a door from the landing on the 1st balcony stairs leading to to a suite of theatre offices on the 2nd floor of the office building.
Mike Hume notes that photos of this theatre, and perhaps drawings, are in the Environmental Design Archives at UC Berkeley along with documents about many other Lansburgh projects. See a research guide to the archive, a finding aid and page about Lansburgh. On the Lansburgh page, click on "Project Index" for an XL spreadsheet listing their holdings.
The 2nd Balcony, aka The Gallery: The 2nd balcony seats were cheaper but the area was not racially segregated. The cheapest seats in the upper section were actually benches, still in place. There were conventional theatre seats below the crossaisle, a section called the Family Circle. The boxoffice for the 2nd balcony, as seen on the main floor plan, was just off Broadway in the north exit passageway, adjacent to a dedicated set of stairs.
The 2nd balcony is also served by another set of stairs off the office
building lobby, on the south side of the building. In addition to the stairs and fire escapes, there's also an exit from the house right front of the balcony with stairs straight down to the alley. There was no access to other areas of the theatre for 2nd balcony patrons, typical of two-balcony
theatre construction at the time.
A 2nd balcony plan from the February 4, 1914 issue of The American Architect. In the upper right note the exit stairs that continue as a straight shot down to the alley. The sets of stairs that had come up from
the north and south exit passageways can be seen entering the seating
area at either end of the crossaisle. Again the plan is split on the
centerline with the left showing the seating risers all the way to the
top. On the right we get the level tucked underneath those upper seats.
A detail from the 2nd balcony plan. In red it's the house right stairs coming up from the south exit passage. As noted on the discussion of the 1st balcony plan, those stairs can also be accessed via a firedoor at the top of the 1st balcony leading into the office building and former theatre offices. The little passage heading back to the 2nd balcony "lobby" is in green. It continues on over to the the house left side. The blue area is the restroom on this side. There's another on the opposite side.
Closing the 2nd Balcony: While terrific for vaudeville, this balcony is less desirable for film viewing and hasn't been used since perhaps the late 1920s. It's unknown when they actually stopped selling tickets to the 2nd balcony but building permits tell part of the story. Clifford A. Balch was listed as architect and Palace Theatre Investment Co. as building owner for
permit #15807 that was issued in November 1933. The work was to "Change present stage to allow exit to alley." This meant creating a corridor through the stagehouse so the exit passage along the north side of the building would lead to the alley instead of to Broadway.
Eliminating the need for an exit onto Broadway at the north end of the facade meant that the retail space occupied by the Florsheim Shoe Co. at 626 could be expanded. In late November 1933 Balch & Stanbery were listed as architects for
permit #16719 to "Plaster front & entrance."
Page Two of that application told us where: "Alteration of present front from old theatre exit to store front."
More serious work was done during another Florsheim remodel in August 1935. Ross Montgomery was the architect listed on the application for
permit #14159 where the work was described as "Remove present store front - install new... Remove present ramp and install new floor... Remove present obsolete stairway.... Remove present non-bearing partitions. Remove present mezz." That stairway they removed was likely the bottom of the one that had been to the 2nd balcony -- it no longer exists below the 2nd floor as that area is now retail space.
See a
1937 Dick Whittington photo from the USC collection showing the expanded retail space on the north end of the facade. The south stairs to the 2nd balcony located near the office building lobby are still functional and the bottom of the north stairs could certainly be rebuilt. In Bob
Poole's
2011 L.A. Times story
about restoration work, Shahram Deljani announced plans at that time to
"flip it" and make the second balcony a V.I.P. area. But it's still
unused.
Getting it built:
An
announcement of the project in the January 2, 1910 issue of the Los
Angeles Herald. Thanks to Paul R. Spitzzeri for locating the article for
"
'A Crown Jewel Ablaze...," his 2022 article for the Homestead Museum blog.
They
planned on completion by the end of the year according to this May 14,
1910 article in the Los Angeles Express. Thanks to Paul R. Spitzzeri for
locating it.
The LA Herald ran this rendering in their May 15, 1910 issue. It's another find by Paul R. Spitzzeri.
Lansburgh,
with his name misspelled, talks about getting the theatre ready in this
article from the June 3, 1911 L.A. Times.
An
article describing the wonders of the new theatre that appeared in the
Long Beach Daily Telegram on June 6, 1911. Thanks to Ron Mahan for
locating it. That bit about "a water curtain to throw a sheet of water
in front of the asbestos" just meant that they had installed sprinkler
heads around the top of the proscenium arch.
An article in the June 11 issue of the Times headed "New Orpheum's Opening Date" noted that Clarence Drown, the
initial manager, had decided on an opening date of the 26th after conferring with Landsburgh. Drown got a bio in the same issue of the Times where it
was noted that he had been at the circuit's two previous Los Angeles
locations, had been on the road managing Orpheum attractions and was, at
the time of the opening, also VP and assistant general manager of the
circuit as well as the west coast division manager. Tickets for the opening were to go onsale on the 19th, with the main floor and boxes available only by submitting a bid.
This article giving a big preview of the new theatre's features, including
"strange combinations" and "new lighting effects," appeared in the
Times on June 14. Thanks to Mike Hume you can also see this as a
PDF.
Morris Meyerfield, the president of the Orpheum circuit, and Martin Beck, his general manager, graced this fine item appearing in the Times on June 25, the day before the opening. Thanks to Paul R. Spitzzeri for locating this for
"
'A Crown Jewel Ablaze...," his 2022 article for the Homestead Museum blog.
Operating as the Orpheum - 1911 to 1926:
The opening was June 26, 1911. This L.A. Times ad for June 27 showed the theatre's first week bill.
Although it wasn't Orpheum policy to run feature films, short films were
part of the first program, here advertised as "Daylight Pictures." The booth was at the rear of the
1st balcony, a small one that was later expanded.
The
17 piece "Symphony Orchestra" was led by Abraham Frankum Frankenstein,
who had been the Orpheum's music director in Los Angeles since 1898. A
1913 composition, with lyricist F.B. Silverwood (yes, the clothing store
operator), was "I Love You California," declared the State Song in
1951. See a Jewish Museum of the American West page for more about Frankenstein. The June 16, 1912 issue of the Times ran an article about him.
In
a lengthy Times article on June 27th that reviewed the opening, Julian
Johnson noted that in the "club-like" smoking room "a slave dispensed
cigarettes." Upstairs "the ladies packed their exquisite French
foyer-boudoir almost to suffocation." As far as the show, he noted: "The
were flowers, but no stopping of the show for speeches or the customary
tiresome 'inaugural ceremonies.' The Orpheum, as its habit is, simply
gave a 'show.'" Thanks to Mike Hume for finding this and other Times items. See a PDF via his site of the full article: "
New Orpheum's Bright Birth is Sudden Blaze of Tungsten Glory."
A 1913 ad in the Times. Thanks to Ken McIntyre for locating it. The engagement of Sarah Bernhardt was a big event with lots of luggage, scenery and props. The March 1, 1913 issue of the L.A. Evening Express had an article about her arrival in town headed "Sarah Bernhardt Due To Arrive Monday."
The July 26, 1915 program. The show that week featured Nazimova in "War Brides" and Joe Cook. The cover appeared in a post on the
Palace Theatre Facebook page.
Harry Houdini played the Orpheum beginning the last week of November 1915. His brother, known as Hardeen, was also an escape artist and played a block away at the
Pantages. Thanks to the blog
Houdini and Hardeen for sharing this December 2 ad from the Los Angeles Herald. A few weeks earlier they had played opposite each other for short engagements in the Orpheum and Pantages houses in San Francisco and then in Oakland.
This comic strip appeared in the December 2 issue of the L.A. Times. Click on it for a larger view. Thanks to John Cox for including this in "
Inside Houdini's L.A. Orpheum," a post on the blog Wild About Harry. Also see "
Houdini vs. the Pottawatomie Giant," his post about a November 29 verbal feud with boxer Jess Willard. In 1899 Houdini had played the Orpheum when it was located on Main St. and in 1907 when the circuit's house was on Spring St.
An Orpheum Circuit program in the collection of Gary Leonard. Thanks to Gary and the Palace Theatre for the photo. It appeared in a post on the
Palace Theatre Facebook page. This program cover was used from about 1919 onward.
An April 2, 1923 ad in the L.A. Times for a bill headed by Houdini. A Times item the same day called it "The costliest Orpheum bill ever played..." Evidently the circuit had been bringing in a number of lackluster performers. Grace Kingsley commented in her April 3 Times "Flashes" column reviewing the show:
"Houdini Escapes - New Orpheum Bill Is All-Star Affair - If you feel that you have been cheated at the Orpheum lately, you can go this week and ever so much more than get even. It's a big league bill they're showing there, with not a single act from the kerosene circuit.... Houdini is letting the screen work for him a little, in showing some water escape stuff and also in showing the airplane accident which marred a picture in which he appeared, but which has proven a wonderful thrill shown in connection with his act. He does his needle trick, his Chinese torture chamber escape, and his water escape. Every time Houdini shows up, indeed, we marvel more than we did the last time. He is going to give a public performance tomorrow, downtown. In fact, he says the only thing he cannot escape from are his public escapes!"
An April 6, 1923 LA Express ad located by John Cox noting a challenge escape from a box constructed by packers from the B. H. Dyas department store. There's a small trap downstage center that may have been used for one of Houdini's illusions. His engagement was such a hit that he was back the last week of April 1923 at the Orpheum Circuit's Hillstreet Theatre for another run.
Closing as a two-a-day vaud house: The last performance as the Orpheum was the evening of February 14, 1926. The new Orpheum Theatre down the street opened the next evening.
The theatre post-Orpheum: On February 20, 1926 this theatre that had been the Orpheum reopened as the Broadway Palace. It was still being run by the Orpheum circuit but now with feature films and less prestigious vaudeville acts, programming much like the "Junior Orpheum" format at their Hillstreet Theatre, a house that they had opened in 1922. In early 1926 they expanded the projection booth with further work occurring in 1928 to prepare for sound equipment.
An article in the July 14, 1926 L.A. Times announced that the format would be downgraded to films only, lower admission prices, and four changes a week. Orpheum continued to run the Palace into the fall of 1928.
"Orpheum Loses Lemon." The Variety issue of August 15, 1928 had the story:
"Pacific Amusement Co., headed by Harry Strere [sic], who operates the Rialto (downtown) and is also interested in the Forum, is taking over the Palace (Orpheum circuit) Oct. 1, relieving the vaude circuit of one of its biggest liabilities on the Pacific coast. A grind policy of pictures will be in effect. Principal Pictures Corp. (Sol Lesser and Mike Rosenberg) owns a small block of stock in Pacific Amusement Co. Palace was formerly the Orpheum, where the circuit shows were played prior to the opening of the new Orpheum several years ago."
The Times had the news in "Forum's Owners Lease Broadway Palace Theater," a September 20 story where they noted that the lease was an eight year deal with the Orpheum circuit. "Broadway Theater in Lease Deal," a September 30 Times story, revealed that the total lease cost was approximately $1,000,000 and another member of the Srere clan, George, was also involved. In mid-October the team announced that the grind film policy was being upgraded and they would be offering instead a first-run film along with a musical comedy on stage.
In an October 16 Times story partner Gus A. Metzger was quoted as saying they had selected a chorus which "will be among the most beautiful ever assembled on a Los Angeles stage." A tab version of the Ziegfeld musical "Sally" was scheduled for November 2, 1928 along with the film "The Matinee Idol." A November 20 story titled "Palace's Policy Rated Success" noted that they were shattering attendance records and that "Irene" would be next on the stage.
Minority partners Sol Lesser and Mike Rosenberg's Principal Pictures Corp., later known as Principal Theatres and Principal Theatres of America, had its fingers in everything. Lesser was long involved with the West Coast Theatres circuit. Around 1927 Principal took over the Arcade Theatre for a short spell. In 1933 they were one of the partners in the reopening of the Orpheum. The last remaining theatre in the circuit is the Music Box/Fonda, now owned by Leslie Blumberg, a descendant of Mike Rosenberg. Cinema Treasures has a list of 34 theatres once operated by Principal. Leslie puts the count as once being closer to 60.
As Variety noted, Harry Srere had operated the Rialto in the late 20s. In addition, he and Gus A. Metzger also had an interest in the Forum Theatre. The Srere and Metzger regime at the Palace was over in less than a year when William Fox came
calling in 1929 and took over the lease. The duo went on to be the lessees of the Fairfax in 1930 and the Roxie in 1931.
Balch and Stanbery were listed as architects and Principal Theatres as the owner for a May 1929 permit #14486
to do "Alterations to Exterior Courts," meaning the exit passages on
either side of the building. It's unknown what
that scope of work was.
The Fox West Coast circuit, formerly West Coast Theatres, rebranded the house as the Fox Palace. This September 18, 1929 Times article located by Mike Hume announced the takeover. They ran the house for a couple of weeks and then, on October 6, shut it down for ten days for what they billed as a complete overhaul. One major change was removal of the boxes and installing murals in flat panels that were created.
In September 1929, with Heinsbergen Decorating Co. listed as the contractor, Fox Film Corporation had been issued
permit #23734 for the renovation project. The scope of work described on the application was "Tear out 3 tiers of boxes, furr in and replaster to conform with section 201-202. Install partition on same line as existing partition.... Install new partitions in foyer. Install fireproof footlight trough."
The story that appeared in the Times on October 6, 1929 detailing, with some puffery, the renovation by Fox West Coast. Thanks again to Mike Hume for the research.
Some of the 210 applicants for the job of usherette "were made only to be admired, while others were born to serve, and nothing more." They favored the "French type" who "will blossom forth in specially designed costumes.." It's an October 9, 1929 article from the Times. The theatre reopened October 16 with the King Vidor sound film "Hallelujah" on a two-a-day reserved seat policy.
An opening day article in the Times noted that the event would be broadcast due to the "Widespread interest in all parts of the Far West in the spectacular opening." Bandleader Benny Rubin was the MC, introducing stars to the radio audience as they came through the ticket lobby. The article noted that "practically every star of prominence in the film colony and stage world not engaged in thespian activities tonight will attend.."
The cover for the October 1929 "Hallelujah" program.
The inside pages. Thanks to Ken McIntyre for locating this for a post on the
Photos of Los Angeles Facebook page.
This item about "They Had to See Paris" in the November 26, 1929 issue of the Times makes no mention of a two-a-day schedule or reserved seats policy. Thanks to Javier Gonzalez for locating this. "The Song Writers' Revue" was a 20 minute short.
A detail from page 58 of volume 2 of a Sanborn Fire Insurance Map from the Los Angeles Public Library showing the theatre and identifying it as the Broadway Palace Building. Thanks to Michelle Gerdes for the photo. This copy had pasted-on revisions as late as 1931. Note that the map wasn't showing the stagehouse renovations necessitated by the expansion of the north retail space at 626. It took over the space shown at 624 that had been the entrance to the 2nd balcony and the exit corridor onto Broadway from the house left side of the auditorium.
After the renovations. This detail is from page 58 of a later version of the Sanborn Map that's in the
Library of Congress collection. Their copy reflected changes as late as June 1950. On their site this is image 10 out of 115 for this volume. By this time note that the retail space at 626 had been expanded to include 624 as well. It's not obvious here but during renovations in 1933 that exit passage on the right was extended to the alley by cutting a corridor through the stagehouse. Both side passages then exited toward the alley.
By 1936 Fox West Coast had bailed out and the Palace was a second run house operated by Downtown
Broadway Theatres, Inc., a firm later known as Metropolitan Theatres. In 1939 it became a newsreel theatre known as both the News Palace and the Palace Newsreel Theatre. A September 14 Times article located by Michelle Jacobson was headlined "Palace Theater Will Become Newsreel House" and noted:
"For years an outstanding landmark to Los Angeles theatregoers, the Palace Theater... is to adopt the same policy as the Newsreel Theatre [later renamed the Globe] in answer to an ever-increasing demand of persons wanting to see in dramatic sound pictures the feverish pulsebeat of nations at war.
"Next Wednesday the new newsreel house will become officially known as the News Palace Theater and the feature pictures that formerly played there will be transferred to the Los Angeles Theater. The newest in sound picture equipment will be installed in the News Palace, which is also to be equipped with sound-television apparatus, which sometime in the near future will be in extensive operation."
A typical ad noted that the program consisted of "Latest News Reels and Short Subjects." The vertical signs were temporarily covered to say "Newsreels" but the newsreel policy was inconsistent. By 1941 they were sometimes running features again and then advertising it as just the Palace. In December 1943, as the News-Palace, a typical ad read "Two Hour Show - Latest News & Shorts." By November 1945, when signs could be lit again, the verticals again said "Palace" and no mention of newsreels.
The theatre was back with Fox West Coast management later in the 40s, operated in conjunction with Principal Theatres of America. After some big first run engagements such as "Best Years of Our Lives" in 1946 it was back to newsreels, at least that was the programming in 1949. It had a fine run as a grindhouse after its first run and newsreel days were over. Metropolitan ended up with it (again) after Fox, like the other major circuits, left downtown.
It was sold to downtown developer Tom Gilmore in 2000 but Metropolitan Theatres continued to operate it. The Times had the news in a February 8 story located by Michelle Jacobson that was headlined "Developer Plans To Breathe Life Into Historic Palace Theater." The article noted that Gilmore, already busy with several adaptive reuse projects on Spring St. in what had been dubbed the "Old Bank District," planned to continue to offer first-run films while also adding live shows at the Palace. Gilmore moved his offices into the building. A December 2 Times story headed "Playing the Palace" noted that the
Praxis Project, a dance company, would be doing an engagement at the
theatre.
Closing: Metropolitan closed the Palace as a film house on January 4, 2001. Gilmore, despite the big plans, didn't have any luck making the building financially viable.
The Palace has been owned since 2004 by the Delijani family. They also
own the Los Angeles, State and Tower theatres. It's operated by their
Broadway Theatre Group with Shahram Delijani heading the firm.
The facade received significant cleaning and repair in 2007. A condo development was proposed for the vacant office floors of the building in 2007. Curbed L.A. reported: "On the heels of that $40 million "Bringing Back Broadway"
campaign, applications have been filed to create condominiums in two
Broadway theater buildings...the office tower of the Palace Theatre and
the Fox office tower of the Los Angeles Theater." No action was pursued
regarding those plans.
The theatre
unveiled $1 million in restoration work to celebrate its 100th
birthday on June 26, 2011 with screenings of "Sunset Boulevard." See a
PDF of "Theater's makeover for a century," a June 27, 1911 L.A. Times story about the reopening. Thanks to Mike Hume for posting it. Also see the PDF for "At the Palace, the show goes on," a July 16, 2012 Times story by Rick Rojas.
In 2013 the Delijanis applied for liquor licenses and use permits for
their four theatres that would have, for operational
purposes, designated the four buildings as a single complex. A number of
separate club, theatre, and restaurant spaces were envisioned in each
of the buildings. See Richard Guzman's May 28 L.A. Downtown News
story for a rundown of what they were proposing. The liquor
licenses obtained in 2013 were later surrendered as the theatres didn't
get the kitchen facilities installed that were a condition of their
issuance. Later a kitchen was installed in the Palace basement.
The Hotel Project Behind the Palace: In 2015 a slender hotel was
proposed for the lot behind the Palace, at 633 S. Spring. The
alley would have been maintained but it would have made access to the theatre for
loading a show more difficult. Urbanize L.A. had an October 2015 story, including a site plan. It was a followup to their June 2015 story. There's also a Department of City Planning initial study pdf to look at. Thanks to Torr Leonard for spotting the information. Also see an October 2015 L.A. Curbed story "First Look at the Skinny 28 Story Hotel..." The project architect was Adam Sokol.
Urbanize L.A.
had a January 2017 story: "Proposed Spring Street Hotel Adds Parking." Curbed L.A. also had a January story "26-story hotel once called 'Lizard In'..."
The schedule was for groundbreaking in the 2nd quarter of 2017 and an opening in 2019. But nothing happened. The site is still a parking lot.
A site plan for the skinny hotel from Urbanize L.A
A Spring St. view to the rear of the Palace from the October 2015 Urbanize story.
Status: The theatre currently is a rental house used for theatrical productions, concerts, film shoots, and occasional film screenings. In recent years the theatre has sometimes been advertised as the Downtown Palace.
The Palace in the Movies: The interior of the Palace has been used for many films, videos and commercials due to its lovely period feel.
Anjanette Comer takes a rapid run by the Palace in a sequence beginning 1:47 into Tony Richardson's
"The Loved One" (MGM, 1965). The film also features Robert Morse, Jonathan
Winters, Rod Steiger, Dana Andrews, Milton
Berle, James Coburn, John Gielgud and Tab Hunter. Haskell Wexler was the
cinematographer. See the
Historic L.A. Theatres in Movies post for some Hollywood shots as well as a reflected view of the Los Angeles Theatre.
We're supposedly in New York but find ourselves on Broadway about 80 minutes into "Candy" (Cinerama Releasing, 1968). Buck Henry wrote
the screenplay based on the novel by Terry Southern and Mason
Hoffenberg. Starring are Ewa Aulin,
Richard Burton, Charles Aznavour, Marlon Brando, James Coburn, John
Huston, Walter Matthau, Ringo Starr, Elsa Martinelli and Anita
Pallenberg. Christian Marquand directed. The cinematography was by
Giuseppe Rotunno. See the
Historic L.A. Theatres in Movies post for another Palace shot plus views of the Cameo and Broadway theatres.
We get a look north in 1972 at the Palace and the Los Angeles in footage
added for the European theatrical release of Steven Spielberg's 1971 TV
movie "Duel." The Palace is running "The Possession of Joel Delaney," a May 1972 release, along with "Rosemary's Baby" from 1968. Thanks to Jonathan Raines for spotting the theatres and
getting the screenshot and thanks to Shawn Dudley for deciphering the top title on the marquee. See the
Theatres in Movies post for a view a moment later a bit closer to the Los Angeles.
It's all set in New York but we see a bit of the Palace as the end credits roll in Joseph Sargent's TV movie
"Hustling"
(Lillian Gallo/Filmways, 1975). Journalist Lee Remick is doing a story about who benefits financially from prostitution in Manhattan.
Also starring are Jill Clayburgh, Alex Rocco and Burt Young. See the Historic L.A. Theatres in Movies
post for more views of the Palace as well as shots of the Tower, Los Angeles and State. Thanks to Sean Ault for spotting the theatres in the
film.
A shot from Elaine May's
"Mikey and Nicky" (Paramount, 1976). The mob drama features Peter Falk,
John Cassavetes, Rose Arrick, Carol Grace, William Hickey, Ned Beatty
and Sanford Meisner. The principal cinematography was by Bernie
Abramson. Thanks to Eric Schaefer for spotting the theatre in the film and getting screenshot. He notes: "The film was shot in 1973 and 1974 but released in 1976. My city sleuthing detected
that the triple bill on the marquee played the week of January 18, 1974.
That's the back of Ned Beatty's head in silhouette. Also note that here
downtown L.A. is doubling for Philadelphia, where the film is set."
There are some downtown shots early in "Trackdown" (United
Artists, 1976) when Karen Lamm, playing a teenager running away from a Montana
cattle ranch, lands in L.A. This shot is later in the film when her brother, played by James Mitchum, comes looking for her. Richard T.
Heffron
directed. The film also features Cathy Lee Crosby, Anne Archer and Erik Estrada. Cinematography was by Gene Polito. See the
Historic L.A. Theatres in Movies post for views of the Pussycat, Fox, Holly, Hollywood Pacific and Vogue. One title on the Palace marquee is the July 1975 release "Cleopatra Jones and the Casino of Gold."
The Palace marquee is used in the opening credits of "Coming Attractions"
(Cinema Finance Associates, 1978). Ira Miller directed the film, retitled "Loose Shoes"
for a 1982
reissue. It's a comedy structured as a series of skits and trailers. Featured are
Bill Murray, Buddy Hackett, Royce D. Applegate, Lewis Arquette, Tom Baker and Dorothy Van. See the Historic L.A. Theatres in Movies
post for marquee shots of the Whittier, Wiltern, La Reina, Orpheum and
Rivoli in Long Beach. The Gilmore Drive-In is seen at the film's end.
The marquee of the Palace is seen in Gregory Nava's "El Norte" (Cinecom Pictures, 1984). It's a story of Guatemalan immigrants coming to the United States in search of a better life. Thanks to Jonathan Raines for spotting the theatre in the film. See the
Historic L.A. Theatres in Movies post for a screenshot.
Ryan O'Neal and Shelley Long write a hit film called "An American
Romance" that shows up as playing the theatre in "Irreconcilable
Differences" (Warner Bros., 1984). Drew Barrymore plays their kid, who's
in court asking to be
emancipated from them and their endless fighting. Charles Shyer
directed with cinematography by William A. Fraker. See the Historic L.A. Theatres in Movies post for shots of the Rialto, Globe, Orpheum and La Reina theatres from the film.
A stripper played by Claudia Christian goes on a rampage and takes a wild drive by the Palace's wildly flashing marquee in “The Hidden”
(New Line Cinema, 1987). Her body has, of course, been taken
over by an alien creature. Jack Sholder directed the film starring Kyle
MacLachlan and Michael Nouri. See the
Historic L.A. Theatres in Movies post for views of other theatres seen in the film including the Westlake, Las Palmas, Pantages and the United Artists.
We get a look at the Palace in the cruise down Broadway during the opening credits of Dennis Hopper's "Colors" (Orion, 1988). We also see the Million Dollar, the Broadway and the State. The credits are the best part. You don't need to see the rest of the film. Check out the
Historic L.A. Theatres in Movies post for shots of the other theatres.
The 5th floor loft is seen as a New York apartment in Oliver Stone's "The
Doors" (TriStar Pictures, 1991). The film stars Val Kilmer, Kathleen
Quinlan, Meg Ryan and Kyle MacLachlan. See the
Historic L.A. Theatres in Movies post for several Orpheum views from the film.
Art news update! A new mural design to replace the dreary Heinsbergen creation. Chris Young and Joan Severance are discussing it in this shot from "The Runestone" (Hyperion Pictures, 1991), a fun romp about Fenrir, a wolf from Norse mythology on the loose in Manhattan. The film also stars Peter Riegert, Tim Ryan, William Hickey, Mitchell Laurence and Donald Hotton. Willard Carroll
directed. Misha Suslov did the cinematography. Thanks to Eitan Alexander for spotting the theatre and getting the screenshots. See the Historic L.A. Theatres in Movies post for 14 more Palace views.
The Palace fills in as a number of different theatres in the 1993 TV movie version of "Gypsy" with Bette Midler. Here Cynthia Gibb as Gypsy is on the runway at the Diamond Burlesque in Detroit. Thanks to Mike Hume for the screenshot. See the
Historic L.A. Theatres in Movies post on "Gypsy" for more Palace shots from the film as well as views of the State and the Orpheum.
It's a dystopian nightmare in New York City just before Y2K in Kathryn Bigelow's "Strange Days" (20th Century Fox, 1995).
Ralph Fiennes is a street hustler who peddles "clips," videos
that feel real when wearing a special headset. He and Juliette Lewis stumble upon what looks
like a police death squad after a friend is executed. Also featured are Angela Bassett, Tom Sizemore,
Vincent D'Onofrio, Brigitte Bako and Josef Sommer. The cinematography
was by Matthew F. Leonetti. Thanks to Sean Ault for the data on this one. See the Historic L.A. Theatres in Movies post for more Palace shots as well as views of the Los Angeles and the Pussycat in Hollywood.
The setting for the apartment of Maude Lebowski (Julianne Moore) is in the Palace's 5th floor loft space in Joel and Ethan Coen's "The Big Lebowski" (Polygram, 1998). When the dude (Jeff Bridges) comes to visit we get a view of the Los Angeles Theatre out the windows. See the
Historic L.A. Theatres in Movies post for several more views of the "apartment" as well as two shots from a scene at the Ivar Theatre.
We get a murky look at the loading door of the Palace as the entrance to Club Silencio in David Lynch's "Mullholland Drive (Universal, 2001). Thanks to Jonathan Raines for the screenshot. When we go inside we're at the Tower Theatre. See the
Historic L.A. Theatres in Movies post for more views of the back of the Palace as well as many shots of the Tower from the film.
Bill Condon's film "Dreamgirls" (Dreamworks, 2006) used the Palace extensively. The proscenium boxes seen here are a set piece constructed for the film -- the actual ones were removed decades ago and replaced by murals. The film stars Beyoncé, Jennifer Hudson, Jamie Foxx, Eddie Murphy, Danny
Glover, Anika Noni Rose and Sharon Leal. The
cinematography was by Tobias A. Schliessler. It's based on the Broadway musical with book and
lyrics by Tom Eyen and music by Henry Kreiger. See the
Historic L.A.Theatres in Movies post for over 50 additional shots of theatres seen in the film including the Orpheum and the Tower.
In Christopher Nolan's "The Prestige" (Touchstone/Warner Bros., 2006) we get several scenes using the interior of the Palace. The film stars Hugh Jackman, Christian Bale and Michael Caine. We also spend lots of time in the Tower, Los Angeles and Belasco theatres. See the
Historic L.A. Theatres In Movies post for more screenshots from the film.
Looking into the auditorium at the Palace with John C. Reilly onstage in "Walk Hard: The Dewey Cox Story" (Columbia, 2007). The film is in color but for this sequence director Jake Kasdan went for a 60s grainy TV news look. The film also used the Variety Arts, the Warner Grand and the Shrine Auditorium. See the
Historic L.A. Theatres in Movies post for shots of those theatres from the film.
Dennis Dugan's film "You Don't Mess With
the Zohan" (Sony Pictures, 2008) is set in New York. But when we go to
the big Hacky Sack competition they use the exterior of the
Palace. The
film features Adam Sandler, John Turturro, Emmanuelle Chriqui, Nick
Swardson, Lainie Kazan, Dina Doron, Shelley Berman, Chris Rock and
Mariah Carey. The cinematography was by Michael Barrett. See the
Historic L.A. Theatres in Movies post for a closer marquee shot from the film. The interiors were done elsewhere.
We get a nighttime view looking south on Broadway in Marc Webb's "(500) Days of Summer" (Fox Searchlight, 2009). The film stars Zooey Deschanel and Joseph Gordon-Levitt. In the film we also get to go to the movies at the Million Dollar. See the
Historic L.A. Theatres in Movies post for three shots at the Million Dollar.
We get lots of Los Angeles (as parts of Gotham) in Christopher Nolan's "The Dark Knight Rises" (Warner Bros., 2012). Included is this shot of the west side of the 600 block of S. Broadway and the Palace's marquee advertising "Grand Reopening." See the
Historic L.A. Theatres in Movies post for a shot of filming in front of the Los Angeles Theatre.
The Palace is featured in Sacha Gervasi's "Hitchcock" (Fox Searchlight, 2012) with Anthony Hopkins and Helen Mirren. In this photo by Don Kelsen we see the Palace doubling for the DeMille Theatre in New York where "Psycho" premiered in 1960. The photo appeared with an October 2012
L.A. Times story by Richard Verrier. See the
Historic L.A. Theatres in Movies post for another Palace photo and several of the Orpheum, used as the United Artists in Chicago for the "North By Northwest" premiere in 1959.
The Palace plays some anonymous theatre on the road for the "My Boy Friend's Back" number with The Angels in Clint Eastwood's "Jersey Boys" (Warner Bros., 2014). The film also uses the Belasco and Orpheum theatres. See the
Historic L.A. Theatres In Movies post for some shots at those two theatres.
We see lots of the Palace in "Whiplash" (Sony Classics, 2014). It's a film revolving around a music conservatory in New York. Here Miles Teller and J.K. Simmons are in the basement for a scene outside a practice room. There are exterior and lobby views when Miles and his father go to a movie, a scene on the 5th floor used as a band room and shots in the ticket lobby as a nightclub. See the
Historic L.A. Theatres in Movies post for eleven more Palace shots as well as five views of the Orpheum doubling for Carnegie Hall at the end of the film.
We get a quick backstage and basement tour of the Palace as Mark Wahlberg heads to a subterranean gambling den in "The Gambler" (Paramount, 2014). The film, directed by Rupert Wyatt, also stars Brie Larson, Jessica Lange, John
Goodman, Anthony Kelley, George Kennedy, Alvin Ing and Michael Kenneth
Williams. The cinematography was by Greig Fraser. See the
Historic L.A. Theatres in Movies post for seven more shots at the Palace plus views in the Los Angeles Theatre Center on Spring as well as brief looks at the Los Angeles, Tower Theatre and Warner Downtown.
Christian Bale and Brian Dennehy (playing Bale's father) 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). It's never made clear what business his father was in and whether or not the theatre building was one of his properties. In this shot Dennehy is raving about his life while strutting the Palace stage, with some fog for effect. In addition to many scenes in the Palace, the film also has brief views of the Los Angeles, Warner Downtown, State and Wiltern theatres. See the
Historic L.A. Theatres In Movies post for more shots from the film.
For a movie about a cat, we see quite a few theatres in Peter Atencio's "Keanu" (Warner/New Line, 2016). After escaping from a drug-related shootout in Boyle Heights our eponymous cat checks out the L.A. River, walks across one of the bridges, and is seen here strolling across Broadway. The Palace is down in the next block. We also get views of the Los Angeles Theatre, the Vine Theatre and the Cinerama Dome. See the
Historic L.A. Theatres In Movies post for more shots from the film.
The Palace is standing in for New York's Imperial Theatre in Ryan
Murphy's "The Prom" (Netflix, 2020). The Los Angeles is used for the lobby and the Orpheum is used for scenes at New York's Shubert.
Keegan-Michael Key, Meryl Streep, Nicole Kidman and James Cordon star.
Matthew Libatique did the
cinematography. Thanks to Mike Hume for the screenshot. See the
Historic L.A. Theatres in Movies post for 15 more shots from the film.
A fine shot looking south on Broadway from "Annette" (Amazon, 2021). It's a
film by Leos Carax starring Marion Cotillard as an opera singer and Adam
Driver as a stand up comedian. That's him on the bike. They have a two year old daughter,
Annette, with a curious gift that upends their lives. The film features
music and screenplay by Sparks and cinematography by Caroline
Champetier. See the
Historic L.A. Theatres in Movies post for views of the Royal Theatre, the Orpheum and Disney Hall from the film.
Javier Bardem as Desi Arnaz comes out the back door of Ciro's in Aaron Sorkin's film "Being the
Ricardos" (Amazon, 2021). We're in the south exit passage -- note the "Stage Door" sign on the left wall. Thanks to David Saffer for spotting this. Nicole Kidman plays Lucy. The
film also features J.K. Simmons, Nina Arianda, Tony Hale, Alia Shawkat,
Jake Lacy, Linda Lavin, Ronny Cox and Clark Gregg. The cinematography
was by Jeff Cronenweth. See the Historic L.A. Theatres in Movies post for two nightclub shots that used the Queen's Salon on the Queen Mary.
The bare Palace stage is seen as the home of the L.A. Actor's Studio in 1952 and later for a New York reading of an Arthur Miller play in Andrew Dominik's "Blonde" (Netflix, 2022). It's a fictionalized version of Marilyn Monroe's life based on the Joyce Carol Oates novel. The film stars Ana de Armas, Julianne Nicholson, Bobby Cannavale and Adrien Brody. See the
Historic L.A. Theatres in Movies post for two shots at the Los Angeles and more discussion.
Robert DeNiro plays a retired World War I general giving a speech at a New York veterans reunion in
David O.
Russell's "Amsterdam" (20th Century Studios, 2022). The story is about
wealthy industrialists trying to subvert the
democratic process and put someone in charge
more like Mussolini. Starring are Christian Bale, John David Washington, Margot Robbie, Zoe Saldana,
Anya Taylor-Joy, Andrea
Riseborough, Michael Shannon, Mike Myers, Rami Malek, Chris Rock and Taylor Swift. Cinematography was by Emmanuel
Lubezki. See the
Historic L.A. Theatres in Movies post for five more shots at the Palace as well as three views of the Los Angeles Theatre's basement lounge doubling as a mortuary.
The auditorium of the Palace is used for a premiere in "Fool's
Paradise" (Lionsgate, 2023). A man unable to
speak is dumped downtown because
there's no money to pay for treatment in a psych hospital. He's
picked up because he's a plausible double for an alcoholic
movie star. The film features Charlie Day, Adrien Brody, Jason Sudeikis, Kate Beckinsale, Ken Jeong,
Ray Liotta, Edie Falco and Jason Bateman. Mr. Day wrote and directed.
The cinematography was by Nico Aguilar. See the
Historic L.A. Theatres in Movies post for two more Palace views plus shots of two other theatres used for the same premiere: the exterior of the Village Theatre and the lobby of the Los Angeles.
The camera wanders into the auditorium in a scene
from "Magazine Dreams" (Briarcliff Entertainment, 2025). Elijah Bynum's
film about a bodybuilder and his struggles features Jonathan Majors,
Harrison Page and Harriet Sansom
Harris. The cinematography was by Adam
Arkapaw. Thanks to Tommy Bernard for spotting the Palace. See the Historic L.A. Theatres in Movies post for three more shots from the scene.
The Palace on TV shows and Video: The interiors for the 1983 Michael Jackson video "Thriller" were filmed
at the Palace. The Rialto in South Pasadena was seen as the exterior.
We see a lot of the Palace in Weird Al Yankovic's 2014 video "Tacky." We start on the 5th floor fire escape, move into the loft, and go down the elevator into the theatre. It's on YouTube.
The
Palace appears in episode one of "Feud: Bette and Joan" (FX, 2017).
Later in the series it's back (as we see here) with a fancy movie
theatre marquee morphed on to it yet it's supposed to be New York's
Martin Beck Theatre, a legit house. Interestingly, G. Albert Lansburgh
designed both the Beck and the Palace. Thanks to Mike Hume for spotting
it -- and for the screenshot.
More information: The Cinema Treasures page on the Palace has lots of historical data and photos. The Cinema Tour Palace Theatre page has a brief history and some 2003 exterior and ticket lobby photos by Adam Martin.
Will Campbell's 2009 Saturday Matinee blog post includes 66 photos from a 2009 LAHTF tour. They're on his Palace Flickr set as well. Check out Brent Dickerson's Broadway Tour Part 3
on the Cal State Long Beach website. This part of his tour includes
Tally's, Clune's, the Orpheum / Palace and several others. It's one of
many great adventures in this series curated by Brent. Details are
on the site's index page.
The Facebook photo album by Ghost Hunters of Urban Los Angeles
has many nice photos of the Palace, including many seldom seen nooks
and crannies. The set also includes the Tower and the Los Angeles. Sandi Hemmerlein's Avoiding Regret post on the Palace "Downtown LA's Palace Theatre, Restored (But Not Completely)" details her adventures via many photos taken on a 2012 LAHTF "all-about" tour.
Mike Hume's Historic Theatre Photography site has a terrific page on the Palace. Don't miss Paul R. Spitzzeri's "'A Crown Jewel Ablaze...," his 2022 article for the Homestead Museum blog about the design and opening of the theatre. Thanks to Jason Vega for locating it. Check out the L.A. Conservancy page on the Palace.
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