Santa Barbara's Early Theatres and Motion Pictures by Santa Barbara Historical Museum

NOTICIAS Quarterly Magazine Of Ti-ie Santa Barbara Historical Society Vol. XXXVIII, No. 2

Summer 1992

UNBURS

Santa Ba^baRa

The

Potter

●●●●

SANTA

H. CALLIS. MANAGER

BARBARA.

is the. theme ofthis issue of NOTICIAS.Although the story ofthe tenure ofthe American Film Manufacturing Company (the Flying A)in Santa Barbara has been written in a a numberof places,Stephen Lawton takes a slightly different approach by looking at the story oflocal theaters during the nine years(igiz-igzo)that Santa Barbara was home to one ofthe largest movie studios in the country. 1992.marks the 100th anniversary ofthe death ofJose Jjobero, certainly one ofthe most importantfigures in Santa Barbara’s entertainment history. Otis Wickenhaeuser takes a look <^t this enigmatic man,who in 18 had a dream ofbringing music and cultuie to a small town ofsome^000souls. Back Cover:A Flying Afilm crew on location in Santa Barbara,igi^. Photography oftheater advertisements by William B. Dewey.All photographs arefrom the collection ofthe Santa Barbara Historical Society.

Michael Redmon, Editor Judy Sutcliffe, Designer

Santa Barbara's Th(?atees and Motion PictuRes

Stephen Lawton This article is draumfrom Stephen Lawton’s master's thesis on the history ofthe Flying A stu dios in Santa Barbara,loritten in 1^8^ at California State University, Fresno.TAr.Lawton is currently chair ofthe History Department at Tulare Union High School in Tulare, California. With the arrival of the American Film Company in 1912, Santa Barbara became actively involved in the motion picture business, and remained so for the next few years. The city had already wit nessed the relatively new phenomenon of moving pictures in its theatres, as had other communities nationwide. In most parts of the country, the higher-class theatres resisted the competition from moving pictures by lowering prices of ad mission to keep the middle class in its "live” theatres. The lower-income and im

were accompanied by live vaudeville. In the competition for the middle-class au dience, the vaudeville theatres that also showed motion pictures used the live acts to draw in the middle-class viewer. Santa Barbara exemplified this trend. At first, the moving pictures were shown between vaudeville acts; later, motion pictures appeared on alternate evenings in many communities. After 1910, fol lowing a precedent set earlier by Tally’s theatre in Los Angeles, theatres began shifting away from vaudeville to the ex clusive showing of motion pictures.! Advertisements in the Santa Barbara

migrant populations enjoyed moving pic tures. Immigrants with few English lan guage skills enjoyed the short films, which carried a low admission price of five or ten cents. The middle-class audi

Adorning Press show how the programs of the theatres changed over time. In July, 1908, there were four active theatres in

ence, on the other hand, was more likely to accept the new motion pictures if they

Santa Barbara, the Santa Barbara Opera House (the Lobero Theatre), the La Petite 21

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Theatre, the Unique Theatre and the Pot ter Theatre. The Potter Theatre, associat ed with the popular Potter Hotel, brought legitimate live entertainment to Santa Barbara. Vaudeville and "legitimate” theatre productions included the Potter

Cky in 1898 under the same name, presenting vaudeville and motion pic tures. But its advertisements disappeared from the 7A.om.ing Press after a year. Fi nally, there was the La Petite Theatre. Advertised as "Pictorial Vaudeville," the

La Petite Theatre 622 State Street The House of Moving Pictures and Vaudevile Always an Entertaining Show ^

ADMISSION: 10 and 15 cents This advertisementfor the La Petite Theatre reflects the transition period of CO -existence oflive entertainment and motion pictures in theatres.

Theatre on their circuit across the coun try. Occasionally, speakers gave lectures or politicians appeared to campaign with speeches in the Potter Theatre, This thea tre remained a live entertainment venue throughout most of this early period until 1916, when the Potter finally accepted moving pictures on a limited basis.2 Early theatres in Santa Barbara en hanced their programs of moving pic tures with illustrated songs and vaude ville. The Santa Barbara Opera House in 1908 presented live entertainment with "vaudeville. Moving Pictures, [and] illus trated songs.”3 This variety appealed to a broader cross-section of the public. The illustrated songs came with slides and or gan accompaniment. The Unique Thea tre opened on July 4, 1908, for live enter tainment. This theatre may have been owned byD. J. Grauman of San Francis co. He opened an early theatre in the Bay

theatre presented eleven programs in one evening, accompanied "live” by organ music. The program included "illustrated songs, short comedies, and overtures— illustated." The program changed every Wednesday and Saturday.^ By 1910, Santa Barbara’s theatres were changing their programs and new thea tres were opening. In early 1910, the Vic tory Theatre (which in February became the Riggslee Theatre with an ownership change) advertised vaudeville and motion pictures. The Potter Theatre still was the place to go for live entertainment. In October, the Santa Barbara Opera House featured a speech given by Hiram John son during his campaign for governor.5 However, the Opera House turned to vaudeville in November. In October of 1910, the La Petite Thea tre advertised its program of films in an interesting manner. The films v^re listed

SANTA BARBARA THEATRES

as productions of the Film ;T de Arc. Bison, and Indepen dent Motion Pictures (IMP) studios. This indicates that the theatre received its

Theatres presented all hi'^ds of programs to attract the public. During his campaignforgovemorin ipio, Hiram Johnson gave a speech at the Santa Barbara Opera House. Rjinning as a re form E^epublican, Johnson won the election and served as gov ernorfrom 191Z to

films from the independent producers, which remained outside the Motion Picture Patents Company, also known as the Edison Trust, which had formed in 1908. La Petite still presented vaudeville programs Mon day and Friday evenings and moving pictures on Wednesday, Thursday and Sacurday.6 In the month of November, there were very few advertisements for theatre en tertainment, particularly for vaudeville and moving pictures. The Potter Theatre continued to advertise stage plays, and

the Santa Barbara Opera House some vaudeville. Then on November 20, 1910, Tally’s placed its first advertisement in the Morning Press as the first theatre to advertise an exclu sively moving picture, program. On No vember 26, the Victory Theatre followed with an all-moving-piccure billing. One interesting note is chat Tally’s, in Los Angeles, was. in 1902, the first theatre in the United States to show only moving

The Potter Theatre opened in i^oy and with the deterioration ofthefirst Lobero Theatre, became the prime locationfor live entertainment in Santa Barbara. Photos ofthe theatre are somewhat rare; this was taken shortly after the 1925 earthquake which so damaged thefacility it had to be tom down.

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Movies Make Time Fly

“The Lost Sermon Sydney Ayres’ Players in a Perfect Pictnre

“TIIK GIRL liV Tllh: SHACK ii ») POWK ON THE I'ARM

pictures (although historians dispute this point, citing the Miles brothers’ theatre, which opened November 1901 in Seattle). D, J. Grauman’s 1898 Unique Theatre or Walter Furst's earlier Cineograph Thea tre in San Francisco had exhibited mo tion pictures with vaudeville acts.^ Mid-1912 theatre advertisements still in cluded the Potter Theatre’s program of live entertainment. The La Petite Theatre ad vanced its program of “Independent Ser vice’’ with four reels of moving pictures in one evening. The La Petite’s advertise ments stated that their program had "vaudeville and moving pictures.’’ Tally’s Theatre at 904 State Street continued to advertise only moving pictures.8 One especially interesting program ap peared at Tally's in May 1912. Adver tised as “How Motion Pictures Are Made and Shown,” the Morning Press ad de scribed this program as; d peep behind the scenes, into the world ofphotographic magic;it will be a revelation to thou sands ofmoving picture 'fans”who are won doing how the pictures are taken,what thefilm booh looks like, and how it is handled, and in what mysterious way it is thrown on the screen inthe theatre. Thispicture explains it all.^

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Reliance Key-stone

The film was accompanied by the mu sic of Kluge’s Orchestra and the admis sion prices were ten and fifteen cents. But now there was another theatre—the Mission Theatre. Its Morning Press ad vertisements described "the theatre dif ferent” as “The Home of Good Pictures.” In 1913, the Mission's program included Selig, Essanay, and Biograph films companies that were part of the Edison Trust. This trust eventually broke under the onslaught of the federal government after a suit was filed in August of 1912 and decided by the Supreme Court during the 1914 fall term. Theatres in Santa Barbara experienced a transition as they accommodated the changed interests of the audience. A thea tre for high-class entertainment remained, the Potter, but the other theatres adapted with a mixed program of vaudeville and

The advertisements on these two pages show the variety oftheater entertainment available to Santa Barbarans in the spring of1^14. Note the Palace showed onlyfilms distributed by the Mutual Corporation and that the Portola still offered a mix offilms and vaudeville. Jack Kerrigan was voted most popular male actor by readers o/Photophy magazine in igia.

SANTA BARBARA THEATRES

I*rtce«r too 16c, 20o IkladneeB Dalit at at 2:80.

Any seat, 10c. £}rery Night at 7:80, 0 o'clock. Change of Program Mondaya and Thorv days. Pictures Also Chong* ed Saturdays.

VAUDEVILLE

AVOODLi'.’Y AND PAlTRiiSaN'—High Clasa Singing and Talking Act. iWIUSON jUMX> PATOICJ^SON:—^Jingcrs and Tangoists.

piotum: prog-ram U

Tho ComUcss Veschi's Jewels” “Actor Finney's F'lnjsh'' “Tho Ciilil'ornln Alligator Indiistn;”

Two lied Vltairrapli FVeturo Sl>leiulid PiMtanny Comedy iiklucaUonal

new theatres. On August 31. 1912, the Palace Theatre at 904 State opened its doors. Formerly Tally’s, this theatre eX' clusively presented moving pictures. On May 30, 1913, the La Petite reopened as

moving pictures. Once Tally’s appeared in Santa Barbara, the "100 percent moving picture theatre" was here to stay. Some theatres underwent ownership changes which accounted for some of the

MISSION THEATRE

Oim MOTTO— Wo Lend, Others Follow,

HORAOB W. KARR, Manner.

PICTURES CHAH-GE DAILY Matineeg Every Aftfertioon at 2.30 o’Olock

Jack Kerrigan TODAY IN (( The Bolted Door 1 1

(Three Reels of Drama) Eclair The lyegend of the lilacs MIL JOHN SYIOCS—in Grand Opera Singing— (( Ragiiacci” (tragic) and “A French Melody/’ CaruHo's I5ig Hit. -MIL HARJtY MASON—famous Baritone — mill sin'g Latest Song Hits. BIG MATINEE TODAY I(

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't. \

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& Managgr

Caters to Home Industries and Makes a Specialty of

FLYING A” PICTURES

MUTUAL MOVIES MAKE TIME FLY P/(TCWm^ TfMWIlLD 'M /KJT/^

Everything

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Two Shows Every Evening Matinees Saturday and Sunday

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Above: The Argus Theatre opened in 1913 andfor a time featured thefilms of Santa Barbara’s own Flying A studios. Right: The Palace Theatre developed a close relationship with the Fly cidowing the studio to screen itsfilms during off-hours. This theatre, under the name of Tally’s, was the first in Santa Barbara to offer a bill exclusively of motionpictures.

the Argus. The new theatre continued playing moving pictures along with vaudeville productions. 10 H. Kerno Mar ble, who managed the Argus, received fa¬

vorable comment in the Adorning Press: "[He) has the business down from a to Z. . . Marble is operating the machines at the Argus and none will say that the

SANTA BARBARA THEATRES

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MONDAY and TUESDAY, MATINEE, 2:30 EVENING, 7:00, 8:1S, 9:15

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THE MOBiNTNO PHFSS. SANTA BARBARA. CAT-IPORNTA, Tt^SBAY, JUNE 1, lOin.

Lillian Gish In “The Clansman ao9t

Now Showing at Potter Theater

D. W. Qriffiths’Birth of a Nation,originally titUdThz Clansman,was a Ic'ndmarkin Americanfilm history. Its Santa Barbara premiere caused much excitement, despite the fact the management of the Potter Theatre had to apologize that "the presentation was not up to the standard"on opening night.

projection of Argus pictures is not per fect. In December 1913, the Mission Theatre became Kuhn’s Theatre. The Mission program previously included vaudeville acts with the moving pictures. Within the Kuhn’s Theatre announce-

ment of their opening program, no fur ther mention of vaudeville was made. Upon its reopening, Santa Barbarans viewed films for the first time on a silver screen. "Patrons observed this greatly en hanced the value of the films. The

SANTA BARBARA THEATRES

program included the General Sales Ser vice licensed films of Pache, Vicagraph, Edison, among others. Interestingly. Kuhn’s Theatre only lasted for ten days, before shutting dov/n and reopening again as the Mission Theatre on Christmas Eve. The American Film Manufacturing Company contracted with the Mutual corporation for the distribution of its films to the theatres. Many studios relied on Mutual. During this period, studios made the films and distributors released them to the theatres. In 1913, the studios under Mutual distribution were Thanhouser. Reliance, Princess, Komic, Ma jestic, Kay-bee, Broncho, Domino, Apol lo, Keystone, and American.^^ The Mutual distibution of films to theatres occurred in Santa Barbara. The Palace Theatre had a contract with the Mutual corporation. An April 1913 ad vertisement for the Palace Theatre lists Thanhouser. Flying A, and Keystone films, and the Gaumont weekly newsreel, as their Mutual productions. Citizens of Santa Barbara viewed any of the films available through the Mutual corporation at this theatre. Sometimes Flying A previewed its films at the Palace. A short time after the Flying A company arrived in Santa Barbara, the cast and crew viewed the latest D. W. Griffith film, The Resurrec

One of the Mutual attractions by 1914 was the TAutucil Weekly- This newsreel presented the events of the day—or rath er. week. Each film distributor used the newsreels as an added attraction for audi ences. The Pache organization became one of the first to develop this tool in 1912. They were quickly followed by Mutual later that same year. The earliest mention of newsreels in the Morning Press came in 1912. One advertisement for their May 4 issue by the Mission Theatre mentions the Pathe Weekly- Be fore the tegular newsreels appeared, films presented isolated news events such as the sinking of the Maine, or, as in the Mission Theatre’s May 2, 1912 program, The Wreckofthe Titanic,l® Competition was keen in an entertain ment industry undergoing a transition from live vaudeville acts to motion pic tures. The Porcola Theatre in Santa Bar bara carried a variety of motion pictures, but decided in 1913 to remodel its interior for audience comfort and to create the prestigious appearance needed to compete with four other theatres. Pathe, Lubin, and Essanay productions appeared in the Portola. The year 1913 brought many changes to the Santa Barbara theatres. One interesting variation on the thea tre concept is found in a 1913 advertise ment—"Free Motion Picture Show Every Night at the Sign of the 'Big Board.”’ Under this title within the advertisement

tion. Inspired by Leo Tolstoy's novel, the moving picture was to be shown on a state's rights basis. Wallace Kerrigan, business manager of the Flying A. and Walter Griffin had secured these rights and privately screened the film for their company. This may have been one of the first times Flying A made use of the Pal ace Theatre in this fashion. The Palace

was the line, "advertising that advertis es.” All of this was presented by the Sun set Advertising Company. W^ith a came ra behind the screen (as used in the very early projection days of the 1890s), a projected image appeared on the corner of State and Ortega streets every even

welcomed Flying A personnel in the mornings and afternoons if they needed to screen their films.15

ing, across from the Morning Press of fice. Short films may have been used to attract people to the advertisements on

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6INIV Ml. ✓ TltHT iITT t

GALlFORHiA THEATRE

(

SANTA BARBARA THEATRES

Left:Buik in 1919, the California Theatre boasted a huge Kpbert Morton organ as an added in ducement to patrons. The theater loas tom down in 1962. Photo by Rpbert Allbright.

slides or film. A 1913 article in the Morning Press shed some light on this question. Describing a change of program with an Imp drama, Hard Cash, the arti cle presented a listing of several short subjects from independent film studios (Imp, Lux, Eclipse, Great Northern). This advertising practice can be traced to New York City in 1897, when J. Stuart Blackton and Albert E. Smith projected "magic lantern” images from slides on canvas. Blackton and Smith’s Commer cial Advertising Bureau prospered for a time with the addition of motion pictures to their program. Throughout the rest of 1913, the indus try cautiously expanded into the twoand-three-reel market, and occasionally even produced a four-reel film. This con servative attitude slowed the movement into feature length films (over four reels). The belief that audiences would not sit through long films of four reels or more frustrated directors. D. W. Griffith struggled with his patent studio. Bio graph, over the release of his four-reel Ju dith of Bethulia (filmed 1913, released 1914). Company officials felt that the public would not tolerate such a long pro gram; thus. Mutual released only one reel at a time on successive nights. Although Griffith recalled the success of European features in the United States such as Quo Vadis (1912) and Camhiria in 1913, the American film industry was slow to move in this direction. Finally, Griffith propelled the industry toward features af ter he produced the mammoth Birth ofa Nation in 1914, which was released in early 1915. The film appeared for seven

days in May 1915. Under the original tide, The CUinsman, rhe motion picture received ample advance advertisement in the Morning Press. The success of this twelve-reel production significantly al tered the motion picture business’ attitude toward longer films. Now features be came an essential part of the industry, and those studios which remained hesi tant to produce the longer films were doomed to failure.20 By 1915-1916. Santa Barbara theatres reflected the transition of the film indus try struggling with feature productions. The 1914 Supreme Court decision dis mantling the Edison Trust helped inde pendent motion picture companies sur vive and become stronger. In the next few years, a merger of motion picture companies with the distribution arm of the business ensured a studio's survival. Santa Barbara audiences witnessed this change when they looked at the Morning Press theatre billings. The advertisement for the Mission Theatre in March of 1916 described its Triangle program. The films of Mack Sennett, Thomas H. Ince and D. W. Griffith had been presented at the Mis sion since December of 1915. In addition, the theatre occasionally carried Mutual releases. The Argus Theatre carried the new Jesse Lasky-Paramount releases in 1916, with many of the popular Cecil B. De Mille films. Metro and William Fox releases added to the program. By 1916, the Potter Theatre accepted the motion picture as legitimate entertainment for its audiences. Following the success of The Cldnsman, Griffith’s Intolerance ap peared at the Potter Theatre in December of the following year. Sarah Bernhardt starred in a motion picture of the stage play, Jeanne Dore, in Match of 1916. The Potter selected only the more prestigious

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6apported by Herbert Rawlinson in Stuurt l*aton's Trenu’infoaa Nortb Woo«ls Thrill. Presentod by CAUL From the futnoue Red Hooh Story by Clar ence Badlngton KelST.V. The Great Dam Ex plosion tiiat turns the course ct an OreKon river.

CALIFORNIA H H H N M

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TeiJem You Saw U In Ihe "Caliloinia Sunlniisl"

films of the period on special road-show engagements. The Porcola Theatre en gaged the Essanay, Selig, and other smaller studios’ productions. The Selig Tribune Weekly appeared on a regular ba sis. By the end of 1916, the Palace Thea tre presented Metro and William Fox films. Notices of Flying A releases were less frequent. For although the Flying A produced many films from 1915 to 1916, competition was exceedingly strong. Charlie Chaplin, Griffith, De Mille, and others commanded the box office. The Wtoming Press advertisements reflected this fact.21 Santa Barbara’s theatres experienced change throughout the 1917-1921 period. The Potter Theatre accepted more mo tion pictures from Universal and Selig. The Argus, a "Marcus Loew House," con necting it with the theatre chain from Los Angeles, presented Lasky-Paramount

motion pictures. In October of 1917, the Argus closed its doors, to be reopened within a month under the title of Lloyd’s Theatre, with Mutual productions. The Portola Theatre continued to show Mu tual and vaudeville programs. The Mis sion remained with Pathe and Paramount releases. The Palace Theatre included the new Triangle films in its program,22 In general, local theatres were changing film distributors during this period and switching to films produced by studios that controlled their own distribution, mirroring a nationwide trend. By 1918, the Potter occasionally pre sented Fox motion pictures and Thomas Ince films. This theatre seems to have re tained several independent studio produc tions from Southern California. Lloyd’s added Metro releases to its Mutual films, whereas the Palace dropped Mutual films and showed the First National films of

SANTA BARBARA THEATRES

Charlie Chaplin during this period. The Portola also stopped showing Mutual pic tures and began screening Universal films. The Mission continued with Paramount releases such as the De Mille films.23 By January 1919, only two or three theatres advertised in the Morning Press. These included Lloyd's and a new theatre, the Strand. The Strand presented Fox productions. During 1920, three major theatres advertising in the Morning Press were the Mission (with Pathe and Fox motion pictures), the Palace and another new theatre, the California. During these years up through 1921, the Potter pre sented live entertainment and the Mis sion continued with motion pictures. The California carried releases from United Artists, the new studio created by Charlie Chaplin, D. W. Griffith, Mary Pickford and Douglas Fairbanks, On March 21, 1921, the California advertised Chaplin’s first big feature, The Kid. The Palace re opened on March 3 after remodeling its interior.24 Before the arrival of the Flying A and

the expansion of the industry into the feature market, local theatres coupled vaudeville programs with the moving pictures. The excitement of the new me dium brought competition to theatres. By the conclusion of the Flying A tenure in Santa Barbara in 1920, the motion picture companies were beginning to own theatre chains. The number of morion picture theatres in Santa Barbara de clined and the few that remained pre sented the feature films of major stars from new studios in control of produc tion and distribution. The feature film, the growing sophistication of audiences, an end to distributing organizations with a roster of studios, and the beginning of the scar system all marked the beginning of a new era in motion pictures, a transi tion reflected in the theatres of Santa Barbara. The present-day Metro ^ theatre complex sits on the site ofthe Mission Theatre, razed in 1988. At the time ofits demolition, the Mission had been showing Spanish-languagefilms, the only such venue in town.

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(VOTGS 1. See Robert C. Alien, ‘'Motion Pictures Exhi bition in Manhattan, 1906-1912: Beyond the Nickelodeon," in Films Before Qriffith, ed. John L. Fell(Los Angeles: University of California Press, 1983) 162-75, for a case study of the transition to moving pictures in vaudeville houses. 2. Morning Press (Santa Barbara), 1, July 1908, 5,

3. Ibid. 4. T. A, Church, "San Francisco, Cal. Dates Back to the Year 1894," Moving Picture World, 15, July 1916, 399-402. See also Geoffrey Bell, The Qolden Qate and the Silver Screen(New York: Cornwall Books, 1984), 100-101. 5. Morning Press (Santa Barbara). 1 October 1910, 4. 6. Morning Press(Santa Barbara), 19 October 1910, 2.

20. Gerald Mast, A Short History ofthe T^ovies, 4ch ed. rev. (New York: MacMillan, 1986), 61-63; Aborning Press(Santa Barba ra), 27 May 1915, 2; 30 May 1915, 2; 4 June 1915, 2. 21. Morning Press (Santa Barbara), 5 May 1915, 2; 3 March 1916, 6; 7 November 1916, 6; 9 December 1916, 6. 22. Morning Press (Santa Barbara), 5 January 1917, 6; 6 January 1917, 6; 4 October 1917, 6; 5 October 1917, 6; 8 October 1917, 6; 13 November 1917, 6; 5 March 1918, 6; 31 March 1918, 6; various other issues of the Morning Press during this period. 23. See various issues of the Morning Press for 1918. 24. Morning Press (Santa Barbara), 13 June 1919, 6; 15 June 1919, 6; 5 January 1921, 6; 3 March 1921, 2; 21 March 1921, 2; various other issues in the 19201921 period.

7. Morning Press(Santa Barbara), 20 Novem ber 1910, 2; 26 November 1910, 2; Church, 399-402. See also Bell, 100-101. 8. Morning Press (Santa Barbara), 11 June 1912, 2; 6 September 1912, 2. 9. Morning Press (Santa Barbara). 4 May 1912, 2. 10. Morning Press(Santa Barbara), 3 Septem ber 1912, 2; 31 May 1913, 2. 11. Morning Press (Santa Barbara), 7 Decem ber 1913, 2. 12. Morning Press (Santa Barbara), 6 Decem ber 1913, 2. 13. Timothy J. Lyons, The Silent Partner; The History ofthe American Film Manufacturing Company i^io-i^zi (New York: Arno Press. 1974), 77. 14. Morning Press (Santa Barbara). 19 April 1913, 2. 15. Morning Press(Santa Barbara), 17 Septem ber 1912, 2. 16. Morning Press (Santa Barbara), 2 May 1912, 2; 4 May 1912, 2. 17. Morning Press (Santa Barbara), 15 May 1913, 10; December 1913, 2. 18. Morning Press (Santa Barbara), 8 April 1913. 2; 22 May 1913, 6. 19. See Charles Musser, "The American Vitagraph. 1897-1901: Survival and Success in a Competitive Industry," in Fell, Films Be fore Qriffith, for a description of the Com mercial Advertising Bureau.

THeATReS THetR LOCATfOtYS Argus Theatre: 630 State Street California Theatre: 20 West Canon Perdido Street Kuhn's Theatre: 618 State Street La Petite Theatre: 622 State Street Lloyd's Theatre: 630 State Street Mission Theatre: 618 State Street Palace Theatre: 904 State Street Portola Theatre: 721 State Street Potter Theatre: 235 State Street Santa Barbara Opera House: 33 East Canon Perdido Street Strand Theatre: 630 State Street Tally's Theatre: 904 State Street Unique Theatre: 30 West Ortega Street Viaory Theatre: 619 State Street

SANTA BARBARA THEATRES

Otis U/ick0nh2(?us^R

Vp^CyA^Santa BaRbaRa-'s^^^y^ PRimo(Y)a0stRo Assoluto Otis Wickpihaeuserfirst came to Santa Barbara in 1946 and made his initial visit to the Lobcro Theatre in that year. TTow retired, he taught elementary and high school in the Ojai area and at The Howard School in TAonlecito. He served on the board of the Lobero Theatre Foundationfor ten years and is the author ofthe book. Captured Dream; A Brief History of the Lobero Theatre. On June 28, one hundred years ago. Jose Lobero died in a dusty Canon Perdido Street adobe five or

jos0 Lob(?RO

ten yards east of State Street. The dwelling stood on ground now occupied by the park ing lot of the Security Pacific Bank. Jose Lo bero had been baptized Giuseppe, about 1813, in Genoa, Italy, A Promethean drive ^ gave him "the energy, daring and enterprise to erect and dedicate to the muses so beau- |H| tiful a temple,”! an opera house which he opened with a pot pourri of Italian oper atic solos and choruses on George Wash ington’s birthday, 1873. Jose Lobero’s early years are a compen dium of rumors: clearly a child prodigy,

it is said he was coached in Milan or Venice by il divino Verdi himself—voice, violin and trombone. At the age of eight he was supposedly ap pointed first trom bone at La Scala. A virtuoso on that in strument, he per formed before royal ty. He dueled to the death for love and for Italy’s unification, and fled the land. "Se non e vero, e ben trovathe Italians to After

unrecorded

adventures, the last as member of the fa mous soprano Ma dame Anna Riviere Bishop’s entourage, Lobero remained for a time in San Fran cisco as "leader of an orchestra of fortyfour pieces.”^ He drifted down the coast.

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helped run a cavern ac the foot of San Luis Obispo’s La Cuesta grade, and played the trombone. He reached Santa Barbara in late 1857, shortly before the death of Jose de la Guerra y Noriega, the pueblo’s guiding spirit. With scant notice, he trained and led the band chat accompa nied Don Jose’s funeral procession from Casa de la Guerra to the mission in Feb ruary, 1858. This act greatly endeared Lobero to Santa Barbara’s first family. It made the patriarch’s most prominent son, Don Pablo, his friend. It opened every door in town.5 Fortuna smiled upon Jose Lobero, whose better talents were equal to the task be fore him. In the words of his friend, Florencino Bonilla, "He was a wandering minstrel with a talent for music. . . .He ivas wonderfully educated in music... ”6[au thor’s italics] In 1862, Jose Lobero married Maria Cla ra Lugarda Cota - known simply as Clara

Coca - a granddaughter of Pablo Antonio Coca, a soldier in the 1769 "Sacred Expe dition” to Alta California ordered by Car los III of Spain.7 The union was without issue. With Clara’s own means, plus the Coca family assets, the profits from his own Brewery Saloon and billiard hall ac the southeast corner of State and Canon Perdido, and a $25,000 loan from the town’s leading capitalist, (as men of sub stance then liked to style themselves) Ohio-born William Welles Hollister, Lobero had in hand the wherewithal to build his theatre. Looming over the northwest corner of Anacapa and Canon Perdido streets, it was reputedly the larg est adobe building in California and the only opera house between San Francisco and the Mexican border. A "Grand Ital ian Operatic Concert,” its inaugural, pleased. The Santa Barbara Daily Press trumpeted, "One of the finest improve ments in Santa Barbara is this large and

The location ofLobero’s Theatre in thefirst blockofBast Canon Perdido Street discour aged patronage on the part ofwealthier Santa Barbarans. Thefacade ofthe theatre is three-story that ofthe Sebastopol School, to which Lobero attached his building, structure in the background is the First National Bank_.

SANTA BARBARA THEATRES

«9

A full house at Lobero s Theatre. TTote the use iron rods to hold up the balcony, thus improin.ng lines ofsightfor the audience.

handsome theatre...’’8 and the Santa Bar bara Times followed suit, “No man de serves more credit than Sr, Lobero, and he should be appreciated and rewarded.” The theatre did not prosper. Its loca tion in the huddle around Casa de la Guerra understandably was favored by many Spanish-speaking families and in dividuals; historically it was the cultural and social center of the settlement. Fur thermore, the 100 block of East Canon Perdido overflowed with Santa Barbara’s sizable Chinese community. The growing number of “Yankee” people was alienated by the area’s unfamiliar customs and sounds. Lobero’s own devil-may-care bohemianism and improvidence no doubt contibuted to the downward spiral. Friend Bonilla put it well, “Do not forget that Jose Lobero was an artistic soul,”9 and added, "Misfortune fell upon him. He

made lots of money, but it slipped through his fingers.” It is difficult to see—even under the best of circumstanc es—how a town of less than 4,000 inhabi tants in the 1880s could have supported such a grand establishment. Eventually, Lobero lost theatre and saloon. Bonilla remarked on Lobero’s dislike of straying far from places dear to his heart—"This cantina, his theatre, and his home." One particular day, Bonilla recalled: ...in the white sun helmet and the.long duster, he walked...clear to the beach and back-spsaking to those he knew and looking and nodding at the buildings and the sea...He went up even beyond the Arlington [Hotel]. Some saw him and thought it strange...Sehor, he was saying good-bye to the Santa Barba ra he loved so well. For it was only two or

NOTICIAS

three days later that he sent his wife away to one ofher relativesfor something. It was ear ly in the morning,for he always arose with the sun. And the man who lived across the street noticed after a while that the baher, as was his custom, had left the loaf offresh bread at Jose Lobero's door, and he had not come out to get it. So this man went over through the dust and peered between the slats ofthe green blinds on Lobero s house. He saw him lying there in the main room. On June 29, 1892, the Morning Press re ported; Jose Lobero, one ofthe oldest settlers ofthis county, wasfound dead in his house on Can on Perdido Street, yesterday moming...Neighbors noticed the unusual stillness about the house yesterday morning. The old man was generally up and around atfour or five o’clock, but at eight o’clock, when the blinds were still drawn and the house locked, suspicions were aroused. The attention of Adolph Abraham(io)was called,and he went to the door and knocked. There was no re

1 Florentino Bonilla, rancher, stagecoach driver, pwfessionaL musician, andfriendto Jose Lobero. rlorentino was the son ofJose Mariano Bonilla, thefirst San Luis Obispo County Judge.

ruin, had made him despondent and tired of life. He had frequently said that there was nothing to livefor, and that he might as well die. On Saturday last he had quarrelled with his wife. Mr. Abraham testified that she called at his shop about lo o’clock, and told him that her husband had tried to kill her. Mr. Abraham went back to the house with

sponse. Mr.Abraham went to notify Coroner P^iZ-(ii) He was not in, but Mr. Abraham found Deputy Constable Clarence Kelton (iz)and returned to the house...The blind was opened, but nothing could be distinguished in the interior ofthe building. They went to the rear of the house and forced open the back, door.

her, and when he left things were apparently quiet. She did not remain with him, however. Monday morning she called at the house with a young lady, but he drove them away. The coroner’sjury returned a verdictfind ing that the deceased came to his deathfrom a pistol shot,fired by his own hand with suici dal intenD^

Lobero was lying on the bed, partially dressed, and in his hands he clasped a pistol. Blood had issuedfrom his mouth and had run

The funeral will take place today at 2:30 o’clockfivm his late residence.

doum his right arm and side...The body lay in a normal position on the bed, and there were no signs ofthe slightest struggle. A coroner’s inqviest was held at the resi dence yesterday afternoon. .. it was learned that he had been sufferingfrom ill health for some time, and this, added to totalfinancial

The Morning Press concluded with the obituary notice: Jose Lobero was a native ofItaly. He was at the time ofhis death about 80 years old. He moved to Santa Barbarafrom San Francisco in the latter part of2857. He married into the

SANTA BARBARA THEATRES

Cotafamily and was at one time a wealthy man, but mismanagement and ill luck zorenchedfrom him nearly his entirefortune. Hisfirst bad venture was the building ofthe Lobero theatre. In this heput many thousands of dollars, and realized but little in return. From that time to the present day he has been on the down grade. Speculation in the mines took ^ll ofhis allowances. His last hope was in a coal mine and when thatfailed, he gave up in despair. In its "The Town in Brief" column, the Daily Independent of June 29 noted: The funeral of the late Jose Lobero took place this afternoon at halfpast two o'clock from the residence ofthe deceased on Canon Perdido Street. The city band infull uniform, bearing the emblem of mourning on the left arm,played a dirge after which the HpJ. NIr. Allen(i^) read the very impressive funeral servicefor the dead. The cortege thenfirmed, headed by the city band, the hearse with six pall bearers, allfriends and compatriots ofthe deceased,following, and a long procession of carriages closing the line. There were a great many people present which testified to the high esteem in which the deceased was held. The founder of Lobero’s Opera House (coday known as che Lobero Theatre)!6 was buried in grave site 239 in Santa Bar bara Cemetery’s Island plot. Unmarked, '?>■

JOSE LOBERO 1823

1892

FOUNDER LOBERO'S OPERA HOUSE (673 ; '.

PLAQUE DEDICATED HAY5.19A2 * LOBERO THEATRE EOUNDAFION SANTA BARBARA HISTI^BXCAL SOBIETV TIERKA DE OHO PARLOR NO 004 N.O. G.AV.

k was located by the lace historian Walker A.Tompkins in 1961. It was provided with a bronze cablet, dedicated on May 5, 1962, by the Lobero Theatre Foundation, the Santa Barbara Historical Society and Tierra de Oro Parlor No. 304 of the Native Daughters of the Golden West. Florencino Bonilla closed his September 16, 1922 interview with Michael J. Phil lips, managing editor of the Santa Bar bara Daily News, with courtly words chat speak of other days and another world, 'Hhis is the story of Jose Lobero, sehor, and I hope you will treat his memory kindly—fir he was a great man,myfiend.”

(YOTeS 1. Times(Santa Barbara). 22, February 1873, 3. 2. Webster's New Collegiate Dictionary, 9th ed., translates, "Even if it is not true, it is well conceived." 3. Morning Press (Santa Barbara), 29, June 1892, 4. 4. His full name echoes the nomenclature of 18th century Spain, Pablo Andres Antonio Maria Satumino de la Guerra. The Martyr, Saturnino, is the patron saint of Pablo’s birthday, November 29. 5, Edward Selden Spaulding in A BriefStory of Santa Barbara (Santa Barbara: Santa Bar bara Historical Society, 1964), 60, felici tously describes the early relationship be tween barbarehos and Jose Lobero, "For a while, in a community that not yet was noted for its appreciation of art and artists, he was recognized as the most gifted citi zen of the Town; and with this eminence he was content.” 6. Bonilla, Florentino, "I Knew Jose Lobero.” Noticias. Quarterly Bulletin of the Santa Barbara Historical Society, 20;1 (Spring 1974); 3. The house built by Bonilla (1839-1923) in 1887 still stands at 915 Santa Barbara Street. 7. The aim of this expedition was to secure Spanish claim to California against Imperial Russia’s encroachment by establishing pre-

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SVI3I10N

SANTA BARBARA HISTORICAL SOCIETY BOARD OF TRUSTEES Mrs. Jean Goodrich . . . Mr. Leland Crawford . . . Mr. David Gledhill ... .

President . . First Vice President Second Vice President

Mrs. Susan B. Simpson . Mr. John C. Woodward

Secretary Treasurer

Mrs. Helene Beaver Mr. Cedric Boeseke

Mrs. Leslie Hovey Dr. C. Seybert Kinsell

Mrs. Jean CalJanan

Mr. David F. Myrick Mr. Remi Nadeau Mr. Frank ODonnell

Mr. Oswald J. Da Ros Mr. C. John Douglas, III Mr. Michael Galvin

Mr. Donn Tognazzini Mr. William F. Luton, Jr., Executive Director

Mr. Roger Phillips

LIFE MEMBERS Mr. Stephen A. Acronico Mr. and Mrs. William B. Azbell Mr. and Mrs. J.W.Beaver

Mr. Richard C. Harpham Mrs. Natalie B. Clark-Harpham Mrs. Glenn D. Hillebrand Mr. EricP.HvoW

Mr. and Mrs. Danily Bell Mr. Marvin J. Branch

Dr. C. Seybert Kinsell

Dr. and Mrs. Ashleigh Brilliant Mr. H. R. de la Cuesta Burkhart

Mr. and Mrs. William F. Luton, Jr. Mrs. Jane Rich Mueller

Mrs. Virginia Castagnola-Hunter Mr. and Mrs. Pierre P. Claeyssens Mr. and Mrs. Charles Cleek

Mr. Sp>encer L. Murfey,Jr. Mr. William W,Murfey

Mrs. M. C. Conkey Mrs. Florence Corder-Witter

Mr. David F. Myrick Mr. and Mrs. Godwin J. Pelissero Miss Frederica D. Poett

Mr. J. V. Crawford

Mrs. Rena Redmon

Mr. Richard G. Croft, Jr. Marla Daily

Mr. and Mrs. Paul Ridley-Tree Mrs. Alma R. Ritchie

Mrs. R. E. Danielson, Jr.

Mr. and Mrs. Wade Rubottom

Mr. and Mrs. Oswald J. Da Ros Mrs. Albert de L’Arbre

Mrs. Russell A. Ruiz

Mr. Wilson Forbes

Mrs. Melville Sahyun Mr. and Mrs. Peter J. Samuelson Mrs. Nina Sandrich

Mrs. Helen W Foyer Master John Galvin Mr. Michael Galvin

Mr. and Mrs. J. Terry Schwartz Mrs. David Shoudy Mr. Walter G. Silva

Miss Sally Gane Mr. and Mrs. Keith Gledhill

Mr. and Mrs. Burke H. Simpson Mr. Ivano Paolo Vit

Mr. and Mrs. Gordon Fish

Mr. and Mrs. John C. Woodward BENEFACTORS; Santa Cruz Island Foundation, Northern Trust of California, and Two Anonymous Categories of membership; Life/Benefactor, $5,000 or more; President's Circle, $i,ooo; Patron ^oo; Associate, $250; Sustaining. $ioo; Supporting, $50; Regular, $30. C^ontributiorrs to the Society are tax-exempt. Museum & Library; 136 East De la Guerra St., Santa Barbara, CA 93101 ● Telephone: 805/966-1601

Non-Profit Organization U.S, Postare PAID Santa Barbara California Permit No.534

NOTICIAS Quarterly Magazine of the Santa Barbara Historical Society P.O. Box 578 Santa Barbara, California 93102-0578

Address Correction Requested Forwarding Postage Guaranteed

CONTTENTS Pg. 21: Early Movie Theatres Pg. 35; Jose Lobero