A Thing of Beauty, a Palace of Dreams

In 1927, on the same day that the Florida Theatre first opened its doors to the public, the World News Service in New York City carried this report: “For the first time men sat in New York and looked 200 miles over a telephone wire at other men in Washington, D.C. Television was pulled out of the dictionary and into the world of fact.” Thus it was that on the same day that the largest theatre in the State of Florida at the time had its Grand Opening, the seeds of its eventual demise as a movie house and resurrection as a nonprofit arts center made news too.

But on the night of April, 8, 1927, however, all was splendid in Downtown Jacksonville, and the next day, the Jacksonville Journal reported, “On the spot where once stood an unkempt police station that had housed in its sordid career many of the riff-raff of the world there has come into being a thing of beauty, a palace of dreams. This masterpiece of art is the Florida Theatre, which today became an integral part of advancing Jacksonville, following its dedication last night before an audience that packed the playhouse to capacity.”

A Theatre Contributes to the Welfare of the Community

Construction on the Florida Theatre began in the summer of 1926, when building permit #1345 granted permission to Southern Enterprises, Inc. to construct a seven-story concrete, fireproof theatre and commercial building with roof garden on the corner of Forsyth on Newnan Streets in downtown Jacksonville. The application indicated that R.E. Hall & Co., Inc. of New York were the architects, with Roy A. Benjamin of Jacksonville as Associate Architect. The George A. Fuller Company of New York was the general contractor, and the building’s value was estimated at $1.5 million. The new Florida Theatre would be the sixth theatre on Forsyth Street alone, where the Savoy, Empress, Imperial, Palace and St. Johns Theatres were all in a row in a four block stretch.

According to the “Jacksonville Journal,” foundation work began around June 20, 1926, and the first steel was erected around August 10. A derrick with a 115-foot mast and a 105-foot boom was used to erect the 1,200 tons of steel that were shipped by rail in over 40 rail cars and 4,500 cubic yards of concrete were poured for the slab. One aspect of the Florida Theatre’s construction was historically significant; it was the first job anywhere in the South to use ready-mixed mortar for the laying of the bricks, and as a result, it only took 21 days to lay one million bricks. The structural framing of the balcony was unique in that two-thirds of the massive balcony was supported by just two steel trusses, each spanning 90 feet with a depth of approximately eight and a half feet. One balcony girder alone weighed 65 tons. The balcony was formed in ten days and the concrete was poured in three. The plaster work was conducted using scaffold suspended from the roof trusses, instead of the modern method of using ground supported scaffold.

When the theatre finally opened, Sam Katz, President of Publix Theaters, the arm of Paramount Pictures that constructed and operated theatres, told the “Times-Union” newspaper, “A properly conducted theatre is of the same importance to a community as a school, or a church. Such a theatre contributes to the welfare of the community, because wholesome recreation is essential to its well being.”

Nine and a half months after breaking ground, the theatre opened.

Tonight’s the Night!

“Tonight’s the Night!” proclaimed the Florida Theatre’s advertisement in the Friday, April 8, 1927 “Florida Times-Union,” and Loy Warwick Jr. reported the next day, “Long before the town clock tolled the hour of opening, the sidewalks and streets were fairly littered with people. A stream of men and women…poured through the portals until the auditorium was filled to the last square foot of carefully arranged space.”

The manager of the new building was Guy A. Kenimer, who was promoted from the Center Theatre down the street, also owned by Publix Theatres. Kenimer would rise to Division Manager, responsible for 36 theatres, and retire almost 30 years later, in 1955. The Center Theatre was also known as the Arcade Theatre because of its entrance, which opened arcade style to both streets on the corner of Adams and Forsyth. Ironically, over 50 years later, on September 5, 2002, the Arcade Theatre would collapse, making the Florida Theatre the last historic theatre standing of the eight other downtown Jacksonville theatres: Temple Theatre on North Main Street, the Casino Theatre on West Bay Street, the Strand Theatre on West Ashley Street, and the Forsyth Theatres.

On opening night, the Florida Theatre projection booth held, according to a 1973 retrospective in the “Florida Times-Union,” three silent film projectors equipped with high intensity arc lamps, two huge spotlights, one effect machine with an assortment of colors and scenes to project stereopticon slides, two motor generators with 250 amperes for generating carbon arc light, two turntables and a musician for non-synchronized mood music, and a staff of three projectionists, with a fourth to be added as soon as sound came in. It is interesting to note that although the first motion picture with synchronized sound (“The Jazz Singer,” starring Al Jolson) would not open for another six months, in October 1927, they already knew the new technology was coming.

The Florida Theatre’s Opening Night program began with a fanfare from the American Legion Bugle Corps, followed by a live stage show, “Pageant of Florida,” and Frank Morris and the Brilliant Florida Orchestra, an 18-piece ensemble that rose into view on the moveable orchestra pit. The feature attraction was a two-reel silent movie, “Let It Rain,” starring comedian Douglas MacLean, who played a tough Marine who falls in love, and then goes to sea. The silent film was accompanied by Robert E. Mitchell on the theatre’s new $100,000 Wurlitzer pipe organ.

On opening night, Margaret Brewster was named “Personality Girl,” beating out 100 other young ladies who had competed to be the official hostess in a competition sponsored by the “Jacksonville Journal.” The Journal reported that she was an “unusually attractive blonde with unbobbed hair arranged simply and becomingly. At 5 feet 7 inches and 130 pounds she wore a “bouffant skirt and diaphanous silver cloth lining” with gold and silver slippers and “flesh-colored” hose.

The dignitaries in attendance included Sam Katz, the President of Paramount Publix Theatres, Jacksonville Mayor John T. Alsop, and Police Chief Abel Roberts. Before the theatre was built, the former occupant of the corner of Forsyth and Newnan Streets was a police station and city jail. When the old police station was demolished, the cornerstone was taken out by Mayor Alsop and presented to Chief Roberts, and when the Florida Theatre opened on the same site, the newspapers reported on the Chief’s review of the new theatre: “People used to pay to get out and now they pay to get in.”

Fire Chief MacMillian was also on hand, and the ornate façade was bathed in floodlights and lit by flares so brilliant that he took the precaution of informing the public in advance that the flares and lights should not be mistaken at a distance for flames. It was, after all, just 25 years since the Great Fire of 1901, and many Jacksonville residents still remembered first-hand the devastation wrecked by the third-worst urban fire in the history of the United States.

After the program, select patrons danced to orchestra music in the open air rooftop garden, overlooking the city and the river from the seventh story.

Unsurpassed Architectural Beauty and Perfection

The theatre owners of the 1920s believed that showing movies alone was not enough to draw crowds, and that a live stage show and a lavish interior were of equal importance to the movie. Thus it was that the stage of the Florida Theatre was designed to accommodate live performances in addition to the motion picture screen, and no expense was spared on the theatre’s interior appointments, either. The Florida Theatre was the largest theatre in the state at the time, and the “Florida Times-Union” praised its “unsurpassed architectural beauty and perfection of appointments.”

The original owner of the Florida Theatre was Publix Theaters, the theatre-construction and owning arm of Paramount Pictures, who also built such notable venues as the Paramount Theater in New York, the Tivoli in Chicago, the Olympia in Miami, and the Tampa Theater in Tampa. (There is no relationship between Publix Theatres and the modern company known as Publix Supermarkets.)

The Florida Theatre was designed by architect R.E. Hall, who worked for the firm of McKim, Mead and White in New York, and the Florida Theatre auditorium resembles Hall’s earlier design for the Eastman Theatre in Rochester, New York, which opened in 1921. The local architect was Roy A. Benjamin, who built a number of other theatres in the South, including, in Jacksonville, the Center Theatre (32 West Adams Street), the Imperial Theatre (26 East Forsyth Street), the Palace Theatre (32 East Forsyth Street), the Riverside Theatre (1028 Park Street, now the Sun Ray Cinema) and the San Marco Theatre (1996 San Marco Boulevard, still in operation).

The Florida Theatre’s interior bears a striking resemblance to the Tampa Theatre, which dates from one year earlier, in 1926, because the Michel Angelo Studios of Chicago designed the elaborate interiors of both venues. In each theatre, the décor included French, Spanish and Italian motifs and furnishings in a grand style, including marble and wrought iron railings, marble and decorative tile wainscoting, decorative columns and moldings, terrazzo and tile floors, wrought iron and amber glass light fixtures and chandeliers, and coffered ceilings. Built in the Spanish Eclectic Style, more commonly known as Mediterranean Revival, the terracotta ornamentation on the exterior, the glass and copper entrance doors, the wall hangings woven in France and Italy, and the furniture obtained from collectors in Morocco all evoked the Mediterranean region and style.

Two Haddorff Grand Pianos were supplied by Maxey Grunthal and Bros., and the Wurlitzer organ was the second largest Wurlitzer anywhere. According to The Wurlitzer Co., the organ was, “The second largest unit of its kind manufactured,” and the “Biggest instrument of its type ever installed in a Southern amusement house.” The Florida Theatre was the first theatre in the city with central air conditioning, and its then-modern systems also included central heating, central vacuuming, and a nursery.

Henry Satter, Inc. of New York were the decorators, and the theatre’s Act Curtain was the finest they had ever manufactured. The design and fabric were from France, requiring nine months for delivery, and the fringe, at 36 inches high, was the largest ever attempted.

A Date on a Dollar and a Half

When the Florida Theatre began operation, admission was 25 and 50 cents for matinees, and 25 and 60 cents at night. The “palace of splendor” was open 12 hours a day, from 11:00 a.m. to 11:00 p.m. There were daily deluxe presentations at 3:00, 7:00 and 9:00, and these extra special showings included six program elements: a Paramount News reel, a comedy, a travelogue or a cartoon, an overture by the live orchestra, a stage presentation, and then the feature film.

The diverse entertainment was not limited to the live stage or the screen. For many years, WJAX, the City-owned radio station, often broadcast from the Florida Theatre, including performances by Frank Morris and His Variety Vendors, Blue Steele and His Internationally Famous Radio Orchestra, Kay and Betty the Children of Jazz, and Banjo James.

Stars of the stage and screen were frequent visitors. Over the years, Sally Rand, Paulette Goddard, Paul Whiteman, and Kay Kyser all appeared on the Florida Theatre’s stage. The debonair star Adolphe Menjou, a star of the original “A Farewell to Arms” (1932) and the original “A Star is Born” (1937), plus 143 other productions, visited in 1929, and in a letter lost backstage and found years later by a workman, he marveled at the chill the air conditioning produced. George Jessel and Eddie Cantor visited during the Depression, and forthrightly announced to the audience, “We’re here because we’re broke.” Bob Hope reportedly read the newspaper through the entire screening of a movie, indifferent to what went on around him.

It Was Really a Dream World

On the occasion of the theatre’s opening, Sam Katz told the papers, “It is the idealism that is put into theater operation that changes a business into an institution. There is a strange fascination about this business that keeps its servants at high tension and bubbling over with enthusiasm for the new problems that are continually confronting them.” The Publix Corporation put a premium on personal service by its staff, and over the years it was the people that made the theatre a special place.

Bob Mitchell was the organist on opening night, and his successors at the console of the $100,000 Wurlitzer organ included Lee Hamrick, Hal Stanton, Addie Berry, Jack Courtney, and for many years, Jimmy Knight.

Guy Kenimer was the Manager on Opening Night, and the Manager for some 20 years after he was promoted was Bob Heekin, who met his wife on the roof garden. Heekin got his start at the theatre as a Boy Scout working for free passes, and he rose from doorman to District Manager at the time of his death.

The projectionist for 40 years was Bender A. “Dock” Cawthin. When he retired in 1972, the Times-Union ran a multi-page feature story.

Margaret Land was the nurse in charge of the nursery, which did not close until 1952.

Just two years after opening, the Great Depression began, and like the rest of America, its effects reverberated through Jacksonville. The theatre closed several times during the Depression, but was saved from complete and total failure by special programs created by the special people who comprised its staff.

Screeno was a bingo game that employed the giant movie screen. Bank Night, on Monday nights, gave ticket buyers a chance at a $100 prize. The Happy Hearts Club, begun at the Arcade Theatre by Guy Kenimer and brought to the larger Florida Theatre when it opened, provided toys for underprivileged children at the holidays. The Happy Hearts Club continued throughout the Depression, through the World War II years, and beyond, for almost 20 years total.

Promotional tie-ins to publicize the featured movie were common. The ushers would routinely eschew their uniforms for costumes thematically tied to the featured movie, from Hawaiian shirts and leis to tuxedos. Beauty pageants and trips to far away cities were common. In 1937 a double wedding was celebrated on the stage to promote the movie Double Wedding, and the lucky couples each received Philco radios as wedding gifts. A giant fake airplane was suspended above the marquee in 1957 to promote the movie Test Pilot.

In a May 13, 1973 “Times-Union” retrospective, one customer looked back on those days and said, “You could have a date on a dollar and a half. When things were fairly grim outside the theatre, it was really a dream world because it was a beautiful place…pure escapism.”

Over the years the building would go through some, but not many changes. The biggest was that in 1938, the rooftop garden, the open air portion at the center of the seventh floor, was closed, and enclosed to make room for additional offices that could be rented out, primarily to lawyers. However, because it was built during the tail end of the vaudeville era, and just before the beginning of the “talking picture” era, the Florida Theatre had a full theatrical stage, with wing space, flys, and dressing rooms, and that would make the theatre desirable for many other functions. In addition to the movies, over the years the theatre hosted opera, dance and theatre productions, trade shows, fashion shows, charity benefits and civic meetings, all making the Florida Theatre a hub of community activity. Well into the late 1950s and early 1960s, events like The Kiddie Show for Talent, headed first by Ralph Feather, and later by Jack Dew, packed the house, and the Jacksonville Opera and Choral Society, under the direction of conductor C. Carter Nice, filled the seats for productions of operas like “Die Fledermaus” and “La Perichole,” and musicals like “Kismet.”

Elvis Has Entered the Building

The most famous live performances in the Florida Theatre’s past or modern history occurred on August 10 and 11, 1956, when Elvis Presley, then riding high on the hit singles “Heartbreak Hotel,” “Hound Dog” and “Don’t Be Cruel,” played six shows over two days. Over the years, these six performances have been heralded variously as Elvis’ first indoor performances anywhere, or his first theatre performances anywhere, claims that are pure mythology. The Jacksonville performances came at the end of a seven-city, nine-day, twenty-five show tour. In just the previous seven days alone he had played the Olympia Theatre in Miami (seven shows), the Tampa Armory (two shows), the Polk Theatre in Lakeland (three shows), the Florida Theatre in St. Petersburg (three shows), the Municipal Auditorium in Orlando (two shows), and the Peabody Auditorium in Daytona Beach (two shows).

However, the Jacksonville shows became famous, even infamous, for other reasons. Elvis had played Jacksonville a year earlier and the reaction of Jacksonville’s teenagers so disturbed a faction of the city’s leadership that in advance of his return, a committee was formed, and Juvenile Court Judge Marion Gooding prepared arrest warrants, with charges of “impairing the morals of minors.” He invited the young Mr. Presley to a meeting in his office, where he threatened to execute the warrants if Elvis’ bodily movements on stage were too suggestive. The entire episode was chronicled by Life Magazine, and Jacksonville, Elvis and the Florida Theatre received extensive national coverage. The judge himself sat through several shows in the back row, and police were seated in the orchestra pit. Whether they were there to keep the audience from rushing the stage or as a visible reminder to the performer to behave was unclear.

Elvis got the upper hand though, and teased the judge during the show by wiggling his little finger, and according to guitar player Scotty Moore, “That’s where the curled lip and the little finger thing really got started.” Mostly, however, Elvis behaved, and although Elvis himself and his manager, Colonel Tom Parker, would claim that they had not adjusted the show even one little bit, Scotty Moore says, “He stood there flat footed and did the whole show.”

Elvis himself talked about the episode in his 1968 NBC-TV Comeback Special. To contemporary reporters in 1956, he said that he didn’t do “dirty body movements” and that local preachers who were asking their congregations to pray for him were “just looking for publicity.” He noted that he had been a church-goer “since I could walk.”

None of this affected sales, however. All six of the performances were sold out, and over 10,000 people saw Elvis at the Florida Theatre. Two of those in attendance included future Jacksonville Mayor Jake Godbold and his future wife Jean, who were on a date. Mayor Godbold would play a key role in the restoration of the theatre 25 years later.

A week later Elvis went to Hollywood to begin his first movie, and a month later, on September 9, 1956, he made his first appearance on The Ed Sullivan Show.

Years later, Judge David Gooding, Judge Marion Gooding’s son, himself now a Juvenile Court Judge, would observe that despite the way the media depicted the meeting between his father and Elvis as a showdown, his father allowed his sisters to attend the concerts, and Marion Gooding would remain a lifelong fan of Elvis, watching whenever he was on TV.

More Than Just Another $5 Million Renovation Project

Even though the Florida Theatre Office Building contained the statewide headquarters of ABC Florida State Theatres, by the late 1960s television and the population shift to the suburbs were affecting attendance. One attempt to woo audiences who were defecting to the shopping malls and the multiplexes was the installation of rocking-chair seats in the theatre. However, even major motion pictures like “Hello, Dolly” and “Paint Your Wagon,” both released in 1969, were failing to draw crowds, and by the 1970s the theatre was rundown, showing mostly martial arts and racial exploitation films. A 1973 “Times-Union” article reported that the sculpture La Vergagnosa, a fixture in the lobby for as long as anyone could remember, had gone missing, and the theatre was in such disrepair that only 803 of its more than 1,900 seats were still functional. The last civic event to be held at the theatre was a car show by the Ford Motor Company, and the theatre finally closed on May 8, 1980.

However, the theatre was still an architectural gem rich in history, and that held the seeds of its resurrection. According to Architectural Historian Ann McDonald, writing in an application to the State for historic designation, “The Florida Theater Building is the last remaining movie palace in northeast Florida. Built during the golden age of movie palaces in the 1920s…It is an excellent example of Mediterranean Revival Architecture which dominated Florida building in the 1920s.”

Its unique status as the last remaining movie palace in northeast Florida could not be ignored, and soon another convert to the cause of preserving it was Mayor Godbold, but for an entirely different reason: economic development. “All successful redevelopment plans in the United States today are using the arts as a lure to build a core city,” he told the “Daytona Beach Sunday News-Journal.” “We’ve seen this work in other cities. It will bring people downtown.”

Thus was born the effort to save and preserve the Florida Theatre for cultural and civic uses, with the Mayor, the City Council, the Jacksonville delegation to the State Legislature, and the Arts Assembly of Jacksonville all collaborating to repurpose the historic building for the good of the community. Using a $500,000 State of Florida grant, a $350,000 City of Jacksonville Department of Housing and Urban Development Community Development Block Grant, and $150,000 in fundraised and borrowed funds, on October 31, 1981 the Arts Assembly of Jacksonville, a nonprofit corporation, purchased the theatre from Plitt Southern Theatres, Inc. for $1 million.

The Arts Assembly, then lead by Board President Jeffery D. Dunn and Executive Director Trinita Logue, immediately began work to ensure the building’s preservation as an historic landmark, and to restore it for cultural uses. William Nash, then the President of the Southeastern Region for Prudential, was enlisted to Chair a capital fundraising drive, which in 1982-1983 sought $4 million for restoration, renovation, equipment and start-up operating costs.

Walter Taylor, Senior Vice President of KBJ Architects, and Herschel Shepard of Shepard Associates Architects and Planners, both of Jacksonville, were enlisted to steer the project. The selection of KBJ was particularly interesting. The firm of original 1920s architect Roy Benjamin had evolved into Kemp, Bunch and Jackson, which then became KBJ.

Other firms participating in the renovation included general contractor D. Coleman, Inc.; Paxon Electric Co.; Van Wagenen and Searcy Engineers; Alexander Smith Carpet Mills; Country Roads Seating; Bolt, Beranek, Newnan Acousticians; Southern Ornamental Stone; White Historical Reproductions; Miller Electric; Ray’s Plumbing; Bill Williams Air Conditioning and Heating Co.; and the W.D. Brinsdon Co. for the general plaster work.

The restoration began with a Kick-Off Party held on Forsyth Street on Saturday, September 25, 1982 from 8:00 p.m. to midnight in the street. The dance band Illumination played music of the 1930s and 1940s while 1,000 attendees danced and enjoyed an open air, catered buffet. The theatre was open as-is for one last look before renovations began.

Renovations included the restoration of the original balcony seats, replacement of the rocking chair seats installed in the orchestra in the late 60s or early 70s, and the addition of a wall at the rear of the orchestra seating section, which had been open to the rest of the lobby as had been customary in the 1920s. The concession stand, dating from the 1950s, was retained, as was the current marquee, which dates from the 1950s as well. Many of the theatre’s other features required minimal reconstruction, however, and a significant amount of the building’s original equipment features and fixtures remain intact and in use today.

As renovations began on December 28, 1982 the theatre was officially accepted onto the National Register of Historic Places, adding federal significance to the entire enterprise.

We Had a Dream. We’ve Brought that Dream to Be.

On August 26, 1983 the “Florida Times-Union” reported that Jeff Woodruff was the newly-named manager, and the Grand Opening would be in October. The Florida Theatre Box Office opened for business again on Wednesday, September 7, 1983 at 11:30 a.m. Mayor Jake Godbold cut the ribbon, and told the “Daytona Beach Sunday News-Journal,” “A number of years ago, we had a dream. We’ve brought that dream to be.” The first 100 patrons received a commemorative brass Florida Theatre ticket on a key chain, and every 50th ticket buyer received a free ticket of “his choice” to a performance during the Grand Re-Opening Week. Missy Crelia of Jacksonville, a secretary with the health department was the first customer, served by Karen Riley. Missy had seen her very first live performance ever, the Nutcracker, at the Florida Theatre years before. She bought tickets to the screening of the movie Starstruck, sitting in Row E, Seats 13 and 14. She told the “Times-Union” that she was a fan of the local bands The Attitudes, Lynyrd Skynryd and .38 Special, had seen Bob Dylan, and was a member of the Jacksonville Film Institute and the Jacksonville Library Association. The Box Office phone number was, and still is, 904-355-ARTS (2787).

When it reopened, the restored Florida Theatre’s 1,900 seats filled a niche between the Coliseum’s 10,000 seats, and the Little Theatre’s 600 seats, and an entire week of events was planned for the Grand Re-Opening, to demonstrate what the theatre was capable of.

On October 1, the Grand Re-Opening featured the London Symphony Orchestra String Quartet, the Cole Porter Revue “Some Like it Cole,” and fiddler Vassar Clements. The next day the Times-Union said, “By all accounts, the grand reopening of the Florida Theatre was a smashing success. Nearly all the theatre’s 1978 seats were sold out and, given the relatively high ticket price of $50, the renovated theater has a bright future.” Vassar Clements, a Florida native, closed the show with “Orange Blossom Special.”

October 2 was The Mayor’s Family Street Festival, with the No Elephant Circus and the Excelsior Brass Band from New Orleans. October 3 was the premiere of the film Starstruck, an Australian punk rock musical which the “Jacksonville Journal” called, “…neither serious nor dull…infectiously high spirited.” The Jacksonville University Orchestra shared the bill, playing a program of movie themes. October 4 was R&B night with the Spinners, and October 5 was opera night with mezzo-soprano Patricia Miller. October 6 was country music night with Tammy Wynette, who cancelled two days before when she became sick and was hospitalized in West Palm Beach, and was replaced by Tanya Tucker. October 7 was the Marcia Plevin Dance Company, who the “Times-Union” called “…bizarre, yet intriguing,” and October 8 was classical music satirist PDQ Bach with the Jacksonville Symphony Pops. Prices for these programs ranged from $4.00 to $50.00.

The rest of the first season was equally spectacular. Between October 1, 1983 and March 4, 1984, 69,593 people attended 73 performances of 53 different events, from civic events, award shows and corporate parties, to performances by local artists like the Florida Ballet, the Jacksonville Symphony Orchestra Pops, and the Big Orange Barbershop Chorus, to performances by national touring artists like Twyla Tharp, Spyro Gyra, George Carlin, Preservation Hall Jazz Band, the English Chamber Orchestra, Ossie Davis and Ruby Dee, and Gordon Lightfoot.

On September 25, 1983 the “News-Journal” was most prescient when it declared, “The Florida Theatre has become more than just another $5 million renovation project. It is a symbol of hope to a jaded populace and a signal of progress to a city government that the long awaited renaissance of Jacksonville’s heart is here.”

Sadly, just days before the official opening, on September 17, the theatre’s original manager, Guy Kenimer passed away. He passing was noted in a Memoriam in the opening night program: “Guy Kenimer, who died on September 17, was manager of the Florida Theatre from its first opening in 1927 to his retirement in 1955 as General Manager of 36 Theatres across the state for Florida State Theatres. Mr. Kenimer was of invaluable service to the Arts Assembly in preparing historical information for the Capital Campaign. Mr. Kenimer’s influence is in large part responsible for the nostalgia many Jacksonville residents feel towards the Florida Theatre.”

The Florida Theatre Today

Over the intervening years since 1983, millions of people have walked through the Florida Theatre’s front doors to experience the magic of a live performance, or to watch a classic movie on the theatre’s big screen. The Florida Theatre, the Tampa Theatre and the Olympia Theatre in Miami are the last remaining examples in Florida of the elaborate, atmospheric theatres built in the 1920’s, but they remain vital components of the state’s cultural and civic life, and the Florida Theatre continues to anchor the cultural life of the Northeast Florida region.

The building has been seen on national television (Larry Wilmore’s 2012 Showtime TV Special), heard on national radio (Michael Feldman’s “Whad’ya Know?” on National Public Radio) and hosted several film premieres and previews (“Brenda Starr,” “Glory,” and “Recount”).

Local performers like Gregg Allman, J.J. Grey, Lynyrd Skynyrd, and Derek Trucks and Susan Tedeschi (together, and as solo artists) have all played the Florida Theatre on numerous occasions, and the theatre has hosted some of the most significant performing artists our nation has to offer, from cultural artists like the White Oak Dance Project, Wynton Marsalis, and Pat Metheny, to bona fide rock stars like Bon Jovi, Fleetwood Mac, and Roger Daltrey.

Sadly, the Florida Theatre has also played host to a number of legendary artists who are no longer alive. However, Jacksonville is still lucky that it had a theatre that made it possible to spend time with artists like Ray Charles, Lionel Hampton, Gregory Hines, Warren Zevon, Johnny Cash, Gregory Peck, Bernie Mac, Richie Havens, Andy Williams and Dan Fogelberg, in addition to the aforementioned Elvis Presley, to name but a few.

On the occasion of the theatre’s 10th anniversary as a performing arts venue, in 1993, critic Rick Grant looked back on the last 10 years in the May 7, 1994 edition of the First Coast Entertainer. He estimated that he had reviewed 60% to 70% of about 1,500 acts. His highlights included the television host Morton Downey (“most bizarre”), the play 1941 Radio Hour (“Most unique live theatre show I’ve ever reviewed”), movie star Burt Reynolds (“Just a good ‘ol Florida boy and has a generous heart”), and actor Hal Holbrook in his one man show “Mark Twain Tonight!” (“completely convinced me he was Samuel Clemens”).

Among the many honors that the Florida Theatre’s restoration and ongoing operations have received over the years are recognition and awards from the Florida Trust for Historic Preservation, the U.S. Department of Housing and Urban Development, the Jacksonville Historic Preservation Commission, the Jacksonville Chamber of Commerce, Downtown Vision, the Florida Association of the American Institute of Architects, “Folio Weekly’s” Best of Jax Awards, and Pollstar Magazine’s Worldwide Ticket Sales Top 100 Theatre Venues.

Today, the Florida Theatre’s official mission is to enhance the quality of life in North Florida by providing diverse and memorable arts and entertainment experiences, and by maintaining a unique historic Jacksonville landmark. Less officially, the theatre still strives to be a thing of beauty, a palace of dreams and a symbol of hope and progress to its city.