The California Theatre

414 Bush St. | map |

The first California Theatre on the site: 

Opening: The theatre opened January 18, 1869 with the play "Money." The location was on the north side of the street between Kearny and Dupont (called Grant Ave. since 1906) on a site that now uses an address of 440 Bush. 

The 1870 UC Bancroft Library photo appears with a Wikipedia article on the theatre and its successor. The photo also appears in the San Francisco Public Library collection. That's the firehouse for Engine Co. #11 at the right. Or is it Co. #2? -- accounts differ.

Architect: Samuel C. Bugbee & Son designed the building for William Ralston, the treasurer of the Bank of California. The project cost for building and land was $300,000. The theatre was at the rear of the lot. On the second floor looking out to Bush St. was a concert space called Pacific Hall.

The California was included in the 1868 city directory on a list of buildings completed, or nearly so, that year. Thanks to Art Siegel for spotting this copy: 

"The New California Theater — On Bush, between Kearny and Dupont streets, now in course of construction and to be completed about the end of the present year, promises to be one of the most massive and substantial edifices in the city, having a frontage of one hundred and sixty-five by a depth of one hundred and thirty-seven and a half feet, the foundation walls being four and a half feet thick. Two and a half million bricks and an immense quantity of iron have been employed in the construction of this building, which, when finished, will cost over $150,000, the value of the lot being estimated at an equal sum. The theater, which is to occupy the rear portion of the lot, the front being devoted to business purposes, will be eighty by one hundred and sixty-five feet, a broad corridor which forms the main entrances giving access to the lobbies, which are also very spacious. Near the main entrance to both the parquet and dress circle are parlors and cloak rooms. A corridor passes entirely round the dress circle, ample doorways leading from it into the auditorium, which has a width of seventy with a depth of eighty feet. 

"The gallery is approached by a broad stairway opening into an extensive lobby, whence by another flight of stairs the upper tier is reached. Care has been taken to insure good ventilation, while ample exits have been provided enabling the house to be emptied in a few minutes should occasion require. The ceiling will be fifty-one feet above the main floor. The stage, eighty feet wide by seventy deep, is to be furnished with all modern improvements and every appliance requisite to secure scenic effect. The proscenium will be forty feet high and forty-two feet wide, surrounded by a panel of grand proportions. Over the stores there is to be a hall fifty feet by ninety, and thirty feet high, to be used for concerts, lectures, etc. A hall, forty by fifty feet, at the west end will constitute the stage entrance and scene-room, with a picture-gallery above. The front of the building will be in the Corinthian style, with a rustic basement forming a massive and imposing facade, the whole having been designed by S. C. Bugbee & Son, the architects of the work."

The Wikipedia article on the theatre notes: 

 

"Ralston's decision to build the theatre was inspired by the acting of John McCullough and Lawrence Barrett, whom he felt deserved a theatre of their own to showcase their talent and which he believed would be a lucrative investment. He was right, for the theatre was successful beyond his expectations. It opened on January 18, 1869 with a performance of Bulwer-Lytton's play 'Money.' It was the leading theatre in the city until its demolition in 1888. There were elaborate murals of San Francisco painted by local artist G.J. Denny and a panoramic view of San Francisco Bay on the drop curtain. The theatre claimed to be the first on the West Coast to use calcium light (limelight) with parabolic reflectors, aimed from the house, to light up the stage."

The opening was discussed in the "Local Intelligence" column of the January 22, 1869 issue of the Daily Alta California:

 

"Tuesday, Jan. 19. OPENING NIGHT OF THE CALIFORNIA THEATRE. Brilliant Assemblage -- Theatre Crowded to its Utmost Capacity -- 2,479 People in the House -- Poem by Frank Bret Harte, Esq. -- Compliment to Denny's Painting -- Barrett & McCullough Called Before the Curtain -- Etc.

"The opening of the California Theatre, on Bush street, was the sensation of yesterday; those who had seats were preparing to go, those who had not were trying to figure out how they could get standing room, and still others wanted to see the assemblage as it filed in the building. Anticipating that the crowd would come all together, a barricade was placed across the entrance so that only one couple at a time could pass, and the delay at the door enabled the ushers to seat the visitors as fast as they presented themselves in the vestibule. Mr. Barrett and Mr. Rogers were inside the railing to tell the ticket-holders which entrance would take them directly to their seats. 

"By a few minutes after eight o'clock all were in their places, the orchestra, under the direction of Prof. Geo. Evans, played an overture, the curtain was rung up, displaying a room scene, and Mr. Barrett stepped out to pronounce the opening address, written by Frank Bret Harte, Esq. The elocutionist complimented the poet by committing to memory the words of the poem, and spoke them with feeling, good taste and appropriate action...

"THE PLAY. After a brief pause the curtain was rung up again, and Bulwer's elegant comedy, 'Money,' was commenced. The first to appear on the stage was Mr. W.H. Sedley Smith, as Sir John Vesey, who received a courteous welcome and a bouquet from some old-time admirer. The other members of the company were applauded as they came on, but Mrs. Judah was recognized as an old favorite, and treated accordingly. When Mr. McCullough, as Alfred Evelyn, made his appearance, the reception was prolonged into an ovation. Mr. Raymond, who appeared as Graves, established himself as a favorite at once; the gallery took up his stereotyped expression of 'Sainted Maria,' and repeated it for their own amusement. The play was very satisfactorily rendered; there was a little nervousness on the part of Miss Gordon, the Clara Douglass of the evening, but her graceful actions and exquisite taste in dressing made amends for any lack of power. 

"Mr. W.F. Burroughs, as Sir Frederick Blount, made a very good impression; he is an actor of ability. Mr. Holmes made a fair representative of Sir Benjamin Stout. The other characters were represented by Mr. John Wilson, (as Dudley Smooth,) Mr. E.J. Buckley, (as Lord Glossmore,) Mr. Franks, (as Mr. Sharp,) and Mrs. E.J. Buckley, (as Georgina Vesey;) these characters were all well personated. Mr. W.H. Sedley Smith is a fine old man actor, as was seen last night, yet he undertook the character of Sir John Vesey at short notice, as Mr. Edwards was unable to appear on account of illness; it is enough to know that they were in the piece to ensure the success of at least two of the characters. 

"THE ACT DROP. Between the first and second acts the green curtain was let down for the purpose of preparing the spectators for the treat in store -- the view of the magnificent painting by G.J. Denny. Impatient cries came from the gallery, and then the curtain was drawn up, revealing the view of the Golden Gate with the Western Continent, the Golden City, the Challenge, etc. At first there was a prolonged round of applause, and then the gallery gave three cheers, and repeated them again, and again -- a well deserved tribute to the artist. 

 

"THE SCENERY. The scenic effects came in for a share of the compliments of the evening -- every new set received a round of applause. The apartments of Sir John Vesey were handsome and in good taste, but the elegant salons of the wealthy Alfred Evelyn made the others dingy by comparison; here was displayed the roofing in of the room with a handsome ceiling. The furniture also was in admirable taste. 

 

"BEFORE THE CURTAIN. At the close of the play calls were made for the managers, and Mr. Barrett and Mr. McCullough came on. Mr. Barrett returned the thanks and acknowledgements of himself and partner for the favors received from the people of San Francisco and the capitalists who built the beautiful temple of the drama which had been inaugurated so auspiciously that night; particularly acknowledging his indebtedness to Mr. Peters, for his untiring energy in initiating the enterprise and carrying it to successful completion; dilated on the beauty of the structure and the completeness of the stage, for which latter the managers were indebteded to the skill of Mr. John Torrence, who had made it superior to the modern theatres of the East; alluded to the 'lines of encouragement' received by telegraph from managers in other cities, and concluded by introducing Mr. McCullough, who might have a few words to say. 

"John objected to this arrangement, as he had agreed to do the acting if Mr. Barrett would make all the speeches, but he went on to make a manly, hearty speech, in which devoution to the art was laid down as the platform of the management -- that everything would be done to elevate, and nothing to degrade the drama, regardless of financial consequences; when it was found that a proper style of entertainment would not renumerate them, then the doors of that theatre would be closed. He alluded to the kind reception he had met with on all sides since his sojourn in the city, and he had now cast his anchor here, where he was proud to say he was surrounded by friends, whose good esteem he should endeavor always to merit. The speech was a real treat. Both gentlemen retired amid hearty applause....

 

"CAPACITY OF THE HOUSE. There were 2,479 spectators in the theatre last night, realizing $2,135 for the management. SPEEDY EGRESS. At twelve minutes after eleven the speeches were concluded, and in two minutes and thirty seconds the parquette was clear of people, in three minutes and thirty seconds the lights in the house were out and the audience had found egress through the spacious corridors. 

"THE PLAY FOR TO-NIGHT. Sheridan Knowles' play of 'The Hunchback' will be presented to-night, with Miss Annette Ince as Julia. Miss Ince is favorably remembered in San Francisco as a fine actress, of a pure school, and great power; she is also well known all over the United States, having visited nearly every city as a star. Miss Fanny Marsh will make her debut as Helen. The part of Master Walter, assigned to Mr. Edwards, will be taken by Mr. W.H. Sedley Smith; Mr. Burroughs will appear as Modus; Mr. McCullough as Sir Thomas Clifford. PLAYS FOR THE WEEK. 'Extremes' will be presented to-morrow night 'Wild Oats' on Thursday, 'Extremes' on Friday, 'Love's Sacrifice' on Saturday. 'Money' will be repeated at the afternoon performance on Saturday."

 

Thanks to Art Siegel for locating the article.

A program from 1869 for a play called "School!" It's from the Museum of Performance and Design Performing Arts Library on Calisphere.

The inside of the 1869 program. 

 

The Wikipedia article about the theatre comments on a 1st anniversary celebration in 1870:

 

"On the first anniversary of the theatre's opening, a Scandinavian bandleader had the following to say: 'The first year the California Theatre cleared $100,000. On the evening of our first anniversary, Mr. Barrett stood at the stage door and invited every single individual belonging to the theatre, saying that after the performance we should all meet up in Pacific Hall on the second floor of the California Theatre building, facing Bush street. Upon coming into the hall we were surprised with a large banquet table set in the form of "T" and furnished from the best caterer, Maison-Doree, at $5 a piece.'"

 

 

A version of the 1870 photo ended up in the collection of Hamilton Henry Dobbin and appears on the website of the California State Library. It's in one of two volumes called "Album of San Francisco." He notes: 

"This theatre at the time of its opening January 18, 1869 was considered to be the best equiped [sic] and handsomest theatre in the United States....The front showing arched windows was known as Pacific Hall where the Free Library was established. The Free Public Library was maintained in this building until the McAllister Street wing of the new City Hall was completed." 

Ralston was in trouble in 1875. The Wikipedia article about the theatre comments:

 

"In spite of the theatre's success, the Bank of California, which owned the theatre, failed in 1875. Soon thereafter, Ralston went swimming and drowned, leading to speculation that he might have committed suicide The theatre then went into a decline. In addition to plays, the theatre was also host to opera, and soprano Inez Fabbri performed there on many occasions until the Grand Opera House opened in 1876, as did Nellie Melba."

 

 

Thanks to Nick Wright for this 1877 look at the theatre -- and the fashions of the day as well. We're at Kearny looking west on Bush. The photo appeared as a post on the Facebook page San Francisco History.

An undated view of the California from the News Call-Bulletin collection at the San Francisco Public Library. Bennett Hall has a larger nicely cleaned up version of the photo on Flickr. On his version you can look up at the far end of the theatre building and read the signage for the Free Public Library, up on the 2nd floor.

A card about the theatre (with some confused history) that was produced as one of a series of inserts for the Between the Acts Little Cigars. They think this version of the California survived until 1906. Also note the strange building that the artist has placed in the middle of Bush St. Thanks to Jack Tillmany for spotting it online.  

The rear of the card. Thanks, Jack!

Seating: The assumption is that the total capacity was about 1,400 although the Daily Alta California had reported that they had crammed 2,479 into the building for the opening. The 1884 edition of the Social Manual of San Francisco notes that there were seats on the main floor for about 700 in the orchestra and dress circle sections plus space for about 100 on stools in the lobby areas. There were ten boxes with a total capacity of about 40. They didn't discuss the balcony.

The layout of the main floor. Thanks to Glenn Koch for sharing the image and data from the 1884 edition of the Social Manual of San Francisco that's in his collection.

Closing: This first California Theatre got demolished in 1888 for a grander building that also included the California Hotel.



The 2nd California Theatre on the site:

 

Opening: The replacement theatre opened May 13, 1889 with a production of "Othello." The new building also also included a big hotel. Initially the house was managed by Al Hayman, who was also operating the Baldwin Theatre at Powell and Market.  

 

We're looking northwest in this 1891 photo by Julia Schlesinger that appears on the Open SF History Project website. The mansions of Leland Stanford and Mark Hopkins are seen in the distance on the left. Thanks to Art Siegel for locating it in the collection. He dates the photo as late January or early February and comments: "A poster on the wall of St. George Alley at the lower right is for 'Musette' with Lotta Crabtree at the Baldwin Theater, which opened for a 2 week run on January 26, 1891."

 

 

An entrance detail Art extracted from the photo. He notes: "A poster for Russell's Comedians, a production which played there from January 19th until February 8, 1891 leans in the entryway."

Architect: James M. Wood, of Chicago

The Chronicle visited the theatre two months before the opening. Thanks to Art Siegel for locating an article in the paper's March 9, 1889 issue headed "California Theater - Its Novel and Beautiful Balconies" that discussed the new house: 

"The Building Will Positively Be Ready for the Opening Night -- Its Present Condition. In just eight weeks the new California Theater will be opened, so that the interior of the Bush-street building is beginning to assume a theatrical appearance. The two galleries are built in place, with floors and ceilings all but finished. The frame work of the proscenium boxes is up and the balcony rails will soon be put into place. These are original in design and novel in construction. They will be hollow all round, the part next to the audience being of wood. The outside is to be plastic relief work in very artistic design; behind this molded work colored glass in various shades will be placed, and between the glass and the woodwork referred to incandescent lamps are to be hung. 

"The effect will be to show up the plastic work and give to each gallery the appearance of a band of colored light covered with exquisite tracery. The proscenium opening will be rectangular in form, covered with plastic relief work and lighted somewhat similarly to the balconies. Much of the plastering of the building is already finished. The roof has been covered with iron lath all over, extending up to the brick walls; the fire tiling, which covers the walls and butts against the iron laths, is all but finished, and the plastering of this fireproof whole will be at once completed. 

"The iron flights of stairs to the galleries are in place, and the hollow fire-tile partitions also. The ceiling of the theater remains to be finished, as well as the proscenium arch and the balcony parts, all of which the architect, J. M. Wood, promises will be ready by May 18th, the opening night. Thomas O. Moses, a Chicago artist, is now painting the scenery, and has finished several side pieces; his next work will be the drop curtain. The hotel building will not be finished for some little time after the theater opens, but is making rapid progress."

The opening was covered extensively in the May 14, 1889 issue of the Chronicle. Thanks to Art Siegel for locating the article headed "The New Theatre - Brilliant Opening of the California." Some of their comments: 

"Last night was an event in which practically the whole city was interested. It speaks well for our theatrical enterprise and importance, as well as for our taste, that Mr. Hayman should have felt it advisable, if not even compulsory, to bring across the continent the greatest legitimate attraction to open the new California Theater... Certainly no performance more dignified or on a higher plane of dramatic art could be given than 'Othello,' with Edwin Booth as Iago and Lawrence Barrett as Othello...

"Some Beautiful  and Useful Features of the Theater. The beautiful ornamentation, as well as the improvements in most of the departments of the theater, has been noticed in these columns heretofore, but it will not be out of place in this connection to refer briefly to a few of the most striking features of the new temple. The trimmings for the doors of the theater were furnished by the Huntington, Hopkins Company. J. M. Wood, the architect, selected these appliances, and the practicability of the door fastenings in case of such an emergency as a fire stampede will be found fully adequate to the demands for this purpose... All of the iron work was furnished by the Joshua Hendy Machine Works. Ample strength is given the building by the use of heavy cast iron columns, girders and stairs....

"The elegant electroliers which furnish light to the theater were supplied by the California Gas Fixture Company... The theater has been furnished with two of the famous Root boilers, having a combined force of 225 horsepower, manufactured by the Abendroth & Root Manufacturing Company of New York, and placed in position by George H. Tay & Co., who are the agents for these boilers here... These boilers are used in generating the electricity for lighting the theater and are sure to give entire satisfaction. 

"The elegant solid relief plaster decorations, which occasioned so many favorable comments from the patrons of the new theater last evening, are the work of Messrs. Kellett & McMurray, and are a most creditable showing for these gentlemen. The decorations on the boxes, ceiling, corridor and proscenium, as well as the elaborate work and excellent taste displayed on the wainscoting, are far superior to anything of its kind ever known on the Pacific coast. The proscenium arch is a 'thing of beauty,' in addition to being a masterpiece of mechanical ingenuity. French nails are driven through the plaster into the brick wall, and the cast itself is burlapped and wired, thus giving increased stability to the work. F.L. Lindon furnished the designs for these plaster decorations."

The magazine The Electrical World noted in 1889 that the new theatre was the first on the west coast to be lit exclusively by electricity. Their article on the new playhouse is quoted in the Wikipedia article on the two California Theatres: 

"The new temple of Thespis is situated on the site of the famous old California Theatre. It is perfectly fire-proof, and has 19 exits. The main entrance, on Bush street, is formed by a Roman arch of massive proportions and striking design. The vestibule is rectangular in shape, is finished in antique oak paneling, with pilasters and arabesques, and is lighted by thirty-two 16 candle-power lamps and an electrolier of eight 82's. In the beautiful foyer is another large electrolier.

"In the auditorium, behind the eight proscenium boxes, with dome-shaped canopies supported by columns, rise arches of Indian fretwork carrying pillars surmounted by 88 candle-power lamps enclosed in opalescent globes shaped like pineapples. The ceiling consists of three concave divisions extending from wall to wall parallel with the front of the stage, gradually rising upward, and separated by narrow panels or chords. It is crossed by four bands of dark color, in which, as well as in the chords and fantastic tracery of the decorations, are set numbers of lamps. From the ceiling, over the parquet and near the boxes, depend three rich electroliers similar in design to those throughout the house, formed by a centre fixture of opalescent glass held in cast metal work, with four pendants of the same shape hanging by chains attached to arms radiating from the stem of the fixture. All the electroliers were specially designed by J. M. Wood, of Chicago, the architect.

"Throughout the house the decorations are so designed that lamps in the midst of bands of flowers, dados and carvings, not only afford light, but add hitherto unknown features to the general ornamentation. At the back of the metal and plastic tracery of the boxes, balcony and gallery, panels of cathedral glass are inserted, which soften the radiance of 16 candle-power lamps set behind, and give to the railings the effect of carvings thrown into relief by mellow light. For producing winter and moonlight effects, and as a substitute for calcium light, six movable bunch lights, with silvered reflectors, are provided.

"The rheostats, which control all the lamps in the house, are of novel design. They are divided into six parts, which are in connection with six step-by-step switches, capable of being operated rapidly and positively. The handles of the switches can be locked to a shaft which runs through all; by tightening the handles of the switches to the shaft every part of the house can be dimmed at once, and by loosening any number, any portions can be regulated at the will of the switch-man. Being equally divided, one-half the lamps in the auditorium can gradually be turned down while the other half is being lighted, producing a fine blending effect. This is probably the only theatre in the country where the switches are so arranged."

Seating: It was a two-balcony house with a total capacity of probably 1,400. The main floor seated 240 in a front section called the parquette and 256 in the rear section called the parquette circle. The 1st balcony, called the dress circle, sat 433. The ten boxes held about 50 total. The Blue Book editions don't offer seating charts for the 2nd balcony (aka the gallery) as none of the better people reading their book would be sitting up there.

A main floor seating chart from the 1900 edition of the San Francisco Blue Book. Thanks to Glenn Koch for sharing the image from a copy of the book in his collection. An earlier version of the seating chart designated the main floor as parquette in front and parquette circle in the rear.

The seating chart for the 1st balcony, a level that they had earlier called the dress circle. We don't get a chart for the 2nd balcony in any of the Blue Book editions.

Also see charts from the 1889 San Francisco Blue Book that Bob Ristelhueber posted on the BAHT Facebook page. The book is on Internet Archive where you can look at data for six other theatres in the theatre seating chart section.

 

 

 

Programs from collection of John Perdue from productions of  "A Brass Monkey" in September 1889, vaudeville from the Boston Howard Athenaeum Star Specialty Co. in December 1889, Roland Reed in "The Woman Hater" in January and February 1890, Russell's Comedians in "The City Directory" in July 1890 and W.J. Scanlan in "Shane-Na-Lawn" in August 1890. 

 

 

The March 1891 program for "A Texas Steer." Thanks to Jon Perdue for sharing this from his collection. 

 

 

 

Programs in the Jon Perdue collection for Charles Evans and William Hoey in "A Parlor Match" from September 1891, Frederick Warde in three plays in March 1892: "Virginius," "Damon and Pythius" and "Richard III."

"Thoroughly Fire Proof -- 19 exits." An 1893 program for the "New" California. The program from the Museum of Performance and Design, Performing Arts Library is on Calisphere. Thanks to Bob Ristelhueber for spotting the program for a post on the BAHT Facebook page.

By this time Hayman was listed as the proprietor with a new manager was on the scene: Jake Gottlob. With a partner, he was running the Columbia Theatre on Powell St. beginning in 1895. After the quake he presented his attractions at the Van Ness Theatre and in 1910 moved into the new Columbia, a theatre now known as the Geary.

 

 

This c.1895 photo was taken by I.W. Taber. Thanks to Bob Ristelhueber for locating it for a post on the San Francisco History Facebook page.

 

An 1896 program cover. It was a post from Dusty Sage on the Vaudeville! Facebook page. Thanks to Dave Reingold for sharing it on the BAHT Facebook page.   

 

Looking east from Dupont St. (now Grant) toward Kearny with the theatre on the left. It's a photo in the San Francisco Public Library collection, where they give it a date of 1896. The Library quotes part of a caption that appeared when the image was published: "...The view shows Bush street, from Grant avenue, looking east towards the Bay. The tall white structure in the distance is the Mills Building."  

 

A February 1898 program for the minstrel show "Black Patti's Troubadors" that's in the Jon Perdue collection. By this time Al Hayman was gone from the operation and S.H. Friedlander was on the management team. He was also Gottlob's partner at the time in the operation of the Columbia Theatre.  

A c.1900 program cover from the Jack Tillmany collection. Friedlander was running the theatre after he and Gottlob dissolved their partnership. He's also listed as the manager in the 1900 edition of the San Francisco Blue Book.

An advertising card for "Corianton," playing the California in 1903. Thanks to Glenn Koch for sharing the card from his collection for a post on the BAHT Facebook page.

The production, featuring mostly amateur Mormon actors from Salt Lake City, toured widely. There's a discussion with photos on page 4 of the November 29, 1905 issue of "The Sketch: A Journal of Art and Actuality."  It's on Google Books. A film version was done in 1931.  

 

This April 1905 photo from the Marilyn Blaisdell collection taken by R.J. Waters appears on the Open SF History Project website. Thanks to Art Siegel for locating it in the collection. He notes that celebrated actress Margaret Anglin was appearing. She was back in town for an engagement at the Geary (then called the Columbia) in 1913. 

 

Two versions of the photo from scrapbooks of Hamilton Henry Dobbin are in the California State Library collection. Dobbin notes that the building on the corner is the Laurel Palace Saloon, the 2nd building is the St. George Stables, the 3rd is the fire house for Engine Co. #2. He adds: "It was in this latter house that Chief Dennis Sullivan met his death by falling chimney of California Hotel adjoining (April 18, 1906)."

Closing: The theatre was destroyed by the quake and fire on April 18, 1906. A chimney of the building's hotel fell through the roof of the fire station to the east and killed Chief Dennis Sullivan.

The building with the conical towers is the California Theatre and Hotel. That's the back wall of the stagehouse facing the camera. The building was fine at the time of the photo with the fire still down on Market St. The image by Bear Photo is in the California State Library collection.

The fire getting closer.  The April 1906 shot by Bear Photo is in the California State Library collection.

The aftermath. The tall walls are the remains of the stagehouse. There's a partial view of the proscenium arch in the center of the photo. It's a Padilla Company photo on Calisphere from the collection of the UC Berkeley Bancroft Library.

Another post-fire shot on Calisphere from the collection of the UC Berkeley Bancroft Library.  

 

 

Here we get a slightly better view through the proscenium arch. Thanks to Art Siegel for locating this one from the California Historical Society that appears on the USC Digital Library website.  

There's also a very similar view by Bear Photo on Calisphere from the California State Library collection. There's also a shot on Calisphere from about the same angle from the California Historical Society.

A photo by Shaw and Shaw on Calisphere from the California Historical Society. 

Thanks to Nick Wright for this illustration using the previous photo. He had it as a post on the San Francisco History Facebook page.

Another angle on the ruins. It's a California Historical Society photo on Calisphere.

The plaque on the Pacific Telephone Building building currently on the site at 440 Bush. The photo appears on a page from the Virtual Museum of the City of San Francisco.

More information: The first California Theatre gets a big writeup starting on page 102 of "San Francisco's Lost Landmarks" by James R. Smith. It's on Google Books.

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