Opened: April 23, 1924 as the Metropolitan Theatre. It was built by Samuel H. Levin, and, from the beginning, was a key link in his San Francisco Theatres Inc. chain, which originally consisted of the Alexandria, Coliseum, Metro, Harding, Balboa and Vogue. In 1949 the Coronet was added to the group. The 1925 photo is from the Jack Tillmany collection.
Architects: Reid Brothers did the original building. Gary Parks comments: "The proposed facade was to be Islamic…but with an eagle in the center that looks sort of Russian—go figure. It was completely different than what was built, but the interior was built as drawn—exactly, from as much as I can ascertain." Scroll to the bottom of the page for images from the set of plans Gary has in his collection.
It had an early 30s light-handed deco remodel, possibly by Timothy Pflueger. It then got a major moderne re-do in 1941 by Alexander Cantin.
Seating: 856 at the end. It was a stadium style house.
An announcement of the project appeared in Architect and Engineer in 1923. Thanks to Bob Ristelhueber for finding the item for a post on the BAHT Facebook page.
An illustration of the new theatre and adjoining stores that appeared in the April 23, 1924 issue of the Examiner, the day of the opening. The page also had an article about the block's development and many congratulatory ads from suppliers to the project. Thanks to Jack Tillmany for finding the page.
An April 23, 1924 ad. Thanks to Mike Rivest for locating it for a post on Cinema Treasures.
Evidently Timothy Pflueger did the theatre's early 30s deco remodel. Gary Parks comments: "For years people have muttered about Pflueger having remodeled the Metropolitan. I'm wondering if he was indeed responsible for A remodeling of the Metropolitan, but it was the thirties remodel--the one which included the geometric deco stencil job on the 1920s lobby ceiling--unearthed in the 1998 remodeling of the theatre, and the stenciling on the auditorium sidewalls between the 1924 columns--both features which were revealed in 1998, and preserved--in part in the gym conversion, too.
"Seeing the Pflueger interior of the New Fillmore, and the rich neon deco marquee on it--almost exactly like the one on the Metro, that could be the reason why people like the late Steve Levin and others used to talk about Pflueger remodeling the Metro. We know the present marquee is from the 30s remodel and once read 'Metropolitan.' The cover plate over the original name is still there today, with 'Metro' laid over it--dating from the 1941 remodel."
A March 1933 calendar from the Jack Tillmany collection.
A May 1935 calendar from the Jack Tillmany collection.
The streamline style renovation in 1941 was by Alexander Cantin. The columns near the the proscenium were covered with new flat plaster surfaces. The new sidewall murals in the upper seating section were by Anthony Heinsbergen. The ceiling largely dated from 1924 but with a new moderne paint job. At this time the house was renamed the Metro.
A June 7, 1941 reopening ad. Thanks to Mike Rivest for posting it on Cinema Treasures. "Back Street" was a February release. John Ford's "Tobacco Road" was a March release. There had been an invitational preview the night before for merchants and "neighborhood leaders."
A photo from the Jack Tillmany collection taken at the first San Francisco Film Festival, held at the Metro from December 4 to 18, 1957. Jack comments: "Irving Levin hosted the first SIFF and long, long ago
Levin himself provided me with snapshots of the event of
which, of course, he was quite proud. That's him with the handlebar
mustache in the front row of the loges with the Asian delegation,
obviously enjoying his moment."
Gary Parks comments: "That style of seat was a popular one Postwar. I remember seeing it in many places. The balcony of the perplexed Rafael comes to mind at the moment."
The theatre became a popular venue for the San Francisco International Film Festival. This clipping about the 4th SIFF in 1960 is from the Jack Tillmany collection.
An article about the 5th SFIFF that appeared in Motion Picture Exhibitor in 1961. It's from the Jack Tillmany collection.
The theatre became a popular venue for the San Francisco International Film Festival. This clipping about the 4th SIFF in 1960 is from the Jack Tillmany collection.
An article about the 5th SFIFF that appeared in Motion Picture Exhibitor in 1961. It's from the Jack Tillmany collection.
United Artists did an expensive 1998 remodel adding a new sound system and 70mm capability. Gary Parks was a consultant for some decorative aspects of the job. Work included mural restoration and revealing the 30s deco painting on the original 1924 lobby ceiling.
Closing: It closed in 2006 with Regal as the last operator. They had absorbed the United Artists circuit during its bankruptcy. "Little Miss Sunshine" was the last film to play the house.
Status: It got chopped up as an Equinox gym, "a multi-story playhouse for high-performance living." Some decorative features of both the original building and its 1941 version were retained. Reopening was in 2015.
The main lobby:
A 1942 Ted Newman photo from the Jack Tillmany collection. A smaller version appears on the San Francisco Public Library website. Gary Parks comments: "The twin overstuffed chairs were designs by Rodie, and later wound up in the collection of Craig Janakos, of Janakos & Company Antiques, Burlingame."
A detail of finishes on the lobby walls and ceiling with both original moldings and later deco detail visible. It's a 1998 Gary Parks photo appearing on Flickr as a post by Howard Haas.
A lobby wall detail revealing finishes revealed during the 1998 remodeling. The Gary Parks photo appears in an album by Howard Haas on Flickr.
The ceiling design from an early 30s deco remodel seen as one entered the lobby. The plaster was removed for the Equinox renovations and the design recreated on a new ceiling in the same area by Beate Brühl. See the whole story on her 2014 blog post "Entry Lobby Ceiling Reproduction."
Gary Parks comments: "This ceiling was part of the early 1930s light-handed redecoration of the theatre, when it was still the Metropolitan. The present marquee (save for the name) is also from this redo. These deco patterns were applied onto the original 1924 Reid Bros. ceiling. In the 1941 remodeling, a whole new dropped ceiling, of ribbed, coved plaster, was hung from the original ceiling. The 1941 ceiling was completely removed in the 1998 refurbishing."
The entrance design being recreated on the new ceiling by Beate Brühl. The photo is from her 2014 blog post "Entry Lobby Ceiling Reproduction."
Looking out toward the street with the new design on the ceiling. Thanks to Beate Brühl for the photo. Head to her blog post "Entry Lobby Ceiling Reproduction" for more.
Looking in during construction. It's a photo that appeared with "Cow Hollow's Metro Theater Transforms Into Equinox Gym," a February 2014 Curbed SF story.
An upstairs corridor:
A detail of a little stenciled 1924 vintage border of red and gold on the earth-toned ceiling, with a lighter painted wall at the top of the image. The photo was taken by Gary Parks during the 1998 remodeling. He comments:
"This was in an abandoned mezzanine passageway which ran nearly the entire width of the theatre. Originally one accessed this from the main lobby via a pair of arched doorways on either end of the entrance vestibule, and by going up a flight of stairs. From this mezzanine, a central vomitory led to the second auditorium cross aisle, halfway up the stadium section. In the 1941 remodel, this mezzanine was blocked off by filling-in the upper vomitory, and adding seating in the resulting gap, and by completely eliminating the eastern access to the passage from the lobby.
"The western access was moved around the corner and closed-off by an employees-only door, and the old mezzanine, with its view of Union St., was turned into storage space, although office space may have also existed there. The ceiling was never repainted, though the walls were—in white or gray, a little of which can be seen in the photo. During the 1998 remodel, artist Kelly Cool used this space as a studio in which to paint the two Tamara De Lempicka styled murals that were commissioned to fill-in the blocked arches in the entrance vestibule. It should be noted that the Alexandria had a similar mezzanine, which was retained in its 1940 remodeling."
The auditorium:
An October 1942 Ted Newman photo taken in the upper stadium-style section of seats. The decor reflects the 1941 renovations that obscured the original Reid Brothers interior. The photo is from the Jack Tillmany collection. A smaller version makes an appearance on the San Francisco Public Library website.
The rear of the auditorium in October 1942. It's a Ted Newman photo photo from the Jack Tillmany collection. A smaller version of the photo can be seen on the San Francisco Public Library website.
The back of the house on October 22, 1960 for the SIFF screening of "Ballad of a Soldier." Thanks to Jack Tillmany for locating the photo. He believes that the spectators in the foreground are USSR film people including stars of the film.
Several 1924 Reid Brothers columns from the original interior with, on the right, the furred-out wall covering them since the 1941 deco re-do. The Gary Parks photo was taken during the 1998 remodeling.
Another view behind the wall. It's a 1998 Gary Parks photo. He comments: "Looking from the auditorium right organ chamber, through the organ grille to the original auditorium sidewall, with its Ionic columns. A portion of the original ceiling can be seen. The white wall is the backside of the later auditorium wall installed in 1941."
A detail of one of the organ grille area column capitols. Photo: Gary Parks - 1998
Another column capitol view. Photo: Gary Parks - 1998
A house left view taken during the 1997-1998 remodel. Thanks to Ken Roe for the photo on Flickr.
Another house left view during the 1998 renovations. That's Mark Santa Maria checking out the murals. Photo: Gary Parks
The rear of the house in 1998. It's a Gary Parks photo.
A lovely pre-Equinox look at the 1941 house right mural by Anthony Heinsbergen. The photo appeared on a now-vanished 2014 news page on the site Biznow.
Gary Parks comments: "This shows the theatre wearing trappings from its spiffy 1998 renovation, with which I was peripherally involved. The dark green surfaces are carpeting for added sound absorption. Notice the ceiling. In the upper right corner of the photo, you can see that the square panels are a different color arrangement. They are acoustical paneling, which was installed in the ceiling panels down the middle. The panels along the side bays of the ceiling were left original. The extra absorptive material was required to move the theatre up to a higher level of sound system certification."
Gary Parks comments: "This shows the theatre wearing trappings from its spiffy 1998 renovation, with which I was peripherally involved. The dark green surfaces are carpeting for added sound absorption. Notice the ceiling. In the upper right corner of the photo, you can see that the square panels are a different color arrangement. They are acoustical paneling, which was installed in the ceiling panels down the middle. The panels along the side bays of the ceiling were left original. The extra absorptive material was required to move the theatre up to a higher level of sound system certification."
A house left view appearing with the February 2014 Curbed SF article "Cow Hollow's Metro Theater Transforms Into Equinox Gym."
It's a Beate Brühl photo taken house right during the Equinox construction. She comments: "Heinsbergen murals, after the demolition, and during construction. Construction dust was so fine it gathered behind the protective structure (gone in this photo)."
Another house right view from Beate Brühl. She notes: "After dry cleaning with eraser-like conservation sponges; no wet cleaning. As it turned out, figures had been painted on canvas, and attached to red surface originally. The canvas pieces were protected with a conservation varnish."
Another house right construction view from Beate Brühl. She comments: "Cleaned mural during construction. Some of the challenges were: running of the large diesel powered lift inside the building, working around steel cutting, demolition, people taking away lifts, leaning stuff against cleaned surfaces, porto potties venting right next to the ceiling I worked on etc., etc." Thanks, Beate! This photo and the two previous ones were added as comments to a post on the BAHT Facebook page.
A portion of the house left sidewall Heinsbergen mural in a post-Equinox renovation setting. The photo appeared with Gary Meyer's 2016 Eat Drink Films article "Creative Reuse of Movie Theaters."
Another house left view, with windows overlooking Union St. off to the left. The photo appeared on a now-vanished page about Equinox on the site PennySaver.
A look across the Equinox group exercise room toward the 1924 columns of the house left organ grille area. The room is part of what is now a three story gym complex. The columns are part of the original 1924 Reid Brothers interior and had been hidden behind plasterwork since the 1941 moderne remodel. The photo is from the Equinox website.
Some of the preserved 1924 vintage interior. The photo is from the Equinox Yelp page. Thanks to Matt Weiner for posting it on the BAHT Facebook page.
Gary Parks comments: "The location of the organ grille would be immediately to the right of the existing ornamentation. It was not saved. In 1998, while involved in a minor way with United Artists' renovation of the building, I got to go into the organ chambers. The grilles were heavily damaged. Like the Reid-designed Harding on Divisadero (still extant), the Metro's grilles/chambers faced directly toward the audience--not angled, as is usually the case."
In the booth:
A photo from Jim Cassedy. He commented: "This is the rear side of one of the Metro’s Phillips/Norelco DP70 35/70mm projectors. These were installed in the 1950’s to run films using the TODD-AO film process. They are built like tanks, and despite their age they are still considered to be one of the best projectors ever made, and are known among projectionists as 'The Rolls-Royce of Professional Projectors.' The projector was removed when the Metro closed and is still in use at another Bay Area cinema. The Christe Xenon lamphouse on the back-end held either a 5 or 6,000 watt xenon bulb. (I can’t remember which.)"
A Jim Cassedy photo. He commented: "This was one of two of the Metro’s sound racks. The amplifiers were QSC 1400’s, most of them operating in a ‘bridged’ mode to provide extra power to the speakers. The unit at the very top is a Sony SDDS digital sound decoder."
A photo from Jim Cassedy. He commented: "The Metro had one of the best sound systems in the city. In addition to standard 35mm optical sound tracks, it could also process SDDS, Dolby Digital Sound tracks. This is the Metro’s Dolby CP200, which was used to decode Dolby 35mm analog & digital sound, plus 35 and 70mm multi-track magnetic film sound tracks." Jim's booth photos appear on Cinema Treasures.
More exterior views:
A 1920s photo from the Jack Tillmany collection.
A September 25, 1936 shot by Horace Chaffee looking east from Webster St. Thanks to Jack Tillmany for finding it in the SFMTA Photo Archive, their #A4910. They took the shot as the tracks on the street had just been rebuilt. Jack comments: "That interesting coupe on the left side of the image is a c.1933 Pierce-Arrow, once one of USA's leading luxury brands, which went out of business in the 1930s. Their former SF showroom at Geary and Polk is now a homeless shelter." Bob Ristelhueber also located the photo as it appeared in a 1935 report of the Public Utilities Commission for a post on the BAHT Facebook page.
Gary Parks comments: "It's after the light-handed 30s redecoration--moving the 1924 vertical to the center of the facade (it had been at the east end), and the installation of the present marquee, which still bears the metal plate covering where it once said 'Metropolitan' under the present 'Metro' name. This was also when the lobby ceiling got a stenciled sunburst design applied to it (partially replicated in the entry hall of the Equinox Fitness Center)."
Jack comments: "Interesting that the new marquee was already in place in 1936, as seen in this photo. But the name wasn't changed and the vertical and interior redone until 1941. It's not unlike the Alexandria, redone around the same time, which also had the marquee done first, the vertical and interior done later."
The theatre reopened in June 1941 after a moderne makeover and name shortening. Here they were running "The Bad Man," a March release with Wallace Beery, along with "Life With Henry," a January release starring Jackie Cooper. Thanks to Jack Tillmany for sharing the photo from his collection.
Running a couple of revivals in October 1942: Frank Borzage's "Man's Castle"
from 1933 and "More Than a Secretary" from 1936. The photo and ticket stubs are from the
Jack Tillmany collection. A small version of the photo appears on the San Francisco Public Library website.
The theatre is on the far left in this 1947 look west taken by Tom Gray. Thanks to Marcus for sharing this image from his collection.
A detail from the 1947 photo. They were running MGM's "Till the Couds Roll By." Thanks, Marcus!
Thanks to Bob Ristelhueber post on the BAHT Facebook page of this photo from the San Francisco Public Library. He notes: "It's an oversized photo which has not
yet been digitized." Jack Tillmany comments that the crowd was there for Disney's "Song of the South," a film that opened April 25, 1947.
The first San Francisco International Film Festival, held December 4 to 18, 1957. It's a photo from the Jack Tillmany collection. He comments: "Irving Levin hosted the first SIFF and long, long ago Levin himself provided me with these snapshots of the event of which, of course, he was quite proud."
Gary Parks comments: "It would appear that the Metro had a sort of mid-tone, monochrome facade paint job at this point. When I first saw it, it was all painted off-white."
The 1st SIFF - December 4, 1957. Photo: Jack Tillmany collection
The 1st SIFF - December 4, 1957. Photo: Jack Tillmany collection. Thanks, Jack!
A 1960 San Francisco International Film Festival shot from a roll of film found at the Balboa Theatre. Thanks to Chloe Ginnever for posting a set of photos that included this one on the BAHT Facebook page. There was also a post of a second group of photos from the same year's Festival.
Gary Parks comments: "Looking at the way the neon is--some tubes on and some tubes off, in a regular pattern--it is evident that the Metro marquee used to animate. I never saw it do this, though the vertical animated up until the 1998 restoration, when a killjoy neighbor across the street complained that the flashing of the vertical's letters and border kept him awake. Apparently he had moved-in during the restoration, and the neon was off, then was unpleasantly surprised when it was turned on again. It animated for the grand reopening--which I attended--but was switched to an 'all tubes on' configuration soon after that."
Another 1960 SIFF shot from the film found at the Balboa.
Thanks to Bob Ristelhueber for this item from a 1960 newsletter. It was a post on the BAHT Facebook page.
A 1964 photo by Alan J. Canterbury from the San Francisco Public Library collection.
The opening of "Cisco Pike" in 1971. It's a Clay Geerdes photo. Thanks to David Miller for sharing it on the San Francisco Remembered Facebook page. He notes: "Left to right, Doug Sahm, Joy Bang, Harry Dean Stanton, unknown, Viva, unknown, unknown." And thanks to Kevin Walsh for spotting the post. Gary Parks comments:
"Being a theatre terrazzo geek, I'd forgotten the Metro's terrazzo entry floor was so elaborate. Unfortunately, I never photographed it before it was removed in favor of black and green marble slabs during a 1998 remodel. I had a small role in the remodel, but the terrazzo was already gone by the time I arrived at the site. In the photo here, it's interesting to see the three styles of decoration: We've got the original 1924 tinted cement sidewalk which fronted the theatre from the property line to the curb, the terrazzo from the 1941 remodel, and the wall mosaics, which dated from a 1960s refurbishing, and were retained in the 1998 remodel--while the terrazzo wasn't, because it was slightly too steep for ADA requirements, as was the whole lobby."
"Fantasia" at the Metro in September 1975. It's a photo by Tom Gray that's in the Jack Tillmany collection.
The theatre in 1977 running "Network" after the film had won its Academy Awards. Thanks to Gianni Corso for finding the photo for a post on a now-vanished Facebook page.
"All That Jazz" in February 1980. It's a Tom Gray photo from the Jack Tillmany collection.
A 1998 view of the signage by Martin Schmidt appearing on Cinema Treasures. The photo was grabbed for inclusion with "Metro Theater Gets Ready To Flex Its Muscles in Cow Hollow," a July 2013 Curbed SF article. Curbed used it again for the February 2014 article "Cow Hollow's Metro Theater Transforms Into Equinox Gym."
A c.1999 photo from Bob Ristelhueber on the BAHT Facebook page.
A fine August 2002 photo by John Rice appearing on Cinema Treasures. Also see another view from directly across the street. Thanks, John!
A 2005 "Dukes of Hazard" shot by Alexrk2 appearing with the Wikipedia section Cinemas in San Francisco. The film was a July release.
"The 40 Year Old Virgin" at the Metro. Thanks to longtime San Francisco projectionist Jim Cassedy for sharing this photo he took. It made an appearance, uncredited, on the Facebook page All Movie Theatres. The film was an August 2005 release. Jim comments:
"At that time, I knew the regular Metro projectionist and the Metro management knew who I was, and so I had free access to the theater. 'The 40 Year Old Virgin' was a very well promoted movie, with a well known, likable cast, which had opened to generally good reviews only about two or three days before the night I went to see it at the Metro.
"When I went inside there was no more than a maybe a dozen or so people at most in the 800+ seat auditorium. It was at that moment I realized that The Metro was doomed. I knew, there was no way they could survive on such low attendance numbers. (Of course, I didn't help the situation any, because I got in for free- - but I don't think my buying one lousy ticket that night would have saved the theater at that point.) On the way out, I decided I'd better get a picture of the neon out front while I had a chance, because I knew the Metro's days were numbered."
"Little Miss Sunshine" was the last film to play the house. It's a 2006 photo from the Jack Tillmany collection.
A c.2008 view. Thanks to Graeme McBain for locating this for a post on the Theatre Architecture Facebook page.
A view of the closed theatre appearing with "Union Street's Metro Theater: Saving Its Skin In Order to Un-Shutter," a 2009 article on Socketsite.
A 2014 look at the Equinox paint job appearing with "Cow Hollow's Metro Theater Transforms Into Equinox Gym," a February 2014 Curbed SF story. A February 2012 Curbed story titled "Metro Theater Wants To Pump You Up" had announced the project.
A look east across the entrance during construction. The photo appeared with the February 2014 Curbed SF story "Cow Hollow's Metro Theater Transforms Into Equinox Gym."
The signage is lit again but it's now an Equinox gym. Thanks to Terry Koenig for this lovely January 2015 shot he posted on the Facebook page San Francisco Remembered.
A photo by Brock Keeling appearing with "Neon Dreams: 16 old theater marquees around the Bay Area," a February 2018 article on Curbed SF.
Details from a set of the 1924 Reid Brothers plans in the Gary Parks collection:
The proposed facade. Gary comments: "While the interior was built just as designed, the facade was completely redesigned. I think it might have been nicer, had the facade been done as originally drawn--essentially Moorish in style—it would have stood out more amid the nabes."
A closer look at the entrance. The note on the marquee says "No signs in this marquee included in this permit."
Facade details. Gary notes: "A nice blend of Spanish and Islamic details, combined in what was often recorded as 'Moorish' in the 1920s, and by architectural historians today."
More facade details.
A proscenium view. Gary comments: "Judging from the surviving ornamentation which survived—hidden behind later walls in the 1941 remodel—the auditorium was built as originally designed, whereas the facade was not. The arched and columned organ chamber fronts faced directly at the audience—like at the Harding—rather than being angled on either side of the proscenium, as was typical in theatres of the day. In the conversion to a gym, the only parts seen in this drawing which were retained were the pairs of columns in the corners."
A section view of the auditorium. Gary comments: "In this partial view of the auditorium’s longitudinal section, note how many specified 'electrical outlets' exist. All the decorative arches would have been romantically lit with changeable colored lights. While the larger column shown in this drawing—one of two flanking the proscenium—did not survive the gym conversion, the columns on either side of the tall archway did, along with the arch itself. To its right, can be seen a false, ornamental window containing an urn. Though covered up in 1941, it did survive intact behind the later wall, and can be seen in the shadows in one of my 1998 photos taken from the organ chamber. This niche and urn did not survive the gym conversion, apparently. Whether or not further 1924 ornament which existed to the right survives behind the restored 1941 Heinsbergen murals is unknown."
The stadium seating section. Gary comments: "In this elevation, the stairway leading from the lobby to a narrow mezzanine, and to a ramp leading to a stadium section cross aisle, can be seen."
A lobby elevation. Gary comments: "In the center can be seen the faux masonry arch—one of a pair—which flanked the entrance vestibule. In the case of this, the western arch—a staircase led to the mezzanine, and from there, up a ramp to the stadium section cross aisle. The eastern arch was merely decorative, and filled with a mirror. In 1941, both arches were eliminated. The bottom portion of the stairway was moved around the corner, and a new—employees only—door was installed. The stairway then led to the mezzanine, which was converted into office or storage space.
"The ramp and vomitory from the mezzanine to the cross aisle was plugged up. I saw its truncated remains in 1998. The cross aisle remained in place, with its 1924 iron railing still intact. Note—to the left of the arch—the slanting ceiling of the lobby. The slant was what was built, but it can be seen in the dotted lines that a vaulted ceiling was considered, which would have been more typical of theatres designed by the Reids."
The abandoned mezzanine. Gary comments: "Here is the floorpan of the narrow mezzanine which would later vanish from the public eye in the 1941 remodel. What is interesting here is that it does not show a second stairway at the East (bottom) end."
Metro salvage:
An original end standard in the collection of Gary Parks. He notes that the armrest, from his "famous bag of armrests," is from the Harding Theatre. He adds:
"During the 1998 renovation, Mark Santa Maria and I found seven of them in the loft above the main organ chamber, along with three of the original auditorium chandeliers. We put two original aisle standards on permanent (well, from 1998 to the theatre’s closing) display next to the box office, I was given one and Mark was given one, the project manager of the renovation got one, the manager, who was also managing the Coronet at the time, got one, and that’s all I know.
"UA didn’t want the chandeliers—they didn’t match the 1941 ones in place, and their lavender glass bowls were all cracked. So Mark took them, selling them to a dealer in San Diego — so no doubt someone’s enjoying them. To see what to original chandeliers looked like, check the Coliseum page — the 1931 photo of the lobby. You’ll see a smaller, shorter version, but it was the same design. The wrought iron 'neck' which suspends the bowl was, in the case of the Metropolitan, probably about three times longer. I remember finding an article—I think via Steve Levin—from 1924 describing the theatre’s interior, which said that the glass of the bowls was of a lavender or purple glass, and indeed, that’s what we found."
A lobby chair. Gary Parks comments on his photo: "This chair was originally in the lobby of the Metro, when it got its 1941 redo. The photo was taken when it was for sale in Mark Santa Maria’s booth in 1998 at the San Francisco Art Deco Antiques Show and Sale."
More information: Jack Tillmany's Arcadia Publishing book "Theatres of San Francisco" can be previewed on Google Books. It's available from Amazon or your local bookseller.
The Cinema Treasures page on the Metro has about 20 photos of the theatre. The Equinox website has some interior views.
Esther Hahn's "Your First Look at the New Equinox on Union Street," a June 2014 article for Racked, included some interior photos of the gym.
| back to top | San Francisco Theatres: by address and neighborhood | alphabetical list | list by architect | pre-1906 theatre list | home |
No comments:
Post a Comment