"Manila Bay" Panorama / Central Theatre 1900 to 1906

1177 Market St. | map |  Note: earlier the south side of this block had been numbered in the 1400s.

 

As the Panorama: 

It was on the south side of the street near 8th. The building was nestled into the southeast corner of Central Park. The park had been there since 1884.  

 

Opening: The opening date of the Panorama is unknown. It was running by 1899.

 

 

A look at Central Park in 1896 taken from City Hall. That's 8th St. on the right. We're looking south toward Mission St. The photo is in the San Francisco Public Library collection. It also appears on a Found SF page where they give it a date of 1901 despite the 1896 written on the photo. The Panorama was soon built over toward the lower left corner of the image.

 

Central Park and the new "Battle of Manila" Panorama building are seen in this detail from image 20 of the 1899 Sanborn Fire Insurance Map that's in the Library of Congress collection. The Panorama entrance was at 1177 Market. Thanks to Art Siegel for locating this.  

 

 

A closer look at the building as it appeared on the 1899 map. It had been altered a bit as far as numbering. Note that "1449" in the lower right and other 1400s at several other locations indicating the earlier numbering for the south side of this block. The City has redone the numbering to match the system in use on the north side of the block.

 

An August 25, 1899 shot taken by D.H. Wulzen from the south side of Market looking across to signage for the Panorama across the street. Thanks to Art Siegel for locating the image in the Open SF History Project collection. It appears courtesy of the Golden Gate National Recreation Area Archives. The site's caption:  

"Elevated view northwest across Market to parade of Volunteers returning from the Philippines after the Spanish American War. Possibly taken after parade had passed. Hall of Records visible at left, M. Jacobs Dry Goods ad. Large sign for 'Battle of Manila Bay' painted panorama on view at venue across Market adjacent to Central Park. Grandstands set up in Marshall / City Hall Square. Hibernia Bank and Murphy Building (Prager's Department Store) in distance right. Nob Hill Mansions on horizon."

Closing as the Panorama: Sometime in late 1899 or early 1900. 

More Panoramas: Another instance of a panorama building being converted into a theatre was at Mason and Eddy, the building that became the Tivoli Opera House. An early panorama exhibition in town was "Paradise Lost" at the Eureka Theatre in 1865. A Tent Panorama on Market at City Hall Ave. ran "The Battle of Gettysburg" in 1886. The 10th & Market Panorama opened in 1887 with "The Battle of Missionary Ridge." One attraction at the 1894 Midwinter Fair was the panorama "Kilauea Volcano." 

As the Central Theatre:

In 1900 the Panorama building was rebuilt into the Central Theatre. A November 18, 1900 San Francisco Call item located by Art Siegel via the California Digital Newspaper Collection website:  

"Theatrical Men Incorporate. The Central Theater Amusement Company was incorporated yesterday with a capital stock of $60,020. The stock is all subscribed, as follows: Fred Belasco $20,000; Mark Thall, $20,000; M.E. Mayer $20,000: Edward Belasco, $10; Milton M. Davis, $10."

Opened: December 22, 1900 with a play called "The Heart of Maryland."

The Central was initially operated by Frederick Belasco and Mark Thall who had the Alcazar on O'Farrell St. as well. M.E. Mayer was later involved as one of the proprietors following Thall's death in 1901. A listing in the 1902 American Almanac gave it an 1175 Market St. address.  

Seating: 2,000. It was a two balcony house

Stage size: 53' deep x 95' wall to wall. 

Also see: Central Theatre: 1906-1913, a page about the post-quake replacement for this theatre.

 

A drawing of the new theatre that appeared in the December 13, 1900 San Francisco Call. Thanks to Art Siegel for locating it via the CNDC website. The issue also carried this article:  

"CENTRAL THEATER WILL BE ONE OF PRETTIEST OF CITY BUILDINGS. Board of Public Works Excites Unfavorable Comment in Official Circles by Its Protest to the Building Which Is Now Nearing Completion. Elaborate Safeguards Are Provided for the Benefit of the Public. The action of the Board of Public Works in refusing the Central Theater a certificate has excited a great deal of comment in official circles. This unexpected attitude of the board is taken as an attack upon the Board of Supervisors, which has already granted the theater a permit.

"Everything which it is possible to do and which the law requires has been done by Belasco and Thall in the construction of the theater. The action of the Board of Public Works is viewed therefore with surprise and no reasonable explanation of it has been given except on the basis that the Board of Public Works is striving to discredit its associate, the Board of Supervisors. The Central Theater as it has been planned and as it nears completion is one of the handsomest and safest theaters in San Francisco. 

"Nearly $50,000 has been expended upon its construction and it is perhaps an interesting fact that more than $10,000 was spent under the direction and supervision of the authorities before a complaint or objection was suggested. The outside of the building is made completely of iron and the inside of corrugated iron, brick and steel girders so placed as to afford the greatest security compatible with beauty of design. 

"Every modern appliance known to the construction of great interiors has been used. On neither of the floors is there a single stair, the auditorium being on a gentle slope, which removes even the small danger which stairs might involve. Automatic sprinklers are disposed in various parts of the house and added security is given by an asbestos curtain. As for exits the new theater is amply provided. There are nine in all, three opening into Market street, two into Central Park and others into Stevenson street. Without the slightest difficulty and under any stress the house could be emptied of its people in a very few minutes. 

 

"Around both floors there is a broad promenade, which in itself is a protection not afforded by any other theater in town. It is therefore a profound surprise that the Board of Public Works has made a protest. Not only will the theater be perfectly safe but it will be one of the handsomest in the city. It will be finished in cream and gold and will be most artistically decorated. The front will be made entirely of brick and stone and will be one of the most imposing and artistic structures on Market street."

An ad for the opening appearing in the December 16, 1900 San Francisco Call. Thanks to Art Siegel for locating it. 

The Chronicle carried this story about the Central's upcoming opening in their December 16 issue:

Thanks to Art Siegel for locating the article.  

The theatre and it's first production were reviewed in the December 23, 1900 San Francisco Call. Art Siegel found the article via the CDNC:  

"CENTRAL THEATER FORMALLY OPENED - 'The Heart of Maryland' is as Popular as Ever With Play-Goers. Vast Audience Enthuses Over David Belasco's Stirring War Play Replete With Thrilling Situations. The new Central Theater was formally opened last evening in a production of David Belasco's stirring war drama, 'The Heart of Maryland.' Messrs. Belasco and Thall are to be congratulated, for the Central is one of the coziest and best arranged amusement houses in the city. The doors of the theater were thrown open shortly after 7 o'clock, in order to accommodate those who desired to take in the beauties of the new theater before the performance began. The main entrance to the Central is not yet completed, but when finished will embrace an elaborate foyer, with marble steps and handsome mirrors on each side. 

"On entering the theater one is at once struck by the pleasing, comfortable appearance of the interior. On the ground floor the whole space is occupied by orchestral seats, with the exception of a broad promenade walk twelve feet or more wide. The second floor is devoted to a parquet circle. There are twelve proscenium boxes, handsomely draped and curtained. The interior of the theater is decorated in cream color and the ceilings are frescoed with a bold Cupid design. The stage is one of the largest in this city and is 53 by 95 feet. The dressing rooms are large, neatly furnished and, last but not least, well ventilated, which is a rare thing in our local theaters.

"The theater has a seating capacity of 2000, but the architect of the building took special pains in preparing his plans to insure patrons a good view of the stage from any part of the house. On each floor there are numerous exits, with illuminated signs over them, and in case of an alarm of fire the house could be emptied in an incredibly short time. Last evening the house was taxed to its utmost capacity and the performance passed off without a hitch."

An April 16, 1901 San Francisco Call review of a production of "Julius Caesar" located by Art Siegel noted that the theatre had been known up to this point as a house running lurid melodramas:  

" 'JULIUS CAESAR' WELL PLAYED AT CENTRAL... After a long series of rapid and lurid melodramas the Central Theater last night made a successful attempt at something better by producing 'Julius Caesar.' For this play you need at least four good actors— that is, three more than are commonly found at a low-priced theater. I cannot truthfully say that in my opinion Messrs. Belasco & Thall have given us four of this production, but they have certainly given us three and I am therefore three times as thankful as I had any right to hope I might be... The staging of the play is always satisfactory and sometimes, as in act 2, really beautiful... "

 

An illustration from a June 23, 1901 San Francisco Call article located by Art Siegel. Actresses doing stunts in the "red-hot melodrama" at the theatre were in danger. Here's the story:

"PRETTY GIRLS AT THE CENTRAL THEATRE. It isn't all fun, even though they are pretty. Being a melodramatic soubrette means having troubles of your own. It has even been proposed in the East that an organization would not be out of order for these young women. Let them hold together, say the promoters: let them strike when the need is. They have rescued enough heroes' lives at the peril of their own; they have slid with avalanches, they have ridden on fire engines, they have been drowned in canvas oceans. Let them organize. Let them hold together for protection. There won't be any live ones to do the work if things keep on, at this rate.

"These girls up at the Central Theater are on the high road to all kinds of avalanches, fire engines and burning bridges. That's exactly what they want. There is glory in the thing, and glory is what they are after. They don't care for sprained ankles or dislocated shoulders or broken spines. Broken necks, even, would have the color of heroism. As long as they are permitted to take chances on their necks, their arms and their legs, they consider themselves in it. So it looks as if they would be the last people in the world to organize and go on a strike because they are all in danger of losing their lives. Apparently they enjoy the thrills quite as much as the audience does.

"Even as young as the Central Theater is, it has already acquired its traditions to be handed down to theatrical posterity. There are many tales told about the hairbreadth escapes of these girls who are being called by the new slang 'superettes.' The truth is, they didn't like to be called 'supes' and they were not quite soubrettes, although on the road to that title, and Marion Nolan it was who proposed that 'superette' be the title and it has remained. The audiences who watch the red-hot melodrama that goes on there week after week do not think much about the dangers that surround the girls who cling to a rope dangling in mid air, who drop from burning buildings. Usually the curtain goes down in time for them to think that everything comes out as it was expected to come out. 

 

 Clarissa Eudell

"It was in 'The War of Wealth," hot as a firecracker, that there occurred a chapter of accidents that kept arnica, plaster and surgery in demand. First, the bag of money hit Clarissa Eudell. It was thrown vigorously through a window and struck her a blow like that of a sandbag. Somehow the rest of the people on the stage made believe that she didn't faint and as soon as she had recovered consciousness she made believe likewise and all was smooth sailing. Until the wagon crashed into Berlena Aldred— she was a black and blue Berlena when the affair was over and she had a task of it to hide her limp for a week. 

"Then one night the safe exploded too explosively. It went off with the usual bang— the cap was an energetic one— and the small children present with their mammas were the only ones frightened. But when the stage hands went about picking up the scattered properties they found that Belle Baker was one of those properties. The explosion had tipped over a scene which had tipped over her and in the general downfall she had struck the edge of a table, which cut her temple. It was no stage blood that she shed, but the real thing.

"In one play where a tank of water was used there came very near being a real drowning. Sada Willis tripped when she should have passed the tank; it stood in the place of an ocean and there was plenty of real water in it, for the heroine who should have fallen in, in the place of Miss Willis, was intended to make a good splash. When Sada fell in it was her good fortune that Bob Cummings happened to be looking on. Bob let his own part go to wherever it wanted to go and plunged after her and he pulled out a young lady who was about as near drowning as she ever wants to be. 

"Lorena Atwood, who was playing leading parts at one time, had blood-curdling experiences. She played the heroine's part in 'The Heart of Maryland' and the clapper of the bell was always a troublesome thing to manage. At last it swung hard against the side of the bell and with one great blow the heroine was knocked senseless.

"In 'Old Glory' she swung by a strand from a cliff to a lighthouse when the disobliging Chileans had done something to the bridge. To the glance of the audience she was hanging on a strand of rope; in reality she was supported by a good strong wire hanging from the flies. As the strand had no strength she depended entirely, upon the wire. Well— the wire broke. Down she went, down, down, and down went the curtain. She had the grit to go on with the part, although every move was agony. But she would rather play home and mother comedy in the future. 

 

"She says that the greatest thrills in those lie in paring potatoes and rocking a cradle. Mae Mason has had her troubles with the horse that Georgia Cooper has been riding in 'A Night at the Circus.' Georgia says the horse is all right, but she really doesn't know because she is on it. The people standing around are the ones that it chooses for its neatly aimed kicks. Mae Mason has stood near, and she is now wearing bandages. 

 

 Helen Harlan

"All this comes of realism on the stage, and the Central prides itself upon this kind of realism. So long as there are real explosions, real horses, real rope suspensions, the heroines of melodrama and realistic plays are going to have their bruises. It is said that when Robert Downing 'gets worked up' it is all your life is worth to be near him. With his short sword he makes havoc, slaying whomsoever gives him the chance. Helen Harlan knows this. She remembers it every time she sees a scar. In his production of the mob scene in 'Julius Caesar' he has the clubs wielded so realistically that Marion Nolan was knocked over at one performance. All the theatrical world over there are plenty of such stories told by the people who have played in this school of drama..."

A production of "Kidnapped" played for a week in 1901. It would play the theatre again in 1903. Thanks to Art Siegel for locating this item in the September 30, 1901 San Francisco Call: 

"The sensational melodrama, 'Kidnapped,' will be the attraction at the Central Theater this evening and the rest of the week. It presents a number or vividly realistic scenic features, among which figure the great fire scene and the view of Brooklyn Bridge and New York Battery. The play is strong and exciting in its incidents and, being well cast, an exceptionally good production may be expected."

Mark Thall, one of the theatre's proprietors, died in October 1901. "Heavy Hand of Death Falls Upon Mark Thall" was the obituary in the October 13, 1901 San Francisco Call. The Call also included a photo of Mr. Thall. It's on the CDNC website. Thanks to Art Siegel for locating it. Art also located this article that appeared in the October 20, 1901 Los Angeles Herald: 

"News of the unexpected death of Mark Thall, one of the proprietors of the Alcazar and the Central theater, San Francisco, came as a shock to his host of friends in this city. Although ailing for some time, his strong will kept him at work, until his friends insisted on sending him to the hospital, where it was thought a few days' rest and attention would restore him to health. Shortly after his arrival at the hospital he was taken with an acute attack of heart trouble, from which he died. At 43 years of age Mark Thall had achieved a notable success in the theatrical world and was known from one end of the United States to the other. He was born in Montgomery, Ala., and got his first introduction into the show world by joining a circus. He did not remain with this life long, and soon after his arrival in San Francisco became office boy at the old Bush Street theater. 

"It was not long before his geniality and ability won him promotion and he was soon made treasurer. He went on the road as agent for Leavitt's attractions, traveling between here and the Missouri river, handling some of the largest attractions and being popularly known everywhere as the 'boy agent.' After Leavitt gave up his troupes, Thall went to the Alcazar, under the old management of Wallenrod, Osbourne & Stockwell, where he remained five years. Georgie Cayvan was the next to secure his services, and he traveled for several years as her advance agent. But his old love for San Francisco caused his return, and taking up the waning fortunes of the Alcazar, together with Fred Belasco and M.E. Mayer, he helped make it one of the most popular and best-paying houses in the city."

More dangers for performers at the Central. Art Siegel found this article in the December 7, 1901 San Francisco Call:

"STAGE REALISM AT THE CENTRAL... Hallett Thompson, leading man of the Central Theater, was severely burned about the face last night by a premature explosion. His eyesight may be affected and he may not be able to appear on the stage again for some time. The accident occurred during the fire scene of 'The Streets of New York,' now being played at the theater. To make the scene realistic a barrel containing black powder is exploded. Through some oversight or carelessness of the stage hands the powder was ignited when Thompson was directly over it. The audience was startled to see him jump about the stage in pain and marveled as the curtain was lowered.... He managed to go on in the last act, however, but the scene was necessarily cut short as he was in no condition to continue the performance. The Central Theater management claims that Thompson is not badly injured and states he will be able to continue his work."

"Love in Vaudeville and the Legitimate" was a lengthy article in the February 9, 1902 San Francisco Call discussing how romance was portrayed in different kinds of productions. Thanks to Art Siegel for finding it via the CDNC website. They commented about the shows at the Central:

"If you go to the Central Theater this week or any other of the fifty-two weeks in the year you will find love a strong, fierce, primitive emotion, greatest of all the virtues, scorning utterly all subtlety. The hero and the heroine love each other with a constancy and earnestness that is only surpassed by the villain's hatred of both of them through four long acts of melodrama."

Frederick Belasco went east in 1902 to scout talent for the theatre. Art Siegel found this news about the trip in the April 1, 1902 San Francisco Call: 

"GOING EAST TO SECURE PLAYS AND NEW TALENT.  Frederick Belasco, Manager of Alcazar and Central Theaters, Wants Best of Both. Frederick Belasco, manager of the Central and Alcazar theaters, leaves to-night for New York in quest of new plays and players. He expects to be gone four weeks and has made arrangements to hold meetings with leading theatrical managers. Mr. Belasco hints that he will bring out a play of great importance for production at one of the theaters under his management. He will join Sam Thall in New York and decide on the people who will play at the Alcazar at the close of the Florence Roberts season. 

"Mr. Belasco also intends to get some players for the Central Theater and a number of new melodramas. Knowing the impossibility of securing seats for his brother's great play, 'Mme. du Barry,' Mr. Belasco telegraphed to him to hold two seats for him for next Monday night. In an interview last evening Mr. Belasco stated that it was the intention of the management of both the Alcazar and Central theaters to give the local playgoers an opportunity to see the latest and best plays. He says his trip East means a treat deal, as he will secure the rights for producing the latest New York success. During the absence of Mr. Belasco both theaters will be looked after by M.E. Meyer [sic]."

A July 13, 1902 San Francisco Call article Art located via the CNDC site was mostly about about plans for the new "Bouvier Theatre" at 9th and Market, a house that opened in 1904 as the Majestic. But they noted this about the Central: 

"The metamorphosis of the old Panorama building at Eighth and Market streets into the new Central Theater about a year ago..." 

There's a description of a 1902 show from some uncredited source that appeared on the Facebook page Lost San Francisco: 

"In August of 1902 the great championship boxer Robert Fitzsimmons performed. The show started out with child dancer Reyna Belasco (niece of Broadway showman David Belasco) who delighted the crowd... there was a comic who simulated being drunk... and another child who sang an Irish folk song. Then Mr. Fitzsimmons came on stage and performed in stage play called 'The Honest Blacksmith' which was a drama of his life. He performed with his wife and son. Then he did a sparring match of 3 rounds to show his style, then some short films showing him in championship matches, and finally he made some horseshoes on stage, shooed a horse, then made several 'lucky' horseshoes, which were given to a few fortunate audience members."

 

The cover for the theatre's 1903 program for "Kidnapped," a comedy drama in five acts by D. K. Higgins. The program from the Museum of Performance and Design Performing Arts Library is on Calisphere. The show opened July 6. Art Siegel found this mention in the July 9, 1903 San Francisco Call: 

"'Kidnaped,' one of the most sensational of modern melodramas is enjoying its share of popularity at the Central Theater this week. Next week Corrigan will close his engagement at the Central in the farce comedy, 'Muldoon's Picnic.'"

 

 

The bright lights of the Central are seen on the right in this 1904 view looking east. The signage for the Empire Theatre, 1133 Market, is down the block a bit left of center. Thanks to Art Siegel for locating the photo on the Open SF History Project website. It's by an unknown photographer and in the Martin Behrman Negative Collection of the Golden Gate NRA, Park Archives.

The Central's show at the time was "The Evil Men Do." A review for the show was located by Art in the September 6, 1904 San Francisco Call. The page can be viewed on the California Digital Newspaper Collection website. 

 

 

The Central is seen in this detail from page 141-142 of the 1905 edition of the real estate survey map from the Sanborn-Perris Map Co. Thanks to Art Siegel for locating it on the website of the David Rumsey Map Collection.  

 

 

A closer look at the theatre from the 1905 Sanborn Map. Art calls our attention to the stagehouse, exterior stairs and balconies added for conversion of the building into a theatre. He notes that the new entrance was of masonry construction -- red on Sanborn maps means masonry as opposed to yellow for wood.

 

Belasco and Mayer would lose the Central in late 1905 when their lease was up. This item about the theatre's furnishings was located by Art Siegel in the "Brief City News" column of the November 18, 1905 San Francisco Call. D.R. McNeil was presumably the building's owner:

 

"BELASCO EFFECTS COMPROMISE. — A stipulation was filed yesterday dismissing the suit filed by D.R. McNeill to restrain Frederick Belasco from removing the furnishings of the Central Theater. Belasco's lease to which has expired. It was announced that a compromise had been effected by the litigant."

 

 

"Our Lease Expires To-Night." It's an ad for the final night of the Central under Belasco and Mayer management that appeared in the November 26, 1905 San Francisco Call. Thanks to Art Siegel for locating it.  

 

And also in the same issue of the Call was this ad for the Alhambra noting that "Belasco & Mayer's Entire Central Theatre Co." would be moving to that venue the next day.

On November 27, 1905 the theatre was taken over by Harry W. Bishop, operator of the Majestic. There are several stories mentioning Bishop and the Belasco/Mayer team at the top of the page about the Embassy. They were fingting over who would get to manage that theatre as well.

 

This ad in the December 21, 1905 San Francisco Call announced Bishop's grand opening of the New Central for December 23. But in the same issue Art Siegel found this story about one of his recalcitrant actors:

"ACTOR IS ON STRIKE AND TROUBLE RESULTS. Proprietor of Majestic Seeks to Make W. Elmer Booth Study. W. Elmer Booth, of reputation as a matinee idol and leading man, is on a strike. He refuses to submit to the demand of Theater Proprietor H.W. Bishop to pack up his costumes and greasepaint and move from the Majestic to the New Central Theater, there to monthly master four parts instead of two, as has heretofore been required of him. 'Within the last twenty-four hours,' says Bishop in a suit filed yesterday against Booth to compel him to study whether he wants to or no, 'Booth has announced he will repudiate the contract entered into by him in which he agreed to perform for the benefit of the plaintiff for fifty two consecutive weeks. He asserts that he will not go to the Central Theater and master four parts a month and absolutely refuses to abide by the agreement entered into by him.' 

"In conclusion, Bishop, who filed the suit in feverish haste yesterday— for the New Central opens on December 23— asks that the court issue a writ of mandate, compelling Booth to live up to his agreement and to begin studying with that object in view, without delay. While the court is vested with the power to compel the specific performance of a contract, it remains to be seen whether or not it is willing to act as a pedagogue and with switch in hand sit over Booth to see that he studies and learns his lines like a good boy should."

A c.1905 photo of the theatre. This shot rather misses the fine dome on top. Thanks to Glenn Koch for sharing this. It appeared in an October 1906 souvenir program for the Colonial Theatre (later known as the President) that's in his collection. The program contained many photos of theatres lost in the earthquake and fire plus a few shots of some hasty replacements. See Glenn's post on the BAHT Facebook page for 26 more images from the program.

Closing: April 1906. It burned in the fire following the earthquake. A wooden replacement was soon built on the corner of Market and 8th, adjacent to the original theatre.

Status: The replacement theatre ran until 1913. In the 1920s, the Crystal Palace Market was built on the site and in 1959 the Town House Hotel was constructed there. That was demolished in 2013 for a new housing project.

The demise of the original Central Theatre:  

 

The April 18, 1906 fire engulfing the theatre. Note here we still have the dome above the entrance. The UC Bancroft Library photo is on Calisphere. 

 

An April 18 view looking west with the Empire Theatre on the far left and the dome of the Central, in a cloud of smoke, is seen down the block. Thanks to Art Siegel for locating the photo from the Marilyn Blaisdell collection that appears on the Open SF History Project website. The caption he wrote for the site notes that the gentlemen, possibly looters, are looking through boxes of shoes.

 

 

A Bear Photo Co. view of the 1906 fire still smoldering after destroying the theatre. We're looking west on Market toward 8th. The photo, from the California History Room at the California State Library, is on Calisphere.

A 1906 ruins view from the Huntington Library on Calisphere. At this point both swing-out signs were still attached to the building. 

 

 

A photo that was located by Art Siegel on eBay. 

Another look at the Central's facade after the fire. It's from the California Historical Society, appearing on Calisphere.  

 

Thanks to Harry Angus for this photo, one he found on eBay. His BAHT Facebook page post included with several shots of the wood replacement theatre soon built. 

 

  

Another ruins view from the California History Room of the California State Library on Calisphere.  Also see a similar view with different spectators. 

We're looking west on Market St. toward 8th with the ruins of the pre-earthquake Central on the left and the new wooden theatre that opened in January 1907 on the right. For the first half of their 1906-07 season they had erected a tent behind the facade we see. The c.1910 photo from the Museum of Performance and Design Performing Arts Library is on Calisphere.

More Information: See Central Theatre: 1906-1913, a page on the replacement for this theatre.  

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