{"id":517,"date":"2024-05-09T14:59:28","date_gmt":"2024-05-09T14:59:28","guid":{"rendered":"https:\/\/zhouchenshu.upenn.domains\/phillymoviegoing\/?p=517"},"modified":"2024-05-09T14:59:28","modified_gmt":"2024-05-09T14:59:28","slug":"the-wonderful-life-death-and-afterlife-of-locust","status":"publish","type":"post","link":"https:\/\/zhouchenshu.upenn.domains\/phillymoviegoing\/uncategorized\/the-wonderful-life-death-and-afterlife-of-locust\/","title":{"rendered":"The Wonderful Life, Death, and Afterlife of Locust"},"content":{"rendered":"\n

By Adeoluwa Adeoye and Tyler Wilson <\/p>\n\n\n\n

\"Locust\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
The Locust Theater here shows “The Masked Bride.” <\/em><\/figcaption><\/figure>\n\n\n\n

The Early Years<\/h2>\n\n\n
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The Locust Street Theater showing “Pajama Tops”, featuring Linda Lovelace. <\/em><\/figcaption><\/figure>\n<\/div>\n\n\n
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Nestled at the bustling intersection of Broad Street and Locust Street, the Locust Theater in Philadelphia once stood as a beacon of cultural entertainment. From its glamorous inception to its controversial demolition, the theater’s 55-year history reflects profound shifts in American social dynamics, economic challenges, and cultural conflicts.<\/p>\n\n\n\n

When the Fox-Locust Theater opened its doors in 1927, it was the epitome of luxury and elegance. Located within the Equitable Building, the theater under the proprietorship of the Stanley Co. was rumored for management following a series of highly anticipated renovations. Amidst innovations in technology and commercial conduct, not to mention a $100,000 annual lease, the Stanley Co. felt insecure in its ability to successfully maintain another theater (Stanley Rents New Theatre). To the public\u2019s chagrin, Fox Theaters Inc. was up to the task. Under the guidance of William Fox, the soon-to-be abandoned venue was licensed under Fox Film Inc. to screen exclusive Fox pictures. On March 20, 1927, the Fox-Locust Theater was ceremoniously welcomed to Philadelphia by Mayor Freeland Kendrick and William Fox to a screening of What Price Glory<\/em>. The theater was magnificent. Its Gothic-style interiors, adorned in gold, red, ivory, and robin\u2019s egg blue<\/em>, displayed a grandeur that drew audiences from all over. The theater boasted a seating capacity of 1,580, with 1,052 seats on the main floor close to the orchestra, enhancing the acoustic experience for the audience (Fox-Locust, Newest of Legit Houses, Attracting Big Business). Still, beneath the surface glamour, the theater was ensnared in a web of economic difficulties, exacerbated by increasingly restrictive regulations and inflating overhead costs. Worst of all, the insurmountable architectural limitations would eventually render the Locust Theater unsuitable for larger, more popular productions that were crucial for profitability.<\/p>\n\n\n\n

When the year 1930 rolled around, the Fox-Locust Theater was belly-up. Despite the initial anticipation, the theater struggled to find a successful business model and sell tickets. This can be attributed to several factors. Most notably, an oversaturation of downtown theaters overshadowed the Fox-Locust\u2019s potential. Between the most popular downtown theaters, 12,000 seats needed to be filled weekly simply for the businesses to break even. Even the most inexpensive theaters required thousands weekly in profits (Addition of 12,000 Seats Will Create Critical Condition Downtown). A second detriment to the Fox-Locust was its inability to meet the public\u2019s expectations. The theater was already infamous for its shallow 24-foot stage, but that was forgettable. The lack of air-conditioning severely limited the theater\u2019s appeal and operability. It could not even safely open in the summertime. Whether this was a result of neglect or fiscal inability, the company\u2019s indecision to stretch its budget cost them greatly when hot weather and boredom were rampant (Fox-Locust to Close for Summer). At the end of 1929, the Fox-Locust Theater went dark, but was repurchased in 1930, and rebranded as a strictly \u201clegitimate playhouse\u201d dubbed the Locust Street Theatre<\/em> (LOCUST STREET THEATRE). For a time the plays were popular, with the Locust\u2013and other local theaters\u2013acting as a \u201ctryout\u201d venue for Broadway musicals. Paul Robeson and Ethel Barrymore, great-aunt to Drew Barrymore, have notably blessed the stage of the Locust (Hine). Still, the Locust and Philadelphia\u2019s reputations successively waned, which caused the rebranded theater to struggle with sales and accommodations like its predecessors.<\/p>\n\n\n\n

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The organ screen in the Locust Theater with its pink hue and amber lighting<\/em><\/figcaption><\/figure>\n\n\n\n
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The arrangement of seating of the orchestra in the Locust Street Theater.<\/em><\/figcaption><\/figure>\n\n\n\n

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Ticket from the New Locust Street Theater, March 30, 1977, from the Irvin R. Glazer Theater Collection, Athenaeum of Philadelphia<\/em><\/p>\n<\/div>\n\n\n\n

Midlife Crisis<\/h2>\n<\/div>\n\n\n\n

In 1958, the theater underwent another transformation. After nearly 20 years of struggle, the theater was purchased by William Goldman Interests and subsequently rebranded as The New Locust Street Theater<\/em>. The management changed, but the theater maintained its specialization in stage productions. It continued to house off-Broadway productions and showcase renowned entertainers like Judith Anderson and Paul Newman, but The New Locust Theater could not escape the problems of its past.<\/p>\n\n\n\n

Over the remainder of its tenancy, Goldman\u2019s New Locust Theater would suffer from greater cultural shifts that would eventually render it antiquated and irrelevant. <\/p>\n\n\n\n

For about the next two decades, the theater found itself grappling with sporadic closures, limited productions, and financial viability. The New Locust found itself on its last legs by 1978, when the Bellevue Hotel turned its interest towards commandeering the New Locust\u2019s space within the Equitable Building. At this time, theater\u2019s role in contemporary culture was becoming increasingly questionable. On a political and commercial front, the economic ventures of interest shifted from entertainment to tourism and urban development. Theaters like the New Locust were demonstrably run-down, increasingly unprofitable, and viewed as outdated or undeveloped urban spaces (Actors in Philly Protest Local Theater Razing). Moreso, the relative abundance of unpopular theaters and incompatible tax policies urged many officials, developers, and even Irvin R. Glazer, president of the Theatre Historical Society, to support the Bellevue Hotel development in the belief that the New Locust\u2019s existence was an economic disservice to the city (Re: \u2018The Locust Is About to Make Its Exit,\u2019 Thomas Hine). Contrarily, Jay Simpson, who worked at the Midtown Ticket Office nearby described the theater as a huge money-maker because \u201cIt lured people to the block, the kind of people who would buy tickets to shows there and elsewhere in town” (Rally calls for saving Locust). Regardless, the New Locust would stand in conflict with the dynamic priorities of the city; its relevance was ironically questioned by politicians and big businessmen like the ones responsible for its existence.<\/p>\n\n\n\n

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Here, Irving R. Glazer from the Theater Historical Society of America analyzes why the Locust Theater was torn down. <\/figcaption><\/figure>\n\n\n\n

The Inevitable Betrayal<\/h2>\n\n\n\n

Despite the opposition, economic forces did not act alone to deride the contemporary importance of The New Locust Theater. The public, too, turned its back on the New Locust. Although theater was fading from the minds of Philadelphians, Moe Septee, a local producer, pulled out all the stops in trying to uplift the New Locust in the \u201870s. In its late years, Septee kept the venue profitable by leasing theater space to Black-oriented productions and untested pre-Broadway productions, like the 1979 play Richard III<\/em>, starring Al Pacino (Locust Theater, Philly\u2019s 4th Legiter, Faces Demolition). This adds a racial component that potentially signifies a tacit disregard for the New Locust Theater more nuanced than ostensible claims of unpopularity or unprofitability. It\u2019s possible the New Locust\u2019s theatergoing demographic did not align with the segment that executives were trying to reach, nor the base they aspired to mold. Over time, the  New Locust Theater may have been viewed as \u201ctoo Black,\u201d so its opponents dialectically countered this social development to nefariously preserve the downtown\u2019s white image, attract particular developers, and bolster touristic pursuits.<\/p>\n\n\n\n

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Audience at the new Locust Street Theater, March 26, 1967, from Temple<\/em> University Libraries, Special Collections Research Center<\/em><\/p>\n\n\n\n

Race Relations<\/h2>\n\n\n\n


Ironically, this recoil from Blackness implicated the entire city of Philadelphia. Officials and moguls found themselves in opposition to resuscitating theater spaces on grounds of economic or cultural irrelevance. However, the entertainment economy\u2019s irrelevance in Philadelphia waned due to its own ignorance and bigotry. Philadelphia was formerly renowned as a tryout town for Broadway but found itself replaced by Washington D.C. due to its ubiquitously discriminatory crowds (Collins). Essentially, the city buried its own reputation in Broadway\u2019s graveyard, then, years later hypocritically rejected the industry. Worse still, the New Locust Theater finally<\/em> reconciles the city\u2019s negligence towards Black audiences, but its opponents could not be more vocal.<\/p>\n\n\n\n

While the cultural divestment may not be wholly attributable to poor race relations, it stands to reason local theaters could have remained more economically viable and culturally significant had a greater totality of the population been unabashedly considered and welcomed into their spaces. Furthermore, local institutions could have invested in and protected the culture before publicly opposing even the smallest of theaters.<\/p>\n\n\n\n

The Unfortunate Death<\/h2>\n\n\n\n

The early 1980s marked the peak of the conflict over the New Locust Theater’s fate. The theater was officially sold to the Bellevue Hotel for $22 million. Advocates still argued for its preservation; they contended that with thoughtful investment and tenancy by the non-headquartered Drama Guild, the Locust could be revitalized to serve contemporary needs and maintain Philadelpia\u2019s cultural vitality (Locust Theater, Philly\u2019s 4th Legiter, Faces Demolition). In subsequent years, William Strutt, along with the Actors\u2019 Equity Association staged protests against its demolition. The protests were minorly successful, with the involvement of various local actors, neighborhood folks, and journalists who empathized with the New Locust\u2019s cause bringing valuable attention (Collins). Unfortunately, the attempts were futile.<\/p>\n\n\n\n

In 1982, The New Locust Theater was demolished to construct a parking garage for the Bellevue Stratford Hotel, which would later be renamed the Fairmount Hotel.<\/p>\n\n\n\n

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Newspaper article of the New Locust Theater\u2019s demolition, June 24, 1982, from the<\/em>
Irvin R. Glazer Theater Collection, Athenaeum of Philadelphia<\/em><\/figcaption><\/figure>\n\n\n\n

Afterlife <\/h2>\n\n\n\n

In 1985, the remaining interior of the theater\u2019s restaurant became the DiLullo Centro restaurant<\/em>, named after its owner, Chef Joseph DiLullo. One of their opulent chandeliers was installed in the remodeled building on Broad Street, while some of the other furnishings were transported to the main floor lobbies of the Rittenhouse Square Plaza. All of the other furnishings were sold off (Locust Street Theater).<\/p>\n\n\n\n

Reflection<\/h2>\n\n\n\n

The story of the Locust Theater is a cautionary tale about the complexities of preserving cultural landmarks. In retrospect, the Locust itself had a myriad of problems. For one, “it was too small and poorly located” in comparison to other legitimate playhouses. It lacked air conditioning, it was deteriorating, it required millions to renovate, and most indicating, it was terminally untenable (Letters to the editor: Locust Theater). While blame can be placed on its systemic lack of support or the ubiquitous cultural indifference, its biggest flaw was its indefensible claim of necessity. The Locust arguably brought a touch of Hollywood and Broadway to local Philadelphians, but it remained at the intersection of political, commercial, and cultural interests, consistently unable to autonomously or self-assuredly establish itself over any one domain.<\/p>\n\n\n\n

Still, the Locust\u2019s contentious history highlights the need to value and protect these spaces to allow future generations to interrogate their pasts and make their own evaluations. The Locust Theater’s narrative\u2014rich with joy, history, and activism\u2014offers insightful lessons on the intersections of urban development, economics, race, and culture, which can inform contemporary ideas of change, struggle, and resistance. As Philadelphia and other cities continue to evolve, the memory of the Locust Theater urges us to consider what we value and choose to preserve in our communal landscapes, reminding us of the delicate balance between development and heritage.<\/p>\n\n\n\n

In retrospect, the Locust Theater’s narrative\u2014rich with themes of change, struggle, and resistance\u2014offers insightful lessons on the intersections of race, economics, and culture in urban development. As Philadelphia and other cities continue to evolve, the memory of the Locust Theater urges us to consider what we value and choose to preserve in our communal landscapes, reminding us of the delicate balance between development and heritage.<\/p>\n\n\n\n

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\"Estia<\/figure>\n\n\n\n
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Sources:<\/h2>\n\n\n\n

\u201cActors in Philly Protest Local Theater Razing.\u201d The Philadelphia Inquirer<\/em>, 17 June 1980.<\/p>\n\n\n\n

\u201cAddition of 12,000 Seats Will Create Critical Condition Downtown.\u201d 1929.<\/p>\n\n\n\n

Collins, William. \u201cTheater.\u201d The Philadelphia Inquirer<\/em>, 2 Jan. 1983.<\/p>\n\n\n\n

Estia. <\/em>Accessed March 2024<\/p>\n\n\n\n

\u201cFox-Locust to Close for Summer.\u201d The Exhibitor<\/em>, 1 July 1928.<\/p>\n\n\n\n

\u201cFox-Locust, Newest of Legit Houses, Attracting Big Business.\u201d 1 Apr. 1927.<\/p>\n\n\n\n

“Fox-Locust: Locust Street at Broad; ‘Fazil’.” Accessed April 2024<\/p>\n\n\n\n

Glazer, Irvin R. \u201cRe: \u2018The Locust Is About to Make Its Exit,\u2019 Thomas Hine.\u201d Received by<\/p>\n\n\n\n

The Editor, 20 May 1982, Philadelphia, PA.<\/p>\n\n\n\n

Glazer, Irving  R. \u201cLetters to the Editor: Locust Theater.\u201d Philadelphia Inquirer<\/em>. <\/p>\n\n\n\n

Haas, Howard B. \u201cLocust Street Theatre.\u201d Cinema Treasures<\/em>, cinematreasures.org\/theaters\/22730. Accessed 28 Apr. 2024. <\/p>\n\n\n\n

\u201cLOCUST STREET THEATRE.\u201d 1980, Accessed 2024.<\/p>\n\n\n\n

\u201cThe Lowly Finale of the Locust.\u201d The Philadelphia Inquirer<\/em>, 24 June 1982.<\/p>\n\n\n\n

McCaffery, Tom. \u201cAudience at the New Locust Street Theater.\u201d Urban Archives<\/em>,<\/p>\n\n\n\n

Accessed 2024.<\/p>\n\n\n\n

Nichols, Rick. \u201cRally Calls for Saving Locust.\u201d The Philadelphia Inquirer<\/em>, 21 Apr. 1982.<\/p>\n\n\n\n

\u201cStanley Rents New Theatre at $100,000 a Year.\u201d The Exhibitor<\/em>, 13 Mar. 1925.<\/p>\n\n\n\n

Ticket for Ladies At The Alamo<\/em>. Accessed 2024. <\/p>\n\n\n\n

Toto<\/em>. Accessed April 2024<\/p>\n","protected":false},"excerpt":{"rendered":"

By Adeoluwa Adeoye and Tyler Wilson The Early Years Nestled at the bustling intersection of Broad Street and Locust Street, the Locust Theater in Philadelphia once stood as a beacon of cultural entertainment. From its glamorous inception to its controversial demolition, the theater’s 55-year history reflects profound shifts in American social dynamics, economic challenges, and … Read moreThe Wonderful Life, Death, and Afterlife of Locust<\/span><\/a><\/p>\n","protected":false},"author":27,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":"[]"},"categories":[1],"tags":[],"class_list":["post-517","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/zhouchenshu.upenn.domains\/phillymoviegoing\/wp-json\/wp\/v2\/posts\/517","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/zhouchenshu.upenn.domains\/phillymoviegoing\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/zhouchenshu.upenn.domains\/phillymoviegoing\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/zhouchenshu.upenn.domains\/phillymoviegoing\/wp-json\/wp\/v2\/users\/27"}],"replies":[{"embeddable":true,"href":"https:\/\/zhouchenshu.upenn.domains\/phillymoviegoing\/wp-json\/wp\/v2\/comments?post=517"}],"version-history":[{"count":8,"href":"https:\/\/zhouchenshu.upenn.domains\/phillymoviegoing\/wp-json\/wp\/v2\/posts\/517\/revisions"}],"predecessor-version":[{"id":537,"href":"https:\/\/zhouchenshu.upenn.domains\/phillymoviegoing\/wp-json\/wp\/v2\/posts\/517\/revisions\/537"}],"wp:attachment":[{"href":"https:\/\/zhouchenshu.upenn.domains\/phillymoviegoing\/wp-json\/wp\/v2\/media?parent=517"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/zhouchenshu.upenn.domains\/phillymoviegoing\/wp-json\/wp\/v2\/categories?post=517"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/zhouchenshu.upenn.domains\/phillymoviegoing\/wp-json\/wp\/v2\/tags?post=517"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}