In the early 20th century, Evanston’s movie theaters were more than just venues for entertainment; they were stages for social and cultural battles. By 1914, the city’s theaters had become extravagant yet tightly controlled spaces, reflecting the broader societal issues of the time.
Theaters were regularly patrolled by both private and public officers, ensuring that the orders of the Evanston censorship board were strictly followed. Ushers, dressed in military-style uniforms were empowered to monitor and eject patrons. The Star Theater even had its own “special officer” to handle disruptive patrons.
The Rise of Segregation in Evanston’s Theaters
Racial segregation in Evanston accelerated during this period, and the city’s theaters became a microcosm of these divisive policies. Despite declaring their “Jim Crow” policy void in 1911, theater managers continued to enforce segregation. Black patrons were often directed to the balcony or the least desirable seats. At the Star Theater Black patrons were only allowed on one side of the theater, and if they objected, they were promptly removed.
The Vaudette Theater once a beloved “Davis Street institution,” became largely patronized by a Black audience. Stars of the Black vaudeville circuits, like comedian and singer Joe Sims, performed there. However, the theater’s reputation suffered, and by the end of 1914, Mayor James Smart ordered its closure due to poor electric wiring, insufficient exits, and cleanliness issues.
Censorship and Its Impact
The Evanston censorship board focused on material deemed obscene, immoral, or improper by the white majority. Films like Damaged Goods (1914), which addressed syphilis, were banned outright. Other films, such as Undine (1916), were heavily censored because the female characters were considered “shockingly garbed.” Occasionally, audiences would find their shows interrupted as censors hastily cut objectionable portions that had been missed earlier.
In one notable incident, movie censor Grace Brooks ordered the Hoyburn Theater to close temporarily because it violated the censorship ordinance. During her initial screening of The Little Sister of the Poor (1916), Brooks missed the film’s immoral content and issued a permit for its showing. Upon reviewing it again, she was appalled and immediately shut down the theater.
The Postwar Era and the Rise of Movie Palaces
After World War I, the moving picture business underwent a severe crisis due to wartime restrictions and high taxes. However, the industry would soon recover and expand exponentially. The Strand Theater formerly known as the Evanston Theater, was severely damaged by a fire in 1917 and remained empty for several years. In 1922, it was purchased and renovated by Clyde E. Elliot and his partners, who also acquired the Hoyburn Theater in 1924.
In 1926, Elliot and his partners built Evanston’s first “movie palace,” the 2,500-seat Varsity Theater on Sherman Avenue. This marked the beginning of a new era in Evanston’s cinema history. However, the old “B&K” powerhouse of Bodkin & Keane was soon replaced by the Chicago-based Balaban & Katz Corporation which leased the Varsity Theater in 1928 and eventually obtained a monopoly on the city’s theaters.
As Evanston’s theaters evolved, so did the social and cultural landscape. The city’s movie-going experience was shaped by censorship, segregation, and the rise of extravagant movie palaces. These changes reflected the broader societal shifts of the time and set the stage for the future of cinema in Evanston.
