Just off the southeast corner of the main square in Lenoir is a tiled entrance next to a modern restaurant, the Side Street Pour House and Grill. There is little to indicate it, but nearly 100 years ago this was the entrance to a state-of-the-art movie theater, the first building in town built for that primary use, and it remained a vital part of the entertainment industry in Lenoir for more than four decades. It originated as the Universal Theatre in 1922, operated by the same 12-man corporation that had owned it in its previous location on South Main Street.

The corporation was dissolved in 1926 when Charles Peeler of Salisbury bought the Universal and added it to his growing list of theaters in the area. In 1933, Fuller Sams, Jr. bought it as part of the North Carolina Theatres, Inc. chain and renamed it the State Theatre. The Universal was the theater that brought sound films to Lenoir during Hollywood's Golden Age. The story begins with a man named Shakespeare . . .

George Oscar Shakespeare (1856-1921)

Born in Delaware, the first notice of businessman George O. Shakespeare in Lenoir comes from 1902, when he purchased the Spainhour house and planned extensive improvements on the property (Lenoir Topic 6/25/1902, p. 3). Making his living in lumber and railroads, he accumulated enough capital to establish a phonograph store, the Piedmont Phonograph Company, in 1917 (Lenoir News 2/16/1917, p. 3). By his untimely death in 1921, he was president of the Caldwell Furniture Company and a leading citizen of the town.

Shakespeare's phonograph shop was located across South Main Street from the Universal Theatre when it was in the old Masonic Store Building. The shop sold top-of-the-line Edison phonographs and appears to have been run primarily by his partner Frank Mitchell. In 1920, Shakespeare planned to move the store to the Harrison Building on the Southeast corner of the main square, which he had just purchased:

THE HARRISON CORNER IS BOUGHT BY SHAKESPEARE

Will Begin to Make Improvements During Next Few Weeks--Ultimately to Be Used for Edison Phonograph Shop

The Harrison corner property, facing Main street and running back through the block to Mulberry street, has been sold by Mr. C.B. Harrison to Mr. George O. Shakespeare as trustee for himself and several friends. The consideration is named at about $16,500. The property will be improved soon and in the near future will be occupied by the Lenoir Phonograph Shop. . . . (Lenoir News Topic 4/1/1920, p. 9)

For reasons lost to history, the phonograph shop stayed in its old location while Shakespeare formulated a new plan: to build a large theater on the vacant area in back of the Harrison Building, across Mulberry Street from the old Opera House:

The back of the Harrison Building was sided in part by the Steele and Cottrell Building, then being used as a feed store and offices, and on the other side by a bowling alley. Directly south of the Harrison Building, the Jones Building, which had housed the Princess Theatre, had been converted into a general store by 1916.

Initial negotiations by Shakespeare involved R.W. Sherrill as the new theater operator. Raleigh Washington Sherrill (1881–1938), his brother Wesley N. Sherrill (1879–1937), as well as other members of the Sherrill family were active in the film exhibition industry in Lenoir throughout the 1910s and into the 1930s. R.W. Sherrill had run picture shows in the Harshaw Building in 1912 and 1913.

Completion of the building was planned for May 1921:

LENOIR TO HAVE AN OPERA HOUSE

To Be Built in Rear of Harrison Building--Auditorium To Seat 600 People

Plans have been made for an auditorium to seat about 600 people to be built in the rear of the Harrison building, which was recently purchased by Mr. George O. Shakespeare and associates. The entrance to the auditorium will be on the side of the building facing the square, and the building will be in harmony with the improvements now being made on the building.

The building is planned to be completed before the first of May. It will be of two-story construction, with a large main floor and a balcony. The equipment will be the most modern to be found, and the auditorium when completed will be one of the finest small town auditoriums to be found.

A contract has already been signed with R.W. Sherrill, who has had years of experience as one of the leading exhibitors in the country, to take charge of amusements. Mr. Sherrill plans to give excellent moving picture shows and to secure good attractions of vaudeville or stock companies for occasional concerts. (Lenoir News Topic 1/13/1921, p. 1)

The February 1921 Sanborn Insurance map indicates, incorrectly, that the front store building was "BEING REMODELED TO BE MOVING PICTURE THEATRE" while the back addition, all the way to Mulberry, was merely listed as "BUILDING TO BE BUILT HERE." The latter was actually the theater space, with some overlap with the older building. The following map, redrawn in part from Sanborn and other contemporary notices, details the complex architecture of the new theater building:

What was to become the new Universal Theatre actually occupied part of the old store space and part of the new space built to the end of the lot. The old building left off at the front of the balcony for the new theater. The stage was on the far east end nearest Mulberry. In this configuration, an entrance to the front of the theater separate from the main storeroom on South Main was obviously a major problem. The solution was to have an entrance off the square at the northwest side of the theater. Whether or not the back alley behind what had been the bowling alley and was by 1922 an automotive garage contained an entrance, is unknown at this point. From the Sanborn maps, it appear there was not an entrance into the theater from the old store room.

Throughout the spring of 1921, Shakespeare continued both renovation on the old Harrison Building and construction of the new theater behind it:

BUSINESS BUILDINGS ARE BEING IMPROVED

. . . Tiling for roofing the cornice on the Harrison building came in this week and will be put on within the next few days. Just as soon as this tiling is put on the scaffolding will be torn down from around the building. Already work has been started on the opera house, which is to occupy the space at the rear of this building. Ground was broken early this week and actual construction begun. (Lenoir News Topic 6/9/1921, p. 1)

By September, worrying notices about Shakespeare's health begin to appear:

MR. SHAKESPEARE IMPROVING

The many friends of Mr. G.O. Shakespeare will be glad to learn that [he] is steadily improving, and is now able to be about the house and porch. It is hoped he will soon be able to be down town again. (Lenoir News Topic 9/29/1921, p. 5)

No exact description of his illness appears in the papers, but it was to become more and more serious. A month later, "improving" is changed ominously to "improving slowly":

IMPROVING SLOWLY

Mr. George O. Shakespeare, who suffered a slight relapse several days ago, is improving slowly now. (Lenoir News Topic 10/27/1921, p. 7)

Shakespeare then began selling off some of his business interests: Frank Mitchell bought his partner's share of the phonograph shop in November (Lenoir News Topic 11/24/1921, p. 1).

Then on 7 December 1921, George Shakespeare passed away less than three months after his initial illness. The front page headlines mention his work in various construction projects around town, as well as his work with the Chamber of Commerce and at the Caldwell Furniture Company. The obituary is oddly silent about his plans for the partially constructed theater (Lenoir News Topic 12/8/1921, p. 1).

How the theater would have evolved if its original owner had lived can never be known, but what was built was clearly in the fashion of a modern movie theater and not an opera house, in even the American use of that term. The narrowness of the building and the lot it occupied--roughly 27-28 feet--meant that the stage would have been ideal for motion picture exhibition but far less so for live theater or larger shows. It appears to have been designed primarily for film exhibition, although the stage was large enough to hold, as we shall see, a fair number of smaller live shows through the years.

The ventilation system for the new theater--always of importance in an era when influenza was a deadly concern--received special praise in an overview of local events from 1921:

THE CLOSING YEAR HAS SEEN MUCH PROGRESS IN LENOIR AND CALDWELL

. . . The opening of our new theater in the beautiful building almost completed at the old Harrison corner on the Square. This theater is modernly equipped in every way, including mechanical draft for heating and ventilation--the only one of its kind between Asheville and Charlotte. (Lenoir News Topic 12/29/1921, p. 1)

Shakespeare's original contract with R.W. Sherrill apparently ended with the former's death. Whether Sherrill was involved in this transfer is not recorded, but he would resurface in 1926 as the manager of the new Imperial Theatre on South Main Street, in competition with the Universal . . .

After the will was probated in January 1922, we next hear the news that Floyd Hanks and his corporation are moving into the space from their South Main Street home in the Masonic Building:

UNIVERSAL LEASES THEATER BUILDING

Plan to Get the New Place Ready and Move Before End of the Month.

The Universal Theater has leased the new theater building on the square and will move into the new place before the end of the month, according to Manager F.C. Hanks. Mr. Hanks says they are going to rush everything possible to get the seats in the new building and everything arranged to open up right away. The new building will seat over 600 people, as against 250 in the present theater building. This additional seating capacity, Manager Hanks says, will enable them to show better pictures, because the larger building will make it possible for them to have more patronage. There will be no change in the present plan of management of the Universal. The price will remain the same.

The new theater building is one of the nicest to be found in this section of the State. It has stage arrangements for vaudeville, and the probability is that the Universal management will occasionally put on vaudeville when the opportunity offers. (Lenoir News Topic 4/6/1922, p. 1)

The Universal Moves In

The Universal Theatre opened in its new building on 9 May 1922, just five months after George Shakespeare had died. The building still carried his name:

UNIVERSAL THEATRE OPENS NEW BUILDING.

The Universal Theatre opened its new show in the Shakespeare building Tuesday night. All of the seats had not been put in, Manager Hanks said, but one of the biggest crowds ever attending a picture show during one evening was present to see the first picture, "The Little Minister." More seats were put in yesterday.

The Universal has purchased an additional projecting machine, Manager Hanks says, and now they will be able to run the different part of [missing] . . . (Lenoir News Topic 5/11/1922, p. 1)

Unfortunately, the newspaper copy has been clipped off at this point and the end of the article is missing. Generally, early film theaters used multiple projection machines to speed up changes from one film or one film reel to another, reducing gaps in the performance.

The silent films shown for these first few years in the new building were typical of any small town theater of the time. The weekly advertisements are consistent, although mostly listing only the feature films being presented and not the inevitable short films: two reel comedies, newsreels, and the like. There is also no mention of musical accompaniment until slightly later, but one assumes at least a piano would have accompanied the films, or at times a small ensemble.

Not everyone in town was a fan of the large new theater. As in all towns of the period, there were those who worried about the deleterious effects of film watching on the young people. One local educator wrote anonymously: "Every one, young and old, knows that the young people are always seeking amusement somewhere, and most of them land at the picture show. Are all the pictures shown good ones? No; there is about one-third of them that are really fit for anyone to see. If this is the only amusement why not have it worth while? Children go and sit for hours at a time looking at a picture that does them lots more harm than good. There should be a certain day or two in each week especially for children. These pictures should be something that will help them and not so exciting that they will want to do things they have seen in the picture . . . (Lenoir News Topic 10/29/1925, p. 9)

Compared to later decades, films of the 1920s did have relatively little to appeal specifically to youngsters. While the films were not shockingly adult, they dealt in the main with adult themes, with the possible exception of Westerns, which composed only around 19% of the viewing fare at this time. The following chart shows films by genre advertised at the Universal Theatre during its period with the Universal Distribution Service:

There were probably few real options for the managers of the Universal as far as films for children and young adults; perhaps the one reel comedies and other shorts would have had the greatest appeal to young viewers. The author of the News Topic article goes on to suggest that a skating rink would do more good than stationary movie going; ironic, owing to the multi-use origins of the Opera House across the street as both a theater and roller skating rink!

This article might also point to the weakness in relying on only one film distribution service. By 1926, Hanks had decided to diversify his film offerings a bit:

UNIVERSAL THEATER SIGNS UP GOOD PICTURES

The Universal Theater has just completed contracts for 1926 and 1927 for the best pictures that money can buy, according to F.C. Hanks, manager. These contracts are with Paramount, Metro-Goldwyn Producers, Film Booking Offices and Universal Film Companies. These pictures are new and the people of Lenoir will have the opportunity of seeing them before they are shown in some of the large cities. . . . (Lenoir News Topic 4/15/1926, p. 1)

During this time, it appears that Hanks' son, Floyd Charles Hanks, Jr. (1903-1967), had taken over most of the day-to-day operations of the theater, during an extended illness of his father: "F.C. Hanks, owner of the Universal Theatre, Lenoir, N.C., has returned to his home from Southern Pines, where he spent a year for his health. During Mr. Hanks' stay in Southern Pines his son operated the theatre." (Motion Picture News 7/24/1926, p. 326)

Connections with the resort town of Southern Pines, NC are persistent in the area; quite a few residents of Lenoir and Blowing Rock, especially, had winter homes in the Sand Hills' town. In his father's absence, perhaps the younger Hanks was behind the new theater contract and other improvements happening at the Universal in 1926.

In July of that year, the musical accompaniment was improved dramatically:

UNIVERSAL THEATRE INSTALLS A NEW ORGAN

A new Wurlitzer organ has been installed at the Universal Theatre. This organ is modern and up to date in every respect and plays the parts of 'cello, drums, violin, flute, piano, bass and xylophone. It is also equipped with all sorts of traps. Mr. Hardie Turner has been employed to play this new instrument.

With the new organ the Universal Theatre will be in a position to give as good music as any theatre in much larger cities, and the additional music will be quite a feature in attracting theatre-goers. The Universal Theatre is under the management of F.C. Hanks. (Lenoir News Topic 7/15/1926, p. 1)

Another reason for these improvements may have been competition. In February 1926, Wesley Sherrill and his brother R.W. open the Imperial Theatre on South Main Street, next door to the old Universal building (more on this theater in an upcoming article). It will be remembered that R.W. Sherrill was the man who originally was to operate what became the Universal theater but lost out upon Shakespeare's death. So the Universal was now joined by a cross town rival, a reason to put some money back into the business. Or perhaps the Hanks were looking to build the business up to sell it off and dissolve the 12-man corporation that had owned it since 1915. Whatever the reasons, they did sell the Universal in August of 1926 for a considerable sum to a new character in our story, Charles Peeler . . .

Charles A. Peeler (1881-1934)

Charles Peeler came to Lenoir from Salisbury, NC where he had operated another picture show:

UNIVERSAL THEATRE HAS CHANGED HANDS

Bought by Charles A. Peeler, Veteran Theatre Owner of Salisbury

An announcement of considerable interest in local business circles is that of the purchase of the Universal Theater by Charles A. Peeler of Salisbury. Mr. Peeler is an experienced showman and brings to Lenoir the value of many years' experience in the operation of movie houses. According to reports the consideration in the transaction was somewhere between $10,000 and $11,000.

Mr. Peeler assures the citizens of Lenoir and the entire community that he plans to continue the high-class shows this house has given and to increase the number of feature pictures on the weekly program. (Lenoir News Topic 8/5/1926, p. 1)

Peeler also ran the Victory Theatre in Statesville and in 1928 added the Rivoli Theatre in Hickory. Also in 1928, there were extensive renovations to the Universal's interior:

THEATER RENOVATED

C.A. Peeler, owner of the Universal Theater, has just finished a complete renovation of the house. The lobby has been refinished in gold, with lamp brackets and panels stenciled in special designs. The entire theater has been repainted and renovated in a most pleasing way. (Lenoir News Topic 4/9/1928, p. 3)

Whatever Peeler was doing with his three theaters, it must have been successful. By September of 1928, he bought out his South Main Street competition, purchasing the Imperial Theatre from W.N. Sherrill, stating that "In consolidating the Imperial and Universal Theatres I will be able to give the picture-going public better pictures and more varied programs at the same prices that have prevailed in the past. . . ." (Lenoir News Topic 9/3/1928, p. 4)

The Universal and Imperial were consolidated under the name, Lenoir Amusement Company, and the Sherrills were once again without a theater:

IMPERIAL BOUGHT BY CHAS. PEELER

Sherrill Sells Out; The Same Ownership Now for Both Lenoir Picture Houses

Sale of the Imperial Theatre established by W.N. Sherrill to Chas. A. Peeler, owner of the Universal Theatre, was consummated here several days ago, the transfer becoming effective on September 1st. . . . Mr. Peeler stated that he expects to operate both as class A houses, playing the best pictures produced by the leading companies. Thru consolidating both houses under one management the new owner says that he will be able to give a better balanced program at each of the houses, as there will be fewer conflicts between the two. It will also enable the showing of better pictures at cheaper prices, he said. . . . (Lenoir News Topic 9/6/1928, p. 1)

Although the initial plan was to operate two "class A houses," inevitably the larger Universal would come to dominate the two venues. The Imperial (later the Strand) would become a sort of B movie house for the town. But the move to buy out his competition was an astute and timely one--a new force was just over the horizon that would totally alter film exhibition: talking pictures. It would prove to be a good time to have two venues in the same town, one to churn out the old silents while the new one converted to the problematic new technology of sound . . .

Conversion to Sound Films

The big cities started converting to sound film in 1927, but smaller towns had to wait until the technology was perfected and was affordable. It was late 1928 before there was serious notice about "talkies" in Lenoir:

"REAL TALKIES" TO BE INSTALLED / Lenoir to be One of First Small Towns to Receive Equipment

Lenoir is to have "Real Talkies" at the local theatres, according to statement given out several days ago by Chas. A. Peeler, owner and manager of the Universal and Imperial Theatres. This talking machine will be installed sometime in the spring, Mr. Peeler says, and Lenoir will be one of first towns in the state of its size to have one of these machines. Mr. Peeler says this will not be syncronized [sic] sound, but the real talking. It is very expensive equipment, which accounts for so few of the smaller towns having it installed.

Announcement of the intention of the theatre management to install this equipment will be welcome news to the theatre-going public. (Lenoir News Topic 12/13/1928, p. 1)

The phrase about the sound not being "syncronized" is puzzling, as is whatever was meant by "real talking." It seems most likely that Peeler was emphasizing that the accompanying sound would be actual dialogue and not just recorded mood music as was done on a few films from the period.

By spring, the type of sound reproduction is discussed further:

TALKING PICTURES AT UNIVERSAL SOON

Charles Peeler, manager of the Universal and Imperial theaters of this city, has announced that major changes will be made in the projecting apparatus soon and that talking pictures will be shown here.

On May 1 a vitaphone machine will be installed in the Universal theater, Mr. Peeler said, and on June 15 the movietone machine will be placed here.

The changes here will make Lenoir the only city between Charlotte and Asheville which has both the movietone and vitaphone attachments. (Lenoir News Topic 3/21/1929, p. 4)

There were two competing systems of reproducing sound for a motion picture at the time: sound-on-disc and sound-on-film. The latter system eventually won out--with the sound track as part of the film reel itself, synchronization was obviously not a problem. The sound-on-disc system was more prone to problems where the disc was ahead of or behind the image on the film--a problem famously parodied in the motion picture, Singin' in the Rain (1952). Nonetheless, this system was commonly used in many local theaters and for many major films of the day. The Movietone system mentioned above was sound-on-film; the Vitaphone sound-on-disc. There is no discussion of poor synchronization at the Universal in the papers, indicating that the Vitaphone films were shown successfully.

The equipment was installed at the Universal and on 20 May 1929, the first "talkie" was shown in Lenoir: The Trial of Mary Dugan (1929). The following ads from the Lenoir News Topic (5/13/1929, p. 5 and 5/16/1929, p. 5) seem to indicate that the technology was more important than the actual film:

What about the much discussed Al Jolson hit, The Jazz Singer (1927)? For big cities, this may have been the first talkie shown, but for towns like Lenoir it was more important to have a recent sound film than one two years old. And The Jazz Singer had already played in Lenoir, in its silent version, at the then-competing Imperial Theatre in April 1928. As far as I can determine, the talking version with Al Jolson never played in Lenoir.

There might also have been some negative associations with the earliest talkies, as indicated in this local clipping:

Man Has Praise For Talkies In Lenoir Theatre

A man who has heard talking moving pictures in all the principal towns and cities in North Carolina came out of the Universal theater the other night and remarked that the sound equipment there was the clearest and best he had heard anywhere.

There seems to be a general agreement that the local equipment is superior to most of those which came out soon after the devise was put in use. (Lenoir News Topic 6/6/1929, p. 2)

In towns all across America in 1929, when talkies and silents--which were still being made in large numbers--came into direct competition, the talkies won hands down. Film critics of the time expounded the virtues of the "pure" silent film, which they felt would be a central part of the film art for decades to come, but the audiences proved them wrong, at least from a commercial perspective. The problem now was to supply the ever-increasing demand for the new market. A Universal ad promised: "Nothing but Talking or Sound Pictures will be shown at the Universal for the present. / Two changes per week. / LENOIR AMUSEMENT COMPANY." (Lenoir News Topic 6/6/1929, p. 3).

For the rest of 1929, no silent films were shown at the Universal. Of the 30 features that have information about sound production in the International Movie Database (IMDB), 19 appear to be sound-on-disc (through either the Vitaphone or Western Electric systems) and 11 are sound-on-film (MovieTone or RCA Photophone). Starting in February of 1930, perhaps because Peeler was beginning to run low on new sound product, a few silent films slip back in to the program: 2 in February, 1 in March, and 2 each in April and May. Significantly, all of these features are Westerns. The last silent film shown at the Universal, on 24 May 1930, was Bob Steele's A Texas Cowboy (1929). Obviously, dialogue was less crucial than action and scenery for Westerns, and it was the last genre that local audiences would accept in the silent format.

The situation at the Imperial is radically different during this period. The Imperial would not be equipped for sound until May 1930, so all of the features at Peeler's other local house were silent until then. Ads for the Imperial are sparse during this time--Peeler apparently focused his advertising dollar on the Universal--but those that do exist show a normal variety of feature dramas, comedies, romances, and only the occasional Western. It was business as usual, pre-sound era, at the South Main Street show house, while the Universal stole the show on the square . . .

Sound Film Etiquette 101

In addition to problems of supply, the audiences of the time were faced with some awkward choices as to how to react to a sound film. An article entitled "Etiquette and the Talkies" (Lenoir News Topic 6/6/1929, p. 4) indicated that "In Charlotte, it has been observed, the audiences applaud the talkies as they would a vaudeville act showing live actors. In Asheville that same tendency prevails." Locally, it was noted, that Lenoir and Hickory audiences did not applaud. The article concludes that applause "should be equally as permissible in a motion [picture] house as at a football game."

The origins of this practice might tell us something about how audiences were introduced to sound film and the type of films they were likely to watch. A big city audience (Charlotte, Asheville) would no doubt have first heard the The Jazz Singer or, more likely The Singing Fool (1928), also with Al Jolson, probably months before those in the small towns. The earliest sound films often implied a performance and perhaps it seemed a bit empty or even rude to not applaud an energetic performance of a star the caliber of Jolson. On the other hand, a film like The Trial of Mary Dugan left little room for ovation; it focused on dialogue, not performance.

But the problem persisted long after films were expected to include sound, as this notice from early 1931 attests:

APPLAUDING THE TALKIES

THE OTHER night we were in the Universal Theater and one of those musical comedy skits was being played. It was a rather clever thing, with tap dancing, good harmony and beautiful women. But in the audience was some person, we could never see who or where, who persisted in applauding each act. His applause, of course, was pathetically lonesome. No one else joined him but he was not one to be deterred by the absence of support. If a portion of the skit pleased him he rocked back and clapped forth his audible approval. The rest of the audience snickered a little and looked searchingly for the offender.

What impressed us about the affair was the stoicism of all the rest of us in that audience except the gentleman who expressed his pleasure by applause. Many of us felt the same delight that he did, yet none of us was so oblivious to the adopted custom that we would applaud.

And then the question came up whether applause is for the purpose of informing the actors that you have enjoyed their performance or whether it is merely an outlet for your ecstasy. We would be inclined to agree with the latter theory were it not for the fact that it presents so many incongruous and rather embarrassing parallels. Take, for example, the case of a man's hat blowing off. That is one of the most amusing spectacles of any to us. The man who is chasing a wind-blown hat tries to walk slowly toward its recovery and thereby avert attention, yet he knows that he must walk rapidly or it might blow further and his agony will be prolonged. Consequently, he moves forward with dignity for two steps and then dashed madly for five. If there ever is a time when we are filled with ecstasy it is when we observe such a fight as that. Yet we would express our enjoyment by applauding only at the peril of our life, and therefore we can't decide whether the amusement would wane, as many other things wane, by an outward expression of our merriment, or whether the pleasure is made keener by the fact that we must suppress our desire to applaud. (Lenoir News Topic 1/8/1931, p. 4)

An important factor in early sound film exhibition, one often overlooked by those who focus on synchronization, is sound quality. If the sound was muffled and difficult to hear, or inconsistent in different parts of the auditorium, it mattered little if it was synchronized or not. And remember that most of these early theaters like the Universal were built primarily for silent film projection with live musical accompaniment and the occasional live performance. Sound from speakers was an entirely new acoustic problem, as seen in this contemporary notice from the early days of sound in Lenoir:

NEW SPEAKERS ARE AT UNIVERSAL NOW

S.G. Jackson of New York spent last week in Lenoir installing two late improvements in talking moving picture equipment at the Universal Theater, according to an announcement made today by Charles Peeler, manager and owner of the Lenoir Amusement Company.

Mr. Peeler said that a newer type of speaker had been perfected since he bought his and he immediately had them installed in his theater. "While the sound reproduction was good with the old speakers," said Mr. Peeler, "everybody who has heard the new speakers considers them a fifty per cent improvement over the others." (Lenoir News Topic 8/5/1929, p. 3)

A true 50% improvement would lead one to believe that perhaps the novelty of sound was initially enough for audience members, causing them to overlook the actual quality. It appears that people's expectations, possibly with the influence of radio, were evolving to expect a better sound experience at the theater. Peeler continued to make changes to both the equipment and the acoustics of the room:

INSTALL SOUND EQUIPMENT HERE

Universal Theatre Has New Machinery; Other Improvements Made By Peeler

A.T. Howard, electrical engineer of New York City, arrived here last Friday to install new sound equipment at the Universal Theatre, Charles A. Peeler, owner of the Lenoir Amusement company, said this morning. The engineer expects to complete the project by Thursday night.

The theatre will remain closed Wednesday while the new machinery is being erected.

Mr. Howard states that the acoustics [sic] felt and new sound equipment will give the Universal theatre a sound performance equal to that found anywhere.

Other improvements at the Universal include a modern steam heating plant, Mr. Peeler said. . . . (Lenoir News Topic 10/5/1931, p. 1)

Acoustic felt was apparently used as some type of dampening or baffle to reduce echo in the theater.

Continuous Improvements

The sound system was not Peeler's only concern: of prime importance in any Southern town was an air conditioning system. Long before private homes were air conditioned, theaters and other public buildings provided a refuge from the heat. In June 1930 an "Arctic Nu-Air System" was installed in the Universal (Lenoir News Topic 6/26/1930, p. 5) with a complete change of air every two minutes. Contagions were less a concern by then, but having a place to be both entertained and escape the heat made the theater ever more popular.

With improved heating and air conditioning, matinee shows were more profitable and the hours were extended to four shows a day in December 1929 (Lenoir News Topic 12/5/1929, p. 2). Other improvements followed in 1930, just on the verge of the economic Depression that had not yet been felt:

LOCAL THEATER MAKE[S] IMPROVEM'NTS

Plans were announced today by Charles A. Peeler, owner and manager of the Lenoir Amusement Company, for the remodeling of the foyer of the Universal Theater. Carpenters are already at work on the foyer, Mr. Peeler said, and when their work is completed it will greatly enhance the appearance of that modern playhouse.

Another improvement in the near future will be the modern upholstering of the seats, installation of draperies and the laying down of a carpet, M. Peeler said. He said that he expected to make the theater as comfortable and neat as he possibly can. (Lenoir News Topic 1/20/1930, p. 5)

What appears to be major changes were undertaken to the balcony in February 1930:

LOCAL THEATER IS BEING REMODELED

Charles Peeler, Owner And Manager of Lenoir Amusement, Tells Plans

The Universal Theatre is being further remodeled, according to Charles Peeler, owner, and a force of workmen is now at work on the project of remodeling the balcony. The floor is being reconstructed and the seats raised and rearranged. . . . (Lenoir News Topic 2/27/1930, p. 1)

With the economic Depression no longer just a rumor, Peeler felt the need to reduce ticket prices in the summer. The standard price of 50 cents for adults was reduced to 25 cents for matinees and 35 cents for the evening show in June 1930 (Lenoir News Topic 6/5/1930, p. 4) and again in June of 1931 (Lenoir News Topic 5/28/1931, p. 6). Ticket prices for children remained consistent at 10 cents.

More major improvements followed in late summer 1931:

IMPROVEMENTS AT LOCAL THEATRES

Universal To Get New Equipment Throughout; New Arcs and Screen

O.F. Howard, electrical engineer from the laboratory of the General Talking Picture Corporation of New York City, spent three days in Lenoir last week making a survey of the theaters, according to Charles A. Peeler, owner of the Lenoir Amusement Company. Plans are on foot to install the latest and most modern equipment devised for talking pictures, Mr. Peeler said.

The Universal Theater equipment will be removed and new machinery installed within a few weeks. The interior of the theater will be treated for acoustics and other improvements made.

When the changes are complete the theater-going public will be assured of sound as near perfect as can be found in any theater anywhere, Mr. Peeler said. . . . (Lenoir News Topic 8/31/1931, p. 7)

Once again, the new medium of recorded sound was the instigation for further, no doubt costly, improvements. Many theater owners of the day faced the same problems: buildings that were really not that old, but that had been built for a different audience and a different era . . .

A New Theater Planned

The next natural step in Peeler's upward business arc was to build a new, larger and more modern building. In June of 1931, the plans were set out in the local newspaper, although at this point no names are attached to the proposal (Lenoir News Topic 6/25/1931, p. 1). The cost of the new building was estimated to be $75,000 and would seat between 800 and 1,000 people and be close to the main square. The proposal is optimistic but vague.

One detail that does emerge from all of this speculation is that there was a growing realization that the stage at the Universal was too small: "At present there is no place in Lenoir where a road show of any consequence can set up for performance. This building would eliminate that embarrassing feature and it is felt that it would serve as an attraction for the better class plays which tour the country." The new theater "would have a modern stage, with the very latest lighting effects, comfortable dressing rooms, cushioned seats and modern ventilation. . ." (Lenoir News Topic 6/25/1931, p. 1).

By the end of August, the plan finally ran up against the economic realities of the time:

SHOW BUILDING PLAN POSTPONED

Project Not Dropped, Promoter Tells Chas. Peeler; May Work In Spring

Charles A. Peeler, owner of the Lenoir Amusement Company, this morning said that the promoter of the proposed new $75,000 theater for Lenoir has postponed operations until the first of next year or early next spring. The proposition has not been dropped, he said.

The promoter, whose name has been withheld from the public, assigned the unsatisfactory economic and business conditions prevailing at present and the condition of the motion picture industry in general, which has never been at a lower ebb than now, Mr. Peeler said. The promoter assured Mr. Peeler that upon improvement of conditions the project will go forward without delay. (Lenoir News Topic 8/31/1931, p. 1)

This time Peeler is identified, but not his promoter. Business continued as usual for the rest of 1931 with no more rumors of a new theater. In May 1932 Peeler moved his office from over his Imperial Theatre on South Main to a more "commodious" space above the Universal (Lenoir News Topic 5/2/1932, p. 4).

Then in August of 1933, the new theater appears to be back on the table, as Peeler buys a lot on West Avenue and Boundary Street (Lenoir News Topic 8/24/1933, p. 1). The article goes on to caution, however, that he "will await stable business conditions before construction begins." The theater that Charles Peeler planned would never be built; like George Shakespeare before him, life had a different course than the one planned.

The Final Years

Peeler was married to Iris D. Richardson on 13 July 1932. In December of that year, the couple and another friend were in a serious automobile accident near Lincolnton (Lenoir News Topic 12/8/1932, p. 1). The car overturned and all three occupants were in the hospital. Both Peeler and his wife appear to have been plagued by health issues the following year, apparently related back to the accident: Iris Peeler was admitted to the Charlotte Sanatorium for "several weeks" in February (Lenoir News Topic 2/6/1933, p. 3) and Charles was in the local hospital in October (Lenoir News Topic 10/16/1933, p. 6). In November, the story of Peeler selling off the business to A.F. Sams leaked first to the Statesville Landmark (11/28/1933, p. 15) where it was quickly denied by Peeler himself. But the story was indeed true and confirmed in the News Topic several days later:

PEELER CONFIRMS SHOWS' TRANSFER

Charlotte Firm Will Take Charge of Local Theatres On December 11

Charles A. Peeler, president of the Lenoir Amusement Company, today confirmed the transfer of the Universal and Imperial theaters to the North Carolina Theatres, Inc., of Charlotte, of which H.F. Kincey is treasurer. . . . The acquisition of the two local theaters by the North Carolina Theatres, Inc., brings its Tar Heel chain to 36. It is the predominating chain in North Carolina.

The Universal and Imperial will be operated here under the Lenoir Theatres, incorporated, of Charlotte. . . . (Lenoir News Topic 12/4/1933, p. 1)

No doubt his poor health factored in the decision to sell off the theaters. Peeler was stricken with paralysis, apparently some type of stroke, in April 1934 (Lenoir News Topic 4/19/1934, p. 5) and died later that summer (Lenoir News Topic 7/30/1934, pp. 1 and 5). The extended obituary praised Peeler's work in Lenoir. In just seven years, he had managed to expand a business in some of the most difficult economic times in American history, as well as guide the theater through dramatic technological shifts that left others in the theater business bankrupt. The theaters he left to A.F. Sams would continue to prosper, the Imperial lasting into the 1940s as the Strand Theatre and the Universal, from 1933 on, as the State Theatre . . .

Live Shows

Before continuing the history of the Universal/State in another article, it is worth looking at the live shows that happened when the Universal Theatre occupied the Shakespeare Building. As noted above, the stage proved inadequate for large shows, but there were still a number of live acts that played on the stage between 1922 and 1933, and quite a few afterwards. Looking back, we know now that the era of the large vaudeville road company was passing quickly by the early 1930s anyway. A new era of music by smaller companies and ensembles would prove to be the future of the business, and the relatively small stage of the State was ideal for this more intimate entertainment.

The first live show featured at the Universal in its new home was in May 1922:

ENJOYABLE CONCERT

A very enjoyable concert was given here Monday night in the new Universal Theatre building under the auspices of the Mozart Music Club, with Miss Gertrude Courtney, soprano; Miss Marie Epton, violinist; Miss Julia Crouch, pianist, and Miss Myrtle Blake, accompanist. The young ladies are all from Converse College, Spartanburg, S.C., except Miss Crouch, who is from Salisbury. . . . (Lenoir News Topic 5/11/1922, p. 5)

James Harper and the Lenoir High School Band, a band that would become one of the most famous high school bands in the nation, were an extra feature to the film in July 1925, just their second year of existence:

HIGH SCHOOL BAND WILL FURNISH MUSIC

The music to be furnished by the Lenoir High School Band, under the direction of Mr. James Harper, will be an extra feature to the picture, "Frivolous Sal," to be shown at the Universal Theater tonight. Eugene O'Brien and Mae Busch will be the star players in the picture. It is one of the First National western thrillers. . . . AR percentage of the proceeds of this show will go to the high school band and the boys are expecting a large crowd to hear them play and to help build up their finances. (Lenoir News Topic 7/2/1925, p. 6)

These shows are, of course, exceptions to the more typical fare of smaller vaudeville acts, such as the Coast to Coast Funmakers who played the Universal in June 1928 (Lenoir News Topic 6/18/1928, p. 5) or the Page Kiddies Band in January 1931 (Lenoir News Topic 1/12/1931, p. 1). The Page family from Washington state contained children that "range in age from six to 16 years, and were accompanied by their father, who is a butcher. They have performed for radio programs in the past and are considered to possess unusual talent for musical ability." A family act with small children at this time no doubt verged a bit on exploitation, as did another act with Herbert Barnett, advertised as the "Smallest Movie Actor in the World" in July 1928 (Lenoir News Topic 7/16/1928, p. 5). Barnett and his brother Jack were originally part of the Barnum and Bailey Circus.

One of the most unusual non-musical acts appeared in 1931, MGM's trademark Leo the Lion (Lenoir News Topic 1/22/1931, p. 3), whose famous roar introduced many a film reel of the time:

Local columnist Charles Pegram opined that the red carpet rolled out for Leo made the town look a bit foolish, but it appeared to be well worth it:

MIRROR OF CALDWELL COUNTY . . . By CHARLES PEGRAM

. . . Mayor L. Herbert Wall's initial public address following his installation as Mayor on January 1, was to greet a lion, the great Leo, who could understand not a word the Mayor was saying.

Speaking of Leo, it is our opinion, and there are dozens who agree, that Lenoir's business executives, civic, luncheon and dinner club presidents and even members of the press never acted so childishly as they did Tuesday when they waited impatiently for a half-hour, greeted the lion two miles south of Lenoir, formed a motorcade led by two traffic officers, and became the laughing stock of the town.

None of us in that parade would have missed it for love or money, and the one-animal circus was the greatest crowd-gathered ever seen in Lenoir at noon-time. It was childish, silly and thrilling. Pretty little Gloria Snelling, four, was our excuse for going.

The only consolation is found in reports that thousands of other Mayors, presidents of clubs, members of the Fourth Estate, and citizens elsewhere did the same thing. (Lenoir News Topic 1/29/1931, p. 2)

More typical acts appealed to the growing audience for what would become known as Country and Western music, such as the otherwise unknown Kelly and Howard Sears, who called themselves the Musical Fools (Lenoir News Topic 12/1/1930, p. 5):

Most of the acts playing the Universal during this early era are otherwise lost to history, although one sticks out, especially for locals. A man who would become famous in television, a medium just in its infancy in 1933. Fred Kirby appeared at the Universal in what must have been one of his earliest performances (Lenoir News Topic 11/13/1933, p. 3). He would also appear at other theaters around Lenoir in the coming years and, of course, in homes on his weekly television program from Charlotte.

The successor to the Universal, A.F. Sams' State Theatre, would continue this interest in popular music . . .

Dr. Gary R. Boye

Music Librarian and Professor

Appalachian State University

boyegr@appstate.edu