New Merry Widow Theater

Located at 1539 Chouteau Avenue, near the Truman Parkway, stands a somewhat-isolated relic of an urban commercial district that flourished on Chouteau in the LaSalle Park and Lafayette Square neighborhoods. The liveliness is hard to believe now, with the decrepit rear wall of St. Mary's Infirmary looming behind it, the questionable premises of a grocery store next door, AmerenUE's hulking campus to the west and the Truman Parkway walling vital Lafayette Square from this stretch. The building has been used for storage for decades, and is now owned by the utility giant across the street. Yet at the dawn of World War II, this neat little moderne building was the brand-new New Merry Widow Theatre, a neighborhood movie house replacing the old Merry Widow Theater one black east.

The theater was not lavish as local theaters were, but that barely mattered at a time when theater chains like Komm Theatres, which built and operated the New Merry Widow, gave even the smallest theater palatial terra cotta, winsome interior decoration and the right atmosphere for a dreamy night out. For a theater named after a motion picture itself (Von Stroheim's 1925 Merry Widow, which preceded the original theater), style started with the name and worked itself into each detail.

The building permit for the New Merry Widow is dated November 12, 1941, with Stamm Construction Company listed as general contractor and a reported cost of $25,000. Now-obscure architect Jack Shawcross designed the building, making the most of s restrained budget. Three portal windows dominate the front elevation like a mutated set of eyes, while four lines of dark brick rise at each side and another line defines the crown. Buff brick is punctuated by carefully-placed slightly-contrasting buff terra cotta. The city issued a second permit on December 23, 1941 for a $500 canopy and marquee; unfortunately, I have not located any photograph showing that feature. Overall, Shawcross manged to make a rather economical building as striking and dashing as anything Cedric Gibbons could concoct -- not an uncommon feat in St. Louis.

Inside, a terrazzo-floored lobby led to the 920-seat auditorium, where chandeliers and draped walls added elegance. The theater opened in March 1942, and quickly became one of the mainstays of night life for residents of the city's first public housing project, the Clinton-Peabody Homes located across Chouteau that also opened in 1942. However, the New Merry Widow's life span was short. After a name change that dropped the "New" from the name in 1951, the theater was open for only five more years before closing. The new life of the building certainly would have none of the glamour of Hollywood.

Occupancy permits from 1958 show that the Underwriters Salvage Corps used the building for storage of salvaged materials. In 1960, Tom & Sons Truck Repair converted the building into a repair shop. This alteration gave the building the garage door on its western wall and the infill of the original center theater entrance on Chouteau. In 1973, Affton Delivery Service took over the building and by the 1980s the New Merry Widow entered a long stretch of ownership by Hibdon Hardwoods, a wholesale lumber dealer. Although its original use is long gone, and much of the historic appearance eroded, the fine lines of the New Merry Widow are still evident. We're lucky that the old theater still stands to delight the curious passer-by, and give some sense of the urban culture that once thrived on Chouteau.

Readers might note a formal resemblance between the Merry Widow and the Massac Theater in Metropolis, Illinois. (See "Massac Theater Crumbles in Metropolis, Illinois", November 13, 2007.)

Industrial Inspiration?

There seems to be more than a passing resemblance between the Forest Park Southeast hotel designs that Drury Inn presented at a recent neighborhood meeting and the abandoned Lever Soap Plant in Pagedale. The three-dimensional renderings of two hotel buildings planned for a site at the southeast corner of the Kingshighway and I-64/40 interchange are in a conceptual phase, but their apparent industrial inspiration is somewhat encouraging.

Here is a close-up of one of the hotels:


Here is the Lever Plant, a lovely composition of industrial economy:
Just sayin'.

Fire in Fountain Park

A sweltering, humid afternoon yesterday broke what had been a string of some of the most pleasant St. Louis summer days in recent years. In the Fountain Park neighborhood, the dog day brought more than just unpleasant weather. At around 12:40 p.m., a fire broke out at the abandoned home at 1124 Bayard Avenue. The blaze roared through a modest two-story home that has experiences fire twice before, according to a neighbor.

Neighbors who had been hanging out indoors in search of air conditioning came outside to watch a mid-day spectacle that is unfortunately a common occurrence in much of north St. Louis. Firefighters were quick to respond, and had the fire under control quickly. The firefighters surely earned the respect of the assembled crowd on Labor Day afternoon.

The house was not one of the stunning homes that line Fountain park proper, nor was it the nearby "castle" building. (The sight of dark smoke coming from near that structure made me shiver.) The brick home has acquired permastone on the first floor and flimsy siding above. Still, it had been a solid residence until going vacant two years ago. Its altered facade still made up part of a street scape wall that joins others to form the architectural context of life in Fountain Park. The house had a supporting role to the fancier buildings, but its loss will make the drama a little less full.

The neighborhood atmosphere yesterday was a far cry of the vision of John Lay, the Virginia farmer who platted 158 acres of his land just west of the city limits in 1857. Dubbing the subdivision "Aubert Place," Lay envisioned a fashionable middle-class enclave centered on an elegant park, like those he had seen in London. Early advertisements suggest that Aubert Place was a country retreat, and certainly the character of this area supported that assertion. Development was slow, even though half of the lots sold at auction in 1857. One reason for slow growth was the distance for public transit, which would not come for nearly another twenty years.

Most early homes here were frame, and only forty had been built by 1883. Still, annexation into the city in 1876 encouraged growth, as did the continued westward growth of the city. Streetcars came down Delmar to the south and Easton to the north, with a line also running straight down Euclid through the heart of the development. Development of the Central West End in the early 1890s coincided with the city's investment in the park in 1889. The city took the undeveloped central feature of Aubert Place and built amenities, including the fountain that would lead to the gradual name change of the neighborhood. Lay's charming suburb had been missing the elegance of a well-planned park. With lots reserved for single-family homes and a required twenty-foot set-back, Aubert Place was destined to be genteel. Building was rapid between 1892 and 1897, when two brothers named Davis built many homes. A second boom covers the years of 1903 through 1925, when unrestricted blocks around the original subdivision were developed with two-flats and other multi-family properties. Now known as Fountain Park, the neighborhood thrived with middle-class residents.

In the 1940s, Africa-Americans began piercing the housing restrictions in Fountain Park, at the time when many whites were leaving for more fashionable addresses west and north. A renewal took place, and the community remained strong for several decades until signs of decay crept in. To this day, there is amazing dichotomy in Fountain Park. Many blocks are very well-kept and retain their original beauty, while other blocks are marked by vacant lots, boarded buildings and vestiges of vice. Not surprising, the original Aubert Place is stronger than the outer tier of multi-family buildings. The posh Victorian middle-class suburb is now a problem-ridden 21st-century American urban neighborhood. That is to say, that for every day like yesterday, it has another good day. And for every beautiful home on Fountain, there's a house like 1124 Bayard.

More coverage:

STL Streets

Random Talk on Urban Affairs

Akita Video Network

Illinois Closes Cahokia Courthouse, Fort de Chartres and Other Sites

Unbelievable -- according to the St. Louis Post-Dispatch, the Illinois Historic Preservation Agency is forced to close five hiostoric sites due to budget cuts by Democratic Governor Rod Blagojevich. Five are near St. Louis, and are popular destinations for families and student groups from the St. Louis area:

Fort de Chartres

Pierre Menard Home

Cahokia Courthouse

Fort Kaskaskia

Vandalia Statehouse

What becomes of these highly significant places? Stay tuned.

Changes

Entitled "Changes," my latest commentary for radio station KWMU aired this morning. The piece reflects on changes both physical and social taking place literally across the street from my house in Old North St. Louis. New residents have moved into the colorfully-painted buildings seen above, which were rehabbed as part of the ongoing Crown Square project transforming the center of the neighborhood. Read or listen to the commentary here.

Small Victory for Sensible Agriculture

From the Marshall News-Democrat's story "Judge rules in favor of Arrow Rock CAFO opponents":

The future of confined animal feeding operations in Saline County is uncertain after Associate Circuit Judge Patricia Joyce ruled in Cole County Circuit Court Monday, Aug. 25, in favor of Arrow Rock opponents to Dennis Gessling's proposed CAFO two miles from the village.

The judgment specifies a 15-mile buffer zone around state historic sites in which CAFOs cannot be permitted and cannot operate.

Quirky Gem on University Street

The house at 2314 University Street in St. Louis Place is one of the strangest 19th century houses on the near north side. Built in 1878, the house's central feature is a wide round turret rising the full height from the foundation to the pointed round roof.

The builder could not be trifled with convention on any point of the design -- form, style, floor plan and ornamental detail. I love how the windows on the turret are dwarfed by its sheer volume and their exaggerated wide lug-sills, emphasizing the castle-like quality of the turret. The stepped up brick cornice and projecting window surrounds give the building a heavy feeling. However, the heaviness is at odds with the delicate wooden parts -- the little trapezoidal bay window over the front door and the ornate side porch.

The later flat-roofed rear addition adds another interesting element with its slate siding, including multi-color lozenge patterns on each side of the lone second story window. All in all, this quirky home is gorgeous and another unique part of the unique St. Louis Place built environment. It is occupied and owned by an individual, so hopefully its future is secure. The house is located on the same block where we just lost a home owned by a McKee-related holding company, and lacks any landmark designation or demolition review protection, so nothing can be certain.

Chuck Berry Shopped Here

The old brick building, already refaced with glazed brick after street widening in the 1920s, has a mess of stucco across the front. The storefront is covered by chain link gates. The exquisitely-lettered enamel sign board has long lost its neon tubing. This block has lost most of its buildings and businesses, and blocks east and west of here are equally forlorn. Yet the Heller Beauty Supply Company has remained in operation since 1908 at the same location, 2709 Martin Luther King Drive (once Easton Avenue) in JeffVanderLou (once Yeatman).

The sign's exaggerated moderne letters read: HELLER CO.; Sofay Cosmetics - Hair Goods; BEAUTY SUPPLIES. (That reading leaves out the squiggles.) Sofay Cosmetics was a line of cosmetics and colognes distributed exclusively by the family-run Heller Distributing Company. The Hellers distributed their own products here and elsewhere. The store has always sold a wide line of cosmetics and, most famously, wigs. According to family members, Ike and Tina Turner as well as Chuck Berry were customers of the shop over the years. Shriner clowns and Muny makeup artists also frequented the business.

Long-time owner and manager David Heller passed away in 1999, but his children still operate the business. This is still "the place" for wigs on the near north side, with a clientele from across the region.