Design
It was built by Marcus Loew, completed in 1927, at a cost of $4 million and is the largest historic theater within 250 miles of the city. The Midland was designed by architect Thomas W. Lamb of New York and the Boller Brothers of Kansas City, and Boaz-Kiel Construction of St. Louis erected the structure. The theatre, built in French and Italian Baroque, was representative of Lamb's work in the late 1920s.
The exterior of the theatre was constructed in a Renaissance Revival style in cream glazed terra cotta brick, adorned with engaged pilasters, winged figures, leaves, flowers, swags, volutes, urns, and arches. A four-story arched window rose above a copper and gold marquee that contained 3,600 light bulbs.
The theater is well known for its over 500,000 feet of gold leaf, five giant Czechoslovakian hand-cut crystal chandeliers, irreplaceable art objects and precious antiques, and spectacular wood and plaster work.
At the time the Loew's Midland opened, it was home to a Robert-Morgan theatre pipe organ. The organ was used at the theatre until after World War II, when larger screen sound movies eventually resulted in the end for stage shows and in-house organ music. The organ began to deteriorate from lack of use until it was purchased and removed in the 1960s by Robert Fray and placed in his home. After the organ changed hands and was moved across the country several more times, it was eventually purchased by local enthusiasts in 1984 and is now at home in the Kansas City Music Hall.
The Midland closed in January 1961, and then after some remodeling, it briefly reopened as an arena that served as the home for Kansas City's professional bowling team, the Kansas City Stars. The Stars were financially unsuccessful, and they left the Midland in December of the same year.
Read more about this topic: Midland Theatre
Famous quotes containing the word design:
“What but design of darkness to appall?—
If design govern in a thing so small.”
—Robert Frost (1874–1963)
“I begin with a design for a hearse.
For Christ’s sake not black—
nor white either—and not polished!
Let it be weathered—like a farm wagon—”
—William Carlos Williams (1883–1963)
“For I choose that my remembrances of him should be pleasing, affecting, religious. I will love him as a glorified friend, after the free way of friendship, and not pay him a stiff sign of respect, as men do to those whom they fear. A passage read from his discourses, a moving provocation to works like his, any act or meeting which tends to awaken a pure thought, a flow of love, an original design of virtue, I call a worthy, a true commemoration.”
—Ralph Waldo Emerson (1803–1882)