Goodbye Paris Cinema—from Palace to Porn to Worcester Icon

I just read that the wrecking ball is coming for Worcester's famed Paris Cinema next Wednesday.  If I were at home, I'd try like crazy to get photos of the interior of this Worcester icon before it bites the dust.  But since I am now in Mexico, all I can do is re-post something I first posted seven years ago, as part of an essay about an art exhibit featuring my photos and other prints of famed Worcester icons at the Futon Company (which is now also part of Worcester's history.)


I already knew about the saga of the Paris Cinema (originally called the Capitol Theatre) which is on Worcester’s Common, behind City Hall. I first researched it for Preservation Worcester back in 2005. By then, what had begun as a palatial movie palace in the 1920’s had deteriorated into a seedy “Adult Cinema” offering gay porn. In January of 2005, according to an article in the Worcester Telegram and Gazette, “a series of police raids resulted in the arrests of 22 men for engaging in sexual acts in the theater, some in groups and others by themselves.” City Manager Michael V. O’Brien said that the cinema “painted an ugly picture of downtown at a time he’s pushing for revitalization.”

In January, 2006, the Paris Cinema was closed down by the authorities and has sat empty ever since, awaiting the wrecking ball, but Preservation Worcester has been trying to save it from this fate. The theater was once the pride of Worcester. Inside, much of the original architectural splendor is still there, although in a dilapidated condition.



As I wrote in my summary for Preservation Worcester’s “Most Endangered” list, the Capitol Theatre (now Paris Cinema) is a rare surviving example of the “atmospheric” theaters that were popular across the United States during the movie palace era of the early 20th century. Architect John Eberson developed the atmospheric style of theater design in 1923. He wanted to distract Americans from life’s problems by creating an atmosphere of rest and beauty, “a magnificent amphitheatre under a glorious moonlit sky in an Italian garden, in a Persian court, in a Spanish patio or in a mystic Egyptian templeyard, all canopied by a soft moonlit sky” as he put it.

Eberson had his own alliterative slogan for what he was doing: “Prepare Practical Plans for Pretty Playhouses—Please Patrons—Pay Profits.”

(Don’t you love the alliteration and the optimism of the era—it’s a far cry from being raided by the police for encouraging public group sex.)

Originally seating 2,500, the 1926 Capitol Theatre was the first of three atmospheric palace theaters built in Worcester in the late 1920’s. It allowed its patrons to live the fantasy of attending a show in an outdoor amphitheater in Spain.



Not only was its interior elaborately detailed with decorative plaster and wrought iron in the Spanish style, but the impression was enhanced by projectors that created the effect of twinkling stars and moving clouds on the arched ceiling of its auditorium and second floor mezzanine lobby. Although the building was converted to a multiplex cinema in the 1960’s, much of the interior and ornamental detailing still survives. But no one knows in what condition….

When photographing the Paris Cinema, I made one photo which shows the place in the rather grim (yet graphically sophisticated) condition it’s in today, incorporating an empty storefront and an African hair braiding shop, but in the other photo I’m submitting to the show, I used color to suggest the fantasy palace that it was at the beginning—a place designed to distract the citizens of Worcester from the harsh realities of the Depression by providing them a fantasy for a few hours that they were viewing the glamorous world of 1930’s Hollywood from a seat in a Spanish amphitheater, under the twinkling stars and moving clouds.

Reporting the death of Whatshisname

As a (retired) journalist, I spent much of Thursday watching internet news with fascination as reports of the violent death of Moamar Gaddafi leaked out.  I watched the national news at six thirty and kept checking on line, and by the time I went to bed I still didn’t know exactly who killed him.  Still don't.

This kind of story is a nightmare for a working journalist who has to report from the middle of a violent, hysterical and dangerous crowd and has no way of checking the facts he is told.  Everyone has his own version of what happened.  And imagine how much more complicated things are today, when every terrorist, tourist, rebel, protester and cop has his or her own cell phone recording what’s happening.  (This is both a good thing and a bad thing for the general populace, because we get the news immediately as it’s happening, thanks to Steve Jobs and the internet, but we  may very well get a slanted or staged version of the event.)

Another difficult aspect of this story—for journalists and especially editors—is what to do about the gruesome images of Gaddafi both before and after he was dead.  All the TV reports warned viewers that they were about to view graphic images.

I was eager to see yesterday (Friday) how the story would be handled by the three papers I read every day:  the Worcester Telegram & Gazette, the New York Times and the New York Post.

Not surprisingly, the Worcester T&G headlined, in the biggest typeface they could find, “Libya’s new era”.  Under that in smaller type was “Joyous celebration, giddy disbelief over death of Gadhafi”.  The main photo was of euphoric fighters, all smiles.  There was no bloody corpse in sight.  And that made sense, because the T&G readers in Worcester, MA are quick to write angry letters every time the paper shows something like a fatal auto crash or any image that would be too hard to take over breakfast.        

The New York Times also handled the news with restraint, but a little grimmer tone:  “QADDAFI, SEIZED BY FOES, MEETS A VIOLENT END”—was the main headline stretched across the entire width of the front page. The subhead was: “Fighters Mob the Fallen Dictator After His Failed Effort to Flee”.  The main photo on the front page showed euphoric fighters waving their guns and shouting in victory. Much smaller and lower on the page was a blurry image with the caption “This still image from a video apparently shows a bloodied Col. Muammar el-Qaddafi after his capture by government fighters.

I knew the NYTimes would be restrained in coverage—she is after all the “Great Gray Lady”  with “all the news that’s fit to print.”  When I attended Columbia’s Graduate School of Journalism in 1963-64, to get my master’s degree, we eighty students, sitting behind our massive manual typewriters in the news room, were taught New York Times style.  There were many rules.  A man, for instance, was always referred to as “Mr.” until he was convicted of a crime.  Women were “Mrs.” or “Miss” (“Ms.” wasn’t yet born.)  The word “rape” never appeared—it was “sexually assaulted.”  Everything in the Times had to be restrained, calm, factual and backed up by at least two independent sources.

The New York Post, as I expected, on Friday ran full page the goriest bloody corpse photo it could find, along with an inset of a young man brandishing a gold pistol that he claimed belonged to the dead “mad dog of the Middle East” as Reagan called him.  The boy was wearing a New York Yankees baseball cap which inspired the New York Post ‘s headlines to trumpet in giant letters 1.5 inches high: “ KHADAFY KILLED BY YANKEE FAN”.

If there was a prize awarded for the best headline of the day, I’m sure the Post’s chauvinist take on the story would win hands down.  Oh, and the Post’s subhead read:  “Gunman had more hits than A-Rod.”  The Post’s story may not have been accurate, but you have to admit it made you smile, unlike all the other front-page reports.

After comparing the approach of my three regular papers, and then scanning other front pages from around the world (collected on Yahoo under the title  “Has the media gone too far?…” I suddenly realized  that EVERY PAPER WAS SPELLING THE MAN’S NAME A DIFFERENT WAY!  You’d think, since the New York Times owns the Worcester Telegram & Gazette, that those two papers would both spell it “Qaddafi”—Times’ style-- but no, the T&G calls him Gadhafi.  If you go to Google, as I did, you’ll find there are more than 100 ways to spell this colorful madman’s name and there are a lot of newspaper editors on line defending their own version of the spelling. 

The problem is--you’re starting with a name in a different alphabet (Arabic) and trying to spell it phonetically with our Latin alphabet.  There’s a similar problem with spelling our last name--Gage-- to a Greek in a language that has a different alphabet and no hard “G”.  (It’s “Gamma, kappa, alpha, iota, tau, zita.”  Which comes out GKAITZ.  This is why a Greek TV reporter interviewing daughter Eleni in Greek reported that she was the daughter of Bill Gates.)

Anyway, I’m glad I didn’t have to cover a slippery story like the death of the Colonel, especially in an era when every man in the crowd is reporting it too.  And I say "kudos!" to the young journalists who did it at the risk of their lives.  (Now if they’d just learn the correct usages of  “lie” and “lay” and  “its” & “it’s).

Paris Cinema—from Palace to Porn to Worcester Icon

Beginning on August 1, I’ll be hanging some digitally-enhanced photos of Worcester landmarks in a two-person exhibit called “Welcome to Worcester.”

The exhibit is the brainchild of Elizabeth Hughes who owns the Futon Company shop at 129 Highland Street in Worcester. Elizabeth doesn’t just sell futons—she also encourages local artists by exhibiting their work on the walls of the store.

It was Elizabeth’s idea to call the show “Welcome to Worcester” and to feature some of the city’s iconic landmarks as portrayed by Doug Chapel in his illustrations and in my photographs, which I have digitally enhanced.

The terrific vintage-style postcard advertising the show was designed by Elizabeth’s sister, Victoria Hughes Waters. It demonstrates how Doug Chapel and I differently portray the Coney Island Hotdogs restaurant with its famous neon sign.

The show will also be featured on Sunday, Aug. 8 at “Art in the Parking Lot” across the street from the Futon Company in the Sole Proprietor’s lot--along with local artists, live art and all sorts of surprises.

The reception for “Welcome to Worcester” will be held on Thursday, Sept. 9, from 6 to 8 p.m. at the Futon Company and among the treats will be Coney Island’s famous hot dogs.

While photographing some of the funky Worcester landmarks that Doug has immortalized in his cartoons, I learned a lot about their history.

I already knew about the saga of the Paris Cinema (originally called the Capitol Theatre) which is on Worcester’s Common, behind City Hall. I first researched it for Preservation Worcester back in 2005. By then, what had begun as a palatial movie palace in the 1920’s had deteriorated into a seedy “Adult Cinema” offering gay porn. In January of 2005, according to an article in the Worcester Telegram and Gazette, “a series of police raids resulted in the arrests of 22 men for engaging in sexual acts in the theater, some in groups and others by themselves.” City Manager Michael V. O’Brien said that the cinema “painted an ugly picture of downtown at a time he’s pushing for revitalization.”

In January, 2006, the Paris Cinema was closed down by the authorities and has sat empty ever since, awaiting the wrecking ball, but Preservation Worcester has been trying to save it from this fate. The theater was once the pride of Worcester. Inside, much of the original architectural splendor is still there, although in a dilapidated condition.



As I wrote in my summary for Preservation Worcester’s “Most Endangered” list, the Capitol Theatre (now Paris Cinema) is a rare surviving example of the “atmospheric” theaters that were popular across the United States during the movie palace era of the early 20th century. Architect John Eberson developed the atmospheric style of theater design in 1923. He wanted to distract Americans from life’s problems by creating an atmosphere of rest and beauty, “a magnificent amphitheatre under a glorious moonlit sky in an Italian garden, in a Persian court, in a Spanish patio or in a mystic Egyptian templeyard, all canopied by a soft moonlit sky” as he put it.

Eberson had his own alliterative slogan for what he was doing: “Prepare Practical Plans for Pretty Playhouses—Please Patrons—Pay Profits.”

(Don’t you love the alliteration and the optimism of the era—it’s a far cry from being raided by the police for encouraging public group sex.)

Originally seating 2,500, the 1926 Capitol Theatre was the first of three atmospheric palace theaters built in Worcester in the late 1920’s. It allowed its patrons to live the fantasy of attending a show in an outdoor amphitheater in Spain.



Not only was its interior elaborately detailed with decorative plaster and wrought iron in the Spanish style, but the impression was enhanced by projectors that created the effect of twinkling stars and moving clouds on the arched ceiling of its auditorium and second floor mezzanine lobby. Although the building was converted to a multiplex cinema in the 1960’s, much of the interior and ornamental detailing still survives. But no one knows in what condition….

When photographing the Paris Cinema, I made one photo which shows the place in the rather grim (yet graphically sophisticated) condition it’s in today, incorporating an empty storefront and an African hair braiding shop, but in the other photo I’m submitting to the show, I used color to suggest the fantasy palace that it was at the beginning—a place designed to distract the citizens of Worcester from the harsh realities of the Depression by providing them a fantasy for a few hours that they were viewing the glamorous world of 1930’s Hollywood from a seat in a Spanish amphitheater, under the twinkling stars and moving clouds.