By: Emery Lay
A glimmering sign with the word “ALABAMA” stretched down it beckons in all who walk by. A teller takes tickets for a movie, concert or show at the semi-circled window. Once inside, ornate hallways with dazzling chandeliers draw all eyes up to vaulted ceilings. The smell of popcorn floats through the entryway, accompanied by the sound of fizzy sodas and jingling bags of candy.
This is the Alabama Theatre — a nostalgic relic from the 1920s located in the heart of Birmingham, Alabama. Today, the three-level theatre seats over 21,000 people and is still outfitted with four music chambers. Below the stage, raising in splendor at the beginning of every show, is the Wurlitzer Open 1783 pipe organ, the theatre’s savior.
“Back in the day, in the early 1920s, some Birmingham businessmen got together and decided they wanted to build the best theatre around,” said Brant Beene, president and executive director of Birmingham Landmarks, Inc. “But they didn't quite know what they were doing or how to do it.”
That is when they contacted Paramount and struck a deal: they would build it if Paramount would run it. In 1927, the day after Christmas, the theatre held its grand opening. The then-president of Paramount nicknamed it the “Showplace of the South.”
The Alabama’s success took off like wildfire. People from all over were driving in to see the shows. It even became home to the largest Mickey Mouse Club in the world, with over 14,000 members — some even say 18,000 — in addition to hosting annual beauty pageants.
“Of course, during the 1930s, that was sort of the heyday of movies,” Beene said. “Movie stars would come to the theatres and make appearances there to promote their movies. So, we had Mickey Rooney here and people like that, who starred in movies.”
Decades of glory rang out for the theatre — until the 1960s when the future began to look grim. Businesses migrated away from the downtown area. Stores began situating themselves in departments and malls.
During the 60s and 70s, the theatre changed hands a few times because of the volatile downtown environment. The owners tried everything — fashion shows, movies, you name it. The same issues carried over in the 70s and 80s with over 30 movie theatres in the same district continually opening and closing shop.
“One by one, they would open and close,” Beene said. “But the Alabama managed to survive.”
Then, it was out of the frying pan and into the fire. In the mid 80s, a developer began buying property in downtown Birmingham and managed to snag the theatre. His plans? To level it and construct a parking deck.
Thankfully, the developer bought so much land that he went bankrupt, saving the historic landmark from being completely flattened. The theatre was then taken to court before a bankruptcy judge.
That is where Gary Jones comes in. An organist since the age of 11, Jones began the Theatre Organ Society in 1981. It was this society, made up of about 50 organ-enthusiasts at the time, that saved the Alabama Theatre. When the judge said that the iconic Wurlitzer organ, which the society wanted to salvage, could not be removed from the building, the group took a leap of faith.
The year was 1987. Together, the Theatre Organ Society founded Birmingham Landmarks Inc., a non-profit corporation that still owns and operates the Alabama Theatre today, alongside the Lyric, a historical vaudeville theatre just a block away from the Alabama.
“Fifty volunteers just took on the challenge,” Beene said of the group.
Through laborious hours spent replacing hardware, painting walls and fixing lights, the group of organists soon restored the Alabama Theatre to its former glory.
Today, Jones is both the master of the Wurlitzer and head of concessions where he “feeds the masses,” as he would say. In the 1990s, Jones became the official house organist. In 2016, he moved from facilities manager to head of concessions while maintaining his role at the organ.
“I never take for granted the fact that I am able to sit down on that bench and play,” Jones said. “I think most people will agree that when the organ comes up from the pit, it's very emotional and very thrilling. But then when we do a sing-along, that's really when she shines, because then the audience gets to participate along with her.”
Every time he plays, Jones silences his mind, takes a deep breath and makes a quiet, grateful nod to all the organ players who have gone before him.
“It's very orchestral in nature, so you have to think in terms of how you're going to orchestrate something, not how you're going to ‘play’ the organ,” Jones said. “Whatever the event is … you want to make sure that everyone's enjoying themselves, that they're having a good time. We're truly in the hospitality industry, but my job and my goal is to make memories.”
Thanks to the Wurlitzer and its enthusiasts, the theatre was preserved. Beene said that during those first few years after reopening, the theatre began playing old movies when they couldn’t get the licenses for the newer ones.
“And that's what we did right,” Beene said. “[Then] finally somebody put on a concert here, and I don't know who the first concert was. It just sort of happened.”
Now, the Alabama plays old movies, puts on shows and hosts live music concerts. The theatre has hosted the likes of American blues singer Bonnie Raitt, famed songwriter Bob Dylan, country folk singer John Prine, legendary rockstar Alice Cooper and more. Beene said to avoid financial risk, the theatre works with a middleman, also known as a promoter.
Todd Coder is a promoter who has worked with Birmingham Landmarks for years. Coder acts as a liaison between the venue and the artist, he said. Through his group, Code-R Productions, he finds the best venue for the artist, whether it be the Lyric or the Alabama Theatre.
“My relationship with [the Alabama Theatre] really started to deepen when the Lyric reopened [in 2016],” Coder said. “The setting is just so unique. And while on the surface it may not seem that a historic theatre is the best type of venue for a rock and roll concert, it lends itself to be a truly impressive setting very conducive to those types of events.”
He added, “There’s a definite mystique [and] aura to that venue, which is totally different than playing a club or an amphitheater or an arena or a black box, if you will. It's incredibly special for the artists and for the fans. And, knowing the history behind that venue and having the ability to be a part of it is truly something incredible.”
The Lyric, originally constructed in 1914 as a Vaudeville theatre, is just one third the size of the Alabama and holds 750 guests.
“You cannot believe the acoustics,” Beene said. “It’s how the roof is curved … and the walls are kind of curved, just like a bell of a horn.”
Beene said when the Lyric was first constructed the builders wanted the audience to be able to hear all the way in the back, so they designed the building accordingly. It remains the same shape and structure today as it did 100 years ago.
“It also gives younger performers and newer performers a chance to play a smaller venue,” Beene said.
Yet, when it comes to nostalgia nothing can beat the Alabama Theatre. Recently, Beene received photos taken back in 1927 when the theatre first opened. He said the details are so alike that even a blue vase in the picture sits on the same table today, almost a century later.
“It looks so much like it did in 1927,” Beene said. “No wonder people feel it hasn't changed.”
Today, audiences young and old can enjoy the variety of shows the Alabama Theatre puts on. Perhaps a concert appeals more to a younger audience, allowing them to experience excellent acoustics and a unique venue. But for a more mature audience, the theatre looks, sounds and smells like it did when they went as a child, taking them back in time.
One year, Beene said the Alabama Symphony came to play the Soundtrack from City Lights, a movie made in 1927. Beene was able to sit in the crowd and enjoy.
He said, “Every now and then I would think, ‘Is this 1927?’”
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