The Incredible History of The Academy Theater
By James Thomas
featuring the photos of Julius Shulman
"For 50 cents we took the middle class man out of his home and gave him an environment that only the Church had given before.”
S. Charles Lee
Architect & Builder of the Academy Theater
The Incredible History of The Academy Theater
By
James Thomas
Published by BEM Books
All rights reserved. Copyright BEM Books. Printed in the United States of America. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews. For information write to BEM Books, P.O. Box 2846, Palos Verdes Peninsula California. 90274 Photos used by permission from the Getty Research Institute, the UCLA Department of Special Collections, Julius Shulman, The Academy of Motion Pictures Arts and Sciences, and the S. Charles Lee Bequest.
Library of Congress Number:
ISBN Number: 978-0-9701577-0-6
This Book is Dedicated to Pastor Doyle Hart
S. Charles Lee
Charles Skouras & Julius Shulman
Four incredible men with incredible vision
Acknowledgements
This project began as a labor of love for Pastor Doyle Hart, Pastor of Academy Cathedral Church in Inglewood, California for his eighty fourth birthday celebration. It was to be a very special gift for a very special and unique man.
A man who has devoted the majority of his life to the service of God and his people. His journey began in 1939, the year he entered the ministry, in the great state of Texas.
Unbeknownest to him, more than 1,000 miles away in California, one of the most renown architects in the world was knitting a thread into the fabric of his life and creating a historical building that would join together the secular world of entertainment with the life changing spirituality of the church. The result would be the Academy Theater.
The Academy Theater was the vision of Architect, S.Charles Lee, and Entrepreneur and Movie Man, Charles Skouras, Julius Shulman was enlisted as the photographer who eventually fell in love with shooting the Academy and Doyle Hart became the man who would bring the original vision to completeness.
For more than four years, my research took me to the halls of the University of California at Los Angeles, to the prestigious archives of the world famous Getty Museum, to the Motion Picture Academy of Arts and Sciences, to boxes in the basement of Academy Cathedral.
What I found was a unique building that appeared to have the actual hand of God involved from the very beginning.
I am extremely proud of this project, however, it would not have been possible without the assistance and cooperation of
Pastor Doyle Hart, Co-Pastor Elaine Britt, Ms. Connie Britt, The University of California at Los Angeles Special Collection
Section, The Getty Museum Special Research Department, The Julius Schulman Exhibit at the Getty Museum, the S. Charles Lee Estate, Cinema Treasure, Mr. Darryl Gilabrothsr and the staff of the Getty Museum precious archives photo section.
I believe serious students of unique architecture as well as the casual reader will be intrigued by what they see and read here.
It will stimulate thought, and conversation but most importantly it will show a spiritual connection between four men who never met, never knew one another yet worked together to create a building that is a true testament of God’s inspiration and his gift of creativity.
James Thomas
Movie historians and film buffs often look back on 1939 as "the greatest year in film history". Hollywood was at the height of its Golden Age, and this particular year saw the release of an unusually large number of exceptional movies, many of which have been honored as alltime classics, when multitudes of other films of the era have been largely forgotten.has got to be something special.
The Wizard of Oz, Mr. Smith Goes to Washington and Gunga Din were all part of that 1939 vintage.
These are films that helped make movie lovers out of millions of fans. Each film comes close to perfection. And like a classic vintage wine, these are films that improve with age, exposing layers of sophistication as time mingles with the basic beauty.
The year 1939 was surely bountiful. Films like Beau Geste brought action audiences to the edge of their seats and Babes in Arms teamed Mickey Rooney and Judy Garland in one of the great "Let’s put on as show" movies.
The excellent Confessions of a Nazi Spy took the gun out of Edward G. Robinson’s hand and gave him a
The Movie Industry in 1939
pen instead. And Bette Davis broke hearts in Dark Victory, Marlene Dietrich taught James Stewart a thing or two about being a cowboy in the terrific western spoof, Destry Rides Again. Errol Flynn romped through Dodge City in Michael Curtiz’s wonderful western, and Henry Fonda outran the Indians under the loving eye of Claudette Colbert in John Ford’s towering revolution/western Drums Along the Mohawk. Tyrone Power and Henry Fonda carved out the myth of Jesse James for movie fans. John Steinbeck’s Of Mice and Men gave Burgess Meredith and Lon Chaney, Jr. a chance for a bit of screen immortality with a fine translation of the novel to screen. John Ford gave John Wayne his first defining screen role as The Ringo Kid in Stagecoach.
Robert Donut created the timeless portrait of a dedicated schoolmaster in Goodbye Mr. Chips. Cary Grant, Douglas Fairbanks, Jr. and Victor McLaglen battle against an Indian cult at the height of Britain’s Imperial rule of India. George Stevens directed the rousing Gunga Din with perfect timing and amazing enthusiasm.
A defining cinema movie.!
But 1939 didn’t just stop there.William Holden juggled boxing gloves,a violin, and Barbara Stanwyck all in one movie, Golden Boy and
Carol Lombard and James Stewart made eyes at each other in the romantic weeper, Made for Each Other and James Stewart teamed up with Jean Arthur in one of the greatest movies ever made, Frank Capra’s Mr. Smith Goes to Washington. Luminous Jean Arthur got a crack at Cary Grant in the atmospheric Howard Hawks drama, Only Angels Have Wings. And Cagney and Bogart battled for mob immortality in the terrific Raoul Walsh directed The Roaring Twenties. George Cukor directed the wonderfully droll comic backbiting of The Women
William Wyler directed the Sam Goldwyn production of Wuthering Heights starring Sir Laurence Olivier and Merle Oberon and Henry Fonda gave the most convincing screen interpretation of Abraham Lincoln in John Ford’s Young Mr. Lincoln. Billy Wilder penned his first great comedy Ninotchka starring Greta Garbo and Melvin Douglas under the baton of director Ernst Lubitsch. And Charles Laughton donned the hump for The Hunchback of Notre Dame, taking on the twisted chores performed by Lon Chaney in the silent version. England joined in the vintage celebration with the adventure saga Four Feathers.
Of course, there were the usual number of sequels, there were three films in the Blondie series, Bulldog Drummond was included in the title of two flicks, Andy Hardy and The Thin Man series made their annual appearance.
On November 9th “Another Thin Man” made its debut at the Academy Theater in Inglewood, California.
The Academy Theater before it became a show place for Hollywood’s elite and one of country’s most well known House of Worship.
S. Charles Lee
“a man with a vision”
Born Simeon Charles Levi in Chicago in 1899, Lee was the son of American born parents of German-Jewish ancestry, Julius and
Hattie (Stiller) Levi. Lee (who later changed his name from Levi) grew up in the Chicago of Daniel Burnham, Louis Sullivan and Frank Lloyd Wright. Lee’s own favorite building was Sullivan’s Carson Pirie Scott Department Store.
He also grew up with the evolving motion picture; he went to vaudeville theatres, nickolodeons, and early movie houses.
A tinkerer interested in mechanical things, Lee built three motorcars as a teenager, and as an adult he was a collector of antique cars and airplanes.
His interest in mechanics took him to Lake Technical High School in Chicago. He started out in architecture in 1915 by working after school in the office of Chicago architect Henry Newhouse, a family friend. Newhouse specialized in theatre design: small motion picture houses, nickelodeons, and remodeling storefronts into theatres. After graduation in 1916 Lee attended Chicago
Technical College, graduating with honors in 1918. His first job was as architect for the South Park Board of the City of Chicago
During World War I he enlisted in the Navy. After his discharge in 1920, he entered the Armour Institute of Technology to study architecture. The course followed the principles of the Ecole des Beaux Arts and this training is reflected in the composition and imagery of his later drawings. It is also reflected in his own emphasis on the plan as the driving force of the design. This practical approach would serve him well in his many commercial designs.
While a young man working for Rapp & Rapp, a highly regarded Chicago architectural firm, Lee became interested in theater design.
In 1922, Lee settled in Los Angeles. His first major cinema building was the Tower Theatre in Los Angeles, a SpanishRomanesque-Moorish design that launched a career that would make Lee the principal designer of motion picture theaters in Los Angeles during the 1930’s and 1940’s. He is credited with designing over 400 theaters throughout California and Mexico. His palatial and Baroque Los Angeles theater, built in 1931, is regarded by many architectural historians as the finest theater building in Los Angeles.
Lee’s work quickly caught the attention of regional architectural journals. Architect & Engineer for example, published a handsome presentation of his Los Angeles Tower Theater in 1928. In 1934, Lee was honored for architectural excellence by the Royal Institute of British Architects at the International Exhibition of Contemporary Architecture in London, for his 1931
“Spanish American Mission style” design for the Fox Florence Theater in Los Angeles.
Lee’s ultimate legacy, however, is as an early proponent of Art Deco and Moderne style theaters, including Fresno’s Tower Theater
The Bruin theater (1937), and Academy Theater, which was commissioned by Fox West coast Theaters, opened its doors
November 9, 1939.
Located in Inglewood, California, The Academy Theater had the tallest theater spire in the United States (150 feet), it also contained 12 miles of delicate wiring and was powered by 37,000 kilowatts. At the time, it had the largest marquee in Southern California, using 946 letters in 64,050 square feet of neon illuminated area. A newly developed flesh colored mirror, cast of lucite
23 feet high, 8 feet wide and weighing in at a whopping 960 pounds. Sixteen tons of glass paneling, mirroring and blocks went into the construction, representing the greatest quantity of glass ever used in any building of similar size. The seats in the auditorium were of the type used in the latest transport airplanes of the day, four inches more width and depth than standard seats.
There were 20,625 feet of wall and ceiling murals that were illuminated by indirect “black lights”, which were invisible to the naked eye. Other extraordinary features are the twenty-five degree slope in the auditorium which creates perfect vision from all points in the auditorium. The projection and sound system was perfected so that it would actually accommodate a theater four times the size of the Academy. The cost to construct the Academy Theater in 1938/39 was $200,000 or approximately
$2,241,000.00 in 2007 dollars.
Lee believed in opulence and when it came to the Academy, that the show started from the sidewalk. Lee told the L.A. Times in 1984 that he wanted to showcase three facets of the exterior of the Academy, the Tower with its lettering in neon and incandescent lights, the marquee with advertising above, and the spiral parking sign to the side. He also believed he was 20 years ahead of his time in 1929 when he began designing theaters.
S. Charles Lee combined modern and decorative detail to produce theaters that were purely Hollywood, with a feeling that only the church had given before.
When S. Charles Lee died in January 1990 at the age of 90 he had designed 10,000 residences and 5,000 factories and business buildings.
Interior photo of the Academy Theater circa 1939 courtesy of the Getty Museum Special Collections
This interior photo shows the curvature of the ceiling and aisles in the Academy Theater the building has no straight lines in its construction.
circa 1939
courtesy of the Getty Museum Special Collections
The elegance of the screen area of the Academy Theater
circa 1939
courtesy of the Getty Museum Special Collections
My personal favorite photo the inside lobby of the Academy Theater shows the unique curvature of the ceiling, columns and floor. No special lenses were used to shoot these photos this is the actual building design. circa 1939
courtesy of the Getty Museum Special Collections
Chrome and glass highlight the original ticket booth and entrance to the Academy Theater circa 1939
courtesy the Getty Museum Special Collections
This exterior photo shows the uniqueness of the building design which was inspired by architect S. Charles Lee love for the front grill of the Chrysler automobile circa 1940 courtesy of the Getty Museum Special Collections
This rear interior photo showcases the unique wall designs, ceiling curves and interior slope of the theater circa 1940
courtesy the Getty Museum Special Collections
The concession stand at the Academy Theater circa 1939
courtesy the Thom Bend & Preston Kaufman Collection & The Academy of Motion Picture Arts and Sciences
The class and elegance of the Academy Theater was evident throughout the entire building.
Pictured here is the entrance to the ladies “powder room” circa 1939
courtesy of the Getty Museum Special Collections
The Projection Room at the Academy Theater circa 1939
courtesy the Getty Museum Special Collections
Julius Schulman Iconic Photographer
Julius Shulman was an American architectural photographer best known for his photograph "Case Study House #22, Los Angeles, 1960. Pierre Koenig,Architect."
The houseisalso known asThe Stahl House. Shulman's photography spread California Mid-century modern around the world. Through his many books, exhibits and personal appearances his work ushered in a new appreciation for the movement beginning in the 1990s.
His vast library of images currently reside at the Getty Center in Los Angeles. His contemporaries include Ezra Stoller and Hedrich Blessing. In 1947, Julius Shulman asked architect Raphael Soriano to build a mid-century steel home and studio in the Hollywood Hills.
Some of his architectural photographs, like the iconic shots of Frank Lloyd Wright's or Pierre Koenig's remarkable structures, have been published countless times.
The brilliance of buildings like thosebyCharlesEames, aswellasthose of his close friend, Richard Neutra, was first brought to light by Shulman's photography.
The clarity of his work
demanded that architectural photography had to be considered as an independent art form.
Each Shulman image unites perception and understanding for the buildings and their place in the landscape. The precise compositions reveal not just the architectural ideas behind a building's surface, but also the visions and hopes of an entire age. A sense of humanity is always present in his work, even when the human figure is absent from the actual photographs.
Today, a great many of the buildings documented by Shulman have disappeared or been crudely converted, butthethirstforhispioneeringimagesis stronger than ever.
It has been documented that one of Shulman’s favorite buildings to shoot was the former Academy Theater in Inglewood, California, now known as Academy Cathedral an internationally known House of Worship.
In2000JuliusShulmangaveup retirement to begin working with business partner Juergen Nogai.
The Getty Research Institute held a 2005–2006 exhibition of Shulman's prints entitled "Julius Shulman, Modernity and the
Metropolis”]. The exhibition included sectionsentitled "FramingtheCalifornia Lifestyle," "Promoting the Power of Modern Architecture," "The Tools of an Innovator" and "The Development of a Metropolis". The exhibition traveled to the National Building Museum and to theArt Institute of Chicago.
Julius Shulman and Juergen Nogai have had exhibitions at the Design and Architecture Museum in Frankfurt, Germany, in fall 2005 as well as an exhibition at the Barnsdall Municipal Gallery in LosAngeles 2006, Craig Krull Gallery Bergamont station, LosAngeles, October 2007, and another show in spring 2009. An exhibition of their work is also scheduled in Mannheim, Germany, in 2010.
On Dec. 16, 2007, Shulman attended a showing of his architectural photography at the Los Angeles Public Library[7]. Organized by the Getty Research Institute, the exhibit included 150 photographs documenting architectural changes in Los Angeles over the past 80 years. This progression includes the redevelopment of Bunker Hill, the growth of Century City, the avant-garde architectural designs in Los Angeles such as Watts Towers, Grauman's Chinese Theatre and the Getty Villa, as well as the growth of Wilshire Boulevard. The exhibition features the
industrial engines at the Port of Los Angeles and the Los Angeles InternationalAirport that helped fuel the growth of Los Angeles. Also featured, diverse residential fabric from Echo Park to South Los Angeles. The exhibit spotlighted Shulman's unique role in capturing and promoting innovative, sleek case study houses as well as the contrasting tract housing developments with repeated floor plans.
In February 2008, the Palm Springs Art Museum presented "Julius Shulman: PalmSprings,"guestcuratedbyMichael Stern. Containing more than 200 objects, it is the largest Julius Shulman exhibition ever presented to date.
Shulman's last exhibit at Craig Krull Gallery (his Los Angeles gallery since 1991) was scheduled for July 4th to August 8th, 2009, but Shulman's death one week into the show caused it to be extended by two weeks [9]. Shulman's daughter Judy Shulman McKee-- along with Krull, Nogai, Benedikt Taschen and Wim de Wit-spoke at the Getty Center on Sunday, September 20, 2009 during a memorial to celebrate the life of Julius Shulman.
Julius Shulman died July 15, 2009, he was 98 years old.
Julius Shulman
The Vision of Charles Skouras
Charles P. Skouras was born 1889 in Skourohorion, Greece. He was an American movie executive and president of Fox Coast West. He and his two brothers, George Skouras and Spyros Skouras, came from Greece as poor sons of a sheep herder who rose to become top movie executives.
The Skouras brothers arrived in St. Louis in 1910 from Greece. Living frugally on wages as busboys and bartenders in downtown hotels, they pooled their savings of $3500 in 1914 and in partnership with two other Greeks, they constructed a modest nickelodeon at 1420 Market Street on the site of today's Kiel Opera House. This initial property, named the Olympia, was quickly followed by the acquisition of other theaters.
The brothers incorporated in 1924 with $400,000 capital stock. By then more than thirty local theaters belonged to the Skouras Brothers Co. of St. Louis.
The biggest moment for the Skouras empire came when their
dream of building a world-class movie palace in downtown St. Louis was grandly realized in 1926 when the $5.5 millionAmbassador Theatre Building opened (this theater reopened in 1939 as the New Fox Theatre). In 1929, following the depression, the triumvirate sold out toWarner Brothers and moved east to claim top executive places in the industry.
Charles became president of Fox Coast West and commissioned architect S. Charles Lee to design and build the Academy Theater in Inglewood, California.
When Charles and his brothers were still trying to get ahead in Hollywood, he made a vow to God that he would build a majestic cathedral if God would grant him success in show biz. Charlie Skouras got his wish. He went on to become the head of National Pictures and a man of his word, built the Saint Sophia church in 1952, in what was then the Greek section of town
Charles Skouras died in 1954.
St. Sophia Church Charles Skouras
The Academy Theater
copy of the program from the premier of “Another Thin Man” at the Academy Theater (circa 1939) courtesy of the Academy of Motion Picture Arts and Sciences Library.
The Grand Opening
November 9, 1939 was a significant day for the City of Inglewood, Los Angeles, and the Hollywood Movie Community.
This day marked the grand opening of The Academy Theater.
The showplace of S. Charles Lee and the favorite subject of Julius Schulman was about to open its doors to a curious public.
The Academy opened with a world press preview of the 1939 hit, “Another Thin Man” starring William Powell and Myrna Loy. This film was the third in a trilogy of extremely successful “Thin Man” films and it also marked the return to the screen of Mr. William Powell, one of the world’s most bankable actors of the era, after more than a year away from the scene due to illness.
The hosts for the evening was Powell, actress Myrna Loy, MGM President, Louis B. Mayer and Fox West Coast Theater President, Charles Skouras.
The theater that Lee wanted to have the “feel that only the church had given before” was now open and in addition to the more than 1100 press and industry types who were privileged to have an invitation to attend the gala, more than 4,000 fans sat in bleachers that were erected on the sides and in front of the theater to view the festivities.The opening ceremonies were broadcast via radio from 8:30 to 8:45 p.m., something unheard of at the time, however, it was more proof that no expense was spared in bringing this grand theater to life.
For the films stars it was a return to glory. Myrna Loy was one of Hollywood’s leading ladies and William Powell seemed to have not lost any of his luster, according to the November 10, 1939 edition of Daily Variety even after an extended absence from the Hollywood scene. While the November 9th preview was the first official showing of “Another Thin Man,” it was “sneak previewed” earlier in Pomona and survey cards received from fans heralded it as the best of the three “Thin Man” pictures,and the Academy received rave revues as the theater of the future.
Pages 2 & 3 from the
program of “Another Thin Man” premier at the Academy Theater (circa 1939)
The Academy & The Oscar
According to the website “Cinema Treasures” the Academy Theater was commissioned to house the Academy Awards, and while this could not be verified a very unique piece of art work was installed and remains a permenant fixture in the building today.
In the foyer is a unique piece that is described in the original program from the grand opening as “A rare work of artistry. A mural incredibly sandblasted into the delicate glass and representative of the Academy Award theme.”
This image is a one of the few public displays of the pretrademarked “Oscar” image and was a admired show piece during its theater days.
The display is described as a heavenly being holding and admiring the Academy Award.
Although it is not on public display this work of art remains in perfect condition 68 years after it was created.
A close up view of the
“Mural” in the foyer of
the Academy Theater circa 1939 courtesy of The Getty Museum Special Collections.
The Birth of Academy Cathedral
By the 1960’s the Academy Theater had began to lose some of its luster. Although it was still one of the most beautiful theaters to enjoy a movie in, the surrounding area was beginning to change.
This coupled with intense competition from other movie houses in the area and a changing economic community, began to have a negative affect on the Academy.
Once the premier movie house for movie premiers and movie showcases, the Academy, as well as other movie houses were now in fierce competition with Hollywood and its state of the art movie houses.
During this time, a young minister from Dallas Texas was being prepped to become a part of the history of the Academy.
Reverend Hart had an unshakable faith in God that was evident to anyone who met him. His ministry grew throughout the United States and he made friends where ever he went.
were not involved in any church activities or living the christian life. Because of his love and concern for them, he asked their parents if they could come to California to work in the ministry.
ing Reverend Hart established in his years as an evangelist, services at Calvary Temple were filled to capacity. It was not unusual for Reverend Hart to conduct three services per day, seven days a week.
Reverend Doyle Hart began his ministerial career in 1939, (ironically the same year the Academy opened its doors) as a pentecostal evangelist. Reverend Hart, along with his brothers and sister-in-laws traveled the world ministering Gods word in “tent revivals”, churches and anywhere else they were allowed to preach.
At one of his many evangelistic crusade to Fayettville, North Carolina, Reverand Hart met and became friends with the Britt family. His bond with the Britts’ would create life changing experiences for the entire family.
Dad and MomBritt, and their four children Elaine, Mitchell, Jimmy and Connie loved Reverend Hart and always looked forward to his visits.
On one of these visits
Reverend Hart noticed that the older Britt children, Elaine and Mitchell,
Reluctantly, the parents allowed Elaine and Mitchell to come first. They would be joined by their siblings, Jimmy and Connie two years later.
In the early 1960’s
Reverend Hart felt the call of God to establish a ministry in the Los Angeles area.
He established his first church in Los Angeles in the old Triple ATheater Building on the corners of Broadway and Manchester, just outside of Watts California. The church was named Calvary Temple.
Because of the large follow-
Elaine and Mitchell were actively involved in all aspects of the ministry. Wherever there was a need they filled it.
It was not unusual for themto participate in the service, then work three or four days per week after the service in the church print shop preparing mailer's, flyers, and other items for outside customers of the print shop.
This created a work ethic, commitment to ministry and faith in God that would follow them throughout their lives.
Elaine was a natural born leader and became the “unofficial” right hand to Reverend Hart.
She had a knack for business, and an interest in real estate, finance and the advancement of the ministry. Her business acumen would become invaluable to the ministry. continued on page 50
Doyle Hart
By early 1965 the ministry at Calvary Temple had crossed all economic and racial lines. People would come from as far away as Orange County California to worship in this predominately Black area, that is until the Watts Riots broke out in August of that year.
The Watts Riot had a devastating affect on the ministry.
White people would no longer come into the area, and Black people would not come to a church with a White Pastor.
Friends and family members encouraged Reverend Hart to leave the area, however, he remained steadfast to the call he believed God had placed on his life.
By the early seventies, the ministry had once again began to flourish and the need for a larger facility was becoming increasingly evident.
usual, they marveled at the beauty of the theater and how it was always filled with movie goers.
On this particular day, Elaine decided to drive through the parking lot to get a closer look.
This would set into motion a series of events that would change the ministry forever.
“I was sitting at my desk and something came over me” said Elaine. We had passed the building time and time again
After one of their Sunday afternoon lunch outings, Reverend Hart, Elaine and some of the other workers went to one of Reverend Harts favorite restaurants which happened to be across the street from the Academy Theater, and as
crazy? Elaine was not deterred.
“Although we had built a reputation for always paying our bills and we had excellent credit, we had no where near the kind of money to buy the building. He eventually said if I wanted to look into it, go ahead.” Elaine said.
and I began to wonder if the owners would be interested in selling the building? The more I thought about it, the more excited I became”.
The time finally came to present it to Pastor Hart. “Would you be interested in buying the Academy Theater? Elaine asked, the look on his face said are you
The initial call was met with surprise and wonderment on the part of the owners of the Academy. The theater was still in operation, and their was no indication that the building was on the market.
The building was not for sale, she was told, however, if they decided to sale, they would contact Ms. Britt.
It is a commonly held belief that smart business people, surround themselves with people who are smarter in areas where they may be weak.
When Reverend Hart brought a young Elaine Britt to
California, little did he know that her business savvy would take the ministry to the next level.
“I am not sure how long it took for them to call, but everything began to happen very quickly after the initial call”, said Elaine.
“The attorney for the owners called and said they may be interested in selling the theater.”
After a very short negotiation period, an offer was made by Elaine Britt on behalf of Reverend Doyle Hart and the ministry for thousands less than the asking price.
The offer was accepted and in the following weeks the transformation of the Academy Theater began.
In 1939, architect S. Charles Lee said “He wanted to create a theater with the feel that only the church had given before” and in 1975, 36 years later the Academy Theater was about to transform intoAcademy Cathedral and become one of the most well known houses of worship in the world.
The Vision of Rev. Doyle Hart
Men with vision are a rare breed and men that move on their vision are an even rarer breed.
In the Book of Proverbs, in the twenty-ninth verse and eighteenth chapter King Soloman wrote “where there is no vision the people perish.” Meaning vision beyond our actual physical vision is necessary for life to continue as we know it.
It took vision for the automobile to become more than a horseless carriage.
It took vision for the telephone to become a neccesity in our lives and it took even greater vision to have a wireless telephone.
The three men already discussed in this book, S. Charles Lee, Charles Skouras, and Julius Shulman were the visionaries to bring the Academy Theater into existence, however, Pastor Doyle Hart’s vision would bring God’s divine plan into order for this historic building.
The vision of Pastor Doyle Hart for theAcademy Theater was to create more than just a church.
His vision was to create a house of worship where sick people could receive healing, those that were bound by alcohol, drugs or any other vices life may have tossed their way, could be delivered, and that people could come to know a true and living God that loved them and wanted nothing but the best for them.
The Academy Theater was known as a jewel within the entertainment industry, and Academy Cathedral has become a jewel in the kingdom of God.
Millions of lives around the world have been touched because of the vision of Pastor Doyle Hart that has eminated from the pulpit of Academy Cathedral.
The message of hope preached by Pastor Hart has gone out over the radio air waves for more than 30 years, and he has ministered on every continent in the world.
Because of his vision to reach the world for Christ, the ministry of Pastor Hart supports missions in the Phillipines, Brazil, Haiti, Russia, Mexico,and Africa.
He has preached in all 50 states and the local ministry (Academy Cathedral) has programs that distributes fresh fruits and vegetables to those in need, helps the homeless, educates youth and young adults in the community, gives young ministers an opportunity to grow in ministry, and has become an influential leader in the community.
His efforts have been recognized by United States Presidents Reagan, Bush and Clinton,and Obama members of the United States Congress, and Senate, many local community and civic leaders and the congregation he has led since 1975.
The ministry of Academy Cathedral continues to thrive more than 30 years after its birth because of the vision of one man, whose ministry has touched the lives of millions..
In 1939, S. Charles Lee said he wanted to create within the Academy Theater “a movie theater with the feel that only the church had given in the past.”
In 1975 Pastor Doyle Hart took a theater and converted it into a church, in a sense, fulfilling S. Charles Lee’s original vision.
Four incredible men, S. Charles Lee, Charles Skouras, Julius Shulman and Pastor Doyle Hart’s lives have been indelibly linked together in a building made of brick and mortar but has brought entertainment, joy, and spiritual renewal to the souls of men and women boys and girls for more than seven decades.
The Academy Theater became Academy Cathedral a change that not only impacted a community, but brought hope to countless numbers of people in search of hope and restoration.
The building that once showed movies that touched the lives of people around the world, now houses a ministry that is touching the souls of people around the world.
Inside the Academy Cathedral
Some of the top Ministers & Gospel performers in the world have passed through the doors of Academy Cathedral.
Rev. Don Stewart
Vicki Winans
Dr. Mattie Moss Clark
Evangelist Gene Martin
The Mighty Clouds of Joy Bishop Walter Hawkins
The Hart Brothers
Dr. Mike Murdock
Tramaine Hawkins
The Clark Sisters
The Winans
Beau Williams
Rev. W. V. Grant
John P. Kee
Linda Hart
Pastor Marvin Winans
Reverand Doyle Hart
The Academy Theater 1942 Academy Cathedral 2010
Art/Architecture
The Incredible History of The Academy Theater
James Thomas is a Entrepreneur, Author, and Motivational Teacher. His company BEM Media Group Inc, sells Information (newspapers, books and magazines), Entertainment (movies, documentaries, music and film) and Motivational Products.
Mr. Thomas is the founder of Words of Wisdom International, a ministry that produces the Words of Wisdom radio program, and host the Expect To Win Conferences around the country. He is also the President and Founder of the Janice Denise Thomas Foundation, a non-profit organization that distributes stuffed animals to adult patients for christmas. He teaches biblical success principals weekly and is a highly sought after speaker who has inspired audiences nationwide and in the Bahamas.
To contact Mr. Thomas please go to www.bemmediagrp.org or call BEM Media Group at 310-270-0712.
ISBN Number: 978-0-9701577-0-6