The State Theater
by Delaney Byrom
Going to the theater is a luxury most have today. The feeling of excitement while getting all dressed up to see a play or even going to a casual matinee at a local movie theater is what many people look forward to at the end of a long week. However, during Jim Crow, such memories of a lovely night on the town were less rosy for people of color, especially Black southerners. Although there were theaters in San Antonio that allowed no Black patrons, there were a few that allowed all races to enjoy a night at the theater. Built in 1913 and run by a Jewish man named Karl Hoblitzelle who owned the Interstate Theatres circuit, the Majestic Theater opened and was later renamed the State Theater in December of 1929. After the new and current Majestic Theater was built, the theater allowed Black and people of color to experience a popular form of leisure, though not always on their own terms.
The Majestic Theater was a staple location for entertainment in downtown San Antonio as it was the first with air conditioning as well as being known as an atmospheric theater for the decorations that embellished the walls.[1] However, prior to this version, the Interstate Theater company wanted to develop a new and bigger theater and started to build the Majestic’s new home in November of 1929. So they worked with Jon Eberson, a Chicagoan architect to create the new Majestic, and renovate the space for their idea.[2] The opening of the new Majestic left room for the new State Theater to take its old home.[3] The theaters at the time were the Aztec 1926, the Majestic 1929, The State 1929, and later the Woodlawn in 1945. The State Theater had 1,900 seats and had one stage and eventually one movie screen. The State Theater had a top floor that was later occupied by Stowers Furniture after the opening of the first Majestic Theater in 1913.[4] Keeping local business alive, Stowers furniture would advertise movies played in the theater during the week as the theater would return the favor and had advertisements for the store which would provide steady business. But the State Theater would eventually close down in 1961 due to the lack of interest in the foreign films or Spanish language films that were being shown; in return there were little to no patrons keeping the theater alive. The two theaters’ seemingly rivals were both run by the same company, and both allowed customers that were people of color. Ultimately, however, the Majestic Theater was the one who was able to stay in business.
Bringing the State Theater to life was the work of Karl Hoblitzelle, born in 1879 to a family of fifteen in St. Louis, Missouri. Hoblitzelle was an entrepreneur and philanthropist who enjoyed the theater and later developed a successful career in entertainment venues. Prior to his career, Hoblitzelle had to put his studies on hold to help out with the finances at home. He started to work small jobs in order to support his family after finishing grammar school.[5] The jobs included working in real-estate offices and a soap factory. He got his big break as he went to work as an office boy for Isaac S. Taylor, the director of works of the St. Louis World’s Fair. This is where Hoblitzelle learned the most and would eventually get promoted to secretary then as an acting director himself.[6] Although always behind the scenes Hoblitzelle loved entertainment. Prior to his successes with the Interstate Theater Company, he founded his first business, the Interstate Amusement Company, which was in major metropolitan cities in Texas, such as Dallas, Fort Worth, and Houston.[7] All of his businesses were run under his company, Interstate Theaters, or Interstate Movie Corporation in later years.[8] With his love for the theater and interest in vaudeville in the early 1900s, he was able to create a string of successful theaters across Texas from what he learned in the vaudeville circuit in 1905. Because of this, he opened two theaters in downtown San Antonio, the Majestic and State Theater.[9] A self-proclaimed patriot, Karl Hoblitzelle, would offer entertainment to soldiers that were hurt in World War I, but it is unclear whether this was free or not. During World War II he asked customers to donate war bonds, canned goods, or items of clothing to gain entry to his theaters.
Upon the expansion of downtown San Antonio, more businesses were starting to integrate and profit off of it. Hence the opening of the integrated theaters and restaurants. The State Theater allowed Black patrons to enter but made them use a different entrance that was located in the back of the building. This would lead them to their seats which were in the balconies. Black customers would sit in the balconies, purchase refreshments from a separate stand, and would have separate facilities according to Walter Dykes, a San Antonio native.[10] This set the tone for the night as Black customers were aware of the unequal treatment. It is unclear why Mr. Hoblitzelle opened these theaters and allowed Black patrons in them, but it is certain that they did not have the same experiences.
Additionally, the owner of State Theater tried to appease all patrons by hosting famous vaudeville shows and artists of all colors and were able to entertain many. Most notably would be the State Theater’s “Harlem Nights” of the early 1930s, evenings open exclusively to black patrons. For just thirty cents a ticket, Black patrons could purchase tickets for the floor and balcony seats and enjoy their night without segregation.[11] During these nights patrons could enter a contest to win free monthly passes to the theater as well as smaller prizes such as a set of free movie tickets or sometimes even noise makers. This helped generate revenue and sparked interest in the theater itself. In the days of segregation, it was common to have nights like that for African Americans. Most notable places would be Chicago known for “Bronzeville” or Atlanta where the Black nightlife was prevalent and thriving.[12]
The theater went through many changes over the years and transitioned from plays and vaudeville to keep up with the times of silent films and movies. The biggest renovation came in the early thirties when the flooring and lighting was repaired.[13] With the changing times and opening of movie theaters, by adding a screen the State Theater was able to play a plethora of films and opened a door to a whole new generation of viewers. However, the movies that were first shown were not those that everyone favored. With the western films, which often deployed racist tropes and images, many people of color were uncomfortable attending the films and refused to go.
As mentioned before in an interview with Walter Dykes, an African American man and San Antonio native described the State Theater as a clean and friendly place but does recall segregation during the 1950s, “We would have to enter through the back to make sure that the white people got to their seats with no issues. The staff was friendly but from what I can remember (he is 91 and was a teen at the time) we had to make sure that we were up on the balcony.”[14] When asked about a dress code Walter had expressed that there was a rule for a dress shirt and tie, but it wasn’t anything they weren’t used to. Another San Antonio native Juliana Reyes who is 85 has a bit of a different remembrance of the theater in her interview. As a Mexican American, she had a bit of a different privilege than Walter: “I remember they played western films and sometimes my family and I wouldn’t want to go because of that.” When asked about the second entrance she said that she was able to go through the front door with the white customers but would sometimes have to sit toward the back of the theater behind white customers. “It really depended on the film that was playing and how popular it was.”[15] When asked the same question about the dress code, Juliana expressed that it was common to have everything ironed and to wear dresses and nice suit jackets for men.
To romanticize integration seems almost foolish when Black people were still made to feel that they were outcasted while just watching a movie; it almost was a habit of feeling that way. Although the accommodations were not ideal families were still able to enjoy a night out to the best of their ability within the limitations. There was still a bit of pushback or ways that Black customers would prove they were there and very much a part of the equation. The State Theater was a good addition to San Antonio by introducing vaudeville acts, and musical guests for all to enjoy, however, the inequalities may bring back memories that may not have been as pleasant. Overall, the State Theater was a way to enjoy the art and nightlife of San Antonio and there is much more to be discovered.
Works Cited
[1] Scott, J.M. “21 Things to Know about San Antonio’s Historic Majestic Theater.” mySA, June 14, 2019. https://www.mysanantonio.com/150years/slideshow/21-things-to-know-about-San-Antonio-s-historical-107891.php.
[2] Scott, J.M. “21 Things to Know about San Antonio’s Historic Majestic Theater.” mySA, June 14, 2019. https://www.mysanantonio.com/150years/slideshow/21-things-to-know-about-San-Antonio-s-historical-107891.php.
[3] San Antonio Light (San Antonio, Texas), September 15, 1933: 9. NewsBank: Access World News – Historical and Current. https://infoweb-newsbank-com.tamusa.idm.oclc.org/apps/news/document-view?p=WORLDNEWS&docref=image/v2%3A1432DBB4AA9B7B12%40EANX-171FFECB85569671%402427331-171FF91E26FE7A07%408.
[4] “Our History | Stowers Furniture | San Antonio, TX, 78216.” Stowers Furniture. Accessed April 24, 2022. https://www.stowersfurniture.com/ourhistory.inc.
[5] William H. Crain, “Hoblitzelle, Karl St. John,” Handbook of Texas Online, accessed April 24, 2022, https://www.tshaonline.org/handbook/entries/hoblitzelle-karl-st-john.
[6] William H. Crain, “Hoblitzelle, Karl St. John,” Handbook of Texas Online, accessed April 24, 2022, https://www.tshaonline.org/handbook/entries/hoblitzelle-karl-st-john.
[7] William H. Crain, “Hoblitzelle, Karl St. John,” Handbook of Texas Online, accessed April 24, 2022, https://www.tshaonline.org/handbook/entries/hoblitzelle-karl-st-john.
[8] William H. Crain, “Hoblitzelle, Karl St. John,” Handbook of Texas Online, accessed April 24, 2022, https://www.tshaonline.org/handbook/entries/hoblitzelle-karl-st-john.
[9]William H. Crain, “Hoblitzelle, Karl St. John,” Handbook of Texas Online, accessed April 24, 2022, https://www.tshaonline.org/handbook/entries/hoblitzelle-karl-st-john.
[10] Walter Dykes, interview with Delaney Byrom March 18, 2022.
[11] Duncan, Jasper T. San Antonio Register (San Antonio, Tex.), Vol. 2, No. 39, Ed. 1 Friday, December 30, 1932, newspaper, December 30, 1932; San Antonio, Texas. (https://texashistory.unt.edu/ark:/67531/metapth390375/: accessed April 24, 2022), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting UT San Antonio Libraries Special Collections.
[12] “From Riots to Renaissance: Bronzeville: The Black Metropolis.” WTTW Chicago, November 20, 2018. https://interactive.wttw.com/dusable-to-obama/bronzeville.
[13] San Antonio Light (San Antonio, Texas), September 15, 1933: 9. NewsBank: Access World News – Historical and Current. https://infoweb-newsbank-com.tamusa.idm.oclc.org/apps/news/document-view?p=WORLDNEWS&docref=image/v2%3A1432DBB4AA9B7B12%40EANX-171FFECB85569671%402427331-171FF91E26FE7A07%408-171FF91E26FE7A07%40.
[14] Walter Dykes, Interview with Delaney Byrom March 18, 2022, San Antonio, Texas.
[15] Juliana Reyes, Interview with Delaney Byrom March 23, 2022, San Antonio, Texas.