Fourth Avenue Theatre (AHRS Site No. ANC-284)

The 4th Avenue Theatre is significant for two primary reasons: its association with Austin "Cap" Lathrop; and its Art Deco architecture.

Cap Lathrop: The Man Behind the Theatre

4th Avenue Theatre stands in testimony to Cap Lathrop not as a monument to him, but as a monument made by him. Lathrop was a visionary. His achievements in transportation, broadcasting, construction, and coal mining were instrumental steps in severing the territory from a frontier past, toward a progressive future.

Austin "Cap" Lathrop, the son of a Michigan farmer, was born in 1865. He left school in the ninth grade and moved to Wisconsin with his family. In 1889 he went to Seattle and began a contracting business in the wake of the city's devastating fire. Lathrop continued in the building industry and profited in the construction of the Anacortes-Fidalgo City Railroad. His prosperity was ruined in the Depression of 1893, consequently, Lathrop began looking for new opportunities.

The year 1895 was an especially important one for Cap as it marked the beginning of his Alaskan ventures. The spark that ignited Lathrop's interest in Alaska was a conversation with Captain Kelly, a salted, maritime man and long-time acquaintance of Lathrop. Kelly talked of the placer gold that had been found in the Turnagain Arm section of Alaska. Lathrop became very interested, not in the lure of golden dreams, but in the opportunities that shipping and freighting could bring during a gold rush. Through a loan from A.E. Barton of the Fry Meat Packing House, Lathrop, Kelly, and John O'Neill bought the L.J. Perry, a small two-masted schooner. Their initial voyage to Cook Inlet led to years of steady success.

Around 1910 Lathrop started the Alaska Transfer Company in Cordova. Like other Cordova citizens, it is reported that Lathrop became increasingly embittered about the closing of the coal fields. Alaskans had to import coal when more than enough of the fuel was nearby. Their displeasure came to a head in 1911 when tons of imported coal were dumped in Cordova Bay. Lathrop is said to have been instrumental in this "coal party." The effort helped to have the desired effect; within three years the coal lands were open. He relocated the Transfer Company to Anchorage in 1915.

Lathrop's political philosophy was tempered during his bitter experiences in resource development and the consequent resource withdrawals. Later when the statehood movement arose, he was leery about the idea he seemed more comfortable with Alaskan independence. He did not stand on the sidelines of politics. His offices and representation included: the Territorial House, 1921-1923; the Republican National Committee, 1928-1932, 1949-1950; and the University's Board of Regents, 1932-1950.

A chain of theatres was formed by Lathrop between 1915 and 1929. motion picture was an eagerly devoured form of entertainment in the northland, and provided a social outlet that could routinely be enjoyed. He delighted in bringing happiness to the children of the rustic Alaskan towns; on holidays he would often open his theatres to the kids for free movies.
Starting with the Empress at Cordova in Other theatres in 1915, Lathrop developed a chain of theatres in Alaska. included Anchorages' Empress (1916), and the Lacey and Empress Theatres at Fairbanks (1929). Besides building movie houses, he became involved in the film industry as well. As president of the Alaska Motion Picture Corporation, he oversaw the 1923 production of "The Last of the Cheechakos."

His later years saw the further expansion of his economic domain; he became the owner of the Fairbanks Daily Newsminer, and the Healy River Coal Mine and he pioneered the development of the broadcasting industry in Alaska. KFAR in Fairbanks and KENI were forerunners of what was to become the Midnight Sun Broadcasting Company.

Cap Lathrop was an active man well into his eighties. As late as 1950, the year he died, he was a delegate to the Republican National Convention and could still make the rounds to his various concerns. While at the Suntrana Mine on July 26, a railroad accident took Lathrop's life. Alaska had lost a foremost citizen one of the first of her self-made men who stayed to invest in her future.

Its Architecture

The 4th Avenue Theatre achieved instant acclaim on the spring day in 1947 when it opened its doors and "The Jolson Story" flashed across its screen. "The theatre is a landmark in the transition of Anchorage from a frontier community to a city of permanence. It is a landmark in the development of a city in which families live, work, play, and die." Such was the accord of the Daily Times editorial upon its gala opening. As the gem of Alaskan theatres, the mammoth edifice has maintained its stature as a major Anchorage building. In consideration of its interior and exterior, the building represents the foremost of Art Deco buildings in Alaska.

One can go to a movie there today and, during those idle moments before a feature starts, observe the respect that the audience has for the building. As eyes wander from mural to mural, to the rich walnut woodwork, to the Big Dipper ceiling lights, it becomes apparent that this interior is a special place to Alaskans. An occasional "They don't build them this way anymore" echoes the sentiment.

Years ago the respect was similar. On the opening night, one initial observer commented, "Touring the theatre's ultra-gorgeous interior is like walking through a kaleidoscope." The original interior color scheme, rose, chartreuse, and light blue, is still intact. The only change of consequence has been the carpeting.

The interior work of Los Angeles-based Heinsbergen and Bouman is exceptional. Of Dutch descent, Heinsbergen started working while in his teens, creating murals and carrying out interior decoration. He is perhaps best known as the decorator of the Pantages theatres. By his own account, he has decorated 751 theatres on this continent as well as state capitols, city halls, hotels, restaurants, and churches. What makes the murals so endearing to Anchorage's movie-goers is their Alaskan motif and how the spirit of land and history is so well captured in gold-leaf and silver.

B. Marcus Priteca (F.A.I.A.) worked with A.A. Porreca and the Heinsbergen firm in creating the theatre. Priteca is just beginning to receive his due respect as a dean of American theatre design. was born in Glasgow around 1889 and received his architectural education at Edinburgh. He emigrated in 1909, establishing himself as an architect in Seattle. By 1913 he had met Pantages and began a long professional relationship resulting in various Pantages theatre designs. Theatres were his forte; however, as a complement to his Jewish faith, he also designed a number of synagogues. His theatre designs include Seattle's The Coliseum (1916 and listed in the National Register), The Paramount (Seattle), The Magnolia (Seattle), The Or theum (Vancouver, B.C.), and The Hollywood Pantages (1927). Hollywood edifice reportedly represents the country's first use of Art Deco in theatre design. Priteca was the first theatre designer to be awarded a fellowship at the American Institute of Architects.

His association with Heinsbergen was extensive. In fact, it has been noted that it is difficult to decipher where Priteca's thoughts and interior design work ended and Heinsbergen's began. Priteca was an outstanding illustrator as well as a draftsman. Some mural concepts might well be attributed to him. He designed various architectural motifs over the years. Although he operated primarily out of Seattle after 1929, he worked in both Seattle and Los Angeles during his career. Yet as the 4th Avenue Theatre illustrates, "late Art Deco" characterized his work during the late 1930s and 1940s. Anchorage theatre can be considered an important contribution to the life of this prolific theatre architect.

Lathrop called the opening of the theatre "the happiest day of my life." However, his message to Alaskans on the dedication brochure tells a bit more of the story and what he intended the theatre to be:

This theatre was built especially for Alaskans...it is the culmination of a sincere wish to bring to the people of Anchorage, and visitors from all parts of Alaska, a theatre unexcelled on the American continent.

To many who have been entertained at the 4th Avenue Theatre, they know. that Lathrop succeeded in fulfilling that wish.