Théâtre Séville (Montreal)

1. Overview

Opened in 1929, the Théâtre Séville is one of the rare Montreal examples of an “atmospheric” cinema, whose interior décor simulated an open-air Spanish courtyard, complete with a starry ceiling and moving cloud mechanisms. Over time, it functioned as a movie house, live theatre, concert venue, and repertory cinema until its closure in 1985.

2. Heritage values

The Séville holds major heritage significance for:

• its monumental façade, typical of neighborhood movie palaces (1915–1930);
• its status as one of only 15 atmospheric cinemas in Canada;
• the importance of architect Joseph-Cajetan Dufort;
• the interior décor by Emmanuel Briffa, master designer of Quebec theatres in the 1920s–1930s;
• its central role in the cultural development of downtown Montreal.

3. Defining features

• Simple massing, rectangular plan;
• Brown brick cladding with beige artificial stone ornamentation;
• Symmetrical façade with three bays;
• Stylized pilasters, flattened arches, paired windows, central triple bay;
• Molded metal cornice and imposing parapet;
• Marquee (1950) and vertical “SEVILLE” sign.

4. History & development

1928–1929 — Construction on the site of the former Douglas Methodist Church. Dufort designs the façade; Briffa creates a Spanish atmospheric interior with a starry ceiling.

1950s — The Séville hosts Nat King Cole, Louis Armstrong, Duke Ellington, Count Basie, Cab Calloway, Sarah Vaughan, Tony Bennett, Les Paul & Mary Ford, and many other major artists. Complete interior remodeling by Oscar Glas. The original atmospheric décor is removed.

1968 — A fire severely damages the building.

1973 — Famous Players abandons the venue; it becomes a repertory cinema.

1985 — Permanent closure. Final screening: Stop Making Sense (October 31).

1990 — The City designates the façade as a protected heritage property.

1994–2009 — Severe deterioration, collapsing walls, failed redevelopment projects, and ongoing controversies with developers.

2010 — Complete demolition. Construction begins on the residential “Le Séville” project.

5. Stars & press reviews (1930s–1950s)

Montreal press clippings confirm that, from the 1930s through the 1950s, the Séville was a major stage for jazz, big bands, country & western, and vaudeville, hosting numerous international headliners at the height of their careers.

5.1 Woody Herman and His Orchestra

In late 1951, several reviews in the Montreal Star and the Montreal Gazette praised the appearance of Woody Herman and his big band at the Séville. Critics described a group of highly skilled young musicians, slightly “heavy on brass” (four trumpets, three trombones, four saxophones), yet delivering a powerful, controlled sound. The program highlighted pieces such as Pass the Basket, Dixie, Yeah Man and The Plumbers, along with a medley of earlier hits. The “boys” were applauded for their solos, with saxophones and trumpets taking turns in the spotlight. Supporting acts included singer Tommy Edwards, comedian Johnny Morgan, vocalist Dolly Houston, and dance duo Bobby Lane & Claire, often described by reviewers as “better than average.”

5.2 Cab Calloway at the Séville

In November 1951, the Séville presented Cab Calloway and his Cotton Club–associated orchestra for multiple performances. Reviews spoke of one of the loudest yet most disciplined bands on the circuit, with a strong measure of brass quality. Calloway offered a unit show, a popular theatre format of the era: a complete bill combining music, dance, and comedy in a single revue. Reports mention numbers such as Fine and Dandy, This Is Always, Mombo/Mamba Syncopation, and, as the finale, the inevitable Minnie the Moocher, with the audience responding to the famous hi-de-ho calls.

Several specialty acts surrounded Calloway: dancers Billy & Ann, the “iron-jaw” novelty performer Saxie Williams (dancing while holding a chair or table with his teeth), and comic duo Howell & Bowser. Critics called the bill a “big hit,” emphasizing the band’s discipline and Calloway’s stage charisma.

5.3 Tommy Dorsey and the big orchestras

The following week, still in 1951, the Séville booked the Tommy Dorsey Orchestra. The press noted that, while the new lineup might have been less spectacular than Calloway’s, it more than compensated through musicianship. Dorsey was described as “the finest muted-trombone maestro in the business,” while trumpeter Charlie Shavers was presented as one of the most gifted instrumentalists of his time. Saxophonist Sam Donahue and singer Frances Irvin were also singled out, along with the Brownley Sisters and comedian Joey Forman, known for his impressions of Hollywood stars.

5.4 Coleman Hawkins, Arnett Cobb & Roy Eldridge

A clipping titled “Seville to Try Jazz Concert” announces a concert jazz program featuring two major orchestras: that of tenor saxophonist Arnett Cobb and that of Coleman Hawkins, billed as “King of the Tenor Sax.” The concert also brings together trumpeter Roy “Little Jazz” Eldridge, drummer Kenny Clarke, bassist Curley Russell, pianist Don Ebony, and vocalist Wini Brown. The notice stresses Cobb’s reputation as “The Wild Man of the Tenor Sax” and traces Eldridge’s career through the bands of Gene Krupa, Artie Shaw, and other major names.

5.5 Louis Jordan & his Tympany Five

A Montreal Gazette review devotes a full column to Louis Jordan and his Tympany Five at the Séville. The journalist emphasizes Jordan’s stage command, “dominating the stage” through personality as much as instrumental skill. The bill is rounded out by variety turns: juggling duo Payo & Mai, master of ceremonies and impersonator Will Jordan, singer Helene Dixon in pop and standards, and the dancing Haydens, backed by the Len Howard Band in the pit.

5.6 Management & audience memory

Another clipping profiles Gordon Dahn, former Séville manager for the United Amusement Corporation, later appointed to lead another venue (the New York Theatre). It recalls that he opened the Séville in the midtown area and came from a show-business family—his father, Harry S. Dahn, produced numerous revues at the Capitol.

Finally, memoir articles and letters to the editor from the 1990s (notably “Satchmo wowed us at the Seville” and a letter titled “Sacred ground”) attest to enduring public attachment. They evoke appearances by Louis Armstrong and his All Stars in the early 1950s, as well as the long list of stars seen at the Séville: Frankie Laine, Patti Page, the Ames Brothers, the Mills Brothers, the Ink Spots, Les Paul & Mary Ford, Chico Marx, Jimmy & Tommy Dorsey, Georgia Gibbs, Tony Bennett, and many others. One correspondent concludes that “Satchmo’s” performances alone would be enough to make the Séville “sacred ground” for jazz lovers.

5.7 Duke Ellington at the Séville

A Montreal Star review covers an appearance by Duke Ellington and His Band at the Séville in the early 1950s. It describes sixty minutes of “highly entertaining” performance, powered by a well-balanced ensemble (six brass, full rhythm section, and Ellington at the piano) in which “every musician is accomplished.” A boogie number spotlights saxophone, clarinet, trumpet, and trombone, while Ellington presents a medley of his best-known themes and a notably received version of Caravan featuring violin. The review also notes a spectacular percussion feature and trumpet playing judged “unusual.” Vaudeville specialties round out the bill: comedy by Howell & Bowser, tap dancing, singing by Jimmy Grison & Betty Roch(e), and ventriloquism by Chester Calhoun with his dummy “Red,” all warmly received by the audience.

5.8 Country & western: Webb Pierce and Hank Snow

The 1950s also saw the Séville become a temple of hillbilly / country & western. Multiple articles cover tours by Webb Pierce, a Grand Ole Opry star, and Hank Snow, born in Nova Scotia but a Nashville headliner.

For Webb Pierce, critics describe a complete “Grand Ole Opry Show”: Red Sovine as master of ceremonies, Sonny Burnette on steel guitar, Jack Kay on fiddle, Roy Hall on piano, Jack Green on guitar, Ike Inman on bass, and comedian “Peach Seed” Jones for comic interludes—supported by the pit orchestra of Len Howard. Pierce delivers his hits (It’s Been So Long, I’m Walking, If You Were Me, There Stands the Glass), “sending the house into a frenzy,” according to one reviewer. Another, harsher on Peach Seed’s rural humor, nonetheless acknowledges the band’s musical level, calling it a “dandy show” for fans of ranch serenades and barn-dance rhythms.

Articles about Hank Snow describe a “Popular Western Singer” filling the Séville with hillbilly ballads and western swing alongside his Rainbow Ranch Boys (fiddle, guitar, bass, steel guitar). Reviewers note his relaxed stage manner, putting the audience at ease until they are “almost part of the show.” Snow performs several of his hits— Now and Then There’s a Fool Such as I, Rhumba Boogie, My Mother, Your Brand on My Heart, Cotton-Eyed Joe— while comedian Sleepy McDaniel breaks the pace with rural humor, and Dot and Smoky contribute their own set of western songs. For country fans, a critic concludes, “it’s a great week; for those who hate this kind of music, it’s best to stay away from the Séville this week.”

5.9 Tony Bennett & major variety revues

A Gazette article announces Tony Bennett, then a Columbia Records headliner, as the “star” of the Séville program. From the first performance, fans shout their enthusiasm after each song. Bennett is described as having a friendly, composed style, attentive to what is happening onstage and to how he treats his audience. He performs most of his recent hits, including the inevitable Rags to Riches. The revue also includes harmonica duo The Madcaps, comedian Jimmy Casanova, and the acrobatic balancing act Whaling & Yvette, all supported by Len Howard’s orchestra.

Another clipping, dated January 1953 and titled “Variety Revue of Eight Acts Booked Into The Seville Today”, highlights the theatre’s policy of constantly scouting for headliners and unusual acts. It notes that the house has already presented the Bowery Boys, Ray Anthony, Gil Lamb, Buddy Rich & Karen Chandler that year, and is preparing to welcome Louis Armstrong, Gisele, and Les Paul & Mary Ford. The featured revue lines up eight acts (18 performers): singer Buddy Costa, acrobats The Latinos (wire act) and Tien Tsi Liu Troupe, vocal duo Herb & Betty Warner, dancers James & Jardene Williams, jugglers Seldon & Joyce, and a comedy sketch by Joe Morris & Barbary Barry. The Séville thus positioned itself as a true American-style variety theatre.

5.10 Les Paul & Mary Ford: Montreal debut

A review titled “Excellent Act at Seville – Les Paul and Mary Ford Make Montreal Debut” celebrates the first Montreal appearance of the famed duo Les Paul & Mary Ford. Accompanied by bassist Wally Kamin, they deliver a show packed with multiple guitar effects and “good playing” supporting Mary’s supple vocal lines. Their stage manner, described as friendly and relaxed, and the singer’s simple, elegant dress contribute to the act’s impact. The program consists largely of their recording hits: Waiting for the Sunrise, Mocking Bird Hill, My Baby’s Coming Home, How High the Moon, Meet Mr. Callaghan, Bye Bye Blues, and Tiger Rag. The evening’s “most sophisticated” moment is said to be a variation on Home Sweet Home, with new lyrics by Wally Kamin, greeted with great enthusiasm. The critic concludes that you can only want to see them again in person, since they are “great performers”.

The same review also describes the supporting acts: comedy trio Lou, Hite & Stanley, contrasting in height (from under four feet to over six and a half), whose Andrews Sisters parody in disc playback “brings the house down”; impersonator Buddy Clayton, who reproduces various stage and screen stars; and contortionist Meribeth Olds, able to bend so far as to “sit on her own head” while remaining strikingly graceful.

5.11 Dizzy Gillespie, Guy Mitchell & a bop revue

Under the headline “Lively Show at Seville – Dizzy Gillespie Quintet Delights Big Audience”, another article describes a fast-paced “all-star” revue headlined by the Dizzy Gillespie Quintet. The group features a rhythm section (bass, drums, piano doubling on xylophone), plus saxophone and Gillespie’s trumpet, delivering high-energy bebop including “Tin Tin Deal”. The audience, highly enthusiastic, refuses to let them leave the stage. A second singer, in a bop style, handles vocals on Honeysuckle Rose and other standards.

The revue also includes the Merino Sisters, a trio of young acrobat-dancers opening the show with a rapid, spectacular act; comedians The Chords with their impressions of famous bandleaders; ventriloquist Roy Douglas and his dummy Eddy Echo; and performer Vicki with her doll Anna Banana. Singer Guy Mitchell, described as a likable young baritone with a distinctive style, receives a warm welcome from the “hep crowd.” The pit orchestra of Len Howard provides continuity, and the film portion includes the comedy Leave It to Henry plus a basketball short.

5.12 Oscar Peterson heads a vaudeville bill

In “New Program at Seville – Oscar Peterson Heads Five Vaudeville Acts”, the critic admits the week’s bill is “not quite up to” the Séville’s usual standards, but insists that Oscar Peterson more than makes up for it. The Montreal pianist is presented as an artist “always worth hearing,” with admirable technique, an extremely powerful left hand, and a keen sense of rhythm. On this visit, he is accompanied by bassist Ray Brown, though the writer notes that Peterson is enough of a showman to carry the stage alone.

The program begins with You’re Too Marvelous (with voice), then continues with Tenderly, Little White Lies, The Man I Love (spotlighting the bass), and Dark Eyes. Supporting turns include soprano Claudia Pinza singing excerpts from South Pacific and titles like My Heart Cries for You and Possibilities; juggling trio The Swifts; comedian Alan Carney with dialect stories; and dancers Burns Twins & Evelyn opening the evening. Len Howard’s orchestra provides accompaniment, and the feature film is the burlesque comedy Jiggs and Maggie Out West.

5.13 Lionel Hampton: big band and full show

An article titled “Lionel Hampton Band Heads Excellent Bill” reports that Lionel Hampton brings his 17-piece orchestra to the Séville, welcomed by “capacity audiences” who loudly show their appreciation. The critic calls it one of the best shows presented at the theatre, combining music, dance, and comedy. The brass section (saxophones, trumpets, trombones) is described as abundant without ever becoming overpowering, thanks to Hampton’s sense of balance as he leads the ensemble with a strong rhythmic presence.

During the show, Hampton delivers a notable drum duet with Curley Hammer, then demonstrates vibraphone virtuosity in a number praised as a “beautiful bit of work.” Comedy comes from duo Cook & Brown with gags and tap-dance; Curley Hammer returns to sing; vocalist Sonny Parker performs a number; and Elsie Smith offers a blues. Finally, dancer-pianist Ann Nichols delivers a spectacular act combining tap, acrobatics, and piano, culminating in fast rhythms played while dancing. The reviewer concludes that the bill is “packed with entertainment and highly recommended.”

5.14 Sarah Vaughan “tops” the variety bill

In the column “The Variety Stage”, a piece titled “Sarah Vaughan Tops” recounts an appearance by the incomparable Sarah Vaughan at the Séville. Dressed in a striking white gown that draws compliments from women in the audience, Vaughan delivers a perfectly controlled song program. She opens with ’S Wonderful, follows with Idle Gossip, the ballad If I Knew Then, then How Important Can It Be, before shifting tempo with Old Devil Moon. Numbers such as What Lola Wants, Lola Gets, Perdido, and Time complete the selection, all served by arrangements judged excellent.

Vaughan is strongly supported by pianist Jimmy Jones, bassist Joe Benjamin, and drummer Hains. The rest of the program includes ventriloquist Walter Walters Jr. and his “family” of dummies (Baby, Mary Lou, Woody Woodhead); the acrobatic quartet The Four Angels (two women, two men); comedian Buddy Clayton with a song about his automobile and various singer impressions; and dancers Billy & Ann in a tap number. Len Howard’s orchestra provides tasteful accompaniment to close this excellent stage show.

5.15 Harry Belafonte: calypso and ballads

A final clipping devotes a long article to Harry Belafonte: “Fine Singing at Seville – Harry Belafonte Big Hit in New Stage Show”. He is described as a tall, well-built man with a “glorious voice” heading a colorful, varied bill. Belafonte fully exploits his rich baritone, called “dramatic,” in numbers such as Mark Twain, where one can almost picture the ship rolling in heavy seas; Timber, evoking loggers and their teams; and Hold ’em Joe, a rhythmic calypso that gets the audience singing along.

He contrasts these with sentimental ballads like Scarlet Ribbons and the spiritual Motherless Child, delivered with great intensity, at times descending to a near-whisper. The critic notes that his version of the folk song Soldier captures its charm, but that it is above all Matilda, with its unique introduction, that provokes the strongest reactions and brings the whole house into the refrain. Belafonte is presented as a true balladeer, with an engaging personality and strong showmanship—“a must for anyone who enjoys good singing.”

Several supporting acts surround him: dancers Johnny Conrad & troupe, including an “oriental” tableau to Song of India and a calypso dance number; xylophonist Betty Brett, playing at astonishing speed; balancing act The Delmars, performing dramatic lifts; and comedian Mickey Deems, telling stories about couples and marriage. As usual at the Séville, Len Howard’s orchestra provides solid backing and helps make the revue a “very enjoyable” evening.

6. Press excerpt — The Gazette (June 9, 2010)

From Sinatra to pigeons: a timeline

• 1929 — Opening; atmospheric cinema (starry sky). Presents Sinatra, Davis Jr., Nat King Cole, Armstrong.
• 1978–1985 — Repertory cinema (Rocky Horror Picture Show). Closes after a quadrupling of rent.
• 1990 — Designated a heritage site (protected façade).
• 1994 — A 12×20-foot wall collapses onto Chomedey Street.
• 1998 — Commercial conversion project (interior gutted). Fails.
• 2002 — Entire block purchased by 158115 Canada Inc. (Stephen Bronfman).
• 2009 — “Séville Residences” project: 1,155 units. Citizen opposition.
• 2010 (February) — Project suspended; municipal proposal for a park.
• 2010 (April) — New residential project: 20 storeys + 11 storeys.

Source: The Gazette, June 9, 2010.

7. Quick timeline

• 1929 — Inauguration / opening
• 1950 — Remodeling
• Early 1950s — Peak era of big bands and variety: Louis Jordan, Cab Calloway, Woody Herman, Tommy Dorsey, Duke Ellington, Louis Armstrong, Tony Bennett, Les Paul & Mary Ford, Dizzy Gillespie, Oscar Peterson, Lionel Hampton, Sarah Vaughan, Harry Belafonte, eight-act revues, etc.
• Mid-1950s — Country & western programming: Webb Pierce, Hank Snow and their Grand Ole Opry-style shows.
• 1968 — Fire
• 1978 — Repertory cinema
• 1985 — Closure
• 1990 — Heritage designation
• 2010 — Demolition