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But what made the State different from its
Sydney counterpart was its exterior: it was a
more flamboyant version of the exterior of
Eberson’s Omaha Riviera. Its exuberance
made it virtually unique in Australia and it
brought colour and excitement to a fairly drab
streetscape. In contrast to the State’s classically
Greco-Roman interiors, the exterior evoked the
exoticism of the East, replete with ornate
windows, balconies, richly decorated walls and
windows, and minarets, including one said to
be based on a Cairo mosque. On the Flinders–
Russell street corner rose a 49 metre high,
copper-crowned tower with a clock that could
be seen from across the Yarra River. Its time
was synchronised with an illuminated clock set
into the floor of the foyer.
The State opened on 23 February 1929. The
premiere presentation included Leon
Rosenbroook (‘from the Shubert Theatres, New
York’) with the State Symphony Orchestra of
30; Leon Rosenbrook leading the State Stage
Band; Frank Lanterman (‘from the
Metropolitan Theatre, Los Angeles’) at the
‘mighty State Wurlitzer organ’; Renee Lees at
the second organ console; a live stage
presentation with ballet, chorus, and American
Apache dancers Deno and Rochelle; a newsreel
and two feature films – a Clara Bow romp
called The Fleet’s In, and Buster Keaton in the
now-classic comedy The Cameraman.

Though the State was designed to screen sound
films, its first few attractions were silent.
“Talkies” arrived on 6 April with an obscure
Paramount drama called The Doctor’s Secret.

Like all the large city movie palaces, the State
was hit badly in the Depression. The Over the years, the State presented hundreds
management tried reducing prices, screening of films, some great and many, unfortunately,
three different features per session and offering not. The film of the Queen’s coronation had a
community singing: ‘Come on, ladies, to the six-week run in 1953, and Australia’s first
State Theatre’s morning session to sing the colour feature, Jedda, played for seven weeks
blues away.’ in 1955, the year a CinemaScope screen was
installed. After the introduction of television,
Occasionally the State offered live audiences dwindled alarmingly, and it became
entertainment. In 1934, the Italian magician obvious that the State was far too big. The first
Chefalo transferred his show from the Palace, major city cinema to fall to TV, it closed on
adding a troupe of midgets and a giant to his 1 March 1962 with a pallid double bill,
act. Another magician, the Chinese-American Homicidal and Twist Around the Clock.
Long Tack Sam, was featured in 1935, and
during the war years Gladys Moncrieff gave Under the direction of architects Cowper
concerts in aid of the Red Cross. Graeme Bell’s Murphy and Associates, the theatre was
jazz band played a gig in 1953 and Trevor ‘twinned’ – or split in two. The side walls of
Howard appeared on stage in 1959 to promote the auditorium were brought in and a dividing
his film The Key. In September that year, Billy wall was constructed in front of the old circle.
Graham took the theatre for a week of On 21 April 1962, the former stalls area
evangelical meetings (followed, somewhat reopened as the 944-seat Forum with Flower
incongruously, by a season of Carry On Nurse), Drum Song. On 20 December 1963, the film
and in October Harry Wren announced plans to Charade launched the upstairs theatre, the
use the State for three elaborate live shows 627-seat Rapallo, which had a new entrance
featuring big Hollywood names. Kathryn and foyer off Russell Street, though this was
Grayson and Mickey Rooney would head the abandoned during a 1981 refurbishment, after
first bill, followed by Betty Grable and Harry which the theatres were renamed Forum I and
James, then Eddie Fisher and Jimmy Durante. Forum II. Films were screened for the last time
Bookings were so lacklustre that the project was on 29 June 1986.
abandoned.
In September 1986, Greater Union Theatres
The State’s resident orchestra was disbanded sold the Forum complex to Revival Centres
in 1933, but the stage band was revived several International, a locally-founded Pentecostal
times. Its conductors included Bert Howell, church, for $2.4m. It was the Centre’s
Manuel Raymond and Stan Bourne, the father international headquarters for the next eight
of comedian Shane Bourne. The band gave its years, but it proved too big and too costly to
final performance in July 1952. run.

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