Planning and construction The president and general manager of Pacific Northwest Theatres, Inc., Harry C. Arthur, believed Seattle to be a place of growing importance in the motion picture industry in the mid-1920s, and consequently as the place to invest for the long term. Arthur's company absorbed a competing chain of 40 theatres by 1926, and sought further expansion. A large holder of the theatre company's stock and debt was C. D. Stimson who sat on the board of directors of both Pacific Northwest Theatres and the Metropolitan Building Company, developer of what became known as the
Metropolitan Tract. Stimson promoted the establishment of a theatre district like that which had developed around a theatre he had built in Los Angeles, California. The planned Skinner Building with a theatre owned by Arthur's company would complete the Stimson development of the Metropolitan Tract. The architect,
Robert Reamer, had joined the Metropolitan Building Company after World War I and as their house architect designed the building, inside and out.
Grand opening The theatre celebrated its grand opening on September 24, 1926, with an opening unit program that included both film and live
vaudeville performances. The opening program included the silent film
Young April, Fanchon and Marco's stage presentation
The Night Club, and Lipschultz and his Syncopated Soloists.
Oliver Wallace, a popular local musician and composer, returned from
Portland, Oregon, to be the accompanying organist for opening night. Wallace had been the first theatre organist in a Seattle motion picture house. Opening night was also marked by festivities outside the theatre. Seven blocks of downtown Seattle around the theatre were closed to street car and automobile traffic. Lured by free street car, bus, and taxicab rides, thousands of people packed Fifth Avenue between Seneca Street and Pike Street, University and Union Streets.
The Seattle Times reported: In the street outside the building a street carnival took place. Living up to the moniker for the theater's marquee, "the Magic Sign of a Wonderful Time", spotlights scanned the night sky, banks of
Klieg lights illuminated the streets outside the theater, and flares were shot from the roofs of nearby buildings. In 1979, 43 business leaders formed the non-profit 5th Avenue Theatre Association and underwrote a US$2.6 million loan to save the theatre. Among these was
Ned Skinner of the shipbuilding family who was an active patron of the theatre. Architect Richard McCann oversaw the restoration efforts. Several changes were made during the renovation. The vertical marquee which had marked the theatre's presence from 1926 to 1980, was removed, the orchestra pit and auditorium seating were rebuilt, the dressing rooms moved, and the technical systems updated. However, the furniture, fixtures and interior signage were retained. Even the paint was carefully restored to its original luster. The renovation made it suitable again for live performances and filled Seattle's need for a touring Broadway musical venue. Renovation work was completed without federal, state, or local funds. The 5th Avenue Theatre continues to thrive with the assistance of many generous donors and volunteers. As part of the repair work,
Turner Construction provided services for seismic upgrades to the Skinner Building. In November 2009 a new vertical marquee, similar to the sign that was removed as part of the 1980 renovation, was installed. The marquee was made possible through a donation from Christabel Gough, daughter of Broadway producer and early 5th Avenue promoter
Roger L. Stevens. The new sign features a design inspired by both earlier marquees and the theatre's interior, uses LED lights for energy conservation, and includes a revolving "5th" sign at the marquee's top. ==The 5th Avenue Musical Theatre Company==