Montreal Community Theatre

Pre-contact history Prior to European settlement, the Tumut Valley area was home to the Wiradjuri Aboriginal people and a regular meeting place of several other groups including the Bigewal, Ngarigo, Wolgol of the southern, tableland and highland Monaro area and Ngunawal from around the Canberra area. During the warmer months of the year these groups travelled through what became Tumut on their way to the Snowy Mountains where they performed ceremonies and feasted on the bogong moth. The word Tumut is derived from a possibly Wiradjuri word for the area, possibly doo-maaht or doormat, meaning "a quiet resting place by the river". Post-contact history of the area The explorers Hume and Hovell were the first Europeans to visit the area when they crossed the Tumut River and entered the Tumut Valley in 1824. The area was first settled in the 1820s. During the early years of settlement and contact around the Tumut area it seems that the Aboriginal people continued to a large extent to visit the mountains and perform ceremony regularly. A property, "Yellowin", in the nea by Blowering Valley was noted as an important meeting place for the Murray, Yass and local Aboriginal people. Large corroborees were held and the women camped there while the men travelled further into the mountains to perform ceremony. As a consequence of settlement and the growth of the town Aboriginal people were more and more alienated from their traditional lands and tradition way of life. By the 1840s many local Aboriginal families were camped on a large pastoral station at Brungle which is close to the township of Tumut. By 1889 it was reported that 100 Aboriginal people resided there in what were described as huts with corrugated iron supplied by the Government. In fact the previous year the Aborigines Protection Board had built a weatherboard schoolhouse near the camp for Aboriginal children. The people subsisted on the Government Ration provided by the Aboriginal Protection Board, which by accounts was frugal and the people were expected to supplement this by hunting fishing and tending vegetable gardens. The theatre at Tumut remains in its original condition apart from the removal of the splayed stage exit fins on the stage which were removed in 1955 to accommodate a cinemascope screen. The splayed fins as well as the design of the stepped loge boxes as part of the dress circle are two of the distinctive elements of Kaberry and Chard's design. Laurantas family The theatre was constructed by local builder Joseph Nyson and was completed by early 1930. By this time the lease on the theatre had been taken up by a Riverina-based entrepreneur of Greek origins, Nicholas Laurantas, his brother George Laurantas and a silent partner, B. Cummins. Nicholas became a leader in the Australian Greek community and from early in his residence in Australia he provided assistance and advice to individuals. As his wealth grew Nicholas was able financially contribute to the preservation of Greek language and culture and the Greek community in Australia by assisting in the establishment of schools, the establishment of a Chair of Modern Greek at Sydney University and assistance to the residential and community based services for the aged, St Basil's Homes. For his contribution to his community and that of NSW and Australia he was knighted in 1979. As well as being a major focus for the social life of the Tumut European community, the movie theatre was a highlight in the week of many of the young Aboriginal people living at the old Brungle Mission or Reserve who, in the 1930s, would ride their horses into Tumut after working on farms around Brungle, in order to see a film at the Montreal. Major technological improvements up until the 1960s included the installation in 1937 of a new Raco No 2 Sound Screen (unfortunately no evidence of the original sound system is to be found) and then in 1955 a new Brakewell cinemascope screen was installed in front of the proscenium arch. At this time the stage was widened by covering over a small orchestra pit and the stage exit fins removed. From the 1970s through to 1998 the theatre was operated by a number of individuals for varying periods of time. It was put up for sale in 1993. At this time a campaign to save the theatre was begun and community interest was such that the theatre was taken off the market in 1994. A steering committee was formed to investigate the possible acquisition of the theatre and eventually an agreement was struck between the Blakeney Millar Foundation Trust, Tumut Council, the Learmont family and the Montreal Steering Committee to run a "living feasibility study". The Foundation provided $30,000 for the study and assistance to operate the theatre. In February 1995 the theatre was prepared for operation by a band of volunteers who painted and cleaned the theatre and sourced and installed second hand projectors, films and gas heaters. In April 1995 a grand opening variety night was held with a capacity audience. Further maintenance and upgrading of the theatre was commenced in October 1995 with the assistance of a government training scheme. In 1997-1998 the Steering Committee secured $40,000 in honoured pledged donations from the community and with the assistance of the Blakeney Millar Foundation the theatre was bought for the benefit of the local community. A Ministry of the Arts grant enabled the purchase and installation of a new screen and stage curtains and in 2000 reverse cycle air conditioning was installed. The roof was restored and painted in 2004. Much of this work was funded through NSW Heritage Council funding schemes. == Description ==

Exterior The Montreal Community Theatre is designed in the Inter-war Stripped Classical architectural style, a transitional style between the Classical and the later Moderne or Art Deco style. The theatre building comprises the theatre shop to the left of the theatre entrance, the foyer, box office, managers office auditorium and dress circle and the stage area with a small backstage area with kitchen storage and a dressing room. • a set of ticket dispensing boxes and ticket stub boxes • a 1930s pedestal fan; • a set of hand made timber and glass exit signs; • the original stage curtain valance; • a 1930s Cumming and Wilson, , silent movie projector fitted with Raaco sound heads which utilised a carbon arc lamp; and • the reel box associated with this projector containing spent and unspent carbon arc lamps. Many of the moveable items have been in storage for a number of years and are yet to be catalogued. A catalogue of moveable heritage will be produced indicating items originally associated with the theatre. This will be revised from time to time and the Director of the Heritage Branch notified. • 1955Decorative stage exit fins removed to allow for Cinema Scope Screen; • 1992Refurbishment of foyer undertaken; • 1998Refurbishment of proscenium and curtains; and • 2003Restoration of roof and vents. == Heritage listing ==

As at 12 March 2013, the Montreal Community Theatre was of state heritage significance as a fine and rare example of an intact interwar movie theatre in rural NSW from the period where cinema going was a predominant leisure activity in Australia. The theatre has been in continuous operation as a cinema and live theatre and a social focus for the community for over 80 years. Its heritage significance at a state level is increased as rural theatres are lost through demolition and redevelopment. Only 11 theatres recognisable as such remained in 2008 of 351 surveyed in 1951. It is also historically significant as it demonstrates, through its management by Sir Nicholas Laurantas and his family, the importance of the Greek community in the development of cinema in NSW and Australia, especially in rural areas. Its historic values are enhanced through its association with the architectural partnership, Karberry and Chard, well regarded and prolific theatre architects, who designed over 150 theatres throughout Australia, 57 of these in NSW. It is also associated with the noted philanthropist Sir Nicholas Laurantas and his family who managed the Montreal as one of their network of cinemas in the Riverina area. The theatre is a rare, fine and representative example of a cinema theatre in the Interwar Stripped Classical style designed by architects Karberry and Chard and is a landmark in the streetscape. It has social significance as it is highly valued by the Tumut and wider district community as demonstrated in the public campaign to raise money to purchase the building in 1998. The theatre contains a number of moveable items associated with its history of operation. Its intact condition and layout including the former milk bar/refreshment room incorporated in the theatre building, as well as the history of its operation is able to yield valuable information on the development of cinematography and cinema going in rural NSW for the past 80 years or more. Montreal Community Theatre was listed on the New South Wales State Heritage Register on 21 June 2013 having satisfied the following criteria. The place is important in demonstrating the course, or pattern, of cultural or natural history in New South Wales. The Montreal Community Theatre and Moveable Heritage Collection in Tumut is of state heritage significance as a rare example of an intact interwar cinema/live theatre in rural NSW from the period where cinema-going was fast becoming a predominant leisure activity in Australia, especially in rural areas with limited entertainment options available. It is one of only three intact theatres in NSW designed by the noted and prolific theatre architects Karberry and Chard who designed over 57 theatres in NSW and 151 in Australia. First managed by (Sir) Nicholas Laurantas and his brother George and later his brother-in-law, the theatre also demonstrates the important role of the Greek community in the development of cinema in the Australian community, especially in rural areas. The theatre is a now rare demonstration of the continuity of an historical activity as it has continuously presented films and live theatre for over 82 years from 1930 to the present day . '''The place has a strong or special association with a person, or group of persons, of importance of cultural or natural history of New South Wales's history.''' The Montreal Community Theatre is of state heritage significance for its association with Sir Nicholas Laurantas who initially managed the theatre with his brother George, passing on the role to his brother in law Peter Stathsis. Sir Nicholas was knighted for his charity work and work with the Greek community over the years after he immigrated to Australia in 1908. Among his works were substantial donations towards the St Basils homes for the elderly and toward the establishment of a chair of modern Greek at the University of Sydney. The theatre is also of significance through its association with the architectural partnership Karberry and Chard. These architects were talented and prolific designers of theatres in Australia including the Wintergarden and the Lyceum in Sydney. The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales. The Montreal Community theatre is of state heritage significance as a fine example of a cinema theatre designed in the Interwar Stripped Classical style which while based on a classical elements, omitted or reduced ornamentation. In Australia it was a transitional style between Interwar Academic Classical and Art Deco. Karberry and Chard's concern with functional design is also reflected in the striking lattice auditorium ceiling where the structure and construction, through carpentry provides a visually pleasing effect. Similarly to other small towns, this theatre's imposing and distinctive facade make it an outstanding contribution to the streetscape. Where as at one time this landmark quality was common in NSW towns, this is no longer the case due to the disappearance of small rural theatres and this increases the Montreal's landmark values to a state level. The place has a strong or special association with a particular community or cultural group in New South Wales for social, cultural or spiritual reasons. The Montreal Community Theatre is of state heritage significance as an increasingly rare example of a small rural theatre being the centre of social and leisure activity and community life for a period of more than 80 years. Its ongoing importance to the community is demonstrated by the fact that it was purchased by a local community organisation through fundraising in Tumut in 1997. The place has potential to yield information that will contribute to an understanding of the cultural or natural history of New South Wales. The virtually intact condition of the Montreal Community Theatre, its offices box office, backstage area, auditorium and moveable heritage as well as its history or "story" can yield information which contributes to an understanding of NSW cultural history and the history and role of cinemas in NSW. The building and its contents demonstrate the growth and development of cinematography and cinema going for the past 80 years or more. The place possesses uncommon, rare or endangered aspects of the cultural or natural history of New South Wales. The Montreal Theatre in Tumut is a rare example of an interwar country cinema designed in the Interwar Stripped Classical architectural style. In 1951 there were 351 cinemas in NSW. In 2008, the Montreal Community Theatre was one of only 11 still recognisable as theatres, the rest having been redeveloped or demolished. It is one of 3 remaining Karbury and Chard designed cinema theatres in NSW. Karbury and Chard originally designed 57 theatres in NSW and 151 in Australia. The place is important in demonstrating the principal characteristics of a class of cultural or natural places/environments in New South Wales. The Montreal Community Theatre is a fine example of a cinema theatre designed in the Interwar Stripped Classical style by noted and prolific theatre architects, Karberry and Chard. It is one of a remaining group of 3 cinema theatres in NSW designed by these architects and features plain panelled, stepped loge boxes and formerly the splayed exit fins typical of their theatre design. == See also ==