Cultural heritage site.

Details of Site Location: 37-39 Queen Street West, on the south side of Queen almost facing the Revell City Hall west of Bay.

Boundary History: The lot size was 29 by 96 feet, and the theatre filled almost all of the lot. To the east and west were rows of smaller commercial buildings. The back of the theatre faced onto open space behind buildings fronting on the north side of Richmond.

Current Use of Property: Sheraton hotel complex, which extends to York Street and which includes a movie theatre at approximately the same location as the Casino.

Historical Description: Of the three theatres in the Bay/Queen/Richmond/York block, the Casino is the youngest and perhaps the most notorious. It opened in April 1936. Its owner was Edith J. Hyland, who lived at 20 Oriole Gardens. As well as being a theatre, the building housed a newsstand, billiards room and athletic clubroom. The 1,100-seat theatre was rented by Sam Ulster for vaudeville and burlesque. Besides a chorus of twelve leggy girls, everybody played there: Sally Rand, Gypsy Rose Lee, Pearl Bailey, Patti Page, Rosemary Clooney, The Mills Brothers, Rudy Vallee, Mickey Rooney, Victor Borge, and Eartha Kitt. Phil Silvers came for a short appearance and stayed a year. Dorothv Lamour went through her paces on the dusty stage before the strippers took over. Backstage, the dressing rooms had bare floors and a dangling light bulb, a shaky kitchen table, and an army cot. In 1952, Johnny Ray appeared on stage and broke a house record by crying out his songs: in one week he brought in $22,000 at the box office. Fighter Joe Louis came to do a song and dance act, and Basil Rathbone recited Shakespeare. In 1944, Police Chief Draper recommended cancellation of the vaudeville licence because of complaints, and he was supported by the clergy. But the Board of Police Commissioners denied the request. In 1961, the theatre was remodelled and named the Civic Square Theatre, showing movies. In 1963 it was renamed the Festival Theatre. It was not a great success as a movie house, and in May 1965 it was torn down.

Relative Importance: The importance of this building lies, not in its architecture, but in the history of its star performers, and in its later notoriety, which places it among Toronto’s best-known theatres.

Planning Implications: Other than a plaque commemorating its location and star performers, there are no planning concerns, as all of the buildings in the block have vanished leaving no archaeological potential.

Reference Sources: Goad’s Atlas (1890, 1910); City Directories 1937 to 1964; City of Toronto Archives, assessment rolls.

Acknowledgements: James Orr; Peggy Kurtin