Performing Arts

In the 1920s, a jewel of Detroit entertainment arose on the Westside—the Grande Ballroom. The venue flourished under the ownership of infamous gambler Harry Weitzman and management of dance scion Paul Strasburg. The advent of rock 'n' roll pushed the ballroom into hard times, but in 1966, local schoolteacher and disc jockey Russ Gibb resurrected it with the promise of live rock music. The new psychedelic ballroom style attracted scores of suburban baby boomers and helped launch the careers of local legends like the MC5, Iggy Pop, Alice Cooper and Ted Nugent. Soon the ballroom's prestige attracted international acts like Cream, the Who and the Jeff Beck Group. Detroit music history expert Leo Early celebrates this beloved venue.

Detroit broadcasting history is rich with character . . . and characters.

It began atop the Penobscot Building on October 23, 1946, when WWDT shot a signal to the convention center, part of a ""New Postwar Products Exposition."" WWJ-TV offered scheduled programming in June 1947, and WXYZ-TV and WJBK-TV jumped in a year later. The medium has influenced the city's personality and social agenda ever since. Soupy Sales turned getting a pie in the face into an art form. Mort Neff celebrated the state's outdoor charms. George Pierrot showed Detroiters the world. Other beloved personalities include: Milky the Clown, Ed McKenzie, Sonny Eliot, John Kelly, Marilyn Turner, Robin Seymour, Bill Bonds, Dick Westerkamp, Jingles, Bill Kennedy, Lou Gordon, Captain Jolly, Johnny Ginger, Auntie Dee, and many more.

Utilizing remarkable images from the Manning Brothers Historical Collection, the Michigan Opera Theatre Archives, and several additional collections, Michael Hauser and Marianne Weldon have captured the excitement of the shared entertainment experience in Detroit Opera House.

The theater known today as the Detroit Opera House has been an integral part of the city's culture and history as well as the live entertainment industry. Its existence has been threatened in the past, but it has survived wars, the Great Depression, civil unrest, economic meltdowns, the abandonment of downtown, and, most recently, a pandemic. Generations of patrons have fond, vivid memories of attending films, stage presentations, or events with family and friends as it transitioned from the Broadway Capitol to the Paramount to the Grand Circus to the Detroit Opera House. The reason for building these "temples of amusement" was to literally transport a guest into another world, and the Detroit Opera House has valiantly fulfilled that task. What began as an idea by David DiChiera, founder of Michigan Opera Theatre, the owner and operator of today's Detroit Opera House, blossomed into a magnificent performing arts center with its formal opening in 1996.

Hauser is marketing manager for the Detroit Opera House, and Weldon is the collections manager for art and artifacts at Bryn Mawr College.

The spokelike grid of wide grand avenues radiating out from downtown Detroit allowed for a concentration of theaters initially along Monroe Street near Campus Martius and, after the second decade of the 20th century, clustered around Grand Circus Park, all easily accessible by a vast network of streetcars. In its heyday, Grand Circus Park boasted a dozen palatial movie palaces containing an astonishing total of 26,000 seats. Of these theaters, five remain today, fully restored and operational for live entertainment. Detroit, more so than any other North American city, illustrates how demographic and economic forces dramatically changed the landscape of film exhibition in an urban setting.

Shortly after World War II, three Dearborn brothers bought a vacant parcel to build a drive-in theater. Local groups opposed them, fearing such a place would elicit immoral behavior. But the Clark family persevered to see its movie palace become a Metro Detroit mainstay, hosting celebrities, rock stars and a never-ending line of families with kids in footie pajamas. A handshake transferred ownership to movie magnate Charles Shafer and his business partner, Bill Clark, who expanded the theater to a massive nine screens. But blockbusters and hordes of teens couldn't mitigate the effects of Detroit's decline, auto company bankruptcies and Michigan's economic malaise. Despite it all, the mighty Ford-Wyoming kept the movies showing, bringing a bit of Hollywood glamour to the gritty Motor City.

Few American phenomena are more evocative of time, place, and culture than the drive-in theater. From its origins in the Great Depression, through its peak in the 1950s and 1960s and ultimately its slow demise in the 1980s, the drive-in holds a unique place in the country's collective past. Michigan's drive-ins were a reflection of this time and place, ranging from tiny rural 200-car "ozoners" to sprawling 2,500-car behemoths that were masterpieces of showmanship, boasting not only movies and food, but playgrounds, pony rides, merry-go-rounds, and even roving window washers.

Sports are as much a part of the fabric of Detroit, Michigan, as is the automobile. From its professional teams such as the Red Wings, Lions, Pistons, and Tigers, to its local collegiate programs, the Motor City takes its sports seriously. Television and radio stations blanket the area with coverage of the games, players, and off-the-field goings-on affecting these teams. Men and women behind the microphones provide the link between Detroit teams and Detroit fans, offering play-by-play, analysis, interviews, and candid comments. Detroit's Sports Broadcasters: On the Air takes the reader behind the scenes, tracing nearly 80 years of electronic reporting-from broadcast pioneer Ty Tyson to the talk show hosts and anchors of today. Recall Detroit's great sports moments through the eyes and words of the legendary  Ernie Harwell, Van Patrick, Budd Lynch, Bruce Martyn, Bob Reynolds, Dave Diles, Al Ackerman, Ray Lane, Frank Beckmann, and George Blaha.

Meadow Brook Theatre (MBT) began in 1966 as part of a strategy to associate professional music and theatre with Oakland University's academic programs. The theater became a reality when John Fernald, an internationally acclaimed director and head of London's Royal Academy of Dramatic Art, accepted Chancellor D.B. Varner's invitation to establish a resident professional theatre company on the university's campus. In January 1967, the curtain rose; nearly five decades later, MBT remains a key element of Oakland County's cultural fabric. Many famous actors--including William Hurt, Curtis Armstrong, and Cindy Williams--have appeared on its stage.