Copyright (2002) The National Trust Of Australia (NSW)

Scone Civic Theatre. Operated by Theodore and Anna Coroneo for more than 2 decades. Search under "Scone" for other entries re: Coroneo family's involvement with the Civic Theatre.


During the 1990's KEVIN CORK undertook extensive research into cinema's in Australia.

Tragically, he died before completing his work, but most of the chapters of his Ph.D. Thesis, were completed.

His wife and children have kindly given permission for his work to be reproduced.

Most Australian's would be unaware of the degree to which Greeks, and particularly Kytherian Greeks dominated cinema ownership in Australia - especially in New South Wales.

Chapter 4 of Kevin's thesis is details the many Kytherians who were involved with Cinema's in New South Wales.

The the importance of the Hellenic and Kytherian contribution to Australian cinema ownership and history is clearly demonstrated in Chapt 4, as in all other chapters.

It is difficult to know how to pass on to Kytherians the results of Kevin Cork's important research's.

In the end, I felt that the results should be passed on in the most extensive way - i.e. in full re-publication of Chapter's.

Eventually all Chapters will appear on the kythera-family web-site.

Other entries can be sourced by searching under "Cork" on the internal search engine.

See also, Kevin Cork, under People, subsection, High Achievers.

Chapter 4: Overview of the Cinema Years.

"They were but the servants of the people and they were out to give them the utmost value for their money, both in entertainment and service."


While Chapter 2 provided generalised details on the members of the subject group, this chapter provides a brief record of their years in cinema exhibition, starting when each man went into the business and ending when he left it. While the thesis looks to the early 1960s as its cut-off point for entry into cinema exhibition, a number of the subjects remained in exhibition after that time. Rather then deny these men the recording of their entire cinema exhibition lives, it was decided not to use the early 1960s as the exit point for recording purposes. The exhibition time span thus covered by the subjects of this thesis ranges from 1915 to 1984.

From the research undertaken, it was found that considerable diversity occurred in relation to the length of time each exhibitor spent in the cinema business - from one year to 49 years. A small percentage was only in the business for one year or less. Three of these men were unfortunate to have their enterprise collapse financially (E Aroney, G Psaltis and P Feros at Bingara), another was burnt out (P Peters/Petracos at Walgett) and the fourth (A Crones at Walgett) moved on for reasons unknown. At the other end of the range, George Conson spent at least 52 years with cinemas, many of them in an overseeing capacity for Riverina Theatres Pty Ltd. Others who came close to him were George and Peter Hatsatouris (45 years each) who operated a number of cinemas in several locations on the North Coast, and Emmanuel and Jim Conomos (43 years each) of the Popular Pictures (1927 - 1937) and Luxury Theatre (1937 - 1970) at Walgett. Twelve exhibitors were in the business from 30 to 38 years, while nine were in it from between 20 to 28 years. This group of 27 (20 to 49 years) comprises 41 per cent of the total group of 66. Although some Greeks who came to Australia may have intended to make their money and return to Greece, only three of the subject group did so, the other 63 made a commitment to their communities and stayed. A number of exhibitors did change venues for one reason or another. For some, this came about as a result of having to obtain a new theatre after disaster had struck (for example, Comino Bros at Wee Waa), or it was a matter of seeking to build better (for example, Conomos Bros at Walgett). With the exception of three, G Conson, J Kouvelis and N Laurantus who built their exhibition interests into cinema chains, the other 63 men tended to remain in one locality for the duration of their cinema involvement.

The earliest two exhibitors have proved the most difficult to research. By October 1917, Angelo Coronis, alias Alfred Crones (the US-born Greek), was in Sydney's Long Bay Penitentiary. On it, he stated that he was an "Operator and electrician at Picture Shows". Police records indicate that "Angelo Coronces or Alfred Crones" was charged with stealing and having stolen goods in his possession. At the time of his arrest, he had been residing at "81 Jno. Young Crescent, Sydney". This address seems not to have existed, according to contemporary Sands' directories. A newspaper report of the court proceedings stated,
Sydney Johnson and Alfred Crones were charged with stealing at Sydney, on October 30th, eleven cinematographic films, the property of the Chief Commissioner for Railways. A second count charged them with receiving...The accused were found not guilty.
With that, Crones disappeared from the cinema scene in New South Wales and it has not been possible to ascertain what happened to him. Nevertheless, his place in our state's cinema history is important for two reasons. He was the first of Greek descent to exhibit films in this state. Secondly, he was the first of Greek descent to construct a cinema in New South Wales and he did it within six years of the construction of the first purpose-built cinema in this state which was "the Bijou Picture Palace, at 833-835 George Street Railway Square, opening in 1909." Crones' 1915 open air Walgett Picture Palace was built in Walgett, a town 685km north-west of Sydney and with a population of only just over 3000. His theatre disappeared from the scene in 1916 and both he and it have been forgotten by the locals.

The second Greek exhibitor, Emanuel Fatzeus of West Maitland ran his refreshment rooms, Lyceum Hall Pictures and Rink Pictures until 1917. After this, he disappears.
Peter and Jack Kouvelis began their cinema years in 1918, in Young. In late 1918 and early 1919, Peter acquired the Lyric and Palace (respectively), and the lease of the Centennial Hall in Cowra. When, through illness, he was forced to relinquish these interests, Jack took over and installed his brother, Andrew, at Cowra. In 1922 Peter Limbers acquired the Cowra cinemas. It is believed that Peter Kouvelis returned to Greece in the 1920s and operated cinemas in Patras. Jack, however, was by no means finished with picture exhibition. He set about the acquisition and construction of cinemas in rural New South Wales. Around 1920, he took over the leaseholds of the Star and Crown theatres in Temora, which he kept until 1924 when the Star was destroyed by fire. (Not long afterwards, he disposed of the Crown to Peter Calligeris.) A year earlier, he had built the Strand in Young adjacent to his open air Imperial Pictures. In 1923, youngest brother, Harry, arrived and became an important addition to the general operation of the Kouvelis theatres. That same year, Jack leased the Lyceum at Harden, but relinquished it the following year. When the opportunity arose in 1925 to take his family on a visit to Greece, he sold the Strand to its resident manager. He repurchased it in the 1930s. In Tamworth, he become one of the directors of the company that had started to build the new Capitol theatre, guided them through the construction then leased it prior to its opening in 1927. This was the first of the Capitol Theatres for Kouvelis, who now headed J K Capitol Theatres Pty Ltd (his own cinema company). The second of the Capitols came when he leased the Theatre Royal in Armidale in July 1928, and re-named it the Capitol. At Wagga Wagga, he leased the Wonderland Theatre in 1929 and the Strand shortly afterwards, with Harry overseeing their operation. In 1930 the Theatre Inverell was leased, and renamed Capitol. The following year saw him take over a partially constructed theatre in Wagga Wagga, which he finished in 1931 and named it the Capitol. Wagga's Southern Cross Gardens became Kouvelis' Capitol Gardens in 1932 (turned into a dance palais the following year). Still in Wagga Wagga, in 1933 he purchased the fire-damaged Strand Theatre property and built the Plaza Theatre on the site. Moree was his next target, where he acquired the Lyceum in 1935 (renaming it the Capitol), and he built the Capitol Garden Theatre in 1935. By 1936, Kouvelis had acquired the Arcadia at Armidale (and kept it closed in order to stave off opposition). By the late 1930s, Tamworth was large enough to have two cinemas and Kouvelis opened the new Regent in 1938. In 1939, to protect his Moree cinemas, he leased the East Moree Theatre and open air (and closed them), renaming the enclosed one, the Regent. In 1943 he negotiated with Sydney-based cinema chain, Snider and Dean to acquire its cinemas which would have given him extra country shows (including Newcastle suburbs) and a small number of Sydney suburbans. The deal was never struck. When he disposed of his cinema interest to Hoyts in 1946, he presented that company with the following cinemas: Strand, Young; Capitol and Arcadia, Armidale; Capitol and Regent, Tamworth; Capitol and Plaza, Wagga Wagga; Capitol and Capitol Garden Theatre, Moree; Regent and open air, East Moree; Capitol, Inverell.

Having opened his cinema in Walgett in 1919, Archie Paspalas disappeared from the town after the fire which destroyed his leased refreshment room and his Olympic cinema in 1921. Nothing else has been discovered about this man.

Alex Coroneo went into a partnership with Peter Sourry in 1921 at the Arcadia at Armidale. From here it is believed that he moved on to lease the Grand and Roxy Theatres at Glen Innes in the early 1940s. He stayed for a short time before moving to Scone where he leased the Civic in 1943. In 1947 he left Scone and went into partnership again with Peter Sourry at the Kings Theatre, Rose Bay North. This lasted until the theatre closed in late 1958, an early victim of television.

Peter Sourry, besides working with Alex Coroneo at Armidale (1920s) and Rose Bay North (1947-1958), had a number of years in the 1930s when he was not involved with cinema. Other business interests allowed him to live in a semi-retired state. In 1940 the opportunity arose and he acquired the Lyric at Tenterfield and the lease on the local School of Arts. He remained inTenterfield until he moved to the Kings at Rose Bay North in 1947, where he stayed until 1958.

Peter Calligeros acquired the corrugated-iron Crown Theatre in Temora in the mid-1920s from Jack Kouvelis. Believing that the town deserved a better cinema, he set about building a more impressive one. On its completion in 1927, Calligeros closed the older show, got out of the refreshment room business and ran his new Strand for the next twenty years. During those years he made some alterations to the theatre which enhanced it further. This included extensions to the dress circle in 1935 and new amenities in 1939. In May 1947 he disposed of the Strand to a Sydney-based cinema company.

Never one to 'let the grass grow under his feet', Nicholas Laurantus took opportunities as they arose to acquire or build cinemas. If he had kept them instead of disposing of them at various times, he would have had a country circuit to rival Kouvelis. Laurantus' acquisition of the picture business at the Narrandera Globe (Public Hall) and open air in 1922 was his first venture. When the hall was razed in 1925, he built the new Globe (later renamed Plaza) the following year. He controlled this show until 1938. In 1925, he built the Criterion Hall which acted as a substitute cinema when the first Globe was destroyed, and again in 1934 when the second Globe was damaged by fire. He leased the Lyceum at Junee in 1929, prior to the construction of his new Atheneum Theatre which opened that same year. (His brother George operated this venue until 1940.) When the Montreal Theatre at Tumut was completed in 1930, Laurantus arranged to lease it from its owner and installed his sister and brother-in-law to run it. By 1931 he had acquired an open air cinema in Lockhart, and utilised the local School of Arts in cold or inclement weather. In 1935 he built the new Rio on a block adjacent to the open air. Although this was leased out during the early 1940s, Laurantus resumed control of it around 1945 before selling it in January 1947. In 1932 he acquired a lease on the new Gundagai Theatre and passed that operation over to another sister and brother-in-law. The year 1936 was a busy one. In Corowa, Laurantus built the Rex (selling it in 1938) and the Roxy at Hillston (selling it in 1937). His reasons for gathering a circuit related to better film buying opportunities. As time passed, Laurantus found newer interests in farming and those of his family who were operating his cinemas took them on in their own rights.
When the Kouvelis interests in Cowra were disposed of in 1922, Peter Limbers was on hand and acquired them. This gave him control of the Palace, the Lyric and the Centennial Hall, although he ceased to show pictures at the latter. When the opportunity arose in 1924, he acquired the Globe Theatre. In 1928, the owner of the Centennial Hall rebuilt it into a conventional two-level cinema and Limbers secured the lease. He eventually closed the other shows under his control. In the late 1930s, Limbers purchased the Theatre Cowra (as the Centennial Hall had been named) and operated it until 1948 when he sold it to a Sydney-based company and retired from cinema exhibition.

George Laurantus, Nicholas' brother, went into partnership with James Simos in 1923 and took over the Arcadia at Cootamundra. He stayed until 1929 when he moved to Junee to the Lyceum and then down the road to the new Atheneum. He stayed there until 1940, then helped his brother in his farming enterprises. Growing tired of the farm work, he moved his family to Liverpool and took over the Regal Theatre in 1947. Ten years later he sold it and went into retirement.

Partnering George Laurantus at the Arcadia at Cootamundra in 1923 was James Simos. After Laurantus went to Junee, Simos became sole proprietor. In 1935 he was an important third part of Cootamundra Theatres Ltd, a small company that included the Lawson brothers of Sydney. The new company built the Roxy at Cootamundra which opened in 1936. The Arcadia became a dance hall. In September 1938,
About 6.55pm on 15th inst. Deceased was driving a motor car in a northerly direction over the Spit bridge and crashed through the left hand of the bridge carrying the railings away and car and deceased sank in about 15 feet of water. Deceased was extracated[sic] from the car by Const. Kelly and others and artificial respiration was applied and after working for an hour and a half deceased failed to respond to the treatment. Deceased was then conveyed in ambulance to the Mater Misericordiae Hospital where life was pronounced extinct by Dr. Bray.

Contemporary newspapers reported that Simos had been holidaying in Sydney with his wife and children and that he had been "treated by a doctor in Sydney yesterday". While returning from the city to his family at Manly, the car swerved on the bridge and plunged into the water. Three theories emerged: Simos died suddenly prior to the crash; that he was killed by the crash; that he drowned. Cootamundra's newspaper commented:
Mr. Simos, who was 42, and his brother came out to Australia 24 years ago from Mytilene[sic], in the Aegian[sic] group. The brother returned home later. It is fifteen years since 'Jim', as everyone called him - he was chums with us all - settled in Cootamundra. A very fine type of man, indeed, esteemed by all who knew him, the community will miss him very much, and will feel deeply sorry for the widow and the boys who are left to mourn.

George Conson commenced his cinema years in Leeton at the Globe and adjacent open air. By 1926 he was also in partnership with a Mr Canakis, leasing the Majestic Theatre at Hay. This operation lasted for approximately one year. In 1930, Conson built the Roxy at Leeton to replace his older cinemas. The formation of Riverina Theatres Ltd in 1935 brought together a number of theatres and Conson was made Managing Director, overseeing not only his Roxy, but Henry Morel's Lyceum at Griffith and Solomon Goldberg's Rio Gardens at Griffith. Conson held a 20 per cent shareholding in the company. Riverina Theatres Ltd built the Roxy Garden Theatre at Leeton in 1935 and acquired the Regent at Yenda in 1936, operating it until 1938. By 1968, after the arrival of television in the Riverina, the circuit comprised only the Roxy at Leeton and the Lyceum at Griffith. During the course of the company's life, Conson held the position of Managing Director on many occasions, including at the time when the company was wound up in the 1970s. Commenting on Conson's role in the company, one film trade journal said that "...he is the guiding spirit." Conson was the main buyer of films for the company and kept in constant personal touch with each of the theatres in the circuit.

Andrew (Big Andy) Conomos and Andrew (Little Andy) Comino, operating as Comino Bros, ran their White Rose Cafe and operated the Star Theatre at Wee Waa (which they had acquired in 1924). Fires challenged the men's determination. The theatre burnt down in 1927 so they set up in School of Arts hall, retaining the earlier theatre's name. Fire claimed their cafe in the 1930s but they rebuilt, naming it the Olympia Cafe. Big Andy died in 1959 but Little Andy and other family members continued to run the cinema until around 1962 when he retired.

One of Greek origin who was not successful in moving into cinemas was Sam Coroneo. In 1924 he leased the Strand Theatre in Cessnock then built a new Strand Theatre several streets away in 1925. After he leased (later sold) this theatre to the town's other cinema company, he moved to Tamworth and built another theatre, the Strand, in 1928. Lack of film product and a fire in 1929 brought his cinema days to an end and he moved into a refreshment room business.

From the time that Bretos Margetis took over both the Crescent (freehold) and Butterfly (leasehold) theatres at Fairfield in 1924, he was plagued with re-financing. Margetis continued to operate his city cafe and his wife travelled to Fairfield to supervise the cinemas. It became too difficult and he leased the Crescent around 1928 to Eric Christensen and disposed of the Butterfly. Unfortunately, in 1930, the mortgagee went bankrupt and its liquidators realised the assets of the company including the mortgage held on Margetis' Fairfield cinema. He lost it in 1931, by an order of the Supreme Court of NSW, and ceased to be connected with cinemas.

Little is known about Harry Logus and his Federal Hall (aka Majestic Theatre) at Hay. Its sale to P L Brown in 1929 and the subsequent sale of his Paragon Cafe saw Logus depart from Hay. His final destination is unknown.

With the opening in 1926 of their Empire Theatre at the rear of their refreshment room in Port Macquarie, the Hatsatouris family embarked on establishing a small chain of cinemas in the northern part of this state. (The family is still in the cinema business, although only as owners not exhibitors.) The success of the Empire spurred on George and Peter (Evangelos' sons) to build the Ritz which opened in late 1937. Earlier that year they had acquired the opposition cinema in town. The Bower Theatre-cum-ballroom at Taree was taken over in 1941 and was rebuilt into a two level cinema named the Civic. At Walcha, a lease was signed in 1940 for the Civic Theatre and Helen (Peter and George's sister) and her husband, Philip Lucas, operated it. The brothers leased the Adelphi Theatre at West Kempsey in 1942, refurbished it and renamed it the Roxy. By 1947, Hatsatouris Bros had purchased it and then leased it to opposition cinema interests. They started showing films at the School of Arts at Laurieton in 1946, then built the Plaza across the road in 1959.With television on the horizon, George leased the Savoy Theatre at Taree in 1961 in order to stop competition from entering the town. In 1971 the brothers sold their two-thirds interest in the Laurieton theatre to B Longworth (who was the third partner in the business).

While Notaras Brothers in Grafton ran their new Saraton for a couple of years after it opened in 1926, it was more economically beneficial to lease it to T J Dorgan who was establishing a chain of cinemas along the North Coast. Dorgan also gained the Fitzroy in Grafton from the brothers at the same time. When the Dorgan circuit relinquished its lease in the late 1960s, the Saraton closed. It reopened after extensive refurbishment on 9 December 1982, under the control of members of the Notaras family and remains as such to this day.

After its opening in 1927, the Popular Pictures at Walgett proved successful for Lambros, Emmanuel (Hector) and Jim Conomos. Yet, sharing the local School of Arts with other functions was not fully to their liking. The result was the construction of a new, modern cinema, the Luxury, which opened in 1937. Although Lambros died in 1960, Hector and Jim continued to operate the cinema until circumstances forced it to close in 1970.

In the late 1920s, George Spellson operated the Central Theatre at Condobolin with help from his brothers, Leo and Nick. When the opportunity arose in 1927 to show pictures in Bogan Gate, the oldest brother, Nick, took on that responsibility. He boarded at a local hotel, operated the pictures on Saturday nights at the Tolhurst Hall and ran the local Excelsior Garage. In a short time he became "very much liked", and was described as "a real gentleman" and a "highly respected resident". Unfortunately, on 1 January 1928 an accident occurred that resulted in his death.
Mr. Harry McKeowen visited the garage about 9p.m. with his car for a supply of petrol. Both assisted in putting the petrol in the car, and requiring another gallon Mr. McKeowen went inside the garage and proceeded to fill the measure from a petrol tin.

The petrol splashed and ignited the lamp he had standing near by, also igniting the tin of petrol he had under his arm. With great presence of mind he tossed the blazing tin out the door also the lamp and ran to shift his car out of danger.

Mr. Spellson ran to the blazing tin (it is surmised) with the intention of shifting it further away from the garage. In kicking the burning tin apparently the petrol splashed all over him and he was soon a mass of flames.

He rushed inside and then out onto the street again, when willing hands soon arrived and extinguished the flames, but not before almost every stitch of clothing had been burnt off the unfortunate man.

First aid was administered as soon as possible and a Parkes doctor summoned. The victim was in such fearful agony that it was decided to start with the patient in the hope of meeting the doctor on the way, but unfortunately they missed one another, and no medical aid was secured till they reached Parkes. The patient was examined and placed in the District Hospital, where he passed away at 9 o'clock on Monday morning, just nine hours after the accident.

The deceased, who was 27 years of age, was unmarried. The funeral took place on Tuesday, at the Church of England cemetery, Parkes, the Rev. A. E. Weston officiating at the grave. Mr. J.T. Cock carried out the funeral arrangements.

At the Coronial Inquest, it was found that Spellson had died "due to shock and burns accidentally received whilst throwing a blazing petrol tin out of the garage." Leo Spellson took over the screening of films in Bogan Gate, although he moved them to the Picture Hall. He stayed a short time before selling the business and then travelled in country areas with a portable projector before returning to Narrandera to work for Theo Sotiros in the early 1930s. Leaving Condobolin in c1928/29, George Spellson took over a refreshment room in Ungarie (which he sold in 1930) and then had a cinema interest at Lake Cargelligo. This was taken over by Andrew Sotiros and Leo Spellson in 1933 around the time that George returned to Greece. A small circuit was formed. Sotiros ran the Star and, on Saturdays, Mrs Sotiros oversaw a screening at Ungarie while Spellson projected at Tullibigeal. When Spellson left to be married, screenings at Ungarie and Tullibigeal ceased. The Star Theatre was destroyed by fire in early 1937 but a local (Greek) refreshment room proprietor Theo Cassim (Cassimatis) built the new Civic Theatre that same year. It was rented to Sotiros until he sold the business in 1964.

History is said to repeat itself and it did so in Walgett in 1927 when fire destroyed the Victoria Theatre (built on the site of the razed Olympia Theatre) and adjacent refreshment rooms that were under lease to Peter Peters/Petracos. As there is no evidence to the contrary, it would seem that Peters left cinema exhibition after that.

At West Wyalong, Con Bylos took over the Rio theatre and its adjacent open air cinema in 1928 and, in 1929, leased the town's other cinema, the Tivoli. He demolished the Rio in 1930 with the intention of erecting a new open air. It was not until 1934 that his new Reo Gardens opened. Thirty years later, Bylos Investments (as the operating company had become) closed the Reo. The Tivoli, having been purchased by Bylos in July 1947, was retained until 1967 when it was sold.

Mottee Bros' Rendezvous Dance Hall of 1928 opened as the Macleay Theatre Talkies in August 1930. A short time later, they acquired the cinemas run by L B McNally, viz the Victoria in Kempsey and the Adelphi in West Kempsey. In 1935, a Sydney-based circuit built the Mayfair Theatre in Kempsey. Mottee Bros withdrew from the field, the two cinemas on lease going to the new operator while the Rendezvous returned to dancing. By the late 1940s, it was being used as a storehouse. Mottee Bros' two cafes kept them busy and they also had the confectionery rights at the Mayfair (which they retained into the 1940s).

After George Nicholas passed away at Merriwa in the mid-1930s, his brother, Sam continued to operate both the refreshment room and the adjacent Astros Theatre which they had built in 1928. While he employed a projectionist and some other staff, his business interests were such that they were becoming difficult to manage. When medical advice came that the family should seek a different climate for his son, Nicholas sold the businesses in 1940. Cinema exhibition was left behind as the family re-established itself closer to the Pacific Coast. Purchaser of the Astros was T J Dobinson who also operated the Graceson cinema at Swansea.

By 1944, Angelo Roufogalis had been operating the Barellan cafe and adjacent Royal Theatre since the late 1920s. Nephew, Arthur Roufogalis, arrived from Greece in 1938 and proved his worth. He took over the running of the businesses in 1944 to allow Angelo to help Nicholas Laurantus for about six months by running his Rio Theatre at Lockhart. Later that year, Angelo sold his Barellan business interests to Arthur and moved to Canberra. where he went into a cafe business with his brother-in-law. Arthur sold the Barellan cinema business in 1948, then the cafe in 1950. With that, he moved to Narrandera and out of cinemas.

Peter Hlentzos, who had been operating the Victor Theatre in Cooma from c1930, refurbished and opened the nearby Capitol Theatre in 1935. The Victor was then used for dances and other social gatherings. Hlentzos operated the Capitol until 1938 when he was forced out of business by competition from the new Monaro Theatre, operated by the head of a Sydney-based cinema chain.

Having been set up in business by his brother-in-law Nicholas Laurantus in 1930, Peter Stathis worked hard to make a success of the Montreal Theatre at Tumut. In those early years, Laurantus was the film buyer for the group of cinemas in which he had an interest, including those being run by his relatives at Junee, Tumut and Gundagai. In 1952, Stathis' sons, Peter and George, purchased a half share in the business and this arrangement continued until Peter's death in 1960. The sons continued to run the Montreal until they sold the business in 1965.

When Jim and Sophia Johnson took over the Gundagai Theatre in 1932, they made a commitment to the town. The work was hard, but they built-up a rapport with their patrons and provided them with entertainment for the next 33 years. When things became difficult after the introduction of television in the early 1960s, they struggled on. By 1965 business had fallen so dramatically that they had little option but to sell the business. Unfortunately, before the new owner could take possession, he died and the Johnsons stayed for a short time before another sale could be finalised.

Janis Andronicos died in 1936 and his son, Nicholas, continued to run both the cafe and adjacent East Moree Theatre which he had completely enclosed during 1936. He erected a small open air cinema at right angles to the rear of the enclosed theatre in late 1936 and this proved successful. Unfortunately, the Kouvelis management at Moree's Capitol and Capitol Garden Theatres put pressure on the East Moree shows by encouraging film companies to stop supplying Andronicos. A few remained loyal but it was not enough. Despite a determined attempt to keep operating, Andronicos decided to lease the enclosed and open air cinemas to J K Capitol Theatres in 1938. Not long after he sold the cafe business and moved away. He did not venture into film exhibition again.

When Theo Comino (who had helped his brother at Wee Waa) took over the Bellingen Memorial Hall Talkies in 1933, he had every intention of making an impression. He installed a new sound system (Australian-built) which included, not one, but two large speakers behind the screen. He under-estimated the town's potential and business did not come up to his expectations. In 1936, he sold his lease to C F Wall, a Narrabri exhibitor, and ceased to be involved with cinemas.

The ill-fated alliance between Emanuel Aroney, George Psaltis and Peter Feros to construct the Roxy at Bingara (1934 - 1936) came to an abrupt halt in late 1936 when the mortgagee foreclosed. Although the theatre had been operating for a number of months, the finances of the three men had been sufficiently strained with the construction of cinema and adjacent shops and residence. In less than a year, the three men had moved both in and out of cinema exhibition.

Theo and Bill Conomos started their Megalo Theatre at Carinda in 1937. In 1950, Bill decided to return to Greece and sold his Carinda business interests to his brother. For the next 21 years, Theo ran the cinema (and other businesses). Even after he moved to Dubbo in 1961, having leased his other businesses to relatives, he still travelled out to Carinda on Saturdays to screen pictures. When the end for this came in 1971, he sold the building and retired.

Alex Poulos and his sons ran the Warialda Memorial Hall cinema from 1939 until 1945. Besides learning how to project, the boys also helped with cleaning and running the business. When a better business opportunity arose, in the form of a Gosford cafe, they sold the lease of their cinema and the family moved to the Central Coast.

At first, Philip and Helen Lucas managed the Civic at Walcha for Hatsatouris Bros. That arrangement commenced in 1940. During World War II, the local showground was home for soldiers and, to assist their morale, Lucas regularly showed films at both his Civic and the older Walcha Theatre (in Fitzroy Street) for them. For this, he was awarded a certificate for contributing to the war effort. Balls, dances and concerts also took place at the Civic which was the entertainment centre in town. In 1949, Lucas bought the Civic and remained there, operating it with his wife, until 1972.

The De-Luxe Theatre at Goodooga, opened in 1941 by Peter Louran, remained under his care until the early 1960s when he sold it and his other business interests in the town. Louran installed a CinemaScope screen in 1960 by adding extra pieces of flat galvanised iron to the sides of the existing screen. One of the requirements demanded by the Chief Secretary's Department was that a sample of any new screen installed had to be sent to it for checking for fire resistance. The department could not understand why Louran resisted the temptation to send a piece of flat iron through the post and kept reminding him of his obligation. The problem was solved for Louran when he sold the cinema in 1961 and left the new owners to deal with the Chief Secretary who still kept writing so say that it had not received a sample of the new screen. For twenty years, under Louran's care, his De-Luxe, that little oasis in the outback, with its bushes, flowering shrubs, vines, and fountain, had provided a respite from the harsh, primitive conditions of the surrounding area.

At Mullumbimby, Anthony Peters/Pizimolas operated the Empire theatre from 1945 to 1965. He employed a projectionist and cashier but Peters did the film bookings and supervised the operation. At times he acted as assistant projectionist and on Saturday matinees he was the projectionist. In the 1950s, he installed CinemaScope. Having purchased the theatre, he also purchased the adjacent Empire Cafe which he ran for a short time, before installing a tenant. By the early 1960s, picture attendance was falling and Peters decided to move. The theatre was leased to another exhibitor.

Emmanuel Fatseas had taken over the Aussie Theatre (open air) and the Central Theatre in Condobolin in 1946. The Central received considerable external and internal remodelling in the early 1950s. From mid-March 1955 it was renamed the Renown. At the Aussie, Fatseas planned to remodel the screen end of the building and erect new amenities for patrons. In 1957, he engaged architectural firm Bruce Furse and Associates to draw designs but nothing came of the matter. In 1964 its licence was surrendered, the theatre closed and was demolished a year later. In 1967 the Renown came under the control of Fatseas Enterprises Pty Ltd, a company that included family members. Although Fatseas died on 30 December 1968 while still involved with his Renown cinema, his two sons continued to run the business for some time after.

On leaving his refreshment room business in 1946, Chris James moved into the operation of the Empire and Regent cinemas (and adjacent open airs) in Cobar and the Palais and open air at Nyngan. The Regent was not only a cinema, its flat floor ensured that it was often in use for balls and other social functions. At the time it was taken over, the Regent was in need of refurbishment. In 1946/47, James employed the architectural firm Guy Crick and Van Breda to design a new proscenium and splay walls, new projection and rewind rooms. Constant work had to be done to ensure that seats were in good order and maintain the building and adjacent open air. The Empire, in reality the Masonic Hall, was only ever the "poor relation". Although its adjacent open air was used often, the enclosed hall was used less frequently. By 1958 one official report stated that "This hall is mostly used for dances and very seldom for the display of cinematograph films." Within a year James had relinquished his lease on the hall and was concentrating on his Regent. At Nyngan, he renovated the front section (which included amenities and projection suite) and the auditorium of the enclosed cinema and the facade of the open air show. John W Roberts and Associates was the architectural firm, well-known for work done on many Hoyts' cinemas throughout Australia in the 1950s. The New Palais reopened in late 1957. Until this time, the theatre had been flat-floored and had been used for dances and balls. This aspect of its life ceased once the back section of the auditorium was raked. When his wife and family moved to Sydney in 1962 to seek better educational opportunities for the children, James remained, running both the Regent and New Palais. In 1966 he took his first trip back to Cyprus in nearly 50 years. On his return to Australia, and not believing that the Cobar mines would bring about a return of Cobar's "good old days", he sold the Regent. He moved to Nyngan where he ran the New Palais until 1984 when he disposed of it and retired to Sydney. According to his wife, the thought of living permanently in Sydney had no place in her husband's mind until then.

After John Tzannes bought the cinema business at the Empire Theatre (the Guild Hall), Boorowa in 1946, he ran it for about nine months before looking around for something else to occupy his time. He had no intention of disposing of the business but, since screenings were only several nights each week, he found himself with plenty of spare time. He installed a projectionist and manager and came to Sydney in early 1947 to take over the milk bar in the 4-sessions-a-day Regal Theatre at Bondi Junction. In 1954 the owners of the Boorowa hall decided to re-floor the auditorium and projection suite, construct a new supper room, remove of the existing stage and extend the auditorium, strengthen the balustrade to the gallery, and work on the vestibule. Around that same time, Tzannes went into partnership with his brother Stratis at the Black and White Milkbar in Martin Place. Realising that there was little incentive for him to return to Boorowa, he sold the cinema business in 1960.
Although Theo Coroneo was keen to leave the refreshment room business behind when he took over the Civic Theatre at Scone from his uncle in 1947, he was faced with the difficulty that he had no previous experience with cinemas. The theatre staff assisted him to learn what was necessary and, it has been said, he was an eager student. The business and lease on the building were in the names of Theo and his brother, Sam (who had other business interests in Sydney and whose contribution to the Scone venture was purely financial). The partnership was dissolved in 1953. The following year, part of the building was damaged by fire and required extensive restoration work. Coroneo eventually purchased the building from its owners (Scone Theatres Pty Ltd) in 1963. When he suffered a stroke in 1966, his wife took over while he recuperated. Desirous of retiring and finding that the theatre was becoming economically unviable owing to television, the family moved to Sydney in 1970 and the theatre was leased to another exhibitor.

James Katsoolis, having leased the Regent Theatre at Yenda in 1947, continued to maintain his nearby cafe as well. His two sons, Nicholas and Peter helped him run the pictures, both having learnt to operate the projectors under the previous lessee. Nicholas assumed the responsibilities of the projection box and Peter helped with front of house and cleaning. The silent partner, local grazier Sebastiano Bortolazzo, had nothing to do with the cinema. Like many country town cinemas, the building was also used for balls and dances, the seats simply being moved out of the way as required. When an offer to buy the business was made in 1949 by the owner of the newsagency-cum-cafe next door, the partners sold. Bortolazzo remained on his rural property and Katsoolis continued with his cafe (which stayed in the family's hands until 1994).

Having gained experience with installing generators and electrical wiring in Carinda and Goodooga, George Rosso enjoyed his few years in the late 1940s as projectionist at Mt Victoria with partner Reece Beetson. The financial return was insufficient and the two men went their separate ways. Rosso, however, was called upon several times in the early 1950s by his uncle, Theo Conomos, to manage his cinema at Carinda. Conomos enjoyed trips to Greece and Rosso was capable and experienced enough to manage the Carinda show, which was his last cinema job.

Con and Peter Kalligeris maintained the operation of their Boggabri Cafe after having acquired the two cinemas in town in 1952 (with partner Anthony Hassab). The Lyric was open air and was used in warmer weather, while the Royal was enclosed and was used in colder months. It was also the venue for balls and dances. In 1954, the brothers sold the cafe and Peter left, purchasing a cafe in Parramatta. Con stayed and, with Hassab and family members, ran the pictures in Boggabri. It was not long before he found time on his hands so he built a shop and returned to his former trade of shoe-making (including surgical shoes) and repairs. In 1966, unable to compete against the inroads being made by television, the partners decided to close the cinemas.

The last Greek exhibitors to enter the business before the introduction of television to rural areas of the state were Arthur and Bill Koovousis. In 1957 they bought the Regent and Roxy cinema businesses at Bingara. Although Arthur tended to let his brother Bill run the cinemas, he did help out if required. When he sold the Regent Cafe business about 1958/59, he helped at the cinemas until he moved to Sydney where he bought a delicatessen in Concord. Bill remained in Bingara with the cinemas, closing the Roxy around 1959 and concentrating his efforts on the Regent. By 1960, the open air cinema at the rear of the Regent had closed because of it "being unfit for further use..." Bill retained the Regent until the mid-1960s although he was running a delicatessen at Inverell by then and had to travel back and forth to screen at Bingara.

By the time that television had commenced in much of rural NSW (ie c1962/63), there was still a significant number of Greek-born men exhibiting motion pictures. The following table shows the years during which these men were involved with cinema exhibition, the number of years they worked in cinema, and their ages when they left the business. What is striking about their ages is that of the 16 men at the time they quit their cinema businesses, 13 of them were over the age of 61. Total number of years in the industry of those 13 is 481 years, an average of 37 years each.

Table 1: Greek Exhibitors who were screening at the time television transmission commenced in much of rural New South Wales (ie c1962/63).


Exhibitor
Years in which involved in cinema
Age at which left cinema exhibition
Number of years in cinema exhibition

Bill Koovousis
Years in which involved in cinema
1957 - 1965
Age at which left cinema exhibition
33
Number of years in cinema exhibition
08

Con Kalligeris
Years in which involved in cinema
1952 - 1966
Age at which left cinema exhibition
52
Number of years in cinema exhibition
14

Anthony Peters/Pizimolas
Years in which involved in cinema
1945 - 1965
Age at which left cinema exhibition
51
Number of years in cinema exhibition
21

Emmanuel Fatseas
Years in which involved in cinema
1946 - 1968
Age at which left cinema exhibition
66
Number of years in cinema exhibition
22

Theo Coroneo
Years in which involved in cinema
1947 - 1970
Age at which left cinema exhibition
63
Number of years in cinema exhibition
23

Andrew Sotiros
Years in which involved in cinema
1933 - 1964
Age at which left cinema exhibition
63
Number of years in cinema exhibition
31

Philip Lucas
Years in which involved in cinema
1940 - 1972
Age at which left cinema exhibition
64
Number of years in cinema exhibition
32

Jim Johnson
Years in which involved in cinema
1932 - 1965
Age at which left cinema exhibition
66
Number of years in cinema exhibition
33

Theo Conomos
Years in which involved in cinema
1937 - 1971
Age at which left cinema exhibition
69
Number of years in cinema exhibition
34

Chris James
Years in which involved in cinema
1946 - 1984
Age at which left cinema exhibition
74
Number of years in cinema exhibition
38

Con Bylos
Years in which involved in cinema
1928 - 1967
Age at which left cinema exhibition
62
Number of years in cinema exhibition
39

Emmanuel Conomos
Years in which involved in cinema
1927 - 1970
Age at which left cinema exhibition
69
Number of years in cinema exhibition
43

Jim Conomos
Years in which involved in cinema
1927 - 1970
Age at which left cinema exhibition
62
Number of years in cinema exhibition
43

George Hatsatouris
Years in which involved in cinema
1926 - 1971
Age at which left cinema exhibition
66
Number of years in cinema exhibition
45

Peter Hatsatouris
Years in which involved in cinema
1926 - 1972
Age at which left cinema exhibition
67
Number of years in cinema exhibition
46

George Conson
Years in which involved in cinema
1923 - 1975
Age at which left cinema exhibition
83
Number of years in cinema exhibition
52

The effects of later hotel hours, the growth of licensed clubs and, ultimately, the rapid spread of television across the state brought about the decline of cinema exhibition as had been known. These first generation men were not growing any younger and, in the minds of many people, it was believed that cinema exhibition was finished. It is difficult for the modern reader to appreciate how the decline of cinema attendance in the years after the introduction of television affected exhibitors and their livelihoods. Years of hard work disappeared before one's eyes and nothing could be done to counteract it. Nevertheless, the Greeks had established a proud tradition which commenced in 1915 with Crones and was maintained until James left the business in 1984 - a span of 69 years.

As the cinemas fell into disfavour with their communities, re-sale values fell. To compound this situation, much of country New South Wales in the 1960s was drought-stricken. This "slashed their attendances and turned many of their operations into the red." Emmanuel (Hector) Conomos recalled that, not only was television taking its toll on patronage, but the drought kept Walgett generally poor and attendances further declined. Arthur Johnson, recalling his parents' theatre at Gundagai stated that within eight years (from 1958 and 1965), television affected the business so badly that, whereas in 1958 his parents were offered £17,500 for the business (the building was owned by the Masonic Lodge), when it was sold in 1965, the business went for £5,000. In the Walcha area, audiences at Lucas' theatre dwindled.
The 1970s were bad times in many ways. By 1972 it was not economical to continue running the Civic Theatre. Freezing cold winters meant heating and large electricity bills. The advent and introduction of sewerage system also brought capital bills...Expenses generally rose and the business had dropped dramatically and on some occasions the theatre was closed when no-one turned up to the movies.

Finally in 1972 the theatre was closed and Philip and Helen came to Sydney where they joined the other members of their family. The theatre was rented out as a secondhand furniture store...[In 1976] Council of the City of Armidale...was exploring the idea of turning the Civic into a cultural centre. Nothing came of this and vandals broke into the theatre partially damaging same by fire and further more serious attack and fire followed and Council demolition marked the end. However, the fond memories of 'packed houses', upstairs and downstairs, chairs in the aisles and the loud laughter of a satisfied audience during such shows as 'Dad and Dave', 'Dean Martin and Jerry Lewis', 'Bub Abbott and Lou Costello', will linger on in memory lane like 'Paradiso'.