The Kings Theatre (formerly the Loew’s Kings Theatre) opened in 1929 in the Flatbush neighborhood of Brooklyn as one of the five Loew’s ‘Wonder Theatres’ constructed in New York and New Jersey. It was designed by architecture firm Rapp & Rapp as an entertainment palace where films and vaudeville acts were presented amidst lavish interiors inspired by the Palace of Versailles and the Paris Opera House.
The space featured high curved ceilings, ornate plaster walls, gold-leaf ornament, crystal chandeliers, carpeted floors, plush furniture, and salon-type lounge areas. Rich wood paneling and pink marble accented the Theatre’s massive lobby and foyer, and the front of the building featured a glazed terra-cotta ornamental façade. It opened with a screening of Dolores Del Rio’s Evangeline, a silent movie played alongside shellac records.
The theatre was home to many performances, but also to many high school graduations. Chuck Schumer, Carole King, and many more walked across the stage.
But the surrounding neighborhood eventually lost its footing, and movie theatre multiplexes started to take hold where previously single screen spaces had ruled the day. Then, low attendance in the 70s led to the closure of the theatre in 1977 after a screening of the biopic The Death of Bruce Lee.
The building was abandoned after that, leading to the buckling of the roof. The theatre fell into disrepair. Rooms were damaged by water, mold, and otherwise ruined by vandals. Some stole copper pipes and other fixtures
The theatre was acquired by the City of New York in 1983. And in 2008, The New York City Economic Development Corporation (NYCEDC) launched a competitive search for an entity to undertake a major restoration and renovation to restore the Theatre as an economic engine and cultural hub to the Flatbush neighborhood. In April of 2012, the Kings Theatre Redevelopment Company was chosen to lead this effort and help to bring a newly revitalized performing arts venue back to Brooklyn. They broke ground in January 2013.
The City of New York selected Ace Theatrical as the developer of the King’s under a long term lease, and brought in Grow America as a Public Private Partner to lessen the governmental burden of the project. Two corporations were created: the first is a nonprofit formed under Grow America’s Group Exemption (Community Development Properties, Brooklyn, Inc.), and the Second is a 168 H for-profit sub (Community Development Investor Brooklyn, Inc.) to own 73.52% of the project. Grow America’s commitment was to reinvest any cash flow received back into the theater, as well as into selected projects and programs in the community.
The project’s financing for the $95 million project closed in the Fall of 2012 and the groundbreaking was in January 2013. The financing came from The City of New York, Brooklyn Borough President’s office, Dormitory Authority of the State of NY, Goldman Sachs, New Markets Tax Credit Equity and Ace Theatrical.
Completed in 2015, the revitalization of the structure faithfully restored the Theatre’s original splendor while transforming it into a modern multi-purpose performance facility. When the theatre reopened, Diana Ross was the first artist to perform. And now, she will return to the stage for its 10th anniversary in 2025, along with performances by Jack White, 070 Shake, and Father John Misty (among others).
“Welcoming Diana Ross back to mark this milestone is a full-circle moment, and we’re proud to celebrate it alongside our audiences, artists, and community partners who have made it all possible,” said General Manager Kate Hesler.
Ten years ago, we reopened Kings Theatre with a vision to be more than just a venue — we set out to create a home for culture, community, and unforgettable experiences. Today, that vision is alive and thriving.
Kate Hesler General Manager
This anniversary comes with the commemoration of the theatre’s restored, original, hand-painted marquee thanks to local artist Spencer Alexander.
“What was fun about this project was retracing the steps of the painter who originally painted the sign 95 years ago,” said Alexander. “I wanted to honor their work and replicate it as it was originally painted as accurately as possible.”
The original, signature elements have been restored whenever possible, and faithfully recreated when damage to the original was too great. The project also included a significant expansion to the backstage area, with an additional 10,000 square feet constructed to accommodate the technical requirements of live performance.
Now, not only is the Kings Theatre back up and thriving again, but it has grown and flourished with newfound purpose.
From the ground
