234 West 131st Street, ca. 1932.

Sydenham Hospital, 1925. Sydenham opened as a private hospital in a Harlem brownstone in 1892. The hospital served mostly African-American patients who lived in the neighborhood. To meet the needs of its growing community, Sydenham moved to West 125th Street and Lenox Avenue in 1924. Though Harlem was a largely African-American neighborhood, the staff of the hospital was reported to be all-white in 1944; likely due to the fact that discrimination within the medical community left little to no opportunities for African American healthcare professionals. To amend this, the hospital employed a desegregation policy, which was radical at the time. Sydenham hired twenty African Americans to its staff and brought six African Americans onto its Board, making it the first full-service hospital to hire black physicians. By 1947, the New York Times wrote that it was "praised...for its inter-racial activities...an example for the entire world," by Eleanor Roosevelt, who spoke at a fundraiser on behalf of the hospital. After the fundraiser, the director Dr. Sigmund L. Friedman made the statement that Sydenham was "the best place to prove that race, creed, and color have no importance in the hospital." The fundraiser that Mrs. Roosevelt spoke at was just one of many attempts to keep the hospital fiscally afloat. Throughout its existence, Sydenham was ridden with money problems. Finally bending to financial strain in 1949, the hospital was transferred from private ownership to New York City's municipal hospital system, though it allowed private patients to continue seeing doctors at Sydenham to "preserve the interracial practice of the hospital." In 1979, Sydenham Hospital became the center of a massive walk-out staged by the Committee for Interns and Residents. When Ed Koch took office as the Mayor in 1977, he reduced city spending on all municipal hospitals. Two hospitals in Harlem, Sydenham and Metropolitan, were slated for closure. Harlem was a "medically underserved area," and the two public hospitals were vital for the community's wellbeing. Additionally, Sydenham's sickle cell anemia clinic, led by Florence Gaynor, was of importance to the medical community at large. Unfortunately, countless public rallies and demonstrations were ignored by the city and in 1980, the city officially closed Sydenham. The hospital was subsequently occupied by "The People's Administration," for 10-days of protest, who brought national attention to the importance of the hospital. Sydenham's demise provided a cautionary lesson. In 1998, reflecting on the changing terrain of public healthcare in New York City, Sharon Lerner wrote in the Village Voice: "The Sydenham blunder paved the way for today’s more clandestine approach to hospital downsizing, in which the city reduces its contribution to the Health and Hospitals Corporation and the agency is thereby ”forced” to make cuts to the public hospitals."

"Wurts residence, ca. 1912. The Wurts brothers were the premier architectural photographers of early 20th century New York City — in fact, they took this photo!"

St. Philip’s Episcopal Church, founded in 1809, is one of the country’s oldest black parishes. From its origins in Lower Manhattan, the church moved uptown several times, following the black community and seeking safety from sporadic violence such as the race riot of 1900. Around the turn of the century, church rector Hutchens Chew Bishop began buying Harlem rental properties, evicting whites and renting to blacks. With the income, he bought land on 134th Street and hired black architect Vertner Tandy to design a new building. The impressive Gothic structure provided a spiritual and community home for black parishioners in Harlem.

498 West 130th Street, ca. 1932.

L.M. Blumstein department store, 125th Street. March 21, 1954. Louis Blumstein, a German Immigrant, opened a department store on West 125th Street in 1898. Over the next two decades, the street continued to develop into an uptown shopping district. Blumstein died in 1920, but his family pressed on with expansion plans, breaking ground on a new, eight-story building in 1921. The hybrid Art Nouveau-Art Deco structure stretched the entire block between 124th and 125th Streets and made extensive use of copper ornamentation on its main facade. As African-American families moved to Harlem in greater numbers, the entirely white sales staff at Blumstein’s became a point of tension in the neighborhood. In 1934, the Citizens’ League For Fair Play organized a successful boycott of the store, leading to a change in its hiring practices. In 1943, Blumstein’s became the first department store to feature black mannequins and a black Santa Claus as part of its holiday programming. On September 20, 1958, Dr. Martin Luther King Jr. was stabbed at a book signing held at Blumstein’s. Izola Curry stabbed the civil rights leader with a letter opener, nearly piercing his aorta. A bystander wisely cautioned onlookers not to remove the letter opener, lest it cause damage on the way out, likely saving King’s life. The Blumstein family sold the building in 1976.

161 West 129th Street, ca. 1932.

Saint Philip’s Protestant Episcopal Church ARCHITECT: Tandy & Foster DATE: 1910-11 STYLE: Neo-Gothic, Church St. Philip’s Protestant Episcopal Church is the fourth home of New York City’s first African-American congregation of Protestant Episcopalians. From its beginnings as the African Episcopal Catechetical Institution in the City of New York shortly after the American Revolution, St. Philip’s was established as its own parish in 1818 under the leadership of Bishop John Henry Hobart and the Reverend Peter Williams, Jr. St. Philip’s long and inspiring chronicle of religious and social activism adds a depth to our national history not generally acknowledged. The movement of St. Philip’s congregation northward, beginning in lower Manhattan, to the present location in Harlem, reflects the residential patterns of New York City’s African-American population. When the Reverend Hutchens Chew Bishop purchased residential property in Harlem in 1908 on behalf of St. Philip’s and the church building was constructed at its present location, St. Philip’s became one of the first institutions to attract African-Americans to Harlem. St. Philip’s Church building was designed in the neo-Gothic style by the firm of Tandy & Foster. The design of the facade, a response to certain liturgical requirements, incorporates fourteenth-century English, or Perpendicular, Gothic elements in contrasting orange Roman brick and cast-stone aggregate. Vertner W. Tandy was the first African-American architect to be registered in the State of New York and George Washington Foster, Jr., was among the first African-Americans to practice within the architectural profession in the United States. St. Philip’s has continued its nearly two-hundred-year tradition of service to its congregation and community, addressing the spiritual needs of its members and providing a variety of social programs.

Salem United Methodist Church, not dated. The Salem United Methodist Church was founded in 1881 as a mission church of a larger congregation. The community first met in a storefront and then a private home. By 1908 Salam was recognized as a separate church from St. Mark's Methodist Episcopal. By the 1920s the congregation had grown to more than 600 and the chapel and meeting rooms used by the parish in brownstones at 133rd Street and Lenox Avenue were no longer sufficient. The congregation moved into this building at 129th Street in 1924. The Calvary Methodist Episcopal Church had moved to the Bronx and sold this late 1880s-built Romanesque Revival church. Between 1908 and 1948 Salem was led by Rev. Frederick A. Cullen, pastor, activist, and adoptive father of poet Countee Cullen. It was here that Cullen married Yolande Du Bois, daughter of W.E.B. Du Bois in 1928. The wedding was a major social event in the history of the Harlem Renaissance. The opera singer Marian Anderson was also a congregant. In the 1950s, the community undertook an interior restoration that honored the historic character of the building but included new floors, organ, pews, and heating and cooling infrastructure. Today the church remains the home of the Salem United Methodist Church.

407 West 130th Street, unknown date.

Once called the "richest Negro church in America," St. Philip's Episcopal Church is also one of the oldest black congregations in New York. The church was organized in 1818 by, among others, Peter Williams Jr., a passionate political activist, and abolitionist. Many of the parishioners of St. Philip's were members of New York's extremely small nineteenth-century black elite. Located since 1886 in the infamous Tenderloin neighborhood on the middle west side of Manhattan, St. Philip's acquired a new church site on the south side of West 134th Street near Seventh Avenue in 1909. (The church also purchased ten apartment houses on West 135th Street that had previously been restricted to whites. When the congregation began its move to Harlem, St. Philip's evicted the white tenants and made the apartments available to blacks. For half a century, rent from those apartments subsidized the St. Philip's endowment). One of the architects of the church, which opened in 1911, was Vertner Woodson Tandy, the first black architect registered in New York and designer of Madam C. J. Walker's townhouse/hair parlor.

The Wishing Tree was originally located in front of the Lafayette Theater on 7th Ave and 132nd Street. In the 1920s and 1930s, 7th Avenue was commonly called the "Boulevard of Dreams" by Harlem residents, as it was lined with prominent performance venues. Reportedly, before performances, actors, musicians and the like would touch the branches and bark of this tree for good luck on stage. The tree was a symbol of promise for Harlem. Unfortunately, the good-fortune granting shrub was chopped down by the Parks Department in 1934 to widen the Avenue, and sections of it were cut up and sold to private hands. Seeking to preserve the public tradition of the lucky charm, Bill "Bojangles" Robinson saved the stump and brought it at a nearby traffic island. The "replanting" ceremony was attended by over 5,000 Harlem residents, who led a "rhythmic planting" in homage to the music industry the tree served. Even Mayor LaGuardia attended the ceremony. A young sapling was planted at the original location of the Wishing Tree, but hope-seekers continued to visit the stump. Soon, a plaque was laid in front of it, which read "The Original Tree of Hope Beloved by Citizens of Harlem." On November 13th, 1934, the New York Daily News interviewed a few visitors to the newly-minted Wishing Tree. Here are their accounts: George A. Seward, of West 132nd Street, unemployed at the time: "My wish is for tolerance among men and between races. We would all be happier if we could live together without hate or prejudice, each man respecting the other's rights and feelings. If you let me make another wish, I'll make a wish for a good job." Miss Margaret G. Jackson of West 143rd Street, a homemaker: "I've just made a wish and that's a good one, brother. I wish that prosperity will return soon to Harlem, like we used to have it five or six years ago. This Wishing Tree was planted in bad times, and if things go by opposites I will get my wish." Edward M. Fentress, of Seventh Avenue, mortician: "To be able to minister to my fellow men. In particular, I want to minister to the aged and infirm and to children. Boy, how I love the little pickaninnies! Everybody does, and I'm also wishing that we will have a fine playground for them somewhere in Harlem." Miss Peg Buckhoy of West 138th Street, a dancer: "$1,000,000 in cash. Just watch my smoke when my wish comes true. It's bound to come true, because this is the Wishing Tree, and that's what they planted it in Harlem for. I'll give Bill Robinson $1,000 a night to teach me the secret of his dancing, although I'm some dancer myself." Mrs. Roberta T. Williams, of West 143rd Street, a homemaker: This Wishing Tree is new in Harlem, and I've come here to wish that every person who makes a wish her will have his or her wish granted. I'm coming again tomorrow to make another wish, and then I'm wishing that I will always continue to look young enough to be mistaken for my daughter's sister." J.W. Stewart, West 128th Street, steward: "I'm wishing for money and plenty of it. With money I can have all the friends in the world and do anything I want to do. Without it there are few friends and very little liberty. People say that money isn't everything in the world, but try to do something without it." The Wishing Tree has since been removed, but a commemorative sculpture, titled "Tree of Hope III," by Harlem artist Algernon Miller, takes its place. A portion of the original stump can be visited in the Apollo Theater.

Hancock Park was dedicated to war hero Winfield Scott Hancock in 1886 by the New York City Board of Aldermen. The board gained possession of this property the year of Hancock's death and saw fit to celebrate the decorated general. The Coalition of 100 Black Women has maintained this small park since 1981. Recent plantings have included the introduction of evergreens, tulips, and a perennial garden.

Interior of Hamilton Grange, date unknown.

The Apollo Theater is located at 253 West 125th Street. For more than forty years it was the country’s most important venue for black entertainment. Built in 1913, it was originally a vaudeville and burlesque house known as Hurtig & Seamon’s New Theater. Amateur Night, introduced by showman Ralph Cooper, Sr., has been a staple at the Apollo since its opening in 1934. Ella Fitzgerald, Sarah Vaughan, Billie Holiday, James Brown, and the Jackson Five are just a few of the winners of Amateur Night.

Originally constructed for the Baptist Church of the Redeemer, this freestanding Romanesque Revival style building is of great cultural importance to the city for its ties to the Civil Rights Movement of the 1950’s-60’s. After changing hands several times, it was sold in 1936 to the Friendship Baptist Church, founded by the Rev. Dr. John Iverson Mumford. From the beginning, the church supported Civil Rights. Its second pastor, Dr. Thomas Kilgore Jr., was an associate of the Rev. Dr. Martin Luther King Jr., who delivered a sermon here in 1955. Among Rev. Kilgore’s other local and national Civil Rights efforts, he led the church to found the House of Friendship Community Center, which, in 1963, became the National Headquarters for the March on Washington for Jobs and Freedom, organized by Bayard Rustin. The congregation, still active today, was deeply involved in organizing the Harlem community’s participation in that historic March. In addition to its social and political significance, 170 West 130th Street’s façade is architecturally significant as the work of Vertner Woodson Tandy, the first African-American architect registered in New York State. The House of Friendship Community Center is located in the Central Harlem West -- 130-132nd Street Historic District.

240 West 131st Street, ca. 1932.

Apollo Theater, ca. 1985. The most famous music venue in Harlem was opened as a “Whites Only” burlesque theater in 1914. It reopened as the Apollo Theater in 1934. From the swing bands of the 1930s to soul and gospel, rock, and blues, the Apollo has been host to Duke Ellington, Count Basie, the Staple Sisters, Mahalia Jackson, Ray Charles, Otis Redding, Aretha Franklin, Dave Brubeck, Stan Getz, Buddy Holly, Billie Holiday, Diana Ross & the Supremes, The Jackson 5, Marvin Gaye, Luther Vandross, Art Blakey, Dizzy Gillespie, James Brown, George Clinton and the Parliament-Funkadelic, Al Green, and in 2012, President Barack Obama singing "Let’s Stay Together" to Al Green.

Interior view of the original front door of Hamilton Grange, date unknown. During the home's time at 287 Convent Avenue (1889-2008), this original door was facing the side of the church next door.

Saint Aloysius Roman Catholic Church ARCHITECT: William W. Renwich DATE: 1902-04 STYLE: Italian Gothic, Church The richly ornamented, polychrome St. Aloysius Roman Catholic Church was built in 1902-04 to the design of William W. Renwick based on Italian Gothic prototypes, an unusual source of stylistic inspiration for buildings in New York City. Named after the 16th-century Italian St. Aloysius Gonzaga, the church was organized in 1899 by Rev. John A. McKenna and constructed during a church-building campaign in Harlem to accommodate the growing immigrant population. W.W. Renwick, nephew of noted architect James Renwick, Jr., joined his uncle’s firm in 1885 and became a junior partner in 1890. In his work in that firm and its successors, and in independent practice after 1900, he specialized in ecclesiastical architecture and decoration. The intricate facade of St. Aloysius, considered one of W.W. Renwick’s most important commissions, consists of alternating bands of red brick, celadon-colored glazed brick (by the Grueby Faience Co.), and glazed “granitex” (with the color and texture of grey granite) terra cotta with cobalt blue accents (by the New York Architectural Terra Cotta Co.) in a wide variety of molded motifs.

O'Reilly Storage, April 13, 1925. One of the tallest structures in this area of Harlem, the O'Reilly Storage was constructed in 1892 as a storage facility to serve the new residents of the booming middle class neighborhood. The orange and red brick building stood for more than a century, becoming the Dwyer Warehouse in the 1960s. By the start of the 21st century, the building was in poor condition and was largely razed in 2005. The condominium that rose in its place includes some small portion of the original building's base and calls to mind the former structure with orange bricks and a similar silhouette, complete with hexagonal corner tower.

The Constitution of the United States of America establishes the laws and governmental structure of the United States. It was first drafted by James Madison and explains which rights are reserved to the national and state governments. The Constitution was ratified in 1787, four years after the official ending of the Revolutionary War. In the years between the Treaty of Paris, which ended the war, and the Constitutional Convention, the United States was governed by a document titled Articles of Confederation. This document gave more power to the various states instead of a single national government. This made important decisions regarding trade, taxation, and defense, very hard to make. Many people recognized the serious situation the new nation found itself in and met in Philadelphia to create a new guiding document. After intense debate, they produced the US Constitution, which still forms the basis of our government. In fact, the US Constitution is the oldest constitution still in use today. While not perfect, this document laid out the fundamental rights that all Americans enjoy today. These different locations throughout New York help to highlight some of the powers and rules laid out in our founding document. NYS Social Studies Scope and Sequence Standards 7.4 & 11.2 For Teachers: US Constitution Lesson Plan

ST. JOSEPH’S CHURCH, MANHATTAN Address: 401-403 West 125th Street Architect: Constructed: 1860 Church of St. Joseph of the Holy Family is the oldest church in Harlem and the oldest church north of 44th Street, completed in 1860. The modest Romanesque structure was originally built for German immigrants, and was expanded in 1889 by the Herter Brothers.

Harlem Opera House ca. 1905 Impresario Oscar Hammerstein's 1,800-seat Harlem Opera House was designed by one of the city's most productive theater specialists, J. B. McElfatrick & Sons. The facade was ornately embellished with arabesque panels and a hierarchy of pilasters; allegorical statuary surmounted its crowning parapet. Its interpretation of European architecture was as free as that of any Disney castle. Jules Hurtig and Harry Seamon took over the Harlem Opera House around 1903 and operated there until they leased a newly-built theater at 253 West 125th Street (corner of Lenox Avenue) in 1914. Hurtig & Seamon's (New) Burlesque Theatre played to an all-white clientele, but in 1928, that structure became the Apollo Theatre.

St. Aloysius Roman Catholic Church ca. 1908 It is possible to time-travel in Harlem simply by turning the corner from Seventh Avenue onto West 132nd Street and unexpectedly coming upon William W. Renwick's St. Aloysius's Roman Catholic Church. Built in 1904, following a journey of Renwick's to Italy, its scarlet doors and polychromed terra-cotta so convincingly evoke Italy's late medieval churches that the effect can be somewhat disorienting. The church was built for a primarily Irish congregation. Of particular note was the gold-framed window of yellow leaded glass in the nave, which produced a warm focal point in the space of quiet repose. The window's glow abruptly vanished when a tall apartment building was constructed on the next block.

Drawing of Hamilton Grange, pre-1889. Hamilton's home has only been in its new (and likely final) location in St. Nicholas Park since 2008– not long enough for photographs to be in the collections of NYC archives. For a series of historic photos, make sure to visit the pins for 287 Convent Avenue and 143rd Street between Convent and Hamilton Place. This drawing of the home in its original location (approximately West 143rd Street between Convent Avenue and Hamilton Place) is very similar to how the building looks today. In its final move the original entrance was restored.

Apollo Theater ARCHITECT: George Keister DATE: 1913-14 The Apollo Theater was for four decades starting in the 1930s one of New York City’s and the nation’s foremost arenas for leading popular black American performing talent. It retains much of its original character, including its proscenium and flanking boxes and classically-inspired plaster ornament. Its construction reflects the early twentieth-century entertainment history of vaudeville and burlesque in Harlem, in particular, the tradition of Harlem theaters which displayed black performers in a variety show format. The Apollo Theater was graced by the presence of nearly all major black American performers at some point in their careers, reflects the migration of blacks to Harlem and represents the cultural contributions of Harlem and black Americans to New York City and the nation.

Metropolitan Baptist Church ARCHITECT: John R. Thomas DATE: 1884-85 STYLE: Gothic, Romanesque Revival Designed in two sections by different architects, the Metropolitan Baptist Church (originally the New York Presbyterian Church) is a fine example of the many new churches built in Harlem during the late 19th century at a time when the local church represented wealth and stability to the community. The building is distinguished by a somewhat unusual blend of the Gothic and Romanesque Revival styles, both favored in part for their imposing character, and reflects the importance of its original congregation. The earlier section of rough-faced limestone church, fronting on West 128th Street, was planned by John Rochester Thomas in 1884. It housed a small lecture room/chapel and was erected with the intention of adding a principal auditorium structure at a later date. The addition, comprising the Seventh Avenue facade and the northern section of the church, was completed in 1890 and designed by Richard R. Davis. Davis’ extension, with its dominating gable and towers, complemented the Thomas design incorporating many details from the earlier structure.

West 125th Street, north side between St. Nicholas Avenue and Fredrick Douglas Boulevard, June 21, 1934. Frank's Restaurant is seen at center with the neon sign hanging out from the building. For much of its early 20th century history Frank's only allowed African Americans in the bar but not the restaurant proper. Exceptions to this were famous entertainers and politicians. The story goes that in the 1940s heavyweight champ Joe Louis would often bring large groups to Frank's and they would seat them, not wanting to reject the wishes of the celebrity. By the 1950s Frank's was integrated.

Adam Clayton Powell Jr. Boulevard and 126th Street ca. 1964 Following the killing of James Powell, a fifteen-year-old boy, by police, on July 16th, 1964, Harlem and Bedford-Stuyvesant erupted into six consecutive nights of rioting and protests. Disparate groups in both communities, outraged at continued racism and police brutality, organized a series of meetings that looked for solutions in the form of everything from passive protest to active revolution. Throughout the riots, protestors clashed with the police, whose presence and anti-riot tactics were inflammatory for the grieving neighborhood. Four thousand New Yorkers were said to have taken part in the riots that ended on July 22nd, leaving one rioter dead, and hundreds more injured and arrested.

Originally constructed for the Baptist Church of the Redeemer, this freestanding Romanesque Revival style building is of great cultural importance to the city for its ties to the Civil Rights Movement of the 1950’s-60’s. After changing hands several times, it was sold in 1936 to the Friendship Baptist Church, founded by the Rev. Dr. John Iverson Mumford. From the beginning, the church supported Civil Rights. Its second pastor, Dr. Thomas Kilgore Jr., was an associate of the Rev. Dr. Martin Luther King Jr., who delivered a sermon here in 1955. Among Rev. Kilgore’s other local and national Civil Rights efforts, he led the church to found the House of Friendship Community Center, which, in 1963, became the National Headquarters for the March on Washington for Jobs and Freedom, organized by Bayard Rustin. The congregation, still active today, was deeply involved in organizing the Harlem community’s participation in that historic March. In addition to its social and political significance, 170 West 130th Street’s façade is architecturally significant as the work of Vertner Woodson Tandy, the first African-American architect registered in New York State. The House of Friendship Community Center is located in the Central Harlem West -- 130-132nd Street Historic District.

The Borden’s Milk ice cream parlor at Eighth Avenue (Frederick Douglass Boulevard) and West 125th Street, 1939. Photographer Sid Grossman’s shot captures a busy street scene on Eighth Avenue, underneath the tracks of the IRT Ninth Avenue El, which ran over Eighth Avenue above 110th Street. The shot also includes a No. 10 bus, bound for Macombs Place and West 154th Street.

As African Americans migrated uptown to Harlem in large numbers in the 1910s and ’20s, existing theaters began showcasing black performers. Some of these venues welcomed black audiences. The Apollo Theater, which had operated as a burlesque venue in the 1910s and ’20s, was relatively late in bringing on black entertainers. Although performers such as blues singer Alberta Hunter are said to have appeared here as early as 1930, African-American performers became the rule under new ownership in 1932. Three years later, again under new ownership, the Apollo instituted a permanent variety show format featuring leading black talent that would last until the 1970s. This was particularly important as, even through the 1950s, few major theaters across the United States featured black entertainers. Every form of popular African-American entertainment – comedy, drama, dance, gospel, blues, jazz, rhythm and blues, swing, bebop, rock and roll, and soul music – was showcased at the Apollo. LGBT luminaries included comedian Jackie “Moms” Mabley; singers Bessie Smith, Alberta Hunter, Billie Holiday, Ethel Waters, Willie Mae “Big Mama” Thornton, Josephine Baker, Clyde McPhatter, Little Richard, Carmen McRae, Johnny Mathis, Arthur Conley, Carolyn Franklin (and sister of Aretha), Billy Preston, Nona Hendryx, Teddy Pendergrass, and Luther Vandross; and gospel greats Clara Ward, Sister Rosetta Tharpe, Marie Knight, Alex Bradford, Ruth Davis, Jackie Verdell, and James Cleveland.

Lafayette Theatre, 1936. Known to Harlem locals as "the House Beautiful", the Lafayette Theatre was a Renaissance-style building that became a neighborhood landmark. Completed in 1912 to the plans of theatre architect, Victor Hugo Koehler, the two-story, 1500 seat venue was the brainchild of Lower East Side banker, Meyer Jarmulowsky (of the Jarmulowsky Bank family). Initially, African Americans were only allowed seating in the balcony and then were permitted to buy seats in the orchestra, but were charged double the cost of a ticket for a white patron. Through complaints and the loss of revenue, due to this policy, the theatre made a change. One year after opening, the Lafayette became one of the first major theatres to desegregate. This action brought larger black audiences, and a contemporary critic suggested that this would mean more serious black productions. The Lafayette Players, Harlem's first black legitimate theater group, was founded here in 1916 and the theatre and its adjacent nightclub hosted some of the well-known performers of the day, including Bessie Smith, Moms Mabley, Leadbelly, and Duke Ellington. The theatre closed in the 1930s but was revived as part of the Works Progress Administration's Negro Theater Project. In 1936, its most famous production debuted: a performance of "Macbeth," which moved the action to a Caribbean island, directed by 20-year-old Orson Welles. Referred to as "Voodoo Macbeth," the show played here for 10 weeks before transferring to Broadway and having a national tour. The theatre closed once again in 1951 and the building was purchased by the Williams Christian Methodist Episcopal Church. While the interiors were altered, other than removing the marquee, the exterior remained unchanged until 1990. That year the church demolished the exterior, which was unprotected, and replaced it with a somewhat Brutalist marble and concrete facade. The building and its abutting structure to the south, which once housed the Ubangi Club, a nightclub known for its openness to all races, genders, and sexual orientations, were demolished in 2013. The replacement apartment house is called The Lafayette.

West End Theatre, ca. 1915. Designed by the firm of Neville & Bragge in a Spanish Baroque style, the West End Theatre opened in 1902. The following year it was sold to a duo of comedians and theatre producers named Webber and Fields. Between 1975 and 2016 the building was occupied by the La Gree Baptist Church. After being sold in 2016, plan have been announced to convert the building into a mixed use, residential and commercial building.