Once, McDonough, Georgia was a quiet hamlet. It has now been enveloped by Atlanta’s sprawl and is not so quiet any longer. About thirty miles from downtown Atlanta, McDonough was the scene of the infamous Camp Creek Railroad disaster which is sometimes noted as “Georgia’s Titanic.”
Rain had been falling for most of the month of June 1900 and it was beginning to affect the railroads. On the evening of June 23rd, Old Number 7, carrying 48 souls, was bound for Atlanta, but waited at the station in McDonough for another train to arrive from Columbus. When word reached the station that that train was stalled by a washed out bridge, the Old Number 7 was told to book it towards Atlanta. Before pulling out, the train’s engineer remarked, “We’ll either be having breakfast in Atlanta or in Hell.”
The Red Ball Freight sped ahead of the Old Number 7 and cleared the trestle over Camp Creek, a creek that’s usually mild-mannered, though it was swollen this night. The engineer of the No. 7 never could have seen the portion of the trestle that was now missing, having just been washed away and the train plunged into the raging waters of the creek. While some of those aboard died in the initial impact, some drowned and others died in the ensuing fire. Of the 48 souls aboard, only 9 survived. Rescuers pulled the bodies from the wreckage and were laid out in the McDonough town square until they could be taken to one of the two funeral homes, B. B. Carmichael’s or A. F. Bunn & Company. The nine survivors were put up in The Globe Hotel on the square.
As the citizens of McDonough recovered, the spirits from this horrendous disaster have remained. Spirit activity has been reported on the McDONOUGH SQUARE, possibly related to the bodies laid out there. The DUNN HOUSE/GLOBE HOTEL(20 Jonesboro Street), where the survivors recovered was moved just off the square, and now houses businesses. A weeping woman has been seen and heard in the building; someone possibly related to this accident. The building that once housed B. B. Carmichael’s Funeral Home, which handled many of the bodies, is now THE SEASONS BISTRO (41 Griffin Street). While it is regularly home to diners, there are also spirits in this building. A pair of diners in the restaurant saw a man preparing the body of a female in the area that now serves as the women’s restroom. When one of the diners described the man, the restaurant’s owner was shocked to realize that the man was B. B. Carmichael.
Beck, Carolyn F. “McDonough.” New Georgia Encyclopedia. 20 June 2013.
Walker, Caprice and Dan Brooks. Haunted Memories of McDonough, Georgia. McDonough, GA: Bell, Book and Candle Used Book Store, 2006.
Wells, Jeffrey C. In Atlanta or in Hell: The Camp Creek Train Crash of 1900. Charleston, SC: History Press, 2009.
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Among theatre folks there’s an old saying, “no good theatre, worth its salt, will be without a ghost.” The South is not immune to this phenomenon and its landscape is dotted with many theatres claiming to be haunted. The variety of theatres is quite astonishing; from 1920s-era movie palaces, to opera houses to performance spaces that have been created out of old buildings, and even cinemas, so many of these sites have wonderful and creepy stories to tell.
Mary G. Hardin Center for Cultural Arts 501 Broad Street Gadsden, Alabama
This prominent corner of Broad and 5th Streets has witnessed much of Gadsden’s history. A home stood on this corner until 1860 when the First Baptist Church erected a church here with a graveyard surrounding the building. Around the turn of the 20th century, the church was sold and the graves—most of them—were relocated to nearby Forrest Cemetery. A furniture store operated on the site until the building of the Imperial Theatre which opened in 1920. The theatre changed hands a few years later, was extensively remodeled and reopened as the Princess Theatre in 1926. The Princess—a vaudeville and motion picture house—provided the citizens of Gadsden the utmost in comfort and technology until it’s destruction by fire in 1963.
The starkly modern Mary G. Hardin Center for Cultural Arts now occupies the corner. Within its modern corridors, galleries, studios and performance spaces there are spirits. Betty McCoy reports that two visitors encountered the spirit of a child who was apparently quite confused. The spirit of a young girl appeared at the Princess Theatre just after it opened in 1920 and many patrons encountered the young and quite curious entity. The identity of this young entity has always been a mystery. Was she attached to one of the graves formerly on the site? Is she one of the spirits in the modern arts center? As long as spirits linger, the questions will remain.
Goodson, Mike. Haunted Etowah County, Alabama. Charleston, SC: History Press, 2011.
Hardin Center for Cultural Arts. “About the Center for Cultural Arts.” Accessed 18 March 2013.
McCoy, Betty S. Haints, Haunts and Hullabaloos: Etowah and Surrounding Counties. CreateSpace, 2011.
H Street Playhouse 1365 H Street, Northeast Washington, D.C.
Things have a strange way of disappearing at the H Street Playhouse. Some believe that these odd disappearances may be linked to a spirit within the old theatre, besides, these disappearances are truly strange. Take for instance, the matter of the disappearance of the theatre’s router from the office during a meeting. Members of one of the theatre companies that uses the theatre were meeting in the building when the Wi-Fi suddenly went out. Heading back to the office, which was only accessible through the room where the meeting was being held, the router seems to have completely vanished.
Costumes pieces and props also have a tendency to disappear right before performances. A t-shirt hanging on a rack disappeared without a trace while prop money seemed to have departed briefly from the bag it was stored in during the show. As money was required during the scene, the actors pulled together what bills they had on them to use, though when the props master opened the bag to dole out money for the upcoming scene, the prop money had reappeared.
If the kleptomaniac of the H Street Playhouse is, in fact, a spirit, then there is the question of identity. Tour guide and author Tim Krepp speculates that the spirit may either be the shade of Bruce Robey, who founded the H Street Playhouse with his wife, or perhaps the spirit of a young boy who was severely burned in a fire across the street in 1905. But, perhaps the spirit lies somewhere in the playhouse’s marvelous history.
The Romanesque Revival-styled building was built in 1928 as an automobile showroom. At the time, this particular stretch of H Street boasted so many dealerships it was called “Autombile Row.” This building served as a showroom until 1942 when the building was renovated for use as a cinema for the African-American community that occupied this area. As the social upheavals of the mid-20th century led to the neighborhood’s decline, the building was used for a variety of purposes until its conversion to a live theatre in 2002.
Bell, T. David. National Register of Historic Places nomination form for Plymouth Theatre. December 2003.
Krepp, Tim. Capitol Hill Haunts. Charleston, SC: History Press, 2012.
Coconut Grove Playhouse 3500 Main Highway Miami, Florida
The Coconut Grove Playhouse is like a famous actor in a vegetative state. The doctors are faced with a hard choice: unplug him from life-support to let him die or revive him with an expensive, experimental treatment and hope that he makes a full recovery. As of now, the doctors are still arguing over the best course to take.
This most famous of Florida theatres went suddenly into a vegetative state in 2006 under mounting debt. Since the theatre company’s closure, the theatre has been embroiled in mounting drama between a cast of politicians, preservationists, thespians and developers. Occupying a prominent corner on Main Highway at Charles Avenue, the location has developers salivating over the money that could come from a luxury condominium development on the site. Some government officials, preservationists and thespians would reopen the playhouse as a theatre and hopefully revive its cherished name. Before its closure, the theatre was a major economic driver in the Coconut Grove, one of the oldest neighborhoods in the city.
As the drama fills courtrooms, offices and boardrooms outside of the theatre, faces have been seen peering from the buildings upper windows: spiritual guardians of this 1927 edifice. Ghost tours pass by the site regularly as the Mediterranean Revival structure sits forlornly with its doors locked. The theatre opened gloriously as the Player’s State Theatre on New Year’s Day 1927—a jewel in the Paramount crown. All the amenities of the best theatres were incorporated here including a huge Wurlitzer Concert Grand Organ and air conditioning. Riding high on the great Florida Land Boom of the 20s, the theatre’s fortunes ran out when the real estate bubble burst. The theatre closed in the early 1930s. It was not until 1955 that it would resume use as a theatre, but only after being transformed for use as a live-performance venue.
It struggled even as a legitimate theatre, though it did host a grand assortment of prominent actors and productions on its boards. Samuel Becket’s Waiting for Godot had its American premier here and the stage has seen the work of such noted thespians as Jose Ferrer, Hume Cronyn, Jessica Tandy and Ethel Merman. But, until the actors in the current drama come to a resolution, the theatre and the spirits peering from its windows will continue to wait for Godot’s eminent arrival.
Bandell, Brian. “Coconut Grove Playhouse hit with foreclosure.” South Florida Business Journal. 17 January 2013.
Feldman, Hal. “Do ghosts walk among us?” Pinecrest Tribune. 28 June 2012.
Uguccioni, Ellen and Sarah E. Easton. Designation Report: Coconut Grove Playhouse. City of Miami. 2005.
Viglucci, Andres. “Coconut Grove Playhouse board decides not to fight imminent state takeover.” Miami Herald. 2 October 2012.
Viglucci, Andres. “Plan for larger theatre at coconut Grove Playhouse remains alive.” Miami Herald. 12 March 2015.
Viglucci, Andres. “State says shuttered Coconut Grove Playhouse could be sold to private bidders.” Miami Herald. 14 December 2012.
Viglucci, Andres. and Christine Dolan. “FIU, Miami-Dade in possible deal to save Grove Playhouse.” Miami Herald. 13 March 2013.
Springer Opera House 103 10th Street Columbus, Georgia
As a kid, the Springer Opera House was the first local haunting I was familiar with. I recall the intense jealousy I felt when my sister got invited to a birthday party at the Springer and I wasn’t allowed to tag along to “see the ghost.” As a theatre major at Columbus State University, I visited the Spring a number of times and saw a few performances, though still I was distracted by the fact that there may be ghosts wandering about the antique promenades and still taking their seats in the boxes on either side of the stage.
In school, I also began to hear stories from my friends who had worked in the old theatre. Some of the experiences seemed incredible—like the story of a sound technician being levitated in the booth—while others seemed quite credible—a friend’s encounter with a little girl in a hallway who seemingly wanted to play tag but disappeared. When I got hired to work on a book about this theatre, I was excited to possibly experience the spirits there myself.
I was asked by F. Clason Kyle to work as an editor on his book, In Order of Appearance, a history of the theatre and the many famous personalities—Edwin Booth and John Philip Sousa to Minnie Maddern Fiske and Burt Reynolds—to have walked its boards. Mr. Kyle and I first began by organizing much of the archival material the theatre had. We had our own little room stuffed with boxes of old programs, promotional materials, business papers and the occasional artifact. Among the artifacts was a beaded purse once owned by famed Polish actress, Helena Modjeska. We weren’t sure where the purse was, so we went looking for it.
Before we left the archives room, Mr. Kyle and I had been sorting through the various boxes. We returned to the room after a search of about an hour and I walked straight back to the box I had been searching through. There, sitting on top of the papers within the box was an antique purse. While it was not the Modjeska purse, almost as a consolation prize, an antique pocket watch had been placed on top of the purse. Obviously, if the purse had been there as we were discussing the Modjeska purse I would have asked about it. But to appear after we returned from the search was very odd. Perhaps the Springer’s ghost is similar to the H Street Playhouse’s kleptomaniac spirit.
During my two years working on the book, I also heard footsteps on the second floor and a door slamming shut by itself during a rehearsal. But many others have had more spectacular experiences. The educational director whose office was located on the second floor regularly saw a man walking past her doorway. She also felt a strong bond, motherly really, towards the spirit of a little girl that had been reported throughout the building as well.
There is apparently a host of spirits within the 1871 building, though it seems that the male spirit and the little girl may be the more active. The theatre’s artistic director, Paul Pierce, wrote a book about many of the experiences in the Victorian theatre including his own experience. Pierce had arrived at the theatre early one morning to open the tool room for technicians who were setting up for an event. As he walked through the scene shop, Pierce realized there was a man walking next to him. “Slight of build, he was a young gentleman with a thin, unruly, Van Dyke beard and wearing an ill-fitting tweed suit.”
Pierce walked through the shop with this figure playfully mirroring his stride through the room. They turned a corner and the figure walked behind a screen leaning against the wall. The figure did not emerge from the other side.
Kyle, F. Clason and Lewis O. Powell, IV, editor. In Order of Appearance: Chronicling 135 Years on America’s Most Celebrated Stage. Columbus, GA: Communicorp, 2006.
Pierce, Paul. The Springer Ghost Book. Columbus, GA: Communicorp, 2003.
Paramount Arts Center 1300 Winchester Avenue Ashland, Kentucky
The Paramount Arts Center gained its ghost fairly early in the theatre’s history when, as legend holds, a worker somehow became entangled in the rigging above the stage and died. If this act was an accident or suicide is unknown, but strange things began to be reported in the building. Over time, theatre staff members dubbed the entity “Paramount Joe.”
Just seven months after the Ashland Opera House was destroyed by fire in 1931, the Paramount Theatre opened as a movie palace for the citizens of the city. When the Art Moderne style theatre closed its doors in 1971, locals purchased the building as a performing arts center.
In 1992, local musician Billy Ray Cyrus (father of Miley Cyrus) chose the theatre for the filming of the video of his hit song, “Achy Breaky Heart.” While there, he was told the story of “Paramount Joe,” and Cyrus claimed that he spoke with the spirit during a break and signed a poster for Paramount Joe. Some years later when an executive removed the poster from its place in the box office the staff returned the next day to find all the pictures had fallen from the walls some having their glass and frames broken. After Paramount Joe’s signed poster was restored, all has returned to normal in terms of the pictures.
Ball, Linda Larimore. National Register of Historic Places Nomination Form for the Paramount Theatre. October 1975.
Abbey Players Theatre 200 South State Street Abbeville, Louisiana
The Abbey Players had its founding in 1976 when a small group of thespians staged a successful production of Neil Simon’s Last of the Red Hot Lovers. The theatre company was incorporated the next year with the intention of presenting quality theatre to the region. After spending a few years staging shows at various venues throughout town, the group began renting an old building on South State Street. Previously housing the Reaux Lumber Company, the building dates to 1908 and was originally opened as a saloon.
After adapting the building for use as an arena stage, the company settled in and now produces 3-4 shows per season as well as children’s productions. Additionally, company members have had experiences in the building that may be paranormal. These include the shade of an elderly woman and the voice of a young girl among other unexplained noises. An investigation by Louisiana Spirits Paranormal Investigations captured a number of personal experiences for the team as well as EVPs.
A couple of these experiences are highlighted in Chere Coen’s Haunted Lafayette, Louisiana. During the investigation, Louisiana Spirits discovered a cold spot that seemed to move around a dressing room. The investigators also heard a disembodied voice greet them with a “hi.”
Patapsco Female Institute 3655 Church Road Ellicott City, Maryland
The immortal words of Shakespeare have been uttered within the walls of the Patapsco Female Institute for almost two centuries. Even with only the exterior stone walls remaining, the ruins now provide a perfect backdrop for productions by the Chesapeake Shakespeare Company. Shakespeare’s numerous ghosts may even provide a camouflage for the ghosts that reside among the romantic ruins.
The Patapsco Female Institute opened in 1837 as an elite finishing school for young women. Among some of the more well known alumnae is Winnie Davis, daughter of Confederate President Jefferson Davis. Sally Randolph, great granddaughter of Thomas Jefferson served as a headmistress. It was during this time in the balmy days leading up to the Civil War that a daughter of a Southern planter was enrolled here.
The young girl hated the school, longed for home and her father would not allow her to return home. The student contracted pneumonia and her body left the school in a coffin. The student’s spirit, however, has remained to wander the ruins of her former school.
The school closed its doors in 1891 and throughout the 20th century the building served as variety of uses including a convalescent home after World War I, a private residence and a theatre. After local officials condemned the building in the late 1950s, the owner gutted the building of its woodwork leaving just the yellow-tinted local stone walls standing. The space is now owned and operated by the Howard County Government as a historic site and an events space.
The white-gowned apparition of the former student still wanders the grounds.
Hannon, Jean O. Maryland Historic Trust Worksheet for Patapsco Female Institute. January 1978.
Hirsch, Rona S. “Ghostly images, spirited debate.” Baltimore Sun. 31 October 2001.
Cinemark Movies 8 Mall at Barnes Crossing 1001 Barnes Crossing Road Tupelo, Mississippi
Any location can be haunted. While most people would not expect to encounter a spirit within a fast food restaurant, big-box retailer (like Wal-Mart or Toys R Us) or a recently constructed building, it does happen. In some cases, recent tragic events may spur such a haunting, but other times, there is no obvious reason at all. Such is the case of this haunted multiplex theatre. According to CinemaTreasures.org, this theatre was opened in 1992, seating 1920 people and a couple spirits. A female spirit, nicknamed Lola, quite mischievously moves things and has been seen peering into the break room trashcan. She apparently gets the brunt of the blame when things go wrong or missing. A male spirit seems to be more elusive and sticks to the projection room.
Bud. The Haunted Natchez Trace. Charleston, SC: History Press, 2012.
Mountainside Theatre 688 Drama Drive Cherokee, North Carolina
Part of my own heart lies in the mountains of Western North Carolina around Cherokee. While I was in college I spent the three greatest summers of my life working on the historical drama, Unto These Hills, which has been performed at the Mountainside Theatre since 1950. It’s a humbling experience to be able to tell the story of the Cherokee people who have existed in this area for millennia. Even more humbling is being able to tell that story surrounded by the spirits of the characters and their living descendants.
The theatre is truly a sacred space where we can commune with the spirits of the past, both figuratively and literally. From my first day here, we were always made aware of the presence of spirits in this enormous amphitheatre. Among the host of spirits are Cherokee, sacred spirits from Cherokee mythology (see my entry on my own experience with the Cherokee little people) and former cast members. Some of these spirits can be truly frightening while others provide comfort.
In recent years, the Cherokee Historical Association—which operates the drama as well as the Oconaluftee Indian Village (it’s also haunted)—has operated a “Haunted Village” attraction around Halloween. This includes a ghost walk through the theatre and cast housing. In 2013, a zombie run was held at the theatre. During this event participants were chased through the theatre complex and cast housing by a variety of zombies. This included an area just behind the theatre called the ready room. This space is a partially enclosed are where actors may wait once they have put on their costumes. On the wall here is an old pay phone.
I was told this story last summer when I was working in Cherokee. One evening in 2013, an hour or so after the zombie run the local police department received a panicked phone call from the Mountainside Theatre. A terror-filled voice begged for help from the theatre. The Cherokee Police Department responded and sent police up the driveway behind the theatre. The theatre complex was quiet and empty without a living soul to be found. The call had been traced to the theatre pay phone. It was discovered, however, that the phone was disconnected.
This is one of countless stories that have been told about the theatre.
Connor, William P., Jr. History of the Cherokee Historical Association 1946-1982. Cherokee, NC: Cherokee Historical Association, 1983.
Dock Street Theatre 135 Church Street Charleston, South Carolina
St. Philip’s Episcopal Church aggressively pushes itself into Church Street. Its columned porches thrust out so far that the street must curve to accommodate it. Above the street, the tremendous spire rises like an upright, moral finger, a reminder of the moral duties of the citizens of The Holy City. In the next block south of the church and within the shadow of the spire sits the Dock Street Theatre grinning garishly with its whimsical columns at St. Philip’s and the stringent Gothic Revival face of the French Huguenot Church directly across Church Street.
Theatre has always thumbed its nose at the self-righteous morality of good, church-going folk while often lampooning their foibles and failures on its boards, pulling down the saints from their lofty niches. In turn, the righteous have worked to reign in and silence the heckling theatre. This certainly was the case in Colonial America, a place still reeking of the Puritanism and strict morality that afflicted and bound the earliest settlers. Theatre most certainly struggled to gain a foothold on this steep religious mountain. The original Dock Street Theatre opened its doors in 1736 as, quite possibly, the second oldest edifice devoted to theatrical performance in the colonies.
As a part of a city in its early evolution, the original structure lasted a little less than two decades before that spark of a city’s growth, fire, reduced it to a hollowed shell of brick. The theatre was rebuilt and remained a theatre through the remainder of the 18th century. In 1809 the structure became home to the Calder House Hotel (later known as the Planter’s Hotel) run by Alexander Calder—an ancestor of the 20th century American artist of the same name—to serve wealthy visitors to the city. During the Great Depression, the Works Progress Administration cobbled together the collection of old buildings on this site into the current reincarnation of the Dock Street Theatre which incorporates an 18th century styled theatre and possibly a few brick walls dating to the original 1736 theatre.
The building incorporates a certain spiritual fabric within its aged physical fabric. Most sources refer to two spirits who reside within the old theatre, though I venture that with the Dock Street Theatre’s long history, there’s also quite a good bit of residual energy manifesting itself.
One of the spirits has been identified as the great British thespian, Junius Brutus Booth. Renowned for his portrayals of Shakespearean characters, Booth fathered three sons who were also destined for the stage: Junius Brutus Jr., Edwin and John Wilkes, three thespians who left their mark on the theatrical world and one who would leave a mark upon the world stage. Edwin followed in his father’s footsteps to become one of the greatest tragedians of his day whilst Junius Jr. found better success in the managing of theatres. John Wilkes earned his notoriety as Abraham Lincoln’s assassin.
According to numerous—mostly paranormal in nature—sources, Booth the elder did stay in the Planter’s Hotel and that the well-dressed gentleman’s spirit seen in and around the theatre is his shade. Though it does ask the question of why would Booth haunt this hotel of all the numerous hotels where he stayed? According to the managing director of the theatre Booth was an alcoholic and possibly mentally unstable. During a stay in Charleston Booth allegedly beat his manager with a fire iron. Just as modern actors and performers are prone to bouts of bad behavior, so were the actors and performers of old. It seems this may belong to the phenomenon of historic landmarks picking among their most famous patrons or residents in order to identify their spirits.
Nevertheless, the spirit is still seen within the theatre. A man in a tall hat and overcoat is sometimes seen in the balcony and may sit in on rehearsals. In her Ghosts and Legends of Charleston, Denise Roffe reports on a young woman who saw this gentleman standing in the balcony when she visited.
Though, other stories center on a spirit known as “Netty” or “Nettie.” Likely dating to the same time as the gentleman’s spirit, legend has it that Nettie was a “working girl” who provided entertainment to the gentlemen who patronized the hotel. The legend continues with her dying a violent death on the balcony of the hotel, just above the entrance. While she was out on the balcony one evening, the steel beam supporting the balcony was struck by lightning and she was electrocuted. According to author Terrance Zepke, her spirit form has been observed by passersby and also captured on film. Additionally, she lingers in the second floor backstage hall where she apparently appears to be walking on her knees as the floor was raised during the building’s renovations in the 1930s. Netty is still walking on the original floors.
Bull, Elias B. National Register of Historic Places nomination form for the Dock Street Theatre. 2 January 1972.
Macy, Ed and Geordie Buxton III. Haunted Charleston: Stories from the College of Charleston, the Citadel and the Holy City. Charleston, SC: History Press, 2004.
Poston, Jonathan H. The Buildings of Charleston. Columbia, SC: U. of SC Press, 1997.
Roffe, Denise. Ghosts and Legends of Charleston, South Carolina. Atglen, PA: Schiffer, 2010.
Zepke, Terrance. Best Ghost Tales of South Carolina. Sarasota, FL: Pineapple Press, 2004.
Paramount Center for the Performing Arts 518 State Street Bristol, Tennessee
In 1991 at the age of 60 the Paramount Theatre, run down and virtually abandoned, rose like its “Mighty Wurlitzer” organ once did from the depths to be reborn as the Paramount Center for the Performing Arts. Opened in 1931, the theatre was meant as a cinema and its small stage had to be enlarged to accommodate live performance in the modern day. Sitting proudly on State Street not far from the Tennessee/Virginia state line, which divides this city, the theatre continues to attract people from all over the region.
According to a 2009 article from the Bristol Herald Courier, the site of the Paramount Theatre was previously haunted. On that site, Bristol’s first hospital stood, a building that had previously been a hotel. During its time as a hotel, a man was shot and killed there. After that, the hotel had trouble renting his room after that as patrons reported hearing and feeling odd things in that room. There is a spirit still hanging around the theatre, though no indication it is the same from the old hotel. The Executive Director has reported that footsteps are still heard in the empty building with the sound of doors opening and closing as well.
Netherland, Tom. “A Timeless Stage: Memories of the Paramount Center.” Originally published in Bristol Herald Courier, 17 February 2009. Republished in A! Magazine for the Arts, March 2013.
State Street divides city of Bristol and marks the state line between Tennessee and Virginia. The Cameo Theatre, on the north side of the street, is in Virginia while the Paramount Center for the Performing Arts, just a few blocks down, sits on the south side of the street in Tennessee. The division between the theatres also marks a gulf of fortunes between them as well. While the Paramount Theatre remains open as a performing arts center the Cameo is currently for sale. Two years older than the Paramount, the 1925 theatre was opened as a vaudeville house and recently served as an arts facility, hosting arts classes for children. Sadly, finances did not allow that to continue and the theatre was put up for sale in 2010.
According to V.N. Phillips’ book, Ghosts of Bristol: Haunting Tales from the Twin Cities, the Cameo replaces The Black Shawl, Bristol’s most infamous brothel. Pocahontas Hale, the establishment’s madam, is said to notoriously patrol the sidewalk in front of the Cameo Theatre. Her shade has been spotted wearing the black clothes and wrapped in the black shawl that she always wore in life.
McGee, David. “Cameo Theatre annex’s inventory being sold off to make way for new owner.” Bristol Herald Courier. 16 June 2010.
Phillips, V.N. Ghosts of Bristol: Haunting Tales from the Twin Cities. Charleston, SC: History Press, 2010.
Old Main Campus of Marshall University Huntington, West Virginia
With a cornerstone laid in 1869—just 32 years after the founding of Marshall Academy on the same spot—Old Main continues to carry Marshall University towards the horizon of the future. The structure’s nomination form for the National Register of Historic Places contains the sentimental statement that “alumni consider Old Main and school itself to be identical. Old Main is Marshall University and Marshall University is Old Main.” Not only does this monumental Tudor structure carry students and faculty forward as a university centerpiece and administration building, but it carries a spirit or two as well.
Old Main embodies the history of the school itself in its walls. It is not actually a single building, but five buildings that have been joined over time. Originally one of these building contained an auditorium, though the space has been unused since 1990. School legend relates that a well-dressed man was sometimes seen back stage during performances. Actors and crew back stage would see the man who would be gone with a second glance. This man was identified as a theatre director from the 1920s. The director supposedly disappeared after it was discovered he had embezzled money from the school.
Bleau, Edward R. National Register of Historic Places nomination form for Old Main—Marshall University. 28 December 1972.
Bozzoli, Carlos. “Old Main Building.” Marshall University Architectural Guide. Accessed 14 March 2013.
Donahue, Kelly. “Untitled article.” The Parthenon. 29 October 1996.
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