Majestic Theatre

Rapp & Rapp 

The architectural firm Rapp and Rapp was active in Chicago, Illinois, during the early twentieth century.

The brothers Cornelius Ward Rapp (1861–1926) and George Leslie Rapp (1878–1941) of Carbondale, Illinois, were the named partners and 1899 alumni of the University of Illinois School of Architecture. A third brother, Isaac Rapp, was also a well-known architect primarily in Colorado and New Mexico.

The firm is well known as one of the leading designers of early twentieth century movie palaces. It designed over 400 theatres, including the Fox West Theatre in Trinidad, Colorado (1907), the Five Flags Theater in Dubuque, Iowa (1910), the Chicago Theater (1921) and Oriental (now Nederlander) Theatre (1926) in Chicago, Illinois, and Paramount theatres in New York (1926) and Aurora (1931) including the Majestic Theater in Streator, IL (1907).

Trained at the University of Illinois School of Architecture, the brother-duo designed several hundred movie palaces throughout the country in the early twentieth century.  By teaming up with the Balaban and Katz theater chain – the forerunner of today’s Paramount Pictures.

My Journey with the Majestic Theatre

I have always been a lover of music and art. My appreciation for the arts began in childhood, when I took dance lessons and cherished moments dancing with my father—polkas, waltzes, and ballroom routines, often accompanied by the big band sounds we both enjoyed.

In 1995, I represented Tim Burke during his purchase of the Majestic Theatre. At the time, GKC imposed a ten-year protective covenant on the property, prohibiting the screening of first-run movies to avoid competition with the Roxy Theatre in Ottawa, IL.. When Tim visited from Los Angeles, I assisted him with work on the Majestic, and he eventually asked me to help operate the venue.

We began hosting live shows, bringing in acts such as The Lovin' Spoonful, Head East, and Big Brother and the Holding Company featuring Cathy Richardson, who portrayed Janis Joplin on Broadway. Tim hired a manager, while I established the corporation and handled finances, collecting and disbursing funds. However, after just six weeks, Tim dismissed the manager and called to inform me, “You and Jim need to run the theatre tonight.”

That evening, we met the projectionist at the door, prepared to screen “Drag Me to Hell,” only to be greeted by protesters. Despite these challenges, I took on the responsibility of running the venue for five years while continuing my real estate career. In this time, I learned every aspect of theatre operations, from box office duties to booking movies and performances.

During these endeavors, Tim and I purchased the Will Rogers Theatre together. As technology advanced, we faced the need to convert from 35mm film projectors to digital equipment.

Recognizing the importance of the Majestic to Streator, local residents approached me with the idea of fundraising to save the theatre. Motivated by their support, we organized bake sales, car washes, and cookouts, ultimately raising $16,000. I reached out to Bob Endres in New York, who had gotten his start at the Majestic thanks to Tim’s grandfather. Bob had become the head projectionist at Radio City Music Hall and later worked for Dolby Laboratories.

Bob graciously offered to donate $5,000, but when the check arrived, the amount was $10,000. Furthermore, he generously covered the remaining balance for two digital projectors and arranged for two Dolby technicians to install them. With the new equipment in place, we operated the theatre for six weeks before an unexpected turn of events occurred.

One night after the show, Tim sent associates to board up the front of the theatre. Shortly thereafter, my attorney advised me to secure the corporation’s assets. Acting swiftly, my team and I retrieved the projectors and the popcorn machine early one morning. Despite that I had been diligently paying the theatre bills (which I quit after being locked out), the Majestic went into foreclosure due to a lack of revenue. I continued to cover expenses for the Will Rogers Theatre, but the bank soon moved to seize it as well, along with my office and the Wallace Hall building in Ottawa. I acted quickly to refinance my properties and ultimately purchased both the Majestic from the bank and Will Rogers theatre at a sheriff’s sale.

During foreclosure proceedings, I hired an attorney to represent me. The bank acknowledged that I had made the required payments, and my attorney informed the judge of the refinancing of my other properties. The judge then ordered the bank to work with me moving forward.

Unfortunately, Tim Burke and his associates had destroyed the interior of both buildings.

Tim, who had been both a good friend and business partner, intended to sell the digital projectors in Los Angeles and keep the proceeds. This plan was ultimately unsuccessful.  Tim Burke passed away this spring. After his death, a co-worker emailed me, writing, “I thought you would like to know he died. I bet you are a real nice lady. He never stopped complaining about you.”

Following a period of negative press influenced by Tim’s statements, Streator City Manager Scot Wrighton visited me at my real estate office. He remarked, “You don’t know how to run a theatre. You should change the movie after two weeks.” I replied that, given his strong relationships with studios in New York and Los Angeles, I would welcome his help in booking films for the Majestic. Scot soon learned that studio contracts required first-run films to be shown for three weeks.

Subsequently, Scot directed Tax Increment Financing (TIF) funds to support the Eagle 6 Plex. Despite repeated requests, I was informed that no TIF funds were available for the Majestic—even though it was located within a TIF district. It is my understanding that Eagle 6 is now struggling to survive.  I hope Eagle 6 will continue as I believe competition is good for the community.  The Majestic business plan does not compete head-to-head with the Eagle 6 theatre.

Most recently, the Mayor of Streator provided a letter of support for my grant application, signaling some positive recognition of my ongoing efforts to preserve and revitalize these historic theatres.  Unfortunately, my corporation was not selected for grant funding in this round.  I believe another round of grants will be available in the spring of 2026. 

Katie Troccoli