The story of the Moroccan Palace in Oakland, formerly known as the Fox Theater, is a captivating journey through time, reflecting the city's vibrant cultural and architectural evolution. From its grand opening in 1928 to its modern revival, this iconic landmark has witnessed and shaped Oakland's entertainment and artistic landscape.
Fox Theater Oakland Exterior
The Golden Age: The Fox Theater (1928-1966)
When the Fox Theater opened its doors in October 1928, it was an instant sensation. Twenty thousand patrons flocked to Oakland’s newest movie palace to experience music on the Mighty Wurlitzer, a live stage show, and one of the latest innovations: the “talkies” that were replacing silent films. Even in the heyday of elaborate movie palaces, the Fox stood out.
The architecture of the buff brick and terra cotta structure has long defied definition, being variously described as Indian, Moorish, Medieval, and Baghdadian. For more than three decades, the Fox held its own as a first-run movie house in a bustling downtown entertainment and shopping district. However, the theater eventually closed its doors in 1966, marking a downturn for downtown Oakland, which lost its theaters, department stores, and much of its vitality.
Fox Theater Oakland Interior
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A Glimmer of Hope: The DeLucchi Era (1966-1996)
That same year, Piedmont residents Erma and Mario DeLucchi bought the property at auction for $340,000 in hopes of restoring it and saving it from the fate of San Francisco’s Fox Theater, which had been demolished in 1963. “We just loved it. It was luxurious and it was always a good movie,” recalled Erma DeLucchi, an Oakland native. Their efforts, though initially promising, faced significant hurdles.
City Ownership and Preservation Efforts (1996-Present)
In 1996, the city, under the leadership of Mayor Elihu Harris, bought the building from Erma DeLucchi for $3 million. But still, nothing happened. After the wet El Niño winter of 1997-98, preservationists began pressuring the city to repair the Fox’s roofs.
The Oakland native Phil Tagami, whose parents had their first date at the Fox Theater, had first approached city officials about restoring the theater soon after the city purchased it in 1996. “I felt laughed at,” recalled Tagami, 42, a high school dropout who cut his teeth working as a laborer in the construction business before starting to buy and fix up old buildings, mostly in downtown Oakland.
But Tagami earned a good measure of credibility for restoring the former Kahn’s department store across from City Hall - a long-shuttered but stunning piece of Beaux Arts architecture with its soaring glass dome - into the Rotunda office and retail building. Soon after the Rotunda opened, and the Fox sign was relit, an editorial in the Oakland Tribune urged someone to tackle the Fox. It suggested Tagami.
Tagami began searching for additional funding, leading to a complex financing and ownership structure that combines city redevelopment money with grants, tax credits, and even billboard revenue. Finally, after over 40 silent years, the Fox Theater re-opened its doors as a live music venue, arts school, and restaurant - its aged and rain-damaged interior restored to its once-breathtaking beauty.
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The restoration of the Fox Theater, now known as the Moroccan Palace, stands as a testament to the dedication and vision of those who believed in its potential.
Movie Magic – Challenges of Preserving Historic Theaters
The Marrakech Biennale 6: A Dialogue on Art and Context
The Marrakech Biennale 6, curated by Palestinian curator Reem Fadda, offered an intriguing perspective on art within historical and cultural contexts. Staged in various sites, including Bahia Palace, El Badi Palace, Menara Gardens, Dar Si Said Museum, and Koutoubia Mosque, the exhibition prompted a discussion among participants about the interplay between art, architecture, and cultural heritage.
The dialogue touched on various aspects of the exhibition, including the curatorial choices, the relationship between the artworks and their settings, and the overall message conveyed by the Biennale. The inclusion of the Casablanca School, a group of Moroccan modernist artists, highlighted the importance of local traditions and artistic movements in shaping contemporary art practices.
The discussions also explored the challenges of presenting art in non-traditional spaces, such as palaces and mosques, where the architecture and historical significance can influence the interpretation of the artworks. The Biennale's emphasis on cultural silence and the recovery of lost traditions resonated with participants, who appreciated the exhibition's attempt to engage with the complexities of history and identity.
Eric Van Hove’s sculpture D9T (Rachel’s Tribute)
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The dialogue surrounding the Marrakech Biennale 6 underscores the importance of considering the context in which art is presented and the potential for exhibitions to foster meaningful conversations about culture, history, and identity. The Moroccan Palace Oakland, with its rich history and architectural significance, serves as a similar example of how a building can embody cultural values and contribute to the identity of a city.
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