In 1952, the theater received a major remodeling which removed much of the orignal 1920’s interior decor, and a Space-Age style marquee was added to the pink-marble facade. The original foyers and lobby spaces were totally gutted and rebuilt at the time, adding concession stands and a new ticket window.
With the cryptic irony that sometimes suffuses matters of economics and culture, local theaters somehow weathered depression and world war only to fall victim in a time of peace and prosperity to perils none could have anticipated. Perhaps most damaging of these was television, which has been blamed for the death of the Everett's two sister theaters, the Granada and Balboa, in 1953 and 1954 respectively. During the early Fifties there was a precipitous decline in movie attendance and the closures were part of a strategic restructuring that began in 1952 with a remodel of the Everett Theatre. This renovation prepared the venerable playhouse to function as a solo entity again, for the first time since it joined the Star Amusement group back in l9l9.
Manager Willis Cooley announced that architects from the prestigious firm of B. Marcus Priteca would undertake the modernization for Evergreen Theaters, the organization that superseded the Everett Theatres Company. A great deal of expense and effort was expended in the vicinity of the proscenium. The "electric gardens" and plaster ornament that surrounded the stage opening were done away with, replaced by modern abstract wall reliefs and an elaborate set of draperies. The faithful theater organ was removed and sold to the Seattle School District. New seating was installed, reducing the capacity from 1200 to just over 970. The projection area was refurbished and updated with the latest Simplex projectors. Extensive reworking of the mezzanine included elimination of the ramp in favor of a conventional stair. A dazzling concession section appeared in the center of the ground floor foyer.
While little of the upper facade was disturbed, the ground floor level was extensively altered. The entry was shifted from the northwest corner to the center of the building, restoring the sort of symmetry present in the 1901 facade. Above this new plate-glass entrance with its freestanding octagonal ticket kiosk was an imposing neon marquee of triangular plan extending well out over the sidewalk. A revolving neon creation echoing the kiosk octagon and evoking star and planet motifs rose above the reader board of the marquee. More than a mile of tubing went into this remarkable display. Pink marble was used to face the entire lower facade. In its own way, this 1952 design work was as strikingly evocative a period piece as Bebb's 1901 west front.
The gala opening, with a country western band, fireworks and a street parade featuring equestrian maneuvers by the Snohomish County Sheriff's Mounted Posse, took place on the evening of October 8th, 1952, a couple of days after GOP presidential candidate Dwight D. Eisenhower whistle-stopped Everett. Cinemascope, one of the innovations by which the movie industry hoped to win back customers in the early Fifties, was not a part of the 1952 renovation of the Everett but was retrofitted the following year. That same year the 3-D fad also turned up at the Everett.
In July of 1958 the theater came under the management of Dick Goldsworthy, an energetic promoter who matched the enthusiasm and ingenuity of the Roxy's Chuck Charles and the two men grappled good-naturedly until Goldsworthy's departure in 1963. Under Goldsworthy renewed energy was expended toward scheduling celebrity appearances and promotional events. This was the era of the Pepsi Bottlecap Auction and visits from television personalities Stan Boreson and Captain Puget. No Friday the Thirteenth was allowed to pass without a special horror movie event featuring blackouts, costumed monsters and coffins.