Brownsville friends — this is a story about a place many of us passed, some of us grew up in, and others may remember only by feeling.
The Victoria Theatre wasn’t just where movies played — it was where families gathered, kids waved at loudspeaker trucks, performers stood just feet away, and neighbors found shelter when they needed it. This piece is built from memories, especially those of the Ruenes family, and it’s meant to be shared. If you remember going to the Victoria, standing in line, hearing the music, or just walking past it on 14th and Harrison, we’d love to hear your stories in the comments. These places live on because we talk about them.The Victoria Theatre: A Community, a Stage, a Home
Lightly edited and reorganized for clarity, flow, and readability, while preserving the original voice, humor, and oral-history tone. This is a local story, told for local people.
The Victoria Theatre still stands as a landmark to an era that only a shrinking number of loyal audiences can personally recall. Every day, people pass the corner of 14th and Harrison without realizing the spectacular events that once unfolded inside its walls. Brownsville is fortunate that its history can still be told — and the Victoria stands above many others, not because of how often it is remembered, but because of what actually happened there.
The story begins with Don Ramón Ruenes Sr., the patriarch of the family that would eventually build what became known as the Ruenes Theatre Circuit.
From Asturias to the Valley
Don Ramón arrived from Asturias, Spain in 1902 at the age of 21. He married Ester Ramírez in 1910, and together they laid the foundation for an independently owned theater chain that would serve Corpus Christi, San Antonio, and the Rio Grande Valley.
Their first theater, the Juárez Theatre, opened in San Benito in the 1920s at the northeast corner of Hidalgo and Landrum Streets. It was a modest 200-seat wooden building, equipped with a hand-operated projector showing silent films. Vaudeville acts and stage plays helped draw crowds. When sound films arrived — along with Mexican cinema — the Juárez adapted, marking the true beginning of the family-run circuit.
After Don Ramón’s death in 1940, Ester continued the business while her son Ramón Ruenes Jr. served in the Army during World War II. New construction was prohibited during the war, but Ester was not easily deterred. She traveled to Rio Grande City, had an old theater dismantled brick by brick, and shipped the materials back to San Benito. Everything reusable — down to the nails — was saved and reassembled as the Ruenes Theatre in 1944. It seated more than twice the capacity of the Juárez, which closed just a month before the new theater opened.
Ester lived to be 83 years old, passing away in 1976, having seen the circuit flourish far beyond its humble beginnings.
A Theater for the Neighborhood
After the war, Ramón Ruenes Jr. returned home and married Viola Gómez. He managed drive-ins and theaters in San Antonio, Corpus Christi, and throughout the Valley. But his most personal project would be in Brownsville.
Ramón could have built his next theater anywhere. Instead, he chose to build it in the middle of a neighborhood. He wanted the Latino community to have a theater they could call their own. Admission was set deliberately low: 30 cents for adults, 10 cents for children, and 5 cents for popcorn. A family could afford an evening out.
The Victoria was built to Ramón’s specifications, including a fireproof design — a response to devastating theater fires that often began in projection rooms. With seating for over 950 people in a 6,000-square-foot auditorium, it was one of the largest theaters in the Rio Grande Valley.
The interior featured wall frescoes depicting Mexican countryside scenes. The lobby housed the snack bar, restrooms, and sitting areas where the Ruenes family often greeted patrons personally. A full stage allowed for live performances. Upstairs, the family lived in a three-bedroom apartment — six people sharing one bathroom. When it was occupied, the family occasionally used the theater restrooms downstairs. (This detail survives because it’s true.)
The Victoria opened on November 25, 1946, just three months after the Iris Theatre. Ramón named it Victoria to commemorate the Allied victory in World War II. The first screening was a re-release of ¡Ay Jalisco, No Te Rajes! — the film that launched Jorge Negrete as El Charro Cantor.
A Note on Memory
Much of what follows comes from the memories of Ricardo “Rick” Ruenes, who grew up inside the Victoria, later managed it, and helped preserve the stories that might otherwise have been lost. What is remembered here is not only what happened, but how it felt.
Showmanship, Ruenes-Style
For 47 years, the Victoria combined Spanish-language films with live performances by some of Mexico’s biggest stars. A typical night might include a movie, a live stage performance, and then the movie again.
Pedro Infante, Jorge Negrete, José Alfredo Jiménez, Antonio Aguilar, Flor Silvestre, Piporro, Sara García, Fernando Casanova, and many others appeared on the Victoria stage. Vicente Fernández attended the opening of one of his films. A frequent performer was the clown Huevolín, who later gained fame on Mexican television.
But Ramón didn’t rely solely on marquee ads or newspapers. He and his sons drove through neighborhoods like Buena Vista, Villa Verde, El Ramireno, and Southmost with loudspeakers mounted on their pickup truck, announcing upcoming attractions. Windows were open in those days, and the sound carried. Kids ran outside and waved as the truck passed. Repeat customers didn’t need the Daily Herald — the Victoria came to them.
As Ramón once explained: “You can buy a half-page ad or a square inch. If people want to know what’s playing at the Victoria, they’ll look for it.”
Air-conditioning alone was often enough to fill the seats during Brownsville summers.
Gimmicks, Pranks, and Spectacle
Promotions at the Victoria were legendary.
Thanksgiving raffles included live turkeys — sometimes alive. Cars purchased for $100 were raffled off. A WWII tank was parked in front of the theater so people could see one up close for the first time. At one point, audiences were even invited to witness a man buried alive.
For Halloween, Ramón brought back Hollywood masks and staged plays featuring Frankenstein, Dracula, the Wolfman, and the Mummy. A production of La Llorona sent screams echoing through the auditorium.
Plays were often family affairs. For a production celebrating the apparition of the Virgin of Guadalupe, Mary Ester played the Virgin, while her brothers appeared in supporting roles. Lines were pre-recorded and played over speakers while performers lip-synced on stage. A skilled piñatero crafted masks so realistic they frightened audiences — and sometimes the performers themselves.
Life-size figures of Cantinflas and María Félix were displayed whenever their movies were shown.
Chucho, the Mummy, and Other Legends
One unforgettable character was Chucho, one of the musicians who accompanied Pedro Infante and later became part of the Victoria’s extended family of performers and helpers.
While playing the Mummy in a horror show, Chucho missed the stage stairs and fell into the orchestra pit, sending up a dramatic cloud of talcum powder under the spotlight. The audience thought he had vanished — the effect was better than planned.
In another production, Chucho hesitated to fight Frankenstein, whispering nervously, “Boss… I don’t want to fight him.”
Chucho was also talked into being buried alive for a publicity stunt. A hidden pipe supplied air. When Ramón noticed smoke coming from the pipe and asked if he was okay, Chucho calmly replied, “Sí, Boss… I’m okay. I’m just smoking a cigarette.”
At one point, Chucho tried explaining to an American woman that he had played three roles in a show by proudly announcing, “I made three papers.” (In Spanish, a role in a play is called a papel. Chucho translated it literally.) She was understandably confused.
The Cat, the Stars, and the Home Upstairs
Rodent inspections were common in downtown theaters. The Victoria’s secret weapon was T-Hueward Edward Cat — “T-H-E Cat” — who patrolled the building. Because the family lived there, the theater had a built-in line of defense against mice looking for popcorn.
Pedro Infante became a family friend and served as godfather to Ricardo Ruenes. One of Ricardo’s earliest memories was Infante playfully drinking from his bottle of chocolate milk. Infante visited the family often and was remembered as humble, mischievous, and shy — far from the bravado of his on-screen characters.
Infante died tragically in a plane crash in 1957. The family believes theatrical masks sent to him by Ramón may have been part of the cargo. He had promised to sing Las Mañanitas at Mary Ester’s quinceañera — a promise never fulfilled.
The Long Goodbye
Ricardo Ruenes later explained that the Victoria did not close for one single reason. Instead, it was overtaken by a slow and unavoidable shift in how people spent their evenings.
Television increasingly kept families at home, and serialized programming began to replace the communal ritual of going to the movies. Home video reduced the urgency of seeing films in theaters. New malls and modern multiplexes offered convenience, parking, and a different kind of outing. At the same time, Mexican film distribution changed, and the romance and star power that once drew audiences began to fade.
The Victoria did not fail. The world it was built for gradually disappeared.
What the Victoria Was
The Victoria was not just a theater.
It was a community space.
A stage.
A shelter.
And, quite literally, a home.
Its story lives on not only in photographs and programs, but in laughter, memories, and the voices of those who passed through its doors — often more than once, often for a lifetime.
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