Boyd Theatre
1908-18 Chestnut Street,
Philadelphia,
PA
19103
1908-18 Chestnut Street,
Philadelphia,
PA
19103
44 people
favorited this theater
Showing 301 - 325 of 514 comments
In the early days of cinema, when automobiles weren’t all that prevelant as of yet and folks weren’t ashamed of getting around on foot or via public transit — which, believe it or not once had been a very classy experience — standing outside a theater to buy a ticket fit in very well with that. In fact, traveling into town by train was still very fashionable all throughout the 1950s when my family and I went down to Center City Philadelphia by train to see Ben Hur at the Boyd. Which is how we all went. In those days as I recall there were far fewer automobiles on Center City’s streets, as at that time it just wasn’t fashionable to go anywhere near Center City in a car itself. For going to Center City by train in those days was a far more luxurious experience. And if it were up to me I’d love to see all that brought back again. But it’s a hard if not impossible sell to those who never got to experience it firsthand, plus Big Oil would never stand for it. So the question is what would Paul Henon, and W.H. Lee and all the other theater designing greats of the 20th century do if they were around today?
If it wasn’t for the fact that the Boyd directly and abruptly faces upon what these days is heavily trafficked Chestnut Street, I would say by all means bring the whole theater’s front exterior back to what it was originally. But that stretch of Chestnut Street these days is a miserable mess, let’s face it! It was never designed for all the SUVs that pour along it now. So the theater has to offset from that somehow. Either that or buy up and privatize that particular stretch of Chestnut Street, and good luck doing that! So the only alternative I can see is to have it so all theater patrons get to stand inside the theater’s gorgeous lobby while awaiting to buy tickets. And my suggestion is, rather than replicating the Boyd’s ticket booth where it was originally positioned, why not have it to the far inner side of the lobby?
If you study the Boyd Theatre as it appeared in an early rendering of it that can be seen at the following link — http://www2.hawaii.edu/~angell/thsa/boyd1-lg.jpg — is it all that hard to imagine the ticket booth being st the far back of the lobby? For it appears that Paul Henon (who I assume drew this rendering) originally conceived of having the ticket booth in the middle of the lobby rather than up at the theater’s front. For we’ve got to get the theater patrons away from Chestnut Street as much as possible in order to heighten the over all theater-going experience for them. And it appears that back in 1928 Paul Henon was already thinking this way.
The movie palace was the house of the people, all the people. Outside the theater, you opened your wallet, took out a small amount of money, and even though you may not have had much money, you put away your wallet by the time you entered the theater itself. You were now a king.
The current ticket booth sits there from 1953, having replaced the 1928 original, but having none of the architectural majesty of the original. The original was gorgeous Art Deco, and the drawings do it justice. It returns to help bring back the beauty of the Boyd at street level, and its history. A modern box office will be inside the building.
Even though the original Boyd Theatre had its ticket booth positioned adjacent to the sidewalk, and while I fully understand and respect the goal of restoring the theater to its original splendor, replicating the Boyd Theatre’s original ticket booth would also imply that patrons will stand outside the theater along the sidewalk while awaiting to buy tickets rather than in the comfort of the theater’s lobby. And not only that, but in this day and age it would seem a bit demeaning to hire someone to sit in a cramped little cage of sorts to sell the theater’s tickets. Back in 1928 that might well have been the norm and no one would’ve thought twice about it. But how well this can go over now that we’re into the 21st century is totally questionable. It’s one thing to restore some of 1928’s charm architecturally, but something else entirely to replicate how many thought back then and what at that time was fully acceptable job-wise. In a small, laid back town perhaps I could see it. But in the context of a major modern city? Although what I’m saying now might seem like I’m throwing a wrench in the works, I say it’s better to think about this now rather than after the fact. For simply put, 2006 is not 1928. And yes, we do have to recognize this with regard to the theater patrons as well, many of whom I’m sure are not looking forward to going back to standing out along the sidewalk once more while awaiting to buy tickets. Meaning that restoring the Boyd Theatre’s original marquee is one thing. But replicating the theater’s original outfront ticket booth? That aspect I feel warrants a big, “Hmmmm…” For banks, hotels, museums, etc. all have lobbies where people stand inside while awaiting to be served. And why would that be willing to accept different from a movie theater? For it’s 2006, not 1928…
It was around 1967 when Pacific Theatres' Stanley Warner Theatres division and RKO Theatres merged and became Pacific Theatres' RKO Stanley Warner division. In 1981, Pacific Theatres sold RKO Stanley Warner to Almi/Century Theatres, thus creating RKO Century Warner Theatres. Today, RKO Century Warner Theatres sucessor, through mergers, is AMC Theatres.
Our website gives much of the history of the Boyd at the history link, FAQ, etc.
Briefly, Alexander Boyd built it but as it was being completed he sold to Warner Bros which were also acquiring the Stanley Co. to become Stanley Warner.
I believe in 1953, consistent with what Vince says above, that due to antitrust litigation, the Hollywood studio (Stanley Warner) had to sell. New York City interests bought it, and then or later it became RKO Stanley Warner.
In 1971, the Sameric Corp. bought the movie palace. Sameric sold their entire chain about 1988 to the United Artists Circuit. UA sold the movie palace in 1998 to the Goldenberg Group but leased it back until 2002. Last year, Clear Channel purchased the Boyd, but spun their theaters off until a new corporation which is now called Live Nation.
I’m not absolutely sure between 1953 and 1971 if the ownership entity changed control but the public knew the theaters as Stanley
Warner.
Now contrast to the Forrest Theatre in Philadelphia, always legit, always owned since construction in 1928 by the Shuberts.
A question for someone: Since the Boyd opened. How many owners has it had and what were their time spans when they own it?
A point that must be remembered is that when the Stanley-Warner chain got the OK from the Dept. of Justice to show Cinerama films, the chain went on a wholesale renovation of theatres about to show the process. The exterior (and interior) changes at the Boyd were made at the behest of Stanley-Warner. The same thing happened at the Century in Minneapolis, where the theatre received a virtually complete makeover of the exterior. Documentation shows that much of the confusion over the costs of installing Cinerama came from the fact that, depending upon who was doing the accounting, the non-Cinerama-related expenditures may or may not have been included.
In the 1950’s America was “modernizing” so the Boyd’s original Art Deco ticket booth, marquee, and some ceiling light fixtures were replaced. The ticket and grand lobbies were simplified. And, for Cinerama, a screen was installed in front of the Proscenium Arch and 3 projection booths appeared.
The screen was taken down in 1971. The orchestra’s 3 projection booths are gone. The 1953 ticket booth and marquee will be replaced by replicas of the 1928 originals. Art Deco character will be restored to the lobbies. W. H. Lee’s modernization will be gone.
Enjoy W.H. Lee in the movie theaters he designed, some of which still survive for entertainment in Pennsylvania.
Out here on the West Coast, we still have many of the most beautiful theaters in Hollywood and downtown Los Angeles! Its a movie palace lovers dream just to see them up close and go through them.
If it can be said that 20th century theater architect William Harold Lee gets little respect right now (2006), this appears to be even moreso the case for Paul G. Henon who designed the Boyd Theatre back in 1928. And much of it has to do with how one of his outfront masterpieces — Philadelphia’s Mastbaum Theatre, with a seating capacity of 4,717, and which stood at 20th and Market Street — had senselessly been torn down in the late 1950s. Had that theater remained in existence there’s little doubt that Paul G. Henon would be regarded today as one of the 20th century’s greatest theater architects, right up there with Rapp & Rapp, Thomas W. Lamb and so on. Nonetheless, for all the skill and artistry he poured into the design of the Mastbaum, it appears he didn’t do so quite as much with the Boyd when he designed that theater in 1928, which is why William Harold Lee was called in to rework it back in the early 1950s. Prior to Lee’s intervention the Boyd didn’t have the look and feel of an epic theater (at least going by all the old photos, news clips, etc.), but it sure as heck did after Lee reworked it. And to be sure, the one thing the Philadelphia area is totally lacking right now is an epic style theater. And an epic style theater is not determined by high admission cost but rather, what it actually is. For any theater could be given a $25 admission cost, but there’s a day and night difference between that and its being an epic style theater per se.
Excellent. Loge seats will be $25.
I added this information the other night, but it was during a time when the comments were not coming up automatically. So that technical problem eliminated my earlier comment to be added. So here I go again.
Yes, “Those Magnificent Men” was a roadshow attraction at the Trans Lux Theatre. It was the first time I was ever in that theatre. After driving from Lancaster to attend this “roadshow presentation,” I was extremely disappointed in the size of the theatre and screen.
My ticket stubs were for Row V, Seats 2-4-6-8-10 for the 2PM Matinee on Sunday, Aug. 29th, 1965. The tickets were priced at $2.25 each.
I would like to submit the following information for various roadshow attractions at the Boyd Theatre:
“The Greatest Story Ever Told” Cinerama – Loge Row BB Mon. 5/31/65 2PM Matinee = $2.50 Each Ticket
“Doctor Zhivago” 70mm – Loge Row AA. Sun. 5/29/66 2PM Matinee – $2.30
“The Bible” 70MM – Loge Row BB Tues. 3/21/67 8:30PM Eve show – $2.50
“The Happiest Millionaire” – Loge Row AA Tues. ½/68 8:30PM Eve Show – $2.50
“Star!” – 70MM – Loge Row AA Sun. 12/22/68 2PM Mat – $2.50
“Goodbye Mr. Chips” Loge Row EE, Wed. 12/31/69, 8:30PM = $5.00 (New Years Eve)
“Fiddler on the Roof” – Balcony Row E, Sat. 2/26/72 – 8:30PM – $3.00
Unfortunately, the earlier Cinerama travelogue films and the 3 MGM Cinerama films – “Grimm,” “HTWWW”, etc. I do not have the ticket stubs for. I was a bit younger then and did not even think about keeping the stubs since my Father was taking us during that time.
At least this gives some idea what prices for “roadshow presentation engagements” were during the 60’s.
Even if tickets today would be $25.00, it would still be worth the money to see these epics again on the super sized screen! Still better than most of the films released today as “entertainment!”
It will be impossibile for me to go out to the “Boyd/Sameric” event this Friday, since I will be working at my theatre (AMC Neshaminy 24 Theatre), with the opening weekend of “Poseidon” this weekend. (weekend of 5/12/2006)
Restoration experts who have restored movie palaces nationwide have been consulted, and are bidding for the restoration work.
The Pennsylvania Academy of Fine Arts let us use their facility rent free in 2003 for our illustrated slide show on why the Boyd Theatre needs to be saved.
W. H. Lee wasn’t involved in 1928 at the Boyd and so is not relevant to its restoration to its original Art Deco elegance.
Ouch! It would have to be on a Friday, especially this coming Friday, which will be totally out for me. Nonetheless I’m looking forward to it all going well. Meantime, any chance of getting the Philadelphia Art Museum involved in this, or the Pennsylvania Academy of Fine Arts, or the University of Art? For with the Boyd Theatre we really are talking about a great art form here. Meantime, what’s up with the University of Pennsylvania? Are they just sitting silent through this restoration effort despite the fact that it’s not all that far from there? Plus the fact that W.H. Lee attended there?
By the way, Philadelphia’s Channel 12 ran Ben Hur tonight (Saturday, May 6, 2006) and as I watched some of it I just thought uh-uh, this is no way to see that film! It’s got to be seen at the Boyd!
Very little of the original decorative glass above the marquee survives. We’ve said from the start that all missing should be replicated and return. I’ve seen wonderful drawings for this to be done, if there’s sufficient funding. As I said in my interview this morning on KYW radio, Friends of the Boyd are fundraising to ensure that original but expensive Art Deco features like the 1928 ticket booth and marquee, can be recreated. The new owner can only invest so much with any hope of breaking even, but we in Philadelphia who view our last movie palace with pride, can make a difference, and can return film to the Boyd, too.
The four movie signboard above the current marquee will be removed when major renovation starts. The marquee also will be replaced with a replica of the 1928 Art Deco version, far more beautiful and consistent with the movie palace’s exterior and interior.
As Vince says, we are grateful that the Sameric Corporation rescued
and reopened the Boyd in the same year that the Randolph was being demolished, and two years before the Stanley was demolished.
Please join us at International House on May 12 for our presentation of Brian De Palma’s “Blow Out” in an archival 35 mm print on the big screen at 3701 Chestnut. Movie begins 7:30 PM for $15 including After-Party with Yards beer, food, 1980’s DJ Chatty Cathy spun music. Splurge for $50 VIP ticket including also 6:00 PM catered reception with 3 who appeared in the film: Channel 6Action news' Dave Roberts, actor Tom McCarthy, FM radio personality Michael
Tearson. Funds raised will help restore the Boyd, and help ensure a film program.
The SamEric people were never known for their artfulness or showmanship. Actually, beginning with “Ben-Hur” in Nov. 1959, the space that is now in this photo as the “3” and “4” was occupied by a large front-lit horizontal sign, blazing the name of the current attraction which could be seen for blocks away. But, at least we have one thing to be thankful for…it was the SamEric crowd, not the Budco that took over the theatre. Budco could easily trash the Pyramids in the twinkling of an eye!
In looking at this photo link MikeRa has given us, I can’t help but wonder what the Sameric people were thinking when they stuck that horrible stacked marquee sign over the Boyd Theatre’s historic upper facade. I mean, talk about tacky tastelessness taken to the maximum extreme! In fact, at this late stage — roughly four years into the Boyd Theatre’s acquisition and restoration effort — why is it even still up there? For what’s right behind it, which looks to me like it had been a stained glass window of some kind, is obviously begging to be brought to public view once more.
I just added this picture to my Flicr account:
[url]http://www.flickr.com/photos/mrambojr/140884765/[/url]
It is a recent picture of the marquee of the Boyd/Sameric Theatre, taken on 5/4/2006.
Vince, how interesting on all counts!
I knew GWTW was at both, but didn’t realize the prestige showing was at the Boyd.
Both the Trans Lux and the Arcadia have recently “reopened” as stores, after decade long closures. I’ve been meaning to link my photos to those pages, and will eventually.
Yes, Mike, and I was thoroughly p.o.’d that it was only a 35mm scope print, most other cities running it in 70mm. And, Howard, I dont feel like pulling out my stacks of ads right now, but I would think that in 1953, the Cinerama tickets were the highest relative to other films, the operative term here being “relative to.” And, this can be easily checked, but I’m not going to the library this week, but I believe that “Cleo” had a blood-curdling $5 top. This would have been a record. If you want to go back even more, it would be interesting to see how the admish for GWTW at the Boyd on roadshow (as opposed to its concurrent run at the Earle on “grind”) compared with other fare at that time.
Veyoung
I was not aware that Those Magnificent Men played at the Trans LUx as a roadshow engagement. I remember it being there,but not that it was roadshow. If I remember back 41 years the Arcadis next door had Woody Allen’s What’s New Pussycat.
Thanks William & Vince for the very informative and interesting postings as to the ticket prices. Now, I’m curious as to what were the most expensive tickets? The (3 strip) Cinerama shows because they were uniquely only ever at the Boyd in 3 strip? Or, road shows of epic films like Cleopatra? I’m wandering whether there was any one particular film (such as The Sound of Music, Lawrence of Arabia, Ben Hur, etc) that had the most expensive of the high end tickets?
Howard, to answer your question concerning prices for roadshows in the 50’s and 60’s, there were always numerous factors to be considered., theatre configuration and type of film generally being uppermost. Houses with three separate sections like the Boyd and the Stanley and Stanton could have three or more price “levels.†Single-level venues were a different story. The Midtown, for instance, had its screen way “up there” above the exit doors at the front of the auditorium. Therefore, the first half-dozen or so rows, the “neck-strain†section, were most often priced lower than those situated in the rest of the orchestra. On the other hand, a very small single-level theatre like the Trans-Lux had, IIRC, a single price for all of its
seats when it roadshowed “Those Magnificent Men….†Next, type of film played a big role, Cinerama, being a prime example. When the Goldman opened “Sleeping Beauty” in 70mm on a continous-performance basis, the ticket prices were raised greatly, but even the Boyd’s admission price by the mid-1950’s was not that much higher than non-roadshows, with the center city evening-show general admish for non-reserved seat attractions having been set at $1.80. Then comes the attraction itself. Fox’s contract with all exhibitors booking “Cleopatra†on roadshow in the Summer of 1963 stipulated significantly higher prices than other roadshows. Hope this helps.
The Cinerama films that where Roadshown during the 1950’s averaged with admissions like:
Matinees Wed, Thur, Fri
Orch. & Loge $1.75 Bal. $1.20
Sat & Sun
Orch. & Loge $2.40 Bal. $1.75
Eve Sun thru Sat
Orch. & Logo $2.65 Bal. $1.75
All Prices include Tax