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Eighty years ago today, Roland West’s “The Bat Whispers” opened its Los Angeles premiere engagement at the Publix-operated United Artists Theatre. Shot in B&W in the wide-screen Magnifilm process, the United Artists release promised to deliver “Twice the Size” and “Twice the Thrills” of conventional features. Filling out the program were shorts and the Paramount News, plus “live” organ interludes played by Gaylord Carter. General admission on weekdays was 35 cents from 10:00am opening until 1:00pm.
Article that accompanied previously linked images:
The Roxy did have a disastrous road show in 1958 with the Cinemiracle “Windjammer.” The auditiorium seating was drastically reduced, and much deamage was done to the decor for the installation and then the removal of equipment. When the Roxy returned to “normal” opperations with a movie and stage show, the shows had to be reduced to plain acts on a pseudo=nightclub set. And no more ice-skating, since the rink and sub-surface lighting equipment had been junked.
Images from the current issue of Queens Courier, which also has a major article about the project:
Does anyone have information about a Bloomfield theatre called the Lincoln, which doesn’t seem to have a CT listing? Early FDYBs list the Lincoln with 1,200 seats, but give no specific address. The Lincoln apparently fell victim to talkies and the Depression and never re-opened. Nathan Meyers was the architect. The front facade was done in white enamel architectural terra cotta with polychrome treatment of ornament throughout. A photo can be found on page 21 of the third quarter 2010 issue of Marquee, the journal of Theatre Historical Society of America.
The vertical sign in this photo is probably the original, but not the marquee. The original vertical had “THE” in the top space used for “LOEW’S.” In the 1916 photo linked above by Joe Vogel, the Elsmere had no marquee. Loew’s probably added one when it took over, and might have replaced or modified it by the time of this photo: View link
The 1916 photo of the entire white terra cotta facade of the Elsmere building also shows a “deluxe” dancehall/ballroom on the second floor, which had an electrified sign on the left corner.
RCMH’s 1959 Christmas movie, “Operation Petticoat,” proved so popular that the first new program of 1960 didn’t open until January 21st, with MGM’s “Never So Few,” teaming Frank Sinatra for the first time with Gina Lollobrigida, on screen. Directed by John Sturges, the CinemaScope & MetroColor action/romance co-starred Peter Lawford, Steve McQueen, Paul Henreid, Brian Donlevy, and Charles Bronson. Russell Markert’s stage revue, “Let’s Go Places,” offered a “carefree entertainment cruise” with all the house regulars augmented by singers Betty Terrell and Alan Cole and comedian Don Tannen. Percussion virtuoso “Sticks” Evans was added to the Symphony Orchestra for the overture to Bizet-Hammerstein’s “Carmen Jones.” which had “Beat Out Dat Rhythm On a Drum” as its showstopper.
Many people went to the Capitol primarily for the stage shows. The movies could be seen anywhere after they finished their Capitol run, but the stage shows were unique. At the end of the 1920s, when Loew’s opened its “Wonder Theatres” in New York and New Jersey, many of the Capitol stage shows were routed to them, as well as to Loew’s Metropolitan in downtown Brooklyn. However, that terminated in 1935, when the Capitol switched to films only.
On this day in 1949, the Tribune was advertised in The New York Times as “Downtown’s Most Beautiful Theatre,” with smoking permitted in the mezzanine. Currently on screen were two “B” programmers, Leo Gorcey and the Bowery Boys in “Jinx Money,” and “Women in the Night” with Tala Birrell and William Henry.
On this day in 1949, one of writer-director Joseph L. Mankiewicz’s most acclaimed films, “A Letter to Three Wives,” opened its world premiere engagement at RCMH. Released by 20th Century-Fox, the B&W comedy-drama starred Jeanne Crain, Linda Darnell, and Ann Sothern in the title roles, with Kirk Douglas, Paul Douglas, and Jeffrey Lynn as the husbands and Thelma Ritter and Connie Gilchrist in scene-stealing character parts. Leonidoff’s stage revue, “Flying High,” employed the full resident company, plus dancers Giselle & Francois Szony and ventriloquist Paul Winchell with Jerry Mahoney (not yet as famous as TV would make them).
On this day in 1949, the Paramount made history as the first and only theatre anywhere to present “live” TV coverage of a Presidential Inaugural Address and that night’s Inaugural Ball. Harry S. Truman was starting his second term in office, and his first as an elected President (he’d been Vice-President when FDR died in 1945). The Paramount’s TV coverage, of course, was in B&W, and projected on the same screen used for movies. The speech was telecast at noon, and the ball starting at 10:00pm. In between, the Paramount presented its current program, with Paramount’s B&W “The Accused” (Loretta Young-Robert Cummings) on screen, and the Mills Brothers, comedian Jean Carroll, and Ray McKinley & His Orchestra topping the stage bill. The Paramount’s usual ticket prices prevailed.
If there was a “Dancing Waters” at the 1939-40 NY World’s Fair, I don’t think it was the same system used at RCMH. Just a coincidence in names.
On this day in 1944, one of the funniest movies of all time, Preston Sturges' “The Miracle of Morgan’s Creek,” starring Eddie Bracken and Betty Hutton, opened its world premiere engagement at the Parmount Theatre. The B&W Paramount release somehow managed to get Production Code approval for its audacious treatment of wartime morals and illegitimate babies (in this case, sextuplets born to a dizzy blonde who can’t remember the name of the father). The Paramount’s stage bill was topped by Johnny long & His Orchestra, jazz pianist Hazel Scott, and comedian Gil Lamb.
Half a century ago today, RCMH raised fears for its future with the opening of its first “beach party” movie, MGM’s “Where the Boys Are,” which starred Dolores Hart, George Hamilton, Yvette Mimieux, and Jim Hutton, snd “introduced” Connie Francis, already Queen of the MGM Records label. The CinemaScope and MetroColor romp was accompanied by the stage revue, “Viva l'Italia,” devised by Leon Leonidoff as a tribute to that nation’s Centennial. A number of Italian specialty acts never seen in the USA before were added to the cast of house regulars. At this point of time in 1961, 5,000 general admission seats were priced at 90 cents for the first hour of opening, $1.25 until 5:00pm on weekdays, and $1.75 evenings as well as all day on Saturdays, Sundays, and holidays. Reserved seats were pricier. In the evenings, patrons could park their cars in the Rockefeller Center Garage for 50 cents, by presenting their check to a Music Hall boxoffice cashier.
Awaiting demolition, with marquee messages “Any Surplus Is Immoral” and “A Man Can’t Know What It’s Like To Be A Mother”: View link
Tomorrow night (1/19) will mark the 86th annniversary of the grand opening of the E.F. Albee Theatre, advertised at the time as “The World’s Masterpiece Among Playhouses.” The inaugural Keith-Albee vaudeville program featured some of the top entertainers of the era, including female impersonator Karyl Norman, dancer Bill Robinson, and comedians Smith & Dale. The bills ran for one week, with a matinee and evening performance daily.
Ironically, “Kid Millions” had its NYC premiere engagement at the Rivoli Theatre, opening on November 11th, 1934. The film clip montage shows the Rivoli Theatre marquee with “The Count of Monte Cristo,” which opened there on September 26th of that same year. Pretty fast work!
Some recent exterior photos in the first and second parts of this new article about 116th Street: http://www.forgotten-ny.com/WALKS/116th/116th.html
On this night in 1930, “The Rogue Song,” MGM’s first all-talkie feature photographed entirely in Technicolor, opened its world premiere engagement at Grauman’s Chinese with a gala performance attended by scores of stars and industry VIPs. The Goodyear Blimp hovered overhead, blasting recordings by Lawrence Tibbett, the great opera singer who made his screen debut in what was being advertised as “The Picture That Will Change Motion Picture History.” It not only didn’t, but is now considered “lost” except for a few sequences, some including featured comedians Stan Laurel and Oliver Hardy. The Grauman’s Chinese engagement also included a stage presentation, “The Kit Kat Club,"
with Abe Lyman & His Band.
Some great views of midtown marquees in the opening to this 1934 film clip featuring Ethel Merman: http://www.youtube.com/watch?v=2lWQF30YAT0
A 1998 color view of the United Artists Theatres marquee can be found with this article. The B&W photo of the Paramount Theatre has been linked several times at the Paramount’s CT listing: View link
It’s probably a longshot, but you might try contacting the musicians' union for for information about players at the Roxy Theatre. Also the third floor Billy Rose Theatre Collection at the Performing Arts Library at Lincoln Center in NYC. They do have some material donated to the library by people who worked at the Roxy, but much is stored off-site and requires advance rservations to consult.
Seventy-five years ago today, Samuel Goldwyn’s B&W comedy-musical “Strike Me Pink,” starring Eddie Cantor and with Ethel Merman topping the supporting cast, opened its world premiere engagement at RCMH. Leonidoff’s stage revue, “Winter Cruise,” was a travelogue in three spectacular scenes featuring the house performers and a novelty act called The Six Abdullas. The program proved popular enough to hold-over for a second week, with Eddie Cantor himself making stage appearances at all shows on January 23rd only.
On January 18th, 1949, the Trans-Lux 60th St. on Madison dropped its newsreel policy in favor of single first-run features, starting with the American premiere engagement of J. Arthur Rank’s “Take My Life."
The B&W drama starred Marius Goring. one of the leads in the boxoffice smash, "The Red Shoes.” Greta Gynt and Hugh Williams co-starred in the Eagle Lion Films release.
On this day in 1960, the Roxy opened the final film/stage presentation of its lifetime. On screen was MGM’s “The Gazebo,” A B&W CinemaScope comedy starring Debbie Reynolds and Glenn Ford and based on a moderately successful Broadway play of the same title. Performing on the Roxy’s “Starlit Stage” were singer Dick Roman, Maria Neglia & Her Singing Strings, adagio dancers Harrison & Kossi, novelty act Les Marthys, musical clowns The Bizarro Brothers, and the house orchestra conducted by Robert Boucher. Despite low attendance, the booking lasted five weeks while the Roxy’s death and burial were being arranged.