Rivoli Theatre

The Rivoli may have abandoned stage shows but it still had stage in the mid forties when it was used by Skouras for fund raising benefits on a regular basis.

It was apparently also also quite large.

Jan. 1943
“one hundred women in uniform from various war organizations will appear on the stage in formation” (Jan 1943)

March 1943
Evening performance canceled for Stage Show to benefit the Good Neighbors Center.

Nov. 1945
Movies cancelled for a revue version of “East Side, West Side” to benefit St. Vincents Hospital

The Rivoli opened with a platform stage in 1917. In 1926 it was remodeled by Publix, better stage space was allocated, and stage revues were introduced as per this NY Times review of “A Kiss for Cinderella”.

“The new idea at the Rivoli is to have a John Murray Anderson revue in addition to the screen feature, and no real prologue. This theatre, which now is run by the Publix Theatres Corporation, has been remodeled so as to have more stage space. Mr. Anderson’s current production is hailed as "The Melting Pot,” in which the dancers of different nations, after giving their native performance, pass through the melting pot and emerge clad in glistening gold. There is too much of a contrast between this stage effort and the delicate charm of Barrie’s story."

Back Wall
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1979 Invasion of the Body Snatchers
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As the United Artists twin.

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This link will take you to a postcard view (being sold on ebay) of the Rivoli’s proscenium.

How awesome, rvb!!

I grew up in a suburb that was roughly 20 miles due northwest of Boston. When my sister and I were kids, and, for quite some time even after my brother came along, we would often travel into the city for a live theatre show, or a movie. Often, though, my parents would travel into the city by themselve, without us kids, to see a movie or a show, too.

I agree with you, Ed, about “Man of La Mancha”. I avoided seeing it for years because the reviews were so lousy. When I finally did see it, I was quite surprised at how good it was. Peter O'Toole and Sophia Loren were perfect choices for their roles. And even if Peter’s singing wasn’t so good, it sure fit his character (I think he was overdubbed for “The Impossible Dream”, and maybe other songs as well). But you’re right – the critics never gave that movie a chance.

I was on a media junket for “Man of La Mancha” when it opened at the Rivoli, which is where we were bused for the invitational screening. Although I had seen the stage version on Broadway and the national touring company and has visited the set for interviews, I had no preconceptions as to whether it would work on film.

To my surprise and dismay, the audience of media people had its knives sharpened before the screening began. I don’t know how they could possibly have picked up a negative scent before that day, but it was pervasive in that audience, I can tell you.
I remember one outspoken, pompous critic from Ohio saying repeatedly that if he had to listen to “Impossible Dream” (correct name: “The Quest”) one more time, he’d lose it.

I remember thinking: This is “Man of La Mancha,” for Pete’s sake, and that’s precisely the song that has been bringing them in for the past five or six years. What would you begrudge the film version that?

We learned, as we so often have, that theatrically stylized stage pieces tend not to work nearly as well on the screen. The film somehow couldn’t escape seeming stodgy. But I never thought it was nearly as bad as many of the reviews indicated.

The 1969 re-issue of “Ben-Hur” opened simultaneously with three NYC area reserved-seat bookings. That was about three and a half years before “Man Of La Mancha.”

“Fiddler On The Roof,” also released prior to “Man Of La Mancha,” at one point in its reserved-seat run, was playing five NYC area hard-ticket bookings.

“The Greast Waltz' had a similar three theatre opening the month before. They advertised it as "Reserved Performance” and I wonder if the “Man of La Mancha” run was similarly handled as there is no mention of reserved seats in the ad.

Wow, that’s a really nice one.