Hank: I agree with you. I think that the current contour curtain is made from a much lighter fabric than the first two. It does not seem to hang like it used to and is very billowy. Lately, I’ve seen the feet of people moving about the stage when the curtain is down, something I do not recall seeing in the past.
Thanks, Lost Memory, for the LIFE photos. I’m am going to post some of my photos in the near future.
OldJoe: I cannot be a newer piece; it has a small cigarette burn in it. I am confident it has been walked on for many years. It has a brown background with tan and dark brown/black “women”.
OldJoe: Did the purple “singing women” take on a brownish tint after 45 years of use? I know my carpet is not from the 1979 renovation. I recall that carpet as having a black background.
REndres: I have read and heard them referred to as “Singing Ladies”, but your explanation makes much more sense. So, singing ladies or fish, I’d still like to determine how old they are. I am very fond of the carpet, which hangs in my bedroom. In fact, I have so much Music Hall memorabilia, I could open a small museum.
To the best of my recollection, the style book (for lack of a better, or proper term) was not published for the general public. I saw one on Ebay about a year ago, but did not win the auction. The “Singing Ladies” on my piece of carpet that were originally blue now have a brownish tint. I am wondering if this is a result of 47 years of use.
I’m glad the carpet is being replaced on a regular basis and the Hall is being kept up. That’s “two points” for the Dolans. Now if they could make the old lighting booth presentable, at least as a curiosity. My question, however, still exists. Does anybody have any information about that style book?
I recall there was a style book featuring the decor of the Music Hall that was published many years ago. One was recently up for sale on Ebay. Does anyone know where I can obtain a copy or/look at that book? I have a 6'x2' piece of auditorium carpet from the Music Hall. I am attempting to determine its age. It could be original from 1932. I am unsure if they installed new carpet anytime afterwards. From the color and weave I am certain is not from the 1979 renovation or the 1999 restoration.
I somewhat disagree with Leon about the 1979 renovation. While they got some things right, others were not. I thought that some of the carpet colors were off and that they were a bit too plush. I remember this because I used to take my shoes off and walk on the carpet barefoot when the house was closed.
I completely disagree with Hugh Hardy’s comment about people being used to higher light levels. I think the extra lighting in the Grand Foyer is thoroughly unnecessary. I also wonder if the gold leaf used on the Choral Staircases and the undersides of the balustrades is a right match. In the many black and white pictures I have of the early days of the Hall, those areas don’t look as bright as they do now. I could be wrong; I am looking for color photos of the Hall in the 1930’s and 40’s.
And those “Target” decorations on the proscenium, cheesy as they are, have been there since 1979.
I somewhat disagree with Leon about the 1979 renovation. While they got some things right, others were not. I thought that some of the carpet colors were off and that they were a bit too plush. I remember this because I used to take my shoes off and walk on the carpet barefoot when the house was closed.
I completely disagree with Hugh Hardy’s comment about people being used to higher light levels. I think the extra lighting in the Grand Foyer is thoroughly unnecessary. I also wonder if the gold leaf used on the Choral Staircases and the undersides of the balustrades is a right match. In the many black and white pictures I have of the early days of the Hall, those areas don’t look as bright as they do now. I could be wrong; I am looking for color photos of the Hall in the 1930’s and 40’s.
And those “Target” decorations on the proscenium, cheesy as they are, have been there since 1979.
I just noticed that the Vista is featured in a scene from the 2003 television movie, “Return to the Batcave: The Misadventures of Adam and Burt.” The movie is posted on YouTube; the Vista shows up in part 6 of 10.
It’s a lovely theater that I hope to see next time I am in LA.
And once again we have the opportunity to benefit from the amazing Bob Endres; here to explain the inner workings of the Hall. I am so glad you are posting on this page! Bob, in one of your posts you mention that the contour was “pulled up to show how big the screen really was.” Wasn’t that always the case? I mean, I recall the contour was always raised higher for the film than it was for the stage show. It is difficult to see the contour at all in that “1953” picture.
Was the stage show contour framing referred to as “Showtrim”?
Hi, Hank. The stairs under the choral staircases lead to the stairs themselves, to what was a sound booth (at least on the 50th Street side of the theater), and backstage. If I forgot to Hank, thanks for the information you sent me. I do appreciate it.
The Americana is featured as a backdrop in one scene of the Richard Linklater film, DAZED AND CONFUSED. The lower part of the marquee is in one scene where the guys are meeting to discuss how they are going to haze the incoming high school freshman. The name of the theater is visible in the corresponding deleted scene in the “Special Features” section of the “Flashback Edition” DVD.
I was in the audience the evening when the LOA 70MM print broke. One of the fellows who saved the day was five seats away from me. Everyone in the audience was grateful to him and the others that volunteered to “save our show”. In fact, the fellow seated near me came back to his seat with the piece of the print that got damaged.
I too miss the time when I could go to the movies and see a 70MM show on a regular basis. I think William hit one nail on the head when he stated that the studios are not going to send a 70MM print to a platter house.
I also believe that if we want such a venue then we are going to have to do it ourselves. By “we”, I mean those of us who post here lamenting about the lack of 70MM presentations in Manhattan. I ask anyone who is truly serious about taking such action to contact me. My contact info is on my member page.
The last time the Ziegfeld showed LAWRENCE OF ARABIA in 70MM was in March of 2006. Scroll up this page for some interesting perceptions regarding what happened at a Sunday night screening.
REndres: You are simply too fast! As I was typing in a post that you could shed some light on any projection quetions, there you are! I saw three of the four films MikeJW mentioned, with the exception of THE MUSIC MAN. I do not recall any cropping other than the bit of picture that would spill over on the masking. That’s normal, yes?
I also have an idea, since the Hall currently has so many dark days. If you ever want to go in and measure the screen, I’ll be happy to hold the end of the tape while you ride the hoist. Perhaps while you are up there, you could check on the status of the Doncho Curtain. Maybe we’ll get to see a Fire Drop! In my imagination, that would be better than Disneyland.
I love how people can look at the same movie and have completely different experiences. I thoroughly enjoyed seeing A BOY NAMED CHARLIE BROWN at the Music Hall. I love a little “cheese” with my “grand environments”.
Vito: In reference to a question you asked in May about rentals, I remember some of the events I took part in at the Hall. The Bar Mitzvah that REndres referred to was for the son of the head of Remco Toys. At least that was what I heard. In late 1979/early 1980, Westinghouse Electric rented the theater to introduce the Westinghouse Flight Bulb (their response to the Good Year Blimp?), a massive hot air balloon that they actually inflated in the auditorium. It was all quite dramatic, with both organ consoles playing as the lights came up on the balloon. Then, I did the off stage narration introducing the balloon and The Rockettes. They followed with a routine performed to a pre-recorded music track.
I was kind of surprised that Westinghouse went to all that expense the rent the theater and neglected to hire the orchestra. How’s THAT for an example of “cheesiness in a grand environment”?
REndres: It is a real gift to have you here. Your posts are quite informative and I seem to be learning proper stage terminology, thank you. We actually met on a few occasions many years ago. I hope we have the opportunity to meet again in the near future.
Your recent posts have shed some light on my complaints about the current state of presentation at the Hall. I wholeheartedly agree with the need for safety standards designed to protect staff and patrons of the Hall or any theater. I support any organization’s desire to prevent accidents or fatalities. I had not heard about the stagehand injured from falling into the pit. I also want my Rockettes in a straight line, not scattered about due to a collapsing staircase. On the other hand, I wonder if there might be some way to ensure proper safety measures without sacrificing the “illusions†inherent in a Music Hall Spectacular.
I gather from my pictures that there is not much space between where the Contour Curtain hangs on the deck and the edge of the pit elevator shaft. Does it have to be pulled that far downstage in order to bring the “Santa†sheet in? I am also convinced that the 1999 Contour Curtain is made of a more lightweight material. I do not recall it drifting upstage like it does now. It also looks like it does not drape properly when at “show trimâ€, the standard height for a Stage Show.
The crews at the Hall have always been excellent at their jobs. I recall during the ‘79 Christmas Show that when the orchestra “click track†began, the show went up at either 11AM, 2:30 or 7:30 PM and came down precisely 90 minutes later. Everyone had to be on their marks. There was nary a glitch in the system. Of course, there WAS that day I went out to dinner with some of my co-workers after the matinee ended. I had a little too much to drink with my meal. It was easy for the wiseguys in the house right sound booth to notice my inebriated state. I assumed they decided to be practical jokers and not turn up the house level on my wireless mike, prior to my “Welcome to Radio City…†spiel. This led to some onstage embarrassment and one minor expletive heard by the entire audience. My face turned fifteen shades of red above and beyond the effects of the booze. I could have been a special effect myself, matching the cove lighting. Pink faced to red faced to blue faced to total blackout, but I digress.
I attended both the 2007 ATOS Organ Concert and the Christmas Show. On both occasions the organ sounded fine to me, although that may be a testament to the talents of the various organists. Listening for imperfections is not my expertise.
I have one last note in this absurdly long post. I have always been as Mr. Endres says, an “early arriverâ€. I love sitting in the auditorium when it is nice and quiet, just before the crowds arrive. The first notes of the organ still make my diaphragm rumble. From 1964 to 1978 I always sat in “my seatâ€; at the time it was Row AA 313 or 314. I was four years old in 1964. After I discovered there was an orchestra down there, I always looked over the apron into the pit. I assure you I never fell in. I guess death by band car is not my destiny.
In regard to dave-bronx’s comments, The Saint did not use 6th Street as an entrance. I always entered through the lobby on Second Avenue, as that is where admission was collected. That may have changed after the dome was removed in 1988 and the place went on for another two years, but I doubt it. The 6th St. exits were off the bar/lounge area and could not accomodate the entering crowd.
I am pretty confident that the design of The Saint was to be an experience much like entering Radio City Music Hall. The idea being to guide the patron into an ever expanding space, from the intimacy of the lobby to the expanse of the dance floor.
I remember the first year’s membership fee to The Saint was $125.00.
Segask, in regard to your thoughts on the use for the Dome, I couldn’t agree with you less. I am quite happy that the Dome is here to stay as I have not seen three strip Cinerama, yet. I hope to see it in LA, Seattle or Bradford, England sometime in the near future.
In regard to Seattle, I do not believe that they have a yearly Cinerama festival. I check in with them occasionally to see if they are showing anything in “three strip”. I am always told that nothing is planned.
I’ll gladly use some frequent flier miles to make the trip.
Thanks, Bob! You are probably right in your assumption about the Fire Curtain. Even though it is made of that unmentionable material, I would love to see it used today. I am certain that will not happen.
Thanks also for the story about Fred Keller’s office. I love knowing any “gremlin” stories about the Hall. I remember that office well. Jane Morrison occupied that space in late 1979 and it was the office in which I was hired.
I am somewhat critical of the “presentation” quality of the present shows. I mean show, of course. To walk in and see the bandcar at just below stage level prior to showtime takes away one element of suprise. No more, “Wow, an orchestra just appeared out of nowhere!” Stagehands and techies mulling about onstage prior to the show starting. Oh well, that’s enough of that for today.
Bob, have you noticed that the curtain is a bit “lighter” these days. I am sure it is made from a lighter material, but it does not seem to hang like it used to. When I attend the Christmas Show, I can see the stage underneath the bottom.
My home is like a museum of the Music Hall. Among my collection, I have hundreds of pictures, souvenirs, programs, etc. I have a original edition of the New York Times from December, 1932 with the reviews of Opening Night. I also have one of the brass “Program Light” plates. A 6' by 2' remnant of what I am told is the original 1932 auditorium carpet hangs in my bedroom.
Segask, are you stating that if you were the “powers that be”, you would have sacrificed what is now one of the three theaters on Earth capable of playing three strip Cinerama for a lobby? Are you sure you are interested in theater preservation? Saying that you would turn the Dome into a lobby demonstrates the same kind of mentality that is causing us to lose the very thing we are here to preserve.
I did not like AMC’s decision to turn the Empire into a ticket lobby. By the way, they do not sell popcorn there (at least not on my last visit. Did the Times Square Cafe open in the former balcony of the theater?
The point of what “should’ve” been is moot. We are living in a day and age where theaters are not run by showmen, but by corporations. It is the way of the present movie exhibiting world, as sad as that is.
I want to thank you for the heads up as I have not been to LA to visit either The Dome or the rest of the Arclight complex. You compare the lobby to an airport; I shall now ensure that I arrive at least 45 minutes early so I can get to my gate, I mean, theater.
REndres: Thanks for reminder that the fire curtain was used for the 50th Anniversary show. I saw “Encore” many times. When I worked there, I did see the fire curtain flown in and out a few times. It raised and lowered at such a slow pace. Who wouldn’t think it was part of the show? I never had the opportunity to see a fire drop; I wish I had. Every time I visit the Hall, I look at the top of the proscenium to see it.
Thanks also for the “briefcase” story. I recall another story about the fourth passenger elevator, the one to the far right. Several people told me this was used as the “death car”. If a patron would suffer a fatality while the Hall was open, the body would be kept in there on a stretcher until an ambulance arrived.
I remember the Archives room as well. There was so much stored in that room, even my voice. The first time I went in there was to make a copy of the audio casette with my introduction of the Christmas Show. The archives exist today, although everything has been moved to the MSG Penn Plaza offices.
Leon: The Cherry Blossom Doncho curtain was first used in “Follies ‘64”, the show that accompanied “The Unsinkable Molly Brown”. It is mentioned in the program for that show. I imagine it still exists to this day. It may still hang in the fly space, but I do not know.
A website like the one Leon mentions above would be take a tremendous effort, one that I would be happy to assist in if the opportunity arose.
There is kind of a filmed record of what was staged at the Hall; the 1983 TV Movie, “Legs”. Many scenes were filmed at the Hall and it features excerpts from a few Rockette dances, most memorably(for me) the “Dancing in Diamonds” number. Gwen Verdon is featured in a role sort of based on Violet Holmes, who took over as Director of the Rockettes following Russell Markert’s retirement. Occasionally, you could find a VHS copy of the movie on Ebay.
I agree with Vito that new technology is here to stay, though it can never replace real scenery. The LED screen simply looks phony. During the Christmas Show, they would fly in a mirrored wall during the “Dancing Santas” number. It was thrilling to see the dancers and the audience reflected in it. The screen diminishes that experience.
For the Hall’s Centennial, I hope it’s original “original splendor” is restored. “As a society, we have gotten used to light levels 30% brighter…” is what someone involved with the 1999 Restoration stated. May that person speak for himself. I loved looking in the gold backed mirrors under the subdued lighting of the Grand Foyer. Even if I was having the lousiest day of my life, I looked great! On the other hand, thank heaven those mirrors are still there.
REndres, do you know what happened to the Weehauken warehouse? Has all that scenery been dumped?
Leon Leonidoff, who are you? Did you work at the Hall? You may answer that privately if you wish. Look at my profile for contact info.
Finally, does anyone have any color pictures from the early days of the Hall? I would love to see what it looked like. All my pictures from those days are in black and white. Please contact me if you have any information.
Hank: I agree with you. I think that the current contour curtain is made from a much lighter fabric than the first two. It does not seem to hang like it used to and is very billowy. Lately, I’ve seen the feet of people moving about the stage when the curtain is down, something I do not recall seeing in the past.
Thanks, Lost Memory, for the LIFE photos. I’m am going to post some of my photos in the near future.
OldJoe: I cannot be a newer piece; it has a small cigarette burn in it. I am confident it has been walked on for many years. It has a brown background with tan and dark brown/black “women”.
OldJoe: Did the purple “singing women” take on a brownish tint after 45 years of use? I know my carpet is not from the 1979 renovation. I recall that carpet as having a black background.
REndres: I have read and heard them referred to as “Singing Ladies”, but your explanation makes much more sense. So, singing ladies or fish, I’d still like to determine how old they are. I am very fond of the carpet, which hangs in my bedroom. In fact, I have so much Music Hall memorabilia, I could open a small museum.
To the best of my recollection, the style book (for lack of a better, or proper term) was not published for the general public. I saw one on Ebay about a year ago, but did not win the auction. The “Singing Ladies” on my piece of carpet that were originally blue now have a brownish tint. I am wondering if this is a result of 47 years of use.
I’m glad the carpet is being replaced on a regular basis and the Hall is being kept up. That’s “two points” for the Dolans. Now if they could make the old lighting booth presentable, at least as a curiosity. My question, however, still exists. Does anybody have any information about that style book?
I recall there was a style book featuring the decor of the Music Hall that was published many years ago. One was recently up for sale on Ebay. Does anyone know where I can obtain a copy or/look at that book? I have a 6'x2' piece of auditorium carpet from the Music Hall. I am attempting to determine its age. It could be original from 1932. I am unsure if they installed new carpet anytime afterwards. From the color and weave I am certain is not from the 1979 renovation or the 1999 restoration.
Can anyone assist me?
I somewhat disagree with Leon about the 1979 renovation. While they got some things right, others were not. I thought that some of the carpet colors were off and that they were a bit too plush. I remember this because I used to take my shoes off and walk on the carpet barefoot when the house was closed.
I completely disagree with Hugh Hardy’s comment about people being used to higher light levels. I think the extra lighting in the Grand Foyer is thoroughly unnecessary. I also wonder if the gold leaf used on the Choral Staircases and the undersides of the balustrades is a right match. In the many black and white pictures I have of the early days of the Hall, those areas don’t look as bright as they do now. I could be wrong; I am looking for color photos of the Hall in the 1930’s and 40’s.
And those “Target” decorations on the proscenium, cheesy as they are, have been there since 1979.
I somewhat disagree with Leon about the 1979 renovation. While they got some things right, others were not. I thought that some of the carpet colors were off and that they were a bit too plush. I remember this because I used to take my shoes off and walk on the carpet barefoot when the house was closed.
I completely disagree with Hugh Hardy’s comment about people being used to higher light levels. I think the extra lighting in the Grand Foyer is thoroughly unnecessary. I also wonder if the gold leaf used on the Choral Staircases and the undersides of the balustrades is a right match. In the many black and white pictures I have of the early days of the Hall, those areas don’t look as bright as they do now. I could be wrong; I am looking for color photos of the Hall in the 1930’s and 40’s.
And those “Target” decorations on the proscenium, cheesy as they are, have been there since 1979.
I just noticed that the Vista is featured in a scene from the 2003 television movie, “Return to the Batcave: The Misadventures of Adam and Burt.” The movie is posted on YouTube; the Vista shows up in part 6 of 10.
It’s a lovely theater that I hope to see next time I am in LA.
And once again we have the opportunity to benefit from the amazing Bob Endres; here to explain the inner workings of the Hall. I am so glad you are posting on this page! Bob, in one of your posts you mention that the contour was “pulled up to show how big the screen really was.” Wasn’t that always the case? I mean, I recall the contour was always raised higher for the film than it was for the stage show. It is difficult to see the contour at all in that “1953” picture.
Was the stage show contour framing referred to as “Showtrim”?
Hi, Hank. The stairs under the choral staircases lead to the stairs themselves, to what was a sound booth (at least on the 50th Street side of the theater), and backstage. If I forgot to Hank, thanks for the information you sent me. I do appreciate it.
The Americana is featured as a backdrop in one scene of the Richard Linklater film, DAZED AND CONFUSED. The lower part of the marquee is in one scene where the guys are meeting to discuss how they are going to haze the incoming high school freshman. The name of the theater is visible in the corresponding deleted scene in the “Special Features” section of the “Flashback Edition” DVD.
I was in the audience the evening when the LOA 70MM print broke. One of the fellows who saved the day was five seats away from me. Everyone in the audience was grateful to him and the others that volunteered to “save our show”. In fact, the fellow seated near me came back to his seat with the piece of the print that got damaged.
I too miss the time when I could go to the movies and see a 70MM show on a regular basis. I think William hit one nail on the head when he stated that the studios are not going to send a 70MM print to a platter house.
I also believe that if we want such a venue then we are going to have to do it ourselves. By “we”, I mean those of us who post here lamenting about the lack of 70MM presentations in Manhattan. I ask anyone who is truly serious about taking such action to contact me. My contact info is on my member page.
The last time the Ziegfeld showed LAWRENCE OF ARABIA in 70MM was in March of 2006. Scroll up this page for some interesting perceptions regarding what happened at a Sunday night screening.
REndres: You are simply too fast! As I was typing in a post that you could shed some light on any projection quetions, there you are! I saw three of the four films MikeJW mentioned, with the exception of THE MUSIC MAN. I do not recall any cropping other than the bit of picture that would spill over on the masking. That’s normal, yes?
I also have an idea, since the Hall currently has so many dark days. If you ever want to go in and measure the screen, I’ll be happy to hold the end of the tape while you ride the hoist. Perhaps while you are up there, you could check on the status of the Doncho Curtain. Maybe we’ll get to see a Fire Drop! In my imagination, that would be better than Disneyland.
I love how people can look at the same movie and have completely different experiences. I thoroughly enjoyed seeing A BOY NAMED CHARLIE BROWN at the Music Hall. I love a little “cheese” with my “grand environments”.
Vito: In reference to a question you asked in May about rentals, I remember some of the events I took part in at the Hall. The Bar Mitzvah that REndres referred to was for the son of the head of Remco Toys. At least that was what I heard. In late 1979/early 1980, Westinghouse Electric rented the theater to introduce the Westinghouse Flight Bulb (their response to the Good Year Blimp?), a massive hot air balloon that they actually inflated in the auditorium. It was all quite dramatic, with both organ consoles playing as the lights came up on the balloon. Then, I did the off stage narration introducing the balloon and The Rockettes. They followed with a routine performed to a pre-recorded music track.
I was kind of surprised that Westinghouse went to all that expense the rent the theater and neglected to hire the orchestra. How’s THAT for an example of “cheesiness in a grand environment”?
Correction – The first year’s membership fee to The Saint was $150.00
REndres: It is a real gift to have you here. Your posts are quite informative and I seem to be learning proper stage terminology, thank you. We actually met on a few occasions many years ago. I hope we have the opportunity to meet again in the near future.
Your recent posts have shed some light on my complaints about the current state of presentation at the Hall. I wholeheartedly agree with the need for safety standards designed to protect staff and patrons of the Hall or any theater. I support any organization’s desire to prevent accidents or fatalities. I had not heard about the stagehand injured from falling into the pit. I also want my Rockettes in a straight line, not scattered about due to a collapsing staircase. On the other hand, I wonder if there might be some way to ensure proper safety measures without sacrificing the “illusions†inherent in a Music Hall Spectacular.
I gather from my pictures that there is not much space between where the Contour Curtain hangs on the deck and the edge of the pit elevator shaft. Does it have to be pulled that far downstage in order to bring the “Santa†sheet in? I am also convinced that the 1999 Contour Curtain is made of a more lightweight material. I do not recall it drifting upstage like it does now. It also looks like it does not drape properly when at “show trimâ€, the standard height for a Stage Show.
The crews at the Hall have always been excellent at their jobs. I recall during the ‘79 Christmas Show that when the orchestra “click track†began, the show went up at either 11AM, 2:30 or 7:30 PM and came down precisely 90 minutes later. Everyone had to be on their marks. There was nary a glitch in the system. Of course, there WAS that day I went out to dinner with some of my co-workers after the matinee ended. I had a little too much to drink with my meal. It was easy for the wiseguys in the house right sound booth to notice my inebriated state. I assumed they decided to be practical jokers and not turn up the house level on my wireless mike, prior to my “Welcome to Radio City…†spiel. This led to some onstage embarrassment and one minor expletive heard by the entire audience. My face turned fifteen shades of red above and beyond the effects of the booze. I could have been a special effect myself, matching the cove lighting. Pink faced to red faced to blue faced to total blackout, but I digress.
I attended both the 2007 ATOS Organ Concert and the Christmas Show. On both occasions the organ sounded fine to me, although that may be a testament to the talents of the various organists. Listening for imperfections is not my expertise.
I have one last note in this absurdly long post. I have always been as Mr. Endres says, an “early arriverâ€. I love sitting in the auditorium when it is nice and quiet, just before the crowds arrive. The first notes of the organ still make my diaphragm rumble. From 1964 to 1978 I always sat in “my seatâ€; at the time it was Row AA 313 or 314. I was four years old in 1964. After I discovered there was an orchestra down there, I always looked over the apron into the pit. I assure you I never fell in. I guess death by band car is not my destiny.
In regard to dave-bronx’s comments, The Saint did not use 6th Street as an entrance. I always entered through the lobby on Second Avenue, as that is where admission was collected. That may have changed after the dome was removed in 1988 and the place went on for another two years, but I doubt it. The 6th St. exits were off the bar/lounge area and could not accomodate the entering crowd.
I am pretty confident that the design of The Saint was to be an experience much like entering Radio City Music Hall. The idea being to guide the patron into an ever expanding space, from the intimacy of the lobby to the expanse of the dance floor.
I remember the first year’s membership fee to The Saint was $125.00.
Segask, in regard to your thoughts on the use for the Dome, I couldn’t agree with you less. I am quite happy that the Dome is here to stay as I have not seen three strip Cinerama, yet. I hope to see it in LA, Seattle or Bradford, England sometime in the near future.
In regard to Seattle, I do not believe that they have a yearly Cinerama festival. I check in with them occasionally to see if they are showing anything in “three strip”. I am always told that nothing is planned.
I’ll gladly use some frequent flier miles to make the trip.
Thanks, Bob! You are probably right in your assumption about the Fire Curtain. Even though it is made of that unmentionable material, I would love to see it used today. I am certain that will not happen.
Thanks also for the story about Fred Keller’s office. I love knowing any “gremlin” stories about the Hall. I remember that office well. Jane Morrison occupied that space in late 1979 and it was the office in which I was hired.
I am somewhat critical of the “presentation” quality of the present shows. I mean show, of course. To walk in and see the bandcar at just below stage level prior to showtime takes away one element of suprise. No more, “Wow, an orchestra just appeared out of nowhere!” Stagehands and techies mulling about onstage prior to the show starting. Oh well, that’s enough of that for today.
Bob, have you noticed that the curtain is a bit “lighter” these days. I am sure it is made from a lighter material, but it does not seem to hang like it used to. When I attend the Christmas Show, I can see the stage underneath the bottom.
My home is like a museum of the Music Hall. Among my collection, I have hundreds of pictures, souvenirs, programs, etc. I have a original edition of the New York Times from December, 1932 with the reviews of Opening Night. I also have one of the brass “Program Light” plates. A 6' by 2' remnant of what I am told is the original 1932 auditorium carpet hangs in my bedroom.
Segask, are you stating that if you were the “powers that be”, you would have sacrificed what is now one of the three theaters on Earth capable of playing three strip Cinerama for a lobby? Are you sure you are interested in theater preservation? Saying that you would turn the Dome into a lobby demonstrates the same kind of mentality that is causing us to lose the very thing we are here to preserve.
I did not like AMC’s decision to turn the Empire into a ticket lobby. By the way, they do not sell popcorn there (at least not on my last visit. Did the Times Square Cafe open in the former balcony of the theater?
The point of what “should’ve” been is moot. We are living in a day and age where theaters are not run by showmen, but by corporations. It is the way of the present movie exhibiting world, as sad as that is.
I want to thank you for the heads up as I have not been to LA to visit either The Dome or the rest of the Arclight complex. You compare the lobby to an airport; I shall now ensure that I arrive at least 45 minutes early so I can get to my gate, I mean, theater.
REndres: I’m curious. Was the fire curtain refurbished as part of the 1999 Restoration? What material is it made of these days?
REndres: Thanks for reminder that the fire curtain was used for the 50th Anniversary show. I saw “Encore” many times. When I worked there, I did see the fire curtain flown in and out a few times. It raised and lowered at such a slow pace. Who wouldn’t think it was part of the show? I never had the opportunity to see a fire drop; I wish I had. Every time I visit the Hall, I look at the top of the proscenium to see it.
Thanks also for the “briefcase” story. I recall another story about the fourth passenger elevator, the one to the far right. Several people told me this was used as the “death car”. If a patron would suffer a fatality while the Hall was open, the body would be kept in there on a stretcher until an ambulance arrived.
I remember the Archives room as well. There was so much stored in that room, even my voice. The first time I went in there was to make a copy of the audio casette with my introduction of the Christmas Show. The archives exist today, although everything has been moved to the MSG Penn Plaza offices.
Leon: The Cherry Blossom Doncho curtain was first used in “Follies ‘64”, the show that accompanied “The Unsinkable Molly Brown”. It is mentioned in the program for that show. I imagine it still exists to this day. It may still hang in the fly space, but I do not know.
A website like the one Leon mentions above would be take a tremendous effort, one that I would be happy to assist in if the opportunity arose.
There is kind of a filmed record of what was staged at the Hall; the 1983 TV Movie, “Legs”. Many scenes were filmed at the Hall and it features excerpts from a few Rockette dances, most memorably(for me) the “Dancing in Diamonds” number. Gwen Verdon is featured in a role sort of based on Violet Holmes, who took over as Director of the Rockettes following Russell Markert’s retirement. Occasionally, you could find a VHS copy of the movie on Ebay.
I agree with Vito that new technology is here to stay, though it can never replace real scenery. The LED screen simply looks phony. During the Christmas Show, they would fly in a mirrored wall during the “Dancing Santas” number. It was thrilling to see the dancers and the audience reflected in it. The screen diminishes that experience.
For the Hall’s Centennial, I hope it’s original “original splendor” is restored. “As a society, we have gotten used to light levels 30% brighter…” is what someone involved with the 1999 Restoration stated. May that person speak for himself. I loved looking in the gold backed mirrors under the subdued lighting of the Grand Foyer. Even if I was having the lousiest day of my life, I looked great! On the other hand, thank heaven those mirrors are still there.
REndres, do you know what happened to the Weehauken warehouse? Has all that scenery been dumped?
Leon Leonidoff, who are you? Did you work at the Hall? You may answer that privately if you wish. Look at my profile for contact info.
Finally, does anyone have any color pictures from the early days of the Hall? I would love to see what it looked like. All my pictures from those days are in black and white. Please contact me if you have any information.