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Techman707… thanks for that info. That is what I thought, based on the slope on the floor I noticed when I snapped those pics of the demolition site.
As for programs… They actually outlasted the Roadshow era, well into the 1980’s and probably – with diminishing frequency – the very early ‘90’s. I still have my souvenir booklets for the original Star Wars trilogy, several Roger Moore-era Bond flicks, Warren Beatty’s Reds, and even Rocky II! A few of those were purchased at first run engagements in Times Square, but I recall some of them being available even at the candy counters of some of the local neighborhood theaters, like Century’s Green Acres, Sunrise Cinemas, and the UA Lynbrook.
LeonNorman1814… Try posting it to the Strand Theatre page. The Orleans was carved out of the backstage area of the old Strand, while the main house was twinned to become the RKO Cinerama I and II around the corner on Broadway. Would love to see that pic.
The street view should be corrected. The theater would have been located to the south of Sunrise Highway, just on the other side of the railroad tracks. George Street comes into a T interesection with Deer Park Ave. Not sure if the theater was on the actual corner of George and Deer Park, or across the street, opposite the terminus of George St, facing east.
Would hope there’d be room in the schedule for the Promotor to step aside, say one or two days a week, so that the FOTL can continue to run their movie programs…. with a generous subsidy from profits, of course. I mean, don’t they deserve that much respect in this situation?
Another couple of shots posted, that I took a week or so ago. The shed doors located directly in front of the old theater entrance, were open and I was able to take a shot of the open space clear to what might have been the back wall of the auditorium (meaning, the farthest wall from Seventh Ave.
Having never seen a movie at this Embassy, I do not know how the theater was oriented with respect to the building’s footprint. However, as I was standing there, I could see where the floor began to slope down and away towards the back. You can’t make it out as well in the photos, as you could with the naked eye, standing in that doorway.
The slope starts around the point where that orange meshing is, sloping down towards the back wall, and also more steeply to the left, it appears. Not sure how the auditorium was oriented within the building, as I never attended a film at this theater.
If they ever re-build the Lynbrook – and that is a big “IF” – the Fantasy may suffer some consequences. Of course, I think the place will still have some legs, because of its location. There are always young people spilling out of bars and restaurants, in RVC, particularly on weekends. The theater never lacks for foot traffic.
Saw a construction worker outside of the building, yesterday morning. He confirmed that the building is being entirely dismantled, and the site to be prepped for new construction.
I’ve been wondering the same thing, Howard. Someone here said the entire building was being dismantled. If I ever see one of the construction guys, I’ll ask. Or, if I find myself with a spare half-hour before work, I can try to sift through the dozen or so permits they have posted on the corner of the construction shedding!
Added a few more glimpses of the interior demolition, as viewed through construction peep-holes on Seventh Ave. Images taken middle of last month.
Ironic, and sad back to back comments – one with the text of an article announcing the construction of the Drake, the other a link to an article about it’s demolition.
The shot of Tony Curtis, as Falco, watching Hunsecker’s sister enter the theater, was filmed at the corner of W. 54th Street and Sixth Avenue. The bar and restaurant behind him is now the site where the New York Hilton is located. That would make it appear that the theater itself was the original Ziegfeld Theatre. However, neither the interior shots of the theater, nor the exterior showing the sister entering (and later the Marty Milner character in the outside foyer) were shot at the Ziegfeld.
Suggesting it was the Ziegfeld actually makes sense, since at the time of the filming, that theater had been used by NBC as a television studio. But the exterior shots are of a different facade, just judging from the windows and storefront immediately to the right of the marquee.
As for the Rivoli, by this time (1957) the interior had already been streamlined for its wide-screen road show retrofit. The interior shots in the film show far too much original vintage ornamentation to be the Rivoli – not to mention the design around the proscenium is a bit different. I don’t know where they filmed those shots, but it is definitely an old movie palace that had been retrofitted for direct-throw wide-screen projection (you can glimpse the new booth, cut into center of the loge, in the background), just not the Rivoli.
With King Vidor at the helm, Selznick producing, and a budget that allowed for location filming in Hawaii (this was scrapped, according to IMDB.COM trivia, due to weather related problems), not to mention the fact that it was based on very popular stage material, I would say “Bird Of Paradise” likely constituted an “A” picture for RKO.
This probably doesn’t belong here, Bloop. The “Interboro” stamped on the ticket in the lower left corner, refers to the chain that ran the Elmwood Theatre in Elmhurst, NY.
Just posted a couple of shots I took with my cellphone over the last week or two, through the construction shedding peepholes, to see the demolition in progress. The first shot shows a portion of where the old Mayfair/DeMille entrance used to be. The second is another storefront or two down towards 47th Street, but may reveal recesses (stripped to concrete) that may have been a part of the theater.
The left interior wall shown here is the northern wall of the entire building, so this is definitely where the Mayfair, and later DeMille, entrance was located. Later, when renovated, the entrance space was cut in half. The donut shop took the left half, and the theater, the right. This day I passed, was the only time, so far, that I’ve seen the roll top gate was actually at least most of the way up, exposing the demolition within the actual theater portion of the building. And I take a peek into those peepholes every morning!
This section was most definitely storefronts along Seventh Avenue (probably around the spot where the old Columbia Theatre entrance used to be), but not sure if any of the recesses shown in the back here were a part of the Mayfair/DeMille.
Hi tkmonaghan… Mother’s was actually in the corner building, sharing the ground floor with that newstand, not in the “theater-like” building that I think may have housed a Child’s. In your photo, you can see a portion of that building on the right, with a hat shop occupying one of the storefronts. Not sure if Child’s typically shared its footprint with other merchants, so your photo certainly does call into question whether my hunch is correct.
Just read through this thread, and the earlier questions about the current building on site having a theatrical air about it. Couldn’t find if anyone already mentioned this, but, knowing that prior to the bank, the occupant was a restaurant, I wonder if this may have been one of the many Childs Restaurant, locations. That early national chain was known for the architectural detail of its buildings. From images of other Childs locations that I’ve seen (including the remains of 2 Coney Island locations), this structure very much has the same look. And the timing would be right, if the Whitney lasted into the 1920’s, since that’s about when the chain started to peak in popularity.
And most of the comments on the Manhattan Biltmore page debate that very issue!
DavidZornig, if you’d like to add those images (which I see you’ve already removed from this page) to the correct theater, Here’s the page for the Biltmore in Manhattan.
I’ve commented before that theater preservation under the NYC LPC (after the Marriot Marquis demolitions) has always been all about the legit houses, without any regard to any of the premiere movie houses in the Times Square area. The rich history of motion picture exhibition in this town, and the important architectural wonders in which that history took place, were completely ignored by the LPC. Not a single house on Broadway or Seventh Avenue survives – with the lone exception of the Embassy newsreel theater.
I know that many of the cinemas were shorn of much their original interior design with the wholesale streamlining and updating that occurred during the dawn of the widescreen roadshow era, but seems to me that enough beauty remained in the Rivoli, Loew’s State, Strand, DeMille, and Forum to warrant serious consideration. I suppose we should be thankful for the conversion of the Hollywood, Broadway, and Globe Theatres to legitimate use – surely those transitions played a part in the preservation of those buildings.
It is nothing short of miraculous, that all four of the original Loew’s Wonder Theaters, situated within NYC limits, are still standing and open (or soon to be open) to the public. And that number five is still alive and surviving as an actual movie palace, across the Hudson in Jersey City!
I walk by this building every day, on my way to the office. It is completely covered in scaffolding and dark mesh construction netting, so, impossible to really see what is going on, but from what can be viewed through the peepholes and gaps in the street level shedding, they are stripping all vestiges of ornamentation from the facade. I presume this is in preparation for the dismantling of the building, as I also presume that the any remaining architectural detail within the structure is being carted away as rubble.
Oh, and I’m thrilled to have the name back in place over that marquee. Fitting, since the original Lyric’s entrance serves the same purpose for the new house.
I get the criticism, however. The theater swallowed up a lot of the comedy in Mel Brooks' musical version of “Young Frankenstein.” Admittedly, the show and production did have a few intrinsic problems of their own that had nothing to do with the house, but I felt that the size of the theater (as opposed to the smaller Richard Rodgers, where the more successful – and funnier – “The Producers” ran), caused the performances to reach even bigger and broader than is Brooks' usual style to sell the jokes up in the rafters, which squashed the life out of the humor. The set pieces looked wonderful on that big stage, however.