This was the second program change for the Music Hall since the grand opening of the New York World’s Fair in nearby Queens on April 22nd.
The following day (4/23), the Music Hall brought in “The Pink Panther” and stage revue, which barely lasted a month as local New Yorkers rushed to the Fair before an expected summer avalanche of domestic and foreign tourists.
Produced in Germany by UFA as “Heimat” (“Homeland” in English translation), the musical drama was one of the incomparable Swedish star’s greatest successes.
The Gotham was operated by Harris Theatrical Enterprises, an “indie” neighborhood circuit with HQ in office space above. “The Big Parade” had a record-breaking roadshow run of 96 weeks at the Astor Theatre in midtown, starting in November, 1925, and had a delayed general release
in the NYC area.
“Curtains for Broadway: No Shows Until Labor Day, at Least.” That decision includes presentations at Radio City Music Hall and all of the city’s cinemas. New York Times article here
The drive-in theatre project at the Bel Aire Diner resumes tonight (5/13) with two screenings of “Dirty Dancing.” A news report and link to a new video can be found here
This was built and operated by Universal Pictures Theatre Circuit and opened a month before its Universal Theatre in Boro Park, Brooklyn.
Universal’s “Alias the Deacon” was the first screen offering in both cases. Brooklyn ad displayed here
Astoria’s Bel Aire Diner recently made news by erecting a temporary drive-in theatre in its parking area, starting with a screening of “Grease.” Video coverage can be viewed here
At the Winter Garden, “Noah’s Ark” replaced “The Singing Fool,” which had been moved to the Sam H. Harris Theatre on West 42nd Street, as noted in bottom left corner of the ad.
Loew’s State had vaudeville plus first NYC booking of “See My Lawyer.”
Signage for Embassy Newsreel, RKO Palace, and Loew’s Mayfair visible in upper left corner of photo.
New York Theatre at right with sub-run double feature. Across Times Square, Paramount Theatre with Alan Ladd in “Salty O'Rourke” on screen and stage show.
Listed near bottom of the ad, the Alden was holding-over “Hitler’s Children” & “Ladies Day” due to a product split with the nearby Skouras Merrick, which got “It Ain’t Hay” & “The Young Mr. Pitt.”
The silent melodrama was a German co-production by UFA/Paramount, with English inter-titles, synchronized sound effects and musical score. Topping the bill at the Brooklyn Paramount was a stage show featuring Tom Mix and his wonder horse, “Tony.”
This was the second program change for the Music Hall since the grand opening of the New York World’s Fair in nearby Queens on April 22nd. The following day (4/23), the Music Hall brought in “The Pink Panther” and stage revue, which barely lasted a month as local New Yorkers rushed to the Fair before an expected summer avalanche of domestic and foreign tourists.
Backed by a reserved-seat roadshow policy, with tickets selling four weeks in advance.
Harris' auditorium at top, Selwyn’s in oval below.
Harris' auditorium at top, Selwyn’s in oval below.
Produced in Germany by UFA as “Heimat” (“Homeland” in English translation), the musical drama was one of the incomparable Swedish star’s greatest successes.
The directory was published in the borough’s weekly newspapers in January of this year, prior to pandemic closures.
The directory was published in the borough’s weekly newspapers in January of this year, prior to pandemic closures.
Published in the borough’s weekly newspapers in January of this year, prior to pandemic closures.
The Gotham was operated by Harris Theatrical Enterprises, an “indie” neighborhood circuit with HQ in office space above. “The Big Parade” had a record-breaking roadshow run of 96 weeks at the Astor Theatre in midtown, starting in November, 1925, and had a delayed general release in the NYC area.
Apparently done in morning of opening day, since first screening started at 12 Noon.
“Curtains for Broadway: No Shows Until Labor Day, at Least.” That decision includes presentations at Radio City Music Hall and all of the city’s cinemas. New York Times article here
The drive-in theatre project at the Bel Aire Diner resumes tonight (5/13) with two screenings of “Dirty Dancing.” A news report and link to a new video can be found here
This was built and operated by Universal Pictures Theatre Circuit and opened a month before its Universal Theatre in Boro Park, Brooklyn. Universal’s “Alias the Deacon” was the first screen offering in both cases. Brooklyn ad displayed here
To save on electrical bills, the vertical sign was later reduced by removing the Triboro’s name, with the result shown here
Astoria’s Bel Aire Diner recently made news by erecting a temporary drive-in theatre in its parking area, starting with a screening of “Grease.” Video coverage can be viewed here
Attendance earned a hold-over, with screen feature changed to “One Body Too Many.” Ad displayed here
Jefferson listed at bottom of ad with matinee and evening stage shows, plus sub-run double feature.
This was the Easter holiday presentation for that year.
At the Winter Garden, “Noah’s Ark” replaced “The Singing Fool,” which had been moved to the Sam H. Harris Theatre on West 42nd Street, as noted in bottom left corner of the ad.
Loew’s State had vaudeville plus first NYC booking of “See My Lawyer.” Signage for Embassy Newsreel, RKO Palace, and Loew’s Mayfair visible in upper left corner of photo.
New York Theatre at right with sub-run double feature. Across Times Square, Paramount Theatre with Alan Ladd in “Salty O'Rourke” on screen and stage show.
In upper right corner of the photo is The Breakers, the luxury beachfront hotel with twin towers.
Listed near bottom of the ad, the Alden was holding-over “Hitler’s Children” & “Ladies Day” due to a product split with the nearby Skouras Merrick, which got “It Ain’t Hay” & “The Young Mr. Pitt.”
Booked with split-weeks of programs from both circuits, Loew’s Mayfair is listed at left bottom with “Hitler’s Children” & “Ladies Day.”
The silent melodrama was a German co-production by UFA/Paramount, with English inter-titles, synchronized sound effects and musical score. Topping the bill at the Brooklyn Paramount was a stage show featuring Tom Mix and his wonder horse, “Tony.”