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Here’s a view of the Town Theatre in relation to its larger RKO and Loew’s rivals:
Exterior photo as Palladium: View link
This daytime photo gives a more detailed view of the building: View link
A nifty exterior image of illuminated signage can be found here: View link
Two more photos here, including one showing how the Thalia was situated around the corner from what was originally the Symphony Theatre. I don’t know why the two theatres share a listing here. They should each have a listing of their own, since their cinematic histories were separate and different: View link
Exterior photo here:
Exterior photo here: View link
Exterior photos here, including this one: View link
Michael, thanks for the clarification! I understand the Roxy listing now.
Here’s a new link to a vintage image of the Stoddard Theatre: View link
I don’t know. But neither the synopsis for “Saps at Sea” nor one for “Towed in a Hole” mentions a goat. If you can remember the year of that Thanksgiving, you might be able to find a newspaper ad with details of the Studio program.
“Saps at Sea” was a feature. I got the impression from “rvb”’s post that the film was a short, and part of an all-comedy program similar to those at the “Laffmovie” on 42nd Street. However, those programs usually consisted of features and shorts, so it could have been either.
I must correct some errors in my post above of 3/19/04. The Cameo closed as a showcase for Russian imports in the spring of 1940. The Consolidated Amusement chain bought a ten-year operating lease on the theatre and, after some refurbishing, re-opened it under the new name of Bryant on September 13th, 1940, with the American premiere of “After Mein Kampf?,” a British pseudo-documentary. The Bryant had a “grind” policy, open from 8AM until 2 the next morning. Brandt Theatres later took over the operating lease from Consolidated, but was not responsible for changing the name to Bryant. Consolidated did that.
It might have been an L&H short entitled “Towed in a Hole,” but I can’t vouch for it.
If “Marty” is so savvy about showbiz, perhaps he should retire from politics and form a syndicate to purchase and operate the Kings.
The 1926 Film Daily Year Book lists a 700-seat Grand Theatre for Westfield, NY, which suggests that it was either replaced or just “modernized” in 1941.
A review and photos of a recent “salsa” concert at the United Palace can be found here. Please note that the NYT does not recognize “The” as part of the name: View link
The entrance to B.F. Keith’s Crescent can be seen at the right of this photo: View link 57
Here’s a new link to another ad for the “King Kong” engagement at the two Rockefeller Center theatres:View link
“Marty” needs a new speech writer. He’s been spewing the same hot air since he took office.
Here’s some curious advertising from April 4th, 1947. At the right, there’s a small ad for the Studio in its final day of the sub-run “They Were Sisters.” For the next day’s American premiere engagement of “The Bellman,” the name becomes Studio 65. Figure!
Betty Grable’s opening in Hartford was overshadowed that same day by Germany’s invasion of Poland, which is usually regarded as the start of World War II. By the time that the USA finally entered the war in December, 1941, Grable was on the verge of becoming Boxoffice Queen of that era.
Betty Grable’s movie career was still in low gear when she played a week’s stage engagement at the State Theatre starting September 1, 1939. Due to “live” talent costs, the State had to scrimp on film rentals, in this case with a Monogram “B” starring Frankie Darro entitled “Irish Luck”:
Bryan Adams gave two “sell-out” performances at the Beacon Theatre on April 3rd and 4th, according to the May 2 issue of Billboard Magazine. Adams’s two shows sold a total of 5,590 tickets, for a gross of $301,576. Tickets were priced at $89.50 and $49.50.
Why is the Roxy Theatre engagement of “Windjammer” included in the NYC list?
“Windjammer” was originally in Cinemiracle and shown at the Roxy only in thst process, not in rival Cinerama.