The stadium-type auditorium had a central dome with indirect lighting. Blue and gold were the predominant colors. Lanterns extended from the side walls.
Advertised for sale in 1941 as Alvin Theatre, with Loyal mentioned as previous name. If it was still being reported in 1951 as Alvin, shouldn’t the CT listing be changed to Alvin, with Loyal as a previous?
The B&W romantic comedy had opened on 12/26/40, supported by the Christmas holiday stage show until December 30th, when a new revue saluting Latin America took over. “No, No, Nanette” had run for one week only as the Christmas screen presentation.
This rare Warner Bros. booking was part of a “swap” deal between WB and 20th Century-Fox, which wanted WB’s Hollywood Theatre for the reserved-seat roadshow debut of “The Blue Bird.” The Technicolor fantasy with Shirley Temple proved such a disappointment at the Hollywood Theatre that 20th-Fox made substantial cuts and re-launched it at the Roxy (with stage show).
The date marked the first observance of an American federal holiday honoring the birth of Martin Luther King, Jr…Walter Reade’s faltering Ziegfeld Theatre had a reduced schedule with “White Nights.”
This was the Music Hall’s first program change since the start of a stage/screen policy on January 11th. The first booking ran a day more than one week to enable future program changes on Thursday. The New Roxy, now being marketed as the RKO Roxy, would also have its first program change on Friday (1/20) with “Hot Pepper” and new stage revue.
After an unsuccessful trial of weekend openings, the Queensboro went dark until 1944, when two limited seasons of stage plays from the “Subway Circuit” were presented, with stars including Gloria Swanson, Ruth Chatterton, and Zasu Pitts. During closure in 1945, the operating lease was purchased by the Interboro Circuit, which opened a refurbished version as the Elmwood the following year.
This introduction to a multi-page collection of ads for upcoming releases took liberties with the surrounding neighborhood by adding names of Paramount stars and film titles. The Paramount Theatre’s auditorium, which rose to a height of about 12 stories, can be seen directly behind the 33-story office building.
Opened on January 7th, following a shorter than usual Christmas holiday presentation with the Esther Williams splasher, “Easy to Love,” on screen. MGM’s first CinemaScope feature was also the Music Hall’s first offering in that process.
As a consequence of the wartime rationing of color film stock, the late-run Warwick is the only cinema of all those listed here with a color feature, MGM’s all-star “Thousands Cheer.”
Auditorium had stadium seating at rear, instead of a conventional balcony.
Listed in bottom left section with “White Cargo” as main feature, the Century was one of the last stops along the Loew’s neighborhood circuit.
The stadium-type auditorium had a central dome with indirect lighting. Blue and gold were the predominant colors. Lanterns extended from the side walls.
Listed as Whittier, with Allan Marten as manager.
News item published in the floundering New York Herald-Tribune…Renovation cost of $1.2 million would be equivalent to about $10,300,000 in 2020.
The Fox accompanied its feature movies with spectacular stage revues, starting with the one described here
Advertised for sale in 1941 as Alvin Theatre, with Loyal mentioned as previous name. If it was still being reported in 1951 as Alvin, shouldn’t the CT listing be changed to Alvin, with Loyal as a previous?
The B&W romantic comedy had opened on 12/26/40, supported by the Christmas holiday stage show until December 30th, when a new revue saluting Latin America took over. “No, No, Nanette” had run for one week only as the Christmas screen presentation.
This rare Warner Bros. booking was part of a “swap” deal between WB and 20th Century-Fox, which wanted WB’s Hollywood Theatre for the reserved-seat roadshow debut of “The Blue Bird.” The Technicolor fantasy with Shirley Temple proved such a disappointment at the Hollywood Theatre that 20th-Fox made substantial cuts and re-launched it at the Roxy (with stage show).
Sarcastic showmanship drew packed houses for this double bill, which had “Million Dollar Baby” as supporting feature.
The date marked the first observance of an American federal holiday honoring the birth of Martin Luther King, Jr…Walter Reade’s faltering Ziegfeld Theatre had a reduced schedule with “White Nights.”
A new marquee and entrance were part of the 1935 modernization by architect David Supowitz, which is described here
Murals on both sides of the auditorium were painted by Harry Brodsky.
“The Green Pastures” was the first and only feature movie with an all-black cast to be shown at Radio City Music Hall.
“The Gay Bride” with title expanded to attract nearby residents of “Hell’s Kitchen.”
Don’t you mean “marquee?”
This was the Music Hall’s first program change since the start of a stage/screen policy on January 11th. The first booking ran a day more than one week to enable future program changes on Thursday. The New Roxy, now being marketed as the RKO Roxy, would also have its first program change on Friday (1/20) with “Hot Pepper” and new stage revue.
After an unsuccessful trial of weekend openings, the Queensboro went dark until 1944, when two limited seasons of stage plays from the “Subway Circuit” were presented, with stars including Gloria Swanson, Ruth Chatterton, and Zasu Pitts. During closure in 1945, the operating lease was purchased by the Interboro Circuit, which opened a refurbished version as the Elmwood the following year.
This introduction to a multi-page collection of ads for upcoming releases took liberties with the surrounding neighborhood by adding names of Paramount stars and film titles. The Paramount Theatre’s auditorium, which rose to a height of about 12 stories, can be seen directly behind the 33-story office building.
“Fox News” was a newsreel, and not the controversial cable TV news channel of 2020.
“Marquee,” not “marquis.”
Opened on January 7th, following a shorter than usual Christmas holiday presentation with the Esther Williams splasher, “Easy to Love,” on screen. MGM’s first CinemaScope feature was also the Music Hall’s first offering in that process.
The fast-rising singing star made a guest appearance at that night’s 8:30 screening, but did not perform.
Blues singer Mabel Smith eventually reached legendary status as “Big Maybelle”…“Jimmy Steps Out” was originally released in 1941 as “Pot O' Gold.”
As a consequence of the wartime rationing of color film stock, the late-run Warwick is the only cinema of all those listed here with a color feature, MGM’s all-star “Thousands Cheer.”