Showing 151 - 175 of 975 comments
According to davebazooka’s photo of 12/10/08 the sign currently reads Beekman Theatre One Two. Just omit the word ‘theatre’ and title the page ‘Beekman One Two’ – it would still be accurate, yet distinct from the real Beekman.
I think the title of this page should have remained ‘Beekman One & Two’ or ‘Beekman 1 & 2’ or ‘Beekman I & II’ (or ‘Beekman Twin’ or Beekman Uno y Dos, for that matter), regardless what the sign says. We need to differentiate this theatre from the actual Beekman that was demolished. The existence of that beloved theatre is still fresh in everyone’s mind, and will be for quite some time into the future.
The building that was once Loew’s West has recently been demolished, along with the southern leg of the L-shaped Rockport Plaza. The vacant Target store remains (why?) as does the eastern side of the original plaza. There is no sign indicating any future redevelopment.
New York City has to be the only place in the world where residential tenants have more rights to a property than the property owner. Anywhere else a tenants right to occupy a particular property ends with expiration of the lease for the demised premises. Upon the expiration of said lease, the property owner may offer a renewal but is not obligated to do so.
More hospital space in an area long ago over-saturated with hospitals. They had to take the Beekman block because apparently there aren’t enough ancient rat-infested tenement buildings worthy of demolition over on 1st Ave.
From the Encyclopedia of Cleveland History….
The EMBASSY THEATER, 709 Euclid Ave., one of downtown Cleveland’s last movie theaters, was built by Waldemar Otis as the Columbia Theater and opened 12 Sept. 1887, premiering Hanlon’s Fantasma. It boasted a tunnel leading to the Oaks Cafe on Vincent St. and marble stairs leading to a mahogany bar on Euclid Ave. On 17 Feb. 1889, it became the Star Theater, managed by W. Scott Robinson and Jas. S. Cockett, until 29 Aug., when Frank M. Drew took over.
Vaudeville, melodrama, and comic opera were offered until the 1890s, when burlesque was introduced. The Star was a “refined” burlesque house; women viewed the show from a side balcony, separated from the male audience by a heavy curtain. Some of the stars who played there included the Al G. Fields Minstrels, Ted Healy, and Weber & Fields. Renamed the Cameo Theater, it opened in 1926 as a motion-picture house. Loews took over the theater in 1931, and the building was remodeled.
In 1938 the Cameo was razed (except for the east and west walls); the Embassy Theater went up on the site and opened on 16 Oct. The tunnel was removed, and the theater was furnished with air conditioning, gleaming chromium, velvet hangings, and indirect lighting. Seating capacity was 1,200. During the 1970s, it became a showplace for action-type karate films. Owned by Community Circuit Theaters, the Embassy was closed on 1 Dec. 1977 and razed to make way for the Natl. City Bank building.
From The Encyclopedia of Cleveland History…..
The HIPPODROME THEATER was located in an 11-story office building at 720 Euclid Ave. Designed by Cleveland architect John Elliot, the “Hipp” featured exceptionally good acoustics, a lavish interior, grandiose spaciousness, and a second entrance on Prospect Ave. Considered to be among the world’s great playhouses, it attracted performers such as Enrico Caruso, Sarah Bernhardt, W. C. Fields, Will Rogers, Al Jolson, and John McCormack. The auditorium had boxes, 2 balconies with elevators, and seating for 3,548. The stage was equipped to handle large-scale productions and spectacles such as operas. The world’s 2nd-largest, next to the Hippodrome in New York, it measured 130' wide, 104' deep, 110' high, and could be lifted to 4 different levels by hydraulic jacks. On one level was an 80x40x10-ft. water tank used for water spectacles. The theater was built in 1907 by an operating company headed by Max Faetkenhauer at a cost of $800,000. After several years, theater operations were leased to B. F. Keith. In 1922 Walter Reasoner took over operations, followed by RKO in 1929. Remodeling in 1931 made it the largest American theater devoted entirely to motion pictures. A large portion of the stage was removed, while the main floor was lowered and a new mezzanine added to increase seating to above 4,000. In 1933 the theater went bankrupt, and operations were taken over by Warner Bros. In 1951 it became part of the Telenews chain, and in 1972 the property was purchased by Alvin Krenzler. The last of the major downtown movie houses to close, the Hipp’s downfall came when the office space was closed and the theater’s revenues proved insufficient to support the building. The Hippodrome was demolished in 1981 to make way for a parking lot.
The lower pic, the one looking into the auditorium from the stage, appears to have way more than the 500 seats that the caption states. It looks more like 1500-2000 seats, 500 in the balcony alone. The upper pic, looking twds the stage, with the center aisle, is more likely to be the Denis.
Those builders and contractors listed in the advertisement paid for the privilege, and the film paid for their ad placement. Rugoff & Becker, who owned the theatre, paid nothing. McNamara, the theatre architect, apparently opted out. That is the way it was done back in the day. Today, they just buy a little 3" ad in the Voice, put a title on the marquee, turn on the lights and unlock the door, and call that a ‘Grand Opening’.
I think Warrens blue drawing is what architects call a ‘section-through’.
dwodeyla: When they the auditoriums they never re-arced the seats, do you know why, aside from the fact that Joe Saunders was a tightwad? Did they think nobody would notice? Everyone from Boston to Los Angeles noticed.
That blue NY2 carpet is not new, it was there when I worked there in 1999 for Loews. In the theatre 1 side the carpet was the same except it had ‘NY1’ printed on it. Solow ordered and installed it without consulting Loews, and then handed them a bill for 50% of the cost. That’s the way it worked there with everything – he would buy things and make changes that Loews neither needed nor wanted, then he’d bill them for 50%, wreaking havoc on our capital expense and operating budgets. This practice probably weighed heavily in the decisions of Loews, Crown and Clearview to vacate the premises.
Correction: They are no longer involved with the Neiman Marcus Group.
General Cinema sold the Pepsi operations long before they went bankrupt. The proceeds of the Pepsi sale is what they used to buy Harcourt Brace Jovanovich. They had been in the restaurant business back in the 60s, owning Richards Drive-In, Peter Pan Snack Shops and Amy Joy Donut shops (Amy Joy is Richard A. Smith’s daughter). They also had the food operations in the various bowling alleys that they owned. Today, all they (the Smith family) are involved in is the Nieman Marcus-Bergdorf Goodman stores and a small asset management firm.
The Boneyard has an outdoor dining area under the marquee in the front, and the main entrance is now on the west side of the building near the back. This was probably done because there is plentiful parking in that area. The front parking was kind of limited.
Mr. Pipe – Mr. Bispeck, the DM in Baltimore, was previously the manager at the Parmatown Cinema in Cleveland, he left us in the summer of 1972. His first office there in Baltimore was at the Security Sq. Cinema, then shortly after moved over to Columbia City.
The entrance can be seen here
The actress' name is pronounced the same as the city in Texas. The street in NYC is pronounced HOW-ston St.
What year was the name changed from Sunrise Cinema to Galleria Cinema? I know it was changed to correspond with the name change of the shopping center, but don’t know the year.
I’m sure Jeans Funny House was across the street in the 50s as you remember. It was probably where they built that Investment Plaza office building in the late 60s – then they moved across the street, a few doors north of the Roxy. I used to go in there in 1970,71,72,73. Jeans bit the dust permanently in 1977, along with the Roxy, the Embassy, Stouffers, Bonds and the rest of the block to make way for the National City Center.
There are photos on the NWS website, click the link in the introduction above. It’s an interesting design, but places like this, particularly those that I’ve been in before, always look to me as though they were renovating and ran out of money before the ceiling, wall coverings and carpet were installed.
While I have been and will continue to be highly critical of C/O and the Grand Pooh-bah, THIS was their best theatre in Manhattan. Well laid out and well decorated – and the obnoxious pink neon was kept to a minimum, I always liked this one. Unfortunately they built it in the wrong place.
Yes, I would imagine the interior of the building had been gutted and rebuilt with each change of use.
Warren, I think the Philipp/Bandbox Theatre, Chatham/Manufacturers Bank and Sutton Theatre are all the same building. The photo in your post of 5/5/08 of the Bandbox has certain similarities to the Sutton theatre that we are all familiar with. The cornice line seems to be the same height, and the alley-way on the east side of the building is there. I think the bank applied the facade with the columns that we are familiar with, a look common to banks of that era. When converted back to a theatre the marquee was added, the street-level store-front modified and the second floor windows closed. What do you think?
BTW, Abe Geller is rolling in his grave, as is Donald Rugoff.
The blue tile area and the columns above the windows have been covered over with stucco. The six tall, narrow tile panels separated by the columns rising to the roof gave the illusion of height, making the building appear taller than it really is. As it is now, the wide, unbroken stucco surface makes it look like a short, fat white box, completely destroying its original sleek look. I wouldn’t be surprised to soon see an ad reading “Chew Mail Pouch Tobacco” painted on the blank stucco, similar to those ads painted on the side of old barns adjacent to I-75 in Tennessee.