Alvarez, I don’t see how “mainstream movies, shabby seating and bully unions” can be laid at the feet of the union projectionist trying to make a living wage. If the complant is “poor presentation” then maybe he manager should more carefully monitor the proceedings and advise his projectionist on any perceived flaws in the show. I’ve known and met many union projectionists over the past 30 years and every one of them were diligent, hardworking and proud to give the best possible presentation.
JackM, many union projectionists are important contributors to this site, so don’t be so “amused.”
Yeah, why should “fragile” Cablevision pay a projectionist a decent wage when the kid behind the candy counter can do both jobs (poorly) for the bare minimum.
After being stripped of certain ornamentation and architectural elements to be later re-used, the Lyric and Apollo were guttted to the bare walls, the roof was removed, the wall between the two theatres was removed, and there you had it: four walls standing, surrounding a dirt pit. From this rose the new theater we lovingly call the Hilton (not). Some of the artwork and other elements in the new theater are originally from the Lyric and Apollo, but there are many recreations done to look as classic as the originals. And I have been to this theater many times since it first opened with Ragtime the 1990’s.
Follies Bergere
206 West 46th Street
Later names: Fulton, Helen Hayes
Built: 1911
Demolished: 1982
Seats: 895
Architects: Herts & Tallant
Owners: Henry B. Harris and Jesse Lasky (1911-1921), A.L. Erlanger (1921-??)
History: Opened as a Parisian-style nightclub, this space soon converted to legitimate theatrical use and renamed the Fulton. It was named for actress Helen Hayes in 1955, and housed many important plays. It was one of five theatres demolished to make way for the Marriott Marquis Hotel.
Musicals: New Faces of 1934, The Me Nobody Knows (1970)
Just a note about eating in the area…the Journal Square Pub, right next door to the theater, has a 25 seat dining room downstairs from the cozy pub, and they serve delicious Italian food. Before the show Friday my friend and I shared a fresh arugala and tomato salad, and each had a chicken parmegiana hero, and paid $10. each, including tax and tip.
It’s always a treat to see a show at the Jersey, especially a double feature, but I did miss seeing any shorts or trailers or cartoons.
And it was a treat to meet fellow cinemaphile KenRoe…we didn’t know each other and were just talking theater stuff, when it turned out we had one or two things in common!
Many early foreign films tackled subjects and depicted things that weren’t possible in Hollywood movies. And it was a natural progession that many “art” theatres devolved from racy foreign films to soft core domestic nudist films and slowly but surely to hard core; there are many examples of this across the nation, including the Cameo and Tivoli in New York and the Park in Champaign, Ill., to name just a few. But when the hard core market exploded, it wasn’t at the Apollo, which eventually swiched to mainstream shows.
I saw several of those opening attractions, including Casablanca and 42nd Street, which were great to see on a brand new screen with bright projection and the Eltinge auditorium as lobby, all on 42nd Street itself.
I wonder if the Ziegfeld could be expanded upwards, maybe with a proper balcony installed and a few hundred more seats. I’d love to go to a 2000+ seat theatre on a regular basis.
Nice link to a tour of Asbury Park and its theaters, TC. Thanks.
Alvarez, I don’t see how “mainstream movies, shabby seating and bully unions” can be laid at the feet of the union projectionist trying to make a living wage. If the complant is “poor presentation” then maybe he manager should more carefully monitor the proceedings and advise his projectionist on any perceived flaws in the show. I’ve known and met many union projectionists over the past 30 years and every one of them were diligent, hardworking and proud to give the best possible presentation.
JackM, many union projectionists are important contributors to this site, so don’t be so “amused.”
Yeah, why should “fragile” Cablevision pay a projectionist a decent wage when the kid behind the candy counter can do both jobs (poorly) for the bare minimum.
Or whether the lens is made by Bausch and Lomb or by Panavision!
Thank God there’s no organ at this theater…then things could get really messy.
A mile wide and an inch deep.
In a word, wow!
Many people are afraid of ushers…but all they can do is ask you to take your assigned seat.
After being stripped of certain ornamentation and architectural elements to be later re-used, the Lyric and Apollo were guttted to the bare walls, the roof was removed, the wall between the two theatres was removed, and there you had it: four walls standing, surrounding a dirt pit. From this rose the new theater we lovingly call the Hilton (not). Some of the artwork and other elements in the new theater are originally from the Lyric and Apollo, but there are many recreations done to look as classic as the originals. And I have been to this theater many times since it first opened with Ragtime the 1990’s.
My, my.
The Anco was demolished several years before AMC’s redevelopment of the Empire; I often parked my car in that lot when I was in the area.
Above info borrowed from this website: http://www.musicals101.com/bwayhouses.htm
Follies Bergere
206 West 46th Street
Later names: Fulton, Helen Hayes
Built: 1911
Demolished: 1982
Seats: 895
Architects: Herts & Tallant
Owners: Henry B. Harris and Jesse Lasky (1911-1921), A.L. Erlanger (1921-??)
History: Opened as a Parisian-style nightclub, this space soon converted to legitimate theatrical use and renamed the Fulton. It was named for actress Helen Hayes in 1955, and housed many important plays. It was one of five theatres demolished to make way for the Marriott Marquis Hotel.
Musicals: New Faces of 1934, The Me Nobody Knows (1970)
Still closed, as far as I could tell from seeing it this weekend.
I say stick with Waverly for a little while longer.
Just a note about eating in the area…the Journal Square Pub, right next door to the theater, has a 25 seat dining room downstairs from the cozy pub, and they serve delicious Italian food. Before the show Friday my friend and I shared a fresh arugala and tomato salad, and each had a chicken parmegiana hero, and paid $10. each, including tax and tip.
It’s always a treat to see a show at the Jersey, especially a double feature, but I did miss seeing any shorts or trailers or cartoons.
And it was a treat to meet fellow cinemaphile KenRoe…we didn’t know each other and were just talking theater stuff, when it turned out we had one or two things in common!
What town is that, Gerald? Maybe I’d like to check out that Jerry Lewis cinema.
Many early foreign films tackled subjects and depicted things that weren’t possible in Hollywood movies. And it was a natural progession that many “art” theatres devolved from racy foreign films to soft core domestic nudist films and slowly but surely to hard core; there are many examples of this across the nation, including the Cameo and Tivoli in New York and the Park in Champaign, Ill., to name just a few. But when the hard core market exploded, it wasn’t at the Apollo, which eventually swiched to mainstream shows.
So it’s been neglected in one way or another since soon after its opening.
I saw several of those opening attractions, including Casablanca and 42nd Street, which were great to see on a brand new screen with bright projection and the Eltinge auditorium as lobby, all on 42nd Street itself.
LImovies, wanna run that by us again?
My word! I want this theatre to reopen exactly as described above.
Warren, you are some kind of demi-god around here. How are you in real life?
I wonder if the Ziegfeld could be expanded upwards, maybe with a proper balcony installed and a few hundred more seats. I’d love to go to a 2000+ seat theatre on a regular basis.
um…heartbreaking
Hearkbreaking.