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The right end of the marquee had an animated neon depiction of a sunset. It’s possible that the opposite end (out of camera view) had one as well.
The 1932 FDYB lists the RKO Plaza with 1,800 seats, and RKO Proctor’s with 2,738. But the 1933, 1934, 1935, and 1936 FDYBs all give 2,314 for the Plaza, and 2,738 for Proctor’s. When I can find some spare time, I’ll check the subsequent editions.
The building still stands, but I’m not sure if Rudy’s Tacos is still a tenant. Their website gives other Davenport locations, but not this one. The Google Maps photo might need updating.
Rising from the ashes:
Orlando Philharmonic plan:
The theatre probably took three years to build because of the catastrophic economic Depression that started at the end of 1929. Most of the major movie companies, including RKO, went bankrupt or fell into the hands of receivers, which meant that many building projects had to be canceled, postponed, and re-financed Much larger Eberson atmospheric theatres than the Plaza that were built before the Wall Street Crash were finished in a year or less.
When attendance started and continued to plummet with the arrival of home TV, many theatres stopped charging a premium for the loge sections to reduce operating expenses. As loges, they required at least one full-time attendant to make sure that no one sat there without paying the premium price. At peak times at night and on weekends, two attendants had to be stationed there, one at each side wall.
This aerial view makes the Roxy seem nearer to RCMH than it actually was. The Roxy’s corner entrance on Seventh Avenue was a full block away.
Thanks for the details. I suspect that there was one over-hanging balcony, with a premium-priced loge section at the front, and then a larger section behind it which was considered “balcony” and priced the same as seats on the ground floor. Here is a photo of one such at another Eberson atmospheric:cinematreasures
“Weary River” was a part-talkie that wearied viewers with Richard Barthelmess crooning the title song umpteen times…White building to the left was a Horn & Hardart Automat more impressive than some theatres, including the Central.
Looks like a “free pass” for one admission, not a ticket sold at the box office.
Singer Dolores Reade was Bob Hope’s wife. They were married in 1933.
Bing Crosby on screen, Bob Hope on stage. Who knew that they would return to the Valencia as a screen team in 1941 in “Road to Zanzibar?” In fact, all of their “Road” films played at the Valencia except for the final “Road to Hong Kong,” which launched UA’s new “Premiere Showcase” concept in the Greater Metropolitan Area.
The Valencia retained its stage/screen policy for well more than two years, finally switching to double features on August 6th, 1935.
On December 2nd, 1932, the Triboro switched to double features with an “All The Show On The Screen” policy.
That left Loew’s Valencia in Jamaica as the only Loew’s in Queens with a stage/screen policy.
What connection, if any, does the Collingswood Theatre have with this current enterprise? reachlocal
$300 in 1938 would have the buying power of about $4,947.47 in 2013.
Seventy-five years later, “Checkers” star Jane Withers is still with us!
I’ve raised some questions about the auditorium in the Photos Section. If anyone can answer them, please do.
The white Packard Motor Cars showroom and adjoining buildings were demolished to make way for the State Theatre and Loew’s office tower. In the background, note the immensity of the block-wide Olympia Complex, which included the New York Theatre & Roof Garden. The New York’s vertical sign displayed admission prices ranging downwards from $1 to 25 cents.
Criterion showing “You’re Never Too Young,” with “Phenix City Story” at Loew’s State…Seventh Avenue had two-way traffic in those days.
NYPD removing a bomb planted in the Paramount by “Mad Bomber” George Metesky. Shown is the Paramount’s 43rd Street side, which had a marquee over the exit doors.
The current film was Alfred Hitchcock’s B&W “The Wrong Man,” a Warner Bros. release that had been filmed mainly on locations in Manhattan and Queens.
This must have been one of John Eberson’s last large theatres in the atmospheric style, perhaps even the very last.
During World War II, the City’s programming tended to be “Left-Wing Radical” and aimed at Union Square protestors who attended after their rallies.