Astor played day-and-date with the Capitol Theatre on “Quo Vadis” and with the same arrangements as they had with “Gone With the Wind” in 1939: reserved seat 2-a-day at the Astor and continuous performances at the Capitol
This was the second and last exception to the “Everything on the screen” policy that prevailed at the Capitol from 1935-43. MGM and Eddie Cantor himself were nervous about his return to moviemaking in a sentimental comedy-drama that was different from anything he’d done before. In August of the previous year, the Capitol had coupled “The Wizard of Oz” with stage support from Judy Garland and Mickey Rooney.
The back page had ads for the next two screen attractions, which would be “Designing Woman” followed by “The Prince and the Showgirl” (both with “sparkling new stage extravaganzas”)…At this time, the Music Hall was selling Gift Ticket Books— in $5 and $10 denominations—at its box offices.
According to internet research, Henny Youngman performed at Radio City Music Hall in three editions of the Night of 100 Stars" stage spectaculars in 1982, 1985, and 1990.I’ve yet to find any references to Youngman working there during the movie/stage era of 1933-79.
An ad for “Flower Drum Song” uploaded here makes no mention of Henny Youngman performing in the stage show:
http://cinematreasures.org/theaters/55/photos/176879
“Twins” refers to the superiority of Loew’s double features, and not to sub-divided auditoriums. This ad was part of a promotional campaign for the New York World’s Fair, and doesn’t list all Loew’s theatres in the greater metropolitan area.
Excerpted from congratulatory trade ad by the maker of Simplex projectors, which had been used (and regularly updated) by the Capitol since its grand opening in 1919.
In a trade article at the time, architect Schlanger said that the premises were previously a food market. If true, that might have been the fate of the original Strand at this location.
The re-development of the RKO Keith’s site is proceeding “according to plan” and will start in the first six months of this year (which would mean by July at the latest), according to a report by the Queens Tribune: http://queenstribune.com/rko-keiths-development-according-plan/
Astor played day-and-date with the Capitol Theatre on “Quo Vadis” and with the same arrangements as they had with “Gone With the Wind” in 1939: reserved seat 2-a-day at the Astor and continuous performances at the Capitol
This was the second and last exception to the “Everything on the screen” policy that prevailed at the Capitol from 1935-43. MGM and Eddie Cantor himself were nervous about his return to moviemaking in a sentimental comedy-drama that was different from anything he’d done before. In August of the previous year, the Capitol had coupled “The Wizard of Oz” with stage support from Judy Garland and Mickey Rooney.
Ad published on April 22nd, 1917 credits S.L. Rothapfel as the Rialto’s managing director. I wonder whatever became of him?
The exclusive Los Angeles engagement opened on April 3rd.
The back page had ads for the next two screen attractions, which would be “Designing Woman” followed by “The Prince and the Showgirl” (both with “sparkling new stage extravaganzas”)…At this time, the Music Hall was selling Gift Ticket Books— in $5 and $10 denominations—at its box offices.
The engagement opened on March 28th, 1957, with Easter Sunday still weeks away on April 21st.
According to internet research, Henny Youngman performed at Radio City Music Hall in three editions of the Night of 100 Stars" stage spectaculars in 1982, 1985, and 1990.I’ve yet to find any references to Youngman working there during the movie/stage era of 1933-79.
An ad for “Flower Drum Song” uploaded here makes no mention of Henny Youngman performing in the stage show: http://cinematreasures.org/theaters/55/photos/176879
Hank, what was the movie that you sat through twice in order to watch Henny Youngman’s stage exit?
Easter Sunday fell on April 5th that year…The entire screen/stage presentation was a tribute to Irving Berlin, “America’s greatest songwriter.”
“Twins” refers to the superiority of Loew’s double features, and not to sub-divided auditoriums. This ad was part of a promotional campaign for the New York World’s Fair, and doesn’t list all Loew’s theatres in the greater metropolitan area.
Opened two days before Easter on “Good Friday.” Throughout 1937, the Roxy was also celebrating the 10th anniversary of its grand opening.
Easter Sunday arrived on April 13th that year.
Albee listed across bottom of the ad, with exclusive first-runs for the borough of Brooklyn.
Merle Oberon was romantically involved with the movie’s producer, Alexander Korda, whom she married the following year.
I doubt that the German-language showcase had anything in common with the current multiplex except location.
Excerpted from congratulatory trade ad by the maker of Simplex projectors, which had been used (and regularly updated) by the Capitol since its grand opening in 1919.
This was the final marquee for the legendary playhouse.
Opened on March 28th, 1957, well ahead of Easter Sunday, which fell on April 21st that year.
In a trade article at the time, architect Schlanger said that the premises were previously a food market. If true, that might have been the fate of the original Strand at this location.
Twins were booked with the same features, but with staggered starting times.
The Paradise was never an “independent” cinema, always operated by the original Loew’s (and successors) from opening to closure.
Some of the original Ideal décor remained, but walls were covered with pleated drapes.
The re-development of the RKO Keith’s site is proceeding “according to plan” and will start in the first six months of this year (which would mean by July at the latest), according to a report by the Queens Tribune: http://queenstribune.com/rko-keiths-development-according-plan/
The last movie made by Carole Lombard before she died in a plane crash in January of that year.