Radio City Music Hall

With Mary Queen of Scots the stage show was Winter Cruise where half way through the stage was transformed into the image of an ocean at night with a small model of a ship in the distance floating across the stage. On the Twentieth Century utilized this concept for the great Imogene Coca train chase in the second half to show two trains going past each other in the middle of the night as the cast chased Coca all over inside and outside the train. It always got a big hand.
This effect must go back to the beginning of presentation house stage shows.

Mogambo! Wow, Clark Gable, Ava Gardner and Grace Kelly…how could you top a cast like that.
As a wide-eyed, impressionable eight year old, the movie was always lost on me, completely overwhelmed by the Music Hall itself.
A small part of that “Salute to Air-Travel” stage show has stayed with me all these years and if I close my eyes and think about it now, I’m there.
Picture it: On stage, a mock-up of what seemed to be a DC-3 Gooney Bird. Passengers and stewardeses (this was long before there were flight attendents) running across the “tarmac”, going up the gangway whilst waving frenetically to imaginaries in the wings. House lights dimmer and dimmer, and, and, WHOA! what’s that hiss? A curtain of steam rises before the proscenium as the house gets darker and darker, almost pitch dark. In the blackness before us floats the fantastic illusion of clouds and behind them, with running lights blinking and cabin lights ablaze, lost in those clouds, a distant DC-3 flys across the stage.
I think, though I’m not sure, that this was the finale of the stage presentation. Don’t remember what happened next, but do remember the stage hand with the mop, scooting across the stage apron mopping up the remenents of fantasy.

So convinceing this stage-craft, witch-craft, trompe l'oeil, that a half century later it still plays well to me and evokes warm nostalgia.
Oh, glorious, mighty hall…I’ll stop now.

The opening of “Kiss Me Kate” was very well timed and thought out. It played 4 very satisfactory weeks during November 1953 and over the traditionally slow Thanksgiving season. That primed it for its wide Christmas release. It followed a hugely successful 5 week run of “Mogambo.” The stage show with “Mogombo” was a salute to air-travel and featured the simulated flight of a huge jet liner across the stage. Does anyone remember more detail?

Interesting because according to Variety grosses KMK doesn’t seem to have done all that well at the Hall being a fall film. I think at this point in 53 the Hall while still in the black was beginning to feel the effects of TV. The MGM films that came out in 54 in cinemascope certainly look like they were made on a tight budget as compared to films like Band Wagon and KMK which are first class all the way. In terms of production values Knights, Seven Brides and Brigadoon look as if the original budgets were cut in half(Ansco color!)Did Kate do better in the burbs in 3D?

For the Christmas show, they give you the glasses with each program and they did a good job ensuring that everyone had them. The announced repeatedly that everyone should have the glasses and the attendents were very good about getting them out. You could keep them at the end.

Like I said, the movie was fine and I understand why it was short. I was just a little surprised that they did not utilize more 3D effects. Again, I think I’m expecting too much now…

Re: the 3D film at the beginning of this year’s Christmas show. It’s mediocre. It’s not very long and it’s way skimpy on the 3D effects. I thought it was/is a great idea to open the show but it’s not very imaginatively done. You will see much better 3D shows at Disney. (I know…I’m stomping on the Christmas show again….)

The Bette Davis film that BoxOfficBill refers to is “Payment on Demand” (not “No Down Payment). Also the original and long publicized title of the Davis film was "Story of a Divorce.” It was changed just before the opening.

Kiss Me Kate looked great when I showed it in double-system 3-D last year at the Lafayette, Vincent. There are many good depth effects and few off-screen gimmicks (other than one 30 second section). The projection angle of the Jersey might make 3-D presentations difficult down there.

One story might concern “No Down Payment,” with Bette Davis, which opened at RCMH on 15 Feb. ‘51. The film had been made much earlier and then shelved, but upon the success of “All About Eve” was hastily released, though with a new ending that RKO finished on the eve of opening day. The new final reel was reportedly still in flight from LA when the projectionist had started the first screening on W 50 Street, and it arrived in the booth just minutes before it was due on the screen.

Can any of the projectionists remember this. I seem to remember (or am I dreaming?) that showings of “Kiss Me Kate” were projected in both 3-D and regular…either alternately on the same day or every other day.

Also, which years did you work the booth?

In answer to veyoung’s question — Yes Robert Endres is still with us — or at least I was when I looked into the mirror this morning (although I still haven’t been booed by 500 drunk army guys on a Friday night)! The room OConnolly is referring to is probably one of the two broadcast booths on either side of the auditorium. Since Roxy was supposed to do a radio show from the broadcast studio over the auditorium, there were extensive broadcast options built into the Hall including tie lines to NBC’s studios across the street. One of the booths in the auditorium became the tape playback room when the Hall changed fomats in 1979.

Is Mr. Rober Enders (sp?) still with us. He was (is) the master RCMH projectionist, who said the famous line: “you aint been boo'ed until you been boo'ed by 6000 people.” And I was the one who, as an Army projectionist in Ft. Totten (Queens, NY), who said, “and you ain’t been boo'ed until you been boo'ed buy 500 drunk army guys on a Friday night.”