This was the biggest gala of its type since “GWTW” in Atlanta the previous year. To meet the demand for seats, the State Lake supplemented the Chicago on opening night only. The next day, “North West Mounted Police” began its run at the Chicago Theatre exclusively, with stage show topped by Betty Grable and Ken Murray.
The stage revue included ballerinas flying through the air like birds, using the system employed at the Winter Garden on Broadway for Jean Arthur’s version of “Peter Pan” in 1951.
Many people have said similar, and no longer will attend anything at the Music Hall because of the disfigurement of the auditorium by technical equipment hanging from the ceiling and TV monitors on both sides of the proscenium.
Mel Brooks talking to audience from center stage and TV monitors, with moderator Kevin Salter seated. Screen is still visible in background with settings used.
To combat competition from the second season of the New York World’s Fair, stage shows stressed the spectacular, with scenes such as the dazzling “Magic Mirrors” here.
Nearly seven years and a World War had passed since “GWTW” opened at the Astor as a reserved-seat roadshow, simultaneously with continuous performances at the Capitol.
This proved to be the highest grossing Christmas show in the Roxy’s history, due primarily to the movie’s fidelity to the scorching best-selling novel. During the week between Christmas and New Year’s, sidewalk waiting lines were often as long as those at Radio City Music Hall, where “Sayonara” shared the bill with the traditional holiday revue.
Instead of the traditional Thursday, this replacement for the Christmas show opened on a Saturday. The B&W epic, which had already opened to smash business in other major cities, was supported by a new Leonidoff revue entitled “Manhattan Melody.”
The Christmas holiday presentation ran for two weeks and two days, ending on December 29th, and enabling the Music Hall to boost attendance with an entirely different program for the New Year’s period.
Lasting for several months, the Golden Jubilee celebration used 1904 as the starting date for Marcus Loew’s showbiz empire under the name of People’s Vaudeville Company.
The cinema was originally called the Opal and opened in 1913, according to Jack Tillmany’s “Theatres of San Francisco,” which gives an address of 3040 Sixteenth Street. No date is given for the name change to Cameo, which closed forever in 1952.
Stage actor Percy Kilbride repeated a role that he played in the original Broadway play, and stayed on in Hollywood to become a character star as “Pa” Kettle in “The Egg & I” and its spin-off sequels.
This was the biggest gala of its type since “GWTW” in Atlanta the previous year. To meet the demand for seats, the State Lake supplemented the Chicago on opening night only. The next day, “North West Mounted Police” began its run at the Chicago Theatre exclusively, with stage show topped by Betty Grable and Ken Murray.
The stage revue included ballerinas flying through the air like birds, using the system employed at the Winter Garden on Broadway for Jean Arthur’s version of “Peter Pan” in 1951.
This was the day after “Gone With the Wind” had its NYC launching at the Astor and Capitol.
Many people have said similar, and no longer will attend anything at the Music Hall because of the disfigurement of the auditorium by technical equipment hanging from the ceiling and TV monitors on both sides of the proscenium.
First neighborhood showings of “Roman Holiday” since its Radio City Music Hall debut.
For both the movie and the Todd-AO process.
Mel Brooks talking to audience from center stage and TV monitors, with moderator Kevin Salter seated. Screen is still visible in background with settings used.
To combat competition from the second season of the New York World’s Fair, stage shows stressed the spectacular, with scenes such as the dazzling “Magic Mirrors” here.
The B&W spoof of swashbucklers was loosely based on Booth Tarkington’s novel, which had a silent film version as a vehicle for Rudolph Valentino.
Nearly seven years and a World War had passed since “GWTW” opened at the Astor as a reserved-seat roadshow, simultaneously with continuous performances at the Capitol.
The five-theatre experiment flopped and was soon extinguished.
By this time in its history, the Egyptian was usually on a “track” with two or three first-runs in other parts of sprawling Los Angeles.
Date was December 26th, 1950.
The 72nd Street is listed in the group with “High Noon.”
“Bombshell” also opened that same day in downtown Brooklyn at Loew’s Metropolitan, with vaudeville on stage.
At the same time, the auditorium was also modernized.
This proved to be the highest grossing Christmas show in the Roxy’s history, due primarily to the movie’s fidelity to the scorching best-selling novel. During the week between Christmas and New Year’s, sidewalk waiting lines were often as long as those at Radio City Music Hall, where “Sayonara” shared the bill with the traditional holiday revue.
Instead of the traditional Thursday, this replacement for the Christmas show opened on a Saturday. The B&W epic, which had already opened to smash business in other major cities, was supported by a new Leonidoff revue entitled “Manhattan Melody.”
The Christmas holiday presentation ran for two weeks and two days, ending on December 29th, and enabling the Music Hall to boost attendance with an entirely different program for the New Year’s period.
Claimed a “New Look” and a new policy of daily program changes and bargain admission prices.
Lasting for several months, the Golden Jubilee celebration used 1904 as the starting date for Marcus Loew’s showbiz empire under the name of People’s Vaudeville Company.
The Columbus Day holiday attraction for that year.
The cinema was originally called the Opal and opened in 1913, according to Jack Tillmany’s “Theatres of San Francisco,” which gives an address of 3040 Sixteenth Street. No date is given for the name change to Cameo, which closed forever in 1952.
According to the report, the Cameo used the four walls and roof of the former Frolic, but had an entirely new entrance and interior.
Stage actor Percy Kilbride repeated a role that he played in the original Broadway play, and stayed on in Hollywood to become a character star as “Pa” Kettle in “The Egg & I” and its spin-off sequels.