Regarding the July 1st comment that the Capitol was the first movie palace, I must say I totally disagree. Even given the standards set by the THSA (which are totally arbitrary in themselves), there is no way the Capitol is the first movie palace. I would think that the THSA would want to agree with their founder, Ben Hall, and say that it was New York’s Regent Theatre. But if you don’t agree with that, let’s go by the THSA rules. In that case Rochester’s Regent Theatre would be the first. It opened in 1914, it was built for movies, it had a working stage, and it seated 1400 people. Now, as proud as I am of my hometown, and as progressive as Rochester was at the turn of the last century, I doubt that they built the first movie palace. If one doesn’t wish to believe that the Regent in New York was first, then the title would have to go to the Mark Strand on Broadway. It seated over 3,000, had a stage, and was built for movies. At any rate, the first movie palace was definitely NOT the Capitol, and I’m amazed that the THSA would think that it was.
Roger Katz’s photos are great! As far as the comments regarding lack of carpeting, and areas painted white, remember that these are mid-renovation photos. It’s doubtful that carpeting would be in place until the painting is done, and scaffolding is removed. The white areas might actually be marbleized (it’s hard to tell from a photo). If you look at the fourth row of pics, there’s a shot of the lobby looking in through an archway. It show’s that the statue of the cupids and dolphin for the fountain is still in place, only the basin in missing. I agree about the concession stand, there’s got to be a better place than right in the middle of the lobby. Maybe the basement lounge, or any place less obtrusive. Still, I’m not going to quibble.
My family is from Webster and we used to go to this theatre once in a while. It was built sideways to Empire Boulevard and it was possible to catch a view of the screen as you drove by. Needless to say, every time we drove by all us kids in the back seat would crane our necks to see what was playing. The ticket booths and the screen were done in a sort of 40’s modern-spanish style. Lots of streamlining with little decorative tile roofs. The color scheme was a sort of darkish green with a burnt orange trim. Of course the name was spelled out in big neon letters. There was a playground for kids to use before the movie started. It was right in front of the screen.
At the end of every season the marquee would read “Closed for the season. Reason? Freezin! See you in March.”
The Empire has been torn down and replaced by a bland Loew’s 12-plex.
Hi Spockva, I found a copy of this book about a year ago in a second hand book store. You’re right about some people escaping via planks across the alley. Apparently the people next door had laid planks from their windows to the fire escapes to help get folks out of the burning theatre. The Colonial (AKA Iroquois) was built without sufficient exits, and some of the exits were locked shut at the time of the fire. More people died being crushed to death that being burned.
Thank you Damien! I thought the theatre was in Orange, but I could be wrong. After all, I was there as a teenager and this was 35 years ago. I always thought it was confusing enough to keep all the Oranges straight. It’s nice to know that it’s at least still standing, and that someone’s been trying to reopen it.
Thanks William and Jim, I had no intention of buying any items, I just was wondering where things may have ended up. I saw the section of the railing from the Paramount for sale and was wondering why they would even bother having it up for auction if the opening bid is $12,000.
Does anyone know what happened to any of the furnishings and fixtures from the Roxy? We know that the main organ console is in Las Vegas, but what about the oval rug and the chandelier from the rotunda? And does anyone know where the statues that flanked the staircase to the loges are today? Does anyone know the location of any other odds and ends?
A quick addendum: Naylor’s book also has one photo of the Paradise in Chicago indentified as “Loew’s Paradise in Chicago”, when, in fact, it was a B&K house. I don’t think Loew’s had a single theatre in Chicago at all. Another reference to my above comment: when I mentioned the opportunistic couple who bought the chandelier out of Loew’s State and then purposely destroyed it, I should have correctly identified them as a couple of @#%$@***@#% !!!!!
I personally don’t put any store in the anecdotes in David Naylor’s book. He doesn’t seem to have researched things very thoroughly. For example, he stated that the Fox in San Francisco was the only theatre to have an organ in its lobby. Well, that would be true if one overlooks the Roxy, and (I think) the Fox in Detroit. He also stated that the Tiffany chandelier in the Loew’s State, Syracuse was missing because it was removed during WWII due to misplaced concern regarding its fall in case of a bombing attack. In actuality the chandelier hung there until the 1970’s (I’ve seen it), when it was sold to a couple who purposely broke it up to sell it piece by piece. Mr. Naylor’s book is full of great photos, but as a source of information I don’t put a lot of stock in it.
“Interlude”, the Maxfield Parrish painting commisioned for this theatre, has been removed from its place on the balcony stairway and is now in the care of the Memorial Art Gallery. The reason given is that the painting can be better preserved in its new home. A photographic copy, virtually indistinguishable from the original, now hangs in the Eastman.
In reference to MikeRadio’s comment. This theatre was designed by Chicago architects, and financed by a company from New York City. The organ came from a factory outside of Buffalo. There are movie palaces all around the country that show classic movies with organ preludes and such, so how is it rated as “Classic Southern Style”?
A photograph of the Piccadilly’s auditorium may be viewed at the website of the American Theatre Organ Society. Type http://www.atos.org/ into your address window, then click on “entrance”, click on “feature articles”, click on “theatre organs, the lesser known builders”, finally click on “Kilgen Organ Company”. You will see an illustrated article about Kilgen Organs with a photo of the Piccadilly Theatre.
Does anybody know where I can get interior photos of this theatre? The local library has only a few shots of the back of the auditorium, and one shot of the lobby at the time of the theatre’s closing.
I noticed that the style of this theatre is given as “art deco”. The facade is in that style, but the interior is done in the same sort of gorgeous french baroque that Thomas Lamb used in San Francisco’s Fox Theatre, and the Loew’s Midland in Kansas City.
If you go to the site named by Jim Rankin (in his comment of July 7,2004), you will see recent photographs (taken on 8/11/04) of the newly replicated vertical sign, and the restoration of the pediment atop the facade.
I agree with Jim Rankin completely. The most obvious proof that grafitti is NOT art is the simple fact that art is creative, vandalism is destructive. Are these vandals improving the United Artists theatre by covering it with the garbage they produce? No, they are destroying it. The United Artists Theatre was itself a work of art. It took planning, talent, and discipline to produce. The grafitti vandals are only ruining what someone else has created (something they have no right to do, by the way). If these vandals are truly artists, then the man who smashed Michaelangelo’s “Pieta” years ago is also an artist. Someone who spray paints over the “Mona Lisa” is an artist. Why is society so terrified of having standards for what is and isn’t art. Even 30 short years ago this debate would not be taking place, because people still had enough common sense to call garbage and vandalism by their right names. It’s only in today’s society where standards have been labelled as “censorship” and “closed mindedness” that vandals can be referred to as artists. Well, if they want to be artists, they need to get something of their own to blotch up with their junk. I’ll recognize their freedom to destroy their own property, but not someone else’s, and I’ll never recognize them as artists unless they can produce something artistic.
Patrick, you are 100% wrong. Graffiti is vandalism. The only reason that anyone is able to excuse it as art is that the standards of what constitutes art have been completely removed, to the point that modern society will fall for any act of vandalism as long as it can be passed off as “art”. Even if these vandal were to create their works legally it would not be art. It’s just the kind of trash an untrained and juvenile mind would produce as it looks for a creative outlet, much along the same lines as the crayon scribblings of a 4 year old. It may be interesting, it may have value of a personal nature, but it’s not art.
Yes, it’s definitely the fault of the Republicans. I mean, how dare they have a convention!?! It’s not at all the fault of poor planning on Madison Square’s part, and it’s definitely not the fault of Radio
City Music Hall’s management, who apparently have no standards at all and are only beginning to reveal the depths to which they will sink if it means making a buck!
This theatre apparently used the same plaster molds as the more famous Loew’s Ohio in Columbus. It shares a great many details with that theatre. Standing in the street and looking in the doors you can see the gem of an entrance lobby with its cherub crowned “coming attraction” poster frames and the beautiful staircase as it sweeps up to the balcony.
Susan, if you read this, you should write some of your grandmother’s recollections here for us to read. They would be very interesting, if you’re willing to share them.
All the above comments are pertinent, and interesting. I have a book called “The Great Chicago Theatre Disaster” printed shortly after the fire at the Iroquois. It states that all the performers in the show, (a musical entitled “Mr. Bluebeard Jr.) escaped with the exception of one, who was waiting in the wings to perform an "aerial ballet” on wires suspended out over the stage.
I saw a photograph of the lobby in an old issue of “Theatre Magazine”. The article was about the (then) new Loew’s State theatre. The lobby had an elliptical, or curved, I don’t remember which, opening looking down from the mezzanine promenade. It was surrounded by a marble balustrade, and above the lobby wall was a large mural which seemed to cover the length of the room. It was a very classical and elegant room.
You can go to the site for the Rochester Theatre Organ Society at http://theatreorgans.com/rochestr/index.htm and click on the “Photographic Memories of Rochester’s RKO Palace to see a slide show of black and white photos of this theatre.
Regarding the July 1st comment that the Capitol was the first movie palace, I must say I totally disagree. Even given the standards set by the THSA (which are totally arbitrary in themselves), there is no way the Capitol is the first movie palace. I would think that the THSA would want to agree with their founder, Ben Hall, and say that it was New York’s Regent Theatre. But if you don’t agree with that, let’s go by the THSA rules. In that case Rochester’s Regent Theatre would be the first. It opened in 1914, it was built for movies, it had a working stage, and it seated 1400 people. Now, as proud as I am of my hometown, and as progressive as Rochester was at the turn of the last century, I doubt that they built the first movie palace. If one doesn’t wish to believe that the Regent in New York was first, then the title would have to go to the Mark Strand on Broadway. It seated over 3,000, had a stage, and was built for movies. At any rate, the first movie palace was definitely NOT the Capitol, and I’m amazed that the THSA would think that it was.
Roger Katz’s photos are great! As far as the comments regarding lack of carpeting, and areas painted white, remember that these are mid-renovation photos. It’s doubtful that carpeting would be in place until the painting is done, and scaffolding is removed. The white areas might actually be marbleized (it’s hard to tell from a photo). If you look at the fourth row of pics, there’s a shot of the lobby looking in through an archway. It show’s that the statue of the cupids and dolphin for the fountain is still in place, only the basin in missing. I agree about the concession stand, there’s got to be a better place than right in the middle of the lobby. Maybe the basement lounge, or any place less obtrusive. Still, I’m not going to quibble.
My family is from Webster and we used to go to this theatre once in a while. It was built sideways to Empire Boulevard and it was possible to catch a view of the screen as you drove by. Needless to say, every time we drove by all us kids in the back seat would crane our necks to see what was playing. The ticket booths and the screen were done in a sort of 40’s modern-spanish style. Lots of streamlining with little decorative tile roofs. The color scheme was a sort of darkish green with a burnt orange trim. Of course the name was spelled out in big neon letters. There was a playground for kids to use before the movie started. It was right in front of the screen.
At the end of every season the marquee would read “Closed for the season. Reason? Freezin! See you in March.”
The Empire has been torn down and replaced by a bland Loew’s 12-plex.
Hi Spockva, I found a copy of this book about a year ago in a second hand book store. You’re right about some people escaping via planks across the alley. Apparently the people next door had laid planks from their windows to the fire escapes to help get folks out of the burning theatre. The Colonial (AKA Iroquois) was built without sufficient exits, and some of the exits were locked shut at the time of the fire. More people died being crushed to death that being burned.
The website is worth a visit for the photos of the lovely auditorium, which is not atmospheric even though the theatre’s site describes it as such.
Thank you Damien! I thought the theatre was in Orange, but I could be wrong. After all, I was there as a teenager and this was 35 years ago. I always thought it was confusing enough to keep all the Oranges straight. It’s nice to know that it’s at least still standing, and that someone’s been trying to reopen it.
Thanks William and Jim, I had no intention of buying any items, I just was wondering where things may have ended up. I saw the section of the railing from the Paramount for sale and was wondering why they would even bother having it up for auction if the opening bid is $12,000.
Does anyone know what happened to any of the furnishings and fixtures from the Roxy? We know that the main organ console is in Las Vegas, but what about the oval rug and the chandelier from the rotunda? And does anyone know where the statues that flanked the staircase to the loges are today? Does anyone know the location of any other odds and ends?
A quick addendum: Naylor’s book also has one photo of the Paradise in Chicago indentified as “Loew’s Paradise in Chicago”, when, in fact, it was a B&K house. I don’t think Loew’s had a single theatre in Chicago at all. Another reference to my above comment: when I mentioned the opportunistic couple who bought the chandelier out of Loew’s State and then purposely destroyed it, I should have correctly identified them as a couple of @#%$@***@#% !!!!!
I personally don’t put any store in the anecdotes in David Naylor’s book. He doesn’t seem to have researched things very thoroughly. For example, he stated that the Fox in San Francisco was the only theatre to have an organ in its lobby. Well, that would be true if one overlooks the Roxy, and (I think) the Fox in Detroit. He also stated that the Tiffany chandelier in the Loew’s State, Syracuse was missing because it was removed during WWII due to misplaced concern regarding its fall in case of a bombing attack. In actuality the chandelier hung there until the 1970’s (I’ve seen it), when it was sold to a couple who purposely broke it up to sell it piece by piece. Mr. Naylor’s book is full of great photos, but as a source of information I don’t put a lot of stock in it.
“Interlude”, the Maxfield Parrish painting commisioned for this theatre, has been removed from its place on the balcony stairway and is now in the care of the Memorial Art Gallery. The reason given is that the painting can be better preserved in its new home. A photographic copy, virtually indistinguishable from the original, now hangs in the Eastman.
In reference to MikeRadio’s comment. This theatre was designed by Chicago architects, and financed by a company from New York City. The organ came from a factory outside of Buffalo. There are movie palaces all around the country that show classic movies with organ preludes and such, so how is it rated as “Classic Southern Style”?
A photograph of the Piccadilly’s auditorium may be viewed at the website of the American Theatre Organ Society. Type http://www.atos.org/ into your address window, then click on “entrance”, click on “feature articles”, click on “theatre organs, the lesser known builders”, finally click on “Kilgen Organ Company”. You will see an illustrated article about Kilgen Organs with a photo of the Piccadilly Theatre.
Does anybody know where I can get interior photos of this theatre? The local library has only a few shots of the back of the auditorium, and one shot of the lobby at the time of the theatre’s closing.
I’m sure the street number is correct, but the name is actually Clinton Avenue. There is no Clinton Street in Rochester.
I noticed that the style of this theatre is given as “art deco”. The facade is in that style, but the interior is done in the same sort of gorgeous french baroque that Thomas Lamb used in San Francisco’s Fox Theatre, and the Loew’s Midland in Kansas City.
If you go to the site named by Jim Rankin (in his comment of July 7,2004), you will see recent photographs (taken on 8/11/04) of the newly replicated vertical sign, and the restoration of the pediment atop the facade.
I agree with Jim Rankin completely. The most obvious proof that grafitti is NOT art is the simple fact that art is creative, vandalism is destructive. Are these vandals improving the United Artists theatre by covering it with the garbage they produce? No, they are destroying it. The United Artists Theatre was itself a work of art. It took planning, talent, and discipline to produce. The grafitti vandals are only ruining what someone else has created (something they have no right to do, by the way). If these vandals are truly artists, then the man who smashed Michaelangelo’s “Pieta” years ago is also an artist. Someone who spray paints over the “Mona Lisa” is an artist. Why is society so terrified of having standards for what is and isn’t art. Even 30 short years ago this debate would not be taking place, because people still had enough common sense to call garbage and vandalism by their right names. It’s only in today’s society where standards have been labelled as “censorship” and “closed mindedness” that vandals can be referred to as artists. Well, if they want to be artists, they need to get something of their own to blotch up with their junk. I’ll recognize their freedom to destroy their own property, but not someone else’s, and I’ll never recognize them as artists unless they can produce something artistic.
Patrick, you are 100% wrong. Graffiti is vandalism. The only reason that anyone is able to excuse it as art is that the standards of what constitutes art have been completely removed, to the point that modern society will fall for any act of vandalism as long as it can be passed off as “art”. Even if these vandal were to create their works legally it would not be art. It’s just the kind of trash an untrained and juvenile mind would produce as it looks for a creative outlet, much along the same lines as the crayon scribblings of a 4 year old. It may be interesting, it may have value of a personal nature, but it’s not art.
Yes, it’s definitely the fault of the Republicans. I mean, how dare they have a convention!?! It’s not at all the fault of poor planning on Madison Square’s part, and it’s definitely not the fault of Radio
City Music Hall’s management, who apparently have no standards at all and are only beginning to reveal the depths to which they will sink if it means making a buck!
This theatre apparently used the same plaster molds as the more famous Loew’s Ohio in Columbus. It shares a great many details with that theatre. Standing in the street and looking in the doors you can see the gem of an entrance lobby with its cherub crowned “coming attraction” poster frames and the beautiful staircase as it sweeps up to the balcony.
Susan, if you read this, you should write some of your grandmother’s recollections here for us to read. They would be very interesting, if you’re willing to share them.
All the above comments are pertinent, and interesting. I have a book called “The Great Chicago Theatre Disaster” printed shortly after the fire at the Iroquois. It states that all the performers in the show, (a musical entitled “Mr. Bluebeard Jr.) escaped with the exception of one, who was waiting in the wings to perform an "aerial ballet” on wires suspended out over the stage.
I saw a photograph of the lobby in an old issue of “Theatre Magazine”. The article was about the (then) new Loew’s State theatre. The lobby had an elliptical, or curved, I don’t remember which, opening looking down from the mezzanine promenade. It was surrounded by a marble balustrade, and above the lobby wall was a large mural which seemed to cover the length of the room. It was a very classical and elegant room.
You can go to the site for the Rochester Theatre Organ Society at http://theatreorgans.com/rochestr/index.htm and click on the “Photographic Memories of Rochester’s RKO Palace to see a slide show of black and white photos of this theatre.