I was on a media junket for “Man of La Mancha” when it opened at the Rivoli, which is where we were bused for the invitational screening. Although I had seen the stage version on Broadway and the national touring company and has visited the set for interviews, I had no preconceptions as to whether it would work on film.
To my surprise and dismay, the audience of media people had its knives sharpened before the screening began. I don’t know how they could possibly have picked up a negative scent before that day, but it was pervasive in that audience, I can tell you.
I remember one outspoken, pompous critic from Ohio saying repeatedly that if he had to listen to “Impossible Dream” (correct name: “The Quest”) one more time, he’d lose it.
I remember thinking: This is “Man of La Mancha,” for Pete’s sake, and that’s precisely the song that has been bringing them in for the past five or six years. What would you begrudge the film version that?
We learned, as we so often have, that theatrically stylized stage pieces tend not to work nearly as well on the screen. The film somehow couldn’t escape seeming stodgy. But I never thought it was nearly as bad as many of the reviews indicated.
“Maurice” made its Manhattan debut at the Paris, where I saw it, not the Plaza. “Bill & Ted” didn’t play at the Paris, though. Not sure where “House of Cards” opened.
Am I correct that the auditorium space has no seats not a screen but that it has never been used since its theater days for any other purpose? Has the floor been made level?
Had no idea that “A Night to Remember” had started in the States as a roadshow attraction — at the large Criterion no less. It did not do much business in this country. The Rank Organization, which distributed it, cannot have been gratified to find that the U.S. returns did not measure up to the raves. I concur that it’s incomparably superior (in all but the epic elements and special effects) to the 1997 version.
I think it’s just a mistake. The theater was huge – 3000-plus was an extraordinary for a third-or fourth-run double-feature neighborhood house, which is what it had become by the 1940s. But it had a relatively narrow frontage on Penn Avenue, so I don’t think the frontage was nearly wide enough to accommodate both of those addresses.
After walking straight ahead through a large lobby and narrower corridow, you made a right turn into the palatial auditorium.
First thing I remember seeing there was “Strangers on a Train,” sitting in the balcony on a Friday night.
Those were the days, Ken. I read the listings for every theater every day in the Pittsburgh newspapers, Ken. Loved the mix ‘n’ match aspect of double features in those days. They did not even have to be from the same studio.
Can’t swear to this without checking, Ken, but I believe that phone number was for the Stanley, Downtown. The Schenley was part of the Stanley-Waerner Theatre circuit. ATlantic definitely was a Downtown exchange. The Oakland neighborhood used the SChenley and MUseum exchanges.
Have been to RCMH many times from 1955 through about 2003, but regret never having gotten to the Roxy. When I looked at those photos of the Roxy’s auditorium, I was struck by the same impression as Warren. It looks practically intimate compared to RCMH, where I never understood the notion of the priciest (reserved) seats being in the very distant first mezzanine.
No idea why, Ken, but I, for one, can never read the copies posted here from Pittsburgh newspapers. The guys who post stuff from New York newspapers get imaculate copies with large type, which one can navigate from top to bottom and from left to right, but the Pittsburgh ones are always inky black and with tiny reproductions. Wish I understood what the problem here is. Thanks for trying.
Postscript: The Pittsburgh theater known for decades as the (John P.) Harris Theater, originally called the Alvin and finally called the Gateway), also was Downtown.
When the non-profit Pittsburgh Filmmakers took over the Art Cinema and renovated it, they renamed it the Harris because the original Harris no longer was a moviehouse. THAT Harris is lised under Gateway.
And a footnote on earlier postings: It’s interesting that when Loew’s State was twinned and reopened with two roadshow family musicals, “Oliver” went into State 1 and “Chitty Chitty Bang Bang” into 2.
“Oliver” was a conspicuously better movie in every respect and yet it went into the auditorium that was slightly smaller in capacity and significantly less impressive in ambiance and decor.
Maybe Loew’s anticipated the quicker fade of “Chitty Chitty Bang Bang” and decided that the smaller auditorium would be a better fit for a long run of “Oliver.” Newer releases then would have the benefit of the extra seating upstairs.
Thanks for your informative responses, Faude. I was at Fort Gordon from summer 1965 through spring 1966 and saw just about everything that opened in and around Augusta. I’ll check out (on Cinema Treasures) the drive-ins and the theater you mentioned. The Forest Hills sounds most familiar.
Dude, I’d love to be able to examine the pages you post, but they’re reduced way too much, and they’re generally much too dark. Anything you can do to paste them in a larger form that we can scan up and down and across?
We need to sort out something here. The photo you’re discussing is of the wrong Harris theater. The one relating to this particular CT entry, at 809 Liberty Avenue, is functioning today as a moviehouse run by Pittsburgh Filmmakers.
The one in the photo(s) began as the Alvin, changed to the (John P.) Harris and finally became the Gateway. It has been a health club for about a quarter of a century. See separate entry under Gateway Theatre.
The theater on the left is the Byham, which functions today as a performance arts theater. (It’s listed in CT as the Byham.) In the era when the photo was taken, it was the Fulton, which was its identity for several decades. In the vaudeville/silent era, it was the Gayety.
I was on a media junket for “Man of La Mancha” when it opened at the Rivoli, which is where we were bused for the invitational screening. Although I had seen the stage version on Broadway and the national touring company and has visited the set for interviews, I had no preconceptions as to whether it would work on film.
To my surprise and dismay, the audience of media people had its knives sharpened before the screening began. I don’t know how they could possibly have picked up a negative scent before that day, but it was pervasive in that audience, I can tell you.
I remember one outspoken, pompous critic from Ohio saying repeatedly that if he had to listen to “Impossible Dream” (correct name: “The Quest”) one more time, he’d lose it.
I remember thinking: This is “Man of La Mancha,” for Pete’s sake, and that’s precisely the song that has been bringing them in for the past five or six years. What would you begrudge the film version that?
We learned, as we so often have, that theatrically stylized stage pieces tend not to work nearly as well on the screen. The film somehow couldn’t escape seeming stodgy. But I never thought it was nearly as bad as many of the reviews indicated.
I don’t believe that in the modern era (1970s onward)any movies passed from the Paris to the Plaza, but Warren or one of the others would know better.
“Maurice” made its Manhattan debut at the Paris, where I saw it, not the Plaza. “Bill & Ted” didn’t play at the Paris, though. Not sure where “House of Cards” opened.
Am I correct that the auditorium space has no seats not a screen but that it has never been used since its theater days for any other purpose? Has the floor been made level?
Very interesting, Warren. Thanks.
Had no idea that “A Night to Remember” had started in the States as a roadshow attraction — at the large Criterion no less. It did not do much business in this country. The Rank Organization, which distributed it, cannot have been gratified to find that the U.S. returns did not measure up to the raves. I concur that it’s incomparably superior (in all but the epic elements and special effects) to the 1997 version.
I think it’s just a mistake. The theater was huge – 3000-plus was an extraordinary for a third-or fourth-run double-feature neighborhood house, which is what it had become by the 1940s. But it had a relatively narrow frontage on Penn Avenue, so I don’t think the frontage was nearly wide enough to accommodate both of those addresses.
After walking straight ahead through a large lobby and narrower corridow, you made a right turn into the palatial auditorium.
First thing I remember seeing there was “Strangers on a Train,” sitting in the balcony on a Friday night.
Those were the days, Ken. I read the listings for every theater every day in the Pittsburgh newspapers, Ken. Loved the mix ‘n’ match aspect of double features in those days. They did not even have to be from the same studio.
Can’t swear to this without checking, Ken, but I believe that phone number was for the Stanley, Downtown. The Schenley was part of the Stanley-Waerner Theatre circuit. ATlantic definitely was a Downtown exchange. The Oakland neighborhood used the SChenley and MUseum exchanges.
Have been to RCMH many times from 1955 through about 2003, but regret never having gotten to the Roxy. When I looked at those photos of the Roxy’s auditorium, I was struck by the same impression as Warren. It looks practically intimate compared to RCMH, where I never understood the notion of the priciest (reserved) seats being in the very distant first mezzanine.
Thank you, Bill. Great page.
No idea why, Ken, but I, for one, can never read the copies posted here from Pittsburgh newspapers. The guys who post stuff from New York newspapers get imaculate copies with large type, which one can navigate from top to bottom and from left to right, but the Pittsburgh ones are always inky black and with tiny reproductions. Wish I understood what the problem here is. Thanks for trying.
Postscript: The Pittsburgh theater known for decades as the (John P.) Harris Theater, originally called the Alvin and finally called the Gateway), also was Downtown.
When the non-profit Pittsburgh Filmmakers took over the Art Cinema and renovated it, they renamed it the Harris because the original Harris no longer was a moviehouse. THAT Harris is lised under Gateway.
Yes, Ken. The Art Cinema in Pittsburgh now is called the Harris. It’s at 809 Liberty Avenue, and there is a Cinema Treasurees entry for it.
Thanks, LM. Love it!
Fascinating illustration, Warren.
And a footnote on earlier postings: It’s interesting that when Loew’s State was twinned and reopened with two roadshow family musicals, “Oliver” went into State 1 and “Chitty Chitty Bang Bang” into 2.
“Oliver” was a conspicuously better movie in every respect and yet it went into the auditorium that was slightly smaller in capacity and significantly less impressive in ambiance and decor.
Maybe Loew’s anticipated the quicker fade of “Chitty Chitty Bang Bang” and decided that the smaller auditorium would be a better fit for a long run of “Oliver.” Newer releases then would have the benefit of the extra seating upstairs.
Great stuff, Warren.
Is the former theater still Schwartz’s grocery store?
Thanks for your informative responses, Faude. I was at Fort Gordon from summer 1965 through spring 1966 and saw just about everything that opened in and around Augusta. I’ll check out (on Cinema Treasures) the drive-ins and the theater you mentioned. The Forest Hills sounds most familiar.
Dude, I’d love to be able to examine the pages you post, but they’re reduced way too much, and they’re generally much too dark. Anything you can do to paste them in a larger form that we can scan up and down and across?
Great patch of detailed data, Warren. Thanks very much.
Thank you, Ken. Great perspective on the Strand and the late, great Steel Pier.
Robert, When exactly was that? Was it a moveover engagement of “Maltese Falcon”?
At least one screen of the three-screen Film Forum is always devoted to revivals.
We need to sort out something here. The photo you’re discussing is of the wrong Harris theater. The one relating to this particular CT entry, at 809 Liberty Avenue, is functioning today as a moviehouse run by Pittsburgh Filmmakers.
The one in the photo(s) began as the Alvin, changed to the (John P.) Harris and finally became the Gateway. It has been a health club for about a quarter of a century. See separate entry under Gateway Theatre.
The theater on the left is the Byham, which functions today as a performance arts theater. (It’s listed in CT as the Byham.) In the era when the photo was taken, it was the Fulton, which was its identity for several decades. In the vaudeville/silent era, it was the Gayety.