Joe’s comment about John Scher just raised another possibility about those shows at the Stanley: When did he begin to manage the Grateful Dead on this side of the Mississippi?
Yes, there were some great shows at the Central but, unfortunately, I didn’t have anything to do with them. But I did do at least one show (GD) at another theatre not far from the Capitol and I can’t for the life of me remember which one. It was a lovely theatre. Was there a State Theatre or something like that? Perhaps a Loews… -M
I don’t think so because I didn’t work any shows at all in NJ until I was hired by John Scher and Al Hayward at the Capitol in 1971. This is becoming a real mystery. -M
Someone stumbled upon www.moyssi.com and started a stampede which resulted in a lively conversation about the Capitol, the shows, and Passaic. Those who remember the Capitol fondly may enjoy this new Capitol web page:
Tom, Thanks for the instant feedback! Please note the slight discrepancy between your ticket count and the one at the top of the page, and the larger discrepancy between the number that I provide somewhere else above here. That was one of the unintended consequences of the flood that you mention. What I and everyone else above forgot is which theatre the (smaller) replacement seats came from. Everyone will enjoy those stories here and on http://www.moyssi.com
Btw, I was unable to contact you through your website reply contact form because your email host blocked me with a #550 code: It thinks that I’m spam. That’s true irony if you know my herculean struggle against spamming, spoofing and the stealing of domains. Anyway, I asked my email host to sort that out for me but I have no idea how long that will take and that’s why you didn’t hear from me directly. -Moyssi
Hello Tom Contrino! Those are great pix of Southside Johnny and John Scher—and the fashion photography on your website is terrific.
On an historic note for this page, I just learned from Al Hayward that he and John Scher bought the Capitol in 1972 from Dr Samuel Harris, the original builder of the Capitol according to Passaic’s message above.
With my apology to Al Hayward, I posted his Reminiscence of the early days of the Capitol Theatre on http://www.moyssi.com/history.htm and revised the site Dedication Message to include Al as co-founder. -Moyssi
Warren: You’re absolutely right! When Marty Ventura first contacted me I wondered challengingly what he meant. It’s huge, but it is a custom-made translucent panel that fits into the existing marquee. No doubt about it. But it is a very special tribute to Bruce Springsteen’s 3-day series of shows, and that was very special indeed. We’ve already received a bundle of thank yous for posting the new photo, so there must be a few folks who are digging the photo if not the misnomer.
By the way, cinematreasures.org is wonderful! I just wish they would correct all the misinformation at the top of this page. -Moyssi
For those of you who remember the 3 Bruce Springsteen shows on September 19-21, 1978 at the Capitol, you may remember that John Scher commissioned a special marquee, designed by Arlen Shummer. That marquee is now owned by a fellow named Mary Ventura and he has allowed me to post a photo on my website. It appears twice: on a new page http://www.moyssi.com/new.htm and on an old, now misnamed page http://www.moyssi.com/threemarquees.htm. Also new is Mick’s set list for a Stones show at the Meadowlands…
For those of you who love the Capitol for the music and its continuance of the Fillmore tradition, you may enjoy a half-hour live radio interview with me regarding my earlier experience as lighting director at Stony Brook University (1967-1971) when it was “the gateway to the East Coast for all the top bands” as reported in the New York Times in an article about the release of the Allman Brothers Show recorded there on 9/19/71. The interview was braodcast on 5/31/07 and this link may work until about 6/14/07: View link -Moyssi
Ed, You may be pleased t o learn that ALL of the shows from about 1975 on were taped. Not just the Capitol, but even those very early John Scher shows such as The Band at Casino Arena in Asbury Park. The tapes are old and fragile. I understand that they need to be baked before playing and you get only one chance to get it right. There is a process in motion if only people will be willing to pay for that process by buying the tapes. With great luck, I hope to be involved. Whether or not I am involved, I’ll certianly keep you posted.
Meanwhile, I hope that Cinematreasures folk will venture a little deeper into my website because the concert programs themselves are an integral part of the historical record of that era in our shared history. Our shared joy, if you feel as I do. -Moyssi
If you were there, you certainly weren’t square. Care to submit any stories to post on moyssl.com? I’m sure that the Hiedelbergers ALL had something to do with the Capitol. I’m particularly interested in “Red” and what you did with those front-of-mixer seats. That was usually the spot in most theatres where the occupants of the seat made a deal of some sort with the soundman for a direct wire to a tape recorder…
Why do I get the feeling that we’ve met before? I toured with Jerry as well as doing lights for most of the shows at the Capitol, so we’ve certainly been in the same room with the same smile our our faces for the same spectrum of reasons… But, to answer your quesstion, you can see the complete progression of Capitol Theatre marquees on http://www.moyssi.com/threemarquess.htm
We can determine from the dates of the shows that appear on the marquees in those pix that the vertical element was removed (for structural reasons) and replaced sometime between 9/11/79 and 3/30/80. So your memory is as good as the music.
I’m gratefu for photographers like Kevin R. Papa, who donated his photos of the marquees to my website even though he doesn’t know me from a hole in the wall, and to Bob Leafe, who also has some dynamite pix as the Capitol’s resident photographer. Without them, our memories would be nothing more than our ethereal imagination corrobrated by our need to remember the magic that existed then in the world. And still does…
Okay, I give up. Does anyone know how to get the owner/s of this website to update the style, function, architect and firm info at the top of this page? About 3 eMail messages into this, I’m about ready to give up. On the other hand, Passaic (and a few other engaged participants) could change my emphatic knowledge into a more malleable set of questions. Any help from anybody out there? -Moyssi
Hey Passaic, I live real close to “Whiskey Road” so I know well of what you speak. These things are the ultimate tangible proof that pohibition only serves the crooks on both sides of the badge, and that makes it really difficult to define a crook. But you MUST clear up the Preiskel/Preiskill vs Sandblom mystery for us all. It’s driving me nuts. (Note to SpotOne: No one needs to be advised of my perrenial mental condition here.) -Moyssi
I really enjoyed the zeal with which you promote Passaic in your comments on the Montauk and the Central—Passaic is certainly a storied town—but I’m still a bit confused about the architect of the Capitol. I have an informal sepia with Abe’s name on it but a I have a fine original blueprint that credits C.A. Sandblom, Architect, then located at 19 West 45th Street in Manhattan. Did Preiskill work for Sandlom or did he just have good PR in town?
Of course, I’m more impressed with Eberson’s work at the Central in Passaic, and his magnificent show palaces in NYC, but Passaic is an interesting place. Always has been. I even found an original copy of Fritz the Cat in—OMG—a dirty book store on the main drag way back when. I paid 50 cents for the comic book but then someone stole it, so everything is really temporary with exception of our joyful experiences and our memory of them.
I would like to thank that Hecht fellow you mention for Beth Israel Hospital. On January 9, 1974 I inadvertently tried to move an I-beam at the Capitol with my forehead. The I-beam won. I got a bloody but speedy ride to Beth Israel in a Passaic Police Car, 12 stitches, and the worst hangover you could possibly imagine, but everyone in town took real good care of me. That Johnny Winter concert was the only show at the Capitol that I ever missed between 1971 and 1984.
TC, you might prefer the same button as it appears on http://www.moyssi.com/841222.htm On this page, you can see the difference between the earliest Capitol marquee (the button) and the last marquee (the program cover).
I believe that most if not all of the Capitol Theatre buttons were made by staffer Bob Wolfe, who made them using some of my original artwork with permission.
http://www.moyssi.com/ is chock full of nearly 700 pages of memories and memorabilia that visitors contribute to the historic record of the Capitol. The momorabilia is not generally for sale, but the actual concert programs, original cover art, limited edition prints, posters and other interesting things are available for purchase as well as amusement.
Thanks for your reminder. Yes, John Scher did occasionally promote shows at the Central. I recall one Grateful Dead show where the contract rider stipulated steaks from Max’s Kansas City which duly arrived from NYC in a timely manner and in all their glorious splendor—without a single knife or fork to be had anywhere. No problem: we all stuffed ourselves silly in a handy manner as familiar to shepherds as to 6th century kings.
It was also interesting to read a comment above from “Passaic” who claimed that Abe Preiskel was the police chief in Passaic, not the architect as stated at the top of the page. It turns out that Passaic’s spelling is more accurate than mine, so there may be an interesting connection between the architect C.A. Sandblom (NYC) and the police chief of Passaic, if the theatre was actually owned by a local businessman (Samuel Harris) as asserted elsewhere in the commentary above.
The Capitol—bland acrchitecture or not—certainly enjoyed a colorful history!
Please feel free to establish private contact with me via the web reply form on my website (www.moyssi.com), but please be aware that there are others who have commented above on this page who may be able to add as much or more to our cumulative knowledge base than I can, notably Dave Capo and some others too clandestine to sign a real name.
As resident stage lighting designer for John Scher’s Capitol Theatre in Passaic NJ from 1971 through 1988, I may be able to add some missing info from the top of this page, and respond to some of the comments and questions that have been raised in the messages above. I first entered the theatre in 1971 before John Scher renovated the building, so I have some first hand experience with the original building, plus some architectural drawings for historical reference.
Regarding style, the theatre was a plain brick box on the outside, quite comfortable in its industrial context. Inside, however, the theatre was a huge, asymmetrical room with no visual interference between the stage and any seat. No balconies. The style was an interesting mixture of Deco and Nouveau—all original when we arrived, and we kept it in tact until the fire that destroyed the place.
The most unusual design element was the fact that all interior walls were covered with 2 inches of painted acoustical padding. The sound there was absolutely wonderful for live shows. Unbeatable, in fact. I was resident stage lighting director at Howard Stein’s New York Academy of Music on 14th Street—later the Palladium, The Bottom Line Cabaret in NYC, and Stony Brook University from 1966-1971. I also toured with New Riders of the Purple Sage, Jerry Garcia Band, Old And In The Way, Hot Tuna, Triumvirate and a few other bands so I’ve worked a lot of theatres between the Mississippi River and the Atlantic Ocean. The Capitol was the best, acoustically speaking, even if it was a fire-breathing nightmare for lighting.
Regarding function, the theatre was originally intended for cinema with some light vaudevillian distraction. The original stage was the smallest I’ve ever worked, with the possible exception of Convention Hall in Asbury Park. The theatre had no fly loft for lights, scenery or drapery, but it did have a small bank of huge rheostats that must have been used for some minimal lighting. The projection booth was sufficient for two carbon arc projectors, so I doubt that they had any follow spots before we arrived on the scene.
Seating capacity as stated at the top of this page is 3,211 but the actual seating capacity was 3,412. There is an interesting story behind that discrepancy, for later telling if anyone is interested and still reading this stuff.
Can’t help with the chain. The theatre may always have been independent.
Regarding the architect, I have an undated reverse sepia longitudinal section by Abraham Preiskill (as above) and what appears to me to be an older, original blueprint of the proscenium arch from C.A. Sandblom, Architect, then located at 19 West 45th Street in Manhattan. I also have a blueline print of the alarm system by E.P. Reid, Inc. Perhaps Preiskill was associated with Sandblom.
As for the REAL function of the theatre, I believe that about 2,000,000 stomping, cheering, joyful fans of rock and rool, blues and jazz would agree with me that this theatre shone as the longest-lived and most successful small rock and roll theatre in the world. Actually, considering its size, it was really just a big club date for most of the HUGE bands that played there. It was also fun for the same reason.
Aside from the music, John Scher also presented everything from Mr Jiggs (who really did have her teeth and really did spontaneously escape from the theatre during her performance), small circuses, dog-and-pony shows, an evangelical mission, and even some genuine vaudeville in the form of striptease. We did anything and everything that might pull an audience past the ticket booth.
But the Capitol Theatre was really all about the live music which is represented in the bulk of my website http://www.moyssi.com as a collection of about 300 different concert programs, memorabilia, comments and sidebars that tell the story of the Capitol between 1975 and 1984. If you’ve been there, I’d love to hear your stories and maybe post them on my website, which goes beyond the Capitol to all of the venues where John Scher presented his shows in the 70s and 80s.
Joe’s comment about John Scher just raised another possibility about those shows at the Stanley: When did he begin to manage the Grateful Dead on this side of the Mississippi?
Yes, there were some great shows at the Central but, unfortunately, I didn’t have anything to do with them. But I did do at least one show (GD) at another theatre not far from the Capitol and I can’t for the life of me remember which one. It was a lovely theatre. Was there a State Theatre or something like that? Perhaps a Loews… -M
I don’t think so because I didn’t work any shows at all in NJ until I was hired by John Scher and Al Hayward at the Capitol in 1971. This is becoming a real mystery. -M
Al, I certainly remember doing a Grateful Dead show in a spiffy theatre not far from the Capitol. What theatre would that have been? -Moyssi
Keep the faith, Joe. I hear that something is in the works…
Someone stumbled upon www.moyssi.com and started a stampede which resulted in a lively conversation about the Capitol, the shows, and Passaic. Those who remember the Capitol fondly may enjoy this new Capitol web page:
View link
Moyssi
Tom, Thanks for the instant feedback! Please note the slight discrepancy between your ticket count and the one at the top of the page, and the larger discrepancy between the number that I provide somewhere else above here. That was one of the unintended consequences of the flood that you mention. What I and everyone else above forgot is which theatre the (smaller) replacement seats came from. Everyone will enjoy those stories here and on http://www.moyssi.com
Btw, I was unable to contact you through your website reply contact form because your email host blocked me with a #550 code: It thinks that I’m spam. That’s true irony if you know my herculean struggle against spamming, spoofing and the stealing of domains. Anyway, I asked my email host to sort that out for me but I have no idea how long that will take and that’s why you didn’t hear from me directly. -Moyssi
Hello Tom Contrino! Those are great pix of Southside Johnny and John Scher—and the fashion photography on your website is terrific.
On an historic note for this page, I just learned from Al Hayward that he and John Scher bought the Capitol in 1972 from Dr Samuel Harris, the original builder of the Capitol according to Passaic’s message above.
With my apology to Al Hayward, I posted his Reminiscence of the early days of the Capitol Theatre on http://www.moyssi.com/history.htm and revised the site Dedication Message to include Al as co-founder. -Moyssi
Warren: You’re absolutely right! When Marty Ventura first contacted me I wondered challengingly what he meant. It’s huge, but it is a custom-made translucent panel that fits into the existing marquee. No doubt about it. But it is a very special tribute to Bruce Springsteen’s 3-day series of shows, and that was very special indeed. We’ve already received a bundle of thank yous for posting the new photo, so there must be a few folks who are digging the photo if not the misnomer.
By the way, cinematreasures.org is wonderful! I just wish they would correct all the misinformation at the top of this page. -Moyssi
For those of you who remember the 3 Bruce Springsteen shows on September 19-21, 1978 at the Capitol, you may remember that John Scher commissioned a special marquee, designed by Arlen Shummer. That marquee is now owned by a fellow named Mary Ventura and he has allowed me to post a photo on my website. It appears twice: on a new page http://www.moyssi.com/new.htm and on an old, now misnamed page http://www.moyssi.com/threemarquees.htm. Also new is Mick’s set list for a Stones show at the Meadowlands…
For those of you who love the Capitol for the music and its continuance of the Fillmore tradition, you may enjoy a half-hour live radio interview with me regarding my earlier experience as lighting director at Stony Brook University (1967-1971) when it was “the gateway to the East Coast for all the top bands” as reported in the New York Times in an article about the release of the Allman Brothers Show recorded there on 9/19/71. The interview was braodcast on 5/31/07 and this link may work until about 6/14/07: View link -Moyssi
Ed, You may be pleased t o learn that ALL of the shows from about 1975 on were taped. Not just the Capitol, but even those very early John Scher shows such as The Band at Casino Arena in Asbury Park. The tapes are old and fragile. I understand that they need to be baked before playing and you get only one chance to get it right. There is a process in motion if only people will be willing to pay for that process by buying the tapes. With great luck, I hope to be involved. Whether or not I am involved, I’ll certianly keep you posted.
Meanwhile, I hope that Cinematreasures folk will venture a little deeper into my website because the concert programs themselves are an integral part of the historical record of that era in our shared history. Our shared joy, if you feel as I do. -Moyssi
Dear drbobbyp,
If you were there, you certainly weren’t square. Care to submit any stories to post on moyssl.com? I’m sure that the Hiedelbergers ALL had something to do with the Capitol. I’m particularly interested in “Red” and what you did with those front-of-mixer seats. That was usually the spot in most theatres where the occupants of the seat made a deal of some sort with the soundman for a direct wire to a tape recorder…
Moyssi
Ed, I screwed up the URL. It’s http://www.moyssi.com/threemarquees.htm Sorry. -M
Ed,
Why do I get the feeling that we’ve met before? I toured with Jerry as well as doing lights for most of the shows at the Capitol, so we’ve certainly been in the same room with the same smile our our faces for the same spectrum of reasons… But, to answer your quesstion, you can see the complete progression of Capitol Theatre marquees on http://www.moyssi.com/threemarquess.htm
We can determine from the dates of the shows that appear on the marquees in those pix that the vertical element was removed (for structural reasons) and replaced sometime between 9/11/79 and 3/30/80. So your memory is as good as the music.
I’m gratefu for photographers like Kevin R. Papa, who donated his photos of the marquees to my website even though he doesn’t know me from a hole in the wall, and to Bob Leafe, who also has some dynamite pix as the Capitol’s resident photographer. Without them, our memories would be nothing more than our ethereal imagination corrobrated by our need to remember the magic that existed then in the world. And still does…
Moyssi
Okay, I give up. Does anyone know how to get the owner/s of this website to update the style, function, architect and firm info at the top of this page? About 3 eMail messages into this, I’m about ready to give up. On the other hand, Passaic (and a few other engaged participants) could change my emphatic knowledge into a more malleable set of questions. Any help from anybody out there? -Moyssi
Hey Passaic, I live real close to “Whiskey Road” so I know well of what you speak. These things are the ultimate tangible proof that pohibition only serves the crooks on both sides of the badge, and that makes it really difficult to define a crook. But you MUST clear up the Preiskel/Preiskill vs Sandblom mystery for us all. It’s driving me nuts. (Note to SpotOne: No one needs to be advised of my perrenial mental condition here.) -Moyssi
Hello Passaic!
I really enjoyed the zeal with which you promote Passaic in your comments on the Montauk and the Central—Passaic is certainly a storied town—but I’m still a bit confused about the architect of the Capitol. I have an informal sepia with Abe’s name on it but a I have a fine original blueprint that credits C.A. Sandblom, Architect, then located at 19 West 45th Street in Manhattan. Did Preiskill work for Sandlom or did he just have good PR in town?
Of course, I’m more impressed with Eberson’s work at the Central in Passaic, and his magnificent show palaces in NYC, but Passaic is an interesting place. Always has been. I even found an original copy of Fritz the Cat in—OMG—a dirty book store on the main drag way back when. I paid 50 cents for the comic book but then someone stole it, so everything is really temporary with exception of our joyful experiences and our memory of them.
I would like to thank that Hecht fellow you mention for Beth Israel Hospital. On January 9, 1974 I inadvertently tried to move an I-beam at the Capitol with my forehead. The I-beam won. I got a bloody but speedy ride to Beth Israel in a Passaic Police Car, 12 stitches, and the worst hangover you could possibly imagine, but everyone in town took real good care of me. That Johnny Winter concert was the only show at the Capitol that I ever missed between 1971 and 1984.
Moyssi
TC, you might prefer the same button as it appears on http://www.moyssi.com/841222.htm On this page, you can see the difference between the earliest Capitol marquee (the button) and the last marquee (the program cover).
I believe that most if not all of the Capitol Theatre buttons were made by staffer Bob Wolfe, who made them using some of my original artwork with permission.
http://www.moyssi.com/ is chock full of nearly 700 pages of memories and memorabilia that visitors contribute to the historic record of the Capitol. The momorabilia is not generally for sale, but the actual concert programs, original cover art, limited edition prints, posters and other interesting things are available for purchase as well as amusement.
Moyssi
Bob,
Thanks for your reminder. Yes, John Scher did occasionally promote shows at the Central. I recall one Grateful Dead show where the contract rider stipulated steaks from Max’s Kansas City which duly arrived from NYC in a timely manner and in all their glorious splendor—without a single knife or fork to be had anywhere. No problem: we all stuffed ourselves silly in a handy manner as familiar to shepherds as to 6th century kings.
It was also interesting to read a comment above from “Passaic” who claimed that Abe Preiskel was the police chief in Passaic, not the architect as stated at the top of the page. It turns out that Passaic’s spelling is more accurate than mine, so there may be an interesting connection between the architect C.A. Sandblom (NYC) and the police chief of Passaic, if the theatre was actually owned by a local businessman (Samuel Harris) as asserted elsewhere in the commentary above.
The Capitol—bland acrchitecture or not—certainly enjoyed a colorful history!
Please feel free to establish private contact with me via the web reply form on my website (www.moyssi.com), but please be aware that there are others who have commented above on this page who may be able to add as much or more to our cumulative knowledge base than I can, notably Dave Capo and some others too clandestine to sign a real name.
Moyssi
As resident stage lighting designer for John Scher’s Capitol Theatre in Passaic NJ from 1971 through 1988, I may be able to add some missing info from the top of this page, and respond to some of the comments and questions that have been raised in the messages above. I first entered the theatre in 1971 before John Scher renovated the building, so I have some first hand experience with the original building, plus some architectural drawings for historical reference.
Regarding style, the theatre was a plain brick box on the outside, quite comfortable in its industrial context. Inside, however, the theatre was a huge, asymmetrical room with no visual interference between the stage and any seat. No balconies. The style was an interesting mixture of Deco and Nouveau—all original when we arrived, and we kept it in tact until the fire that destroyed the place.
The most unusual design element was the fact that all interior walls were covered with 2 inches of painted acoustical padding. The sound there was absolutely wonderful for live shows. Unbeatable, in fact. I was resident stage lighting director at Howard Stein’s New York Academy of Music on 14th Street—later the Palladium, The Bottom Line Cabaret in NYC, and Stony Brook University from 1966-1971. I also toured with New Riders of the Purple Sage, Jerry Garcia Band, Old And In The Way, Hot Tuna, Triumvirate and a few other bands so I’ve worked a lot of theatres between the Mississippi River and the Atlantic Ocean. The Capitol was the best, acoustically speaking, even if it was a fire-breathing nightmare for lighting.
Regarding function, the theatre was originally intended for cinema with some light vaudevillian distraction. The original stage was the smallest I’ve ever worked, with the possible exception of Convention Hall in Asbury Park. The theatre had no fly loft for lights, scenery or drapery, but it did have a small bank of huge rheostats that must have been used for some minimal lighting. The projection booth was sufficient for two carbon arc projectors, so I doubt that they had any follow spots before we arrived on the scene.
Seating capacity as stated at the top of this page is 3,211 but the actual seating capacity was 3,412. There is an interesting story behind that discrepancy, for later telling if anyone is interested and still reading this stuff.
Can’t help with the chain. The theatre may always have been independent.
Regarding the architect, I have an undated reverse sepia longitudinal section by Abraham Preiskill (as above) and what appears to me to be an older, original blueprint of the proscenium arch from C.A. Sandblom, Architect, then located at 19 West 45th Street in Manhattan. I also have a blueline print of the alarm system by E.P. Reid, Inc. Perhaps Preiskill was associated with Sandblom.
As for the REAL function of the theatre, I believe that about 2,000,000 stomping, cheering, joyful fans of rock and rool, blues and jazz would agree with me that this theatre shone as the longest-lived and most successful small rock and roll theatre in the world. Actually, considering its size, it was really just a big club date for most of the HUGE bands that played there. It was also fun for the same reason.
Aside from the music, John Scher also presented everything from Mr Jiggs (who really did have her teeth and really did spontaneously escape from the theatre during her performance), small circuses, dog-and-pony shows, an evangelical mission, and even some genuine vaudeville in the form of striptease. We did anything and everything that might pull an audience past the ticket booth.
A fairly complete listing of all the music shows at the Capitol between 1971 and 1984 appears on my website at http:/www.moyssi.com/capitolshows.htm courtesy of SpotOne whose messages appear somewhere above me here. There are photos of the theatre on http://www.moyssi.com/capitol.htm, more photos on http://www.moyssi.com/threemarquees.htm; floor, stage and lighting plans on http://www.moyssi.com/capitolplans.htm and http://www.moyssi.com/capitolfloor.htm
But the Capitol Theatre was really all about the live music which is represented in the bulk of my website http://www.moyssi.com as a collection of about 300 different concert programs, memorabilia, comments and sidebars that tell the story of the Capitol between 1975 and 1984. If you’ve been there, I’d love to hear your stories and maybe post them on my website, which goes beyond the Capitol to all of the venues where John Scher presented his shows in the 70s and 80s.
Moyssi