Claimed to be the stage debut in Chicagoland for Laurel & Hardy, who were replacing the previous week’s Jimmy Dorsey Orchestra for an unexpected hold-over of “Knute Rockne All American.”
New management was testing policies, including adult exploitation and Hollywood classics such as “Gone With the Wind,” which was booked to follow this.
The B&W documentary feature was a major release by Universal Pictures. The jazzy title song, written by Benny Goodman, Edgar Sampson, and Manny Kurtz, was released on a Decca recording by Count Basie & Orchestra, with Helen Humes as vocalist.
“Even the Usherettes are ‘Glorified,’” claimed the announcement. Programs changed three times weekly, with a subsequent-run feature and short subjects. As the Depression worsened, the Ziegfeld switched to double features in the top tier of Loew’s neighborhood theatres in Manhattan.
First-time director Jack Lemmon guided Walter Matthau to what proved an Academy Award nominated performance for “Best Actor” of 1971, but the winner was Gene Hackman for “The French Connection.”
First area Showcase followed the epic’s 64-week reserved-seat engagement at the Rivoli Theatre. “Popular” prices were still higher than “regular” at the participating theatres.
Booking marked the Broadway debut of Ella Fitzgerald, who’d become so popular that she now received equal billing with employer Chick Webb.
Ironically, in later years, Fitzgerald always credited Martha Raye as a major influence on her singing style.
The independently produced melodrama concerned a recently married woman who discovers too late that her husband has syphilis from a previous relationship.
“Shoe Shine” was the supporting feature to “Albuquerque” at the Brooklyn Paramount. April 17tth was a Saturday night, when the Brooklyn Paramount had an ongoing policy of a “midnight show,” regardless of what was being presented at the time.
Full-page cooperative ad was published in Sunday newspapers, with theatres listed alphabetically, starting with Astor and Bijou. Roxy, Paramount and RCMH also had stage presentations, along with the RKO Palace, which is unlisted because its main offerings were weekly changes of 8 acts of vaudeville and a “B” feature. Warner (ex-Strand)
was currently closed for conversion to Cinerama showcase.
The Beverly offering a double bill of revivals of “These Three” and “Pepe Le Moko.” “These Three” was the first film version of Lillian Hellman’s controversial stage play, “The Children’s Hour,” which is title being used at the Beverly.
The same screen would be used for Brooklyn’s introduction to CinemaScope with “The Robe” in December. Ad displayed here
Possibly because CT is still considered “Not Secure,” despite longtime promises by management to remedy that.
Claimed to be the stage debut in Chicagoland for Laurel & Hardy, who were replacing the previous week’s Jimmy Dorsey Orchestra for an unexpected hold-over of “Knute Rockne All American.”
Vacant entrance of 34th Street Theatre behind truck headed east. Lower portion of Empire State Building in right background of photo.
New management was testing policies, including adult exploitation and Hollywood classics such as “Gone With the Wind,” which was booked to follow this.
The B&W documentary feature was a major release by Universal Pictures. The jazzy title song, written by Benny Goodman, Edgar Sampson, and Manny Kurtz, was released on a Decca recording by Count Basie & Orchestra, with Helen Humes as vocalist.
Comments by the trade journal’s gossip columnist were published on April 22nd, 1933, the day after the event.
Wrong! This shows the B.S. Moss Cameo Theatre on West 42nd Street, which is listed at CT under its later name of Bryant. Look here
“Even the Usherettes are ‘Glorified,’” claimed the announcement. Programs changed three times weekly, with a subsequent-run feature and short subjects. As the Depression worsened, the Ziegfeld switched to double features in the top tier of Loew’s neighborhood theatres in Manhattan.
Ad published on Sunday, October 2nd, 1921, to announce opening night change to Thursday, October 6th.
First-time director Jack Lemmon guided Walter Matthau to what proved an Academy Award nominated performance for “Best Actor” of 1971, but the winner was Gene Hackman for “The French Connection.”
How the plump songstress was “rushed” back-and-forth between Tivoli and Southtown is unknown, but probably not in the sidecar of a motorcycle.
Advertised jointly with the Capitol in South River, which suggests that the two theatres were under the same management.
Photo from Municipal Archives, circa 1940-41. Signage for Ridgewood Theatre further back on left side.
First area Showcase followed the epic’s 64-week reserved-seat engagement at the Rivoli Theatre. “Popular” prices were still higher than “regular” at the participating theatres.
Booking marked the Broadway debut of Ella Fitzgerald, who’d become so popular that she now received equal billing with employer Chick Webb. Ironically, in later years, Fitzgerald always credited Martha Raye as a major influence on her singing style.
The independently produced melodrama concerned a recently married woman who discovers too late that her husband has syphilis from a previous relationship.
Stage revue included the “Kol Nidrei” pageant in honor of the Jewish High Holy Days.
“Shoe Shine” was the supporting feature to “Albuquerque” at the Brooklyn Paramount. April 17tth was a Saturday night, when the Brooklyn Paramount had an ongoing policy of a “midnight show,” regardless of what was being presented at the time.
By time of illustration, the hotel had been enlarged and renamed Plaza.
Full-page cooperative ad was published in Sunday newspapers, with theatres listed alphabetically, starting with Astor and Bijou. Roxy, Paramount and RCMH also had stage presentations, along with the RKO Palace, which is unlisted because its main offerings were weekly changes of 8 acts of vaudeville and a “B” feature. Warner (ex-Strand) was currently closed for conversion to Cinerama showcase.
Booking included the holiday observance of Labor Day, which fell on Monday, September 2nd, that year.
The Beverly offering a double bill of revivals of “These Three” and “Pepe Le Moko.” “These Three” was the first film version of Lillian Hellman’s controversial stage play, “The Children’s Hour,” which is title being used at the Beverly.
Solitary figure is a doorman waiting for the next arrivals, which were proving to be few and far between.
New owner has filed for permission to demolish the building. Community protests have followed, according to this news report