Baronet Theatre

fbognar08 on February 13, 2007 at 9:26 am

This Friday the 16th 10pm at the Baronet the NJ premier of “The Redsin Tower” with special guest director Fred vogel and film crew!!!
More information at www.myspace.com/asburygrinhouse www.toetagpictures.com www.theredsintower.com

fbognar08 on February 13, 2007 at 9:26 am

This Friday the 16th 10pm at the Baronet the NJ premier of “The Redsin Tower” with special guest director Fred vogel and film crew!!!
More information at www.myspace.com/asburygrinhouse www.toetagpictures.com

JayNewcomb on January 23, 2007 at 5:11 am

If you call the Baronet Phone number there is a message that they will be closed the Weekend of the 19th but that there are movies concerts etc. planned for the future and to call back in the middle of the week. Apparently the owners pulled the plug on the Grindhouse movies because of the reputation the theater was getting and the type of patrons that were attending. The movies (DVD) were free until the final weeks when they asked for a $2.00 donation. They were only getting between 6-10 people at these screenings which means the theater was loosing money. I don’t think they sold that much popcorn and candy. Hopefully they will start showing more mainstream 2nd or third run movies.

The closing for the sale of this property has not been finalized and considering the developer has no plans on record for this block means the theater will be open for a while. We should support the continueing efforts to keep this historic theater open

Jay

[Deleted] on January 19, 2007 at 2:29 am

Reade never grew unhappy with New York City establishment and acquired the Mayfair on 7th Ave and 47th Street and named it in honor of Cecil B. DeMille. Across from the Loew’s State, plans were underway to contruct a new theatre – The Walter Reade – and move his New York offices, including Continental Distributing to this new site. This time period was 1968-1972. This never came to fruition. Reade died from a skiing accident in 1973. The organization cut back operations in the 1973-1975 period and lost the Mayfair and St. James theatres in the organization restructuring. Repair, rehabilitation of the two edifices proved too costly and profitability could not be guaranteed due to the recent racial unrest in the city and the stubborn political stance of the mayor and city administration.

JayNewcomb on January 18, 2007 at 1:35 pm

The current owner of the Baronet has sold the Baronet along with the Fawst Lane Club (next store), The Wonder Bar and the F & H Paint Store Building to Asbury Partners (The Asbury Park Re-developers). Pat Fasano did not sell the Liquor Licenses were not sold. Fasano said he is in negotiations with Asbury Partners to operate The Baronet, The Fast Lane and The Wonder Bar as a tenant after the closing. Whether these buildings will be preserved lines in the hands of new owners Asbury Partners and the Asbury Park City Council who according to local newspaper “The Tri-City News” to demand minor adjustmentsin the redevelopment plan the Paint building and the Theater two historic buildings. As for the Fast Lane and the Wonder Bar the paper said they could be located to new space at a later date should anyone want to keep them open. I guess we will just have to wait to see what happens, Meanwhile the Asbury Grind Web Site says it’s all over for the Horror Flicks it had been showing. There is one more event listed and thats a local movie premere in Feb

jvn

scottgoldberg on November 13, 2006 at 11:02 am

I am a freelance radio producer (who grew up 10 minutes from Asbury Park) doing a story for American Public Media on the Baronet Theater and the battle over its survival or seizure. I would be delighted to speak with people who attended the theater during the 1970s and before, citizens who do not want to see the theater seized for luxury condo development, and citizens who want to see other waterfront property built in its place. If you would like to speak out, please e-mail me at Thanks for your help!

Scott Goldberg

[Deleted] on October 28, 2006 at 5:16 am

If anyone wants to forward or comment or contact – my name is Don Griffith (yes, related to David Wark Griffith and Gladys Smith [Mary Pickford] two confounders of United Artists – with Fairbanks and Chaplin. Email address is or BTW – JayN – hope you enjoyed the show.

[Deleted] on October 28, 2006 at 5:01 am

KUDOS to the Baronet personnel for the presentation of PHANTOM OF THE OPERA (1925). It was like stepping back in history and watching the the primal beginnings of a small town theatre getting grabs on a a sensational film. It was very interesting to step into a theatre I had not visited since May, 1976 (quality check for Universal’s SENSURROUND release of MIDWAY). I purchased three tickets, two for myself and friend, and one for my mother, having been, as I would put, deceased before here time to enjoy the film of her birth (1925-2006). I would star rate the presentation at 4.75 out of 5. Why such a rating? All gear (managment, projection, organist) where in place.
The .25 lesser points – proper black masking of the screen, use of curtains to open and close the presentation, the unfortunate, overly loud of Gershwin music (should have been lower orchestral pieces from Bach’s Toccata and Fugue, Gounod’s Faust opera, Thaikovsky’s Romeo and Juliet – Overture Fantasy or Swan Lake (two previous being key signature music of Universal 1930s horror/melodrama films from Dracula, Frankenstein, The Mummy and so forth), I noticed the stage area has been more pronouced and stage lighting to left and right. lighting should be removed and the stage unclottered. Personnel – dress should be formal and announcement of the film should be by separate printed bills (if needed). Most important is that you don’t count tickets sold, but respect for the audience as experiencing a “special event” presentation. The house should be, considering the presentation, SOLD OUT or 85% capacity. DVD acknowledgement should not be mentioned at $9.99 home purchase/own situation. This is unprofessional with a captive audience. I restored PHANTOM in July 1977 from nitrate elements and two-color Technicolor and struck a Gaylord Garter organ score for the overall fullness. Note: the organist was exceptional on every (my critical view) dramatic development of the film. BRAVO!!!!! Considering the Baronet is getting a foot hold on film exhibition – my re-evaluation is a resounding 5 stars. I know what it is to present a get “balls to the wall” greatness of exhibition and the crew at the Baronet pulled that off in a special way – paving the way for greatness of motion picture exhibition.

[Deleted] on October 28, 2006 at 3:36 am

Here are two example of Roadshow presentation/policy. The first is from the original Theatre Management book (1927)used at the Mayfair Theatre (Asbury Park) at the opening operations August 1927. The second is from a book I used for instruction on the Motion Picture Industry and dated 1972. The third example is for the presentation of EL CID (1961) which did play at the Paramount (Asbury Park) as a specialty film with non-roadshow and hard ticket policy but presented as roadshow quality starting 22 June 1962:

ROAD SHOWS

The super type of motion picture, such as “The Birth of a Nation,”
“Way Down East,” “The Covered Wagon,” “ The Ten Commandments,”
“The King of Kings,” “Ben Hur,” and “The Big Parade,” are placed before the
public for first showing through an en unusually profitable, and brings additional prestige to the industry.
Furthermore, after I is exploited as a road show, it is then released through the
regular distributing machinery for exhibition in the regular motion picture theaters.
The exploitation that such pictures receive on the original basis is of great value
in attracting a tremendous patronage for the play when it is shown in the motion
picture theater at regular prices. Advertising of road shows is done in a dignified
manner, and includes new
tirely different distributing agency than that
through which other photoplays are released. Such pictures are handled exactly on
the same basis as a “legitimate stage” attraction. Of course, the motion picture feature
which is to be exploited in this manner must be one of unusual merit. It must
have “epic quality.” It must have the “epic” call,
striking deep into the emotions.

The feature is first given a premier in a legitimate theater in New York at
advanced prices (generally $1.65 for the best seats). If the motion picture registers
with the public as a truly unusual offering, approximately ten to twelve road
companies are organized. Routings are arranged through the legitimate theaters
of the country. Each road company consists of traveling projection equipment,
with expert projectionists and advertising men, a manager, a musical conductor, and
a number of key musicians. The companies are booked in such fashion as to
cover most of the important cities throughout the land. In that way it is soon shown in
practically every outstanding community.

Road showing naturally requires a large organization and a direction of high
executive ability. The road showing of motion pictures was first established by
J.J. McCarthy, who has created an organization which specializes in this work.
Men of a representative type, experienced in the administrative department of
the spoken drama and grand opera, comprise the personnel. The managers of these
companies are true executives of experience, and the publicity writers are trained
journalists. Each company is capable of giving a standardized presentation so that
the staging, the advertising and the musical accompaniment of every unit is of the
same quality as that showing in New York.

The road shows differ entirely in policy from the regular motion picture theaters.
Only two performances are given daily, one in the afternoon and the other at night.
Every seat is reserved, and the performance begins at the specified time. This is
a distinct advantage, because spectators see the picture from the beginning and follow
the story through; whereas in motion picture theaters, frequently, patrons drop in
in the middle of a feature. The entire entertainment of a road show consists of
the one picture, without any supplemental film or other units. Therefore such
super features generally must be of sufficient length to make up a full evening’s
entertainment.

There is a marked advantage in having an orchestra travel with the company
to synchronize the music perfectly with the moods of the picture, because the
orchestra stays with the particular company and thus is able to perfect its playing
of the score, brining out the full volume and variety of the score.

The merits of the picture are emphasized to the exclusion of all else and
exploitation is concentrated on the big film. In this way nothing but the feature
is sold to the public; and because it is handled this way, its publicity is
exclusive.

The type of picture that can be thus marketed is very rare, but a showing of
this sort is
ROAD SHOWS

The super type of motion picture, such as “The Birth of a Nation,”
“Way Down East,” “The Covered Wagon,” “ The Ten Commandments,”
“The King of Kings,” “Ben Hur,” and “The Big Parade,” are placed before the
public for first showing through an entirely different distributing agency than that
through which other photoplays are released. Such pictures are handled exactly on
the same basis as a “legitimate stage” attraction. Of course, the motion picture feature
which is to be exploited in this manner must be one of unusual merit. It must
have “epic quality.” It must have the “epic” call,
striking deep into the emotions.

The feature is first given a premier in a legitimate theater in New York at
advanced prices (generally $1.65 for the best seats). If the motion picture registers
with the public as a truly unusual offering, approximately ten to twelve road
companies are organized. Routings are arranged through the legitimate theaters
of the country. Each road company consists of traveling projection equipment,
with expert projectionists and advertising men, a manager, a musical conductor, and
a number of key musicians. The companies are booked in such fashion as to
cover most of the important cities throughout the land. In that way it is soon shown in
practically every outstanding community.

Road showing naturally requires a large organization and a direction of high
executive ability. The road showing of motion pictures was first established by
J.J. McCarthy, who has created an organization which specializes in this work.
Men of a representative type, experienced in the administrative department of
the spoken drama and grand opera, comprise the personnel. The managers of these
companies are true executives of experience, and the publicity writers are trained
journalists. Each company is capable of giving a standardized presentation so that
the staging, the advertising and the musical accompaniment of every unit is of the
same quality as that showing in New York.

The road shows differ entirely in policy from the regular motion picture theaters.
Only two performances are given daily, one in the afternoon and the other at night.
Every seat is reserved, and the performance begins at the specified time. This is
a distinct advantage, because spectators see the picture from the beginning and follow
the story through; whereas in motion picture theaters, frequently, patrons drop in
in the middle of a feature. The entire entertainment of a road show consists of
the one picture, without any supplemental film or other units. Therefore such
super features generally must be of sufficient length to make up a full evening’s
entertainment.

There is a marked advantage in having an orchestra travel with the company
to synchronize the music perfectly with the moods of the picture, because the
orchestra stays with the particular company and thus is able to perfect its playing
of the score, brining out the full volume and variety of the score.

The merits of the picture are emphasized to the exclusion of all else and
exploitation is concentrated on the big film. In this way nothing but the feature
is sold to the public; and because it is handled this way, its publicity is
exclusive.

---

A hard-ticket roadshow attraction implies reserved seats on an
exclusive first run. Such a picture usually plays with an intermission
and in some ways parallels a legitimate theatre performance.
The producer and distributor enter into roadshow policy with the
idea of setting up the picture as an extraordinary motion picture.
There are extremely large investments in most of these pictures,
which are exhibited on large screens in 70mm., Cinerama, D-150,
or others. For the exhibitor, a roadshow may mean higher costs for
union treasurers instead of regular cashiers, added expense for group
sales people, and increased personnel. The scale for projectionists
may also be higher than for a traditional run.

Nat D. Fellman
National General Theatres, Inc.
1972

---

CUE SHEET FOR PRESENTING THE 35MM PRODUCTION OF

“EL CID”

Running Time:

Actual Screen Picture Time
2 hrs. 50 minutes

Opening Music
3 ½ minutes

Opening of Picture to Intermission
1 hr. 50 minutes

Silent Intermission (Recommended)
12 minutes

Intermission Music
3 ½ minutes

Post Intermission to Picture end
1 hr.

Exit Music
2 minutes

Overall with Intermission

3 hrs. 11 minutes

CURTAIN CUES

Determining your curtain feet:

Determine the exact number of seconds that are required for the curtain to open, basing your timing on a point from which the signal is given until the curtain completely clears the screen masking. Multiply this by 1.5 which will give you the curtain feet for your theatre. (For example, If the curtain time is 15 seconds the curtain feet would be 22.5).

When this has been determined then cue the film as follows:

Opening

There is approximately 3 minutes and 25 seconds at the opening ahead of the picture. The curtain should be fully opened by the time “Samuel Bronston Presents” appears superimposed over the title background. Wind the print down until you see “Samuel Bronston Presents” on the title. Count back from this point the number of curtain feet and put a piece of masking tape on the blank leader at that point.

Approximately 2 and ½ minutes after the music starts you should begin to dim your lights and have the lights well dimmed by the time the tape comes through the machine. This is your cue to signal the curtain open and the lights completely out.

Distributed by ALLIED ARTISTS PICTURES CORP., 165 West 46th Street, New York 36, N. Y. PLaza 7-3070
Closing at end Of intermission:

The intermission comes at the end of the 7th reel. To mark your film wind the film through until you come to the dead fade out at the end of the intermission title. Count back your determined number of curtain feet. At this point, using a standard academy cue marker put a curtain closing cue at the lower right hand corner of the picture. This will bring the curtain closing at exactly the point when the Intermission title has completely faded Out. Do not close any sooner.

Opening after intermission

The projector is to be started after 12 minutes of elapsed time. There are 3 minutes and 20 seconds of music ahead of the picture. This is the most important cue of the picture. The curtain must be completely open when this scene comes on full. This scene opens with a picture of two large doors. Count your curtain feet back from the point where you own just make out these two doors after the fade in. Put a piece of masking tape on the black leader at this point, similar to the opening. The curtain should be opened then in the same manner as in the original opening. This will start your curtain so that it will be fully opened when the doors open and Charlton Heston comes through the doors. We repeat, THIS CUE IS A MUST!
Closing Cue:

There are important credits on the end title so measure your curtain feet back from the dead fade out at the last end title so that the curtain will come completely closed as the title fades out. Put a curtain cue at the lower right used of the film, the same as reel 7. There are approximately 2 minutes of music on black leader after the end title fades out.

Contour Curtain:

If your theatre has a contour curtain in front of the traveler, this contour curtain should be taken out at the time the lights start to dim, approximately 1 minute before the end of the opening music.

FADER CUES

The sound level of the picture is reasonably sustained throughout, however, there are many scenes where the dialogue is spoken softly for dramatic affect. This necessitates a sufficiently high level to make such dialogue clearly audible.

There is one important fader cue which will materially enhance the excitement which the picture conveys to the audience. This has to do with the jousting scene in real No. 3. Here is the cue; when the king drops his arm to start the jousting, raise the fader 2 points, (4DB). Leave the fader at this level during the entire jousting scene. Lower to normal after the end of the joust, when Heston walks over to the king and says “to whom does Calahorra belong?”

ALLIED ARTISTS PICTURES CORPORATION

[Deleted] on October 27, 2006 at 7:55 am

Update and corrections. I handle the Reade/Rosenburg theatre archives dating from 1908 to the close of the firm in 1974 to Seacost Theatres (Gage) and Music Makers. The only local theatre with 70mm capability was the St James with installed Todd-AO in July 1958 premiering SOUTH PACIFIC and closing with CONCERT FOR BANGLADESH in March 1972. The chief projectionist was George Clark who started his career with Comerford Theatres, and lived in Ocean Grove. The 70mm presentations at the St. James included SOLOMON AND SHEBA, PORGY AND BESS, THE ALAMO, BEN-HUR, KING OF KINGS, CLEOPATRA, SPARTACUS, MY FAIR LADY, DOCTOR ZHIVAGO, CAMELOT, GONE WITH THE WIND, 2001: A SPACE ODYSSEY, WEST SIDE STORY, BECKET to name a few. The Paramount (Boardwalk) was strickly 35mm magnetic stereo presentation for roadhsow. Roadhsow reserved seat enagements had one evening show usually at 8 p.m. and matinees only on Wednesday, Saturday and Sunday at usually at 2 p.m. rarely would there be continous daily showings of 70mm product due to the nature of the film (running time) and exhibition contracts. In the case of SOUND OF MUSIC at the Paramount (June 1965 to October 1966) the engagment was 35mm magnetic stereo, a reduction from 70mm stereo Todd-AO that was exhibited at the Rivoli, New York City and Bellevue, Upper Monclair, NJ. I still have Reel One, 35mm magnetic stereo, of SOUND OF MUSIC. Interesting note, SOUND OF MUSIC had no Overture for Act One and the projectionist was instructed to use the Entr'acte music reel as Overture. I also have the complete film soundtrack recorded in stereo from a direct feed into a “reel to reel” tape recorder.
The Lyric Theatre (Thomas Budd projectionist) had 35mm magnetic stereo capability and did the Mayfair Theatre. Going back to 1954, the dawn of CinemaScope 4-channel magnetic stereo for the Reade chain, Reade had the Mayfair (Asbury Park), Paramount (Asbury Park), Paramount (Long Branch), Carlton (Red Bank) and Strand (Freehold) the
projectionist/technicians patch and mix all 4-stereo channels to one channel for the center screen speaker. Fox lowered the boom by threating withhold of product unless the films where show correctly.
During that period Fox began to issue optical mixdowns for monophonic presentation, so Reade was spared legal actions. The Strand (Scenario)located at the North End Hotel was strictly 35mm optical and was the Baronet (Ocean). The Mayfair has roadshow status only for the exhibition of James Hoyce’s ULYSSES in early 1967. The Lyric and Ocean used roadshow dfue to the overflow of product available. Example, Baronet roadshowed A MAN FOR ALL SEASONS and the Lyric roashowed Fellini’s LA DOLCE VITA
I hope this clarifies a few statements. As director of Cinema Centre
Motion Picture Research Library, established in 1963, I attempt to keep the historical theatrical records and exhibition records correct for broad and individual research projects.

MikeH on October 24, 2006 at 11:00 am

Jay N.
I remember others talking about a theatre in Ocean Grove but I never
saw it as it was before my time in Asbury Park. Vincent goes back further in Asbury’s history. Perhaps he remembers. Mike H

JayNewcomb on October 23, 2006 at 1:33 pm

Vincent and Mike H.
I’m a new member to this site but not new to the area. I still live about 5 minutes away from Asbury park. You were talking about a theater on the Boardwalk in Ocean Grove. I remember it well but never saw a film there. How I remember it was that I took a picture of The Palace Amusements Lit up at night and the lights caused a reflection of the ferris wheel onto Wesley Lake. You can also see
Part of the Mayfair which was next store to the Amusements. I took this picture from the Ocean Grove Side of the Boardwalk Standing right in from of this Movie House. It was called the Strand open only for the summer Months and the front and Markee faced toward
Wesley lake. Right after you passed the North End Hotel Strand was on your left on the boardwalk as you headed town the asbury Casino arcade. I was never inside but I don’t think it was very big. I believe it was also a Walter Reade operation and if not it was part of the Arcadia chain that also owned the Riverli in Belmar. I can’t Remember what year the North End hotel was torn down after a fire but that was when that whole area of the Ocean Grove Boardwalk became empty. I took the photo I talked about probably mid to late 60’s I have to do some research. I still have that photo but can’t find the Negatives which may have a picture of the strand on it. It will be Black and white which I developed in my basement darkroom my Dad built. I haven’t given up looking for them and if I find a picture I try to post it.
While the sign above it said strand Most everyone called it the Ocean Grove Strand not to confuse it with the stand in Lakewood which is owned by an ocean county arts group and still operates today. If anyone else remembers this Summer movie house please post a comment. There was also another place across from the Ocean Grove
gates on Main Street Where Clancys Tavern and other stores sit.
This is actually neptune. My late Dad told me about Silent films and vauderville and how growing up he would make extra money walking the dogs used for the live animal acts. When I asked him about the silent films he told me that most of the time there was a piano player and when there was a fast chase or something like that the piano player would pick up the tempo. A lot of serials used to play there with a cliffhanger at the end and you had to come back next week to find out what happens. Admission was about 15cents. The Savoy Theater on Maddison Ave in asbury does not get mentioned much these days. The markee is gone. The glass doors are still there but I’m told the owner of the entire building is using it as a warehouse. I was in it one Late 70s early 80s when it opened back up as a movie house. I seem to remember it had an upper level of seats. In my Dad’s day some great entertainers played vaudervile there.
Of all the theaters I saw movies in growing up by Two Favorites were the Mayfair with the moving clouds on the ceiling and The saint James. A photographer friend of mine has a photo of the Staint James the summer they ran Bridge over the River quay (excuse spelling) and errected a wooden bridge over cookman ave with the movie banner hanging in both sides. I seem to remember you could actually walk across it. Well just a few notes about my memories from someone who is not too old (mid 50’s)THe asbury park historical Society has a fountain that was at the Mayfair. They haven’t found a home for it yet. Maybe it could become part of the Historic Baronet Just a thought. I plan on being at the Baronet for Phantom with the live Organ Score. Hope to see a lot of historical movie buffs at this one.
Friday Night at 8p.m There Phone number is back up 732-807-3317 Rocky Horror and Baby Jane playing Saturday. Anyone else remember the Strand in ocean Grove post a coment.

Jay N.