My great aunt from West Orange had an annual tradition of going in to Manhattan every year to see the Christmas show at Radio City Music Hall. I’ve never seen it. I wish I had availed myself of the opportunity, because at today’s prices, and with no movie, I don’t think I ever will see it.
Yes. Especially when one has read the account of the Roxy’s opening night in “The Best Remaining Seats”, and then you see how it all ultimately ended. Unfortunately, the demolition photos are the only photos I’ve seen of the Roxy in color. It makes the theatre seem more real, which also makes the tragedy of its destruction more real also.
I assume that the windows were for office space because of the regularity of the fenestration, like an office building. The offices were probably rentals and not connected with the theatre from the inside. This was a common concept for many theatre buildings.
If you look at the photo at the top of this theatre’s page you can see that the windows don’t open into the auditorium portion of the building. It’s probable that the Bushwick didn’t have too large of a lobby, so I would think that the windows were there for office space.
I saw an exhibition of these posters about 20 or 30 years ago at the Memorial Art Gallery in Rochester. If anyone has a chance to go to MOMA and see them I highly recommend it!
According to the story that came with the posters, George Eastman did not like the mass produced garish look of the posters provided by the studios, so he hired Batiste Madalena to hand paint custom designed posters instead. Mr. Madalena stated that one of the challenges was to create posters that were tasteful, yet still bright and bold enough to be read from the passing streetcars.
I’ve visited this theatre, and the people in charge seem to be doing a great job. I just wish that the marquee had been left red instead of being repainted black. It has a very deadening effect on what is otherwise a lively facade, and doesn’t look original. However, if that’s the biggest flaw with the restoration I’ll be the first one to stand up and cheer.
Hello GabeDF. Since we have such similar interests, we should find a way to meet, or get in touch.
You’re right, no two 1920’s theatres are exactly alike (to my knowledge), but there are a few that are very similar. Shea’s Buffalo, though not a copy of the Uptown in Chicago, did borrow a lot of decorative items from it. There are the Fox theatres in Detroit and St. Louis. The Loew’s State in Syracuse, the 175th Street theatre and the 72nd Street Theatre (both in Manhattan) obviously used the same plaster molds. There was also a theatre, I think in Scranton Pa., which was as direct a copy of the original Rialto Theatre in Times Square as I think circumstances would allow.
Remember also that, as seriously as we take theatres, there were many architects and architecture critics in the 1920’s to whom american theatre architecture fell somewhere between an embarassment and a joke.
I just wanted to add to my comment above. If one compares a photograph of the chapel at the palace of Versailles with a photograph of the lobby of the Tivoli in Chicago you’ll have a perfect example of how architects back then were able to adapt ideas from other architects and buildings. Rapp and Rapp basically transplanted the chapel to Chicago, changed some detail, and “voila” one of the most beautiful theatre lobbies of all time is born!
Hello GabeDF. I’ve studied architecture, as an amateur, almost all my life, especially the architecture of the 1920’s, and I can tell you that architects of that period were quite comfortable copying from each other. They didn’t see it as plagarism (nor do I) as much as incorporating someone else’s good ideas. In fact, if an architect had an exceptionally good idea then it was considered ridiculous not to copy it. Also, remember that architecture based on classic styles, such as the style of the Loew’s Jersey, is based on a broad but limited “vocabulary” of forms and there are only so many combinations that are possible. This is why many buildings of the period bear a strong resemblance to each other.
As far as making sure that all three firms getting equal billing, I doubt it was an issue. If you look at opening day ads and publicity for any movie palace (including the 5 wonder theatres), it’s very rare that an architect gets any mention at all.
Having visited several theatres by Rapp and Rapp (including the Jersey), and by Lamb, I can tell you that I would be amazed if it turned out that Lamb designed the Jersey’s auditorium. Even when similar styles are used, different buildings bear the stamp of their different designers and the Jersey is obviously by Rapp and Rapp, and equally obviously not by Lamb.
No, this is definitely designed by the firm of Rapp and Rapp. It’s a documented fact. The style is similar to some of Lamb’s theatres which might be what’s confusing you.
This is where I probably get hissed off the site, but, and I say this without any animosity or venom, I’ve never seen any of the “Jaws” movies, and I really think “Grease” is lame. It’s just my opinion, so y'all be nice!
Richard, thank you very much for your lengthy and informative responses. The web site has some great photos. I’ve always admired Russian culture, not sure why. My background is 100% German, but the two places that have fascinated me the most are Scotland and Russia. Go figure.
Is there a way I can confidentially give you my email? I live in Gallup, N.M. and make the occasional trip to Tucson. It might be pleasant to meet face to face.
Simon L: I don’t mean to sound ignorant, but is “D-Day the 6th of June” the name of a movie?
Thanks for sharing Richard. As I think I’ve said before, I’m jealous that you simply got to be there. Now that you’ve opened the issue may I ask what you did when you were a performer, and how is retirement treating you (that is, assuming you’ve retired)?
SimonL, and Richard Holden; did you two think that it was a privilege to work at the Roxy, or was it just a job? I mean, was there a something special about working at the Roxy, even in the years leading up to its demolition? How did you two react when you learned that the Roxy was going to be torn down?
As long as people are sharing memories, what did the areas the I never see photos of look like? I specifically mean the lobby that led from the box offices to the rotunda, the balcony staircase, the lounges and such?
Simon and Warren, thank you for your answers. I enjoyed hearing about the amount of work required to keep this place running smoothly. I especially like the comment “Because the loge seated only 1,000 patrons….” The loge at the Roxy seated twice the number of an entire average theatre today, but because of the Roxy’s size it could be said with a straight face that its loge seated ONLY 1,000 people! Whew!!
Hello Simon L. You’re also welcome for the photos. I had heard that patrons could exchange tickets for seats in the loges, but I had never before known why. I wondered why people couldn’t make up their minds at the box office instead of exchanging tickets in the theatre. How did people keep track of what seats were available in the loges? Was there some kind of communication between the box office and the desk where tickets where exchanged?
Hi Richard, You’re welcome for the photos. I was happy to find them myself. Since I never had the good fortune to see the Roxy, photographs are the only way I can experience it (until someone discovers how to time travel). I’m jealous of you because you actually got to see this place live and in person.
In response to your post of April 14, in actuality before the automobile cities were even noiser, and dirtier too. Cars make a lot of racket what with horn blowing, engine noises, radios, and such, but if you read accounts of street noise in the day of the horse it was much worse. Imagine the noise created by thousands of iron shod horses continually passing by, pulling carts, carriages, and wagons, all with iron rimmed wheels, plus the frequent shouts of the teamsters (who were known for colorful language). Then add to that the droppings of all these animals getting ground into a powder by the constant traffic and then being blown into your eyes, nose and mouth. Yuchh. Articles I’ve read stated that pedestrians on the sidewalks of lower Broadway (which was Manhattan’s chief shopping district in the mid 19th century) would sometimes have to shout to talk above the racket.
A phote of Flatbush Avenue and Loew’s Kings during happier times can be seen here.
View link 33
My great aunt from West Orange had an annual tradition of going in to Manhattan every year to see the Christmas show at Radio City Music Hall. I’ve never seen it. I wish I had availed myself of the opportunity, because at today’s prices, and with no movie, I don’t think I ever will see it.
Yes. Especially when one has read the account of the Roxy’s opening night in “The Best Remaining Seats”, and then you see how it all ultimately ended. Unfortunately, the demolition photos are the only photos I’ve seen of the Roxy in color. It makes the theatre seem more real, which also makes the tragedy of its destruction more real also.
The photos of the demolition men working inside the darkened Roxy are the most heart rending photos I’ve seen on CT yet.
I assume that the windows were for office space because of the regularity of the fenestration, like an office building. The offices were probably rentals and not connected with the theatre from the inside. This was a common concept for many theatre buildings.
If you look at the photo at the top of this theatre’s page you can see that the windows don’t open into the auditorium portion of the building. It’s probable that the Bushwick didn’t have too large of a lobby, so I would think that the windows were there for office space.
I saw an exhibition of these posters about 20 or 30 years ago at the Memorial Art Gallery in Rochester. If anyone has a chance to go to MOMA and see them I highly recommend it!
According to the story that came with the posters, George Eastman did not like the mass produced garish look of the posters provided by the studios, so he hired Batiste Madalena to hand paint custom designed posters instead. Mr. Madalena stated that one of the challenges was to create posters that were tasteful, yet still bright and bold enough to be read from the passing streetcars.
One more reason to never return to Rochester
I’ve visited this theatre, and the people in charge seem to be doing a great job. I just wish that the marquee had been left red instead of being repainted black. It has a very deadening effect on what is otherwise a lively facade, and doesn’t look original. However, if that’s the biggest flaw with the restoration I’ll be the first one to stand up and cheer.
Hello GabeDF. Since we have such similar interests, we should find a way to meet, or get in touch.
You’re right, no two 1920’s theatres are exactly alike (to my knowledge), but there are a few that are very similar. Shea’s Buffalo, though not a copy of the Uptown in Chicago, did borrow a lot of decorative items from it. There are the Fox theatres in Detroit and St. Louis. The Loew’s State in Syracuse, the 175th Street theatre and the 72nd Street Theatre (both in Manhattan) obviously used the same plaster molds. There was also a theatre, I think in Scranton Pa., which was as direct a copy of the original Rialto Theatre in Times Square as I think circumstances would allow.
Remember also that, as seriously as we take theatres, there were many architects and architecture critics in the 1920’s to whom american theatre architecture fell somewhere between an embarassment and a joke.
Anyway, let us know what you find out.
I just wanted to add to my comment above. If one compares a photograph of the chapel at the palace of Versailles with a photograph of the lobby of the Tivoli in Chicago you’ll have a perfect example of how architects back then were able to adapt ideas from other architects and buildings. Rapp and Rapp basically transplanted the chapel to Chicago, changed some detail, and “voila” one of the most beautiful theatre lobbies of all time is born!
Hello GabeDF. I’ve studied architecture, as an amateur, almost all my life, especially the architecture of the 1920’s, and I can tell you that architects of that period were quite comfortable copying from each other. They didn’t see it as plagarism (nor do I) as much as incorporating someone else’s good ideas. In fact, if an architect had an exceptionally good idea then it was considered ridiculous not to copy it. Also, remember that architecture based on classic styles, such as the style of the Loew’s Jersey, is based on a broad but limited “vocabulary” of forms and there are only so many combinations that are possible. This is why many buildings of the period bear a strong resemblance to each other.
As far as making sure that all three firms getting equal billing, I doubt it was an issue. If you look at opening day ads and publicity for any movie palace (including the 5 wonder theatres), it’s very rare that an architect gets any mention at all.
Having visited several theatres by Rapp and Rapp (including the Jersey), and by Lamb, I can tell you that I would be amazed if it turned out that Lamb designed the Jersey’s auditorium. Even when similar styles are used, different buildings bear the stamp of their different designers and the Jersey is obviously by Rapp and Rapp, and equally obviously not by Lamb.
No, this is definitely designed by the firm of Rapp and Rapp. It’s a documented fact. The style is similar to some of Lamb’s theatres which might be what’s confusing you.
I might wait with “bated” breath. “Baited” breath would be someone with worms in their mouth.
This is where I probably get hissed off the site, but, and I say this without any animosity or venom, I’ve never seen any of the “Jaws” movies, and I really think “Grease” is lame. It’s just my opinion, so y'all be nice!
Richard, thank you very much for your lengthy and informative responses. The web site has some great photos. I’ve always admired Russian culture, not sure why. My background is 100% German, but the two places that have fascinated me the most are Scotland and Russia. Go figure.
Is there a way I can confidentially give you my email? I live in Gallup, N.M. and make the occasional trip to Tucson. It might be pleasant to meet face to face.
Simon L: I don’t mean to sound ignorant, but is “D-Day the 6th of June” the name of a movie?
Thanks for sharing Richard. As I think I’ve said before, I’m jealous that you simply got to be there. Now that you’ve opened the issue may I ask what you did when you were a performer, and how is retirement treating you (that is, assuming you’ve retired)?
SimonL, and Richard Holden; did you two think that it was a privilege to work at the Roxy, or was it just a job? I mean, was there a something special about working at the Roxy, even in the years leading up to its demolition? How did you two react when you learned that the Roxy was going to be torn down?
As long as people are sharing memories, what did the areas the I never see photos of look like? I specifically mean the lobby that led from the box offices to the rotunda, the balcony staircase, the lounges and such?
Simon and Warren, thank you for your answers. I enjoyed hearing about the amount of work required to keep this place running smoothly. I especially like the comment “Because the loge seated only 1,000 patrons….” The loge at the Roxy seated twice the number of an entire average theatre today, but because of the Roxy’s size it could be said with a straight face that its loge seated ONLY 1,000 people! Whew!!
Hello Simon L. You’re also welcome for the photos. I had heard that patrons could exchange tickets for seats in the loges, but I had never before known why. I wondered why people couldn’t make up their minds at the box office instead of exchanging tickets in the theatre. How did people keep track of what seats were available in the loges? Was there some kind of communication between the box office and the desk where tickets where exchanged?
Hi Richard, You’re welcome for the photos. I was happy to find them myself. Since I never had the good fortune to see the Roxy, photographs are the only way I can experience it (until someone discovers how to time travel). I’m jealous of you because you actually got to see this place live and in person.
View link
Here’s a view of the rotunda ceiling.
View link
This link takes you to a photo of the staircase to the loges, where it opened into the rotunda
Hi Bwayniteowl!
In response to your post of April 14, in actuality before the automobile cities were even noiser, and dirtier too. Cars make a lot of racket what with horn blowing, engine noises, radios, and such, but if you read accounts of street noise in the day of the horse it was much worse. Imagine the noise created by thousands of iron shod horses continually passing by, pulling carts, carriages, and wagons, all with iron rimmed wheels, plus the frequent shouts of the teamsters (who were known for colorful language). Then add to that the droppings of all these animals getting ground into a powder by the constant traffic and then being blown into your eyes, nose and mouth. Yuchh. Articles I’ve read stated that pedestrians on the sidewalks of lower Broadway (which was Manhattan’s chief shopping district in the mid 19th century) would sometimes have to shout to talk above the racket.