By that time, the religious sign above marquee had been removed, revealing what was left of the glass panels of the lighting system that gave the Rainbow Theatre its name.
This was the first year since federal legislation changed observance of Memorial Day from a fixed date of May 30th to the final Monday in May.
As luck would have it, this ad was published on Sunday, May 30th, with Memorial Day following on Monday, May 31st.
The one-week stage engagement enabled the Marx Brothers to experiment with ideas and scenes for their next MGM comedy, “Go West.” Earlier in the month, they “tested” at the Michigan Theatre in downtown Detroit, with “Seventeen” on screen.
RCMH unveiled a new presentation just one day after its largest rival did. At that time, the Music Hall’s seating capacity was reported as 6,200, and the Roxy’s as 5,717.
The Roxy had dropped stage presentations in September of the previous year to become an exclusive showcase for CinemaScope features, starting with “The Robe,” and had no plans to change that “screen only” policy.
The original version of “Windjammer” in the rival Cinemiracle process opened in New York in 1958 as a reserved-seat roadshow at the Roxy Theatre, where it failed to live up to expectations and contributed to structural damage that ended with demolition of the “Cathedral of Motion Pictures” in the summer of 1960.
Kings listed with “Sailor Beware” as main feature…Easter Sunday fell on April 13th that year, at which time the Kings had been offering “Quo Vadis” as single feature.
Engagement opened on April 4th, with Easter Sunday arriving on April 14th that year. Opening week gross was a reported $233,825, claimed to be the highest in Music Hall history up to that time.
Management certainly has the right to capitalize a theatre’s name in signage and in its own advertising/publicity, but it has always been the practice in newspapers, trade journals, and such to capitalize just the first letter of the name. Note the caption to this photo of the Garmar from Boxoffice Magazine. [Click here[ (https://cinematreasures.org/theaters/2057/photos/244427)
By that time, the religious sign above marquee had been removed, revealing what was left of the glass panels of the lighting system that gave the Rainbow Theatre its name.
Translucent glass lighting system above the marquee was covered by signage proclaiming “Jesus Is Lord.”
A lengthy article about the re-opening, covering two full pages of the Arts Section of The New York Times, was published yesterday (5/26). Link here
This was the first year since federal legislation changed observance of Memorial Day from a fixed date of May 30th to the final Monday in May. As luck would have it, this ad was published on Sunday, May 30th, with Memorial Day following on Monday, May 31st.
“See It Big at the ‘90s Multiplex” is the title of a new revival series starting tomorrow. Details here
The one-week stage engagement enabled the Marx Brothers to experiment with ideas and scenes for their next MGM comedy, “Go West.” Earlier in the month, they “tested” at the Michigan Theatre in downtown Detroit, with “Seventeen” on screen.
This was a second-run “Premiere Showcase.” New York premiere of “Charade” was part of Radio City Music Hall’s Christmas Holiday Presentation of 1963.
Newcomer Bob Hope, who recently scored a hit in the Broadway “legit” musical “Roberta,” topped the Capitol’s stage offering.
RCMH unveiled a new presentation just one day after its largest rival did. At that time, the Music Hall’s seating capacity was reported as 6,200, and the Roxy’s as 5,717.
The Roxy had dropped stage presentations in September of the previous year to become an exclusive showcase for CinemaScope features, starting with “The Robe,” and had no plans to change that “screen only” policy.
SPAMER!
Exclusive first-run in Brooklyn for the 3-D shocker, following its premiere engagement at the Paramount Theatre in Times Square.
At the Kings, Lana Turner shared the screen with the Frankenstein monster and the Wolf Man.
The original version of “Windjammer” in the rival Cinemiracle process opened in New York in 1958 as a reserved-seat roadshow at the Roxy Theatre, where it failed to live up to expectations and contributed to structural damage that ended with demolition of the “Cathedral of Motion Pictures” in the summer of 1960.
“Up in Arms” was Danny Kaye’s first feature movie, and had debuted at Radio City Music Hall (with stage revue).
Patrons that day could see “Conspirator” plus last performances of “The Reformer and the Redhead” and its supporting stage offering.
Remembering Shirley Temple, who would have turned 96 yesterday (April 23rd) and was one of the most adored cinema stars of the Depression era.
Kings listed with “Sailor Beware” as main feature…Easter Sunday fell on April 13th that year, at which time the Kings had been offering “Quo Vadis” as single feature.
Engagement opened on April 4th, with Easter Sunday arriving on April 14th that year. Opening week gross was a reported $233,825, claimed to be the highest in Music Hall history up to that time.
Management certainly has the right to capitalize a theatre’s name in signage and in its own advertising/publicity, but it has always been the practice in newspapers, trade journals, and such to capitalize just the first letter of the name. Note the caption to this photo of the Garmar from Boxoffice Magazine. [Click here[ (https://cinematreasures.org/theaters/2057/photos/244427)
Covering the full width of a page, the display included news items about the B&W comedy and supporting short subjects.
No digging is required in this announcement by Live Nation about its booking/management connection to the rejuvenated Brooklyn Paramount. Click here
I don’t understand why all letters of United need to be capitalized. Don’t recall ever seeing a theatre name treated like that.
Seating capacity reported as 750.
David O. Selznick’s “indie” production was distributed by United Artists…Easter Sunday arrived on April 12th that year.