Radio City Music Hall

Video celebrating the December 27, 1932 grand opening of RCMH.

View link

Sorry Peter, my mistake. The Silver screen is used for 3D not the other one. We have about 4 different screens here for the different material that is shown. Vito, it IS great seeing all those people out the ports. You can here the oooooooo’s and aaaaaaaa’s with the 3D too.

RCDTJ,
Thanks for that info. I hope they continue with the 70mm and never switch to digital, as a projectionist for almost 30 years, before switching over to management, I always wanted to work the hall, but spent most of my early career working on Saten Island and Long Island theatres, as well as theares in Hawaii.
As I mentioned to REdres it has to be a thrill to look out that port and make a changeover with those thousands of people down there. I still remember during the 50s seeing those huge lines wrapped around the building and wondering how much fun working there had to be.

I have seen many many Christmas Shows at Radio City beginning back in 1950 or so. I have just seen the 2006 show and I think the addition of the LED Wall is spectacular and is seamlessly incorporated into the design of the show. They use it creatively and is not obtrusive. I applaud them for constantly updating the show but still keeping a traditional overall feel. This is a new age— the age of the Cirque du Soleil spectacle — and so the Music Hall must keep up — at least in a technical sense. What the Music Hall has to watch is that children are not that impressed with this kind of show now —certainly not like I was— and I thought it was magic and still do. I am an older dad with three young children (twins at 12 years and one at 10). I’ve taken them to see the Christmas Show maybe five times in their short lives and this year I must sadly report I went alone. They said very kindly and thoughfully that they would go if I really wanted them to but that they had seen it and weren’t that interested . I didn’t press it because I wanted to get an expensive seat and could save the money. And maybe five times is abit much. I am not sure that they will want to take their children.
So the Music Hall has to be constantly updating and the trick is to keep it pure, contemporary and traditional all at the same time.
Of course, I really like it the really old way. A 42minute stage show and a great Movie.

Vito, we are still running the 3D 70MM 2 projector film. It has nothing to do with the new LED wall though. We actually use all 5 projectors during the show at one point or another. The show is pretty good even though they shortened it again this year. As far as the LED screen goes, it does function well though a lot of stage scenery has been taken out because of it. So it depends how you look at it. The screen adds to the show but personally I would like to still see all the old sets on stage that have been abolished by the new screen. Just my thoughts.

Thank you Jay for that informative link.
I can’t answer your question regarding film contract costs. I am sure things have changed since my day. I know a couple of film buyers (bookers) I often run into them at screenings and will pose the question.

To Vito:

I did some searching and found a news item regarding the new screen. Seems it an high defination video screen. Its a LED creation and the Music Hall was having problems with it and they sued in Federal Court back in May 2006 for the $4 million plus cost and the costs of installing it $1.8 million. Please see: View link
for the story I found. By the way what would the qualifications of a theatre have to be today for a theatre to get an exclusive film contract, and what might it cost the theatre more then a regular contract?

Anyone see the 2006 Christmas Show yet?

Tues 12/19/39 Astor (all seats reserved, twice daily) and Capitol (no reserved seats, 3 shows daily)

Christmas 1969
View link

Thanks Jay, I kinda thought I was not imaging things, I enjoyed reading you tell the whole communications story. :)
Oh yes, you are quite right “those were the days”. Indead!

Your right, some of us had a louder or softer “cluck” then others, but we always looked in the direction it was coming from as it could be one of your equals or one of the front of the house management or higher management. It was understood that all Music Hall employees knew that was the way the Service Staff communicated. After the party had our attention a number of established hand signals were given either asking a question, such as “check” – people sitting down or empty seats in your area, which Aisle were you filling now, or maybe open or close a door. Also a number of had signals had been established to the effect that managment wanted a line to move or a few hundred were headed in your direction NOW. Ah yes, those were the days…. I was reading most of the entries yesterday, and I noticed a number of them signed by “Warren” I knew a Warren who worked at The Hall. Actually he was a department head at time “Sound” and also I worked for him after a day shift downstairs at the front of the house, at Plaza Sound. This was a recording studio on the top floor of The Hall. I wonder if this Warren is one and the same? Thanksgiving will be here soon and that reminds me of the times some of us on the Service Staff marched in the Parade a few times I marched in 1961 and 1962.

I worked at Radio City Music Hall also. It was my first job out of high school. I was there for two, three year periods. First was July 1961 to May 1964. My second period was May 1967 to January 1970. I started as an evening usher for $1.00 a hour, and switched to days when management found out I was able to work days. I worked my way up to being one of the twelve assistant managers at the front of the house. I was usually upstairs in charge many a weekday matinee and evening shift. I will never forget The Hall and all the regular patrons,who had a 10 show subscription of tickets and all the opening matinees with top management coming down to view the first couple of days of a new show. I remember many a Opening Night as the time was getting close to the start of the Last Overture we would expect Mr. and Mrs. Gustave Eyssell (The Chairman Of the Board) to come down after having dinner for The Studio Apartment, on the upper floors, and see the show with other noted guests in attendance. I have met many a star, diplomats of The United Nations, and heads of State, and the New York State Officials and a few from Washington. All on the job.. Oh the memories. Jay F. Mould Just now RETIRED….Anybody remember me?