“Titanic” had debuted at the Roxy Theatre (with stage show)…The 86th Street was the first of the RKO “nabes” to install a “Miracle Mirror” wide screen.
Kings listed in section with “The Stratton Story” as main feature. The B&W baseball biopic made its NYC debut at Radio City Music Hall (with stage revue).
The stage presentation was a condensed version of what proved to be the final edition of legendary “legit' revues produced on Broadway in NYC by George White and had run for 120 performances at the Alvin Theatre.
“At Dawn We Die” was a new title for the British-made “Tomorrow We Live,” which Republic Pictures acquired for USA release. Original title was already being used for a PRC thriller starring Ricardo Cortez and Jean Parker.
Even with 3-D projection and Polaroid viewers, I don’t think patrons could see anything but a “flat” version sitting in a car at ground level of a towering screen.
Still practiced in 2024, such advertising doesn’t tell us that much about actual attendance, which is the true test of popularity. At least, provide the average price of a ticket for that engagement. And “conventional motion picture theatre” is a new one on me. The indoor type as opposed to drive-ins?
The full-page ad was published in The New York Times on that date, a week after “That’s Entertainment” premiered as the Ziegfeld’s Memorial Day presentation. The flexible Federal holiday was celebrated on May 27th that year.
I’ve never seen any individual advertising for the Rainbow Theatre, but I’ve just noticed it listed in the bottom section of this April 1959 booking of “Gidget” and co-feature. Click here
By-passing Broadway, the exclusive engagement in downtown Brooklyn preceded a 73-theatre booking in neighborhoods throughout New York and New Jersey, with the Loew’s circuit as leader.
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.
“Titanic” had debuted at the Roxy Theatre (with stage show)…The 86th Street was the first of the RKO “nabes” to install a “Miracle Mirror” wide screen.
Side view of original auditorium as Colony Theatre.
Kings listed in section with “The Stratton Story” as main feature. The B&W baseball biopic made its NYC debut at Radio City Music Hall (with stage revue).
The stage presentation was a condensed version of what proved to be the final edition of legendary “legit' revues produced on Broadway in NYC by George White and had run for 120 performances at the Alvin Theatre.
“At Dawn We Die” was a new title for the British-made “Tomorrow We Live,” which Republic Pictures acquired for USA release. Original title was already being used for a PRC thriller starring Ricardo Cortez and Jean Parker.
The Eagle was the only site in Manhattan programmed with all five features.
Replaced on July 11th with “The Tamarind Seed” and new stage revue. Ad here
Even with 3-D projection and Polaroid viewers, I don’t think patrons could see anything but a “flat” version sitting in a car at ground level of a towering screen.
By that time, “Jane” had returned to the “Tarzan” series, with Brenda Joyce replacing Maureen O'Sullivan as soulmate.
Published in the entertainment section of the New York Herald-Tribune on June 11th, 1933.
Still practiced in 2024, such advertising doesn’t tell us that much about actual attendance, which is the true test of popularity. At least, provide the average price of a ticket for that engagement. And “conventional motion picture theatre” is a new one on me. The indoor type as opposed to drive-ins?
A vintage view of a street poster for Loew’s Woodside is currently displayed at the Forgotten New York website. Click here
The full-page ad was published in The New York Times on that date, a week after “That’s Entertainment” premiered as the Ziegfeld’s Memorial Day presentation. The flexible Federal holiday was celebrated on May 27th that year.
I’ve never seen any individual advertising for the Rainbow Theatre, but I’ve just noticed it listed in the bottom section of this April 1959 booking of “Gidget” and co-feature. Click here
By-passing Broadway, the exclusive engagement in downtown Brooklyn preceded a 73-theatre booking in neighborhoods throughout New York and New Jersey, with the Loew’s circuit as leader.
Except for the title, the B&W comedy had nothing in common with a prior Paramount classic starring the Marx Brothers.
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.
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.