Prior to the 1953 debut of “The Robe,” the Roxy’s final stage-and-screen offering was Clifton Webb’s B&W “Mr. Scoutmaster” and an ice-skating revue with a dude ranch theme. After the last performances on Sunday, September 6th, dismantling of the “Ice Colorama” equipment began, but “Mr. Scoutmaster” remained as the bottom half of a double-bill. Taking top position was a “preview” of 20th-Fox’s soon-to-be released “Vicki,” a B&W suspenser
starring Jeanne Crain and Jean Peters. This combination continued until the Roxy closed for several days to complete refurbishments for the “Robe” premiere.
The magnificent Grand Fountain with reflecting pool became a neighborhood rendezvous spot, and hopefully will return, along with the cove lighting and floral arrangements that were so eye-catching.
Joan Roberts and Lee Dixon went on to play the major roles of “Laurey” and “Will Parker” in the original Broadway production of “Oklahoma!,” which opened on March 31st, 1943 at the St. James Theatre and changed musical history forever.
A good case could be made for Loew’s State as “flagship” of the circuit. Marcus Loew certainly intended that when the State first opened in 1921, adjacent to the new Loew’s HQ building at 1540 Broadway. The company inherited control of the five-year-old Capitol in 1924 as part of the merger that created MGM Pictures, but never marketed it to the general public as Loew’s Capitol until a modernization in 1959. The Capitol was the largest cinema in the world until the Roxy’s opening in 1927.
Listed in bold type as Mayfair in bottom left section of Loew’s offerings. Policy had been sub-run double features since Loew’s took over in 1935 as replacement for its demolished New York Theatre & Roof.
This was during the eight year period between 1935 and 1943 when the Capitol dropped stage shows, replacing them with an “Everything On the Screen” policy of a first-run feature and short subjects (including newsreel).
During this period, the Jefferson usually booked programs created for the Loew’s circuit, which had no outlet on 14th Street. By agreement between RKO and Skouras, RKO programming went to the larger and better situated Academy of Music.
Signage above the marquee connected to Garland’s sensational “comeback” in 1951 on the Palace stage, which started the ball rolling for a return to moviemaking with “A Star Is Born.” After its midtown run at the Paramount and Victoria, the Warner Bros. release was booked for the RKO neighborhood circuit.
Brooklyn’s second and larger Nitehawk will be opening here soon, according to the current issue of New York Magazine. There will be seven screens and a total of 650 seats, up from three screens and 186 at the first; a 2,500-square-foot kitchen, up from 750-sf. Also, a dedicated upstairs bar; a dumbwaiter to deliver food to the top floor for theater service; “Film Feasts,” wherein courses come out during the scene that inspired the food; more frequent live-music pre-cinema shows with local bands.
B&W photo of the screen has imperfections at the edges.
Was this a reserved seat or general admission? $9.50 would be equivalent to about $33 in 2018.
Much of B. Marcus Priteca’s 1922 remodeling has been revived after subsequent defacements.
Prior to the 1953 debut of “The Robe,” the Roxy’s final stage-and-screen offering was Clifton Webb’s B&W “Mr. Scoutmaster” and an ice-skating revue with a dude ranch theme. After the last performances on Sunday, September 6th, dismantling of the “Ice Colorama” equipment began, but “Mr. Scoutmaster” remained as the bottom half of a double-bill. Taking top position was a “preview” of 20th-Fox’s soon-to-be released “Vicki,” a B&W suspenser starring Jeanne Crain and Jean Peters. This combination continued until the Roxy closed for several days to complete refurbishments for the “Robe” premiere.
Previously uploaded under one of your alternate identities here
Renovations included the addition of a spectacular glass dome in the ceiling, just partially shown in this auditorium view towards the proscenium.
Inwood listed in section with “Artists and Models” as top feature. Loew’s ad is selective, and omits theatres with later runs than those.
Rio listed in section with “Kismet” as top feature.
The magnificent Grand Fountain with reflecting pool became a neighborhood rendezvous spot, and hopefully will return, along with the cove lighting and floral arrangements that were so eye-catching.
Joan Roberts and Lee Dixon went on to play the major roles of “Laurey” and “Will Parker” in the original Broadway production of “Oklahoma!,” which opened on March 31st, 1943 at the St. James Theatre and changed musical history forever.
September 15th was final day for “Seven Brides For Seven Brothers” and stage revue.
Apparently spent the entire season as a so-called “Summer Theater” with a mix of stage revivals and try-outs.
News item published on September 16th, 1954. Filming took place in the early hours of September 15th, after the cinema had closed for the night.
A good case could be made for Loew’s State as “flagship” of the circuit. Marcus Loew certainly intended that when the State first opened in 1921, adjacent to the new Loew’s HQ building at 1540 Broadway. The company inherited control of the five-year-old Capitol in 1924 as part of the merger that created MGM Pictures, but never marketed it to the general public as Loew’s Capitol until a modernization in 1959. The Capitol was the largest cinema in the world until the Roxy’s opening in 1927.
Listed in bold type as Mayfair in bottom left section of Loew’s offerings. Policy had been sub-run double features since Loew’s took over in 1935 as replacement for its demolished New York Theatre & Roof.
What a hideous substitute for a marquee. Hope it’s only temporary until they can afford a real one.
Trade ad for that record-breaking engagement displayed here
All of the surrounding caricatures are by Al Hirschfeld, who had an exclusive contract with MGM at the time for movie advertising.
As the Depression worsened, vaudeville was reduced to weekends only, with double features the rest of the time.
This was during the eight year period between 1935 and 1943 when the Capitol dropped stage shows, replacing them with an “Everything On the Screen” policy of a first-run feature and short subjects (including newsreel).
During this period, the Jefferson usually booked programs created for the Loew’s circuit, which had no outlet on 14th Street. By agreement between RKO and Skouras, RKO programming went to the larger and better situated Academy of Music.
Exterior view around that time uploaded here
By that decade, the vaudeville veteran had been wired for stereophonic sound, but most of the original decor remained.
Signage above the marquee connected to Garland’s sensational “comeback” in 1951 on the Palace stage, which started the ball rolling for a return to moviemaking with “A Star Is Born.” After its midtown run at the Paramount and Victoria, the Warner Bros. release was booked for the RKO neighborhood circuit.
Brooklyn’s second and larger Nitehawk will be opening here soon, according to the current issue of New York Magazine. There will be seven screens and a total of 650 seats, up from three screens and 186 at the first; a 2,500-square-foot kitchen, up from 750-sf. Also, a dedicated upstairs bar; a dumbwaiter to deliver food to the top floor for theater service; “Film Feasts,” wherein courses come out during the scene that inspired the food; more frequent live-music pre-cinema shows with local bands.