The New York was re-launched as the Globe Theatre on May 22nd, 1958, with the American premiere engagement of “The Vicious Breed,” a Swedish melodrama about juvenile delinquency. The original Globe had re-opened as the “legit” Lunt-Fontanne in April of that same year.
“GWTW” has having its first New York showing beyond Manhattan since its debut at the Capitol and Astor in December, 1939.
The epic was nearing the end of its continuous performance booking at the Capitol, but would continue indefinitely as a roadshow at the Astor. A staggered Loew’s circuit run would follow the Metropolitan.
MGM’s trade ad greatly exaggerated the size and shape of the screen used at the Music Hall for the B&W drama, which, of course, was accompanied by a stage revue.
Under development for five years and delayed by wartime restrictions, the Malverne Theatre finally opened on May 26th, 1947, with a single feature policy starting with the sub-run “It’s A Wonderful Life.” More details uploaded to the Photos Section.
Century’s Alan had its grand opening on the night of May 15th, 1947. Newspaper advertising neglected to mention the program,
but an earlier report claimed “It’s a Wonderful Life” and “Step By Step,” both then in wide sub-run engagements.
The New York premiere engagement was a month later, opening on February 22nd, the national holiday honoring Lincoln’s birth, at Radio City Music Hall. View ad here
The B&W drama had its world premiere the night before, with “First Lady” Eleanor Roosevelt as honored guest. During this exclusive engagement, the biopic was shown continuously during the day, and with one reserved seat performance at night.
This shows a side wall of the Loew Annex, a small office building on the south side of West 46th Street, around the corner from Loew’s State Theatre. The Annex was built to supplement the Loew’s HQ at 1540 Broadway and initially used by the vaudeville division. It was right next door to the HQ of trade journal Variety, which had an address of 154 West 46th Street. The Loew Annex might have been #156, but that’s just a guess.
The word “demolished” is open to debate. It seems possible that the original exterior walls of the auditorium were retained, and then the interior totally gutted for the new design.
News report published March 27th, 1930. The final movie roadshow, “Puttin' on the Ritz,” was moved to the Rivoli Theatre, but with continuous performances at regular prices.
When Radio Pictures ran short of films with roadshow potential, United Artists came to the rescue with Harry Richman’s feature debut in a spectacular musical with finale in two-strip Technicolor.
This was the first program change since the Music Hall adopted a screen/stage policy on January 11th with “Bitter Tea of General Yen” as the film. The New Roxy, now labeled the RKO Roxy to soothe complaints from the original Roxy, was also about to have the first program change of its screen/stage policy.
Produced by Sid Grauman, “Pageant of the Allies” featured a bevy of beauties in spectacular costumes representing nations in the “Great War” of 1914-18.
The Music Hall composed its own ads, and kept movie credits to a minimum because the space had to be shared with the stage revue. But even Columbia Pictures' marketing downplayed the connection because the original satire of the newspaper world had been drastically revamped into a romantic screwball comedy by casting Rosalind Russell as a leading character previously enacted by a man.
The New York was re-launched as the Globe Theatre on May 22nd, 1958, with the American premiere engagement of “The Vicious Breed,” a Swedish melodrama about juvenile delinquency. The original Globe had re-opened as the “legit” Lunt-Fontanne in April of that same year.
“GWTW” has having its first New York showing beyond Manhattan since its debut at the Capitol and Astor in December, 1939. The epic was nearing the end of its continuous performance booking at the Capitol, but would continue indefinitely as a roadshow at the Astor. A staggered Loew’s circuit run would follow the Metropolitan.
In her Hollywood debut, the Russian-born actress was hyped as an equal of Garbo and Dietrich, but she failed to stun critics or public.
The B&W western was filmed in standard 35mm, but projected on the wide screen installed at the Roxy for Fox’s 70mm Grandeur system.
An ad for this record-breaking engagement can be viewed here
MGM’s trade ad greatly exaggerated the size and shape of the screen used at the Music Hall for the B&W drama, which, of course, was accompanied by a stage revue.
Under development for five years and delayed by wartime restrictions, the Malverne Theatre finally opened on May 26th, 1947, with a single feature policy starting with the sub-run “It’s A Wonderful Life.” More details uploaded to the Photos Section.
Century’s Alan had its grand opening on the night of May 15th, 1947. Newspaper advertising neglected to mention the program, but an earlier report claimed “It’s a Wonderful Life” and “Step By Step,” both then in wide sub-run engagements.
The New York premiere engagement was a month later, opening on February 22nd, the national holiday honoring Lincoln’s birth, at Radio City Music Hall. View ad here
The B&W drama had its world premiere the night before, with “First Lady” Eleanor Roosevelt as honored guest. During this exclusive engagement, the biopic was shown continuously during the day, and with one reserved seat performance at night.
A brief video tour of the rejuvenated Kings Theatre can be viewed here
During this period in time, new movies were being launched simultaneously at both Paramounts, but, by necessity, with different stage offerings.
Loew’s Gates listed in section with “Pal Joey” as top feature.
This shows a side wall of the Loew Annex, a small office building on the south side of West 46th Street, around the corner from Loew’s State Theatre. The Annex was built to supplement the Loew’s HQ at 1540 Broadway and initially used by the vaudeville division. It was right next door to the HQ of trade journal Variety, which had an address of 154 West 46th Street. The Loew Annex might have been #156, but that’s just a guess.
A rare MGM booking for the world’s largest cinema, which was involved in bankruptcy proceedings and threatened with closure.
The word “demolished” is open to debate. It seems possible that the original exterior walls of the auditorium were retained, and then the interior totally gutted for the new design.
News report published March 27th, 1930. The final movie roadshow, “Puttin' on the Ritz,” was moved to the Rivoli Theatre, but with continuous performances at regular prices.
View of the block’s previous tenants can be found here
When Radio Pictures ran short of films with roadshow potential, United Artists came to the rescue with Harry Richman’s feature debut in a spectacular musical with finale in two-strip Technicolor.
Loew’s Criterion marquee displays “Tap Roots,” which opened there on August 25th, 1948.
This was the first program change since the Music Hall adopted a screen/stage policy on January 11th with “Bitter Tea of General Yen” as the film. The New Roxy, now labeled the RKO Roxy to soothe complaints from the original Roxy, was also about to have the first program change of its screen/stage policy.
New York followed on November 19th at the Astor Theatre in Times Square.
Produced by Sid Grauman, “Pageant of the Allies” featured a bevy of beauties in spectacular costumes representing nations in the “Great War” of 1914-18.
One of the Pickens Sisters featured in the stage show now has a theatre named for her in Newport, Rhode Island. CT listing here
The Music Hall composed its own ads, and kept movie credits to a minimum because the space had to be shared with the stage revue. But even Columbia Pictures' marketing downplayed the connection because the original satire of the newspaper world had been drastically revamped into a romantic screwball comedy by casting Rosalind Russell as a leading character previously enacted by a man.