This took place a day prior to the New York engagement of the romantic caper at Radio City Music Hall, which was then in the 33rd year of its screen/stage policy.
These were the first 3-D bookings in Manhattan for “Kiss Me Kate,” which debuted “flat” at Radio City Music Hall, followed by an exclusive 3-D launch at Loew’s Metropolitan in downtown Brooklyn.
In a review, the NYT’s Janet Maslin described the movie as the Music Hall’s “latest ill-advised lulu.” The original “Lassie Come Home” had opened there nearly 35 years before, in October, 1943.
Hardly “the first in the world to show talking pictures.”
But if the rejuvenation really proves close to the original, the BP will wipe the Kings off the map. Much larger and more spectacular, and by the same architectural firm, the BP is better situated due to easy access to subways, buses, and LIRR.
In a review of the stage show, VARIETY noted that “Lenny Bruce is a comic. His routine consists of vocally mimicking the usual stars. It isn’t until he does an impresh of a Bavarian m.c. aping U.S. filmites that his act begins to click. It’s a clever approach that pays off in sock applause. He’s young, personable, and shows good possibilities.” The “usual stars” probably included
James Cagney, Humphrey Bogart, and Edward G. Robinson,
who were among Bruce’s personal idols.
The Queens Courier of 5/25/17 reported that the removal of “historical material” will begin in June, and the demolition of the non-landmarked surrounding building will start in late October. The new building will start construction in April 2018, and is expected to be completed two years later (2020). Full article and sketch of entrance to new building can be found here:
http://qns.com/story/2017/05/17/photos-luxury-condos-built-atop-flushings-landmarked-rko-keiths-theater/
This was apparently a special event sponsored by a radio station and Spit(?). I couldn’t find any advertising or reportage in Newsday. But an ad for UA Theatres has the Hicksville’s screen #2 with daytime programming only, so that must have been the venue.
Melba receives special mention for bonus “Vodvil”…Apache Indians headed for Kings, Oriental, and Coney Island (before vanishing into the Atlantic Ocean?).
“The Postman Always Rings Twice” opened at the Capitol earlier that year. Both movies were supported by stage shows, a policy resumed by the Capitol in 1943 after an eight-year suspension.
Astor played day-and-date with the Capitol Theatre on “Quo Vadis” and with the same arrangements as they had with “Gone With the Wind” in 1939: reserved seat 2-a-day at the Astor and continuous performances at the Capitol
This was the second and last exception to the “Everything on the screen” policy that prevailed at the Capitol from 1935-43. MGM and Eddie Cantor himself were nervous about his return to moviemaking in a sentimental comedy-drama that was different from anything he’d done before. In August of the previous year, the Capitol had coupled “The Wizard of Oz” with stage support from Judy Garland and Mickey Rooney.
This took place a day prior to the New York engagement of the romantic caper at Radio City Music Hall, which was then in the 33rd year of its screen/stage policy.
These were the first 3-D bookings in Manhattan for “Kiss Me Kate,” which debuted “flat” at Radio City Music Hall, followed by an exclusive 3-D launch at Loew’s Metropolitan in downtown Brooklyn.
“Broadway Melody of 1936” followed on January 4th.
In a review, the NYT’s Janet Maslin described the movie as the Music Hall’s “latest ill-advised lulu.” The original “Lassie Come Home” had opened there nearly 35 years before, in October, 1943.
Hardly “the first in the world to show talking pictures.” But if the rejuvenation really proves close to the original, the BP will wipe the Kings off the map. Much larger and more spectacular, and by the same architectural firm, the BP is better situated due to easy access to subways, buses, and LIRR.
In a review of the stage show, VARIETY noted that “Lenny Bruce is a comic. His routine consists of vocally mimicking the usual stars. It isn’t until he does an impresh of a Bavarian m.c. aping U.S. filmites that his act begins to click. It’s a clever approach that pays off in sock applause. He’s young, personable, and shows good possibilities.” The “usual stars” probably included James Cagney, Humphrey Bogart, and Edward G. Robinson, who were among Bruce’s personal idols.
This was the final marquee for the Criterion Theatre, which was closed and demolished in the following year.
The Queens Courier of 5/25/17 reported that the removal of “historical material” will begin in June, and the demolition of the non-landmarked surrounding building will start in late October. The new building will start construction in April 2018, and is expected to be completed two years later (2020). Full article and sketch of entrance to new building can be found here: http://qns.com/story/2017/05/17/photos-luxury-condos-built-atop-flushings-landmarked-rko-keiths-theater/
Twenty singers performed in every stage show seven days a week, but a total of 25 were employed to facilitate days-off and vacations.
“Call Me Madam” and “By the Light of the Silvery Moon” followed Easter holiday showcasing at the Roxy and Radio City Music Hall, respectively.
Flash! The 86th Street has a newly installed “Giant Miracle Mirror Screen.”
Hicksville Twin listed in fourth section from top. No evening programming given for second screen.
This was apparently a special event sponsored by a radio station and Spit(?). I couldn’t find any advertising or reportage in Newsday. But an ad for UA Theatres has the Hicksville’s screen #2 with daytime programming only, so that must have been the venue.
This was still the single screen modernization of the Arcadia Theatre, which had been done in 1952.
Grand Theatre listed in section with “Road To Singapore” as top feature.
Shared with the Murray Hill on East 34th Street.
Published in the USA in January, 1937.
Melba receives special mention for bonus “Vodvil”…Apache Indians headed for Kings, Oriental, and Coney Island (before vanishing into the Atlantic Ocean?).
Advertised on Sunday, May 14th, 1933, the “Mother’s Day” for that year.
“The Postman Always Rings Twice” opened at the Capitol earlier that year. Both movies were supported by stage shows, a policy resumed by the Capitol in 1943 after an eight-year suspension.
Photo taken during its mostly “legit” career, here with a Yiddish musical comedy starring the incomparable Molly Picon.
CinemaScope described as “NEW, IMPROVED,” but with no reasons why.
Thanks for the correction, Terry. I guess I neglected to proofread the date before uploading.
Astor played day-and-date with the Capitol Theatre on “Quo Vadis” and with the same arrangements as they had with “Gone With the Wind” in 1939: reserved seat 2-a-day at the Astor and continuous performances at the Capitol
This was the second and last exception to the “Everything on the screen” policy that prevailed at the Capitol from 1935-43. MGM and Eddie Cantor himself were nervous about his return to moviemaking in a sentimental comedy-drama that was different from anything he’d done before. In August of the previous year, the Capitol had coupled “The Wizard of Oz” with stage support from Judy Garland and Mickey Rooney.