Four months after a record-breaking stage booking with “Call Me Mister” on screen, Danny Kaye returned to the Roxy on celluloid in a Technicolor romp in which he portrayed multiple roles.
The B&W melodrama by the author of “All Quiet On the Western Front” was Hollywood’s boldest exposure of Nazi tyranny yet. Co-producer David Loew was one of the twin sons of Marcus Loew.
Stage shows were suspended for the duration of this “Extraordinary double-hit screen program.” At the Academy Awards ceremony held on March 24th, the only winners were Jane Wyman, Walter Huston, and his son John (for both direction and screenplay).
Danny Kaye returned to the Roxy’s stage just under two years later with “Call Me Mister” on screen, opening on January 31st, 1951. See ad previously uploaded.
The grand opening to the public was on November 21st, 1950, with a gala performance the night before for the benefit of the scholarship fund of the Chicago Musical College. See ad uploaded to the photo section.
Opening on the national holiday honoring George Washington’s birth on February 22nd, the booking packed Times Square with teenagers throughout the run.
Special events nightly at the Uptown exclusively included sing-a-longs with audience participation. Note details in the space across the top of the ad.
After the Music Hall, “Snow White” moved to a simultaneous run at the RKO Palace in midtown and RKO Albee in Brooklyn prior to neighborhood release on the RKO circuit.
Excerpted from Variety’s “New Acts” section of February 16th, 1938. Box office takings for the week were reported to be around $30,000, and about $10,000 above the previous week’s program.
Garland was on a national tour which proved so successful that MGM assigned her to “The Wizard of Oz” when she returned to Hollywood…Note Abbott & Costello
among the supporting stage talent. The B&W feature was direct from its premiere engagement at Radio City Music Hall.
The animated cartoon feature had broken all records at the Music Hall, but finally had to be pulled to make way for the world premiere of Selznick’s Technicolored “The Adventures of Tom Sawyer” on February 17th. A new phone number was provided to order advance tickets for the reserved-seat mezzanine.
“Meet Me in St. Louis” had already played a record-breaking engagement directly across Broadway at the Astor Theatre.
The shuttered theatre at left was a local landmark until demolition in the late 1950s.
Orpheum listed in section with “Halls of Montezuma” as main feature.
Warwick listed in section with “Kim” as main feature.
The Al Jolson biopic was a “move-over” from the RKO Orpheum, where it played its premiere engagement for the southern USA.
The opening “Three Little Girls in Blue” was already three years old by that time, a distribution delay that was typical for drive-ins in that era.
Four months after a record-breaking stage booking with “Call Me Mister” on screen, Danny Kaye returned to the Roxy on celluloid in a Technicolor romp in which he portrayed multiple roles.
The B&W melodrama by the author of “All Quiet On the Western Front” was Hollywood’s boldest exposure of Nazi tyranny yet. Co-producer David Loew was one of the twin sons of Marcus Loew.
An appropriate booking for the Memorial Day holiday period of that year.
Previous marquee from “legit” era pictured at lower left.
Stage shows were suspended for the duration of this “Extraordinary double-hit screen program.” At the Academy Awards ceremony held on March 24th, the only winners were Jane Wyman, Walter Huston, and his son John (for both direction and screenplay).
Articles in 1925 issues of Exhibitor’s Trade Review and Architectural Forum cite Charles A. Sandblom as architect of the Jackson Theatre.
This shows the auditorium of the Colony Theatre in the Shaker Heights district of Cleveland, Ohio.
The stadium section at rear was eventually sub-divided and turned into two “screens” for the Jackson Triplex.
Not a photo of the Capitol Theatre, which had an atmospheric auditorium designed by John Eberson.
Danny Kaye returned to the Roxy’s stage just under two years later with “Call Me Mister” on screen, opening on January 31st, 1951. See ad previously uploaded.
The grand opening to the public was on November 21st, 1950, with a gala performance the night before for the benefit of the scholarship fund of the Chicago Musical College. See ad uploaded to the photo section.
Vintage photo courtesy of Wilton Rugs, which manufactured the high pile carpeting used throughout the Music Hall.
Opening on the national holiday honoring George Washington’s birth on February 22nd, the booking packed Times Square with teenagers throughout the run.
Special events nightly at the Uptown exclusively included sing-a-longs with audience participation. Note details in the space across the top of the ad.
This should have a Previous Name listing as Brandt’s Rialto, which was used for much of its existence.
After the Music Hall, “Snow White” moved to a simultaneous run at the RKO Palace in midtown and RKO Albee in Brooklyn prior to neighborhood release on the RKO circuit.
Excerpted from Variety’s “New Acts” section of February 16th, 1938. Box office takings for the week were reported to be around $30,000, and about $10,000 above the previous week’s program.
Garland was on a national tour which proved so successful that MGM assigned her to “The Wizard of Oz” when she returned to Hollywood…Note Abbott & Costello among the supporting stage talent. The B&W feature was direct from its premiere engagement at Radio City Music Hall.
The animated cartoon feature had broken all records at the Music Hall, but finally had to be pulled to make way for the world premiere of Selznick’s Technicolored “The Adventures of Tom Sawyer” on February 17th. A new phone number was provided to order advance tickets for the reserved-seat mezzanine.