This was a reserved-seat roadshow booking limited to two weeks because of the Colonial’s Shubert stage play commitments. MGM was unhappy with the results and withdrew the Technicolor extravaganza from release until the following spring, as “Ziegfeld Follies of 1946.”
For the exhibition side of the industry, Vincent Canby was probably the most knowledgeable critic/reporter that The New York Times ever had. Prior to joining the NYT, Canby had many years of experience covering exhibition for Variety and before that for Quigley’s Motion Picture Herald.
In remembrance of the legendary child star and singer Bobby Breen, who died last week at age 87, I’m posting an ad for a unique achievement at Radio City Music Hall. Back in December, 1936, Breen dominated the Christmas holiday show, with his movie “Rainbow on the River” on screen, and with the boy soprano himself performing in the stage show. Costumed as a young shepherd in the “Nativity” pageant, Breen sang “Cantique de Noel,” accompanied by the Music Hall’s resident chorus and symphony orchestra.
The marquee displayed the title incorrectly as two words. According to Preston Kaufmann’s monumental book on the Fox Theatre, “Lifeboat” grossed a disappointing $23,305 in its first and only week there, with “Charlie Chan in the Secret Service” for support. An average week’s gross for the Fox in 1944 was $26,541, according to Kaufmann’s statistics.
The main feature was a compilation of scenes from old B&W horror films, and shouldn’t be confused with a later British color shocker with the same title.
The State’s first offering of the inaugural season of the New York World’s Fair had a major Hollywood star topping the stage bill. All Loew’s theatres were looking forward to serving out-of-town visitors to the Fair, which would open on April 30th.
Nearly a year later, “Wilson” returned to the Roxy on July 25th, 1945, this time at “regular prices” and with a more conventional stage bill headed by Dick Haymes, Helen Forrest, and comedian Joe Besser. In the interim, “Wilson” did a move-over to the Victoria Theatre on Broadway, and then played selected neighborhood houses, all at advanced prices.
Two months after teaming on the Capitol’s stage during the run of “The Wizard of Oz,” MGM’s young sensations returned on celluloid only. The theatre had resumed the “Everything on the screen” policy adopted in 1935.
With Danny Kaye as the undoubted draw, the booking’s first week broke all attendance records in the Chicago’s 25-year history. Due to prior commitments, Kaye could remain for only a second week.
This was a reserved-seat roadshow booking limited to two weeks because of the Colonial’s Shubert stage play commitments. MGM was unhappy with the results and withdrew the Technicolor extravaganza from release until the following spring, as “Ziegfeld Follies of 1946.”
The movie’s producer, Arthur Loew, Jr., was a grandson of two of the industry’s most influential pioneers, Marcus Loew AND Adolph Zukor.
How could this be a grand opening ad if “Is Everybody Happy?” was in its final day there?
The religious pageant that opened the Christmas shows had not yet been entitled “The Nativity,” and is called “Peace on Earth” in this ad.
For the exhibition side of the industry, Vincent Canby was probably the most knowledgeable critic/reporter that The New York Times ever had. Prior to joining the NYT, Canby had many years of experience covering exhibition for Variety and before that for Quigley’s Motion Picture Herald.
Opened on the night of September 28th, 1966, as a reserved-seat roadshow, with “live” TV coverage by the local WNEW-Channel 5.
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In remembrance of the legendary child star and singer Bobby Breen, who died last week at age 87, I’m posting an ad for a unique achievement at Radio City Music Hall. Back in December, 1936, Breen dominated the Christmas holiday show, with his movie “Rainbow on the River” on screen, and with the boy soprano himself performing in the stage show. Costumed as a young shepherd in the “Nativity” pageant, Breen sang “Cantique de Noel,” accompanied by the Music Hall’s resident chorus and symphony orchestra.
The marquee displayed the title incorrectly as two words. According to Preston Kaufmann’s monumental book on the Fox Theatre, “Lifeboat” grossed a disappointing $23,305 in its first and only week there, with “Charlie Chan in the Secret Service” for support. An average week’s gross for the Fox in 1944 was $26,541, according to Kaufmann’s statistics.
The main feature was a compilation of scenes from old B&W horror films, and shouldn’t be confused with a later British color shocker with the same title.
The Bay Terrace opened during the inaugural season of the New York World’s Fair of 1964-65.
The State’s first offering of the inaugural season of the New York World’s Fair had a major Hollywood star topping the stage bill. All Loew’s theatres were looking forward to serving out-of-town visitors to the Fair, which would open on April 30th.
At that time, seating capacity was around 3,700.
This has had 27,921 viewings and not even one comment until now, five years after the uploading?
Nearly a year later, “Wilson” returned to the Roxy on July 25th, 1945, this time at “regular prices” and with a more conventional stage bill headed by Dick Haymes, Helen Forrest, and comedian Joe Besser. In the interim, “Wilson” did a move-over to the Victoria Theatre on Broadway, and then played selected neighborhood houses, all at advanced prices.
This was the Strand’s first offering for the inaugural season of the New York World’s Fair, which started two days later.
The film opened the same day at the Paramount Theatre in Times Square, but with separate ads and, of course, different stage offerings.
Film opened the same day at the Brooklyn Paramount, but with separate advertising and, of course, different stage presentations.
With reserved seats selling four weeks in advance, the B&W epic was expected to benefit from the New York World’s Fair, due to open on April 30th.
Two months after teaming on the Capitol’s stage during the run of “The Wizard of Oz,” MGM’s young sensations returned on celluloid only. The theatre had resumed the “Everything on the screen” policy adopted in 1935.
Curious double feature, topped by Gary Cooper and supported by John Wayne!
The nostalgic musical was Alice Faye’s first feature in color, and offered a special guest appearance by Al Jolson.
The previous evening, a gala screening was held for the benefit of the American-Korean Foundation, with reserved seats sold-out well in advance.
The stage revue included “Kol Nidrei,” the Music Hall’s annual pageant for the Jewish High Holy Days.
With Danny Kaye as the undoubted draw, the booking’s first week broke all attendance records in the Chicago’s 25-year history. Due to prior commitments, Kaye could remain for only a second week.