According to research in The New York Times, the Modern Playhouse first opened nearly eighty years ago, on September 13th, 1936, with the American premiere of the Hungarian-made “The New Landlord.” An incomplete address of “Third Avenue near 81st Street” was given…A subsequent review of the new cinema in Variety gave a seating capacity of 300, but no address except for the “upper reaches of Third Avenue.” The trade weekly
attributed ownership to Danuba Pictures, whose chief executive, Eugene J. Lang, also managed the theatre.
The Modern Playhouse would show Hungarian films exclusively, under a contract between Danuba and eight Magyar production companies. For at least its inaugural period, the Playhouse employed an emcee billed as “Mr. Szemere,” who told jokes and anecdotes about the homeland during a ten-minute interval between the short subjects and feature. Admission was 25 cents for matinees and 35 cents at night. NYC’s Hungarian population was estimated to be about 100,000 at the time, and had its own newspaper which Modern Playhouse would use for advertising and publicity.
In the Photos Section, I uploaded a poster and details for the Mel Brooks event back on August 10th, so Cinema Treasures did provide members with advance notice of the event.
This proved to be the final Labor Day holiday presentation in the Roxy’s history. The movie was also the last made by Mario Lanza, who died just under two months later at age 38.
This ad is somewhat of a puzzler. “3rd month in Boston starts today” at the top suggests the Metropolitan in that city, and not the one in Providence. Also, both theatres had more than 3,000 seats. I can’t imagine an Italian import running for three months unless the original seating capacity had been drastically reduced.
On September 2nd, 1944, this had a re-launching as the 48th St. Cinema, advertised as “New York’s Newest Luxury Theatre.” On opening day, and again on the Labor Day holiday, special matinees for children were held, offering a “live” puppet show.
Both theatres were under Walter Reade management at the time.
Olivia de Havilland portrayed twin sisters in the B&W melodrama, with double advertising to further confuse.
This was the Chicago’s Labor Day holiday presentation for that year.
According to research in The New York Times, the Modern Playhouse first opened nearly eighty years ago, on September 13th, 1936, with the American premiere of the Hungarian-made “The New Landlord.” An incomplete address of “Third Avenue near 81st Street” was given…A subsequent review of the new cinema in Variety gave a seating capacity of 300, but no address except for the “upper reaches of Third Avenue.” The trade weekly attributed ownership to Danuba Pictures, whose chief executive, Eugene J. Lang, also managed the theatre. The Modern Playhouse would show Hungarian films exclusively, under a contract between Danuba and eight Magyar production companies. For at least its inaugural period, the Playhouse employed an emcee billed as “Mr. Szemere,” who told jokes and anecdotes about the homeland during a ten-minute interval between the short subjects and feature. Admission was 25 cents for matinees and 35 cents at night. NYC’s Hungarian population was estimated to be about 100,000 at the time, and had its own newspaper which Modern Playhouse would use for advertising and publicity.
The day before, patrons could see “Lydia Bailey” in addition to the exiting “Kangaroo!” and its stage show.
Wood and Wagner were married at the time, later divorced, and re-married in 1972.
The B&W comedy was filmed in 1941, but couldn’t be distributed until the long-running Broadway play closed, which didn’t happen until June 17th, 1944.
Opened on August 11th, 1960, and ran for a total of six weeks.
This newspaper cartoon by the great Don Freeman needs to be examined closely for maximum enjoyment.
Programs changed daily.
In the Photos Section, I uploaded a poster and details for the Mel Brooks event back on August 10th, so Cinema Treasures did provide members with advance notice of the event.
This display for the south wall of the Broadway entrance includes the supporting short subjects as well as the feature.
This proved to be the final Labor Day holiday presentation in the Roxy’s history. The movie was also the last made by Mario Lanza, who died just under two months later at age 38.
This ad is somewhat of a puzzler. “3rd month in Boston starts today” at the top suggests the Metropolitan in that city, and not the one in Providence. Also, both theatres had more than 3,000 seats. I can’t imagine an Italian import running for three months unless the original seating capacity had been drastically reduced.
Listed as New Classique, with a daily change of program.
This was the Roxy’s stage and screen presentation for the Labor Day holiday period of that year.
On September 2nd, 1944, this had a re-launching as the 48th St. Cinema, advertised as “New York’s Newest Luxury Theatre.” On opening day, and again on the Labor Day holiday, special matinees for children were held, offering a “live” puppet show.
A Labor Day holiday release that opened at three New York City cinemas on August 31st, 1966.
The film’s Gordon MacRae and Patrice Wymore also performed in the stage show.
The nearly instant classic ran through the Labor Day holiday period and until the end of September, for a total of seven weeks.
This was an historic “first” for the Roxy, with a concert by a famous symphony orchestra replacing the traditional stage show.
The Cove and some other theatres listed apparently had no air-conditioning, or at least not by refrigeration.
Supported by a stage show, “Shane” opened at the Music Hall on April 23rd, 1953.
This is a first-time upload, and not one of those retreads that another member quaintly calls a “toe flip.”
The Technicolor comedy marked the second teaming of Bob Hope and Lucille Ball, and their first in color.