This proved to be the highest grossing Christmas show in the Roxy’s history, due primarily to the movie’s fidelity to the scorching best-selling novel. During the week between Christmas and New Year’s, sidewalk waiting lines were often as long as those at Radio City Music Hall, where “Sayonara” shared the bill with the traditional holiday revue.
Instead of the traditional Thursday, this replacement for the Christmas show opened on a Saturday. The B&W epic, which had already opened to smash business in other major cities, was supported by a new Leonidoff revue entitled “Manhattan Melody.”
The Christmas holiday presentation ran for two weeks and two days, ending on December 29th, and enabling the Music Hall to boost attendance with an entirely different program for the New Year’s period.
Lasting for several months, the Golden Jubilee celebration used 1904 as the starting date for Marcus Loew’s showbiz empire under the name of People’s Vaudeville Company.
The cinema was originally called the Opal and opened in 1913, according to Jack Tillmany’s “Theatres of San Francisco,” which gives an address of 3040 Sixteenth Street. No date is given for the name change to Cameo, which closed forever in 1952.
Stage actor Percy Kilbride repeated a role that he played in the original Broadway play, and stayed on in Hollywood to become a character star as “Pa” Kettle in “The Egg & I” and its spin-off sequels.
Back then, the national holiday honoring Christopher Columbus had a fixed date of October 12th, regardless of what day of the week that it fell on. In 1949, it was on a Wednesday.
The Technicolor operetta, with a score by Sigmund Romberg and Oscar Hammerstein II, opened at Warners' Theatre as a reserved-seat roadshow on the night of November 26th, 1930.
To prove to a skeptical TV industry that the public would accept them as a team, Lucille Ball and husband Desi Arnaz put together a stage act, which did a week’s try-out at the Chicago Theatre in that city before the Roxy.
By this time in its history, the Egyptian was usually on a “track” with two or three first-runs in other parts of sprawling Los Angeles.
Date was December 26th, 1950.
The 72nd Street is listed in the group with “High Noon.”
“Bombshell” also opened that same day in downtown Brooklyn at Loew’s Metropolitan, with vaudeville on stage.
At the same time, the auditorium was also modernized.
This proved to be the highest grossing Christmas show in the Roxy’s history, due primarily to the movie’s fidelity to the scorching best-selling novel. During the week between Christmas and New Year’s, sidewalk waiting lines were often as long as those at Radio City Music Hall, where “Sayonara” shared the bill with the traditional holiday revue.
Instead of the traditional Thursday, this replacement for the Christmas show opened on a Saturday. The B&W epic, which had already opened to smash business in other major cities, was supported by a new Leonidoff revue entitled “Manhattan Melody.”
The Christmas holiday presentation ran for two weeks and two days, ending on December 29th, and enabling the Music Hall to boost attendance with an entirely different program for the New Year’s period.
Claimed a “New Look” and a new policy of daily program changes and bargain admission prices.
Lasting for several months, the Golden Jubilee celebration used 1904 as the starting date for Marcus Loew’s showbiz empire under the name of People’s Vaudeville Company.
The Columbus Day holiday attraction for that year.
The cinema was originally called the Opal and opened in 1913, according to Jack Tillmany’s “Theatres of San Francisco,” which gives an address of 3040 Sixteenth Street. No date is given for the name change to Cameo, which closed forever in 1952.
According to the report, the Cameo used the four walls and roof of the former Frolic, but had an entirely new entrance and interior.
Stage actor Percy Kilbride repeated a role that he played in the original Broadway play, and stayed on in Hollywood to become a character star as “Pa” Kettle in “The Egg & I” and its spin-off sequels.
The B&W operetta, with Ilona Massey in her first major screen role, was having its world premiere engagement.
Photo cropped from ad for Mov-Ezy Seating Company. Patriotic banner on rear wall suggests that theatre had recently opened.
Single-named “Tony” at the top would be the band’s leader, Tony Pastor.
Back then, the national holiday honoring Christopher Columbus had a fixed date of October 12th, regardless of what day of the week that it fell on. In 1949, it was on a Wednesday.
The Roxy’s Labor Day holiday presentation for that year.
Tony Pastor’s Band, one of the most popular of the time, is shown here. The leader’s name is spelled out across the bandstands.
This was also the Capitol’s Thanksgiving holiday presentation for that year.
Temporary streamers above the marquee plugged the current “Moby Dick,” with John Barrymore.
The Technicolor operetta, with a score by Sigmund Romberg and Oscar Hammerstein II, opened at Warners' Theatre as a reserved-seat roadshow on the night of November 26th, 1930.
To prove to a skeptical TV industry that the public would accept them as a team, Lucille Ball and husband Desi Arnaz put together a stage act, which did a week’s try-out at the Chicago Theatre in that city before the Roxy.
Ingrid Bergman made her Hollywood debut in the remake of one of her Swedish successes.