Roxy Theatre

It is very sad to see wonderfull theatres like this one end up falling to the wrecking ball. So very sad .

I leave you with this quote….

“ Great architecture has only two natural enemies:
Water and stupid men” – Richard Nickel –

Warren, I’m not sure if you’ve posted this already. You’ve done a yeoman’s job on these Roxy ads. This is a 1940 ad from the NY Times:
http://tinyurl.com/yu44cw

I don’t know if this will work (not very computer literate), but if you go to this address sometime in the next 4 days, you will see a photo of the Roxy Theatre’s box offices. It’s up for auction on ebay. Maybe you can cut and pasted the address. That’s probably easier than trying to type it out.

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Do you have the full title of the show from PBS?

Jazzara… you can go to an image-hosting website such as photobucket.com and join up for a free account. From there you can upload your photos and then post a link to the images in your comment on this site.

Do not try to beat your neighbor to the street.

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Please forgive me for asking such trivial questions but I hope someone can answe rsince I practically grew up in old movie palaces and memorized the whole program. Especially the way the curtains opened and closed. In my 2000 seat beautfiul theatre the curtains closed and opened between
every segment of the program with different lights illuminating the curtain. The technique at this theatre was to let the picture appear on the curtain and then the curtain would open with the lights
slowly dimming. On closing— the curtain would close during the last few moments of the picture. When I visited the Roxy— in its last breath— I remember the picture ending in darkness, the curtain would close (in darkness) and then the lights would come up on the curtain. Then just before the curtain would reopen, the lights on the curtain would dim completely, the curtain would open (in darkness) and the picture would appear.
This kind of goes along with Rothapfel’s respect for the presentation of the motion picture, that nothing would interfere with it, that it would be presented like a “gem”.
Also, I read in Hall’s book that at the opening of the Roxy, the screen was floating with some kind of
soft back lit and not the hard edged black masking which was a departure for Rothapfel since he
introduced the black masking technique. Any comments.

I actually worked at the Roxy from 1949 to 1951. I was a young man of 19. At first I wanted a job as a dancer because the Roxyettes also had their dancing Escorts of about 8 young men. But I was too short and couldn’t tap dance, which was a requirement. So I ended up as a usher. That only lasted a couple weeks before they put me on the candy stand full time. My hours were from 5 to 10 PM with an hour off for dinner at 6. That was because they wanted you back by 7 when the masses of patrons started coming in. Thet would be 4 or 5 deep at the candy stand, all demanding this and that and often very rude. But we learned to ignore that and do our job. I think I was paid $28 a week. Ushers got even less. Most were student actors, singers, dancers, as I was. During the day we could take classes and attend Broadway auditions. George Maharis was an usher at that time. He sometimes came to watch me in dance class. Later he became a very famous movie star. I read someplace that in the beginning, Mr. Roxy [Sam Rothafel] wanted all his employees to be ‘characters’, even those of lower standing. The tradition must have continued until my time there. I remember one usher who took it upon himself to perform his acrobatic stunts in front of lines of waiting patrons.
The Chief Quartermaster was a dwarf. Patrons would look in astonishment as he paraded around like a Palace Guard. My uniform must have been copied after the Imperial guards of the Russian Tsar.
Many gold buttons and a small case attached to a shoulder strap. I never knew what it was for. When I went out on some errand – like to the Stage Deli to get a sandwich for the manager, I wore a flowing cape and carried a basket. I must have been quite a sight walking down Broadway in that get-up.
I remember the premiere of “All About Eve” when they closed the theater for the entire day to get it ready for all the celebreties and movie stars that came that evening. I didn’t see many of the shows. After a full day of classes and auditions followed by an
evening selling candy, all I wanted to do was to go home.
The view from my spotlighted candy stand was the giant ‘Rotunda" before me. It had an immense, circular carpet that we employees were not allowed to walk on. We had to circle around it. Above was a gigantic chandelier that must have weighed tons. Surrounding it all were marble statues and paintings. I don’t think many of the patrons realized what a magnificent Palace they were in. To my right was the staircase leading to the Loges, and also the manager’s office. On my left were stairs leading to the luxurous rest rooms below. High above was a small window where another, smaller candy stand was located in the upper balcony. I sometimes worked there as well. If you look at the well known picture of Gloria Swanson standing in the Rotunda while the Roxy was being demolished, you can see that window above. Each evening at 10 was when I closed the candy stand and counted and wrapped the money for the next day.
I read in another posting that the usher’s locker room was part of the Taft Hotel, above the outer foyer containing the box offices.
No, it wasn’t. I remember taking an elevator at the service entrance on 50th street, up to probably the 5th floor, walking down a long hallway past the infirmery, a small usher’s lounge, the quartermaster’s office, down a flight of stiars and past the dry cleaner. The locker room also had a small resting lounge and showers.
I eventually became a professional dancer, choreographer and writer, but I shall always remember those early years being a very small part of that glamourous place.

Matt, you should try to get the Marquee issue from the Theatre Historical Society of America on the Roxy Theatre it is 32 pages. It’s the Special 10th. Anniversary issue Vol. 11, #1, 1st Qtr. 1979. It has so nice pictures of the theatre. They have been selling many different issues on eBay lately.

I was just wondering why there are so few actual photos of the interior of this theatre? I have only seen about 4 shots and none of the lobby. there seems to be quite a few drawings but very few actual pictures. This is a real shame considering the magnitude of this the greatest of all movie palaces. If anyone has any shots they would share please feel free to send them to

Matt Spero

Does anyone know of any VHS/DVD discs for sale with moving images of the Roxy auditoriun/lobby spaces ?
It’s difficult to guage the vastness of the interiors from still photos and I find it hard to believe that no movie footage exists.
Wonderful that readers are still discussing this amazing building after all the years since its demise…a true tribute to the Cathedral of the Motion Picture
cinelover

One of Ross Hunters best
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