Warren: The murder Ben M. Hall, author of the book THE BEST REMAINING SEATS: THE STORY OF THE GOLDEN AGE OF THE MOVIE PALACE, was never solved to the best of my knowledge, but then I am not a New Yorker, so may have missed hearing of it. Incidentally, the date I gave was wrong; a news item about his murder appears in the New York Times of Dec. 16, 1970, page 54, titled: “WRITER FOUND SLAIN IN VILLAGE ROOMS” and reads:
“Benjamin M. Hall III, a writer and historian of American movie theaters and an expert on old theater organs, was found dead in his apartment early today with his throat slashed, according to the police. Mr. Hall, who was 47 years old, occupied the upper two floors of a house at 181 Christopher St. in Greenwich Village.
“The police said that a neighbor, who lived on a lower floor, became suspicious when he heard Mr. Hall’s telephone ringing for almost an hour late last night and early today. He went upstairs and, the police said, found three days' mail piled near Mr. Hall’s door. The neighbor summoned the owner of the building and, together, they found Mr. Hall’s body in his bed.
“Mr. Hall, a graduate of the University of North Carolina, was active in the American Theater Organ Enthusiasts [now: [,]www.ATOS.org],](http://www.ATOS.org) a group that sought to restore and preserve the huge pipe organs that once graced many movie theaters across the nation.”
One might contact the NYC police as to the disposition of the case, since there is no statute of limitations on murder, but it is somewhat doubtful that they retain records from that long ago date. Since he founded the THEATRE HISTORICAL SOCIETY OF AMERICA [www.HistoricTheatres.org] in 1969, it is possible that his friends there may know more of this. I always liked the blurb about him on the back jacket flap of his book: “…now lives in New York in a large and unorthodox apartment. It contains (among other odds and ends) a baby grand Pianola, a two manual organ, some murals rescued from the late lamented Loew’s 72nd St. Theater, an electric fountain, a collection of vintage telephones, and enough stereo and recording equipment to make his neighbors wish he lived somewhere else.”
David: the title you are looking for is the landmark book: THE BEST REMAINING SEATS, THE STORY OF THE GOLDEN AGE OF THE MOVIE PALACE written in 1961 by Ben M. Hall who was murdered in 1971. It is available from most libraries or on Inter-Library Loan. Sometimes it, or one of its two successive editions (minus the color plates of the ‘61 first edition) can sometimes be found at www.Amazon.com Some used book stores also carry the issue of AMERICAN HERITAGE magazine (actually a hard bound) of October, 1961, which has the color plates in an article titled: “The Best REE=maining Seats” but not Swanson’s photo which you found in his book. See more at www.HistoricTheatres.org the organization founded as a result of his book.
Sorry about missing that E-mail link, but while I have the utmost respect for both Ross and Patrick, I do not like their practice of using the pale blue to indicate a link. These eyes are not as sharp as they once were, especially on small screen size text, so sometimes I miss such faint color in a body of text. I know that many web masters do not like the look of underlining for links, but I hope they do something to make links stand out more.
I know that the Theatre Historical Soc. has a number of photos from opening day as well as later years; you would do well to ask them via their E-mail of the Ex. Director given on the bottom of their front page at: www.HistoricTheatres.org (DO NOT mention Cinema Treasures since there is some ill will at present, it appears. Don’t ask me why or how; I only perceive this and could be wrong.)
It would have been very helpful if Miss Maranzani had left at least her E-mail address or her business phone number for us to contact her. Otherwise, if she does not get sufficient responses from this site, she may do well to phone the Ex. Director of the THEATRE HISTORICAL SOCIETY OF AMERICA, Richard Sklenar, at their phone number given on the main page of their web site at: www.HistoricTheatres.org The “Back To The Blueprint” link above only takes one to the show’s web site, but no specific contact information is given there.
It is also possible that Adam Martin of the www.CinemaTour.com site may know of projects in the works. He is at:
A side note to any ‘intrepid’ folks who are confident taht they can gain entry to any place, with or without permission: Entry to any place without the owners' permission is ILLEGAL, and even if an owner discovers you there and does not prosecute for malicious trespass, you cannot KNOW what will await you once inside. There may be two or four legged creatures that will confront you, and what will be your defense or path of escape? Even if the lights do work, where are the switches located, and if you do turn them on, you have used the owners' power at their expense, which can be prosecuted as theft even if no other damage is done. And if something should fall upon you, who will know to rescue you? Be eager, but be practical; get permission and an escort from the owners!
I hope you get many responses though this site, but if not, you may find a goodly number of memories recorded at the largest repository of theatre/cinema data in this hemisphere: The Theatre Historical Soc. of America which is at: www.HistoricTheatres.org Click on the icon ARCHIVE at their site for details on how to view their records.
Whatever it is that defines a movie palace, the same general standards can often be used to define other such “palatial” theatres in the nation, if not also the world, even though they were not built for the purpose of movies. If you will forgive some local bias, I might nominate the palatial PABST in Milwaukee, which stands as a working National Historic Landmark to this day. It is well documented by its page on this site: /theaters/2753/
But it is best seen in this photo of the area above the proscenium: http://www.cinematour.com/tour.php?db=us&id=11592
Surely this is some of the finest and most elaborate ornamentation in a theatre in the nation, and thus the palatial experience there is among the best still to be had. Their web site at: http://www.pabsttheater.org/history.lasso features other photos.
Most projectionists know of, and meet through the site: www.film-tech.com where there are thousands of pages of projection related data. The IATSE union used to have an entire division of Projectionists, and they once held banquets with awards and such, but I doubt they are in existance any longer. Any current union projectionists can be reached through local IATSE offices.
Whatever it is that defines a movie palace, the same general standards can often be used to define other such “palatial” theatres in the nation, if not also the world, even though they were not built for the purpose of movies. If you will forgive some local bias, I might nominate the palatial PABST in Milwaukee, which stands as a working National Historic Landmark to this day. It is well documented by its page on this site: /theaters/2753/
But it is best seen in this photo of the area above the proscenium: http://www.cinematour.com/tour.php?db=us&id=11592
Surely this is some of the finest and most elaborate ornamentation in a theatre in the nation, and thus the palatial experience there is among the best still to be had. Their web site at: http://www.pabsttheater.org/history.lasso features other photos.
Warren, I know that some studies of markets were done even back in the 20s, and likely the Theatre Historical Society, if anyone, has these studies or knows where to find them. You might inquire of them via their Ex. Director, Richard Sklenar whose address is given on their web site’s front page at: www.HistoricTheatres.org
Since the Jehovah’s Witnesses did such a remarkably good job on both the STANLEY and the ALBERMARLE, among others, it may be a good idea for the leaders of the ‘Save the KINGS’ committee to meet by appointment with the officials of the Witnesses (their world HQ is in Brooklyn on the East River) who may have been offered the KINGS years ago when they were looking for a site and settled upon the STANLEY in Jersey City. Likely they will readily share with you the reasons that the KINGS site —if ever offered to them— was not then adaptable to their uses, since the STANLEY and the KINGS are close to the same size. If they did survey the KINGS, then they likely have numerous photos as well as documents concerning the place that they could show you, and thus give you a better idea of the problems they faced, even as a tax-exempt group.
This is another reason that so many churches take over theatres: they and their property are exempt from taxes, so they can undertake what would be financially very difficult for anyone else. If they can garner enough free labor volunteers, as the Witnesses do, then they can undertake even massive projects such as the KINGS with only the costs of materials their concern. Something tells me that the Witnesses are not likely to step forward about the KINGS if they already have the huge STANLEY, but it wouldn’t hurt to ask them. I’ve heard that their numbers are rapidly growing, and it must be a difficult drive from Brooklyn and Long Island over to Jersey City for their thousands of members in that area. Perhaps if they were invited to tour the KINGS, it was decades ago when the area was in less favorable condition as to safety. Would they view it differently today?
Architects Rapp & Rapp of nearby Chicago repeated many of the same ornamental techniquews in their theatres, so similarity in some respects is to be expected among their theatres, but the closest relative to the RIALTO is its near duplicate in Buffalo, NY, the BUFFALO theatre, which is also on this site.
Since the Add-Photos feature of this site is now “Off-line” one cannot add any photos, and I don’t know of any current ones that are on-line, but if you write to the Overseer of the Assembly Hall at the above address, and ask for a packet of their large color post cards as well as the color photo brochure of the place, he will probably send it to you.
John, I enjoyed your insights into the reason for the demise of the MICHIGAN, so please do post a link here when your column finally appears. Yes, the ‘rock’ shows were always a disaster for a palace, and the claim that they would ‘save’ a theatre were more self-serving than any service to the venue. It might interest you to know that the New York City PARAMOUNT also suffered the rock intrusion, and the evidence of their fear is shown in the photo on pages 148-9 in “The Best Remaining Seats” by the late Ben Hall where the statuary is removed to storage for its own protection. It is rumored that Mr. Hall quipped that this photo represents the “ladies of the corridor.”
The fact that the KINGS is much larger than any of the theatres listed above is impressive and could mean that more people could see a given performance at the same time, but, unfortunately, it also means that these seats must be continually filled in order to pay for and justify their existance. Greater capacity means greater costs. And if any of the shows want an ‘intimate’ atmosphere, they will not find that at the KINGS, of course. How many shows can really draw over 3,000 people for a performance without also having a huge screen suspended above the stage with images of what is going on, on the stage so that those in the rear can see the performance? The place was, after all, designed for images larger than life.
A post script to my previous regarding approaching Streisand: By all means, FIRST set up a registered NOT-FOR-PROFIT 501-C3 corporation named something like “Pages of the Kings Theatre” (playing on the word ‘page’ which was a part of a king’s court). Once you have received this from the IRS, make up a simple yet artistic letterhead with names of the principals on it as well as the name of the bank at which you have established an account with a line something like “Funds maintained at XX bank.” With these measures you be better seen as legitimate and of an enduring nature, and that if she should ON HER OWN VOLITION enclose a check, she will know that it will go to a legitimate organization. Best Wishes!
Speaking of Bosley Crowther, it is interesting to note that he was selected to write the Introduction to the late Ben Hall’s landmark book THE BEST REMAINING SEATS, THE STORY OF THE GOLDEN AGE OF THE MOVIE PALACE. Maybe it was just because both Hall and Crowther worked for the TIMES, but then maybe Ben actually respected Bosley’s opinion of the significance of such and his book. Perhaps this lends pespective.
Neither Jeffrey nor PP1 give any way to contact them, and unless one registers on their Members' page under CONTACT, merely clicking on one’s name will do not good. You must give a contact means either there or in the message itself, folks.
Some have speculated that if they could contact Barbara Streisand, they might be able to get her cooperation to some extent in revitalizing the KINGS. I append below her Agent and Recording company (as a secondary route in case the agent route fizzles). I strongly urge anyone writing her through her agent to make it a very PROFESSIONAL appeal, and NOT FOR MONEY. What you want is her Endorsement of your efforts, and perhaps ask her to share a favorite memory of her tenure there. You want to get her involved in such a way that it does NOT presume upon her time or talent. Perhaps sending her an opening day photo along with a present day photo (8x10s) will help her recall. Do NOT say that you will invite her to sing there when it is restored; she has stated that she will not appear in public much anymore. Since she is a famous feminist, it might be best if a woman approaches her via a letter with the photos enclosed. If possible, send the letter/photos in a RIGID mailer perhaps of Tyvek so that it arrives in good condition; the postal service is all automation now and heavy loads will descend upon anything put into the mail, and moisture is always a threat, which Tyvek will also repel. Sending it by CERTIFIED MAIL, RETURN RECEIPT REQUESTED will at least let them know that you take it seriously, and you will have proof that her agent received it (the postal service cannot vouch for where anything goes unless you PAY to have it tracked!). Any letter should strike a balance between an appeal, and a recognition of her presence in the entertainment community and how she could lend her name if not also sponsorship. You might ask for just a personal note from her as to her thinking on the matter of bringing the KINGS back to its glory days when she was there. A little flattery can help, but she must not get the impression that you are fawning or want to obligate her in any way. Do NOT use Fax, as the copy that results on their side may be a cheap chemical paper that will not carry any idea of class on your part; use a good grade of paper without being too fancy. Address the envelope to her in care of her agent, and perhaps mark the envelope above the address: “THIS IS NOT FAN MAIL” else it might be sent to a fan mail service which most stars employ. BEST WISHES!
Management:
Martin Erlichman Associates Inc.
Address:
5670 Wilshire Blvd. Ste. 2400
Los Angeles, CA 90036
Phone
323.653.1555
Fax
323.653.1593
Record Co.:
Columbia Records
Address:
550 Madison Ave.
New York, NY 10022-3211
Phone
212.833.8000
Fax
212.833.5401
I heard that Sears has just been bought by Kmart, so I’m not sure that there is that much hope for a “Sears Performing Arts Center” since Sears apparently never intended to pay for any restoration, else they would have done so by now. No wonder things haven’t progressed at the KINGS: the land is owned by someone with no theatre experience, and the building is owned by the city of Brooklyn which also is not in the theatres business. Let us hope that an ‘angel’ can be attracted to the place soon. Let us also hope that such an ‘angel’ will employ professional decorators and painters such as those works displayed by www.conradschmitt.com and not amateurs who may have been responsible for the VALENCIA’s recent garish decor paint.
The architects “Peacock and Belongia” occur on the 1946 Application for Building permit, but nothing came of that permit for some reason, and the 1948 Application and Permit list only Belongia who had left association with Peacock in the interim. The difference in seating total is due to the difference in “proposed” seats listed on the Application, and the actual count of 600. The 50 seats in the upper balcony were not always included in the count total. It was recessed next to the projection room and was discontinued as public seating after not many years.
It is nice of ‘Ziggy’ and others to be so concerned about the grandiose KINGS to be willing to move there, and Bob Furmanek is to be praised for venturing up on a marquee to work on it when he is afraid of heights, but I am afraid, folks, that, at the risk of being called a naysayer, I must point out that some MAJOR hurdles confront anyone interested in this particular theatre. Not only is it HUGE, but it is not owned by anyone who apparently has any real interest in preserving it. I am afraid that Warren is evidently right: the city is waiting for it to either be bought by some multi-millionaire or to get to the point of rationalized demolition— a cost they do not want to bear since it would be in the millions just for that. Look too at the fight the JERSEY had in getting the city to buy it, then getting them to have authority to restore and operate it. It does not seem that Brooklyn is any more willing to turn over real estate to a non-profit than was Jersey City. After all, if a non-profit runs a property, it seems that it will not pay taxes in future, and I hardly need remind anyone that taxes are what allow city officials to live in their fine homes. Then there is local politics. Does anyone in political power care about the KINGS? Is it the tradition there to ‘grease’ the palms of the local politicos to get things like this done? If so, who is wealthy enough to ‘grease’ enough palms?
Finally we come to the practical matters of restoration IF the ‘committee’ of whomever does get ownership or control. Once a building reaches the state that it is raining and snowing inside, there are then serious structural problems. No, the huge steel by which the building stands will not collapse any time soon, but lesser structure CAN collapse upon anyone without warning. For example, the plaster that makes up the walls, ceilings, and ornaments in there is NOT waterproof; it will crumble and fail as the steel mesh lath which supports it rusts and both fall, as has happened to large portions already (which is why the city is reluctant about tours = insurance liability). Sure, such plaster and lath can be repaired, but what about the roof above that is leaking and would ruin new plaster? Such roofs cannot be just re-tarred; the structure of the roof deck is far beyond that by now. Can we expect the ladies and a few men on the committee to climb upon a pitched roof some 5 floors high that is dangerous to even walk upon, to demolish the old, rotten decking and dispose of it (fees) and then to haul up there the new (heavy!) decking and professionally anchor it in place? Many professional roofers will turn down such a job due to safety and practicality concerns. Does this all mean that it cannot be saved? No. But is does mean that the city that owns it can rightly expect that any new owner/renter/operator will contract for all such dangerous and code-compliant work (electrical, HVAC, etc. etc.) and that it must and WILL be done according to legal standards. By all means, form a committee of concerned citizens and as Porter Faulkner says: “raise the consciousness” of the locals, but do not dream that un-licensed non-professionals can do all that needs to be done aside from minor interior work. Anyone that can restore a pipe organ is to be admired, but that is a far cry from having both the skills and the tools to do major structural work. Professionals will have to be found and hired, and they cost BIG BUCKS. Such a job cannot, nor should be, done on the cheap. Long live the once glorious KINGS, if an ‘angel’ with mega bucks can be found!
I seem to recall that the the ‘Farwell’ concert was recorded and published some years back, and likely someone knows where you can obtain a copy. Contact your local theatre organ society (a list of them is at www.atos.org or www.theatreorgans.com)) and most any member will have a list of the various outfits that distribute and sell such recordings.
Warren: The murder Ben M. Hall, author of the book THE BEST REMAINING SEATS: THE STORY OF THE GOLDEN AGE OF THE MOVIE PALACE, was never solved to the best of my knowledge, but then I am not a New Yorker, so may have missed hearing of it. Incidentally, the date I gave was wrong; a news item about his murder appears in the New York Times of Dec. 16, 1970, page 54, titled: “WRITER FOUND SLAIN IN VILLAGE ROOMS” and reads:
“Benjamin M. Hall III, a writer and historian of American movie theaters and an expert on old theater organs, was found dead in his apartment early today with his throat slashed, according to the police. Mr. Hall, who was 47 years old, occupied the upper two floors of a house at 181 Christopher St. in Greenwich Village.
“The police said that a neighbor, who lived on a lower floor, became suspicious when he heard Mr. Hall’s telephone ringing for almost an hour late last night and early today. He went upstairs and, the police said, found three days' mail piled near Mr. Hall’s door. The neighbor summoned the owner of the building and, together, they found Mr. Hall’s body in his bed.
“Mr. Hall, a graduate of the University of North Carolina, was active in the American Theater Organ Enthusiasts [now: [,]www.ATOS.org],](http://www.ATOS.org) a group that sought to restore and preserve the huge pipe organs that once graced many movie theaters across the nation.”
One might contact the NYC police as to the disposition of the case, since there is no statute of limitations on murder, but it is somewhat doubtful that they retain records from that long ago date. Since he founded the THEATRE HISTORICAL SOCIETY OF AMERICA [www.HistoricTheatres.org] in 1969, it is possible that his friends there may know more of this. I always liked the blurb about him on the back jacket flap of his book: “…now lives in New York in a large and unorthodox apartment. It contains (among other odds and ends) a baby grand Pianola, a two manual organ, some murals rescued from the late lamented Loew’s 72nd St. Theater, an electric fountain, a collection of vintage telephones, and enough stereo and recording equipment to make his neighbors wish he lived somewhere else.”
David: the title you are looking for is the landmark book: THE BEST REMAINING SEATS, THE STORY OF THE GOLDEN AGE OF THE MOVIE PALACE written in 1961 by Ben M. Hall who was murdered in 1971. It is available from most libraries or on Inter-Library Loan. Sometimes it, or one of its two successive editions (minus the color plates of the ‘61 first edition) can sometimes be found at www.Amazon.com Some used book stores also carry the issue of AMERICAN HERITAGE magazine (actually a hard bound) of October, 1961, which has the color plates in an article titled: “The Best REE=maining Seats” but not Swanson’s photo which you found in his book. See more at www.HistoricTheatres.org the organization founded as a result of his book.
Sorry about missing that E-mail link, but while I have the utmost respect for both Ross and Patrick, I do not like their practice of using the pale blue to indicate a link. These eyes are not as sharp as they once were, especially on small screen size text, so sometimes I miss such faint color in a body of text. I know that many web masters do not like the look of underlining for links, but I hope they do something to make links stand out more.
I know that the Theatre Historical Soc. has a number of photos from opening day as well as later years; you would do well to ask them via their E-mail of the Ex. Director given on the bottom of their front page at: www.HistoricTheatres.org (DO NOT mention Cinema Treasures since there is some ill will at present, it appears. Don’t ask me why or how; I only perceive this and could be wrong.)
If no one else steps forward, one might ask the NYC area Director of the THEATRE HISTORICAL SOC., Joe Masher, via his E-mail at:
It would have been very helpful if Miss Maranzani had left at least her E-mail address or her business phone number for us to contact her. Otherwise, if she does not get sufficient responses from this site, she may do well to phone the Ex. Director of the THEATRE HISTORICAL SOCIETY OF AMERICA, Richard Sklenar, at their phone number given on the main page of their web site at: www.HistoricTheatres.org The “Back To The Blueprint” link above only takes one to the show’s web site, but no specific contact information is given there.
It is also possible that Adam Martin of the www.CinemaTour.com site may know of projects in the works. He is at:
A side note to any ‘intrepid’ folks who are confident taht they can gain entry to any place, with or without permission: Entry to any place without the owners' permission is ILLEGAL, and even if an owner discovers you there and does not prosecute for malicious trespass, you cannot KNOW what will await you once inside. There may be two or four legged creatures that will confront you, and what will be your defense or path of escape? Even if the lights do work, where are the switches located, and if you do turn them on, you have used the owners' power at their expense, which can be prosecuted as theft even if no other damage is done. And if something should fall upon you, who will know to rescue you? Be eager, but be practical; get permission and an escort from the owners!
I hope you get many responses though this site, but if not, you may find a goodly number of memories recorded at the largest repository of theatre/cinema data in this hemisphere: The Theatre Historical Soc. of America which is at: www.HistoricTheatres.org Click on the icon ARCHIVE at their site for details on how to view their records.
Whatever it is that defines a movie palace, the same general standards can often be used to define other such “palatial” theatres in the nation, if not also the world, even though they were not built for the purpose of movies. If you will forgive some local bias, I might nominate the palatial PABST in Milwaukee, which stands as a working National Historic Landmark to this day. It is well documented by its page on this site: /theaters/2753/
But it is best seen in this photo of the area above the proscenium: http://www.cinematour.com/tour.php?db=us&id=11592
Surely this is some of the finest and most elaborate ornamentation in a theatre in the nation, and thus the palatial experience there is among the best still to be had. Their web site at: http://www.pabsttheater.org/history.lasso features other photos.
Most projectionists know of, and meet through the site: www.film-tech.com where there are thousands of pages of projection related data. The IATSE union used to have an entire division of Projectionists, and they once held banquets with awards and such, but I doubt they are in existance any longer. Any current union projectionists can be reached through local IATSE offices.
Whatever it is that defines a movie palace, the same general standards can often be used to define other such “palatial” theatres in the nation, if not also the world, even though they were not built for the purpose of movies. If you will forgive some local bias, I might nominate the palatial PABST in Milwaukee, which stands as a working National Historic Landmark to this day. It is well documented by its page on this site: /theaters/2753/
But it is best seen in this photo of the area above the proscenium: http://www.cinematour.com/tour.php?db=us&id=11592
Surely this is some of the finest and most elaborate ornamentation in a theatre in the nation, and thus the palatial experience there is among the best still to be had. Their web site at: http://www.pabsttheater.org/history.lasso features other photos.
Warren, I know that some studies of markets were done even back in the 20s, and likely the Theatre Historical Society, if anyone, has these studies or knows where to find them. You might inquire of them via their Ex. Director, Richard Sklenar whose address is given on their web site’s front page at: www.HistoricTheatres.org
Since the Jehovah’s Witnesses did such a remarkably good job on both the STANLEY and the ALBERMARLE, among others, it may be a good idea for the leaders of the ‘Save the KINGS’ committee to meet by appointment with the officials of the Witnesses (their world HQ is in Brooklyn on the East River) who may have been offered the KINGS years ago when they were looking for a site and settled upon the STANLEY in Jersey City. Likely they will readily share with you the reasons that the KINGS site —if ever offered to them— was not then adaptable to their uses, since the STANLEY and the KINGS are close to the same size. If they did survey the KINGS, then they likely have numerous photos as well as documents concerning the place that they could show you, and thus give you a better idea of the problems they faced, even as a tax-exempt group.
This is another reason that so many churches take over theatres: they and their property are exempt from taxes, so they can undertake what would be financially very difficult for anyone else. If they can garner enough free labor volunteers, as the Witnesses do, then they can undertake even massive projects such as the KINGS with only the costs of materials their concern. Something tells me that the Witnesses are not likely to step forward about the KINGS if they already have the huge STANLEY, but it wouldn’t hurt to ask them. I’ve heard that their numbers are rapidly growing, and it must be a difficult drive from Brooklyn and Long Island over to Jersey City for their thousands of members in that area. Perhaps if they were invited to tour the KINGS, it was decades ago when the area was in less favorable condition as to safety. Would they view it differently today?
Architects Rapp & Rapp of nearby Chicago repeated many of the same ornamental techniquews in their theatres, so similarity in some respects is to be expected among their theatres, but the closest relative to the RIALTO is its near duplicate in Buffalo, NY, the BUFFALO theatre, which is also on this site.
Since the Add-Photos feature of this site is now “Off-line” one cannot add any photos, and I don’t know of any current ones that are on-line, but if you write to the Overseer of the Assembly Hall at the above address, and ask for a packet of their large color post cards as well as the color photo brochure of the place, he will probably send it to you.
John, I enjoyed your insights into the reason for the demise of the MICHIGAN, so please do post a link here when your column finally appears. Yes, the ‘rock’ shows were always a disaster for a palace, and the claim that they would ‘save’ a theatre were more self-serving than any service to the venue. It might interest you to know that the New York City PARAMOUNT also suffered the rock intrusion, and the evidence of their fear is shown in the photo on pages 148-9 in “The Best Remaining Seats” by the late Ben Hall where the statuary is removed to storage for its own protection. It is rumored that Mr. Hall quipped that this photo represents the “ladies of the corridor.”
The fact that the KINGS is much larger than any of the theatres listed above is impressive and could mean that more people could see a given performance at the same time, but, unfortunately, it also means that these seats must be continually filled in order to pay for and justify their existance. Greater capacity means greater costs. And if any of the shows want an ‘intimate’ atmosphere, they will not find that at the KINGS, of course. How many shows can really draw over 3,000 people for a performance without also having a huge screen suspended above the stage with images of what is going on, on the stage so that those in the rear can see the performance? The place was, after all, designed for images larger than life.
A post script to my previous regarding approaching Streisand: By all means, FIRST set up a registered NOT-FOR-PROFIT 501-C3 corporation named something like “Pages of the Kings Theatre” (playing on the word ‘page’ which was a part of a king’s court). Once you have received this from the IRS, make up a simple yet artistic letterhead with names of the principals on it as well as the name of the bank at which you have established an account with a line something like “Funds maintained at XX bank.” With these measures you be better seen as legitimate and of an enduring nature, and that if she should ON HER OWN VOLITION enclose a check, she will know that it will go to a legitimate organization. Best Wishes!
Speaking of Bosley Crowther, it is interesting to note that he was selected to write the Introduction to the late Ben Hall’s landmark book THE BEST REMAINING SEATS, THE STORY OF THE GOLDEN AGE OF THE MOVIE PALACE. Maybe it was just because both Hall and Crowther worked for the TIMES, but then maybe Ben actually respected Bosley’s opinion of the significance of such and his book. Perhaps this lends pespective.
Neither Jeffrey nor PP1 give any way to contact them, and unless one registers on their Members' page under CONTACT, merely clicking on one’s name will do not good. You must give a contact means either there or in the message itself, folks.
Some have speculated that if they could contact Barbara Streisand, they might be able to get her cooperation to some extent in revitalizing the KINGS. I append below her Agent and Recording company (as a secondary route in case the agent route fizzles). I strongly urge anyone writing her through her agent to make it a very PROFESSIONAL appeal, and NOT FOR MONEY. What you want is her Endorsement of your efforts, and perhaps ask her to share a favorite memory of her tenure there. You want to get her involved in such a way that it does NOT presume upon her time or talent. Perhaps sending her an opening day photo along with a present day photo (8x10s) will help her recall. Do NOT say that you will invite her to sing there when it is restored; she has stated that she will not appear in public much anymore. Since she is a famous feminist, it might be best if a woman approaches her via a letter with the photos enclosed. If possible, send the letter/photos in a RIGID mailer perhaps of Tyvek so that it arrives in good condition; the postal service is all automation now and heavy loads will descend upon anything put into the mail, and moisture is always a threat, which Tyvek will also repel. Sending it by CERTIFIED MAIL, RETURN RECEIPT REQUESTED will at least let them know that you take it seriously, and you will have proof that her agent received it (the postal service cannot vouch for where anything goes unless you PAY to have it tracked!). Any letter should strike a balance between an appeal, and a recognition of her presence in the entertainment community and how she could lend her name if not also sponsorship. You might ask for just a personal note from her as to her thinking on the matter of bringing the KINGS back to its glory days when she was there. A little flattery can help, but she must not get the impression that you are fawning or want to obligate her in any way. Do NOT use Fax, as the copy that results on their side may be a cheap chemical paper that will not carry any idea of class on your part; use a good grade of paper without being too fancy. Address the envelope to her in care of her agent, and perhaps mark the envelope above the address: “THIS IS NOT FAN MAIL” else it might be sent to a fan mail service which most stars employ. BEST WISHES!
Management:
Martin Erlichman Associates Inc.
Address:
5670 Wilshire Blvd. Ste. 2400
Los Angeles, CA 90036
Phone
323.653.1555
Fax
323.653.1593
Record Co.:
Columbia Records
Address:
550 Madison Ave.
New York, NY 10022-3211
Phone
212.833.8000
Fax
212.833.5401
I heard that Sears has just been bought by Kmart, so I’m not sure that there is that much hope for a “Sears Performing Arts Center” since Sears apparently never intended to pay for any restoration, else they would have done so by now. No wonder things haven’t progressed at the KINGS: the land is owned by someone with no theatre experience, and the building is owned by the city of Brooklyn which also is not in the theatres business. Let us hope that an ‘angel’ can be attracted to the place soon. Let us also hope that such an ‘angel’ will employ professional decorators and painters such as those works displayed by www.conradschmitt.com and not amateurs who may have been responsible for the VALENCIA’s recent garish decor paint.
The architects “Peacock and Belongia” occur on the 1946 Application for Building permit, but nothing came of that permit for some reason, and the 1948 Application and Permit list only Belongia who had left association with Peacock in the interim. The difference in seating total is due to the difference in “proposed” seats listed on the Application, and the actual count of 600. The 50 seats in the upper balcony were not always included in the count total. It was recessed next to the projection room and was discontinued as public seating after not many years.
It is nice of ‘Ziggy’ and others to be so concerned about the grandiose KINGS to be willing to move there, and Bob Furmanek is to be praised for venturing up on a marquee to work on it when he is afraid of heights, but I am afraid, folks, that, at the risk of being called a naysayer, I must point out that some MAJOR hurdles confront anyone interested in this particular theatre. Not only is it HUGE, but it is not owned by anyone who apparently has any real interest in preserving it. I am afraid that Warren is evidently right: the city is waiting for it to either be bought by some multi-millionaire or to get to the point of rationalized demolition— a cost they do not want to bear since it would be in the millions just for that. Look too at the fight the JERSEY had in getting the city to buy it, then getting them to have authority to restore and operate it. It does not seem that Brooklyn is any more willing to turn over real estate to a non-profit than was Jersey City. After all, if a non-profit runs a property, it seems that it will not pay taxes in future, and I hardly need remind anyone that taxes are what allow city officials to live in their fine homes. Then there is local politics. Does anyone in political power care about the KINGS? Is it the tradition there to ‘grease’ the palms of the local politicos to get things like this done? If so, who is wealthy enough to ‘grease’ enough palms?
Finally we come to the practical matters of restoration IF the ‘committee’ of whomever does get ownership or control. Once a building reaches the state that it is raining and snowing inside, there are then serious structural problems. No, the huge steel by which the building stands will not collapse any time soon, but lesser structure CAN collapse upon anyone without warning. For example, the plaster that makes up the walls, ceilings, and ornaments in there is NOT waterproof; it will crumble and fail as the steel mesh lath which supports it rusts and both fall, as has happened to large portions already (which is why the city is reluctant about tours = insurance liability). Sure, such plaster and lath can be repaired, but what about the roof above that is leaking and would ruin new plaster? Such roofs cannot be just re-tarred; the structure of the roof deck is far beyond that by now. Can we expect the ladies and a few men on the committee to climb upon a pitched roof some 5 floors high that is dangerous to even walk upon, to demolish the old, rotten decking and dispose of it (fees) and then to haul up there the new (heavy!) decking and professionally anchor it in place? Many professional roofers will turn down such a job due to safety and practicality concerns. Does this all mean that it cannot be saved? No. But is does mean that the city that owns it can rightly expect that any new owner/renter/operator will contract for all such dangerous and code-compliant work (electrical, HVAC, etc. etc.) and that it must and WILL be done according to legal standards. By all means, form a committee of concerned citizens and as Porter Faulkner says: “raise the consciousness” of the locals, but do not dream that un-licensed non-professionals can do all that needs to be done aside from minor interior work. Anyone that can restore a pipe organ is to be admired, but that is a far cry from having both the skills and the tools to do major structural work. Professionals will have to be found and hired, and they cost BIG BUCKS. Such a job cannot, nor should be, done on the cheap. Long live the once glorious KINGS, if an ‘angel’ with mega bucks can be found!
I seem to recall that the the ‘Farwell’ concert was recorded and published some years back, and likely someone knows where you can obtain a copy. Contact your local theatre organ society (a list of them is at www.atos.org or www.theatreorgans.com)) and most any member will have a list of the various outfits that distribute and sell such recordings.