Roxy Theatre
153 W. 50th Street,
New York,
NY
10020
153 W. 50th Street,
New York,
NY
10020
83 people
favorited this theater
Showing 601 - 625 of 1,213 comments
Thanks for all the info about Grandeur at the Roxy. I had all along imagined that “The Big Trail†opened on the wonderful MagnaScope screen at the Rivoli. It drove me to the archives for some context. Here’s the opening day ad (NY Times, Friday 24 Oct. ’30) promoting “15 Big Reasons†to crash the Roxy’s gates:
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Apparently the Roxy suspended its stage presentation during this film’s run. There’s no mention of a live show in the copy. Meanwhile, the following Sunday (26 Oct. ’30) the Times included a ad (lower right) for the B’kln Fox announcing a De Luxe stage show with “32 Roxyettes, Courtesy Roxy Theater N.Y,†implying that the sixty-four legs took to the IRT when Grandeur preempted the boards on W. 50th (we hope Russell Markert provided carfare: a nickel could also buy a Depression apple):
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The same page (upper right) touts the Gala Opening of our treasured RKO Mayfair later that week, with Amos ‘n’ Andy in “Check and Double Check.†Patrons of RKO Vaudeville could have enjoyed Ruth Etting, Pat Rooney, William Gaxton, and Morton Downey at the Palace, or, over the river in B’kln again, Lillian Roth at the Albee. The RKO nabes were holding forth with “All Quiet on the Western Front†(mid-right column):
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The stage at the Roxy deserved its brief respite. Just three weeks later, “The Big Trail†reached a disappointing dead end and was replaced by Lois Moran in “The Dancers†The theater’s footlights blazed to life again with 250 artists in a Dance Spectacle titled “Rhythm.†The NY Times’s ad for Friday 14 Nov. ’30 links the Roxy to the B’kln Fox with the same film day-dating there, accompanied by the latter’s own stage show. (Fanchon and Marco, then at the Fox, had been regulars at the Roxy.) This coupling mirrors the pairing of the Times Square and B’kln Paramounts with their day-dating of “Laughter,†accompanied by different stage shows (me, I would’ve subwayed to Rudy Vallee instead of to Block and Sully). The same day, “Morocco†opened at the Rivoli, displacing Eddie Cantor’s early-Technicolor “Whoopee†after its seven-week run there:
All the while, no fewer than five reserved-seat road-shows occupied B’way: “War Nurse†at the Astor; “Kismet†(with Warner Bros.’ own unadvertised VitaScope wide-screen process) at the Hollywood; “Outward Bound†(displacing George Arliss in “Old English†at the Warner Bros).; D.W. Griffiths’s “Lincoln†at the Central (aka on this site Movieland; but also named seriatim Gotham, Holiday, and Forum); and Howard Hughes’s “Hell’s Angels†day-dating at the (old) Criterion and the Gaiety (aka Victoria). Wide-screens, reserved seats, and suspended stage showsâ€"all premonitions of the later 1950s-1960s when H’wood despaired and resorted to gimmicks.
Warren the Grandeur version of “Song O' My Heart” was not shown, it was presented only in a 35mm version. The Grandeur version would be a 70MM presentation.
Thanks a lot William.
This, regarding “Song of My Heart” from the first link: <<A strange film as the songs were sung but the dialogue was silent with title cards.>>
Sounds pretty bizarre, but then, that aptly describes “The Jazz Singer” as well – Jolson’s unintentionally recorded ad-lib “You aint seen nothin' yet…” notwithstanding. Of course, you would think that after going through the expense of filming in the new process and it being 1930 already that it would have been an all-talking film!
Ed
There was not that many films that used the Grandeur format.
There was three shorts and three features.
SHORTS:
Fox Grandeur News (70MM)
Fox Movietone Follies of 1929 (70MM)
Niagara Falls (70MM)
FEATURES:
Happy Days (70MM Roxy-NYC) 35mm Carthay Circle-LA)
Song o' My Heart (35mm only)
The Big Trail
NOTE: The premiere program for the opening of “Happy Days” featured a 35mm and a 70MM strip of film, showing the different sizes.
There really is not much on the format, other than in70MM.com
http://www.in70mm.com/library/formats/grandeur.htm
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Mister Ralph… I don’t think anyone is ignoring you. I would presume that no one who has a recollection of your performances at the Roxy has read your comment yet. As for myself, I wasn’t even a twinkle in my father’s eye when this magnificent showplace was pounded to dust.
William… do you know any good resources for information on the Grandeur process and the films exhibited under that banner? Unfortunately, the excellent Widescreen Museum website only passes a glancing notice.
“The Big Trail” (Oct. 1930) was the last Grandeur product from Fox. At that time it became a Presentation Gimmick. Since the studios were not making any presentations in the Grandeur or Magnascope formats. The theatre chains used it as a gimmick, since the screens and masking were still hanging in the theatres.
Why are you ignoring me….?
Ralph Heid (Mister Ralph)
An open letter to LOST MEMORY and WARREN.
Can you please tell us what the problem is? You are both incredible contributors to this site and I think I speak for several CT members here who look forward to your every post.
Although on some level I do enjoy a bitchfest, what’s it all about?
LOST MEMORY first, I will play Oprah for you. Do you think we care about contributor’s personal lives?bTell me about it, honey? (hand folded, eyes glistening)
Al
The Gaiety Theatre (Victoria Theatre) presented some 70MM Grandeur shorts “Fox Granduer News”,“Movietone Folles of 1929” & “Niagara Falls” in Sept. 1929. And the 44th. Street Theatre presented “Song o' My Heart” in 35mm version, I have two dates Mar. 11, 1930 or Sept. 7, 1930 for that film.
One more try….
As a child prodigy, I appeared at the Roxy 1957.
It would be great to find someone who can remember me, so we could talk about “the good old days”. My name is Ralph Heid and they called me “Mister Ralph”. I played the xylophone. (I still do and work a lot on cruise ships at the moment).
Anybody around who remembers? The films were “The Girl Can’t Help It”, “Heaven Know Mr. Allison” and “Anastasia”. I was in the recue shows on the ice-stage.
Please answer…. :–)
regards
Ralph Heid (Mister Ralph)
http://www.heid.net
Warren, my friend, Cinema Treasures would be nothing without your always interesting and often educational posts. Please continue to enlighten and entertain us with your posts. I am sure I speak for many when I say I appreciate them very much.
Was the Grandeur Screen actually installed for that early 70mm widescreen process of the same name that had been experimented with in films such as Raoul Walsh’s “The Big Trail” starring John Wayne? Was the Roxy NYC’s exclusive Grandeur theater?
Wow! That is an astonishing collection of autographs, Frank P! Were all of these signatures obtained during that narrow period of 1947-1950? That would certainly make the challenge of compiling dates and other anectdotal information a lot easier… and I’m sure there are at least a couple of amatuer historians here who would be glad to research Roxy that data and share it here. And perhaps even a few who could recount first hand experience.
Hi all, I just recently bought an autograph album and some pictures from a woman who’s uncle during 1947 and 1950 gathered the autographs for her. The uncle was a member of the orchestra and thus was able to obtain them. I will list all the autographs I have and would like to know any of the stories that might be out there that some of you may know. Stories ranging from behind the scenes details to the performances themselves. Thanks in advance for the stories, here’s the list
Bill Turner
Michael Edward
Ed Wynne
J.C. Olsen
Chick Johnson
Patsy Kelly
Hildegarde
Henry King
Bob Hope
Jon Hall
Frances Langford
Carl Ravazza
Gracie Fields
Arthur Blake
Jean Gramas
Peter Lorre
Mel Torme
Gil Lamb
Dagmar
Pat Terry
Evelyn Knight
Phile Regan
Ed Sullivan
Sid Caesar
Henny Youngman
Katherine Dunham
Hazel Scott
Desi Arnaz
Rochester (Jack Beney show)
Marjorie Reynolds
Phil Harris
Alice Faye (Harris)
The Sportsmen (Jack Beney Grop)
Art Lund
Jan August
Harold Barnes
Eddie Franklin
Frank Cook
Tony Bennett
Audrey Young
Joe Howard
Lou Costello
Bud Abbott
Ella Logan
VictoriA Cordova
Jack Haley
Ray Malone
Harmonicats (Don Leo, Al Fiore, and Jerry Nunni)
Pat Terry
Morrocans Four
Rudy Valley
Nancy Donovan
Janet Blair
Milton Berle
Stan Fisher
Harry Richman
Dick Haymes
Jerry Calonna
Danny Thomas
Marie McDonald
Kaye Thompson Johnny Ray
Barbara Ann Scott
Barbara Martino
Danny Kaye
Georgia Gibbs
Phil Blake
Cab Calloway
Ginny Simms
Ramon and Royce (Black Burn Twins)
Photos
Mel Torme
Lucy and Desi
Alan Dale
Bill Hayes
Tony Bennett
Peter Lorre
Guy Mitchell
Richard Hayes
Dagmar
Although “All About Eve” did excellent business, the attempt to keep audiences from arriving during the middle of the performance was a total failure. It lasted only one week with continuous shows re-instated in the second week. Patrons were not accustomed to this policy, as at the Music Hall.Many disgruntled patrons. More often than not the house was only half full. Also seating up to 6,000 people for any given performance, reserved or not, was not practacle if not impossible. there was only a thirty minute break between shows and even with six boxoffices (I doubt they used that many)open they could only accomodate approximately 3,000 during that break. Even at the Music Hall, it took one hour to fill its 6,000 for a “tight initial” as it was called when the house was filled before the first show. tastAs It too
Last year despite numerous protests Mayer Bloomberg decided to allow demolition of the Roxy. CNN and MSNBC had constant coverage and though there were proposals to convert it into a Starbucks the cost would have been too great and a more modest coffee shop was built in its place.
I have not been to New York since 1960—as I have been living out of town—but when i went to the corner of 50th Street and Seventh Avenue, all I could find was a coffee shop! What happened to the Roxy?
Its been wonderful reading all these posts on the Roxy. Probably the best memories of my father were to be had when we visited New York from Penna. (usually on business), stayed at the Taft Hotel, and attended the Roxy at night. He was always enthused about what a special place it was. This was mainly in the late 50’s, and I remember being awed by The 7th Voyage of Sinbad (?) and also I remember seeing L'il Abner, tainted by some ominous talk about how “it might be one of the last shows”, and I couldn’t later believe some place like that would cease to exist, even at that young age. Not long after its demise we stopped coming to New York.
Another Roxy classic
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To BOBill.
I’d go to see Lassie Come Home with Autumn Album today if it were playing at the Music Hall.
The NEW Roxy, not the OLD Roxy!
Only one movie, KING KONG, played both the ROXY and RADIO CITY simultaneously. Dateline March 1, 1933: KING KONG: Big enough to play the world’s two greatest theatres at the same time —– 10,000 seats —– 10 shows a day. Spectacular stage shows at both theatres: “Jungle Rythms."
Admission prices 35c to 1 pm; 55c till 6 pm; 75c to close (except Sat and Sun. Elevators to mezzanines — Smoking permitted.
Imagine the false claim today’s Hollywood makes to always breaking new box office records with junk movies like Peter Jackson makes. In 1933, a 35c admission was a lot of money. A solid middle class job, for example, paid $600 a year. These days box office is counted in terms of today’s admission price of $9.50 to $10.50 —– never are box office records adjusted for inflation. Also, there are 600% more people living in the US than in 1933. Today’s “hits” can’t compare with the success of older movies.
I’m doing a piece about the Roxy, so why do you think it is special and why do you think it’s legacy has lasted through the years?
No Sunbrock Circus memories here. Instead, some archival notes about Beatrice Kay’s departure: On 3 Nov. ’43, she was replaced on the Roxy’s stage by a one-wheel bicycle. On that date, the NYT ad drops her name and replaces it with that of Walter Nillson, a celebrated cyclist performer who livened up many Roxy stage shows in the ‘30s and ‘40s.
The remaining cast members held over since the opening on 30 Oct. were Danny Kaye; Ralph Olsen and Lyn Shirley (a dance team?); the Ben Yost Singers; McCord and Lind (comic performers?); Tommy Tucker and his Orchestra, featuring Amy Arnell, Don Brown, and Kerwin Sommerville; and of course the Roxyettes and the Roxy Orchestra, directed by Paul Ash.
Gotham seemed A-Okaye that season, as the Strand was concurrently featuring Sammy Kaye and his Orchestra, along with Shea and Raymond, on stage, with “Thank Your Lucky Stars†on screen. The Capitol offered Duke Ellington, Peg-Leg Bates, and Lena Horne on stage between screenings of Nelson Eddy in “Phamtom of the Opera.†The Ink Spots and Tony Pastor’s Orchestra took over the Paramount’s stage, while Mary Martin held its screen in “True to Life.†Loew’s State would have lured me into its dark depths with refined Burlesque star Ann Corio (a.k.a. “Sarong Girl,†“Swamp Woman,†and “Jungle Sirenâ€) shimmying to Herb Miller’s Band on stage, alternating with Jimmy Cagney in “Johnny Come Lately†on screen. (Nineteen years later I finally saw Ann Corio do her star turn in the wildly popular “This Was Burlesque†on B’wayâ€"as a college kid in 1962, I attended in the name of doing historical research.)
An earlier version of me would likely have attended the stage performance of Paul Robeson, José Ferrer, Uta Hagen, and Margaret Webster in “Othello†at the Shubert and, for a nightcap, might have dropped into the midnight screening of Bette Davis in “Old Acquaintance†at the Hollywood. But nothing would have gotten me into RCMH for “Lassie Come Home†with “Autumn Album†on the great stage. That’s one show I would have passed up.
What fun! I went back to Warren’s 1943 list to see when Sweet Rosie O'Grady played. It opened Oct 17 and stayed only four weeks despite being a huge boxoffice hit. But also noticed that Warren must have gone opening week as he states that Kay left because she didn’t like Kaye. Maybe she didn’t like the fact that Kaye had one more letter in his name than she. And who (trivia time) replaced her? Or did they give more time on stage to Kaye?