Bigjoe, I think the size of the theater and space for facilities (which were converted to retail decades ago) are too small, by today’s standards, for serious consideration. And it is completely boxed in by the new Lyric and Selwyn theaters, so no room to expand.
Big joe, I’d wager the studio just doesn’t see the economic gain in spending the time and money to repair and restore the damaged negatives. Would be nice to have a restored smilebox DVD edition – and dare I say theatrical exhibition – but I’m not sure there is as much clamor for that flick as there may have been for HTWWW (apologies, snaps).
Thanks for pointing that out, vindanpar. I had no recollection of that image. If you go to page 10 of the photos, you’ll find a wider angle (not so cropped) of that same photo to see how small and cramped that stage would have been. Looks like the orchestra is maybe 4 or 5 people deep, and then an extra row of folks up on that niche at the back of the stage. The musicians look like they barely have room to move their bows! Compare that to the stage at Carnegie Hall or the Beacon Theatre. Even the tightest legitimate Broadway stage (and I’ve walked across a few) easily has triple or quadruple the depth of the platform depicted in that 1920 picture of the Rivoli. And more to the original question raised by NewYorkToursbyGary, it doesn’t appear likely that a stage was ever “added” to keep it competitive. Whatever facilities you see in that 1920 photo are probably about as much as the Rivoli could have offered – without building the stage inward, cutting into the seating area itself.
Thanks for the clarification, folks. Yes, when I was thinking of “stage” I meant like legit house stage, with fly space, dressing rooms, and other facilities capable of sustaining a rebirth of the Rivoli as a performance space or theatrical house.
I don’t think the Rivoli ever had stage facilities – nor do I see how it could have. As I remember, the theater was oriented in a straight line from front entrance to screen as you entered on Broadway. The rear wall where the screen was would have been right along the Seventh Ave sidewalk. Perhaps there was some small access space behind the screen, but given the size of the theatre and dimensions of the lot on which it sat, there would have been no space to build workable stage and backstage area.
The facade has been shorn of all neon and marquee boards, and now sports the same bland, generic reddish AMC logo over the entrance, common to just about all AMC multiplexes these days.
Such is the way with many of the fussier CT members, it seems. They are extraordinarily thin skinned, and when taken to task on how the game should be played, they take their ball and run home!
I think I linked to many images I had in a photobucket account long ago. But yes, I’ll have to take some new photos of what I have and upload them appropriately. Though, I don’t have many from the classic roadshow period… most of my collection are of the mainstream release variety, picked up at both NYC houses and at the neighborhood theatre candy counter.
Vindanpar… This probably belongs on the RCMH page, but in response to your comments above, they did sell souvenir programs at the Music Hall. I can’t say for sure about Tom Sawyer – which I did see there – but I do still have my souvenir program for Crossed Swords, which was the Easter Attraction in 1978. There is a sticker on the program with the Radio City logo that notes the engagement was to be the “Final Attraction” at the Music Hall. Of course, that turned out not to be the case. I also have a separate souvenir booklet purchased at the same show, that was the Hall’s own booklet about the theater itself and it’s history.
Village East probably in the best position to survive for a while – not that I know anything about it’s profitability. I’m just thinking in terms of having a historic theater with its original auditorium still intact, while having the support of 6 other auditoriums within the facility to compete with today’s multiplexes. Also has the advantage of being in an area of Manhattan where geological conditions do not lend themselves to the development of high rise towers. I would imagine the locals also reasonably support the theater.
The Apollo also operated for a while as the concert venue known as The Academy into the mid ‘90’s. The entrance to the Academy was through the 43rd street exit doors, so one walked pretty much directly into the auditorium. When I saw Santana play there around ‘94 or so, there were no seats in the orchestra, which was leveled for general admission standing room. However, the HBO show Russel Simmons Def Comedy Jam was taped there, and I seem to recall shots of the crowd in their seats. In any event, the house was in pretty good shape, as I recall. The Lyric was probably in reasonable shape as well, since it remained to the end one of the classier first run oriented theaters on the block, like the Selwyn and Harris.
Big Joe, there must have some other reason than condition as to why it was not renovated and repurposed. The Harris was in very decent shape compared to most of the other theatres on the block as it was one of the last to remain open and showing current films into the early ‘90’s.
According to an article in The NY Times today, a new deal to develop the site has been reached and the developer plans on razing the structure in favor of a 16 story glass residential tower. The piece mentions that the lobby and foyer are landmarked, so permission from the LPC had to be obtained. It makes no mention, however, of preserving the landmarked areas – leading me to wonder if the LPC is declassifying the building all together just to be done with the entire saga already. I’d link out to the article, but NYT is a subscription site and access usually doesn’t last. You can easily google it like I did.
Vindanpar… sometimes we just need to be thankful for what we have left. Would you have rather seen the entire room gutted to bare brick and converted to office space? Nice to see a big movie playing here that will bring crowds and keep the theater viable for its owners.
While “tweaked” may not have been industry jargon, nor might it have been apropos to the practice of trimming road show prints for additional daily screenings and/or general release, I can think of one hard ticket film where the term did apply – 2001: A Space Odyssey. Kubrick made those trims after the premiere to do exactly that… tweak the film to enhance pacing and make clearer the connection between the monolith and the evolutionary leap made by the hominids in the opening Dawn Of Man sequence.
A post script… Looks like the double S spelling as an AKA on the IBDB page may have originated with how Mr Casavant’s name was recorded (obviously in error) for the 1922 production of “Frank Fay’s Fables,” a revue that played at the long gone Park Theatre on Columbus Circle.
Hey Paul… I didn’t mean to offend. I typed the double S in his name in error – possibly because his IBDB listing lists that spelling as an AKA. I certainly did not mean to imply this was the correct spelling, or intend to call you out for not knowing how the name was spelled. In fact, the only intention of my comment was to point out the first and last credits attributed to him on that page. Apologies if it was taken in any other spirit! I don’t like to engage in the petty flame wars that often go on within these pages between certain users. I’m all about nailing down the history and sharing the memories! Anyway, seems you have a credit that predates the ones listed on IBDB for your grandfather… have you attempted any contact with the administrators of the website to get the history corrected?
The terrific website ibdb.com lists credits for Mr Cassavant going back to 1895 – when he appeared in a production called “The Wizard Of The Nile” at the Casino Theatre. The last credit listed is for a comedy called “Her Man Of Wax” that played at the Shubert in the fall of 1933.
Man… Just when i thought we had it! I remember always referring to this theater as being in the TSS shopping center, and took Chris Platt’s post as a little vindication for that memory. I wish someone here could unequivocally confirm or deny that for once and all!
That was just a winking nod to the roadshow era – as was the accompanying ‘60’s style Weinstein Company logo. Those logos only appeared in the 70mm prints. The “general release” versions did not have them.
Bigjoe, I think the size of the theater and space for facilities (which were converted to retail decades ago) are too small, by today’s standards, for serious consideration. And it is completely boxed in by the new Lyric and Selwyn theaters, so no room to expand.
Big joe, I’d wager the studio just doesn’t see the economic gain in spending the time and money to repair and restore the damaged negatives. Would be nice to have a restored smilebox DVD edition – and dare I say theatrical exhibition – but I’m not sure there is as much clamor for that flick as there may have been for HTWWW (apologies, snaps).
By the way, vindanpar, Anthony Newley fans would say that one is a cinch to figure out!
Thanks for pointing that out, vindanpar. I had no recollection of that image. If you go to page 10 of the photos, you’ll find a wider angle (not so cropped) of that same photo to see how small and cramped that stage would have been. Looks like the orchestra is maybe 4 or 5 people deep, and then an extra row of folks up on that niche at the back of the stage. The musicians look like they barely have room to move their bows! Compare that to the stage at Carnegie Hall or the Beacon Theatre. Even the tightest legitimate Broadway stage (and I’ve walked across a few) easily has triple or quadruple the depth of the platform depicted in that 1920 picture of the Rivoli. And more to the original question raised by NewYorkToursbyGary, it doesn’t appear likely that a stage was ever “added” to keep it competitive. Whatever facilities you see in that 1920 photo are probably about as much as the Rivoli could have offered – without building the stage inward, cutting into the seating area itself.
Thanks for the clarification, folks. Yes, when I was thinking of “stage” I meant like legit house stage, with fly space, dressing rooms, and other facilities capable of sustaining a rebirth of the Rivoli as a performance space or theatrical house.
I don’t think the Rivoli ever had stage facilities – nor do I see how it could have. As I remember, the theater was oriented in a straight line from front entrance to screen as you entered on Broadway. The rear wall where the screen was would have been right along the Seventh Ave sidewalk. Perhaps there was some small access space behind the screen, but given the size of the theatre and dimensions of the lot on which it sat, there would have been no space to build workable stage and backstage area.
Do they have RPG or 3D showings so they can jack up prices?
The facade has been shorn of all neon and marquee boards, and now sports the same bland, generic reddish AMC logo over the entrance, common to just about all AMC multiplexes these days.
I think the most important thing here is to be thankful (today especially) that we have the opportunity to see any films at all at the Paris!
Star Wars and Reds are among the several souvenir programs I still have in my possession.
Such is the way with many of the fussier CT members, it seems. They are extraordinarily thin skinned, and when taken to task on how the game should be played, they take their ball and run home!
I think I linked to many images I had in a photobucket account long ago. But yes, I’ll have to take some new photos of what I have and upload them appropriately. Though, I don’t have many from the classic roadshow period… most of my collection are of the mainstream release variety, picked up at both NYC houses and at the neighborhood theatre candy counter.
Vindanpar… This probably belongs on the RCMH page, but in response to your comments above, they did sell souvenir programs at the Music Hall. I can’t say for sure about Tom Sawyer – which I did see there – but I do still have my souvenir program for Crossed Swords, which was the Easter Attraction in 1978. There is a sticker on the program with the Radio City logo that notes the engagement was to be the “Final Attraction” at the Music Hall. Of course, that turned out not to be the case. I also have a separate souvenir booklet purchased at the same show, that was the Hall’s own booklet about the theater itself and it’s history.
Village East probably in the best position to survive for a while – not that I know anything about it’s profitability. I’m just thinking in terms of having a historic theater with its original auditorium still intact, while having the support of 6 other auditoriums within the facility to compete with today’s multiplexes. Also has the advantage of being in an area of Manhattan where geological conditions do not lend themselves to the development of high rise towers. I would imagine the locals also reasonably support the theater.
The Apollo also operated for a while as the concert venue known as The Academy into the mid ‘90’s. The entrance to the Academy was through the 43rd street exit doors, so one walked pretty much directly into the auditorium. When I saw Santana play there around ‘94 or so, there were no seats in the orchestra, which was leveled for general admission standing room. However, the HBO show Russel Simmons Def Comedy Jam was taped there, and I seem to recall shots of the crowd in their seats. In any event, the house was in pretty good shape, as I recall. The Lyric was probably in reasonable shape as well, since it remained to the end one of the classier first run oriented theaters on the block, like the Selwyn and Harris.
Big Joe, there must have some other reason than condition as to why it was not renovated and repurposed. The Harris was in very decent shape compared to most of the other theatres on the block as it was one of the last to remain open and showing current films into the early ‘90’s.
According to an article in The NY Times today, a new deal to develop the site has been reached and the developer plans on razing the structure in favor of a 16 story glass residential tower. The piece mentions that the lobby and foyer are landmarked, so permission from the LPC had to be obtained. It makes no mention, however, of preserving the landmarked areas – leading me to wonder if the LPC is declassifying the building all together just to be done with the entire saga already. I’d link out to the article, but NYT is a subscription site and access usually doesn’t last. You can easily google it like I did.
Vindanpar… sometimes we just need to be thankful for what we have left. Would you have rather seen the entire room gutted to bare brick and converted to office space? Nice to see a big movie playing here that will bring crowds and keep the theater viable for its owners.
While “tweaked” may not have been industry jargon, nor might it have been apropos to the practice of trimming road show prints for additional daily screenings and/or general release, I can think of one hard ticket film where the term did apply – 2001: A Space Odyssey. Kubrick made those trims after the premiere to do exactly that… tweak the film to enhance pacing and make clearer the connection between the monolith and the evolutionary leap made by the hominids in the opening Dawn Of Man sequence.
A post script… Looks like the double S spelling as an AKA on the IBDB page may have originated with how Mr Casavant’s name was recorded (obviously in error) for the 1922 production of “Frank Fay’s Fables,” a revue that played at the long gone Park Theatre on Columbus Circle.
Hey Paul… I didn’t mean to offend. I typed the double S in his name in error – possibly because his IBDB listing lists that spelling as an AKA. I certainly did not mean to imply this was the correct spelling, or intend to call you out for not knowing how the name was spelled. In fact, the only intention of my comment was to point out the first and last credits attributed to him on that page. Apologies if it was taken in any other spirit! I don’t like to engage in the petty flame wars that often go on within these pages between certain users. I’m all about nailing down the history and sharing the memories! Anyway, seems you have a credit that predates the ones listed on IBDB for your grandfather… have you attempted any contact with the administrators of the website to get the history corrected?
The terrific website ibdb.com lists credits for Mr Cassavant going back to 1895 – when he appeared in a production called “The Wizard Of The Nile” at the Casino Theatre. The last credit listed is for a comedy called “Her Man Of Wax” that played at the Shubert in the fall of 1933.
Man… Just when i thought we had it! I remember always referring to this theater as being in the TSS shopping center, and took Chris Platt’s post as a little vindication for that memory. I wish someone here could unequivocally confirm or deny that for once and all!
Ignoring the fate of the Harris Theatre, however…
That was just a winking nod to the roadshow era – as was the accompanying ‘60’s style Weinstein Company logo. Those logos only appeared in the 70mm prints. The “general release” versions did not have them.