Souvenir programs were not “exclusive” to the location they were being sold in. Rather they are publications like any book or magazine. The publisher would get a license from the movie company, in this case 20th Century Fox and publish and print the book to be sold at the theatre at the time it was playing. The Robe booklet probably sold for 50 cents with the Roxy keeping a percentage of each copy sold. Although there may have been “left overs” at the locations, generally the unsold copies would be the property of the publisher and should have been returned to them. The publisher (also known as vendor) would be responsible for distribution of the book. Running operations like this would be difficult and expensive in the fast moving age of the multiplex.
“The Roxy closed in March 1960, but its fate was probably sealed much earlier when it was purchased by Rockefeller Center in 1956.”
Very true. If the Capitol and the Roxy switched places, the Capitol would have been the first to go. Rockefeller Center was certainly thinking future expansion when the Roxy property was purchased in 1956.
I am not sure what you mean,consider or understand what are “A, B or C” films. But the last several movies to play the NYC ROXY include DAMN YANKEES, RIO BRAVO, IMITATION OF LIFE, LIL ABNER, and others, all major product. Covers of several of the programs are in the photo section.
The Roxy was purchased by Rockefeller Center in 1955 with an eye towards future development. Rock Center needed the ROXY site for its air rights in order to build the new Time-Life building, completed in 1959. The Roxy was leased back to its operators. Rock Center had no direct involvement in its operation until 1959, shortly before it closed. Rock Center made a deal with William Zecandorf to sell the ROXY so the TAft hotel could be expanded. However, the TAFT was never expanded, but Zeckendorf proceeded to tear down the ROXY. He had no interest in keeping the ROXY open. Closed, the ROXY was costing thousands of dollars in real esate taxes to NYC. Zeckend orf probaly did not have much choice. The whole closing process appeaerd to be very quick. Perhaps Rock Center insisted the ROXY be closed. However, I have not seen any printed proof of Rock Center’s direct involement in the closing. Variety reported in 1959 that the NY Philharmonic was interested in leasing the ROXY for its home after the philharmonic was ousted from Carniege hall, which was also on the demolition block at the time. However nothing ever came of the ROXY/ Philharmonic deal as Linclon Center was in the early construction stages at the time.
You are welcome. Have much more. Will try and share. My wish was to have this all published years ago, but it never happened. Really surprised that this aspect of NYC and Times Sq. history has been mostly ignored in general.
Re:I beg to differ. This was not an office building he created but what was the largest theater built at the time dubbed “The Cathedral Of The Motion Picture”. The Roxy cannot fade in anyones mirror . We are all entitled to our opinion . We will never know. At least Lamb was long gone before they started an all out assault on his theaters.
I agree.
The NYT’s very brief obituary for Ahlschlager in 1965 noted that his most famous of many buildings was the NY ROXY, “now demolished”. No mention was made of the NY BEACON, which still stands and was recently restored.
In the very beginning are shots of people toiling at various jobs at night. One small bit is a single woman with a pail & mop mopping the floor in that huge rotunda.
Talk about thankless jobs
Why do you not use search feature, this has been already mentioned several times above!
the Sommer Bros purchased the ROXY site from Zeckendorf and bulid the office buiding current on the site. The Sommer’s were influencial in building 1950’s “car ready” shopping malls in upsate NY as the following 1952 article states:
An estimated 100,000 persons arriving by autos, buses, and on foot invaded the new Thruway plaza at Walden and Harlem yesterday afternoon and evening in what plaza officials called the most spectacular opening of any building development of its kind.
The crowds saw the $7,000,000 plaza – the largest in the state and second largest in the country – sprawled on its 69-acre site exactly as it lookedo n the architect’s drawings.
Police Chied Walter J. Marynowksi of Cheektowaga said the 3,000 car parking area in front of the plaza was filled within 50 minutes after opening ceremonies at noon. A police detail of 50 kept traffic moving smoothly and directed the overflow of about 1,000 cars to the rear parking area. Marynowski estimated 50,000 persons visited the plaza within four hours after it opened.
“Shopping once was a chore and burden,” declared Sigmund Sommer, president of teh Sommer Bros. Construction Co. of Iselin, N.J., which built and will operate the plaza. “In design of this new plaza and of each store, we have tried to turn shopping into fun for the whole family.”
The carnival atmosphere at the opening was aided by the presence of the Cisco Kid, Western television star, who gave out some 25,000 autographed photographs. He left the Thruway site briefly to visit patients at Children’s Hospital and at Immaculate Heart of Mary Orphanage.
In the “bit top” behind the plaza, children watched animal acts offered by Gengler Bros. Circus. The circus and the Cisco Kid will remain at the plaza through tomorrow.
Also present for the opening ceremonies were Abraham Sommer, vice-president of the construction company, executives of the firm who have stores in the plaza and supervisor Benedict T. Holtz of Cheektowaga. Holtz cut the ribbon and accepted a television set from the Sommer brothers for the orphanage.
Several stores in the plaza are not yet completed and a 30-acre adjacent lot is reserved for possible later additions. A department store is scheduled to be added to the plaza next year.
RE:
Thanks so much Ron – what a great list and what great memories it triggered. Now I know for sure that the first film I saw at the Music Hall was Bon Voyage, when I always thought it was That Touch of Mink. I was 7 years old for both films. I also got to relive all the films I WANTED to see at the Music Hall but was too young to go see by myself.
posted by Bill Huelbig on Jul 18, 2004 at 6:52pm
Re TOUCH OF MINK was the fist movie I saw at RCMH myself. I was 6. It was not until years later with a little research, that I could re-call the movie title. However, the building and the stage show did make an immediate impression on me.
RE: On this day in 1959, the Roxy opened what proved to be its final Easter holiday package, with Howard Hawks' Technicolor western, “Rio Bravo,” on screen. John Wayne, Dean Martin, and Ricky Nelson starred in the Warner Brothers release, with Angie Dickinson, Walter Brennan, Ward Bond, and John Russell featured. On its truncated stage, the Roxy presented “Spring Fever,” starring Dorothy Keller, with support from Earl Hall, the Roxy Singers & Dancers Moderne, and the Roxy Orchestra under conductor Robert Boucher. That year, the Roxy’s competition from Radio City Music Hall consisted of MGM’s “Green Mansions,” with Audrey Hepburn and Anthony Perkins, and a two-part stage revue including the sacred “Glory of Easter” and the secular “Spring Parade
It appears the ROXY had the better movie for Easter 1959.
RE: When I saw “The Absent-Minded Professor” (not at the Music Hall, unfortunately), I recall being surprised it was in black and white and not Technicolor. I guess Disney was on an economy drive in those days, although I’ll bet that movie made a fortune for the studio.
posted by Bill Huelbig on Mar 16, 2011 at 6:59am
No Disney was not “on economy drive”, with ABSENT MINDED PROFESSOR. Rather, the special effects used were not comparable to color photography at the time.
It also should be added to resumption of stage & screen presentations with “The Rains of Ranchipur” in Dec. 1955, that the Roxy sold advanced mezzaine reserved seating similar RCMH to audience members seeking to better plan their attendance. Was this policy continued beyond this engagement?
Residential tower proposed
for defunct Yonkers theater
YONKERS â€" A developer wants permission from the
city to build a 15-story tower at the site of a
burned-out theater.
Blue Real Estate Holdings LLC of 470 Nepperhan
Ave. is proposing to build an age-restricted, 220-
unit complex at 1217 Yonkers Ave., the site of the
former Kimball Theatre and a row of shuttered
businesses.
The developer has submitted its request for zoning
exemptions to the Zoning Board of Appeals,
including a height variance for the proposed 165.1-
foot building, which is 30 feet higher than the city’s
zoning allows. The developer also needs variances
for floor-area ratios and lot coverage, among other
issues. The plan includes 235 underground parking
spots.
At the applicant’s request, a scheduled June 15
zoning board hearing has been postponed. The
board’s next meeting is July 20.
In its application, the developer’s attorney, James
Veneruso, wrote that the project “will be of
tremendous benefit” to the city because “the
dilapidated Kimball Theatre will be replaced by a
beautiful state of the art building; and (2) the project
will meet the needs of the community by helping
revitalize the area.”
Residents at 475 Bronx River Road and 52 Yonkers
Terrace already have objected. The buildings'
attorney, Evelyn Petrone, wrote to the city that the
proposed tower doesn’t fit in the area and, if built,
will worsen traffic and parking problems.
In a May 18 letter to the zoning board, Westchester
County acting Planning Commissioner Edward
Buroughs praised the proposal because it fits with
the county’s vision for dense development near
public transportation. The Mount Vernon West train
station is nearby.
“It will direct growth to an already established
center, where the existing infrastructure will
support the development, and where transportation
options can be provided and services can be
obtained within walking distance,” Buroughs wrote.
On the screen: ALL ABOUT EVE
On the stage: Martha Stewart and the Blackburn Twins
On the Ice Stage: Joan Hyldoft along with the Roxy skating Blades & Belles, The Gae Foster Roxyettes, Spitalny’s Choral Ensemble & the Roxy Orchestra.
also featured was Phil Romayne & Terry Brent (ice skaters)and Jay Lambert on the Roxy Console.
A special souvenir program booklet was also prepared for the ALL ABOUT EVE enagement which profiled the the movie, its cast and production.
You are correct, a larger, permanent ice stage was installed in late 1952 costing (according to the New Yor Times ) $250,000 and was first used with the premiere of STARS & STRIPS FOREVER.
However, the NYTs also reported on June 16th 1948 that the Roxy Theatre would be presenting an ice revue on a newly completed ice stage beginning Wednesday June 23 (1948). The stage was planned by Executive Director AJ Balaban and his assocites for 2 years and had been under constuction for 3 months and cost $80,000. The stage was planted behind the movie screen and was permanent and measures 60 feet accross and 38 feet deep. The new presentation policy not only included the usual variety acts, but an ice act, as well as motion pictures (a “three in one” show, what a bargin for Roxy audiences).
The first “3 in 1” show featured Carol Lynne on ice and the Andrew Sisters and Dean Martin on stage, with “Give My Regards to Broadway” on the screen.
I must check my other Roxy programs from 1949 to 1952 and see how often the first ice stage was used.
The Roxy Theatre was first opened to the public on March 11th, 1927. The new world famous theatre, when opened in 1927, by Samuel L. (Roxy) Rothafel, was then the largest theatre in the world, with 5,883 seats, and introduced hitherto unknown features in lighting effects, stage presentation, with complete air-conditioning.
In the 25 year history of the Roxy, the teatre has played a total of 749 pictures, has played to 107,067,319 admissions and a total gross of $78,876,070.24.
The first picture shown at the Roxy was “The Love of Sunya,” starring Gloria Swanson, and the year 1927 also introduced such hit films as “What Price Glory” and “7th Heaven”. “The Cockeyed World”, which played in 1928 grossed biggest 4 weeks in the history of the theatre, and still holds the record for the greatest number of admissions for its 1st week. The longest run pictures were “Wilson” in 1944 and “The Razor’s Edge” whch opened in November 1946, both films running for 8 weeks. “Forever Amber”, opening in Oct, 1947, was notable for the highest week’s gross in the theatre’s history.
In 1942, began the era of glamour stage personalities on the great Roxy stage, and such famous stars have appeared in person as Grace Moore, Danny Kaye, Jack Benny, Phil Harris, Milton Berle, Dagmar, Abbott & Costello, George Jessel, Faye Emerson, Sid Caesar, Imogene Coca, Dean Martin & Jerry Lewis, Lucille Ball & Desi Arnaz, Carmen Miranda, Dan Dailey, Vic Damone, Andrews Sisiters, Red Skelton, Danny Thomas and famous bands.
In June 1948, the Roxy introduced the first ice stage in a motion picture theatre at a cost of $83,000.
A recent Lower Hudson news article regarding Ed Sullivan:
TV icon holds place
in village hearts
Leah Rae
PORT CHESTER â€" The village is looking for a way to commemorate Ed Sullivan: Broadway legend, TV pioneer and a bit less generally known, Port Chester High School graduate, class of â€\19.
The late entertainerâ€\s local ties are acknowledged in low-key ways such as a library program held earlier this month. But as Port Chester tries to nurture a restaurant and entertainment niche, the village board resolved this month to name something â€" a street, a square, some other proud place â€" for the TV star.
The idea will officially go to the beautification committee for deliberations. In the meantime, a few people around town offered suggestions.
Ann Barringer Spaeth of the Council of Community Services suggested an “Ed Sullivan Ampitheater.”
“We lack places for people to congregate,” she said. A shallow inlet along the Byram River came to mind as a potential space that could be filled in for a theater. “It would just encourage more people to perform, do things outside, congregate and have fun,” she said. “And he was all about that.”
Sullivan grew up in Port Chester and stood out as a competitive athlete in baseball, track, football and basketball. He covered high school sports for The Daily Item newspaper, a predecessor of The Journal News, and eventually jumped from journalism to entertainment.
“The lights of the city were drawing him. He just wanted to get there,” said James Maguire, who wrote the biography “Impresario: The Life and Times of Ed Sullivan.”
But if Port Chester was the place he wanted to leave, those roots would work to his benefit.
“He really used that small-town Port Chester attitude towards life to shape his show in later years,” Maguire said. He recalled an interview with Joan Rivers about Sullivanâ€\s variety show. “She said, ‘When (Johnny) Carson liked you, you could play the big cities. When Sullivan liked you, you could play anywhere, including the small towns.â€\”
Maguire wrote in his book that “social commentators would point to Ed Sullivan as the apotheosis of square, a prude, a man who ran his great national showcase by tight, moralistic strictures. Certainly Sullivan himself … was in reality far from this. But to the extent that the man projected this quality, the boy learned this prim and pious worldview on the leafy streets of Port Chester.”
Sullivanâ€\s parents moved to Port Chester from Harlem after two of his siblings, a twin brother and a sister, died in infancy.
When he wasnâ€\t playing sports, he took in movies and traveling shows. He and his brother Charles walked to the Apawamis Club in Rye to work as caddies, said Maguire and an earlier biographer, Michael Harris.
Sullivan died in 1974 at age 73.
Trustees Domenick Cicatelli and Gregory Adams suggested an Ed Sullivan Square, perhaps at Main Street and Westchester Avenues, now home to a movie complex.
Trustee Daniel Brakewood saw an opportunity to highlight Port Chesterâ€\s identity.
The village has designated itself Westchester Countyâ€\s restaurant capital. But when visitors come to town, Brakewood said, “they see Port Chester, but they donâ€\t see our history, really.”
The last public street named for a person was not a cause for civic pride. William Brody Square, at South Main and East William streets, was named as part of an apology over a 2000 eminent domain lawsuit. The village was faulted for failing to properly notify Brody, a building owner, that his property could be taken.
The villageâ€\s parks are designated with monuments and memorials, former Mayor Peter Iasillo said.
To honor Sullivan, he said, “I think the school would be a good spot.”
Camille Linen, co-founder of the Port Chester Council for the Arts, suggested asking Sullivan family members for ideas. Her own hope is for a community art center or theater.
Robin Lettieri, director of the Port Chester Rye Brook Library, said an official commemoration would be a popular move.
“The residents of Port Chester love their local history,” she said, “and I think they would really appreciate that.”
I believe the Embassy should be refurbished and used as a performance arts center in honor of Ed Sullivan. Such a shame this building is sitting unused for so long.
“Its still strange there was no goodbye show for the Roxy which would have done well as a fond goodbye to one of the most important movie palaces in the world.It seems that parties involved didn’t want to draw any attention to the closing of the Roxy.”
Not so strange when you realize the parties involved were Rockefeller Center and Willam Zeckendorf, who both wanted the ROXY out of the way as quickly and quitely as possible. The closing, though reported in trade publications, barely made the daily newspapers and most average New Yorkers were not aware it was to be demolished until after the closing.
FreedomLand, the failed Bronx Disneyland want-to-be amusement park, was advertised on the ROXY marquee during the summer of 1960 after the theatre closed for good and was being demolished. Zeckendorf was very involved with the creation of FreedomLand
Interesting, in late 1959 Variety, reported that Robert Rothafel and a group of other investors, were considering presenting lavish sophisticated “Las Vegas type” entertainment at the ROXY along with live TV broadcasts and other event shows. Also the NY Philharmonic was looking for a home after being ousted from Carnegie Hall and was considering the ROXY. None of these plans ever saw the light of day. The Philharmonic eventually went to Lincoln Center which was already in the final planning stages. And what became of Robert Rothafel after the ROXY closed? Anyone know.
“The Roxy was promoted at its opening as having a seating capacity of 6,214. But for the bulk of its existence it was reported as seating about 5,700. While replacement of the original seats could account for this (were they replaced?),…there is common speculation that the Roxy literally counted every "seat” in the house, including toilets and dressing room chairs, to come up with this impressive number. Does anyone have information whether or not 6,214 was ever actually the real seating capacity of the theater and if so, what alteration accounted for the lower number later on?
In 1958 the seating was vastly reduced for the showing of “Windjammer” in Cinemiracle. Probably the rear orchestra and the top baclony were draped off. But the theatre returned to its capacity of 5700 after Windjammer ended. Thanks for your help.
posted by MarkDHite on Dec 1, 2008 at 12:03am"
According to the ROXY blue prints copied in AMERICAN THEATRES OF TODAY, originally published in 1927, the auditorium was seated as follows:
Ground floor 2,840
Mezzanine 1,054
Balcony 2,026
Total 5,920 seats
I believe RCMH opened with 5,960 seats, almost identical.
The ROXY’s seating capacity was ruduced somewhat during the 1930s remodling which extended the stage apron further out into the auditorium and also muted the organ grills which spoke from beneath the stage.
For Windjammer, the seating was not physically reduced. Reserved seats were sold only for the center orchestra and lower blacony. All other areas were closed off. Some by the hanging of drapery. The CineMiracle projection booth was set up in the closed to public mezzanine.
The NY Public Lib at Linclon Ctr has (had, not sure its been so long since I viewed)a stack of publicty photos relating to the ROXY/CineMiricale/Widjammer set up. Pictured was the temporary booths, the drapery to close up sections of the theatre, the installation of the huge screen (which was in front of the procedium (sp)), even the ticket lobby reserved seat booth and the poster display cases outside.
Yes, early publicity did claim 6,214 seats. This was an exageration.
Several non-consistant seating numbers were published during the 1950s. Most were 5700 to 5800 or a bit more. I have to do some research to determine what the actually seating capacity was at closing.
Souvenir programs were not “exclusive” to the location they were being sold in. Rather they are publications like any book or magazine. The publisher would get a license from the movie company, in this case 20th Century Fox and publish and print the book to be sold at the theatre at the time it was playing. The Robe booklet probably sold for 50 cents with the Roxy keeping a percentage of each copy sold. Although there may have been “left overs” at the locations, generally the unsold copies would be the property of the publisher and should have been returned to them. The publisher (also known as vendor) would be responsible for distribution of the book. Running operations like this would be difficult and expensive in the fast moving age of the multiplex.
RE:
“The Roxy closed in March 1960, but its fate was probably sealed much earlier when it was purchased by Rockefeller Center in 1956.”
Very true. If the Capitol and the Roxy switched places, the Capitol would have been the first to go. Rockefeller Center was certainly thinking future expansion when the Roxy property was purchased in 1956.
To bigjoe 59 –
I am not sure what you mean,consider or understand what are “A, B or C” films. But the last several movies to play the NYC ROXY include DAMN YANKEES, RIO BRAVO, IMITATION OF LIFE, LIL ABNER, and others, all major product. Covers of several of the programs are in the photo section.
A new book about SL “Roxy” Rothafel is about to be published:
http://www.amazon.com/American-Showman-Rothafel-Entertainment-1908-1935/dp/0231159048/ref=reg_hu-rd_add_1_dp
Members of the Rothafel family were interviewed by the Author
The Roxy was purchased by Rockefeller Center in 1955 with an eye towards future development. Rock Center needed the ROXY site for its air rights in order to build the new Time-Life building, completed in 1959. The Roxy was leased back to its operators. Rock Center had no direct involvement in its operation until 1959, shortly before it closed. Rock Center made a deal with William Zecandorf to sell the ROXY so the TAft hotel could be expanded. However, the TAFT was never expanded, but Zeckendorf proceeded to tear down the ROXY. He had no interest in keeping the ROXY open. Closed, the ROXY was costing thousands of dollars in real esate taxes to NYC. Zeckend orf probaly did not have much choice. The whole closing process appeaerd to be very quick. Perhaps Rock Center insisted the ROXY be closed. However, I have not seen any printed proof of Rock Center’s direct involement in the closing. Variety reported in 1959 that the NY Philharmonic was interested in leasing the ROXY for its home after the philharmonic was ousted from Carniege hall, which was also on the demolition block at the time. However nothing ever came of the ROXY/ Philharmonic deal as Linclon Center was in the early construction stages at the time.
Prior to installation Mohawk Carpet Mills New York
You are welcome. Have much more. Will try and share. My wish was to have this all published years ago, but it never happened. Really surprised that this aspect of NYC and Times Sq. history has been mostly ignored in general.
Another ROXY view, 1954:
View link
Re:I beg to differ. This was not an office building he created but what was the largest theater built at the time dubbed “The Cathedral Of The Motion Picture”. The Roxy cannot fade in anyones mirror . We are all entitled to our opinion . We will never know. At least Lamb was long gone before they started an all out assault on his theaters.
I agree.
The NYT’s very brief obituary for Ahlschlager in 1965 noted that his most famous of many buildings was the NY ROXY, “now demolished”. No mention was made of the NY BEACON, which still stands and was recently restored.
RE: Watch the move The Naked City
In the very beginning are shots of people toiling at various jobs at night. One small bit is a single woman with a pail & mop mopping the floor in that huge rotunda.
Talk about thankless jobs
Why do you not use search feature, this has been already mentioned several times above!
the Sommer Bros purchased the ROXY site from Zeckendorf and bulid the office buiding current on the site. The Sommer’s were influencial in building 1950’s “car ready” shopping malls in upsate NY as the following 1952 article states:
View link
100,000 Visit Thruway Plaza Opening
An estimated 100,000 persons arriving by autos, buses, and on foot invaded the new Thruway plaza at Walden and Harlem yesterday afternoon and evening in what plaza officials called the most spectacular opening of any building development of its kind.
The crowds saw the $7,000,000 plaza – the largest in the state and second largest in the country – sprawled on its 69-acre site exactly as it lookedo n the architect’s drawings.
Police Chied Walter J. Marynowksi of Cheektowaga said the 3,000 car parking area in front of the plaza was filled within 50 minutes after opening ceremonies at noon. A police detail of 50 kept traffic moving smoothly and directed the overflow of about 1,000 cars to the rear parking area. Marynowski estimated 50,000 persons visited the plaza within four hours after it opened.
“Shopping once was a chore and burden,” declared Sigmund Sommer, president of teh Sommer Bros. Construction Co. of Iselin, N.J., which built and will operate the plaza. “In design of this new plaza and of each store, we have tried to turn shopping into fun for the whole family.”
The carnival atmosphere at the opening was aided by the presence of the Cisco Kid, Western television star, who gave out some 25,000 autographed photographs. He left the Thruway site briefly to visit patients at Children’s Hospital and at Immaculate Heart of Mary Orphanage.
In the “bit top” behind the plaza, children watched animal acts offered by Gengler Bros. Circus. The circus and the Cisco Kid will remain at the plaza through tomorrow.
Also present for the opening ceremonies were Abraham Sommer, vice-president of the construction company, executives of the firm who have stores in the plaza and supervisor Benedict T. Holtz of Cheektowaga. Holtz cut the ribbon and accepted a television set from the Sommer brothers for the orphanage.
Several stores in the plaza are not yet completed and a 30-acre adjacent lot is reserved for possible later additions. A department store is scheduled to be added to the plaza next year.
One of the individual’s directly responsible for the ROXY’s demise:
http://en.wikipedia.org/wiki/William_Zeckendorf
RE:
Thanks so much Ron – what a great list and what great memories it triggered. Now I know for sure that the first film I saw at the Music Hall was Bon Voyage, when I always thought it was That Touch of Mink. I was 7 years old for both films. I also got to relive all the films I WANTED to see at the Music Hall but was too young to go see by myself.
posted by Bill Huelbig on Jul 18, 2004 at 6:52pm
Re TOUCH OF MINK was the fist movie I saw at RCMH myself. I was 6. It was not until years later with a little research, that I could re-call the movie title. However, the building and the stage show did make an immediate impression on me.
RE: On this day in 1959, the Roxy opened what proved to be its final Easter holiday package, with Howard Hawks' Technicolor western, “Rio Bravo,” on screen. John Wayne, Dean Martin, and Ricky Nelson starred in the Warner Brothers release, with Angie Dickinson, Walter Brennan, Ward Bond, and John Russell featured. On its truncated stage, the Roxy presented “Spring Fever,” starring Dorothy Keller, with support from Earl Hall, the Roxy Singers & Dancers Moderne, and the Roxy Orchestra under conductor Robert Boucher. That year, the Roxy’s competition from Radio City Music Hall consisted of MGM’s “Green Mansions,” with Audrey Hepburn and Anthony Perkins, and a two-part stage revue including the sacred “Glory of Easter” and the secular “Spring Parade
It appears the ROXY had the better movie for Easter 1959.
RE: When I saw “The Absent-Minded Professor” (not at the Music Hall, unfortunately), I recall being surprised it was in black and white and not Technicolor. I guess Disney was on an economy drive in those days, although I’ll bet that movie made a fortune for the studio.
posted by Bill Huelbig on Mar 16, 2011 at 6:59am
No Disney was not “on economy drive”, with ABSENT MINDED PROFESSOR. Rather, the special effects used were not comparable to color photography at the time.
crowds of people attending a demonstation of CinemaScope at the ROXY:
View link
Footage from the HALLS OF MONTEZUMA premiere:
View link
It also should be added to resumption of stage & screen presentations with “The Rains of Ranchipur” in Dec. 1955, that the Roxy sold advanced mezzaine reserved seating similar RCMH to audience members seeking to better plan their attendance. Was this policy continued beyond this engagement?
Residential tower proposed
for defunct Yonkers theater
YONKERS â€" A developer wants permission from the
city to build a 15-story tower at the site of a
burned-out theater.
Blue Real Estate Holdings LLC of 470 Nepperhan
Ave. is proposing to build an age-restricted, 220-
unit complex at 1217 Yonkers Ave., the site of the
former Kimball Theatre and a row of shuttered
businesses.
The developer has submitted its request for zoning
exemptions to the Zoning Board of Appeals,
including a height variance for the proposed 165.1-
foot building, which is 30 feet higher than the city’s
zoning allows. The developer also needs variances
for floor-area ratios and lot coverage, among other
issues. The plan includes 235 underground parking
spots.
At the applicant’s request, a scheduled June 15
zoning board hearing has been postponed. The
board’s next meeting is July 20.
In its application, the developer’s attorney, James
Veneruso, wrote that the project “will be of
tremendous benefit” to the city because “the
dilapidated Kimball Theatre will be replaced by a
beautiful state of the art building; and (2) the project
will meet the needs of the community by helping
revitalize the area.”
Residents at 475 Bronx River Road and 52 Yonkers
Terrace already have objected. The buildings'
attorney, Evelyn Petrone, wrote to the city that the
proposed tower doesn’t fit in the area and, if built,
will worsen traffic and parking problems.
In a May 18 letter to the zoning board, Westchester
County acting Planning Commissioner Edward
Buroughs praised the proposal because it fits with
the county’s vision for dense development near
public transportation. The Mount Vernon West train
station is nearby.
“It will direct growth to an already established
center, where the existing infrastructure will
support the development, and where transportation
options can be provided and services can be
obtained within walking distance,” Buroughs wrote.
Advertisement
Per the October 13th, 1950 ROXY program:
On the screen: ALL ABOUT EVE
On the stage: Martha Stewart and the Blackburn Twins
On the Ice Stage: Joan Hyldoft along with the Roxy skating Blades & Belles, The Gae Foster Roxyettes, Spitalny’s Choral Ensemble & the Roxy Orchestra.
also featured was Phil Romayne & Terry Brent (ice skaters)and Jay Lambert on the Roxy Console.
A special souvenir program booklet was also prepared for the ALL ABOUT EVE enagement which profiled the the movie, its cast and production.
Richka
You are correct, a larger, permanent ice stage was installed in late 1952 costing (according to the New Yor Times ) $250,000 and was first used with the premiere of STARS & STRIPS FOREVER.
However, the NYTs also reported on June 16th 1948 that the Roxy Theatre would be presenting an ice revue on a newly completed ice stage beginning Wednesday June 23 (1948). The stage was planned by Executive Director AJ Balaban and his assocites for 2 years and had been under constuction for 3 months and cost $80,000. The stage was planted behind the movie screen and was permanent and measures 60 feet accross and 38 feet deep. The new presentation policy not only included the usual variety acts, but an ice act, as well as motion pictures (a “three in one” show, what a bargin for Roxy audiences).
The first “3 in 1” show featured Carol Lynne on ice and the Andrew Sisters and Dean Martin on stage, with “Give My Regards to Broadway” on the screen.
I must check my other Roxy programs from 1949 to 1952 and see how often the first ice stage was used.
From the ROXY program dated March 21st 1952:
Roxy’s 25th Anniversary
The Roxy Theatre was first opened to the public on March 11th, 1927. The new world famous theatre, when opened in 1927, by Samuel L. (Roxy) Rothafel, was then the largest theatre in the world, with 5,883 seats, and introduced hitherto unknown features in lighting effects, stage presentation, with complete air-conditioning.
In the 25 year history of the Roxy, the teatre has played a total of 749 pictures, has played to 107,067,319 admissions and a total gross of $78,876,070.24.
The first picture shown at the Roxy was “The Love of Sunya,” starring Gloria Swanson, and the year 1927 also introduced such hit films as “What Price Glory” and “7th Heaven”. “The Cockeyed World”, which played in 1928 grossed biggest 4 weeks in the history of the theatre, and still holds the record for the greatest number of admissions for its 1st week. The longest run pictures were “Wilson” in 1944 and “The Razor’s Edge” whch opened in November 1946, both films running for 8 weeks. “Forever Amber”, opening in Oct, 1947, was notable for the highest week’s gross in the theatre’s history.
In 1942, began the era of glamour stage personalities on the great Roxy stage, and such famous stars have appeared in person as Grace Moore, Danny Kaye, Jack Benny, Phil Harris, Milton Berle, Dagmar, Abbott & Costello, George Jessel, Faye Emerson, Sid Caesar, Imogene Coca, Dean Martin & Jerry Lewis, Lucille Ball & Desi Arnaz, Carmen Miranda, Dan Dailey, Vic Damone, Andrews Sisiters, Red Skelton, Danny Thomas and famous bands.
In June 1948, the Roxy introduced the first ice stage in a motion picture theatre at a cost of $83,000.
A recent Lower Hudson news article regarding Ed Sullivan:
TV icon holds place
in village hearts
Leah Rae
PORT CHESTER â€" The village is looking for a way to commemorate Ed Sullivan: Broadway legend, TV pioneer and a bit less generally known, Port Chester High School graduate, class of â€\19.
The late entertainerâ€\s local ties are acknowledged in low-key ways such as a library program held earlier this month. But as Port Chester tries to nurture a restaurant and entertainment niche, the village board resolved this month to name something â€" a street, a square, some other proud place â€" for the TV star.
The idea will officially go to the beautification committee for deliberations. In the meantime, a few people around town offered suggestions.
Ann Barringer Spaeth of the Council of Community Services suggested an “Ed Sullivan Ampitheater.”
“We lack places for people to congregate,” she said. A shallow inlet along the Byram River came to mind as a potential space that could be filled in for a theater. “It would just encourage more people to perform, do things outside, congregate and have fun,” she said. “And he was all about that.”
Sullivan grew up in Port Chester and stood out as a competitive athlete in baseball, track, football and basketball. He covered high school sports for The Daily Item newspaper, a predecessor of The Journal News, and eventually jumped from journalism to entertainment.
“The lights of the city were drawing him. He just wanted to get there,” said James Maguire, who wrote the biography “Impresario: The Life and Times of Ed Sullivan.”
But if Port Chester was the place he wanted to leave, those roots would work to his benefit.
“He really used that small-town Port Chester attitude towards life to shape his show in later years,” Maguire said. He recalled an interview with Joan Rivers about Sullivanâ€\s variety show. “She said, ‘When (Johnny) Carson liked you, you could play the big cities. When Sullivan liked you, you could play anywhere, including the small towns.â€\”
Maguire wrote in his book that “social commentators would point to Ed Sullivan as the apotheosis of square, a prude, a man who ran his great national showcase by tight, moralistic strictures. Certainly Sullivan himself … was in reality far from this. But to the extent that the man projected this quality, the boy learned this prim and pious worldview on the leafy streets of Port Chester.”
Sullivanâ€\s parents moved to Port Chester from Harlem after two of his siblings, a twin brother and a sister, died in infancy.
When he wasnâ€\t playing sports, he took in movies and traveling shows. He and his brother Charles walked to the Apawamis Club in Rye to work as caddies, said Maguire and an earlier biographer, Michael Harris.
Sullivan died in 1974 at age 73.
Trustees Domenick Cicatelli and Gregory Adams suggested an Ed Sullivan Square, perhaps at Main Street and Westchester Avenues, now home to a movie complex.
Trustee Daniel Brakewood saw an opportunity to highlight Port Chesterâ€\s identity.
The village has designated itself Westchester Countyâ€\s restaurant capital. But when visitors come to town, Brakewood said, “they see Port Chester, but they donâ€\t see our history, really.”
The last public street named for a person was not a cause for civic pride. William Brody Square, at South Main and East William streets, was named as part of an apology over a 2000 eminent domain lawsuit. The village was faulted for failing to properly notify Brody, a building owner, that his property could be taken.
The villageâ€\s parks are designated with monuments and memorials, former Mayor Peter Iasillo said.
To honor Sullivan, he said, “I think the school would be a good spot.”
Camille Linen, co-founder of the Port Chester Council for the Arts, suggested asking Sullivan family members for ideas. Her own hope is for a community art center or theater.
Robin Lettieri, director of the Port Chester Rye Brook Library, said an official commemoration would be a popular move.
“The residents of Port Chester love their local history,” she said, “and I think they would really appreciate that.”
I believe the Embassy should be refurbished and used as a performance arts center in honor of Ed Sullivan. Such a shame this building is sitting unused for so long.
RE:
“Its still strange there was no goodbye show for the Roxy which would have done well as a fond goodbye to one of the most important movie palaces in the world.It seems that parties involved didn’t want to draw any attention to the closing of the Roxy.”
Not so strange when you realize the parties involved were Rockefeller Center and Willam Zeckendorf, who both wanted the ROXY out of the way as quickly and quitely as possible. The closing, though reported in trade publications, barely made the daily newspapers and most average New Yorkers were not aware it was to be demolished until after the closing.
FreedomLand, the failed Bronx Disneyland want-to-be amusement park, was advertised on the ROXY marquee during the summer of 1960 after the theatre closed for good and was being demolished. Zeckendorf was very involved with the creation of FreedomLand
Interesting, in late 1959 Variety, reported that Robert Rothafel and a group of other investors, were considering presenting lavish sophisticated “Las Vegas type” entertainment at the ROXY along with live TV broadcasts and other event shows. Also the NY Philharmonic was looking for a home after being ousted from Carnegie Hall and was considering the ROXY. None of these plans ever saw the light of day. The Philharmonic eventually went to Lincoln Center which was already in the final planning stages. And what became of Robert Rothafel after the ROXY closed? Anyone know.
RE: seating capacity
“The Roxy was promoted at its opening as having a seating capacity of 6,214. But for the bulk of its existence it was reported as seating about 5,700. While replacement of the original seats could account for this (were they replaced?),…there is common speculation that the Roxy literally counted every "seat” in the house, including toilets and dressing room chairs, to come up with this impressive number. Does anyone have information whether or not 6,214 was ever actually the real seating capacity of the theater and if so, what alteration accounted for the lower number later on?
In 1958 the seating was vastly reduced for the showing of “Windjammer” in Cinemiracle. Probably the rear orchestra and the top baclony were draped off. But the theatre returned to its capacity of 5700 after Windjammer ended. Thanks for your help.
posted by MarkDHite on Dec 1, 2008 at 12:03am"
According to the ROXY blue prints copied in AMERICAN THEATRES OF TODAY, originally published in 1927, the auditorium was seated as follows:
Ground floor 2,840
Mezzanine 1,054
Balcony 2,026
Total 5,920 seats
I believe RCMH opened with 5,960 seats, almost identical.
The ROXY’s seating capacity was ruduced somewhat during the 1930s remodling which extended the stage apron further out into the auditorium and also muted the organ grills which spoke from beneath the stage.
For Windjammer, the seating was not physically reduced. Reserved seats were sold only for the center orchestra and lower blacony. All other areas were closed off. Some by the hanging of drapery. The CineMiracle projection booth was set up in the closed to public mezzanine.
The NY Public Lib at Linclon Ctr has (had, not sure its been so long since I viewed)a stack of publicty photos relating to the ROXY/CineMiricale/Widjammer set up. Pictured was the temporary booths, the drapery to close up sections of the theatre, the installation of the huge screen (which was in front of the procedium (sp)), even the ticket lobby reserved seat booth and the poster display cases outside.
Yes, early publicity did claim 6,214 seats. This was an exageration.
Several non-consistant seating numbers were published during the 1950s. Most were 5700 to 5800 or a bit more. I have to do some research to determine what the actually seating capacity was at closing.