“Harlem of the West,” a recent book tracing the history of jazz in the Fillmore neighborhood, frequently cites the Ellis Theatre. Previously as the Princess, it was one of the first vaudeville theatres in San Francisco to book black entertainers. The Depression-enforced conversion to movies as the Ellis reduced the theatre to late-run status. To combat the arrival of home TV, management introduced a weekly talent night, when amateurs could compete for cash prizes. Pianist Federico Cervantes recalled: “A radio personality named ‘Fatso Perry’ ran the shows, and as his name indicates, he was quite obese. I got on the musical map by winning a prize of $50, big money at that time. After that, I was hired as the pianist for a little band that played for contestants. The Ellis was usually crowded. A lot of people dropped in for the chance to perform, and their friends came to cheer them on. Everybody would dress up.” Teen vocalist Polaya Ballington Davis is probably the most famous of the Ellis contest winners. The legendary Johnny Otis, who happened to be in the audience that night, was so impressed that he signed her to a recording contract and numerous hit singles under the new name of Sugar Pie Desanto.
The booking at the DeMille for “Roman Empire” was specifically aimed at taking advantage of the Easter holidays and opening season of the World’s Fair. Unfortunately, the epic failed to live up to expectations and was switched to continuous performances at “popular prices” starting on May 29th to include that year’s Memorial Day weekend.
Hopes were high for the reserved-seat enagement, which would benefit from the Easter holidays in April and tourists flocking to NYC for the World’s Fair that opened later in that month.
Jane Birkin, the Anglo/French actress, singer, and fashion icon, has been traveling around the world with this stage presentation that honors the works of French composer Serge Gainsbourg, the great love of her life.
Why isn’t there also a QUEENS after New York, not only for this theatre, but for all theatres listed for that borough, which is one of the five that constitute New York City. Anyone not familiar with NYC geography would be stumped as to where Ozone Park was located in that very large state of New York.
After a month with “The Boatniks,” which grossed below expectations for a new Disney release, the Ziegfeld returned to revival mode for what was certainly one of the lengthiest double bills ever assembled. But Variety reported an opening week’s gross of a mere $12,000.
No efforts were made to connect the melodrama’s distribution to the Wednesday that starts the religious observance of Lent, which in 2020 occurs today (February 26th).
Booked to take advantage of federal holidays honoring Abraham Lincoln (2/12) and George Washington (2/22), the animated feature went on to a record-breaking four-week engagement, and an immediate move-over to the RKO Boston (with different stage show).
The Disney comedy was the first NEW booking for the Ziegfeld since the theatre debuted with “Marooned” in December of the previous year. After a disappointing roadshow experience with “Marooned,” the Ziegfeld had offered a series of revivals, most recently with the two-part Russian version of “War and Peace.”
Less than a year later, on January 14th, 1972, “Agee” was dropped from the names, with Cine I and Cine II now catering to Hispanic audiences. Cine I opened with “Siempre te Amare” and Cine II offered Avco-Embassy’s “Stiletto” with Spanish subtitles.
Bailey Theatres listed first in alphabetical directory of circuits presenting the once-a-week newsreel, which was produced in Chicago.
An exterior photo and a newspaper ad suggest that this should be listed as the 81 Theatre (instead of with the number written out).
Lettering for Loew’s Commodore can still be seen across the top of the marquee.
Pathe’s talkie thriller, starring the future “Hopalong Cassidy,” can be viewed in its entirety here
“Harlem of the West,” a recent book tracing the history of jazz in the Fillmore neighborhood, frequently cites the Ellis Theatre. Previously as the Princess, it was one of the first vaudeville theatres in San Francisco to book black entertainers. The Depression-enforced conversion to movies as the Ellis reduced the theatre to late-run status. To combat the arrival of home TV, management introduced a weekly talent night, when amateurs could compete for cash prizes. Pianist Federico Cervantes recalled: “A radio personality named ‘Fatso Perry’ ran the shows, and as his name indicates, he was quite obese. I got on the musical map by winning a prize of $50, big money at that time. After that, I was hired as the pianist for a little band that played for contestants. The Ellis was usually crowded. A lot of people dropped in for the chance to perform, and their friends came to cheer them on. Everybody would dress up.” Teen vocalist Polaya Ballington Davis is probably the most famous of the Ellis contest winners. The legendary Johnny Otis, who happened to be in the audience that night, was so impressed that he signed her to a recording contract and numerous hit singles under the new name of Sugar Pie Desanto.
The “mere $12,000” was Variety’s estimated first week gross for this lengthy double-feature revival, not for “The Boatniks.”
The cost would be equivalent to about $843,000 in 2020.
The booking at the DeMille for “Roman Empire” was specifically aimed at taking advantage of the Easter holidays and opening season of the World’s Fair. Unfortunately, the epic failed to live up to expectations and was switched to continuous performances at “popular prices” starting on May 29th to include that year’s Memorial Day weekend.
Hopes were high for the reserved-seat enagement, which would benefit from the Easter holidays in April and tourists flocking to NYC for the World’s Fair that opened later in that month.
Jane Birkin, the Anglo/French actress, singer, and fashion icon, has been traveling around the world with this stage presentation that honors the works of French composer Serge Gainsbourg, the great love of her life.
The State’s “His Girl Friday” was a move-over from Radio City Music Hall, where it had been part of the showplace’s first program change in 1940.
And with both features in CinemaScope and Color by Deluxe!
Rumors are circulating about a possible sale of the property, including one of conversion into a church. More here
The subterranean cinema listed here as Loews Paramount.
Why isn’t there also a QUEENS after New York, not only for this theatre, but for all theatres listed for that borough, which is one of the five that constitute New York City. Anyone not familiar with NYC geography would be stumped as to where Ozone Park was located in that very large state of New York.
Aerial view at right shows opening day line extending west on 51st Street from Broadway to Eighth Avenue.
The B&W drama was an Anglo-American co-production between J. Arthur Rank and RKO Radio Pictures.
After a month with “The Boatniks,” which grossed below expectations for a new Disney release, the Ziegfeld returned to revival mode for what was certainly one of the lengthiest double bills ever assembled. But Variety reported an opening week’s gross of a mere $12,000.
No efforts were made to connect the melodrama’s distribution to the Wednesday that starts the religious observance of Lent, which in 2020 occurs today (February 26th).
Technicolor trailer for the Warner Brothers release can be viewed here
Booked to take advantage of federal holidays honoring Abraham Lincoln (2/12) and George Washington (2/22), the animated feature went on to a record-breaking four-week engagement, and an immediate move-over to the RKO Boston (with different stage show).
And all for 21 cents until 6:00 PM.
The Disney comedy was the first NEW booking for the Ziegfeld since the theatre debuted with “Marooned” in December of the previous year. After a disappointing roadshow experience with “Marooned,” the Ziegfeld had offered a series of revivals, most recently with the two-part Russian version of “War and Peace.”
Glen Oaks listed in top section with “Cotton Comes to Harlem.”
Less than a year later, on January 14th, 1972, “Agee” was dropped from the names, with Cine I and Cine II now catering to Hispanic audiences. Cine I opened with “Siempre te Amare” and Cine II offered Avco-Embassy’s “Stiletto” with Spanish subtitles.