This rare Warner Bros. booking was part of a “swap” deal between WB and 20th Century-Fox, which wanted WB’s Hollywood Theatre for the reserved-seat roadshow debut of “The Blue Bird.” The Technicolor fantasy with Shirley Temple proved such a disappointment at the Hollywood Theatre that 20th-Fox made substantial cuts and re-launched it at the Roxy (with stage show).
The date marked the first observance of an American federal holiday honoring the birth of Martin Luther King, Jr…Walter Reade’s faltering Ziegfeld Theatre had a reduced schedule with “White Nights.”
This was the Music Hall’s first program change since the start of a stage/screen policy on January 11th. The first booking ran a day more than one week to enable future program changes on Thursday. The New Roxy, now being marketed as the RKO Roxy, would also have its first program change on Friday (1/20) with “Hot Pepper” and new stage revue.
After an unsuccessful trial of weekend openings, the Queensboro went dark until 1944, when two limited seasons of stage plays from the “Subway Circuit” were presented, with stars including Gloria Swanson, Ruth Chatterton, and Zasu Pitts. During closure in 1945, the operating lease was purchased by the Interboro Circuit, which opened a refurbished version as the Elmwood the following year.
This introduction to a multi-page collection of ads for upcoming releases took liberties with the surrounding neighborhood by adding names of Paramount stars and film titles. The Paramount Theatre’s auditorium, which rose to a height of about 12 stories, can be seen directly behind the 33-story office building.
Opened on January 7th, following a shorter than usual Christmas holiday presentation with the Esther Williams splasher, “Easy to Love,” on screen. MGM’s first CinemaScope feature was also the Music Hall’s first offering in that process.
As a consequence of the wartime rationing of color film stock, the late-run Warwick is the only cinema of all those listed here with a color feature, MGM’s all-star “Thousands Cheer.”
“Friendly Persuasion” was having its first neighborhood showings since a Thanksgiving/pre-Christmas engagement at Radio City Music Hall (with stage revue).
A resident orchestra and simulated sound effects were standard procedure at the Rivoli and most midtown “deluxers” during the silent era. The exceptional thing about the “Old Ironsides” engagement in 1926 was wide-screen Magnascope projection for the spectacular outdoor scenes.
After a disappointing premiere engagement at the DeMille and Coronet in Manhattan, the Newman-Woodward teaming got much needed support from an eight-year old classic for its first neighborhood release.
To maximize seating capacity of a narrow ground plot between Broadway and Seventh Avenue, the Rivoli was a purpose-built cinema without stage facilities. During the silent era, “live” prologues were presented on platforms erected in front of the screen and along side walls.
This rare Warner Bros. booking was part of a “swap” deal between WB and 20th Century-Fox, which wanted WB’s Hollywood Theatre for the reserved-seat roadshow debut of “The Blue Bird.” The Technicolor fantasy with Shirley Temple proved such a disappointment at the Hollywood Theatre that 20th-Fox made substantial cuts and re-launched it at the Roxy (with stage show).
Sarcastic showmanship drew packed houses for this double bill, which had “Million Dollar Baby” as supporting feature.
The date marked the first observance of an American federal holiday honoring the birth of Martin Luther King, Jr…Walter Reade’s faltering Ziegfeld Theatre had a reduced schedule with “White Nights.”
A new marquee and entrance were part of the 1935 modernization by architect David Supowitz, which is described here
Murals on both sides of the auditorium were painted by Harry Brodsky.
“The Green Pastures” was the first and only feature movie with an all-black cast to be shown at Radio City Music Hall.
“The Gay Bride” with title expanded to attract nearby residents of “Hell’s Kitchen.”
Don’t you mean “marquee?”
This was the Music Hall’s first program change since the start of a stage/screen policy on January 11th. The first booking ran a day more than one week to enable future program changes on Thursday. The New Roxy, now being marketed as the RKO Roxy, would also have its first program change on Friday (1/20) with “Hot Pepper” and new stage revue.
After an unsuccessful trial of weekend openings, the Queensboro went dark until 1944, when two limited seasons of stage plays from the “Subway Circuit” were presented, with stars including Gloria Swanson, Ruth Chatterton, and Zasu Pitts. During closure in 1945, the operating lease was purchased by the Interboro Circuit, which opened a refurbished version as the Elmwood the following year.
This introduction to a multi-page collection of ads for upcoming releases took liberties with the surrounding neighborhood by adding names of Paramount stars and film titles. The Paramount Theatre’s auditorium, which rose to a height of about 12 stories, can be seen directly behind the 33-story office building.
“Fox News” was a newsreel, and not the controversial cable TV news channel of 2020.
“Marquee,” not “marquis.”
Opened on January 7th, following a shorter than usual Christmas holiday presentation with the Esther Williams splasher, “Easy to Love,” on screen. MGM’s first CinemaScope feature was also the Music Hall’s first offering in that process.
The fast-rising singing star made a guest appearance at that night’s 8:30 screening, but did not perform.
Blues singer Mabel Smith eventually reached legendary status as “Big Maybelle”…“Jimmy Steps Out” was originally released in 1941 as “Pot O' Gold.”
As a consequence of the wartime rationing of color film stock, the late-run Warwick is the only cinema of all those listed here with a color feature, MGM’s all-star “Thousands Cheer.”
“Friendly Persuasion” was having its first neighborhood showings since a Thanksgiving/pre-Christmas engagement at Radio City Music Hall (with stage revue).
A resident orchestra and simulated sound effects were standard procedure at the Rivoli and most midtown “deluxers” during the silent era. The exceptional thing about the “Old Ironsides” engagement in 1926 was wide-screen Magnascope projection for the spectacular outdoor scenes.
After a disappointing premiere engagement at the DeMille and Coronet in Manhattan, the Newman-Woodward teaming got much needed support from an eight-year old classic for its first neighborhood release.
The current presentation was a holdover of the 1963 Christmas Holiday Show, which included “Charade” on screen.
Loew’s 72nd Street had an “atmospheric” auditorium with stars and floating clouds, but Loew’s 175th Street and the similar Syracuse site did not.
To maximize seating capacity of a narrow ground plot between Broadway and Seventh Avenue, the Rivoli was a purpose-built cinema without stage facilities. During the silent era, “live” prologues were presented on platforms erected in front of the screen and along side walls.
The second Schuyler is listed as the Colon Theatre here
“Open” statistics claim 9 screens and 584 seats. Could that be correct? That would mean an average of about 65 seats per screen.