That night, Loew’s Victoria presented a guest appearance by Gloria Lockerman, the 12-year-old “spelling whiz” who’d become a national celebrity on TV’s “$64,000 Question.” More about Lockerman here
Positioned for the celebration of Labor Day on September 3rd, with stiff opposition from “Show Boat” at Radio City Music Hall (with stage revue) and “A Place In the Sun” at the Capitol (screen only).
Apollo had temporarily closed for “improvements,” which were mainly to the quality of stage offerings. Management needed to book bigger “names” to compete more effectively with midtown competition from the Paramount, Strand, Roxy, and Loew’s State.
The Crescent was the least important of five Skouras theatres in the widespread area of Astoria. Only the Astoria Theatre was first-run for Queens, day-and-date with the RKO circuit, which had no outlet in Astoria. The Steinway Theatre is listed twice in this ad, due to the addition of vaudeville on weekends.
That was the Russian-made version, not to be confused to the earlier and better remembered multi-international adaptation for Paramount Pictures release starring Audrey Hepburn, Henry Fonda, and Mel Ferrer.
During the silent era, many of the key Stanley Circuit theatres in the Philadelphia area booked their vaudeville acts through Keith’s, but it was a stormy relationship between the two companies.
First released in England in November, 1945, director David Lean’s B&W romantic drama became an immediate classic and is still breaking hearts and wringing tears in the 21st century.
Roadshow policy at advanced prices for the multi-star melodrama, which was shown twice daily during the week, with additional performances on Saturdays, Sundays, and holidays.
Newton Theatre listed in lower left column as part of New Jersey’s St. Cloud Circuit…“Mighty Joe Young” had a prior premiere engagement exclusively at the Criterion Theatre in NYC’s Times Square.
Bookings for the Skouras Bayside were split weeks of double bills originally packaged for the RKO and Loew’s circuits. The Skouras Roosevelt in the outskirts of Flushing had the same policy, but with start days the reverse of the Bayside. The Skouras Victory, which had been the only theatre operating in Bayside, would now get move-overs from its modernized sibling.
A news report claimed: “The theatre has been completely rebuilt and redecorated so that only the walls of the old structure remain. The lobby, auditorium, and lounges have been furnished in keeping with modern standards.”…This was just one month before Japan’s attack on Pearl Harbor, which caused the USA to enter WWII.
A desecration of one of Brooklyn’s few “atmospheric” theatres. Were there any others beyond the Universal (later Loew’s 46th Street) and Loew’s Pitkin?
One of the wealthiest and most influential of Greek-American families, the Skourases often donated the use of their theatres for charitable causes, even before the USA officially entered WWII.
I guess that many moviegoers today, especially in major cities, pay $40 or even more for a newly released film when booking fees and premiums for 3-D or other processes are figured in. I also wonder where people get their info from about playdates, now that cinema advertising in newspapers is fast becoming extinct.
The B&W epic was being presented as a reserved-seat roadshow, with two performances daily during the week and three on Saturday and Sunday.
Top price of $2.20 seemed excessive for the Depression era, and would be equivalent to about $41 in 2019.
West’s self-written “Diamond Lil” had caused such a censorship uproar that Paramount changed the title to “She Done Him Wrong” for the 1933 movie version, which proved a box office blockbuster and rescued the studio from bankruptcy proceedings.
That night, Loew’s Victoria presented a guest appearance by Gloria Lockerman, the 12-year-old “spelling whiz” who’d become a national celebrity on TV’s “$64,000 Question.” More about Lockerman here
Positioned for the celebration of Labor Day on September 3rd, with stiff opposition from “Show Boat” at Radio City Music Hall (with stage revue) and “A Place In the Sun” at the Capitol (screen only).
What happened to the numerous Ziegfeld Theatre images uploaded to the Photos Section by “NYer”? All seem to have suddenly vanished.
Friday opening, with Labor Day celebrated on Monday, September 1st.
Apollo had temporarily closed for “improvements,” which were mainly to the quality of stage offerings. Management needed to book bigger “names” to compete more effectively with midtown competition from the Paramount, Strand, Roxy, and Loew’s State.
Harlem Opera House resumed stage shows during that period.
The Crescent was the least important of five Skouras theatres in the widespread area of Astoria. Only the Astoria Theatre was first-run for Queens, day-and-date with the RKO circuit, which had no outlet in Astoria. The Steinway Theatre is listed twice in this ad, due to the addition of vaudeville on weekends.
The engagement would include the Labor Day holiday, which fell on Monday, September 7th that year.
That was the Russian-made version, not to be confused to the earlier and better remembered multi-international adaptation for Paramount Pictures release starring Audrey Hepburn, Henry Fonda, and Mel Ferrer.
During the silent era, many of the key Stanley Circuit theatres in the Philadelphia area booked their vaudeville acts through Keith’s, but it was a stormy relationship between the two companies.
First released in England in November, 1945, director David Lean’s B&W romantic drama became an immediate classic and is still breaking hearts and wringing tears in the 21st century.
The reserved seat roadshow policy had a top ticket price of $4.00, which would be equivalent to around $26.00 in 2019.
Roadshow policy at advanced prices for the multi-star melodrama, which was shown twice daily during the week, with additional performances on Saturdays, Sundays, and holidays.
Newton Theatre listed in lower left column as part of New Jersey’s St. Cloud Circuit…“Mighty Joe Young” had a prior premiere engagement exclusively at the Criterion Theatre in NYC’s Times Square.
Bookings for the Skouras Bayside were split weeks of double bills originally packaged for the RKO and Loew’s circuits. The Skouras Roosevelt in the outskirts of Flushing had the same policy, but with start days the reverse of the Bayside. The Skouras Victory, which had been the only theatre operating in Bayside, would now get move-overs from its modernized sibling.
A news report claimed: “The theatre has been completely rebuilt and redecorated so that only the walls of the old structure remain. The lobby, auditorium, and lounges have been furnished in keeping with modern standards.”…This was just one month before Japan’s attack on Pearl Harbor, which caused the USA to enter WWII.
A desecration of one of Brooklyn’s few “atmospheric” theatres. Were there any others beyond the Universal (later Loew’s 46th Street) and Loew’s Pitkin?
One of the wealthiest and most influential of Greek-American families, the Skourases often donated the use of their theatres for charitable causes, even before the USA officially entered WWII.
Top ticket price for this world premiere booking was $2.40, equivalent to about $24.00 in 2019.
I guess that many moviegoers today, especially in major cities, pay $40 or even more for a newly released film when booking fees and premiums for 3-D or other processes are figured in. I also wonder where people get their info from about playdates, now that cinema advertising in newspapers is fast becoming extinct.
The B&W epic was being presented as a reserved-seat roadshow, with two performances daily during the week and three on Saturday and Sunday. Top price of $2.20 seemed excessive for the Depression era, and would be equivalent to about $41 in 2019.
Stage plays ran from Monday through Saturday. On Sundays only, the Fox Boulevard presented continuous performances of vaudeville and a feature movie.
West’s self-written “Diamond Lil” had caused such a censorship uproar that Paramount changed the title to “She Done Him Wrong” for the 1933 movie version, which proved a box office blockbuster and rescued the studio from bankruptcy proceedings.
The floundering Fox theatre had been sublet to Louis Werba for his “subway circuit” of stage plays in Brooklyn and Queens.
Listed as Fox Kismet in 1930 neighborhood directory displayed here