Average daily attendance during the first two weeks was a phenomenal 19,357 people. With a mediocre B&W comedy on screen,
most of the crowds were attributed to the immense popularity of Glenn Miller & Band on radio, records, and in dance halls.
The pre-opening promotional event included personal appearances by Leonard Whiting and Olivia Hussey and a post-screening party at the Cheetah discotheque.
This was the first Earl Carroll Theatre, not the art-deco successor that eventually was transformed into a nightclub before conversion to retail space.
The Broadway veteran had shown movies exclusively circa 1928-33, and would now continue into 1948. When United Artists developed a product shortage, the lease was taken over by Universal-International for the remainder.
Trade journal report published in January of that year. Premises are described as “immaculate,” and attended by the sort of people who know what the ash trays are for.
Rita Hayworth’s singing voice was dubbed by Anita Ellis for this Technicolor spin-off of the B&W “Here Comes Mr. Jordan,” which played at the Music Hall in 1941.
On stage, Lena Horne performing with Noble Sissle’s Band, to be followed the next week by Ella Fitzgerald with Chick Webb. Early days for both of the future “Sepia Superstars.”
The Center had dropped stage revues, but employed a resident orchestra under the direction of B.A. Rolfe to perform before the start of the screen feature.
$2.99 would be equivalent to about $8.99 in 2018…This showcase was carved out of the West 47th Street stage housing for the original Strand, and was no more than an annex to that theatre’s auditorium and entrance on Broadway.
Previous Selznick productions shown at RCMH are listed in a rectangle adjacent to stage revue description. Simultaneously with the Astor, “GWTW” had also opened at the Capitol Theatre, but with continuous performances. That run ended to enable Loew’s circuit bookings that started with the Metropolitan in downtown Brooklyn.
Selznick’s first production since “Gone With the Wind” was also based on a best-selling novel, but of a different genre…By this time, “GWTW” had just reached Loew’s neighborhood theatres, but was still in its reserved-seat engagement at the Astor in Times Square.
The stage revue included the annual “Kol Nidrei” pageant for the Jewish holiday period surrounding Yom Kippur.
Average daily attendance during the first two weeks was a phenomenal 19,357 people. With a mediocre B&W comedy on screen, most of the crowds were attributed to the immense popularity of Glenn Miller & Band on radio, records, and in dance halls.
Reunion interview of the two stars in 2018 can be viewed here
The pre-opening promotional event included personal appearances by Leonard Whiting and Olivia Hussey and a post-screening party at the Cheetah discotheque.
This was the first Earl Carroll Theatre, not the art-deco successor that eventually was transformed into a nightclub before conversion to retail space.
The Broadway veteran had shown movies exclusively circa 1928-33, and would now continue into 1948. When United Artists developed a product shortage, the lease was taken over by Universal-International for the remainder.
Trade journal report published in January of that year. Premises are described as “immaculate,” and attended by the sort of people who know what the ash trays are for.
Rita Hayworth’s singing voice was dubbed by Anita Ellis for this Technicolor spin-off of the B&W “Here Comes Mr. Jordan,” which played at the Music Hall in 1941.
On stage, Lena Horne performing with Noble Sissle’s Band, to be followed the next week by Ella Fitzgerald with Chick Webb. Early days for both of the future “Sepia Superstars.”
The Center had dropped stage revues, but employed a resident orchestra under the direction of B.A. Rolfe to perform before the start of the screen feature.
An ad for the program displayed on the Chicago’s marquee can be viewed here
An image of the Chicago Theatre’s exterior during that booking can be viewed here
$2.99 would be equivalent to about $8.99 in 2018…This showcase was carved out of the West 47th Street stage housing for the original Strand, and was no more than an annex to that theatre’s auditorium and entrance on Broadway.
Included in views from 1971 of Times Square and other parts of Manhattan at the “Forgotten NY” website here
Supporting film was a first-run “B” programmer, WB’s “The Last Ride,” with newcomer Eleanor Parker among the players.
Cyanotype by Vincent Basani, courtesy of the artist.
By this time, the two marquees had been enlarged to provide more display space.
Celebrating the 50th anniversary of what many fans consider the greatest football movie ever made.
Fairmount gets special mention in section with “Strange World” as top feature.
The theatre was intended to be called Beacon, and is shown with that name near the center of the ad.
This was the first Loew’s theatre to be built in Ohio beyond Cleveland.
Thomas W. Lamb served as architect.
Previous Selznick productions shown at RCMH are listed in a rectangle adjacent to stage revue description. Simultaneously with the Astor, “GWTW” had also opened at the Capitol Theatre, but with continuous performances. That run ended to enable Loew’s circuit bookings that started with the Metropolitan in downtown Brooklyn.
Selznick’s first production since “Gone With the Wind” was also based on a best-selling novel, but of a different genre…By this time, “GWTW” had just reached Loew’s neighborhood theatres, but was still in its reserved-seat engagement at the Astor in Times Square.
David DiChiera, who was chiefly responsible for transforming the original Capitol into the Detroit Opera House, has died at age 83. News coverage here
Trade journal ad prior to 1926 grand opening.