This was during the eight year period between 1935 and 1943 when the Capitol dropped stage shows, replacing them with an “Everything On the Screen” policy of a first-run feature and short subjects (including newsreel).
During this period, the Jefferson usually booked programs created for the Loew’s circuit, which had no outlet on 14th Street. By agreement between RKO and Skouras, RKO programming went to the larger and better situated Academy of Music.
Signage above the marquee connected to Garland’s sensational “comeback” in 1951 on the Palace stage, which started the ball rolling for a return to moviemaking with “A Star Is Born.” After its midtown run at the Paramount and Victoria, the Warner Bros. release was booked for the RKO neighborhood circuit.
Brooklyn’s second and larger Nitehawk will be opening here soon, according to the current issue of New York Magazine. There will be seven screens and a total of 650 seats, up from three screens and 186 at the first; a 2,500-square-foot kitchen, up from 750-sf. Also, a dedicated upstairs bar; a dumbwaiter to deliver food to the top floor for theater service; “Film Feasts,” wherein courses come out during the scene that inspired the food; more frequent live-music pre-cinema shows with local bands.
Continuous performances started the next day at both the Chinese in Hollywood and Globe in downtown Los Angeles. The Technicolor epic was “Too Big for One Theatre” but not long enough in running time (116 minutes) for roadshow treatment.
“Cabart” was apparently also the name of a company that did the buying-and-booking for these independently owned cinemas, two of which were “closed temporarily” at the time of the ad.
At opening in 1956, the Galaxy had 1,500 seats, all of “push back” design, according to a trade journal report. The shallow stage had draw and contour curtains, with a screen measuring 63 by 32 feet (maximum).
The national holiday fell on Monday, September 3rd, climaxing a record-breaking weekend for Loew’s nabes lucky enough to have “The Great Caruso” as top feature.
As the Depression worsened, vaudeville was reduced to weekends only, with double features the rest of the time.
This was during the eight year period between 1935 and 1943 when the Capitol dropped stage shows, replacing them with an “Everything On the Screen” policy of a first-run feature and short subjects (including newsreel).
During this period, the Jefferson usually booked programs created for the Loew’s circuit, which had no outlet on 14th Street. By agreement between RKO and Skouras, RKO programming went to the larger and better situated Academy of Music.
Exterior view around that time uploaded here
By that decade, the vaudeville veteran had been wired for stereophonic sound, but most of the original decor remained.
Signage above the marquee connected to Garland’s sensational “comeback” in 1951 on the Palace stage, which started the ball rolling for a return to moviemaking with “A Star Is Born.” After its midtown run at the Paramount and Victoria, the Warner Bros. release was booked for the RKO neighborhood circuit.
Brooklyn’s second and larger Nitehawk will be opening here soon, according to the current issue of New York Magazine. There will be seven screens and a total of 650 seats, up from three screens and 186 at the first; a 2,500-square-foot kitchen, up from 750-sf. Also, a dedicated upstairs bar; a dumbwaiter to deliver food to the top floor for theater service; “Film Feasts,” wherein courses come out during the scene that inspired the food; more frequent live-music pre-cinema shows with local bands.
TV news coverage of the restoration project and its impact on the neighborhood can be viewed here
This was the 36th program change since the Music Hall switched to a screen/stage policy in January of that year.
Rave reviews, enthusiastic word-of-mouth, and small seating capacity made this possible. Opening day ad displayed here
A very detailed history with illustrations can be found here
Historical details can be viewed here
At the time, Lake Oswego was reported to be about eight miles from Portland, and populated mainly by “well-to-do families.”
An ad from 1968 for the transfer of “2001” to the Cinerama from the doomed Loew’s Capitol can be viewed here
Ad published on September 8th, 1968, nearly a month before the October 6th premiere.
Listed bottom right as Japanese Gardens, and affiliated with William Fox Theatres.
Continuous performances started the next day at both the Chinese in Hollywood and Globe in downtown Los Angeles. The Technicolor epic was “Too Big for One Theatre” but not long enough in running time (116 minutes) for roadshow treatment.
“Cabart” was apparently also the name of a company that did the buying-and-booking for these independently owned cinemas, two of which were “closed temporarily” at the time of the ad.
This was probably the only booking in the Hitchcock classic’s original first-run release in the USA with support from a stage show.
Ad for the engagement displayed here
Such “management research” is dubious, to say the least.
In remembrance of Gloria Jean, sparkling singing star who joined the Heavenly Choir on August 31st at age 92.
At opening in 1956, the Galaxy had 1,500 seats, all of “push back” design, according to a trade journal report. The shallow stage had draw and contour curtains, with a screen measuring 63 by 32 feet (maximum).
The national holiday fell on Monday, September 3rd, climaxing a record-breaking weekend for Loew’s nabes lucky enough to have “The Great Caruso” as top feature.
In other words, try to avoid peak times of day, when one might not be able to change their seat.