Available in monaural L.P. or “Living Stereo,” the RCA Victor album came with a 10-page, full color souvenir booklet of Music Hall scenes. Copies could be purchased at record stores as well as the theatre’s Grand Lounge. The Christmas screen attraction that year would be “Auntie Mame” with Rosalind Russell.
During this period in time, the Apollo usually booked movies just to fill gaps between stage shows, and didn’t include them in advertising. Sometimes the screen fare had to be pulled when a show ran too long, or to add an additional performance.
How does this discussion connect to Loew’s State? And it’s the Museum of the Moving Image (not Images), and the location is Astoria, Queens (not Queen).
The balcony had a reported 1,623 seats. Beneath the balcony and set back above the main floor was a shallow mezzanine with 477 seats. Main floor seated 2,281.
Eddie Anderson had become so identified as valet “Rochester” on Jack Benny’s radio program that his actual name isn’t mentioned in the ad. Describing him as the comedian’s “Shadow” would probably be denounced as racist today.
The trio’s first feature since “The Big Store” in 1941…Independent producer David L. Loew was one of the twin sons born to Mr. & Mrs. Marcus Loew in 1897.
The newspaper was published by the Communist Party USA, with a daily circulation of about 35,000 during the WWII era when America and the USSR were allies.
The ad neglects to credit the B&W epic’s director, Alfred E. Green…Joining the resident stage company for this engagement only was “Yo-Yo, the Wonder Horse.”
A new Regal multiplex is coming to Queens Boulevard on the Sunnyside/Long Island City border, and under the shadow of the #7 elevated subway line. Sketch and details here
Photographer Eliot Elisofon carries Gloria Swanson into the debris of the Roxy Theatre for what resulted in a now legendary color photo in the November 7th, 1960 issue of Life Magazine
Toby Talbot, wife of Dan Talbot, wrote in her memoir of their business experiences: “On August 10, 1960, when Gloria Swanson in white ermine, white limousine, and black chauffeur showed up to see ‘Sunset Boulevard’— about a star dreaming of a comeback for millions who’d never forgiven her for deserting the screen— she lit up on finding herself in that stellar company and promptly checked her aging self on the mirrored wall, still angling for the best profile.”…It seems quite possible that Swanson turning up that night was the trigger for
the now legendary photo of her standing in the ruins of the Roxy Theatre. The “shoot” with photographer Eliot Elisofon took place in October, and results published in the November 7th, 1960 issue of Life Magazine.
This was exactly ten years from the day that “Sunset Boulevard” debuted at Radio City Music Hall (with stage show). Ad for that engagement displayed here
That opening night ticket price of $10 would be equivalent to about $139 in 2018. But most of the gala audience consisted of celebrities and industry VIPs who were “guests of the house.”
Most of the Randforce bookings at this time were double bills that originated on the Loew’s circuit. They were first-run for Ridgewood, but had already played at Loew’s theatres in surrounding areas of Brooklyn and Queens.
Available in monaural L.P. or “Living Stereo,” the RCA Victor album came with a 10-page, full color souvenir booklet of Music Hall scenes. Copies could be purchased at record stores as well as the theatre’s Grand Lounge. The Christmas screen attraction that year would be “Auntie Mame” with Rosalind Russell.
During this period in time, the Apollo usually booked movies just to fill gaps between stage shows, and didn’t include them in advertising. Sometimes the screen fare had to be pulled when a show ran too long, or to add an additional performance.
Today marks the 79th anniversary of one of the Capitol’s most legendary presentations. Ad here
How does this discussion connect to Loew’s State? And it’s the Museum of the Moving Image (not Images), and the location is Astoria, Queens (not Queen).
Some color renderings of the planned renovations can be viewed here
The balcony had a reported 1,623 seats. Beneath the balcony and set back above the main floor was a shallow mezzanine with 477 seats. Main floor seated 2,281.
Eddie Anderson had become so identified as valet “Rochester” on Jack Benny’s radio program that his actual name isn’t mentioned in the ad. Describing him as the comedian’s “Shadow” would probably be denounced as racist today.
The trio’s first feature since “The Big Store” in 1941…Independent producer David L. Loew was one of the twin sons born to Mr. & Mrs. Marcus Loew in 1897.
Same section of side wall as Loew’s Penn and Heinz Hall.
The newspaper was published by the Communist Party USA, with a daily circulation of about 35,000 during the WWII era when America and the USSR were allies.
Shown at center are abandoned remains of the Green Mill Beer Garden, a victim of the arrival of Prohibition.
The ad neglects to credit the B&W epic’s director, Alfred E. Green…Joining the resident stage company for this engagement only was “Yo-Yo, the Wonder Horse.”
The BP had far more seats to offer than the DeMille and Baronet combined.
The B&W shocker was still running in Manhattan at the DeMille and Baronet, and would soon reach all boroughs via the Loew’s circuit.
A new Regal multiplex is coming to Queens Boulevard on the Sunnyside/Long Island City border, and under the shadow of the #7 elevated subway line. Sketch and details here
This photo was taken during the week of August 11th, 1948, according to the Loew’s ad displayed here
Exterior photo of the Valencia with “The Pirate” as top feature can be viewed here
In 1927, Swanson’s “The Loves of Sunya” was the opening film at the Roxy Theatre, which fell to the wrecking ball just 33 years later.
Photographer Eliot Elisofon carries Gloria Swanson into the debris of the Roxy Theatre for what resulted in a now legendary color photo in the November 7th, 1960 issue of Life Magazine
Toby Talbot, wife of Dan Talbot, wrote in her memoir of their business experiences: “On August 10, 1960, when Gloria Swanson in white ermine, white limousine, and black chauffeur showed up to see ‘Sunset Boulevard’— about a star dreaming of a comeback for millions who’d never forgiven her for deserting the screen— she lit up on finding herself in that stellar company and promptly checked her aging self on the mirrored wall, still angling for the best profile.”…It seems quite possible that Swanson turning up that night was the trigger for the now legendary photo of her standing in the ruins of the Roxy Theatre. The “shoot” with photographer Eliot Elisofon took place in October, and results published in the November 7th, 1960 issue of Life Magazine.
This was exactly ten years from the day that “Sunset Boulevard” debuted at Radio City Music Hall (with stage show). Ad for that engagement displayed here
Ingrid Bergman’s “lifetime” pass would have expired with the Roxy Theatre’s demise in 1960, decades before her own death in 1982.
That opening night ticket price of $10 would be equivalent to about $139 in 2018. But most of the gala audience consisted of celebrities and industry VIPs who were “guests of the house.”
Showgirls posed with statuary in a side wall alcove on the auditorium’s main floor.
Most of the Randforce bookings at this time were double bills that originated on the Loew’s circuit. They were first-run for Ridgewood, but had already played at Loew’s theatres in surrounding areas of Brooklyn and Queens.