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.
Grand re-opening has been delayed until 2019…At time of this photo, entire main floor was being re-surfaced. It’s impossible to tell how much of the decor at rear below mezzanine has been retained. Original shown here
Due to the team’s zooming popularity, Loew’s opted for the Capitol instead of the much smaller Criterion for A&C’s latest howler. The Capitol was still offering the “screen only” policy started in 1935.
The Hollywood Theatre (now home to the Times Square Church) was re-named Warner in 1947, starting with the premiere engagement of WB’s “Life With Father.” When WB decided to unload the Warner, the name was transferred to the Strand at the time that stage shows were ended. The Strand was never known as the Warner prior to that. WB had used Warner (or variations thereof) once before in NYC when it took over the Piccadilly and used it as a showcase during the transition period of silents to talkies.
After ending vaudeville at the State, Loew’s reduced the box seats adjoining the stage to mere décor, but made few other interior changes. Compare to vintage postcard displayed here
Due to limited space for the entrance, the marquee curved inwards from the street, and had additional vertical signage at the front. Photo taken in 1948.
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.
Grand re-opening has been delayed until 2019…At time of this photo, entire main floor was being re-surfaced. It’s impossible to tell how much of the decor at rear below mezzanine has been retained. Original shown here
Due to the team’s zooming popularity, Loew’s opted for the Capitol instead of the much smaller Criterion for A&C’s latest howler. The Capitol was still offering the “screen only” policy started in 1935.
The Hollywood Theatre (now home to the Times Square Church) was re-named Warner in 1947, starting with the premiere engagement of WB’s “Life With Father.” When WB decided to unload the Warner, the name was transferred to the Strand at the time that stage shows were ended. The Strand was never known as the Warner prior to that. WB had used Warner (or variations thereof) once before in NYC when it took over the Piccadilly and used it as a showcase during the transition period of silents to talkies.
Manager shown tidying up after a performance.
Fuller view of ceiling dome displayed here
Most detail in the huge dome was carefully painted on by hand, and not relief plaster as it might appear.
The mezzanine had about 800 seats, with 2,100 more on the auditorium’s ground floor.
Does this multiplex run TV weather reports between the feature movies?
Why are these images of James Baldwin suddenly appearing without any comment or explanation?
After ending vaudeville at the State, Loew’s reduced the box seats adjoining the stage to mere décor, but made few other interior changes. Compare to vintage postcard displayed here
This is an ad for the State Theatre in Bluefield, West Virginia, which is listed here
Due to limited space for the entrance, the marquee curved inwards from the street, and had additional vertical signage at the front. Photo taken in 1948.
This appears to be a reproduction of an architectural sketch of the Myrtle Avenue facade, not an actual photograph.