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.
Palace at this time was linked to RKO’s neighborhood runs. “They Got Me Covered” made its New York debut at Radio City Music Hall (with stage revue, of course).
Shown partially raised, the safety curtain was painted in jagged horizontal stripes of black, white, and coral. The “legs” at the top of the arch stretched across the ceiling to the rear of the auditorium, and were covered with aluminum.
This was the setting for the legendary world premiere of “Gone With the Wind” in December, 1939…Lamb used an art-deco treatment similar to his transformation of the Columbia Burlesque Theatre in NYC into the RKO Mayfair.
By this time, the smaller marquee and entrance on Lexington Avenue were used for display purposes only.
The double bill of “The Late George Apley” & “Bedelia” opened on July 2nd, 1947 with this ad
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.
Bing Crosby provided the singing voice for Eddie Bracken in Paramount’s zany B&W musical.
Subsequent changes in signage can be viewed here
During that summer, the RKO circuit ran Columbia’s B&W “Superman” serial to bring back vacationing school kids (and adults) week after week.
Must have taken immense brainpower to come up with “Capitol” as the new name.
Palace at this time was linked to RKO’s neighborhood runs. “They Got Me Covered” made its New York debut at Radio City Music Hall (with stage revue, of course).
Shown partially raised, the safety curtain was painted in jagged horizontal stripes of black, white, and coral. The “legs” at the top of the arch stretched across the ceiling to the rear of the auditorium, and were covered with aluminum.
Among the dozen theatres depicted, the SLC Orpheum is spotlighted in the bottom circle.
This was the setting for the legendary world premiere of “Gone With the Wind” in December, 1939…Lamb used an art-deco treatment similar to his transformation of the Columbia Burlesque Theatre in NYC into the RKO Mayfair.
Opening day ad can be viewed here
Surrounding “news” items about rave reviews and record-breaking attendance contributed by 20th-Fox copywriters.
By this time, the smaller marquee and entrance on Lexington Avenue were used for display purposes only. The double bill of “The Late George Apley” & “Bedelia” opened on July 2nd, 1947 with this ad
Presumably, “Big Boobs” referred to slapstick comedians and not to endowments of the “Bathing Beauties” in the short subject.