Easter Sunday arrived on April 17th that year…The secular portion of the stage show, “Mickey’s Circus,” was a reward to Walt Disney for the Music Hall’s record-breaking run of “Snow White” at the start of 1938.
Starting during the Depression and into the 1950s, the Chinese was usually booked simultaneously with at least one other theatre, most often with Loew’s State in downtown Los Angeles.
Possibly the final film of Marie Empress, who died in 1919 at age 30. She fell, jumped, or was pushed off an ocean liner while returning to the USA from England.
Closed quickly as the Mutual due to protests from local churches against the risque content of the burlesque shows.
Remained closed until leased by an indie and re-named the Alden with vaudeville and films. Closed and re-opened several times until eventually taken over by RKO, which had no outlet in Queens closer to Jamaica than the Richmond Hill.
Due to the closures of Loew’s Lexington and 72nd Street, the RKO 58th now did “split” weeks of programs packaged for both circuits. In this ad, the 58th has its own listing below that for “Don’t Knock the Twist.” The incoming bill topped by “View From the Bridge” was a Loew’s combo.
Listed with “Malaya” as top feature, the Triboro would be presenting the Loew’s version of vaudeville on stage the following evening…This was an Easter holiday week, with most theatres opening earlier than usual.
Easter Sunday, which arrived on April 5th, was the first since the USA entered WWII. The secular portion of the stage revue, entitled “To The Colors,” was a patriotic flag-waver in five scenes. Cecil B. DeMille’s Technicolor adventure, “Reap the Wild Wind,” was the screen feature.
When booked into a “Showcase” with theatres of other managements, the Kings would often be advertised twice in the same newspaper, since Loew’s still ran circuit ads of its own. The full “Showcase” ad for “Where Angels Go…Trouble Follows” can be seen here
Hard to believe that three years have passed since the Kings was brought back to life as a performing arts center. Have there been any reports of box office takings or attendance figures?
The vertical sign proved too expensive to operate and maintain, and was eventually replaced by a more compact version with just the circuit name of Loew’s.
Easter Sunday arrived on April 17th that year…The secular portion of the stage show, “Mickey’s Circus,” was a reward to Walt Disney for the Music Hall’s record-breaking run of “Snow White” at the start of 1938.
Starting during the Depression and into the 1950s, the Chinese was usually booked simultaneously with at least one other theatre, most often with Loew’s State in downtown Los Angeles.
Possibly the final film of Marie Empress, who died in 1919 at age 30. She fell, jumped, or was pushed off an ocean liner while returning to the USA from England.
Work must have been well underway, since the new cinema opened near to the end of that month.
Brief color film of the Roxy Theatre and surrounding midtown area in 1946 can be viewed here
This was the Long Island portion of the premiere engagement that splattered the tri-state area of New York, New Jersey, and Connecticut.
Closed quickly as the Mutual due to protests from local churches against the risque content of the burlesque shows. Remained closed until leased by an indie and re-named the Alden with vaudeville and films. Closed and re-opened several times until eventually taken over by RKO, which had no outlet in Queens closer to Jamaica than the Richmond Hill.
Marquee in better times can be viewed here
The proximity of the two B&K showplaces can be seen in this aerial view
Due to the closures of Loew’s Lexington and 72nd Street, the RKO 58th now did “split” weeks of programs packaged for both circuits. In this ad, the 58th has its own listing below that for “Don’t Knock the Twist.” The incoming bill topped by “View From the Bridge” was a Loew’s combo.
The movie was currently booked at the Brooklyn Strand, but Roy & Trigger made that “personal appearance” outdoors, in front of Borough Hall.
Listed with “Malaya” as top feature, the Triboro would be presenting the Loew’s version of vaudeville on stage the following evening…This was an Easter holiday week, with most theatres opening earlier than usual.
NYC’s newest single-screen cinema presented the American premiere of Ingmar Bergman’s first feature in color.
Empire listed on its own at center of the ad, with double bill that had previously played RKO nabes in Manhattan, Bronx, and Westchester.
Marquee of Trans-Lux West featured in background shot in “The French Connection” here
Ad for this engagement of “The Priest’s Wife” can be viewed here
Easter Sunday, which arrived on April 5th, was the first since the USA entered WWII. The secular portion of the stage revue, entitled “To The Colors,” was a patriotic flag-waver in five scenes. Cecil B. DeMille’s Technicolor adventure, “Reap the Wild Wind,” was the screen feature.
Kings also advertised that day in the Loew’s circuit’s own ad, which was uploaded here
When booked into a “Showcase” with theatres of other managements, the Kings would often be advertised twice in the same newspaper, since Loew’s still ran circuit ads of its own. The full “Showcase” ad for “Where Angels Go…Trouble Follows” can be seen here
The provider was based across the East River in Greenpoint, Brooklyn.
Hard to believe that three years have passed since the Kings was brought back to life as a performing arts center. Have there been any reports of box office takings or attendance figures?
The vertical sign proved too expensive to operate and maintain, and was eventually replaced by a more compact version with just the circuit name of Loew’s.
Marquee wrapped around the corner into 28th Avenue. The box office had a window on each side of the corner, and a third in the entrance foyer.
A rare first-run feature for the State, but a bizarre choice for an Easter holiday presentation.
A dual engagement of “Show Boat” with the downtown Loew’s State started the following day. Ad displayed here