This is in response to “opus 1280 on September 2, 2006 at 9:43 p.m.†Again, my name is John Basil. My book includes photos and records of the Genesee theatre which was built by the Basil Bros. and opened Columbus Day 1927. I am the son of Bill, one of the Basil Bros. and 77 years old. I went to the Genesee from the 1930’s. I managed the theatre from 1958 until January 1965 when I was asked to manage the Century Theatre for the record opening of “Mary Poppins.†When I managed the Genesee Theatre I watched the lowering of the chandelier every summer or more if needed. It took at least two days work when the theatre was not open to the public. Every single inch of the chandelier was attended to and cleaned properly by our skilled employees, no “volunteers.â€
In going over my records, I am now correcting my own statement in the “December 15, 2005 Correction.†Within the chandelier and hardly noticeable were six high wattage lights similar to flood lights. No regular “bulbs.†At the bottom point of the chandelier was one higher wattage flood light. It was only used to light up the entire auditorium for the cleaners and maintenance man. The chandelier could be dim to maximum bright. The bottom flood light went on or off. There were so many chained crystals that unless one moved them to look within, people hardly knew the actual lighting. The chained crystals were very very secure. A free fall of a foot would not affect any part of the chandelier, but thisâ€free fall†could never happen because there was a continual locking mechanism to prevent any mishap.
Bill Barrett was our Chief Electrician at all Basil Theatres including the Lafayette Theatre and ten-story office building. Through the years the electrical part of the chandelier was improved and updated. Barrett was always at the Genesee when the chandelier was lowered to check everything electric. All lights whether working or not were thrown out and replaced new. When it was lowered it would be several feet from the center aisle carpet and just above any seats. A ladder was used to reach the upper part of the chandelier.
The lighting was all white and illuminated the entire auditorium showing all the red ornate damask walls and paintings on the ceiling. There was NO “dome.†The ceiling was rectangular and slightly curved upward. The entire rectangle had a hidden opening with all around lights illuminating all the paintings and just above the chandelier an ornate colorful painting with a painted “domed†effect. Anyone can fit more circuits to make it “shine much brighter†but the actual affect and effect of the original chandelier was to create an aura of bright sparkling crystals that enthralled the public during certain showtimes!
Now the reality of what really happened with no suppositions as “opus 1280†and others at the Riviera or anywhere. There was absolutely nothing wrong or any impairment of the chandelier when I left the theatre in January 1965. I have all the original plans and photos from the architects and builders, Henry and son William Spann, dated 1927 on. All of my information comes from the living Basils and Bill Spann.
When the Genesee Theatre and building was sold in 1966, I was not here or in Buffalo until 1976. When I returned to Buffalo my mother and attorney Curtis told me the owner Buntford had a serious profit problem. He eventually sold everything he could or even give away. After gutting the theatre, the building, and behind in taxes, Buntford eventually walked away. The city had to demolish the Genesee Theatre and Building to just a field of nothing.
The big question is, what kind of condition or what chandelier actually went to the Riviera? The original Genesee chandelier was carefully assembled by the manufacturer in the Genesee auditorium before 2230 theatre seats were installed. It was not made to leave the Genesee Theatre as is or even be disassembled without damage.
Attorney Curtis told me he checked the theatre on occasion. In the end, almost all seats were gone, Greek marble outside and inside taken away from the structure. Anything of value was sold or given away. Attorney Curtis told me he could not recognize the chandelier and could not tell if it was original. On one occasion, I went to the Riviera with my mother and we could not recognize the chandelier. When the Riviera uses “red, blue, green, amber†lighting, the colors subdue any white and gives the Riviera auditorium a bleak and dismal appearance.
When I read words like, “hearing a storyâ€, “I can’t say for sureâ€, “domeâ€, “couldâ€, “perhapsâ€, “myself, Don Lange, Jim Davis and Bill Howland†all are suppositions with no validations from neophytes guessing and distorting True Theatre History. My book covers 3 chapters on the Genesee Theatre and a most revealing true story about the Riviera Theatre in North Tonawanda, New York.
George Mackenna, Managing Director of Basil’s Lafayette Theatre, introduced me to Max Yellen in 1949.
This is in response to “opus 1280 on September 2, 2006 at 9:43 p.m.†Again, my name is John Basil. My book includes photos and records of the Genesee theatre which was built by the Basil Bros. and opened Columbus Day 1927. I am the son of Bill, one of the Basil Bros. and 77 years old. I went to the Genesee from the 1930’s. I managed the theatre from 1958 until January 1965 when I was asked to manage the Century Theatre for the record opening of “Mary Poppins.†When I managed the Genesee Theatre I watched the lowering of the chandelier every summer or more if needed. It took at least two days work when the theatre was not open to the public. Every single inch of the chandelier was attended to and cleaned properly by our skilled employees, no “volunteers.â€
In going over my records, I am now correcting my own statement in the “December 15, 2005 Correction.†Within the chandelier and hardly noticeable were six high wattage lights similar to flood lights. No regular “bulbs.†At the bottom point of the chandelier was one higher wattage flood light. It was only used to light up the entire auditorium for the cleaners and maintenance man. The chandelier could be dim to maximum bright. The bottom flood light went on or off. There were so many chained crystals that unless one moved them to look within, people hardly knew the actual lighting. The chained crystals were very very secure. A free fall of a foot would not affect any part of the chandelier, but thisâ€free fall†could never happen because there was a continual locking mechanism to prevent any mishap.
Bill Barrett was our Chief Electrician at all Basil Theatres including the Lafayette Theatre and ten-story office building. Through the years the electrical part of the chandelier was improved and updated. Barrett was always at the Genesee when the chandelier was lowered to check everything electric. All lights whether working or not were thrown out and replaced new. When it was lowered it would be several feet from the center aisle carpet and just above any seats. A ladder was used to reach the upper part of the chandelier.
The lighting was all white and illuminated the entire auditorium showing all the red ornate damask walls and paintings on the ceiling. There was NO “dome.†The ceiling was rectangular and slightly curved upward. The entire rectangle had a hidden opening with all around lights illuminating all the paintings and just above the chandelier an ornate colorful painting with a painted “domed†effect. Anyone can fit more circuits to make it “shine much brighter†but the actual affect and effect of the original chandelier was to create an aura of bright sparkling crystals that enthralled the public during certain showtimes!
Now the reality of what really happened with no suppositions as “opus 1280†and others at the Riviera or anywhere. There was absolutely nothing wrong or any impairment of the chandelier when I left the theatre in January 1965. I have all the original plans and photos from the architects and builders, Henry and son William Spann, dated 1927 on. All of my information comes from the living Basils and Bill Spann.
When the Genesee Theatre and building was sold in 1966, I was not here or in Buffalo until 1976. When I returned to Buffalo my mother and attorney Curtis told me the owner Buntford had a serious profit problem. He eventually sold everything he could or even give away. After gutting the theatre, the building, and behind in taxes, Buntford eventually walked away. The city had to demolish the Genesee Theatre and Building to just a field of nothing.
The big question is, what kind of condition or what chandelier actually went to the Riviera? The original Genesee chandelier was carefully assembled by the manufacturer in the Genesee auditorium before 2230 theatre seats were installed. It was not made to leave the Genesee Theatre as is or even be disassembled without damage.
Attorney Curtis told me he checked the theatre on occasion. In the end, almost all seats were gone, Greek marble outside and inside taken away from the structure. Anything of value was sold or given away. Attorney Curtis told me he could not recognize the chandelier and could not tell if it was original. On one occasion, I went to the Riviera with my mother and we could not recognize the chandelier. When the Riviera uses “red, blue, green, amber†lighting, the colors subdue any white and gives the Riviera auditorium a bleak and dismal appearance.
When I read words like, “hearing a storyâ€, “I can’t say for sureâ€, “domeâ€, “couldâ€, “perhapsâ€, “myself, Don Lange, Jim Davis and Bill Howland†all are suppositions with no validations from neophytes guessing and distorting True Theatre History. My book covers 3 chapters on the Genesee Theatre and a most revealing true story about the Riviera Theatre in North Tonawanda, New York.
George Mackenna, Managing Director of Basil’s Lafayette Theatre, introduced me to Max Yellen in 1949.