Because this was a shared engagement with the Sutton Theatre, the brand-new Paramount didn’t receive much of an advertising launch. Both cinemas were under the management of Rugoff Theatres at the time.
The stage show supporting the Technicolor revue “King of Jazz” featured a spectacular performance of George Gershwin’s “Rhapsody in Blue,” with Gershwin himself on piano, accompanied by the combined musicians of the Paul Whiteman and Roxy Symphony Orchestras.
At the time, the gutted building was part of the J&R electronics business that had several branches along Park Row. J&R eventually went bankrupt after it built a new multi-floor space at the corner of Ann Street which consolidated all those units.
The new policy started on August 27th, 1922, with major photoplays supported by “big” atmospheric prologues with lavish sets and costumes and music provided by an augmented resident orchestra.
The reissue of the 1940 classic arrived on May 18th, 1978, amidst fears that the Music Hall would be closing forever for demolition. The skimpy stage show ran for about half an hour, with three numbers by the Rockettes and musical interludes including a Symphony Orchestra tribute to Cole Porter compositions.
The opening coincided with Bing Crosby’s 41st birthday. He went on to win an “Oscar” for his performance, and later repeated the role in “The Bells of St. Mary’s.”
All six of MGM’s legendary “Thin Man” features with William Powell and Myrna Loy had their NYC premiere engagements at the Capitol Theatre. Ads have been posted in the Photos Section.
This marked the launching of Brandt’s Mayfair as a first-run showcase. Since taking over the lease from Loew’s, it had been sticking to their policy of subsequent-run double features.
This was the first “Thin Man” to open at the Capitol since the resumption of the theatre’s stage/screen policy in 1943. The Capitol’s stage headliners often included an MGM contractee, in this case blonde bombshell Marilyn Maxwell.
This was the fourth film in the series, all directed so far by W.S. Van Dyke II…Except for the first “Thin Man,” the title character never turned up again in any of the sequels.
This was a six-day booking, filling a gap between “Tin Pan Alley,” which ran for an unexpected four weeks, and “Chad Hanna,” opening on Christmas Day as part of the Roxy’s year-end holiday presentation.
The third “Thin Man” was the Capitol’s Thanksgiving holiday offering for 1939. Earlier that year, the Capitol had presented its first stage show since 1935, in support of “The Wizard of Oz,” but resumed its “screen only” policy after that.
David O. Selznick’s most expensive film since “GWTW” had an invitational world premiere gala at the Egyptian Theatre on December 30th, 1946. The Technicolor epic opened to the public the next day (New Year’s Eve) at the Egyptian as well as the Vogue Theatre as a reserved seat roadshow, with two performances daily and three on weekends and holidays. The booking was for two weeks only at the Egyptian, and “indefinitely” at the Vogue.
Top billing in the movie portion went to “Rochester,” who participated in a Harlem gala at Loew’s Victoria on the night before rhe Paramount opening on April 24th.
Because this was a shared engagement with the Sutton Theatre, the brand-new Paramount didn’t receive much of an advertising launch. Both cinemas were under the management of Rugoff Theatres at the time.
The stage show supporting the Technicolor revue “King of Jazz” featured a spectacular performance of George Gershwin’s “Rhapsody in Blue,” with Gershwin himself on piano, accompanied by the combined musicians of the Paul Whiteman and Roxy Symphony Orchestras.
That day, the nearby Radio City Music Hall was offering “The Cowboy and the Lady” (Gary Cooper-Merle Oberon) and stage show.
The ideal “Mother’s Day movie” for 1948 arrived early at the Music Hall, on March 11th as part of the Easter Holiday Show.
At the time, the gutted building was part of the J&R electronics business that had several branches along Park Row. J&R eventually went bankrupt after it built a new multi-floor space at the corner of Ann Street which consolidated all those units.
The new policy started on August 27th, 1922, with major photoplays supported by “big” atmospheric prologues with lavish sets and costumes and music provided by an augmented resident orchestra.
With her open-toed platform shoes, Carmen Miranda started a fad for painted nails that endures to this day.
Opened on May 5th, 1966, following “The Singing Nun” and Easter holiday stage show.
Kay Kyser and his musical cohorts were hugely popular on radio and recordings at the time.
Opened to the public on May 5th, 1955.
Three program changes per week with sub-run features.
The reissue of the 1940 classic arrived on May 18th, 1978, amidst fears that the Music Hall would be closing forever for demolition. The skimpy stage show ran for about half an hour, with three numbers by the Rockettes and musical interludes including a Symphony Orchestra tribute to Cole Porter compositions.
Roadshow policy, with all seats reserved.
The opening coincided with Bing Crosby’s 41st birthday. He went on to win an “Oscar” for his performance, and later repeated the role in “The Bells of St. Mary’s.”
Loew’s circuit ad for the Greater NYC area for the week starting May 4th, 1934.
All six of MGM’s legendary “Thin Man” features with William Powell and Myrna Loy had their NYC premiere engagements at the Capitol Theatre. Ads have been posted in the Photos Section.
This marked the launching of Brandt’s Mayfair as a first-run showcase. Since taking over the lease from Loew’s, it had been sticking to their policy of subsequent-run double features.
Due to Depression conditions, the Paramount Theatre at this time had no stage presentations except for a resident orchestra and organist.
This was the first “Thin Man” to open at the Capitol since the resumption of the theatre’s stage/screen policy in 1943. The Capitol’s stage headliners often included an MGM contractee, in this case blonde bombshell Marilyn Maxwell.
This was the fourth film in the series, all directed so far by W.S. Van Dyke II…Except for the first “Thin Man,” the title character never turned up again in any of the sequels.
This was a six-day booking, filling a gap between “Tin Pan Alley,” which ran for an unexpected four weeks, and “Chad Hanna,” opening on Christmas Day as part of the Roxy’s year-end holiday presentation.
Unhappy with the new medium of “talkies,” the cowboy legend had decided to concentrate on personal appearances in rodeos, circuses, and vaudeville.
The third “Thin Man” was the Capitol’s Thanksgiving holiday offering for 1939. Earlier that year, the Capitol had presented its first stage show since 1935, in support of “The Wizard of Oz,” but resumed its “screen only” policy after that.
David O. Selznick’s most expensive film since “GWTW” had an invitational world premiere gala at the Egyptian Theatre on December 30th, 1946. The Technicolor epic opened to the public the next day (New Year’s Eve) at the Egyptian as well as the Vogue Theatre as a reserved seat roadshow, with two performances daily and three on weekends and holidays. The booking was for two weeks only at the Egyptian, and “indefinitely” at the Vogue.
Top billing in the movie portion went to “Rochester,” who participated in a Harlem gala at Loew’s Victoria on the night before rhe Paramount opening on April 24th.