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This naming situation seems to be sparking unnecessary controversy. The list owners should have one policy and stick to it: either list theatres by their original name – or – list them by the current name.
The Internet Broadway Database presents a nice model by neatly listing all names a theatre has been called along with the relevant dates below the current name. Of course they have far fewer tehaters to keep track of than Cinema Treasures.
Apparently the list policy is to use the current name which does create a bit of a conundrum here because the theatre is known both as the Palace Cathedral for worship and the United Palace for other events. So, “United Palace” seems best in this case. Like it or not, the theatre has now been called the United Palace just as long as it was the 175th St Theatre.
My own choice would be to name each page by the theatreâ€™s original name. But even this would cause controversy too, as sometimes a later name would be the most familiar one. But anyway, I donâ€™t have to do the work of maintaining this wonderful site so itâ€™s not my choice.
The ideal would be for theatres to be searchable by both the current article title and any previous names they were known by.
The eternal shame of New York City has a lot to regret, starting with Pennsylvania Station, one human history’s great buildings, not to mention the old Metropolitan Opera House, the Roxy, the Capitol, the 72nd Street, and the Paramount Theatres.
The Roxy was promoted at its opening as having a seating capacity of 6,214. But for the bulk of its existence it was reported as seating about 5,700. While replacement of the original seats could account for this (were they replaced?),…there is common speculation that the Roxy literally counted every “seat” in the house, including toilets and dressing room chairs, to come up with this impressive number. Does anyone have information whether or not 6,214 was ever actually the real seating capacity of the theater and if so, what alteration accounted for the lower number later on?
In 1958 the seating was vastly reduced for the showing of “Windjammer” in Cinemiracle. Probably the reaar orchestra and the top baclony were draped off. But the theatre returned to its capacity of 5700 after Windjammer ended. Thanks for your help.
Was this really designed by Rapp and Rapp? It sure looks like Lamb. I’m probably wrong, but just take a look.
The Ohio Theatre in Columbus OH opened on 1928 as Loew’s and United Artists' Ohio Theatre. It remained under this banner until the mid 1950’s when it became just Loew’s Ohio. Other theatres developed jointly be the Loew’s and UA chains were the Broad Theatre, also in Columbus; the Loew’s and UA Theatre in Louisville, now called the Palace; and the Penn Theatre in Pittsburgh (now Heinz Hall). If you know of others, I’d love to hear about them!
A quick clarification of my comments below: After the advent of sound films in August, 1928, while the organist no longer accompanied the films along with the orchestra, he continued his featured solo appearances. These were repeated several times a day even after stage shows and the orchestra were discontinued in 1933. The organ solos were a very popular part of the program at the Ohio from 1928 to 1943.
The Ohio Theatre opened March 17, 1928 as Loew’s and United Artists' Ohio Theatre, one of a few theatres developed jointly by the two companies. The Ohio was one of the premiere flagship theatres of the Loew’s chain employing a full orchestra with resident conductor, a full-time and part-time organist, and presenting deluxe stage “Presentations” along with the silent feature films. These shows toured deluxe circuit and included sets, costumes, music, and a chorus line all designed around a theme. For instance, the first stage show at the Ohio, “Milady’s Fans,” was created at the Paramount Theatre in New York by choreographer John Murray Anderson and featured fan-style sets. Featured acts were included in these shows along with the local theatre’s house stage band and Emcee. These shows, or “units” toured many weeks and a new one opened every week at the Ohio until 1933 when the policy was discontinued. Stage shows from both the Paramount/Publix and Loew’s circuits were presented locally at the Ohio during this time. The Loew’s productions originated at the Capitol Theatre in New York.
Although the weekly stage presentations ceased in 1933, live entertainment remained part of the Ohio’s bill for some time. As mentioned above, MGM Contract stars would make personal appearance tours, the most notable of which locally was Judy Garland’s appearance in 1938.
The live theatre organ specialties remained part of the bill until 1943. Henry B. Murtagh, one of Loew’s premiere organists opened the theatre in 1928 and after a few weeks was succeeded by local favorite Bill Dalton. After sound films were introduced in August, 1928, the organist presented a short organ “novelty” program which he repeated several times each day as well as tie in with the stage and orchestra presentations. The Ohio’s organists were all important local entertainment personalities.
In 1933, Roger Garrett took over as organist and remained for ten years.
In the late 60’s and early 70’s both Dalton and Garrett returned to play concerts at the Ohio and were very important in stimulating interest in restoring and finding a new life for the theatre. During the 1970’s and 80’s while the famous Dennis James was the Staff Organist at the restored Ohio, the organ underwent a complete renovation.
Today the Ohio Theatre’s 4-manual, 28-rank Robert Morton organ is one the few, and finest, original in-theatre organ installations remaining.
The Ohio’s elaborate plaster Spanish style interior is one of the best examples remaining of the Thomas Lamb firm’s late-1920’s lavish movie palace designs for the Loew’s chain. Others include the Midland in Kansas City, the 175th Street and 72nd Street in New York City, and the Loew’s Theatre in Syracuse.
Lower budget Lamb theatres in Utica, New York and Huntington, West Virginia feature elements of the Ohio’s design in simplified form.