Designer Pyer Moss booked the Kings for a “Tribute to Black Culture.”
Let’s hope that the video monitors on the side walls were only temporary, and don’t become a permanent fixture as at Radio City Music Hall.
Technical journal reported that the screen measured 36 x 26 feet, with loudspeakers mounted on the sides. Front row of center seating was 164 feet from the screen, and back row 394 feet.
Comments by critic Manohla Dargis in The New York Times of September 15th, 2019. Excerpted from a full-page of comments by Dargis and fellow critic A.O. Scott about the “New Season in Film.”
Despite the recent closure of the Paris, “There’s good news at the art house,” claimed New York Times film critic Manohla Dargis in yesterday’s edition (9/15/19). Her upbeat comments about cinema attendance have been uploaded to the Photos Section.
According to some showbiz histories, the “striptease” was first performed in burlesque one night in 1928 at the Haymarket Theatre, where a chorine named Hinda Wassau found herself trapped in too many layers of costuming and slowly peeled them off to increasingly enthusiastic applause.
“All Hollywood” turned out, including the three top-billed stars. During ceremonies before the screening, Clark Gable was made an Honorary Sheriff of Los Angeles County.
The exclusive engagement ended in mid-September, when the Capitol switched to a conventional multi-theatre “Showcase” of 20th-Fox’s “The Reward,” sharing Manhattan with Loew’s Orpheum on the Upper East Side.
Following a successful run at the Apollo, Loew’s booked the play for a six-day run at its Bedford Theatre in Brooklyn, starting on August 8th.
Paramount’s movie version of “Detective Story,” directed by William Wyler, would be released later that year.
Current mainstream releases at both Plazas were usually about two weeks after their runs on the Loew’s and RKO neighborhood circuits. Appealing to upscale patronage, the Plazas booked single features only, but not necessarily in tandem. “The Great Caruso” was one of the few box office blockbusters of that TV-plagued year.
Each “Oz” stage show ran for about half-an-hour, including a 5-minute overture by a 21-piece orchestra. There were from five to seven stage performances daily, depending on the day of the week. Mickey Rooney finished on August 30th, replaced by Ray Bolger and Bert Lahr until the engagement closed on September 6th. A lengthy review of opening day can be found in weekly Variety’s issue of August 23rd, 1939.
Originally opened as part of Universal Pictures' theatre circuit on October 9th of the previous year…Stage headliner Emile Boreo can be seen in the silent film clip here
Advertised on September 8th, 1933. By that time, the Kings and Pitkin had closed their stages, leaving the Metropolitan and Gates as the only Loew’s in Brooklyn with vaudeville.
This apparently re-opened as the Art Theatre circa 1941-42. It was first reported as the Art in the Film Daily Year Book of 1943, with a seating capacity of 430. The Cameo is not listed for 1943, but in previous volumes had also been reported with 430 seats.
Designer Pyer Moss booked the Kings for a “Tribute to Black Culture.” Let’s hope that the video monitors on the side walls were only temporary, and don’t become a permanent fixture as at Radio City Music Hall.
Technical journal reported that the screen measured 36 x 26 feet, with loudspeakers mounted on the sides. Front row of center seating was 164 feet from the screen, and back row 394 feet.
The fast-rising vocal trio had previously played at the Flatbush Theatre in March of that same year. Ad here
Movie was exclusive first-run for the Bronx, but had previously played at the Capitol Theatre in midtown Manhattan with much the same stage offering.
Stage performer Danny Lewis was the father of guess who?
Comments by critic Manohla Dargis in The New York Times of September 15th, 2019. Excerpted from a full-page of comments by Dargis and fellow critic A.O. Scott about the “New Season in Film.”
Despite the recent closure of the Paris, “There’s good news at the art house,” claimed New York Times film critic Manohla Dargis in yesterday’s edition (9/15/19). Her upbeat comments about cinema attendance have been uploaded to the Photos Section.
According to some showbiz histories, the “striptease” was first performed in burlesque one night in 1928 at the Haymarket Theatre, where a chorine named Hinda Wassau found herself trapped in too many layers of costuming and slowly peeled them off to increasingly enthusiastic applause.
The Technicolor western could only been seen in B&W on home TV sets.
Also seen between the Globe and Strand is the marquee of the Central Theatre, with blank billboard above.
“All Hollywood” turned out, including the three top-billed stars. During ceremonies before the screening, Clark Gable was made an Honorary Sheriff of Los Angeles County.
The exclusive engagement ended in mid-September, when the Capitol switched to a conventional multi-theatre “Showcase” of 20th-Fox’s “The Reward,” sharing Manhattan with Loew’s Orpheum on the Upper East Side.
And fear of catching some sexually transmitted disease!
The British-made epic had its world premiere at the Warner Theatre in London’s West End in April of that year.
Followed a successful run at the Apollo Theatre in Harlem.
Following a successful run at the Apollo, Loew’s booked the play for a six-day run at its Bedford Theatre in Brooklyn, starting on August 8th. Paramount’s movie version of “Detective Story,” directed by William Wyler, would be released later that year.
Current mainstream releases at both Plazas were usually about two weeks after their runs on the Loew’s and RKO neighborhood circuits. Appealing to upscale patronage, the Plazas booked single features only, but not necessarily in tandem. “The Great Caruso” was one of the few box office blockbusters of that TV-plagued year.
Courtesy of Warner Books.
Each “Oz” stage show ran for about half-an-hour, including a 5-minute overture by a 21-piece orchestra. There were from five to seven stage performances daily, depending on the day of the week. Mickey Rooney finished on August 30th, replaced by Ray Bolger and Bert Lahr until the engagement closed on September 6th. A lengthy review of opening day can be found in weekly Variety’s issue of August 23rd, 1939.
Originally opened as part of Universal Pictures' theatre circuit on October 9th of the previous year…Stage headliner Emile Boreo can be seen in the silent film clip here
Advertised on September 8th, 1933. By that time, the Kings and Pitkin had closed their stages, leaving the Metropolitan and Gates as the only Loew’s in Brooklyn with vaudeville.
News item published on September 8th, 1935.
This apparently re-opened as the Art Theatre circa 1941-42. It was first reported as the Art in the Film Daily Year Book of 1943, with a seating capacity of 430. The Cameo is not listed for 1943, but in previous volumes had also been reported with 430 seats.
The Belle Paree listed in bottom left corner.
The Film Daily’s THEATER CHANGES column on April 17th, 1927, reported the Belle Paree as not only “closed,” but also “dismantled.”