The New Telenews, Chicago

 The Exhibitor, April 17, 1940

"In recent years the motion picture industry has seen the advent of newsreel theatres. These houses screen the industry's weekly newsreel output as the feature attraction and fill in with sufficient short subjects of merit to make up a definite program."

"Pictured here is just such a house designed by Shaw, Naess and Murphy for the Newsreel Theatres, Inc., Chicago." 

"The exterior of this newsreel house is of a design typical of that current for this type of theatre. A huge triangular marquee extends well out and across the sidewalk, gaining much attention over the neighboring stores. Prominent in this view is the stainless steel boxoffice with its automatic turnstile." 

 

"The auditorium is small as is usual with most newsreel houses. A balcony with a capacity of approximately 150  capably handles  the first floor overflow. Simple in its decoration the sidewalls of this room are of blue green painted plaster. The rear wall is acoustically treated and in the natural color of the material. The lighting fixtures are brass and were designed especially for this house."

 

"The exterior at night fully illuminated shows the attractiveness of the signwork
and the extent of the exploitation necessary for this type of theatre."

 

Telenews

165 N. State Street 

Cinema Treasures 

 

 

Since 1997 theatre historian,  Cezar Del Valle, has conducted a popular series of  theatre talks and walks, available for  historical societies, libraries, senior centers, etc.

Del Valle is the author of the Brooklyn Theatre Index, a three-volume history of borough theatres.

The first two chosen 2010 OUTSTANDING BOOK OF THE YEAR by the Theatre Historical Society. Final volume published in September 2014.

Currently seeking funding for “Editing & Formatting” the first three volumes of the Brooklyn Theatre Index, 3rd Edition

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The Monster Demands a Mate in Chicago!

 Universal Weekly, May 4, 1935:

"Portions of the huge crowd that lined up early on opening day for Bride of Frankenstein at the [RKO] Palace, Chicago." 

"Opposite the booth a thrill chart, which also followed the pressbook suggestion, was given a two week advance display.
 It was equipped with flasher lights, giving the display the added advantage of animation."

"Emergency booth used as lobby ballyhoo in advance and during the run."

"Giant advance display in lobby."

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Since 1997 theatre historian,  Cezar Del Valle, has conducted a popular series of  theatre talks and walks, available for  historical societies, libraries, senior centers, etc.

Del Valle is the author of the Brooklyn Theatre Index, a three-volume history of borough theatres.

The first two chosen 2010 OUTSTANDING BOOK OF THE YEAR by the Theatre Historical Society. Final volume published in September 2014.

Currently seeking funding for “Editing & Formatting” the first three volumes of the Brooklyn Theatre Index, 3rd Edition

AboutMe

Goodreads

Television in the Lobby, Chicago Theatre, 175 N State Street

Showmen's Trade Review
November 18, 1944:


"First Time in Theatre History"

"Shape of Things to Come?"

"Election returns via television were a theatre attraction at the B&K Chicago Theatre, Chicago. Above, how the feature was played up in newspaper advertising, and [below] the lobby crowds seeing and hearing the results.

"At television receiver, operating the dail, is A. M. Brolly, chief engineer of B&K Television Station WBKB. Standing at right of receiver is Manager William B. Holden of the Chicago.

While most other theatres were without television facilities, few indeed were those that did not, in one way or another, provide frequent information on election returns. "  

Chicago Theatre

Cezar Del Valle is the author of the Brooklyn Theatre Index, a three-volume history of borough theatres. The first two chosen 2010 OUTSTANDING BOOK OF THE YEAR by the Theatre Historical Society.  Final volume published in September 2014.

He is available for theatre talks and walks in 2015: historical societies, libraries, senior centers, etc.  
 
Now selling "vintage" on Etsy

Chicago Theatre, 175 N. State Street, Chicago, IL 60601

Designed by architects Cornelius W. Rapp and George L. Rapp, the Chicago Theatre opened October 26, 1921, becoming the flagship of the Balaban and Katz chain.

Forest Leaves, November 10, 1921:

"Balaban & Katz, than whom there is none more progressive or more artistic in the theatrical field, are the builders and sponsors of this gigantic playhouse."

Merely Colossal* by Arthur Mayer, former Paramount director of advertising, exploitation and publicity:
"It must be admitted, however that Balaban & Katz were responsible not only for the unprecedented comforts of the modern picture theatre but for many of its artistic atrocities. The repulsive splendor of rococo decorations, gargantuan crystal chandeliers, fake Doric columns and cathedral windows looking out on nothing, sinking carpets, rising pipe organs and overzealous, gold-braided service staffs were all theirs and they were quickly and widely copied all over the country with even greater pomp, less taste--and similar profits.

"Abe [Balaban] was the introducer of 'gigantic presentations.' When Valentino's Blood and Sand played the Balaban & Katz's houses, it was presented with sunlit patios and Spanish singers, dancers and guitar players. With Clara Bow's It (so called because Walter Wanger once heard Elinor Glyn say, 'That girl has it'), Abe came through with a hot jazz band and a not so hot version of a youthful petting party with more singing and dancing than insidious sex."

*Merely Colossal: The Story of the Movies from the Long Chase to the Chaise Lounge by Arthur Mayer, published by Simon and Schuster, 1953.

In discussing Balaban and Katz, Meyer does not mention the contributions made to the movie palace by Sid Grauman and "Roxy" Rothafel. 

1947 postcard showing three marquees on State Street  

Above photograph copyright by Betty Sword, all rights reserved

Both images are part of the Theatretalks collection, please ask permission to copy and/or use. At least give credit to source. We know that some people will not  honor this but it would be nice if they did.

Cezar Del Valle is the author of the Brooklyn Theatre Index, chosen 2010 Best Book of the Year by the Theatre Historical Society.

He is currently accepting theatre talks and walks for the fall and winter-historical societies, libraries, senior centers, etc.

The Garden of Allah on Stage and Screen

A sensation when first published in 1904, Robert Hichens' The Garden of Allah is a romantic tale of adventure set in the Algerian desert where a British woman traveling alone has an affair with a fallen Trappist monk.

It was adapted for the stage in 1911 by Hichens and Mary Anderson de Navarro (uncredited), making its debut at the Century Theatre in New York. Elaborately produced by Liebler & Co. the play was a smash hit. 

J. Parker Read, Jr., "a maker of scenic motion pictures", tried to acquire the rights for a film version in 1912.

Moving Picture World, June 8, 1912:

"Because of the beautiful scenic effects of the stage production, Mr. Read proposed to Liebler & Co. that he be allowed to make a picture version of the play but the price asked by the owners was prohibitive, so he decided to make a picture of the Garden itself."

Setting out from Paris by automobile, Read filmed a three-reel travelogue entitled A Motor Trip to the Garden  of Allah, produced through the co-operation of George Tyler, from the Liebler Company.

A Motor Trip to the Garden  of Allah

The first of three screen versions of The Garden of Allah was a Christmas release by the Selig Polyscope Company in 1916, with the Mojave Desert standing in for the Sahara.

The Garden of Allah at the Colonial Theatre in Chicago

Excerpts from Motography, September 1, 1917:

"A camel driven by an Arab attracted a crowd before the theater in Randolph Street and the young lady ushers were garbed after the mysterious manner of the Orient."

"Before the performance a dozen or more Arabs appeared and while one sang a song of the desert others bowed towards the east. The lights were dimmed on the desert set and the song died out and the film drama began."

The Garden of Allah was the opening attraction at Quinn's Rialto in Los Angeles

Excerpts from Moving Picture World, June 23, 1917:

"Selig's multiple reel feature The Garden of Allah has drawn capacity audiences from the first day of opening."

"Through Irving Lesser of the All Star Feature Disbributors, Mr. Quinn bought the entire rights for Los Angeles for The Garden of Allah."

Another silent version was released in 1927 directed by Rex Ingram and starring Alice Terry. Selznick International Pictures made the Garden of Allah as a talkie in 1936, the second film to be photographed in three-strip Technicolor. Star Marlene Dietrich described it as "trash." Other viewers were less harsh especially if one was able to "embrace the silliness."

The Garden of Allah aired on Campbell Playhouse, November 19, 1939 with Orson Wells and Madeline Carroll.

Colonial Theatre

Quinn's Rialto

Photo Credits:

1) Postcard part of the Theatre Talks Collection

2) Moving Picture World, June 8, 1912

3) Motography, September 1, 1917

4) Moving Picture World, June 23, 1917

Cezar Del Valle is available for theatre walks and talks in 2013. 

He is the author of the Brooklyn Theatre Index, chosen 2010 Best Book of the Year by the Theatre Historical Society.

Chicago Theatre, 175 N. State Street, Chicago, IL 60601

Designed by architects Cornelius W. Rapp and George L. Rapp, the Chicago Theatre opened October 26, 1921, becoming the flagship of the Balaban and Katz chain.
Its vertical sign, with 6-foot letters, drawing the attention of the Exhibitors Trade Review.

Exhibitors Trade Review, December 3, 1921:
"The electric sign on the new Chicago Theatre is one of the largest hung on any theatre. It measures seventy-four feet from top to bottom and seven feet in width. A total of 2874 sockets are used in the construction, holding 75-watt lamps in the border. The entire display is made of high grade galvanized sheet iron, the face plates being 20-gauge, the interior efficiently braced and supported with steel angles and channel irons.Special cantilever construction has been used in attaching the sign to the wall of the theatre, a method which has made possible to do ways with wind braces.

"The main portion of the sign consists of the word 'CHICAGO,'  spelled in six-foot letters, extra deep grooved to take care of special lamps used. Above is 'Balaban & Katz' in twenty-four inch letters, and a four-line attraction border with alternating action goes around the display.

"The sign is more massive than would be apparent from its braces, as it weighs over seven tons. In action, the letters C-H-I-C-A-G-O spell on, burn steady, flash off and then come in solid.

"A part of the job is the four single-faced attraction panels, containing two rows of ten-inch changeable letters of special groove type. A continuous high-speed spectacular border goes around the panels.

"The strength of this sign is such that it absolutely dominates State Street from Lake Street to Van Buren Street and is even visible beyond the confines of the Loop. But all the brilliance of State Street only serves to emphasize the super-brilliance of this crowning achievement in sign construction. The sign was made and installed by the Thos. Cusack Co." 

  
The Chicago Theatre was placed on the National Register of Historic Places in 1979 and designated as a historic Chicago landmark on January 28, 1983. Closed in 1985, it was purchased by the Chicago Theatre Restoration Association. After  an extensive restoration, the Chicago reopened in 1986 with a performance by Frank Sinatra.

Historic Theatres and Movie Palaces of Balaban & Katz 

Chicago Theatre on WordPress

Top photograph from Exhibitors Trade Review

Bottom: Chicago Theatre, 2001. One of several photos given to Theatre Talks by Darleen MacIntosh. Thanks Darleen.

Cezar Del Valle is the author of the Brooklyn Theatre Index, chosen 2010 Best Book of the Year by the Theatre Historical Society.