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.

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.