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Marquee-The Journal of the Theatre Historical Society_Fourth Quarter 1971The •� Journal OfThe �• ' • ' ••• •��• � • THEATRE RE •' : i E•.:•: HISTORICAL •��i�� SOCIETY "0•' Fourth Quarter —1971 Vol. 3 No. 4 ir'�� Ip 0■ li y. ua�:,,a�uoo��•mudrim6navnm,rclmwn,,,,._nnmm�„. '.:-0:� Backstage OUR COVER: This view of the grand lobby, of the new HEINZ CENTER in Pittsburgh is the work of William Hartlep, an associate of the architectural firm of Stotz, Hess, MacLachlan & Fosner. It is the view also used on our new brochure and we felt you'd like to see an enlarged reproduction of it — for it is a fine piece of work and faithfully conveys the feeling of this grand room, originally designed by Rapp and Rapp. • • • We wish to call your attention to the happy fact that the entire contents of this issue has been contributed by our own members — features, news stories, letters, etc. We congratulate — and thank — all who have contributed of their efforts this past year and hope it will encourage others to dig into their local theatre scene and history and "get into the act." It does take time and effort, but there is no other way to do it. We welcome your efforts and will use all material.as space permits. Another year comes to a close. Our third year. We are still short of 400 members and with increased costs, etc. it is imperative that we acquire new members if we are to meet our budget —most of which goes to the production and distribution of MARQUEE. So do make that ektra personal effort to bring a new member into the Society. It is the best way to insure our continued progress at a minimum cost to you And one more — a reminder! It is time to renew. By renewing promptly you save us an amazing amount of paper work and confusion. Your cooperation will be much appreciated. 2 Government of the District of Columbia THE PUBLIC LIBRARY - Washington, D.C. On behalf of the Board of Library Trustees, and of the Acting Director, as well as personally, I wish to thank you for the gift of a copy of The Best Remaining Seats, by Ben M. Hall, presented in memory of the author and received October 14, 1971. We also appreciate your sending us the brochure about the Theatre Historical Society and the sample copy of your quarterly, Marquee. These have been forwarded to our Literature Division, which includes material on the theatre. You may be sure that your thoughtfulness of the Public Library is much appreciated. Sincerely yours, Philip J. Stone THE THEATRE HISTORICAL SOCIETY OF AMERICA P. O. Box 4445 Washington, D.C. 20017 OFFICERS: President: Steven Levin Sect-Treas: John E. Miller V.P. & Editor: Andrew Corsini Archivist: Craig Morrison BOARD OF DIRECTORS: East: James Foley Northwest: Bill Peterson New York City: Frank Cronican Southwest: Frederick Beall Middle East: Don Stott Los Angeles: Terry Helgesen South: Wallace Baumann Midwest: Joseph Duci Bella MARQUEE, published quarterly, is the official journal of the Society and is included with membership. Annual membership, with third class mailing, is $6.00. Contributing membership, with first class mailing, is $10.00. Extra copies of current issue: $1.00 each. Back issues, when available, $2.00 each. NOTE: ALL REMITTANCES MUST BE IN U.S. FUNDS. Above: A view of the PENN Theatre taken in 1965: from the Ben Hall Collection. Taken during one of its "closed" periods it does present a rather sad contrast to the newly cleaned and remodeled facade of the new HEINZ HALL. In the sketch of the new facade note the effective change in the window treatment in the office area of the building. Below: A'view of the interior of the new HEINZ HALL towards the stage, showing the enlarged orchestra pit (raised to stage level) and the new sound reflector installed above the proscenium. NOTE: You might check with your local library. The December issue of the ARCHITECTURAL RECORD was to have a feature on the HEINZ HALL project, >� /� Zw,A4 � Heinz Hall for the Performing Arts On September 6th, 1927 Pittsburgh opened the elegant, rococo and gilt Loew's Penn Theater for an opulent, prosperous society to enjoy. The theater was to have opened the day before but due to the death on that day of Marcus Loew, the opening was postponed until September 6th. The theater opened with Ted Lewis who at the time billed himself as "the high -hatted tragedian of song". The silent film was "Adam and Evil", a comedy starring Lou Cody and Eileen Pringle. The pit orchestra played Tchaikovsky's "Overture 1812". The fall of 1927 also saw the Pittsburgh Pirates win the National League pennant and such baseball stars as the Waner Brothers formed an act which set house attendance records when they played at the Penn, and also later when touring the Loew's theater circuit, competing with Babe Ruth and Lou Gehrig, the Yankee stars, who were then touring the Keith circuit. Marcus Loew was an experienced builder of theaters and able to translate his grandiose dreams for theater into bricks and mortar. In Pittsburgh he hired the architects, C. W. and George L. Rapp of Chicago and New York, who also had designed the St. Louis Theater which in later years was to be renovated into Powell Hall, the present home of the St. Louis Symphony. The Rapp brothers designed very elegant, rococo theaters. In Pittsburgh, the grand lobby soared to a height of 50 feet, terminating in a Venetian ceiling. The walls were decorated with breche opal and Levanto marbles. The rococo plaster was decorated in dutch metal or gold leaf. The grand lobby had two very large bronze and crystal chandeliers. Draperies and other tapestries were imported silk damask. There was a secondary lobby off Penn Avenue which rose about 40 feet and had two smaller chandeliers. This lobby featured a mirrored wall. The auditorium carried out the same elegant theme with organ grilles, niches STORY BY. Donald L. MacLachlan DRAWINGS BY. William W. Hartlep PHOTOGRAPHY BY: Elton Schnellbacher and decorative false marble staircases within the niches, and a very richly decorated ceiling featuring a large dome with twelve smaller domes around its perimeter. In the center of each smaller dome were rosettes behind which the ventilating air was introduced to the auditorium. The auditorium seated over 3,400 people on three levels. In the orchestra pit was installed the console of the Robert -Morton organ which the organ company called "the greatest musical instrument the world has ever known". The organ console and the orchestra pit were on a movable stage which could be elevated to public view during the stage shows. When the Pittsburgh Loew's Penn Theater was built the architects were able to incorporate into their design all the items necessary to create an atmosphere conducive for silent movies. The Penn Theater struggled through the depression and in 1936 was flooded to loge level. The mighty organ console was ruined but the theater survived and continued showing movies and stage shows, such as Guy Lombardo, Fred Waring, Jimmy Durante, and Jack Benny. With the advent of television the theater switched to live stage shows. However, in 1964, many of the paintings, statues and other art objects were removed from the theater and taken to New York and the theater closed its doors. In 1967 it was reopened for a run of"Hello Dolly" with Carol Charming but then because of maintenance costs and high taxes (940.00 per scat) it closed its doors once again. And so the Penn Theater, stripped of its statuary and left in darkness for years, awaited its fate. The Howard Heinz Endowment purchased the Penn Theater for $850,000.00 and then laid plans to house the symphony, the opera, the civic light opera, and the ballet. 3 1H In December 1969, the architectural firm of Stutz, Hess, McLachlan & Fosner was commissioned by The Pittsburgh Symphony Society to redesign the theater for the aforementioned performing arts. Frank Armour, Jr. was appointed the director of construction and has worked continually with the architects up to the present time in this development. The internationally known acoustician, Dr. Heinrich Keilholz from Hannover, Germany, was retained as consultant for acoustics and theatrical techniques. Verner S. Purnell was retained as interior designer. The design team was set. There still remained a question as to whether or not the general public and the patrons of The Pittsburgh Symphony desired to move their concert house from the Syria Mosque to the Loew's Penn location which is directly in the center of the Golden Triangle. A concert was scheduled and held December 12, 1969, and questionnaires were distributed. The answer was an overwhelming "yes". With that hurdle passed, a second concert was held with the acousticians present and acoustical tests were made. The tests proved what the ear could tell — simply that the hall was acoustically dead. The architects took advantage of these two concerts to study circulation patterns which proved to be an invaluable aid in their redesign of the public areas. Prior to the planning and before the decision to purchase the extra land areas at the rear of the theater the architects programmed the work with the owner. This programming involved extensive interviews with all people from management to performers. The original Penn Theater lobbies were L-shaped with the L being filled in at the street corner with a four story office and commercial building. The long sides of the theater are bounded by a principal avenue and by an alley. At the rear of the theater is an alley. The other side of that alley was a 40 foot deep puking lot. Therefore, these boundaries gave the architects the opportunity to expand the theater to some extent. On the other hand, they fixed the building in a rigid box on three sides. The commercial building was to become the principal entrance and public circulation area, while the upper floors became offices for the using agencies of the theater. The rear alley and parking lot were purchased by the owner. The theater was then extended to include these areas as will be described in detail later. The test concerts proved that the theater was unable to handle concert audiences. This was to be expected for the entrance was designed for a movie house where patrons normally would arrive intermittently two by two during all periods of the day and evening and leave in the same manner. A performing arts center would receive two or three thousand patrons all within a half hour; release them for intermission at a given signal; and release them again at the conclusion of the concert. This caused mass movements that the original movie house circulation could not handle. The single theater entrance was closed, the marquee removed, and the principal window to the grand lobby extended down to the sidewalk, producing a single window 40 feet high. Five new entrances were built in the commercial store area, all leading directly into the ticket lobby. Additional public areas were built including a new circular dancing staircase to augment the central circulation area. The grand lobby was isolated from the general circulation traffic thus creating a setting of grandeur that did not exist in the original theater. The architect floored over the smaller competing lobby. This floor area was required for circulation needs at intermission. The former loft area over the new ticket lobby was converted into a 3,000 square foot lounge with bar. With this additional recovered space, the public was now able to enter, circulate within, and leave the theater in a manner required for a performing arts center. All lighting in this area is now crystal with the existing fixtures having been redesigned, rebuilt, and then reused. The remaining crystal fixtures are from Lobmeyr, Ltd. in Vienna, Austria. Special red carpet was designed for all the public areas including the stairways, and red velvet was placed on the handrails. The new flooring materials other than carpet are either marble or travertine Venetian terrazzo. The ticket lobby is floored with brick pavers which continue out into a new brick heated sidewalk. The brick sidewalk is laid in a pattern which repeats the copper domed entrance canopies. The physical changes in the auditorium were done to satisfy the acoustical requirements. In general, all draperies and hangings were removed. All existing lighting was removed. All niches such as the old false balconies and stairways and the organ grill were plastered over, but the tracery of these elements remained for decorative purposes. The coves in the ceilings were . replaced by hard plaster convex saucers. Above the proscenium arch in front of the stage a large hard plaster reflector was constructed. These had plaster shapes serve the purpose of transmitting the energy from the stage to the patrons' ears in such a manner as to give the music presence. The orchestra pit was completely rebuilt and enlarged Left page: View of the original interior of the PENN Theatre, which remained unchanged until it was redone for the HEINZ HALL remodeling —as seen in the view on the top, right. the plaster ornamentation and all of the drapes were removed to achieve the _ _ _.. _..•__s ,.�n:..,,�o ,,,k:ck has been acclaimed by the critics. Below, left: View of the Grand Lobby at the mezzanine level, with the lovely refurbished chandeliers. Below, right: View of the new Grand Foyer with the new floor at mezzanine level. Both rooms remain essentially as Rapp and Rapp designed them. The new lounge area is to the left. 5 3a y O 1 W C u C e0 WOO W u H m C m "JA «.N y Y u Y 4 U A 0 ., V m u O V •Y T p U y M k O A N u U N u N W O goo d U v Po W m O m y q p M H Gp S.N u 9 U U '•� ti k y k M U C M C '.� U H U Ot M 6 L E0 CO W 0U y U 0 NW L Po 9 U P. 6 m w W FHOOH U' W N W 'p p OU W O£ W rgmMOalm mvl W U' vaM i' V W R£ � O V N.a Ne•1p N�01�00� 0.,.NiNN.----TONN y u k - - NNNNNryNNtl Melry OW OC 4Y fD LO a (O N p r to accommodate approximately seventy-five musicians for the opera. The stage was completely rebuilt and electric winches were installed. A moveable light bridge and moveable tormentor towers were also built so that the proscenium opening could be 2djusted from a maximum of 52 feet by 34 feet to 36 feet by 20 feet. The new building at the rear of the old stage area accommodates the 28 foot extension of the stage and all the ancillary rooms for instrument storage, managers' offices, dressing rooms, rehearsal rooms, and library. All rooms are equipped with acoustical doors and partitions so that performers and musical groups may rehearse simultaneously in their own areas. Construction was started in April of 1970 when the Mellon -Stuart Co. began demolition in certain areas of the building. The architects, owners, and contractors all knew from the beginning that the time schedule was extremely short having been committed to open the season in the new theater in September of 1971. The total construction entailed all new mechanical, electrical, stage, lighting, and sound systems, plus all new seating. All auditorium fixtures are crystal designed in Vienna by the architect and the designers of Lobmeyr, Ltd, who supplied crystal fixtures for the new Metropolitan Opera House in New York City and for the Kennedy Center. During the construction stage the name of the Penn Theater was changed to "Heinz Hall for the Performing Arts". Work proceeded at a rapid rate through the ensuing months with a constant force of about 250 men on the job site. On September 8, 1971 the first concert was held on schedule and as in the fall of 1927 the Pittsburgh Pirate baseball team won the National League pennant and went on to win the World Series. Thus far there have been no concerts starring baseball players. Heinz Hall has been in constant use since its opening. The critics have acclaimed Heinz Hall for its superb acoustics and the festive atmosphere generated by its beauty. In addition the revitalization of a dark, deserted movie house into a gay festive performing arts center located in the heart of an urban area constitutes a fine example of urban redevelopment. For the consideration of readers of MARQUEE magazine, it is essential to comment on the task of converting a movie house into a concert hall. The architect's task was first to solve the circulation requirements for a multi -purpose performing arts center in a remodeled silent movie palace, and . secondly to adapt a silent movie palace acoustically to the sophisticated needs of a multi -purpose performing arts center. The solution of these problems required the creation of an environment wherein a pleasant relationship was developed between eye and ear. The acoustics, decoration and architecture are interrelated and their effect cannot be separated. To have one without recognition of the others would be absolutely disastrous. In the auditorium the acoustics are of prime importance but the changes needed for good acoustics need not be accomplished by cold engineering processes. Dr. Keilholz, the acoustician, has great feeling for achitectural design besides being internationally recognized for theater acoustics. In the architects initial conferences with Dr. Keilholz the term "psycho -acoustics" was used. This means creating a pleasing environment for the eye as well as the ear, and it is this combination which extends the mind beyond its immediate physical environment and projects it into the heart and mind of the performer. Many of the silent movie palaces are of an architectural style that can be adapted for a performing arts center. Pittsburgh was fortunate to have the Loew's Penn Theater preserved as it was originally built and available for adapting into the Heinz Hall for the Performing Arts. • • • Photo Above: A view of painter, Bill Zorb, rejuvenating a cartouche in the HEINZ HALL Grand Lobby. It is located just above the arch at the house -end of the lobby which frames the grand staircase. PROFILE THS member, Donald L. Mac Lachlan, was born in western Canada, moved to the United States when a boy. Served in the U.S. Army during WW Il. He is a graduate of Carnegie Mellon University, a member of the American Institute of Architects (A.I.A), and the Construction Specifications Institute (C.S.I.). A partner in the architectural firm of Stutz, Hess, MacLachlan & Fosner; a firm that was founded by Mr. Stotz' father in 1889. Don is married and has two teen agers, a girl in high school and a 17 yr. old boy who is a freshman at Vanderbilt College. 7 DREW EBERSON ARCHITECT A I.A G CAST 40TH CTRSiT NEW YORK N. Y. 10017 One more elegant complete theatre returns to dust in the closing of the Majestic Theatre in Houston, Texas. The Majestic Theatre, in Houston, was my Father's first atmospheric theatre. Encouraged.by his good friend and Client, Mr. Karl Hoblitzelle, he had the opportunity to bring into being his dream of a different kind of theatre. Mr. Hoblitzelle was a famous impresario in Texas and one of its leading Bankers and Philanthropists. Teamed with my Father, he was responsibile for many other fine theatres in Texas. Karl had the faith in my Father to place this new concept completely in his hands and, of course, after the Majestic he continued with other marvelous atmospheric theatres, such as the Majestic Theatre in San Antonio, Texas. Although the Majestic, in Houston, was not as grand in detail as the later atmospherics, it was a complete novelty sensation. The idea of bringing the great outdoors to an auditorium involved the proper colors and lighting. To quote a sign posted by the switchboard — "Please do not turn on the clouds until the show starts and be sure the stars are turned off when leaving» There is a very recent trend in which many theatre patrons throughout the country are becoming dis-illusioned to being asked to contribute to colleges and the various civic projects for various "Theatres for the Performing Arts". The early motion picture theatres were all designed for live entertainment. The Motion Picture Exhibitors grew from the vaudeville days and all of the early theatres contained full stage facilities, dressing rooms, green rooms, etc., and in the later days, all the luxuries of elevating orchestra pits and organ platforms. Therefore, there does exist throughout the country excellent theatres for the perfoming arts. It is true that with the demise of vaudeville and the gala presentations, the Motion Picture Exhibitor continued to use the theatres for motion pictures only and allowed the stage areas to deteriorate. Then, when the motion picture audiences moved from the downtown locations to the neighborhoods, the theatres themselves were neglected for many years and often finally abandoned. Disturbed lovers of the theatre have taken action in attempting to have some of these theatres declared national historical monuments to keep them out of the hands of speculative builders and Urban Redevelopers. Such examples are the Loew's Akron, which has been maintained by a group of women and is being used for live entertainment, orchestra concerts and even the Circus. The Olympia Theatre is to be converted into the Greater Miami Philharmonic Hall and enthusiastically endorsed by its Conductor. Loew's Paradise Theatre, in the Bronx, is being endangered for a Department Store. The Citizens of the Bronx, and its political leaders, are, making a concentrated effort to maintain this theatre in some way for live perfomances. An investment in refurbishing these excellent theatres would cause a renaissance and there would be available for the living theatre music, etc., theatres with proper sight lines, good acoustics and well planned stages. This in contrast to the cold austere theatres being built and planned at a great expense. A very small proportionate investment would bring back the elegant theatre of the past after many years of neglect. Let us hope that the trend will continue. DREW EBERSON. ARCHITECT D son September 26, 1971 ... "D" Day for the lovely old Majestic Theatre of Houston, Texas ... a sad day ... doom's day. This would be the last day the doors of this magnificent show palace would ever be opened to the public. On this site another skyscraper will soon rise up. By special arrangement my wife and I were privileged to visit this lovely old lady one more time in all her glory, for early this sultry southern Sunday morning she was expecting us. All her bewitching charms were once more turned on just for us. What thoughts welled up within me as I sat on an empty seat bank in the balcony and for the last time drank deeply of this nostalgic beauty that through the years has endeareditselfto me. To those who love such beauty I cannot find the words to describe adequately what I felt. How different was this morning in September of 1971 from the fabulous opening night of January 29, 1923 when what was heralded as "the South's most beautiful theatre" was to have its glorious christening. Instead of the 2500 capacity audience of excited first-nighters, in mute silence and quiet dignity this grand old lady had adomed herself once more for a last visit on her deathdav with onlv two admiring friends. Essentially the theatre appeared much the same as it always did, majestic! In a remarkable state of preservation, some of the original ornamental paint still exists. Even though some modernization was done in the form of removing the boxes, refurbishing the main lobby and balcony foyer, installing a new giant marquee and new plush seats, still the same great ornate decor of classical grandeur persists. The magnificent Kilgen pipe organ has long been gone, but the Italian palace facade with three delicately grilled arches fronting the organ chambers remains as a "visual echo" to the vibrant pipe -tones that once swelled forth from within. Karl Hoblitzelle, co-founder of the Interstate Amusement Company in 1905, opened this theatre as the Majestic, the third of his Houston show places to bear this famous time. He was aTexas pioneer of vaudeville and one reelers, as well as the fast to air condition theatres in the state. Born as a vaudeville house, the Majestic regaled its audiences as a real show palace of the South from its gala opening night bill through the roaring years of the twenties and early flirty thirties, and after that only occasionally, with the very final performance of a vaudeville stageshow in 1952. However, the trappings of the live theatrical world remained even until this last day, visible as dressing rooms abandoned to unkempt storage use and the dust of many years. Reputed to be architect John Eberson's very first atmospheric theatre, the Majestic beggars apt description. As the showgoers entered the auditorium, they felt they were walking suddenly outside into a lovely walled garden with a soft midnight blue star-studded sky above and gossamer whisps of clouds floating by. Terra cotta red tiles projecting from feigned roofline ledges above the proscenium arch and high up along the garden walls pursued this outside effect. On either side appeared a lavish garden trellised with intertwining green vines and blooming flowers with attending Greek statues and stuffed buds. It was all there. This atmospheric motif made the majestic a theatre of great historical significance and memorable to the whole theatrical world at large. For after this, the atmospheric theme was the going thing, with the idea being pursued far and widein every vein from Spanish courtyards to Egyptian palaces. To the right side of the proscenium arch towered from the balcony level a huge multicolored 'colonade with conical dome, resembling a small temple. On theoppositeside rose the organ chambers with its arches and grills. Along each wall were the statued reproductions of The Winged Victory; Polyhymnia, Muse of the sacred lyric; Euterpe, goddess of melody, poised in rapt attention alongside the organ chambers as if listening; the Venus of Aries and the Venus of Capua, the Apollo Citharoedos and the statue of Diana robing herself. High on both sides at the back of the balcony were the two Caryatid -columned pergolas: vine arbors supported by eight lovely female figures formulated into columns. These maidens were larger than life size, Caryatides having been fabled to represent women of Carlo who fought with the Persians against the Greeks. The hauntingly cove -lit bust of Minerva centered the proscenium arch. This whole panorama conjured up an image of great classical dignity, creating a feeling to onlookers that carried them far up above the floating clouds and beyond the twinkling stars. A veteran stagehand of almost forty years showed me the remains of the cloud projection apparatus and with it what was left of an original invention that projected an airplane flying among the clouds. Really! As we left the old Majestic for the last time and looked back and u p at it once more from across the street, there was still a look of freshness to the pastel tinted friezes of children playing beneath large stone vases ... too young to die. We left remembering the words of the two huge inscriptions on either side of the giant marquee. The one on the left: "Back to the very first beginning ... out to the undiscovered ends... there's nothing worth the wear of winning but laughter and the love of friends." The one on the right: "He has achieved success who has gained the respect of intelligent men and the love of little children ... who has filled his niche and has left the world better than he found it." MAJESTIC THEATRE HOUSTON By William H. Tunstall THE CITY MUSEUM —REMNANT OF A BYGONE ERA Andrew Craig Morrison Trained at Columbia University School of Architecture's Program ii Restoration and Preservation of Historic Buildings, Andrew Craig Morriso, has been an architect with the National Park Service since 1965. However it was as Archivist of the Theatre Historical Society that he first recorde, the Callowhill Street Theatre with his camera The conviction that "hittor+ stopped this morning" leads him to warehouses, gasoline stations ant stores which, like theatres, are often unnoticed victims of urban change. Philadelphians in the 1850's were wary of theatres. The city did, of course, have its share of fine playhouses, but whether due to Quaker austerity or Victorian propriety, or simply to some of the more noisome aspects of pre -air conditioned theatres and their uninhibited audiences, the places were held in no little state of disrepute. As do all people, though, Philadelphians enjoyed their entertainments, and a place where these could be found, but which did not share the stigma attached to the theatre, was the museum. At least ostensibly places of education and enlightenment, these existed at several levels of quality, from often -faked freak shows to truly scientifically oriented institutions. One of the tatter variety was the City Museum on Callowhill Street. To judge by its own account of them, the Museum's collections were extensive and wide ranging. There was a heavy emphasis on the natural sciences, whose very names, Zoology, Ornithology, Icthyology, Herpetrology, Conchology, Paleontology, Botany and Mineralogy, must have given a thrill of scientific wonder to the citizens of the Northern Liberties. There was also "A Fine Collection of Painting Statuary and Models, from the most celebrated artists of Europe and America,' and, most extensive of all, the Indian collection, "the most complete in this country, including all their implements of war and articles of manufacture," personally gathered by the Museum's director, Prof. Montroville W. Dickeson, in a dozen years with the American aborigines. The Museum also boasted a second floor Lecture Room, in which was located a "splended Panorama of the Mississippi River and Valley," connected with which were "the Indian mounds, from which many of the curiosities were taken." This room was also fitted for dramatic Performances, and whether called Lecture Room or, more usually, Theatre, it, not the academic display below, was the institution's raison d'etre. The City Museum building started life in 1823 as the Second Universalist Church. As did other churches of the period it had social rooms on the first floor and the church itself upstairs. There probably was a central pulpit Platform and a balcony surrounding the nave on three sides. The form of the room made it easily convertible into a theatre and the conversion was made in the spring of 1854. A proscenium and boxes were installed in the nave and the museum was set up on the ground floor. In front of the church was erected a two story brick building with tall pedimented windows and an illuminated iron balcony distinguishing its facade. At the sidewalk level there was a series of stores and, above, the Star Hall, a billiard parlor. In the center of the building was the gated, tunnel -like entrance to the City Museum in the rear. The theatre opened on September 11, 1854. The orchestra played, the audience admired the ornate cast iron balcony railing and Peter Grain's painting of Perry's Victory on the drop curtain, and were entertained by s Shakespeare's "As You Like It" coupled with a comic farce, "Sketches in i India." The curtain was raised with a poetic speech by the stage manager, e who set forth high hopes for the future: Fired with the sound —to grace this very stage, Some gifted bard, the glory of the age, i May chum our hearts with scenes to nature true, b And rise our country's Shakespeare to the view. e in Alas, no American Shakespeare ever came to the fore from the stage of o the City Museum, nor did the words of the immortal Bard himself oft echo C through its halls. The house quickly became a place of popular entertainment featuring singers, dancers, jugglers, magicians and the like. q Within six years of its opening its name had been changed to the Melodeon, ru "The Cheapest Place of Entertainment in the World", the museum had as LObeen replaced by a "lager beer garden or drinking saloon" and Prof. of Montroville W. Dickeson had retired to Lombard Street to practice ch medicine. Later renamed the Atlantic Garden, the building ended its first Di life on the night of November 25, 1868, when it was consumed by spectacular fire, a m The transformation from museum to beer hall created the building's most unusual architectural feature. In it the central portion of the theatre floor was removed, creating a large opening to the saloon below which enabled one to sit at his table and look up to the stage. The main floor of the theatre was thus reduced to a sort of gallery surrounding the drinking room. The arrangement was far from ideal —the performances were always obscured from most of the patrons by the odd viewing angle. The relative priorities of drink and drama that it created were apparently satisfactory to the customers, though, for in the rebuilding this strange layout was retained. The new theatre was larger than the old —occupying the combined sites of both church and billiard hall. The new facade was more imposing than the old, higher, and graced by five tall Romanesque traceried windows. The stage, strangely, was not elevated but set at the level of the main theatre floor. It was flanked by gracefully classic proscenium boxes with carved wooden ornaments. The hairpin balcony was suspended from the ceiling and surrounded by an elaborate and delicate cast iron railing. The ceiling was flat, coved where it met the walls but unornamented. There was a central gas chandelier whose ventilator projected through the roof and was crowned with a tiny star. As before, the floor was cut away, the opening being supported from below by a ring of slim cast iron columns. Renamed the Concordia Theatre, the establishment was an important neighborhood amusement place for over a decade and a half. It offered ometimes serious drama, often variety shows, sometimes in English, often n the native tongue of the surrounding German community, Toward the nd of the 180's the decline came. In 1887 the theatre was called the American, in 1889 the Thalia, and by 1890 it had been incorporated into [he Betz Brewery where, forgotten, it housed bottling machinery until well the twentieth century. It was rediscovered in 1939 when the old rewery was purchased by the Liebman Furniture Company. Narrowly scaping demolition, the theatre was put into service as a warehouse —and nce again forgotten. 1971 is a yen of progress. During its course the entirety of the allowhill-Spring Garden neighborhood has been erased from existence. The City Museum was abandoned, vandalized, and in early September uickly and efficiently reduced to a few truckloads of wood and masonry bble. There was a brief flurry of protest which no one took too seriously, a vacant site is by definition an improvement over a century -old building any type. The carved wood and cast iron that gave the theatre its aracter are gone now, along with the visionary founders and Dr. ckeson's Indian mounds. The City Museum should be well and duly ourned. It was our last chance to glimpse a long vanished era of American wrical history. PHOTOS: Left; Facade of the City Museum as it was rebuilt c Z869 Right: The City Museum, Z854 Be Zow: The interior, shortly before demolition, showing how the stage was above the Lower floor - as rebuilt c Z869. C=T'Y MWMMWJXM I,FTII »: 11111LAD6LI'll IN. 11 On Sunday Oct. 31st members of the Theatre Historical Society in the LETTERS FROM THS ME Washington, D.C. area had the opportunity to visit the famous NATIONAL Editor: Marquee: M B E R S .. . Theatre in downtown Washington. Our host for the occasion was Mr. Scott Have just returned from a short vacation which might be called a THS Kirkpatrick, manager of the NATIONAL, and it was he who personally Special. Thought other members might be interested, so here is a quick conducted the tour of the theatre. The turnout was small, only twelve of run-down of some of the highlights. us, but we were rewarded with a most interesting tour which lasted almost My tri us hour and a half. p was a me part deal which started with the new Walt Disney rlano, Fla. The par is we layed Out and it is very easy to get We gathered in the mezzanine lounge and then were taken to the ffrromdone Oattraction to othrkThere fare things of interest for every THS Presidential Box, there the tour proper began with Mr. Kirkpatrick giving member. On Main Street the two main attractions are the Penny Arcade us a quick review of the history of the theatre. A theatre has been on the and the Main Street Cinema. The Arcade has a huge Wurlitzer Orchestrion same site since 1835 and the prsent building dates from 1898. There is but which is in mint condition and it takes only one thin dime to make it play. one small portion of the original theatre remaining in a wall in the The Main Street Cinema is a "stand-up" show, once you are inside you find basement backstage — the area in which an actor is buried and which is there are five. theatres which are painted to look like flue different picture reputedly the home of the NATIONAL's famous ghost. The NATIONAL is the oldest theatre in the United States in continuous show. one Eachtheatre themh was as a different wing s only how nintermiissionc and e show -break operation. That word "continuous" is important, for while the WALNUT slides —which I found to be about the best of the lot. STREET Theatre in Philadelphia is admittedly older, tare was a period of C th e Country about 10 years when it was used as a warehouse and garage, Frontierland has Eear Band. The show takes place in a The present structure of the NATIONAL was designed by McElfatrick & main stage has an asbestos drop with advertising rustic western theatre but with five very elaborate proscenium arches. The Sons and is essentially just as it was built in 1898. All changes have been has a trio of singing P ttthey are it and part of the show `surface" changes such as a new exterior and new decor within the theatre lowered and song slides are shown which are very well illustrated. ng g girl bears and while they are on a picture. sheet is proper. The present decor was done m expense, e, the Federal Style and at Fantasyland has only one disappointment in that there is no band organ that time Mr. Dowling, at his personal expense, had the Presidential Box on the beautiful Golden Carousel. The Mickey Mouse Revue takes place in enlarged. The chairs in the box today were selected by Dr. Jane Travel a deluxe presentation house complete with lift for the orchestra. In many from French and Company. They were selected, of course, with the of the things to see and do in the Magic Kingdom one sees more than a hint comfort of John F. Kennedy in mind. However, he always preferred seats of Roxy showmanship. One added note, the food in the park is ver on the main floor whenever they were available. The president who amended the theatre more than all others was anTheasec ndaPer art hof mn the outside. Y good Franklin D. Roosevelt —with John F. Kennedy running second. The ran guess why. It was very successful and I was able to see three theatres, in management took great care to see that there was no publicity about these the GRAND, t Y trip was a stopoverhe ROXY and the FOX. The GRAND was somewhat Atlanta and I think you visitations and all the presidents of recent years have personally expressed rundown and not much to look at. The ROXY is in beautiful condition, t their gratitude to the management and Mr. Kirkpatrick for the it — like the FOX —is an ABC Paramount house. The ROXY is due for consideration shown. The theatre has been known as the NATIONAL for all but about 10 beautiful theatre demolition in nwith lovele of 1972 y crystal d it clhandelbe a ierststill -han hloss to anging in both is e Years of its existence. From about 1857 to 1867 it was known as lobby and the auditorium. GROVER'S THEATRE. In fact it was GROVER'S Theatre which Tad Si gin both the Lincoln was attending when his father was shot at FORD'S THEATRE. One complete day was spent in the FOX. The management was very nice Young Tad and some of his friends had been droppedto me and I photographed as much of the theatre as possible. The FOX is view a Performance which was deemed more to'he r liking t GROVER'S m carper. Althoughstill as grand as [ theson balcony opening otlongesht u the used lobby forhas rarethe occasions One interesting feature of the NATIONAL is the fact that the metal seat they were kind enough to light up the u frames date from 1898. Of course new seats and backs have been installed Photograph them. Backstage the FOX is clean and neat, the switchboard, several times over the ears — upper lounges so that I could Y but the original frames are still in use, also controls the entire auditorium — with one switch marked Automatic Backstage there are 52 sets of lines (hemp) and the pin rail and other Sunset. The cloud effects are not used regularly any longer for only one of equipment of the stage house date from the original installation, The lines the Brenograph machines is in working condition. are replaced about every 10 years. We also saw the fascinating set for Neil The lower lounges are still as they were when the house opened; there is Simon's PRISONER OF SECOND AVENUE which was current at the also a hospital room, still used when they have large audiences. There is NATIONAL prior t its New York opening, very little evidence of vandalism in the theatre. The famous Arabian house It was a great afternoon and a most interesting [our. Our thanks to Mr. curtain is no longer used but the FOX still uses showmanship with the No. Kirkpatrick for his courtesy — he had even ordered some refreshments for 1 traveler being drawn between the shorts and the feature with blue us. Unfortunately, since we had planned for refreshments to follow our footlights dimmed u slide show and informal get-together at LISNE P and then out as the curtains are to project forego that courtesy at the NATIONAL.R Auditorium, we had to feature. The double Bren opened for the Our small group went on to LI NER AUDITORIUM a sunburst effect on the Picture sheetrThe theatre sometimesill used s equ ptwith four channel sound and Early, our Sect'y, s house manager) at George Washington Universityrand evenings by Robbie tErbin,he �ty Moller is still played on Friday and Saturday had a slide presentation plus punch and cookies. All agreed it was a most The FOX should be a must for anyone visiting the south. If you call h rewarding afternoon, perhaps too short, if anything, theatre a f d AXAARAARAAA.Q �AA.AR.B RENEW NOW FOR 1972 1�!'lll'ival 1� 1110111 L2 li11C111ile41 ew ays m advance so they will know a t e be made to feel very welcome, The manager is Al Ledonc and agvery fineyou l host indeed. One added fact, the gold leaf in the theatre is valued at $45,000. That's it for now. Sincerely, in THS; Jeff Weiss 390 Pazkside Avenue Brooklyn, N.Y. 11226 Many ,THS members may be interested in the full color Lithographed Note Paper which is available of the new HEINZ HALL in Pittsburgh. It is $225 per box of 10 notes featuring drawings by William Hartlep, who did the cover drawing of this issue. They are available from: Grant Bldg., Pittsburgh, A.D.S. Inc., 3303 Pa. 15219. We have seen them and highly recommend them. There is a 50 cent handlin each box.) g charge on each order —(not ewsre west Coast PHILAD t the Del the ultimate degradation of X-rated films, will be Coronado Hotel on September 28th. San Diego provided an ironic setting ELPHIA: The former flagship of the RKO—Warner Chain, SAN DIEGO: The National Trust held a national conference nir a recently suffering formerter The San p y doomed by an ned to such a loss and st pp d Dstshortsofrpresernngical tanty restored to some sERIC and ceopenons hlory when the ard ticket olicBO� Fhddler eatre for a convention of building savers. Several downtown theatres ere are ,mblence becomes the SAM apparently On The Roof,__Iry Glazer of hem. Vg, The AM The survey team, under the direction oe are ROANOKE, ERICAN Theatre here in Roanoke closed Sept. They did recommend that three theatres be surveyed by HABS (Historic ofthe attraction was the silent of "Wings" to National Parks Service, will gather documentary materials, variety P 29 1971. The house opened in March of 1928 with Douglas Fairbanks in American Buildings Survey • theatres: The "The Gaucho." The closing good shape until historically important materialsoaxton pecrine'lsowing cheapest building. It the accompaniment to the Bttlelkept hexho se ibeg en played every measured -drawings, J photographs and accumulate best be described as week since opening. The managementGea R. Meek CALIFORNIA— p the very end, it was never allowed to mn down.-- opened in 1926 and seats 1860. Its style, if any, S "budget Italianate atmospheric.,, It has the most w�`lianH. Wheeler, al front and a new interior with full stage facilities. A special arbors imaginable in the balcony. The BA by set of Pa PHILADELPHIA: The WALNUT STREET Theatre has reopened with its eyed on March 28, restored origin g seats approximately waterfalls. The Balboa op sported a y organ screens resembling issue of the Old Town Hstorical Society Bulletin salutes the openly oe the 1924 but glamour quickly dfled a The sparkling multicolored lighrs that house. It also features other articles on the history es the earl theatre played upon the organ screens and gave somewhat of an illusion of scene in Philadelphia. Inquiries about obtaining copies can be made to: movement, eventually dsapPeazed in favor of draperies and plaster. SOTS Clinton Street, Philadelphia, Pa 19017 COLUMBUS, Ohio: Our youngest THS member, Mark Hite, has had his e feature with many fine illustrations. story of the OHIO Theatre published in he magazine section oft e Columbus Dispatch. It is a six -peg Columbus, Ohio Copies 16 cenits in stamps willom Mark lcover postage-) rd Street, 43215. SA FRANCISCO: The local ORPHEUM which we noted as opening on a reduced adhass closed.liBusms was tnot up to the ch also made expected leveitem in l) TIME magazine — Steve Levin excessive vandalism forced the closing: — CLEVELAND' Playhouse Square is not dead after all. Plans are to have a t the ALLEN Theatre late in performance of the Budapest Symphony a Nov. The house is to be redecorated and the stage enlazed before the g concert which, it is hoped, will be the first of a series. atre in WHITTIER, CALIF'fire tesidenton September 30[h. An arsonist on's home townlOst its got up burn the an early morning very ROXY earl tbonhfire wrinset inn the outersure sfoyer ands in a ap dly cons tried the 1200 Seat house. The theatre had been closed for several years after an ened in was i quickly remodeled d as a 49 cent the august pfirm of lAllson as the SCENIC and Allison. The was quickly constructionlwofbdieer days as WARDMAN aand he-WarneilIBRUENS inethee the early 1930's Never a theatre town, Whittier was strictly dominated by the Quakers until the Bros. Warner decided to build their deluxe neighborhood atmospheric theatre just outside the city practices. The SCENIC never fully tre ts o order red -tolbn Miescape ller censorship P ad smoke SOUTH oon Oct October 28[he A lateen orning fire in the Theatre here Sustained empty -house had damage started in an organ chamber and firemen had to hack through one o the �M1I elaborate Paster grilles to extinguish the blaze. The RIALTO was e L. A. p I Smith house opened by Fox West Coos[ in 1925. The last theatre left in gA7lV So. Pasadena, it was used regularly for organ John Millerrts was the last stronghold of theatre organist George Wright. --John Theatre into a giant -sized DETROIT I Plans to convert the MICHI s. H former club was lost in a nightclub were announced by Sam Hadous. His on fire and he plans now to spend a million dollars Warsham ation and remodeling. An early spring opening is planned.--Bob Detroit Public Library, in cooperation with THS members Bob Warsham and Don ms, etc. on the history of [he movie theatreof oin Detroit. drawings, programs, Space was shared with the American Theatre Organ Society in one case in re which information and background material of bath n. F and THS were displayed The exhibit was a beautiful work of planning and layout and members attention come to us as a repo f the exhibit. t the daily press. Several new Only he SPRECKELS, by architect Harrison Albright, could be rficant. The Spreckels emotely considered historic. Financially,turally sign alwtay Sa Diego's most opened on August 23, 1912. successful theatre. The stage roping system is still sandbagged and the stage of the auditorium. in appearance house structure equals the 52 footideeplt he Spreckels appears to be a typical 912 legit house with stair -stepped side boxes and two balconies. In reality it was extremely well proportioned aapte and incorporated a degree of accoustical and A Spectacular flexibilityvisual that ectacular muralofNeptune easily to motion picture presentation. charging into San Diego Harbor still adorns the auditorium ceiling over the proscenium arch. Another notable feature of the theatre is an entry through an outer foyer nearly half a block long. The foyer ceiling is of backlit marble paneling. Despite good intentions, the msguided. historical society erred FOXglaringly " Neither the 3,000 seat FOX by in he "search for a meaningful Past -Churn ueresque styled PANT by Weeks & Day, or the spectacular g Pritica (already demolished) were even mentioned. They were both major works by important west coast theatre architects, and nearly dominated the theatre scene during San Diego's prosperous vaudeville— first run movie era. Members wishing to urge HABS to include these theatres inthe survey should write immediately to the San Diego Historical Society Box 10571, San Diego, Calif., 92110, and to Chief James C. Massey, HABS, Dept of Interior, Washington, D.C. AUBURN, CALIF: a reader named Ali Katt wrote to tell us that we were in error this Summer when we encouraged members to patronize a live theatrical at the Auburn Opera House. According to Katt, the opera house " disappeared in a cloud of smoke sometime in 1957. Our apologies! The information was gleaned from the page, Of Of Souther yCalifornia took place at the of Sunset Magazine. As Katt suggests, John Miller Gold Rush Plaza Theatre. MUSICIQxrEcul 243 West 45th Street, N.P.C.10036. C16-4636 On Broadway it is usually the plays and the performer; not the theatres, that stir up memories. But recently it was the MUSIC BOX, celebrating its 50th anniversary, that took the bows The MUSIC BOX, as Moss Hart wrote in "Act Onetheatre " is "everybody's dream of a ." First of all, it is Irving Benin's dream of a theatre. Together with Sam H. Harris, he built it in 1921, wrote the fast four shows to play there, "Irving Berlin's Music Box Revues;" co -owned it for many years with Mr Harris - and now with the Shubert, — and is constantly refurbishing the pr bncuoperty, including most recently the installation of a $10,000 heating plant Cage During its first 50 years the MUSIC BOX has housed many of the biggest hits of the popular theatre, including its present tenant, "Sleuth." But it is not just the history of hits that distinguishes the MUSIC BOX It is, says Mr. Berlin, "a tradition in the theatre." One of the few Broadway houses wi ierace with four th an interesting facade — a front tall columns Inside it is small (1010 seats), but with a stage large enough for a musicaL It is, says Morris Gottlieb, producer of "Sleuth," "the best looking theatre on Broadway. When you come in — it 14 symbol" For many people the MUSIC BOX is the soul of 45th Street, a symbol of the survival of Broadway, the sort of place that reminds them how theatre once was and the happy experience it can still be. -- from: N. Y. Times REPORT From PHILADELPHIA In the past month two more of Philadelphia's now diminishing supply of theatres were demolished. The BYRD and the BROADWAY• The BYRD was located at 4720 Baltimore Ave, in the University City section of the city. It was built in 1928 and originally had a Iargc 3/16 Gotfried organ in it. The house closed in 1955 and sat there with a leaky auditorium roof which leaked more and more as each year passed. The lobby area remained watertight until the last, h, and ed much choice memorabilia to this author. The theatreo was eoriginally ielcalled the BRONSON, and an apartment building around the cornet is still called the Bronson. The house was all on one level and had around 1300 seats. The City of Philadelphia bought the property for a parking lot, which is really sad for there is NO movie theatre for over a mile in any direction. The house was opened by William 1. Greenfield who also owned the CARMAN (still standing but converted to a truck garage); the RIVIERA (still standing but converted to a warehouse), and the still standing AMBASSADOR — which supposedly is being used for a TV studio. Mr. Greenfield seemed to be about the most unlucky Every one of his houses bad theatre man in town, operation, or poor an earl death — P p design — y due to Poor location, poor The BROADWAY. This warns a big oss. es due tLo Locao all ted Broad and Snyder, one of Philadelphia's busiest intersections, it was a classic house built in 1907 with a 1200 seat balcony and a 1500 seat main floor. The proscenium was finished with a natura spaced about l walnut graining with gold rosettes the entire opening. Originally it had boxes but these were removed at some unknown date in the past An organ was added in later years on two platforms behind the arch above the stage area. It was removed years ago and air conditioning was installed on one of the platforms. Detail of the Broadway proscenium - en �r=+� xmm-swath" light panels and dimmer boards were used until the end. While the house had been modernized in later years it was not enough to really spoil the effect and when the house was closed by Stanley -Warner just a short time ago it was still in spotless condition, The BROADWAY's closing was the subject of many newspaper stories by nostalgic reporters who recalled the top vaudeville names who had appeared on the stage over the years at this truly lovely house. The exterior was "roman" in style with large columns and statuary m of gone and to be replaced by a Gino', Hamburger eseablishwhmh is now The Gino organization eng reporter was extremely kind to THS and allowed this complete run of the place for photos and souvenir hunting sad fact is that with economic conditions such as the • The theatre can be a Profitable Y are, no se sere they P operation — except o those rare cases where can obtain the top rate product. At the moment many theatres are closed due to a lack of product —even such famous houses as the DEMILLE and the CRITERION on Broadway in New York City. And so five (or seven) big acts of vaudeville, plus an overture and an organlog, along with the latest Vitagraph picture — all talking, of course — are now replaced with pickle relish and mustard. --Don Stott LSI M L11111mmsm .........I ................... ............................... .....-...-.e...-. The end of the STRONG points up the styles, the early examples often being the most urgency of photographing these buildings, as interesting. There is grandest in all its forms A NEW ENGLAND RAMBLE from the Victorian grace of the ancient OPERA does the fact that of all the theatres illustrated HOUSE at Lakeport, N.H. (that's the picture above, only the CIVIC and the IDLE HOUR booth projecting froth the side) ' to the remain in full use. We can but urge that each of In this day of home entertainment it seems self-conscious attempt, at architectural style our readers make a photographic reconaissance hard to conceive of a time when any town of area and keep in mind when any size had a live theatre, but it seems even harder to realize that to most small town Americans even the movies are a thing of the past, as far away as the nearest city, which often is none too close. Though many relics of the earlier days remain, their number is ever h decreasing and one of the most important contributions that we as individuals or as a society can make is the preservation of records of these buildings. It was with this in mind that we set off, armed with to see what nd an old might be Film Daily found in middle New England. Theatres were a rather uniform and universal building type, and if any regional characteristics are to be pointed to in New England they are probably the dual -use theatre building and the one that bears a strong visual similarity to another building type. Of the fast category the most common doubling up was that of using the town hall as the movie house, an extremely common practice but one which has virtually disappeared. The town halls stand, of course, but the movies are gone except in rare instances as the MEMORIAL HALL in Barton, Vt which combines the town hall, boys' club, police and fire staions and still bears a lighted "MOVIES" banner over its doorway. Of the second type the most frequent look-alikes to theatres were beans and churches, as well illustrated by the PARK in Richford, Vt., whose tiny arched window above a slim marquee tells of its non-eccleslastl0al junction (the rose window vents the projection booth) and the 19th century OPERA HOUSE at Enosburg Falls, Vt, whose exterior could as easily house a pulpit as a mosr.enium. Of the more conventional theatre types the New England area contains the full range of made by the designer of the ALBERT (191u) at Berlin, N.H. (could the style be Italian Renaissance in red and yellow brick?). There are classic examples of the nickelodeon style, as L- the COLONIAL at Bethlehem, N.H., shorn of its twin flagpoles but otherwise pristine and the IDLE HOUR, a true treasure at Hardwick, Vt, whose name itself is a remarkable survival an. whose ticket window is, even more remarkably, lighted by a well -used oil lamp on an iron bracket. This in 1971! of hrs own a traveling that the little nickelodeon front that he is used to seeing in that little town may well be remodeled into an auto service plaza by next year. And when photographing, think of THS. Our archives will provide a good home for duplicate prints and each will be an important contribution to future study of a rapidly vanishing period ofhistory. ..n..nn.n..I........ .......... o.......A... .� nMorricon. On Oct. 9 arson completely destroyed the Strong Theater, a Burlington, Vt. landmark and one of two remaining fine downtown theaters. The theater, which was part of a building housing a hardware store, portrait photographer, and gift shop, was built in 1902 by John and James Whalen as a Victorian opera house. During its 69-year history choruses and orchestras, soloists, amateur productions, musical comedies, vaudeville shows, and silent movies accompanied by orchestra and organ appeared there in addition to recent. motion pictures. Among its attractions were Houdini and Theodore Roosevelt. Large productions were easily mounted because of the massive stage house for flying scenery and the deep stage. The two balconies, side boxes, proscenium stage, and cloud -covered ceiling remained intact through several renovations in its history and still delighted visitors who were used to only the sterile, modem designs of theaters. At one time the Strong had a 3-45 Kimball Mignon organ, but it was moved to the Ira Allen Chapel at the University of Vermont where it is still played. The theater was still doing a good business with first run movies and "kiddie specials, " and was in no danger of being razed. Rebuilding plans call for a "new, modern cinema," an office building, and a motel on the site. Only one Burlington theater, the Flynn, built in the early 1930,4 still exemplifies good theater design. __David Whitmore 5F1 16 ISLRIM LILIL1m lm IJIJLI l:iW4JO0W000 A rare old photograph of what we think was the LIEDERKRAN7. OPERA HOUSE in New York City. If this is so, then this interior was torn out to make way for the DuPont T. V. Center. Ibis theatre was on the fifth floor of the building. —Photo from the Frank Cronican Collection