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THE TIDE ROLLS ON
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Meantime, the moving picture had come definitely out of the back streets. At first in the second-class cities and then in the first-class, theatre after theatre closed scene lofts and dressing rooms, denied all booking to road companies, and revamped its interior for purposes of the screen. The more enterprising showmen were beginning to instal orchestras. Then, attacking the citadel of the enemy, the screen moved on to Broadway, even to Times Square, the heart thereof. Always by now the more pretentious films opened in some Broadway theatre, for the purpose of adding to its New York receipts the initial prestige of a New York run. The Triangle Company took over the Knickerbocker Theatre as an all-time moving-picture house. Marcus Loew had gone quietly forward these seven or eight years acquiring theatres all over the country, operating them in circuits on his formula vaudeville and pictures at popular prices.” Already he had a Times Square theatre. Now, he altered the formula to “pictures and vaudeville.” Michell Mark built — on a scale considered very large in those days — the Strand, first New York playhouse designed from its inception for moving pictures. Zukor, Loew, Mark — all three passed through that little Penny Arcade which they considered at the time such an unlucky venture, but which proved the touchstone for their fortunes. Now “picture men,” passing in and out of the Hotel Astor, could see all up and down the Great White Way the electric signs that flashed proclamation