Showmen's Trade Review (Apr-Jun 1945)

The Astor, on Broadway, employed live dancing girls to exploit "Hollywood Revue" in front of the theatre. Traveler curtains five stories in height closed in on the massive front which was equipped with steel runways upon which the chorus danced high above the packed sidewalks. Canvas sails unfurled in the Broadway breeze to attract attention of the multitudes to the Astor's spectacular display for "Captains Courageous." The predecessor to this ship display was one built for the "Old Ironsides" roadshow run at the old Criterion. its removal as a safety hazard. It then was mounted on a mobile float to tour New York. At the Astor Theatre the title, "Big Parade," blazed with myriad colored lights with letters two stories in height. For the "Hollywood Revue" premiere at the Astor the giant sign was equipped with runways on two levels upon which lines of chorus girls did dance routines high in the air to startle the crowds, thus providing the first living animation for Broadway signs. A traveler curtain more than four stories high opened and closed the "show." Theatres Spearhead Expansion The Astor fronts on "Captains Courageous" (with sailing ship and actual canvas sails in bass relief built into the giant sign), "Chocolate Soldier" (with animated figures executed in neon tubing), "White Shadows" (with giant mural of a man's undersea battle with a shark), all were proof of the showman's spectacular planning. The Rivoli's pillared facade gave way to the trend of massive fronts as did the old Rialto. To this day the Rivoli fronts rate with the most spectacular on the Broadway scene. Further evidence of the theatre influence on an area can be observed in the effect of the construction of the famous Roxy Theatre on Seventh Avenue just North of Times Square. The same goes for Radio City Music Hall and the Center Theatre with the removal of the old The old Criterion Theatre, corner Broadway and 44th Street, was the scene of many a spectacular display in its day. "Beau Geste," "Old Ironsides," "Hells Angels," "The American Tragedy" are but a few of the films upon which smash displays were built. 6th Ave. "L." Balaban & Katz in the planning of their Chicago theatres knew the power of the modern showplace in community development and did not hesitate to erect magnificent theatres on sites which were little more than open fields on the outskirts of the city of that era. Large business centers and residential developments soon grew up around the theatres and realty values skyrocketed. In Washington, this policy is being followed by the Kogod and Burka Circuit, and in dozens of other cities showmen are locating their postwar theatres with an eye to the future readjustment of residential areas. It has just been revealed that the City Investing Co. is considering tearing down the Astor, Victoria, Morosco, Fulton tlieatres in the heart of Times Square between 4Sth and 46th Streets. This vast postwar project would involve the erection of huge new theatres on Broadway, with the movies again leading the parade. With all due respect for Douglas Leigh, who is referred to as Broadway's "wonder boy," it is likely that the showmen, in the future as they have in the past, will largely determine the "looks" of the main streets of postwar America. Where the theatres go, the commercial advertisers will follow to capitalize upon the throngs of people who are drawn to the community by the showmen. The Rivoli Theatre on Broadway has long been the scene of road show runs for outstanding motion pictures. The impressive pillared facade has been covered over with spectacular displays for so long a period that the original archftectural lines remain only a memory. The recent spectacular featuring of "Keys of the Kingdom," with marquee completely encased and lavish art covering the entire facade from sidewalk level to roof cornice, is a fine example of famous Rivoli fronts. During the past year, just prior to MGM's relinquishment of the Astor as its Broadway "jewel box," this theatre's elaborate fronts were further sensationalized by using the entire sidewall of the Loew's State Theatre Building (across the street) to attract the attention of Broadway crowds. The above treatment for "Thousands Cheer" is a brilliant example of showmanship. On other picture* a roof sign above the Astor front was utilized.