Sam H. Harris Theatre
United States of America | |
Capacity | 1,200 |
---|---|
Current use | Demolished |
Construction | |
Opened | 1914 |
Closed | 1994 |
Demolished | c. 1997–1998 |
Architect | Thomas W. Lamb |
The Sam H. Harris Theatre, originally the Candler Theatre, was a theater within the Candler Building, at 226 West 42nd Street, in the Theater District of Midtown Manhattan in New York City. Opened in 1914, the 1,200-seat theater was designed by Thomas W. Lamb and built for Asa Griggs Candler, who leased it to George M. Cohan, Sam H. Harris, and George Kleine. Although the theater was intended to host both movies and legitimate Broadway productions, it functioned exclusively as a movie theater after 1933. The theater's auditorium was demolished by 1998. The only remnant of the former theater is its 42nd Street facade, which has been used by the Madame Tussauds New York museum since 2000.
The theater was located in the rear of the Candler Building and was accessed through the building's western wings. The auditorium was decorated in the
A syndicate headed by music publisher
Description
The Candler Theatre (later Harris Theatre) was located in the rear of the Candler Building at 226 West 42nd Street.[1] The auditorium was on 41st Street, but it was entered through the Candler Building's five-story western wing on 42nd Street.[2] Although the building's western wing still exists, the theater was demolished in 1997–1998 to make way for the Madame Tussauds New York museum.[3]
The theater's entrance contained a marble vestibule with a gold-stenciled ceiling, which led to a foyer.[4][5] There was a "tapestry hall" with six murals by Albert Herter, depicting scenes from William Shakespeare's works. Two of the murals were larger than the others and depicted scenes from Othello and The Merchant of Venice, while the other four murals depicted scenes from Shakespearean comedies. The lobby was clad with Caen stone, which was carved with floral decorations in an 18th-century style.[5]
Auditorium
The auditorium was decorated in the
At the rear of the orchestra level was an oil mural by Herter, which measured 35 by 8 feet (10.7 by 2.4 m) and depicted a
History
The Candler Theatre was built as part of the Candler Building, developed by Coca-Cola Company owner Asa Griggs Candler to designs by the firm of Willauer, Shape & Bready.[9][10] Candler had acquired the site in December 1911.[11][12] After initial speculation that a theater would be erected on the site,[13] Candler announced he would erect a 16- to 20-story office building for $1 million.[11][12] Candler took a long-term lease on the Bruce branch of the New York Public Library, directly to the west, in late 1912.[14] Early the next year, a syndicate headed by music publisher Sol Bloom acquired the library building, as well as a school just behind it, with plans to build a theater at the base of the Candler Building.[4][15] Theatrical designer Thomas W. Lamb was hired to design the new theater.[4] Theatrical personalities George M. Cohan, Sam H. Harris, and George Kleine leased the theater,[16][17] which was intended to accommodate not only movies but also Broadway plays.[18][19]
Legitimate use
Cohan and Harris partnership
The Candler opened on May 8, 1914, with the film Antony and Cleopatra.[5][18] Soon after the theater opened, local media reported that the Candler would begin hosting legitimate shows in the 1914–1915 season.[19][20] Antony and Cleopatra ran for five weeks before the theater screened its next movies, Pierrot the Prodigal and The Naked Truth.[21] The theater's first legitimate show was the play On Trial, the first play written by Elmer Rice,[16][22] which opened that August[23][24] and ran for 365 performances.[25][26] The success of On Trial was an anomaly during the 1914–1915 season, when many other Broadway theaters struggled to stage hits because of the outbreak of World War I.[26] Max Marcin's play House of Glass, which opened in September 1915,[27][28] was another hit that ran for seven months during the 1915–1916 season.[26] This was followed in early 1916 by the play Justice with John Barrymore,[29] which ran for just over 100 performances.[26][30]
Cohan and Harris bought out Bloom's and Kleine's interests in the Candler in March 1916 and relocated their offices there.[31][32] The theater became the Cohan and Harris Theatre, or the "C & H" for short, that August;[17][33] one journalist said that the change was prompted by the fact that members of the public had frequently mispronounced the "Candler" name.[34] The Great Lover opened in September as the first production in the renamed C & H.[35] During the 1916–1917 season, the partners produced the plays Object-Matrimony, The Intruder, Captain Kidd, Jr., and The Willow Tree.[16] The revue Hitchy-Koo of 1917, which opened in June 1917,[36] ran at the C & H for the first two months of its 220-performance run.[37][38]
The next three seasons were extremely successful.[39] Harry James Smith's play A Tailor-Made Man opened at the C & H in August 1917[40] and stayed for one year.[39][41] This was followed in August 1918 by Anthony Paul Kelly's play Three Faces East,[42] which lasted for several months.[43] Anselm Goetzl's musical opera The Royal Vagabond, featuring Cohan, opened in February 1919.[44][45] The Royal Vagabond stayed for the rest of the 1919–1920 season,[46] though its 348-performance run was interrupted by the 1919 Actors' Equity strike.[39] Although Harris had signed a contract with the Actors' Equity Association to end the strike, Cohan had refused to sign any such contract,[47] even continuing to stage The Royal Vagabond during the strike.[48] As a direct result of disagreements arising from the Actors' Equity strike, Cohan and Harris had technically stopped producing together after 1919;[49] the men co-produced one more show, the melodrama The Acquittal, before they officially split up.[39][46] The Acquittal opened at the C & H in January 1920,[50][51] and Cohan and Harris formally dissolved their partnership that June.[47][49]
1920s and 1930s
Harris continued to produce shows at the theater by himself, starting with the Albert Von Tilzer and Neville Fleeson musical Honey Girl,[52] which opened in May 1920.[53][54] The theater then screened movies during late 1920.[55] During the run of the play Welcome Stranger, the venue was renamed Sam H. Harris Theatre on February 21, 1921.[56][57] The renaming followed that of the nearby Lew Fields Theatre,[52] which had been known as the Harris Theatre until 1920.[58] Harris staged a variety of shows at the Sam H. Harris Theatre over the next several years.[59] These included the drama Six-Cylinder Love with Hedda Hopper,[52][59] which opened in August 1921[60] and ran for 11 months.[61] Arthur Hopkins's production of Hamlet, starring John Barrymore, received critical acclaim[52] and ran for 101 performances[a] in late 1922 and early 1923.[64][63] The Harris then staged two plays by Owen Davis in 1923:[52][63] Icebound, which opened that February,[65][66] and The Nervous Wreck, which opened that October.[67][68]
The producer Thomas Wilkes leased the Harris Theatre in September 1923 for ten years.
The first show under the Shuberts' ownership was the comedy We Americans, which opened in October 1926[85][86] and lasted three months.[87] Many of the Shuberts' shows at the theater were not successful.[84] The theater sometimes presented films in between legitimate bookings,[52] such as in May 1927, when William Fox leased the theater and screened the film 7th Heaven there.[88] Harris again gained control of the theater's bookings that September, leasing the venue from the Shuberts.[89] The theater then hosted the musical Yes, Yes, Yvette starting in November 1927,[90][91] as well as the melodrama The Trial of Mary Dugan in June 1928[92][93] and the play Congai that November.[52][94] The Harris next hosted the plays Scotland Yard in September 1929[95][96] and Mendel, Inc in November.[52][97] By then, increasing competition between producers had resulted in many flops.[98] Furthermore, with the onset of the Great Depression, many Broadway theaters were impacted by declining attendance.[99][100]
John Wexley's tragedy The Last Mile opened at the Harris Theatre in February 1930,[101][102] followed by Zoe Akins's comedy The Greeks Had a Word for It in September 1930.[103][104] Both plays ran for several months and were the last hits to be staged at the theater.[84] The Harris hosted Lew Leslie's revue Rhapsody in Black in mid-1931,[52][105] as well as David Boehm and Murdock Pemberton's play Sing High, Sing Low later the same year.[52][106] The Napoli Film Company leased the Harris Theatre in March 1932[107] and began screening Italian films there at the end of that month.[108] The Harris Theatre's last-ever legitimate production was Pigeons and People, starring the theater's former co-operator George M. Cohan, which opened in January 1933 and lasted for 70 performances.[84] After the Shuberts filed for bankruptcy that March,[109] the theater went into receivership,[110] and the receiver deeded the theater to the TCA Corporation.[111][112] Clare Kummer's play Her Master's Voice, which had been scheduled for the Harris Theatre during the 1933–1934 season, was relocated after the receivership proceeding.[113]
Movies
Following a renovation that included a new sound system, the theater reopened by November 1933,[115][120] showing "movie hits at popular prices" and changing the programs three times a week.[120][121] The Harris screened movies for the rest of its existence.[52][84] The East River Savings Bank acquired the theater at auction in November 1935,[122] and Asa G. Candler Inc. bought the theater from the bank in 1936 for $200,000.[123] Cohen continued to operate the theater.[117] By the mid-1940s, the ten theaters along 42nd Street between Seventh and Eighth Avenues were all showing movies; this led Variety to call the block the "biggest movie center of the world".[124] The Brandt family, a major operator of movie theaters, operated seven of these theaters, while the Cinema Circuit operated the other three.[124] The Cinema Circuit theaters, the New Amsterdam, Harris, and Anco, were all on the southern side of the street.[124][125]
In 1947, the Candler family transferred the Candler Building and Harris Theatre to Emory University, which held both structures in its endowment fund.[126][127] Emory University sold the Candler Building and Harris Theatre to Thomas Moffa in December 1949, including a mortgage of $1.6 million; the structures had an assessed value of $2.3 million.[128][129] Moffa quickly resold the building to Irving Maidman, who finalized his purchase in March 1950.[127][130] Maidman sold the theater in 1952 to Kastle Amusement Corporation, a holding company affiliated with Cohen, who then extended his lease by 50 years.[131] By the late 1950s, the Harris was classified as a "move-over house", displaying features immediately after they ran at the New Amsterdam, one of the street's two first-run theaters (the other being the Lyric). As a move-over house, the Harris charged less than the first-run theaters but more than the "reissue houses" that screened old films. The Harris and the other 42nd Street theaters operated from 8 a.m. to 3 a.m., with three shifts of workers. The ten theaters on the block attracted about five million visitors a year between them.[132]
Cohen retired around 1961, and Mark Finkelstein took over full operation of the Cinema Circuit.[133] By the early 1960s, the surrounding block had decayed, but many of the old theater buildings from the block's heyday remained, including the Harris.[134] Many of the area's theaters had been relegated to showing pornography by the 1970s.[135][136] The area continued to decline, although Finkelstein said none of the company's 42nd Street theaters showed hardcore porn.[125] The Cinema Circuit's movie theaters on 42nd Street continued to operate through the mid-1980s, at which point the Harris was alternating between box-office hits and more obscure exploitation films.[137]
Demolition and redevelopment
Preservation attempts
The 42nd Street Development Corporation had been formed in 1976 to discuss plans for redeveloping Times Square.
The LPC started to consider protecting theaters, including the Harris Theatre,[149] as landmarks in 1982, with discussions continuing over the next several years.[150] While the LPC granted landmark status to many Broadway theaters starting in 1987, it deferred decisions on the interior of the Harris Theatre.[151] Further discussion of the landmark designations was delayed for several decades.[152] In late 2015, the LPC hosted public hearings on whether to designate seven theaters on the block as landmarks; the Harris was not considered for designation because it had already been demolished.[153] The LPC rejected the designations in February 2016 because the theaters were already subject to historic-preservation regulations set by the state government.[154]
Initial plans
The
In 1989,
Norman Adie of 42nd Street Theaters, who had owned the theater until it was condemned, initially agreed to vacate the site but later reneged, resulting in a years-long dispute between him and the city and state governments.[177] The theater continued to screen movies, even as most other tenants of nearby buildings had moved elsewhere.[178] 42nd Street Development Project Inc. had taken over the New Amsterdam, Harris, and Empire theaters by 1992.[179] The theater was still operating as late as 1993, when it screened first runs of movies, charging $6 a ticket.[178] The Harris Theatre closed permanently the next year.[180] Adie fought the city and state governments' acquisition of his theater, saying: "I'm one of the last legitimate businesses there, but they only want big names."[177]
Forest City Ratner plans and demolition
After
Work on the Forest City Ratner development began in August 1997.
Notable productions
- 1914: On Trial[25][23]
- 1916: Justice[30][29]
- 1916: The Great Lover[199]
- 1916: Captain Kidd, Jr.[200][16]
- 1917: The Willow Tree[201][16]
- 1917: Hitchy-Koo of 1917[37][38]
- 1917: A Tailor-Made Man[41][40]
- 1918: Three Faces East[43][42]
- 1920: The Acquittal[50][51]
- 1921: Six Cylinder Love[61][60]
- 1922: Hamlet[64]
- 1923: Icebound[65][66]
- 1923: The Nervous Wreck[67][68]
- 1924: Topsy and Eva[73][72]
- 1925: The Monkey Talks[77][78]
- 1926: Love 'Em and Leave 'Em[79][80]
- 1926: We Americans[87][85]
- 1927: Yes, Yes, Yvette[90][91]
- 1928: The Trial of Mary Dugan[92][93]
- 1929: Scotland Yard[95][96]
- 1930: The Last Mile[101][102]
- 1932: I Loved You Wednesday[202]
See also
References
Notes
- ^ At the time, it was sometimes cited as the longest run of Hamlet in a Broadway theater.[62] However, this record had already been set in 1912, when Hamlet ran for 102 performances at the Lew Fields.[63]
- ^ The sites were:[158]
- Northwest corner of 42nd Street and Seventh Avenue: now 3 Times Square
- Northeast corner of 42nd Street and Broadway: now 4 Times Square
- Southwest corner of 42nd Street and Seventh Avenue: now 5 Times Square
- South side of 42nd Street between Seventh Avenue and Broadway: now 7 Times Square (Times Square Tower)
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Sources
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- Morrison, William (1999). Broadway Theatres: History and Architecture. Mineola, NY: Dover Publications. ISBN 0-486-40244-4.
- Stern, Robert A. M.; Fishman, David; Tilove, Jacob (2006). New York 2000: Architecture and Urbanism Between the Bicentennial and the Millennium. New York: Monacelli Press. OL 22741487M.
External links
- Sam H. Harris Theatre at the Internet Broadway Database
- Candler Theatre photos at Museum of the City of New York
- Sam. Harris Theatre photos at New York Public Library, Billy Rose Theatre Collection