220-699: The Apollo Theater (formerly the Hurtig & Seamon's New Theatre ; also Apollo Theatre or 125th Street Apollo Theatre ) is a multi-use theater at 253 West 125th Street in the Harlem neighborhood of Upper Manhattan in New York City . It is a popular venue for black American performers and is the home of the TV show Showtime at the Apollo . The theater, which has approximately 1,500 seats across three levels,
440-644: A frontage of 125 ft (38 m) on 44th Street and a depth of about 100 ft (30 m). On the same block, the Hotel Gerard , Hudson Theatre , and Millennium Times Square New York are to the west. Other nearby buildings include the Algonquin Hotel to the east, 1166 Avenue of the Americas to the northeast, the Americas Tower and High School of Performing Arts to the north,
660-595: A "favorable" lease agreement, paying only for taxes, fixed expenses, and utility use. The group's inaugural program included revivals of The Crucible , The Little Hotel on the Side , and The Master Builder . The National Actors Theatre's productions at the Belasco were mostly flops. The Belasco was then used to host the puppet show A Little More Magic in 1994. The Belasco then hosted other productions such as Hamlet , A Doll's House , Honour , and Ring Round
880-407: A Murder (1961), Seidman and Son (1962), The Last Analysis (1964), Inadmissible Evidence (1965), and The Subject Was Roses (1966). The Killing of Sister George , which was hosted at the Belasco in 1966, was shown without incident, despite being more explicit about lesbian themes than Trio had two decades prior. The 1969 production Does a Tiger Wear a Necktie? featured
1100-399: A Past (1917). In the 1910s and 1920s, David Belasco was particularly involved in the theatrical development of several actresses, including Blanche Bates, Ina Claire , Katharine Cornell , Jeanne Eagels , and Lenore Ulric . Among the films in which they starred were Polly With a Past , featuring Claire; Daddies (1918), with Eagles; and The Son-Daughter (1919), with Ulric. During
1320-578: A Wise Child (1929) were among the other successful productions of the 1920s. His last-ever production at the theater was Tonight or Never , which premiered in November 1930. Since Belasco missed the original opening performance of Tonight or Never due to illness, a second one was hosted for his benefit in March 1931. David Belasco died in May 1931 after a long illness, and theatrical manager B. F. Roeder
1540-589: A broadcast studio. NBC used the theater as a broadcast location for four years. At that time, several Broadway theaters had been converted to broadcast studios due to a lack of studio space in New York City. The studio broadcasts included plays from the Theatre Guild of the Air series and NBC Symphony Orchestra concerts. The game show Take It or Leave It was also broadcast from the Belasco while it
1760-400: A cornice with modillions. The wall surfaces above the entablature are designed to resemble leather. The side-wall panels have gilded sconces, and the ceiling has a chandelier suspended from it. The main entrance is from the south wall, above which are murals by Everett Shinn. The east wall contains doors to the auditorium. At the center of the north wall, directly opposite the entrance doors,
1980-564: A darkened theater, sound effects, and seating arrangements (lowering the orchestra pit ) which focused the attention of audience on the stage, completely immersing them in the imaginary world of the music drama. These concepts were revolutionary at the time, but they have since come to be taken for granted in the modern operatic environment as well as many other types of theatrical endeavors. Contemporary theaters are often non-traditional, such as very adaptable spaces, or theaters where audience and performers are not separated. A major example of this
2200-567: A decline in the quality of productions hosted at the Belasco, it continued to show Broadway plays and musicals. The theater was renovated multiple times over the years, including in the 1920s, 1970s, and 2000s. The Belasco Theatre is on 111 West 44th Street, on the north sidewalk between Seventh Avenue and Sixth Avenue , near Times Square in the Theater District of Midtown Manhattan in New York City . The rectangular land lot covers 12,552 sq ft (1,166.1 m ), with
2420-421: A different dramatist, for a total of 21 people. The arms of Stuyvesant and Goethe were depicted in the shield to the left of the stage, while the arms of Greece and Shakespeare were depicted in those to the right. Concealed behind the stained-glass panels are 500 lamps. This illumination was meant to give an impression of "real daylight". George Keister designed the dome lighting. David Belasco intended
SECTION 10
#17327729977622640-454: A gift shop next to the theater. The ATF began raising $ 30 million for the theater in the late 1990s, but the city and state governments refused to issue $ 750,000 in grants unless the foundation could provide financial statements. At the time, there was a dispute over how much Inner City owed the ATF for the use of the Apollo's name. The Apollo was mostly empty by 1998, except on Amateur Nights, and it
2860-448: A hanamichi stage with her entourage. The stage is used not only as a walkway or path to get to and from the main stage, but important scenes are also played on the stage. Kabuki stages and theaters have steadily become more technologically sophisticated, and innovations including revolving stages and trap doors were introduced during the 18th century. A driving force has been the desire to manifest one frequent theme of kabuki theater, that of
3080-425: A high-ceilinged interior. Within the large temple has a stage inside which is a large platform with its own pyramid roof. The stage area is separate from the audience area with the musician (a drummer on a high seat) behind the stage, and dressing rooms also at the rear with exit doors behind. The audience would be seated on a smooth, polished floor. Several Koothambalams exist within several Indian temples, and follow
3300-409: A keystone. A rectangular terracotta panel with eared corners is placed above each window. Above the cornice, a brick triangular pediment rises over the center three bays. There is an oval window at the center of the pediment, with a terracotta frame and keystones, as well as a cornice with modillions above the pediment. The westernmost portion of the 44th Street elevation is the office section, which
3520-416: A library leading to a dining room, large baths, and narrow passages. Belasco had a collection of erotica and medieval art in a hidden Gothic-style room. Scattered across the duplex were banners, rugs, books, and what one biographer called "a vast, confusing medley of collectors' treasures". After Belasco died in 1931, Sardi's restaurant received some artifacts for its "Belasco Room". Some books went to
3740-601: A lower-tier Columbia subsidiary. The American wheel was dissolved in 1922 and the New Theatre retained its monopoly on Columbia burlesque in Upper Manhattan. The growth of Harlem's black population forced many theater owners to begin admitting black patrons in the 1920s, though Jamaican-American author Joel Augustus Rogers claimed that the New Theatre's black patrons were consistently given inferior seats. The New Theatre began sponsoring shows with mixed-race casts in
3960-455: A mockup of a Childs Restaurants franchise. The Belasco hosted several other productions in the 1920s. Lionel Atwill starred in Deburau during 1920, and Kiki ran 580 performances the following year. The Belasco hosted Laugh, Clown, Laugh! with Lionel Barrymore in 1923, as well as Tiger Cats with Katharine Cornell in 1924. Lulu Belle was another successful production at
4180-439: A montage of notable entertainers who appeared at the Apollo. There was also a ticket office and box office on one wall of the lobby. The modern-day lobby has two staircases, which lead to the first and second balconies of the auditorium. The space is illuminated by four grand chandeliers. There is a gift shop near the entrance. As of 2023, a cafe is planned to be built within the lobby; it is expected to open in 2025. The auditorium
4400-546: A naturally occurring site. The auditorium (literally "place for hearing" in Latin) was the area in which people gathered, and was sometimes constructed on a small hill or slope in which stacked seating could be easily made in the tradition of the Greek Theatres. The central part of the auditorium was hollowed out of a hill or slope, while the outer radian seats required structural support and solid retaining walls. This
4620-421: A pair of Ionic terracotta pilasters at each end, as well as two single pilasters in the center. At the second story, each of the center bays contains tripartite casement windows . Above the windows are terracotta lintels, which are separated into three panels and are topped by a course of dentils . At the third story, each center bay has a round-arched window, surrounded by paneled terracotta blocks and topped by
SECTION 20
#17327729977624840-410: A pair of wood-and-glass doors flanked by pilasters; this provides access to the balcony. A large metal canopy hangs above the doorways. An egg-and-dart molding and a Greek key frieze runs above the ground story on 44th Street. The upper stories are asymmetrical. The office section of the theater is at the extreme western end of the facade, while a pair of pavilions flanks three vertical bays on
5060-431: A pediment and a brass figure. A brass standing rail originally was placed in front of the ticket window but was removed. The auditorium has a ground-level orchestra, boxes , two balconies, promenades on the three seating levels, and a large stage behind the proscenium arch. The auditorium's width is greater than its depth. The auditorium has 1,016 seats. These are divided into 527 seats at orchestra level, 283 on
5280-476: A performance by the Trio de Lutece. In 1914, the theater hosted Molnár's The Phantom Rival , which introduced the concept of blacking out the lights to change sets and costumes, rather than lowering the curtain. The following year, the Belasco premiered The Boomerang , and the stage apron was adjusted for The Boomerang . Other notable productions in the 1910s included Seven Chances (1916) and Polly With
5500-513: A popular vaudeville venue, while the latter had previously been the neighborhood's predominant black theater. Cohen took out advertisements and broadcast shows on local radio stations, prompting equally vigorous promotion campaigns from Schiffman and Brecher. Cohen, Schiffman, and Brecher agreed to a truce in May 1935, and Cohen leased the theater the next month to the Harlem Opera House's operator, Duane Theater Corporation. Ralph Cooper
5720-414: A production studio for TV broadcasts and video productions, as well as a new hall of fame with memorabilia from the theater's history. Air-conditioning and an elevator were added, and the theater also received new lights, sound systems, and dressing rooms and a restored interior. By late 1983 and early 1984, the Apollo was expected to open in late 1984. To advertise the Apollo's return, Sutton briefly reopened
5940-588: A production's light rehearsal than to the combined total of all other production costs. By the mid-1900s, Belaso sought to develop a new theater where he could control all aspects of design. What is now the Belasco Theatre was developed by Meyer R. Bimberg , who organized the Stuyvesant Theatre Company in 1906 with $ 275,000 in capital . In June 1906, Belasco announced he would manage the theater and name it after Peter Stuyvesant,
6160-417: A production, often called a black box theater , due to the common practice of the walls being painted black and hung with black drapes. Usually in a building used specifically for performance there are offstage spaces used by the performers and crew. This is where props , sets , and scenery are stored, and the performers standby before their entrance. These offstage spaces are called wings on either side of
6380-535: A profit. To raise money, Sutton sold recordings of shows on a pay-per-view basis and tried to create syndicated TV programs at the theater. He also planned to earn money from Showtime at the Apollo , the Apollo Theater Records label, and licensing agreements, but the theater remained unprofitable. Advertising firm Saatchi & Saatchi signed a contract in 1989 for the exclusive use of the Apollo's broadcast studios, but only one syndicated program
6600-439: A proscenium stage. A prompter's box may be found backstage. In an amphitheater, an area behind the stage may be designated for such uses while a blackbox theater may have spaces outside of the actual theater designated for such uses. Often a theater will incorporate other spaces intended for the performers and other personnel. A booth facing the stage may be incorporated into the house where lighting and sound personnel may view
6820-483: A restoration program for their Broadway theaters. To raise money for the Belasco Theatre's upkeep, the Shubert Organization leased some of the site's unused air development rights to Feldman Equities in November 1986. The air rights were used to increase the height of the adjacent skyscraper being built at 120 West 45th Street. Under the terms of the deal, the Belasco had to remain active for as long as
Apollo Theater - Misplaced Pages Continue
7040-629: A revue in which all the cast members were nude, moved from the Eden Theatre to the Belasco in 1971. Despite the quality of the productions, the Shubert Organization retained the Belasco in nearly original condition. For the production of The Rocky Horror Show (1975), the Shuberts added stands and temporarily removed some orchestra seating. This was followed by a series of short runs including An Almost Perfect Person (1977), The Goodbye People (1979), and Hide and Seek (1979). In
7260-503: A run at the Hayes Theater , and ran until June. This was followed in November 2024 by the musical Maybe Happy Ending . The Belasco Theater is the subject of an urban legend that David Belasco's ghost haunts the theater every night. According to actors and backstage personnel, the ghost would be seen in clerical-like wear, sitting in an empty box during the opening night of a production. Several actors have reported that
7480-418: A shower and bathtub on each floor. There were thirty-five rooms in total. The dressing rooms overlooked the side and rear alleys for natural light exposure, and the eastern wall was a thick fireproof wall separating the dressing rooms from the rest of the theater. The eastern portion of the theater contains a ten-room duplex apartment, which was built for Belasco in 1909. The apartment's design complements
7700-506: A terracotta keystone above the arch. Above the entablature, the fourth story of the office section has quoins at either corner. There are three arched windows at the fourth story, surrounded by terracotta frames and topped by terracotta keystones. The windows are separated by Ionic pilasters, supporting a frieze and egg-and-dart molding of the same material. The interior color scheme was devised largely by Wilfred Buckland, who worked for Belasco's studios. Everett Shinn designed murals for
7920-448: A theater. They may range from open-air amphitheaters to ornate, cathedral -like structures to simple, undecorated rooms or black box theaters . A thrust stage as well as an arena stage are just a few more examples of the multitude of stages where plays can occur. A theatre used for opera performances is called an opera house . A theater is not required for performance (as in environmental theater or street theater ), this article
8140-515: A thick wall, was constructed on the west side of the theater. The eastern part of the theater is topped by a private duplex apartment built in 1909. The primary elevation of the facade faces south on 44th Street and is made of red brick in Flemish bond , with terracotta decorative elements. It is split into an office section to the west and the main theater section to the east. The side walls are faced in plain brick. The 44th Street elevation
8360-501: A three-story commercial structure at 253 to 259 West 125th Street, with a 2,500-seat burlesque theater in the rear, at 240 to 260 West 126th Street. Hurtig and Seamon , who had been leasing the nearby Harlem Music Hall, wanted a larger venue to accommodate the burlesque productions of the Columbia Amusement Company , which they had joined, and were set to lease the theater for 30 years for a total of $ 1.375 million;
8580-427: A tradition called "stage dooring" that some fans participate in, in which fans wait outside of the stage door after the show in hopes of getting an autograph from the actors. The acting or performance space is the stage. In some theaters, such as proscenium theaters , arena theaters and amphitheaters, this area is permanent part of the structure. In some theaters the stage area can be changed and adapted specifically to
8800-456: A transposition, the recurrence of the pediment with the later solidified stone scene. In front of the skene there may have been a raised acting area called the proskenion , the ancestor of the modern proscenium stage. It is believed that the actors (as opposed to the chorus) acted entirely on the proskenion , but this is not certain. Rising from the circle of the orchestra was the audience. The audience sat on tiers of benches built up on
9020-467: A triangular pediment , are also placed around the doorways on the rear wall of the orchestra. Fluted columns on the orchestra level support the first balcony; the lower parts of the columns are devoid of ornamentation. The orchestra is raked , sloping down toward an orchestra pit in front of the stage. The front walls of the auditorium flank a flat proscenium opening in the center. The balconies are also raked and contain similar scagliola decorations to
Apollo Theater - Misplaced Pages Continue
9240-490: A vertical dimension. The Indian Koothambalam temple is a space used to perform Sanskrit drama . Called the koothambalam or kuttampalam, it is a large high-caste rectangular, temple in Kerala which represented a “visual sacrifice” to any deities or gods of the temple. They were built for kutiyattam or “combined acting” performances, which only two dramas are performed today. The temple has a pyramidal roof, with high walls, and
9460-404: A wide variety of genres on different evenings: for example, the Apollo hosted jazz and rock on Friday and Saturday nights, gospel on Sunday mornings, and Amateur Nights on Wednesday nights. The revived theater also had a mixed-race dance company, which according to Sutton was intended to "send a message that everyone is welcome here". By October 1985, the theater had closed temporarily to accommodate
9680-506: A young patron was killed at the theater later the same year. The Apollo was used exclusively for movies and gospel shows in the mid-1970s and was closed in January 1976. The theater had faulty stage equipment and deteriorating facilities, and many of the Apollo's onetime headliners refused to perform there. More obscure acts did not draw large enough crowds to make a profit, and the Apollo had closed by 1977. Robert Schiffman considered replacing
9900-418: Is a semicircular steel structure that protrudes outward. The second and third stories are made of white glazed terracotta, which dates from the theater's opening in 1914. A cornice with dentils runs horizontally across the facade just below the second floor. The second- and third-story windows are arranged vertically into four bays . The bays are separated by three fluted pilasters topped by capitals in
10120-621: Is a wall of signatures in the dressing room. The Apollo's historian Billy Mitchell said in 2012, "Anyone who's been to or performed at the Apollo in the last 20 years has their name on the wall—from Pee-wee Herman to the president of the United States". A production studio for TV broadcasts and video productions was constructed on top of an adjacent wing during the 1980s. The studio is variously cited as covering 3,500 square feet (330 m), 3,800 square feet (350 m), or 4,000 square feet (370 m). It could record 24 tracks at once and
10340-416: Is about 60 ft (18 m) tall, while the rear elevation is cited as being 80 ft (24 m) or 90 ft (27 m) tall. To comply with fire regulations at the time of the Belasco's construction, the theater is surrounded by an alley measuring 10 ft (3.0 m) wide. Due to the presence of the alley, the theater only measures 105 by 100 ft (32 by 30 m). On 44th Street,
10560-405: Is about structures used specifically for performance. Some theaters may have a fixed acting area (in most theaters this is known as the stage ), while some theaters, such as black box theaters have movable seating allowing the production to create a performance area suitable for the production. A theater building or structure contains spaces for an event or performance to take place, usually called
10780-432: Is accessed from the ticket lobby at the southwest corner of the orchestra. The rear (south) end of the orchestra contains four octagonal columns containing capitals of stained glass, which hold up the first balcony level, and emergency exit doors on the east wall. The columns are placed behind the last row of seats. Other than those columns, the two balcony levels are cantilevered, allowing all rows an unobstructed view of
11000-409: Is an ornate box office within an arched opening. The main ticket window is flanked by Corinthian-style colonnettes on either side, which support an arched pediment; there are also arched panels to the left and right of the ticket window. In addition, there are Corinthian columns placed on marble bases on either side of the box office opening. Above the opening is the cornice and a carved aedicule with
11220-472: Is associated with the performers and their actions. The stage is made entirely of unfinished hinoki , a Japanese cypress, with almost no decorative elements. The poet and novelist Toson Shimazaki writes that "on the stage of the Noh theater there are no sets that change with each piece. Neither is there a curtain. There is only a simple panel ( kagami-ita ) with a painting of a green pine tree . This creates
SECTION 50
#173277299776211440-489: Is at the north end of the building and is rectangular in plan, with curved walls, a domed ceiling, and two balcony levels over the orchestra level. The Apollo Theater was cited as having 2,000 seats in the 1930s and 1,700 seats in the 1970s; it was described in 1985 as having 1,500 or 1,550 seats. By the early 2010s, the theater had 1,536 seats. The seats were refurbished in the 1980s and again in 2006, when wide cranberry-colored seats were installed. The bottom of each row of seats
11660-404: Is considered symbolic and treated with reverence both by the performers and the audience. The stage includes a large square platform, devoid of walls or curtains on three sides, and traditionally with a painting of a pine tree at the back. The platform is elevated above the place where the audience sits, which is covered in white gravel soil. The four stage corners are marked by cedar pillars, and
11880-467: Is designed in a similar style as the main theater facade, though it is distinctly demarcated from the rest of the facade. which is flanked on either side by terracotta quoins. The second story of the office section has a tripartite window with a terracotta lintel . The third story of the offices contains a Palladian window , which consists of an arched window flanked by rectangular windows on each side. The Palladian window has Ionic terracotta pilasters and
12100-478: Is illuminated by aisle lighting. In addition, there is a seating area for disabled patrons. On each level, the seats are divided by two central aisles. As part of a 2024 renovation, the Apollo Theater Foundation planned to add 29 seats on the orchestra level. The rear (western) end of the orchestra contains a standing rail with scagliola . Scagliola decorations, composed of scrolls supporting
12320-463: Is on the fourth story above the eastern pavilion. On 44th Street, the apartment has quoins at either corner, a brick facade, and a Palladian window. Engaged columns and terracotta pilasters flank the center portion of the Palladian window, while multi-paned windows form the side portions of the window. An egg-and-dart molding runs above the apartment facade. The three center bays are delineated by
12540-433: Is on the south, toward 125th Street, and is three stories high. The ground floor has been renovated several times and consists of a ticket office to the west and a storefront to the east. The modern design of the ground floor dates to a renovation completed in 2005. The eastern side of the ground floor contains a glass-and-steel storefront, with monitors installed in place of the original display cases. The modern-day box office
12760-418: Is slightly coved at its edge. At the center of the ceiling is a semicircular dome with a medallion surrounded by a molding of cornucopia . The theater was mechanically advanced for its time, with a ventilation system to remove cigarette smoke, as well as electric lights. The ventilation system was rebuilt when the theater was renovated in the 1980s, and lighting trusses were added at that time. In addition to
12980-679: Is the modular theater, notably the Walt Disney Modular Theater . This large theater has floors and walls divided into small movable sections, with the floor sections on adjustable pneumatric piston, so that the space may be adjusted into any configuration for each individual play. As new styles of theater performance have evolved, so has the desire to improve or recreate performance venues. This applies equally to artistic and presentation techniques, such as stage lighting . Specific designs of contemporary live theaters include proscenium , thrust , black box theater , theater in
13200-477: The Civil Rights Act of 1964 was passed, allowing black entertainers to perform in nightclubs and hotels. The Apollo was smaller than similar venues; the neighborhood's economy was in decline; and the Apollo was not near other popular venues. Other issues included a perception of rising crime and a lack of parking. The theater's production manager, Charles Coles , said in 1967 that white audiences avoided
13420-536: The Edinburgh Fringe has seen performances in an taxi . The traditional stage used in Noh theater is based on a Chinese pattern. It is completely open, providing a shared experience between the performers and the audience throughout the play. Without any prosceniums or curtains to obstruct the view, the audience sees each actor at moments even before entering the primary platform of the stage. The theater itself
SECTION 60
#173277299776213640-529: The Elizabethan era in England , theaters were constructed of wooden framing, infilled with wattle and daub and roofed with thatch . Mostly the theaters were entirely open air. They consisted of several floors of covered galleries surrounding a courtyard which was open to the elements. A large portion of the audience would stand in the yard, directly in front of the stage. This layout is said to derive from
13860-563: The Garden that year. Also played at the Stuyvesant were The Fighting Hope (1908) and The Easiest Way (1909). During 1909, Belasco constructed the duplex apartment above the eastern part of the theater. The same year, Belasco made an agreement with Klaw and Erlanger , enabling their respective firms to display products at each other's theaters. Just a Wife was produced at the Stuyvesant in early 1910. The Stuyvesant Theatre
14080-548: The Group Theatre started showing its productions at the Belasco, relocating Gold Eagle Guy from another theater. The Group Theatre's subsequent productions included Awake and Sing! , Dead End , Golden Boy , and Rocket to the Moon . Dead End had 684 performances before closing in 1937, making it the Belasco's longest-running play, a record that stood for eight decades. The following decade commenced with
14300-513: The Harlem neighborhood of Upper Manhattan in New York City . The irregular land lot has frontage on both 125th Street to the south and 126th Street to the north. The site covers 17,454 sq ft (1,621.5 m), with a frontage of 50 ft (15 m) on 125th Street and a depth of 200 ft (61 m). The theater is adjacent to the Victoria Theater to the west. Several MTA Regional Bus Operations routes stop outside
14520-490: The Ionic order , and there is a paneled pilaster with Tuscan capitals outside each of the outermost bays. The capitals of all five pilasters contain anthemia . Within each bay, the second and third floors each contain a square window and are separated by spandrel panels with shields and fluting. Above the third-story windows are spandrels with Greek fret designs, as well as a metal cornice with modillions . A steel marquee
14740-684: The Lyceum Theatre and 1540 Broadway to the northwest, 1500 Broadway to the southwest, and the Chatwal New York hotel and the Town Hall to the south. The Belasco Theatre was designed by George Keister , the architect of the neighboring Hotel Gerard, in the neo-Georgian style . It was constructed from 1906 to 1907 as the Stuyvesant Theatre and was originally operated by David Belasco . The neo-Georgian style
14960-589: The Martin Scorsese film The Irishman . For The Irishman , the Belasco's first film screening in its history, the theater was retrofitted with a production booth, surround sound, and a projection screen. The theater staged Girl from the North Country in early 2020 before it closed on March 12, 2020 , due to the COVID-19 pandemic . The theater reopened on October 13, 2021, with Girl from
15180-676: The Mutual Burlesque Association . Following Hurtig's death in early 1928, Hurtig & Seamon's New Theater was leased that May to the Minsky brothers and their partner, Joseph Weinstock, who had been staging burlesque shows at a small theater above the Harlem Opera House named the Apollo. Seamon, along with I. H. Herk , retained an interest in the New Theater. As part of the agreement, the New Theater
15400-549: The New York Public Library , but most objects were auctioned off. The Shubert Organization removed some decorations in the 1980s, and air ducts were subsequently installed in the apartment. Times Square became the epicenter for large-scale theater productions between 1900 and the Great Depression . Manhattan's theater district had begun to shift from Union Square and Madison Square during
15620-731: The New York Supreme Court . Meanwhile, Judy Holliday had her first major success in Kiss Them for Me (1945), while Marlon Brando had his first widely noticed success in Truckline Cafe (1946). Other productions during the 1940s included Home of the Brave (1945), Burlesque (1946) with Bert Lahr , Me and Molly (1948) with Gertrude Berg , and The Madwoman of Chaillot (1948) with Martita Hunt and Estelle Winwood . Jelin initially refused to leave
15840-552: The Waldorf Astoria New York and Copacabana had started allowing black performers. Even so, many popular black artists such as Eartha Kitt and Sammy Davis Jr. regularly returned for "the folks who can't make it downtown". Robert Schiffman took over the theater's management in 1960 or 1961. He kept prices low to cater to the local community, and he tried to attract up-and-coming talent by talking with local DJs and listening to music at nearby bars. The 1960s saw
16060-505: The backstage areas to be clean and comfortable, even prohibiting stagehands from spitting onto the floor. There were chairs behind the stage for actors to rest, as well as padded floors behind the proscenium so actors could walk on and off stage without making noise. Adjoining the auditorium was a six-story wing for dressing rooms. Each of the dressing rooms were arranged similarly to contemporary residential apartments, with concrete floors natural light, ventilation, hot and cold water, and
16280-417: The facade and interior of the theater are New York City landmarks . The main facade on 44th Street is made of red brick in Flemish bond , with terracotta decorative elements. The ground floor contains the entrance, while the upper stories are asymmetrical and topped by a pediment . Belasco and his company had their offices in the western wing of the theater. A ten-room duplex penthouse apartment occupies
16500-432: The orchestra was a large rectangular building called the skene (meaning "tent" or "hut"). [1] It was used as a "backstage" area where actors could change their costumes and masks, but also served to represent the location of the plays, which were usually set in front of a palace or house. Typically, there were two or three doors in the skene that led out onto orchestra, and from which actors could enter and exit. At first,
16720-462: The orchestra , the skene , and the audience. The centerpiece of the theater was the orchestra , or "dancing place", a large circular or rectangular area. The orchestra was the site of the choral performances, the religious rites, and, possibly, the acting. An altar was located in the middle of the orchestra; in Athens, the altar was dedicated to Dionysus , the god of wine and the theater. Behind
16940-508: The skene was literally a tent or hut, put up for the religious festival and taken down when it was finished. Later, the skene became a permanent stone structure. These structures were sometimes painted to serve as backdrops, hence the English word scenery . A temple nearby, especially on the right side of the scene, is almost always part of the Greek theater complex, which could justify, as
17160-400: The stage , and also spaces for the audience, theater staff, performers and crew before and after the event. There are usually two main entrances of a theater building. One is at the front, used by the audience, and leads into a foyer and ticketing. The second is called the stage door, and it is accessible from backstage. This is where the cast and crew enter and exit the theater, and there is
17380-580: The 1910s, an adjustable apron measuring 5 ft (1.5 m) wide was built in front of the curtain, which could be used to widen the stage to 85 ft (26 m). A gridiron was placed 76 ft (23 m) above the stage, while the fly galleries were on either side of the stage and 30 ft (9.1 m) above it. At the center of the stage is an elevator trap measuring about 10 ft (3.0 m) deep and either 20 ft (6.1 m) or 18 ft (5.5 m) wide. The trap could raise or lower an entire set to either of two basement levels below
17600-498: The 1920s, Ulric appeared in Kiki (1921), The Harem (1924), Lulu Belle (1926), and Mima (1928). Theatrical historian Ken Bloom characterized the actresses as "Belasco heroines". Belasco initially paid close attention to accurate representation of details in the theater's productions. He was adamant that laundry scenes should contain functioning laundries capable of washing and ironing real clothes, and for one production he made
17820-470: The 1960s, and the lobby was enlarged in the late 1970s. Following another renovation in 2006, the Tree of Hope , a stump that performers rubbed for good luck, was moved to the lobby. The lobby occupies the western half of the ground level frontage on 125th Street; the eastern half of the frontage houses a store. The original main lobby had a group of murals. By the early 1970s, the lobby had been redecorated with
18040-426: The 1970s, the Apollo was the only remaining black vaudeville theater in the U.S.; other such theaters had closed because they were attracting fewer entertainers and could not compete with large venues. The Apollo Theater was struggling financially by early 1975, forcing its owners to lay off over 100 staff members. The Apollo had been forced to cut back its schedule of live shows to 20–22 weeks per year, less than half of
18260-403: The 1980s, but they were restored in 2010. The boxes are supported on console brackets and contain angled railings with foliate decoration; a colonnette separates each pair of boxes. The boxes' wall sections are flanked by octagonal columns with capitals of stained glass, which support an arch with a molding. At the tops of the boxes' wall sections are murals depicting love. A staircase connects
18480-463: The 1980s, the second and third floors were being used as storage space and offices, with small rooms on both stories. The third floor also has a sound stage ; to accommodate this use, the windows on that story were covered up in 1985. When the Apollo Theater was developed, the dressing rooms were placed in a separate annex with showers and baths. The dressing rooms are simple in design. There
18700-724: The 45–50 weeks that the theater had presented in its peak. Management could not raise prices, even by a few cents, because that would drive away the local residents who frequented the theater. In addition, the surrounding area was deserted at night; the Apollo could not afford to pay performers at the significantly higher rates that they demanded; and patrons preferred to watch headliners' performances instead of multi-act shows. To raise money, Robert Schiffman wanted to show first runs of films featuring black actors but faced competition from other Manhattan theaters. The Apollo's managers began running for-sale advertisements in several major papers in 1975. The area had also become dangerous; for example,
18920-814: The Apollo Film Committee. Three hundred churches with black congregations also donated to the Apollo, and State Assembly member Geraldine L. Daniels asked the Recording Academy to consider hosting the Grammy Awards there. By July 1991, the Apollo Theatre Investor Group was creating a nonprofit to take over the theater's operation. In September 1991, the New York State Urban Development Corporation (UDC) bought
19140-537: The Apollo Theater began to decline in 1930 as Minsky concentrated on his new flagship theater off Times Square, the Republic . The Minskys moved many of their shows from the Irving Place Theatre and Minsky's Brooklyn theater to the Apollo in 1931. For the 1931–1932 season, the theater hosted Columbia burlesque, with two shows per day. After Billy Minsky died in 1932, his younger brother Herbert took over
19360-424: The Apollo and assigned its operation to the nonprofit Apollo Theater Foundation (ATF). As part of the deal, Manufacturers Hanover agreed to forgive $ 2.9 million in unpaid mortgage payments. In addition, the state UDC agreed to restructure a $ 7.67 million grant, although it was unwilling to forgive the entire debt, which totaled $ 11.4 million. Performers such as Natalie Cole continued to host shows to raise money for
19580-407: The Apollo because of the 1964 riots and the rise of race-integrated venues. The Apollo continued to decline through the late 1960s and early 1970s. The Schiffman family was looking to sell the Apollo to black entrepreneurs in the 1960s, having rejected several purchase offers from white theatrical operators. There was also growing support for grassroots performances at the theater. During that time,
19800-463: The Apollo closed temporarily that May and remained dark for seven months. The theater began hosting burlesque again in December 1933, with two midday shows in addition to the usual evening show. By then, however, newly elected mayor Fiorello La Guardia had begun to crack down on burlesque theaters citywide. Sidney Cohen, who owned other theaters in the area, took over the theater in January 1934. At
20020-418: The Apollo continued to host variety shows every night and was often sold out during weekends; many of these live acts were accompanied by films. In 1972, a group of investors led by New York Amsterdam News editor Clarence B. Jones expressed interest in buying the theater, but the deal was canceled when interest rates increased sharply. As late as 1973, it had between 42 and 45 weeks of live shows annually, and
20240-546: The Apollo did not have wealthy backers, in contrast to venues such as Carnegie Hall and the Metropolitan Opera House , its income depended heavily on the success or failure of each week's show. As a cost-cutting measure, the Apollo paid performers low salaries, to which most up-and-coming performers readily agreed. The Apollo's conversion had occurred at the end of the Harlem Renaissance . It
20460-529: The Apollo's headliners earned as much as $ 50,000 per week. The theater had pivoted away from staging comedy and drama and were instead mostly presenting recording groups. Frank Schiffman recalled that the theater's audience at the time was predominantly black and largely consisted of local residents. Although the Apollo did host some successful shows between 1970 and 1974, the theater's offerings dropped sharply afterward; Herb Boyd wrote in 2009 that "Apollo lovers had to resort to memories rather than performances". By
20680-515: The Apollo, and he intended to host and broadcast live shows from the theater. The Apollo Entertainment TV Network was formed in mid-1982 to broadcast programs from the theater's studios. The Harlem Urban Development Corporation (HUDC) announced a $ 1 million grant for the theater in May 1982. The original reopening date of July 1982 was postponed due to the complexity of the project, and the state government expressed concerns that Sutton could not afford to pay for increasing renovation costs. That September,
20900-407: The Apollo, which entailed replacing the sound system, renovating backstage areas, and furnishing the lobby. In addition, the new owners hired David E. McCarthy as the general manager and added reserved seating. The theater reopened on May 6, 1978, with a performance by percussionist Ralph MacDonald that was beset by technical issues. In the months after it reopened, the Apollo hosted numerous acts and
21120-537: The Apollo. Sutton remained involved with the theater as an unpaid consultant, and Inner City provided $ 500,000 per year in radio advertising for the Apollo. In addition, Inner City Theater Group licensed the Apollo's name and the rights to use the theater for five years. The ATF took over the theater in September 1992. A plaque, celebrating the Apollo's listing on the National Register of Historic Places ,
21340-533: The Apollo. The ATF also created a public museum and held events to pay for maintenance. The revitalization of the Apollo Theater led to increased pedestrian traffic along West 125th Street, while the theater itself had 12 events per month, attracting 17,000 guests. Grace Blake became the ATF's director in 1996. The next year, the Upper Manhattan Empowerment Zone Development Corporation allocated funding for
21560-513: The Belasco in May 1944 and leased it to Max Jelin for two years that July. A particularly controversial production was Trio , which discussed the topic of lesbianism when it opened in December 1944, but which was forced to close two months later in February 1945. In the aftermath of the Trio controversy, the theater's owners evicted Jelin, who was only reinstated in January 1946 after suing in
21780-500: The Belasco, Nederlander , and Walter Kerr theaters. The Belasco hosted The Speed of Darkness in 1991. The National Actors Theatre , led by Tony Randall , began showing productions at the Belasco later the same year. The Shuberts had leased the Belasco to the National Actors Theatre so the venue could remain active as part of the agreement concerning the theater's air rights. The National Actors Theatre had
22000-811: The Belasco, on the merit that the designations severely limited the extent to which the theaters could be modified. The lawsuit was escalated to the New York Supreme Court and the Supreme Court of the United States , but these designations were ultimately upheld in 1992. The Shuberts, the Nederlanders, and Jujamcyn formed the Broadway Alliance in June 1990, wherein each company set aside one of its theaters to present dramas and comedies at reduced ticket prices. The program covered
22220-460: The Belasco, with 461 performances. The Belasco also hosted the musical Hit the Deck in 1927, one of the few to take place in the theater. David Belasco renovated the theater for the production of Mima. Though he redesigned the proscenium arch's decorations and added metal sheathing to the balconies and orchestra boxes, he lost $ 250,000 on the productions. The Bachelor Father (1928) and It's
22440-548: The Belasco. There were two short productions in that year: Enchanted April and Six Dance Lessons in Six Weeks . More productions followed later in the 2000s, including Dracula, the Musical , Julius Caesar , Awake and Sing! , Journey's End , Passing Strange , American Buffalo , and Joe Turner's Come and Gone . During the production of Awake and Sing! in 2006 and Joe Turner's Come and Gone in 2009,
22660-590: The Broadway debut of Al Pacino . With the decline of the Broadway-theater industry in the late 1960s, the quality of the Belasco's productions also decreased. A New York Times article in 1975 said the theater had "not seen the opening night of a hit since 1966", though the Belasco was still the second-oldest remaining Broadway theater, after the Lyceum. The off-Broadway production Oh! Calcutta! ,
22880-562: The Harlem Music Hall at 209 West 125th Street in 1897. Hurtig and Seamon produced several shows starring black superstars Bert Williams and George Walker between 1898 and 1905. The Music Hall was converted to burlesque c. 1911. C. J. Stumpf & H. J. Langhoff of Milwaukee , Wisconsin, acquired land on 125th and 126th Street from the Cromwell estate and Lit family around 1911 or 1912. They announced plans in June 1912 for
23100-540: The Manufacturers Hanover Corporation agreed to waive further loan payments for six months. Sutton considered transferring the theater's operation to a new nonprofit organization, which would cost him $ 6 million. He asked entertainers such as Bill Cosby to perform at the Apollo to raise money, A network TV special, benefit performances, and film screenings were organized to raise money, and numerous celebrities formed an organization called Save
23320-624: The Moon in the late 1990s. Feldman Equities considered buying the Belasco in 1996 but ultimately did not do so. The first musical to play the Belasco in the 2000s was James Joyce's The Dead . This was followed by the musical Follies in 2001 and Frankie and Johnny in the Clair de Lune in 2002. As part of a settlement with the United States Department of Justice in 2003, the Shuberts agreed to improve disabled access at their 16 landmarked Broadway theaters, including
23540-560: The New Amsterdam director-general. The theater would be designed by George Keister and would cost about $ 300,000. Keister filed plans with the New York City Department of Buildings in September 1906, by which the excavation was nearly completed. On December 5, 1906, several hundred guests including Bronson Howard , Blanche Bates , and Frances Starr attended the theater's cornerstone-laying ceremony, and
23760-474: The North Country . That show closed in January 2022 before returning for a limited engagement from April to June. Ain't No Mo' was staged at the Belasco during December 2022, followed by Good Night, Oscar from April to August 2023. The musical How to Dance in Ohio opened at the Belasco in December 2023 for a limited run. The play Appropriate transferred to the Belasco in March 2024, following
23980-489: The Shuberts agreed in 1985 to let the New York Shakespeare Festival use the Belasco rent-free. The festival opened in November 1986 and hosted students' Shakespeare productions at the theater through 1987. Joseph Papp led the program, whose $ 2.5 million cost was partly funded by the city government and several local newspapers. During the 1980s, the Shuberts renovated the Belasco as part of
24200-428: The Stuyvesant Theatre. It opened on October 16, 1907, and was expanded in 1909 with Belasco's apartment. Belasco renamed the venue for himself in 1910. After his death in 1931, Katharine Cornell and then the wife of playwright Elmer Rice leased the space. The Shuberts bought the theater in 1948 and leased it to NBC for three years before returning it to legitimate use in 1953. Through the late 20th century, despite
24420-447: The U.S. federal government gave a $ 1.5 million Urban Development Action Grant to the city government, which lent the money to the Apollo's operators. The city's Industrial Development Agency also issued $ 2.8 million in bonds to fund the construction of a recording studio. Percy Sutton and his brother Oliver wished to raise the rest of the $ 6.8 million cost by themselves. The Suttons announced in December 1982 that they would withdraw from
24640-436: The arches contain classical motifs, and the boxes have varying amounts of decorations. The proscenium arch has a surround with colonnettes on either side of the arch and a molded band and entablature running atop it. The surround and entablature both contain decorative plaster motifs. Above the boxes and the proscenium arch is a cornice with large dentils, as well as a plaster frieze decorated with foliate motifs. The ceiling
24860-498: The arrangement we see most frequently today, with a stage separated from the audience by a proscenium arch. This coincided with a growing interest in scenic elements painted in perspective, such as those created by Inigo Jones , Nicola Sabbatini and the Galli da Bibiena family . The perspective of these elements could only be viewed properly from the center back of the auditorium, in the so-called "duke's chair." The higher one's status,
25080-412: The auditorium onto the street or the alley, including ten from orchestra level. According to news reports published when the theater opened, the entire theater could be evacuated in three minutes. The Belasco's color scheme consisted largely of blue, green, and brown hues. The theater was also mechanically advanced for its time, with heating, cooling, and ventilating systems. There were no radiators in
25300-583: The auditorium, and extended the runway at orchestra level. Variety magazine reported that Walter Reade had leased the new Apollo for 16 + 1 ⁄ 2 years, but Billy Minsky bought out Seamon's lease the next month and continued to operate the theater. Initially, the theater still presented shows from the Mutual Circuit, which Herk headed. Performers typically mingled with audience members and performed for longer durations than under Hurtig & Seamon's tenure. Minsky and Herk split in mid-1929, but
25520-419: The auditorium. In addition, the cellar contained a fire pump capable of 250 U.S. gal (950 L; 210 imp gal) per minute, supplied by a 15,000 U.S. gal (57,000 L; 12,000 imp gal) water tower on the roof and a 10,000 U.S. gal (38,000 L; 8,300 imp gal) reserve tank in the basement. Below the stage was a mezzanine with heating coils. Each side of
25740-410: The center where the mural is only 6 ft (1.8 m) tall. The mural has 29 pairs of figures, which depict emotions such as music, grief, tranquility, allurement, blind love, and poetry. Directly in front of the stage was an orchestra pit measuring 32 feet across and 7 ft (2.1 m) deep. The stage itself originally measured 80 ft (24 m) wide and 27 ft (8.2 m) deep. In
25960-423: The chorus girls were no longer employed at the theater by the late 1930s. The New York Amsterdam News described the Apollo in 1939 as "the only theatre in the country where Negro performers are predominantly featured", at a time when many other venues still did not allow black performers. The Apollo temporarily closed in mid-1940 for upgrades, reopening that September. The theater began showing musical comedies for
26180-417: The city of London. Around this time, the green room , a place for actors to wait until required on stage, became common terminology in English theaters. The Globe has now been rebuilt as a fully working and producing theater near its original site (largely thanks to the efforts of film director Sam Wanamaker ) to give modern audiences an idea of the environment for which Shakespeare and other playwrights of
26400-611: The closer they would be seated to this vantage point, and the more the accurately they would be able to see the perspective elements. The first enclosed theaters were court theaters, open only to the sovereigns and the nobility. The first opera house open to the public was the Teatro San Cassiano (1637) in Venice. The Italian opera houses were the model for the subsequent theaters throughout Europe. Richard Wagner placed great importance on "mood setting" elements, such as
26620-511: The construction of the recording studio; the New York Amsterdam News reported two months later that the work would last until late 1986. Showtime at the Apollo , a TV series showcasing Amateur Night performers, was launched in 1987. The facilities were not all complete until mid-1988, and the renovation ended up costing $ 20 million. Sutton's lenders allowed him to defer payments on the loans until 1992 while he tried to make
26840-422: The development of row houses, apartments, and the city's first subway line . By the early 20th century the neighborhood had several vaudeville , burlesque , film , and legitimate theaters centered around 125th Street and Seventh Avenue , which led to the corridor being known as "Harlem's 42nd Street". Among the operators of these early theaters were theatrical producers Jules Hurtig and Harry Seamon, who leased
27060-580: The existing theater with a new 3,000-seat venue, and there were also calls to renovate the Apollo or to merge it with the Victoria Theater. During the Apollo's closure, the already-dilapidated seats and decorations continued to decay, and burst water pipes destroyed the stage. Robert Schiffman sold the Apollo in early 1978 to a group of black businessmen, who became the first black owners of the theater. The new owners included Rich and Elmer T. Morris and Guy Fisher . The group spent $ 250,000 renovating
27280-487: The festival for which they were erected concluded. This practice was due to a moratorium on permanent theatre structures that lasted until 55 BC when the Theatre of Pompey was built with the addition of a temple to avoid the law. Some Roman theatres show signs of never having been completed in the first place. Inside Rome, few theatres have survived the centuries following their construction, providing little evidence about
27500-477: The first balcony, and 200 on the second balcony, as well as 24 box seats and 25 standing-only spots. The orchestra was designed with 15 rows of seats. There were also twelve boxes in total. The seats were all made by the American Seating Company. Each seat was of heavy wood, upholstered in dark brown leather, and the back of each chair was embossed with an emblem of a bee. The auditorium
27720-660: The first decade of the 20th century. From 1901 to 1920, forty-three theaters were built around Broadway in Midtown Manhattan, including the Belasco Theatre. David Belasco himself had been involved in operating Oscar Hammerstein 's Republic Theatre (now the New Victory Theater ), in the Theater District on 42nd Street , since 1902. Belasco was heavily focused on theatrical lighting; in many cases, he invested more money and devoted more time to
27940-400: The first time in February 1941. Jazz performances and bebop at the Apollo were popular in the 1940s, and gospel was hosted sporadically. The Apollo appealed to mixed-race audiences in the 1940s; on Sundays, as much as four-fifths of the audience were white. During World War II, the theater offered 35 free tickets to members of the U.S. armed forces, and entertainers at the Apollo performed at
28160-441: The fly galleries. The switchboard had 65 or 75 dimmers. There is a large gilded-and-glass chandelier hanging from the auditorium's main ceiling. The ceiling was designed with 22 stained-glass panels, each depicting two shields and being illuminated from above. Twenty of these panels depicted Shakespeare in the dexter (right) position and various dramatists in the sinister (left) position. Each of these panels depicted
28380-438: The foundation's board of directors of mismanagement and sued the six black members of the 10-member board, including chairman Charles Rangel . Vacco also unsuccessfully requested that New York Supreme Court justice Ira Gammerman place the theater into receivership. Rangel and Sutton denied Vacco's accusations, and Vacco's successor Eliot Spitzer calculated that Inner City owed the ATF only $ 1 million. By early 1999, Time Warner
28600-403: The fourth story of the office wing to the west. The unit had its own small private elevator, as well as a living room with a 30-foot ceiling. The duplex contained eccentric items including a collection of ancient pieces of glass; a room containing Napoleon memorabilia, such as a strand of Napoleon's hair; and a bedroom designed with Japanese furnishings. Also in the duplex were a dining room,
28820-444: The ghost would try to speak to them. One caretaker reportedly also heard rattling from the chains of Belasco's private elevator, which had long since been abandoned. Other accounts have described unexplained footsteps; doors and curtains moving randomly; and the elevator moving while not in use. Sightings of a second ghost, called the "Blue Lady", have been reported at the theater. This ghost, reported as an "icy cold blue mist",
29040-531: The ground-story facade consists of a water table made of granite, above which is burnt brick in Flemish bond . There are four pairs of doors at the center of the facade, above which is an entablature made of terracotta . These doors are separated by terracotta pilasters in the Tuscan style. On either side of the central doorways are wood-framed display boards. The facade's westernmost portion corresponds to
29260-419: The impression that anything that could provide any shading has been banished. To break such monotony and make something happen is no easy thing." Another unique feature of the stage is the hashigakari , a narrow bridge at upstage right used by actors to enter the stage. Hashigakari means "suspension bridge", signifying something aerial that connects two separate worlds on a same level. The bridge symbolizes
29480-405: The interior underwent several modifications in the mid-20th century, many of the 1910s-era decorations remained intact in 1983. The theater's original decorative features were preserved during the mid-1980s renovation. The main lobby is a long and narrow space; some observers, including Jack Schiffman, have likened it to a bowling alley. The space was modified significantly in the 1930s and again in
29700-462: The interior was "much the most beautiful in New York". Belasco served as the producer or director of almost 50 productions at the theater for the next two decades; the majority of these ran for at least a hundred performances. Among the early productions at the theater were The Warrens of Virginia , which premiered in 1908, and The Devil , which premiered simultaneously at the Stuyvesant and
29920-422: The late 1970s, there were also plans to convert the Belasco to a cabaret venue. Through the late 20th century, the Shuberts generally used the theater for the final runs of productions that had previously played at other Shubert venues. These productions included Ain't Misbehavin ' (1981) and Accidental Death of an Anarchist (1984). Afterward, the Belasco remained inactive for two years, though
30140-471: The lobby. It originally was decorated in a walnut-brown and gold color scheme, but this was changed to black and gold sometime in the 20th century. The floor is made of mosaic tiles and terrazzo. The walls of the lobby are wainscoted in Rouge Duranche marble, with paneling and Corinthian pilasters above the wainscoting. Partway up the wall is an entablature around the entire room, which contains
30360-582: The longest running show at the Belasco. Other shows to play the Belasco in the 2010s included End of the Rainbow , Golden Boy , a double bill of Twelfth Night and Richard III , Blackbird , The Glass Menagerie , The Terms of My Surrender , Farinelli and the King , Gettin' the Band Back Together , and Network . During November 2019, Netflix leased the theater to screen
30580-427: The main auditorium, the ground floor had a store to the east of the lobby. There originally was a cafe and cabaret in the basement, which served as a rehearsal space and was converted into a staff recreation room in the 1940s. In addition, there were a ladies' parlor and men's smoking room, which were enlarged in the 1940s. The second story originally had a dining room, while the third story had meeting rooms and lofts. By
30800-597: The middle of that decade, and Hurtig & Seamon also planned to produce shows with all-black casts. The theater building was sold in August 1925 to the Benenson Realty Company, though Hurtig & Seamon continued to operate the theater. That year, the theater's orchestra was expanded, and a runway was introduced. As Columbia burlesque withered in 1926, Hurtig & Seamon elected to present stock burlesque in 1927, then, later that year, switched allegiance to
31020-535: The mythic nature of Noh plays in which otherworldly ghosts and spirits frequently appear. In contrast, hanamichi in Kabuki theaters is literally a path ( michi ) that connects two spaces in a single world, thus has a completely different significance. The Japanese kabuki stage features a projection called a hanamichi (花道; literally, flower path), a walkway which extends into the audience and via which dramatic entrances and exits are made. Okuni also performed on
31240-432: The name "Apollo" was erected near the western end of the facade in the 1940s. A modern marquee with LEDs , resembling the original marquee, was installed in 2005. At the same time, the original vertical sign was replaced with the current yellow-and-red blade sign. The theater has an L-shaped plan, with a narrow lobby leading to the main entrance on 125th Street, as well as the auditorium at the rear on 126th Street. Although
31460-434: The nearby Harlem Defense Recreation Center on Tuesday nights. Schiffman closed the theater temporarily for renovations in August 1945. The project cost $ 45,000 and entailed new sound systems, a remodeled orchestra pit, women's and men's lounges, a staff recreation room, and modifications to decorations. After World War II, the theater occasionally staged a chorus line with six acts. By 1946, Schiffman had announced plans to widen
31680-448: The new chairman that September. Spitzer dropped his office's lawsuits in late 1999, and governor George Pataki approved a $ 750,000 grant for the Apollo. Time Warner planned to host events such as TV specials, pay-per-view shows, and concerts there. Theater (structure) A theater , or playhouse , is a structure where theatrical works, performing arts , and musical concerts are presented. The theater building serves to define
31900-556: The next several years. The LPC designated both the facade and the interior as landmarks on November 4, 1987. This was part of the LPC's wide-ranging effort in 1987 to grant landmark status to Broadway theaters. The New York City Board of Estimate ratified the designations in March 1988. The Shuberts, the Nederlanders , and Jujamcyn collectively sued the LPC in June 1988 to overturn the landmark designations of 22 theaters, including
32120-422: The office stories and has a granite stoop with two steps. The steps are flanked by iron railings and lead to two pairs of wood-and-glass doors, which connect to the ticket lobby. These doorways are set within the same opening, with Doric terracotta pilasters on either side and an entablature above. A metal gate leads to an alley on the west. The easternmost section contains a stoop with three steps, which lead to
32340-457: The orchestra level to the boxes on the east wall. Next to the boxes is the proscenium arch, which consists of a wide band surrounded by foliate patterns, as well as a molding with brackets. The proscenium is small in comparison to other Broadway theaters, measuring about 32 ft (9.8 m) high and 30 ft (9.1 m) wide. There is a mural within the arch, measuring 35 ft (11 m) long by 8 ft (2.4 m) tall, except at
32560-527: The orchestra level. The balconies' fronts have brass handrails and are decorated with plasterwork motifs. At the first balcony are square columns supporting the second balcony. The second balcony was described by author James V. Hatch as "the bird's nest", since audiences in the second balcony could see the entire theater. On either side of the proscenium are two boxes each on the first and second balcony levels, which are accessed by their own staircases and are housed within round-arched openings. The spandrels above
32780-453: The performance and audience spaces. The facility usually is organized to provide support areas for performers, the technical crew and the audience members, as well as the stage where the performance takes place. There are as many types of theaters as there are types of performance. Theaters may be built specifically for certain types of productions, they may serve for more general performance needs or they may be adapted or converted for use as
33000-809: The period were writing. During the Renaissance , the first modern enclosed theaters were constructed in Italy. Their structure was similar to that of ancient theaters, with a cavea and an architectural scenery, representing a city street. The oldest surviving examples of this style are the Teatro Olimpico in Vicenza (1580) and the Teatro all'antica in Sabbioneta (1590). At the beginning of 17th century theaters had moved indoors and began to resemble
33220-513: The practice of holding plays in the yard of an inn. Archaeological excavations of The Rose theater at London's Bankside , built 1587, have shown that it had en external diameter of 72 feet (22 metres). The nearby Globe Theatre (1599) was larger, at 100 feet (30 metres). Other evidence for the round shape is a line in Shakespeare's Henry V which calls the building "this wooden O ", and several rough woodcut illustrations of
33440-436: The production My Dear Children in 1940. The play featured John Barrymore 's last Broadway appearance and was generally negatively panned, even though its $ 50,000 of advance ticket sales was among the largest such figure of any Broadway show. More successful were Johnny Belinda (1940), Mr. and Mrs. North (1941), and Dark Eyes (1943). The Belasco Theatre Corporation, a syndicate headed by John Wildberg, purchased
33660-553: The project after the New York State Mortgage Agency rejected the Suttons' request for insurance assistance. Despite this, mayor Ed Koch expressed optimism that the renovation would continue. The renovation was restarted in May 1983 after the state UDC agreed to give the theater $ 2.5 million; without this funding, the Apollo Theatre Investor Group would have canceled the project entirely. Sutton transferred
33880-404: The purchase price was "the cheapest part of bringing the Apollo back", since the theater needed extensive renovations. The New York City Landmarks Preservation Commission (LPC) started to consider designating the Apollo Theater as a city landmark in early 1982, and it hosted hearings for the theater's landmark status during the middle of that year. That July, state officials also proposed listing
34100-434: The rear doors connect the orchestra to the first balcony level. The orchestra level is wheelchair-accessible via the side doors, but the balcony levels can only be accessed by steps. The balcony levels have wainscoting on both the side and rear walls, as well as gilded wall sconces on the side walls. The balconies have paneled bands on their undersides, with light fixtures underneath. Small stained-glass chandeliers hang over
34320-432: The rest of the facade. The entire third story is topped by an entablature with a molded frieze, a set of dentils, and a heavy cornice with modillions . The cornice wraps around to the side elevations of the facade. The pavilions are made of burnt brick and generally lack windows. A metal sign assembly hangs in front of the west pavilion. The eastern corner of the east pavilion has a terracotta quoin . Belasco's apartment
34540-471: The rising popularity of R&B at the Apollo, as well as mixed-genre productions. The theater was renovated slightly in 1960, and new sound-amplification equipment and lighting was added in August 1961. During the 1964 Harlem riots, the Apollo temporarily screened movies exclusively due to decreased patronage. The lobby and auditorium were renovated in 1967; the project was conducted almost entirely by black workers and cost $ 50,000. Business began to decline after
34760-459: The round , amphitheater , and arena . In the classical Indian dance , Natya Shastra defines three stage types. In Australia and New Zealand a small and simple theater, particularly one contained within a larger venue, is called a theatrette . The word originated in 1920s London, for a small-scale music venue. Theatrical performances can also take place in venues adapted from other purposes, such as train carriages. For instance, in recent years
34980-458: The same bill. In addition, the theater has hosted film screenings, recordings, and tapings, as well as non-performance events such as speeches, debates, and tributes. The Apollo has had a large impact on African-American culture and has been featured in multiple books and shows. The Apollo Theater is located at 253 West 125th Street , between Adam Clayton Powell Jr. Boulevard (Seventh Avenue) and Frederick Douglass Boulevard (Eighth Avenue), in
35200-587: The same rectangular plan and structure. Belasco Theatre The Belasco Theatre is a Broadway theater at 111 West 44th Street, between Seventh Avenue and Sixth Avenue , in the Theater District of Midtown Manhattan in New York City . Originally known as the Stuyvesant Theatre , it was built in 1907 and designed by architect George Keister for impresario David Belasco . The Belasco Theatre has 1,016 seats across three levels and has been operated by The Shubert Organization since 1948. Both
35420-567: The second balcony. In front of the balconies are bosses topped by foliate bands. Until 2010, the second balcony was accessed by a different entrance from the other seats. This arrangement was a vestige of an operation in which theater patrons were separated into two classes, an arrangement more common in West End theatre than Broadway theatre. On either side of the stage is a wall section, which originally contained two boxes on either balcony level. The first balcony boxes had been removed before
35640-512: The segregated entrance providing access to the second balcony was removed. Decorative elements such as the stained glass and murals were restored, and amenities such as restrooms and seats were replaced. The theater reopened on October 2, 2010, with a showing of Women on the Verge of a Nervous Breakdown . In 2014, Hedwig and the Angry Inch opened its first Broadway production and became
35860-418: The show and run their respective instruments. Other rooms in the building may be used for dressing rooms, rehearsal rooms, spaces for constructing sets, props and costumes , as well as storage. All theaters provide a space for an audience. In a fixed seating theatre the audience is often separated from the performers by the proscenium arch. In proscenium theaters and amphitheaters , the proscenium arch, like
36080-473: The side of a hill. Greek theaters, then, could only be built on hills that were correctly shaped. A typical theater was enormous, able to seat around 15,000 viewers. Greek theaters were not enclosed; the audience could see each other and the surrounding countryside as well as the actors and chorus. The Romans copied the Greek style of building, but tended not to be so concerned about the location, being prepared to build walls and terraces instead of looking for
36300-466: The skyscraper used the air rights. To increase the occupancy of the Belasco and other little-used Broadway theaters, the League of American Theaters and Producers negotiated with Broadway unions and guilds during the late 1980s. The New York City Landmarks Preservation Commission (LPC) had started considering protecting the Belasco as an official city landmark in 1982, with discussions continuing over
36520-435: The specific theatres. Arausio , the theatre in modern-day Orange, France , is a good example of a classic Roman theatre, with an indented scaenae frons , reminiscent of Western Roman theatre designs, however missing the more ornamental structure. The Arausio is still standing today and, with its amazing structural acoustics and having had its seating reconstructed, can be seen to be a marvel of Roman architecture. During
36740-536: The stage, is a permanent feature of the structure. This area is known as the auditorium or the house. The seating areas can include some or all of the following: Greek theater buildings were called a theatron ('seeing place'). The theaters were large, open-air structures constructed on the slopes of hills. The most famous open-air greek theater was the Globe Theater where many of Shakespeare's plays were performed. They consisted of three principal elements:
36960-445: The stage. Four pairs of exit doors on the rear wall of the orchestra lead directly to the central doors on the sidewalk. There are gilded wall sconces next to and between two sets of the doors on the rear wall. The orchestra has a raked floor and painted wood paneling on the side walls. Four boxes, each with six seats, flanked the stage at the orchestra level, though these have since been removed. Staircases on either side of
37180-500: The stage. The lower basement level is 30 ft (9.1 m) or 32 feet deep. A platform with the preceding scene's props, built similarly to a large wagon, could be loaded onto the trap, then swapped in the basement with another platform loaded with the next scene's props. Some 4,500 electric lights were distributed in the stage area. The footlights on the stage were arranged in seven sections. There were five sets of "border lights", with 270 lamps in each, as well as 88 sockets in
37400-459: The sudden, dramatic revelation or transformation. A number of stage tricks, including actors' rapid appearance and disappearance, employ these innovations. The term keren (外連), often translated playing to the gallery , is sometimes used as a catch-all for these tricks. Hanamichi and several innovations including revolving stage, seri and chunori have all contributed to kabuki play. Hanamichi creates depth and both seri and chunori provide
37620-470: The theater also hosted movies during the summer when burlesque was on hiatus, as well as other events such as benefits and fundraisers. A stock burlesque company composed of numerous Broadway performers was established at the theater in 1917. Beginning in 1920, Hurtig & Seamon's New Theatre faced competition from the nearby Mount Morris Theatre on 116th Street, which featured shows on the American wheel,
37840-498: The theater and add an air-cooling system when construction materials became available. The theater was sold in 1949 to the Harlem Apollo Realty Corporation, although Schiffman and Brecher continued to operate the Apollo. That year, they began experimenting with staging Broadway -class shows at the Apollo. Schiffman's sons Jack and Robert began working at the theater in the late 1940s and early 1950s. As
38060-408: The theater building and underlying land to the New York state government, as he wished to receive a $ 9 million state grant. He then leased the theater for 99 years. Sutton ultimately obtained $ 10 million from a consortium of lenders. The renovation experienced more delays, and a construction management firm incurred nearly $ 800,000 in charges before work had even started. The renovated theater included
38280-560: The theater commenced in the 2020s. Among the theater's longest-running events is Amateur Night at the Apollo, a weekly show where audiences judge the quality of novice performances. Many of the theater's most famous performers are inducted in the Apollo Legends Hall of Fame, and the theater has commissioned various works and hosted educational programs. Over the years, the theater has hosted many musical, dance, theatrical, and comedy acts, with several performers often featured on
38500-460: The theater continued to feature a mixture of stock shows and Mutual shows. Mutual began a decline precipitated by the Depression, and Billy Minsky announced in March 1930 that he would stop presenting Mutual shows. The following month, he started presenting stock shows with both black and white casts. Bessie Smith was among the earliest black entertainers to perform at the Apollo. Burlesque at
38720-623: The theater for several events during its renovation. These included the AUDELCO awards in November 1983, an Amateur Night that December, and a revue in June 1984. Sutton estimated that it cost $ 72,000 just to operate the theater once a month. At the end of 1984, the State Mortgage Agency agreed to insure three-fourths of a $ 2.9 million mortgage that the Manufacturers Hanover Corporation had placed on
38940-425: The theater from 1978 to 1979, and former Manhattan borough president Percy Sutton bought it at an auction in 1981. The Apollo reopened in 1985 following a major refurbishment that saw the construction of new recording studios. In September 1991, the New York State Urban Development Corporation bought the Apollo and assigned its operation to the ATF. Further renovations took place in the mid-2000s, and an expansion of
39160-418: The theater had three separate sets of fire escapes , and the western side had a marble-and-stone staircase leading directly into the alley there. The additional exits were constructed to prevent crowd crushes , such as happened in the 1876 Brooklyn Theatre fire , where hundreds had died. The entrance lobby is a nearly square space, accessed from the westernmost entrance on 44th Street. John Rapp designed
39380-595: The theater itself would cost $ 200,000. Work could not begin until the existing leases on the site expired the following May. Stumpf and Langhoff hired Keister to design the theater, while either Cramp & Company or the Security Construction Company was hired as the general contractor. One local real-estate investor wrote that the theater was to be "the most important new work for the immediate future" on that block of 125th Street. A groundbreaking ceremony occurred in January 1913, at which point it
39600-456: The theater on the National Register of Historic Places (NRHP) after nonprofit New York Landmarks Conservancy had conducted a report of the theater. The Apollo's facade and interior were designated as New York City landmarks in June 1983. The theater was added to the NRHP in November 1983; the NRHP listing became official in June 1984. Sutton initially intended to spend $ 5.7 million on renovating
39820-449: The theater was formally dedicated as David Belasco's Stuyvesant Theatre. The total cost of the theater was estimated at more than $ 750,000, including $ 300,000 for the building itself. David Belasco's Stuyvesant Theatre opened on October 16, 1907, with the musical A Grand Army Man featuring Antoinette Perry . One critic called the theater "the most complete and satisfactory playhouse in existence". Another publication said that
40040-420: The theater was leased by Lincoln Center Theater . In mid-2009, after Joe Turner's Come and Gone closed, the Belasco closed for a renovation. By then, producers considered the theater to be small compared to most other Broadway venues. Francesca Russo oversaw the restoration of the auditorium, while McLaren Engineering Group was the primary contractor. The boxes at the first balcony level were restored, and
40260-453: The theater when his lease expired in 1947, but the New York Supreme Court ultimately forced him to do so. The Belasco Theatre was sold in November 1948 for $ 442,000 in cash. Although the new owners planned to demolish the theater in the future, the Shubert Organization took over management in the interim. The Shuberts themselves were subsequently reported as having been the buyers; by mid-1949, they were negotiating to lease it to NBC as
40480-599: The theater's operation. That same year, Herk, Herbert Minsky, and Weinstock agreed to showcase Columbia burlesque at the Apollo. Attendance decreased after the Apollo started presenting shows without nudity or stripteases . The theater briefly hosted performances from the Empire Wheel in late 1932, and the Apollo began to stage black vaudeville that year. The Apollo's operators also started serving alcoholic beverages in April 1933. After failing to renew its burlesque license,
40700-403: The theater, but the floor contained a plenum system with 350 ducts. The plenum system used to evenly distribute the heat from two boilers, either of which could heat the theater on its own. When a sufficient level of heat had been reached, the heat was shut off and fresh air was distributed through the plenum system, using large blowers. Air outflow passed through hidden openings in the ceiling of
40920-637: The theater, while the New York City Subway 's 125th Street/St. Nicholas Avenue station, served by the A , B , C , and D trains, is located one block to the west. The theater was designed by George Keister with elements of the neoclassical style. It was one of several theaters that Keister designed in that style, along with the Belasco Theatre , Bronx Opera House , Selwyn Theater , and Earl Carroll Theatre . The theater's main facade
41140-460: The theater. The Belasco was outfitted with the most advanced stagecraft tools available including extensive lighting rigs, a hydraulics system, and vast wing and fly space. Like the neighboring Lyceum Theatre, it was built with ample workshop space underneath the stage. Tiffany Studio designed lighting fixtures throughout the theater, which were executed by theatrical-lighting specialists Nimis & Nimis . Nineteen emergency exits lead from
41360-467: The theater; he paid either $ 220,000 or $ 225,000. Inner City had beat out a competing bid from the Bible of Deliverance Evangelist Church. Sutton recalled that there were "roaches, dead rats, swimming rats" in the flooded basement. Inner City acquired an 81 percent stake in the theater's legal owner, the Apollo Theatre Investor Group, while Sutton owned the remaining 19 percent of the group. According to Sutton,
41580-399: The theater; that bank had provided $ 6 million in total funding. The first phase cost $ 5.5 million in total. Local residents hoped that the Apollo's renovation would spur a revival of the neighboring stretch of 125th Street. The first shows at the refurbished theater were hosted on May 22, 1985. At the time of the rededication, the recording studio was not complete. Sutton had intended to stage
41800-411: The time, many of Harlem's most popular black theaters were clustered around 125th Street. The theater was converted into a performance venue for black entertainers, with an all-black staff. Most vestiges of the former burlesque shows were quickly removed. Unlike the previous burlesque shows, which had been controversial because they verged on nudity, the new programming would be family-friendly. The theater
42020-421: The top of the eastern wing and contained Belasco's collection of memorabilia. The interior features Tiffany lighting and ceiling panels, rich woodwork, and expansive murals by American artist Everett Shinn . The auditorium consists of a ground-level orchestra and two overhanging balconies, with boxes at the second balcony level. The theater was developed by Meyer R. Bimberg and operated by David Belasco as
42240-442: The whole is topped by a roof, even when the Noh stage is erected indoors. A ceramic jar system under the stage amplifies the sounds of dancing during the performance. There is a small door to permit entry of the musicians and vocalists. The independent roof is one of the most recognizable characteristic of the Noh stage. Supported by four columns, the roof symbolizes the sanctity of the stage, with its architectural design derived from
42460-447: The worship pavilion ( haiden ) or sacred dance pavilion ( kaguraden ) of Shinto shrines. The roof also unifies the theater space and defines the stage as an architectural entity. The pillars supporting the roof are named shitebashira (principal character's pillar), metsukebashira (gazing pillar), wakibashira (secondary character's pillar), and fuebashira (flute pillar), clockwise from upstage right respectively. Each pillar
42680-406: The years progressed, variety shows were presented less often. The Apollo started staging rock music concerts when that genre became popular, and the big bands gave way to R&B performances. The theater also began hosting different musical genres such as mambo and gospel. There were often two shows a day if a headliner was performing, and it showed movies at other times. Additionally, the theater
42900-575: Was God". Over the years, the format of the shows was changed. The first major performer at the Apollo, jazz singer and Broadway star Adelaide Hall , appeared at the Apollo in February 1934. Hall's limited-engagement show was highly praised by the press, which helped establish the Apollo's reputation. Sussman hosted competitions for amateur performers on Wednesday nights, as well as "kiddie hours" on Sundays. The Apollo Theatre had vigorous competition from other venues, namely Leo Brecher's Harlem Opera House and Frank Schiffman's Lafayette . The former had been
43120-408: Was added above the ground floor in the 1940s; it stretched half the width of the facade and bore the name "Apollo" on its two side elevations. The marquee displayed letters with the name of the entertainer who were performing that night. Jack Schiffman, the son of former theater owner Frank Schiffman, recalled that the marquee also displayed various additional signs or movie posters. A vertical sign with
43340-587: Was added to the theater the same month, although the plaque was stolen in 1996. Leon Denmark was appointed as the foundation's director. The foundation sought to attract notable black performers and to reduce the theater's debts. During its first operating season in 1993–1994, the ATF subsidized performances at the main auditorium and a smaller auditorium, and it launched the Community Arts Program to attract less experienced entertainers. In addition, local TV station WPIX began broadcasting events from
43560-477: Was affected by perceptions of high crime. The Apollo Theatre Investor Group was delinquent on payments to the UDC by early 1991. Newsday reported in 1991 that the group had never kept a formal ledger , which may have worsened its financial issues. Sutton announced in April 1991 that he would shutter the theater on June 1 unless his lenders restructured the loans. After Sutton made a payment of $ 36,000 later that month,
43780-571: Was an NBC studio. The Belasco reopened as a legitimate Broadway venue on November 5, 1953, with The Solid Gold Cadillac . Other Broadway productions in the 1950s included The Flowering Peach (1954), Will Success Spoil Rock Hunter? (1955), and Nude with Violin (1957). The Belasco's production of All the Way Home , which premiered in 1960, won the Pulitzer Prize for Drama . Other notable productions included Write Me
44000-581: Was appointed as the executor of Belasco's estate, continuing to operate the theater. That August, Katherine Cornell and her husband Guthrie McClintic signed a lease to operate the theater for two years. At the time, the theater was appraised at $ 800,000. McClintic directed Brief Moment , the first production to take place at the theater under Cornell's management. Cornell herself appeared in two productions: Lucrece (1932) and Alien Corn (1933). Cornell and McClintic had six productions total, including Criminal at Large (1932). Hazel Rice, whose husband
44220-523: Was closed for upgrades for two weeks every August; a large CinemaScope screen was installed during one such closure in 1955. By the late 1950s, Variety magazine criticized the theater for "allowing some of its actors to carry on with assorted vulgarisms". A typical booking consisted of five or six performances per day for seven days. The Apollo was one of the few remaining venues for black entertainers in Harlem during that time, although other venues such as
44440-410: Was considering taking over the Apollo's board, and the state government was willing to drop the lawsuits if Time Warner took over the board and ousted Rangel as chairman. That August, Time Warner donated $ 500,000 and expanded the ATF's board to 19 members; the agreement would go into force when Rangel resigned as chairman. Rangel initially refused to step down, but Ossie Davis was ultimately appointed as
44660-451: Was created through 1991. The theater was also being used only 50 percent of the time, while the studio's uptime was 30 percent. The Apollo was losing $ 2.4 million a year by 1990 and was predicted to lose $ 2.1 million over the next year. Sutton had expected to earn $ 1.7 million from videos and pay $ 1.3 million in salaries in 1990, but he ended up earning $ 280,000 and paying $ 1.8 million. The theater still faced competition from larger venues and
44880-399: Was designed by George Keister with elements of the neoclassical style . The facade and interior of the theater are New York City designated landmarks and are listed on the National Register of Historic Places . The nonprofit Apollo Theater Foundation (ATF) operates the theater, as well as two smaller auditoriums at the Victoria Theater and a recording studio at the Apollo. The Apollo
45100-410: Was developed by Jules Hurtig and Harry Seamon as a burlesque venue, which opened in 1913 and originally served only white patrons. In 1928, the Minsky brothers leased the theater for burlesque shows. Sidney Cohen acquired the theater in 1934, and it became a venue for black performers. Frank Schiffman and his family operated the theater from 1935 to 1976. A group of black businessmen briefly operated
45320-415: Was equipped with 96 microphone lines connecting with the auditorium. The studio has been used by media companies such as advertising firm Saatchi & Saatchi and Black Entertainment Television . In the late 19th century, Harlem was developed as a suburb of New York City and was inhabited largely by upper-middle-class whites. Black residents began moving to Harlem in the beginning of the 20th century with
45540-415: Was frequented by black performers, who, during the early 20th century, were not allowed to perform at many other venues. The theater was a prominent venue on the primarily black " Chitlin' Circuit ", though many shows featured actors of different races. It featured a wide variety of musical performances, including R&B , jazz , blues , and gospel performances. Early shows consisted of revues , but this
45760-556: Was held in such high regard by local black residents that, according to Schiffman's son Robert, it was not damaged during the Harlem riots of 1935 , 1943 , or 1964 . The theater was a source of pride for Harlem's black community and was often used as a gathering place during demonstrations. Although the Schiffmans were white, Robert recalled that local residents frequently referred to the Apollo as "our theater", never "the white man's theater" or "Frank Schiffman's theater". One writer said that "in Harlem show business circles [Frank Schiffman]
45980-419: Was hired as the emcee the same year. After Cohen died in late 1935, the Opera House became a movie theater, while the Apollo continued to present stage shows. The Apollo was rebranded as "The Only Stage Show in Harlem". Initially, the Apollo attracted blues and ragtime performers, as well as comedians and big bands . Early shows were accompanied by a chorus line of 16 girls, most of whom were fair-skinned;
46200-444: Was known as Hurtig & Seamon's New (Burlesque) Theater. Local real-estate journal Harlem Magazine wrote: "The theatre when completed will add in no small degree to the appearance and prosperity of this locality." The theater hosted its first Columbia show on Dec. 17, 1913. Hurtig & Seamon initially employed female ushers, described by Variety magazine as "all good-looking and polite girls", and banned black patrons . Initially,
46420-404: Was moderately successful. The Internal Revenue Service raided the theater in November 1979 after finding that the new owners had failed to pay tens of thousands of dollars in taxes over the two preceding years. The theater's operators filed for bankruptcy in May 1981 after Elmer Morris's arrest on drug charges. Inner City Broadcasting , a firm owned by Percy E. Sutton, agreed in late 1981 to buy
46640-407: Was of course not always the case as Romans tended to build their theatres regardless of the availability of hillsides. All theatres built within the city of Rome were completely man-made without the use of earthworks. The auditorium was not roofed; rather, awnings ( vela ) could be pulled overhead to provide shelter from rain or sunlight. Some Roman theatres, constructed of wood, were torn down after
46860-454: Was physically deteriorating. The only other major show at the theater was Showtime at the Apollo , and the Apollo was rented out for other events for the rest of the time. Many black performers shunned the theater because of its small size and because larger venues were no longer segregated. In 1998, the Attorney General of New York 's office began investigating whether Inner City was underpaying ATF. Then–attorney general Dennis Vacco accused
47080-418: Was playwright Elmer Rice , purchased the Belasco in August 1934 for $ 330,000. She made minor alterations to the theater but generally found it in "good condition". Rice had two productions, Judgment Day (1934) and Between Two Worlds (1934), both of which were flops. The Belasco estate filed to foreclose upon the theater in February 1936 and reacquired the theater from Rice that March. In late 1934,
47300-416: Was quickly changed to a loosely connected format of dance, comedy, music, and novelty acts. The performances resembled vaudeville shows, with six to eight acts sharing a bill. Up to seven comedians or musicians and eight singing groups would perform for a week, doing as many as seven shows per day. Novice performers often started off as the opening act and aspired to become the headliner of the show. Because
47520-400: Was renamed Hurtig & Seamon's Apollo, and the Harlem Opera House and the former Apollo within it were restricted from staging burlesque, vaudeville, musical comedy, or "tab shows" as long as Hurtig & Seamon's Apollo staged burlesque. In exchange, the latter theater could not show movies. Hurtig & Seamon's Apollo reopened in August 1928 after the Minskys renovated the lobby, repainted
47740-438: Was renamed the 125th Street Apollo Theatre and reopened on January 26, 1934, catering to the black community of Harlem. Cohen initially employed Clarence Robinson as the Apollo Theatre's producer and Morris Sussman as the manager. He also hired talent scout John Hammond to book his shows. Though advertised as a "resort for the better people", the theater quickly attracted working-class, unemployed, and young audiences. The Apollo
47960-399: Was renamed the Belasco Theatre on September 17, 1910, and the first Belasco Theatre on 42nd Street became Hammerstein's Republic Theatre. Not long afterward, the Belasco hosted The Concert (1910) and Return of Peter Grimm (1911), both with over 200 performances. The Belasco also hosted some musical performances, such as a wind instrument ensemble led by Georges Barrère , as well as
48180-405: Was selected because a similar style was used on many early government buildings of New York City. The original name was a homage to Peter Stuyvesant , a director-general of New Amsterdam , the 17th-century Dutch colony that later became New York City. Compared to its contemporaries, the Belasco is relatively small. A wing for offices and dressing rooms, separated from the rest of the theater by
48400-400: Was supposedly an actress that fell to her death in an elevator shaft. After Oh! Calcutta! played at the theater, the ghost of David Belasco reportedly stopped appearing. By the 2000s, people reported that the ghost had reappeared. In Hedwig and the Angry Inch , Hedwig briefly discusses the history of the Belasco and references the ghost of Belasco, claiming that if the ghost appears on
#761238