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For other uses, see Paradise Theatre (disambiguation).

Loew's Paradise Theatre
In 2010
Map
Address2417 Grand Concourse
Bronx, New York
United States
Coordinates40°51′37″N 73°53′54″W / 40.860337°N 73.89842°W / 40.860337; -73.89842
OwnerFirst Paradise Theaters Corp.[1]
OperatorWorld Changers Church International New York
TypeAtmospheric theatre
Capacity3,885[2]
Current useChurch
Construction
OpenedSeptember 7, 1929
Rebuilt1970s, 1981, 2000s
Years active1929–1994, 2005–2020
ArchitectJohn Eberson

The Paradise Theater (formerly the Loew's Paradise Theatre) is a movie palace at 2403 Grand Concourse in the Fordham neighborhood of the Bronx in New York City, United States.

Constructed in 1929 at the height of grand movie theaters, in the later 20th century the building was used also for live entertainment. It was leased in 2012 for use by the World Changers Church International New York for founding a local congregation.[3]

Description

[edit]

The Paradise Theater is located at 2403 Grand Concourse[4][5] in the Fordham neighborhood of the Bronx in New York City, United States.[6] The Paradise Theater is one of several atmospheric theaters designed by John Eberson.[7][8] The theater was one of five Loew's Wonder Theatres in the New York City area, along with the Loew's Jersey in Jersey City, the Loew's 175th Street in Manhattan, the Loew's Valencia in Queens, and the Loew's Kings in Brooklyn.[8][9] Similarly to the Valencia Theatre (which Eberson also designed), the Paradise is decorated in a Spanish style.[10]

The site covers about 39,000 square feet (3,600 m2).[11][12] It measures 225 feet (69 m) along the Grand Concourse to the east, 215 feet (66 m) along Creston Avenue to the west, and 175 feet (53 m) deep between these two streets.[11][13] The site is close to the Fordham Road station of the New York City Subway's Concourse Line (served by the B and ​D trains[14]).[15]

Exterior

[edit]
  • Along the Grand Concourse, local ordinance forbids the use of large vertical signs. This restrained the design of the facade of the theatre. On top of the frontage, over the entrance, is the space originally occupied by a mechanical Seth Thomas clock, where hourly St. George slew a fire-breathing dragon. As the Bronx Paradise was vandalized in later years, both the dragon and the figure of St. George were stolen. Only the saint's horse remains. A similar device, now renovated, was also installed at the Loew's Jersey Theatre in Jersey City.

Interior

[edit]

The Paradise Theatre's interior spaces cover roughly 45,000 square feet (4,200 m2)[4] and have an L-shaped layout.[a][16][17] The interiors are designed in an Italian Baroque style,[16][18] although Eberson was not inspired by any specific building.[16] In general, the interior spaces are decorated in a red color palette, and they use woodwork extensively.[18] Eberson had decided to use the Baroque style because, when the theater was being developed, it was supposed to be known as the Venetian.[16]

The auditorium proper is accessed by three separate spaces: the outer lobby, foyer, and main lobby.[16][18] The lobbies are oriented east to west, with the entrance to the east, and the main lobby to the west and perpendicular to the auditorium. Because the auditorium was located at the western or rear end of the site, on Creston Avenue, this freed up space for storefronts to the east, along the Grand Concourse. Each of the spaces uses different materials and ornamentation.[16] Proceeding from east to west, the lobby spaces progressively become narrower.[16][17]

Ground-story spaces

[edit]

The entrance on the Grand Concourse leads directly to a rectangular, double-height outer lobby.[a] The outer lobby's floor is made of rubber and is covered with mats, while the plaster walls are painted orange. The east wall has six pairs of doors leading to the Grand Concourse, above which is a loggia with five arches supported by intertwined pilasters and columns. The outer lobby's north and south walls are each three bays wide, and there is a railing on the north wall. The center bay on either wall has a display case made of brass, above which is a balcony and a portico, while the outer bays have stone decorations.[19] The west wall has five pairs of doors leading to the foyer, above which is a portico with shells and twisted columns. The coffered ceiling is made of plaster and is painted in a green and brown-red color scheme; a chandelier hangs from the ceiling. There are three statues on the east, south, and west walls, and a bust of Benjamin Franklin on the south wall.[19] The statue in the entrance lobby are likely inspired by a niche in Rome's Santa Maria della Vittoria.[16]

The lower foyer is located between the outer lobby on the east and the main lobby on the west.[a] The space is rectangular, with painted-plaster walls, in addition to doorways with wood moldings. The south wall includes a door to the easternmost aisle of the auditorium's orchestra level, which is topped by statues of a man and woman. The north wall has an elevator and staircase ascending to the promenade and upper foyer on the second story.[19] The lower foyer has a low wooden ceiling[20] decorated with moldings, as well as an oval mural at its center, which was painted by David Jermann in 1999.[19] The lower foyer leads to the main lobby, another double-height space, to its west.[19][20] A pair of pillars separate the lower foyer and main lobby.[21]

North wall and ceiling of the main lobby

The main lobby is at the western end of the site.[a] Its south wall is divided into five bays, of which three contain doorways to the auditorium's orchestra level. The north wall has three bays, and there is a pedestal with putti and fish in the center bay. On the second story, there are iron balconettes in the north-wall bays and the three middle bays of the south wall.[21] The west wall is three bays wide and has a stair ascending to the promenade. The landing at the bottom of the stairs (in the northernmost bay of the west wall) has an emergency exit, while a wide passage under the stairs (in the southernmost bay) leads to the auditorium's westernmost aisle and an emergency-exit stairway.[21] The north and south walls and the vaulted ceiling feature murals by the Hungarian artists Lajos Szanto and Andrew Karoly.[6][20][22] There are nine murals in total: six on the walls and three on the ceiling.[21] The murals each depict personifications of sound, story, and film, floating in clouds; the frames of each mural have scallops and cherubs.[22] Light fixtures are mounted on the north and south walls and on the ceiling.[21] The main lobby is decorated with wood paneling.[20]

Promenade, parlors, and balcony lobbies

[edit]

The promenade, on the second story, runs west–east along the rear of the auditorium, just south of the main lobby.[a] The eastern end of the promenade connects with an upper foyer, which is immediately above the lower foyer and functions as a bar. The north walls of the promenade and upper foyer are accessed, respectively, by the stairways from the lobby and the lower foyer. The south wall of the promenade leads to the women's lounge (on the west) and the men's lounge (on the east). Both the promenade and upper foyer have plaster walls with black-marble wainscoting, wood trim, and gilded friezes and moldings. Both spaces have a shallow vaulted ceilings with scrollwork, cartouches, and coffers. There are lamps on the wall and ceiling, as well as illuminated signs above the doorways to the lounges.[21]

The ladies' and men's parlors both consist of a foyer and a washroom.[23] The ladies' lounge was designed in a French style, which Eberson said was intended to be "dainty and graceful", while the men's parlor was fitted in a "heavier, sturdier" English style.[18] The foyer and washroom in the ladies' lounge have a marble floor, as well as painted-plaster walls and ceilings, which are decorated with moldings. An arch separates the ladies' foyer and washroom, and there are also wall sconces and a ceiling cartouche in the ladies' foyer. The men's foyer has wooden walls and ceiling, a tile floor, and a ceiling chandelier.[23]

Staircases on the promenade's and upper foyer's south walls ascend to two small lobbies on the third story, one each to the west and east, which are connected to each other.[a] These lobbies, in turn, have further stairways ascending to the auditorium's upper balcony level. Both lobbies have plaster walls with moldings and elaborate arches, in addition to decorative ceilings with moldings, rosette motifs, and light bulbs. The hallway between the lobbies has walls with wooden pilasters, as well as a vaulted ceiling with moldings and overhanging light bulbs.[23] Additionally, the elevator between the upper and lower foyers connects with an escalator lobby at the auditorium's northeastern corner, which is above the upper foyer and next to the eastern third-story lobby. The upper elevator lobby has three glass-paneled doors leading to the auditorium's upper balcony.[23]

Auditorium

[edit]

The auditorium has about 3,855 seats.[3] The seats are spread across a parterre-level orchestra and a balcony level.[18][23] The side walls, on the west and east, narrow toward the front (south) end of the auditorium, giving the space a wedge shape.[20][23] Both the orchestra level and the balcony are raked, sloping down toward the front of the stage, though the balcony has a steeper slope than the orchestra level.[24] Two aisles on the east and west sides of the orchestra level extend from the rear to the front; they are not connected by any cross-aisles. The orchestra-level aisles lead to five doors on the north wall, which lead from the main lobby and lower foyer. The balcony level has three cross-aisles—one at the rear and two in the middle—which divide the balcony seats into rear (upper), center, and front (lower) sections. The lowest section is also known as the mezzanine.[a][24] A projection room is located behind the rear cross-aisle. In addition to the stairs leading from the balcony level to the promenade, there is a door on the eastern wall leading to the upper elevator lobby.[25] The balcony is cantilevered over the orchestra to improve sightlines from the orchestra seats.[26]

The design of the auditorium was intended to give the impression of an Italian courtyard or piazza.[18][20] Many of the decorations are executed in plasterwork, including arches, columns, caryatids, facades, statues, and urns. These decorations, along with plaster foliage and birds, were intended to contribute to the outdoor courtyard–like ambience.[20] The dark-blue coved ceiling is made of painted plaster and extends from the rear to the front.[20][25] The design of the coved ceiling, combined with the auditorium's wedge shape, was intended to disperse sound throughout the auditorium.[18] There was also a cloud machine, which generated cloud-like mists that moved across the ceiling.[27]

On the auditorium's southern wall is a proscenium arch. There is a curved sounding board along the proscenium arch, which has decorative moldings and a Baroque–style oval mural at its center. The side walls of the proscenium arch include niches with caryatids and twisted columns on either side. There is a statue and coffered ceilings within each of the side niches, as well as frames with broken pediments beneath each niche. A balustrade runs above the arch, stepping up toward the center; the balustrade is divided into sections by pillars with urns. Above the center of the proscenium arch is a niche flanked by urns and reclining statues.[25] The auditorium originally was a single-screen theater,[28] with a wide screen similar to those in the other Wonder Theaters.[29]

The southernmost portions of both side walls are divided vertically into three bays. The center bays on both walls have the most decoration and include arches, columns, reliefs, and moldings. In addition, there is an exit in the center bay of the western wall, to the right of the seating area. There are Corinthian pilasters and broken pediments in the outer bays of the eastern (left) wall, above which are circular windows with garlands. Below the balcony, both of the orchestra level's side walls have arches with columns, and there are groin-vaulted ceilings above each aisle. The west wall also has two statues, as well as putti and busts above the arches on the orchestra level.[25] The statuary on both walls was selected so that each wall had unique details.[18] The balcony's underside consists of a coved ceiling with moldings; in turn, these moldings divide the ceiling into rectangular panels with reliefs.[25] The auditorium is mostly illuminated by recessed and indirect lights.[26] The spaces are illuminated by lamps on the walls and in the side aisles, as well as lamps recessed above the stage.[25]

History

[edit]

Movie palaces became common in the 1920s between the end of World War I and the beginning of the Great Depression.[30][31] In the New York City area, only a small number of operators were involved in the construction of movie palaces. Relatively few architects were responsible for these theaters' designs, including legitimate theater architects Thomas Lamb, C. Howard Crane, and John Eberson.[30] By the late 1920s, numerous movie palaces were being developed in outlying neighborhoods in New York City; previously, the city's movie palaces had been concentrated in Midtown Manhattan.[32] The five Wonder Theatres were developed by Loew's Inc., which at the time was competing with Paramount-Publix.[33] In 1927, Loew's president Nicholas Schenck agreed to take over five sites from Paramount-Publix, in exchange for agreeing not to build competing theaters in Chicago; these five sites became the Wonder Theatres.[33][34]

Use as movie theater

[edit]

Development

[edit]
Clock atop the theater

The Hewitt Place Corporation, a subsidiary of Paramount-Publix,[35] first acquired land on the Grand Concourse in late 1925 with the intention of developing a theater there.[36] At the time, there were several other theaters nearby.[13][36] The corporation claimed that the new theater would bring a piece of "Broadway to the Bronx".[36] Hewitt bought several two-story houses at 2398–2406 Creston Avenue immediately to the west in February 1926, intending to erect a nine-story apartment building there.[37] In March 1927, Paramount-Publix announced that it would build a theater near Fordham Road and the Grand Concourse.[38] The theater was one of nine that Paramount-Publix planned to develop in outlying New York City neighborhoods, though the company later dropped plans for four of the other theaters.[39] John Eberson, who was hired to design the theater, reportedly spent one year planning the interior.[18]

Eberson submitted plans to the New York City Department of Buildings in May 1927 for a $1.8 million movie theater and office building facing the Grand Concourse and Creston Avenue, near 184th Street.[40] The structure was to be erected by the Hewitt Place Corporation and Crestwood Realty Corporation.[40][41] Publix hired Maurice Muller and William Russell Root to operate the 4,000-seat theater there.[42] The venue was tentatively known as the Venetian during planning, and its facade was designed in a Venetian Gothic style.[36] Due to the residential zoning on Creston Avenue, Publix had contemplated constructing an apartment building on the Creston Avenue frontage.[42] The city government denied Publix permission to construct the theater that June, following protests from local residents.[35] Hewitt acquired a property at 2403 Grand Concourse from Samuel Kronsky and the Herman A. Acker Corporation in December 1927.[11] Loew's subsidiary Concourse Realty Corporation decided to buy Hewitt's entire assemblage later the same month.[11][12][13]

Loew's announced in early 1928 that it would begin constructing four of the theaters, including the theater on the Concourse.[43] Work on the theater began in April 1928,[44][45] after N. Masem and Son was hired as the general contractor.[36] Within a month, Loew's competitor Keith-Albee-Orpheum decided to develop a competing theater on a site on Fordham Road that had been vacant for four years.[45] One local real-estate developer characterized the theater's construction as one of several improvements to "this great thoroughfare of the Bronx", the Grand Concourse.[46] Loew's Paradise Theatre opened on September 7, 1929,[44][47] the same day as the Kings Theatre.[48] They were among the three Wonder Theatres whose openings were scheduled for that month, the other being the Jersey Theatre.[49][50] The Paradise's first-ever film was The Mysterious Dr. Fu Manchu with Warner Oland.[44][51] On opening day, the theater hosted a performance of the United States' national anthem "The Star-Spangled Banner", followed by musical shows, short films, a live show, and a screening of The Mysterious Dr. Fu Manchu.[44] In its first several days, the Paradise was often filled to capacity.[52]

1920s to 1940s

[edit]

The Loew's Paradise presented first runs of films along with stage shows when it opened. Initially, the Loew's Paradise presented stage shows that had already been performed at the Capitol Theatre in Manhattan.[53][54] Frank Rieger was hired as the theater's first chief engineer,[55] Dave Schooler was the initial master of ceremonies,[53][56] Don Albert was the inaugural conductor, and Jerry de Rose was the first manager.[53] Schooler led the theater's 25-piece band, which could play popular or classical music.[51] Visitors initially paid between 25 cents and one dollar per ticket; the cheapest tickets were for orchestra and upper-balcony seats during weekday morning, while the most expensive tickets were for seats in the lower balcony during weekend and holiday evenings.[22] With the opening of the Paradise, the nearby Loew's Grand Theatre began screening second runs of films that had been screened at the Paradise for two weeks.[57] Overflow crowds from the theater usually visited the nearby RKO Fordham Theatre, a competing venue that also screened first runs of films, while patronage at the Grand Theatre had declined.[58]

In late 1929, the orchestras at the Paradise and Loew's other theaters began performing at alternating Loew's theaters.[59] Stage shows at the Paradise were temporarily halted in 1930 before resuming at the end of the year.[60] The next year, the theater's stage shows were rescheduled so that they opened on Fridays, rather than on Saturdays as they previously had.[61] Among the performers who appeared in the Paradise's stage shows were the jazz musician Cab Calloway,[62] the actor Eddie Cantor,[63] and the jazz musician Ben Bernie.[64] Loew's also began hosting five-act vaudeville shows at the Paradise in 1932.[65] After nearly two dozen sticks of dynamite, enough to destroy the theater, were discovered in the projection booth that September;[66] three thousand people were in the theater when the bomb was detected, and the bomb did not detonate only because it had a defective fuse.[67] Disgruntled film operators were accused of planning the attempted bombing.[68] With the onset of the Great Depression, the Paradise reduced ticket prices in 1934,[69] and the most expensive tickets were decreased to 75 cents.[22]

Loew's decided to stop hosting vaudeville shows at the Paradise in September 1935, switching to an all-film program;[70][71] at the time, the company was eliminating vaudeville shows from most of its theaters.[72] In addition, ticket prices at the Paradise were reduced after the discontinuation of vaudeville shows.[71] To attract visitors, and amid a decline in the number of newly released films, Loew's considered hosting vaudeville shows at the theater in 1936.[73] The Paradise distributed prizes to random nighttime visitors in the 1930s as part of the Bank Night franchise, but these lotteries were discontinued following protests from the operators of rival theaters.[74]

  • In the late 1940s a concrete slab was installed over the orchestra pit to create four extra rows of seats. It covered the orchestra pit and organ console. The slab was lifted only once, in the 1960s, to enable the removal of the organ console. Together with the rest of the organ pipes, the console was moved and installed at the Loew's Jersey Theatre. (Its original organ was removed in 1949, and moved to the Arlington Theatre in Santa Barbara, California).

1950s to 1990s

[edit]

Over the years, many features and fittings in the Paradise disappeared through theft. By the late 1960s it was on the market for redevelopment, and was open only for evening performances. The theater lost most of its original decorations in the 1970s.[5] The theatre was divided in two in December 1973, then in 1975 it was triplexed, and in 1981 was divided for four screening rooms. These changes hid practically all the original auditorium interior behind drop ceilings and panel walls.[75]

Closure and reuse

[edit]

Event venue

[edit]

The Paradise Theatre closed in 1994 and was empty for six years.[75] One proposal for the theater would have entailed covering the plaster decorations in the auditorium and dividing the space into a shopping mall.[76] The New York City Landmarks Preservation Commission (LPC) designated the theater's facade as a city landmark in 1997.[77] By November 2000, work had begun on a restoration, but this was halted due to an ownership rights dispute.[78] A new owner, Gabriel Boter, took control and completed the renovation.[78][79] Gerald Lieblich paid $4.5 million for the Paradise in 2003.[3][80] The new owner removed the modifications that the previous owners had made to the theater.[76]

The theater reopened in October 2005 as a live theatre and special events venue.[78] Initially, the theater hosted events that catered to the local Latino community, such as Puerto Rican salsa performances and a boxing-and-music event.[78][79] The theater was also rented out for children's theatrical shows, graduation ceremonies, weddings, bar and bat mitzvahs, and political gatherings. The chef Eric Basulto was hired to operate the Paradise's restaurant, which opened in December 2005.[79]

The interior of the theater was dedicated as a landmark in May 2006;[76][81] as such, all alterations to the interior, except for the stage area, was subject to approval from the LPC.[80] Musicians such as the rapper Rick Ross and the rock band The Killers played at the Paradise.[3] Bernie Williams appeared at the Paradise playing guitar with his band on September 22, 2007. The Paradise Theater was scheduled to have opened again on October 24, 2009 under new ownership. Concert promoters Derrick Sanders and Shelby Joyner scheduled a Grand Opening performance by Charlie Wilson of The Gap Band.

Church

[edit]

In October 2012, the building was leased to the World Changers Church New York, a prosperity gospel congregation which is led by Atlanta-based pastor Creflo Dollar and his wife Taffi.[3][80][82] The building's interior was damaged in a fire the next month;[83][84] an investigation subsequently found that the fire had been caused by construction workers using tools that sparked a piece of hot metal.[3][82]

The church suspended services in 2020 due to the COVID-19 pandemic and subsequently moved to a new location.[85] At the time, there were only two operating movie theaters in the Bronx, and there was little demand for additional theaters due to the popularity of online streaming media.[86] By 2023, the building remained vacant.[85][86] Vanessa Gibson, the Bronx borough president at the time, said that there were plans to reopen the Paradise, although it would not operate as a theater.[86]

Critical reception

[edit]

When the theater opened in 1929, the Brooklyn Times-Union described the Paradise Theatre as "the most elaborate theatre outside of Manhattan",[49] and the Brooklyn Daily Times wrote that the Loew's Kings and Paradise theaters were "in fact superior to most Broadway houses".[54] Logan Billingsley, the chairman of the Bronx Chamber of Commerce, said that "in every detail it will equal the pretentious display of talent that has marked the downtown [New York City] Loew theatres".[56]

The architectural writer Judith Gura described the theater in 2015 as "an opulent escapist environment that could be enjoyed for as little as twenty-five cents" at the time of its opening.[4] When the theater reopened in 2005, a writer for The Journal News described the theater as feeling "more like a European opera house, with its elaborate baroque stylings, gilded surfaces and marble staircases".[79] Lloyd Ultan, the borough historian for the Bronx, said in 2012 that the Paradise was "a piece not only of theater history, but of architectural history as well".[84] Yet another observer likened the Paradise Theatre to "an outdoor baroque Italian garden".[87]

See also

[edit]

References

[edit]
  1. ^ a b c d e f g For detailed diagrams of the interiors, refer to Landmarks Preservation Commission 1999, pp. 16–18.

Citations

[edit]
  1. ^ Appel, Heather (July 12, 2007). "Paradise Theater in Hands of Utopia". Norwood News. Archived from the original on June 28, 2015. Retrieved April 15, 2019.
  2. ^ Roe, Ken. "Cinema Treasures – Paradise Theater". Retrieved April 27, 2014.
  3. ^ a b c d e f Beekman, Daniel (December 2, 2012). "Iconic Paradise Theater on Grand Concourse set to begin next act as megachurch of Creflo Dollar". New York Daily News. Retrieved November 16, 2024.
  4. ^ a b c Gura 2015, p. 150.
  5. ^ a b Bruno, Giuliana (2022). Atmospheres of Projection: Environmentality in Art and Screen Media. Emersion: Emergent Village Resources for Communities of Faith Series. University of Chicago Press. p. 311. ISBN 978-0-226-81745-3. Retrieved November 29, 2024.
  6. ^ a b New York City Landmarks Preservation Commission; Dolkart, Andrew S.; Postal, Matthew A. (2009). Postal, Matthew A. (ed.). Guide to New York City Landmarks (4th ed.). New York: John Wiley & Sons. pp. 333–334. ISBN 978-0-470-28963-1.
  7. ^ Gray, Christopher (April 15, 1990). "Streetscapes: Jamaica's Valencia Theater; a Success Story Masks a Landmarks Law Quirk". The New York Times. ISSN 0362-4331. Archived from the original on July 7, 2022. Retrieved September 5, 2015.
  8. ^ a b Iverem, Esther (January 22, 1991). "Movie Theaters That Were Palaces Now Playing: Queens History". Newsday. p. 54. ISSN 2574-5298. ProQuest 278315782.
  9. ^ Adams, Nathaniel (January 16, 2015). "Across the New York Area, Restoring 'Wonder Theater' Movie Palaces to Glory". The New York Times. Archived from the original on November 26, 2023. Retrieved November 7, 2024.
  10. ^ Gray, Christopher (March 11, 2007). "The Kings Is Dead! Long Live the Kings!". The New York Times. Archived from the original on November 10, 2024. Retrieved November 11, 2024.
  11. ^ a b c d "Loew Interests Plan Large Bronx Theater: Plot of 39,000 Square Feet Assembled at Grand Concourse and Creston Avenue Will Be Improved". New York Herald Tribune. December 20, 1927. p. 37. ISSN 1941-0646. ProQuest 1132099866.
  12. ^ a b "Bronx Plot is Sold for a 6-story Flat; Elevator Building for Vacant Site Near 168th Street Will Contain Doctors' Offices". The New York Times. December 19, 1927. Retrieved November 29, 2024.
  13. ^ a b c "Loew Buying Sites, Building, And Angling for New Theaters". The Billboard. Vol. 39, no. 53. December 31, 1927. p. 9. ProQuest 1031856495.
  14. ^ "Subway Map" (PDF). Metropolitan Transportation Authority. September 2021. Retrieved September 17, 2021.
  15. ^ "Investor Acquires Big Bronx Parcel: Five-story Corner Garage on Grand Concourse Figures in $750,000 Deal". The New York Times. May 6, 1934. pp. RE1. ISSN 0362-4331. ProQuest 101007368.
  16. ^ a b c d e f g h Landmarks Preservation Commission 2006, p. 5.
  17. ^ a b Gura 2015, pp. 150–151.
  18. ^ a b c d e f g h i "Film House Reviews: Loew's Paradise". Variety. Vol. 96, no. 9. September 11, 1929. p. 48. ProQuest 1505766494.
  19. ^ a b c d e Landmarks Preservation Commission 2006, p. 8.
  20. ^ a b c d e f g h Gura 2015, p. 152.
  21. ^ a b c d e f Landmarks Preservation Commission 2006, p. 9.
  22. ^ a b c d Landmarks Preservation Commission 2006, p. 6.
  23. ^ a b c d e f Landmarks Preservation Commission 2006, p. 10.
  24. ^ a b Landmarks Preservation Commission 2006, pp. 10–11.
  25. ^ a b c d e f Landmarks Preservation Commission 2006, p. 11.
  26. ^ a b Gura 2015, pp. 152–153.
  27. ^ Gura 2015, p. 153.
  28. ^ Mooney, Richard E. (March 17, 1999). "Showtime: Marcus Loew". New York Daily News. p. 261. ISSN 2692-1251. Retrieved November 8, 2024.
  29. ^ "Wide Screen for New Loew Houses". The Billboard. Vol. 42, no. 13. March 29, 1930. p. 38. ProQuest 1031946936.
  30. ^ a b Landmarks Preservation Commission 2016, pp. 5–6.
  31. ^ Hall, Ben M. (1975). The Best Remaining Seats: The Story of the Golden Age of the Movie Palace. C. N. Potter. p. 12. ISBN 978-0-517-02057-9. Archived from the original on December 14, 2021. Retrieved December 16, 2021.
  32. ^ Stern, Robert A. M.; Gilmartin, Patrick; Mellins, Thomas (1987). New York 1930: Architecture and Urbanism Between the Two World Wars. New York: Rizzoli. p. 262. ISBN 978-0-8478-3096-1. OCLC 13860977.
  33. ^ a b Historic Structures Report: Loew's Kings Theatre (PDF) (Report). National Register of Historic Places, National Park Service. July 6, 2012. p. 16.
  34. ^ Landmarks Preservation Commission 1997, p. 3.
  35. ^ a b "Pictures: Publix is Blocked on Bronx Site". Variety. Vol. 87, no. 11. June 29, 1927. p. 11. ProQuest 1529126638.
  36. ^ a b c d e Landmarks Preservation Commission 2006, p. 4.
  37. ^ "Real Estate News: New Flat Project For Bronx Will Involve $1,000,000 9-Story Apartment Planned for Site Purchased in Creston Ave.; $350,000; Prospect Ave. House Sold". The New York Herald, New York Tribune. February 11, 1926. p. 34. ISSN 1941-0646. ProQuest 1112717548; "New Bronx Flat to Cost $1,000,000: Builders Assemble Plot in the Fordham' District for a 9story Project". The New York Times. February 10, 1927. p. 40. ISSN 0362-4331. ProQuest 103971546.
  38. ^ "Pictures: Publix's N. Y. Neighborhood Policy 9 New Theatres; $20,000,000". Variety. Vol. 86, no. 9. March 16, 1927. pp. 4, 14. ProQuest 1475703994.
  39. ^ "Pictures: 4 New Publix Neighborhood Houses Reported Abandoned". Variety. Vol. 87, no. 1. April 20, 1927. p. 4. ProQuest 1475725229.
  40. ^ a b "New Theater Plans and Activities". The Billboard. Vol. 39, no. 22. May 28, 1927. p. 41. ProQuest 1031823560; "$1,800,000 Theatre Planned in Bronx". The New York Times. May 12, 1927. p. 48. ISSN 0362-4331. ProQuest 104176457.
  41. ^ "Vaudeville: Theatres Proposed". Variety. Vol. 87, no. 7. June 1, 1927. p. 34. ProQuest 1529388577.
  42. ^ a b "Pictures: Publix Reported in on New Bronx 4,000-Seater". Variety. Vol. 87, no. 5. May 18, 1927. p. 11. ProQuest 1529390534.
  43. ^ "Pictures: Loew's 4 New N.Y. Neighb'hoods; 1st Presentations in Suburbs". Variety. Vol. 90, no. 6. February 22, 1928. p. 14. ProQuest 1475748363.
  44. ^ a b c d Landmarks Preservation Commission 1997, p. 5.
  45. ^ a b "Vaudeville: Loew-Publix and K-A's New Ones in Bronx". Variety. Vol. 91, no. 6. May 23, 1928. p. 45. ProQuest 1529130337.
  46. ^ "Calls Concourse Bronx Main Street; North and South Extension Plans Will Provide Better Transit Facilities". The New York Times. March 3, 1929. Retrieved November 29, 2024.
  47. ^ "Two New Loew's Houses". New York Herald Tribune. September 8, 1929. p. F8. ISSN 1941-0646. ProQuest 1112002457.
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