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Cruel, Cruel Love Clippings 17/28
Motography, Chicago, May 2, 1914.
THE STRAND (...)
NEW YORK‘S PHOTO PLAY PALACE
A NATIONAL INSTITUTION
(...) Strand Program Cover, New York, Aug. 13, 1916
& Joseph Plunkett‘s prologue for The Idle Class
Mr. Plunkett, of the New York Strand, establihed
a valuable precedent in the presentation
of The Idle Class, Charles Chaplin‘s new First National comedy,
with a stage setting designed after an early scene
in the picture. The atmosphere created was directly in keeping
with that prevailing in the production. The Strand
quartette, frequently and favorably mentioned in these columns, provided the entertainment.
(...) Exhibitors Herald, Oct. 22, 1921
& Strand, exterior by night, New York, April 11, 1914
& Strand, auditorium, New York
(...) Photoplay, April 1915
„And a Keystone comedy“
Editorial content. „Strand Theatre Opens
Broadway‘s big theater, The Strand, built exclusively for the showing of photo-plays had its opening Saturday
night, April 11, and its 3,500 seats were spoken for by 7,000
applicants. But the night was a complimentary one from
the management to the people of the industry and the capacity attendance bespoke appreciation of this fact.
The big lobby was lined on either side with floral
offerings, from the various well-wishers of the owners, and
of the managing director, S. L. Rothapfel. For Mr.
Rothapfel, it was a night of triumph, though he seemed
nowhere visible and probably devoted his time to the
projection-room, the regions back of the stage, and to any other
parts of the house which may have needed his attention.
Within the doors, guarded by uniformed ticket-takers,
a surprise greeted all arrivals in the way of a roomy promenade
and a mezzanie floor which swept the broad width of the
house in an oval-shaped promenade. This is a decidedly new
note in theater construction and it was one of the ideas
which Mr. Rothapfel brought back with him from his recent
trip to Europe. The theatre itself is large, the seats are
roomy, and the stage, with its miniature garden and triple fountain,
and orchestra, are symbolic of the Rothapfel policy of theater arrangement and decoration. The colors which blend and add
softness to the newness of the house, are French gray,
old rose and gold. There are murals on the walls and decorative
figures in relief which present the dreams of life. And there
is also a heavy curtain of embroidered velvet and a steel curtain,
which shuts off the stage from the remainder of the house.
The program which officially opened The Strand began with
a section of film made by the Edison Company, entitles
The Star-Spangled Banner. During its showing the orchestra
and orchestral organ played the strains of this national air
and the audience remained standing. Then came an overture
from Liszt, directed by Carl Edouarde, scenes from Italy,
accompanied by vocal music, Pathe‘s Weekly, a stretch of Our
Mutual Girl film in which she meets the owners and director
of The Strand, a quartet from Rigoletto by The Strand Quartet
and a Keystone comedy.
An intermission of five minutes and the spectators were
brought to attention with the introduction of those characters who
live so well the story of Rex Beach‘s The Spoilers. From
the first to the last of its nine reels, there was no deviation of
attention and during the fight scene William Farnum
(Glenister) and Thomas Santschi (McNamara), the interest
and silence were intense. It is a wonderful picture and
was worthy of the occasion which gave it to the film people
of New York.
Its close was accompanied by the gradual growth of
amber-toned light, which system of illumination is but another
feature of the house on Broadway, at Forty-seventh street,
which was built as a tribute to the art of the photo-play.“
Strand Theatre, Broadway and 47th Street, New York.
Tango Tangles is released by Keystone March 9, 1916,
His Favorite Pastime March 16, 1914,
Cruel, Cruel Love March 26, 1914,
The Star Boarder April 4, 1914,
Mabel at the Wheel April 18, 1914 and
Twenty Minutes of Love April 20, 1914.
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