Mark Hellinger Theatre
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The Mark Hellinger Theatre (formerly the 51st Street Theatre, Warner Theatre, and Hollywood Theatre) is a theater and church building at 237 West 51st Street in the Midtown Manhattan neighborhood of New York City. Opened in 1930, the Hellinger Theatre is named after journalist Mark Hellinger and was developed by Warner Bros. as a movie palace before later hosting Broadway productions. It was designed by Thomas W. Lamb with a 1930s–modern style facade and a Baroque interior. It has 1,603 seats across two levels and has been a house of worship for the Times Square Church since 1989. Both the exterior and interior of the theater are New York City landmarks.
The facade on 51st Street is constructed with golden and brown bricks. The stage house to the west and the auditorium at the center are designed as one unit, with a cornice above the auditorium. The eastern section, containing the building's current main entrance, includes statues flanking the doors, as well as an overhanging marquee. The 51st Street facade was originally a side entrance; the main entrance was originally at 1655 Broadway but was closed in the 1950s. The interior rotunda lobby contains eight fluted columns, a balcony, and a domed ceiling with several murals; a basement lounge exists under the lobby. The auditorium has a coved ceiling with murals, as well as boxes and a deep stage.
For the first two decades of the theater's existence, it largely served as a cinema under the Hollywood Theatre name. Vaudeville was presented in 1932, and some legitimate live-theatrical productions were shown intermittently from 1934 to 1942. The theater was briefly known as the 51st Street Theatre around 1936 and 1941 and as the Warner Theatre from 1947 to 1948. Anthony Brady Farrell bought the theater and renamed it after Hellinger, reopening it as a legitimate theater in 1949. The theater was subsequently acquired by the Stahl family in 1957 and the Nederlander Organization in 1976. The Hellinger hosted some hits from the 1950s to the 1970s, including My Fair Lady, but later productions such as Timbuktu! were mostly flops. By 1989, a lack of Broadway productions prompted the Nederlanders to lease the theater to the Times Square Church. The church's congregation, which bought the theater in 1991, continues to operate it.
Site
The Mark Hellinger Theatre is at 237 West 51st Street, on the north sidewalk between Eighth Avenue and Broadway, in the Midtown Manhattan neighborhood of New York City.<ref name="aia5">Template:Cite aia5</ref><ref name="ZoLa">Template:Cite web</ref> The irregular land lot covers Template:Convert, with a frontage of Template:Convert on 51st Street and a depth of Template:Convert. The bulk of the theater exists on 51st Street, with a wing extending north to 52nd Street.<ref name="ZoLa" /> The Mark Hellinger Theatre shares the block with the Neil Simon Theatre to the west and Gallagher's Steakhouse to the north. Other nearby buildings include the August Wilson Theatre to the north; the Broadway Theatre and 810 Seventh Avenue to the northeast; Axa Equitable Center to the east; the Winter Garden Theatre to the southeast; and Paramount Plaza (including the Circle in the Square Theatre and the Gershwin Theatre) to the south.<ref name="ZoLa" /> An entrance to the New York City Subway's 50th Street station, serving the Template:NYCS trains, is just south of the theater.<ref>Template:Cite web</ref>
Design
The Mark Hellinger Theatre, originally the Hollywood Theatre, was designed by Thomas W. Lamb and was constructed in 1930 as a movie palace for Warner Bros. While the interior was designed in a 16th-century Baroque style, the exterior was treated in a style that was contemporary for the 1930s.<ref name="aia5" /><ref>Template:Harvnb</ref>
Facade
Broadway (former)
The Hollywood Theatre's main entrance was originally at 1655 Broadway, with a narrow lobby leading to a grand foyer on 51st Street.Template:Efn At the time of the theater's construction in 1930, cinemas that premiered films in the Times Square area typically had entrances on Broadway, regardless of the width. While the Broadway entrance was narrow, it contained a bright marquee and a huge lighted vertical sign. The Broadway entrance was closed in 1934 and converted to retail space before being demolished completely prior to the late 1990s.<ref name="Morrison">Template:Cite book</ref>
The roof of the Hollywood Theatre's Broadway wing originally contained a V-shaped steel sign measuring Template:Convert tall and Template:Convert wide. Described in 1929 as "the largest electrical display in the world", the sign weighed 115 tons. A dedicated generator illuminated the sign's 20,000 bulbs, which were arranged so that Template:Convert letters could be flashed.<ref>Template:Cite news</ref>
51st Street
The only surviving facade is on 51st Street and consists of two modern-style sections, both made of brick and designed with vertical motifs.<ref name="Morrison" /><ref name="NYCL p. 22">Template:Harvnb</ref> The eastern section is a narrow tower containing the building's entrance. The other section, which contains the stage house and auditorium, is shorter but wider.<ref name="NYCL p. 22" /> Although the 51st Street facade serves as the building's current front entrance, this was originally a side entrance.<ref name="Morrison" />
The entrance section has a water table made of black granite. The entrance itself contains five double doors below transom windows, all made of glass with bronze frames. On either side are tall figures holding globe-shaped lanterns, as well as bronze display boxes. A modern marquee is mounted over the building's entrance. The facade is made of gold-colored brick, with three strips of brown-brick rectangles above the marquee, rising to a set of three brown-brick squares. On either side are fluted terracotta panels, topped by stylized urns that contain plant forms. On all stories, the theater's brick courses step outward to the left and right of the tower. The top of the entrance's facade contains a parapet with zigzag patterns.<ref name="NYCL p. 22" />
The stage house to the west and the auditorium at the center share a facade, with gold-colored brick above a black-granite water table. Horizontal brown-brick strips run across the first story. The first floor also contains display boxes with brick headers around them, as well as an office door, a former stage door, and a wide garage door. On the upper stories, the central section (auditorium) contains a large brick panel surrounded by soldier courses. There are rectangular openings to the east (right) of this panel, with grilles above them. The top story of the auditorium contains stylized brick brackets, which support a decorative copper cornice; there are octagonal panels between the brackets. The stage house contains window openings between shallow brick piers. There is a setback on the stage house's upper stories, with plain brick behind it.<ref name="NYCL p. 22" />
Interior
The Hellinger's rococo interior was similar to that of other 1920s movie palaces. The interior spaces were designed by Leif Neandross, chief designer of the Rambusch Decorating Company.<ref name="Morrison" /><ref name="Bloom p. 163">Template:Harvnb</ref> The original decorative scheme was gold with highlights of red and blue.<ref name="p1653814581" />
Lobby
Template:Multiple image The original lobby from Broadway (since demolished) was designed in a modern French style.<ref name="Morrison" /><ref name="p1653814581">Template:Cite news</ref> It was Art Deco in design<ref name="NYCL (Interior) p. 15">Template:Harvnb</ref> and led to the present main lobby.<ref name="Theatre Historical Society (U.S.) 2001 p.">Template:Cite book</ref><ref name="p1653814581" /> According to a contemporary account, the Broadway lobby had mirrored walls with bronze and marble decorations, in addition to a plaster ceiling.<ref name="p1653814581" /> The Broadway lobby was designed to potentially support a taller building that was canceled during the Great Depression.<ref name="Bloom p. 163" />
The main lobby is a double-height oval rotunda with eight fluted columns holding up a domed ceiling.<ref name="Theatre Historical Society (U.S.) 2001 p." /><ref name="NYCL (Interior) p. 22">Template:Harvnb</ref><ref name="nyt-2001-04-13">Template:Cite news</ref> According to the New York City Landmarks Preservation Commission (LPC), the lobby's design is similar to the interior of the 18th-century Basilica of the Fourteen Holy Helpers in Germany.<ref name="NYCL (Interior) p. 15" /> The Times Square Church uses the lobby to sell religious products such as books and CDs.<ref>Template:Harvnb</ref> The main lobby's columns are placed on marble pedestals, and they are topped by Ionic-style capitals. Above the columns is a marble entablature with cherubs.<ref name="NYCL (Interior) p. 22" /> The ceiling has paneled arches and coves, which converge at a rope molding that surrounds the oval dome at the ceiling's center.<ref name="NYCL (Interior) pp. 22-23">Template:Harvnb</ref> A classical mural is painted in the middle of the ceiling;<ref name="Theatre Historical Society (U.S.) 2001 p." /><ref name="nyt-2001-04-13" /><ref name="NYCL (Interior) p. 23">Template:Harvnb</ref> the mural was intended to symbolize arts and learning.<ref name="p1653814581" /> A large multi-tiered candelabra hangs from the middle of the dome.<ref name="nyt-2001-04-13" /><ref name="NYCL (Interior) p. 23" />
The lobby's walls contain marble bases, above which are panels surrounded by ornamental moldings. Lighting sconces are mounted onto the walls, and there are openings to the auditorium's orchestra level on the west wall.<ref name="NYCL (Interior) pp. 22-23" /> Doors on the south wall lead back to the ticket lobby.<ref name="NYCL (Interior) p. 23" /> The north wall contains a grand staircase to a balcony at the auditorium's mezzanine level. Additional staircases connect to that level from the lobby's entrance.<ref name="NYCL (Interior) p. 22" />
The balcony overlooks the lobby.<ref name="p1653814581" /><ref name="NYCL (Interior) p. 23" /> The staircases from the lobby contain wall panels with ornamental moldings as well as lighting sconces; there are also mirrors at the landings. Underneath the balcony, next to the columns on the north wall, are segmental arches that are supported by console brackets. The balcony itself has a balustrade with motifs of scallops and cherubs, while the underside of the balcony has moldings. The walls of the balcony also have panels with moldings; there are doorways decorated with cartouches and swags, which lead to lounges. Ribs divide the balcony's ceiling into panels, and there are moldings along the border of both the ribs and the panels. Candelabras and globe chandeliers are suspended from the balcony ceiling.<ref name="NYCL (Interior) p. 23" /> There was originally furniture along the balcony.<ref name="p1653814581" />
Auditorium
The auditorium has an orchestra level, one balcony, boxes, and a stage behind the proscenium arch. The auditorium is slightly wider than its depth, and the space is designed with plaster decorations in low relief.<ref name="NYCL (Interior) pp. 24-25">Template:Harvnb</ref> The auditorium's seating capacity is 1,603,<ref name="nyt-1981-06-08">Template:Cite news</ref><ref>Template:Cite news</ref> though historically it could fit 1,506 people.<ref name="Morrison" /> The orchestra alone could fit 900 people.<ref name="nyt-1981-06-08" /> The seats are upholstered in red velvet and finished in wood.<ref name="Cimino p. 38">Template:Harvnb</ref> From the outset, three hundred seats were equipped with "Warner Theatre-phones" to both amplify and clarify sound for hard-of-hearing users. Damask curtains were placed on the walls to increase insulation.<ref name="nyt-1930-04-27">Template:Cite news</ref><ref>Template:Harvnb</ref> The auditorium curves inward near the proscenium.<ref name="NYCL (Interior) p. 24" />
Seating areas
The rear (east) end of the orchestra contains a shallow, curving promenade.<ref name="NYCL (Interior) pp. 24-25" /> The walls of the orchestra promenade have doors, above which are exit signs with flanking volutes. Both the orchestra and the promenade contain flat pilasters on the walls, between which are panels with moldings on their borders.<ref name="NYCL (Interior) p. 25">Template:Harvnb</ref> The orchestra is slightly raked, sloping down toward an orchestra pit near the stage.<ref name="NYCL (Interior) p. 24">Template:Harvnb</ref>
The underside of the balcony, above the orchestra, contains globe-shaped light fixtures and three coves with scallops and foliation.<ref name="NYCL (Interior) pp. 25-26">Template:Harvnb</ref> Though the balcony is also raked, its underside is convex, preventing sound-deadening air pockets from accumulating at the orchestra's rear wall.<ref name="nyt-1930-04-27" /> The balcony also has a promenade at its rear, separated from the main balcony by decorated vertical piers.<ref name="NYCL (Interior) p. 25" /> The balcony and promenade walls contain flat pilasters and panels with molded borders. The side walls contain arched doorways with molded frames.<ref name="NYCL (Interior) pp. 24-25" /> The rear wall has a standing rail and lighting sconces.<ref name="NYCL (Interior) p. 26">Template:Harvnb</ref> The balcony level is divided into front and rear sections by a crossover aisle,<ref name="NYCL (Interior) p. 24" /> which runs between metal railings on either side.<ref name="NYCL (Interior) p. 26" /> The balcony's front railing has foliate motifs, which are aligned on a vertical axis.<ref name="NYCL (Interior) pp. 24-25" /> A projection room was placed at the rear of the balcony, measuring Template:Convert long and Template:Convert tall.<ref name="nyt-1930-04-27" />
On either side of the proscenium is an archway with a single box that is curved outward. The balcony's front railing extends onto the box's front railing, supporting two fluted Corinthian columns on either side of each box. Underneath the front railing of each box is an arch at orchestra level, which contains a pair of console brackets with a cartouche at the center. There are also cartouches beside the arches, under each pair of columns; these in turn are flanked by brackets with cherubs and swags. Above each box is another arch, which rises from volutes atop the Corinthian-column pairs.<ref name="NYCL (Interior) p. 25" /> Small pendant chandeliers are placed in front of the boxes' column pairs.<ref name="NYCL (Interior) p. 26" />
Other design features
Next to the boxes is an inverted proscenium arch. The proscenium arch contains Corinthian-style fluted piers and columns on either side, topped by console brackets. The top of the arch is designed as an ornate entablature.<ref name="NYCL (Interior) pp. 24-25" /> The center of the proscenium contains a large plaster-of-Paris crown,<ref name="Morrison" /><ref name="Theatre Historical Society (U.S.) 2001 p." /> supported by a broken pediment with winged figures.<ref name="NYCL (Interior) p. 25" /> The stage has a depth of Template:Convert.<ref name="nyt-1984-11-09">Template:Cite news</ref> Although the Hellinger was built as a cinema, the theater's large stage could also be used to present large musical shows.<ref name="p1653814581" /><ref name="nyt-1930-04-27" />
Below the ceiling, wrapping around the whole auditorium, is an entablature with a leaf molding.<ref name="NYCL (Interior) p. 25" /> The edges of the ceiling are split into numerous coves, separated by console brackets with cartouches at their centers. Each of the coves contains a painted mural with a round frame and a cartouche above.<ref name="NYCL (Interior) p. 25" /> There are twelve frames in total, which depict 18th-century French aristocratic scenes;<ref name="Theatre Historical Society (U.S.) 2001 p." /><ref name="NYCL (Interior) p. 26" /> each mural signifies a different part of the year.<ref name="p1653814581" /> The main portion of the ceiling contains additional molded bands, which contain more murals and surround an oval panel at the center.<ref name="NYCL (Interior) pp. 25-26" /> The oval panel contains a fan design while the surrounding panels are designed in the Adam style. There are small pendant-style chandeliers hanging from the outer panels of the ceiling.<ref name="NYCL (Interior) p. 26" /> A large globe-style chandelier hangs from the center of the oval panel.<ref name="Cimino p. 38" /><ref name="NYCL (Interior) p. 26" />
Basement
Directly below the lobby is an oval basement lounge.<ref name="NYCL (Interior) p. 23" /> There are eight pairs of imitation-marble columns, topped by Tuscan-style capitals.<ref name="NYCL (Interior) pp. 23-24">Template:Harvnb</ref> The walls contain panels with molded borders, and there are molded doorway openings with entablatures.<ref name="NYCL (Interior) p. 24" /> One wall contains a fireplace, the mantelpiece of which consists of a shelf supported on console brackets. The immediate opposite wall has doorways to the women's and men's restrooms.<ref name="NYCL (Interior) pp. 23-24" /> The lounge formerly also had a bar, which was installed in the 1960s.<ref name="nyt-1965-08-24">Template:Cite news</ref>
The ceiling dome is shallow and contains a central medallion with overlapping circles, from which hangs a large chandelier. The rest of the ceiling contains moldings and beams, which divide the ceiling into sections, each with a central medallion and a smaller globe-style chandelier.<ref name="NYCL (Interior) p. 24" /> A staircase curves upward to the lobby and contains paneled walls with molded borders, as well as a paneled ceiling with suspended globe-style chandeliers.<ref name="NYCL (Interior) pp. 23-24" />
History
Movie palaces became common in the 1920s between the end of World War I and the beginning of the Great Depression.<ref>Template:Harvnb</ref><ref>Template:Cite book</ref> In the New York City area, only a small number of operators were involved in the construction of movie palaces. These theaters' designers included the legitimate-theater architects Thomas Lamb, C. Howard Crane, and John Eberson.<ref>Template:Harvnb</ref>
Hollywood Theatre
Development and opening
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In April 1929, Warner Bros. leased the lots at 217 to 233 West 51st Street and 234 West 52nd Street at an annual rate of $40,000. The lease was to run for 17 years, with options for two 21-year extensions. Warner Bros. immediately started planning a movie palace on the site.<ref>Template:Cite news</ref><ref name="nyt-1929-04-03">Template:Cite news</ref> The company planned to build an entrance from Broadway, on the eastern end of the block.<ref name="nyt-1929-04-03" /><ref name="p1699911181">Template:Cite news</ref> The theater was to have 1,600 seats on an orchestra and a balcony level, and it would be the first Broadway theater built specifically for films.<ref name="p1699911181" /><ref>Template:Cite news</ref> Warner Bros. had chosen this site specifically because it was close to the established Theater District around Times Square. That area, by the 1920s, was starting to see the development of movie theaters alongside legitimate venues for live theater.<ref>Template:Harvnb</ref>
The Warner Bros. Hollywood Theatre opened on April 22, 1930, with the Warner Technicolor musical film Hold Everything, starring Winnie Lightner and Joe E. Brown.<ref>Template:Cite news; Template:Cite news</ref> The storefronts on Broadway were leased out for uses such as a Lindy's restaurant.<ref>Template:Cite news</ref> For its first two years, the Hollywood only screened films.<ref>Template:Harvnb; Template:Harvnb</ref> These included Moby Dick<ref>Template:Cite news</ref> and The Beggar of Bagdad in 1930,<ref>Template:Cite news</ref> as well as Bought<ref>Template:Cite news</ref> and The Mad Genius in 1931.<ref>Template:Cite news</ref> Lou Holtz announced his intention in early 1932 to lease the theater for vaudeville.<ref>Template:Cite news; Template:Cite news</ref> Holtz's vaudeville revues opened that February,<ref>Template:Cite news</ref> but they stopped two months later because Holtz said his simultaneous acting and producing of these revues was "strenuous".<ref>Template:Cite news</ref> Vaudeville returned in November 1932 when Arthur George Klein took over the theater for twice-a-day revue performances.<ref>Template:Cite news; Template:Cite magazine</ref> By February 1933, the Hollywood was again dark,<ref>Template:Cite news</ref> and the theater returned to hosting films afterward.<ref name="Bloom p. 164">Template:Harvnb</ref> During 1933, Warner Bros. acquired additional land at 235 to 239 West 51st Street from the Shubert brothers.<ref>Template:Cite news; Template:Cite news</ref> Generally, the Hollywood's films were not successful, and the venue stood empty for long periods.<ref>Template:Cite magazine</ref>
Alternating live shows and film
Warner Bros. announced in October 1934 that it would renovate the stage for theatrical use and add 32 dressing rooms.<ref>Template:Cite news</ref> These changes were to accommodate Hollywood's first theatrical production:<ref name="Bloom p. 164; BM p. 291; NYCL p. 19">Template:Harvnb; Template:Harvnb; Template:Harvnb</ref> Calling All Stars, a musical revue with Martha Raye, which opened in December 1934<ref name="The Broadway League 1934" /><ref>Template:Cite news</ref> and ran 35 performances.<ref name="The Broadway League 1934" /><ref name="Bloom p. 164; BM p. 291; NYCL p. 28">Template:Harvnb; Template:Harvnb; Template:Harvnb</ref> In October 1935, the Hollywood hosted the premiere of the Warner Bros. film A Midsummer Night's Dream, starring James Cagney and Olivia de Havilland.<ref>Template:Cite book; Template:Cite news</ref> The following March, Earl Carroll negotiated with Warner Bros. to rename the Hollywood Theatre for himself<ref name="p1653643742">Template:Cite news</ref> and stage musicals there.<ref name="p1653643742" /><ref>Template:Cite news</ref> The theater was leased to George Abbott and renamed the 51st Street Theatre in late 1936.<ref>Template:Cite news; Template:Cite magazine</ref> The theater's main entrance was relocated from Broadway to 51st Street,<ref name="p1475904626">Template:Cite magazine</ref><ref name="NYCL p. 19">Template:Harvnb</ref> as Warner Bros. wished to use the Broadway entrance for films and the 51st Street entrance for legitimate productions.<ref name="p1475904626" /> Abbott's play Sweet River opened that October<ref name="Atkinson 1936">Template:Cite news</ref><ref name="The Broadway League 1936">Template:Cite web; Template:Cite web</ref> and closed after five performances.<ref name="Bloom p. 164; BM p. 291; NYCL p. 28" /><ref name="The Broadway League 1936" />
The 51st Street Theatre reverted to film in 1937;<ref name="Bloom p. 164; BM p. 291; NYCL p. 19" /><ref name="p1505676925">Template:Cite magazine</ref> Warner Bros. planned to either host its own films or rent the theater out for screenings.<ref name="p1505676925" /> The Hollywood Theatre name was restored in August 1937<ref name="Bloom p. 164" /> with the screening of The Life of Emile Zola,<ref>Template:Cite news</ref><ref name="nyt-1937-08-12">Template:Cite news</ref> the first premiere at the theater since A Midsummer Night's Dream.<ref name="nyt-1937-08-12" /> Further films followed until October 1938, when another live production opened, the Gilbert and Sullivan-themed musical Knights of Song.<ref name="NYCL p. 19" /><ref name="The New York Times 1938">Template:Cite news</ref> This was followed by the 1939 edition of George White's Scandals, a transfer from the Alvin Theatre,<ref name="Bloom p. 164; BM p. 291; NYCL p. 19" /><ref name="The Broadway League 1939" /> which ran for a month at the Hollywood.<ref>Template:Cite news</ref> In 1940, the theater was again renamed the 51st Street Theatre,<ref name="Bloom p. 164; BM p. 292; NYCL p. 19">Template:Harvnb; Template:Harvnb; Template:Harvnb</ref> presenting a revival of Romeo and Juliet with Laurence Olivier and Vivien Leigh that May.<ref>Template:Cite news; Template:Cite news</ref> Though the play had been highly promoted,<ref name="Bloom p. 164; BM p. 292">Template:Harvnb; Template:Harvnb</ref> it ran for only 36 performances.<ref name="The Broadway League 19402" /><ref name="BM p. 292; NYCL p. 29" /> This was followed in October 1940 by a three-week performance by the Ballet Russe de Monte-Carlo,<ref>Template:Cite news</ref><ref name="The Broadway League 1940" /> then in November by performances from Colonel Wassily de Basil's Original Ballet Russe.<ref>Template:Cite news</ref><ref name="The Broadway League 19403">Template:Cite web; Template:Cite web</ref>
The theater reverted to the Hollywood Theatre name and again began showing films.<ref name="Bloom p. 164; BM p. 292" /> A renovation of the Hollywood Theatre was announced in mid-1941, when Eddie Cantor's musical Banjo Eyes was booked.<ref>Template:Cite news</ref> Banjo Eyes opened in December 1941 and ran for 129 performances,<ref name="BM p. 292; NYCL p. 29" /><ref name="The Broadway League 1941" /> ultimately closing after Cantor became ill.<ref>Template:Harvnb; Template:Cite news</ref> Following Banjo Eyes, the Hollywood returned to showing films exclusively for several years.<ref name="Bloom p. 164; BM p. 292; NYCL p. 19" /> The film Casablanca, which subsequently became a hit and a classic, premiered at the Hollywood in 1942.<ref>Template:Cite news; Template:Cite news</ref> Among the films screened at the Hollywood in the mid-1940s were This Is the Army (1943),<ref>Template:Cite news</ref> Old Acquaintance (1943),<ref>Template:Cite news</ref> The Adventures of Mark Twain (1944),<ref>Template:Cite news</ref> The Corn Is Green (1945),<ref>Template:Cite news</ref> and Night and Day (1946).<ref>Template:Cite news</ref> The Hollywood Theatre became the Warner Theatre in August 1947 with the premiere of the film Life with Father.<ref name="Bloom p. 164; BM p. 292" /><ref>Template:Cite news</ref>
Mark Hellinger Theatre
Late 1940s and 1950s
The producer Anthony Brady Farrell agreed to purchase the Warner Theatre in June 1948 for about $1.5 million;<ref>Template:Cite news; Template:Cite news</ref> the sale was finalized the next month.<ref name="p1324163377">Template:Cite news</ref><ref>Template:Cite news; Template:Cite news</ref> Farrell announced plans to rename the theater for Mark Hellinger,<ref>Template:Cite news</ref> a Broadway journalist and critic who had died the year before,<ref>Template:Harvnb; Template:Harvnb</ref> and he proposed renovating the theater for legitimate plays and musicals.<ref name="p1324163377" /> The theater was dedicated under its new name on January 16, 1949,<ref>Template:Cite news</ref> and Farrell's musical All for Love opened the next week on January 22, with Paul Hartman, Grace Hartman, and Bert Wheeler.<ref name="Calta 1949">Template:Cite news</ref><ref name="BM pp. 292-293; NYCL p. 29">Template:Harvnb; Template:Harvnb</ref> All for Love lost money<ref name="Bloom p. 164; BM p. 292" /> but ran 121 performances.<ref name="BM pp. 292-293; NYCL p. 29" /><ref>Template:Cite web; Template:Cite web</ref> This was followed by S. M. Chartock's three-week-long showcase of Gilbert and Sullivan productions in late 1949.<ref name="BM p. 293">Template:Harvnb</ref><ref>Template:Cite news</ref> Despite a string of early losses, as well as a weekly expenditure of $4,500 to $5,000 for the Hellinger's maintenance, Farrell was optimistic about the theater's potential to make money.<ref>Template:Cite magazine</ref> Farrell's musical Texas Li'l DarlinTemplate:', featuring Kenny Delmar, opened at the end of 1949.<ref>Template:Cite news</ref> Texas Li'l DarlinTemplate:' was the first hit in the Hellinger's history,<ref name="Bloom p. 164" /> running for 293 performances.<ref name="BM p. 293" /><ref name="Internet Broadway Database 1949">Template:Cite web; Template:Cite web</ref>
Tickets, Please! transferred from the Coronet Theatre in late 1950,<ref name="The Broadway League 1950" /><ref name="Bloom p. 164; BM p. 293; NYCL p. 29">Template:Harvnb; Template:Harvnb; Template:Harvnb</ref> followed by the Harold Rome revue Bless You All at the end that year.<ref name="Bloom p. 164; BM p. 293; NYCL p. 29" /><ref name="Internet Broadway Database 1950">Template:Cite web; Template:Cite web; Template:Cite news</ref> Premiering in 1951 was Two on the Aisle with Bert Lahr and Dolores Gray,<ref name="Bloom p. 164; BM p. 293; NYCL p. 19">Template:Harvnb; Template:Harvnb; Template:Harvnb</ref><ref>Template:Cite news</ref> which had 276 performances.<ref name="The Broadway League 1951" /><ref name="BM p. 293; NYCL p. 29">Template:Harvnb; Template:Harvnb</ref> Three Wishes for Jamie opened there the next year and ran for 92 performances, some at the Plymouth Theatre.<ref name="BM p. 293; NYCL p. 30">Template:Harvnb; Template:Harvnb</ref><ref name="The Broadway League 19523">Template:Cite web; Template:Cite web</ref> Chartock returned in late 1952 with a four-week engagement of Gilbert and Sullivan productions,<ref name="BM p. 293; NYCL p. 30" /><ref>Template:Cite news</ref> followed by Guthrie McClintic and the Greek National Theater with two plays by Sophocles.<ref name="BM p. 293" /><ref>Template:Cite news</ref> The musical Hazel Flagg by Jule Styne opened in 1953;<ref>Template:Harvnb; Template:Harvnb; Template:Harvnb</ref><ref name="The Broadway League 1953" /><ref name="nyt-1953-02-11">Template:Cite news</ref> The New York Times had reported by then that the Broadway entrance had been "discontinued".<ref name="nyt-1953-02-11" /> The Broadway lobby was then leased out to a clothier in late 1953.<ref>Template:Cite news</ref>
The Girl in Pink Tights, the final show of the late composer Sigmund Romberg,<ref name="Bloom p. 165; BM pp. 293-294">Template:Harvnb; Template:Harvnb</ref> premiered in 1954<ref name="Bloom p. 165; BM pp. 293-294" /><ref>Template:Cite news</ref> and closed after 115 performances.<ref name="BM p. 294; NYCL p. 30">Template:Harvnb; Template:Harvnb</ref><ref name="The Broadway League 1954" /> The Ballets Espagnols also performed at the Hellinger that November for a four-week run.<ref name="BM p. 294">Template:Harvnb</ref><ref>Template:Cite news</ref> The Amish-themed musical Plain and Fancy opened in January 1955<ref name="BM p. 294" /><ref>Template:Cite news</ref> and was a hit with 461 total performances, some at the Winter Garden Theatre.<ref name="BM p. 294; NYCL p. 30" /><ref name="The Broadway League 19552" /> The same year, the Hellinger hosted Ankles Aweigh for 176 performances.<ref name="The Broadway League 1955" /><ref>Template:Cite news</ref> The Hellinger had its greatest success with the musical My Fair Lady, with lyrics by Alan Jay Lerner and a score by Frederick Loewe.<ref name="Bloom p. 165; BM p. 294; NYCL p. 19">Template:Harvnb; Template:Harvnb; Template:Harvnb</ref> My Fair Lady opened in March 1956<ref name="BM p. 294" /><ref>Template:Cite news</ref> and eventually ran more than 2,700 total performances across multiple theaters, becoming the longest-running Broadway production ever at the time.<ref name="BM p. 294; NYCL p. 31">Template:Harvnb; Template:Harvnb</ref><ref name="The Broadway League 1956" /> Prior to the success of My Fair Lady, there was a rumor in the theatrical community that the Hellinger was destined to never host a hit.<ref>Template:Cite news</ref> A year after My Fair Lady opened, Farrell sold the Hellinger to Max and Stanley Stahl, who had already purchased the neighboring building on Broadway.<ref>Template:Cite news</ref><ref name="p1014791267">Template:Cite magazine</ref> The new owners chartered a company called Mark Hellinger Theatre Inc.<ref name="p1014791267" />
1960s to mid-1970s
In the 1960s, the Hellinger continued to host several popular musicals.<ref name="NYCL p. 19" /> Richard Rodgers and Samuel Taylor tried to stage their musical No Strings, but My Fair LadyTemplate:'s producer refused to move.<ref>Template:Cite news</ref> The New York Supreme Court ruled in February 1962 that My Fair Lady had to relocate,<ref>Template:Cite news; Template:Cite news</ref> but Rodgers and Taylor had booked another theater by then.<ref>Template:Cite news; Template:Cite news</ref> The Rodgers and Hammerstein musical The Sound of Music then transferred to the Hellinger from the Lunt-Fontanne for the last seven months of the musical's run.<ref name="The Broadway League 1959" /><ref name="Bloom p. 165; BM p. 294">Template:Harvnb; Template:Harvnb</ref> The Italian-language Rugantino was staged in 1964<ref name="Bloom p. 165; BM p. 294; NYCL p. 31">Template:Harvnb; Template:Harvnb; Template:Harvnb</ref><ref name="The Broadway League 19642" /> with live supertitles on the proscenium,<ref name="Bloom p. 165; BM p. 294" /><ref>Template:Cite news</ref> though it flopped in spite of critical acclaim.<ref name="Bloom p. 165; BM p. 294" /> Styne, Betty Comden, and Adolph Green's musical Fade Out – Fade In also opened in 1964,<ref>Template:Cite news</ref> featuring Jack Cassidy and Carol Burnett.<ref name="Bloom p. 165; BM p. 294; NYCL p. 19" /><ref name="The Broadway League 1964" /> On a Clear Day You Can See Forever opened in 1965 with a score by Burton Lane and Lerner.<ref name="Bloom p. 165; BM p. 294; NYCL p. 19" /><ref name="The Broadway League 19652" /> The same year, a Template:Convert bar counter was installed in the lounge's rotunda.<ref name="nyt-1965-08-24" />
The late 1960s were characterized by several unsuccessful musicals.<ref name="Bloom p. 165; BM p. 294" /> The musical A Joyful Noise in 1966, with choreography by Michael Bennett,<ref name="Bloom p. 165; BM p. 294; NYCL p. 31" /> ended after just 12 performances.<ref name="The Broadway League 1966" /><ref>Template:Cite news</ref> The Martha Graham Dance Company had a limited engagement at the theater the next year.<ref name="Barnes 1967">Template:Cite news</ref> Also staged in 1967 was Illya Darling with Melina Mercouri,<ref name="Bloom p. 165; BM p. 294; NYCL p. 31" /><ref>Template:Cite news</ref> which ran 319 performances<ref name="BM p. 294; NYCL p. 31" /><ref name="The Broadway League 1967" /> without turning a profit.<ref name="BM p. 294" /> A third flop followed in 1968, the Biblical musical I'm Solomon with Dick Shawn and Karen Morrow.<ref name="Bloom p. 165; BM p. 294; NYCL p. 31" /><ref name="The Broadway League 1968" /> The same year, the Hellinger hosted ballet performances from Les Ballets Africains;<ref name="BM p. 294" /><ref name="Barnes 1968">Template:Cite news</ref> a premiere of the documentary New York City—The Most;<ref>Template:Cite news; Template:Cite magazine</ref> and a limited concert engagement by Marlene Dietrich.<ref name="BM p. 294" /><ref name="Chapman 1967">Template:Cite news</ref> Two productions followed in 1969: Jerry Herman's Dear World, featuring Angela Lansbury,<ref name="Bloom p. 165; BM p. 294; NYCL p. 32">Template:Harvnb; Template:Harvnb; Template:Harvnb</ref><ref name="The Broadway League 19692" /> and Lerner and André Previn's Coco, starring Katharine Hepburn in her only Broadway musical.<ref name="Bloom p. 165; BM p. 294; NYCL p. 32" /><ref name="The Broadway League 1969" />
The Hellinger hosted its first Tony Awards ceremony in 1969;<ref>Template:Cite magazine; Template:Cite news</ref> it also hosted the 1970 Tony Awards.<ref>Template:Cite news; Template:Cite news</ref> The Hellinger next staged the flop Ari<ref name="Bloom p. 165; BM p. 294; NYCL p. 32" /><ref name="Internet Broadway Database 1971">Template:Cite web; Template:Cite web; Template:Cite news</ref> and the final performances of the long-running off-Broadway production Man of La Mancha in 1971.<ref name="Bloom p. 165; BM p. 294; NYCL p. 32" /><ref name="The Broadway League 1965" /> This was followed the same year by Andrew Lloyd Webber and Tim Rice's Jesus Christ Superstar,<ref name="Bloom p. 165; BM p. 294; NYCL p. 32" /><ref>Template:Cite news</ref> which ran for 720 performancesTemplate:Efn over the next two years.<ref name="BM pp. 294-296; NYCL p. 32">Template:Harvnb; Template:Harvnb</ref> A mixture of successes and failures followed.<ref name="BM p. 296">Template:Harvnb</ref> The Martha Graham Dance Company returned in 1974<ref>Template:Cite news; Template:Cite news</ref> and 1975<ref>Template:Cite news; Template:Cite news</ref> to critical acclaim.<ref name="BM p. 296" /> Conversely, the all-male revival of As You Like It (1974),<ref name="The Broadway League 1974" /> The Skin of Our Teeth (1975),<ref name="The Broadway League 19752" /> and 1600 Pennsylvania Avenue (1976)<ref name="The Broadway League 19762" /> were all flops, with less than ten performances each.<ref name="BM p. 296; NYCL p. 32">Template:Harvnb; Template:Harvnb</ref> Meanwhile, the Stahls had unofficially put the Hellinger on the market by 1975,<ref>Template:Cite news</ref> and the Nederlander Organization bought the theater the next year.<ref>Template:Cite news</ref>
Late 1970s and 1980s
The Hellinger's 1978 productions of Timbuktu! with Eartha Kitt<ref name="Bloom p. 166; BM p. 296; NYCL p. 19">Template:Harvnb; Template:Harvnb; Template:Harvnb</ref><ref name="The Broadway League 19782" /> and Platinum with Alexis Smith were both short-lived.<ref name="Bloom p. 166; BM p. 296; NYCL p. 33">Template:Harvnb; Template:Harvnb; Template:Harvnb</ref><ref name="The Broadway League 1978" /> This was followed in 1979 by Saravá, a musical with a score by Mitch Leigh;<ref name="Bloom p. 166; BM p. 296; NYCL p. 32">Template:Harvnb; Template:Harvnb; Template:Harvnb</ref><ref name="Internet Broadway Database 1979">Template:Cite web; Template:Cite web</ref> the Joffrey Ballet, with Rudolf Nureyev as the featured artist;<ref name="BM p. 296" /><ref>Template:Cite news</ref> and The Utter Glory of Morrissey Hall, which closed on its opening night.<ref name="BM p. 296; NYCL p. 33">Template:Harvnb; Template:Harvnb</ref><ref name="The Broadway League 19792" /> The Hellinger finally hosted a successful show in late 1979 when Ann Miller and Mickey Rooney costarred in the burlesque Sugar Babies,<ref name="Bloom p. 166; BM pp. 296-297; NYCL p. 19">Template:Harvnb; Template:Harvnb; Template:Harvnb</ref><ref>Template:Cite news</ref> which had 1,208 performances there over the next three years.<ref name="BM p. 297; NYCL p. 33">Template:Harvnb; Template:Harvnb</ref><ref name="The Broadway League 1979" /> The Tony Awards returned to the Hellinger in 1980<ref>Template:Cite news; Template:Cite magazine</ref> and 1981.<ref>Template:Cite news; Template:Cite magazine</ref> After the closure of Sugar Babies in 1982,<ref>Template:Cite news</ref> the Hellinger hosted the Comden and Green musical A Doll's Life, which closed after five performances.<ref name="BM p. 297; NYCL p. 33" /><ref name="The Broadway League 1982" /> The magician Doug Henning costarred with Chita Rivera in the 1983 musical Merlin,<ref name="Bloom p. 166; BM p. 297; NYCL p. 33">Template:Harvnb; Template:Harvnb; Template:Harvnb</ref><ref>Template:Cite news</ref> which ran for 199 performances.<ref name="BM p. 297; NYCL p. 33" /><ref name="The Broadway League 1983" /> Merlin ended to make way for Chaplin, a musical that never opened.<ref>Template:Cite news</ref> Afterward, the British musical Oliver! had a short run at the Hellinger in 1984.<ref name="BM p. 297; NYCL p. 33" /><ref name="The Broadway League 1984" />
Michael Bennett negotiated to buy a half-interest in the theater's ownership in 1984,<ref name="nyt-1984-11-09" /><ref>Template:Cite magazine</ref> the same year that Jerry Weintraub purchased a stake in the operation of the Hellinger.<ref>Template:Cite news; Template:Cite news</ref> In 1985, the Hellinger hosted Grind for 75 performances<ref name="Bloom p. 166; BM p. 297; NYCL p. 33" /><ref name="The Broadway League 19852" /> and Tango Argentino for about 200 performances.<ref name="Bloom p. 166; BM p. 297; NYCL p. 33" /><ref name="The Broadway League 1985" /> The 1985 film A Chorus Line was also partly filmed at the theater.<ref>Template:Cite news; Template:Cite magazine</ref> Throughout the remainder of the 1980s, the Hellinger hosted short runs, solo shows, and industry event.<ref>Template:Harvnb</ref> The musical Rags ran for just four performances in 1986,<ref name="The Broadway League 1986" /> and dance production Flamenco Puro appeared later the same year.<ref>Template:Cite news</ref><ref name="BM p. 297" /> The Hellinger then hosted the 1987 Tony Awards,<ref>Template:Cite news</ref> as well as personal appearances from Smokey Robinson/Jean Carne, Virsky Company, Rodney Dangerfield, and the Georgian State Dance Company.<ref name="BM p. 297">Template:Harvnb</ref> The Hellinger hosted Shakespeare's Macbeth with Glenda Jackson and Christopher Plummer in early 1988.<ref name="The Broadway League 19882" /> At the end of the year,<ref>Template:Cite news</ref> the theater premiered its final legitimate production, Legs Diamond.<ref name="The Broadway League 1988" /><ref name="Bloom p. 166; BM p. 298">Template:Harvnb; Template:Harvnb</ref>
The New York City Landmarks Preservation Commission (LPC) had started to consider protecting the Hellinger as a landmark in 1982,<ref>Template:Cite news</ref> with discussions continuing over the next several years.<ref>Template:Cite news</ref> The LPC designated the Hellinger's interior as a landmark on November 17, 1987,<ref>Template:Cite news</ref> followed by the facade in January 1988.<ref name="NYCL p. 1" /> This was part of the commission's wide-ranging effort in 1987 to grant landmark status to Broadway theaters.<ref>Template:Cite news</ref> The New York City Board of Estimate ratified the designations in March 1988.<ref>Template:Cite news</ref> The Nederlanders, the Shuberts, and Jujamcyn collectively sued the LPC in June 1988 to overturn the landmark designations of 22 theaters, including the Hellinger, on the merit that the designations severely limited the extent to which the theaters could be modified.<ref>Template:Cite news</ref> 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.<ref>Template:Cite news</ref>
Times Square Church
Lease
In February 1989, the Nederlander Organization leased the Hellinger to the Times Square Church, headed by the Rev. David Wilkerson, for $1 million per year on a five-year lease.<ref>Template:Cite news</ref><ref name="p962771570" /> At the time, the church occupied the 1,150-seat Nederlander Theatre, which was at standing-room only capacity five days a week.<ref name="n90558243" /> In addition, the Broadway theatrical industry was struggling to stage works, and James M. Nederlander said: "It's a short-term lease—five years is short term for me. It'll pass before you know it."<ref name="nyt-1989-02-08">Template:Cite news</ref><ref name="p962771570">Template:Cite magazine</ref> Had the Nederlanders retained the Hellinger as a legitimate venue, the organization could have rented the theater for large musicals at $1.04 million a year, but it would be far from a consistent income stream.<ref name="nyt-1989-02-08" /> Legs Diamond closed later the same month.<ref>Template:Cite news; Template:Cite news</ref> According to The New York Times: "To many theater people, the leasing of the Hellinger, [...] which has long been considered one of the best and most beautiful theaters for musicals, was a sad symbol of both the state of Broadway and of the Nederlander organization."<ref>Template:Cite news</ref>
The Times Square Church moved to the Hellinger in March 1989.<ref name="n90558243">Template:Cite news</ref> That August, the LPC held a hearing on whether the westernmost Template:Convert section of the theater could be demolished to make way for a hotel developed by Silverstein Properties.<ref>Template:Cite news</ref><ref name="n90663294">Template:Cite news</ref> The planned hotel would have used air rights from above the theater, which would have necessitated restoring the Hellinger for legitimate use.<ref name="n90663294" /> The producer Cameron Mackintosh expressed interest in leasing the Hellinger for his production Miss Saigon in 1990, but he ultimately leased the nearby Broadway Theatre.<ref name="nyt-1991-12-07">Template:Cite news</ref><ref>Template:Cite magazine</ref> Rocco Landesman of the rival chain Jujamcyn had also offered to buy the theater, but he said high maintenance costs precluded him or any other producer from offering more than $7 million.<ref name="nyt-1991-12-13">Template:Cite news</ref>
Purchase and subsequent years
In December 1991, the Nederlanders sold the Hellinger to the church's congregation<ref name="nyt-1991-12-07" /><ref>Template:Cite magazine</ref> for a reported $17 million.<ref name="nyt-1991-12-13" /> Wilkerson then spent several years renovating the theater for his congregation.<ref>Template:Cite news</ref> In the years after the Times Square Church's purchase, the church became so popular that the Hellinger could not accommodate all congregants, despite the theater's 1,600-seat capacity.<ref name="nyt-2001-04-13" /><ref name="p209646778">Template:Cite magazine</ref> The congregation at the theater numbered 4,000 in 1997 and doubled within the next year.<ref>Template:Cite news</ref> As a result, in the late 1990s, an 800-person overflow room and eight secondary meeting rooms were leased in the neighboring Novotel hotel.<ref name="p209646778" />Template:Efn By 2001, screens were installed both in the lobby and in a neighboring annex to allow additional congregants to view services.<ref name="nyt-2001-04-13" />
Theatrical producers have made several unsuccessful attempts to buy the Hellinger from the Times Square Church. As early as 1993, Lloyd Webber had proposed acquiring the theater for his production of Sunset Boulevard.<ref>Template:Cite news</ref> In addition to Mackintosh and the Bennett estate, offers were reportedly made by former Canadian impresario Garth Drabinsky, theatrical operator Shubert Organization, and corporate producers Disney and Clear Channel. The Times Square Church maintains the theater's interior decor and opens it to the public for regular services.<ref name="Playbill1">Template:Cite web</ref> The church also hosts tours of the theater,<ref>Template:Cite web</ref> as during Christmas 2016, when it gave tours along with live performances of the Nativity play Bethlehem on Broadway.<ref>Template:Cite web; Template:Cite web</ref>
Stage productions
Productions are listed by the year of their first performance. This list only includes Broadway productions and live shows; it does not include films screened there.<ref>Template:Cite web</ref><ref>Template:Cite web</ref>
| Opening year | Name | Template:Abbr |
|---|---|---|
| 1934 | Calling All Stars | <ref name="The Broadway League 1934">Template:Cite web; Template:Cite web</ref><ref name="NYCL p. 28">Template:Harvnb</ref> |
| 1936 | Sweet River | <ref name="Atkinson 1936" /><ref name="The Broadway League 1936" /> |
| 1938 | Knights of Song | <ref name="NYCL p. 19" /><ref name="The New York Times 1938" /> |
| 1939 | George White's Scandals | <ref name="The Broadway League 1939">Template:Cite web; Template:Cite web</ref><ref name="NYCL p. 28" /> |
| 1940 | Romeo and Juliet | <ref name="The Broadway League 19402">Template:Cite web; Template:Cite web</ref><ref name="BM p. 292; NYCL p. 29">Template:Harvnb; Template:Harvnb</ref> |
| 1940 | Ballet Russe de Monte-Carlo | <ref name="The Broadway League 1940">Template:Cite web; Template:Cite web</ref> |
| 1940 | Original Ballet Russe, Colonel de Basil's | <ref name="The Broadway League 19403" /> |
| 1941 | Banjo Eyes | <ref name="The Broadway League 1941">Template:Cite web; Template:Cite web</ref><ref>Template:Harvnb</ref> |
| 1949 | All for Love | <ref name="Calta 1949" /><ref name="BM pp. 292-293; NYCL p. 29" /> |
| 1949 | Gilbert and Sullivan Series (four productions) | <ref name="BM p. 293; NYCL p. 29" />Template:Efn |
| 1949 | Texas, Li'l Darlin' | <ref name="BM p. 293" /><ref name="Internet Broadway Database 1949" /> |
| 1950 | Tickets, Please! | <ref name="The Broadway League 1950">Template:Cite web; Template:Cite web</ref><ref name="Bloom p. 164; BM p. 293; NYCL p. 29" /> |
| 1950 | Bless You All | <ref name="Bloom p. 164; BM p. 293; NYCL p. 29" /><ref name="Internet Broadway Database 1950" /> |
| 1951 | Two on the Aisle | <ref name="Bloom p. 164; BM p. 293; NYCL p. 19" /><ref name="The Broadway League 1951">Template:Cite web; Template:Cite web</ref> |
| 1952 | Three Wishes for Jamie | <ref name="BM p. 293; NYCL p. 30" /><ref name="The Broadway League 19523" /> |
| 1952 | Gilbert and Sullivan Series (five productions) | <ref name="NYCL p. 30">Template:Harvnb</ref>Template:Efn |
| 1952 | Electra | <ref>Template:Cite web</ref><ref name="NYCL p. 30" />Template:Efn |
| 1952 | Oedipus Tyrannus | <ref>Template:Cite web; Template:Cite web</ref><ref name="NYCL p. 30" />Template:Efn |
| 1953 | Hazel Flagg | <ref name="The Broadway League 1953">Template:Cite web; Template:Cite web</ref><ref name="NYCL p. 30" /> |
| 1954 | The Girl in Pink Tights | <ref name="BM p. 294; NYCL p. 30" /><ref name="The Broadway League 1954">Template:Cite web; Template:Cite web</ref> |
| 1954 | Hit the Trail | <ref name="NYCL p. 30" /><ref>Template:Cite web; Template:Cite web</ref> |
| 1955 | Plain and Fancy | <ref name="BM p. 294; NYCL p. 30" /><ref name="The Broadway League 19552">Template:Cite web; Template:Cite web</ref> |
| 1955 | Ankles Aweigh | <ref name="The Broadway League 1955">Template:Cite web; Template:Cite web</ref><ref name="NYCL p. 30" /> |
| 1955 | Antonio | <ref name="NYCL p. 30" /><ref>Template:Cite web</ref> |
| 1956 | My Fair Lady | <ref name="BM p. 294; NYCL p. 31" /><ref name="The Broadway League 1956">Template:Cite web; Template:Cite web</ref> |
| 1962 | The Sound of Music | <ref name="The Broadway League 1959">Template:Cite web; Template:Cite web</ref><ref name="Bloom p. 165; BM p. 294" /> |
| 1964 | Rugantino | <ref name="The Broadway League 19642">Template:Cite web; Template:Cite web</ref><ref name="NYCL p. 31">Template:Harvnb</ref> |
| 1964 | A Funny Thing Happened on the Way to the Forum | <ref>Template:Cite web; Template:Cite web</ref> |
| 1964 | Fade Out – Fade In | <ref name="Bloom p. 165; BM p. 294; NYCL p. 31" /><ref name="The Broadway League 1964">Template:Cite web; Template:Cite web</ref> |
| 1965 | On a Clear Day You Can See Forever | <ref name="Bloom p. 165; BM p. 294; NYCL p. 31" /><ref name="The Broadway League 19652">Template:Cite web; Template:Cite web</ref> |
| 1966 | A Joyful Noise | <ref name="The Broadway League 1966">Template:Cite web; Template:Cite web</ref><ref name="NYCL p. 31" /> |
| 1967 | Martha Graham and Company | <ref name="Barnes 1967" /> |
| 1967 | Illya Darling | <ref name="The Broadway League 1967">Template:Cite web; Template:Cite web</ref><ref name="NYCL p. 31" /> |
| 1968 | Les Ballets Africains | <ref name="BM p. 294" /><ref name="Barnes 1968" /> |
| 1968 | I'm Solomon | <ref name="The Broadway League 1968">Template:Cite web; Template:Cite web</ref><ref name="NYCL p. 31" /> |
| 1968 | Marlene Dietrich | <ref name="BM p. 294" /><ref name="Chapman 1967" /> |
| 1969 | Dear World | <ref name="The Broadway League 19692">Template:Cite web; Template:Cite web</ref><ref name="NYCL p. 32">Template:Harvnb</ref> |
| 1969 | Coco | <ref name="The Broadway League 1969">Template:Cite web; Template:Cite web</ref><ref name="NYCL p. 32" /> |
| 1971 | Ari | <ref name="Bloom p. 165; BM p. 294; NYCL p. 32" /><ref name="Internet Broadway Database 1971" /> |
| 1971 | Man of La Mancha | <ref name="The Broadway League 1965">Template:Cite web; Template:Cite web; Template:Cite news</ref><ref name="NYCL p. 32" /> |
| 1971 | Jesus Christ Superstar | <ref name="BM pp. 294-296; NYCL p. 32" /><ref name="The Broadway League 1971">Template:Cite web; Template:Cite web</ref> |
| 1973 | Seesaw | <ref>Template:Cite web; Template:Cite web</ref> |
| 1974–1975 | Martha Graham and Company | <ref name="BM p. 296" /> |
| 1974 | As You Like It | <ref name="BM p. 296; NYCL p. 32" /><ref name="The Broadway League 1974">Template:Cite web; Template:Cite web; Template:Cite news</ref> |
| 1975 | The Skin of Our Teeth | <ref name="BM p. 296; NYCL p. 32" /><ref name="The Broadway League 19752">Template:Cite web; Template:Cite web</ref> |
| 1976 | 1600 Pennsylvania Avenue | <ref name="Bloom p. 166; BM p. 296; NYCL p. 32" /><ref name="The Broadway League 19762">Template:Cite web; Template:Cite web; Template:Cite news</ref> |
| 1976 | Porgy and Bess | <ref>Template:Cite web; Template:Cite web</ref><ref name="NYCL p. 32" /> |
| 1977 | Shenandoah | <ref>Template:Cite web; Template:Cite web</ref><ref name="NYCL p. 32" /> |
| 1977 | Lou Rawls on Broadway | <ref>Template:Cite web; Template:Cite web</ref><ref name="NYCL p. 33">Template:Harvnb</ref> |
| 1978 | Timbuktu! | <ref name="Bloom p. 166; BM p. 296; NYCL p. 19" /><ref name="The Broadway League 19782">Template:Cite web; Template:Cite web</ref> |
| 1978 | Platinum | <ref name="Bloom p. 166; BM p. 296; NYCL p. 33" /><ref name="The Broadway League 1978">Template:Cite web; Template:Cite web</ref> |
| 1979 | Saravá | <ref name="Bloom p. 166; BM p. 296; NYCL p. 32" /><ref name="Internet Broadway Database 1979" /> |
| 1979 | Homage to Diaghilev | <ref>Template:Cite web</ref> |
| 1979 | The Utter Glory of Morrissey Hall | <ref name="BM p. 296; NYCL p. 33" /><ref name="The Broadway League 19792">Template:Cite web; Template:Cite web; Template:Cite news</ref> |
| 1979 | Sugar Babies | <ref name="Bloom p. 166; BM pp. 296-297; NYCL p. 19" /><ref name="The Broadway League 1979">Template:Cite web; Template:Cite web</ref> |
| 1982 | A Doll's Life | <ref name="BM p. 297; NYCL p. 33" /><ref name="The Broadway League 1982">Template:Cite web; Template:Cite web</ref> |
| 1983 | Merlin | <ref name="The Broadway League 1983">Template:Cite web; Template:Cite web</ref><ref name="NYCL p. 33" /> |
| 1984 | Oliver! | <ref name="The Broadway League 1984">Template:Cite web; Template:Cite web</ref><ref name="NYCL p. 33" /> |
| 1985 | Grind | <ref name="The Broadway League 19852">Template:Cite web; Template:Cite web</ref><ref name="NYCL p. 33" /> |
| 1985 | Tango Argentino | <ref name="The Broadway League 1985">Template:Cite web; Template:Cite web</ref><ref name="NYCL p. 33" /> |
| 1986 | Rags | <ref name="BM p. 297" /><ref name="The Broadway League 1986">Template:Cite web; Template:Cite web; Template:Cite news</ref> |
| 1986 | Flamenco Puro | <ref>Template:Cite web; Template:Cite web</ref> |
| 1986 | Smokey Robinson Plus Jean Carne | <ref name="BM p. 297" /> |
| 1987 | La serva padrona | <ref>Template:Cite web; Template:Cite web</ref> |
| 1987 | Pulcinella | <ref>Template:Cite web; Template:Cite web</ref> |
| 1987 | Il Berretto a Songali | <ref>Template:Cite web; Template:Cite web</ref> |
| 1987 | Podrecca Puppet Theatre Company | <ref>Template:Cite web; Template:Cite web</ref> |
| 1987 | La serva amorosa | <ref>Template:Cite web; Template:Cite web</ref> |
| 1988 | Virsky's Ukrainian State Dance Company | <ref name="BM p. 297" /><ref>Template:Cite web; Template:Cite web</ref> |
| 1988 | Rodney Dangerfield on Broadway! | <ref name="BM p. 297" /><ref>Template:Cite web; Template:Cite web</ref> |
| 1988 | Macbeth | <ref name="BM p. 297" /><ref name="The Broadway League 19882">Template:Cite web; Template:Cite web; Template:Cite news</ref> |
| 1988 | Georgian State Dance Company | <ref name="BM p. 297" /><ref>Template:Cite web; Template:Cite web</ref> |
| 1988 | Legs Diamond | <ref name="The Broadway League 1988">Template:Cite web; Template:Cite web</ref><ref name="Bloom p. 166; BM p. 298" /> |
See also
- Template:Section link
- List of New York City Designated Landmarks in Manhattan from 14th to 59th Streets
References
Notes
Citations
Sources
External links
Template:Portal bar Template:TonyAwards venues Template:Midtown North, Manhattan Template:Broadway theatres Template:Authority control
- Pages with broken file links
- 1930 establishments in New York City
- 1930s architecture in the United States
- Former Broadway theatres
- Former theatres in Manhattan
- Midtown Manhattan
- Movie palaces
- New York City Designated Landmarks in Manhattan
- New York City interior landmarks
- Theatres completed in 1930
- Thomas W. Lamb buildings