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Ed Sullivan Theater

October 20, 2023

The Ed Sullivan Theater (originally Hammerstein's Theatre; later the Manhattan Theatre, Billy Rose's Music Hall, CBS Radio Playhouse No. 3, and CBS Studio 50) is a theater at 1697–1699 Broadway, between 53rd and 54th Streets, in the Theater District of Midtown Manhattan in New York City. Built from 1926 to 1927 as a Broadway theater, the Sullivan was developed by Arthur Hammerstein in memory of his father, Oscar Hammerstein I. The two-level theater was designed by Herbert J. Krapp with over 1,500 seats, though the modern Ed Sullivan Theater was downsized to 370 seats by 2015. The neo-Gothic interior is a New York City landmark, and the building is on the National Register of Historic Places.

Ed Sullivan Theater
  • Hammerstein's Theatre
  • Manhattan Theatre
  • Billy Rose's Music Hall
  • CBS Radio Playhouse No. 3
  • CBS Studio 50
The Ed Sullivan Theater with The Late Show with Stephen Colbert marquee
Address1697 Broadway
Manhattan, New York
United States
Coordinates40°45′49.8″N 73°58′58″W / 40.763833°N 73.98278°W / 40.763833; -73.98278
OwnerParamount Global
TypeTelevision studio
(Former Broadway)
Capacity457
Current useTelevision studio
Production
OpenedNovember 30, 1927; 95 years ago (1927-11-30)
Years active1927–1936 (Broadway theater)
1936–present (broadcasts)
Tenants
The Late Show
DesignatedNovember 17, 1997
Reference no.97001303[1]
Designated entityTheater
DesignatedJanuary 5, 1988[2]
Reference no.1381[2]
Designated entityLobbies and auditorium interiors

The Ed Sullivan Theater was built in conjunction with a 13-story Gothic-style office building facing Broadway. An entrance vestibule and two lobbies lead from the main entrance on Broadway to the auditorium on 53rd Street. The auditorium was purposely designed to resemble a cathedral, unlike other structures that were designed as Broadway theaters. It has a domed ceiling with ribs, as well as walls with stained glass. Though the seating arrangement and stage have been heavily modified from their original design, many of the design elements in the lobbies and auditorium are intact.

Hammerstein operated the theater from 1927 to 1931, when he lost it to foreclosure. For the next five years, the theater was leased to multiple operators as both a theater and a music hall. The theater became a venue for CBS radio broadcasts in 1936, and it was converted to TV broadcasting in 1950. Under the Studio 50 name, the theater housed The Ed Sullivan Show from 1953 to 1971, as well as other shows such as The Garry Moore Show and The Jackie Gleason Show. Studio 50 was renamed after Ed Sullivan in 1967, and Reeves Entertainment used the Sullivan in the 1980s as a broadcast facility. The Sullivan has staged CBS's The Late Show franchise since 1993, first under David Letterman, then under Stephen Colbert since 2015.

Site Edit

The Ed Sullivan Theater is at 1697 Broadway, in the Theater District of Midtown Manhattan in New York City, on the west side of the street between 53rd and 54th Street.[3][4] The theater building's site is approximately "L"-shaped[4][5] and covers 17,527 square feet (1,628.3 m2).[5] The site has a frontage of about 50.3 feet (15.3 m) on Broadway and 150 feet (46 m) on 53rd Street.[4][5] The theater building wraps around two commercial structures of five stories each, and the surrounding area typically contains hotels and commercial buildings.[4] Nearby locations include Studio 54 to the northwest, the New York Jazz Museum and 1717 Broadway to the north, 810 Seventh Avenue to the southeast, the Broadway Theatre to the south, and the Roseland Ballroom and August Wilson Theatre to the southwest.[5]

Design Edit

The Ed Sullivan Theater was designed by architect Herbert J. Krapp and built by Arthur Hammerstein between 1926 and 1927.[3][6] The theater building consists of two major portions: a 13-story office tower on the narrow Broadway frontage, as well as the auditorium at the rear on 53rd Street.[6][7] This layout was necessary because New York City building regulations of the 1920s prohibited developers from constructing offices above theaters.[8]

Facade Edit

The building has a facade made of brown brick and terracotta.[7][9] The Broadway elevation of the facade contains the theater entrance and offices, and it is largely designed with Gothic-style glazed terracotta trim. The ground story is elaborately decorated with glazed terracotta blocks.[4] The center of the ground story contains the theater entrance, which has four pairs of recessed bronze-and-glass doors.[10] There is a modern marquee above the entrance,[4] which since 2015 has advertised The Late Show with Stephen Colbert.[11] To the south of the theater entrance is a pointed arch leading to the office lobby. To the north is a pointed arch and a storefront with twisted colonettes.[4] as of 2015, Angelo's Pizza occupied the storefront to the north.[12][13]

The remainder of the Broadway elevation is relatively simple in design. On Broadway, the windows are divided by brick piers into seven bays. There is Gothic ornamentation on the second through fifth floors and atop the facade.[4]

 
Western portion of the facade's 53rd Street elevation

The 53rd Street elevation is divided into three parts from east to west: the office section, the auditorium exit, and a seven-story auditorium facade. The office section to the east is six bays wide and 13 stories high, with the windows on each story being grouped in pairs. The ground story contains a storefront and an entrance to the Ed Sullivan Theater's office lobby, while the top stories contain Gothic ornament.[4] The auditorium exit at the center is three stories high and contains burned stretchers between the red brick. The second story of this section has a fire escape and an arched window. The third story contains a brick pattern with pulled-out bricks, as well as vertical stretchers that are arranged to resemble piers.[9] The auditorium facade at the west is seven stories high, with six window openings on each story.[14] An electrical substation for the New York City Subway exists immediately west of the auditorium.[15]

Interior Edit

The Ed Sullivan Theater is housed in the western portion of the "L"-shaped site, along 53rd Street.[4] The neo-Gothic auditorium was purposely designed to resemble a cathedral, uniquely among structures that were designed as Broadway theaters.[16][17] The theater was equipped with ventilating and heating/cooling systems that were advanced designs for the 1920s.[18][19] In a report about the Ed Sullivan Theater, the New York City Landmarks Preservation Commission (LPC) could not identify a reason why the theater was designed in the neo-Gothic style as opposed to the more common Adam or neoclassical styles.[19]

The office building lobby has terrazzo-and-marble floors; plaster wall panels with marble wainscoting; a bronze mailbox; a plaster vaulted ceiling. Four elevators lead from the office lobby to the upper floors, and a stair with a cast-iron balustrade also leads up from the office lobby.[14] The office stories were designed with high ceilings and column-free spaces.[20] Each story was originally arranged with a narrow elevator vestibule, which has been replaced on most floors. The office stories were otherwise decorated in a utilitarian fashion.[14] Arthur Hammerstein reportedly kept a bar room in his office.[21] Among the tenants of the office stories are the Mayor's Office of Film, Theatre & Broadcasting,[22] a New York City government agency on the sixth floor.[23]

Entrance vestibule and lobbies Edit

 
View into entrance vestibule, with outer lobby seen behind the doors

Generally, the vestibule and lobbies have marble floors, cast-stone wall panels, and cast-iron radiator grilles.[16][24] The four double doors on Broadway lead west to a small theater vestibule,[14] which is irregular in shape.[25] The floor of the vestibule has marble panels in a rhombus pattern. The vestibule's walls contain baseboards made of veined marble, above which are cast-stone wall panels that are designed to resemble travertine.[26] The walls contain shallow archways. The north wall contains a cast-iron radiator grille in the Gothic style, which is divided by the arches.[25] The west wall has six bronze-and-glass doors leading to the outer lobby.[26] The vestibule contains a Gothic-style vaulted ceiling made of plaster.[7][26] Foliate corbels support the ribs of the ceiling, while the center of the ceiling contains a flat rectangular panel.[25]

The outer lobby is "L"-shaped and has Gothic design details.[26] As in the vestibule, the outer lobby's marble floor has a rhombus pattern, while the walls have marble baseboards and cast-stone panels.[27] The north and south walls are each divided into three bays, with pairs of piers projecting from either wall. The center bay of the south wall has a three-sided ticket booth, while the westernmost bay on the south wall leads into the inner lobby of the auditorium.[28] The ticket booth projects outward and contains cusped arches with windows, surrounds with Gothic details, and finials.[14] The north wall has cast-iron radiator grilles as well. The west wall contains metal double doors with Gothic tracery, which lead to a service alley, while the east wall contains doors from the entrance vestibule.[27] The ceiling contains transverse ribs, which rise from columns along the north and south walls, dividing the ceiling into coffers. Within each coffer, there are moldings with foliate decoration, as well as rosette bosses.[29]

The inner lobby is rectangular and arranged on a north-south axis,[27] approached via the outer lobby on the north.[29] The marble floor is made of a synthetic stone that is designed to resemble rock pavement.[14] The east and west walls are both divided into three bays by projecting shafts, composed of clusters of columns.[30] The center bay of the west wall is slightly recessed and leads to the orchestra level of the auditorium. On either side are staircases ascending to the balcony, with Gothic-style balustrades.[31] The east and south walls, as well as the undersides of the west wall's staircases, contain marble baseboards, wood wainscoting, and cast-stone wall panels.[30] The center bay of the east wall contains Gothic-style tracery that formerly flanked a statue of Arthur Hammerstein's father, Oscar Hammerstein I.[31] The statue was designed by Pompeo Coppini.[18][19] The inner lobby has transverse ribs that divide the ceiling into coffers, with foliate-molded ribs that converge at rosette bosses. The coves of the ceilings are decorated with latticework panels.[30]

Auditorium Edit

The auditorium has an orchestra level, one balcony, and a proscenium arch.[30] The auditorium's width is greater than its depth, and the space is designed with plaster decorations in high relief.[32] Hammerstein's Theatre was originally designed with 1,265 seats.[18][33] As of 2015, the Ed Sullivan Theater has 370 seats.[34][35] The Sullivan does not have boxes.[36] The orchestra level was originally raked, but this rake was leveled in subsequent renovations.[37][38] The auditorium has ten stained glass windows in total, depicting scenes from the elder Hammerstein's opera productions.[33][39] The stained glass was removed during the run of Late Show with David Letterman (1993–2015),[7][16] but these were subsequently restored when The Late Show with Stephen Colbert took over.[35]

The rear (west) end of the orchestra contains a promenade,[40] which has wooden wainscoting with heraldic shields, as well as cast-stone walls.[41] Clustered columns divide the promenade wall into three bays with Gothic arches. The rear of the orchestra also contains a Gothic-style rail. The side walls of the orchestra contain floating corbels just below the balcony, which divide each wall into four bays.[36] The underside of the balcony contains Gothic-style moldings,[41] including ribs with foliate decoration and ceiling panels that resemble webs. The balcony level is divided into front and rear sections by an aisle halfway across its depth, which contains Gothic railings. The walls are divided into bays by clustered columns, which are topped by capitals with foliate decoration. The outermost bays have exits within pointed archways, while the center bays had stained glass windows inside pointed arches.[36]

There are four-story-tall openings near the front of the orchestra, which resemble apsidal recesses[36][42][39] with stained glass windows in them.[39][43] Near the front of the orchestra, the walls curve inward toward an elliptical proscenium arch.[40] The archway is flanked by Gothic arches with tracery, as well as clustered columns. The capitals of the columns contain foliate decoration and serve as the imposts of the arch. There is a decorated concave panel on the arch itself.[36]

 
The Late Show with Stephen Colbert stage, with Stephen Colbert interviewing then-U.S. Secretary of State John Kerry in 2015

The stage is in front of the arch.[36] The original stage had hydraulic equipment that could lift sets from the basement.[20] The orchestra pit in front of the stage could seat 50 musicians and could descend into the basement;[18][43] the pit also had an organ.[19] As of 2015, the auditorium contains a stage that projects into the seating areas. Raised two steps above the stage,[35] left of center, is a desk area used by Stephen Colbert, host of The Late Show with Stephen Colbert.[44][45] Colbert's desk is made of reddish wood and is curved, with shelves to allow him to pull props from under the desk area, as well as a monitor in the desktop.[34] Colbert's set also contains balconies above the stage area.[34][35][45] Louis Cato and the Late Show Band, the show's in-house band,[46] have their own area on the stage next to Colbert.[35]

The ceiling contains a dome with 30 ribs, which intersect above the center of the auditorium.[47] Each rib contains molded foliate decorations as well as bosses. Midway up the ribs, there is a set of ten latticework grilles between the ribs. A lantern hangs from the center of the ceiling.[36] The five-story dome was covered by ceiling panels when Letterman hosted The Late Show,[42][48] but they were uncovered in 2015 during Colbert's tenure.[35]

Use as Broadway theater Edit

Times Square became the epicenter for large-scale theater productions between 1900 and the Great Depression.[49] During the 1900s and 1910s, many theaters in Midtown Manhattan were developed by the Shubert brothers, one of the major theatrical syndicates of the time.[50] The Ed Sullivan Theater in particular was developed by Arthur Hammerstein, son of Oscar Hammerstein I, who went to form his own theatrical career in 1910.[51] After Oscar died in 1919, Arthur started negotiating with Lee Shubert, one of the Shubert brothers, to develop a theater in Oscar's honor. Arthur proposed naming what is now the Imperial Theatre after his father. While Shubert rejected the proposal, the Imperial did host two Hammerstein works in its early years.[52] One of those, Rose-Marie, grossed enough to fund a dedicated memorial theater for Oscar Hammerstein I,[52][53] which was to cost $3 million.[52][54]

Development and early years Edit

 
Detail of upper-story facade

In 1926, Arthur Hammerstein paid $1.5 million for several land lots at 1697 Broadway and 213–223 West 53rd Street, near the northwest corner of these two streets.[55][56] That May, Hammerstein announced plans for a "Temple of Music" in memory of his father, to be designed by Herbert Krapp in the Gothic style.[55][56][57] In October 1926, Variety reported that Arthur planned to leave a covenant in his will, prohibiting the theater from being renamed while it was standing.[58] The following January, Hammerstein hired Emmerich Kálmán to write the musical Golden Dawn, to be played at the theater's opening,[59][60] with soprano Louise Hunter as a featured performer.[61][62] The theater's name was shortened to "Hammerstein's Theatre" in March 1927[63] because the words "Temple of Music" could not fit on playbills.[52] Work officially began on March 21, 1927.[64] A cornerstone-laying ceremony was held on September 30, where mayor Jimmy Walker made a speech praising the Hammersteins.[65][66] The Broadway Association donated a bronze tablet,[67] and mementos of Oscar Hammerstein, including a silk top hat and a cigar, were placed into the cornerstone.[52]

Hammerstein's Theatre was formally dedicated on November 30, 1927.[18][68] The first production at the theater was Golden Dawn,[69] which featured the American debut of Cary Grant (then known by his birth name, Archie Leach[70]) as well as the first topless woman in a stage production in the U.S.[71][72][73] The artist Joseph Cummings Chase designed 11 portraits of Golden Dawn's cast members, which were hung in the lobby for the dedication.[18] The theater was lavishly decorated with materials such as Czechoslovakian rugs, gold-colored mosaics, and stained glass.[74] New York Daily News critic Burns Mantle likened Hammerstein's to "a vaulted temple in free Gothic",[75][76] while New York Daily Mirror critic Robert Coleman said the theater was "just such a playhouse as the father of American grand opera would have loved".[75][77] Less successful was Golden Dawn, which ultimately lost money,[75] even though it ran 184 performances into May 1928.[71][78]

After the end of Golden Dawn's run, Arthur Hammerstein announced he would screen the Soviet film The Last of St. Petersburg at the theater,[79] though approval of that film was delayed slightly by New York state censors.[80] The next production to play at Hammerstein's was Good Boy, which opened in September 1928[81][82] and ran 253 performances through April 1929.[82][83] Hammerstein's third production was Sweet Adeline, which opened in September 1929,[84][85] weeks before the Wall Street Crash of 1929.[86] Even so, Sweet Adeline managed 235 performances before it closed in March 1930.[83][85] By then, Arthur Hammerstein had lost his wealth during the financial crisis, and he hoped to recover some of his losses by staging a hit.[87] Another issue was the fact that the office wing was not profitable because an elevated railroad line ran nearby.[75][88] The remainder of 1930 brought two major flops:[89] Luana, which closed after 16 performances in September and October,[90][91] and Ballyhoo, which ran 68 performances from December 1930 to February 1931.[83][92]

Hammerstein's bankruptcy Edit

In February 1931, the Manufacturers Trust Company moved to foreclose on about $1.3 million in mortgage loans on the theater.[93] The next month, Arthur Hammerstein filed for bankruptcy, saying that he had just $5.77 in his name, having lost $2 million in the preceding years;[94][95] Hammerstein had to give up the theater to satisfy the outstanding mortgage;[96] he blamed his misfortune on Luana and Ballyhoo, as well as the decline in musical comedy.[95] Hammerstein's bankruptcy filings described the theater and office building as the "milestone" in his bankruptcy, without which he would have still been fairly wealthy.[97] Manufacturers Trust foreclosed on the property at an April 1931 auction,[98][99] and the bank tried to sell the building unsuccessfully.[100] Ultimately, Laurence Schwab and Frank Mandel leased the theater for their musical shows that June,[100][101][102] and it was renamed the Manhattan Theatre at a ceremony in August 1931.[103][104]

Mandel and Schwab removed some glass windows and Oscar Hammerstein's lobby statue and expanded the orchestra pit.[89] The first musical under the new management was Free For All,[87] which opened in September 1931[105] and ran just 15 performances before closing.[106][107] A subsequent musical, East Wind, opened in October 1931[108][109] and was little more successful, run 23 performances.[106][110] The Manhattan staged a third musical, Through the Years, in January 1932;[111] it lasted 20 performances.[106][112] Schwab and Mandel had terminated their two-year lease by April 1932,[89] ten months after signing the lease.[73] That month, Earl Carroll's brother Norman S. Carroll leased the Manhattan Theatre for five years, intending to show revues there.[113][114][115] Earl Carroll had hoped to stage a musical based on the Austin Melford farce It's a Girl.[116] Six months later in October, Norman Carroll had relinquished his own lease on the Manhattan.[75][117] The theater was again dark for an extended period.[87][89][118] Harry Kline took over management in March 1933.[119]

Music hall and attempted theatrical revival Edit

 
Entrance to the theater

In September 1933, the Stevenson Holding Company leased the Manhattan Theatre for five years from Manufacturers Trust. Stevenson planned to renovate the venue into the Manhattan Casino, a "restaurant and music hall" for 1,500 patrons.[120][121] The improvements included removing the auditorium's seats and placing tables on the orchestra and balcony level.[118][122] The orchestra was flattened so movable tables and chairs could be installed.[37] Murals were installed to give the space an old west feeling, and the main floor was equipped with a wishing well.[38] In addition, the space was outfitted with bars in the lobby and the basement lounge.[118][38] Known tentatively as the Manhattan Casino, the planned music hall was subsequently renamed Billy Rose's Music Hall[89] after Billy Rose signed a lease for the Manhattan Theatre in early 1934.[123][124] Clark Robinson, who decorated both Radio City Music Hall and Rose's Casino de Paree, designed alterations for the interior, though he kept the overall decorative scheme intact.[38][125][126]

Billy Rose's Music Hall opened on June 21, 1934.[87][127][128] It was one of three theaters near 54th Street that were converted to nightclubs in the mid-1930s.[129] The hall offered luncheons, dinners, and suppers with entertainment such as newsreels, comedies, a hundred singing waiters, and a hundred "American beauties" who doubled as hostesses.[130] Authentic reenactments of vaudeville were also presented.[131] Initially, the music hall was successful, and Rose decided to travel to Europe for eight weeks to obtain acts for the hall's next season.[38] Within a month of the hall's opening, Rose was forced to fire many of the singing waiters and hostesses due to labor complaints.[132] Mobsters became involved in the hall's operation during Rose's absence,[73] including Lucky Luciano,[37][133] prompting an investigation that involved J. Edgar Hoover.[38] That September, the New York City government tried to force the music hall to apply for a theatre license because the venue showed short films, even though the hall was technically registered as a cabaret.[134][135] The same month, Rose withdrew from the hall because of disagreements over pay.[136]

In November 1934, the venue was renamed the Manhattan Music Hall.[38][137] However, the venue struggled to succeed without Rose's leadership.[38] The Manhattan Music Hall was "temporarily" shuttered in January 1935,[138] and the hall sought to reorganize shortly afterward.[139][140] After another year of failures, the Manhattan Music Hall closed permanently in January 1936 and the Hammerstein's Theatre space was used by the Works Progress Administration (WPA)[141] under the auspices of the "Popular Price Theater".[38] The first WPA production to be staged at the Manhattan was American Holiday, which opened on February 21, 1936,[142][143] and ran for a month.[106][144] This was followed by Murder in the Cathedral in March,[145][146] Class of '29 in May,[147][148] and Help Yourself in July 1936.[149][150] As of 2022, no further theatrical productions have been staged at the theater after Help Yourself closed.[151][152]

Use as playhouse Edit

CBS playhouse Edit

Radio Theater No. 3 Edit

 
View looking south from Broadway

The Columbia Broadcasting System (CBS) tested the Manhattan Theatre's acoustics in July 1936 to determine whether it was suitable as a broadcast playhouse.[153] The next month, CBS acquired a lease on the theater,[154][155][156] relocating there from the Little Theatre.[157] Architect William Lescaze renovated the interior, keeping nearly all of Krapp's design touches, but covering many walls with smooth white panels.[38][122][48] The magazine Architectural Forum praised Lescaze's work.[7] CBS engineers also added rock wool on the floors and walls to insulate the auditorium from passing elevated and subway trains, and they added telephone and public-announcement systems.[158] The new playhouse was tentatively known as the CBS Theatre on the Air.[154]

The radio network began broadcasting from the Manhattan in September 1936,[158] moving in broadcast facilities it had leased in the NBC Studios at Rockefeller Center.[7] The debut broadcast was the Major Bowes Amateur Hour.[122][159] In February 1937, the Manhattan Theatre became CBS Radio Theater No. 3 after the network acquired the Golden Theatre, which was labeled as theater number 1.[160] The theater was subsequently known as the CBS Radio Playhouse.[151][161] A New York Times reporter wrote in 1943 that the onetime memorial to Oscar Hammerstein was now "another kind of shrine" on Saturday nights.[162] At the time, teenagers often congregated at the playhouse to hear Frank Sinatra.[162][163] The comedy program The Fred Allen Show was also broadcast at CBS Radio Theater No. 3.[17][73][159]

Manufacturers Trust sold the theater and offices in May 1944 to Howard S. Cullman and the Cullman brothers, subject to a mortgage of $400,000.[164][165] CBS Radio Theater No. 3 continued to operate within the auditorium and some of the upper stories, and CBS's lease had two years remaining.[164] By December 1945, with CBS's lease about to expire, the network was negotiating to buy the Alvin Theatre.[166][167] The Cullman brothers intended to return Hammerstein's to theatrical use the following year,[168][169] presenting musical comedies.[168] Theatre Incorporated expressed interest in operating Hammerstein's.[170] Ultimately, in June 1946, Cullman and CBS formed an agreement in which CBS could use Hammerstein's for five more years, while Cullman would present productions at the Alvin instead.[171]

CBS Studio 50 Edit

The onetime Hammerstein's Theatre was converted for television in 1949,[37] and it became CBS-TV Studio 50.[37][172] The modifications included the addition of camera runways.[37][173] Shielded television cameras had to be developed due to strong magnetic interference from equipment at a neighboring subway substation.[15] With the conversion of Studio 50 to television use, the auditorium ceiling was painted white.[174] By January 1950, Studio 50 was being used exclusively for television broadcasts and AM-TV simulcasts.[175] The first TV show to be broadcast from Studio 50 was Arthur Godfrey's Monday prime-time show Arthur Godfrey's Talent Scouts, which had simulcast on radio and TV since December 6, 1948.[176] The next production to air from Studio 50 was The Jackie Gleason Show, which commenced in September 1952.[176] Toast of the Town (later renamed The Ed Sullivan Show), hosted by newspaper columnist and impresario Ed Sullivan,[73][177] relocated to Studio 50 in January 1953 because its previous quarters at the Maxine Elliott Theatre were too small.[178][176]

Cullman and CBS decided in 1951 to swap Studio 50 and the Alvin for another three years, allowing Studio 50 to be used for television.[179][180] When the lease on Studio 50 came due in 1954, CBS extended its lease for another four years.[181] The theater and building were sold in October 1955 to a client of Walter Scott & Co., and the Bowery Savings Bank placed a $600,000 loan on the property. In addition to CBS, the tenants at the time included Fred Waring & the Pennsylvanians and the American Guild of Variety Artists.[182][183] During the 1950s, the theater also hosted shows such as The Garry Moore Show[173] and The Big Payoff.[184][185] Additionally, The Stage Show with Tommy and Jimmy Dorsey featured the first national television appearances by rock music icon Elvis Presley.[186][187]

 
The Beatles performing on The Ed Sullivan Show in 1964

By the early 1960s, Studio 50 and the neighboring Studio 52 were among CBS's busiest stages.[188] Studio 50 was used not only for Sullivan's program but also for The Merv Griffin Show[17] and several game shows.[189] The Ed Sullivan Show hosted numerous events, including The Beatles' debut performance in the United States in 1964.[187][190][191] Studio 50 was converted to color in 1965,[192][193] and the first color episode of The Ed Sullivan Show debuted on October 31 of that year.[194] What's My Line?, To Tell the Truth, and Password also moved to Studio 50 after CBS began broadcasting regularly in color.[189] For Ed Sullivan's 20th anniversary in 1967, CBS announced plans to rename Studio 50 for Sullivan;[195][196] the theater was officially renamed on December 10, 1967.[64][197][198] By the time Ed Sullivan was canceled in 1971, it was the longest-running television show ever.[199]

Line and Truth remained at the Ed Sullivan Theater until 1971, after Ed Sullivan's cancellation, when they were relocated to save money. While the rental was to expire in 1976, CBS was paying $100,000 a year for the Sullivan, which no longer had a major tenant.[200] Afterward, the Sullivan broadcast several game shows.[73][201] The $10,000 Pyramid premiered in 1973[202] and continued to broadcast there after moving to ABC in 1974.[203] Other short-lived game shows produced at the theater included Musical Chairs with singer Adam Wade (1975), some episodes of the NBC game show Shoot for the Stars with Geoff Edwards (1977), and Pass the Buck with Bill Cullen (1978).[194] In addition, Saturday Night Live with Howard Cosell started broadcasting from the Sullivan in 1976.[204] Overall, however, the Sullivan remained largely empty after the cancellation of The Ed Sullivan Show.[201]

Reeves Entertainment Edit

By 1980, the Ed Sullivan Theater and its office wing were owned by Bankers Life and Casualty.[205] CBS's lease on the building was set to expire in December 1981, but the network did not seek to renew the lease.[201][206][207] The Nederlander Organization and the Shubert Organization both expressed interest in leasing the Ed Sullivan Theater and turning it back into a legitimate Broadway venue.[206][207][208] The Shuberts, which were federally prohibited from acquiring more theaters, even petitioned a federal court to lift the restriction, a sign of its interest in the Sullivan.[208] Furthermore, by late 1981, Bankers Life announced that it would also sell the Sullivan to avoid tax penalties, since Bankers Life had to divest many of its properties under law.[209]

The Sullivan became Teletape Studios, a facility for Reeves Entertainment, in March 1982.[210][211] Reeves taped the plays The Country Girl and Mornings at Seven there immediately after buying the theater.[210] The company remodeled the Sullivan with a larger stage measuring 80 by 80 feet (24 by 24 m).[211][212] The dressing rooms were also refurbished and new lighting and soundproofing were installed.[212] Under Reeves's management, the Sullivan hosted the sitcom Kate & Allie[213][214] from 1984 to 1989.[173] It also hosted tapings of some Merv Griffin Show episodes,[215] The Great Space Coaster,[216] Doug Henning's World of Magic,[216] the early Nickelodeon talk show Livewire,[216][217] and a pilot of The Stiller and Meara Show.[218][219]

The New York City Landmarks Preservation Commission (LPC) had started considering protecting the Sullivan as an official city landmark in 1982,[220] with discussions continuing over the next several years.[221] The LPC designated the interior as a landmark in January 1988.[16][2] This was part of the LPC's wide-ranging effort to grant landmark status to Broadway theaters, which had commenced in 1987.[222] The New York City Board of Estimate ratified the designations in March 1988.[223] David Niles and his company 1125 Productions signed a lease in December 1989 for his HDTV studio and his new Broadway show Dreamtime.[224] Niles recalled that the theater resembled a "bombed-out tenement".[73] The theater was renovated to accommodate HDTV broadcasts,[225] the first of which took place in early 1991 with a taping of the Seattle Opera.[226][227] An NBC special celebrating Phil Donahue's 25 years on television was taped at the Sullivan in 1992,[228] as well as an MTV "Up Close" interview with Paul McCartney of the Beatles.[229] In addition, NBC News used the theater for election-night coverage of the 1992 United States elections.[230][231]

Late Show use Edit

Late Show with David Letterman Edit

Main article: Late Show with David Letterman
 
The Ed Sullivan Theater with the Late Show with David Letterman marquee
 
View from proscenium on the set of the Late Show with David Letterman

In January 1993, after David Letterman switched to CBS from NBC, he considered taping his new Late Show with David Letterman in either Los Angeles or New York City.[48][232] CBS looked at 15 theaters in New York City[233] before buying the Ed Sullivan Theater from Winthrop Financial Associates for $4.5 million in February.[234][235] Niles's Dreamtime was given four weeks to vacate, but Dreamtime closed instead because of the high cost of relocating. The rapid sale earned its broker the Henry Hart Rice Achievement Award[236][237] for the Most Ingenious Deal of the Year for 1993.[238] Polshek Partnership was hired to renovate the theater,[239][240][241] while HRH Construction managed the project.[239] In addition, Letterman's production company Worldwide Pants was to have its offices in the theater's office building.[241][242]

Two hundred workers worked for twelve weeks to reconfigure the theater.[42] To speed up approvals for the renovation, Polshek agreed to design all the modifications so they could be reversed later. Five concave sound-insulation shells were hung from an elliptical ring below the dome,[42][48][243] concealing air-conditioning systems that kept the temperature at 62 °F (17 °C).[244] Acoustic baffles were installed along the rear of the auditorium to give it an "intimate" feel,[245] and the number of seats was reduced from 1,265 to 400.[48][243] CBS removed the stained-glass windows and placed them in storage, covering the window openings with acoustic material.[42] Since the existing interior was decayed,[42] much of the existing plasterwork was restored or replaced.[245] Part of the balcony railing was replaced with fiberglass,[246] and a control room from the Ed Sullivan era was also relocated.[241][243]

The Late Show premiered at the Ed Sullivan Theater on August 30, 1993.[247][248] The premiere of the Late Show led to a revitalization of the surrounding neighborhood,[249][250][251] but this led to businesses being relocated[251] or displaced due to high rents.[252][253] For example, CBS evicted McGee's Pub from the Broadway storefront in 1994;[254][255] the pub was replaced by a Late Show-themed restaurant that closed two years after opening.[256] The Ed Sullivan Theater was listed on the National Register of Historic Places in 1997.[257] CBS began moving HD production equipment into the Sullivan's control room in mid-2003,[258] but a full HD upgrade was delayed due to the layout of the theater.[259] Ultimately, the Sullivan was refitted with cabling and equipment to broadcast HDTV in mid-2005.[260]

The Late Show with Stephen Colbert Edit

Main article: The Late Show with Stephen Colbert
 
The Ed Sullivan Theater received a new marquee for The Late Show with Stephen Colbert.

In 2014, Letterman announced that he would retire from the Late Show and that Stephen Colbert would succeed him as the show's host.[261] CBS secured tax breaks from the New York state government to keep the show at the Ed Sullivan Theater.[262][263] CBS executive Richard Hart explained that Colbert was initially hesitant to use the theater, but Colbert called for a restoration of the theater after learning about the auditorium's dome.[35] The Letterman set was removed a week after his last show on May 20, 2015,[264][265] and Worldwide Pants moved out.[242] Letterman's marquee was also removed and temporarily replaced by a banner promoting the neighboring Angelo's Pizza restaurant, featuring Colbert posing with a slice of pizza.[12][13] A new Colbert marquee was installed in August 2015.[11] The sign was designed to have a "glitzy" appearance appropriate for Broadway. CBS late-night executive Vincent Favale joked that 30 Rockefeller Plaza's rear marquee (for The Tonight Show Starring Jimmy Fallon) looked like a mall kiosk in comparison.[35]

The auditorium was gutted during renovations.[44][266] The theater's dome, which had been covered up by air ducts and sound buffers, was uncovered. The original stained-glass windows, which had been removed and placed in storage during the Letterman era, were also restored, as well as a wooden chandelier with individual stained-glass chambers. Advances in technology allowed the introduction of less intrusive sound and video equipment.[267] The new set was described as being "intimate", with a multi-tier design, many LED lighting and video projection backdrops, and a larger desk area two steps above the orchestra.[35][45] Exposed for the new show, the Sullivan's dome is lit with a digital projection system, which displays images such as a kaleidoscopic pattern with images of Colbert's face and the CBS logo. New, larger audience seats were installed, reducing the overall capacity from 461 to 370.[35] E-J Electric also renovated the building's top four floors for Colbert's offices.[266]

The Late Show with Stephen Colbert held its first show at the Ed Sullivan Theater on September 8, 2015.[268][269] The Late Show went in production hiatus in March 2020 due to the COVID-19 pandemic in New York City, ultimately broadcasting remotely.[270] The Late Show returned to in-studio production on August 10, 2020, but using a smaller, secondary set modeled after Colbert's personal office (with a window showing a view similar to the auditorium's main backdrop), and still having guests appear remotely.[271][272] The Late Show returned to the auditorium with a studio audience on June 14, 2021.[270][273][274] Despite subsequent increases in COVID-19 cases, Colbert said in January 2022 that he would continue to broadcast from the Ed Sullivan Theater rather than from an upper-story office.[275]

Other productions Edit

Besides The Late Show, the Ed Sullivan Theater has occasionally staged other productions since 1993. The Rosie O'Donnell Show was broadcast from the theater for a week in October 1996 when several eighth-floor studios at NBC's 30 Rockefeller Center headquarters experienced complications from an electrical fire.[276] An early incarnation of CBS This Morning broadcast a week of shows from the theater in May 1995, while Late Show was taping in London.[277]

In the early 21st century, during the Late Show with David Letterman's run, the top of the theater's marquee hosted concerts by several musicians, starting with the band Bon Jovi on June 13, 2000.[278] Subsequent appearances included Dave Matthews Band on July 15, 2002;[279] Audioslave on November 25, 2002;[280] Phish on June 21, 2004;[281] Paul McCartney on July 15, 2009;[282] and Eminem and Jay-Z in June 2010.[283][284]

The Sullivan also hosted finales for the reality game show Survivor, starting with Survivor: The Amazon in 2003, after a live finale outdoors in Central Park was canceled due to rain.[285]

On February 9, 2014, the 50th anniversary of the Beatles' first Ed Sullivan performance, CBS News hosted a roundtable discussion at the theater, moderated by Anthony Mason. A replica of the marquee to the theater as it looked the night of the original performance also covered up the Late Show marquee over the weekend.[286] CBS This Morning temporarily relocated to the Sullivan during March 2020 after its normal facilities at the CBS Broadcast Center were shut down during the COVID-19 pandemic, placing a desk used from a recent CBS News presidential debate broadcast atop the Late Show stage.[287]

See also Edit

References Edit

Citations Edit

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Sources Edit

  • Bloom, Ken (2007). The Routledge Guide to Broadway (1st ed.). New York: Routledge. ISBN 978-0-415-97380-9.
  • Dorris, Virginia Kent (November 1993). "Adapted for television" (PDF). Journal of the American Institute of Architects. Vol. 82, no. 11. pp. 131–138.
  • Ed Sullivan Theater (PDF) (Report). National Register of Historic Places, National Park Service. November 17, 1997.
  • Ed Sullivan Theater Interior (PDF) (Report). New York City Landmarks Preservation Commission. January 5, 1988.
  • Ellerbee, Bobby (June 2016). The History of CBS New York Television Studios: 1937-1965 (PDF). Eyes of a Generation (Report).
  • Fordin, Hugh (1995). Getting to know him : a biography of Oscar Hammerstein II. New York: Da Capo Press. ISBN 978-0-306-80668-1. OCLC 32589395.
  • Rusoff, Jane Wollman (January 2015). "If These Walls Could Talk". Emmy. No. 6. pp. 76–83. ProQuest 2298671427.
  • Stern, Robert A. M.; Fishman, David; Tilove, Jacob (2006). New York 2000: Architecture and Urbanism Between the Bicentennial and the Millennium. New York: Monacelli Press. ISBN 978-1-58093-177-9. OCLC 70267065. OL 22741487M.

External links Edit

 
Wikimedia Commons has media related to Ed Sullivan Theater.
  • Ed Sullivan Theater at the Internet Broadway Database
  • Ed Sullivan Theater at edsullivan.com
  • Ed Sullivan Theater at nyc.com
  • Ed Sullivan Theater at newyorkcitytheatre.com

October 20, 2023
sullivan, theater, originally, hammerstein, theatre, later, manhattan, theatre, billy, rose, music, hall, radio, playhouse, studio, theater, 1697, 1699, broadway, between, 53rd, 54th, streets, theater, district, midtown, manhattan, york, city, built, from, 192. The Ed Sullivan Theater originally Hammerstein s Theatre later the Manhattan Theatre Billy Rose s Music Hall CBS Radio Playhouse No 3 and CBS Studio 50 is a theater at 1697 1699 Broadway between 53rd and 54th Streets in the Theater District of Midtown Manhattan in New York City Built from 1926 to 1927 as a Broadway theater the Sullivan was developed by Arthur Hammerstein in memory of his father Oscar Hammerstein I The two level theater was designed by Herbert J Krapp with over 1 500 seats though the modern Ed Sullivan Theater was downsized to 370 seats by 2015 update The neo Gothic interior is a New York City landmark and the building is on the National Register of Historic Places Ed Sullivan TheaterHammerstein s Theatre Manhattan Theatre Billy Rose s Music Hall CBS Radio Playhouse No 3 CBS Studio 50The Ed Sullivan Theater with The Late Show with Stephen Colbert marqueeAddress1697 BroadwayManhattan New YorkUnited StatesCoordinates40 45 49 8 N 73 58 58 W 40 763833 N 73 98278 W 40 763833 73 98278OwnerParamount GlobalTypeTelevision studio Former Broadway Capacity457Current useTelevision studioProductionThe Ed Sullivan Show 1953 1971 The Merv Griffin Show 1969 1970 Saturday Night Live with Howard Cosell 1975 1976 Late Show with David Letterman 1993 2015 The Late Show with Stephen Colbert 2015 present OpenedNovember 30 1927 95 years ago 1927 11 30 Years active1927 1936 Broadway theater 1936 present broadcasts TenantsThe Late ShowU S National Register of Historic PlacesDesignatedNovember 17 1997Reference no 97001303 1 Designated entityTheaterNew York City LandmarkDesignatedJanuary 5 1988 2 Reference no 1381 2 Designated entityLobbies and auditorium interiorsThe Ed Sullivan Theater was built in conjunction with a 13 story Gothic style office building facing Broadway An entrance vestibule and two lobbies lead from the main entrance on Broadway to the auditorium on 53rd Street The auditorium was purposely designed to resemble a cathedral unlike other structures that were designed as Broadway theaters It has a domed ceiling with ribs as well as walls with stained glass Though the seating arrangement and stage have been heavily modified from their original design many of the design elements in the lobbies and auditorium are intact Hammerstein operated the theater from 1927 to 1931 when he lost it to foreclosure For the next five years the theater was leased to multiple operators as both a theater and a music hall The theater became a venue for CBS radio broadcasts in 1936 and it was converted to TV broadcasting in 1950 Under the Studio 50 name the theater housed The Ed Sullivan Show from 1953 to 1971 as well as other shows such as The Garry Moore Show and The Jackie Gleason Show Studio 50 was renamed after Ed Sullivan in 1967 and Reeves Entertainment used the Sullivan in the 1980s as a broadcast facility The Sullivan has staged CBS s The Late Show franchise since 1993 first under David Letterman then under Stephen Colbert since 2015 Contents 1 Site 2 Design 2 1 Facade 2 2 Interior 2 2 1 Entrance vestibule and lobbies 2 2 2 Auditorium 3 Use as Broadway theater 3 1 Development and early years 3 2 Hammerstein s bankruptcy 3 3 Music hall and attempted theatrical revival 4 Use as playhouse 4 1 CBS playhouse 4 1 1 Radio Theater No 3 4 1 2 CBS Studio 50 4 2 Reeves Entertainment 4 3 Late Show use 4 3 1 Late Show with David Letterman 4 3 2 The Late Show with Stephen Colbert 4 3 3 Other productions 5 See also 6 References 6 1 Citations 6 2 Sources 7 External linksSite EditThe Ed Sullivan Theater is at 1697 Broadway in the Theater District of Midtown Manhattan in New York City on the west side of the street between 53rd and 54th Street 3 4 The theater building s site is approximately L shaped 4 5 and covers 17 527 square feet 1 628 3 m2 5 The site has a frontage of about 50 3 feet 15 3 m on Broadway and 150 feet 46 m on 53rd Street 4 5 The theater building wraps around two commercial structures of five stories each and the surrounding area typically contains hotels and commercial buildings 4 Nearby locations include Studio 54 to the northwest the New York Jazz Museum and 1717 Broadway to the north 810 Seventh Avenue to the southeast the Broadway Theatre to the south and the Roseland Ballroom and August Wilson Theatre to the southwest 5 Design EditThe Ed Sullivan Theater was designed by architect Herbert J Krapp and built by Arthur Hammerstein between 1926 and 1927 3 6 The theater building consists of two major portions a 13 story office tower on the narrow Broadway frontage as well as the auditorium at the rear on 53rd Street 6 7 This layout was necessary because New York City building regulations of the 1920s prohibited developers from constructing offices above theaters 8 Facade Edit The building has a facade made of brown brick and terracotta 7 9 The Broadway elevation of the facade contains the theater entrance and offices and it is largely designed with Gothic style glazed terracotta trim The ground story is elaborately decorated with glazed terracotta blocks 4 The center of the ground story contains the theater entrance which has four pairs of recessed bronze and glass doors 10 There is a modern marquee above the entrance 4 which since 2015 has advertised The Late Show with Stephen Colbert 11 To the south of the theater entrance is a pointed arch leading to the office lobby To the north is a pointed arch and a storefront with twisted colonettes 4 as of 2015 update Angelo s Pizza occupied the storefront to the north 12 13 The remainder of the Broadway elevation is relatively simple in design On Broadway the windows are divided by brick piers into seven bays There is Gothic ornamentation on the second through fifth floors and atop the facade 4 nbsp Western portion of the facade s 53rd Street elevationThe 53rd Street elevation is divided into three parts from east to west the office section the auditorium exit and a seven story auditorium facade The office section to the east is six bays wide and 13 stories high with the windows on each story being grouped in pairs The ground story contains a storefront and an entrance to the Ed Sullivan Theater s office lobby while the top stories contain Gothic ornament 4 The auditorium exit at the center is three stories high and contains burned stretchers between the red brick The second story of this section has a fire escape and an arched window The third story contains a brick pattern with pulled out bricks as well as vertical stretchers that are arranged to resemble piers 9 The auditorium facade at the west is seven stories high with six window openings on each story 14 An electrical substation for the New York City Subway exists immediately west of the auditorium 15 Interior Edit The Ed Sullivan Theater is housed in the western portion of the L shaped site along 53rd Street 4 The neo Gothic auditorium was purposely designed to resemble a cathedral uniquely among structures that were designed as Broadway theaters 16 17 The theater was equipped with ventilating and heating cooling systems that were advanced designs for the 1920s 18 19 In a report about the Ed Sullivan Theater the New York City Landmarks Preservation Commission LPC could not identify a reason why the theater was designed in the neo Gothic style as opposed to the more common Adam or neoclassical styles 19 The office building lobby has terrazzo and marble floors plaster wall panels with marble wainscoting a bronze mailbox a plaster vaulted ceiling Four elevators lead from the office lobby to the upper floors and a stair with a cast iron balustrade also leads up from the office lobby 14 The office stories were designed with high ceilings and column free spaces 20 Each story was originally arranged with a narrow elevator vestibule which has been replaced on most floors The office stories were otherwise decorated in a utilitarian fashion 14 Arthur Hammerstein reportedly kept a bar room in his office 21 Among the tenants of the office stories are the Mayor s Office of Film Theatre amp Broadcasting 22 a New York City government agency on the sixth floor 23 Entrance vestibule and lobbies Edit nbsp View into entrance vestibule with outer lobby seen behind the doorsGenerally the vestibule and lobbies have marble floors cast stone wall panels and cast iron radiator grilles 16 24 The four double doors on Broadway lead west to a small theater vestibule 14 which is irregular in shape 25 The floor of the vestibule has marble panels in a rhombus pattern The vestibule s walls contain baseboards made of veined marble above which are cast stone wall panels that are designed to resemble travertine 26 The walls contain shallow archways The north wall contains a cast iron radiator grille in the Gothic style which is divided by the arches 25 The west wall has six bronze and glass doors leading to the outer lobby 26 The vestibule contains a Gothic style vaulted ceiling made of plaster 7 26 Foliate corbels support the ribs of the ceiling while the center of the ceiling contains a flat rectangular panel 25 The outer lobby is L shaped and has Gothic design details 26 As in the vestibule the outer lobby s marble floor has a rhombus pattern while the walls have marble baseboards and cast stone panels 27 The north and south walls are each divided into three bays with pairs of piers projecting from either wall The center bay of the south wall has a three sided ticket booth while the westernmost bay on the south wall leads into the inner lobby of the auditorium 28 The ticket booth projects outward and contains cusped arches with windows surrounds with Gothic details and finials 14 The north wall has cast iron radiator grilles as well The west wall contains metal double doors with Gothic tracery which lead to a service alley while the east wall contains doors from the entrance vestibule 27 The ceiling contains transverse ribs which rise from columns along the north and south walls dividing the ceiling into coffers Within each coffer there are moldings with foliate decoration as well as rosette bosses 29 The inner lobby is rectangular and arranged on a north south axis 27 approached via the outer lobby on the north 29 The marble floor is made of a synthetic stone that is designed to resemble rock pavement 14 The east and west walls are both divided into three bays by projecting shafts composed of clusters of columns 30 The center bay of the west wall is slightly recessed and leads to the orchestra level of the auditorium On either side are staircases ascending to the balcony with Gothic style balustrades 31 The east and south walls as well as the undersides of the west wall s staircases contain marble baseboards wood wainscoting and cast stone wall panels 30 The center bay of the east wall contains Gothic style tracery that formerly flanked a statue of Arthur Hammerstein s father Oscar Hammerstein I 31 The statue was designed by Pompeo Coppini 18 19 The inner lobby has transverse ribs that divide the ceiling into coffers with foliate molded ribs that converge at rosette bosses The coves of the ceilings are decorated with latticework panels 30 Auditorium Edit The auditorium has an orchestra level one balcony and a proscenium arch 30 The auditorium s width is greater than its depth and the space is designed with plaster decorations in high relief 32 Hammerstein s Theatre was originally designed with 1 265 seats 18 33 As of 2015 update the Ed Sullivan Theater has 370 seats 34 35 The Sullivan does not have boxes 36 The orchestra level was originally raked but this rake was leveled in subsequent renovations 37 38 The auditorium has ten stained glass windows in total depicting scenes from the elder Hammerstein s opera productions 33 39 The stained glass was removed during the run of Late Show with David Letterman 1993 2015 7 16 but these were subsequently restored when The Late Show with Stephen Colbert took over 35 The rear west end of the orchestra contains a promenade 40 which has wooden wainscoting with heraldic shields as well as cast stone walls 41 Clustered columns divide the promenade wall into three bays with Gothic arches The rear of the orchestra also contains a Gothic style rail The side walls of the orchestra contain floating corbels just below the balcony which divide each wall into four bays 36 The underside of the balcony contains Gothic style moldings 41 including ribs with foliate decoration and ceiling panels that resemble webs The balcony level is divided into front and rear sections by an aisle halfway across its depth which contains Gothic railings The walls are divided into bays by clustered columns which are topped by capitals with foliate decoration The outermost bays have exits within pointed archways while the center bays had stained glass windows inside pointed arches 36 There are four story tall openings near the front of the orchestra which resemble apsidal recesses 36 42 39 with stained glass windows in them 39 43 Near the front of the orchestra the walls curve inward toward an elliptical proscenium arch 40 The archway is flanked by Gothic arches with tracery as well as clustered columns The capitals of the columns contain foliate decoration and serve as the imposts of the arch There is a decorated concave panel on the arch itself 36 nbsp The Late Show with Stephen Colbert stage with Stephen Colbert interviewing then U S Secretary of State John Kerry in 2015The stage is in front of the arch 36 The original stage had hydraulic equipment that could lift sets from the basement 20 The orchestra pit in front of the stage could seat 50 musicians and could descend into the basement 18 43 the pit also had an organ 19 As of 2015 update the auditorium contains a stage that projects into the seating areas Raised two steps above the stage 35 left of center is a desk area used by Stephen Colbert host of The Late Show with Stephen Colbert 44 45 Colbert s desk is made of reddish wood and is curved with shelves to allow him to pull props from under the desk area as well as a monitor in the desktop 34 Colbert s set also contains balconies above the stage area 34 35 45 Louis Cato and the Late Show Band the show s in house band 46 have their own area on the stage next to Colbert 35 The ceiling contains a dome with 30 ribs which intersect above the center of the auditorium 47 Each rib contains molded foliate decorations as well as bosses Midway up the ribs there is a set of ten latticework grilles between the ribs A lantern hangs from the center of the ceiling 36 The five story dome was covered by ceiling panels when Letterman hosted The Late Show 42 48 but they were uncovered in 2015 during Colbert s tenure 35 Use as Broadway theater EditTimes Square became the epicenter for large scale theater productions between 1900 and the Great Depression 49 During the 1900s and 1910s many theaters in Midtown Manhattan were developed by the Shubert brothers one of the major theatrical syndicates of the time 50 The Ed Sullivan Theater in particular was developed by Arthur Hammerstein son of Oscar Hammerstein I who went to form his own theatrical career in 1910 51 After Oscar died in 1919 Arthur started negotiating with Lee Shubert one of the Shubert brothers to develop a theater in Oscar s honor Arthur proposed naming what is now the Imperial Theatre after his father While Shubert rejected the proposal the Imperial did host two Hammerstein works in its early years 52 One of those Rose Marie grossed enough to fund a dedicated memorial theater for Oscar Hammerstein I 52 53 which was to cost 3 million 52 54 Development and early years Edit nbsp Detail of upper story facadeIn 1926 Arthur Hammerstein paid 1 5 million for several land lots at 1697 Broadway and 213 223 West 53rd Street near the northwest corner of these two streets 55 56 That May Hammerstein announced plans for a Temple of Music in memory of his father to be designed by Herbert Krapp in the Gothic style 55 56 57 In October 1926 Variety reported that Arthur planned to leave a covenant in his will prohibiting the theater from being renamed while it was standing 58 The following January Hammerstein hired Emmerich Kalman to write the musical Golden Dawn to be played at the theater s opening 59 60 with soprano Louise Hunter as a featured performer 61 62 The theater s name was shortened to Hammerstein s Theatre in March 1927 63 because the words Temple of Music could not fit on playbills 52 Work officially began on March 21 1927 64 A cornerstone laying ceremony was held on September 30 where mayor Jimmy Walker made a speech praising the Hammersteins 65 66 The Broadway Association donated a bronze tablet 67 and mementos of Oscar Hammerstein including a silk top hat and a cigar were placed into the cornerstone 52 Hammerstein s Theatre was formally dedicated on November 30 1927 18 68 The first production at the theater was Golden Dawn 69 which featured the American debut of Cary Grant then known by his birth name Archie Leach 70 as well as the first topless woman in a stage production in the U S 71 72 73 The artist Joseph Cummings Chase designed 11 portraits of Golden Dawn s cast members which were hung in the lobby for the dedication 18 The theater was lavishly decorated with materials such as Czechoslovakian rugs gold colored mosaics and stained glass 74 New York Daily News critic Burns Mantle likened Hammerstein s to a vaulted temple in free Gothic 75 76 while New York Daily Mirror critic Robert Coleman said the theater was just such a playhouse as the father of American grand opera would have loved 75 77 Less successful was Golden Dawn which ultimately lost money 75 even though it ran 184 performances into May 1928 71 78 After the end of Golden Dawn s run Arthur Hammerstein announced he would screen the Soviet film The Last of St Petersburg at the theater 79 though approval of that film was delayed slightly by New York state censors 80 The next production to play at Hammerstein s was Good Boy which opened in September 1928 81 82 and ran 253 performances through April 1929 82 83 Hammerstein s third production was Sweet Adeline which opened in September 1929 84 85 weeks before the Wall Street Crash of 1929 86 Even so Sweet Adeline managed 235 performances before it closed in March 1930 83 85 By then Arthur Hammerstein had lost his wealth during the financial crisis and he hoped to recover some of his losses by staging a hit 87 Another issue was the fact that the office wing was not profitable because an elevated railroad line ran nearby 75 88 The remainder of 1930 brought two major flops 89 Luana which closed after 16 performances in September and October 90 91 and Ballyhoo which ran 68 performances from December 1930 to February 1931 83 92 Hammerstein s bankruptcy Edit In February 1931 the Manufacturers Trust Company moved to foreclose on about 1 3 million in mortgage loans on the theater 93 The next month Arthur Hammerstein filed for bankruptcy saying that he had just 5 77 in his name having lost 2 million in the preceding years 94 95 Hammerstein had to give up the theater to satisfy the outstanding mortgage 96 he blamed his misfortune on Luana and Ballyhoo as well as the decline in musical comedy 95 Hammerstein s bankruptcy filings described the theater and office building as the milestone in his bankruptcy without which he would have still been fairly wealthy 97 Manufacturers Trust foreclosed on the property at an April 1931 auction 98 99 and the bank tried to sell the building unsuccessfully 100 Ultimately Laurence Schwab and Frank Mandel leased the theater for their musical shows that June 100 101 102 and it was renamed the Manhattan Theatre at a ceremony in August 1931 103 104 Mandel and Schwab removed some glass windows and Oscar Hammerstein s lobby statue and expanded the orchestra pit 89 The first musical under the new management was Free For All 87 which opened in September 1931 105 and ran just 15 performances before closing 106 107 A subsequent musical East Wind opened in October 1931 108 109 and was little more successful run 23 performances 106 110 The Manhattan staged a third musical Through the Years in January 1932 111 it lasted 20 performances 106 112 Schwab and Mandel had terminated their two year lease by April 1932 89 ten months after signing the lease 73 That month Earl Carroll s brother Norman S Carroll leased the Manhattan Theatre for five years intending to show revues there 113 114 115 Earl Carroll had hoped to stage a musical based on the Austin Melford farce It s a Girl 116 Six months later in October Norman Carroll had relinquished his own lease on the Manhattan 75 117 The theater was again dark for an extended period 87 89 118 Harry Kline took over management in March 1933 119 Music hall and attempted theatrical revival Edit nbsp Entrance to the theaterIn September 1933 the Stevenson Holding Company leased the Manhattan Theatre for five years from Manufacturers Trust Stevenson planned to renovate the venue into the Manhattan Casino a restaurant and music hall for 1 500 patrons 120 121 The improvements included removing the auditorium s seats and placing tables on the orchestra and balcony level 118 122 The orchestra was flattened so movable tables and chairs could be installed 37 Murals were installed to give the space an old west feeling and the main floor was equipped with a wishing well 38 In addition the space was outfitted with bars in the lobby and the basement lounge 118 38 Known tentatively as the Manhattan Casino the planned music hall was subsequently renamed Billy Rose s Music Hall 89 after Billy Rose signed a lease for the Manhattan Theatre in early 1934 123 124 Clark Robinson who decorated both Radio City Music Hall and Rose s Casino de Paree designed alterations for the interior though he kept the overall decorative scheme intact 38 125 126 Billy Rose s Music Hall opened on June 21 1934 87 127 128 It was one of three theaters near 54th Street that were converted to nightclubs in the mid 1930s 129 The hall offered luncheons dinners and suppers with entertainment such as newsreels comedies a hundred singing waiters and a hundred American beauties who doubled as hostesses 130 Authentic reenactments of vaudeville were also presented 131 Initially the music hall was successful and Rose decided to travel to Europe for eight weeks to obtain acts for the hall s next season 38 Within a month of the hall s opening Rose was forced to fire many of the singing waiters and hostesses due to labor complaints 132 Mobsters became involved in the hall s operation during Rose s absence 73 including Lucky Luciano 37 133 prompting an investigation that involved J Edgar Hoover 38 That September the New York City government tried to force the music hall to apply for a theatre license because the venue showed short films even though the hall was technically registered as a cabaret 134 135 The same month Rose withdrew from the hall because of disagreements over pay 136 In November 1934 the venue was renamed the Manhattan Music Hall 38 137 However the venue struggled to succeed without Rose s leadership 38 The Manhattan Music Hall was temporarily shuttered in January 1935 138 and the hall sought to reorganize shortly afterward 139 140 After another year of failures the Manhattan Music Hall closed permanently in January 1936 and the Hammerstein s Theatre space was used by the Works Progress Administration WPA 141 under the auspices of the Popular Price Theater 38 The first WPA production to be staged at the Manhattan was American Holiday which opened on February 21 1936 142 143 and ran for a month 106 144 This was followed by Murder in the Cathedral in March 145 146 Class of 29 in May 147 148 and Help Yourself in July 1936 149 150 As of 2022 update no further theatrical productions have been staged at the theater after Help Yourself closed 151 152 Use as playhouse EditCBS playhouse Edit Radio Theater No 3 Edit nbsp View looking south from BroadwayThe Columbia Broadcasting System CBS tested the Manhattan Theatre s acoustics in July 1936 to determine whether it was suitable as a broadcast playhouse 153 The next month CBS acquired a lease on the theater 154 155 156 relocating there from the Little Theatre 157 Architect William Lescaze renovated the interior keeping nearly all of Krapp s design touches but covering many walls with smooth white panels 38 122 48 The magazine Architectural Forum praised Lescaze s work 7 CBS engineers also added rock wool on the floors and walls to insulate the auditorium from passing elevated and subway trains and they added telephone and public announcement systems 158 The new playhouse was tentatively known as the CBS Theatre on the Air 154 The radio network began broadcasting from the Manhattan in September 1936 158 moving in broadcast facilities it had leased in the NBC Studios at Rockefeller Center 7 The debut broadcast was the Major Bowes Amateur Hour 122 159 In February 1937 the Manhattan Theatre became CBS Radio Theater No 3 after the network acquired the Golden Theatre which was labeled as theater number 1 160 The theater was subsequently known as the CBS Radio Playhouse 151 161 A New York Times reporter wrote in 1943 that the onetime memorial to Oscar Hammerstein was now another kind of shrine on Saturday nights 162 At the time teenagers often congregated at the playhouse to hear Frank Sinatra 162 163 The comedy program The Fred Allen Show was also broadcast at CBS Radio Theater No 3 17 73 159 Manufacturers Trust sold the theater and offices in May 1944 to Howard S Cullman and the Cullman brothers subject to a mortgage of 400 000 164 165 CBS Radio Theater No 3 continued to operate within the auditorium and some of the upper stories and CBS s lease had two years remaining 164 By December 1945 with CBS s lease about to expire the network was negotiating to buy the Alvin Theatre 166 167 The Cullman brothers intended to return Hammerstein s to theatrical use the following year 168 169 presenting musical comedies 168 Theatre Incorporated expressed interest in operating Hammerstein s 170 Ultimately in June 1946 Cullman and CBS formed an agreement in which CBS could use Hammerstein s for five more years while Cullman would present productions at the Alvin instead 171 CBS Studio 50 Edit The onetime Hammerstein s Theatre was converted for television in 1949 37 and it became CBS TV Studio 50 37 172 The modifications included the addition of camera runways 37 173 Shielded television cameras had to be developed due to strong magnetic interference from equipment at a neighboring subway substation 15 With the conversion of Studio 50 to television use the auditorium ceiling was painted white 174 By January 1950 Studio 50 was being used exclusively for television broadcasts and AM TV simulcasts 175 The first TV show to be broadcast from Studio 50 was Arthur Godfrey s Monday prime time showArthur Godfrey s Talent Scouts which had simulcast on radio and TV since December 6 1948 176 The next production to air from Studio 50 was The Jackie Gleason Show which commenced in September 1952 176 Toast of the Town later renamed The Ed Sullivan Show hosted by newspaper columnist and impresario Ed Sullivan 73 177 relocated to Studio 50 in January 1953 because its previous quarters at the Maxine Elliott Theatre were too small 178 176 Cullman and CBS decided in 1951 to swap Studio 50 and the Alvin for another three years allowing Studio 50 to be used for television 179 180 When the lease on Studio 50 came due in 1954 CBS extended its lease for another four years 181 The theater and building were sold in October 1955 to a client of Walter Scott amp Co and the Bowery Savings Bank placed a 600 000 loan on the property In addition to CBS the tenants at the time included Fred Waring amp the Pennsylvanians and the American Guild of Variety Artists 182 183 During the 1950s the theater also hosted shows such as The Garry Moore Show 173 and The Big Payoff 184 185 Additionally The Stage Show with Tommy and Jimmy Dorsey featured the first national television appearances by rock music icon Elvis Presley 186 187 nbsp The Beatles performing on The Ed Sullivan Show in 1964By the early 1960s Studio 50 and the neighboring Studio 52 were among CBS s busiest stages 188 Studio 50 was used not only for Sullivan s program but also for The Merv Griffin Show 17 and several game shows 189 The Ed Sullivan Show hosted numerous events including The Beatles debut performance in the United States in 1964 187 190 191 Studio 50 was converted to color in 1965 192 193 and the first color episode of The Ed Sullivan Show debuted on October 31 of that year 194 What s My Line To Tell the Truth and Password also moved to Studio 50 after CBS began broadcasting regularly in color 189 For Ed Sullivan s 20th anniversary in 1967 CBS announced plans to rename Studio 50 for Sullivan 195 196 the theater was officially renamed on December 10 1967 64 197 198 By the time Ed Sullivan was canceled in 1971 it was the longest running television show ever 199 Line and Truth remained at the Ed Sullivan Theater until 1971 after Ed Sullivan s cancellation when they were relocated to save money While the rental was to expire in 1976 CBS was paying 100 000 a year for the Sullivan which no longer had a major tenant 200 Afterward the Sullivan broadcast several game shows 73 201 The 10 000 Pyramid premiered in 1973 202 and continued to broadcast there after moving to ABC in 1974 203 Other short lived game shows produced at the theater included Musical Chairs with singer Adam Wade 1975 some episodes of the NBC game show Shoot for the Stars with Geoff Edwards 1977 and Pass the Buck with Bill Cullen 1978 194 In addition Saturday Night Live with Howard Cosell started broadcasting from the Sullivan in 1976 204 Overall however the Sullivan remained largely empty after the cancellation of The Ed Sullivan Show 201 Reeves Entertainment Edit By 1980 the Ed Sullivan Theater and its office wing were owned by Bankers Life and Casualty 205 CBS s lease on the building was set to expire in December 1981 but the network did not seek to renew the lease 201 206 207 The Nederlander Organization and the Shubert Organization both expressed interest in leasing the Ed Sullivan Theater and turning it back into a legitimate Broadway venue 206 207 208 The Shuberts which were federally prohibited from acquiring more theaters even petitioned a federal court to lift the restriction a sign of its interest in the Sullivan 208 Furthermore by late 1981 Bankers Life announced that it would also sell the Sullivan to avoid tax penalties since Bankers Life had to divest many of its properties under law 209 The Sullivan became Teletape Studios a facility for Reeves Entertainment in March 1982 210 211 Reeves taped the plays The Country Girl and Mornings at Seven there immediately after buying the theater 210 The company remodeled the Sullivan with a larger stage measuring 80 by 80 feet 24 by 24 m 211 212 The dressing rooms were also refurbished and new lighting and soundproofing were installed 212 Under Reeves s management the Sullivan hosted the sitcom Kate amp Allie 213 214 from 1984 to 1989 173 It also hosted tapings of some Merv Griffin Show episodes 215 The Great Space Coaster 216 Doug Henning s World of Magic 216 the early Nickelodeon talk show Livewire 216 217 and a pilot of The Stiller and Meara Show 218 219 The New York City Landmarks Preservation Commission LPC had started considering protecting the Sullivan as an official city landmark in 1982 220 with discussions continuing over the next several years 221 The LPC designated the interior as a landmark in January 1988 16 2 This was part of the LPC s wide ranging effort to grant landmark status to Broadway theaters which had commenced in 1987 222 The New York City Board of Estimate ratified the designations in March 1988 223 David Niles and his company 1125 Productions signed a lease in December 1989 for his HDTV studio and his new Broadway show Dreamtime 224 Niles recalled that the theater resembled a bombed out tenement 73 The theater was renovated to accommodate HDTV broadcasts 225 the first of which took place in early 1991 with a taping of the Seattle Opera 226 227 An NBC special celebrating Phil Donahue s 25 years on television was taped at the Sullivan in 1992 228 as well as an MTV Up Close interview with Paul McCartney of the Beatles 229 In addition NBC News used the theater for election night coverage of the 1992 United States elections 230 231 Late Show use Edit Late Show with David Letterman Edit Main article Late Show with David Letterman nbsp The Ed Sullivan Theater with the Late Show with David Letterman marquee nbsp View from proscenium on the set of the Late Show with David LettermanIn January 1993 after David Letterman switched to CBS from NBC he considered taping his new Late Show with David Letterman in either Los Angeles or New York City 48 232 CBS looked at 15 theaters in New York City 233 before buying the Ed Sullivan Theater from Winthrop Financial Associates for 4 5 million in February 234 235 Niles s Dreamtime was given four weeks to vacate but Dreamtime closed instead because of the high cost of relocating The rapid sale earned its broker the Henry Hart Rice Achievement Award 236 237 for the Most Ingenious Deal of the Year for 1993 238 Polshek Partnership was hired to renovate the theater 239 240 241 while HRH Construction managed the project 239 In addition Letterman s production company Worldwide Pants was to have its offices in the theater s office building 241 242 Two hundred workers worked for twelve weeks to reconfigure the theater 42 To speed up approvals for the renovation Polshek agreed to design all the modifications so they could be reversed later Five concave sound insulation shells were hung from an elliptical ring below the dome 42 48 243 concealing air conditioning systems that kept the temperature at 62 F 17 C 244 Acoustic baffles were installed along the rear of the auditorium to give it an intimate feel 245 and the number of seats was reduced from 1 265 to 400 48 243 CBS removed the stained glass windows and placed them in storage covering the window openings with acoustic material 42 Since the existing interior was decayed 42 much of the existing plasterwork was restored or replaced 245 Part of the balcony railing was replaced with fiberglass 246 and a control room from the Ed Sullivan era was also relocated 241 243 The Late Show premiered at the Ed Sullivan Theater on August 30 1993 247 248 The premiere of the Late Show led to a revitalization of the surrounding neighborhood 249 250 251 but this led to businesses being relocated 251 or displaced due to high rents 252 253 For example CBS evicted McGee s Pub from the Broadway storefront in 1994 254 255 the pub was replaced by a Late Show themed restaurant that closed two years after opening 256 The Ed Sullivan Theater was listed on the National Register of Historic Places in 1997 257 CBS began moving HD production equipment into the Sullivan s control room in mid 2003 258 but a full HD upgrade was delayed due to the layout of the theater 259 Ultimately the Sullivan was refitted with cabling and equipment to broadcast HDTV in mid 2005 260 The Late Show with Stephen Colbert Edit Main article The Late Show with Stephen Colbert nbsp The Ed Sullivan Theater received a new marquee for The Late Show with Stephen Colbert In 2014 Letterman announced that he would retire from the Late Show and that Stephen Colbert would succeed him as the show s host 261 CBS secured tax breaks from the New York state government to keep the show at the Ed Sullivan Theater 262 263 CBS executive Richard Hart explained that Colbert was initially hesitant to use the theater but Colbert called for a restoration of the theater after learning about the auditorium s dome 35 The Letterman set was removed a week after his last show on May 20 2015 264 265 and Worldwide Pants moved out 242 Letterman s marquee was also removed and temporarily replaced by a banner promoting the neighboring Angelo s Pizza restaurant featuring Colbert posing with a slice of pizza 12 13 A new Colbert marquee was installed in August 2015 11 The sign was designed to have a glitzy appearance appropriate for Broadway CBS late night executive Vincent Favale joked that 30 Rockefeller Plaza s rear marquee for The Tonight Show Starring Jimmy Fallon looked like a mall kiosk in comparison 35 The auditorium was gutted during renovations 44 266 The theater s dome which had been covered up by air ducts and sound buffers was uncovered The original stained glass windows which had been removed and placed in storage during the Letterman era were also restored as well as a wooden chandelier with individual stained glass chambers Advances in technology allowed the introduction of less intrusive sound and video equipment 267 The new set was described as being intimate with a multi tier design many LED lighting and video projection backdrops and a larger desk area two steps above the orchestra 35 45 Exposed for the new show the Sullivan s dome is lit with a digital projection system which displays images such as a kaleidoscopic pattern with images of Colbert s face and the CBS logo New larger audience seats were installed reducing the overall capacity from 461 to 370 35 E J Electric also renovated the building s top four floors for Colbert s offices 266 The Late Show with Stephen Colbert held its first show at the Ed Sullivan Theater on September 8 2015 268 269 The Late Show went in production hiatus in March 2020 due to the COVID 19 pandemic in New York City ultimately broadcasting remotely 270 The Late Show returned to in studio production on August 10 2020 but using a smaller secondary set modeled after Colbert s personal office with a window showing a view similar to the auditorium s main backdrop and still having guests appear remotely 271 272 The Late Show returned to the auditorium with a studio audience on June 14 2021 270 273 274 Despite subsequent increases in COVID 19 cases Colbert said in January 2022 that he would continue to broadcast from the Ed Sullivan Theater rather than from an upper story office 275 Other productions Edit Besides The Late Show the Ed Sullivan Theater has occasionally staged other productions since 1993 The Rosie O Donnell Show was broadcast from the theater for a week in October 1996 when several eighth floor studios at NBC s 30 Rockefeller Center headquarters experienced complications from an electrical fire 276 An early incarnation of CBS This Morning broadcast a week of shows from the theater in May 1995 while Late Show was taping in London 277 In the early 21st century during the Late Show with David Letterman s run the top of the theater s marquee hosted concerts by several musicians starting with the band Bon Jovi on June 13 2000 278 Subsequent appearances included Dave Matthews Band on July 15 2002 279 Audioslave on November 25 2002 280 Phish on June 21 2004 281 Paul McCartney on July 15 2009 282 and Eminem and Jay Z in June 2010 283 284 The Sullivan also hosted finales for the reality game show Survivor starting with Survivor The Amazon in 2003 after a live finale outdoors in Central Park was canceled due to rain 285 On February 9 2014 the 50th anniversary of the Beatles first Ed Sullivan performance CBS News hosted a roundtable discussion at the theater moderated by Anthony Mason A replica of the marquee to the theater as it looked the night of the original performance also covered up the Late Show marquee over the weekend 286 CBS This Morning temporarily relocated to the Sullivan during March 2020 after its normal facilities at the CBS Broadcast Center were shut down during the COVID 19 pandemic placing a desk used from a recent CBS News presidential debate broadcast atop the Late Show stage 287 See also EditList of Broadway theaters List of New York City Designated Landmarks in Manhattan from 14th to 59th Streets National Register of Historic Places listings in Manhattan from 14th to 59th StreetsPortals nbsp Architecture nbsp New York City nbsp NRHP nbsp TheatreReferences EditCitations Edit National Register Information System 97001303 National Register of Historic Places National Park Service July 9 2010 a b c Landmarks Preservation Commission 1988 p 1 a b White Norval amp Willensky Elliot 2000 AIA Guide to New York City 4th ed New York Three Rivers Press p 266 ISBN 978 0 8129 3107 5 a b c d e f g h i j National Park Service 1997 p 3 a b c d 1697 Broadway 10019 New York City Department of City Planning Archived from the original on November 29 2021 Retrieved November 17 2021 a b Stern Robert A M Gilmartin Patrick Mellins Thomas 1987 New York 1930 Architecture and Urbanism Between the Two World Wars New York Rizzoli p 234 ISBN 978 0 8478 3096 1 OCLC 13860977 a b c d e f Gray Christopher December 24 2009 If the Soundproofed Walls Could Talk The New York Times ISSN 0362 4331 Archived from the original on March 7 2021 Retrieved November 28 2021 National Park Service 1997 p 9 a b National Park Service 1997 pp 3 4 Landmarks Preservation Commission 1988 p 21 National Park Service 1997 p 3 a b New Late Show With Stephen Colbert Unveiled At Ed Sullivan Theater CBS New York August 8 2015 Archived from the original on November 29 2021 Retrieved November 28 2021 a b Sommerfeldt Chris Hutchinson Bill July 6 2015 Pizza place gets boost from Stephen Colbert as Late Show theater undergoes renovations New York Daily News Archived from the original on November 29 2021 Retrieved November 28 2021 a b Koffler Jacob July 6 2015 Ed Sullivan Theater Marquee Gets An Unexpected Makeover Time Archived from the original on November 29 2021 Retrieved November 28 2021 a b c d e f National Park Service 1997 p 4 a b Ellerbee 2016 p 44 a b c d Diamonstein Spielvogel Barbaralee 2011 The Landmarks of New York Albany New York State University of New York Press pp 582 583 ISBN 978 1 4384 3769 9 a b c McFadden Robert D February 22 1993 A Building With a History From Bootleggers to Beatles The New York Times ISSN 0362 4331 Archived from the original on December 13 2021 Retrieved November 29 2021 a b c d e f New Hammerstein Theatre Dedicated Memorial to Oscar Hammerstein Has Interior Resembling a Gothic Cathedral The New York Times December 1 1927 ISSN 0362 4331 Archived from the original on November 29 2021 Retrieved November 29 2021 a b c d Landmarks Preservation Commission 1988 p 14 a b Hammerstein Building Elaborate Office Structure and Theatre on Broadway The New York Times April 10 1927 p RE15 ISSN 0362 4331 ProQuest 103977994 Says Hammerstein Has Bar in Theatre Dancing Director Testifies It Is Fully Equipped Producer to Be Tried on Assault Charge The New York Times September 18 1930 ISSN 0362 4331 Archived from the original on November 29 2021 Retrieved November 29 2021 10 Fun Facts About the Ed Sullivan Theater Home of the Late Show with Stephen Colbert Page 8 of 10 Untapped New York September 18 2015 Archived from the original on November 30 2021 Retrieved November 30 2021 Contact Us MOME Welcome to NYC gov Archived from the original on November 30 2021 Retrieved November 30 2021 Landmarks Preservation Commission 1988 pp 21 23 National Park Service 1997 p 4 a b c Landmarks Preservation Commission 1988 p 21 a b c d Landmarks Preservation Commission 1988 p 21 National Park Service 1997 p 4 a b c Landmarks Preservation Commission 1988 p 22 National Park Service 1997 p 4 Landmarks Preservation Commission 1988 pp 21 22 National Park Service 1997 p 4 a b Landmarks Preservation Commission 1988 p 22 a b c d Landmarks Preservation Commission 1988 p 23 a b Landmarks Preservation Commission 1988 p 23 National Park Service 1997 p 4 Landmarks Preservation Commission 1988 pp 23 24 National Park Service 1997 p 5 a b Hischak T S 2007 The Rodgers and Hammerstein Encyclopedia Greenwood Press p 107 ISBN 978 0 313 34140 3 Archived from the original on November 29 2021 Retrieved November 29 2021 a b c How Montclair Man Created Colbert s Late Show Set New Jersey Monthly September 10 2015 Archived from the original on November 29 2021 Retrieved November 29 2021 a b c d e f g h i j Koblin John September 9 2015 Stephen Colbert s Shiny New Home on Broadway Reflects Its Past The New York Times ISSN 0362 4331 Archived from the original on September 15 2017 Retrieved September 15 2017 a b c d e f g Landmarks Preservation Commission 1988 p 24 a b c d e f Landmarks Preservation Commission 1988 p 16 National Park Service 1997 p 10 a b c d e f g h i j Landmarks Preservation Commission 1988 p 16 a b c Dorris 1993 p 131 a b Landmarks Preservation Commission 1988 pp 23 24 a b Landmarks Preservation Commission 1988 p 24 National Park Service 1997 p 5 a b c d e f Dunlap David W August 18 1993 Polishing A Quirky Setting for Letterman The New York Times ISSN 0362 4331 Archived from the original on December 1 2021 Retrieved December 1 2021 a b The Bride of an African God The Wall Street Journal December 2 1927 p 4 ISSN 0099 9660 ProQuest 130412443 a b CBS redoing Ed Sullivan Theater to give Stephen Colbert a brand new studio New York Daily News August 3 2015 Archived from the original on November 29 2021 Retrieved November 29 2021 a b c Budds Diana October 8 2015 The Story Behind The Slick Set Design For The Late Show With Stephen Colbert Fast Company Archived from the original on December 1 2021 Retrieved December 1 2021 Schneider Michael August 12 2022 Jon Batiste Exits The Late Show with Stephen Colbert Louis Cato Named New Bandleader Variety Retrieved December 12 2022 Landmarks Preservation Commission 1988 p 23 National Park Service 1997 p 5 a b c d e Stern Fishman amp Tilove 2006 p 665 Swift Christopher 2018 The City Performs An Architectural History of NYC Theater New York City College of Technology City University of New York Archived from the original on March 25 2020 Retrieved March 25 2020 Landmarks Preservation Commission 1988 p 4 Landmarks Preservation Commission 1988 p 8 National Park Service 1997 p 8 a b c d e Landmarks Preservation Commission 1988 p 13 Bloom 2007 pp 64 65 Hammerstein Theatre Stone Laying Today Mayor Walker Master of Ceremonies Stars to Revive Acts They Did at Old Victoria The New York Times September 30 1927 ISSN 0362 4331 Archived from the original on November 29 2021 Retrieved November 29 2021 a b Hammerstein to Build 15 Story Temple of Music Acquires Site on Broadway at Fifty third St for Theater and Office Building Memorial to His Father New York Herald Tribune May 6 1926 p 14 ProQuest 1112770270 a b A Hammerstein to Build Theatre Will Erect Temple of Music as a Memorial to His Father the Impresario The New York Times May 6 1926 ISSN 0362 4331 Archived from the original on November 29 2021 Retrieved November 29 2021 Arthur Hammerstein to Build Theater as Memorial to Father The Billboard Vol 38 no 20 May 15 1926 p 7 ProQuest 1031791297 Legitimate Hammerstein s Name Can Never Be Changed Variety Vol 85 no 2 October 27 1926 p 88 ProQuest 1475724216 Kalman Operetta for Hammerstein The Golden Dawn Is to Open Memorial Temple of Music at Broadway and 53d Street The New York Times January 7 1927 ISSN 0362 4331 Archived from the original on November 29 2021 Retrieved November 29 2021 Kalman to Write Music For Hammerstein Opening Composer of Countess Maritza Agrees to Provide Score for The Golden Dawn New York Herald Tribune January 7 1927 p 18 ProQuest 1113693988 B way Musical Comedies Condensed as Presentations Arthur Hammerstein Signs Louise Hunter for Five Years The Billboard Vol 39 no 4 January 22 1927 p 6 ProQuest 1031812129 Louise Hunter Engaged Operatic Artist to Sing the Leading Role in The Golden Dawn The New York Times January 14 1927 ISSN 0362 4331 Archived from the original on November 29 2021 Retrieved November 29 2021 Musical Comedy Hammerstein Renames Theater The Billboard Vol 39 no 11 March 12 1927 p 27 ProQuest 1031816225 a b Landmarks Preservation Commission 1988 p 17 Walker Extols Hammerstein At Theater Rites Silk Topper and Cigar of Late Impresario Placed in Cornerstone of Playhouse Dedicated to Him Mayor Kisses MaggieCline Irish Queen of T row Him Down McCIuskey Fame Assists at the Ceremonies New York Herald Tribune October 1 1927 p 10 ProQuest 1113573568 Cornerstone Laid at Hammerstein s Late Producer Is Eulogized by Speakers in Ceremony at New Broadway Theatre The New York Times October 1 1927 ISSN 0362 4331 Archived from the original on November 29 2021 Retrieved November 29 2021 Tablet for Hammerstein Theatre The New York Times September 16 1927 ISSN 0362 4331 Archived from the original on November 29 2021 Retrieved November 29 2021 Hammerstein Theater Opens With Operetta New 3 000 000 Playhouse on Broadway Built as Memorial by Son New York Herald Tribune December 2 1927 p 19 ProQuest 1132457930 Bloom 2007 p 64 Ellerbee 2016 p 30 a b Landmarks Preservation Commission 1988 p 19 Fordin 1995 p 83 a b c d e f g Broder Mitch April 4 1993 A Rilly Big Show Place The Daily Times pp 23 26 Archived from the original on December 1 2021 Retrieved December 1 2021 via newspapers com Landmarks Preservation Commission 1988 p 14 National Park Service 1997 pp 9 10 a b c d e Landmarks Preservation Commission 1988 p 15 Mantle Burns December 1 1927 The Golden Dawn in a Gothic Cathedral New York Daily News p 169 ProQuest 2260934082 Archived from the original on November 30 2021 Retrieved November 30 2021 via newspapers com Coleman Robert December 2 1927 Golden Dawn Opens Brilliantly at Hammerstein s Daily Mirror The Broadway League November 30 1927 Golden Dawn Broadway Musical Original IBDB Archived from the original on November 29 2021 Retrieved November 29 2021 Golden Dawn Broadway Hammerstein s Theatre Playbill Archived from the original on November 29 2021 Retrieved November 29 2021 New Hammerstein Theater Soon to Go Over to Pictures New York Herald Tribune April 11 1928 p 14 ProQuest 1113350865 Approve Russian Film State Censors Allow Showing of End of St Petersburg The New York Times May 30 1928 ISSN 0362 4331 Archived from the original on November 29 2021 Retrieved November 29 2021 Watts Richard Jr September 6 1928 Good Boy Opens With Novel Settings And Very Swift Pace Scenic Effects Ingenious but Cast Lures the Eyes at Hammerstein s Theater New York Herald Tribune p 16 ProQuest 1113487941 a b The Broadway League September 5 1928 Good Boy Broadway Musical Original IBDB Archived from the original on November 29 2021 Retrieved November 29 2021 Good Boy Broadway Hammerstein s Theatre Playbill Archived from the original on November 29 2021 Retrieved November 29 2021 a b c Landmarks Preservation Commission 1988 p 32 Atkinson J Brooks September 4 1929 The Play The Gay Nineties The New York Times ISSN 0362 4331 Archived from the original on November 29 2021 Retrieved November 29 2021 a b The Broadway League September 3 1929 Sweet Adeline Broadway Musical Original IBDB Archived from the original on November 29 2021 Retrieved November 29 2021 Sweet Adeline Broadway Hammerstein s Theatre Playbill Archived from the original on November 29 2021 Retrieved November 29 2021 Landmarks Preservation Commission 1988 p 19 National Park Service 1997 p 10 a b c d Bloom 2007 p 65 Fordin 1995 p 108 a b c d e Landmarks Preservation Commission 1988 p 15 National Park Service 1997 p 10 The Broadway League September 17 1930 Luana Broadway Musical Original IBDB Retrieved November 29 2021 Luana Broadway Hammerstein s Theatre Playbill Playbill Archived from the original on November 29 2021 Retrieved November 29 2021 Hammerstein Ends Luana Run Tonight Criticizes Theatre League as He Takes Off 200 000 Show After Only 2 Weeks The New York Times October 4 1930 ISSN 0362 4331 Archived from the original on November 29 2021 Retrieved November 29 2021 The Broadway League December 22 1930 Ballyhoo of 1930 Broadway Musical Original IBDB Archived from the original on November 29 2021 Retrieved November 29 2021 Ballyhoo of 1930 Broadway Hammerstein s Theatre Playbill Archived from the original on November 29 2021 Retrieved November 29 2021 Theatre Sued on Loans Bank Seeks to Foreclose 1 300 000 Mortgages on Hammerstein s The New York Times January 30 1931 ISSN 0362 4331 Archived from the original on November 29 2021 Retrieved November 29 2021 Hammerstein Has 5 Left of Millions Producer Files Petition in Bankruptcy Listing Total Liabilities at 1 649 136 The New York Times March 27 1931 ISSN 0362 4331 Archived from the original on November 29 2021 Retrieved November 29 2021 a b Hammerstein Files Petition In Bankruptcy Theatrical Producer Cites Liabilities of 1 649 136 and Assets of 53 083 Says He Lost 2 000 000 Blames 2 Failures and Fall in Musical Comedy Patronage New York Herald Tribune March 27 1931 p 18 ProQuest 1114257542 Legitimate Hammerstein Theater Sold The Billboard Vol 43 no 16 April 18 1931 p 18 ProQuest 1031982894 Legitimate Arthur Hammerstein s Troubles Came Mostly from Real Estate Variety Vol 102 no 3 April 1 1931 p 49 ProQuest 1475772210 Theatre Sold at Auction Manufacturers Trust Acquires Hammeratein s on Broadway The New York Times April 9 1931 ISSN 0362 4331 Archived from the original on November 29 2021 Retrieved November 29 2021 Hammerstein s Theater Purchased by Creditor New York Herald Tribune April 9 1931 p 45 ProQuest 1114104651 a b Legitimate Hammerstein s Theatre For Schwab amp Mandel Variety Vol 102 no 13 June 9 1931 p 50 ProQuest 1475892499 News of the Theater Opening of follies Here Is Again Delayed Cohan Jr Will Appear in Frolic Ruth Etting New York Herald Tribune June 19 1931 p 19 ProQuest 1114109716 Hammerstein Theatre Leased to Producers Schwab and Mandel Will Reopen House Under a New Name With Free for All The New York Times June 18 1931 ISSN 0362 4331 Archived from the original on November 29 2021 Retrieved November 29 2021 New Name Is Given to Hammerstein s Theatre Is Formally Called the Manhattan at Ceremony by Broadway Notables The New York Times August 5 1931 ISSN 0362 4331 Archived from the original on November 29 2021 Retrieved November 29 2021 Chapman John August 5 1931 Hammerstein Theatre Christened Manhattan New York Daily News p 37 ProQuest 2277404147 Archived from the original on November 30 2021 Retrieved November 30 2021 via newspapers com Mantle Burns September 9 1931 Free for All and Ladies of Creation Here New York Daily News p 195 ProQuest 2277288268 Archived from the original on November 30 2021 Retrieved November 30 2021 via newspapers com a b c d Landmarks Preservation Commission 1988 p 33 Free for All Broadway Manhattan Theatre Playbill September 19 1931 Archived from the original on November 29 2021 Retrieved November 29 2021 East Wind The Wall Street Journal October 30 1931 p 4 ISSN 0099 9660 ProQuest 130864534 News of the Theaters Counsellor at law to Open at the Plymouth Nov 6 east Wind Here Tonight Ethel Barrymore New York Herald Tribune October 27 1931 p 16 ProQuest 1114221852 The Broadway League October 27 1931 East Wind Broadway Musical Original IBDB Archived from the original on November 29 2021 Retrieved November 29 2021 East Wind Broadway Manhattan Theatre Playbill Archived from the original on November 29 2021 Retrieved November 29 2021 Five New Attractions Set for Next Week Vincent Youmans s Musical Play Through the Years Is the Latest Addition to List The New York Times January 23 1932 ISSN 0362 4331 Archived from the original on November 29 2021 Retrieved November 29 2021 The Broadway League January 28 1932 Through the Years Broadway Musical Original IBDB Archived from the original on November 29 2021 Retrieved November 29 2021 Through the Years Broadway Manhattan Theatre Playbill Archived from the original on November 29 2021 Retrieved November 29 2021 New Screen Guild Formed to Produce Cooperative Enterprise Organ ized by M C Levee as Outlet for Higher Creative Talent The New York Times April 4 1932 ISSN 0362 4331 Archived from the original on November 29 2021 Retrieved November 29 2021 Carroll Interests Lease Theater on Broadway Former Hammerstein Playhouse Taken for Five Year Term New York Herald Tribune April 5 1932 p 34 ProQuest 1125460187 Gospel News Earl Carroll Takes Lease on Manhattan The Billboard Vol 54 no 15 April 9 1932 p 4 ProQuest 1032010918 Plans a Musical Show Earl Carroll s Offering Based Upon a Farce It s a Girl The New York Times July 23 1932 ISSN 0362 4331 Archived from the original on November 30 2021 Retrieved November 30 2021 Carroll Gives Up the Manhattan Manager of the Earl Carroll Productions Relinquishes Lease on Theatre The New York Times October 26 1932 ISSN 0362 4331 Archived from the original on November 29 2021 Retrieved November 29 2021 a b c Theatre Leased for New Casino the Manhattan Formerly Hammerstein s Will Become a Music Hall The New York Times November 1 1933 p 41 ISSN 0362 4331 ProQuest 100826888 Bainter Love Probable for New Maugham Play New York Daily News March 5 1933 p 387 ProQuest 2277923977 Retrieved November 30 2021 via newspapers com Real Estate New York Herald Tribune September 4 1933 p 23 ProQuest 1222053327 Press Guarantee Claim Mortgage Certificate Holders Seek Aid From Governor The New York Times September 4 1933 p 23 ISSN 0362 4331 ProQuest 100899684 a b c Ellerbee 2016 p 36 Turnover Is Light in Urban Section Bank of Manhattan Company Leases Private Dwelling on East 91st Street The New York Times April 24 1934 ISSN 0362 4331 Archived from the original on November 30 2021 Retrieved November 30 2021 Casino de Paree Group Rents Broadway Theater Manhattan at 53d Street Will Become Music Hall New York Herald Tribune March 30 1934 p 34 ProQuest 1114810728 Music Nite Clubs Jersey Wonder Bar Beats Billy Rose Into Cheap Field Variety Vol 114 no 4 April 10 1934 p 47 ProQuest 1475848523 News of the Theaters McClintic Buys New Play Henry Hull Will Quit Tobacco Road June 18 Ruth Weston New York Herald Tribune June 6 1934 p 14 ProQuest 1240164375 Billy Rose Music Hall Opens at Old Manhattan Vaudeville Show Offered With Drinking and Dining New York Herald Tribune June 22 1934 p 16 ProQuest 1222059874 Allen Kelcey June 22 1934 Amusements Billy Rose Music Hall Opens Women s Wear Daily Vol 48 no 122 p 17 ProQuest 1653462088 Legitimate Only 35 Theatres Left for Legit 17 Houses Switched Their Policies During Past Season Once Were 60 Variety Vol 114 no 7 May 1 1934 p 47 ProQuest 1475821537 Allen Kelcey June 8 1934 Amusements Billy Rose s Music Hall Opens June 15 Women s Wear Daily Vol 48 no 112 pp 17 18 ProQuest 1653902802 Landmarks Preservation Commission 1988 pp 19 20 Vaudeville Billy Rose Music Hall Adjusts Labor Troubles The Billboard Vol 46 no 30 July 28 1934 p 13 ProQuest 1032044494 Goldman Herbert G 1993 Fanny Brice The Original Funny Girl Oxford University Press p 184 ISBN 978 0 19 983915 5 Archived from the original on November 30 2021 Retrieved November 30 2021 Fights License Order Billy Rose s Music Hall Seeks to Avoid Theatre Permit The New York Times September 19 1934 ISSN 0362 4331 Archived from the original on November 30 2021 Retrieved November 30 2021 Music Settlement Nixed By Rose Prepares Suit on Niteries Variety Vol 116 no 1 September 18 1934 p 49 ProQuest 1475797585 Billy Rose Quits Casino Also Withdraws From Music Hall and Threatens Suits The New York Times September 8 1934 ISSN 0362 4331 Archived from the original on November 30 2021 Retrieved November 30 2021 B c November 29 1934 Music Hall Bill Changed New Stage Revue Is Presented at Former Billy Rose Resort The New York Times ISSN 0362 4331 Archived from the original on November 30 2021 Retrieved November 30 2021 Music Night Clubs Music Hall Back With New Nitery Idea If and When Variety Vol 117 no 5 January 15 1935 p 47 ProQuest 1475881743 Manhattan Music Hall Reorganization Sought Women s Wear Daily Vol 50 no 14 January 21 1935 p 22 ProQuest 1653677064 Music Night Clubs Mellers or Cotton Club Show May Be Spotted in Man M H Variety Vol 117 no 6 January 22 1935 p 48 ProQuest 1475899191 Night Spots Orchestra Theater Cafe Gives Up The Billboard Vol 48 no 1 January 4 1936 p 11 ProQuest 1032082336 Atkinson Brooks February 22 1936 Mainly for Lovers a Comedy From England American Holiday Under WPA Auspices The New York Times ISSN 0362 4331 Archived from the original on November 30 2021 Retrieved November 30 2021 Mantle Burns February 22 1936 Mainly for Lovers Is Fluffy American Holiday Incisive New York Daily News p 247 Archived from the original on November 30 2021 Retrieved November 30 2021 via newspapers com The Broadway League February 21 1936 American Holiday Broadway Play Original IBDB Archived from the original on November 30 2021 Retrieved November 30 2021 American Holiday Broadway Manhattan Theatre Playbill Archived from the original on November 30 2021 Retrieved November 30 2021 The Broadway League March 20 1936 Murder in the Cathedral Broadway Play Original IBDB Archived from the original on November 30 2021 Retrieved November 30 2021 Murder in the Cathedral Broadway Manhattan Theatre Playbill Archived from the original on November 30 2021 Retrieved November 30 2021 Atkinson Brooks March 29 1936 Strange Images of Death Murder in the Cathedral T S Eliot s Poem About Thomas a Becket s Martyrdom Staged Under WPA Auspices The New York Times ISSN 0362 4331 Archived from the original on November 30 2021 Retrieved November 30 2021 The Broadway League May 15 1936 Class of 29 Broadway Play Original IBDB Archived from the original on November 30 2021 Retrieved November 30 2021 Class of 29 Broadway Manhattan Theatre Playbill Archived from the original on November 30 2021 Retrieved November 30 2021 News of the Stage The WPA s Class of 29 Tonight at the Manhattan Crosby Gaige to Co Produce The Eternal Road The New York Times May 15 1936 ISSN 0362 4331 Archived from the original on November 30 2021 Retrieved November 30 2021 The Broadway League July 14 1936 Help Yourself Broadway Play Original IBDB Archived from the original on November 30 2021 Retrieved November 30 2021 Help Yourself Broadway Manhattan Theatre Playbill Archived from the original on November 30 2021 Retrieved November 30 2021 J k h July 15 1936 Help Yourself is Given by WPA Popular Price Unit Presents Farce Adapted From the Viennese Original The New York Times ISSN 0362 4331 Archived from the original on November 30 2021 Retrieved November 30 2021 a b The Broadway League February 14 1936 Ed Sullivan Theatre New York NY IBDB Archived from the original on March 26 2020 Retrieved November 30 2021 Ed Sullivan Theatre Playbill July 14 1936 Archived from the original on November 30 2021 Retrieved November 30 2021 Radio Bowes Chrysler Into Manhattan Theatre B way Variety Vol 123 no 4 July 8 1936 p 31 ProQuest 1475939524 a b Fifth CBS Theatre Broadcasting Broadcast Advertising Vol 11 no 3 August 1 1936 p 1 ProQuest 1014907863 Spelvin George September 5 1936 The Broadway Beat The Billboard Vol 48 no 36 p 27 ProQuest 1032101519 Theatre Notes New York Daily News August 8 1936 p 20 Archived from the original on November 30 2021 Retrieved November 30 2021 via newspapers com Radio Theatre Leased Columbia to Move Studio to the Manhattan From Little Theatre The New York Times August 19 1936 ISSN 0362 4331 Archived from the original on March 30 2022 Retrieved November 30 2021 a b Theatre studio to Open Columbia s New Stage Floats on Sound Insulating Material The New York Times September 16 1936 ISSN 0362 4331 Archived from the original on November 30 2021 Retrieved November 30 2021 a b Landmarks Preservation Commission 1988 p 20 New CBS Theatre Broadcasting Broadcast Advertising Vol 12 no 3 February 1 1937 p 59 ProQuest 1014921277 The Incredible History Of The Late Show s Ed Sullivan Theater CBS Archived from the original on November 30 2021 Retrieved November 30 2021 a b Hutchens John K November 7 1943 Visit to the Shrine Notes on an Evening Among Mr Sinatra s Admirers at the Saturday Hit Parade The New York Times ISSN 0362 4331 Archived from the original on November 30 2021 Retrieved November 30 2021 Gaver Jack April 1 1944 Frank Sinatra Dodges Bobby Sox Brigade PDF Jamestown Post Journal Retrieved January 1 2021 via fultonhistory com a b New Group Takes Broadway Parcel Howard Cullman and Associates Get Old Hammerstein Theatre and Offices The New York Times May 25 1944 ISSN 0362 4331 Archived from the original on November 30 2021 Retrieved November 30 2021 Builders Take Large Midtown Apartment Site Braloff and Gelder to Erect Three Buildings on 2d Avenue Plot After War New York Herald Tribune May 26 1944 p 27 ProQuest 1284514046 CBS Is Negotiating for Alvin Theatre Report Radio System Offers 850 000 for House Jan 5 Strange Fruit Finale Taylor Holmes in Play On and Off the Stage The New York Times December 29 1945 ISSN 0362 4331 Archived from the original on November 30 2021 Retrieved November 30 2021 Radio CBS 750G For Alvin Theatre N Y Variety Vol 161 no 3 December 26 1945 p 25 ProQuest 1285882622 a b McCord Bert December 28 1945 News of the Theater Hammerstein a Theater Again New York Herald Tribune p 19 ProQuest 1291127205 Allen Kelcey December 31 1945 Amusement Notes To Reopen as Legitimate Theatres Women s Wear Daily Vol 71 no 127 p 13 ProQuest 1627241953 Zolotow Sam April 30 1946 Drama by Appell Arriving Tonight This Too Shall Pass Will Open at Belasco Laurette Taylor to Take Vacation in June Pygmalion Equals Record Lead Offered March The New York Times ISSN 0362 4331 Archived from the original on November 30 2021 Retrieved November 30 2021 Legitimate 11 Mil Last Season Near 15 Year High The Billboard Vol 58 no 28 July 13 1946 p 46 ProQuest 1040017637 Rusoff 2015 p 77 a b c Alleman Richard 2005 New York The Movie Lover s Guide the Ultimate Insider Tour of Movie New York Broadway Books p 139 ISBN 978 0 7679 1634 9 Archived from the original on November 30 2021 Retrieved November 30 2021 Lawson Carol March 20 1984 City s Stage Heritage Shown The New York Times ISSN 0362 4331 Archived from the original 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Lyceum March 31 New York Herald Tribune p 17 ProQuest 1319957982 Old Hammerstein Theater Bought New York Herald Tribune October 18 1955 p B6 ProQuest 1342190884 Investor Obtains TV Studio Center Building at Broadway and 53d St Was Erected by Oscar Hammerstein The New York Times October 16 1955 p RE1 ISSN 0362 4331 ProQuest 113373542 Radio Television TV Radio Production Centres Variety Vol 215 no 6 July 8 1959 pp 28 64 ProQuest 1017035024 Ellerbee 2016 p 42 Baker Sarah 2015 Preserving Popular Music Heritage Do it Yourself Do it Together Routledge Research in Music Taylor amp Francis p 283 ISBN 978 1 317 67074 2 Archived from the original on November 30 2021 Retrieved November 30 2021 a b Rusoff 2015 p 79 Radio Television Overcrowded Studio Facility Snag Creates Gleason Candid Camera Impasse With CBS TV in the Middle Variety Vol 228 no 11 November 7 1962 p 21 ProQuest 1017079921 a b Ellerbee 2016 pp 41 42 Barron James February 8 2014 Historic Hysterics Witnesses to a Really Big Show The 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Historic Places National Park Service November 17 1997 Ed Sullivan Theater Interior PDF Report New York City Landmarks Preservation Commission January 5 1988 Ellerbee Bobby June 2016 The History of CBS New York Television Studios 1937 1965 PDF Eyes of a Generation Report Fordin Hugh 1995 Getting to know him a biography of Oscar Hammerstein II New York Da Capo Press ISBN 978 0 306 80668 1 OCLC 32589395 Rusoff Jane Wollman January 2015 If These Walls Could Talk Emmy No 6 pp 76 83 ProQuest 2298671427 Stern Robert A M Fishman David Tilove Jacob 2006 New York 2000 Architecture and Urbanism Between the Bicentennial and the Millennium New York Monacelli Press ISBN 978 1 58093 177 9 OCLC 70267065 OL 22741487M External links Edit nbsp Wikimedia Commons has media related to Ed Sullivan Theater Ed Sullivan Theater at the Internet Broadway Database Ed Sullivan Theater at edsullivan com Ed Sullivan Theater at nyc com Ed Sullivan Theater at newyorkcitytheatre com Retrieved from https en wikipedia org w index php title Ed Sullivan Theater amp oldid 1180914972, wikipedia, wiki, book, books, library,

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