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New Amsterdam Theatre

The New Amsterdam Theatre is a Broadway theater on West 42nd Street, at the southern end of Times Square, in the Theater District of Manhattan in New York City. One of the first Broadway venues to open in the Times Square neighborhood, the New Amsterdam was built from 1902 to 1903 to designs by Herts & Tallant. The theater is operated by Disney Theatrical Productions and has 1,702 seats across three levels. Both the Beaux-Arts exterior and the Art Nouveau interior of the building are New York City landmarks, and the building is on the National Register of Historic Places.

New Amsterdam Theatre
Seen in 2011 from the New 42nd Street building
Address214 West 42nd Street
Manhattan, New York City
United States
Coordinates40°45′22″N 73°59′16″W / 40.75611°N 73.98778°W / 40.75611; -73.98778Coordinates: 40°45′22″N 73°59′16″W / 40.75611°N 73.98778°W / 40.75611; -73.98778
OwnerGovernment of New York City
OperatorDisney Theatrical Group
TypeBroadway theater
Capacity1,702
ProductionAladdin
Construction
OpenedOctober 26, 1903
Rebuilt1995–1997
Years active1903–1937, 1997–present
ArchitectHerts & Tallant
Structural engineerDeSimone Consulting Engineers
Website
newamsterdamtheatre.com
Architectural style(s)Beaux-Arts, Art Nouveau
DesignatedJanuary 10, 1980
Reference no.80002664[1]
Designated entityTheater
DesignatedOctober 23, 1979[2]
Reference no.1026[2]
Designated entityFacade
DesignatedOctober 23, 1979[3]
Reference no.1027[3]
Designated entityInterior

The theater's main entrance is through a 10-story wing facing north on 42nd Street, while the auditorium is in the rear, facing south on 41st Street. The facade on 42nd Street is made of gray limestone and was originally ornamented with sculptural detail; the rest of the facade is made of brick. The lobby within the office wing leads to a set of ornamental foyers, a reception room, and men's and women's lounges. The elliptical auditorium contains two balconies cantilevered above a ground-level orchestra. Above the main auditorium is a now-disused roof theater, which opened in 1904 and also served as a studio. The theater has a steel frame and was designed with advanced mechanical systems for its time.

The New Amsterdam Theatre was named for the Dutch settlement of New Amsterdam, the precursor to New York City. Klaw and Erlanger operated the venue for more than two decades after its opening on October 26, 1903. From 1913 to 1927, the New Amsterdam was the home of the Ziegfeld Follies, whose producer, Florenz Ziegfeld Jr., maintained an office in the building and operated the theater on the roof. Erlanger bought Klaw's interest in 1927, and the New Amsterdam was converted into a movie theater in 1937, in which capacity it served until 1983. The Nederlander Organization tried to redevelop the theater for ten years as part of the 42nd Street Development Project. It was then leased by The Walt Disney Company and renovated by Hardy Holzman Pfeiffer from 1995 to 1997. After Disney took over the New Amsterdam's operation, the theater hosted the musical The Lion King, followed by Mary Poppins and Aladdin.

Site

The New Amsterdam Theatre is at 214 West 42nd Street, between Seventh Avenue and Eighth Avenue near the southern end of Times Square, in the Theater District of Midtown Manhattan in New York City.[4][5] The land lot is irregularly shaped and covers 19,250 sq ft (1,788 m2), extending 200 ft (61 m) between its two frontages on 41st and 42nd Streets.[4] The main frontage on 42nd Street (including the box office) measures 75 ft (23 m) wide, and the 41st Street frontage measures 150 ft (46 m) wide.[6] Originally, the 42nd Street frontage was only 25 ft (7.6 m) wide;[7][8] the developers, Abraham L. Erlanger and Marcus Klaw, wanted the more prominent 42nd Street frontage as the main entrance.[9] The lots comprising the site had previously been owned by Samuel McMillan and the Johnson estate.[7][8]

The city block includes 5 Times Square to the east and the Candler Building, Madame Tussauds New York, Empire Theatre, and Eleven Times Square to the west. The American Airlines Theatre, Times Square Theater, Lyric Theatre, New Victory Theater, and 3 Times Square are across 42nd Street to the north, and the Nederlander Theatre is to the south.[4][5] An entrance to the New York City Subway's Times Square–42nd Street station, served by the 1, ​2, ​3​, 7, <7>​​, N, ​Q, ​R, ​W, and S trains, is next to the theater.[10]

The surrounding area is part of Manhattan's Theater District and contains many Broadway theaters.[5][11] In the first two decades of the 20th century, eleven venues for legitimate theater were built within one block of West 42nd Street between Seventh and Eighth Avenues.[12][13] The New Amsterdam, Harris, Liberty, Eltinge, and Lew Fields theaters occupied the south side of the street. The original Lyric and Apollo theaters (combined into the current Lyric Theatre), as well as the Times Square, Victory, Selwyn (now American Airlines), and Victoria theaters, occupied the north side.[13] These venues were mostly converted to movie theaters by the 1930s, and many of them had been relegated to showing pornography by the 1970s.[13][14]

Design

The New Amsterdam Theatre was designed by architects Herts & Tallant and developed for Klaw and Erlanger from 1902 to 1903.[15][16] It was built by the Fuller Construction Company.[17] The facade is designed in the Beaux-Arts style[15] with elements of Art Nouveau,[18][19] and the theater's interior is an early example of architectural Art Nouveau in New York City.[20][21] Decoration was carried out by more than a dozen artists.[22] The decorative scheme predominantly depicted three topics: the history of New York City prior to 1903, including its original history as the Dutch colony of New Amsterdam; the history of theater; and the floral and foliage motifs often seen in theaters.[23] The design also included elements of classicism.[24]

The theater consists of two major portions: a 10-story tower with offices on the narrow 42nd Street frontage,[25][a] as well as the auditorium at the rear on 41st Street.[25][26] The tower was developed to house Klaw and Erlanger's booking activities.[9][27] The two sections are connected by a one-story passageway at ground level. The New Amsterdam Theatre's building housed two theaters when it opened: the main 41st Street auditorium as well as a rooftop theater.[28][29]

Façade

The primary elevation of the facade, on 42nd Street, is made of gray limestone with a steeply pitched roof made of red tile.[30][31] The theater's entrance is a triple-height segmental arch; the stories above contain offices.[28][30] The office wing measures 150 ft (46 m) tall.[32][33] The 41st Street elevation contains the stage doors and is clad with plain brick, since the architects thought the public would seldom see that elevation. The side walls of the office wing on 42nd Street are also constructed of brick because the architects had anticipated that high-rise buildings would be constructed on either side.[34] Fire escapes are placed across the theater wing's exterior on 41st Street.[35]

Theater entrance

 
Sketch of the original entrance arch

On 42nd Street, the triple-height arch had rusticated stone piers on either side.[30] The original entrance was a double door with transom windows made of leaded glass, above which was a sign with the theater's name.[36] The sign was ornately decorated and, at night, was illuminated by lights on the upper stories.[27] The second and third stories contain bronze-framed windows with flower and vine decorations.[18] The original doors were removed around 1937, but the second- and third-story windows still exist.[36] The entrance vestibule, originally immediately inside the doors, contained green tiles and relief panels by St. John Issing. The vestibule was reconfigured as an outdoor space when the original entrance doors were removed; it contains a ticket booth on its western side.[37]

The arch at the second and third stories was initially highly decorated, but the decorations were all removed in 1937 to make way for a marquee.[38] At the second floor were yellow-and-gray Montreal marble columns.[31] These were topped by bronze capitals designed by Enid Yandell, which contained four heads depicting the ages of drama. The top of the arch at the third story originally had a keystone carved by Grendellis and Ricci, with a garland depicting oak, laurel, and ivy.[30][31][33] Above was a cornice with modillions, as well as a group of sculptures by George Gray Barnard, depicting five figures linked by garlands.[18][31][39] Cupid (symbolizing love comedy) and a woman stood on one side of the central figure, a female personification of drama; Pierrot (symbolizing musical farce) and a knight stood on the other side.[31][33][39]

Office stories

The office stories along the 42nd Street elevation are three bays wide. The fourth through sixth stories contain simple fenestration, but the seventh-story windows are taller than those on the three preceding stories. On the seventh story there is a frieze with winged heads below it, as well as pilasters topped by capitals with floral decorations.[34] Grendellis and Ricci designed terracotta panels for the arched pediments above the seventh-story windows, which represent dance, declamation, and song.[30] At the ninth story, decorated pilasters flank the windows, and a frieze runs above the windows, with the year "1903" carved into it.[34]

The tenth story contains a central projecting dormer, containing a decorated pediment, as well as a smaller dormer in either of the side bays. The peak of the central dormer contains a mask with garlands.[30] It was originally flanked by representations of drama and music.[30][33] These figures held up a shield silhouetted against the sky.[31][33] Herts & Tallant chose not to include a cornice on the facade, since they felt such a feature was unsuitable for office buildings.[40]

Interior

The New Amsterdam Theatre was among the first non-high-rise buildings in New York City with a steel superstructure.[23] The structural frame is made of 2,000 short tons (1,800 long tons; 1,800 t) of steel.[35][41] According to a 1903 source, the frame is made of approximately 270,000 steel pieces, which required about 7,500 engineering drawings. There were also 57 cantilevers and 38 electric elevators.[35] The side walls of the office wing are non-bearing walls.[40] The tower wing was used as offices for Klaw and Erlanger and later Florenz Ziegfeld Jr.[42]

The theater was also mechanically advanced for its time, with heating, cooling, and vacuum-cleaning systems, as well as a fireproof structural frame.[43][44] The auditorium alone had a volume of 400,000 cu ft (11,000 m3) and was indirectly heated by fans in the subbasement. The ventilation system included air plenums on 41st Street, a 10-foot (3.0 m) fan, a silk filter, and a heater that moistened the air to natural levels of humidity. The air could be completely changed in ten minutes.[45] Air was distributed through the floors and walls,[46] and it was exhausted through disc fans above the auditorium.[45] Three telephone systems were installed to allow communications between different parts of the theater.[47] These mechanical systems were completely replaced between 1995 and 1997.[48] The new mechanical systems do not intrude upon the original design, except for a light grid above the proscenium of the auditorium.[49]

Lobby and foyers

 
Original lobby
 
Auditorium's entrance foyer

Leading from the 42nd Street entrance vestibule is the lobby, which runs under the office wing; the space contains curving Art Nouveau-style floral motifs.[50][51] The eastern (or left) wall contains bronze office and elevator doors.[50][46] The remainder of the wall contains marble panels, separated by terracotta pilasters that were designed by Neumark of Bremen and carved by Grendellis and Ricci.[52] There are mirrored panels above the marble on the western (right) wall.[46] Above the walls are twelve terracotta panels designed by Roland Hinton Perry, which form a frieze.[39][46][52] Those on the eastern wall depict scenes from Shakespeare's plays, and those on the western wall depict scenes from operas by Richard Wagner.[33][46][52] A scene from Faust is depicted over the entrance on the north, and Greek drama is depicted over the doorway to the auditorium foyer on the south.[46][52] The coffered ceiling is made of wood[50] and originally contained plaster-and-leaded-glass chandeliers, which have since been replaced by simpler fixtures.[37]

The lobby leads south to the auditorium's entrance foyer.[51][53] Within the foyer, above the doors from the lobby, is a semicircular plaster relief by Hugh Tallant, depicting progress.[39][54][55][56] This design includes a blue-and-gold representation of a woman with flower and leaf decorations on either side.[53] Perry designed full-size panels for the foyer walls, which depicted the colony of New Amsterdam in the 17th century as well as a more modern view of New York City in the 19th century.[39][53][54][56][b] The panels were subsequently removed when refreshment stands were added,[37] and mirrors were installed in their place.[53] The ceiling of the foyer contained a stained-glass dome, originally named "The Song of the Flowers".[46][53][54][c] The stained glass vault was replaced with a vault painted gold.[53]

 
First floor plan, with west at top. At right (north), the entrance vestibule leads to the narrow lobby and the auditorium's entrance foyer. At left (south), from top to bottom, are the auditorium, promenade foyer, and general reception room.

The south wall of the entrance foyer leads to a promenade foyer, which is as wide as the auditorium itself.[55][57] The promenade foyer contains a groin vault with floral moldings.[53] The foyer contains a wood balustrade overlooking the parterre orchestra level of the auditorium to the west.[58] A sylvan-themed relief by Issing is at the southern end of the promenade foyer, leading to 41st Street.[59]

On the east wall of the promenade foyer, there are four staircases: two leading up to the auditorium's balconies and two leading down to the lounges.[33][60] The stairs are made of green-veined Maryland Cremo marble.[54][60] The stairs contain green terracotta balustrades made with faience glazing, containing panels with vines, flowers, and animals. The oak-wood newel posts at each landing have figures inspired by characters from Shakespeare. The staircase decorations have been attributed to Norwegian architect Thorbjorn Bassoe.[60]

Rooms

From the rear of the first-floor promenade foyer is an arch leading to the general reception room, a green-and-gold space with oak paneling.[59] The general reception room measures 50 ft × 30 ft (15.2 m × 9.1 m).[61] The arch was originally flanked by marble fountains.[62] On the north and south walls, George Peixotto designed two symbolic paintings entitled "Inspiration" and "Creation".[33][63] The rear (east) wall of the reception room has a fireplace with a Caen stone and Irish marble mantel, also decorated with curving foliate patterns. Above the fireplaces are niches, which originally contained busts depicting poets Homer, Shakespeare, and Virgil.[59] The paneling is 12 ft (3.7 m) high and contains built-in seats and stylized curved trees.[64] The paneling also once had 38 medallions with painted portraits, designed by William Frazee Strunz and depicting "Lovers of Historical Drama".[63] The reception room's vaulted ceiling and the room's arches are decorated with floral moldings.[51][53]

The women's and men's lounges are both directly below the reception room: the women's lounge to the south and the men's lounge to the north. The women's lounge originally had pink carved reliefs of roses. The ceiling of the women's lounge depicted a rose with personifications of the five senses, as well as depictions of the figures Eros, Ganymede, and Jupiter.[62]

 
Smoking room

The old rectangular smoking room, also called the New Amsterdam Room for its decorations, is between the lounges.[57][63] Stairs descend 3 ft (0.91 m) from the lounges to the room.[63] The space measures 70 ft × 40 ft (21 m × 12 m).[61] The room's floor is made of Welsh quarry tile and the walls have brown Flemish-oak paneling and upholstered seats.[61][62] The upper portions of the walls contain sixteen murals attributed to Edward Simmons and R. W. Finn, which depict New York City's historical development.[65] There is a fireplace at one corner of the room, with a mantel of Caen stone and gray-washed brick.[61][63] The ceiling is a segmental dome, supported by an oval colonnade of plain, round Caen-stone columns. Eight allegorical murals by Peixotto decorate the dome.[63] There is a bronze grille representing a winged youth, at the dome's apex.[66] An inscription surrounds the dome's base, with the words "I had rather a fool to make me merry than experience to make me sad", a line from the Shakespeare comedy As You Like It.[66][67] The old smoking room was converted into a bar during the 1990s.[48]

Auditorium

The auditorium is at the south end of the building and is elliptical in plan, with curved walls, a domed ceiling, and two balcony levels over the orchestra level.[51][68][61] The space measures 86 ft (26 m) wide, and it is 90 ft (27 m) long between the stage apron and the reception room's wall. The dome rises 80 ft (24 m) above the floor of the orchestra.[61][69][70] The original color scheme was described in The New York Times as consisting of "tender pinks, mauves, lilacs, red and gold".[33][71] These decorations were bright to compensate for the original direct current lighting system, which was dim. The modern decorative scheme contains reproductions of many of the original decorations with a subdued color palette.[72] A double wall surrounds the whole auditorium and contains a fire gallery measuring 15 ft (4.6 m) wide.[73][74] The auditorium held around 1,550 seats in its original configuration.[75][d] After its reopening in 1997, the auditorium had 1,814 seats;[76][77] as of 2022, the New Amsterdam has a seating capacity of 1,702.[78][e]

 
Side view of seats

Unusually for theaters of the time, the balconies are cantilevered from the structural framework, which eliminated the need for columns that blocked sightlines.[46][79] The second balcony is recessed from the first balcony and is suspended directly from the ceiling with tension rods.[74][57] At the orchestra and balcony levels, the lower sections of the walls have carved-oak wainscoting.[58] The original seats had walnut-stained seatbacks without cushions, which became known as "Amsterdam backs" when they were used in other theaters.[80] The original design included twelve seating boxes, six on either side of the stage;[33][61][75] they were arranged in staggered pairs and installed within arches on the side walls.[74] Each box was ornamented with a different floral motif,[33][81][82] and the boxes were often identified by the names of the flowers on them.[74] The boxes were removed when the New Amsterdam was converted into a movie theater.[75][81] They were restored in 1997 based on historical blueprints.[72][82]

 
Proscenium arch of the auditorium

The Neumark brothers designed plaster and carved-oak moldings around the dome, the proscenium arch, and the wall arches.[58] The proscenium arch measures 36 ft (11 m) high and 40 ft (12 m) wide.[69][70] Surrounding the proscenium is an elliptical arch, which rises to the edge of the ceiling dome.[69] Between the two arches is a 18-by-45-foot (5.5 by 13.7 m) mural, designed by Robert Blum and executed by Albert B. Wenzell after Blum died.[33][39][69] The mural depicts personified figures of such topics as truth, love, melancholy, death, and chivalry,[68] flanking a central figure representing poetry.[33][39] On either side are murals by Wenzell depicting Virtue and Courage.[71] Issing also designed 16 dark-green peacocks for the proscenium, placed atop depictions of vines.[68][70] There are also floral motifs and female figures around the dome.[58] The ceiling of the auditorium also has seven arches with wood paneling.[26][69] The ceiling of the main auditorium contains a girder measuring 90 ft (27 m) long and 14 ft (4.3 m) tall and weighing 70 short tons (63 long tons; 64 t).[23][41][83] At the time of the New Amsterdam's construction in 1903, this was the largest piece of steel ever used in a building.[23][73]

The stage measures 60 by 100 ft (18 by 30 m),[61][70][81][f] making it the largest legitimate theater stage ever designed at the time.[56] The entire stage consists of bridge spans that could be lowered to 33 ft (10 m) below the auditorium.[81][85][84] A two-story-deep area was excavated below the stage to accommodate this.[81][85] Four hydraulic platforms, each measuring 42 by 7 ft (12.8 by 2.1 m), could raise or lower different parts of the stage.[23] The stage had a turntable,[56] and the stage floor could be tilted.[84] Surrounding the stage is a large freight elevator, two dressing-room elevators, and a carpentry shop.[81] There is also a fly gallery with counterweights to raise or lower sets. One side of the stage had an electric switchboard that controlled the lighting.[43][44] The original stage curtain had floral motifs similar to those in the rest of the theater.[46] The dressing room could accommodate 500 people.[61][74] The lighting system included a set of emergency exit lights, as well as reflectors to illuminate the area between the footlights.[47]

Roof theater

The girder above the main auditorium supported a roof theater named the Aerial Gardens.[83][86] Accessed by two elevators from the lobby,[74] the Aerial Gardens was also designed by Herts & Tallant and opened in 1904.[15][16] New York City building regulations at the time prohibited the construction of buildings above theater stages. As a result, the back of the theater's stage wall was directly above the proscenium arch of the main auditorium, and the stage was smaller.[86] There was no balcony, but there were twelve boxes as well as a promenade at the rear of the roof theater.[35] The Aerial Gardens was fully enclosed[87] and originally had 680 seats.[88] It could theoretically be used year-round, but in practice it was only used during the summer.[89] There was also a planted garden adjacent to the theater.[35] The Aerial Gardens was subsequently known as Ziegfeld Roof, Danse de Follies, Dresden Theatre, Frolics Theatre, and finally the New Amsterdam Roof.[90]

After Florenz Ziegfeld started hosting the Ziegfeld Follies at the New Amsterdam in 1913, the main floor of the roof theater was turned into a 22,000-square-foot (2,000 m2) dance floor, and a "U"-shaped balcony was erected.[91] The redesigned roof theater had a movable stage and a glass balcony.[88][92] Cross lighting could also be used to create rainbow color patterns.[92] In 1930, a movable glass curtain was installed over the proscenium of the roof theater.[93][94][95] The floor was soundproofed when the space was used as an NBC broadcast studio, and smaller studios were placed in the office wing.[95] By the early 21st century, the roof theater had been converted into office space.[96][97]

History

Times Square became the epicenter for large-scale theater productions between 1900 and the Great Depression.[98] Manhattan's theater district had begun to shift from Union Square and Madison Square during the first decade of the 20th century.[2][99] The New Amsterdam, Lyceum, and Hudson, which all opened in 1903, were among the first theaters to make this shift;[100] the New Amsterdam is one of the oldest surviving Broadway theaters.[101] Furthermore, at the beginning of the 20th century, Klaw and Erlanger operated the predominant theatrical booking agency in the United States.[102] They decided to relocate to 42nd Street after observing that the Metropolitan Opera House, the Victoria Theatre, and the Theatre Republic (now New Victory Theater) had been developed around that area.[27]

Construction

 
Under construction in 1903

In January 1902, Klaw and Erlanger bought seven land lots at 214 West 42nd Street and 207–219 West 41st Street. At the time, the theater was to be known as the Majestic.[7][8] The next month, Fuller Construction was hired as the main contractor,[17] and Herts & Tallant were selected as the architects for the theater.[27][103] By then, the venue had been named the New Amsterdam, after the Dutch colonial settlement that predated New York City.[27][103] Herts & Tallant submitted plans to the New York City Department of Buildings (DOB) shortly afterward.[104][105] Construction had commenced by May 1902.[106][107] Eighteen steam drills and 150 workers excavated the foundation to a depth of 40 ft (12 m).[108]

A controversy arose in early 1903 when a neighboring landowner, Samuel McMillan, discovered that the office wing on 42nd Street would protrude 4 ft (1.2 m) beyond the lot line.[109][110] The DOB ordered that work be halted temporarily, pending a decision on an ordinance regarding "ornamental projections".[110] The New York City Board of Aldermen had already passed the ordinance, and mayor Seth Low had to decide whether to approve it. The DOB stationed a police officer outside the construction site during the daytime, but the developers erected the facade overnight in March 1903.[110] A meeting on the ordinance drew much public opposition, prompting Low to send the bill back to the Board of Aldermen.[111] A judge placed an injunction in April 1903, preventing Low from making a decision on the ordinance.[112][113] The injunction was vacated two days afterward, and Low vetoed the resolution.[114] The Board of Aldermen passed a revised resolution the next week; the aldermen explicitly stated that the ordinance would help Klaw and Erlanger.[115]

After the ordinance was passed, the New Amsterdam's facade was completed as planned.[109] By July 1903, work was proceeding on the New Amsterdam full-time, which The New York Times attributed to an agreement between the Fuller Company and the building trades.[116] At the beginning of that August, the steel structure was topped out.[117] The dispute over the facade continued even after the theater's opening. In 1905, McMillan brought the lawsuit to the New York Supreme Court, Appellate Division, which ruled that the Board of Aldermen's ordinance violated the Constitution of New York.[118]

Original Broadway run

1900s and early 1910s

The New Amsterdam Theatre opened on October 26, 1903,[27][119] with Shakespeare's A Midsummer Night's Dream,[120][121] which was a flop despite costing five times as much as the typical Broadway show.[122] In its first few months of operation, the theater also hosted Whoop Dee Doo, a musical by Weber and Fields.[23][123] Architects' and Builders' Magazine said "The character of the decoration fixes more or less the purpose of the house",[39] and another critic wrote that "the New Amsterdam Theatre will mark an epoch in the history of art" if it were successful.[73] The New York Times referred to the theater as "a vision of gorgeousness",[124] and another source opined that "Architecturally it is near perfection."[26] Theatre magazine described the New Amsterdam as "perhaps the most imposing of all the new theatres" opened on Broadway during 1903.[125] The Aerial Gardens opened on June 6, 1904, with the vaudeville production A Little of Everything.[87][126]

 
42nd Street facade as seen in 1905

The New Amsterdam had started out as a venue for serious drama,[109] but comedy drama became popular within a few years of its opening.[127] Klaw and Erlanger had begun renting out the New Amsterdam, since they wanted to focus on other theatrical ventures, and since it was expensive for them to produce all of the theater's shows.[128] Many producers expressed interest in the theater because of its technologically advanced equipment and Art Nouveau design.[128] The men disagreed over the theater's bookings; Klaw wanted to stage classical productions, but Erlanger preferred large revues and musicals.[122] In 1905, the theater hosted the comedy She Stoops to Conquer.[129][130] The next year, the theater hosted Forty-five Minutes from Broadway, featuring Fay Templeton and Victor Moore,[19][131][132] as well as The Governor's Son, starring the family of George M. Cohan.[129][133] This was followed in 1907 by The Merry Widow,[19][131][134] which ran 416 performances[19][135] at both the main auditorium and the Aerial Gardens.[129] Richard Mansfield appeared in a limited number of performances at the theater for several seasons,[122][129] starring in both Richard III[127][136] and Peer Gynt.[109][137] Kitty Grey, starring Julia Sanderson, was staged at the New Amsterdam in 1909,[109][138] as was the European operetta The Silver Star.[129][139]

The New Amsterdam also staged musicals, particularly those imported from Europe,[128] as well as classic hits.[19] The productions included those by Shakespeare, as well as "kiddie fare" such as Mother Goose and Humpty Dumpty.[75] In 1910, the New Amsterdam staged the melodrama Madame X[19][129][140] and the European operetta Madame Sherry,[129][141] the latter of which ran 231 performances.[19][142] The next year saw a production of The Pink Lady with Hazel Dawn,[131][143] running 312 performances,[19][144] as well as the musical adaptation of Ben-Hur.[145][146] The New Amsterdam hosted several other productions in 1912 and 1913, including Robin Hood,[147][148][149] The Count of Luxembourg,[147][150][151] and Oh! Oh! Delphine.[129][152]

Ziegfeld Follies era

Flo Ziegfeld hosted the Ziegfeld Follies, a series of revues, at the New Amsterdam every year from 1913 to 1927, with two exceptions.[153][154][g] Ziegfeld's relationship with Klaw and Erlanger had dated to the mid-1900s, when the syndicate had paid him $200 a week to present vaudeville; by 1907, he had come up with the Follies.[157] The first edition of the Follies at the New Amsterdam was hosted on June 16, 1913.[147][158][159] Among the performers in the Follies were Fanny Brice, Eddie Cantor, W.C. Fields, Ina Claire, Marilyn Miller, Will Rogers, Sophie Tucker, Bert Williams, and Van and Schenck.[153] An urban legend holds that the theater contains the ghost of one performer, silent film star Olive Thomas.[160][161][162] Ziegfeld also hired either Joseph Urban[28][157] or John Eberson to redesign the theater on the roof with a balcony and a dance floor.[88][93] With the completion of the roof theater's renovation, Ziegfeld began displaying Danse de Follies, a racier sister show of the Follies, in 1915.[147][28][163] Subsequently, known as the Midnight Frolic,[88][147][164] the show was also used to test the skills of promising up-and-coming performers.[164] Ziegfeld also had his own office on the seventh floor of the office wing.[165] The 1924 edition of the Follies had the longest run, with 401 performances, though that edition was not particularly distinctive either critically or artistically.[166]

Between each year's edition of the Follies, the theater hosted other productions.[129][154] The production Sweethearts premiered in 1913,[167][168] and Hazel Dawn starred in The Little Cafe the same year.[169][170] The musical Watch Your Step premiered at the New Amsterdam in 1914,[127][171] featuring Irving Berlin's first complete Broadway score;[147] it ran for 175 performances.[147][172] A performance of Around the Map was staged in 1915.[129][173] The following year, Sir Herbert Tree and Company staged several Shakespeare plays,[147][174] and Guy Bolton and Emmerich Kálmán's musical Miss Springtime ran 224 performances.[175][176] The Cohan Revue of 1918 was then staged at the New Amsterdam,[177][178] followed the same year by The Rainbow Girl[177][179] and The Girl Behind the Gun.[180][181] The decade ended with The Velvet Lady,[129][182] as well as a musical version of Monsieur Beaucaire, in 1919.[183][184]

The New Amsterdam staged Sally, where Marilyn Miller had her musical comedy debut, in 1920;[185][186] it ran for 570 performances.[183][187] The Midnight Frolic was popular but, because it offered alcoholic beverages, closed during Prohibition in 1921[188][189] or 1922.[88][92] It then reopened as the Dresden,[90] with performances of Cinders starting in April 1923.[93][190] The rooftop theater became the Frolic Theatre in September 1923 and was operated by Ziegfeld and Charles Dillingham.[93][191] During the mid- and late 1920s, the main auditorium hosted several plays. In 1925, the musical Sunny opened,[192][193] ultimately running 517 performances;[166][194] by contrast, Betsy opened the next year[195] and was a failure with 39 performances.[166][196] The main auditorium's productions in 1927 included Lucky,[166][197] Trelawny of the 'Wells',[192][198] and Julius Caesar.[199][200] The Frolic, meanwhile, hosted a performance of He Loved the Ladies during one week in 1927; one of the seven showings had no audience members at all.[93]

Late 1920s and 1930s

Klaw and Erlanger continued to operate the New Amsterdam Theatre jointly until 1927, when Erlanger bought out Klaw's interest. Erlanger then announced plans to renovate the New Amsterdam Theatre for $500,000.[201][202] The same year, Ziegfeld developed his own theater, the Ziegfeld Theatre on Sixth Avenue.[154] The theater's hits in 1928 included the musical comedy Rosalie,[192][203] which ran 327 performances,[204][205] and Whoopee,[206][207] which ran 379 performances.[204][208] Meanwhile, Ziegfeld re-launched the Midnight Frolic at the rooftop theater in December 1928.[209][210] The following June, Erlanger announced he would convert the rooftop theater into a modern facility called Aerial Theater, which would accommodate legitimate plays, films with sound, or radio broadcasts.[211] Upon obtaining sole ownership of the theater, Erlanger renewed Dillingham and Ziegfeld's lease, which had been set to expire at the end of 1929.[212] Another production was staged at the main auditorium in 1929, Sherlock Holmes.[213][214] Erlanger was in significant debt when he died in 1930, and the Dry Dock Savings Bank took over his estate.[215]

In the 1930s, during the beginning of the Great Depression, many Broadway theaters were impacted by declining attendance. The main auditorium only saw a small decrease in quality and quantity of productions, but the Frolics Theatre had a steep decline in premieres.[93] NBC took over the roof theater in February 1930[216][217] and converted it into a broadcast studio, the NBC Times Square Studio, which opened the next month.[94][218] The modifications cost $70,000.[95] Downstairs, Earl Carroll's Vanities of 1930 was played at the main auditorium.[219][220][221] A revival of The Admirable Crichton[219][222] and the original revue The Band Wagon followed in 1931,[219][223][224] as did Face the Music in 1932.[223][225][226] After Face the Music closed at the end of 1932, the theater had no musical premiere for the first time in its history.[227] During early 1933, the musicals Alice in Wonderland[225][228][229] and The Cherry Orchard[230][231] had limited runs at the New Amsterdam, presented by Eva Le Gallienne and her Civic Repertory Theater.[232] Murder at the Vanities premiered in late 1933[227][233] and was followed by Roberta the same year,[223][234] the latter of which was a hit with 295 performances.[225][235]

When Revenge with Music premiered at the New Amsterdam in 1934,[236][237][238] it was the only remaining legitimate theater production on 42nd Street.[227][239] Revenge with Music was followed by George White's Scandals of 1936,[223][236][240] as well as Sigmund Romberg's Forbidden Melody the same year.[241][242][243] The Dry Dock Savings Bank acquired the New Amsterdam Theatre through a foreclosure proceeding in May 1936 after the theater's owners had failed to pay over $1.65 million in interest, taxes, and other fees.[244][245] By then, Erlanger and Ziegfeld had died several years previously.[227] Afterward, Dry Dock leased the roof to CBS and the Mutual Broadcasting System for broadcasts, but an injunction was placed in August 1936 because Dry Dock had no broadcast license.[246] The broadcasters had to apply for a license after Dry Dock unsuccessfully sued to have the injunction removed.[247][248] Othello, which premiered in January 1937,[249][250] was the last live performance at the New Amsterdam for more than half a century;[223][249] it ran for 21 performances before closing.[215][251]

Movie theater and decline

 
The 42nd Street facade (pictured in 2021) was substantially altered in 1937.[38][124]

The New Amsterdam Theatre was sold in June 1937 to Max A. Cohen of Anco Enterprises,[252][253][h] under the condition that the New Amsterdam never host burlesque.[215][249] Cohen renovated the facade, replacing the original decorations with a marquee.[38][124] The New Amsterdam reopened as a movie theater on July 3, 1937, showing the film adaptation of A Midsummer Night's Dream.[237][254] Bernard Sobel, Flo Ziegfeld's former agent, lamented in The New York Times that the cinema conversion was "another indication that the old order has indeed changed".[255] The theater showed other movies for 10 to 25 cents per ticket, although Cohen could not show first runs of movies immediately upon their release, at least not initially.[215] The marquee was further modified in 1947.[75] The auditorium boxes were removed[81][124] as part of a 1953 renovation.[75] These modifications allowed the installation of a Cinerama wide screen.[48][72][256]

MBS continued to use the rooftop theater as a studio.[257] The Cinema Circuit Corporation leased the roof theater in April 1943, showing movies at the 740-seat facility only on weekends.[258] That November, the roof theater hosted a ten-week roster of small plays.[165] The United Booking Office, the New Amsterdam's last remaining tenant from the legitimate theater era, moved out of the office wing that year.[259] The roof studio was leased in 1949 to television station WOR-TV,[260][261] which spent $75,000 to remodel the roof theater and $20,000 on equipment.[262] The renovated rooftop studio started broadcasting in October 1949.[262][263] In subsequent years, the roof theater was used for rehearsals, and the main auditorium became a profitable cinema.[264] By the late 1950s, the New Amsterdam was one of two theaters on the block that showed first-run films, the other being the Lyric. Ticket prices were higher than both "move-over houses", which received films immediately after they ran at the first-run theaters, and the "reissue houses", which screened old films. The New Amsterdam and the other 42nd Street theaters operated from 8 a.m. to 3 a.m., with three shifts of workers. The ten theaters on the block attracted about five million visitors a year between them.[265]

In 1960, Mark Finkelstein, who co-owned the theater building with Cohen, announced that the roof theater would be renovated into a 700-seat venue for theatrical productions.[264] The following year, Finkelstein and Andour Enterprises Inc. were listed as having purchased the building outright.[266] Cohen retired around the same time, and Finkelstein took over full operation.[215] By the early 1960s, the surrounding block had decayed, but many of the old theater buildings from the block's heyday remained, including the New Amsterdam.[267] Later that decade, a critic characterized the roof theater as a "gloomy cavern" and the main auditorium as "just another in the dubious string of 42nd Street movie houses".[268] By the late 1970s, the New Amsterdam Theatre was dilapidated, though many of the interior decorations still remained.[269] The area had become dangerous: two armed guards were killed at the theater during a robbery in 1976,[266] and a patron was stabbed to death in 1979.[270] The cinema continued to run until about 1982[72] or 1983, showing kung fu movies in its final years.[271]

Restoration

The 42nd Street Development Corporation, formed in 1976 to discuss plans for redeveloping Times Square, considered turning the New Amsterdam Theatre into a dance complex in 1977.[272] The same year, the City University of New York's Graduate Center hosted an exhibition with photographs of the New Amsterdam and other theaters to advocate for the area's restoration.[273][274] Another plan, in 1978, called for restoring the New Amsterdam as a legitimate theater while razing nearby buildings to create a park.[275][276] The New York City Landmarks Preservation Commission designated the New Amsterdam Theatre and a portion of its interior as a city landmark on October 23, 1979.[15][277] The theater was added to the National Register of Historic Places on January 10, 1980.[1]

Nederlander plans

 
The theater and surrounding buildings in 1985

The New York State Urban Development Corporation (UDC), an agency of the New York state government, had proposed redeveloping the area around a portion of West 42nd Street in 1981.[278] Theatrical operator Nederlander Organization tried to buy the New Amsterdam Theatre from Finkelstein in early 1982, before the city and state governments selected developers for the sites, but was unsuccessful.[279] The city government selected the Nederlander Organization in April 1982 to operate the New Amsterdam Theatre,[280][281] and the Nederlanders bought the rights to operate the theater in December 1982.[282][283] The theater was technically owned by the New York City Industrial Development Corporation, which issued $5 million in bonds to finance the acquisition.[284][285] The Nederlanders were responsible for developing the theater and paying off the bonds, as well as $250,000 of annual payments in lieu of taxes.[67] The company planned to redevelop the main auditorium into a 1,700-seat theater and reopen the 700-seat roof theater by 1983.[283][286] If the rest of the 42nd Street Development Project was unsuccessful, the Nederlanders could switch the theater's main entrance to 41st Street.[286] Robert Nederlander of the Nederlander Organization had wanted to continue hosting motion pictures while the redevelopment was underway, but the city government denied his proposal.[124]

Plans for restoration were officially announced in May 1983.[287] Construction was to cost $6 million, using both private and public funding.[271][288] Soon after work began, contractors discovered more structural damage than they had expected, including rotting girders.[67][289][290] This led the Nederlanders to announce in mid-1983 that the reopening would be delayed indefinitely.[290] The production of the musical Carmen, which was supposed to be presented at the roof theater, was relocated as a result.[249][289][290] The Nederlanders wanted to seal off the roof theater completely,[271] but the city government suggested instead that the National Theater Center be hosted on the roof.[271][288] The Empire State Development Corporation and New York City Economic Development Corporation purchased the property in 1984.[291] The same year, Jerry Weintraub purchased a stake in the operation of the New Amsterdam.[292][293] The city indicated it would provide $2.5 million for the roof theater's restoration, as part of the National Theater Center, but allocated the funds elsewhere in the 1985 city budget.[294][295]

The theater's renovation had been planned in conjunction with four new office towers, the development of which had been delayed.[124] The renovation was abandoned partway through, the decorations being left exposed to the elements.[72][124][215] The roof had started leaking, and the interior had water damage.[124][215][289] Several shows were announced for the rundown theater, all of which were withdrawn.[296] After having spent $15 million on renovations, the Nederlanders announced in 1990 that the New Amsterdam's restoration would not be viable "for the next several years" until the four office towers were completed.[67] The New York City Opera considered moving to the theater in 1991[297][298] but decided against doing so.[67] After the Nederlanders fell behind on their payments in 1992, the UDC agreed to take over the theater for $247,000[215] or $275,000.[67][76][299] Hardy Holzman Pfeiffer Associates (HHPA) was hired to stabilize the structure.[48][249] By then, chunks of plaster had fallen from the roof and first balcony, and entire sections of the roof theater had fallen apart.[67] Bird droppings had appeared all over the floor because there were holes in the roof.[289] There were dead cats in the basement, and mushrooms growing through the auditorium floor.[300]

Disney renovation

 
Restored boxes in the auditorium

Marian Sulzberger Heiskell, a chairwoman of the 42nd Street Development Project, was a family friend of Michael Eisner, the chairman of The Walt Disney Company. For several years in the 1980s and 1990s, Heiskell had tried to convince Eisner to open a Disney enterprise on Times Square. Disney's internal studies showed that such a venue would conflict with the gated and clean image of its amusement parks and other venues.[301][302] Architect Robert A. M. Stern, who had worked both on Disney projects and on the 42nd Street Development, tried to convince Eisner but was rebuffed.[301][303] In March 1993, Eisner changed his mind and asked to see a full-size model of the buildings being planned in the 42nd Street Development.[301] After the recent high-profile cancellations of the Disney's America and WestCOT theme parks, Disney Development vice president David A. Malmuth wanted a successful development.[300] At a meeting to discuss designs for the town of Celebration, Florida,[304] Stern arranged for Eisner to tour the theater.[301][305] Eisner quickly agreed to renovate the theater after New 42nd Street president Cora Cahan guided him through the dilapidated interior.[82]

In September 1993, the media reported that Disney was seriously considering renovating the New Amsterdam Theatre.[70][306] Disney had planned to show Beauty and the Beast there, but delays forced the production to open at the Palace Theatre instead.[307] By the end of the year, Disney had tentatively agreed to take over the New Amsterdam.[82][308] Disney real estate negotiator Frank S. Ioppolo Sr. obtained several guarantees after threatening to withdraw from the project. This included protection against lawsuits over the proposed renovation; expensive, high-quality items; and government subsidies from the state and city.[300] Other Broadway theater operators had initially opposed the economic incentives, alleging the 42nd Street Development Project was tantamount to a subsidy for the New Amsterdam.[309][310] After New York governor Mario Cuomo promised to create a loan program for other Broadway theaters, two operators said they would no longer oppose the Disney project.[311]

Disney promised in February 1994 to renovate the theater with $8 million of its own equity and a $21 million low-interest loan from the city and state governments.[76][312][313] Other entertainment companies showed interest in the 42nd Street redevelopment after the agreement was announced,[70][314] and there was also interest in renovating 42nd Street's other theaters.[315] During 1994, the rundown theater was used as a filming location for the movie Vanya on 42nd Street.[289][316] Officials agreed to loan Disney another $5 million later that year.[300] In May 1995, Disney Theatrical Productions signed a 49-year revenue-based lease for the property,[317][318] in which Disney would pay the city and state a percentage of the gross sales from the theater.[315] Disney, along with the city and state governments, ultimately agreed to share any costs above $32.5 million. Disney would also pay about $2 million for higher-quality materials, and the city and state governments would commit $1.9 million to a contingency fund.[300] The financial plan was finalized in July 1995.[319][320] Disney wanted at least two other companies to commit to new developments in Times Square before it agreed to restore the New Amsterdam. Madame Tussauds and AMC Theatres subsequently agreed to redevelop three neighboring theaters.[321]

Disney's research and development subsidiary, Walt Disney Imagineering, oversaw the renovation of the New Amsterdam Theatre,[322] hiring design firm Theatre Projects Consultants as a consultant.[82] HHPA was hired to design the renovation,[48][75][321] and Tishman Construction was the general contractor.[75][323] Some mockups of the decorations were created before work commenced.[324] Conservators took a paint chip sample from a billboard outside the building and discovered 121 layers of paint, each for a different event.[325] According to Hugh Hardy of HHPA, the project entailed recreating half the oak paneling and three-quarters of the plaster decoration, as well as the restoration of other decorations and the installation of new mechanical systems.[48][256] Some of the decorative details were painted and glazed to appear older than they actually were. New spaces, such as lounges, restrooms, and elevators, were also created.[82] At some point in the restoration, state preservation officials had requested the restoration of the ornament on the 42nd Street facade.[48] This request was ultimately dropped after officials determined that the replacement marquee was itself an important part of the theater's history.[48][72]

Disney operation

The New Amsterdam's restoration was officially completed on April 2, 1997.[326][327] Architectural critic Ada Louise Huxtable wrote "If this is Disney magic, we need more of it",[77][328] and Herbert Muschamp wrote: "The place is an architectural version of an American Eden, the unsullied natural paradise in which European explorers cast the New World."[328][329] The first production was a limited engagement of a concert version of King David that May,[330][331][332] followed by the premiere of the film Hercules the following month.[333] Disney's decision to stage these events was to ensure the New Amsterdam's restoration would not be overshadowed by the premiere of The Lion King, which in itself was a highly acclaimed production.[328] The Lion King opened in November 1997.[330][334][335] The roof theater remained closed, with no plans to reopen it,[336] in part because the elevators were insufficient to accommodate 700 patrons under city building codes.[337] Disney subsequently converted the roof theater into office space.[96][97] The renovation of the theater was detailed in the book The New Amsterdam: The Biography of a Broadway Theater.[330][338]

 
Aladdin at the New Amsterdam Theatre

Disney's restoration of the New Amsterdam Theatre helped spur the long-delayed redevelopment of Times Square; this led to criticisms of the area's "Disneyfication" from observers who were unaware of Disney's investment.[339] Besides theatrical productions, the revived New Amsterdam has hosted events benefiting Broadway Cares/Equity Fights AIDS, including past iterations of the annual Easter Bonnet Competition.[340] It also hosted a televised concert by the Backstreet Boys for Disney Channel, Backstreet Boys In Concert, in 1998.[341] The Lion King continued to run at the New Amsterdam Theatre until June 2006, when it relocated to the Minskoff in order to make way for Mary Poppins.[342][343] Mary Poppins began previews at the New Amsterdam Theatre on October 14, 2006, and had its first regular performance on November 16, 2006.[344] Mary Poppins continued to run until March 3, 2013.[344][345]

Previews for the musical Aladdin began on February 26, 2014, and the show officially opened on March 20, 2014.[346] Aladdin broke the house record at the New Amsterdam Theatre for the week ending August 10, 2014, with a gross of $1,602,785.[347] As of 2023, Aladdin also holds the current record for the New Amsterdam Theatre, grossing $2,584,549 over nine performances for the week ending December 30, 2018.[348] All Broadway theaters temporarily closed on March 12, 2020, due to the COVID-19 pandemic.[349] The New Amsterdam reopened September 28, 2021, with performances of Aladdin.[350][351]

Notable productions

Productions are listed by the year of their first performance. The Ziegfeld Follies, which has had multiple editions, is listed by the years of the first performances of each edition. This list only includes Broadway shows; it does not include films screened there.[352][353]

See also

References

Notes

  1. ^ Margolies 1997, p. 117 gives a conflicting figure of 11 stories.
  2. ^ National Park Service 1980, p. 4, wrote that the main panel depicted the 1900s.
  3. ^ National Park Service 1980, p. 4, referred to the dome as "A Song of Flowers".
  4. ^ Stern, Fishman & Tilove 2006, p. 705, says the auditorium had 1,537 seats.
  5. ^ According to seating charts, the orchestra has 698 seats, the first balcony has 586 seats, and the second balcony has 418 seats.[78]
  6. ^ Sometimes cited as 52 by 100 ft (16 by 30 m)[84]
  7. ^ a b In 1921, the Follies was hosted at the Globe Theatre because the New Amsterdam was hosting Sally.[155] The 1926 Follies were skipped.[156]
  8. ^ Contemporary New York Times and New York Herald Tribune articles report that the theater was sold for $1.05 million;[252][253]Henderson & Greene 2008, p. 103 states that the theater was sold for $1.5 million.[215]
  9. ^ Including the Ziegfeld Follies of 1919[360]

Citations

  1. ^ a b "Federal Register: 46 Fed. Reg. 10451 (Feb. 3, 1981)" (PDF). Library of Congress. February 3, 1981. p. 10649 (PDF p. 179). (PDF) from the original on February 1, 2021. Retrieved March 8, 2020.
  2. ^ a b c Landmarks Preservation Commission 1979, p. 1.
  3. ^ a b Landmarks Preservation Commission Interior 1979, p. 1.
  4. ^ a b c "214 West 42 Street, 10036". New York City Department of City Planning. Retrieved March 25, 2021.
  5. ^ a b c White, Norval; Willensky, Elliot; Leadon, Fran (2010). AIA Guide to New York City (5th ed.). New York: Oxford University Press. p. 296. ISBN 978-0-19538-386-7.
  6. ^ (PDF). New 42nd Street. Archived from the original (PDF) on July 7, 2011. Retrieved September 30, 2022.
  7. ^ a b c "To Buy Everett-Moore Stock". The New York Times. January 5, 1902. ISSN 0362-4331. from the original on October 16, 2021. Retrieved October 12, 2021.
  8. ^ a b c "New Theatre Site Bought: Work on the Majestic to Be Begun in Forty-first-st. In May". New-York Tribune. January 5, 1902. p. 5. ISSN 1941-0646. ProQuest 571161767.
  9. ^ a b Landmarks Preservation Commission 1979, p. 4.
  10. ^ "MTA Neighborhood Maps: Times Sq-42 St (S)". Metropolitan Transportation Authority. 2018. from the original on August 29, 2021. Retrieved September 13, 2018.
  11. ^ New York City, Proposed Times Square Hotel UDAG: Environmental Impact Statement (Report). United States Department of Housing and Urban Development. 1981. p. 4.15. Retrieved September 25, 2021.
  12. ^ "Legitimate: New York's Playhouse List Nearing Half Century Mark". Variety. Vol. 48, no. 7. October 12, 1917. p. 14. ISSN 0042-2738. ProQuest 1505606157.
  13. ^ a b c Stern, Fishman & Tilove 2006, p. 675.
  14. ^ Gussow, Mel (May 23, 1990). "Critic's Notebook; Where Legends Were Born, Ghosts of Glory Linger". The New York Times. ISSN 0362-4331. from the original on October 16, 2021. Retrieved January 17, 2022.
  15. ^ a b c d New York City Landmarks Preservation Commission; Dolkart, Andrew S.; Postal, Matthew A. (2009). Postal, Matthew A. (ed.). Guide to New York City Landmarks (4th ed.). New York: John Wiley & Sons. p. 88. ISBN 978-0-470-28963-1.
  16. ^ a b White, Norval & Willensky, Elliot (2000). AIA Guide to New York City (4th ed.). New York: Three Rivers Press. p. 256. ISBN 978-0-8129-3107-5.
  17. ^ a b "Contracts Awarded". The Real Estate Record: Real Estate Record and Builders' Guide. Vol. 69, no. 1769. February 8, 1902. p. 256. from the original on October 19, 2021. Retrieved November 4, 2021 – via columbia.edu.
  18. ^ a b c Landmarks Preservation Commission 1979, p. 6; National Park Service 1980, pp. 2, 4.
  19. ^ a b c d e f g h i Botto & Mitchell 2002, p. 7.
  20. ^ Stern, Gilmartin & Massengale 1983, p. 211.
  21. ^ Waters 1903, p. 488.
  22. ^ National Park Service 1980, p. 2.
  23. ^ a b c d e f g Bloom 2013, p. 187.
  24. ^ Stern, Gilmartin & Massengale 1983, p. 212.
  25. ^ a b Landmarks Preservation Commission 1979, p. 4; National Park Service 1980, p. 2.
  26. ^ a b c Margolies 1997, p. 117.
  27. ^ a b c d e f Henderson & Greene 2008, p. 96.
  28. ^ a b c d Morrison 1999, p. 41.
  29. ^ Bloom 2013, p. 187; Botto & Mitchell 2002, p. 7.
  30. ^ a b c d e f g Landmarks Preservation Commission 1979, p. 5; National Park Service 1980, p. 2.
  31. ^ a b c d e f Waters 1903, p. 490.
  32. ^ National Park Service 1980, p. 2.
  33. ^ a b c d e f g h i j k l m De Kay, Charles (November 1, 1903). "Sculpture and Painting in a Theatrical Environment; The Artistic Results Achieved in the Construction of the New Amsterdam Theatre – A Decorative Color Scheme". The New York Times. ISSN 0362-4331. from the original on October 16, 2021. Retrieved October 12, 2021.
  34. ^ a b c Landmarks Preservation Commission 1979, p. 5.
  35. ^ a b c d e National Park Service 1980, p. 13.
  36. ^ a b Landmarks Preservation Commission 1979, p. 6; National Park Service 1980, p. 2.
  37. ^ a b c National Park Service 1980, p. 4.
  38. ^ a b c Landmarks Preservation Commission 1979, p. 6.
  39. ^ a b c d e f g h "The New Amsterdam Theatre". Architects' and Builders' Magazine. Vol. 5, no. 5. February 1904. pp. 186–192. from the original on October 10, 2021. Retrieved November 4, 2021.
  40. ^ a b Waters 1903, p. 489.
  41. ^ a b Landmarks Preservation Commission 1979, pp. 4–5.
  42. ^ Alexander, Cathy. "New Amsterdam Theatre" in Jackson, Kenneth T., ed. (2010). The Encyclopedia of New York City (2nd ed.). New Haven: Yale University Press. pp. 888–89. ISBN 978-0-300-11465-2.
  43. ^ a b Landmarks Preservation Commission Interior 1979, p. 9.
  44. ^ a b Gura 2015, p. 71.
  45. ^ a b National Park Service 1980, pp. 13–14.
  46. ^ a b c d e f g h i Henderson & Greene 2008, p. 97.
  47. ^ a b Hancock 1903, p. 716.
  48. ^ a b c d e f g h Stern, Fishman & Tilove 2006, p. 705.
  49. ^ a b Bloom 2013, p. 191.
  50. ^ a b c Landmarks Preservation Commission Interior 1979, p. 5.
  51. ^ a b c d Gura 2015, p. 68.
  52. ^ a b c d Landmarks Preservation Commission Interior 1979, p. 5; National Park Service 1980, p. 4.
  53. ^ a b c d e f g h Landmarks Preservation Commission Interior 1979, p. 6.
  54. ^ a b c d Waters 1903, p. 491.
  55. ^ a b Landmarks Preservation Commission Interior 1979, p. 6; National Park Service 1980, p. 4.
  56. ^ a b c d Morrison 1999, p. 42.
  57. ^ a b c Morrison 1999, p. 43.
  58. ^ a b c d Landmarks Preservation Commission Interior 1979, p. 8.
  59. ^ a b c Landmarks Preservation Commission Interior 1979, p. 6; National Park Service 1980, p. 5.
  60. ^ a b c Landmarks Preservation Commission Interior 1979, p. 7; National Park Service 1980, pp. 4–5.
  61. ^ a b c d e f g h i Hancock 1903, p. 715.
  62. ^ a b c National Park Service 1980, p. 5.
  63. ^ a b c d e f Landmarks Preservation Commission Interior 1979, p. 7; National Park Service 1980, p. 5.
  64. ^ Landmarks Preservation Commission Interior 1979, pp. 6–7.
  65. ^ Landmarks Preservation Commission Interior 1979, pp. 7–8; National Park Service 1980, p. 6.
  66. ^ a b Landmarks Preservation Commission Interior 1979, p. 7.
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  68. ^ a b c Landmarks Preservation Commission Interior 1979, p. 8; National Park Service 1980, p. 6.
  69. ^ a b c d e National Park Service 1980, p. 6.
  70. ^ a b c d e f "Disney invades 42nd Street". TCI. Vol. 28, no. 4. April 1994. p. 14. ProQuest 209628710.
  71. ^ a b Landmarks Preservation Commission Interior 1979, p. 9; National Park Service 1980, p. 6.
  72. ^ a b c d e f Margolies 1997, p. 116.
  73. ^ a b c Waters 1903, p. 492.
  74. ^ a b c d e f National Park Service 1980, p. 7.
  75. ^ a b c d e f g h Margolies 1997, p. 113.
  76. ^ a b c Stern, Fishman & Tilove 2006, pp. 704–705.
  77. ^ a b Huxtable, Ada Louise (April 3, 1997). "Architecture: Miracle on 42nd Street". The Wall Street Journal. p. A16,1. ISSN 0099-9660. ProQuest 398571103.
  78. ^ a b "New Amsterdam Theatre New York Seating Chart & Photos". SeatPlan. May 14, 2019. from the original on October 17, 2021. Retrieved October 17, 2021.
  79. ^ Bloom 2013, p. 187; Gura 2015, p. 68; Landmarks Preservation Commission Interior 1979, p. 9; Margolies 1997, p. 117; Morrison 1999, p. 43; National Park Service 1980, p. 7; Waters 1903, p. 491.
  80. ^ Collins, Glenn (May 3, 2008). "On Broadway, Revivals Aren't Only for Shows". The New York Times. ISSN 0362-4331. from the original on October 16, 2021. Retrieved October 16, 2021.
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  84. ^ a b c Henderson & Greene 2008, pp. 97–99.
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  86. ^ a b National Park Service 1980, pp. 7–8.
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amsterdam, theatre, broadway, theater, west, 42nd, street, southern, times, square, theater, district, manhattan, york, city, first, broadway, venues, open, times, square, neighborhood, amsterdam, built, from, 1902, 1903, designs, herts, tallant, theater, oper. The New Amsterdam Theatre is a Broadway theater on West 42nd Street at the southern end of Times Square in the Theater District of Manhattan in New York City One of the first Broadway venues to open in the Times Square neighborhood the New Amsterdam was built from 1902 to 1903 to designs by Herts amp Tallant The theater is operated by Disney Theatrical Productions and has 1 702 seats across three levels Both the Beaux Arts exterior and the Art Nouveau interior of the building are New York City landmarks and the building is on the National Register of Historic Places New Amsterdam TheatreSeen in 2011 from the New 42nd Street buildingAddress214 West 42nd StreetManhattan New York CityUnited StatesCoordinates40 45 22 N 73 59 16 W 40 75611 N 73 98778 W 40 75611 73 98778 Coordinates 40 45 22 N 73 59 16 W 40 75611 N 73 98778 W 40 75611 73 98778OwnerGovernment of New York CityOperatorDisney Theatrical GroupTypeBroadway theaterCapacity1 702ProductionAladdinConstructionOpenedOctober 26 1903Rebuilt1995 1997Years active1903 1937 1997 presentArchitectHerts amp TallantStructural engineerDeSimone Consulting EngineersWebsitenewamsterdamtheatre wbr comArchitectural style s Beaux Arts Art NouveauU S National Register of Historic PlacesDesignatedJanuary 10 1980Reference no 80002664 1 Designated entityTheaterNew York City LandmarkDesignatedOctober 23 1979 2 Reference no 1026 2 Designated entityFacadeNew York City LandmarkDesignatedOctober 23 1979 3 Reference no 1027 3 Designated entityInteriorThe theater s main entrance is through a 10 story wing facing north on 42nd Street while the auditorium is in the rear facing south on 41st Street The facade on 42nd Street is made of gray limestone and was originally ornamented with sculptural detail the rest of the facade is made of brick The lobby within the office wing leads to a set of ornamental foyers a reception room and men s and women s lounges The elliptical auditorium contains two balconies cantilevered above a ground level orchestra Above the main auditorium is a now disused roof theater which opened in 1904 and also served as a studio The theater has a steel frame and was designed with advanced mechanical systems for its time The New Amsterdam Theatre was named for the Dutch settlement of New Amsterdam the precursor to New York City Klaw and Erlanger operated the venue for more than two decades after its opening on October 26 1903 From 1913 to 1927 the New Amsterdam was the home of the Ziegfeld Follies whose producer Florenz Ziegfeld Jr maintained an office in the building and operated the theater on the roof Erlanger bought Klaw s interest in 1927 and the New Amsterdam was converted into a movie theater in 1937 in which capacity it served until 1983 The Nederlander Organization tried to redevelop the theater for ten years as part of the 42nd Street Development Project It was then leased by The Walt Disney Company and renovated by Hardy Holzman Pfeiffer from 1995 to 1997 After Disney took over the New Amsterdam s operation the theater hosted the musical The Lion King followed by Mary Poppins and Aladdin Contents 1 Site 2 Design 2 1 Facade 2 1 1 Theater entrance 2 1 2 Office stories 2 2 Interior 2 2 1 Lobby and foyers 2 2 2 Rooms 2 2 3 Auditorium 2 2 4 Roof theater 3 History 3 1 Construction 3 2 Original Broadway run 3 2 1 1900s and early 1910s 3 2 2 Ziegfeld Follies era 3 2 3 Late 1920s and 1930s 3 3 Movie theater and decline 3 4 Restoration 3 4 1 Nederlander plans 3 4 2 Disney renovation 3 4 3 Disney operation 4 Notable productions 5 See also 6 References 6 1 Notes 6 2 Citations 6 3 Sources 7 External linksSite EditThe New Amsterdam Theatre is at 214 West 42nd Street between Seventh Avenue and Eighth Avenue near the southern end of Times Square in the Theater District of Midtown Manhattan in New York City 4 5 The land lot is irregularly shaped and covers 19 250 sq ft 1 788 m2 extending 200 ft 61 m between its two frontages on 41st and 42nd Streets 4 The main frontage on 42nd Street including the box office measures 75 ft 23 m wide and the 41st Street frontage measures 150 ft 46 m wide 6 Originally the 42nd Street frontage was only 25 ft 7 6 m wide 7 8 the developers Abraham L Erlanger and Marcus Klaw wanted the more prominent 42nd Street frontage as the main entrance 9 The lots comprising the site had previously been owned by Samuel McMillan and the Johnson estate 7 8 The city block includes 5 Times Square to the east and the Candler Building Madame Tussauds New York Empire Theatre and Eleven Times Square to the west The American Airlines Theatre Times Square Theater Lyric Theatre New Victory Theater and 3 Times Square are across 42nd Street to the north and the Nederlander Theatre is to the south 4 5 An entrance to the New York City Subway s Times Square 42nd Street station served by the 1 2 3 7 lt 7 gt N Q R W and S trains is next to the theater 10 The surrounding area is part of Manhattan s Theater District and contains many Broadway theaters 5 11 In the first two decades of the 20th century eleven venues for legitimate theater were built within one block of West 42nd Street between Seventh and Eighth Avenues 12 13 The New Amsterdam Harris Liberty Eltinge and Lew Fields theaters occupied the south side of the street The original Lyric and Apollo theaters combined into the current Lyric Theatre as well as the Times Square Victory Selwyn now American Airlines and Victoria theaters occupied the north side 13 These venues were mostly converted to movie theaters by the 1930s and many of them had been relegated to showing pornography by the 1970s 13 14 Design EditThe New Amsterdam Theatre was designed by architects Herts amp Tallant and developed for Klaw and Erlanger from 1902 to 1903 15 16 It was built by the Fuller Construction Company 17 The facade is designed in the Beaux Arts style 15 with elements of Art Nouveau 18 19 and the theater s interior is an early example of architectural Art Nouveau in New York City 20 21 Decoration was carried out by more than a dozen artists 22 The decorative scheme predominantly depicted three topics the history of New York City prior to 1903 including its original history as the Dutch colony of New Amsterdam the history of theater and the floral and foliage motifs often seen in theaters 23 The design also included elements of classicism 24 The theater consists of two major portions a 10 story tower with offices on the narrow 42nd Street frontage 25 a as well as the auditorium at the rear on 41st Street 25 26 The tower was developed to house Klaw and Erlanger s booking activities 9 27 The two sections are connected by a one story passageway at ground level The New Amsterdam Theatre s building housed two theaters when it opened the main 41st Street auditorium as well as a rooftop theater 28 29 Facade Edit The primary elevation of the facade on 42nd Street is made of gray limestone with a steeply pitched roof made of red tile 30 31 The theater s entrance is a triple height segmental arch the stories above contain offices 28 30 The office wing measures 150 ft 46 m tall 32 33 The 41st Street elevation contains the stage doors and is clad with plain brick since the architects thought the public would seldom see that elevation The side walls of the office wing on 42nd Street are also constructed of brick because the architects had anticipated that high rise buildings would be constructed on either side 34 Fire escapes are placed across the theater wing s exterior on 41st Street 35 Theater entrance Edit Sketch of the original entrance arch On 42nd Street the triple height arch had rusticated stone piers on either side 30 The original entrance was a double door with transom windows made of leaded glass above which was a sign with the theater s name 36 The sign was ornately decorated and at night was illuminated by lights on the upper stories 27 The second and third stories contain bronze framed windows with flower and vine decorations 18 The original doors were removed around 1937 but the second and third story windows still exist 36 The entrance vestibule originally immediately inside the doors contained green tiles and relief panels by St John Issing The vestibule was reconfigured as an outdoor space when the original entrance doors were removed it contains a ticket booth on its western side 37 The arch at the second and third stories was initially highly decorated but the decorations were all removed in 1937 to make way for a marquee 38 At the second floor were yellow and gray Montreal marble columns 31 These were topped by bronze capitals designed by Enid Yandell which contained four heads depicting the ages of drama The top of the arch at the third story originally had a keystone carved by Grendellis and Ricci with a garland depicting oak laurel and ivy 30 31 33 Above was a cornice with modillions as well as a group of sculptures by George Gray Barnard depicting five figures linked by garlands 18 31 39 Cupid symbolizing love comedy and a woman stood on one side of the central figure a female personification of drama Pierrot symbolizing musical farce and a knight stood on the other side 31 33 39 Office stories Edit The office stories along the 42nd Street elevation are three bays wide The fourth through sixth stories contain simple fenestration but the seventh story windows are taller than those on the three preceding stories On the seventh story there is a frieze with winged heads below it as well as pilasters topped by capitals with floral decorations 34 Grendellis and Ricci designed terracotta panels for the arched pediments above the seventh story windows which represent dance declamation and song 30 At the ninth story decorated pilasters flank the windows and a frieze runs above the windows with the year 1903 carved into it 34 The tenth story contains a central projecting dormer containing a decorated pediment as well as a smaller dormer in either of the side bays The peak of the central dormer contains a mask with garlands 30 It was originally flanked by representations of drama and music 30 33 These figures held up a shield silhouetted against the sky 31 33 Herts amp Tallant chose not to include a cornice on the facade since they felt such a feature was unsuitable for office buildings 40 Interior Edit The New Amsterdam Theatre was among the first non high rise buildings in New York City with a steel superstructure 23 The structural frame is made of 2 000 short tons 1 800 long tons 1 800 t of steel 35 41 According to a 1903 source the frame is made of approximately 270 000 steel pieces which required about 7 500 engineering drawings There were also 57 cantilevers and 38 electric elevators 35 The side walls of the office wing are non bearing walls 40 The tower wing was used as offices for Klaw and Erlanger and later Florenz Ziegfeld Jr 42 The theater was also mechanically advanced for its time with heating cooling and vacuum cleaning systems as well as a fireproof structural frame 43 44 The auditorium alone had a volume of 400 000 cu ft 11 000 m3 and was indirectly heated by fans in the subbasement The ventilation system included air plenums on 41st Street a 10 foot 3 0 m fan a silk filter and a heater that moistened the air to natural levels of humidity The air could be completely changed in ten minutes 45 Air was distributed through the floors and walls 46 and it was exhausted through disc fans above the auditorium 45 Three telephone systems were installed to allow communications between different parts of the theater 47 These mechanical systems were completely replaced between 1995 and 1997 48 The new mechanical systems do not intrude upon the original design except for a light grid above the proscenium of the auditorium 49 Lobby and foyers Edit Original lobby Auditorium s entrance foyer Leading from the 42nd Street entrance vestibule is the lobby which runs under the office wing the space contains curving Art Nouveau style floral motifs 50 51 The eastern or left wall contains bronze office and elevator doors 50 46 The remainder of the wall contains marble panels separated by terracotta pilasters that were designed by Neumark of Bremen and carved by Grendellis and Ricci 52 There are mirrored panels above the marble on the western right wall 46 Above the walls are twelve terracotta panels designed by Roland Hinton Perry which form a frieze 39 46 52 Those on the eastern wall depict scenes from Shakespeare s plays and those on the western wall depict scenes from operas by Richard Wagner 33 46 52 A scene from Faust is depicted over the entrance on the north and Greek drama is depicted over the doorway to the auditorium foyer on the south 46 52 The coffered ceiling is made of wood 50 and originally contained plaster and leaded glass chandeliers which have since been replaced by simpler fixtures 37 The lobby leads south to the auditorium s entrance foyer 51 53 Within the foyer above the doors from the lobby is a semicircular plaster relief by Hugh Tallant depicting progress 39 54 55 56 This design includes a blue and gold representation of a woman with flower and leaf decorations on either side 53 Perry designed full size panels for the foyer walls which depicted the colony of New Amsterdam in the 17th century as well as a more modern view of New York City in the 19th century 39 53 54 56 b The panels were subsequently removed when refreshment stands were added 37 and mirrors were installed in their place 53 The ceiling of the foyer contained a stained glass dome originally named The Song of the Flowers 46 53 54 c The stained glass vault was replaced with a vault painted gold 53 First floor plan with west at top At right north the entrance vestibule leads to the narrow lobby and the auditorium s entrance foyer At left south from top to bottom are the auditorium promenade foyer and general reception room The south wall of the entrance foyer leads to a promenade foyer which is as wide as the auditorium itself 55 57 The promenade foyer contains a groin vault with floral moldings 53 The foyer contains a wood balustrade overlooking the parterre orchestra level of the auditorium to the west 58 A sylvan themed relief by Issing is at the southern end of the promenade foyer leading to 41st Street 59 On the east wall of the promenade foyer there are four staircases two leading up to the auditorium s balconies and two leading down to the lounges 33 60 The stairs are made of green veined Maryland Cremo marble 54 60 The stairs contain green terracotta balustrades made with faience glazing containing panels with vines flowers and animals The oak wood newel posts at each landing have figures inspired by characters from Shakespeare The staircase decorations have been attributed to Norwegian architect Thorbjorn Bassoe 60 Rooms Edit From the rear of the first floor promenade foyer is an arch leading to the general reception room a green and gold space with oak paneling 59 The general reception room measures 50 ft 30 ft 15 2 m 9 1 m 61 The arch was originally flanked by marble fountains 62 On the north and south walls George Peixotto designed two symbolic paintings entitled Inspiration and Creation 33 63 The rear east wall of the reception room has a fireplace with a Caen stone and Irish marble mantel also decorated with curving foliate patterns Above the fireplaces are niches which originally contained busts depicting poets Homer Shakespeare and Virgil 59 The paneling is 12 ft 3 7 m high and contains built in seats and stylized curved trees 64 The paneling also once had 38 medallions with painted portraits designed by William Frazee Strunz and depicting Lovers of Historical Drama 63 The reception room s vaulted ceiling and the room s arches are decorated with floral moldings 51 53 The women s and men s lounges are both directly below the reception room the women s lounge to the south and the men s lounge to the north The women s lounge originally had pink carved reliefs of roses The ceiling of the women s lounge depicted a rose with personifications of the five senses as well as depictions of the figures Eros Ganymede and Jupiter 62 Smoking room The old rectangular smoking room also called the New Amsterdam Room for its decorations is between the lounges 57 63 Stairs descend 3 ft 0 91 m from the lounges to the room 63 The space measures 70 ft 40 ft 21 m 12 m 61 The room s floor is made of Welsh quarry tile and the walls have brown Flemish oak paneling and upholstered seats 61 62 The upper portions of the walls contain sixteen murals attributed to Edward Simmons and R W Finn which depict New York City s historical development 65 There is a fireplace at one corner of the room with a mantel of Caen stone and gray washed brick 61 63 The ceiling is a segmental dome supported by an oval colonnade of plain round Caen stone columns Eight allegorical murals by Peixotto decorate the dome 63 There is a bronze grille representing a winged youth at the dome s apex 66 An inscription surrounds the dome s base with the words I had rather a fool to make me merry than experience to make me sad a line from the Shakespeare comedy As You Like It 66 67 The old smoking room was converted into a bar during the 1990s 48 Auditorium Edit The auditorium is at the south end of the building and is elliptical in plan with curved walls a domed ceiling and two balcony levels over the orchestra level 51 68 61 The space measures 86 ft 26 m wide and it is 90 ft 27 m long between the stage apron and the reception room s wall The dome rises 80 ft 24 m above the floor of the orchestra 61 69 70 The original color scheme was described in The New York Times as consisting of tender pinks mauves lilacs red and gold 33 71 These decorations were bright to compensate for the original direct current lighting system which was dim The modern decorative scheme contains reproductions of many of the original decorations with a subdued color palette 72 A double wall surrounds the whole auditorium and contains a fire gallery measuring 15 ft 4 6 m wide 73 74 The auditorium held around 1 550 seats in its original configuration 75 d After its reopening in 1997 the auditorium had 1 814 seats 76 77 as of 2022 update the New Amsterdam has a seating capacity of 1 702 78 e Side view of seats Unusually for theaters of the time the balconies are cantilevered from the structural framework which eliminated the need for columns that blocked sightlines 46 79 The second balcony is recessed from the first balcony and is suspended directly from the ceiling with tension rods 74 57 At the orchestra and balcony levels the lower sections of the walls have carved oak wainscoting 58 The original seats had walnut stained seatbacks without cushions which became known as Amsterdam backs when they were used in other theaters 80 The original design included twelve seating boxes six on either side of the stage 33 61 75 they were arranged in staggered pairs and installed within arches on the side walls 74 Each box was ornamented with a different floral motif 33 81 82 and the boxes were often identified by the names of the flowers on them 74 The boxes were removed when the New Amsterdam was converted into a movie theater 75 81 They were restored in 1997 based on historical blueprints 72 82 Proscenium arch of the auditorium The Neumark brothers designed plaster and carved oak moldings around the dome the proscenium arch and the wall arches 58 The proscenium arch measures 36 ft 11 m high and 40 ft 12 m wide 69 70 Surrounding the proscenium is an elliptical arch which rises to the edge of the ceiling dome 69 Between the two arches is a 18 by 45 foot 5 5 by 13 7 m mural designed by Robert Blum and executed by Albert B Wenzell after Blum died 33 39 69 The mural depicts personified figures of such topics as truth love melancholy death and chivalry 68 flanking a central figure representing poetry 33 39 On either side are murals by Wenzell depicting Virtue and Courage 71 Issing also designed 16 dark green peacocks for the proscenium placed atop depictions of vines 68 70 There are also floral motifs and female figures around the dome 58 The ceiling of the auditorium also has seven arches with wood paneling 26 69 The ceiling of the main auditorium contains a girder measuring 90 ft 27 m long and 14 ft 4 3 m tall and weighing 70 short tons 63 long tons 64 t 23 41 83 At the time of the New Amsterdam s construction in 1903 this was the largest piece of steel ever used in a building 23 73 The stage measures 60 by 100 ft 18 by 30 m 61 70 81 f making it the largest legitimate theater stage ever designed at the time 56 The entire stage consists of bridge spans that could be lowered to 33 ft 10 m below the auditorium 81 85 84 A two story deep area was excavated below the stage to accommodate this 81 85 Four hydraulic platforms each measuring 42 by 7 ft 12 8 by 2 1 m could raise or lower different parts of the stage 23 The stage had a turntable 56 and the stage floor could be tilted 84 Surrounding the stage is a large freight elevator two dressing room elevators and a carpentry shop 81 There is also a fly gallery with counterweights to raise or lower sets One side of the stage had an electric switchboard that controlled the lighting 43 44 The original stage curtain had floral motifs similar to those in the rest of the theater 46 The dressing room could accommodate 500 people 61 74 The lighting system included a set of emergency exit lights as well as reflectors to illuminate the area between the footlights 47 Roof theater Edit The girder above the main auditorium supported a roof theater named the Aerial Gardens 83 86 Accessed by two elevators from the lobby 74 the Aerial Gardens was also designed by Herts amp Tallant and opened in 1904 15 16 New York City building regulations at the time prohibited the construction of buildings above theater stages As a result the back of the theater s stage wall was directly above the proscenium arch of the main auditorium and the stage was smaller 86 There was no balcony but there were twelve boxes as well as a promenade at the rear of the roof theater 35 The Aerial Gardens was fully enclosed 87 and originally had 680 seats 88 It could theoretically be used year round but in practice it was only used during the summer 89 There was also a planted garden adjacent to the theater 35 The Aerial Gardens was subsequently known as Ziegfeld Roof Danse de Follies Dresden Theatre Frolics Theatre and finally the New Amsterdam Roof 90 After Florenz Ziegfeld started hosting the Ziegfeld Follies at the New Amsterdam in 1913 the main floor of the roof theater was turned into a 22 000 square foot 2 000 m2 dance floor and a U shaped balcony was erected 91 The redesigned roof theater had a movable stage and a glass balcony 88 92 Cross lighting could also be used to create rainbow color patterns 92 In 1930 a movable glass curtain was installed over the proscenium of the roof theater 93 94 95 The floor was soundproofed when the space was used as an NBC broadcast studio and smaller studios were placed in the office wing 95 By the early 21st century the roof theater had been converted into office space 96 97 History EditTimes Square became the epicenter for large scale theater productions between 1900 and the Great Depression 98 Manhattan s theater district had begun to shift from Union Square and Madison Square during the first decade of the 20th century 2 99 The New Amsterdam Lyceum and Hudson which all opened in 1903 were among the first theaters to make this shift 100 the New Amsterdam is one of the oldest surviving Broadway theaters 101 Furthermore at the beginning of the 20th century Klaw and Erlanger operated the predominant theatrical booking agency in the United States 102 They decided to relocate to 42nd Street after observing that the Metropolitan Opera House the Victoria Theatre and the Theatre Republic now New Victory Theater had been developed around that area 27 Construction Edit Under construction in 1903 In January 1902 Klaw and Erlanger bought seven land lots at 214 West 42nd Street and 207 219 West 41st Street At the time the theater was to be known as the Majestic 7 8 The next month Fuller Construction was hired as the main contractor 17 and Herts amp Tallant were selected as the architects for the theater 27 103 By then the venue had been named the New Amsterdam after the Dutch colonial settlement that predated New York City 27 103 Herts amp Tallant submitted plans to the New York City Department of Buildings DOB shortly afterward 104 105 Construction had commenced by May 1902 106 107 Eighteen steam drills and 150 workers excavated the foundation to a depth of 40 ft 12 m 108 A controversy arose in early 1903 when a neighboring landowner Samuel McMillan discovered that the office wing on 42nd Street would protrude 4 ft 1 2 m beyond the lot line 109 110 The DOB ordered that work be halted temporarily pending a decision on an ordinance regarding ornamental projections 110 The New York City Board of Aldermen had already passed the ordinance and mayor Seth Low had to decide whether to approve it The DOB stationed a police officer outside the construction site during the daytime but the developers erected the facade overnight in March 1903 110 A meeting on the ordinance drew much public opposition prompting Low to send the bill back to the Board of Aldermen 111 A judge placed an injunction in April 1903 preventing Low from making a decision on the ordinance 112 113 The injunction was vacated two days afterward and Low vetoed the resolution 114 The Board of Aldermen passed a revised resolution the next week the aldermen explicitly stated that the ordinance would help Klaw and Erlanger 115 After the ordinance was passed the New Amsterdam s facade was completed as planned 109 By July 1903 work was proceeding on the New Amsterdam full time which The New York Times attributed to an agreement between the Fuller Company and the building trades 116 At the beginning of that August the steel structure was topped out 117 The dispute over the facade continued even after the theater s opening In 1905 McMillan brought the lawsuit to the New York Supreme Court Appellate Division which ruled that the Board of Aldermen s ordinance violated the Constitution of New York 118 Original Broadway run Edit 1900s and early 1910s Edit The New Amsterdam Theatre opened on October 26 1903 27 119 with Shakespeare s A Midsummer Night s Dream 120 121 which was a flop despite costing five times as much as the typical Broadway show 122 In its first few months of operation the theater also hosted Whoop Dee Doo a musical by Weber and Fields 23 123 Architects and Builders Magazine said The character of the decoration fixes more or less the purpose of the house 39 and another critic wrote that the New Amsterdam Theatre will mark an epoch in the history of art if it were successful 73 The New York Times referred to the theater as a vision of gorgeousness 124 and another source opined that Architecturally it is near perfection 26 Theatre magazine described the New Amsterdam as perhaps the most imposing of all the new theatres opened on Broadway during 1903 125 The Aerial Gardens opened on June 6 1904 with the vaudeville production A Little of Everything 87 126 42nd Street facade as seen in 1905 The New Amsterdam had started out as a venue for serious drama 109 but comedy drama became popular within a few years of its opening 127 Klaw and Erlanger had begun renting out the New Amsterdam since they wanted to focus on other theatrical ventures and since it was expensive for them to produce all of the theater s shows 128 Many producers expressed interest in the theater because of its technologically advanced equipment and Art Nouveau design 128 The men disagreed over the theater s bookings Klaw wanted to stage classical productions but Erlanger preferred large revues and musicals 122 In 1905 the theater hosted the comedy She Stoops to Conquer 129 130 The next year the theater hosted Forty five Minutes from Broadway featuring Fay Templeton and Victor Moore 19 131 132 as well as The Governor s Son starring the family of George M Cohan 129 133 This was followed in 1907 by The Merry Widow 19 131 134 which ran 416 performances 19 135 at both the main auditorium and the Aerial Gardens 129 Richard Mansfield appeared in a limited number of performances at the theater for several seasons 122 129 starring in both Richard III 127 136 and Peer Gynt 109 137 Kitty Grey starring Julia Sanderson was staged at the New Amsterdam in 1909 109 138 as was the European operetta The Silver Star 129 139 The New Amsterdam also staged musicals particularly those imported from Europe 128 as well as classic hits 19 The productions included those by Shakespeare as well as kiddie fare such as Mother Goose and Humpty Dumpty 75 In 1910 the New Amsterdam staged the melodrama Madame X 19 129 140 and the European operetta Madame Sherry 129 141 the latter of which ran 231 performances 19 142 The next year saw a production of The Pink Lady with Hazel Dawn 131 143 running 312 performances 19 144 as well as the musical adaptation of Ben Hur 145 146 The New Amsterdam hosted several other productions in 1912 and 1913 including Robin Hood 147 148 149 The Count of Luxembourg 147 150 151 and Oh Oh Delphine 129 152 Ziegfeld Follies era Edit Flo Ziegfeld hosted the Ziegfeld Follies a series of revues at the New Amsterdam every year from 1913 to 1927 with two exceptions 153 154 g Ziegfeld s relationship with Klaw and Erlanger had dated to the mid 1900s when the syndicate had paid him 200 a week to present vaudeville by 1907 he had come up with the Follies 157 The first edition of the Follies at the New Amsterdam was hosted on June 16 1913 147 158 159 Among the performers in the Follies were Fanny Brice Eddie Cantor W C Fields Ina Claire Marilyn Miller Will Rogers Sophie Tucker Bert Williams and Van and Schenck 153 An urban legend holds that the theater contains the ghost of one performer silent film star Olive Thomas 160 161 162 Ziegfeld also hired either Joseph Urban 28 157 or John Eberson to redesign the theater on the roof with a balcony and a dance floor 88 93 With the completion of the roof theater s renovation Ziegfeld began displaying Danse de Follies a racier sister show of the Follies in 1915 147 28 163 Subsequently known as the Midnight Frolic 88 147 164 the show was also used to test the skills of promising up and coming performers 164 Ziegfeld also had his own office on the seventh floor of the office wing 165 The 1924 edition of the Follies had the longest run with 401 performances though that edition was not particularly distinctive either critically or artistically 166 Between each year s edition of the Follies the theater hosted other productions 129 154 The production Sweethearts premiered in 1913 167 168 and Hazel Dawn starred in The Little Cafe the same year 169 170 The musical Watch Your Step premiered at the New Amsterdam in 1914 127 171 featuring Irving Berlin s first complete Broadway score 147 it ran for 175 performances 147 172 A performance of Around the Map was staged in 1915 129 173 The following year Sir Herbert Tree and Company staged several Shakespeare plays 147 174 and Guy Bolton and Emmerich Kalman s musical Miss Springtime ran 224 performances 175 176 The Cohan Revue of 1918 was then staged at the New Amsterdam 177 178 followed the same year by The Rainbow Girl 177 179 and The Girl Behind the Gun 180 181 The decade ended with The Velvet Lady 129 182 as well as a musical version of Monsieur Beaucaire in 1919 183 184 The New Amsterdam staged Sally where Marilyn Miller had her musical comedy debut in 1920 185 186 it ran for 570 performances 183 187 The Midnight Frolic was popular but because it offered alcoholic beverages closed during Prohibition in 1921 188 189 or 1922 88 92 It then reopened as the Dresden 90 with performances of Cinders starting in April 1923 93 190 The rooftop theater became the Frolic Theatre in September 1923 and was operated by Ziegfeld and Charles Dillingham 93 191 During the mid and late 1920s the main auditorium hosted several plays In 1925 the musical Sunny opened 192 193 ultimately running 517 performances 166 194 by contrast Betsy opened the next year 195 and was a failure with 39 performances 166 196 The main auditorium s productions in 1927 included Lucky 166 197 Trelawny of the Wells 192 198 and Julius Caesar 199 200 The Frolic meanwhile hosted a performance of He Loved the Ladies during one week in 1927 one of the seven showings had no audience members at all 93 Late 1920s and 1930s Edit Klaw and Erlanger continued to operate the New Amsterdam Theatre jointly until 1927 when Erlanger bought out Klaw s interest Erlanger then announced plans to renovate the New Amsterdam Theatre for 500 000 201 202 The same year Ziegfeld developed his own theater the Ziegfeld Theatre on Sixth Avenue 154 The theater s hits in 1928 included the musical comedy Rosalie 192 203 which ran 327 performances 204 205 and Whoopee 206 207 which ran 379 performances 204 208 Meanwhile Ziegfeld re launched the Midnight Frolic at the rooftop theater in December 1928 209 210 The following June Erlanger announced he would convert the rooftop theater into a modern facility called Aerial Theater which would accommodate legitimate plays films with sound or radio broadcasts 211 Upon obtaining sole ownership of the theater Erlanger renewed Dillingham and Ziegfeld s lease which had been set to expire at the end of 1929 212 Another production was staged at the main auditorium in 1929 Sherlock Holmes 213 214 Erlanger was in significant debt when he died in 1930 and the Dry Dock Savings Bank took over his estate 215 In the 1930s during the beginning of the Great Depression many Broadway theaters were impacted by declining attendance The main auditorium only saw a small decrease in quality and quantity of productions but the Frolics Theatre had a steep decline in premieres 93 NBC took over the roof theater in February 1930 216 217 and converted it into a broadcast studio the NBC Times Square Studio which opened the next month 94 218 The modifications cost 70 000 95 Downstairs Earl Carroll s Vanities of 1930 was played at the main auditorium 219 220 221 A revival of The Admirable Crichton 219 222 and the original revue The Band Wagon followed in 1931 219 223 224 as did Face the Music in 1932 223 225 226 After Face the Music closed at the end of 1932 the theater had no musical premiere for the first time in its history 227 During early 1933 the musicals Alice in Wonderland 225 228 229 and The Cherry Orchard 230 231 had limited runs at the New Amsterdam presented by Eva Le Gallienne and her Civic Repertory Theater 232 Murder at the Vanities premiered in late 1933 227 233 and was followed by Roberta the same year 223 234 the latter of which was a hit with 295 performances 225 235 When Revenge with Music premiered at the New Amsterdam in 1934 236 237 238 it was the only remaining legitimate theater production on 42nd Street 227 239 Revenge with Music was followed by George White s Scandals of 1936 223 236 240 as well as Sigmund Romberg s Forbidden Melody the same year 241 242 243 The Dry Dock Savings Bank acquired the New Amsterdam Theatre through a foreclosure proceeding in May 1936 after the theater s owners had failed to pay over 1 65 million in interest taxes and other fees 244 245 By then Erlanger and Ziegfeld had died several years previously 227 Afterward Dry Dock leased the roof to CBS and the Mutual Broadcasting System for broadcasts but an injunction was placed in August 1936 because Dry Dock had no broadcast license 246 The broadcasters had to apply for a license after Dry Dock unsuccessfully sued to have the injunction removed 247 248 Othello which premiered in January 1937 249 250 was the last live performance at the New Amsterdam for more than half a century 223 249 it ran for 21 performances before closing 215 251 Movie theater and decline Edit The 42nd Street facade pictured in 2021 was substantially altered in 1937 38 124 The New Amsterdam Theatre was sold in June 1937 to Max A Cohen of Anco Enterprises 252 253 h under the condition that the New Amsterdam never host burlesque 215 249 Cohen renovated the facade replacing the original decorations with a marquee 38 124 The New Amsterdam reopened as a movie theater on July 3 1937 showing the film adaptation of A Midsummer Night s Dream 237 254 Bernard Sobel Flo Ziegfeld s former agent lamented in The New York Times that the cinema conversion was another indication that the old order has indeed changed 255 The theater showed other movies for 10 to 25 cents per ticket although Cohen could not show first runs of movies immediately upon their release at least not initially 215 The marquee was further modified in 1947 75 The auditorium boxes were removed 81 124 as part of a 1953 renovation 75 These modifications allowed the installation of a Cinerama wide screen 48 72 256 MBS continued to use the rooftop theater as a studio 257 The Cinema Circuit Corporation leased the roof theater in April 1943 showing movies at the 740 seat facility only on weekends 258 That November the roof theater hosted a ten week roster of small plays 165 The United Booking Office the New Amsterdam s last remaining tenant from the legitimate theater era moved out of the office wing that year 259 The roof studio was leased in 1949 to television station WOR TV 260 261 which spent 75 000 to remodel the roof theater and 20 000 on equipment 262 The renovated rooftop studio started broadcasting in October 1949 262 263 In subsequent years the roof theater was used for rehearsals and the main auditorium became a profitable cinema 264 By the late 1950s the New Amsterdam was one of two theaters on the block that showed first run films the other being the Lyric Ticket prices were higher than both move over houses which received films immediately after they ran at the first run theaters and the reissue houses which screened old films The New Amsterdam and the other 42nd Street theaters operated from 8 a m to 3 a m with three shifts of workers The ten theaters on the block attracted about five million visitors a year between them 265 In 1960 Mark Finkelstein who co owned the theater building with Cohen announced that the roof theater would be renovated into a 700 seat venue for theatrical productions 264 The following year Finkelstein and Andour Enterprises Inc were listed as having purchased the building outright 266 Cohen retired around the same time and Finkelstein took over full operation 215 By the early 1960s the surrounding block had decayed but many of the old theater buildings from the block s heyday remained including the New Amsterdam 267 Later that decade a critic characterized the roof theater as a gloomy cavern and the main auditorium as just another in the dubious string of 42nd Street movie houses 268 By the late 1970s the New Amsterdam Theatre was dilapidated though many of the interior decorations still remained 269 The area had become dangerous two armed guards were killed at the theater during a robbery in 1976 266 and a patron was stabbed to death in 1979 270 The cinema continued to run until about 1982 72 or 1983 showing kung fu movies in its final years 271 Restoration Edit The 42nd Street Development Corporation formed in 1976 to discuss plans for redeveloping Times Square considered turning the New Amsterdam Theatre into a dance complex in 1977 272 The same year the City University of New York s Graduate Center hosted an exhibition with photographs of the New Amsterdam and other theaters to advocate for the area s restoration 273 274 Another plan in 1978 called for restoring the New Amsterdam as a legitimate theater while razing nearby buildings to create a park 275 276 The New York City Landmarks Preservation Commission designated the New Amsterdam Theatre and a portion of its interior as a city landmark on October 23 1979 15 277 The theater was added to the National Register of Historic Places on January 10 1980 1 Nederlander plans Edit The theater and surrounding buildings in 1985 The New York State Urban Development Corporation UDC an agency of the New York state government had proposed redeveloping the area around a portion of West 42nd Street in 1981 278 Theatrical operator Nederlander Organization tried to buy the New Amsterdam Theatre from Finkelstein in early 1982 before the city and state governments selected developers for the sites but was unsuccessful 279 The city government selected the Nederlander Organization in April 1982 to operate the New Amsterdam Theatre 280 281 and the Nederlanders bought the rights to operate the theater in December 1982 282 283 The theater was technically owned by the New York City Industrial Development Corporation which issued 5 million in bonds to finance the acquisition 284 285 The Nederlanders were responsible for developing the theater and paying off the bonds as well as 250 000 of annual payments in lieu of taxes 67 The company planned to redevelop the main auditorium into a 1 700 seat theater and reopen the 700 seat roof theater by 1983 283 286 If the rest of the 42nd Street Development Project was unsuccessful the Nederlanders could switch the theater s main entrance to 41st Street 286 Robert Nederlander of the Nederlander Organization had wanted to continue hosting motion pictures while the redevelopment was underway but the city government denied his proposal 124 Plans for restoration were officially announced in May 1983 287 Construction was to cost 6 million using both private and public funding 271 288 Soon after work began contractors discovered more structural damage than they had expected including rotting girders 67 289 290 This led the Nederlanders to announce in mid 1983 that the reopening would be delayed indefinitely 290 The production of the musical Carmen which was supposed to be presented at the roof theater was relocated as a result 249 289 290 The Nederlanders wanted to seal off the roof theater completely 271 but the city government suggested instead that the National Theater Center be hosted on the roof 271 288 The Empire State Development Corporation and New York City Economic Development Corporation purchased the property in 1984 291 The same year Jerry Weintraub purchased a stake in the operation of the New Amsterdam 292 293 The city indicated it would provide 2 5 million for the roof theater s restoration as part of the National Theater Center but allocated the funds elsewhere in the 1985 city budget 294 295 The theater s renovation had been planned in conjunction with four new office towers the development of which had been delayed 124 The renovation was abandoned partway through the decorations being left exposed to the elements 72 124 215 The roof had started leaking and the interior had water damage 124 215 289 Several shows were announced for the rundown theater all of which were withdrawn 296 After having spent 15 million on renovations the Nederlanders announced in 1990 that the New Amsterdam s restoration would not be viable for the next several years until the four office towers were completed 67 The New York City Opera considered moving to the theater in 1991 297 298 but decided against doing so 67 After the Nederlanders fell behind on their payments in 1992 the UDC agreed to take over the theater for 247 000 215 or 275 000 67 76 299 Hardy Holzman Pfeiffer Associates HHPA was hired to stabilize the structure 48 249 By then chunks of plaster had fallen from the roof and first balcony and entire sections of the roof theater had fallen apart 67 Bird droppings had appeared all over the floor because there were holes in the roof 289 There were dead cats in the basement and mushrooms growing through the auditorium floor 300 Disney renovation Edit Restored boxes in the auditorium Marian Sulzberger Heiskell a chairwoman of the 42nd Street Development Project was a family friend of Michael Eisner the chairman of The Walt Disney Company For several years in the 1980s and 1990s Heiskell had tried to convince Eisner to open a Disney enterprise on Times Square Disney s internal studies showed that such a venue would conflict with the gated and clean image of its amusement parks and other venues 301 302 Architect Robert A M Stern who had worked both on Disney projects and on the 42nd Street Development tried to convince Eisner but was rebuffed 301 303 In March 1993 Eisner changed his mind and asked to see a full size model of the buildings being planned in the 42nd Street Development 301 After the recent high profile cancellations of the Disney s America and WestCOT theme parks Disney Development vice president David A Malmuth wanted a successful development 300 At a meeting to discuss designs for the town of Celebration Florida 304 Stern arranged for Eisner to tour the theater 301 305 Eisner quickly agreed to renovate the theater after New 42nd Street president Cora Cahan guided him through the dilapidated interior 82 In September 1993 the media reported that Disney was seriously considering renovating the New Amsterdam Theatre 70 306 Disney had planned to show Beauty and the Beast there but delays forced the production to open at the Palace Theatre instead 307 By the end of the year Disney had tentatively agreed to take over the New Amsterdam 82 308 Disney real estate negotiator Frank S Ioppolo Sr obtained several guarantees after threatening to withdraw from the project This included protection against lawsuits over the proposed renovation expensive high quality items and government subsidies from the state and city 300 Other Broadway theater operators had initially opposed the economic incentives alleging the 42nd Street Development Project was tantamount to a subsidy for the New Amsterdam 309 310 After New York governor Mario Cuomo promised to create a loan program for other Broadway theaters two operators said they would no longer oppose the Disney project 311 Disney promised in February 1994 to renovate the theater with 8 million of its own equity and a 21 million low interest loan from the city and state governments 76 312 313 Other entertainment companies showed interest in the 42nd Street redevelopment after the agreement was announced 70 314 and there was also interest in renovating 42nd Street s other theaters 315 During 1994 the rundown theater was used as a filming location for the movie Vanya on 42nd Street 289 316 Officials agreed to loan Disney another 5 million later that year 300 In May 1995 Disney Theatrical Productions signed a 49 year revenue based lease for the property 317 318 in which Disney would pay the city and state a percentage of the gross sales from the theater 315 Disney along with the city and state governments ultimately agreed to share any costs above 32 5 million Disney would also pay about 2 million for higher quality materials and the city and state governments would commit 1 9 million to a contingency fund 300 The financial plan was finalized in July 1995 319 320 Disney wanted at least two other companies to commit to new developments in Times Square before it agreed to restore the New Amsterdam Madame Tussauds and AMC Theatres subsequently agreed to redevelop three neighboring theaters 321 Disney s research and development subsidiary Walt Disney Imagineering oversaw the renovation of the New Amsterdam Theatre 322 hiring design firm Theatre Projects Consultants as a consultant 82 HHPA was hired to design the renovation 48 75 321 and Tishman Construction was the general contractor 75 323 Some mockups of the decorations were created before work commenced 324 Conservators took a paint chip sample from a billboard outside the building and discovered 121 layers of paint each for a different event 325 According to Hugh Hardy of HHPA the project entailed recreating half the oak paneling and three quarters of the plaster decoration as well as the restoration of other decorations and the installation of new mechanical systems 48 256 Some of the decorative details were painted and glazed to appear older than they actually were New spaces such as lounges restrooms and elevators were also created 82 At some point in the restoration state preservation officials had requested the restoration of the ornament on the 42nd Street facade 48 This request was ultimately dropped after officials determined that the replacement marquee was itself an important part of the theater s history 48 72 Disney operation Edit The New Amsterdam s restoration was officially completed on April 2 1997 326 327 Architectural critic Ada Louise Huxtable wrote If this is Disney magic we need more of it 77 328 and Herbert Muschamp wrote The place is an architectural version of an American Eden the unsullied natural paradise in which European explorers cast the New World 328 329 The first production was a limited engagement of a concert version of King David that May 330 331 332 followed by the premiere of the film Hercules the following month 333 Disney s decision to stage these events was to ensure the New Amsterdam s restoration would not be overshadowed by the premiere of The Lion King which in itself was a highly acclaimed production 328 The Lion King opened in November 1997 330 334 335 The roof theater remained closed with no plans to reopen it 336 in part because the elevators were insufficient to accommodate 700 patrons under city building codes 337 Disney subsequently converted the roof theater into office space 96 97 The renovation of the theater was detailed in the book The New Amsterdam The Biography of a Broadway Theater 330 338 Aladdin at the New Amsterdam Theatre Disney s restoration of the New Amsterdam Theatre helped spur the long delayed redevelopment of Times Square this led to criticisms of the area s Disneyfication from observers who were unaware of Disney s investment 339 Besides theatrical productions the revived New Amsterdam has hosted events benefiting Broadway Cares Equity Fights AIDS including past iterations of the annual Easter Bonnet Competition 340 It also hosted a televised concert by the Backstreet Boys for Disney Channel Backstreet Boys In Concert in 1998 341 The Lion King continued to run at the New Amsterdam Theatre until June 2006 when it relocated to the Minskoff in order to make way for Mary Poppins 342 343 Mary Poppins began previews at the New Amsterdam Theatre on October 14 2006 and had its first regular performance on November 16 2006 344 Mary Poppins continued to run until March 3 2013 344 345 Previews for the musical Aladdin began on February 26 2014 and the show officially opened on March 20 2014 346 Aladdin broke the house record at the New Amsterdam Theatre for the week ending August 10 2014 with a gross of 1 602 785 347 As of 2023 update Aladdin also holds the current record for the New Amsterdam Theatre grossing 2 584 549 over nine performances for the week ending December 30 2018 348 All Broadway theaters temporarily closed on March 12 2020 due to the COVID 19 pandemic 349 The New Amsterdam reopened September 28 2021 with performances of Aladdin 350 351 Notable productions EditProductions are listed by the year of their first performance The Ziegfeld Follies which has had multiple editions is listed by the years of the first performances of each edition This list only includes Broadway shows it does not include films screened there 352 353 1903 A Midsummer Night s Dream 119 354 1903 Whoop Dee Doo 23 123 1904 The Two Orphans 355 1905 She Stoops to Conquer 129 356 1905 Richard III 127 136 1906 Forty five Minutes from Broadway 131 357 1907 The Merry Widow 131 135 1907 Peer Gynt 109 358 1910 Madame X 129 359 1911 The Pink Lady 19 144 1911 Ben Hur 145 146 1912 The Count of Luxembourg 151 1913 Oh Oh Delphine 129 152 1913 1927 g Ziegfeld Follies 153 i 1913 Sweethearts 168 361 1914 Watch Your Step 127 172 1918 The Girl Behind the Gun 180 181 1920 Sally 185 362 1925 Sunny 192 194 1927 Trelawny of the Wells 192 363 1928 Rosalie 192 205 1928 Whoopee 206 364 1930 Earl Carroll s Vanities 220 365 1931 The Band Wagon 223 366 1932 Face the Music 223 367 1933 Alice in Wonderland 229 1933 The Cherry Orchard 231 1933 Roberta 223 368 1934 Revenge with Music 185 369 1936 George White s Scandals 223 240 1937 Othello 223 251 1997 King David 49 331 1997 The Lion King 334 2006 Mary Poppins 344 2014 Aladdin 370 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 StreetsReferences EditNotes Edit Margolies 1997 p 117 gives a conflicting figure of 11 stories National Park Service 1980 p 4 wrote that the main panel depicted the 1900s National Park Service 1980 p 4 referred to the dome as A Song of Flowers Stern Fishman amp Tilove 2006 p 705 says the auditorium had 1 537 seats According to seating charts the orchestra has 698 seats the first balcony has 586 seats and the second balcony has 418 seats 78 Sometimes cited as 52 by 100 ft 16 by 30 m 84 a b In 1921 the Follies was hosted at the Globe Theatre because the New Amsterdam was hosting Sally 155 The 1926 Follies were skipped 156 Contemporary New York Times and New York Herald Tribune articles report that the theater was sold for 1 05 million 252 253 Henderson amp Greene 2008 p 103 states that the theater was sold for 1 5 million 215 Including the Ziegfeld Follies of 1919 360 Citations Edit a b Federal Register 46 Fed Reg 10451 Feb 3 1981 PDF Library of Congress February 3 1981 p 10649 PDF p 179 Archived PDF from the original on February 1 2021 Retrieved March 8 2020 a b c Landmarks Preservation Commission 1979 p 1 a b Landmarks Preservation Commission Interior 1979 p 1 a b c 214 West 42 Street 10036 New York City Department of City Planning Retrieved March 25 2021 a b c White Norval Willensky Elliot Leadon Fran 2010 AIA Guide to New York City 5th ed New York Oxford University Press p 296 ISBN 978 0 19538 386 7 Site Map PDF New 42nd Street Archived from the original PDF on July 7 2011 Retrieved September 30 2022 a b c To Buy Everett Moore Stock The New York Times January 5 1902 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 12 2021 a b c New Theatre Site Bought Work on the Majestic to Be Begun in Forty first st In May New York Tribune January 5 1902 p 5 ISSN 1941 0646 ProQuest 571161767 a b Landmarks Preservation Commission 1979 p 4 MTA Neighborhood Maps Times Sq 42 St S Metropolitan Transportation Authority 2018 Archived from the original on August 29 2021 Retrieved September 13 2018 New York City Proposed Times Square Hotel UDAG Environmental Impact Statement Report United States Department of Housing and Urban Development 1981 p 4 15 Retrieved September 25 2021 Legitimate New York s Playhouse List Nearing Half Century Mark Variety Vol 48 no 7 October 12 1917 p 14 ISSN 0042 2738 ProQuest 1505606157 a b c Stern Fishman amp Tilove 2006 p 675 Gussow Mel May 23 1990 Critic s Notebook Where Legends Were Born Ghosts of Glory Linger The New York Times ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved January 17 2022 a b c d New York City Landmarks Preservation Commission Dolkart Andrew S Postal Matthew A 2009 Postal Matthew A ed Guide to New York City Landmarks 4th ed New York John Wiley amp Sons p 88 ISBN 978 0 470 28963 1 a b White Norval amp Willensky Elliot 2000 AIA Guide to New York City 4th ed New York Three Rivers Press p 256 ISBN 978 0 8129 3107 5 a b Contracts Awarded The Real Estate Record Real Estate Record and Builders Guide Vol 69 no 1769 February 8 1902 p 256 Archived from the original on October 19 2021 Retrieved November 4 2021 via columbia edu a b c Landmarks Preservation Commission 1979 p 6 National Park Service 1980 pp 2 4 a b c d e f g h i Botto amp Mitchell 2002 p 7 Stern Gilmartin amp Massengale 1983 p 211 Waters 1903 p 488 National Park Service 1980 p 2 a b c d e f g Bloom 2013 p 187 Stern Gilmartin amp Massengale 1983 p 212 a b Landmarks Preservation Commission 1979 p 4 National Park Service 1980 p 2 a b c Margolies 1997 p 117 a b c d e f Henderson amp Greene 2008 p 96 a b c d Morrison 1999 p 41 Bloom 2013 p 187 Botto amp Mitchell 2002 p 7 a b c d e f g Landmarks Preservation Commission 1979 p 5 National Park Service 1980 p 2 a b c d e f Waters 1903 p 490 National Park Service 1980 p 2 a b c d e f g h i j k l m De Kay Charles November 1 1903 Sculpture and Painting in a Theatrical Environment The Artistic Results Achieved in the Construction of the New Amsterdam Theatre A Decorative Color Scheme The New York Times ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 12 2021 a b c Landmarks Preservation Commission 1979 p 5 a b c d e National Park Service 1980 p 13 a b Landmarks Preservation Commission 1979 p 6 National Park Service 1980 p 2 a b c National Park Service 1980 p 4 a b c Landmarks Preservation Commission 1979 p 6 a b c d e f g h The New Amsterdam Theatre Architects and Builders Magazine Vol 5 no 5 February 1904 pp 186 192 Archived from the original on October 10 2021 Retrieved November 4 2021 a b Waters 1903 p 489 a b Landmarks Preservation Commission 1979 pp 4 5 Alexander Cathy New Amsterdam Theatre in Jackson Kenneth T ed 2010 The Encyclopedia of New York City 2nd ed New Haven Yale University Press pp 888 89 ISBN 978 0 300 11465 2 a b Landmarks Preservation Commission Interior 1979 p 9 a b Gura 2015 p 71 a b National Park Service 1980 pp 13 14 a b c d e f g h i Henderson amp Greene 2008 p 97 a b Hancock 1903 p 716 a b c d e f g h Stern Fishman amp Tilove 2006 p 705 a b Bloom 2013 p 191 a b c Landmarks Preservation Commission Interior 1979 p 5 a b c d Gura 2015 p 68 a b c d Landmarks Preservation Commission Interior 1979 p 5 National Park Service 1980 p 4 a b c d e f g h Landmarks Preservation Commission Interior 1979 p 6 a b c d Waters 1903 p 491 a b Landmarks Preservation Commission Interior 1979 p 6 National Park Service 1980 p 4 a b c d Morrison 1999 p 42 a b c Morrison 1999 p 43 a b c d Landmarks Preservation Commission Interior 1979 p 8 a b c Landmarks Preservation Commission Interior 1979 p 6 National Park Service 1980 p 5 a b c Landmarks Preservation Commission Interior 1979 p 7 National Park Service 1980 pp 4 5 a b c d e f g h i Hancock 1903 p 715 a b c National Park Service 1980 p 5 a b c d e f Landmarks Preservation Commission Interior 1979 p 7 National Park Service 1980 p 5 Landmarks Preservation Commission Interior 1979 pp 6 7 Landmarks Preservation Commission Interior 1979 pp 7 8 National Park Service 1980 p 6 a b Landmarks Preservation Commission Interior 1979 p 7 a b c d e f g Dunlap David W September 10 1992 State Acquires Landmark Theater To Salvage While It Still Can The New York Times ISSN 0362 4331 Archived from the original on October 10 2021 Retrieved October 15 2021 a b c Landmarks Preservation Commission Interior 1979 p 8 National Park Service 1980 p 6 a b c d e National Park Service 1980 p 6 a b c d e f Disney invades 42nd Street TCI Vol 28 no 4 April 1994 p 14 ProQuest 209628710 a b Landmarks Preservation Commission Interior 1979 p 9 National Park Service 1980 p 6 a b c d e f Margolies 1997 p 116 a b c Waters 1903 p 492 a b c d e f National Park Service 1980 p 7 a b c d e f g h Margolies 1997 p 113 a b c Stern Fishman amp Tilove 2006 pp 704 705 a b Huxtable Ada Louise April 3 1997 Architecture Miracle on 42nd Street The Wall Street Journal p A16 1 ISSN 0099 9660 ProQuest 398571103 a b New Amsterdam Theatre New York Seating Chart amp Photos SeatPlan May 14 2019 Archived from the original on October 17 2021 Retrieved October 17 2021 Bloom 2013 p 187 Gura 2015 p 68 Landmarks Preservation Commission Interior 1979 p 9 Margolies 1997 p 117 Morrison 1999 p 43 National Park Service 1980 p 7 Waters 1903 p 491 Collins Glenn May 3 2008 On Broadway Revivals Aren t Only for Shows The New York Times ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 16 2021 a b c d e f g Landmarks Preservation Commission Interior 1979 p 9 National Park Service 1980 p 7 a b c d e f Henderson amp Greene 2008 p 106 a b Waters 1903 pp 491 492 a b c Henderson amp Greene 2008 pp 97 99 a b Hancock 1903 pp 715 716 a b National Park Service 1980 pp 7 8 a b Bloom 2013 p 187 National Park Service 1980 p 7 a b c d e The Ziegfeld Midnight Frolic Museum of the City of New York July 1 2014 Archived from the original on October 16 2021 Retrieved October 14 2021 Bloom 2013 pp 187 188 a b Aerial Gardens Playbill Archived from the original on October 20 2021 Retrieved October 15 2021 Bloom 2013 pp 188 189 a b c National Park Service 1980 p 8 a b c d e f Bloom 2013 p 189 a b Broadcast Studio Has Whole Theatre Audience Sees Artists Through Glass Curtain Hears Program From Speakers Wired to Microphones Daily Boston Globe March 17 1930 p 3 ISSN 2572 1828 ProQuest 758146123 a b c Radio Uses the Stage as Studio In Regular Program Broadcasts New York Herald Tribune February 23 1930 p H2 ISSN 1941 0646 ProQuest 1113132673 a b 6 Things We Learned on Disney s Behind the Magic Tour NYCgo com August 26 2015 Retrieved February 28 2023 a b Perrottet Tony May 9 2015 Traces of Ziegfeld s New York City Room The New York Times Company Retrieved February 28 2023 Swift Christopher 2018 The City Performs An Architectural History of NYC Theater New York City College of Technology City University of New York Retrieved March 25 2020 Theater District New York Preservation Archive Project Archived from the original on October 19 2021 Retrieved October 12 2021 Leadon Fran 2018 Broadway A History of New York City in Thirteen Miles New York W W Norton p 194 ISBN 978 0 393 28545 1 Retrieved November 4 2021 Lyceum Spotlight on Broadway The City of New York Retrieved February 10 2023 Landmarks Preservation Commission 1979 p 2 a b Notes of the Stage New York Tribune February 1 1902 p 9 ISSN 1941 0646 ProQuest 571180854 The Week s Playbills Miss Simplicity to Be Produced at the Casino Minstrels at the Victoria Revivals of Last Season s Successes Current Attractions in the Vaudevilles The New York Times February 9 1902 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 14 2021 Plans for New Amsterdam Theatre Filed New York Tribune February 9 1902 p 11 ISSN 1941 0646 ProQuest 571154546 Klaw amp Erlanger s New Theater The Hartford Courant May 16 1902 p 7 ISSN 1047 4153 ProQuest 555054865 New Theater Begun The Buffalo Sunday Morning News June 1 1902 p 13 Archived from the original on October 16 2021 Retrieved October 14 2021 via newspapers com Notes The Standard Union July 20 1902 p 13 Archived from the original on October 16 2021 Retrieved October 14 2021 via newspapers com a b c d e f Landmarks Preservation Commission 1979 p 3 a b c Klaw amp Erlanger s Ruse Steal a March on the Building Department and Put Up New Theatre Front at Night The New York Times March 13 1903 p 2 ISSN 0362 4331 ProQuest 1013638152 Fight on Building Line Opposition Before Mayor to New Amsterdam Theatre Ordinance The New York Times March 18 1903 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 14 2021 Mayor Displeased With an Injunction Fight to Stop New Theatre s Ornamental Projection The New York Times April 5 1903 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 12 2021 Mayor Ordered to Veto Justice Marean Issues a Remarkable Injunction It Relates to Theatre Portico New York Tribune April 5 1903 p A6 ISSN 1941 0646 ProQuest 571385147 Portico Order Vacated Mayor Low Disapproves Resolution for New Amsterdam New York Tribune April 8 1903 p 10 ISSN 1941 0646 ProQuest 571359541 Persist Despite Mr Low Aldermen Again Adopt Ordinance That Benefits New Theatre Mayor Has Vetoed It Twice Board Favors City Hospital for Tuberculosis Patients The New York Times April 15 1903 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 12 2021 New Theatres Delayed Managers Uneasy on Account of Building Trades Strike Prominent Stars Booked in New Houses May Have to Wait or Find Other Openings The New York Times July 5 1903 p 21 ISSN 0362 4331 ProQuest 1013639935 Dramatic and Musical Notes Times Union August 8 1903 p 20 Archived from the original on October 16 2021 Retrieved October 14 2021 via newspapers com Private Encroachment Upon Public Property Judicially Condemned The Real Estate Record Real Estate Record and Builders Guide Vol 76 no 1961 October 14 1905 p 571 Archived from the original on October 16 2021 Retrieved November 4 2021 via columbia edu a b Landmarks Preservation Commission 1979 p 3 National Park Service 1980 p 2 Playbills of This Week Opening of the New Amsterdam Theatre With a Mid summer Night s Dream The New York Times October 25 1903 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 14 2021 The New Amsterdam A Beautiful Theatre The Brooklyn Citizen October 25 1903 p 9 Archived from the original on October 16 2021 Retrieved October 14 2021 via newspapers com a b c Henderson amp Greene 2008 p 99 a b Whoop dee doo Broadway New Amsterdam Theatre Playbill Archived from the original on October 19 2021 Retrieved October 14 2021 Catherine Broadway Musical Original Internet Broadway Database Retrieved December 26 2021 a b c d e f g h Gray Christopher February 10 1991 Streetscapes The New Amsterdam Theater A Landmark Mired In Bureaucracy The New York Times ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 15 2021 New York s Splendid New Theatres PDF Theatre Vol 3 1903 p 296 Archived PDF from the original on October 21 2021 Retrieved November 4 2021 The Season of Roof Shows Is at Hand Aerial Gardens Are Opened With a New Show The New York Times June 6 1905 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 14 2021 a b c d e Landmarks Preservation Commission 1979 p 3 National Park Service 1980 p 14 a b c Henderson amp Greene 2008 p 100 a b c d e f g h i j k l m n Bloom 2013 p 188 A Real Comedy That Cannot Be Oslerized She Stoops to Conquer Retains Its Charm as of Old The New York Times April 18 1905 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 14 2021 a b c d e Bloom 2013 p 188 Landmarks Preservation Commission 1979 p 3 National Park Service 1980 p 14 Miss Templeton as a Star New York Tribune January 2 1906 p 7 ISSN 1941 0646 ProQuest 571633856 The Remarkable Versatility and Success of George M Cohan as Author Composer Promoter and Star Town amp Country Vol 61 no 20 July 28 1906 p 23 ProQuest 2099375928 The Merry Widow Proves Captivating The New York Times October 22 1907 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 14 2021 a b The Merry Widow Broadway New Amsterdam Theatre Playbill Archived from the original on October 20 2021 Retrieved October 14 2021 The Merry Widow Broadway Musical Original Internet Broadway Database Retrieved December 26 2021 a b Theatrical Incidents and News Notes Mr Mansfield Begins His Annual Engagement changes at the Colonial Music Hall New York Tribune March 19 1905 p C3 ISSN 1941 0646 ProQuest 571651954 The Drama Richard Mansfield as Peer Gynt New Amsterdam Theatre New York Tribune February 26 1907 p 7 ISSN 1941 0646 ProQuest 571782021 Plays That Hold Musical Productions At Other Theatres Vaudeville The Hippodrome A Lincoln Play Fred Niblo s Travel talks The New York Times January 24 1909 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 14 2021 The Drama Adeline Genee Reappears in New York the Silver Star at the New Amsterdam Theatre New York Tribune November 2 1909 p 7 ISSN 1941 0646 ProQuest 572284035 Madame X Opens Salty Floodgate French Melodrama With Dorothy Donnelly s Fine Lead Has Audience in Tears The New York Times February 3 1910 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 14 2021 Woods s Plans for Season First Madame Sherry at New Amsterdam Blanche Walsh in New Play The New York Times July 25 1910 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 14 2021 Madame Sherry Broadway New Amsterdam Theatre Playbill Retrieved November 28 2021 Madame Sherry Broadway Musical Original Internet Broadway Database Retrieved November 28 2021 Pink Lady Returns Here Much Enthusiasm as Curtain Falls on Successful London Run The New York Times July 28 1912 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 14 2021 a b The Pink Lady Broadway New Amsterdam Theatre Playbill Retrieved November 28 2021 The Pink Lady Broadway Musical 1912 Revival Internet Broadway Database Retrieved November 28 2021 a b Botto amp Mitchell 2002 pp 7 8 a b Ben Hur Broadway New Amsterdam Theatre Playbill Retrieved November 28 2021 Ben Hur Broadway Play 1911 Revival Internet Broadway Database Retrieved November 28 2021 a b c d e f g h Botto amp Mitchell 2002 p 8 Bessie Abott Wins Favor in Robin Hood Charming and Bewitching in Role of Maid Marian at the Knickerbocker The New York Times August 13 1912 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 14 2021 Robin Hood Broadway New Amsterdam Theatre Playbill Archived from the original on October 19 2021 Retrieved October 14 2021 Robin Hood Broadway Musical 1912 Revival Internet Broadway Database Retrieved December 26 2021 Not a Dull Minute in New Lehar Opera Count of Luxembourg After Some Delay Comes to Our Stage and Wins Prompt Success The New York Times September 17 1912 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 14 2021 a b The Count of Luxembourg Broadway New Amsterdam Theatre Playbill Archived from the original on October 19 2021 Retrieved October 14 2021 The Count of Luxembourg Broadway Musical Original Internet Broadway Database Retrieved December 26 2021 a b Oh Oh Delphine Broadway Knickerbocker Theatre Playbill Archived from the original on October 19 2021 Retrieved October 14 2021 Oh Oh Delphine Broadway Musical Original Internet Broadway Database Retrieved December 26 2021 a b c Bloom 2013 p 188 Landmarks Preservation Commission 1979 p 3 National Park Service 1980 pp 14 15 a b c Henderson amp Greene 2008 p 102 Follies to Be at Globe Ziegfeld s New Revue Is Not to Oust Sally From Amsterdam The New York Times May 5 1921 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 15 2021 Landmarks Preservation Commission 1979 p 3 National Park Service 1980 p 13 a b Henderson amp Greene 2008 p 101 New Follies Has Much to Attract The New York Times June 17 1913 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 14 2021 Ziegfeld Follies Sixth Annual Summer Show at the New Amsterdam New York Tribune June 17 1913 p 9 ISSN 1941 0646 ProQuest 575112753 Botto amp Mitchell 2002 p 18 The Ghost of Olive Thomas WNYC October 31 2016 Archived from the original on October 16 2021 Retrieved October 14 2021 Grimes William October 29 1993 A Gang of Ghosts Ready To Rumble The New York Times ISSN 0362 4331 Archived from the original on October 19 2021 Retrieved October 16 2021 Bloom 2013 p 189 National Park Service 1980 p 8 a b National Park Service 1980 pp 14 15 a b New Amsterdam s Roof Reopening for 10 Weeks New York Herald Tribune October 31 1943 p C2 ISSN 1941 0646 ProQuest 1284455550 a b c d Botto amp Mitchell 2002 p 11 Bloom 2013 p 188 Botto amp Mitchell 2002 p 8 a b Sweethearts Broadway New Amsterdam Theatre Playbill Retrieved November 28 2021 Sweethearts Broadway Musical Original Internet Broadway Database Retrieved November 28 2021 Bloom 2013 p 188 Botto amp Mitchell 2002 p 8 Landmarks Preservation Commission 1979 p 3 See The Little Cafe The Brooklyn Citizen December 28 1913 p 21 Archived from the original on October 16 2021 Retrieved October 14 2021 via newspapers com Watch Your Step Is Hilarious Fun Irving Berlin s Revue at the New Amsterdam Is Festivity Syncopated The New York Times December 9 1914 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 14 2021 a b Watch Your Step Broadway New Amsterdam Theatre Playbill Retrieved November 28 2021 Watch Your Step Broadway Musical Original Internet Broadway Database Retrieved November 28 2021 Around the Map Broadway New Amsterdam Theatre Playbill January 29 1916 Retrieved November 28 2021 Around the Map Broadway Musical Original Internet Broadway Database Retrieved November 28 2021 Sir Herbert Tree s Bouts With the Bard A Record of the Shakespearean Performances in London Which Herald His Engagement at the New Amsterdam The New York Times February 27 1916 ISSN 0362 4331 Retrieved November 28 2021 Botto amp Mitchell 2002 pp 8 9 Miss Springtime Broadway New Amsterdam Theatre Playbill Retrieved November 28 2021 Miss Springtime Broadway Musical Original Internet Broadway Database Retrieved November 28 2021 a b Botto amp Mitchell 2002 p 9 The Cohan Revue of 1918 Broadway New Amsterdam Theatre Playbill Retrieved November 28 2021 The Cohan Revue of 1918 Broadway Musical Original Internet Broadway Database Retrieved November 28 2021 The Rainbow Girl Broadway New Amsterdam Theatre Playbill Retrieved November 28 2021 The Rainbow Girl Broadway Musical Original Internet Broadway Database Retrieved November 28 2021 a b Bloom 2013 p 188 Botto amp Mitchell 2002 p 9 a b The Girl Behind the Gun Broadway New Amsterdam Theatre Playbill Retrieved November 28 2021 The Girl Behind the Gun Broadway Musical Original Internet Broadway Database Retrieved November 28 2021 The Velvet Lady Broadway New Amsterdam Theatre Playbill Retrieved November 28 2021 The Velvet Lady Broadway Musical Original Internet Broadway Database Retrieved November 28 2021 a b Botto amp Mitchell 2002 p 10 Monsieur Beaucaire Broadway New Amsterdam Theatre Playbill Retrieved November 28 2021 Monsieur Beaucaire Broadway Musical Original Internet Broadway Database Retrieved November 28 2021 a b c Bloom 2013 p 189 National Park Service 1980 p 15 Broun Heywood December 22 1920 Sally Spins a Straight Path Down the Alley Newest a Ziegfeld s Musical Shows at New Amsterdam Is Unusually Gay Marilynn Miller Animates It New York Tribune p 8 ISSN 1941 0646 ProQuest 576284787 Sally Broadway New Amsterdam Theatre Playbill September 17 1923 Retrieved November 28 2021 Sally Broadway Musical Original Internet Broadway Database Retrieved November 28 2021 Gershenson Adam January 31 1999 F Y I The New York Times ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 14 2021 The Stage Door New York Tribune May 28 1921 p 4 ISSN 1941 0646 ProQuest 576411535 Allen Kelcey New Dresden Theatre Opens With Cinders Comedy by Edward Clark Based on Cinderella Story Has Many Tuneful Songs Nancy Welford Stars as Cinders Women s Wear Vol 26 no 79 p 36 ProQuest 1666212787 Italian Marionnettes Amuse Audience At New Frolic Theatre Opera and audeville Directed by Strings Included in Varied Program Novel Entertainment Provided by Dillingham Women s Wear Vol 27 no 60 September 12 1923 p 22 ProQuest 1665980053 a b c d e f Bloom 2013 p 189 Landmarks Preservation Commission 1979 p 4 National Park Service 1980 p 15 Sunny s Long Run to End to Terminate at New Amsterdam Saturday Night Betsy to Follow The New York Times December 6 1926 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 14 2021 a b Sunny Broadway New Amsterdam Theatre Playbill Retrieved November 28 2021 Sunny Broadway Musical Original Internet Broadway Database Retrieved November 28 2021 Betsy Presented Elaborately Staged Belle Baker Is Warmly Applauded in New Ziegfeld Musical Comedy The New York Times December 29 1926 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 14 2021 Betsy Broadway New Amsterdam Theatre Playbill Archived from the original on October 20 2021 Retrieved October 14 2021 Betsy Broadway Musical Original Internet Broadway Database Retrieved December 26 2021 Lucky Broadway New Amsterdam Theatre Playbill Retrieved November 28 2021 Lucky Broadway Musical Original Internet Broadway Database Retrieved December 26 2021 Trelawney Road Tour A Financial Success New York and Other Cities All Liked the Many Starred Pinero Revival New York Herald Tribune June 26 1927 p E4 ISSN 1941 0646 ProQuest 1114346524 Parker John ed 1947 Who s Who in the Theatre 10th revised ed London Sir Isaac Pitman amp Sons Ltd p 1184 Julius Caesar Broadway New Amsterdam Theatre Playbill Archived from the original on October 19 2021 Retrieved October 15 2021 Julius Caesar Broadway Play 1927 Revival Internet Broadway Database Retrieved December 26 2021 Buys Klaw s Interest Erlanger Sole Owner of New Amsterdam and Frolic Theatres The New York Times October 20 1927 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 14 2021 Erlanger Buys Klaw s Share Of New Amsterdam Theater The Billboard Vol 39 no 44 October 29 1927 p 9 ISSN 2638 3853 ProQuest 1031840538 Suskin Steven 2010 Show Tunes The Songs Shows and Careers of Broadway s Major Composers Oxford University Press pp 57 68 ISBN 978 0 19 974209 7 Retrieved November 4 2021 a b Botto amp Mitchell 2002 p 12 a b Rosalie Broadway New Amsterdam Theatre Playbill January 23 1928 Retrieved November 28 2021 Rosalie Broadway Musical Original Internet Broadway Database Retrieved November 28 2021 a b Bloom 2013 p 189 Landmarks Preservation Commission 1979 p 4 Atkinson J Brooks December 5 1928 The Play Players Cooperative Started The New York Times ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 15 2021 Whoopee Broadway New Amsterdam Theatre Playbill Retrieved November 28 2021 Whoopee Broadway Musical Original Internet Broadway Database Retrieved November 28 2021 The Midnight Frolic Revived After 8 Years Ziegfeld Artists in Whoopee and Show Boat Appear in Transformed Frolic Theatre The New York Times December 30 1928 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 14 2021 Ziegfeld s Roof Frolic Reopens After 8 Years His Musical Comedy Revue Stars Perform Dance Floor Is Called Resilient New York Herald Tribune December 30 1928 p 14 ISSN 1941 0646 ProQuest 1113613879 Erlanger Plans Theater Atop New Amsterdam Stage Will Be Equipped for Legitimate Productions Sound Cinema and Radio New York Herald Tribune June 20 1929 p 20 ISSN 1941 0646 ProQuest 1111696176 Erlanger Sole Owner of New Amsterdam Lease to Him and Dillingham and Ziegfeld Renewed for 5 Years Renting It for Talkies Denied The New York Times May 21 1929 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 14 2021 Bloom 2013 p 189 Botto amp Mitchell 2002 p 12 Sherlock Holmes Broadway New Amsterdam Theatre Playbill Archived from the original on October 19 2021 Retrieved October 15 2021 Sherlock Holmes Broadway Play 1929 Revival Internet Broadway Database Retrieved December 26 2021 a b c d e f g h i Henderson amp Greene 2008 p 103 NBC Acquires Times Square Radio Studio Former Home of Ziegfeld Follies Transformed Into Elaborate Broadcasting Theater The Hartford Courant February 23 1930 p E12 ISSN 1047 4153 ProQuest 557797201 NBC Takes Studio At Times Square The Courier News February 24 1930 p 17 ISSN 0746 9527 Archived from the original on October 16 2021 Retrieved October 15 2021 via newspapers com N B C Dedicates Times Square Studio Tonight 600 Guests Will witness Studio Auditorium Opening on Amsterdam Roof New York Herald Tribune March 16 1930 p C5 ISSN 1941 0646 ProQuest 1113160449 a b c Botto amp Mitchell 2002 p 13 a b Bloom 2013 pp 189 190 Carroll s Vanities Raided as Indecent 9 in Cast Arrested Unknown to Audience Police Wait Behind Scenes and in Street for Matinee to End The New York Times July 10 1930 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 15 2021 The Admirable Crichton Broadway New Amsterdam Theatre Playbill Retrieved November 28 2021 The Admirable Crichton Broadway Play 1931 Revival Internet Broadway Database Retrieved November 28 2021 a b c d e f g h i j Bloom 2013 p 190 Landmarks Preservation Commission 1979 p 4 National Park Service 1980 p 15 Atkinson J Brooks June 4 1931 The Play Beginning a New Era The New York Times ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 15 2021 a b c Botto amp Mitchell 2002 p 14 News of the Theaters Face the Music Opening Tonight in Philadelphia East Lynne Matinee Today Mary Boland New York Herald Tribune February 3 1932 p 12 ISSN 1941 0646 ProQuest 1114487260 a b c d Bloom 2013 p 190 Eva Le Gallienne to Play Uptown Will Bring Alice in Wonderland to the New Amsterdam Theatre Jan 30 The New York Times January 19 1933 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 15 2021 a b Alice in Wonderland Broadway Civic Repertory Theatre Playbill Archived from the original on October 19 2021 Retrieved October 15 2021 Theatrical Notes The New York Times March 6 1933 p 16 ISSN 0362 4331 ProQuest 100746487 a b The Cherry Orchard Broadway New Amsterdam Theatre Playbill Archived from the original on October 19 2021 Retrieved October 15 2021 The Cherry Orchard Broadway Play 1933 Revival Internet Broadway Database Retrieved December 26 2021 Landmarks Preservation Commission 1979 p 4 National Park Service 1980 p 15 News of the Theaters Carroll s Murder at the Vanities Opening Tonight at the New Amsterdam New York Herald Tribune September 12 1933 p 18 ISSN 1941 0646 ProQuest 1114853701 12 Health Centres to Gain by Benefit Performance of Roberta on Thursday Taken Over to Aid Needy Mothers The New York Times November 19 1933 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 15 2021 Roberta Broadway New Amsterdam Theatre Playbill May 28 1934 Retrieved November 28 2021 Roberta Broadway Musical Original Internet Broadway Database Retrieved November 28 2021 a b Botto amp Mitchell 2002 p 15 a b Bloom 2013 p 190 National Park Service 1980 p 15 Ruhl Arthur November 29 1934 Revenge With Music Musical by Diets and Schicarts at the New Amsterdam New York Herald Tribune p 24 ISSN 1941 0646 ProQuest 1221534166 Gussow Mel May 23 1990 Critic s Notebook Where Legends Were Born Ghosts of Glory Linger The New York Times ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 15 2021 a b George White s Scandals 1936 Broadway New Amsterdam Theatre Playbill Archived from the original on October 20 2021 Retrieved October 15 2021 George White s Scandals 1936 Broadway Musical Original Internet Broadway Database Retrieved December 26 2021 Botto amp Mitchell 2002 pp 15 16 Resurrection of 42nd Street Broadway The American Musical PBS September 27 2012 Archived from the original on July 23 2019 Retrieved July 23 2019 Forbidden Melody Broadway New Amsterdam Theatre Playbill Archived from the original on October 19 2021 Retrieved October 15 2021 Forbidden Melody Broadway Musical Original Internet Broadway Database Retrieved December 26 2021 Bank Takes Over Theatre Building Dry Dock Savings Bids in Structure Containing the New Amsterdam The New York Times May 8 1936 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 15 2021 Midtown Theater Realty Involved in Forced Sale New York Herald Tribune May 8 1936 p 38 ISSN 1941 0646 ProQuest 1237468220 Theatre Fights Broadcast Order Told to Procure a License It Sues to Bar Police From Ousting Audience The New York Times August 13 1936 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 15 2021 License Fight Lost by Radio Theatre Court Upholds Moss in Ban on Broadcasts Unless Permit Is Procured The New York Times August 20 1936 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 15 2021 Radio N Y Radio Theater Must Have License The Billboard Vol 48 no 35 August 29 1936 p 7 ISSN 2638 3853 ProQuest 1032101395 a b c d e Botto amp Mitchell 2002 p 16 Atkinson Brooks January 7 1937 The Play Walter Huston and Brian Aherne in the R E Jones Production of Othello The New York Times ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 15 2021 a b Othello Broadway New Amsterdam Theatre Playbill Archived from the original on October 19 2021 Retrieved October 15 2021 Othello Broadway Play 1937 Revival Internet Broadway Database Retrieved December 26 2021 a b New Amsterdam Theatre Sold The New York Times June 8 1937 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 15 2021 a b Real Estate Transactions in the City and Suburban Fields Cohen Concern Takes Theater In West 42d St New York Herald Tribune June 8 1937 p 41 ISSN 1941 0646 ProQuest 1240438952 News of the Screen New Amsterdam Theatre Opens Tonight as Motion Picture House News Items From Hollywood The New York Times July 3 1937 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 15 2021 Sobel Bernard July 4 1937 New Amsterdam Lament Being an Elegy on Forty second Street s Last Legitimate Theatre The New York Times ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 15 2021 a b Henderson 1997 p 7 Radio WMCA Pipes MBS Show The Billboard Vol 50 no 43 October 22 1938 p 7 ISSN 2638 3853 ProQuest 1032187655 Week end Theatre for Amsterdam Roof 42d Street Auditorium to Have Films Saturdays and Sundays The New York Times April 29 1943 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 14 2021 Legitimate UBO Moves Quarters Last Vestige of 42d St Legit Variety Vol 149 no 8 February 3 1943 p 143 ISSN 0042 2738 ProQuest 1285813415 New Amsterdam Theater To Become Video Studio Chicago Tribune September 11 1949 p G10 ISSN 1085 6706 ProQuest 177760009 New Amsterdam Roof To Be Video Theater New York Herald Tribune August 11 1949 p 12 ISSN 1941 0646 ProQuest 1327244868 a b Radio Television New Amsterdam Roof Undergoes WOR TV Revamp The Billboard Vol 61 no 42 October 15 1949 p 10 ISSN 2638 3853 ProQuest 1039939408 WOR s Television Will Start On Regular Schedule Tonight New York Herald Tribune October 11 1949 p 20 ISSN 1941 0646 ProQuest 1327502496 a b Zolotow Sam February 4 1960 Summer Theatre Extends Its Lease Westport Playhouse Makes 5 year Deal With Langners New Plans for Roof The New York Times ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 15 2021 42d St Grinds 5 mil Gross Variety Vol 205 no 9 January 30 1957 pp 3 20 ISSN 0042 2738 ProQuest 1014785728 a b Kihss Peter April 13 1976 2 Guards Killed in 42d St Holdup The New York Times ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 15 2021 Reed Henry Hope Jr October 28 1962 Beneath the Squalor Yesterday s Glamor the Names of the Astaires of Barrymore and Belasco Lawrence and Lillie Cling to the Cheap Movie Houses of 42nd Street New York Herald Tribune p SM2 ISSN 1941 0646 ProQuest 1325840251 Hicklin Balph October 9 1967 Something Different growing on rooftop The Globe and Mail p 21 ProQuest 1270424918 Rosenblum Constance S December 12 1976 Better days New York Daily News pp 438 440 460 ISSN 2692 1251 Archived from the original on October 16 2021 Retrieved October 15 2021 via newspapers com The City The New York Times October 1 1979 ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 15 2021 a b c d Dowd Maureen August 2 1984 Rebirth of Showcase 42d St Theater Sought The New York Times ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 15 2021 Morehouse Ward III November 9 1977 A Little White Way for tawdry 42nd St The Christian Science Monitor p 1 ISSN 2573 3850 ProQuest 511943242 Williams Lena November 7 1977 Can Photos Return Gloss to Times Square The New York Times ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 15 2021 42d St Show on Theaters is a Tragedy New York Daily News October 19 1977 p 336 ISSN 2692 1251 Archived from the original on October 16 2021 Retrieved October 15 2021 via newspapers com Changing cityscape 170M smile planned for face of W 42d St New York Daily News November 19 1978 p 423 ISSN 2692 1251 Archived from the original on October 16 2021 Retrieved October 15 2021 via newspapers com City Considers Park Plan For Times Square Newsday August 25 1978 p 14 ISSN 2574 5298 Archived from the original on October 16 2021 Retrieved October 15 2021 via newspapers com Stern Fishman amp Tilove 2006 pp 702 704 Blumenthal Ralph December 27 1981 A Times Square Revival The New York Times ISSN 0362 4331 Archived from the original on October 16 2021 Retrieved October 15 2021 Legitimate Push 42d St Redevelopment To Convert 8 Picture Theatres Variety Vol 305 no 13 January 27 1982 p 87 ISSN 0042 2738 ProQuest 1438331408 Prial Frank J April 6 1982 City Names Main Builders in Times Sq Redevelopment The New York Times ISSN 0362 4331 Archived from the original on October 1 2021 Retrieved October 15 2021 Times Square Project Developers Chosen Newsday April 7 1982 p 19 ISSN 2574 5298 Archived from the original on October 16 2021 Retrieved October 15 2021 via newspapers com Sandler Ken December 30 1982 Historic Theater Purchased The Washington Post p D3 ISSN 0190 8286 ProQuest 147367547 a b Sandler Ken December 31 1982 42d St taking first legit steps New York Daily News p 104 ISSN 2692 1251 Archived from the original on October 16 2021 Retrieved October 15 2021 via newspapers com Legitimate Bond Issue To Aid Nederlander s Deal For New Amsterdam Variety Vol 308 no 10 October 6 1982 p 99 ISSN 0042 2738 ProQuest 1438360438 5 M Bond Aids Nederlander Renovation Back Stage Vol 23 no 41 October 8 1982 pp 55 85 ISSN 0005 3635 ProQuest 962816802 a b Prial Frank J April 18 1982 Can 42nd Street Regain Its Showbiz Glamour The New York Times ISSN 0362 4331 Retrieved September 27 2022 Blau Eleanor May 11 1983 Revival 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