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Wikipedia

Studio 54

January 01, 1970

This article is about the Broadway theater and former nightclub. For the 1998 drama, see 54 (film). For the 2018 documentary, see Studio 54 (film). For the Las Vegas nightclubs, see Studio 54 (Las Vegas).

Studio 54 is a Broadway theater and former nightclub at 254 West 54th Street in Midtown Manhattan, New York City, United States. Opened as the Gallo Opera House in 1927, it served as a CBS broadcast studio in the mid-20th century. The venue became a scene in 1977 when Steve Rubell and Ian Schrager opened Studio 54, a nightclub retaining much of the former theatrical and broadcasting fixtures. Roundabout Theatre Company renovated the space into a Broadway house in 1998.

Studio 54
Gallo Opera House (1927–1930)
New Yorker Theatre (1930–1933, 1939–1942)
Casino de Paree (1933–1935)
WPA Federal Music Theatre (1937–1939)
CBS Playhouse No. 4 (1942–1949)
CBS Studio 52 (1949–1976)
Address254 West 54th Street
Manhattan, New York City
Coordinates40°45′51.7″N 73°59′01.6″W / 40.764361°N 73.983778°W / 40.764361; -73.983778
Public transitNew York City Subway:
OwnerRoundabout Theatre Company
TypeBroadway
Capacity1,006 (519 orchestra/487 mezzanine)[2]
Construction
OpenedNovember 8, 1927
Years active1927–1933, 1939–1940, 1998–present (as Broadway theater)
ArchitectEugene De Rosa[1]
Website
roundabouttheatre.org

The producer Fortune Gallo announced plans for an opera house in 1926, hiring Eugene De Rosa as the architect. The Gallo Opera House opened November 8, 1927, but soon went bankrupt and was renamed the New Yorker Theatre. The space also operated as the Casino de Paree nightclub, then the Palladium Music Hall, before the Federal Music Project staged productions at the theater for three years starting in 1937. CBS began using the venue as a soundstage in 1942, then as a television studio until 1975.

Schrager and Rubell opened the Studio 54 nightclub on April 26, 1977, as disco was gaining popularity in the U.S. Infamous for its celebrity guest lists, quixotic entry policies, extravagant events, rampant drug use, and sexual hedonism, Studio 54 closed in 1980 after Schrager and Rubell were convicted of tax evasion. A scaled-back version of the nightclub continued under new management before becoming the Ritz rock club in 1989, then the Cabaret Royale bar in 1994.

The Roundabout Theatre Company renovated the space in 1998 to relocate its production of the musical Cabaret, which ran at Studio 54 until 2004. The modern theater has since hosted multiple productions each season. The main auditorium, with 1,006 seats on two levels, is complemented by two sister cabaret venues: Upstairs at 54 on the second floor since 2001, and 54 Below in the basement since 2012. The heyday of the 1970s club features in numerous exhibitions, films, and albums, with memorabilia from the nightclub appearing at auctions.

Design edit

 
Interior of the theater during the production of the musical Cabaret

Studio 54 was originally designed by Eugene De Rosa as the Gallo Opera House, which contained 1,400 seats when it opened in 1927.[3][4][5] De Rosa's original plans called for lounges, restrooms, and promenades on three stories, as well as an opera museum below the primary floors.[6] By 1933, when it was being used as the Casino de Paree nightclub, the theater had 650 seats on the orchestra level and 500 seats in the balcony.[7] CBS documents show that, when the theater was used as CBS Studio 52 in the mid-20th century, it had 828 seats on three levels: 312 in the orchestra, 371 in the balcony, and 145 in a mezzanine.[8] The modern-day theater has 1,006 seats across two levels: 519 in the orchestra and 487 in the balcony.[2] The theater contained nightclub tables during the late 20th century, which were removed in 1998 after Studio 54's re-conversion into a theater and replaced with raked seating.[9]

Ida Louise Killam designed the original interior with a gold, blue, and rose palette.[10] One early observer described the theater as having "a Roxy foyer and a Paramount promenade".[11] The orchestra seats were originally divided by five aisles. The orchestra-level walls were clad with walnut, and the trimmings at balcony level and in the mezzanine lounge were also made of walnut. The vaulted ceiling contained a dome measuring 50 feet (15 m) across, as well as indirect lighting.[12] This dome is decorated with medallions.[11] According to CBS documents, Studio 54's proscenium arch measures 27 feet 0 inches (8.23 m) high and 43 feet 8 inches (13.31 m) wide. There was a fly system 58 feet (18 m) above the stage.[8] Backstage were six dressing rooms, as well as a 15-by-40-foot (4.6 by 12.2 m) rehearsal space at stage left.[13]

To avoid disrupting the construction of the New York City Subway's Eighth Avenue Line, structural engineer David M. Oltarsh placed the Gallo Opera House's foundation, orchestra, and balcony within an enclosure that was suspended from the theater building's roof.[14] The modern mezzanine-level promenade has an exhibit with information on the theater's current production.[9] The theater also contains a bar in its lobby, which is a tribute to the former Studio 54 nightclub.[15]

54 Below edit

Main article: 54 Below

The cabaret club 54 Below opened in Studio 54's basement on June 5, 2012.[16][17] It was designed by architect Richard H. Lewis, set designer John Lee Beatty, lighting designer Ken Billington, and sound designer Peter Hylenski.[18] A staircase from ground level leads to a rectangular room with leather and wood decorations, as well as a red, purple, and brown color palette. The room contains 140 seats in a cabaret-style arrangement and 16 seats in a bar to the right.[18] Originally, 54 Below presented shows every day of the week,[18] with 4,000 performances in its first five years.[17] In partnership with musician Michael Feinstein, the club was renamed Feinstein's/54 Below in 2015;[19] the club reverted to the name 54 Below when the partnership ended in July 2022.[20]

Upstairs at Studio 54 edit

Josh Hadar of Allied Partners created a 175-seat cabaret space on the second floor, called Upstairs at Studio 54.[21] The space opened in February 2001[22] and is accessed via its own entrance at ground level.[21] This space was used exclusively for special events.[23] Performances occurred during nights when plays were not being staged. The musical Newsical was staged there from October 2004[24] to April 2005.[25]

Early history edit

Gallo Opera House edit

In July 1926, theatrical impresario Fortune Gallo leased a site at 254 West 54th Street and hired Eugene De Rosa to design a 16-story office building at the site, with a 1,400-seat theater at its base. Z. D. Berry and Robert Podgur would build the venue at an estimated cost of $2 million.[3][4][5] Gallo planned to present the San Carlo Grand Opera Company's productions at the theater during the autumn, renting it out for legitimate shows at other times.[5] The venue was originally supposed to open in January 1927,[3][4] but this was delayed because the opera company had an extended engagement in San Francisco.[26] Prior to the venue's opening, Gallo transferred his interest in the San Carlo Company to his nephew Aurelio Gallo, allowing the elder Gallo to focus on operating the new theater.[27]

The opera house opened on November 8, 1927, with the San Carlo Company's large-scale production of La bohème.[28][29] The Gallo was one of three legitimate theaters to open in New York City during 1927; at the time, the city had over 200 legitimate theaters.[30] The San Carlo Company performed for two weeks.[31][32] A revival of the play Electra opened at the Gallo that December,[33][34] followed the same month by Juno and the Paycock.[35][36] A $660,000 mortgage was placed on the theater building in January 1928.[37] The American Opera Company opened its season there the same month,[38] performing there until March.[39] Ballet Moderne also performed there for two weeks in April 1928.[40]

 
Studio 54, originally the Gallo Opera House, is placed within the base of an office building at 254 West 54th Street.

Philip Goodman leased the theater for five years in mid-1928.[41][42] Goodman used the theater to stage a production of Laurence Stallings and Oscar Hammerstein II's musical Rainbow,[43] which ran for less than a month in late 1928.[44][45] In the meantime, the theater also hosted events such as dance performances,[46] a violin recital,[47] and a choir performance.[48] Radiant Productions leased the theater in September 1929, with plans to present a dozen plays for three weeks each.[49][50] Their first and only production, Ladies Don't Lie, was a critical failure.[51] That October, Radiant transferred its lease to William R. Kane,[51] who staged a short-lived revival of the comedy A Tailor-Made Man there.[52] At a foreclosure auction in December 1929, the theater's mortgagee Hemphill Realty Corporation bought the theater for $1,045,000.[53][54]

New Yorker Theatre edit

Gallo sold his lease to an unidentified buyer in January 1930, as he wanted to focus on operating a radio station.[55][56] Richard Herndon took over as the theater's managing director, renaming it the New Yorker Theatre the next month.[57][58] The first production at the renamed theater was the Henrik Ibsen play The Vikings,[59][60] which had a short run in May 1930.[61] The New Yorker hosted more dance recitals[62] before the opening of its next legitimate show, Electra, in December 1930.[63][64] Oliver D. Bailey signed a five-year lease for the theater in January 1931.[65][66] In general, the theater suffered from low attendance during the Great Depression.[59] Among the theater's productions in 1931 were the plays Gray Shadow,[67] Young Sinners,[68] Ebb Tide,[69] and It Never Rains;[70] the musical Fast and Furious;[71] and performances by the New Yorker Grand Opera Company.[72] The next year, the theater hosted several plays performed by the Spanish-speaking theatrical company La Compania Dramatic Espanola,[73] as well as another dance festival.[74] The Bowery Savings Bank bought the New Yorker and the adjacent office building for $650,000 in December 1932.[75]

The bank leased the theater to Continental Music Halls Inc. for five years in September 1933.[76][77] Continental announced plans to convert the theater into a nightclub called Casino de Paree (sometimes spelled Casino de Paris[78]), with dining areas on two stories and a kitchen in the basement.[76][79] The club's operators spent $200,000 on renovations,[80] reopening the venue on December 12, 1933.[81] It was one of three theaters near 54th Street that were converted to nightclubs in the mid-1930s.[82] There were 1,150 seats on two levels. The stage was used as a dance floor, accessed by steps from the orchestra level, and was flanked by two bands.[7] Billy Rose organized two shows a night, for which guests paid $1.50 to $2 per ticket. According to Variety, the nightclub "just about satisfies the gastronomic, bibulous, and entertainment needs of any mortal".[83]

The club's operators bought the theater and adjacent office building in March 1934.[80] The club's cheap revues competed with Broadway musicals with higher-priced tickets.[84] Rose withdrew from the venture in September 1934 because of disagreements over pay.[85] The Casino de Paree was closed for renovations in February 1935,[86] reopening two weeks later.[87] The Casino de Paree abruptly closed[88] after filing for bankruptcy in April 1935.[89][90] That December, the Bowery Savings Bank leased the theater to the Palladium Operating Corporation, which planned to convert it into an "English"-style music hall.[91] The Palladium Music Hall opened the next month;[92][93] it was to host a new show every two weeks, with two bands performing during dinnertime.[93] The Palladium had trouble paying wages within three weeks of its opening,[94] and it closed permanently at the beginning of February 1936.[95]

 
WPA Theatre of Music

The Works Progress Administration (WPA)'s Federal Music Project leased the theater, as well as four of the office floors, in November 1936;[96][97] the venue would host operas and concerts by the WPA's Theatre of Music.[98] The WPA renovated the theater over the next two months,[99] opening the Theater of Music on January 24, 1937.[100][101] The WPA renewed its lease later the same year.[102] An all-black WPA cast from Chicago presented The Swing Mikado at the New Yorker Theatre in early 1939;[103] after two months, the production moved to the 44th Street Theatre.[104][105] The play Medicine Show then premiered at the New Yorker in April 1940,[106] closing after a month.[107] This was the theater's last Broadway show for nearly six decades.[1]

Broadcast studio edit

The Bowery Savings Bank again owned the New Yorker Theatre by late 1940, and the bank's real-estate agent Joseph O'Gara was looking to lease the venue.[108] That October, RCA Manufacturing signed a one-year lease for the theater, exhibiting television projectors there.[109] RCA subsidiary NBC installed a 9-by-12-foot (2.7 by 3.7 m) television screen by the end of 1940.[110] Early the following year, NBC installed a 15-by-20-foot (4.6 by 6.1 m) projection screen on the stage,[111][112] spending $25,000 to $30,000 on the project.[112] The first public exhibition of the theater's screen was in May 1941, when over a thousand audience members watched a live broadcast of a boxing match between Billy Soose and Ken Overlin at Madison Square Garden.[113][114] In September 1941, the Top Dollar Theatre company unsuccessfully tried to lease the venue from the Bowery Savings Bank.[115] The New Yorker Theatre then briefly hosted the children's play The Adventures of Marco Polo at the end of that December.[116]

CBS Studio 52 edit

The Columbia Broadcasting System (CBS) leased the New Yorker Theatre in August 1942 for use as a radio soundstage.[117][118] The theater operated as a radio and television studio for three decades,[78] known as Radio Playhouse No. 4[59][1] or Theater No. 4.,[119] then converted for television in 1949, becoming CBS-TV Studio 52.[120][a] Shielded television cameras had to be developed due to strong magnetic interference from equipment at a neighboring power substation for the New York City Subway system.[122][123] The studio was one of seven that CBS operated in New York City.[124] At that time, several Broadway theaters had been converted to TV studios due to a lack of studio space in the city.[125][126]

Likely the first television show to be produced at Studio 52, was The 54th Street Revue, which premiered in May 1949.[120] Another early show produced at Studio 52 was The Fred Waring Show in 1950.[127][128] Studio 52 and the neighboring Studio 50 (now the Ed Sullivan Theater) were among CBS's busiest stages by the early 1960s.[129] The theater hosted such shows as What's My Line?, The $64,000 Question, Video Village, Password, To Tell the Truth, Beat the Clock, The Jack Benny Show, I've Got a Secret, Ted Mack and the Original Amateur Hour, and Captain Kangaroo.[130][128] Studio 52 was used to tape many of the CBS shows that involved panel discussions. Members of the public could also buy tickets to view these tapings. The New York Times said in 1965 that many of the regular audience members were older women.[131] The soap opera Love of Life was produced at Studio 52 until 1975 and was the last show to be taped there.[128] CBS moved most of its broadcast operations out of Studio 52 in 1976 and placed the theater up for sale.[132]

Nightclub era edit

Inception and opening edit

 
Dining area at 54 Below

By 1976, German-born male model Uva Harden was planning to open a nightclub in New York City, which he tentatively called "Studio".[133] Harden and Israeli entrepreneur Yoram Polany agreed to take over the old CBS Studio 52 that year.[134][135][136] Polany and another friend of Harden's independently recommended that the nightclub be called "Studio 54" because it was on 54th Street.[136] Harden and Polany formed a corporation to operate the nightclub, but they struggled to obtain a liquor license from the New York State Liquor Authority (NYSLA).[134][137] They hired Carmen D'Alessio, who had hosted monthly parties at Maurice Brahms's Infinity nightclub,[138] as the club's publicist.[137] To finance the nightclub, the operators of the Marlborough Gallery bought nearly all of the stock in Harden and Polany's corporation in November 1976.[135] At the time, the gallery's owner Frank Lloyd had just been ordered to pay $9 million to artist Mark Rothko's estate in the Rothko case.[135][139]

After continued delays, Harden met with entrepreneurs Steve Rubell and Ian Schrager, who agreed to partner with him in the nightclub's operation.[140] Harden was eventually forced out of the club's operation, while Polany left on his own volition.[141] In November 1976, Billboard magazine reported that Schrager and Rubell planned to convert the theater into a nightclub called Studio 54.[142] It would be one of several discotheques to operate in Midtown Manhattan during the late 1970s.[143][144] Rubell and Schrager formed the Broadway Catering Corp., which spent $400,000 to transform the theater into a nightclub.[145] Rubell, Schrager, and Jack Dushey each owned a one-third stake in the venture,[145][146][147] and they had hired several people to create the club by early 1977.[148] These included architect Scott Bromley,[149][150][151] interior designer Ron Doud,[150][151] lighting designer Brian Thompson,[149][151] and set designer Richie Williamson.[150] Lighting designers Jules Fisher and Paul Marantz were hired to design the dance floor and rigging system.[150][151] Rubell and Schrager retained D'Alessio to promote Studio 54.[152][153]

 
The Moon Man swung across the dance floor at Studio 54

The renovation involved the construction of a dance floor, a balcony, and a disco booth, as well as the addition of mirrors, light bars, and floating vinyl platforms. The orchestra seated 250 people, and the balcony had another 500 seats.[146] The lighting system, which required three people to operate, included a dozen 16-foot-high (4.9 m) poles with flashing lights.[134] Fisher and Marantz adapted the existing rigging system to generate special effects such as confetti, snow, fog, and weather.[150][154] On the ceiling was a 30-by-40-foot (9.1 by 12.2 m) cyclorama, which could project images of many different galaxies. Other decorations included depictions of volcanos, sunrises, and sunsets.[134] Aero Graphics designed a backlit moon and spoon, which became an icon of the Studio 54 nightclub.[155] The club's promoters mailed out 8,000 invitations and made phone calls to numerous figures on "a good social list".[156] Studio 54 officially opened on April 26, 1977,[157][156] with workers rushing to finish the decorations just hours before the grand opening.[157] Although the space could fit 2,500 guests,[134][157] four thousand people attended the club on opening day.[156] Hundreds of prospective patrons lined up around the block to enter,[157][158] and several celebrities could not get in, despite having been invited.[159]

The scene edit

Studio 54 had been launched as the disco dancing and music trend was gaining popularity in the U.S.[160][161] Its popularity grew rapidly, especially after the publication of a widely-circulated picture that showed actress Bianca Jagger at the club, riding a white horse.[162][163] In the month after its opening, the club served an average of 2,000 guests per night,[164] although it was only open on Tuesdays through Saturdays.[146] By August 1977, the club had become so successful that Rubell and Schrager were considering opening similar nightclubs in Los Angeles and London.[165][166] Rubell ultimately chose not to open similar clubs around the world, saying: "I'm very cautious about protecting the name and not cheapening it."[167] In November 1977, Dan Dorfman of New York magazine quoted Rubell as saying that "only the Mafia made more money" than Studio 54,[146][168] which made $7 million in its first year.[169]

Upon Studio 54's first anniversary in April 1978, which attracted 3,000 guests, Rubell said the club's popularity contradicted sentiments that the club "wouldn't last more than a couple of months".[170] That October, Rubell and Schrager closed the club for nine days, spending $500,000 on renovations.[171] The work included adding spotlights and mirrored walls,[171] as well as a movable bridge.[172]

Admission policy edit

To be admitted to Studio 54 was a status symbol, even on nights when the club was open to the public.[167] When Studio 54 opened, admission generally cost $7 or $8, but guests could pay for an annual membership in exchange for discounted tickets.[143][164] Tickets were more expensive on weekends,[173] and all ticket prices were increased on nights with performances.[164] Rubell made the final decisions over whether guests were allowed in the club. Celebrities usually were allowed to enter immediately.[173][174] According to a 1977 Wall Street Journal article, "very beautiful" members of the public were almost always admitted, while men entering alone were invariably rejected to prevent predatory behavior.[173] Guests were divided into four categories, ranging from the "No Goods" (who could never be admitted) to the "No Fuck-ups" (important clients who were admitted instantly).[175] Rubell bragged about the club's exclusivity, saying in a November 1977 interview with New York magazine: "I turned away 1,400 people last Saturday."[146]

The club's doormen could be extremely selective, sometimes to the point that "they propelled themselves into a comedy universe" according to Haden-Guest.[176] Rubell once told a "ravishingly beautiful woman" that she could enter for free if she took off all her clothes; the woman was later hospitalized for frostbitten nipples.[176] The selective admissions policies led some guests to bypass the front door in an attempt to enter.[175][177] According to Haden-Guest, one potential guest got stuck in a ventilation shaft and died,[177] an account that Schrager later confirmed.[175] Some of Studio 54's spurned clientele fled to other clubs such as New York, New York.[178] When the club was renovated in 1978, Rubell and Schrager sealed its courtyard to prevent people from entering there.[172] There was also a private entrance on 53rd Street, reflecting the "stratification" of the nightclub.[179]

On several occasions, would-be guests attacked the doormen after being denied admission,[173][180][181] and several guests pulled out guns when they were rejected.[175] The club's security guards often cleared out trash cans within a several-block radius because of high concerns over violence.[180] Some notables were denied admission. For instance, the president of Cyprus was once rejected because the doormen thought he was the president of New York City's Cypress Hills Cemetery.[176] When one of Saudi king Khalid's sons was rejected, the Saudi embassy to the United States wrote Rubell a letter, asking that Khalid's son not be rejected again.[173] The band Chic wrote a song in 1978, "Le Freak", after being refused entry to the club on New Year's Eve 1977, despite having been invited by Grace Jones.[182][183] Even club members were not guaranteed entry.[184][185] In June 1978, the New York City Department of Consumer Affairs (DCA) mandated that Rubell and Schrager stop selling memberships and refund existing members.[185][186] The club failed to refund all memberships immediately,[187] and Schrager claimed that November that only 40 members had applied for refunds.[188]

Inside the club edit

The club generally opened at 10 p.m., with crowds peaking at midnight; the bar closed at 4 a.m., and the rest of the club stayed open until 6 a.m..[173] According to Rubell, the vast majority of the club's guests were not celebrities but, rather, members of the public who just wanted to dance.[189] The Washington Post wrote in November 1977 that the club attracted "a mix of punks, hairdressers, socialites, and suburbanites",[190] while The New York Times said the club was "tolerant of errant squares".[191] Andy Warhol, a regular guest of Studio 54, said the club was "a dictatorship on the door but a democracy on the dance floor".[175][192] Studio 54 enforced a photography ban to protect guests' privacy,[193] but some images were still published, including a widely circulated image of Canadian first lady Margaret Trudeau without her underwear.[194]

Many guests used club drugs, and they often engaged in open sexual activity on the club's balcony and in private basement rooms.[195][196] The Journal characterized most of the women guests as "beneficiaries of a fabulously lucky genetic selection" and that the men guests generally had an "aura of self-esteem born in the knowledge that one can successfully choose among the select".[173] Celebrity appearances, which were almost guaranteed, were frequently showcased in New York City's daily newspapers and in gossip columns.[197][198] The nightclub was also frequented by many gay celebrities,[193][199] leading Anthony Haden-Guest to write that the club became "one of the single most effective showcases for newly visible gay clout".[199] By 1978, there was a private dance floor behind a movable scrim on the main dance floor, as well as a VIP room in the basement, which could only be accessed by a hidden stairway.[179]

The club also hosted private parties that, at a minimum, cost tens of thousands of dollars.[167] The invitations to the parties were extravagant, using such materials as "Cupid's arrows, inflatable hearts, [or] jars of confetti".[163] Among the events at Studio 54 was a New Year's Eve party hosted by event planner Robert Isabell, who dumped four tons of glitter onto the floor, creating a four-inch layer that could be found in attendees' clothing and homes several months later.[200] The organizers of a Valentine's Day party in 1979 imported 3,000 Dutch tulips, transported 4,000 square yards (3,300 m2) of sod from Bermuda, and rented eight antique sculptures that each cost $17,000.[201] Other events at the club included fundraisers for local politicians, as well as a Halloween party hosted by the staff of People magazine.[202] Studio 54 was also a filming location for several music videos, such as those for several songs in Musique's album Keep On Jumpin'.[203]

Notable patrons edit
Other notables edit

Downfall edit

License issues and other disputes edit

Schrager did not have a liquor license when the club opened, despite having applied to the NYSLA for such a license.[237] Instead, the nightclub applied for a "caterers' permit" every day; these permits were intended for weddings or political events, but they technically allowed the venue to serve alcohol.[238][239] The club also did not have a certificate of occupancy or a public assembly license, prompting tipsters to complain to several federal agencies.[239] On May 21, 1977, the NYSLA raided the nightclub for selling liquor without a license.[237][238] The club reopened the next night, serving fruit juice and soda instead of liquor.[240] Studio 54 continued serving non-alcoholic drinks exclusively until a justice for the New York Supreme Court, the state's trial-level court, ordered the NYSLA to grant Studio 54 a liquor license that October.[241][242] The NYSLA's chairman complied with the Supreme Court ruling but objected to it, claiming that the judge had been influenced by Studio 54's upscale clientele.[243][205] The New York Court of Appeals upheld the Supreme Court's decision in June 1978.[185]

Schrager also applied for a cabaret license from the DCA, which did not grant Studio 54 a permanent cabaret license for more than a year.[244][245] A contributing factor was that the city government only employed three cabaret inspectors, who could not validate all of the city's cabaret licenses in a timely manner. Additionally, the DCA rarely fined unlicensed cabarets more than $25.[187] At the beginning of June 1978, DCA officials said the cabaret application had not been approved because of multiple violations of fire codes, though the New York City Fire Department refused to provide further details about these violations.[244] The DCA could also deny a permanent license because of unresolved consumer complaints, such as those concerning Studio 54's annual memberships.[245] The DCA refused to renew Studio 54's temporary cabaret license in August 1978 because Schrager and Rubell had not refunded all of the memberships.[187]

Also in August 1978, the American Society of Composers, Authors and Publishers (ASCAP) sued Rubell and Schrager, alleging that the co-owners had failed to pay licensing fees for six performances that ASCAP had staged at Studio 54 earlier that year.[246] Studio 54 ultimately paid ASCAP for a license in November 1978.[247] The National Labor Relations Board was also investigating the club by February 1979 after some workers alleged that the club had engaged in "unfair labor practices".[248]

End of the first era edit

 
Studio 54's balcony

In December 1978, a tipster called the Internal Revenue Service (IRS), alleging that Rubell and Schrager were skimming profits.[249][250] The tip came from a disgruntled ex-employee, who also alleged that cocaine was illegally being stored in the basement.[250] Shortly after, IRS agents raided Studio 54 and arrested Rubell and Schrager.[249][251][252] The club continued to operate the night of the raid.[252][253] A federal grand jury indicted Rubell and Schrager on charges of tax evasion in June 1979, observing that the two men had skimmed $2.5 million, or as much as 60 percent of Studio 54's receipts over the past two years.[145][147] In an unsuccessful[254] attempt to lessen the charges against the club's co-owners,[255][256] Schrager's lawyer Mitchell Rogovin alleged that Hamilton Jordan, chief of staff to U.S. president Jimmy Carter, had used cocaine in the club's basement.[181][257] In anticipation of increasing interest in rock music, Rubell and Schrager spent $1.2 million to renovate Studio 54 in late 1979. They installed a grand chandelier and a fly system above the stage, as well as removing seats from the balcony.[258]

Rubell and Schrager ultimately pleaded guilty to tax evasion in November 1979,[255][259] after New York magazine published a cover story describing the "party favors" that the two men gave to their friends.[254] In exchange, federal prosecutors agreed not to charge the men with obstruction of justice and conspiracy.[255][259] By then, the club was in danger of losing its liquor license after the owners had pleaded guilty to tax evasion, as the NYSLA did not give liquor licenses to convicted felons.[260] Rubell and Schrager were each sentenced to three and a half years in prison in January 1980.[261][262] The two men attended a final party on the night of February 2–3, 1980, with Diana Ross and Liza Minnelli singing for numerous guests.[182][263] Rubell and Schrager began serving their sentences two days afterward.[264][265] Ultimately, Rubell and Schrager were paroled after a year,[266] and Schrager received a presidential pardon decades later.[267][b]

The NYSLA unanimously voted not to renew Studio 54's liquor license on February 28, 1980, citing Rubell's and Schrager's criminal convictions, although the club was allowed to continue operating.[268][269] The club lost its liquor license on February 29, and the club started serving fruit punch the next day.[270][271] Studio 54's lawyers also announced that they would create a board of directors to operate the club.[271] The third co-owner, Jack Dushey, had received a $10,000 fine and had been sentenced to five years of unsupervised probation after being convicted of conspiracy charges in March 1980.[272] By the end of that month, Rubell was considering selling the club,[273][274] despite having promised just two months prior that he would never sell Studio 54.[274] Among those who expressed interest in the club were restaurateur Mark Fleischman, television host Dick Clark, and record executive Neil Bogart.[274][275] The club closed down at the end of that March, as the revocation of the liquor license had caused a sharp decrease in business.[276][277] Early the next month,[276][277] Fleischman agreed to buy an option that would allow him to purchase the club for $5 million.[278]

Fleischman and Weiss operation edit

Mark Fleischman announced his plan to take over Studio 54, seeking to host live shows there and obtain a liquor license from the NYSLA.[279][280] Studio 54 remained shuttered through the rest of the year, in large part because Rubell and Schrager continued to file legal objections against the NYSLA's revocation of the club's liquor license. The authority would not issue a liquor license as long as the club was involved in active litigation.[278] Mike Stone Productions leased the club from Rubell and Schrager in early 1981, and the club started hosting private events again, albeit without alcoholic drinks and only on Friday and Saturday nights.[281] Rubell's company sold the building to Philip Pilevsky for $1.15 million in cash in August 1981, leasing back space from Pilevsky.[282] Fleischman applied for a liquor license from the NYSLA, which agreed to grant the license on the condition that Rubell and Schrager not be involved in any way.[275] Fleischman also repainted the interior and removed the original club's light fixtures,[283] and he paid the New York state government $250,000 in back taxes.[284]

Studio 54 officially reopened to the public on September 15, 1981.[285][286][287] Fleischman and his partner Jeffrey London mailed out 12,000 invitations for Studio 54's reopening,[286][287] which were delivered on 25-watt silver lightbulbs.[284] Jim Fouratt and Rudolf Piper were hired as Studio 54's new managers.[283][284][288] Initially, the club hosted "Modern Classix nights" during Wednesdays and Sundays, while it hosted disco music for the remainder of the week.[283][287] There was also a 32-track recording studio in the basement, which was used for recording promotional videos and rock concerts.[289] Notable figures associated with the second iteration of Studio 54 included doorman Haoui Montaug,[290] as well as Paul Heyman, who was a photographer, producer, and promoter at the club.[291] A notable guest during this time was Drew Barrymore, who was nine years old when her mother took her to Studio 54.[292] Within three months of the club's reopening, Fleischman had ousted Fouratt and Piper, who opened the Danceteria nightclub.[293]

In 1982, social activist Jerry Rubin started hosting "Business Networking Salons", a networking event for businesspeople, at the club on Wednesday nights. Prospective guests would only be admitted if they had a business card;[294][295] the networking events quickly became popular, often attracting 1,500 guests.[296] For other events, Studio 54 implemented an invitation system, which enabled its operators to restrict some events to select guests without turning them away at the door. The club's mailing list had 200,000 names by 1984.[297] Frank Cashman acquired the $3 million lien on the club in late 1984.[298] The same year, Studio 54 also hosted special musical performances, starting with a series of concerts by Julie Budd.[299] Meanwhile, the club was gradually losing long-time regulars to competing discotheques,[300] including the Palladium, which Rubell and Schrager had opened after being released from prison.[301] The club also faced several lawsuits from disgruntled high-profile guests, such as football player Mark Gastineau and a basketball player.[302]

Fleischman filed for bankruptcy in November 1985; he had planned to spend $250,000 on renovations to attract guests.[300][301] The club closed in April 1986 because it could not obtain liability insurance,[303][304] in part because Studio 54 was losing so many of the lawsuits in which it was involved.[302] Subsequently, Shalom Weiss took over Studio 54.[305][306] The nightclub tended to attract a young and racially mixed clientele who were frequently involved in fights, prompting complaints from local residents.[307] City officials revoked the club's cabaret license for two years in January 1989 after finding that the club's patrons frequently used cocaine illegally. The officials alleged that Studio 54 employees not only encouraged illegal drug use but also used cocaine themselves.[305][306] In addition, the club admitted guests as young as 13 and had falsely advertised itself as selling alcoholic beverages.[305]

The Ritz and Cabaret Royale edit

Main article: The Ritz (rock club)

Studio 54 was dilapidated by the late 1980s; the walls had peeling paint, while the auditorium's dome had been concealed by a dropped ceiling. Neil Cohen and John Scher, owners of the Ritz nightclub, leased the space from Philip Pilevsky for 25 years in 1989.[11] They spent $2 million to restore the theater, adding fixed seating at orchestra level[11] and installing production equipment above the stage.[308][309] Cohen and Scher anticipated that the club could fit 3,000 people, including standees,[11][309] although the theater only had about 1,800 seats.[308][310] The Ritz relocated from the East Village to Studio 54 on April 5, 1989.[11][308] According to The New York Times, the new Ritz was more popular than the old location because both the orchestra and balcony had "excellent sound and sightlines".[310] The Ritz was primarily a rock club, but it also hosted performances of pop music[311] and salsa music.[312] The Ritz was one of the most active nightclubs in the United States, with about 150 shows annually, until its promoters started booking fewer shows in mid-1991. Despite declining profits in 1992, the club's owners were planning to add a 250-seat side room next to the auditorium.[313]

CAT Entertainment acquired Scher's interest in the Ritz in December 1992,[313] and CAT was itself acquired by Cabaret Royale Corporation the next year.[314] In July 1993, the Ritz announced it would close down and reopen as a topless bar.[315] CAT Entertainment spent $3 million renovating the theater, including the stage area. CAT also resurrected both the nightclub and the Studio 54 trademark, which had never been properly registered by any of the prior owners or operators.[314] John Neilson took over the venue with plans to reopen it as an uptown location of the Stringfellows nightclub.[314][316] The remodeled nightclub opened in January 1994 and was operated as "Cabaret Royale at Studio 54".[317] Most of the old theater's architectural detail had been covered up by then.[21]

Meanwhile, the Bank of Tokyo had previously granted a mortgage on the theater and the adjacent office building to Pilevsky, which it foreclosed upon in June 1994.[318] Later that month, the theater and building were auctioned off.[317][319] CBS, the Manhattan Theatre Club, and Viacom were among those that showed interest in acquiring the theater and building.[320] Allied Partners, run by the Hadar family, ultimately acquired the properties for $5.5 million.[21] Allied then renovated the office building.[321] Cabaret Royale closed in January 1995,[322] and Allied announced plans to convert the space into a virtual reality gaming venue at a cost of $10 million.[320][323] In anticipation of Studio 54's conversion, the nightclub hosted a final party on May 23, 1996,[324][325] featuring disco star Gloria Gaynor and performers such as Crystal Waters and RuPaul.[326] The virtual-reality complex was never built because of a lack of demand, and the club's space was instead rented out for private events.[21] Allied Partners preferred that the Studio 54 building become "anything but a nightclub".[327]

Roundabout Theatre at Studio 54 edit

 
Studio 54, July 2019

Since 1998, the nonprofit Roundabout Theatre Company has operated Studio 54 as a Broadway theater, branded as Roundabout Theatre at Studio 54. It is one of Roundabout's three Broadway theaters, alongside the Todd Haimes Theatre and the Stephen Sondheim Theatre.[328][329]

Relocation and early productions edit

In July 1998, the collapse of a construction hoist at 4 Times Square blocked access to the Henry Miller Theatre (now Stephen Sondheim Theatre) on 43rd Street, where the nonprofit Roundabout Theatre Company's successful revival of the Broadway musical Cabaret was playing.[330] Roundabout quickly began searching for alternative venues[331] and, in September 1998, decided to move the production to Studio 54.[332][333] The old nightclub required extensive renovations and was not air-conditioned,[331] but Roundabout's artistic director Todd Haimes considered it the "only viable option" for the theatre company.[334] Cabaret's producer Sam Mendes had considered Studio 54's dilapidated condition to be an ideal setting for the production, just as the Henry Miller had been.[9] Roundabout spent over $1 million converting the former nightclub into a 950-seat theater,[335][336][c] buying old seats from the Imperial Theatre and installing them in the mezzanine.[335] Cabaret moved to Studio 54 in November 1998,[337] doubling the production's capacity.[333][338]

Richard Hadar announced in early 1999 that he would operate a nightclub within the theater, which would still host performances of Cabaret during the day.[339] By 2001, Roundabout was negotiating to buy Studio 54 from the Hadar family, which would allow the theatre company to own a Broadway theater for the first time.[340] Early the next year, the Hadar family agreed to sell the theater for around $25 million. To fund the purchase, Roundabout would receive up to $32 million in tax-exempt bonds and $9 million from the New York City Department of Cultural Affairs (DCA).[341][342][343] Roundabout finalized its purchase in July 2003, paying $22.5 million,[344][345] of which $6.75 million came from the DCA and $17.7 million came from tax-exempt bonds.[346] Allied continued to own the office space above the theater.[21]

2000s edit

Roundabout planned to use Studio 54 to host larger productions that could not be staged at the American Airlines Theatre.[9][343] Haimes also wanted to renovate the theater, including expanding the orchestra pit and replacing the rigging system.[343] After Cabaret closed in January 2004,[337] Roundabout staged several shows a year at both theaters, and Studio 54 hosted a mixture of musicals and plays.[9] The Stephen Sondheim and John Weidman musical Assassins was Roundabout's first new production at Studio 54,[9] opening in April 2004.[347][348] A revival of another musical by the same team, Pacific Overtures, opened that December.[349][350] Following these two productions, Broadway historian Louis Botto wrote that Studio 54 "had finally fully been welcomed into the Broadway family nearly 80 years after Fortune Gallo first dreamed of it".[9]

Roundabout completed some renovations in 2005,[351] which involved installing raked seating and an exhibit in the promenade.[9] The theater hosted a revival of Tennessee Williams's A Streetcar Named Desire in April 2005.[352][353] For the 2005–2006 season, Studio 54 staged Eugene O'Neill's A Touch of the Poet[354][355] and Bertolt Brecht's The Threepenny Opera.[356][357] The theater then hosted the plays The Apple Tree and 110 in the Shade in the 2006–2007 season; The Ritz and Sunday in the Park with George in the 2007–2008 season; and Pal Joey and Waiting for Godot in the 2008–2009 season. For the 2009–2010 season, the theater presented Carrie Fisher's solo performance Wishful Drinking, as well as and James Lapine and Stephen Sondheim's revue Sondheim on Sondheim.[1][9]

2010s to present edit

During the 2010–2011 season, Studio 54 hosted Brief Encounter (an adaptation of two Noël Coward works), as well as the musical The People in the Picture.[1][9] Studio 54 was supposed to host a revival of Bob Fosse's musical Dancin' during the 2011–2012 season,[358][359] but this was ultimately canceled, and the theater was instead closed for renovations.[358][360] The theater's next production was the play Harvey, which opened in June 2012.[361][362] This was followed in November by The Mystery of Edwin Drood, the theater's only production for the 2012–2013 season.[363][364] Roundabout booked a revival of Cabaret for the 2013–2014 season, although the theater remained dark for a year.[365] Cabaret opened in April 2014,[366][367] initially for a 24-week engagement, but the show was so popular that it ran for a year.[368] The play An Act of God opened at Studio 54 in May 2015, being the theater's only production during the 2014–2015 season.[369][370]

The theater then returned to presenting two productions per season.[1] Studio 54 hosted the play Thérèse Raquin and a revival of the musical She Loves Me during the 2015–2016 season,[371] followed by the musical Holiday Inn and the play Sweat during the 2016–2017 season.[372] Next, the theater hosted John Leguizamo's solo show Latin History for Morons and an American Sign Language revival of Children of a Lesser God in 2017–2018.[373] The theater staged The Lifespan of a Fact and Kiss Me, Kate for the 2018–2019 season.[374] Studio 54 hosted Adam Rapp's play The Sound Inside, which opened in October 2019.[375][376] Studio 54 was supposed to host the musical Caroline, or Change during the 2019–2020 season.[377][378] Due to the COVID-19 pandemic, Studio 54 closed on March 12, 2020,[379] a day before previews of Caroline, or Change were supposed to start.[377][378] That show's opening had originally been delayed to early 2021,[380] but it was pushed further due to the extension of COVID-19 restrictions.[381]

Studio 54 reopened on October 8, 2021, with previews of Caroline, or Change,[382] which officially opened later that month.[383] This was followed from April to July 2022 by the Tracy Letts play The Minutes,[384][385] then by the Sharr White play Pictures from Home from February to April 2023.[386] The musical Days of Wine and Roses opened at Studio 54 in January 2024,[387] running for three months.[388] It is scheduled to be followed in November 2024 by the musical A Wonderful World.[389]

Notable productions edit

Productions are listed by the year of their first performance.[1][390]

Gallo Opera House/New Yorker Theatre edit

Studio 54 (Roundabout) edit

Legacy edit

By the late 1970s, the original nightclub had spurred the creation of Studio 54-themed jeans, a record label, an album, and a Japanese club.[167] Architectural Digest magazine described Studio 54 as "the nightclub where the velvet rope was born", its impact evident long after the venue had been converted back to a theater.[150] GQ magazine wrote in 2020: "When you want to designate a particular brand of louche elegance on a night-time scene, Studio 54 is the natural first port of comparative call."[430]

Cultural impact edit

 
Studio 54 at MGM Grand in Las Vegas

The nightclub has been the subject of several works of popular media. The original Studio 54 was featured in the 1998 drama film 54.[431][432] Studio 54, a 98-minute documentary by Matt Tyrnauer released in 2018,[192][433] includes unpublished footage of the club and interviews with Ian Schrager.[434] Additionally, the fourth season of the television series American Crime Story, announced in 2021, focuses on the club during the 1970s.[435] Several books have also been written about the nightclub. The writer Anthony Haden-Guest published a book about Studio 54 and the disco subculture in 1997,[436] and Mark Fleischman published his memoir Inside Studio 54 in October 2017.[437] Schrager also published a book in 2018, Studio 54, with images of the club.[163]

Studio 54 has also had an influence on disco music. Casablanca Records released a compilation album of disco music, A Night at Studio 54, in 1979;[438] it peaked at No. 21 on the Billboard 200 album chart and sold close to a million copies.[439][440] In 2011, Sirius XM launched Studio 54 Radio, a satellite radio station featuring classic disco and dance tracks from the 1970s to the 2000s.[441][211] In 2020, it expanded into a music imprint including a record label, Studio 54 Music,[442][443][444] which works with Sirius XM on Studio 54 Radio.[445] The label's first release, Night Magic Vol. 1, is a four-track compilation EP of disco anthems from the club's prime days, revised by musicians from both the original scene and the modern dance music era.[443][444] Studio 54 also inspired the name and overall concept of singer-songwriter Dua Lipa's 2020 concert series Studio 2054.[446]

The club has been featured in several exhibitions. These include an exhibit of Studio 54 photographs, which Haden-Guest presented at the WhiteBox art gallery in 2015.[447] as well as a Brooklyn Museum exhibition titled Night Magic, which premiered in 2020.[448] In addition, multiple Studio 54-themed collections from fashion and cosmetics brands, including Calvin Klein, Michael Kors and NARS Cosmetics, were released in 2019. The collections took inspiration from the club's glamorous heyday and showcased the iconic "54" logo.[449]

Several venues have been likened to Studio 54. Fiorucci, an Italian fashion shop formerly located on East 59th Street, became known in the late 1970s as the "daytime Studio 54".[450] The Mutiny Hotel in Miami, Florida, was described in a PBS NewsHour interview as "kind of the closest thing to Miami's Studio 54" in the late 1970s.[451] The nightclub also inspired the creation of a Studio 54-themed nightclub at the MGM Grand Las Vegas hotel and casino in 1997;[452] that club operated until 2012.[453]

Memorabilia and preservation edit

Before Rubell died in 1989, he saved "every single item" that he collected from the nightclub, such as the reservation book, invitation cards, and drink tickets.[454] More than 400 of these items were sold at an auction in West Palm Beach, Florida, in January 2013,[455] attracting hundreds of buyers.[456] The auction yielded $316,680;[457][458] the most expensive item was a $52,800 Andy Warhol sculpture.[457]

The New York City Landmarks Preservation Commission (LPC) had started considering protecting Studio 54 as a landmark in 1982,[459] with discussions continuing over the next several years.[460] The LPC commenced a wide-ranging effort to grant landmark status to Broadway theaters in 1987, and the commission considered designating Studio 54's interior as a landmark.[461] Ultimately, although the LPC protected 28 Broadway theaters as landmarks, Studio 54 was not one of them.[462]

See also edit

References edit

Notes edit

  1. ^ In a 1997 book by Anthony Haden-Guest, the studio's associate director Ed Gifford said that the theater was known as "Studio 53". However, this claim is not corroborated by any other source.[121]
  2. ^ Schrager received a presidential pardon from Barack Obama in 2017, but Rubell died in 1989.[267]
  3. ^ The New York Times cites a figure of $1.7 million,[336] while American Theatre magazine describes the renovations as having cost $1.5 million.[335]
  4. ^ La Bohème, Rigoletto, Madama Butterfly, Faust, La Traviata, Aida, Martha, La Tosca, La Forza del Destino, Carmen, Cavalleria Rusticana, The Barber of Seville, Il Trovatore[1]

Citations edit

  1. ^ a b c d e f g h Studio 54 at the Internet Broadway Database
  2. ^ a b "Rent a Venue: Studio 54". Roundabout Theatre Company. from the original on September 16, 2016. Retrieved July 10, 2014.
  3. ^ a b c "Gallo Acquires Theatre of His Own; Leases House in 54th St. For San Carlo and Theatrical Productions". The New York Times. July 9, 1926. from the original on September 13, 2022. Retrieved September 13, 2022.
  4. ^ a b c "Site Leased For New $2,000,000 Theatre And Opera House: Fortune Gallo, Impresario Of San Carlo Company, Signs Contract.—Structure To Open About Jan. 1". Women's Wear. Vol. 32, no. 159. July 9, 1926. p. 29. ProQuest 1677032682.
  5. ^ a b c "Fortune Gallo To Have His Own Opera House". The Billboard. Vol. 38, no. 29. July 17, 1926. p. 9. ProQuest 1031794627.
  6. ^ "Office Building for New Gallo Theatre: Sixteen-story Structure for San Carlo Company in Fifty-Fourth Street". The New York Times. August 22, 1926. p. RE1. ProQuest 103750752.
  7. ^ a b "Music: Casino de Paree Blends Continental Cafe and American Show Features". Variety. Vol. 113, no. 1. December 19, 1933. p. 46. ProQuest 1529088997.
  8. ^ a b Ellerbee 2016, p. 52.
  9. ^ a b c d e f g h i j "More At This Theatre: Studio 54". Playbill. from the original on February 7, 2022. Retrieved February 7, 2022.
  10. ^ "New Gallo Theatre.: Woman Decorator Will Assist in Itl Interior Equipment". The New York Times. July 10, 1927. p. RE1. ProQuest 104137164.
  11. ^ a b c d e f Dunlap, David W. (April 5, 1989). "Ritz Shuns Glitz for Charming Past". The New York Times. from the original on August 15, 2021. Retrieved September 16, 2022.
  12. ^ "Gallo Opening Sept. 26.; First Offering in New Theatre Will Be the Opera Company". The New York Times. July 20, 1927. from the original on September 13, 2022. Retrieved September 13, 2022.
  13. ^ Ellerbee 2016, p. 53.
  14. ^ "New Gallo Theater Will Swing in a Cradle". New York Herald Tribune. August 13, 1926. p. 26. ProQuest 1113016673.
  15. ^ "Step Inside Broadway's Studio 54". Playbill. July 26, 2017. from the original on September 14, 2022. Retrieved September 14, 2022.
  16. ^ Gardner, Elysa (June 3, 2022). "Broadway's Beloved Basement Club, Feinstein's/54 Below, Turns 10". The New York Times. from the original on July 14, 2022. Retrieved September 17, 2022.
  17. ^ a b Franklin, Marc J. (June 7, 2017). "See the Feinstein's/54 Below Star-Studded 5th Anniversary Celebration". Playbill. from the original on November 27, 2021. Retrieved September 17, 2022.
  18. ^ a b c Piepenburg, Erik (May 31, 2012). "A Broadway Hangout, Old Chum". The New York Times. from the original on July 14, 2022. Retrieved September 17, 2022.
  19. ^ Holden, Stephen (September 2, 2015). "Michael Feinstein and the Club 54 Below Agree to a Partnership". The New York Times. from the original on July 18, 2022. Retrieved September 17, 2022.
  20. ^ Gardner, Elysa (July 7, 2022). "Cabaret Champion Michael Feinstein Teams With Café Carlyle". The New York Times. from the original on July 7, 2022. Retrieved July 7, 2022.
  21. ^ a b c d e f Holusha, John (October 1, 2003). "Commercial Real Estate: Regional Market – Manhattan; As 'Cabaret' Nears End, Cabaret Still Has a Place". The New York Times. from the original on February 26, 2021. Retrieved September 16, 2022.
  22. ^ Wloszczyna, Susan; Gundersen, Edna; Gardner, Elysa (February 9, 2001). "Dundee isn't done yet – he's on the loose in L.A.". USA TODAY. p. 01E. ProQuest 408881238.
  23. ^ Agenda New York. Agenda:USA, Incorporated. 2004. p. 48. from the original on April 25, 2022. Retrieved September 22, 2022.
  24. ^ Gelder, Lawrence Van (October 20, 2004). "THEATER REVIEWS; 'Newsical'". The New York Times. from the original on September 22, 2022. Retrieved September 17, 2022.
  25. ^ "Newsical (Upstairs at Studio 54, 2004)". Playbill. December 17, 2019. from the original on September 22, 2022. Retrieved September 17, 2022.
  26. ^ "Gallo Theater to Open Early In September; Company in West". New York Herald Tribune. February 6, 1927. p. E10. ProQuest 1113520051.
  27. ^ "San Carlo Opera Under Aurelio Gallo's Direction: Fortune Transfers Interest to Nephew to Devote Time to His New Theater". New York Herald Tribune. September 7, 1927. p. 20. ProQuest 1113556376.
  28. ^ "San Carlo Opera Opens New House With La Boheme: Fortune Gallo Honored By Company—Performance Well Done And Received With Enthusiasm". Women's Wear Daily. Vol. 35, no. 110. November 8, 1927. pp. 6, 19. ProQuest 1654357486.
  29. ^ "San Carlo Opera Opens New House: Gives a Dedicatory Performance of Puccini's La Boheme to an Applauding Throng". The New York Times. November 8, 1927. from the original on December 13, 2021. Retrieved December 13, 2021.
  30. ^ "The Theatre: Is Broadway Overbuilt?". The Wall Street Journal. August 1, 1927. p. 3. ProQuest 130386768.
  31. ^ "Brailowsky Gives Brilliant, Recital; Vigorous at Piano: Young Russian Chooses His Program From Mozart, Schumann, Chopin, Liszt, De Falla and Others". New York Herald Tribune. November 20, 1927. p. 24. ProQuest 1113659398.
  32. ^ "American Concert Field: Gallo Opera To Open New Theater in New York". The Billboard. Vol. 39, no. 45. November 5, 1927. p. 27. ProQuest 1031835745.
  33. ^ a b The Broadway League (December 1, 1927). "Electra – Broadway Play – 1927 Revival". IBDB. from the original on June 13, 2021. Retrieved September 13, 2022.
    "Electra (Broadway, Studio 54, 1927)". Playbill. December 14, 2015. from the original on June 18, 2022. Retrieved September 13, 2022.
  34. ^ a b Ruhl, Arthur (December 2, 1927). "'Electra' Vivid In Its Revival By Miss Anglin: Classic Drama of Sophocles Staged al Gallo's and Played With Due Respect to Tradition and Spirit". New York Herald Tribune. p. 19. ProQuest 1131828249.
  35. ^ a b The Broadway League (December 19, 1927). "Juno and the Paycock – Broadway Play – 1927 Revival". IBDB. from the original on September 13, 2022. Retrieved September 13, 2022.
    "Juno and the Paycock (Broadway, Studio 54, 1927)". Playbill. December 14, 2015. from the original on September 13, 2022. Retrieved September 13, 2022.
  36. ^ a b Ruhl, Arthur (December 20, 1927). "Irish Players Shift to Gallo in O'Casey's 'Juno and Paycock': Long Stretches of Drama, Billed as Tragedy, but Set in Key of Broad Farce, Evoke Constant Laughter". New York Herald Tribune. p. 16. ProQuest 1132285417.
  37. ^ "Gallo Theatre Mortgaged". The New York Times. January 19, 1928. from the original on September 13, 2022. Retrieved September 13, 2022.
  38. ^ "American Opera Gives 'Marriage of Figaro'; Large Audience Generously Applauds Work of New Company Here". The New York Times. January 18, 1928. from the original on September 13, 2022. Retrieved September 13, 2022.
  39. ^ "American Opera Co. Ends Season With Big Crowds: Gives 'Carmen' in Afternoon and 'Fanst' at Night". New York Herald Tribune. March 4, 1928. p. 17. ProQuest 1114336594.
  40. ^ The Broadway League (April 9, 1928). "Ballet Moderne – Broadway Special – Original". IBDB. from the original on September 13, 2022. Retrieved September 13, 2022.
    "Ballet Moderne (Broadway, Studio 54, 1928)". Playbill. December 14, 2015. from the original on September 13, 2022. Retrieved September 13, 2022.
  41. ^ "Goodman Leases Gallo Theatre". The New York Times. May 15, 1928. from the original on September 13, 2022. Retrieved September 13, 2022.
  42. ^ "Goodman Gets Gallo Theater; Will Do Youmans' Musical". The Billboard. Vol. 40, no. 22. June 2, 1928. p. 11. ProQuest 1031870122.
  43. ^ ""Rainbow" at the Gallo Nov. 20". The New York Times. November 7, 1928. from the original on September 13, 2022. Retrieved September 13, 2022.
  44. ^ The Broadway League (November 21, 1928). "Rainbow – Broadway Musical – Original". IBDB. from the original on November 12, 2021. Retrieved September 13, 2022.
    "Rainbow (Broadway, Studio 54, 1928)". Playbill. December 14, 2015. from the original on September 13, 2022. Retrieved September 13, 2022.
  45. ^ "'Rainbow' to Be Taken Off; Goodman Will End Run of Musical Production at Gallo This Week". The New York Times. December 12, 1928. from the original on September 13, 2022. Retrieved September 13, 2022.
  46. ^ See, for instance: "La Argentina Seen in Six New Dances; Huge Audience Cheers Artist-- Michio Ito Gives a Fine Program". The New York Times. December 3, 1928. from the original on September 13, 2022. Retrieved September 13, 2022.; "Doris Niles Returns; Dancer and Company at a Disadvantage After Long Tour". The New York Times. December 17, 1928. from the original on September 13, 2022. Retrieved September 13, 2022.; "New Dance Series by Kreutzberg". The New York Times. February 6, 1929. from the original on September 13, 2022. Retrieved September 13, 2022.
  47. ^ "Breton Violin Recital; Young Artist's Program Includes Several Novelties". The New York Times. February 11, 1929. from the original on September 13, 2022. Retrieved September 13, 2022.
  48. ^ "Hall Johnson Negro Choir Sings". The New York Times. February 4, 1929. from the original on September 13, 2022. Retrieved September 13, 2022.
  49. ^ "National Chain Theaters Subsidiary Enters Field: Radiant Productions to Offer Twelve Plays al Gallo". New York Herald Tribune. September 4, 1929. p. 12. ProQuest 1111662754.
  50. ^ "Would Give 12 Plays at Gallo at $2 Top; Radiant Productions, Inc., Also Plans to Operate Theatres in Other Cities With $1.50 Seats". The New York Times. September 4, 1929. from the original on September 13, 2022. Retrieved September 13, 2022.
  51. ^ a b "William R. Kane Leases Gallo Theater For Mitchell Revival". The Billboard. Vol. 41, no. 43. October 26, 1929. p. 5. ProQuest 1031918994.
  52. ^ a b The Broadway League (October 21, 1929). "A Tailor-Made Man – Broadway Play – 1929 Revival". IBDB. from the original on September 13, 2022. Retrieved September 13, 2022.
    "A Tailor-made Man (Broadway, Studio 54, 1929)". Playbill. December 14, 2015. from the original on May 19, 2022. Retrieved September 13, 2022.
  53. ^ "Gallo Theatre Sold; Planitiff Bids $1,045,000 on Playhouse and Adjoining Site". The New York Times. December 18, 1929. from the original on September 13, 2022. Retrieved September 13, 2022.
  54. ^ "Gallo Theater Sold at Auction". New York Herald Tribune. December 18, 1929. p. 46. ProQuest 1112018507.
  55. ^ "Fortune Gallo Sells His Theatre Lease: Producer to Remain Active in Grand Opera, However—name of Purchaser Not Revealed". The New York Times. January 15, 1930. from the original on September 13, 2022. Retrieved September 13, 2022.
  56. ^ "Fortune Gallo Disposes Of Lease on His Theater: San Carlo Opera Impresario to Direct Radio Station". New York Herald Tribune. January 15, 1931. p. 17. ProQuest 1114345595.
  57. ^ "Gallo to Be New Yorker Theatre". The New York Times. February 15, 1930. from the original on September 13, 2022. Retrieved September 13, 2022.
  58. ^ "Hart House Quartett Plays". New York Herald Tribune. February 15, 1930. p. 6. ProQuest 1113772033.
  59. ^ a b c Bloom, Ken (2007). The Routledge Guide to Broadway (1st ed.). New York: Routledge. p. 191. ISBN 978-0-415-97380-9.
  60. ^ Atkinson, J. Brooks (May 13, 1930). "The Play; Warriors at Helgeland". The New York Times. from the original on September 13, 2022. Retrieved September 13, 2022.
  61. ^ The Broadway League (May 12, 1930). "The Vikings – Broadway Play – Original". IBDB. from the original on September 13, 2022. Retrieved September 13, 2022.
    "The Vikings (Broadway, Studio 54, 1930)". Playbill. December 14, 2015. from the original on May 19, 2022. Retrieved September 13, 2022.
  62. ^ "Yvonne Georgi Makes Hit in New Dance Tour; With Harald Kreutzberg Gives Entrancing Program—Duncan Dancers Appear". The New York Times. November 3, 1930. from the original on September 13, 2022. Retrieved September 13, 2022.
  63. ^ Atkinson, J. Brooks (December 27, 1930). "The Play; Cleansing Agamemnon's House". The New York Times. from the original on September 13, 2022. Retrieved September 13, 2022.
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January 01, 1970
studio, this, article, about, broadway, theater, former, nightclub, 1998, drama, film, 2018, documentary, film, vegas, nightclubs, vegas, broadway, theater, former, nightclub, west, 54th, street, midtown, manhattan, york, city, united, states, opened, gallo, o. This article is about the Broadway theater and former nightclub For the 1998 drama see 54 film For the 2018 documentary see Studio 54 film For the Las Vegas nightclubs see Studio 54 Las Vegas Studio 54 is a Broadway theater and former nightclub at 254 West 54th Street in Midtown Manhattan New York City United States Opened as the Gallo Opera House in 1927 it served as a CBS broadcast studio in the mid 20th century The venue became a scene in 1977 when Steve Rubell and Ian Schrager opened Studio 54 a nightclub retaining much of the former theatrical and broadcasting fixtures Roundabout Theatre Company renovated the space into a Broadway house in 1998 Studio 54Gallo Opera House 1927 1930 New Yorker Theatre 1930 1933 1939 1942 Casino de Paree 1933 1935 WPA Federal Music Theatre 1937 1939 CBS Playhouse No 4 1942 1949 CBS Studio 52 1949 1976 Address254 West 54th StreetManhattan New York CityCoordinates40 45 51 7 N 73 59 01 6 W 40 764361 N 73 983778 W 40 764361 73 983778Public transitNew York City Subway 50th Street Eighth Avenue C and E 50th Street Broadway 1 Seventh Avenue 53rd Street B D and E 57th Street Seventh Avenue N Q R and W OwnerRoundabout Theatre CompanyTypeBroadwayCapacity1 006 519 orchestra 487 mezzanine 2 ConstructionOpenedNovember 8 1927Years active1927 1933 1939 1940 1998 present as Broadway theater ArchitectEugene De Rosa 1 Websiteroundabouttheatre orgThe producer Fortune Gallo announced plans for an opera house in 1926 hiring Eugene De Rosa as the architect The Gallo Opera House opened November 8 1927 but soon went bankrupt and was renamed the New Yorker Theatre The space also operated as the Casino de Paree nightclub then the Palladium Music Hall before the Federal Music Project staged productions at the theater for three years starting in 1937 CBS began using the venue as a soundstage in 1942 then as a television studio until 1975 Schrager and Rubell opened the Studio 54 nightclub on April 26 1977 as disco was gaining popularity in the U S Infamous for its celebrity guest lists quixotic entry policies extravagant events rampant drug use and sexual hedonism Studio 54 closed in 1980 after Schrager and Rubell were convicted of tax evasion A scaled back version of the nightclub continued under new management before becoming the Ritz rock club in 1989 then the Cabaret Royale bar in 1994 The Roundabout Theatre Company renovated the space in 1998 to relocate its production of the musical Cabaret which ran at Studio 54 until 2004 The modern theater has since hosted multiple productions each season The main auditorium with 1 006 seats on two levels is complemented by two sister cabaret venues Upstairs at 54 on the second floor since 2001 and 54 Below in the basement since 2012 The heyday of the 1970s club features in numerous exhibitions films and albums with memorabilia from the nightclub appearing at auctions Contents 1 Design 1 1 54 Below 1 2 Upstairs at Studio 54 2 Early history 2 1 Gallo Opera House 2 2 New Yorker Theatre 3 Broadcast studio 3 1 CBS Studio 52 4 Nightclub era 4 1 Inception and opening 4 2 The scene 4 2 1 Admission policy 4 2 2 Inside the club 4 2 2 1 Notable patrons 4 2 2 2 Other notables 4 3 Downfall 4 3 1 License issues and other disputes 4 3 2 End of the first era 4 4 Fleischman and Weiss operation 4 5 The Ritz and Cabaret Royale 5 Roundabout Theatre at Studio 54 5 1 Relocation and early productions 5 2 2000s 5 3 2010s to present 6 Notable productions 6 1 Gallo Opera House New Yorker Theatre 6 2 Studio 54 Roundabout 7 Legacy 7 1 Cultural impact 7 2 Memorabilia and preservation 8 See also 9 References 9 1 Notes 9 2 Citations 9 3 Sources 10 Further reading 11 External linksDesign edit nbsp Interior of the theater during the production of the musical CabaretStudio 54 was originally designed by Eugene De Rosa as the Gallo Opera House which contained 1 400 seats when it opened in 1927 3 4 5 De Rosa s original plans called for lounges restrooms and promenades on three stories as well as an opera museum below the primary floors 6 By 1933 when it was being used as the Casino de Paree nightclub the theater had 650 seats on the orchestra level and 500 seats in the balcony 7 CBS documents show that when the theater was used as CBS Studio 52 in the mid 20th century it had 828 seats on three levels 312 in the orchestra 371 in the balcony and 145 in a mezzanine 8 The modern day theater has 1 006 seats across two levels 519 in the orchestra and 487 in the balcony 2 The theater contained nightclub tables during the late 20th century which were removed in 1998 after Studio 54 s re conversion into a theater and replaced with raked seating 9 Ida Louise Killam designed the original interior with a gold blue and rose palette 10 One early observer described the theater as having a Roxy foyer and a Paramount promenade 11 The orchestra seats were originally divided by five aisles The orchestra level walls were clad with walnut and the trimmings at balcony level and in the mezzanine lounge were also made of walnut The vaulted ceiling contained a dome measuring 50 feet 15 m across as well as indirect lighting 12 This dome is decorated with medallions 11 According to CBS documents Studio 54 s proscenium arch measures 27 feet 0 inches 8 23 m high and 43 feet 8 inches 13 31 m wide There was a fly system 58 feet 18 m above the stage 8 Backstage were six dressing rooms as well as a 15 by 40 foot 4 6 by 12 2 m rehearsal space at stage left 13 To avoid disrupting the construction of the New York City Subway s Eighth Avenue Line structural engineer David M Oltarsh placed the Gallo Opera House s foundation orchestra and balcony within an enclosure that was suspended from the theater building s roof 14 The modern mezzanine level promenade has an exhibit with information on the theater s current production 9 The theater also contains a bar in its lobby which is a tribute to the former Studio 54 nightclub 15 54 Below edit Main article 54 Below The cabaret club 54 Below opened in Studio 54 s basement on June 5 2012 16 17 It was designed by architect Richard H Lewis set designer John Lee Beatty lighting designer Ken Billington and sound designer Peter Hylenski 18 A staircase from ground level leads to a rectangular room with leather and wood decorations as well as a red purple and brown color palette The room contains 140 seats in a cabaret style arrangement and 16 seats in a bar to the right 18 Originally 54 Below presented shows every day of the week 18 with 4 000 performances in its first five years 17 In partnership with musician Michael Feinstein the club was renamed Feinstein s 54 Below in 2015 19 the club reverted to the name 54 Below when the partnership ended in July 2022 20 Upstairs at Studio 54 edit Josh Hadar of Allied Partners created a 175 seat cabaret space on the second floor called Upstairs at Studio 54 21 The space opened in February 2001 22 and is accessed via its own entrance at ground level 21 This space was used exclusively for special events 23 Performances occurred during nights when plays were not being staged The musical Newsical was staged there from October 2004 24 to April 2005 25 Early history editGallo Opera House edit In July 1926 theatrical impresario Fortune Gallo leased a site at 254 West 54th Street and hired Eugene De Rosa to design a 16 story office building at the site with a 1 400 seat theater at its base Z D Berry and Robert Podgur would build the venue at an estimated cost of 2 million 3 4 5 Gallo planned to present the San Carlo Grand Opera Company s productions at the theater during the autumn renting it out for legitimate shows at other times 5 The venue was originally supposed to open in January 1927 3 4 but this was delayed because the opera company had an extended engagement in San Francisco 26 Prior to the venue s opening Gallo transferred his interest in the San Carlo Company to his nephew Aurelio Gallo allowing the elder Gallo to focus on operating the new theater 27 The opera house opened on November 8 1927 with the San Carlo Company s large scale production of La boheme 28 29 The Gallo was one of three legitimate theaters to open in New York City during 1927 at the time the city had over 200 legitimate theaters 30 The San Carlo Company performed for two weeks 31 32 A revival of the play Electra opened at the Gallo that December 33 34 followed the same month by Juno and the Paycock 35 36 A 660 000 mortgage was placed on the theater building in January 1928 37 The American Opera Company opened its season there the same month 38 performing there until March 39 Ballet Moderne also performed there for two weeks in April 1928 40 nbsp Studio 54 originally the Gallo Opera House is placed within the base of an office building at 254 West 54th Street Philip Goodman leased the theater for five years in mid 1928 41 42 Goodman used the theater to stage a production of Laurence Stallings and Oscar Hammerstein II s musical Rainbow 43 which ran for less than a month in late 1928 44 45 In the meantime the theater also hosted events such as dance performances 46 a violin recital 47 and a choir performance 48 Radiant Productions leased the theater in September 1929 with plans to present a dozen plays for three weeks each 49 50 Their first and only production Ladies Don t Lie was a critical failure 51 That October Radiant transferred its lease to William R Kane 51 who staged a short lived revival of the comedy A Tailor Made Man there 52 At a foreclosure auction in December 1929 the theater s mortgagee Hemphill Realty Corporation bought the theater for 1 045 000 53 54 New Yorker Theatre edit Gallo sold his lease to an unidentified buyer in January 1930 as he wanted to focus on operating a radio station 55 56 Richard Herndon took over as the theater s managing director renaming it the New Yorker Theatre the next month 57 58 The first production at the renamed theater was the Henrik Ibsen play The Vikings 59 60 which had a short run in May 1930 61 The New Yorker hosted more dance recitals 62 before the opening of its next legitimate show Electra in December 1930 63 64 Oliver D Bailey signed a five year lease for the theater in January 1931 65 66 In general the theater suffered from low attendance during the Great Depression 59 Among the theater s productions in 1931 were the plays Gray Shadow 67 Young Sinners 68 Ebb Tide 69 and It Never Rains 70 the musical Fast and Furious 71 and performances by the New Yorker Grand Opera Company 72 The next year the theater hosted several plays performed by the Spanish speaking theatrical company La Compania Dramatic Espanola 73 as well as another dance festival 74 The Bowery Savings Bank bought the New Yorker and the adjacent office building for 650 000 in December 1932 75 The bank leased the theater to Continental Music Halls Inc for five years in September 1933 76 77 Continental announced plans to convert the theater into a nightclub called Casino de Paree sometimes spelled Casino de Paris 78 with dining areas on two stories and a kitchen in the basement 76 79 The club s operators spent 200 000 on renovations 80 reopening the venue on December 12 1933 81 It was one of three theaters near 54th Street that were converted to nightclubs in the mid 1930s 82 There were 1 150 seats on two levels The stage was used as a dance floor accessed by steps from the orchestra level and was flanked by two bands 7 Billy Rose organized two shows a night for which guests paid 1 50 to 2 per ticket According to Variety the nightclub just about satisfies the gastronomic bibulous and entertainment needs of any mortal 83 The club s operators bought the theater and adjacent office building in March 1934 80 The club s cheap revues competed with Broadway musicals with higher priced tickets 84 Rose withdrew from the venture in September 1934 because of disagreements over pay 85 The Casino de Paree was closed for renovations in February 1935 86 reopening two weeks later 87 The Casino de Paree abruptly closed 88 after filing for bankruptcy in April 1935 89 90 That December the Bowery Savings Bank leased the theater to the Palladium Operating Corporation which planned to convert it into an English style music hall 91 The Palladium Music Hall opened the next month 92 93 it was to host a new show every two weeks with two bands performing during dinnertime 93 The Palladium had trouble paying wages within three weeks of its opening 94 and it closed permanently at the beginning of February 1936 95 nbsp WPA Theatre of MusicThe Works Progress Administration WPA s Federal Music Project leased the theater as well as four of the office floors in November 1936 96 97 the venue would host operas and concerts by the WPA s Theatre of Music 98 The WPA renovated the theater over the next two months 99 opening the Theater of Music on January 24 1937 100 101 The WPA renewed its lease later the same year 102 An all black WPA cast from Chicago presented The Swing Mikado at the New Yorker Theatre in early 1939 103 after two months the production moved to the 44th Street Theatre 104 105 The play Medicine Show then premiered at the New Yorker in April 1940 106 closing after a month 107 This was the theater s last Broadway show for nearly six decades 1 Broadcast studio editThe Bowery Savings Bank again owned the New Yorker Theatre by late 1940 and the bank s real estate agent Joseph O Gara was looking to lease the venue 108 That October RCA Manufacturing signed a one year lease for the theater exhibiting television projectors there 109 RCA subsidiary NBC installed a 9 by 12 foot 2 7 by 3 7 m television screen by the end of 1940 110 Early the following year NBC installed a 15 by 20 foot 4 6 by 6 1 m projection screen on the stage 111 112 spending 25 000 to 30 000 on the project 112 The first public exhibition of the theater s screen was in May 1941 when over a thousand audience members watched a live broadcast of a boxing match between Billy Soose and Ken Overlin at Madison Square Garden 113 114 In September 1941 the Top Dollar Theatre company unsuccessfully tried to lease the venue from the Bowery Savings Bank 115 The New Yorker Theatre then briefly hosted the children s play The Adventures of Marco Polo at the end of that December 116 CBS Studio 52 edit The Columbia Broadcasting System CBS leased the New Yorker Theatre in August 1942 for use as a radio soundstage 117 118 The theater operated as a radio and television studio for three decades 78 known as Radio Playhouse No 4 59 1 or Theater No 4 119 then converted for television in 1949 becoming CBS TV Studio 52 120 a Shielded television cameras had to be developed due to strong magnetic interference from equipment at a neighboring power substation for the New York City Subway system 122 123 The studio was one of seven that CBS operated in New York City 124 At that time several Broadway theaters had been converted to TV studios due to a lack of studio space in the city 125 126 Likely the first television show to be produced at Studio 52 was The 54th Street Revue which premiered in May 1949 120 Another early show produced at Studio 52 was The Fred Waring Show in 1950 127 128 Studio 52 and the neighboring Studio 50 now the Ed Sullivan Theater were among CBS s busiest stages by the early 1960s 129 The theater hosted such shows as What s My Line The 64 000 Question Video Village Password To Tell the Truth Beat the Clock The Jack Benny Show I ve Got a Secret Ted Mack and the Original Amateur Hour and Captain Kangaroo 130 128 Studio 52 was used to tape many of the CBS shows that involved panel discussions Members of the public could also buy tickets to view these tapings The New York Times said in 1965 that many of the regular audience members were older women 131 The soap opera Love of Life was produced at Studio 52 until 1975 and was the last show to be taped there 128 CBS moved most of its broadcast operations out of Studio 52 in 1976 and placed the theater up for sale 132 Nightclub era editInception and opening edit nbsp Dining area at 54 BelowBy 1976 German born male model Uva Harden was planning to open a nightclub in New York City which he tentatively called Studio 133 Harden and Israeli entrepreneur Yoram Polany agreed to take over the old CBS Studio 52 that year 134 135 136 Polany and another friend of Harden s independently recommended that the nightclub be called Studio 54 because it was on 54th Street 136 Harden and Polany formed a corporation to operate the nightclub but they struggled to obtain a liquor license from the New York State Liquor Authority NYSLA 134 137 They hired Carmen D Alessio who had hosted monthly parties at Maurice Brahms s Infinity nightclub 138 as the club s publicist 137 To finance the nightclub the operators of the Marlborough Gallery bought nearly all of the stock in Harden and Polany s corporation in November 1976 135 At the time the gallery s owner Frank Lloyd had just been ordered to pay 9 million to artist Mark Rothko s estate in the Rothko case 135 139 After continued delays Harden met with entrepreneurs Steve Rubell and Ian Schrager who agreed to partner with him in the nightclub s operation 140 Harden was eventually forced out of the club s operation while Polany left on his own volition 141 In November 1976 Billboard magazine reported that Schrager and Rubell planned to convert the theater into a nightclub called Studio 54 142 It would be one of several discotheques to operate in Midtown Manhattan during the late 1970s 143 144 Rubell and Schrager formed the Broadway Catering Corp which spent 400 000 to transform the theater into a nightclub 145 Rubell Schrager and Jack Dushey each owned a one third stake in the venture 145 146 147 and they had hired several people to create the club by early 1977 148 These included architect Scott Bromley 149 150 151 interior designer Ron Doud 150 151 lighting designer Brian Thompson 149 151 and set designer Richie Williamson 150 Lighting designers Jules Fisher and Paul Marantz were hired to design the dance floor and rigging system 150 151 Rubell and Schrager retained D Alessio to promote Studio 54 152 153 nbsp The Moon Man swung across the dance floor at Studio 54The renovation involved the construction of a dance floor a balcony and a disco booth as well as the addition of mirrors light bars and floating vinyl platforms The orchestra seated 250 people and the balcony had another 500 seats 146 The lighting system which required three people to operate included a dozen 16 foot high 4 9 m poles with flashing lights 134 Fisher and Marantz adapted the existing rigging system to generate special effects such as confetti snow fog and weather 150 154 On the ceiling was a 30 by 40 foot 9 1 by 12 2 m cyclorama which could project images of many different galaxies Other decorations included depictions of volcanos sunrises and sunsets 134 Aero Graphics designed a backlit moon and spoon which became an icon of the Studio 54 nightclub 155 The club s promoters mailed out 8 000 invitations and made phone calls to numerous figures on a good social list 156 Studio 54 officially opened on April 26 1977 157 156 with workers rushing to finish the decorations just hours before the grand opening 157 Although the space could fit 2 500 guests 134 157 four thousand people attended the club on opening day 156 Hundreds of prospective patrons lined up around the block to enter 157 158 and several celebrities could not get in despite having been invited 159 The scene edit Studio 54 had been launched as the disco dancing and music trend was gaining popularity in the U S 160 161 Its popularity grew rapidly especially after the publication of a widely circulated picture that showed actress Bianca Jagger at the club riding a white horse 162 163 In the month after its opening the club served an average of 2 000 guests per night 164 although it was only open on Tuesdays through Saturdays 146 By August 1977 the club had become so successful that Rubell and Schrager were considering opening similar nightclubs in Los Angeles and London 165 166 Rubell ultimately chose not to open similar clubs around the world saying I m very cautious about protecting the name and not cheapening it 167 In November 1977 Dan Dorfman of New York magazine quoted Rubell as saying that only the Mafia made more money than Studio 54 146 168 which made 7 million in its first year 169 Upon Studio 54 s first anniversary in April 1978 which attracted 3 000 guests Rubell said the club s popularity contradicted sentiments that the club wouldn t last more than a couple of months 170 That October Rubell and Schrager closed the club for nine days spending 500 000 on renovations 171 The work included adding spotlights and mirrored walls 171 as well as a movable bridge 172 Admission policy edit To be admitted to Studio 54 was a status symbol even on nights when the club was open to the public 167 When Studio 54 opened admission generally cost 7 or 8 but guests could pay for an annual membership in exchange for discounted tickets 143 164 Tickets were more expensive on weekends 173 and all ticket prices were increased on nights with performances 164 Rubell made the final decisions over whether guests were allowed in the club Celebrities usually were allowed to enter immediately 173 174 According to a 1977 Wall Street Journal article very beautiful members of the public were almost always admitted while men entering alone were invariably rejected to prevent predatory behavior 173 Guests were divided into four categories ranging from the No Goods who could never be admitted to the No Fuck ups important clients who were admitted instantly 175 Rubell bragged about the club s exclusivity saying in a November 1977 interview with New York magazine I turned away 1 400 people last Saturday 146 The club s doormen could be extremely selective sometimes to the point that they propelled themselves into a comedy universe according to Haden Guest 176 Rubell once told a ravishingly beautiful woman that she could enter for free if she took off all her clothes the woman was later hospitalized for frostbitten nipples 176 The selective admissions policies led some guests to bypass the front door in an attempt to enter 175 177 According to Haden Guest one potential guest got stuck in a ventilation shaft and died 177 an account that Schrager later confirmed 175 Some of Studio 54 s spurned clientele fled to other clubs such as New York New York 178 When the club was renovated in 1978 Rubell and Schrager sealed its courtyard to prevent people from entering there 172 There was also a private entrance on 53rd Street reflecting the stratification of the nightclub 179 On several occasions would be guests attacked the doormen after being denied admission 173 180 181 and several guests pulled out guns when they were rejected 175 The club s security guards often cleared out trash cans within a several block radius because of high concerns over violence 180 Some notables were denied admission For instance the president of Cyprus was once rejected because the doormen thought he was the president of New York City s Cypress Hills Cemetery 176 When one of Saudi king Khalid s sons was rejected the Saudi embassy to the United States wrote Rubell a letter asking that Khalid s son not be rejected again 173 The band Chic wrote a song in 1978 Le Freak after being refused entry to the club on New Year s Eve 1977 despite having been invited by Grace Jones 182 183 Even club members were not guaranteed entry 184 185 In June 1978 the New York City Department of Consumer Affairs DCA mandated that Rubell and Schrager stop selling memberships and refund existing members 185 186 The club failed to refund all memberships immediately 187 and Schrager claimed that November that only 40 members had applied for refunds 188 Inside the club edit The club generally opened at 10 p m with crowds peaking at midnight the bar closed at 4 a m and the rest of the club stayed open until 6 a m 173 According to Rubell the vast majority of the club s guests were not celebrities but rather members of the public who just wanted to dance 189 The Washington Post wrote in November 1977 that the club attracted a mix of punks hairdressers socialites and suburbanites 190 while The New York Times said the club was tolerant of errant squares 191 Andy Warhol a regular guest of Studio 54 said the club was a dictatorship on the door but a democracy on the dance floor 175 192 Studio 54 enforced a photography ban to protect guests privacy 193 but some images were still published including a widely circulated image of Canadian first lady Margaret Trudeau without her underwear 194 Many guests used club drugs and they often engaged in open sexual activity on the club s balcony and in private basement rooms 195 196 The Journal characterized most of the women guests as beneficiaries of a fabulously lucky genetic selection and that the men guests generally had an aura of self esteem born in the knowledge that one can successfully choose among the select 173 Celebrity appearances which were almost guaranteed were frequently showcased in New York City s daily newspapers and in gossip columns 197 198 The nightclub was also frequented by many gay celebrities 193 199 leading Anthony Haden Guest to write that the club became one of the single most effective showcases for newly visible gay clout 199 By 1978 there was a private dance floor behind a movable scrim on the main dance floor as well as a VIP room in the basement which could only be accessed by a hidden stairway 179 The club also hosted private parties that at a minimum cost tens of thousands of dollars 167 The invitations to the parties were extravagant using such materials as Cupid s arrows inflatable hearts or jars of confetti 163 Among the events at Studio 54 was a New Year s Eve party hosted by event planner Robert Isabell who dumped four tons of glitter onto the floor creating a four inch layer that could be found in attendees clothing and homes several months later 200 The organizers of a Valentine s Day party in 1979 imported 3 000 Dutch tulips transported 4 000 square yards 3 300 m2 of sod from Bermuda and rented eight antique sculptures that each cost 17 000 201 Other events at the club included fundraisers for local politicians as well as a Halloween party hosted by the staff of People magazine 202 Studio 54 was also a filming location for several music videos such as those for several songs in Musique s album Keep On Jumpin 203 Notable patrons edit Bella Abzug 204 205 Woody Allen 204 205 Mikhail Baryshnikov 182 John Belushi 206 Leonard Bernstein 207 Jacqueline Bisset 182 David Bowie 208 Truman Capote 204 205 Gia Carangi 209 Allan Carr 210 Cher 182 Pat Cleveland 211 Roy Cohn 212 Salvador Dali 213 Divine 214 Faye Dunaway 215 Doris Duke 204 Farrah Fawcett 208 Ric Flair 216 Betty Ford 217 Tom Ford 218 Diane von Furstenberg 219 Richard Gallo 193 David Geffen 220 Martha Graham 217 211 Richard Gere 221 Jerry Hall 222 Halston 219 217 Victor Hugo 222 Anjelica Huston 223 Debbie Harry 222 Margaux Hemingway 182 Tommy Hilfiger 224 Lauren Hutton 204 Michael Jackson 222 Bianca Jagger 222 182 Mick Jagger 222 Rick James 216 Caitlyn Jenner 210 Elton John 193 Grace Jones 222 Tom Jones 225 Jacqueline Kennedy Onassis 216 205 Eartha Kitt 225 Calvin Klein 222 Karl Lagerfeld 182 Timothy Leary 225 Fran Lebowitz 226 John Lennon 227 Lorna Luft 182 Bette Midler 225 Liza Minnelli 182 217 205 Freddie Mercury 216 Jack Nicholson 223 205 Al Pacino 216 Dolly Parton 182 Paloma Picasso 228 Richard Pryor 225 Gilda Radner 229 Lou Reed 216 Geraldo Rivera 230 231 Diana Ross 182 Brooke Shields 222 232 Frank Sinatra 205 Sylvester Stallone 182 Paul Stanley 182 Percy Sutton 205 Tallulah 233 234 Elizabeth Taylor 222 182 217 John Travolta 222 Margaret Trudeau 225 Donald and Ivana Trump 182 Tina Turner 222 Valentino 228 Diana Vreeland 214 Andy Warhol 193 Robin Williams 225 Other notables edit Actor Al Corley was a doorman during the late 1970s 138 Actor Alec Baldwin worked for two months as a waiter at Studio 54 235 Sally Lippman also known as Disco Sally was a 77 year old widow and regular dancer at the club 170 Carolina Somoza daughter of Nicaraguan president Anastasio Somoza Debayle 236 Downfall edit License issues and other disputes edit Schrager did not have a liquor license when the club opened despite having applied to the NYSLA for such a license 237 Instead the nightclub applied for a caterers permit every day these permits were intended for weddings or political events but they technically allowed the venue to serve alcohol 238 239 The club also did not have a certificate of occupancy or a public assembly license prompting tipsters to complain to several federal agencies 239 On May 21 1977 the NYSLA raided the nightclub for selling liquor without a license 237 238 The club reopened the next night serving fruit juice and soda instead of liquor 240 Studio 54 continued serving non alcoholic drinks exclusively until a justice for the New York Supreme Court the state s trial level court ordered the NYSLA to grant Studio 54 a liquor license that October 241 242 The NYSLA s chairman complied with the Supreme Court ruling but objected to it claiming that the judge had been influenced by Studio 54 s upscale clientele 243 205 The New York Court of Appeals upheld the Supreme Court s decision in June 1978 185 Schrager also applied for a cabaret license from the DCA which did not grant Studio 54 a permanent cabaret license for more than a year 244 245 A contributing factor was that the city government only employed three cabaret inspectors who could not validate all of the city s cabaret licenses in a timely manner Additionally the DCA rarely fined unlicensed cabarets more than 25 187 At the beginning of June 1978 DCA officials said the cabaret application had not been approved because of multiple violations of fire codes though the New York City Fire Department refused to provide further details about these violations 244 The DCA could also deny a permanent license because of unresolved consumer complaints such as those concerning Studio 54 s annual memberships 245 The DCA refused to renew Studio 54 s temporary cabaret license in August 1978 because Schrager and Rubell had not refunded all of the memberships 187 Also in August 1978 the American Society of Composers Authors and Publishers ASCAP sued Rubell and Schrager alleging that the co owners had failed to pay licensing fees for six performances that ASCAP had staged at Studio 54 earlier that year 246 Studio 54 ultimately paid ASCAP for a license in November 1978 247 The National Labor Relations Board was also investigating the club by February 1979 after some workers alleged that the club had engaged in unfair labor practices 248 End of the first era edit nbsp Studio 54 s balconyIn December 1978 a tipster called the Internal Revenue Service IRS alleging that Rubell and Schrager were skimming profits 249 250 The tip came from a disgruntled ex employee who also alleged that cocaine was illegally being stored in the basement 250 Shortly after IRS agents raided Studio 54 and arrested Rubell and Schrager 249 251 252 The club continued to operate the night of the raid 252 253 A federal grand jury indicted Rubell and Schrager on charges of tax evasion in June 1979 observing that the two men had skimmed 2 5 million or as much as 60 percent of Studio 54 s receipts over the past two years 145 147 In an unsuccessful 254 attempt to lessen the charges against the club s co owners 255 256 Schrager s lawyer Mitchell Rogovin alleged that Hamilton Jordan chief of staff to U S president Jimmy Carter had used cocaine in the club s basement 181 257 In anticipation of increasing interest in rock music Rubell and Schrager spent 1 2 million to renovate Studio 54 in late 1979 They installed a grand chandelier and a fly system above the stage as well as removing seats from the balcony 258 Rubell and Schrager ultimately pleaded guilty to tax evasion in November 1979 255 259 after New York magazine published a cover story describing the party favors that the two men gave to their friends 254 In exchange federal prosecutors agreed not to charge the men with obstruction of justice and conspiracy 255 259 By then the club was in danger of losing its liquor license after the owners had pleaded guilty to tax evasion as the NYSLA did not give liquor licenses to convicted felons 260 Rubell and Schrager were each sentenced to three and a half years in prison in January 1980 261 262 The two men attended a final party on the night of February 2 3 1980 with Diana Ross and Liza Minnelli singing for numerous guests 182 263 Rubell and Schrager began serving their sentences two days afterward 264 265 Ultimately Rubell and Schrager were paroled after a year 266 and Schrager received a presidential pardon decades later 267 b The NYSLA unanimously voted not to renew Studio 54 s liquor license on February 28 1980 citing Rubell s and Schrager s criminal convictions although the club was allowed to continue operating 268 269 The club lost its liquor license on February 29 and the club started serving fruit punch the next day 270 271 Studio 54 s lawyers also announced that they would create a board of directors to operate the club 271 The third co owner Jack Dushey had received a 10 000 fine and had been sentenced to five years of unsupervised probation after being convicted of conspiracy charges in March 1980 272 By the end of that month Rubell was considering selling the club 273 274 despite having promised just two months prior that he would never sell Studio 54 274 Among those who expressed interest in the club were restaurateur Mark Fleischman television host Dick Clark and record executive Neil Bogart 274 275 The club closed down at the end of that March as the revocation of the liquor license had caused a sharp decrease in business 276 277 Early the next month 276 277 Fleischman agreed to buy an option that would allow him to purchase the club for 5 million 278 Fleischman and Weiss operation edit Mark Fleischman announced his plan to take over Studio 54 seeking to host live shows there and obtain a liquor license from the NYSLA 279 280 Studio 54 remained shuttered through the rest of the year in large part because Rubell and Schrager continued to file legal objections against the NYSLA s revocation of the club s liquor license The authority would not issue a liquor license as long as the club was involved in active litigation 278 Mike Stone Productions leased the club from Rubell and Schrager in early 1981 and the club started hosting private events again albeit without alcoholic drinks and only on Friday and Saturday nights 281 Rubell s company sold the building to Philip Pilevsky for 1 15 million in cash in August 1981 leasing back space from Pilevsky 282 Fleischman applied for a liquor license from the NYSLA which agreed to grant the license on the condition that Rubell and Schrager not be involved in any way 275 Fleischman also repainted the interior and removed the original club s light fixtures 283 and he paid the New York state government 250 000 in back taxes 284 Studio 54 officially reopened to the public on September 15 1981 285 286 287 Fleischman and his partner Jeffrey London mailed out 12 000 invitations for Studio 54 s reopening 286 287 which were delivered on 25 watt silver lightbulbs 284 Jim Fouratt and Rudolf Piper were hired as Studio 54 s new managers 283 284 288 Initially the club hosted Modern Classix nights during Wednesdays and Sundays while it hosted disco music for the remainder of the week 283 287 There was also a 32 track recording studio in the basement which was used for recording promotional videos and rock concerts 289 Notable figures associated with the second iteration of Studio 54 included doorman Haoui Montaug 290 as well as Paul Heyman who was a photographer producer and promoter at the club 291 A notable guest during this time was Drew Barrymore who was nine years old when her mother took her to Studio 54 292 Within three months of the club s reopening Fleischman had ousted Fouratt and Piper who opened the Danceteria nightclub 293 In 1982 social activist Jerry Rubin started hosting Business Networking Salons a networking event for businesspeople at the club on Wednesday nights Prospective guests would only be admitted if they had a business card 294 295 the networking events quickly became popular often attracting 1 500 guests 296 For other events Studio 54 implemented an invitation system which enabled its operators to restrict some events to select guests without turning them away at the door The club s mailing list had 200 000 names by 1984 297 Frank Cashman acquired the 3 million lien on the club in late 1984 298 The same year Studio 54 also hosted special musical performances starting with a series of concerts by Julie Budd 299 Meanwhile the club was gradually losing long time regulars to competing discotheques 300 including the Palladium which Rubell and Schrager had opened after being released from prison 301 The club also faced several lawsuits from disgruntled high profile guests such as football player Mark Gastineau and a basketball player 302 Fleischman filed for bankruptcy in November 1985 he had planned to spend 250 000 on renovations to attract guests 300 301 The club closed in April 1986 because it could not obtain liability insurance 303 304 in part because Studio 54 was losing so many of the lawsuits in which it was involved 302 Subsequently Shalom Weiss took over Studio 54 305 306 The nightclub tended to attract a young and racially mixed clientele who were frequently involved in fights prompting complaints from local residents 307 City officials revoked the club s cabaret license for two years in January 1989 after finding that the club s patrons frequently used cocaine illegally The officials alleged that Studio 54 employees not only encouraged illegal drug use but also used cocaine themselves 305 306 In addition the club admitted guests as young as 13 and had falsely advertised itself as selling alcoholic beverages 305 The Ritz and Cabaret Royale edit Main article The Ritz rock club Studio 54 was dilapidated by the late 1980s the walls had peeling paint while the auditorium s dome had been concealed by a dropped ceiling Neil Cohen and John Scher owners of the Ritz nightclub leased the space from Philip Pilevsky for 25 years in 1989 11 They spent 2 million to restore the theater adding fixed seating at orchestra level 11 and installing production equipment above the stage 308 309 Cohen and Scher anticipated that the club could fit 3 000 people including standees 11 309 although the theater only had about 1 800 seats 308 310 The Ritz relocated from the East Village to Studio 54 on April 5 1989 11 308 According to The New York Times the new Ritz was more popular than the old location because both the orchestra and balcony had excellent sound and sightlines 310 The Ritz was primarily a rock club but it also hosted performances of pop music 311 and salsa music 312 The Ritz was one of the most active nightclubs in the United States with about 150 shows annually until its promoters started booking fewer shows in mid 1991 Despite declining profits in 1992 the club s owners were planning to add a 250 seat side room next to the auditorium 313 CAT Entertainment acquired Scher s interest in the Ritz in December 1992 313 and CAT was itself acquired by Cabaret Royale Corporation the next year 314 In July 1993 the Ritz announced it would close down and reopen as a topless bar 315 CAT Entertainment spent 3 million renovating the theater including the stage area CAT also resurrected both the nightclub and the Studio 54 trademark which had never been properly registered by any of the prior owners or operators 314 John Neilson took over the venue with plans to reopen it as an uptown location of the Stringfellows nightclub 314 316 The remodeled nightclub opened in January 1994 and was operated as Cabaret Royale at Studio 54 317 Most of the old theater s architectural detail had been covered up by then 21 Meanwhile the Bank of Tokyo had previously granted a mortgage on the theater and the adjacent office building to Pilevsky which it foreclosed upon in June 1994 318 Later that month the theater and building were auctioned off 317 319 CBS the Manhattan Theatre Club and Viacom were among those that showed interest in acquiring the theater and building 320 Allied Partners run by the Hadar family ultimately acquired the properties for 5 5 million 21 Allied then renovated the office building 321 Cabaret Royale closed in January 1995 322 and Allied announced plans to convert the space into a virtual reality gaming venue at a cost of 10 million 320 323 In anticipation of Studio 54 s conversion the nightclub hosted a final party on May 23 1996 324 325 featuring disco star Gloria Gaynor and performers such as Crystal Waters and RuPaul 326 The virtual reality complex was never built because of a lack of demand and the club s space was instead rented out for private events 21 Allied Partners preferred that the Studio 54 building become anything but a nightclub 327 Roundabout Theatre at Studio 54 edit nbsp Studio 54 July 2019Since 1998 the nonprofit Roundabout Theatre Company has operated Studio 54 as a Broadway theater branded as Roundabout Theatre at Studio 54 It is one of Roundabout s three Broadway theaters alongside the Todd Haimes Theatre and the Stephen Sondheim Theatre 328 329 Relocation and early productions edit In July 1998 the collapse of a construction hoist at 4 Times Square blocked access to the Henry Miller Theatre now Stephen Sondheim Theatre on 43rd Street where the nonprofit Roundabout Theatre Company s successful revival of the Broadway musical Cabaret was playing 330 Roundabout quickly began searching for alternative venues 331 and in September 1998 decided to move the production to Studio 54 332 333 The old nightclub required extensive renovations and was not air conditioned 331 but Roundabout s artistic director Todd Haimes considered it the only viable option for the theatre company 334 Cabaret s producer Sam Mendes had considered Studio 54 s dilapidated condition to be an ideal setting for the production just as the Henry Miller had been 9 Roundabout spent over 1 million converting the former nightclub into a 950 seat theater 335 336 c buying old seats from the Imperial Theatre and installing them in the mezzanine 335 Cabaret moved to Studio 54 in November 1998 337 doubling the production s capacity 333 338 Richard Hadar announced in early 1999 that he would operate a nightclub within the theater which would still host performances of Cabaret during the day 339 By 2001 Roundabout was negotiating to buy Studio 54 from the Hadar family which would allow the theatre company to own a Broadway theater for the first time 340 Early the next year the Hadar family agreed to sell the theater for around 25 million To fund the purchase Roundabout would receive up to 32 million in tax exempt bonds and 9 million from the New York City Department of Cultural Affairs DCA 341 342 343 Roundabout finalized its purchase in July 2003 paying 22 5 million 344 345 of which 6 75 million came from the DCA and 17 7 million came from tax exempt bonds 346 Allied continued to own the office space above the theater 21 2000s edit Roundabout planned to use Studio 54 to host larger productions that could not be staged at the American Airlines Theatre 9 343 Haimes also wanted to renovate the theater including expanding the orchestra pit and replacing the rigging system 343 After Cabaret closed in January 2004 337 Roundabout staged several shows a year at both theaters and Studio 54 hosted a mixture of musicals and plays 9 The Stephen Sondheim and John Weidman musical Assassins was Roundabout s first new production at Studio 54 9 opening in April 2004 347 348 A revival of another musical by the same team Pacific Overtures opened that December 349 350 Following these two productions Broadway historian Louis Botto wrote that Studio 54 had finally fully been welcomed into the Broadway family nearly 80 years after Fortune Gallo first dreamed of it 9 Roundabout completed some renovations in 2005 351 which involved installing raked seating and an exhibit in the promenade 9 The theater hosted a revival of Tennessee Williams s A Streetcar Named Desire in April 2005 352 353 For the 2005 2006 season Studio 54 staged Eugene O Neill s A Touch of the Poet 354 355 and Bertolt Brecht s The Threepenny Opera 356 357 The theater then hosted the plays The Apple Tree and 110 in the Shade in the 2006 2007 season The Ritz and Sunday in the Park with George in the 2007 2008 season and Pal Joey and Waiting for Godot in the 2008 2009 season For the 2009 2010 season the theater presented Carrie Fisher s solo performance Wishful Drinking as well as and James Lapine and Stephen Sondheim s revue Sondheim on Sondheim 1 9 2010s to present edit During the 2010 2011 season Studio 54 hosted Brief Encounter an adaptation of two Noel Coward works as well as the musical The People in the Picture 1 9 Studio 54 was supposed to host a revival of Bob Fosse s musical Dancin during the 2011 2012 season 358 359 but this was ultimately canceled and the theater was instead closed for renovations 358 360 The theater s next production was the play Harvey which opened in June 2012 361 362 This was followed in November by The Mystery of Edwin Drood the theater s only production for the 2012 2013 season 363 364 Roundabout booked a revival of Cabaret for the 2013 2014 season although the theater remained dark for a year 365 Cabaret opened in April 2014 366 367 initially for a 24 week engagement but the show was so popular that it ran for a year 368 The play An Act of God opened at Studio 54 in May 2015 being the theater s only production during the 2014 2015 season 369 370 The theater then returned to presenting two productions per season 1 Studio 54 hosted the play Therese Raquin and a revival of the musical She Loves Me during the 2015 2016 season 371 followed by the musical Holiday Inn and the play Sweat during the 2016 2017 season 372 Next the theater hosted John Leguizamo s solo show Latin History for Morons and an American Sign Language revival of Children of a Lesser God in 2017 2018 373 The theater staged The Lifespan of a Fact and Kiss Me Kate for the 2018 2019 season 374 Studio 54 hosted Adam Rapp s play The Sound Inside which opened in October 2019 375 376 Studio 54 was supposed to host the musical Caroline or Change during the 2019 2020 season 377 378 Due to the COVID 19 pandemic Studio 54 closed on March 12 2020 379 a day before previews of Caroline or Change were supposed to start 377 378 That show s opening had originally been delayed to early 2021 380 but it was pushed further due to the extension of COVID 19 restrictions 381 Studio 54 reopened on October 8 2021 with previews of Caroline or Change 382 which officially opened later that month 383 This was followed from April to July 2022 by the Tracy Letts play The Minutes 384 385 then by the Sharr White play Pictures from Home from February to April 2023 386 The musical Days of Wine and Roses opened at Studio 54 in January 2024 387 running for three months 388 It is scheduled to be followed in November 2024 by the musical A Wonderful World 389 Notable productions editProductions are listed by the year of their first performance 1 390 Gallo Opera House New Yorker Theatre edit 1927 Thirteen operas presented by the San Carlo Company d 1927 Electra 33 34 1927 Juno and the Paycock 35 36 1928 A Tailor Made Man 52 391 1930 Electra 392 1931 Young Sinners 393 1937 The Swing Mikado 104 Studio 54 Roundabout edit 1998 Cabaret 337 333 2004 Assassins 347 348 2004 Pacific Overtures 349 350 2005 A Streetcar Named Desire 352 353 2005 A Touch of the Poet 354 355 2006 The Threepenny Opera 356 357 2006 The Apple Tree 394 395 2007 110 in the Shade 396 397 2007 The Ritz 398 399 2008 Sunday in the Park with George 400 401 2008 Pal Joey 402 403 2009 Waiting for Godot 404 405 2009 Wishful Drinking 406 407 2010 Sondheim on Sondheim 408 409 2010 Brief Encounter 410 411 2011 The People in the Picture 412 413 2012 Harvey 361 362 2012 The Mystery of Edwin Drood 363 364 2014 Cabaret 366 367 2015 An Act of God 369 370 2015 Therese Raquin 414 415 2016 She Loves Me 416 417 2016 Holiday Inn 418 419 2017 Sweat 420 421 2017 Latin History for Morons 422 423 2018 Children of a Lesser God 424 425 2018 The Lifespan of a Fact 426 427 2019 Kiss Me Kate 428 429 2019 The Sound Inside 375 376 2021 Caroline or Change 382 383 2022 The Minutes 384 385 2023 Pictures from Home 386 2024 Days of Wine and Roses 387 2024 A Wonderful World 389 Legacy editBy the late 1970s the original nightclub had spurred the creation of Studio 54 themed jeans a record label an album and a Japanese club 167 Architectural Digest magazine described Studio 54 as the nightclub where the velvet rope was born its impact evident long after the venue had been converted back to a theater 150 GQ magazine wrote in 2020 When you want to designate a particular brand of louche elegance on a night time scene Studio 54 is the natural first port of comparative call 430 Cultural impact edit nbsp Studio 54 at MGM Grand in Las VegasThe nightclub has been the subject of several works of popular media The original Studio 54 was featured in the 1998 drama film 54 431 432 Studio 54 a 98 minute documentary by Matt Tyrnauer released in 2018 192 433 includes unpublished footage of the club and interviews with Ian Schrager 434 Additionally the fourth season of the television series American Crime Story announced in 2021 focuses on the club during the 1970s 435 Several books have also been written about the nightclub The writer Anthony Haden Guest published a book about Studio 54 and the disco subculture in 1997 436 and Mark Fleischman published his memoir Inside Studio 54 in October 2017 437 Schrager also published a book in 2018 Studio 54 with images of the club 163 Studio 54 has also had an influence on disco music Casablanca Records released a compilation album of disco music A Night at Studio 54 in 1979 438 it peaked at No 21 on the Billboard 200 album chart and sold close to a million copies 439 440 In 2011 Sirius XM launched Studio 54 Radio a satellite radio station featuring classic disco and dance tracks from the 1970s to the 2000s 441 211 In 2020 it expanded into a music imprint including a record label Studio 54 Music 442 443 444 which works with Sirius XM on Studio 54 Radio 445 The label s first release Night Magic Vol 1 is a four track compilation EP of disco anthems from the club s prime days revised by musicians from both the original scene and the modern dance music era 443 444 Studio 54 also inspired the name and overall concept of singer songwriter Dua Lipa s 2020 concert series Studio 2054 446 The club has been featured in several exhibitions These include an exhibit of Studio 54 photographs which Haden Guest presented at the WhiteBox art gallery in 2015 447 as well as a Brooklyn Museum exhibition titled Night Magic which premiered in 2020 448 In addition multiple Studio 54 themed collections from fashion and cosmetics brands including Calvin Klein Michael Kors and NARS Cosmetics were released in 2019 The collections took inspiration from the club s glamorous heyday and showcased the iconic 54 logo 449 Several venues have been likened to Studio 54 Fiorucci an Italian fashion shop formerly located on East 59th Street became known in the late 1970s as the daytime Studio 54 450 The Mutiny Hotel in Miami Florida was described in a PBS NewsHour interview as kind of the closest thing to Miami s Studio 54 in the late 1970s 451 The nightclub also inspired the creation of a Studio 54 themed nightclub at the MGM Grand Las Vegas hotel and casino in 1997 452 that club operated until 2012 453 Memorabilia and preservation edit Before Rubell died in 1989 he saved every single item that he collected from the nightclub such as the reservation book invitation cards and drink tickets 454 More than 400 of these items were sold at an auction in West Palm Beach Florida in January 2013 455 attracting hundreds of buyers 456 The auction yielded 316 680 457 458 the most expensive item was a 52 800 Andy Warhol sculpture 457 The New York City Landmarks Preservation Commission LPC had started considering protecting Studio 54 as a landmark in 1982 459 with discussions continuing over the next several years 460 The LPC commenced a wide ranging effort to grant landmark status to Broadway theaters in 1987 and the commission considered designating Studio 54 s interior as a landmark 461 Ultimately although the LPC protected 28 Broadway theaters as landmarks Studio 54 was not one of them 462 See also editList of Broadway theatersReferences editNotes edit In a 1997 book by Anthony Haden Guest the studio s associate director Ed Gifford said that the theater was known as Studio 53 However this claim is not corroborated by any other source 121 Schrager received a presidential pardon from Barack Obama in 2017 but Rubell died in 1989 267 The New York Times cites a figure of 1 7 million 336 while American Theatre magazine describes the renovations as having cost 1 5 million 335 La Boheme Rigoletto Madama Butterfly Faust La Traviata Aida Martha La Tosca La Forza del Destino Carmen Cavalleria Rusticana The Barber of Seville Il Trovatore 1 Citations edit a b c d e f g h Studio 54 at the Internet Broadway Database a b Rent a Venue Studio 54 Roundabout Theatre Company Archived from the original on September 16 2016 Retrieved July 10 2014 a b c Gallo Acquires Theatre of His Own Leases House in 54th St For San Carlo and Theatrical Productions The New York Times July 9 1926 Archived from the original on September 13 2022 Retrieved September 13 2022 a b c Site Leased For New 2 000 000 Theatre And Opera House Fortune Gallo Impresario Of San Carlo Company Signs Contract Structure To Open About Jan 1 Women s Wear Vol 32 no 159 July 9 1926 p 29 ProQuest 1677032682 a b c Fortune Gallo To Have His Own Opera House The Billboard Vol 38 no 29 July 17 1926 p 9 ProQuest 1031794627 Office Building for New Gallo Theatre Sixteen story Structure for San Carlo Company in Fifty Fourth Street The New York Times August 22 1926 p RE1 ProQuest 103750752 a b Music Casino de Paree Blends Continental Cafe and American Show Features Variety Vol 113 no 1 December 19 1933 p 46 ProQuest 1529088997 a b Ellerbee 2016 p 52 a b c d e f g h i j More At This Theatre Studio 54 Playbill Archived from the original on February 7 2022 Retrieved February 7 2022 New Gallo Theatre Woman Decorator Will Assist in Itl Interior Equipment The New York Times July 10 1927 p RE1 ProQuest 104137164 a b c d e f Dunlap David W April 5 1989 Ritz Shuns Glitz for Charming Past The New York Times Archived from the original on August 15 2021 Retrieved September 16 2022 Gallo Opening Sept 26 First Offering in New Theatre Will Be the Opera Company The New York Times July 20 1927 Archived from the original on September 13 2022 Retrieved September 13 2022 Ellerbee 2016 p 53 New Gallo Theater Will Swing in a Cradle New York Herald Tribune August 13 1926 p 26 ProQuest 1113016673 Step Inside Broadway s Studio 54 Playbill July 26 2017 Archived from the original on September 14 2022 Retrieved September 14 2022 Gardner Elysa June 3 2022 Broadway s Beloved Basement Club Feinstein s 54 Below Turns 10 The New York Times Archived from the original on July 14 2022 Retrieved September 17 2022 a b Franklin Marc J June 7 2017 See the Feinstein s 54 Below Star Studded 5th Anniversary Celebration Playbill Archived from the original on November 27 2021 Retrieved September 17 2022 a b c Piepenburg Erik May 31 2012 A Broadway Hangout Old Chum The New York Times Archived from the original on July 14 2022 Retrieved September 17 2022 Holden Stephen September 2 2015 Michael Feinstein and the Club 54 Below Agree to a Partnership The New York Times Archived from the original on July 18 2022 Retrieved September 17 2022 Gardner Elysa July 7 2022 Cabaret Champion Michael Feinstein Teams With Cafe Carlyle The New York Times Archived from the original on July 7 2022 Retrieved July 7 2022 a b c d e f Holusha John October 1 2003 Commercial Real Estate Regional Market Manhattan As Cabaret Nears End Cabaret Still Has a Place The New York Times Archived from the original on February 26 2021 Retrieved September 16 2022 Wloszczyna Susan Gundersen Edna Gardner Elysa February 9 2001 Dundee isn t done yet he s on the loose in L A USA TODAY p 01E ProQuest 408881238 Agenda New York Agenda USA Incorporated 2004 p 48 Archived from the original on April 25 2022 Retrieved September 22 2022 Gelder Lawrence Van October 20 2004 THEATER REVIEWS Newsical The New York Times Archived from the original on 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ProQuest 130386768 Brailowsky Gives Brilliant Recital Vigorous at Piano Young Russian Chooses His Program From Mozart Schumann Chopin Liszt De Falla and Others New York Herald Tribune November 20 1927 p 24 ProQuest 1113659398 American Concert Field Gallo Opera To Open New Theater in New York The Billboard Vol 39 no 45 November 5 1927 p 27 ProQuest 1031835745 a b The Broadway League December 1 1927 Electra Broadway Play 1927 Revival IBDB Archived from the original on June 13 2021 Retrieved September 13 2022 Electra Broadway Studio 54 1927 Playbill December 14 2015 Archived from the original on June 18 2022 Retrieved September 13 2022 a b Ruhl Arthur December 2 1927 Electra Vivid In Its Revival By Miss Anglin Classic Drama of Sophocles Staged al Gallo s and Played With Due Respect to Tradition and Spirit New York Herald Tribune p 19 ProQuest 1131828249 a b The Broadway League December 19 1927 Juno and the Paycock Broadway Play 1927 Revival IBDB Archived from the original on September 13 2022 Retrieved September 13 2022 Juno and the Paycock Broadway Studio 54 1927 Playbill December 14 2015 Archived from the original on September 13 2022 Retrieved September 13 2022 a b Ruhl Arthur December 20 1927 Irish Players Shift to Gallo in O Casey s Juno and Paycock Long Stretches of Drama Billed as Tragedy but Set in Key of Broad Farce Evoke Constant Laughter New York Herald Tribune p 16 ProQuest 1132285417 Gallo Theatre Mortgaged The New York Times January 19 1928 Archived from the original on September 13 2022 Retrieved September 13 2022 American Opera Gives Marriage of Figaro Large Audience Generously Applauds Work of New Company Here The New York Times January 18 1928 Archived from the original on September 13 2022 Retrieved September 13 2022 American Opera Co Ends Season With Big Crowds Gives Carmen in Afternoon and Fanst at Night New York Herald Tribune March 4 1928 p 17 ProQuest 1114336594 The Broadway League April 9 1928 Ballet Moderne Broadway Special Original IBDB 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League May 12 1930 The Vikings Broadway Play Original IBDB Archived from the original on September 13 2022 Retrieved September 13 2022 The Vikings Broadway Studio 54 1930 Playbill December 14 2015 Archived from the original on May 19 2022 Retrieved September 13 2022 Yvonne Georgi Makes Hit in New Dance Tour With Harald Kreutzberg Gives Entrancing Program Duncan Dancers Appear The New York Times November 3 1930 Archived from the original on September 13 2022 Retrieved September 13 2022 Atkinson J Brooks December 27 1930 The Play Cleansing Agamemnon s House The New York Times Archived from the original on September 13 2022 Retrieved September 13 2022 The Broadway League May 12 1930 The Vikings Broadway Play Original IBDB Archived from the original on September 13 2022 Retrieved September 13 2022 Electra Broadway Studio 54 1930 Playbill December 14 2015 Archived from the original on September 13 2022 Retrieved September 13 2022 O D Bailey Leases New Yorker Theatre Musical Comedy to Open There on Feb 16 Plans to Re enter Producing Field The New York Times January 14 1931 Archived from the original on September 13 2022 Retrieved September 13 2022 General Indoor News Oliver Bailey Leases Theater The Billboard Vol 43 no 5 January 31 1931 p 34 ProQuest 1031970343 Ruhl Arthur March 11 1931 Gray Shadow in Ghostly Setting Opens at New Yorker Theater Roger Wheller s Mystery Play Has William Townsend and Rupert Clarke in Cast Claude Cooper New York Herald Tribune p 16 ProQuest 1114067427 Young Sinners Again Elmer Harris s Play Shown at Popular Prices at New Yorker The New York Times April 21 1931 Archived from the original on September 13 2022 Retrieved September 13 2022 The Play Down on Chesapeake Bay The New York Times June 9 1931 Archived from the original on September 13 2022 Retrieved September 13 2022 The Play California Comedy The New York Times December 25 1931 Archived from the original on September 13 2022 Retrieved September 13 2022 Atkinson J Brooks September 16 1931 The Play The New York Times Archived from the original on September 13 2022 Retrieved September 13 2022 Rigoletto is Presented New Yorker Grand Opera Company Gives Verdi Work in Italian The New York Times May 4 1931 Archived from the original on September 13 2022 Retrieved September 13 2022 Another Company From Spain The New York Times April 2 1932 Archived from the original on September 13 2022 Retrieved September 13 2022 A Dance Festival by Internationals Mary Wigman Uday Shan Kar and Vicente Escudero Are to Be Seen for Two Weeks The New York Times December 3 1932 Archived from the original on September 13 2022 Retrieved September 13 2022 Theatre Property Bought in by Bank The New Yorker and Abutting 16 Story Offices in 53d St Go at Auction The New York Times December 29 1932 Archived from the original on September 13 2022 Retrieved September 13 2022 a b New Yorker Theatre to Become a Casino For Dining Dancing and Parisian Shows The New York Times September 15 1933 Archived from the original on September 13 2022 Retrieved September 13 2022 New Yorker Theatre To Be Entertainment Casino Women s Wear Daily Vol 47 no 53 September 15 1933 p 15 ProQuest 1627541851 a b Haden Guest 1997 p 25 Beer Gardens Cafes New Yorker Theater Leased for Garden The Billboard Vol 45 no 39 September 30 1933 p 11 ProQuest 1032039070 a b Casino Operators Buy Properly in 54th Street Purchase Former New Yorker Theater and Office Parcel New York Herald Tribune March 15 1934 p 38 ProQuest 1125470288 Sullivan Ed December 14 1933 Broadway New York Daily News p 270 Archived from the original on September 13 2022 Retrieved September 13 2022 via newspapers com Legitimate Only 35 Theatres Left for Legit 17 Houses Switched Their Policies During Past Season Once Were 60 Variety Vol 114 no 7 May 1 1934 p 47 ProQuest 1475821537 Variety Show Niteries Like Casino De Paree May Be Ans to That Comeback Variety Vol 114 no 5 April 18 1934 p 21 ProQuest 1475848723 Legitimate Casino de Paree Is Proving Stiff Competition for Legit The Billboard Vol 46 no 30 July 28 1934 p 18 ProQuest 1032042484 Billy Rose Quits Casino Also Withdraws From Music Hall and Threatens Suits The New York Times September 8 1934 Archived from the original on November 30 2021 Retrieved November 30 2021 Night Club Notes Alterations Planned For the Casino de Paree Old and New Faces Appear Elsewhere The New York Times February 2 1935 Archived from the original on September 13 2022 Retrieved September 13 2022 B c February 17 1935 Gay Revue Reopens the Casino De Paree Buck and Bubbles Ella Logan Mitzi Mayfair and Raoul and Eva Reyes on Program The New York Times Archived from the original on September 13 2022 Retrieved September 13 2022 Night Club Notes Casino de Paree Dark Harry Richman at the Versailles Pierre Roof Opens The New York Times May 4 1935 Archived from the original on September 13 2022 Retrieved September 13 2022 Cabaret in Bankruptcy Casino De Paree Seeks Authority to Reorganize Under Act The New York Times 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1032086000 WPA Music Project Rents Former Casino de Paree The New York Times November 17 1936 p 51 ProQuest 101679649 W P A to Cut Stage Art and Music Projects About 20 of Personnel Will Be Dropped Within Few Weeks Cahill Reveals Writers Also To Be Hit Leaders Here Protest to Capital Fear Picketing New York Herald Tribune November 23 1936 p 11 ProQuest 1222157742 Theatre of Music is Planned by WPA New Project to Be Center for Many Activities Will Be in New Yorker Theatre The New York Times November 23 1936 Archived from the original on September 14 2022 Retrieved September 13 2022 Federal Project to Open Theater of Music Jan 24 Repairs Virtually Complete Concert To Be First Event New York Herald Tribune January 4 1937 p 14 ProQuest 1322396346 Sokoloff Leads Orchestra of 100 Opening Federal Music Theater New York Herald Tribune January 25 1937 p 10 ProQuest 1248355057 Taubman H Howard January 25 1937 WPA Opens Own Theatre of Music Crowded HouseGreetsSokoloff and His Federal Symphony of 100 Players The New York Times Archived from the original on September 14 2022 Retrieved September 13 2022 WPA Renews Theatre Lease The New York Times December 16 1937 Archived from the original on September 13 2022 Retrieved September 13 2022 Atkinson Brooks March 2 1939 The Play Chicago Unit of the Federal Theatre Comes In Swinging the Gilbert and Sullivan Mikado The New York Times Archived from the original on September 14 2022 Retrieved September 13 2022 a b The Broadway League March 1 1939 The Swing Mikado Broadway Musical Original IBDB Archived from the original on September 13 2022 Retrieved September 13 2022 The Swing Mikado Broadway Studio 54 1939 Playbill December 14 2015 Archived from the original on September 14 2022 Retrieved September 13 2022 2 Mikados To Battle Bill Robinson Company Vs Ex WPA Crew New York Amsterdam News April 29 1939 p 20 ProQuest 226183197 Medicine Show on Tonight s List Living Newspaper Play to Be Given by Wharton Gabel at the New Yorker Theatre The 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the original on September 14 2022 Retrieved September 14 2022 a b Miscellany RCA Theatre Television Demonstration Variety Vol 142 no 7 April 23 1941 pp 2 55 ProQuest 1285763145 Television Show Given in Theatre 1 400 in Audience Here Witness First Public Program on Large Size Screen The New York Times May 10 1941 Archived from the original on September 14 2022 Retrieved September 14 2022 Large Screen Television Has First Public Showing 1 200 at New Yorker Theater Watch Title Fight at Garden New York Herald Tribune May 10 1941 p 6 ProQuest 1256075315 The Distant City Has Short Career E B Self s Drama Starring Gladys George Closes After Second Performance The New York Times September 24 1941 Archived from the original on September 14 2022 Retrieved September 14 2022 Clash by Night Opening Tonight Long Deferred Odets Play to Arrive at Belasco and Star Tallulah Bankhead The New York Times December 27 1941 Archived from the original on September 14 2022 Retrieved September 14 2022 Rents Another Theatre Close to Times Square The New York Times August 19 1942 Archived from the original on September 14 2022 Retrieved September 14 2022 Broadcasting Co Rents West 54th St Theater New York Herald Tribune August 19 1942 p 30 ProQuest 1335152006 Gen Roosevelt War Company Inducted Here 452 Women Entrain for Camps After Ceremony in C B S Radio Theater New York Herald Tribune March 8 1945 p 21 ProQuest 1269906833 a b Ellerbee 2016 p 50 Haden Guest 1997 p 26 Ellerbee 2016 p 44 Broadcasting Broadcasting Vol 72 no 1 Broadcasting Publications Incorporated January March 1967 p 94 Lohman Sidney May 1 1949 News and Notes of Television Eisenhower War Film Series to Start Thursday Other Items The New York Times Archived from the original on January 25 2022 Retrieved September 14 2022 Radio Legit to AM TV Scorecard Variety Vol 179 no 9 August 9 1950 p 27 ProQuest 1285972745 Allison Gordon October 9 1950 TV Networks Adding to Space On Large Scale Six More Theaters Taken With Total at 15 Other Leases Throughout City New York Herald Tribune p 30 ProQuest 1335476080 The Waring Show on TV Newsweek Vol 35 no 6 February 6 1950 p 52 ProQuest 1879113211 a b c Ellerbee 2016 p 57 Radio Television Overcrowded Studio Facility Snag Creates Gleason Candid Camera Impasse With CBS TV in the Middle Variety Vol 228 no 11 November 7 1962 p 21 ProQuest 1017079921 Who We Are Studio 54 Roundabout Theatre Company Archived from the original on July 14 2014 Retrieved July 11 2014 Rinzler Carol June 6 1965 The Town s Best Bargain A TV Sit In The New York Times p X17 ProQuest 116885037 Ellerbee 2016 p 56 Haden Guest 1997 p 27 a b c d e Radcliffe Joe May 21 1977 General News Studio 54 Disco Bypasses Cliches For Theatrical Input The Billboard Vol 89 no 20 pp 3 50 ProQuest 1286272789 a b c Asbury Edith Evans November 24 1976 Marlborough Gallery Takes Over Disco Stock of Rothko Suit Figure The New York Times Archived from the original on September 14 2022 Retrieved September 14 2022 a b Haden Guest 1997 pp 28 29 a b Haden Guest 1997 p 30 a b Colacello Bob September 4 2013 Studio 54 s Cast List A Who s Who of the 1970s Nightlife Circuit Vanity Fair Archived from the original on August 4 2020 Retrieved September 15 2022 Haden Guest 1997 pp 30 31 Haden Guest 1997 p 32 Haden Guest 1997 pp 34 35 Radcliffe Joe November 27 1976 1 Million Laser Disco Opening Soon In N Y The Billboard Vol 48 no 88 pp 1 73 ProQuest 1286341873 a b Nemy Enid June 1 1977 The New Discos Life Begins at Midnight The New York Times Archived from the original on September 15 2022 Retrieved September 15 2022 Miscellany Discos Hop Up Night Life In N Y Midtown Variety Vol 287 no 8 June 29 1977 pp 2 71 ProQuest 1401314832 a b c Operators of Studio 54 In New York Indicted On Skimming Receipts The Wall Street Journal June 29 1979 p 22 ProQuest 134444214 a b c d e Dorfman Dan November 7 1977 The Eccentric Whiz Behind Studio 54 New York Magazine New York Media LLC pp 14 16 Archived from the original on September 22 2022 Retrieved September 22 2022 a b H lubasch Arnold June 29 1979 Two Who Own Studio 54 Cited On Tax Charges The New York Times Archived from the original on December 14 2021 Retrieved December 14 2021 Haden Guest 1997 p 39 a b Norma Skurka July 17 1977 Design The New York Times Magazine pp 34 35 Archived from the original on February 5 2022 Retrieved February 5 2022 a b c d e f Romeyn Kathryn October 2 2018 Studio 54 s Paradigm Shifting Design Hotelier Ian Schrager and filmmaker Matt Tyrnauer discuss the club s untold history and groundbreaking aesthetic impact Architectural Digest Archived from the original on February 9 2022 Retrieved September 14 2022 a b c d Haden Guest 1997 p 40 Trebay Guy Ferla Ruth La March 12 2020 As Studio 54 Boogies to Brooklyn Its Denizens Look Back in Wonder The New York Times Archived from the original on February 5 2022 Retrieved February 5 2022 Yuan Jada April 27 2007 Studio 54 Where Those Who Were There Then Are Now New York Archived from the original on 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Retrieved November 1 2016 Dowd Vincent April 26 2012 Studio 54 The best party of your life BBC News Online Archived from the original on August 11 2019 Retrieved November 1 2016 Haden Guest 1997 p 50 a b c Dool Steve October 9 2017 Studio 54 The disco playground where sex and glamour reigned CNN Style CNN Archived from the original on July 27 2022 Retrieved September 18 2022 a b c Cohen Joe June 1 1977 Miscellany While Niteries Are Crying Blues N Y Discos Rake In The Greer Variety Vol 287 no 4 pp 2 79 ProQuest 1401310124 Discos Studio 54 Looking To L A And London The Billboard Vol 89 no 32 August 13 1977 p 49 ProQuest 1286205614 Haden Guest 1997 p 127 a b c d Segell Michael April 19 1979 Studio 54 Steve Rubell s disco Disneyland Rolling Stone No 289 p 44 45 ProQuest 2513149544 Haden Guest 1997 p 77 Flint Peter B July 27 1989 Steve Rubell Studio 54 s Creator And a Pasha of Disco Dies at 45 The New York Times Archived from the original on December 14 2021 Retrieved December 14 2021 a b Bennetts Leslie April 28 1978 An In Crowd and Outside Mob Show Up for Studio 54 s Birthday The New York Times Archived from the original on September 15 2022 Retrieved September 15 2022 a b Roth Robert October 7 1978 Discos Studio 54 Bows New Look Costing Mil The Billboard Vol 90 no 40 pp 63 65 ProQuest 1286316182 a b Haden Guest 1997 p 111 a b c d e f g Henninger Daniel December 2 1977 The Sweet Life New York 1977 The Wall Street Journal p 14 ProQuest 134198373 Haden Guest 1997 p 60 a b c d e Halston Studio 54 Vent Death True Story Did Liza Minnelli Overdose in Studio 54 Esquire November 1 2021 Retrieved September 23 2022 a b c Haden Guest 1997 p 62 a b Haden Guest 1997 pp 63 64 Haden Guest 1997 p 72 a b Haden Guest 1997 pp 117 118 a b Haden Guest 1997 pp 64 65 a b Oppenheim Carol September 6 1979 Studio 54 dances away its troubles Chicago Tribune pp 1 4 Archived from the original on September 15 2022 Retrieved September 15 2022 via newspapers com a b c d e f g h i j k l m n o p Runtagh Jordan April 26 2017 Studio 54 10 Wild Stories From Club s Debauched Heyday Rolling Stone Archived from the original on April 4 2022 Retrieved September 17 2022 citing Haden Guest 1997 Buskin Richard April 2005 Classic Tracks Chic Le Freak Sound on Sound Archived from the original on May 14 2011 Retrieved September 13 2018 Cobb Nathan July 15 1978 Descent into New York Disco The Boston Globe p 6 Archived from the original on September 15 2022 Retrieved September 15 2022 via newspapers com a b c Studio 54 Under City Pressure To Refund Price of Memberships The New York Times June 30 1978 Archived from the original on September 15 2022 Retrieved September 15 2022 Stathos Harry June 30 1978 Studio 54 to Give Fee Refunds New York Daily News p 16 Archived from the original on September 15 2022 Retrieved September 15 2022 via newspapers com a b c Kates Brian January 11 1979 Our tres chic cabarets got a lotta cheek too who needs a license New York Daily News p 9 Archived from the original on September 15 2022 Retrieved September 15 2022 via newspapers com Follow Up on the News The New York Times November 19 1978 Archived from the original on September 15 2022 Retrieved September 15 2022 Hanson Kitty March 16 1978 The hot spots and cool scenes New York Daily News p 69 Archived from the original on September 15 2022 Retrieved September 15 2022 via newspapers com Hyde Nina S November 13 1977 Comings and Goings at Studio 54 Fashion Notes The Washington Post p 135 ProQuest 146609042 Dunning Jennifer February 2 1979 Where To Fine The Latest Disco Steps The New York Times Archived from the original on September 15 2022 Retrieved September 15 2022 a b Light Alan October 5 2018 A History of Studio 54 This Time Told by the Quiet Partner The New York Times Retrieved September 23 2022 a b c d e Irish Anni April 7 2020 The Artistic and Cultural Legacy of Studio 54 Art amp Object Archived from the original on October 23 2021 Retrieved September 18 2022 Haden Guest 1997 p 124 Cochrane Lauren June 18 2018 Inside the real Studio 54 Sex balconies Liza Minnelli No hats the Guardian Archived from the original on September 15 2022 Retrieved September 15 2022 Riedel Michael March 10 1996 Those were the daze New York Daily News p 178 Archived from the original on September 15 2022 Retrieved September 15 2022 via newspapers com Oppenheim Carol September 6 1979 Studio 54 dances away its troubles Chicago Tribune pp 1 4 Archived from the original on September 15 2022 Retrieved September 15 2022 via newspapers com Haden Guest 1997 p 56 a b Haden Guest 1997 p 56 Weber Bruce July 10 2009 Robert Isabell Who Turned Events Into Wondrous Occasions Dies at 57 The New York Times Archived from the original on February 8 2013 Retrieved July 14 2009 Roth Robert March 3 1979 Disco Be My Valentine A Studio 54 Extra The Billboard Vol 91 no 9 pp 44 58 ProQuest 1286224143 Oppenheim Carol September 6 1979 Studio 54 dances away its troubles Chicago Tribune pp 1 4 Archived from the original on September 15 2022 Retrieved September 15 2022 via newspapers com Haden Guest 1997 p 113 a b c d e Robinson Katie April 27 2017 25 Incredible Photos of Celebrities Partying at Studio 54 photo of Woody Allen and Michael Jackson Town amp Country Archived from the original on July 24 2019 Retrieved April 9 2019 a b c d e f g h i Radcliffe Joe November 26 1977 Discos New Controversy Snares Studio 54 The Billboard Vol 89 no 47 pp 66 90 ProQuest 1286403654 Studio 54 owner looks back at partying with Rick James and others in new book New York Daily News August 27 2017 Archived from the original on July 17 2022 Retrieved September 17 2022 Cooper Leonie April 26 2017 On Studio 54 s 40th birthday check out these incredible photos of the disco paradise NME Archived from the original on July 2 2018 Retrieved September 17 2022 a b Valenti Lauren June 16 2018 Glitter Gold And Sequins Galore The 20 Most Iconic Looks From Studio 54 British Vogue Archived from the original on June 26 2018 Retrieved April 9 2019 Gia s Life Not a Model Success Story Movies Paramount has bought rights to the book on the glamour girl s life But handling the sensitive subject of a gay heroin addict who died of AIDS is bogging down the project Los Angeles Times June 3 1993 Archived from the original on September 22 2022 Retrieved September 18 2022 a b Hofler Robert 2010 Party Animals A Hollywood Tale of Sex Drugs and Rock n Roll Starring the Fabulous Allan Carr Hachette p 119 ISBN 9780306818943 a b c Feitelberg Rosemary August 16 2011 Behind the Studio 54 Door Women s Wear Daily Archived from the original on August 12 2020 Retrieved September 17 2022 Barrett Wayne March 5 1979 The Birthday Boy Roy Cohn is 52 at 54 The Village Voice Archived from the original on February 21 2022 Retrieved February 21 2022 Alice Cooper Remembers His Encounter with Salvador Dali AnotherMan April 4 2018 Archived from the original on April 9 2019 Retrieved April 9 2019 a b Morley Paul August 20 2009 Disco years Studio 54 and New York City in the 70s The Guardian Archived from the original on January 21 2021 Retrieved April 9 2019 Glasser Joyce June 20 2018 A riveting biopic of the legendary NYC disco club Mature Times Archived from the original on October 25 2021 Retrieved September 17 2022 a b c d e f Hooton Christopher May 31 2018 Studio 54 15 things we learned about the hedonists mecca from the new documentary The Independent Archived from the original on May 25 2022 Retrieved September 29 2019 a b c d e Platzer Robin July 14 2011 Party at Studio 54 with Betty Ford May 21 1979 Northwest Indiana Times Archived from the original on September 22 2022 Retrieved September 16 2022 Dowd Maureen April 20 2019 Tom Ford Fragrant Vegan Vampire The New York Times Archived from the original on August 12 2022 Retrieved September 16 2022 a b Cochrane Lauren May 29 2018 Cher Grace Jones and zipless dresses why Studio 54 still defines dancefloor dressing the Guardian Archived from the original on November 9 2020 Retrieved September 16 2022 Colacello Bob August 22 2017 Why Studio 54 Still Lives on in Our Imaginations Vanity Fair Archived from the original on August 11 2020 Retrieved August 22 2017 10 things we learned watching Studio 54 British GQ May 27 2018 Archived from the original on January 18 2022 Retrieved September 18 2022 a b c d e f g h i j k l Persson Hasse Loughran Kim 2014 Studio 54 Stockholm Sweden ISBN 978 91 7126 329 2 OCLC 898424693 a href Template Cite book html title Template Cite book cite book a CS1 maint location missing publisher link a b Studio 54 s Cast List A Who s Who of the 1970s Nightlife Circuit Vanity Fair September 4 2013 Archived from the original on August 4 2020 Retrieved September 13 2022 Burke Monte September 5 2013 Going Bankrupt At Age 25 Changed Tommy Hilfiger s Life For The Better Forbes Archived from the original on May 27 2022 Retrieved September 16 2022 a b c d e f g Wild Chris October 17 2014 Studio 54 The Star Magnet of the 1970s Mashable Archived from the original on April 4 2019 Retrieved April 9 2019 Aletti Vince November 26 2018 Fran Lebowitz Doesn t Dance Anymore The Paris Review Archived from the original on December 20 2021 Retrieved September 16 2022 originally in The Village Voice March 20 1990 a href Template Cite web html title Template Cite web cite web a CS1 maint postscript link Eckardt Stephanie July 15 2017 That Time Andy Warhol Kissed John Lennon and More Studio 54 Era Snapshots W Magazine Archived from the original on March 13 2022 Retrieved March 13 2022 a b Dool Steve October 9 2017 Disco and debauchery inside Studio 54 CNN Style Archived from the original on March 1 2019 Retrieved April 9 2019 One Night at Studio 54 Vintage Everyday April 25 2016 Archived from the original on April 8 2022 Retrieved September 17 2022 Gleick Elizabeth January 1 2015 Geraldo Rivera People Archived from the original on December 8 2015 Retrieved January 1 2016 Geraldo s Last Laugh New York December 14 1998 Archived from the original on December 8 2015 Retrieved January 1 2016 Brooke Shields Late Night with Jimmy Fallon Interview NBC February 7 2011 Archived from the original on August 20 2011 Retrieved November 1 2016 Interview Tallulah Red Bull Music Academy Daily June 22 2016 Archived from the original on June 18 2022 Retrieved September 17 2022 DJ Tallulah The Times April 8 2008 Archived from the original on January 18 2022 Retrieved September 17 2022 Kelsey Colleen Kaiser Charles June 19 2012 New Again Alec Baldwin Interview Magazine Archived from the original on November 25 2018 Retrieved April 9 2019 Haden Guest 1997 p 208 a b Lane Robert May 22 1977 Cops Raid New Disco Teach Stars the Scram New York Daily News p 243 Archived from the original on September 15 2022 Retrieved September 15 2022 via newspapers com a b Blau Eleanor May 22 1977 Liquor Authority Head Stops Discotheque s Music The New York Times Archived from the original on September 15 2022 Retrieved September 14 2022 a b Haden Guest 1997 p 74 Discos N Y Studio 54 Reopened After Licensing Shutdown The Billboard Vol 89 no 22 June 4 1977 p 54 ProQuest 1286415783 Discos Studio 54 In N Y Resumes Liquor Sales The Billboard Vol 89 no 41 October 15 1977 p 62 ProQuest 1286211529 Haden Guest 1997 p 76 Raab Selwyn November 15 1977 S L A Head Criticizes Judge on Studio 54 License The New York Times Archived from the original on September 15 2022 Retrieved September 15 2022 a b Gilgoff Henry June 1 1978 Discotheque Challenged On Fire Code Violations Newsday p 24Q ProQuest 964374699 a b General News Studio 54 Hearing Due The Billboard Vol 90 no 26 July 1 1978 p 49 ProQuest 1286399546 General News ASCAP Suing N Y Studio 54 The Billboard Vol 90 no 33 August 19 1978 p 8 ProQuest 1286277384 Roth Robert November 18 1978 Financial ASCAP Signs Studio 54 The Billboard Vol 90 no 46 p 8 ProQuest 1286324917 Disco NLRB Complaint Vs Studio 54 The Billboard Vol 91 no 5 February 3 1979 p 40 ProQuest 1286384714 a b Sanders D J Singleton Donald December 16 1978 Skim scam tip led feds to raid Studio 54 New York Daily News p 5 Archived from the original on September 15 2022 Retrieved September 15 2022 via newspapers com a b Haden Guest 1997 pp 130 131 Kihss Peter December 15 1978 I R S Raids Studio 54 5 Ounces of Cocaine Seized The New York Times Archived from the original on September 15 2022 Retrieved September 15 2022 a b Haden Guest 1997 p 132 Gupte Pranay December 16 1978 Studio 54 Inquiry Termed Far Ranging The New York Times Archived from the original on September 15 2022 Retrieved September 15 2022 a b Haden Guest 1997 p 143 a b c Kennedy John November 3 1979 Studio 54 Owners Plead Guilty To Income Tax Evasion Charges The Washington Post p A8 ProQuest 147120062 Haden Guest 1997 p 134 Taubman Philip August 25 1979 Jordan Under Inquiry on Cocaine He Denies the Report by Studio 54 The New York Times Archived from the original on September 15 2022 Retrieved September 15 2022 Disco Studio 54 In N Y Is Expending 1 2 Million For Its Refurbishing The Billboard Vol 91 no 47 November 24 1979 p 51 ProQuest 1505932394 a b The City 2 Studio 54 Owners Admit Tax Evasion Wrong Man Shot By Officer in Holdup State Guard Held In Shooting at Bar Drug Program Audit The New York Times November 3 1979 Archived from the original on September 15 2022 Retrieved September 15 2022 Famed US disco may lose licence New York Dec 1 South China Morning Post December 2 1979 p 6 ProQuest 1533622727 Lubasch Arnold H January 19 1980 Two Studio 54 Owners Are Given 3 Years for Evading U S Taxes No Appeal Is Possible 2 Studio 54 Owners Get 3 Years The New York Times Archived from the original on December 14 2021 Retrieved December 14 2021 Studio 54 Owners Sentenced to Jail Newsday January 19 1980 p 10 Archived from the original on September 15 2022 Retrieved September 15 2022 via newspapers com Haden Guest 1997 pp 146 147 Parker Jerry February 4 1980 Early to bed for Studio 54 owners Newsday p 103 Archived from the original on December 14 2021 Retrieved December 14 2021 via newspapers com The City State Urges Censure Of Civil Court Judge Boy 3 Is Killed In a Fire in Queens Owners of Studio 54 Begin Prison Terms Fiumara s New Jury The New York Times February 5 1980 Archived from the original on September 15 2022 Retrieved September 15 2022 Studio 54 s Ex owners in New York to Finish Sentences in Tax Case The New York Times February 1 1981 Archived from the original on May 24 2015 Retrieved September 16 2022 a b Nir Sarah Maslin January 19 2017 On Obama s Pardon List A Hotel Magnate Who Owned Studio 54 The New York Times Archived from the original on June 16 2022 Retrieved September 15 2022 Rule Sheila February 28 1980 Studio 54 Is Rejected By State on Renewal Of Its Liquor License One Man Raid in 1977 The New York Times Archived from the original on September 15 2022 Retrieved September 15 2022 Studio 54 Loses Its Liquor License Los Angeles Times February 28 1980 p 9 Archived from the original on September 15 2022 Retrieved September 15 2022 via newspapers com Studio 54 Switches From Liquor to Punch Newsday March 2 1980 p 18 Archived from the original on September 15 2022 Retrieved September 15 2022 via newspapers com a b Poster Tom March 2 1980 54 s studious lawyers looking to clean house New York Daily News p 4 Archived from the original on September 15 2022 Retrieved September 15 2022 via newspapers com The City 3 More Inmates Escape at Rikers Ex Owner Fined In Studio 54 Case Flyer Is Acquitted In Extortion Trial Man and Woman Shot to Death Subway Riders Aid Police in a Capture The New York Times March 4 1980 Archived from the original on September 15 2022 Retrieved September 15 2022 The City Subway Offender Slain on D Train State Inquiry Asked Over Foster Care Sale of Studio 54 Under Negotiation The New York Times March 29 1980 Archived from the original on September 15 2022 Retrieved September 15 2022 a b c Studio 54 s jailed owner offers disco for 5 million The Austin American Statesman March 30 1980 p A2 ProQuest 2215368335 a b Radcliffe Joe August 22 1981 General News Studio 54 Sets Reopening In N Y Under New Owner The Billboard Vol 93 no 33 pp 6 47 ProQuest 1286352965 a b Personal Appearance Eatery Magnate Buys Studio 54 For 5 Mil Variety Vol 298 no 9 April 2 1980 p 83 ProQuest 1438308219 a b Radcliffe Joe April 12 1980 Discos Studio 54 Sold For 5 Mil The Billboard Vol 92 no 15 p 39 ProQuest 1286438355 a b Personal Appearances Studio 54 Re Lit In V I N Y Club Awaits Permit Stein Suit Settled Variety Vol 299 no 2 May 14 1980 p 131 ProQuest 1286416315 Radcliffe Joe May 24 1980 Disco Business New N Y Studio 54 Will Feature Live Concerts The Billboard Vol 92 no 21 p 41 ProQuest 1286363679 Personal Appearances Studio 54 Re Lit In V I N Y Club Awaits Permit Stein Suit Settled Variety Vol 299 no 2 May 14 1980 p 131 ProQuest 1438310081 Radcliffe Joe June 6 1981 Disco Business Studio 54 Is Regaining Popularity The Billboard Vol 93 no 22 pp 71 72 ProQuest 1286412254 Reality News Studio 54 The New York Times August 30 1981 Archived from the original on April 7 2020 Retrieved December 14 2021 a b c Duka John August 25 1981 Notes on Fashion The New York Times Archived from the original on January 26 2018 Retrieved September 16 2022 a b c Studio 54 dim watted opening Rolling Stone No 354 October 15 1981 p 38 39 ProQuest 2686003281 Zito Tom September 17 1981 The Seen Scene New York s Studio 54 Rises From the Ruins The Seen Scene s Back The Washington Post p C1 ProQuest 147253265 a b Stars Dance as Studio 54 Reopens With Lightning Thunder Los Angeles Times September 16 1981 p 10 Archived from the original on September 22 2022 Retrieved September 16 2022 via newspapers com a b c Haden Guest 1997 p 206 Haden Guest 1997 p 205 Foti Laura January 16 1982 Video Video Taking Hold At New York Discotheques The Billboard Vol 94 no 2 pp 32 42 ProQuest 1286393999 Haoui Montaug Disco Doorman 39 The New York Times June 12 1991 p 25 Archived from the original on September 18 2022 Retrieved September 16 2022 Loverro Thom 2006 The rise amp fall of ECW extreme championship wrestling London Pocket p 14 ISBN 978 1 4165 1058 1 OCLC 159489722 Hattenstone Simon October 25 2015 Drew Barrymore My mother locked me up in an institution at 13 Boo hoo I needed it The Guardian Archived from the original on October 25 2015 Retrieved September 22 2022 Haden Guest 1997 p 209 Coakley Michael January 23 1983 Rubin s radical route to wealth Chicago Tribune pp 213 216 Archived from the original on September 22 2022 Retrieved September 16 2022 via newspapers com cite, wikipedia, wiki, book, books, library,

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