Elgin Theater

Elgin Theater was a movie theater at the corner of West 19th Street and Eighth Avenue in the Chelsea neighborhood of Manhattan, New York City. It opened in 1942 as a 600-seat first-run cinema in an Art Moderne building designed by architect Simon Zelnik, with interior and visual design work by Winold Reiss. Although it began as a conventional commercial movie house, its programming identity changed substantially in the 1950s, when it presented Spanish-language films, and again in the late 1960s under manager Ben Barenholtz. Barenholtz took over management in 1968 and reshaped the theater as a repertory and art-film venue. The Elgin presented revivals of classic Hollywood films alongside experimental and underground work associated with filmmakers including Jonas Mekas, Kenneth Anger, and Andy Warhol. It also became a platform for directors who were then at an early stage of their careers, including Jonathan Demme and Martin Scorsese. Together with other New York revival houses such as the Thalia and the Symphony, the theater formed part of the city's broader revival-cinema culture, attracting audiences interested in film history, avant-garde work, and movies that were not widely available through mainstream theatrical distribution. The Elgin is especially associated with the development of midnight-movie programming. On December 18, 1970, it began a midnight presentation of Alejandro Jodorowsky's surrealist western El Topo. The film had premiered at the theater the previous day and then played continuously seven days a week until late June 1971. The experiment helped establish late-night film screenings as a repeatable exhibition format. Barenholtz later described the idea as initially being dismissed by industry professionals, but the format quickly spread to theaters in cities across the United States. The Elgin's midnight schedule became closely connected with cult-film culture and helped turn unusual or controversial films into recurring communal events. Around 1975, Steve Gould and Chuck Zlatkin joined Barenholtz in managing the theater. The venue continued to emphasize repertory and alternative programming, although its business circumstances became increasingly difficult. In March 1977, owner Roger Euster evicted Gould and Zlatkin over unpaid rent reported as $21,393 and immediately leased the venue to Tel-a-Gay, a producer and exhibitor of gay films. The resulting all-gay-pornography program prompted protests and picketing by local community groups. The theater closed the next day, and later discussions between Euster, Tel-a-Gay president William Perry, and community representatives produced an agreement to restore the previous programming format on a trial basis. The theater also began presenting rock-music and related live programs in May 1977. These events were produced by Bleu Ocean and generated local complaints about noise. By late 1978, the Elgin had stopped operating as a movie theater and was offered for sale. The building was purchased in early 1979 by the Eliot Feld Ballet, with financial support from philanthropist LuEsther Mertz. After a major renovation, it reopened in 1982 as the 472-seat Joyce Theater, named in honor of Mertz's daughter. The conversion ended the Elgin's identity as a cinema but preserved the building as a performance venue under a new institutional and artistic mission.

The Elgin Theater opened in 1942 on the corner of West 19th Street and Eighth Avenue in Chelsea, Manhattan. The building was designed in the Art Moderne style by architect Simon Zelnik, with design work by Winold Reiss, and originally contained 600 seats. It began as a first-run movie theater, serving the conventional commercial cinema market of its period. During the 1950s and up to 1965, it developed a more distinctive linguistic and cultural profile by presenting Spanish-language films. A decisive change came in 1968, when Ben Barenholtz assumed management. He turned the Elgin into a repertory and art-film house, using its screen for a wide range of material that mainstream theaters generally did not show. Its programs included revivals of classic Hollywood films, experimental films by figures such as Jonas Mekas, Kenneth Anger, and Andy Warhol, and work by emerging filmmakers including Jonathan Demme and Martin Scorsese. The theater became part of a broader New York revival-cinema scene that also included the Thalia and the Symphony. Its appeal rested on curation and discovery rather than on a narrow commercial release schedule. The Elgin's most enduring contribution to exhibition history was its role in popularizing midnight movies. Alejandro Jodorowsky's El Topo premiered at the theater in December 1970, followed by a midnight run that continued seven days a week until the end of June 1971. The program demonstrated that audiences could be organized around late-night screenings of unusual, cult-oriented, or controversial films. The concept subsequently spread to theaters across the United States. Some accounts also associate the theater's earlier midnight-movie culture with Kenneth Anger's Invocation of My Demon Brother, but El Topo is the event most directly identified with the format's breakthrough at the Elgin. Around 1975, Steve Gould and Chuck Zlatkin joined Barenholtz in managing the venue. The programming continued to combine repertory cinema, art films, and unconventional work. In May 1977, the theater broadened its activities by adding rock concerts and related live events produced by Bleu Ocean. These programs attracted complaints from nearby residents about noise, adding another source of local tension as the cinema's financial position deteriorated. On March 20, 1977, owner Roger Euster evicted Gould and Zlatkin for non-payment of rent reported at $21,393. Euster then leased the theater to Tel-a-Gay, a gay-film producer and exhibitor. Tel-a-Gay introduced an all-gay-pornography program on March 21, provoking immediate protests and picketing by community groups. The theater closed the following day. Later in the week, Euster and Tel-a-Gay president William Perry met with representatives of the protesting groups and agreed to restore the former programming approach on a trial basis to determine whether the theater could remain financially viable. By late 1978, the Elgin had ceased showing films and was placed on the market. In early 1979, the Eliot Feld Ballet acquired the building with the intention of creating a smaller dance venue. Philanthropist LuEsther Mertz underwrote the purchase at a reported cost of $225,000. After a full renovation, the building reopened in 1982 as the Joyce Theater, a 472-seat dance venue named in honor of Mertz's daughter. The conversion ended the Elgin Theater's life as a cinema, while allowing the physical site to continue operating as a New York performance venue under a different institutional identity.

• 1982

  Reopening as the Joyce Theater

  [1]Elgin Theateren.wikipedia.org

  After renovation, the building reopened as a 472-seat dance theater and no longer operated under the Elgin name.

• 1979

  Acquisition for conversion to a dance venue

  [1]Elgin Theateren.wikipedia.org

  The Eliot Feld Ballet purchased the building with support from LuEsther Mertz and planned a new use for smaller dance companies.

• 1977

  Programming dispute and community protests

  [1]Elgin Theateren.wikipedia.org

  A rent dispute was followed by a short-lived all-gay-pornography program, protests, closure, and an agreement to attempt a return to earlier programming.

• 1975

  New management partnership

  [1]Elgin Theateren.wikipedia.org

  Steve Gould and Chuck Zlatkin joined Ben Barenholtz in operating the theater.

• 1970

  Breakthrough of midnight-movie programming

  [1]Elgin Theateren.wikipedia.org

  The Elgin began its celebrated midnight run of El Topo, helping establish late-night cult-film exhibition.

• 1968

  Repositioning as a repertory and art-film venue

  [1]Elgin Theateren.wikipedia.org

  Ben Barenholtz took over management and introduced a varied program of revivals, experimental films, and emerging filmmakers.

• 1965

  End of the Spanish-language cinema period

  [1]Elgin Theateren.wikipedia.org

  The theater's extended presentation of Spanish-language films concluded after a run that began in the 1950s.

• 1942

  Opening as a 600-seat cinema

  [1]Elgin Theateren.wikipedia.org

  The Art Moderne theater opened at West 19th Street and Eighth Avenue as a first-run movie house.

A culturally influential New York repertory and art-film cinema known for unconventional programming and for pioneering the midnight-movie format.

• Movie exhibition · 1942

  First-run cinema

  The Elgin opened as a conventional first-run movie theater in 1942, with an auditorium seating approximately 600 people. Its initial business model centered on showing current commercial film releases to Manhattan audiences.

• Specialty film exhibition · 1950

  Spanish-language cinema

  From the 1950s through 1965, the theater presented Spanish-language films. This programming gave the venue a distinct cultural and linguistic focus before its later transformation into a repertory and art-film house.

• Repertory cinema · 1968

  Repertory and art-film program

  Beginning under Ben Barenholtz's management in 1968, the Elgin showed classic Hollywood revivals, experimental films, underground works, and films by emerging directors. The program positioned the theater as a discovery-oriented alternative to mainstream exhibition.

• Late-night film exhibition · 1970

  Midnight movies

  The Elgin's midnight screenings became its best-known offering. The extended run of El Topo beginning in December 1970 demonstrated the commercial and cultural potential of recurring late-night screenings for cult, surrealist, experimental, and otherwise unconventional films.

• Live entertainment · 1977

  Rock and allied live events

  In 1977, the venue added two-set rock concerts and related acts produced by Bleu Ocean. The expansion diversified the theater's use but also generated neighborhood complaints about sound and nighttime activity.

• 1977

  Tel-a-Gay programming controversy

  After a rent dispute led owner Roger Euster to replace the theater's managers, Tel-a-Gay introduced an all-gay-pornography program. Local groups immediately protested and picketed the venue, which closed the next day. Discussions later produced a trial agreement to restore the theater's prior repertory format.

  Source

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• 1979

  Conversion from cinema to dance theaterStrategy

  Background

  After the theater stopped showing films and was offered for sale, the Eliot Feld Ballet sought a venue for smaller dance companies.

  Action taken

  The building was acquired and renovated for dance presentations, later reopening as the Joyce Theater.

  Aftermath

  The Elgin brand ceased operating as a movie theater, while the building continued as a performing-arts venue.

  Reported purchase price. $225,000 (1979)

  Source

• 1977

  Addition of live music programmingStrategy

  Background

  The theater was seeking additional uses and sources of activity while continuing to show films.

  Action taken

  It began presenting rock concerts and related acts in two-set evening programs produced by Bleu Ocean.

  Aftermath

  The concerts prompted local noise complaints and were part of the theater's increasingly contested final period.

  Source

• 1970

  Introduction of recurring midnight screeningsProduct launch

  Background

  The theater sought new ways to present films outside standard release schedules.

  Action taken

  It launched a midnight presentation of Alejandro Jodorowsky's El Topo, which continued daily for several months.

  Aftermath

  The program helped popularize midnight movies and influenced late-night film exhibition throughout the United States.

  Source

• 1968

  Shift to repertory and art-film exhibitionStrategy

  Background

  The theater moved away from a conventional first-run identity under manager Ben Barenholtz.

  Action taken

  It introduced programs combining classic-film revivals, experimental cinema, underground works, and films by emerging directors.

  Aftermath

  The Elgin became an influential New York venue for revival cinema and alternative film culture.

  Source

1. 1Elgin Theateren.wikipedia.org