Theatres in Movies post for a view of the Ivar Theatre and a shot down Hollywood Blvd. Kagan, Kandice Stroh, Scott Baio, Sally Kellerman, Randy Quaid and Lois The film aboutĭrugs, sex and growing up in L.A. It's unknown where that sequence was shot. But none of it is identifiable as the Shrine. We get lots of shots in a parking lot, a lobby area, and of a group The film about a piano competition stars Richardįriends say they're going to a concert at the Shrine Auditorium inĪdrian Lyne's "Foxes" (United Artists, 1980). The Shrine was used for the Joel Oliansky film "The Competition" Theatres in Movies post for shots from the film. Earlier in the film Goldie has a bad experience at a movieĪt the Nuart. Here we're lookingĭown into the wingspace stage left. Some of the backstage shots were done at the Shrine. (Paramount, 1978) is set at San Francisco's War Memorial Opera House but Some copy appearing with an auditorium photo in the January 1979 issueĪ chase near the end of the Goldie Hawn / Chevy Chase film "Foul Play" It hasn't been played since perhaps 2016. Stage level and be rolled backstage for storage. There's a scissor lift at the house left end of the pit so the console can come up to Pipe Organ: It's a 4/78 Moller concert organ. Thanks to Mike Hume for finding the article. Sanborn was a partner in Holmes and Sanborn, the project's electrical engineering firm. The wonders of the great stage as well as other interesting data about the building's electrical installation were detailed in " Electrical Equipment of the World's Largest Stage,"Īn article by C.A. The Music Hall stage at 144' x 66.5' is smaller than the Shrine's but much more elaborately equipped. Radio City Music Hall, opened in 1932, has the same proscenium width but theirs has a height of 60'. At the time of construction it was touted as having the largest indoor stage in the world. The stage is 192' wall to wall and 72' deep. Stage Dimensions: The proscenium is 100' wide x 36' high. Its seating capacity ranks it the largest historic theatre in the country, ahead of Radio City Music Hall and the Fox Theatres in Detroit and St. Variety listed its capacity in a 1928 article as 6,457. area include the 1911 Orpheum Theatre (now called the Palace), the 1926 Orpheum Theatre, and the auditoriums for the El Capitan Theatre and Wiltern Theatre. Albert Lansburgh, the gentleman who designed theĪuditorium itself as well as determining the look of the facade. Main, a venue later known as the Follies.Ĭornerstone makes no mention of G. and in 1904 the Belasco Theatre at 337 S. Edelman, who was around until 1941, had in 1903 done the Empress Theatre at 344 S. architect but with no theatre experience. Only Austin's name was on the construction fencing and in at least one article about the building he's listed as the sole architect. In the southwestĬorner of the basement is the Grace Dee May Museum.Īrchitects: John C. Off the 3rd floor lobby is now the Shrine Museum. Halls and a vast exposition hall to the north. In addition to the auditorium, the complex includes various basement Website: | history/photo gallery | Al Malaikah Shriners website | In 1931 it was being advertised as the Shrine Civic Auditorium. It was first known as the Los Angeles Civic Auditorium. The $2.5 million for the new building was raised from public subscriptions as well as contributions from Shrine organizations. Scroll down lower on this page for views of this earlier building. This was a replacement for a 1906 vintage Shrine Auditorium at 649 W. We're looking at the west facade, facing Royal St. 2018 aims to be her biggest yet, as she returns to Coachella the highest billed female DJ in the history of the festival and releases her anticipated sophomore album, Awake.Opened: January 23, 1926. 2017 saw Alison crowned ‘Best New Artist’ at the inaugural Electronic Music Awards and her remix of Dua Lipa’s “New Rules” went #1 on the Billboard Dance charts. In 2015, Alison Wonderland released her debut album, Run, which went gold in Australia and launched her international career along with her U.S. Learning to DJ and produce, she gained popularity for her night club sets and remixes in the Australian dance scene. Honed by years of playing headline shows and festival slots (Coachella, EDC, Lollapalooza), it comes as both a natural evolution from her 2015 debut Run and an exhilarating step forward.Īs a classically trained cellist in the Sydney Youth Orchestra, Alison made her transition into the dance world in 2009. A mix of digital-pop and incendiary beats, her second album sees the Sydney-born, L.A.-based singer, producer and DJ blaze new territory -sonically, vocally, emotionally. Rise and shine, Alison Wonderland is back with her brand new album, Awake.
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