Robin Johnson

I’m breaking my rule of one picture per post again, but these are so similar to each other it seemed silly to stretch them out over three posts. These are the last of the Kodak 8 x 10’s: three shots of Robin atop the Times Square Theater marquee. In the first one, you can see not only Robin’s safety cable, but Trini’s as well, along with a couple crew members keeping an eye on them. You might think it’s JoJo and Simon from WJAD, but in the film they can be clearly seen sitting on the Apollo Theater’s marquee with the Blondells. These guys are production safety deputies.
 

The Times Square Theater seems to be cursed. It’s the one property on New 42nd Street that no one has been able to do anything with. Plans are continually being made, a tenant is announced, and then nothing happens. At least the facade is visible now; for years it was completely hidden behind a canvas shroud announcing the opening of a Marc Ecko store, which needless to say never opened. At the heart of Times Square is the plan by Pammy’s father to clean up Times Square, and that actually happened less than ten years later… now, every property in Times Square is actively serving a thriving tourist trade… except the Times Square Theater, which remains empty.

In my opinion, its best use would be as an Alamo Drafthouse, screening the kind of repertory films that used be in small theaters all over the city until the little cinemas that showed them closed one by one. But odds are there’s no way to make such a venture sufficiently profitable in that space, since it apparently isn’t sufficiently profitable in no end of less desirable properties. Part of the problem is that apparently the Times Square Theater has no back entrance; directly behind it, along 43rd Street, was the auditorium of the Apollo Theater (now the Lyric), whose entrance ironically ran through the front of the Times Square Theater (confused yet?). What this means is, the only way to load in and out is through the front on 42nd Street, making it very difficult to work with, especially as a performance venue. (All this information comes from the Wikipedia pages for the Times Square and Apollo Theaters, and the sources linked there as references.)
 

With that in mind… towards the end of the film, Pammy drags Nicky out of the radio station (to the faint strains of “Help Me!”), and around the block to the rear entrance to her father’s offices. This is quite clearly on 43rd Street, where it should be; behind them we can see the sign of the Strand Hotel which was located at 206 West 43rd Street. Later we get a clear shot establishing that the “Times Square Renaissance” project has taken over the Apollo Theater, so the door Pammy and Nicky go in does indeed lead into the Apollo. The Blondells and the WJAD people load in the Blondells’ equipment through a pair of large theater doors that are not the door Pammy got in through, and are not on 42nd Street, so it’s safe to assume they’re the main theater exit from the Apollo (the kind of doors the Times Square Theater does not have), and they go through the Pearl offices and up to the Apollo’s marquee. But how did Nicky and Pammy get into the Times Square theater next door, unseen by the growing crowd in the street, and at what point did JoJo or Simon… well, there was room for a great
little shot where someone setting up equipment on the Apollo marquee tosses a wired microphone over to the Times Square marquee.

No, despite the Apollo’s lobby running through the Times Square’s facade, these are two separate buildings, only one of which opens onto 43rd Street. While there may possibly be some emergency door between the two, really the only way Pammy and Nicky could get to the Times Square Theater’s marquee is with the magic powers they used during their escape through the Adonis Theater, materializing from roof to roof and walking through buildings that are next to each other but not actually connected.
 

Or, maybe I should “just repeat to yourself ‘It’s just a show, I should really just relax.'” But where’s the fun in that?
 

And now, the closest frames from the film.

 

One last thought… Nicky first appears out of a crowd of people, walking west on 42nd Street, right in front of the Times Square Theater and past the entrance to the Apollo. At the end of the film, she leaps from the marquee of the Times Square Theater, heads west on 42nd, and disappears into a crowd of people just past the entrance to the Apollo. This is of course because Nicky doesn’t really exist: she’s a spirit of the city, a personification of the visceral life in 42nd Street Johnny is always talking about, called into being to help Pammy, and when her job is done vanishing back into the street until she’s needed again. I need more sleep.