The theater opened in 1942. The architect of the Art Moderne style structure was Simon Zelnik.[1] Winold Reiss was the designer.[citation needed] When it opened, the theater had 600 seats.
The Elgin opened as a first-run cinema. In the 1950s through 1965 it presented Spanish-language cinema.[2][3]
In 1968, Ben Barenholtz assumed management of the theater and converted it to a repertory and art film house. The Elgin soon became noted for the innovation and variety of its programming, which ranged from revivals of classic Hollywood films; experimental works by Jonas Mekas, Kenneth Anger, and Andy Warhol; and films by then-emerging directors such as Jonathan Demme and Martin Scorsese.[4] Around 1975, Steve Gould and Chuck Zlatkin took over management of the theater in partnership with Barenholtz and continued similar programming.[5]
With the midnight screening of Alejandro Jodorowsky's surrealist western El Topo on December 18, 1970, the Elgin became the first theater to show midnight movies.[6] Barenholtz recalled, "I was told by the experts: 'Who's going to come see a film at midnight? You're out of your mind.' But within two years, there wasn't a city in the country that didn't have a midnight movie going."[7]El Topo premiered at The Elgin on December 17, 1970 and ran continuously seven days a week until the end of June 1971.[8] Author Gary Lachman claims that the film Invocation of My Demon Brother (1969) "inaugurat[ed] the midnight movie cult at the theater."[9][10]
The theater was part of an efflorescence of revival cinema in New York City during this period. The New York Times' film critic Vincent Canby observed, "There is a heaven for movie buffs and it could be here and now thanks to The Elgin, The Thalia, The Symphony and all those other houses that occasionally recall the past."[11]
In May 1977, while continuing to present film, the theater began to mount programs of rock music and allied acts. These two-set evenings were produced by Bleu Ocean. There were local objections to noise from the concerts.[12]
Gay pornography controversy
On March 20, 1977, Roger Euster, the owner of the Elgin, evicted his tenants, Gould and Zlatkin, for non-payment of rent totaling $21,393. He immediately signed a lease with Tel-a-Gay, a producer and exhibitor of gay films, who launched an all-gay-pornography program on March 21.[13] The change inspired immediate protests by local citizens groups and picketing in front of the theater. The theater shut its doors the following day. Later that week, Euster and Tel-a-Gay President William Perry met with the community groups. They agreed to return the theater to its previous programming format on a trial basis to see if the operation could be sustained on the income.[14]
By late 1978, the theater had stopped showing films and was for sale. It was purchased in early 1979 by the Eliot Feld Ballet with the intention of converting it to a theater for smaller dance companies.[15] The building reopened in 1982 as the 472-seat Joyce Theater. Philanthropist LuEsther Mertz underwrote the purchase of the theater in 1979, at a cost of $225,000. The renovated facility was named for her daughter, Joyce, to honor this contribution.[16]
^Davis, Ben; Owners of the Elgin (2000). "Children of the Sixties: An Interview with the Owners of the Elgin". Film Quarterly. 53 (4): 4. doi:10.2307/1213747. JSTOR1213747.
^Davis, Ben; Owners of the Elgin (2000). "Children of the Sixties: An Interview with the Owners of the Elgin". Film Quarterly. 53 (4): 4. doi:10.2307/1213747. JSTOR1213747.
