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The Egyptian Theatre pages: an overview | Hollywood Blvd. views 1922-1954 | Hollywood Blvd. 1955-present | forecourt | lobby - earlier views | lobby - recent views | auditorium - earlier views | auditorium - recent views | booth | backstage | structural + 2021 renderings | Egyptian 2 & 3 | along Las Palmas Ave. | along McCadden Place |
Vintage photos:
Sid
Grauman atop the console and Douglas Fairbanks at the keyboard during
the theatre's construction. It's a photo from the Wurlitzer Company
that's now in the Smithsonian's
National Museum of American History collection. The photo also appears on the
Digital Public Library of America site. Thanks to organ historian Eric Schmiedeberg for spotting it.
That's the inner proscenium column behind Doug's head and a bit the painted traveler that we see in another photo behind Sid. Sid's feet are pointing at the shelf below stage
level that the asbestos
curtain would rest on when it came in. This layout was soon modified. In the lower left is a bit of the track for a fire door in the pit that would close off stairs down to the basement.
Doug and Sid singing to a cat. This shot, presumably taken by Joseph C. Milligan, is now on display in the theatre's lobby. It's from the collection of the Academy of Motion Picture Arts and Sciences Margaret Herrick Library.
The photo also makes an appearance on the website for the book "
Douglas Fairbanks: The Fourth Musketeer" by Ralph Hancock, Letitia Fairbanks and Kelley Smoot (Rowan &
Littlefield, 2019). There's a preview on
Google Books. It was originally published by Henry Holt in
1953. The 2019 edition was augmented with many additional photos, including this one on page 189.
Sid and Doug pretending to work as seat installers. It's a photo by J.C. Milligan that Netflix has included in their lobby display. The headline on the copy of the Los Angeles Express in the background: "Extra: Bill Hart Threatens To Shoot Wife's Attorney." Also see
a smaller but less cropped version that appears on page 188 of the 2019 edition of "
Douglas Fairbanks: The Fourth Musketeer."
While the book doesn't credit the photographer, they do note that their copy of the image came from the AMPAS Margaret Herrick Library. A detail from the photo was used in an ad for
American Seating that appeared in the April 14, 1923 issue of Motion Picture News. Milligan's 1922 city directory listing advertises him as "Commercial,
Flashlight, Publicity and View Photographer." His business was located
in the Mason Opera House Building.
"'Doug' Fairbanks and Sid Grauman pose with one of the Egyptian mummies, which form a decorative feature of Grauman's new theater, thrown open to the public last night. Need we say 'Doug' is the figure on the left revealing a row of ivories and Sid is the gentleman with the slightly disheveled hair on the right?..."
A look at the desert ruins appearing on the asbestos. Note how low the bottom of the curtain was in the original layout -- it was below stage level. Thanks to
Comfortably Cool for locating this image by an unknown photographer for a
post on
Cinema Treasures. One use of the photo was to illustrate a
Wurlitzer ad. Thanks to Ron Mahan for scanning the copy in his collection.
A look across from house left with the asbestos curtain in view. The photo appears on the
USC Digital Library
website in a version from an unnamed publication that also listed many of
the contractors and suppliers. It's also one of many photos
in the March 1923 article about the Egyptian in
Architect and Engineer. A cropped version of the photo is in the
Los Angeles Public Library collection.
A 1922 look across the house. Note the ornately painted traveler. Here toward the back of the main floor you think there's a balcony overhead if you don't know the theatre. Like at the Chinese, it's actually just the booth and several private viewing areas.
The photo appeared with "
A Theater Designed in the Egyptian Style," an article by Frederick Jennings in the March 1923 issue of Architect and Engineer. It included a discussion of structural and mechanical systems design along with photos and a floorplan. It's on Internet Archive. There's also a version of the photo in the
New York Public Library collection.
Meyer & Holler's ground floor plan for the Egyptian. It appeared in the March 1923 issue of Architect and Engineer. Thanks to Mike Hume for this version, which appeared in Volume 1 (1927) of "American Theatres of Today" by R.W. Seton and B.F. Betts. The two volume work was reissued in 2009 as a single volume by the Theatre Historical Society. It's available on
Amazon.
A section view that appeared in "American Theatres of Today" Mike has the two plans as well as several photos from the book in pdf format on the page about the Egyptian on his Historic Theatre Photography site.
Seating Capacity:
1,742 - originally -- all on one level
1,538 - after a re-seating in the late 40s
1,318 - following the 1955 TODD-AO renovations
1,340 - after the 1968 D-150 renovations
616 - after the 1998 American Cinematheque renovations -- plus a 78 seat theatre in space excavated at the rear of the auditorium.
540 - the expected capacity after the Netflix renovations
Screen size: The screen size after the 1997-1998 American Cinematheque renovations was 27' x 53'. It was flat. See the
backstage page for some stage data and information on earlier screen installations.
A rare proscenium postcard of the Egyptian from Brian Michael McCray's Hollywood Postcards collection. His 400+ cards used to be on Picasa until Google decided to "retire" that platform. Thanks, Brian! Presumably the scenery we're seeing is from one of the Grauman prologues.
By this time they had extended the stage forward a bit, filling in the
lower shelf in front of the foots that the asbestos originally had rested on. After this modification, the asbestos would just come in to stage level, as in a normal installation. Note the temporary platform on the centerline extending the stage out into the pit. This would have been in the way of the asbestos with the original stage front configuration.
A sunburst detail from the Mott Studios photo above.
The top of the proscenium.
The house left proscenium columns. It's another detail taken from the Mott photo.
The lighting of the auditorium was discussed in "Life o' the Show-House: Light,"
an article by Nellie Barnard Parker from the publication "Light" that
was reprinted in the February 19, 1927 issue of
Exhibitors Herald.
In addition to discussing the Egyptian's forecourt, the article also
covers the Orpheum, Carthay Circle and Forum theatres. Thanks to Mike
Hume for finding it on
Internet Archive. See the page about the Egyptian on his
Historic Theatre Photography site for more of his research and photos. Ms. Parker comments on the auditorium:
"...The playhouse is a replica of a palace of ancient Thebes.
Hieroglyphics and symbols abound, clearly discernible under proper
lighting. The main luminaire -- a behemoth among fixtures -- is of
Egyptian design in colors of gold with golden iridescent rays emanating
from an ingenious system of concealed lighting, giving the effect of a
colored sunburst. About 3,000 colored lamps give a magical, mystical
beauty to this theatre and during the prologues the color effects are
marvelously alluring."
A c.1923 Mott Studios detail of the sidewall treatment and the singer's box house right near the proscenium. It's in the
California State Library collection.
A Mott Studios detail focused on that figure just to the left of the singer's box. It's in the
California State Library collection.
A c.1923 Mott Studios look at the auditorium sidewall and the singer's box. It's in the
California State Library collection.
A similar rear corner view but with the photographer's floods off and the back wall and singer's box uplights on. The photo appeared in "American Theatres of Today" (1927).
A c.1923 Mott Studios photo of the rear of the auditorium from the
California State Library collection.
A look at the Egyptian end standards. And note the wire hat racks under the seats. It's a detail from the Mott Studios photo.
A soffit detail from the Mott Studios photo.
Another soffit detail from the Mott photo.
A sidewall detail from the Mott photo.
Another look at that figure on the sidewall to the left of the Egyptian style fire hose cabinet. It's an undated photo in the
Los Angeles Public Library collection. Perhaps in the 40s? Things are looking a bit worn.
A pre-opening view of the rear of the auditorium from the newspaper Holly Leaves appearing on October 27, 1922. It looks like the photo was taken when they were still working on the seats -- note the extension cords in the center aisle. Thanks to Cezar Del Valle for featuring the photo in a Theatre Talks post about the
Opening of the Egyptian Theatre. It also includes an ad for "Robin Hood," the theatre's initial film. The caption:
"Interior view Grauman's Hollywood Egyptian Theatre -
Where Douglas Fairbanks in 'Robin Hood' begins third week next Monday."
A 1922 view from onstage. Note how far the seating goes back under the booth. All of that area was converted into lobby space during the American Cinematheque renovations of 1997-1998. Upstairs check out the light behind the curtains in the center private box on either side of the booth. The doors to the roof are open. The photo is in the
Los Angeles Public Library collection.
The photo appeared with "First Pictures of Opening of Grauman's
Hollywood Theatre," a full page spread in the November 4, 1922 issue of
Exhibitors Herald. It also appeared, with an image of Sid and two exterior views, in the November 4, 1922 issue of
Motion Picture News. Both are on Internet Archive.
American Seating Company used the photo in their
March 3, 1923 Exhibitors Herald ad. Thanks to Mike Hume for finding it on Internet Archive. In that ad they noted: "Order Number Two - Grauman's Egyptian Hollywood Theatre, one of the finest theatres on the coast, was Order Number Two from the same owners and their satisfaction is doubly clinched by a third order, now nearing completion, the Metropolitan Theatre of Los Angeles.."
"Make yours the best.." The photo from onstage made another appearance
in an American Seating ad for the April 14, 1923 issue of Motion Picture
News. Thanks to Jean Hunter for the find. She added the item as a
comment to a "Don Juan" premiere photo posted by Richard Adkins on the
Hollywood Heritage Facebook page. They credit the image on the left to J.O. Milligan. It was actually Joseph C.
A slightly different look toward the rear of the auditorium. It's a photo from the March 1923 Architect and Engineer article, available on Internet Archive. Note the open standee area at the rear of the auditorium -- later walled off for more separation between lobby and auditorium.
A sidewall view by an unknown photographer, c.1953. Thanks to Eric Lynxwiler for sharing this photo from his collection on Flickr. At this point the orchestra pit had been covered and we still have all of the proscenium plaster. And is that a lonely surround speaker on the wall? Eric is the author, with Tom Zimmerman, of the Angel City Press book "
Spectacular Illumination: Neon Los Angeles 1925-1965." And, with Kevin Roderick, he's also done the celebrated book "
Wilshire Boulevard: The Grand Concourse of Los Angeles."
A c.1954 photo by Harold Allen that appears on an SFO Museum page for a 2015 exhibition of Mr. Allen's photos of Egyptian Revival architecture. The photo is one of twelve on the page, but the only one of this theatre. It's from the Ryerson & Burnham Archives, Harold Allen Egyptomania Collection, Art Institute of Chicago.
Note here we have upgraded to larger surround speakers compared to the view above. Shortly after the photo was taken, much of the proscenium was covered with the 1955 installation of the deeply curved TODD-AO screen. The removal of some of the proscenium plaster was done at that time.
The TODD-AO screen at the Egyptian Theatre installed in 1955 for "Oklahoma!" The photo is from the Robert C. Weisgerber collection. It's one of many great items on Martin Hart's American Widescreen Museum, appearing on the first page of the TODD-AO section. The Egyptian was the first theatre in Los Angeles to be equipped for the process. The American Widescreen Museum site is an amazing treasure trove of information on technical innovations in the movies.
A more serious renovation project occurred in 1968 that involved additional demolition of the proscenium and stage for the installation of a 75' deeply curved Dimension-150 screen.
Demolishing the proscenium as part of the renovations done in 1968 for the D-150 screen
installation. The photo appeared with "The Egyptian's New Look," an article in the January 21, 1969 issue of the Independent Film Journal. They noted:
"Workmen remove more than 35 tons of concrete in demolishing the Egyptian's old proscenium arch. The D-150 projection system was selected as an important step in maintaining the Egyptian's status as one of the world's great roadshow houses."
See the full Independent Film Journal article. A version of the photo from the January 29, 1969 issue of the Motion Picture Herald appears on
Michael Coate and William Kallay's From Script To DVD Egyptian Theatre page, where you'll also find many other photos of the theatre.
The project was outlined in "A $250,000 Renovation in Six Weeks for UA's Egyptian Meets Film Deadline," a January 13, 1969 article in Boxoffice. See the full Boxoffice article. Several excerpts:
"Called one of the fastest and most comprehensive remodeling and refurbishing jobs on record, a $250,000 renovation of United Artists' 46-year-old Egyptian Theatre, in Hollywood, was completed in six weeks -- two days ahead of schedule. The project included installation of a D-150 all-purpose projection system, an Ampex solid state eight-channel sound system, widening and moving back the screen, lowering the projection room to seat level, widening the proscenium arch opening to 80 feet from 40 feet, completely redecorating the auditorium, adding new soundproofing, replacing carpeting and updating restrooms... Despite the area taken over by the new projection booth, the Egyptian actually was able to add 22 seats to its capacity. By utilizing the extra space provided by moving the screen back and by filling in the orchestra pit, the theatre increased its seating from 1,318 to 1,340...
"Entire Proscenium Removed - One of the major tasks confronting the construction engineers in the Egyptian's six-week 'face-lifting' was removal of about 150 tons of concrete -- representing the proscenium. As jackhammers tore loose boulder size chunks of concrete non-stop, other workmen rushed construction of a new concrete beam to support the new proscenium. An example of the kind of time-and-labor-saving concepts employed was a novel method of completing two jobs at the same time. While workmen were busily engaged atop a three-story scaffold temporarily supporting the roof, other crews were pouring a new concrete floor around the scaffold legs. After the pouring had been completed and the scaffold was ready to be moved, acetylene torches quickly cut off the legs just above the new floor and work continued without a moment's loss..."
Evidently that bit about "construction of a new concrete beam" was a myth. On the
backstage and
structural pages see discussions about the measures taken to properly support the proscenium that were undertaken during the Netflix renovation.
The D-150 screen being installed. It was located much farther back onto what had been the stage than the TODD-AO screen of 1955 had been. Draperies and masking were by R.L. Grosh & Sons. The photo comes from the January 13, 1969 Boxoffice article "A $250,000 Renovation in Six Weeks.." The caption:
"Huge 75-foot singe sheet Dimension 150 screen is laced into place two days ahead of schedule as one of the last steps in updating Hollywood's landmark UA Egyptian Theatre."
This view of the completed 1968 screen installation appeared with the January 21, 1969 Independent Film Journal article. It was on the cover of the Modern Theatre section of the January 13, 1969 issue of Boxoffice with the caption "Completely remodeled in six weeks, United Artists' Egyptian Theatre
features the first Dimension 150 installation in Hollywood; has gold
curtains, royal blue, maroon seats."
The photo was also used with a January 29, 1969 Motion Picture Herald article appearing on Roland Lataille's Egyptian Theatre page of his site InCinerama.com. See the full article: part 1 | part 2 | The caption with the photo:
"Completely remodeled in a $250,000 six-week round-the-clock project, United Artists' 46 year old Egyptian Theatre features first Dimension 150 installation in Hollywood. The new curved screen is 75 feet wide, 30 feet further back than the original one. Forty-foot proscenium was widened to 80 feet. Projection room was lowered to seat level. Seating was increased from 1,318 to 1,340."
The first film to play on the new screen was "Funny Girl," in a 70mm reserved seat run. A November 1970 L.A. Times ad for the theatre while they were running a popular price engagement of "2001" in Dimension 150 noted that the screen was 70' rather than 75'.
A 1990s post-closing view of the D-150 screen. It's minus the curtain and the top and side masking are set for their 1.85 format. It's a photo that appeared, uncredited, with the presentation Netflix
made about their renovation plans to the city's Cultural Heritage
Commission on January 7, 2021.
A later look at the screen that appears in "Temple of Film: 100 Years of the Egyptian Theatre," an eleven minute documentary made by Angus Wall for Netflix to celebrate the the theatre's 2023 reopening. See the trailer on YouTube.
A shot of the rear of the house after the 1992 closing. Note the main floor booth, installed in 1968. In the upper right you get a bit of the valance for the D-150 drapery installation. Photographer and source are unknown. See some interior views of the closed theatre from the 1994 film "Jimmy Hollywood" on the
Historic L.A. Theatres in Movies post about the film.
A look across to house right in the 1990s. Note the air conditioning diffusers added in the upstairs booth area and that the openings had been closed for the private box areas on either side of the booth. It's a photo that appeared, uncredited, with the January 7, 2021 Netflix presentation.
Another view across the rear of the house in the early 1990s. It's an uncredited photo that appeared with the January 7, 2021 Netflix presentation.
The demo had been done in the screen area as part of the American Cinematheque's renovation by the time that Patrick Downs took this 1996 photo for the L.A. Times. It appeared with "Hollywood: Is It Ready For Its Close-Up?," a November 10 story by Duke Helfand. The subhead was "Many see a comeback for the aging star, but skeptics remain." On the bottom of the organ chamber you can see the stubs where the proscenium columns were whacked off in 1968. Also note the temporary patch job of the back wall to close up damage from the 1994 Northridge earthquake.
The article discussed the recent opening of the Hollywood Entertainment Museum west of the Chinese, the Disney renovation of the El Capitan, the supposed remodel underway of the Warner as a dinner theatre featuring musicals, and the decisions by Capitol Records and Panavision to stay in Hollywood. Also see a forecourt photo as well as the full thing: article part one and, if you'd care to download it, the full-page continuation. Thanks to former Egyptian head projectionist Paul Rayton for saving a copy of the article.
The downstairs booth had been removed and the openings for the private boxes adjacent to the booth were open again in this c.1997 color view taken during the American Cinematheque renovations. The photo by Jennifer Minasian was on the now-vanished website volume5.com as part of a history of the renovation process. Sorry, but there isn't a larger version.
The auditorium following the American Cinematheque renovations of 1997-1998:
The renovated auditorium, sort of a theatre inserted within a theatre. The ornate beam with the decorative work is what's left of the original
proscenium. Most of the black area beyond would have been onstage. Thanks to Mike Hume for his 2016 photo. For more treats visit his
Historic Theatre Photography website, which includes a page on the
Egyptian.
Hodgetts + Fung (Craig Hodgetts, Ming Fung) were the architects for the American Cinematheque renovation. Historic Resources Group were the preservation architects. The theatre was acquired by the Cinematheque from the City of Los Angeles for $1 in 1996. Reopening was in 1998.
On the main floor. The sidewall sound baffles opened during intermission to allow a view of the historic structure beyond. Photo: Bill Counter - 2010
The view across the auditorium toward house right with the sidewall sound panels open. Photo: Bill Counter - 2010
The regular screen at the Egyptian had been unlaced and pushed off to
house right to clear the frame for the installation of a silver screen
for the third World 3-D Expo in September 2013. The photo appeared on
the
3-D Film Expo Facebook page.
The empty screen frame -- and a rare look at the speakers for the 5
stage channels + subs. The silver screen was about to go up. The 2013 photo once appeared on the
Egyptian Theatre Facebook page.
The silver screen going up in September 2013. For more about the history of 3-D filming and exhibition see the terrific
3-D Film Archive
site curated by Bob Furmanek. More recent 3-D presentations at the
theatre utilized the Dolby 3-D process, which works with a conventional white
screen.
The perforated ceiling. Above is the tone chute that the organ once spoke through. Photo: Mike Hume - 2016
A ceiling plaster detail. Photo: Bill Counter - 2010
The scarab at the center of the ceiling beam. It was once backlit. Photo: Bill Counter - 2010
The balcony was added, and the main floor redone stadium style, for the
American Cinematheque renovation. Originally all seating was on one
level except for tiny private boxes up adjacent to the booth. The balcony was removed in 2021 as part of the Netflix renovations.
The rear of the house. The booth seen here is in its original location, although a bit higher than in 1922. It was downstairs from 1968 until the theatre closed in 1992. Photo: Bill Counter - 2010
Across the back of the balcony along the booth front wall. Photo: Bill Counter - 2014
The view from what would originally have been onstage. Much of that flat ceiling above us is area that was once flyspace behind the proscenium. We're standing at a point that would have been halfway upstage. Photo: Wendell Benedetti -
LAHTF Facebook page - 2012
At the top of the house right aisle. Photo: Bill Counter - 2014
Off to the right would originally have been the last few rows of seats.
At the time of the photo it was part of the 78 seat Spielberg Theatre in
excavated space below the original floor slab. The Spielberg was
removed in 2021 during the Netflix renovations.
The wall and ceiling near the top of the house right aisle. They left those blob areas with a flat finish instead of replacing the ornament that was there. Photo: Bill Counter - 2010
Under
the front of the booth as we look across to house left. Photo: Bill Counter - 2014
This strange construction was encountered part way down the side aisles. Above the walkway can be seen the contours of the original booth overhang. The steps got you to
the rear of the seating area as it was then configured. Over
toward the house left side were similar stairs plus an elevator to get to the
balcony and the booth. Off to the left behind the gray wall there were
originally a dozen more rows of seats at the rear of the auditorium, an area that was converted to lobby space.
Another house right aisle view. Photo: Mike Hume - 2016
The view back to the lobby from the auditorium entrance house right. Photo: Bill Counter - 2014
The ceiling as seen from the house right aisle. Photo: Bill Counter - 2010
Several participants at a Los Angeles Historic Theatre Foundation "all-about" tour in the house right sidewall singer's box. Access is up through the dressing rooms. Thanks to Don Solosan for his 2012 photo on the LAHTF Facebook page. Also see his auditorium view.
Another house right aisle view. Note the singer's box in the upper left. Photo: Bill Counter - 2010
Looking across to the front of the house right aisle with the sliding panels open in "intermission" mode. It's a view from the Egyptian Theatre page on the site
Spherical Panoramas. You can pan around for all sorts of interesting views.
A look across to the house left wall. It's a view from the panorama by Carel Struyken on the site
360 Cities. Also see the site's panorama of the
Egyptian forecourt by Bryan Groulx.
The house left singer's box. For access to the box on this side you went outside and up a flight of stairs. Photo: Bill Counter - 2014
A view back into the auditorium from the house left aisle. Photo: Bill Counter - 2010
On the roof:
A view north from on top of the stagehouse. Photo: Mike Hume - 2019
Another look north but this time a view at the bottom of the frame of the sloped roof of the tone chute above the sunburst that's in front of the organ chambers. Photo: Mike Hume - 2019
Looking east. That sloped area is above the sunburst. The organ chambers and stagehouse are out of the frame to the right. Photo: Mike Hume - 2019
The Egyptian Theatre pages: an overview | Hollywood Blvd. views 1922-1954 | Hollywood Blvd. 1955-present | forecourt | lobby - earlier views | lobby - recent views | back to top: auditorium - earlier views | auditorium - recent views | booth | backstage | structural + 2021 renderings | Egyptian 2 & 3 | along Las Palmas Ave. | along McCadden Place |
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