![]() ![]() He shared what he knew and showed me an old news article on the wall and the last old playbill under glass on talking about “Benji”. The man working had a Bijou name tag and was happy about my inquiries. The lobby has a tin ceiling with very small tiles and as you get to the auditorium, the tin ceiling has all large tiles. It is now a gallery/antique store and you can see the bathrooms on the left and right side and what was once the old ticket booth. The Hudson Theatre was operated by Liggett-Florin Booking Service by 1950 and they were still the operators in 1957. Located in a small, two-story building, the top floor was stucco with some small windows, then a red trim and all stonework on the bottom floor. When you approach it on the busy pedestrian thoroughfare, you see a black vertical sign saying “Bijou”. ![]() ![]() ![]() New York, NY: Columbia University Libraries, 2013.This theater is in Cold Spring, New York, at the end of Main Street near the train station, along the Hudson River, off Route 301/9D. "Josephine Clement." In Jane Gaines, Radha Vatsal, and Monica Dall’Asta, eds. “Refined Picture Theatre.” New York Dramatic Mirror (8 Feb. Clement and Her Work.” Moving Picture World (15 Oct. “Motion Pictures: Comment and Suggestion.” New York Dramatic Mirror (13 Nov. “Correspondence: New England.” Moving Picture World (21 Feb. “Standardizing the Picture Theater.” Motography (21 Dec. Craig in February 1914 remains uncertain, but a likely reason may be the Keith theaters’ decision to return to offering vaudeville acts as their principal entertainment in the face of the growing number of metropolitan palace cinemas and their programs organized around feature-length films. Why Clement “severed her connection” with the Bijou and was replaced by J.W. By late 1910, according to “a handsomely printed booklet describing its aims” and amenities (a reception room where a maid looked “to the comfort of ladies and children” a “men’s smoking room”), the Bijou ran five daily shows of two and a half hours each, with programs comprised of several MPPC moving pictures, a one-act play, vocal and instrumental music (not illustrated songs), and “camera chats” using lantern slides and “stereoptican views.” This was a “high-class” variety program that had its supporters in the pages of the Moving Picture World and New York Dramatic Mirror and that Clement herself promoted as late as November 1912 in an address to the Massachusetts State Conference of Charities, and which subsequently was published in Motography. (Roxy) Rothapfel, Clement established a model of the “artistic and wholesome” moving picture theater that was thought to appeal to a “refined” clientele. During that period of nearly five years, however, she exerted a good deal of influence in the exhibition sector of the film industry. Nor is anything known after she left her position in early 1914. Edward Clement in the trade press) before the summer of 1909, when she is mentioned as managing the Bijou Theatre in downtown Boston (on the corner of Washington and Tremont) for the Keith theater circuit. Nothing is known of Josephine Clement (usually called Mrs. Photograph of the Bijou Theatre, Boston, MA. ![]()
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