The Rockettes are an American precision dance company. Founded in 1925 in St. Louis, they have performed at Radio City Music Hall in Manhattan, New York City, since 1932; until 2015 they had a touring company. They are best known for starring in the Radio City Christmas Spectacular, an annual Christmas show, for performing annually at the Macy's Thanksgiving Day Parade in New York; the Rockettes were inspired by the Tiller Girls, a precision dance company of the United Kingdom established by John Tiller in the 1890s. Tiller sent the first troupe of Tiller Girls to perform in the United States in 1900, there were three lines of them working on Broadway. In 1922, choreographer Russell Markert saw one of these troupes, known as the Tiller Rockets, perform in the Ziegfeld Follies and was inspired to create his own version with American dancers; as Markert would recall, "If I got a chance to get a group of American girls who would be taller and have longer legs and could do complicated tap routines and eye-high kicks, they'd knock your socks off."The Rockettes have long been represented by the American Guild of Variety Artists.
In 1967, they won a month-long strike for better working conditions, led by AGVA salaried officer Penny Singleton. In August 2002, contract negotiations for the troupe's veteran members resulted in a buyout by the owners of The Radio City Music Hall. A fourth of the veteran Rockettes were offered retirement options, while the remaining dancers were offered the opportunity to re-audition. On 1 August 2007, the Rockettes were inducted into the St. Louis Walk of Fame; the first East Asian Rockette, a Japanese-born woman named Setsuko Maruhashi, was hired in 1985. The Rockettes did not allow dark-skinned dancers into the dance line until 1987; the justification for the policy against hiring African Americans was that they would distract from the consistent look of the dance group. The first African American Rockette was Jennifer Jones. In late 2016, the Madison Square Garden Company, which manages the troupe, agreed to have the Rockettes perform at the inauguration of Donald Trump. According to a report in the New York Daily News, there was an initial "edict" to perform at the inaugural.
Several Rockettes dissented, including Rockette Phoebe Pearl who complained that she was being forced to perform at the inaugural against her wishes. One Rockette felt reluctant to "perform for this monster", referring to president-elect Donald Trump, another said she "wouldn't feel comfortable standing near a man like that in our costumes."Madison Square Garden issued a statement saying that "For a Rockette to be considered for an event, they must voluntarily sign up and are never told they have to perform at a particular event, including the inaugural. It is always their choice. In fact, for the coming inauguration, we had more Rockettes request to participate than we have slots available." Another report suggested that dancers were allowed to "opt-out" if they thought that they would feel uncomfortable performing. Many on social media believed attendance was mandatory, including Julissa Sabino, a performer, part of the union, who tweeted that the issue "breaks my heart" and urged supporters to "help these ladies."
Autumn Withers, a former Rockette, supported a boycott, saying "take a knee, ladies!" In December 2016, according to The Atlantic, three of the thirteen full-time dancers had chosen to sit out the event. The company danced to a medley of Irving Berlin songs at the Inaugural Ball on the evening of January 20. Lucille Bremer Pat Colgate Maria Fletcher Elsie Mister Jennifer Jones Suzanne Kaaren Alicia Luciano Margaret E. Lynn Joan McCracken Kandice Pelletier Suzanne Rogers Jane Sherman Vera-Ellen Media related to The Rockettes at Wikimedia Commons The Radio City Rockettes – Official Website Radio City Music Hall – Official Website Photos: The Rockettes in rehearsal NY Times 2005 review of Radio City Christmas Spectacular Works by or about The Rockettes in libraries
Sony Centre for the Performing Arts
The Sony Centre for the Performing Arts is a major performing arts venue in Toronto, Canada, it is the country's largest soft-seat theatre. The building opened as the O’Keefe Centre on October 1, 1960, it has hosted a variety of international attractions and stars; the theatre, designated a heritage building by the City of Toronto, underwent renovations to restore its iconic features such as the marquee canopy and York Wilson’s lobby mural, The Seven Lively Arts. Restoration of the wood and marble that were hallmarks of the original facility was undertaken, along with audience seating, flooring upgrades, new washrooms and reconfigured lobby spaces. Following two years of renovations and restoration work, the Sony Centre reopened its doors on October 1, 2010, fifty years to the date of the first opening night performance. In January 2019, TO Live announced a new sponsorship deal with Meridian Credit Union, which will see the theatre rebranded Meridian Hall in September; the Centre was built on land occupied by a series of commercial buildings, including the Canadian Consolidated Rubber Company, it was the site of the Great Western Railway Terminal.
The idea for a performing arts centre that could serve the needs of an dynamic city predates the building's opening by 20 years. In the mid-1940s, Nathan Phillips issued a challenge to Toronto industrialists to underwrite the cost of a multipurpose centre for theatre and dance. Response to Phillips' challenge was not immediate. E. P. Taylor, the racehorse-loving head of the O'Keefe Brewing Company and Argus Corporation, was one of the city's most generous philanthropists, in 1954, he offered to build a performing arts centre that would not only serve the needs of local institutions but increase the diversity of entertainment options available in Toronto. Taylor assigned one of his key executives, Hugh Walker, to oversee building what was to be known as the O'Keefe Centre during its first 36 years; the O'Keefe Centre opened on October 1960 with a red-carpet gala. The first production was Alexander H. Cohen's production of the pre-Broadway premiere of Lerner and Loewe's Camelot, starring Richard Burton, Julie Andrews and Robert Goulet.
Camelot would prove to be just the first in a long and continuing line of spectacular productions, featuring such artists as Ethel Merman, Mickey Rooney, Angela Lansbury, Alfred Drake, Yul Brynner, Carol Channing, Pearl Bailey, Katharine Hepburn. Rudolf Nureyev, more familiar to Centre audiences in his frequent role as a ballet superstar, tried his hand at musical theatre as the Siamese autocrat in The King and I. Popular artists including Bob Dylan, Janet Jackson, Steve Earle, Leonard Cohen, Elvis Costello, David Bowie, Lou Reed, Elton John and bands such as The Who, The Grateful Dead, Jefferson Airplane, Led Zeppelin, The Carpenters, The Clash and Beastie Boys played concerts at the O'Keefe Centre. Other great performing legends have graced the Sony Centre stage in a range of solo shows and jazz spectaculars: Louis Armstrong, Duke Ellington, Marlene Dietrich, Diana Ross, Anne Murray, Tom Jones, Danny Kaye, Judy Garland, Sammy Davis, Jr. Bill Cosby, Jack Benny, Liza Minnelli and Liberace.
Large-scale ballet and dance is another performing art well suited to the Centre's ample stage. Apart from regular seasons offered by The National Ballet of Canada at the Sony Centre from 1964 to 2006 and frequent visits by the Royal Winnipeg Ballet and Les Grands Ballets Canadiens, the theatre has welcomed a diverse range of international dance companies. One of the earliest, Les Ballets Africains, offered the unusual sight of topless women. Other visitors have included Britain's Royal Ballet, New York City Ballet, Dance Theater of Harlem, the Dutch National Ballet, the National Ballet of Cuba, Alvin Ailey American Dance Theater, Ballet Folklorico of Mexico, Kirov and the Bolshoi, it was during a 1974 Bolshoi visit that a young Mikhail Baryshnikov, on loan from the Kirov, bolted from the Centre's stage door, down The Esplanade and into a waiting getaway car, aided by PC Jim Peterson and businessman Tim Stewart. Like The National Ballet, The Canadian Opera Company made the Centre its home stage, from as early as 1961 to 2006.
Many of Canada's greatest singers, as well as a host of international opera stars, have performed for Centre audiences in COC productions. In addition, although touring opera is now rare, in earlier days the Sony Centre played host to The Met and to such towering voices as those of Birgit Nilsson, Plácido Domingo and Renata Scotto. In early February 1996, the building was renamed the Hummingbird Centre in recognition of a major gift from a Canadian software company, Hummingbird Communications Ltd; the $5-million donation allowed the Centre to undertake a number of capital improvements and repairs, among them the installation of an elevator and an acoustic reinforcement system for the auditorium. In September 2007, Sony bought the naming rights to the Centre for $10-million, a 10-year partnership was born; when the Ballet and Opera moved to the Four Seasons Centre in 2006, it meant a more open programming schedule. This has allowed the Centre to place greater emphasis on being an important community resource, where people from all backgrounds can gather to share their distinct and vibrant cultures.
Notable performances that reflect this mandate include the Last Empress with its dramatic, musical portrayal of an important figure in Korean history, the Virsky Ukrainian Dance
Four Seasons Centre
The Four Seasons Centre for the Performing Arts is a 2,071-seat theatre in Toronto, Canada, located at the southeast corner of University Avenue and Queen Street West, across from Osgoode Hall. The land on which it is located was a gift from the Government of Ontario, it is the National Ballet of Canada. The building's modernist design by was created by Canadian company Diamond and Schmitt Architects, headed by Jack Diamond, it was completed in 2006. The design includes an unusual glass staircase. In the 1980s the Canadian Opera Company and Financier Hal Jackman, president of the Ballet Opera House Corporation, had begun lobbying for a new building to replace the Sony Centre for the Performing Arts; this building had housed the opera company for about 40 years. The company had previously been housed in the Royal Alexandra Theatre on King Street and the Elgin Theatre on Yonge Street. Earlier in the city's history, the Grand Opera House stood at Bay and Adelaide until it was demolished in 1927. In 1984, Ontario premier Bill Davis promised that a piece of provincial-owned land at Bay Street and Wellesley Street would be the home for the new opera house.
The lot was estimated to be worth some $75 million. A design competition was won by the postmodern project of Moshe Safdie. In 1988, the project was approved and the existing stores and government offices on the site were demolished. After a new NDP provincial government under Bob Rae was elected in 1990, inheriting a large deficit because of a recession, the $311 million project was deemed excessively costly; the province was dealing with the unexpectedly high $550 million cost of the SkyDome project. When the Opera House corporation refused to modify the design to lower costs, the government withdrew its funding commitment two months after the election. In 1992, the province cancelled the land was sold to developers. Two towers in the "Opera Place" development have been built on Bay Street, but as of June 2011 the rest of the property remains vacant. In 1997, the province allocated a parking lot, which housed offices for the Supreme Court of Ontario at Queen and University, for the project; the lot was valued at C$31 million, the federal and provincial governments pledged funding for a new more modest project that would cost about $130 million.
The original plan called for a 190 m tower of offices and condominiums to be built by Olympia and York which would help fund the project. It would be further supplemented by a $20 million donation by Christopher Ondaatje. However, both Olympia and York and Ondaatje withdrew. More the municipal government of Mel Lastman refused to provide any municipal funding; the project collapsed again in 2000. In 2002 the opera company under Richard Bradshaw issued an invitation in 2002 for designs; the company had secured a $20 million donation from the Four Seasons hotel chain in exchange for perpetual naming rights to the complex. Ten architectural firms submitted proposals and the modernist design by Canadian company Diamond and Schmitt Architects, headed by Jack Diamond, was selected; the complex took three years to construct at an estimated cost of $181 million. To provide wheelchair accessibility, elevator access to the concourse level of Osgoode subway station was integrated into the construction of the Centre.
The Centre had its grand opening on 14 June 2006, with scheduled performances commencing on 12 September 2006 with the inaugural production in the new opera house being Richard Wagner's epic tetralogy Der Ring des Nibelungen. Governor General Michaëlle Jean and other prominent Canadians attended the event. Three complete Ring Cycles were performed in September 2006; the five-tiered, horseshoe-shaped auditorium was modelled after European opera houses. Collaborating with Diamond Schmitt, New York-based theatre planning and design specialists Fisher Dachs Associates arranged the room’s geometry and seating configuration to bring each of the 2,000 seats, including tiered balconies, as close to the stage as possible while maintaining an unobstructed view; the acoustics were designed by Bob Essert of Sound Space Design and a team that included Aercoustics Engineering, Wilson Ihrig and Engineering Harmonics. The undulating back walls of the venue, which diffuse the sound throughout the auditorium by reflecting the sound waves back to the stage, account for about 90 percent of the audible sound for the audience.
To prevent audience members from detecting specific sounds and vibrations including traffic noise, the rumble from the adjacent subway line and streetcar line, the sirens of the emergency vehicles rushing to the nearby hospitals, the theatre sits on 489 rubber insulating pads. Other design elements reflect historic performance halls, including the Roman Amphitheatre; the hall was constructed on a limited budget, using contrasting materials. The City Room glass walls, curtain walls held by steel fixtures, look out on University Ave and Queen Street; the east and north sides are clad in dark brick. Windows on the north side have a view of Osgoode Hall. On the west is the sidewalk extension City Room, transparent and which illuminates the street; the solid, massive eastern facade broken only by horizontal windows, in contrast, blends into its office building and brick surroundings, towards York Street. John Bentley Mays states in his 2006 Canadian Architect article that East wall is "unresponsive to the need of vitality on the street."
The southern, Richmond Street facade plain brick punctuated by dressing room windows, is opposite the Hilton Hotel. Architect Diamond d
Princess of Wales Theatre
The Princess of Wales Theatre is a 2,000-seat live theatre in Toronto, Canada. It is located in Toronto's downtown Entertainment District; the theatre's name has a triple meaning: it honours Diana, Princess of Wales, with whose consent the theatre was named. Ed and David Mirvish built the theatre as a state-of-the-art facility to stage large-scale musicals for long runs; the family's Mirvish Productions owns Toronto's Royal Alexandra, Ed Mirvish, Panasonic theatres. The Mirvish family owns the former Honest Ed's department store and the Markham Street "Markham Village" retail district, which are being rebuilt. Construction began on August 6, 1991; the project architect was Peter Smith, of the Toronto firm Lett-Smith. Smith was responsible for the duMaurier Theatre Centre in Toronto and for the restoration of the Grand Theatre, in London, Ontario. For the Princess of Wales Theatre, David Mirvish commissioned a series of murals by American abstract expressionist painter and sculptor Frank Stella.
The paintings—10,000 square feet —cover the auditorium ceiling dome, the proscenium arch, the walls of lounges and lobbies on all four levels of the theatre and the outside back wall of the fly tower. They are believed to comprise one of the largest mural installations of modern times. Stella designed the decorative fronts of the boxes and balconies and the decorative end-caps of the each seating row; the theatre has seating on three levels—orchestra, dress circle and balcony—with elevator access to all levels and is configured as a traditional 19th century English proscenium theatre. Further, the entire theatre is barrier-free, enabling wheelchair access to all levels — not a common occurrence in Toronto considering the age of many of its theatres; the Princess of Wales Theatre is designed to incorporate both traditional and contemporary design elements. The Toronto Star described it as "...a glittering glass jewelry case, a sparkling glimpse into a spectacle of total design." It is used for study by architecture, engineering and theatre students.
The theatre opened on May 1993, with a Canadian production of the megamusical Miss Saigon. Subsequent productions in the Princess of Wales have included the musicals Beauty and the Beast, The Lion King, Les Misérables, Chicago, Oliver!, The Phantom of the Opera and The Sound of Music. A stage production of The Lord of the Rings made its world premiere in the facilities on February 8, 2006, losing money owing to terrible reviews and a lack of public interest; the original stage was gutted and replaced with a complex stage surface that includes three interlocking turntables and 17 independent elevators for this production. The National Theatre's production of War Horse opened at the theatre on February 10, 2012. On September 29, 2012, after operating for only 19 years, Mirvish Productions announced a plan to demolish the Princess of Wales Theatre in favour of a multi-purpose complex designed by Frank Gehry and which would include an extensive artwork collection available for public viewing, as well as museums, condominium units, retail spaces.
However, in response to criticism from city planners and Gehry announced a revised plan in May 2014 which would spare the structure. Massey Hall Roy Thomson Hall Sony Centre for the Performing Arts Royal eponyms in Canada Mirvish Productions, Princess of Wales web page
Roy Thomson Hall
Roy Thomson Hall is a concert hall in Toronto, Canada. Located downtown in the city's entertainment district, it is home to the Toronto Symphony Orchestra and Toronto Mendelssohn Choir. Opened in 1982, its circular architectural design exhibits a curvilinear glass exterior, it was designed by Canadian architects Mathers and Haldenby. The hall seats 2,630 guests and features a pipe organ built by Canadian organ builders Gabriel Kney from London, Ontario; the hall was known as The New Massey Hall during its construction and pre-construction phase. It acquired its official name on January 14, 1982, as thanks to the family of Roy Thomson, who had donated C$4.5 million to complete the fundraising efforts for the new hall. The hall was renovated over a period of six months in 2002, after years of complaints from musicians about the quality of its acoustics. Filmmaker Jeffery Klassen's 2005 film, Toronto Architecture, interviews Arthur Erickson about the structure. Erickson talks of the point of the grey structure being that of a container which people were to fill up with their own decorations.
The pond was designed to be used as a skating rink in the winter. The building was influenced by Erickson's journeys in Japan and his relationship with the North American Aboriginals; the hall is one of the main venues used by the Toronto International Film Festival, with many gala screenings held there each year including a festival-closing screening of the year's People's Choice Award winner. The concert hall was used in scenes of the film X-Men; the hall was the venue of the state funeral of federal Leader of the Official Opposition and NDP leader Jack Layton on August 27, 2011. Other performing arts venues in the city include: Four Seasons Centre Massey Hall Molson Canadian Amphitheatre Sony Centre for the Performing Arts Toronto Centre for the Arts The Corporation of Roy Thomson Hall and Massey Hall About Massey Hall
Costa Rica the Republic of Costa Rica, is a country in Central America, bordered by Nicaragua to the north, the Caribbean Sea to the northeast, Panama to the southeast, the Pacific Ocean to the southwest, Ecuador to the south of Cocos Island. It has a population of around 5 million in a land area of 51,060 square kilometers. An estimated 333,980 people live in the capital and largest city, San José with around 2 million people in the surrounding metropolitan area; the sovereign state of Costa Rica is a unitary presidential constitutional republic. It is known for its long-standing and stable democracy, for its educated workforce, most of whom speak English; the country spends 6.9% of its budget on education, compared to a global average of 4.4%. Its economy, once dependent on agriculture, has diversified to include sectors such as finance, corporate services for foreign companies and ecotourism. Many foreign manufacturing and services companies operate in Costa Rica's Free Trade Zones where they benefit from investment and tax incentives.
Costa Rica was facing a market liquidity crisis in 2017 due to a growing budget deficit. By August 2017, the Treasury was having difficulty paying its obligations. Other challenges facing the country in its attempts to improve the economy by increasing foreign investment include a poor infrastructure and a need to improve public sector efficiency. Costa Rica was sparsely inhabited by indigenous peoples before coming under Spanish rule in the 16th century, it remained a peripheral colony of the empire until independence as part of the First Mexican Empire, followed by membership in the United Provinces of Central America, from which it formally declared independence in 1847. Since Costa Rica has remained among the most stable and progressive nations in Latin America. Following the brief Costa Rican Civil War, it permanently abolished its army in 1949, becoming one of only a few sovereign nations without a standing army; the country has performed favorably in the Human Development Index, placing 69th in the world as of 2015, among the highest of any Latin American nation.
It has been cited by the United Nations Development Programme as having attained much higher human development than other countries at the same income levels, with a better record on human development and inequality than the median of the region. Costa Rica has progressive environmental policies, it is the only country to meet all five UNDP criteria established to measure environmental sustainability. It was ranked 42nd in the world, third in the Americas, in the 2016 Environmental Performance Index, was twice ranked the best performing country in the New Economics Foundation's Happy Planet Index, which measures environmental sustainability, was identified by the NEF as the greenest country in the world in 2009. Costa Rica plans to become a carbon-neutral country by 2021. By 2016, 98.1% of its electricity was generated from green sources hydro, solar and biomass. Historians have classified the indigenous people of Costa Rica as belonging to the Intermediate Area, where the peripheries of the Mesoamerican and Andean native cultures overlapped.
More pre-Columbian Costa Rica has been described as part of the Isthmo-Colombian Area. Stone tools, the oldest evidence of human occupation in Costa Rica, are associated with the arrival of various groups of hunter-gatherers about 10,000 to 7,000 years BCE in the Turrialba Valley; the presence of Clovis culture type spearheads and arrows from South America opens the possibility that, in this area, two different cultures coexisted. Agriculture became evident in the populations, they grew tubers and roots. For the first and second millennia BCE there were settled farming communities; these were small and scattered, although the timing of the transition from hunting and gathering to agriculture as the main livelihood in the territory is still unknown. The earliest use of pottery appears around 2,000 to 3,000 BCE. Shards of pots, cylindrical vases, platters and other forms of vases decorated with grooves and some modelled after animals have been found; the impact of indigenous peoples on modern Costa Rican culture has been small compared to other nations, since the country lacked a strong native civilization to begin with.
Most of the native population was absorbed into the Spanish-speaking colonial society through inter-marriage, except for some small remnants, the most significant of which are the Bribri and Boruca tribes who still inhabit the mountains of the Cordillera de Talamanca, in the southeastern part of Costa Rica, near the frontier with Panama. The name la costa rica, meaning "rich coast" in the Spanish language, was in some accounts first applied by Christopher Columbus, who sailed to the eastern shores of Costa Rica during his final voyage in 1502, reported vast quantities of gold jewelry worn by natives; the name may have come from conquistador Gil González Dávila, who landed on the west coast in 1522, encountered natives, appropriated some of their gold. During most of the colonial period, Costa Rica was the southernmost province of the Captaincy General of Guatemala, nominally part of the Viceroyalty of New Spain. In practice, the captaincy general was a autonomous entity within the Spanish Empire.
Costa Rica's distance from the capital of the captaincy in Guatemala, its legal prohibition under Spanish law from trade with its southern neighbor Panama part of the Viceroyalty of New Granada, lack of r
Capitol Cinema (Ottawa)
The Capitol Cinema was the largest movie theatre built in Ottawa, Ontario and was the city's only true movie palace. Opened in 1920, the 2530-seat cinema was regarded as one of the best cinemas designed by famed theatre-architect Thomas W. Lamb; the Capitol was located at the southwest corner of the intersection of Queen Street and Bank Street, was opened by the Loews chain on November 8, 1920. In honour of the new theatre, a special train from New York City arrived at Ottawa's Union Station, carrying Marcus Loew, Thomas Lamb, more than a dozen silent film stars of the day, including Matt Moore and Texas Guinan; the train was greeted by thousands of movie fans. A motorcade took the visitors to the City Hall on Elgin Street, where the Mayor, Harold Fisher, was on hand for an official greeting. After a short tour of the city, the visitors were greeted by James Alexander Lougheed on Parliament Hill, taken to their accommodations in the Château Laurier; the crowds that greeted the motorcade at each stage of its procession through the city were described by the Ottawa Citizen as "throngs" with "unrivalled scenes of enthusiasm".
The opening performance that evening consisted of two films, D. W. Griffith's "The Love Flower" and a comedy entitled "Cheer Up", four vaudeville acts. Crowds of people who were unable to obtain tickets for the sold-out show lingered on the sidewalks outside the theatre throughout the evening. After the performance, the revelry continued at City Hall, where the visiting celebrities and local notables celebrated until dawn, with the actress Texas Guinan orchestrating the celebrations from the Mayor's chair. News of the party erupted into a scandal over the following weeks, with many questioning the appropriateness of hosting the alleged debauchery at the seat of local government and whether city funds had been used to purchase alcohol for the event. One city councillor, Napoléon Champagne defended his attendance at the party in the Ottawa Citizen by claiming that he had been "looking after the married men". In the era of the downtown movie palaces, theatres were built with a narrow entrance on the main thoroughfare, with a long foyer leading to the auditorium well at the rear.
This enabled the bulk of the building to be constructed on cheaper land well away from the thoroughfare. Toronto's Loews and Pantages theaters designed by Thomas Lamb, were classic examples of this trend, with both theatres having narrow frontages on Yonge Street and auditoriums on a rear side street. Ottawa's Loews theater was different; this enabled Lamb to design a grander lobby for the theater, with a majestic marble staircase and balustrade, a colonnaded mezzanine, a domed ceiling with a great crystal chandelier. The auditorium was impressive, with its ornate proscenium arch, hand-painted ceiling dome, box seats, balcony; the Capitol was considered to be among the finest movie palaces in North America. In Palaces of the Night, John Lindsay wrote: "many feel the Ottawa Capitol was the most attractive of all of Lamb's theatres", with "the grandest split staircase and lobby anywhere". Loews main competitor in Canada, Famous Players, promised an larger flagship theatre on Sparks Street to trump the Loews cinema on Queen Street.
With a population of 150,000 at that time, Ottawa was unable to support two 2500-seat theatres, despite Famous Players' pronouncements. In 1924, Loews sold off its Canadian theatres, the American Keith theatre circuit was able to outbid Famous Players for the Ottawa Loews; the cinema was renamed "Keith's Vaudeville", shortly thereafter the marquee was changed again to the "RKO Capitol". For five years, Famous Players continued to announce on an annual basis that it would be building a competing cinema on Sparks Street. In 1929, Famous Players merged with RKO's Canadian operations, Ottawa's largest theatre became part of the Famous Players chain; the name of the theatre was changed to "the Capitol". Despite the end of the vaudeville era, the Capitol continued to host musical concerts and other events, along with its main film programming, throughout its history; the Capitol was the most prestigious auditorium in the National Capital Region, it was at the centre of the city's cultural and social life.
Its stage hosted, among others, Nelson Eddy, Ethel Barrymore, John Gielgud, Maurice Chevalier, Michael Redgrave, Victor Borge, Pearl Bailey, Nat King Cole, Vladimir Horowitz, Glenn Gould, the Metropolitan Opera Company, the Royal Philharmonic Orchestra and the Toronto Symphony Orchestra. In years, The Who, Jimi Hendrix and Ravi Shankar all performed at the Capitol. Recordings of Hendrix's 1968 concert and The Who's 1969 concert at the Capitol circulating for years as two of the most sought-after bootleg recordings of the respective performers; the recording of The Who's performance was released as a bonus disc with a remastered Tommy re-release in 2013. In 1964, Famous Players announced that the Capitol would be divided into two theatres, to replicate the success of the nearby two-screen Elgin Theatre; the chain never acted on this announcement, however in deference to the Capitol's role as Ottawa's main stage. When the plans for the National Arts Centre were announced, the end of the Capitol was near.
By the end of the 1960s, it was impossible to fill the Capitol's 2530 seats with the showing of a film. The president of the Famous Players chain, George Destounis, was quoted in the O