Thomas W. Lamb, Nicholas H. Weiss, Architects

Donald Deskey, Consulting Designer

The International Casino, a huge streamline modern night club, dominated the east side of Times Square for a very short time (even by New York standards), in the late 1930s. Opening in the late summer of 1937, this largest of all Manhattan night spots, disappeared by the beginning of 1940. Situated on  Broadway between 44th and 45th Streets, the history of this site as an mega entertainment venue dates back to the 1890s.

 

Hammerstein’s Olympia

Breaking the north-of-42nd-Street, theatrical district boundary, impresario Oscar Hammerstein (1846-1919) constructed his Olympia complex. These became first theatres in Longacre Square.

The Hammerstein’s Olympia comprised of two main theatres.  The Olympia Music Hall with 2,800 seats on the north side of the building, and the Lyric Theatre with 1,700 seats  mirroring it on the south side.

Sandwiched between the two large theatres was the 600 seat concert hall. A glass enclosed Roof Garden, seating over 1,000, topped off the complex.  An Oriental Café, billiard pallor, and bowling alley were attractions in the building’s basement. And for only fifty cents ($17.74 in 2022) all this entertainment could be yours to enjoy.

 

Opening on November 25, 1895, the Olympia offered customers a diverse range of entertainments, from concerts to vaudeville to musical theatre. Unfortunately, for Hammerstein, it proved to be a money losing venture. Within three years Hammerstein lost his Olympia. Sold at auction the by the New York Life Insurance Company, the three theatres reopened under separate ownership. Eventually, the Music Hall became the New York Theatre and by the mid-1910s would come under management of Loew’s Incorporated as a vaudeville and movie house. The Lyric was rechristened the Criterion and presented both legitimate theatre and movies until 1920 when it too switched exclusively to motion pictures.

 

And on the roof, the theatre rechristened the Jardin de Paris, played host to the first five editions of Florenz Ziegfeld’s Follies starting in 1907.

But within only a few years of Ziegfeld’s departure, the roof theatre also fell under the ownership of Loew’s. After the roof’s conversion into a movie theatre, Loew’s Roof and Loew’s New York Theatre found success by showing third run movies at bargain prices.

 

New York City and tastes in style change fast. Longacre Square became Times Square, which by 1920 had become Manhattan’s main entertainment district. And the complex once known as Hammerstein’s Olympia stood as a relic of the 19th Century. So when news of its demolition was announced in the spring of 1935, it surprised no one. Two days before demolition was to begin the New York Daily News ran the following article:

 

 

While the New York Theatre and Roof were undergoing demolition the Criterion Theatre remained opened for another week or so. After the Criterion’s closing, the razing of the former Hammerstein’s Olympia began in earnest. It only took forty-four days to take the entire building down. By the summer’s end of 1935 nothing remained and the plot was ready for new construction.

 

The International Casino

Plans for the New York Theatre’s replacement hit the papers in late June. What was surprising, the new building would be much smaller than the existing one. The 1514 Broadway Corporation’s (the name refers to the building’s address) new entertainment center would only be two stories tall and would include shops, a new movie theatre and a large restaurant / nightclub.

 

Helping to off set the cost of taxes on such an expensive plot of land, the owners erected enormous steel work on the roof for a five story high advertising sign they would lease. Construction began shortly after the clearing of the site.

The announcement for the new night club hit the papers in late August, 1936.

In 1933, due to the depression, a number of Broadway theatres were sitting vacant.  Showman Billy Rose converted two of them into night clubs, renamed The Music Hall and Casino de Paris. The following year the former Earl Carrroll Theatre found new life as  the French Casino. These three venues began the trend of enormous night spots featuring theatrical style stage shows.

The International Casino would be huge but newly built and not retrofitted into an existing space. And to design this mega nightclub Joe Moss hired famed architect Thomas W. Lamb (1870 – 1942) and his associate Nicholas H. Weiss.

Lamb made his reputation as the architect of major movie palaces. The Times Square theatres that Lamb designed were – the Strand (1914), the Rialto (1916), the Rivoli (1917) and the Capitol (1919). Each of these theatres became increasingly more elaborate. And like most theatres of the time relied on historic architectural styles for their decorative designs.

By the 1930s Lamb proved that he could keep up with new trends and design in the most up-to-date fashion. Lamb’s modern design work included the exuberant second Earl Carroll Theatre in 1931, Trans-Lux newsreel theatres, and the Pennsylvania and Capitol Greyhound Terminals in mid-town Manhattan.

 

The International Casino continued Lamb’s design work in the Streamline Moderne style. Unfortunately, the August announcement of a December opening was widely optimistic. December came and went and 1936 turned to 1937. The January 16, 1937 “Nite Club Notes” column of the New York Daily News informed readers that the International Casino would finally open on February 25, 1937. February came and went. Then in March, Chester King in his Brooklyn Daily Eagle column “Around the Tables” informed readers that Donald Deskey would be designing the decorative elements of the night club.

 

 

International Casino Designs by Donald Deskey

The Cooper Hewitt, Smithsonian Design Museum’s collection contains many of Deskey’s drawings and papers for the International Casino. Whether the brown and red carpet design was used is unconfirmed. The carpet with the guitar and cocktail glass motif did cover the floor of the main restaurant.

Deskey’s pattern of curvilinear, diamond shape forms highlighted a design trend starting to become popular in the late 1930s.

Deskey’s design for the restaurant carpet is slightly more than just a little reminiscent of Ruth Reeves’ Radio City Music Hall grand foyer carpet Still Life with Musical Instruments. Deskey used the guitar and glass motif throughout his design for the nightclub.

 

But in the  end the “glass and guitar” motif was not chosen for the exterior signs.

The Opening

The International Casino opening continually faced delays through the first three quarters of 1937. On June 19th the New York Daily News reported the nite spot would be opening around August 10th. But as the 10th approached it became apparent that  date  was too confident. An article in the New York Times on August 7th now said the International Casino would open on August 25th, with an elaborate Continental style show titled Bravo! and with George Olsen and his Orchestra providing music between shows. As the 25th neared the opening was pushed back to September 1st, which also did not happen. Next the 13th was given as the date for the long awaited opening. Unfortunately trouble with the stage mechanisms made the 13th impossible. Then the owners let the press know that September 17th would be the grand opening of the International Casino. And this time it happened, after so many delays the new Broadway nite spot finally opened its doors.

 

 

The Exterior

The November, 1937 issue of the Architectural Record said this about the exterior of the International Casino –

      With no daytime “elevation” to speak of, the Casino leaps into prominence at nightfall, topped by its 7-foot neon sign and encircled by three continuous lines of giant neon which marks the muntins of the building’s ribbon windows.

 

 

Street Floor

The International Casino had two entrances, both small. Covered by a canvas awning, the lesser entrance on West 45th Street included the elevator to take guests up to the second floor.

 

 

Sandwiched between the Crawford Clothing store on the corner of West 45th Street and the Criterion Theatre to its right, was the International Casino’s main entrance.  Protecting the revolving and standard doors  from the elements was a long marquee with a curved end. Neon lights fitted inside cursive letters spelled out “International Casino” on the marquee’s three sides. The neon letters flashed on and off in alternation with the backlighting of the marquee.

 

Once inside, the “spiral” bar and ground floor bar room greeted customers. The “spiral” bar’s name came from the fact that it ran the length of the stairs between the first floor and the mezzanine. This was not just a design gimmick, it satisfied the requirement of the New York State Liquor Authority which only allowed one standing bar per establishment.

 

Being arranged in a series of steps, drinking on the steep, slopping sections was made possible by small, draw out flaps. Making these sections of the bar usable brought its capacity up to 160.

The bar itself was made of white sycamore and East Indian rosewood, with railings of aluminum and bronze. The curved front of the bar gave it a very streamlined appearance, slightly resembling the front of a ship or locomotive. Like the all the furniture of the International Casino, the bar stools were of bleached ash and chrome-plated tube.

 

Squeezed underneath the stairs leading up to the second floor a long, leather covered bench and tables filled the right-side ground floor from front to the back. A large, moderne mural by Witold Gordon (1885 – 1968) decorated the wall behind the tables and bench.

A special feature of the International Casino was the escalator (the first in a night club or restaurant) just inside the main entrance. So, in the event the staircase proved impassable due to people imbibing at the bar, the escalator would whisk one to the main (second) floor quickly.

Mezzanine

A modernistic fountain was the main decorative feature of the mezzanine. This fountain was basically a large chromium ball in a diagonal sheet of glass hanging from a mirrored plaque on the ceiling over a pool of water. Floodlighting gave the it a very theatrical appearance.

Tables for two arranged along the edge of the mezzanine looked down to the main entrance and up to the Cosmopolitan Salon. While in front of the pool and fountain were tables and a striped banquette. Here one could order drinks and light food while people watching patrons on the other levels. The table tops and the linoleum just inside the main entrance featured Deskey’s guitar and cocktail glass motif.

 

Main Floor

Taking up the entire second floor, the International Casino, gave customers two options for drinking, dining and entertainment, the Cosmopolitan Salon and the restaurant.

 

Cosmopolitan Salon

The Cosmopolitan Salon, was more than a bar, it offered food plus it had its own orchestra and dance floor.

Its main area was located near the top of the stairs and escalator. But a section of the Salon with tables stretched along the length of the second floor at the front of the building. These tables provided guests with a view into Times Square, if the venetian blinds were open. Striped curtains and upholstery and some cocktail themed murals were the main decorative features of the space.

 

 

 

Just to the side of the entrance to the restaurant and on either side of the pantry’s door were two cashier booths to handle the checks of patrons of both the restaurant and Cosmopolitan Salon.

Tucked into the northeast corner of the second floor were the coat check, elevator and restrooms.

The Restaurant

With a seating capacity of 1,200, the restaurant that took up most of the second floor’s space. As a restaurant the room was enormous, but as a fully equipped theatre it was on the small side. Stairways and platforms, mechanically lowered from the ceiling, increased the stage size during the floor show. Devoid of pattern and ornament, the restaurant relied on lighting and a wise use of color for creating the feeling of luxury.

 

The Architectural Forum of November, 1937 wrote this about the interior decorations of the International Casino’s restaurant –

     The lighting lines emphasize the width of the room which is also enhanced by the simple masses of color – terra cotta, red, gray blue and pale beige – unbroken by decorative panels. The subsidiary lounges are equally restrained in decoration, though their interrelation at the central stairway tends, inevitably, to be somewhat confused.

Two alternating orchestras provided music for dancing before, between and after the elaborate show. Each evening a two hour plus revue was performed twice nightly at 7:45 and 11:45. While the International Casino did not have a cover charge, there was a $2.50 ($50.00 in 2023) minimum for each guest.

1937 – 1940

When the International Casino finally opened its doors in September, 1937, it was the new popular nightspot in Manhattan. But it was an expensive place to run. To potentially turn a profit, the Casino needed to be open from 11:00 AM – 4:00 AM.

 

First to open, the “spiral” bar, street floor and mezzanine, served drinks and light food continuously till closing. This section had its own kitchen and pantries on the mezzanine level.

Next to open in early afternoon was the Cosmopolitan Salon, serving lunch and tea to larger parties. It shared the third floor kitchen with the restaurant. Finally at 6:00 PM the restaurant opened its doors and ran continuously until closing.

The Shows

The revue that opened the International Casino, Bravo!, was a big hit, with a huge cast. While it opened with the Casino on opening night in mid-September, the stage did not become fully functional for another two weeks. Once the mechanical problems were worked out the improved show wowed the critics and public.  The Wall Street Journal said this about the improved Bravo! –

Scenes from Bravo!

Bravo! set the standard and style of the subsequent revues staged at the International Casino. The shows, glamour and the novelty of the this new show place / night club did bring the customers in, for a while. It averaged $65,000 a week for the first six weeks of operations. Then New Yorkers went else where and the out-of-towners did not arrive as expected. By New Year’s 1938-1939 the International Casino was in deep financial trouble.

1939 Closure

Theatrical producer Billy Rose made overtures to take over the International Casino. But Rose did not end up taking over Broadway’s latest white elephant. Later in January, the Casino announced it would be selling its equipment at a public auction on February 3rd. By mid-March the news hit that a Boston syndicate had taken a lease on the International Casino.

 

 

And with Alex Finn at the head of the take over, it was out with the old, in this case the moderne, and in with the new, meaning a nod back to the 1890s. Just a few blocks uptown at the Paramount Hotel, Billy Rose, was having great success with his 1890s themed restaurant / theatre, the Diamond Horseshoe. And to do the “olde tyme” make over, Finn brought in designer, Jac Lessman. Costing $100,000 ($2,105,000 in 2023), Lessman installed a new bar, restyled the second floor that included adding private booths at the side of the restaurant and new flower adorned, stepped walls on the staircases leading down to the stage. Not many photos have survived of this new International Casino, and the existing ones do not show much of a redesign inside the main restaurant.

As consistent with the history of the International Casino, the intended May 4, 1939 reopening date did not happen. It did finally reopen on May 25th. Unfortunately, between competition from the New York World’s Fair and other night spots, business remained about the same as before, good, but not enough to sustain the cost of running the enormous venue. Even though photos show a large crowd choosing to welcome 1940 at the Casino, it was too late.

Less than two weeks after New Year’s, the International Casino, closed again.

The plan now was for another renovation, converting the night club into a ballroom. With a capacity of 4,000, admission would be in the  popular price range and feature the top name big bands of the day. The anticipated opening date was for sometime by the end of February or beginning of March. But the plan never came to fruition. It was over.  The International Casino was gone, and in less than two and half years since it opened. Within a few months, the owners of the building, the 1514 Broadway Corporation, would sell it to a very different type of business.

 

Bond  Clothes

On May 4, 1940 Adda, Inc. purchased 1514 Broadway. Adda, Inc. just happened to be a subsidiary of Bond Clothes. Which meant that Bond would lease the 45th Street corner store and second floor from the Bond-controlled Adda, Inc. The new store, would not only be the largest store in the chain, it would be the largest men’s clothing store in the world.

Due to the stores location, this would not be an ordinary men’s clothing store. An $800,000 (the equivalent of nearly $17,000,000 today) renovation converted the space into the most modern and theatrical of clothings stores. The Exterior would feature a two story high sign spelling out Bond in pale blue neon with the “O” being a clock.

While almost nothing was left of the interior of the International Casino, there were a few reminders of the past. The escalator (the first in a night club) still remained as did the tiered ceiling of the former restaurant. Also adding to the theatricality this new store were an elevator in a cylindrical shaft that resembled a giant pillar and a “flying staircase” built along the lines of a Gothic cathedral’s flying buttresses.

More than 300 employees were on hand to greet customers when the doors opened for business on December 4, 1940. Twenty uniformed ushers were ready to take one to the departments suited to their size. This very large store had 26,000 suits and overcoats on display at all times. Within the first hour of the store’s opening, close to 400 suits and overcoats were sold. An estimated 100,000 persons entered the store by the 10:00 PM closing on opening day.

Bond Clothes found the success that eluded the International Casino. The store remained a Times Square fixture until 1977. In 1980 the space re-opened as the Bond International Casino, a large nightclub with a capacity of 1,800. Blondie, Grace Jones and The Clash are some of the notables that performed there. Another renovation in 1988 converted the space into two legitimate theatre venues, known as the Criterion Center. In 1991 the theatres were leased to the Roundabout Theatre Company. Toys “R” Us moved in after Roundabout moved out in 1999. This time the entire interior would be gutted for the renovation turning the space into a toy store, that included an indoor Ferris wheel.

The Toys “R” Us flagship store opened in 2001. But as the years passed and Broadway became a large pedestrian mall, Manhattan rents started to skyrocket. By 2015 Toys “R” Us could no longer afford the rent and closed the store in December, 2015. Today a Gap / Old Navy rents the building. And other than its location, nothing remains of the building’s original exterior or interior to make visitors to Times Square even suspect its often troubled and glamorous history.

But let’s not end in present day Times Square. Here is a New Year’s Eve photo of Times Square ready to usher in 1938, when cars, taxi cabs, buses and streetcars  still traversed Broadway. And when, for a very brief moment, the International Casino was the place to go to enjoy a night on the town.

Anthony & Chris (The Freakin’, Tiquen Guys)

Sources: Architectural Forum; Architectural Record; The Baltimore Sun; The Bergen Evening Record; The Brooklyn Daily Eagle; The Buffalo Evening News; Cooper Hewitt, Smithsonian Design Museum; The New York Daily News; The New York Herald Tribune; The New York Times; Showman’s Trade Review; usmodernist.org; The Wall Street Journal.