The following story was excerpted from Desert Dream to Silver Screen: The Story of the Historic Palm Springs Plaza Theatre by Catherine Graham and Jim Cook.
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Less than a month after its opening night, Earle Strebe temporarily shuttered The Plaza Theatre. This issue was not uncommon to exhibitors in markets deemed secondary by the studios. Hollywood giants like MGM, Fox, and Paramount built their empires on a production–distribution–exhibition model and owned their theaters. The box office revenues were funneled back into production and stockholder profits, allowing these studios to retain films as long as they wanted before renting them to smaller-market theaters. It wasn’t until the 1948 Supreme Court decision known as the Paramount Decree that this monopoly ended, prohibiting major studios from owning both theaters and film distribution. However, the full effects of this change would not materialize until the early 1950s.
As Strebe’s movie theater empire expanded, so did his challenges. In an era when movies played for only a few days before being replaced, Strebe was determined not to fill his theaters with low-quality flops, of which there were many. “The people of Palm Springs expect the best of everything,” he told the press regarding the surprise closing. “We must have seven top-notch pictures a week for both theaters. We change the program four times weekly at the Palm Springs Village Theatre and three times at The Plaza Theatre. It is almost impossible to get sufficient attendance at each theatre necessary to show first-class pictures and keep both theatres open.” He planned for The El Paseo theater to feature “art films,” the Palm Springs Village Theatre to show family fare, and The Plaza Theatre to handle Hollywood releases.
Strebe’s lease for The Plaza required him to keep the theater operating at least two nights a week, leading to an innovative solution: live performance. Despite The Plaza being built as a movie house devoid of amenities like dressing rooms, this creative approach proved successful. Strebe booked vaudeville acts, including acrobatic dancer Sonny LaMont and the singing Galli Sisters.
Early Plaza Theatre productions included Village Vanities during Desert Circus.
PHOTO COURTESY palm springs historical society
Jack Benny produced live radio broadcasts at the theater.
PHOTO COURTESY palm springs historical society
The Artists’ Series showcased sell-out performances, featuring talents as varied as the Ballet Russe de Monte Carlo in 1939 and world-renowned cellist Gregor Piatigorsky. The Desert Forum, a ladies’ cultural group, welcomed Romola Nijinsky, the wife and biographer of the Russian dancer and choreographer Vaslav Nijinsky. The WPA-sponsored Federal Theatre Project staged a three-act play titled Help Yourself, promising “hilarious but clean and sensible fun.” Perhaps most memorable was Louis Armstrong’s sell-out performance in December 1937, with tickets capped at $5. The Plaza Theatre also served as a community center, hosting meetings, church services, and even live broadcasts of election returns …
In May 1937, actor Ralph Bellamy made a surprise appearance during the Palm Springs showing of Let’s Get Married. The film had premiered earlier that year in March, but for The Plaza Theatre viewing, Earle Strebe introduced it from the stage and invited notable citizens from the audience, including James A. Arkell, the Beech Nut King, to join him onstage. According to the coverage in The Desert Sun, “After all four were on stage they indulged in a bit of horseplay,” before Bellamy took the stage. “Greeted by tremendous applause as he strode down the aisle to climb upon the stage and make his short speech, Bellamy seemed greatly pleased that he was so popular with Palm Springs theatregoers.” Though he received third billing after Ida Lupino and Walter Connolly, Bellamy ultimately won the girl.
Jack Benny.
PHOTO COURTESY nbc radio / wikimedia commons
In 1941 the loud, goofy vaudeville-style Village Insanities roared onto The Plaza Theatre stage as part of Desert Circus, an annual event that began on Feb. 22, 1934. The festivities included a parade, and local businesses closed so employees could join the fun. Originally a two-day event, it expanded into Circus Week within a few years. Over time, grand marshals included Clark Gable, Gene Autry, and Bob Hope, while Desert Queens featured illustrious figures like Shirley Temple, Janet Leigh, Jayne Mansfield, Lucille Ball, and Debbie Reynolds. The dress code required Western attire, and mock arrests carried real fines for non-compliance.
The variety show portion of the Desert Circus, initially held on the grounds of The Desert Inn, was known as the Village Vanities, which aptly reflected the alternative name, Village Insanities. Skits featured local businessmen and community leaders in drag, complete with full-face makeup, pink bloomers, and fright wigs. One memorable act involved Frank Bennett, manager of Deep Well Ranch, who clumsily stumbled through the audience, trampling feet and creating confusion — an incident that became a staple of the show. Mayor Phil Boyd, sporting a tutu, entertained the crowd with an intricate roller-skating routine.
In February 1941, Jack Benny became the first radio host to broadcast nationwide “Live from The Plaza Theatre in Palm Springs California,” with his announcer, Don Wilson, delivering the line as if it were one word. The perpetually 39-year-old comedian had a regular Sunday night show sponsored by Jell-O on the NBC radio network. Broadcasting live from The Plaza Theatre required the construction and dismantling of a portable sound booth, which staff carted out through the back loading dock for each program. Inside the soundproof glass booth, sound engineers monitored and controlled the broadcast audio while watching the performance and
signaling performers with hand cues.
PHOTO COURTESY palm springs historical society
PHOTO COURTESY palm springs historical society
The sound booth, performers, audio equipment, studio orchestra, writers, and sound effects personnel all had to fit on The Plaza Theatre stage, creating a crowded, chaotic environment reminiscent of a Marx Brothers skit, which added to the comedy.
Each show aired live, without recorded delays. Benny performed twice a day, broadcasting at 4 p.m. for the East Coast and repeating the performance at 7 or 8 p.m. for the West Coast audiences. Several of Benny’s subsequent programs also originated from The Plaza Theatre, including “The Tee-Pee Hotel in Palm Springs,” “Climb to Tahquitz Falls,” and “Murder at the Racquet Club,” all of which filled the theater with enthusiastic audiences. A half-hour prior to each live broadcast, Benny tended to mingle with fans in the aisles, cigar in hand, soaking up the adoration.
Benny brought along his usual team of writers and sidekicks, including his wife, Mary Livingstone; bandleader Phil Harris and a full orchestra; singer Dennis Day, a foil for gags; and the beloved, long-suffering Rochester. He frequently referenced Palm Springs in his material, weaving in jokes about horseback riding, date picking, and tanning.
In one memorable gag, announcer Wilson joked about white spots on Benny’s face. Benny quipped back that he had sent Rochester to the store for a cigar. “I fell asleep, and he left the change on my forehead. I’m a quarter and a dime short of a tan.”
Commercial skits seamlessly integrated into the comedy routines delighted the audience. Wilson had a field day mixing up the terms “desert” and “dessert.” Bandleader Harris remarked that the doorman had thrown him out of the Doll House, to which Wilson cheekily replied, “You don’t have to use force to open a box of Jell-O.” Such humor was typical of the program’s charm.
Photo courtesy palm springs historical society
The Jack Benny Program followed a standard format: an opening skit, a song from tenor Dennis Day or another guest, and musical interludes from Phil Harris’ orchestra. The show typically ended with an extended skit using all the full cast, including the vocal talents of Mel Blanc, who voiced various characters and provided sound effects.
In the Murder at the Racquet Club radio play, Benny played the chief of police, Capt. O’Benny, investigating a crime scene. Guest Charlie Farrell, the club owner, interjected with, “What’s all this racket at the Racquet Club?” O’Benny responded, “I want to grill some suspects,” to which Farrell humorously replied, “The grill doesn’t open till noon,” demonstrating the show’s signature slapstick comedy.
Performers belt it out during Village Vanities, part of Desert Circus.
PHOTO courtesy palm springs historical society
However, a significant shift in the national mood loomed on the horizon. The impending threat of World War II and the rise of Hitler became more real after Dec. 7, 1941. Suddenly Americans were eager to support the war efforts, and Palm Springs was ready to contribute. Benny continued his radio broadcasts throughout the war, often aimed at uplifting the soldiers. However, he would not return to The Plaza Theatre for a live performance until April 1945. Benny’s shows had a lasting impact, helping to establish Palm Springs as a world-renowned destination. In February 1994, the plaza in front of the theater was posthumously dedicated as “Jack Benny Plaza” in honor of his 100th birthday, an acknowledgment made by his friend and fellow comedian Bob Hope.
Hand-painted posters for the 10th annual Village Vanities.
Poster courtesy palm springs historical society
Poster courtesy palm springs historical society
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This story was excerpted from Desert Dream to Silver Screen: The Story of the Historic Palm Springs Plaza Theatre by Catherine Graham and Jim Cook. To order yours visit shop.palmspringslife.com.
