Apollo Theater facts for kids

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Apollo Theater
Significant dates
Marquee in 2019
Location	253 West 125th Street Manhattan, New York
Public transit	Subway: 125th Street
Operator	Apollo Theater Foundation
Type	Indoor theater
Seating type	fixed
Capacity	1,500 (approximate)

Apollo Theater
U.S. National Register of Historic Places

Location	253 West 125th Street Manhattan, New York
Built	1913–1914
Architect	George Keister
Architectural style	Classical Revival
NRHP reference No.	83004059
Added to NRHP	November 17, 1983

Construction
Broke ground	1913
Opened	1914
Renovated	1934, 1978, 1982–1988, 2002–2005
Expanded	2024 (planned)

The Apollo Theater is a famous theater located at 253 West 125th Street in the Harlem neighborhood of New York City. It was once known as the Hurtig & Seamon's New Theatre. This theater is very important for Black American performers. It was also home to the TV show Showtime at the Apollo.

The Apollo Theater has about 1,500 seats on three levels. It was designed by George Keister in a neoclassical style. Both the outside and inside of the theater are protected as New York City designated landmarks. They are also listed on the National Register of Historic Places. Today, the nonprofit Apollo Theater Foundation (ATF) runs the theater. They also operate a recording studio and two smaller stages at the nearby Victoria Theater.

The Apollo Theater first opened in 1913. It was created by Jules Hurtig and Harry Seamon for variety shows. Back then, only white audiences were allowed. In 1934, Sydney Cohen bought the theater. It then became a place for Black performers. Frank Schiffman and his family managed it from 1935 to 1976. After some changes in ownership, Percy Sutton bought it in 1981. The theater reopened in 1985 after a big makeover. New recording studios were built then. In 1991, the New York State Urban Development Corporation bought the Apollo. They gave its management to the ATF. More updates happened in the mid-2000s. The theater also expanded in the 2020s.

One of the Apollo's most famous events is Amateur Night. This is a weekly show where the audience judges new performers. Many famous artists who performed here are in the Apollo Legends Hall of Fame. The theater also supports new artistic works and offers educational programs. Over the years, the Apollo has hosted many music, dance, theater, and comedy shows. It has also shown movies, recorded performances, and held speeches and tributes. The Apollo has greatly influenced African-American culture. It has been featured in many books and TV shows.

Where the Apollo Theater Is Located

The Apollo Theater is at 253 West 125th Street. This is between Adam Clayton Powell Jr. Boulevard (Seventh Avenue) and Frederick Douglass Boulevard (Eighth Avenue). It is in the Harlem neighborhood of New York City. The theater building stretches from 125th Street to 126th Street. It covers about 17,454 square feet. The front of the theater on 125th Street is 50 feet wide.

The theater is next to the Victoria Theater. Many MTA Regional Bus Operations buses stop outside. The New York City Subway's 125th Street/St. Nicholas Avenue station is one block away.

How the Apollo Theater Looks

The Apollo Theater's marquee in 2019

The Apollo Theater was designed by George Keister. He used a neoclassical style. Keister designed several other theaters in this style.

The Outside of the Theater

The main front of the theater faces 125th Street. It is three stories tall. The ground floor has been changed many times. It has a ticket office and a store. The current design of the ground floor was finished in 2005. The store side has a glass and steel front. The ticket office is a round steel structure that sticks out.

The second and third stories are made of white glazed terracotta. This material has been there since the theater opened in 1914. A decorative ledge runs below the second floor. The windows on the second and third stories are in four sections. These sections are separated by tall, decorated columns. Above the third-story windows are more decorative panels.

A steel sign, called a marquee, was added above the ground floor in the 1940s. It showed the name "Apollo" and the names of the performers. A tall vertical sign with "Apollo" was also put up in the 1940s. In 2005, a new marquee with LED lights was installed. It looks like the old one. The original vertical sign was replaced with a new yellow and red sign.

Inside the Theater

The theater has an L-shaped layout. A narrow lobby leads from 125th Street to the main auditorium. The auditorium is at the back, facing 126th Street. Even though the inside was changed a few times, many of the original decorations from the 1910s were still there in 1983. These original features were kept during the big renovation in the mid-1980s.

The Lobby

The main lobby is long and narrow. It was changed a lot in the 1930s and 1960s. The lobby was made bigger in the late 1970s. After another renovation in 2006, the Tree of Hope was moved to the lobby. This is a tree stump that performers rub for good luck.

The lobby is on the western side of the ground floor. A store is on the eastern side. The original lobby had murals. By the early 1970s, it had pictures of famous entertainers. There was also a ticket office. The lobby now has two staircases that lead to the auditorium's balconies. Four large chandeliers light up the space. There is also a gift shop. A cafe was built in the lobby and opened in 2025.

The Auditorium

The auditorium as seen from the stage

The auditorium is at the north end of the building. It is rectangular with curved walls and a domed ceiling. It has two balcony levels above the main floor. In the 1930s, the Apollo Theater had 2,000 seats. By the early 2010s, it had 1,536 seats. The seats were updated in the 1980s and again in 2006. They are now wide and cranberry-colored. Each row of seats has lights at the bottom. There is also a special seating area for people with disabilities. The seats are divided by two aisles on each level. In 2024, 29 more seats were added to the main floor.

The back of the main floor has a standing rail. Decorative elements are around the doorways. Columns on the main floor support the first balcony. The main floor slopes down towards the stage. The stage has a flat opening in the center.

The balconies also slope down. They have similar decorations to the main floor. The fronts of the balconies have brass handrails and plaster designs. Square columns support the second balcony. On each side of the stage opening, there are two special box seats on each balcony level. These boxes have their own staircases. The arch above the boxes has classical designs. The stage opening itself has decorative columns and a molded band.

Above the boxes and stage opening is a decorative ledge. The ceiling is slightly curved at its edge. In the center of the ceiling is a round dome with a medallion. The theater was very modern for its time. It had a system to remove cigarette smoke and electric lights. The ventilation system was rebuilt in the 1980s. New lighting was also added.

Other Areas

Besides the main auditorium, the ground floor had a store. There was a cafe and cabaret in the basement. This space was used for rehearsals. It became a staff room in the 1940s. There were also lounges for women and men. These were made bigger in the 1940s. The second floor originally had a dining room. The third floor had meeting rooms and lofts. By the 1980s, the second and third floors were used for storage and offices. The third floor also has a sound stage. Its windows were covered in 1985 for this use.

The dressing rooms were in a separate building. They are simple. There is a wall in the dressing room covered with signatures. The Apollo's historian, Billy Mitchell, said in 2012 that "Anyone who's been to or performed at the Apollo in the last 20 years has their name on the wall." This includes famous people like Pee-wee Herman and even the President of the United States.

A production studio was built on top of a nearby wing in the 1980s. This studio is about 3,500 to 4,000 square feet. It could record 24 tracks at once. It had 96 microphone lines connected to the auditorium. Companies like Saatchi & Saatchi and Black Entertainment Television have used this studio.

History of the Apollo Theater

In the late 1800s, Harlem was a wealthy white neighborhood in New York City. Black residents started moving to Harlem in the early 1900s. This was when new homes and the city's first subway line were built. By the early 1900s, Harlem had many theaters. These included vaudeville, variety, and film theaters. They were mostly around 125th Street and Seventh Avenue. This area became known as "Harlem's 42nd Street." Jules Hurtig and Harry Seamon were theater owners in this area. They leased the Harlem Music Hall in 1897. They produced shows with Black stars like Bert Williams and George Walker. The Music Hall became a variety show venue around 1911.

Early Years as a Variety Theater

C. J. Stumpf and H. J. Langhoff bought land on 125th and 126th Street around 1911 or 1912. In June 1912, they announced plans for a three-story building. It would have a 2,500-seat variety theater at the back. Hurtig and Seamon wanted a bigger place for their shows. They agreed to lease the new theater for 30 years. The theater itself would cost $200,000. Work started in January 1913. It was called Hurtig & Seamon's New Theater. A local magazine said the theater would "add in no small degree to the appearance and prosperity of this locality."

The theater hosted its first show on December 17, 1913. Hurtig & Seamon first hired female ushers. They also did not allow Black patrons. At first, the theater also showed movies in the summer. It also hosted other events like benefits. A group of Broadway performers started performing there in 1917.

In the 1920s, more Black people moved to Harlem. This made many theater owners start letting Black patrons in. However, author Joel Augustus Rogers said that Black patrons at the New Theatre always got worse seats. The New Theatre started having shows with mixed-race casts in the mid-1920s. Hurtig & Seamon also planned shows with all-Black casts. The theater building was sold in August 1925. But Hurtig & Seamon still ran it. That year, the theater's orchestra was made bigger. A runway was also added.

Minsky Years

Advertisement for Hurtig and Seamon's Apollo Theater in 1928

After Hurtig died in 1928, the Minsky brothers leased the theater. They renamed it Hurtig & Seamon's Apollo. The Minskys renovated the lobby and repainted the auditorium. They also made the stage runway longer. The theater reopened in August 1928. Performers often spent more time with the audience.

The Apollo Theater's shows started to change in 1930. The Minskys focused on their new theater in Times Square. Bessie Smith was one of the first Black entertainers to perform at the Apollo. In 1931, the Minskys moved many of their shows to the Apollo. The theater hosted two shows a day in the 1931–1932 season. After Billy Minsky died in 1932, his brother Herbert took over. Attendance went down when the Apollo started showing shows without adult themes. The theater briefly hosted other performances in late 1932. It also started showing Black vaudeville that year. The Apollo's owners also started serving drinks in April 1933. The theater closed temporarily in May 1933. It stayed closed for seven months. It started hosting shows again in December 1933. But the new mayor, Fiorello La Guardia, started to crack down on variety theaters.

Cohen and Schiffman Take Over

Sidney Cohen, who owned other theaters, took over the Apollo in January 1934. Many popular Black theaters in Harlem were on 125th Street. The Apollo was changed into a place for Black entertainers. It had an all-Black staff. Most signs of the old adult shows were removed. The new shows were family-friendly. The theater was renamed the 125th Street Apollo Theatre. It reopened on January 26, 1934, for Harlem's Black community. Cohen hired John Hammond to find new talent. The theater quickly became popular with working-class and young audiences.

The Apollo was a special place for Black performers. Many other venues did not allow them in the early 1900s. The theater was a key part of the "Chitlin' Circuit" for Black artists. It featured many types of music, like R&B, jazz, blues, and gospel. Early shows were revues. But this quickly changed to a mix of dance, comedy, music, and new acts. The shows were like vaudeville, with six to eight acts. Up to seven comedians or musicians and eight singing groups would perform for a week. They did up to seven shows a day. New performers often started as opening acts. They hoped to become the main performer. The Apollo did not have rich supporters. So, its success depended on each week's show. To save money, the Apollo paid performers low salaries. But most new artists were happy to agree.

The Apollo became a Black theater at the end of the Harlem Renaissance. It was so respected that it was not damaged during the Harlem riots of 1935, 1943, or 1964. The theater was a source of pride for Harlem's Black community. It was often used for gatherings during protests. Even though the Schiffmans were white, local residents called the Apollo "our theater." One writer said Frank Schiffman was like "God" in Harlem show business. The show format changed over the years.

1930s and 1940s

The first big performer at the Apollo was jazz singer Adelaide Hall in February 1934. Her show was highly praised. This helped the Apollo become famous. Competitions for amateur performers were held on Wednesday nights. There were also "kiddie hours" on Sundays. The Apollo Theatre had strong competition from other venues. These included the Harlem Opera House and Frank Schiffman's Lafayette. Cohen advertised and broadcast shows on local radio. This led to similar efforts from Schiffman and Brecher. Cohen, Schiffman, and Brecher made a deal in May 1935. Cohen leased the theater to Duane Theater Corporation. Ralph Cooper became the emcee that same year.

After Cohen died in late 1935, the Opera House became a movie theater. The Apollo continued to have live shows. It was called "The Only Stage Show in Harlem." At first, the Apollo attracted blues and ragtime performers. It also had comedians and big bands. Early shows had a group of 16 chorus girls. By the late 1930s, they were no longer there. The New York Amsterdam News said in 1939 that the Apollo was "the only theatre in the country where Negro performers are predominantly featured." This was when many other places still did not allow Black performers. The Apollo closed temporarily in mid-1940 for upgrades. It reopened that September. The theater started showing musical comedies in February 1941. Jazz and bebop were popular in the 1940s. Gospel music was also played sometimes.

The Apollo attracted mixed-race audiences in the 1940s. On Sundays, up to four-fifths of the audience was white. During World War II, the theater gave 35 free tickets to U.S. soldiers. Performers also played at the Harlem Defense Recreation Center. Schiffman closed the theater for renovations in August 1945. The project cost $45,000. It included new sound systems, a remodeled orchestra pit, and new lounges. After World War II, the theater sometimes had a chorus line with six acts. By 1946, Schiffman planned to make the theater wider and add air conditioning. The theater was sold in 1949 to Harlem Apollo Realty Corporation. But Schiffman and Brecher still ran it. That year, they tried staging Broadway-style shows. Schiffman's sons, Jack and Robert, started working at the theater in the late 1940s and early 1950s.

1950s and 1960s

Over the years, variety shows became less common. The Apollo started hosting rock music concerts. Big bands were replaced by R&B performances. The theater also hosted different music styles like mambo and gospel. There were often two shows a day if a main performer was playing. Movies were shown at other times. The theater also closed for upgrades for two weeks every August. A large CinemaScope screen was installed in 1955. In 1957, Buddy Holly and the Crickets were the first white act to perform there. This was after the theater focused on Black entertainment. By the late 1950s, Variety magazine criticized the theater for "allowing some of its actors to carry on with assorted vulgarisms." A typical booking was five or six performances a day for seven days. The Apollo was one of the few places for Black entertainers in Harlem. Other places like the Waldorf Astoria New York and Copacabana had started allowing Black performers. Still, many popular Black artists returned to the Apollo for "the folks who can't make it downtown."

Robert Schiffman took over the theater's management in 1960 or 1961. He kept prices low for the local community. He tried to find new talent by talking to local DJs. The 1960s saw R&B become very popular at the Apollo. The theater was slightly renovated in 1960. New sound and lighting equipment was added in August 1961. During the 1964 Harlem riots, the Apollo only showed movies. This was because fewer people were coming. The lobby and auditorium were renovated in 1967. This project cost $50,000. It was done almost entirely by Black workers. Business started to decline after the Civil Rights Act of 1964 was passed. This allowed Black entertainers to perform in more places. The Apollo was smaller than similar venues. The neighborhood's economy was also declining. The Apollo was not near other popular places. Other problems included a feeling of rising crime and a lack of parking. The theater's manager, Charles Coles, said in 1967 that white audiences avoided the Apollo because of the 1964 riots. The Apollo continued to decline through the late 1960s and early 1970s.

The Schiffman family wanted to sell the Apollo to Black business owners in the 1960s. They had turned down offers from white theater operators. There was also growing support for local performances. During that time, the Apollo still had variety shows every night. It was often sold out on weekends. Many of these live acts were shown with films. In 1972, a group of investors wanted to buy the theater. But the deal was canceled when interest rates went up. As late as 1973, it had 42 to 45 weeks of live shows each year. The Apollo's main performers earned up to $50,000 per week. The theater had moved away from comedy and drama. It was mostly showing recording groups. Frank Schiffman remembered that the audience was mostly Black and local residents.

Decline and Temporary Closure

The theater as seen from the west

The Apollo had some successful shows between 1970 and 1974. But its shows dropped sharply after that. By the 1970s, the Apollo was the only Black vaudeville theater left in the U.S. Other such theaters had closed. They were attracting fewer entertainers. They could not compete with large venues. The Apollo Theater was having financial problems by early 1975. Its owners had to lay off over 100 staff members. The Apollo had to cut its live show schedule to 20–22 weeks per year. This was less than half of its peak of 45–50 weeks. Management could not raise prices. Even a small increase would drive away local residents. Also, the area around the theater was empty at night. The Apollo could not afford to pay performers the high rates they wanted. Patrons preferred to watch main performers instead of multi-act shows.

To make money, Robert Schiffman wanted to show new films with Black actors. But he faced competition from other Manhattan theaters. The Apollo's managers started advertising it for sale in 1975. The area had also become unsafe. For example, a young patron was killed at the theater later that year. The Apollo was used only for movies and gospel shows in the mid-1970s. It closed in January 1976. The theater had broken stage equipment and falling apart facilities. Many of the Apollo's former main performers refused to play there. Less famous acts did not bring in enough crowds to make a profit. The Apollo closed by 1977. Robert Schiffman thought about replacing the theater with a new 3,000-seat venue. There were also calls to renovate the Apollo or combine it with the Victoria Theater. During the Apollo's closure, the already damaged seats and decorations continued to decay. Burst water pipes destroyed the stage.

Robert Schiffman sold the Apollo in early 1978 to a group of Black businessmen. They became the first Black owners of the theater. The new owners included Rich and Elmer T. Morris and Guy Fisher. The group spent $250,000 renovating the Apollo. This included replacing the sound system, renovating backstage areas, and furnishing the lobby. The new owners also hired David E. McCarthy as the general manager. They added reserved seating. The theater reopened on May 6, 1978. The first performance had technical problems. In the months after it reopened, the Apollo hosted many acts and was somewhat successful. The Internal Revenue Service investigated the theater in November 1979. They found that the new owners had not paid taxes. The theater's operators filed for bankruptcy in May 1981.

Sutton Takes Over

Inner City Broadcasting, a company owned by Percy E. Sutton, agreed to buy the theater in late 1981. He paid about $220,000 or $225,000. Sutton said there were "roaches, dead rats, swimming rats" in the flooded basement. Inner City bought most of the theater's legal owner, Apollo Theatre Investor Group. Sutton owned the rest. Sutton said the purchase price was "the cheapest part of bringing the Apollo back." This was because the theater needed huge renovations.

The New York City Landmarks Preservation Commission (LPC) started thinking about making the Apollo Theater a city landmark in early 1982. They held hearings for this in mid-1982. In July, state officials also suggested listing the theater on the National Register of Historic Places (NRHP). This was after a report by the New York Landmarks Conservancy. The Apollo's outside and inside were named New York City landmarks in June 1983. The theater was added to the NRHP in November 1983. The NRHP listing became official in June 1984.

First Renovation

The upper facade and marquee of the Apollo

Sutton first planned to spend $5.7 million renovating the Apollo. He wanted to host and broadcast live shows from the theater. The Apollo Entertainment TV Network was formed in mid-1982. It would broadcast programs from the theater's studios. The Harlem Urban Development Corporation (HUDC) announced a $1 million grant for the theater in May 1982. The original reopening date of July 1982 was delayed. This was because the project was very complex. The state government worried that Sutton could not pay for the rising renovation costs. In September, the U.S. federal government gave a $1.5 million grant to the city. The city lent this money to the Apollo's operators. The city also issued $2.8 million in bonds to fund a recording studio. Percy Sutton and his brother Oliver wanted to raise the rest of the $6.8 million themselves.

The Suttons announced in December 1982 that they would stop the project. This was after the New York State Mortgage Agency said no to their request for insurance help. But Mayor Ed Koch was hopeful the renovation would continue. The renovation restarted in May 1983. The state UDC agreed to give the theater $2.5 million. Without this money, the Apollo Theatre Investor Group would have canceled the project. Sutton transferred the theater building to the New York state government. He wanted a $9 million state grant. He then leased the theater for 99 years. Sutton eventually got $10 million from a group of lenders. The renovation had more delays. A construction management company charged almost $800,000 before work even started.

The renovated theater included a production studio for TV broadcasts and video. It also had a new hall of fame with items from the theater's history. Air-conditioning and an elevator were added. The theater also got new lights, sound systems, and dressing rooms. The interior was restored. By late 1983 and early 1984, the Apollo was expected to open in late 1984. To advertise its return, Sutton briefly reopened the theater for events during renovation. These included awards in November 1983, an Amateur Night that December, and a show in June 1984. Sutton estimated it cost $72,000 just to open the theater once a month. At the end of 1984, the State Mortgage Agency agreed to insure most of a $2.9 million loan. This loan was from Manufacturers Hanover Corporation. The first phase cost $5.5 million in total. Local residents hoped the Apollo's renovation would help 125th Street.

Reopening and Late 1980s

The first shows at the newly renovated theater were on May 22, 1985. The recording studio was not finished yet. Sutton planned to have many different types of shows. For example, jazz and rock on Friday and Saturday nights, gospel on Sunday mornings, and Amateur Nights on Wednesday nights. The revived theater also had a mixed-race dance company. Sutton said this was to "send a message that everyone is welcome here." By October 1985, the theater closed temporarily for the recording studio to be built. New York Amsterdam News reported two months later that the work would last until late 1986. Showtime at the Apollo, a TV series about Amateur Night performers, started in 1987. All the facilities were not finished until mid-1988. The renovation ended up costing $20 million.

Sutton's lenders let him delay loan payments until 1992. He tried to make a profit. To raise money, Sutton sold recordings of shows. He also tried to create syndicated TV programs. He planned to earn money from Showtime at the Apollo, the Apollo Theater Records label, and licensing deals. But the theater still lost money. Advertising company Saatchi & Saatchi signed a contract in 1989. They got exclusive use of the Apollo's broadcast studios. But only one syndicated program was made by 1991. The theater was also used only 50 percent of the time. The studio was used 30 percent of the time. The Apollo was losing $2.4 million a year by 1990. It was expected to lose $2.1 million more. Sutton had expected to earn $1.7 million from videos. He expected to pay $1.3 million in salaries in 1990. But he earned $280,000 and paid $1.8 million. The theater still faced competition from larger venues. It was also affected by feelings of high crime. The Apollo Theatre Investor Group was behind on payments by early 1991. Newsday reported in 1991 that the group never kept proper financial records. This may have made its money problems worse.

Sutton announced in April 1991 that he would close the theater on June 1. This was unless his lenders changed the loans. Sutton made a payment of $36,000 later that month. The Manufacturers Hanover Corporation agreed to stop further loan payments for six months. Sutton thought about giving the theater's operation to a new nonprofit group. This would cost him $6 million. He asked entertainers like Bill Cosby to perform to raise money. A TV special, benefit shows, and film screenings were organized. Many celebrities formed a group called Save the Apollo Film Committee. Three hundred churches with Black congregations also donated. State Assembly member Geraldine L. Daniels asked the Recording Academy to consider hosting the Grammy Awards there. By July 1991, the Apollo Theatre Investor Group was creating a nonprofit. This group would take over the theater's operation.

Apollo Theater Foundation Takes Over

In September 1991, the New York State Urban Development Corporation (UDC) bought the Apollo. They gave its operation to the nonprofit Apollo Theater Foundation (ATF). As part of the deal, Manufacturers Hanover agreed to forgive $2.9 million in unpaid mortgage payments. The state UDC also agreed to change a $7.67 million grant. But it would not forgive the total debt of $11.4 million. Performers like Natalie Cole continued to host shows to raise money. Sutton stayed involved as an unpaid consultant. Inner City provided $500,000 per year in radio advertising. Inner City Theater Group also licensed the Apollo's name for five years.

1990s

The ATF took over the theater in September 1992. A plaque celebrating the Apollo's listing on the National Register of Historic Places was added. But the plaque was stolen in 1996. Leon Denmark was named the foundation's director. The foundation wanted to attract famous Black performers. It also wanted to reduce the theater's debts. In its first year, 1993–1994, the ATF supported performances. It also started the Community Arts Program for less experienced entertainers. Local TV station WPIX began broadcasting events from the Apollo. The ATF also created a public museum. It held events to pay for maintenance. The Apollo Theater's comeback led to more people visiting West 125th Street. The theater itself had 12 events per month. It attracted 17,000 guests.

Grace Blake became the ATF's director in 1996. The next year, money was given for a gift shop next to the theater. The ATF started raising $30 million for the theater in the late 1990s. But the city and state governments would not give grants. This was unless the foundation provided financial statements. At the time, there was a disagreement over how much Inner City owed the ATF. The Apollo was mostly empty by 1998, except on Amateur Nights. It was also falling apart. The only other major show was Showtime at the Apollo. The Apollo was rented out for other events the rest of the time. Many Black performers avoided the theater. This was because it was small. Also, larger venues were no longer segregated.

In 1998, the Attorney General of New York's office investigated if Inner City was underpaying ATF. The attorney general accused the foundation's board of directors of bad management. He sued six board members. These included chairman Charles Rangel. He also tried to have the theater put under special management. Rangel and Sutton denied the accusations. The next attorney general, Eliot Spitzer, calculated that Inner City owed the ATF only $1 million. By early 1999, Time Warner thought about taking over the Apollo's board. The state government was willing to drop the lawsuits if Time Warner took over. That August, Time Warner donated $500,000. They expanded the ATF's board to 19 members. This agreement would start when Rangel resigned. Rangel first refused to step down. But Ossie Davis was named the new chairman that September. Spitzer dropped his office's lawsuits in late 1999. Governor George Pataki approved a $750,000 grant for the Apollo. Time Warner planned to host TV specials, pay-per-view shows, and concerts there.

2000s

Seen in 2006

By 2000, Time Warner planned to fully renovate the Apollo. But this was delayed by arguments over whether Time Warner should replace Blake as the ATF's director. The ATF's board hired Caples Jefferson Architects to design the renovation. The New York Landmarks Conservancy made a report on the theater's condition. Time Warner executive Derek Q. Johnson was named the ATF's president in early 2001. At that time, 115,000 people visited annually. Plans for the renovation were announced that May. The budget was about $6 million or $6.5 million. The ATF also wanted to lease the neighboring Victoria Theater. This would expand the Apollo. But this was expected to make the cost almost $200 million. The Coca-Cola Company signed a ten-year sponsorship deal with the ATF that August. The Dance Theatre of Harlem also partnered with the Apollo that year. Between 2001 and 2003, the theater's annual budget grew from $3 million to $10 million. The theater started hosting musicals, galas, and fundraisers.

The first part of the renovation was restoring the outside and marquee. This was happening by 2002. It was expected to cost $12 million. In July, the ATF announced it would close the theater for eight months. Davis Brody Bond and Beyer Blinder Belle were hired as restoration architects. Local firms designed other parts of the renovation. Johnson resigned in September 2002. This was after the ATF's board canceled plans to lease the Victoria. They approved a smaller renovation costing $53–54 million. Jonelle Procope was named the Apollo's director in 2003. The ATF was involved in another plan to renovate the Victoria in the mid-2000s. But this plan did not work out. The ATF started an annual spring benefit in 2005 to raise money. The renovation of the outside was finished that December. The ATF installed wider seats in early 2006. The first phase also included replacing the stage and dressing rooms. By then, the theater had 1.3 million visitors each year. Many tourists visited just to tour it. But the Apollo still hosted events and performances. It remained an important gathering place for Harlem residents.

The ceilings, walls, and other inside decorations were to be restored in the second phase. By early 2008, the ATF had raised $51.5 million for the first phase. They planned to raise another $44.5 million for the second phase. The lobby would be expanded by 4,000 square feet. This would have required the theater to close for several months in 2009. The work also included updating the lobby, restoring the auditorium's decorations, and adding a walk of fame. A multi-purpose space would also have been created on the second floor. The ATF delayed the inside renovation and paused its fundraising in 2009. Even though the Apollo was getting many small donations, Procope decided to focus on expanding the theater's shows. It sold 400,000 tickets per year at the time.

2010s

In the early 2010s, the Apollo was mainly used for TV shows, parties, special events, and Amateur Nights. These included the Dining with the Divas luncheon, which started in 2011. There was also the Apollo Theater Spring Gala. A walk of fame was created outside the theater in May 2010. It honored performers in the Apollo Legends Hall of Fame. That year, the ATF decided to expand its board to 27 members. By 2011, the ATF wanted to expand into the empty site of the nearby Showman's Cafe club. They wanted to raise $12 million for this project. The foundation updated the Amateur Nights website. They placed ads in the subway. They also made a mobile app for Amateur Nights. They invited more diverse performers. The ATF launched the 21st Century Apollo Campaign in 2014. They wanted to raise $20 million. At the time, they had raised $10 million. Three-fourths of this money was for expanding shows. $4 million was for a reserve fund. $1 million was for smaller improvements.

By the mid-2010s, the ATF's money situation was stable. It had an annual budget of $13.2 million. The organization had 30 trustees. More tourists were visiting the Apollo. For example, Amateur Nights attracted 60,000 viewers in 2013. Almost half of them were tourists. The ATF had extra money in its budget for several years in the 2010s. The foundation announced in 2018 that it would build two auditoriums. One would have 199 seats, and the other 99 seats. These would be on the third and fourth stories of the Victoria Theater. These new stages were the first big expansion of the Apollo since 1934. They would host works by new artists. They would also let the ATF produce more types of content.

2020s Expansion

Due to the COVID-19 pandemic in New York City, the Apollo Theater closed temporarily in March 2020. It reopened in August 2021. The ATF announced in late 2021 that they would open the auditoriums in the Victoria Theater in 2022. The expansion into the Victoria Theater also included office space for the ATF. This happened as more people became interested in visiting Harlem. ATF officials announced in October 2022 that they would renovate the original theater in early 2024. This meant the main auditorium would close for six months. The theater had raised $63 million for its capital campaign. It was planned to be renamed the Apollo Performing Arts Center after renovations. Procope announced in late 2022 that she would step down as the Apollo's director in June 2023.

The 99-seat performance space in the Apollo Victoria Theater was renamed after Procope in early 2023. In June, Michelle Ebanks was named the Apollo's director. The Apollo Stages at the Victoria opened in March 2024. It included a lobby, offices, and two extra stages. The ATF announced more details of the renovation in June 2024. The plans included restoring the outside. They also included expanding the lobby. Upgrades were planned for the seating, lighting, sound systems, restrooms, and soundstage. The theater temporarily closed on July 1, 2025. During the closure, Amateur Nights were paused. Other performances moved to the Victoria Theater.

Programs and Management

The Apollo Theater Foundation is a nonprofit organization started in 1991. It runs the theater. As of 2024, Michelle Ebanks is the president and CEO of the Apollo Theater Foundation. For the year ending June 2023, the organization had $4,507,683 in income and $9,935,823 in expenses. The ATF hosts programs like Amateur Night. It also holds events like concerts.

The theater's audience was often mixed. In the 1940s, about 40% of the audience during the week was white. This went up to 75% for weekend shows. Some performers like Elvis Presley, Mick Jagger, and members of the Beatles sat in the audience. Bill Clinton visited the Apollo in 2005 after his presidency. Jamaican prime minister P. J. Patterson was the first Caribbean leader to visit in 2002.

Amateur Night at the Apollo

Marquee for Amateur Night at the Apollo

Amateur Night started in 1934 or 1935. It has been held almost every week since then. The only break was from the 1970s to 1985. Amateur Nights were held every Wednesday evening. They were broadcast on radio stations. The shows attracted audiences of all races. Until the 1990s, Amateur Nights often lasted up to four hours. They had as many as 30 performers. After the ATF took over, they shortened Amateur Nights to about 12 performers. A mobile app for Amateur Nights started in 2011. Auditions were held online for the first time in 2020. This was during the COVID-19 pandemic. Amateur Nights performances were shown in the TV series Showtime at the Apollo. This show ran from 1987 to 2008. It was relaunched in 2018.

Traditionally, many contestants would rub a tree stump on the stage for good luck. This stump is called the Tree of Hope. It was originally in the middle of Seventh Avenue in Harlem. A winner and three runners-up are chosen after each show. First-place winners got money and were invited back. Early winners were invited to perform the next week. By the late 20th century, winners were invited to monthly "Show Off" shows. They also went to annual "Top Dog" competitions.

The "executioner," holding a broom, would sweep bad performers off the stage. The executioner might also use other things, like a chair or balls. Vaudeville tap dancer "Sandman" Sims played this role from the 1950s to 2000. C. P. Lacey also served as executioner for over 20 years. The performer might also be chased offstage with a toy gun and a siren sound. According to Showtime at the Apollo presenter Steve Harvey, some musicians' songs were off limits. Contestants were booed off stage if they missed a single note. Luther Vandross was booed off stage four times before he won. James Brown also did not succeed in his first performance in 1952.

Amateur Night performers came from all over the U.S. Most performers have been young Black artists. But there have also been older or white performers. Amateur Nights helped make young or unknown artists famous. Winners include Pearl Bailey, Ella Fitzgerald, The Jackson 5, Sarah Vaughan, Frankie Lymon and The Teenagers, James Brown, Gladys Knight, and Dionne Warwick. One author wrote in 2010 that "if there had been no Apollo Theater, many of these stars would never have been given their first chance."

Apollo Legends Hall of Fame

The Apollo Legends Hall of Fame was created in 1985. It first had 25 performers who started at the Apollo before 1955. It also had items from the theater's history. Every year, up to ten more people are added. Nominees must have performed at the Apollo. Or they must have created art inspired by Apollo performers. Some Hall of Fame members are honored in the Walk of Fame. This was created in 2010. It has bronze plaques in the sidewalk.

Educational Programs

The theater has offered educational programs over the years. These include talks, like a 1974 talk by blues musician B.B. King. The ATF partnered with the Verizon Foundation in 2007. They taught local students about the theater's history. They started hosting the Master Class Series for performers in 2012. Before the COVID-19 pandemic, the ATF had many education programs. They taught 20,000 children each year. In late 2022, the ATF created the Apollo Apprenticeship program. This offers internships in event management and production.

In 2010, playwright Keith Josef Adkins started New Black Fest at the Apollo. This is an annual event that shows plays by Black playwrights. The ATF launched the Apollo New Works program in 2020. This was after getting grants. Apollo New Works shows music, theater, or dance performances by Black artists. A group of artists is chosen each year. The ATF and the United Talent Agency signed a deal in 2021. This allows the agency to promote films and TV shows made at the Apollo. As of 2023, the Apollo offers both online and in-person workshops. These reach over 20,000 people each year.

In partnership with the Columbia Center for Oral History Research, the ATF started an archive in 2008. It has historical documents, photos, and other media. They also started an oral history project. Many performers, including Smokey Robinson and Leslie Uggams, gave interviews. The archive includes a 100-foot-long plywood wall. Thousands of people signed it after Michael Jackson's death.

Famous Performances and Performers

Music

Some of the first acts at the Apollo were blues performers Bessie Smith and Lead Belly Ledbetter. In the theater's first ten years, many famous jazz and big band musicians played there. Most were Black, but some were white. In the mid-1950s, the theater started hosting mambo performances. This was after Machito's Afro-Cubans played there many times. The theater's first gospel acts appeared in 1955. The theater also started hosting gospel and rock and roll performers in the 1950s. Many DJs also led shows in the 1960s.

Famous performers from the 1930s to the 1960s include:

James Brown, Soul, R&B and funk performer
Ruth Brown, R&B singer
Cab Calloway, jazz musician
Nat King Cole, jazz vocalist
Miles Davis, jazz musician
Sammy Davis Jr., vocalist
Duke Ellington, jazz musician
Ella Fitzgerald, jazz musician
Aretha Franklin, soul singer
Dizzy Gillespie, jazz musician
Billie Holiday, jazz vocalist
Buddy Holly, rock and roll musician
Mahalia Jackson, gospel singer
B. B. King, blues musician
Jerry Lee Lewis, rock and roll musician
Thelonious Monk, jazz musician
Otis Redding, soul singer
Smokey Robinson, R&B and soul vocalist
Sarah Vaughan, jazz vocalist
Fats Waller, jazz musician
Jackie Wilson, R&B and soul vocalist

Bands like Parliament-Funkadelic and War performed at the Apollo when it briefly reopened in the late 1970s. The theater rarely hosted Latin music. An exception was a 1983 tribute to Machito. After the Apollo was renovated in the 1980s, it hosted diverse acts. These included the New York Philharmonic, Hall & Oates, and Prince. In the 2000s, the Apollo also tried to start a Latin music series. It hosted performers like the band Gorillaz. The Apollo also partnered with Opera Philadelphia to create operas about Black culture. Several rappers have performed at the Apollo in recent years. These include Ice Cube, Drake, and Lil Wayne. The Apollo's music shows have also included competitions. These were an R&B contest in the 1960s and a gospel competition in the 2010s.

Concerts

Some of the theater's concerts have been very notable. For example, Aretha Franklin played to sold-out crowds in 1971. Bob Marley and The Wailers performed there for their Survival Tour in 1979. Pop star Michael Jackson played a free concert at the Apollo in 2002. This raised $2.5 million for the U.S. Democratic Party. This was his last performance at the Apollo.

The theater has hosted many benefit concerts. These included a fundraiser for the Scottsboro Boys in 1937. There was also a concert for Attica Prison riot victims' families in 1971. A gospel concert by Shirley Caesar and The Clark Sisters was held for the United Negro College Fund in 1986. Starting in 1993, the theater also hosted concerts to raise money for its Hall of Fame.

Dance

The theater also featured tap dancers. These included the Berry Brothers, Nicholas Brothers, and Bojangles Robinson. The theater hosted dancers like Bunny Briggs and Babe Lawrence in the mid-20th century. Other dancers included Cholly Atkins, Bill Bailey, and Honi Coles. Other dancers at the Apollo included Carmen De Lavallade and Geoffrey Holder. The theater hosted the Les Ballets Africains, Guinea's national dance company, for several years starting in 1970. Dancing continued at the Apollo in later years. For example, in 1990, the Apollo held a tap-dancing festival. Starting in 2011, the Ballet Hispanico performed at the Apollo regularly.

Plays and Revues

The Apollo has hosted many revues and theatrical productions. These included a popular show with white and Black performers in the 1930s. There was also a show honoring Black soldiers during World War II. Separate shows were led by boxer Ray Robinson, comedian Timmie Rogers, and actress Pearl Bailey. The Apollo's first musical comedy, Tan Manhattan, was staged in 1941. The Apollo also hosted plays like Anna Lucasta (1949), The Respectful ... (1950), and The Detective Story (1951). The theater started staging R&B shows in 1955. Each show had up to a dozen performers. The Jewel Box Revue, a show with female impersonators, was first shown at the Apollo in 1959. It was staged several times through at least the 1970s. The Motortown Revue was staged in 1962. It featured artists like Smokey Robinson, the Supremes, the Temptations, and Stevie Wonder. Other shows in the 1960s and 1970s included the musical drama Listen My Brother. There was also an all-Black production of the drama Jazztime.

Harlem Song, a show about Harlem's history, opened at the Apollo in 2002. It was the Apollo's first show with no definite end date. The theater has also hosted other plays, musicals, and shows in the 21st century. These include The Jackie Wilson Story in 2003 and Apollo Club Harlem in 2013. James Brown: Get on the Good Foot was also in 2013. This was the first show produced by the Apollo that went on international tour.

Comedy

Comedy acts have also appeared on the Apollo stage. In the theater's early years, these included Butterbeans and Susie, Moms Mabley, Redd Foxx, Dick Gregory, Richard Pryor, and Bill Cosby. Among the most popular comedy acts in the mid-20th century were Mabley, who made fun of Jim Crow laws, and Rogers, who performed song-and-dance routines. Russell, White, and Foxx also focused on social issues in their shows. By the 1960s, the theater hosted younger comedians. Bill Cosby made his debut in 1968. Pryor and Wilson also appeared often in the 1960s. Later, Chris Rock filmed a comedy show at the Apollo in 1999.

Other Events at the Apollo

Films

The Apollo has shown some films throughout its history. In its peak as a venue for Black artists, it hosted Take My Life in 1943. It also showed Sepia Cinderella in 1947. Prince of Foxes was shown in 1950. A musical film called Rockin' the Blues was shown in 1956. As part of a program in 1965, a local group showed films to teach teenagers about cinema. In the same decade, the Apollo also hosted gospel films and a summer film festival.

The Apollo hosted the documentary Save the Children in 1973. It also showed new films like Cleopatra Jones and the Casino of Gold in 1975. And The Bingo Long Traveling All-Stars & Motor Kings in 1976. The documentary The Liberators: Fighting on Two Fronts in World War II was also shown in 1992.

Recordings and TV Tapings

Many performances at the Apollo Theater have been recorded. A Night at the Apollo, a track released in 1957, had samples of performances. James Brown recorded a show in 1962. This became the album Live at the Apollo. It stayed on the Billboard pop albums chart for 66 weeks. Brown recorded more albums there, like Live at the Apollo, Volume II (1967). Gospel artist Byron Cage played at the Apollo for his album Live at the Apollo: The Proclamation in 2007. Bruno Mars recorded a concert called Bruno Mars: 24K Magic Live at the Apollo in 2017. Guns N' Roses released "Live at the Apollo 2017" after visiting the theater. The music video for Whitney Houston's 1986 song Greatest Love of All was filmed at the Apollo. It featured Houston and her mother Cissy Houston.

Some of the Apollo's shows have also been filmed for TV. In April 1976, two 60-minute TV specials were made to help the theater. A TV special called "Motown Returns to the Apollo" was taped in May 1985. This celebrated the Apollo's reopening. NBC filmed the show A Hot Night in Harlem in 2004. This raised money for the theater's renovation.

Other Gatherings

When Schiffman ran the Apollo, he often rented the theater for meetings. These meetings were about topics important to Black Americans. They included discussions on civil rights and jobs. Civil rights leaders like Martin Luther King Jr., A. Philip Randolph, and Bayard Rustin gave speeches there. Organizations like the NAACP also hosted events. Between 20 and 25 civil rights events happened at the Apollo each year from 1966 to 1971. There have been some religious services. These include sermons by Jesse Jackson in 1969. Fela Kuti gave a sermon and musical performance in 1991. Suzan Johnson Cook held worship series in 2008.

The exterior of the Apollo after Michael Jackson died

The Apollo has hosted memorial services. These include those for civil rights leader Martin Luther King Jr. in 1972. Also for James Brown in 2007, and Michael Jackson in 2009. The theater has also hosted tribute shows. These include a tribute to Bob Marley in 1984. "Swing into Spring: A Harlem Tribute to Lionel Hampton" was in 1996. A benefit honoring Ossie Davis was in 2004. Several awards ceremonies have been held at the Apollo. These include the Caribbean Music Awards. Also the Rhythm and Blues Foundation's Pioneer Awards.

The theater hosted a poetry recital in 1994. It also had its first professional boxing match in 1997. The theater hosted a debate between Al Gore and Bill Bradley during the 2000 Democratic Party presidential primaries. Then-U.S. senator Barack Obama campaigned at the theater during his 2008 presidential campaign. Events in the 21st century include a fashion show in 2004. There was also a graduation ceremony for Wagner Graduate School of Public Service students. An annual skipping rope competition called the Double Dutch Holiday Classic is also held there.

Impact of the Apollo Theater

The Apollo Theater was a symbol of success for many Black performers. This was especially true when Robert Schiffman managed it. The Los Angeles Sentinel wrote in 1982 that "the Apollo has had a significant impact on the careers of virtually every black performer who has played there." The New York Amsterdam News said in 1983 that the theater "led the way in the presentation of swing, bebop, rhythm and blues, modern jazz, commercially produced gospel, soul and funk." The Wall Street Journal wrote in 2011: "You'd be hard-pressed to find a major African-American entertainer... who didn't appear there." Record producer Quincy Jones said in 2004: "The influence of the Apollo reaches beyond the shores of this country-it is truly the premiere platform for world music." Robert Schiffman claimed: "For years, you could write 'Apollo Theater' on a postcard, drop it into a mailbox anywhere and it would be delivered." In July 2024, the Apollo became the first cultural institution to receive a Kennedy Center Honors award.

Books and Shows About the Theater

The Apollo was featured in a 90-minute episode of the David Frost Show in 1969. The Apollo ... It Was Just Like Magic, a musical play about the theater's history, was produced in 1981. The theater's history was told in the 1976 TV special Apollo. Also in the 1980 NBC special Uptown. And in the 2019 documentary The Apollo.

Several books have been written about the theater. These include Showtime at the Apollo: The Story of Harlem's World Famous Theater by Ted Fox. It was published in 1983 and again in 2003. A graphic novel with the same name was published in 2019. The theater was also the subject of "Ain't Nothing Like the Real Thing." This was a 2011 exhibit at the Museum of the City of New York. It was also a traveling exhibition at the National Museum of American History in 2010.