History
Performances at the Paradise performances included a master of ceremonies, a 25-piece orchestra led by Don Albert and artists including Cab Calloway, Eddie Cantor, George Burns and Bob Hope.
Despite the Great Depression, the Paradise consistently drew capacity crowds becoming a major cultural hub on the Grand Concourse.
Following a 1948 Supreme Court ruling, Loew's was forced to separate film production from exhibition, requiring the company to sell the Paradise or restrict its programming.
In 1949, the original Wonder Morton organ was moved to California, and extra seating was added above the orchestra pit. The Paradise remained the Bronx's premier first-run movie theater.
A panoramic screen and stereophonic sound were installed in 1953. Throughout the 1950s and early 1960s, the theater hosted films, religious services, concerts, holiday events, and televised boxing. In 1956, Variety called it "perhaps the most successful neighborhood operation" in the Loew's circuit.
By the 1960s, television, suburban migration, and multiplexes fueled a steady decline. Multi-film programming began in 1964, and by 1965 the once-grand theater was visibly deteriorating.
In 1973, Loew’s began subdividing the auditorium. Despite opposition, the project moved forward, making the Paradise the only “Wonder Theatre” converted into a multiplex. A third screen was added in the mid-1970s and a fourth in 1981, concealing most of the original interior.
By the late 1970s, declining demand led to the end of children’s matinees. In 1988, a fatal police shooting occurred inside the theater.
In 1992, the Landmarks Preservation Commission began considering designation. Due to extensive alterations, protection initially focused on the exterior. By then, the theater was in severe disrepair, with deteriorated interiors, poor conditions, and declining attendance as the surrounding population shifted.
Local officials and preservationists mobilized in response. Bronx borough president Fernando Ferrer pushed for landmark designation, and a task force was formed to study future uses. Actor Tony Randall was among those supporting restoration.
Continued neglect led to the loss of architectural elements. Preservation groups and owners explored partial protections that would preserve key spaces while allowing redevelopment.
In April 1997, the facade was designated a New York City landmark. The interior, though largely intact, remained unprotected at the time.
However, the project faced delays, rising costs, and financial complications. By 2001, restoration had stalled due to missed rent payments, despite significant investment and partial work completed, including repainting and structural preparation.
Ownership disputes delayed progress further until 2003, when Hasan Biberaj acquired the property. Restoration resumed in 2004, focusing on removing prior alterations, cleaning decorative elements, and reinstalling seating. The theater was then leased for renewed use.
In 2006, the interior was granted landmark status, ensuring preservation oversight for future modifications. The theater continued to host major performers and public events under successive ownership and management.
In 2012, the building was leased to a church, and shortly thereafter a fire caused interior damage. The space was adapted for religious use until services ceased in 2020.
By 2023, the theater stood vacant and scaffolded, its future uncertain after years of change and interruption.
