Editing Radio City Music Hall (section)

==Architecture==

===Facade===
[[File:50th St 6th Av td 03 - Radio City.jpg|thumb|Marquee seen from north, with subway entrance at left]]
Radio City Music Hall is on the east side of Sixth Avenue between 50th and 51st Streets.<ref>{{Cite aia5|pages=325, 326}}</ref>{{sfn|Hofmeister|1932|p=359}} Located in a [[niche (architecture)|niche]] partially under 1270 Avenue of the Americas, the theater is housed under the building's first setback on the seventh floor.{{sfn|Adams|1985|pp=53–54}} An entrance to the [[New York City Subway]]'s [[47th–50th Streets–Rockefeller Center (IND Sixth Avenue Line)|47th–50th Streets–Rockefeller Center]] station, served by the {{NYCS trains|Sixth}}, is on Sixth Avenue directly adjacent to the north end of the marquee, within the same structure that houses Radio City Music Hall.{{sfn|Landmarks Preservation Commission|1978|p=9}}

Its exterior has a long [[Marquee (sign)|marquee sign]] that wraps around the corner of Sixth Avenue and 50th Street, as well as narrower, seven-story-high signs on the north and south ends of the marquee's Sixth Avenue side; both signs display the theater's name in neon letters.{{sfn|Adams|1985|pp=53–54}} The main entrance to Radio City was placed at the corner of Sixth Avenue and 50th Street, underneath the marquee.{{sfn|Landmarks Preservation Commission|1978|p=9}} Although the theater's main entrance could have been placed anywhere along the Sixth Avenue frontage, the architects chose to place the entrance near the intersection of 50th Street, rather than in the middle of the block, because it was highly visible from the [[Theater District, Manhattan|Broadway theater district]] to the west. Additionally, a corner site allowed the architects to place more doorways on the facade than a midblock site would have.{{sfn|Landmarks Preservation Commission|1978|p=9}}{{sfn|Hofmeister|1932|p=359}}

[[File:WLA filmlinc Radio City Music Hall 1.jpg|thumb|left|Plaques]]
The theater's exterior also has visual features signifying its purpose. Above the entrance, [[Hildreth Meiere]] created six small bronze plaques of musicians playing different instruments, as well as three larger metal and enamel plaques signifying dance, drama, and song; these plaques denote the theater's theme.<ref name="Storey 1932" />{{sfn|Adams|1985|pp=47–49}}{{sfn|Roussel|2006|p=13}}  At one point, a tennis court was located on the theater's rooftop garden.<ref>{{Cite news |url=http://fultonhistory.com/highlighter/highlight-for-xml?altUrl=http%3A%2F%2Ffultonhistory.com%2FNewspaper%252014%2FJamaica%2520NY%2520Long%2520Island%2520Daily%2520Press%2FJamaica%2520NY%2520Long%2520Island%2520Daily%2520Press%25201937%2FJamaica%2520NY%2520Long%2520Island%2520Daily%2520Press%25201937%2520-%25206215.pdf|title=Mystery on Sixth Ave.|last=Miller|first=Moscrip|date=1937|work=[[Screen & Radio Weekly]]|access-date=November 10, 2017|via=[[Fultonhistory.com]]|archive-date=April 3, 2022|archive-url=https://web.archive.org/web/20220403220542/https://fultonhistory.com/Newspaper%2014/Jamaica%20NY%20Long%20Island%20Daily%20Press/Jamaica%20NY%20Long%20Island%20Daily%20Press%201937/Jamaica%20NY%20Long%20Island%20Daily%20Press%201937%20-%206215.pdf|url-status=live}}</ref>

===Interior===
[[File:Radio City Music Hall 3713738085 a2ca18cbb4.jpg|thumb|VIP room ("The Roxy Suite")]]
The interior contains a grand foyer, a large main auditorium, and stairs and elevators that lead to several mezzanines.{{sfn|Balfour|1978|p=97}}{{sfn|Federal Writers' Project|1939|p=338}}{{sfn|Landmarks Preservation Commission|1978|pp=12–13}} Designed by [[Edward Durell Stone]],{{sfn|Landmarks Preservation Commission|1978|p=7}} the theater had [[Art Deco]] decoration, whose sharp lines represented a break with the traditional ornate [[rococo]] ornament associated with movie palaces at the time.{{sfn|Landmarks Preservation Commission|1978|p=10}} [[Donald Deskey]] coordinated the interior design process and designed some of the wallpaper, furniture, and other decor in Radio City.{{sfn|Landmarks Preservation Commission|1978|p=10}} Deskey's geometric Art Deco designs incorporate glass, aluminum, chrome, [[bakelite]], and leather;{{sfn|Marshall|2005|p=128}}<ref name="Trove">{{cite web|title=The Art of Rockefeller Center / Christine Roussel. – Version Details |website=Trove |url=http://trove.nla.gov.au/version/40174385|access-date=January 1, 2017|archive-date=April 24, 2021|archive-url=https://web.archive.org/web/20210424225949/https://trove.nla.gov.au/version/40174385|url-status=live}}</ref> these materials are used in the theater's wall coverings, carpet, light fixtures, and furniture.<ref name="Trove" /> All of the theater's staircases were fitted with brass railings, an aspect of the Art Deco style.{{sfn|Landmarks Preservation Commission|1978|p=11}}

Deskey commissioned textile designers [[Marguerita Mergentime]] and [[Ruth Reeves]] to create carpet designs and designs for the fabrics covering the walls.<ref name="Storey 1932" /><ref name="Trove" /> Reeves designed a carpet that contained musical motifs in "shades of red, brown, gold, and black",{{sfn|Landmarks Preservation Commission|1978|p=11}} but her design was replaced in 1999.{{sfn|Roussel|2006|p=17}} Mergentime also produced geometric designs of nature and musicians for the walls and carpets, which still exist.{{sfn|Roussel|2006|p=51}} Deskey also created his own carpet design consisting of "singing head" depictions, which still exists.{{sfn|Roussel|2006|p=24}} [[Rene Chambellan]] produced six "playful" bronze plaques of vaudeville characters, which are located in the lobby just above the entrances to the theater.{{sfn|Roussel|2006|p=14}} [[Henry Varnum Poor (designer)|Henry Varnum Poor]] designed all of Radio City's ceramic fixtures, especially the lighting bases.{{sfn|Landmarks Preservation Commission|1978|p=14}}

====Lobbies and grand foyer====
[[File:Radio City Music Hall (36537697495).jpg|thumb|Grand Foyer]]

The entrance to Radio City is at its southwestern corner, where there are adjacent ticket and advance sales lobbies. Both lobbies contain terrazzo floors and marble walls. The ticket lobby, accessible from Sixth Avenue between 50th and 51st Streets, is the larger of the two lobbies. There are four brass ticket booths: one each on the northern and southern walls and two booths in the center.{{sfn|Landmarks Preservation Commission|1978|p=12}} Originally, six ticket booths were placed about {{convert|22|ft}} from the main doors, dividing the lobby into corridors measuring {{convert|16|ft}} wide. This permitted adequate traffic flow within the lobby while also making it difficult for crowds to congregate.{{sfn|Hofmeister|1932|p=360}} Large black pillars support a low, slightly [[coffer]]ed ceiling.{{sfn|Landmarks Preservation Commission|1978|p=12}} Circular light fixtures are set into the ceiling of the ticket lobby, within each of the slight indentations.{{sfn|Roussel|2006|p=16}} The advance sales lobby, accessible from 50th Street just east of Sixth Avenue, contains a single ticket booth on the eastern wall.{{sfn|Landmarks Preservation Commission|1978|p=12}}{{sfn|Hofmeister|1932|p=360}} This location allowed the advance-sales booth to be distinguished from the general sales booths while also not blocking traffic flow.{{sfn|Hofmeister|1932|p=360}}

To the ticket lobby's east and the advance sales lobby's northeast is the elliptical grand foyer, whose four-story-high ceiling and dramatic artwork contrast with the compactness of the lobby.{{sfn|Landmarks Preservation Commission|1978|p=11}} The space is about {{convert|40|ft}} deep and extends the width of the auditorium.{{sfn|Hofmeister|1932|p=360}} Two long, tubular chandeliers created by [[Edward F. Caldwell & Co.]] hang from the ceiling.{{sfn|Landmarks Preservation Commission|1978|p=11}}{{sfn|Roussel|2006|p=18}} The northern side of the grand foyer contains Ezra Winter's mural. A grand staircase, leading up to the first-mezzanine foyer, runs along the northern wall next to Winter's mural.<ref name="Storey 1932" />{{sfn|Hofmeister|1932|p=360}}{{sfn|Landmarks Preservation Commission|1978|pp=11, 15}} Another set of stairs below the grand staircase descends from the northern side of the foyer to the main lounge one level below.{{sfn|Landmarks Preservation Commission|1978|p=13}} A smaller staircase to the first-mezzanine lounge runs along the southern wall, connecting to a curved extension of that level's balcony.{{sfn|Landmarks Preservation Commission|1978|p=15}} The southern and northern sides of the grand foyer, respectively leading to 50th and 51st Streets, contain shallow vestibules with red marble walls. The northern vestibule is used as the exit lobby, while the southern vestibule is an emergency exit.{{sfn|Landmarks Preservation Commission|1978|p=12}} The grand foyer's eastern wall contains openings from the first, second, and third mezzanine levels, and the western wall contains {{convert|50|ft|m|adj=mid|-tall}} mirrors within gold frames.{{sfn|Landmarks Preservation Commission|1978|p=11}} Eleven doors leading to Radio City's auditorium are also located on the grand foyer's eastern side.{{sfn|Landmarks Preservation Commission|1978|p=13}} Chambellan commissioned several plaques on the auditorium doors' exteriors, which resemble the vaudeville representations in the lobby and depict the types of performances that have taken place at Radio City.{{sfn|Landmarks Preservation Commission|1978|p=13}}{{sfn|Roussel|2006|p=23}}

The foyer connects to four elevators that serve the main lounge level through the third mezzanine level.{{sfn|Landmarks Preservation Commission|1978|p=12}}{{sfn|Hofmeister|1932|p=360}} At ground level, a marble lobby for these elevators is to the west of the northern exit vestibule.{{sfn|Landmarks Preservation Commission|1978|p=12}} Chambellan also designed the elevator doors with reliefs of musicians in atypical representations.{{sfn|Landmarks Preservation Commission|1978|p=12}}{{sfn|Roussel|2006|p=48}} The maple circular roundels inside the cabs were designed by [[Edward Trumbull]] and represent wine, women, and song.{{sfn|Roussel|2006|p=51}}{{sfn|Landmarks Preservation Commission|1978|p=12}}

Each of the three mezzanine levels has a men's smoking room, a women's lounge, and men's and women's restrooms.{{sfn|Hofmeister|1932|p=360}}{{sfn|Landmarks Preservation Commission|1978|p=15}} No two restrooms or lounges have the same design.{{sfn|Landmarks Preservation Commission|1978|p=15}} A 1932 ''New York Times''  article described the reasons for such varied designs: "Since the auditoriums, men's lobbies, smoking rooms and women's lounges are used for a few hours only, decorative schemes are appropriate in them that would be too dramatic for a home."<ref name="Storey 1932">{{cite news|title=Modern Decorations on a Grand Scale|first=Walter Rendell|last=Storey|work=The New York Times|issn=0362-4331|date=December 25, 1932 |url=https://timesmachine.nytimes.com/timesmachine/1932/12/25/100885919.pdf|access-date=December 15, 2017|archive-date=April 3, 2022|archive-url=https://web.archive.org/web/20220403220547/https://timesmachine.nytimes.com/timesmachine/1932/12/25/100885919.html?pdf_redirect=true&site=false|url-status=live}}</ref>

====Auditorium====
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Architectural critic [[Douglas Haskell]] said of the auditorium: "The focus is the great proscenium arch, over {{convert|60|ft|m|disp=sqbr}} high and {{convert|100|ft|m|disp=sqbr}} feet wide, a huge semi-circular void. From that the energy disperses, like a firmament the arched structure rises outward and forward. The 'ceiling', uniting sides and top in its one great curve, proceeds by successive broad bands, like the bands of northern lights."{{sfn|Landmarks Preservation Commission|1978|p=9}} In the theater's early years, the [[Federal Writers' Project]] noted that "nearly everything about the Music Hall is tremendous".{{sfn|Federal Writers' Project|1939|p=338}} At the time, Radio City had the world's largest orchestra; the most expansive theater screen; the heaviest [[proscenium]] arch in a theater; and the "finest precision dancers", [[the Rockettes]].{{sfn|Federal Writers' Project|1939|p=338}}

=====Seating areas=====
The auditorium has around 5,960 seats.{{sfn|Okrent|2003|p=217}} Around 3,500 of these seats are at the ground-level orchestra, while the remaining seats are distributed among the three mezzanines.{{sfn|Hofmeister|1932|p=355}}{{sfn|Landmarks Preservation Commission|1978|p=13}} The orchestra and mezzanine sections all contain reddish-brown plush seating throughout, as well as storage compartments under each seat, lights at the end of each row of seats, and more legroom space than in other theaters.{{sfn|Landmarks Preservation Commission|1978|p=13}} Six aisles extend the length of the orchestra level, dividing each row into sections of up to 14 seats. The aisles measure {{convert|6|ft|3|in}} wide at the rear, tapering to {{convert|5|ft|10|in}} at the center and {{convert|3|ft|4|in}} at the front.{{sfn|Hofmeister|1932|pp=357–358}} A crossover aisle separates the front one-third of the orchestra from the rear two-thirds. Each row of seats was originally placed {{convert|2|ft|10|in}} apart, giving more legroom than in contemporary theaters.{{sfn|Hofmeister|1932|p=358}}

{{Anchor|Mezzanines}} Radio City contains three mezzanines within the back wall of the auditorium,{{sfn|Landmarks Preservation Commission|1978|p=4}} as well as a main lounge in the basement.{{sfn|Landmarks Preservation Commission|1978|p=13}} Each of the mezzanines is shallow, and all three mezzanine levels are stacked on top of the rear orchestra.{{sfn|Landmarks Preservation Commission|1978|p=5}} Since the mezzanines are shallow, there is no need to have a crossover aisle, and only four aisles are provided.{{sfn|Hofmeister|1932|p=358}} Ramps on either side of the stage lead to the first mezzanine level, creating the impression of a stage encircling the orchestra.{{sfn|Landmarks Preservation Commission|1978|p=5}}{{sfn|Hofmeister|1932|p=357}}

=====Other design features=====
The auditorium's ceiling contains eight telescoping bands, which Haskell described as the "northern lights".{{sfn|Landmarks Preservation Commission|1978|p=13}} Each of the bands' edges contains a {{convert|2|ft|m|adj=on}} overlap with the next band,{{sfn|Landmarks Preservation Commission|1978|p=9}}{{sfn|Hofmeister|1932|p=358}} placed at {{convert|30|ft|adj=on}} intervals.{{sfn|Hofmeister|1932|p=358}} In Joseph Urban's original plans, the ceiling was to be [[coffer]]ed but, after the cancellation of the Opera House, designers proposed many different designs for the proposed Music Hall's ceiling. The current design was put forth by [[Raymond Hood]], who derived his band-system idea from a book that Urban had written.{{sfn|Landmarks Preservation Commission|1978|p=9}} The arches are made of plaster and contain ridges every {{convert|6|ft}}. The original plans had been to build the arches themselves in a curved shape, but this would have concentrated the sound onto several small spots.{{sfn|Hofmeister|1932|pp=358–359}} The walls are covered by intricate fabric silhouette patterns of performers and horses, which were created by Reeves.{{sfn|Roussel|2006|p=25}} The radiating arches of the proscenium unite the large auditorium, allowing a sense of intimacy and grandeur.{{sfn|Landmarks Preservation Commission|1978|p=13}} The ceiling arches also contain grilles that camouflage the air-conditioning system, amplifying equipment, and organ pipes.{{sfn|Hofmeister|1932|p=359}}{{sfn|Landmarks Preservation Commission|1978|p=13}} The sound system could be controlled by a light organ in front of the orchestra pit.{{sfn|Hofmeister|1932|p=359}}

The Great Stage, designed by Peter Clark, measures {{convert|66.5|by|144|ft|abbr=on}};{{efn|One source gives a width of {{convert|110|ft}} and a depth of {{convert|60|ft}}.{{sfn|Hofmeister|1932|p=359}}}} it is placed within a proscenium arch that resembles a setting sun.{{sfn|Okrent|2003|p=215}}<ref>{{cite magazine |url=https://books.google.com/books?id=ftkDAAAAMBAJ&pg=PA27 |title=Secrets of the Magic Theater|magazine=Popular Mechanics|page=27|date=January 1941|access-date=August 6, 2012}}</ref> Roxy reportedly envisioned the sunset design of the stage while traveling home from Europe on an ocean liner.{{sfn|Balfour|1978|p=93}} There are two stage curtains; the main one is made of steel and asbestos, which can part horizontally, while the plush curtain behind it has several horizontal sections that can be raised or lowered independently of each other.{{sfn|Landmarks Preservation Commission|1978|p=13}} The original curtain weighed three tons and measured {{convert|112|ft}} wide by {{convert|78|ft}} tall.<ref name="Lucchese 1965" /> The center of the stage contains turntable measuring {{convert|50|ft|m|adj=off}} across.{{sfn|Hofmeister|1932|p=359}}{{sfn|Landmarks Preservation Commission|1978|p=13}} The floor is divided into three 70 ft sections that can be lowered and raised either separately or in sync.{{sfn|Hofmeister|1932|p=359}} The [[orchestra pit]], which could fit 75 musicians, is placed on a "bandwagon" that can be lifted from the basement and could move vertically or longitudinally.{{sfn|Landmarks Preservation Commission|1978|p=19}}{{sfn|Hofmeister|1932|p=359}} The bandwagon could also be lifted to the central opening. From the stage, it could be lowered back into the basement or moved to the side.{{sfn|Hofmeister|1932|p=359}} In 2001, the stage was designated as a [[List of Historic Mechanical Engineering Landmarks|Historic Mechanical Engineering Landmark]].<ref name="ASME 2024">{{cite web | last=Poirier | first=Louise | title=A Stage for the Ages at Radio City | website=ASME | date=October 24, 2024 | url=https://www.asme.org/topics-resources/content/a-stage-for-the-ages-at-radio-city | access-date=May 12, 2025}}</ref><ref>{{cite press release | title=Radio City Music Hall Named an Engineering Landmark | website=Newswise | date=November 9, 2001 | url=https://www.newswise.com/articles/radio-city-music-hall-named-an-engineering-landmark | access-date=May 12, 2025}}</ref>

There is a complex system of indirect [[cove lighting]] at the front of the stage, facing the audience. When Radio City first opened, it was equipped with all of the newest lighting innovations at the time, including lights that changed colors automatically and adjusted their own brightness based on different lighting levels in the theater.{{sfn|Landmarks Preservation Commission|1978|p=9}}

====Main lounge====
The main lounge in the basement is about twice the size of the grand foyer above it.{{sfn|Hofmeister|1932|p=360}} The walls are composed of black "permatex", which was a new material at the time of Radio City's construction. The ceiling has diamond-shaped light fixtures and is supported by six diamond-shaped [[Pier (architecture)|piers]], as well as three full-height piers of a similar shape that exist only for aesthetic purposes.{{sfn|Landmarks Preservation Commission|1978|p=13}} The lounge is decorated with several artworks (see {{section link||Art}}).{{sfn|Landmarks Preservation Commission|1978|pp=13–14}} Deskey also designed the chrome furniture and the carpeting of the lounge.{{sfn|Landmarks Preservation Commission|1978|p=14}} The lounge also contained a passageway to the "Forum", along Sixth Avenue between 49th and 50th Streets, where it linked with Rockefeller Center's other buildings.{{sfn|Hofmeister|1932|p=360}}

The landing for Radio City's elevator bank is located on the northern side of the main lounge. A marble wall with three large columns comprises the western side of the lounge. A hallway extends off the eastern side of the lounge and leads to a men's smoking room and a women's lounge, which both connect to restrooms of their respective genders.{{sfn|Landmarks Preservation Commission|1978|p=14}} The smoking room has a masculine theme with terrazzo floors, brown walls, and copper ceilings. The accompanying men's restroom has black-and-white tiles and simple geometric fixtures, which are duplicated in the men's restrooms on each mezzanine level.{{sfn|Landmarks Preservation Commission|1978|pp=14–15}} The women's lounge is mostly designed with the same soft colors as [[Witold Gordon]]'s "History of Cosmetics Mural", located on the room's walls, although the wall area not covered by the mural is painted beige. The attached women's restroom is similar to the men's restroom on the same floor but contains vertical cylindrical lighting, stools, and circular mirrors above aqua sinks.{{sfn|Landmarks Preservation Commission|1978|p=15}}

====Offstage====
[[File:Radio City Music Hall stage hydraulics.jpg|thumb|Backstage hydraulic system]]
The [[Parts of a theatre#Backstage or offstage|offstage]] area of Radio City contains many rooms that allow all productions to be prepared on-site. The offstage rooms include a [[carpenter (theatre)|carpenter]]'s studio, a [[scene shop]], sewing rooms, dressing rooms for 600 people, a [[green room]] for performers' guests, and a dormitory.{{sfn|Landmarks Preservation Commission|1978|p=9}}<ref>{{cite web |title=Radio City Music Hall To Be Opened Dec. 27; Brilliant Program Is Planned for Premiere – Theatre to Have Dormitory for the Chorus |work=The New York Times|issn=0362-4331|date=November 18, 1932 |url=https://timesmachine.nytimes.com/timesmachine/1932/11/18/105886921.pdf|access-date=November 30, 2017|archive-date=April 3, 2022 |archive-url=https://web.archive.org/web/20220403220548/https://timesmachine.nytimes.com/timesmachine/1932/11/18/105886921.html?pdf_redirect=true&site=false|url-status=live}}</ref> Two elevators are placed on either side of the stage, as well as a circular staircase. The female performers' restrooms and dressing rooms are placed as close as possible to the stage, and the male performers' dressing rooms are placed on the opposite side of the stage. This was in conformance with Roxy's belief that "happy performers make successful shows".{{sfn|Hofmeister|1932|p=359}} Above the auditorium were two studios for Roxy, as well as a broadcast studio, rehearsal room, and two preview rooms.{{sfn|Hofmeister|1932|p=360}}

The elevator system was designed by Peter Clark and built by Otis Elevators. The [[stage lift|elevator]] system was so advanced that the [[United States Navy|U.S. Navy]] incorporated identical hydraulics in constructing [[World War II]] aircraft carriers; according to Radio City lore, during the war, government agents guarded the basement to hide the U.S. Navy's technological advantage.<ref>{{cite web|last=Boland|first=Ed Jr.|title=F.y.i. |url=https://www.nytimes.com/2002/08/18/nyregion/fyi-414514.html |work=The New York Times|issn=0362-4331|access-date=March 18, 2012|date=August 18, 2002|archive-date=May 30, 2013|archive-url=https://web.archive.org/web/20130530054244/http://www.nytimes.com/2002/08/18/nyregion/fyi-414514.html|url-status=live}}</ref>

===Art===
[[File:Lobby statue RCMH.jpg|left|thumb|"Goose Girl", by sculptor [[Robert Laurent]]]]

The public areas of Radio City feature the work of many Depression-era artists, who were commissioned by Deskey as part of his general design scheme.<ref name="The New York Times 1932">{{cite news|title=Native Art to Lead in New Music Hall; Rockefeller Centre Unit Will Offer Striking Display of Modern Decorations|work=The New York Times|issn=0362-4331|date=October 3, 1932 |url=https://timesmachine.nytimes.com/timesmachine/1932/10/03/100857112.pdf|access-date=December 13, 2017|archive-url=https://web.archive.org/web/20220403220551/https://timesmachine.nytimes.com/timesmachine/1932/10/03/100857112.html?pdf_redirect=true&site=false|archive-date=April 3, 2022|url-status=live}}</ref> The large {{convert|2400|ft2|m2|adj=on}} mural in the grand foyer, "Quest for the Fountain of Eternal Youth", was painted by Ezra Winter and depicts a fable from a Native American tribe in Oregon.{{sfn|Landmarks Preservation Commission|1978|p=9}}{{sfn|Okrent|2003|p=218}}<ref name="The New York Times 1932" />{{sfn|Balfour|1978|p=141}}{{sfn|Roussel|2006|p=20}} The murals on the wall of the grand lounge, which depict five eras of differing theater scenes, are collectively known as the "Phantasmagoria of the Theater" by [[Louis Bouche]].<ref name="Storey 1932" />{{sfn|Landmarks Preservation Commission|1978|p=13}}<ref name="The New York Times 1932" /><ref name="Poulin 2012">{{cite book |url=https://books.google.com/books?id=hBR_J9jliugC |title=Graphic Design And Architecture, A 20th Century History|first=Richard |last=Poulin|publisher=Rockport |date=November 1, 2012|isbn=978-1-59253-779-2|page=97|access-date=December 8, 2015|archive-date=April 29, 2016|archive-url=https://web.archive.org/web/20160429125045/https://books.google.com/books?id=hBR_J9jliugC|url-status=live}}</ref>{{sfn|Roussel|2006|p=44}} Three female nudes cast in aluminum were commissioned for the theater, but Roxy thought that they were inappropriate for a family venue.<ref>{{cite web |url=http://www.newyork.com/articles/attractions/the-art-of-rockefeller-center-top-10-things-not-to-miss-70329/ |title=The Art of Rockefeller Center: Top 10 Things Not to Miss|first=Mike|last=Dunphy|date=November 17, 2014 |access-date=November 15, 2015|archive-url=https://web.archive.org/web/20151117032410/http://www.newyork.com/articles/attractions/the-art-of-rockefeller-center-top-10-things-not-to-miss-70329/|archive-date=November 17, 2015}}</ref> Although the Rockefellers loved the sculptures, the only one that was displayed on opening night was "Goose Girl" by [[Robert Laurent]], which is located on the first mezzanine and depicts a nude aluminum girl beside a slender aluminum goose.{{sfn|Roussel|2006|p=26}} Since opening night the other two sculptures have been put on display at Radio City. "Eve" by [[Gwen Lux]] is displayed in the southwest corner of the grand foyer,<ref name="Poulin 2012" />{{sfn|Roussel|2006|p=30}} and "Spirit of the Dance" by William Zorach is visible from the grand lounge.{{sfn|Landmarks Preservation Commission|1978|p=14}}<ref name="The New York Times 1932" /><ref name="Poulin 2012" />{{sfn|Roussel|2006|p=40}}

Each of the public restrooms have adjoining lounges that display various works of art.<ref>{{cite web |url=http://thirstyinsuburbia.com/2009/06/go-in-style-2009-finalists-for-best-public-restroom/|title=Go in Style: 2009 Finalists for Best Public Restroom|first=Gayle|last=Leonard |publisher=Thirsty in Suburbia|date=June 13, 2009|access-date=November 15, 2015 |archive-date=November 17, 2015 |archive-url=https://web.archive.org/web/20151117024150/http://thirstyinsuburbia.com/2009/06/go-in-style-2009-finalists-for-best-public-restroom/|url-status=live}}</ref> The third-floor women's restroom contains the ''Panther Mural'' by [[Henry Billings]], which is accompanied by Deskey's abstract wall coverings in the women's lounge.<ref name="Storey 1932" />{{sfn|Roussel|2006|pp=28–29}} The women's lounge on the second mezzanine houses [[Yasuo Kuniyoshi]]'s oil painting of "larger-than-life botanical designs" along the entire wall,<ref name="Storey 1932" />{{sfn|Roussel|2006|p=33}} which had originally been commissioned by [[Georgia O'Keeffe]] before she suffered a nervous breakdown and left the mural incomplete.{{sfn|Roussel|2006|p=33}}<ref>{{cite web|url=http://www.openculture.com/2013/09/frida-kahlo-writes-a-personal-letter-to-georgia-okeeffe.html|title=Frida Kahlo Writes a Personal Letter to Georgia O'Keeffe After O'Keeffe's Nervous Breakdown|first=Colin|last=Marshall|publisher=Open Culture|date=September 23, 2013|access-date=November 15, 2015|archive-date=November 17, 2015|archive-url=https://web.archive.org/web/20151117023359/http://www.openculture.com/2013/09/frida-kahlo-writes-a-personal-letter-to-georgia-okeeffe.html|url-status=live}}</ref> Deskey created a wall covering for the men's lounge on the second mezzanine, containing masculine icons and nicotine motifs.{{sfn|Roussel|2006|p=34}} He also designed the first-mezzanine women's lounge, a room full of mirrors with a blue-and-white carpet and frosted low-intensity lights.{{sfn|Roussel|2006|p=35}} Witold Gordon painted a map with caricatures and stereotypical motifs in the men's lounge on the same floor,<ref name="Storey 1932" />{{sfn|Roussel|2006|p=36}} as well as a "History of Cosmetics Mural" in the women's lounge in the basement.<ref name="Storey 1932" />{{sfn|Landmarks Preservation Commission|1978|p=15}}{{sfn|Roussel|2006|p=43}} [[Stuart Davis (painter)|Stuart Davis]] created ''[[Men Without Women (mural)|Men Without Women]]'', a mural of masculine stereotypical pastimes in the basement-level men's lounge;<ref name="Storey 1932" />{{sfn|Landmarks Preservation Commission|1978|p=14}}{{sfn|Roussel|2006|p=47}}{{efn|The mural was originally unnamed, but  the Rockefeller Center Art Committee named it ''Men Without Women'', after the [[Ernest Hemingway]] short-story collection that had been published the same year of the mural's commission.<ref>{{cite web|title=Stuart Davis at the Whitney – The Painter Behind a Prized Radio City Mural |url=https://www.rockefellercenter.com/blog/2016/08/30/stuart-davis-whitney/|date=August 30, 2016|website=Rockefeller Center |access-date=March 1, 2020|archive-date=March 1, 2020|archive-url=https://web.archive.org/web/20200301135408/https://www.rockefellercenter.com/blog/2016/08/30/stuart-davis-whitney/}}</ref>}} the work was donated to the [[Museum of Modern Art]] in 1975{{sfn|Okrent|2003|p=430}}<ref>{{Cite news |url=https://www.nytimes.com/1975/04/03/archives/music-hall-mural-going-to-museum.html|title=Music Hall Mural Going to Museum |last=Kramer|first=Hilton|date=April 3, 1975 |work=The New York Times|issn=0362-4331|access-date=December 15, 2018|archive-date=December 16, 2018|archive-url=https://web.archive.org/web/20181216040053/https://www.nytimes.com/1975/04/03/archives/music-hall-mural-going-to-museum.html|url-status=live}}</ref> and loaned back to Radio City in 1999.{{sfn|Roussel|2006|p=47}} Finally, [[Edward Buk Ulreich]] created a "Wild West Mural" on the third-mezzanine men's lounge.<ref name="Storey 1932" /><ref name="The New York Times 1932" />{{sfn|Roussel|2006|p=39}}

===Organs===
Radio City Music Hall has two [[Wurlitzer]] [[theatre organs]]. The organ in the main theatre is the largest instrument built by the Wurlitzer company. It consists of 58&nbsp;ranks of pipes and 4,178&nbsp;pipes, played from twin 4-manual consoles located to the left and right of the stage, which permits two organists to play the instrument simultaneously. The broadcast booth atop the theatre contains a smaller (3-manual, 14 rank) Wurlitzer organ, although it has been unplayable for some time.<ref>{{cite web |title=Radio City Music Hall at Rockefeller Center |publisher=[[American Guild of Organists]] |url=http://www.nycago.org/organs/nyc/html/radiocity.html |access-date=January 22, 2021|archive-date=February 28, 2021|archive-url=https://web.archive.org/web/20210228105044/http://www.nycago.org/organs/nyc/html/radiocity.html|url-status=live}}</ref><ref>{{cite news|last=Hughes|first=Allen|title=Organ Group Ends Active Gathering|work=The New York Times |date=July 18, 1970|page=13 |issn=0362-4331 |url=https://timesmachine.nytimes.com/timesmachine/1970/07/18/355102982.pdf|access-date=January 22, 2021 |archive-url=https://web.archive.org/web/20220403220552/https://timesmachine.nytimes.com/timesmachine/1970/07/18/355102982.html?pdf_redirect=true&site=false|archive-date=April 3, 2022|url-status=live}}</ref> [[Richard Leibert]] was Radio City's chief organist from its opening on December 27, 1932, until his retirement in 1971, at which time [[Raymond Bohr]] succeeded him.  Both organs have been recorded extensively by Ashley Miller, Dick Leibert, Raymond Bohr, and Eddie Layton, and Leibert presented a daily program of organ music broadcast from the theater on the [[NBC Radio Network]] in the 1930s and 1940s.<ref>{{cite news |title=Richard Leibert, Chief Organist At Music Hall 1932–71, Dies at 73|work=The New York Times|date=October 24, 1976 |page=36|issn=0362-4331 |url=https://timesmachine.nytimes.com/timesmachine/1976/10/24/356048022.pdf|access-date=January 23, 2021 |archive-url=https://web.archive.org/web/20220403220552/https://timesmachine.nytimes.com/timesmachine/1976/10/24/356048022.html?pdf_redirect=true&site=false|archive-date=April 3, 2022|url-status=live}}</ref>