Xenon was a popular New York City discotheque and nightclub in the late 1970s and early 1980s. It was located in the former Henry Miller's Theatre at 124 West 43rd Street (now the site of the Stephen Sondheim Theatre) which, prior to Xenon, had been renamed Avon-at-the-Hudson and was operating as a porn house.
Xenon was founded in June 1978 by Howard Stein and Peppo Vanini. [1] Stein had been a promoter who had brought rockers such as The Who, David Bowie, Rod Stewart, and the Rolling Stones to New York City. Vanini ran some of the greatest clubs in Europe including Regines. He and Peppo Vanini had met at Studio 54. (Xenon is chemical element 54.) Madelyn Fudeman was the publicity person. [2]
Xenon was regarded as much more of a "Fashion Crowd", while Studio 54 was more Hollywood. Still, many celebrities such as Andy Warhol, Halston, Michael Jackson, Jack Nicholson, Mick Jagger and Jerry Hall, Tom Cruise, Richard Avedon, Cher, O. J. Simpson, Christopher Reeve, Elton John, Roger Moore, John McEnroe, Tony Curtis, Brooke Shields, Freddie Mercury, David Kennedy, John F. Kennedy Jr. and Robin Williams frequented the club. [2] According to event photographer Bill Bernstein, "Xenon was the only nightclub [in New York City] popular enough to compete with Studio 54 and was popular with the straighter, white, upwardly mobile crowd." [3]
The walls were silver and rays of light came out from a giant "X" above the dance floor. People at Xenon often liked to dance with less clothes than people at Studio 54, sometimes wearing swimsuits while dancing. Xenon was the first night club to provide go-go boxes for amateur go-go dancers to dance on. [4] This got many people interested in go-go dancing. Xenon was featured in a Life magazine article about disco. The full-time Disc-Jockey (DJ) was Tony Smith and the part-time DJs were Louis Martinez (Louis Orlando) and John "Jellybean" Benitez, who later had an affair with Madonna.
Xenon closed in 1984. The interior of the theater was razed in the 2000s to make way for the Bank of America Tower; its neo-Georgian facade remains intact, having been protected by the New York City Landmarks Preservation Commission in 1987. The 1,055-seat Stephen Sondheim Theater was built behind the facade and below ground to replace the original theater space, [5] making it one of two subterranean houses on Broadway. [6]
Stephen Joshua Sondheim was an American composer and lyricist. Regarded as one of the most important figures in 20th-century musical theater, he is credited for reinventing the American musical. With his frequent collaborations with Hal Prince and James Lapine, Sondheim's Broadway musicals tackled unexpected themes that ranged beyond the genre's traditional subjects, while addressing darker elements of the human experience. His music and lyrics were tinged with complexity, sophistication, and ambivalence about various aspects of life.
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Studio 54 is a Broadway theater and a former disco nightclub at 254 West 54th Street in the Midtown Manhattan neighborhood of New York City. Operated by the Roundabout Theatre Company, Studio 54 has 1,006 seats on two levels. The theater was designed by Eugene De Rosa for producer Fortune Gallo and opened in 1927 as the Gallo Opera House. The current Broadway theater is named after a nightclub on the same site, founded by Steve Rubell and Ian Schrager, which operated within the theater's space in the late 1970s and the 1980s.
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Go-go dancers are dancers who are employed to entertain crowds at nightclubs or other venues where music is played. Go-go dancing originated in the early 1960s at the French bar Whisky a Gogo located in Juan-les-Pins. The bar's name was taken from the French title of the Scottish comedy film Whisky Galore!. The French bar then licensed its name to the very popular West Hollywood rock club Whisky a Go Go, which opened in January 1964 and chose the name to reflect the already popular craze of go-go dancing. Many 1960s-era nightclub dancers wore short, fringed skirts and high boots which eventually came to be called go-go boots. Nightclub promoters in the mid‑1960s then conceived the idea of hiring women dressed in these outfits to entertain patrons.
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