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Take in the energy from the casino while listening to live entertainment from the adjacent lounge at Omaha Bar at Plaza in old Vegas.
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The Venetian® Las Vegas | Luxury Hotels in Las VegasThe Persian Room of the Plaza Hotel, 1934.
With the requisite three-fourth states majority, prohibition came to an end after 13 years, 10 months and 19 days.
The Plaza Hotel looking southwest from 5th Avenue and 60th Street, 1907.
For the next two and half decades the Plaza represented Edwardian respectability.
Small dining room in the Plaza Hotel, 1907.
Very typical of the Edwardian Source />The New York Times announced the plan for the nightclub on January 31, 1934: Hotel Plaza Plans New Cocktail Room Corner at 5th Av.
The Plaza Operating Company filed plans with the Building Department yesterday for a new cocktail room in the south corner of the Hotel Plaza, at Fifth Avenue and Fifty-eighth Street.
Four windows will face on the east overlooking the Plaza, from which side there will be a special entrance.
Other approaches will be from the lobby of the hotel and from the Palm Court.
The new room will be known as the Persian Room and will be designed and decorated by the Joseph Urban Associates.
Five murals reminiscent of old Persians miniatures are being designed by Lillian Gaertner Palmedo for this room, which will seat from 250 to 300 persons.
A twenty-seven-foot bar will adorn the west wall and on the south side of the room there will be raised orchestra platform for about fifteen musicians.
Lillian Gaertner Palmedo putting the finishing touches on one of the five murals that gave the Persian Room its name.
Image from Getty Images.
As the article in the Times reported, Joseph Urban Associates undertook the job of designing the new nightclub.
His company certainly kept his aesthetic alive in the Persian Room.
Less than four months from the announcement of the new club the room opened to the public.
Photo from The New York Herald-Tribune, March 18, 1934.
Scheduled for an early April opening, Vogue Magazine of April 1, 1934 described the new night spot this way: Consider, for instance, the Plaza, which for years has been as nobly aloof from the jazz age as the professionally quaint cab drivers outside its door.
Well, the Plaza is stepping out to meet a new life.
On the second of April, it is opening a brand-new room, called the Persian Room because of the subtly intricate Persian murals designed by the Joseph Urban Associates.
The proceeds of the grand gala will go to the New York Infirmary.
In the Persian Room, you will see a New York that is not thank God!
Certainly, the room has nothing to do with the marbled, potted-palm lobby which lies outside its door.
The Persian Room is a sport, a freak, an anachronism.
Only a very great lady could afford to be so whimsical and so disdainful of tradition.
The room is, in short, New York in the spring of 1934.
A bar and the plaza casino rooms nightclub and when the occasion demands a supper room with space for orchestra and dancing.
It overlooks the Plaza and is as modern — with concealed flood-lighting each table top is specially illuminateda white-and-red colour scheme, and a metal-and-ebony bar — as you could ask.
The lighting alone is worth going a considerable distance to see, and, if the ghost of Mr.
Urban ever walks, it might well drop in at the Persian Room and look things over: the chances are it would approve.
Many top performers appeared there in the forty-one years it was open.
But the original decor would not last even a decade.
From the January 1, 1935 edition of Vogue.
Bergdoff The plaza casino rooms nightclub advertisement using the Persian Room as a backdrop.
Vogue Magazine, October 15, 1934.
When the Persian Room closed for the summer in 1942, its decor so chic and modern in 1934, seemed very dated.
Gone were four of five murals and black cararra glass.
Legendary café society performer reopened the re-modeled Persian Room in late September, 1942.
Stevenson in his syndicated column Lights of New York reported on October 31, 1942 wrote the following about the new decor: In honor of the advent of Hildegarde, the Persian Room, for the second time since the plaza casino rooms nightclub opened in 1934, has undergone a complete change in decor and minor change in arrangement.
The noted Lillian Gaertner Palmedo Persian murals are still over the bandstand, but little else remains of the past.
A terrace, with a balustrade and a full-lenght banquette, has been built along the Fifth Avenue side, reducing the capacity of the from 300 to 275, and thus making it that much more intimate.
The 1942 Re-Model Hildegarde performing in the re-modeled Persian Room in 1946.
Image from Getty Images.
The re-modeled Persian Room in 1946 with Hildegarde performing.
The one remaining mural is partially visible in the background.
The eggshell white chandelier installed in the 1942 make over of the Persian Room is seen the plaza casino rooms nightclub Hildegarde in a 1946 performance.
Image from The plaza casino rooms nightclub Images.
Only one of the famous murals remains — the one over the bandstand — and the room has been terraced to command a better view of the floor than in the past.
Conrad Hilton purchased the Plaza Hotel in 1943.
In 1950 Hilton contacted famed industrial and interior designer to discuss plans about a complete renovation of the space.
Dreyfuss, writing in his 1955 book, Designing for People, said this about his redesign of the Persian Room: More than appearance is involved in remodeling and redecorating a night club.
The the plaza casino rooms nightclub designer must think also in terms of air conditioning, lighting, easy access for the waiters through the crowded tables, acoustics, fire exits — but always glamour.
The most popular night spots are those in which lighting magically erases wrinkles and double chins, making dowagers look like debutantes and tired merchants feel like Olympic champions.
Our examination of the room recalled the excavations of the site of ancient Troy.
Four successive designers over a period of forty years had imposed their ideas on the room, but, unfortunately, the last three had not bothered to remove the previous interiors, which nested one inside the other.
In order to enlarge the capacity and satisfy a critical municipal building code and fire department, the four interiors were removed, and we got a fresh start from the brick walls.
We settled on a diagonal plan that would give every seat a good view.
The bandstand, therefore, was placed in one corner and everything fanned out from it.
Our design was contemporary, but with a Persian motif chosen because of the famous name of the room, and for this we visited museums and haunted the Iranian Institute, reading the lore of Iran and studying Persian temples and miniatures.
The Persian Room has eight enormous windows twenty feet high on two of its walls.
For these we had curtains woven of deep blue and green with metallic strands.
Alice Hughes in her September 29, 1950 Buffalo Courier Express column wrote: New York, Sept.
What he has created for the Persian Room is a secret until tonight.
That it will surpass most going night clubs is without doubt for Dreyfuss is a superb designer.
And in this design the Persian Room would thrive for the next decade-and-half.
The Persian Room closed for good in 1975.
A dress shop went into the space that formerly hosted some of the top entertainers in American show business.
Today the Rose Club occupies the space and it fits in nicely with the rest of the Plaza Hotel stylistically.
The Rose Club at the Plaza Hotel and a return to Edwardian elegance, now occupies the space of the Persian Room.
But lets end with one last look at the original Persian Room.
The very short-lived elegant club that ushered in a new era just after the end of Prohibition.
The western side of the original Persian Room showing the 27 foot-long bar and three of the Palmedo murals, 1934.
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