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Key Information

El Morocco, sometimes nicknamed Elmo or Elmer, was a nightclub in the Manhattan borough of New York City. It was opened as a speakeasy at 154 East 54th Street and relocated to 307 East 54th Street in its later days. El Morrocco was frequented by the rich and famous from the 1930s until the decline of café society in the late 1950s. It was known for its blue zebra-stripe motif, designed by Vernon MacFarlane, and its official photographer, Jerome Zerbe.

History

[edit]

On October 5, 1931, John Perona (born Enrione Giovanni Perona in Chiaverano in the Province of Turin, Italy),[1] an Italian immigrant, with Martín de Alzaga[2][3] opened El Morocco as a speakeasy at 154 East 54th Street, in Midtown Manhattan, New York City. After prohibition was repealed, it became one of the most popular establishments in New York City.

Originally known as The Morocco, the nightclub was soon renamed El Morocco because of its proximity to the Third Avenue elevated railway ("El").[4] Its iconic zebra-striped interior was designed by Vernon Balfour McFarlane, an Australian actor turned interior decorator.[4] McFarlane initially proposed the name Sahara, envisioning the club as "an oasis for parched New Yorkers," but owner John Perona rejected it, arguing that the name suggested an "arid desert."[4] As El Morocco, the venue became what has been described as "one of the most caste-conscious, costly and cloistered night clubs in the world."[4] Its regular clientele consisted of fashionable society, politicians, and entertainers. Lucille Ball and Desi Arnaz had their wedding reception at El Morocco in 1940. Part of what made the club the "place to be" was the photographs taken by Jerome Zerbe, which were always in the news the next day. Everyone always knew where the celebrities had been from the background zebra stripes on the banquettes.

The neighborhood started changing after World War II. Eventually, Perona moved the El Morocco to a four-story townhouse at 307 East 54th Street, on the north side of the street near the corner of Second Avenue, in January 1961.[4][5][6] After his death in June 1961, his son, Edwin, took over the proprietorship.[4] Later that year, Edwin Perona sold the club to John Mills, who owned it for three years.[7]

From 1964 and 1970, El Morocco was owned by Maurice Uchitel and Sheldon Hazeltine.[8] Before taking over, Uchitel owned the Eden Roc Hotel in Miami Beach for several years.[9] El Morocco closed on May 23, 1970 and re-opened as a private club in 1971.[10]

In 1981, the Second Avenue wing operated briefly as a steakhouse.[11][12] In 1992, it operated as a topless bar.[13] In 1997, Desmond Wootton bought the property and opened the Night Owls nightclub. The site is now occupied by the Milan Condominium.[14]

In pop culture

[edit]
  • In the “Lucy Is Envious” episode of I Love Lucy, which aired 3/29/1954, Lucy is reading the society section of the paper, learning that her old, and very wealthy school friend Cynthia, is in town. The article talks about the opera opening the night before, and all of the parties that the attendees went to afterwards, including at 21 Club and El Morocco.
  • The 1955 film My Sister Eileen includes the club, starring Janet Leigh and Jack Lemmon.
  • The club is a setting for a scene in the 1973 Arthur Laurents film The Way We Were. Katie Morosky spots a nodding-off Hubbell Gardiner at the bar, and a flashback ensues.
  • A fictionalized version of the club featuring distinctive zebra-striped banquettes is featured in the Woody Allen movie Cafe Society (2016). The club is referenced in Woody Allen's movie Radio Days (1987).
  • John Perona, billed as the club's "owner and operator", appeared as a mystery guest on the television show What's My Line on April 6, 1958. The particular panel included three regular panelists, Orson Welles. Perona himself was so well known that the panelists were blindfolded and he disguised his voice, following the show's custom with readily identifiable guests.
  • Allen Cooper takes Anne Welles to the El Morocco in the 1966 novel Valley of the Dolls by Jacqueline Susann.

References

[edit]

Bibliography

[edit]
[edit]
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El Morocco

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El Morocco was a legendary in , , that opened in as a and became a symbol of glamour and exclusivity during the mid-20th century, attracting celebrities, socialites, and the affluent with its exotic Moroccan-themed decor and innovative nightlife practices. Founded by Italian immigrant and former boxer John Perona, the club began at 154 East 54th Street during , initially serving as an underground venue before evolving into a prominent after alcohol's legalization in 1933. Perona, known for his dapper style and strict door policy managed by Angelo Zuccotti, enforced exclusivity through the club's pioneering use of a velvet rope at the entrance, which separated the elite from the general public and set a precedent for high-end nightlife worldwide. The venue's interior, designed with blue-and-white zebra-striped banquettes, artificial palm trees, and a dimly lit ambiance evoking a North African escape, created an intoxicating atmosphere that drew international crowds seeking sophistication and escapism. Photographer captured the scene in iconic candids, further cementing El Morocco's reputation as a cultural touchstone where , dancing, and celebrity sightings defined New York nightlife. Its roster of patrons included luminaries such as , , , , , , , and , who frequented the club for late-night revelry, romantic rendezvous, and high-society mingling from the 1930s through the postwar era. However, the club's extended to discriminatory practices, initially barring Jewish, , and lower-class individuals, reflecting the era's social biases despite its allure to a diverse array of stars. El Morocco relocated to 307 East 54th Street in 1961 following Perona's death, but it struggled to maintain its prestige amid changing tastes and competition from newer venues, leading to a gradual decline by the late . Subsequent revivals in the and , including stints as a more accessible club, failed to recapture its magic, and by 2004, the original site had been demolished for luxury condominiums, leaving behind a legacy as one of New York's most iconic lost nightspots.

Founding and Early Years

Origins as a Speakeasy

El Morocco was founded in 1931 by John Perona, an Italian immigrant born Enrione Giovanni Perona in near , , who had emigrated to at age 15 and worked as a sparring partner for heavyweight boxer Luis Angel Firpo before arriving in as a nightclub busboy. In partnership with Argentine businessman Martín de Alzaga, Perona opened the venue unofficially on October 5, 1931, at 154 East 54th Street in Manhattan's Midtown East neighborhood, transforming a narrow into an intimate space. The name "El Morocco" derived from an initial designation as "The Morocco," shortened to distinguish it from the nearby elevated train, known as the "el." As a during the era (1920–1933), El Morocco operated illegally by serving alcohol in defiance of the national ban, relying on its modest size—accommodating only a limited number of patrons—to maintain discretion and avoid detection by authorities. The venue featured concealed elements typical of underground establishments to facilitate covert operations amid the era's enforcement raids. Perona's experience in earlier , such as the Bath Club he ran in 1929, informed these clandestine practices, ensuring the club's survival through quiet, controlled access. From its inception, El Morocco embodied an exotic, cabaret-inspired intimacy, with the name evoking Moroccan allure to attract a sophisticated crowd seeking an escape from the city's bustle, though initial decor remained minimal and unadorned. Perona's background as a former boxer contributed to the venue's rigorous entry policies, establishing a tough, discerning doorman culture that prioritized privacy and exclusivity even in its phase. This selective approach, later formalized with the introduction of a velvet rope, set the tone for the club's reputation as an elite hideaway.

Transition to Legitimate Nightclub

The ratification of the 21st Amendment in December 1933, which repealed the 18th Amendment and ended nationwide, allowed El Morocco to transition from its illicit operations to a fully licensed establishment. This shift enabled the legal service of alcohol, prompting owner John Perona to rebrand the venue as a high-end offering dinner, dancing, and live entertainment, with its official opening in 1933. The change capitalized on the speakeasy's established reputation for discretion while expanding its appeal to a broader, legitimate audience in New York's vibrant nightlife scene. In the mid-1930s, El Morocco experienced rapid growth in patronage, drawing from the city's elite social circles, including figures, , and early entertainers who sought its sophisticated ambiance. This influx created significant buzz, with waitlists forming for tables and the club becoming a coveted destination for those in the know, as documented in contemporary accounts of . Perona's emphasis on exclusivity helped cultivate this allure, transforming the venue into a symbol of post-Prohibition glamour. The evolved to support this expansion, introducing cover charges to ensure profitability and a reservations system managed personally by Perona to maintain selectivity. These adaptations contributed to early financial success, with the club achieving steady revenue through high-demand evenings and repeat visits from affluent patrons. Perona's hands-on was central to this period, as he personally greeted guests at the door to foster a sense of personal connection and reinforce the venue's exclusive status. His discerning approach to clientele selection—often described as social snobbery—ensured that only the most prominent individuals gained entry, solidifying El Morocco's position as a of New York's emerging in the 1930s.

Design and Atmosphere

Interior Decor and Theme

El Morocco's interior was distinguished by its glamorous, exotic theme that evoked a stylized Moroccan oasis, featuring an artificial ambiance with white palm trees framing the dining area and a crescent blue moon overhead. The club's decor included dark blue zebra-striped banquettes, often appearing black in photographs, which created a bold animal-print motif and served as a visual hallmark of its upscale allure. Low, gorgeous lighting enhanced the intimate atmosphere, casting a soft glow over the space to foster a sense of and luxury. The layout emphasized exclusivity and social hierarchy, with a central dance floor surrounded by private zebra-patterned booths for high-profile guests, allowing for discreet conversations amid the lively music from alternating orchestras. An intimate bar area facilitated mingling, while a rear Champagne Room provided additional private dining space, contributing to the club's controlled, elegant flow. Entry tiles echoed the zebra pattern, reinforcing the thematic cohesion from the moment patrons arrived. This design supported the venue's selective ambiance without overwhelming the space. Under owner John Perona, who established the club in 1931, the decor evolved to heighten its opulent appeal, with the zebra motif becoming a defining element by the mid-1930s to attract clientele seeking a fantastical retreat. Perona reserved the second-best table for himself, underscoring how the interior's luxurious fixtures and hierarchical seating amplified the sense of prestige and fantasy. By the 1940s, these elements had solidified El Morocco's reputation as a pinnacle of New York nightlife sophistication.

Policies and Clientele Selection

El Morocco maintained a rigorous to uphold its glamorous image, mandating attire for men—including tuxedos—and evening gowns for women, while prohibiting casual clothing and even banning brown shoes after sunset. This policy reinforced the club's aura of and exclusivity, aligning with its Moroccan-themed decor to create an atmosphere of refined . Admission operated on a reservation-only basis, personally overseen by owner John Perona or his staff, who exercised discretion in approving entries based on guests' and alignment with the club's elite vibe. Uninvited individuals were frequently turned away at the door, a practice that emphasized Perona's role as and contributed to the venue's for social snobbery. Perona's approach was both charismatic and authoritative; he likened curating to "blending the ingredients of a fine sauce," ensuring a harmonious mix of celebrities, socialites, and the international smart set while maintaining discretion and glamour in the milieu. These policies reflected the caste-conscious elitism of 1930s–1950s New York nightlife, where at the door and velvet rope often excluded lower-class individuals, as well as Jewish and patrons, fostering a controversial legacy of socioeconomic and racial gatekeeping. Internal seating further perpetuated this hierarchy, with prime tables reserved for the most desirable guests and less favorable spots assigned to others, underscoring the club's internal divisions.

Height of Popularity

Notable Patrons

During its peak in the 1930s and 1940s, El Morocco attracted a constellation of Hollywood stars who made it their preferred late-night haunt after film premieres and Broadway openings. Humphrey Bogart and Lauren Bacall were frequent visitors, often signing mementos like menu covers during their evenings there. Marilyn Monroe dined at the club multiple times, including outings in 1951 with producer Joe Schenck and in 1954 with Joe DiMaggio. Errol Flynn was a regular, drawn to the venue's vibrant atmosphere alongside other screen icons. Frank Sinatra also patronized El Morocco often, underscoring the club's allure for entertainers. The nightclub served as a vital social hub for Broadway and entertainment luminaries, reinforcing its reputation as a nexus for glamour. Ethel , the powerhouse vocalist, frequented the spot, mingling amid performances of tunes from the era's hit musicals. Composer was photographed there with socialite , enjoying the sophisticated ambiance that echoed his own lyrical world. and held their wedding reception at El Morocco in 1940, marking a personal milestone that highlighted its role in the lives of rising stars. El Morocco's prestige extended to New York high society, who sought its exclusive vibe as a discreet retreat from public scrutiny. The club's selective door policy, enforced by owner John Perona, favored well-connected elites, ensuring a mix of international dignitaries and local luminaries like the Vanderbilts and Whitneys. Society swans such as and were staples, alongside athletes like , all contributing to the venue's cachet among the city's power brokers. Patrons typically arrived in the late hours, often straight from theater districts or red-carpet events, transforming the club into a nocturnal extension of New York's cultural pulse. These visits were immortalized by society photographer , El Morocco's official lensman from 1934 to 1939, whose candid shots of arriving celebrities appeared in newspapers the next day, amplifying the club's mythic status.

Key Events and Social Significance

One of the most notable events at El Morocco was the for actress and bandleader on November 30, 1940, following their impromptu ceremony in . Arnaz had arranged the celebration at the nightclub, where the venue was decorated with flowers and wedding cakes, and the band played traditional tunes like "The Wedding March" as the couple entered, with approximately 200 guests in attendance, including Hollywood figures and New York socialites. This high-profile gathering underscored El Morocco's status as a premier venue for celebrity milestones during its early years of prominence. Throughout the , El Morocco hosted frequent celebrity debuts and lavish parties that contributed to its reputation as a hub of , where stars from stage, screen, and mingled amid live music and sophisticated ambiance. These events often featured impromptu performances and social introductions, drawing crowds eager for sightings of figures like and , and helping to sustain the club's allure as a nightly spectacle of glamour. El Morocco served as a central nexus for deal-making, budding romances, and society gossip in New York's , where conversations at its coveted zebra-striped booths could spark business ventures, amorous pairings, or scandals that fueled newspaper columns. The club's selective atmosphere amplified these interactions, with its in-house photographer capturing moments that influenced public perceptions of elite social dynamics. Its distinctive blue zebra motif even inspired fashion trends in evening wear, evoking an "El Morocco look" of exotic elegance that permeated high-society attire. Socially, El Morocco symbolized postwar glamour in New York, bridging established with emerging Hollywood fame and providing a space for after World War II's hardships. At its peak in the and early , the drew packed crowds of affluent patrons nightly, embodying the era's blend of exclusivity and until the decline of in the late .

Later History and Decline

Relocation and Ownership Changes

In 1961, El Morocco relocated from its original location at 154 East 54th Street to a larger four-story at 307 East 54th Street, near the corner of Second Avenue, to better accommodate growing crowds and update its facilities amid changing neighborhood dynamics. The move expanded the venue's capacity while preserving signature elements like the zebra-striped decor, though it marked a shift toward a more modern operation. Following the relocation, founder John Perona died of double pneumonia on June 9, 1961, at age 64. His son, Edwin Perona, briefly assumed management of the club later that year before selling it to , who owned and operated El Morocco from 1961 to 1964. Ownership then passed to Maurice Uchitel in 1964, a and former vice president of the upscale Voisin , who held the club until 1970. Uchitel, previously owner of Miami Beach's Eden Roc Hotel, acquired the venue for around $500,000 (with an option on the real estate) and reopened it that September, emphasizing its role as a fine-dining open to the public based on the maître d'hôtel's . Under his tenure, the club introduced operational adjustments, including refined menus and entertainment to appeal to contemporary patrons, yet it increasingly struggled to recapture the exclusive allure of its earlier years. After Uchitel's sale, Sheldon Hazeltine took over ownership, continuing operations into the late 1970s and adapting the venue amid ongoing challenges. By 1981, amid ongoing challenges, the Second Avenue wing of the property briefly functioned as a called Elmer's, reflecting further adaptations in the club's format.

Factors Leading to Closure

By the late 1950s, El Morocco experienced a significant downturn as the broader that had sustained its prominence began to erode, driven by shifting social dynamics and increased competition from other upscale venues such as the , which drew similar high-society crowds with its own exclusive allure. Emerging rock 'n' roll establishments in areas like , including spots like Trude Heller's, further fragmented the nightlife scene by appealing to a younger, more diverse audience seeking energetic, less formal entertainment over the club's polished sophistication. Compounding these competitive pressures was a growing social backlash against El Morocco's longstanding discriminatory policies, which excluded Black, Jewish, and working-class patrons, rendering the venue increasingly elitist and out of step with the of the and 1960s. These practices, once tolerated in the prewar era, faced heightened scrutiny as societal norms evolved toward greater inclusivity, tarnishing the club's reputation and alienating potential visitors amid national pushes for racial and . Economic challenges further accelerated the decline, with rising operational costs in postwar New York straining the club's finances while changing tastes favored casual, accessible over formal clubs. Post-World War II generations, including , showed little interest in El Morocco's traditional glamour, preferring venues that aligned with emerging youth cultures rather than the aging café society's rigid exclusivity. Ownership instability and failure to adapt effectively exacerbated these issues. Ultimately, these intertwined factors led to the club's permanent closure as a traditional in 1981, after which it could not recapture its former vitality, marking the end of an era for Manhattan's elite nightlife institutions.

Legacy

El Morocco has been frequently depicted in American popular culture as an emblem of mid-20th-century glamour, exclusivity, and New York City's vibrant nightlife, often serving as a backdrop for scenes of romance, celebrity, and social aspiration. In the 1954 episode "Lucy Is Envious" of the television series , Lucy Ricardo reads a society column about her wealthy former roommate dining at the club, sparking envy and highlighting El Morocco's status as a symbol of high-society elegance during the 1950s. Similarly, in the 1973 film , directed by , the nightclub features prominently in a pivotal reunion scene between protagonists Katie Morosky () and Hubbell Gardiner (), evoking 1940s nostalgia and the club's role in post-war romantic encounters among the elite. Several films have incorporated El Morocco as a cameo or setting to capture the era's sophisticated nightlife. The 1955 musical comedy My Sister Eileen, directed by , includes a sequence where characters dine and dance at the club, portraying it as a luxurious escape for aspiring showbiz figures amid the bustling energy of New York. In Jacqueline Susann's 1966 novel Valley of the Dolls, which inspired the 1967 film adaptation, the appears as a venue where Allen Cooper woos aspiring actress Anne Welles, underscoring themes of ambition and seduction in the cutthroat world of entertainment.) Woody Allen's 1987 semi-autobiographical film references El Morocco in as an aspirational hotspot for glamour, with a character lamenting her husband's reluctance to visit such venues, reinforcing the club's iconic allure in popular memory. More recently, the 2016 film , also directed by Allen, features a fictionalized inspired by El Morocco's distinctive zebra-striped decor, using it to depict Hollywood exiles mingling with New York socialites in scenes of witty banter and illicit affairs. Literary and journalistic depictions further romanticized El Morocco's zebra-striped heyday as a nexus of fame and intrigue. Walter Winchell frequently chronicled the club's comings and goings in his syndicated columns during the 1930s and 1940s, positioning it as a rival to the and a prime spot for observing antics among the era's elite. Books on New York nightlife, such as John Perona's 1937 El Morocco's Family Album—a photographic collection compiled by the club's owner—captured its opulent atmosphere through images of patrons in formal attire, perpetuating its legacy as a glamorous institution in works exploring the city's social history. The club's cultural footprint extended to television, where owner John Perona appeared as a mystery guest on the April 6, 1958, episode of What's My Line?, fielding questions from panelists including about his operation of the famed venue, which underscored El Morocco's widespread recognition as a cultural touchstone by the late . These portrayals collectively cemented El Morocco's image as a symbol of unattainable sophistication, influencing how subsequent generations viewed New York's golden age of nightlife.

Modern Revivals and Current Status

Following its final closure in the early after short-lived revivals in the and early , several attempts were made to revive the venue in the late , but these efforts proved short-lived and ill-suited to the site's glamorous legacy. In 1992, the space briefly operated as a high-class topless bar under the name Peter J. Stringfellow and El Morocco, reflecting a trend in toward more risqué entertainment, though it failed to recapture the club's former elegance and closed within months. Similarly, in 2001, British nightclub owner Desmond Wootton reopened the location as Night Owls, aiming to blend modern clubbing with nods to the past, but the concept mismatched the evolving Midtown East scene and shuttered soon after, marking the end of operational at the address. By the early 2000s, the property at 307 East 54th Street underwent a complete transformation into residential use, with the —a 32-story luxury tower—breaking ground in 2003 and completing construction in 2005 on the former site. This redevelopment aligned with broader shifts in real estate, converting aging entertainment venues into high-end housing amid rising property values. In a nod to its enduring cultural resonance, El Morocco was temporarily resurrected for a single evening in 2024 as the backdrop for PR executive Scott Currie's black-tie 60th birthday celebration, held at a Midtown venue where organizers recreated the original blue-and-white zebra , signage, and nostalgic decor to evoke the club's heyday. In recent years, the El Morocco name has been revived as a luxury fragrance house, capturing the essence of its historic glamour. As of November 2025, the remains a fully residential building with no active operations, though the site's history continues to appear in guided tours and narratives exploring New York City's mid-20th-century nightlife.

References

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  2. https://www.boweryboyshistory.com/2007/10/friday-night-fever-el-morocco.html
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  35. https://avenuemagazine.com/el-morocco-returns-to-nyc-for-one-night/
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