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| Minneapolis, MN Dec. 30 2008 - Jan. 4, 2009; Orpheum Theatre | |
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| Tweet Topic Started: Sep 27 2008, 06:33 AM (2,125 Views) | |
| mouser | Sep 27 2008, 06:33 AM Post #1 |
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FIFTIES QUESTION: In "Going To The Chapel" by ....................... . how long do they claim love will last? a. forever b. The End of Time c. Until death do us part. AND Who sang the song? ------------------------------------ December 30 2008 - January 4 , 2009 ![]() Orpheum Theatre 910 Hennepin Ave Minneapolis, MN 55402 (612) 339-7007 TICKETS: Prices: $76.00 - $26.00 Box Office: 612-673-0404 Grease is also available as part of a Pick Your Own Package purchase. ON SALE NOW Meet and Greet Packages also available through Headquarters. YOU’RE THE ONE THAT I WANT! Grease, Time Magazine’s 2007 pick for “#1 musical of the year,” is rockin’ across the country in this new production direct from Broadway. Take a trip to a simpler time of poodle skirts, drive-ins and T-birds. “Bad boy” Danny and “the girl next door” Sandy fall in love all over again to the tune of your favorite songs: “Summer Nights,” “Greased Lightnin’” and “We Go Together” as well as additional songs from the hit movie: “Grease,” “Hopelessly Devoted to You” and “You’re the One That I Want.” So throw your mittens around your kittens and hand jive the night away with the show that’ll make you want to stand up and shout, “A-wop-bop-a-loo-bop A-wop-bam-boom!” Grease! NOTE: Taylor Hicks will perform January 2-4 only! Jan. 2, 7:00 Jan. 3 2:00 Jan. 3 8:00 Jan 4 1:00 Jan 4 6:30 http://www.ticketmaster.com/event/060040F18ADE386C?artistid=844058&majorcatid=10002&minorcatid=207 SEATING CAPACITY: 2579 SEATING CHART: ![]() ![]() THE VENUE : ![]() Oct 16, 1921: Originally known as the Hennepin, the Orpheum Theatre opens to present live vaudeville acts. The theatre was designed by the Milwaukee firm of Kirchoff & Rose and cost $1 million to build. Among the performers on the first playbill were the Marx Brothers; over 70,000 guests attended the opening week run. The Orpheum becomes a major outlet for such vaudeville entertainers as Jack Benny, Burns & Allen and Fanny Brice. The best seats in the house sold for 47 cents, and children's tickets were 9 cents. The Orpheum featured a playroom and day-care services for small children on the first floor mezzanine lobby. 1927: As vaudeville declined, the Orpheum became one of the major cinema houses in Minneapolis. 1940: Gone with the Wind premiers at the Orpheum. On opening night moviegoers form a solid line that extends out the doors, down Hennepin and around the corner onto 9th St. For three full weeks, the theatre is sold out every showing. 1959: Ted Mann purchases the Orpheum and brings back some Broadway touring productions. 1988: The Minneapolis Community Development Agency (MCDA) purchases the Orpheum for $1.4 million from singer Bob Dylan and his brother, who had owned the theatre for four years. 1993: Renovation and restoration begins. The stage was extended almost 20 feet in order to accommodate the most elaborate of the new Broadway productions. The theatre was restored in deep Victorian colors to match that of the original design. The art deco marquee was restored & reinstalled. Unexpected architectural discoveries were made while renovating the lobby areas, including 6 Pompeiian friezes previously hidden under velour curtains and fake windows grids and a false wall. The mural on the ceiling above the stage was added after the discovery of a black & white photo of the original theatre. A 15 foot high, 2,000 pound chandelier made of brass & Italian crystal dominates the domed ceiling, which is lined with over 30,000 leaves of silver. All other chandeliers in the house and lobbies are antiques salvaged from 1920's theatre. The renovation cost was over $10 million. The first concert performance was by Heart in Dec. 1993. The first Broadway production was Miss Saigon in Jan. 1994. The Orpheum has seen the origination of a number of productions, including Victor/Victoria, Beauty & the Beast and the pre-Broadway premiere of Disney's The Lion King, and the national tour of Elton John and Tim Rice's AIDA. ![]() This elegantly restored theater successfully hosts Broadway hits and rock superstars with equal ease. Its great location in the Hennepin Theatre district and ability to attract big name shows makes the Orpheum one of the most sought-after tickets in town! Images courtesy of www.ticketkingonline.com/tickets/images/orphe... RESTAURANTS AND HOTELS : http://www.mytravelguide.com/restaurants/near-78497205-United_States_Minnesota_Minneapolis_Orpheum_Theatre_restaurants.html Restaurants http://www.hotels-rates.com/hotels/locations/Minneapolis/MN/usa/5521/#trafficLogID=537952363&visited=true&clickLogID=54230542 Hotels POINTS OF INTEREST: The Museum of Questionable Medical Devices Located in Historic St. Anthony Main 201 Main St. S.E. Minneapolis, Minnesota Phone: (612) 379-4046 Anyone know what this is??Dubbed "The Quackery Hall of Fame" by the Copley Wire Service, the museum is the world's largest display of what the human mind has devised to cure itself without the benefit of either scientific method or common sense. It comprises the major collections on loan from The American Medical Association, The U.S. Food and Drug Administration, The St. Louis Science Center, The Bakken Library, The National Council for Reliable Health Information and is supported by the The Phrenology Company of Golden Valley, Minnesota. Bell Museum of Natural History On the Minneapolis campus of the University of Minnesota at the southwest corner of 17th Ave. (Church St.) and University Ave. S.E. Minneapolis, Minnesota Phone: (612) 624-9050 In addition to the dioramas, a wide variety of changing exhibitions and beautiful wildlife art enrich our understanding of the natural world. Make tracks to the Touch & See Room...and bring your curiosity! Here you'll learn about nature by touching turtles, stroking snakes and animal skins, peeking inside skulls, and handling other wonderful objects from nature. Adults: $5 I will post a schedule of what is available when it is posted on their webpage. MEDIA AND REVIEWS: 1. Music: Slicked Hicks By JON BREAM, Star Tribune Last update: December 27, 2008 - 11:54 PM http://www.startribune.com/entertainment/music/36702734.html?page=1&c=y GREASE With: Taylor Hicks Fri.-next Sun. When: 7:30 p.m. Tue. & Thu, 2 p.m. Wed., 8 p.m. Fri., 2 & 8 p.m. Sat., 1 & 6:30 p.m. next Sun. Where: Orpheum Theatre, 910 Hennepin Av. S., Mpls. Tickets: $26-$76; 651-989-5151. Taylor Hicks Winning "American Idol" doesn't guarantee a successful recording career. Taylor Hicks, the 2006 champ, can't match the CD sales of Chris Daughtry or Kellie Pickler, whom TV viewers rejected that season. But the "Idol" title does open doors, and Hicks is proving to be a careerist. After parting company with J Records, he took the role of Teen Angel in "Grease" on Broadway in June. This month, he began a six-month road tour with the show that will bring him to the Twin Cities next weekend. During the tour, he will play an occasional club to promote his forthcoming album, "The Distance," due in March on his own label, Modern Whomp. He is previewing his new, untitled single during "Grease" as sort of a curtain-call encore. Q Why are you performing only the last three days of the Minneapolis engagement? A I'm gearing up for my new record. I previously booked [some gigs] and the mixing of the record. Q How have you Taylor-made the part of Teen Angel? A I took the song and made it fit my style more, with the arranging of some horn parts and also adding harmonica. The costume has a Taylor flair to it, to say the least. Q What does your famous hair look like in "Grease"? A Let's just say it's definitely a 1950s look. Q Tell me about your new album. A I'm really excited about it. There are some really great story songs on the record. I co-wrote most of the material. Doyle Bramhall plays guitar, Nathan East plays bass, Abe Laboriel Jr. plays drums. My producer is Simon Climie; he's done a lot of Eric Clapton and J.J. Cale records. I wanted somebody who could help me create a timeless record. The album is a great representation of who I am as an artist right now, and that's all I can ask for. Q Do you keep up with our "Idol" homegirl Paris Bennett? A I do. I think the world of her. I think she's a wonderful singer. She has a natural ability to perform and sing. I hope I get to see her when I come there. Q Are you happy with your career path? A I couldn't be happier. For me, this is a marathon, not a sprint. The longevity aspect to me is the most important. Doing Broadway theater and looking at movie roles and writing music and putting out CDs -- you have to be well-rounded if you want longevity in a career. Jon Bream • 612-673-1719 2. Taylor did not perform for this review, but the play got a rave. "Grease" a reliably stellar crowd pleaser By Cristof Traudes December 31st, 2008 http://www.downtownjournal.com/index.php?§ion=94&blog=625 I’m not usually one to review musicals. If a show incorporates heart-stirring chords, I usually give it a thumbs up. And since most do that during some tune, I rarely bash a musical. I have to make an exception, though, for the touring Broadway production of “Grease,” which just debuted at the Orpheum Theatre last night. No, not to bash. To rave. This is the version of “Grease” that we saw develop on reality TV a few years ago, when an Eagan native ended up winning the role of Sandy. Laura Osnes performed on Broadway; she opted not to go on tour. Don’t worry — that doesn’t make the show any less interesting and personal for Twin Cities audiences. Radio DJ Vince Fontaine (played by Dominic Fortuna, who looked eerily like a 1970s John Travolta) makes sure of that, with 15 minutes of pre-show vamping that got the audience talking about birthdays, anniversaries, dancing and being from Edina. It was a light touch that set the mood off right. The ensuing show did nothing to bring the audience down. Acting was sharp. Singing was sharp. Dancing was exceptional. Eric Schneider and Emily Padgett’s Danny and Sandy were more than satisfactory, while actor Brian Crum’s Doody was really something to behold. Just about every time Crum spoke or moved, he got big laughs. Really, it’s hard to go wrong with “Grease.” You could tell by how few audience members stood up during the final applause. While all the people I heard while walking out expressed how fantastic the performances were, “Grease” has just become so commonly expected to be great, it’s hard to be blown away. But if you want good laughs and a great feeling to take home, catch this if you can. “Grease” runs through Jan. 4. (If you like “American Idol,” another bonus here is that Season 5 winner Taylor Hicks plays Teen Angel. Just be aware that he’s only appearing Jan. 2-4.) 3. http://www.howwastheshow.com/index.cfm/action/reviews.view/reviewKey/1086 Grease at Orpheum Theatre on 12/30/08 By: Nicholas Leeman -------------------------------------------------------------------------------- There are many reasons to both love and hate Grease. It's a microcosm of everything great about the 1950s: Fast cars, faster girls, rock music and a social euphoria still lingering from the end of World War II. It's also a completely ridiculous story, centering around two high school seniors: Danny Zuko (Eric Schneider) and Sandy Dumbrowski (Emily Padgett). Anyone who's seen the film knows the plot at its best. The stage version doesn't have the luxury of flopping place to place without a scene change, so each location has to count. This means ditching scenes important to the narrative of the show in favor of supplementing a few more songs in each place. But really, the story's not all that much to begin with. Danny's struggling between keeping Sandy happy and maintaining his "Leader of the Pack" lifestyle. Sandy's trying to figure out why Danny's different around his friends than he is alone. Rizzo (Allie Schulz) and Kenickie (David Ruffin) have a relationship that redefines dysfunctional. Frenchy (Kate Morgan Chadwick) drops out of high school only to drop out of beauty school shortly after. And when the show ends, the lesson we've all learned is that in order to get what you really want in life, you need to change everything about yourself. Our Town, this ain't. The trouble (or perhaps blessing) with this is, no one really seems to care about the plot of the show. Padgett's Sandy doesn't seem all that upset that Danny's ditching her for the boys, though she makes a big show of it. Schulz plays Rizzo with a hard vocal edge and an affected tough-girl walk, but it is put-on. By the time she sings "There Are Worse Things I Could Do" with true emotion and anger, we wonder where it came from. Schneider is the vocal standout amongst the leads, so it's jarring that while Danny is trying to juggle his friends and his girl, he doesn't seem to care which one wins. In nearly every major plot point of the show, no one's invested. Director Kathleen Marshall seems much more comfortable playing at these characters than actually getting inside them. Yes, it's a musical, yes it's Grease, but it's not too much to ask for these characters to care about their lives, is it? Especially when we're going to spend two and a half hours of our lives watching them? Everyone's racing to get to the next song, because that's where the show shines. And shine it does. With a few low points, the largest of which is a noticeable technical sound balance problem which should no doubt clear itself up with a few more performances in the Orpheum Theatre space, the musical numbers flash and spin with so much energy that it's physically impossible for any audience member to keep their toes from tapping. Perhaps that's why the non-singing portions of the show stand out so much—when these people sing, they really mean it. All your favorites are here, "Summer Nights," "You're the One That I Want," and of course "Greased Lightnin'." And these group numbers showcase a cast that's obviously having fun together. Only one or two pitch problems easily attributed to opening night in a new space caused hiccups in the mood. Marshall's choreography for each number is sharp, fresh, and fun. But even more gratifying for someone who shelled out more than movie rental prices to see the show live is the fact that the songs you don't find in the film version are the absolute gems of the show. "Mooning" and "Those Magic Changes" are phenomenally sung by supporting characters Roger (Will Blum) and Doody (Brian Crum), respectively. In fact, the three pairs of lesser-known T-Birds and Pink Ladies are spot-on in both character and voice. Kelly Felthous' Marty is scene-stealing every time they let her onstage, and Kate Morgan Chadwick's Frenchy never stops being perfectly lovable. In the end, though the actors could raise the stakes and make us love them more, the sets could be flashier, and the sound could bounce around the walls a little cleaner; it's still Grease. And that's what you came for, after all. Location Info: Orpheum Theatre Artist Info: Grease 4. Slick Touring production of 'Grease' will please hopelessly devoted By Renee Valois Special to the Pioneer Press Updated: 12/31/2008 05:47:07 PM CST http://www.twincities.com/ci_11346252 The Broadway touring version of 'Grease' playing at the Orpheum Theatre is as slick as a greaser's hair. It's as fast as a T-Bird on a date and as loud as a high school hop. Director/Choreographer Kathleen Marshall has packed it with talented performers, and she keeps 'em hopping. The choreography gives the dancers such a nonstop workout that the guys even do pushups as part of one routine. All that activity can feel a bit frenetic at times — and the action is matched by the powerful voices of the cast, who really belt out those famous tunes. Those who grew up with the movie version of the show will be glad that this latest Broadway production includes the popular songs added to the film (and not in the original musical), such as "Hopelessly Devoted to You," "Grease" and "You're the One That I Want." Those hits have become so identified with the show that reverting to the original stage version probably would upset audiences. But there's nothing to disappoint diehard fans here. Emily Padgett as Sandy conveys the sweetness we expect and can hit clear notes way up in the stratosphere, though she has to do so on just one song. Eric Schneider as Danny Zuko captures the cute swagger and toughness of the hero from the iffy side of the tracks. The opposites attract and repel and attract again (just as we expect) while cynical Betty Rizzo (played by Allie Schulz) causes rifts between the lovebirds and fights with her boyfriend Kenickie (David Ruffin). The sets by Derek McLane are fun and flashy — at one point, Teen Angel even pops out of a giant ice cream cone perched above a diner. Preston Ellis played the angel with a smarmy shark-like grin on opening night, but in the final shows, Taylor Hicks of "American Idol" fame will take over the role (bringing celebrity star power, even as he ages the "teen" angel). One nice touch is that this production starts about five minutes early with Vince Fontaine (played with charisma by Dominic Fortuna), the fictional DJ of WAXX radio, addressing the audience as if it's live in his studio. He quickly pulls people in, asking who has birthdays and anniversaries, getting volunteers to invent dances and crooning in perfect '50s style familiar hits such as "Runaround Sue," inviting the audience to sing along. Fontaine/Fortuna is the perfect warmup act — and returns later for the big dance at Rydell High School. Occasionally, the volume of the band overpowers the singers' voices and words disappear — although this might not be a big problem for "Grease" audiences, most of whom already know all the lyrics. The moral of the story remains rather suspect: Change everything possible about yourself — even become the complete opposite of who you are — just to please your guy. But this production sure does a great job of selling it. What: "Grease" Where: Orpheum Theatre, 910 Hennepin Ave., Minneapolis When: Through Jan. 4 Tickets: $76-$26 Information: 612-339-7007; HennepinTheatreDistrict.org Capsule: A musical as smooth as a polished Thunderbird. 5. Review: “Grease” remains slick entertainment with an enduring theme Add a Comment December 31, 1:10 PM by Brad Richason, Twin Cities Performance Art Examiner Upon its 1972 debut, the musical Grease struck a critical and commerical chord. Appealing to a nostalgia for the youth culture of the late 1950s/early 1960s and propelled by a song list derived from early rock ‘n’ roll styles, the musical was an immediate hit. Criticisms that Grease mythicized instead of accurately depicted the era missed the point. The play was never intended to tackle the social changes of the period, but to conjure up an entertainingly benign version of those places and times, a world where winning the Cold War wasn’t nearly as critical as getting a date to the “high school hop.” In addition to its enormous Broadway success, Grease gave rise to an equally popular movie version and has continually been revived around the world. The production now being staged at the Orpheum Theatre has been updated to incorporate elements of the movie, yet retains the thematic focus of the original work. The storyline revolves around a circle of underachieving teenagers consisting of the rebellious (but goodhearted) guys in the T-Birds and the tough (but lovable) girls known as the Pink Ladies. As a new school year begins, the gang must face up to aspirations for themselves and maturing emotions for each other - a situation made particularly difficult for Danny when his summer sweetheart, Sandy, a beautiful but chaste girl from the opposite side of the tracks, is transferred to his school. While Danny struggles to balance his womanizer image against real emotion, Sandy is fraught with insecurity over their relationship and her place within the circle of friends. Taking on the leading roles of Danny and Sandy are, respectively, Eric Schneider and Emily Padgett. Conveying the humor and heartbreak of lovesick youth, Schneider and Padgett connect most charismatically on the duet Summer Nights. Thinking back on their summer fling, Danny and Sandy alternate between whimsy and exuberance, aided by the full cast in one of the most gloriously over-the-top scenes in the entire production. But both actors are equally adept at displaying their characters’ vulnerability during quieter, introspective scenes. Hopelessly Devoted to You, one of several songs not originally in the play but re-appropriated from the movie, as sung by Emily Padgett is a particularly moving lament of lovelorn weariness. Supporting T-Birds and Pink Ladies also make the most of their time in the spotlight, particularly Allie Schulz and David Ruffin. Playing Rizzo, the sharp-tongued leader of the Pink Ladies, Allie Schulz brings a depth to her character that pushes the role beyond caricature. Her performance - best highlighted by her solo on There Are Worse Things I Could Do - hits an emotional chord that prevents the story from every feeling too cartoonish. Likewise, as Rizzo’s on-again, off-again steady Kenickie, David Ruffin offers a thin line between arrogant braggadocio and wounded pride. His lead on Greased Lightnin’ amidst the fantastically choreographed action is a clear standout. Though dramatic moments abound, comedy is the prevailing mood, brought into relief by the remaining T-Birds and Pink Ladies: Sonny (Nick Verina), Roger (Will Blum), Doody (Brian Crum), Marty (Kelly Felthous), Jan (Bridie Carroll) and Frenchy (Kate Morgan Chadwick). Whether singing to the joys of rock ‘n’ roll, former lovers, or “mooning,” each of the performers elicit solid laughter. Frenchy’s Beauty School Dropout moment humorously combines a guardian angel and a teen idol to form Teen Angel. Appropriately enough, American Idol champion Taylor Hicks is slotted to fill the role January 2nd - 4th. In the meantime, Preston Ellis absolutely owns the character with a velvety performance that feels like Ricky Nelson mixed with Dear Abby. Dance numbers throughout are impressive choreographed, especially on such larger scale designs as Summer Days and Born to Hand-Jive. Such scenes bring the entire stage alive with swirling poodle skirts and flashing leather jackets. The physicality moves from swing to tap to do-wop steps and everything in-between. Coupled with the stylized era-appropriate songs, such scenes continually invigorate the production with awe-inspiring skill and imaginative verve. Grease is not a flawless production, primarily due to the structural changes made for this revival. The inclusion of movie-specific songs do occasionally feel awkward, as if those selections were shoehorned into the production to satisfy those familiar only with the movie. The title track, in particular, sounds strangely out-of-place, almost like a variety show introduction. Similarly, You’re the One That I Want , while well performed and sure to be crowd pleasing, doesn’t quite mesh with the 1950s aesthetic. Aside from those suspect song selections, however, this production of Grease energetically evokes the captivating mythology of the 1950s, presenting the era not necessarily as reality, but as an idealized fantasy of a simpler time. Grease plays the Orpheum Theatre through January 4th. http://www.examiner.com/x-1348-Twin-Cities-Performance-Art-Examiner~y2008m12d31-Review-Grease-remains-slick-entertainment-with-an-enduring-theme SOUL PATROL MEMORIES: 1.crystalnjay 12/30/08 performance .....There were multiple set miscues and microphones weren't working the best (maybe it was the cold temps...) However, my wife did enjoy it but wanted to see Taylor Hicks. She was glad it didn't stick exactly with the movie version (there are a few extra songs and other songs were missing). 2. amyrebo The Orpheum. What a nice theatre! Most of these places that I have visited along the Taylor highway have been very nice places and I should come to expect that. Each one has its own identity as well. M&G spotting: I thought it had to be family or some close friends from home but as we listened we figured out that it was Paris Bennett's mom and a couple of her relatives. Her name is Denecia (have no idea if that is spelled right) and she and Taylor were just having a grand time. She called Paris up on her phone and Taylor talked with her saying "Hey P-Diddy! How you doing?" He arranged for her to see the show today and told her that he loved her. 3. Qool Breeze The map struck me as odd, hanging on the wall.... It might travel with the troupe. There were two trunks, and lots of paper work happening at the desks. Several of the actors came in and out to talk to the manager guy while we were there. Probably a "hub" of sorts in that office. Moving a show like that around the country, and all those people...must be a lot of work. I heard “that was Taylor Hicks” that won American Idol a few years ago” right behind me, I turned and saw two young women looking at the playbill page where the actors head shots were. I don’t think they knew who that fabulous Angel was til they checked it out! Ha ha. As he was getting into the cone though, he did turn around to the crowd and say, Thank you Mpls so much, and I hope the Vikings win! I thought that was very endearing and the rest of the place seemed to as well. ....Ya know, there were bus loads of college students at the play. Literally! I saw them dropping off and heading into the theater. There was some kind of deal where students with college ID's could get tickets at a discount right before each performance, so I bet there were organized efforts to take advantage of that by some of the colleges here, which are many. I think theaters around here to do this with many events. It's great! The place was packed to the rafters! courtesy of Qool Breeze 4.. Amanda I attended the Jan.3rd 2009 Grease show at the Orpheum in Minneaplois,MN. It was an awesome show but the greatest was meeting Taylor after the show. He is the most humble, handsome and down to earth guy I have ever met. It truly was an amazing meeting I will never forget it Edited by mouser, Jan 11 2009, 10:27 AM.
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Anyone know what this is??
courtesy of Qool Breeze



2:37 AM Jul 11