I agree... that is why I had asked if anyone else made it to the grand opening. I was hoping someone here would have been able to give a second opinion, whether it was to agree or disagree with what was posted on The Commonspace.
- 10K
Perhaps they rushed the grand opening to accomodate Final Four events and will be finishing up any work that didn't get done. I have a hard time believing that the Roberts Bros. would just leave all of that stuff undone - their other projects are first-class.
Roberts Orpheum Theater
By Kevin C. Johnson
Post-Dispatch Pop Music Critic
04/10/2005
A major rebirth is at hand downtown Sunday night, when the former American Theatre officially opens its doors as the Roberts Orpheum Theater.
The name, appropriately, brings together the old and the new. When it opened as a vaudeville showcase in 1917 under the helm of Louis A. Cella, the building at 416 North Ninth Street was known as the Orpheum Theater; it was renamed the American Theatre in 1960. The other part of the venue's new moniker derives from current owners Mike and Steve Roberts, whose name is already attached to the Roberts Mayfair Hotel, Roberts Lofts on the Plaza, Roberts Village and Roberts Broadcasting Co.
The brothers bought the building as a Christmas gift in 2003 for $1.5 million. The purchase represented yet another notch on the Roberts' belt of developments, but they say it was also significant for more personal reasons: Their mother was denied entrance to the theater when she was young because of segregation.
No more Suicidal Tendencies
The Roberts brothers have one main goal: Filling the Orpheum with concertgoers looking for adult-oriented acts in a theatrical setting.
"When the property was going down and was poorly managed, they threw any type of group in there," Mike Roberts says. Hard-rock acts that stomped through the American included Pantera, Incubus, White Zombie, Suicidal Tendencies and Megadeth.
Booking at the reopened theater will be far more genteel, more in keeping with the venue's earlier history. The brothers, who like to refer to the building as the grande dame, remember seeing theatrical productions such as "The Music Man" when they were boys, and jazz and R&B concerts as young men.
Joe Litvag of Anschutz Entertainment Group/Concerts West, which books shows at the Roberts Orpheum, says, "We won't be doing hard-rock shows. Those are the type of shows that work really well at the Pageant, and that's where they should play. We got so many calls for harder-rock shows, and we said, 'Call the Pageant.' I made a promise to Mike and Steve that I will not trash the place by booking too aggressive of a show."
It's safe to say Insane Clown Posse won't be back for a return visit.
Of course, given the theater's overall booking approach, it's more than a little ironic that the Roberts Orpheum kicks off its concert programming with a sold-out performance from one of the '90s top boy bands, the Backstreet Boys.
Despite its retooled programming, Litvag says, the Orpheum is not trying to wipe out memories of the American, which once hosted Red Hot Chili Peppers, Smashing Pumpkins and Pearl Jam on the same bill. Many concertgoers fondly remember shows by such artists as Lenny Kravitz, Tori Amos, Beck, Moby, the Indigo Girls and Counting Crows.
"We want people to keep the good memories and erase the bad memories," says Litvag, who booked the venue when he was with rival concert producers Clear Channel Entertainment. "Plenty of people have negative memories. It was so rundown for several years. It was a mess. We trashed it with all the hard-rock shows over the years. But I don't want to erase the positive experiences people had of the up-close-and-personal shows. I've heard so many amazing comments from people who loved the experience of going there. It was always a party at the American."
All systems are go once more
Before the party could start again, however, there was a lot of tidying to do - not just cleaning up old perceptions, but giving the venue a physical makeover.
"A lot of effort has gone into getting it up to code," Litvag says. "Our goal is to have people walk in the door and be amazed at the transformation."
The Robertses say renovations have totaled more than $2.5 million and estimate that costs will reach $5 million by the time they are finished.
Roberts Orpheum retains the basic feel of the American, and the venue's ornate beauty remains. Concertgoers will note a new electronic-reader marquee, new paint and carpet, and remodeled bathrooms in the basement, with the women's bathroom doubled in size.
Retractable seats, assembled on risers on the floor's three levels, can be removed for corporate and private events, meetings and receptions that don't require concert seating.
General manager Mike Jennings boasts of new lighting, sound and electrical systems. The old electrical system, he says, looked like something out of Dr. Frankenstein's laboratory. Thomas Cooke, whose Image Technologies Corp. is handling the technical work, says everything is "high end, state of the art, designed specifically for the theater."
There's also new plumbing, and the exterior will see some tuck-pointing and artwork restoration.
Even before the restoration, Steve Roberts was impressed by the venue's sound.
"When you listened to the acoustic value of the facility, it sounded terrific," he says. "It didn't need the mega sound systems. It had a natural acoustic value. I remember sitting up pretty high at concerts, and I could see well but I could hear even better."
The "up close and personal" feel is what moves Mike Roberts most. He says the most elevated seat in the rather steep balcony is closer to the stage than the mezzanine at the Fox Theatre.
"Folks returning to the theater will find it exceptional," he says.
Competitive visions
Before tackling the renovation, the Roberts brothers first had to convince lending institutions that their vision was viable. One of the most important steps, Mike Roberts says, was aligning themselves with established, professional institutions such as Ticketmaster and AEG.
AEG's Litvag had his own hurdles: convincing artists' representatives that this isn't the old American.
"That has been time consuming, but thus far we've been successful in convincing them," he says.
Roberts Orpheum, with its capacity of 1,450, also will be challenged by the similarly sized Pageant, whose capacity ranges from 1,000 to 2,000. But Litvag sees it as a friendly competition and points out that Roberts Orpheum will have only about 40-50 concerts a year, far fewer than the Pageant. Pat Hagin, the Pageant's managing partner, says competition is healthy and presents more options to the consumer. He adds that his venue will continue to be aggressive in pursuing any act appropriate to the Pageant.
When Litvag was at Clear Channel a few years ago, bookings at the American were phased out as shows were rerouted to the newer Pageant. During that time, Litvag wondered what niche he could fill at the fading American.
"It was too special to sit there dark, but I couldn't ever come up with anything," he says.
But wheels started spinning again when Litvag learned that the Roberts brothers had taken over.
"When I laid out what I had in mind, they looked at each other and smiled because that's what they were thinking," Litvag says. "We saw a need for a more upscale live-music establishment of this size in St. Louis."
Mike Roberts describes the difference between the Roberts Orpheum and the Pageant this way:
"We make the distinction that the other venue in town is for the children. We're for the parents of the children. We want adults to be happy to come here and see Joe Jackson or Mary Chapin Carpenter."
Hagin is amused by Roberts' characterization of the Pageant as "for the children," given that the Orpheum's first show is the Backstreet Boys.
"I just love that," he says. "Five years ago, they were all 14 years old. Now, they're 19 years old."
However, Hagin readily agrees with Litvag's assertion that the Pageant was built as a nightclub and does extremely well by operating as such. By contrast, Litvag says, Roberts Orpheum offers a theaterlike experience for concertgoers that the Pageant can't duplicate.
The Orpheum, he says, is designed for the "adult concertgoer who prefers to sit in nice seats and have a theater experience rather than a nightclub experience. We want people who aren't price sensitive necessarily, who like the idea of getting dressed up and going downtown to a nice new restaurant and then going to see a great show."
Mike Roberts says: "There are so many people moving into downtown St. Louis. Now they can walk to a venue and see a show."
By Kevin C. Johnson
Post-Dispatch Pop Music Critic
04/10/2005
A major rebirth is at hand downtown Sunday night, when the former American Theatre officially opens its doors as the Roberts Orpheum Theater.
The name, appropriately, brings together the old and the new. When it opened as a vaudeville showcase in 1917 under the helm of Louis A. Cella, the building at 416 North Ninth Street was known as the Orpheum Theater; it was renamed the American Theatre in 1960. The other part of the venue's new moniker derives from current owners Mike and Steve Roberts, whose name is already attached to the Roberts Mayfair Hotel, Roberts Lofts on the Plaza, Roberts Village and Roberts Broadcasting Co.
The brothers bought the building as a Christmas gift in 2003 for $1.5 million. The purchase represented yet another notch on the Roberts' belt of developments, but they say it was also significant for more personal reasons: Their mother was denied entrance to the theater when she was young because of segregation.
No more Suicidal Tendencies
The Roberts brothers have one main goal: Filling the Orpheum with concertgoers looking for adult-oriented acts in a theatrical setting.
"When the property was going down and was poorly managed, they threw any type of group in there," Mike Roberts says. Hard-rock acts that stomped through the American included Pantera, Incubus, White Zombie, Suicidal Tendencies and Megadeth.
Booking at the reopened theater will be far more genteel, more in keeping with the venue's earlier history. The brothers, who like to refer to the building as the grande dame, remember seeing theatrical productions such as "The Music Man" when they were boys, and jazz and R&B concerts as young men.
Joe Litvag of Anschutz Entertainment Group/Concerts West, which books shows at the Roberts Orpheum, says, "We won't be doing hard-rock shows. Those are the type of shows that work really well at the Pageant, and that's where they should play. We got so many calls for harder-rock shows, and we said, 'Call the Pageant.' I made a promise to Mike and Steve that I will not trash the place by booking too aggressive of a show."
It's safe to say Insane Clown Posse won't be back for a return visit.
Of course, given the theater's overall booking approach, it's more than a little ironic that the Roberts Orpheum kicks off its concert programming with a sold-out performance from one of the '90s top boy bands, the Backstreet Boys.
Despite its retooled programming, Litvag says, the Orpheum is not trying to wipe out memories of the American, which once hosted Red Hot Chili Peppers, Smashing Pumpkins and Pearl Jam on the same bill. Many concertgoers fondly remember shows by such artists as Lenny Kravitz, Tori Amos, Beck, Moby, the Indigo Girls and Counting Crows.
"We want people to keep the good memories and erase the bad memories," says Litvag, who booked the venue when he was with rival concert producers Clear Channel Entertainment. "Plenty of people have negative memories. It was so rundown for several years. It was a mess. We trashed it with all the hard-rock shows over the years. But I don't want to erase the positive experiences people had of the up-close-and-personal shows. I've heard so many amazing comments from people who loved the experience of going there. It was always a party at the American."
All systems are go once more
Before the party could start again, however, there was a lot of tidying to do - not just cleaning up old perceptions, but giving the venue a physical makeover.
"A lot of effort has gone into getting it up to code," Litvag says. "Our goal is to have people walk in the door and be amazed at the transformation."
The Robertses say renovations have totaled more than $2.5 million and estimate that costs will reach $5 million by the time they are finished.
Roberts Orpheum retains the basic feel of the American, and the venue's ornate beauty remains. Concertgoers will note a new electronic-reader marquee, new paint and carpet, and remodeled bathrooms in the basement, with the women's bathroom doubled in size.
Retractable seats, assembled on risers on the floor's three levels, can be removed for corporate and private events, meetings and receptions that don't require concert seating.
General manager Mike Jennings boasts of new lighting, sound and electrical systems. The old electrical system, he says, looked like something out of Dr. Frankenstein's laboratory. Thomas Cooke, whose Image Technologies Corp. is handling the technical work, says everything is "high end, state of the art, designed specifically for the theater."
There's also new plumbing, and the exterior will see some tuck-pointing and artwork restoration.
Even before the restoration, Steve Roberts was impressed by the venue's sound.
"When you listened to the acoustic value of the facility, it sounded terrific," he says. "It didn't need the mega sound systems. It had a natural acoustic value. I remember sitting up pretty high at concerts, and I could see well but I could hear even better."
The "up close and personal" feel is what moves Mike Roberts most. He says the most elevated seat in the rather steep balcony is closer to the stage than the mezzanine at the Fox Theatre.
"Folks returning to the theater will find it exceptional," he says.
Competitive visions
Before tackling the renovation, the Roberts brothers first had to convince lending institutions that their vision was viable. One of the most important steps, Mike Roberts says, was aligning themselves with established, professional institutions such as Ticketmaster and AEG.
AEG's Litvag had his own hurdles: convincing artists' representatives that this isn't the old American.
"That has been time consuming, but thus far we've been successful in convincing them," he says.
Roberts Orpheum, with its capacity of 1,450, also will be challenged by the similarly sized Pageant, whose capacity ranges from 1,000 to 2,000. But Litvag sees it as a friendly competition and points out that Roberts Orpheum will have only about 40-50 concerts a year, far fewer than the Pageant. Pat Hagin, the Pageant's managing partner, says competition is healthy and presents more options to the consumer. He adds that his venue will continue to be aggressive in pursuing any act appropriate to the Pageant.
When Litvag was at Clear Channel a few years ago, bookings at the American were phased out as shows were rerouted to the newer Pageant. During that time, Litvag wondered what niche he could fill at the fading American.
"It was too special to sit there dark, but I couldn't ever come up with anything," he says.
But wheels started spinning again when Litvag learned that the Roberts brothers had taken over.
"When I laid out what I had in mind, they looked at each other and smiled because that's what they were thinking," Litvag says. "We saw a need for a more upscale live-music establishment of this size in St. Louis."
Mike Roberts describes the difference between the Roberts Orpheum and the Pageant this way:
"We make the distinction that the other venue in town is for the children. We're for the parents of the children. We want adults to be happy to come here and see Joe Jackson or Mary Chapin Carpenter."
Hagin is amused by Roberts' characterization of the Pageant as "for the children," given that the Orpheum's first show is the Backstreet Boys.
"I just love that," he says. "Five years ago, they were all 14 years old. Now, they're 19 years old."
However, Hagin readily agrees with Litvag's assertion that the Pageant was built as a nightclub and does extremely well by operating as such. By contrast, Litvag says, Roberts Orpheum offers a theaterlike experience for concertgoers that the Pageant can't duplicate.
The Orpheum, he says, is designed for the "adult concertgoer who prefers to sit in nice seats and have a theater experience rather than a nightclub experience. We want people who aren't price sensitive necessarily, who like the idea of getting dressed up and going downtown to a nice new restaurant and then going to see a great show."
Mike Roberts says: "There are so many people moving into downtown St. Louis. Now they can walk to a venue and see a show."
- 1,768
I notice that they always focus on what the Orpheum will present and not how the place represents. You would think in an article about a grand opening after a multi-million dollar renovation they would talk abou the renovation and not the pageant and back street boys...
What's the deal with the orpheum lately? I thought theye were supposed to have a fairly regular concert schedule, but they don't have much planned. For people who live downtown-does there seem to be a lot of activity/private events going on?
I think it may be best for the Roberts Bros to sell this place or maybe hire someone else to manage it. There's a lot of unrealized potential here in my opinion.
I think it may be best for the Roberts Bros to sell this place or maybe hire someone else to manage it. There's a lot of unrealized potential here in my opinion.
I completely agree!! This is a perfect-sized and, more importantly, a very beautiful venue that has the potential to attract some amazing acts. It has been wasted.
I also don't understand their prejudice against bringing rock acts. Someone speaking on its behalf said in some interview for the PD (it's probably above somewhere but I don't feel like sifting through) that they aim at adult contemporary, family friendly and really safe smooth jazz music because they don't want a lot of trashing and damage done to the stage. What? How old are these people? This sounds like the Elvis detractors of the mid 1950s. I see a lot of rock music. I don't think I've ever seen Wilco or the White Stripes destroy the stage. Either these people are playing favorites or just plain paranoid. Either way they are shooting themselves (and the music fans of St. Louis) in the foot because I've been to "The American Theatre" and it is a much greater venue than the Pageant and there's nothing wrong with a little friendly competition.
I also don't understand their prejudice against bringing rock acts. Someone speaking on its behalf said in some interview for the PD (it's probably above somewhere but I don't feel like sifting through) that they aim at adult contemporary, family friendly and really safe smooth jazz music because they don't want a lot of trashing and damage done to the stage. What? How old are these people? This sounds like the Elvis detractors of the mid 1950s. I see a lot of rock music. I don't think I've ever seen Wilco or the White Stripes destroy the stage. Either these people are playing favorites or just plain paranoid. Either way they are shooting themselves (and the music fans of St. Louis) in the foot because I've been to "The American Theatre" and it is a much greater venue than the Pageant and there's nothing wrong with a little friendly competition.
- 62
Just an opinion: But I feel that they are expecting to attract an
upscale urban black audience, like the Loft Jazz Club on Olive but
it's downright impossible to sustain a club with only upscale black
audiences since that would (again I assume) soft, cool jazz (which I
love!) but the truth is ,businesswise, it's either rock or rap...and that
usually attracts hoosiers or gangmembers and increases the insur-
ance premiums. I TRULY WISH SOME PROMOTER WITH AN UNDER-
STANDING OF ST. LOUIS MUSICAL NEEDS WOULD BUY THEM OUT
SO WE COULD GET BACK TO SEEING (even) NEW AND EXCITING
ACTS HERE. I realize that it's not quite this simple but for some
reason urban entertainment supposedly now means hip-hop or
rap or blues-jazz. Nobody wants to have those hellraisers who go
to heavy metal or even Springsteen concerts. Just like the destruc-
tive collegegangs at Mardi Gras,etc.
upscale urban black audience, like the Loft Jazz Club on Olive but
it's downright impossible to sustain a club with only upscale black
audiences since that would (again I assume) soft, cool jazz (which I
love!) but the truth is ,businesswise, it's either rock or rap...and that
usually attracts hoosiers or gangmembers and increases the insur-
ance premiums. I TRULY WISH SOME PROMOTER WITH AN UNDER-
STANDING OF ST. LOUIS MUSICAL NEEDS WOULD BUY THEM OUT
SO WE COULD GET BACK TO SEEING (even) NEW AND EXCITING
ACTS HERE. I realize that it's not quite this simple but for some
reason urban entertainment supposedly now means hip-hop or
rap or blues-jazz. Nobody wants to have those hellraisers who go
to heavy metal or even Springsteen concerts. Just like the destruc-
tive collegegangs at Mardi Gras,etc.
^^^Yeah, I can't stand those crazy youngsters with their newfangled 'rock-and-roll'!
Why don't you reread your post out loud to see how ridiculous sounding it is. Hoosiers, Gangmembers, and Hell-Raisers? That's how you describe people who don't listen to the music you prefer?
Give me a break, Don. Move to the retirement community of your choice and quit spreading your closed-mindedness.
Why don't you reread your post out loud to see how ridiculous sounding it is. Hoosiers, Gangmembers, and Hell-Raisers? That's how you describe people who don't listen to the music you prefer?
Give me a break, Don. Move to the retirement community of your choice and quit spreading your closed-mindedness.
That's your problem, Don. You judge by profiles. Intelligent response, by the way.
Don,
Your post cracks me up. I'm just going to assume that you're either joking or you're trying to get people fired up.
Personally, I like all kinds of music... I love to check out the SLSO a few times a year - especially if they're playing Gershwin or Ravel. Jazz at the Bistro is one of my favorite ways to spend an evening, along with BB's if I want a more laid back night.
I also like rock, rap, hip-hop, you name it. I've been to a Nelly concert, but I resisted to urge to rush the stage and smash and break things. But on my way out, I threw a few glass bottles at random people and cars. Then I went home and kicked my dog.
Your post cracks me up. I'm just going to assume that you're either joking or you're trying to get people fired up.
Personally, I like all kinds of music... I love to check out the SLSO a few times a year - especially if they're playing Gershwin or Ravel. Jazz at the Bistro is one of my favorite ways to spend an evening, along with BB's if I want a more laid back night.
I also like rock, rap, hip-hop, you name it. I've been to a Nelly concert, but I resisted to urge to rush the stage and smash and break things. But on my way out, I threw a few glass bottles at random people and cars. Then I went home and kicked my dog.
- 62
HMMMM...sounds like just another night downtown...for some people.
- 1,493
don your posts are always just so ridiculous. Go back and re-read some of the crap you spew. Please change you location in your profile from St. Louis, Mo, to Jefferson County, where I'm sure you actually live.....
I knew people would have my back. I think the Roberts Orpheum should try to emulate the Pageant, which has shown it is a successful venue and adds life to the area. I'm sure Don will disagree, though... I guess because it won't sound like somebody's playing easy listening elevator music all the time and will require diversity. What a nasty word, huh Don?...Diversity.
- 62
You have all shown your true colors here. You need to get a life!
All these issues you discuss ad nauseum are simply mental mas-
turbation...what if? Somebody should do this or that downtown...
You all sound like a bunch of spoiled jr. high schoolers b*tching
about 999 topics. Look at the directory. What haven't you pissed
and moaned about? I originally looked for MATURE discussions...
not these endlessly winings about WHAT YOU THINK IS COOL AND
trying to turn downtown into some yuppie paradise! God forbid!
Diversity means all kinds of variety and freedom of expression...
even classical or ahem elevator music to you, which shows me
that you must assume you're REALLY WITH IT CAUSE YOU DIG
NELLY AND THE LUNATICS....What an appropriate name.
Keep deriding me and my comments or maybe move to freaky
Oakland where they're still in the 60's!
All these issues you discuss ad nauseum are simply mental mas-
turbation...what if? Somebody should do this or that downtown...
You all sound like a bunch of spoiled jr. high schoolers b*tching
about 999 topics. Look at the directory. What haven't you pissed
and moaned about? I originally looked for MATURE discussions...
not these endlessly winings about WHAT YOU THINK IS COOL AND
trying to turn downtown into some yuppie paradise! God forbid!
Diversity means all kinds of variety and freedom of expression...
even classical or ahem elevator music to you, which shows me
that you must assume you're REALLY WITH IT CAUSE YOU DIG
NELLY AND THE LUNATICS....What an appropriate name.
Keep deriding me and my comments or maybe move to freaky
Oakland where they're still in the 60's!
Don, I am honestly not trying to fight with you. I have no problem with the genre of music that the Orpheum does pull in. I love jazz. I probably have twenty John Coltrane records and at least thirty Miles Davis albums. That's just the big boys. I can't say that I like boy bands, but I have no problem with them fitting the bill on the Orpheum. What I have a problem with is the deliberate refusal to book or even consider a rock and roll act.
I don't think these decisions are racially motivated by the Roberts Orpheum, as you suggest they are targeting a "upscale urban black audience." I think they are probably targeting an older crowd. And hey, look, they booked The Doors reunited without Jim Morrison. This actually is technically a rock act, but one that is specifically aimed at an older audidence. The problem for me is that it is is singling out families and older baby-boomers. Trust me, not all rock and roll is hoosier. If you ask me, The Doors Reunion is probably more likely to attract hoosiers than some of the younger music that comes through the Pageant and Missississippi Nights. You can get young, hip, rock bands that attract the same "upscale urban (but racially anonymous) crowd" and bands that aren't going to trash the place.
I don't think these decisions are racially motivated by the Roberts Orpheum, as you suggest they are targeting a "upscale urban black audience." I think they are probably targeting an older crowd. And hey, look, they booked The Doors reunited without Jim Morrison. This actually is technically a rock act, but one that is specifically aimed at an older audidence. The problem for me is that it is is singling out families and older baby-boomers. Trust me, not all rock and roll is hoosier. If you ask me, The Doors Reunion is probably more likely to attract hoosiers than some of the younger music that comes through the Pageant and Missississippi Nights. You can get young, hip, rock bands that attract the same "upscale urban (but racially anonymous) crowd" and bands that aren't going to trash the place.
- 1,493
Funny, all you ever do on this forum is post hit and run blanket statements maligning various groups people. I think you are the one who needs to get a life.don koester wrote:You have all shown your true colors here. You need to get a life!
This post is quite telling coming from you. In case you hadn't noticed this forum is designed for discussion about development in the city of St. Louis. That is why develpment of downtown is discussed so much. Mature discussion? What mature discussion have you even been invloved in on this forum. All of your pseudo-bigiot posts combined can't hold a candle to a single southslider/DeBaliviere/MattnSTL/trent level post. You've never even helped a single person out on this forum seeking info about the city.don koester wrote: All these issues you discuss ad nauseum are simply mental mas-
turbation...what if? Somebody should do this or that downtown...
You all sound like a bunch of spoiled jr. high schoolers b*tching
about 999 topics. Look at the directory. What haven't you pissed
and moaned about? I originally looked for MATURE discussions...
not these endlessly winings about WHAT YOU THINK IS COOL AND
trying to turn downtown into some yuppie paradise!
You hate diversity don, re-read your own posts.don koester wrote: Diversity means all kinds of variety and freedom of expression...
That's St. Lunitics old man.don koester wrote: NELLY AND THE LUNATICS
Please do us all a favor and stay at your home in Jefferson County.
And we'll let urban elitist have the last word on this subject. Anything more, take it private. Let's get back to the Robert's Orpheum, not what people were insinuating in their posts about music type and the people who listen to that and racist directed music and all the other stupid stuff that is just being repeated now.
Thanks Matt. Don't feed the troll. 
I'd like to see a wide variety of acts at the Orpheum. I remember seeing the Chemical Brothers there years ago, and it was a great and fun act to see. IMO, there is a lot of acts that don't come through St. Louis, that would fit in perfectly at the Orpheum. I'd love to see more nationally recognized Blues acts, as well. I haven't been there since they reopened, but I'd like the opportunity to have the choices available to me.
I'd like to see a wide variety of acts at the Orpheum. I remember seeing the Chemical Brothers there years ago, and it was a great and fun act to see. IMO, there is a lot of acts that don't come through St. Louis, that would fit in perfectly at the Orpheum. I'd love to see more nationally recognized Blues acts, as well. I haven't been there since they reopened, but I'd like the opportunity to have the choices available to me.
- 623
My main problem is the marquee. On its own it is fine, but the graphics displayed are shoddy and look terrible. Look at the picture on the previous pages of postings. The letters are different sizes, sometimes parts of the display aren't working, like no one cares. It makes the place look second rate.
- 479
So <i>when</i> is the Orpheum going to be renovated?
I am not talking about adding a runner-up to the World's Ugliest Marquee. The theater needs a lot of work inside and out, especially conservation work on its terra cotta and plaster. The place looks shabby next to the renovated Old Post Office.
I am not talking about adding a runner-up to the World's Ugliest Marquee. The theater needs a lot of work inside and out, especially conservation work on its terra cotta and plaster. The place looks shabby next to the renovated Old Post Office.
- 1,044
I am beginning to question the ability of the Roberts Brothers to deliver on all they promise in a quality manner. The Roberts Lofts have only recently leased one small retail tenant with plenty of empty space left. The theater is as much of a dump as before they bought it. Who really knows what is happening with the Mayfair expansion. Perhaps they should stick to north side strip malls and leave downtown to others.
I agree, the theater is really a dump on the inside so it is likely to not attract a solid audience base for quite some time.
- 84
i emailed the orpheum theatre several weeks ago (approximately a month ago) using the form on their website. i told them what a great place they had, what great opportunities they had to bring incredible indie rock acts, like bright eyes and the faint. i'll be a senior at slu and i wrote a pretty darn good and encouraging email to them, but i did not receive a response. i told them that last fall, bright eyes, possibly the indie rock band with the largest (inter)national following, was scheduled to play at the pageant, but canceled their concert due to the pageant's association with the "evil" clearchannel network. (they ended up playing in columbia instead.)
now, i don't know if the roberts orpheum is associated with clearchannel (does anyone know if they are?), but it KILLS me that this venue is not being used. it really could be the saint louis theatre comparable to new york's radio city music hall, where i just saw the roots (with talib kweli, ghost face killah, naz, erika badu--heck, even dave chappelle even made a brief appearance) a few weeks ago. THE LACK OF USE OF THIS VENUE KILLS ME! IT DRIVES ME NUTS! WHAT CAN WE DO????? this should be a crime!
now, i don't know if the roberts orpheum is associated with clearchannel (does anyone know if they are?), but it KILLS me that this venue is not being used. it really could be the saint louis theatre comparable to new york's radio city music hall, where i just saw the roots (with talib kweli, ghost face killah, naz, erika badu--heck, even dave chappelle even made a brief appearance) a few weeks ago. THE LACK OF USE OF THIS VENUE KILLS ME! IT DRIVES ME NUTS! WHAT CAN WE DO????? this should be a crime!