Tag Archives: Robinson Center Performance Hall

15 Years Ago, Little Rock gave Aretha Franklin R-E-S-P-E-C-T in her concert with ASO

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On November 16, 2004, the rafters of Robinson Center Music Hall were shaken by the vocal prowess of Aretha Franklin.

She shared the Robinson stage with the Arkansas Symphony Orchestra.  The ASO brought Miss Franklin to town as part of the festivities surrounding the opening of the presidential library.  Long a favorite of the Clintons, Miss Franklin sang at his 1993 inaugural festivities the night before he took the oath of office.

Resplendent in a series of white dresses, Miss Franklin was in top form feeding off the love from the audience.  While backstage she may have been dealing with back and knee issues (which the Culture Vulture saw first hand), when she stepped on to the stage she was giving her all as she rolled through hit after hit from her starry career.  She sang, she played the piano, she entertained!

It was a sold out house and her voice and energy reached the last row of the balcony.

Prior to her appearance, the ASO played a few selections including variations on “Hail to the Chief” and “America.”

Earlier in the day, I had the privilege of picking up several copies of Bill Clinton’s autobiography for her to get signed by him.  I delivered them to her as she was resting between rehearsals. She was preparing for an interview with Craig O’Neill, and I hated disturbing her. But I wanted to be sure she got the books.  She was gracious and very appreciative.

All is Right as tickets for THE PLAY THAT GOES WRONG are now on sale for Little Rock performances

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THE PLAY THAT GOES WRONG, the hilarious Tony Award®-winning hit Broadway comedy, will make its Little Rock debut at Robinson Performance Hall March 28-29, 2020. Tickets are now on sale at Celebrity Attractions, by phone at 501.244.8800 or by visiting Ticketmaster.com.

Get thee to the theatre for this one!  The first time I read the script I nearly hyperventilated I was laughing so hard.  If you love NOISES OFF or Monty Python or laughing, you must see this play! – Scott Whiteley Carter

Co-written by Mischief Theatre company members Henry Lewis, Jonathan Sayer and Henry Shields, THE PLAY THAT GOES WRONG is a riotous comedy about the theatre. The play introduces The ‘Cornley University Drama Society’ who are attempting to put on a 1920’s murder mystery, but as the title suggests, everything that can go wrong…does, as the accident-prone thespians battle on against all odds to get to their final curtain call.

Entertainment Weekly calls THE PLAY THAT GOES WRONG “Hilarious! Non-stop pandemonium.” The Huffington Post calls it “The funniest play Broadway has ever seen!” And the New York Post says it’s “Broadway’s funniest and longest-running play! Nothing is as fall down funny. GO.”

The Broadway production of THE PLAY THAT GOES WRONG opened at the Lyceum Theatre on April 2, 2017 and by its closing on January 6, 2019 played 27 previews and 745 performances, making it the 2nd longest running show in the history of the Lyceum Theatre. Not yet done with New York, THE PLAY THAT GOES WRONG officially opened Off-Broadway on February 20, 2019 at New World Stages – Stage 4, where it continues delighting audiences. THE PLAY THAT GOES WRONG received a Tony Award® for Best Set Design, Broadway.com’s Audience Choice Award for Best Play, and the Theater Fans Choice Award for Best Play.

Awarded the 2015 Olivier Award for Best New Comedy, 2014 WhatsOnStage Best New Comedy and 2015 UK BroadwayWorld Best New Play Awards, THE PLAY THAT GOES WRONG is now in its fifth year in the West End and playing on six continents. The producers have avoided Antarctica for fear of a frosty reception.

It is a remarkable rags-to-riches story for a play which started its life at a London fringe venue with only four paying members of the public at the first performance and has gone on to play to an audience of over 2 million people around the world.

THE PLAY THAT GOES WRONG tour is directed by Matt DiCarlo with original Broadway direction by Mark Bell, featuring set design by Nigel Hook, lighting design by Ric Mountjoy, sound design by Andy Johnson and costume design by Roberto Surace.

THE PLAY THAT GOES WRONG is produced on Tour by Kevin McCollum, J.J. Abrams, Kenny Wax, Stage Presence Ltd., Catherine Schreiber, Ken Davenport, Double Gemini Productions / deRoy- Brunish, Damian Arnold / TC Beech, Greenleaf Productions / Bard-Roth, Martian Entertainment / Jack Lane / John Yonover, and Lucas McMahon.

 

THE PLAY THAT GOES WRONG will appear at Robinson Performance Hall in Little Rock for four performances only March 28-29, 2020 (Saturday at 2pm & 7:30 pm, Sunday at 1pm & 6:30pm).  Tickets may be purchased in person at Celebrity Attractions, via phone at 501.244.8800 or online at Ticketmaster.com.  Groups of 10 or more receive a discount by calling 501.492.3312.

 

Ticket buyers are reminded that for Celebrity Attractions’ productions, Celebrity Attractions and Ticketmaster are the only official retail ticket outlets and the only way to guarantee that you are paying face value for legitimate tickets.  Ticket buyers who purchase tickets from a ticket broker or any third party should also be aware that Celebrity Attractions is unable to reprint or replace lost or stolen tickets and is unable to contact patrons with information regarding time changes or other pertinent updates regarding the performance.

Little Rock bids “HELLO” to Carol Channing in November 1966

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53 years ago tonight, on November 15, 1966, Carol Channing opened a six day stint in HELLO, DOLLY! at Robinson Auditorium.  She would play 8 sold out shows over those six days.

Channing, who had won the 1964 Tony Award for Best Actress in a Musical for her role in this show, had recently returned to the national tour.  She had just wrapped filming THOROUGHLY MODERN MILLIE (for which she would receive an Oscar nomination). She had specifically requested that Little Rock be added to the tour.

Her breakout role was in 1949’s GENTLEMEN PREFER BLONDS. In that show she introduced the song “Little Girl from Little Rock.”  Since it had helped make her a star, she had long felt an affinity for the Arkansas capital.  Therefore when she rejoined the tour, she required that LR be one of her stops before she left the tour.

While in Little Rock, Channing was entertained at the Arkansas Governor’s Mansion and feted at parties.  She was made an honorary citizen of Little Rock, as well.

But she was here to perform. And perform she did. She was rarely known to miss a performance and always gave her utmost.  Bill Lewis, in his review in the ARKANSAS GAZETTE, stated “To hear Channing sing ‘Hello, Dolly!’ Is one of the great experiences of all musical theater to date…”

In assessing the show’s run in Little Rock (which would be seen by more than 20,000 people), Lewis summed up what many felt at the time — and to hear the reminiscences from a half century later, it still is a heartfelt sentiment — “A week’s too little.”

Daisy Bates, born 105 years ago on Nov. 11, 1914

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Daisy Lee Gatson Bates and her husband were important figures in the African American community in the capital city of Little Rock.  Realizing her intense involvement and dedication to education and school integration, Daisy was the chosen agent after nine black students were selected to attend and integrate a Little Rock High School.

Bates guided and advised the nine students, known as the Little Rock Nine, when they enrolled in 1957 at Little Rock Central High School. President Clinton presented the Little Rock Nine with the Congressional Gold Medal and spoke at the 40th anniversary of the desegregation while he was in office.

Daisy Bates was involved in more than the Little Rock Nine.  In January 1956, she led 27 African American students in their attempt to integrate four Little Rock schools.  While the efforts were not successful, they did serve to put the Little Rock School District on notice that the African American community was expecting action on school integration.

In 1959, she was arrested for refusing to provide City leaders with the membership of the local NAACP chapter. The case ended up going to the US Supreme Court as Daisy BATES et al., Petitioners, v. CITY OF LITTLE ROCK et al.  The decision had far-reaching impact in stopping government entities from requiring membership rolls as a means of intimidation or curbing the right of public assembly.

When Mrs. Bates died, a memorial service was held at Robinson Center on April 27, 2000.  Among the speakers were President Bill Clinton, Secretary of Transportation Rodney Slater, and Rev. Rufus K. Young, pastor of the Bethel AME Church.  Others in attendance included Lt. Gov. Winthrop Paul Rockefeller, Mayor Jim Dailey, Presidential diarist Janis Kearney, former senator and governor David Pryor, and five members of the Little Rock Nine:  Carlotta Walls Lanier, Ernest Green, Minnijean Brown Trickey, Jefferson Thomas, and Elizabeth Eckford.

It was during his remarks at the service that President Clinton announced he had asked that Bates’ south-central Little Rock home be designated as a national historic landmark.

Site Finally(!) selected for Robinson Auditorium on Oct. 29, 1937

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Potential rendering of new auditorium which appeared in October 30, 1937 ARKANSAS GAZETTE

On October 29, 1937, the Little Rock City Council finally selected the site for the Municipal Auditorium.  It had been approved by voters in January of that year, but no site had been identified during the campaign.

During the early autumn, the City had engaged a consultant to evaluate several downtown locations as potential sites for the municipal auditorium.  One stipulation was that it had to be an entire city block.

The six sites were:

  • Broadway, Markham, Spring and Garland Streets;
  • Center, Markham, Spring and Second Streets;
  • Center, Eighth, Louisiana and Ninth Streets;
  • Scott, Fourth, Cumberland and Capitol Streets;
  • Scott, Tenth, Cumberland and Ninth Streets; and
  • Third, State, Second and Gaines Streets

The top choice was the site bounded by Center, Markham, Spring and Second Streets. It was felt that location’s proximity to public buildings made it ideal for a civic auditorium. It was across the street from the former state capitol (then known as the Arkansas War Memorial) which was, at the time, housing state and federal offices.  The site was also adjacent to the county courthouse structures.

Half of the desired property was owned by the federal government.  Because it was being used for federal offices, it was uncertain as to the site’s availability.  Therefore a city committee recommended the site bounded by Center, Eighth, Louisiana and Ninth Streets be utilized as the auditorium location.

The City Council met on October 20 to make a decision. But were at a stalemate. They met again a few days later with still no resolution.

At an October 25 City Council meeting, Arkansas Gazette publisher (and chairman of the Planning Commission) J. N. Heiskell, advocated the site on Markham and Broadway Streets. The Council convened on October 29 to meet again.  The clock was ticking, a site had to be selected because ground had to be broken prior to January 1, 1938.

At the October 29th meeting, the discussion from previous meetings among the aldermen picked up where it had left off.  Again J. N. Heiskell spoke about the importance of employing city planning concepts in selecting the site.

“In the past, selection of a site for a public building has been merely a matter of who could sell the city some property.  I had hoped we were starting a new effort in starting selection of an auditorium site with the advice of Mr. Bartholomew.  Starting with the auditorium, we should be guided by competent advice and locate future buildings following a city plan.  Your vote today will determine the future of Little Rock so far as city building goes.”

After having engaged in discussions with various federal government agencies, Mayor Overman reported that the city could not obtain the recommended site.  It would not be possible for the federal government to relocate those agencies currently occupying half of that block within the time allowed.  The mayor also stated that he had been warned that if construction did not start by January 1, 1938, (which was just a few weeks away) then the money could be taken back and allocated to other projects.

Ultimately the City Council voted 16 to 1 with 1 absent to locate it at the corner of Markham and Broadway.  At last, Little Rock had a location for the new municipal auditorium!

Though it had not been anyone’s first choice (except Mr. Heiskell, who did not have a vote), in retrospect, the auditorium site finally chosen offered many advantages which were not identified during the marathon selection discussions.  The grade of the land sloped toward the Arkansas River from Markham Street down to Garland Street which allowed for a street level entrance to both the planned exhibition hall on a lower level and the music hall on an upper level.

Given the topography of the other sites under consideration, this was only possible at the chosen location.  By stacking the two major components the project did not take up an entire block, which had been the forecasted footprint.  Not using the entire block allowed for subsequent expansion of the complex’s footprint in the coming decades.  This would not have been possible at any of the other sites under consideration if the original structure had taken up the entire block.  In addition, both Markham and Broadway Streets are wider than normal city streets which allowed for better traffic flow and for easier access to a loading dock.

Interestingly, the Convention & Visitors Bureau, which oversees Robinson Center Music Hall, now has offices in the Cromwell Building. This building is located on the site which had been the first choice for the auditorium in 1937.