What first struck me was the crass commercialism of the place. Our bus picked us up 90 minutes before the show so that there be time to buy drinks and caramel corn (?) and visit the gift shop where the CD section was closed for an old geezer signing records. On the way in I had to elbow my way past at least 15 photographers offering to take my picture including shots in front of 30-ft guitars. Inside the theatre retains the pew seating familiar at the Ryman--a former church, though there is upholstering covering the bare wood. Screens covering the stage curtains and elsewhere flashed advertising from every direction and showed video of last year’s flood and restoration. A piece of the Ryman Stage was transferred here so that new generations of artists might tread the same boards as the greats of old centre stage. Someone dressed up as Minnie Pearl came out and gave a yeehaw, welcomed us half an hour before the show, and then flogged the official 85th Anniversary program. The Grand Ole Opry does its own commercials! A program broadcast live to air starts promptly ontime with each of the 4 segments having its own sponsors. Sponsor ads ran with screen shots of the product logo virtually between every number. On my hit-list are Bass Pro Shop--just down the road a piece, Dollar General, Humana, and Cracker Barrel.
Our driver Pat was a hoot though tipping for a $5 2-mile drive seems excessive. I was thankful I didn’t have to back that bus into tight entrances and negotiate vehicle-clogged narrow campground laneways.
The stage-manager/announcer had a podium left- stage and each of the four segments had a nominal host. The only act all evening familiar to me were the Gatlin Brothers from Texas, I’d heard the name Riders in the Sky. What a Korean Comedian had to do with the Grand Ole Opry I couldn’t say.
I’ve always complained that once an artist makes it to Nashville his music suddenly loses its acoustic touch and becomes over-produced. A large house band supports most groups on stage and although few main acts were overshadowed only the comedian got a solo performance. In contrast Segovia played the 4500-seat Salle Wilfred Peltier, Place Des Arts with 500 seated on the stage behind him playing a single fragile classical guitar. Mind you he demanded management turn off the escalators and the air conditioning and dared anyone to cough, but he made that audience listen.
The true stars of the Opry are the stage crew doing set-up for 20-odd acts in 2 hours setting mikes and plugging in instruments with narry a wow or pop all evening.
Our driver Pat was a hoot though tipping for a $5 2-mile drive seems excessive. I was thankful I didn’t have to back that bus into tight entrances and negotiate vehicle-clogged narrow campground laneways.
The stage-manager/announcer had a podium left- stage and each of the four segments had a nominal host. The only act all evening familiar to me were the Gatlin Brothers from Texas, I’d heard the name Riders in the Sky. What a Korean Comedian had to do with the Grand Ole Opry I couldn’t say.
I’ve always complained that once an artist makes it to Nashville his music suddenly loses its acoustic touch and becomes over-produced. A large house band supports most groups on stage and although few main acts were overshadowed only the comedian got a solo performance. In contrast Segovia played the 4500-seat Salle Wilfred Peltier, Place Des Arts with 500 seated on the stage behind him playing a single fragile classical guitar. Mind you he demanded management turn off the escalators and the air conditioning and dared anyone to cough, but he made that audience listen.
The true stars of the Opry are the stage crew doing set-up for 20-odd acts in 2 hours setting mikes and plugging in instruments with narry a wow or pop all evening.
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