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Yahoo
02-08-2025
- Entertainment
- Yahoo
Grand Ole Opry Announces 'Truly Historic' New Project
Grand Ole Opry Announces 'Truly Historic' New Project originally appeared on Parade. On Monday, July 28, the and Virgin Music Group announced that they are partnering on a one-of-a-kind album to commemorate the Grand Ole Opry's 100th anniversary. The album OPRY 100: Country's Greatest Songs drops on November 7, just three weeks before the official 100th anniversary of the Opry's inaugural broadcast on November 28, 1925. The historic will bring together the biggest stars of today and the brightest stars from the Grand Ole Opry's storied history, featuring "never-before-released live Opry performances of 20 iconic tracks," it will give listeners a chance to "hear rare, archival recordings of country legends and brand-new covers from today's biggest stars." Pre-order the full album here. The lead single off the album will be a cover of the 1952 classic "Your Cheatin' Heart," sung by 2022 Grand Ole Opry inductee Ashley McBryde. It will be released on July highlights include "I Will Always Love You" sung by original songwriter alongside Opry members Patty Loveless and , iconic Kenny Rogers song "The Gambler" performed by Don Schlitz and , Luke Combs covering the Chris Stapleton hit "Tennessee Whiskey," "Don't Close Your Eyes" by the late, great , and many, many more classic country hits. The full track list is as follows: 'Your Cheatin' Heart' - Ashley McBryde (2024) 'El Paso' - Marty Robbins and Marty Stuart (1981 / 2024) (Full circle mix) 'Crazy' - Patsy Cline (1962) 'Ring of Fire' - Johnny Cash (1967) 'Coal Miner's Daughter' - Loretta Lynn (1985) 'Kiss An Angel Good Mornin'' - Darius Rucker (2021) 'I Will Always Love You' - Dolly Parton (feat. Patty Loveless and Marty Stuart) (2007) 'The Gambler' - Don Schlitz (feat. Vince Gill) (2025) 'Devil Went Down to Georgia' - The Charlie Daniels Band (2015) 'Elvira' - The Oak Ridge Boys (1980) 'Tennessee Whiskey' - Luke Combs (2016) 'He Stopped Loving Her Today (Full Circle Mix)' - George Jones and Alan Jackson (1993 / 2013) 'I Was Country When Country Wasn't Cool' - Kelsea Ballerini (2025) 'Forever and Ever, Amen' - Randy Travis (1989) 'Don't Close Your Eyes' - Keith Whitley (1988) 'Fancy' - Reba McEntire (2017) 'Chattahoochee' - Alan Jackson (2020) 'Go Rest High on That Mountain' - Vince Gill (feat. Patty Loveless) (2015) 'Jesus, Take The Wheel' - Carrie Underwood (2018) 'Mama Don't Allow / Will The Circle Be Unbroken?' - Old Crow Medicine Show, Dom Flemons, Billy Strings, and Molly Tuttle (2020)"For me, this collection of great songs truly captures the spirit of the Opry and our centennial celebration,' said Dan Rogers, Executive Vice President and Executive Producer of the Grand Ole Opry, in a statement. 'These songs, voted on by Opry fans, come to life through remarkable live performances pulled from our rich archives. From debuts of songs that went on to become classics, to covers of past Opry members' standards by current members of the cast, to vocal collaborations so perfect it's hard to believe they were recorded live just one time, I believe the project is truly historic." 'The Grand Ole Opry is the pinnacle of success and greatness in country music,' added Jacqueline Saturn, President of North America and EVP, Global Artist Relations Virgin Music Group. 'To be working with the team at the Opry to put out this commemorative album is really a huge career milestone for so many of us at Virgin Music Group. We can't wait for fans all over the world to hear this incredible collection.' 🎬 SIGN UP for Parade's Daily newsletter to get the latest pop culture news & celebrity interviews delivered right to your inbox 🎬 Grand Ole Opry Announces 'Truly Historic' New Project first appeared on Parade on Jul 28, 2025 This story was originally reported by Parade on Jul 28, 2025, where it first appeared. Solve the daily Crossword
Boston Globe
06-06-2025
- Entertainment
- Boston Globe
‘Always… Patsy Cline' at Theatre By The Sea entertains but never quite engages
Get Globe Rhode Island Food Club A weekly newsletter about food and dining in Rhode Island, by Globe Rhode Island reporter Alexa Gagosz. Enter Email Sign Up The play takes place on the night her idol came to sing at a local club; a night that launched a friendship that continued through letters until Cline's Advertisement Cline's short career generated just two hours and 10 minutes of recorded music from just three studio albums, much of which makes its way into the two acts of 'Always… Patsy Cline.' While her life's story reads like the lyrics in the ballads and torch songs she sings throughout this jukebox musical — including 'Walking After Midnight,' 'Leavin' on Your Mind,' 'Your Cheatin' Heart,' and 'Crazy' — it's Louise's function to provide biographical facts through a lighthearted and often comedic running narrative. Patsy's job is to sing. Advertisement It's the singing that differentiates professional theater productions like this one from many of the community theaters and cruise line stages that have long claimed this work as their own. Here, Lewis-Michelson's singing is superb. While there is only one Patsy Cline, Lewis-Michelson also possesses a classical contralto singing voice, which produces the same warm, rich, and powerful sound. And she shares Cline's range and confident ability to downshift into more delicate and emotive expressions, often capturing Cline's unique vocal nuances while doing so. This is particularly evident in her singing of 'I Fall to Pieces.' The songs are supported by a terrific six-piece band (music director/conductor Jacob Priddy on keyboard, Tessa Sacramone on fiddle and acoustic guitar, Chris Brooks on pedal steel, Bruce Hagist on guitar, Brian Grochowski on standup bass, and Mike Sartini on drums) situated on stage and directly behind her. Sound designer Ben Scheff masterfully balances the music with the vocals and the occasional off-stage singing. In short, Lewis-Michelson is a pleasure to watch and listen to, which is a good thing considering that this musical is mostly a concert taking place on scenic designer Cassie McKnight's rendition of Houston's Esquire Ballroom stage. Paul Jonathan Davis's lighting helps create the venue's ambiance, facilitates the mood swings in the songs, and beautifully highlights the actor during her singing performances. Isolating lighting also allows the ballroom to transition into Louise's small kitchen. Advertisement While the staging of Patsy's performances is a fine-tuned affair, one wishes that director Kat Moser-Priddy invested as much creative energy into reeling in what Louise brings to the table during and between Patsy's songs. Callanan's Louise effuses such genuine enthusiasm for Patsy that it's often disarming and distancing. Just watching her watch Patsy sing — her face beaming, her body in perpetual motion — is endearing. But Callanan rarely just watches and what is most disarming and distancing are her antics during Lewis-Michelson's performances, including conducting the band, dancing downstage, flirting with the audience, joining Patsy at the microphone, and at one point heading down the stage steps to two-step with a patron unfortunate enough to make eye contact with her. All the while, Lewis-Michelson's Patsy sings and rarely talks. Clearly, there's a disconnect between the show's musical performances and its narrative that needs to be better aligned. This calls for more creative risk-taking by director Moser-Piddy. If 'Always... Patsy Cline' is, in fact, a memory play drawn from Louise's selective reflections — for what else could explain the self-centeredness that drives her interactions with Patsy and a script that holds the singer in saintly reverence — then a more explicit and dramatic theatricality needs to be embraced in the show's production values. And would it be asking too much for Louise to recall a more engaged band? Surely a group of house musicians would love backing up the famous Patsy Cline. And yet, in this production, the band is stonefaced from start to finish and never interacts with the singer or reacts to the emotional songs she is singing. Advertisement Some audience members may be satisfied watching a mild-mannered, simply staged, music-driven two-hander on a summer night in a historic playhouse. And they may be more forgiving. Me, I think this story deserves a more engaging telling. ALWAYS… PATSY CLINE Book by Ted Swindley. Music and lyrics by an assortment of songwriters. Directed by Kat Moser-Priddy. At Theatre By The Sea, 364 Cards Pond Road, Wakefield, R.I. Through June 21. Tickets are $74-$100 (including fees). 401-782-8587. Bob Abelman is an award-winning theater critic who formerly wrote for the Austin Chronicle. Connect with him .
