Sioux City's Orpheum Theater Delights with New Meyer System
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From cascading crystal chandeliers to hand-carved detailing, from vast tiered balconies to purple granite flooring, the magnificently restored Orpheum theater in Sioux City, Iowa recreates the extravagant opulence of a vaudeville palace in its roaring twenties heyday. Yet closer examination of this majestic 2500-seat venue also reveals amenities and technology aimed at 21st century entertainment. The top-to-bottom restoration included new HVAC and plumbing, all-new dressing rooms, state of the art lighting and a powerful (yet discreetly compact) self-powered loudspeaker system from Meyer Sound. In both scope and detail, the Orpheum is a performing arts center worthy of any metropolitan entertainment mecca. "It's a spectacular theater in every respect," says Ray Shepardson of GSI Architects in Cleveland, a consulting architect on the project. "And the Meyer Sound system is certainly providing world-class sound for a world-class renovation." This stunning "theater of dreams" was one of those grand schemes that nearly succumbed to harsh economic realities. Designed by renowned Chicago theater architects Rapp and Rapp, the Orpheum thrived from its opening in 1927 through the 1950's – first on the vaudeville circuit, and then as Sioux City's premier movie house. When audiences dwindled in the television era, the theater was "downsized" to a single-story cinema in the 70's, and then split into a duplex cinema in the 80's. It was closed in 1992 and slated for demolition, but by then the nucleus of a civic group had raised just enough funds to stave off the wrecking ball. More concerted efforts eventually raised the $11 million needed, and Shepardson – a veteran of more than a dozen previous major restorations – was brought on board to oversee the theatrical details. By September of 2001, the theater was rebuilt, re-opening to a full house for a concert by the Sioux City Symphony. From the outset, architect Ray Shepardson worked closely with systems integration engineer Charlie Hulme of LD Systems in Houston, who had been a partner on several previous projects. Their common goal was to design a system able to cover a problematic space – one never intended for amplified sound – with excellent clarity, full-range response and enough power for all but gut-wrenching rock shows. In addition, the system had to keep a low profile, fit a tight budget and be suited to multiple uses. "I eventually settled on the Meyer system because of their outstanding pattern control, the sonic accuracy and the extremely low noise level – which is crucial for Broadway shows," says Hulme. "Also, they are very easy to install, which keeps the overall budget down." The main left and right system clusters are each configured with a pair of MSL-4 Horn-Loaded Long-Throw Loudspeakers for balcony coverage, a PSW-2 High-Power Flyable Subwoofer for low-frequency reinforcement and three DF-4 Dedicated Downfill Loudspeakers to cover orchestra seats not blocked by the balcony. "The acoustics are extremely live," Hulme notes, "with a bad flutter echo between the two walls if the room is overly excited. That's why we chose the MSL-4: for the high directivity and precise pattern control. It's such a sweet box." Eleven Meyer UPM-1P Ultra-Compact Wide Coverage Loudspeakers, deployed in two delay rings, cover the under-balcony seats. Five more UPM-1Ps are on temporary mounts to allow placement on either the stage front or on the orchestra pit rail, depending on show requirements. A pair of 650-P High-Power Subwoofers supply deep bass, while two MTS-4 Full-Range Main Loudspeakers are available as side fill speakers or for deployment as a stand-alone system for stage, lobby or street events. The MTS-4 cabinets also double as center channel speakers in the cinema mode. For surround sound, four additional UPM-1P systems are placed in the rear corners of the main floor and balcony. Since the September re-opening, the Meyer Sound system has been working overtime on a wide variety of acts, ranging from touring Broadway shows (Cabaret, Footloose and Ragtime) to pop/country headliners like Willie Nelson, Keb Mo and Bob Dylan. The stage shows use the Meyer system exclusively, and even some pop acts will defer to the house system over their own racks and stacks. "We've found the Orpheum system has been widely accepted by most touring acts," says local promoter and theater board member Dave Bernstein of Gooneybird Productions. "The system is very robust and easy to use. Many acts have left their PAs in the truck, which makes it easier for them and provides a better experience for the audience as our system has more uniform room coverage." As for architect Ray Shepardson, his first encounter with the quality of Meyer Sound systems in Sioux City has marked a turning point in his storied restoration career. "I'm working on the Genessee Theater in Waukegan, Illinois right now," he says, "and we plan to use Meyer systems on this project as well. I'm sold on them." March, 2002 |
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