- $29 for one ticket to see Queensrÿche (up to $57.70 value)
- When: Friday, March 14, at 8 p.m.
- Where: Wilbur Theatre
- Seating: floor, mezzanine, or balcony
- Door time: 7 p.m.
- Ticket values include all fees.
- Click to view the seating chart.
A heroin addict named Nikki wakes up near-comatose in a hospital. As the fog begins to lift from his mind, he struggles to recall how he got there. The facts are blurry: a secret society who brainwashed people into carrying out political assassinations. A prostitute-turned-nun who was eventually killed. Is Nikki the culprit of these sinister acts? To find out, he has to go back through the dark recesses of his memory and tell the tale from the beginning.
Although it sounds like a cryptic take on The Manchurian Candidate or a love letter from that weird neighbor with the tinfoil hat, it’s actually the plot of Queensrÿche’s 1988 rock opera, Operation: Mindcrime, which Kerrang! magazine voted one of the 100 Greatest Heavy Metal Albums of All Time. Upon its release, the ambitious work blew the minds of fans and critics alike with its fusion of heady prog-rock, full-bore metal, and poetic and politically conscious lyricism. The song cycle garnered a Grammy nomination for the single “I Don’t Believe In Love,” inspired a sequel, and proved that metal could be both brainy and brawny. In these days of shuffles and singles, Operation: Mindcrime is the type of album that demands to be swallowed whole.
Backed by a new lineup of metal all-stars, including bassist Rudy Sarzo of Ozzy and Dio fame plus guitarist Kelly Gray and keyboardist Randy Gane from Geoff Tate’s first band, Myth, the recharged Queensrÿche takes audiences through all of their seminal album, as well as some of their greatest hits.
A theater on the National Register of Historic Places, the Wilbur Theatre is now a premier venue for comedy and music. When it was built in 1914, the architect Clarence H. Blackall designed its porticos and brick façade with inspiration drawn from American Colonial architecture, characterized by a Federal Revival style that included powdered wigs hanging over every doorway. “The auditorium is, in its chaste way,” architectural historian Douglas Tucci is quoted as saying on the theater’s website, “the handsomest of any Boston playhouse.”