Archives for November 2018

Theatre Review: Don’t be a Cotton-Headed Ninny Muggins! Go see Sparklejollytwinklejingley Chase Miller’s performance as Buddy in ‘Elf: The Musical’ at Chaffin’s Barn Dinner Theatre thru December 22.

November 23, 2018 by Jonathan

Chase Miller lights up the holidays at Chaffin’s Barn Dinner Theatre as Buddy in “Elf: The Musical” (photos by Michael Scott Evans/courtesy Chaffin’s Barn Dinner Theatre)

Dear Santa, I have a confession to make. I’ve never seen Will Farrell’s 2003 holiday hit, Elf in its entirety. Confession Number 2: After seeing Chase Miller in Chaffin’s Barn Dinner Theatre’s current production of Elf: The Musical, based up on the film, with music by Matthew Sklar, lyrics by Chad Beguelin with book by Bob Martin and Thomas Meehan, I fully realize that just might make me a Cotton-Headed Ninny Muggins.

One final confession. I’ve never been a huge fan of Farrell. After seeing Chase Miller starring in Chaffin’s Elf, I am fully convinced there’s no way in the world Farrell’s performance could hold a candle to Chase Miller’s. As I mentioned when I interviewed Miller and his fellow cast mates for a recent installment in my recurring interview feature, Rapid Fire 20 Q, with his perfect comedic timing, unabashed joy and contagious optimism, Miller was obviously born to play this part.

From the moment Miller literally and figuratively leaps upon the stage, his portrayal of Buddy warms the heart with laughter, as he sets out on his journey from the North Pole to Manhattan in search of his father. As Santa himself—fabulously, slightly caustically played by Brian Russell—reveals in clever, albeit thinly-plotted exposition…when Buddy was an infant, he crawled in to Santa’s sack, but went unnoticed until Santa returned to the North Pole where Buddy was adopted as one of Santa’s elves. After 30 years of thinking he was just a very tall elf, Buddy overhears the truth…that he’s human. He then sets out on his journey to find his real father.

As mentioned previously, I’ve not seen the entire movie, but I’ve seen enough clips and random scenes over the years as the film enjoys annual holiday airings to know that Miller’s Buddy isn’t simply a mimic of Farrell. To me, Farrell’s films frequently suffer the same fate of most Saturday Night Live skits….they just don’t know when to stop. Fortunately, Miller doesn’t have that problem. Miller’s wide-eyed childlike approach to the character is entertaining from first bounding onstage to his last hug. An actor of lesser skill could easily get lost in the role, reducing it to foolishness, but Miller’s Buddy is infectiously enthusiastic in his dream of forging a relationship with his father, so much so that he not only elicits uproarious laughter along his journey, but a genuinely sweet moment or two.

You just gotta love this show from the get. Costumer Miriam Creighton has done a splendid job of designing and constructing jolly holiday attire. Adding a bit of humor to the elven magic, ensemble members portraying elves walk on their knees—which are fitted with elf shoes, of course. Add to that Everett Tarlton’s clever choreography, Martha Wilkinson’s direction and Rollie Mains’ as music director, and you’ve got the makings of a Christmas musical guaranteed to deliver the holiday goodies.

Speaking of Tarlton’s choreography, show opener, Christmastown’s uplifting positivity perfectly mirror’s Buddy’s persona. The elf-ography in that number indeed made my belly jiggle like a bowl full of jelly. Sparklejollytwinklejingley’s frenetic fun as Buddy tries to convince some jaded department store elves to take pride in their work, continues the Christmas mood perfectly. On that note, Katie Gant’s lighting design indeed shines the light on the festive fun as the set glistens like any given Main Street across the country during the holiday season.

Act 2’s Fosse-esque Nobody Cares About Santa featuring a few less-than enthusiastic Santas including Austin Olive, David Ridley, Christian Redden and Tarlton, becomes a jazz-hot surprisingly sultry Santa sequence. That leads into an equally seductive Never Fall in Love featuring Christina Candelora lamenting love in the saddest/sexiest Christmas number since Rosemary Clooney’s White Christmas torch song, Love You Didn’t Do Right By Me—and that’s quite a feat, considering she’s singing about falling in love with an elf.

Gotta also mention Tarlton’s set design. Spoiler Alert: When the Christmas tree lowered from Chaffin’s loft (YES, the fabulous mechanical stage that lowers from above is BACK), my Mom leaned over and whispered, “that the kind of tree everybody needs”. It always amazes me with relatively limited performance space, Chaffin’s somehow manages to utilize every inch of stage, packing fully, gorgeously choreographed numbers from large casts who frequently, seamlessly, move set pieces to and fro in equally choreographed moves, so much so that the audience is barely aware. Just another example of the well-oiled machine that is Chaffin’s.

As per usual for Chaffin’s productions, the cast is top-notch. Grey Frey, a favorite at Chaffin’s, plays Walter Hobbs, Buddy’s Dad, and he does so with a perfect balance of businessman agitation and overwhelmed family man. The aforementioned Candelora is Jovie, a less-than-jovial department store elf, who soon becomes the object of Buddy’s affection. A fan pf Candelora’s for a few years, any chance to see her on stage is a joy indeed. Jessica Holtan, making her Chaffin’s debut, plays Emily, Buddy’s human step-mom. She’s perfect as the put-upon wife, who still sees a bit of practical magic in believing in the spirit of the holiday. Seth Barrett, who recently appeared as Les in Chaffin’s Newsies, plays Michael, Buddy’s younger brother who, thanks to his workaholic dad, doesn’t exactly believe in Santa. His scenes with Miller as his older brother ring true to those of us who look up to our older siblings no matter how different we may be from them.

Another notable cast member is Vicki White as Deb, Mr. Hobb’s busy-body secretary, who initially finds Buddy In The Way, but soon warms to him like a cup of hot coco on a frosty morn.

The aforementioned Russell not only plays Santa, but also Mr. Greenway—Buddy’s father’s Scrooge-like boss. Russell’s Santa is played with a decidedly curmudgeonly wink to dry-witted Bob Newhart, who played Papa Elf in the film, also gets the chance to totally turn up the crankiness in the dual role of Mr. Greenway. When I spoke with Russell for my recent all-Elf Rapid Fire 20 Q, we chatted about the fact that Russell’s involvement in Elf marks a bit of a homecoming for the actor, who got his professional theatrical start at The Barn Dinner Theatre nearly forty years back. While Chaffin’s patrons may also recognize Russell for frequently working as one of the waitstaff during the dinner portion of the shows, and Nashville theatre patrons certainly recognize him from productions all across Nashville, it’s been nearly 20 years since Russell has been seen on stage in a Chaffin’s production.

Heck, the entire ensemble, including Christen Heilman, Cassie Donegan, Matthew Hayes Hunter, Melissa Silengo, Jenny Norris, Colin Bevis, Myka Pacheco and Gabe Pacheco, is fabulous. Whether playing elves, harried shoppers or over-worked office drones, each member of the cast approaches their various roles with enough minute attention to detail, movement and expression to garner their own attention from the audience from time to time.

Predictable? Sure. Adorable? Undeniably. Infectiously fun and certain to get you in the mood for the holidays? Absolutely. Elf: The Musical continues through Saturday, December 22. As the venue’s name would imply, in addition to the show itself, Chaffin’s Barn Dinner Theatre also offers a delicious buffet-style dinner along with the show. Throughout the run, Elf will be presented Thursdays at 12noon and 7:30p.m., Fridays & Saturdays at 7p.m. Additional showtimes include matinee performances on Wednesday, November 28, December 5 & 12 at 12noon, and Sunday, December 9 & 16 at 2p.m. Tickets for Evening performances and Sunday matinees include the full buffet dinner option with Dinner and Show tickets priced at $60 for Adults & $30 for Youth and Students or Show Only tickets available for $35 for adults & $16 for Children 12 and Under. Matinee tickets are available with the option of a Box Lunch for $27.50, or show only for $19.00. For Wednesday and Thursday matinee performances, Doors Open at 11a.m. for Box Lunch patrons, with the show beginning at 12noon. For Sunday matinees, Doors Open at 12noon with buffet service until 1:30p.m. and showtime at 2p.m. Friday and Saturday evenings, Doors Open at 5p.m. with dinner service from 5:30p.m.-7p.m and Curtain at 7:30p.m.

Fair Warning: Chaffin’s Christmas shows inevitably ALWAYS SELL OUT, so get your tickets today. Tickets may be purchased by calling the Box Office at 615.646.9977 (ext. 2) or 1.800.282.2276. You can also CLICK HERE to purchase tickets online.

The holiday fun keeps coming at Chaffins with The Game Show Show: Holiday Edition in their Backstage Theatre space, with weekend performances November 23-December 22. CLICK HERE for more information.

To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

Interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Rapid Fire 20 Q with cast of Chaffin’s Barn Dinner Theatre’s ‘Elf: The Musical’; on stage thru December 22

November 17, 2018 by Jonathan

Earlier this weekend, Chaffin’s Barn Dinner Theatre opened their production of Elf: The Musical, thus christening the unofficial start of Nashville theatre community’s Christmas Season. In anticipation of opening weekend, I recently had a chance to chat with several members of Chaffin’s cast for my latest Rapid Fire 20 Q. Seeing as how the holidays are upon us, I’ve taken the liberty to not only include fun information about the show, the actors’ performances and such, but to also ask them about their own holiday traditions, memories and hopes.

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RAPID FIRE 20 Q WITH THE CAST OF CHAFFIN’S BARN’S ‘ELF: THE MUSICAL’

RAPID FIRE WITH CHASE MILLER, BUDDY HOBBS in ‘ELF: THE MUSICAL’

JHP: Alright, I just have to tell you, when I heard you had been cast as Buddy, I immediately thought…’genius casting’. Has playing Buddy become an unexpected dream role?

CHASE MILLER: Well first of all, thank you so much! That’s incredibly kind. I remember when the show opened on Broadway back in 2010 thinking what amazing fun it would be, and now it’s real life! Playing Buddy is most definitely a dream, not to mention a whole lot of fun. The antics…the unadulterated joy…He really is a gift.

JHP: What’s one aspect of Buddy that you’d like to incorporate more into your own personality?

CHASE MILLER: One of my favorite things about Buddy is his fresh set of eyes on the “real world.” Sure, that leads to some comic cases of misunderstanding now and then, but it also allows Buddy to approach every bit of the world with an open heart and an open mind, because he doesn’t know any better. With the world being what it is these days, it’s hard not to lose a little faith in humanity, but Buddy would never dream of it. He has an innate ability to hone in on the good in people, and that’s a great reminder for me to make sure I’m putting enough love and kindness out into the world, whether I expect to get it back or not.

JHP: What’s your favorite childhood Christmas memory?

CHASE MILLER: Christmas is always a source of amazing memories for me, but if I had to choose I think “Decorating Day” would be my favorite as a kid. Usually the Saturday after Thanksgiving, we’d stay in our pajamas the whole day, blast Christmas tunes through the entire house, and we wouldn’t stop until everything was finished. Tree, lights, decor, the whole bit. Decorating for Christmas in my PJs is still one of my all-time favorite things.

JHP: The show is full of memorable scenes. What’s your favorite?

CHASE MILLER: Gosh, that’s a toughie… There are so many good ones! One that thoroughly tickles me though is when Buddy apologizes for shoving 11 cookies into the DVD player. I love playing through that scenario in my head. The thought of Buddy seeing the DVD player and 1. Assuming it was built for cookies, 2.Trying ten other times with ten other cookies, and 3. Even though the previous ten were a total bust, going in with that eleventh cookie. THAT’S the one to determine that maybe… just maybe… it wasn’t built for that. It makes me laugh every time I think about it.

RAPID FIRE WITH CHRISTINA CANDILORA, JOVIE in ‘ELF: THE MUSICAL’

JHP: You play Jovie. What can you tell me about her?

CHRISTINA CANDILORA: She’s a tough broad. A little depressed when it comes to Christmas. She’s hard on herself because she’s a bit jaded by men. Having been on her fair share of bad dates she’s weary about going on a date with a guy she might actually like. I think she’s got some

walls built up, thankfully buddy breaks those down.

JHP: How much fun are you having sharing the stage with Chase as Buddy?

CHRISTINA CANDILORA: I don’t think I can properly put into words how much fun I’m having with him! I have so much love and respect for him. He makes me laugh…all the time. He’s so perfect in this role. It’s an utter delight getting to bring these characters to life with him.

JHP: What’s one Christmas tradition you have with your own family that you love?

CHRISTINA CANDILORA: Christmas Eve dinner. I come from a big Italian Catholic family, so we do a thing called “The Feast of 12 Fishes”..all day long. We eat and drink and eat and drink some more! It’s a continuous amount of food with lots of laughs and love.

JHP: Chaffin’s Artistic Director, and the show’s director, Martha Wilkinson recently posted to social media that Everett Tarlton, the show’s choreographer, was quoted as saying the choreography is “very Fosse meets Sesame Street” why is that an accurate description?

CHRISTINA CANDILORA: Hah! I actually wasn’t there when that was said. However, I can see what he means by that. We are using a lot of imagination with this show. Everett’s choreo is always fierce, but it has fun child like feel added to it this time round. For example, Melissa Silengo and Everett become a puffin and a walrus at one point if that gives you an idea of the Sesame Street fun.

RAPID FIRE WITH SETH BENNETT, MICHAEL HOBBS in ‘ELF: THE MUSICAL’

JHP: Since holiday games are fun…Here’s a word game for you…How would you describe Michael in five words?

SETH BENNETT: If I was to describe Michael in five words they would be insightful, deprived, passionate, warmhearted, and honest.

JHP: Michael doesn’t believe in Santa. Tell me one reason why we should all believe in Santa.

SETH BENNETT: I think we should all believe in Santa because he inspires us to try and be kinder and more compassionate to others around us, which I think we could all use a little more of.

JHP: What makes Elf such a great holiday musical?

SETH BENNETT: Elf is such a great musical for the holidays because it is so lighthearted and warm. It is extremely humorous and even watching Buddy the Elf just makes people smile.

JHP: Do you prefer snow on Christmas or a bit of warmth and sunshine?

SETH BENNETT: Personally, I much prefer snow on Christmas rather than sunshine. Although I love being outdoors and in the sun, I feel like the snow just adds something special on Christmas. Also one of my favorite family memories involves playing in the snow, so it will always have a special place in my heart.

RAPID FIRE WITH GREG FREY, WALTER in ‘ELF: THE MUSICAL’

JHP: How would you describe Walter?

GREG FREY: I think, like so many men, Walter is just misunderstood. He’s the George Bailey, Bob Wallace, Luther Krank and other infamous Scrooge like characters that remind us that without hope and the child like ability to ‘believe’ humanity is lost. At his core he is a good guy and loves his family, but allowed himself to get trapped in the American dream and things that truly are not important!

JHP: Aside from Elf, of course, what’s your favorite Christmas movie?

GREG FREY: That’s a tough one with so many good one out there! Much depends on my mood and need for either nostalgia or a laugh. Let’s just say a Christmas season does not go by without me watching White Christmas or Christmas with the Kranks!

JHP: Peppermint bark or candy canes?

GREG FREY: For taste alone, probably Peppermint bark…. but Christmas memories usually win out with me, and candy canes are tried and true. Whether topping a tree, crushed and sprinkled on candy cane cookies, inserted in some coffee or a cup of hot chocolate (or just your mouth), candy canes are a winner!

JHP: As a kid, was there one Christmas toy you cherished above all the others?

GREG FREY: Fortunately, I don’t remember getting too many ‘duds’ as a kid. One gift that brought hours, days, years of enjoyment for me were roller skates. These were not the type you get when you rent some at the local roller rink (do those still exist?) but were metal frames that clamped around your toes and strapped around your ankle to what ever shoe you chose to wear. Primitive, yes, but oh so fun! We had a huge finished basement with tons of room for circling forever with our 45’s blasting away on my sister’s little portable record player! Memories like that, along with my own family treasures, keep the Christmas Spirit alive for me year round!

RAPID FIRE WITH BRIAN RUSSELL, SANTA CLAUS in ‘ELF: THE MUSICAL’

JHP: You’re playing Santa Claus as well as Fulton Greenway. How much fun is that?

BRIAN RUSSELL: Santa’s a hoot in this script. Yes, he’s sentimental; and yes, he’s jolly. but he’s also a college football fan with a taste for single malt cocoa, if ya know what I mean. Knowing this was the Bob Newhart Elf role adapted from the movie also makes playing the droll lines a whole lot easier. Besides, with my very tall and very mean Greenway, I get my daily karmic balance in spades.

JHP: In a recent Facebook post, you shared that you got your start as a professional actor at Chaffin’s nearly 38 years ago and that it’s been nearly two decades since you last appeared on stage at The Barn. What’s it like being back?

BRIAN RUSSELL: Now that we’re open, I’m guessing I’ll have a little more time to ponder this question for real. Since waiting tables there is also my one of my “Burger King” jobs, driving there and being in the building has not been all that much different (rehearsals tend to keep one hopping and not musing). I guess when the memories actually begin to hit me is when I’m viewing from an old actor’s eye the photos on the wall from our past shows, remembering the amazing times with great productions and great friends that I’ve had when I could work there, and feeling the loss of the beautiful friends and colleagues that have since passed. I started this vagabond life out there with a load of energy and a full head of hair, so the chance to come back is truly indescribable. And I am GRATEFUL!

JHP: A follow-up question in reference and reverence to your lengthy career on stage. Any advice for the new kids in the show?

BRIAN RUSSELL: Advice, eh….if this nutty, crazy business is your passion, if you can’t really see yourself doing anything BUT this as a career, follow that dream and do everything you can to accommodate that passion. Above all, don’t fear unemployment….heck, nothing in Nashville lasts more than 10 weeks, so being out of work is a given. Find your way to comfort and career fulfillment despite that pesky notion no work and make yourself as marketable as you can…..triple threats work A LOT!!!

JHP: Just between you and me…who among the cast is likely to wind up on the Naughty list?

BRIAN RUSSELL: Well, Martha natch. Thinking the band is probably on that list permanently as well….

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Elf: The Musical opened Thursday, November 15 and continues through Saturday, December 22. As Nashville’s longest-running Dinner Theatre, in addition to the show itself, Chaffin’s Barn Dinner Theatre also offers a delicious buffet-style dinner along with the show. Throughout the run, Elf will be presented Thursdays at 12noon and 7:30p.m., Fridays & Saturdays at 7p.m. Additional showtimes include matinee performances on Wednesday, November 28, December 5 & 12 at 12noon, and Sunday, December 9 & 16 at 2p.m. Tickets for Evening performances and Sunday matinees include the full buffet dinner option with Dinner and Show tickets priced at $60 for Adults & $30 for Youth and Students or Show Only tickets available for $35 for adults & $16 for Children 12 and Under. Matinee tickets are available with the option of a Box Lunch for $27.50, or show only for $19.00. For Wednesday and Thursday matinee performances, Doors Open at 11a.m. for Box Lunch patrons, with the show beginning at 12noon. For Sunday matinees, Doors Open at 12noon with buffet service until 1:30p.m. and showtime at 2p.m. Friday and Saturday evenings, Doors Open at 5p.m. with dinner service from 5:30p.m.-7p.m and Curtain at 7:30p.m.

In addition to Elf, Chaffin’s will also present a special children’s show, All I Want For Christmas is My Two Front Teeth, with morning matinees at 11a.m. Fridays & Saturdays from December 7-22. CLICK HERE for tickets.

To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

Interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Theatre Review: Dreaming of a White Christmas? Look no further than the high-energy stage version of Irving Berlin’s ‘White Christmas’ tapping its way across the country and into audiences’ hearts this holiday season

November 16, 2018 by Jonathan

Irving Berlin’s ‘White Christmas’ stars Kelly Sheehan, Jeremy Benton, Sean Montgomery and Kerry Conte, onstage in Nashville at TPAC’s Jackson Hall as holiday tour continues

With it’s lavish sets, gorgeous costumes and top-drawer cast, the 1954 film Irving Berlin’s White Christmas, which starred Danny Kaye, Bing Crosby, Vera-Ellen and Rosemary Clooney, has been a holiday tradition for…well…64 years. Moving the magic from screen to stage more than a decade ago, playwrights David Ives and Paul Blake adapted the story into an equally resplendent stage musical. The show is currently in Nashville at TPAC’s Jackson Hall through Sunday, November 18 as the national tour makes its way across the country guaranteeing audiences everywhere a glistening, gleaming, smiling, singing, happy, tapping, merry-making White Christmas.

While I wasn’t around in 1954 for the initial release of the film, an annual viewing has become somewhat of a holiday tradition since first discovering it by way of a late-night TV broadcast some forty years ago on Christmas Eve while staying up late to help my mom wrap those last few gifts. Fast forward to a few years back when the national tour of the stage musical played TPAC. I was in heaven, after all, what could be better than a glorious new musical featuring a soundtrack jam-packed with Irving Berlin tunes, lovingly based on a classic movie? Mind Blown.

So, how do you replicate the on-screen chemistry of Crosby and Kaye playing ‘odd couple’ best pals, let alone Clooney and Ellen as squabbling sisters? The simple answer, you cast Sean Montgomery, Nashville’s own Jeremy Benton (back for his fifth time with the tour), Kerry Conte and Kelly Sheehan. Montgomery smoothy fills the Crosby bill while Benton eases into the goofiness of Kaye while elevating the role with some of the most impressive dance moves I’ve ever seen onstage. As for the ladies, Sheehan’s Judy might look more like Clooney than Vera-Ellen, but her dance moves rival those of her character’s creator. At times Conte’s singing voice is blissfully similar to that of Rosemary Clooney, but there’s also times, especially in her line delivery, that she possesses a more regal intonation reminiscent the equally talented chanteuse, Peggy Lee. Just another interesting fun fact…when the film was released, Clooney was under contract with Columbia Records and was therefore prohibited from appearing on the film’s official soundtrack record album release. Instead, Decca Records brought in Lee to record vocals for the vinyl. (I warned you it’s my favorite).

Just as the film, White Christmas begins in 1944 near the action of a WWII battlefront at a drab army camp as besties Phil Davis (Benton) and Bob Wallace (Montgomery) attempt to bring holiday cheer to their fellow soldiers. Amidst the wartime setting, Benton and Montgomery perform heartwarming versions of composer Berlin’s classics, Happy Holiday and the title tune, White Christmas.

Conrad John Schuck and Karen Ziembra as General Waverly and Martha Watson in Irving Berlin’s ‘White Christmas’

As the boys wrap their battlefront performance, their gruff commanding officer, General Henry Waverly (Conrad John Schuck) emerges initially seeming to break up the fun, when in truth, he thanks them for their little Christmas show and wishes his men well with a speech about his hopes for them ten years in the future. Shuck, who now calls nearby Franklin, TN home, has enjoyed a prolific career in TV, film and on stage. Among his many memorable roles, he appeared in several Robert Altman films including M*A*S*H, played Sergeant Enright on TV’s McMillan & Wife, brought Herman Munster back to life in the 90s starring as the bolt-necked patriarch in the updated series Musters Today, played a comedic robot cop in one of my cherished childhood favorites, Holmes and Yoyo. Oh, and did I mention he costarred as Col. Wm F. Cody alongside Reba in her Broadway debut as Annie Oakley in Annie Get Your Gun? But I digress.

Ten years in the future it is, as action then fast-forwards to Christmastime1954. This finds Wallace and Davis, now a hugely successful performing duo, about to appear on The Ed Sullivan Show. The stark contrast from the show’s more somber setting to the vivid set and costumes of the reprise of Happy Holiday and the toe-tapping, mood-lifting Let Yourself Go put me in mind of Dorothy’s arrival in Oz as she emerges from the black and white emotionless Kansas to the vibrant wide-eyed extravaganza that is Munchkinland. This also reminded me of a bit of useless trivia. White Christmas, the film, wasn’t just shot in spectacular Technicolor. It was also the first Paramount Pictures movie to be released in VistaVision, a then-new wide-screen format that enhanced the projection area of standard 35-mm film. Think of it as mid-50s version of 4K.

Benton and Montgomery bring 50s technicolor to life onstage in ‘White Christmas’

That said, the musical’s scenic designer, Anna Louizos and costumer, Carrie Robbins brilliantly pay homage to the beautifully dreamlike, overly saturated full spectrum of colors presented in the original as they dip their respective pallets into nearly every color in the rainbow helping to create a living technicolor spectacular.

Colors aren’t the only thing saturating White Christmas. It’s also full of Berlin tunes, so much so that even the incidental musical will have Berlin-philes beaming as they hear bits and bars from several of the legendary composer other notable tunes. While the show is indeed tune-full, it’s also satiated with patented boy-meet-girl (with complications) saccharine plots. As mentioned above, this time we’ve got army buddies Bob Wallace (Montgomery) and Davis (Benton) and their chance/fateful meeting with Betty and Judy Haynes (Conte and Sheehan, respectively).

From the beginning there’s not just sparks, there’s fireworks as Montgomery’s Wallace and Conte’s Betty lock horns while Benton’s Davis and Sheehan’s Judy see through the resistance and set their sights on matchmaking. This leads to a clever duet between Montgomery and Conte. Clever because they’re each in their own dressing rooms, he, backstage at The Ed Sullivan Show and she, in her dressing room at a local nightspot while both contemplate the shared unpredictability of Love and the Weather (one of many Irving Berlin tunes not originally featured in the film, but added for the stage musical adaptation).

Conte and Sheehan recreate the iconic ‘Sisters’

Next up is a spot-on recreation of one of the film’s most iconic scenes, Sisters in which Sheehan and Conte, twinning in gorgeous heaven-blue dresses with matching feather fans wax lovingly on the bond of sisterhood, a bond so strong that only one thing can come between the two…when one sister attempts to even think of going after the other sister’s man. Bravo to Randy Skinner, the show’s director and choreographer, for finding the perfect balance between honoring the iconic moments like this, while breathing revived life into other segments of the show. Not gonna lie. I may or may not have teared-up during this number…and a few others throughout the show.

The Best Things Happen While You’re Dancing offers Benton and Sheehan a chance to sway lovingly across the floor. The staging of this number is beautiful as the set and ensemble disappear while Benton and Sheehan’s Phil and Judy escape their surrounding in a dreamlike stage induced by the peacefulness of dancing cheek to cheek.

Any time I talk about White Christmas—you’d be surprised how often that is—I inevitably mention my hands-down favorite moment in the film in which Phil has hoodwinked Bob into a train trip to Vermont to unknowingly join the Haynes Sisters as they perform a Christmas Eve show at an inn (which just so happens to be owned by their former General). In the film, clever cinematography transforms a table napkin, an advert and pine needles into a snow-scene all atop a table in a boxcar as the quartet ride the rails. The scene is sweet as they sing of Snow, but the whole sequence only lasts about two minutes. For the stage musical, it’s an all-in as the ensemble packs the boxcar for an expanded version of the song. It’s as if Skinner is giving me my own special holiday gift every time I see this show.

On the subject of gifts to the audience, enter Tony-winner Karen Ziembra as Martha Watson. Played by Mary Wickes in the film, Martha is The General’s right-hand-woman as she oversees the day to day running of the lodge and, at least for the holidays, helps him care for his visiting granddaughter, Susan (a role shared during the tour by Emma Grace Berardelli and Kayla Carter). Ziembra, like her film-version predecessor, lights up the stage and steals the spotlight with every snide remark, every double-take and every movement, but when she belts out the opening note of her sole solo Let Me Sing and I’m Happy…DAMN! That’s how you do it, folks. Not to be too outdone by a Tony-winner, later in the show, young Susan gets her chance at the tune, to audience-cheering results.

Act 1 ends with what is easily the moral of the show, Count Your Blessings Instead of Sheep and the optimistic and gorgeous Blue Skies.

While Act 1 contains enough punch to be a show all its own, Act 2 somehow amps up the thrill of it all as it opens with a no-holds-barred I Love a Piano. A mind-boggling number than clocks in somewhere around a full nine minutes of tap triumph featuring Benton, Sheehan and a dozen ensemble members in perfect step. And YES, on opening night of the Nashville leg of the tour, several audience members leapt to their feet for a spontaneous mid-show ovation in appreciation.

Other Act 2 highlights include a hilarious gender-bending Sisters reprise courtesy Montgomery and Benton, Sheehan’s breathy, bluesy ballad, Love You Didn’t do Right By Me that morphs into a duet with Montgomery on How Deep is the Ocean, and of course the magnificent film-tactic finale. Spoiler Alert…YES, it snows on stage!

Irving Berlin’s White Christmas continues in Music City at TPAC’s Jackson Hall with five more performances thru Sunday, November 18, with a Friday evening performance at 8p.m., Saturday matinee at 2p.m. and a Saturday evening performance at 8p.m., a Sunday matinee at 1p.m. and a final Sunday evening performance at 6:30p.m.. For more information, CLICK HERE. TPAC is offering two ticketing specials for the remainder of the run. Rush Tickets are available for $30. Simply visit the box office 90 minutes prior to curtain and inquire about availability. There’s also a special on groups of four tickets, just give the promo code JOLLY.

Following the Nashville leg of the tour, White Christmas heads to Tulsa, OK from November 20-25, Atlanta, GA from November 27-December 2, Denver, CO from December 5-15, Orlando, FL from December 18-23 and finishes out the holiday season in Miami, FL, December 20-30. CLICK HERE for ticket links to all remaining cities. To keep up with all things White Christmas, CLICK HERE or follow the tour on Facebook, Twitter and Instagram.

In addition to White Christmas, TPAC’s holidays are in full swing as they host a wide variety of Christmas-themed shows including: Broadway Princess Party, Nashville Rep’s 10th and final year of A Christmas Story, The Hip Hop Nutcracker, A Drag Queen Christmas, Nashville Ballet’s annual presentation of Nashville’s Nutcracker and Peter Pan and Tinkerbell: A Pirate Christmas. CLICK HERE for the full calendar, dates and ticketing information. Follow TPAC on Facebook, Instagram and Twitter.

As always, if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Rapid Fire 20 Q with new music duo SunKat’s Katie Cook and Adam Shoenfeld; new single ‘Hey Jo Jo’ out today

November 9, 2018 by Jonathan

SunKat’s Adam Shoenfeld and Katie Cook

When CMT’s favorite on-air personality Katie Cook and Music City in-demand guitarist Adam Shoenfeld got married last December, the union was much more than the beginning of a new life together, it was also the start of an inevitable magical musical collaboration known as SunKat. After months of writing together and beginning to play a few gigs around town, SunKat is releasing their latest single, Hey Jo Jo. The song, a tribute to Cook’s sister, Joanne, who passed away earlier this year following a lifetime of heath issues, is also a way for SunKat to give back, as they’ve designated all first-year sales from digital downloads of the single to benefit The Arc, to help fund their programs to aide individuals with Intellectual and Developmental Disabilities (IDDs).

Having known Cook, as well as her joy-filled sister, Joanne, when I heard about the project, I knew I had to chat with SunKat for the latest installment in my recurring interview feature, Rapid Fire 20 Q, but before I share that conversation, a bit about Cook and Shoenfeld.

Cook isn’t simply a TV host for Country Music Television, she’s got music in her blood as she’s also the daughter of prolific singer/songwriter Roger Cook. Among her father’s many successful songs, he co-wrote the iconic I’d Like to Teach the World to Sing that quickly not only became a peace anthem for a generation, but also one of the world’s most recognizable songs when it appeared in the now-famous Hilltop commercial spot for Coca Cola. Parental pedigree aside, before Cook landed her gig at CMT, she fronted 90s pop trio, Reno. In the years since, when not chatting it up with legends ranging from Dolly Parton and Willie Nelson to George Clooney, Cook has always dabbled in singing and songwriting.

As for Shoenfeld, while Katie was establishing herself as Music City’s go-to Red Carpet interviewer, he was busy making a name for himself as a much sought-after guitarist connecting early on with Kenny Alphin and John Rich, better known as Big and Rich, becoming a longtime member of the duo’s iconic music collaborative MuzikMafia. Over the years, Shoenfeld has played on more than 30 Billboard #1 hits. As a songwriter, he’s also had his share of successes, including SESAC’s Song of the Year as co-writer on Faith Hill’s Mississippi Girl alongside Rich. A quick look as a list of his credits reveals a who’s who of music’s most popular artists, including Luke Bryan, Dan + Shay, The cast of TV’s Nashville, Kid Rock, Martina McBride, Florida Georgia Line, Amy Grant and Tim McGraw, with whom he has toured the last several years.

Not long after their storybook December wedding last year—appropriately taking place in the heart of Downtown Nashville’s Honky Tonk district—Cook and Shoenfeld debuted their duo project, SunKat and their first single, That Was the Night. Now, as their one-year wedding anniversary approaches, their second single, Hey Jo Jo drops. What follows is my conversation with Cook and Shoenfeld about their collaboration, the single and what’s next for SunKat.

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RAPID FIRE 20 Q WITH SUNKAT’s KATIE COOK and ADAM SHOENFELD

JONATHAN H PINKERTON: How did you guys come up with the name SunKat?

KATIE COOK: It was Adam’s idea, it is a mash up of our nicknames. I have always called him Sunny and Kat is short for Katie of course!

ADAM SHOENFELD: I really just came to me out of nowhere.

JHP: When you played me an early edit of your new single, Hey Jo Jo, I picked up on a bit of a Beatles vibe. Was that intentional or simply organic?

KATIE: We used to call Joanne, “Jo Jo,” and when we sat down to write the song, the title Hey Jo Jo just popped out immediately. The title itself sounded very Beatles-y. It just kind of led us down that road automatically and we didn’t fight it. Joanne was very jolly and in her own world at times, and the whimsical St.Peppers vibe just seem to fit the lyric.

ADAM: The way I remember it was Katie actually said to me (in our morning slumber), we need to write a Beatles-esque song for Jo Jo!

JHP: What are some of your other musical influences?

KATIE: It’s all over the place really. Collectively we both love Tom Petty, Led Zeppelin and Fleetwood Mac. I grew up on 70’s country and it influences everything I do. I am also an unabashed Olivia Newton John fan; I don’t care who knows it! In the 80’s I was obsessed with Blondie, X and The Clash, but would also listen to Dolly Parton and Don Williams at the same time.

ADAM: Sooo many. My main influences are Tom Petty and The Heartbreakers, Fleetwood Mac, U2, and the Foo Fighters.

JHP: The single Hey Jo Jo is a tribute to Katie’s sister Joanne who passed away earlier this year. For those who weren’t lucky enough to know her, what do you hope to convey about Joanne by way of the song?

KATIE: The message we want to get across is that just because someone is different doesn’t mean they aren’t living the way they should. We have a habit of trying to force people with IDDs to be like us, but we can learn a lot from them and the way they see the world. Everyone is unique, and “special” isn’t bad. I was often envious of my sister’s ability to stay positive and always be in the moment. It’s like she had the real secret to life, and we need to spread that secret around the world.

ADAM: How she loved, loved everybody, without thinking there could ever be a reason not to love them.

JHP: What’s your favorite lyric in the song?

KATIE: “Don’t believe what you’ve heard, special ain’t a bad word, you see the world through magic eyes.”

ADAM: Definitely the “you see the world through magic eyes” line.

JHP: There’s also a special music video for the single, right?

KATIE: Yes, the video was directed by Sam Boyette, and we used pictures of Joanne throughout. We wanted to make it really fun and capture her spirit; it turned out great. You can find the Hey Jo Jo video on YouTube at the SunKat channel or watch below.

JHP: With Katie’s CMT gig and Adam in constant demand in the studio and on the road, how are you two finding time to form the musical duo SunKat?

KATIE: Well it isn’t easy with our schedules, but it makes us so happy that we just find the time. Sometimes the house is a mess and we haven’t seen our friends in weeks, but we have a new batch of songs to show for it. Date nights are often us in the studio working.

ADAM: We work it in when we can…..FYI, the house is always a mess.

JHP: What brought about the idea to record and perform as SunKat?

KATIE: It just naturally evolved. When two writers start dating, the writing is almost unavoidable. Initially we assumed we were just writing songs to pitch to other artists, but as when started to demo the songs, we realized that we really loved the way they sounded with us on them. Singing together felt so good, and we just decided to go for it.

ADAM: When we started dating, I was pumped to have someone I could share my music with and support her’s, it was always in the back of my mind that maybe one day we’d do it together, or that we’d at least help each other with our respective projects. That being said, the SunKat songs were not planned, they were delivered to us from some unknown entity.

JHP: What’s the most challenging aspect of creating music with your spouse?

KATIE: Maybe the fact that we hardly ever talk about anything else!

ADAM: I typically don’t worry about offending people with my opinions about music I’m working on…..I don’t ever want to upset Katie, so that’s different for me.

JHP: What’s the most rewarding facet?

KATIE: The feeling of satisfaction I get when we finish a song and I know it’s ten times better than it would have been if we wrote it solo. We bring something to each other’s ideas that we can’t get on our own. Looking into Adam’s eyes when we are singing is pretty magical…if I can stop giggling. It’s a real bonding experience, and every song is like one of our babies. I was worried that mixing love and work would strain our relationship, but it has been a strengthening.

ADAM: Getting lucky right after writing a song is pretty cool.

JHP: Where can folks purchase Hey Jo Jo?

KATIE: It can be purchased through iTunes, Amazon Music and also through our website at www.SunKatMusic.com.

Images from SunKat’s just-released ‘Hey Jo Jo’ music video

JHP: What do you think Joanne’s reaction to the song would be?

KATIE: It’s funny, but I often picture her listening to it and smiling. I can see her tapping her finger on the side of the chair and grinning from ear to ear. I think she would say “Awwww, thank you, I love it!!” Joanne was so sweet, she would probably say that even if she didn’t like it, but i truly think she would love it. I also think the fact that my father sang background vocals on it and my brother played drums, would make her very happy. She brought us together that day.

ADAM: She’d smile bigger than you’ve ever seen anyone smile.

JHP: I understand you’ve decided to release Hey Jo Jo as a benefit single?

KATIE: Yes, all sales from downloads will go directly to The Arc for Individuals with Intellectual and Developmental Disabilities. They have so many wonderful programs that support people with IDDs from birth to the end of their life. We want to help people like Joanne reach their full potential.

JHP: For those not familiar, tell me more about The Arc?

KATIE: The Arc has around 700 state and local chapters and their services range from advocacy, protection, and criminal justice (people with IDDs are more likely to be sexually assaulted) to life skills training, behavioral support and inclusion. The Arc also offers support to family members and siblings caring for an individual with an IDD.

JHP: How excited as you guys to make the official announcement about the charity aspect of the single at The Arc Conference this weekend?

KATIE: We can’t wait to tell everyone how we are using this song to help others. I think it’s what Joanne would have wanted and we want to make her proud and honor her memory. Everything about this project has felt good, and now we hope to inspire others with it.

ADAM: I’ve made a lot of music that has never seen the light of day. To put something out and know that it could possibly help a lot of people is an amazing feeling.

JHP: For those not attending the conference, when and where will SunKat be performing next?

KATIE: We have a couple upcoming shows in Nashville! On December 8th we’ll be at The High Watt opening for Gracie’s Walk of Shame. It is a free show but we are taking donations for Agape Animal Rescue. Doors open at 7 pm and music starts at 7:30pm.

Then, on January 12th at The Basement, we’re doing a show with Lost Hollow, who are absolutely incredible! Music starting at 7pm.

JHP: Are you guys currently writing more material or recording?

KATIE: We are always writing and recording. We actually have a studio in our house, so there is no escaping it!

ADAM: We are “all in”

JHP: When can we expect a full album from SunKat?

KATIE: We have a full album’s worth of material now, but we are trying to decide if we should release one song at a time. Maybe we should take a poll and see what people would want!

ADAM: What’s an album? LOL It’s like we’re back in the 50’s. It’s a singles world. Target and Walmart don’t even pay labels upfront for CD’s anymore. Seriously though, I think we both hope to bundle a bunch of our releases together real soon and make one of those ancient things.

JHP: If SunKat could achieve everything you hope for as a collaboration between the two of you, what would be just one of those goals?

KATIE: To be able to support ourselves just being creative is probably what every artists wants. That is the dream. Of course, we both happen to LOVE our day jobs, so honestly, life is pretty perfect already.

ADAM: When we did our first show, the club was packed. If we can do that here and there, at the very least, that would be awesome, but we’ll take arenas if anyone will have us.

JHP: How can folks keep up with what’s next for SunKat?

ADAM:They can go to our website or our Facebook page and sign up for our mailing list!

KATIE: We’re also on Twitter and Instagram.

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Interview: Rapid Fire Q&A with ‘The Phantom of the Opera’ stars Quentin Oliver Lee and Eva Tavares as National Tour celebrates 2000th performance Saturday night in Nashville at TPAC

November 3, 2018 by Jonathan

Quentin Oliver Lee and Eva Tavares as The Phantom and Christine in “The Phantom of the Opera” (photo by Matthew Murphy)

With more than thirty years history on Broadway alone, Sir Andrew Lloyd Webber’s The Phantom of the Opera has racked up some pretty impressive accolades, so it would stand to reason that the current US Tour, having began November 27, 2013, and presently playing Nashville at TPAC’s Jackson Hall, would also hit a few celebratory marks along the way. One such milestone, the touring company’s 2000th performance will take place Saturday night, November 3rd.

While the current leads, Quentin Oliver Lee and Eva Tavares may not have been there when the current tour produced by Cameron Mackintosh began in 2013—both having joined the tour in 2017, they do indeed have something to celebrate as they’ve taken two of musical theatre’s most iconic role, The Phantom and Christine, the object of his obsession, and made them their own. Earlier this week, as they were in midst of their two-week Music City engagement, I had the opportunity to chat with each of the two stars for the latest in my recurring interview feature, Rapid Fire Q&A.

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RAPID FIRE WITH QUENTIN OLIVER LEE, THE PHANTOM IN THE PHANTOM OF THE OPERA

JHP: The Phantom is easily one of the most recognizable characters in musical theatre history. What’s it like getting to perform the role in the current national tour?

QUENTIN OLIVER LEE: It’s like being shot out of a cannon! Seriously though, it’s very humbling, very gratifying and I’m constantly taken aback and the love and support from the Phans, creatives and my fellow cast mates.

JHP: Do you remember when you first became aware of the musical itself?

QUENTIN OLIVER LEE: I saw the movie in my high school choir class a week before we performed Masquerade for our 2004 fall concert.

JHP: So many elements of The Phantom are iconic…the wardrobe, the mask, the music, even the briefly seen make-up beneath the mask. Each night as you transform into The Phantom, is there a certain point you ‘feel’ you become him?

QUENTIN OLIVER LEE: It’s important for the health and sanity of myself and everyone in the cast to be able to switch between being Quentin and being the Phantom. So generally I’m Quentin all the way until just a few minutes before going on stage. At that point I go through a number of brief questions and exercises to help get me in the mind of the Phantom.

JHP: You’ve already mentioned the Phans, which leads perfectly to my next question…from what I know Phans (the name by which legions of Phantom’s adoring fans are referred) can be pretty intense. What’s one of the more memorable things you’ve witnessed from Phan’s so far?

QUENTIN OLIVER LEE: I get a chance to meet a lot of little Phantoms and Christines which is always very enjoyable, but the most memorable is probably when I meet miss Sharon West and her book of 100 Phantoms – signing her book with Michael Crawford, Colm Wilkinson, Hal Prince and so many others was tremendous. . It was just really cool to meet a super Phan and hear her story and what had brought her to the show 100+ times.

JHP: Your Christine is played by Eva Tavares. What’s it like working with her as a leading lady?

QUENTIN OLIVER LEE: Eva Tavares is wonderful, she portrays Christine with a fire and passion that really helps bring energy to everyone else on stage.

Quentin Oliver Lee and Eva Tavares as The Phantom and Christine (photo by Matthew Murphy)

RAPID FIRE WITH EVA TAVARES, CHRISTINE IN THE PHANTOM OF THE OPERA

JHP: Your bio indicates that playing Christine is a lifelong dream. What do you remember about the first time you saw Phantom?

EVA TAVARES: I was ten years old and I was watching the tour at the Queen Elizabeth Theatre in Vancouver, BC. I was blown away. I walked out of that theatre and turned to my mom and said, “Mom, I want to do that.” Full circle moment: my first city on this tour was Vancouver, BC and I performed in the same theatre I originally saw it in when I was ten!

JHP: What’s your favorite aspect of playing Christine?

EVA TAVARES: I like being able to play someone who goes through such a journey of growth. She really becomes a woman through the course of the show. She finds her strength and her independence and confronts many challenges, both physical and emotional. That is such an amazing kind of character to jump into every night. Truly a gift.

JHP: Nearly as iconic as The Phantom’s mask are Christine’s gorgeous costumes designed by the late Maria Björnson, who won two Tony Awards for her work on Phantom. What’s it like representing her legacy by donning these gowns night after night?

EVA TAVARES: Oh my GOODNESS. Seriously a girl’s dream. My favorite is most definitely the blue dress in act II. I mean, being in corsets every day isn’t a walk in the park, but WOW they are stunning!

JHP: In addition to Quintin as The Phantom, your Christine is also paired with Jordan Craig as Raoul. What are these two like as leading men?

EVA TAVARES: They are truly amazing humans. Being stage partners means creating a bond and relationship that requires work and communication. These guys show up for it in a big way. We have really gotten to a point where I trust these guys implicitly. We also are really good friends and they are two of the people I know I can go to when I am having a rough day. I am very grateful for their humor, their talents and their support.

JHP: Near play’s end, Christine makes her choice between The Phantom and Raoul. Does she make the right choice?

EVA TAVARES: My interpretation of the end is that she doesn’t exactly make a choice. She cares about the Phantom and she wants to help him, but she realizes that he has to discover the change he needs within himself, BY himself. Not to mention the fact that he is a danger to himself and others. She leaves the lair with Raoul because she was in physical danger and he was her way out. Raoul hasn’t been the most supportive overall, if we really look at the facts; her trust in him has definitely been betrayed over the course of the show. If I had my way, she wouldn’t make a choice for team Raoul or for team Phantom. She would make the choice for team Christine.

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Whether you’re a Phan, a member of #TeamChristine, or just enjoy a night of magnificent music, opulent sets, breathtakingly beautiful costumes and stunning performances by talented lead actors and their equally impressive cast and orchestra, The Phantom of the Opera is for you.

The Phantom of the Opera continues at TPAC’s Jackson Hall with performances Saturday, November 3 at 2p.m. and 8p.m.* and Sunday, November 4 at 1p.m. and 6:30p.m. Tickets range in price from $55 to $105. Earlier this week, TPAC announced the limited availability of special $40 rush tickets to each remaining performance. To take advantage of that, show up 90 minutes prior to showtime and inquire at the box office. CLICK HERE for tickets or more information. *In honor of the company celebrating their landmark 2000th performance, TPAC has announced a special one-night-only ticket special. CLICK HERE and use the promo code “PHANTOM2000” to receive $20 off your ticket price for the Saturday, November 3 8p.m. performance.

Not in Nashville, but hoping to see Phantom on tour? Following its Music City engagement, Phantom continues through Fall of 2019 with performances in Houston, November 7-18, Omaha, November 21-December 2, San Antonio, December 7-17, Dallas, December 18-January 6, Oklahoma City, January 9-20, Detroit, January 24-February 3, Kalamazoo, February 6-17, Pittsburgh, February 20-March 3, Milwaukee, March 6-17, Providence, March 21-31, Cleveland, April 3-20, Schenectady, April 24-May 5, Los Angeles, June 6-July 7, Costa Mesa, July 10-21 and Honolulu, August 7-September 1. CLICK HERE for tickets. Follow Phantom on Tour at the show’s official site HERE, on Facebook, Instagram and Twitter.

Next up at TPAC, the national tour of Irving Berlin’s White Christmas returns to the stage. CLICK HERE for tickets or more information. You can also discover all the latest from TPAC by checking them out online or on Facebook, Instagram and Twitter.

Review: Three decades later, ‘The Phantom of the Opera’ still mesmerizing audiences as latest national tour plays TPAC thru November 4

November 2, 2018 by Jonathan

Quentin Oliver Lee and Eva Tavares starring in “The Phantom of The Opera” (photo by Matthew Murphy)

When I attended opening weekend of the Nashville leg of the current national tour of The Phantom of the Opera at TPAC’s Jackson Hall, it marked the half-dozen mark for me, having originally seen the show nearly thirty years ago during its original Broadway run, as well as a handful of touring productions over the years, including at least two previous tours in the very theatre in which I sat last week. In spite of my familiarity with the story, and dare I say it, my own phandom, even before the drapery fell to reveal THAT chandelier, something was different—special even—about this show. Perhaps it was because my companion for the evening, in spite of growing up with a father who worked in New York’s theatre district, had never seen the show. That’s right, a Phantom virgin.

As we settled into our seats and the all-too-familiar prelude began to swell from the orchestra pit, I found myself surprisingly being overcome with chills. At first waving it off to me admittedly being a bit neurotic and simply loving the art of live theatre, I soon realized it was much more than that. Here I was, sitting in a near-sold-out theatre about to watch a show I’d seen time and time again, a show I knew was somewhat weak on book and character development, but a show that is simply gorgeous. Gorgeous in fantasy-inducing score, gorgeous in breathtakingly iconic costume, gorgeous in opulent set design, and thanks to Quentin Oliver Lee, Eva Tavares, Jordan Craig et al, gorgeous in breathing new life into characters as recognizable and beloved as any to have ever grace the theatrical stage.

While the beginning of the musical sets up the story, we still have to wait three scenes in before the action truly starts when the Phantom first appears…and yes, even after seeing it as many times as I have, I sill gasp a little when he first shows up.From his first appearance, Lee’s Phantom is menacing, commanding and powerful, his voice in fine condition to assume the titular role. From a physical standpoint, he’s also perfect for the role, towering above most of the cast. When he solos on Music of the Night, it is indeed enchanting.

While Richard Stilgoe and Sir Andrew Lloyd Webber have endured three decades of critics lamenting the lack of a believable story, character development and reasoning behind the tale of a masked man who lurks in the shadows of a Parisian Opera House in the early 20th century, Webber certainly knew what he was doing when he composed the accompanying score with lyrical help from Charles Hart, for it’s the show’s soundtrack that outshines even the regal opera house setting.

To that end, more gooseflesh moments occur when Lee’s Phantom is joined onstage by his Christine, Eva Tavares. Diminutive in stature, raven-haired, porcelain-skinned, Tavares is the polar opposite to her Phantom. While this could easily detract from their shared scenes, instead, it enhances the idea of why she would fall under his spell, for you have to admit, as un-PC as it is to say, a woman of her slight physical presence would have no choice but to succumb to the Phantom’s domineering ways. Here’s the thing though, what Tavares’ Christine lacks in assertive physicality, she more than makes up for in voice. Whether duetting with Emily Ramirez’s Meg near the top of the show with Angel of Music, with Lee on the show’s majestic title tune, or solo in Act 2’s hauntingly beautiful Wishing You Were Somehow Here Again, Tavares IS Christine, as beautiful as she is talented. No wonder the Phantom would be obsessed.

With a cast and orchestra totaling more than 50 company members, there’s plenty of stand-out performers. Among them, the aforementioned Craig as Raoul. Possessing perhaps the most skilled voice in the company, the night I saw him, he was perfection. It should be noted that the playbill indicates that Herb Porter and Constantine Pappas also step into the role during certain performances.

Having recently seen the national tour of Love Never Dies, at TPAC just a few months ago, I had forgotten that Madame Giry is actually likable in the original story, considering the character is a bit of a baddie in the redo. Kristie Dale Sanders is delightful as Madame Giry in this production of Phantom, especially in one of the show’s rare comedic moments in which she and several members of the Opera House’s staff have been receiving notes from the Phantom.

Also turning in fine comedic performances are David Benoit and Rob Lindley as Monsieurs Firmin and Andre, the opera house’s business associates and Trista Moldovan as Carlotta Giudicelli, the opera diva Christine is about to replace if the Phantom has any say in the matter.

Speaking of, perhaps realizing the story is less-than-believable, this current incarnation seems to have added a bit more humor. A welcomed change indeed.

Billed as producer Cameron Mackintosh’s New Production, there are other differences between this and previous incarnations. The slowly revolving tower that ascends to the Phantom’s underground lair is spell-binding. When the stairs seemingly magically appear from the flat surface of the tower as the Phantom descends them, accompanied by lighting designer Paule Constable’s perfectly-timed lighting effects illuminating each emerging step, I couldn’t help but feel anxious at the thought of a technical glitch. On the subject of the lighting, throughout the show, I found my eye wandering from the actors to their shadows cast along the walls of the set, adding yet another spooky layer to the story.

Perhaps my favorite change from the original version is the top of Act 2 with Masquerade. While the grand staircase from the original was indeed a powerful visual, the newly added mirrored ceiling piece that allows the audience a true bird’s eye view of the ballroom choreography is quite enjoyable.

Thirty years after its Broadway debut, The Phantom of the Opera— story missteps aside–is still as majestic and hypnotic a spectacle as ever.

The Phantom of the Opera continues at TPAC’s Jackson Hall with performances Friday, November 2 at 8p.m., Saturday, November 3 at 2p.m. and 8p.m. and Sunday, November 4 at 1p.m. and 6:30p.m. Tickets range in price from $55 to $105. Earlier this week, TPAC announced the limited availability of special $40 rush tickets to each remaining performance. To take advantage of that, show up 90 minutes prior to showtime and inquire at the box office. CLICK HERE for tickets or more information.

Not in Nashville, but hoping to see Phantom on tour? Following its Music City engagement, Phantom continues through Fall of 2019 with performances in Houston, November 7-18, Omaha, November 21-December 2, San Antonio, December 7-17, Dallas, December 18-January 6, Oklahoma City, January 9-20, Detroit, January 24-February 3, Kalamazoo, February 6-17, Pittsburgh, February 20-March 3, Milwaukee, March 6-17, Providence, March 21-31, Cleveland, April 3-20, Schenectady, April 24-May 5, Los Angeles, June 6-July 7, Costa Mesa, July 10-21 and Honolulu, August 7-September 1. CLICK HERE for tickets. Follow Phantom on Tour at the show’s official site HERE, on Facebook, Instagram and Twitter.