JHP Entertainment

Entertainment News, Reviews and Interviews

Archives for October 2019

RAPID FIRE Q&A with singer/songwriter Crystal Bowersox; starring in ‘Trauma Queen’, presented by Studio Tenn at historic Franklin Theatre

by

At 7p.m. on Saturday, October 26, former American Idol season 9 favorite, singer/songwriter Chrystal Bowersox, who now calls Nashville home, will star in Trauma Queen a new musical theatre piece presented by Studio Tenn at The Franklin Theatre, just off the square in downtown Franklin, TN.

 Bowersox broke the Idol mold when she appeared on the original run of the wildly popular reality competition series porting dreads and tattoos instead of the typical teen pop look of many of her fellow Idol hopefuls. Finishing her Idol season as the runner-up, Bowersox is still marching and singing to her own beat and Trauma Queen proves it as she invites Saturday night’s audience to join her for an original night of theatre. Trauma Queen is indeed an original night of theatre in every sense of the term as she combines everything from a predominately one-woman-show and a concert along with heavy doses of musical theatre and even a touch of single-mom real talk.

Earlier this week, as Bowersox was preparing for this weekend’s show, I had the opportunity to pose a few questions to her for the latest in my recurring interview feature, Rapid Fire.

———————————————

RAPD FIRE Q&A WITH CRYSTAL BOWERSOX

 JHP: Having worked on Idol myself during the first two original seasons, I know a little about the behind-the-scenes. As a former Idol contestant, what do you look back at with fondness?

CRYSTAL BOWERSOX: Well, you know it’s a crazy ride, then!! Thanks for taking the time to do this interview. A lot of it was and still is a blur to me – it was a trying time in my personal life having just had a baby a few months prior to the audition. I struggled to find quality child care for my son during the process and my mind was way more focused on the well being of my child than on my participation in the competition. That dynamic made it difficult for me to just sit back and enjoy the trajectory our life was on. I was simultaneously struggling to afford my insulin and healthcare costs pertaining to my Type 1 Diabetes, but things got easier once I advanced past the top 10 stage of the competition. I fondly remember the moments on set with the crew and contestants – the jokes and conversations had with vocal coaches, hair and make-up personnel – visits from the well known celebrities and their families in the green rooms after show tapings – experiencing Los Angeles restaurants with a little bit of status – all of these things were new and incredibly unfamiliar to me having grown up poor on a farm in the midwest. It was all very strange and wonderful at the same time. I am especially grateful for the stability the show brought to the life of my son and I.

JHP: Alright, just gotta ask…what’s your oddest Idol memory?

CRYSTAL BOWERSOX: Ha! There were so many odd moments. One that was televised was right after a live performance of the song, People Get Ready. I had cried at the end of the song because I’d spotted my father in the audience wearing sunglasses (he only wears them indoors if he knows he’s going to cry). I was overwhelmed with gratitude in that moment for everything that was happening, for how far I’d come in just a few months. I went from crashing on my dad’s couch, basically homeless with a baby, to being carted around by drivers and covered in expensive clothes and make-up on prime time television. When Ryan Seacrest came over to talk to me after the performance, I saw a handkerchief peeking out of his breast pocket. I grabbed for it to dry my eyes, but it wouldn’t budge. So I pulled harder and when it ripped out of his pocket, I realized that it was only the corner of an actual handkerchief, just taped into place. I still have it. Laughing through tears, I said, “Ugh…. Hollywood!!” Nothing is quite as it seems there.

JHP: Oh, wow. I totally remember watching that. What was the genesis of Trauma Queen as a stage show?

CRYSTAL BOWERSOX: It’s been nearly 10 years since my time on American Idol. A LOT has happened in my personal and professional life since then. About 2 years ago, my mother lost her home to a devastating fire. The farm house that I grew up in burned to the foundation. It was a rough upbringing. I didn’t have a lot of fond memories in the house. So there were a lot of feelings to sort through with the loss of it, and emotions that I hadn’t yet sorted through regarding my past relationships, traumatic life experiences and issues with addiction. What better way to sort through them all of them but by creating a piece of art? My music has always existed that way – My pain put into words and music has been healing for not only myself, but also for my audiences. I wanted to continue that effort in a new, unique way.

JHP: I understand you’ve collaborated with two-time Pulitzer Prize nominee and Peabody winner, Willy Holtzman and singer/songwriter/producer Marty Dodson (who’s penned songs recorded by everyone from Plain White T’s to George Strait) on this project. How did you guys meet and come to work together?

CRYSTAL BOWERSOX: Willy Holtzman is an amazing human being. One of my absolute favorites. I’m so honored to work with him, and with Marty Dodson, who writes incredible songs for many well known artists. I met both Willy and Marty in New York City. I was reading for a part in another musical that they were both working on. Willy approached me one day and said, “I’m pretty sure your wikipedia page doesn’t do your story justice. Let’s write it out.” I resisted the idea at first – there were parts of my personal story that I wasn’t very proud of. The thought of putting it all out there was terrifying. As we went through the process of writing the script (which took about a year) Willy helped me realize that by talking openly about my mistakes, missteps and triumphs I could liberate myself from any guilt or shame I held. He convinced me that by sharing my story, I could possibly help others heal and do the same. I’m grateful he kept pushing me out of my miserably comfortable zone. Ha!

JHP: How did you get connected with Studio Tenn to collaborate on Trauma Queen?

CRYSTAL BOWERSOX: The first mention to me of Studio Tenn was from Bob and Merle Higdon, just about a year before I actually connected with Studio Tenn. Bob and Merle had mentioned to me then that Melinda Doolittle worked with Studio Tenn frequently and suggested she and I connect. When Willy Holtzman and I finished our script, he reached out to Benji Kern who he had worked with years prior and suggested we all work together on our new show Trauma Queen. Studio Tenn has been trying to reach me through the cosmos for a while! I feel as though it has been the intention of the universe for quite some time that we should all come to know one other.

JHP: As you mentioned, my pal Benji Kern, Studio Tenn’s interim artistic director is producing. How has it been working with him on this project?

CRYSTAL BOWERSOX: Oh my goodness, I LOVE working with Benji. He is a man of big, wonderful ideas, and has the determination to bring them to fruition. He has been so inspiring to watch and learn from. I admire his talent and work ethic. He’s not the kind of person who sits and simply wonders, “It would be cool if this happened”. He makes it happen! Benji is my spirit animal.

JHP: Gotta admit, Trauma Queen is indeed an intriguing show title. Was it immediately the title, or were there other contenders?

CRYSTAL BOWERSOX: Initially, the title, Trauma Queen was a little ha-ha joke of an idea. But I spent a lot of time with it and the phrase developed into a much deeper title in my heart. Women (and men, especially) are often told not to be so dramatic… We are taught from a young age to harden the emotional parts of ourselves – that our feelings should be squelched and minimized so as to not ruffle any feathers and make others around us more comfortable. I do not agree with this. I believe that the practice of hiding parts of our hearts does more damage than good. I prefer to be open and honest with my feelings. A Trauma Queen is defined in my opinion as a woman, a person, who has the courage to truly conquer their demons. Someone who has learned from their mistakes and chooses to rule over them like battle scars, replacing shame and guilt with a sense of accomplishment and pride, rather then letting negativity take control of their psyche – which will cause all sorts of other disfunction in life. A Trauma Queen is anyone who has been to hell and back emotionally but decides to rise like a phoenix from the ash of their past.

JHP: What can audiences expect from Trauma Queen?

CRYSTAL BOWERSOX: Bring your Hollywood hankies! We’ve been calling this a “Theatrical Rock Concert” rather than a musical, because the majority of songs included in the show are ones that I’ve released previously on past albums. Some of the songs are brand new and help support the characters and stories. I explain the genesis of each song as if I’m in that moment of my life, in real time. Actors play out the different characters in each story, as the music plays on. We shine a spotlight on the generational cycle of abuse and disfunction in families, with the triumphant realization that history doesn’t have to be repeated. There will be tears; however, there will be a lot of laughs, too. I’ve managed to cope with my past through a lens of humor despite the darkness of some of the stories.

JHP: One of the aspects of your life you touch on in Trauma Queen is being a single mom. Has that experience affect you in regard to presenting your authentic self as a performer?

CRYSTAL BOWERSOX: I haven’t spoken publicly about my son’s father. Trauma Queen will change that. I’ve written songs about the loneliness of it all, for myself and from my son’s perspective, but have never really touched on any of the details surrounding that chapter in our lives. American Idol was adamant that I not publicly share that story as it didn’t fall in line with the “America’s Sweetheart” persona. There is such a stigma surrounding the phrase, “Single Mother”. I am determined to change someone’s mind about it. I didn’t want to be a single mom. That was my son’s father’s choice. I knew it would be the most difficult road to travel. While that remains true, I am so grateful that my life has played out this way. Every ounce of strength I’ve ever had has come from my love and devotion to my son, and from my determination to give him a better life than I ever had before him. He will never have to question how loved he is. I try to teach him that living authentically and honestly is important, and that you absolutely can make a living doing something you’re passionate about every day of your life if you’re determined to work hard and make it a reality.

JHP: Following this weekend’s presentation of Trauma Queen, what’s next for you…and the show?

CRYSTAL BOWERSOX: I can’t predict the future, but my hope is that people will have been inspired by it enough that interest will grow in the production, and the show will be able travel to different cities and theaters. After the show this weekend, I will be launching a KickStarter crowd sourcing campaign to hopefully fund my next independent album release. The record will include a few of the songs from Trauma Queen. I’ll continue to tour in November and release the new record sometime in the spring of 2020.

And I think I’ll finally be due for a real vacation with my boy. I haven’t taken a single one in ten years. Yeah, I think it’s time. He and I deserve it.

———————————————

Crystal Bowersox’s Trauma Queen will be presented by Studio Tenn at 7p.m. Saturday, October 26 at The Franklin Theatre (419 Main Street, Franklin, TN). At the time of this interview, a select number of tickets remain. CLICK HERE to purchase tickets. To keep up with the latest from Crystal, CLICK HERE or follow her on Facebook, Instagram, YouTube and Twitter.

Up next at Studio Tenn is Rodgers and Hammerstein’s Cinderella on stage at Jamison Hall at The Factory at Franklin from December 6-29. CLICK HERE  for tickets or more information. You can always check out Studio Tenn online at StudioTenn.com or follow their socials at Facebook, Instagram and Twitter.

Wanna check out previous Rapid Fire conversations? CLICK HERE. 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: Act 1’s World Premiere ’The Nightmarium Incident’ a fun start the the Halloween season

by

 A genuine life-long fan of spooky stories and horror movies,—seriously, Barnabas Collins, The Bell Witch and Michael Myers are among my favorite childhood memories. So when I heard Act 1 was presenting an original tale or terror, The Nighmarium Incident, written and directed by Eric Butler as a pre-Halloween offering at Darkhorse Theatre, I was all in.

Stage manager Katie Veglio, lighting designer Kristen Dubois and sound designer Kaitlin Barnett have created a ghoulishly perfect 1980s-era set that immediately put me in mind of Frankenstein’s lab, or, perhaps more accurately, the set of Sir Cecil Creep’s Creature Feature, a weekly Saturday night horror movie presentation—a Nashville television staple from my youth.

As the Nightmarium commences we are introduced to Maureen Henson (Natalie Stone) hosting W-KIL—gotta love those morbid call letters—Channel 9’s schlocky Friday night horror presentation, The Nightmarium Creature Double Feature as Mistress Twilight. It is quickly revealed that Maureen is simply biding her time as the Elvira wannabe while she patiently waits a more serious gig as co-anchor of the station’s evening news. Stone plays the duality of Maureen/Mistress Twilight with ease, vamping it up as the cheeky horror hostess, while alternately exploring Maureen’s career-driven seriousness.

As Mistress Twilight, Stone’s Maureen is surrounded by a perfectly stereotypical cast of characters including Jarvis Bynum as Maureen’s husband Wesley, who appears on the show-within-a-show as Papa Moreaux, a voodoo priest. Bynum, too manages to differentiate between the two characters he plays, presenting Wesley a devoted husband to Maureen, then switching gears to portray the creepy Papa Moreaux.

There’s also Beth Henderson as Dale, Channel 9’s mild-mannered weatherman who doubles on the horror fest as Dr. Solomon Wretch. In part because Henderson is playing Dale, which, given the unisex nature of the character’s name, could be a man or a woman, she’s a scene-stealer from the start. Whether the playwright originally envisioned Dale as a man or not is unclear, especially considering the inclusion of more than a few punchlines aimed directly at Dale’s masculinity. Nonetheless, Dale ends up being one of the best parts of the show thanks to Henderson’s comedic timing and her ability to deliver her lines with conviction, in spite of the silliness of the show.

Henderson, Stone and Bynum of Act 1’s “The Nightmarium Incident”

While they spend the majority of the play hidden behind two Voodoo hand-puppets, Tori Simpson and Elizabeth Turner provide the show with many laughs throughout.

TJ Koomen is featured as the TV show’s technical director, Sam, offering up equal parts Alan Brady and Rob Petrie as the harried director who also has a bit of a soft side for his colleague Maureen.

Steven Kraski is perfectly weird as Luke the station’s custodian who dreams of making the leap from waaaay behind the scenes to front and center as one of the horror show’s cast members. He plays the creep factor so well in fact, I wasn’t convinced till the very end that all the trouble wasn’t simply Luke’s elaborate audition gone awry.

Stealing every single scene he’s in is Joseph Hudson as The Nightmarium’s cameraman, Joe. Hudson’s Joe is the good ole boy to end all good ole boys. Having grown up i a relatively small country town just west of Nashville, I definitely know the type and Hudson has it down to a science, rising above the predictable to riotous results.

Rounding out the show-within-a-show cast are Emmanuelle Loyer as Floor Manager Rhonda, Alyssa Borg as Sherri Peterson, the stations new seemingly vapid anchorwoman, Maureen’s main obstacle in her pursuit of being an news anchor and Matt Smith as Bill Haig, the station’s star anchor. Smith, always a joy to watch onstage, is another reason this show works. Dressed in wardrobe courtesy costumer Brooklyn Hughes reminiscent The Mary Tyler Moore Show’s self-important anchor, Ted Baxter, as played by Ted Knight or Will Ferrell’s Anchorman, Ron Burgundy—with an ego and toupee to match, Smith elicits laughter simply by standing there.

While the plot gets as murky as The Munsters’ moat…the infighting and interpersonal relationships between Maureen, her horror show co-stars and crew and her rivals at the news desk…plus the real plot of The Nightmarium Incident, when an accidental incantation brings murder and mayhem to the station…all in all, The Nightmarium Incident provides more than enough laughs, and a few frights, the perfect precursor to Halloween. With only an all-too-brief two-week run, here’s hoping Music City gets another chance to visit W-KIL and The Nightmarium Incident next season.

Act 1’s The Nightmarium Incident concludes its run with one final show Saturday, November 19 at 7:30p.m. CLICK HERE to purchase tickets in advance for $15, or purchase them at the door for $18.

Up next at Act 1 is playwright Lisa Loomer’s Distracted directed by Elizabeth Hayes, on stage November 15-17 and 21-23. CLICK HERE for more information.

To keep up with Act 1, follow them on Facebook, Instagram and Twitter.

Theatre Review: ‘Once on This Island’ National Tour kicks off in Nashville showering Music City with talent and excitement

by



Kyle Ramar Freeman as ‘Asaka’ and Courtnee Carter as ‘Ti Moune’ in the North American Tour of “Once on This Island”. All photo by Joan Marcus

Earlier this week Music City finally began the transition from an unusually long, hot summer to the much-awaited chill of autumn, with even a promise of rain. As if designed by the gods themselves, those elements also seem to be present inside TPAC’s Jackson Hall as Nashville plays host to the premiere performances of the first-ever National Tour of Broadway’s Once on this Island.

Initially taking Broadway by storm (pun fully intended) when it debuted in 1990, Once on This Island tells the tropical island tale of a young girl who sacrifices her very soul to save the life of the boy she feels it is her destiny to meet, protect and love. Based on Rosa Guys’ 1985 novel, My Love, My Love: Or, The Peasant Girl, the story itself is a modern retelling of Hans Christian Andersen’s The Little Mermaid. That said, if you’re expecting a happy-go-lucky mermaid flippin’ her fin with Flounder and friends, you’re thinking the wrong mermaid tale, for Guys’ novel and this theatrical interpretation, in particular, share more in common with the original fairytale than that of the House of Mouse.

Instead, Once on This Island delivers a thought-provoking look at love, lust, dreams, faith and magic while skillfully simultaneously examining the realities of racism, classism and even colorism on a remote Caribbean Island.

Even before the action of the play actually begins, theatre patrons who arrive early are immediately swept away to a tropical oasis. Rather than a lowered curtain obscuring the stage, Once on This Island invites the audience to preview what’s to come by having the set in full view upon entry to the theatre. As cast members buzz about on stage, it seems evident all is not postcard-perfect on the island. Instead, we see islanders picking through trash strewn along the sand—yes, the stage is covered in a fine layer of sand, just one of the actual natural elements that play such a large part in the play. It soon becomes clear that we are witness to the aftermath of a tropical storm, perhaps also a bit of foreshadowing of the eye of the storm at the heart of the piece. 

Further immersing the audience into the mix, a handful of lucky patrons find their seats amongst chairs and risers on the stage itself. This particular aspect of the tour is done to attempt to replicate the show’s recent Broadway revival at Circle in the Square, one of only two Broadway theatres that utilizes a stage that is surrounded on three sides by audience seating.

Directed by Tony-nominated Michael Arden (Spring Awakening), with book and lyrics by Lynn Ahrens and music by Stephen Flaherty (Original Score Tony-winners for Ragtime), with Dane Laffrey’s authentic set design, costumer Clint Ramos’ inventive and colorful wardrobe and a company of accomplished and talented actors, Once on This Island presents a storm-wrecked island complete with ramshackle dwellings, displaced belongings and all, but also present, an obviously tight-knit community, a community of survivors. A community of love and hope for rebuilding the future and surviving the next storm. Heck, in the opening number We Dance reinforces the islander’s optimism when, as they  pick through the wreckage, they proudly sing, “We are dancing just to stay alive”.

Mimi Crossland and Courtnee Carter surrounded by cast members of “Once on This Island”

As the story begins, locals find a young girl alone and frightened the morning after a storm. Young actors Mimi Crossland and Mariama Diop share the role of the Little Girl, alternating performances. On opening night Crossland was seen in the role and she was delightfully charming.

With perhaps a wink to the Hans Cristian Andersen original mermaid lore, the young girl is initially thought to be unable to speak, but that proves to be a falsity as she gleefully joins the islanders as they tell her the tale of Ti Moune, a beautiful dark-skinned orphan girl raised by a poor but loving couple, Tonton Julian (Tony winner, Phillip Boykin) and Mama Euralie (Danielle Lee Greaves). These two present their characters with a lovely balance of guidance and understanding and immeasurable vocal skills, setting the pace for the entire show with powerful, emotional performances.

As the storytellers tell the Little Girl the story, the action transitions to a grown up Ti Moune (Courtnee Carter) as she rescues Daniel Beauhomme(Tyler Hardwick)…and yes, the character’s last name literally translates from the French as ‘beautiful man. Ti Moune meets Daniel, a light-skinned wealthy young man of both French and Caribbean descent who crashes his car on the “wrong side of the island”. Feeling it’s her true destiny, she leaves her family to journey to the other side of the island to return him to his home and nurse him back to health. Some time later, he lapses into a coma and here’s where the story veers a bit from the mermaid source material. Instead of our heroine making a deal with a sea witch in exchange for her beautiful voice, Ti Moune makes a deal with Papa Ge, the Demon God of death (played by former American Idol favorite, Tamyra Gray) to trade her life for her beloved’s. That plot twist, and its subsequent effects bring a bit of Romeo and Juliet vibe to the piece.

Gray’s Papa Ge isn’t the only god involved in the story. There’s also Erzulie, the Goddess of Love, played by Cassondra James; Jahmaul Bakare’s Agwe, the God of Water and Asaka, Mother Earth as presented by Kyle Ramar Freeman. As their character names and casting might infer, Gods, Goddesses and Demons aren’t restrained by antiquated ideals of gender norms, but rather representational of a fluidity mere mortals are finally just beginning to understand. Case in point, when the original production of Once on This Island debuted on Broadway in 1990, Papa Ge was played by a male actor. Since it’s revival, the role has been played by female actors. Meanwhile, the reverse is true for Asaka. Initially the role was portrayed by a female, but since the revival, it’s been less gender specific. Just another lesson to be learned during your visit on the island.

While the story itself is often-times familiar, both in the Little Mermaid sense, and the age-old young girl sacrificing everything for a man sense, it’s the vibrancy of the music, paired with Camille A. Brown’s energetic and emotional choreography and the powerhouse performances of the entire cast that, much like the gods who are represented, breath fire, life and air into the piece.

Carter is blissfully perfect as Ti Moune. With a voice fitting the oft-referenced mermaid, regardless of your views of perpetuated stereotype of the woman sacrificing all for the man she loves, Carter’s performance is excellently layered and heartfelt. The highpoint of her performance, and dare I say, the entire play, Ti Moune’s Dance, during which she boldly arrives to a proper cotillion dressed in a flowing island dress in her character’s signature red and performs an unabashedly passionate dance of her native culture, at once shocking and enthralling her more refined critics and onlookers, who by no coincidence of the show’s costumer, are dressed in regal, yet blandly off-white finery. I can’t be the only one who was reminded of Bette Davis’ red dress moment in the classic film Jezebel during this breathtaking scene.

Members of the company of “Once on This Island”

The Gods of Once on This Island also shine in their individual ways. Gray presents Papa Ge with a strength and presences to be reckoned with. Powerful yet perfectly sinister, her rich vocals are the stuff of which fear is made. Shoot, even her costume is partially fashioned from what appears to be caution tape, a literal warning of things to come. Bakare, aided by a Triton-esque beard fashioned from shredded fabric portrays the gentleness of the water with an ever-present ability to literally turn the tide at any moment. James’ Erzulie, complete in a flowing gown and royal headpiece, is majestic and beautiful with a voice to match. Freeman, who somehow reminds me of a gentler Evilene from The Wiz, portrays a loving Earth Mother with flair and feistiness. Gotta love a Goddess who can make a gown out of a discarded floral tablecloth. 

Credit where credit is due, t’s the midway showstopper Mama Will Provide and Ti Moune’s aforementioned dance that will linger in the audience’s mind long after the sands of time have washed away the rest of Once on This Island. 

While the show doesn’t exactly offer a traditional Happy Ending, the playwrights do offer up a simply divine finale as the entire ensemble of Once on this Islandsings the joyous finale Why We Tell the Story. It’s the perfect spirit-rejuvenating number that, in spite of the less-than storybook ending, allows the audience to leave the audience with the rhythm of the island in their bodies and the positivity of love and faith on their minds.

Once on This Island wraps its opening week at TPAC’s Jackson Hall as performances continue through the weekend with an evening performance Friday October 18, as well as matinee and evening performances Saturday and Sunday, October 19 & 20 before heading out on the road as this debut National Tour continues. CLICK HERE for tickets to this week’s remaining Nashville performances.

Following their Music City dates, Once on This Island continues their National Tour with upcoming dates across the US through June 2020. CLICK HERE to see when the show is coming to a theatre near you or follow Once on This Island on Facebook, Instagram, YouTube and Twitter.

TPAC’s 2019/2020 Broadway Season continues with The SpongeBob Musical November 5-10, CATS November 19-24, Hamilton December 31-January 19, My Fair Lady February 4-9, Blue Man Group February 11-16, Jesus Christ Superstar March 3-8, The Color Purple March 27-29, Escape to Margaritaville May 5-10m Summer: The Donna Summer Musical May 26-31 and Charlie and the Chocolate Factory June 9-14. CLICK HERE for more.

To keep up with what’s happening at TPAC, follow them on Facebook, Twitter and Instagram as well.

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.

Theatre Review: Chaffin’s Barn Dinner Theatre’s ‘The Wedding Singer’ a totally awesome trip back to the 80s

by

When I heard Chaffin’s Barn Dinner Theatre was presenting a production of The Wedding Singer, I gotta admit I was excited; mostly because I have had a celebrity crush on Drew Barrymore since her Poison Ivy, Boys on the Side and Mad Love Days, but also because I am of a certain age, the 80s were MY decade. 

While the stage musical is based on the 1998 film of the same name which starred Adam Sandler alongside Barrymore, Sandler has never been a favorite of mine, but the presence of Barrymore and a plethora of 80s music, 80s pop culture and 80s references combined to make the film enjoyable and the perfect property to make the transition from screen to stage.

The story tells the tale of a somewhat ne’er do-well wannabe rock star named Robbie Hart who not only gets left at the alter early on, but also falls for a girl who seems out of his league and simultaneously finds himself paying his musician dues as frontman for a trio whose primary gigs consist of bar mitzvahs, birthdays, retirement parties and wedding receptions. 

Speaking of wedding receptions, with the help of props department: Joy Tilley Perryman, Annie Magan, Jenny Norris, Tammie Whited, stage manager Catherine Wynne Reeves, assistant stage manager Alexis LaVon, tech director Robin Lawshe, lighting designer Daniel DeVault, audio engineers Jacob Allen and Russ Sturgeon and musical director Rollie Mains, the show’s director Curtis Reed and company have turned Chaffin’s Barn into an iconic 80s reception hall, complete with prop wedding cake centerpieces on each table and scrumptious wedding cake added to the dinner theatre’s dessert menu. 

Further immersing the audience into the spirit of an 80s wedding reception feel, before the show began, members of the cast mingled with the audience chatting about the bride and groom.

Interestingly, while the movie soundtrack was chocked full of 80 rock and punk hits by everyone from The Police to Psychedelic Furs, the stage iteration of The Wedding Singer features virtually no covers, and instead boasts a soundtrack of tunes written specifically for the stage with music by Matthew Sklar and lyrics by Chad Beguelin. Beguelin also collaborated with Tim Herlihy, the original movie’s screenwriter to pen the book of the musical.

Even though such well-known tunes from the movie like New Order’s Blue Monday and David Bowie’s China Girl are nowhere to be found in the stage version…I’m guessing the original Broadway producers didn’t want to pony up for all those song rights…the original score does indeed possess a totally 80s vibe.

But here’s the thing. Director Curtis Reed, who also choreographed and co-stars in a multitude of supporting cameos, doesn’t need to rely on 80s pop hits to convey the mullet-lovin’, shoulder-pad wearin’, era. Thanks to Reed’s choreo genius, astute audiences will spot nods to everything from a little Thriller-ography to a few decidedly boy-band dance moves. That paired with the show’s mostly, but decidedly retro tunes, help the audience feel as if they’ve might have gotten a ride in Doc’s Lamborghini for a trip back to the righteously tubular 80s.

Of course it doesn’t hurt that Reed has costumers Miriam Creighton and Emily Irene Peck dressing the cast in iconic 80s styles of powder blue tuxes, color-blocked pastels and fashions inspired by 80s pop fashion legends like Madonna, Boy George and more. The only thing missing were parachute pants.

The boys in the band: Pineiro, Rion and Bissell/photos courtesy Chaffin’s Barn

On the subject of the cast, Alex Pineiro stars as the aforementioned Robbie. Having seen Pineiro in a couple of shows in the past few years, I was excited to learn he had been cast in the lead and I’m here to tell you, if he’s not already, this performance should put Pineiro on the radar of every theatre director in town. As I mentioned above, Sandler has never been one of my favorites, and even with Barrymore as a co-star, his performance in the original film was still my least favorite. That said, Pineiro somehow manages to make you forget Sandler as he not only makes Robbie his own, but makes the audience root for him to get the girl and cheer him on in the process. He’s never more charming that when he’s a bit down-and-out.

Among Pineiro’s standout co-stars are Natalie Rankin as Julia, (the Drew Barrymore role); Daniel Bissell and Nico Rion as Robbie’s bandmates, Sammy and George; Chloe Cahill as Sammy’s feisty girlfriend; Matt Moran as Julia’s intended, Glenn;  Vicki White as Robbie grandmother, Rosie and Jenny Norris as Linda, Robbie’s runaway bride.

Jenny Norris as Linda in her decidedly Madonna-inspired wedding dress.

Of those cast members, Rion turns in a Boy George-inspired hilarious performance poking just the right amount of fun at the now pc concept of gender fluidity back when it was just called flamboyant. Meanwhile White’s turn as Robbie’s rappin’ granny steals every scene she’s in. 

With the musical soundtrack devoid of the aforementioned 80s chart-toppers, the musical numbers won’t likely make your post-show playlist, but in the moment, you just can’t help but bop your head to the decidedly 80s rhythms. That said, musical highlights include Awesome a sweet duet between Pineiro’s Robbie and Rankin’s Julia, Somebody Kill Me, Robbie’s angst-ridden emo number made famous in the movie, Rion’s glitterific George’s Prayer and All About the Green in which Glenn expresses himself as a bit of a material boy.

As if those already mentioned don’t pack enough star-power into the production, the supporting ensemble members all turn in noteworthy performances including Tyler Inabinette, Lauren Woodward, Bethanie Lyon, Seth Brown, Austin Jeffrey Smith, Kathleen Mitchell, Kaleb Frey, Aubrey Guice, Seth Bennett and the always fabulous Tosha Marie and the much-mentioned and beloved Reed. From giddy bridal girls (Nashville knows a thing or two about those) and overbearing wedding party members to a handful of celeb impersonators (a hilarious scene thankfully held over from the film) including Brown as Cher (or at least a drag version thereof), Smith as a leather pants-wearing, sneering Billy Idol and  Marie as the cutest, thinnest, youngest Tina Turner I’ve ever seen on stage. With enough sights, sounds, fashions, feelings and pop references to fill an 80s scrapbook, Chaffin’s The Wedding Singer is one wedding party you don’t wanna miss. Performances continue through October 19. CLICK HERE or call 615.646.9977 for reservations. 

Thursday matinees begin at 12 noon (doors at 11a.m.), while Thursday, Friday and Saturday evening performances begin at 7:30p.m. (doors at 5:30). Sunday matinees begin at 2 p.m. (with doors at noon for lunch service.

Thursday matinee tickets are $19 for show only or $27.50 for show and a Box Lunch. (Wednesday matinee will also offer the Box Lunch option). Evening show tickets are $13 for children 12 and under, $20 for youth/students and $35 for adults. Living up to their Barn Dinner Theatre name, Chaffin’s also offers a full buffet option or a la carte menu items for their evening and Sunday lunch matinee performances. Chaffin’s delicious buffet, featuring a choice of entrees (including a veggie option), and a number of side items is available for an additional (but completely worth it) $15.95, while the a la carte menu items (also quite tastily) range in price from $6.95 to $10.95, plus there’s a wide array of desert options to choose from $2.50 to $5.00. CLICK HERE to check out the menu. 

While The Wedding Singer wraps its run on the Mainstage this weekend, Greater Tuna starring Greg Frey and Scott Rice opened earlier this week at Chaffin’s Backstage, with shows continuing thru November 2. CLICK HERE for tickets or more info. Up next at Chaffin’s on the Mainstage is Ollie’s Diner directed by Joy Tilley-Perryman, running October 24-November 2. CLICK HERE for tickets or more information. As a special deal, the theatre is offering buy-one-get-one for both of these upcoming shows. To take advantage of the BOGO for Greater Tuna, call the box office and mention the promo code: TUNATEXAS. To get BOGO tix for Ollie’s Diner, mention promo code: GHOST.

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 Q&A with ’It’s My Party’ director, Bradley Moore; Studio Tenn to host staged reading of new musical Saturday, October 5

by

In recent months, Studio Tenn has announced several new initiatives from new educational outreach programs, classes and services to the development of new theatrical works. At 7 p.m. Saturday October 5, one such new work will be presented during the premiere staged reading of It’s My Party, a new musical featuring the songs of 60s pop icon Leslie Gore. Written by playwrights Jamison Lingle and Nick Hirata, It’s My Party brings the popular beach movie concept to the stage as directed by Bradley Moore with a cast including Studio Tenn darlings (and former American Idol fan favs) Diana DeGarmo and Ace Young.

Earlier this week I had a chance to chat with my friend Moore for the latest installment of my recurring interview feature, Rapid Fire Q&A to find out a little more about the project, the creatives behind it and what audiences can expect.

———————————————

Bradley Moore

JHP: How did you become involved in this project?

BRADLEY MOORE: About a year ago, I started getting together with Benji Kern (interim Artistic Director of Studio Tenn) for coffee and lunches to chat all things theatre. He’s really into reaching out to other creative folks in town and getting to know them. At one of our coffee hangs, he told me about this project. He thought that I should get together with the writers and see if we jived. And the rest is history!

JHP: I’ve attended a few staged readings over the years, but never one for a musical. How does that work?

BRADLEY MOORE: Well you know, I have directed some in the past, but never one for a musical either, so it was definitely exciting, uncharted territory for me. What I love about readings is that there are really no rules. It can be as simple as a bunch of people on stage with music stands to people with scripts moving all over the place. This show has such a great, youthful energy that I wanted to make sure that what we were presenting represented that. So our presentation is somewhere in the middle and all around. You know me, I don’t really love simple and never want to do what anyone has done before. I love what is going to be on that stage Saturday night. And yes! There will be a live band and singing!

JHP: Who have you got amongst your cast?

BRADLEY MOORE: We were so fortunate that Diana DeGarmo and Ace Young were in town and graciously agreed to be a part of this journey. It has been a thrill working with them. Both are ridiculously talented and the kindest humans you could ever hope to know. And joining them on stage are some incredible performers including Heather Hershow, Kristen Fields, Annika Burley, Emmarose Williamson, Ben George, Jackson Rector, Ty Russell, Jonah Jackson, Matthew Roberts, Zachary Waters, Kat Shannon, & Kelly Whitlow.

JHP: What can you tell me about the plot?

BRADLEY MOORE: It’s My Party is set in the 1960’s in Malibu, California. It follows a group of college coeds through love triangles, hair-brained schemes, revenge plots, mistaken identities, among other hilarious plot points. The fantastic writers, Jamison Lingle & Nick Hirata, have poured so much love and time into this project. They have really crafted a wickedly fun and well-written show. 

JHP: I’ve said it many many times in my reviews, Studio Tenn is as close to Broadway-quality as we get. How exciting to be involved with them for this piece?

BRADLEY MOORE: Extremely. I have admired Studio Tenn’s productions for years. It’s really nice to be creative with people who appreciate the complete scope of creativity. And Benji has been so supportive and trusting. It has been a dream come true. I hope there are many more projects with Studio Tenn in my future. 

JHP: You mention Benji. He’s producing, right? How is he as a producer? 

BRADLEY MOORE: Fantastic. His work-ethic and trusting nature are a beautiful thing. I am forever grateful for his faith in me. I have kind of had a very weird 18 months in the theatre world. This project has definitely helped me to believe that I am right where I should be. Sometimes one opportunity can really turn things around for someone. Benji felt that I was the right person for this project and I am so glad he did!

JHP: I understand as part of the staged reading your cast will be performing a handful of the songs featured within the musical. Who are some of the musicians you’ve been working with for the reading?

BRADLEY MOORE: Sandy Tipping. Sandy Tipping. Sandy Tipping. Sandy is our Music Director and the one who worked on the arrangements of all the songs. He is brilliant and one of the easiest humans to work with. I did not know Sandy prior to this process, but I am so grateful that I know him now. He has created some beautiful arrangements of Leslie Gore’s music with the help of the playwrights Jamison and Nick.

JHP: Speaking of Leslie Gore. Have you always been a fan of her music or is she an artist you discovered by accident? 

BRADLEY MOORE: My introduction to Lesley Gore was definitely because of the film, The First Wives Club, which to this day is still one of my favorites. For those who have not seen it, at the end of the film, Diane Keaton, Bette Midler, and Goldie Hawn perform a very enthusiastic version of You Don’t Own Me. It is amazing and super fun, not to mention you have three of the greatest actresses on this planet. I had the soundtrack to the film and wore it out. So maybe my love for that moment in that film has lead me to directing this project. A little kismet never hurt anyone!

JHP: If people want to attend the reading on Saturday, October 5 at 408 Church Street (3rd Floor) in Franklin, can they still RSVP?

BRADLEY MOORE: Yes! Just go to the link and sign up! The reading is free, but you must RSVP!

JHP: For those who miss Saturday’s staged reading, when might we see this work developed into a full stage production?

BRADLEY MOORE: Personally, I would love to see a fully staged production. Here’s hoping! It’s really ready. Usually, with any new work, there are a lot of rewrites and retooling after the initial reading/workshop phase. I’m not so sure this piece needs all that. It is pretty awesome the way it is!

———————————————

To check out just how awesome It’s My Party is, be sure and CLICK HERE to RSVP to the staged reading.

Following this weekend’s staged reading, Studio Tenn immediately dives into their next endeavor on Friday, October 18 as they present their spectacular annual fundraising gala, One Night Only, themed this year as “An Evening With Friends”. CLICK HERE for more info or to purchase tickets. Then, from December 6-29, Studio Tenn will present Rodgers and Hammerstein’s Cinderella. CLICK HERE for details. You can always check out Studio Tenn online at StudioTenn.com or follow their socials at Facebook, Instagram and Twitter.

Wanna check out previous Rapid Fire conversations? CLICK HERE. 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.