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Theatre Review: With ‘Singin’ in the Rain’ on stage at Chaffin’s Barn thru November 30, forecast for the magic stage is all-singin’, all-dancin’ with a deluge of talent

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If you read my column with any regularity, you know in addition to my love of musical theatre, I also have a penchant for classic Hollywood musical movies, so you can imagine my excitement when I learned Chaffin’s Barn Dinner Theatre was presenting their take on the stage adaptation of Singin’ in the Rain. That’s right…two of my obsessions…1950s musical movies and and all-out tune-filled stage extravaganza rolled into one.

Having seen a simply lovely production of the show in nearby Cannon County at the beginning of this year, and even though Singin’ in the Rain is one of my all-time favorite musicals, second only to the stage adaptation of the seasonal favorite, White Christmas, I honestly wasn’t sure what to expect of Chaffin’s take, but from the first notes of the show’s familar Arthur Freed/Nocio Herb Brown-penned overture, as skillfully executed by Chaffin’s musical director and keyboardist, Rollie Mains, woodwinds by Raymond Ridley, Neal Johnson on bass and drummer Dan Kozlowski, any slight trepidations were quickly laid to rest.

The stage version, like the original 1952 feature film, with screenplay by Betty Comden and Adolph Green tells the story of late-1920s silent film superstars Don Lockwood and Lina Lamont, who have been built up in the press, and by their studio, as romantic leads on…and off…the screen. Truth be told, they ‘caaaaan’t stan’ each other. There’s also Lockwood’s best bud, and frequent piano accompanist who plays the silent films musical soundtracks for the studio recordings, Cosmo Brown. He’s less than enchanted by Lamont and her diva-like ways and seems to always be looking out for his buddy’s romantic future. Further complications ensue with the advent of talking pictures. Not so much a problem for smooth and swarthy Lockwood, but for Betty Boop-voiced Lamont, that’s another story altogether. Enter young, inexperienced chorine, Kathy Selden, having just arrived in Hollywood from the legitimate stage, Selden is biding her time in the chorus until her big break. After a dismal preview of Lockwood and Lamont’s first talkie, The Dueling Cavalier, during which the audience laughs at Lamont’s fingernails on a chalkboard voice, Selden’s big break comes when Lockwood and Brown cook up a scheme to have Selden record her voice and dub it over Lina’s screech.

Fans of the film know it featured an all-star cast of Gene Kelly, Donald O’Connor, Jean Hagen and Debbie Reynolds, so you can image those being some pretty big dancing shoes to fill. To her credit, director Jenny Norris has packed Chaffin’s Singin’ with quite the who’s who of actors, most of whom are familiar to Chaffin’s patrons.

Matt Moran as Don Lockwood in Chaffin’s “Singin’ in the Rain”
(all photos by Michael Scott Evans/Courtesy Chaffin’s Barn Dinner Theatre)

Starring as Don Lockwood, the Gene Kelly role, for those familiar, is Matt Moran, most recently seen on Chaffin’s stage as the less-than-charming Glenn Gulia in The Wedding Singer. While I absolutely love Gene Kelly, especially in Singin’ in the Rain, I have to tell you, from Moran’s first entrance as Don Lockwood, I couldn’t help but notice, his matinee-idol looks and his overall command of the stage. Sorry, Gene, but Matt just might be my new favorite Don Lockwood. With a show full of wonderful tunes and numerous Lockwood-centric moments, Moran constantly shines like the star he’s play. While Moran’s bio indicates he made his stage debut at age eight, I’ve only recently come to know his work, so I knew holding his own against Curtis Reed as Cosmo Brown, Don’s best friend and former performing partner…the Donald O’Connor role in the film…would be a challenge. Spoiler Alert: Moran keeps up the pace and is the perfect compliment to his talented second-banana.

Speaking of Reed, not only is he a great comedic sidekick, and a uber-talented hoofer, he’s also the show’s choreographer. When I first saw the stage adaptation not long after its Broadway debut in the mid-80s, iconic choreographer Twyla Tharp had lovingly crafted dance sequences that paid homage to the original film moves by Kelly himself. Reed, as talented a choreographer as he is a dancer has done what might otherwise seem impossible, finding his own moves nestled smartly between the two, and I applaud that. 

Jenna Pryor as Lina Lamont With Kelsey Brodeur as Kathy Selden) in Chaffin’s “Singin’ in the Rain”

Cast as Lina Lamont is Jenna Pryor, one of my theatre crushes, having starred in a variety of local theatre productions ranging from Disney princess, Belle in Beauty and The Beast, to Leslie in American Idiot. Heck, on Chaffin’s stage alone, she’s been seen in a couple of Southern Fried productions, as well as Freaky Friday and Mamma Mia. Sporting a platinum blonde Harlow-eque wig and some form-fitting dangerous curves ahead costumes, courtesy the show’s costumer, Tammie Whited, Pryor perfectly transforms herself into the quintessential not-so-dumb-blonde and I’m here for it. I’m just gonna be honest, I couldn’t stop grinning from ear to ear from her first line on.

Rounding out the major players is Kelsey Brodeur as Kathy Selden. The native Atlantan, former New Yorker and recent Music City resident might be a relative newcomer to Chaffin’s, having appropriately made her Barn Dinner Theatre debut as Star to Be in their recent spectacular production of Annie, but Brodeur has appeared in a number of regional productions in and around the Syracuse area where she studied musical theatre and I’m here to tell you, she’s definitely one to watch. As Kathy, Brodeur finds the sweetness of Reynold’s girl-next-door, coupled with just enough sass and smarts to find what she wants and go for it.

From the show’s opening sequence, Fit as a Fiddle, which establishes the longterm friendship of Lockwood and Brown by way of ‘home movies’ projected on screens the roll down from the two corners of the stage to the mid-show literal show-stopping title tune and on to its all-in reprise at the final, Singin’ in the Rain is jam-packed with marvelous musical moments. 

Among my personal favorites in Chaffin’s production, first there’s You Stepped Out of a Dream, performed by Moran’s Don Lockwood, complete with beautiful harmonies courtesy an ‘only in a musical’ seemingly impromptu street chorus of passers by. Let’s be honest. Who wouldn’t swoon to a croon from this guy?

Kelsey Brodeur, Matt Moran (and Jenna Pryor) in Chaffin’s “Singin’ in the Rain”

Then there’s my absolute favorite number in the entire show…no, not THAT one…I’m talking about Kathy’s infectious musical entrance, All I Do is Dream of You. It’s sweet, it’s cute, it’s ironic, since she and Don aren’t exactly chummy at this point and with Brodeur’s lovely voice, a kick line of gorgeous ensemble members and Reed’s dynamic choreography, it’s perfect. 

Next on the highlight reel is Reed’s guffaw-inducing comic song and dance, Make ‘Em Laugh. Due to the confines of the space, Reed accepts the challenges and reigns victorious in a number filled with slapstick pratfalls, a great tune and some fancy footwork.

With a first act that’s nearly 90-minutes in length (as my sweet mother can attest, it flies by thanks to the fabulousness of the music, the saccharine storyline and the dedication and talent of the cast) there’s one great sequence after another. Beautiful Girls, features Daniel Bissell surrounded by…well…beautiful girls, including ensemble members, and three of my theatre crushes, Christina Candilora, Jenny Norris and Christen Heilman, in an homage to Busby Berkeley and Florenz Ziegfeld.

You Are My Lucky Star, another fan favorite, which ironically wasn’t written for the film, but rather first appeared in Broadway Melody of 1936, is among Brodeur’s most glorious vocal moments. I love that the stage musical restores the intro to the song and Brodeur’s sweet intonations fit it perfectly.

Speaking of perfect, You Were Meant For Me, in which Moran’s Don takes Brodeur’s Kathy behind-the-scenes of the movie studio, is just that…prefect. During this number, our romantic leads trip the light fantastic to more of choreographer Reed’s fancy footwork. With the aide of a large fan, fog machine, some mood-enhancing lighting, a ladder and some movie magic imagination, the relatively empty lot transforms into a balcony scene of love to rival that or Romeo and Juliet…at their happiest. Of course this scene, nor any other could come off as perfectly were it not for the real behind-the-scenes work of properties manager, Joy Tilley Perryman, technical director, Robin Lawshe, lighting designer, Daniel DeVault, audio engineer, Kaitlin Barnett and video courtesy Russ Sturgeon Productions/RSVP. On that subject, in addition to the aforementioned ‘home movies’ seen at the top of the show, RSVP’s handiwork is also seen throughout the production as the audience is treated to several Lockwood and Lamont moving pictures of both the silent and talking varieties, to much delight.

Back to the musical highlights…Reed and Moran team up for Moses Supposes, with Bissell as their straight man during a tongue-twisting, toe-tapping, tap-tastic musical delight, then Reed and Moran are joined by Brodeur for yet another of my favorite musical moments from the piece as they do a little spectacular couchography whilst singing Good Morning. Yes, it’s still my go-to wake-up alarm song.

Matt Moran, Kelsey Brodeur and Curtis Reed in Chaffin’s “Singin’ in the Rain’

This brings us to THE legendary, iconic, stupendous moment of the show…That’s right…Act 1 concludes with the title tune, Singin in the Rain. When I posted on social media that I was attending the show last weekend, a friend, who had seen the original touring production with me back in the late-80s/early 90s, who also just so happens to be a theatre professor/actor and talented director in his own right, commented asking “Does it Rain?” to which I responded, “Does it EVER”. 

As if Chaffin’s magic stage weren’t awe-inspiring enough, during the pinnacle moment of this number, thanks to some creative handiwork from Chaffn’s beloved former owner, John Chaffin himself, it not only rains it pours! As Moran’s Lockwood sings the show’s most familiar tune, it rains along all four sides of the square stage. Shoot, director Norris, during her welcoming remarks gave a little warning to audience members seated along the four sides of the magic stage that they might get a little damp, giving a whole new meaning to immersive theatre. Moran amps up the vibe even more by playfully kicking and dancing in the rain, causing it to splash towards those seated nearby, but just like a kid stomping in puddles, no one minded getting a little damp, especially considering the shower of talents they were witnessing. As the song’s lyrics say, “Come on with the rain, I’ve a smile on my face!” True Confession: I was so moved by the spectacle of it all that my eyes might have rained a little too. When the lights came up, my Mom looked at me and asked if my allergies were bothering me. A little embarrassed at just how much I love a great live musical that moves me to tears, I simply nodded yes. 

Following intermission, the music continues, but it’s plot that takes center stage as Lina finally clues in to Don, Cosmo and Kathy’s plan to dub her voice. While the second half of the show has it’s share of pleasing musical moments, Kathy’s Would You, Don’s Would You response and Don, Cosmo and company’s Broadway Melody (including the aforementioned mod dance sequence), it’s Pryor as Lina for What’s Wrong with Me that pretty much steals the second act. While Lina is predominately played strictly for laughs with her helium voice, couple with a decidedly east coast, street-wise vernacular, What’s Wrong With Me actually makes the audience feel just a little compassion for the show’s blonde baddie. Just when you’re feeling sorry for Lina, it’s back to laughing at her, thanks to the inclusion of a bit of what I’m naming skip-ography. Again….when Pryor’s Lina is on stage, I can’t stop laughing.

As is the case with any Hollywood musical worth its salt, by play’s end, everything’s tied up in a nice package just in time for the boy to get the girl as they reprise You Are My Lucky Star and the entire ensemble descends upon the stage for one final encore of the title tune.

Kudos to director Norris, choreographer Reed and everyone at Chaffin’s. Time after time, show after show I marvel at how the company seamlessly navigates what is a relatively small, albeit magic stage—yes, it still descends from the ceiling and I’ll never get over the awe of that feat alone.

The fantastic leads, with noteworthy assists from the entire cast—including Greg Frey as movie mogul RF Simpson, Nick Spencer as Rosco Dexter, Daniel Bissell as Production Tenor, Gabe Atchley as Rod, the always brilliant Katie Bruno doing double-duty as both Dora Baileyand Miss Dinsmore, Gabe Atchley as Rod and ensemble members: Seth Brown, Christina Candilora, Christen Heilman, Josh Innocalla, Benny Jones, Bethanie Lyon, Brooke Mihalek and Emmy Peurta—coupled with Reed’s double-duty as choreographer and co-star, all helmed by Norris, who not only director, but also appears on-stage as Zelda Zanders, it’s all a marvel.

Just before curtain on the night I attended, Norris, a veteran of the stage and a favorite at Chaffin’s, informed me that this show marked her directorial debut. With her winks to the gorgeousness of the original film and Reed’s choreo that includes everything from nods to the lush hyper-produced spectacles of the aforementioned Berkley and Ziegfeld, to the inevitable modern dance sequence that’s included in just about every mid-century musical, Chaffin’s Barn’s Singin’ in the Rain is just about as perfect a stage musical extravaganza as you’re likely to see outside of Broadway itself. 

Oh, and don’t forget…while I mostly refer to the venue as Chaffin’s Barn, their full name is Chaffin’s Barn Dinner Theatre! Ever since the change in ownership, the dinner aspect has vastly improved, offering patrons who choose the dinner and show tix the choice of either a huge variety of buffet items, or the option to order from their equally delicious ‘a la carte menu.

Chaffin’s Barn Dinner Theatre’s Singin’ in the Rain continues on the mainstage with shows through November 30. 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 Singin’ in the Rain continues through November 30, A Tuna Christmas begins at Chaffin’s Backstage with shows November 29-December 21, CLICK HERE for tickets or more info. Following Singin’ in the Rain, Chaffin’s will present Sanders Family Christmas on the Mainstage from December 5-21. CLICK HERE for tickets or more information. As they always do during the holidays, Chaffin’s will also present a show specifically aimed towards the younger audience as they present Jingle All The Way with Friday and Saturday shows from December 6-21. This special holiday treat is only $10 a person with kiddies two and under admitted FREE. Call the box office at the number above for details or to purchase 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: Nashville Rep’s production of ‘Every Brilliant Thing’ a thing of brilliance indeed; on stage at TPAC’s Johnson Theatre thru Sunday

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Straight off, I should apologize to anyone who sat near me earlier this week during Nashville Repertory Theatre’s invited dress rehearsal for their current limited-run presentation of Every Brilliant Thing directed by Lauren Shouse and starring the amazing Mark Cabus. I’m apologizing because I don’t think I’ve ever had a theatrical piece touch me in such a profound way. I was literally sobbing (thankfully, mostly inaudibly) with tears streaming down my face for a good portion of the show. 

Don’t get me wrong, I’m a big ole softie and I’ve cried at everything from seeing The Color Purple on stage for the very first time, to…well…Publix commercials, but there’s something about Cabus’ delivery, coupled with Shouse’s direction and the clever intimate staging that has the audience on all four sides of the action, thanks to several cocktail tables set up around three sides of the set.

Scenic designer Gary Hoff presents a stripped-down set consisting of little more than a few area rugs grouped together to form a larger square, a comfy leather chair, a side-table,  a couple crates of vintage vinyl, a record player and an ottoman. In addition to the cocktail tables and chairs for some audience members, there’s also a few chairs and tables set up to the left and right of the traditional theatre seating.

Director Shouse wisely moves Cabus throughout the audience, both those seated near him at the tables as well as those seated in the rows of stacked theatre seats. This movement amongst the audience aides in pulling them into the feel of the story. Also aiding in the involvement of the audience, prior to the play’s start, Stouse greeted audience members as she passed out seemingly random objects like a balloon, a pack of cigarettes, a soda pop or a book and instructed the audience to listen for the number attached to the object and to simply read aloud the accompanying phrase when that number was called out.

As Cabus, the story’s narrator, takes to the stage, he begins telling the story of a young boy whose mother had attempted suicide, or as the boy’s father referred to the incident…she did a ’stupid thing’. As a young boy, and not quite able to fully comprehend the gravity of his mother’s actions, the boy decides to begin a list, a list of Every Brilliant Thing that might be reason enough not to do such a stupid thing. As Cabus reads the list, he frequently calls out a number from the list. It’s at that time the audience member who has the corresponding object with that number on it, reads aloud that particular entry. Further involving the audience, occasionally throughout the play, Cabus also calls upon random audience members to act as various characters throughout the narrator’s life, a veterinarian, his father, a school psychologist and his first love to name a few. 

Perhaps it’s the simplicity of the entries, things as commonplace as seeing someone fall over, bubble wrap or, my personal favorite….the voice of Nina Simone, but mostly it’s Cabus’ remarkable talent and his ability to tell this tale as if it’s his own, while simultaneously reacting on the spot to the audience, and engaging everyone around him as he exposes the shared vulnerability in all of us. 

Broaching subject matter as varied and relatable as the death of a beloved pet to suicide, depression, first love, lost love and finding the beauty in the smallest of gestures and the grandest of happenings, Every Brilliant Thing is unlike anything I’ve ever seen. By play’s, when the narrator has kept the list going again and again just when he’s needed it throughout the trials and tribulations of everyday life, there’s a million things on the list. Suffice it to say, I’d like to add at least a few more…Nashville Rep,  director Lauren Shouse, star Mark Cabus and Every Brilliant Thing about this production of Every Brilliant Thing.

Following Wednesday afternoon’s inited final dress rehearsal, and last night’s preview performance, Nashville Rep’s Every Brilliant Thing continues its all-too-brief run at TPAC’s Johnson Theatre with performances Friday, November 8 at 7:30p.m., Saturday, November 9 at 2:30p.m. and 7:30p.m. and a final Sunday, November 10 matinee at 2:30p.m. Tickets range in price from $25 to $45. CLICK HERE to purchase tickets or for more information.

Up next at Nashville Rep is Patrick Barlow‘s A Christmas Carol playing November 30-December 22. Check out Nashville Rep online HERE and follow them on Facebook and Instagram.

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: Audiences are soaking up the friendship, fun and musical merriment of ’The SpongeBob Musical’; at TPAC’s Jackson Hall thru Sunday as National Tour continues

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Even though I myself had only seen one or two random episodes of Spongebob Squarepants over the last twenty years, my subconscious had absorbed—if you will—some basic facts about the  jaundiced, angular, happy-go-lucky sea-dwelling sponge and his fellow Bikini Bottom inhabitants. That said, when I first heard about The Spongebob Musical on Broadway, I envisioned something akin to one of those live touring shows based on kiddie tv with actors parading around on stage in larger than life character costumes. Of course I soon learned that director Tina Landau opted to forgo the expected cartoony look of the characters as created by the late, great Stephen Hillenburg, instead representing the majority of residents of Bikini Bottom in human form with clever wardrobe, hair and makeup nods to their animated aquatic selves. What I hadn’t expected, until I arrived at TPAC’s Jackson Hall earlier this week for Opening Night in Nashville of SpongeBob’s first-ever National Tour, continuing here in Music City through Sunday, November 10, was a neon rainbow of color, light and sound that magically bridges the gap of ridiculous cartoon goofiness with some genuinely lovely musical theatre moments.

Having kicked off the tour just last month, it would seem the company is still working out being in a new venue each week as there was a slight delay to opening the theatre to patrons for the show’s Nashville premiere. That said, once the eager audience gained entry, I was immediately struck at the the instantaneous lift in spirit and presence of joy. Perhaps in an effort to buy more time to work out some rumored opening night tech glitches, as the audience took their seats, a few members of the company casually gathered on the edge of the stage and began an impromptu jam sesh. Once the anxious audience had filtered in, and assumably, the technical issue resolved, the show began. 

Even the most casual of SpongeBob fans will surely marvel at what lighting designer Kevin Adams, projection designer Peter Nigrini,  sound designer Walter Trarbach and costumer and set designer David Zinn, together with director and co-conceiver Landau have created, for the visual and audio results do indeed transform the venue into an entrancing and inviting underwater land of laughter, fun and friendship.

Of course what makes The SpongeBob Musical even more enchanting is, well, the music. The soundtrack boasts tunes by an undeniable who’s who from virtually every genre of music and I do mean EVERY genre…throughout the show the audience is treated to tunes by everyone from Cyndi Lauper, Plain White T’s and Aerosmith’s Joe Perry and Steven Tyler to Yolanda Adams, Panic! At the Disco, Lady Antebellum and more. In addition to all the new music written specifically for the musical, there’s even a reworking of David Bowie’s No Control from his 1995 Outside release that reunited him with Brian Eno. When I say this musical has something for everyone, I mean it, and that’s largely thanks to original SpongeBob Broadway music director Patrick Hoagland, arranger Tom Kitt, music coordinator John Mezzio, music supervisor Julie McBride and touring music supervisor Timothy Hanson.

Speaking of the show’s music, the opening number, Bikini Bottom Day (by indie/folk singer/songwriter Jonathan Coulton) as performed by SpongeBob and company perfectly sets up the feel of the show. As SpongeBob (Lorenzo Pugliese) awakens and prepares to head to his job as a fry cook at The Krusty Krab, Bikini Bottom’s most popular eatery, he sings this cheery wake-up. As he passes by his best pal, a rather large pink starfish named Patrick Star (Beau Bradshaw), Patrick questions if it’s morning already, to which SpongeBob replies, “It sure is and I’m singing the opening number.” That hilarious lyric serves to let the audience know that the lines are indeed blurred between fantasy and reality, between cartoon and human, between Bikini Bottom and the rest of the world. The remainder of the opening also introduces us to SpongeBob’s other bestie, Sandy Cheeks (Daria Pilar Redus), a science-lovin’, karate-choppin’ squirrel who lives underwater thanks to a diving suit and helmet.

This seems as good a time as any to further elaborate on the look of the characters. As alluded earlier, rather than SpongeBob and company looking like a furry fetish convention has converged upon the town, goofy oversized amusement park or sportsball mascot costumes are nowhere to be found. Instead of Pugliese being confined to a giant yellow square spongy costume, as SpongeBob, he’s the human personification of the character dressed in a short-sleeved yellow button-down with a red tie, suspenders and brown checked pants. He plays the plucky sponge with a childlike excitement reminiscent of Paul Rubens’ Pee Wee Herman, making you feel he is truly excited to be in this show.

Meanwhile, Bradshaw’s Patrick, rather than being covered in pink makeup from head to toe, is simply dressed in loud green board shorts, a pale pink Hawaiian floral shirt, bright pink socks and sneaks, all topped off with a pink fauxhawk. He’s the perfect Hardy to Pugliese’s Laurel, bringing a simplistic, good-natured kindness to the role. 

As Sandy, Redus wears a simple white science-y-looking jumpsuit and in place of her bubble helmet, hair and wig designer Charles G. LaPointe has opted to have her wear an afro, accented, of course with Sandy’s signature pink hibiscus bloom. Redus’s Sandy is smart and reserved when needed and her over-the-top southern accent—Sandy’s from Texas, after all—fit right in here in Nashville. 

While there are several other costume highlights featuring all the colors of a box of crayons, including Sheldon Plankton & his robot wife, Karen (Tristan McIntyre & Caitlin Ort), Mr. Krabs (Zach Kononov), Pearl (Miami Maszewski), Mrs. Puff (Natalie L. Chapman) and the Sardines, it’s Larry the Lobster (Dorian O’Brien) and Squidward (Cody Cooley) who get the biggest reception from the audience due to the cleverness of their costumes.

As I said at the beginning of this review, while you don’t have to be a fan of the animated series, I’ve been told if you are, there’s tons of Easter eggs peppered throughout. While I hadn’t seen more than a few episodes of the series prior to attending the stage musical, I must admit, in the days since, I’ve set my dvr to record SpongeBob and as I’ve found myself staying up late to bingewatch ‘just one more episode’, I’ve picked up on a few things. One example…late in the show, when the residents of Bikini Bottom are celebrating their survival of the volcano, Patrick asks if mayonnaise is an instrument…for those of us in the know…that’s a reference to a 2001 episode title Band Geeks in which Patrick poses the now famous question (famous at least to the legions of fans who’ve tuned into the animated series for two decades now).

I love that the stage version includes a foley artist, credited as Foley Fish. It’s also pretty cool that said foley artist is Ryan Blihovde is a graduate from Nashville’s own Belmont University! As the on-stage Foley Fish, Blihovde provides live sound affects like the spongy squish of SpongeBob as he walks across the stage or the thud of Pearl’s footsteps. She’s a whale in the animated show, thus explaining yet another inside joke that viewers will no doubt appreciate, when she mentions she and her father, Mr. Krabs are different species. 

Which reminds me…if you’re thinking SpongeBob The Musical is only for kids, think again…in addition to the plethora of hummable tunes, gorgeous set design and overall visually stunning look of the show, there’s more than a few levels of humor for all ages. Yes, some jokes are obvious and the kids in the audience were loving it, but there were a few moments peppered in just for the adults. One in particular that resulted in an audible guffaw from yours truly happens when Sandy is explaining how she can stop the volcano. During her presentation, she taps a wipeboard with a pointer as detailed drawings of her theory appear. In the last slide as she explains how her Eruptor Interruptor will save Bikini Bottom, the illustration on the board looks suspiciously like a lady’s bikini area…pre-wax. I about spit out my limited edition Seanut Butter and Jellyfish Goo Goo Cluster! And yes, you read that right…Goo Goo, one of Nashville’s most famous confectioners has teamed with TPAC to create a special chocolate covered peanutty treat, with a sea of surprises inside, available exclusively in the concessions area during the run of SpongeBob The Musical, but I digress.

With a story concerning the possible end of days for the residents of Bikini Bottom, thanks to the pending eruption of a volcano, Kyle Jarrow’s book of the musical is simple…SpongeBob and friends must overcome their insecurities to band together to save the day. To that end, the story broaches lessons in relationships, good vs. evil and never underestimating ones own self-worth. That’s just one aspect of the show that does a brilliant job of playing to both the youth and the older members of its audience, for what’s a show based on a cartoon worth, if there’s not at least a few morals to the story cleverly hidden among the laughter and songs?

On that note, musical highlights are a plenty in SpongeBob The Musical. BFF features Pugliese and Bradshaw’s SpongeBob and Patrick in an all-out declaration of their bond. The catchy tune penned by Plain White T’s is simply joyous. 

Pugliese gets his show-stopping moment as SpongeBob with (Just A) Simple Sponge, Panic! At the Disco’s contribution to the score. During this number, Pugliese’s SpongeBob defies the expectation and label put upon him by his boss, Mr. Krabs as he announces he is NOT A Simple Sponge. The visuals of this song heightened by the use of blacklight and ensemble members dressed in black blending into the background behind SpongeBob while neon yellow sponge squares dance behind him forming everything from musical notes as he plays his trademark noseflute, to taking shape of a superhero cape, a bit of foreshadowing for the audience of SpongeBob’s inevitable hero status by show’s end.

Daddy Knows Best, featuring Kononov and Maszewski as Mr. Krabs and his daughter, Pearl, showcases both actors vocal skills in a tune that’s neatly nestled somewhere between Streisand’s Papa Can You Hear Me from Yentl and Minnelli and Grey’s Money Makes the World Go ‘Round from Cabaret.

Hero Is My Middle Name, penned by Cyndi Lauper and Rob Hyman, and performed herein by Pugliese, Bradshaw and Redus is another inspiring anthem during which our trio convince each other they can indeed save Bikini Bottom. 

Super Sea Star Saviour, Yolanda Adams’ addition to the score, features Bradshaw’s Patrick surrounded by adoring sardine followers that just might put you in mind of JC Superstar mixed with a little Sister Act.

As he does with his four-tentacled wardrobe, Cooley’s Squidward also steals the show musically with his long-anticipated Act 2 epic number, I’m Not a Loser that kicks off with an almost unseen quick-change into a sparkly tux and continues with some of the show’s most tap-tastic footwork, including a Busby Berkley-inspired kickline featuring ensemble dancers backing. Christopher Gattelli’s choreography is showcased here, but shines throughout the entirety of the musical. Executed so effortlessly by the entire ensemble, it’s easy to forget the hours they must put into it to make it seem so simple.

A few reprisals—more great original numbers like John Legend’s sweet (I Guess) I Miss You and Chop to the Top, from Nashville’s own Lady Antebellum, which includes some impressive physicality from Pugliese as he and Redus climb the volcano to thwart its erupting—and the story wraps neatly with the expected outcome of SpongeBob and friends saving the day, and their beloved Bikini Bottom. But don’t rush out of the theatre in hopes of beating the crowd to the valet or your’ll miss a post-script all-in of the entire company (and it’s grateful uplifted and joyous audience) as the night ends with a rousing rendition of that earworm of a theme song from the original animated series!

The SpongeBob Musical continues its Music City stop with shows at TPAC through Sunday, November 10. Friday & Saturday evening performances are at 8p.m. Saturday and Sunday matinees are at 2p.m. and 1p.m. respectively and the show wraps with a final Sunday evening performance at 6:30p.m. Tickets range in price from $45-$90. CLICK HERE to purchase tickets or from more information.

Not in Nashville? The SpongeBob Musical continues its National Tour with dates across the US and Canada including stops in Oklahoma City, Dayton, BrookVille, New Brunswick, Philly, Toronto, Detroit, Wilmington, Morgantown, Lexington and more through July 2020. CLICK HERE to purchase tickets in your area or to see the full tour schedule.

To keep up SpongeBob and the entire Bikini Bottom gang, follow SpongeBob The Musical on Facebook, Instagram, Twitter and YouTube.

Up next at TPAC, it’s the beloved favorite, CATS, followed by the highly anticipated Hamilton as their 2019-2020 Broadway Season continues. CLICK HERE for tickets or more info. You can also follow  TPAC on Facebook, Twitter and Instagram.

Wanna check out previous Rapid Fire conversation

Public on-sale date announced for Tony-winning ‘Hamilton’ National Tour in Nashville at TPAC’s Jackson Hall December 31, 2019-January 19, 2020

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Early this morning, TPAC finally announced the long-awaited details of the public sale date for the highly anticipated Music City debut performances of Hamilton. Producer Jeffrey Seller and Tennessee Performing Arts Center revealed that tickets for the Nashville leg of the first-ever National Tour of the eleven-time Tony®-winning musical will go on sale on Monday, Nov. 11 at 10 a.m. Tickets will be available at TPAC.org and in person at the TPAC box office (505 Deadrick Street) in downtown Nashville. Tickets will be available for performances Dec. 31, 2019 – Jan. 19, 2020.

 There is a maximum purchase limit of eight (8) tickets per account for the engagement. When tickets go on sale, prices will range from $79 to $199 with a select number of $349 premium seats available for all performances. Additional fees will apply to online purchases. As TPAC has offered for many of their recent shows, there will be a lottery for $10 seats for all performances. Lottery details will be announced closer to the engagement.

Jeffrey Seller noted, “It’s tempting to get tickets any way you can. There are many sites and people who are selling overpriced, and in some cases, fraudulent tickets. For the best seats, the best prices and to eliminate the risk of counterfeit tickets, all purchases for the Nashville engagement should be made through TPAC.org.”

Hamilton is the story of America’s Founding Father Alexander Hamilton, an immigrant from the West Indies who became George Washington‘s right-hand man during the Revolutionary War and was the new nation’s first Treasury Secretary. Featuring a score that blends hip-hop, jazz, blues, rap, R&B, and Broadway, Hamilton is the story of America then, as told by America now.

With book, music and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler and musical supervision and orchestrations by Alex Lacamoire, Hamilton is based on Ron Chernow’s biography Alexander Hamilton.

The Hamilton creative team previously collaborated on the 2008 Tony Award®-winning Best Musical In the Heights.

Produced by Jeffrey Seller, Sander Jacobs, Jill Furman and The Public Theatre, Hamilton features scenic design by David Korins, costume design by Paul Tazewell, lighting design by Howell Binkley, sound design by Nevin Steinberg, hair and wig design by Charles G. LaPointe, casting by Telsey + Company, Bethany Knox, CSA and General Management by Baseline Theatrical.

Hamilton will be the fourth production in TPAC’s current Broadway at TPAC 2019-2020 Season, having began the season with Dear Evan Hansen, Once on This Island and their current offering, The Spongebob Musical (on stage at Jackson Hall thru Sunday, November 10). The add-on special presentation of CATS will take to TPAC’s Jackson Hall November 19-24.

Following Hamilton, the season will continue with My Fair Lady, Escape to Margaritaville, Summer: The Donna Summer Musical and Roal Dahl’s Charlie and the Chocolate Factory, as well as add-on specials including Blue Man Group, Jesus Christ Superstar and The Color Purple. CLICK HERE for tickets or more info. 

With five shows still remaining in the current season, Flex Package Season Subscriptions are still available. CLICK HERE for more details. To keep up with what’s happening at TPAC, follow them on Facebook, Twitter and Instagram.

For more about Hamilton on Tour, CLICK HERE to check them out online or follow them onFacebook, Twitter, and Instagram.

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 ’The SpongeBob Musical’ stars Lorenzo Pugliese, Beau Bradshaw and Daria Pilar Redus; at TPAC November 5-10

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Just last week as the cast of The SpongeBob Musical’s first-ever National Tour prepared to turn TPAC’s Andrew Jackson Hall into their beloved undersea world of Bikini Bottom, I had the chance to pose a few questions to Lorenzo Pugliese, Beau Bradshaw and Daria Pilar Redus who star as SpongeBob and his besties, Patrick Star and Sandy Cheeks. So, sit back, grab a carton of Drinkable Sausage and check out the conversations below!

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RAPID FIRE FIVE WITH LORENZO PUGLIESE, SPONGEBOB SQUAREPANTS IN THE SPONGEBOB MUSICAL

Lorenzo Pugliese, SpongeBob in The SpongeBob Musical

JHP: I understand you were actually a fan on the SpongeBob animated series when you were a kid. What’s it feel like to now be playing him in the Nation Tour of the stage musical?

LORENZO PUGLIESE: It’s a dream come true! If you told me even a year ago that I’d be playing SpongeBob in the First National Tour of The SpongeBob Musical, I’d probably tell you you were crazy.

JHP: Do you have to be a fan of the series to enjoy the stage version?

LORENZO PUGLIESE: Not at all! Part of the genius of this show is that it works both ways. Whether or not you’ve seen the TV show, you’re going to love this musical. Because with or without the association of these iconic characters, you are getting a fantastic story with great characters and a killer score!

JHP: The animated version was created by the late Stephen Hillenburg. While the essence of his characters is ever-present, the musical’s co-creator and director Tina Landau has opted to give the characters a more human appearance. Your own character, for instance, as SpongeBob, you’re not sporting a bright sunshine yellow costume made of sponge and you’re not wearing square pants. Was it more of a creative challenge for you to find SpongeBob’s voice and characteristics without the benefit of the animated version’s trademark physical appearance?

LORENZO PUGLIESE: Being able to bring this super iconic character to the stage was and is the hardest thing I’ve ever done. But having the privilege to work with the original creative team that put this whole show together has made it possible. My character is a result of their brilliant direction and guidance.

The cast of The SpongeBob Musical

JHP: Was SpongeBob really your first professional audition?

LORENZO PUGLIESE: SpongeBob was my first ever New York audition! It feels like I won the lottery.

JHP: Just between us….what’s the secret ingredient in the Krusty Krab’s most infamous menu item, the Krabby Patty?

LORENZO PUGLIESE: I’ll never tell 😉

RAPID FIRE FIVE WITH DARIA PILAR REDUS, SANDY CHEEKS IN THE SPONGEBOB MUSICAL

Daria Pilar Redus, Sandy Cheeks in The SpongeBob Musial

JHP: In the animated series, Sandy is a science loving, martial arts practicing squirrel from Texas. How much fun are you having playing het?

DARIA PILAR REDUS: Sandy is such a rewarding role to play! It’s a blast to do martial arts and show off the smarts while getting to tap into the more vulnerable, soft side of Sandy as well. It’s a side that we don’t get to see a lot of in the animated series, so I love being able to explore all of her layers!

JHP: Prior to being cast, had you seen the musical or were you very familiar with the original animated series?

DARIA PILAR REDUS: I saw the musical during its run on Broadway and absolutely loved it! I was a HUGE SpongeBob fan growing up, and actually remain a fan of the animated series to this day. After seeing the musical in NYC, I couldn’t wait until I’d get the chance to be a part of something as beautiful and fun as The SpongeBob Musical!

Daria Pilar Redus as Sandy Cheeks and Lorenzo Pugliese as SpongeBob in The SpongeBob Musical Photo by Jeremy Daniel

JHP: From the images and clips I’ve seen, scenic and costume designer David Zinn has done a marvelous job representing the fun and vitality of Bikini Bottom, even winning the Tony for SpongeBob’s scenic design. Is there a set detail or particular costume that you wish every audience member could get a closer look at to truly appreciate his creative genius?

DARIA PILAR REDUS: Absolutely! I wish everyone could get a close up on Squidward’s legs, although they’re so cleverly done that perhaps they should remain a mystery! The Mermaid costume is actually a collection of colorful rubber kitchen gloves that creatively make up the tail! Every costume in the show was designed so creatively and specifically!

JHP: Also mirroring that same energy is the show’s choreography by Christopher Gattelli, who won the Tony for his choreography of Broadway’s Newsies. How would you describe the choreo in SpongeBob?

DARIA PILAR REDUS: The choreography alone is a reason to come and see the show! There is everything from tap, to hip hop, classic musical theatre, and more! It’s specific, clever, and downright awe-inspiring.

Redus, Pugliese and Bradshaw as Sandy, SpongeBob and Patrick in The SpongeBob Musical

JHP: Hero Is My Middle Name, written by Cyndi Lauper and Rob Hyman and performed near the end of Act 1 by you, Beau and Lorenzo, has proven to be one of the show’s most beloved songs. Performing it night after night the past few weeks as the tour has began, what has the song come to represent to you?

DARIA PILAR REDUS:  Sandy’s circumstances in this song are quite a bit different from that of her two friends. After being outcasted by the community she trusted for so long, it isn’t an easy decision to forgive and do what’s best for the greater good. But she does just that. This song is about friendship, loyalty, forgiveness, courage and strength. The journey from being defeated to being unstoppable is challenging, Sandy is more sure of her decision every new show!

RAPID FIRE FIVE WITH BEAU BRADSHAW, PATRICK STAR IN THE SPONGEBOB MUSICAL

Beau Bradshaw, Patrick Star in The SpongeBob Musical

JHP: Alright, I’m just gonna ask. While studying musical theater in college in Pittsburgh, did you ever fathom that a year later you’d be touring the country as the human counterpart to a famous pink cartoon starfish?

BEAU BRADSHAW: Actually, yes! I saw this show on Broadway during my senior year of college and all I could think about was how much I wanted to play Patrick. This is really a dream come true. 

JHP: Speaking of touring, what’s life on the road been like since the tour first kicked off just a few weeks ago?

BEAU BRADSHAW: Life on the road is a lot of fun. Getting to see all of these different cities is definitely the best part. The worst part about it is all the packing we have to do. 

JHP: As Patrick, you share a lot of your onstage times with Lorenzo’s SpongeBob. What’s he like as a on-stage best pal?

BEAU BRADSHAW: He’s the best. I couldn’t ask for a better scene partner. We really feed off of each other’s energy and that makes the performance exciting and new every night.

JHP: I have to confess…while my nephews grew up watching SpongeBob, I’ve honestly never seen an entire episode. Do you recommend a quick binge of a few episodes before taking in the show, or is it entertaining in its own right that familiarity with the characters isn’t necessary?

BEAU BRADSHAW: If you’ve watched SpongeBob you will definitely be rewarded with some fun Easter eggs but it’s definitely entertaining all on its own. The music alone is a reason to see this show. 

JHP: You’re not just playing an iconic character, you’re also performing musical numbers by some of today’s most iconic and well-known musicians, singers and songwriters. What’s that like, and do you have a favorite amongst the show’s tunes?

BEAU BRADSHAW: I feel so fortunate to be able to sing music by these amazing artists. The score is so well written that it’s honestly, an actor’s dream. My favorite song would have to be (I Guess I) Miss You by John Legend. It such a beautiful song about two best friends realizing how much they love one another. It’s also one of the shows only ballads.

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To keep up SpongeBob and the entire Bikini Bottom gang, follow SpongeBob The Musical on Facebook, Instagram, Twitter and YouTube.

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.