Archives for January 2023

Theatre Review: Circle Players’ Agatha Christie’s ‘Murder on the Orient Express’

January 28, 2023 by Jonathan

When I learned that Circle Players was mounting a production of playwright Ken Ludwig’s stage adaptation of Murder on the Orient Express, on stage through January 29 at The Looby Theatre (2301 Rosa Parks Blvd), I was thrilled. In audience on opening weekend of Agatha Christie’s beloved mystery, I may have had higher expectation than some of the other theatre patrons in attendance. As I alluded when I chatted with the cast for one of my latest Rapid Fire 20Q interview, those higher expectations stem from the fact that I’m a bit of an Agatha Christie purist and nerd, having read my first of her works when I was probably no more than ten or eleven. My obsession didn’t stop there. I began to read her books thematically, in that when I’d travel with family on summer break vacations, I’d read such titles as Death in the Clouds (my first plane ride), The Floating Admiral (while on a boat) and The Blue Train (you get the idea). In October I’d read and reread Hallowe’en Party and darn it if December doesn’t still sees me revisit Hercule Porot’s Christmas. Heck, I’ve seen every film adaptation from Margaret Rutherford as Miss Marple in the 1960s to Kenneth Branagh’s portrayal of Hercule Poirot in last year’s Death on the Nile, so yes, you could say I’m a superfan.

I love that Christie’s Estate contacted Ken Ludwig to ask if he’d be interested in adapting one of her books for the stage. Ludwig, known for writing such plays as Lend Me A Tenor, Moon Over Buffalo and the musical Crazy for You. He has also adapted a number of works for the stage based on characters created by others. Among Ludwig’s adaptations there’s Baskerville: A Sherlock Holmes Mystery, Tiny Tim’s Christmas Carol and Sherwood: The Adventures of Robin Hood. Of course adapting Christie’s 250+ page tale for the stage required a bit of editing for Ludwig’s stage version. Most notably missing are about a third of the suspects. While Christie’s novel includes a very purposeful 12 suspects, Ludwig had narrowed that down to eight. Purist that I am I’m still wrestling with that, mostly because the reason behind Christie having 12 suspects in this particular story was sheer genius, just a very clever A Ha! moment during the final reveal. I get it through, twelve suspects plus Poirot, plus the victim and one other character who is seemingly above suspicion…that’s a lot of people on stage, especially since the entire play takes place aboard a train, therefore limited the physical staging of the show itself. Again, this is just my weird obsessive brain working overtime. Back to my review…

Elliott Robinson, who’s graced the stage of multiple shows, not only at Circle but all over Nashville, might not seem the obvious choice to play the seemingly uptight, no-nonsense Hercule Poirot, but Hillwig knew what he was doing when he cast him. Robinson might not have waxed his stache, but beyond that he perfectly personifies the quirky Belgian master sleuth. Aided by Ludwig’s cheekily written retorts…the script teeters very closely to full-on farce without completely crossing that line…Robinson’s Poirot becomes even more endearing and fun to watch. There’s even a scene or two in which Robinson delivers a bit of dialogue or a witty reply to a fellow actor, then with knowing look, a smile or pause, gives the audience time to process the snark.

Antonio Nappo as Monsieur Bouc is the perfect choice to share the stage with Robinson’s Poirot. In Christie’s novel, Monsieur Bouc is written as almost a younger, less perceptive Poirot, eager to assist the detective in his investigation, but coming up short when connecting the dots, or seeing the many clues to the identity of the guilty. Nappo plays the part with a joyful vigor. Give him a few years and time to train his facial follicles, and I could totally see Nappo taking on the role of Poirot himself one day in the near future.

Tim Bush as Ratchett, a gruff, assertive businessman, is just fantastic. Playing the part to the hilt, it’s easy to see why he ends up (Spoiler Alert!!!) dead in his bed. It’s funny, my companion for the Sunday matinee I attended, leaned over at one point and said she didn’t care for Bush as Ratchett. Knowing what was coming, I thought to myself,”then he’s playing it perfectly”. Shoot, even after the murder, Bush further shows his skills by lying there motionless while the rest of the cast buzz around his character’s berth looking for clues and discussing motive.

As for the suspects, Catherine McTamaney as Princess Dragomiroff is my new favorite. My friend and I both noticed that she was a fully committed to her role in that when she enters the stage, she does so in character. How can I explain it? Some actors walk ’to’ their scene, McTamaney walks ‘through’ hers if that makes sense. She is Princess Dragomiroff. Staunch, unimpressed and mostly unbothered.

Bailey Borders makes some interesting choices as Helen Hubbard. As I mentioned when I chatted with her for my Rapid Fire 20Q interview, the character of Mrs. Hubbard was brought to the screen first by Lauren Bacall, then by Michelle Pfeiffer. Both women played her with an air of refinement and class, coupled with a bit of sass. While Borders’ Hubbard provided plenty of laughs by her boldness, the choice to have her speak with a southern accent, rather than a dialect more fitting the character, put me in mind of Dixie Carter’s Julia Sugarbaker, rather than the aforementioned Mrs. Bogart.

Rounding out the cast are Claire Landers as Greta Ohlsson, Gary Miller as Hector McQueen, Kaleigh Ruiz as Countess Andrenyi, Nick Spencer as Colonel Arbuthnot, Emily Summers as Mary Debenham and Barrett Thomas in the dual role of Michel the Conductor and Marcel, the waiter, oh, and Michael Hutson as the voice of the announcer. Each member of the company plays well off each other and easily convince the audience not only are their on-stage relationships plausible, but so are their accents…for the most part. I mention this because this show is comprised of characters from all over the globe, from the US to Germany, with Russian, Hungary and other places of origin thrown in for good measure. That said, the cast pulls off a multitude of accents…almost as well as the culprit pulls of the murder.

On the technical side of things, not only is Hillwig directing Murder on the Orient Express, he also designed the set. While the majority of the action does indeed take place aboard a moving train, there are actually a few sets. First here’s a cafe at the train station, then the exterior of a smaller train, the exterior of the Orient Express, the sleeping berths and the dining car. There’s also scenes that take place in the rail’s communications room and the back rail of the caboose. I don’t know if my eyes were playing tricks on me or not, but I swear, by clever usage of lighting cues courtesy Daniel Default, the exterior or the trains took on a different look between being the Taurus Express (at least that’s the name of the connecting train in the novel) and the more exclusive Orient Express. While watching the cast of characters board the Orient Express, the thought did cross my mind that I wished the exterior of the Orient Express look a little more grand and stately. Those ideals were put to rest once later when the set rotated to reveal the interior dining car. Hillwig, his master carpenter, Tony Nappo and props courtesy Suzanne Spooner-Folk together, created a perfectly lush look for the dining car, complete with what appeared to be lacquered woodgrain panels, hanging sconces, a bar cart and the like.

Hillwig’s staging is also to be commended, even in the final scenes in which Poirot reveals the truth, and the entire cast (save the victim) are on stage, it never seems crowded or forced and Hillwig’s staging and direction allow the audience to witness even the most subtle of movements and reactions of the guilty as the beloved detective unravels the mystery once and for all.

Before wrapping up the cast of the theatre review, I should mention that during the intermission I overheard a group of friends in the row behind me discussing who they through the murderer might be. I can’t tell you how much it thrilled my Agatha-loving heart that of the four who weren’t familiar with the outcome of the play…a story that’s based on a book that’s nearly 90 years old, mind you…each had a different suspect in mind.

As a lover of all things Christie, I can say without hesitation that director Clay Hillwig and his cast, lead by Elliott Robinson bring Christie’s beloved story of mystery, deceit and murder to the stage with such finesse—and thanks to Ludwig having peppered the script with some punchy dialogue—a great deal of unexpected humor than even the most ardent fan will be happy they were along for the ride.

Circle Players’ Agatha Christie’s Murder on the Orient Express pulls out of the station for two more mystery-filled rides Saturday, January 28 at 7:30pm and Sunday, January 29 at 3pm. All tickets are $27 (including fees). CLICK HERE for tickets.

Next up for Circle Players is Peter and the Starcatcher, directed by Jim Manning with musical direction by Teal Davis, on stage at the Looby Theatre March 10-26. CLICK HERE for tickets. To keep up with the latest from Circle Players follow them on Facebook, Instagram and Twitter.

If you’ve enjoyed this latest Rapid Fire 20 Q, be sure and CLICK HERE to check out previous conversations. 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, Twitter and Facebook.

Rapid Fire 20Q with dancers Jade Primicias and Seah Hagan, on tour now with MOMIX Alice; at TPAC January 27-28

January 27, 2023 by Jonathan

MOMIX Alice, an evening of dance that puts a new spin on characters first introduced in Lewis Carroll’s beloved tales of a young inquisitive girl’s adventures in Wonderland is headed to TPAC’s Polk Theatre for a limited two-night engagement Friday and Saturday, January 27 and 28. Highlighted by theatricality, mood-setting lighting, gorgeous costumes, ever-morphing props and sets, the current tour marks MOMIX Alice‘s Music City premiere. As the company prepared for their Nashville debut, I had the opportunity to chat with two of featured dancers, Jade Primicias and Sean Hagan for my the latest installment in my recurring interview feature, Rapid Fire 20Q.

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RAPID FIRE 20Q WITH MOMIX ALICE’s JADE PRIMICIAS AND SEAH HAGAN

RAPID FIRE WITH JADE PRIMICIAS

JHPENTERTAINMENT: Thanks so much for taking the time to chat with me. A huge fan of everything Alice, I’m excited about the show. Before we get into specifics about the show itself, let’s chat a bit about your dance history. How old were you when you discovered dance?

JADE PRIMICIAS: I think dance actually discovered me. Some of my earliest memories involve prancing along with the dancers on TV, or giving my family little recitals in our living room. Like so many of us, I’ve been a dancer since I was in the womb.

JHPENTERTAINMENT: Did you take lessons from an early age?

JADE PRIMICIAS: My first dance lesson was at age five, thanks to two women who saw me dancing at a Spice Girls concert. They asked my parents if I was enrolled in classes, then assured them that I should be.

JHPENTERTAINMENT: What’s the biggest misconception about dancers?

JADE PRIMICIAS: Previously, I would have answered that some people hold the misconception that dancers aren’t intellectual or chose the arts because of an inability to achieve something more lucrative or “difficult,” however, as my career has progressed I’ve learned that it runs even deeper than that. There exists, unfortunately, a general disrespect or overall ignorance regarding the value of the arts as a tenable career field. Many people disregard or don’t understand its existence as a profession and rather view it as more of a hobby, more commonly in the South, especially further from metropolitan areas. This could, of course, be attributed to the lack of value placed on dance and arts education in public schools as well as the inaccessibility of funding for the arts, rendering artists and dance companies less able to perform in lower income or otherwise underserved communities.

As valedictorian of my high school class and a University Honors College graduate, I’m proud to say that dancers are overwhelmingly intelligent, hard workers who experience both the joy and suffering that come with many other valid careers. The arts are incredibly important to our culture and to sustaining human life, and I’m incredibly thankful to be able to serve my community by sharing my art with audiences around the world.

JHPENTERTAINMENT: When did you realize you could have a thriving career in dance?

JADE PRIMICIAS: I don’t think I ever came to that realization, to be honest. Perhaps it was towards the end of my senior year of high school, when I had just accepted a scholarship geared toward women entering the field of engineering; I had my future planned out ahead of me, but I realized that it meant giving up my truest passions: what I knew could make the biggest impact. I changed my plans and double majored in Dance and Creative Writing instead, and I never looked back. I didn’t know if a successful career would come of it, or anything for that matter– I just knew I couldn’t leave it behind. Simultaneously, much of my success is rooted in privilege. It’s often quite expensive to engage in the arts, and I’m very lucky to have had a strong familial support system, reliable housing, and the ability to work multiple jobs while pursuing my dance career.

JHPENTERTAINMENT: While researching to chat with you, I discovered you’ve not only got ties to Tennessee, but also neighboring Kentucky. What can you tell me about your southern ties, and will playing Nashville’s TPAC afford you the chance to reconnect with friends and former colleagues?

JADE PRIMICIAS: It absolutely will! I was born, raised, and educated in Western Kentucky and currently live in Memphis, although with our tour schedule I’m usually away from home. Performing in Nashville provides the opportunity for many of my communities, friends, and loved ones to come together to see the show that is so near and dear to my heart, many of whom haven’t seen me dance since I was a kid– or at all. It will be an emotional weekend of performances for sure!

JHPENTERTAINMENT: For those not familiar, how would you describe MOMIX in three words?

JADE PRIMICIAS: Look, no hands!

JHPENTERTAINMENT: How did your association with MOMIX begin?

JADE PRIMICIAS: I first heard about MOMIX while training with Pilobolus, the plant from which MOMIX was propagated, following their performance in Germantown, Tennessee. They were describing companies who created work along a similar vein, using strong partnering and improvisational techniques, and my interest was piqued. Two years later, I saw MOMIX on the same stage where I’d also seen Pilobolus for the first time, and I knew that I’d found my people– or in that show’s case, bugs. After an incredible stroke of fate, I saw them for a second time the following year and met up with one of the dancers after the show. I teared up as I expressed how much I loved the shows and saw myself in the work, and the dancer gave me the most mind-blowing piece of advice yet: just audition. As a small town, Kentucky girl, this possibility had never occurred to me. With more luck and the support of the incredible Memphis dance community, I made my way up to Connecticut (leaving during bows for a Tennessee Ballet Theater show I was directing with Erin Walter) to catch the last flight to New York on a Sunday night, and the rest is history.

JHPENTERTAINMENT: Fans of Lewis Carroll‘s Alice character are loyal indeed. I can attest to that fact as one of my dearest friends is absolutely Alice obsessed. Considering the fandom, in what ways does MOMIX Alice honor Carroll’s beloved characters?

JADE PRIMICIAS: Our Artistic Director Moses Pendleton did his due diligence in researching Alice, sharing fun facts about Lewis Carroll and his inspiration for the famous stories along the way and even incorporating the “original” Alice into the show. Moses was sure to include the timeless White Rabbit, the hypnotic Caterpillar, Mad Hatter(s), the incorrigible Queen of Hearts, chaotic playing cards, red roses, and of course Alice herself, but we invited some of the lesser known characters into the mix as well, giving the show an even more authentic charm. The Cheshire Cat, for example, appears and disappears perhaps before Alice sees it herself… Fans will recognize even more obscure references, such as in the section of the show entitled “The Tweedles” which pays homage to both its namesake and to the “Pig and Pepper” scene from the book, during which a baby that Alice is holding turns into a pig. The Mock Turtle even makes an appearance, singing her lament. Finally, bonus points go to those who can identify the song, or poem, to which the lobsters perform their quadrille!

JHPENTERTAINMENT: That covers the original nods, so, on the flip-side…are there elements in this retelling that are unique and new that you yourself particularly enjoy?

JADE PRIMICIAS: Moses loves wordplay, and of course it’s MOMIX tradition to bend the rules of reality. In addition to growing taller and smaller, in our version, Alice multiplies! These Alices appear and disappear throughout the show, taking the audience deeper into wonderland as we fall again and again into the rabbit hole–or perhaps into chimneys—in Lewis Carroll’s imagination. Another more imaginative section of the show lies within the Garden of Molar Bears & Other Creatures… audiences will stumble upon characters that Alice may not have spied in the book, but that must have spied-her. One of my favorite curious creatures is what we call Datura, named for the beautiful yet deadly nightshade flower it sometimes resembles. Truly, Lewis Carroll lulls Alice into a whimsical dream-state starting from the show’s opening piece, where he guides her into wonderland and beyond. Every time I “fall asleep” on that ladder, I wake up and I am Alice, excited to take the audience with me on the adventure of a lifetime.

RAPID FIRE WITH SEAH HAGAN

JHPENTERTAINMENT: While researching to chat with you I discovered you’re a third-generation dancer, so I’m guessing if the phrase “Born to dance” was ever true, it was true in your case. Would you agree?

SEAH HAGAN: Dance has been a part of my life since I can remember… I grew up in the theatre and watching, living, and breathing dance. So more than born to dance I was “born into dance”!

JHPENTERTAINMENT: On the subject of your family’s connection to dance, you even studied under both your parents, Natalia Botha and Charles Hagan at Southern Academy of Ballet Arts. What’s more challenging, being a student of your parents in dance, or in life?

SEAH HAGAN: My parents have always been extremely supportive of me both inside and outside of the studio. They have been my toughest critics but also my biggest fans throughout my life. To have professional dancer/teacher parents and grand parents gave me a unique upbringing. One I am very grateful to have had. Not everyone understands the rigors of a professional dance career, the training it takes to get there, and the sacrifices made, so to have your parents in your corner though all of that is a one-of-a-kind sort of support that I am beyond grateful. Also, because they know me so well, they are always sure of what I am capable of so there is always room to be pushed further when necessary and also when to be nurtured in the moments needed.

JHPENTERTAINMENT: What’s the most valuable lesson you’ve learned from your parents? Again, you can answer this as it relates to dance, or as it relates to life itself…

SEAH HAGAN: My parents taught me the value of hard work. It doesn’t go unnoticed even if you think it is. Someone is always watching and taking note of the space so always put your best foot forward no matter the situation.

JHPENTERTAINMENT: When and how did your association with MOMIX begin?

SEAH HAGAN: My parents trained another dancer who is now former MOMIX member many years ago. I saw a MOMIX show many years ago when I was too young to remember, unfortunately, but I grew up hearing the name and when I saw the company’s work I was in awe. I audition in 2017 for MOMIX and did my first tour less than a month later. I was freshly 18 years old when I got the job and my whole world turned upside in the best way possible.

JHPENTERTAINMENT: Thus far, you’ve danced in three MOMIX shows. What’s your favorite aspect of being a member of the company?

SEAH HAGAN: MOMIX is unlike any other company. Not only is the work one of a kind, but also the atmosphere. Having the honor of working with Moses Pendleton and Cynthia Quinn—our Artistic Director and Associate Director—is incredible. Both have so much valuable insight into dance and movement that not only applies to the work but can be taken into the outside world as well. The other dancers in the company also each have a unique blend of skills that you are constantly learning from by just being around them and you are forever pushed to explore new limits and comfort zones in the studio. I could go on forever. The touring life too is so special. We travel and preform most of the days out of the year and are a very tightly knit group who essentially work, eat, dance, live, and grow together which forms bonds as deep as family. The memories made here are the best of the best. We go to incredible places all over the world from Europe to Asia and all across the United States and each place is just as special as the last.

JHPENTERTAINMENT: You have been with Alice since the beginning. What’s most gratifying about seeing a project from inception to presentation?

SEAH HAGAN: Watching and being a part of Alice’s creation and ever-changing development has been a journey. Much as Alice the character is traveling though the different parts of Wonderland, Alice, the production, is on a voyage through different stages of MOMIX-land. It’s been very special to watch the show come together and deepen over the years.

JHPENTERTAINMENT: Is MOMIX Alice like most theatrical presentations in that…certain dancers are cast as certain characters? Or might someone dance the role of Alice one show and the next tour stop, they might be the Mad Hatter?

SEAH HAGAN: We occasionally have changes to casting but typically have a set “tack” we preform throughout the show. The production is different in the sense though that we all play multiple characters. For example, in this show I am: Alice, a rabbit, part of the Lobster Quadrille, the Queen of Diamonds and Hearts, one of the creature in the garden, the Wolf Spider, and then back to Alice many times throughout the show. Each dancer has a similar arrangement of roles so there are many different “hats” to be worn throughout the show!

JHPENTERTAINMENT: Dance is a very demanding profession, requiring constant body maintenance, whether it be stretching, working out, or simply finding time and space to move, rehearse and tune your craft. How does that work while on the road?

SEAH HAGAN: We are preforming most every day on tour so our workout comes mostly from the show. We take a ballet class every day to warm up, so we are maintaining our technique as well. A lot of the dancers supplement here and there by practicing yoga or doing Pilates. Personally, ballet or riding a bike is my exercise of choice. Also, we definitely get our steps in by exploring the cities we are preforming in before the shows and on days off. It’s most difficult on long travel days with fights or extended drives but we all have our own personal ways to tend to our bodies as needed.

JHPENTERTAINMENT: Wardrobe, set design and lighting play a supporting role in dance performance. Is there a particular scene, segment or look…whether your’s or one of your fellow dancers…that you simply love?

SEAH HAGAN: The whole show is a visual spectacle, so every scene has something to look for. I would say the lobster quadrille is always very eye-catching to the audience and fun to perform as the dancers are manipulating large hoop-skirts into different shapes and accessories. This piece is challenging from a dancer perspective because the piece is really a dance for the prop and learning how to remain understated personally while still performing is quite difficult at first.

JHPENTERTAINMENT: Alright, we’ve come to the end of our chat. I usually like to close my interviews by asking….What do you hope audiences come away with after having witnessed MOMIX Alice?

SEAH HAGAN: I hope the audience lets Alice take them on a trip though Wonderland in the abstract design it was created in. I always like to tell people to let their imagination run wild and don’t be afraid to let your natural reactions out whether it be laughter, curiosity, or amazement. Come with us into the world of Alice and let us transport you to another dimension!

MOMIX Alice invites Nashville audiences to travel down the Rabbit Hole with two Music City performances at TPAC’s Polk Theatre, Friday, January 27 and Saturday, January 28 at 8pm each night. At the time of this interview, limited tickets remain for both performances. Tickets start at $55 and are available HERE. For even more of an insider’s look, patrons are invited to attend a special TPAC INSIDE/OUT WORKSHOP: MASTERCLASS WITH MOMIX from 3pm until 4:30pm on Saturday, January 28 at TPAC’s Rehearsal Hall. Tickets to the workshop are $10. CLICK HERE to reserve your spots.

Not in Nashville, but interested in seeing MOMIX Alice in a town near you? You can keep up with the the company and the tour by following MOMIX on Facebook, Instagram, Twitter and YouTube.

Following MOMAX Alice‘s Nashville engagement, TPAC continues to celebrate dance with Shen Yun returning February 3 & 4 and Nashville Ballet‘s premiere presentation of Attitude: Anthology February 10-12. Then, TPAC’s Perspectives series returns with Why Would I Mispronounce My Own Name? February 10-12. Broadway at TPAC continues with the Nashville debut performances of the National Tour of SIX the Musical February 21-26…just to name a few upcoming events. For the full calendar of performing arts coming to TPAC, check them out online and on socials by clicking any of the following: TPAC.org, TPAC on Instagram, TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

Rapid Fire 20Q with director and cast of Circle Players’ “Agatha Christie’s Murder on the Orient Express”; onstage at Looby theatre January 13-29

January 13, 2023 by Jonathan

Agatha Christie has long been my favorite mystery writer, having first discovered her by way of film adaptations when I was younger. With an introduction to her work via film versions of The Mirror Crack’d, Death on The Nile and Murder on the Orient Express, I was quickly obsessed. Heck, I even began reading Christie’s novels in a thematic manner…the first time I flew in an airplane, I read Death in the Air, at Halloween and Christmas I read stories featuring her most famous detective, Hercule Poirot that took place during those holidays. When I heard Circle Players was mounting Ken Ludwig’s stage adaptation of Murder on the Orient Express I hoped I’d kick off the new year by featuring some of the cast and crew for my latest Rapid Fire 20Q. In spite of the fact that they were in the throes of tech week, I was thrilled when director Clay Hillwig and cast members Elliott Robinson, Antonio Nappo and Bailey Borders graciously agreed to chat with me in the days just prior the show opening at Looby Theatre Friday, January 13. What follows are those conversations.

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RAPID FIRE 20Q WITH DIRECTOR AND CAST OF CIRCLE PLAYERS’ AGATHA CHRISTIE’s MURDER ON THE ORIENT EXPRESS

RAPID FIRE WITH MURDER ON THE ORIENT EXPRESS DIRECTOR CLAY HILLWIG

JHPENTERTAINMENT: How did directing Murder on the Orient Express for Circle come about?

CLAY HILLWIG: A little over a year ago, Circle Players reached out to me and asked if I would be interested in directing this show. I could not type “Y-E-S” out quick enough in my response. To be honest, it had not been on my list. I am still questioning how it wasn’t. I guess fortune placed it in front of me and I am very thankful to Circle Players that it did.

JHPENTERTAINMENT: This may seem a simple, obvious question, but having appeared both in shows, as well as being part of various productions’ crews, do you think that gives you an advantage as a director guiding actors?

CLAY HILLWIG: That is a good question. I do not know if it necessarily gives me and advantage, but it definitely gives me a full understanding of the moving parts of a production. In regards to guiding actors. I have always approached directing style and my relationship with my cast, based my own desires as an actor. How do I what to be directed? How do I want to be treated during the process? Am I being challenged to grow in my craft as an actor? Do I trust my director to provide both positive and negative feedback in a constructive manner, Is my director available, to guide me in defining the character I am playing and my relationships with the other characters within the story? Most importantly, is my director providing a safe environment to work in? I have been labeled as “an actors director”, which tells me that my approach is making a positive impression. Communication with my actors is crucial to me. Making sure that I am listening to them and their ideas with the same patience and respect that I require from them. That being said, I believe that it is also very important to strike a balance of directing through the process and knowing when to get out of the actors way. My goal is always to provide a drama free, safe environment, for my actors to work and grow in their art. If the production is flawless and receives rave reviews, but I have failed in this important part of the process, I cannot walk away with the satisfaction that is was a successful production. I would like to take this opportunity to say that this cast had been a pure joy to work with. They have showed up prepared from the very beginning of the process and have made my role as their leader as smooth as it could have possibly been.

JHPENTERTAINMENT: I myself am a lifelong Christie fan, heck I recently finished my annual holiday re-read of her seasonal mystery, Hercule Poirot’s Christmas, so suffice it to say I’m perhaps a tad more familiar with Christie than some of your audience might be. That said, Christie’s novel includes 12 suspects, but playwright Ken Ludwig opted to par down the suspect list to eight. How does this enhance the telling of the story of the stage play

CLAY HILLWIG: It is an interesting choice by Ludwig to reduce our suspects from 12 to 8. He took some license in the melding of characters from the original 12 to the 8 that we have here, without taking away from the original writing of Ms. Christie . The result is a very tight, fast paced, well written script. Though Christie purist may not agree, I believe that the choice in this adaptation works very well for the stage. The strongest endorsement is from the Agatha Christie Limited, who personally requested he take on this adaptation. Ludwig refers to this project as one of the highlights of his career. I think we can all understand why.

JHPENTERTAINMENT: In addition to directing, you’re doing double duty as the show’s set designer. As the title might suggest, the action takes place primarily aboard the infamous train. What’s the biggest advantage—aside from the assumed less number of sets—to directing a show that takes place in a relatively confined solitary space?

CLAY HILLWIG: Not easy!!! Yes, there are limited sets, but the size of the set and the limited space for our scenes to play out has been challenging. When you research the original Orient Express, space is very tight throughout. It is important that we are telling our story from within the tight confines of the train and not the expanse of the theater stage.

JHPENTERTAINMENT: While the story is set in the confines of the legendary train, the cast of characters provide an international flare with travelers from England, France, Belgium, Russia, the US and more, so I gotta know…who’s the show’s dialect coach?

CLAY HILLWIG: Early in the production process I had reached out to candidates to join us as dialect coaches, Of course schedules and conflicts tend to alter our best laid plans as you get closer to the target date.. But, there is always a solution. In this case I was very fortunate to cast two actors, Barrett Thomas and Kaleigh Ruiz, who have both a minor and major in French and Belgium.. They have worked closely with our players in perfecting these accents. As for our other dialects, the actors came prepared, some with accents already in place, others working very hard using various tools that are available. YouTube is a wonderful thing!!

RAPID FIRE WITH MURDER ON THE ORIENT EXPRESS’s HERCULE POIROT, ELLIOTT ROBINSON

JHPENTERTAINMENT: As you reveal in your cast bio, Murder on the Orient Express marks your tenth time to appear onstage with Circle Players. I think I’ve seen you in each of the previous nine. Whenever an actor has such a longstanding relationship with a theatre company, I always like to ask…What is it that keeps you coming back?

ELLIOTT ROBINSON: Bottom line is, Circle Players always mounts quality productions. The rehearsal processes are drama-free, I always get to work with amazingly talented casts and crews, and the end result is something that all of us, and all of Nashville can be proud of: professional-quality live theatre productions, and a great variety of them, whether they be musicals or not.

JHPENTERTAINMENT: Hercule Poirot and Miss Jane Marple, another of Christie’s best-known detectives, are among the most beloved literary detectives of all time. What’s it like portraying such an iconic character?

ELLIOTT ROBINSON: It’s a huge challenge because so many people know the character. When I mention the role, so many people have shared their recollections of Poirot, and sometimes ask me whether I am going to try to recreate this scene, or this mannerism, or whatever; simply, the answer is no. I am going to make the character my own. I wouldn’t dare watch a movie or anything like that involving a character I’m working on, for fear that – even subconsciously – I might imitate something that someone else did. So, I take all my cues from the words in the script, plus my director’s notes and my own research about the character.

JHPENTERTAINMENT: Having just chatted with your show’s director, I brought up the subject of the variety of character dialects. As Poirot, your character is infamously from Belgium. If you were to teach a quick course in the Belgian dialect, what would your top two helpful hints?

ELLIOTT ROBINSON: I would NOT be able to teach a course! It is clear that, with all of the French phrases peppered into the script, that Poirot is from a part of Belgium that is French-influenced, as opposed to some Belgians that have more of a Dutch flavor to their speech (I learned that searching youtube clips!). I will say that a couple of fluent French-speakers in the cast have been tremendously helpful, guiding me through the French phrases, as well as helping me with the accent. Ultimately, I am more worried about the audience understanding what I’m saying than I am about being the “most French,” if that makes sense.

JHPENTERTAINMENT: Do you think you’d be a good detective in real life?

ELLIOTT ROBINSON: I think I have some good detective-ish qualities, like attention to detail, and I feel that I’m a pretty observant person. What I don’t know is how much pleasure I could derive from it. Could I truly enjoy running headlong into brick wall after brick wall, figuring out new clues or ideas because the previous ones have not panned out? Also, I’m one that does not much go for the thrill of danger; I prefer a much calmer existence.

JHPENTERTAINMENT: What is your favorite aspect of Poirot’s personality?

ELLIOTT ROBINSON: His intelligence. He is very well-read, and very well-rounded. He speaks multiple languages, has a grasp of world history, he knows his Shakespeare, and he is somewhat of a psychologist (as well as a bit of a flirt). He is not swayed by false evidence, and his calculating manner gets to the exact way things went down. Brilliant man!

RAPID FIRE WITH MURDER ON THE ORIENT EXPRESS’s MONSIEUR BOUC, ANTONIO NAPPO

JHPENTERTAINMENT: What can you tell me about Monsieur Bouc?

ANTONIO NAPPO: He is larger than life.

JHPENTERTAINMENT: Circle shared cast portraits on socials recently and the first thing I notice was that you’ve apparently cut your hair and trimmed your beard. The story takes place in the early 1930s. Was it a no-brainer to alter your appearance to better fit the aesthetic of the show?

ANTONIO NAPPO: Absolutely, Clay’s question to me at auditions was if I was married to the long hair/beard look. I said I’m not, but my wife is. She’s the one who took some convincing.

JHPENTERTAINMENT: In Christie’s original novel, Monsieur Constantine Bouc is a military man from Belgium. The 1974 film adaptation and playwright Ken Ludwig’s all but drop the character’s military background, instead focusing on his current position as a high-level employee of the rail company.As you’ve developed your portrayal of Bouc, have you created any backstory in your mind that you’d care to share?

ANTONIO NAPPO: His deep friendship with Poirot is paramount to me. It’s at the core of who Bouc is.

JHPENTERTAINMENT: When Christie’s novel was released, it was immediately apparent that the events that open the story were directly lifted from the now-historic 1932 kidnapping of Charles Lindbergh, Jr. Was that bit of trivial ever discussed during rehearsals or is that something you knew prior?

ANTONIO NAPPO: We did discuss it, at length. But I did know about it prior to going into this show.

JHPENTERTAINMENT: In keeping with the subject of the show…If you could get away with a crime…would you?

ANTONIO NAPPO: How do you know I haven’t already?

RAPID FIRE WITH MURDER ON THE ORIENT EXPRESS’s HELEN HUBBARD, BAILEY BORDERS

JHPENTERTAINMENT: Alright, as this show’s Circle Players newbie, I gotta ask…what’s the experience been like so far, working with Nashville’s oldest continuing theatre company?

BAILEY BORDERS: This has been the smoothest experience I’ve ever had in community theater and I’d like to thank our whole team for that! The cast has been so supportive and Clay is such a wonderful director to collaborate with. We’re leaving the drama for the stage for this one!

JHPENTERTAINMENT: While it’s your first show with Circle, you’re a Nashville native, having studied at Nashville School of the Arts. After school you relocated to Los Angeles to continue your pursuit of acting and recently relocated back to Music City. What’s your impression of the changes and growth of Nashville since you were last here?

BAILEY BORDERS: I’m loving the growth of the city, but I have to say I miss some of our local hangs that couldn’t withstand the rent increase. While there’s so much more to do and explore, I hope we’re able to keep the charm Nashville has always had!

JHPENTERTAINMENT: In Agatha Christie’s source material, as well as subsequent film adaptations and now this stage version, Helen Hubbard has always been portrayed with a certain air of elegance and a bit of initial arrogance. How much fun are you having playing her?

BAILEY BORDERS: Helen Hubbard has been an absolute blast to play! I love a strong, outspoken character. She has so many levels to explore. My favorite part of Mrs. Hubbard is her brashness. She’s somehow able to maintain an elegance while being the life of the party.

JHPENTERTAINMENT: From the legendary Lauren Bacall’s portrayal of Mrs. Hubbard in the 1974 film to the equally glamorous Michelle Pfeiffer in Kenneth Branagh’s 2017 remake, a huge part of the character’s mystique manifests itself in her fabulous wardrobe. For Circle’s production, Denese Evans is the show’s costumer. What can you tell me about your Mrs. Hubbard’s style?

BAILEY BORDERS: Denese has been outstanding at creating Mrs. Hubbard’s aesthetic. Collaborating together on her hair, makeup, and classic pieces has been one of the most fun elements of seeing Helen brought to life. Mrs. Hubbard is glamorous and does not shy away from a show stopping garment. She uses her wardrobe as her space to shine!

JHPENTERTAINMENT: So, whodunnit? Just kidding. What is it about Murder on the Orient Express that you think audiences will enjoy most?

BAILEY BORDERS: I think audiences will be pleasantly surprised at the amount of comic relief in our show! The tension is always there, as the mystery unfolds, but there are some wonderful moments in between that provide a certain lightness.

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To take a ride on the Orient Express, CLICK HERE to purchase tickets to Circle Players’ presentation of Agatha Christie’s Murder on the Orient Express. The show runs Friday, January 13 through Sunday, January 29 at Z. Alexander Looby Theatre (2301 Rosa Parks Blvd). Tickets are $20 for Thursday performances and $25 Fridays-Sundays. To keep up with the latest from Circle Players follow them on Facebook, Instagram and Twitter.