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Archives for June 2024

Rapid Fire Q&A with Stars of ‘The Beauty Queen of Leenane’; onstage at Playhouse 615 beginning June 21

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Having premiered in Ireland in 1996, playwright Martin McDonagh’s The Beauty Queen of Leenane quickly made its way to The West End, then in 1998, to Broadway where it received six Tony nominations, taking home four. On Friday, June 21, The Beauty Queen of Leenane comes to Playhouse 615 with performances through Sunday, July 7.

Directed by Playhouse 615’s Artistic Director, Joel Meriwether, The Beauty Queen of Leenane stars Cat Eberwine, KC Bragg, Andrew Gately and Lindsey Patrick-Wright. Earlier this week as the cast and crew were preparing for their Friday, June 21 opening night, I had the opportunity to pose a few questions to Eberwine and Wright for the latest edition of my recurring Rapid Fire Q&A interview feature. What follows are those conversations.

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RAPID FIRE Q&A WITH CAST MEMBERS OF PLAYHOUSE 615’s THE BEAUTY QUEEN OF LEENANE

RAPID FIRE WITH THE BEAUTY QUEEN OF LEENANE’s MAG, CAT EBERWINE

JHPENTERTAINMENT: For those unfamiliar, what’s the basic plot of The Beauty Queen of Leenane?

CAT EBERWINE: At it’s core, I believe it’s about desperation, fear, and longing and the absolute driving need to feel loved and the fucked up ways people choose to show that love. It touches on mental illness, dysfunctional family dynamics, aging, abuse, and the “unnecessary neediness of a parent upon a child and the harm we inflict upon one another when our dreams don’t come to fruition”. We follow members of two Irish family’s who have lived in the same small town of Leenane all their lives, with very brief moments of escape, but they always return. When we meet them, all but one is desperate to get away.  It could appear on its surface to be a “day in the life” play, until it turns into an episode of Creepshow or Twilight Zone.

JHPENTERTAINMENT: How familiar were you with the work prior to auditioning?

CAT EBERWINE: Not at ahl, as dey say. I was just finishing up with Nunsense and didn’t have any other projects lined up, but I had missed the initial set of auditions due to opening weekend. Joel graciously loaned me the script the night before callbacks and I finished reading it about an hour before they started. I just knew enough from the text to get an idea of who Mag and Maureen were…and I can’t resist the chance to do an Irish accent!

JHPENTERTAINMENT: You play Mag, Maureen’s manipulative aging mother. Recently, you offered a sneak peak via social media of your physical transformation in the role. What can you tell me about how you and director, Joel Meriwether decided on Mag’s look AND how does the drastic change in your physical appearance enhance your ability to engulf yourself in the role?

CAT EBERWINE: The age of Mag, being almost twenty years older than I am, and Playhouse 615 being such an intimate theatre, in addition to the fact that Joel wanted the set to be placed really far downstage, made me a little hesitant to accept the role. I didn’t want to be a caricature of a old woman, so we had a long talk about it and when I felt confident he would give me the freedom to “do it right”, I accepted the role, even though I was not thinking I had been seriously considered for Mag until he called and offered it to me. The first thing I found was Mag’s voice, which is lower and slightly more gravely than my typical speaking voice, with a rural, Galway County Irish accent, with a few words she likes to pronounce incorrectly just to drive Maureen nuts. The rest Joel graciously let me design, which started, believe it or not, with my favorite pair of work boots, which, at this point, are practically falling off my feet and still spattered with the mud from when I shoveled out my driveway. For some reason, those boots helped me become Mag before anything else. And, as I love wigs, I found a grey one in a style I am very fond of, and once I put it on, it was a huge help. I found a picture of a woman online when I Googled “70 year old Irish woman on a farm” and this became the inspiration for Mag’s braids. I then started adding a few different costume pieces, but, even before doing ANY old age makeup, I got a white contact which I put in one eye. I had ordered it thinking it would be cloudy and not completely white, but it just creeped everyone out so much, we knew it was perfect. But the cherry on the cake of Mag, finally came when someone brought in a beautifully weathered driftwood cane…then she really came to life…banging it on the ground to emphasize her point, leaning on it to indicate how bored she is with the conversation, or using it to reach the cookie tin on the top of the cupboard that Maureen has put out of her reach just to be mean. The actual “old age” makeup will be minimal and I’m still trying to land on a design I like, but it really is the voice, the boots, and the cane if I had to narrow it down. However, when it comes down to it, and to answer the last part of your question, I don’t need a thing to engulf myself in Mag…she’s pretty much just me in a cranky foul mood.

JHPENTERTAINMENT: In addition to your primary co-star, Lindsey Patrick-Wright, who I’ll be chatting with next, you share scenes with Andrew Gately as Ray. What do you admire most about Andrew’s portrayal as Ray?

CAT EBERWINE: Oh, Andrew is wonderful and I am so excited to be on stage with him after seeing and costuming him in Lakewood‘s Christmas Carol as Fred. He has such a great voice and presence on stage and he is so “easy” to be on stage with…as are all the actors in this play…it’s been a joy rehearsing. He’s got great timing and understanding of the character, we never even talked about anything, just started reading the scene and it took off. His character is considered the “comic relief”, and a lesser actor could very easily have taken it in a direction that didn’t serve the overall mood of the play, but his scenes allow the audience to breathe a bit and chuckle, but still keeps you in the world of the production. And he’s got one of the best final exits ever, makes me “LOL out loud” every night.

JHPENTERTAINMENT: Mag seems villainous in her controlling nature. As cynical as I am, I still believe there’s good in everyone. What’s Mag’s best character trait?

CAT EBERWINE: I’m glad you said she “seems” villainous, because the way McDonagh writes this play, it can be difficult to determine at times. Maureen’s stay in the mental hospital is an undetermined time prior to the play, but it’s clearly stated that she remains an out-patient as long as she’s in Mag’s care, but we don’t exactly know why, but we know that it’s not just “nerves”. Does she puts up with Maureen’s abuse out of a desperate fear of being alone, as it is established that she CAN care for herself if she has to?  I’m convinced that, in her way, she loves her daughter, and there is something more behind her being manipulative in order to keep Maureen close, I think she’s scared FOR her…not scared OF her.  Good or bad, her “strongest” character trait I would say is “determination”. She is so determined to keep Maureen at home, whether it’s because she REALLY is just so desperately lonely or “afeared’ of having to care for herself, or is it because of what she knows about Maureen’s “condition” and knows that it’s really Maureen who can’t survive alone in the big, bad world.

RAPID FIRE WITH THE BEAUTY QUEEN OF LEENANE’s MAUREEN, LINDSEY PATRICK-WRIGHT

JHPENTERTAINMENT: To begin, I must admit, I only have a vague familiarity with The Beauty Queen of Leenane, remembering it won four of the six Tony awards for which it was nominated, including Marie Mullen taking home the Best Leading Actress statuette for her portrayal as Maureen. Now you’re taking on that same role. Who is Maureen to you?

LINDSEY PATRICK-WRIGHT: This process has been so interesting, because I have found myself being very overprotective of Maureen. She is so complicated and so raw at times, but I admit I fell in love with her when I saw this play performed 20ish years ago in Memphis. Maureen is the embodiment of the power of hope – at the end of the day, it can either ensure survival or destruction and that dichotomy seems to drive Maureen. 

JHPENTERTAINMENT: Playhouse 615’s own Joel Meriwether is directing. What is it about Joel’s style as a director that lends perfectly to helming this particular piece?

LINDSEY PATRICK-WRIGHT: Joel has made this an incredibly collaborative process. Starting with building a cast of actors ready to show up and explore. We spent a lot of time on table work to gain an understanding of these four characters and what makes them tick and connect. For this show, Joel is working with an Assistant Director Preston Alexander Raymer who also embraced the collaborative spirit. The show can be extremely heavy at times, so they would encourage us to play (they would say “let’s get weird!”) to find the beautifully-written (and needed) levity in the script. That sense of play and adventure has allowed us to find the musicality of the changing tones within the scenes.

JHPENTERTAINMENT: The subject matter seems to have hints of classics like The Glass Menagerie or even Flannery O’Conner’s A Good Man is Hard to Find. Do you think that’s a fair assessment AND…what sets it apart and makes it its own? 

LINDSEY PATRICK-WRIGHT: Absolutely! I have also compared it to Sam Shepard plays since we have a less-than-functional family, long held secrets, and a claustrophobic setting, similar to his American plays. But this play feels even more isolated, likely due to the Irish setting – another thing Joel allowed us to explore in-depth- including having a taste-testing one evening with all the very Irish food and drink talked about in the show. The setting, set, and stage business are as much characters in the show as Mag and Maureen.

JHPENTERTAINMENT: Among your co-stars is KC Bragg as Maureen’s potential new suitor, Pato. Are you enjoying KC as a scene partner?

LINDSEY PATRICK-WRIGHT: KC’s Pato is the heart of this show. He requires a sincere and delicate portrayal to make him believable and KC absolutely nails that. This is the first time I have worked with KC and what a professional he is! KC is a generous scene partner and flexible with changes that some of our “getting weird” moments uncovered. It’s been an honor to work with him and I hope it’s not the last time!

JHPENTERTAINMENT: What do you hope audiences come away remembering most about having seen The Beauty Queen of Leenane?

LINDSEY PATRICK-WRIGHT: I mentioned seeing this show in Memphis years ago and what I remember most is how it made me FEEL. I want people to leave feeling anything but neutral about what they just watched. At the end of the show, I want them to need to shake their head to bring themselves back to here and now because they were immersed for a couple of hours into a small cottage in the Irish countryside. 

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The Beauty Queen of Leenane opens Friday, June 21 and continues weekends through Sunday, July 7 at Playhouse 615 (11920 Lebanon Rd, Mt. Juliet, TN). Evening performances are Friday and Saturday at 7:30p.m., with Sunday matinees at 2:30p.m. General Admission tickets are $20, with special discounted $17 tickets available for Seniors and Military. CLICK HERE to purchase tickets. You can also reserve your spot by calling the box office at 615.319.7031, or you can purchase tickets (if available) at the door, day of show, an hour before curtain.

Following The Beauty Queen of Leenane, Playhouse 615 will present Del Shores’ Sordid Lives, a hysterical “black comedy about white trash’ as directed by Erin Grace-Bailey from Friday, July 26 thru Sunday, August 11.  For more on the show and to keep up with Playhouse 615, check out their website or follow them on Facebook.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, follow us on Facebook, Instagram and Twitter.

Rapid Fire 20Q with director and cast members of Firepit Theatre Company’s ‘POTUS’; at Charlotte’s Off-Broadway Black Box Theatre at the VAPA Center

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On June 19 and 20, newly-formed Firepit Theatre Company, in partnership with Charlotte’s Off-Broadway will present FTC‘s premiere production as they bring an ‘in concert’ performance of playwright Selina Fellinger‘s Drama League and Tony nominated POTUS: Or, Behind Every Great Dumbass are Seven Women Trying to Keep Him Alive to the stage at Charlotte’s Off-Broadway Black Box Theatre at The VAPA Center (700 N. Tryon Street, Charlotte, NC).

Earlier this week, as cast and crew readied for opening night of Firepit Theatre Company’s inaugural presentation, I had a chance to pose a few questions to director, Bradley Moore and cast members Caroline Forrester, AJ White and Vanessa Robinson for the latest installment of my recurring interview feature, Rapid Fire 20 Q. What follows are those conversations.

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RAPID FIRE 20Q WITH DIRECTOR AND CAST OF FIREPIT THEATRE COMPANY’s POTUS

RAPID FIRE WITH POTUS DIRECTOR, BRADLEY MOORE

JHPENTERTAINMENT: From what I know, directing POTUS is something you’ve had in the works for a while, right?

BRADLEY MOORE: Yes! I think I read the script for the first time almost 2 years ago. I knew instantly that I wanted to get my directing hands on it. Powerful, strong, foul-mouthed women behaving badly — yes please! This production with this exact cast of seven was originally supposed to open in January, but due to some unpleasantness at the previous hosting theatre, that production never happened. It was always my goal to get the original gang back together and get the show on stage. And here we are!

JHPENTERTAINMENT: POTUS marks the debut production from your newly-formed Firepit Theatre Company. How did FTC come about and how excited are you to debut with this piece?

BRADLEY MOORE: Back in 2020, in the throes of COVID, I would get together with some dear friends of mine once a week. To be safe and COVID conscious, we would always get together outside around a fire-pit. We would laugh, tell stories, have some cocktails, and just really enjoy being present with each other. Most of us were connected to other theatres at the time, but had a thought that maybe we should all come together and do our own thing. Thus, the idea for Firepit Theatre Company was born. COVID subsided and we all went back to doing other things, but the name and origin lived with me.

When it came time to start something new in Charlotte, I reached out to my FTC peeps — we still have a group chat that we chat in every single day — to see if they would be okay with me using the name and honoring our creative baby. And thankfully, they were all on board.

So here’s to Angela Gimlin, Elizabeth Turner, Cat Eberwine, Toby Turner, Jaymes Campbell, & Sara Byrd for being the architects of FTC. They will forever be a part of all we accomplish.

I feel like the previous situation that this cast had to live through was just so abrupt and unfair — cancelling a show one week before opening. It only made sense to me that this had to be FTC’s first production. Taking something negative and turning it into a positive. And the tagline for FTC is — Let’s sit around and tell some stories, y’all. And oh man, do we have some stories to tell.

JHPENTERTAINMENT: You’ve described this production as being “in concert” rather than a traditional stage presentation. Can you elaborate on what that means and your decision to present the show in this manner?

BRADLEY MOORE: Yes! A play “in concert” — so weird. It is! We are presenting the show somewhere between a reading and a fully staged production. It will be immersive, somewhat in-your-face, but always hilarious! So much life has happened in the past 5 months since we were originally meant to open the show, this was our best option to get the play up and out! The seven actors in the show are in high-demand in the Charlotte theatre community and have all been in shows since that fateful day in January. Because of that, our rehearsals were limited, but these artists are pros! Most moments in the show will be off/book, everything is blocked and full of energy, and the hijinks are in full bloom. It was most important to me that these actors’ voices were heard within these characters. And we have achieved that. Beyond. It will be a wonderfully unique experience for all in attendance.

JHPENTERTAINMENT: Part of Firepit Theatre Company’s mission is to present thought-provoking work while representing diversity. How does POTUS fit the bill?

BRADLEY MOORE: POTUS gives the audience so much and pretty much everything it gives is thought-provoking and full of curiosity. In this Presidential election year, it gives us even more to consider. The script is smart and crisp. Most of all, it shows us how a group of women from different backgrounds can come together, solve problems, and get into a lot of trouble along the way. And this cast is as beautifully diverse as they are talented.

JHPENTERTAINMENT: What’s next for FTC?

BRADLEY MOORE: You know what — I don’t know! It’s exciting to have this vessel to basically do anything. There have been a lot of folks who have offered their performance space to us, which is just incredible. We will definitely get into something soon. Maybe something original? Maybe a fantastic musical?!? We will see…

RAPID FIRE WITH POTUS‘ JEAN, CAROLINE FORRESTER

JHPENTERTAINMENT: Who is Jean to you?

CAROLINE FORRESTER: Wow. That is a tough question to answer. First, Jean is a powerful woman who is dedicated to her career. I think all of these characters work in one of the most stressful environments there is, but you can see Jean’s dedication to her job. She’s also a queer woman and a single mother of an adopted child. I feel lucky to play such a multifaceted and dimensional character. She is so many things, but at her core, I think she’s just a human who’s working to make a positive change and do her best. Which is all any of us can do, right?

JHPENTERTAINMENT: Of the cast and crew, who would you chose as you very own Press Secretary and why?

CAROLINE FORRESTER: Am I allowed to say our stage manager, Daniel Keith? He is one of the most organized people I know and we’ve worked together a lot this year. I think we both do well with communication and I would trust him to get me through stressful situations while remaining calm.

JHPENTERTAINMENT: What is it about this piece and this role in particular that speaks to you as a performer?

CAROLINE FORRESTER: I think the answer to this question has constantly evolved over the past 7 months since we started this journey. On the surface level, I have a lot of similarities with Jean. Her organization, skills, her drive, and probably her anger and bluntness. I definitely think this character fits me and I’m grateful that Bradley has trusted me to play her. From the moment the show was announced, I’ve wanted to be a part of it and thought it was a powerful piece of art. Especially being created by women. Over the course of this year, it has come to mean so much more. I don’t want to get too off-topic, but we were originally supposed to produce the show at another theater in January. After some difficult decisions, our cast decided to step back. It was an incredibly difficult decision, but we didn’t feel right continuing without our director after he was unfairly removed. This was an emotional choice, but it also felt like the right one and we made it together. There’s a quote from the show that I think really captures this sentiment. “I just wanted ONE NIGHT where we could feel like the President of the United States cared about OUR RIGHTS.” While I’m not talking about the President, this statement is something I find to be true about those in power. We were put in a situation where our feelings and the ramifications of this decision weren’t considered. Our voices weren’t being heard. Those in power need to consider who they are representing. Parts of this show feel like art imitating life. At its core, I believe it’s about coming together to fight for what is right and to speak up even when it’s terrifying. I think thought this process our little family has done just that. I hope the audience is able to take away something meaningful.

JHPENTERTAINMENT: I recently saw a production of this show in Nashville where they presenting it as a full stage play When I spoke with your director, I asked him about his choice to present FTC’s production as an ‘In Concert” event. Has this allowed you and your cast mates to focus more of the dialogue of the play?

CAROLINE FORRESTER: it has definitely allowed us to focus on the dialogue. As much as we are used to blocking and movement, the limited space and rehearsal time have allowed us to focus on the connection between our characters. There’s less business and more intimacy so it we’re really in the moment. I feel like I’ve been able to take a closer look at my dialogue to uncover new layers.

JHPENTERTAINMENT: POTUS marks a continuing working relationship between you and Bradley, having previously worked together in what…half a dozen shows already? What’s your favorite aspect of working with Bradley as a director?

CAROLINE FORRESTER: How can I pick just one?!? I have always enjoyed working with Bradley, from my very first audition. Even if he didn’t cast me that time… or the next, haha. He is hands-down one of the best directors I’ve had the pleasure of working with. He is such a professional with loads of experience, but is able to connect one on one with his actors. You can tell how much he cares about every work he puts on stage and the people who are a part of it. He is certainly one of the most dedicated and creative theater practitioners I know and everyone should be lucky to work with him in some capacity.

RAPID FIRE WITH POSTUS‘ MARGARET, AJ WHITE
JHPENTERTAINMENT: What can you tell me about Margaret, your character in POTUS?
AJ WHITE: Margaret is the hotheaded, fierce, and hardcore First Lady of the United States. Margaret is an absolute powerhouse! Some may wonder why SHE isn’t president…
JHPENTERTAINMENT: What does being cast in this show mean to you professionally and personally?
AJ WHITE: professionally, playing this part has been one of the most challenging and rewarding experiences I have ever had as an actor! The same is also true for me personally. I am an actor who is very fluid in my gender expression, but I don’t get many chances to play roles like this so when I do it’s extremely special to me.
JHPENTERTAINMENT: You previously worked with Bradley when he directed you as Angel in RENT. What was your favorite aspect of that role and that show?
AJ WHITE: RENT was an absolute dream come true. I dreamt of playing angel for an entire decade before I finally got the opportunity and it was everything I could’ve imagined and more. My favorite aspect of the role was getting to share the stage with so many talented actors and getting to sing one of the greatest love songs of all time with one of my closest friends, Lamar Davis!
JHPENTERTAINMENT: Is there an aspect of Margaret’s personality that you feel mirrors something in your own character…or perhaps something in Margaret’s attitude that you might hope to emulate going forward in your own life?
AJ WHITE: I completely and wholly admire Margaret’s ingenuity and perseverance. She knows what she wants and is going to get it by any means necessary. She also really knows how to command a room and I find that SO cool.
JHPENTERTAINMENT: Why should folks come support FTC with this inaugural production of POTUS?
AJ WHITE: FTC is founded by one of the greatest artists I have ever had the pleasure of working with. Bradley Moore is such a visionary and puts so much care and effort into everything he does that no matter what show he produces/directs, you know for certain you’re getting quality work. He provided such a beautiful experience when I did RENT with him that I didn’t mind the hour long drives to and from rehearsals every day! I cannot stress enough how much I respect and adore him and POTUS is only the beginning.

RAPID FIE WITH POTUS‘ BERNADETTE, VANESSA ROBINSON

JHPENTERTAINMENT: Can you please describe Bernadette in five words?

VANESSA ROBINSON: Volatile, sexual, hilarious, sketchy and (still somehow) charming.

JHPENTERTAINMENT: When I chatted with you co-star Caroline earlier, I mentioned that I recently saw a production of POTUS in Nashville. In that particular production, Bernadette was quickly my favorite character. What is it about Bernadette that you’re enjoying most?

VANESSA ROBINSON: I’ve never gotten the chance to play a character as unhinged as Bernadette. She’s the ticking time bomb in the room–is she going to punch you in the face or try to make out with you? What is she going to say and how much trouble is it going to cause? I think of acting as turning the knobs up or down on the aspects of your own personality, and that’s what also makes someone great for a particular role. There’s a hint of Bernadette in me–I’ve been known to blurt out the thing everyone is thinking–but this is like that quality amplified by 100. She doesn’t follow ANYONE’S rules. It’s freeing and exhilarating being basically a wild animal onstage, there’s almost an improv feel to it. 

JHPENTERTAINMENT: POTUS marks your second show being directed by Bradley Moore, having played Joanne in RENT. Stay with me now…have you been able to find any similarities between Bernadette and Joanne…and do you think they’d get along?

VANESSA ROBINSON: I don’t think there are any significant similarities between them–Joanne is such a disciplined, cautious and organized person and Bernie is the total opposite. But as for them getting along: Joanne and Bernadette might actually date. If anything, Maureen is the one who has similarities with Bernadette, they’re both flaky, unpredictable and overtly sexual–and Joanne “hates mess but loves” Maureen. So maybe it’d be an “opposites attract” kinda thing with her and Bernie, too. 

JHPENTERTAINMENT: If you could play any other role in POTUS, who would it be and why?

VANESSA ROBINSON: Margaret. There’s just something about playing an incredibly confident, slightly frightening woman. Her crazy is there, it’s just contained. Right below the surface.

JHPENTERTAINMENT: I frequently like to end my Rapid Fire Q&As by asking a variation of the following…What do you hope audiences remember long after seeing FTC’s POTUS?

VANESSA ROBINSON: That we A) stood firm as a united front for what we believed in, even at the expense of the first production of this show and B) still loved the show and each other so much that we knew we had to make it happen in some capacity. Oh, and that women are CONSTANTLY saving the day, the world, and everyone’s asses–24/7. 

Firepit Theatre Company‘s POTUS opens its two-day limited engagement Wednesday and Thursday, June 19 & 20 with a 7:30p.m. curtain both nights. Tickets are $15, with all seating general admission. CLICK HERE to purchase tickets. For more about Firepit Theatre Company, find them on Facebook.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook, JHPEntertainment on Instagram  and JHPEntertainment on Twitter.

Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

Rapid Fire 20Q with ‘Hairspray’ National Tour Cast: Coming to Nashville’s TPAC June 11 thru 16

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Based on John Waters’ 1988 cult classic film, Hairspray made its way to the musical stage in 2002 with music by Marc Shaiman and lyrics by Shaiman and Scott Wittman, book by Mark O’Donnell and Thomas Meehan. The original Broadway production was directed by Jack O’Brien with choreography by Jerry Mitchell. Hairspray set out on its first national tour in 2003, playing Nashville’s TPAC near the end of that initial tour back in 2006. In 2021, O’Brien and Mitchell came together once again to helm the show’s second-ever US tour. Now it its third year, Hairspray once again returns to TPAC’s Jackson Hall with shows Tuesday, June 11 through Sunday, June 16.

WIth just days before the show returns to Music City, I recently had the opportunity to chat with members of the company for my latest Rapid Fire 20Q. What follows are those conversations.

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RAPID FIRE 20Q WITH CAST OF HAIRSPRAY NATIONAL TOUR

RAPID FIRE WITH HAIRSPRAY’s LINK LARKIN, SKYLER SHIELDS

JHPENTERTAINMENT: Who is Link Larkin to you?

SKYLER SHIELDS: Link Larkin is a golden retriever. To me, Link is the perfect balance of boy next door meets Danny Zuko. I think he’s the shiny “It” boy, but he’s a bit aloof which is what makes him so endearing when he meets Tracy. He’s never met someone quite like her and she pushes the boundaries and norms that he’s never had the courage to question.

JHPENTERTAINMENT: A quick perusal of your socials seems to indicate that you and your Hairspray costar, Caroline Eiseman, who plays Tracy Turnblad, get along off-stage as well as on. What’s your favorite thing about your work wife’s performance as Tracy?

SKYLER SHIELDS: Working with Caroline has been the biggest gift and blessing. It’s so empowering to be able to go on stage and know that someone truly has your back. We have laughed, cried, and accomplished so many goals this year, it’s been incredible having a partner like Caroline by my side. One of my favorite things we do is when, during Without Love while Seaweed is breaking Penny out of her house, we are supposed to be frozen at the jail cell, and we just talk and talk and pretend like the audience can’t see or hear us. It’s just a great reminder to me how lucky I am to be able to share this whole experience, let alone one of the best songs in musical theater, with one of my best friends.

JHPENTERTAINMENT: A couple months ago you celebrated your one-year anniversary with the show, having joined the company near the end of the latest tour’s second season. In that time, have you discovered aspects of Link that you didn’t really explore in your performance early on?

SKYLER SHIELDS: It’s been fun to play into different aspects of the role depending on how I’m feeling that day. Link has qualities of aloofness and being perhaps a little dull but also could be played as entitled, cocky, and overly confident. I’ve enjoyed stepping into these different sides of him all while trying to maintain a sense of likability and tenderness. I think one thing I learned from this experience over the year is truly to make Link a successful character, he has to be in service to Tracy’s story. Dramatically all the characters are in service of Tracy’s story and how they affect her life. If I approached every scene thinking about how funny I’m gonna be or how great my songs are the role would fall very flat. “The material is funny, you are not” is something our wonderful director Matt Lenz would often say. Trusting the incredible score and script we are given and being a vessel for the material has made embodying this character truly pivotal.

JHPENTERTAINMENT: Prior to being cast as Link, you spent some time at sea…as a cast member of Saturday Night Fever aboard Royal Caribbean cruise lines. What was the best part of your time with that show and life afloat?

SKYLER SHIELDS: Working with Royal Caribbean has been one of the craziest experiences of my life. I met some of the most amazing people from all over the world and performing such a fun show for over a year was wonderful. It was definitely tough being on the ship for so long but absolutely worth it. The best part by far was meeting some of my dearest friends from the UK and New Zealand.

JHPENTERTAINMENT: OK, I gotta ask…why is #gaylink not trending? But seriously, what does being a part of a show that shines light on equality and acceptance mean to you as an out gay actor?

SKYLER SHIELDS: I think at times I take for granted how lucky I am to have such an accepting family and a wonderful community around me. Being a part of a show that inspires its audiences to think deeper and embrace acceptance and love is why we do theater. Shows like Hairspray meant the world to me growing up and it’s been amazing being able to be a part of something that can bring that same joy to so many others while also spreading the narrative of acceptance, especially in the political climate we are in today.

RAPID FIRE WITH HAIRSPRAY’s LITTLE INEZ, KAILA SYMONE CROWDER 

JHPENTERTAINMENT: Can you describe Little Inez in FIVE words?

KAILA SYMONE CROWDER: I would describe a Little Inez as bold, optimistic, light, courageous, and resilient.

JHPENTERTAINMENT: I understand Hairspray is your first National Tour. How much fun are you having, not only being in the show, but bringing its message to audiences across the country?

KAILA SYMONE CROWDER: Every day is a new experience! I have found that Little Inez truly brings out something within me that is so powerful. It’s truly been a blessing to share with the world, the gift that God has given me.

JHPENTERTAINMENT: You’re from Monroe, North Carolina, right? For whatever reason, one of the only things I know about Monroe is that one of its most famous…or infamous…natives was ultra-conservative politician Jesse Helms. How excited are you to change that statistic as your career flourishes and YOU become Monroe’s most famous citizen?

KAILA SYMONE CROWDER: I come from a family of history. My grandfather, Roy Lee Crowder, was a civil rights activist leader, along with the amazing Robert F. Williams, who was also known for his courageous stance on Black people and their freedom (Negros with Guns). It does me great joy to implement the things that my grandfather and the women in my family (Rhonda Crowder, my mother and Revonda Crowder, my grandmother) have gone through. Now I can take it to another level to truly bring a light into how we can move forward as nation through the theatrical aspect.

JHPENTERTAINMENT: Speaking of your home state, Hairspray’s costume designer, William Ivy Long hails from Raleigh, North Caroline. He’s designed costumes for more than 60 Broadway show, having won the Tony for Hairspray in 2003. Do you have a favorite costume in the show, whether it be your’s or that of one of your co-stars?

KAILA SYMONE CROWDER: Absolutely, I actually have two favorite costumes. The first one is the multicolored polka-dotted dress that is shown during Run and Tell That, and the other is the gold and off-white finale dress that is shown during You Can’t Stop the Beat. Although these are my favorite outfits, each outfit reminds me of when I was a little girl and how my mom would dress me in colorful dresses with white lace socks and Keds, which is exactly what I wear in the beginning of the show.

JHPENTERTAINMENT: In Hairspray, you share scenes—and a storyline familial bond—with Deidre Lang and Josiah Rogers who play Little Inez’s Mother and Brother, Motormouth Maybelle and Seeweed J. Stubbs, respectively. Do you have a favorite moment that involves one or both of them?

KAILA SYMONE CROWDER: During Run and Tell That, when Seaweed, played by the amazing Josiah Rogers, does the handshake, that moment signifies our close brother and sister relationship throughout the show and how he’s rooting for his sister Little Inez because he understand the talent has continued to pass down through another generation. Alongside my mother Motormouth Maybelle, who is played by the amazing Deidre Lang – during the song I Know Where I’ve Been, there’s a particular moment where she grabs my hand and then eventually let’s go of it, so that I can walk my own path and continue to be the light through darkness. It’s as if she’s passing on the torch to another generation to change the world in a positive way. This also supports how powerful the bond of a mother and daughter can be.

RAPID FIRE WITH HAIRSPRAY’s VELMA VON TUSSLE, SARAH HAYES

JHPENTERTAINMENT: What can you tell me about Velma Von Tussle, the character you play in Hairspray’s current National Tour?

SARAH HAYES: There are some people who, as the world changes, walk forward with arms open wide, ready to embrace any and all changes the future holds. Then there are some people who struggle with change and have a hard time adjusting. Velma Von Tussle is someone who needs to be dragged kicking and screaming into the future! She is a woman who has worked very hard to get herself into a position of power as producer of The Corny Collins Show, which is especially impressive in 1960s Baltimore. And to top it all off, she’s made her daughter, Amber, the star of the show. So Velma is having a great day when the show starts! Then Tracy shows up ready to “eat some breakfast and change the world,” and it all goes wrong for Velma.

JHPENTERTAINMENT: I must admit I’m a Hairspray fan since the OG 1988 John Waters film, so I gotta ask…How excited are you to be playing a role that was first brought to life by Blondie lead singer, Debbie Harry and has since been played by everyone from Susan Anton and Belinda Carlisle to Michelle Pfeiffer and Kristin Chenoweth.

SARAH HAYES: It’s a little intimidating because those are some big yellow heels to fill, but excitement still wins out, because that’s a pretty cool list to be on! I feel like my entire Hairspray adventure has been a series of “pinch me” moments, and one of those moments happened in Tulsa, when I got to perform for and meet Linda Hart, the OG Broadway Velma! Absolutely surreal. I also love that I get to say I share a resume credit with Catwoman. Haha!

JHPENTERTAINMENT: In preparing to chat with you, I did a little internet sleuthing and discovered your theatre background is highlighted by several performances at Myers Dinner Theatre in Hillsboro, Indiana. I do love a sweet little dinner theatre! How has your background working with such a small, intimate company helped you adjust to your first-ever National Tour?

SARAH HAYES: I know I wouldn’t be on this tour without the opportunities I had at Myers. Jeremy Littlejohn was the Artistic Director during my time there, and he created this little artistic oasis in the middle of rural Indiana. He gave me roles that challenged me and helped me overcome insecurities and nerves I’d battled for years, which then helped me be more successful in future auditions, including my Hairspray callback in New York.

The audiences at Myers were pretty small but they were mighty…in fact, right before the Covid shutdowns, we were doing Run For Your Wife which was a cast of 8. There were 7 people in the audience the night before the theatre closed. We asked if they still wanted us to do the show. They enthusiastically told us yes and those 7 people made thunder that night! That was such a beautiful night for everyone involved and a reminder of how important theatre is, and how lucky I am to get to do it for a living right now.

I’m really grateful for the twists and turns my career has taken, including several years in my late 20s and early 30s when I wasn’t getting much acting work. It’s easier to take something for granted if you’ve never gone without it. I’ve been hungry for work, and will probably be hungry for work again. That makes me appreciate the work I do get so much more.

JHPENTERTAINMENT: Again, while doing my homework prior to our chat, I fell down the proverbial Velma Von Tussle internet rabbit hole where I saw that fabulous Velma has an entry on Villains Wiki!!! So, a two-part question…1) How much fun are you having playing Velma and 2) Why is she NOT a villain?

SARAH HAYES: 1) That’s hilarious! I didn’t even know that she was on Villains Wiki! I understand why though…she’s so brilliantly written, which makes her a blast to play. I’m a peacemaker by nature, and struggle to communicate when I’m upset. Velma has no problem saying (or screaming or cackling!) exactly what she’s thinking, so that’s part of the fun of it for me, getting to play someone so completely opposite of me. Plus, singing Miss Baltimore Crabs every night is a dream!

2) Velma is not a villain if you dig a little deeper and look at why she does and says the things she does. I don’t think her motivation is actually hate. It’s fear. Velma is a widow raising her daughter on her own, while working full time in a changing world. She’s scared of losing her power and the empire she’s built for herself and her daughter, and as we know, fear can make people say and do some pretty nasty things. One of the most beautiful messages of Hairspray is that no one is beyond redemption. If the world is truly going to change it has to mean that no one gets left behind and (spoiler alert) even Velma and Amber finally get on board and shake and shimmy it!

JHPENTERTAINMENT: I love that the original Broadway director Jack O’Brien and original choreographer Jerry Mitchell are at the helm of this tour. What does it mean to you and the cast that they’re behind this tour?

SARAH HAYES: It’s incredible. I think it speaks to what a special show Hairspray is, that the original director and choreographer still want to take care of Baltimore and all of its residents. I know that gives me motivation on even the toughest days to dig deeper and give each audience the best show I’m capable of every single time I step onstage.

RAPID FIRE WITH HAIRSPRAY’s PENNY PINGLETON, SCARLETT JACQUES

JHPENTERTAINMENT: What do we need to know about Penny Pingleton before seeing the current National Tour of Hairspray?

SCARLETT JACQUES: Although Penny may not be the brightest, she always has the best intentions. She loves nothing more than to follow around Tracy and encourage all her endeavours, being the most supportive best friend whilst only living in a fantasy life in terms of her own desire to feel wanted. Throughout the story, Penny starts to find herself when she meets her love interest, Seaweed J. Stubbs, and is finally being noticed in a way she never expected. Her

character arc is one that is so beautiful and admirable, as she goes from being content following her best friend, to falling in love and gaining the confidence to stand up to her strict, racist mother Prudy.
JHPENTERTAINMENT: How does the role of Penny Pingleton resonate with you personally?
SCARLETT JACQUES: Penny Pingleton is the most wonderful character, and I truly am so lucky to spend every day stepping into the shoes of such a fun-loving, goofy and caring person. I have so much love for her, and this role will always have a special place in my heart. She has so many amazing qualities that I admire, and it makes me so happy that I get to put a smile on so many faces.

JHPENTERTAINMENT: Within the storyline, Edna is reticent to encourage Tracy to pursue her dreams of being a featured dancer on The Corny Collins Show, but Penny, being her loyal friend, encourages her to go after what she wants in life. In your own life, has there been someone who’s reminded you that You Can’t Stop the Beat?

SCARLETT JACQUES: Being from the small country of New Zealand, moving to the USA was a huge decision and one that I couldn’t do without my amazing support system that has continued to believe in me and my abilities. There are so many people I could talk about forever, but specifically I’d like to talk about Hamish Mouat. He is one of the top directors/choreographers in NZ. We first worked together when I was only 8 years old. He went on to provide me with many opportunities to grow as a performer. I have been involved in 14 productions with him. Earlier this year, Hairspray performed in Tulsa, Oklahoma, and as Hamish was travelling to the states to perform, he decided to stop in Tulsa just to see me perform in my first national tour and professional theatre job in the USA.

JHPENTERTAINMENT: Why do you think Without Love is such an important moment in the show?

SCARLETT JACQUES: Without Love follows the blossoming of relationships between Tracy and Link and Seaweed and Penny. In both circumstances, they are found in tough situations. As both couples work together to overcome these situations, the audience gets to witness innocent, young love forming between people who were not considered appropriate or fully acceptable to be together at the time. I love how Hairspray allows audiences to see the importance of love and how it has the power to go against what is expected of us, which is something that is definitely still valid in today’s society.

With the ongoing movement of the LGBTQ+ community feeling more comfortable and safer being out and honest about who they are publicly, I think Hairspray as a whole, but specifically Without Love, definitely still holds a huge amount of power. It is showing the whole audience, but particularly the younger generations, that love is a strong force, and no one should have to feel pressured to follow what anyone else says. Unfortunately, we still have a way to go in terms of accepting and loving people unconditionally.

JHPENTERTAINMENT: What do you hope audiences take with them after having seen Hairspray?

SCARLETT JACQUES: I hope that audiences take with them the knowledge of how far we have come as a society, but how there is still more we need to change. Being based in the ’60s, Hairspray expresses the important message about the racial inequality and segregation that was present at the time, as well as size-discrimination and bullying others simply due to their appearance.

A lot of the younger characters, Penny and Tracy included, are just wanting to have fun dancing together, and don’t understand why something that is seemingly so simple and easy, could be so unacceptable and difficult to achieve. It helps the audience to understand that there is this beautiful innocence that children have, and a lot of the time it comes down to nurture over nature. Tracy is blessed with wonderful parents, Edna and Wilbur Turnblad, who teach her to lead with kindness and love, which is something truly important that she shares with the other characters in the show and the audience.

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Closing out their 2023/2024 Broadway at TPAC season, Hairspray plays Jackson Hall with shows Tuesday, June 11-Sunday, June 16. Performances time are as follows: Tuesday thru Thursday at 7:30p.m., Friday and Saturday evening performances at 8p.m., Saturday matinee at 2p.m. and Sunday matinee and early evening performances at 1p.m. and 6:30p.m. Tickets range in price from $50.90 to $164.50. CLICK HERE for Tickets.

Not in Nashville? Hairspray continues it’s current tour with a stop in Dallas June 18-30. CLICK HERE for tickets. You can also follow Hairspray on X, Facebook, Instagram, YouTube and TikTok.

Next up at TPAC, Mark Morris Dance Group presents The Look of Love: An Evening of Dance to the music of Burt Bacharach, onstage at TPAC’s James K. Polk Theatre June 28-29 CLICK HERE for tickets. With numerous special engagements and performances filling their summer calendar, TPAC’s 2024/2025 Broadway at TPAC season kicks off September 10 thru 15 with the Music City debut performance of Broadway’s Clue: A New Musical. CLICK HERE for tickets. For further details on these and more entertainment headed to TPAC, CLICK HERE or follow TPAC on Instagram, X, YouTube and Facebook.

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