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Archives for October 2024

Rapid Fire Q&A with ‘What the World Needs Now: The Music of Burt Bacharach’ cast; on stage at WCPAC at Academy Park beginning November 1

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Last November, Williamson County Performing Arts Center debuted the World Premiere production of What the World Needs Now: The Music of Burt Bacharach, a musical tribute to the iconic songwriter. Written, directed and staged by WCPAC’s Director of Performing Arts, Victoria Reed, the show was so well-received they’re bringing it back for four performances Friday, November 1-Sunday, November 3. This year, returning cast members Craig Robinson, Justin Boyd and Miracle Ham will be joined by newcomer (to the show) Francesca Noe. All backed by an equally talented musical quartet featuring Andrew Carney on Trumpet and Flugelhorn, Eric Coveney on Bass, Neil Tufano on Drums and Trevor Willoughby on Piano. Willoughby will also lend his talents as vocalist as well as serving as the show’s bandleader. With vocal arrangements by Ricki Holmes, choreography by Alison Little, stage management by Susan Gaw and musical direction by Kelsi Fulton, this production promises to be What the World Needs Now, just as the show title suggests.

As the company readied for the show for its limited run, I had the chance to pose a few questions to two of the returning performer, Justin Boyd and Miracle Ham for the latest installment of my recurring interview feature, Rapid Fire Q&A. What follows are those conversations.

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Rapid Fire Q&A with members of the cast of WCPAC’s What the World Needs Now: The Music of Burt Bacharach

Rapid Fire Q&A with What the World Needs Now cast member Miracle Ham

JHPENTERTAINMENT:  You were part of last year’s debut of this show. Your co-stars Justin Boyd and Craig Robinson are also returning for this year’s production. As far as camaraderie and fitting together, did the company pick up right where you all left off last year?

MIRACLE HAM: I definitely believe so. It’s like we never closed the show and we’ve always gotten along so well. It’s literally like a family reunion. Constant laughs and such a good time.

JHPENTERTAINMENT: New to the cast this year is Franchesca Noe. How has it been sharing the stage and this show with her?

MIRACLE HAM: It’s been great. She’s picked up the show so fast in such a short amount of time. Such a sweet spirit and a huge talent. To be so small she has a big voice! I mean she lets the people have it. I’m happy she’s a part of the show. 

JHPENTERTAINMENT: Aside from What the World Needs Now, you previously appeared onstage at WCPAC in their 2022 production of Nunsense. What is it about this gem of a venue and theatre company that keeps you coming back?

MIRACLE HAM: Honestly, the director Victoria is what keeps me coming back. She is such a pleasure to work with and has a different but wonderful approach to her directing style, and I love it. She really knows how to help you bring your character to life in ways that you might not have thought of on your own, and she is a true visionary. 

JHPENTERTAINMENT: In What the World Need Now, you get to perform, not just one of my favorite Bacharach-written songs, but one of my all-time favorite tunes, Say a Little Prayer, made famous by Dionne Warwick in 1967 and arguably equally as relevant to its popularity, as recorded by Aretha Franklin the following year. While I’m not old enough to have remembered those initial releases, I’ll date myself my admitting I first remember it when Dionne and Aretha performed it on a 1981 episode of Solid Gold. What’s your first memory of this classic song AND How much fun are you having performing it?

MIRACLE HAM: I remember hearing this song when I was really young. It was the Aretha Franklin version. I want to say the first time I heard it, my Mom was watching a movie and it was playing in the background. I can’t remember for sure but I literally heard this song all the time during my childhood. It was just one of those songs that was always playing somewhere – in the grocery store, at the mall, in commercials, everywhere. I definitely enjoy that section of the show. It’s so much fun performing it, and I mean who doesn’t love this song??? It’s such a classic and I’m so honored to get to perform it again. 

JHPENTERTAINMENT: Is there a particular song in What the World Needs Now, whether you’re featured in it or simply watching your fellow cast-mates, that you ‘really’ feel each time you hear it?

MIRACLE HAM: Dionne Warwick’s Don’t Make Me Over has to be my favorite. The message of the song so powerful and really speaks to me. Don’t try to change who I am. Just accept me and all my flaws. Also, the overall instrumentation of the song and the way it was written specifically for Dionne’s voice is absolutely perfect. I get to perform this song and really make a statement every time I sing it. 

My second favorite song would have to be Any Day Now. It takes me back to the music that my Mom used to play growing up and reminds me of the classic biopics that we would keep on repeat on our TVs at home. Craig does an excellent job with taking you back to that time and I love his voice on that song. 

Rapid Fire Q&A with What the World Needs Now cast member Justin Boyd

JHPENTERTAINMENT: When I chatted with Miracle, I noted that several of the cast and crew were part of last year’s World Premiere presentation of What the World Needs Now: The Music of Burt Bacharach. You, too are part of that returning company. How’s it feel to be back for this year’s production?

JUSTIN BOYD: It feels like a homecoming since there are so many familiar faces returning! We had an abbreviated rehearsal process since we mainly just had to shake off the rust. At our first tech rehearsal earlier this week, everything clicked back into place, and we knew we had another great show on our hands. Special shout out to the new members of our production that came right in and didn’t miss a beat!

JHPENTERTAINMENT: This musical review is written, directed and staged by Victoria Reed. What’s it like to work with someone so involved in a show like this?

JUSTIN BOYD: It’s quite convenient having the writer, producer, dramaturge, and director at every rehearsal in case we have any questions or need guidance. She’s done an incredible amount of research into Burt’s life and career that we never really have to second guess anything she tells us about what he’s done.

JHPENTERTAINMENT: When you were first preparing to perform in this show, were there any Bacharach-penned tunes that you were surprised to learn were his?

JUSTIN BOYD: There were a great many of them! A few of the more popular ones were Raindrops Keep Falling On My Head, What’s New Pussycat, and Always Something There To Remind Me. One of the deeper cuts for me personally was the Perry Como version of Magic Moments. I only knew that song from a very brief moment in the show Forever Plaid, and it was a nice moment for me to realize Burt  and Hal David wrote it and that it was in this show!

JHPENTERTAINMENT: Kelsi Fulton serves as musical director for this production. If memory serves, you’ve worked alongside her in a number of shows in the past, right? What’s the most rewarding aspect of working with Kelsi as music director?

JUSTIN BOYD: Yes, I’ve worked with her on multiple shows including Dreamgirls, West Side Story, American Idiot and Little Mermaid just to name a few! I would say the familiarity since we’ve known each other for over a decade now! She’s also very precise with the sound she wants, and she is meticulous with the score to ensure she gets it perfect.

JHPENTERTAINMENT: What do you hope audiences remember after having attended a performance of What the World Needs Now?

JUSTIN BOYD: Music comes in all forms, shapes, and sizes. The music of today is drastically different than the music Burt would compose. I want people to either remember the beauty and elegance of Pop music from Burt’s generation, and for people in my generation and younger, to learn the history of a musical icon that shaped and led the way for what we hear on the radio today. As for the titular tune, I’m sure we can all agree that the world could use some more love!

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Williamson Country Performing Arts Center’s What the World Needs Now: The Music of Burt Bacharach returns to WCPAC at Academy Park (112 Everbright Ave. Franklin, TN 37064) from Friday, November 1 through Sunday, November 3. Performances are as follows: 2p.m. matinee Friday, November 1, 7p.m. Evening Performances Friday and Saturday, November 1&2 and a final 2p.m. matinee on Sunday, November 3. Tickets are $30 ($27.50 for Seniors and Students). All Seats are Reserved Seating. CLICK HERE to purchase tickets. Next up onstage at WCPAC, The Music Man Kids, November 8-10. Presented by STAR (Student Theatrical Arts Resource), there will be a total of six performances, showcasing three young groups of kids from three area STAR programs. Franklin Rec Cast will perform Friday, November 8th at 6:30p.m. and Saturday, November 9th at 1:30p.m. Enrichment Center Cast will take to the stage Saturday, November 9th at 4:00p.m. and Saturday, November 9th at 6:30p.m. Then, the College Grove Cast will round out the performances Sunday, November 10th at 1:30p.m. and Sunday, November 10th at 4:00p.m. Tickets are $10. CLICK HERE to purchase tickets or more information. To learn more about WCPAC‘s STAR Program, CLICK HERE. To keep up with all things WCPAC, CLICK HERE to check them out online and follow them on Insta, Facebook and X.

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, Insta and Twitter.

Rapid Fire 20Q With Cast of Playhouse 615’s ‘Dracula: a Comedy of Terrors’; onstage through November 3

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The cast of Playhouse 615’s ‘Dracula: a Comedy of Terrors’ (l to r: Jeremy James Carmichael, Robert Coles, Katie Fraley, Jonathon Joyner and Beth Henderson) on stage through November 3.

Following last weekends SOLD-OUT opening performances, Playhouse 615’s Dracula: a Comedy of Terrors is back this weekend and next, October 25-27 and November 1-3, to glamour audiences with a bloody hilarious reimagining of the Bram Stoker classic. After having seen the off-Broadway premiere just last year, Playhouse 615’s Ann Street Cavanagh quickly snagged the rights to present the Tennessee debut for this Halloween season. As the cast prepared for the remainder of the run, I had the chance to chat with each of them for the latest installment of my recurring interview feature, Rapid Fire 20Q.

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Rapid Fire 20Q with the entire cast of Playhouse 615’s Dracula: a Comedy of Terrors

Rapid Fire with Robert Coles, Mina and others in Dracula: a Comedy of Terrors

JHPENTERTAINMENT: First of all, your Mina and Dr. Van Helsing are absolute scene stealers. I honestly didn’t think I would enjoy you in these roles so much. What’s been the most challenging aspect of playing these two lovely ladies?

ROBERT COLES: Thank you! These roles have been so much fun to play. They’re so different and I’ve loved creating them. For me, they’re polar opposites. Mina is written as a horny misfit and Dr. Van Helsing is composed and serious. So, making the switch between these two (sometimes within a few seconds) is challenging. And, with them having such drastically different accents, one scene in particular where they have a full on conversation with each other is absolutely crazy! But, Ann and I worked closely on building the characters and how we wanted them to sound, their physicalities, and different traits to put into them to make them so different. Partner that with costumes and wigs, and they come together quite nicely!

JHPENTERTAINMENT: As Mina, you reminded me a bit of Bette Davis in Whatever Happened to Baby Jane, and I was there for it! What went into developing your characterization of that role?

ROBERT COLES: Oh, Mina! I just love her. She has tender moments where you really start to feel for her, then she does things so cooky and crazy that you’re back to, “Aww. Bless your heart…” For her, I just wanted to amp up the crazy and horny. I put a lot into her physical traits and how she walks, talks, and moves. Her laugh and grunts are also a favorite aspect of the character. This cast has been a dream to work with and they put up with all my crazy! Truly no two nights with Mina are the same. I feed so much off the audience’s energy, too!

JHPENTERTAINMENT: Can we just talk about the oversized hair bow? I love that it just kept falling into your face and without missing a beat, you repositioned it and went on. Who’s idea what it to have you wear it?

ROBERT COLES: That bow is the bane of my existence, but I LOVE that the audience reacts to it so much! Ann always wanted that giant bow to be sitting on the side of my head, but you throw it on top of a wig and add in a gallon of sweat (seriously, we’re running marathons during this show!) and it just won’t stay on! My favorite moment during the show opening night was when I finally got so tired of it that I just threw it into the audience! 

JHPENTERTAINMENT: Ann Street-Kavanagh is directing Dracula. Recently, you’ve worked with her as a co-star during Sordid Lives, as playwright and cast member for Aunt Sally’s Wild Ride and now as director and cast member in Dracula. How does the fact that you both are as adept on stage as behind the scenes affect your working relationship?

ROBERT COLES: Ann is an actor’s director. She comes into rehearsals knowing exactly what she wants, but allows us to play with the scene and characters and make them our own. I love her passion for this show, and for directing. She was so funny during this process and so many of our little bits were straight from her zany brain! Fun Fact: I have actually directed Ann TWICE as well! I think we have a mutual respect for each other and our crafts and it really created a harmonious relationship. When you add in this incredible cast (I mean, come ON, I’m acting with Jeremy James Carmichael, Beth Henderson, Katie Fraley, and newcomer Jonny Joyner for goodness sakes!), magic happens. We’ve become a family… Truly. This is one show I don’t want to end. Thank you, Ann, for this opportunity. It’s blessed my life in so many ways.

Rapid Fire with Beth Henderson, Renfield and others in Dracula: a Comedy of Terrors

JHPENTERTAINMENT: As I mentioned after having seen opening night of Dracula, you, along with Robert Coles, steal every scene you’re in. Was absolutely going for it and pushing the boundaries of comedy something you were initially comfortable doing or did it take a bit of coaxing from your director Ann Street Cavanagh?

BETH HENDERSON: I was all in from the audition forward. When it comes to comedy, you’re more likely to have to reign me in than push me out there.

JHPENTERTAINMENT: Thanks to Nick Cage’s recent Renfield film, I suspect more audience members might be a bit more familiar with the character. But your interpretation is anything but a carbon copy of latest big screen version. The distinct way in which your Renfield speaks gave me and several folks around me in the audience a serious case of the giggles. What went into presenting Renfield the way you do?

BETH HENDERSON: The script describes Renfield as someone with salivary issues. I think that was the key to finding the character for me. Once I figured out how to do a very slobbery cockney-like accent, the rest just fell in place. 

JHPENTERTAINMENT: In addition to Renfield, you play Dr. Westfeldt. There’s a particularly fast-paced scene in which you play both, onstage at the same time. What’s your secret to keeping straight whose line you’re delivering and when?

BETH HENDERSON: Ha! Keeping the lines straight is the easy part of that scene. It’s the wig and pipe exchange while spinning that I will never perfect.

JHPENTERTAINMENT: One thing I noticed during the opening night performance was that the audience was laughing so hard there were instances we missed what I’m sure where some equally guffaw-inducing lines. To that end, how imports is audience reaction to the energy of the cast when performing comedy?

BETH HENDERSON: The audience reaction is everything! We had rehearsed the show so much that we weren’t even sure it was funny anymore. The laughter creates this energetic buzz that kind of gives you a high as an actor. 

Rapid Fire with Katie Fraley, Lucy and others in Dracula: a Comedy of Terrors

JHPENTERTAINMENT: What do we need to know about Lucy, one of the characters you play in Dracula?

KATIE FRALEY: Lucy is a woman ahead of her time. She is not only strong and courageous, but she is unwilling to hide her true self. Lucy is also fiercely devoted to her loved ones, especially her sister Mina, so much of her fighting spirit shines through in her relationships. She maintains her independence as best she can, even though the people around her have not quite caught up to her progressive ideas. Her father, for example, still views her as a frail future housewife who needs protection. Many of Dr. Westfeldt’s comments speak to the general attitude toward women during this time. One of the things Lucy craves the most is an intellectual equal who celebrates her free spirit. I think this is where some of the conflict appears for her in the story. Because her fiancé, Jonathan, is so timid and unsure, Dracula appears as the first bold personality she has encountered for ages. It makes sense why she is drawn to him. Ultimately, these forces pull Lucy in many different directions, but whatever happens, you can be sure that she will follow her heart and intuition authentically. 

JHPENTERTAINMENT: Jeremy was the first to break character on opening night. In that same vein (see what I did there?) During the rehearsals, who had you all laughing the most with their outlandish behavior?

KATIE FRALEY: Oh gosh, we couldn’t go two minutes in any rehearsal or show without cracking up one another. This is the funniest and most caring cast I have ever worked with. I have to say though, that Robby constantly makes me howl with laughter. We have such similar (and random) senses of humor that we’ll frequently make jokes at the same time or say what the other is thinking. One of my favorite things about him is that he is so quick-witted. He finds the joke in everything and presents it perfectly. His incredible comedic timing is evident both on and off stage. Any time he does an accent it sends the whole cast into a fit. I still have to keep myself from cracking when he says “wampire.” Robby is such a great physical comedian too and uses this to fully embody each character. It’s hard to keep quiet backstage because even during shows, he is doing something to make us all laugh. Every cast member has made me break character one time or another. Keeping a straight face is an impossible task.

JHPENTERTAINMENT: In addition to Lucy, you also play a couple other roles, including the carriage driver and the elderly housekeeper. For the most part, your characters are the “straight men” to the more outlandish comic antics of some of the others. What’s the most challenging aspect of playing it straight in such an uproarious comedy?

KATIE FRALEY: Honestly the hardest part about playing these other characters is the quick changes! But in terms of playing it straight, it is definitely challenging to present exposition without as much response from the audience. These other characters are often smaller parts meant to drive the plot, so they don’t get as much character development or as many of the killer comedic lines as the main characters we each play. In a farce like this the audience reactions really drive the energy, so it takes a lot more intentional effort to keep the pace steady when playing one of these peripheral characters.

JHPENTERTAINMENT: I’m about to chat with Jonathon Joyner, who plays Lucy’s love interest, Jonathan Harker. I still can’t believe this show marks his first time on stage in a theatrical production. How has he been as a scene partner?

KATIE FRALEY: If I were to watch this show for the first time as an audience member, I would have thought he had been doing theatre for years. He’s a natural. His instincts and character choices come so easily to him. More than anything, he has understood the teamwork element of theatre since day one. He gives such great energy as a scene partner and brings authenticity to each scene. I have always felt comfortable working our scenes. Any little tweak that needed to be made, usually because of different practices between film and stage, he adapted to quickly and with grace. I selfishly hope we have converted him to a stage actor! 

Rapid Fire with Jonathon Joyner, Harker and others in Dracula: a Comedy of Terrors

JHPENTERTAINMENT: As I just mentioned in my chat with your co-star, Katie, while you’ve previously focused on film work, this show marks your stage debut, not just your Playhouse 615 debut, but your first time ever in a theatrical production. What lead you to audition for this show?

JONATHON JOYNER: Yes! this is my first time ever on stage and I just want to thank Ann first and foremost for giving me the opportunity. I came by the audition through a mutual friend, Mick Grayson. He referred me to the audition that was open and I decided to take a chance. I have always been interested in the stage but have maintained my focus on film. I now know the benefits of both and the wonderful expression that you get to convey on the stage. 

JHPENTERTAINMENT: When I saw you after the show on opening night, I shared with you my connection to the character of Harker, and I love that you’re playing a character who shares your first name (though spelled slightly different). Had you ever read the original book or seen any Dracula movies? AND…Did you realize there was a character that bore your first name? 

JONATHON JOYNER: I have not read the original book but I have seen many of the Dracula adaptations so I have been familiar with the story. Despite this I do not believe I had ever realized the connection in name, but I am so happy that I do now. I do believe I will go back and read the original work now!

JHPENTERTAINMENT: Speaking of names, I love the fun name drops peppered throughout the script, including the ship being named the SS Stoker, a nod to Dracula author, Bram Stoker. Is there a scene or line in the show that you find particular amusing?

JONATHON JOYNER:  I think that one of my favorite scenes is the scene where I play a gravedigger and the character has this cockney accent, I find it particularly amusing because cockney has always been one of my favorite accents. I recently watched Legend with Tom Hardy where his character has a cockney accent and I always find it so humorous and engaging. The juxtaposition of standard received pronunciation with Jonathan Harker and the fun animated nature of cockney always brings me joy. There is also a line where I say “I want to introduce you to my cousins Mary and Shelly” a nod to the author of Frankenstein which I always always always love delivering.

JHPENTERTAINMENT: Once bitten, your character undergoes a bit of a transformation. How much fun are you having vamping it up?

JONATHON JOYNER: The energy from the audience when coming out from the transformation is what makes it the most fun. Flipping to a complete opposite form allows me to loosen up on stage and enjoy the energy that is being thrown at me from the audience, I love it so much. It is almost like a release up to that point of my own personal energy being contained and an almost woosah type of moment once the transformation happens haha. 

Rapid Fire with Jeremy James Carmichael, Dracula in Dracula: a Comedy of Terrors

JHPENTERTAINMENT: When I interviewed you recently about your role in Aunt Sally’s Wild Ride, I asked you to describe your character in five words. You responded in the most cheekily arrogant way possible. Now you’re playing Dracula in an equally cheeky and arrogant way. So a two-parter for you: 1) How much fun are you having in this role? AND 2) Ever feel like you are being typecast? 😉

JEREMY JAMES CARMICHAEL: 1) Dracula is a blast to play, but it’s even more fun being supported by an incredible ensemble of hilarious and talented actors. I couldn’t be the Dracula you see in this show without the banter and trust I have with each of my co-stars. And Dracula changes from night to night depending on the energy of the audience, and how my scene partners feed me the lines; I’ve played him more petulant and melancholy at some shows, but hyper and more self-absorbed at others. The beauty of live theater! 2) Well gee, Jonathan (an actual line of mine in the show)… I like to think of it as excelling in one certain facet, or being able to demonstrate mastery in a particular trait. But yes, I do think I get type-cast a lot. When I look back at my work, I see many of the same characters: Billy Flynn, Conrad Birdie, Danny Zuko, Sam Carmichael. I hope audiences know that’s not me in real life; I’d consider myself fairly opposite of all those roles I play. But I wish I had their confidence and… cajones.

JHPENTERTAINMENT: When I attended the show opening night, the audience couldn’t stop laughing. I found myself wondering how you all keep it together, then, about an hour in, you broke character, attempting to stifle the giggles during a particularly hilarious scene opposite Robert Coles. During rehearsals, who had the hardest time keeping it together?

JEREMY JAMES CARMICHAEL: How dare you. But yes, breaking character happens to the best of us. Something magical happened the first night the five of us met for our table read; only two had known each other before, but we clicked and then bonded faster and harder than any cast I’ve worked with, and I’ve been doing this for 47 years. Our team is rock-solid, and our love for each other is palpable. When you have that trust, the show can skyrocket. I’ve told my scene partners I have no limits; lean into the comedy if the audience is eating it up. And sometimes jokes go farther than we’ve taken them before, and sometimes — yep. It’s too dang funny to keep inside. My four castmates are BRILLIANT. And so I constantly find myself lost in their performances and sometimes reacting, out of character. I’m only human.

JHPENTERTAINMENT: Let’s talk about those vampire teeth. What’s the most challenging aspect of wearing fangs while trying to deliver your lines?

JEREMY JAMES CARMICHAEL: They hurt! But I think they’re kinda sexy so I always keep them in right after the show. I’m always hoping to get pulled over on my way home.

JHPENTERTAINMENT: Why should folks come see Dracula: a Comedy of Terrors. AND After seeing Dracula: a Comedy of Terrors, what do you hope they come away thinking of long after those two mysterious blood spots fade on their necks?

JEREMY JAMES CARMICHAEL: The show is FUN. Sometimes are is provocative; sometimes it’s used as an agent for social justice or change. And sometimes it’s just damn fun. We’re in a heavy time in our nation and I think the escapism that theater provides is a real benefit. Trust me — you won’t be thinking about your problems for the 90 minutes you spend with us. I think audiences will leave happy, and sometimes, that’s the best you can ask for.

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Playhouse 615’s Dracula: a Comedy of Terrors continues with performances through November 3. At the time of this publication, Limited Tickets remain for the rest of the run with the exception of Saturday, October 26, which has SOLD OUT. Limited seating remains for October 25 & 27 and November 1-3. CLICK HERE to purchase, or contact the box office at 615.319.7031.

Next up at Playhouse 615, Joel Meriwether will direct Every Christmas Story Ever Told (And Then Some!) with performances December 6-22. WATCH THIS LINK for ticket info when it becomes available. For more on the show and to keep up with what’s next at 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 ‘For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf’; Opening Circle Players’ 75th Season, at Looby Theater thru October 20

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Last Sunday afternoon, I had the opportunity to attend an Opening Weekend performance of Circle Players’ 75th Season Opener, For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf. Since it’s 1976 off-Broadway debut, playwright Ntozake Shange’s creative, emotional piece has has given voice to generations of Black women, but more than that, it’s presented the oft-too-rare opportunity for a theatrical work to not only shed light of difficult subject matter, but to do so to ultimately uplifting and positive result. With those thoughts in mind, as the director, Cynthia Harris, and cast members Kamaryn Robinson, Jailin Roberts, Lauren Fitzgerald and the rest of the company readied for the show’s second and final weekend, I had the chance to pose a few questions for my latest Rapid Fire 20Q.

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Rapid Fire 20Q with cast members and diretor of Circle Players’ For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf

Rapid Fire with Kamaryn Robinson, For Colored Girls’ Lady in Brown

JHPENTERTAINMENT: What can you tell me about Lady in Brown, the character you play in For Colored Girls?

KAMARYN ROBINSON: Lady in Brown is the youngest of 7 and she calls upon her sisters after experiencing something traumatic with her partner. Throughout the play she takes in these rich amazing stories her sisters have to tell her about black women and love. Like many younger sisters, Lady in Brown has a very vivid imagination and vibrant spirit. She represents innocence and self-discovery.

JHPENTERTAINMENT: The first thing I noticed while attending an Opening Weekend performance was the balance of toughness and heart in the way you play Lady in Brown. Do you share those characteristics in your real life?

KAMARYN ROBINSON: I most definitely do. This play is about black women and all that they go through, the good and the bad so I naturally relate. It took a second for me to be able to dig deep and reach that point of vulnerability to show onstage but once our director, Cynthia coached me to that point, Lady in Brown and I became one. As for real life, I am a young woman who is too searching for her identity and discovering empowerment as I grow older.

JHPENTERTAINMENT: What is your earliest memory of theatre? AND…did you know immediately that that was something you wanted to pursue?

KAMARYN ROBINSON: In elementary school, I was cast in my first production as Cinderella. From that moment performing became an immediate passion of mine. Since elementary school, I have not stepped off the stage since and I don’t plan to anytime soon. Theater is a form of healing and therapy that not only the audience receives but the performers receive it too. In every production I perform in I have the same number one fan in the audience, my Mom!

JHPENTERTAINMENT: From what I understand, while you appeared in a few productions at Tennessee State University, including Chicken & Biscuits, Steel Magnolias and Zooman & the Sign, this is your first show at Circle. What’s been the most rewarding aspect of being in a Circle show as the company celebrates their 75th anniversary?

KAMARYN ROBINSON: Being apart of the Circle Players family has been such a huge blessing and amazing experience. This is my community theatre debut and what a better way to start than with Circle Players. This company has the most incredible and talented people and I have been so lucky to be connected with beautiful black women who uplift me. I can’t wait to work with them again!

JHPENTERTAINMENT: What’s the most challenging aspect of playing Lady in Brown?

KAMARYN ROBINSON: The challenging aspect is navigating the complex emotions. Lady in Brown begins the play in a very hard place questioning how the world really sees black women. She then moves to a youthful optimistic moment that requires a lot energy while also portraying the pain of losing a sense of innocence. Finding that joy inside of the pain was very difficult for me especially while I worked alongside this ensemble of six other women. Portraying this story was a group effort and took a lot of connecting and trust in each other to be able to tell these relatable stories in a safe space.

Rapid Fire with Jailin Roberts, For Colored Girls’ Lady in Yellow

JHPENTERTAINMENT: As Lady in Yellow, you’re among the first to recite a monologue, and what a monologue it is. When I chatted with your director, I noted the juxtaposition of joy and pain peppered throughout the piece. Your first segment is a prime example of that. Do you have a pre-show routine to get it the right mindset for such an emotional show?

JAILIN ROBERTS: I actually have a pretty long pre-show routine to center myself before I step on stage! I start by listening to my gospel playlist to take a moment to praise and give thanks to God. It’s such a blessing to perform and I never want to take it for granted. I also believe that as a Black woman For Colored Girls is a spiritual experience and if I don’t feel grounded I might miss out on it. I have the tendency to get extremely nervous before I perform. Before places I stand in front of this mirror backstage with my headphones on and go through all my lines! To free up the “what if I forget/mess up” so I can play with my sisters on stage. Lastly, I stretch for my splits while praying and giving myself a lot of affirmations! 

JHPENTERTAINMENT: Since first being published in 1976, For Colored Girls has been described as a work of choreopoetry. On the choreo side, this production features movement choreographed by Tosha Marie, who also happens to be Circle Players’ newly appointed Board President. You worked with Tosha in TMProductions’ Pippin back in 2022. How is Tosha as a choreographer?

JAILIN ROBERTS: Let me tell you! I absolutely adore Ms.Tosha and her work ethic. She is such a light and as a choreographer she knows how to encourage and push. As artist we can limit ourselves or believe the talents we display before honing in on our craft is the cap. Ms.Tosha always sees more than what we tell ourselves. As a teacher, trainer, and choreographer she has shown me that performers are also athletes and we should train our talents like one. Most importantly she’ll always want whoever she’s directing to believe in themselves and exercise grace in the learning process. Ms.Tosha is truly amazing and I am always excited when she’s choreographing.

JHPENTERTAINMENT: Who is Lady in Yellow to you?

JAILIN ROBERTS: To me she is who I am as a storyteller. Lady in yellow is how we have fun catching up with our cousins and aunties. How our moms lived many lives and think it’s funny to let us in on it at random times. Lady in Yellow is me, my mom, and all the Black women/girls who indulge in telling stories. It’s what I do on and off the stage. I love to bring life to the experiences I relay. I believe it’s what makes graduation nite so much fun because it’s how I express myself naturally.

JHPENTERTAINMENT: If you were to do this show again, what other Lady could you see yourself portraying and what is it about that role that might interest you?

JAILIN ROBERTS: I would love to portray Lady in Brown if I am blessed enough to do this show again. Her opening monologue is so beautiful and moving. It’s the starting point of the show that gives a voice to all the Black women on stage and in the crowd. Brown has so much power in that moment I would love to have my own rendition someday. 

JHPENTERTAINMENT: Circle Players is Nashville’s oldest continuing theatre company. What’s it like knowing you’re part of not just their important 75th Season milestone, but also a much-needed new direction for Circle?

JAILIN ROBERTS: I’m very excited and proud that the Board chose this show as their season opener. It’s exciting because it’s a statement that we’re here and we have voices to uplift. It’s important that we recognize that there isn’t enough Black theater. Our stories are ones that need to be told consistently! Black women have such a unique experience. Circle Players opening up the conversation at our talkbacks and shedding light on the complexities of our many experiences was on purpose. Having the amazing director Cynthia Harris take on this project was on purpose. We need more people supporting black theatre and uplifting our voices and stories. I give my flowers to Circle Players Board, Tosha Marie, and Cynthia Harris for contributing this show to the community. 

Rapid Fire with Lauren Fitzgerald, For Colored Girls’ Lady in Blue

JHPENTERTAINMENT: What do I need to know about Lady in Blue?

LAUREN FITZGERALD: Lady in Blue is everyone’s favorite auntie! She is going to catalyze the hard conversations and also catalyze the healing. She is a straight shooter that loves and cares deeply about her sisters and the world around her. Lady in blue is a Capricorn with a Libra moon rising.

JHPENTERTAINMENT: You earned a degree in Theatre at UT Knoxville. Anytime I hear UT and Theatre, I’m gonna ask about my friend Carol Mayo-Jenkins…did you study under Carol? AND…What’s your favorite memory of your time at UT?

LAUREN FITZGERALD: I surely did study under Carol Mayo-Jenkins. She was an incredible influence on my career and journey as an artist and performer. I’m deeply grateful that she, and the rest of the theatre faculty believed in me and poured into my craft.  I had two experiences that stand out at UT. One moment on stage at UT was my performance in The Story of Opal. It was my first opportunity to perform in an ensemble cast. The story that was rooted in a young girl’s exploration of nature and society. It was written from a single voice with rather obscure language and was devised by 5 diverse performers and a non traditional musician. That collective exploration was deeply impactful and has informed how I approached other creation processes. The other was being able to embody Alma Hix in The Music Man, primarily because it was a huge cast and we got to play with talent not just from the student body but from the community and our professors (including Carol Mayo-Jenkins). I’d also be remiss if I didn’t mention the profound impact that the Carpetbag Theatre, then led by Obie award winning playwright, Linda Parris Bailey, influenced me during my journey at UT. Having interned and performed there all through my time at UT, I found a theatre community that embraced me and nurtured my love for works like For Colored Girls who Committed Suicide/When the Rainbow is Enuf. I found home in Carpetbag and I am forever grateful.

JHPENTERTAINMENT: I love the feistiness in which you play Lady in Blue, as evidenced in one of your earliest lines: “you gave it up in a Buick?”. I literally LOL’d when I heard that while attending Opening Weekend. Gotta know…did you draw that feistiness and energy from your own personality or is there a Lady in Blue in your family or friends circle upon which you borrowed some of her traits?

LAUREN FITZGERALD: It’s all me, and I am all the women in my family. I am that auntie. Serendipitously, I did not get called back for Lady in Blue. But, after getting cast in the role I knew that I had a lot of my personality that I could contribute to the role. My friend circle is a strong mix of all of the colors. We show up different in different ways depending on the time and the circumstance. But, if you would ask my friends who my personality most aligns with, it would be Lady in bBlue.

JHPENTERTAINMENT: Your cast bio concludes with, “she believes in the color yellow”…for the uninitiated, care to elaborate?

LAUREN FITZGERALD: Sure! To elaborate (and ramble a bit lol)I believe I am bit synesthetic. I can see sounds sort of like how Pharrell Williams has described in interviews. I believe that when I experience the color yellow rather it be visual or sonically, it has the power to rejuvenate or reset my nervous system. It makes me feel good. I am an optimistic person by nature. So I feel like the color yellow almost resets my optimism should it be wavering for whatever reason. Alice Walker found her love for the color purple by noticing shadows in nature and how purple is everywhere which is so beautiful. However my belief in yellow is kind of similar yet opposite. The color yellow, also everywhere, represents light to me. Light is what brings understanding and sight. My passion is bridging understanding and bringing light to build genuine connections. Yellow represents light and love in a world with so much darkness. 

JHPENTERTAINMENT: Why is For Colored Girls as relevant for today’s audiences….of ANY race as it was when it first premiered?

LAUREN FITZGERALD: This timeless piece tackles multiple intersections of belonging and care. It particularly addresses how marginalization can impact families. For me, this is just one perspective of how the social atrocities of this country have impacted our relationships, our ability to sustain healthy families, our self identities, and the health of our mind and bodies (both men and women; considering Beau Willie Brown). It helps us by listening to this story and considering how we might look to our own individual power or develop empowerment to find a sense of yellow, a sense of light and love to help rectify and combat these issues of humanity. 

Rapid Fire with For Colored Girls’ director Cynthia Harris

JHPENTERTAINMENT: You mention in your director’s note in the For Colored Girls’ program that you first read Ntozake Shange’s work when you were in the 5th grade. Do you remember your initial thoughts on the piece?

CYNTHIA HARRIS: Absolutely! I remember looking at the cover and reading the title while My Aunt Joyce explained how important the book/script was to her. She also told me I was old enough to read it. Being old enough made me feel special. I used the poem No Assistance by Lady in Red as my poem for a 5th grade Forensics competition at Meigs Magnet. My drama teacher approved of keeping the one cuss word and I was thrilled. I understood the pieces then, but not anywhere near the way I understand and have lived these words in my 46 years.

JHPENTERTAINMENT: In some way, was it that early connection to the work that ultimately lead you to direct this production?

CYNTHIA HARRIS: It made sense to me as a young person. It affirmed that the stories I overheard while my mother worked in her beauty salon or as she talked to her sisters on the phone, that they were as important or powerful as I felt they were. This is absolutely a full circle moment for me. As a playwright, my chosen format is the choreopoem. It gives me the most liberty to tell Southern Black women’s stories in an uninterrupted format. When Circle Players’ Board President Tosha Marie asked me to direct, it didn’t take me anytime to say yes. I have always wanted to direct this play. 

JHPENTERTAINMENT: I’ve always been intrigued by the duality of the show’s title. The juxtaposition of the bleakness of the thought of suicide paired with the hopefulness of a rainbow. The show itself is a brilliant balance of emotions. Do you have segments that stand out to you?

CYNTHIA HARRIS: And in that bleak juxtaposition is also the remedy. The rainbow of women in our lives can and do save us by witnessing our stories and declarations of power. I love them all. I can’t choose one. One of my favorite lines from No More Love Poems is “being Black and being colored is a metaphysical dilemma I haven’t conquered yet.” Also from that section, “I’m finally being real, no longer symmetrical and impervious to pain.” For me the sadness, anxiety and depression are increased by the emotional labor expected of Black women and other women of color. If we can strip all the layers of performance we do to keep others happy or just to survive, we can find our joy and our rainbows. 

JHPENTERTAINMENT: Over the years, I’ve seen a few productions of For Colored Girls. Typically, it’s presented almost like a poetry reading, where the primary orator takes center stage, but I love that you’re presenting it more like a girls’ weekend wherein the women seem to be sharing their stories with one another. You speak a little about this decision in your director’s note, but for those who’ve not yet seen the show, can you tell me a little more about presenting the show in this manner?  

CYNTHIA HARRIS: For that reason you observed. It is usually presented in a more abstract and minimalist way. The play is 50 years old, and I wanted to do something different. I wanted color and costume changes. I wanted to layer this idea that the characters are all Sisters, who are reuniting because one has experienced something traumatic. The creative challenge was to add this layer of story and not change any of the words or their order in the choreopoem. I also wanted to show my relationship to this sacred text over time. I show it in my music exploration and use in transitions throughout the show. I also thought about all the places that I have come together with my women friends to retreat and reset. We sit together in living rooms on sofas, playing games and having long conversations. We sit in kitchens around tables with meals we’ve lovingly prepared for each other. We sit on the porch; we’re Southerners after all. I wanted to mirror back to the audience their everyday brilliance and resilience. 

JHPENTERTAINMENT: What do you hope audiences take with them after having seen For Colored Girls?

CYNTHIA HARRIS: That BIPOC women and female identifying people are seen and loved. We are complex humans and God/Higher Power is with us in all our experiences and choices, good or bad. I want them to find God in themselves and to LOVE HER FIERCELY!!!

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Circle Players’ For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf wraps its two-week run with performances at Z. Alexander Looby Theatre (2302 Rosa Parks Blvd, Nashville, TN 37228) Friday, October 18 at 7p.m., Saturday October 19 at 2p.m. and 7p.m. and Sunday, October 20 at 2p.m. CLICK HERE for tickets.

Following For Colored Girls, Circle Players will begin preparing for their Winter presentation, And The World Goes ‘Round, a musical review of the songs of Kander and Ebb. Auditions will be held Saturday, November 2 at CLICK HERE for more info, character details and to sign up to audition. Performances of And The World Goes ‘Round will be January 10-26, 2025. CLICK HERE for tickets. Be sure and follow Circle on Facebook, Insta and TikTok for the latest news from Nashville’s oldest continuing regional theatre company.

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. In the meantime, #GoSeeTheShow!

Theatre Review: Playwright William Inge’s ‘Bus Stop’ at The Keeton proves the wheels of love and longing still turn some 68 years after show’s Broadway debut

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Before checking out The Keeton’s presentation of William Inge’s 1955 play, Bus Stop (on stage at The Keeton Dinner Theatre/108 Donelson Pike, Nashville, TN 37214 thru Sunday, October 27), I revisited the now-famous 1956 film adaptation starring Marilyn Monroe, as well as the early-80s HBO teleplay featuring Superman’s Lois Lane, actress Margo Kidder to refamiliarize myself with the piece. I was immediately struck with how different the play version is from the film. I also couldn’t help but notice some of the action of the play seems a bit dated, so I was curious how Erin Grace Bailey, who’s directing the show for The Keeton would approach the material.

The play takes place in the mid-1950s in Kansas on a wintery night where we find a quartet of travelers and their bus driver unexpectedly snowed in at Grace’s Diner, a little roadside eatery that also serves as a regular stop of passing busses routes. The bus driver, a jovial fellow with a strictly ‘passing through’ relationship with the diner owner, brings his passengers into the diner for shelter from the storm. The passengers include a mouthy young cowboy, his longtime friend and right-hand-man, a nightclub singer and an alcoholic, womanizing professor. The diner is operated by a middle-aged woman and her teenage waitress. Rounding out the cast of characters is the local sheriff, who frequents the diner most days.

As the play began, my mid-century-loving heart warmed at the sight of the set designed by Kevin Driver, The Keeton’s resident technical director. Driver has outdone himself with Grace’s Diner. On occasion, The Keeton sets are a bit rudimentary and one-dimensional, but not this time. From the lunch counter and barstools to the wood-burning stove and period-appropriate wall phone and soda pop signs…perfection. Heck, there’s a magazine rack boasting cover images of some of the 1950s biggest names, including Elizabeth Taylor, Jackie Gleason, Lucille Ball and Desi Arnaz (you know I loved that). There’s even a clever wink to the aforementioned Monroe on the cover of Life Magazine…all recreated by The Keeton’s go-to graphic designer, Danny Proctor.

Gotta acknowledge the incidental music played before the show and during intermission. I’m almost certain I heard a little Doris Day and Ella Fitzgerald among the period-perfect tunes. Speaking of, if you’re looking for a recreation of Marilyn Monroe’s infamous interpretation of That Old Black Magic, sad to say, you’re out of luck. For some reason, the show’s nightclub singer performs Stars Fell on Alabama instead. I disappointment for yours truly, for That Old Black Magic is even what the playwright mentions in the original script and in every production of Bus Stop that I’ve seen through the years, it’s always a memorable moment in the show.

Nonetheless, when the action starts, the audience meets Jena Salb as Grace Hoylard, the diner owner and Hazely Sanderson as Elma Duckworth, her high school-aged waitress. Salb’s Grace, like the set, is right out of the 50s, all cigarettes and sass. The kind of role actresses like Mary Wickes or Ann Southern played. OK, so Salb’s Grace isn’t all sass..the show contains scenes that show kinder side of Grace, in particular with her interactions and caring for young Elma. As for Elma, Sanderson’s portrayal is sweet, curious and a bit naive. A recent high school graduate herself, this role marks Sanderson’s first post-high school production. Mark my words, Nashville, keep an eye on this talented young woman.

Cherie as played by Fiona Barrett’s, presents the character as a self-described chanteuse who’s been kidnapped by a brutish, but childish cowboy. Cherie’s entrance is worth the wait, after all, she’s taking on the role that Marilyn made famous, right? Comparisons stop right there. Yes, the actress is wearing a platinum blonde wig in an effort to evoke memories of Marilyn, but Barrett, as directed by Bailey, quickly lets the audience know that she’s making Cherie her own. Where Marilyn employed her usual breathy baby talk as Cherie, Barrett is unapologetically loud. She’s funny when the script calls for it, but also equally real and emotional at times, and makes no secret of her initial disdain for the cowboy. Now if they could just set the body makeup so the actress’s tatted and makeup-covered arms didn’t smear concealer all over her lilac dress, I could have focused more on her performance. But at least they attempted to cover her ink, which is more than was done at The Keeton’s recent Footloose run. I’d never seen so many high school kids with tats, but I digress.

About that dress, though…Kudos to the show’s costumer, Donna Driver, who also happens to be The Keeton’s Managing Administrator. Cherie’s lilac dress and floral coat, not to mention her later literal and figural red hot chanteuse costume, and other aspects of the show’s wardrobe, are indeed spot on. I loved the bold choice of Virgil’s western shirt and Bo’s fringe jacket, and the diner uniforms. It’s the attention to details like this that can easily make or break the believability of a period piece and Driver’s eye for detail is evident herein.

Following a brief, but notable role as one of the hoodlum friends in The Keeton’s recent Footloose, Josh Mertz shines as the 21-year-old rodeo rider, Bo Decker. Presenting Bo as a spoiled-rotten brat of a man child, his tantrums almost become a bit too much, but thankfully, the director has reigned him in just enough. He’s another younger actor that I’m sure we’ll be seeing more of.

Rich Moses as local sheriff, Will Masters is just about as good as it gets. His rough and tumble attitude when dealing with Bo’s outrageousness, nicely balanced with a bit of Will’s more tender side when consoling Cherie. Strength and compassion, Moses’ Will possesses both. When we chatted last week for my Rapid Fire 20Q, I mentioned that Claude Akins had played the role of Will in the 1982 teleplay and funnily enough, Moses admitted he’d been though of Akins’ Sheriff Lobo from the BJ and the Bear sitcom…and it showed.

Dean Bratton, a relative newcomer to the Nashville theatre scene, is enjoyable as Virgil, Bo’s friend and frequent voice of reason. If Jiminey Cricket were a looming presence of a man, he’d be Bratton’s Virgil. He too gets a tender moment with Cherie, as well as a much-deserved what’s what chat with Bo, allowing Bratton to showcase a bit of range as a performer.

Mick Grayson, who’s had a very busy few months, having recently appeared in local productions of Sordid Lives, An Ideal Husband and Aunt Sally’s Wild Ride, while undeniably charming and likable, is unfortunately miscast as Dr, Gerald Lyman. Not even the old high school drama department trick of spraying a little grey in his hair can convince the audience he’s the thrice married lothario he’s portraying. Nonetheless, Grayson steps up as much as he can and delivers an enjoyable drunken reenactment of Shakespeare’s Romeo and Juliet’s balcony scene alongside Dr. Lyman’s latest attraction, Sanderson’s Elma.

Rounding out the cast is Eric Crawford as Carl, the bus driver. Crawford’s Carl is hilarious. His flirtations with Salb’s Grace, including some “did they really just say that?” lines that must have shocked some mid-50s audiences back in the day, bring a light-hearted tone.

When I interviewed the cast before the show opened last week, I noted that Bus Stop is a slice of life play. More accurately, it’s a slice of nostalgia play. Are there plot elements that today’s audience might find cringe-worthy as the kids of 2020 might have said? Yes. After all, the set up for the entire show is Cherie runs off the bus as soon as it stops, with suitcase in hand, in hopes of escaping Bo, who forcibly carried her onto the bus and told her he was taking her to Wyoming to marry him…and this after just one night together. On that subject, I love that the playwright, even back in 1955, allowed Cherie to own her sex and sexuality. When it’s revealed that Cherie has had numerous suitors, while Bo’s actions could be attributed to the fact that Cherie was his first, there’s a sweet line in the show to the effect that Cherie’s experiences balance out Bo’s lack thereof.

Rest assured director Bailey successfully maneuvers the story—occasional antiquated ideals et al—thanks to her talented cast, presenting Inge’s Bus Stop as a look back at theatre when show’s depended on heart, not special effects. All in all, The Keeton’s Bus Stop is definitely a worth a visit.

The Keeton’s Bus Stop continues through October 27. Dinner and Show tickets are $40 for Adults and $35 for Children. Show Only tickets are $30. For evening performances, doors open at 5:45p.m. with dinner served at 6p.m. and the show beginning at 7:30p.m. Shows with a Thursday show only performance open doors at 6:30p.m. with show at 7p.m. Sunday matinee hours are as follows: doors at 12:45p.m./lunch at 1p.m. and show at 2p.m. CLICK HERE to purchase tickets. As always, The Keeton coordinates their dinner menu to compliment the show. For Bus Stop, the pre-show meal will consist of a Dinner Salad, Country Fried Steak with Pepper Gravy served with sides of Mashed Potatoes, Green Beans and Roll with Cookies and Cream Pie for dessert. 

Next up at The Keeton is A Christmas Story: The Musical, with performances December 5-22.  WATCH THIS LINK for tickets or more information soon.

To keep up with the latest from The Keeton Dinner Theatre, follow them on Facebook, 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. In the meantime, #GoSeeTheShow!

Rapid Fire 20Q with cast of William Inge’s ‘Bus Stop’; Opening at The Keeton October 11 thru 27

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For their latest dinner theatre offering, The Keeton Theatre will present William Inge’s 1955 Tony-winning play, Bus Stop with performances Friday, October 11 thru Sunday, October 27. Directed by Erin Grace Bailey, Bus Stop features among its cast Josh Mertz, Fiona Barrett, Rich Moses and Jena Salb. As the cast and crew put the finishing touches on the show, I had the chance to chat with the four stars to get their take on the play, the characters they’re playing, and yes, the famous folk who’ve come before them in previous stage and screen adaptions of this classic slice-of-life work. What follows are those conversation.

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Rapid Fire 20Q with Cast of The Keeton Theatre’s Bus Stop

Rapid Fire with Josh Mertz, Bo Decker in Bus Stop

JHPENTERTAINMENT: Keeton audiences last saw you in the supporting role of Travis in their recent production of Footloose and now you’re playing leading man, Bo in Bus Stop. How excited are you to step front and center with this role?

JOSH MERTZ: It is such an honor and a privilege to get to perform at the Keeton. I used to see shows here growing up and dreamed of one day being on that stage. I’m very grateful for the theater family that I have made over the past couple months . I am very blessed that Erin Grace(our director) trusted me to tell her vision of the show as Bo Decker. He is such a fun role to play because yes, of course he’s the comedic relief but also his character arc is about his journey in finding true love and growing up. I believe there isn’t any small roles in theatre because at the end of the day, every actor upon that stage affects how story is told to the audience. 

JHPENTERTAINMENT: On the exterior, Bo seems to be a bit of a ruffian. How much fun are you having playing this type of character?

JOSH MERTZ: Bo Decker is one of the wildest characters I’ve ever portrayed on stage. Developing the mannerisms, voice And even walk of this character has been the most fun I’ve had with a role in a while. I feel like with every rehearsal was bringing something new to the table and I’m still finding things to incorporate with the character. I can’t wait for everyone to see who Bo really is. 

JHPENTERTAINMENT: Within the context of Bus Stop, Bo is said to be a rodeo champion. I understand you’re a Nashville native yourself, so I gotta ask…any experiences or interactions with livestock in your own background?

JOSH MERTZ: The closest I’ve ever been to something of that nature is my grandmother lives out in the country of South Carolina and owns horses and goats. I absolutely love animals and I’ve seen a couple of rodeo shows growing up. I actually hope one day to go horseback riding again. 

JHPENTERTAINMENT: Bo has fellow cowboy Virgil Blessing (played by Dean Bratton) as a bit of a mentor and occasional voice of reason. Is there a Virgil in your own life who sets you straight now and again?

JOSH MERTZ: The Virgil of my life was definitely my Pawpaw David Atchison. We lost him about a year and a half ago from a long battle with COPD. Anytime I ever had a life question or just needed to get something off my chest or needed better guidance on something, I would go and sit in my Pawpaw‘s room and talk about it. He was one of the best men I’ve ever known and I miss him every day. he always knew the right answer and lived his whole life with love and compassion towards others. He wanted me to follow my dreams so this is why I dedicate all my performances since to him. 

JHPENTERTAINMENT: I’m about to chat with Fiona Barrett, who plays Cherie to your Bo. What’s she like as a scene partner?

JOSH MERTZ: Getting to know this whole cast  has been such a blessing in my life. Everybody brings such an amazing energy to the show and it’s magical to be in. Fiona as a scene partner has been so fun to work with. She’s never afraid to make bold choices and very willing to try new things on stage. Could not ask for a better Cherie to my Bo.

Rapid Fire with Fiona Barrett, Cherie in Bus Stop

JHPENTERTAINMENT: Who is Cherie to you?

FIONA BARRETT: Cherie, to me, is a symbol of strength and perseverance, with a dash of fun and carefree nature. I say this to not only reflect her character in general, but also when thinking about the things she’s had to overcome in her past and present. She’s survived the lowest of lows and the highs of being on top; that, to me, creates a well-rounded character with depth, blended beautifully with a cheeky attitude.

JHPENTERTAINMENT: From your bio, I understand the role of Cherie marks the end of a five-year hiatus from the theatre. What’s it like being back on stage?

FIONA BARRETT: It’s truly been a gift; no exaggeration. Being back on stage feels like I’ve come home again. I spent a good fifteen years of my life doing theatre in my younger years, and I forgot how much joy it brought me until the rehearsal process started for Bus Stop. It’s revived my love for theatre and I won’t be stopping any time soon!

JHPENTERTAINMENT: Doing a little research in preparation to chat with you and your fellow cast mates, I revisited 1956’s film adaptation, which came out one years after the Broadway debut of the stage play. In it, Marilyn Monroe plays up Cherie’s naive sex kitten side. I also checked out 1982’s HBO teleplay in which Margot Kidder (Lois Lane in 1977’s Superman: The Movie) approaches the role with a bit of humor and clumsy charm. I’m curious how you’ve chosen to play the iconic role?

FIONA BARRETT: While I auditioned with the mindset of visually portraying Marilyn, my interpretation of Cherie comes forward with strength and wittiness, combined with that charm and appeal you may have seen in the past. I wanted to bring my own interpretation of the character itself to life based upon the text, but I also wanted to acknowledge that Cherie is still a beautiful young girl with a sense of humor and sweet disposition. To me, Cherie isn’t just a bombshell blonde dancer; she’s a young woman that’s grown up more quickly than most and has developed a keen sense of navigation of the world around her, even if it hasn’t been as kind to her as she’d like for it to be.

JHPENTERTAINMENT: One of my favorite scenes, regardless of who’s playing Cherie is the moment she gets to show off her talents as a ‘chanteuse’. Can you give us any insider info on ‘That Old Black Magic’?

FIONA BARRETT: I agree! I love the fact that I get to show off Cherie’s chanteuse side! Given that I’ve played primarily musical roles in the past, it’s so fun being able to give that duality onstage. However, even though That Old Black Magic is one of Cherie’s best numbers and the one that got Bo’s attention, she chooses a different song to sing when given the opportunity to shine in the diner. What song, you ask? Come see the show to find out! 😉

JHPENTERTAINMENT: Over the past couple years I’ve gotten to know your director, Erin-Grace Bailey, for her work both onstage as an actress and behind the scenes as a director. What’s your experience been like having her the director of Bus Stop?

FIONA BARRETT: I couldn’t have asked for a better director to work with upon my re-introduction to theatre, and I say that with my whole heart. Erin-Grace directs with intelligence and purpose, but also continuously ensures that the actors involved are comfortable with the direction given, especially in places where the text is more intense. She creates a collaborative environment between herself and the people she works with, but also leads with a keen sense of storytelling ability that you don’t see very often. I credit her with helping me find a version of Cherie that has depth and strength along with charm, beauty, and confidence. I hope I get the opportunity to work with her in future productions!

Rapid Fire with Rich Moses, Will Masters in Bus Stop

JHPENTERTAINMENT: What can you tell me about Will Masters, the character you play in Bus Stop?

RICH MOSES: Will is the local sheriff of our small town. He’s a big hearted guy, looking to protect the ladies of the diner as well as the passengers who are stranded due to the storm. While he’s a no-nonsense sort of sheriff, he also has a positive outlook on life and is willing to give everyone the benefit of the doubt. He takes his past experiences and uses them for good, even trying to help out a certain cowboy. He loves life and everything about it, and people love him for it.

JHPENTERTAINMENT: How familiar were you with Bus Stop prior to auditioning for the show?

RICH MOSES: I was familiar with the basic premise of the story along with the fact that it was a star vehicle for Marilyn Monroe but had not seen the movie. I try to avoid seeing any productions of a show I audition for prior to the run of our show. I feel like it helps me establish a character as my own, letting me put my own spin on things rather than being influenced by other actors and their character choices whenever possible.

JHPENTERTAINMENT: Keeton audiences might recognize you from your recent role in their production of The Music Man, among other Keeton shows. What is it about The Keeton that keeps you coming back?

RICH MOSES: Bus Stop will be my ninth production “trodding the boards” at Keeton. It’s one of my favorite theaters along with Playhouse 615 in Mt. Juliet. I keep coming back to the Keeton for a multitude of reasons. They do a great job with play selection, the directors are always fabulous and push actors to become better onstage, and I love working with the actors who perform there. Quite a few of us have been in multiple shows together, so the chemistry and fun we share onstage always shines through. The audiences are absolutely incredible as well. They bring the energy in the house and are always engaged in the show, which makes for a better production all around.

JHPENTERTAINMENT: When I chatted with Fiona, I mentioned that I had rewatched not only the 1956 film version of Bus Stop, but also the early 80s HBO teleplay. In the latter, Claude Akins played Will Masters. In both, Masters is the good-hearted everyman. What’s your favorite aspect of playing a character that’s just so likable?

RICH MOSES: Funny story – when I was reading the script and preparing for auditions I pictured Claude Akins as someone who could play that role, especially after his time as Sheriff Lobo on BJ and The Bear and The Misadventures of Sheriff Lobo back in the 70s and early 80s, and wasn’t aware he had performed in the 80s teleplay.

The best part of playing a likable character is the fact that it gives me an opportunity to make the audience smile and really enjoy the show. Those sort of characters are always memorable for audiences and they love to root for them and their impact on the story. I think we are always looking for the good in people and they can identify with someone on stage who exudes that positivity.

JHPENTERTAINMENT: Within the context of the play, Will seems to have a bit of a crush on Grace, the owner of the roadside diner where the action of Bus Stop takes place. Jena Salb plays Grace to your Will. Since I’m about to wrap up this Rapid Fire 20Q by chatting with her, what are you enjoying most about sharing the stage with Jena?

RICH MOSES: This will be my second show with Jena after performing with her last year in Arsenic and Old Lace. We had a ball for that show and are having just as much fun this time. She was so excited to audition for this show with me that she asked for me to yell at her during auditions “like I did in Arsenic for old times sake.” Jena is a master actress on stage with her comedic timing  and ability to bond with other characters. Her passion for the stage is infectious, and I love playing alongside her.

Rapid Fire with Jena Salb, Grace Hoylard in Bus Stop

JHPENTERTAINMENT: What can you tell me about Grace, the character you play in Bus Stop?

JENA SALB: Grace is a conundrum. She’s a little bit of everything, but mostly she’s tough. Not because she wants to be, but because she has to be. She’s a little selfish, but not in a mean way. She just has to look out for herself over anyone else, because she knows that’s the only person she can rely on. She’s snarky, but not bitter, and takes life as it comes. She’s a lot like me to be honest, which is what drew me to her.

JHPENTERTAINMENT: Most everyone knows Marilyn Monroe starred as Cherie in the 1956 film adaptation of Bus Stop, but while researching to chat with you and your fellow cast mates, I learned that Elaine Stritch, one of the most beloved theatre actors of the modern era originated the role Grace on Broadway a year prior to the film’s release. Does knowing the legacy of a role mean anything to you as an actor, or do you approach each role as though you’re the first and only one to step into it?

JENA SALB: Elaine Stritch is an icon! But, I haven’t looked at anything she did with the role. If I did that, it would just be a terrible Elaine Stritch impression and I’m saving that for when I’m old enough to play Joanne in Company. 

JHPENTERTAINMENT: From what I’ve seen on social media, Kevin Driver, Bus Stop’s technical director has outdone himself with the set. Grace’s roadside diner looks perfectly charming and authentic. Is there a piece of set decor that you particularly enjoy?

JENA SALB: I love anything that Kevin Driver does. He’s just the best person and we are so lucky to have him residency here at the Keeton. This set is really spot on and when I’m up there behind the counter, it really brings me back to my waitressing days at a diner downtown. I think I love all of the clutter on the walls the most. Just don’t spend too much time looking at all of it, because you’ll miss the little moments happening in the background by all of my cast mates.

JHPENTERTAINMENT: I gotta tell you, Grace is one of my favorite characters in this play. Rewatching the 1956 film and the early 80s teleplay, I literally LOL’d each time when Grace says, “I love a fight”. She’s got such great lines throughout. Do you have a favorite line or scene in the show?

JENA SALB: I love the end of the show when she is just tired of everyone’s shenanigans and wants them out so she can go to bed. Or it just a front and she loves having all of these crazies here to keep her company? I’ll let you decide that…

JHPENTERTAINMENT: I always end these Rapid Fire 20Qs with a version of the same final question and since you’re my last piece of this puzzle…What do you hope audience remember after having seen Bus Stop at The Keeton?

JENA SALB: I hope it just leaves them thinking. When I see a show, I know it’s a good one if I’m leaving having a discussion with who I saw it with. And even better if we disagree with each other! I hope they see these very flawed people with a human lens and see that they aren’t good or bad. They are just a product of their experiences. 

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The Keeton’s Bus Stop runs October 11-27. Dinner and Show tickets are $40 for Adults and $35 for Children. Show Only tickets are $30. For evening performances, doors open at 5:45p.m. with dinner served at 6p.m. and the show beginning at 7:30p.m. Shows with a Thursday show only performance open doors at 6:30p.m. with show at 7p.m. Sunday matinee hours are as follows: doors at 12:45p.m./lunch at 1p.m. and show at 2p.m. CLICK HERE to purchase tickets. As always, The Keeton coordinates their dinner menu to compliment the show. For Bus Stop, the pre-show meal will consist of a Dinner Salad, Country Fried Steak with Pepper Gravy served with sides of Mashed Potatoes, Green Beans and Roll with Cookies and Cream Pie for dessert. 

Next up at The Keeton is A Christmas Story: The Musical, with performances December 5-22.  WATCH THIS LINK for tickets or more information soon.

To keep up with the latest from The Keeton Dinner Theatre, follow them on Facebook, 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. In the meantime, #GoSeeTheShow!

Rapid Fire 20Q with Cast and Creatives of ‘Moulin Rouge’; National Tour at TPAC beginning October 8

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Having been a fan of Moulin Rouge since first seeing the Baz Luhrmann‘s 2001 film, I was trilled to learn that the recent 10-time Tony-winning Broadway stage musical would be making its way to TPAC as part of their current Broadway at TPAC season!

My excited expanded ten-fold when I was recently given the opportunity to interview members of the tour…and not just anybody associated with the company, but three of the show’s lead actors AND the show’s wardrobe supervisor.

So put on your sparkliest of diamonds and get ready for my most Spectacular! Spectacular! Rapid Fire 20Q ever!

Rapid Fire 20Q with Cast and Creatives of Moulin Rouge National Tour

Rapid Fire with Moulin Rouge’s Harold Zidler, Robert Petkoff

JHPENTERTAINMENT: I’m just gonna be honest…I LOVE the character Harold Zidler, the role you play in the National Tour of Moulin Rouge. He’s truly one of the most flamboyant, hilariously brilliant roles in modern musical theatre. Who is Harold Zidler to you and how much fun have you been having playing him this past year?

ROBERT PETKOFF: For me Harold is this very complicated man who has one goal when the show starts: Keep the party going. Harold is so many things. Harold is the consummate showman. A charmer, a father figure, a grifter, a survivor.  He and Satine have both made it from the mean streets to the pinnacle of entertainment in Paris of the 1890’s through talent, sheer grit and determination. I think he’s both a kitten and tough as nails when he needs to be. He is truly one of the most fun characters I’ve ever played. There are so many different versions of himself that he shows throughout the evening and that’s an actor’s dream.

JHPENTERTAINMENT: While Moulin Rouge is a jukebox musical, it’s so much more. Heck there’s something like fourteen songs featured in the opening number alone! Speaking of the music, a year after taking on the role of Zidler for the tour, is there a musical moment that you still revel in being a part of night after night?

ROBERT PETKOFF: I really enjoy hearing the audience when I begin singing Chandelier. They start to laugh when they realize what the song is and that Harold is going to sing it. I love the song and NEVER thought I would be singing it on a stage.  It’s a perfect song for the character because the chorus has the feel of a party but there’s a sense of desperation at its core.

JHPENTERTAINMENT: When not onstage, you also enjoy an award-winning career as a audiobook narrator and voice over artist. What’s been the most bizarre or most memorable commercial or audiobook gig you’ve had?

ROBERT PETKOFF: The first thing that comes to mind is doing part of Hamlet‘s “To Be Or Not To Be” monologue as a dog for a commercial years ago. I sounded a bit like Scooby Doo. It was crazy. Some of the audiobook work can feel so insane as I’m voicing every part. It can be quite interesting (and funny) doing love scenes with myself, for instance. The voice work I’ve done has been a real lifesaver in my career allowing me to pick and choose roles in my stage career.

JHPENTERTAINMENT: While Zidler’s excited and excitable showman voice is a huge part of the character, there’s also the look. What can you tell me about your transformation to Zidler with the help of Hair and Makeup Supervisor, Tereza Cordeiro?

ROBERT PETKOFF: When I first joined the company I was asked to use my own hair and let it get wild.  A combination of volumizing hair powder and lots of hairspray. I have to say it REALLY helps me get into the character to do the hairstyle.  Looking at myself in the mirror and seeing that hair and my mustache and goatee really propels me into Harold. It’s a very showy look that I get to work against from time to time. When Harold gets very serious it is an odd juxtaposition with my look but I think that makes it much more interesting.

JHPENTERTAINMENT: Of course Moulin Rouge is just the latest National Tour of which you’ve been a part. If memory (and a little research) serves, your last visit to Nashville during a tour that occurred back in 2017 when you appeared at TPAC as Bruce in Fun Home. During that visit did you discover any Music City spots that you hope to introduce to your Moulin Rouge family during your upcoming Nashville tour stop?

ROBERT PETKOFF: Well, the first thing that comes to mind is all of the honky tonks on Broadway.  I loved walking down Broadway at night after the performance of Fun Home and passing place after place with amazing live music.  There’s such fantastic energy there. So I can’t wait to introduce that experience to some of my castmates. 

Rapid Fire with Moulin Rouge’s Christian, Christian Douglas

JHPENTERTAINMENT: While preparing to chat with you, I did my usual Internet sleuthing..I love that your insta lays it out so clearly..”a songwriter named Cristian playing a songwriter named Christian. How would you describe Christian?

CHRISTIAN DOUGLAS: I would describe Christian as a heart-forward hopeless romantic, who comes to Paris seeking art, adventure and above all else, love.  His journey through the show is a stripping away of his innocence and his naive view of the world.

JHPENTERTAINMENT: It’s been just over a year since you took over the role of Christian on tour. Has your perception and portrayal of Christian changed in the past year?

CHRISTIAN DOUGLAS: My portrayal and perception hasn’t necessarily changed but rather deepened.  I have always felt connected to Christian, the character, but after a year of performing the same role, I think you start to sink a little deeper and find new moments of stillness and groundedness amidst the sometime chaotic world of the Moulin Rouge, allowing for the heightened moments to really pop and the real, more serious moments live in a more authentic place. 

JHPENTERTAINMENT: Baz Luhrmann directed, produced and co-wrote the 2001 film upon which the stage musical is based. I, myself have been a fan of everything Baz since Strictly Ballroom. What was your introduction Luhrmann’s work and what is it about his creativity that you admire most?

CHRISTIAN DOUGLAS: I first saw Moulin Rouge when I was in high school and loved it ever since.  I think he has a genius way intertwining the larger than life, spectacular and farcical elements, of the story with the realistic, emotional and heartbreaking elements of the love story.  He truly transports you to another world. 

JHPENTERTAINMENT: Prior to taking on your current role, you’ve previously been part of equally iconic theatre, including Muny’s West Side Story and the Off-Broadway revival of Kinky Boots. These shows, like Moulin Rouge, boasts fabulous musical moments. On that subject, Act 1’s closer Elephant Love Medley, a personal favorite musical moment of mine from the film and a continuing favorite from the stage musical’s score, features a few updates. Do you have a favorite musical moment in the show yourself?

CHRISTIAN DOUGLAS: While I love the epic nature of El Tango de Roxanne, I always love singing Come What May the most.  The song is so timelessly beautiful and that moment between Christian and Satine always feels really special.  It is their last moment to connect before things start to go south. 

JHPENTERTAINMENT: I’m about to chat with your new leading lady, Arianna Rossario, who assumed the role of Satine just a few weeks ago, almost a year to the day of you taking on Christian full time. Did you offer her any advice as she stepped into the spotlight?

CHRISTIAN DOUGLAS: No advice needed! She is an absolute star and a pleasure to share the stage with.  I’m just excited to share in this new chapter of leading the show together. 

Rapid Fire with Moulin Rouge’s Satine, Arianna Rosario

JHPENTERTAINMENT: After having been part of the Broadway ensemble in 2022, you initially joined the tour as the alternate for the role of Satine, but as of the tour’s recent Detroit dates, you’ve now assumed the role of Satine. What’s your Moulin Rouge journey been like so far and how excited are you to be taking on the pivotal role of Satine full time?

ARIANNA ROSARIO: My Moulin Rouge journey so far has been unlike anything I’ve ever experienced. I was a huge fan of the film when it originally came out and always felt like it would lend itself well to a stage adaptation. I originally saw the Broadway production on reopening night, 9/24/21 and was so blown away that I knew that I wanted to be a part of the show at some point in my career. I joined the Broadway company a few months later in March of 2022 as a part of the Heels Ensemble and cover for Arabia, during my time there the directing team reached out to see if I would be interested in doing a work session for possible coverage of Satine. Flash forward to going out on tour as the Alternate for Satine September of 2023, and now officially taking over the full time role of Satine 9/24/24. It feels like a huge full circle moment. It’s not easy trying to change the perception of what you are capable of doing when in the ensemble of a show, sometimes this industry likes to put people in boxes so that its easier for the people that make the decisions to find a place for you. I am forever grateful to our Creative Team for seeing something in me and in turn trusting me to tell this beautiful story every night. 

JHPENTERTAINMENT: Is there an aspect of Satine’s personality that you admire most and might want to incorporate into your own life?

ARIANNA ROSARIO: I feel like in my real life I have more of a quiet confidence to me whereas Satine has this fierceness about her that is so apparent from the second she comes down on the swing. She’s definitely taught me how to be more comfortable standing in my power as a woman. 

JHPENTERTAINMENT: Like you, I’ve been in love with Moulin Rouge since seeing the film back in 2001. I can’t tell you how excited I am to finally see the stage musical. What more can you share about your memories of being introduced to Baz’s work?

ARIANNA ROSARIO: I absolutely loved the film when it came out, I used to create my own dance numbers to the soundtrack and perform them for an imaginary audience in my bedroom. There’s something special about the worlds that Baz is able to create, it allows you to suspend reality for a second and become so immersed in the story being told. 

JHPENTERTAINMENT: Can we just talk about Satine’s entrance with the swing? It’s such a huge moment int he show. Is that something that has to be adjusted for each city on the tour depending on the venue logistics and capabilities? What was the rehearsal process like for this iconic scene in particular?

ARIANNA ROSARIO: When venues book our show they usually have a reference of the space we are going to need to do the show in its entirety. We travel to each city with our own show deck, which gets broken down and set up with each venue change. That deck has tracks for set pieces and scenery which are typically automated. The rigging for the swing is also something that lives in the fly space above the stage, so its going to be the same city to city as well and because of that we’ve never had to adjust it. The rehearsal process is actually quite quick. In preparation for my initial put -in (its a rehearsal where we run the show with costumes and all of the normal show elements without an audience) I had a day where I was able to go up in the swing and figure out how I needed to move to minimize the swinging from side to side. Then the day of my put-in I was able to go up once more in costume to see how that felt in the corset.

JHPENTERTAINMENT: A huge part of the visual excellence of Moulin Rouge comes in the form of the gorgeous costumes. I’m about to chat with Michael Hannah, the company’s Wardrobe Supervisor, so to transition into that…do you have a favorite Satine costume? AND…why is it your favorite?

ARIANNA ROSARIO: They are all so incredibly beautiful it’s hard to choose just one! I have two for different reasons, the first would have to be the corset I wear during Chandelier as The Green Fairy. The detail in the beading on it is so beautiful and it’s so different from a lot of the other corsets in the show. My second favorite is the red dress I wear for Roxanne. It reminds me so much of the dress Nicole Kidman wears in the Elephant Love Medley in the film and just feels so iconic for Satine. 

Rapid Fire with Moulin Rouge Wardrobe Supervisor, Michael Hannah

JHPENTERTAINMENT: Alright, let’s just get into it…how many costumes are there in Moulin Rouge?

MICHAEL HANNAH: There are 220 complete costumes in the show.

JHPENTERTAINMENT: As Wardrobe Supervisor, you’re entrusted to the care and maintenance of each and every piece of wardrobe originally conceived by the show’s Tony-winning costume designer, Catherine Zuber. Is that fact still a pinch me moment for you?

MICHAEL HANNAH: It is quite an honor to be entrusted with the care of these beautiful costumes.  I admire Catherine and her work a great deal.

JHPENTERTAINMENT: Of course you’re not alone in those responsibilities. You not only have a wardrobe team, but I understand that in each city of the tour, you bring in local wardrobe artisans to help keep the costumes show ready. Does that help keep your job fresh and exciting?

MICHAEL HANNAH: I have 2 Assistants that travel with the show as well as an advance person.  In each city we hire 9 Dressers, a full time Stitcher and a full time Laundry person.  Moving to different cities with the show is sometimes challenging but exploring new places is always exciting.

JHPENTERTAINMENT: Which cast member has the most wardrobe changes and how many are there for them?

MICHAEL HANNAH: Satine has approximately 14 costume changes some of which need to take place in 45 seconds for her to make her next entrance.

JHPENTERTAINMENT: I typically end these interviews with a variation of this question…What do you hope audiences come away from Moulin Rouge remembering log after the lights dim and the music fades?

MICHAEL HANNAH: I feel one of the most exciting aspects of Moulin Rouge is the lavish decadence of the era in which the show is set.  The audience is exposed to a colorful feast for the eyes.  Along with the beautiful love story and all of the music  is a visual experience that I think the audience will take with them.

 

Moulin Rouge brings is sparkling musical magic to TPAC with shows Tuesday, October 8 thru Sunday, October 20. CLICK HERE for tickets. Not in Nashville, but wanna catch the show on tour? Well, you certainly can can can..CLICK HERE for the show’s official site and follow on Facebook, X, Insta and YouTube to see where they’re headed next.

Following Moulin Rouge, TPAC‘s Broadway season continues with Shucked, November 5-10. CLICK HERE for more info and to see what else is headed to TPAC. You can also follow TPAC at their official site  and on socials: TPAC on Instagram, X, YouTube and 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!

Theatre Review: Robert Coles’ ‘Lithium & Xanax and All of My Friends’ is Just What the Doctor Ordered; World Premiere Performances Continue Through October 12 at Darkhorse Theater

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Cast members of ‘Lithium & Xanax & All of My Friends (photos by Rick Malkin/Courtesy Brand Spakin’ New Theatre)

Over the weekend, Lithium & Xanax and All of My Friends, the latest dramatic work by Nashville-based playwright, Robert Coles, enjoyed its World Premiere as presented by Brand Spakin’ New Theater. Under the direction of former Nashvillian, Bradley Moore, who’s been back in Music City the last couple months to helm the project, the play continues  at Darkhorse Theater (4610 Charlotte Ave., Nashville, TN 37209) with performances October 8, 10, 11 & 12.

Having recently attended a performance of Coles’ sweet and funny southern comedy, Aunt Sally’s Wild Ride, but hearing that this one sets a completely different tone, I wasn’t sure what to expect. It’s always exciting to see a new work, but having reviewed as many shows as I have over the years, when there’s the added bonus of getting the opportunity to see actors with whom I’m not all that familar, there’s opportunity for an even more exhilerating night of theatre, and this show delivers on all counts.  Lithium & Xanax and All of My Friends presents Adam (Payton Justice) a young wannabe novelist who yearns to finish his long-awaited first book while struggling with internal demons. On the night Adam has determined he will finish things once and for all, he’s visited by a few not always welcomed friends, who inevitably stir memories and feelings of Adam’s often-traumatic past. Justice presents Adam in such a relatable state. You don’t have to have shared traumas with the character, but if you have, get ready to swallow that bitter pill once more. Justice’s portrayal is so emotionally charged, that one can’t help but feel what he’s feeling.

Adam’s friends are also perfectly prescribed, played by a cast of talented actors as varied as the numerous medications Adam is currently taking to deal with the aforementioned traumas. During the course of the night’s action, his friends drop in one by one and offer equal doses of advice, criticism and encouragement on why he hasn’t finished his novel and how he might achieve his final act.

First up is Lee, as played by Sky Roberts. Lee has known Adam the longest, having first encountered the embattled playwright a few years prior to the action of the play when the two were first introduced while Adam was in hospital. As played by Roberts, Lee seems to balance out Adam’s more high-strung tendencies. He’s the perfect every friend, casual, supportive, but encouraging.

We next meet Brianca Renfro as Annie, who pops in with yoga matt in hand dressed like a reject from a hippie commune. Renfro’s Annie quickly encourages the boys to center themselves with a bit of meditation. Renfro’s zen-like performance is the ideal mix of stereotypical wellness-minded individuals, but played with a decidedly humorous wink.

By the time Adam’s friend Wil (Ezra High) appears, if the audience wasn’t clued into what’s going on, his lurking, silent, almost non-present presences will surely do the trick. Is he there? Is he not? Does it really matter? As written by the playwright, Coles, and expertly directed by Moore, High, without uttering one word for the first several minutes he is onstage, changes the mood of the show.

Just when things seem to even out, enter Remy (Andrew Hosale). Remy’s that one friend who’s loud, a bit obnoxious, energetic, but ultimately truthful. As Remy, Hosale’s high is addictive. With things seemingly on an upward swing, and Adam beginning to gain a little insight into his inability to follow through, why no bring his parents into the equation, right?

That said, Taryn Pray as Adam’s Mom is a blissful depiction of the universal Mom. Caring, intrusive, judgmental, unaware…all the things. In addition to playing Mom, Pray also appears throughout the piece in various other roles, none more enjoyable than during a trippy daydream/hallucination presented as some sort of warped game show. Pray taking on the role of the emcee and each of Adam’s friends offering a bit of comedic lightheartedness as they rapid-fire repeat certain side effects of their relationship with Adam.

Coles’ abilities as a playwright are most beautifully exhibited in two vastly different scenes. At one point in the play, Adam is confronted by his friends and forced to face his demons head-on. Under Moore’s direction, this scene is almost cinematic. Justice’s Adam downstage, is surrounded by the cast in a circle around him. If this were a film, you could totally visualize Adam center screen with the friends literally circling around him. Blissfully manic.

On the other end of that spectrum, there’s two scenes involving Adam and Mom that are ‘eye sweat’ inducing. One, when the duo are saying goodbye to Adam’s dying father, the other, an unexpected sweet musical moment between Mom and Adam. Even though the rest of the cast is still on stage during these intimate moments, thanks to Moore’s direction and some beautiful work by the show’s lighting designer, Robert Allen, the intimacy of these very personal moments shared between mother and son play as though they’re the only ones in the room. So intimate in fact that for those moments I dare say each audience member felt as though they were the only witness.

Speaking of the talented crew Moore assembled for the project, Jaymes Campbell’s set design, a slightly run-down city apartment feels inviting and comfortable, but also a bit serile and barely lived-in. Campbell’s attention to detail, seen in the fact that when the refrigerator is opened, there’s a glowing ominous hue to the bulb inside. That, plus the fact that the microwave actually works and the coffee actually brews, speak volumes to Campbell’s craft.

Moore himself provided the props peppered throughout the set, and he did so with purpose, for upon closer examination, there are visual clues hidden among the artwork on the walls in Adams apartment. The same can be said for Moore’s sound design. From the first beep of the microwave to the final beat of the father’s life support, that tone becomes its own character.

Costume designer Cat Eberwine’s wardrobe choice are without fault, subtly but sublimely capturing the recent past during which the play is set, while simultaneously mirroring the characteristics of each of Adam’s friends…Lee is dress all comfy cosy (loved the Evanescence visual cue by way of his 2021 concert t), while Annie is boho from head to toe. Wil’s attire is a bit nondescript while Remy’s is tad edgy. Even Adam and Mom’s wardrobe choices reflect their personalities. It’s a true joy as an audience member, and a self-admitted theatre nerd when such care is evident in the smallest of details.

All in all, Lithium & Xanax and All of My Friends is an unexpected whirlwind of emotion and a journey all too many can relate to. Brand Spankin’ New Theatre’s World Premiere production of Lithium & Xanax and All of My Friends continues October 8 thru 12 at the Darkhorse Theatre (4610 Charlotte Ave, Nashville, TN 37209). Tickets are $20 and can be purchased HERE. Remaining run performance schedule is as follows: Tuesday, October 8 at 7:30p.m., Thursday, October 10 at 7:30p.m. (Thursday’s performances offers a special 2-for-1 ticket price), and Friday & Saturday, October 11 & 12 at 7:30p.m. CLICK HERE for more info. Check out Brand Spankin’ New Theatre‘s Official Site HERE 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, 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 10Q with Director and Cast of ‘Lithium & Xanax & All of My Friends’; World Premiere production onstage at Darkhorse Theatre October 4-12

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Lithium & Xanax and All of My Friends, a thought-provoking play centering ‘round a young gay man struggling to finish his long-promised novel while simultaneously dealing with self-doubt and cerebral upheaval is the latest work from Nashville-based playwright, Robert Coles. Quite the departure from his most recent production, the southern comedy Aunt Sally’s Wild Ride, which recently wrapped a sold out run in Nashville.

Having first been introduced by way of a Zoom reading during the COVID-19 pandemic, Lithium & Xanax and All of My Friends enjoyed a successful workshop in New York in August 2024. Now comes time for a fully fleshed-out production as Brand Spankin’ New Theatre presents the World Premiere production of Coles’ Lithium & Xanax & All of My Friends at the Darkhorse Theatre beginning Friday, October 4 and continuing through Saturday, October 12.

As the cast and crew ready the piece for their Music City opening night, I recently had the opportunity to pose a few questions to the show’s director, Bradley Moore and cast members Payton Justice and Taryn Pray for my latest Rapid Fire Q&A interview in an effort to get a little insight into the show. What follows are those conversations.

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Rapid Fire 10Q with Director and Cast of Lithium & Xanax & All of My Friends

Rapid Fire Q&A with Lithium & Xanax & All of My Friends lead actor, Payton Justice

JHPENTERTAINMENT: How would you describe Adam, the character you play in Lithium & Xanax & All of My Friends?

PAYTON JUSTICE: Adam’s a young writer who’s indecisive, headstrong, and a bit neurotic. Honestly, just a lovable mess just trying to figure things out. He’s been through a lot—losing his dad, the trauma of conversion therapy, dealing with manic depression, and having to manage a lot of guilt from his past mistakes. He spends a lot of time in his own head, which really trips him up.

JHPENTERTAINMENT: The subject matter of the work is some pretty heady stuff. How do you prepare for the intensity of the scenes? AND…what’s your favorite way to decompress after such intense work?

PAYTON JUSTICE: It gets intense for sure. I try to remind myself of my own personal experiences to find the emotions he’d be feeling. I try to remember a similar conversation or conflict, and remind myself of how that felt or something that was said. 

Bradley Moore’s been awesome in helping me fine-tune Adam’s intentions. Truly a fantastic director. The cast has been awesome too. They push me through tough moments, and sometimes their choices completely change how I see a scene, which is really cool.

To decompress, I try to leave the work in the rehearsal room or at the theater. My cats and video games definitely help me unwind too.

JHPENTERTAINMENT: While Adam is aware of his shortcomings, he doesn’t seem to know how to move past them. Heck, I can totally relate myself. Has exploring this aspect of the character motivated you to move full-steam ahead in any aspect of your own life?

PAYTON JUSTICE: Yeah, totally. Playing Adam has been a bit of a wake-up call. I moved to Nashville at the beginning of 2020, right before everything went crazy, and it’s taken time to find my rhythm. I’m really feeling ready to focus in on acting and let go of all the things that don’t matter in the bigger picture.

Rapid Fire Q&A with Lithium & Xanax & All of My Friends cast member Taryn Pray

JHPENTERTAINMENT: What can you tell me about Mom, the character you play in Lithium & Xanax & All of My Friends?

TARYN PRAY: What I love about this role is yes, the main character I play is “Mom,” but I also play a few flashback and ancillary characters as well – which is so much fun as an actor! There is a lot of comedy in the other characters that I play, and then I get to be this very complex character of “Mom,” as she is trying to navigate her broken relationship with her son in his darkest moment.  It is very compelling because you understand her perspective as well as Adam’s – not one person is to blame. Before I read this play, I thought the mother might be the villain in this story, but she is not. Is she flawed? Absolutely. Did she make some mistakes? Yes. But what is really beautiful to me is that they come to understand each other and can move forward.    

JHPENTERTAINMENT: I understand the character of Mom wasn’t even really a character in the earlier iteration of the play, only a ‘flashback’ as played by another cast member, but following the recent NYC workshop of the piece, the playwright revised the script and fleshed out Mom as a full character. That said, how excited are you to be bringing this character to life on stage for the first time anywhere?

TARYN PRAY: I absolutely love acting in new works! It’s really exciting to originate a role and bring your own take, without any reference to how other actors have performed it.  Also knowing that this play is very much rooted in the playwright’s own life story, I feel a tremendous amount of responsibility and honor in playing this role. I am thrilled that this character was expanded as a result of the workshop, and love seeing the nuance in her complicated relationship with Adam.

JHPENTERTAINMENT: From what your director told me, you two had sort of worked together previously…I say sort of because during the pandemic, you were part of a couple of Bradley Moore’s The Big Read Zoom events, in which he presented readings of some iconic film scripts as performed by area actors. I gotta tell you, those readings were such a blessing to the theatre community as they allowed us to connect—though virtually—during a time when theatre was so missed. Now you’re working with Bradley face-to-face and in person as your director, so I gotta ask..how has the experience been so far and what do you appreciate most about Bradley as a director?

TARYN PRAY: Oh my goodness, yes! I met Bradley for the first time virtually, and those readings truly were such a bright light in a dark time. Having the opportunity to perform when we were all stuck at home was definitely a blessing.  And now getting to work with him in this play has been an incredible experience. What I love about Bradley is he has such a clear vision as a Director; he has brought out so much from the cast as we are developing these characters, while still giving us space to make them our own, and he has created some truly beautiful imagery on stage. He really thinks through and has a purpose in all the little details he gives in his direction, and I’m just so excited for people to see it. Also, he’s just a blast to work with 😉

Rapid Fire with Lithium & Xanax & All of My Friends director, Bradley Moore

JHPENTERTAINMENT: How did you come to direct Lithium & Xanax & All of My Friends?

BRADLEY MOORE: I was actually lucky enough to perform in the first reading of this play on Zoom & FB Live way back in the Covid-y days of 2020. I was totally honored when the playwright, Robert M. Coles, reached out to me earlier this year and told me he had been working on the script and wanted me to direct the world premiere of the show. I even spent some time in NYC this summer observing the workshop of the play, where some things changed and so much subtext was explored. It has been a wonderful journey from my first connection to the piece to where we are today. The show is definitely ready for its Nashville maiden voyage, especially with this insanely talented cast.

JHPENTERTAINMENT: What can you tell me about your cast?

BRADLEY MOORE: They are bananas. I have not directed a show in Nashville in five years; it was so cool to have auditions for this show and see that the talent in Nashville is still just as incredible as it has always been. This cast is filled with six dynamic artists who take risks, make strong choices, challenge themselves, challenge me, crave collaboration, exude passion, and blow me out of the water every single day with their insane talent. Not to mention, each and every one of them are kind and empathetic humans who just love what they do. I love the family we have built these past five weeks. And their connections and chemistry really come out on stage and through these complex characters they have created.

JHPENTERTAINMENT: You’ve not just assembled a talented cast, but you’ve surrounded yourself with a who’s who crew, among them, Cat Eberwine as your costumer. When does the play take place and how important is wardrobe in completing the look and feel of the show?

BRADLEY MOORE: This play takes place in 2022, so basically, the recent past. Costumes should always enhance the characters and assist in bringing them to life. We made more simplistic choices with the costumes, but the choices really do help to define these characters. As a director, I love some subtle Easter eggs hidden throughout the show. We definitely achieve that with this show through the set and costumes. It helps to keep production elements fresh and exciting, plus adds a layer of intrigue to the whole experience. This show is a journey, not just for the characters, but the audience too. Our costume and set choices are designed to really enhance that circumstance. I am so fortunate to have had Cat Eberwine as our Costume Czar and Jaymes Campbell as our Set Magician. These are two people who know me well, know my process and style, and really just knocked it out of the park. We could not have done this show without them. Also, big shoutout to Mary Hankins for always being an incredible stage manager, Robert Allen for his beautiful lighting, and Josiah Kareck for understudying every single role. Truly, surrounded by the best, on and off-stage. 

JHPENTERTAINMENT: What do you hope audiences come away thinking about long after seeing Lithium & Xanax and All of My Friends?

BRADLEY MOORE: As a director, I always say — if the audience walks away feeling something, then we have done our job. However, it is impossible for us to always know what the audience will feel. With a play like Lithium, I believe people’s life experiences will inform what they take away from this show. The play is funny, yet beautifully heavy and impactful. I don’t think it is possible to sit through this 75 minute show and not feel a single thing; in fact, I think it is more likely that someone watching will experience all the feels. It is a rollercoaster ride, so just buckle in and get ready to take a journey. I am excited to see the feedback we get from this tremendous piece that Robert gifted us.

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Brand Spankin’ New Theatre’s World Premiere production of Lithium & Xanax and All of My Friends kicks off Friday night, October 4 at the Darkhorse Theatre (4610 Charlotte Ave, Nashville, TN 37209). Tickets are $20 and can be purchased HERE. The show runs thru Saturday, October 12. Performance schedule is as follows: Opening Night, Friday, October 4 at 7:30p.m. (There’s a Show+Opening Night Party ticket option available for $40), Saturday, October 5 at 7:30p.m., Sunday, October 6 at 2:30p.m., Tuesday, October 8 at 7:30p.m., Thursday, October 10 at 7:30p.m. (Thursday’s performances offers a special 2-for-1 ticket price), and Friday & Saturday, October 11 & 12 at 7:30p.m. CLICK HERE for more info. Check out Brand Spankin’ New Theatre‘s Official Site HERE or follow them on Facebook.

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