Jonathan

In the days prior to the National Tour of Broadway’s Come From Away’s Nashville tour stop at TPAC’s Jackson Hall, I had the chance to pose questions to Australian actress/singer, Marika Aubrey, who plays Beverly Bass for my latest Rapid Fire 10Q. As the show wraps it’s Music City dates with matinee and evening performances Saturday and Sunday, April 23 & 24, here’s that conversation.

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RAPID FIRE 10Q WITH COME FROM AWAY star MARIKA AUBREY

JHPENTERTAINMENT: Captain Beverly Bass, one of the many  characters you portray in the show, wasn’t just one of the pilots of planes diverted to Newfoundland on 9/11, she’s also the first female captain to ever fly a commercial plane for American Airlines. How did you research playing her?

MARIKA AUBREY: We are so fortunate to have access to the original interview transcripts, so I found those really insightful. It’s a helpful reminder of how big and raw our feelings were over the days of 911.

JHPENTERTAINMENT: One of my personal favorite aspects of the show is the spotlight it shines on both the things we all have in common and the differences among us. Can you speak a little about that?

MARIKA AUBREY: I think it’s the major theme that resonates for audiences from the show, especially right now in the world, when there is so much division. There really is more that unites us, more commonality of the heart, than what makes us different. 

JHPENTERTAINMENT: On the Edge is s such a powerful moment in a show full of surprisingly emotional scenes. What do you do to mentally prepare each night?

MARIKA AUBREY: With any show, but possibly more so in a production that gear-changes so quickly, the challenge and joy is to live exactly in each moment to the next. It’s the simplest, and sometimes hardest thing to do. But therein lies the magic for our audiences, and the power of every show feeling like a fresh unique live experience.

JHPENTERTAINMENT: Let’s talk about the cardiologist scene. How much fun do you have with that one?

MARIKA AUBREY: SO MUCH! It’s a moment of true high play in the show. All those Annette fantasies are a treat. And I get to play with all our sweet boys!

JHPENTERTAINMENT: While the choreography of the show might not be what people typically associate with a Broadway show, every movement seems purposeful. That said, can you give me a little insider info on the rehearsal process involved in mounting a National Tour?

MARIKA AUBREY: Yeah, whilst it may look like there isn’t much traditional choreography in the show, the reality is that nearly every single moment is physically directed. From the pop of pressing the airplane light, to all the chair work. Kelly Devine’s choreography is the foundation, the language, of how we tell this story, with so many characters, so clearly, in 1hr 42 mins. The rehearsal process of learning what is essentially a long form movement piece is rather like a dance. We would learn tiny chunks of 1-2 mins, with each of the 12 of us individually being directed on how to move, then we would thread it together beat by beat. It’s a very specific process, but if we do it well the work is barely noticeable.

JHPENTERTAINMENT: As Captain Beverly, you get your moment in the spotlight with Me and the Sky. Among the song’s lyrics is “No one saying you can’t or you won’t.” Must be so empowering to lead the rest of the female cast in that number.

MARIKA AUBREY: 100%. I am very aware of how this anthem speaks to people, particularly women and young girls. I get messages almost every day from females, often pursuing a path in a male dominated field, and they need to tell me how “seen” the song makes them feel.

JHPENTERTAINMENT: Has being part of this show affected the way you interact with others when you travel?

MARIKA AUBREY: Ha ha. Yes. I hope I am a little more patient and kind. I’m also nerdily observing the pilots and flight personnel for insight!

JHPENTERTAINMENT: If you weren’t playing Captain Beverly, which other featured character would you 

like to step into, even if just for one night?

MARIKA AUBREY: Nick. I love dialect work, and I do a sharp Brit! But also, the scenes between Nick and Diane are sweet and perfect and funny, and it must be lovely to share in that journey and partnership each night. Who doesn’t love a bit of romance?

JHPENTERTAINMENT: What’s your personal favorite message conveyed within Come From Away?

MARIKA AUBREY: That being kind and generous, particularly in times of crisis (when being kind and generous may not feel natural) is fulfilling. It’s the connective tissue of us humans, and if we all do a little more to help each other, how much richer we all would be. Also, GIRLS CAN DO ANYTHING.

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Come From Away wraps its time at TPAC’s Jackson Hall with performances thru Sunday, April 24. In case you missed my review of the show, click the above image that contains my quote from my review to check it out.  CLICK HERE for tickets.

Not in Nashville? There’s still plenty of chances to see the show as Come From Away continues its North American Tour with dates across the US and Canada through the fall. CLICK HERE for show dates and locations or follow Come From Away on Facebook, Twitter, Instagram, YouTube & TikTok.

For more about Marika Aubrey, check her out on Instagram, Twitter and YouTube.

As for TPAC, as their Broadway Season and Special Presentations continue, next up is Oklahoma!, May 3-8 followed by the World Premiere presentation of May We All: A New Country Musical, June 7-July 17. Be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org, TPAC on Instagram, TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

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!

Ask anyone “Where were you on 9/11?” and you’ll get a myriad of responses, but that’s the thing, you’ll get an answer. Like Kennedy’s assassination a generation before and the bombing of Hiroshima the generation before that, if you lived through these moments in American history, you’ll always remember exactly where you were and what you were doing. Now, ask the inhabitants of Gander, Newfoundland, a seeming unassuming island town located on the northeast corner of the Canadian providence of Newfoundland and Labrador, and you’ll get a decidedly unique answer. The National Tour of Broadway’s Come From Away, currently on tour at TPAC’s Jackson Hall April 19 thru 24, provides a heartfelt look into the minutes, hours and days after 9/11 during which 38 planes carrying nearly 7000 passengers from across the globe were diverted to Gander International Airport.

With book, music and lyrics by married creatives Irene Sankoff and David Hein, Come From Away begins with the rock-solid uptempo Welcome to the Rock, in which the Mayor of Gander, played by Kevin Carolan joins the rest of the company as they poke a little lyrical fun at themselves with such lines as “Welcome to the rock if you come from away, you’’ probably understand about a half of what we say”. Then just as quickly, they extol the best aspects of their small town living with “They say no man’s an island, but an island makes a man ‘specially when one comes from one like Newfoundland”.

Half spoken word, have lyrical, the opening number also serves to offer a brief bit of exposition, explaining that Gander International Airport was, in its heyday, one of the largest airports in the world, a favorite of international flights as a refueling stop. Most of the cast is introduced during this opening number, many of whom are based on real-life Gander residents.

Marika Aubrey plays Annette, a primary school teacher at Gander Academy, but it’s her heartfelt turn as Beverly Bass, the first female American Airlines pilot, that steals the show. Captaining a Boeing 777 from Charles de Gaulle Airport to DFW when the terrorist attack occurred, Bass’ flight was among the 38 diverted to Gander.

Sharone Sayegh is Bonnie, a local SPCA worker, mom of three. Savegh’s Bonnie offers some of the show’s sweeter moments as she not only shows concern for the humans diverted, but also the animals aboard the flights, including a cat in need of its daily medication, a vocal little dog and a pair of bonobo apes, one a fan of slinging his own poop, the other, an expectant mom-to-be.

Bonnie is married to air traffic controller, Doug, played by Chamblee Ferguson. Ferguson also appears as Nick, a British oil engineer. Christine Toy Johnson plays Diane a traditional southern divorcee from Texas, who, once her worries about her son’s safety on that day are eased, experiences a new lease on life when she embarks on a romance with Nick.

James Earl Jones II plays Bob, an uneasy New Yorker who goes from worrying why everyone is so nice to embracing the kindness of others.

Jeremy Woodard and Nick Duckart play Kevin T and Kevin J., vacationing boyfriends (yes they’re both named Kevin and as they say in the context of the show, “it was cute for a while”) who also work together at an environmental energy company Kevin T founded.

Julie Johnson as Beulah, head of the Gander Legion, has a son who’s a local firefighter, thus instantly bonding her to Hannah, played by Danielle K. Thomas. Harter Clingman plays Oz, Gander’s good-natured constable…in a police force of two. Julia Knitel as Janice, the local TV station’s rookie reporter, becomes the voice of the town for the rest of the world when thrown into the action on her first day on the job.

With a stripped-down set designed be Beowulf Boritt (Be More Chill, A Bronx Tale, 25th Annual Putnam County Spelling Bee, among others), Come From Away focuses on the relationships of its characters. As evidenced by the character descriptions above, those relationships are plentiful. Among my personal favorites, the budding romance between Diane and Nick and the frankly unexpected acceptance of the relationship between Kevin and Kevin. The bar scene is just one of the show’s many examples of humor and heart.

On the subject of humor and heart, the show walks a perfect line between the two. After all, a musical about 9/11, but removed from the true horror of ground zero to a virtually unknown island on the eastern coast of the continent…sheer genius. Without spoiling some of this brilliance, key phrases, words or scenes to watch for include: Titanic, Xanax, The Mayors, Top Six Cardiologist and Kiss the Fish.

Speaking of Kiss the Fish, that moment comes courtesy the laugh-filled Screech In, lead by Kevin Carolan as The Mayor initiates a few newly christened Newfoundlanders during a moment of joy at a local pub. This is followed by a gloriously music-filled moment showcasing the company’s band, who provide the music throughout the show, but are front and center during this scene. The band consists of Cameron Moncur, Isaac Alderson, Kiana June Weber, Billy Bivona, Martin Howley, Sean Rubin, Steve Holloway & Ben Morrow. Oh, and don’t go anywhere after the initial curtain call…trust me. On opening night, Music City proved its name worthy and greatly appreciative and that’s all I’ll say about that.

While the show is full of entertaining musical numbers, 15 in total, and the majority of them performed by the entire company, it’s not exactly the sort of show you’ll leave the theatre humming your favorite just-witnessed tune. That said, in the moment, musical moments like 38 Planes, 28 Hours, On The Edge and Somewhere in the Middle of Nowhere are moving, thought-provoking and emotional.

Perhaps the most emotional musical moment comes with Prayer, as Jeremy Woodard and fellow cast mates sing a medley of faith-based tunes ranging from Prayer of St.Francis to Osseh Shalom. Regardless of what faith you might practice, it’s moments like this that have the potential to restore faith in not just your fellow human, but yourself.

In a glorious moment of empowerment, Marika Aubrey’s Captain Beverly and the female members of the cast come together for the beautiful written and performed Me and the Sky, on the surface, a simple narrative of Captain Bass’ life and career, but it’s so much more than that. Even as I headed home after Opening Night in Nashville, I kept remembering four simple words from this song…”I am suddenly alive”.

If you want to feel suddenly alive and be reminded to be kind to others and be in the moment, come from wherever you are to see Come From Away at TPAC’s Jackson Hall thru Sunday, April 24. CLICK HERE for tickets.

Not in Nashville, Come From Away continues its North American Tour with shows across the US and Canada through the fall. CLICK HERE for show dates and locations or follow Come From Away on Facebook, Twitter, Instagram, YouTube & TikTok.

As for TPAC, as their Broadway Season and Special Presentations continue, next up is Oklahoma!, May 3-8 followed by the World Premiere presentation of May We All: A New Country Musical, June 7-July 17. Be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org, TPAC on Instagram, TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

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!

If you know me at all, you know I’m not much of a history buff and to be perfectly transparent, I know very little about politics or the ins and outs of government, so when I heard a show called What the Constitution Means to Me was playing TPAC’s Polk Theatre as part of their current Broadway season, my initial inclination was to skip it. Then, I did a little research, even checking out the filmed adaptation currently available on Amazon Prime, and within minutes I wasn’t just in, I was intrigued. After all, any show who’s lead performer recalls having an imaginary friend named Reba McIntyre (no relation to the beloved country music icon), and I’m immediately vested. Add to that, the playwright’s ability to work an unexpected laugh centered ‘round Penny Johnson, the Catskills dancer who received a botched abortion in the now-classic film, Dirty Dancing, and I’m not just intrigued, I’m kinda all about it. Cleverly devised, the pop culture mentions only scratching the surface of what playwright Heidi Schreck has achieved with her Pulitzer Prize nominated show, now at TPAC’s Polk Theatre starring Cassie Beck.

Beyond the clever references, which also include a quick Wonder Twins mention, sweet childhood memories of a sock monkey, his descendant and his best friend, there’s also equally clever and surprisingly easily understandable lessons about the show’s titular subject matter by why of playwright Schreck’s lightly fictionalized personal and familial stories.

At the top of the play, Beck introduces herself as Heidi. With Shreck having originally performed the role during its Broadway 2019 debut in the days before the pandemic darkened theatre for nearly two years and also starring in the aforementioned Amazon Prime film version, Beck has her work cut out for her. Not only is she playing the woman who created the though-provoking piece, she also plays her as a young teenager. Worry not though, as Beck more than rises to the challenge, perfectly embodying both versions of Schreck with ease and conviction.

Early on Beck’s Heidi, dressed in a bright yellow blazer, informs the audience that she’ll be navigating the role occasionally as Schreck’s younger self, who at age 15 became a scholarship-winning constitutional debater appearing at numerous American Legion-sponsored debates where the Dirty Dancing and Salem witch trial-obsessed teen spoke on the founding document as a crucible or a witches’ cauldron, noting with humor her occasional opponent in these teenage debates frequently used the analogy of a patchwork quilt to describe the same document.

Under the direction of Oliver Butler, who also directed the Broadway production, Beck’s teenage Heidi is confident, a little cocky and surprisingly downright hilarious at times. I say surprisingly, because, come on…it’s a show about the Constitution. Who’d have thought it would be so dang entertaining? Beck is equally at east as modern-day Heidi as she shares the playwright’s words convincingly as though they were her own. It’s that ability, coupled with the universality that while the stories may indeed be those experienced by Heidi and conveyed now via Beck, they’re not entirely unique, but instead universally relatable.

Throughout the play Beck’s Heidi shares a number of the playwright’s often heart wrenching stories of multi-generational events, all with unsuspected ties to the wording of the constitution, in particular, Amendments 9 and 14. These memories range from Heidi’s great-great-grandmother, a mail order bride, who died of ‘melancholy’ in her mid-30s a patient of a mental hospital, to themes of immigration, spousal abuse, abortion, equality and more during the show’s hour and forty-minute run-time. Pretty heady subject matter, but again, thanks to Schreck’s carefully constructed stream of consciousness dialogue that’s peppered with equal parts heart, humor and eye-opening information, it all adds up to an enjoyable and informative event.

In addition to personal and family stories impacted by the document, Heidi also occasionally cites actual proceedings in which the Constitution and its interpretation has come into question. One such instance is 2005’s Castle Rock vs Gonzales in which an indigenous Colorado woman who had taken a restraining order against her abusive husband sought help from the police, who repeatedly refused. Her husband later kidnapped and murdered their three daughters. The woman sued the Castle Rock police. The Fourteenth Amendment was invoked and she won the case. Sadly the city appeared and the verdict was eventually overturned by the Supreme Court. During Heidi’s monologue about the case, mind-boggling audio of Antonin Scalia, who wrote the final decision, is played for the audience. In it, we’re privy to the decision that even though the Amendment says law enforcement ‘shall’ protect its citizens, it doesn’t mean they ‘must’.

Y’all. The fact that I retained this bit of info is further proof that the playwright, director and star have brilliantly come together to present the subject matter in such a way that even the least history/politically-minded audience member can and will take something away from this unique theatrical experience.

As mentioned earlier, Beck not only plays blazered teenage Dirty Dancing-referencing Heidi, she also takes on Heidi’s modern day persona. Even the tongue-in-cheek way she transitions out of teen Heidi into adult Heidi is sheer genius. She literally takes off the yellow blazer and says she’s gonna be adult Heidi from now on. It’s the quirky little details, simple as they are, that keep the audience engaged and entertained.

Joining Beck’s Heidi onstage in what is otherwise essentially a one-woman-show is Gabriel Marin, who appears as a Legionnaire. Primarily Marin sits quietly and only speaks when he, as the Legionnaire, informs teenage Heidi what her speech topic is, or to quell the applause from the audience. Once Heidi begins addressing the audience as her adult self she even makes a joke at Marin’s expense stating that she’s not really sure why he’s still there. A bit later, Marin steps out of the Legionnaire role to speak as himself as he shares an early experience of machismo mentality. I must admit, while Marin’s dialogue was interesting, that of Schreck’s Broadway co-star, as seen in the filmed version, and his personal story of suppressing traditionally though of as more feminine feelings as a young man, seemed a bit more impactful.

Near the show’s final third, Beck steps off the American Legion set, and in doing so, steps away from the character of Heidi, teen or otherwise, and performs the final few minutes as the actress, Beck, herself. She reveals she attended college in nearby Memphis, shares a bit about her background as an actress and then invites Jocelyn Shek, a high school junior from Los Angeles versed in debate to join her onstage for a live debate centered ‘round the idea of abolishing or keeping the Constitution. (at some designated performances Emilyn Toffler, a teenage trans actor/debater from LA, steps into the role as Beck’s debate opponent). While TPAC ushers distribute pocket-sized books of the Constitution (donated by the ACLU), Marin once again acts as moderator for the debate segment. At the end of their debate, a random audience member, who now represents the audience as a whole, is asked to judge who won the debate. Once they vote, they’re instructed to read from a corresponding card revealing their decision. This live debate segment and the rando audience participation assures each performance end in a way unique to itself. You know, kind of how each and every person’s interpretation of the Constitution has the potential to not only mean something unique to each and every one of us, but also the ability to potentially affect each and every one of us in a truly unique way.

What the Constitution Means to Me continues at TPAC thru Sunday, April 3. Then, as they continue their current Broadway Season and Special Presentations, next up at TPAC, it’s Come From Away, April 19-24, followed by Oklahoma!, May 3-8 and the debut presentation of May We All: A New Country Musical, June 7-July 17. Be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org, TPAC on Instagram, TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

You can also follow What The Constitution Means to Me via their Official Site or on Facebook, Instagram and Twitter.

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!

As I mentioned in my review of Summer: The Donna Summer Musical, I’m a literally a lifelong fan of the diva herself. That said, in the days prior to the National Tour of Summer: The Donna Summer Musical’s arrival in Nashville for their current tour stop in Music City at TPAC’s Jackson Hall as part of this season’s Broadway at TPAC lineup, I put in a dream request to chat with all three lead actresses who play the iconic songstress at varying times during the legendary singer’s life. Now, typically, when I put in such requests, because of the rigors of tour life and the logistics of replying to my query via emails, I’ll often be granted the opportunity to chat with one, maybe two cast members, so imagine my excitement when I was told Yes, I could pose questions to all three of the talented ladies portraying the one-time Nashville resident and iconic diva!

So, it is with great appreciation and admiration for both these talented performers and the women they all portray that I present my latest Rapid Fire Q&A, a special Divalicious Rapid Fire Q&A with Amahri Edwards-Jones, Charis Gullage and Brittny Smith, the stars of Summer: The Donna Summer Musical.  

A DIVALICIOUS RAPID FIRE Q&A WITH THE STARS OF SUMMER: THE DONNA SUMMER MUSICAL

RAPID FIRE Q&A WITH AMAHRI EDWARDS-JONES, DUCKLING DONNA IN SUMMER: THE DONNA SUMMER MUSICAL

JHPENTERTAINMENT: As Duckling Donna, you portray Donna Summer’s younger years from about age 11-15. While researching to chat with you and your fellow-Donnas, I learned you spent those years of your own life as a student at The Governor’s School for the Arts in Norfolk, Virginia. Has performing always been something you’ve been drawn to?

AMAHRI EDWARDS-JONES: Yes, performing has always been in my life. I started singing in my church choir at the age of two. Church is also where I was exposed to dance. I played sports up until the age of 11, but decided that I really wanted to focus more of my time on performing. I went from playing parks and rec basketball to taking my first musical theatre acting, dance and vocal classes at The Hurrah Players in Norfolk, VA. I enjoyed going to those after school classes almost every day of the week. Once I started musical theatre, I knew there was no going back. I had been hearing about The Governor’s School for the Arts because I had family members who attended in different departments. So of course I was devastated when I didn’t get accepted my first year of high school, but I re-auditioned and I’m so glad that I did. GSA taught me so much and really made me feel confident enough to be able to professionally perform today.

JHPENTERTAINMENT: Nashville is super excited to have you and the entire company of Summer here in Music City, especially given the fact that Donna herself had many ties to Nashville, having moved here in the mid-90s. Heck, back then I waited on her and her young daughters from time to time when she’d bring them in to peruse the shelves of the children’s section of the bookstore where I worked. Which brings my next question to mind. Even before moving to Nashville, Donna teamed with another Diva, Dolly Parton in 1980, when Dolly recorded Starting Over Again, a tune penned by Donna and her husband Bruce Sudano. Given these Nashville connections, and there are plenty, have you thought of doing a little Donna Summer tour of Music City? Here’s a little head’s up, her former Oak Hill home is located about 15 minutes south of TPAC at 914 Overton Lea Road.

AMAHRI EDWARDS-JONES: First, I’d like to say how cool it is that you personally met Donna Summer and daughters! And of course, I’d love to explore different places Donna Summer has lived and worked. The impact that she left on people’s lives has been a beautiful thing to learn and hear about and I am very excited to come to Nashville.

JHPENTERTAINMENT: While you’re not as young as the Donna you portray, you’re still relatively young, so I gotta ask. How familiar were you with Donna Summer and her music before landing this gig?

AMAHRI EDWARDS-JONES: I wasn’t very familiar with Donna Summer. I knew a couple of songs like, Last Dance and She Works Hard for the Money, but I didn’t know much about her. What really made me start to look up more about her was by listening to Beyonce’s song Naughty Girl. Beyonce sampled Love to Love You Baby in the very beginning of that song. Learning that about Naughty Girl led me to discover more of Donna Summer’s music, and when the Broadway show and cast album came out, I listened to it often.

JHPENTERTAINMENT: This is your first National Tour, right? Thus far, what’s been the best aspect of life on the road? 

AMAHRI EDWARDS-JONES: Honestly, the best part of touring has been creating meaningful relationships with my castmates. Being with kind people has made my experience so enjoyable. We go out and explore different attractions in cities together, we have game nights throughout the week, and one of my closest friends here, Layla Brent-Tompkins, has introduced me to the Marvel Universe. Since November we have been watching marvel movies in order and we plan on finishing the movies and different series by the end of the tour, so wish us luck!

JHPENTERTAINMENT: Your first featured turn in the show comes as Duckling Donna headlines I Remember Yesterday, a 1977 #1 on the US Dance chart and a Top 20 hit on the UK Pop chart. Now, I’m a huge Donna Summer fan, but I gotta be honest, I wasn’t familiar with this one. I’ve heard that Love to Love You Baby is your favorite song in the show, but what I want to know is…is there one Donna Summer song you wish was yours to perform and what is it about that particular song that you love to love?

AMAHRI EDWARDS-JONES: Love to Love You Baby is definitely my favorite Donna Summer song. Charis Gullage who plays Disco Donna performs it beautifully. But to answer your question, I would very much like to be in She Works Hard For the Money. The choreography is so fierce. Whenever I am able to, I watch that scene from the wings and I’m just in awe of my castmates. Brittny Smith, Diva Donna, sings it with so much passion and meaning. Brittny’s portrayal of Donna Summer plus our amazing ensemble dancers is just a joy to watch. I’d actually want to sing the song as a Duet with Brittny if I could. One song I do wish that was in the show, and I’d like to sing, is Love Has a Mind of Its Own from Donna Summer’s She Works Hard For the Money Album. It’s a lovely duet between her and Matthew Ward.

RAPID FIRE Q&A WITH CHARIS GULLAGE, DISCO DONNA IN SUMMER: THE DONNA SUMMER MUSICAL

JHPENTERTAINMENT: You play Disco Donna, arguably, the most iconic period of Donna Summer’s career. What’s more, like your fellow Donna, Amahri, who I just chatted with, this is also your first National Tour. To borrow a popular song title from the show, you gotta be feeling like Hot Stuff about right now, huh?

CHARIS GULLAGE: It still does not feel real yet! I am so grateful for this amazing opportunity! Even though we have been on the road for over 5 months, I still get nervous every show. I think it is mainly due to the fact that all audiences are so different, and everyone parties so differently. I AM LOVING IT! 

JHPENTERTAINMENT: Now, that initial question isn’t to say you haven’t Worked Hard for the Money (yup, the lyrical puns continue) to get where you are. To that end, I gotta hear about two of your previous stage experiences…Pinky Tuscadero in Grease at Broadway Palm and your award-winning performance as Dorothy in The Wiz at Delgado Community College.

CHARIS GULLAGE: Yes! I am originally born and raised in New Orleans, Louisiana. New Orleans is where I also received a lot of my professional training. I went to the New Orleans Center for Creative Arts and received my Certificate in Artistry and my high school diploma. Then I received my B.A. at Loyola University New Orleans. During that time, I had the opportunity to play Dorothy in The Wiz at another theatre in the city, and I won a Big Easy Award for Best Actress in a Musical. That show was one of the most memorable theatre experiences I have had thus far. It was amazing to perform with so many talented black artists, and to be unapologetically ourselves. I was definitely in shock when I won the award because there were so many wonderfully talented artists that were nominated that had been in the industry much longer than I had. After graduating I performed at the Broadway Palm in Florida in 2020 (during the pandemic), and I had the opportunity to understudy Pinky Tuscadero and perform the role a few times. It was definitely memorable to be done in face shields, but we still were having the times of our lives in both Fort Myers and Lancaster, PA because it was a transfer show.

JHPENTERTAINMENT: I understand we both admire my talented friend Syndee Winters who I first met when she was touring with The Lion King. Of course she was also on Broadway in Hamilton as Eliza. Did my research reveal correctly that the role of Eliza is a bit of a bucket list role for you?

CHARIS GULLAGE: YES. YES. YES. I would love to play that role!! Anyone or anything in Hamilton is a bucket list role for me. The show is truly a masterpiece, and to be part of it would be the greatest honor!

JHPENTERTAINMENT: Until then, you’re playing Disco Donna! As I said above, the most iconic of Donna’s career, both in the number of mega hits that timeframe produced and in those now-legendary looks. How fun are the costumes designed by Emmy and Tony-winning costumer, Paul Tazewell? And…is there one you’d secretly like to sneak home with you?

CHARIS GULLAGE: Yes, definitely! There is a tie! My final two costumes are my all-time favorites! My blue dress that I perform Hot Stuff in, and my white one that makes a grand appearance during Last Dance are just a Disco Dream! I would wear them out if I could find the right place haha!

JHPENTERTAINMENT: Of course the costumes are instrumental in created the look, but it’s some classic disco dancing that really helps bring it home. Originally choreographed by Sergio Trujillo on Broadway and now under the watchful eye of choreographer Natalie Caruncho and associate choreographer Angelica Beliard, can you tell me a little about the rehearsal process as far as the choreo is concerned?

CHARIS GULLAGE: The choreography process was incredible, but also very specific. I say this because we not only had to embody the Disco Era, but also add the layer of Donna Summer as well who WAS the Disco Era. By the end of the learning process, it need to be clear when portraying the character that she not only belonged to the Disco Era, but that she pioneered it. Disco style of dance became a character within itself so we had to make sure we did it justice. A lot of time went into that process, but our choreographers always lead with love and it meant the world! 

RAPID FIRE Q&A WITH BRITTNY SMITH, DIVA DONNA IN SUMMER: THE DONNA SUMMER MUSICAL

JHPENTERTAINMENT: As Diva Donna, you not only portray Donna Summer in her later years, you also narrate the show. What’s a fact, or just an aspect of her life or career you didn’t know about Donna prior to taking on the role that you now love sharing with the audience each night?

BRITTNY SMITH: Donna really dealt with so much in the music industry that I knew nothing about. She was so resilient and really fought to have agency over herself and artistic property. Learning more about her struggles and strength there has been so empowering to embody and share every night! 

JHPENTERTAINMENT: The role of Diva Donna was originated by my friend LaChanze, who received a Tony nomination for her portrayal and of course won the Tony a few year prior for her role as Celie in The Color Purple. Prior to taking on the role for the tour, had you seen Summer: The Donna Summer Musical?

BRITTNY SMITH: My goodness, LaChanze is THE QUEEN!! I just love her. What an amazing blueprint for this role. I truly won in being able to not only study Donna, but LaChanze in preparation for this role. I had never seen the show while on Broadway but I saw many videos of the original cast. Seeing the original production on video made so many things make sense and added a lot of context and color 

JHPENTERTAINMENT: When I chatted with your fellow-Donna, Amahri, we talked about her actually playing two roles, first as Duckling Donna, and later as Donna’s daughter, Mimi. You also have double-duty during the show. In addition to portraying Diva Donna, you also appear onstage as Mary Gaines, Donna’s mother. How do you approach these two roles differently? Is there something in your movement or physicality that differentiates them in your mind?

BRITTNY SMITH: Diva Donna is such a meaty role, specifically from a through line narrator perspective. I am charged with the task of embodying Donna the regal, evolved woman and artist and then in an instant transforming to a mother figure. I love the challenge, actually. For Diva I lower my speaking voice and keep it in a cadence that’s evident of internal thought and wisdom. I live in the sensual freedom that age and experience gives you as well., With Mary, I do things like lighten my voice and slow down my walk. I approach Mary with more tenderness and care versus prowess. 

JHPENTERTAINMENT: Prior to our conversation, I not only chatted with Amahri, but also Charis, who plays Disco Donna. While chatting with her I mentioned Paul Tazewell’s fabulous costumes. Of course another visual spect of Donna that delineates various eras of her life and career are the hairstyles. To that end, Brandon T. Miller is the show’s wig and hair designer. When during the process while backstage preparing for each night’s opening scene do you see your reflection in the dressing room mirror and think “There! There’s Donna?” Is it the hair, the makeup, the wardrobe, your inner thoughts, or a combination of everything?

BRITTNY SMITH: I definitely think it’s a combination of everything! The hair and costumes are so fitting and there’s nothing like putting on one of those beaded gowns to immediately put you in that Donna stratosphere. It’s an epic feeling. I truly feel like “ok, here’s the money maker” when the entire look is on. 

JHPENTERTAINMENT: Pandora’s Box, which you perform alongside Amahri’s Duckling Donna, might be a deep dive for even the most ardent Donna Summer fans, but thanks to my very cool Aunt Charlene, who had an extremely extensive vinyl record collection, I was familiar with the 1975 Love to Love You Baby track. That said, is there a Summer tune in the show that you’ve discovered since joining the cast?

BRITTNY SMITH: interestingly enough, I knew many the songs included in the show prior to joining the cast which made for an even greater experience getting to sing them every night. Songs that are included in the show like Unconditional Love and I Remember Yesterday were tunes that I hadn’t heard before. I love the combination of her major disco hits and songs that were a bit lesser known yet mighty. I have absolutely delved more into the world of Donna Summer and her discography since joining the cast! How could you not?!

With that, my conversations with the three Donnas came to an end, but it’s not quite the Last Dance for Nashville fans as Summer: The Donna Summer Musical continues it’s Music City run at TPAC’s Jackson Hall with a 2p.m. matinee and an 8p.m. evening performance on Saturday, March 26 and a 1p.m. matinee and a 6:30p.m. final performance on Sunday, March 27. CLICK HERE for tickets. Not in Nashville? The National Tour continues with stops in Binghamton, NY, Worchester, MA, Erie, PA, Huntington, WV, Knoxville, TN and more with dates on through till, well, SUMMER! For details on the remaining tour dates, or more info on the show, CLICK HERE or follow the show on Twitter, Facebook, Instagram and YouTube.

Next up for TPAC as they continue their current Broadway Season and Special Presentations it’s What the Constitution Means to Me  on stage March 29-April 3, followed by Come From Away, April 19-24, Oklahoma!, May 3-8 and the debut presentation of May We All: A New Country Musical, June 7- July 17. Be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org, TPAC on Instagram, TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

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!

Of all the show’s in this season’s Broadway at TPAC lineup, the National Tour of Summer: The Donna Summer Musical, currently on stage at TPAC’s Jackson Theatre through Sunday, March 27 is THE musical I have most been looking forward to seeing this year. Partly because Donna Summer has always been among my personal Top Five Divas and mostly because I was fortunate enough to have met her a few times during her years living right here in Music City.

I first met her while at lunch with a friend when we spotted her in line ahead of us and my friend commented that she “looks like Donna Summer”. I believe my response was “That’s because it IS Donna Summer. Still not convinced, a few minutes later, my friend approached her and asked if she was who he thought she was. She laughed and said, “I am if you think I’m Donna Summer.” My friend and I fanboy’d a bit before leaving her to enjoy her lunch. You know how when you meet someone, you then see them everywhere? Well, not long after that chance encounter, Donna Summer and her two youngest daughters began shopping in the children and young adult sections of the bookstore where my friend and I worked. It was during those shopping excursions that I sort of got to know her and my admiration and appreciation only increased.

All that to reiterate how excited I was to attend Opening Night earlier this week. Now, I have to also admit that prior to seeing the show, fan that I am, I was aware of a few things in the Queen of Disco’s career and life that might make for a very drama-filled biopic…Kelly Rowland, I’m talking to you!. I also had seen reviews of Summer: The Donna Summer Musical lamenting the fact that the book by Colman Domingo, Robert Cary and director Des MacAnuff is unbalanced and often-times weak, and while that’s true, honestly, who cares? When the music is as recognizable and as brilliantly performed by this talented troupe of singers and dancers, truthfully, the acting and story are secondary.

Summer: The Donna Summer Musical falls in the theatrical category known as a jukebox musical, basically a musical stage show that features well-known music, rather than new tunes written specifically for the show. Often, jukebox musicals like Summer, not only showcase one particular artist’s music, but like The Cher Show, Tina and a favorite right here in Nashville, Always, Patsy Cline, they tell the story of the artist known for the tunes featured.

One thing that sets Summer: The Donna Summer Musical apart from other jukebox musicals is that we get not one, not two, but three Donnas. By this I mean three actresses play Donna during three distinctive periods of her life and career. First there’s Amahri Edwards-Jones as Duckling Donna—Donna the early years. Next, there’s Charis Gullage as Disco Donna—Donna at the height of her 70s sensation. Lastly, Brittny Smith plays Diva Donna—Donna of her post disco era and last few years of the singer’s much too short life. That’s right, three times the Diva, three times the attitude and three times the talent. Each of these ladies manages to embody Donna perfectly in their respective era and they do so with voices that are indeed reminiscent of Donna during the various stages of her recording career.

Even before curtain, as the audience filters in, disco music by contemporaries of the diva blast on the sound system, perfectly creating the mood. Once the curtain rises, Smith’s Diva Donna, apparently emulating Summer’s final concert appearance, welcomes the audience to what she refers to as the concert of a lifetime. That double-entendre line serves as a plot reveal for what is to come is a non-linear narrative waffling back and forth between various timelines of the diva’s life.

As Diva Donna, Smith opens the show alongside the mostly female cast with the appropriately lyric’d The Queen is Back, a lesser-known Summer tune from her seventeen and final studio album, 2008’s Crayons. While the song’s title and lyrics are a good start, the show really begins when Smith eases into I Feel Love, Summer’s huge 1977 hit, confirming it’s the songs that brought us here.

Smith’s Donna is confident, yet retains an air of restrained, something that comes with a life lived. Smith’s Diva Donna is also the story’s narrator. This is mostly achieved by banter with the audience, much like many artists do during an actual concert. She also frequently interact with the other versions of herself extolling advice or warning, things that only come after experience, which are again, primarily for the benefit of the audience. When not belting classics like I Feel Love, Smith also appears as Mary Gaines, Summer’s—né LaDonna Adrian Gaines’ mother. This is achieved in the simplest of fashion…literally, for when Smith is Mary, she simply dons a dowdy overcoat, a scarf or a church hat. If the book ever truly focused on dialogue for more than just a spoken interlude between songs, this might be hard to follow, but as it is, Smith’s transitions between Diva Donna and Mother Mary are obvious and easy.

Charis Gullage’s Disco Donna, likely the most iconic and best remembered Donna for even the casual fan, definitely looks the part and she sings the role splendidly. Early on, Gullage is charged with recreating one of Summer’s most-rumored and notorious early career moments, the moment when she allegedly laid on the studio floor in the dark to record the provocative, sultry and down-right O-emulating vocals for Love to Love You Baby. Mega fan that I am, I found it interesting that this retelling gives Donna all the credit–and the girl power–for recording the vocals in this manner, while various sources over the years have indicated that it was famed producer and record exec, Giorgio Moroder who suggested/insisted she record it this way.

Here’s a good place to mention that this show, which credits Summer’s husband Bruce Sudano as a story consultant, really showcases Summer’s resilience and strength as a female artist in a male-dominated and controlled industry, something sadly as true today as it was during her career heyday.

The action then hits the rewind button as Duckling Donna, innocently and blissfully embodied by Amahri Edwards-Jones takes to the stage for the title track from 1977’s I Remember Yesterday. Another all but forgotten track, 1979’s On My Honor, perfectly fits the early Donna narrative while simultaneously spotlighting Jones’ breathtakingly beautiful vocal skills.

While the show is resplendent with massive hits like MacArthur Park (we are treated to all three Donnas taking on this one), Heaven Knows (a bit of foreshadowing as this one features Disco Donna and future husband Bruce Sudano played by John Guaragna), No More Tears and more, again, as a lifelong fan, I truly enjoyed some of the deeper catalogue dives.

Once such moment comes with a quick little snippet of White Boys, half the song, Black Boys/White Boys from the musical Hair. That’s right! Early in her career, Donna Summer appeared in a German production of Hair. Within the context of our story, this song is quite effectively used to show Summer’s dating life in a very fun, tongue-in-cheek manner.

On the flipside, some of Summer’s more dramatic moments, albeit primarily glossed-over, also take full advantage of the artist’s extensive catalog. A prime example comes in the inclusion of a song called Pandora’s Box another track from her Love to Love You Baby 1975 release, used in the musical to reveal the conflict of young Donna who hid the truth of sexual abuse by a family friend, which, according to the show’s narrative, seems to have been the start of blurred lines between love and control by various men in her life, both personal and professional. These men include her father, Andrew Gaines (played, I might add, by former Nashvillian, Porter Lee Anderson, III), first husband, Helmuth Sommer (Francisco Risso), Giorgio Moroder, David Geffen (both roles played by Kyle Southern), record producer Neil Bogart (Christopher Lewis) and aforementioned second husband, Bruce Sudano (played by the aforementioned John Guaragna).

Speaking of the male cast and characters, the one casting misstep for me comes in the head-scratching decision to cast a female in not one, but two male speaking roles, without even the slightest effort to lower her speaking voice or even take on more masculine mannerisms. Not sure why this choice was made. Maybe current restrictions on the size of the cast, but even so, why not have one of the handful of male ensemble members take on these small, but noticeable male characters? Nothing against the actress playing them, but it basically reminded me of an all-girls school production where the girls play all the roles. It’s not like this is some sort of statement or a reversal of Shakespeare or anything. Just seemed a interesting casting option.

Back to the actual male members of the cast, Guaragna, as Sudano, and Gullage’s Disco Donna appear in one of the show’s silliest but simultaneously sweet and entertaining moments as they are seen onstage in what can only be described as the theatrical equivalent of bumper cars while Disco Donna drives around listening to and singing along to…On The Radio. Now, according to the storyline, while the two had met in the studio, this traffic jam jammin’ meet cute symbolizes the start of their romantic relationship.

There’s also a healthy nod to the umbrellaography of Singin’ in the Rain, around this time, courtesy the show’s choreographer Natalie Caruncho and associate choreographer Angelica Beliard. Not gonna lie…the day after I saw the show, while in my car, I did indeed turn up On The Radio and sang at the top of my lungs, so well played Summer and company, well played.

Other highlights comes with Bad Girls (complete with a quick mention of rough street life in her early days), She Works Hard For the Money (Donna’s struggle to be more in control of her own career) and Dim All The Lights (the death of a friend and business associate at a crucial point in her career). And while I Believe in Jesus is meant to reaffirm, to some audience members Donna’s born-again era still holds a sour note as it was during that time that Donna may or may not have made comments during a particular concert equating the AIDS crisis to God’s punishment on the gay community, long her biggest audience. The show glosses over this, almost making fun of it with the Adam and Eve, not Adam and Steve comment, but then gets right back on track with Donna revealing she, like so many others, not only lost fans because of the remarks, but also lost friends to the devastation of the disease.

Musically, the show gets back on track as well, with Unconditional Love, which features Smith’s Diva Donna alongside her costars and ensemble members portraying Donna’s three daughters. Another drama comes to light as the show nears its end. Again, mega fan that I am, I gotta admit, knowing what was coming, my eyes began to sweat as Diva Donna and family learn she has cancer.

Also once again, the show manages to lift spirits with Disco Donna and company heating things up one last time for Hot Stuff before all three Donnas and the entire company take to the stage for an all-in disco dancin’, hand-clappin’, on your feet, party to end all parties Last Dance.

Summer: The Donna Summer Musical continues it’s Music City run at TPAC’s Jackson Hall with shows through Sunday. CLICK HERE for tickets. Not in Nashville? The National Tour continues with stops in Binghamton, NY, Worchester, MA, Erie, PA, Huntington, WV, Knoxville, TN and more with dates on through till, well, SUMMER! For details on the remaining tour dates, or more info on the show, CLICK HERE or follow the show on Twitter, Facebook, Instagram and YouTube.

Next up for TPAC as they continue their current Broadway Season and Special Presentations it’s What the Constitution Means to Me  on stage March 29-April 3, followed by Come From Away, April 19-24, Oklahoma!, May 3-8 and the debut presentation of May We All: A New Country Musical, June 7- July 17. Be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org, TPAC on Instagram, TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

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!

For their current production, Nashville Children’s Theatre is presenting Peter Pan: Wendy’s Adventure to Neverland, an all-new story by NCT’s own Ernie Nolan with music and lyrics by David Weinstein making its World Premiere. Onstage now through March 27, this newly created escapade involving everyone’s favorite boy who’ll never grow up is, of course, based on the beloved works of J.M. Barrie.

While Barrie’s enchanting novel, Peter and Wendy was published in 1911, the character Peter Pan first appeared within the pages of Barrie’s 1902 novel, The Little White Bird. Within that work, geared towards an adult audience, by the way, Barrie devoted half a dozen chapters to newborn Peter, who mysteriously leaves his London nursery for an unexpected adventure in Kensington Gardens where fairies and feathered friends teach him to fly. Two short years after the book’s publications, Barrie expanded on the character of Peter Pan for a Christmastime-debut stage play, Peter Pan, or The Boy Who Wouldn’t Grow Up. The play proved so successful that Barrie’s publisher got the idea to take the chapters of The Little White Bird that featured Peter Pan, and release them as their own book titled Peter Pan in Kensington Gardens. Fully realizing there was more magical life in the character, Barrie expanded the tales of Peter and friends for the aforementioned 1911 novel.

As the audience enters the theatre the ghost light is seen giving just enough light to the stage. For those not familiar, the ghost light is a single bulb on a stand, centerstage left illuminated to light the way for crew and others who might be in the theatre between performances. During the last two years, the ghost light has taken on an more symbolic meaning to the theatre family worldwide as that time between performances lasted longer than anyone ever imagined. That makes what happens next with the ghost light even more poignant, as a member of the company approaches it mysteriously captures the light in their hand and, invoking the powers of pixie dust, enchantingly transfers the ghost light’s amber glow to the string of lights above the stage doubling as the night’s sky glittering with stars. Witnessing this, I remembered seeing a post from NCT’s Ernie Nolan. Posted on the show’s opening morning, it was a photo of a line of school buses parked outside the theatre as the company welcomed children back to the audience for the first time since the pandemic. In that moment, in my mind, the ghost light became Nashville Children’s Theatre and the celestial beings suspended high above the stage, represented the hundreds of children whose first theatre experiences wait inside that theatre.

It’s interesting to note that within the pages of The Little White Bird, Peter is first described as a boy who is “betwixt and between a boy and a bird”. That said, it’s evident that NCT’s Nolan and Weinstein did their homework, because the opening number of Peter Pan: Wendy’s Adventure to Neverland’s opening number is indeed titled Betwixt and Between.

In that opening number, the audience gets a first glimpse of a troop of actors who are about to perform the timeless tale of Peter Pan and Wendy Darling. Literally and figuratively at the helm is Megan Murphy Chambers as The Actress. Costumed for her role in the show within the show as Captain Hook, Chambers is a fantastical vision, complete with a faceted silver lamé hook! Just imagine if Helena Bonham Carter were cast as Hook in a production directed by Tim Burton, and you’re there. If it’s possible to have a crush on Captain Hook, I confess, I indeed have, especially in the form of one of my longtime theatre crushes, the commanding presence that is Megan Murphy Chambers.

Gerold Oliver as Peter Pan, with his perfectly playful approach to the role invites the audience along for the journey. No sooner than the play begins, a young girl comes up from the audience interrupting the action as she expresses doubt that magic and fairies exist.  As The Girl, Amanda Rodriguez finds the perfect balance between childlike innocence, wonder and questioning. Determined to waylay The Girl’s misgivings, Oliver’s Peter Pan and company, not only challenge The Girl to step into the role of Wendy, but also pose the challenge by way of the song If You Believe, knowing full well, even the simple magical effect of being on stage itself is likely enough to make her…and us believe.

As for the rest of the company, Nolan has gathered a truly enchanting ensemble. Joining Oliver, Rodriguez and Chambers are Jennifer Whitcomb-Oliva as Smee, Sarah Zanotti as Tinkerbell, Piper Jones as The Never Bird, Jonah Jackson as Tootles and Alex Pineiro as Slightly with Erika Johnson as Backstage Crew and Jack Tanzi as Assistant Stage Manager.

Whitcomb-Oliva’s Smee, like every role this uber-talented performer takes on, is blissfully fun. As adept at comedy as she is at possessing and beautifully sharing one of the richest voices the Nashville stage has ever seen, Whitcomb-Oliva, especially when volleying scenes with Chambers, is indeed perfection. The camaraderie between these two gifted performers is especially fabulous during Right Hand Man, a hilariously fun ditty full of double meaning of the funniest kind as Captain Hook may or may not be alternating the title meaning between Smee, his right hand man, and/or the aforementioned shimmering wrist accoutrement.

With a core audience ranging in ages from the very young, to the young at heart, Nolan and Winstein prove they are masters at their craft by keeping the action going at all times. To that end, come Jackson and Pineiro as Lost Boys Tootles and Slightly, respectively. For this production, Jackson and Pineiro’s Tootles and Slightly are firmly planted somewhere between the old school slapstick humor of Oliver and Hardy and the mildness antics of Jim Carrey and Jeff Daniels as Lloyd and Harry in the Dumb and Dumber film franchise. The show’s next tune, Don’t Blame Me proves this point as these two actors, alongside Oliver’s Peter Pan and Zanotti’s Tinkerbell, attempt to weasel their way out of a bit of blame.

Adding to the spellbinding feel of the play, Tinkerbell appears in the form of a rod and arm puppet, beautifully constructed by MoonBull Studios, and brought to glorious pixie-dusted life by Zanotti. On the subject of puppetry featured throughout, MoonBull Studios also provides stick puppets, controlled by the actors playing Peter and Wendy as the beloved duo take to the skies. Mixing stick puppets with shadow puppetry, while flying, the actors and their puppets moved behind a fabric wall and the puppets take to the sky by way of their shadows. During this particular scene at the performance I attended, a enthusiastic young audience member seated just behind me to my left, audibly pointed out that he could see the actors legs and feet below scrim while there stick puppet selves hovered high above. At first I wondered why the scrim hadn’t been constructed as to fully conceal the actors’, then it dawned on me…If the actors had indeed been completely concealed during this moment, younger audience members’ minds might not have been challenged to realize just what all it takes to create such a fanciful moment. As it is presented, the audience is in on the magic of the performance, the magic that just might encourage them to one pursue taking to the stage themselves. Another type of puppet is utilized during the show as well, a fully articulated large-scale joined puppet, scarily appearing as Tick-Tock, the alligator.

While the show’s next number, Lagoon Toon—featuring Oliver’s Peter Pan, Whitcomb-Oliva and Jones as a couple of shell-wearing Mermaids, and ensemble members as various sea creatures—is cute, it might be a tad too reminiscent of a certain Under the Sea calypso tune from a particularly popular fish tale…or is that tail? Nonetheless, it offers yet another chance for the audience to marvel at the wonder of a full-scale (see what I did there?) musical number as presented by a near-perfect ensemble.

Another mostly all-in tune, If I Had a Mother, features Hook, Smee and various ensemble as The Pirates as they lament their lack of love, centering is squarely on the absence of a caring maternal figure. This number also moves the familiar plot along as they scheme to force Wendy into being that mother figure.

Speaking of that certain mermaid, and I was earlier, Piper Jones, who starred as Ursula in NCT’s The Little Mermaid in 2018, gets her moment to shine as The Never Bird during Never Say Never. Showcasing her marvelous voice, Jones is never better than when she’s front and center belting out a showstopper like this hummable tune.

The turning point in the thinking of the young addition to the company within the show comes when Rodriguez’s Wendy takes the lead on Do You Believe in Fairies. This is also the point in the show where the audience gets involved in a bit of call and response, and the answer is a resounding YES, of course we do indeed believe in fairies. I mean, you’d have to be a motherless, vile, lonely pirate not to, right?

With showtunes whose titles reveal the simple but enthralling plot of the rest of the show, Rodriguez then joins the Lost Boys and Tink for We Have a Mother. Then, for Peter Pan: Wendy’s Adventure to Neverland’s finale, the entire company wraps up the story and the show with With All of My Heart, and I’m here to tell you, I loved every second of this show…with all of mine.

This retelling contains all the expected elements of not only the beloved source material, but the equally beguiling animated Disney adaptation and even the more recent live action adaptations, but thanks to the creative imaginations of Nolan, Weinstein, and their entire creative team, including Scenic Designer, Scott Boyd, Lighting Designer, Scott Leathers, Costumer, Tommy Macon and others, it contains the perfect balance of familiarity peppered…no, Pixie Dusted…with a freshness that is bewitching indeed.

Peter Pan: Wendy’s Adventure to Neverland continues its engaging engagement with performances for school children during the week and public performances each Saturday and Sunday through Sunday, March 27. Click Here for tickets. Educators are encouraged to Click Here to book a field trip to see upcoming performances at Nashville Children’s Theatre.

Speaking of upcoming performances, next up for NCT, it’s another World Premiere from Ernie Nolan as the musical earworm Baby Shark comes to life on the stage April 2-June 19. Then, from June 25-July 17, Nashville Children’s Theatre presents the Nashville regional company premiere of The SpongeBob Musical to close out the current season.

For all the latest from Nashville Children’s Theatre, Check out their Official Site, or follow them on socials. You can find NCT on Twitter, Facebook and Instagram.

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!

Tennessee Performing Arts Center revealed their coming 2022-2023  Broadway at TPAC season earlier today. Among the coming shows headed to TPAC’s Jackson Hall, there’s the return of the blockbuster hit musical, Hamilton, plus Music City debuts of seven shows and a special add-on engagement of a beloved classic.

To kick off the season from July 26 through August 7, 2022, Lin-Manuel Miranda’s Tony, Grammy, Olivier, Kennedy Center Special Presentation and Pulitzer Prize-winning masterpiece Hamilton will make it’s triumphant return to Nashville after having first played TPAC to sold-out audiences for an extended run back in December 2019/January 2020.

Making its Nashville debut from August 9 until August 14, 2022, TPAC will be home to Academy Award winner Aaron Sorkin’s recent adaptation of the Harper Lee classic, To Kill a Mockingbird, which 60 Minutes called “the most successful American play in Broadway history”. Directed by Tony winner Barlett Sheer, this national tour of the Pulitzer-winning classic will feature Emmy winning actor, Richard Thomas (The Waltons) in the lead role as Atticus Finch.

Marking another Music City premiere, Pretty Woman: The Musical will play TPAC’s Jackson Hall from September 27 through October 2, 2022. Based on the beloved film, the musical comes courtesy two-time Tony-winning director/choreographer choreographer Jerry Mitchell and film & stage producer Paula Wagner, whose credits include movies like Mission: Impossible, Vanilla Sky and The Others (all alongside her C/W Productions partner, Tom Cruise) and theatre credits such as Mothers and Sons, The Heiress and Grace. The musical features an original score by Grammy winner Bryan Adams and Jim Vallance, and a book by the movie’s legendary director Garry Marshall and screenwriter J. F. Lawton.

Two weeks ago, TPAC teased the coming Broadway season by revealing the next show, also making its Nashville debut. Running November 1-6, 2022, it’s eight-time Tony winner, Hadestown. At the 2019 Tony Awards, Hadestown took home honors for Best Musical, Best Original Score, Best Actor, Best Scenic Design, Best Lighting, Best Sound, Best Orchestration and a Best Director nod for Rachel Chavkin.

While not technically part of the 2022-2023 Broadway season, but rather a Special Add-On presentation, TPAC has also announced the return of one of the most beloved musical, Les Misérables, headed to TPAC January 10-15, 2023. Cameron Mackintosh presents the acclaimed production of Boublil and Schönberg’s Tony Award-winning musical phenomenon, Les Misérables. To take early advantage of this add-on special, Season Ticket Holders are urged to upgrade their season ticket package to include this added presentation.

Yet another Music City premiere performances comes February 21-26, 2023 as Six: The Musical, a spectacular stage show that transforms Henry the XIII’s ill-fated wives from Tudor Queens to Pop Princesses. You read that right. Instead of a yawn-inducing trip through the history of those famously divorced, beheaded, dead, divorced, beheaded, survived ladies, audiences are privy to a pop diva concert retelling written by Toby Marlow and Lucy Moss. 

Just last week, TPAC offered another tease of the coming season with still another Nashville premiere, Ain’t Too Proud to Beg-The Life and Times of The Temptations, heading to TPAC March 21-26, 2022. Covering the legendary Motown groups iconic journey from the streets of Detroit to their 1989 inductions into the Rock and Roll Hall of Fame, Ain’t Too Proud snagged 12 Tony nonitions, winning for Best Choreography at the 2019 Tony Awards ceremony. Featuring more than two dozen Temptations classics, Aint’ Too Proud proves once again why Billboard Magazine dubbed the group the Greatest R&B Group of all time. 

Continuing the string of premieres is Disney’s Aladdin, onstage May 2-7, 2023. Based on the 1992 animated classic, Aladdin brings one of the most treasured stories to life with a book by Chad Beguelin (Elf The Musical, The Wedding Singer, The Prom), It also features many of the familiar tunes by Alan Menken, Howard Ashman and Tim Rice. Adding more magic to the piece, the stage music also includes three songs by Menken and Ashman that were originally written for the film, but never used, plus new tunes by Menken and Beguelin.

Closing out the season is still another Nashville premiere as 1776: The Musical comes to TPAC from June 20-25, 2023. Fed up with living under British rule, John Adams attempts to persuade his fellow members of the Continental Congress to vote in favor of American Independence. But how much is he willing to compromise in the pursuit of freedom? Jeffrey L. Page and Diane Paulus (A.R.T. Terrie and Bradley Bloom Artistic Director) direct a new production of the Tony Award-winning musical, reexamining this pivotal moment in American history with a cast that reflects multiple representations of race, gender, and ethnicity.

Of the coming Broadway Season, TPAC President and CEO, Jennifer Turner said in a press release issued earlier today, “We’re thrilled to bring a new season of the hottest Broadway titles directly to your door. You don’t need to go to New York to see the latest shows because as a season ticket holder, you can experience all of them here at home with great savings and other benefits.”  Turner continued,“It’s an honor to serve our city and region with world-class theatrical entertainment and this spectacular lineup featuring fresh perspectives of some of the most captivating, human, and inspiring stories for our time.”

Season ticket packages are available starting Monday, Feb. 28, through March 25. Packages start as low as $40 per show when you book all eight shows. Season ticket holders receive the best seats at the best price compared to purchasing shows individually and are entitled to additional exclusive benefits, such as easy exchange privileges, flexible payment plans, and savings on additional single tickets for any 2022-23 Broadway show at TPAC.

For full benefits, pricing and seat map, visit TPAC.ORG/Broadway, where season tickets may be purchased, or call TPAC Patron Services at 615-782-6560.

For updated entry policies and other health and safety information, visit TPAC.ORG/PatronHealth.

Be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org, TPAC on Instagram, TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

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!

 

On Tuesday, February 22, the National Tour of The Prom comes to Nashville’s TPAC for an eight-performance run through Sunday, February 27. From director/choreographer Casey Nicholaw, who’s Mean Girls just wrapped their Music City tour stop, The Prom is a Drama Desk Award winner for Best Musical and multiple Tony-nominated show that tells the tale of a Broadway Diva and friends who descend upon small-town Edgewater, Indiana to help a high school girl who’s small-minded town has banned her from bringing her girlfriend to prom. Think of it as a modern day Footloose, except instead of being opposed to dancing, the town is seemingly opposed to love.

As the company prepares to bring the show to TPAC, I had the chance to chat with two of the show’s stars, Courtney Balan and Sinclair Mitchell. Balan plays Dee Dee Allen, the aforementioned Broadway Diva, while Mitchell plays Mr. Hawkins, the high school’s principal, who actually opposes the ban and just so happens to be a big fan of the Broadway star.

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RAPID FIRE 20Q WITH THE PROM’s COURTNEY BALAN and SINCLAIR MITCHELL

RAPID FIRE WITH COURTNEY BALAN, DEE DEE ALLEN IN THE PROM

JHPENTERTAINMENT: As Dee Dee Allen, you play a two-time Tony-winning Broadway Diva. What more is there to Dee Dee that audiences should know?

COURTNEY BALAN: It’s not easy to put the powerhouse, force of nature that is Dee Dee Allen into words. She is everything I wish I could be when it comes to confidence and success. She is a Broadway diva with dozens of starring roles on her resume and a couple of Tony awards. Her incredible success as a performer makes her a bit narrow minded when it comes to the rest of the world and to healthy relationships. As she is getting older and her career isn’t what it used to be, her life as she knows it is challenged. That’s where we meet her in the first scene of THE PROM. 

JHPENTERTAINMENT: While researching to chat with you, I learned that you made your Broadway debut in Joseph Brooks’ In My Life. That show lives on in the hearts of theatre nerd everywhere. What was it like to be a part of that show?

COURTNEY BALAN: It was a totally bizarre show that took place both on earth and in heaven. We dressed as pirates, danced with skeletons and sang pop music jingles. It was so much fun and such a fabulous first Broadway experience. The cast and crew were full of the greatest, most unique and interesting people. We bonded quickly over the insanity of the experience and despite the challenges of being in a show that was universally mocked, we had a genuine blast every night for the four months we ran on Broadway. It was never boring! And, I understudied the lead role and went on in the second and third previews which was a total thrill. So many amazing and beautifully bizarre memories!

JHPENTERTAINMENT: Also in the ensemble of In My Life was our mutual friend Kilty Reidy. I just adore him. To that end, can you speak on the importance of forging friendships with fellow members of a company’s ensemble?

COURTNEY BALAN: I just adore him too!! The friendships I’ve made throughout my career have been monumental. What I missed most during the recent theatre shutdown and the months of isolating at home was a sense of community; of creating and surrounding myself with people. The vulnerability and sheer amount of time required to do a show can create a family and deep friendships unlike any other business. 

JHPENTERTAINMENT: Ok, I can’t not ask about Hatchet Face, the role you played on Broadway in Cry Baby, based on the John Waters film. What was the most fun aspect of that role?

COURTNEY BALAN: The most fun aspect of playing the gloriously grotesque and raunchy Hatchet Face was the freedom. There were no limits or restrictions because she was totally unfiltered and unabashed. 

JHPENTERTAINMENT: Back to The Prom. You were part of the show’s Broadway company cast as Olivia Keating, the Broadway Mania reporter who’s seen at the beginning for the opening of Eleanor. You also understudied Dee Dee. When did you first take to the stage in the role of Dee Dee and what do you remember about that night?

COURTNEY BALAN: That’s right. I was in the “adult ensemble” in The Prom on Broadway and understudied Dee Dee and Mrs. Greene. I made my debut as Dee Dee on Broadway in March 2019 after we were running for a few months. The night I went on for the first time, a Thursday, I actually had a scheduled night off to see my husband’s opening night of The Drowsy Chaperone at the high school where he is the head of Theatre. I got a call from Glynn Turner, The Prom stage manager at about three in the afternoon and he said, can you come in? 

The whole night was a blur, but I did go on for the majority of the weekend and that was such a gift. The more I did it, the more I found my rhythm and I had a ridiculous amount of fun. The joy and laughter coming from the audience was palpable. And getting to work with the principal cast on Broadway was beyond my wildest dreams. 

JHPENTERTAINMENT: Dee Dee’s song, It’s Not About Me is one of my favorite moments in the show. What’s yours?

COURTNEY BALAN: I really love any moment when I am onstage with the entire company. It’s Not About Me is one of those moments! Playing with all the cast members and getting that supportive energy from them is wonderful. The opening number, Changing Lives, into the first scene is also one of my favorites. Since The Prom is a completely original musical, it’s fun to feel the audience, most of whom don’t know the story, see the plot unfold.

JHPENTERTAINMENT: As I prepped these questions, I began thinking back to my own Proms. Truth be told, they measured somewhere between disaster and abysmal. Did you attend yours? If so, did you fare any better than me?

COURTNEY BALAN: Ugh! I’m sorry to hear that!! Mine was….fine. Pretty standard. Went with friends, danced, spent the weekend down the shore (that’s what you do in Jersey!) I loved my dress which was totally chic and fabulous, but I was and always will be a theatre nerd. Days later I was performing as a clown at a fair, so….. That’s my high school realness.

JHPENTERTAINMENT: Having understudied Dee Dee, and now making the role your own in the National Tour, do you still find yourself finding new ways to bring her to life night after night?

COURTNEY BALAN: I have understudied many, many times. Dee Dee was my fifth Broadway understudy gig. So, at that point, I had figured out how to find a nice balance between what the primary actor had created and who I am, and what I bring to the role. Luckily, in each experience, I’ve always had a creative team that fully supports that notion. The Prom was no exception. Now, in this case, the role is based on the actress who played her on Broadway, Beth Leavel, so that was a unique experience. I always say that I take the elements that best suit me as a starting point and go from there. As an understudy, it’s your job to make the other actors and company feel as if their show isn’t compromised and that the version of the story they created is in tact. So, when I was on for Dee Dee on Broadway, I definitely leaned into Beth’s version for that reason. The most challenging part, to be honest, was dropping those habits and creating the role for myself on the tour after understudying. It was a process to start a new discovery into who my version is without any restrictions. Now that I am in the fifth month of playing the role consistently, I can say that yes, I am definitely finding new things all the time. That’s the beauty of live theatre. It’s constantly evolving.

JHPENTERTAINMENT: I love that Dee Dee keeps her two Tonys in her purse. What’s the most interesting thing you keep in yours?

COURTNEY BALAN: I’m not sure if I have anything interesting… but I can say that these days you won’t find me without a mask and hand sanitizer.

JHPENTERTAINMENT: You share many scenes with your co-stars Patrick Wetzel as Barry Glickman, Emily Borromeo as Angie Dickinson, Bud Weber as Trent Oliver and Sinclair Mitchell as Tom Hawkins. How much fun is life on the road with this cast?

COURTNEY BALAN: This group is a dream. A DREAM!!!! From the principal cast that I get the honor of playing with onstage everyday to the ensemble who are so full of life, humor and talent. That sense of community that I yearn for is so fulfilled in this group both onstage and off.

 

RAPID FIRE WITH SINCLAIR MITCHELL, MR. HAWKINS IN THE PROM

JHPENTERTAINMENT: While chatting with your co-star, Courtney Balan, I asked her about life on the road with you and the other main adult cast, so turnabout is fair play. What’s Courtney like as a scene partner?

SINCLAIR MITCHELL:  Courtney is extremely talented, consistent and giving.  She is a true professional in every sense of the word.  This is extremely important as a scene partner to feed off of, making each scene honest and true.       

JHPENTERTAINMENT: I also asked Courtney about her own prom experiences after admitting mine weren’t exactly memorable. Did you attend your proms as a high schooler and if so, how’d that work out for you?

SINCLAIR MITCHELL:  I only had one prom at my High School and I attended it with not one but two classmates!  They didn’t have dates and neither did I…it wasn’t romantic but it was a lot of fun.

JHPENTERTAINMENT: If memory serves, you were part of the National Tour of School of Rock, which played Nashville’s TPAC September of 2018. Something that wasn’t around then, but has recently opened is the National Museum of African American Music, so you gotta check it out. Is there anything else you hope to see or do while the tour is in Music City?

SINCLAIR MITCHELL:  The National Museum of African American Music is definitely on my list.  Obviously the Grand Ole Opry…and I must find the best place to get Nashville’s world famous hot chicken, suggestions welcome!   IG: @sinclairdmitchell

JHPENTERTAINMENT: Since you mentioned it, you gotta check out Prince’s Hot Chicken Shack. After all, it’s the OG Hot Chicken. While there, ask a member of the family how hot chicken came to be. It’s THE BEST origin story ever. Speaking of sightseeing while on tour, a quick stalk of…er..um..uh…I mean peek at your insta revealed you recently had the chance to visit the Smithsonian Museum of African American History where you posted about Muhammad Ali’s Olympic torch. In the post you mentioned high school memories of running the torch. Can you tell me more about that?

SINCLAIR MITCHELL:  Running the Olympic Torch for the Atlanta Games was definitely a highlight in my life, an experience I will never forget.  Running through Churchill Downs in Louisville, KY and passing off the torch in front of my High School, duPont Manual/YPAS, with all the students, faculty, staff, and my family cheering me on was a momentous occasion.    

JHPENTERTAINMENT: Ok, so you were in high school in 1996, back to the subject of The Prom. I gotta know, did your prom fashion sense reflected that mid-90s oversized vibe? Or were you more of a traditional black tux/white shirt kinda guy?

SINCLAIR MITCHELL:  Baggy clothes was never my look so I definitely was a form fitting black tux/white shirt/patent leather shoes kinda guy.

JHPENTERTAINMENT: If you could play another role in The Prom, regardless of whether you’re ‘right of the part’, what would it be and why?

SINCLAIR MITCHELL:  Mrs. Green, who is played by my dear friend Ashanti J’Aria, who is fantastic in the role.  The reason being she’s the show’s antagonist but she’s not a villain.  I feel audience members can relate to this character in one way or another. She loves her daughter Alyssa and wants nothing but the best for her despite Alyssa’s need to be open about who she truly is. Watching Mrs. Greene resist evolving until she is faced with the possibility of losing her daughter is a life lesson for the audience to not make those same mistakes.

JHPENTERTAINMENT: The character you portray in The Prom seems the main voice of reason and equality. How important is that message to you as you bring Mr. Hawkins to life each night?

SINCLAIR MITCHELL: As a true Christian and knowing no one’s perfect, I feel a certain responsibility to preach love, teach understanding, and to have those morals shine as a beacon of light to others in my own life.  To have a role like Mr. Hawkins teaching the community, his students, and a Broadway star to be more inclusive and understanding of others, is a responsibility and honor to play onstage each night.

JHPENTERTAINMENT: Among your theatrical credits, you were part of the Broadway company of The Lion King. The current tour was just here last month and among the creatives, my friend Geoffrey Myers, the tour’s Dance Supervisor. Which brings to mind the subject of choreography. As Mr. Hawkins, do we get so see some of your dance moves?

SINCLAIR MITCHELL:  Casey Nicholaw’s choreography is fantastic with high energy and intricate steps. Luckily for me, I get to show off my dancing prowess in the finale and curtain call!

JHPENTERTAINMENT: The main plot of The Prom centers around a young female student who just wants the equal opportunity to enjoy her high school prom with her girlfriend. As a Black man, you’ve no doubt experienced prejudices yourself. Was that part of why you chose to audition for this role?

SINCLAIR MITCHELL:  Discrimination and bullying against anyone is something I will always have fault with. I pride myself in standing up for others who don’t have a voice. Also because of Covid and not being able to perform in almost two years, I jumped at the chance to do what I love to do while sharing this important message.

JHPENTERTAINMENT: Not exactly a spoiler alert, but those familiar with the show know that Mr. Hawkins falls for Courtney’s Dee Dee, flaws and all. As their attraction grows, Dee Dee seems to become more enlightened and willing to change from her self-centered origin to truly caring about others. To your way of thinking, is that a main message of the show?

SINCLAIR MITCHELL:  That is definitely a huge part of the main message, but this piece believe it or not is more than that.  The Prom is also about looking outside the box, evolving, and accepting one another’s truth.  It’s about being a good person, no matter what differences we have.     

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Based on an original concept by Jack Viertel with direction and choreo by Casey Nicholaw, book by Bob Martin and Chad Beguelin (the latter who also wrote the show’s lyrics) and music by Matthew Sklar, The Prom plays Nashville’s TPAC February 22-27. CLICK HERE for tickets or more information.

Not in Nashville but hoping to see The Prom during its National Tour? Follow the show on Facebook, Twitter, Instagram and YouTube for more information and to check out the tour’s remaining cities and dates.

Next up for TPAC as they continue their current Broadway Season and Special Presentations is Dear Evan Hansen onstage March 2-6. The season then continues with Summer: The Donna Summer Musical, March 22-27, What the Constitution Means to Me, March 29-April 3, Come From Away, April 19-24, Oklahoma!, May 3-8 and the debut presentation of May We All: A New Country Musical, June 7- July 17. Be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org, TPAC on Instagram, TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

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!

Last night, Thursday, February 10, Nashville Repertory Theatre presented Opening Night of the regional debut of Jocelyn Bioh’s Off-Broadway hit, School Girls; or the African Mean Girls Play, the first production in The Rep’s long history to feature an all Black Female cast. I was scheduled to attend in order to review the show, but sadly, had to miss out last-minute. Lucky for me, though, earlier this week, I had the opportunity to pose five questions each to Tosha Marie, Joy Pointe, Cynthia Harris and Tamiko Robinson Steele—four members of the cast—for my latest Rapid Fire 20 Q.

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RAPID FIRE 20Q WITH CAST OF SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY

RAPID FIRE Q&A WITH TOSHA MARIA, SCHOOL GIRLS’ ERICA BOAFO

JHPENTERTAINMENT: What can you tell me about Ericka Boafo?

TOSHA MARIE: Ericka is an American girl who is thrown into this new country/culture and is trying to figure out who she is and how she fits in during a very difficult time in her life. She is hopeful and is looking to make some new friends in this foreign land she now calls home while still battling some inner demons. She also looks different from everyone else! So she is navigating being the lightest girl in the school and how that affects her confidence and social standing, and as these things tend to be… It’s never quite as simple as you think. 

JHPENTERTAINMENT: In addition to acting, Nashville’s theatre community is also very familiar with your work as a choreographer. In fact, you recently choreographed Nashville Rep’s Ragtime. I’d imagine your background in dance might give you an extra understanding of the importance of subtle movements that often help the audience understand a character even when they’re not speaking. Do you think that’s a fair assessment?

TOSHA MARIE: That’s very fair! Even though there isn’t any dancing in the show, I am physically exhausted by it because of the tension I hold in certain areas of my body. There are moments when Ericka is super unsure of herself and the physicality that it evokes in me is a different way than how I live my life. You don’t learn that much about Ericka until closer to the end of the play, so putting all of her background into my physical being is very fun for me. You can kinda be like… ok, what is going on with this chick? Also, it’s very hard for me to not move so that presents its own challenges as I tend to twirl and bob about a lot and Ericka is not really a dancer like Tosha is!

JHPENTERTAINMENT: This is the first time School Girls has been performed in Nashville, so it’s pretty safe to say the majority of the audience won’t be familiar with the show. How exciting is it to in essence, create a role for a particular audience?

TOSHA MARIE: Exciting and terrifying! Haha! I want to do her justice because there aren’t very many roles created about this topic for people that look like me and I know this might be the first time some people may hear this type of story be told. So I hope people like her and relate to her and learn a bit more about what it means to be a light skinned black woman.

JHPENTERTAINMENT: When not involved in live theatre productions, you also own and run TMProductions, a successful dance studio and performing arts space. You recently posted about your company’s diversity initiative. Can you tell me a little about that and the passion behind it?

TOSHA MARIE: Gladly! I started TMProductions because I was really tired of the cliquish and elitist nature of the Nashville theatre scene. Connected people meeting other connected people in their small privileged circles was causing me to have to continue to fight to be seen by professional companies to no avail, even though I’ve been in the business for over a decade and felt like I had proved my worth on many occasions. So when I lost all my income in 2020 I decided to do something about it. I had spent so long hustling for scraps from other companies, it was time to hustle for myself and try to make it easier for other people to break into the business. Thus TMP was born. Our mission states “TMProductions exists to serve the driven and underrepresented creative. We provide equity with access to knowledge, clarity of what it takes to have a career in the performing arts, in-house resources and opportunities to support that pursuit, and an intentional safe, inclusive atmosphere that nurtures, honors, and celebrates the authentic and unique self.” So with our popularity increasing and more theatre companies coming to us to have auditions and rehearsals we felt like we had to have a concrete policy regarding diversity as most of the organizations approaching us were predominately white with non-existent/tense relationships with the BIPOC community. So many people have expressed their struggles with me that I couldn’t not do something to help my community. Our policy encourages diversity from cast and crew, to leadership positions within the organizations hopefully creating positions for traditionally marginalized groups. I must say, as nervous as I was about it, I think it will make an impact on our local scene and I hope you can start to see a beautiful array of talent on and behind the stage starting next season. 

JHPENTERTAINMENT: School Girls touches on the subjects of conformity, sameness and fitting in, first and most obviously in the subtle costume concept of the girls all wearing uniforms, but also in the inclusion of a subplot involving the practice of bleaching one’s skin. As a light skinned Black woman yourself, can you speak on the struggle of fitting in while also being individual enough to stand out?

TOSHA MARIE: Well, blackness often gets lumped as a monolith of experiences with light skinned people being seen as getting more privileges. Which can be very true. I see more casting calls for “ethnically ambiguous” people (aka lighter skinned) than I do for dark skin. But what people don’t always know is that being biracial is its own struggle. Feeling like you don’t belong with either white or black identities, and when growing up, there were very few other biracial children to relate to. My mom was born in the 60’s during the civil rights movement, so her whole generation started their lives segregated. The fact that she, as a white woman, had me out of wedlock with a black man was a huge scandal in the south. So out of all of my years of education I can literally name 2 other mixed kids that I went to school with. Which means by nature, I stood out. All I wanted was to fit in. A lot of times I was too white for the black kids and too black for the white kids. So I did my best to just be me. There has been a lot of searching to figure out who that is, and I still struggle with it today, but I’m learning to love and appreciate myself and my identity. This cast and creative team have created such a safe and encouraging space to explore that and really help each one of us in not only this artistic endeavor, but our personal journeys as well.

RAPID FIRE Q&A WITH JOY POINTE, SCHOOL GIRLS’ PAULINA SARPONG

JHPENTERTAINMENT: Tell me about Paulina Sarpong.

JOY POINTE: Paulina is a senior at Abri Girls School, and the queen bee of her friend group. Paulina operates in cruelty and pettiness to hide her own insecurities and fear of being left out, left behind, or forgotten. She uses the word “influential” for herself at least twice in the show, and that’s exactly how she wants and even needs to be seen. If someone could be described as strong and scared, I think Paulina would fit.

JHPENTERTAINMENT: This production of School Girls is the very first production in Nashville Rep’s 37 year history to feature and all-Black female cast. What’s it like knowing you’re making history?

JOY POINTE: It is humbling and incredible. It took me a very long time to really love every part of my very black self. I grew up hearing “you talk White,” and “I’m more Black than you,” from a lot of White people around me, and I wasn’t confident in who I was. Now I know that what I experience IS the Black experience because I am Black and I’m Proud. I’m honored to be Black History happening right now.

JHPENTERTAINMENT: Your role as Paulina marks a return to Nashville Rep’s stage. What is it about the company that drew you back for this show?:

JOY POINTE: I absolutely love working for Nash Rep. This company as a whole is inclusive, down to earth, and protective. I’ve never felt more safe doing a production in a pandemic world. The communication with different departments and levels of admin is great. The whole staff is always supportive in getting us what we need to make a production happen, and I couldn’t be more thankful.

JHPENTERTAINMENT: All of the action of the play takes place in the cafeteria of the school. Do you think that was a purposeful decision by the playwright, Joselyn Bioh? Perhaps to present school as a microcosm of society as a whole?:

JOY POINTE: I do believe the setting choice was purposeful, maybe even in a deeper level than just convenience of staging. Obviously, it’s easier to play in one space without having to move set and staging and adding a bunch of crew members if you keep it in one place, but it can be said and even observed that this setting is just a fractional look into what can be seen in the grander view.

JHPENTERTAINMENT: Without giving too much away, during the course of the play, the audience is privy to Paulina’s own insecurities and the source of her attitude towards others and her behaviors. How important is the message in School Girls to break such cycles of infighting and bullying among young women, not just young Black women, but all young women?:

JOY POINTE: Honestly, and without giving too much away, I don’t believe the main focus is about breaking bullying cycles. It’s a narrative we’ve heard and seen over and over again. Even most young people are familiar with it, understand underlying reasons for bullying, and are encouraged to be kind because you never know what others are going through. There’s so much more in this story that I believe people will be taught, maybe even for the first time.

RAPID FIRE Q&A WITH CYNTHIA HARRIS, SCHOOL GIRLS’ HEADMISTRESS FRANCIS

JHPENTERTAINMENT: What can you tell me about Headmistress Francis?

CYNTHIA HARRIS: Headmistress is dedicated to protecting and educating all her students.  She loves her girls and wants to help them succeed through education. 

 JHPENTERTAINMENT: When the audience first see’s Headmistress Francis interacting with the fabulous Tamiko Robinson Steele’s Eloise Amponsah, they’re quick to see parallels between their relationship and that of Paulina and Ericka. This points to the adage, as Dame Shirley Bassey once sang, “its all just a little bit of history repeating”. How important is it to recognize the patterns of tearing each other down to give one’s self the sense of building themselves up?

CYNTHIA HARRIS: I think both pairs show us what happens when our power, or part of our identity is challenged or threatened.  Eloise has her pageant title and Paulina feels security in being leader of the pack.  Ericka and Headmistress interrupt Paulina and Eloise’s narratives.  

JHPENTERTAINMENT: From what I understand, that this marks your Nashville Rep debut?  How has the experience been so far?

CYNTHIA HARRIS: Yes, this is my Rep debut.  I stepped into the role the night before rehearsal began to replace another actor.  It was an immediate YES to work with Alicia on this play.  It has been a  wonderful experience.  We’ve bonded and I think I’m now an official auntie to many of my castmates.  Alicia Haymer, the show’s director, created a space for us to explore the text, the colorism experienced by women of color across the African Diaspora, Western or Colonized Beauty standards, and so much more.  It is a joy to walk into rehearsal and play with each other.  

JHPENTERTAINMENT: You, yourself are a playwright. Given that, how does that enhance your performance in this role?

CYNTHIA HARRIS: I love stories about Black women. I love understanding the nuance and complexity of our lives and our decisions.  I’m in my happy place with this play by Ms. Bioh. 

JHPENTERTAINMENT: Beyond School Girls, among your future projects, Actors Bridge Ensemble will soon present your original play The Calling is in the Body. What can you tell me about it?

CYNTHIA C. HARRIS; TCIITB is about a young HIV Educator in the 90s, Deidre Williams.  She was the first African American to share her status and work as a peer educator.  I met her as a teen and she’s had a lifelong impact on me.  Over the past few years, I’ve met and interviewed people that remember her work with Nashville CARES, worked with her, cared for her, or were her friends.  I’m excited to lift her name and to make sure that her impact can still be felt.  

RAPID FIRE Q&A WITH TAMIKO ROBINSON STEELE, SCHOOL GIRLS’ ELOISE AMPONSAH

JHPENTERTAINMENT: Alright, it’s no secret that you are one of my theatre crushes. I just adore everything you do. Who is Eloise Amponsah and what does she represent to you?

TAMIKO ROBINSON STEELE: Awwwww Jonathan! Flatter me darling, flatter me! lol Ms. Amponsah represents the idea of “It’s a dog eat dog world!” She feels that she has had to fight for everything, and has been overlooked. She will do everything *in her power* to “win.”

JHPENTERTAINMENT: Aside from the character you portray, do you recognize aspects of the other girls in people you knew when you were in school, yourself?

TAMIKO ROBINSON STEELE: Of course! Even myself. I was more shy and sensitive in grade school, and so I would’ve identified with Nana. 

JHPENTERTAINMENT: Growing up, I think most people deal with bullying to some degree. Some, like the character, Paulina, are the aggressor, while others, like Ama, Mercy, Gifty and Nana, bear the brunt of the bullying. What’s the lesson to be learned from such behavior?

TAMIKO ROBINSON STEELE: DON’T DO IT! That’s so much easier to say, I know. But I think it’s important when people notice that behavior that they speak up. Be a voice for the voiceless. 

JHPENTERTAINMENT: While the title of the show fully acknowledges some slight similarities between this play and Tina Fey’s Mean Girls, School Girls touches on and deals with much heavier themes in a more serious manner. How do you find a balance between the seriousness of the subject matter on stage and an enjoyable work experience behind the scenes?

TAMIKO ROBINSON STEELE: I just have to be present. Take it all in. We did some amazing work with an emotional support coach in the rehearsal period. I try to remember the exercises we did, and lean in to those to cover my real self outside of the character. 

JHPENTERTAINMENT: Speaking of balance, the show is perfectly balanced with humor and thought-provoking circumstances. What do you hope audiences take away after seeing School Girls; or the African Mean Girls Play?

TAMIKO ROBINSON STEELE: I hope they leave thinking of the people who have had to walk through life with society pressing down on them. I also hope they feel the love and joy, that even under those circumstances, black women carry. 

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School Girls; or, the African Mean Girls Play continues its Tennessee debut run at Nashville Repertory Theatre now through Sunday, February 20 with evening performances at 7:30p.m. Feb. 11, 12, 17, 18 & 19, and 2p.m. matinees on Feb. 13, 19 & 20. A quick look at The Rep’s ticketing site reveals limited tickets remain for each performance, so you better act fast. CLICK HERE to purchase tickets.

Up next at Nashville Rep is Disney and Cameron Mackintosh’s Mary Poppins playing April 28-May 8, 2022 in TPAC’s Andrew Johnson Theatre. Check out Nashville Rep online HERE and follow them on Facebook, Twitter, YouTube and Instagram.

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!

 

On Tuesdays we wear pink. No, that’s not an autocorrect or typo. It was just the apparent preferred outfit of the day (#OOTD if you speak internet abbreviations) of many patrons attending Nashville’s Opening Night of Mean Girls National Tour and the hilarious Broadway show settles in at TPAC now thru Sunday, February 13 for their Music City tour stop. Of course the fit choice and misquote above are in reference to one of Mean Girls’ most quotable quotes when The Plastics, the girls that rule the school proudly proclaim to new girl Cady, “On Wednesdays we wear pink”.

Based on 2004’s teen comedy of the same name, from the brilliant mind of SNL alum, Tina Fey, the Mean Girls musical presents a cautionary tale about teens trying to fit in while simultaneously hoping to stand out. Though it’s based on the 2004 film, and does indeed contain the majority of the source material’s now quotable lines and catchphrases, the creative team wisely chose to update the pop culture references. This is evidenced even before the action begins as the scrim on stage is projected with images from the burn book, revealing current trash talk slang and digs.

As mentioned, this is a cautionary tale. Heck, the opening number is even titled A Cautionary Tale, in which emo-ish Janis (Mary Kate Morrisey) and the fabulously “too gay to function” Damian Hubbard (Eric Huffman), though song, neatly explain the primary plot of how far one would go to be popular.

The subjects of Janis and Damian’s warning are new students Cady Heron (Danielle Wade) and the aforementioned Plastics: Karen Smith (Jonalyn Saxer), Gretchen Wieners (Megan Masako Haley) and Plastics’ queen bee, Regina George (Nadina Hassan). Offering a hilariously relatable take on the tried and true fish out of water scenario, Cady’s family have recently moved from Kenya to Illinois, and as Cady soon learns and extols in the show’s second number It Roars, she’s basically traded one jungle for another. Even the school mascot is a lion and It Roars cleverly marks the similarities between the animals of the jungle and the animalistic traits of teens. As if the lion mascot and pride lands comparisons weren’t blatant enough, even the LED set design of It Roars smartly spoofs that other pride lands musical…you know the one. In fact, it just wrapped its latest Nashville visit last month, but I digress.

On her first day at North Shore High, Cady meets Janis and Damian. In the cafeteria, Damian channels the likes of Gene Kelly and Old Hollywood musicals as he poses the age old high school hierarchy query Where Do You Belong?. Y’all! I’m here to tell you the number’s all-in, over-the-top tray-ography is the best high school musical lunchtime number since Hot Lunch from OG high school musical movie, Fame. Think Stomp meets 42nd Street and you’re almost there.

Meet the Plastic, simply does as it suggests, it serves to introduce Cady (and the audience) to Regina and company. Regina begins the number with a sultry and seductive sequence that beautifully showcases Hassan’s vocal talents. Next up, it’s Gretchen’s intro featuring a fast-paced frantic tempo, perfectly mimicking the character’s position in regards to Regina. Masako Haley plays the unconfident second fiddle to the hilt. Lastly, Saxer’s Karen wraps the intro in the most concise and brief way imaginable. Spot on for the seemingly vapid Karen.

As is the case with most teen stories, in addition to the clique system, there’s also, inevitably, a love story. To that end, meet Aaron Samuels (Adante Carter), with his chisled features, no wonder Cady finds herself falling in Stupid Love at first sight. Spoiler Alert: Aaron is Regina’s ex. (Ok, so that shouldn’t be a spoiler alert to many, considering the movie upon which all this is based was released nearly 20 years ago).

Next up, it’s time for Morrisey’s Janis to shine as she warns Cady not to get too close to Regina in Apex Predator. Not to sound as dim as Karen, but I had never heard the term before, so I looked it up. This is one of my favorite moments in the entire show. Here’s the thing though, the entire show is filled with favorite moments. While attending Tuesday’s performance, my friend Kat Bailess and I found ourselves saying “that’s my favorite number so far” after pretty much every single numbers.

Not long after, Masako Haley’ Gretchen gets the spotlight in the telling What’s Wrong with Me? With lyrics like “Mama called me beautiful but I don’t believe that anymore”, it’s an anthem of uncertainty, that’s no double relatable to each and everyone who’s ever had even the slightest doubt about their place in the world. I’ve a feeling these past two years have made us all a little more uncertain on this front. Again, a prime example of the variety of tunes featured throughout the show. Some might say that makes this production formulaic, but to me, if honors the genre of musicals as a whole, from the expected big production numbers to the more intimate glimpses into the characters’ very souls.

Sexy follows. For fans of the movie, this is the Halloween costume party sequence. Saxer’s Karen is brilliantly funny in this number, as are some of the costumes, including Sexy Corn, Sexy Jaws, Sexy Abe Lincoln, Sexy Eleanor Roosevelt and yes, Sexy Rosa Parks. Choreo for this number also lives up to its name with a little shimmy, shake and the occasional bump & grind. Pretty sure I saw nods to everything from Hamilton to Magic Mike amongst the moves throughout Mean Girls, and I loved every one of them.

The remainder of Act 1 continues to escalate the drama. First Regina reveals to Aaron that Cady has a crush on him while simultaneously—and purposely—luring him back to her with Somebody Gets Hurt. Janis, Damian and Cady join forces to retaliate during Revenge Party. Then Fearless sees a shift in power as Cady stands up to Regina and in doing so, gets support from Karen and Gretchen, all four numbers lay the groundwork for the action of Act 2.

Following intermission, Damian, realizing Cady’s in too deep advises with the show’s most tap-tactic number, Stop. Next, Gretchen offers up a reprise of What’s Wrong With Me?. Then Kevin G (Nashville’s own Kabir Bery) who’s been primarily background during Act 1, steps front and center alongside Cady, Gretchen, Karen and the ensemble for the high energy Whose House is This? There’s just something magical about seeing a performer back in their hometown and whether the majority of the audience knew it or not, the energy of that performance was high octane fabulousness.

Another highlight of Act 2 comes midway through with World Burn. Yes, this is the moment when Regina takes the Burn Book and uses it to take down Cady. The lighting, the digital images and Regina’s stark, sinister monochromatic black on black fit blend perfectly illuminate the sinister nature of her actions.

Of course, like all teen drama, real of fictionalized, everything eventually wraps up in a neat little happy ending package but not before yet another high energy rap courtesy Kevin G, more revelations from Cady and a touching final number, I See Stars.

As she had done for the 2004 film, Tina Fey wrote the book of the musical, while husband Jeff Richmond (30 Rock, SNL, Unbreakable Kimmy Schmidt and more) wrote the music and Nell Benjamin (Legally Blonde, Because of Winn Dixie) crafted the lyrics. The entire creative team deserves praise, including director and choreographer Casey Nicholaw, scenic designer Scott Pack, costumer Gregg Barnes, et al.

Mean Girls continues its Nashville tour stop through Sunday, February 13. Curtain for Tuesday the 8th -Thursday the 10th is at 7:30p.m. Friday the 11th’s performances begins at 8p.m. Saturday the 12th and Sunday the 13th are two show days with a Saturday matinee at 2p.m., a Saturday evening performance at 8p.m. and a Sunday matinee at 1 and early evening performance at 6:30p.m. CLICK HERE for tickets or more information.

As TPAC continues their commitment to their patron’s safety, certain protocols are in place. To that end, attendees age 12+will be required to show proof of vaccination or a negative COVID test dated within 72 hours of their selected performance. All patrons age 6+ must wear masks inside the venue. CLICK HERE for more on TPAC‘s Patron Health initiative.

Not in Nashville or can’t make it to TPAC for Mean Girls? Be sure and check out Mean Girls‘ official site for future dates as the national tour continues. You can also follow Mean Girls on Facebook, Twitter, YouTube and Instagram.

For the latest on TPAC and their upcoming Broadway Season and Special Presentations, including The Prom, Dear Evan Hansen, Summer: The Donna Summer Musical, What the Constitution Means to Me, Come From Away, Oklahoma! and May We All, be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org, TPAC on Instagram, TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

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!