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Entertainment News, Reviews and Interviews

Jonathan

Breaking News: Ahead of this year’s upcoming Broadway season announcement event, TPAC releases ‘Hamilton’ Nashville premiere details

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The wait is finally (almost) over. Details concerning the Broadway smash hit Hamilton and its upcoming Nashville tour dates have been released. By way of a Breaking News press release, comes word that Hamilton will play TPAC’s Jackson Hall December 31-January 19, 2020.

Last April, during the 2018/2019 Broadway Season Announcement Event, TPAC patrons were among the first to learn that the Broadway smash hit, Hamilton would be coming to Nashville. That news was revealed by way of a special video message from former Nashvillian and Belmont University alum Chris Lee, who at the time played Marquis de Lafayette and Thomas Jefferson in both the Chicago and touring productions of Hamilton.

From the creative genius of Lin-Manuel Miranda, Hamilton tells the story of Founding Father Alexander Hamilton, an immigrant from the West Indies who became George Washington’s right-hand man during the Revolutionary War and was the nation’s first Treasury Secretary—all set to hip-hop, jazz, blues, rap, R&B and traditional Broadway musical styles.

TPAC.org is the only official place to purchase tickets, so be sure and CLICK HERE to stay informed about all things Hamilton in Nashville. You can also check them out online on Facebook, Instagram and Twitter.

As always, if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Theatre Review: ‘Anastasia’, a visually stunning, historically based, albeit fictionalized fairytale; at TPAC thru Sunday, March 24

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Anastasia, the musical, is currently on stage at TPAC’s Jackson Hall through Sunday, March 24, as the first National Tour continues. With book by Terrence McNally (known for everything from Frankie and Johnny at the Clair de Lune and Love! Valor! Compassion! to Ragtime, The Full Monty and Chita Rivera: The Dancer’s Life), lyrics by Lynn Ahrens (Lucky Stiff, Seussical, Ragtime, the aforementioned Chita Rivera musical and more) and music by Aherns’ frequent musical theatre partner, Stephen Flaherty, Anastasia premiered on Broadway spring of 2017, with its first national tour having launched October of last year. Interestingly, the show’s Music City performances come just weeks before the original Broadway run is set to close later this month.

Adapted from both the 1956 Cinemascope spectacle starring Ingrid Bergman and Yul Brenner, and Helen Hayes, as well as the 1997 feature of the same name from animation legend, Don Bluth (An American Tale, The Land Before Time, and my personal favorite, The Rescuers–when he was still with the House of Mouse), Anastasia tells the tale of an amnesiac orphaned girl known as Anya, who resembles The Grand Duchess Anastasia, the youngest daughter of Czar Nicholas II. Although Anastasia was thought to have perished alongside the rest of her immediate family during a hostile takeover, rumors–or perhaps simply false hope by their loyal subjects–persisted that the young duchess somehow survived. Those rumors lend themselves perfect to a storyline that seemingly combines elements from Cinderella and My Fair Lady as two con men meet Anya by chance and immediately take note of her resemblance to the presumed dead heir to the royal lineage. They quickly began teaching her how to act like a duchess with a plan to present her to the only surviving member of the royal family, The Dowager Empress, in hopes of earning a reward for her safe return.

From the snowfall of one of the show easiest scenes, the visually stunning piece presents true fairytale moment after moment, courtesy of Alexander Dodge‘s sets, Aaron Rhyne‘s incredibly realistic  projections, Donald Holder’s mood-enhancing lighting design–he inclusion of illuminated streetlamps within the projected images was absolutely mind-blowingly realistic. Simply regal costuming from Linda Cho and wig/hair creations by way of Charles G. LaPointe all add up to a remarkably beautiful show. The majesty of the look of Anastasia truly rivals any show I’ve ever seen.

Completely unfamiliar with the story, having never seen the aforementioned Bergman mid-century drama, nor the Bluth animated entry (I KNOW, I KNOW), I felt at a bit of a disadvantage going into the show, especially when I spotted more than a couple FAnastasias dressed to the nines in their best attempts at recreating Anastasia’s look. From the enthusiastic applause that greeted the rise of the curtain, I knew I was among appreciative fans.

Directed by Darko Tresnjak, Anastasia presents a grand epic of a story that also cleverly contains smaller, more intimate subplots as it invites the audience to journey from the glory of Nicholas II’s palacial House of Romanov to the horrors of the Bolshevik revolution, then the journey continues across the European continent on to the glory of Paris 1920s.

Among the more visually stunning moments, snow falling outside the palace windows and the opulence of the ballroom sequence are absolutely breathtaking. On the other end of the spectrum, when the peacefulness of the snowfall dramatically morphs into sparks of fire during the attack upon the palace, you can’t help but marvel at the creative team’s talent. Then there’s the cleverness of the train trip to Paris. The train car is constructed in such a way that there are no walls or ceiling to it, alowing the audience full access to the action on-stage. Coupled with the projection of the track and the sweeping landscape passing by as the train continues on it’s journey…sheer genius.   

With themes of revolution, rising up and reclaiming one’s lost or forgotten heritage, comparisons to the sweeping epic that is Les Mis are inevitable. Anastasia does have the advantage in the alluded-to spectacular set and projection accomplishments, but the soundtrack is sadly lacking the grandeur of Les Mis.

While a handful of songs: Once Upon a December, A Rumor in St. Petersburg, Learn to Do It, Journey to the Past, Paris Holds the Key and Meant to Be–all originally featured in the musical’s animated counterpart–are in deed audience-pleasing, the majority of the remaining tunes aren’t exactly going to make it onto your playlist after leaving the theatre.

Of the musical highlights, Joy Franz and young Victoria Bingham as The Dowager Empress and Young Anastasia get this off on a high note with the above-referenced show-opening Once Upon A December. It’s such a touching moment and completely serves to set up the relationship between Anastasia and her elder relative, a vital point within the tale’s featured plotline.

Then, when Lila Coogan appears as Anya—the young woman who may or may not be Anastasia—she provides a pleasing performance, especially during her big solo numbers like In My Dreams and the animated film’s FAnastasia favorites.

Another bright, undeniable high point comes in Act Two when Vlad and Lily (one of the conmen and the Dowager Empress’ Lady in Waiting) duet on The Countess and The Common Man. The comedic timing and hilarious physicallity of Tari Kelly as The Countess Lily and Edward Staudenmayer as Vlad during this number evokes memories of Carol Burnett and Harvey Korman during their heyday on The Carol Burnette Show, spoofing many an overly melodramatic film classic. A scene perfectly suited for this show that oftentimes gets a bit bogged down in its own grand airs.

Also worth mentioning are Jason Michael Evans and Stephen Brower as Gleb and Dmitry, two young men, both interested in Anya, but for very different reasons. Every wannabe princess should be so lucky as to have these two handsome, taleneted young men in pursuit.

Also of note, the entire ensemble’s beautiful execution of Peggy Hickey’s magnificent choreography. The previously mentioned ballroom sequence, Act 1’s literally and figuratively hauntingly beautiful ‘ghost’ dance during the Once Upon A December redo featuring Anya and the ensemble, as well as segments featuring traditional Russian dance, and even a snippet of Swan Lake…all performed to perfection.

While Anastasia may lack some of the magic of a certain Mouse’s princess lineup, the sets, costumes and several standout performances are indeed each jewels in the would-be Duchess’ tiara. Anastasia wraps the Music City tour dates with matinee and evening performances Saturday and Sunday, March 23 and 24 with Saturday matinee at 2p.m., Saturday Evening at 8p.m., Sunday matinee at 1p.m. and a final Sunday evening performance at 6:30p.m. CLICK HERE for tickets, or call the TPAC Box Office at 615.2.782.4040.

Not in Nashville, but interested in seeing Anastasia as the National Tour continues with dates current scheduled through August? CLICK HERE for more information or to purchase tickets. You can also follow Anastasia on Facebook, Twitter and Instagram.

Following Anastasia, TPAC’s Broadway Season continues next with a special 10th Anniversary Tour engagement of Rock of Ages for two days (three performances only), Friday, April 12 at 8 p.m. and Saturday, April 13 at 2p.m. and 8 p.m. CLICK HERE for tickets or more information. You can also discover all the latest from TPAC by checking them out online on Facebook, Instagram and Twitter.

As always, if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

 

 

Theatre Review: ‘Book of Mormon’ still on a decidedly non-pc mission of inappropriate laughter: National Tour continues at TPAC thru Sunday

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When you think about it, 2011 doesn’t seem like such a long time ago. After all, how different could the world be in just eight years, right? Oh, wait…In that time, we’ve gone from our first black president to, well, the current administration. Some would also argue that we’ve gone from a society of speaking our minds to holding out tongues for fear of upsetting someone’s sensitivities. While kindness and forethought are indeed a good thing, I’m frequently of the opinion that it’s ok to laugh, as long as you’re laughing with, and not completely laughing at. Thankfully, The Book of Mormon—on stage in Nashville at TPAC’s Jackson Hall thru Sunday, March 17—seems to agree as it is just as bawdy, offensive, riotous and, yes, thought-provoking as when it debuted on Broadway some eight years ago.

Nine-time Tony-award winning musical, The Book of Mormon comes courtesy the genius, if not slightly twisted minds of South Park creators Trey Parker and Matt Stone and Robert Lopez (Avenue Q). The Book of Mormon (for those who’ve must have been hiding under golden plates buried on a hill in Manchester, New York) is the tale of a group of young Latter Day Saints missionaries assigned to a small village in Africa plagued by AIDS and a drug lord with a name I can’t bring myself to put into print.

Often described as ungodly, profane, crude…it is certainly all of those things, but at its core, The Book of Mormon is a story about friendship, growth and belief. Belief in the unknown (and let’s face it, the unproven), belief in the good of your fellow man, and most importantly, belief in yourself…all set to bawdily lyrical tunes and some fabulous choreography.

Earlier this week, as I attended media night and enjoyed the show for a third time—having had the great fortune of seeing it during both of its previous tours through Music City, I was finally able to find a balance between the oft shocking humor and the sweeter aspects noted above. Part of this newfound enjoyment came courtesy the chanced proximity to the slightly inebriated, but undeniably enthusiastic foursome who hadn’t yet bore witness to the glory that is The Book of Mormon, who just so happened to be seated next to me. Their exclamations of “Oh My God!” and “I can’t believe they just said that” reminded me of the first time I saw The Book of Mormon, or for that matter, the South Park movie. Both times, I thought to myself, “If the world ends right now, you’re going straight to hell right alongside everyone in this theatre.” Remember, I told you it’s THAT ballsy.

While the show is exactly the same, save a few updated references to Nikki Minaj and Neil Patrick Harris, this time around, something different clicked for me. The Book of Mormon is the All in the Family of this generation. For those old enough to remember, when Archie Bunker ruled the television airwaves, audiences were shocked week after week at what came out of the bigoted New York character’s mouth, courtesy the remarkable acting of Carroll O’Connor and the show’s creator, Norman Lear, but it was that mirror to society that somehow magically educated the masses through humor. If you’ll let it, The Book of Mormon does the exact same thing.

While the show—nor the wildly inappropriate humor—hasn’t changed, the cast has, allowing even the most jaded BOM fans like myself yet another chance to see it for the first time, as the current cast simultaneously embody the expected aspects of their respective characters, while breathing new life into them with their own talent and presence.

Tobin as Elder Price (photo courtesy Tobin’s Instagram)

This time around, Elder Price is being played by Liam Tobin, who originally joined the tour a year ago understudying the lead. Nashville audiences might remember Tobin from his stint as Gerry Goffin in Beautiful: The Carole King Musical, which played TPAC two seasons ago. As Elder Price, Tobin brings the charm and wholesomeness. HIs boy-next-door looks matched only by his Broadway-belting vocal skills. Tobin’s enigmatic presence, even when the character’s faith and friendship is tested, shines through. You gotta love a missionary who dreams of being assigned to Orlando who instead ends up in the wilds of Africa.

Pierson as Elder Cunningham

Mandated by the Church of Jesus Christ of Latter Day Saints, of course Elder Price has a companion. Enter Elder Cunningham, blissfully, nerdily, enthusiastically played by Conner Peirson. Peirson’s comedic timing and knock-em-outta-the-park vocal skills harken images of a young Jack Black. Among his finer moments, Peirson as a relationship developed with Kayla Pecchioni’s Nabulugi, a young African villager who’s name is bastardized throughout to hilarious result.

Other notable members of the cast include Ron Bohmer (who, if you check out my Rapid Fire 20 Q, you’ll see also has ties to Nashville), as Elder Price’s Dad, as well as Mormon founding father, Joseph Smith. Every member of the cast, from Monica L. Patton’s brief but unforgettable turn as Mrs. Brown and Corey Jones as The General to the entire ensemble bring energy, talent and humor coming forth so seamlessly that it keeps the show moving so quickly that you barely have time to recover from one uproarious moment to the next.

While there’s always been resistance to The Book of Mormon and those who’s cast it out as vile and unredeemable, let’s not forget…Broadway has always had a history of pushing buttons while opening eyes. From Shakespeare’s violent Titus Andronicus to the nudity and free-love of Hair, and in more recent years, the heart wrenching truths of Angels in America, theatre has frequently shocked to inform, to entertain and educate. BOM is just one of the latest to brilliantly do all of the above.

The best part…it does all this while presenting all the elements of a traditional theatre. While the laughs are often nervous with embarrassment, they’re genuine guttural guffaws. Then there’s the musical numbers. From the start, the appropriately titled Hello, arguably the show’s most well-known number, performed by our two leads and the ensemble of Mormon missionaries, starts things off on a hilariously high note. (This seems as good a time to mention a brief aside. When I chatted with Tobin recently for the latest of my recurring Rapid Fire 20 Q interview segments, I asked if actual Mormon missionaries still showed up outside the theatres handing out the real Book of Mormon. He confirmed and noted that it was more unusual if they didn’t. Much to my delight, as I got out of my car in front of TPAC earlier this week, there were indeed two mormon missionaries, dressed in black slacks, with short-sleeve white dress shirts, black ties and name plates above their left pocket handing out their religious materials. As I passed by I made eye contact with the Elder closest to me and said a quick “Hi”. To my amusement, rather that the expected “Hello”, he smiled and kindly replied, “Howdy”…well, we ARE in Nashville after all.)

Back to the show, in addition to the show’s opening Hello, The Book of Mormon is packed with by the book…the Broadway book that is…showtunes, musical numbers and some fabulous choreography. You and Me (But Mostly Me) checks off the comical duet box, Hasa Diga Eebowai, the OMG, they’re actually singing a song about this? shock value box. Then there’s Turn it Off, the show’s tap-tactic all-in mid-Act 1 wowser.

Among Act 2’s most memorable….Spooky Mormon Hell Dream, pretty much self-explanatory, complete with prerequisite effects and puppetry, not to mention nods to pop culture evils such as Hitler, Dammer and even Jonnie Cochran. I Believe follows and is the show’s unlikely anthemic entry showcasing once again Tobin’s leading man vocals and charisma. Not to be outdone, Peirson and Pechioni shine during Baptise Me, a song about Elder Cunningham baptizing Nabulungi with so much sexual innuendo you just might need a cold shower afterwards. Midway through Act 2, I Am Africa is yet another showstopper with the entire company of missionaries embracing their newfound, albeit totally appropriated, heritage. Simply, awkwardly, hilariously brilliant.

The Book of Mormon continues its Nashville tour dates at TPAC’s Jackson Hall through Sunday, March 17 with Friday and Saturday evening performances at 8 p.m., matinee performances on Saturday at 2p.m. and Sunday at 1 p.m. with a final evening performance Sunday at 6:30p.m. Tickets range in price from $45 to $115. CLICK HERE for tickets.

Just last week, TPAC announced a special ticket lottery for all Nashville performances. For each performance, a limited number of tickets will be available for only $25. To enter the ticket lottery, patrons must arrive at the box office (just inside TPAC street level entrance under the marquee at Deaderick and 6th Ave) two and a half hours before showtime of the performance they hope to attend. Upon arrival at the box office, patrons will write their name and the number of tickets (one or two tickets per entrant). Two hours before curtain, a limited number of names will be drawn for tickets in the first two rows of the Orchestra, thus allowing the winning lottery participants to purchase those tickets at the special $25 price!

Following the Nashville dates, The Book of Mormon continues across the country with stops from Grand Rapids to Salt Lake City through August. For tickets or more information about the tour, CLICK HERE. You can also follow the tour on Facebook, Twitter and Instagram.

Next up at TPAC, as their Broadway series continues is the national tour of Anastasia, on stage at Jackson Hall, March 19-24 CLICK HERE for tickets or more information. You can also discover all the latest from TPAC by checking them out online or on Facebook, Instagram and Twitter.

As always, if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Rapid Fire 20 Q with members of Studio Tenn’s ‘The Sinatra Legacy’; select tix remain to this weekend’s limited-run musical event

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Studio Tenn presents “The Sinatra Legacy” on stage at The Franklin Theatre March 13-17 (select production graphics and images by Tony Matula/MA2LA/courtesy Studio Tenn)

Season after season, Studio Tenn produces some of the best dramatic and musical theatre experiences around. For the past six years, in addition to more standard offerings, Studio Tenn has presented their Legacy Series, a limited-engagement celebration of icons in the world of music. This weekend, the company is once again including another installment in the mix of their theatrical season as they present The Sinatra Legacy: A Musical Tribute to Ol’ Blue Eyes, on stage at The Franklin Theatre in nearby Downtown Franklin from March 13-17.

I often say Studio Tenn is as close to Broadway-quality as middle-Tennessee theatre-goers get without booking a vacation to New York City’s theatre district and the inclusion of their Legacy Series proves just that, featuring some of the most talented performers in Music City (or anywhere for that matter) and presenting them in an intimate setting as though a group of friend—albeit ridiculously talented friends—have gathered together to celebrate the musical heritage of one of the 20th Century’s most gifted performers.

Previous Studio Tenn Legacy Series offerings honoring Hank Williams, Johnny Cash, Ray Charles and most recently, Glen Campbell, have been performed on the stages of the company’s usual home, Jamison Hall at The Factory at Franklin, as well as The Schermerhorn Symphony Center and The Ryman Auditorium. This weekend’s upcoming Sinatra Legacy marks the first time since heir inaugural Legacy show that Studio Tenn will once again set up shop at The Franklin Theatre, the beautifully restored historic movie house/live music venue that originally hosted the company’s Hank William Legacy debut back in 2013.

As is usually the case for Studio Tenn’s Legacy Series, the entire run of the show is nearly SOLD OUT, with just a handful of tickets remaining. That said, I was thrilled to get the chance to chat with members of the company for the latest in my recurring interview feature, Rapid Fire 20 Q. Among the conversationalist for this edition, Matt Giraud, frequent Studio Tenn performer who gained notice during 2009’s Season 8 of American Idol for his smooth vocal skills,infectious smile and charming stage presence that landed him in the Top Five. Then I chat with Belmont alum, Maggie Richardson, singer/dancer/choreographer, returning to Studio Tenn, for the first time since having portrayed Dainty June in the company’s 2015 production of Gypsy. Next up is Jaimee Paul, an acclaimed vocalist who, when not providing backup for superstars like Kelly Clarkson and Wynona, has worked with noted producers David Foster and Michael Omartian. Rounding out this edition of Rapid Fire 20 Q is Nashville native, William Hall, who, after studying classical voice at the University of North Carolina Chapel Hill has returned to his hometown to continue his education at Vanderbilt while pursuing music right here in Music City.

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RAPID FIRE 20 Q WITH CAST MEMBERS OF STUDIO TENN’S THE SINATRA LEGACY: A MUSICAL TRIBUTE TO OL’ BLUE EYES

RAPID FIRE WITH THE SINATRA LEGACY’S MATT GIRAUD

JHP: From what I remember, Studio Tenn’s 2016 The Ray Legacy, celebrating the music of Ray Charles, marked your debut with the company and now you’re back for this year’s Sinatra Legacy. What is it about these Legacy shows that sets them apart from standard musical theatre?

MATT GIRAUD: Well, before these shows I hadn’t really acted since I was in elementary school and it was the perfect way to get my feet wet, being such a fan of musical theater and this company in general. I’ve learned so much working with them and am absolutely honored to be surrounded by such talented musicians and artists every day. These shows are so special because the quality that they put into them is unlike anything I’ve seen in a live show in Nashville. It’ll take you right back to the Rat Pack era and you’ll forget you live in the present day.

JHP: Some folks likely first took note of you from your time on American Idol. That season’s Top 5 theme was Rat Pack Standards, during which you performed your take on Sinatra’s version of My Funny Valentine. Any chance you’ll revisit the tune during this week’s Sinatra Legacy?

MATT GIRAUD: Ha! We will have to see! With Frank’s catalog there are countless numbers of tunes to pick from and I’m sure some we wish had time for just won’t make it in. Either way, we are definitely going to come out swinging Plus that song got me kicked off of Idol so I kind of hope we don’t! Haha.

JHP: Speaking of The Rat Pack, if you had to name your squad, what would you call yourselves and why?

MATT GIRAUD: Probably The Ignance! Cause we’re all pretty ignant. (Slang for silly/over the top)

JHP: This year marks the first year the Legacy Series returns to The Franklin Theatre. What is it about that historic venue that lends itself perfectly to this type of musical event?

MATT GIRAUD: It will be my first time on stage at the lovely Franklin theater. It’s such an intimate beautiful room that really does have a timeless feel to it. I think it’s a perfect spot to transport each audience back in time for a smokin’ hot, classy, jazz-filled evening.

JHP: Sinatra’s music is timeless. Why do you suppose that is?

MATT GIRAUD: Taking the time to learn and truly live the lyrics to these songs has really shed new light on this music. Yes, some of these tunes were covered by many artists but Frank put a special kind of playful joy or deep sadness on these tunes. He could really break your heart if he wanted to with one song and make you want to dance to the next…just that easily. Listening to him taught me how to truly express these gorgeous lyrics. A reminder to really think about what I am singing to connect with the audience and take them with me emotionally rather than just sing a song. His delivery and the depth in his renditions will always make Frank truly timeless.

RAPID FIRE WITH THE SINATRA LEGACY’S MAGGIE RICHARDSON

JHP: You just choreographed a local production of Singin’ in the Rain, which takes place in the 1930s and now you’re performing in Studio Tenn’s The Sinatra Legacy. Sinatra’s first big break came in the mid-30s thanks to a radio show audition. What is it about that time period that you think was so magical?

MAGGIE RICHARDSON: I love the glamour and romance of this time period. Movies and music were all about stepping into a totally different world. They were a form of escape and a creative outlet where people were given permission to dream. If you look at Frank’s early songs, the romance of the lyrics might actually make you sick (in the best way)!

JHP: Studio Tenn audiences might recognize you from your turn as Dainty June in their 2015 presentation of Gypsy. Is this your first time back with the company? How’s it been so far?

MAGGIE RICHARDSON: Yes! I am absolutely thrilled to be back, after doing theatre around the country and coming back to the Nashville area to raise my precious daughter. Studio Tenn always creates a safe and fun work environment, and they put on incredible shows. I feel SO blessed to be working at this amazing company with these incredible people.

JHP: If you could emulate one aspect of Sinatra’s swagger, what would it be?

MAGGIE RICHARDSON: He had a special way of connecting with the audience and people- a little glimmer of something different that you couldn’t quite put your finger on. I hope to embody and portray that zing.

JHP: I can’t talk Studio Tenn without mentioned one of my theatre crushes, Laura Matula. What’s it like to share the stage with her and the rest of the performers in The Sinatra Legacy?

MAGGIE RICHARDSON: Same! It is magical. I have been looking up to Laura for years, and this is our first time actually working together. I could go on about how much I have learned from her as a performer and as a person. She’s BRILLIANT. And I can’t even tell you how many times I have almost straight up exploded while listening to and watching my fellow cast members perform. They are just insane.

JHP: Speaking of Laura, she’s co-directing alongside Studio Tenn’s Interim Artistic Director, Benji Kern. With these two at the helm, I’m sure we’re in for some surprising takes on Sinatra classics. Can you reveal just a hint of a particular song to look out for?

MAGGIE RICHARDSON: Oh my goodness yes, they are a power team. I will say this…in this show, you’ll be taken on a moody journey and get caught up in moments that take you by surprise. You’ll get everything you came for, but SO much more than you knew you even wanted! My favorite (which is different every day) is Laura and Jaimee’s intimate version of the song Something Stupid.

RAPID FIRE WITH THE SINATRA LEGACY’S JAIMEE PAUL

JHP: Is this your first time working with Studio Tenn?

JAIMEE PAUL: Yes…and I’m so excited about it!

JHP: What is it about The American Songbook style of music that appeals to you as a performer?

JAIMEE PAUL: The lyrics…the songs were so simply written, but yet said so much.

JHP: To put it into the modern vernacular, you could say that Sinatra and the Rat Pack were the original Squad Goals. What famous female singers would be your ideal squad?

JAIMEE PAUL: Bette Midler, Barbra Streisand, and Tina Turner.

JHP: While The Rat Pack seemed quite the boys club, many influential and successful women were also associated with Sinatra and the rest. From Marlene Dietrich and Lauren Bacall to Angie Dickinson and Marilyn Monroe. If you could chat with one of the Rat Pack women, who would it be and what might you ask?

JAIMEE PAUL: I would say Marilyn Monroe…I would ask her, “when you were a little girl, what did you want to do when you grew up?” I’d also love to ask Liza Minnelli, “What it was like growing up with Judy Garland as your mom?”

JHP: Oh, that’s right! Liza was indeed a member of The Rat Pack, touring with Sinatra and Sammy Davis, Jr. after Dean Martin dropped out of the Ultimate Event Tour in the late 80s. Good Call! Is there one particular song in The Sinatra Legacy that you just can’t get enough of, whether it’s one you’re performing, or someone else?

JAIMEE PAUL: I absolutely LOVE, It Was A Very Good Year.  Not only does John-Mark McGaha absolutely nail it, but I now want to add it to my show!

RAPID FIRE WITH THE SINATRA LEGACY’S WILLIAM HALL

JHP: Last year you were part of the audio team for Studio Tenn’s Glen Campbell Legacy and now you’re featured as one of the performers of The Sinatra Legacy. What’s the experience been?

WILLIAM HALL: It has been an absolute blast. I am so thankful to be part of such an amazing cast of singers and musicians. I feel like every rehearsal has been a masterclass in singing and performing, so I am just trying to soak it all in. I’ve been in love with this music since I was young and it’s such a pleasure to get to sing it.

JHP: One thing I love about Studio Tenn’s Legacy Series is that it always seems like a group of friends just hanging out and celebrating music. Is that a fair assessment?

WILLIAM HALL: Absolutely. I think that is one of the things that makes this Legacy process so unique; it’s all about the music. That perspective allows us to be casual and collaborative onstage and let the music speak for itself. I think I speak for everyone when I say that we really do enjoy watching each other perform.

JHP: The promo shoot for The Sinatra Legacy resulted in some fantastic shots of you and your co-stars.. Tony Matula totally captured that Sinatra vibe. What was working on that photo shoot like?

WILLIAM HALL: To be honest I was really nervous! I had never done any kind of photo shoot before. Tony was awesome to work with and I can’t thank him enough for being patient with me. He has an amazing vision and he knows how to make you feel comfortable and like yourself in a laid-back way. We were actually on the set of Always…Patsy Cline for the shoot which added a whole other dramatic element and made it feel more natural. Frank Sinatra had an incredible swagger and cool about him and Tony knew how to play off of those subtleties.

JHP: While The Sinatra Legacy centers on his music, Sinatra also enjoyed a hugely successful film career. What’s your favorite non-musical Sinatra movie?

WILLIAM HALL: From Here to Eternity. I love the behind the scenes story about the film helped pull Frank out of a career slump. It’s also the one that I am most familiar with. For some reason I imagine that Sinatra’s character, Maggio’s feistiness in the movie captured some of his own personality.

JHP: If you could pick a Sinatra career highlight to have witnessed in person—-from crooner to movie star to Vegas headliner to his later comeback—which would you choose?

WILLIAM HALL: I would say either Sinatra Live at the Sands in Vegas, or any of the Rat Pack performances at the Sands around 1965 or so. I have the Live at the Sands recording and I just love the energy of his voice live, the way he phrases things, and interacts with the band.  As far as the Rat Pack goes, I love the way that they play off of each other. They always look like they are really having fun and they are masters of their craft.

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Speaking of masters of their craft really having fun, while most of The Sinatra Legacy‘s five-day run performances are indeed SOLD OUT, at the time of this article, single seat tickets remained for select shows, so say a prayer to the Rat Pack gods and CLICK HERE to try your luck. If you miss out on The Sinatra Legacy, fear not, Studio Tenn’s next musical, Joseph and the Amazing Technicolor Dreamcoat takes the stage at Jamison Hall from May 17-June 2. As for their Legacy Series, I have it on great authority you will not be disappointed with next year’s offering. CLICK HERE for tickets or more information on Studio Tenn or follow them online at StudioTenn.com or on social media at Facebook, Instagram and Twitter.

Wanna check out previous Rapid Fire conversations? CLICK HERE. Interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Rapid Fire Q&A with ‘Book Of Mormon’ stars Liam Tobin and Ron Bohmer; plus ticket lottery details for Nashville tour dates March 12-17

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It’s been five years since the uproarious The Book of Mormon National Tour first played Nashville’s TPAC, but with every subsequent tour of the 9-time Tony-winning show, the laughter gets louder and the enthusiasm of the audiences continues.

As the current stars of the tour prepared for their week in Music City, I recent had the opportunity to pose a few questions to Liam Tobin and Ron Bohmer, who play young missionary, Elder Price and Church of Latter Day Saints founder Joseph Smith, respectively, for the latest round of Rapid Fire Q&A.

RAPID FIRE WITH BOOK OF MORMON’S RON BOHMER

JHP: You play Joseph Smith, the founder of the Church of Latter Day Saints. How familiar were you with his history prior to taking on the role?

RON BOHMER: Saw the South Park version (hysterical), read some pro-Mormon stuff about him , read a more critical book about him. Since ours is a musical world, I took it all and gave him a little bit of Harold Hill, a little bit of Lancelot and a dash of Jean Valjean.

JHP: Do you feel any added responsibility considering you’re playing a character based on a real person?

RON BOHMER: If he were a living person maybe, but since he died in 1844 I’ve yet to have anyone come up and say, “I knew Joseph Smith – and you, sir, are no Joseph Smith!” We try to give him a heroic leading-man quality that honors a Prophet of the Mormon church.

JHP: Bringing such a hilariously irreverent show to audiences across the US who’d otherwise not get the chance to see it must be quite interesting. What do you like most about being on tour?

RON BOHMER: Being in a long-running show can be like Groundhog Day. Touring shakes that up. New environments, new faces, new local crew almost every week. It keeps it fresh. Plus local cuisine and culture constantly changing, it’s great. It’s also a little like being on the moon. I value my vacation time, aka home time.

JHP: On the subject of touring, in researching to chat with you, I discovered you played Joe Gillis in the first National Tour of Sunset Boulevard. Just two weeks ago, I read that Glenn Close starring in the film adaptation of the musical is finally absolutely a go, with Tony-winning choreographer Rob Ashford set to direct. Have you started making calls to audition yet?

RON BOHMER: Ha! Thanks for that. It’s been 22 years since I played Joe Gillis, I’m afraid I’ve aged out of it. But he remains one of my very favorite roles and I’m excited they are doing the film so that more people can see it – of all the Andrew Lloyd Weber shows, it has the best book. Compelling like a car wreck, you can’t look away.

JHP: Book of Mormon is the brainchild of Trey Parker, Robert Lopez and Matt Stone. Parker and Stone, best known as the duo behind South Park, while Lopez co-created the equally bawdy and hilarious Avenue Q. How much fun are you having bringing their brilliance to the stage night after night?

RON BOHMER: The most fun! I get to read a lot of scripts and often I’m thinking about what I can contribute, how I can add something to the show. But Book of Mormon was uproariously funny on the page. I was laughing out loud throughout my read and thinking, “this is perfect. I just want to stay out of the way of how great it is. Just deliver it.”

JHP: Because of it’s no-holds-barred humor, BOM maintains a bit of controversy wherever it plays. What’s your favorite “I can’t believe we get away with this” moment?

RON BOHMER: All of it. I had friends who did the early workshops of the show in NYC and they said, “oh it’s brilliant, but too bad it’ll never get produced. People will never sit still for THAT.” But they do. All of it. I think it’s because our audience gets to caring so much about the characters and because it is always truthful. the most outrages things in the show are based in fact.

JHP: In 2008, you toured with Disney’s High School Musical, playing Coach Bolton. Will this be your first time back to Nashville since that tour?

RON BOHMER: I was back in 2017 with BOM (It’s been 5 years on this show for me, my longest. Les Miz on Broadway was my longest before that, 2 1/2 years). I hope to catch more of the music scene on this visit.

JHP: Of course 2008 wasn’t your first time in Nashville. Back in the 80s, you worked at Opryland, our beloved and much-missed musical theme park. What was your gig at the park? Please tell me you were part of I Hear American Singing?

RON BOHMER: Oh my God, you’re good. Can’t believe you dug that up. Some of the best memories of my life. I was a tap dancer in For Me and My Gal my first summer there, and I was in I Hear America Singing the second. I had a really fun track, doing a lot of the comedy bits and singing Proud Mary a la Credence Clearwater Revival and I was also The Village People lead. It was probably my first pop music training. It really was the greatest, hanging with so many of those incredible singers and dancers who went on to Broadway and Country careers.

JHP: A quick stalk of your social media accounts and I see we have a few mutual friends. Any plans to reconnect with Nashville folks while in town?

RON BOHMER: I hope so, I haven’t seen the Opryland crew in ages. In my mind, we’re all still 20. My main memories of Nashville in the 80’s was everyone, everyone – treated you like you were their long lost friend who just showed back up. It was incredibly comforting. The world could use a little more of that feeling today.

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RAPID FIRE WITH THE BOOK OF MORMON’S LIAM TOBIN

JHP: You’re starring as Elder Price, a young Mormon missionary in the current National Tour of The Book of Mormon. What can you tell me about Elder Price?

LIAM TOBIN: Elder Price is an extremely ambitious young man. He has excelled in pretty much everything in his life so far and is super excited to get out into the world and excel in his mission as well. Of course, we see in the show that through all the chaos and hilarity, instead of changing the world like he planned, the world changes him.

 JHP: What’s life been like for you having been on the road with the show this past year?

LIAM TOBIN: It is such a joy to bring this show around the country. Seeing patrons from all over leaving the show with smiles on their faces and laughing throughout the performance is really special. It’s also a treat to get to explore amazing cities like Nashville!

JHP: How familiar were you with Book of Mormon prior to being cast in the lead for the tour?

LIAM TOBIN: I’ve been a fan of Trey Parker and Matt Stone for years, and The Book of Mormon did not disappoint. I saw the show when it first opened in New York back in 2011, and I’ve been dreaming of playing Elder Price ever since!

JHP: The last time BOM tour came to Nashville’s TPAC, I remember seeing actual members of the Church of Latter Day Saints passing out the real Book of Mormon to theatre-goers as they exited the show. Does that still happen from city to city?

LIAM TOBIN: It sure does! It’s almost rarer when they’re not there!

JHP: Speaking of TPAC, your March 14-17 tour stop isn’t your first time to play Jackson Hall, as you were part of the 2017 National Tour of Beautiful: The Carole King Musical. Did you get much of a chance to see Music City when here last?

LIAM TOBIN: Absolutely, Nashville is definitely one of the highlight cities for us on the tour. Last time I came through we managed to see a TON of live music and even got into the Bluebird Cafe! We can’t wait to come back for more!

JHP: Any particular things you plan to check out in Nashville this time around?

LIAM TOBIN: My favourite thing to do is to “get lost” in a city and see where it takes me. For Nashville, I’m hoping to get lost in all of the live music the city has to offer – it’s really spectacular!

JHP: Having been with the show for a while now, are there still lines, or scenes that make you genuinely laugh?

LIAM TOBIN: Oh absolutely, so many of my cast mates are incredibly talented and are a real joy to watch. When Conner Pierson and Kayla Pecchioni sing Baptize Me, it never fails to make me laugh.

 JHP: What’s your favorite aspect of Elder Price’s personality that you wish you could adopt more in your own?

LIAM TOBIN: I think towards the end of the show, he is able to self reflect and make some changes to his behaviour and treatment of others, which is something I think we could all do better with.

 JHP: What do you think is the message behind Book of Mormon?

LIAM TOBIN: I think the show has a lovely message of friendship, love, and that whatever you believe – if it’s helping people or making the world a better place – then that’s valid.

The Book of Mormon opens its Nashville tour dates at TPAC’s Jackson Hall on Tuesday, March 12 and continues through Sunday, March 17. Tuesday-Thursday curtain is 7:30p.m. with Friday and Saturday evening performances at 8 p.m., matinee performances on Saturday at 2p.m. and Sunday at 1 p.m. with a final evening performance Sunday at 6:30p.m. Tickets range in price from $45 to $115. Just last week, TPAC announced a special ticket lottery for all Nashville performances. For each performance, a limited number of tickets will be available for only $25. To enter the ticket lottery, patrons must arrive at the box office (just inside TPAC street level entrance under the marquee at Deaderick and 6th Ave) two and a half hours before showtime of the performance they hope to attend. Upon arrival at the box office, patrons will write their name and the number of tickets (one or two tickets per entrant). Two hours before curtain, a limited number of names will be drawn for tickets in the first two rows of the Orchestra, thus allowing the winning lottery participants to purchase those tickets at the special $25 price!

Following the Nashville dates, The Book of Mormon continues across the country with stops from Grand Rapids to Salt Lake City through August. For tickets or more information about the tour, CLICK HERE. You can also follow the tour on Facebook, Twitter and Instagram.

Next up at TPAC, as their Broadway series continues is the national tour of Anastasia, on stage at Jackson Hall, March 19-24 CLICK HERE for tickets or more information. You can also discover all the latest from TPAC by checking them out online or on Facebook, Instagram and Twitter.

As always, if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

 

Rapid Fire Q & A with cast of Chaffin’s Barn’s ‘Kiss Me, Kate’: final performances this weekend

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Martha Wilkinson and Matthew Carlton in Chaffin’s Barn Dinner Theatre’s “Kiss Me, Kate”

Directed by Everett Tarlton, this weekend marks the final two chances for audiences to see Chaffin’s Barn Dinner Theatre’s wonderfully riotous romp that is Kiss Me, Kate. Full to the brim with Cole Porter tunes, Kiss Me, Kate tells the tale of a diva film actress returning to the stage in a musical stage adaptation of William Shakespeare’s Taming of the Shrew that just so happens to co-star and be directed by the actress’s ex. Chaffin’s own grande dame of the theatre, Martha Wilkinson stars as the diva with Matthew Carlton playing opposite her as her estranged ex husband.

Since I posted my review of the show opening weekend, it seems appropriate that I mark the end of the play’s run by sharing my latest Rapid Fire Q&A.

Busily juggling starring in their current production and seamlessly moving into directing the debut of their next production, Dan Zimmerle’s biblical musical, Esther, Wilkinson kicked things off with bit of interesting insights concerning returning to a role she debuted on the very same stage some years ago. The conversations continue as I chat with her then and now co-star, Matthew Carlton, as well as Mallory Mundy, Caleb Pless and Timothy Fudge.

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RAPID FIRE Q&A WITH CAST OF CHAFFIN’S BARN DINNER THEATRE’S KISS ME, KATE

RAPID FIRE WITH KISS ME, KATE’S MARTHA WILKINSON

JHP: I understand this production of Kiss Me, Kate might conjure a bit of a déjà vu for you and your co-star Matthew Carlton?

MARTHA WILKINSON: Yes, Matt and I played Lilli/Kate and Fred/Petruchio in 1993 at Chaffin’s under Rene Copeland’s direction. We were too young then but, it’s magical to return to  this show with him again.

RAPID FIRE WITH KISS ME, KATE’S MATTHEW CARLTON

JHP: What’s it like revisiting Fred Graham and Petruchio all these years later?

MATTHEW CARLTON: When we did it before, I don’t think I was old enough to relate to the complicated past the characters shared both personally and professionally in the storyline.  Now, I understand more fully what a life on the stage can bring and I feel very cozy in Fred’s skin.

JHP: What are you enjoying most about playing opposite Martha in Kiss Me, Kate?

MATTHEW CARLTON: Martha is a true one of a kind performer. Having a close friendship on and off stage for so long, makes working together a joy. We have a pure trust and ease together and hopefully the audience will catch that vibe and be a partner in the fun that we share playing together.

JHP: As Fred, you are not only directing the show within the show, but also starring in it as Petruchio. What’s the best aspect of playing what is essentially dual roles?

MATHEW CARLTON: The writers of this classic show have done all the work and the parallel character traits of Fred & Petruchio are drawn beautifully in the script.  It’s a challenging role for sure, with a broad range to cover, but great writing always makes an actor’s job easier.

JHP: Of course you’ve got plenty of actual Shakespearean experience having been seen in a number of Nashville Shakespeare Festival productions over the years. Why does Shakespeare still seem to intimidate some audiences and what about Kiss Me, Kate helps to bridge that gap?

MATTHEW CARLTON: Some folks may have the impression that Shakespeare is too “highfalootin”  for the average person but he wrote plays that all the audience members, no matter their status or station, could appreciate and relate to. KMK‘s parallel backstage storyline echoes the relationship and personalities of the  main characters in Shrew and illustrates the timelessness of the Bard’s understanding of human nature.

Mallory Munday as Lois

RAPID FIRE WITH KISS ME, KATE’S MALLORY MUNDY

JHP: You’re playing Lois Lane. What’s up with that character name? Do you think Cole Porter was a comic book nerd? After all, the OTHER Lois Lane made her debut in comic book form a full decade before Kiss Me, Kate premiered.

MALLORY MUNDY: Gosh, that’s such a tough call to make. If I wanted to overthink it (which I have a nature for doing), I could guess that maybe it was Porter’s humorous way of nodding at the comic book character.  It is my limited understanding that in the comic book, Lois Lane is a more conservative career woman, whereas in this show, she’s far from conservative.  One might say she is a career woman, but the type of career and means of establishing that career are contrary to the comic’s Lane.

JHP: Some have said the play and especially its source material are misogynistic. What do you think?

MALLORY MUNDY:  Hahaha.  Sure, there’s definitely some misogynistic substance in there, but it is most specifically in the source material.  I’m probably the worst person to comment on this because, while I do not agree with misogynistic ideals, I am a big proponent of understanding the time and place of a story.  There are some cringe-worthy lines within the play,  HOWEVER, I think we have done a really tasteful job of presenting the material in a way that absolutely does not celebrate those prejudices toward women.  As far as Cole Porter’s script, some might argue that Lois is a celebration of a woman’s sexual freedom.  And, if paying attention, one will see that the end of the play is fighting against the ideals seen in The Taming of the Shrew.

JHP: Like your co-stars, you play dual roles, first as the actress Lois Lane and also as Bianca, the character she plays in Shrew. What are the best traits of Lois/Bianca?

MALLORY MUNDY:  Lois is such a fun role because she is the ‘ditzy,’ sexy role that is so typical is classic musicals (especially Cole Porter’s).  The thing about Lois, though, is that she isn’t the idiot that she could easily be perceived to be.  She’s actually very clever, very determined, but uneducated and inexperienced in common experiences.

The best thing about Bianca, for me, is the fact that she’s played by a nightclub performer who has no idea what she is doing as an actress.

JHP: What’s most fun about playing opposite Martha?

MALLORY MUNDY:  Jonathan, how am I supposed to choose one??  Martha is the essence of delightful.  She’s playful, witty, smart, strong, talented, dynamic, one of the funniest people I have ever known.  The weekend I moved to Nashville as a Belmont student, my (now) brother-in-law was playing bass in the band for Johnny Guitar at The Barn.  Martha was the first leading lady I saw in a professional show in Nashville.  Her strong, quick-witted, brilliantly talented performance wooed me, especially as an aspiring theatre actress myself.  I have looked up to her ever since.  Watching Martha in rehearsals is like getting paid to take a master class in acting.  This isn’t the first show I’ve gotten to do with Martha, but it is the first time I’ve gotten to play the other leading lady with her, and it’s much like a dream come true!

 

RAPID FIRE WITH KISS ME, KATE’S CALEB PLESS

JHP: Tell me about Bill Calhoun?

CALEB PLESS: Bill is the suave, take chances kind of guy. A heavy gambler always getting involved in things he shouldn’t. He’s paired with Lois and Mr. Fred Graham has given them this new opportunity to preform with him in his big Shakespeare show. However, Bill May cause more trouble than Fred was expecting!

JHP: While Everett Tarlton and Curtis Lemoine are the show’s dance captain and assistant choreographer, your character is a dancer and you, yourself have a background in dance. What’s your favorite choreo moment in the show?

CALEB PLESS: Both Everett and Curtis are such great dancers and choreographers and I’ve had a blast getting to perform everything that they have created. It’s hard to pick a favorite moment but I think I would have to say the end of Another Opening. This song starts the whole show and comes out with such high energy that really sets the whole tone of the performance. There’s something so magical and powerful about seeing the whole cast dancing in sync!

JHP: Bill has an affinity for gambling. In a game of five cars stud with your co-stars, who’d win and why?

CALEB PLESS: While my character is a gambler we definitely don’t have that in common. I have a very telling face! However, I feel that I could probably use that to my advantage and no one would expect that from me. I’d be the underdog that could possibly come out on top!

JHP: Is this your first Chaffin’s show? AND….Bill is dating Lois, meaning you get to share the stage with one of my theatre crushes, Mallory. Are you enjoying playing her love interest?

CALEB PLESS: Yes, this is my first show at Chaffin’s barn and also my first show in my home city of Nashville! I’m very grateful for this opportunity. Mallory is the best! Such a talented performer and wonderful person on stage and off. She is always open to discussing and working through acting moments and is not afraid to try new things on stage. So happy to be sharing the stage with her!

RAPID FIRE WITH KISS ME, KATE’S TIMOTHY FUDGE

JHP: As Harry Trevor, you have mostly Shakespearean dialogue as your character plays Baptista in Shrew, the play within the play . What about the Shakespearean dialogue do you enjoy most?

TIM FUDGE: I’m having fun with the Shakespearean text. In my career as a musical theatre actor I have taken workshops in Shakespearean acting and have auditioned for many Shakespearean productions, but this is the first time I’ve had the chance to perform it. I love researching the meaning of words and phrases to make sure I am clear in what I’m wanting the audience to understand.

JHP: As Baptista, you’re Kate and Bianca’s father. Of course Martha plays Kate and Mallory plays Bianca. Tell me about sharing scenes with these two.

TIM FUDGE: They are both such amazing performers! I have music directed Mallory before, but this is my first time sharing the stage with her and she is a joy to work with. Martha and I have worked together for 30 years (of course, she was just a child actress at the time!), so we have a long history from which to pull. I always love sharing the stage with her!! It is wonderful to feel so safe and secure onstage with these two consummate actresses.

JHP: With a character like Harry, there’s not much exposition. What backstory might you you concoct to get into character?

TIM FUDGE: Yes, we are given very little background on Harry, but I love thinking of him as an actor very much like myself. He’s worked in the theatre his whole adult life with no great financial success, but he is doing what he loves and that’s all that matters to him.

JHP: What about this production, with this company, appealed to you as an actor?

TIM FUDGE: Well, I’ve worked at the Barn off and on for 30 years – as an actor, a waiter, and mostly as a music director – and now under the new ownership, they can offer Equity contracts. I haven’t been able to be onstage here in many years due to my union status, so it’s wonderful to have the opportunity to perform here again. As far as Kiss Me, Kate goes, I’ve never even seen it before so it’s a new show to me! That’s always fun!!

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Whether, like Tim, Kiss Me, Kate is a new show for you, or an old favorite, you have two final chances to see this great production at Chaffin’s Barn Dinner Theatre with closing performances Friday and Saturday, March 8 and 9 at 7:30 p.m. each evening. Show tickets are $13 for Children 12 and Under, $20 for Youth and Students and $35 for Adults. As the venue’s name indicates, Chaffin’s also offers a full a la carte menu with items ranging from starters and an all-you-can eat soup and salad bar to meat and side entrees and small plate and sandwich options.  CLICK HERE for tickets or call 615.646.9977.

As mentioned above, following Kiss Me, Kate, Chaffin’s will debut Esther,an all-new musical based on the Bible’s beautiful Queen Esther by Dan Zimmerle. Directed by Wilkinson, with choreography by Tarlton, this limited run premiere will take to Chaffin’s main stage March 21, 23, 24 & 28. CLICK HERE for tickets or more information. To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

Interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Theatre Review: Directed by Jef Ellis, ‘Singin’ in the Rain’; a tuneful toe-tap featuring a cloudburst of talent at the Arts Center of Cannon County

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The cast of “Singin’ in the Rain” (photos provided by Jef Ellis)

Leave it to Nashville’s own theatre God, esteemed reviewer and equally accomplished director, Jef Ellis to produce the cherished musical monsoon that is Singin’ in the Rain during one of the Mid-State area’s most significant rainy seasons to date. Talk about creating a mood!

To that end, Ellis has assembled a show not only soaked with beloved tunes from the source material’s original movie 1952 musical movie, but he’s showered it with some truly talented players.

As is often the case, I count the Debbie Reynolds, Gene Kelly, Donald O’Connor  film among my favorites…I have a lot of favorites, so sue me. Imagine my delight when I heard that Ellis would be mounting the show, knowing that he and I share a love of all things Old Hollywood. With that in mind, I knew his production of Singin’ in the Rain, in spite of the bit of a road trip it takes to get from Nashville to nearby Woodbury, home of the Arts Center of Cannon County would be nothing short of a deluge of musical theatre magic. Trust me…it’s worth the drive.

Being my first time to see a show in Woodbury, upon entering ACCC, I was immediately impressed by the venue. There’s a roomy lobby, filled to capacity the night I attended the show, as well as an on-site shop filled with gift options, homemade treats and beverage choices. Once inside the theatre, Ellis’ touches as brought to life by set designer, Shane Lowery, were immediately on display, the backdrop of the set featuring Ellis’ beloved pooch, Jessie in a version of an Old Hollywood studio logo, complete with adorable mascot…think MGM’s Leo, but with more bark, less bite. The logo, framed by a decidedly art deco black and silver structure on either side, giving clue to the story’s late 20s early 30s timeframe.  Even the stage floor features another carefully devised wink to Tinseltown, replicating the famed cement encased foot- and handprints of film and stage legends of the era. I regret I didn’t take the time to get a closer look at this detail during the show’s intermission, but I digress.

As the action starts, there’s further mood set as screens located on either side of the stage flicker with the glow of projected images at an old-time movie revealing the ‘opening credits’ of the play. This clever bit of tech is utilized a few more times throughout the show as we see our stars in their last silent movie and their first talkie.

For his take on the classic movie-turned-musical (a rarity when it debuted in this form in the late 80s, but a more common practice these days), Ellis has cast Austin Jeffrey Smith as Don Lockwood, the role made famous by Gene Kelly in the film. Having appeared in more than half-a-dozen plays under Ellis’ direction, Smith has obviously developed a blissful synergy with the director and is the perfect conduit to physically manifest Ellis’ concepts. Of course it doesn’t hurt that Smith, with every role he takes on, whether under Ellis tutelage or not, hones his craft as one of Nashville’s here to stay triple threats. As expected, Smith’s highlights come with the show’s most famous tunes, Good Morning and the titular torrential tap-dance that is Singin’ in the Rain. Yes. Yes, it does indeed rain on stage ! Kudos to choreographer, Maggie Richardson, as well as each and every member of the technical crew for pulling this sequence off in such a lovely, successful manner.

Alongside Smith’s Lockwood, theres Lindsey Mapes Duggan as Kathy Selden. While Duggan was new to me, she’s known in Cannon County, as evidenced by thunderous applause each time she appeared on stage, and rightly so. As I mentioned to her when I interviewed Duggan and her fellow cast mates for my Singin’ In the Rain Rapid Fire 20 Q prior to the show’s opening weekend, among my prized possessions is a personalized autographed original copy of songs from he film signed by Debbie Reynolds, who played Kathy in the film. So you better believe I was sitting on the edge of my seat, ears piqued in anticipation of one of my quirky personal favorite musical moments, All I Do Is Dream of You, the scene in which Kathy, emerging from a larger-than-life birthday cake at a studio party, first reveals her musical prowess to Smith’s Lockwood. Absolutely charming. I’m in! She also brings a flood of musical emotion to You Are My Lucky Star as well as Act 2’s Would You, and a sweetness to Good Morning.

With no signs of the talent-drencher letting up, there’s also Dax Patrick as Cosmo Brown. In-keeping with the aforementioned cinematic counterparts, Patrick is playing the role originally brought to hilarious heights by Donald O’Connor. Again, not veering too far from it’s genesis, Patrick’s Brown provides much of the show’s sillier moments, while his co-stars play the romantic scenes. A late addition to the cast, Patrick wasn’t originally set to play the second male lead, but you ‘d never know it. As expected, his highlights include Make ‘Em Laugh, during which he trips the laughs fantastic  with a real dummy of a dance partner. No, seriously, he dances with a life-size cloth human form, and it’s delightful.  Also delightful, his Act 1 actual duet with Smith’s Lockwood, and of course, Act 2 opener, the much-mentioned and much-loved Good Morning.alongside both Smith and Duggan.  Again, not one to disappoint, Ellis and his choreogrpaher makes sure Good Morning does indeed include the always enjoyable couch-ography.

Of course you can’t have an old school Hollywood musical without a foil. To that end is the stunning Brittany Blaire Anderson totally playing against type as manipulative and demanding Lina Lamont.  Lina Lamont sounds like a really irritated Betty Boop, if Betty Boop were mean…and from Jersey. In spite of the vocal challenges of the role, Anderson gets her time to shine vocally during Lamont’s lament, What’s Wrong With Me? Like her co-stars, she also shows off her dancing skills in several of the show’s group numbers.

OK, so here’s a good time for a little plot exposition. Lockwood and Lamont are famed actors in Hollywood’s silent film era. When talkies come into vogue, the studio is eager to make the transition, but there’s one catch.Enter Kathy Selden, a chorus girl looking for her big break, who just so happens to speak with poise and sing like an angel. So Lockwood, with he help of his pal Brown, convince the studio head to not only turn their stinker of a talking into a musical, but to let Kathy provide not only Lina’s speaking voice, but her singing one as well. This is also a good time to mention how much I loved the fact that the brought out an actual working piano during a handful of Brown’s scenes…and Patrick actually played it! It’s details like that that make an Ellis production just that!

In addition to the featured foursome, Ellis has peppered his cast with several enjoyable performers. Among them, Drew Dunlop (not Dew, although, given this show’s title, the alternative might be more appropriate), Scarlett Turney, Natalie Royal, Landon Spangler, Logan Taylor, David Brown, Becky Charlton, Mark David Williams, David Campbell, Terrie Kirby, Shelby Jones, Kiana Schofill, Mary Humphrey, Trenton Brown, Sharon Bessant, Shiloh Bakalyar, Natalie Garrison, Zoe Zent, Sara Kistner, Kobe Hermann and Jackson Kinsey & Charlie Bartlett (the latter two steal the show during their brief time on stage as younger versions of the two leading men. Whether in the previously mentioned All I Do or during Beautiful Girls and the show’s all-in colorful rain-slicker-clad finale, the talent and fun these folks are sharing on stage is sure to bring a rainbow to even the cloudiest of days.

ACCC’s Singin’ in the Rain presents one final thunderstorm of talent Saturday, February 23 at 7:30 p.m. CLICK HERE for tickets. Next up at The Arts Center of Cannon County (1424 John Bragg Highway, Woodbury, TN) is The Nerd, onstage March 29-April 13. CLICK HERE for tickets or more information or check out The Arts Center of Cannon County online or on Facebook.

Interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Theatre Review: Studio Tenn’s ‘Always…Patsy Cline a Honky Tonk Merry Go Round of music, fun and friendship; final performances this weekend

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Megan Murphy Chambers and Melodie Madden-Adams star as Patsy Cline and Louise Seger in Studio Tenn’s ‘Always…Patsy Cline” (Photos by Anthony Matula/MA2LA/courtesy Studio Tenn)

Studio Tenn‘s Always…Patsy Cline finishes it’s third and final week of performances at Jamison Theatre inside the Factory at Franklin with three remaining shows this weekend, thru Sunday, February 24. As I mentioned when I chatted with Megan Murphy Chambers and Melodie Madden-Adams a few weeks ago for my Always…Patsy Cline Rapid Fire 20 Q, mounting Ted Swindley’s jukebox musical celebrating the brief, but poignant friendship between the country music legend and a Texas fan right, here in Music City is indeed a bold choice for Studio Tenn, but if anyone could pull it off they could…and they have.

While many in the Nashville area (myself among them) associate the iconic singer and the nearly-equally beloved musical with local mega-talent Mandy Barnett, who’s many performances in the role are as near to seeing Cline herself as anyone can get, director Benji Kern and star Chambers make wise choices in the way Chambers presents Cline. While Barnett mystifyingly embodies the icon, so much so, you might begin to believe in reincarnation, Chambers makes her turn as Cline her own, and in doing so, putting the emphasis on both jukebox and musical, offering audiences something between a tribute show and a modern take on the esteemed theatrical piece and the woman for whom the show is named.

Chambers, a consummate performer, as anyone who witnessed her recent one-woman show, Fun can attest, doesn’t steal the spotlight, she powers it. Her mega-watt smile and twinkling eyes matched only by her ballsy delivery and magnificent voice. Think Toy Story’s Jessie the Yodeling Cowgirl mixed with a modern day Mae West with the vocal skills of Jill Scott and you’ve just about got Chambers’ Patsy Cline.

Madden-Adams’ Louise Seger, upon who’s chance meeting at a Patsy Cline concert and resulting continuing correspondences with the  star the show is based, is equally divine. Having seen my share of productions of the show over the years, Seger is often played a bit like the character of Florence Jean Castleberry, from 80s TV’s Alice. While Madden-Adams’ Louise does indeed have the sass of Flo, she also presents her Louise with an inherent sadness and longing for connectivity with others. That longing, coupled with the scripts quick quips and one-liners, elevate Madden-Adams’ Louise from narrator to a universally relatable character. After all, who are we without our connection to others?

Then there’s the show’s wardrobe, courtesy Blake Danford, the show’s costume designer. Much like the stars’ portrayals of Cline and Seger, Danford also pays homage to the oft recognizable wardrobe pieces, while putting his own spin on them. Among my favorites, the blue denim dress and of course Cline’s red and white cowgirl ensemble, nearly as synonymous to Cline as the music itself.

Scenic designer Mitch White puts another jewel in the Studio Crown with his seemly simplistic, but ultimately effective set. From obvious nods to the hallowed stage of The Grand Ole Opry to smaller details seen within Seger’s fabulously mid-century kitschy kitchenette, White’s set is a minimalist’s dream.

Madden-Adams as Louise

While the stars find a beautiful middle-ground in presenting their versions of the two women at the crux of the story, the technical crew bring it all home to the idealized Cline from the look and feel of the show, to the work’s incredible music. Thanks to conductor, Jason Tucker and the in-house band comprised of Michael McElravy, Lindsey Miller, Luke Easterling, Ben Andrews and Cassie Shudak, and a soundtrack packed with more than two-dozen songs from Cline’s brief but memorable songbook, there’s never a lull in the musical action of the show. All the songs are there, and I mean all of them…from must-haves like Crazy, I Fall to Pieces, Walking After Midnight and Sweet Dreams to Stupid Cupid, Three Cigarettes in an Ashtray and Seven Lonely Days…plus so many more, and they’re all done to perfection thanks to Chambers, Madden-Adams and the band.

Director Kern seizes every opportunity, not only to showcase Chambers’ vocal skills, but to build upon the chemistry of his leading ladies, for you see, Chambers and Madden-Adams are longtime friends off the stage, as well as on, having first met several years ago while appearing in a show together. Their chemistry and genuine friendship move the story along in a gorgeous way.

While much of the show volleys between Louise addressing the audience was she remembers her encounter with Patsy and Patsy’s song breaks, there are several instances when the two ladies interact, and thanks to some fun choice from he director, a couple of audience participation scenes that help to bring the viewer into the story even more.

With only three more chances to see Studio Tenn’s Always…Patsy Cline, Saturday, February 23 at 2 p.m. and 7 p.m. and a final Sunday matinee, February 24 at 2 p.m., I would encourage…in the words or Patsy Cline herself, to “Come on in and sit right down and make yourself at home” at Jamison Hall at the Factory at Franklin before the show’s nothing more than a Faded Love. CLICK HERE to purchase tickets.

With hardly a break between productions, Studio Tenn follows Always…Patsy Cline with The Sinatra Legacy: A Tribute to Ol’ Blue Eyes, the latest in their ongoing Legacy series. The Sinatra Legacy will take to the stage of the Historic Franklin Theatre in Downtown Franklin for five performances only from Thursday, March 14-Sunday, March 17. CLICK HERE for tickets or for more information.

In the meantime, be sure to check out Studio Tenn online at StudioTenn.com or on social media at Facebook, Instagram and Twitter.

Interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Rapid Fire Q&A with star Joel Diggs and director Jon Royal; wrapping their ‘Topdog/Underdog’ run alongside star Eddie George at Nashville Rep thru Sunday, February 24

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For their February offering, Nashville Repertory Theatre has chosen playwright Suzan-Lori Parks’ thought-provoking 2002 Broadway play, Topdog/Underdog. The debut production garnered the playwright the Pulitzer Prize for Drama, the first such honor awarded a woman of color. The two-person story centers around brothers named Lincoln and Booth (obviously those names are no coincidence and not surprisingly, key to a certain plot point) as they face the day to day struggles of making their way, and their mark on the world; a world filled with preconceived notions and expectations for men of color. Eddie George, yes, THAT Eddie George, he of the 1995 Heisman Trophy, stars as Linc, the oldest of the two brothers, while gifted Nashville-based actor, Joel Diggs stars as Booth. At the helm of Nashville Rep’s production is director, Jon Royal. Royal previously directed The Rep’s Smart People last February. Among Royal’s other notable directorial efforts, Street Theatre’s brilliant 2014 production of Passing Strange and Nashville Shakespeare Festival’s Othello, which also starred Eddie George.

Always excited to chat about shows that are a bit unfamiliar to me, I recently had the opportunity to reach out to the stars and the director for the latest in my recurring interview feature, Rapid Fire 20 Q. Unfortunately, due to circumstances beyond my control, George was unable to participate. Thankfully, Diggs and the director were available, so I give you an abbreviated, yet informative and revealing Rapid Fire 13 Q.

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Diggs (left) and George (right) star as Booth and Linc in Nashville Rep’s “Topdog/Underdog” (production photos by Michael Scott Evans/courtesy Nashville Rep)

RAPID FIRE 13 Q WITH TOPDOG/UNDERDOG STAR JOEL DIGGS AND DIRECTOR JON ROYAL

RAPID FIRE WITH TOPDOG/UNDERDOG STAR, JOEL DIGGS

Joel Diggs

JHP: How familiar were you with the work prior to being cast as Booth in Nashville Rep’s Topdog/Underdog?

JOEL DIGGS: I was somewhat familiar, in that I knew of Suzan-Lori Parks, and that she wrote this great piece, but I had never read it. I did see the production with Eddie and Jeff Carr many years ago though.

JHP: What can you tell me about Booth?

JOEL DIGGS: Booth is deeply troubled, caused by his parents abandonment of he and his brother. He is a very impulsive person, who wants love so bad, he creates fantasies to fill that void.

JHP: While the playwright delves into more serious aspects of the brother’s relationship with each other, there’s still that unbreakable bond of brotherhood. In what ways does the dynamic between you and your co-star, Eddie George mirror that of the relationship between your characters?

JOEL DIGGS: He’s someone who is very well known, and I can see how that relates to Booth admiring Lincoln, because “Linc’s the Man!” Eddie and I are relatively the same age and have many things in common, as well.

JHP: Among the subplots, there’s the inheritances the brothers were left. While Lincoln opened his and spent it, Booth kept his, never opening it, which seems somewhat uncharacteristic for Booth. What’s the significance of this?

JOEL DIGGS: I believe Booth is trying to hold on to the memory of hope in his mother.

JHP: Other subplots deal with the brothers and their relationships with women, Linc’s wife, Cookie and Booth’s girlfriend, Grace, who are spoken of, but never seen. Why do you think the playwright chose to mention the women, but not include them as part of the cast. 

JOEL DIGGS: The women can be felt very strongly, but I feel the playwright may be showing the plight of the Black man in America, the so called head, being disposable, therefore dooming the entire family.

JHP: What is it about Booth that drove you to the role?

JOEL DIGGS: I know people like him, and the challenge of bringing him to life. 

JHP: The entirety of the play is presented as a two-man show. What’s the biggest challenge and biggest reward in sharing the stage with only one other actor?

JOEL DIGGS: The reward is getting to tell such a beautifully written story, and having to deal with so many layers, an actor’s dream. The challenge is the amount of work it takes to do that!

RAPID FIRE WITH TOPDOG/UNDERDOG DIRECTOR, JON ROYAL

Jon Royal

JHP: How did directing Topdog/Underdog for Nashville Rep come about?

JON ROYAL: Rene Copeland asked me how I felt about this script last February. I told her that I loved it! She asked if I’d be up for directing it about a month later.

JHP: From the beginning, did you have a clear vision of what you wanted for the Pulitzer-winning piece?

JON ROYAL: After reading and rereading the piece, I felt like I had a clear understanding for what the script was telling me it was about, but developing that is the biggest part of my job as the director.

JHP: What was it about Eddie George and Joel Diggs’ auditions that spoke to you as a director?

JON ROYAL: I’m pretty sure that Eddie and Rene had already talked about him playing Lincoln, so that meant that the search was on for an actor to play Booth. Joel is very natural onstage. They have great chemistry together.

JHP: How would you categorize you style of directing as it relates to Topdog/Underdog?

JON ROYAL: My style of directing for this piece has been about the beautiful delicious beats that Suzan has written.

JHP: Why is this play, and this production in particular, an important piece for the Nashville theatre community?

JON ROYAL: It’s important because this play is incredible. It’s such a densely, well written piece that connects with people across all walks of life. It’s been produced here twice and a playwright of Suzan-Lori Parks’ caliber should be presented to our local audiences even more. To Rene and the Rep’s credit, this is the third season in a row that this company has produced a play written by a black woman, as part of their season. I’ve been here all of my life, I’d say this kind of consistency is long overdue. 

JHP: What do you hope audiences come away from Topdog/Underdog feeling or contemplating?

JON ROYAL: I hope that audiences contemplate what it means to be in community with each other, as in we are all family. I hope we also look at what we’ve inherited from our birth families and what we’ve inherited from America.

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Nashville Rep’s Topdog/Underdog concludes its run at TPAC’s Andrew Johnson Theatre with performances Saturday, February 23 at 2:30 p.m. and 7:30 p.m. and a final matinee on Sunday, February 24 at 2:30. CLICK HERE for tickets or more information.

Following Topdog/Underdog, Nashville Rep continues their current season with Lee Hall’s stage adaptation of the popular film, Shakespeare in Love with performances March 23-April 13. CLICK HERE for tickets. To keep up with the latest from Nashville Rep, CLICK HERE, or follow them on Facebook, Instagram and Twitter.

If you’ve enjoyed this Rapid Fire, CLICK HERE to check out previous conversations with the who’s who of Nashville’s theatre scene.

Interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram, and Facebook.

Theatre Review: ‘A Bronx Tale: The Musical’; at TPAC’s Jackson Hall through Sunday, February 17

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Joe Barbara as Sonny and Frankie Leoni as Young Calogero in “A Bronx Tale” (All Photos: Joan Marcus)

The Broadway musical, A Bronx Tale continues its first National Tour as it stops in  Music City this week with shows at TPAC’s Andrew Jackson Hall through Sunday, February 17.

Based on the 1993 Robert De Niro-directed film of the same name, A Bronx Tale’s origins go back a few years prior to the film, having its genesis as a one-man stage play created and performed by actor/writer Chazz Palminteri, based on his own childhood memories of growing up in a predominantly Italian neighborhood in the famed NY borough.

In addition to Palminteri’s book, A Bronx Tale boasts music by modern musical theatre icon Alan Menken with lyrics by his frequent partner, Glenn Slater (the duo behind Disney’s Tangled and Broadway’s The Little Mermaid). The technical spectacle doesn’t end with the spoken words and tunes of A Bronx Tale, for scenic designer Beowulf Boritt has created a gorgeous set perfectly transporting the action to an Italian-American neighborhood in 1950s New York. Also aiding in the step back in time are William Ivey Long’s costumes and Paul Huntley’s wig and makeup styling. Coupled with Howell Binkley’s lighting design, A Bronx Tale is a visually any audibly stunning recreation of a mid-century New York brownstone neighborhood.

Even before the curtain rises, a decidedly authoritarian voice cracks wise warning audience members that the use of recording devises of the taking of pictures might result in a bat over the head, giving a not-so-subtle clue of the heavy-handed, but humorous story to come.

From the beginning, A Bronx Tale evokes familiarity as it presents a classic doo-wop opening number, Belmont Avenue, reminiscent of everything from Jersey Boys and Memphis to Hairspray and Little Shop Of Horrors. Positioned under a lamppost (aren’t they always?) the Doo-Wop Guys (Sean Bell, Joshua Michael Burrage, Giovanni DiGabriele and Alex Dorf) offer up some smooth postmodern harmonies while Joey Barreiro, who’s starring as Calogero (Palminteri’s birth name, in case you’re curious) joins the guys for a  tune-filled plot exposition. During the tune we learn through lyrics that Calogero was only nine years old when he first laid eyes on neighborhood mobster, Sonny, sneeringly played to perfection by Joe Barbara. Being a soap opera aficionado, I immediately recognized Barbara for his mid-90s work as Joseph Carlino on the now defunct sudser, Another World. On stage, Barbara was a member of the Broadway company of A Bronx Tale and he also appeared in the Las Vegas mounting of Jersey Boys. Seeming destined to play mobster Sonny, Barbara also shares his name with legendary real-life mobster, Joseph Barbara but that’s probably all I should say about that.

Giovanni DiGabriele, Sean Bell, Joseph Sammour, Frankie Leoni and Joshua Michael Burrage

The opening also introduces us to nine-year-old Calogero (played at alternate performances by Frankie Leoni and Shane Pry). Opening night in Nashville featured Leoni in the role and I have to say, he absolutely stole the show. The young actor’s stage presence, timing, delivery and his ability to belt a tune and keep up with the rest of the cast as they perform Sergio Trujillo’s blissful choreography was mind-blowingly entertaining.

Richard H. Blake as Lorenzo, Frankie Leoni as Young Calogero and Michelle Aravena as Rosina

Barreiro’s teenage Calogero, nicknamed simply “C” by Sonny, narrates the action as young Calogero is joined on stage by Richard H. Blake and Michelle Araveno as his parents, Lorenzo and Rosina after Calogero witnesses Sonny shoot a man near the boy’s front stoop. In spite of his dad’s musical warning with Look to Your Heart, young Calogero decides not to rat Sonny out when the cops question the young witness, setting up a truly unique friendship between the boy and the boss that weaves together the rest of the tale.

One of my favorite scenes comes when Sonny introduces C to Sonny’s familia, as he introduces each member of his crew, he calls their names like a class roll-call. There’s Rudy the Voice (John Gardiner), then Eddie Mush (Mike Backes), JoJo the Whale (Michael Barra), Frankie Coffeecake (Robert Pieranunzi) and finally Tony 10 to 2 (Paul Salvatoreillo). When each name is called, that associate steps forward facing font, with a click of the spotlight, they then turn to profile with another click of the spotlight, a visual wink mimicking every mug-shot sequence from every gangster movie ever made. Well played, lighting designer Binkley, well played.

Joe Barbara, Frankie Leoni and the Company of “A Bronx Tale”

Young Calogero becomes integrated into Sonny’s outlet (that’s mob-speak for Mafia family), initially throwing dice for Sonny in a craps game during the musical number, Roll Em, garnering more and more trust from Sonny and the organization, and reaping their financial gratitude, C stows away handfuls of money while further driving a wedge between himself and his family.

Joey Barreiro and Frankie Leoni

I Like It, another stellar moment midway through Act 1 features both Calogero, his younger self, Sonny and members of the ensemble. Then Giving Back the Money fully illustrates the growing divide between father and son as well as a bit of unspoken history between Sonny and Lorenzo.

Focus then shifts to teenage Calogero for the remainder of the show. I have to admit, I kept waiting for the full switch and inevitable exit of Leoni as young Calogero, but was pleasantly surprised the talented young actor remained a central part of the story as long as he did.

That said, once Barreiro’s late-teen Calogero becomes the primary focus, we are also introduced to Calogero’s wannabe gang, Handsome Nick and Crazy Mario, played by previously mentioned Doo-Wop Guys DiGabriele and Dorf. Both DiGabrielle and Dorf play up their character’s names to the fullest, DiGabrielle strutting around the stage like a banty rooster while Dorf twitches and jerks like a teenage tweeker. They once again show off their harmonizing skills during the finger-poppin’,  Ain’t it the Truth, a shoo-wop lesson in street life.

Then there’s Brianna-Marie Bell as Jane, the black high school girl with whom Calogero becomes smitten. Having made her Broadway debut as Jane during the show’s recent NY run, it’s obvious she’s found her comfort zone with the sweet but forthright Jane. While they only live a few blocks away, Calogero on Belmont Ave, Jane on Webster, their relationship seems a bit of a modern nod to Shakespeare’s Romeo and Juliet. Bell’s vocal skills and perfectly executed dance moves quickly shift the mood to that of hope and vitality.

Brianna-Marie Bell (center) with Brandi Porter and Ashley McManus

With Jane’s appearance comes the arrival of her friends Denise (Ashley McManus) and Frieda (Brandi Porter) providing some much-needed female presence to this oft-male dominated piece. Much like the guys playing Calogero’s crew, McManus and Porter also make the most of their limited time on stage with expected, but thoroughly enjoyed  moments of sass and disdain.

Out of Your Head features Calogero, Jane and company as the young lovers contemplate the pursuit of love in spite of what their backgrounds warn against. Trite as it may be, at the capable hands of Barreiro and Bell, it’s truly one of the show’s best moments.

Then it’s Barbara’s time to shine with the hilarious Nicky Machiavelli as Sonny Rudy and Eddie explain the Italian philosopher’s views in a musical number that’s firmly seated between Mac the Knife and The Rat Pack.

Act 1 wraps with another all-in for the thoughtfully poignant These Streets which features Blake’s Lorenzo reminiscing about Calogero’s youth and Lorenzo’s promise as a father to assure his son won’t be a victim of the street.

The remainder of the piece kicks off on a literal high note with Bell leading Webster Avenue, a cultural flip of the show’s opening tune showcasing Bell’s Jane, Antonio Beverly as Tyrone, Jane’s brother, her aforementioned girlfriends and Barreiro’s Calogero.

When the plot touches on tensions, both racial and cultural, Act 2 offers reprisals of Out of Your Head, this time from Jane’s perspective; Ain’t It the Truth, featuring Tyrone and his friend Jesse (Jason Williams), offering a Webster Ave version of the tune’s original take and Look to Your Heart, as performed by Calogero’s Mom, Rosina in what is easily one of the show’s best vocal performances.

Brianna-Marie Bell and Joey Barreiro

Other musical moments during the second act include One of the Great Ones, in which Sonny advises Calogero to go for it with Jane, so as not to miss out on what could be one of the great loves of his life. Later, we’re treated to a reprise of One of the Great Ones.

As the action mounts and decisions must be made regarding Calogero’s romance, his potential future with the organization and the actions of his friends regarding protecting their territory from their fellow man, Hurt Someone gets at the crux of the piece…fear and misguided perceptions of power and violence have the ability to empower/destroy us all.

After the drama of Hurt Someone, interestingly, A Bronx Tale ends, at least musically speaking, not terribly far from where it began with the uplifting doo-wopish In a World Like This and the anthemic The Choices We Make.

A Bronx Tale may present Palminteri’s story, swayed perhaps by his years in Hollywood, with its amped up tried-and-true cinematic clichés, from forbidden love to a plethora of wise-crackin/bone-crackin wiseguys. That said, if a few modern mafia stereotypes would keep you from seeing this show…fuggedaboutit and go see it anyway. At its best, A Bronx Tale is a surprisingly sweet tale, not just of a young boy who finds favor with a neighborhood heavy, but of unlikely friendship, an understanding between father and son that is only possible with growth and maturity and knowing when to follow your heart, not your head.

A Bronx Tale continues this leg of its first National Tour in Nashville at TPAC’s Andrew Jackson Hall with performances through Sunday, February 17. CLICK HERE for showtimes and tickets. Following the show’s Nashville dates, the tour continues through the summer with dates in Minneapolis, Fayetteville, Oklahoma City, Chicago, D.C., Boston, Charlotte, Cleveland, Madision, Fort Lauderdale, New Haven, Fort Worth and Kansas City. For more information about the show, CLICK HERE or check out A Bronx Tale on Facebook, Instagram and Twitter.

The Company of “A Bronx Tale”

Next up at TPAC, as their Broadway series continues is the national tour of The Book of Mormon on stage at Jackson Hall, March 12-17. CLICK HERE for tickets or more information. You can also discover all the latest from TPAC by checking them out online on Facebook, Instagram and Twitter.

As always, if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.