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Rapid Fire 20Q with director and cast members of ‘For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf’; Opening Circle Players’ 75th Season, at Looby Theater thru October 20

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JHPENTERTAINMENT: Who is Lady in Yellow to you?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rapid Fire with For Colored Girls’ director Cynthia Harris

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rapid Fire with Josh Mertz, Bo Decker in Bus Stop

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

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

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

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

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

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

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

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

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

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

Rapid Fire with Fiona Barrett, Cherie in Bus Stop

JHPENTERTAINMENT: Who is Cherie to you?

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

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

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

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

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

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

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

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

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

Rapid Fire with Rich Moses, Will Masters in Bus Stop

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

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

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

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

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

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

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

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

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

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

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

Rapid Fire with Jena Salb, Grace Hoylard in Bus Stop

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

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

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

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

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

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

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

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

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

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

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

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

To keep up with the latest from The Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rapid Fire with Moulin Rouge’s Christian, Christian Douglas

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

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

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

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

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

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

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

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

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

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

Rapid Fire with Moulin Rouge’s Satine, Arianna Rosario

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

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

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

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

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

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

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

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

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

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

Rapid Fire with Moulin Rouge Wardrobe Supervisor, Michael Hannah

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook, JHPEntertainment on Instagram  and JHPEntertainment on Twitter. Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

Rapid Fire 10Q with Director and Cast of ‘Lithium & Xanax & All of My Friends’; World Premiere production onstage at Darkhorse Theatre October 4-12

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JHPENTERTAINMENT: What can you tell me about your cast?

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

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

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

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

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

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

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook, JHPEntertainment on Instagram  and JHPEntertainment on Twitter. Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

Rapid Fire 20Q with cast of ‘Waitress’; Opening Nashville Rep’s 40th season with shows at TPAC’s Polk Theatre thru Sunday, September 22

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Following last weekend’s hugely successful opening, Nashville Repertory Theatre continues celebrating their 40th season opener as the sweet treat that is Waitress: The Musical resumes with its second and final week on stage at TPAC’s Polk Theatre with performances Thursday-Sunday, September 19-22. Based on the 2007 film of the same name, the stage musical, with music and lyrics by Sara Bareilles and a book by Jessie Nelson, made its Broadway debut in 2016, garnering four Tony nominations during the show’s initial run.  As the 2024/2025 season opening at Nashville Rep, their presentation is directed by Lauren Shouse and features a cast lead by Sarah Aili, Annabelle Fox and Piper Jones. Last week, while the cast was readying for Opening Night, I had the chance to chat with these four talented individuals for my latest Rapid Fire 20Q interview feature. What follows are those conversations.

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Rapid Fire 20 Q with cast members and director of Nashville Rep’s Waitress: The Musical

Rapid Fire with Waitress star, Sarah Aili

JHPENTERTAINMENT: Who is Jenna to you?

SARAH AILI: Jenna is life unfolding. Jenna is a dreamer and someone who doesn’t know that she’s allowed to believe in herself. Jenna is a remarkable woman and human who gets stuck in the folds of what her small town would call “normal”, or at least what the webs of her family patterns would call “normal” and she, through relationships and her own will to breathe in life, overcomes the weight of her circumstances. She is a raw, radiant and real woman. 

JHPENTERTAINMENT: Among you co-stars is Dustin Davis, who plays Jenna’s domineering husband, Earl. There are some volatile scenes between the two. How do you prepare for those moments and what helps you put those tense feelings aside afterwards? 

SARAH AILI: Wow, that’s a big question! Honestly, I’m so grateful for the rehearsal process—that’s where I find my truth in the emotions and circumstances of each scene. When it comes to high-stakes moments like the ones between Jenna and Earl, I like to draw from my own life experiences. I connect to something real that I’ve felt, something similar to the emotions in the scene, and allow myself to fully feel it. From there, I make decisions as an actor about what will best serve both my scene partner and the show. It’s a bit like choosing the right spices for a pie! To let it all go, to the best of my ability, I put my attention on what is in front of me and with this show, there is so much joy, on and off stage!

JHPENTERTAINMENT: What is it about the character of Jenna, or the story of Waitress that you find relatable?

SARAH AILI: Jenna and I share a lot in common as women—we dream, we doubt, we love fiercely, we crave, we bake, we love our mamas, we have complex relationships, we face our fears, we rely on the important women around us, and above all, we are human. What resonates most with me about Jenna, and the show as a whole, is its genuine humanity. None of us are perfect, and all of us are deserving of the life we want to live, surrounded by the people we call family.

JHPENTERTAINMENT: Just between us…pie or cake?

SARAH AILI: PIE!! With berries and a little vanilla bean ice cream please! Throw in pecans and I’m a happy camper! Although, if we are talking about Guava Cake, that’s truly IT for me. Guava Cake above all else! 

JHPENTERTAINMENT: A Soft Place to Land, which Jenna performs alongside Dawn and Becky, is among my personal favorites in the show. How much fun are you having with Annabelle Fox and Piper Jones, who play Dawn and Becky?

SARAH AILI: Piper Jones and Annabelle Fox are the icing on the cake for me in this show. I absolutely love sharing the stage with them, and we’ve had such a blast exploring these roles and relationships together. Offstage, it’s just as special. I genuinely look forward to spending time with these two amazing, talented people every day. Honestly, I feel that way about the entire cast!

Rapid Fire with Waitress co-star, Piper Jones

JHPENTERTAINMENT: What’s your favorite aspect of Becky, the character you play in Waitress?

PIPER JONES: I’ve really enjoyed getting to know Becky and finding the very human, relatable parts about her. She’s funny and real. She’s the friend who isn’t afraid to hold the mirror up to your face and call you in instead of out. I’ve loved playing against the “sassy” trope (don’t get me wrong, she’s still got the fire) and digging into her other layers. 

JHPENTERTAINMENT: In Act 2, you get your solo chance to truly shine with I Didn’t Plan It. Having known you for years, I cannot wait for this moment. Have you been given the opportunity to offer input collaborating with Sarah Michele Bailey, the show’s musical director?

PIPER JONES: Sarah Bailey (SMB) is truly fantastic. It’s been a joy working with her on this show! We’ve gotten to see many iterations of each other— her as MD, me as MD, being in a cast together, singing in the studio. It’s always a blast to create with Sarah. Jenna, Dawn, and Becky sing several trio numbers together and SMB has given me the opportunity to sort of act as a bit of a vocal captain with the girls. I appreciate the vote of confidence and I’ve enjoyed getting to pull some vocal nuances out of our trio. I’m excited about I Didn’t Plan It, too. It’s definitely an in-your-face way to start Act 2.

JHPENTERTAINMENT: Within the context of the show, Jenna chooses Becky and Dawn to be godmothers to her daughter, Lulu (played by Rosemary ‘Roxy’ Delger. As an educator in your off-stage life, you’re used to working with kids, right? How has that aided you in your on-stage time with Roxy (and perhaps even some of your more childlike co-stars )?

PIPER JONES: I haven’t really had to wear my educator hat much during this process. You know, Roxy is already an old pro and my goodness she’s a cutie pie! Roxy is always on her mark (honestly, more than I am most of the time haha!).

JHPENTERTAINMENT: I saw on your Facebook that you, in another media moment promoting Waitress, cited your Mama’s Chess Pie as your all-time favorite. Heck, I think you and I might hold the record for most Chess Pie-related Facebook posts. So, a two-parter… 1) What is it about your Mama’s Chess Pie? AND…2) I think you might like my Mama’s Chess Pie, too, so when are we gonna trade recipes?

PIPER JONES: Ha! I do post about her Chess Pies a lot. It’s probably because she only makes the around the holidays, so it’s a special little treat that only comes around once a year. And honestly, I’m not even sure why I love her pies as much as I do. I know she’s particular about what brands of sugar (which must be a freshly opened bag), butter (you gotta buy the good stuff), and flour (which also must be freshly opened)…see what I did there? Anyway, I think her Chess Pie is the right balance of gooey sweetness, where you can kinda see that layer of sugar in the middle and the texture is always just right. Most of the time I can manage to sneak a piece right out of the oven (she hates that, though. They’re supposed to set up as they cool). But I mostly think I love them because of the nostalgia they hold. I bet your mama makes a great chess pie! And swapping recipes? You’d have to ask Dr. Jones if she’d part with hers 😉

JHPENTERTAINMENT: Oh, I see what you did there, and I italicized accordingly! Which leads perfectly to my final question for you…Waitess’ opening number, What’s Inside begins with the hypnotically repetitive mantra-like lyrics ‘Sugar, Butter, Flour’. In keeping with the recipe theme…what ‘ingredients’ make up What’s Inside you on your best days?

PIPER JONES: My best days are coffee, music, naps.

Rapid Fire with Waitress co-star, Annabelle Fox

JHPENTERTAINMENT: How familiar were you with Waitress prior to auditioning for the role of Dawn?

ANNABELLE FOX: I was lucky enough to see the original cast of Waitress on Broadway back in 2015! My friend impulsively bought us tickets and I didn’t know much about the show other than the fact that the music was written by Sara Bareilles. Sitting in the audience that evening, I realized then and there that Dawn would soon become a dream role of mine; one I would chase… until now. 

JHPENTERTAINMENT: How would you describe Dawn?

ANNABELLE FOX: Dawn is particular, organized, controlled, and incredibly sweet. She is a little awkward but I think that’s what makes her so lovable! 

JHPENTERTAINMENT: About midway through Act 1, you’re tasked with performing When He Sees Me, arguably one of the show’s most memorable musical moments. I love that it ranges from comedic to heartfelt. What’s it like performing this song and have you found a personal connection to the lyrics?

ANNABELLE FOX: Performing When He Sees Me is SUCH a gift. It is such a well written song and takes Dawn along with the audience on a beautiful journey of self discovery and assuredness. I love getting to embody her quirks, spunk, and dance with my wonderful cast mates! I loved the song instantly when I saw the show on Broadway and have sung the song in many concerts and for numerous auditions. I’m so excited to get to share my version of the song with Nashville!

JHPENTERTAINMENT: On the subject personal connections, among your cast mates is your real-life husband, Douglas Waterbury-Tieman who plays Dawn’s latest suitor, Ogie. Of course this isn’t the first time the two of you have shared the stage, having first met while you both were attending Belmont. What’s your favorite aspect of being on stage together?

ANNABELLE FOX: Getting to perform with Douglas is always so fun. The last time we performed together was in his original musical Johnny & the Devil’s Box at the Cumberland County Playhouse in December 2022. Playing opposite each other in a show we have loved for many years is a dream. The biggest advantage is our comfortability with each other. Ogie and Dawn are such heightened silly personalities so it’s super fun just being goofy with my husband! He is so wonderful and SO FUNNY so it’s quite the challenge to not break character! 

JHPENTERTAINMENT: The show is choreographed by Joi Ware. How is Joi as a choreographer AND…What’s a typical choreo rehearsal been like?

ANNABELLE FOX: Joi is absolutely wonderful and the choreography in our production is so moving, story centric, and engaging. She has done such a wonderful job of bridging dance and transition and helping each moment flow seamlessly, backed by our incredible ensemble and leads. A typical choreo rehearsal looks like learning, Joi breaking down the choreography for us, workshopping the movement, figuring out spacing, running the choreography a few times, and then filming it to keep on file to go back to and review with. With such a quick rehearsal process this has been essential! The whole creative team has been so warm, supportive, and passionate during this process and I feel so grateful for the ways they have empowered our whole cast to rise up to tell the very best version of this story. Enjoy! 

Rapid Fire with Waitress director, Lauren Shouse

JHPENTERTAINMENT: How did you come to direct Waitress for Nashville Rep?

LAUREN SHOUSE: This is the third show with baked goods I have directed for the Rep after Superior Donuts and The Cake, so clearly I love sweet plays. This musical had been on my list for some time as I love a heart-centered story and I am a huge Sara Bareillis fan, so when Micah-Shane Brewer told me they were programming it, I jumped at the opportunity. I have been so lucky to be able to call Nashville Rep an artistic home over the years – this is my 10th production with the company as director.

JHPENTERTAINMENT: What is it about the show that drew you to the project?

LAUREN SHOUSE: Besides being a fan of the music, I love to tell stories about women and transformation. This is a story about how we get unstuck and the resilience it takes to break a cycle and start a new life. There is a beautiful core of female friendship in this play and the way we need our fellow women to help us break free. While it is a musical comedy, I love the mess we see in this play and how authentic it feels to our real lives — when we feel stuck, we often make a bunch of hasty choices to shake things up. The characters in this play are no different and are driven by this core question of: what if I will never be more than what I have already become? I relate to that question at this point in my own life and I imagine many of our audience members will as well.

JHPENTERTAINMENT: The publicity photos seem very straight-forward and could easily be direct from the Broadway production. How have you found balance as a director in presenting the basics of what fans of the show expect, while putting your (and your talented cast’s) own stamp on it?

LAUREN SHOUSE: As someone who teaches directing students to always find their own unique point of view on a production, it is especially challenging when there is a wonderful pro-shot of the Broadway production that many people have recently seen. But from the beginning of this process, we talked about keeping some of the iconic moments that fans expect, but really making it our own intimate story. One of the things we have tried to do is deepen the backstory of Jenna and her mother – I wanted to add her to the song Soft Place to Land to show the story of where Jenna got her dreams and that she can be a good mother because she had a good mom, but she will need the support of her chosen family in Becky and Dawn to keep her going. We also wanted to lean more into the struggle of the waitresses’ everyday routine at the top of show — the women find refuge in each other, but not necessarily the work and the patrons. That way we see a real change in the final number as they have had to fight to make change. And in collaboration with our amazing choreographer Joi Ware, we have really tried to put our own stamp on the movement of the ensemble throughout the play and in the specifics of the big production numbers. 

JHPENTERTAINMENT: When I chatted with members of your cast, I touched on their thoughts on working with some of the behind the scenes folks including your musical director and choreographer, so I’ll continue with another vital piece of the pie (pun fully intended). What sort of discussions did you have with scenic designer, Gary Hoff concerning the set design and overall look of the show?

LAUREN SHOUSE: We wanted it to feel intimate and in a bigger space like the Polk that really meant pulling the action as close to the audience as possible. We talked about how much we loved the style of the original Adrienne Shelly movie and used that for inspiration of making it feel like we are looking inside a cherry pie… extending the metaphor that Jenna hides in her baking and part of her journey is breaking through the crust to make peace with what’s inside. We wanted the band to be on stage as an expression of her inner self (similar to the ensemble) and we wanted the structure of the diner to always be there as it is such a fixture in Jenna’s life and ultimately transforms at the end as she does.

JHPENTERTAINMENT: I always like to end these conversations by asking a variation on the following…What do you hope audiences remember long after seeing Waitress at Nashville Rep?

LAUREN SHOUSE: That everything changes and we all have the power within ourselves to make that change. We all deserve a slice of that pie. 

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Nashville Repertory Theatre’s Waitress continues at TPAC’s Polk Theatre with performances Thursday-Sunday. Thursday-Saturday evenings at 7:30p.m. & Saturday and Sunday matinees at 2p.m. CLICK HERE for tickets or more info.

Following Waitress, Nashville Rep’s 40th Anniversary Season continues with Our Town onstage at TPAC’s Johnson Theatre October 25-November 3 CLICK HERE for tickets. In the meantime, check out Nashville Rep online and follow them on Facebook, X, 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!

Rapid Fire 20Q with playwright and cast of ‘Aunt Sally’s Wild Ride’; World Premiere presentation on stage at Playhouse 615 Friday, September 13 thru Sunday, September 29

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On Friday, September 13, up-and-coming Nashville-based playwright Robert Coles’ Aunt Sally’s Wild Ride will mark its World Premiere with three weeks of performances at Playhouse 615 under the direction of Joel Meriwether. Earlier this week as the company prepared for Opening Night, I had the opportunity to chat with the playwright and members of the cast for my latest Rapid Fire 20Q.

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Rapid Fire 20Q with playwright and cast members of Aunt Sally’s Wild Ride

Rapid Fire Q&A with Aunt Sally’s Wild Ride star Linda Speir

JHPENTERTAINMENT: How excited are you to be the first actress to play the role of Sally Shavers?

LINDA SPEIR: I’m very excited to be the first to play Aunt Sally. I have created this character from what others say about me as well as my actions and dialogue given to me by the playwright. Then I throw in a dash of Linda and I have Aunt Sally! 

JHPENTERTAINMENT: Prior to chatting with you all, the playwright was kind enough to let me read the script to give me some idea of the characters. As I read, so many of the characters spoke to me, having been born and raised right here in Nashville. Is there anything about Aunt Sally that you found similar to any of your own relatives?

LINDA SPEIR: I love the characters in this play because I know some of them. I’m Southern to the core and so are these characters. Two of them remind me of some of my mother’s friends from church. Catherine reminds me a bit of my sister.

JHPENTERTAINMENT: What is your favorite Aunt Sally trait that you might consider incorporating into your own life?

LINDA SPEIR: I love that Aunt Sally is very forthright. I already have that trait. I wish I could be more like her in that, to an extent, she doesn’t care what others think. She’s living HER life. 

JHPENTERTAINMENT: You know you’re my favorite regional actress to have played some of my favorite southern women, including Daisy Werthan (Driving Miss Daisy) and Clairee Belcher (Steel Magnolias). When you think about it, there are similarities in these two iconic character with Aunt Sally, but what I want to know is…What in your estimation, makes Aunt Sally different from these two?

LINDA SPEIR: Aunt Sally is similar in some respects to both Daisy and Clairee.  Southern women  have traits in common with other southern women though they may not be of the same class.  Sally is different in that she is more flamboyant.

JHPENTERTAINMENT: I you could play any other character in Aunt Sally’s Wild Ride, who would it be and why?

LINDA SPEIR: I’d love to play either Rita Ruth or Tippy because they are so zany.         

Rapid Fire Q&A with Aunt Sally’s Wild Ride co-star Jeremy James Carmichael

JHPENTERTAINMENT: Describe Jim Halpren in five words.

JEREMY JAMES CARMICHAEL: Like. So. Super. Good. Looking. Hahahahahaha

JHPENTERTAINMENT: Um…ok…moving on…As Jim, most of your scenes are with Amber Boyer as Jim’s wife, Penny Pennabaker-Halpren and Ann Street Cavanagh as Jim’s sister, Catherine McMahan. What’s it like having these two talented regional favorites as scene partners?

JEREMY JAMES CARMICHAEL: I love learning from the actors I get to work with; I’m not the same performer I was a year ago, and I won’t be the same next year. I’ve been lucky enough since moving to Nashville to work with some of the biggest names in the local theater business, and I’ve tried to watch and emulate as much as I can from them. I always say it’s never me acting in a show; it’s a combination of hundreds of directors and fellow actors who have poured into me.

JHPENTERTAINMENT: How much freedom has your director given you in making Jim your own?

JEREMY JAMES CARMICHAEL: I think we’ve all had a lot of freedom in creating these characters, particularly since we’re originating the roles. We use whatever the script provides and then color the characters in ways we think stays true to the text but allows us as artists to infuse our own ideas and personality.

JHPENTERTAINMENT: Playwright Robert Cole has written a script that presents a great balance between humor and heart. Without revealing any plot spoilers, do you have a favorite scene, whether funny, or sweet?

JEREMY JAMES CARMICHAEL: I absolutely have a favorite scene, but I can’t say anything about it. It’s near the end of act two between Jim’s wife (Amber Boyer) and his cousin Cat (Ann Street Kavanaugh). Just when you think it’s a comedy, it is not. It. Is. Not.

JHPENTERTAINMENT: Because it’s my website and I can do what I want, I’m going to go off-script for your last question….After Aunt Sally’s Wild Ride, when no on-stage, you’ve got a charity event your heading coming up…tell me about Scarfapolooza.

JEREMY JAMES CARMICHAEL: Thank you for this question!! My family started a charity event the night before Thanksgiving each year; we gather as many friends as we can to collect winter clothing items, and then hit the streets of Nashville to deliver to those living on the streets. It’s a fantastic way to be a blessing to others during a holiday of gratitude, and I honestly think those participating are more blessed than those receiving the gifts. It’s all about showing up for people and letting them know they matter.

Rapid Fire Q&A with Aunt Sally’s Wild Ride co-star Amber Boyer

JHPENTERTAINMENT: Ok, I have to start my conversation with you by telling you how excited I was when I saw that you’d been cast in this show! You never disappoint on stage. That said, who is Penny Pennabaker-Halpren to you?

AMBER BOYER: That’s incredibly sweet of you to say. Thank you! 🤗 To me, Penny is the quintessential misunderstood/underestimated character in this script. Everyone judges her simply because of how she dresses, without taking the time to actually get to know her. She’s spunky, friendly, loyal, loving, and a bit ditsy sometimes, but is unabashedly herself, and will give her brutal honesty when provoked.

JHPENTERTAINMENT: I love that Penny Pennabaker-Halpren insists on the full hyphenated name. Lord knows being from the south myself, I know my share of folks who gotta make sure you know who they are and who they come from. So…a completely nonsensical question…if you could go by any made up hyphenated name yourself, what would it be?

AMBER BOYER: Huh. . . I’ve never thought about that before. I honestly don’t have an answer.

JHPENTERTAINMENT: Penny Pennabaker-Halpren’s wardrobe choices are…interesting to say the least. Did you create your character’s look or does the show have a costumer that you worked with?

AMBER BOYER: We do have our wonderful costumer, Denese Evans, and it’s been kind of a collaborative effort between myself, the playwright, the director and customer. Penny is very sexy-tacky, if you can picture that.

JHPENTERTAINMENT: The script describes Penny Pennabaker-Halpren (YES, I’m going to honor her wishes and use her full hypenated name every time) as ‘ditsy’. Those that know you, even a little, know you’re anything but. How much fun are you having playing this character?

AMBER BOYER: I am having such a blast creating this character! Playing “the ditsy one” is always fun. I’ve admittedly been pulling personality traits from different TV characters and people I’ve met in my real life. There are deeper aspects to Penny than people care to see at first glance because of her clothes (or lack there of), and I’m really enjoying bringing some depth to the ditz, so to speak.

JHPENTERTAINMENT: As the story unfold, the audience finds out there’s more to Penny Pennabaker-Halpren that meets the eye. Is that part of the reason you chose to take on this role?

AMBER BOYER: I honestly hadn’t even read the full script until we received them at our first read-thru, so I was pleasantly surprised to see the character arc that she has in Act II. I accepted the role because I really do enjoy performing comedic shows, and the opportunity to bring a brand new script to life was too tempting to pass up (even if I am “scantily clad” at 41! 🤣)

Rapid Fire Q&A with Aunt Sally’s Wild Ride playwright Robert Coles

JHPENTERTAINMENT: First off, thank you, not only for taking the time to do this Q&A, but also for allowing me a sneak peek at the script in order to familiarize myself with the story and characters in preparation for these conversations with you and your cast. I couldn’t help but notice some seemingly obvious (to me anyway) nods to everything from Robert Harling’s Steel Magnolias to Del Shores’ Daddy’s Dying Who’s Got the Will and Sordid Lives. Where those nods conscious or subconscious?

ROBERT COLES: Absolutely! It’s always a pleasure to do these Q&As! I will always have a spot in my heart for Steel Magnolias. It was the first movie I saw in theaters when I was two (my babysitter canceled and my parents had to take me with them), and I’ve directed the show three times. I love strong female characters, so there are probably some nods in the script, though subconscious. As for Del Shores’ scripts, I’ll confess, I didn’t start reading his material until I was in Sordid Lives this past summer, but now I’m a huge fan. This script was written (at least the first draft) four years ago. 

JHPENTERTAINMENT: In the same vein, who are some of your favorite playwrights?

ROBERT COLES: That’s a good question! I’m currently loving the works of Isaac Byrne, who I’m also involved in Writer’s Block with. Writer’s Block is a playwriting creative group lead by the amazing Haley Rice, who was in a workshop of one of my other plays in New York City . I’m also a huge fan of Tennessee Williams. Cat on A Hot Tin Roof is probably one of my favorite scripts, and a bucket list production for me both as a director, and as an actor. Neil Simon will always be one of my writing heroes, and I’ll always have a love of anything by John Patrick (A Bad Year for Tomatoes, The Curious Savage, et al). 

JHPENTERTAINMENT: The story takes place in a spacious Belle Meade mansion, one of the Nashville area’s most affluent neighborhoods. In contrast, the venue chosen for the World Premiere presentation, Playhouse 615 is one of the more intimate theatre spaces in Nashville. Who’s your set director and how have they met the spacial challenge?

ROBERT COLES: To me, when trusting this production with a theatre company, Playhouse 615 was my first and only choice. I knew I wanted to try it in an intimate venue and the work they do is absolutely brilliant. They use the space so cleverly. The set designer, James Bealor, has done an amazing job at using every square inch of available space while still giving levels and building the grandeur of this estate. Eric Crawford and Abby Waddoups are a powerhouse set decorator and set painter team, and their work has blown me away. A special note about this set, Joel Meriwether, the director, allowed me to inject my family into the show. After all, this show IS my family. Aunt Sally is based on my grandmother, Catherine is my mom, Liam is me, and the rest of the characters are people I know and grew up with. So, they let me put my own family photos on the set, which has made this feel like a big family affair for me. 

JHPENTERTAINMENT: As you mention, Playhouse 615 co-founder, Joel Meriwether is directing. What is it about Joel’s directing style that has instilled confidence that he’ll handle your work with care?

ROBERT COLES: I love Joel and his work. He’s such a talented person and director, and he has a great ability to make brilliant casting choices and pull strong performances out of each of his actors. Additionally, Joel knows these characters. He went to Lipscomb, has lived in Nashville for years, and was so protective over my script and words throughout the whole process. 

JHPENTERTAINMENT: What do you hope audiences will take away after seeing this debut production of Aunt Sally’s Wild Ride? AND..what’s next for the show?

ROBERT COLES: I hope audiences will laugh and think. The show is funny, but it also deals with some pretty heavy themes. I hope audiences leave feeling the love of this family, my family. Next for this show, some minor rewrites, a possible new title, and licensing worldwide! I can speak too much on the licensing yet, but I’m very excited to see the future for this little project! 

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At the time these conversations were uploaded to JHPEntertainment.com, Opening Weekend of Aunt Sally’s Wild Ride is completely SOLD OUT, but there are still tickets available for the remainder of the run September 20-29. Tickets are $20 ($17 for Seniors and Military). CLICK HERE to purchase tickets. To keep up with what’s next for Aunt Sally’s Wild Ride, CLICK HERE to follow the show’s Facebook page.

Following Aunt Sally’s Wild Ride, Playhouse615 will present Dracula: A Comedy of Terrors just in time for the Halloween holiday with performances October 18-November 3. CLICK HERE for tickets or more information.

For more on the show and to keep up with what’s next at Playhouse 615, check out their website or follow them on Facebook.

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

Theatre Review: The Cast of ‘Clue’…in Jackson Hall…with razor-sharp dialogue and killer comedic timing; National Tour based on mystery board game and beloved 80s farce in Nashville at TPAC thru Sunday, September 15

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Whether or not you’ve played the board game Clue (Cluedo if you’re from across the pond), or have seen the 1985 star-studded movie adaptation, or even the lesser-known more recent teen-drama miniseries reboot, the stage adaptation, Clue Live on Stage, currently on a National Tour and playing Music City at TPAC’s Jackson Hall thru Sunday, September 15, is just plain fun. For clarity’s sake, it should be noted that this is the straight comedy play, not the poorly received 90s musical adaptation.

Taking a cue from Clue’s own history, the play takes place in the 1950s. Appropriate, considering the original board game first appeared in shops in the UK in 1949 by British game manufacturer, Waddingtons, with a US launch by Parker Brothers following. That bit of Parker Brothers knowledge will serve you well when you see the show, as a bit of clever dialogue makes reference to the famed siblings.

At the time of the game’s initial release, murder mystery writer Dame Agatha Christie’s fame was at its height, so a board game in which the players assume the roles of a group of people who’s seemingly only shared experience is being at the wrong place at the wrong time when a murder is committed seemed perfect fodder for a new board game. The movie, and now the stage version, go one step further, making mention of the Red Scare of the time and cleverly tying all the players into a political web of lies and deceit. Sound’s oddly current, right?  Not to worry, there’s only a jab or two at modern day politics.

All of the action of the play takes place at Boddy Manor, a stately New England mansion on a dark and stormy night, where six supposed strangers are summoned via mysterious letters inviting each of them to attend a dinner party, under assumed names. On the subject of Body Manor, Set Designer Lee Savage’s Boddy Manor is the stuff of which haunted mansions are made. Again, those familiar with the game will delight as the rooms of the mansion are explored as memories of commercials for the board game reenter their collective subconscious. I remember many a Saturday morning watching my favorite cartoons and seeing Clue commercials in which players attempting to solve the mystery would declare their guesses, “Mr. Green…in the study…with a knife” or “Mrs. Peacock…in the library…with a rope” and so on.

Where character portrayal is concerned, Clue could be considered a bit of a theatrical anomaly. Typically actors stepping into roles made famous by others are charged with making the character their own, but Clue, a true farce, almost demands that the company present the characters pretty much as those who portrayed the roles in the film had done. That’s not to discredit the actors in any way, but to thank them for brilliantly recreating moments and actions of the film to glorious life live on stage.

As the curtain rose at Jackson Hall Opening Night, Elisabeth Yancy’s Yvette, the French Maid was the first of the familiar characters to be seen as she stood centerstage drying a cocktail glass with a white cloth. Why was such a mundane task noticeable, you might ask. Because she was doing so in perfect syncopated rhythm to the mood-setting music. It’s little details like this peppered throughout the show that help to make Clue such an enjoyable night of theatre.

Next the audience meets Wadsworth, the Butler, played opening night by James Taylor Odom (filling in for a mysteriously  absent Mark Price). Of course Tim Curry played Wadsworth in the film and in doing so, created an iconic interpretation of the character. To his credit, Odom stepped up to the plate during his performance and played Wadsworth with the perfect amount of cheek, sarcasm and charm.

The manor staff is rounded out by Mariah Burks as The Cook. Sassy and indifferent towards a former employer (remember, earlier I said they were all seemingly strangers…well, they’re not). Burks’ Cook, though her time on stage is limited, makes the most of her scenes. Spoiler Alert: Even in mortem, Burks’ Cook continues to provide laughs by way of being anything but a dead weight. Added Bonus: Burks reappears later in the play in another of the most memorable moments, but I’ll not spoil that.

Then there’s the evening’s host, the aptronymically named Mr. Boddy played by Alex Syiek. Brooding and thuggish, it makes sense that Mr. Boddy would become the night’s first victim…or does he?

As for the suspects, Christina Anthony’s Miss Scarlet is among my favorites. A wonderful departure from Lesley Ann Warren’s Miss Scarlet in the film, I love that every time she utters a double-entendre line that could be considered cringe by today’s easily offended audience, she breaks the fourth wall, winces and smiles as through she’s almost embarrassed at how silly what she’s just said is. Scarlet is the perfect color, as her performance is red hot!

John Treacy Egan as Colonel Mustard is as perfectly bumbling as Martin Mull was in the movie. Watch closely kids. While the entire cast is running throughout the mansion trying to find particular pieces of evidence that incriminates them all, Egan holds up a larger than life map of the join that will delight board game nerds. I may or may not have laughed a little too loud at that moment.

Joanna Glushak’s Mrs. Peacock is a lovely nod to the slightly ditzy way the character was played in the film by Eileen Brennan. Professor Plum, played by Jonathan Spivey, seems a bit more nefarious than Christopher Lloyd’s portrayed him back in 1985. This slightly darker element works well in separating Plum from the other characters.

John Shartzer’s Mr. Green (the Michael McKean role in the film) is the scene stealer of the show. With precise comedic timing, hilariously deadpan reactions and borderline acrobatic slapstick movement, Shartzer is suspect Number 1 is so many ways.

If any character besides Wadsworth is more closely associated with the film version, it’s Madeline Kahn’s Mrs. White. To that end, Tari Kelly takes full ownership of the role for the current stage presentation, and she does so with hilarious result. Near show’s end, when she stepped forward and uttered THE lines…you know the ones…”Flames! Flames on the side of my face!”, yours truly may or may not have gotten a little verklempt while spontaneously applauding. I gotta be honest, I felt Nashville’s Opening Night crowd didn’t appreciate this great moment in theatre as much as I did.

And can we just talk about the last few minutes of the show…again, with a huge ole wink to the film, in particular the multiple alternate ending scenarios ear the close of the show. For context, at the time of the film’s release, three prints of the film were distributed in each major city with three distinct endings naming a different murderer. So, you’d only know the three different endings IF you saw the movie more than once, and in a different theatre each time, each time. Genius marketing and a guaranteed box office boost, right? But I digress…at play’s end, Wadsworth and company perform a comedic rapid rewind again and again when each of the suspects takes the spotlight as various scenarios of who did what to whom and where play out in hilarious succession. WIth each retelling, the action gets more frantic and the reenactments more delightfully raucous.

Clue Live on Stage! will play Nashville from September 10 thru September 15 at TPAC’s Jackson Hall. For Tickets or more info, CLICK HERE. Not in Music City? Clue continues its National Tour through Spring of 2025 with stops across the US. CLICK HERE for Clue’s current schedule. You can always follow Clue Live on Stage! by visiting their official site, or by following them on Facebook and Instagram.

Next up in TPAC’s 2024/2025 HCA TriStar Broadway Season, it’s Moulin Rouge! The Musical (on stage October 8-20). CLICK HERE for tickets. For further details on more entertainment headed to TPAC, CLICK HERE or follow TPAC on Instagram, X, YouTube and Facebook.

In preparation of attending Opening Night of Clue Live on Stage! In Nashville, I did a little research to refamiliarize myself. After all, it’s been 75 years since the board game was first introduced (I was NOT around for that by the way) and it’s been nearly 40 years since I first saw the movie (and YES, during its original theatrical release, I was among the many fans fell for the above-mentioned marketing gimmick and saw it three times in three different theaters. Simply because I did my research I’ll share the following tidbits:

  • Waddingtons produced the game in the UK, while the US version was initially distracted by Parker Brothers.
  • Both companies were purchased by Hasbro in the 1990s.
  • The original UK board game was named Cluedo, A combination of the English word ‘Clue’ and the Latin word ‘Ludo’ which means “I play”.
  • Ludo was also the name of an existing board game, but because American audiences wouldn’t be familiar, the game was simply called Clue for its American debut.
  • The original concept featured 10 characters…nine suspects and one victim. During development, Mr. Brown, Mr. Gold, Miss Grey and Mrs Silver were eliminated, while Nurse White and Colonel Yellow became Mrs. White and Colonel Mustard.
  • The UK version has Reverend Green while the US version has Mr. Green.
  • The concept board first featured 11 room. The Gun Room and The Cellar were eventually eliminated leaving The Library, The Kitchen, The Conservatory, The Lounge, The Billiards Room, The Hall, The Study, The Ballroom and The Dining Room.
  • Weapons initially included such things as syringe, bomb, walking stick, fireplace poker, axe and poison.
  • Over the years there have been more than a dozen versions of the board game.
  • TV commercials have featured everyone from Sherlock Holmes and Watson to an inept detective reminiscent of Inspector Clouseau from The Pink Panther films.
  • The 1985 film adaptation wasn’t exactly a box office hit, but did garner a cult following in later years.
  • Jonathan Lynn (who’d go on to direct My Cousin Vinnie), directed the feature film.
  • Lynn cowrote the screenplay with John Landis (among Landis’ accolades, he directed An American Werewolf in London, Trading places and Michael Jackson’s Thriller video).
  • The movie was produced by Debra Hill (best known for having co-produced the original Halloween).
  • As early as 2009, there’s been talk of a remake of the 1985 film.
  • The musical adaptation debuted in 1995 and was presented off-Broadway in 1997.
  • The musical version closed after 17 previews and 29 performances.
  • One favorable aspect of the musical involved a bit of interactive theatre, allowing the audience to proclaim the murderer.
  • In 2011, a mini-series based on Clue, and starring six teenage/twenty-somethings premiered on The Hub, a network joint venture between Harbro and Discovery Kids.
  • Original 1985 film screenplay co-writer Jonathan Lynn adapted the story for the stage in 2017.
  • The stage play premiered in 2017 at Bucks County Playhouse adapted by Hunter Foster, whose sister is Sutton Foster.
  • The stage play was further revised by Sandy Rustin, premiering in 2020.
  • The current national tour, directed by Casey Hushion began in 2024.

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

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

Rapid Fire 20Q with cast, producer and director of ‘An Ideal Husband’; on stage at Nicky’s Coal Fired August 17-21 to benefit CASA Nashville

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I’ve been a fan of 19th century novelist, playwright and bon vivant, Oscar Wilde since friends first started making jokes about a certain dilapidating portrait in my attic (if you know the reference, we can be friends), so when I heard that up-and-coming Nashville theaterati Erin Grace Bailey and Evan Fenne were teaming to present an immersive performance of Wilde’s political scandal satire, An Ideal Husband, I knew I’d need to chat with them and some of their cast for the latest installment of my recurring interview feature, Rapid Fire 20Q. When I learned this presentation was being presented FREE, but with a suggestion of donating to CASA Nashville—Court Appointed Special Advocates, who serve abused and neglected children in the foster care system—theatre for a cause…come on! I was all in. What follow are those conversations.

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RAPID FIRE 20Q WITH CAST AND DIRECTOR OF OSCAR WILDE’s AN IDEAL HUSBAND

RAPID FIRE WITH AN IDEAL HUSBAND’s SIR ROBERT CHILTERN, ANDREW GATELEY

JHPENTERTAINMENT: What can you tell me about Sir Robert Chiltern?

ANDREW GATELEY: Sir Robert is a politician who ends up making a poor decision in his career that almost costs him his marriage. A marriage that he does not want to loose because he truly does love his wife. He’s a good guy with a good heart, and his poor decision gives him this layer of humanity which is what draws me to the character.

JHPENTERTAINMENT: Last year you appeared in Playhouse 615’s The Glass Menagerie as the gentleman caller of Erin Grace Bailey’s Laura Wingfield and now you’re playing brother and sister in An Ideal Husband. What’s your favorite aspect of Erin Grace as a scene partner?

ANDREW GATELEY: Her commitment to the character. She really puts her all into her performance and the character. Finding these little things to include to enhance the character and make them more believable.

JHPENTERTAINMENT: You’re also sharing the stage with Emily Colquette as your on-stage wife, Lady Gertrude Chiltern. Have you worked with Emily previously? AND How much are you enjoying being ‘married’ to her?

ANDREW GATELEY: I have worked with her before! She’s absolutely wonderful! Getting to be her on-stage husband has really been quite the treat, as she is one of the sweetest and kindest people I know.

JHPENTERTAINMENT: There’s a scandalous secret surrounding Sir Robert. In fact the show’s title comes from a key scene during which that secret is revealed. What’s the most challenging aspect of playing an emotionally fueled scene like this?

ANDREW GATELEY: Holding the intensity. It can be quite challenging to do an emotional scene and keep that same level of intensity throughout the whole scene. Plus, with it being such an important part of the story I feel it’s more important than ever to keep audiences locked in and be true to the character.

JHPENTERTAINMENT: Regardless of whether you’re ‘the type’ or not, what other roe in An Ideal Husband might you one day like to play, and why?

ANDREW GATELEY: Lord Goring. I actually thought I was going to get Lord Goring when I auditioned. So, imagine my surprise when they offered me Sir Robert instead! Lord Goring just seems like such a fun character to play. He’s so carefree yet such a great friend.

RAPID FIRE WITH AN IDEAL HUSBAND’s LADY CAVERSHAM, ANN STREET-KAVANAGH

JHPENTERTAINMENT: Being a fan of the work, it took me just a minute when perusing the cast list to realize that liberties were taken in your character, Lady Caversham. For in the original presentation of An Ideal Husband, and dare I say, every production in the past 129 years, the role of Caversham has been played by a man, as it was originally The Earl of Caversham, not Lady Caversham. Did your producer or director address their reason behind the character gender flip with you?

ANN STREET-KAVANAGH: I had no idea going in. They mentioned that it had been written for a man, but I don’t recall a reason for flipping it. It has been fun, though, saying things that a woman, perhaps, would not have said in the late 1800’s. Since she’s speaking mainly with her son, it adds a playfulness and I feel like they adore each other and enjoy each other’s company. Some of the lines would probably be taken much more harshly if delivered by a father. 

JHPENTERTAINMENT: You’re playing the mother of Lord Goring, as played by Abe Gibson. What can you tell me about Abe and sharing the stage with him?

ANN STREET-KAVANAGH: I’d only met Abe during this rehearsal process. He brings a wonderful energy and playfulness to his character!  He’s been quite fun to work with as a scene partner.

JHPENTERTAINMENT: Oscar Wilde’s An Ideal Husband is typically presented as a period piece. For this immersive presentation, is it still set in the 1890s, or have liberties been taken there as well?

ANN STREET-KAVANAGH: The show is still set in the 1890’s. It doesn’t matter which year it is set in, it has a sharp wit and contemporary subject matter.

JHPENTERTAINMENT: My personal favorite adaptation of An Ideal Husband is the 1947 film starring Michael Wilding, Paulette Goddard, Glynis Johns and C. Aubrey Smith as the Earl of Caversham. Of course there’s an equally star-studded more modern 1999 adaptation which starred Rupert Everett, Cate Blanchett, Minnie Driver and Julianne Moore. How familiar were you with the piece prior to auditioning?

ANN STREET-KAVANAGH: I wasn’t really familiar with it at all, other than a few trailers.  It has been great fun delving in with no preconceived ideas! 

JHPENTERTAINMENT: An Ideal Husband deals with scandal, politics, blackmail, public perception vs. private realities…all as timely now as when the play was written. What drew you to the project?

ANN STREET-KAVANAGH: Honestly, Erin-Grace approached me and asked if I’d play the role.  I did not know much about the play. I just adore her, and when she told me the details, it sounded very interesting. To not be in a traditional theatre space and have a chance to work with so many young actors, I couldn’t resist!  They are all quite impressive actors.  The relatability to current times was just the frosting on the cake! 

RAPID FIRE WITH ERIN GRACE BAILEY, PRODUCER AND CO-STAR OF AN IDEAL HUSBAND

JHPENTERTAINMENT: This production of An Ideal Husband is being described as an immersive experience. Can you elaborate?

ERIN GRACE BAILEY: Well, a good part of the show takes place at a party, so we wanted the audience to feel like they’re part of that. For anyone who sees the word “immersive” and feels a little triggered by it, I would definitely tell them not to worry. We’re not asking the audience to do anything out of the ordinary, but the actors may come sit at your table. They may loop you into a conversation or make sly comments. Sort of think of it like Disney World for big fans of British period pieces, almost like you got to step into an episode of Bridgerton for a day.

JHPENTERTAINMENT: You’re not only producing, but also co-starring in the role of Miss Mabel Chiltern. Not only that, the fabulous production of Sordid Lives you directed just closed. In that multi-tasking spirit, a two-part question for you…Are you running on adrenaline at this point? AND How are you balancing producing with acting in this production? 

ERIN GRACE BAILEY: Haha! I’m running off adrenaline and a whole lot of love and support from the Nashville theatre community, which I am so incredibly grateful for. Evan makes my job as a producer very easy. He knows what he wants, and he communicates that clearly. Really, the most challenging part was finding a place to perform (which we’re so appreciative of Nicky’s for giving us the opportunity). Once that happened, the rest of it was pretty straightforward. 

As far as the acting side of things goes, I adore Oscar Wilde, and I am so excited to bring my version of her to life. It’s actually been a nice balance. Mabel isn’t a huge role; she’s just such a memorable one. It’s sort of a full-circle moment because I auditioned with one of her monologues for the theatre program at Belmont. Seven years later, I’m playing the role in my own production and working for the Theatre and Dance department full time, and I sort of wish I could go back and pat myself on the head back then and let my eighteen year old self know that it’s all going to work out.

JHPENTERTAINMENT: An Ideal Husband debuted on the stage in 1895. Now here we nearly 130 years ago yet the themes and scenarios seem just as prevalent today. Of the themes, do you have one that you are most interested in highlighting within the context of the show?

ERIN GRACE BAILEY: Oh gosh, I’m going to try to keep this answer short, but I could completely nerd-out on it. I’ve been reading thesis papers and all sorts of other things on this play. In summation, Oscar Wilde really wrote this play to make a statement on the cultural shift that started around the turn-of-the-century. The Victorian generations had this sort of choke-hold on certain values, views, and this black and white sense of morality. But as 1900 drew closer, younger generations, particularly young women, started to question these values, it caused a lot of societal and political turmoil but resulted in women’s suffrage and the formation of more ethical labor laws. Wilde simplified this in An Ideal Husband to only concern the household of one particular politician who finds himself in a “gray area” or morality which was essentially unacceptable according to Victorian values. With our current political climate, its extremes, and my generation sort of coming into adulthood and questioning everything, I think this play is particularly timely. Oscar Wilde just puts it in a way that’s palatable, comedic, and relatable no matter who you are.

JHPENTERTAINMENT: What is your favorite aspect of playing Mabel Chiltern?

ERIN GRACE BAILEY: She’s just everything I wish I could be all the time. She’s boisterous, silly, smart, romantic, and not to mention, incredibly witty. She doesn’t take anything too seriously, and she’s just her own beautiful person in spite of what anyone  thinks about her. 

JHPENTERTAINMENT: I’m about to wrap this edition of Rapid Fire 20Q by chatting with your director, Evan Fenne. How long have you known each other and what is it about An Ideal Husband that presented the perfect opportunity for him to direct and you to produce?

ERIN GRACE BAILEY: In the grand scheme of things, we really haven’t known each other that long (a little over a year maybe?), which feels unreal to think about because we’ve been through so much together in that little bit of time. He assistant directed me in a show at Actors’ Bridge and then assistant directed for me back last fall. Then, this fall, we’ll actually be acting alongside each other as well, which will be a good time. Aside from being a great artist with tremendous instincts, Evan is just a kind person, which is always the first thing I tell anyone about him. We just work well together and decided we wanted to do a project for fun. We read, like, every staple British comedy play you can think of and finally settled on this one because of its message and timeliness. 

RAPID FIRE WITH AN IDEAL HUSBAND DIRECTOR, EVAN FENNE

JHPENTERTAINMENT: How did the idea of presenting Oscar Wilde’s An Ideal Husband come about?

EVAN FENNE: Erin Grace Bailey and I were looking into British farces from that era to put up, and after reading An Ideal Husband, I was amazed by its relevance. A lot of plays are able to have sustaining themes that relate more to the individual human experience, but this one also has themes that apply to social and cultural aspects of our society, a society that at first glance seems completely different from that of Oscar Wilde’s time. All of that being combined with Wilde’s sarcastic and dry humor, which I love, made this play one I wanted to direct and see happen.

JHPENTERTAINMENT: Oscar Wilde has always been a favorite of mine, both on the page and in his real life. What was your first introduction to Wilde?

EVAN FENNE: Like most, my first introduction to Oscar Wilde was reading The Importance of Being Ernest in eighth grade. It was one of the few things we read that I actually loved a ton. I then saw it produced at a high school close to mine, and I remember the audience experience of that performance being so much fun. It wasn’t until a couple years ago that I actually learned about him and what he was like as a person. It only made me admire and enjoy him more.

JHPENTERTAINMENT: As mentioned above, you’ve teamed with Erin Grace Bailey, who’s not only producing, but also co-starring. When I spoke with her, I asked her about your working relationship, so I’ll ask you similarly…I understand you and Erin haven’t known each other that long. How did you meet and how is she as a producer?

EVAN FENNE: Though we both went to Belmont University, we first met a year ago when I assistant directed a play that she was in, and soon after, I assistant directed a play under her direction. The show was a serious drama, and towards the end, we talked about how we would love to work together again on something lighter: a comedy. She’s been a great producer, even with her stacked summer of shows, and as a young director, it’s been wonderful to have her support and encouragement.

JHPENTERTAINMENT: I love that instead of selling tickets, this production of An Ideal Husband is being presented as a free theatrical experience with the suggestion of donations to CASA. Can you tell me a bit about CASA and the decision to use this production as a means of raising money for this worthwhile organization?

EVAN FENNE: I only recently learned about CASA, and their mission immediately caught my attention and support. They train volunteers to be court-appointed advocates for abused and neglected children in the Davidson County area. We knew we wanted to raise money for a charity in the process of putting up this show, and CASA is a cause that I especially want to support. There’s nothing more valuable to a child than a safe and loving home, and the more we can do to help make that happen, the better.

JHPENTERTAINMENT: What do you hope audiences come away remembering after seeing An Ideal Husband?

EVAN FENNE: I really want audiences to see themselves in the characters of this show; I want them to see people from their own lives. I directed it in a way that acknowledges the audience, and I hope their immersion in that world ends up leaving them surprised at how easy it is to empathize with each character. I know I was when I first read it.

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An Ideal Husband directed by Evan Fenne and produced by Erin Grace Bailey will be presented on stage at The Maxwell Room of Nicky’s Coal Fired (5026 Centennial Blvd. Nashville, TN 37209) for five consecutive days from Saturday, August 17 until Wednesday, August 21. Aug. 17 & 18 performances will begin at 1:30p.m. with Aug. 19-21 performances beginning at 7p.m. CLICK HERE for FREE tickets. Can’t make the show but still want to donate to CASA? 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. In the meantime, #GoSeeTheShow!

RAPID FIRE Q&A WITH DIRECTOR AND CAST OF THE OTHER ME THEATER COMPANY’S PRESENTATION OF CORMAC McCARTHY’s ‘THE SUNSET LIMITED’; AT PLAYHOUSE 615 AUGUST 15 THRU 18

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On Thursday, August 15, The Other Me Theater Company will present the Middle Tennessee premiere of Cormac McCarthy’s The Sunset Limited on stage at Playhouse 615. While McCarthy might be best known for having authored such novels as All The Pretty Horses, Child of God, No Country for Old Men and more, 2006’s The Sunset Limited is one of only two plays by the prolific author. In 2011, HBO presented a teleplay of the piece starring Samuel L. Jackson and Tommy Lee Jones. Jones also executive-produced and directed.

The dialogue-driven drama features two actors, simply referred to as “Black” and “White”, a reference to their respective races. Just prior to the action on-stage, the two men meet by chance during a dramatic incident on the platform of The Sunset Limited, a passenger train that travels from New Orleans to Los Angeles. As the play begins, the two men are at Black’s apartment where they discuss everything from life and death to faith and fate.

Earlier this week, I had the opportunity to chat with The Sunset Limited’s director, Anastasia Zavaro as well as the show’s stars, Elliott Robinson and Bowd Beal for the latest installment in my recurring interview feature, Rapid Fire Q&A. What follows are those conversations.

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RAPID FIRE Q&A WITH CAST AND DIRECTOR OF THE OTHER ME THEATER COMPANY’s THE SUNSET LIMITED

RAPID FIRE WITH THE SUNSET LIMITED’s CAST MEMBER, ELLIOTT WINSTON ROBINSON

JHPENTERTAINMENT: What drew you to the role of Black in The Sunset Limited?

ELLIOTT WINSTON ROBINSON: The challenge of the two-man show, of course, and also playing a real evangelist! I consider myself a believer, but most of my spirituality is played inward. I try to love and respect people along my journey as Jesus Christ would, but I will admit that I am lacking when it comes to the mandate to be a “fisher for people.” I told my Pastor to be sure to attend this show, because he may never hear me talk like this in real life!

JHPENTERTAINMENT: While The Sunset Limited originally debuted onstage in Chicago, then New York, The Other Me’s production marks the Middle Tennessee debut of this Cormac McCarthy play. What’s it like knowing your interpretation of the character will the the primary introduction to the piece for many audience members?

ELLIOTT WINSTON ROBINSON: Regional debut – that’s pretty cool! And then, knowing that in the filmed version my character was played by Samuel L. Jackson? No pressure, right? I think it’s great that The Other Me chose this play; and I’m honored to be involved in their inaugural presentation. This script is an amazing conversation, one that will most definitely leave people talking. You might even have a little conversation with yourself about your own spiritual journey…

JHPENTERTAINMENT: What do you think is among the most important lessons to be learned from The Sunset Limited?

ELLIOTT WINSTON ROBINSON: It is dangerous for people to put too much of their trust – their FAITH – in things. Surely, as my counterpart clearly states, there is value in things, but he has lost sight of the most valuable things. Black would probably say that the most valuable things are our relationship with the Creator, and also the relationships we have as “fellow travelers,” and the responsibility we have to look out for our fellow man and woman. We are our brothers’ and sisters’ keepers.

RAPID FIRE WITH THE SUNSET LIMITED’s CAST MEMBER, BOWD BEAL

JHPENTERTAINMENT: What is it about White, the role you play in The Sunset Limited, that speaks to you as an actor?

BOWD BEAL: The interesting thing about White to me was that the role didn’t speak to me in the general sense that I knew who this guy was. I knew he existed somewhere inside of me as does every role, you just have to do the work to find it. I knew it would be a difficult journey and that the only person I trusted enough to not let me get away with phoning in a performance was our amazing Director Anastasia Zavaro. We have collaborated on several projects over out 20 year friendship and she always makes me better. 

JHPENTERTAINMENT: In preparation to chat with you, you co-star and your director, I revisited the 2011 HBO presentation. I was immediately struck by the intimacy of it being a two-person show. To that end, it’s a dialogue-driven piece. What’s the most challenging aspect of performing in a show that’s focuses so much on the spoken word?

BOWD BEAL: Being interesting. If we are interesting the audience will be interested. If we live truthfully in these circumstances, it should give the audience a chance to feel a little bit like voyeurs. They should feel like the proverbial fly on the wall so to speak.

JHPENTERTAINMENT: When I chatted with Elliott, I noted that this production marks the Middle Tennessee premiere production of this piece. It’s also the latest production from The Other Me Theater Company. I recall The Other Me having presented Light Sensitive and Doubles a few years back. Does The Sunset Limited mark a resurgence in the company? AND…What’s can you tell me about the company and what’s next?

BOWD BEAL: Yes, we are trying to resurrect The Other Me, a thought provoking theater experience. While Jaymes Campbell and Anastasia Zavaro are not on the current board, they are both vastly important to its past and future success. We hope to announce out next show in the next week or so and it will be going up early  to mid November.

RAPID FIRE WITH THE SUNSET LIMITED’s DIRECTOR, ANASTASIA ZAVARO

JHPENTERTAINMENT: I just spoke with your two stars. I know you’ve worked with Bowd both as his director in 2010’s Doubles and his co-star in 2009’s Light Sensitive, but have your worked with Elliott previously? AND…Why are Elliott and Bowd perfectly cast as the two characters in The Sunset Limited?

ANASTASIA ZAVARO: Bowd and I have worked together on many projects in Los Angeles where we met attending The Howard Fine Acting Studio over 20 years ago. When I picked up and moved to Nashville to be closer to my family, Bowd was interested in seeing one of my shows I was acting in at The Darkhorse Theater. Since he worked for the airlines he could fly out complimentary. He fell in love with Nashville and moved here not long after. Our history of acting, producing, directing, starting a theatre company together etc. is very deep rooted. We speak the same language when it comes to acting. Therefore when Bowd is involved in a project I have no hesitation to jump on board. I know the quality and joy and artistic view will be an amazing adventure. We work together as a team to collaborate and make each other better at the assigned task. He is an excellent actor and dear friend. I trust him to bring the character of White to become a real human with depth and truth.

Elliot and I have worked together years ago on a staged reading. I recognized immediately that he has a charisma and genuine ability to make something on a page form a soul and become a life. I have always wanted the opportunity to work with Elliot again. Luckily he has made Black multifaceted as soon as day one of rehearsals. His receptive nature allows him to breathe and grow as rehearsals move forward. He has an intuitive nature and has adapted to my style of directing like we have worked together for years.

Bowd and Elliot are perfectly cast in The Sunset Limited because of their adaptive nature. This is a journey between director and actors that is a true collaborative. During rehearsals we have all questioned, discovered, experimented and grown together. It makes my job as a director much easier when the actors are willing to push their own limitations and do the homework. I will never be a puppet master. We are a team that is here to tell a story and make it leap off the written page. 

JHPENTERTAINMENT: When I chatted with Bowd, I noted that this is very much a dialogue-driven piece. Two actors, one set, and it’s mostly conversational with little physical action. As a director, what challenges did that present and how have you approached those challenges?

ANASTASIA ZAVARO: It is a real challenge when we don’t have a lot of  physical action to drive the scene. In order to overcome this obstacle we have to do so much character work in order to flesh out real human behavior. If you are interested in what you are talking about then you are interesting to watch. I question Bowd and Elliot constantly in the rehearsal process.  Everything they say must be so specific for the scenes to be real. My favorite part of directing is character development. I encourage the actors to do all the in depth homework and then try different tactics in rehearsals, just like in real life. Once we are in the final dress rehearsal I must encourage them to trust that the homework is done and go out and have a real brand new experience every moment. If they are working properly and living truthfully, they will be organic and the audience will be involved no matter what they are doing physically, be it large or small. 

JHPENTERTAINMENT: This production is being presented at Playhouse 615, one of the Nashville area’s more intimate venues. How do you think the intimacy of the space enhances the drama and energy of the piece?

ANASTASIA ZAVARO: This is a profound piece that does not need any distractions of set changes or large spaces. Cormac McCarthy, the playwright, has written The Sunset Limited to be in such a small confined space. I think this serves the material to be about the dialogue. Playhouse 615 provides such an intimacy that goes hand in hand with the conversations, the questions asked, the debates, the caged feelings. The audience will feel like they are right inside Black”s apartment and want to jump into the debate themselves. 

JHPENTERTAINMENT: What do you hope audiences take with them after experiencing this production of The Sunset Limited?

ANASTASIA ZAVARO: I want the audience to leave wondering what parts of Black and White they identify with and at what moment they shifted back and forth. I want the audience to leave the theatre and exit with conversations about life and death, hope and despair, differences of opinions and how to coexist. I want everyone to have an experience that they just witnessed a real tug of war and how it evoked their emotional psyche.  

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The Other Me Theater Company’s production of The Sunset Limited at Playhouse 615 (11920 Lebanon Rd, Mt. Juliet, TN 37122) begins it’s limited four-day run Thursday, August 15, continuing thru Sunday, August 18, with 7p.m. performances Thursday thru Saturday and matinee performances Saturday and Sunday at 2p.m. CLICK HERE for tickets. All tickets are $15. (When purchasing tickets you will also have the opportunity to make an optional tax deductible donation to the company to help fund future projects). As The Other Me Theater Company reemerges, be sure to check them out online and follow them on Facebook for information about upcoming auditions and performances.

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