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Rapid Fire 20Q with Director and Cast of Nashville Rep’s ‘Indecent’; onstage at TPAC’s Johnson Theatre February 2-11

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I love it when our local theatre companies take risks and present something other than the expected. With Nashville Repertory Theatre’s production of Paul Vogel’s Indecent, at TPAC’s Johnson Theatre February 2-11, they’re taking just such a risk. Vogel’s Indecent first debuted in winter of 2015 as a co-production between Yale Repertory Theatre and La Jolla Playhouse before opening Off-Broadway in 2016 and eventually playing Broadway in 2017. Examining the true story of the brief 1923 two-week Broadway run of playwright Sholem Asch’s The God of Vengeance, Indecent delves into the controversies surround The God of Vengeance, including the fact that the entire cast, the producer and the theatre owner all eventually faced prosecution for violating obscenity laws. I’ll save more on that for my review after I attend an opening weened performance.

For now, what follows are my conversations with Indecent’s current director and members of Nashville Rep’s cast for the latest installment of my recurring interview feature, Rapid Fire 20Q. First up is Nashville Rep Artistic Director, Micah-Shane Brewer who’s at the helm of this production, then it’s on to my chats with cast members Thomas DeMarcus, Sarah Aili and Eric Sorrels.

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RAPID FIRE 20Q WITH DIRECTOR AND CAST OF NASHVILLE REP’S INDECENT

RAPID FIRE WITH INDECENT DIRECTOR, MICAH-SHANE BREWER

JHPENTERTAINMENT: As I mention in my intro, one thing I love about Nashville Repertory Theatre is you guys aren’t afraid to mix it up and present shows your audiences may never have had the chance to see. Indecent, on stage at TPAC’s Johnson Theatre February 2-11, is a perfect example. How did Indecent come to be selected as part of the current season? 

MICAH-SHANE BREWER: I saw the Broadway production of Indecent about 7 years ago. I went in not really knowing anything about the play. I left the theatre in awe of the experience I had received. It blended so many theatrical conventions into one – the style of storytelling and the passage of time, the music, the ensemble work, the stagecraft. It was compelling, moving and beyond anything I had witnessed in the theatre. I thought about the play for days. 

A couple of years ago, we were discussing plays and Indecent came up as an option. Last year, as we were finalizing decisions for this season, I picked it back up and read through it again. I was struck at how timely it is. Here we are today fighting the same battles as the characters are in this play: censorship, antisemitism, gay rights, women’s rights. We’re in the midst of so much strife in our country, and the voices of hate have been given a larger and louder platform over the last few years. We’re seeing history repeat itself in so many ways, and sometimes, it feels like we’re going backwards as a society. It felt right and it felt like it was time for us to tell this story. But it did (and does) scare me – in all the good ways a challenging piece of theatre should. It’s not easy, and there are so many moving parts to this production. 

JHPENTERTAINMENT: A bit of a follow-up…as Nashville Rep’s Artistic Director, do you automatically get first choice of the show’s you direct each season, or is there a process followed by eligible candidates interested in directing?

MICAH-SHANE BREWER: I suppose the answer to this question is yes; however, I give a great deal of thought to the needs of each production, especially for directors. For example, it was important to me to have female directors for both 9 to 5 and POTUS. It was very important to have a black director for The Color Purple. The programming of the season ALWAYS comes first, and then directors are chosen after. I chose to direct Indecent because this story and subject matter mean a great deal to me.

JHPENTERTAINMENT: When I first heard Nashville Rep was presenting Indecent, I gotta be honest. I knew next to nothing about the show. Researching to chat with you and some of your cast, I’ve learned a bit, but for those unfamiliar, can you tell me what it’s about?

MICAH-SHANE BREWER: Indecent is based on actual events. The play follows a troupe of Jewish artists who risked their lives to perform a work deemed “indecent.” It’s the story of Sholem Asch, a Jewish playwright, who, in 1906, wrote a play called The God of Vengeance. It was produced in Yiddish and had successful productions all over Europe. In 1922, there was a production on the Lower East Side in New York City and it was translated into English. The show then transferred to the Apollo Theatre on Broadway in 1923. It was promptly shut down and the cast and producer were arrested for obscenity and put on trial. Indecent is a love letter to the power of theatre, a cautionary tale of the consequences of censorship, and a reminder that love always triumphs over hate.

JHPENTERTAINMENT: Representation matters. It’s a phrase…and practice… you hear more and more as people become increasingly aware of sensitivity towards others. To that end, as the director was there concern that certain stereotypes, whether in speech or mannerism be avoided? Did the cast work with a dialect coach or a Yiddish consultant in an effort to represent the Jewish characters as authentically as possible? 

MICAH-SHANE BREWER: Of course, representation does matter, and it’s important that all of us do the work to be authentic, truthful storytellers. The actors play a wide range of characters and use varying types of dialects and accents throughout the play. Although some of the characters are Yiddish, the majority of the time they are speaking in English. There are some Yiddish phrases and songs used throughout. Luckily, we’ve had a great team to give assistance to our actors. Nettie Craft is our Dialect and Voice coach and has been doing excellent work with each cast member crafting the correct sounds of each dialect. There’s a lot of technique when it comes to dialect and accents, and it takes a good ear, understanding of the vocal instrument and placement, and repetition for each actor to achieve the muscle memory of creating the exact sounds that are unique and authentic. We’ve also had the good fortune of having Howard Snyder as our dramaturg. Howard has been invaluable to this process by providing excellent research for so many areas of our production. Whenever you’re working with a story based on real people and events, it’s imperative to understand the historical context of the culture and the people you’re representing. Indecent spans almost 50 years, so there’s a lot to unpack: world events, Jewish culture, the political and social implications of the times, theatre history. Being a theatre artist means being an excavator; you have to dig for the details. You have to be a lover of learning. This cast has put in the time and attention to understanding and honoring every person, culture and moment in this story. 

JHPENTERTAINMENT: What about casting Jewish actors? Was there a consciences effort to include Jewish actors among the cast of Indecent? 

MICAH-SHANE BREWER: The goal was to have as many Jewish actors as possible. Part of the callback process is getting to know more about the actors and their background and connection to the material. Some of our actors are Jewish, and some descend from Jewish (and even Yiddish) cultures. On the first day of rehearsal, we had a lot of time to share about our history and backgrounds, and I was very moved at some of the personal stories shared. Some spoke of their grandparents and family members who immigrated to the United States. One of cast members shared that their grandmother was turned away at Ellis Island and had to return. Another cast member’s father grew up speaking Yiddish and provided assistance to the actor. 

As a director, I’ve always said that the biggest success of a show is its casting, and sometimes you just know when you see the actor who’s right for a certain role, and we struck a wonderful balance of actors for this production. This ensemble is one of the most thoughtful, caring, hard working, respectful, talented ensembles I’ve had the pleasure to work with. A lot of care has been given to the work throughout this process. Everyone holds this story close to their hearts. We honor the ones who are represented in this play who sacrificed their work, their reputations and even their lives. What’s great about the casting is that I feel everyone in this ensemble was MEANT to be in this cast; it was somewhat serendipitous how this casting came together so perfectly. I’m a lucky guy to be working with such a fantastic team.  

RAPID FIRE WITH INDECENT’s THOMAS DeMARCUS

JHPENTERTAINMENT: Last time we chatted you were appearing as Mrs. Trunchbull in a local production of Matilda back in 2019. You’ve appeared in a number of productions since, and now you’re about to take the stage at TPAC’s Johnson Theatre as Lemml, The Stage Manager in Nashville Rep’s Indecent. What can you tell me about Lemml?

THOMAS DeMARCUS: Oh, sweet sweet Agatha Trunchbull…you are about as far away from Lemml as one can get! I’m so thrilled to make my Nashville Rep debut with Indecent! There are many real people referenced in the play but Lemml is a fictional creation of the genius of playwright Paula Vogel. This play begs for the intimacy that the Johnson Theatre can provide. Lemml is a tailor from a small village who happens to attend the first reading of The God of Vengeance with his cousin and it will change the entire course of his life. He believes in the play. He wants to see it thrive. He tackles the role of stage manager with the utmost respect and reverence. He comes through Ellis Island with a dream like so many others. Lemml personifies hope.

JHPENTERTAINMENT: Indecent touches on so many themes of injustice, acceptance and equality that are as relevant today as they were when The God of Vengeance, the play within the play was first written in 1906, then later mounted on Broadway in 1923. Here we are 100 years later and this play is still frequently described as ‘controversial’. What’s so controversial about equality?

THOMAS DeMARCUS: It has long been confusing to me that when underserved groups ask for equal rights, that the message twists into a loss of rights for others. That the balance of freedom for all has to come at a cost of losing the freedoms for some. It is never about having more rights than you, but having the same as you. The controversy, to some extent, must be that people hate the idea of losing their foothold on power and control. If one group can use the water fountain while another group can’t, and then one day everyone can use the water fountain, what has the first group truly lost? It doesn’t feel controversial, and yet oppression and suppression still linger.

JHPENTERTAINMENT: I noticed on Nashville Rep’s socials where they intro the cast, you cite that this performance is dedicated to your son, Leo. How important is it that audiences truly take in the messages presented in Indecent?

THOMAS DeMARCUS: I think it’s always noteworthy to self-evaluate how you might respond in a crisis or when your back is up against the wall, but perhaps it’s more important to evaluate your behavior when the thing fighting for its life is someone else, or some group, or some cause. How do you respond then? Indifference? Ignorance? Assistance? I want my son to grow up in a fair and loving household and I want that extended to a fair and loving world. To teach him right and wrong and to know how to use his voice but also his eyes and ears. I say this with no hyperbole, Leo is the greatest human who has ever lived, but I want the audience to fight for him just as hard as he will fight for them.

JHPENTERTAINMENT: What aspect of Lemml and his circumstances has been most challenging/gratifying to play? 

THOMAS DeMARCUS: After nearly 30 years of acting, I finally get to play a narrator! This show spans multiple countries, languages, and time periods so the challenge with Lemml is that he’s the audience’s through-line for the entire show. He introduces the troupe and he’s with the show all over Europe and when it comes to New York. Lemml is solid in his beliefs. He’s certainly naive and innocent when we first meet Lemml, but as the world around him consistently disappoints, he’s tasked with finding these fleeting pockets of hope. The gratifying part is I only have to play Lemml, while the rest of the cast has to switch characters multiple times. Thank goodness they are talented!

JHPENTERTAINMENT: This may seem an obvious question, but what is it about a 2015 play examining the circumstances surrounding a 1923 play that will pique audiences’ interest?

THOMAS DeMARCUS: There are two lines in the show where the audience can easily draw a connection to today: “it won’t happen here” and “these things happen”. In the play, they refer to anti-Semitism but isn’t this the same back and forth with gun-control debates? with hate-crimes? with domestic terror? with natural disasters? We have a tendency to assume that a nightmare cannot happen to us in our own community. Then it happens and we shrug our shoulders when the people in power fail to protect us. This play is telling you to not just fight for what you believe, but to defend those that cannot always fight back.

JHPENTERTAINMENT: Indecent, not only examines the controversies of The God of Vengeance, but the closeness of community. I frequently ask actors I’m interviewing to speak of the community of actors as it relates to their current show. Do you feel a closeness to those you’re sharing the stage with?

THOMAS DeMARCUS: I have been extremely impressed by Nashville Rep‘s professionalism throughout this rehearsal process. Not just the immediate company, but this extends to our brilliant designers, our hard-working crew, and to our very thoughtful dialect coach and our very thorough dramaturg. Our director, Micah-Shane Brewer comes to each rehearsal with new ideas and new questions for us to ponder. I’ve known him for 12 years and it has been an honor to work with him on Indecent. It feels like everyone is taking this material with the seriousness that it deserves and we all want to make an important show. I’d like to believe that Nashville’s theatre community is loving and supportive, and this group has not changed that opinion. I have worked with only one member of this company before (Garris Wimmer; Spamalot; Studio Tenn; 2017) but I’d heard of so many others. And I would get texts from friends saying “oh you will LOVE Rona Carter” or “so many great people in this company!” and yes…they’re right. This show demands an ensemble that is on the same page, and thankfully that’s what this show has!

RAPID FIRE WITH INDECENT’s SARAH AILI

JHPENTERTAINMENT: A quick look at Indecent’s character list reveals you play Halina, among others. Can you speak a little about the process of creating differentiality between the roles you’re presenting in a single work?

SARAH AILI: Yes! Apart from portraying Halina in “The Middle,” I also take on roles like Manke, Immigrant, Freida, Dorothee Nelson/Dine, Dr. Hornig, and one of the Bagelman Sisters. Playing these characters consecutively provides a profound lesson in staying completely present. Once the initial challenge of getting my lines, blocking, choreo, quick change moments etc… right, immersing myself in the storyline becomes more seamless. In terms of character development, I prefer starting with physicality, tone, and melody. Exploring how my characters walk, move, shape vowels, hold themselves etc…leads to discovering the character’s essence. It’s akin to slipping in and out of a well-fitted coat. Making specific choices helps me swiftly embody these characters, crucial in a fast-paced show like this!

JHPENTERTAINMENT: If memory serves, the last time I saw you onstage at Nashville Rep was their 2018 production of Avenue Q. There’s been a few chances in staff at Nashville Rep since your last involvement. Are you enjoying being back and working with the current staff and creatives?

SARAH AILI: Oh yes, VERY much! Every experience I’ve had with Nashville Rep has been stellar. I adore Micah-Shane Brewer, working with him has been a true delight! 

JHPENTERTAINMENT: What can you tell me about Halina, the primary character you play in Indecent?

SARAH AILI: Halina, a woman in the prime of her life, a woman who has been through love and loss, pain and celebration, embraces the opportunity to portray compelling and juicy roles in Indecent. Immersed in playing a female character with tenacity in her soul, the experience of bringing her to life is genuinely fulfilling for me!

JHPENTERTAINMENT: While Indecent isn’t a musical, it incorporates music, dance and song as part of the full experiences. What’s the typical rehearsal schedule like incorporating all those elements?

SARAH AILI: From the initial rehearsal day of Indecent, our musicians have been integral members of the troupe, seated at the table with us. The seamless intertwining of music and dialogue is paramount to the poignant essence of the show. Without this precise harmony between story and song, I couldn’t envision Indecent coming to life in such a profound way. Our synchronization with the music is in perfect rhythm, and the music effortlessly aligns with the scenes in every instance.

JHPENTERTAINMENT: Without revealing too much, do you have a favorite moment in the show? 

SARAH AILI: The entire show captivates me – its fluid movement, effortless exploration of profound depths, and the inherent ease and beauty it carries. The ensemble, a vital part of the narrative, is what I cherish the most. Sharing the stage with this group of immensely passionate and talented performers is my favorite aspect.

RAPID FIRE WITH INDECENT‘s ERIC SORRELS

JHPENTERTAINMENT: When I spoke with your cast mate, Thomas DeMarcus earlier, he revealed that Indecent will be his first Nashville Rep show. I understand it also marks your debut with the company. What’s the experience been like thus far?

ERIC SORRELS: It continues to be a wonderful experience. I grew up outside of Nashville in Lebanon, so being here feels a little bit like a homecoming. It’s also been a reunion with Micah-Shane Brewer, with whom I shared the stage in Knoxville several times at the Clarence Brown Theatre. In my experience, the way a particular theatre company feels hinges on the leadership of the director. From day one with Indecent, Micah-Shane fostered a room that allowed us to bond as an ensemble, put us all on the same foot as equals, and motivated me to bring my very best self to rehearsal each day. The only issue with the rehearsal process was that insane arctic weather we had for about a week. But even then, that was just a chance for me to see how dedicated Nashville Rep is to its people; Micah-Shane and our stage manager Isaac Krispin would go out of their way to pick up actors on the way to rehearsal to ensure everybody could make it there safely. Needless to say, I’d come back to work with Nashville Rep anytime they’ll have me.

JHPENTERTAINMENT: While it may be your Nashville Rep debut, you’ve got quite the career resume. Your credits reveal you were among the cast of North Carolina Theatre’s production of Beautiful: The Carole King Musical where you were not only part of the ensemble, but also appeared as Neil Sedaka, Lou Adler and half of the music duo, The Righteous Brothers. What was your favorite aspect of that production?

ERIC SORRELS: One of the reasons I love Beautiful is because even though Carole is obviously at the center, every cast member has a chance to shine. As the Righteous Brothers, we would get entrance applause before we even started singing — that’s how excited the audience was to hear You’ve Lost That Lovin’ Feeling. But to bring the question back to this production: there’s a moment in Indecent when the characters talk about how they gather at the wings of the theatre to watch a very special scene take place night after night. In Beautiful, I was that actor gathering at the wings to watch our Carole (Elena Ricardo) perform Some Kind of Wonderful, It’s Too Late and You’ve Got a Friend. Watching her shine never got old.

JHPENTERTAINMENT: Back to Indecent, you play Moriz Godowsky. What can you tell me about him?

ERIC SORRELS: The musicians don’t actually have any lines in the play, so I’m really free to bring a lot of myself to Moriz. To that end, he’s a pretty mild-mannered guy, self-taught on the accordion and ukulele, and he gets a lot of joy out of watching his actor companions tell this beautiful story and transform into so many different characters. One fun detail we discovered is that Otto the Elder (played by Garris Wimmer) and Moriz share the same last name in the script. We’re not really sure why, and it doesn’t affect the storytelling all that much, but we’ve agreed that Otto and Moriz must be family.

JHPENTERTAINMENT: As you mentioned, Moriz plays the accordion during interwoven musical segments featuring Klezmer music. Here’s a two-parter for you…For the uninformed, what is Klezmer and is it true you just first picked up the accordion just over a year ago for a production of The Great Comet of 1812? 

ERIC SORRELS: Klezmer is a musical tradition originated by the Ashkenazi Jews of Central and Eastern Europe. It’s a really expressive and dramatic musical style, with melodies that evoke big human emotions. The instrumentation is key too — klezmer music typically includes violin, accordion, clarinet, and percussion, as is the case for Indecent. I first encountered klezmer music as a member of the professional choir at Temple Emanu-El in New York City (a synagogue which Indecent references at one point!). I think it speaks to the unique experience of the Jewish diaspora that klezmer has made its way across time and space from centuries ago in Europe to Music City, USA in 2024. 

Yes! I have a background as a piano player, but the first time I ever held an accordion was October 2022 for Theatre Raleigh’s production of The Great Comet. The versatility of this instrument continues to amaze me. It’s kind of like walking around with a pipe organ strapped to your chest. The score of Indecent has been an opportunity for me to take my accordion-playing to the next level, and learning some of the trickier passages of this score has been extremely rewarding.

JHPENTERTAINMENT: Lately, I’ve ended my interviews by asking the last person I speak with a variation on this same question…What do you hope audiences take with them after having experienced Indecent at Nashville Rep?

ERIC SORRELS: I think for me, Indecent is a reminder of why we make theatre, why we attend the theatre, and why theatre will always be a vital part of human expression. The theatre is a sacred space where we can hold and examine our collective memory. I’m reminded of a classic Arthur Miller line from Death of a Salesman: “Attention must be paid.” We go to the theatre to pay attention; to remember parts of human history that would otherwise be forgotten; to find ourselves in a character who appears to have totally different experience from us. This play also reminds us that as long as there have been artists willing to show all the facets of humanity, from innocence to depravity, there have been those wishing to censor what they judge to be unsavory, immoral, or — yes, I’m going to say it — indecent. To that end, I hope audiences leave with a renewed appetite to see, support, and make more daring theatre.

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Nashville Repertory Theatre’s Indecent plays TPAC’s Johnson Theatre Thursday, February 2 thru Sunday, February 11. CLICK HERE for tickets to this powerful play. Following Indecent, Nashville Rep will host two nights of staged readings of playwright Lydia R. Diamond’s Stick Fly at Nashville Public Television’s Rains Avenue studio as part of their REPaloud series. Visit nashvillerep.org to secure your FREE spots for either night. Next up, The Rep will continue their regular season with The Color Purple on stage at TPAC’s Polk Theatre. The beloved musical based on Alice Walker’s classic novel will run April 5-14.  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 Q&A with ‘Girl From The North Country’ cast members Matt Manuel and Jeremy Webb; National Tour plays Music City January 30 thru February 4

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Girl From The North Country, written by Conor McPherson, and featuring nearly two dozen tunes penned by legendary singer/songwriter, Bob Dylan is a musical that takes place in midwest Duluth, Minnesota during the fall of 1934. While the show features Dylan’s music and is set in the musician’s hometown, it’s not a jukebox musical and certainly not a bio-musical. Instead, the plot introduces audiences to the Laine family, proprietors of a local boarding house that, like the rest of the country, has fallen on hard times. Among those taking up residence with the Laine family are a Preacher and a Boxer, played in the National Tour of Girl From The North Country by Jeremy Webb and Matt Manuel, respectively. As the tour cast and crew prepared for the show’s debut Nashville dates at TPAC’s Jackson Hall January 20-February 4, I recently had the chance to pose a few questions to Manuel and Webb for the latest installment of my recurring interview feature, Rapid Fire Q&A. What follows are those conversations.

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RAPID FIRE Q&A WITH GIRL FROM THE NORTH COUNTRY’s MATT MANUEL

JHPENTERTAINMENT: Girl From The North Country takes place in Depression Era Duluth, Minnesota in the fall of 1934 and centers ‘round the inhabitants and visitors of a run-down guest house. The national tour kicked off at The Orpheum (a theatre Dylan one owned), not terribly far from Duluth, which also happens to be Dylan’s birthplace. Was it surreal to open the tour in this way?

MATT MANUEL: It was VERY surreal to open the tour up this way. I can’t think of a better way to have opened up this tour. The audiences really didn’t disappoint. They were with us in every show. From the moment we opened our mouths to sing the first song, to the moment we took our bows. If anything, I feel a bit spoiled by that experience!

JHPENTERTAINMENT: In Girl From The North Country, you play Joe Scott, an ex-con/boxer. What more can you tell me about Joe?

MATT MANUEL: Joe was actually always a boxer! He had a promising boxing career until his wrongful arrest which caused him to lose everything. By the time you meet him in the boarding house, you see a man who is determined to rebuild his life. He stays to himself. He is incredibly respectful, but definitely not someone whose bad side you should ever end up on as audience members will see. There is also no coincidence that the softer side of Joe comes out in the presence of Marianne. 

JHPENTERTAINMENT: When Joe shows up at the house, he’s traveling with a seemingly unlikely companion, the Reverend Marlowe, played by Jeremy Webb, who I’ll be chatting with as the second part of this Rapid Fire Q&A. What’s Jeremy like as a scene partner?

MATT MANUEL: Jeremy is one of the best humans in this business! On and off stage, we have a very close relationship. I can ask him advice or guidance on anything, and he will make time to sit with me. On stage, we have so much fun together playing off of each others acting choices. He is ever present and always ready for the curveballs we like to throw at each other. Offstage, we look out for each other and are very protective of each other, and when we hop on stage, we enjoy our very tennis-esc scenes where we volley our lines and physical choices back and forth to try and throw the other off. I could not have prayed to God for a better scene partner than the one I have been given in Jeremy Adonis Webb. Also, that is not his middle name. I just made it up!

JHPENTERTAINMENT: While doing a little digging prior to our conversation, I discovered you and I share a degree of separation….American Idol! I was an assistant to the coordinating producer during the first two seasons back in the day, while you were a contestant in 2013. Stick with me here…How did trying out for Idol prepare you for auditioning and landing later gigs like Broadway’s Ain’t Too Proud and your experience on tour with Motown the Musical?

MATT MANUEL: Wow! That is a cool degree of separation!!! American Idol actually helped me with my camera awareness as well as my mindfulness as a performer. There is so much more to being a performer than singing. A fun fact is I booked all three of those things in my hometown of Detroit at open calls. Playing David Ruffin in Ain’t Too Proud really made me put those things into practice. I had to learn how to be comfortable commanding a space and being front and center.

Matt Manuel in the GIRL FROM THE NORTH COUNTRY North American tour (photo by Evan Zimmerman for MurphyMade).

JHPENTERTAINMENT: Speaking of your previous experiences, the upcoming Nashville leg of Girl from the North Country won’t be the first time you’ve appeared onstage in Music City. You were one of the stand-out performances just two short years ago as Dustin, in the premiere presentation of May We All, which had it’s National debut at TPAC. What was your favorite aspect of that experience? AND…now that you’re familiar with Nashville, are there any things you’ll insist your fellow cast mates check out while in Music City?

MATT MANUEL: My favorite aspect of doing May We All was truly making friends. We had such a great cast! We enjoyed building that world together through our story telling and to this day, our group text thread is still active. Now that I am going back, I will definitely be getting some hot chicken and I encourage my cast mates to do the same! I may take a trip up to carter vintage and play some guitar as well!

RAPID FIRE Q&A WITH GIRL FROM THE NORTH COUNTRY’s JEREMY WEBB

JHPENTERTAINMENT: In researching to chat with you, I read one review of a previous production of Girl From The North Country that describes the character you play, the Reverend Marlowe as “non-practicing’. That made me laugh. Is that a fair assessment of the character’s current religious conviction? AND…what more chan you tell me about the Reverend?

JEREMY WEBB: Thank you so much for having me and for asking to do this interview about Girl From The North Country by Conor McPherson and Bob Dylan. I love your question about the character I play, The Reverend James Marlowe and the assessment suggested above! I like to think about James as a person who is doing what he must do in order to survive. We are in 1934, it’s the height of The Depression and there is no social safety net. James has had a tough life and selling Bibles is a transactional means to an end. And as I see him, he also has an authentic connection to the mystic and to spirituality. And while I agree that he is maybe not the most devout man of the cloth you have ever met, we have to remember the dire and strained circumstances of the play.

JHPENTERTAINMENT: Girl From The North Country, at least in story and character, seems to be getting a bit of comparison Thornton Wilder’s Our Town…how do you describe the play yourself?

JEREMY WEBB: It’s the week before Thanksgiving at a boarding house in Duluth, Minnesota and a group of restless Americans gather by necessity and circumstance to share community, food, warmth and shelter. No one wants to be there, but everyone has a strong need that connects them to the boarding house. What transpires is a tale of love, jealousy, graft, mysticism and at its core, a perfect miracle.

JHPENTERTAINMENT: I have a confession to make…generally speaking, I’m not exactly a huge Dylan fan. I KNOW…I KNOW…but, Will I be after seeing Girl From The North Country?

JEREMY WEBB: Of course you will! He is America’s troubadour! His lyrics won him a Nobel Prize IN LITERATURE! What a treat to get to experience Dylan’s remarkable gift for storytelling and his gut-punch lyrics in a fresh setting and sung by this astonishing company. Especially with these Tony Award-winning orchestrations and arrangements sung by Broadway’s Best! Wait until Matt Manuel sing his heart out and watch him act his face off! It is as if Dylan (who is all about reinvention anyway) has been reborn through this material.

Jeremy Webb in the GIRL FROM THE NORTH COUNTRY North American tour (photo by Evan Zimmerman for MurphyMade)

JHPENTERTAINMENT: If you could adopt one aspect of the Reverend’s personality and character into your own life, what would it be and why?

JEREMY WEBB: James’ badass hairstyle is key for me. I started out as a young actor in Drama School as very method-oriented and have become much more “outside in” as I have progressed through the many roles I have played in my career. When I settled into James’ badass hairstyle, something clicked for me. There is something telling and unique about the person who never feels the need to run a comb through his hair (we all know one!). So if I had to say, I’d say James’ badass hairstyle. It’s freeing! Less combs! More tangles!

JHPENTERTAINMENT: I frequently like to end these chat with this…what do you hope audiences take away with them after having seen Girl From The North Country?

JEREMY WEBB: I know that this musical provokes conversation. On the way home from the theatre and the next morning as well. Don’t try to “get” it all: there is a lot coming at you from this boarding house… sit with us for 2 + hours and feel Dylan stir your soul. And then go away having one of those juicy conversations with your seat mate or family member that only a brilliant piece of theatre can inspire! 

Thanks for the great questions.

See you at the theatre!

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Indeed they will see me there, as I look forward to attending Opening Night of Girl From The North Country’s Nashville dates. Girl From the North Country plays TPAC’s Jackson Hall Tuesday, January 30 through Sunday, February 4 with evening performances Tuesday-Sunday and additional matinees both Saturday and Sunday afternoon. CLICK HERE for tickets or more information.

Can’t make it to Nashville for these dates? Catch the show as the National Tour continues with upcoming stops in Greenville, Chicago, Philadelphia, Boston, Tampa and more. Be sure and check out Girl From The North Country’s Official Site at North Country Tour, or follow them on Facebook, X, Instagram and YouTube.

Following Girl From the North Country , TPAC‘s HCA/TriStar Broadway at TPAC season continues with TINA-the Tina Turner Musical, February 13-18. CLICK HERE for tickets or more information. Be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org,  TPAC on Instagram,  TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

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

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

Rapid Fire 20Q with Cast of ‘The Cher Show’; on stage at TPAC’s Jackson Hall as National Tour Continues

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With a career spanning seven incredible decades (and a number-one chart-topping single in each of those seven decades), Cher continues to break records, kick ass and take names. A 2018 Kennedy Center Honors recipient, as well as garnering a multitude of awards throughout her career, including an Emmy, an Oscar and a Grammy, everything Cher touches seems to turn to gold. Proving, as Cher herself might sing that, The Beat Goes On. A prime example of Cher’s lasting mettle comes in the form of The Cher Show, the recent Broadway hit jukebox musical, currently on a cross-country, tune-filled journey as the show embarks on its first-even National Tour.

Knowing that The Cher Show was coming to Music City for a limited two-day engagement, January 19 and 20 at Jackson Hall inside Tennessee Performing Arts Center, I knew I just had to reach out and pose a few questions to the cast. The Cher Show presents Cher in three distinctive eras. There’s Star—Cher in her modern era, played on tour by Morgan Scott. Then there’s Babe—Cher as a young woman in late teens and early Sonny and Cher years, played by Ella Perez. Rounding out the trinity of Chers is Catherine Ariale as Lady—revealing Cher as a solo artist, actress, business woman and mother. If you read my column with any regularity, you know my recurring interview feature is called Rapid Fire 20Q. Seeing as how 20 doesn’t easily divide by three, I soon realized I needed to choose a fourth interview subject. A little research of the show quickly revealed that the choice for a fourth interviewee was obvious when I discovered that among the supporting cast of characters a member The Cher Show ensemble not only appears as Cher’s mother, Georgia Holt, but also as Cher’s mentor and friend, Lucille Ball…that’s right, my celebrity obsession! Done…Lucy Werner , who appears as both Georgia and Lucy, would be my fourth interview for this edition of Rapid Fire 20Q featuring the cast of The Cher Show.

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RAPID FIRE 20Q WITH MEMBERS OF THE CAST OF THE CHER SHOW

RAPID FIRE WITH THE CHER SHOW’s MORGAN SCOTT

JHPENTERTAINMENT: In the National Tour of The Cher Show, you play Star, Cher in more recent times. What is one aspect of Cher’s current persona that you’d like to mimic in your own life?
MORGAN SCOTT: Her never quit attitude! She just got ANOTHER #1 Hit which means she has a charted a #1 hit for 7 straight decades. That’s just incredible and goes to show, it ain’t over til Cher says it’s over!

JHPENTERTAINMENT: I understand you have ties to Tennessee, Any plans to catch up with former classmates and friends while so close during your Nashville tour stop in Nashville at Tennessee Performing Arts Center?

MORGAN SCOTT: I grew up in Memphis and then went to college at the University of Tennessee Knoxville where I received my BA in theater. I have many family and friends coming to the Nashville shows!! One of my college theater friends is actually flying down from New York (where he lives currently) to stay with his family here in Nashville so he can come support and see the show. Another close college friend who I traveled cross country with 20 years ago, is also coming with his family. It’s going to be a really magical experience here back in my home state.

JHPENTERTAINMENT: On the subject of Tennessee connections, we have a mutual acquaintance…my friend Carol Mayo Jenkins. Not Cher-related, I know, but anytime someone knows or has worked with Carol, I have to ask…what do you remember most about working with Carol in a theatrical production?

MORGAN SCOTT: Oh my goodness, Carol Mayo Jenkins is my hero. Anyone who went to UT with me, involved in theater, knows that she was my mentor and completely took me under her wing. I was fortunate enough that during my time at UT, she created a new master class for a select group of undergrad theater students. She then made sure I was introduced to all the resident guest actors and teachers that came in. Her words of wisdom, quickly followed by her iconic “Do you know?” live with me on the daily. I distinctly remember being overwhelmed with fear/nerves before presenting a monologue and she looked at me and said, “You did the work. Now just let it happen. It’s there.” …Also, going back to the never quit attitude: CMJ lives and breathes it. She is still absolutely crushing it on stage.

JHPENTERTAINMENT: Can we just take a minute to gush about Bob Mackie? Cher’s celebrated long-time costume designer recreated numerous iconic looks for the Broadway run and the tour. Do you have a favorite costume, whether it be yours or that of one of your fellow-Chers?
MORGAN SCOTT: How does one even choose between these works of art!!? I think I can speak for most of us that during our costume fittings core memories were unlocked. If I had to choose… one of my finale looks, that is the “Goddess Warrior” concert look, just makes me feel incredible. I think it will always rank as one of my favorites because it just represents everything that was just accomplished.

JHPENTERTAINMENT: As Star, you share stage time with Mike Bindeman and Gary Paul Bowman as Cher’s second husband, rocker, Gregg Allman and younger boyfriend, Rob Camilletti, respectively. Of course the tabloids gave a version of both relationships, as does The Cher Show, but what about the men behind the roles? Describe each of your two leading me using only one word each.

MORGAN SCOTT: Mike Bindeman – Enigmatic Gary Paul Bowman – Pure

RAPID FIRE WITH THE CHER SHOW’s CATHERINE ARIALE

JHPENTERTAINMENT: In The Cher Show, you play Lady, as Cher navigates the post-Sonny & Cher years as a solo artist. What more can you tell me about the role?
CATHERINE ARIALE: Lady steps into the spotlight when Babe (youngest Cher) freezes in front of a crowd – being too nervous to continue. Lady is a confident version of the younger Cher the audience sees in the beginning of the show. She comes into the story during peak Sonny and Cher success. She is witty and commanding in front of a crowd. We see Lady at a major crossroads in her life – tension in her work and love life is getting to be too much, and we watch her make choices that will affect her personal and professional life moving forward. I love getting to play Lady because she bridges the gap between the naive young cher and the confident, iconic, diva we all know and love today.

JHPENTERTAINMENT: A little pre-chat digging revealed that you received your BFA from New York’s Pace University in 2019, then made the move to NYC where you’ve appeared off- Broadway at Triad Theatre and Theatre Four and now you’re playing Cher in the first National Tour of The Cher Show. Was getting cast as the iconic songstress a “pinch me” moment?

CATHERINE ARIALE: One hundred percent! It was a “pinch me” moment and more!! Leading a national tour has always been a dream of mine, so to officially get the offer was surreal. I remember feeling a bit stunned when I first got the call, it didn’t really sink in until the next day. I went to a little cafe by myself to get breakfast and watch the bootleg on my laptop, and I remember tearing up at the Vegas sequence because that’s when Lady takes over the story for a bit. I couldn’t help but feel so excited and grateful that that was going to be me. I’m sure the patrons around me in the cafe thought I looked crazy!

JHPENTERTAINMENT: The National Tour of The Cher Show kicked off back in November and is set to travel to 57 cities. This being your first National Tour, what’s been your favorite aspect of life on the road thus far?
CATHERINE ARIALE: By far my favorite aspect of tour life has been getting to explore the cities we visit. There are so many parts of the country I have never been to, so the fact that I get to travel for my job and take time to explore cute little towns while performing every day is a gift. I always make a point to find a cute local coffee shop, bookstore, or thrift store!

JHPENTERTAINMENT: With Cher’s career and life divided so clearly between Babe, Lady and Star, there are very distinctive looks for each character. While the bangs of Babe and the straight raven tresses of Lady are indeed iconic, to me, it’s the bigger than life bouncing curls of Star that are my favorite Cher look. What can you tell me about Roxanne de Luna’s wig designs and the how donning the wig aides you in your transformation as you prepare for each night’s show?

CATHERINE ARIALE: It is surreal going from a rehearsal room without costumes or wigs, to performing the show at full speed with all glitz and glam on stage. I felt quite connected to the material and my character beforehand, but let me tell you – it completely changes and transforms once you put those costumes and that wig on! Our head of hair and makeup, Lisha Michel, informed me the other day that everytime she puts my Lady wig on, she notices my whole demeanor and body changes – she says I sit up straighter and my face gets longer. This all must be subconscious, because to me, it just feels as though my character is truly complete and I am ready to go onstage! The wig really is the perfect cherry on top.

JHPENTERTAINMENT: As Lady, you share a scene and musical number near the top of Act 2 that’s of particular interest to me because I’m completely obsessed with all-things Lucille Ball. In the scene Cher gets a little advice from the legendary comedian, played by Lucy Werner. First of all, how surreal is that scene, bringing two of the most recognizable women together on stage for the audience and secondly, how is Lucy Werner as a scene partner?
CATHERINE ARIALE: Getting to do that scene is so much fun – it’s two of the most iconic women ever! The crowd always gets a kick out of the aside Star gives to the audience, “Hand to God guys, this conversation actually happened”, because it really is wild to think of these two women chatting it up and helping one another out during this crossroad in Cher’s life. I couldn’t ask for a better scene partner than Lucy Werner. She comes on with such energy, generosity, and incredible talent every single night. She never fails to bring the house down with her grit and sparkle.

RAPID FIRE WITH THE CHER SHOW’s ELLA PEREZ

JHPENTERTAINMENT: You play Babe in The Cher Show, 1960s era Cher. Who is Babe to you and what are her strongest characteristics?
ELLA PEREZ: Babe is Cher’s inner child, who comes back throughout the show to remind us of the little girl with big dreams who got her to where she is today. She’s shy but very spunky, she’s passionate, she’s driven, and she’s going to get what she wants no matter what. I just love her.

JHPENTERTAINMENT: A quick peek at your performing resume reveals you’ve had extensive dance training. While Cher herself seems to have certain signature moves, The Cher Show, as choreographed by Antoinette DiPietropo is packed with choreo. Is there a dance sequence in the show that you’re particularly fond of?
ELLA PEREZ: I might be biased, but definitely The Beat Goes On. I don’t know how else to describe it besides “So Broadway”.

JHPENTERTAINMENT: On the subject of dance, during the rehearsal period, what was a typical day like for you and your fellow Chers?
ELLA PEREZ: For me, it started out on the Long Island Railroad, with an iced latte and breakfast sandwich. Initially, we would break up into two different rooms- one for scene work with our fabulous director Casey Hushion, and the other for dance numbers with our choreographer Antoinette. After a few hours of the ensemble and principals working separately, we would merge and put pieces together, which was always so much fun. Eventually we would just run the show once in the morning, take a lunch, and clean specific spots in the afternoon. They were long days, but we had so much fun.

JHPENTERTAINMENT: As Babe, you share the stage with Lorenzo Pugliese as Sonny. A couple years ago, I had the chance to chat with Lorenzo when he was starring in SpongeBob: The Musical. What’s he like as a scene partner?
ELLA PEREZ: Lorenzo is SO much fun to work with. He definitely keeps me on my toes, and is so giving with his energy and charisma on stage. Working with him felt so natural from the jump.

JHPENTERTAINMENT: With Babe firmly planted in the 60s, Cher presents what would be the first of many iconic looks. If you could time travel, do you think you’d have fared well in the 1960s and what do you think you would have enjoyed from that time period?
ELLA PEREZ: Absolutely. That hair? The crazy eyeliner? I would have thrived back then. I think I would have loved the music the most. It had such a unique sound, and brought about so many musical trailblazers. And I definitely would have been a crazy Beatles fangirl, considering my passion for One Direction growing up.

RAPID FIRE WITH THE CHER SHOW’s LUCY WERNER

JHPENTERTAINMENT: Alright, I’m just gonna admit it…when presented the opportunity to chat with some of the stars of The Cher Show National Tour, Yes, I wanted to chat with the three actresses who play Cher during various parts of her life, but I also wanted to talk to you…because not only do you play Cher’s Mom, Georgia Holt throughout the show, but you also play Lucille Ball in a very telling Act 2 scene. And yes, I’d be remiss if I didn’t mention the fact that this dual casting is very meta considering Georgia appeared in a 1956 episode of I Love Lucy as a fashion model in the hilarious Lucy Gets a Paris Gown episode, but I digress. How much fun are you having in this show?

LUCY WERNER: Oh my goodness, I need to watch that episode! Did not know this fun fact. I am having an absolute ball, especially playing my namesake. I have always strived to be like Lucille Ball – she was undeniably confident, unapologetically fearless and most of all she was absolutely real. Her timing was impeccable. Watching tv interviews of her astounds me with how authentic she was, which is why she was so funny. Playing her feels very right, I’m so grateful to get to draw on those lips every night.

JHPENTERTAINMENT: As Georgia, you get to perform one of the show’s lesser-known Cher tunes, You Better Sit Down Kid, which Cher originally released in 1967 as part of her With Love, Cher album. While modern audiences might not be that familiar with it, the song broke the Top 10, become Cher’s second hit. What’s your favorite aspect of performing this particular song?

LUCY WERNER: Yes, I had never heard this song before. Something I love about Chers earlier music is how she’s always telling a story. This song feels so poignant to this plot point in the show that I wasn’t sure it was a real song! It just goes to show she was always a remarkably authentic artist in her own way. She told stories through her songs that she could relate to, or even very personal to her life. I enjoy singing this song because it really has an emotional depth. A father figure leaving the home is a very difficult thing for a child to go through, as well as the single mother left behind – especially during that era. Cher and her mother Georgia went through it many times together I believe.

JHPENTERTAINMENT: As mentioned above, you also play Lucille Ball. Talk about icons…Cher and Lucy! As portrayed within the contest of the show, Georgia and Lucy give Cher advice and encouragement. Who in your own career has played the role of mentor and advisor?
LUCY WERNER: I love this question! Most certainly my mother has always been an amazing advisor for me, a sounding board. What you need most from an advisor is empowerment and honesty. Someone to tell you that you are actually doing a good job and to just keep going. To take the scary leap of faith, someone who encourages you to jump! As for a mentor I try to find mentorship wherever I can. Try to learn from all the people that have come in and out of my life, and as someone who has performer for the past ten years that has been many many people! I would love to find one serious mentor though, I think that would be really special. Maybe if I could just stay still for a few years I will find them 😉

JHPENTERTAINMENT: Can you share with me the logistics and backstage goings-on of transforming into Georgia for the top of Act 1, then to Lucy for the beginning of Act 2 and back to Georgia for the end of the show?
LUCY WERNER: Getting into the first Georgia look really just involves some light blush and my favorite wig. As you mentioned I come in and out of the show so I have plenty of time backstage to meander about and slowly change into my next costume. But going from Georgia to Lucille requires a bit of a lipstick exaggeration and a little more blue eye shadow. I love putting on Lucille’s bling, it’s an outside-in transformation for sure. Add a faux cigarette and Lucille is complete! Once again I just need to transform my face and wig to get back to being Georgia. And I have at least 30 minutes for that one so you can imagine it’s nice and relaxed transition!

JHPENTERTAINMENT: Lately, I’ve ended most of my interviews by asking one final question. Since you’re my last interview for The Cher Show, I’ll ask…What do you hope audiences remember most about The Cher Show?
LUCY WERNER: I hope audiences walk away empowered! I hope each individual feels that if Cher could accomplish what she did despite the adversity she faced as a woman in a “man’s world” then it should go to show that anyone with such commitment, determination and gusto can make their dreams happen too. Regardless of what she was told and experienced repeatedly Cher declared it is actually a Woman’s World and that might be true today in great part because of her. To quote the show: “It’s about being shit scared and facing it anyway.”

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With that, my conversations with the cast of The Cher Show concluded, but as Cher might lyrically put it, you better Believe, you haven’t seen the last of them. I got you, babe, because the beat goes on when The Cher Show takes to the stage of TPAC’s Jackson Hall Friday and Saturday, January 19 and 20 as the National Tour continues. Nashville performances of The Cher Show are Friday, January 19 at 8p.m. and two shows Saturday, January 20, a 2p.m. matinee and an 8p.m. evening performances. CLICK HERE for tickets.

Following the Nashville tour stop, The Cher Show heads to Conway, Arkansas’s Reynolds Performance Hall on January 21; Muncie, Indiana’s Emens Auditorium on January 23, The Vern Riffe Center for the Arts in Portsmouth, Ohio on January 25; Lexington Opera House in Lexington, Kentucky on January 26-28; E.J. Thomas Performing Arts Hall in Akron, Ohio January 30&31; The Capitol Theatre in Wheeling, WV on February 1 and many more cities across the US through Spring of 2024. CLICK HERE for the full tour schedule and to purchase tickets in a city near you.

You an also follow The Cher Show on socials. CLICK HERE to check out the official site, and follow them on Facebook and Instagram.

Folowing The Cher Show, TPAC‘s HCA/TriStar Broadway at TPAC season continues with Girl From the North Country from Tuesday, January 30-Sunday, February 4. CLICK HERE for tickets or more information. Be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org,  TPAC on Instagram,  TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

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

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

Rapid Fire 10Q with Vegard Wikne, lead vocalist of Norway’s Dobbeltgjenger; new single ‘F.M.L.’ available on all platforms Friday, January 12

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Recently I had the opportunity to listen to an advance copy of F.M. L., the newest single from Norwegian rockers Dobbeltgjenger. One listen is all it took. With the Friday, January 12 release of their latest single serving as an introduction to North American audiences courtesy a streaming distribution partnership with newly formed Soundcrest Music Group, I knew I needed to know more about the band. To that end, I chatted with lead singer Vegard Wikne for the latest installment of my recurring interview feature, Rapid Fire.

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JHPENTERTAINMENT: As we begin, I have to tell you I love the name of the band. In fact, I have long said that doppelgänger, the 19th century spelling, is my favorite word. What went into deciding to name the band Dobbeltgjenger?

DOBBELTGJENGER’s VEGARD WIKNE: Thank you! Well, we were actually called Doppelganger the first couple of weeks, but ended up changing it to the Norwegian version, Dobbeltgjenger. It was originally a Twin Peaks reference and I just loved the feel of the name! And nobody else is called that!

JHPENTERTAINMENT: Dobbeltgjenger, being based in Norway, might not be familiar quite yet to American audiences. Let’s change that! For those not familiar, who’s who in Dobbeltgjenger?

DOBBELTGJENGER’s VEGARD WIKNE: I (Vegard Wikne) write most of the songs, sing and play the guitar (and now sampler!) live.

Jone Kuven is our trusted bassist and bass-synthist!

Bastian Veland plays the guitar and synths.

Sondre Veland (Bastian’s cousin) plays drums and piano.

JHPENTERTAINMENT: How long has Dobbeltgjenger been together?

DOBBELTGJENGER: This line up (the final form!) has been together since around 2020. The band Vegard and friends has been going since the first album in 2015.

JHPENTERTAINMENT: Your new single is F.M.L. but that acronym is a flip of what most people might initially think it stands for. How did you come up with the clever wordplay for the single?

DOBBELTGJENGER’s VEGARD WIKNE: The song was written about my ADHD, and the demo for it was called F.M.L. for some reason, haha. Probably a bad ADHD day… Then I really wanted to hold on to that title and wrote the chorus and made it an acronym for Feed Me Love. The concept revolves around ADHD and the fleeting connection with other people, with a  juxtaposition of the intense need for love and closeness.

‘F.M.L.’ cover art by Sierra McLean

JHPENTERTAINMENT: How did F.M.L. come to be your newest single?

DOBBELTGJENGER’s VEGARD WIKNE: It was one of the more driving and «hooky» songs of our bunch of songs (that will be released as an album in June). Just felt like a single!

JHPENTERTAINMENT: F.M.L. is quite the earworm: catchy melody and clever lyrics. How would you describe the song musically?

DOBBELTGJENGER’s VEGARD WIKNE: The song started with a mission: to make a song that sounds like ADHD. So I would describe it as kind of hectic, relentless and driving alternative rock/pop song. The song started with the jumpy synths that kind of reminded me of thoughts jumping around in ones head. And then I wanted a pumping and kind of random drum beat, with these crazy random fills, haha. I really think it sounds like the inside of my head.

JHPENTERTAINMENT: On the subject of the lyrics, my favorite F.M.L. lyric comes at the end of the first verse, “Life is a test for me, but I’m a bumblebee. Heavy and small-winged beast. I’m gonna fly even though I can’t.” Is there a lyric within F.M.L. that really speaks to you?

DOBBELTGJENGER: It’s probably that one. That line is the hope in the song. The resilience. Even though you have your dispositions, circumstances and things going against you, you go even harder at life to overcome it. You can fly even though you can’t, like a bumblebee.

JHPENTERTAINMENT: F.M.L. has a decidedly different vibe than Rocket Shoes, your 2022 release. And a quick search online categorizes Dobbeltgjenger as alt-rock…can Dobbeltgjenger be defined by one genre?

DOBBELTGJENGER’s VEGARD WIKNE: The short answer to that is probably no. The slightly longer answer is that we really don’t want to limit our music to a single genre. The most important thing to me is making music that feels real and that it feels interesting and engaging to me and the others in the band.

JHPENTERTAINMENT: The F.M.L. single artwork is by Canadian graphic artist Sierra McLean. McLean also provided cover art for your previous album The Twins and the aforementioned Rocket Shoes single. What is it about McLean’s visual aesthetic that embodies Dobbeltgjenger‘s sound and creative spirit?

DOBBELTGJENGER’s VEGARD WIKNE: I love Sierra’s art so much. I stumbled over her work on Tiktok last year and have worked closely with her ever since. She just has this playful but at the same time melancholic feel to her work, which I love and also think fits our music well.

JHPENTERTAINMENT: With the release of F.M.L., you’re working for the first time with newly formed Soundcrest Music Group for North American distribution and promotion. How excited are you for this new partnership and the prospect of more exposure in the US?

DOBBELTGJENGER’s VEGARD WIKNE:  We are all super excited about this! This is the first time we have had any type of representation in the US and it’s just amazing to have people working to get our music out of Europe and into, hopefully, a lot of American ears!

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To check out Dobbeltgjenger’s new single, F.M.L., CLICK HERE. Wanna keep up with the band? Check them out on their OFFICIAL SITE, or give them a follow on Facebook, Instagram, YouTube and Tiktok.

If you’ve enjoyed this latest Rapid Fire, be sure and CLICK HERE to check out previous conversations. if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram, Twitter and Facebook. Till then, #ListenToTheMusic!

Rapid Fire 20Q with director and cast of Circle Players’ The Lion in Winter; onstage at Looby Theater January 12-28

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If memory serves, it’s been since 2009-nearly 15 years-since Nashville audiences have had the chance to see a theatrical presentation of The Lion in Winter. All that changes Friday, January 12 as Circle Players presents the James Goldman-penned retelling of a certain drama-filled Christmas of 1183 hosted by England’s King Henry II, his long-imprisoned but still willful wife, Eleanor of Aquitaine and their children as the fate of this successor dominates the occasion. Directed by Clay Hillwig, Circle’s The Lion in Winter features among its cast, Jack E. Chambers as Henry II, Kay Ayers as Eleanor of Aquitaine and Elizabeth Burrow as Alais Capet. Recently, as the director and cast were readying the show for Friday’s opening, I had the opportunity to pose a few questions to Hillwig, Chambers, Ayers and Burrow for the latest installment of my recurring interview feature, Rapid Fire 20 Q.  

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RAPID FIRE 20Q WITH DIRECTOR AND CAST OF CIRCLE PLAYERS’ THE LION IN WINTER 

RAPID FIRE WITH THE LION IN WINTER DIRECTOR, CLAY HILLWIG

JHPENTERTAINMENT: How did you come to direct The Lion in Winter for Circle Players? 

CLAY HILLWIG: It appears to have been destiny. I had originally agreed to direct the play Clue in this same time slot, which would have been a lot of fun. But, due to a Broadway touring revival of the show, the rights became unavailable. The board then asked me to submit a list of shows that I would be interested in. After putting a list together, which included The Lion In Winter, I knew that this was the only show I really wanted to submit. So, I took a chance and only sent them this show. I then offered to meet with the board to share my vision and why I felt so strongly that this show should be a part of their season. Within the hour, I received a response that they were submitting for the rights. Like I said…destiny.

JHPENTERTAINMENT: What is is about this particular play that interests you as a director?

CLAY HILLWIG: I love plays that have a strong family dynamic. Even if the story is not necessarily directly centered around the family, I am generally moved with the relationship aspects of the story. A great example of this is The Godfather. While perceived to be a book and movie about organized crime, in reality the story was written about family. In this script, we see the power struggle within the royal monarchy, but the family relationships are the driving force within the story. Many of these same issues, can be found in the everyday lives of average families that we know or have experienced them first-hand within our own families. Parents struggling with their own marital issues. Children caught in between the two parents, all the while struggling to find their own identities in life. One of the most power scenes is the Father (Henry) and Son (Richard) conflict that many families know so well. One of the reasons that I felt strongly about the timing of putting this show up is the popularity of the HBO show Succession. The power struggle between the children within this media mogul family is very similar to what we see here in The Lion In Winter. Aside from the story line itself, it is the language is that I really love. Playwright, James Goldman has provided us with a script that is clever and very quick witted.  It lends to some wonderful interaction between characters and pacing that keeps an audience engaged. Besides, how can you not love Henry and Eleanor of Aquitaine?

JHPENTERTAINMENT: Many audience members, myself included may primarily be familiar with the piece thanks to the 1968 film adaptation starring Katharine Hepburn and Peter O’Toole or perhaps the more recent 2003 Showtime remake starring Patrick Stewart and Glenn Close. When were you first made familiar with the play itself?

CLAY HILLWIG: In regards to the 1968 film, I saw this in the early 70’s as a teenager. Even then, I was fascinated with the characters and story line. And of course, the performances by both Katharine Hepburn and Peter O’Toole are in my opinion some of their finest work. It was an ACT I production directed by Melissa Williams that first introduced me to the stage version. Brian Hill played Henry and the wonderful Maggie Bowden played Eleanor. It was a wonderful production. I left the theater knowing that I either wanted to play Henry, direct this show or hope for opportunities to do both. Not in the same show of course. Now I am blessed to direct the show and to be jealous of Jack Chambers for playing Henry all at the same time.

JHPENTERTAINMENT: Playwright James Goldman based The Lion in Winter, at least in part, around Henry II and historical elements regarding his hopes of his successor. WIth that in mind, how important is it to you as a director to present the story as authentically as possible?

CLAY HILLWIG: It was important to me, to spend time in table reads and relationship building prior to putting the show on its feet. As part of our process, we spent a couple of weeks just working through the character dynamics of the script and how it relates to history. It was important for us to learn not only the events prior to our story, but also what was to come post-Christmas 1183. It was fascinating to learn where they had been and where the family ended up in history. Each actor was committed to taking  it upon themselves, to learn everything they could about their characters place in history. In relation to how this plays on stage, we put full trust in the playwright. Goldman did a wonderful job of representing the entire family. Each individual is well represented as far as their place within the struggle for succession to the throne. In my opinion, he puts a real emphasis on the struggle that Henry had in his relationship with his sons and the decision of who would succeed him in greater detail than the movies previously mentioned did.

JHPENTERTAINMENT: What do you hope audiences come away from The Lion in Winter remembering about this production?

CLAY HILLWIG: One of the most important things that I hope with impact our audiences, is that there is still a place for classic pieces of theater. We seem to have moved to the newer shiny productions, often leaving creative gems such as The Lion In Winter, not given the attention they deserve.

RAPID FIRE WITH JACK E. CHAMBERS, HENRY II IN THE LION IN WINTER

JHPENTERTAINMENT: What is your favorite aspect of Henry II as he’s written in the script of The Lion in Winter?

JACK E. CHAMBERS: I love that Henry is a warrior, but he’s a word-wielding warrior with intelligence, strategy, cunning, and deadly humor in addition to being an actual soldier. The language of the play, especially the interplay between Henry and Eleanor, is just outstanding — some combination of the banter of 1940s comedies and the razor-sharp merciless attacks of Succession. He’s described as a phenomenal warrior, but all of the joy in playing him is in the satisfaction of the language, especially offsetting the fact that he’s starting to fade physically.

JHPENTERTAINMENT: During your three decades+ career, you’ve appeared in a number of Circle Players productions. What is is about Nashville’s oldest continuing theatre company that keeps you coming back?

JACK E. CHAMBERS: Circle is a Community Theatre in the truest sense of the word. I know folks whose Circle time goes back decades further than my own, and mine goes back 30 years at this point. I love the “all are welcome” spirit of a true Community company, and really selfishly appreciate that over those years, Circle hasn’t just been doing Oklahoma or Arsenic and Old Lace over and over — half the shows I’ve done with them were Nashville premieres.

JHPENTERTAINMENT: On the subject of previous Circle shows, back in 2010, you appeared in a production of The Grapes of Wrath, directed by Clay Hillwig, who’s directing The Lion in Winter. Are you enjoying working with Clay again and how is he as a director?

JACK E. CHAMBERS: I haven’t gotten to work with Clay since then — you end up in different places and it happens sometimes, right? — but I loved getting to pick right back up with him. Something I love about Clay is that he has the vision to imagine beautiful things *and* the skills to make them happen at the same time. He’ll throw out high-concept stuff, big-picture stuff, and also “hey just try this one little tweak” ideas, which is great. And again selfishly, when we did Grapes, I was a musician in the show as well, and pitched a mini-concert to him; we got to play period songs all through pre-show and intermission, which was a blast.

JHPENTERTAINMENT: As the central patriarch, you share the stage with Kay Ayers as Eleanor, Henry’s Queen, as well as Elizabeth Burrow, Henry’s rumored mistress. What’s been it been like sharing the stage with each of these actresses?

JACK E. CHAMBERS: I’ve known Kay for most of the years I’ve been in town — we did And Then There Were None together back in 1997 — and have loved playing off her. She’s a match for anybody physically or verbally, with wit and spirit and daring. She’s great. I just met Elizabeth this past year, and she’s been lovely; Alais is the single-most vulnerable character in the show, but shows crystal-clear understanding of the goings-on around her and true strength to persevere, and Elizabeth has nailed that balance. She’s a total charmer.

JHPENTERTAINMENT: A quick peek at your professional bio would indicate that throughout your stage career you’ve played a variety of characters often utilizing your prowess with varying dialects. The Lion in Winter being set in Medieval England in the year 1183, did the cast work with a dialect coach or were you each left to your own devices in that regard?

JACK E. CHAMBERS: I’d say it was some combination of “own devices plus tweaking as we went,” with additional discussions as required. Because we’re technically in Middle English, setting-wise, there’s a fascinating, not-historically-accurate-but-entertaining mix of Middle English, 20th century patter, anachronistic traditions, French terms and names and places, Shakespearean rhythms, Broadway Golden Age character types — it’s such a great stew. Although we didn’t work with a dialect coach, we did work with a linguistic consultant — a collaborator and friend of mine from college who’s an Old- and Middle English specialist — on people and place names, sources, literary origins for some of the references… it was fascinating!

RAPID FIRE WITH KAY AYERS, ELEANOR IN THE LION IN WINTER

JHPENTERTAINMENT: In Circle Players’ The Lion in Winter, you play Queen Eleanor of Aquitaine. Iconic actresses Rosemary Harris, Joan Fontaine and Stockard Channing all starred in stage productions while Katharine Hepburn and Glenn Close lit up the big and small screens respectively in the role you’re now taking on. So, not only are you playing an actual historical figure, but one with a luminous stage and screen history. How excited are you to put your own spin on Eleanor?

KAY AYERS: Excited would be an understatement. Thrilled with a touch of gobsmacked is close to my emotion! When I received the casting call, I don’t think I spoke for 30 seconds. This really is a once in a lifetime chance. I’m so lucky that I’ve been given this opportunity. And yes, I’m experiencing a lot of nervousness to get this character “right”.

JHPENTERTAINMENT: The Lion in Winter marks a bit of a homecoming for you, having made your Nashville acting debut back in 1994 in a Circle Players production. What was the show and what’s it like to be back with the company where it all started?

KAY AYERS: The Three Musketeers in Circle’s 46th season was my introduction to Nashville theatre and to Circle in particular. My first audition and show were in TPAC’s Johnson Theatre, where I went on to perform in numerous productions. Coming back to perform at Circle was a goal of mine for some years now. The stars aligned perfectly! Walking into the rehearsal space I helped move into, set up, and clean brought back a flood of emotions. We’ve lost so many of those individuals who gave their heart and soul to Circle over the years. I’m just blessed to have known most of the “old guard” and to have gleaned knowledge over the years, making me into the actress I am today.

 JHPENTERTAINMENT: In preparing to chat with you and your cast mates, I revisited the above mentioned 2003 telefilm. I love all the barbs and quick quips among the royals. Eleanor in particular has some great lines. My favorite, at least in the 2003 tv adaptation occurs in a scene involving Eleanor, John and Richard in which Richard threatens John with a knife. John says to their mother, “He has a knife”. Eleanor quickly replies, “We all have knives. It’s 1183. We are barbarians”. Do you have a favorite line in the show, whether it be yours or someone else’s?

KAY AYERS: Eleanor really does have the best lines! I relish several of those barbs she flings at her opponents! But one of the most deeply truthful lines, and weighty, is one that is delivered by Elizabeth Burrow, our enchanting Alais “I haven’t got a thing to lose: that makes me – dangerous.”  It’s so telling. All the other characters have a twisted and complicated series of moves they’re making. And here Alais stands, ready to take them all on. Because she really doesn’t have anything to lose and everything to gain. It’s just a powerful line.

JHPENTERTAINMENT: While you’ve shared the stage with Clay Hillwig in the past, this marks the first time he’s directed you in a show. During the rehearsal process, what is it about Clay’s directorial style that you admire most?

KAY AYERS: It’s crucial for an actor to bring their own creativity and artistry to a character or a scene. To be able to play and discover with my fellow actors is my favorite part of the rehearsal process. Clay allows us to do that. He doesn’t dictate or demand we do something. It’s a very collaborative process, and vital for successful production. Clay and I often laugh because I will throw an idea out, and then he shows me a note in his script with the exact same idea! It’s happened more than a handful of times!

JHPENTERTAINMENT: Something I love about period piece dramas is the costuming. Add to that a royal aspect and that’s a whole other level. What can you tell me about Costume Designer Grace Montgomery’s choices for The Lion in Winter and in particular your wardrobe as Eleanor?

KAY AYERS: The whole concept for the production isn’t to be ostentatious. Yes, they’re royalty, they’re rich, but it’s still 1183. The entire family has gathered for the first time in a long while. Grace has hit the mark with an even level of embellishments for each character. Eleanor is in a deep red throughout the show. While all the others are in a jeweled palate, hers definitely stands out a bit more than the rest. Grace was so determined to find the right color on one velvet dress, she dyed it 4 times to obtain what she wanted!  And I couldn’t be more pleased. It really adds to the regality of the character.

RAPID FIRE WITH ELIZABETH BURROW, AlAIS IN THE LION IN WINTER

JHPENTERTAINMENT: You’re playing Alais Capet in Circle Players’ The Lion in Winter. How familiar were you with the real-life Alais prior to being cast? AND..have  you researched the true history of the events within the play as you’ve developed your take on the character?

ELIZABETH BURROW: I did not know anything about Henry II nor Eleanor of Aquitaine before this show, let alone Alais Capet. I read that her mother, Constance of Castile, was the second wife of Louis VII after Eleanor and died giving birth to Alais. Her older sister Margaret was married to Henry III who died in 1183, the same year the play takes place, so there was a lot of pressure from the French for her to marry and keep the French-English alliance strong. After Henry’s death, Richard was no longer willing to marry her, so her brother King Philip brought her back to France where she married William IV Talvas, a small ruler of a French province when she was 34 years old.

JHPENTERTAINMENT: Is there an aspect of Alais that you’d like to incorporate into your own life or that you feel you truly share with the character as she’s presented in this piece?

ELIZABETH BURROW: Alais is a very sweet soul who doesn’t have the same manipulative tendencies as the rest of the characters in the show, and her intentions are always for the well being of Henry, even at her possible detriment. I think it’s something that I and anyone can strive to emulate more in our lives. Alais and I both tend to wear our hearts on our sleeves, and it’s a joy to share that in common with her as she goes through so much emotional turmoil throughout the play.

JHPENTERTAINMENT: I understand this is your first Circle show. Were you familiar with the company and how has the experience been thus far?

ELIZABETH BURROW: I had previously seen Peter and the Starcatcher (where I saw the brilliant Ezra High for the first time!) and their most recent production of Urinetown, but this is the first time I will be on stage for Circle Players, and it has been a wonderful experience to work with the cast and creative team. Being a smaller show than most, it brings a real sense of intimacy to the relationship not only between the characters but my castmates as well. It’s our own version of a family, though it resembles a much happier one than what we portray on stage.

JHPENTERTAINMENT: In addition to your on-stage role, you’ve also been part of the technical crew for The Lion in Winter, as scenic painter. What can you tell me about the set?

ELIZABETH BURROW: Clay is also our wonderful set designer for the show and approached me about painting for the stone walls backdrop that is a majority of the set. We wanted to replicate all the moodiness a medieval French castle offers as the single setting for the show, so most of the work was geared toward pulling out natural shadows that would occur in such a big and intimidating chateau. Like Henry, most of the set pieces are of a simple and non ostentatious nature, which assist in bringing a sense of reality and familiarity to the space.

JHPENTERTAINMENT: As Alais, you have two leading men, Jack E. Chambers as Henry II, with whom Alais is having an affair, and Sawyer Latham as Richard the Lionheart, with whom Alais has been betrothed since she was eight. Heck, even Ezra High’s John is interested in Alais. Of the three, IF you could choose who Alais ended up with, who would it be and why?

ELIZABETH BURROW: This is a difficult one. Many times in history, English royals have chosen heart over duty and sorely regretted their mistakes, and vice versa as well. As for John, I think she would’ve made a better babysitter than wife, though she possibly could have prevented some of John’s failures during his reign as king if he’d had a better companion to consult with. I am tempted to choose Richard as her husband as they could’ve lived their own separate lives and produced heirs and brought more stability to the kingdoms of France and England. However, I wouldn’t want to force that upon her, as she desperately tries to prevent the marriage from happening in the play (the heart wants what it wants.) I think her staying under Henry’s protection until his death was the right path to take, as I don’t think she ever wanted to have the title and power of Queen.

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Circle Players’ The Lion In Winter opens Friday, January 12 and runs through Sunday, January 28 at Z.  Alexander Looby Theatre (2301 Rosa L. Parks Blvd) (2301 Rosa Parks Blvd). Reserved seating tickets for The Lion in Winter are $27.  CLICK HERE to purchase tickets. Following The Lion in Winter, Circle Players will present another rarely seen theatrical experience, The Best Little Whorehouse in Texas, onstage March 15-31. For more information and to keep up with the latest from Circle Players follow them on Facebook and Instagram.

If you’ve enjoyed this latest Rapid Fire 20 Q, be sure and CLICK HERE to check out previous conversations. if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram, Twitter and Facebook. Till then, #GoSeeTheShow!

 

Theatre Review: National Tour of ‘Funny Girl’ playing Jackson Hall now thru January 7 as TPAC says “Hello Gorgeous” to second half of their 23/24 Broadway Season

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Telling the highly fictionalized story of vaudeville queen Fanny Brice, the National Tour of recent Broadway revival musical Funny Girl opened the Nashville tour stop Tuesday night at Tennessee Performing Art Center’s Jackson Hall, not only kicking off the new year, but also the second half of TPAC’s 23/24 HCA/TriStar Broadway at TPAC season.

While there’s definitely a percentage of the audience who are no-doubt devotees of the original 1964 Broadway debut of Funny Girl, it’s subsequent 1968 film and Barbara Streisand, who starred in both, it’s been more than half a century since Streisand laid claim to Fanny Brice. There’s likely just as many who are experiencing this show for the very first time, thanks to 2022’s Broadway revival that features a reworking by Harvey Fierstein of Isobel Lennart’s original book of the musical. I count myself among the latter. At the risk of having certain ‘memberships’ revoked, I’m just gonna admit it from the get…I’ve never been the biggest Streisand fan. There. I said it. Heck, I wasn’t even 100% sure I’d ever seen the film adaptation of Funny Girl and I’d certainly never seen Funny Girl on stage. Being a fan of Brice’s era of vaudeville, in particular Ziegfeld and his follies—mostly because of my obsession with Lucille Ball and the comedic similarities between Ball and Brice—I have fallen down more than one internet rabbit hole searching out the few rare clips of Brice, so I was familiar with her story and  I knew the songs from Funny Girl. I mean how can you be a theatre nerd and not know the music of Jule Styne and lyrics of Bob Merrill featured in one of the most beloved musicals of all time, right? Here’s the thing though. None of that mattered once the familiar notes of the Overture began to swell from the orchestra pit as conducted by Elaine Davidson. With each note, my anticipation grew and I somehow instinctively knew I was in for a grand night of musical theatre.

From the moment Katerina McCrimmon takes the stage, she IS Fanny Brice. She’s got the period-authentic New York dialect, the exaggerated facial expressions, but most of all, she’s got the voice. Ok, so the voice might be more what audiences expect thanks to the aforementioned Streisand portrayal, but I’m here to tell you McCrimmon makes the character her own while carefully maneuvering through, and well beyond what could easily be brushed off as an impression. Throughout the show, including more familiar territory of musical moments like I’m the Greatest Star, Don’t Rain on My Parade and People, and my personal favorite, His Love Makes Me Beautiful, McCrimmon vocal range, strength and ability prove time and time again she’s the perfect powerhouse to introduce Fanny Brice to a whole new generation of musical theatre fans.

It’s not just McCrimmon’s talents as a singer that reels you in, as she equally adept showcasing the funny and the girl. When scenes call for McCrimmon to honor Brice’s physicality as a comedic entertainer, her facial expressions and body language rival those of greats of the craft like Ball and Carol Burnett. When the plot goes deeper, McCrimmon steps it up and evokes emotion, not only in her performance, but in the audience reaction. Case in point, at the end of Act 1, when McCrimmon exquisitely belts out the show-stopping Don’t Rain on My Parade, I was frankly surprised the entire audience didn’t bound to their feet for a pre-intermission Standing O.

While I would be satisfied to sit in a theatre and just witness McCrimmon in a solo performance and be completely satisfied, of course she isn’t alone. Guess what? The entire company is quite brilliant. While the real Fanny Brice was thrice married (I told you I’ve been down my share of Fanny Brice rabbit holes) Funny Girl takes place after husband number one and focuses on Brice’s life and tumultuous relationship and ultimate marriage to husband number two, Nicky Arnstein, played handsomely by Stephen Mark Lukas. I say handsomely because…have you seen his social media? Thanks largely to the way Funny Girl is written, and the ‘character’ of Nicky, in particular, we are to believe that Arnstein was matinee-idol good-looking, giving dual meaning to the infamous line, “Hello, Gorgeous”. In reality, Arnstein was tall, lanky and not what you’d call traditionally handsome. But back to Lukas and his matinee looks. Like his leading lady, he’s also go talent to back it up. Under the show’s director, Michael Mayer’s watchful eye, I thoroughly enjoyed every aspect of Lukas’ portrayal of Arnstein. Not only does he look like an Old Hollywood movie star, he even sounds like one. His vocal delivery, in speaking and in song, sound as though you’re hearing him through a megaphone, with a deep, pure and enchanting vibrato.

Izaiah Montague Harris plays the always in-step and dependable Eddie Ryan, a dancer/choreographer friend of Fanny’s who’s always there to help her with her career and pick up the pieces when Nicky is out of step. When I say Harris’ Eddie is in-step, I mean it. One of the best non-Fanny-centric moments of the show features Harris in a tap-tactic dance sequence. Which reminds me, kudos to the show’s costume designer, Susan Hilferty. Yes, all of Fanny’s period-perfect costumes are fabulous, but it was during Harris’ tap number that I notice a wonderfully clever costuming detail. Hiferty has sewn the occasional rhinestone throughout the pant legs of Harris costume, which catch the light of his fancy footwork and draw the eye throughout the dancer’s entire body, allowing those of us who picked up on this seemingly random detail the joy of watching the full mechanics, precision and skill of the dance.

While the entire ensemble is simply marvelous, other stand-out performances come courtesy a trio playing slightly older characters: Mrs. Brice, Mrs. Strakosh and Mrs. Meeker, played respectively by Barbara Tirrell, Eileen T’Kaye and Christine Bunuan. Tirrell, (who’s stepped into the role of Mrs. Brice while original tour cast member Melissa Manchester recuperates from recent surgery) is the perfect mensch of a mom to McCrimmon’s Fanny. She gets her comedic time to shine in scenes with T’Kaye’s Mrs. Strakosh and Bunuan’s Mrs. Meeker as three old-neighborhood friends who spend their time playing cards, gossiping and bragging about their children’s accomplishments. In their memorable stage-time, T’Kaye and Bunuan charm the audience with their relatable portrayals of ladies everyone grew up knowing. The trio get their own musical moment early on with the mother-knows-best, albeit antiquated tune, If A Girl Isn’t Pretty.

Walter Coopage as Florenz Ziegfeld and David Foley, Jr. as Tom Keeney, two men instrumental in Fanny’s stage success each show different sides of men in power, Foley’s Kenney presented as a bit hard-nosed and doubting Fanny’s appeal, while Coopage’s Ziegfeld is seen as the nurturing father figure Fanny seemed to be missing. More potentially useless/useful rabbit hole info…Fanny’s father was a good provider, they didn’t live on seemingly downtrodden Henry Street as one tune suggests, but he was a bit of a drunk and her mother ran the family saloon businesses. What’s more…the notoriously hilarious Follies scene in which Fanny’s bride apparently got the marriage and family order confused…never happened. As I previously admitted being a Lucille Ball fan, something tells me that sequence was created more for laughs a la the I Love Lucy ‘showgirl’ sequence, than based in reality, but I digress.

In addition to the showgirl bridal number, the ensemble proves their mettle as they tap their way to thunderous applause, with another comedic turn by McCrimmon in yet another tap number, the all-in Rat-Tat-Tat-Tat midway through Act 2. Who are You Now and You’re a Funny Girl see Lukas’s Nicky in a more mature light than the devil-may-care flamboyant gambler he’s playing earlier on, and his voice is up to the challenge.

McCrimmon also gets the chance to show her character’s maturity in the show’s closing number, The Music That Makes Me Dance, during which we get another chance to witness McCrimmon’s vocal goddessness. That lasting final note! Wow…just wow!

Sorry to end my review with a bit of a Spoiler Alert, but during the curtain call, the whole company breaks out into one last chorus of People, and as they gesture towards themselves and then the audience during the lyrics “People who need people are the luckiest people in the world”, they reveal an all new meaning to those words…as performers, they need the audience, and therefore feel lucky to have us there. Guess what, Funny Girl? We, the audience are the lucky ones.

The National Tour of  Funny Girl at TPAC’s Jackson Hall continues with shows through Sunday, January 7. CLICK HERE for tickets or more information. You can also follow Funny Girl on Instagram, X (Twitter) and Facebook or visit The Official Funny Girl site for more info on the show or future tour stop details.

Following Funny Girl’s January 2-7 Nashville tour stop, next up for Broadway at TPAC is a limited two-night engagement of the National Tour of The Cher Show with performances January 19 and 20. CLICK HERE for tickets or more info. Be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org,  TPAC on Instagram,  TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

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

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

 

Rapid Fire Q&A with ‘Funny Girl’ National Tour Stars Katerina McCrimmon & Stephen Mark Lukas; at TPAC’s Jackson Hall January 2-7

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Tennessee Performing Arts Center is kicking off the new year and the second half of their 23/24 HCA/TriStar Broadway at TPAC season with the Broadway hit musical Funny Girl. Based in part on the true-life story of popular vaudeville-era superstar, Fanny Brice and her oft-tumultuous relationship with charming but unsavory gambler, Nicky Arnstein, the National Tour of Funny Girl stars Katerina McCrimmon as Fanny and Stephen Mark Lukas as Nicky. Taking a break from their holiday time off, McCrimmon and Lukas kindly agreed to answer a few questions for my latest Rapid Fire Q&A before the show opens at TPAC’s Jackson Hall Tuesday January 2 with a run through Sunday, January 7. What follows are those conversations:

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Rapid Fire Q&A with Funny Girl stars Katerina McCrimmon and Stephen Mark Lucas

Rapid Fire Q&A with Katerina McCrimmon, Fanny Brice in Funny Girl

JHPENTERTAINMENT: You’re currently starring in the national tour of Funny Girl. Prior to being cast, how familiar were you with Fanny Brice, the multi-talented performer upon whom the musical is loosely based, AND…did you do any further research on her after being cast?

KATERINA McCRIMMON: Besides dialect work and learning the material, becoming Fanny came quite easily to me. We both have this drive and zest for life and we know that our purpose on this Earth is to share our gift in artistry and make people feel something. During the rehearsal process, I strived to always have fun like I know Fanny would and connect to the emotional life of Fanny through her fears and desires. I did research on her scanning through her videos and her biography, but I knew at the end of the day I had to trust in my essence and try not to be a carbon copy of her – especially since the show is so loosely based on her life. 

JHPENTERTAINMENT: What’s one aspect of the character of Fanny Brice that you hope to adapt in your own life long after the tour is over?

KATERINA McCRIMMON: Fanny Brice is one of, if not the hardest role in the musical theatre canon and I’m so grateful our creative team has entrusted me to portray her. She’s funny, powerful, wears her heart on her sleeve, and through playing her I’ve definitely learned to champion these things about myself.

JHPENTERTAINMENT: Funny Girl features songs by Bob Merrill & Jule Stine. Among the tunes is Don’t Rain on My Parade. What’s the easiest way someone can rain on your parade?

KATERINA McCRIMMON: I’d rather focus on the positive – I think someone can easily make my parade through joy and laughter. It takes a lot to upset me – I just don’t think it’s worth my energy. 

JHPENTERTAINMENT: Within the plot, Fanny finds love with Nick Arnstein. In real-life, you’ve found it with your musician husband Matias Sanes, whom you married in 2021, so basically you’re still honeymooners as far as I’m concerned. While on tour, does Matias get the chance to occasionally fly to you? How are you staying connected?

KATERINA McCRIMMON: Matias and I are both artists in our own right and so we both stay quite busy and fulfilled in our own creative projects. He’s the bass player in many bands and one called Kore Rozzik has been consistently opening for Ace Frehley of KISS. We give each other space to explore our own artistic pathways and then once we’re aching for each other, we book a flight to reunite. I would say that happens every two to three weeks. It’s been challenging, but a huge opportunity for growth and I’m grateful for that. 

JHPENTERTAINMENT: Speaking of connections, your on-stage scene-partner Stephen Mark Lucas who’s playing Nicky, Fanny’s most infamous husband. I’m about to chat with him, so I’ll end my time with you by asking…what’s your favorite aspect of sharing the stage with Stephen?

KATERINA McCRIMMON: Stephen is such a dear scene partner. He’s always so sensitive and kind. We love to sneak jokes to each other onstage and we’ll always check in to see how our spirits are holding up. There was one day during tech rehearsal when he made me laugh harder than anyone else has during this entire process. I think it was a mix of the fact that he caught me off guard (Stephen is usually pretty serious) and that we were so delirious from a 10 hour day in the theater. I was still laughing at his joke the next morning. 

Rapid Fire Q&A with Stephen Mark Lukas, Funny Girl’s Nicky Arnstein

JHPENTERTAINMENT: I just chatted with Katerina and ended my questions for her asking her about having you as a scene partner, so I’ll start our conversation by asking you what you appreciate most about Katerina as your character Nick Arnstein’s tumultuous love interest?

STEPHEN MARK LUKAS: I’ve absolutely loved having Kat as a scene partner. Her vocal prowess and musicianship are unmatched- listening to her sing this score every night is heaven. In addition, she has a very raw vulnerability underneath all of that power that is so endearing. She is so connected onstage, and we always have each other’s backs.  It’s impossible not to fall in love with her. 

JHPENTERTAINMENT: Who is Nick Arnstein to you?

STEPHEN MARK LUKAS: I’ve really grown very fond of Nicky! He, like Fanny, is ambitious and hell- bent on succeeding at all costs. He is charming, funny, and very much a romantic. There is also a dark side to him and a rage simmering just below the surface of his polished exterior. It’s fun to play with that dichotomy. 

JHPENTERTAINMENT: Having understudied the role of Nicky on Broadway, are there nuances of the character that you’re enjoying discovering and developing as the tour continues?

STEPHEN MARK LUKAS: I have had a great time finding the humor in the scenes with Fanny. I guess my continued exploration is how to connect with his vulnerability in the second act as we see him start to unravel. I think it’s always interesting to find the humanity in a character who may be troubled- what drives someone to make mistakes when they’re humiliated or desperate? It’s finding that empathy again and again, as well as deepening the onstage marriage between Nick and Fanny that drives the story. 

JHPENTERTAINMENT: Is there a line, a scene or a song in the show that resonates with you personally?

STEPHEN MARK LUKAS: I love hearing the song People every night. It’s a very intimate moment between Nick and Fanny, and you can just hear the audience sigh with delight when she begins singing it. It’s really a beautiful moment. 

JHPENTERTAINMENT: What do you hope audiences come away remembering about Funny Girl?

STEPHEN MARK LUKAS: I hope that audiences can really enjoy the beautiful score by Jule Styne and a show that is an unapologetic love letter to the grandeur of Broadway. I hope they’ll take a heartfelt emotional journey with us. There is a lot that resonates today in this classic that everyone thinks they know-  Fanny’s journey is inspiring to anyone who has ever been told that they can’t or shouldn’t try to pursue their dreams. 

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With not a cloud in the sky an no chance of any rain on the parade of Funny Girl‘s Music City Opening Night, the people of Nashville are invited to find out they lyrical answer to What Do Happy People Do? when Funny Girl sets up shop at TPAC’s Jackson Hall Tuesday, January 2 through Sunday, January 7. CLICK HERE for tickets or more information. You can also follow Funny Girl on Instagram, X (Twitter) and Facebook or visit The Official Funny Girl site for more info on the show or future tour stop details.

Following Funny Girl’s January 2-7 Nashville tour stop, next up for Broadway at TPAC is a limited two-night engagement of the National Tour of The Cher Show with performances January 19 and 20. CLICK HERE for tickets or more info. Be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org,  TPAC on Instagram,  TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

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

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

Theatre Review: With a new adaptation of ‘A Christmas Carol’, The Rep presents what could easily be Nashville’s newest holiday tradition

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For years Nashville Repertory Theatre presented the modern holiday favorite, A Christmas Story as their annual seasonal offering and it was a delight. This year they’re going a more traditional route, but with a twist as they present a newly adapted version of A Christmas Carol. When you think of classic Christmas stories, Charles Dickens’ A Christmas Carol is likely to be among the first that comes to mind. Since first being gifted to the public by way of a novella published back in 1843, Dickens’ now-familiar story of miserly miserable Ebenezer Scrooge has delighted audiences for nearly two centuries. While audiences witness Scrooge being visited by three Christmas Spirits, they’re reminded that the true spirit of Christmas is simply kindness towards others. Thanks to Nashville Repertory Theatre’s Broadway-worthy presentation, adapted by The Rep’s Artistic Director Micah-Shane Brewer, Nashville audiences are getting the chance to see this timeless story and the ever-present reminder that good will is the greatest gift as A Christmas Carol continues at TPAC’s James K. Polk Theatre through Sunday, December 17.

Those familiar with A Christmas Carol, and let’s face it, who isn’t?, might recall that the story is rather brief. After all, a synopsis might go something like this…Scrooge is mean. Scrooge sees the ghost of his former partner. He has a sleepless but eventful night. He has a change of heart. Scrooge is nice again…To that end, the play. in its standard form, is rather brief. To flesh it out and make it the gorgeous, enchanting and emotional spectacle it is in it’s current iteration with The Rep, in addition to directing this production, Brewer also adapted the classic story, extending a few scenes and adding a choir of townsfolk performing musical interludes between scenes—some classic carols—and some newly written by Brewer and arranged by The Rep’s Musical Director/Arranger Gregg Perry. It’s those musical moments and extended scenes that help The Rep’s A Christmas Carol stand out, and, if you ask me, should make it The Rep’s new annual holiday tradition.

One such musical interlude opens the show. As the curtain rises on Scenic Designer Gary C. Hoff’s idyllic London Town, ensemble members are seen bustling about shopping and readying for the coming holiday. A group of carolers forward and begin to sing Almost Christmas Day, one of the handful of new works written by Brewer and arranged by Perry. I gotta be honest, as soon as the first musical interlude began, I knew I had to reach out to Brewer to get a little insight. Of this opening carol, Brewer revealed, “I wanted a song that helped to establish time and location, and to introduce the people of London (as well as Scrooge). I looked for a carol that would fit and everything I found just felt forced. So one day, early on in the process, I said “well, maybe I’ll just write a song,” somewhat joking. But then I started jotting some lyrics down and thought that this might be the best way to effectively achieve what I needed for the opening. So the lyrics came first, and then when it was time to set the lyrics to music, the tune and lyrics did not fit. Back to the drawing board, I wrote a melody, used a few of the original lyrics, but ended up writing a lot of new lyrics to fit. Songwriting for the theatre is MUCH harder! I broke up dialogue between the verses to help begin setting the story.”

Brewer’s plan worked perfectly as the audience is immediately transported back in time and invited to experience the familiar story once again. Among those features throughout as carolers are Christine Toole, Ivory Bodnar, Shelby Talbert, Ben Friesen, Galen Fott and Brian Charles Rooney. While most of the ensemble sing at one point or another, let me be clear…this isn’t a full-on musical, the carols are simply perfectly peppered throughout to fill the gap between scene changes and to add a bit of punch to the progression of the story. It’s not like Scrooge breaks into song mid-sentence or anything like that. Instead, The inclusion of the occasional carols, old and new, is as welcomed and soothing as a cup of Hot Cocoa on a brisk winter’s morn.

Among the traditional carols included: The First Noel, Deck the Halls, I Saw Three Ships, In The Bleak Midwinter, We Wish You a Merry Christmas and more.

In addition to the opening tune penned by Brewer and Perry, Act One also features a song titled Blessing, performed by Jennifer Whitcomb-Oliva and the Cratchit family. Of this tune, Brewer said, “I knew I wanted to may the prayer a song but didn’t want it to be long. So, I wrote the lyrics as I was writing the script, and then a few months later came back to it and gave it a melody. It’s simple, which is exactly what I wanted.”

Act Two features another original written by Brewer and arranged by Perry, It’s Christmastime Again, with includes a solo by Scrooge himself. Brewer explained, “I wanted a song that established the feeling of Christmas Day, the hopes and the happiness one feels at the time. As I started writing the melody, I realized some of my original lyrics didn’t work. I wanted the song to feel and sound like it could be from the period, so the melody sounds very traditional. As I was revising the second verse of lyrics, I thought why not give Scrooge a solo here? He can sing about how his heart has been transformed. I’m really happy with the number, and I must admit, even I go around singing and humming it, so I guess it’s an earworm.”

Speaking of Scrooge, Matthew Carlton is simply brilliant in the role, and it’s a bit of a full-circle moment! His bio reveals his first foray into A Christmas Carol at The Rep came in 1990 when he was cast as Scrooge’s young nephew, Fred. Over the years, Carlton says he’s played a dozen or more characters in eleven different production. I’m here to tell you though, he better free up his winter calendar going forward because it’s official, Matthew Carlton now ranks among my favorites to have ever taken on the role. He’s in good company, too, considering Sir Michael Caine’s Scrooge from The Muppet Christmas Carol tops the list! What’s interesting about Carlton’s performance is, it’s all-encompassing. Yes, he can mean-mug with the best of them, but the scene that struck me most, and may or may not have made my eyes sweat takes place during a party when Scrooge is transported back in time by Kris Sidberry’s beautiful Ghost of Christmas Past. In the scene, Carlton’s Scrooge sees his beloved Belle (Ivory Bodnar) enjoying the merriment of a dance with fellow holiday revelers. Caught up in the moment, but forgetting that he’s only a shadow presence, Scrooge attempts to join in the fun, getting caught at one point in the center of a quartet of dancers. Of course unseen because he isn’t actually there in his present form, he’s ignored as the dancers continue moving about without him. Within just a few minutes as this scene plays out, Carlton, under the keen direction of Brewer, runs the gamut of emotion from excitement to regret and sadness. Being a self-confessed Scrooge myself, I was a puddle.

The show–and its cast of beloved Nashville actors including such theatrical luminaries as Galen Fott and Denice Hicks as Mr. and Mrs. Fezziwig–is filled with the nuanced, but brilliant moments. After seeing Hicks and Fott bubble and giggle about as the Fezziwig’s, their’s is a party I’d gladly attend.

You know you’re a great actor when just a projection of your face can elicit an internal squee. That’s the exact reaction when another longtime Nashville favorite, Brian Webb Russell’s face appeared on Scrooge’s door as the “dead to begin with” Jacob Marley. In an early scene, when Marley visits Scrooge to warn him of the coming visitors, Russell’s Marley rattles his chains as he floats about the room. More fanciful than frightening, a joy to watch. He’s equally enjoyable when paired with Deb Meeks (making her Rep debut) as a rather boisterous party-goer who’s husband (Russell) is partaking of a few too many Christmas ‘spirits’ of his own. These two need to be paired together more!

Still more of my favorites, Eric D. Pasto-Crosby and Jennifer Whitcomb-Oliva are featured as Bob Cratchit and his wife, Emily. Pasto-Crosby plays the kindly Cratchit with sweet conviction. Whitcomb-Oliva proves her range, and her acumen as Bob’s devoted wife, Emily, but my favorite scene comes when she’s about to give Scrooge a bit of fiery what for, only to realize he’s seen the error of his ways and quickly turn on that megawatt charm once again. God, thank you for the gift that is Jennifer Whitcomb-Oliva on stage, even in a supporting role, she’s a scene-stealing delight.

Can’t talk about A Christmas Carol without talking about the Spirits. Mentioned above, Kris Sidberry, making her Nashville Rep debut, is simply magical as Ghost of Christmas Past. Delightful, sweet and fun…all the things we think of most when we remember the past are personified in Sidberry’s performance. She doesn’t just shine in her performance, she sparkles. In part, thanks to Costumer Designer, Melissa Durmon’s literally and figuratively glowing gown!

Brian Charles Rooney, seen last holiday season as Buddy the Elf in Nashville Rep’s Elf, is larger than life as Ghost of Christmas Present, and what a present his performance is. Towering above Carlton’s Scrooge (did I see light-up disco platforms under Rooney’s velvet robe?) Rooney’s Ghost of Christmas Present is cheeky, loud and bossy. Everything you could wish for in a ghost guide. Again, kudos to Durmon, and added kudos to her and her wig department team for transforming Rooney into an almost unrecognizable bacchanalian party god with flowing ginger locks and beard. Didn’t think I was into scruffy gingers, but you never know. As mentioned previously, Rooney is among those featured throughout the action as a caroler. I have it on good authority he had been dealing with a bit of laryngitis during the opening days of the show. All I know is, if that’s Rooney with laryngitis, belting out and hitting those unfathomable soprano-high notes, the rest of the run the audiences were in for a treat.

Round out the ghostly trio is Ben Friesen as Ghost of Christmas Future. Even though the show is about to enter its final week at the time of this review being posted, I’m a staunch believer that spoilers do just that…they spoil aspects of shows that are meant to surprise and entertain. To that end, Friesen’s Ghost of Christmas Future definitely delivers. Visually hauntingly brilliant and looming large, Friesen’s appearance is definitely a powerful one. Suffice it to say, his performances a Ghost of Christmas Future would no doubt make Jim Henson proud..and that’s as much of a spoiler as you’ll get from me. Not to fret though, he’s also featured throughout the show, most notably as Dick Wilkins, a friend and colleague of younger Scrooge.

Speaking of younger Scrooge, Evan Fenne is making his debut as Scrooge in his younger days. His scenes with Ivory Bodnar’s Belle are perfectly sweet and though we know their fate, the hopefulness of their performances together is joyous and further illustrates Scrooge’s hidden, but still-present redeemable qualities.

The entire cast is filled with great supporting performances. Mention should be made of Max Fleischhacker as Scrooge’s Nephew Fred, Ethan H. Jones as Mr. Blakeley, Abby Hopper as Alice Cratchit, Alex Hillaker as Henry Cratchit, David Long III as Peter Cratchit, Shelby Talbert as Martha Cratchit, Elle Wesley as Belinda Cratchit, Caroline Henry as Alice Cratchit and Emily Hooper and David Matthew Clark (on alternate nights) each sharing the role as Tiny Tim.

Nashville Repertory Theatre’s A Christmas Carol on stage at TPAC’s James K. Polk Theatre continues through Sunday, December 17. CLICK HERE for tickets or more information. Following a brief break in the new year, Nashville Repertory Theatre will present Paula Vogel’s Indecent on stage at TPAC’s Andrew Johnson Theatre as The Rep’s 2023/2024 season continues. CLICK HERE for tickets to this powerful play. In the meantime, check out Nashville Rep online HERE and follow them on Facebook,  Twitter,  YouTube and Instagram.

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

Rapid Fire 20Q with cast of Studio Tenn’s ‘It’s A Wonderful Life: A Live Radio Play’; onstage at Turner Theatre December 7- December 24

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I can’t get enough of this time of year when even my recurring interview feature, Rapid Fire 20Q gets into the holiday spirit. To that end, here’s another Christmas-themed Rapid Fire 20Q! This time I’m chatting with Geoff Davin, Caleb Shore, Mariah Parris and Gerold Oliver, cast members of Studio Tenn’s holiday offering It’s A Wonderful Life: A Live Radio Play, opening this week at Studio Tenn’s recently renovated and renamed Turner Theatre located inside The Factory at Franklin (230 Franklin Road, Franklin, TN). Having first presented this unique adaptation of the familiar story of George Bailey and the folks from Bedford Falls in the winter of 2021, It’s A Wonderful Life: A Live Radio Play will once again delight holiday audiences beginning Thursday, December 7 and continuing for an extended run through Christmas Eve, Sunday, December 24.

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RAPID FIRE 20Q WITH CAST OF STUDIO TENN’s IT’s A WONDERFUL LIFE: A LIVE RADIO PLAY

RAPID FIRE Q&A WITH IT’s A WONDERFUL LIFE’s GEOFF DAVIN

JHPENTERTAINMENT: Among the characters you portray in Studio Tenn’s It’s A Wonderful Life: A Live Radio Play, you play radio station announcer Freddie Filmore. What’s one trait of Freddie’s personality that you’re enjoying exploring?  Side Note: Did you know Freddie Filmore is an apparent wink to I Love Lucy in that there was a recurring character with that name who was an announcer and TV game show host in several episode of the classic sitcom?

GEOFF DAVIN: First of all…NO I did not know that reference to I Love Lucy! I love that!!!

And secondly…what’s fun about Freddie is that there is something just so satisfying about leaning into that 1940’s radio announcer. There’s a warmth and home-iness to him that just brings to mind a family gathered around their radio, in front of their fireplace, the snow gently falling, the lights on the Christmas tree twinkling. While he is probably the character that I spend the least amount of time inhabiting, we come back to him every so often throughout the show. So he’s a wonderful reset button. A warm place to come home to after we’ve been all over Bedford Falls.

JHPENTERTAINMENT: Presents on Christmas Eve or Christmas Morning?

GEOFF DAVIN: Definitely Christmas morning.

JHPENTERTAINMENT: Rudolph or Frosty?

GEOFF DAVIN: That’s such a hard one. I love them both. But I’m going to say Frosty. Because while Rudolph leads the sleigh every year, and Santa couldn’t do it without him, old Frosty is around for only a short while. The magic in that old silk hat is fleeting. So we need to be a little extra grateful for the time that we have with him. 

JHPENTERTAINMENT: 1987’s A Muppet Family Christmas or 2002’s A Very Merry Muppet Christmas Movie?

GEOFF DAVIN: Without a doubt, 1987’s A Muppet Family Christmas.

JHPENTERTAINMENT: Favorite Christmas Memory?

GEOFF DAVIN: I was very fortunate in that my parents did many things right. But one thing they truly knocked out of the park was their ability to create Christmas magic. There are simply years and years of beautiful Christmas memories to sift through. The smell of the box of ornaments after a year in the attic, going door to door throughout our neighborhood to sing Christmas carols, the annual visit to the town center tree lighting ceremony/nativity viewing, running outside Christmas morning to find the bits of carrot that we left for the reindeer scattered around the yard, and of course the cookie crumbs that Santa left on his plate of cookies. And then, on Christmas morning, we couldn’t just run to the tree. Oh no! There was an order of business. We had to wait in the hallway. Then our parents would take us around to the room where our stockings were hung by the chimney with care…literally. And only after we were done there, could we enter the room with the tree. Even during the years when the family belt had to be tightened, the magic never wavered.

Then we would pile into the car to visit both sets of grandparents. But it wasn’t just the grandparents. Everyone in the family…aunts, uncles, cousins, would gather at those two houses. So we got to share the day with all of our extended family. The food. The conversation. The music. I’m actually getting emotional just typing this. I’m so grateful for the beautiful traditions that my parents created and gave to us. Because of them, Christmas will always be a magical time of year. 

RAPID FIRE Q&A WITH IT’s A WONDERFUL LIFE’s MARIAH PARRIS

JHPENTERTAINMENT: This year you and a couple of your cast mates are returning to the roles you portrayed when Studio Tenn debuted their production of It’s A Wonderful Life: A Live Radio Play. You’re cast as radio personality Sally Applewhite who then voices Mary Bailey in the station’s presentation of It’s a Wonderful Life. What’s it like retuning to the role?

MARIAH PARRIS: It’s an absolute pleasure. Performing this show two years ago really surprised me in that this story has stuck with me and permanently altered my heart. It helped reframe my personal views on community and inspired me to live a more connected life all year long. I’m excited to return to the role to refresh this lesson and I hope the audience will have the same take away! 

JHPENTERTAINMENT: Shared names not swaying your answer, who’s the real Christmas Diva…Mariah Carey or Michael Bublé?

MARIAH PARRIS: I think we all know Christmas officially starts the first time we hear All I Want For Christmas is You….enough said 

JHPENTERTAINMENT: Do you prefer Santa in a full-length Victorian Robe or the more modern two-piece fur-trimmed suit? 

MARIAH PARRIS: Modern Santa all the way- you can’t tell me that the Victorian robe is practical for getting in and out of that sleigh! 

JHPENTERTAINMENT: The Santa Clause movies or Home Alone franchise?

MARIAH PARRIS: I grew up watching Home Improvement so it’s gotta be Tim Allen for me 

JHPENTERTAINMENT: Favorite Christmas Memory?

MARIAH PARRIS: One year when I was still in elementary school, my parents surprised me with a super cool bunk bed that had a futon couch on the bottom. We finished opening presents and they told me to put my gifts in my room. When I opened the door there it was: the most beautiful big kid bed I’d ever seen. I still have no idea how they set it up without me noticing. Total Christmas magic. Thanks mom and dad! 

RAPID FIRE Q&A WITH IT’s A WONDERFUL LIFE’s CALEB SHORE

JHPENTERTAINMENT: You’re back again having performed the dual roles of radio personality Jake Laurentis and It’s A Wonderful Life’s George Bailey. Revisitng George, are there aspects of his personality you are more conscious of in your portrayal this go-round?

CALEB SHORE: Finding George a second time means I get to pick up where I left off two years ago. Having Mariah Parris back as Mary and Gerold Oliver as Harry and Clarence make the process totally seamless. 

This time around I’ve peered deeper into George’s passions. His dreams are grand. His love runs deep. His willingness to go the extra mile wins the day every time. He’s smart and poetic, even when he lets his goofy side take the wheel. 

A character only gets to live as long as the actor inhabits them. We’ve now doubled George’s lifespan with me, so once I reacquainted myself with his voice and movement I got to let him walk around and see the world again. He gets more time to spend with his friends and his family.  He gets to fall in love, encounter heartbreaking loss, and discover himself more and more. Mariah and Gerold play characters George holds very dear. That they are back showing his world just as he remembers it makes the whole experience so rewarding.

Now I don’t know if any of this long-winded answer will be visible to audiences. They may come away thinking everything looks the same, and that’s okay. But for us, for me, every look and movement and sound carries more weight, because we’ve been around longer to live them. 

JHPENTERTAINMENT: Fruit Cake or Pumpkin Roll?

CALEB SHORE: Pumpkin Roll

JHPENTERTAINMENT: A Charlie Brown Christmas or The Nightmare Before Christmas?

CALEB SHORE: A Charlie Brown Christmas, but if we’re talking true favorites I have to mention Home Alone, The Preacher’s Wife, and Elf.

JHPENTERTAINMENT: Old fashioned Christmas Tree decorations like strings of popcorn and paper chains or blinged out store bought fabulousness?

CALEB SHORE: Our tree is usually decorated with personal ornaments that remind us of times gone by. Anything we can find while traveling, we’ll buy to remember that trip.

JHPENTERTAINMENT: Favorite Christmas Memory?

CALEB SHORE: One favorite Christmas memory I have is from the first Christmas after I got married back in 2015. My wife and I brought home our kitten, Cashew. I’d kept the secret for weeks and it was a terrific surprise.

RAPID FIRE Q&A WITH IT’s A WONDERFUL LIFE’s GEROLD OLIVER

JHPENTERTAINMENT: Like Mariah and Caleb you’re back at Studio Tenn, having debuted the role of Harry ‘Stacks’ Heywood in their 2021 production of It’s A Wonderful Life: A Live Radio Play. What’s your favorite aspect of Stacks’ personality?

GEROLD OLIVER: The thing I like most about Stacks is that he’s a lot like me. He’s fun, he’s silly, and he doesn’t take himself too seriously.

JHPENTERTAINMENT: The classic stop-action animated Christmas special, The Year Without a Santa Claus features the Miser Brothers…Heat Miser and Snow Miser…which would you prefer to be?

GEROLD OLIVER: Snow Miser! Definitely!

JHPENTERTAINMENT: What one Christmas song truly embodies your thoughts of the holiday season?

GEROLD OLIVER: Any time you hear the first word of Mariah Carey’s All I Want for Christmas you know the song, the singer, and most importantly, you know the season!

JHPENTERTAINMENT: Baked Ham or Turkey and Dressing?

GEROLD OLIVER: Baked Ham. Especially with honey!

JHPENTERTAINMENT: Favorite Christmas Memory?

GEROLD OLIVER: I’ll never forget when I got both Pokémon Gold Version and Pokémon Silver Version for Christmas. Best day ever.

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With that, my conversations with the cast of Studio Tenn’s It’s A Wonderful Life: A Live Radio Play drew to a close, but George Bailey’s life-altering adventures in Bedford Falls…and beyond, are just beginning as the show opens Thursday, December 7 at Studio Tenn’s Turner Theatre inside The Factory at Franklin. Showtimes are Thursday-Sunday evenings at 7:00p.m. with additional matinee performances at 2:00 p.m. Saturdays and Sundays. (On Christmas Eve, Sunday, December 24, the final performances will take place at the 2:00p.m. matinee…even George Bailey needs to be home for Christmas Eve night). Tickets range in price from $35 to $70. CLICK HERE for tickets.

Up next for Studio Tenn, the current season continues with Driving Miss Daisy starring Emmy and Golden Globe winning actress Sally Struthers as Miss Daisy on stage at Turner Theatre March 7-17, 2024! Struthers of course starred as Gloria Bunker-Stivic in TV’s All In The Family and counts among her may stage credits, starring alongside Brenda Vaccaro in Neil Simon’s gender-flipped version of his hit Broadway play, The Odd Couple. Taking on the role of Miss Daisy won’t be Struthers‘ first appearance at Studio Tenn as she was last seen on Studio Tenn‘s stage during the 2021/2022 season when she appeared alongside John Schuck in a limited engagement of  the two-person play, Love Letters. For tickets or more information on Driving Miss Daisy, CLICK HERE for tickets or more information, then be sure to check out Studio Tenn online at StudioTenn.com or on social media at Facebook, Instagram and Twitter.

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

Rapid Fire 20Q with director and cast of Nashville Repertory Theatre’s ‘A Christmas Carol’; onstage at TPAC’s James K. Polk Theatre December 1 thru 17

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Few Christmas classic have endured the test of time like Charles Dickens’ A Christmas Carol. First published in novella form1843, by the following year, stage adaptations and public readings (by Dickens and others) solidified the now-familiar story of Ebenezer Scrooge and his attitude-adjusting otherworldly Christmas Eve visitors as a holiday tradition. To that end, Nashville Repertory Theatre’s own Artistic Director Micah-Shane Brewer will helm this year’s holiday offering of A Christmas Carol adapted by the director himself.

A couple weeks ago, I reached out to The Rep’s Director of Marketing and Communications, Amos Glass with the idea of chatting with four members of the cast and crew of A Christmas Carol for a Christmasy edition of my recurring interview feature, Rapid Fire 20Q. When Amos asked who I’d like to chat with, I immediately requested Micah-Shane  and the three actors playing the Three Christmas Spirits. What follows are those conversations.

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RAPID FIRE 20Q WITH CAST AND CREW OF NASHVILLE REP’s A CHRISTMAS CAROL

RAPID FIRE Q&A WITH A CHRISTMAS CAROL DIRECTOR MICAH-SHANE BREWER

JHPENTERTAINMENT: As the show’s director, what is it about A Christmas Carol, and this version in particular that drew you to the project? 

MICAH-SHANE BREWER: A Christmas Carol has always held a special place in my heart.  For as long as I can remember, this story has been a part of my holiday tradition.  When I was a kid, I had a VHS tape (yes, I’m that old) of Mickey’s Christmas Carol and I would watch it over and over.  Along the way, I’ve seen numerous film and tv adaptations and grown to love certain versions. (My favorite is The Muppets Christmas Carol!) I’ve also been in and directed probably 9 or 10 different stage adaptations.  I’ve spent most of my life revisiting these characters each and every year. And every time I come back to it, it always connects in a deeper and more meaningful way. 

I think as we get older, we look back at the past and think about touchstone moments, things that we did or didn’t do, choices that may have changed the trajectory of our path, but also, looking at where we are in this moment in time and where we are heading. The power of A Christmas Carol is that it speaks to one and all, both young and old.  Its universal themes can touch us all.  There’s a reason it’s one of the most popular stories in the world, even 180 years after it was written.  

When we decided we wanted to produce A Christmas Carol, I knew I wanted to make a special production that would be a holiday event for the entire family. It’s a traditional version of A Christmas Carol. Audiences can expect a beautiful, large-scale production with something for everyone and all ages.  It’s a brand-new script, and the production designs are breathtaking.  The scenic design is spectacular – the costumes are splendid – there are over 500 different pieces used in the production.  There are some really fantastic projections designs and special effects.  Music plays an integral role in the production.  We use numerous Old English carols from the period, as well as a couple of new songs in the production.

A Christmas Carol is far more than just a classic holiday story; it is a poignant and transformative reflection of our shared human experience and an enduring reminder of the power of empathy and connection. It’s a journey of healing and a story of redemption.

JHPENTERTAINMENT: Eggnog or Hot Cocoa?

MICAH-SHANE BREWER: Hot Cocoa any day! 

JHPENTERTAINMENT: A White Christmas or Sunshine for Santa?

MICAH-SHANE BREWER: I’m going to have to say a WHITE CHRISTMAS! There’s something very peaceful about a snowy day. 

JHPENTERTAINMENT: What do you enjoy more, wrapping presents or decorating the tree?

MICAH-SHANE BREWER: That’s a no brainer for me. Decorating the trees! Every year, we put up multiple trees in our house.  I love to decorate for the holidays.  (And I’m not very good at wrapping gifts…)

JHPENTERTAINMENT: What’s your favorite Christmas memory?

MICAH-SHANE BREWER: How do I pick just one? A lot of my memories and Christmas traditions run together. I have so many memories of  Christmases when I was a kid: being with family; the rush of waking my sister up early Christmas morning and opening gifts; my grandmother’s Christmas lunch.

When you get older, Christmas changes in many ways. For many years, we hosted a huge Christmas party for our friends, and every year, the evening would conclude with friends gathering around the piano, singing Christmas carols (and sometimes showtunes). I love Christmas music, and being able to share that moment every year with friends is a special memory. 

I’m usually doing a show around the holiday season. When I was in grad school, I remember doing MANY school performances of A Christmas Carol, and one performance, a young girl stood up from her seat in the front row during the finale, all gooey eyed and mouth wide opened, and yelled “It’s SNOWING!” She really believed it was happening, and it was just one of those moments that was so special to see the magic of Christmas and theatre combined!  So every year, I think about that little girl and hope to recapture that magic for others!

RAPID FIRE Q&A WITH A CHRISTMAS CAROL’s GHOST OF CHRISTMAS PAST, KRIS SIDBERRY

JHPENTERTAINMENT: Among your roles in A Christmas Carol at Nashville Rep, you play The Ghost of Christmas Past. If you could live in a past time period, when would it be?

KRIS SIDBERRY: I was definitely not made for the modern time period. I love the Harlem Renaissance of the 1920s. 

JHPENTERTAINMENT: A Muppet Christmas Carol or Mickey’s Christmas Carol? 

KRIS SIDBERRY: Mickey’s. My Dad loved Mickey Mouse. 

JHPENTERTAINMENT: Gingerbread or Sugar Cookies?

KRIS SIDBERRY: I love both. Cookies are my fav, but I guess Gingerbread. 

JHPENTERTAINMENT: A Christmas Tree with clear lights or multicolor? 

KRIS SIDBERRY: Multicolor! White lights are so basic. 

JHPENTERTAINMENT: Favorite Christmas Memory?

KRIS SIDBERRY: Christmas was always very big deal in my house. My father was obsessed with Christmas. Sometimes he would decorate 3 different trees.  Like most young kids, every year I would set out homemade cookies and milk. I remember being about five years old, and I swear that I heard jingle bells and hooves on the roof when preparing for the visit from Santa. I’m pretty sure that my parents must’ve hooked up speakers somehow in the house and played a track, but I will never forget that memory. So magical. I believed in Santa until my pre-teens. I will always believe in magic.

RAPID FIRE Q&A WITH A CHRISTMAS CAROL’s GHOST OF CHRISTMAS FUTURE, BEN FRIESEN

JHPENTERTAINMENT: You’re cast as The Ghost of Christmas Future, among other roles in The Rep’s A Christmas Carol. If you could make a wish for the future, and I guess now that I’m asking, you can, What would it be?

BEN FRIESEN: I would wish for more opportunities like this one, where I get to do so many things that I love to do with so many wonderful people! I already feel blessed to be acting professionally, but when I get to add singing, dancing, fiddling, dialect work, and flying? Shows like this are my dream!

JHPENTERTAINMENT: Candy Canes or Peppermint Bark?

BEN FRIESEN: Nowadays I would probably go for peppermint bark, but the child in me still wants to lick one end of a candy cane until it becomes as sharp as a tack.

JHPENTERTAINMENT: Favorite traditional Christmas Carol?

BEN FRIESEN: I love Mary Did You Know—the original carol already went surprisingly hard, but Pentatonix turned it into a certified bop.

JHPENTERTAINMENT: Which do you think would keep you more in line…Elf on the Shelf or Krampus?

BEN FRIESEN: Something about the Elf on a Shelf’s beady little eyes say, “I know what you did”, which sends me into a spiral of, “What did I do this time?”—since Krampus is a physical threat, I feel like I could probably Home Alone-style defend myself against him if that situation arose.

JHPENTERTAINMENT: Favorite Christmas Memory?

BEN FRIESEN: Throughout my childhood, my siblings and I were huge Lego fans (still are). Each year, we would often ask for one larger Lego set as our main gift, and our parents would save that for last—that way, when we tore open the wrapping paper, we would all immediately run downstairs and spend the next hour or two building our new sets together in our matching Christmas PJs.

RAPID FIRE Q&A WITH A CHRISTMAS CAROL’s GHOST OF CHRISTMAS PRESENT, BRIAN CHARLES ROONEY

JHPENTERTAINMENT: Among your roles in Nashville Rep’s A Christmas Carol, you play The Ghost of Christmas Present. What’s the most fun aspect of that character?

BRIAN CHARLES ROONEY: I love the idea that he ages over the course of 24 hours! There is a lot of fun to be mined in creating that idea, subtly, via voice pitch and tone, as well as via my movement as the character. I also love working in the costume at the designers created for this character. It’s grand, it’s beautiful, and it’s actually fun to wear!  But I think my favorite aspect of this character is his determined commitment to optimism, hope, and love.  He really does root for Scrooge; and he delights in seeing Scrooge find some happiness.

JHPENTERTAINMENT: A Charlie Brown Christmas or The Grinch Who Stole Christmas?

BRIAN CHARLES ROONEY: Definitely The Grinch!!!  I’m partial to anything campy, but what I love about The Grinch is that despite the comedic aspects of the story, the tale is unapologetically woven around the idea that love conquers hate.

JHPENTERTAINMENT: Which pop Christmas tune is superior? Mariah’s All I Want for Christmas is You or Wham’s Last Christmas?

BRIAN CHARLES ROONEY: I think Mariah’s song is better written, but I will always love George Michael’s voice. Though, my friends and I play a game each year, that involves seeing which of us can avoid hearing Last Christmas before Christmas Eve. It only works if we all commit to the honor system of the game, but I almost won last year! They were only two of us left, but I heard it in Sprouts!!

JHPENTERTAINMENT: Crazy Christmas Sweater or Cozy Christmas pjs?

BRIAN CHARLES ROONEY: Definitely the PJ’s!!!

JHPENTERTAINMENT: Favorite Christmas memory?

BRIAN CHARLES ROONEY: My favorite Christmas memory, at least, from when I was a child, was the year I received a letter from Santa, on parchment paper, wrapped in a red velvet bow. It was such a wonderful, exciting, heartwarming experience! “He” had left it for me near the plate of cookies we’d left out the night before. I don’t think I’ll ever forget that morning and receiving that letter!

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With that the director and ghosts of Nashville Repertory’s A Christmas Carol vanished as if Ole Scrooge’s clock had struck its morning bell, but you can find them and the rest of the cast of this seasonal favorite on stage at TPAC’s James K. Polk Theatre beginning Friday, December 1 and continuing through Sunday, December 17. CLICK HERE for tickets or more information. Following a brief break in the new year, Nashville Repertory Theatre will present Paula Vogel’s Indecent on stage at TPAC’s Andrew Johnson Theatre as The Rep’s 2023/2024 season continues. CLICK HERE for tickets to this powerful play. In the meantime, check out Nashville Rep online HERE and follow them on Facebook,  Twitter,  YouTube and Instagram.

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