Interview

RAPID FIRE 20Q WITH PLAYWRIGHTS AND CAST MEMBERS OF ‘SAYRE’; Presented by Brand Spankin’ New Theatre at Playhouse 615 February 28 through March 9

February 27, 2025 by Jonathan

Co-written by Bel Stuart and Emily Dodson, SAYRE: An Original Musical About Spirited Women in the Athens of the South, will take to the stage at Playhouse 615 (11920 Lebanon Road, Mt. Juliet, TN 37122) beginning Friday, February 28 with shows through March 9. Earlier this week, as the playwrights and cast readied for opening night of this World Premiere production presented by Brand Spankin’ New Theatre, I had the chance to pose a few questions to Stuart and Dodson, as well as two members of the cast—Tameshia Martin and Mandy Moon, for my latest Rapid Fire 20Q. What follows are those conversations.

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RAPID FIRE 20Q WITH PLAYWRIGHTS AND CAST MEMBERS OF SAYRE

RAPID FIRE WITH SAYRE CO-PLAYWRIGHT, BEL STUART

JHPENTERTAINMENT: What can you tell me about the plot of SAYRE?

BEL STUART: SAYRE follows a group of women inspired by the Muses of Greek Mythology during an Open Mic night at the fictional Athena’s, a woman owned metaphysical shop and cafe. Throughout the course of their evening we address women’s and civil rights currently and historically in Tennessee and the critical role Nashville played in those movements. By personifying these struggles we hope to bring a broader understanding to all the ways a woman’s work is never done.

JHPENTERTAINMENT: In researching to chat with you all, I discovered there was a reason this show seemed familiar to me. While I didn’t get the chance to see it, it premiered back in 2019, right? What prompted you to revisit this work and remount it with Brand Spakin’ New Theatre?

BEL STUART: Emily and I wrote and produced that version in just four months in 2019! The first monologue was written on June 1st and we workshopped it at Centennial Black Box the last week of September with our original cast. The plan was to produce a larger scale version in 2020 as part of the 100th Anniversary of Women’s Right to Vote but the pandemic shut all theatres down. I pivoted to writing/producing a socially distanced filmed theatre piece titled THE MUMU MEMOIRS with Metro Arts and Thrive Funding. Life took over and the timing to pick it back up had just never seemed right until now. Robby, Abby and I performed together in SORDID LIVES directed by Erin Grace Bailey at Playhouse 615 last July. I had spoken to them all then about SAYRE and the regret of it never reaching its potential. Robby approached me to read the original script and produce it this year in conjunction with BSN. We met with Abby to direct and here we are! We all believe it is absolutely the right time and place for the message of this show.

JHPENTERTAINMENT: Speaking of BSN and the company’s founder, Robert Coles serves as this production’s producer. What’s been the best aspect of having him onboard?

BEL STUART: I think Robby is a great supporter of theatre in this town and is helping to expand the scene with more original adaptations and writing.

JHPENTERTAINMENT: As alluded above, the show was co-written by Emily Dodson, who I’ll also be chatting with about SAYRE, so I’m curious to know how you two met and what makes her a great fit as a co-writer?

BEL STUART: Emily and I met at Ladies Rock Camp just a few months prior to embarking on our whirlwind adventure of co-writing the original script in 2019. We realized we had some common threads with people in our lives initially but we operate very differently creatively speaking. We have found this to be a huge benefit as co-writers, however. At the core of what makes us work is our hearts. When you’re tackling the material we present in SAYRE, it is almost impossible to not get emotionally charged or overwhelmed. The stories we tell through these characters are all very much rooted in the women we have been and known in Nashville over the years. Having such a strong natural bond and trust has been the key to success both in our comprehension of our process and our true desire for collaboration with mutual respect and support.

JHPENTERTAINMENT: In addition to co-writing the script, you also serve as the show’s musical director. When creating the music for this show, was there a preconceived tone or vibe you wanted to convey or did it morph as you went along developing the story?

BEL STUART: These songs are all written by Emily and myself and they are quite diverse. Some were pieces floating around without a home and some were written specifically for SAYRE. The common thread is that they all were the perfect drivers in the storytelling of these characters. I grew up in and around the music business here and Emily has been a local now for most of her adult life. The songs are so important and it was critical that each character has their own voice. We hope that reflects in their performances. The music is mostly confessional and that takes on different tones through the women you meet in this show.

RAPID FIRE WITH SAYRE’s MEMORY, TAMESHIA MARTIN

JHPENTERTAINMENT: Who is Memory to you?

TAMESHIA MARTIN: Memory is QUEEN MOTHER. She is the very reason that creation exists. She is a strong, fierce leader with a creative imagination that paints very vivid, detailed pictures of her life, as evidenced throughout the piece with her specific choice of vocabulary.

JHPENTERTAINMENT: Right from the get you not only have a rather lengthy monologue that starts the show, but you also perform SAYRE’s first musical number. Is there a particular piece of dialogue or lyric that you feel perfectly represents Memory?

TAMESHIA MARTIN: In the initial monologue, Memory states: “I am the unlikely mother of multitudes. I am a mystery within myself. Let me define that simply for you. I am my own. And where this is madness, there is magic!” That has to be THE MOST POWERFUL set of lines in the entire show for Memory. She admits to being who she is, flaws and all, DIFFERENT, a PERFECT IMPERFECTION! In other words, she let’s this world know that although I am a bit rough around the edges with some bruising and scarring if you will, that does not define my character. I AM GREAT. I AM WORTHY. I AM A PIECE OF ART. MY PAST DOES NOT DEFINE ME. I AM MAGICAL! POINT! BLANK! PERIOD! And that is not up for discussion or negotiation.

JHPENTERTAINMENT: First monologue, first song…SAYRE also marks your first time to be part of a show mounted at Playhouse 615. What’s the experience been like thus far?

TAMESHIA MARTIN: This experience is very special to me. It has definitely challenged me in a great way, expanding my ability to character develop. I have played several characters throughout my career, but not one quite this robust and spicy! Thanks to Bel Stuart (one of the original authors of SAYRE and music director) and Abby Waddoups (the director of the show), for giving me free range to develop this character through my very on lens.

JHPENTERTAINMENT: If you weren’t playing Memory, is there another character in Sayre that you’d like to tackle?

TAMESHIA MARTIN: Definitely Memory’s daughter, Mel. She is definitely her mother’s child. She is a representation of leadership, fire and strength as well, but from a little softer perspective. Mel not only holds her own life together, but she keeps the doors of Athena’s open and running after her mother’s death to help all the other women “hold their lives together” as well, in a very private space where they all come to hash out all the CRAZY that life has thrown them. That is an example of a kind human that cares about others……that’s pretty special to me.

JHPENTERTAINMENT: Memory is the original owner of the cafe, so I want to ask you about the set design and the immersive aspect of the show. Of course your thoughts on this might change once the show opens and the audiences fills those bistro tables, but for now…how do you think having members of the audience right there in the midst of the action might affect the energy of your performance?

TAMESHIA MARTIN: It will only enhance the performance. The audience will feel like an integral part of the open mic night, and that is the very point of Athena’s existence, for everyone to feel welcomed, wanted, included, and in a safe space. Drawing the audience into my world is going to be magical for them and myself. They will definitely leave Athena’s better than they came.

RAPID FIRE WITH SAYRE’s ECHO, MANDY MOON

JHPENTERTAINMENT: Who is Echo?

MANDY MOON: Echo, in mythology, is an Oread, a mountain nymph. The story of ECHO comes from Hera removing her “voice” due to her suspicions of ECHO consorting with Zeus. Her punishment from Hera was that she could only repeat, or echo, the last words spoken to her. In Sayre, Echo is a late 70s rock goddess (think Stevie Nicks/Ann Wilson energy), who co-hosts with Era at Athena’s. She is a singer-songwriter and a part of the coffee house artist community. She is nurturing, loving, and peaceful, but also lost, but in a beautiful way as an artist. Echo is everyone’s voice in Sayre and shares the stage with the cast throughout the show as a seasoned musician supporting her friends and community.

JHPENTERTAINMENT: Echo, as described in the character breakdown, is a singer/songwriter and host of the coffeehouse’s open mic night. As a singer/songwriter yourself in real life, the character seems to pretty much echo (pun fully intended) your own creative path. So I gotta ask, what are key similarities and differences in your on-stage persona in SAYRE and your own personality?

MANDY MOON: Sure. Haha yes, there was pure synchronicity when this part was offered to me in Sayre. I don’t think the production team knew I had experience hosting events, and open mics, and had done so in Nashville until after I accepted the role. Whether is was AAPI events, or events for charity or themed shows. That’s been a big part of my life as a musician and part of the Nashville music community. My real-world persona versus on-stage persona are close but far from each other. Echo and I are similar in how we see the world and want to be supportive of others and “hold space” in the best way for people to come as they are with their artistic expression. In my real-life persona, I do find myself much more sarcastic, dry, and unapologetic with how I show up as a woman and artist. It’s taken years to get here and find my voice. With Echo, while is an incredible musician, is still lost in that pursuit of who she is and how she shows up and speaks her truth. It brings me back to times when I questioned my values and who I was. I think Echo was the woman I was. We all were.

JHPENTERTAINMENT: As a singer/songwriter yourself, do you have a favorite musical moment in the show?

MANDY MOON: That’s so hard and without giving it away. 😉 I LOVE the sing-a-longs we do with our cast and hopefully at the show, with our audience! The end scene is extremely powerful and I don’t think Nashville is ready for this mic drop.

JHPENTERTAINMENT: A quick peek at your show bio reveals you’ve been in Nashville for a decade now. What do you see as the biggest misconception when folks learn that you’re a singer/songwriter in Music City?

MANDY MOON: That I play country music. haha, I play a lot of soul, r&b, and jazz. But honestly, I consider myself a very genre-fluid songwriter. Letting go of what I need to sound like, or be, has given me absolute creative freedom to write more authentically. That also includes stepping into projects that stretch my comfort zone. I love Nashville for always continuing to challenge me. I’m incredibly grateful to Bel, Emily, and Abby for entrusting me.

JHPENTERTAINMENT: The show is directed by Abby Waddoups. What’s one aspect of Abby’s directing style that you appreciate as a performer?

MANDY MOON: Abby allows us to work very organically and fluidly with our characters’ stories. She is open to change and how we have developed with our role(s). With it being the 1st edition of this production, it’s given us as actors so much runway to develop these characters versus something that already exists. That also includes developing these songs from literally demo inception and arranging parts for each cast member.

RAPID FIRE WITH SAYRE CO-PLAYWRIGHT EMILY DODSON

JHPENTERTAINMENT: When I chatted with Bel, I asked her what makes you a great fit as a co-writer, so I’ll ask you the same of her?

EMILY DODSON: We balance each other. There was an instant authenticity and vulnerability to our relationship that is rare and I think we both knew we had to create together. Bel continues to set a fire under my ass and push me to let go of my tendency towards perfectionism. Co-writing isn’t for everyone and it isn’t always a good fit, but it helps when you find someone who truly sees your artistic genius and encourages you to let it free. I think we do this for each other. There’s a lot of competitive energy in this industry, which tends to smother creativity. Bel and I don’t have that. We encourage each other to allow our light to shine fully, without restraint or a need to diminish due to jealousy. It’s refreshing and I wish there was more of it in this world.

JHPENTERTAINMENT: I also noted that the show was first produced back in 2019. What do you recall of the creative process of co-writing SAYRE?

EMILY DODSON: It helped that it happened so organically, as if it had to happen and we were just vessels. The process was a bullet train and we were along for the ride, fast tracked, no stopping, and intent on the destination. The words came from our souls, tumbling out like water being released after being dammed too long. It was our stories, taken from our lives or those we deeply loved. We had to tell them, there was no other alternative, especially with what was happening in our world.

JHPENTERTAINMENT: Speaking of that 2019 debut, you not only co-wrote the script, but you also originated the role of Melpomene, the owner of the cafe. In this production, Mel is played by Emma Reinbold. Did you offer any advice to Emma as she takes the reins of the role?

EMILY DODSON: Actually, no. I offered support if she needed it, but I wanted Mel to be hers to mold. As a playwright, I write the words and then relinquish them to the director and cast. The actress side of me also considers this to be off limits. Every production should be at least slightly different because every actor brings a different perspective to the character, otherwise the performance becomes stale. Trying to reproduce someone else’s portrayal has a tendency to lead to canned line readings and forced emotional responses, taking the performer out of being in the moment. My training at The Atlantic Theatre Company at NYU really emphasized the importance of this and it has stuck with me. Part of the creative process is finding your own personal connection with the character, making them yours, and having real moments with your scene partners. That’s what makes good theatre.

JHPENTERTAINMENT: Having sadly missed that original production back in 2019, as I was preparing to chat with you all for this round of Rapid Fire 20Q, Robert Coles was kind enough to share with me the script. Before I even got into the story, I was immediately struck by the description of Athena’s the metaphysical coffee house that serves as the setting in which the action takes place. It’s described as “a welcoming older craftsman residence turned shop that encourages hours of conversations while surrounded by all manner of creative pursuit”. I think I spent a few hours in just such a place during my post-college years. While you’re originally from Virginia, you’ve called Nashville home for the past couple decades. So, I gotta ask…is Athena’s based on any real spot from Music City’s recent past?

EMILY DODSON: For me it’s a combo of places and times, during college it was mainly a coffee shop in the East Village of NYC called Alt Dot. I met many interesting folks there and it lent to a lot of good writing. When I moved to Nashville, I needed to find that space here. I stumbled across the original Bongo Java off of Belmont and it felt like home for me. I’ve been in East Nashville for most of my time in Nashville, not necessarily a coffee shop, but definitely a community vibe that nurtured me. During the creation of Sayre, we spent many an hour at High Garden (sadly lost to the tornado of 2020) and Retrograde. I think all of them are represented in my version of Athena’s.

JHPENTERTAINMENT: What do you hope audiences take with them after a visit to Athena’s?

EMILY DODSON: That they are not alone in their experiences and feelings. Their power is still there and cannot be diminished or extinguished by someone else. Your tribe is important. The most powerful thing you can do in life is to tell fear to go fuck itself because it will only keep you caged. Take the leap, have the hard conversations, open your heart, let your genius shine, be bold and brave, and above all always remember that you….exactly as you are, with all your scars and bruises, are enough.

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Brand Spankin’ New Theatre’s presentation of SAYRE opens Friday, February 28 and continues through Sunday, March 9 at Playhouse 615. Friday and Saturday performances are at 7:30pm with Sunday matinees beginning at 2:30pm. During the second week of the run, there is a Thursday evening 7:30pm performances in addition to the Friday thru Sunday schedule.

As the above conversations reveal, SAYRE is set in a coffeeshop. Adding an immersive aspect to the show, a limited number of bistro-style tables have been added to the seating configuration. Limited bistro seating for each performance is available for $40/ea with standard general admission seating priced at $25/ea. CLICK HERE for tickets. To keep up with the latest from BSN, CLICK HERE.

Next up at Playhouse 615 it’s Samuel D. Hunter’s The Whale directed by Bowd Beal and starring Playhouse 615’s own Joel Meriwether, with shows March 21-April 6. CLICK HERE for ticket info when it becomes available. For more on the show and to keep up with what’s next at Playhouse 615, check out their website or follow them on Facebook.

Rapid Fire 20 Q with cast of Nashville Rep’s ‘The Curious Incident of the Dog in the Night-Time’ on stage at TPAC’s Johnson Theatre thru April 2

March 31, 2023 by Jonathan

Directed by Micah-Shane Brewer, Nashville Repertory Theatre’s inspired and inspiring production of The Curious Incident of the Dog in the Night-Time moves into its second and final week with performances Friday, March 31 at 7:30p.m., Saturday, April 1 at 2p.m. and 7:30p.m. and Sunday, April 2 at 2:00p.m. at TPAC’s Johnson Theatre, I recently had the opportunity to chat with four the company’s incredible cast members for the latest installment of my recurring interview feature, Rapid Fire 20Q. Kindly taking time out of their performance schedules for these conversations are Lauren Berst, Nat McIntyre, Eric D. Pasto-Crosby and JR Robles. Berst and McIntyre play Judy and Ed Boone, parents of 15 year-old Christopher Boone, a young autistic math wiz who finds himself at the center of the titular mystery. Pasto-Crosby and JR Robles play a multitude of townsfolk who meet young Christopher along his journey. What follows are my conversations with the cast.

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RAPID FIRE 20Q WITH CAST MEMBERS OF THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME

RAPID FIRE WITH THE CURIOUS INCIDENT’s NAT MCINTYRE

JHPENTERTAINMENT: You’re no stranger to Nashville Rep, having appeared in Good Monsters and Shakespeare in Love and having directed their production of A Streetcar Named Desire. What keeps brining your back to the company?

NAT McINTYRE: Since moving to Nashville, starting a family, and taking a full time professorship at Lipscomb I have had to be more intentional with the work I choose. It’s very important to me that the work challenges and excites me and audiences. The Rep has been doing that work.

JHPENTERTAINMENT: What can you tell me about Ed Boone?

NAT McINTYRE: He’s trying really hard

JHPENTERTAINMENT: I understand you had read Mark Haddon’s novel upon which the play is based. What’s most surprising about the way the story has been brought to the stage?

NAT McINTYRE: I read the book so long ago. I mostly was surprised they would try to make it into a play because I thought it would be REALLY hard. But, it turns out Simon Stephens and bunch of curious artists that don’t take themselves too seriously make it possible.

JHPENTERTAINMENT: In preparation of our chat, I discovered among your many credits, you appeared in a season 2 episode of Devious Maids, playing a police officer. Just gonna say it. I loved that series. Bringing the question back to Curious Incident…What’s an advantage of performing in theatre as opposed to film or television?

NAT McINTYRE: Film and TV is fun. It also pays a lot of money. But nothing can replace the pulse and breath of a live audience. The best actors let them be an extra character in the play I think.

JHPENTERTAINMENT: How has your experience been working with Curious Incident director, Micah-Shane Brewer?

NAT McINTYRE: This play is hard. I had never worked with Micah-Shane. I was nervous ;). But, that dude has stepped up big time. He is a prepared artist who makes room for his actors, doesn’t need to have all the answers, and does not take himself too seriously.

RAPID FIRE WITH THE CURIOUS INCIDENT’s LAUREN BERST

JHPENTERTAINMENT: Last time I saw you onstage, you had invited me to attend a performance of Nashville Story Garden’s thought-provoking production of The Welkin. Now you’re playing Judy Boone in Nashville Rep’s The Curious Incident of the Dog in the Night-Time. Two vastly different shows, but with the common thread of drama. Do you find yourself typically drawn towards more dramatic roles?

LAUREN BERST: Thank you for supporting and promoting Nashville theater, Jonathan! I love comedy and drama equally and am jazzed by the challenges they each present. I am primarily lured to the story being told rather than the genre so if that’s in a comedy or drama, I want to go on the journey. For the The Welkin, we were compelled to tell that story, and getting to tell it with 12 amazing women on stage with me was a huge draw. For Curious Incident, I loved the book and the play and was excited about the idea of exploring the story as an ensemble. The opportunity to return to Nashville Rep was an added bonus so I jumped at the chance. I am grateful to get to do this show with this wonderful group of people.

JHPENTERTAINMENT: What is it about Judy Boone that attracted you to the role?

LAUREN BERST: I love Judy. And what’s interesting about this play is that most of what we learn about the characters comes from Christopher’s vantage point so finding a through line or heart of a character is a fun challenge. I enjoy finding the sweet, strong, rule-breaking parts of her and expanding or contracting from there. She is an ill-equipped force to be reckoned with.

JHPENTERTAINMENT: You mention the character of Christopher, which leads to my next question…How has it been sharing scenes with Ben Friesen, who’s at the center of the action playing young Christopher Boone?

LAUREN BERST: It’s wonderful to work with Ben. Ben is a champ! His exploration of Christopher is open, honest, and spot on. He’s a great collaborator. This show is a lot of responsibility and he handles it with confidence and excitement which is a testament to his ability. And his eagerness is infectious. Ben has created a well-rounded, and heart-wrenching character. Audiences will be rooting for Christopher.

JHPENTERTAINMENT: Also at the center of the story is the titular dog. You yourself are a pet-owner, so I gotta ask…how’s Ms. Roxie? AND…I’ve seen a few rehearsal posts giving a first look at the puppy involved in the show. Has that pup become everyone’s emotional support dog, considering the seriousness of the piece?

LAUREN BERST: Oh thank you for asking about THE MOST important parts of my life and this play! First of all, Roxie is the spoiled rotten dachshund I adopted six years ago and she’s amazing. In fact, she is curled next to me as I type this so any spelling or grammar errors can be blamed on her.

Scottie, the sweet puppy in the play, (the *actual* star of the play – don’t worry Ben thinks so too) is precious, smart and adorable. When she comes into the room everyone melts a little bit, our shoulders relax, our dopamine and serotonin levels skyrocket. I have to sit on my hands sometimes because it’s all I can do not to put her in my bag and take her home with me. And I’m not exaggerating. You’ll see. She’s too cute. It is impossible that something so cute exists in real life.

JHPENTERTAINMENT: I’ve seen a few behind-the-scenes images of the set, designed by Cody Stockstill with lighting by Darren Levin and sound by Gregg Perry. What has impressed you most about the way the creative team has brought this production to Nashville Rep’s intimate stage at TPAC’s Johnson Theater?

LAUREN BERST: What HASN’T impressed me?! The creative team has pulled out all of the stops to make this show an intimate spectacle in the Johnson Theater. Cody, Darren, and Gregg tell this story in ways that go beyond the script. They have designed, composed, and programmed each moment of this play to enhance the story telling, conjure a little magic, and help us get a peek into Christopher’s mind. And they’re so dang good at what they do. It would be a very different play without their designs. I’m excited for audiences to experience the world they’ve created.

RAPID FIRE WITH THE CURIOUS INCIDENT’s ERIC D. PASTO-CROSBY

JHPENTERTAINMENT: As a member of the ensemble of Curious Incident, you take on a multitude of roles. What’s the most fun aspect of this as opposed to portraying a singular character?

ERIC D. PASTO-CROSBY: I thoroughly enjoy coming up with fully realized characters, and I get to do that for about six different people in the show. Both how they move how they talk how they interact with people. And also structuring just how they interact with the plot, do they influence the main characters for good things or bad things that’s always just a fun fantastic journey that we get to go on. If I’m being really honest, it’s the multiple different accents that I get to do for the show.

JHPENTERTAINMENT: On the flip side, what’s most challenging about playing more than one character in a piece?

ERIC D. PASTO-CROSBY: I would say the most challenging aspect of playing multiple characters is figuring out how they are different, but not distracting. It’s very easy to come up with different characters but sometimes those characters don’t work with the world of the play or help tell the story as well as other choices would. So making sure that you make the choices that helped tell this version of curious incident is the most important.

JHPENTERTAINMENT: Who all do you play in Curious Incident?

ERIC D. PASTO-CROSBY: I play Roger Shears, the Duty Sergeant, Mr. Wise, man behind counter and Voice two.

JHPENTERTAINMENT: Of your Curious Incident roles, do you have a particular favorite?

ERIC D. PASTO-CROSBY: It’s kind of a tie between Roger Shears and the Duty sSergeant. Roger Shears is pretty despicable and gross, which is kind of fun to play. I know that probably sounds wrong. But the Duty Sergeant is probably one of my favorite accents and characterizations, since he’s honestly stolen from a Guy Ritchie movie.

JHPENTERTAINMENT: In addition to your onstage duties, you’re also the show’s fight choreographer. You’re a member of the Society of American Fight Directors. What can you tell me about that organization and how you became involved in the art of fight choreography?

ERIC D. PASTO-CROSBY: yYou can join the SAFD by paying membership. It is a training organization that brings everyone up to speed on how to safely perform fights on stage. I thoroughly enjoy multiple aspects of this organization. I love what they have done to bring safety and realism to violent moments on stage. If you are looking for training there are workshops, I will be teaching at the A Town Throwdown in Atlanta. The society has a workshop every other month all over the US for you to train in multiple weapon disciplines for three or two days.

RAPID FIRE WITH THE CURIOUS INCIDENT’s JR ROBLE

JHPENTERTAINMENT: I understand this is your first time working with Nashville Rep. How’s the experience been thus far?

JR ROBLES: I’ve had a blast! I’ve always wanted to do a show with Nashville Rep. This experience has been so gratifying and revelatory for me. I’ve had a chance to make some great new friends and work on an important piece of theatre with some of the most talented people around. In that process, I think I’ve grown a lot in my own artistic practices, and I’m so grateful for that. It’s been really challenging too—there’s a lot of movement and physicality in the show, and I’ve had to reactivate some of my choreography and dance training to remember how to do that. Mostly, I’ve felt so happy coming to work every day because I get to be part of this wonderful story with some amazing artists. It’s been wonderful.

JHPENTERTAINMENT: Prior to our chat, I spoke with Eric Pasto-Crosby. Like Eric, you’re also playing numerous roles within the show. What roles are you playing?

JR ROBLES: So, I’m playing Voice Three, which includes a couple of policemen, a salty train passenger, a drunk train passenger (different guy), and Mr. Thompson, who is an oddball neighbor of Christopher’s (the play’s main character). Aside from that, I get to be a part of constructing the world of Christopher’s memory and mind where the play takes place. I really have fun with these kinds of roles because I can step into different people in different scenes, which is such a fun challenge. Much of that work, by the way, has been aided by Katie Cunningham, our dialects and accents coach. She’s worked very closely with us as we’ve made choices about these characters and giving them very specific voices that help color the world of Swindon and London that Christopher explores.

JHPENTERTAINMENT: Is there a particular scene you’re involved in that you find most challenging?

JR ROBLES: Overall what has affected me most, and maybe what I love most about the play, is the very true-to-life depiction of how complicated family dynamics can be when there are flawed human beings trying to do their very best for themselves and each other in their lives. In general, the scenes I’m featured in are fun and help move the story along to get to the places where the challenging stuff in the play really is. The very dynamic relationships between Christopher, Ed, and Judy, and Christopher and Siobhan are the ones I think about the most. And most of those scenes I just get to sit and watch Ben, Nat, Lauren, and Sejal work magic on stage.

JHPENTERTAINMENT: What’s the most fun role you’re portraying and why?

JR ROBLES: I have the most fun with Mr. Thompson, the goofy neighbor Cristopher interacts with in Act 1. I’ve gone through about 7 different iterations of this guy, trying to figure out where he came from, what accents he has, what he is up to when he’s not in the play, and even what kind of glasses he wears. Honorable mention goes to a character called “Drunk 2” (Eric Pasto-Crosby is Drunk 1) who literally has two drunken lines of dialogue. Each rehearsal so far, Eric and I have tried to out-drunk each other, and it gets crazier every time.

JHPENTERTAINMENT: So much of the show seems to encourage audiences to step out of their comfort zone and take time to consider what life must be like for the central character. Do you think that’s a fair assessment? AND…what other themes of the show have you found yourself contemplating during this process?

JR ROBLES: Yes, I think that’s an appropriate way to frame the experience of the play and also the vision that Micah-Shane has for the show. From the beginning, Micah-Shane has shared with us the idea that when we are performing the show, we are welcoming the audience into the mind of Christopher and, as much as possible, creating for the audience a unique world of what Christopher’s experience is like. I hope that people who come to the show will appreciate the efforts we’ve made to celebrate Christopher’s curiosity, bravery, and desire to lead the life he wants. I think the theme that resonates with me even more is the importance of personal growth. I love how the play presents that not just with Christopher, but also with Ed and Judy. Each of these characters has their own journey that is really powerful and complicated. And where they end up is so poignant and true to life.

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Nashville Repertory Theatre’s The Curious Incident of the Dog in the Night-Time continues with performances at TPAC’s Johnson Theatre thru Sunday, April 2. CLICK HERE for tickets. Next up for The Rep as they close out their 2022/2023 Season it’s Violet with Book and Lyrics by Brian Crawley and Music by Jeanine Tesori, on stage at TPAC’s Johnson Theatre May 12-21. CLICK HERE for tickets or more information.

In the meantime, check out Nashville Rep online HERE and follow them on Facebook, Twitter, YouTube and Instagram.

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RAPID FIRE 20Q WITH CAST OF LARRY KEETON THEATRE’s ‘WHITE CHRISTMAS’

December 1, 2022 by Jonathan

If you know me at all, or you’ve read any of my holiday reviews over the last decade or so, you likely know Irving Berlin’s White Christmas is my hands-down favorite movie musical, in any incarnation. Doesn’t matter whether we’re talking about the classic 1954 film, or the subsequent stage musical. I love all things White Christmas. Given that bit of insider info about myself, of course I had to chat with Kevin Raymond, Micheal Walley, Casey Cuba and Dani Haines for my latest Rapid Fire 20Q. The quartet of talented performers are starring in White Christmas directed by Keith Hardy at The Larry Keeton Dinner Theatre (108 Donelson Pike) beginning tonight, Thursday, December 1and continuing through Sunday, December 18.

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RAPID FIRE 20Q WITH THE CAST OF THE LARRY KEETON THEATRE’S WHITE CHRISTMAS

RAPID FIRE WITH KEVIN RAYMOND, BOB WALLACE IN WHITE CHRISTMAS

JHPENTERTAINMENT: Tell me a little about Bob Wallace.

KEVIN RAYMOND: Bob Wallace is a lovable character but sometimes he appears to be a bit sarcastic because he’s missing something in his life. There’s no romance going on he doesn’t have anybody to love. Even his partner Phil points out that he should “add a little romance to his life“ and maybe he’d be happier. He spends most of his time working on business deals and the Wallace and Davis act on his entire life since the army. The transition of his character in White Christmas is truly a beautiful one through his rocky relationship with Betty Haynes. Hopefully, you’ll have a chance to see the love in his heart, his joy in his business and performing as well as his general love for his fellow mankind.

JHPENTERTAINMENT: Taking on the role made famous by Bing Crosby…daunting, a dream, or a combination of both?

KEVIN RAYMOND: I have to say, it is a daunting task! Bob sings a majority of the music in the show and appears in every scene except for two in the entire musical. One of the biggest things that I’ve enjoyed about this is the challenge set before me. But to be perfectly honest, this has been a dream role for my entire life. I feel as if I’m in an age right now to be the perfect Bob Wallace because 10 years ago I may have been too young and 10 years from now I’ll definitely be too old to play this character.

JHPENTERTAINMENT: Your creative credits go beyond on-stage performing, you’ve also been involved in a number of productions at The Keeton and other theatre companies behind the scenes. Do you think that gives you an advantage when cast in a show?

KEVIN RAYMOND: I’m delighted to also be the choreographer for this production and one of the things that I generally always tell the cast is to think like a director or to think like a choreographer. I feel as if it’s a life learning lesson to have someone nurture you to the fact that if there’s an even number of people on stage, someone will split the center line when it comes to blocking a dance. If there’s an odd number of people on stage someone will always be on that center line. If you have thoughts like this in your head going in to a learning experience then it makes life so much more easy for you. Also, when you’re moving set pieces think about what might need to go off before some thing else comes on and vice versa. The knowledge that it takes to be able to pull things off like that is a vital life lesson for the arts. I think that my interaction with people and all of the previous artistic elements I’ve been involved in at the Keeton certainly help me to develop this and others as well. On top of that, because I generally think like a Director and Choreographer, blocking, staging and other elements come really easy for me and I can pour that natural instinct into a character.

JHPENTERTAINMENT: Speaking of other gigs, a couple years ago you released a Christmas cd. What can you tell me about that project?

KEVIN RAYMOND: Christmas music is and always will be my favorite! I love being in the studio and creating art on a recorded medium. It’s very different than live performing because you can do quite a few takes and pick the best one or splice things together very easily. The CD was basically a labor of love and a really fun project that one of my best friends, Gabe Wateski, recorded and produced for me. The title of the CD is called Christmas Is… and can be found on my website at kevinfraymond.com. It has 18 truly wonderful tracks, some old and familiar and some new material.

JHPENTERTAINMENT: I’m about to chat with you costars, so I gotta ask…what’s it been like to share the stage with Micheal Walley’s Phil Davis to your Bob Wallace?

KEVIN RAYMOND: Micheal is an absolute joy! I’m so thankful that the director, Keith Hardy, cast him because if I was directing, he would’ve gotten my first vote as well! Filling the shoes of Phil Davis (not to mention having everyone always comparing you to Danny Kaye) is not an easy one because he hast to be an absolute funny man. Every successful vaudeville act has to have two comedians where one is acting in the funny man capacity and the other as the straight man. Micheal is the perfect funny man for the show. He brings Phil to a light that I could’ve never even imagined. It is so easy to work off of him that I’m truly blessed to be on stage with Micheal. In real life, Micheal is a tremendously likable young man with a great personality and though I only met him when we started rehearsals for the show I feel as if I’ve known him forever already. I think at the Wallace and Davis combo along with the Haynes Sisters will leave you very pleased with White Christmas!

RAPID FIRE WITH MICHEAL WALLEY, PHIL DAVIS IN WHITE CHRISTMAS

JHPENTERTAINMENT: I just interviewed your co-star, Kevin and asked about working with you, so turn about is fair play…how is Kevin as a scene partner?

MICHEAL WALLEY: Oh, Kevin! When I auditioned for the show and read a scene with Kevin, I thought to myself, “I really would love to play opposite that guy!” It’s been a dream. Kevin truly is the ideal song-and-dance man, and getting to feed off of his energy and stage presence is so much fun. He and I also accidentally showed up wearing matching shirts at rehearsal one day, so he has great style.

JHPENTERTAINMENT: I last saw you at the Darkhorse Theatre in Bucket List Productions’ Assassins earlier this year, but first saw you in Chaffin’s Barn Dinner Theatre’s Minnie Pearl: All the News from Grinder’s Switch. All very diverse roles. What draws you to a role?

MICHEAL WALLEY: It’s been so fun getting to bring to life all sorts of different characters. Honestly, I’m grateful to do any role that is offered- whatever the type of role! I went a long time without doing any sort of theatre, and am in awe that people have trusted me with some really wonderful roles. The incredible team at Chaffin’s Barn (gosh – I miss it!), the cast mates that became family in Assassins, and the new friends in White Christmas have made Nashville feel like home. Each role has pushed me to be a better performer, and I’m so grateful for the community here. I’d jump at any chance to work with the wonderful people that make up the Nashville theatre community!

JHPENTERTAINMENT: If you could apply an aspect of Phil’s character into your real life, what would it be?

MICHEAL WALLEY: I love Phil’s optimism and glass-half-full nature. I’m usually an optimistic person, but man, the pandemic and the past few years have affected us all, and it’s a little harder to look on the bright side of things. I’m challenged to refocus and reconnect with my own optimism to ensure Phil’s joy is authentic onstage.

JHPENTERTAINMENT: Snow is my favorite moment in the show…what’s yours?

MICHEAL WALLEY: I absolutely adore the Act 2 opener, I Love a Piano. While I’m sad that Choreography from the movie isn’t in the live stage show, this song is a pretty good substitute and a blast to perform. It’s such a big production number, and I’m really proud of what the cast has accomplished with it over the past few weeks. Plus – the costumes are fantastic!

JHPENTERTAINMENT: Singing, dancing, comedy and a little bit of drama…White Christmas has it all. I understand you co-star, Kevin is also the show’s choreographer. What has rehearsal been like?

MICHEAL WALLEY: Yes, the choreographer is none other than our Bob Wallace, Kevin Raymond. Kevin has pushed us beyond what we thought was possible. At our first rehearsal, I said, “I hope people watch my face and not my feet” because I don’t consider myself a great dancer. But Kevin has been a fantastic, patient teacher and I’ve learned so much from him. He’s helped create something really impressive on the Keeton stage, and we can’t wait for the audience to see our tapping feet! In the words of Clark Griswold, “This will be the hap, hap, happpiest Christmas since Bing Crosby tap-danced with Danny…Kaye!”

RAPID FIRE WITH CASEY CUBA, BETTY HAYNES IN WHITE CHRISTMAS

JHPENTERTAINMENT: While preparing for the role of Betty Haynes, what or who have you drawn from to channel certain attributes?

CASEY CUBA: Looking the part of Betty during this time period, I focused on the elegance and poise of my grandmothers. I always loved looking at their old photographs from the 1940s and envied how glamorous life seemed. As for the character of Betty, I have drawn on my own raw emotions, vulnerability, and life experiences. Betty is very independent and strong willed, traits that sometimes cause her to sabotage her own happiness. I often recognize these traits in myself.

JHPENTERTAINMENT: Of course there are parallels between the two featured couples…Betty and Bob share more serious traits while Phil and Judy are a bit more carefree. In real life are you more a Betty or a Judy?

CASEY CUBA: I am definitely more of a Judy in real life! I am the one finding humor in almost ANY situation. Who doesn’t enjoy laughing?

JHPENTERTAINMENT: I’ve said it a hundred times…White Christmas isn’t just my favorite Christmas movie. Heck, it’s my favorite stage musical…of all-time. Aside from White Christmas, naturally…what’s your favorite holiday viewing?

CASEY CUBA: I can only choose one?!? Planes, Trains, and Automobiles is my favorite movie for Thanksgiving, but for Christmas…there are so many good ones! My top 2 favorites are probably It’s a Wonderful Life and Christmas Vacation.

JHPENTERTAINMENT: The wardrobe…can we talk about the wardrobe? The show’s director, Keith Hardy is doing double duty as the costumer as well. Do you have a favorite look?

CASEY CUBA: Yes, Keith is also the costumer. How amazing is that? He has knocked it out of the park…per usual. The dresses for Sisters, the iconic blue dresses and fans, are UNREAL! They are just gorgeous. But my absolute favorite look in the show is the black velvet gown that Betty wears for her solo of Love, You Didn’t Do Right By Me. It was made to look just like the gown Rosemary Clooney wore in the film and it is just stunning. I feel so connected to Betty in that scene with the glamour and the raw emotion. It’s just beautiful.

JHPENTERTAINMENT: If you hadn’t been cast as Betty, regardless of whether you’re the ‘type’, what other White Christmas role would you love to play?

CASEY CUBA: I would love to play Rita or Rhoda! Haha I mean c’mon! I think it would be so fun to play a ditzy, blonde bimbo! Their lines are so ridiculously funny and their costumes are hysterical!

RAPID FIRE WITH DANI HAINES, JUDY HAYNES IN WHITE CHRISTMAS JHPENTERTAINMENT: I’ve heard playing Judy a dream role for you. What is is about Judy Haynes that drew you to the part?

DANI HAINES: I’ve always had a connection with Judy since I first saw the movie when I was younger. She was a charismatic and dynamic performer and I think that really influenced how I’ve approached all the roles I’ve gotten the chance to do throughout my stage career.

JHPENTERTAINMENT: I understand you’re a relative newcomer to Nashville and this is your first show at The Keeton. How’s your time in Music City been thus far and are you enjoying being part of the Keeton family?

DANI HAINES: I’ve lived in a lot of different places in my life, and Nashville has been one of my favorites! I’m excited to put down roots in a diverse, entertaining city. Joining a new theatre family will always come with unique challenges and barriers, but I’ve learned so much about myself and the community through the experience; and I’m extremely grateful for the love and support from my new friends.

JHPENTERTAINMENT: The role of Judy is dance-heavy, having first been portrayed on screen by the iconic Vera-Lynn. Do you have a dance background?

DANI HAINES: I’ve actually been a dancer most of my life! I started lessons at a young age in various genres of dance, and that was what created the gateway to my love for musical theatre. I’m so fortunate to have had the experiences I’ve been given and use them in this show.

JHPENTERTAINMENT: A little online sleuthing revealed when you’re not on stage, you work at an escape room. If you could create a White Christmas-themed escape room, what would it consist of?

DANI HAINES: Hmmm… Without a doubt, there would have to be a lot of music! I’d probably create a puzzle involving the iconic songs of the movie and the show. The theme would be “backstage and get ready so the show can go on”!

JHPENTERTAINMENT: What do you hope audiences take with them after seeing White Christmas at The Keeton?

DANI HAINES: One of the biggest lessons this show teaches its viewers is that a kind heart and goodwill towards others never goes out of style. I hope that this show serves as a reminder to us all that compassion and generosity should be celebrated year round, not just during the holiday seasons. I also hope they take home fun memories and some tapping toes!

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Irving Berlin’s White Christmas celebrates the holidays at The Larry Keeton Dinner Theatre with performances December 1-18. At the time of this posting, it would appear the entire run has sold out, but you just never know…some Scrooge might have to cancel at the last minute. You might want to call 615.231.1231 and check on last-minute availability. Dinner and Show tickets are $35/Adult and $25/children. Show Only tickets are $30/$20. CLICK HERE for more information.

Up next at The Keeton Dinner Theatre is Newsies. February 10-26. CLICK HERE for tickets. To keep up with the latest from The Larry Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

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