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Rapid Fire Q&A

Rapid Fire Q&A With Stars of The Other Me Theater Company’s ‘Visiting Mr. Green’; Opening Thursday, November 7 at Playhouse 615

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A few months ago I attended a performance of a play presented by The Other Me Theater Company, the show served as a relaunch of sorts for the theatre company whose mission as their site suggests, is to present thought-provoking theater performances. With their latest production, playwright Jeff Baron’s NYC Drama League-nominated Visiting Mr. Green, The Other Me Theatre Company appears to be once again rising to the challenge. With Bowd Beal as director, Visiting Mr. Green opens Thursday, November 7 at Playhouse 615 (11920 Lebanon Road, Mt. Juliet, TN 37122) and continuing through Saturday, November 16. A two-person dramatic work examining the commonalities we share in spite of our initial perceived differences, Visiting Mr. Green features Bryan Kratoska and RJ Comer As the two actors readied for opening night, I recently had the chance to chat with them for the latest in my recurring interview feature, Rapid Fire Q&A. What follows are those conversations.

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Rapid Fire Q&A with the stars of The Other Me Theater Company’s Visiting Mr. Green

Rapid Fire with Bryan Kratoska, Ross Gardiner in Visiting Mr. Green

JHPENTERTAINMENT: What can you tell me about Ross Gardiner, the character you play in Visiting Mr. Green?

BRYAN KRATOSKA: Ross is a young man learning to slow down and appreciate others, along with learning to be okay with himself along the way.

JHPENTERTAINMENT: While I had heard of the play, I gotta be honest, I was mostly unfamiliar with it prior to doing a little research in preparation of chatting with you and your costar. From what I’ve ascertained, in the broadest sense possible, it seems to be somewhere between Tuesdays with Morrie and The Odd Couple. Is that a fair assessment? AND…How might you more accurately describe what transpires during the play?

BRYAN KRATOSKA: While I don’t know Tuesdays With Morrie, I do know The Odd Couple. I would say it’s within reason to say this show is close/adjacent to The Odd Couple. This is a story of two men learning to live with both each other, and to learn to live with themselves and/or their mistakes.

JHPENTERTAINMENT: How did you come to be part of this production?

BRYAN KRATOSKA: I assistant directed Bowd Beal last year around this time in A Tuna Christmas over at Pull-Tight Players. He did a wonderful job and was a lot of fun to work with and learn from on my end. So when he called and asked if I would like to read the part with RJ, I had to at least give it a shot, and I am glad I did.

JHPENTERTAINMENT: Is there a line or a scene in the show that you particularly look forward to each time it comes up in the script?

BRYAN KRATOSKA: Act 2 Scene 1. It’s tough, and I can’t say more than that without spoilers!

JHPENTERTAINMENT: As mentioned, Bowd Beal is the show’s director. While I’ve known of him for a while, it was only recently that we met when he starred in The Other Me Theatre Company’s most recent production, The Sunset Limited. What’s been your favorite aspect of exploring these characters under Beal’s direction?

BRYAN KRATOSKA: Bowd is great at developing characters. Anyone who had the chance to see him and Chad Stem in A Tuna Christmas would know that. So combining his creative mind when it comes to building characters and the fact that he has played Ross in the past, it’s led to many in-depth conversations regarding Ross and this world. He’s also pushed me outside of my own box in a lot of ways. I typically act in musicals, so this has been a real treat to take part in and play/build Ross under his direction.

Rapid Fire with RJ Comer, Mr. Green in Visiting Mr. Green

JHPENTERTAINMENT: In researching to chat with you and your co-star, I discovered this play has not only been around since 1996, it has played in more than 50 countries world-wide. In spite of that popularity, the last time a Tennessee audience was privy to a production, was nearly fifteen years ago when a company just outside Memphis presented it. That said, The Other Me Theater Company’s presentation will undoubtedly mark many audience members’ introduction to the piece. Does being part of a show that is largely unfamiliar to the majority of its audience lend a certain freedom to the way you present the character and make it your own?

RJ COMER:  First, thank you for your interest in our production of Visiting Mr. Green and for your editorial support for live theater in this area. When it comes to playing Mr. Green, the long shadow on any actor is Eli Wallach who originated the role. But I approach my responsibility as an actor the same whether the part (or the play) is new to the audience or is very familiar to them. My job, as an actor and interpretive artist, is to find the truth of the character as revealed in the script, consistent with the director’s vision, and inhabit that truth in every way. So no, doing a part or play that is unfamiliar to an audience is no more liberating than doing one they’ve seen many times. I will say this though: it is more fulfilling, more fun, and I think more worthwhile. Live theater is a unique and powerful way to communicate and illuminate through art. So I applaud any company that produces work that middle TN audiences have not seen before. I’m equally excited about Franklin Theatrical Fellowship’s upcoming production of Goodnight Oscar (the first production of this Tony-winner since it left Broadway) and was super pleased to see Bradley Moore bring the world premiere of Lithium and Xanax to this market at The Darkhorse.  

JHPENTERTAINMENT: As I mentioned when I chatted with Bryan, I recently saw your director Bowd Beal appear onstage in The Other Me Theatre Company’s The Sunset Limited. That production marking the theatre company’s reemergence after a few years. How excited are you to be part of the rebirth of this thought-provoking theatre company?

RJ COMER: I’m stoked! I’m always excited to contribute to any company (new or established, professional or community) that seeks to elevate the offerings beyond the familiar, the safe, and the silly. Make no mistake, Mr. Green is full of LOL moments as well as charming and dramatic surprises – it isn’t an interpretive think-piece – but it transcends the identities and circumstances of the characters to address universally applicable questions about love, family, and identity. Yeah, I’m very pleased to be performing for a company committed to that kind of work.        

JHPENTERTAINMENT: I understand Bowd is not only directing, but also serves as the set designer for Visiting Mr. Green. Is there a detail in the set that you enjoy that you hope the audience might take note of?

RJ COMER: Our director, Bowd Beal, designed and built the set. It’s a typical middle-class apartment in New York, now a little run down, dim, and messy from neglect. But there are two seemingly inconsequential moments when more light appears. I hope the audience spots and appreciates the metaphor of the light in those moments. After all, this is a play about opening one’s heart, and I love it when the set in small ways does more than merely frame the action, but also helps tell the story in subtle ways.

JHPENTERTAINMENT: In 2018, two decades after Visiting Mr. Green’s debut, playwright Jeff Baron presented a sequel, So This is My Family: Mr. Green Part 2. IF The Other Me were to take on this sequel in the future, would you consider revisiting the role?

RJ COMER: Ha! Well, that depends on two things: first, whether I like the script – which I haven’t read; and second, whether our production of Visiting Mr. Green attracts and wins the hearts of this audience. I just encourage everyone to come to see this play. Then, if they like it as much as I think they will, we can talk about doing the sequel.

JHPENTERTAINMENT: What do you hope audiences will take with them long after Visiting Mr. Green?

RJ COMER: I hope the audience will be mindful that while strongly held beliefs and convictions provide structure and certainty – thereby providing security and comfort in an uncertain world – they can also lead to absurd and tragic results when not tempered by love. Love allows us to maintain the integrity of our beliefs while making room in our hearts for those who may not share them.   

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The Other Me Theater Company’s Visiting Mr. Green debuts at Playhouse 615 with 7:30pm performances Thursdays-Saturdays November 7-9 & 14-16 and a 2:30pm matinee midway through the run on Sunday, November 10. Tickets are General Admission $17/Adults and $15/Seniors. CLICK HERE to purchase tickets. To keep up with what’s next as The Other Me Theater Company continues to emerge as one of the area’s theaters to watch, check them out at their Official Site where you can Subscribe to their email list for future updates. You can also follow them Facebook.

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

Rapid Fire 20Q with director and cast of Women In Theatre Nashville’s production of ‘What the Constitution Means to Me’; on stage at Darkhorse Theatre November 8-16

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Founded just last year, Women in Theatre Nashville has quickly gained momentum as a much-needed outlet presenting theatre that showcases important stories by and about and concerning women as well as offering Master Classes lead by some of Nashville’s most prominent and respected female members of Tennessee theatre community. WIT’s Board President, Stephanie Dillard reached out me to see if I’d be interested in chatting with the director and cast of their upcoming November 8-16 presentation of playwright Heidi Schreck’s engaging, entertaining and educational What the Constitution Means to Me, it was of course an immediate yes. Not only because I absolutely love this piece after having seen the National Tour back in 2022, but also because I knew Abby Waddoups was helming the production as the show’s director. The cast is lead by activist and actress Lindsey Patrick-Wright in the lead role, alongside her child, Pippy Patrick-Wesson as the young debater and features Thomas Wehby, who recently returned to Middle Tennessee after living in Washington D.C. What follows are my conversations with them all.

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Rapid Fire 20Q with director and cast of WIT’s What the Constitution Means to Me

Rapid Fire with What the Constitution Means to Me director, Abby Waddoups

JHPENTERTAINMENT: Before we get into talking about the show, What does Women In Theatre Nashville mean to you?

ABBY WADDOUPS: This has been a wonderful experience working with WIT! “Women in Theatre was founded in 2023 to showcase the incredible talent, stories and voices of women in the performing arts.” Their mission is to “…empower women of all ages and backgrounds, and experience levels to write, direct, perform, and collaborate in a dynamic and supportive environment” Stephanie and the rest of the board and production crew are doing just that. They have been very supportive through this whole process and completed every little ask. I feel like my whole life has been spent doing male dominated activities and working in industries at the time period when I did them; such as skateboarding, playing guitar, being in bands, riding a motorcycle, going to Film School, being a theatre tech in set construction specifically, etc. I have worked as a stage hand and heard completely inappropriate and sexist comments from the tech guys who spend all their time on the road and seem to have lost touch with reality. A lot has changed over the years in most of the traditional male dominated areas, but it is nice for WIT to provide a platform and outlet for more women to feel encouraged and safe to pursue theatre, and to tell their stories. Being a woman who does anything out of the ordinary makes you a role model of sorts. It  inspires young girls and women to see a woman in these roles and encourages them to step out and try something they’ve always wanted to do. This helps to change the mind of everyone around you to be more accepting of women in those roles.

JHPENTERTAINMENT: How did you come to direct What the Constitution Means to Me?

ABBY WADDOUPS: WIT was advertising a need for directors last season and I interviewed with them then. Fast forward a few months ago and Stephanie contacted me hoping I was available for this November time frame. They asked if I had any scripts in mind, but ultimately sent me two scripts to read. Within a few pages I knew this was the show to do!

JHPENTERTAINMENT: When I saw you recently I shared with you that I had seen the Nation Tour of What the Constitution Means to Me a couple years ago. I remember the staging being pretty straight-forward. To that end, what’s been the biggest challenge as the show’s director?

ABBY WADDOUPS: Getting the right actors in place for this very small cast was a high priority in order to have nuances and keep an audience captive. It is so well written, so I want it to be true to the work. It’s very different doing a piece synonymous with the writer being the original actor and then having an actor portray adult Heidi, young Heidi, and then themselves for the debate. Adding Levels and making sure the light hearted moments stay light hearted amongst the very serious topics is a challenge. Pacing is very important, too. Because it is such a small cast, using the full stage is considered to connect with all sides of the audience.

JHPENTERTAINMENT: WIT’s What the Constitution Means to Me previews one day after the Presidential Election, and Opens just days after. Has that fact loomed large as you and the cast prepare for the show? 

ABBY WADDOUPS: We don’t know if we will be celebrating, or not, come opening. Obviously the audience and the tone of the show will be affected with the outcome of the election if we are scared of losing more of our rights. I also completely trust our lead actors to uphold the show’s integrity while keeping it relevant in our time period. At the end of the debate in Act II of the show, the audience judges to keep or abolish the constitution. During the run statistically Keep reigned over Abolish, so we wonder how might the turmoil surrounding this specific election change that?

JHPENTERTAINMENT: I’m about to chat with your cast, so before I do that, Can you describe each of your three actors using one word for each of them?

ABBY WADDOUPS:

Lindsey- tenacious 

Thomas- skilled 

Pippy- a fighter 

Rapid Fire with What the Constitution Means to Me lead, Lindsey Patrick-Wright

JHPENTERTAINMENT: How did you come to star in WIT’s What the Constitution Means to Me?

LINDSEY PATRICK-WRIGHT: I’ve been following WIT since their exciting inception. I think they are such an important voice here in Middle Tennessee theater so when I saw that THIS play was their next show, I absolutely HAD to audition. 

JHPENTERTAINMENT: How familiar were you with the piece prior to taking on the role? 

LINDSEY PATRICK-WRIGHT: I saw the show when it came to TPAC and revisited it before the audition by watching the version available online starring the playwright, Heidi Schreck. I feel like every time I watched and even now, rehearsing it, every single time I open myself up to this work, I learn something new about our country and this document: sometimes disappointing, sometimes inspiring. 

JHPENTERTAINMENT: What’s the biggest challenge/reward of presenting a character based on someone’s actual experiences?

LINDSEY PATRICK-WRIGHT: Knowing that Heidi Schreck poured her entire life into this play makes me want to do her proud with my performance. But also, when I get into her stories, her joy, her outrage, and her HOPE, it feels just as personal to myself. It feels as if this play was written for me for this time. 

JHPENTERTAINMENT: It’s not often an actress has the chance to play a role that seems so tailor-made, but as a real-life advocate and self-described “local loudmouth at school board meetings” (God, I love that descriptor from your bio) you find yourself addressing many of the themes presented in the show in your daily life. So it seems you’re perfectly cast. How important is this show to you?

LINDSEY PATRICK-WRIGHT: I don’t want to be too hyperbolic here, but this play is everything to me right now. I think it’s message is so important, that even though I knew it would limit my ability to volunteer during an incredibly important time in our state’s and nation’s history, but when an opportunity like this come along, you have to tip your hat at the Universe and say “well played”. And I’m happy to report that I’m still volunteering every free moment I have to get compassionate women elected to the TN House, TN Senate, US congress and Senate and of course, our first female president of the United States! 

JHPENTERTAINMENT: I’m about to chat with your child, Pip, who appears as a young debater in the show. 1) How excited are you to share the stage with them? AND 2) What advice have you offered Pippy as far as acting is concerned?

LINDSEY PATRICK-WRIGHT: 1) As a parent, you desperately want your child to be happy and safe. But there is always a part of you that hopes that, along that journey, maybe your interests overlap. I took a 20 year break from acting and it was Pippy’s new hobby: theatre that got me back in the game. So being able to share a stage with them is a dream come true. 2) Just as this role feels tailor-made for me, the debater feels tailor-made for Pippy, so they haven’t needed a lot of advice! Except maybe “slow down” especially when they are really fired up about what they are talking about, they speak at an impressive rate of speed – something I’ve gotten used to at home, but I want the audience to be able to digest their points and their performance. And of course, “have fun” something that has been easy for both of us with this great cast and crew.  

Rapid Fire with What the Constitution Means to Me young actor Pippy Patrick-Wesson

JHPENTERTAINMENT: Alright, I just gotta start by asking…What’s it like to have the cool Mom?

PIPPY PATRICK-WESSON: It’s super cool! I’m really proud of her for doing all this good for our community! Like, the school board video that went viral. I’m proud of her for going up there and speaking up.

JHPENTERTAINMENT: What do we need to know about your role in What the Constitution Means to Me?

PIPPY PATRICK-WESSON:  I am (somewhat) playing myself, a 14 year old who loves debate! I come out in Act Two to debate with Heidi/Mommy. Of course, It’s a little different since this debate is scripted.

JHPENTERTAINMENT: While you’ve acted in school productions and a few children’s theatre shows, this marks your first time appearing on stage in a regional company’s show. What’s it been like thus far?

PIPPY PATRICK-WESSON: It’s been very fun!  It’s the first time I’ve been on stage with adults, so it’s been a little different from my previous work. Being onstage with my Mommy has helped me a lot. I love though that I feel like an equal peer in either group.

JHPENTERTAINMENT: While this may be your first regional show, something tells me it’s not the first time you’ve debated with your co-star. Just between us…who usually wins a debate at home, You, or your Mom?

PIPPY PATRICK-WESSON: Honestly depends on the debate and what is at stake (but usually my mom). Sometimes we have to use Google to settle our debates…which usually means I look something up and find out I was wrong. 🙂

JHPENTERTAINMENT: Not gonna lie, I’m not exactly what you’d call a history buff, so admittedly, I knew very little about the Constitution before seeing the show during its National Tour a few years ago. What’s your favorite fun fact about the Constitution that you’ve learned during the process of preparing for the show?

PIPPY PATRICK-WESSON: Well, this did prompt me to investigate the last time an amendment was made to the constitution. I kind of assumed it had been amended relatively recently, but it turns out, it was 1992, before that 1971!

Rapid Fire with What the Constitution Means to Me actor, Thomas Wehby

JHPENTERTAINMENT: Your bio mentions Political Science and improv, an interesting skillset and variety of interests. indeed. I’m guessing that translates to this show being the best of both worlds?

Rapid Fire with What the Constitution Means to Me’s Thomas Wehby

JHPENTERTAINMENT: Your bio mentions Political Science and improv, an interesting skillset and variety of interests. indeed. I’m guessing that translates to this show being the best of both worlds?

THOMAS WEHBY: Absolutely! When I decided to pursue a BA in Political Science and Theatre, I didn’t necessarily see them as a natural pairing—except maybe in a tongue-in-cheek sense, as in “the drama and dark comedy that is American politics.” Over time, though, I’ve realized that both fields center on understanding different perspectives and the power of storytelling. In politics, my favorite moments were knocking on doors and giving voters the space to speak their minds and be heard. In theatre and improv, my favorite parts have been both telling scripted, impactful stories that hopefully invoke a desire for change and also improvising moments that help people laugh at some of the more challenging parts of the political news cycle, such as with my presidential impressions. So, doing What the Constitution Means to Me, feels amazing, as it brings these interests together in a more structured way to tell such an important and timely story.

 

JHPENTERTAINMENT: How did you come to be part of WIT’s production of What the Constitution Means to Me?

THOMAS WEHBY: After moving back to Middle Tennessee from Washington, DC, I felt it was time to get back on stage. I came across a casting call for What the Constitution Means to Me on Facebook, and it immediately sparked my interest. A friend had seen the show and thought, knowing my interests, that I’d really connect with it. Reading WIT’s mission, I loved their vision and knew this would be a meaningful story to tell with a fantastic group of people. So, I decided to go for it and auditioned.

 

JHPENTERTAINMENT: When I saw What the Constitution Means to Me during it’s National Tour, the role of the Legionnaire provided some of the show’s most light-hearted moments, simply by his presence. As directed by Abby Waddoups, does the same hold true for your performance in the role?

THOMAS WEHBY: Yes, Abby has brought out some wonderful moments of levity in the role of the Legionnaire, and it definitely adds a unique presence to the story. I think audiences will appreciate the humor and subtle shifts that the character brings without taking away from the more serious themes. I won’t say too much, though—it’s one of those elements that’s best experienced live!

JHPENTERTAINMENT: What’s been your favorite aspect of appearing alongside Lindsey and Pippy in this show thus far?

THOMAS WEHBY: My favorite aspect, beyond the positivity Lindsey and Pippy bring to the rehearsal room, has been how much I’ve learned from them. We’ve created a space where we’re comfortable discussing the show’s themes and how they resonate with election season. Their insights and openness have enriched my experience and deepened our connection as a cast- I really think it shows on stage.

JHPENTERTAINMENT: What do you hope audiences come away contemplating after having seen WIT’s presentation of What the Constitution Means to Me?

THOMAS WEHBY: I hope audiences leave reflecting on the personal connections we all have to the Constitution and how it impacts our daily lives. This show brings forward questions about rights, justice, and who the Constitution truly serves—ideas that are incredibly relevant right now. I’d love for people to come away asking themselves not only what the Constitution means to them personally, but also what it could mean for a more inclusive future. If our performance sparks even a small part of that reflection, I think we’ve accomplished something meaningful.

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WIT’s What the Constitution Means to Me debuts at Darkhorse Theatre (4610 Charlotte Ave, Nashville, TN 37209) with an invited preview performance Wednesday, November 6 and opens to the public Friday, November 8. The Show runs weekends November 8-16 with shows Fridays and Saturdays at 7:30p.m., Thursday, November 14 at 7:30p.m. and Sunday matinees at 2:30p.m. On Sunday, November 10, the performance will be followed by brief lecture from Williamson County Democratic Party executive committee member and local attorney, Amanda L. Bradley speaking about recent changes to Tennessee laws and women’s rights. Bradley’s lecture will be followed by a Q&A with the audience. Tickets to all performances of What the Constitution Means to Me are $24. All seating is General Admission. CLICK HERE for tickets or more information. Be sure and check out WIT’s Official Site and follow them on Facebook, Instagram and 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, follow us on Facebook, Insta and Twitter.

Rapid Fire Q&A with ‘What the World Needs Now: The Music of Burt Bacharach’ cast; on stage at WCPAC at Academy Park beginning November 1

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Last November, Williamson County Performing Arts Center debuted the World Premiere production of What the World Needs Now: The Music of Burt Bacharach, a musical tribute to the iconic songwriter. Written, directed and staged by WCPAC’s Director of Performing Arts, Victoria Reed, the show was so well-received they’re bringing it back for four performances Friday, November 1-Sunday, November 3. This year, returning cast members Craig Robinson, Justin Boyd and Miracle Ham will be joined by newcomer (to the show) Francesca Noe. All backed by an equally talented musical quartet featuring Andrew Carney on Trumpet and Flugelhorn, Eric Coveney on Bass, Neil Tufano on Drums and Trevor Willoughby on Piano. Willoughby will also lend his talents as vocalist as well as serving as the show’s bandleader. With vocal arrangements by Ricki Holmes, choreography by Alison Little, stage management by Susan Gaw and musical direction by Kelsi Fulton, this production promises to be What the World Needs Now, just as the show title suggests.

As the company readied for the show for its limited run, I had the chance to pose a few questions to two of the returning performer, Justin Boyd and Miracle Ham 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 members of the cast of WCPAC’s What the World Needs Now: The Music of Burt Bacharach

Rapid Fire Q&A with What the World Needs Now cast member Miracle Ham

JHPENTERTAINMENT:  You were part of last year’s debut of this show. Your co-stars Justin Boyd and Craig Robinson are also returning for this year’s production. As far as camaraderie and fitting together, did the company pick up right where you all left off last year?

MIRACLE HAM: I definitely believe so. It’s like we never closed the show and we’ve always gotten along so well. It’s literally like a family reunion. Constant laughs and such a good time.

JHPENTERTAINMENT: New to the cast this year is Franchesca Noe. How has it been sharing the stage and this show with her?

MIRACLE HAM: It’s been great. She’s picked up the show so fast in such a short amount of time. Such a sweet spirit and a huge talent. To be so small she has a big voice! I mean she lets the people have it. I’m happy she’s a part of the show. 

JHPENTERTAINMENT: Aside from What the World Needs Now, you previously appeared onstage at WCPAC in their 2022 production of Nunsense. What is it about this gem of a venue and theatre company that keeps you coming back?

MIRACLE HAM: Honestly, the director Victoria is what keeps me coming back. She is such a pleasure to work with and has a different but wonderful approach to her directing style, and I love it. She really knows how to help you bring your character to life in ways that you might not have thought of on your own, and she is a true visionary. 

JHPENTERTAINMENT: In What the World Need Now, you get to perform, not just one of my favorite Bacharach-written songs, but one of my all-time favorite tunes, Say a Little Prayer, made famous by Dionne Warwick in 1967 and arguably equally as relevant to its popularity, as recorded by Aretha Franklin the following year. While I’m not old enough to have remembered those initial releases, I’ll date myself my admitting I first remember it when Dionne and Aretha performed it on a 1981 episode of Solid Gold. What’s your first memory of this classic song AND How much fun are you having performing it?

MIRACLE HAM: I remember hearing this song when I was really young. It was the Aretha Franklin version. I want to say the first time I heard it, my Mom was watching a movie and it was playing in the background. I can’t remember for sure but I literally heard this song all the time during my childhood. It was just one of those songs that was always playing somewhere – in the grocery store, at the mall, in commercials, everywhere. I definitely enjoy that section of the show. It’s so much fun performing it, and I mean who doesn’t love this song??? It’s such a classic and I’m so honored to get to perform it again. 

JHPENTERTAINMENT: Is there a particular song in What the World Needs Now, whether you’re featured in it or simply watching your fellow cast-mates, that you ‘really’ feel each time you hear it?

MIRACLE HAM: Dionne Warwick’s Don’t Make Me Over has to be my favorite. The message of the song so powerful and really speaks to me. Don’t try to change who I am. Just accept me and all my flaws. Also, the overall instrumentation of the song and the way it was written specifically for Dionne’s voice is absolutely perfect. I get to perform this song and really make a statement every time I sing it. 

My second favorite song would have to be Any Day Now. It takes me back to the music that my Mom used to play growing up and reminds me of the classic biopics that we would keep on repeat on our TVs at home. Craig does an excellent job with taking you back to that time and I love his voice on that song. 

Rapid Fire Q&A with What the World Needs Now cast member Justin Boyd

JHPENTERTAINMENT: When I chatted with Miracle, I noted that several of the cast and crew were part of last year’s World Premiere presentation of What the World Needs Now: The Music of Burt Bacharach. You, too are part of that returning company. How’s it feel to be back for this year’s production?

JUSTIN BOYD: It feels like a homecoming since there are so many familiar faces returning! We had an abbreviated rehearsal process since we mainly just had to shake off the rust. At our first tech rehearsal earlier this week, everything clicked back into place, and we knew we had another great show on our hands. Special shout out to the new members of our production that came right in and didn’t miss a beat!

JHPENTERTAINMENT: This musical review is written, directed and staged by Victoria Reed. What’s it like to work with someone so involved in a show like this?

JUSTIN BOYD: It’s quite convenient having the writer, producer, dramaturge, and director at every rehearsal in case we have any questions or need guidance. She’s done an incredible amount of research into Burt’s life and career that we never really have to second guess anything she tells us about what he’s done.

JHPENTERTAINMENT: When you were first preparing to perform in this show, were there any Bacharach-penned tunes that you were surprised to learn were his?

JUSTIN BOYD: There were a great many of them! A few of the more popular ones were Raindrops Keep Falling On My Head, What’s New Pussycat, and Always Something There To Remind Me. One of the deeper cuts for me personally was the Perry Como version of Magic Moments. I only knew that song from a very brief moment in the show Forever Plaid, and it was a nice moment for me to realize Burt  and Hal David wrote it and that it was in this show!

JHPENTERTAINMENT: Kelsi Fulton serves as musical director for this production. If memory serves, you’ve worked alongside her in a number of shows in the past, right? What’s the most rewarding aspect of working with Kelsi as music director?

JUSTIN BOYD: Yes, I’ve worked with her on multiple shows including Dreamgirls, West Side Story, American Idiot and Little Mermaid just to name a few! I would say the familiarity since we’ve known each other for over a decade now! She’s also very precise with the sound she wants, and she is meticulous with the score to ensure she gets it perfect.

JHPENTERTAINMENT: What do you hope audiences remember after having attended a performance of What the World Needs Now?

JUSTIN BOYD: Music comes in all forms, shapes, and sizes. The music of today is drastically different than the music Burt would compose. I want people to either remember the beauty and elegance of Pop music from Burt’s generation, and for people in my generation and younger, to learn the history of a musical icon that shaped and led the way for what we hear on the radio today. As for the titular tune, I’m sure we can all agree that the world could use some more love!

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Williamson Country Performing Arts Center’s What the World Needs Now: The Music of Burt Bacharach returns to WCPAC at Academy Park (112 Everbright Ave. Franklin, TN 37064) from Friday, November 1 through Sunday, November 3. Performances are as follows: 2p.m. matinee Friday, November 1, 7p.m. Evening Performances Friday and Saturday, November 1&2 and a final 2p.m. matinee on Sunday, November 3. Tickets are $30 ($27.50 for Seniors and Students). All Seats are Reserved Seating. CLICK HERE to purchase tickets. Next up onstage at WCPAC, The Music Man Kids, November 8-10. Presented by STAR (Student Theatrical Arts Resource), there will be a total of six performances, showcasing three young groups of kids from three area STAR programs. Franklin Rec Cast will perform Friday, November 8th at 6:30p.m. and Saturday, November 9th at 1:30p.m. Enrichment Center Cast will take to the stage Saturday, November 9th at 4:00p.m. and Saturday, November 9th at 6:30p.m. Then, the College Grove Cast will round out the performances Sunday, November 10th at 1:30p.m. and Sunday, November 10th at 4:00p.m. Tickets are $10. CLICK HERE to purchase tickets or more information. To learn more about WCPAC‘s STAR Program, CLICK HERE. To keep up with all things WCPAC, CLICK HERE to check them out online and follow them on Insta, Facebook and X.

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

Rapid Fire 20Q With Cast of Playhouse 615’s ‘Dracula: a Comedy of Terrors’; onstage through November 3

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The cast of Playhouse 615’s ‘Dracula: a Comedy of Terrors’ (l to r: Jeremy James Carmichael, Robert Coles, Katie Fraley, Jonathon Joyner and Beth Henderson) on stage through November 3.

Following last weekends SOLD-OUT opening performances, Playhouse 615’s Dracula: a Comedy of Terrors is back this weekend and next, October 25-27 and November 1-3, to glamour audiences with a bloody hilarious reimagining of the Bram Stoker classic. After having seen the off-Broadway premiere just last year, Playhouse 615’s Ann Street Cavanagh quickly snagged the rights to present the Tennessee debut for this Halloween season. As the cast prepared for the remainder of the run, I had the chance to chat with each of them for the latest installment of my recurring interview feature, Rapid Fire 20Q.

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Rapid Fire 20Q with the entire cast of Playhouse 615’s Dracula: a Comedy of Terrors

Rapid Fire with Robert Coles, Mina and others in Dracula: a Comedy of Terrors

JHPENTERTAINMENT: First of all, your Mina and Dr. Van Helsing are absolute scene stealers. I honestly didn’t think I would enjoy you in these roles so much. What’s been the most challenging aspect of playing these two lovely ladies?

ROBERT COLES: Thank you! These roles have been so much fun to play. They’re so different and I’ve loved creating them. For me, they’re polar opposites. Mina is written as a horny misfit and Dr. Van Helsing is composed and serious. So, making the switch between these two (sometimes within a few seconds) is challenging. And, with them having such drastically different accents, one scene in particular where they have a full on conversation with each other is absolutely crazy! But, Ann and I worked closely on building the characters and how we wanted them to sound, their physicalities, and different traits to put into them to make them so different. Partner that with costumes and wigs, and they come together quite nicely!

JHPENTERTAINMENT: As Mina, you reminded me a bit of Bette Davis in Whatever Happened to Baby Jane, and I was there for it! What went into developing your characterization of that role?

ROBERT COLES: Oh, Mina! I just love her. She has tender moments where you really start to feel for her, then she does things so cooky and crazy that you’re back to, “Aww. Bless your heart…” For her, I just wanted to amp up the crazy and horny. I put a lot into her physical traits and how she walks, talks, and moves. Her laugh and grunts are also a favorite aspect of the character. This cast has been a dream to work with and they put up with all my crazy! Truly no two nights with Mina are the same. I feed so much off the audience’s energy, too!

JHPENTERTAINMENT: Can we just talk about the oversized hair bow? I love that it just kept falling into your face and without missing a beat, you repositioned it and went on. Who’s idea what it to have you wear it?

ROBERT COLES: That bow is the bane of my existence, but I LOVE that the audience reacts to it so much! Ann always wanted that giant bow to be sitting on the side of my head, but you throw it on top of a wig and add in a gallon of sweat (seriously, we’re running marathons during this show!) and it just won’t stay on! My favorite moment during the show opening night was when I finally got so tired of it that I just threw it into the audience! 

JHPENTERTAINMENT: Ann Street-Kavanagh is directing Dracula. Recently, you’ve worked with her as a co-star during Sordid Lives, as playwright and cast member for Aunt Sally’s Wild Ride and now as director and cast member in Dracula. How does the fact that you both are as adept on stage as behind the scenes affect your working relationship?

ROBERT COLES: Ann is an actor’s director. She comes into rehearsals knowing exactly what she wants, but allows us to play with the scene and characters and make them our own. I love her passion for this show, and for directing. She was so funny during this process and so many of our little bits were straight from her zany brain! Fun Fact: I have actually directed Ann TWICE as well! I think we have a mutual respect for each other and our crafts and it really created a harmonious relationship. When you add in this incredible cast (I mean, come ON, I’m acting with Jeremy James Carmichael, Beth Henderson, Katie Fraley, and newcomer Jonny Joyner for goodness sakes!), magic happens. We’ve become a family… Truly. This is one show I don’t want to end. Thank you, Ann, for this opportunity. It’s blessed my life in so many ways.

Rapid Fire with Beth Henderson, Renfield and others in Dracula: a Comedy of Terrors

JHPENTERTAINMENT: As I mentioned after having seen opening night of Dracula, you, along with Robert Coles, steal every scene you’re in. Was absolutely going for it and pushing the boundaries of comedy something you were initially comfortable doing or did it take a bit of coaxing from your director Ann Street Cavanagh?

BETH HENDERSON: I was all in from the audition forward. When it comes to comedy, you’re more likely to have to reign me in than push me out there.

JHPENTERTAINMENT: Thanks to Nick Cage’s recent Renfield film, I suspect more audience members might be a bit more familiar with the character. But your interpretation is anything but a carbon copy of latest big screen version. The distinct way in which your Renfield speaks gave me and several folks around me in the audience a serious case of the giggles. What went into presenting Renfield the way you do?

BETH HENDERSON: The script describes Renfield as someone with salivary issues. I think that was the key to finding the character for me. Once I figured out how to do a very slobbery cockney-like accent, the rest just fell in place. 

JHPENTERTAINMENT: In addition to Renfield, you play Dr. Westfeldt. There’s a particularly fast-paced scene in which you play both, onstage at the same time. What’s your secret to keeping straight whose line you’re delivering and when?

BETH HENDERSON: Ha! Keeping the lines straight is the easy part of that scene. It’s the wig and pipe exchange while spinning that I will never perfect.

JHPENTERTAINMENT: One thing I noticed during the opening night performance was that the audience was laughing so hard there were instances we missed what I’m sure where some equally guffaw-inducing lines. To that end, how imports is audience reaction to the energy of the cast when performing comedy?

BETH HENDERSON: The audience reaction is everything! We had rehearsed the show so much that we weren’t even sure it was funny anymore. The laughter creates this energetic buzz that kind of gives you a high as an actor. 

Rapid Fire with Katie Fraley, Lucy and others in Dracula: a Comedy of Terrors

JHPENTERTAINMENT: What do we need to know about Lucy, one of the characters you play in Dracula?

KATIE FRALEY: Lucy is a woman ahead of her time. She is not only strong and courageous, but she is unwilling to hide her true self. Lucy is also fiercely devoted to her loved ones, especially her sister Mina, so much of her fighting spirit shines through in her relationships. She maintains her independence as best she can, even though the people around her have not quite caught up to her progressive ideas. Her father, for example, still views her as a frail future housewife who needs protection. Many of Dr. Westfeldt’s comments speak to the general attitude toward women during this time. One of the things Lucy craves the most is an intellectual equal who celebrates her free spirit. I think this is where some of the conflict appears for her in the story. Because her fiancé, Jonathan, is so timid and unsure, Dracula appears as the first bold personality she has encountered for ages. It makes sense why she is drawn to him. Ultimately, these forces pull Lucy in many different directions, but whatever happens, you can be sure that she will follow her heart and intuition authentically. 

JHPENTERTAINMENT: Jeremy was the first to break character on opening night. In that same vein (see what I did there?) During the rehearsals, who had you all laughing the most with their outlandish behavior?

KATIE FRALEY: Oh gosh, we couldn’t go two minutes in any rehearsal or show without cracking up one another. This is the funniest and most caring cast I have ever worked with. I have to say though, that Robby constantly makes me howl with laughter. We have such similar (and random) senses of humor that we’ll frequently make jokes at the same time or say what the other is thinking. One of my favorite things about him is that he is so quick-witted. He finds the joke in everything and presents it perfectly. His incredible comedic timing is evident both on and off stage. Any time he does an accent it sends the whole cast into a fit. I still have to keep myself from cracking when he says “wampire.” Robby is such a great physical comedian too and uses this to fully embody each character. It’s hard to keep quiet backstage because even during shows, he is doing something to make us all laugh. Every cast member has made me break character one time or another. Keeping a straight face is an impossible task.

JHPENTERTAINMENT: In addition to Lucy, you also play a couple other roles, including the carriage driver and the elderly housekeeper. For the most part, your characters are the “straight men” to the more outlandish comic antics of some of the others. What’s the most challenging aspect of playing it straight in such an uproarious comedy?

KATIE FRALEY: Honestly the hardest part about playing these other characters is the quick changes! But in terms of playing it straight, it is definitely challenging to present exposition without as much response from the audience. These other characters are often smaller parts meant to drive the plot, so they don’t get as much character development or as many of the killer comedic lines as the main characters we each play. In a farce like this the audience reactions really drive the energy, so it takes a lot more intentional effort to keep the pace steady when playing one of these peripheral characters.

JHPENTERTAINMENT: I’m about to chat with Jonathon Joyner, who plays Lucy’s love interest, Jonathan Harker. I still can’t believe this show marks his first time on stage in a theatrical production. How has he been as a scene partner?

KATIE FRALEY: If I were to watch this show for the first time as an audience member, I would have thought he had been doing theatre for years. He’s a natural. His instincts and character choices come so easily to him. More than anything, he has understood the teamwork element of theatre since day one. He gives such great energy as a scene partner and brings authenticity to each scene. I have always felt comfortable working our scenes. Any little tweak that needed to be made, usually because of different practices between film and stage, he adapted to quickly and with grace. I selfishly hope we have converted him to a stage actor! 

Rapid Fire with Jonathon Joyner, Harker and others in Dracula: a Comedy of Terrors

JHPENTERTAINMENT: As I just mentioned in my chat with your co-star, Katie, while you’ve previously focused on film work, this show marks your stage debut, not just your Playhouse 615 debut, but your first time ever in a theatrical production. What lead you to audition for this show?

JONATHON JOYNER: Yes! this is my first time ever on stage and I just want to thank Ann first and foremost for giving me the opportunity. I came by the audition through a mutual friend, Mick Grayson. He referred me to the audition that was open and I decided to take a chance. I have always been interested in the stage but have maintained my focus on film. I now know the benefits of both and the wonderful expression that you get to convey on the stage. 

JHPENTERTAINMENT: When I saw you after the show on opening night, I shared with you my connection to the character of Harker, and I love that you’re playing a character who shares your first name (though spelled slightly different). Had you ever read the original book or seen any Dracula movies? AND…Did you realize there was a character that bore your first name? 

JONATHON JOYNER: I have not read the original book but I have seen many of the Dracula adaptations so I have been familiar with the story. Despite this I do not believe I had ever realized the connection in name, but I am so happy that I do now. I do believe I will go back and read the original work now!

JHPENTERTAINMENT: Speaking of names, I love the fun name drops peppered throughout the script, including the ship being named the SS Stoker, a nod to Dracula author, Bram Stoker. Is there a scene or line in the show that you find particular amusing?

JONATHON JOYNER:  I think that one of my favorite scenes is the scene where I play a gravedigger and the character has this cockney accent, I find it particularly amusing because cockney has always been one of my favorite accents. I recently watched Legend with Tom Hardy where his character has a cockney accent and I always find it so humorous and engaging. The juxtaposition of standard received pronunciation with Jonathan Harker and the fun animated nature of cockney always brings me joy. There is also a line where I say “I want to introduce you to my cousins Mary and Shelly” a nod to the author of Frankenstein which I always always always love delivering.

JHPENTERTAINMENT: Once bitten, your character undergoes a bit of a transformation. How much fun are you having vamping it up?

JONATHON JOYNER: The energy from the audience when coming out from the transformation is what makes it the most fun. Flipping to a complete opposite form allows me to loosen up on stage and enjoy the energy that is being thrown at me from the audience, I love it so much. It is almost like a release up to that point of my own personal energy being contained and an almost woosah type of moment once the transformation happens haha. 

Rapid Fire with Jeremy James Carmichael, Dracula in Dracula: a Comedy of Terrors

JHPENTERTAINMENT: When I interviewed you recently about your role in Aunt Sally’s Wild Ride, I asked you to describe your character in five words. You responded in the most cheekily arrogant way possible. Now you’re playing Dracula in an equally cheeky and arrogant way. So a two-parter for you: 1) How much fun are you having in this role? AND 2) Ever feel like you are being typecast? 😉

JEREMY JAMES CARMICHAEL: 1) Dracula is a blast to play, but it’s even more fun being supported by an incredible ensemble of hilarious and talented actors. I couldn’t be the Dracula you see in this show without the banter and trust I have with each of my co-stars. And Dracula changes from night to night depending on the energy of the audience, and how my scene partners feed me the lines; I’ve played him more petulant and melancholy at some shows, but hyper and more self-absorbed at others. The beauty of live theater! 2) Well gee, Jonathan (an actual line of mine in the show)… I like to think of it as excelling in one certain facet, or being able to demonstrate mastery in a particular trait. But yes, I do think I get type-cast a lot. When I look back at my work, I see many of the same characters: Billy Flynn, Conrad Birdie, Danny Zuko, Sam Carmichael. I hope audiences know that’s not me in real life; I’d consider myself fairly opposite of all those roles I play. But I wish I had their confidence and… cajones.

JHPENTERTAINMENT: When I attended the show opening night, the audience couldn’t stop laughing. I found myself wondering how you all keep it together, then, about an hour in, you broke character, attempting to stifle the giggles during a particularly hilarious scene opposite Robert Coles. During rehearsals, who had the hardest time keeping it together?

JEREMY JAMES CARMICHAEL: How dare you. But yes, breaking character happens to the best of us. Something magical happened the first night the five of us met for our table read; only two had known each other before, but we clicked and then bonded faster and harder than any cast I’ve worked with, and I’ve been doing this for 47 years. Our team is rock-solid, and our love for each other is palpable. When you have that trust, the show can skyrocket. I’ve told my scene partners I have no limits; lean into the comedy if the audience is eating it up. And sometimes jokes go farther than we’ve taken them before, and sometimes — yep. It’s too dang funny to keep inside. My four castmates are BRILLIANT. And so I constantly find myself lost in their performances and sometimes reacting, out of character. I’m only human.

JHPENTERTAINMENT: Let’s talk about those vampire teeth. What’s the most challenging aspect of wearing fangs while trying to deliver your lines?

JEREMY JAMES CARMICHAEL: They hurt! But I think they’re kinda sexy so I always keep them in right after the show. I’m always hoping to get pulled over on my way home.

JHPENTERTAINMENT: Why should folks come see Dracula: a Comedy of Terrors. AND After seeing Dracula: a Comedy of Terrors, what do you hope they come away thinking of long after those two mysterious blood spots fade on their necks?

JEREMY JAMES CARMICHAEL: The show is FUN. Sometimes are is provocative; sometimes it’s used as an agent for social justice or change. And sometimes it’s just damn fun. We’re in a heavy time in our nation and I think the escapism that theater provides is a real benefit. Trust me — you won’t be thinking about your problems for the 90 minutes you spend with us. I think audiences will leave happy, and sometimes, that’s the best you can ask for.

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Playhouse 615’s Dracula: a Comedy of Terrors continues with performances through November 3. At the time of this publication, Limited Tickets remain for the rest of the run with the exception of Saturday, October 26, which has SOLD OUT. Limited seating remains for October 25 & 27 and November 1-3. CLICK HERE to purchase, or contact the box office at 615.319.7031.

Next up at Playhouse 615, Joel Meriwether will direct Every Christmas Story Ever Told (And Then Some!) with performances December 6-22. WATCH THIS LINK 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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JHPENTERTAINMENT: Who is Lady in Yellow to you?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rapid Fire with For Colored Girls’ director Cynthia Harris

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JHPENTERTAINMENT: What can you tell me about your cast?

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

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

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

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

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

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

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

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

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

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

Rapid Fire with Waitress star, Sarah Aili

JHPENTERTAINMENT: Who is Jenna to you?

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

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

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

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

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

JHPENTERTAINMENT: Just between us…pie or cake?

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

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

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

Rapid Fire with Waitress co-star, Piper Jones

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

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

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

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

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

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

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

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

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

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

Rapid Fire with Waitress co-star, Annabelle Fox

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

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

JHPENTERTAINMENT: How would you describe Dawn?

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

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

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

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

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

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

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

Rapid Fire with Waitress director, Lauren Shouse

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JHPENTERTAINMENT: Describe Jim Halpren in five words.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH AN IDEAL HUSBAND DIRECTOR, EVAN FENNE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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