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Rapid Fire 20Q with cast of ‘A Tuna Christmas’; Opening at Playhosue 615 December 1

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Each holiday season there’s a handful of theatrical offerings from classics like A Christmas Carol to more modern fare such as Elf. Nestled hilariously somewhere in the middle of these wide-ranging shows is A Tuna Christmas, the brainchild of Joe Sears and Jaston Williams. With only two actors playing every character in the fictitious town of Tuna, Texas, A Tuna Christmas is truly a knee-slappin’, belly-laughin’ good time that will warm your spirits quicker than a shot of brandy in eggnog. Playhouse 615 (located at 11920 Lebanon Road in Mt. Juliet, TN) will be presenting their production of the holiday favorite beginning this weekend as the show opens Friday, December 1 and runs through Sunday, December 17. Directed by Memory Strong-Smith, with set design by Eric Crawford, Matthew N. Smith and Daniel Vincent star as the citizens of Tuna, Texas as they ready for the holiday season.

Earlier this week as the director, set designer and two-man cast prepared for the show’s opening, I had a chance to pose a few questions to each of them for the latest installment of my recurring interview feature, Rapid Fire 20Q. As I have done the last few years, you’ll notice the questions, like everything else around us this time of year, have a decidedly holiday theme.

RAPID FIRE 20Q WITH CAST & CREW OF PLAYHOUSE 615’s A TUNA CHRISTMAS

RAPID FIRE Q&A WITH A TUNA CHRISTMAS DIRECTOR, MEMORY STRONG-SMITH

JHPENTERTAINMENT: What has been the most rewarding aspect of directing Playhouse 615’s holiday offering, A Tune Christmas?

MEMORY STRONG-SMITH: Seeing the whole project cone together. This show has lived in my head for about a year, and it’s really lovely to see everything- lights, costumes, set, characters, trees, and sound come to insane life. It took a village to get us to this point and I am so grateful to Matt and Daniel, Eric who designed and almost singlehandedly built the set, our dresser and ASM Tony Barrow for keeping the chaos as contained as possible back stage, and Nikki Nelson-Hicks who took ownership of running the lights and sound like she was born to it. It’s a LOT and I’m so grateful to each of them for partnering with me on this journey. 

JHPENTERTAINMENT: Are you more likely to return a gift or regift it?

MEMORY STRONG-SMITH: Depends on the gift. If it’s something I think someone else could use or want, I’ll pass it along. 

JHPENTERTAINMENT: Snowball fight or building a snowman?

MEMORY STRONG SMITH: Snowman. 

JHPENTERTAINMENT: Die Hard or Love Actually?

MEMORY STRONG-SMITH: Oh man! I love them both!! Die Hard, tho edges out Love Actually, but a nose hair! 

JHPENTERTAINMENT: Favorite Christmas memory?

MEMORY STRONG-SMITH: There are many, but I have to say the last Christmas I got to spend with my mom before she died. We put on Mariah’s 1st Christmas album (this was 1995), drank adult beverages, got a bit tipsy, and decorated the tree. It was just a lovely time spent together and I so cherish that memory. 

RAPID FIRE Q&A WITH A TUNA CHRISTMAS STAGE MANAGER/SET DESIGNER/GRUMPY ELF, ERIC CRAWFORD

JHPENTERTAINMENT: As Stage Manager/Set Designer/Grumpy Elf for Playhouse 615’s A Tuna Christmas, is there a detail in the set that you’re most proud of?

ERIC CRAWFORD: The Christmas trees. This show features 7 Christmas trees which determine the setting for each scene. I put a lot of thought into capturing Matt and Daniel’s interpretations of the characters and what each character’s Christmas tree would look like. 

JHPENTERTAINMENT: Christmas Breakfast, Christmas Lunch or Christmas Dinner?

ERIC CRAWFORD: Dinner

JHPENTERTAINMENT: Sleep late or up early for presents?

Sleep late is always the appropriate answer. 

JHPENTERTAINMENT: Gift Bag or meticulously wrapped presents? 

I tend to be involved with holiday productions, so I usually wind up paying my son, Ace, to wrap for me. 

JHPENTERTAINMENT: Favorite Christmas memory?

How about one theme? Family.  So many memories of my relatives revolve around Christmas, especially those who have passed.  

RAPID FIRE Q&A WITH A TUNA CHRISTMAS STAR, MATTHEW N. SMITH

JHPENTERTAINMENT: Of the myriad of characters you play in A Tuna Christmas, do you have a favorite? 

MATTHEW N. SMITH: Every character is special to me for one reason or another and I can’t say I have a favorite but I’m going to go with Arles Struvie because he has a really touching relationship that develops through the show (leaving out details to avoid giving away the plot). 

JHPENTERTAINMENT: A walk in the wintery woods or a stroll through a decorated neighborhood?

MATTHEW N. SMITH: I’m going to go with the decorated neighborhood. It sounds slightly less freezing. 

JHPENTERTAINMENT: Who was the better Scrooge…Bill Murray in Scrooged, Jim Carrey in 2009’s A Christmas Carol or Uncle Eider as Scrooge McDuck? 

MATTHEW N. SMITH: The answer will never not be Bill Murray.

JHPENTERTAINMENT: Would you prefer a ride on the Polar Express or a Horse-drawn Sleigh? 

MATTHEW N. SMITH: Since I have an affinity for the traditional and picturesque, I’ll take the sleigh. Under a warm blanket with a hot toddy and my Mine.

JHPENTERTAINMENT: Favorite Christmas memory? 

MATTHEW N. SMITH: When I was 17, my mother gave me a Fender acoustic guitar. It’s been through everything with me ever since and though we’re both a little the worse for wear, we can still strum a pretty nice tune. 

RAPID FIRE Q&A WITH A TUNA CHRISTMAS STAR, DANIEL VINCENT

JHPENTERTAINMENT: Like your costar, you also play a ton of characters in A Tuna Christmas. Who’s your favorite?

DANIEL VINCENT: Though Inita Goodwin, the sassy waitress, is a lot of fun, I’d have to say that Bertha Bumiller is my favorite. She’s the heart of the show and delivers some of the most country and hilarious one-liners.

 JHPENTERTAINMENT: Emmet Otter’s Jug-Band Christmas or John Denver and The Muppets: A Christmas Together?

DANIEL VINCENT: Emmet Otter’s Jug-Band Christmas is a classic, but I’m going to pretty much always go with The Muppets any time there is a choice.

 JHPENTERTAINMENT: Handcrafted presents or store-bought with thought?

DANIEL VINCENT: I don’t really have a preference here as long as it’s something practical or that I can enjoy throughout the year. I’m not a fan of tchotchkes.  

 JHPENTERTAINMENT: Ice Skating or Caroling?

DANIEL VINCENT: I’ve only tried ice skating once and it was a tremendous and painful failure. I’m a singer, so I’m going with caroling. Fewer bruises and broken bones.

 JHPENTERTAINMENT: Favorite Christmas memory?

DANIEL VINCENT: We didn’t have money growing up, so my mother made sure Christmas was more about service to others than getting things on your wish list. My favorite Christmas memory is probably the first time I volunteered with my rugby team to deliver meals on Christmas Day with Nashville Cares. It was humbling as well as heart-warming and brought home what the season is really about. I’ve done it every year since. It’s become a part of my holiday traditions.

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With that my conversations with the cast of Playhouse 615’s A Tuna Christmas came to a close, but it’s just the beginning of the riotous laughter they’ll be providing during the holiday season as the show opens Friday, December 1 and continues weekend through Sunday, December 17. CLICK HERE for tickets or call the box-office at 615.319.7031. When available, tickets can also be purchsed at the door an hour before each performance.

Following a brief holiday break, up next at Playhouse 615 is The 39 Steps., directed by Diane Bearden-Enright, onstage February 16- March 3. For more on these shows and to keep up with Playhouse 615, check out their website or find 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 Nashville Rep’s ‘9 to 5: the Musical’; onstage at TPAC’s Polk Theatre September 8-17

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Alright, Y’all KNOW I’m obsessed with any and all things Dolly Parton, so when I heard that Nashville Repertory Theatre was presenting 9 to 5: the Musical, based on Dolly’s 1980 film and featuring songs written by Dolly, I knew I’d have to chat with some of the show’s stars for one of my Rapid Fire 20Q interview features. What follows are my conversations with Megan Murphy Chambers, Allyson A. Robinson, Mariah Parris and Geoffrey Davin.

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Rapid Fire 20Q with cast of Nashville Repertory Theatre’s 9 to 5: the Musical

Rapid Fire with Megan Murphy Chambers, Doralee in 9 to 5

JHPENTERTAINMENT: You‘ve played Dolly’s Steel Magnolias role of Truvy on stage and now you’re appearing in Nashville Rep’s 9 to 5 as Doralee, another Dolly film role. Are there similarities between the two characters?

MEGAN MURPHY CHAMBERS: Definitely!  Dolly herself radiates such tremendous sparkle, humor, and humanity, it’s nearly impossible to separate her from her more iconic characters.  So not only was she beautifully suited for the roles and their accompanying words on the page, but she imbued them with such a unique style and appeal, you can’t help but find similarities.  Being cast in these two parts has been such a joy and honor, particularly if it means that anyone draws even the smallest similarity between me and Ms Parton herself.  

JHPENTERTAINMENT: Not only are you two-for-two with Dolly’s iconic roles, you’re also two-for-two with Beki Baker, who directed you in Steel Magnolias for Studio Tenn and is now directing Nashville Rep’s 9 to 5. What’s an aspect of Beki’s directorial style that you appreciate?

MEGAN MURPHY CHAMBERS: How many words am I allowed?  🙂  Beki is such a gift in the room – so enthusiastic, so prepared, so supportive, such an easy leader to follow.  I love the way she comes in with a clear plan and lots of problems solved before we even encounter them, which leaves her designers and performers so much room to play and take big swings.  Beki values the product AND the process, and every minute of it has been a delight and an inspiration!

JHPENTERTAINMENT: If you were to exact revenge on a chauvinistic boss, which of the tactics from 9 to 5 would you likely choose? Or have you thought up your own revenge scheme?

MEGAN MURPHY CHAMBERS: This is my favorite question ever, and I’d like to dedicate it to a former supervisor who shall remain nameless.  It would be delightful to brand his ass, Doralee style, and that thought alone will keep me boosted up as we slog through the last of tech.

JHPENTERTAINMENT: I often use the phrase “Only in Nashville”. Earlier this week Nashville Rep posted an “Only in Nashville” type post when Dolly herself sent a video message to the cast and crew of 9 to 5. In the message she not only drops the possibility that she might attend a performance, but also mentions that Gregg Perry, who arranged and associate produced (an apparently provided the iconic opening typewriter sounds) for the original recording of 9 to 5 is part of this production’s orchestra, music directed by Randy Craft. How’s it been working with Randy on this show, and do you have a favorite musical moment?

MEGAN MURPHY CHAMBERS: I LOVE Randy, and the show is sounding absolutely incredible.  I look forward to singing the end of Change It every night, and look forward to hearing Heart to Hart even more.  But nothing gets my blood moving more than the end of the opening number, 9 to 5, when everyone is finally onstage and singing together. Iconic!!!

JHPENTERTAINMENT: As mentioned earlier…Truvy…CHECK! Doralee…CHECK! So, any plans or hopes of playing Miss Mona in Best Little Whorehouse in Texas? Until then, what’s next for you following 9 to 5?

MEGAN MURPHY CHAMBERS: I was literally just talking to someone about my Miss Mona dreams just the other day, so SIGN ME UP.  In the meantime, I have a season lined up that I’m so eager to tackle – I’m heading to Nashville Children’s Theater next to play Mrs. Gloop in Charlie and the Chocolate Factory and Foofinella in The Gingerbread Kid, after which I’m heading south to play Sally Bowles in Cabaret at Studio Tenn!

Rapid Fire with Allyson A. Robinson, Violet in 9 to 5

JHPENTERTAINMENT: If my research in preparing to chat with you proves correct, having a lifelong history of performing from an early age, you’re a Detroit native whose passion for the arts really took wing during recent years in Atlanta, is that right?

ALLYSON A. ROBINSON: It is! I was born and raised in church, which meant that I was doing all the plays and cantatas. My family is also full of musicians so it wasn’t hard to get into the same flow and onto the same path they’d been carving for years. But the full transition into performing didn’t come until high school, when it was brought to my attention that I could sing classical music and opera. So I stepped into that and it took off from there! Went to Kentucky State University for music and then attended the University of Kentucky for a few years. During my first year there, I discovered I had nodules and a month after that my dad passed away. So I was dealing with a lot of identity issues because singing was who I was, but my relationship with it was more for the benefits of being well known and praised, not for the passion of performing. So I stepped away from music for a decade. I became a teacher and taught here in the states and then in Abu Dhabi, and then once we returned back to the states, I became a set teacher for kids in TV/Movies. Watching all the actors and actresses perform on camera awakened something inside of me and I wanted to take advantage of that feeling. I started taking acting classes and book a few short films, got an agent, and then booked a role on a feature film as well! It felt so good to be back!

Then after moving to Nashville in July 2022, I started working at a tech company here in town, who happened to be putting on a Black History Month program. Randomly during lunch, a short clip of a voice recording of my singing started to play because I hit the wrong button. Erika, who was in charge of the program, happened to be sitting next to me. She looked at me and said “I didn’t know you could sing! You’ll sing for our program!” So I was volun-told. I called my friend Ron, who’s an amazing voice teacher and performer from graduate school and told him what happened. So we decided to start up some lessons to prepare for the program, and I discovered that my voice was in pretty good shape! After the program, I told him that I wanted to continue singing and finding opportunities in the area if I could. 

JHPENTERTAINMENT: I understand 9 to 5 marks your Nashville Rep debut. How did landing the role of Violet Newstead come about?

ALLYSON A. ROBINSON: So after doing the program with my job, I realized that I wanted to keep this momentum going. I was loving where my voice was, I had fallen back in love with performing, and I didn’t want to lose it. So my friend and I started to research things happening in the area and came across Nashville Rep’s audition season. I was terrified because I hadn’t done this in over 10 years, but I was willing to just go in and get an audition under my belt, and have fun doing it. So we prepped my music and I already have some monologues from doing auditions. I went into the audition room with no expectations of booking anything. I just wanted to go in and say I did it after so long. Prove to myself that I could still do it after all this time. 

A few weeks later, I received three emails for callbacks, one of them being Violet. My mind was BLOWN. 

I took some time, looked through the music and the scenes and just had fun building this character. I was in this to have fun, not prove anything to anyone but myself. We had a dance call first, which I was freaking out about because I’m 34, a mom of twins, and had just started to build a workout routine. I didn’t feel as if I was in ANY shape to get up and dance. And add onto that of course, that I hadn’t done this in 10 years. BUT I made it through!

When we got to the scenes, I was excited to simply work with the others in the room. Nashville is full of so many talented artists and being new the scene, I was interested in meeting and experiencing their talents… and I was blown away. There are so many talented artists here in Nashville, and they’re triple threats! Dancers, singers, and actors, and some of them have even more in their toolbox than that!

When I made it through cuts, I was in complete shock. They had chosen only three people to move forward for my role, and my name was the last one they called. 

When I left the auditions, I smiled. I cried. I had so much fun and in reality, I wasn’t expecting much…and then I was at work and my phone rang. Ms. Yolanda Treece from Nashville Rep asked if I was sitting down. When she let me know that they wanted to offer me the role of Violet, I jumped out of my seat and just cried. I’m crying typing this story out all over again! It was hands down, one of the best days of my life. It was such a beautiful surprise and I am forever grateful to Beki Baker for this opportunity, 

JHPENTERTAINMENT: As Violet, you share a few scenes with one of Nashville theatre community’s rising young stars, Jalen Walker, who plays Violet’s son, Josh. A mother of twins in real life, has your maternal instinct benefitted your working relationship with Jalen?

ALLYSON A. ROBINSON: Oh absolutely! My maternal instincts kick in whenever there is someone under the age of 18 around. Honestly, it never really shuts off! But when I first met Jalen, he and I were excited because of how much we actually look alike! (Shoutout to Beki for her phenomenal casting). There have been times on set that he’s practiced skateboarding and my eyes are immediately latched onto him to make sure he doesn’t fall. When he comes to rehearsal from school, one of my first three questions is “How was school?”. 

Being a former set teacher, it adds another layer of a protection and a care for any minor whose a performer. They are some of the most courageous artists because they have to balance school and being a performer, while also trying to have a social life and deal with raging hormones all at the same time. I admire him for the amazing work he’s doing with the show and outside of here. He’s definitely one to watch.

JHPENTERTAINMENT: If you hadn’t been cast as Violet, what other 9 to 5 role might you enjoy playing?

ALLYSON A. ROBINSON: Roz, hands down. Roz is a complex, but incredible character built to weave such an amazing element of joy and entertainment throughout the show and it’s such a breath of fresh air. But there’s no way I could replace the incomparable Evelyn O’Neal in our show as Roz. She is one of the most talented artists I’ve had the pleasure of meeting and working with. Her songs and scenes are consistently getting funnier and funnier. I can’t wait for the Nashville and beyond to experience her on stage in this show.

JHPENTERTAINMENT: I’m just gonna be honest, when I first saw the film version of 9 to 5 back in 1980 (yes, I’m that old) the themes of workplace inequality were lost on my teenage mind. Is there a scene in the stage musical or even a passing line of dialogue that addresses that theme that you hope audience pay particular attention to?

ALLYSON A. ROBINSON: The last scene of 9 to 5 is such a powerful scene. My character Violet takes the time to call out the inequalities in the workplace between those at the top who take all the credit and the “little guy” who does all the work that those at the top take the credit for. This scene reveals the realities of the workplace that we are still dealing with today in 2023. I believe it’s a moment that the audience can take in at the end as a revelation that things in our current world still need to change and adjust because the “little guy” is still being stepped on for other to make their way to the top. I hope that during this scene, audience members feel seen and affirmed in their own “9-5” journey and experience in the workplace and will empower them to speak up be out against injustices they and their co-workers experience on a day to day basis. 

Rapid Fire with Mariah Parris, Judy in 9 to 5

JHPENTERTAINMENT: Before we get started, I just have to say how much I enjoyed you as Jen in Nashville Rep’s The Cake. How excited are you to get back at The Rep for 9 to 5?

MARIAH PARRIS: Thank you so much! That show was such a special experience. In fact, every time I’ve get the opportunity to work at The Rep I have an amazing time. It is not lost on me what a privilege it is to work here and I feel so lucky every time I get the call saying that I get to!

I was specifically excited to get the call for 9 to 5 because I have admired Beki Baker for years (over a decade at least?) and this is my first time getting to work with her as a director. She is an awesome human and an excellent leader.

JHPENTERTAINMENT: What is your favorite aspect of playing Judy Bernly?

MARIAH PARRIS: My favorite aspect of Judy Bernly is her courage. She really starts the show from such a broken place and surprises herself at so many points along the way that she is stronger and more capable than she ever realized. I think we can all relate to feeling scared and doing the scary thing anyway, and I really enjoy stepping into that energy.

JHPENTERTAINMENT: As Judy, you’re teamed with Megan Murphy Chambers and Allyson A Robinson. Describe your 9 to 5 cohorts using a single word each.

MARIAH PARRIS: Ooof this is hard. How to sum up such kaleidoscopic women? Allyson: Wisdom. Megan: Excellence. 

JHPENTERTAINMENT: I’m totally an attention to details kind of guy, so…The show takes place in an office setting during the late 70s/early 80s. With a set designed by Gary Hoff and props from Lauren Yawn-Kell, is there something about the set or a particularly period-authentic prop that you’re just really into?

MARIAH PARRIS: Gary Hoff is a genius and every set he touches is magical. This is my first time working with Lauren and she has absolutely crushed it.

For me it’s the set color scheme: avocado, harvest gold, and….more avocado. My favorite props are probably all the made up accolades adorning Franklin Hart’s office bookshelf… they are hilarious.   

JHPENTERTAINMENT: Long after the tap tap tap of the typewriter from the show’s title tune is just a distant memory, what do you hope audiences will remember about this production of 9 to 5?

MARIAH PARRIS: I hope this show inspires the audience to consider the dynamics in their own lives- be it home, workplace, or otherwise- and consider where people are perhaps being held back from their fullest potential because of outside forces keeping them down. I hope people consider how they can be less of a hindrance or more of a help to others finding their own ways to shine.

Rapid Fire with Geoff Davin, Mr. Hart in 9 to 5

JHPENTERTAINMENT: What can you tell me about Mr. Hart, as far as your perception of the character?

GEOFF DAVIN: Well, Mr. Hart has been a challenge. Of course you never want to villainize a villain when you’re playing the antagonist. Your goal is always to empathize with them and try to see how they’re right. But gosh, Mr. Hart makes it awfully hard. He’s just such a deliciously sleazy fellow. He always says the most terrible things with absolutely no concept of how terrible his comments are. And he’s his own greatest fan. 

JHPENTERTAINMENT: Mr. Hart is the show’s villain. How much fun are you having playing the baddie opposite your three leading ladies?

GEOFF DAVIN: I’m having an absolute blast. I couldn’t have asked for a more gracious, talented, fun, and giving trio of power houses to play opposite of on stage. 

JHPENTERTAINMENT: Even the chauvinistic Mr. Hart has his admirers. What is one aspect of Mr. Hart’s character that you see as possibly redeemable?

GEOFF DAVIN: Well Violet says that she’s never seen someone leap frog to the top as quickly as he has. So he’s certainly tenacious and wildly driven. 

JHPENTERTAINMENT: With 9 to 5 being set in the late 70s/early 80s, I’m guessing Mr. Hart’s wardrobe, as envisioned by costumer Lori Gann-Smith, might consist primarily of leisure suits. They say all fashion is cyclical. Is it time for the return of the leisure suit, and do you think you could rock it off stage?

GEOFF DAVIN: I would 100% wear my opening suit it in real life. 

JHPENTERTAINMENT: There’s long been talk of a 9 to 5 sequel, at least for the original film adaptation. If there were a sequel, where do you see Mr. Hart in the future?

GEOFF DAVIN: I think Mr. Hart stayed on the island. He now works for the Amazonians, harvesting coffee beans. They’ve even given him a little nickname. I’m not sure how to write it in their language. But it roughly translates to “skinny and sweet”. 

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Nashville Repertory Theatre’s 9 to 5: the Musical plays TPAC’s Polk Theatre September 8 through 17 with Friday and Saturday evening performances at 7:30p.m. and Saturday and Sunday matinees at 2p.m. CLICK HERE for tickets or more information. Following 9 to 5, Nashville Repertory Theatre rings in the holidays with A Christmas Carol onstage at TPAC’s Polk Theatre from December 1-17. CLICK HERE for tickets or more information.

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

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

Rapid Fire Q&A with Theatre of Gadsden’s ‘Sordid Lives’ cast members; onstage at The Ritz in Gadsden, Alabama September 8 thru 17

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When I heard my friend Joy Tilley Perryman was once again portraying Sordid Lives’ Noleta Nethercott—this time in Theatre of Gadsden’s production at The Ritz (310 North 27th Street, Gadsden, Alabama)—I knew I had to chat with her, having seen (and loved) her previous turn as Noleta in Nashville back in 2013. It was a nice added surprise when I learned that one of her costars this go-round is Billy Jenkins as Brother Boy, having gotten the chance to chat with him recently for a previous Rapid Fire 20Q. Add to that the chance to get to speak to Kathleen Jensen, who’s playing Juanita Bartlett, one of my all-time favorite characters, and I was fully in!

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Rapid Fire with Theatre of Gadsden’s Sordid Lives’ stars Billy Jenkins, Kathleen Jensen and Joy Tilley Perryman

Rapid Fire with Billy Jenkins, Brother Boy in Theatre of Gadsden’s Sordid Lives

JHPENTERTAINMENT: Who is Earl “Brother Boy” Ingram?

BILLY JENKINS: Brother Boy Ingram is a gay, cross dressing, Tammy Wynette female impersonator, who was wrongly put into a mental institution by his mother because he was beaten up for being gay. Brother Boy represents what all gay men have experienced: bullying, defamation, a search for identity, and a search for belongingness in a world where being bullied for being gay isn’t a crime, where defamation of a gay person is not considered taboo, where our search for identity seems like a never-ending process, and where our search for belongingness, if we are lucky, ends in a place of happiness.

JHPENTERTAINMENT: Billy, I gotta admit, when Joy and I first talked about me doing a Rapid Fire 20Q with you Sordid Lives folks, I was excited to get to chat with you again, having previously featured you in conversation about your participation in Joy’s Jubilations presentation of Listen to Your Mother. In that interview you talked about your late mother a bit. Gotta ask. What would your Mom make of Brother Boy?

BILLY JENKINS: Well, first of all, my mom never saw me in any production (unless you count my first grade play where I was a funny valentine), because she passed away when I was 21 and it wasn’t until after her passing that I got involved in theater. As far as what she would think about Brother Boy….. first of all, she’d be impressed that her baseball playing, high school football playing son could walk and run in stiletto heels. Secondly, I think she’d be proud of my character because Brother Boy’s character is NOT how I act in real life. I had to study his mannerisms very hard and dig a little to find this character. And lastly, I think she’d be like Latrelle in the show, where she always knew that I was gay since I was a little boy. You see, I was my mom’s favorite of her six children, and like Ty and Latrelle in the show, I think her knowing that I was different was what bonded us.

 JHPENTERTAINMENT: Of course I can’t take about Brother Boy without thinking of Leslie Jordan, who created the role on stage, the big screen and in the Sordid Lives tv series. I was fortunate to have gotten to know Leslie over the years. Knowing that role is such an iconic role, particularly to the LGBTQIA+ community, is there an extra sense of getting the balance of humor and heart just right?

BILLY JENKINS: OMG!!! So much pressure! When I first watched the movie, I fell in love with Leslie Jordan and his talent.  I have always wanted to do this role. Many guys in theater dream of being Jan Val Jean or The Phantom, but I remember seeing Leslie Jordan’s genius and setting my goal of playing this role at least once in my life. I am PROUD to play this role as a member of the LGBTQIA+ community. This role not only personifies what gay people had to endure 25 years ago, it solidifies the idea that being gay doesn’t mean we need to be locked up in a looney bin. This role is significant because it represents a “stereotype” of what people think being gay means, but in reality, we come in all shapes, sizes, attitudes, and mannerisms and accepting those differences (even within the gay community) leads to a more unified and coherent community. Getting the balance between what needs to be funny and what audiences need to take seriously is tricky, but doable.

JHPENTERTAINMENT: Brother Boy is a legend (in his own mind at least) for this portrayals of his Country Queens, Tammy, Loretta and Dolly. If you were to do a music tribute yourself, who would you honor and why?

BILLY JENKINS: I am finding out very quickly that I was NEVER meant to do drag. My feet hurt in heels, makeup takes too long, and my undergarments are extremely uncomfortable. With that being said, I don’t think I could ever do a female musical tribute (I might make an exception for Dolly, though) but if I had to pick, I’d say Johnny Cash. He was a musical genius, down to earth, and his music is still going strong. I do have to mention that I’m like a fifth cousin to Conway Twitty (Harold Jenkins), so I hope he doesn’t roll over in his grave because I picked Johnny Cash.

JHPENTERTAINMENT: Aside from a smile on their faces and side-splitting laughter, what theme, idea or thought do you hope audiences take away after seeing Theatre of Gadsden’s Sordid Lives?

BILLY JENKINS: I hope all mommas who have gay sons walk away from the show as a proud momma of a gay son. I hope all gay men who are ashamed of who they are walk away from the show being proud of who they are. I hope all bullies who have ever bullied someone because they are gay walk away from the show with regret of having ever done so. I hope all fathers who have told their sons that real men don’t cry walk away from the show knowing that crying doesn’t make you less of a man. And, I hope all people walk away from the show realizing that family is family and no matter what our differences are, families need to love each other.

Rapid Fire with Kathleen Jensen, Juanita Bartlett in Theatre of Gadsden’s Sordid Lives

JHPENTERTAINMENT: I understand this is your first time doing a show with Theatre of Gadsden. How much fun are you having so far?

KATHLEEN JENSEN: I am having a blast! It’s been since 2020 that I’ve been on stage. Wow, have I missed it!

JHPENTERTAINMENT: While this is your first time playing Juanita and your first show with Theatre of Gadsden, this isn’t your first foray into the world of Del Shores. Having met Del a time or two, was there anything he’s said that you’ve now put into practice as you approach the role of Juanita?

KATHLEEN JENSEN: I have worked with Del on a few occasions at TNT with his one man show. He also saw a production of “Daddy’s Dyin’ Who’s Got The Will”. The one thing that he has always stressed is that these are real people, not just characters. 

JHPENTERTAINMENT: One of my favorite of Juanita’s scenes involves a story about a particular childhood craft project, “Ol Cock-a-doodle”. Were you a crafty kid and is there any evidence anywhere around or did your crafts go the way of Juanita’s beloved rooster art?

KATHLEEN JENSEN: I was a very crafty kid! Some of it went the way of ol cockadoodle, but when I cleaned out my mom’s house I was surprised to find more than a few pieces still in existence. One was a framed paint by number of a horse. I have it in my home now. 

JHPENTERTAINMENT: The tagline for Sordid Lives is: “A black comedy about white trash”. There’s something a little white trash in all of us. What about you? What’s the most unashamed white trash thing about yourself?

KATHLEEN JENSEN: Just because I like PBR draft don’t mean I’m white trash! LOL

JHPENTERTAINMENT: Another great Juanita scene involves the art of reapplying her lipstick while never removing the cigarette from her lips. Have you mastered this unique ability as well?

KATHLEEN JENSEN: I’ve spent time working on it. I guess you’ll have to come to the show to find out! 

Rapid Fire with Joy Tilley Perryman, Noleta Nethercott in Theatre of Gadsden’s Sordid Lives

JHPENTERTAINMENT: You have a bit of history with Sordid Lives, having played Noleta in a production in Nashville that I was thrilled to have seen. Between that production and this iteration, are there aspects of Noleta’s character that you’ve discovered, or things that you’ve expanded upon in your portrayal of her?

JOY TILLEY PERRYMAN: That is a loaded one JHP. Between my last Noleta and this one I have lost the love of my life and I suppose that makes me even more aware of marriages. What makes good ones and what makes bad ones and why some people should never even try! G.W. and Noleta don’t have a good marriage but there was something there once upon a time. I think Noleta is grieving the demise of her marriage and I understand that grief all too well. This Noleta is sad in a way that I had not thought of in 2013.

JHPENTERTAINMENT: In addition to playing Noleta, you’ve also worked behind the scenes on costumes and wigs, right?

JOY TILLEY PERRYMAN: And props and set dressing. I made all the faux food that is on Sissy’s table and gathered all the 1 million lighters, compacts, and hankies that are in this show. I cannot however, take credit for Sissy’s fabulous wig. That would be the creation of my immensely talent friend, Molly Page.

JHPENTERTAINMENT: You likely know that I’ve known Sordid Lives’ creator, Del Shores for a couple decades now. You’ve also had the chance to meet him. What is it about Del and his writing that is so perfect?

JOY TILLEY PERRYMAN: I did know! And I have met him while taking one of his comedy masterclasses in Nashville. First, he, himself is so hysterically funny and just a Texas boy at heart. For me, his writing is so perfect because it so relatable. Now, you may not have left your two wooden legs in the middle of a hotel room floor and caused your lover’s demise, but we all have done things we deeply regret and wish we could take back. Or like Latrelle we are all living in a bit of denial. These are real people that we all know.

JHPENTERTAINMENT: Del fully admits many of his characters are based on his actual family and friends from his days as a boy growing up in Winters, TX. If you were to write a play about your relatives, what would it be called and who would be the main character?

JOY TILLEY PERRYMAN: You know that I have already started this very thing. It’s working title is Granny’s Girls and a character very loosely based on my maternal Grandmother, Mildred Smith, is at the heart of it. In this her name is Granny Griggs.

JHPENTERTAINMENT: Is Theatre of Gadsden ready for Sordid Lives?

JOY TILLEY PERRYMAN: They better question is, is Sordid Lives ready for Theatre of Gadsden? LOL! No, seriously, maybe so? I hope so? Or as Billy Ditty’s Grandmother used to say, “this is going to happen, whether they want it to or not”!

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Theatre of Gadsden’s Sordid Lives opens Friday, September 8 at The Ritz Theatre (310 North 27th Street, Gadsden, Alabama, 35904), and running through Sunday, September 17. Performances are Fridays and Saturdays at 7p.m. and Sundays at 2p.m. Door open 45 minutes before curtain. Tickets are $20/Adults, $18/Seniors/Students/Military. Groups of 10 or more $15/each. Groups of 20 or more $13/each. CLCK HERE to purchase tickets. For more info call 256.547.7469.

Up next at Theatre of Gadsden is Anne of Green Gables with shows October 7 at 2p.m. and 7p.m. and October 8 at 2p.m. Follow Theatre of Gadsden on Facebook, Instagram and Twitter for more details.

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

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

Rapid Fire 20Q with cast of ‘The Sugar Bean Sisters’; opening Friday, September 8 at Playhouse 615

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Alien encounters, a reptile woman, a bird-lady, a little romance and a lot of laughs, playwright Nathan Sanders’ Southern Gothic comedy, The Sugar Bean Sisters has it all, and it’s all coming to Playhouse 615 (11920 Lebanon Road, Mt. Juliet) Friday, September 8 thru Sunday, September 24 under the direction of Diane Bearden-Enright. Earlier this week I had the chance to pose a few questions to four of the cast members of The Sugar Bean Sisters to delve a little deeper than the sensational headlines for my latest Rapid Fire 20Q.

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Rapid Fire 20Q with the cast of Playhouse 615’s The Sugar Bean Sisters

Rapid Fire Questions for Breonna Parker, The Sugar Bean Sisters’ Videllia

JHPENTERTAINMENT: What can you tell me about Videllia Sparks?

BREONNA PARKER: Videllia is quite the sneaky, manipulative type. She thinks she’s clever and smart but she’s really just goofy and not the sharpest tool in the shed. 

JHPENTERTAINMENT: This is your first show with Playhouse 615, right? What’s the experience been like so far?

BREONNA PARKER: Yes, this is my first show with Playhouse 615. This experience has been wonderful. It’s been a while since I’ve had the opportunity to be on stage, sometimes going into a community theatre is hard when you don’t know anyone. I was nervous going in wondering if I’d be accepted or if they may tend to stick with each other and not be welcoming. This group of people have been nothing but supportive, encouraging and loving. I really feel like I’ve found a home and look forward to future shows. I will for sure miss not being around my cast and crew everyday when the show ends. 

JHPENTERTAINMENT: Videllia’s wardrobe is, shall we say…interesting. What’s something in your own personal style that others might find questionable?

BREONNA PARKER: Videllia outfit has been fun, I love it. I’m pretty much a T-shirt and jeans kind of gal, and a cap so I don’t have to fix my hair…haha! I’m not very stylish or lavish. 

JHPENTERTAINMENT: Videllia has secrets. Are you good secret keeper or do you just need to tell somebody when you know some juicy tidbits?

BREONNA PARKER: I’m pretty good at being a person someone can confide in. I’m not going to spread anything that someone wants to be kept private. Now, I am terrible at keeping gifts a secret. Once I buy something for someone I want to immediately give it to them, it’s hard to keep that a secret. I guess a better word would be I’m not good at keeping surprises. 

JHPENTERTAINMENT: Your director, Diane Bearden-Enright actually starred as Videllia at The Hippodrome Theatre in Gainesville, Florida back in 1995 in the Southeastern premiere of The Sugar Bean Sisters, working with the playwright, Nathan Sanders. During the rehearsal process for this production, has Diane shared any insights from her time in the role or having worked alongside the playwright?

BREONNA PARKER: Great question. Diane has been a fantastic director, she has been really good at letting me connect with Videllia in my own way, I just want to make her proud of how I’

m portraying Videllia. It’s a little intimidating knowing that I’m playing a character that I know she mastered! One thing I love about Diane is she asks questions, she’ll say things like ‘why do you think Videllia does this or that.’ I like that it gets you to thinking on a deeper level of the character and helps connect more to Videllia. I’ve heard a couple of story of her working with Nathan Sanders. 

Rapid Fire Questions for Ann Street-Kavanagh, The Sugar Bean Sisters’ Faye Nettles

JHPENTERTAINMENT: Who is Faye Clementine Nettles to you?

ANN STREET-KAVANAGH: Faye is a simple woman who had an extraordinary thing happen to her. 

JHPENTERTAINMENT: Though presented as completely absurd and hilarious, at its core, The Sugar Bean Sisters is about just that…sisters. Is there anything more important that the bond of friends or family?

ANN STREET-KAVANAGH: No, there isn’t. The bond you have with family and friends is your true legacy. Their thoughts of you and, hopefully, sharing stories of you is the best way to live forever, so to speak. 

JHPENTERTAINMENT: In spite of her wacky ways, is there an aspect of Faye’s character that you might try to incorporate into your own life?

ANN STREET-KAVANAGH: I love how Faye puts it all out there and she doesn’t really care what other people think.  I find myself getting to be more that way as I grow older and I’m pretty darned happy about it!

JHPENTERTAINMENT: Faye’s alien encounters are some pretty tall tales. What’s something unbelievable that has happened to you or someone you know?

ANN STREET-KAVANAGH: First, Faye’s encounter isn’t a tall tale. It’s fact. I’ve had a lot of unbelievables, and, of course, I can’t think of anything good right now. When my daughter was about 2 years old, she would see people who’d passed on. They would speak with her and sometimes scare her a bit, though usually not. It was quite unnerving at first. Battery operated toys would sometimes start playing in the middle of the night, etc. 

JHPENTERTAINMENT: Of you and your costars, who’s most likely to be abducted by aliens…and who would be sent right back down to earth?

ANN STREET-KAVANAGH: I don’t think any of us would be abducted. But if we were, Linda Speir would be the first to be sent back. She is an absolutely lovely person, but she will tell it like is. If she wanted to go back, they’d have no choice. She would tell them what was what and what was about to be!

Rapid Fire Questions for Abby Waddoups, The Sugar Bean Sisters’ Willie Mae Nettles

JHPENTERTAINMENT: When I saw your name among those I’d be chatting with, it reminded me we’d chatted before…almost exactly a year ago when you appeared I the cast of Blithe Spirit at The Keeton. So, from ghosts to aliens, right?

ABBY WADDOUPS: There have been some things between the two- but yes. Doing shows close to Halloween is always fun. Ruth and Willie are very different characters, and I love a challenge.

JHPENTERTAINMENT: Who is Willie to you?

ABBY WADDOUPS: Willie is a bit selfish, but overall strives to be a good person. She’s desperate to find a good Mormon husband and to get into the highest level of kingdoms in their heaven. She relies very heavily on her sister, Faye, and they are all each other have, and have known for quite some time. They are grown women who still live together in their childhood home. She isn’t who I ever expected to play onstage, but thanks to Diane’s vision and belief in me, here we are.

JHPENTERTAINMENT: What’s your favorite aspect of Willie Mae Nettles as a comedic character?

ABBY WADDOUPS: Willie Mae is very much a straight character in the comedic routine. Keeping a straight face sharing the stage with Ann and Bre will be a test for me. I’ve tried to find intricacies within her quarks to add more fun.

JHPENTERTAINMENT: I love that in the first scene, Willie Mae warns her sister Faye not to lie to her, likening lying to other sinful acts like stealing, fornicating and…drinking Coca-Cola! Growing up, were there things relatives warned you against as wrong that you now just laugh about?

ABBY WADDOUPS: My parents were pretty down to earth and we weren’t raised in a specific church. I was born and raised in Memphis in a very urban environment, so the southernisms and certain religious beliefs are pretty foreign to me. I always had family in the Nashville area and I’ve been in and out of middle Tennessee for a long time so I’ve picked up a little over the years, but not like this. This is Deep South Florida swamp and the culture is so different. Their tales and strong beliefs have a place on the stage, a way to tell their stories in other regions.

JHPENTERTAINMENT: The fact that Willie Mae wears an Eva Gabor wig is hilarious to me, having been a fan of the Gabor sisters since I was a tiny child. Were you familiar with the reference or did you have to google to get the joke?

ABBY WADDOUPS: I am older than I look, so I am familiar with the Gabor sisters and I love classic tv shows. It was definitely a reference that reminded me of my childhood. I also remember seeing the wig advertisement included in our faux Weekly World News cover. It’s a nice throwback to the 80’s. I am taken right back to seeing the tabloids on the magazine racks at the grocery stores as a kid.

Rapid Fire Questions for Linda Speir, The Sugar Bean Sisters’ Reptile Woman

JHPENTERTAINMENT: What can you tell me about The Reptile Woman, your role in The Sugar Bean Sisters?

LINDA SPEIR: It is bizarre to say the least. I’m only in two short scenes but I make the most of them. Reptile Woman in my mind is a swamp witch. She is also a seer and may speak in tongues!!

JHPENTERTAINMENT: Alright, I’m just gonna say it…you are among my “theatre crushes” in that I absolutely adore everything I’ve ever seen you do onstage. I’ve seen you in simply heart-wrenching performances like Steel Magnolias and Driving Miss Daisy and sinisterly charming as Arsenic and Old Lace’s Aunt Abby. Now you’re playing The Reptile Woman…is she the strangest character you’ve ever encountered? 

LINDA SPEIR: Thank  you!! This is definitely the strangest character I’ve ever played discounting my brief stint as a werewolf YEARS ago at Opryland during the Halloween season. Reptile Woman is definitely a strange and mystifying character.  Her babies are her gators and her snakes!

JHPENTERTAINMENT: Were you familiar with the script prior to auditioning for the show?

LINDA SPEIR: Yes I read it beforehand. I always read the script before I audition for a show. 

JHPENTERTAINMENT: While there’s mention of The Reptile Woman about midway through Act One, you don’t take to the stage until Act Two. So basically you’re the Special Guest Star, like you see as the last credit on tv shows. How fun is that?

LINDA SPEIR: This role has been a great deal of fun as our director gave me free rein to create this spooky character. 

JHPENTERTAINMENT: Is there a line or a scene, yours or someone else’s, that makes you giggle every time?

LINDA SPEIR: Many lines! This is a funny play with no socially redeeming qualities.  It’s a bit of deep South folklore. Faye (played to perfection by Ann Kavanaugh)  singing It’s a Small World always gets a laugh from me.   

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The Sugar Bean Sisters opens Friday, September 8 at (11920 Lebanon Road, Mt. Juliet) Friday, September 8 thru Sunday, September 24. Performances are Fridays/Saturdays at 7:30p.m. and Sundays at 2:30p.m. Tickets are $18 and are available for purchase through Eventbrite, by calling the box-office at 615.319.7031, or at the door an hour before each performance. CLICK HERE for tickets.

Next up at Playhouse 615 is the Middle Tennessee premiere of The Woman in Black, a spin-chiller touted as the scariest stage experience ever, running October 20-November 5. For more on these shows and to keep up with Playhouse 615, check out their website or find 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 members of Piedmont Players’ ‘Bye Bye Birdie’, onstage at The Meroney July 14-30

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When my friend Bradley Moore told me he’d be directing the July 14-30 run of Bye Bye Birdie for Piedmont Players Theatre at the Meroney Theatre (213 S. Main St, Salisbury, NC Salisbury), I knew I’d want to chat with members of his cast. Partly because I just love the show, but mostly because, aside from a kindergarten production of Chicken Little (I played Turkey Lurkey), Bye Bye Birdie was the first full-fledge stage musical I was a part of, having been cast in a high school production back in the last century. What follows are my conversations with Bye Bye Birdie’s Caroline Monroe, who plays high-school Birdie superfan, Kim McAfee, Bailey Daugherty, the show’s title character, pop idol, Conrad Birdie, Daniel Keith, overwrought music agent, Albert Peterson and Leslie Roberts as Rosie Alvarez, Albert’s beautiful secretary, the true brains behind the publicity stunt that brings them all together.

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RAPID FIRE 20Q WITH CAST OF PIEDMONT PLAYERS’ BYE BYE BIRDIE

RAPID FIRE WITH CAROLINE MONROE, KIM McAFEE IN BYE BYE BIRDIE

JHPENTERTAINMENT: Bye Bye Birdie was my first time to appear onstage, having played Kim’s brother when I was in seventh grade. What was your first theatrical experience?

CAROLINE MONROE: I actually got a little bit of a late start to theatre! My junior year of high school, the theatre teacher asked me to be in the ensemble of The Wiz. I will forever be grateful to her for helping me get my start on stage!

JHPENTERTAINMENT: Tell me about Kim McAfee, the character you play in Bye Bye Birdie.

CAROLINE MONROE: Kim McAfee, is a typical 15 year old girl who was just “pinned” by her boyfriend Hugo. She, like all of the other girls in their town of Sweet Apple, is infatuated with Conrad Birdie. When chosen to be Conrad’s final kiss before being deployed, Kim explores what it truly means to be a woman and tries to act more mature in order to be desirable to Conrad, who is much older than she. When things don’t go the way she had planned with Conrad, she decides to finally settle down with Hugo. 

JHPENTERTAINMENT: As Kim, you’re chosen to share One Last Kiss with her rock star crush, Conrad Birdie before he joins the army. When you were younger, who was your first celebrity crush?

CAROLINE MONROE: Justin Bieber was 100% my first celebrity crush! I can remember decorating my room with posters that I got out of magazines and listening to his, My World 2.0 CD on repeat. Would I really have been a true fan if I didn’t regularly wear my Justin Bieber t-shirt? If Justin Bieber were to have been in Conrad Birdie’s shoes, I would have definitely hoped to be his last kiss! 

JHPENTERTAINMENT: The plot of Bye Bye Birdie, at least in part, drew inspiration from Elvis Presley being drafted into the Army in 1957. Just for fun…among current pop singers, who do you think would join up and who would dodge the draft?

CAROLINE MONROE: I can’t imagine the press if this were to happen today, so this is a really intriguing question. Currently, I think that Shawn Mendes would join up, but Drake would absolutely dodge the draft. 

JHPENTERTAINMENT: How’s it been sharing the stage with Bailey Daugherty as Conrad?

CAROLINE MONROE: It is such an honor to share the stage with Bailey. He has such undeniable talent that he is so humble about and puts his all into his role. I think it’s even more special to share the stage with Bailey because he is one of my best friends offstage. It is such a joy to watch him truly embody Conrad Birdie and to have seen him learn the ins and outs of this character. I cannot think of anyone else I would rather play Kim opposite of. You are in for a treat when he takes the stage! 

RAPID FIRE WITH BAILEY DAUGHERTY, CONRAD BIRDIE IN BYE BYE BIRDIE

JHPENTERTAINMENT: I just chatted with Caroline. I ended our conversation by asking her about sharing the stage with you, so I’ll start my chat with you by asking the same…How is Caroline as a scene partner?

BAILEY DAUGHERTY: I feel so blessed to work with Caroline. She is incredibly talented and truly lives in every moment on-stage. Working with her is always a gift, because she gives so much to work off of. 

JHPENTERTAINMENT: How familiar were you with Bye Bye Birdie prior to auditioning?

BAILEY DAUGHERTY: I actually didn’t know about the show until a few years ago, when I saw the 1995 movie with Jason Alexander and Vanessa Williams. I remember thinking that my favorite number was One Last Kiss, and that I wanted to sing it one day.

JHPENTERTAINMENT: You play the title character of Conrad Birdie, a pop star who finds himself in the middle of a publicity stunt in the days before he’s drafted into the army. Has there been anything surprising that you’ve discovered while developing your take on the character?

BAILEY DAUGHERTY: Yes! I believe Conrad’s most interesting facet is his love for the music, but disdain for the social expectations of fame. In the show, he deals with a lot of feelings on how he should act and how he just wants to live; which has been really interesting to explore during this creative process.

JHPENTERTAINMENT: Since Bye Bye Birdie premiered on Broadway in 1960, Conrad Birdie’s look has traditionally been pure Elvis…pompadour hair, sideburns and showy gold lamé stage costumes…your director, Bradley Moore has opted to forego the traditional portrayal and present a more modern feel and look for Conrad. What’s your favorite aspect of Bradley’s vision?

BAILEY DAUGHERTY: Bradley is such a wonderful director and always brings a fresh take to each of his shows. My favorite aspect of both this show and all of his other shows is his want for depth. It doesn’t matter what the show is, he always strives to dig deeper into the music and acting to extract those human truths that hold us together. I think that is really shown in the Overture of this show, which is so simple and small, yet communicates a moving message.

JHPENTERTAINMENT: Tod Kubo is choreographing the show. Is there a favorite dance sequence, whether you’re involved in it or not, that you are particularly fond of in Bye Bye Birdie?

BAILEY DAUGHERTY: Tod has done amazing work on this show, and I’d be lying if I didn’t say that I love all of his numbers. I think that the number of his that I am most fond of is the last number in the show, Rosie. It is so sweet and simple.

RAPID FIRE WITH DANIEL KEITH, ALBERT PETERSON IN BYE BYE BIRDIE

JHPENTERTAINMENT: Who is Albert to you?

DANIEL KEITH: Albert always looks for the best in someone, which is where I think we relate. He is a self-proclaimed “mama’s-boy” and very oblivious to the people and relationships around him. I like to think of him as a pretty neurotic character, but he’s always loyal to those around him and I think that’s most important. 

JHPENTERTAINMENT: As Albert, you get to perform one of the show’s most well-known numbers, Put on a Happy Face. I have to be honest, until doing a little research to chat with you and your co-stars, I didn’t realize this iconic song was indeed written for and introduced in this musical. Taking a cue from the lyrics, what do you do in your personal life to “put on a happy face”?

DANIEL KEITH: What personal life? Haha. Theatre always puts a smile on my face. This will be my third full-production musical this year, so I stay pretty busy in the Theatre scene. I’m sharing the stage with my beautiful fiancée (She plays Ursula Merkle). She always keeps me smiling. We have a dog, two cats, and a bunny and they keep a smile on my face a majority of the time. 

JHPENTERTAINMENT: The role of Albert is among the show’s most iconic, in part thanks to Dick Van Dyke having originated the role on Broadway, then again in the 1963 film adaptation. How much fun are you having in the role?

DANIEL KEITH: I am having a blast! This cast is super talented and Bradley is a creative genius. I’m super excited to open and while I know I’m no Dick Van Dyke, I hope I can bring a smile to the audience, much as he did.

JHPENTERTAINMENT: I understand this is your first PPT show. How has your experience with the company been so far?

DANIEL KEITH: This is indeed my first PPT show. I’ve had friends that have done shows here and actually my first show I saw at the Meroney was Kinky Boots earlier this year, which a close friend of mine (Michael Fargas) played Lola. After seeing the production quality, I instantly knew I needed to meet Bradley and make sure he knew who I was. Since then, the experience has been amazing. 

JHPENTERTAINMENT: When I spoke with Bailey, I noted that director Bradley Moore has opted to offer a more modern take on Conrad Birdie’s aesthetic. I understand the set and props are also more minimal than what audiences might be expecting. Do you think these creative decisions will enhance the audience experience? 

DANIEL KEITH: Absolutely. It’s funny because I was just discussing this with Bradley last night but having a minimalist approach to the set leaves so much more freedom for characterization. The audience doesn’t have to find something to focus on, because the focus is always towards the character. The set, while minimal, is still quite large and the amount of levels and stairs that Bradley chose to incorporate really make the visualization that much more interesting. 

RAPID FIRE WITH LESLIE ROBERTS, ROSIE ALVAREZ IN BYE BYE BIRDIE

JHPENTERTAINMENT: You play Rosie. What can you tell me about Rosie as you see her?

LESLIE ROBERTS: I see Rose as a strong, intelligent, and independent woman for her time. She knows what she wants and she isn’t afraid to go for it even when there are obstacles in her path. She perseveres and she knows her worth. So many women of the late 1950’s-early 1960’s were trying to find their voice in a male dominated world and it was even more difficult for women of color in those days. I feel honored to get to portray her and hopefully bring dignity and resolve to her character.

JHPENTERTAINMENT: PPT audiences will surely recognize you from previous productions including Ragtime, Legally Blonde and A Gentleman’s Guide to Love and Murder. What is it about Piedmont Players that keeps you coming back?

LESLIE ROBERTS: I think it is the welcoming atmosphere. I like that I can come into the theater and know that I get to work and play with other people who just really want to be there. I feel like our director, musical directors, and choreographers encourage us in a very motivating way to be the best we can be and I like that they aren’t afraid to try new things or cast someone that others may overlook.

JHPENTERTAINMENT: When I chatted with Daniel, I mentioned Dick Van Dyke, who originated his role. As for Rosie, you’re following in the perfectly choreographed footsteps of legendary performers Chita Rivera, who originated Rosie on Broadway and in the 1963 film, Ann Reinking, who did a 90s National Tour and Vanessa Williams who starred as Rosie in the 1995 telefilm. How exciting to bring your own interpretation to this storied role?

LESLIE ROBERTS: Yes, I am excited. Like many people, I first fell in love with the story when I saw the original movie as a kid. I remember falling in love with the music and of course the love stories involving Rosie and Albert, and Kim and Hugo. Years later, I was in the ensemble of a highschool community theater production of Bye Bye Birdie. My character didn’t have a name so we jokingly created a character (Harvey Johnson’s mom). It was a lot of fun! I am excited to get to play Rosie this time around. I look up to the women you mentioned. I could never live up to those performances, but what I do hope is that our audiences will be able to feel what I put into the story with my interpretation and that they can relate to her on some level. I hope that they can see how important it is to be yourself, and love yourself as Rosie does.

JHPENTERTAINMENT: Speaking of the 1995 telefilm, Bradley tells me he’s including a few musical moments from the various productions of Bye Bye Birdie, including Rosie’s number Let’s Settle Down, which the original songwriting team of Charles Stouse and Lee Adams penned specifically for the 1995 TV broadcast. How cool that you’ll to be performing a song that even some Birdie fans might not be that familiar with?

LESLIE ROBERTS: Yes! I like how the ’95 film added to the original. The new song is not only beautifully written, but it gives the audience some more insight to Rosie’s point of view. Bye Bye Birdie is one of those shows that is a time capsule and unfortunately, sometimes there are things about it that just don’t age well in our modern era. What our production seeks to do is to bring the story so many know and love to a modern audience. I think Bradley liked the direction the 1995 film was going in and so we are continuing with that with a fresh take on a classic. Including the song Let’s Settle Down.

JHPENTERTAINMENT: Like many of your co-stars, you’ve appeared in previous shows with PPT and at the historic Meroney Theatre. Do you feel the 100-plus years of history of the venue whenever you return to the stage for each new show?

LESLIE ROBERTS: It’s cool to be a part of something that has such a long history! I think that’s part of the appeal to being in that theater. Perhaps100 years ago, there weren’t any actresses that looked like me on that stage, but it’s cool how there is a growing diversity in the arts in our area. People love hearing stories and that includes many different voices. I am proud to be one voice in that history and am excited to see what kinds of stories get told on the Meroney stage in the years to come!

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Piedmont Players Theatre’s Bye Bye Birdie opens Friday, July 14 and runs through Sunday, July 30 at the Meroney Theatre with 7:30p.m. shows Fridays and Saturdays and Sunday Matinees at 2:30p.m. CLICK HERE for tickets or more information. Check out Piedmont Players Theatre online and follow them on Facebook and Instagram. 

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

Rapid Fire 20Q with ‘Listen to Your Mother cast’; on stage at Gadsden State Community College’s Wallace Hall Saturday, May 13

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On Saturday, May 13, Gadsden, Alabama’s own Joy Tilley Perryman and a cast of locals will take to the stage of Wallace Hall Fine Arts Center on the campus of Gadsden State Community College (1001 George Wallace Dr, Gadsden, AL 35903) to present Listen to Your Mother, an evening of storytelling celebrating motherhood. Back in 2010, Ann Imig debuted Listen to Your Mother. In the years since, Listen to Your Mother has become a nationwide favorite with more than 60 local theatre companies not only performing the original stories shared, but often times presenting new and unique monologues on the subject of mothers and motherhood. As Perryman and her fellow Gadsden-area storytellers fine-tuned their monologues and readied themselves for the May 13 one-night-only event, I had the opportunity to chat with members of the cast for my latest Rapid Fire 20Q.

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RAPID FIRE 20Q WITH CAST MEMBERS OF GADSDEN’s PREMIERE PRESENTATION OF LISTEN TO YOUR MOTHER

RAPID FIRE Q&A WITH LISTEN TO YOUR MOTHER’s JOY TILLEY PERRYMAN

JHPENTERTAINMENT: For those not familiar with the show, what do audiences need to know about Listen to Your Mother?

JOY TILLEY PERRYMAN:  That this event is so so very real and true. We have real people from all walks of life telling their true stories. It relates to and resonates with everyone. You do not have to be a Mother to enjoy this event and it is most certainly not just for women. It is a great night of entertainment for everybody!

JHPENTERTAINMENT: While this is a Gadsden premiere, it not your first time being part of a production of Listen to Your Mother. What keeps you revisiting this show and how excited are you to be bringing it to your hometown?

JOY TILLEY PERRYMAN: So, I was part of the original Nashville, TN cast and that show worked the same way this show is working. In other words, these are true stories being read by the people who wrote them. Then, when I did the show at Chaffin’s Barn Theatre, I used the actual licensed scripted show and had actors performing stories that were written by other people. It is a delicate balance finding the rhythm of the stories and the order in which they need to go. That is what brings me back, it is always changing and becoming something different. I am over the moon to bring this show to Alabama and to my hometown. I think people are going to be blown away by it.

JHPENTERTAINMENT: Speaking of Gadsden being your hometown, I understand you won your first acting award on the very stage where Listen to Your Mother is being performed. What was the award and what was the performance that garnered you the accolade?

JOY TILLEY PERRYMAN: The stage at Wallace Hall Fine Arts Center located on the campus of Gadsden State Community College is like home to me. I saw my first play there and when it was over I did not want to leave. My Daddy had to pry my fingers off the armrest and carry me to the car. But to answer your question, it was Best Actress for my portrayal of Elena in Checkov‘s The Boor, for the Etowah County Schools annual skit competition.  The next year we did Moliére.  Did I mention I had some great theatre teachers in high school?

JHPENTERTAINMENT: They say you can’t go home again, but you have. What’s been the most rewarding aspect of returning to Gadsden and what’s next for your new performing arts organization, Joy’s Jubilations after you close Listen to Your Mother?

JOY TILLEY PERRYMAN: As most people may know, I lost my beloved Dean very unexpectedly last July, so the most rewarding thing has been being here with my family. I could not have gotten through this time of life without them. Next up, is going to be a murder mystery dinner theatre event, some summer kids programming and then late summer/early fall, a recounting of the Minnie Pearl story, All the News from Grinder’s Switch.

JHPENTERTAINMENT: Listen to Your Mother is a one-night-only event. Is it too early to ask if you’re planning to make it an annual event?

JOY TILLEY PERRYMAN: Never too early, and yes. You can’t get rid of me that easily! We will be back!

RAPID FIRE Q&A WITH LISTEN TO YOUR MOTHER’s ROBIN WALLACE

JHPENTERTAINMENT: Were you familiar with this show prior to Joy revealing she was bringing it to Gadsden?

ROBIN WALLACE: I was not familiar with the show, but once I learned of it, I knew I wanted to be a part of it.

JHPENTERTAINMENT: Your bio mentions that Listen to Your Mother is something you felt compelled to be part of. What drew you to the project.

ROBIN WALLACE: My story is one that I’ve not shared in the 45 years since it occurred and I hoped it would be cathartic for me, and it most definitely was.

JHPENTERTAINMENT: I understand this performance is also special to you because you’ll be taking to the stage for this one-night-only event on the anniversary of your own mother’s birth. Whether part of what you’ll share onstage or not, what’s a piece of advice, or a saying you remember from your mother?

ROBIN WALLACE: She always stressed that my brother and I were to protect and take care of each other. We listened. We have always been each other’s protectors and still are best friends today.

JHPENTERTAINMENT: A portion of all Listen to Your Mother ticket sales for this performance will benefit New Centurions, a rehab facility for women located in Gadsden. How rewarding is it to not only be part of a show that will entertain audience members, but also benefit women in need?

ROBIN WALLACE: This will be a very emotional night for me because of my story. I’m glad to share it if it helps just one woman.

JHPENTERTAINMENT: Like Joy, you’re also an Alabama native, though you hail a bit further south, from Montgomery. Just between us, is there a difference between Northern Alabama folks and Montgomery Alabamians?

ROBIN WALLACE: I absolutely love this area and wouldn’t want to live anywhere else! The Montgomery I knew as a teenager is no more, so I’m extremely happy I wound up in North Alabama after my Army career.

RAPID FIRE Q&A WITH LISTEN TO YOUR MOTHER’s TABITHA BOZEMAN

JHPENTERTAINMENT: Were you familiar with Listen to Your Mother prior to joining this production?

TABITHA BOZEMAN: I was not.

JHPENTERTAINMENT: A little social media peek as I was researching to chat with you revealed both you and your husband are educators. Is there any advice that’s helped you in your interactions with students?

TABITHA BOZEMAN: We are! I think the most important part of being an effective educator is having empathy. You can have all the knowledge of your field, but if you can’t empathize with how students learn, and the challenges they face, you will not be an effective teacher.

JHPENTERTAINMENT: Further stalking of your social media revealed you’re involved in Gadsden State Community College’s Cardinal Arts Journal, so shameless plug time…What can you tell me about that?

TABITHA BOZEMAN: Yay! I love chatting about this! Yes, I am the editor in Chief for the Cardinal Arts Journal, which is an arts journal that Gadsden State produces, and that is open to the community, students and employees at GSCC, and to the public in general. That means we accept submissions from pretty much anyone, anywhere, and those submissions are considered for publication by our board of editors. Our editors are community writers and artists, GSCC employees and students, and writers and artists from all over the United States. There are 3 issues a year, published at the end of each semester, and we are always looking for new writing and art to publish! We accept creative writing, art, photography, music, performance, and digital art and music, as well. The Cardinal Arts Journal is an online publication. That is also the address to visit if you are interested in submitting your work. We accept submissions from all ages, as well, and there is usually a theme posted on our Facebook page and Instagram for each issue. This Spring’s issue has the theme Telling Our Stories: Fairytales, Myths, Legends, and Folklore, and will be out soon!

JHPENTERTAINMENT: I understand Listen to Your Mother will mark your return to the stage after a lengthy absence. What was the last show you were in and how are you feeling about returning to the stage?

TABITHA BOZEMAN: Wow. It has been so long since I’ve been onstage for anything other than academics, I honestly am not sure what my last performance was—I believe it was either Arsenic and Old Lace or The Man Who Came to Dinner, with Theatre of Gadsden, and probably 25 years ago. I have, however, stayed somewhat involved as a theatre parent . My girls have grown up backstage because my husband, Jason teaches theatre.

JHPENTERTAINMENT: Quite often productions of Listen to Your Mother use monologues written for the show’s original mounting. For Gadsden’s premiere presentation, and given the fact that you’re a writer, yourself, I’m guessing you will be performing an original monologue?

TABITHA BOZEMAN: Yes, I have written a brief piece about how motherhood helped teach me to listen to myself.

RAPID FIRE Q&A WITH LISTEN TO YOUR MOTHER’s BILLY JENKINS

JHPENTERTAINMENT: I’ll start with an obvious question. It would appear you’re the sole male storyteller in this presentation of Listen to Your Mother. How’s that going for you?

BILLY JENKINS: LOL… it’s going well.  Although I don’t share the same sex as the other performers, we all have something in common: we all have a mother. I’m used to being the lone male because I was an elementary school teacher and male elementary teachers are few and far between, so being the only male is not a big thing.

JHPENTERTAINMENT: While doing a little digging to chat with you and a few of your cast mates, I couldn’t help but be moved by a mention of your late mother in the bio Joy provided to me. Being a proud and self-professed Mama’s Boy myself…she’s 81 and going strong…I totally get it. What do you think your Mom would tell you about taking to the stage and sharing your memories of her for Listen to Your Mother?

BILLY JENKINS: First of all, my mom would be so proud of my life accomplishments. She passed when I was just 21 years old and a lot has happened since then.  As far as sharing memories of her, she’d probably tell me not to make her sound bad and to not tell any stories of her whipping me when I was a child. She’d also be excited that I’m participating in this because she always said that behind every great man is an even greater woman.

JHPENTERTAINMENT: You teach both Psychology and Philosophy at Gadsden, so a two-parter…what’s the craziest excuse you’ve heard from a student on why they missed class or an assignment deadline? AND…just because I’m curious…What’s one thing Psychology and Philosophy have in common?

BILLY JENKINS: The craziest excuse that I’ve encountered about missing class or missed assignments would have to be the dead grandmother excuse. Often times, she’s died twice during the semester and the students forgot they already used that excuse.

Psychology and philosophy share the same roots: both of them study human conditions and behaviors. Philosophy revolves around WHAT the human condition is, while Psychology revolves around the WHY the human condition is. Psychology arose from the discipline of Philosophy. The word ‘psychology’ refers to the study of souls and the word ‘philosophy’ refers to the study of wisdom.

JHPENTERTAINMENT: From your bio, I understand your first show was a 1990 production of A Chorus Line, and you readily admit you still have trouble remembering your lines. What’s a bit of dialogue from A Chorus Line that you still remember?

BILLY JENKINS: Really? Ok here goes:  “I was in the back seat with Sally Ketchum and I was feeling her boobs and feeling her boobs. She said, “Don’t you want to feel anything else?” and I suddenly thought to myself, “No, I don’t.”

JHPENTERTAINMENT: It’s sort of become my sign-off while doing these Rapid Fire Q&As to close with some version of the following…What do you hope the audience remembers about the Alabama premiere performance of Listen to Your Mother?

BILLY JENKINS: I hope the audience will listen to the different stories that are onstage and realize that although our stories are totally different, we all share the good and the bad about our mothers and those have shaped us into the people that we are today.

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This Mother’s Day weekend, the Alabama debut of Joy’s Jubilations’ presentation of Listen to Your Mother takes to the stage of Wallace Hall Fine Arts Center at Gadsden State Community College for a one-night-only performance on Saturday, May 13. The show begins at 7:30p.m. Tickets are $23. All tickets are general admission. CLICK HERE or HERE to purchase your tickets. To keep up with Joy’s Jubilations and find out what’s next, 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 Q&A with Ballet Hispánico dancers Amanda del Valle and Chris Bloom; the company’s ‘Doña Perón’ on stage at TPAC’s Polk Theatre April 28-29

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On Friday, April 28 and Saturday, April 29, Tennessee Performing Arts Center will host Ballet Hispánico’s Doña Perón as part of TPAC’s inaugural International Dance Series. Based out of New York and founded in 1970, Ballet Hispánico is the largest Latinx/Latine/Hispanic culture organization in the US and widely recognized as a leader in bringing the message of cultural history and inclusivity through dance.

As the company prepares to bring Doña Perón, the story of iconic Argentine First Lady, Eva Perón to Nashville for the Music City debut at TPAC’s Polk Theatre, I’ve had the incredible opportunity to chat with two of the company’s lead dancers, Miami Native, Amanda del Valle, who’s dancing the titular role of Eva Perón and Virginia-born Chris Bloom, the ballet’s Juan Perón for the latest installment of my recurring interview feature, Rapid Fire Q&A.

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RAPID FIRE Q&A WITH DOÑA PERÓN’s AMANDA del VALLE AND CHRIS BLOOM

RAPID FIRE Q&A WITH AMANDA DEL VALLE, EVITA in BALLET HISPÁNICO’s DOÑA PERÓN

JHPENTERTAINMENT: I just have to begin by saying I’ve been a wee bit obsessed with all things Eva Perón since I was a kid and my favorite aunt took me to see the Broadway musical based on her life. Prior to taking one the role of Evita, how familiar were you with her story?

AMANDA DEL VALLE: I actually had not heard of Evita Perón until a few weeks before the choreographic process. I remember when we found out we would be performing a new work based on Eva’s life; I called my family to tell them and they informed me a little bit about who she was and what she was so famous for. 

JHPENTERTAINMENT: From what I know, you first became interested in ballet at a very young age. What memories do you have of your time training with Marielena Mencia and Yanis Pikieris at Miami Youth Ballet?

AMANDA DEL VALLE: I was about 10 years old when I took my first ballet class, and it’s where all my dreams began.  My favorite memories are the ones where we would be in the studio rehearsing until 10 o’clock at night, sometimes later, because we were so focused and driven that we would lose track of time. Our moms would have to come upstairs to get us out of the studio. It was home and we never wanted to leave. 

JHPENTERTAINMENT: I understand this is your second season with Ballet Hispánico. How did you come to join the company?

AMANDA DEL VALLE: I was introduced to Ballet Hispánico through my mentor and role model Melissa Verdecía. I watched her dance with Ballet Hispánico and knew I wanted to be a part of an organization that allowed me to not only grow in my artistry but also allowed me to grow closer to my roots and culture with dance.

JHPENTERTAINMENT: What can you tell me about working with Annabelle Lopez Ochoa, the show’s choreographer?

AMANDA DEL VALLE: Working with Annabelle Lopez Ochoa was very exciting. I love how she caters to each dancer and what they are capable of, and pushes you to go further than what you think you are capable of. I have always admired her work and individuality as a choreographer and person. Also working with a female choreographer on a piece about a female icon is a very empowering experience.

JHPENTERTAINMENT: Speaking of the creative team behind Doña Perón, costumer Mark Eric has created dozens of costumes for the show. Exactly how many costume changes do you have, and what are your favorite costumes among them?

AMANDA DEL VALLE: The role of Evita Perón consists of exactly seven costume changes that happen on and off stage, with a total of 6 costumes. It’s hard to pick a favorite costume because they are all so beautiful and show the many different parts of Evita but I would have to pick the last dress that she changes into on stage for her final duet before her death. I love how it combines the classy, business, and strong regal essence of Evita. 

 

RAPID FIRE Q&A WITH CHRIS BLOOM, JUAN PERÓN in BALLET HISPÁNICO’s DOÑA PERÓN

JHPENTERTAINMENT: As I mentioned when I chatted with Amanda earlier, I’ve been interested in Evia Perón story since I was a kid. In Ballet Hispánico’s Doña Perón you play Juan Perón. What can you tell me about the character and how you prepared to portray him in movement?

CHRIS BLOOM: This character is interesting because he is a mix of things. Annabelle wasn’t interested in telling fairy tales but the stories of actual people. Real people are flawed and complex and that makes rich ground for storytelling. Juan Perón was many things and not nearly all of them were good but I do believe he loved Eva genuinely. I try my best to play him like a real person. The real man had many political ideas in common with the fascist governments/leaders of the day but he cared about helping Argentina’s disadvantaged people. He came from wealth and was driven in his pursuit of power to the point of ordering the hostile takeover of his country’s newspapers and is known to have ordered the imprisonment of journalists and other people that opposed his agenda. Was Evita a conduit for gaining power? She was. Did he love that about her? I imagine he did. But I also imagine he loved her as a person as well. I try to play all of this each time I perform in Doña Perón. 

JHPENTERTAINMENT: This year marks your tenth season Ballet Hispánico. What is it about this dance company that keeps you excited to perform?

CHRIS BLOOM: It is the stories we tell and how we tell them on stage that keeps me coming back year after year. 

JHPENTERTAINMENT: I asked Amanda about her early ballet interest. How old were you when you discovered ballet and began considering it as a career path?

CHRIS BLOOM: I was 15 years old when I took my first ballet class. I had always known it was a possible career as there was a great deal of art in my home growing up. I fell in love with the aspirational rigor of the art form and honestly never looked back. 

JHPENTERTAINMENT: Near the end of 2022, Doña Perón was presented at The Kennedy Center and just earlier this month, on Friday, April 14, PBS aired one of those performances as part of their series Next at the Kennedy Center. So a two-part question for you: What’s it like to dance at the famed performing arts venue and how do you feel about being part of a broadcast that will allow people who might not otherwise get the chance, to see such a spectacular piece?

CHRIS BLOOM: Performing at the Kennedy Center is always an incredible experience! I grew up about 60 miles due west of DC in Frederick Co, VA so I can remember seeing many dance companies there as a kid. Performing there is evidence of a dream fulfilled. The chance to reach a larger audience through the broadcast of our work on PBS is as exciting as it gets. There is nothing better than getting a text from a friend saying “Hey! I saw you on TV!”

JHPENTERTAINMENT: For those who do get the chance to see Ballet Hispánico’s Doña Perón, whether via the PBS special, or live as the tour continues, what do you hope audiences take from the experience?

CHRIS BLOOM: I hope that audiences take culture away from the experience of seeing the company in action. Latinx cultures are a multiplicity not a monolith and through our performances audiences get to see complexity and authenticity rather than stereotypes. My greatest hope as a performer is to leave audiences with a sense of curiosity and an appreciation of beauty. 

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Ballet Hispánico’s Doña Perón can be see live onstage at TPAC’s Polk Theatre Friday and Saturday, April 28 and 29 at 8p.m. each evening. Tickets rang in price from $45 to $95. CLICK HERE to purchase tickets. To learn more about Doña Perón, Ballet Hispánico, del Valle, Bloom and the rest of the company’s dancers and creatives, CLICK HERE or follow them on Facebook, Twitter, YouTube, Instagram and Vimeo.  Not in Nashville? CLICK HERE to see where Ballet Hispánico will be performing next.

Doña Perón marks the second in three productions visiting TPAC as part of their first-ever International Dance Series, MOMIX Alice being the first. In case you missed my chat with members of MOMIX dance company, CLICK HERE to check out those conversations.

Next up for TPAC’s International Dance Series is Scottish Ballet’s The Crucible, onstage at TPAC’s Jackson Hall May 19 and 20. CLICK HERE for more info. Be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org,  TPAC on Instagram,  TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

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

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

Rapid Fire 20Q With Cast of ‘Arsenic and Old Lace’; Opening April 14 at Larry Keeton Dinner Theatre

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Since its Broadway debut back in 1941, and thanks largely to the 1944 film adaptation starring Cary Grant as directed by Frank Capra, playwright Joseph Kesselring’s Arsenic and Old Lace has been a fan favorite. While the Cary Grant film is indeed a classic, I gotta admit, I prefer the 1969 tv adaptation starring Bob Crane, but mostly because Helen Hayes and Lillian Gish co-starred as the hilariously murderous Brewster sisters in that one. When I heard The Larry Keeton Dinner Theatre was mounting a production of the show, I knew what I’d feature in the latest installment of my recurring interview feature, RAPID FIRE 20Q. To that end, what follows are chats with Matt Smith, Linda Speir, Adele Akin and Brad Morgan as the prepare for opening night of Arsenic and Old Lace, on stage at The Larry Keeton Dinner Theatre (108 Donelson Pike, Nashville, TN 37214) Friday, April 14 through Sunday, April 30.

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RAPID FIRE 20Q WITH CAST OF KEETON THEATRE’s ARSENIC AND OLD LACE

RAPID FIRE WITH MATT SMITH, ARSENIC AND OLD LACE’s MORTIMER BREWSTER

JHPENTERTAINMENT: What can you tell me about Mortimer, the character you play in The Keeton Theatre’s Arsenic and Old Lace?

MATT SMITH:  Mortimer was raised in Brooklyn by two elderly aunts who adore him and who he adores. But given his family’s checkered past and his view of Brooklyn as old-fashioned and stifling, he leaves for the excitement and possibility of New York City and eventually becomes a prominent theater critic. This is ironic, as he “loathes” the theater and considers it to be on its last legs. Still, it pays the bills much more handily than his passion for Henry David Thoreau ever could and lends him a bit of big-city arrogance when he returns to visit his humble hometown. When he falls for the local minister’s daughter, who lives next door to his Aunts, his visits become more frequent. He ultimately discovers that the Brewster family has more dark secrets than he could have possibly imagined, which sets him on a frantic but entirely earnest course of action to protect the ones he loves…and all manner of hilarity ensues!

 JHPENTERTAINMENT: Written by playwright Joseph Kesselring, the work became more widely known thanks to the 1944 film adaptation starring Cary Grant as Mortimer as directed by Frank Capra. In preparing for the role, did you revisit previous incarnations?

MATT SMITH:  Although I have seen the film, I try not to let any previous incarnation of any role inform my approach to creating a character. I find that especially important if the role is as iconic as this one. Meisner said, “Acting is behaving truthfully under imaginary circumstances,” and I believe that may be the best bit of acting advice I’ve ever heard. I think it’s impossible for any person to behave truthfully on stage while letting the choices another actor has made inform their own. It creates too many layers between you and the character if that makes sense. And besides, I don’t walk talk or look like Cary Grant, so there’s certainly no reason to try to!

JHPENTERTAINMENT: As mentioned above, the ’44 film adaptation was directed by Capra. Michael Welch is directing this production. How has it been working with him on this project?

MATT SMITH: Michael is a dear friend, but one of the things I admire about him is that once he arrives at the theater he’s there to work. Period. No wasted time, no messing around, no favoritism. We’re here to put on the best show we can for everyone who’s gracious enough to part with their hard-earned money to see it. This is my first time working with him as a director and I’ve been impressed with his commitment and clear vision for the project, his work ethic and his attention to quality and detail. 

JHPENTERTAINMENT: For a play that’s been produced around the world for some eighty years, what do you think keeps audiences dying to see it? (See what I did there?)

MATT SMITH: The simplest answer is, it’s really freakin’ funny. It’s well-written and plays like a freight-train on fire as it races to its hilarious climax. And while I’m no deep thinker or psychiatrist, I think it’s pretty clear that there’s a long-standing precedent in the history of human art-making that death and darkness make for the best and most popular comedy. Murder kills! (See what I did there?)

JHPENTERTAINMENT: Alright, since I won’t be chatting with Tim Bush, Let’s give a little shout out to him. After all, he plays Jonathan Brewster, and since the character shares my first name, and has been played by some pretty iconic actors including Boris Karloff, Raymond Massey and Fred Gwynne, and you yourself recently played Jonathan just last year in Playhouse 615’s production of Arsenic and Old Lace, I gotta ask…how does Tim’s take on the creepy character measure up?

MATT SMITH: I’ve had the opportunity to play different roles in the same play a few times before and it’s a fascinating experience to have “your” lines given to you, as I’m hearing Tim do in the current production. Jonathan Brewster is a role he is physically perfect for, as he towers over everyone else on the stage (and no Tim, I’m not implying that you look like Boris Karloff). I’m a pretty big Tim Bush fan. We were in “I Hate Hamlet” together several years ago and I’m sure it’s not hard to imagine how great he was as Barrymore. Beyond that, he’s a damn fine actor and a wonderful human being. As to his take on the role, I find his approach to Jonathan to be refreshingly non-one-dimensional, by which I mean that he’s not just menacing. He is that and I’m really enjoying the psychological warfare we’re engaging in during the show. But he’s also done a wonderful job of discovering the comic opportunities “hidden” in the role. I’m very much looking forward to our game of cat and mouse as well as the opportunity to finally face Mortimer’s fears in our standoff. I think his Jonathan is going to be a lot of fun for audiences to experience.

RAPID FIRE WITH LINDA SPEIR, ARSENIC AND OLD LACE’s ABBY BREWSTER

JHPENTERTAINMENT: When you and I chatted about me interviewing some of the cast, you noted that Abby is described a “plump little darling” in the character description in the script. You’re darling, but hardly plump…Was there ever any discussion of making your more dowdy in the role?

LINDA SPEIR: There was no discussion of how I would play the role.  I just looked to the script  for my character and played my version of Aunt Abby.  I may have played her a little stronger in spots than the script intended but I always play a bit of myself in all of my roles.  

JHPENTERTAINMENT: When I chatted with Matt, I mentioned the fact that Arsenic and Old Lace has been around for 80-plus years. In that time, some of Broadway and Hollywood’s greatest leading ladies have played the Brewster sisters, among them: Josephine Hull, who originated the role of Abby on Broadway and revisited the role for the Cary Grant 1944 film; Dorothy Stickney and Helen Hayes, who each played Abby in mid-century TV adaptations. Heck, even All in the Family’s Jean Stapleton stepped into the role in a late-80s national tour. How much fun are you having making her your own? 

LINDA SPEIR: I’m having a great deal of fun playing Aunt Abby.  We do have to remember she is  somewhat crazy!  She (in my interpretation) is just a wee bit flirtatious with her “gentlemen”.. Think the spider and the fly.  

JHPENTERTAINMENT: What’s your favorite aspect of playing Abby?

LINDA SPEIR: She is a lovely, gracious lady but underneath there’s a layer of insanity.  After all Arsenic is a dark comedy. 

JHPENTERTAINMENT:  I understand the show is being costumed by Donna Driver. What can you tell me about the wardrobe choices in the show?

LINDA SPEIR:  There were some difficulties in finding clothing that looked period; however, Donna did a good job. The Aunts are not very up to date or showy.   Of course I have my own “old lady shoes”  that I ordered sometime back as I have done other period shows.

JHPENTERTAINMENT: As one half of the Brewster sisters, you share much of your stage time alongside Adele Akin as Martha Brewster. I understand this isn’t your first time to appear onstage with her. How is she as a scene partner?

LINDA SPEIR: I’ve known Adele for perhaps 25 years.  We’ve been on stage together several times at several theatres including ACT 1, Boiler Room and more recently at Pull Tight Theatre.  We were in Waiting in the Wings at Pull Tight in January-February 2020 before the world shut down due to Covid.  We interact well with each other both on and off stage.  She is a delight as the slightly addled Aunt Martha. 

RAPID FIRE WITH ADELE AKIN, ARSENIC AND OLD LACE’s MARTHA BREWSTER

JHPENTERTAINMENT: Who is Martha Brewster to you?

ADELE AKIN: Martha is a sweet caring woman. She lives to do good for others.

JHPENTERTAINMENT: Longtime Keeton patrons might recognize you from previous roles, including appearances in productions of The Spitfire Grill and A Scattered, Smothered & Covered Christmas and more. How much fun are you having being back on the Keeton stage?

ADELE AKIN: It’s like coming home! I was in the inaugural season which began with Nuncrackers in 2004. I know there are ticket holders who have seen every play in the last almost 20 years. It will be a great reunion!

JHPENTERTAINMENT: When I chatted with your fellow Brewster sister, Linda, I asked her about sharing scenes with you, so it’s only fair to get your response to sharing the stage with her. How is Linda as a scene partner?

ADELE AKIN: The best! We have known each other for probably 30 years and have been in several productions together but never opposite each other as we are in this show. I’ve been hoping for this for a long time. I respect Linda’s work immensely and I’m so happy to be working with her! The entire cast is terrific but Linda holds a special place in my acting heart. 

JHPENTERTAINMENT: For a show that features multiple murders, it’s dang funny. What’s your favorite line or scene whether it’s yours or someone else’s?

ADELE AKIN: Actually, my favorite line is spoken by Officer O’Hara played by Jenna Salb. She says “Where else would you eat?”  I will not explain that.

JHPENTERTAINMENT: In the spirit of the play, IF you were to do it, how would you get away with it?

ADELE AKIN: What a great question! I guess I’d have to live in a small cabin somewhere in the woods where the only witnesses would be the deer and the foxes with a couple of skunks thrown in there.

RAPID FIRE WITH BRAD MORGAN, ARSENIC AND OLD LACE’s TEDDY BREWSTER

JHPENTERTAINMENT: I understand you’re a recent Nashville transplant. What drew you to the area and how has your experience in Nashville and with the Keeton been thus far?

BRAD MORGAN: Yes, I just moved here in November. I had visited Nashville several times over the last two years to help a friend move to the area and found that I really liked Nashville. I am a musician and what better place to relocate to than Music City. Also, being involved in Theatre for the past 45 years, I thought auditioning for a local  theater group would help me acclimate to the area and make some new friends. The Larry Keeton Dinner Theatre is close to my house so I decided to audition and was lucky enough to get cast. I had never done Arsenic and Old Lace and so far it’s been a great deal of fun.

JHPENTERTAINMENT: You play Teddy Brewster, who thinks he’s Teddy Roosevelt. You’ve actually played Roosevelt before, having appeared in Cider Mills Playhouse’s Tintypes back in 2012. Did having played Roosevelt in the past influenced your character in Arsenic and Old Lace?

BRAD MORGAN: Not at all. Two very different characters. First of all Tintypes is a musical and an Ensemble cast that play multiple roles. Teddy Roosevelt was one of multiple characters I played, and was only in two or three scenes. Also, that character was more of a historical depiction of Teddy Roosevelt. Whereas, Teddy Brewster is more of an impersonation of Teddy Roosevelt. Teddy Brewster’s interpretation of Teddy Roosevelt, but still very much Teddy Brewster.

JHPENTERTAINMENT: On the subject of your previous acting experience, your credits include quite a few well-known shows, including The Rainmaker, Death of a Salesman, Man of La Mancha and more, but what caught my eye…you appeared in One Life to Live and Another World. I can’t lie, I still watch Days of Our Lives…so, its the soap credits for me…what do you recall from your appearances on those two classic soaps?

BRAD MORGAN: Well, at first, it was very exciting but ultimately it just turns into another job. I really don’t like camera and film work. It’s very tedious and boring. A great deal of waiting around for the technical aspects like lighting, camera angles, sound and reshooting of scenes. I much prefer acting on stage and the process of creating a character for a live audience.

JHPENTERTAINMENT: Kevin Driver has designed the set. What can you tell me about the Brewster home as envisioned by Driver?

BRAD MORGAN: I am not a designer, so I have a great deal of admiration and respect for designers, scenic, lighting, costumes, etc.

JHPENTERTAINMENT: What do you hope audiences will recalling after having seen Arsenic and Old Lace?

BRAD MORGAN: That they had a good laugh at the crazy world of the Brewsters.

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Arsenic and Old Lace opens at The Larry Keeton Dinner Theatre Friday, April 14 with performances Friday-Sunday, April 14-16, Thursday, April 20-Sunday, April 23 and Thursday, April 27-Sunday, April 30. Thursdays are Show Only. Friday and Saturday evenings and Sunday matinees offer Dinner/Lunch and Show tickets, OR Show Only Tickets. CLICK HERE to purchase tickets or for more information.

Following Arsenic and Old Lace, The Keeton Theatre closes out their 2022/2023 Season with Memphis: An Original Story of Love, Soul & Rock ’N’ Roll onstage June 9-25, 2023. CLICK HERE for tickets or more info. Season Subscribers may purchase tickets to Memphis beginning April 13. General Public tickets available beginning April 20.

In the meantime, to keep up with the latest from The Larry Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

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

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

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

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

RAPID FIRE WITH THE CURIOUS INCIDENT’s NAT MCINTYRE

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

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

JHPENTERTAINMENT: What can you tell me about Ed Boone?

NAT McINTYRE: He’s trying really hard

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

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

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

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

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

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

RAPID FIRE WITH THE CURIOUS INCIDENT’s LAUREN BERST

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JHPENTERTAINMENT: Who all do you play in Curious Incident?

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

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

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

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

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

RAPID FIRE WITH THE CURIOUS INCIDENT’s JR ROBLE

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

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

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

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

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

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

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

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

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

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

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

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

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 LARRY KEETON THEATRE’s ‘WHITE CHRISTMAS’

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

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

Kevin Raymond as Bob Wallace

RAPID FIRE WITH KEVIN RAYMOND, BOB WALLACE IN WHITE CHRISTMAS

JHPENTERTAINMENT: Tell me a little about Bob Wallace.

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

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

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

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

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

Kevin Raymond

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

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

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

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

Micheal Walley as Phil Davis

RAPID FIRE WITH MICHEAL WALLEY, PHIL DAVIS IN WHITE CHRISTMAS

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

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

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

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

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

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

Micheal Walley

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

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

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

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

Casey Cuba as Betty Haynes

RAPID FIRE WITH CASEY CUBA, BETTY HAYNES IN WHITE CHRISTMAS

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

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

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

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

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

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

Casey Cuba

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

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

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

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

Dani Haines as Judy Haynes

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

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

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

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

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

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

Dani Haines

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

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

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

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

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

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

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