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Theare

Review: Street Theatre founder Cathy Street returns to mine plenty of talent in surprisingly poignant ’Burnt Part Boys’

August 24, 2018 by Jonathan

On the heels of previous mountings of the classic Three Penny Opera, the slightly more obscure Eclipsed and the quirky Title of Show, Street Theatre Company continues to showcase the theatre’s ability to offer up rarely presented theatre with their current production, The Burnt Part Boys; on-stage thru September 1. What’s more, Cathy Street, the company’s founder has briefly returned to Nashville to direct with musical direction from STC’s Artistic Director Randy Craft and a mood-enhancing set courtesy Will Butler.

While the story of a West Virginia coal mine set to reopen in 1962, on the tenth anniversary of a fatal cave-in that took the lives of several of the small town’s men might not seem the stuff of which musicals are made, in the more than capable hands of Street and the top-notch cast she’s assembled, The Burt Part Boys is an unexpectedly emotional coming-of-age story, the likes of which Nashville’s theatre community has rarely seen.

Surprisingly, The Burnt Part Boys isn’t the first musical to broach the subject of a mining town, lest we forget Billy Elliott the Musical, the lesser-known Floyd Collins and the oft-rumored in-the-works Loretta Lynn forthcoming autobiographical musical, but thanks to Street Theatre’s current production, it’s certain to ignite interest going forward.

Kayla Petrille, Seth Bennett and Chamberlin Little in STC’s “The Burnt Part Boys” (photos by Sarah Johnson/courtesy Street Theatre Company

The Burnt Part (named for the section of the mine where the aforementioned fatal accident occurred) is of particular interest brothers Jake (Nick Fair) and Pete (Seth Bennett) and their respective best pals Chet (Shane Kopischke) and Dusty (Chamberlin Little). As the play opens, Jake and Chet, both now grown men, are excited about the reopening of the mine and the chance to carry on their late-fathers’ legacies as they take up the literal torch to join the miners. Meanwhile, armed with a bit of TNT borrowed from Jake’s locked work-kit, younger brother Pete, who was only a toddler when the mine shut down, has other ideas, as he convinces his friend Dusty to join him on an mission to stop the mine from reopening. Along the way the two younger boys enlist the help of Francis (Kayla Petrille), orphaned by the incident, to be Sacagawea to their Lewis and Clark.

Poignantly featured throughout the piece as the men lost in the mine’s now legendary cave-in are Imari Thompson, Tyler Evick, Elliott Robinson, and Brooks Bennett. Rounding out the cast is Mike Baum as Pete and Jake’s father (and a myriad of other characters summoned courtesy Pete’s imagination.

With a hefty nod to the storytelling abilities of Mark Twain, playwright Mariana Elder has created a cast of likable young characters. To their credit, each of Street’s actors not only makes the most of their individual roles, but also portrayed this in such a nuanced way that they are uniquely their own.

Making his Street Theatre debut, Fair plays Jake with a bit of self-assuredness mixed with a sense of duty and responsibility. Poised to take up the mantle of leader for the new miners, Fair’s Jake comes across as a natural leader. Fair’s nuanced portrayal emphasizes Jake’s commanding presence by stranding tall, never slouching and walking across the stage with chest-out and arms swinging in perfect synchronized movement.  Conversely, when scenes involving his younger sibling, Jake’s nurturing side is revealed, offering the audience a different side of the seemingly stand-offish Jake.

Nick Fair and Shane Kopischke as Jake and Chet in STC’s “The Burnt Part Boys”

Kopischke’s Chet, on the other hand, while outwardly boasting about his latest romantic conquests, simultaneously talks of contentment with being Jake’s right hand man, revealing a more obvious internal self-doubt and sense of place. The above-referenced nuances of characterization are most evident in Kopischke’s Chet. In finding his character, the actor has adapted a forward-pelvic-thrusted stance and way of walking leading with his hips, perhaps to reinforce the fact that he’s no longer the little boy who lost his father in the mines. It’s a sort of redneck swagger that visually says “I’m the man, don’t f with me”.

Having seen both Fair and Kopischke in shows since they were youngsters, and knowing they have known each other since they were young, it’s nice to see them both mature as actors and to witness their growth as musical performers as well. The fact that they have a friendship off-stage certainly benefits the duo’s onstage chemistry.

As for the younger trio, Seth Bennett’s Pete comes across as the boy next door. Charming, kind, and full of determination. Alluding back to my Mark Twain, comparison, he’s definitely the Tom Sawyer of the piece.

Seth Bennett and Chamberlin Little as Pete and Dusty in STC’s “The Burnt Part Boys”

Pete’s best friend, Dusty is played to perfection by Chamberlin Little. If Pete is Tom Sawyer, think of Little’s Dusty as Tom’s faithful friend Jim, albeit much younger and, in a nice change of pace, the only of the characters whose home life is ideal, considering Pete has both is parents and as the story frequently reminds us, always has plenty of Alpha Bits cereal in stock in the family pantry. Chamberlin plays Dusty with an eagerness and devotion to his friend Pete, but with reservation about their pending mission to stop the mine from reopening. Their relationship showcases a more balanced friendship that that of Jake and Chet. While the older boys seems to be content with what would appear to almost be status differences, Dusty and Pete are equals in their friendship.

Continuing with the Twain allegory, Petrille’s Frances can be seen as equal parts Huck Finn and Becky Thatcher. Having survived in the woods near the Burnt Part since her father’s death in the mines, she’s got the street smarts—or, more accurately wood smarts of Huck Finn, but when her defenses are down, their an obviously attraction to Pete, allowing her to be just a little bit Becky Thatcher.

While Evick, Robinson, Thompson and Bennett have only limited on-stage time as the original miners, when their voices blend for the ensemble numbers, its a joyful sound indeed. Perhaps because Street Theatre is housed in the auditorium of a church, the term raise the rafters certainly applies. Limited as their appearances are, they’re key to the story and the outcome. There’s truly not a miscast actor amongst the ensemble or the entire show.

Given the fact that Pete was so young when the mining accident occurred, it’s evident he looks up to older brother, Jake as a father figure. Through dialogue and a few clever fantasy sequences, Pete’s penchant for movies of the day, as they relate to historical figures like Sam Houston, Davy Crockett and Jim Bowie is also revealed. Reinforcing the hero status of his late father, you gotta love that Baum not only plays the boy’s dad, but also appears (hilariously so, I might add) as John Wayne, Houston, Bowie and Crockett in these fantasy sequences.

The score, with music by Chris Miller and lyrics by Nathan Tysen, is absolutely beautiful with traces of period-authentic mountain music that doesn’t rest entirely on bluegrass, also incorporating the gentle resonances of mid-century gospel and more classic show tunes of the era. The tunes throughout are enjoyable, with some even evoking unexpected emotions. Heck, my eyes may or may not have sweated a time or two during the show. From Kopischke and Fair’s Eight Hours and Bennett’s telling Man I Never Knew to each and every fantasy segment featuring Baum, the songs, while perhaps not as earworm-worthy as your average Disney musical, do indeed serve the show well.

That said, to be honest, the only song I truly remember is the humorous Davy Crockett, midway through Act 1 as performed by Baum as Crockett and the rest of the company. No, they don’t do a cover of the 1955 chart-topper theme from TV’s Fess Parker-starring western (as sung by then-future Days of Our Lives legend Bill Hayes), instead, it’s a clever little ditty in which Pete imagines Davy helping him break down the fence at the entrance of The Burnt Part. With simple, but noteworthy lyrics about why Davy Crockett hates fences, there’s a definitely SPOILER ALERT hidden within the words of this song.

While that may be the only song I remember, most likely because of my affinity for all things related (even remotely) to Days of Our Lives, the show is peppered with some quite beautiful songs that, in the more than capable talents of cast members like Fair, Bennett and Petrille, serve to not only move the story along, but to also, as indicated above, move the audience as well.

With the majority of the action taking place on the side of the mountain leading to the mine, the choice by director Street and set designer Butler to not go literal with a slanted mountainside, but rather to feature a stripped-down set constructed intricately, but visually simply, of wooden slates, reminiscent of the interior of the mine shaft itself, is truly inspired. Also notable, the movement of the actors as they scale the mountainside, thanks to Street’s astute direction, it comes across as realistic, and not overly-done. Drawing the audience into the physical (and emotional) struggle of these young people as they head to their destiny.

Congrats also to lighting designer Katie Gant, whose subtle, but powerful use of lighting, from a simple flashlight to the dead miner’s headlamps, only adds to the power of the piece.

One final note…with Pete, Dusty and Frances on a course to prevent the mine from opening, and Jake and Chet hot on their their tail like Sam Houston racing to victory in San Jacinto, the fate of our five is blissfully left to interpretation, but thanks to Street’s thoughtful and meticulous direction, there are indeed hints to their fate throughout the play, whether it be as subtle as a spoken promise that comes to fruition in a single action near play’s end, or a shared glance between actors, the hints are their, it’s just perfectly left for the audience to decide, should they choose.

Street Theatre Company’s The Burnt Part Boys continues on the perfectly intimate stage located in the west wing of Holy Trinity Community Church (6727 Charlotte Pike, Nashville, TN 37209) with performances at 7 :30 p.m. Friday and Saturday, August 24 & 25 and Thursday, August 30 thru Saturday, September 1. CLICK HERE for tickets or more information. Next up for Street Theatre is Bklyn: The Musical, on stage November 2-17. Follow Street Theatre Company on Facebook, Twitter and Instagram for all the latest.

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.

Filed Under: Entertainment, Theare, Theatre Review, Uncategorized Tagged With: Ashley Wolfe, Brooks Bennett, Cathy Street, Chamberlin Little, Elliott Robinson, Hellen Ralston, Imani Thompson, Jacob Allen Danielle McKinney, Katie Gant, Kayla Petrille, Mike Baum, Musical, Musical Theatre, Nashville, Nashville Theatre, Nick Fair, Randy Craft, Review, Sarah Levis, Seth Bennett, Shane Kopischke, Street Theatre Company, Theatre, Theatre Review, Tyler Evick, Will Butler

Review: EXTRA!! EXTRA!! Circle Players presents Broadway-quality production of Disney’s ‘Newsies’: on stage thru August 26

August 15, 2018 by Jonathan

Circle Player’s “Newsies”, onstage at Looby Theatre thru August 26 (photo courtesy Circle Players)

When the performance rights to Disney’s Newsies recently opened up enabling regional theaters across the country to present the show, about half a dozen Nashville area organizations snatched them up like a New Yorker snatches up their morning paper. Just last month an all-youth production garnered praise for the area’s first of many productions to come. With so many coming productions of Newsies on the horizon, leave it to Circle Players, Nashville’s oldest continuing theatre company, to seize the day by setting the bar extremely high with their current presentation of Newsies, on stage at the Looby Theatre, now through Sunday, August 26.

Based on the eponymous 1993 musical film which fictionalized the real-life New York Newsboy’s Strike of 1899, set to tunes by musical legend Alan Menken, Newsies made the unorthodox backwards transition from screen to stage with a Broadway debut in 2012. Proving just as popular as the modern classic film, the stage adaptation of Newsies reached an even broader audience (and a generation of new fans) when the Broadway production was filmed and released in movie theaters with special screenings in early 2017 and later available for digital download. If there’s one thing Disney knows how to do, It’s give the kids what they want.

So too does Circle Players know how to give the people what they want, having previously scored big with their productions of other Disney favorites including The Little Mermaid and The Hunchback of Notre Dame, so it’s the perfect marriage for Circle Players to present yet another Disney Theatricals production with Newsies.

Speaking of the perfect marriage, by choosing Jim Manning as the show’s director, with Tosha Marie Pendergrast as the show’s choreographer, Circle has found a powerhouse creative team to be reckoned with. Manning, known for his attention to detail as one of Music City’s most gifted set designers and Pendergrast, one of Nashville’s rising choreographers to watch have come together to create a truly Broadway-quality production.

From the moment the curtain rose during the opening weekend performance I attended, I marveled at Manning’s thoughtfully clever set. Rather than going the standard route of either presenting your stereotypical turn-of-the-century New York streetscape or a more stripped-down catwalk-laden industrial look, Manning chose to create his set by brilliantly crafting larger-than-life letter press print blocks and constructing them in a way to not only visually appeal and connect the viewer with imagery of how newspapers are printed, but to also double as the buildings and structures of the story. Pure creative genius, I tell ya.

Then there’s Pendergrast’s equally thoughtful choreography. From the show’s cheer-inducing wow-factor tumbles to what can only be called crutchography and some of the finest and completely synchronized tap and all-in dance number throughout, Pendergrast proves she’s a choreo dream come true.

Also making up Circle’s Newsies creative dream team are DaJuana Hammonds as the show’s musical director, and Kate Veglio as the production’s stage manager. Hammond and the eight piece orchestra she’s assembled—including lead keyboard-Nathan Girard, second keyboard-Francis Ho, guitarist-Dale Herr, bassist-Tom D’Angelo, percussionist-Dennis Palmer, trumpeter-Peter Duarte, woodwind-Raymond Ridley and cellist Julie Adams—perfectly punctuation the action and are proof positive why the show’s original score nabbed a Tony Award during the show’s Broadway run.

Unlike the labors of the director, the choreographer and the musical director, Veglio’s work as stage manger is, for the most part, unnoticed by even the most astute audience member. As stage manager, Veglio is charged with keeping thirty actors—yes there are thirty actors in Newsies—aware of rehearsal schedules, costume fittings and all manner of behind-the-scenes details the average patron probably never even takes into consideration.

Speaking of the thirty cast members, Circle’s Newsies features more than a few new faces and a nice mix of tried and true Circle favorites. Cast in the lead role of Jack Kelly, the newsboy who leads the charge for change by calling for the boys to strike and better pay, is Mike Sallee. The epitome of the triple-threat, Sallee is as gifted an actor as he is dancer and singer, and handsome to boot. Playing Jack with equal parts likability and determination, it’s easy to see why the other newsboys look to him for guidance and why rookie reporter Katherine (Melissa Silengo) is smitten.

Of Silengo’s performance as Katherine, she plays her with a sincerity and a healthy dose of moxie. When she and Sallee duet on Act 2’s Something to Believe In it is absolutely pure Disney magic.

Earlier I referred to some crutchography. For Newsies newbies, let me explain. One of Jack’s best pals goes by the nickname Crutchie because he walks with the aide of a crutch. Cast as Crutchie is Christian Redden. Having first reviewed Redden in Circle Players’ 13: The Musical back in 2011, I was anxious to see how he’d matured as a performer. Because I too walk with the aide of crutches, I was also interested to see how realistically his physicality was portrayed. No surprise Redden’s charm and talent has only flourished with the passage of time, Kudos to him, director Manning and choreographer Pendergrast for skillfully executing Crutchie with believability and dignity, and that aforementioned crutchography…bravo! (Side Note: during the post show meet and greet while chatting with Redden, I did suggest he not wear his long hair in a top-top sticking out the back of his newsboy cap, but rather tuck it behind his ears and wear it down behind the cap for the remainder of the run, as it was a bit distracting and not period accurate). Just another reason why I love my theatre community. Whether he heeds my advice or not, he received it with grace and kindness.

Dwayne Mitchell and Addison Bowen as brothers Davey and Les also turn in noteworthy performances. Leading the charge on the show-stopping Seize the Day near the end of Act 1, the final notes of the song were drowned out the night I attended by the audiences exuberant and well-deserved applause and cheers. Full Disclosure: My eyes may or may not have began to sweat during this all-in call-to-action scene. Mitchell’s Davey begins timid, but when the occasion (and script) calls for it, he tackles the role head-on turing in a near-perfect performance.

As for Bowen’s Les, she (yes, she’s a girl, a fact I didn’t realize until my grand-niece pointed it out) is a scene-stealer of the first degree, forcing the audience to watch her every move and react to her every line. Here’s hoping Circle utilizes the talents of these two while they can.

Like any good Disney story, you have to have at least a few adults in the mix, usually one on the side of the kids and one as the villain. Newsies is no exception. To that end Katharine Boettcher—who I readily admit is one of my current theatre crushes, having fallen under he spell first as Ursula in Circle’s The Little Mermaid, then continued my obsession when she played Lily in Town Center Theatre’s The Secret Garden—is once again perfectly cast, this time as Medda, the vaudeville chanteuse who befriends Jack and the boys and allows them to use her theatre to organize and carry out their strike. She may only have one solo in the entire show, Act 1’s That’s Rich, but she utilized the opportunity to prove why she landed the role. Gush-worthy indeed.

Opposing the strike, there’s Brian Jones newspaper magnate Joseph Pulitzer. Seemingly typecast, due largely because of his rich booming voice and innate ability to intimidate with one searing look, Jones is the perfect Disney villain. Unlike previous roles in prior Circle productions, the majority of Jones’ stage time is spoken and not sung. Effective at both, you still gotta love when he reveals his true business nature by way of the lyrics of Act 1’s The Bottom Line and its Act 2 reprise.

Other notable performances come courtesy William Robinson’s Romeo and Jake Rybczyk’s Tommy Boy, alongside Mitchell’s Davey. Each time these guys dance/tumble across the stage, the audience is wowed. Not to be completely outdone by the boys, Megan Castleberry and Kinsey Burchett as Buttons and Blue turn in a few impressive dance moves of their own, as did the entire company. I swear, not a misstep to be seen from the whole cast, and if there was, with so much action and excitement on stage, who’d notice?

Also watch-worthy are Carter Wright’s Specs, Nick Spencer’s Governor Roosevelt, Sawyer Latham as Morris, Nicholas Page as Mike, Tyler Inabinette as Spot, Austin Jeffrey Smith as Albert and Clay Hillwig in multi-roles of Weizel, Jacobi and the Mayor of NYC.

With a cast of thirty, all of them giving their performance 100%, I could go on and on ad nauseam singing the praises of each and every cast member, and believe me, they each deserve it. The entire cast shines throughout, from Carrying the Banner and the powerful The World Will Know to  Act 2’s Brooklyn’s Here and each reprise of the aforementioned Seize the Day, Circle’s Newsies is sure to go down in Nashville history as headline-making, record-breaking musical theatre.

Circle Players’ Newsies continues its three-week run at the Looby Theatre (2301 Rosa Parks Blvd) with performances through Sunday, August 25. Thursday-Saturday evening performances begin at 7:30 p.m. Sunday matinee performances are at 3 p.m. The Sunday, August 19 performance will be a special Sing-A-Long Sunday during which the audience is encouraged to join in the fun by belting out their favorite tunes along with the cast. Tickets for Thursday performances are $15. Tickets for Friday-Sunday are $20. CLICK HERE to purchase tickets.

After Newsies, Circle Players will present Hair directed by Jason Lewis. Be sure to follow Circle Players on Facebook, Instagram and Twitter for the latest news, tickets and details about the rest of their 69th Season.

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.

Filed Under: Entertainment, Theare, Theatre Review Tagged With: Circle Players, Disney, Musical, Musical Theatre, Nashville, Newsies, Review

Review: Way Off Broadway Productions’ darkly quirky ‘Unidentified Human Remains’

August 14, 2018 by Jonathan

The cast of Way Off Broadway Productions’ “Unidentified Human Remains”; onstage at Music Valley Event Center through August 25

I have known of Asa Ambrister and his work in the Nashville theatre community for some time. When I learned he was among the founding members Way Off Broadway Productions, one of Nashville’s newest theatre companies, I instinctively knew Music City was in for some unique theatrical offerings from the relative upstart troupe. Having attended one of last weekend’s opening performances of playwright Brad Fraser’s Unidentified Human Remains and the True Nature of Love, I can definitely say Ambrisfer, his choice of material and his cast live up to my expectations.

Going into the performance, I was excited not only to witness the earlier of a new theatre company, but to see a play I’ve never seen before, even though Fraser’s work was named one of the best plays of the year when it debuted. Foolishly, it wasn’t until the action began to unfold that it dawned on me that I was strangely familiar with the premise. Was it because I lived through the late-80s time period in which the play was set? Perhaps because the six characters who make up the players could easily have waltzed right out of my twenties. Or was it because I’m more than a little obsessed with anything to do with serial killers? Oh, did I not mention there’s a serial killer subplot? While all those suppositions could easily apply, it quickly dawned on me. Unidentified Human Remains… was the basis for the 1993 film Love and Human Remains starring Thomas Gibson (later Greg of the ABC sitcom Dharma & Greg), but I digress.

Unidentified Human Remains… centers around David, a jaded, early-thirties gay man living in Edmonton, Alberta, Canada with his best gal pal, Candy. David, a former child-star now working at a local bar and restaurant has all but given up on love and life. Meanwhile Candy seems to suffer bouts of depression when not in a romantic relationship. As the play unfolds, the audience meets Bernie, David’s best friend, whom Candy doesn’t seem to care for. Then there’s Benita, a clairvoyant working girl with a penchant for telling murderous urban legends. Rounding out the players are Kane, who works as a bus-boy where David waits tables, Jerri, a lesbian who tends to latch on to her latest romantic conquest  and Robert, a bartender with a secret relationship.

To begin, I must confess. The first forty or so minutes of the play come off a bit too heady and disjointed for my taste, with characters seemingly randomly calling out single words or phrases in what can only be described as ‘Theatrical Tourettes’. The only time I’ve ever enjoyed “Theatrical Tourettes’ is during the Merry Murderesses number in Chicago.This is an issue I have with the playwright, not Ambrister as a director or his cast.

While I’m at it, thought, my biggest issue with this production is the set. While Seth Limbaugh does a wonderful job creating the many segments of the set. With so many individual locations: David’s apartment, their kitchen, the bar, the restaurant, Benita’s apartment, Kane’s parents’ mansion, the park, David’s bedroom, it all just becomes too much. Having done a little research prior to writing this review, I came across images from other productions where the set was stripped down and minimal, which I believe would unclutter the visual and allow the action of the piece to take center stage. That said, when the play finally gets its cohesive ‘ah-ha’ moment about forty minutes in, Ambrister’s direction and the casts’ portrayal of their characters does come together nicely.

For Ambrister’s productions he’s cast Bradley Moore as David. Moore tackles the role with his usual flair. He’s just the right combination of charming and off-putting. David, like most of the characters is pretty unlikable, but as played by Moore, you just can’t help but hope for a light at the end of the tunnel. Moore also shows his skills as an actor by finding the right punch to his delivery of certain lines and phrases, adding humor when much needed and insight to his character’s development. There are two rooftop scenes during the play that provide Moore with his best material, and the audience with their best glimpse into Moore’s talent.

Bradley Moore as David and Catherine Glidewell as Candy in “Unidentified Human Remains”

Cast as Candy, David’s roommate and best gal pal who longs for a loving relationship is Catherine Glidewell. Glidewell perfectly wallows in her character’s misery. She’s the perfect fag hag to David’s over-it gay, but when she gets her chance at a little romance, she perks up, until one of her suitors gets a little too intense and the other turns out to be potentially unattainable.

Speaking of Candy’s suitors, Casey Roberts’ Jerri is pathetically perfect as Candy’s first foray into lesbianism. An obvious act of desperation on Candy’s part, Robert’s Jerri falls hard, reminding me of that old joke “What does a lesbian take on a first date”…the punchline “a U-Haul”. One adventurous night with Candy and Jerri’s all-in. Roberts shines during one of the show’s most tense moments when Jerri shows up at Candy and David’s at a most inopportune moment.

Candy’s other paramore, Robert, played as sleazily as possible by Alex White is easily the show’s least likable character. That says a lot, considering he’s…SPOILER ALERT…NOT the aforementioned serial killer. There sex scene is just so ick, especially when he gets a surprise answering machine message (it IS the 80s after all) in which we…and Candy…learn he may not be as available to her as he seems.

MacKenzie Smith, Bradley Moore and Evan Grabenstein in “Unidentified Human Remains”

The sexual connections…and misconnections…keep coming when David develops a friendship with teenage Kane, played by Evan Grabenstein. Grabenstein does indeed seem a bit ageless as the innocent teen, who is initially drawn to David because of his celebrity past, but then becomes attracted to him in some sort of daddy fixation. Equally as awkward in a drug-induced encounter with a female prostitute as he is when David nearly forces himself on him, Grabenstein’s Kane becomes the one character who might actually survive the madness of this group of friends. Kudos also to whomever picked Grabenstein’s decidedly Zach Morris-esque wardrobe. Couldn’t help but think of SBTB and the original 90210 every time he took to the stage.

As for the aforementioned prostitute, Paige Songer is so enjoyable as David’s haunted storyteller/bondage sex worker/mind-reading friend, Benita. Her quick-change wigs and fantasy wardrobe straight out of Hustler Hollywood bring a little humor to the bizarrely dark tone of the piece. Unfortunately, the night I attended, she didn’t seem to be mic’d and many of her lines were lost.

Finally there’s MacKenzie Smith as Bernie, David’s best friend whom, as it turns out, is indeed a serial killer. HUSH. It’s not a SPOILER ALERT as he shows up bloody fresh from a kill early on. it’s not my fault that his friends don’t find out until well into Act 2. Fresh off his charming portrayal as the ironically named Little John in Actors Bridge Ensemble and Wild Card Productions’ Marian, Smith’s Bernie is anything but charming. He’s brutish and brash and only goes from zero-to-sixty without exploring the range in between. A tender scene or two with Moore’s David aside, Smith is never better than when he’s playing the piece’s proverbial psycho.

In Ambrisfer’s Director’s Note in the program, he indicates that a goal of Way Off Broadway Productions is to present “thought provoking, original and lesser known works”. With Fraser’s Unidentified Human Remains and the True Nature of Love, he certainly does just that.

Way Off Broadway Productions’ Unidentified Human Remains… continues its run with 7:30 p.m. Friday and Saturday shows thru August 25 at Music Valley Event Center (2416 Music Valley Drive, Suite 144, Nashville, TN 37214). Tickets are $10. CLICK HERE or call 615.962.4742.

Next up for Way Off Broadway Productions is The Complete Works of William Shakespeare: ABRIDGED. CLICK HERE for tickets. For more from Way Off Broadway Productions, check them out 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.

 

Filed Under: Entertainment, Theare, Theatre Review Tagged With: Alex White Nashville, Asa Ambrister, Brad Fraser, Bradley Moore, Casey Roberts, Catherine Glidewell, Evan Grabenstein, Mackenzie Smith, Nashville Theatre, Paige Songer, Review, Unidentified Human Remains, Way Off Broadway Productions

With a newly remodeled facility and a remounting of last year’s heavenly production of ‘Sister Act: The Musical’, Chaffin’s Barn Dinner Theatre is a hard habit to break

August 9, 2018 by Jonathan

(l to r) Martha Wilkinson, Vicki White and Meggan Utech are back in the habit in a reworked production of “Sister Act: The Musical” onstage at a renovated Chaffin’s Barn Dinner Theatre now thru August 25 (photo courtesy Chaffin’s Barn Dinner Theatre)

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UPDATE: Last week, when this preview was first published, Chaffin’s had announced a Back to School BOGO special, unfortunately a power outage in the area prevented that from taking place. Just this morning—via email blast to patrons and supporters—another Buy One Get One Special was announced for their 7:30 p.m. Thursday, August 16 performance. The first 30 patrons to call Chaffin’s Barn Dinner Theatre’s reservation line (listed above) and mention the PROMO CODE: THIRTY can take advantage of this one-night-only BOGO Special for dinner and the show.

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Back in February, following a successful run of Disney’s Freaky Friday, Chaffin’s Barn Dinner Theatre temporarily closed up shop of some much-needed renovations to the half-century old facility. Just last weekend, the wait was over as Chaffin’s reopened to continue their 52nd Season with a re-staging of last year’s hugely popular production of Sister Act: The Musical. “We wanted to revive the show because people loved it so last year, and because we were sold out, some missed it,” said Chaffin’s Artistic Director, Martha Wilkinson. “It’s a great show to reopen with after renovations because the show is all about redevelopment, change, growth and love,” she continued.

Back in the habit for Chaffin’s rechristening is Meggan Utech as Deloris Van Cartier, the night club singer, who, after ratting out her gangster boyfriend for popping a cap in a street thug, is forced to go into witness protection as a nun.

Wilkinson also returns to her role as the no-nonsense Mother Superior who’s constantly butting heads with her new undercover charge. Longtime patrons of Chaffin’s no doubt recognize Wilkinson, who’s been a venerable part of The Barn family for three decades. In addition to being Chaffin’s Artistic Director, and co-starring as Mother Superior, Wilkinson is also at the helm of this production of Sister Act as the show’s director. Everett Tarlton is the show’s choreographer and returning once again as musical director for Sister Act is Kelsi Fulton.

Among those returning to the flock on-stage are: Devin Bowles as Curtis, Deloris’ aforementioned murderous beau, Gerold Oliver & Curtis Reed as Curtis’ bumbling henchmen, TJ and Joey, Vicki White as Sister Mary Lazarus, Jenny Norris as Michelle, David Arnold as the Monsignor and Braden Wahl as Ernie.

Of this iteration of Sister Act, Wilkinson exclaimed, “We’re having a blast!.” As for additions to the fold, Wilkinson continued, “There are some new cast members who are rocking it. Maggie Richardson as Sister Mary Robert is off the chain. Fantastic voice and energy, and she’s adorable.”

Other additions to the cast include: Megan Roberts as Sister Mary Patrick, Hallie Long as Sister Mary Bernice, Ang Madaline-Johnson as Sister Mary Martin of Tours, Jenny Wallace as Sister Mary Teresa, Everett Tarlton as Pablo, David Ridley as Sweaty Eddie, Christina Candilora as Tina and ensemble member, Andrew Neal.

A true testament to Chaffin’s storied history with Nashville Theatre, during opening weekend of Sister Act, there were Sold Out performances, with several upcoming performances already selling out as well. Of the reinvigorated interest in Chaffin’s and their newly remodeled facility, Wilkinson said, “We’re so very excited to continue the legacy!”

With that enthusiasm, there’s no doubt Sister Act is divine proof that Chaffin’s is back in the habit. Sister Act continues its run with performances through Saturday, August 25. Each week features Thursday matinee performances at noon (doors open at 11 a.m. with a Box Lunch option), Thursday-Saturday evening performances are at 7:30 p.m. (doors open at 5:30 for dinner service until 7 p.m.). There are also select Sunday matinees at 2 p.m. (doors at noon, with lunch service until 1:30 p.m. Thursday matinee tickets are $28.50 with Box Lunch ($20 Show Only). Evening and Sunday tickets are $62 ($37 Show Only and $18 for Children 12 and under ). Chaffin’s also offers a Small Plate a la carte menu option with separate pricing per item. Group Rates are also available. CLICK HERE or call the box office at 1-800-282-2276 for tickets or more details.

Following Sister Act’s run through August 25, Chaffin’s will present Disney’s Newsies onstage September 20-October 27. CLICK HERE for tickets, as this one’s sure to be another popular show for Chaffin’s. To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

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Filed Under: Entertainment, Theare Tagged With: Alan Menken, CHAFFIN'S BARN, CHAFFINS BARN DINNER THEATRE, CURTIS REED, DAVID ARNOLD, EVERETT TARLETON, GLENN SLATER, JENNY NORRIS, JOSEPH HOWARD, MAGGIE SMITH, MARTHA WILKINSON, MEGGAN UTECH, Musical, Musical Theatre, Nashville, Theatre, WHOOPI GOLDBERG

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