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Theatre Review: ‘Blithe Spirit’ attempts to conjure laughter; Noel Coward farce continues at Larry Keeton Dinner Theatre thru October 30

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‘Blithe Spirit’ (all photos by Thomas Gentry/courtesy The Larry Keeton Dinner Theatre)

Just before chatting with members of the cast of the Larry Keeton Dinner Theatre’s current presentation of Blithe Spirit for my latest Rapid Fire 20Q, I rewatched the classic mid-40s film adaptation which I hadn’t seen in a decade or longer. Remembering it fondly, I again reveled in the quaintly nostalgic portrayal of an British novelist who finds himself in unlikely comedic trouble when he and his wife host a couple of friends and a kooky medium for a seance meant to inspire his next novel. What happens instead is the medium somehow summons the ghost of his first wife. Things get further complicated when an accident befalls his second wife and he finds himself doubly haunted by the ghosts of both wives past.

During my conversations with the cast for my latest Rapid Fire 20Q, I learned that the show’s director Donna Driver had opted to update the time and place of what is considered by many to be the playwright’s best work. I get it. The original having been set in the English countryside in the early 1940s, might seem a bit stale for a modern audience, and I’ll be honest. There’s little I despise more than a local theatre company attempting accents that end up being all over the place and inauthentic.

That said, you gotta wonder why then did the director opt to set the action in 1980s Texas, but only one cast member speaks with a decidedly Texan drawl? The set, however, designed and constructed by Kevin Driver, does indeed invoke visions of 80s abundant living, with ornate brocade furniture (I swear my Mom still has that sofa in her living room), bookcases filled with Reader’s Digest Book Club volumes and Encyclopedias and the occasional ginger jar. Heck, even the walls are painted in what can only be described as hints of Dark Rose and Forest Green. Donna Driver also serves as the show’s costumer, dressing her cast in some decidedly 80s trends with nods to the wrap-dress, the country club look and more. All in all, a nice representation of the 80s.

Seeing as how the show is about ghosts, I was curious how the special effects would be presented. What few there are are fun, but it seems a shame that they’re mostly left to near the end of the show, rather than being peppered throughout.

Abby Waddoups, Aaron Gray and Erin Grace Bailey in ‘Blithe Spirit’

Aaron Gray is cast as Charles Condomine, the aforementioned author. He does a fine job in the role, and as he revealed during our Rapid Fire 20 Q, he’s created the perfect backstory for his as he calls it ‘rock star’ look, but I feel compelled to mention, the constant, likely unconscious action of brushing his long tresses away from his face became quite distracting. Gray does present a perfectly flustered husband and his on-stage chemistry with both his leading ladies is enjoyable.

Abby Waddoups plays Charles’ current wife, Ruth. While she doesn’t speak with a traditional Texas accent—as mentioned earlier, only one character does, and we’ll get to her soon enough—Abby does approach Ruth with an air of sophistication. Again, a perfect reflection of that 80s-era new-money vibe. As Ruth, she brings a bit of caustic fire to her every line.

Then there’s Charles’ late wife, Elvira played by Erin Grace Bailey. OK, I know this is being super picky, but in every other stage production, film adaptation and televised presentation, Elvira isn’t pronounced like the Cassandra Peterson Mistress of the Dark character, it’s pronounced Elveeera, so this new pronunciation took me a minute to adjust. Newcomer to the Larry Keeton Theatre, Erin Grace Bailey is quite the scene-stealer as Elvira. While her name may now be pronounced like an 80s vampire, she’s just your above-average vampy ghost. She takes the tongue-in-cheek storyline and makes the most of it.

Drew Ann Borsos as Madame Arcati

Speaking of making the most of things, Drew Ann Borsos is simply perfect as Madame Arcati, the medium who helms the seance. Borsos peppers her Madame Arcati with equal parts  bumbling Aunt Clara from Bewitched and every blissfully quirky character Shirley MacLaine has played since the 80s. Every line, every movement seems both organic and spontaneous while you just know its all carefully crafted and executed brilliantly. Coward knew what he was doing when he created this character with his words and Borsos more than does it justice.

Rounding out the cast are Shelby Anderson as Edith, the maid, Michael Welch as Charles’ friend and doctor, Dr. George Bradman and Suzette Williamson as Mrs. Bradman. Anderson is quite fun as the scatterbrained, nervous maid and we even get to hear her sing a bit, which is a fun bonus. Welch and Willamson, who basically only appear in two scenes, one during the first act and one in Act 2, are amusing as marrieds, but seem to be a little overzealous in their portrayals and should perhaps reign in their reactions and facial-pulling just a bit. Then again, there’s no pulling attention from Borsos and Bailey, so why even try.

Blithe Spirit continues its three-week run onstage at The Larry Keeton Theatre (108 Donelson Pike, Nashville, TN 37214) now thru October 30. To Purchase Tickets, CLICK HERE or call the box office at 615.231.1231. Adult Dinner and Show tickets are $35. Child Dinner and Show tickets are $25. Show Only tickets are $30 and $20 respectively. During the run, the schedule is as follows: Thursdays-Doors at 6:30p.m./Show at 7p.m. (Thursdays are Show Only days). Fridays and Saturdays-Doors at 5:45p.m./Dinner at 6p.m. and Show at 7p.m. Sundays-Doors at 12:45p.m./Lunch at 1p.m. and show at 2p.m.

Following Blithe Spirit, the Larry Keeton Dinner Theatre ushers in the holidays with Irving Berlin’s White Christmas, onstage December 1-18. CLICK HERE for tickets or more information.

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.

Theatre Review: Nashville Story Garden’s US Premiere production of The Welkin wraps two week run Friday, September 30

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British playwright Lucy Kirkwood, whose previous works include NSFW, Bloody Wimmin, Chimerica and Mosquitos, can always be counted on to present through-provoking, female-centered, universally themed theatrical experiences. Her latest, The Welkin, is no exception. Having premiered across the pond in 2020, the US premiere, courtesy Nashville Story Garden, wraps its all-too-brief six performance this weekend with a final performance at 7p.m. Friday, September 30 at Riverside Revival (1600 Riverside Drive, East Nashville).

The Welkin seems somewhere between an all female 12 Angry Men, The Crucible and The Scarlet Letter, with maybe a little Handmaid’s Tale thrown in for good measure. While 12 Angry Men focuses on a group of men determining the guilt or innocence of a man accused of murder, Kirkwood’s The Welkin, set in 1759, presents 12 rural Suffolk UK women tasked to not determine a woman’s guilt or innocence, but rather to ascertain whether or not the already accused and convicted woman is with child or not. Their decision then establishing whether or not she be hanged in the public square or allowed to live…at least long enough to bring her child into the world. All this while the otherwise seemingly sleepy burg awaits the spectacle of Halley’s comet.

I was thrilled when Nashville Story Garden’s Lauren Berst reached out to me to ask me to attend opening night. A new play, in a new (for me) venue. That was enough, but add to that, the cast, many of whom I’ve seen in many of my favorite plays over the years, and a few I wasn’t familiar with…always a potential added bonus.

As the play begins, a title card is illuminated on stage reading simply ‘Housework’, while silhouetted images of the players performing various household chores are seen as shadows backlit on crisp white linens hanging across the stage like laundry on the line. The cast then, removes the draping fabric as the title card is changed to read ‘The Night In Question’ as we meet Ayla Williams as Sally Poppy as we witness a bit of what leads her to her eventual sentence. Williams is spectacular as the convicted murderess. She plays the role with spirit and a no-nonsense bite that also eventually reveals innocence lost, or rather, buried away inside her long before the night of the crime.

A later title card reading ‘The Empaneling’ is where we are first fully introduced to the rest of the cast. During the show’s opening week, assistant director Joe Mobley stepped in for Matthew Rose as Mr. Coombs, the jury-appointed liaison between the court and the women. He is at times humorous and a tad bullish as he wavers between being in the minority, but never forgetting he, as a man, is always in the majority.

As for the jury of matrons, director Halena Kays has assembled a who’s who and a who will be stellar cast including Destinee Monet, Melodie Madden Adams, Tamara Todress, Diego Gomez, Candace-Omnira Lafayette, Jennifer Whitcomb-Oliva, Rachel Agee, Jessica Anderson, Lauren Berst, Megan Murphy Chambers, Matthew Rose, Inez, Rona Carter, Melinda Sewak and the aforementioned Ayla Williams.  With Milly Mason and Jordan Bentley sharing the role of young Katy during the run and Brooke Ferguson understudy for all the women.

Nashville Story Garden’s co-artistic directors, Lauren Berst and Tamara Todress play Lizzy and Emma respectively. Lizzy is the neighborhood midwife, with ties to seemingly everyone, even the aforementioned Mr. Coombs. Berst’s Lizzy takes no guff from anyone and, in spite of her own demons and disappointments, seems to see the good in others. Meanwhile, Emma seems to reserve the majority of her interactions simply holding for disdain anyone she deems below her station. That said, Todress’ Emma is delightful in her disdain.

Of the women, many of them get their moment to shine thanks to the playwright’s clever unraveling of the story, and each and every woman’s background, character and involvement, therein. Perhaps none more than the aforementioned, Ayla Williams, who’s portrayal is at times subtle and at times so explosive she seems on the verge of madness, and who wouldn’t be, given the circumstances of her character’s predicament.

Rachel Agee is marvelous as Judith. She’s played as a bit boisterous and cheeky, perfectly aligning with Agee’s generous talents at both. Jennifer Whitcomb-Oliva is splendid as well. Her Helen seems meek and sweet, but there’s some fierceness fueled by sadness revealed as the play unfolds. Other standouts include Rona Carter as Sarah Smith, portraying the eldest member of the group and Melinda Sewak’s Sarah Hollis, who without uttering one word, provides insight to her character’s pain.

Once the verdict is in, and the action nears its end, there’s a post-show scene in which the women reappear in modern wardrobe performing those same household tasks seen in the opener. A jarring reminder that what the audience has witnessed, and what these character’s portray of a world three centuries ago, seems just as much at the forefront of society today. As the adage states, “a woman’s work is never done” and I’ll add, neither is her fight for herself, her body and her rights.

Off-stage, the team responsible for technical aspects of the play should also be celebrated. Jonathan Nicholson’s stark but effective set, Tony Nappo’s mood-enhancing lighting and Matt Logan, listed as costume consultant. Of the costumes, maybe I read more into it than I should…or should I say ‘red’ more into it, but I love that each women, save one, has a bit of red fabric accented somewhere on her wardrobe. To me this symbolized life’s blood, and with the subject matter revolving around whether or not a new life exists in the belly of the accused, that just made sense. Again, perhaps reading more into it than I should, as more and more was revealed about each woman, I wove my own story in my head as to the placement of the red fabric on each woman, and even the amount of it used in her costume. Without giving too much away, a few examples: Lizzy’s arms are both bound with red fabric wrapped ‘round them, perhaps symbolic of her ties to most of the women. Helen is wrapped in a shawl of red, a visual manifestation of the sadness and burden that envelopes her. Even Sarah Smith, who only has a tiny string of red around one finger…by chance suggesting something she need recall. As I said, maybe I read too much into the fabric and the placement, maybe it was just a nice wardrobe accent that created a constant of the otherwise mostly nondescript clothing of the time period.

The Welkin concludes its run with a final performance Friday, September 30. CLICK HERE for tickets.  For more from Nashville Story Garden, CLICK HERE to sign up for their newsletter or follow them on FACEBOOK, INSTAGRAM and TWITTER.

Theatre Review: With talent paid in full, nothing left overdue in Nashville Rep’s ‘RENT’; Final performance Sunday, September 25 at 2pm at TPAC’s Jackson Hall

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The cast of Nashville Rep’s ‘RENT’

I’m just gonna be honest. Since seeing RENT during it’s original Broadway run, then on tour…twice and a handful of local and regional productions, it’s just not my favorite musical. I KNOW! I KNOW! Apparently I’m not alone though as it seems you either love it or you don’t. Heck, even before it hit the stage last week as the season opening for Nashville Repertory Theatre, I may or may not have joked with a friend or two that the brightly colored wardrobe choices seen in the company’s promotional images, looked, to me like Disney+’s version of Jonathan Larson’s look at late 80s/early 90s life in the time of AIDS in the Lower East Side.

That said, under the direction of Micah-Shane Brewer, with musical direction courtesy Randy Craft and choreography by Tosha Marie, coupled with a cast peppered with a mix of fresh young talent and some remarkable vocals, I’ll admit, The Rep’s RENT (on stage at TPAC‘s Polk Theatre thru Sunday, September 25) just might live in my head rent-free for quite some time.

Still a little skeptical as the show began on opening night, I’ll also admit that when there were some initial issues with the mics of some of the primary cast members, I did lean over to my friend who was my plus1 for the evening and whispered, “I don’t care if they don’t pay the rent, but they could at least pay the electric bill so the mics work.” But I’m here to tell you, once they got into the grove of the music, it was indeed an enjoyable evening of live theatre, something I think we’re all still getting use to after the two-year shutdown without it.

It’s well-known that RENT is based, in part, on Puccini’s opera, La Boheme, which, coincidentally or not, is also currently on stage at TPAC’s larger theatre, the Andrew Jackson Theatre as presented by Nashville Opera. In Puccini’s opera, the action begins in the cold dark apartment of two artists, one a painter, the other a writer, both struggling to make a living and pay their rent.  Larson’s RENT opens in a similar apartment, only this time the artists are an aspiring filmmaker and wannabe songwriter. Wood Van Meter plays Mark, the videographer, while Mike Sallee, Jr. appears as singer/songwriter, Roger.

Van Meter’s Mark is vibrant and full of hope, something not always seen in portrayals of this central character. A definite welcomed interpretation. Van Meter supports the soundtrack throughout, but it’s when he’s featured in numbers like ‘Tango Maureen’ (also featuring powerhouse vocals by Carli Hardon as Maureen’s current love interest, Joanne). Van Meter’s Act 2 solo, ‘Goodbye, Love’ also gives opportunity for his voice to be truly appreciated.

On the flip, Sallee’s Roger is played more introspective and thoughtful. His work on ‘Light My Candle’, ‘Will I’ and ‘Without You’, so rich with feeling.

Both Van Meter and Sallee possess strong vocals skills and a certain comfortability in their respective roles. They definitely play to their strength with this work.

Cast as their on-again-off-again love interests are Natalie Rankin as Maureen, who dumped Mark for a female lover and Marena Lucerno as Mimi, a drug-addicted lost soul who wonders into Mark and Roger’s apartment literally and figuratively looking for light. Rankin’s Maureen is ballsy and unafraid. Even my absolute least favorite musical number, ‘Over the Moon’ is hilariously enjoyable in the capable hands and voice of Rankin. As for Lucerno’s Mimi, she hides her insecurities behind a brash exterior. Both sides of her character are showcased in a couple of the show’s numbers. Her softer side shines bright alongside Sallee’s Roger in ‘Light My Candle’, while her more flamboyant exterior revs up the vibe in ‘Out Tonight’.

Then there’s Deonté Warren as Angel. Again, confession time. Whenever speaking about RENT, I typically recall a local theatrical production I attended about a decade ago, when, not even halfway through the show I leaned over and whispered to my companion, “I can’t wait till Angel dies”. Yes, I know….how dare I, right? Well, the reason for that comment at the time was that more often than not local productions tend to play Angel as a full-on stereotypical drag queen, whereas I’ve always felt the character was likely intended to represents a pre-transitioned trans woman. Yes, I realize Angel’s first scene shows him as a man, playing drums on the street, but the rest of the show, she’s seen in full hair and makeup and her friends refer to her as she/her. Well, in the fabulously capable hands of Warren, Angel is the absolute star of the show. Fierce, Fragile, Funny, Fabulous and Fucking Amazing…all the dang F Words!

Speaking of Fabulous, call it stunt casting, call it whatever you like, but including Lando Hawkins as Angel’s suitor, Tom Collins and Piper Jones as a frequently featured member of the ensemble, who, when together late in Act 2, duet on the reprise of ‘I’ll Cover You’’…simply the show’s best moment. Even my old cynical eyes began to sweat. Simply perfection. And yes…I’m once again a fan of RENT.

You didn’t think I was gonna review RENT without mentioning ‘Seasons of Love’, now did you? As expected, it’s glorious. Nashville Repertory Theatre’s RENT concludes its brief run at TPAC’s Polk Theatre with one final performance Sunday, September 25 at 2pm. CLICK HERE for tickets.

As The Rep’s season continues they’re presenting The Cake October 21-30, Elf: The Musical December 21-January 1, August Wilson’s Fences March 3-5, The Curious Incident of the Dog in the Night Time March 24-April 2 and Violet May 12-21. Season Tickets just went on sale earlier this week. CLICK HERE to purchase Season Tickets or for more info. 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!

TPAC announces 2020-2021 Broadway Season; ‘Mean Girls’, ‘’The Prom’ and Temptations Musical among coming shows

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Rather than hosting patrons, members of the media and fans for their annual Season Announcement Party, Tennessee Performing Arts Center cut to the chase by announcing the coming 2020-2021 Broadway Season by sending out an early morning email and sharing the exciting line-up via social media.

In a prepared statement included in the press release,, TPAC President and CEO Jennifer Turner said, “This season is alive with a remarkable energy. TPAC’s creation 40 years ago was a catalyst for our performing arts community, and we’re excited to chart a new course for the future with a renewed commitment to providing high quality arts entertainment.” She continued, “We can’t think of a better way to launch our 40th anniversary than with a full year of fresh, spirit-lifting, thought-provoking Broadway productions. Truly, the best is yet to come.”

There are seven shows making their Music City debut in the coming season, including: Come From Away, Ain’t Too Proud -The Life and Times of The Temptations, Mean Girls, The Band’s Visit, The Prom, What the Constitution Means to Me and a special pre-Broadway engagement of 1776.

Returning favorites Les Miserables, Elton John and Tim Rice’s AIDA, The Vagina Monologues an extended Nashville run of the ever-popular Disney phenomenon, The Lion King round out the jam-packed ten-show season.

The 2020-2021 Broadway Season calendar looks like this: 

Come From Away – July 28-August 2, 2020 

Ain’t Too Proud – August 11-16, 2020 

1776 – November 3-8, 2020 

Mean Girls – November 17-22, 2020 

Disney’s The Lion King – February 3-27, 2021 

(With season subscriber priority ticketing – February 3-9, 2021) 

The Band’s Visit – March 2-7, 2021 

The Prom – May 25-31, 2021 

As usual, TPAC also offers a few Broadway Special Presentations peppered throughout the season. That calendar is as follows:

Elton John & Tim Rice’s AIDA – June 15-20, 2021 

What the Constitution Means to Me– July 14-19, 2020

The Vagina Monologues-August 18-23, 2020

Les Miserables – September 15-20, 2020

For those not familiar with the coming shows, TPAC’s email blast offered the following:

The 2020-21 season and special presentations feature the Nashville premieres of The New York Times Critics’ Pick, COME FROM AWAY; AIN’T TOO PROUD – THE LIFE AND TIMES OF THE TEMPTATIONS, the electrifying new musical that follows The Temptations’ extraordinary journey from the streets of Detroit to the Rock and Roll Hall of Fame; a re-imagining of the Tony Award®-winning musical 1776 prior to its Broadway engagement at Roundabout Theatre Company; MEAN GIRLS, the hilarious hit musical from the award-winning creative team of Tina Fey, Jeff Richmond, Nell Benjamin and Casey Nicholaw; THE BAND’S VISIT, the critically-acclaimed smash hit musical winner of 10 Tony Awards including Best Musical; the Drama Desk Award winner for Best Musical THE PROM, a new musical comedy about big Broadway stars on a mission to change the world, and WHAT THE CONSTITUTION MEANS TO ME, the 2019 Tony nominated Best Play and Pulitzer Prize finalist by famed writer Heidi Schreck. 

Back by popular demand are LES MISÉRABLES, the enthralling story of broken dreams and unrequited love, passion, sacrifice and redemption and Elton John and Tim Rice’s AIDA, a retelling of the passionate and timeless story for today’s audiences. 

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Further information on each show from the press release comes directly from each show’s publicity department:

COME FROM AWAY 

Nashville Premiere 

July 28 – August 2, 2020 

Broadway’s COME FROM AWAY is a Best Musical winner all across North America! This New York Times Critics’ Pick takes you into the heart of the remarkable true story of 7,000 stranded passengers and the small town in Newfoundland that welcomed them. Cultures clashed and nerves ran high, but uneasiness turned into trust, music soared into the night, and gratitude grew into enduring friendships. Don’t miss this breathtaking new musical written by Tony® nominees Irene Sankoff and David Hein and helmed by this year’s Tony-winning Best Director, Christopher Ashley. Newsweek cheers, “It takes you to a place you never want to leave!” On 9/11, the world stopped. On 9/12, their stories moved us all. 

AIN’T TOO PROUD – THE LIFE AND TIMES OF THE TEMPTATIONS 

Nashville Premiere 

August 11-16, 2020 

AIN’T TOO PROUD is the electrifying new smash-hit Broadway musical that follows The Temptations’ extraordinary journey from the streets of Detroit to the Rock & Roll Hall of Fame. The winner of the 2019 Tony Award for Best Choreography, it’s a thrilling story of brotherhood, family, loyalty, and betrayal during a decade of civil unrest in America. Set to the beat of the group’s treasured hits, including “My Girl,” “Just My Imagination,” “Get Ready,” “Papa Was a Rolling Stone,” AIN’T TOO PROUD tells the unforgettable story of the legendary quintet that Billboard Magazine named the greatest R&B group of all time. 

Get ready – ‘cause here they come! 

1776 

Nashville Premiere 

November 3-8, 2020

They knew they would make history, but not what history would make of them. Fed up with living under the tyranny of British rule, John Adams attempts to persuade his fellow members of the Continental Congress to vote in favor of American Independence and sign the Declaration. But how much is he willing to compromise in the pursuit of freedom? And to whom does that freedom belong? Direct from the American Repertory Theater at Harvard University, visionary director Diane Paulus reexamines a pivotal moment in American history in a re-imagining of the Tony Award®-winning musical 1776 prior to its Broadway engagement at Roundabout Theatre Company.

MEAN GIRLS

Nashville Premiere 

November 17-22, 2020 

Direct from Broadway, MEAN GIRLS is the hilarious hit musical from an award-winning creative team, including book writer Tina Fey (“30 Rock”), composer Jeff Richmond (“Unbreakable Kimmy Schmidt”), lyricist Nell Benjamin (Legally Blonde) and director Casey Nicholaw (The Book of Mormon). Cady Heron may have grown up on an African savanna, but nothing prepared her for the vicious ways of her strange new home: suburban Illinois. Soon, this naïve newbie falls prey to a trio of lionized frenemies led by the charming but ruthless Regina George. But when Cady devises a plan to end Regina’s reign, she learns the hard way that you can’t cross a Queen Bee without getting stung. New York Magazine cheers, “MEAN GIRLS delivers with immense energy, a wicked sense of humor and joyful inside-jokery.” USA Today says, “We’ll let you in on a little secret, because we’re such good friends: Get Your Tickets Now!” 

Disney’s THE LION KING 

Back by Popular Demand 

February 3-27, 2021 

Disney’s The Lion King US North American Tour, Rafiki Tour cast: Brandon McCall (Simba)

More than 100 million people around the world have experienced the phenomenon of Disney’s THE LION KING, and now you can, too, when Nashville’s best-loved musical returns to Nashville. Winner of six Tony Awards®, including Best Musical, this landmark musical event brings together one of the most imaginative creative teams on Broadway. Tony Award®-winning director Julie Taymor brings to life a story filled with hope and adventure set against an amazing backdrop of stunning visuals. THE LION KING also features some of Broadway’s most recognizable music, crafted by Tony Award®-winning artists Elton John and Tim Rice. There is simply nothing else like THE LION KING. 

THE BAND’S VISIT 

Nashville Premiere 

March 2-7, 2021 

THE BAND’S VISIT is the winner of 10 Tony Awards, including Best Musical, making it one of the most Tony-winning musicals in history. In this joyously offbeat story, set in a town that’s way off the beaten path, a band of musicians arrive lost, out of the blue. Under the spell of the desert sky, and with beautiful music perfuming the air, the band brings the town to life in unexpected and tantalizing ways. Even the briefest visit can stay with you forever. With a Tony- and Grammy-winning score that seduces your soul and sweeps you off your feet, and featuring thrillingly talented onstage musicians, THE BAND’S VISIT rejoices in the way music makes us laugh, makes us cry, and ultimately, brings us together.   

THE PROM 

Nashville Premiere 

May 25-31, 2021 

Everyone’s invited to the joyous Broadway hit that New York Magazine hails as “smart and big-hearted” while The New York Times declares it “makes you believe in musical comedy again!” THE PROM is a new musical comedy about big Broadway stars on a mission to change the world and the love they discover that unites them all. THE PROM features direction and choreography by Tony Award winner Casey Nicholaw (Mean Girls, The Book of Mormon), a book by Tony Award winner Bob Martin (The Drowsy Chaperone) and Tony Award nominee Chad Beguelin (Aladdin), music by Tony Award nominee Matthew Sklar (Elf) and lyrics by Tony Award nominee Chad Beguelin. 

Elton John & Tim Rice’s AIDA  

Back by Popular Demand 

June 15-20, 2021 

A love story written in the stars. The New Yorker says, “Disney’s done it again!” The winner of four Tony® Awards returns to the stages of North America. With a Grammy® and Tony® Award-winning score by the legendary Elton John and Tim Rice, the hit Broadway musical AIDA returns to the stages of North America in a thrilling new production, reinterpreted for today’s audiences by the original Tony® Award-winning creative team. From the producers of The Lion King and Frozen, comes a compelling tale of star-crossed lovers belonging to feuding nations. Through the stirring contemporary score, and a timeless and powerful love story, AIDA reveals that we have the power to change history, but only when we make brave choices. 

BROADWAY SPECIAL PRESENTATIONS: 

WHAT THE CONSTITUTION MEANS TO ME 

Nashville Premiere 

July 14-19, 2020 

Direct from Broadway, the 2019 Tony® nominated Best Play and Pulitzer Prize finalist, WHAT THE CONSTITUTION MEANS TO ME, by famed writer Heidi Schreck, arrives in Nashville for a strictly limited engagement. This boundary-breaking play breathes new life into our Constitution and imagines how it will shape the next generation of Americans. Fifteen-year-old Heidi earned her college tuition by winning Constitutional debate competitions across the United States. In this hilarious, hopeful, and achingly human new play, she resurrects her teenage self in order to trace the profound relationship between four generations of women and the founding document that shaped their lives. Schreck’s timely and galvanizing play, directed by Oliver Butler, became a sensation off-Broadway last fall before transferring to Broadway where it received two Tony Award® nominations among countless other accolades. See the play The New York Times hails as “not just the best play on Broadway, but also the most important.” 

THE VAGINA MONOLOGUES

August 18-23, 2020

The show on everyone’s lips this year is The Vagina Monologues. Twenty years after first shocking and empowering audiences, Eve Ensler’s groundbreaking, wildly entertaining phenomenon is returning to the stage in a star-studded National Tour, reminding us all at this monumental time in our history how important it is to laugh, to cry, to come together, raise our voices, and speak out before it is too late. Don’t miss your opportunity to think inside the box – and to be a part of something truly revolutionary.

LES MISERABLES

September 15-20, 2020

By popular demand, Cameron Mackintosh’s acclaimed production of Alain Boublil and Claude-Michel Schönberg’s Tony Award-winning musical phenomenon, LES MISÉRABLES returns to TPAC. Set against the backdrop of 19th-century France, Les Misérables tells an unforgettable story of heartbreak, passion, and the resilience of the human spirit. Featuring the beloved songs “I Dreamed A Dream,” “On My Own,” “Stars,” “Bring Him Home,” “One Day More,” and many more, this epic and uplifting story has become one of the most celebrated musicals in theatrical history. With its glorious new staging and dazzlingly reimagined scenery inspired by the paintings of Victor Hugo, this breathtaking new production has left both audiences and critics awestruck, hailed as the “Les Miz for the 21st Century.” 

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Season ticket packages are available on Monday, Feb. 24 at 10 a.m. An eight-show season package for the 2020-21 HCA Healthcare / TriStar Health Broadway at TPAC Season series starts at $325. Season ticket holders receive the best seats at the best price compared to purchasing shows individually, and are entitled to additional exclusive benefits, such as easy exchange privileges, flexible payment plans, and savings on dining, hotels, and additional single tickets for any 2020-21 Broadway show at TPAC. 

For more information on the 2020-21 HCA Healthcare / TriStar Health Broadway at TPAC Season, visit TPAC.org/Broadway, where season tickets may be purchased, or call TPAC Patron Services at 615-782-6560. You also may visit the TPAC Box Office located at 505 Deaderick St. 

With all the excitement of the 2020-2021 Broadway Season at TPAC, let’s not forget that the current 2019-2020 Broadway Season is currently ongoing. Up next as TPAC’s current season continues is Jesus Christ Superstar, on stage March 3-8, followed by The Color Purple March 27-29, Escape to Margaritaville May 5-10 and Charlie and the Chocolate Factory June 9-14.

Discover all the latest from TPAC by checking them out online or on Facebook, Instagram and Twitter.

As always, if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.


RAPID FIRE Q&A with singer/songwriter Crystal Bowersox; starring in ‘Trauma Queen’, presented by Studio Tenn at historic Franklin Theatre

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At 7p.m. on Saturday, October 26, former American Idol season 9 favorite, singer/songwriter Chrystal Bowersox, who now calls Nashville home, will star in Trauma Queen a new musical theatre piece presented by Studio Tenn at The Franklin Theatre, just off the square in downtown Franklin, TN.

 Bowersox broke the Idol mold when she appeared on the original run of the wildly popular reality competition series porting dreads and tattoos instead of the typical teen pop look of many of her fellow Idol hopefuls. Finishing her Idol season as the runner-up, Bowersox is still marching and singing to her own beat and Trauma Queen proves it as she invites Saturday night’s audience to join her for an original night of theatre. Trauma Queen is indeed an original night of theatre in every sense of the term as she combines everything from a predominately one-woman-show and a concert along with heavy doses of musical theatre and even a touch of single-mom real talk.

Earlier this week, as Bowersox was preparing for this weekend’s show, I had the opportunity to pose a few questions to her for the latest in my recurring interview feature, Rapid Fire.

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RAPD FIRE Q&A WITH CRYSTAL BOWERSOX

 JHP: Having worked on Idol myself during the first two original seasons, I know a little about the behind-the-scenes. As a former Idol contestant, what do you look back at with fondness?

CRYSTAL BOWERSOX: Well, you know it’s a crazy ride, then!! Thanks for taking the time to do this interview. A lot of it was and still is a blur to me – it was a trying time in my personal life having just had a baby a few months prior to the audition. I struggled to find quality child care for my son during the process and my mind was way more focused on the well being of my child than on my participation in the competition. That dynamic made it difficult for me to just sit back and enjoy the trajectory our life was on. I was simultaneously struggling to afford my insulin and healthcare costs pertaining to my Type 1 Diabetes, but things got easier once I advanced past the top 10 stage of the competition. I fondly remember the moments on set with the crew and contestants – the jokes and conversations had with vocal coaches, hair and make-up personnel – visits from the well known celebrities and their families in the green rooms after show tapings – experiencing Los Angeles restaurants with a little bit of status – all of these things were new and incredibly unfamiliar to me having grown up poor on a farm in the midwest. It was all very strange and wonderful at the same time. I am especially grateful for the stability the show brought to the life of my son and I.

JHP: Alright, just gotta ask…what’s your oddest Idol memory?

CRYSTAL BOWERSOX: Ha! There were so many odd moments. One that was televised was right after a live performance of the song, People Get Ready. I had cried at the end of the song because I’d spotted my father in the audience wearing sunglasses (he only wears them indoors if he knows he’s going to cry). I was overwhelmed with gratitude in that moment for everything that was happening, for how far I’d come in just a few months. I went from crashing on my dad’s couch, basically homeless with a baby, to being carted around by drivers and covered in expensive clothes and make-up on prime time television. When Ryan Seacrest came over to talk to me after the performance, I saw a handkerchief peeking out of his breast pocket. I grabbed for it to dry my eyes, but it wouldn’t budge. So I pulled harder and when it ripped out of his pocket, I realized that it was only the corner of an actual handkerchief, just taped into place. I still have it. Laughing through tears, I said, “Ugh…. Hollywood!!” Nothing is quite as it seems there.

JHP: Oh, wow. I totally remember watching that. What was the genesis of Trauma Queen as a stage show?

CRYSTAL BOWERSOX: It’s been nearly 10 years since my time on American Idol. A LOT has happened in my personal and professional life since then. About 2 years ago, my mother lost her home to a devastating fire. The farm house that I grew up in burned to the foundation. It was a rough upbringing. I didn’t have a lot of fond memories in the house. So there were a lot of feelings to sort through with the loss of it, and emotions that I hadn’t yet sorted through regarding my past relationships, traumatic life experiences and issues with addiction. What better way to sort through them all of them but by creating a piece of art? My music has always existed that way – My pain put into words and music has been healing for not only myself, but also for my audiences. I wanted to continue that effort in a new, unique way.

JHP: I understand you’ve collaborated with two-time Pulitzer Prize nominee and Peabody winner, Willy Holtzman and singer/songwriter/producer Marty Dodson (who’s penned songs recorded by everyone from Plain White T’s to George Strait) on this project. How did you guys meet and come to work together?

CRYSTAL BOWERSOX: Willy Holtzman is an amazing human being. One of my absolute favorites. I’m so honored to work with him, and with Marty Dodson, who writes incredible songs for many well known artists. I met both Willy and Marty in New York City. I was reading for a part in another musical that they were both working on. Willy approached me one day and said, “I’m pretty sure your wikipedia page doesn’t do your story justice. Let’s write it out.” I resisted the idea at first – there were parts of my personal story that I wasn’t very proud of. The thought of putting it all out there was terrifying. As we went through the process of writing the script (which took about a year) Willy helped me realize that by talking openly about my mistakes, missteps and triumphs I could liberate myself from any guilt or shame I held. He convinced me that by sharing my story, I could possibly help others heal and do the same. I’m grateful he kept pushing me out of my miserably comfortable zone. Ha!

JHP: How did you get connected with Studio Tenn to collaborate on Trauma Queen?

CRYSTAL BOWERSOX: The first mention to me of Studio Tenn was from Bob and Merle Higdon, just about a year before I actually connected with Studio Tenn. Bob and Merle had mentioned to me then that Melinda Doolittle worked with Studio Tenn frequently and suggested she and I connect. When Willy Holtzman and I finished our script, he reached out to Benji Kern who he had worked with years prior and suggested we all work together on our new show Trauma Queen. Studio Tenn has been trying to reach me through the cosmos for a while! I feel as though it has been the intention of the universe for quite some time that we should all come to know one other.

JHP: As you mentioned, my pal Benji Kern, Studio Tenn’s interim artistic director is producing. How has it been working with him on this project?

CRYSTAL BOWERSOX: Oh my goodness, I LOVE working with Benji. He is a man of big, wonderful ideas, and has the determination to bring them to fruition. He has been so inspiring to watch and learn from. I admire his talent and work ethic. He’s not the kind of person who sits and simply wonders, “It would be cool if this happened”. He makes it happen! Benji is my spirit animal.

JHP: Gotta admit, Trauma Queen is indeed an intriguing show title. Was it immediately the title, or were there other contenders?

CRYSTAL BOWERSOX: Initially, the title, Trauma Queen was a little ha-ha joke of an idea. But I spent a lot of time with it and the phrase developed into a much deeper title in my heart. Women (and men, especially) are often told not to be so dramatic… We are taught from a young age to harden the emotional parts of ourselves – that our feelings should be squelched and minimized so as to not ruffle any feathers and make others around us more comfortable. I do not agree with this. I believe that the practice of hiding parts of our hearts does more damage than good. I prefer to be open and honest with my feelings. A Trauma Queen is defined in my opinion as a woman, a person, who has the courage to truly conquer their demons. Someone who has learned from their mistakes and chooses to rule over them like battle scars, replacing shame and guilt with a sense of accomplishment and pride, rather then letting negativity take control of their psyche – which will cause all sorts of other disfunction in life. A Trauma Queen is anyone who has been to hell and back emotionally but decides to rise like a phoenix from the ash of their past.

JHP: What can audiences expect from Trauma Queen?

CRYSTAL BOWERSOX: Bring your Hollywood hankies! We’ve been calling this a “Theatrical Rock Concert” rather than a musical, because the majority of songs included in the show are ones that I’ve released previously on past albums. Some of the songs are brand new and help support the characters and stories. I explain the genesis of each song as if I’m in that moment of my life, in real time. Actors play out the different characters in each story, as the music plays on. We shine a spotlight on the generational cycle of abuse and disfunction in families, with the triumphant realization that history doesn’t have to be repeated. There will be tears; however, there will be a lot of laughs, too. I’ve managed to cope with my past through a lens of humor despite the darkness of some of the stories.

JHP: One of the aspects of your life you touch on in Trauma Queen is being a single mom. Has that experience affect you in regard to presenting your authentic self as a performer?

CRYSTAL BOWERSOX: I haven’t spoken publicly about my son’s father. Trauma Queen will change that. I’ve written songs about the loneliness of it all, for myself and from my son’s perspective, but have never really touched on any of the details surrounding that chapter in our lives. American Idol was adamant that I not publicly share that story as it didn’t fall in line with the “America’s Sweetheart” persona. There is such a stigma surrounding the phrase, “Single Mother”. I am determined to change someone’s mind about it. I didn’t want to be a single mom. That was my son’s father’s choice. I knew it would be the most difficult road to travel. While that remains true, I am so grateful that my life has played out this way. Every ounce of strength I’ve ever had has come from my love and devotion to my son, and from my determination to give him a better life than I ever had before him. He will never have to question how loved he is. I try to teach him that living authentically and honestly is important, and that you absolutely can make a living doing something you’re passionate about every day of your life if you’re determined to work hard and make it a reality.

JHP: Following this weekend’s presentation of Trauma Queen, what’s next for you…and the show?

CRYSTAL BOWERSOX: I can’t predict the future, but my hope is that people will have been inspired by it enough that interest will grow in the production, and the show will be able travel to different cities and theaters. After the show this weekend, I will be launching a KickStarter crowd sourcing campaign to hopefully fund my next independent album release. The record will include a few of the songs from Trauma Queen. I’ll continue to tour in November and release the new record sometime in the spring of 2020.

And I think I’ll finally be due for a real vacation with my boy. I haven’t taken a single one in ten years. Yeah, I think it’s time. He and I deserve it.

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Crystal Bowersox’s Trauma Queen will be presented by Studio Tenn at 7p.m. Saturday, October 26 at The Franklin Theatre (419 Main Street, Franklin, TN). At the time of this interview, a select number of tickets remain. CLICK HERE to purchase tickets. To keep up with the latest from Crystal, CLICK HERE or follow her on Facebook, Instagram, YouTube and Twitter.

Up next at Studio Tenn is Rodgers and Hammerstein’s Cinderella on stage at Jamison Hall at The Factory at Franklin from December 6-29. CLICK HERE  for tickets or more information. You can always check out Studio Tenn online at StudioTenn.com or follow their socials at Facebook, Instagram and Twitter.

Wanna check out previous Rapid Fire conversations? CLICK HERE. Interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Theatre Review: Act 1’s World Premiere ’The Nightmarium Incident’ a fun start the the Halloween season

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 A genuine life-long fan of spooky stories and horror movies,—seriously, Barnabas Collins, The Bell Witch and Michael Myers are among my favorite childhood memories. So when I heard Act 1 was presenting an original tale or terror, The Nighmarium Incident, written and directed by Eric Butler as a pre-Halloween offering at Darkhorse Theatre, I was all in.

Stage manager Katie Veglio, lighting designer Kristen Dubois and sound designer Kaitlin Barnett have created a ghoulishly perfect 1980s-era set that immediately put me in mind of Frankenstein’s lab, or, perhaps more accurately, the set of Sir Cecil Creep’s Creature Feature, a weekly Saturday night horror movie presentation—a Nashville television staple from my youth.

As the Nightmarium commences we are introduced to Maureen Henson (Natalie Stone) hosting W-KIL—gotta love those morbid call letters—Channel 9’s schlocky Friday night horror presentation, The Nightmarium Creature Double Feature as Mistress Twilight. It is quickly revealed that Maureen is simply biding her time as the Elvira wannabe while she patiently waits a more serious gig as co-anchor of the station’s evening news. Stone plays the duality of Maureen/Mistress Twilight with ease, vamping it up as the cheeky horror hostess, while alternately exploring Maureen’s career-driven seriousness.

As Mistress Twilight, Stone’s Maureen is surrounded by a perfectly stereotypical cast of characters including Jarvis Bynum as Maureen’s husband Wesley, who appears on the show-within-a-show as Papa Moreaux, a voodoo priest. Bynum, too manages to differentiate between the two characters he plays, presenting Wesley a devoted husband to Maureen, then switching gears to portray the creepy Papa Moreaux.

There’s also Beth Henderson as Dale, Channel 9’s mild-mannered weatherman who doubles on the horror fest as Dr. Solomon Wretch. In part because Henderson is playing Dale, which, given the unisex nature of the character’s name, could be a man or a woman, she’s a scene-stealer from the start. Whether the playwright originally envisioned Dale as a man or not is unclear, especially considering the inclusion of more than a few punchlines aimed directly at Dale’s masculinity. Nonetheless, Dale ends up being one of the best parts of the show thanks to Henderson’s comedic timing and her ability to deliver her lines with conviction, in spite of the silliness of the show.

Henderson, Stone and Bynum of Act 1’s “The Nightmarium Incident”

While they spend the majority of the play hidden behind two Voodoo hand-puppets, Tori Simpson and Elizabeth Turner provide the show with many laughs throughout.

TJ Koomen is featured as the TV show’s technical director, Sam, offering up equal parts Alan Brady and Rob Petrie as the harried director who also has a bit of a soft side for his colleague Maureen.

Steven Kraski is perfectly weird as Luke the station’s custodian who dreams of making the leap from waaaay behind the scenes to front and center as one of the horror show’s cast members. He plays the creep factor so well in fact, I wasn’t convinced till the very end that all the trouble wasn’t simply Luke’s elaborate audition gone awry.

Stealing every single scene he’s in is Joseph Hudson as The Nightmarium’s cameraman, Joe. Hudson’s Joe is the good ole boy to end all good ole boys. Having grown up i a relatively small country town just west of Nashville, I definitely know the type and Hudson has it down to a science, rising above the predictable to riotous results.

Rounding out the show-within-a-show cast are Emmanuelle Loyer as Floor Manager Rhonda, Alyssa Borg as Sherri Peterson, the stations new seemingly vapid anchorwoman, Maureen’s main obstacle in her pursuit of being an news anchor and Matt Smith as Bill Haig, the station’s star anchor. Smith, always a joy to watch onstage, is another reason this show works. Dressed in wardrobe courtesy costumer Brooklyn Hughes reminiscent The Mary Tyler Moore Show’s self-important anchor, Ted Baxter, as played by Ted Knight or Will Ferrell’s Anchorman, Ron Burgundy—with an ego and toupee to match, Smith elicits laughter simply by standing there.

While the plot gets as murky as The Munsters’ moat…the infighting and interpersonal relationships between Maureen, her horror show co-stars and crew and her rivals at the news desk…plus the real plot of The Nightmarium Incident, when an accidental incantation brings murder and mayhem to the station…all in all, The Nightmarium Incident provides more than enough laughs, and a few frights, the perfect precursor to Halloween. With only an all-too-brief two-week run, here’s hoping Music City gets another chance to visit W-KIL and The Nightmarium Incident next season.

Act 1’s The Nightmarium Incident concludes its run with one final show Saturday, November 19 at 7:30p.m. CLICK HERE to purchase tickets in advance for $15, or purchase them at the door for $18.

Up next at Act 1 is playwright Lisa Loomer’s Distracted directed by Elizabeth Hayes, on stage November 15-17 and 21-23. CLICK HERE for more information.

To keep up with Act 1, follow them on Facebook, Instagram and Twitter.

Theatre Review: ‘Once on This Island’ National Tour kicks off in Nashville showering Music City with talent and excitement

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Kyle Ramar Freeman as ‘Asaka’ and Courtnee Carter as ‘Ti Moune’ in the North American Tour of “Once on This Island”. All photo by Joan Marcus

Earlier this week Music City finally began the transition from an unusually long, hot summer to the much-awaited chill of autumn, with even a promise of rain. As if designed by the gods themselves, those elements also seem to be present inside TPAC’s Jackson Hall as Nashville plays host to the premiere performances of the first-ever National Tour of Broadway’s Once on this Island.

Initially taking Broadway by storm (pun fully intended) when it debuted in 1990, Once on This Island tells the tropical island tale of a young girl who sacrifices her very soul to save the life of the boy she feels it is her destiny to meet, protect and love. Based on Rosa Guys’ 1985 novel, My Love, My Love: Or, The Peasant Girl, the story itself is a modern retelling of Hans Christian Andersen’s The Little Mermaid. That said, if you’re expecting a happy-go-lucky mermaid flippin’ her fin with Flounder and friends, you’re thinking the wrong mermaid tale, for Guys’ novel and this theatrical interpretation, in particular, share more in common with the original fairytale than that of the House of Mouse.

Instead, Once on This Island delivers a thought-provoking look at love, lust, dreams, faith and magic while skillfully simultaneously examining the realities of racism, classism and even colorism on a remote Caribbean Island.

Even before the action of the play actually begins, theatre patrons who arrive early are immediately swept away to a tropical oasis. Rather than a lowered curtain obscuring the stage, Once on This Island invites the audience to preview what’s to come by having the set in full view upon entry to the theatre. As cast members buzz about on stage, it seems evident all is not postcard-perfect on the island. Instead, we see islanders picking through trash strewn along the sand—yes, the stage is covered in a fine layer of sand, just one of the actual natural elements that play such a large part in the play. It soon becomes clear that we are witness to the aftermath of a tropical storm, perhaps also a bit of foreshadowing of the eye of the storm at the heart of the piece. 

Further immersing the audience into the mix, a handful of lucky patrons find their seats amongst chairs and risers on the stage itself. This particular aspect of the tour is done to attempt to replicate the show’s recent Broadway revival at Circle in the Square, one of only two Broadway theatres that utilizes a stage that is surrounded on three sides by audience seating.

Directed by Tony-nominated Michael Arden (Spring Awakening), with book and lyrics by Lynn Ahrens and music by Stephen Flaherty (Original Score Tony-winners for Ragtime), with Dane Laffrey’s authentic set design, costumer Clint Ramos’ inventive and colorful wardrobe and a company of accomplished and talented actors, Once on This Island presents a storm-wrecked island complete with ramshackle dwellings, displaced belongings and all, but also present, an obviously tight-knit community, a community of survivors. A community of love and hope for rebuilding the future and surviving the next storm. Heck, in the opening number We Dance reinforces the islander’s optimism when, as they  pick through the wreckage, they proudly sing, “We are dancing just to stay alive”.

Mimi Crossland and Courtnee Carter surrounded by cast members of “Once on This Island”

As the story begins, locals find a young girl alone and frightened the morning after a storm. Young actors Mimi Crossland and Mariama Diop share the role of the Little Girl, alternating performances. On opening night Crossland was seen in the role and she was delightfully charming.

With perhaps a wink to the Hans Cristian Andersen original mermaid lore, the young girl is initially thought to be unable to speak, but that proves to be a falsity as she gleefully joins the islanders as they tell her the tale of Ti Moune, a beautiful dark-skinned orphan girl raised by a poor but loving couple, Tonton Julian (Tony winner, Phillip Boykin) and Mama Euralie (Danielle Lee Greaves). These two present their characters with a lovely balance of guidance and understanding and immeasurable vocal skills, setting the pace for the entire show with powerful, emotional performances.

As the storytellers tell the Little Girl the story, the action transitions to a grown up Ti Moune (Courtnee Carter) as she rescues Daniel Beauhomme(Tyler Hardwick)…and yes, the character’s last name literally translates from the French as ‘beautiful man. Ti Moune meets Daniel, a light-skinned wealthy young man of both French and Caribbean descent who crashes his car on the “wrong side of the island”. Feeling it’s her true destiny, she leaves her family to journey to the other side of the island to return him to his home and nurse him back to health. Some time later, he lapses into a coma and here’s where the story veers a bit from the mermaid source material. Instead of our heroine making a deal with a sea witch in exchange for her beautiful voice, Ti Moune makes a deal with Papa Ge, the Demon God of death (played by former American Idol favorite, Tamyra Gray) to trade her life for her beloved’s. That plot twist, and its subsequent effects bring a bit of Romeo and Juliet vibe to the piece.

Gray’s Papa Ge isn’t the only god involved in the story. There’s also Erzulie, the Goddess of Love, played by Cassondra James; Jahmaul Bakare’s Agwe, the God of Water and Asaka, Mother Earth as presented by Kyle Ramar Freeman. As their character names and casting might infer, Gods, Goddesses and Demons aren’t restrained by antiquated ideals of gender norms, but rather representational of a fluidity mere mortals are finally just beginning to understand. Case in point, when the original production of Once on This Island debuted on Broadway in 1990, Papa Ge was played by a male actor. Since it’s revival, the role has been played by female actors. Meanwhile, the reverse is true for Asaka. Initially the role was portrayed by a female, but since the revival, it’s been less gender specific. Just another lesson to be learned during your visit on the island.

While the story itself is often-times familiar, both in the Little Mermaid sense, and the age-old young girl sacrificing everything for a man sense, it’s the vibrancy of the music, paired with Camille A. Brown’s energetic and emotional choreography and the powerhouse performances of the entire cast that, much like the gods who are represented, breath fire, life and air into the piece.

Carter is blissfully perfect as Ti Moune. With a voice fitting the oft-referenced mermaid, regardless of your views of perpetuated stereotype of the woman sacrificing all for the man she loves, Carter’s performance is excellently layered and heartfelt. The highpoint of her performance, and dare I say, the entire play, Ti Moune’s Dance, during which she boldly arrives to a proper cotillion dressed in a flowing island dress in her character’s signature red and performs an unabashedly passionate dance of her native culture, at once shocking and enthralling her more refined critics and onlookers, who by no coincidence of the show’s costumer, are dressed in regal, yet blandly off-white finery. I can’t be the only one who was reminded of Bette Davis’ red dress moment in the classic film Jezebel during this breathtaking scene.

Members of the company of “Once on This Island”

The Gods of Once on This Island also shine in their individual ways. Gray presents Papa Ge with a strength and presences to be reckoned with. Powerful yet perfectly sinister, her rich vocals are the stuff of which fear is made. Shoot, even her costume is partially fashioned from what appears to be caution tape, a literal warning of things to come. Bakare, aided by a Triton-esque beard fashioned from shredded fabric portrays the gentleness of the water with an ever-present ability to literally turn the tide at any moment. James’ Erzulie, complete in a flowing gown and royal headpiece, is majestic and beautiful with a voice to match. Freeman, who somehow reminds me of a gentler Evilene from The Wiz, portrays a loving Earth Mother with flair and feistiness. Gotta love a Goddess who can make a gown out of a discarded floral tablecloth. 

Credit where credit is due, t’s the midway showstopper Mama Will Provide and Ti Moune’s aforementioned dance that will linger in the audience’s mind long after the sands of time have washed away the rest of Once on This Island. 

While the show doesn’t exactly offer a traditional Happy Ending, the playwrights do offer up a simply divine finale as the entire ensemble of Once on this Islandsings the joyous finale Why We Tell the Story. It’s the perfect spirit-rejuvenating number that, in spite of the less-than storybook ending, allows the audience to leave the audience with the rhythm of the island in their bodies and the positivity of love and faith on their minds.

Once on This Island wraps its opening week at TPAC’s Jackson Hall as performances continue through the weekend with an evening performance Friday October 18, as well as matinee and evening performances Saturday and Sunday, October 19 & 20 before heading out on the road as this debut National Tour continues. CLICK HERE for tickets to this week’s remaining Nashville performances.

Following their Music City dates, Once on This Island continues their National Tour with upcoming dates across the US through June 2020. CLICK HERE to see when the show is coming to a theatre near you or follow Once on This Island on Facebook, Instagram, YouTube and Twitter.

TPAC’s 2019/2020 Broadway Season continues with The SpongeBob Musical November 5-10, CATS November 19-24, Hamilton December 31-January 19, My Fair Lady February 4-9, Blue Man Group February 11-16, Jesus Christ Superstar March 3-8, The Color Purple March 27-29, Escape to Margaritaville May 5-10m Summer: The Donna Summer Musical May 26-31 and Charlie and the Chocolate Factory June 9-14. CLICK HERE for more.

To keep up with what’s happening at TPAC, follow them on Facebook, Twitter and Instagram as well.

As always, if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Rapid Fire Q&A with ’It’s My Party’ director, Bradley Moore; Studio Tenn to host staged reading of new musical Saturday, October 5

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In recent months, Studio Tenn has announced several new initiatives from new educational outreach programs, classes and services to the development of new theatrical works. At 7 p.m. Saturday October 5, one such new work will be presented during the premiere staged reading of It’s My Party, a new musical featuring the songs of 60s pop icon Leslie Gore. Written by playwrights Jamison Lingle and Nick Hirata, It’s My Party brings the popular beach movie concept to the stage as directed by Bradley Moore with a cast including Studio Tenn darlings (and former American Idol fan favs) Diana DeGarmo and Ace Young.

Earlier this week I had a chance to chat with my friend Moore for the latest installment of my recurring interview feature, Rapid Fire Q&A to find out a little more about the project, the creatives behind it and what audiences can expect.

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Bradley Moore

JHP: How did you become involved in this project?

BRADLEY MOORE: About a year ago, I started getting together with Benji Kern (interim Artistic Director of Studio Tenn) for coffee and lunches to chat all things theatre. He’s really into reaching out to other creative folks in town and getting to know them. At one of our coffee hangs, he told me about this project. He thought that I should get together with the writers and see if we jived. And the rest is history!

JHP: I’ve attended a few staged readings over the years, but never one for a musical. How does that work?

BRADLEY MOORE: Well you know, I have directed some in the past, but never one for a musical either, so it was definitely exciting, uncharted territory for me. What I love about readings is that there are really no rules. It can be as simple as a bunch of people on stage with music stands to people with scripts moving all over the place. This show has such a great, youthful energy that I wanted to make sure that what we were presenting represented that. So our presentation is somewhere in the middle and all around. You know me, I don’t really love simple and never want to do what anyone has done before. I love what is going to be on that stage Saturday night. And yes! There will be a live band and singing!

JHP: Who have you got amongst your cast?

BRADLEY MOORE: We were so fortunate that Diana DeGarmo and Ace Young were in town and graciously agreed to be a part of this journey. It has been a thrill working with them. Both are ridiculously talented and the kindest humans you could ever hope to know. And joining them on stage are some incredible performers including Heather Hershow, Kristen Fields, Annika Burley, Emmarose Williamson, Ben George, Jackson Rector, Ty Russell, Jonah Jackson, Matthew Roberts, Zachary Waters, Kat Shannon, & Kelly Whitlow.

JHP: What can you tell me about the plot?

BRADLEY MOORE: It’s My Party is set in the 1960’s in Malibu, California. It follows a group of college coeds through love triangles, hair-brained schemes, revenge plots, mistaken identities, among other hilarious plot points. The fantastic writers, Jamison Lingle & Nick Hirata, have poured so much love and time into this project. They have really crafted a wickedly fun and well-written show. 

JHP: I’ve said it many many times in my reviews, Studio Tenn is as close to Broadway-quality as we get. How exciting to be involved with them for this piece?

BRADLEY MOORE: Extremely. I have admired Studio Tenn’s productions for years. It’s really nice to be creative with people who appreciate the complete scope of creativity. And Benji has been so supportive and trusting. It has been a dream come true. I hope there are many more projects with Studio Tenn in my future. 

JHP: You mention Benji. He’s producing, right? How is he as a producer? 

BRADLEY MOORE: Fantastic. His work-ethic and trusting nature are a beautiful thing. I am forever grateful for his faith in me. I have kind of had a very weird 18 months in the theatre world. This project has definitely helped me to believe that I am right where I should be. Sometimes one opportunity can really turn things around for someone. Benji felt that I was the right person for this project and I am so glad he did!

JHP: I understand as part of the staged reading your cast will be performing a handful of the songs featured within the musical. Who are some of the musicians you’ve been working with for the reading?

BRADLEY MOORE: Sandy Tipping. Sandy Tipping. Sandy Tipping. Sandy is our Music Director and the one who worked on the arrangements of all the songs. He is brilliant and one of the easiest humans to work with. I did not know Sandy prior to this process, but I am so grateful that I know him now. He has created some beautiful arrangements of Leslie Gore’s music with the help of the playwrights Jamison and Nick.

JHP: Speaking of Leslie Gore. Have you always been a fan of her music or is she an artist you discovered by accident? 

BRADLEY MOORE: My introduction to Lesley Gore was definitely because of the film, The First Wives Club, which to this day is still one of my favorites. For those who have not seen it, at the end of the film, Diane Keaton, Bette Midler, and Goldie Hawn perform a very enthusiastic version of You Don’t Own Me. It is amazing and super fun, not to mention you have three of the greatest actresses on this planet. I had the soundtrack to the film and wore it out. So maybe my love for that moment in that film has lead me to directing this project. A little kismet never hurt anyone!

JHP: If people want to attend the reading on Saturday, October 5 at 408 Church Street (3rd Floor) in Franklin, can they still RSVP?

BRADLEY MOORE: Yes! Just go to the link and sign up! The reading is free, but you must RSVP!

JHP: For those who miss Saturday’s staged reading, when might we see this work developed into a full stage production?

BRADLEY MOORE: Personally, I would love to see a fully staged production. Here’s hoping! It’s really ready. Usually, with any new work, there are a lot of rewrites and retooling after the initial reading/workshop phase. I’m not so sure this piece needs all that. It is pretty awesome the way it is!

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To check out just how awesome It’s My Party is, be sure and CLICK HERE to RSVP to the staged reading.

Following this weekend’s staged reading, Studio Tenn immediately dives into their next endeavor on Friday, October 18 as they present their spectacular annual fundraising gala, One Night Only, themed this year as “An Evening With Friends”. CLICK HERE for more info or to purchase tickets. Then, from December 6-29, Studio Tenn will present Rodgers and Hammerstein’s Cinderella. CLICK HERE for details. You can always check out Studio Tenn online at StudioTenn.com or follow their socials at Facebook, Instagram and Twitter.

Wanna check out previous Rapid Fire conversations? CLICK HERE. Interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Rapid Fire Q&A: A ‘bisl of a schmooze’ with Mel Weyn, Natalie Powers and Ruthy Froch, three of Tevye’s five daughters in ‘Fiddler on The Roof’; National Tour in Nashville at TPAC’s Jackson Hall thru Sunday, June 30

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The current National Tour of Fiddler on the Roof—based upon director Bartlett Sher’s triumphant 2015 Broadway revival, opened in Music City last night, Tuesday, June 25 at TPAC’s Jackson Hall. Just days before the touring company made their way to Nashville, I had the opportunity to pose a few questions to Mel Weyn, Natalie Powers and Ruthy Froch, who play the three eldest daughters Tzeitel, Chava and Hodel to Yehezkel Lazaro’s eponymous roof-fiddling Tevye, for the latest installment of my recurring interview feature, Rapid Fire Q&A. What follows are our conversations about the show, their relationships on and off the stage and their thoughts about being part of such a legendary show steeped in tradition.

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Natalie Powers, Mel Weyn and Ruthy Froch (l to r) star as Tevye’s eldest daughters in Fiddle on the Roof, at TPAC thru Sunday. (all photos by Joan Marcus/courtesy FiddlerMusical.com)

RAPID FIRE Q&A WITH FIDDLER ON THE ROOF’S ELDEST DAUGHTERS RUTHY FROCH, NATALIE POWERS AND MEL WEYN

RAPID FIRE WITH FIDDLER ON THE ROOF’S TZEITEL, MEL WEYN

JHP: What can you tell me about Tzeitel?

MEL WEYN: Tzeitel is Tevye and Golde’s eldest daughter in Fiddler on the Roof. She is like the mini-mama of the family. Full of heart and compassion but also has a fire to her. She is so brave and speaks her mind, but it always comes from a place of fierce love. I really admire her spirit and courage to be the first of her family to defy/question the rules of this society and the traditions.

JHP: From my research in preparing to chat with you, I discovered you’re not only playing the eldest sister in Fiddler, but you’re also a big sister in real life. Do you think your own sisterly dynamic has helped you bring Tzeitel to life on the stage?

MEL WEYN: I am! And I do. I love my sister so much (hey Becca). I think having my younger sister in real life made it really easy to tap into that dynamic with my new onstage sisters. Being the oldest comes naturally to me and I hope it comes across that way onstage. Getting to work and travel with Ruthy, Natalie, Danielle Allen and Emmy Glick in this capacity has been really interesting to witness in how our sisterly dynamic grows and changes over the months. My individual relationships with them seep into the onstage performances making them that more layered and rich. I feel so lucky to have had these gals by my side this year – they are all wonderful

JHP: This isn’t your first national tour, having previously toured with The Sound of Music. It’s also not your first time playing Tzeitel, having played her back in 2012 during a summer stock production at the Arrow Rock Lyceum Theatre in Missouri. So this question is two-fold…What’s your favorite aspect of life on tour?…and…How has your portrayal of Tzeitel changed now that you’re seven years older than when you first approached the character?

MEL WEYN: Oh wow! I love touring for a plethora of reasons. I love to travel and see new cities – there are so many that I would have never have gotten a chance to visit if it wasn’t for touring. So many amazing small town coffee shops to visit and sites to see. I try to go to a museum in every city we have visited on Fiddler. I also love the family it gives you. Being away from home for a year at a time is tough but, you are all in it together. The bonds I have made with this cast are life long and that is something so special.

I think that I understand Tzeitel much more than I did seven years ago. I can comprehend the gravity and reality of her situations in a deeper way after having a little more life experience. She loves Motel with her entire heart and the possibility of not getting to be with him is a heartbreak in of itself. On top of that, she gets betrothed to the butcher who is less than appealing. To really lock in to those stakes and ground her reactions from a place of truth has been easier this time around. Instead of playing the idea of being hurt or the idea of who the character of Tzeitel is, I find her coming from my core. Breathing in the situations and scene partners in front of me and responding in a more authentic way.

JHP: Fiddler opens with Tradition, one of the show’s many memorable tunes. What’s a family tradition you hold dear?

MEL WEYN: My family and I are very close. Every summer my dad’s whole side of the family spends a week together at the beach in North Carolina and its something we all look forward to. Not because of the nice summer location or the amenities (although those aren’t so bad), but the time with one another. We all live in different parts of the country so the time we get to connect and spend together is cherished. They are hilarious and giving and we always have a great time. I am really thankful for a family that makes it a priority to be with each other. The sense of community and ritual that comes along with an annual gathering is one of a kind. I definitely feel the parallels of that family trip with moments in our show.

JHP: I’m about to chat with Natalie and Ruthy, so…How would you describe these two on-stage sisters?

MEL WEYN: Oh they are wonderful. I remember the first table read being so impressed by both of them and the portrayals of Hodel and Chava and, how as a trio, we fit together so well. Ruthy is a peacekeeper by nature – so compassionate and understanding with everyone she encounters. Natalie is so multi-talented and has this quiet humor and wit to her that always gets me. I am really thankful for both of them and this journey we have gotten to take together. They will always be my sisters and I can’t wait to continue these friendships outside of the show where it all started.

RAPID FIRE WITH FIDDLER ON THE ROOF’S HODEL, RUTHY FROCH

JHP: From your perspective, who is Hodel?

RUTHY FROCH: Because Fiddler on the Roof focuses on Tevye’s three eldest daughters, I like to think of Hodel as the middle child. You have Tzeitel, who is Mama’s favorite, and the first for everything, and then you have Chava, everybody’s favorite child, and then there is Hodel in the middle. She is super intelligent, and quick-witted. In my eyes, she wants to find where she belongs, where someone sees her for who she truly is, where she can be important.

JHP: I understand this is your first national tour. What’s it been like thus far?

RUTHY FROCH: It truly has been such a dream! Touring is such an incredible way to see the nation, and it’s really bringing out the explorer in me. It has been such a gift to tell this important story in so many different cities, and share my love for Fiddler, and my culture with so many different people!

JHP: While Hodel is one of five, my research revealed that you yourself have a large family. Where do you fall within your sibling birth-order and has having a big family affected your take on Hodel and the way she interacts on stage with her sisters?

RUTHY FROCH: I’m actually the oldest in my family! I have a younger brother, and I’m the first grandchild on both my mom and my dad’s side. I’m really close with my cousins so it does feel like they are siblings in a way. Watching everyone grow up in my family and being the oldest allowed me to see how everyone has their “role” in the family. It definitely affected how I interact on stage with my sisters and my creation of Hodel.

JHP: So much of Fiddler’s appeal—at least to my way of thinking—comes from the deep history of the Jewish faith and culture. A prime example, the gorgeous and intricate choreography. What can you tell me about the show’s choreo?

RUTHY FROCH: The choreography in our production is very grounded, pedestrian, and in my opinion so traditionally Jewish. Hofesh Shechter, our choreographer, reimagined Jerome Robbins’ original choreography. Fiddler has such iconic moments, like the bottle dance, filled with such excitement and tension. I love to hear audiences reactions to our wedding dance, whether they are cheering throughout or clapping along, it really is something we can all experience together. Hofesh’s choreography is specific and intentional, it all blossoms out of the circumstances and helps to move the characters forward.

RAPID FIRE WITH FIDDLER ON THE ROOF’S CHAVA, NATALIE POWERS

JHP: You’re playing Chava, Tevye’s middle daughter and the youngest of the three eldest siblings at the center of the show’s action. Sharing that older daughter dynamic onstage with Ruthy and Mel, I’m curious, have you all developed a sister-like bond that continues during your off-stage time?

NATALIE POWERS: Definitely! This whole tour cast has started to feel like family. All four of my onstage sisters have been a wonderful support system on the road. I know who to go to for every occasion too — whether it be for a laugh, to vent, to cry or even just for a hug.

JHP: What aspect of Chava’s personality do you wish you could emulate more in your own life?

NATALIE POWERS: Her voracious appetite for reading! I personally love reading, but in a leisurely way. I would love to read books cover to cover every day like she does!

JHP: Being a period piece, the costumes for Fiddler are always beautiful. Do you have a favorite look in the show, whether it be yours or someone else’s?

NATALIE POWERS: I am so in love with Catherine Zuber’s designs for this show. I have a purple vest that I wear during Matchmaker that has a lot of intricate quilting work. I would have to say that is my favorite piece!

JHP: That’s a perfect lead-in to my next questions…Matchmaker is among the show’s most recognizable musical moments. Have you ever played matchmaker, or been the recipient of matchmaking?

NATALIE POWERS: I actually have not! I have noticed that people tend to gravitate towards similar minded people and like to watch matches happen organically that way!

JHP: On a broad,more obvious scale, Fiddler is about family, tradition and change. Is there an underlying theme within the show that you’ve discovered while performing the piece night after night?

NATALIE POWERS: Through Chava’s storyline, I’ve realized that what you take out of the show really depends on where you are in your own life. For instance, a mother seeing the show will absorb something totally different than a son. One of the lessons that resonates with me right now is that sometimes you have to make choices that are right for you, knowing that it may not be possible to please everyone.

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My conversations with Tevye’s eldest daughters may have ended, but it’s just the beginning of your chance to get in on the family celebration as Nashville tour dates of Fiddler on the Roof continue at TPAC’s Jackson Hall through Sunday, June 30. Remaining performances are Wednesday and Thursday at 7:30p.m., Friday and Saturday at 8p.m. Saturday matinee at 2p.m., Sunday matinee at 1p.m. and a final Sunday evening performance at 6:30p.m. Tickets range in price from $40 to $100. CLICK HERE to purchase tickets or for more information.

On Monday, TPAC announced a digital lottery for $25 tickets to Fiddler on the Roof that is available via the TPAC Concierge app. The lottery is open from 10:00 a.m. – 4:00 p.m. the day before the show patrons wish to see. Winners will be notified a few minutes after the lottery closing time and will have 60 minutes to accept/purchase the tickets. CLICK HERE for more information on the digital lottery, or CLICK HERE to download the TPAC Concierge App via the Apple App Store or CLICK HERE to download the app via Google Play.

Not in Nashville, but want to be part of the Fiddler on the Roof simkhe? Following their Nashville tour stop, Fiddler continues on through spring of 2020 with upcoming engagements across the US. CLICK HERE for specifics. You can also follow Fiddler on the Roof via Facebook, Twitter, Instagram and YouTube.

While Fiddler on the Roof closes out TPAC’s current Broadway Season, they’re hard at work on the 2019 TPAC Gala, an annual fundraising event that helps support the organizations educational, cultural and outreach initiatives. This year’s Gala theme, is Hamilton, in anticipation of the landmark musical’s upcoming Nashville debut as part of the 2019-2020 season.

Then it’s on to TPAC’s next Broadway Season  with the Music City premiere engagement of Dear Evan Hansen on stage at TPAC September 10-15. CLICK HERE for Season Ticket options.  To keep up with what’s happening at TPAC, follow them on Facebook, Twitter and Instagram as well.

If you’ve enjoyed this installment of Rapid Fire, CLICK HERE to check out previous chats with local and national theaterati. As always, if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Rapid Fire 20 Q: Conversations from The Emerald City as The Larry Keeton Theatre celebrates Opening Weekend of ‘The Wizard of Oz’ directed by Jef Ellis

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When you consider the fact that L. Frank Baum’s beloved The Wizard of Oz was originally released in book form in 1900 and the equally-iconic MGM musical movie adaptation itself is celebrating it’s 80th anniversary this year, it’s really no surprise that all things Oz continue to be just as mesmerizing all these years later. Proof that the story of young dreamer Dorothy Gale’s first visit to the enchanted Land of Oz is still an audience favorite is evident in the fact that The Larry Keeton Theatre opened their production of the stage adaptation earlier this week with shows continuing at the popular Nashville area dinner theatre, with performances continuing through June 29.

To celebrate Opening Weekend, I recently had an opportunity to chat with the show’s director, Jef Ellis as well as four members of his cast including Emma Brown, who plays Dorothy, J. Robert Lindsey, who’s cast as The Tin Man, The Cowardly Lion’s Sara Kistner and Thomas Gentry, who’ll be performing the role of The Scarecrow for an All-In, All-Oz Rapid Fire 20 Q.

Sara Kistner, J. Robert Lindsey, Thomas Gentry and Emma Brown in The Keeton Theatre’s “The Wizard of Oz”

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RAPID FIRE 20 Q WITH DIRECTOR & CAST OF THE LARRY KEETON THEATRE’S THE WIZARD OF OZ

RAPID FIRE WITH THE WIZARD OF OZ DIRECTOR, JEF ELLIS

JHP: What’s your first memory of The Wizard of Oz?

JEF ELLIS: I grew up as part of a generation who watched the movie on TV once a year and my earliest memory is being scared to death of those flying monkeys. In fact, we’d have to switch off the TV every time they made an appearance. I don’t think I ever saw the entire film until I was well into adulthood and could manage my flying monkey phobia with grace.

JHP: Having interviewed you in the past, I’ve noted that whenever you direct a piece that’s as beloved for its cinematic adaptation as it is its stage version, you always manage to pay homage to the Hollywood incarnation. Can you reveal, or at least tease, how you’ve achieved this with this production of Oz?

JEF ELLIS: The script is very much like the screenplay, down to the stage directions. But because I love classic films of this particular era, I have chosen to honor the golden age of Hollywood — specifically 1939 — with some of the expected tropes of moviemaking of that time and when I’ve talked about it with my cast members, I’ve often used references to the stars of that era and we’ve attempted to give the Kansas scenes a sense of classic black-and-white filmmaking and acting for the camera. It is subtle, but it’s there and it helps inspire my talented cast.

JHP: What aspect of this production has brought you the most joy as a director?

JEF ELLIS: Believe it or not, it’s working with young actors, particularly the very young actors who play a variety of roles from Munchkins to Ozians to the Wicked Witch of the West’s flying monkeys. Introducing this beloved film to a new generation is both an awesome and daunting experience. When we first started, I felt rather at sea insofar as what I was striving to do with this particular show, but one day during rehearsal, I restaged the Act One finale (the approach to the Emerald City after the experience in the field of poppies) and it suddenly dawned on me what the show is actually about and how impactful it can be on audiences, whether they are veterans like me of seeing the movie annually for years and years or if they are only just now being exposed to it.

JHP: Why does The Wizard of Oz endure?

JEF ELLIS: To my way of thinking, it’s a uniquely American fairy tale — the story of one young girl’s search for who she really is and what is most important to a life well-lived, told in a distinctly American way. I think far too often The Wizard of Oz becomes the focus of academics who try to foist their own meaning upon the story — and lord knows, I love that kind of stuff — but when I read more about L. Frank Baum and what he was trying to do, it opened up vast new vistas for me as far as storytelling is concerned. To me, the best thing about live theater is its ability to transport and to transform and there is perhaps no show I’ve directed in my career that better subscribes to that belief. The Wizard of Oz is the quintessential American fairy tale that instantly whisks audiences away to a vividly imagine world quite unlike any you might imagine on your own. Because of that, the story is timeless and we can all find something about it with which we might identify.

RAPID FIRE WITH EMMA BROWN, DOROTHY GALE IN THE WIZARD OF OZ 

JHP: Frank Baum’s The Wizard of Oz is easily one of the most beloved stories ever. What’s it like to be cast as Dorothy Gale?

EMMA BROWN: If you play an iconic character, comparisons to the original are inevitable. That kind of pressure is an exciting challenge because it’s all about bringing some of the magic from the classic to the stage. A little magic and a lot of dog treats.

JHP: Arguably, the 1939 film adaptation is just as popular, if not more so, than the classic novel. Were you a fan of either incarnation before auditioning for this production?

EMMA BROWN: We had The Wizard of Oz movie on VHS when I was little, and I used to rewind the scenes and act them out alongside the TV. One of my favorites was throwing myself off our couches to reenact when Judy Garland falls into the pig pen. Unfortunately, the stage version does not have that scene, because I would have been thoroughly prepared.

JHP: While researching to chat with you and your fellow Ozians, I ran across a recent Oz-related post on your social media in regards to your recent birthday. Care to share what your parents did to celebrate your birthday and you being cast as Dorothy?

EMMA BROWN: My mom labeled yellow napkins with letters that said, “Follow the Yellow Brick Road,” and she put them on the floor leading to the kitchen, where my Dad hung a Wizard of Oz poster that he drew himself. It had the Lion, Scarecrow, Dorothy, Tin Man, the Emerald City, apple trees, rainbows, it was incredible. The thoughtfulness of those two almost made up for the fact that Dad used up all my markers.

JHP: Somewhere Over the Rainbow is simply iconic. Do you have a favorite phrase amongst the lyrics that kind of gets you every time you sing it?

EMMA BROWN: “…And the dreams that you dare to dream, really do come true…” I love that lyric for two reasons: it speaks to anyone with passion, ambition, and hope, and it’s the only place in the song where I get to breathe.

RAPID FIRE WITH THOMAS GENTRY, THE SCARECROW IN THE WIZARD OF OZ

JHP: Which of The Scarecrow’s characteristics do you share—or would you love to adopt?

THOMAS GENTRY: Oh man, The Scarecrow and I have more in common than I ever realized. Perhaps the most obvious might be my general absent-mindedness (yeah yeah, pun-intended). Ask anyone who’s ever tried to leave the house with me; I can NEVER find my keys, wallet, phone, etc. Also, like the Scarecrow, I’m an external processor so I often put my foot in my mouth by spewing unfiltered babble or asking questions with obvious answers. I will say however, that I admire the Scarecrow’s unwavering and selfless love and support of Dorothy. To me that’s a very endearing characteristic of the Scarecrow and something that I’d like to demonstrate in any friendship.

JHP: Alright, I just gotta say…with your hair, did you initially audition for The Cowardly Lion? Because your mane is epic! But on to my real question….The Scarecrow is surprisingly a very physically demanding role. Do you have a dance background?

THOMAS GENTRY: Haha, ya know, I didn’t. But it’s been brought to my attention that I perhaps should have. Maybe I’ll lop it off for Sara, our Lion, to make a wig out of. Anyway, you are not lying about the Scarecrow being a physically demanding role. After being cast, I began watching so many different performances where the Scarecrow was doing full splits and jazz pirouettes. I thought, “uh oh.” But I do have a background of basic ballroom dancing and a shameless enthusiasm to brave any dance-based aerobics class no matter how outnumbered I am by middle-aged moms. Throw that in with a history of various board sports that have taught me how to roll and fall and I’d say I’ve attempted to adapt the part to the floppiest, most energetic version of my skill-set. Knee pads help a lot too.

JHP: One of my absolute favorite Scarecrow lines is, “Some people without brains do an awful lot of talking, don’t you think?” Given today’s social and political climate, do you expect to get big reactions from that line?

THOMAS GENTRY: I know, right? When I first read the script I thought “Oh my gosh, how did they know?” It just seemed perfectly timed. A little more research led me to the fact that the L. Frank Baum’s 1900 novel The Wonderful Wizard of Oz was always intended to be somewhat of a political allegory. Much of the allegorical structure remained in tact in the beloved 1939 film which popularized the line in question. The genius of this line is that it will always be relevant no matter who’s doing a lot of talking or who’s in power at any given time. That said, I, like every person who has heard this line since 1939, do think it seems most applicable considering today’s social and political climate and I certainly hope for big reactions from that line.

JHP: While this interpretation of The Wizard of Oz follows the 1939 film adaptation very closely, one sequence that was cut from the film, The Jitterbug, was added back to this stage version when it was first produced by the Royal Shakespeare Company In 1987. What can you tell me about this number and the show’s choreography as a whole?

THOMAS GENTRY: Initially, it seemed that much of the cast had a love/hate relationship with this number. Ya know, no one’s really heard it, it’s not exactly a crowd favorite upon first listen, and it’s certainly not the 80’s Wham hit that I first think of when I hear Jitterbug. That said, it’s one of only two instances where the leads get to sing and dance with the entire ensemble, so The Jitterbug is actually key during the second act to give the audience a little something spicy and fun featuring almost the entire cast. And ya know what? It’s actually become a pretty cool number. Our choreographer, Kevin Raymond, has really turned it in to something nice. He’s done a great job of adapting the film’s choreography to the stage, while still maintaining the look and feel of the film’s original dance numbers that the audience expects to see.

RAPID FIRE WITH SARA KISTNER, THE COWARDLY LION IN THE WIZARD OF OZ 

JHP: The Cowardly Lion is typically played by a male, so…are you playing the role as a gender-flip? non-binary? or in male drag?

SARA KISTNER: The best way to describe the way I am playing the Cowardly Lion is a mix of gender flipping and non-binary factors. I know it is difficult to technically do both, but we changed words like him to her and king to queen, but I am trying to remain true to the Cowardly Lion as everyone knows “him”. I play the Lion with a deeper voice but Queen of The Forest may catch you by surprise. I am using that gender battle of Men are tough and Women are gentle and trying to place myself amongst the other characters to really play up each of the Lion’s hurdles with courage.

JHP: When playwright John Kane and the Royal Shakespeare Company revisited the story of Oz for this iteration’s debut in 1987, the costumes were based on a combination of both the original illustrations by William Wallace Denslow from the 1900 1st edition of Baum’s book and Adrian Adolph Greenberg’s legendary costumes designed for the 1939 film adaptation. Who designed the costumes for The Keeton’s production and what’s your favorite aspect of them?

SARA KISTNER: Our costume designer Cary Street, is recreating Glinda, Dorothy, Tinman, Scarecrow, and Lion as we all remember them whether it is the film or the stage adaptation, while taking our ensemble and giving them some flare and originality. My favorite aspect of our costumes would have to be the color scheme for our ensemble members, everyone pops in their own way on stage!

JHP: Earlier this year you worked with Jef as a member of his cast of Singin in the Rain and now in Oz. While composing questions to ask you and your fellow Yellow Brick Roadies, it dawned on me, Jef is a bit like the Wizard isn’t he? I’m curious…in the spirit of Oz, what’s something surprising you’ve learned about Jef…behind the magic curtain?

SARA KISTNER: Jef is in fact a lot like Oz, he goes wherever the wind takes his balloon. We all know Oz as this big scary spectacle of a being that no one really knows much about other than the obvious, I believe that is true for Jef as well, to a degree. The way Jef directs is very much straight to the point, and we as his cast are to follow his instructions in order to reap our rewards. The difference between Jef and Oz is, Oz is pretending to be something he is not, Jef remains true to himself and his demands are for the best of the production he is working on at the time. Once the cast has completed their tasks and we begin the run of our show, that is when Jef comes out behind the curtain we receive our motivational speech and the wind takes him on to his next adventure.

JHP: The Cowardly Lion seeks courage. What does courage mean to you?

SARA KISTNER: I believe Courage is not defined by one specific thing. Courage can be as simple as facing the day when all you feel is dread, it is going out and walking with the masses whether you are a feminist, a member of LGBTQ, Black Lives Matter, or even serving the United States Military. You never know what each day may bring you, but facing each day with everything you have in your soul not knowing what may be waiting for you, that is true courage.

RAPID FIRE WITH J. ROBERT LINDSEY, THE TIN MAN IN THE WIZARD OF OZ

JHP: Prior to being cast as The Tin Man, how familiar with this particular adaptation, which debuted on stage in 1987, and more closely follows the classic film than other stagings?

J. ROBERT LINDSEY: I had the opportunity to play The Tin Man (and his farmhand counterpart, Hickory) in college.  We did this adaptation as well, so I was pretty familiar with this particular version.  As a child, I was obsessed with the movie, so having the chance to play this role in a version that so closely follows the film not only once — but twice — has been such an honor.

JHP: This mounting of The Wizard of Oz marks how many times you’ve worked under the direction of Jef? What keeps you coming back to audition when he’s at the helm?

J. ROBERT LINDSEY: Wizard is the fourth time I have worked under Jef’s direction.  I first met Jef when I played Cliff Bradshaw in his production of Cabaret followed by My Fair Lady (as Freddy Eynsford-Hill) and The Boys in the Band (as Larry). What I love about Jef as a director is that he comes into the rehearsal process with a very clear vision. As an actor, it’s great working with a director who knows exactly what he wants out of you. Jef also does a wonderful job of recreating classic films on stage. In this particular show, he pays homage to the 1939 film as well as the original novel while simultaneously adding some twists and turns along that way that audiences have never seen before.

JHP: Among the lyrics of The Tin Man’s famed If I Only Had a Heart is the line, “Just to register emotion, jealousy, devotion and really feel the part”. At what point during the rehearsal process did you ‘really feel the part’ as far as finding YOUR The Tin Man?

J. ROBERT LINDSEY: Having played this role before, I didn’t want to cop out and recreate the same exact performance. The stage version dives into some of The Tin Man’s backstory. For The Tin Man, a heart represents the life he knew before the Wicked Witch enchanted his axe and subsequently turned him into tin. During one of our rehearsals, we were running the scene where the Tin Man shares his story with Dorothy and the Scarecrow. As the words were coming out of my mouth,  I really thought about how heartbreaking (no pun intended) his story is and how that fuels this journey he goes on. For me, that’s when this incarnation of the Tin Man started to evolve.

JHP: Among the many themes of Oz, Family is key, whether it’s the family we’re born into or the family we choose. I hear actors say over and over that their casts become family. Why do you suppose that is?

J. ROBERT LINDSEY: So many of the stories we tell in theatre are centered around relationships. As the cast dives into creating their own characters and developing the relationships they have with the other characters in the show, it’s hard to completely separate yourself as an actor. It’s an emotional journey and requires a lot of energy, and the only people who can relate are the ones in the show alongside you. It truly fosters a sense of family – which is one of my favorite aspects of theatre.

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The Wizard of Oz at The Larry Keeton Theatre continues with shows thru Saturday, June 29. Thursday-Saturday shows begin at 7p.m. with Sunday matinee curtain at 2p.m. Dinner and Show tickets are available for $30 for Adults and $20 for Children 12 and Under. Show Only Tickets are available for $25 for Adults or $15 for Children 12 and Under. Unlike Dorothy, you don’t need a flying house, a bubble-hopping good witch, a hot air balloon or even ruby slippers to visit, but you do need to CLICK (just one time)….CLICK HERE for tickets.

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

If you’ve enjoyed this installment of my recurring interview feature,be sure and check out previous conversations at Rapid Fire 20 Q. 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.