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

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

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

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

JHPENTERTAINMENT: Who is Earl “Brother Boy” Ingram?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JHPENTERTAINMENT: Is Theatre of Gadsden ready for Sordid Lives?

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

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

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

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

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

RAPID FIRE 20Q WITH CAST OF STUDIO TENN’s ‘SMOKE ON THE MOUNTAIN’ ON STAGE THRU April 2

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As they were preparing for this week’s opening of Smoke on the Mountain, I had the chance to chat with four members of the cast of Studio Tenn’s current production for my latest installment of my recurring interview feature, Rapid Fire 20 Q. Those conversations follow:

RAPID FIRE 20Q WITH CAST OF STUDIO TENN’s SMOKE ON THE MOUNTAIN

RAPID FIRE WITH MATTHEW CARLTON, STANLEY SANDERS IN SMOKE ON THE MOUNTAIN

JHPENTERTAINMENT: In preparation of chatting with you about your latest role, I stumbled upon the fact that you attended Spartanburg Methodist College in South Carolina…Smoke on the Mountain is set in Mount Pleasant, North Carolina at a Gospel Singing, and for Studio Tenn’s presentation, will be performed at Franklin First United Methodist. Given all this, have you experienced a feeling of familiarity and deja vu of your younger days at college?

MATTHEW CARLTON: More with the hymns and gospel music from growing up in the Baptist church.

JHPENTERTAINMENT: You play Stanley Sanders, what can you tell me about him?

MATTHEW CARLTON: Stanley is kind of the black sheep of the family. Still very connected but managing the dynamic of rejoining. 

JHPENTERTAINMENT: As a founding member of Studio Tenn’s company of actors, audiences no doubt recognize you…Smoke marks your incredible twentieth show with Studio Tenn, right?

MATTHEW CARLTON: Yep, and I hope I’ll be lucky enough to do more in the new space when it opens this fall.

JHPENTERTAINMENT: What’s been you favorite aspect of returning to Studio Tenn for this production?

MATTHEW CARLTON: We have a wonderful cast with some long time and newer talented friends, that makes putting this together a pure joy.

JHPENTERTAINMENT: Stanley has a bit of a dark past. Was that part of the appeal of taking on the role?

MATTHEW CARLTON: Reclamation and acceptance are core Sanders Family values , in this play. I can relate to that need and I think most of us can.

RAPID FIRE WITH MEGAN MURPHY CHAMBERS, VERA SANDERS IN SMOKE ON THE MOUNTAIN

JHPENTERTAINMENT: Alright, before we get going, I just have to express again my absolute disappointment with myself for completely spacing and not attending your recent one woman Belcourt show, Funner…and by all accounts it was. Are you already working on your next one?

MEGAN MURPHY CHAMBERS: Number one, I’m so sorry you missed it, and I’ll be at your house shortly to re-enact it for you. Number two, my kneejerk response is to say “no way, not yet”, but the truth is that my brain pretty much never stops when it comes to possible joke or bit or music ideas, and the Google Doc is always in play.  So. no specific plans at the moment, but I’m still riding the high from Funner and can’t wait to get cracking again!

JHPENTERTAINMENT: But for now, you’re playing Vera Sanders. From what I know of the character, she’s the matriarch and task master. Do you share those traits in your real life, or behind the scenes with your fellow actors?

MEGAN MURPHY CHAMBERS: I am type A all the way, so Vera’s need to keep a tight grip on the proceedings feels natural to me 🙂  This group of performers is so delightful and so dependable, all I have to do is show up and enjoy myself (but I’m still their mom and will ground them for the weekend if they don’t stay in line).

JHPENTERTAINMENT: Within the context of the show, it’s largely Vera’s desire to return to performing with the family after a five-year hiatus. Is that something else you share with the character, the desire to perform? I mean, if ever the adage “born to entertain” were applicable, I’d say you fit the bill. You light up not just the stage, but any room you’re in.

MEGAN MURPHY CHAMBERS: Well thank you very much!  There’s nothing I love more, so it’s lovely to hear that my enjoyment translates to the audiences.  I can absolutely relate to Vera’s excitement about being back on the road – we all endured an unexpected hiatus awhile back, and my gratitude for being out of mothballs hasn’t diminished one bit.  Every opportunity to get out there and offer people a little escape and entertainment is a gift, so Vera, I feel you.

JHPENTERTAINMENT: Throughout the show, we get to know the family via monologues and their featured songs. Is there a particular song, you’re of someone else’s that you could see as your personal theme…at least at the time of this interview?

MEGAN MURPHY CHAMBERS: I’m not a religious person, so the words on the page don’t resonate with me in the way they do for some.  But, the experience of making gorgeous music with people I love, and interpreting material that will (hopefully!) make lots of people laugh and think, is tremendously meaningful to me.  Every character has lines and moments that I look forward to hearing with each run, and the themes of acceptance and gratitude hit me every time.

JHPENTERTAINMENT: Everett Tarlton is directing Studio Tenn’s Smoke on the Mountain. What’s it been like having Everett at the helm?

MEGAN MURPHY CHAMBERS: In short, it’s the best. Everett’s been a treasured friend for years, and watching him thrive  in a leadership position like this is fabulous.  He brings such a collaborative and fun energy to the room, while also having a super clear vision for the show.  For my money, it’s an ideal balance, and I look forward to walking in the room and seeing him every day.  He’s doing a beautiful job, and I hope we’re making him proud!

RAPID FIRE WITH DOUGLAS WATERBURY-TIEMAN, DENNIS SANDERS IN SMOKE ON THE MOUNTAIN

JHPENTERTAINMENT: Has it really been a decade since you appeared amongst the ensemble of Studio Tenn’s Guys and Dolls? What’s it been like to return to the company?

DOUGLAS WATERBURY-TIEMAN: Yes, it’s hard to believe! My first appearance with Studio Tenn was in Guys and Dolls back in 2011. I then got to play Rolf in The Sound of Music (’12) and The Fiddler in Fiddler on the Roof (’14). I am so thrilled to return to the company now as a Williamson County resident.  My wife Annabelle and I always dreamed about living and performing in Franklin as a place to put down roots.  We were living in New York City for about seven years but with the shutdown in 2020 we decided that it was time to make our move to Franklin!  Now we have a 10 month old baby Oliver and we are so proud to be a part of this community making music and theatre for our neighbors!

JHPENTERTAINMENT: You play Dennis Sanders, the family’s fiddle player. As an actor and musician, is it complicated, or comforting to combine two of your talents in one role?

DOUGLAS WATERBURY-TIEMAN: I started playing the fiddle and acting both in my 4th grade year of public school.  It has always been my goal to put all of my talents together in my performances.  It’s just what I love to do.  I have actually performed the role of Dennis twice before and every time I love to get to fiddle and sing my heart out!

JHPENTERTAINMENT: Dennis being a twin, you share some on-stage time with Charlotte Myhre Shealy, who plays Denise. How has it been to share scenes with her?

DOUGLAS WATERBURY-TIEMAN: It is such a joy to get to share the stage with Charlotte and build a twin relationship with her. We have a lot of fun! She is so talented, I mean, the whole cast is and I am just so honored to be a part of this all star family.

JHPENTERTAINMENT: Doing a little research before our chat, I discovered you’re no stranger to bluegrass or musicals, having just wrapped a hugely successful premiere engagement of Johnny and the Devil’s Box, which you and your wife wrote and starred in. What was that experience like, and when can we expect another presentation of it?

DOUGLAS WATERBURY-TIEMAN: Thank you so much for looking into JOHNNY!  Yes we had an amazing sell out run at the Cumberland County Playhouse and won the First Night Award for Original Work.  The production was truly a dream come true. We have been developing this show for several years now and to get to see it come alive and witness such an incredible audience response was incredibly rewarding.  We are currently working to develop another concert here locally and can’t wait to share more details with you soon!

JHPENTERTAINMENT: Back to Smoke…the show features nearly two dozen mostly traditional hymns. Do you have any favorites?

DOUGLAS WATERBURY-TIEMAN: Getting to sing and play “Life’s Railway to Heaven” is definitely a highlight.  The Sander’s family may be a gospel group, but we really get rockin’!

RAPID FIRE WITH MELISSA SILENGO, JUNE SANDERS IN SMOKE ON THE MOUNTAIN

JHPENTERTAINMENT: What can you tell me about June Sanders, the character you play in Studio Tenn’s Smoke on the Mountain?

MELISSA SILENGO: June is the oldest child in the Sanders family, and she sometimes plays second fiddle to the twins, her younger siblings. But that doesn’t bother her… too much. She loves her family, and she is devoted to their family band. She doesn’t sing, she signs, and she is a very good listener. June is very earnest in everything she does, and she is just generally content to be her unique self.

JHPENTERTAINMENT: This isn’t your first time playing June, having first played her in a production at Chaffin’s Barn Dinner Theatre back in 2017, if memory serves me right. What has changed in your approach to the character 

MELISSA SILENGO: Yes! I did play June at The Barn and again at Three Rivers Theatre out in Harriman, TN with Martha Wilkinson directing, and I enjoyed it so much both times! As I approached her this time, I definitely remembered many of the choices that I made before and kept them or built on them. But since most of my castmates are different in this production, June has slightly different relationships with her family members this time, as I tried to play off of the new energy and choices of my wonderful castmates. I must say she is still one of my favorite characters to play because she is so pure, and as an actor, I get to sign and play percussion, rather than sing and dance. It is such a fun challenge.

JHPENTERTAINMENT: While doing a little homework before chatting with you, I was reminded that Smoke was written by Connie Ray, an actress many would recognize for her numerous TV and film roles, including NBC’s early 90s Disney-produced family sitcom, The Torkelsons. She also created the role of June, having played her on stage during the premiere run of Smoke on the Mountain in 1998, making this year the twenty-first anniversary of Smoke. In those twenty five years, Smoke is frequently cited as one of the most popular and frequently performed musicals. What aspect of the show do you think contributes most to that ongoing success?

MELISSA SILENGO: In a word – pickles. But really, the show is family-friendly; it has familiar music, touching monologues, and a feeling of acceptance and love that people can relate to, whether they were brought up in church or not. It is a simple show that allows the beauty of the sentiment to shine through.

JHPENTERTAINMENT: The promo photos of the cast, shot by Keoni Keur and Company, on location in the sanctuary of Franklin’s historic First United Methodist are simply gorgeous. What was it like to step foot into the sanctuary, which will also serve as the venue during the show’s run?

MELISSA SILENGO: The sanctuary is simply lovely. It just felt right to walk up to the beautiful church building and step inside to view the stained glass and the old pews. We had the chance to rehearse in the space, and we could not have asked for a more appropriate setting for this production. I feel honored to get to perform there, and I think the audience will really feel the spirit of the show in the space.

JHPENTERTAINMENT: Many hymns are included in the show, among them The Church in the Wildwood. Written in 1857 and recorded over and over again, my personal favorite version is by another June…June Carter Cash. Another favorite hymn featured in Smoke on the Mountain is I’ll Fly Away…warning: If I’m within your line of vision during Opening Weekend’s Friday night performance, avert your eyes, because I can guarantee mine will be “sweating’ during that number. Are there any songs in the show, that truly move you emotionally?

MELISSA SILENGO: I’ll Fly Away is one of my favorites too. I also tend to tear up during There is a Fountain Filled with Blood, sung in this production by the talented Megan Murphy Chambers. I enjoy it because it talks about losing all your “guilty stains,” and that feeling of being forgiven brings me such peace and freedom, sweet relief. June is particularly touched by I Wouldn’t Take Nothing For My Journey Now, and I agree with that sentiment too. I am so thankful for my journey in life and with this show!

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With that my conversations with the cast of Studio Tenn’s Smoke on the Mountain ended, but as I like to say…that’s just the beginning. Smoke on the Mountain will be presented in the Sanctuary at Franklin First United Methodist with shows through April 2. CLICK HERE for tickets. Following Smoke, Studio Tenn will present Here You Come Again with book by legendary comedy writer, Bruce Villance, Gabriel Barre and Tricia Paoluccio and featuring songs written and recorded by Dolly Parton and more. Here You Come Again will take the stage of The Franklin Theatre from May 17-28. CLICK HERE for tickets and more information.

Be sure to check out Studio Tenn online at StudioTenn.com or on social media at Facebook, Instagram and Twitter.

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. Until then, #GoSeeTheShow!

Theatre Review: ‘Ain’t Too Proud: The Life and Times of the Temptations’ at TPAC’s Jackson Hall through Sunday, March 26 as National Tour continues

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Not even a little rain on opening night of the Nashville leg of Ain’t Too Proud: The Life and Times of the Temptations National Tour could dampen the excitement for TPAC’s Jackson Hall’s packed house. In fact, rain, and the emotions it evokes, perfectly set the mood for what would be a night of electric moves, a shower of hit songs, a tsunami of talent and thunderous applause all evening long.

Featuring more than 30 tunes, most of them some of Motown’s biggest and best loved hits, Ain’t Too Proud ranks, in my opinion, as one of the best jukebox musicals. All too often, jukebox musicals struggle to find the balance between storytelling and tune placement. Not the case with Ain’t Too Proud. Dominique Morisseau, who wrote the book of the musical, not only based the storytelling elements on the book by The Temptations’ only surviving founding member, Otis Williams, but also wisely broadened the musical inclusions to incorporate not just The Temptations’ music, but also that of a few of their contemporaries like The Supremes, The Isley Brothers, The Five Satins and Tammi Terrell. By doing this, the narrative flows perfectly with each tune the ideal musical accompaniment to flesh out the story. Said story is presented by Michael Andreaus as Otis Williams, breaking the fourth wall to tell his tale directly to the audience.

Joining Andreaus as The Temptations’ original members, aka “The Classic 5” are E. Clayton Cornelious as Paul Williams, Jalen Harris as Eddie Kendricks, Harrell Holmes, Jr. as Melvin Franklin and Elijah Ahmad Lewis as David Ruffin. The show also introduces a couple of other Temptations, including Devin Price as Al Bryant, Dwayne P. Mitchell as Dennis Edwards, Devin Holloway as Richard Street and Omar Madden as Damon Harris. We also meet Berry Gordy (Jeremy Kelsey), Shelly Berger (Ryan Hunt), Smokey Robinson (Omar Madden), Mary Wilson (Brittny Smith), Florence Ballard (Shayla Brielle G.) and the aforementioned Diana Ross (Amber Mariah Talley) and Tammi Terrell (Shayla Brielle G.).

Among my personal favorite musical moments, of course the title track is simply magical. The Supremes medley is a fun added bonus, though opening night in Music City, the ladies’ mics seemed a bit low. At the top of this review, I noted that it was raining outside the theatre. Well, I’m here to tell you that during the emotional I Wish it Would Rain, a 1967 Top Ten for the group, it was ‘raining’ on my face as my eyes began to sweat. Powerful, indeed.

Running the gamut of emotions, I absolutely loved the way Cloud Nine (a 1968 hit) started off as the musical manifestation of the group’s success, then plunges the depths of the cost of fame as a double entendre as a literal cloud of smoke, making mention of some behind-the-scenes drug usage.

Another somber moment comes with War, YES, the Edwin Starr mega-hit, was originally recorded by The Temptations, but withheld as a single so as not to alienate their more conservative fanbase. Within the context of the show, it perfectly punctuates the troubled times following the assassination of Dr. Martin Luther King, Jr.

While the show does indeed touch on a bit of drama here and there, Ain’t Too Proud is, as a whole, an upbeat, dancing in the isles, feel good musical.Choreographer Sergio Trujillo perfectly captures and builds upon the moves so closely associated with The Temptations that you just can’t help but get into the groove.

Speaking of getting on your feet and getting into the groove, Nashville’s Opening Night audience gave the company a well-deserved Standing Ovation. What’s more, as the company was taking their bows, lead actor Andreaus quieted the audience and asked them to return to their seats for a moment. It was then we got a fantastic surprise as Andreaus thanked us for our energetic response to the show and revealed that this performance was particularly special to him and the company because it was the first time he had gotten the opportunity to perform the role of Otis Williams…in the presence of THE Otis Williams!!! That’s right!!! The legend himself, the OG OG OG Temptation, Dr. Otis Williams was in the house! WIth that, Andreaus introduced the 81-year-old icon, Dr. Otis Williams, who arrived onstage to yet another Standing Ovation. Only in Music City, y’all!

Ain’t Too Proud: The Life and Times of The Temptations continues at TPAC’s Jackson Hall with shows thru Sunday, March 26. CLICK HERE for tickets.

Not in Nashville, but want to fill your soul as you feel the soulful sounds of The Temptations? CLICK HERE to check out where the show’s headed next.

As for TPAC’s Broadway Series, next up is the Music City premiere engagement of Disney’s Aladdin coming to TPAC’s Jackson Hall May 2-7. CLICK HERE for tickets.

Be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org, TPAC on Instagram, TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

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

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

Rapid Fire 20Q with the cast of Playhouse 615’s ‘I Love You, You’re Perfect, Now Change’; onstage February 10-26

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With Valentine’s Day fast approaching, Playhouse 615 offers up the perfect look at relationships as they present I Love You, You’re Perfect, Now Change on stage from February 10-26 with shows Fridays-Sundays. Book and lyrics by Joe DiPietro and music by Jimmy Roberts, the show isn’t the standard narrative musical. Instead it’s presented as a series of vignettes examining not only a multitude of relationships, but various stages dating, mating and everything in-between. As the cast and crew prepared for their Thursday, February 10 opening night, I had a chance to chat with them for my latest Rapid Fire 20Q, my recurring interview feature. Here’s what they had to say about the show…and each other.

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RAPID FIRE 20Q WITH THE CAST OF PLAYHOUSE 615’s I LOVE YOU, YOU’RE PERFECT, NOW CHANGE

RAPID FIRE WITH I LOVE YOU, YOU’RE PERFECT, NOW CHANGE’s KRISTEN PENNINGTON

JHPENTERTAINMENT: For those unfamiliar, I Love You, You’re Perfect, Now Change isn’t your typical musical. How would you describe it?

KRISTEN PENNINGTON: It’s fun, hysterical, clever, warm and deep.

JHPENTERTAINMENT: A quick peek at your bio reveals you’re relatively new to Nashville, having moved his about a year and a half ago. In that brief time, you’ve previously appeared at Playhouse 615 in their production of Oscar and Felix, and update of Neil Simon’s Odd Couple. Now you’re back for I Love You, You’re Perfect, Now Change. What’s your favorite aspect of being part of the Playhouse 615 company?

KRISTEN PENNINGTON: I’ve met some wonderful, dear friends (looking at you Ann and Joel!*) being part of the Playhouse. *Ann Street-Kavanagh and Joel Meriwether are Playhouse 615’s Managing Director and Artistic Director, respectively

JHPENTERTAINMENT: Describe each of your costars using one word for each.

KRISTEN PENNINGTON:

Anthony – sarcastic

Memory – strong

Jameson – gifted and kind (it had to be both words).

JHPENTERTAINMENT: Relationships being a huge part of this show…what do you remember about your first date ever?

KRISTEN PENNINGTON: I don’t even remember my first date ever, ha! That should be all you need to know about how underwhelming it was.

JHPENTERTAINMENT: The show being comprised of a series of vignettes, do you have a favorite scene, yours or that of one of your co-stars, that you absolutely love?

KRISTEN PENNINGTON: There are too many wonderful scenes to choose from. Each scene and song brings its own special thing. This show is truly special from start to finish.

RAPID FIRE WITH I LOVE YOU, YOU’RE PERFECT, NOW CHANGE’s ANTHONY JUST

JHPENTERTAINMENT: Describe each of your costars in one word each…

ANTHONY JUST:  This is such an amazing cast, it’s hard to sum anyone up in one word…and I think all of these words apply to each of them, but here’s my attempt:

            Jamison: Versatile (so many characters!)

            Kristen: Vocal (ly amazing!)

            Memory: Perfect (for this show!)

JHPENTERTAINMENT: What scene in the show makes you laugh every time?

ANTHONY JUST:  All of them, really.  I think it’s such a funny show.  I don’t think I can pick just one.  I’ll narrow it down to three: The Baby Song scene, Stud and a Babe, and Marriage Tango.

JHPENTERTAINMENT: What’s it been like working with Daniel Vincent as your director and Diane Bearden-Enright as music director?

ANTHONY JUST:  Wonderful!  They kept us on track, but still gave us a lot of artistic freedom.

JHPENTERTAINMENT: In keeping with the themes of the show, how would you describe your ideal date?

ANTHONY JUST:  I’m a romantic, and I don’t think I could describe an ideal date without knowing who my date was.  The closest I could say is that I think my ideal date would have to take into account both of our likes, allow us to get know each other better and grow closer, and be something that would create a lifelong memory for us.

JHPENTERTAINMENT: If you could play any scene in the show, regardless of whether you’d be ideally cast, which scene would that be?

ANTHONY JUST:  Shouldn’t I Be Less in Love With You would definitely be it.  I love being in a relationship, and every word of that scene speaks to me.

RAPID FIRE WITH I LOVE YOU, YOU’RE PERFECT, NOW CHANGE’s JAMISON TAYLOR

JHPENTERTAINMENT: Describe each of your costars with one word each?

JAMISON TAYLOR:

Kristen: Sweet

Memory: Sassy

Anthony: Easy-going

JHPENTERTAINMENT: I understand this is your first show at Playhouse 615. How’ the experience been thus far?

JAMISON TAYLOR: Yes it is, and it’s been really wonderful.  Joel and Ann create a warm and inviting atmosphere.  Daniel has been a true joy as a director.   The cast and crew are so talented and fun.    I couldn’t ask for a better experience.

JHPENTERTAINMENT: Your bio reveals you’re interested in starting your own theatre company. You’ve performed at various companies around town. Is there a commonality that stands out overall that you hope to incorporate into your own company?

JAMISON TAYLOR: You’re right, I do hope to one day start a company!  Having the opportunity to work with a number of community theatre has definitely been helpful for me.  If I had to choose one commonality overall, it would be nurturing a sense of family.  One of the things I love most about theatre is the creative collaboration that instills a deep connection between people, and all of the theatre experience I’ve had here in Nashville have done that.  If I were to ever start a company, that would be an essential ingredient I would want to foster.

JHPENTERTAINMENT: With Valentine’s Day on the horizon, gotta know…Chocolates or Candy Conversation Hearts?

JAMISON TAYLOR: Chocolate, hands down, without a doubt!

JHPENTERTAINMENT: Worst date ever? Come on…hardly anybody reads this column…spill it…

JAMISON TAYLOR: It was my 19th birthday, my “golden birthday” in fact, and my girlfriend and I had been taking “a break” for a while.  We went to see a heartbreakingly romantic movie together, and on the car ride home, she officially broke up with me.  Happy Golden Birthday to me, haha!   

RAPID FIRE WITH I LOVE YOU, YOU’RE PERFECT, NOW CHANGE’s MEMORY STRONG

JHPENTERTAINMENT: So excited when I found out you were in this show. You know I adore you and love seeing you onstage. Your bio says you’ve been in “more productions” than you can remember. Ballpark figure?

MEMORY STRONG: I think it’s around 25 since 2009.

JHPENTERTAINMENT: By this show’s nature, there’s tons of quick wardrobe changes happening as you and your cast mates go from scene to scene. It is just chaos backstage or what?

MEMORY STRONG: It’s actually not. Daniel came up with the brilliant idea of each of us having our own wardrobe station – with a bar for hanging clothes and shelves for props, folded clothes, etc. So, the chaos is compartmentalized. My station looks like a Goodwill blew up by intermission. Ha!

JHPENTERTAINMENT: I Love You, You’re Perfect, Now Change examines all manner of relationships. Mirroring that, you’ve known the show’s director for years and you just so happen to be married to a member of the show’s musical accompanists. How much fun is it to play with friends and loved ones?

MEMORY STRONG: Oh my gosh, it’s one of my favorite things! Getting to be a part of Daniel’s first directing gig is an honor and has truly been a pleasure, and it’s such a joy to look up into the band deck and see my Matt*, my partner in this crazy world playing his heart out. It’s instantly calming just knowing he is there. *Matt Smith plays violin as a member of the show’s live house band.

JHPENTERTAINMENT: I’ve asked each of your costars, so only fair that I ask you as well….Describe each of your costars with one word for each?

MEMORY STRONG: One word is SO hard, but I’ll try:

Jamison: Gifted

Anthony: Talented

Kristen: Accomplished

JHPENTERTAINMENT: This show not only runs the gamut of relationship highs and lows, but in doing so, showcases laughs and few surpassingly sweet moments. What’s one scene you think audiences will particularly enjoy?

MEMORY STRONG: Oh, man. I’d have to say one of my favorites is the penultimate scene of the show: Funerals are for Dating and the song I Can Live With That – when your life has been fully lived and you’ve experienced loss, it’s hard to imagine that there could be an “after”. But, if you’re still alive, you should LIVE.

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With that, my conversations with the stars of I Love You, You’re Perfect, Now Change came to an end, but like the cycle of relationships, it’s truly just the beginning as this production directed by Daniel Vincent opens Thursday, February 10 for its two-week run through Sunday, February 26 at Playhouse 615 (11920 Lebanon Rd. Mt. Juliet, TN). Friday and Saturday shows are at 7:30p.m. while Sunday matinees are at 2:30p.m. Tickets are $25. CLICK HERE for tickets, or call the box-office at 615.319.7031. Tickets may also be purchased in person at the theatre just prior to showtime.

Next up at Playhouse 615 is Tennessee Williams‘ The Glass Menagerie, running March 17 – April 2. Tickets are $18. Then it’s The Date, a limited engagement one week only presentation of a workshop production of an original musical comedy by Zach Leon starring Mike Wargo and Shelby Anderson. The Date runs April 14 – 16. Tickets are $20. CLICK HERE for tickets to any of Playhouse615’s upcoming shows.

For more on these shows and to keep up with  Playhouse 615, check out their website or find them on Facebook.

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

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

Rapid Fire 20Q with dancers Jade Primicias and Seah Hagan, on tour now with MOMIX Alice; at TPAC January 27-28

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MOMIX Alice, an evening of dance that puts a new spin on characters first introduced in Lewis Carroll’s beloved tales of a young inquisitive girl’s adventures in Wonderland is headed to TPAC’s Polk Theatre for a limited two-night engagement Friday and Saturday, January 27 and 28. Highlighted by theatricality, mood-setting lighting, gorgeous costumes, ever-morphing props and sets, the current tour marks MOMIX Alice‘s Music City premiere. As the company prepared for their Nashville debut, I had the opportunity to chat with two of featured dancers, Jade Primicias and Sean Hagan for my the latest installment in my recurring interview feature, Rapid Fire 20Q.

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RAPID FIRE 20Q WITH MOMIX ALICE’s JADE PRIMICIAS AND SEAH HAGAN

RAPID FIRE WITH JADE PRIMICIAS

JHPENTERTAINMENT: Thanks so much for taking the time to chat with me. A huge fan of everything Alice, I’m excited about the show. Before we get into specifics about the show itself, let’s chat a bit about your dance history. How old were you when you discovered dance?

JADE PRIMICIAS: I think dance actually discovered me. Some of my earliest memories involve prancing along with the dancers on TV, or giving my family little recitals in our living room. Like so many of us, I’ve been a dancer since I was in the womb.

JHPENTERTAINMENT: Did you take lessons from an early age?

JADE PRIMICIAS: My first dance lesson was at age five, thanks to two women who saw me dancing at a Spice Girls concert. They asked my parents if I was enrolled in classes, then assured them that I should be.

JHPENTERTAINMENT: What’s the biggest misconception about dancers?

JADE PRIMICIAS: Previously, I would have answered that some people hold the misconception that dancers aren’t intellectual or chose the arts because of an inability to achieve something more lucrative or “difficult,” however, as my career has progressed I’ve learned that it runs even deeper than that. There exists, unfortunately, a general disrespect or overall ignorance regarding the value of the arts as a tenable career field. Many people disregard or don’t understand its existence as a profession and rather view it as more of a hobby, more commonly in the South, especially further from metropolitan areas. This could, of course, be attributed to the lack of value placed on dance and arts education in public schools as well as the inaccessibility of funding for the arts, rendering artists and dance companies less able to perform in lower income or otherwise underserved communities.

As valedictorian of my high school class and a University Honors College graduate, I’m proud to say that dancers are overwhelmingly intelligent, hard workers who experience both the joy and suffering that come with many other valid careers. The arts are incredibly important to our culture and to sustaining human life, and I’m incredibly thankful to be able to serve my community by sharing my art with audiences around the world.

JHPENTERTAINMENT: When did you realize you could have a thriving career in dance?

JADE PRIMICIAS: I don’t think I ever came to that realization, to be honest. Perhaps it was towards the end of my senior year of high school, when I had just accepted a scholarship geared toward women entering the field of engineering; I had my future planned out ahead of me, but I realized that it meant giving up my truest passions: what I knew could make the biggest impact. I changed my plans and double majored in Dance and Creative Writing instead, and I never looked back. I didn’t know if a successful career would come of it, or anything for that matter– I just knew I couldn’t leave it behind. Simultaneously, much of my success is rooted in privilege. It’s often quite expensive to engage in the arts, and I’m very lucky to have had a strong familial support system, reliable housing, and the ability to work multiple jobs while pursuing my dance career.

JHPENTERTAINMENT: While researching to chat with you, I discovered you’ve not only got ties to Tennessee, but also neighboring Kentucky. What can you tell me about your southern ties, and will playing Nashville’s TPAC afford you the chance to reconnect with friends and former colleagues?

JADE PRIMICIAS: It absolutely will! I was born, raised, and educated in Western Kentucky and currently live in Memphis, although with our tour schedule I’m usually away from home. Performing in Nashville provides the opportunity for many of my communities, friends, and loved ones to come together to see the show that is so near and dear to my heart, many of whom haven’t seen me dance since I was a kid– or at all. It will be an emotional weekend of performances for sure!

JHPENTERTAINMENT: For those not familiar, how would you describe MOMIX in three words?

JADE PRIMICIAS: Look, no hands!

JHPENTERTAINMENT: How did your association with MOMIX begin?

JADE PRIMICIAS: I first heard about MOMIX while training with Pilobolus, the plant from which MOMIX was propagated, following their performance in Germantown, Tennessee. They were describing companies who created work along a similar vein, using strong partnering and improvisational techniques, and my interest was piqued. Two years later, I saw MOMIX on the same stage where I’d also seen Pilobolus for the first time, and I knew that I’d found my people– or in that show’s case, bugs. After an incredible stroke of fate, I saw them for a second time the following year and met up with one of the dancers after the show. I teared up as I expressed how much I loved the shows and saw myself in the work, and the dancer gave me the most mind-blowing piece of advice yet: just audition. As a small town, Kentucky girl, this possibility had never occurred to me. With more luck and the support of the incredible Memphis dance community, I made my way up to Connecticut (leaving during bows for a Tennessee Ballet Theater show I was directing with Erin Walter) to catch the last flight to New York on a Sunday night, and the rest is history.

JHPENTERTAINMENT: Fans of Lewis Carroll‘s Alice character are loyal indeed. I can attest to that fact as one of my dearest friends is absolutely Alice obsessed. Considering the fandom, in what ways does MOMIX Alice honor Carroll’s beloved characters?

JADE PRIMICIAS: Our Artistic Director Moses Pendleton did his due diligence in researching Alice, sharing fun facts about Lewis Carroll and his inspiration for the famous stories along the way and even incorporating the “original” Alice into the show. Moses was sure to include the timeless White Rabbit, the hypnotic Caterpillar, Mad Hatter(s), the incorrigible Queen of Hearts, chaotic playing cards, red roses, and of course Alice herself, but we invited some of the lesser known characters into the mix as well, giving the show an even more authentic charm. The Cheshire Cat, for example, appears and disappears perhaps before Alice sees it herself… Fans will recognize even more obscure references, such as in the section of the show entitled “The Tweedles” which pays homage to both its namesake and to the “Pig and Pepper” scene from the book, during which a baby that Alice is holding turns into a pig. The Mock Turtle even makes an appearance, singing her lament. Finally, bonus points go to those who can identify the song, or poem, to which the lobsters perform their quadrille!

JHPENTERTAINMENT: That covers the original nods, so, on the flip-side…are there elements in this retelling that are unique and new that you yourself particularly enjoy?

JADE PRIMICIAS: Moses loves wordplay, and of course it’s MOMIX tradition to bend the rules of reality. In addition to growing taller and smaller, in our version, Alice multiplies! These Alices appear and disappear throughout the show, taking the audience deeper into wonderland as we fall again and again into the rabbit hole–or perhaps into chimneys—in Lewis Carroll’s imagination. Another more imaginative section of the show lies within the Garden of Molar Bears & Other Creatures… audiences will stumble upon characters that Alice may not have spied in the book, but that must have spied-her. One of my favorite curious creatures is what we call Datura, named for the beautiful yet deadly nightshade flower it sometimes resembles. Truly, Lewis Carroll lulls Alice into a whimsical dream-state starting from the show’s opening piece, where he guides her into wonderland and beyond. Every time I “fall asleep” on that ladder, I wake up and I am Alice, excited to take the audience with me on the adventure of a lifetime.

RAPID FIRE WITH SEAH HAGAN

JHPENTERTAINMENT: While researching to chat with you I discovered you’re a third-generation dancer, so I’m guessing if the phrase “Born to dance” was ever true, it was true in your case. Would you agree?

SEAH HAGAN: Dance has been a part of my life since I can remember… I grew up in the theatre and watching, living, and breathing dance. So more than born to dance I was “born into dance”!

JHPENTERTAINMENT: On the subject of your family’s connection to dance, you even studied under both your parents, Natalia Botha and Charles Hagan at Southern Academy of Ballet Arts. What’s more challenging, being a student of your parents in dance, or in life?

SEAH HAGAN: My parents have always been extremely supportive of me both inside and outside of the studio. They have been my toughest critics but also my biggest fans throughout my life. To have professional dancer/teacher parents and grand parents gave me a unique upbringing. One I am very grateful to have had. Not everyone understands the rigors of a professional dance career, the training it takes to get there, and the sacrifices made, so to have your parents in your corner though all of that is a one-of-a-kind sort of support that I am beyond grateful. Also, because they know me so well, they are always sure of what I am capable of so there is always room to be pushed further when necessary and also when to be nurtured in the moments needed.

JHPENTERTAINMENT: What’s the most valuable lesson you’ve learned from your parents? Again, you can answer this as it relates to dance, or as it relates to life itself…

SEAH HAGAN: My parents taught me the value of hard work. It doesn’t go unnoticed even if you think it is. Someone is always watching and taking note of the space so always put your best foot forward no matter the situation.

JHPENTERTAINMENT: When and how did your association with MOMIX begin?

SEAH HAGAN: My parents trained another dancer who is now former MOMIX member many years ago. I saw a MOMIX show many years ago when I was too young to remember, unfortunately, but I grew up hearing the name and when I saw the company’s work I was in awe. I audition in 2017 for MOMIX and did my first tour less than a month later. I was freshly 18 years old when I got the job and my whole world turned upside in the best way possible.

JHPENTERTAINMENT: Thus far, you’ve danced in three MOMIX shows. What’s your favorite aspect of being a member of the company?

SEAH HAGAN: MOMIX is unlike any other company. Not only is the work one of a kind, but also the atmosphere. Having the honor of working with Moses Pendleton and Cynthia Quinn—our Artistic Director and Associate Director—is incredible. Both have so much valuable insight into dance and movement that not only applies to the work but can be taken into the outside world as well. The other dancers in the company also each have a unique blend of skills that you are constantly learning from by just being around them and you are forever pushed to explore new limits and comfort zones in the studio. I could go on forever. The touring life too is so special. We travel and preform most of the days out of the year and are a very tightly knit group who essentially work, eat, dance, live, and grow together which forms bonds as deep as family. The memories made here are the best of the best. We go to incredible places all over the world from Europe to Asia and all across the United States and each place is just as special as the last.

JHPENTERTAINMENT: You have been with Alice since the beginning. What’s most gratifying about seeing a project from inception to presentation?

SEAH HAGAN: Watching and being a part of Alice’s creation and ever-changing development has been a journey. Much as Alice the character is traveling though the different parts of Wonderland, Alice, the production, is on a voyage through different stages of MOMIX-land. It’s been very special to watch the show come together and deepen over the years.

JHPENTERTAINMENT: Is MOMIX Alice like most theatrical presentations in that…certain dancers are cast as certain characters? Or might someone dance the role of Alice one show and the next tour stop, they might be the Mad Hatter?

SEAH HAGAN: We occasionally have changes to casting but typically have a set “tack” we preform throughout the show. The production is different in the sense though that we all play multiple characters. For example, in this show I am: Alice, a rabbit, part of the Lobster Quadrille, the Queen of Diamonds and Hearts, one of the creature in the garden, the Wolf Spider, and then back to Alice many times throughout the show. Each dancer has a similar arrangement of roles so there are many different “hats” to be worn throughout the show!

JHPENTERTAINMENT: Dance is a very demanding profession, requiring constant body maintenance, whether it be stretching, working out, or simply finding time and space to move, rehearse and tune your craft. How does that work while on the road?

SEAH HAGAN: We are preforming most every day on tour so our workout comes mostly from the show. We take a ballet class every day to warm up, so we are maintaining our technique as well. A lot of the dancers supplement here and there by practicing yoga or doing Pilates. Personally, ballet or riding a bike is my exercise of choice. Also, we definitely get our steps in by exploring the cities we are preforming in before the shows and on days off. It’s most difficult on long travel days with fights or extended drives but we all have our own personal ways to tend to our bodies as needed.

JHPENTERTAINMENT: Wardrobe, set design and lighting play a supporting role in dance performance. Is there a particular scene, segment or look…whether your’s or one of your fellow dancers…that you simply love?

SEAH HAGAN: The whole show is a visual spectacle, so every scene has something to look for. I would say the lobster quadrille is always very eye-catching to the audience and fun to perform as the dancers are manipulating large hoop-skirts into different shapes and accessories. This piece is challenging from a dancer perspective because the piece is really a dance for the prop and learning how to remain understated personally while still performing is quite difficult at first.

JHPENTERTAINMENT: Alright, we’ve come to the end of our chat. I usually like to close my interviews by asking….What do you hope audiences come away with after having witnessed MOMIX Alice?

SEAH HAGAN: I hope the audience lets Alice take them on a trip though Wonderland in the abstract design it was created in. I always like to tell people to let their imagination run wild and don’t be afraid to let your natural reactions out whether it be laughter, curiosity, or amazement. Come with us into the world of Alice and let us transport you to another dimension!

MOMIX Alice invites Nashville audiences to travel down the Rabbit Hole with two Music City performances at TPAC’s Polk Theatre, Friday, January 27 and Saturday, January 28 at 8pm each night. At the time of this interview, limited tickets remain for both performances. Tickets start at $55 and are available HERE. For even more of an insider’s look, patrons are invited to attend a special TPAC INSIDE/OUT WORKSHOP: MASTERCLASS WITH MOMIX from 3pm until 4:30pm on Saturday, January 28 at TPAC’s Rehearsal Hall. Tickets to the workshop are $10. CLICK HERE to reserve your spots.   

Not in Nashville, but interested in seeing MOMIX Alice in a town near you? You can keep up with the the company and the tour by following MOMIX on Facebook, Instagram, Twitter and YouTube.

Following MOMAX Alice‘s Nashville engagement, TPAC continues to celebrate dance with  Shen Yun returning February 3 & 4 and Nashville Ballet‘s premiere presentation of Attitude: Anthology February 10-12. Then, TPAC’s Perspectives series returns with Why Would I Mispronounce My Own Name? February 10-12. Broadway at TPAC continues with the Nashville debut performances of the National Tour of SIX the Musical February 21-26…just to name a few upcoming events. For the full calendar of performing arts coming to TPAC, check them out online and on socials by clicking any of the following:  TPAC.org, TPAC on Instagram, TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

If you’ve enjoyed this latest Rapid Fire 20 Q, be sure and CLICK HERE to check out previous conversations. 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,  Twitter and Facebook.

Rapid Fire 20Q with director and cast of Circle Players’ “Agatha Christie’s Murder on the Orient Express”; onstage at Looby theatre January 13-29

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Agatha Christie has long been my favorite mystery writer, having first discovered her by way of film adaptations when I was younger. With an introduction to her work via film versions of The Mirror Crack’d, Death on The Nile and Murder on the Orient Express, I was quickly obsessed. Heck, I even began reading Christie’s novels in a thematic manner…the first time I flew in an airplane, I read Death in the Air, at Halloween and Christmas I read stories featuring her most famous detective, Hercule Poirot that took place during those holidays. When I heard Circle Players was mounting Ken Ludwig’s stage adaptation of Murder on the Orient Express I hoped I’d kick off the new year by featuring some of the cast and crew for my latest Rapid Fire 20Q. In spite of the fact that they were in the throes of tech week, I was thrilled when director Clay Hillwig and cast members Elliott Robinson, Antonio Nappo and Bailey Borders graciously agreed to chat with me in the days just prior the show opening at Looby Theatre Friday, January 13. What follows are those conversations.

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RAPID FIRE 20Q WITH DIRECTOR AND CAST OF CIRCLE PLAYERS’ AGATHA CHRISTIE’s MURDER ON THE ORIENT EXPRESS

RAPID FIRE WITH MURDER ON THE ORIENT EXPRESS DIRECTOR CLAY HILLWIG

JHPENTERTAINMENT: How did directing Murder on the Orient Express for Circle come about?

CLAY HILLWIG: A little over a year ago, Circle Players reached out to me and asked if I would be interested in directing this show.  I could not type “Y-E-S” out quick enough in my response.  To be honest, it had not been on my list.  I am still questioning how it wasn’t.  I guess fortune placed it in front of me and I am very thankful to Circle Players that it did.

JHPENTERTAINMENT: This may seem a simple, obvious question, but having appeared both in shows, as well as being part of various productions’ crews, do you think that gives you an advantage as a director guiding actors?

CLAY HILLWIG: That is a good question.  I do not know if it necessarily gives me and advantage, but it definitely gives me a full understanding of the moving parts of a production.  In regards to guiding actors.  I have always approached directing style and my relationship with my cast, based my own desires as an actor.  How do I what to be directed?  How do I want to be treated during the process?  Am I being challenged to grow in my craft as an actor?  Do I trust my director to provide both positive and negative feedback in a constructive manner,  Is my director available, to guide me in defining the character I am playing and my relationships with the other characters within the story?  Most importantly, is my director providing a safe environment to work in?   I have been labeled as “an actors director”, which tells me that my approach is making a positive impression. Communication with my actors is crucial to me.  Making sure that I am listening to them and their ideas with the same patience and respect that I require from them.  That being said, I believe that it is also very important to strike a balance of directing through the process and knowing when to get out of the actors way.  My goal is always to provide a drama free, safe environment, for my actors to work and grow in their art.  If the production is flawless and receives rave reviews, but I have failed in this important part of the process, I cannot walk away with the satisfaction that is was a successful production.  I would like to take this opportunity to say that this cast had been a pure joy to work with.  They have showed up prepared from the very beginning of the process and have made my role as their leader as smooth as it could have possibly been.

JHPENTERTAINMENT: I myself am a lifelong Christie fan, heck I recently finished my annual holiday re-read of her seasonal mystery, Hercule Poirot’s Christmas, so suffice it to say I’m perhaps a tad more familiar with Christie than some of your audience might be. That said, Christie’s novel includes 12 suspects, but playwright Ken Ludwig opted to par down the suspect list to eight. How does this enhance the telling of the story of the stage play

CLAY HILLWIG: It is an interesting choice by Ludwig to reduce our suspects from 12 to 8. He took some license in the melding of characters from the original 12 to the 8 that we have here, without taking away from the original writing of Ms. Christie . The result is a very tight, fast paced, well written script.   Though Christie purist may not agree, I believe that the choice in this adaptation works very well for the stage. The strongest endorsement is from the Agatha Christie Limited, who personally requested he take on this adaptation.  Ludwig refers to this project as one of the highlights of his career. I think we can all understand why.

JHPENTERTAINMENT: In addition to directing, you’re doing double duty as the show’s set designer. As the title might suggest, the action takes place primarily aboard the infamous train. What’s the biggest advantage—aside from the assumed less number of sets—to directing a show that takes place in a relatively confined solitary space?

CLAY HILLWIG: Not easy!!! Yes, there are limited sets, but the size of the set and the limited space for our scenes to play out has been challenging.  When you research the original Orient Express, space is very tight throughout. It is important that we are telling our story from within the tight confines of the train and not the expanse of the theater stage.

JHPENTERTAINMENT: While the story is set in the confines of the legendary train, the cast of characters provide an international flare with travelers from England, France, Belgium, Russia, the US and more, so I gotta know…who’s the show’s dialect coach?

CLAY HILLWIG: Early in the production process I had reached out to candidates to join us as dialect coaches, Of course schedules and conflicts tend to alter our best laid plans as you get closer to the target date..  But, there is always a solution.  In this case I was very fortunate to cast two actors, Barrett Thomas and Kaleigh Ruiz, who have both a minor and major in French and Belgium.. They have worked closely with our  players in perfecting these accents.  As for our other dialects, the actors came prepared, some with accents already in place, others working very hard using various tools that are available.  YouTube is a wonderful thing!!

RAPID FIRE WITH MURDER ON THE ORIENT EXPRESS’s HERCULE POIROT, ELLIOTT ROBINSON

JHPENTERTAINMENT: As you reveal in your cast bio, Murder on the Orient Express marks your tenth time to appear onstage with Circle Players. I think I’ve seen you in each of the previous nine. Whenever an actor has such a longstanding relationship with a theatre company, I always like to ask…What is it that keeps you coming back?

ELLIOTT ROBINSON: Bottom line is, Circle Players always mounts quality productions. The rehearsal processes are drama-free, I always get to work with amazingly talented casts and crews, and the end result is something that all of us, and all of Nashville can be proud of: professional-quality live theatre productions, and a great variety of them, whether they be musicals or not.

JHPENTERTAINMENT: Hercule Poirot and Miss Jane Marple, another of Christie’s best-known detectives, are among the most beloved literary detectives of all time. What’s it like portraying such an iconic character?

ELLIOTT ROBINSON: It’s a huge challenge because so many people know the character. When I mention the role, so many people have shared their recollections of Poirot, and sometimes ask me whether I am going to try to recreate this scene, or this mannerism, or whatever; simply, the answer is no. I am going to make the character my own. I wouldn’t dare watch a movie or anything like that involving a character I’m working on, for fear that – even subconsciously – I might imitate something that someone else did. So, I take all my cues from the words in the script, plus my director’s notes and my own research about the character.

JHPENTERTAINMENT: Having just chatted with your show’s director, I brought up the subject of the variety of character dialects. As Poirot, your character is infamously from Belgium. If you were to teach a quick course in the Belgian dialect, what would your top two helpful hints?

ELLIOTT ROBINSON: I would NOT be able to teach a course! It is clear that, with all of the French phrases peppered into the script, that Poirot is from a part of Belgium that is French-influenced, as opposed to some Belgians that have more of a Dutch flavor to their speech (I learned that searching youtube clips!). I will say that a couple of fluent French-speakers in the cast have been tremendously helpful, guiding me through the French phrases, as well as helping me with the accent. Ultimately, I am more worried about the audience understanding what I’m saying than I am about being the “most French,” if that makes sense.

JHPENTERTAINMENT: Do you think you’d be a good detective in real life?

ELLIOTT ROBINSON: I think I have some good detective-ish qualities, like attention to detail, and I feel that I’m a pretty observant person. What I don’t know is how much pleasure I could derive from it. Could I truly enjoy running headlong into brick wall after brick wall, figuring out new clues or ideas because the previous ones have not panned out? Also, I’m one that does not much go for the thrill of danger; I prefer a much calmer existence.

JHPENTERTAINMENT: What is your favorite aspect of Poirot’s personality?

ELLIOTT ROBINSON: His intelligence. He is very well-read, and very well-rounded. He speaks multiple languages, has a grasp of world history, he knows his Shakespeare, and he is somewhat of a psychologist (as well as a bit of a flirt). He is not swayed by false evidence, and his calculating manner gets to the exact way things went down. Brilliant man!

RAPID FIRE WITH MURDER ON THE ORIENT EXPRESS’s MONSIEUR BOUC, ANTONIO NAPPO

JHPENTERTAINMENT: What can you tell me about Monsieur Bouc?

ANTONIO NAPPO: He is larger than life.

JHPENTERTAINMENT: Circle shared cast portraits on socials recently and the first thing I notice was that you’ve apparently cut your hair and trimmed your beard. The story takes place in the early 1930s. Was it a no-brainer to alter your appearance to better fit the aesthetic of the show?

ANTONIO NAPPO: Absolutely, Clay’s question to me at auditions was if I was married to the long hair/beard look. I said I’m not, but my wife is. She’s the one who took some convincing.

JHPENTERTAINMENT: In Christie’s original novel, Monsieur Constantine Bouc is a military man from Belgium. The 1974 film adaptation and playwright Ken Ludwig’s all but drop the character’s military background, instead focusing on his current position as a high-level employee of the rail company.As you’ve developed your portrayal of Bouc, have you created any backstory in your mind that you’d care to share?

ANTONIO NAPPO: His deep friendship with Poirot is paramount to me. It’s at the core of who Bouc is.

JHPENTERTAINMENT: When Christie’s novel was released, it was immediately apparent that the events that open the story were directly lifted from the now-historic 1932 kidnapping of Charles Lindbergh, Jr. Was that bit of trivial ever discussed during rehearsals or is that something you knew prior?

ANTONIO NAPPO: We did discuss it, at length. But I did know about it prior to going into this show.

JHPENTERTAINMENT: In keeping with the subject of the show…If you could get away with a crime…would you?

ANTONIO NAPPO: How do you know I haven’t already?

RAPID FIRE WITH MURDER ON THE ORIENT EXPRESS’s HELEN HUBBARD, BAILEY BORDERS

JHPENTERTAINMENT: Alright, as this show’s Circle Players newbie, I gotta ask…what’s the experience been like so far, working with Nashville’s oldest continuing theatre company?

BAILEY BORDERS: This has been the smoothest experience I’ve ever had in community theater and I’d like to thank our whole team for that! The cast has been so supportive and Clay is such a wonderful director to collaborate with. We’re leaving the drama for the stage for this one!

JHPENTERTAINMENT: While it’s your first show with Circle, you’re a Nashville native, having studied at Nashville School of the Arts. After school you relocated to Los Angeles to continue your pursuit of acting and recently relocated back to Music City. What’s your impression of the changes and growth of Nashville since you were last here?

BAILEY BORDERS: I’m loving the growth of the city, but I have to say I miss some of our local hangs that couldn’t withstand the rent increase. While there’s so much more to do and explore, I hope we’re able to keep the charm Nashville has always had!

JHPENTERTAINMENT: In Agatha Christie’s source material, as well as subsequent film adaptations and now this stage version, Helen Hubbard has always been portrayed with a certain air of elegance and a bit of initial arrogance. How much fun are you having playing her?

BAILEY BORDERS: Helen Hubbard has been an absolute blast to play! I love a strong, outspoken character. She has so many levels to explore. My favorite part of Mrs. Hubbard is her brashness. She’s somehow able to maintain an elegance while being the life of the party.

JHPENTERTAINMENT: From the legendary Lauren Bacall’s portrayal of Mrs. Hubbard in the 1974 film to the equally glamorous Michelle Pfeiffer in Kenneth Branagh’s 2017 remake, a huge part of the character’s mystique manifests itself in her fabulous wardrobe. For Circle’s production, Denese Evans is the show’s costumer. What can you tell me about your Mrs. Hubbard’s style?

BAILEY BORDERS: Denese has been outstanding at creating Mrs. Hubbard’s aesthetic. Collaborating together on her hair, makeup, and classic pieces has been one of the most fun elements of seeing Helen brought to life. Mrs. Hubbard is glamorous and does not shy away from a show stopping garment. She uses her wardrobe as her space to shine!

JHPENTERTAINMENT: So, whodunnit? Just kidding. What is it about Murder on the Orient Express that you think audiences will enjoy most?

BAILEY BORDERS: I think audiences will be pleasantly surprised at the amount of comic relief in our show! The tension is always there, as the mystery unfolds, but there are some wonderful moments in between that provide a certain lightness.

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To take a ride on the Orient Express, CLICK HERE to purchase tickets to Circle Players’ presentation of Agatha Christie’s Murder on the Orient Express. The show runs Friday, January 13 through Sunday, January 29 at Z. Alexander Looby Theatre (2301 Rosa Parks Blvd). Tickets are $20 for Thursday performances and $25 Fridays-Sundays. To keep up with the latest from Circle Players follow them on Facebook,  Instagram and Twitter.

If you’ve enjoyed this latest Rapid Fire 20 Q, be sure and CLICK HERE to check out previous conversations. 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,  Twitter and Facebook.

Theatre Review: Directed by Cat Eberwine, the cast of Bucket List Productions’ ‘Assassins’ turns in a round of killer performances

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Stephen Sondheim’s Assassins may not be as well-known, as some of his other works like Company, Sweeney Todd or Into the Woods, but it’s one of his most ambitious and though-provoking shows, and I definitely count it among my personal favorites. In the hands of Bucket List Productions’ Dave Davis as producer and Cat Eberwine as director, and with the killer cast they’ve assembled, I was quickly reminded why it’s among my favorites.

Now, anyone who knows me, knows I often have a bit of a twisted sense of what I find entertaining. My frequent viewing of everything from murder mysteries to serial killer docs stands as proof. That said, since it had been quite some time since I had seen a production of Assassins, I was excited to attend opening weekend. I was not disappointed.

From the moment the curtain rose of Darkhorse’s intimate stage and I took a little sinister delight in Jim Mannings evocative set design as I spotted a furry animal skin headdress draped over a government podium, a la the now infamous Qanon Shaman. Manning’s set also features a what appears to be a slightly off-balance marbled judge’s bench. Perhaps a nod to the ever-present imbalance of justice. Half of the stage floor is even covered with a very realistic looking enlarged pattern of the familiar stars of Old Glory against a field of blue. To me, a statement of the disrespect of the union we’ve all felt at some point or other, but most universally during our country’s history of assassinations and assassination attempts of our leaders, the subject of this musical.

In particular, Assassins gives a glimpse, however fictionalized for entertainment purposes, into those who attempted—some successfully, some not—to assassinate U.S. Presidents including Lincoln (by John Wilkes Booth), James Garfield (by Charles Guiteau), William McKinley (by Leon Czolgosz) and John F. Kennedy (by Lee Harvey Oswald). The unsuccessful attempts on the lives of Presidents Franklin D. Roosevelt (by Giuseppe Zangara), Richard Nixon (by Samuel Byck), Gerald Ford (by both Squeaky Fromme and Sara Jane Moore) and Ronald Reagan (by Joh Hincley, Jr).

The cast of ‘Assassins’ (photo by Rick Malkin)

Director Eberwine has indeed assembled a hot shot group of assassins. As their stories unfold, I was reminded of some sort of twisted representation of the Seven Deadly Sins, as each cast member, even when just being present on stage while others are the primary focus, embodied their characters fully, with the slightest of movements, twitches and ticks. That may sound far-reaching, but it was indeed my initial thought, as these characters before me possessed passionate emotions, jealousy, anger, even devotion and love and those emotions became the driving force of their seemingly unspeakable acts. Quite a feat, especially when you take into consideration this production is Eberwine’s first-ever musical. Heck, it’s only her second time to direct, her first being Way-Off Broadway Productions’ The Curious Incident of the Dog in the Night-Time in 2019.

As for the cast, I recognized some from having seen them in a number of shows around town. Still others seem new to me. Of the more familiar, Melissa Silengo is a stand-out as Lynette Squeaky Fromme the former Manson Family member who attempted to kill President Ford in 1975. In fact, aside from the show opening, Everybody’s Got the Right, it’s Silengo’s duet with Micheal Walley’s John Hinkley on the oddly poppy love ballad, Unworthy of Your Love, that’s among the show’s musical highlights. But it’s Silengo’s crazy eyes and sinister grin as Fromme that truly kept my attention. No matter what was happening on stage, or who was featured at the moment, I couldn’t stop glancing at Silengo to see what subtle and not so subtle scene-stealing she was up to.

A one-act with ten musical numbers, the majority of the remaining tunes are mostly forgettable, save the late-hour all-in Another National Anthem. That’s not to say anything disparaging of the this production’s musical director, Noah Rice, whose recently created original music for Tennessee Playwrights Studio’s That Woman: The Dance Show and who music directed Circle Players’ Priscilla Queen of the Desert. While Sondheim’s Assassins score may not contain the earworm of Company’s Ladies Who Lunch, with Rice at the helm, and in the moment, the score sets the perfect mood for the action at hand. It should be mentioned though that due to the limited space of the venue, the orchestra did overpower the vocals, especially near the top of the show, again, by no fault of Rice’s musical direction. Having known Rice and followed his career since seeing him as Archie in Circle Players’ 13: The Musical a decade ago…yes, he’s that young, it’s a joy to see him become a true force to watch in the Nashville theatre community.

Back to the on-stage action…Silengo’s aforementioned duet partner, Walley also kept me entertained with his nervous twitching. A testament to Eberwine’s direction and the actor’s abilities that even when not speaking, these characters are being developed. Shea Gordon, one of the stronger vocalist of the cast is enjoyable as both the show’s narrator, The Balladeer and Lee Harvey Oswald.

Among my other favorites in the cast, Dan Kevorkian’s Samuel Byck. Dressed in a disheveled Santa suit ad seated near the back of the stage during the majority of the show, Kevorkian’s Byck can be seen mumbled angrily into a tape recorder. These actions and this look are based on Byck’s having picketed the White House Christmas Eve 1973 dressed as Santa and carrying a sign that said “All I want for Christmas is my constitutional rights to peaceably my government for redress of grievances. In the following year, Byck attempted to hijack a plane in hopes of crashing it into the White House.

Dustin Davis, who I believe was a late addition to the cast, following a last-minute withdrawal of the actor originally cast, is near-perfection as John Wilkes Booth. As his story unfolds, you genuinely get the feeling he truly only assassinated Lincoln because his acting career never got noticed. Ah, the things we’ll do for fame and notoriety.

Anna Carroll’s Sara Jane Moore presents herself as a bumbling housewife of a women who just so happens to attempt to kill Gerald Ford. While Moore and Fromme’s attempts were historically separate, Assassins cleverly teams the two and under Eberwine’s direction, Carroll and Silengo’s ensuing bumbling scene, in which they nearly prematurely discharge their respective weapons, put me in mind of Carol Burnette and Vicki  Lawrence in a skit that could easily have come straight from Burnette’s classic 70s tv variety show.

Andy Kanies’ Charles Guiteau is perhaps the most subtly portrayed, for he seems so gentle and upbeat, until he isn’t. On the opposite scale, Teal Davis is brilliantly unhinged as FDR’s attempted assassin, Giuseppe Zangara. Zach William approaches Leon Czologsz with a quiet unassuming air.

Rounding out the cast are ensemble members Daniel Vincent, Will Lasley, Anthony Just, Jessica Heim, Cat Glidwell and Willem Bragg playing various citizenry throughout the history of presidential assassinations in our great country.

Following their opening night earlier this month, the show had to unexpectedly go dark. To assure the audiences of their cancelled shows got their shot to experience Assassins, once they returned to the stage, they added additional shows during this, their final week of performances. Assassins continues with 7pm performances Thursday, Friday and Saturday, July 21-23 at Darkhorse Theatre. CLICK HERE for tickets.

For more on Bucket List Production’s Assassins, CLICK HERE. To see what’s coming next to Darkhorse Theatre, including various presentations presented as part of Kindling Arts Festival, CLICK HERE.

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!

Theatre Review: Playhouse 615’s ‘Graceland’, One-Act Celebrates Hunka Hunka Burnin’ Love of Elvis

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Everyone’s heard of Christmas in July, but what about a night of theatre celebrating the six month mark before the birth of The King? I didn’t say The King of Kings, just The King…you know, the one whose palace sits behind music-themed gates in the Whitehaven neighborhood of Memphis, TN. Now you’ve got it, and so does Playhouse 615 (11920 Lebanon Rd, Mt. Juliet, TN), for that’s where you can find Thank You Very Much: A halfway to Elvis’ Birthday Celebration featuring Graceland, a one-act play by Ellen Byron. Co-Directed by Playhouse 615’s Joel Meriwether and Ann Street-Kavanagh, Graceland stars Diane Bearden-Enright and Addison Myatt with performances continuing thru Sunday, July 17.

Enright, who’s currently an Adjunct Theatre instructor at MTSU, with an acting resume including stage appearances ranging from Nashville to New York and back again, whose recent theatre credits include Ouiser in Steel Magnolias and a fantastic turn as Rosie in a pre-pandemic run of Mamma Mia, stars as Bev Davies, a middle-aged, polyester-wearing, fiery redhead…or is she? Myatt, who recently assistant stage managed Playhouse 615’s production of Next to Normal, and was among the ensemble of their fabulous production of Dracula, plays Rootie, an attractive, thin, small-town girl on a mission. But there’s more to both these ladies as the show soon reveals. As an added bonus, following the one-act, Elvis Tribute Artist, Wess Aaron presents some of EP’s best-known hits, done…his way.

Diane Bearden-Enright as Bev and Addison Myatt as Rootie in Playhouse 615’s ‘Graceland’ (production photos provided by Joel Meriwether)

Graceland’s plot is simple, two seemingly polar-opposite Elvis fanatics, Bev Davies (Enright) and Rootie Mallert (Myatt) are both hoping to be the first devotee of the King of Rock and Roll to enter the hallowed halls of his former home on June 7, 1982 as it opens for the public for the very first time.

As Graceland begins, Enright’s Bev enters the small bare stage carrying with her a cooler, a folding lawn chair, a tote-bag (emblazoned with an image of Elvis, of course) and various pieces of what will eventually be a pop-up tent. Thus begins at least five minutes of Enright’s Bev in a silent struggle with said tent as she lays claim to her premium spot just outside the gates of Graceland. With not a single word of spoken dialogue, save the occasional frustrated swear-word under her breath as she fights the aluminum rods and nylon fabric to build herself a temporary shield from the elements, Enright’s Bev elicits howls of laughter from the audience as she awaits entrance to the sacred halls of Elvis’ former abode. What a way to start the show! Enright’s physicality during this scene pulls out all the stops, a true masterclass in conveying humor and exasperation without words.

As Bev gets things situated just as she wants them, and all seems calm, here comes Myatt’s Rootie wearing a midriff top and jeans and sporting a short curly blonde hairstyle reminiscent of any number of late 70s/early 80s pop culture icons. By their wardrobe alone, you just know they’re gotta butt heads, and they do. As I said previously…polar opposites.

Enright’s Bev, sans red wig, accentuating a point with her entire being.

That opposition takes center stage when Rootie throws down her blanket, and the proverbial gantlet as it were, proclaiming she was technically the first one there as her blanket touched the ground just before Bev unfolded her chair and sat.

As the two explain why they are the ultimate Elvis fan, and therefore should be the first to enter Graceland, Bev reveals that Elvis basically saved her marriage because any time she and her husband had any discord, she’d simply think of the joy Elvis and his music…and his pelvis, no doubt, had brought her, she’d just smile and find contentment. There’s even a funny line in which Bev reveals that her husband was ok with her crush on The King, stating that if she’s in love with another man, at least he’s dead.

Meanwhile, Rootie’s reasons for wanting to enter Graceland first are quite different. As she explains to Bev, she feels a spiritual connection to Elvis and to a lost friendship and it’s her hope that she could reach out to Elvis to have him then, in turn, reach out to her late friend as a way of expressing her gratitude for what he meant to her. She even mentions some hippie-dippy cosmic stuff about bringing Elvis back, citing the plot of Gene Kelly’s 1954 musical Brigadoon, in which he seemingly resurrects an entire town that only comes to life once every hundred years.

Byron’s script finds Bev the stronger character, both in her ability to find humor I life and in her resilience, devoting a bit more time to her development and in the hands of Enright, she’s nicely revealed.

Myatt’s Rootie, adorned by Bev’s wig, getting her Elvis on

By contrast, Myatt’s Rootie, though she has the more serious backstory, a story of being bullied and an abusive boyfriend who devalues her in front of others, falls a bit short. Perhaps a bit of direction to vocalize might have helped. Yes, the character is meek, but at the top of the show, several of her lines were missed during the performance I attended. Whether that was due a lack of projection or technical issues with the sound, the character and its development suffered.

Like any good formulaic script, or any mediocre sitcom, by then end of the half-hour+, our two Elvis fans find common ground, understanding for each other’s situation and an unexpected kinship. They even share a hilarious duet of Heartbreak Hotel.

Graceland has all the basics of a clever, often touching and funny show, too bad it’s limited to only about a 45 minute run-time. For were it fully fleshed out into a two-act play, this could definitely be something Elvis fans, and fans of sweet little theatrical productions would love. As it is, Playhouse 615 has found the best aspects and showcased them. Heck, they even have Peanut Butter and Banana sandwiches as part of the concessions…and of course the forethought to follow the all-too-brief one-act with their very own Elvis impersonator.

Wess Aaron’s Elvis  (photo by Jonathan Pinkerton)

As for Wess Aaron‘s post-play Elvis tribute, right from the get, he revealed to the opening night audience that he’s usually backed by his full ensemble, billed as Wess Aaaron and The CC Riders, but is performing at Playhouse 615 with only pre-recorded backing tracks. Nonetheless, there are moments when the vocals are just right enough, the stage energy choreographed altogether appropriately for the situation and the cockiness of The King, personified. Now, it must be said, if you’re going in expecting a young Elvis, a la Austin Butler as seen in the current box-office smash hit film from Baz Luhrmann, you might wanna check out the movie. Think of later Elvis, a little tour-warn, a little over himself, but still hitting the stage. That’s the Elvis Wess Aaron showcases. With Aaron’s gusto, bravado and a few humorous quips between tunes, it’s somehow the perfect companion to Graceland.

As the show goes into the final weekend of performances, there’s three chances left to see Enright and Myatt make you shake, rattle and roll with laughs. Tickets are $18 and may be purchased online CLICK HERE or at the door. For details on upcoming shows at Playhouse 615, check out their website or find them on Facebook.

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

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

Theatre Review: Rabbit Room Theatre and Matt Logan Productions’ ‘The Hiding Place’ a Thought-Provoking Reminder of the Power of Kindness and Forgiveness; onstage thru July 23 at CPA’s Soli Deo Center

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Matt Logan’s gorgeous ‘The Hiding Place’ set (all photos courtesy The Rabbit Room/Matt Logan Productions. Photos by MA2LA)

The Tennessee premiere of The Hiding Place, based on Corrie ten Boom’s inspirational work, and adapted for the stage by A.S. Peterson, not only marks the debut production of the newly formed Rabbit Room Theatre, but also the first presentation of Matt Logan Productions whose founder and namesake is one of our area’s most creative individuals. Both the playwright and producer Logan, who also serves as the show’s director, are well-known to Nashville area theaterati, having collaborated previously on a local production of the historical musical, The Battle of Franklin, as well as a visually stunning adaptation of Frankenstein—both for Studio Tenn, the Franklin-based theatre company Logan co-founded alongside Jake Speck. Speaking of Speck, it was during his time with A.D. Players in Houston that The Hiding Place made its world premiere just a couple years ago. But back to the current presentation…For their debut, Rabbit Room Theatre has taken residence in the beautiful Soli Dio Center on the campus of Christ Presbyterian Academy, as the show continues through July 23. It’s a full-circle mention that not only did Logan attend CPA, but he was also a member of the team who designed the gorgeous venue of Soli Did Center. Heck, he even created the initial sketches for the design of the theatre’s beautifully intricate proscenium.

As I revealed in the intro to my recent Rapid Fire 20 Q with cast members of A.S. Peterson’s adaptation of Corrie ten Boom’s The Hiding Place, other than my own childhood memory of somehow being aware of a mid-70s movie version, starring Julie Harris, Jeanette Clift and Arthur O’Connell, my knowledge of ten Boom’s book was strangely limited. I say strangely limited because virtually everyone I mentioned the show to, either they had read ten Boom’s work, or their parents and grandparents were devotees of her inspiring story.

While I may have only known the basics of ten Boom’s story—that of her Dutch Christian family aiding in the hiding and relocating of Jewish citizens during Germany’s Nazi invasion of Holland during the 1940s—I was indeed very familiar with many members of the creative team Logan assembled for this beautiful retelling.

Rona Carter as Corrie ten Boom

As she had done in the above-mentioned World Premiere in Houston, Nan Gurley, a venerable presence of the Nashville theatre community leads the cast as Corrie ten Boom. Due to a brief illness, Gurley was unable to perform the role during the show’s opening weekend, so her understudy, Rona Carter, stepped in and stepped up. Having seen Carter in a number of shows over the years, most recently as Anne Marie in Nashville Repertory Theatre’s A Dolls House Part 2, I knew she would turn in a brilliant performance. I was not disappointed. As Logan said in his opening night speech when noting the cast change, “the theatre community could not work if we didn’t have understudies who are dynamite and are ready to go”. He was right. Carter’s portrayal of Corrie ten Boom as written by playwright Peterson, breathes a breathe of beautifully balanced confidence, faith, unconditional caring for her fellow man, and yes, even a touch of humor in times so desperately in need of all. Not being the biggest history buff myself, I have to admit I was apprehensive about reviewing this show because I don’t feel qualified to speak on things of which I’ve paid only the minimal attention, but Carter’s, and I’m certain, Gurley’s portrayal of ten Boom made me want to know more. From the opening scene, I was invested. It should be noted that Gurley returned to the production, assuming the lead role from the second weekend and will continue through the final performance, thus allowing Carter to assume a trio of supporting roles, covered opening weekend by swing cast member, Wesley Paine.

Even though the story takes place in the distant past, a past many would rather forget, there’s no denying recent events indicate we might not be so removed from the horrors as we’d like to be.

Carter, Wimmer, Tillis and Schuck as The ten Boom family

Lending magnificent support to the lead actress as the other members of the ten Boom family are Carrie Tillis as younger sister, Betsie ten Boom, John Schuck as the family patriarch, Casper ten Boom and Garris Wimmer as brother, Willem ten Boom.

Tillis’ Betsie is a constant reminder of something my parents used to tell me. No matter what you’re dealing with, there are others dealing with much worse. As Betsie, Tillis not only finds the light in even the darkest of situations, she radiates it. Some of that is acting, some of that is the actress herself. A joy to watch on stage and a joy to know in real life.

John Schuck was last seen onstage in Love Letters earlier this year. With an acting resume that ranges from film, TV and the stage with projects equally as varied, from a memorable role in Robert Altman’s award-winning film, M*A*S*H and appearing alongside Reba on Broadway in Annie Get Your Gun,(side note: Reba was there opening night supporting her former Broadway co-star) to equally versatile roles in TV classics like McMillan and Wife, The Golden Girls, and even a wonderfully fun, tongue-in-cheek turn as Herman Munster in a late 80s-early 90s The Munsters Today, rebooting the 60s horror/comedy family sitcom, The Munsters, John Schuck is, in every sense of the word, an actor’s actor.  His presence, his voice, his experience all influence and illuminate his performance whether starring in musical theatre, like my favorite, White Christmas, or, in this case, a heart-wrenching serious drama. In early scenes with real-life young sisters, Annabelle and Caroline Wolfe, playing pre-teen versions of Corrie and Betsie, Schuck is jovial but stern, caring, but authoritative. Once the sisters become adults, Schuck’s Casper grows with them, positioning and encouraging them to take their rightful places as the new generation of ten Booms.

Garris Wimmer, rounding out the ten Boom family as brother Willam, has more limited stage time, but makes the most of his portrayal as their kindhearted male sibling. He also appears later on in the production in a couple of minor roles including a jewish prisoner and a Red Cross worker.

The remaining members of the ensemble cast are a great mix of familiar faces to the Nashville  theatre community, as well as some impressive newcomers. Familiar faces in The Hiding Place include Chip Arnold, Ross Bolen and Matthew Carlton. With decades of stage experience between them, as always, all three actors a joy to watch. Then there’s Christi Dortch. Dortch falls somewhere between familiar and newcomer, only because since her return to Nashville a couple decades ago, she’s become more familiar behind the scenes, at TPAC, no less. This production marks a bit of a return to performing onstage. I’m here to tell you, her performance as The Beast, a female guard in the Nazi concentration camps, is eerily entertaining. Yes, I know how that sounds, given the subject matter, but she’s just so good at being bad.

Nathaniel McIntyre as Pickwick, one of the key figures in the underground network offering aide and solace to the jews, finds a wonderful balance between dedication to the cause and a much-needed occasional lightheartedness regarding Betsie. Also of note is Jonah M. Jackson as Otto, a seemingly stalwart young man who, early on, works closely with the ten Booms at their watch shop, but who later figures prominently in an altogether different manner. It’s his late interaction with Corrie that brings the primary theme of the show—the idea of unwavering forgiveness—home.

Quite different from the story structure of ten Boom’s original book, or the aforementioned 70s film, this stage iteration begins in the time just before the Nazi occupation of The Netherlands. As time passes, and Germany’s occupation of the Dutch countryside grows, the ten Booms learn of—and make the decision to become part of—the Dutch underground.

Carter’s Corrie ten Boom remembering a tender moment between her younger self, her sister Betsie and their father, Casper (John Schuck)

Thanks largely to require reading of The Diary of  a Young Girl by Anne Frank, this overall subject matter isn’t completely unfamiliar to even the less studious like myself. What makes the ten Booms story their own is their religious beliefs. As Christians, they felt it their faith, their fortune, their privilege and duty to help those in need, in spite of their religious differences.

On the subject of religion, given the fact that the production is about a Christian family, coupled with this presentation taking place on the campus of a Christian school, it should be no surprise that the spiritual overtones are plenty. In act two of the 2 1/2 hour-long production, there’s even a clever, if ever-so-mildly heavy-handed visual reference likening a restrained Jewish prisoner to Jesus on the Cross. In the more than capable hands of director, Logan, that scene actually works, for it is, after all, a story of faith and the basic practice of human kindness that ten Boom lived by example.

I’ve said for years that Logan is a master of his craft. Whether designing the perfect set, complete with the smallest of almost unnoticeable, but key, details, or directing with a keen eye, unmatched by most, Logan leaves nothing undone. A creative assist from Mitchell White, another of Logan’s longtime collaborators, working herein as Associate Scenic Designer and Scenic Construction, brings Logan’s vision of the ten Boom watch shop (on an impressive rotating stage designed by White). Later in the show, when the action turns to the more devastating locale of the Nazi camps, Logan proves he’s just as adept at creating a more somber environment outfitted by the sparseness of prison bunks of drab grey. Throughout the show, there’s a creative usage of translucent panels for the hint of walls, with the shadows on the other side simply amplifying the drama. Moss Lighting’s Stephen Moss is also key in focusing the audience’s eye on all the action with his keen expertise and astute attention to Logan’s vision as both set designer and director.

Mention should also be made of the show’s wig and makeup supervisor, Allison Hearn, and wardrobe supervisor, Lauren Terry for further manifesting both the playwright’s and the director’s visions. Adding to the realism, drama, intensity of the piece, Don Chaffer’s music score is precise and poignant. Light and joyful when needed, and dark and thoughtful during the more serious and intense moments. The musical score is purposefully and effectively underproduced, lending believability that it might have actually been composed during the time in which the play takes place and is the perfect companion to the story of faith, forgiveness and kindness.

The Hiding Place continues its run through July 23 at Christ Presbyterian Academy‘s The Soli Deo Center, with performances Thursday, July 14 thru Sunday, July 17 this week and Friday & Saturday, July 22 and 23, next week. For specific date and times or to purchase tickets, CLICK HERE. Check out The Rabbit Room online or follow them on Facebook and Instagram.

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

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

RAPID FIRE 20Q with Director and Cast of Rabbit Room Theatre and Matt Logan Productions’ ‘The Hiding Place’ on stage June 30-July 23 at CPA’s Soli Deo Center

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Matt Logan, a founding partner of one of the area’s most prolific theatre companies, and one of my favorite theatre crushes in the Nashville theatre community, has not only formed a new production company, Matt Logan Productions, but is also teaming with Rabbit Room Theatre’s A.S. “Pete” Peterson, playwright extraordinare of 2016’s highly-praised The Battle of Franklin and 2018’s lavish adaptation of Frankenstein, to present another of the scribe’s noted works, The Hiding Place, opening Thursday, June 30 at Soli Deo Center on the campus of CPA.

Peterson’s stage play, making it’s Tennessee debut after having enjoyed a World Premiere in Texas just a couple years ago, expands upon Corrie ten Boom’s 1971 autobiographical account of her Dutch Christian family’s unlikely activism during the 1940s when Nazis invaded their homeland of Holland and the ten Boom family made the decision to hide Jews in their family home.

When I was a kid, I remember knowing there was a movie starring Julie Harris that was based on ten Boom’s book. Beyond that, I was mostly unfamiliar with the story, but knowing Logan is involved as this production’s producer, director and designer, then finding that among the cast are John Schuck, Nan Gurley and Carrie Tillis, three more of my theatre crushes, I knew I had to chat with them all for my latest Rapid Fire 20Q interview.

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RAPID FIRE 20Q WITH DIRECTOR AND CAST OF THE HIDING PLACE

RAPID FIRE Q&A WITH THE HIDING PLACE PRODUCER, DESIGNER, DIRECTOR, MATT LOGAN

JHPENTERTAINMENT: Producer, director, designer…is there anything you can’t do? But seriously, what’s it been like to tackle so much with this inaugural production with The Rabbit Room Theatre? 

MATT LOGAN: It has been amazing to work with a company like Rabbit Room. The steadfast support for quality theater is strong. They understand that if we are gonna do this, we are doing everything to the best of our ability. Nothing will be halfway or cheap. That is empowering to a creator. Doing all the jobs I do is tough but it’s not worth it unless it is quality. Rabbit Room is quality, folks. 

JHPENTERTAINMENT:  As a designer, I understand you not only designed the set, but also the theatre space itself. I hear the set design is quite unique. What can you tell me about it?

MATT LOGAN: Yes! I was a lead on the committee that was formed for the theater. Then, I stopped in as the interior designer for most of the spaces as well. Being an alum of CPA (Christ Presbyterian Academy), it is truly an honor to have been a part of the process, but now to step in and produce in the space is a whole new level that I did not see coming. As we started developing the show one of the major themes was time and clocks. With that as our central theme, it struck me that a turntable that would allow us to go inside multiple rooms of the home was necessary. It would not only add a bit of spectacle but it would functionally take us swiftly through the interiors of the home. In Act II, it takes us through different places in the camp. Altogether it has been a very difficult set to pull together but thankfully Mitch White as my associate created something truly spectacular and gorgeous. As usual, he brings all of my designs to life in a spectacular way.

JHPENTERTAINMENT: The Hiding Place marks your first theatrical stage production since 2018. While I know you’ve kept busy with other aspects of your creativity, how excited are you to be back behind the scenes of a theatrical production?

MATT LOGAN: Honestly, I feel like I’m back where I belong. A sabbatical in my life has been a great blessing for me to plan for the future. This show has allowed me to change some aspects of my career but also continue the things that I feel like are a calling — or at least a passion. I love the theater so much and the artists that I get to collaborate with both onstage and off in Nashville are truly some of the best in the business. Their hearts, their passions and their talents humble me daily. You’re only as good as your team and the team that I’ve assembled over the last 18 years gives me the inspiration to find new opportunities for collaboration. Being back together feels so right! 

JHPENTERTAINMENT: That’s a perfect lead to my next question. The adage of the theatre community being a family seems prolifically evident when you consider a few behind the scenes aspects of this production of The Hiding Place…you, yourself attended Christ Presbyterian Academy, where this production is being presented. The Hiding Place playwright is the artistic director of Rabbit Room Theatre. Your former Studio Tenn co-founder, Jake Speck who recently returned from a few years in Texas where he worked with A.D. Players, was instrumental in securing the World Premiere of The Hiding Place at A.D. Players, and is now back in Nashville to helm CPA’s arts program…oh and one more, beloved Nashville-based actress Nan Gurley starred in that World Premiere production and is returning to the role of Corrie ten Boom in your presentation at The Rabbit Room Theatre. How fortunate do you feel that all these aspects have aligned for this staging of The Hiding Place?

MATT LOGAN: You are so right that it is wild to see all these circles intertwining in this production. I laughed with Jake saying that everybody’s gonna think that we planned this but truly it happened in an instant, and all of a sudden, it fell into place. I truly take that as a sign that it’s meant to be and a confirmation that the timing is right. It’s not anything that I was able to control but it is humbling to find yourself in the midst of it. And this cast is full of people that I have directed at all points in my life, including my directorial debut at 19 years old. It is incredible all the echoes and circles of life that are coming together in this one production.

JHPENTERTAINMENT: I’m about to chat with members of your cast, including the aforementioned Nan Gurley, as well as John Schuck and Carrie Tillis. What’s been your favorite aspect of working with these three mega-talents as you prepare to open the show?

MATT LOGAN: I’m their biggest fan. It’s entirely selfish to cast them and hold them together in one room. This work is stressful but my gratitude for the opportunity overshadows the stress. Also the rest of the cast too! Truly great artists! Thank you, Jonathan!!

RAPID FIRE Q&A WITH NAN GURLEY CORRIE TEN BOOM IN THE HIDING PLACE

JHPENTERTAINMENT: Nan, before we get into questions about the show itself, I just gotta say, whenever I’ve written about you in the past, I typically include the moniker, ‘Nashville’s Grande Dame of the Theatre’. How does it feel to be thought of in such regard?

NAN GURLEY: Well, first of all, let me thank you for using such a moniker for me! You are very kind. As to how it feels to be thought of that way, it’s very humbling. It also makes me want to live up to peoples’ expectations of me so there is a bit of pressure involved too. I want to bring everything I’ve got to every performance. I want to be honest and real and vulnerable in the roles I play and I want the audience to see authenticity in my performances. So I put a lot of pressure on myself. It’s very gratifying when people enjoy what I bring to the stage. I’m also very grateful to have played so many roles in my own hometown and to have audiences that know me. 

JHPENTERTAINMENT: What can you tell me about Corrie ten Boom, the character you play in The Hiding Place?

NAN GURLEY: Corrie was the first trained female watchmaker in Holland, so she was a pioneer of sorts. She and her sister and father lived in the rooms above the clock shop they owned and they were known all over Harlem, Holland, as people of great hospitality. They loved having people in their home. They also took in the children of missionaries who were serving in foreign countries and raised the kids while their parents were away. To me, this is extraordinary. But in many ways they were your ordinary, average, everyday people who did not seek fame and recognition. They did what they did without fanfare. If they had never been caught as part of the underground resistance, we would not know their story today because they would not have felt they needed recognition for doing the right thing. Corrie and her family are known because they got caught and went to Ravensbruck. Corrie is the only one who survived. When she left the camp and the war ended, she decided to go back to Germany and turn a concentration camp into a rehab center. She refused to be bitter. She learned to forgive the ones responsible for the deaths of her dad and sister and brother. She spent the rest of her life traveling to 60 countries around the world telling people of the power of God to enable you to forgive the unforgivable. This is what makes her so remarkable. Everywhere she went and shared her story, she told people that on her own she could never forgive, but that God’s power within her made it possible.

JHPENTERTAINMENT: Earlier, I spoke with Matt Logan, the show’s director, producer and designer. I mentioned that you’re actually returning to this role, having originated it in the 2019 World Premiere. Having debuted the role in A.D. Players’ presentation, and now revisiting her, have you discovered anything new about Corrie ten Boom that you’re bringing to this production?

NAN GURLEY: Corrie is a deep well. There are always more things to discover about a character as rich as Corrie ten Boom. And Pete Peterson has added some very lovely monologues for Corrie that were not in the first production. He has crafted it so that Corrie is in the process of looking back on all that happened to her and is processing these memories and experiences out loud in front of the audience as she is trying to understand and figure out what to make of all that happened. So that device is helping me bring a new layer of vulnerability to Corrie. The tough thing about playing a person who has become a sort of sainted icon is that you’re tempted to play her as a fully developed saint from the very start of the play. If I did that, the audience would never see what the journey really cost her in terms of suffering. What I’m trying to do is show that Corrie was fully human and struggled with the tragedy that happened in their lives. I want my portrayal of her to have a journey, an arc of development so that she is changed and different by the end of the play. Her story needs a beginning, a middle and an end in terms of character development.

JHPENTERTAINMENT: The show’s subject matter is heavy and daunting as it centers around a WWII Christian family in Holland who offer to hid Jews from the Nazis. What do you do to both prepare for the role and to decompress afterwards?

NAN GURLEY: I’ve been preparing for months for this production, and memorizing the lines is ONLY the beginning. I’ve read books and researched and watched Corrie on YouTube and immersed myself in the abundant subject matter about her. I guess I’ve been preparing all my life in all my roles to play such a character as Corrie. Learning the Dutch accent has also been very helpful. I love to do accents and it always helps me lose myself in the character when the character doesn’t sound at all like me! I try to make some decisions about how Corrie would have felt in the moment and what thought processes she would have had. She was human. She’s not different from me in that way. She would have been scared and angry and would have wondered at times where God was in all this horror. Her faith may have been shaken at times. Mine would surely have been. So I just remember that we’re not different from each other in many ways. As far as decompressing, I go home to my husband and talk and relax with him. He’s amazing.

JHPENTERTAINMENT: What’s one line, one through, one scene or one theme included in The Hiding Place that you hope audiences will take with them after seeing the show?

NAN GURLEY: One of my favorite scenes is where Corrie visits her friend Fred Koornstra (played by Matt Carlton) at the food office. He is in charge of giving out ration cards. There are so many Jews going in and out of the ten Booms’ home that they are running out of food and she needs more cards in order to feed them. Jews are not able to get ration cards so Corrie goes to Fred for help. The Germans heavily monitored ration cards and Fred knows he is risking his life if he helps her. But Corrie is able to talk him into stealing 100 ration cards for her. It’s really a funny scene and I look forward to it every day. Plus, it helps that Matt and I have done dozens of shows together over the years so we have an instant connection onstage all the time.

I hope the audiences will walk away inspired and encouraged after seeing The Hiding Place. All of us have experienced loss. It’s how we handle it that will see us through to victory on the other side. The ten Booms were people of great faith. They trusted the sovereignty of God even when they could not understand what was happening all around them. They experienced horrific loss. But one thing Betsie said to Corrie while they were imprisoned that I hope the audience will remember is this: “There is no pit so deep, that God’s love is not deeper still.”

RAPID FIRE Q&A WITH JOHN SCHUCK, CASPER TEN BOOM IN THE HIDING PLACE

JHPENTERTAINMENT: First off, I’m so excited to be able to chat with you, having had the pleasure of getting to know you and your wonderful wife-even if just a little-the last several years. I’m sure I’ve gushed before, but I’ve been a fan since first seeing you in the human/robot buddy-cop sitcom, Holmes and Yoyo when I was a kid. Of course I also was a fan of your film debut in Robert Altman’s M*A*S*H and your many TV roles, including one of my favorite episodes of The Golden Girls. I’ve also been fortunate to see you onstage on tour, on Broadway and regionally, where you’ve performed in shows as Daddy Warbucks in Annie, Buffalo Bill in Annie Get Your Gun, General Waverly in White Christmas (my favorite stage musical of all time) and as a hospital administrator in Studio Tenn’s The Elephant Man. On the topic of your stage career, while researching to chat with you, I noticed your bio cites theatre as your preferred medium. What is it about performing live for an audience that draws you back time and time again?

JOHN SCHUCK: Well, there are a number of reasons for it. It’s what inspired me to become an actor. The film and television was wonderful for 20 or 30 years or so, but the time has passed me by now and the theater is what’s left. [Laughs] Which is fine. It’s not a problem; it’s just a reality of a career and so, I do as much theater as I possibly can. And after two years of COVID, of course, we all have been a little bit thirsty for some theater so I was thrilled when Matt asked me to do this.

JHPENTERTAINMENT: What drew you to the role of Casper ten Boom?

JOHN SCHUCK: Casper ten Boom is an interesting man. He’s very religious, very much a philosopher. He makes his living as a clockmaker so he understands mechanics and indeed in his philosophy, he’s fascinated with the mechanics of the world. So there are a lot of challenges there. Plus, his first skill is that of loving his daughters as a single parent. So there’s lots of gritty stuff to dig yourself into in terms of the story. In other words, the part is a challenge and I like challenges. 

JHPENTERTAINMENT: When preparing to portray a real-life person like ten Boom, is your approach different from a fictional character, or do you view each role as a character, regardless? 

JOHN SCHUCK: Well, I’ve only played a couple of “real” characters in my career that I know of. One was in a musical: Capt. Von Trapp. Daddy Warbucks was not a real character. [laughs] But this was definitely a real person. And to be honest, I have done no research into him whatsoever. I’ve relied solely on our author’s script to give me all the clues that I need for him. And that’s been more than enough. I think we have someone that’s true to the story but may not necessarily be an exact replica of the real man. 

JHPENTERTAINMENT: With the action of the play taking place in Holland, the native language being Dutch, have you and your fellow cast mates worked with a dialect coach during the rehearsal process?

JOHN SCHUCK: Yes. We have definitely worked with a wonderful dialect coach and she’s been terrific because she’s reduced it down — the Dutch part at least — to two or three, what she calls, “returning to your base.” And it’s simple. Everybody at home thinks I’m crazy because the only way to get it right is to talk like that all the time for the most part. So it doesn’t matter what you’re saying, you can say it in Dutch. But it’s been fun. A lot of fun.

JHPENTERTAINMENT: Speaking of your cast mates, I chatted with Nan Gurley earlier and am about to interview Carrie Tillis. They play your character’s daughters, Corrie and Betsie respectively. Since my interview is called Rapid Fire, what one word would you use to describe Nan…and what one word would you use to describe Carrie?

JOHN SCHUCK: Oy! Well, for Nan, it’s definitely Powerful. And for Carrie, in this part, it’s Ethereal. 

RAPID FIRE Q&A WITH CARRIE TILLIS, BETSIE TEN BOOM IN THE HIDING PLACE

JHPENTERTAINMENT: Who is Betsie ten Boom to you?

CARRIE TILLIS: She has a perspective that is so fresh. She’s always looking for beauty and brightness, and not even in the bright and pretty places, but in the dark places. That is really wonderfully unique.

JHPENTERTAINMENT: Prior to chatting with you, I began this Rapid Fire 20Q by posing a few questions to your director, Matt Logan. One thing I love about Matt is his attention to detail amongst his set design. Has he continued this within the ten Boom home set?

CARRIE TILLIS: I have always admired Matt. He does so many things well and his talent is all about the big picture, the whole piece. And he’s remarkable at condensing a massive piece into sometimes a smaller set, and it’s magic what he can do, the world he can create, with a very limited set. But then he dresses the set with such great detail and that comes in the set pieces and costumes. You have the big picture and then it has the finite detail. He’s brilliant.

JHPENTERTAINMENT: Those that know you, know you come from a musical family. To that end, what can you tell me about the interstitial music that accompanies this show?

CARRIE TILLIS: I was so thrilled to find out that Don Chaffer was going to be writing the music for this. I had the luxury of working with Don on the Legacy series for Studio Tenn. And when I heard Don was on board, I thought, “Oh, we’ve got our A-Team together again.” But clearly this is a very different show, different time period, different feel, so I was very excited when I got to hear the music. It was like a movie score, and there were themes for the family. It’s just beautifully written. It’s poignant when it needs to be poignant and it’s scary when it needs to be scary. I knew he would write something wonderful and it just adds so much to this whole show.

JHPENTERTAINMENT: When speaking to your director and co-stars John and Nan, I keep thinking about the community of theatre. In addition to Nan and John, you’ve shared the stage with a number of the ensemble cast members in previous productions. I’m curious to know, in light of the past two years of isolation, coupled with the seriousness of this work, if there seems to have been more of an effort to connect behind the scenes and how that might effect your relationships on-stage?

CARRIE TILLIS: When we started doing readings for this show, we were still deep in the pandemic. So seeing each other’s faces again for the first time was just a gift and we just looked at each other in a way, like “We’re still here!” I would say that from those rehearsals up until the opening of the show, everyone has been so present and keenly connected because we’ve missed each other so much. We’re a very tight-knit community, but we missed our art as well. To work again with each other added this very palpable layer of gratitude. 

JHPENTERTAINMENT: While researching to chat with you, I kept noting the overall theme of Forgiveness, especially as it relates to Betsie ten Boom’s ability to forgive, in spite of everything she endures. What is forgiveness such an important attribute and why do you think forgiveness continues to be such a challenge for so many people?

CARRIE TILLIS: To me, forgiveness allows a person to move forward. The challenge is obvious — no one likes to be hurt personally, no one likes to have parts of the world hurt. It’s hard to feel it personally and I think the challenge for us individually or as a group is that we rarely see the big picture right at the hurt. We only feel the hurt. Betsie always had that resolve from the very beginning. She had forgiveness right at the very beginning. It was just her center. I think forgiveness does allow us to move forward.

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The Hiding Place runs June 30-July 23. For more about the show, CLICK HERE. To purchase tickets, CLICK HERE. Check out The Rabbit Room online or follow them on Facebook 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!