JHP Entertainment

Entertainment News, Reviews and Interviews

Uncategorized

Theatre Review: With ‘Singin’ in the Rain’ on stage at Chaffin’s Barn thru November 30, forecast for the magic stage is all-singin’, all-dancin’ with a deluge of talent

by

If you read my column with any regularity, you know in addition to my love of musical theatre, I also have a penchant for classic Hollywood musical movies, so you can imagine my excitement when I learned Chaffin’s Barn Dinner Theatre was presenting their take on the stage adaptation of Singin’ in the Rain. That’s right…two of my obsessions…1950s musical movies and and all-out tune-filled stage extravaganza rolled into one.

Having seen a simply lovely production of the show in nearby Cannon County at the beginning of this year, and even though Singin’ in the Rain is one of my all-time favorite musicals, second only to the stage adaptation of the seasonal favorite, White Christmas, I honestly wasn’t sure what to expect of Chaffin’s take, but from the first notes of the show’s familar Arthur Freed/Nocio Herb Brown-penned overture, as skillfully executed by Chaffin’s musical director and keyboardist, Rollie Mains, woodwinds by Raymond Ridley, Neal Johnson on bass and drummer Dan Kozlowski, any slight trepidations were quickly laid to rest.

The stage version, like the original 1952 feature film, with screenplay by Betty Comden and Adolph Green tells the story of late-1920s silent film superstars Don Lockwood and Lina Lamont, who have been built up in the press, and by their studio, as romantic leads on…and off…the screen. Truth be told, they ‘caaaaan’t stan’ each other. There’s also Lockwood’s best bud, and frequent piano accompanist who plays the silent films musical soundtracks for the studio recordings, Cosmo Brown. He’s less than enchanted by Lamont and her diva-like ways and seems to always be looking out for his buddy’s romantic future. Further complications ensue with the advent of talking pictures. Not so much a problem for smooth and swarthy Lockwood, but for Betty Boop-voiced Lamont, that’s another story altogether. Enter young, inexperienced chorine, Kathy Selden, having just arrived in Hollywood from the legitimate stage, Selden is biding her time in the chorus until her big break. After a dismal preview of Lockwood and Lamont’s first talkie, The Dueling Cavalier, during which the audience laughs at Lamont’s fingernails on a chalkboard voice, Selden’s big break comes when Lockwood and Brown cook up a scheme to have Selden record her voice and dub it over Lina’s screech.

Fans of the film know it featured an all-star cast of Gene Kelly, Donald O’Connor, Jean Hagen and Debbie Reynolds, so you can image those being some pretty big dancing shoes to fill. To her credit, director Jenny Norris has packed Chaffin’s Singin’ with quite the who’s who of actors, most of whom are familiar to Chaffin’s patrons.

Matt Moran as Don Lockwood in Chaffin’s “Singin’ in the Rain”
(all photos by Michael Scott Evans/Courtesy Chaffin’s Barn Dinner Theatre)

Starring as Don Lockwood, the Gene Kelly role, for those familiar, is Matt Moran, most recently seen on Chaffin’s stage as the less-than-charming Glenn Gulia in The Wedding Singer. While I absolutely love Gene Kelly, especially in Singin’ in the Rain, I have to tell you, from Moran’s first entrance as Don Lockwood, I couldn’t help but notice, his matinee-idol looks and his overall command of the stage. Sorry, Gene, but Matt just might be my new favorite Don Lockwood. With a show full of wonderful tunes and numerous Lockwood-centric moments, Moran constantly shines like the star he’s play. While Moran’s bio indicates he made his stage debut at age eight, I’ve only recently come to know his work, so I knew holding his own against Curtis Reed as Cosmo Brown, Don’s best friend and former performing partner…the Donald O’Connor role in the film…would be a challenge. Spoiler Alert: Moran keeps up the pace and is the perfect compliment to his talented second-banana.

Speaking of Reed, not only is he a great comedic sidekick, and a uber-talented hoofer, he’s also the show’s choreographer. When I first saw the stage adaptation not long after its Broadway debut in the mid-80s, iconic choreographer Twyla Tharp had lovingly crafted dance sequences that paid homage to the original film moves by Kelly himself. Reed, as talented a choreographer as he is a dancer has done what might otherwise seem impossible, finding his own moves nestled smartly between the two, and I applaud that. 

Jenna Pryor as Lina Lamont With Kelsey Brodeur as Kathy Selden) in Chaffin’s “Singin’ in the Rain”

Cast as Lina Lamont is Jenna Pryor, one of my theatre crushes, having starred in a variety of local theatre productions ranging from Disney princess, Belle in Beauty and The Beast, to Leslie in American Idiot. Heck, on Chaffin’s stage alone, she’s been seen in a couple of Southern Fried productions, as well as Freaky Friday and Mamma Mia. Sporting a platinum blonde Harlow-eque wig and some form-fitting dangerous curves ahead costumes, courtesy the show’s costumer, Tammie Whited, Pryor perfectly transforms herself into the quintessential not-so-dumb-blonde and I’m here for it. I’m just gonna be honest, I couldn’t stop grinning from ear to ear from her first line on.

Rounding out the major players is Kelsey Brodeur as Kathy Selden. The native Atlantan, former New Yorker and recent Music City resident might be a relative newcomer to Chaffin’s, having appropriately made her Barn Dinner Theatre debut as Star to Be in their recent spectacular production of Annie, but Brodeur has appeared in a number of regional productions in and around the Syracuse area where she studied musical theatre and I’m here to tell you, she’s definitely one to watch. As Kathy, Brodeur finds the sweetness of Reynold’s girl-next-door, coupled with just enough sass and smarts to find what she wants and go for it.

From the show’s opening sequence, Fit as a Fiddle, which establishes the longterm friendship of Lockwood and Brown by way of ‘home movies’ projected on screens the roll down from the two corners of the stage to the mid-show literal show-stopping title tune and on to its all-in reprise at the final, Singin’ in the Rain is jam-packed with marvelous musical moments. 

Among my personal favorites in Chaffin’s production, first there’s You Stepped Out of a Dream, performed by Moran’s Don Lockwood, complete with beautiful harmonies courtesy an ‘only in a musical’ seemingly impromptu street chorus of passers by. Let’s be honest. Who wouldn’t swoon to a croon from this guy?

Kelsey Brodeur, Matt Moran (and Jenna Pryor) in Chaffin’s “Singin’ in the Rain”

Then there’s my absolute favorite number in the entire show…no, not THAT one…I’m talking about Kathy’s infectious musical entrance, All I Do is Dream of You. It’s sweet, it’s cute, it’s ironic, since she and Don aren’t exactly chummy at this point and with Brodeur’s lovely voice, a kick line of gorgeous ensemble members and Reed’s dynamic choreography, it’s perfect. 

Next on the highlight reel is Reed’s guffaw-inducing comic song and dance, Make ‘Em Laugh. Due to the confines of the space, Reed accepts the challenges and reigns victorious in a number filled with slapstick pratfalls, a great tune and some fancy footwork.

With a first act that’s nearly 90-minutes in length (as my sweet mother can attest, it flies by thanks to the fabulousness of the music, the saccharine storyline and the dedication and talent of the cast) there’s one great sequence after another. Beautiful Girls, features Daniel Bissell surrounded by…well…beautiful girls, including ensemble members, and three of my theatre crushes, Christina Candilora, Jenny Norris and Christen Heilman, in an homage to Busby Berkeley and Florenz Ziegfeld.

You Are My Lucky Star, another fan favorite, which ironically wasn’t written for the film, but rather first appeared in Broadway Melody of 1936, is among Brodeur’s most glorious vocal moments. I love that the stage musical restores the intro to the song and Brodeur’s sweet intonations fit it perfectly.

Speaking of perfect, You Were Meant For Me, in which Moran’s Don takes Brodeur’s Kathy behind-the-scenes of the movie studio, is just that…prefect. During this number, our romantic leads trip the light fantastic to more of choreographer Reed’s fancy footwork. With the aide of a large fan, fog machine, some mood-enhancing lighting, a ladder and some movie magic imagination, the relatively empty lot transforms into a balcony scene of love to rival that or Romeo and Juliet…at their happiest. Of course this scene, nor any other could come off as perfectly were it not for the real behind-the-scenes work of properties manager, Joy Tilley Perryman, technical director, Robin Lawshe, lighting designer, Daniel DeVault, audio engineer, Kaitlin Barnett and video courtesy Russ Sturgeon Productions/RSVP. On that subject, in addition to the aforementioned ‘home movies’ seen at the top of the show, RSVP’s handiwork is also seen throughout the production as the audience is treated to several Lockwood and Lamont moving pictures of both the silent and talking varieties, to much delight.

Back to the musical highlights…Reed and Moran team up for Moses Supposes, with Bissell as their straight man during a tongue-twisting, toe-tapping, tap-tastic musical delight, then Reed and Moran are joined by Brodeur for yet another of my favorite musical moments from the piece as they do a little spectacular couchography whilst singing Good Morning. Yes, it’s still my go-to wake-up alarm song.

Matt Moran, Kelsey Brodeur and Curtis Reed in Chaffin’s “Singin’ in the Rain’

This brings us to THE legendary, iconic, stupendous moment of the show…That’s right…Act 1 concludes with the title tune, Singin in the Rain. When I posted on social media that I was attending the show last weekend, a friend, who had seen the original touring production with me back in the late-80s/early 90s, who also just so happens to be a theatre professor/actor and talented director in his own right, commented asking “Does it Rain?” to which I responded, “Does it EVER”. 

As if Chaffin’s magic stage weren’t awe-inspiring enough, during the pinnacle moment of this number, thanks to some creative handiwork from Chaffn’s beloved former owner, John Chaffin himself, it not only rains it pours! As Moran’s Lockwood sings the show’s most familiar tune, it rains along all four sides of the square stage. Shoot, director Norris, during her welcoming remarks gave a little warning to audience members seated along the four sides of the magic stage that they might get a little damp, giving a whole new meaning to immersive theatre. Moran amps up the vibe even more by playfully kicking and dancing in the rain, causing it to splash towards those seated nearby, but just like a kid stomping in puddles, no one minded getting a little damp, especially considering the shower of talents they were witnessing. As the song’s lyrics say, “Come on with the rain, I’ve a smile on my face!” True Confession: I was so moved by the spectacle of it all that my eyes might have rained a little too. When the lights came up, my Mom looked at me and asked if my allergies were bothering me. A little embarrassed at just how much I love a great live musical that moves me to tears, I simply nodded yes. 

Following intermission, the music continues, but it’s plot that takes center stage as Lina finally clues in to Don, Cosmo and Kathy’s plan to dub her voice. While the second half of the show has it’s share of pleasing musical moments, Kathy’s Would You, Don’s Would You response and Don, Cosmo and company’s Broadway Melody (including the aforementioned mod dance sequence), it’s Pryor as Lina for What’s Wrong with Me that pretty much steals the second act. While Lina is predominately played strictly for laughs with her helium voice, couple with a decidedly east coast, street-wise vernacular, What’s Wrong With Me actually makes the audience feel just a little compassion for the show’s blonde baddie. Just when you’re feeling sorry for Lina, it’s back to laughing at her, thanks to the inclusion of a bit of what I’m naming skip-ography. Again….when Pryor’s Lina is on stage, I can’t stop laughing.

As is the case with any Hollywood musical worth its salt, by play’s end, everything’s tied up in a nice package just in time for the boy to get the girl as they reprise You Are My Lucky Star and the entire ensemble descends upon the stage for one final encore of the title tune.

Kudos to director Norris, choreographer Reed and everyone at Chaffin’s. Time after time, show after show I marvel at how the company seamlessly navigates what is a relatively small, albeit magic stage—yes, it still descends from the ceiling and I’ll never get over the awe of that feat alone.

The fantastic leads, with noteworthy assists from the entire cast—including Greg Frey as movie mogul RF Simpson, Nick Spencer as Rosco Dexter, Daniel Bissell as Production Tenor, Gabe Atchley as Rod, the always brilliant Katie Bruno doing double-duty as both Dora Baileyand Miss Dinsmore, Gabe Atchley as Rod and ensemble members: Seth Brown, Christina Candilora, Christen Heilman, Josh Innocalla, Benny Jones, Bethanie Lyon, Brooke Mihalek and Emmy Peurta—coupled with Reed’s double-duty as choreographer and co-star, all helmed by Norris, who not only director, but also appears on-stage as Zelda Zanders, it’s all a marvel.

Just before curtain on the night I attended, Norris, a veteran of the stage and a favorite at Chaffin’s, informed me that this show marked her directorial debut. With her winks to the gorgeousness of the original film and Reed’s choreo that includes everything from nods to the lush hyper-produced spectacles of the aforementioned Berkley and Ziegfeld, to the inevitable modern dance sequence that’s included in just about every mid-century musical, Chaffin’s Barn’s Singin’ in the Rain is just about as perfect a stage musical extravaganza as you’re likely to see outside of Broadway itself. 

Oh, and don’t forget…while I mostly refer to the venue as Chaffin’s Barn, their full name is Chaffin’s Barn Dinner Theatre! Ever since the change in ownership, the dinner aspect has vastly improved, offering patrons who choose the dinner and show tix the choice of either a huge variety of buffet items, or the option to order from their equally delicious ‘a la carte menu.

Chaffin’s Barn Dinner Theatre’s Singin’ in the Rain continues on the mainstage with shows through November 30. CLICK HERE or call 615.646.9977 for reservations. 

Thursday matinees begin at 12 noon (doors at 11a.m.), while Thursday, Friday and Saturday evening performances begin at 7:30p.m. (doors at 5:30). Sunday matinees begin at 2 p.m. (with doors at noon for lunch service.

Thursday matinee tickets are $19 for show only or $27.50 for show and a Box Lunch. (Wednesday matinee will also offer the Box Lunch option). Evening show tickets are $13 for children 12 and under, $20 for youth/students and $35 for adults. Living up to their Barn Dinner Theatre name, Chaffin’s also offers a full buffet option or a la carte menu items for their evening and Sunday lunch matinee performances. Chaffin’s delicious buffet, featuring a choice of entrees (including a veggie option), and a number of side items is available for an additional (but completely worth it) $15.95, while the ‘a la carte menu items (also quite tastily) range in price from $6.95 to $10.95, plus there’s a wide array of desert options to choose from $2.50 to $5.00. CLICK HERE to check out the menu. 

While Singin’ in the Rain continues through November 30, A Tuna Christmas begins at Chaffin’s Backstage with shows November 29-December 21, CLICK HERE for tickets or more info. Following Singin’ in the Rain, Chaffin’s will present Sanders Family Christmas on the Mainstage from December 5-21. CLICK HERE for tickets or more information. As they always do during the holidays, Chaffin’s will also present a show specifically aimed towards the younger audience as they present Jingle All The Way with Friday and Saturday shows from December 6-21. This special holiday treat is only $10 a person with kiddies two and under admitted FREE. Call the box office at the number above for details or to purchase tickets.

To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

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

Theatre Review: Nashville Rep’s production of ‘Every Brilliant Thing’ a thing of brilliance indeed; on stage at TPAC’s Johnson Theatre thru Sunday

by

Straight off, I should apologize to anyone who sat near me earlier this week during Nashville Repertory Theatre’s invited dress rehearsal for their current limited-run presentation of Every Brilliant Thing directed by Lauren Shouse and starring the amazing Mark Cabus. I’m apologizing because I don’t think I’ve ever had a theatrical piece touch me in such a profound way. I was literally sobbing (thankfully, mostly inaudibly) with tears streaming down my face for a good portion of the show. 

Don’t get me wrong, I’m a big ole softie and I’ve cried at everything from seeing The Color Purple on stage for the very first time, to…well…Publix commercials, but there’s something about Cabus’ delivery, coupled with Shouse’s direction and the clever intimate staging that has the audience on all four sides of the action, thanks to several cocktail tables set up around three sides of the set.

Scenic designer Gary Hoff presents a stripped-down set consisting of little more than a few area rugs grouped together to form a larger square, a comfy leather chair, a side-table,  a couple crates of vintage vinyl, a record player and an ottoman. In addition to the cocktail tables and chairs for some audience members, there’s also a few chairs and tables set up to the left and right of the traditional theatre seating.

Director Shouse wisely moves Cabus throughout the audience, both those seated near him at the tables as well as those seated in the rows of stacked theatre seats. This movement amongst the audience aides in pulling them into the feel of the story. Also aiding in the involvement of the audience, prior to the play’s start, Stouse greeted audience members as she passed out seemingly random objects like a balloon, a pack of cigarettes, a soda pop or a book and instructed the audience to listen for the number attached to the object and to simply read aloud the accompanying phrase when that number was called out.

As Cabus, the story’s narrator, takes to the stage, he begins telling the story of a young boy whose mother had attempted suicide, or as the boy’s father referred to the incident…she did a ’stupid thing’. As a young boy, and not quite able to fully comprehend the gravity of his mother’s actions, the boy decides to begin a list, a list of Every Brilliant Thing that might be reason enough not to do such a stupid thing. As Cabus reads the list, he frequently calls out a number from the list. It’s at that time the audience member who has the corresponding object with that number on it, reads aloud that particular entry. Further involving the audience, occasionally throughout the play, Cabus also calls upon random audience members to act as various characters throughout the narrator’s life, a veterinarian, his father, a school psychologist and his first love to name a few. 

Perhaps it’s the simplicity of the entries, things as commonplace as seeing someone fall over, bubble wrap or, my personal favorite….the voice of Nina Simone, but mostly it’s Cabus’ remarkable talent and his ability to tell this tale as if it’s his own, while simultaneously reacting on the spot to the audience, and engaging everyone around him as he exposes the shared vulnerability in all of us. 

Broaching subject matter as varied and relatable as the death of a beloved pet to suicide, depression, first love, lost love and finding the beauty in the smallest of gestures and the grandest of happenings, Every Brilliant Thing is unlike anything I’ve ever seen. By play’s, when the narrator has kept the list going again and again just when he’s needed it throughout the trials and tribulations of everyday life, there’s a million things on the list. Suffice it to say, I’d like to add at least a few more…Nashville Rep,  director Lauren Shouse, star Mark Cabus and Every Brilliant Thing about this production of Every Brilliant Thing.

Following Wednesday afternoon’s inited final dress rehearsal, and last night’s preview performance, Nashville Rep’s Every Brilliant Thing continues its all-too-brief run at TPAC’s Johnson Theatre with performances Friday, November 8 at 7:30p.m., Saturday, November 9 at 2:30p.m. and 7:30p.m. and a final Sunday, November 10 matinee at 2:30p.m. Tickets range in price from $25 to $45. CLICK HERE to purchase tickets or for more information.

Up next at Nashville Rep is Patrick Barlow‘s A Christmas Carol playing November 30-December 22. Check out Nashville Rep online HERE and follow them on Facebook and Instagram.

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

Theatre Review: Audiences are soaking up the friendship, fun and musical merriment of ’The SpongeBob Musical’; at TPAC’s Jackson Hall thru Sunday as National Tour continues

by

Even though I myself had only seen one or two random episodes of Spongebob Squarepants over the last twenty years, my subconscious had absorbed—if you will—some basic facts about the  jaundiced, angular, happy-go-lucky sea-dwelling sponge and his fellow Bikini Bottom inhabitants. That said, when I first heard about The Spongebob Musical on Broadway, I envisioned something akin to one of those live touring shows based on kiddie tv with actors parading around on stage in larger than life character costumes. Of course I soon learned that director Tina Landau opted to forgo the expected cartoony look of the characters as created by the late, great Stephen Hillenburg, instead representing the majority of residents of Bikini Bottom in human form with clever wardrobe, hair and makeup nods to their animated aquatic selves. What I hadn’t expected, until I arrived at TPAC’s Jackson Hall earlier this week for Opening Night in Nashville of SpongeBob’s first-ever National Tour, continuing here in Music City through Sunday, November 10, was a neon rainbow of color, light and sound that magically bridges the gap of ridiculous cartoon goofiness with some genuinely lovely musical theatre moments.

Having kicked off the tour just last month, it would seem the company is still working out being in a new venue each week as there was a slight delay to opening the theatre to patrons for the show’s Nashville premiere. That said, once the eager audience gained entry, I was immediately struck at the the instantaneous lift in spirit and presence of joy. Perhaps in an effort to buy more time to work out some rumored opening night tech glitches, as the audience took their seats, a few members of the company casually gathered on the edge of the stage and began an impromptu jam sesh. Once the anxious audience had filtered in, and assumably, the technical issue resolved, the show began. 

Even the most casual of SpongeBob fans will surely marvel at what lighting designer Kevin Adams, projection designer Peter Nigrini,  sound designer Walter Trarbach and costumer and set designer David Zinn, together with director and co-conceiver Landau have created, for the visual and audio results do indeed transform the venue into an entrancing and inviting underwater land of laughter, fun and friendship.

Of course what makes The SpongeBob Musical even more enchanting is, well, the music. The soundtrack boasts tunes by an undeniable who’s who from virtually every genre of music and I do mean EVERY genre…throughout the show the audience is treated to tunes by everyone from Cyndi Lauper, Plain White T’s and Aerosmith’s Joe Perry and Steven Tyler to Yolanda Adams, Panic! At the Disco, Lady Antebellum and more. In addition to all the new music written specifically for the musical, there’s even a reworking of David Bowie’s No Control from his 1995 Outside release that reunited him with Brian Eno. When I say this musical has something for everyone, I mean it, and that’s largely thanks to original SpongeBob Broadway music director Patrick Hoagland, arranger Tom Kitt, music coordinator John Mezzio, music supervisor Julie McBride and touring music supervisor Timothy Hanson.

Speaking of the show’s music, the opening number, Bikini Bottom Day (by indie/folk singer/songwriter Jonathan Coulton) as performed by SpongeBob and company perfectly sets up the feel of the show. As SpongeBob (Lorenzo Pugliese) awakens and prepares to head to his job as a fry cook at The Krusty Krab, Bikini Bottom’s most popular eatery, he sings this cheery wake-up. As he passes by his best pal, a rather large pink starfish named Patrick Star (Beau Bradshaw), Patrick questions if it’s morning already, to which SpongeBob replies, “It sure is and I’m singing the opening number.” That hilarious lyric serves to let the audience know that the lines are indeed blurred between fantasy and reality, between cartoon and human, between Bikini Bottom and the rest of the world. The remainder of the opening also introduces us to SpongeBob’s other bestie, Sandy Cheeks (Daria Pilar Redus), a science-lovin’, karate-choppin’ squirrel who lives underwater thanks to a diving suit and helmet.

This seems as good a time as any to further elaborate on the look of the characters. As alluded earlier, rather than SpongeBob and company looking like a furry fetish convention has converged upon the town, goofy oversized amusement park or sportsball mascot costumes are nowhere to be found. Instead of Pugliese being confined to a giant yellow square spongy costume, as SpongeBob, he’s the human personification of the character dressed in a short-sleeved yellow button-down with a red tie, suspenders and brown checked pants. He plays the plucky sponge with a childlike excitement reminiscent of Paul Rubens’ Pee Wee Herman, making you feel he is truly excited to be in this show.

Meanwhile, Bradshaw’s Patrick, rather than being covered in pink makeup from head to toe, is simply dressed in loud green board shorts, a pale pink Hawaiian floral shirt, bright pink socks and sneaks, all topped off with a pink fauxhawk. He’s the perfect Hardy to Pugliese’s Laurel, bringing a simplistic, good-natured kindness to the role. 

As Sandy, Redus wears a simple white science-y-looking jumpsuit and in place of her bubble helmet, hair and wig designer Charles G. LaPointe has opted to have her wear an afro, accented, of course with Sandy’s signature pink hibiscus bloom. Redus’s Sandy is smart and reserved when needed and her over-the-top southern accent—Sandy’s from Texas, after all—fit right in here in Nashville. 

While there are several other costume highlights featuring all the colors of a box of crayons, including Sheldon Plankton & his robot wife, Karen (Tristan McIntyre & Caitlin Ort), Mr. Krabs (Zach Kononov), Pearl (Miami Maszewski), Mrs. Puff (Natalie L. Chapman) and the Sardines, it’s Larry the Lobster (Dorian O’Brien) and Squidward (Cody Cooley) who get the biggest reception from the audience due to the cleverness of their costumes.

As I said at the beginning of this review, while you don’t have to be a fan of the animated series, I’ve been told if you are, there’s tons of Easter eggs peppered throughout. While I hadn’t seen more than a few episodes of the series prior to attending the stage musical, I must admit, in the days since, I’ve set my dvr to record SpongeBob and as I’ve found myself staying up late to bingewatch ‘just one more episode’, I’ve picked up on a few things. One example…late in the show, when the residents of Bikini Bottom are celebrating their survival of the volcano, Patrick asks if mayonnaise is an instrument…for those of us in the know…that’s a reference to a 2001 episode title Band Geeks in which Patrick poses the now famous question (famous at least to the legions of fans who’ve tuned into the animated series for two decades now).

I love that the stage version includes a foley artist, credited as Foley Fish. It’s also pretty cool that said foley artist is Ryan Blihovde is a graduate from Nashville’s own Belmont University! As the on-stage Foley Fish, Blihovde provides live sound affects like the spongy squish of SpongeBob as he walks across the stage or the thud of Pearl’s footsteps. She’s a whale in the animated show, thus explaining yet another inside joke that viewers will no doubt appreciate, when she mentions she and her father, Mr. Krabs are different species. 

Which reminds me…if you’re thinking SpongeBob The Musical is only for kids, think again…in addition to the plethora of hummable tunes, gorgeous set design and overall visually stunning look of the show, there’s more than a few levels of humor for all ages. Yes, some jokes are obvious and the kids in the audience were loving it, but there were a few moments peppered in just for the adults. One in particular that resulted in an audible guffaw from yours truly happens when Sandy is explaining how she can stop the volcano. During her presentation, she taps a wipeboard with a pointer as detailed drawings of her theory appear. In the last slide as she explains how her Eruptor Interruptor will save Bikini Bottom, the illustration on the board looks suspiciously like a lady’s bikini area…pre-wax. I about spit out my limited edition Seanut Butter and Jellyfish Goo Goo Cluster! And yes, you read that right…Goo Goo, one of Nashville’s most famous confectioners has teamed with TPAC to create a special chocolate covered peanutty treat, with a sea of surprises inside, available exclusively in the concessions area during the run of SpongeBob The Musical, but I digress.

With a story concerning the possible end of days for the residents of Bikini Bottom, thanks to the pending eruption of a volcano, Kyle Jarrow’s book of the musical is simple…SpongeBob and friends must overcome their insecurities to band together to save the day. To that end, the story broaches lessons in relationships, good vs. evil and never underestimating ones own self-worth. That’s just one aspect of the show that does a brilliant job of playing to both the youth and the older members of its audience, for what’s a show based on a cartoon worth, if there’s not at least a few morals to the story cleverly hidden among the laughter and songs?

On that note, musical highlights are a plenty in SpongeBob The Musical. BFF features Pugliese and Bradshaw’s SpongeBob and Patrick in an all-out declaration of their bond. The catchy tune penned by Plain White T’s is simply joyous. 

Pugliese gets his show-stopping moment as SpongeBob with (Just A) Simple Sponge, Panic! At the Disco’s contribution to the score. During this number, Pugliese’s SpongeBob defies the expectation and label put upon him by his boss, Mr. Krabs as he announces he is NOT A Simple Sponge. The visuals of this song heightened by the use of blacklight and ensemble members dressed in black blending into the background behind SpongeBob while neon yellow sponge squares dance behind him forming everything from musical notes as he plays his trademark noseflute, to taking shape of a superhero cape, a bit of foreshadowing for the audience of SpongeBob’s inevitable hero status by show’s end.

Daddy Knows Best, featuring Kononov and Maszewski as Mr. Krabs and his daughter, Pearl, showcases both actors vocal skills in a tune that’s neatly nestled somewhere between Streisand’s Papa Can You Hear Me from Yentl and Minnelli and Grey’s Money Makes the World Go ‘Round from Cabaret.

Hero Is My Middle Name, penned by Cyndi Lauper and Rob Hyman, and performed herein by Pugliese, Bradshaw and Redus is another inspiring anthem during which our trio convince each other they can indeed save Bikini Bottom. 

Super Sea Star Saviour, Yolanda Adams’ addition to the score, features Bradshaw’s Patrick surrounded by adoring sardine followers that just might put you in mind of JC Superstar mixed with a little Sister Act.

As he does with his four-tentacled wardrobe, Cooley’s Squidward also steals the show musically with his long-anticipated Act 2 epic number, I’m Not a Loser that kicks off with an almost unseen quick-change into a sparkly tux and continues with some of the show’s most tap-tastic footwork, including a Busby Berkley-inspired kickline featuring ensemble dancers backing. Christopher Gattelli’s choreography is showcased here, but shines throughout the entirety of the musical. Executed so effortlessly by the entire ensemble, it’s easy to forget the hours they must put into it to make it seem so simple.

A few reprisals—more great original numbers like John Legend’s sweet (I Guess) I Miss You and Chop to the Top, from Nashville’s own Lady Antebellum, which includes some impressive physicality from Pugliese as he and Redus climb the volcano to thwart its erupting—and the story wraps neatly with the expected outcome of SpongeBob and friends saving the day, and their beloved Bikini Bottom. But don’t rush out of the theatre in hopes of beating the crowd to the valet or your’ll miss a post-script all-in of the entire company (and it’s grateful uplifted and joyous audience) as the night ends with a rousing rendition of that earworm of a theme song from the original animated series!

The SpongeBob Musical continues its Music City stop with shows at TPAC through Sunday, November 10. Friday & Saturday evening performances are at 8p.m. Saturday and Sunday matinees are at 2p.m. and 1p.m. respectively and the show wraps with a final Sunday evening performance at 6:30p.m. Tickets range in price from $45-$90. CLICK HERE to purchase tickets or from more information.

Not in Nashville? The SpongeBob Musical continues its National Tour with dates across the US and Canada including stops in Oklahoma City, Dayton, BrookVille, New Brunswick, Philly, Toronto, Detroit, Wilmington, Morgantown, Lexington and more through July 2020. CLICK HERE to purchase tickets in your area or to see the full tour schedule.

To keep up SpongeBob and the entire Bikini Bottom gang, follow SpongeBob The Musical on Facebook, Instagram, Twitter and YouTube.

Up next at TPAC, it’s the beloved favorite, CATS, followed by the highly anticipated Hamilton as their 2019-2020 Broadway Season continues. CLICK HERE for tickets or more info. You can also follow  TPAC on Facebook, Twitter and Instagram.

Wanna check out previous Rapid Fire conversation

Public on-sale date announced for Tony-winning ‘Hamilton’ National Tour in Nashville at TPAC’s Jackson Hall December 31, 2019-January 19, 2020

by

Early this morning, TPAC finally announced the long-awaited details of the public sale date for the highly anticipated Music City debut performances of Hamilton. Producer Jeffrey Seller and Tennessee Performing Arts Center revealed that tickets for the Nashville leg of the first-ever National Tour of the eleven-time Tony®-winning musical will go on sale on Monday, Nov. 11 at 10 a.m. Tickets will be available at TPAC.org and in person at the TPAC box office (505 Deadrick Street) in downtown Nashville. Tickets will be available for performances Dec. 31, 2019 – Jan. 19, 2020.

 There is a maximum purchase limit of eight (8) tickets per account for the engagement. When tickets go on sale, prices will range from $79 to $199 with a select number of $349 premium seats available for all performances. Additional fees will apply to online purchases. As TPAC has offered for many of their recent shows, there will be a lottery for $10 seats for all performances. Lottery details will be announced closer to the engagement.

Jeffrey Seller noted, “It’s tempting to get tickets any way you can. There are many sites and people who are selling overpriced, and in some cases, fraudulent tickets. For the best seats, the best prices and to eliminate the risk of counterfeit tickets, all purchases for the Nashville engagement should be made through TPAC.org.”

Hamilton is the story of America’s Founding Father Alexander Hamilton, an immigrant from the West Indies who became George Washington‘s right-hand man during the Revolutionary War and was the new nation’s first Treasury Secretary. Featuring a score that blends hip-hop, jazz, blues, rap, R&B, and Broadway, Hamilton is the story of America then, as told by America now.

With book, music and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler and musical supervision and orchestrations by Alex Lacamoire, Hamilton is based on Ron Chernow’s biography Alexander Hamilton.

The Hamilton creative team previously collaborated on the 2008 Tony Award®-winning Best Musical In the Heights.

Produced by Jeffrey Seller, Sander Jacobs, Jill Furman and The Public Theatre, Hamilton features scenic design by David Korins, costume design by Paul Tazewell, lighting design by Howell Binkley, sound design by Nevin Steinberg, hair and wig design by Charles G. LaPointe, casting by Telsey + Company, Bethany Knox, CSA and General Management by Baseline Theatrical.

Hamilton will be the fourth production in TPAC’s current Broadway at TPAC 2019-2020 Season, having began the season with Dear Evan Hansen, Once on This Island and their current offering, The Spongebob Musical (on stage at Jackson Hall thru Sunday, November 10). The add-on special presentation of CATS will take to TPAC’s Jackson Hall November 19-24.

Following Hamilton, the season will continue with My Fair Lady, Escape to Margaritaville, Summer: The Donna Summer Musical and Roal Dahl’s Charlie and the Chocolate Factory, as well as add-on specials including Blue Man Group, Jesus Christ Superstar and The Color Purple. CLICK HERE for tickets or more info. 

With five shows still remaining in the current season, Flex Package Season Subscriptions are still available. CLICK HERE for more details. To keep up with what’s happening at TPAC, follow them on Facebook, Twitter and Instagram.

For more about Hamilton on Tour, CLICK HERE to check them out online or follow them onFacebook, Twitter, and Instagram.

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

RAPID FIRE Q&A with ’The SpongeBob Musical’ stars Lorenzo Pugliese, Beau Bradshaw and Daria Pilar Redus; at TPAC November 5-10

by

Just last week as the cast of The SpongeBob Musical’s first-ever National Tour prepared to turn TPAC’s Andrew Jackson Hall into their beloved undersea world of Bikini Bottom, I had the chance to pose a few questions to Lorenzo Pugliese, Beau Bradshaw and Daria Pilar Redus who star as SpongeBob and his besties, Patrick Star and Sandy Cheeks. So, sit back, grab a carton of Drinkable Sausage and check out the conversations below!

——————————

RAPID FIRE FIVE WITH LORENZO PUGLIESE, SPONGEBOB SQUAREPANTS IN THE SPONGEBOB MUSICAL

Lorenzo Pugliese, SpongeBob in The SpongeBob Musical

JHP: I understand you were actually a fan on the SpongeBob animated series when you were a kid. What’s it feel like to now be playing him in the Nation Tour of the stage musical?

LORENZO PUGLIESE: It’s a dream come true! If you told me even a year ago that I’d be playing SpongeBob in the First National Tour of The SpongeBob Musical, I’d probably tell you you were crazy.

JHP: Do you have to be a fan of the series to enjoy the stage version?

LORENZO PUGLIESE: Not at all! Part of the genius of this show is that it works both ways. Whether or not you’ve seen the TV show, you’re going to love this musical. Because with or without the association of these iconic characters, you are getting a fantastic story with great characters and a killer score!

JHP: The animated version was created by the late Stephen Hillenburg. While the essence of his characters is ever-present, the musical’s co-creator and director Tina Landau has opted to give the characters a more human appearance. Your own character, for instance, as SpongeBob, you’re not sporting a bright sunshine yellow costume made of sponge and you’re not wearing square pants. Was it more of a creative challenge for you to find SpongeBob’s voice and characteristics without the benefit of the animated version’s trademark physical appearance?

LORENZO PUGLIESE: Being able to bring this super iconic character to the stage was and is the hardest thing I’ve ever done. But having the privilege to work with the original creative team that put this whole show together has made it possible. My character is a result of their brilliant direction and guidance.

The cast of The SpongeBob Musical

JHP: Was SpongeBob really your first professional audition?

LORENZO PUGLIESE: SpongeBob was my first ever New York audition! It feels like I won the lottery.

JHP: Just between us….what’s the secret ingredient in the Krusty Krab’s most infamous menu item, the Krabby Patty?

LORENZO PUGLIESE: I’ll never tell 😉

RAPID FIRE FIVE WITH DARIA PILAR REDUS, SANDY CHEEKS IN THE SPONGEBOB MUSICAL

Daria Pilar Redus, Sandy Cheeks in The SpongeBob Musial

JHP: In the animated series, Sandy is a science loving, martial arts practicing squirrel from Texas. How much fun are you having playing het?

DARIA PILAR REDUS: Sandy is such a rewarding role to play! It’s a blast to do martial arts and show off the smarts while getting to tap into the more vulnerable, soft side of Sandy as well. It’s a side that we don’t get to see a lot of in the animated series, so I love being able to explore all of her layers!

JHP: Prior to being cast, had you seen the musical or were you very familiar with the original animated series?

DARIA PILAR REDUS: I saw the musical during its run on Broadway and absolutely loved it! I was a HUGE SpongeBob fan growing up, and actually remain a fan of the animated series to this day. After seeing the musical in NYC, I couldn’t wait until I’d get the chance to be a part of something as beautiful and fun as The SpongeBob Musical!

Daria Pilar Redus as Sandy Cheeks and Lorenzo Pugliese as SpongeBob in The SpongeBob Musical Photo by Jeremy Daniel

JHP: From the images and clips I’ve seen, scenic and costume designer David Zinn has done a marvelous job representing the fun and vitality of Bikini Bottom, even winning the Tony for SpongeBob’s scenic design. Is there a set detail or particular costume that you wish every audience member could get a closer look at to truly appreciate his creative genius?

DARIA PILAR REDUS: Absolutely! I wish everyone could get a close up on Squidward’s legs, although they’re so cleverly done that perhaps they should remain a mystery! The Mermaid costume is actually a collection of colorful rubber kitchen gloves that creatively make up the tail! Every costume in the show was designed so creatively and specifically!

JHP: Also mirroring that same energy is the show’s choreography by Christopher Gattelli, who won the Tony for his choreography of Broadway’s Newsies. How would you describe the choreo in SpongeBob?

DARIA PILAR REDUS: The choreography alone is a reason to come and see the show! There is everything from tap, to hip hop, classic musical theatre, and more! It’s specific, clever, and downright awe-inspiring.

Redus, Pugliese and Bradshaw as Sandy, SpongeBob and Patrick in The SpongeBob Musical

JHP: Hero Is My Middle Name, written by Cyndi Lauper and Rob Hyman and performed near the end of Act 1 by you, Beau and Lorenzo, has proven to be one of the show’s most beloved songs. Performing it night after night the past few weeks as the tour has began, what has the song come to represent to you?

DARIA PILAR REDUS:  Sandy’s circumstances in this song are quite a bit different from that of her two friends. After being outcasted by the community she trusted for so long, it isn’t an easy decision to forgive and do what’s best for the greater good. But she does just that. This song is about friendship, loyalty, forgiveness, courage and strength. The journey from being defeated to being unstoppable is challenging, Sandy is more sure of her decision every new show!

RAPID FIRE FIVE WITH BEAU BRADSHAW, PATRICK STAR IN THE SPONGEBOB MUSICAL

Beau Bradshaw, Patrick Star in The SpongeBob Musical

JHP: Alright, I’m just gonna ask. While studying musical theater in college in Pittsburgh, did you ever fathom that a year later you’d be touring the country as the human counterpart to a famous pink cartoon starfish?

BEAU BRADSHAW: Actually, yes! I saw this show on Broadway during my senior year of college and all I could think about was how much I wanted to play Patrick. This is really a dream come true. 

JHP: Speaking of touring, what’s life on the road been like since the tour first kicked off just a few weeks ago?

BEAU BRADSHAW: Life on the road is a lot of fun. Getting to see all of these different cities is definitely the best part. The worst part about it is all the packing we have to do. 

JHP: As Patrick, you share a lot of your onstage times with Lorenzo’s SpongeBob. What’s he like as a on-stage best pal?

BEAU BRADSHAW: He’s the best. I couldn’t ask for a better scene partner. We really feed off of each other’s energy and that makes the performance exciting and new every night.

JHP: I have to confess…while my nephews grew up watching SpongeBob, I’ve honestly never seen an entire episode. Do you recommend a quick binge of a few episodes before taking in the show, or is it entertaining in its own right that familiarity with the characters isn’t necessary?

BEAU BRADSHAW: If you’ve watched SpongeBob you will definitely be rewarded with some fun Easter eggs but it’s definitely entertaining all on its own. The music alone is a reason to see this show. 

JHP: You’re not just playing an iconic character, you’re also performing musical numbers by some of today’s most iconic and well-known musicians, singers and songwriters. What’s that like, and do you have a favorite amongst the show’s tunes?

BEAU BRADSHAW: I feel so fortunate to be able to sing music by these amazing artists. The score is so well written that it’s honestly, an actor’s dream. My favorite song would have to be (I Guess I) Miss You by John Legend. It such a beautiful song about two best friends realizing how much they love one another. It’s also one of the shows only ballads.

———————————————

To keep up SpongeBob and the entire Bikini Bottom gang, follow SpongeBob The Musical on Facebook, Instagram, Twitter and YouTube.

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

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

by

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

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

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

———————————————

RAPD FIRE Q&A WITH CRYSTAL BOWERSOX

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JHP: What can audiences expect from Trauma Queen?

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

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

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

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

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

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

———————————————

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

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

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

Theatre Review: Chaffin’s Barn Dinner Theatre’s ‘The Wedding Singer’ a totally awesome trip back to the 80s

by

When I heard Chaffin’s Barn Dinner Theatre was presenting a production of The Wedding Singer, I gotta admit I was excited; mostly because I have had a celebrity crush on Drew Barrymore since her Poison Ivy, Boys on the Side and Mad Love Days, but also because I am of a certain age, the 80s were MY decade. 

While the stage musical is based on the 1998 film of the same name which starred Adam Sandler alongside Barrymore, Sandler has never been a favorite of mine, but the presence of Barrymore and a plethora of 80s music, 80s pop culture and 80s references combined to make the film enjoyable and the perfect property to make the transition from screen to stage.

The story tells the tale of a somewhat ne’er do-well wannabe rock star named Robbie Hart who not only gets left at the alter early on, but also falls for a girl who seems out of his league and simultaneously finds himself paying his musician dues as frontman for a trio whose primary gigs consist of bar mitzvahs, birthdays, retirement parties and wedding receptions. 

Speaking of wedding receptions, with the help of props department: Joy Tilley Perryman, Annie Magan, Jenny Norris, Tammie Whited, stage manager Catherine Wynne Reeves, assistant stage manager Alexis LaVon, tech director Robin Lawshe, lighting designer Daniel DeVault, audio engineers Jacob Allen and Russ Sturgeon and musical director Rollie Mains, the show’s director Curtis Reed and company have turned Chaffin’s Barn into an iconic 80s reception hall, complete with prop wedding cake centerpieces on each table and scrumptious wedding cake added to the dinner theatre’s dessert menu. 

Further immersing the audience into the spirit of an 80s wedding reception feel, before the show began, members of the cast mingled with the audience chatting about the bride and groom.

Interestingly, while the movie soundtrack was chocked full of 80 rock and punk hits by everyone from The Police to Psychedelic Furs, the stage iteration of The Wedding Singer features virtually no covers, and instead boasts a soundtrack of tunes written specifically for the stage with music by Matthew Sklar and lyrics by Chad Beguelin. Beguelin also collaborated with Tim Herlihy, the original movie’s screenwriter to pen the book of the musical.

Even though such well-known tunes from the movie like New Order’s Blue Monday and David Bowie’s China Girl are nowhere to be found in the stage version…I’m guessing the original Broadway producers didn’t want to pony up for all those song rights…the original score does indeed possess a totally 80s vibe.

But here’s the thing. Director Curtis Reed, who also choreographed and co-stars in a multitude of supporting cameos, doesn’t need to rely on 80s pop hits to convey the mullet-lovin’, shoulder-pad wearin’, era. Thanks to Reed’s choreo genius, astute audiences will spot nods to everything from a little Thriller-ography to a few decidedly boy-band dance moves. That paired with the show’s mostly, but decidedly retro tunes, help the audience feel as if they’ve might have gotten a ride in Doc’s Lamborghini for a trip back to the righteously tubular 80s.

Of course it doesn’t hurt that Reed has costumers Miriam Creighton and Emily Irene Peck dressing the cast in iconic 80s styles of powder blue tuxes, color-blocked pastels and fashions inspired by 80s pop fashion legends like Madonna, Boy George and more. The only thing missing were parachute pants.

The boys in the band: Pineiro, Rion and Bissell/photos courtesy Chaffin’s Barn

On the subject of the cast, Alex Pineiro stars as the aforementioned Robbie. Having seen Pineiro in a couple of shows in the past few years, I was excited to learn he had been cast in the lead and I’m here to tell you, if he’s not already, this performance should put Pineiro on the radar of every theatre director in town. As I mentioned above, Sandler has never been one of my favorites, and even with Barrymore as a co-star, his performance in the original film was still my least favorite. That said, Pineiro somehow manages to make you forget Sandler as he not only makes Robbie his own, but makes the audience root for him to get the girl and cheer him on in the process. He’s never more charming that when he’s a bit down-and-out.

Among Pineiro’s standout co-stars are Natalie Rankin as Julia, (the Drew Barrymore role); Daniel Bissell and Nico Rion as Robbie’s bandmates, Sammy and George; Chloe Cahill as Sammy’s feisty girlfriend; Matt Moran as Julia’s intended, Glenn;  Vicki White as Robbie grandmother, Rosie and Jenny Norris as Linda, Robbie’s runaway bride.

Jenny Norris as Linda in her decidedly Madonna-inspired wedding dress.

Of those cast members, Rion turns in a Boy George-inspired hilarious performance poking just the right amount of fun at the now pc concept of gender fluidity back when it was just called flamboyant. Meanwhile White’s turn as Robbie’s rappin’ granny steals every scene she’s in. 

With the musical soundtrack devoid of the aforementioned 80s chart-toppers, the musical numbers won’t likely make your post-show playlist, but in the moment, you just can’t help but bop your head to the decidedly 80s rhythms. That said, musical highlights include Awesome a sweet duet between Pineiro’s Robbie and Rankin’s Julia, Somebody Kill Me, Robbie’s angst-ridden emo number made famous in the movie, Rion’s glitterific George’s Prayer and All About the Green in which Glenn expresses himself as a bit of a material boy.

As if those already mentioned don’t pack enough star-power into the production, the supporting ensemble members all turn in noteworthy performances including Tyler Inabinette, Lauren Woodward, Bethanie Lyon, Seth Brown, Austin Jeffrey Smith, Kathleen Mitchell, Kaleb Frey, Aubrey Guice, Seth Bennett and the always fabulous Tosha Marie and the much-mentioned and beloved Reed. From giddy bridal girls (Nashville knows a thing or two about those) and overbearing wedding party members to a handful of celeb impersonators (a hilarious scene thankfully held over from the film) including Brown as Cher (or at least a drag version thereof), Smith as a leather pants-wearing, sneering Billy Idol and  Marie as the cutest, thinnest, youngest Tina Turner I’ve ever seen on stage. With enough sights, sounds, fashions, feelings and pop references to fill an 80s scrapbook, Chaffin’s The Wedding Singer is one wedding party you don’t wanna miss. Performances continue through October 19. CLICK HERE or call 615.646.9977 for reservations. 

Thursday matinees begin at 12 noon (doors at 11a.m.), while Thursday, Friday and Saturday evening performances begin at 7:30p.m. (doors at 5:30). Sunday matinees begin at 2 p.m. (with doors at noon for lunch service.

Thursday matinee tickets are $19 for show only or $27.50 for show and a Box Lunch. (Wednesday matinee will also offer the Box Lunch option). Evening show tickets are $13 for children 12 and under, $20 for youth/students and $35 for adults. Living up to their Barn Dinner Theatre name, Chaffin’s also offers a full buffet option or a la carte menu items for their evening and Sunday lunch matinee performances. Chaffin’s delicious buffet, featuring a choice of entrees (including a veggie option), and a number of side items is available for an additional (but completely worth it) $15.95, while the a la carte menu items (also quite tastily) range in price from $6.95 to $10.95, plus there’s a wide array of desert options to choose from $2.50 to $5.00. CLICK HERE to check out the menu. 

While The Wedding Singer wraps its run on the Mainstage this weekend, Greater Tuna starring Greg Frey and Scott Rice opened earlier this week at Chaffin’s Backstage, with shows continuing thru November 2. CLICK HERE for tickets or more info. Up next at Chaffin’s on the Mainstage is Ollie’s Diner directed by Joy Tilley-Perryman, running October 24-November 2. CLICK HERE for tickets or more information. As a special deal, the theatre is offering buy-one-get-one for both of these upcoming shows. To take advantage of the BOGO for Greater Tuna, call the box office and mention the promo code: TUNATEXAS. To get BOGO tix for Ollie’s Diner, mention promo code: GHOST.

To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

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

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

by

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

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

———————————————

Bradley Moore

JHP: How did you become involved in this project?

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

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

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

JHP: Who have you got amongst your cast?

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

JHP: What can you tell me about the plot?

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

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

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

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

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

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

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

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

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

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

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

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

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

———————————————

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

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

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

Theatre Review: ‘Dear Evan Hansen’ at TPAC’s Jackson Hall thru Sunday

by

Before attending Opening Night of the Nashville leg of Dear Evan Hansen’s current national tour at TPAC’s Jackson Hall this past Tuesday, I didn’t really know much about the show. I knew the basics…it’s the story of a highschooler who doesn’t fit. I knew there was something about bullying and that it touches on the ever-increasing teen suicide epidemic, but beyond that, I was clueless. Shoot, I didn’t even listen to the soundtrack until I was getting ready to attend the show. My ignorance ended up being a good thing, as it’s refreshing to attend a show I’ve never seen.

Interestingly, the night of Dear Evan Hansen’s Music City premiere also coincided with World Suicide Prevention Day. Having lost a dear friend to suicide nearly a decade ago, I wasn’t sure how I’d react to the show, especially given the fact that upon entrance to the theatre, more than one friend in attendance suggested I have plenty of tissue on-hand as the show would likely ‘make my eyes sweat’ as my Uncle Gary would say.

While Dear Evan Hansen is indeed a surprisingly moving piece of theatre as it delves into the story of a teenage boy balancing a dysfunctional home life with being a loner at school, apparently I’m all cried out, as I only shed a single tear during the show’s eponymous Act 1 closer.

Don’t get me wrong, though. Everything about this show is spectacular, from the pre-curtain audio and visual clues that we live in an absolute social media driven world to the stellar performances of the entire cast. 

On the subject of the audio/video, scenic designer David Korins, who’s worked on everything from Pee Wee Herman Show on Broadway to Hamilton and projection designer Peter Nigrini, along with lighting designer Japhy Weideman and sound designer Nevin Steinberg create a magnificently overly-stimulating muti-media backdrop, the perfect physical representation of just how overwhelming things can get for your average adolescent, especially in the ‘hate-like’ social media world we all now live in.

Ben Levi Ross is nebbishly nerdy Evan Hansen, presenting our stories hero/anti-hero with characteristics completely relatable to anyone who ever found themselves on the outside looking.

Cast as Evan’s mom, Heidi Hansen is Jane Pfitsch. She plays the parent oblivious to her son’s life with an equal balance of genuine concern and practical absence.

Seemingly juxtaposed to Evan’s and his mom’s life are the Murphy’s an affluent upper-middle class family consisting of dad, Larry (Aaron Lazar), mom, Cynthia (Christiane Noll), daughter, Zoe (Maggie McKenna) and son, Connor (Marrick Smith). 

I say seemingly because it’s soon revealed that the Murphy’s aren’t exactly The Cleavers. I fact they’re far from it. 

Regardless of how different the two family units are, the commonality is quickly discovered right at the top of the show when Noll and Pfitsch duet (from their respective homes) on Anybody Have a Map?, a tune that brings to the forefront the shared struggles of parenthood.

Next up, Waving Through a Window features Ross and company as the themes of isolation and being an outsider come to light.

Of all the musical moments presented in Act 1, Requiem is among the most gorgeously presented. Following the SPOILER ALERT sudden death of Connor, his family each deal with the tragedy in their own way. Requiem also serves to showcase three of the show’s most talented vocalist, McKenna in particular, who’s vocal skills seem, at lest to me, nestled beautifully somewhere between Sarah McLaughlin and Amy Winehouse.

Moving the plot along, in a bit of a contrived, but ultimately interesting way, Evan becomes embroiled in the Murphys’ lives following their son’s death. For you see, what was initially intended to be a writing exercise assigned by Evan’s therapist, mistakenly becomes thought to be Connor’s suicide note.

Fueled by his own insecurities, his need to please others and a desire to be part of a cohesive family unit, Evan keep silent about the mixup, even adding to the deception by creating an entirely fabricated friendship with the deceased young Murphy by way of faking back-dated emails between the two teen boys with the aide of Evan’s cousin, Jared  (played by Jared Goldsmith) and a memorial social media presence created by fellow classmate Alana (Phoebe Koyabe).

As Evan’s web of lies expands, he not only gets in too deep to turn back, but he also experiences popularity at school, newfound friendships and an unexpected closeness with the Murphys, including a budding romance with Zoe.

Act 1’s Disappear, which features what is, in essence, Evan duetting with the deceased Connor proves one of the show’s most touching musical moments, starting somberly, then crescendoing to an interestingly upbeat number. Disappear is a perfect example of how the book by Steven Levenson, with music and lyrics by Benji Pasek and Justin Paul find a gorgeous balance between the seriousness of the subject matter peppered with just enough lightness to keep the tears at bay for the most part. That said, I dare anyone to keep a dry eye during Act 1’s final number, You Will Be Found.

For Act 2, as Evan finds himself closer and closer to the Murphy’s To Break in a Glove presents the father/son moment he (and most) dream of as Mr. Murphy and Evan share a particularly sweet moment. 

If To Break in a Glove is that idyllic father/son moment, Only Us, featuring McKenna’s Zoe and Ross’ Evan is the quintessential boy loves girl highlight.

The remainder of Act 2 explores Evan’s inner conflict as he wrestles with fessing up to being the one who wrote the note believed to be Connor’s suicide note, perfectly vocalized in Words Fail, an emotional number whose haunting lyrics are among those that will surely remain long after audiences leave the theatre. 

Just as the show began with Evan’s mother questioning her abilities as a parent, the show ends with yet another touching tune, So Big/So Small, in which she comforts Evan in the wake of his deception exposed. 

Dear Evan Hansen wraps its Nashville tour stop with a Sunday matinee at 1 p.m. and a final early evening performance at 6:30 p.m. CLICK HERE for tickets or more information.

Following their Music City dates, Dear Evan Hansen continues its National Tour with upcoming dates across the US and Canada through September 2020. CLICK HERE to see when the show is coming to a theatre near you. 

TPAC’s 2019/2020 Broadway Season continues with Once On This Island coming to TPAC’s Jackson Hall October 15-20. The SpongeBob Musical November 5-10, CATS November 19-24, Hamilton December 31-January 19, My Fair Lady February 4-9, Blue Man Group February 11-16, Jesus Christ Superstar March 3-8, The Color Purple March 27-29, Escape to Margaritaville May 5-10m Summer: The Donna Summer Musical May 26-31 and Charlie and the Chocolate Factory June 9-14. CLICK HERE for more.

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

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

Theatre Review: Final weekend to see ‘Sherlock Holmes: The Final Adventure’ at Chaffin’s Barn

by

Growing up, I was more into Agatha Christie’s super sleuths, Miss Jane Marple and Hercule Poirot than Sir Arthur Conan Doyle’s Sherlock Holmes. Nonetheless, I would find myself occasionally perusing the pages of a Holmes mystery from time to time and have always been a fan of The Final Adventure. For their current production, Chaffin’s Barn Dinner Theatre has chosen the stage adaptation of Sherlock Holmes: The Final Adventure by Steven Dietz, based on the 1899 play by William Gillette and Sir Arthur himself.

Winton as Sherlock Holmes (all images by Michael Scott Evans)

Directed by Daniel DeVault, Charles Winton stars as the famed detective with Michael Roark as Doctor Watson, Shannon Hoppe as Irene Adler and Benjamin Jones as Professor Moriarty. Whether you’ve read only a story or two by Sir Arthur, or perhaps caught an episode of CBS’s recently-ended Elementary, chances are you’re familiar with these characters, as Watson is and always will be Sherlock Holmes’ trusted friend and right-hand-man, while Moriarty is frequently seen as the venerable detective’s arch nemesis and Adler the object of Holmes’ affection.

From the start, director DeVault perfectly presents a shroud of mystery necessary in carrying off a believable Holmes tale. I particularly enjoyed the film noir-esque way in which a couple of the story’s characters were introduced. While Watson and Holmes discuss them, the audience is treated to visual preview as they are seen in daunting silhouette behind a scrim just off-stage. 

Winton is enjoyable as Holmes, playing the part of the inexplicably astute detective with a knowing sense of self and just the right amount of humor.

As for his erstwhile companion, Doctor Watson, Roark, too, is perfectly cast. Making her Chaffin’s debut, Hoppe’s Irene is initially presented as the damsel, but as story evolves, so to does her character, leading one to realize she just might be causing a bit of the distress herself. Of the performances, Hoppe’s is the most layered, but she plays is so well those layers slowly reveal themselves.

Meanwhile, Jones’ Moriarty is blissfully, entertainingly played to the max, channeling every dastardly over-the-top villain from Die Hard’s Hans Gruber to James Bond’s Dr. No. All that’s missing is the occasional evil laugh.

Shanon Hoppe and Josh Kiev as Irene Adler and the King of Bohemia

Also watch-worthy is Josh Kiev as the King of Bohemia, who hires Holmes to help retrieve a potentially compromising photo of himself and Irene in the days before the King is to wed, thus setting up the web of lies and deceit that evolves into the usual Holmes murder plot.

Rounding out the cast are Moriarty’s villainous compadres, Gabe Atchly as James Larrabee, Laura Proctor as Madge Larrabee and Scotty Phillips as Sid Prince.

Director DeVault and his skilled cast present a thoroughly enjoyable—if sometimes predictable—adventure filled with intrigue, plot-twists, romance and…death. Costume designer Miriam Creighton’s wardrobe, along with Joy Tilley Perryman’s period-perfect props and Kaitlin Barnett’s sound design, with DeVault also serving as lighting designer, comes together brilliantly as they bring a little classic tale of murder to the beloved dinner theatre.

Winton and Hoppe as Sherlock and Irene

Sherlock Holmes: The Final Adventure runs through Sunday, September 15. Thursday-Sunday. Thursday matinees begin at 12 noon (doors at 11a.m.), while Thursday, Friday and Saturday evening performances begin at 7:30p.m. (doors at 5:30). Sunday matinees begin at 2 p.m. (with doors at noon for lunch service.

Thursday matinee tickets are $19 for show only or $27.50 for show and a Box Lunch. (Wednesday matinee will also offer the Box Lunch option). Evening show tickets are $13 for children 12 and under, $20 for youth/students and $35 for adults. Living up to their Barn Dinner Theatre name, Chaffin’s also offers a full buffet option or a la carte menu items for their evening and Sunday lunch matinee performances. Chaffin’s delicious buffet, featuring a choice of entrees (including a veggie option), and a number of side items is available for an additional (but completely worth it) $15.95, while the a la carte menu items (also quite tastily) range in price from $6.95 to $10.95, plus there’s a wide array of desert options to choose from $2.50 to $5.00. CLICK HERE to check out the menu. 

Next up at Chaffin’s Barn Dinner Theatre is The Wedding Singer, starring Alex Pineiro, on stage September 19-October 19. CLICK HERE to purchase tickets or call 615.646.9977 to make reservations with the box office. To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

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.