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In 2019, Daniel Fish’s bold new interpretation of the musical theatre classic Rodgers and Hammerstein’s Oklahoma! debuted on Broadway. Later that year the show won the Tony Award for Best Revival of a Musical. In October of 2021, casting for the National Tour was announced alongside tour dates across the US from November 2021 through October 2022. Just last week, as Oklahoma! prepares for their Music City debut on stage at TPAC’s Jackson Hall with shows Tuesday May 3 through Sunday, May 8, I got the chance to pose a few questions to cast members Benj Mirman and Christopher Bannow for the latest installment of my recurring interview feature, Rapid Fire 20Q.

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RAPID FIRE Q&A WITH BENJ MIRMAN, ALI HAKIM IN OKLAHOMA

JHPENTERTAINMENT: Who is Ali Hakim to you?

BENJ MIRMAN:  A simple man.  He loves the ladies, loves to make money and, perhaps unexpectedly, loves to dance. 

JHPENTERTAINMENT: Being part of the tour must feel like a bit of a full-circle moment for you, given the fact you played Ali Hakim in the 2015 workshop  of director Daniel Fish’s Oklahoma that preceded this iteration’s Broadway run. Has your Ali changed, first from the original source material then to the 2015 presentation and on to Broadway and the tour?

BENJ MIRMAN: The 2015 Bard production was very much a full production but it’s been a joy to see how much our director, Daniel Fish, has really dug into his ideas.  Choices that were bold in 2015 are all the more bolder and clearer now in our touring production.  I’ve changed (and hopefully grown!) a lot as a person and actor since 2015, but Ali Hakim has always been the same Ali Hakim.

JHPENTERTAINMENT: When first presented at Bard College’s Fisher Center and then on Broadway at Circle in the Square, scenic designer Laura Jellinek’s set truly incorporated the audience into the action. By nature of the venues hosting the National Tour, the proximity between the actors and the audience isn’t physically possible. How has that challenge been addressed?

BENJ MIRMAN:  It’s quite different, that’s for sure.  I think one of the gifts of the proscenium is that the audience really has a chance to take in everything, all at once.  Certainly the physical intimacy between actor and audience has changed, but my hope is that the intimacy of the production as a whole remains intact. 

JHPENTERTAINMENT: From what I understand, this is your first National Tour. What’s the best aspect of being on the road?

BENJ MIRMAN: It’s a thrill to eat and drink my way through these new cities. I’m a tour newbie, so I’m surely doing some part of this experience “wrong”, but I’m having a great time just wandering around new places.

JHPENTERTAINMENT: As the world seems to be getting back to pre-pandemic normalcy, are there things you hope to do or see while on tour across the country?

BENJ MIRMAN:  I would love to go see more performances while we are on the road (specifically live music but open to all!).  The COVID anxiety of being at small venues that don’t necessarily have COVID protocols in place can be a bit stressful with our testing regimen.  I look forward to that worry going away!

JHPENTERTAINMENT: If you could step into another role, even if just for one night, and regardless of whether you fit the type or not, what character would it be and why?

BENJ MIRMAN:  I’m not qualified for a variety of reasons, but it’s Curly for me.  I’m a sucker for all the songs he sings (and the cue to the green lights in “Surrey…”).  I couldn’t hold a candle to my good pal Sean Grandillo, but maybe he could teach me a couple guitar chords just for fun.

JHPENTERTAINMENT: As far as Broadway National Tours go, the company of Oklahoma is relatively small. Has that enabled a better sense of family amongst the cast while preparing for the tour and now that you’re on the road?

BENJ MIRMAN:  I’m very grateful that our group is so small.  It really does feel like this rag tag, motley crew.  I’ve been able to spend quality time with the vast majority of our company and I’m not sure that would’ve been the case if there were 30 of us. 

JHPENTERTAINMENT: Ali Hakim takes the lead on It’s a Scandal! It’s a Outrage! lamenting Ali’s predicament of being forced into marriage. Grammatical titular error aside, what’s your favorite aspect of performing in this particular number?

BENJ MIRMAN:  Somewhere on the internet, there’s a linguistics podcast discussing the title of the song…not sure what it’s called but it’s out there.  I love connecting with both the audience and my castmates during the song, really trying to find someone who truly understands Ali’s frustration and plight. 

JHPENTERTAINMENT: Speaking of Ali’s proposed pending intended, who much fun are you having sharing scenes with Sis as Ado Annie Carnes?

BENJ MIRMAN:  I’m having a wonderful time.  One of the strengths of this production is we are all encouraged to bring ourselves to our roles and that means that Ado Annie is strong, funny, opinionated and not a pushover.  We have good fun up there. 

JHPENTERTAINMENT: Is there a message, or an idea within the context of this update of Oklahoma that you hope audiences remember long after the wind has swept down the plain?

BENJ MIRMAN: It’s okay to leave the theater asking questions and it’s okay to be uncomfortable with what’s happening in front of you. 

RAPID FIRE Q&A WITH CHRISTOPHER BANNOW, JUD FRY IN OKLAHOMA

JHPENTERTAINMENT: You play Jud in the National Tour of director Daniel Fish’s boldly reimagined Oklahoma. Who is Jud Fry?
CHRISTOPHER BANNOW: He’s the poorest person on stage, and he’s an employee. He works as a farmhand, he lives in a smokehouse on the farm, he’s been working hard day and night for two years, and he just wants to be with Laurey and finally have a meaningful relationship in his life. He wants his life to have some meaning, and the action of the play shows what happens to him when he tries to make that a reality.

JHPENTERTAINMENT: Prior to being cast as Jud in the tour, you appeared in the Tony-winning Broadway revival understudying a multitude of roles, including Jud. Now that you’ve taken on the role full-time, are their nuances of the character that you’ve discovered or now elaborate on?
CHRISTOPHER BANNOW: Yeah it’s been a gift to have both perspectives. There’s so much I was able to learn watching Patrick Vaill do it on Broadway. Watching him change and grow in the role from the outside really gave me a solid foundation to work from. It supplied me with a bunch of options that I knew worked. And being on the inside now, I’m able to marry some of those options with things I’ve found organically. I’ve been interested recently in Jud’s lack of action in the show. He asks Laurey to go to the Box Social, he tries to bid on her hamper, and then the play takes a turn. But before that, for the first 2/3rds of the show, he really is doing nothing wrong. The way that the other characters treat him in those first 2/3rds, the harshness they treat him with, really is not congruent with his actions. So feeling those first 2/3rds of the play catalyze the final 1/3rd has been a recent discovery.

JHPENTERTAINMENT: You made your Broadway debut in the 2014 revival of The Elephant Man which starred Bradley Cooper and Patricia Clarkson. What do you remember about the first time you stepped out onto the Broadway stage?
CHRISTOPHER BANNOW: I remember being backstage with Bradley, we both entered from the same place more or less. And for his first entrance he was shirtless and wearing rags and basically had a bag over his head, but there we were, just so excited, he and I were equally pumped,, and we were both just geeking out together at how cool this moment in time was. And when I entered the stage and I saw all those bodies crammed so closely together and the energy of a sold out house on Broadway, I felt like I was where I was supposed to be.

JHPENTERTAINMENT: While your career focus has been on stage as of late, you also have experience behind the scenes, having assistant directed a couple of productions during your undergrad years at Boston University’s College of Fine Arts. Do you think your experiences behind the scenes have helped your performance on stage?

CHRISTOPHER BANNOW: Most definitely. At BU I assistant directed, and then at Yale I directed two or three productions. I really love that side of it, and who knows maybe that will be a bigger part of my life at some point. But absolutely, understanding the needs of a director is a huge asset for an actor. The director needs to figure out how to tell the story, so that an audience can receive it as fully as possible. There are 1,000’s of options within any given play, and the job of the director and actor is to figure out which version of the story both parties find most compelling. If you can help the director do that, you become sort of a VIP and people will want to have you in the room.

JHPENTERTAINMENT: As you mentioned you followed your BFA at Boston with an MFA from Yale School of Drama. Among your coursework there, you studied Speech/Dialect and Stage Combat. I’m guessing both those classes are coming in pretty handy in your current role as Jud?

CHRISTOPHER BANNOW: You know I’ve never fired a gun in real life, and probably never will. But onstage I have fired many firearms, I’ve punched so many people, I’ve had a couple of duels, and I’ve been thrown around like a paper doll. Rick Sordelet works nonstop over the country and he was our Stage Combat teacher and I really value the time I had with him there. And speech work is so important, and although I don’t warm up as much as I should I still have recordings from speech guru Beth McGuire from 2nd year at Yale that I play every now and then to keep in shape.

JHPENTERTAINMENT: As Jud, you share several scenes with Sasha Hutchings’ Laurey, who was also part of the Broadway production. What’s the best thing about Sasha as a scene partner?
CHRISTOPHER BANNOW: Sasha is the definition of a professional. She shows up every night and never holds back and is always in pursuit of the best possible version of the show. We both understudied on Broadway and so we know that these roles are a huge responsibility and a privilege to be trusted with, and it can’t be taken for granted. She’s really wonderful. Everyone should hire her.

JHPENTERTAINMENT: While Jud is enamored by Laurey, he’s hindered by Curley, played by Sean Gandillo. The two of you are featured in the show’s most volatile scenes. How do you prepare for the gravity of those scenes night after night?
CHRISTOPHER BANNOW: You know a lot of that has to do with our trust in each other. I enter the stage at the very top of the show and listen for about an hour before Sean and I start going in our scene. It’s a huge gift for me that I can be fully present in everything else that is happening on stage and then instantly when Sean and I make eye contact we begin. There’s no prep or warning, there’s no run up. We both take a breath and see where the scene takes us every night. And when we exit we always give each other a little hug. I super appreciate his willingness to be vulnerable with such heavy material.

JHPENTERTAINMENT: Speaking of Curley. Near the end of Act 1, Curley comes up with an interesting way to eliminate his competition as laid out in Poor Jud is Daid. What’s your favorite aspect of this particular number?
CHRISTOPHER BANNOW: Mmm yeah. Well for anyone who sees the show they’ll know that it’s both a very private and very public moment. My job every night is to stay grounded in the privateness of it, the intimacy of it, and listen to Sean and be present with him. It’s easier said than done but I love the challenge of it.

JHPENTERTAINMENT: Jud’s main musical moment comes with Lonely Room. The revival’s musical arranger, Daniel Kluger’s work during this number is among my favorite in the show as it seamlessly transitions from melancholy to angst-ridden determination. Is there a particular musical moment—your’s or someone else’s—that you truly love hearing each performance?

CHRISTOPHER BANNOW: Yeah I really love Lonely Room too, I never get tired of going through that journey. But in addition to that moment I really love hearing the entire cast (sans me) sing Oklahoma the first time. I’m the only one offstage and I can’t really see what’s happening but I can hear everyone’s voices and the blending of melodies and the energy as it ramps up and the true celebration of the moment that really shines through in that song. This cast really sounds good together and it’s a joy to get to be on the receiving end.

JHPENTERTAINMENT: Is there a message, a vibe or a feeling you hope audiences take with them after seeing Oklahoma?
CHRISTOPHER BANNOW: The vibe I hope you take away is Rodgers and Hammerstein meets America 2022 meets You.

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Rodgers and Hammerstein’s Oklahoma! premieres in Nashville at TPAC’s Jackson Hall Tuesday, May 3 with performances thru Sunday, May 8. CLICK HERE for tickets.

Not in Nashville? Oklahoma! continues its North American Tour with dates across the US through the fall. CLICK HERE for show dates and locations or follow Oklahoma! on Facebook, Twitter and Instagram.

For more from Benj Mirman and Christopher Bannow check out their Instas.

As for TPAC, next up is the World Premiere presentation of May We All: A New Country Musical, June 7-July 17. 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!

Earlier this week, while the cast of Nashville Repertory Theatre‘s Mary Poppins was in the midst of their final rehearsal before opening night Thursday, April 28, four of the show’s leads were gracious enough to take time out of their busy schedules to take part in my latest Rapid Fire 20 Q. Up first, it’s Mary Poppins herself, Christine McNeal. I followed my conversation with Christine by chatting with Jeremy Benton, who’s playing Bert. After chatting with Christine and Bert, it was time to pose a few questions to  Mr. and Mrs. Banks, Geoff Davin and Natalie Rankin. 

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RAPID FIRE Q&A WITH MARY POPPINS STAR, CHRISTINE MCNEAL

JHPENTERTAINMENT: Other than the obvious Practically Perfect response, what is it about Mary Poppins that drew you to this role?

CHRISTINE McNEAL: I have adored Julie Andrews and the movie Mary Poppins ever since I can remember. So, that was the beginning of my love with the role, but then that love grew. She is loving, direct, confident, quick witted, AND she sings and dances. Mary is such a complex character, especially once you dive into the books and other resources and it has been one of the great honors of my life to get to know her so well. 

JHPENTERTAINMENT: This also marks your Nashville Rep debut. They’ve long been one of my favorite local theatre companies. What’s been the most surprising aspect of working with this company?

CHRISTINE McNEAL:  It has been such an absolute joy working with the Nashville Rep. The theatre community in Nashville is very new to me, so I came in not quite knowing what to expect, but it has been such a delight. I think the biggest thing that has stuck out to me is the instant sense of community. We went through the beginning of covid together, and everyone had everyone’s back throughout this whole process. I feel always seen and heard by them, and I see them doing that for all the cast and crew members. 

JHPENTERTAINMENT: While this is your first time portraying the role of Mary Poppins, this isn’t your first time being part of the show, having appeared as an ensemble member in a couple of summer stock productions in Georgia in 2014 and in Idaho in 2015. How exciting is it for your to now be front and center portraying one of the most beloved characters of stage, screen and the page?

CHRISTINE McNEAL: It is truly a dream come true to be playing Mary, and I have to pinch myself nearly every day. I so admired the actresses that I saw play the role in those productions I was in, and I felt like that was invaluable prep for auditioning for this production. It feels like the biggest honor as well because this story, character, and the music are so beloved to many people out there. I just want to do Mary justice for them. 

JHPENTERTAINMENT: While there are certain iconic looks, thanks to Disney’s original 1964 film adaptations, I’d image the show’s costumer, Lori-Gann Smith is putting her own touch of magic to the costumes. What’s your favorite look, your’s or any other cast member’s in this production?

CHRISTINE McNEAL: Ooo yes, the costumes are some of my favorite parts! I love that there are nods to some of the film looks that people will recognize and be excited by, but there are also surprises that the audience will love too. There is a blue skirt suit that Mary wears that feels very iconic and fresh at the same time, and I just adore the whole outfit. 

JHPENTERTAINMENT: Can’t chat with Mary Poppins without asking about the aerial effects. Can you tell me a little about that?

CHRISTINE McNEAL: Yes! This is my first time flying in a show, and it has been very exciting. I thought it would feel a bit scarier at first, but it has been a lot of fun. We just had our first dress rehearsal with the flying, and that really made the magic come alive for me. I think that the audience is going to be absolutely thrilled with all of the aerial surprises in this show, and I cannot wait to feel that joy alongside them. 

RAPID FIRE Q&A WITH JEREMY BENTON, BERT IN MARY POPPINS

JHPENTERTAINMENT: Alright, you gotta know you’re one of my Theatre Crushes. I first saw you alongside Rachel York in the National Tour of Anything Goes, then again in my all time favorite Christmas musical, White Christmas. Now you’re Bert in Nashville Rep’s Mary Poppins. From what I understand this is your first show with Nashville Rep. How’s it going so far?

JEREMY BENTON:  Oh gosh, ha, well, thank you!  I feel SO lucky to have gotten a chance to not only play some of my “bucket list” roles, but that I got to tour through TPAC while playing those roles! And yes indeed, this is my very first show with Nashville Rep.  I am absolutely thrilled that they trusted me with the role. It’s a dream role, and one of those movie roles made iconic by another song-and-dance hero of mine, the incomparable Dick Van Dyke. When I met with Drew Ogle and Micah-Shane Brewer about the possibility of making this happen, I knew right away that I’d love working with them and the incredible cast/crew/and team that they’d assembled.  The talent is absolutely top notch, the management crew is dedicated and fearless, the crew is ferociously attentive to detail and safety, and the design/creative team is absolutely dreamy.

JHPENTERTAINMENT: While it’s your first time with Nashville Rep, it’s not your first time playing Bert, having played him in back in 2015. Any nuances of this portrayal of Bert that you’ve honed under the direction of Micah-Shane Brewer, who’s directing Nashville Rep’s production?

JEREMY BENTON: Absolutely!  First of all, I was allowed to come in about 2 weeks late into the rehearsal process due to me being in an industry workshop of the new play Merman: A Backwards Tale About Ethel in NYC. To say that I was appreciative of this allowance would be the understatement of the year, haha. Upon arriving late to the process, I jumped right in and hit the ground running. (MUCH to the credit of some extra rehearsals with our fabulous dance captain, Ray Gleaves, and my superstar understudy, Mike Sallee). After a few stumble throughs of each act, Micah-Shane had some really insightful notes for me about Bert’s role in the play, some layers of character that really help with gluing the evening together, but most of all, he allows us as actors to “Sure!  Try it. Let’s play with it and see where it leads”… These words are pure gold for actors.  Feeling the freedom to explore, but knowing that it will be shaped by a director that thoroughly understand the play is one of the best feelings to have during rehearsals.

JHPENTERTAINMENT: In addition to the aforementioned roles, you’ve also played Don Lockwood, the Gene Kelly role in Singin’ in the Rain and Fred Astaire in Backwards in High Heels…Gene Kelly, Fred Astaire and Dick Van Dyke…they’re some sort of Holy Trinity of Musical Theatre Dance, right? How’s it feel to continue the tradition on stage as you dance your way into the hearts of audiences night after night?

JEREMY BENTON: Let’s not forget Bob Hope in the musical about James Cagney titled Top Of The World! Haha! (A lot of folks don’t know that Mr. Hope was also a top notch song-and-dance man himself).  Yes, there does seem to be a theme to my career: playing the Old Hollywood song-and-dance movie stars of yesteryear, or at least the roles they made famous on film. Fred, Gene, Dick, Bob, Donald O’Conner, Ray Bolger.. yes, definitely a theme! To be honest, I do take it as a sort of responsibility… to always honor the genius and memory of these icons. But at the same time, not to “imitate”. I always describe it as finding the essence of them, or their performance, and then sprinkling that on top of a performance from me that comes from a very honest place.  I also try to remember and recapture that feeling of joy and awe that I had as a little kid, watching these movies for the first time.  My theory is that if I’m finding and sharing my own joy, the audience more than likely will always come along with me.

JHPENTERTAINMENT: While preparing to chat with you, I fell own a rabbit hole of Mary Poppins conspiracy theories…you read that right…among my favorites, conspiracies that Mary was Bert’s Nanny when he was a boy. Thoughts?

JEREMY BENTON: WHAT?! Oh my gosh, I had not heard that one!  Well, that adds quite a few “layers to the onion” as we say in showbiz, haha! 😆

JHPENTERTAINMENT: You know I could do an entire Rapid Fire 20Q with you, but alas, I’ve got a couple more of your cast members to chat with for the remainder of my questions, so I’ll leave you with this…What aspect of Bert’s personality would you like to adapt to your own life?

JEREMY BENTON: This is such a great question.  You know, it’s actually close to something I’ve already been thinking about, and noticed about this role that, in a few ways, parallels my actually life and outlook these days.  My sister has four kids, making me Uncle Jeremy of two nieces and two nephews.  While running a few scenes with the kids in our show, I felt that “Uncle Energy”, ha. You know what I mean?  I find that, in a way, playing Bert feels quite similar to being an uncle.  A quirky, song-and-dance uncle, but an uncle none the less.  And the role of Bert reminds me of an important mission that I am forever working towards:  protecting, listening to, and breathing life into my own inner child.  Bert as a character does this effortlessly.  In that aspect, I’m sort of envious of him.  But playing him onstage is like going to the “inner child” gym.  It strengthens those “play” muscles, and Bert’s outlook is a bit infectious.  I hope it stays with me a long time after Mary Poppins closes.

RAPID FIRE Q&A WITH GEOFFREY DAVIN, MR. BANKS IN MARY POPPINS

JHPENTERTAINMENT: I just finished chatting with Christine and Jeremy, both of whom are making their Nashville Rep debut in this production. You however, are no doubt familiar to Nashville Rep audiences, having appeared in a handful of shows throughout the last decade, most recently in Ragtime, their return to live theatre post-shutdown. What’s it like to be back again and now playing Mr. Banks?

GEOFF DAVIN: Well of course this was the show that we were working on back in 2020 when Covid shut everything down. So this show was definitely unfinished business for many of us. It was very much like a reunion coming back in on that first day of rehearsal. And I truly can’t wait to share it with the Nashville community. It’s a magical piece. And I think we all need a little magic in our lives right now.

JHPENTERTAINMENT: As Mr. Banks, you’re among the show’s characters who undergoes a bit of a transformation in attitudes. How gratifying as an actor is a role like this?

GEOFF DAVIN: I am very grateful for the chance to play this role. And actually, in many ways, I understand George more now than I did back in 2020. So it’s actually quite cathartic to get to take this journey and be reminded each day of what’s truly important in life.

JHPENTERTAINMENT: Many Mary Poppins fans no doubt likely associate Mr. Banks with Brit-born character actor, David Tomlinson who portrayed him in the 1964 Disney film adaptation. How are you making the role your own?

GEOFF DAVIN: I haven’t seen the film since I was a child. So I purposely have not rewatched it. But my goal with any character that has already been defined by another actor’s performance is to honor the essence of it while throwing out the details of that actor’s portrayal. Even when you think you know a character, it’s important to always start by searching for their truth and approach the character with compassion and understanding…never judgement. And in doing so, I trust that my lens is going to be different than Mr. Tomlinson’s lens. 

JHPENTERTAINMENT: Quite often, the actor portraying Mr. Banks also appears throughout the show in a variety of other smaller roles. Is that the cast with this production?

GEOFF DAVIN: I actually didn’t know that. That surprises me. I can’t picture how he would be able to do that. But no, that is not the case here. I am only Mr. Banks. 

JHPENTERTAINMENT: As Mr. Banks, you share many scenes with the Missus, Mrs. Banks, played by Natalie Rankin. Since I’m about to chat with Natalie, How has it been to have her as a scene partner?

GEOFF DAVIN: While George and Winifred’s relationship is struggling, they do ultimately love each other. So as an actor, when your character has to love another character, it’s your job to make a connection with that actor and to make yourself emotionally vulnerable to that person. And I hate to say it, but that’s not always easy to do. But fortunately, Natalie makes it incredibly easy. She is just the loveliest human being and always brings such a great energy to the rehearsal room. So I’m very grateful for that.

RAPID FIRE Q&A WITH NATALIE RANKIN, MRS. BANKS IN MARY POPPINS

JHPENTERTAINMENT: Much like Bert, who’s been a chimney sweep, a one-man band, a sidewalk chalk artist, and a kite salesman, Winifred Banks, at least in all the incarnations from books to film to musical has been a suffragette, a socialite, a mom and an actress. Aside from actress, what’s your life resume look like?

NATALIE RANKIN: What a great question! Aside from Actress, my life roles have included Barista, Nanny, and Yogi – and most recently have shifted to Vocal Coach, Plant Lady, and Wife.

JHPENTERTAINMENT: OK, I gotta admit, while I do indeed enjoy Supercalifragilisticexpialidocious (and yes, I typed that out with absolutely NO spellcheck or autocorrect), two of my favorite moments in the show are Feed The Birds and your solo, Being Mrs. Banks. What are your favorite moments in the show, whether you’re involved or not?

NATALIE RANKIN: This is a tough one! Those are some of my favorite moments, as well. They capture the range and heart of this whole story so well. My favorite moment to be a part of is the scene when we sing Anything Can Happen. Mary and the children sing to encourage Winifred to be bold and strong in a world where women aren’t really allowed to be so. As Winifred, I get to see, in action, the perspective and empowerment that Mary Poppins has instilled in my children, and as Natalie, I am offered a beautiful, rhyming pep talk from Christine McNeal Toole and whichever pair of awesome young people is playing Michael and Jane that night (shout out to my pals Mia Blaise, Jackson, Sarah, and Danny) – like, what a treat! My favorite moment to watch from the wings is Jolly Holiday, for sure. Every aspect of that number is absolute magic: Christie’s choreography, Lori’s swirly, twirly dress designs, and our incredible ensemble come together so deliciously, and I just get to bask in their glow and sing along!

JHPENTERTAINMENT: When I chatted with Geoff, I asked him about sharing the stage with you as a scene partner, so it’s only fair I ask you how he rates as an on-stage spouse?

NATALIE RANKIN: Oh, he is excellent! In Geoff Davin, I have not only a fabulous scene partner, but a real friend, and a fellow artist to bounce ideas with. Working with him to create our George and Winnie has been so much fun. He makes it so easy to become Winifred! There are many moments where she shows compassion and concern for a troubled George, and all I have to do is imagine how I would console or comfort Geoff in real life. Piece of cake.

JHPENTERTAINMENT: When I spoke with Geoff, I also mentioned that his character likely goes through the biggest transformation, in the way the think of themselves and the world around them, but the more I think of it, Mrs. Banks also has a bit of an internal awakening. Can you tell me a little about how you approach the characters growth in the context of how she feels about herself and her role in life?

NATALIE RANKIN: Of course! Like you, the more I’ve thought about and gotten to know Winifred, the more clearly I’ve seen her story’s arc. I’ll be honest – since I am not a mother myself, in our first few rehearsals, I felt like a total fraud. How could I possibly represent this person if I don’t have children of my own? On top of that, as an actor whose projects have been limited for the last couple years thanks to a global pandemic, I felt rusty. I felt awkward and phony, and like I was doing everything wrong. One day, it clicked in my mind that, for most of this play, Winifred is also feeling awkward and phony and like she’s doing everything wrong. So I started to empathize with her, and in turn, with myself. Throughout the rehearsal process, I began to find my footing and trust myself as an actor again, but it took time. Eventually, I decided to make every effort to just keep showing up and trying different ways to feel confident and comfortable in this role, no matter the outcome. It was my only option, other than totally shutting down from fear of failure. What if people come to see this show and can see how rusty I am? So what! What if this isn’t the way someone else would play Winifred? Who cares! What if someone doesn’t think I am good enough to play this part? That’s their opinion! By rediscovering my own inner strength and character, I discovered Winifred’s. I hope that the mothers who see the show see themselves in Winifred, and that those who feel they have lost themselves in worrying about what is “appropriate” or shrink themselves for fear of making a mistake will feel that encouraging nudge in Anything Can Happen. With every run of the show, I feel more and more proud of Winifred for being bold and taking that risk, and I feel more and more proud of myself for the same reason.

JHPENTERTAINMENT: Sort of along those lines, what lessons can Mary Poppins and the rest teach audiences?

NATALIE RANKIN: So, I’ll be frank. When I first heard that the Rep was doing Mary Poppins, I thought, “Oh boy, another bubbly Disney musical,” with, admittedly, a little bit of an eye roll. All I really remembered about the movie was Spoonful of Sugar and Jolly Holiday. But after studying the source material of this story and getting to spend time with these characters, it’s become clear to me that Mary Poppins has timelessly relevant lessons to teach audience members of all ages. Never judge a person by their appearance. Even grown-ups need help sometimes. Anything can happen if you let it. You never know when someone special will swoop into your life and help you rediscover your humanity. Oh, and it’s never too late to learn how to fly a kite

 

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Mary Poppins runs April 28-May 8 at TPAC‘s Polk Theatre. CLICK HERE to purchase tickets or for more information.

While Mary Poppins marks the end of Nashville Rep’s current season, they’ll be back with their 22-23 Season in the fall starting with RENT September 16-25, The Cake October 21-30, Elf: The Musical December 21-January 1, August Wilson’s Fences March 3-5, The Curious Incident of the Dog in the Night Time March 24-April 2 and Violet May 12-21. Season Tickets just went on sale earlier this week. CLICK HERE to purchase Season Tickets or for more info. Check out Nashville Rep online HERE and follow them on Facebook, Twitter, YouTube and Instagram.

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

In the days prior to the National Tour of Broadway’s Come From Away’s Nashville tour stop at TPAC’s Jackson Hall, I had the chance to pose questions to Australian actress/singer, Marika Aubrey, who plays Beverly Bass for my latest Rapid Fire 10Q. As the show wraps it’s Music City dates with matinee and evening performances Saturday and Sunday, April 23 & 24, here’s that conversation.

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RAPID FIRE 10Q WITH COME FROM AWAY star MARIKA AUBREY

JHPENTERTAINMENT: Captain Beverly Bass, one of the many  characters you portray in the show, wasn’t just one of the pilots of planes diverted to Newfoundland on 9/11, she’s also the first female captain to ever fly a commercial plane for American Airlines. How did you research playing her?

MARIKA AUBREY: We are so fortunate to have access to the original interview transcripts, so I found those really insightful. It’s a helpful reminder of how big and raw our feelings were over the days of 911.

JHPENTERTAINMENT: One of my personal favorite aspects of the show is the spotlight it shines on both the things we all have in common and the differences among us. Can you speak a little about that?

MARIKA AUBREY: I think it’s the major theme that resonates for audiences from the show, especially right now in the world, when there is so much division. There really is more that unites us, more commonality of the heart, than what makes us different. 

JHPENTERTAINMENT: On the Edge is s such a powerful moment in a show full of surprisingly emotional scenes. What do you do to mentally prepare each night?

MARIKA AUBREY: With any show, but possibly more so in a production that gear-changes so quickly, the challenge and joy is to live exactly in each moment to the next. It’s the simplest, and sometimes hardest thing to do. But therein lies the magic for our audiences, and the power of every show feeling like a fresh unique live experience.

JHPENTERTAINMENT: Let’s talk about the cardiologist scene. How much fun do you have with that one?

MARIKA AUBREY: SO MUCH! It’s a moment of true high play in the show. All those Annette fantasies are a treat. And I get to play with all our sweet boys!

JHPENTERTAINMENT: While the choreography of the show might not be what people typically associate with a Broadway show, every movement seems purposeful. That said, can you give me a little insider info on the rehearsal process involved in mounting a National Tour?

MARIKA AUBREY: Yeah, whilst it may look like there isn’t much traditional choreography in the show, the reality is that nearly every single moment is physically directed. From the pop of pressing the airplane light, to all the chair work. Kelly Devine’s choreography is the foundation, the language, of how we tell this story, with so many characters, so clearly, in 1hr 42 mins. The rehearsal process of learning what is essentially a long form movement piece is rather like a dance. We would learn tiny chunks of 1-2 mins, with each of the 12 of us individually being directed on how to move, then we would thread it together beat by beat. It’s a very specific process, but if we do it well the work is barely noticeable.

JHPENTERTAINMENT: As Captain Beverly, you get your moment in the spotlight with Me and the Sky. Among the song’s lyrics is “No one saying you can’t or you won’t.” Must be so empowering to lead the rest of the female cast in that number.

MARIKA AUBREY: 100%. I am very aware of how this anthem speaks to people, particularly women and young girls. I get messages almost every day from females, often pursuing a path in a male dominated field, and they need to tell me how “seen” the song makes them feel.

JHPENTERTAINMENT: Has being part of this show affected the way you interact with others when you travel?

MARIKA AUBREY: Ha ha. Yes. I hope I am a little more patient and kind. I’m also nerdily observing the pilots and flight personnel for insight!

JHPENTERTAINMENT: If you weren’t playing Captain Beverly, which other featured character would you 

like to step into, even if just for one night?

MARIKA AUBREY: Nick. I love dialect work, and I do a sharp Brit! But also, the scenes between Nick and Diane are sweet and perfect and funny, and it must be lovely to share in that journey and partnership each night. Who doesn’t love a bit of romance?

JHPENTERTAINMENT: What’s your personal favorite message conveyed within Come From Away?

MARIKA AUBREY: That being kind and generous, particularly in times of crisis (when being kind and generous may not feel natural) is fulfilling. It’s the connective tissue of us humans, and if we all do a little more to help each other, how much richer we all would be. Also, GIRLS CAN DO ANYTHING.

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Come From Away wraps its time at TPAC’s Jackson Hall with performances thru Sunday, April 24. In case you missed my review of the show, click the above image that contains my quote from my review to check it out.  CLICK HERE for tickets.

Not in Nashville? There’s still plenty of chances to see the show as Come From Away continues its North American Tour with dates across the US and Canada through the fall. CLICK HERE for show dates and locations or follow Come From Away on Facebook, Twitter, Instagram, YouTube & TikTok.

For more about Marika Aubrey, check her out on Instagram, Twitter and YouTube.

As for TPAC, as their Broadway Season and Special Presentations continue, next up is Oklahoma!, May 3-8 followed by the World Premiere presentation of May We All: A New Country Musical, June 7-July 17. 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!

As I mentioned in my review of Summer: The Donna Summer Musical, I’m a literally a lifelong fan of the diva herself. That said, in the days prior to the National Tour of Summer: The Donna Summer Musical’s arrival in Nashville for their current tour stop in Music City at TPAC’s Jackson Hall as part of this season’s Broadway at TPAC lineup, I put in a dream request to chat with all three lead actresses who play the iconic songstress at varying times during the legendary singer’s life. Now, typically, when I put in such requests, because of the rigors of tour life and the logistics of replying to my query via emails, I’ll often be granted the opportunity to chat with one, maybe two cast members, so imagine my excitement when I was told Yes, I could pose questions to all three of the talented ladies portraying the one-time Nashville resident and iconic diva!

So, it is with great appreciation and admiration for both these talented performers and the women they all portray that I present my latest Rapid Fire Q&A, a special Divalicious Rapid Fire Q&A with Amahri Edwards-Jones, Charis Gullage and Brittny Smith, the stars of Summer: The Donna Summer Musical.  

A DIVALICIOUS RAPID FIRE Q&A WITH THE STARS OF SUMMER: THE DONNA SUMMER MUSICAL

RAPID FIRE Q&A WITH AMAHRI EDWARDS-JONES, DUCKLING DONNA IN SUMMER: THE DONNA SUMMER MUSICAL

JHPENTERTAINMENT: As Duckling Donna, you portray Donna Summer’s younger years from about age 11-15. While researching to chat with you and your fellow-Donnas, I learned you spent those years of your own life as a student at The Governor’s School for the Arts in Norfolk, Virginia. Has performing always been something you’ve been drawn to?

AMAHRI EDWARDS-JONES: Yes, performing has always been in my life. I started singing in my church choir at the age of two. Church is also where I was exposed to dance. I played sports up until the age of 11, but decided that I really wanted to focus more of my time on performing. I went from playing parks and rec basketball to taking my first musical theatre acting, dance and vocal classes at The Hurrah Players in Norfolk, VA. I enjoyed going to those after school classes almost every day of the week. Once I started musical theatre, I knew there was no going back. I had been hearing about The Governor’s School for the Arts because I had family members who attended in different departments. So of course I was devastated when I didn’t get accepted my first year of high school, but I re-auditioned and I’m so glad that I did. GSA taught me so much and really made me feel confident enough to be able to professionally perform today.

JHPENTERTAINMENT: Nashville is super excited to have you and the entire company of Summer here in Music City, especially given the fact that Donna herself had many ties to Nashville, having moved here in the mid-90s. Heck, back then I waited on her and her young daughters from time to time when she’d bring them in to peruse the shelves of the children’s section of the bookstore where I worked. Which brings my next question to mind. Even before moving to Nashville, Donna teamed with another Diva, Dolly Parton in 1980, when Dolly recorded Starting Over Again, a tune penned by Donna and her husband Bruce Sudano. Given these Nashville connections, and there are plenty, have you thought of doing a little Donna Summer tour of Music City? Here’s a little head’s up, her former Oak Hill home is located about 15 minutes south of TPAC at 914 Overton Lea Road.

AMAHRI EDWARDS-JONES: First, I’d like to say how cool it is that you personally met Donna Summer and daughters! And of course, I’d love to explore different places Donna Summer has lived and worked. The impact that she left on people’s lives has been a beautiful thing to learn and hear about and I am very excited to come to Nashville.

JHPENTERTAINMENT: While you’re not as young as the Donna you portray, you’re still relatively young, so I gotta ask. How familiar were you with Donna Summer and her music before landing this gig?

AMAHRI EDWARDS-JONES: I wasn’t very familiar with Donna Summer. I knew a couple of songs like, Last Dance and She Works Hard for the Money, but I didn’t know much about her. What really made me start to look up more about her was by listening to Beyonce’s song Naughty Girl. Beyonce sampled Love to Love You Baby in the very beginning of that song. Learning that about Naughty Girl led me to discover more of Donna Summer’s music, and when the Broadway show and cast album came out, I listened to it often.

JHPENTERTAINMENT: This is your first National Tour, right? Thus far, what’s been the best aspect of life on the road? 

AMAHRI EDWARDS-JONES: Honestly, the best part of touring has been creating meaningful relationships with my castmates. Being with kind people has made my experience so enjoyable. We go out and explore different attractions in cities together, we have game nights throughout the week, and one of my closest friends here, Layla Brent-Tompkins, has introduced me to the Marvel Universe. Since November we have been watching marvel movies in order and we plan on finishing the movies and different series by the end of the tour, so wish us luck!

JHPENTERTAINMENT: Your first featured turn in the show comes as Duckling Donna headlines I Remember Yesterday, a 1977 #1 on the US Dance chart and a Top 20 hit on the UK Pop chart. Now, I’m a huge Donna Summer fan, but I gotta be honest, I wasn’t familiar with this one. I’ve heard that Love to Love You Baby is your favorite song in the show, but what I want to know is…is there one Donna Summer song you wish was yours to perform and what is it about that particular song that you love to love?

AMAHRI EDWARDS-JONES: Love to Love You Baby is definitely my favorite Donna Summer song. Charis Gullage who plays Disco Donna performs it beautifully. But to answer your question, I would very much like to be in She Works Hard For the Money. The choreography is so fierce. Whenever I am able to, I watch that scene from the wings and I’m just in awe of my castmates. Brittny Smith, Diva Donna, sings it with so much passion and meaning. Brittny’s portrayal of Donna Summer plus our amazing ensemble dancers is just a joy to watch. I’d actually want to sing the song as a Duet with Brittny if I could. One song I do wish that was in the show, and I’d like to sing, is Love Has a Mind of Its Own from Donna Summer’s She Works Hard For the Money Album. It’s a lovely duet between her and Matthew Ward.

RAPID FIRE Q&A WITH CHARIS GULLAGE, DISCO DONNA IN SUMMER: THE DONNA SUMMER MUSICAL

JHPENTERTAINMENT: You play Disco Donna, arguably, the most iconic period of Donna Summer’s career. What’s more, like your fellow Donna, Amahri, who I just chatted with, this is also your first National Tour. To borrow a popular song title from the show, you gotta be feeling like Hot Stuff about right now, huh?

CHARIS GULLAGE: It still does not feel real yet! I am so grateful for this amazing opportunity! Even though we have been on the road for over 5 months, I still get nervous every show. I think it is mainly due to the fact that all audiences are so different, and everyone parties so differently. I AM LOVING IT! 

JHPENTERTAINMENT: Now, that initial question isn’t to say you haven’t Worked Hard for the Money (yup, the lyrical puns continue) to get where you are. To that end, I gotta hear about two of your previous stage experiences…Pinky Tuscadero in Grease at Broadway Palm and your award-winning performance as Dorothy in The Wiz at Delgado Community College.

CHARIS GULLAGE: Yes! I am originally born and raised in New Orleans, Louisiana. New Orleans is where I also received a lot of my professional training. I went to the New Orleans Center for Creative Arts and received my Certificate in Artistry and my high school diploma. Then I received my B.A. at Loyola University New Orleans. During that time, I had the opportunity to play Dorothy in The Wiz at another theatre in the city, and I won a Big Easy Award for Best Actress in a Musical. That show was one of the most memorable theatre experiences I have had thus far. It was amazing to perform with so many talented black artists, and to be unapologetically ourselves. I was definitely in shock when I won the award because there were so many wonderfully talented artists that were nominated that had been in the industry much longer than I had. After graduating I performed at the Broadway Palm in Florida in 2020 (during the pandemic), and I had the opportunity to understudy Pinky Tuscadero and perform the role a few times. It was definitely memorable to be done in face shields, but we still were having the times of our lives in both Fort Myers and Lancaster, PA because it was a transfer show.

JHPENTERTAINMENT: I understand we both admire my talented friend Syndee Winters who I first met when she was touring with The Lion King. Of course she was also on Broadway in Hamilton as Eliza. Did my research reveal correctly that the role of Eliza is a bit of a bucket list role for you?

CHARIS GULLAGE: YES. YES. YES. I would love to play that role!! Anyone or anything in Hamilton is a bucket list role for me. The show is truly a masterpiece, and to be part of it would be the greatest honor!

JHPENTERTAINMENT: Until then, you’re playing Disco Donna! As I said above, the most iconic of Donna’s career, both in the number of mega hits that timeframe produced and in those now-legendary looks. How fun are the costumes designed by Emmy and Tony-winning costumer, Paul Tazewell? And…is there one you’d secretly like to sneak home with you?

CHARIS GULLAGE: Yes, definitely! There is a tie! My final two costumes are my all-time favorites! My blue dress that I perform Hot Stuff in, and my white one that makes a grand appearance during Last Dance are just a Disco Dream! I would wear them out if I could find the right place haha!

JHPENTERTAINMENT: Of course the costumes are instrumental in created the look, but it’s some classic disco dancing that really helps bring it home. Originally choreographed by Sergio Trujillo on Broadway and now under the watchful eye of choreographer Natalie Caruncho and associate choreographer Angelica Beliard, can you tell me a little about the rehearsal process as far as the choreo is concerned?

CHARIS GULLAGE: The choreography process was incredible, but also very specific. I say this because we not only had to embody the Disco Era, but also add the layer of Donna Summer as well who WAS the Disco Era. By the end of the learning process, it need to be clear when portraying the character that she not only belonged to the Disco Era, but that she pioneered it. Disco style of dance became a character within itself so we had to make sure we did it justice. A lot of time went into that process, but our choreographers always lead with love and it meant the world! 

RAPID FIRE Q&A WITH BRITTNY SMITH, DIVA DONNA IN SUMMER: THE DONNA SUMMER MUSICAL

JHPENTERTAINMENT: As Diva Donna, you not only portray Donna Summer in her later years, you also narrate the show. What’s a fact, or just an aspect of her life or career you didn’t know about Donna prior to taking on the role that you now love sharing with the audience each night?

BRITTNY SMITH: Donna really dealt with so much in the music industry that I knew nothing about. She was so resilient and really fought to have agency over herself and artistic property. Learning more about her struggles and strength there has been so empowering to embody and share every night! 

JHPENTERTAINMENT: The role of Diva Donna was originated by my friend LaChanze, who received a Tony nomination for her portrayal and of course won the Tony a few year prior for her role as Celie in The Color Purple. Prior to taking on the role for the tour, had you seen Summer: The Donna Summer Musical?

BRITTNY SMITH: My goodness, LaChanze is THE QUEEN!! I just love her. What an amazing blueprint for this role. I truly won in being able to not only study Donna, but LaChanze in preparation for this role. I had never seen the show while on Broadway but I saw many videos of the original cast. Seeing the original production on video made so many things make sense and added a lot of context and color 

JHPENTERTAINMENT: When I chatted with your fellow-Donna, Amahri, we talked about her actually playing two roles, first as Duckling Donna, and later as Donna’s daughter, Mimi. You also have double-duty during the show. In addition to portraying Diva Donna, you also appear onstage as Mary Gaines, Donna’s mother. How do you approach these two roles differently? Is there something in your movement or physicality that differentiates them in your mind?

BRITTNY SMITH: Diva Donna is such a meaty role, specifically from a through line narrator perspective. I am charged with the task of embodying Donna the regal, evolved woman and artist and then in an instant transforming to a mother figure. I love the challenge, actually. For Diva I lower my speaking voice and keep it in a cadence that’s evident of internal thought and wisdom. I live in the sensual freedom that age and experience gives you as well., With Mary, I do things like lighten my voice and slow down my walk. I approach Mary with more tenderness and care versus prowess. 

JHPENTERTAINMENT: Prior to our conversation, I not only chatted with Amahri, but also Charis, who plays Disco Donna. While chatting with her I mentioned Paul Tazewell’s fabulous costumes. Of course another visual spect of Donna that delineates various eras of her life and career are the hairstyles. To that end, Brandon T. Miller is the show’s wig and hair designer. When during the process while backstage preparing for each night’s opening scene do you see your reflection in the dressing room mirror and think “There! There’s Donna?” Is it the hair, the makeup, the wardrobe, your inner thoughts, or a combination of everything?

BRITTNY SMITH: I definitely think it’s a combination of everything! The hair and costumes are so fitting and there’s nothing like putting on one of those beaded gowns to immediately put you in that Donna stratosphere. It’s an epic feeling. I truly feel like “ok, here’s the money maker” when the entire look is on. 

JHPENTERTAINMENT: Pandora’s Box, which you perform alongside Amahri’s Duckling Donna, might be a deep dive for even the most ardent Donna Summer fans, but thanks to my very cool Aunt Charlene, who had an extremely extensive vinyl record collection, I was familiar with the 1975 Love to Love You Baby track. That said, is there a Summer tune in the show that you’ve discovered since joining the cast?

BRITTNY SMITH: interestingly enough, I knew many the songs included in the show prior to joining the cast which made for an even greater experience getting to sing them every night. Songs that are included in the show like Unconditional Love and I Remember Yesterday were tunes that I hadn’t heard before. I love the combination of her major disco hits and songs that were a bit lesser known yet mighty. I have absolutely delved more into the world of Donna Summer and her discography since joining the cast! How could you not?!

With that, my conversations with the three Donnas came to an end, but it’s not quite the Last Dance for Nashville fans as Summer: The Donna Summer Musical continues it’s Music City run at TPAC’s Jackson Hall with a 2p.m. matinee and an 8p.m. evening performance on Saturday, March 26 and a 1p.m. matinee and a 6:30p.m. final performance on Sunday, March 27. CLICK HERE for tickets. Not in Nashville? The National Tour continues with stops in Binghamton, NY, Worchester, MA, Erie, PA, Huntington, WV, Knoxville, TN and more with dates on through till, well, SUMMER! For details on the remaining tour dates, or more info on the show, CLICK HERE or follow the show on Twitter, Facebook, Instagram and YouTube.

Next up for TPAC as they continue their current Broadway Season and Special Presentations it’s What the Constitution Means to Me  on stage March 29-April 3, followed by Come From Away, April 19-24, Oklahoma!, May 3-8 and the debut presentation of May We All: A New Country Musical, June 7- July 17. 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!

On Tuesday, February 22, the National Tour of The Prom comes to Nashville’s TPAC for an eight-performance run through Sunday, February 27. From director/choreographer Casey Nicholaw, who’s Mean Girls just wrapped their Music City tour stop, The Prom is a Drama Desk Award winner for Best Musical and multiple Tony-nominated show that tells the tale of a Broadway Diva and friends who descend upon small-town Edgewater, Indiana to help a high school girl who’s small-minded town has banned her from bringing her girlfriend to prom. Think of it as a modern day Footloose, except instead of being opposed to dancing, the town is seemingly opposed to love.

As the company prepares to bring the show to TPAC, I had the chance to chat with two of the show’s stars, Courtney Balan and Sinclair Mitchell. Balan plays Dee Dee Allen, the aforementioned Broadway Diva, while Mitchell plays Mr. Hawkins, the high school’s principal, who actually opposes the ban and just so happens to be a big fan of the Broadway star.

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RAPID FIRE 20Q WITH THE PROM’s COURTNEY BALAN and SINCLAIR MITCHELL

RAPID FIRE WITH COURTNEY BALAN, DEE DEE ALLEN IN THE PROM

JHPENTERTAINMENT: As Dee Dee Allen, you play a two-time Tony-winning Broadway Diva. What more is there to Dee Dee that audiences should know?

COURTNEY BALAN: It’s not easy to put the powerhouse, force of nature that is Dee Dee Allen into words. She is everything I wish I could be when it comes to confidence and success. She is a Broadway diva with dozens of starring roles on her resume and a couple of Tony awards. Her incredible success as a performer makes her a bit narrow minded when it comes to the rest of the world and to healthy relationships. As she is getting older and her career isn’t what it used to be, her life as she knows it is challenged. That’s where we meet her in the first scene of THE PROM. 

JHPENTERTAINMENT: While researching to chat with you, I learned that you made your Broadway debut in Joseph Brooks’ In My Life. That show lives on in the hearts of theatre nerd everywhere. What was it like to be a part of that show?

COURTNEY BALAN: It was a totally bizarre show that took place both on earth and in heaven. We dressed as pirates, danced with skeletons and sang pop music jingles. It was so much fun and such a fabulous first Broadway experience. The cast and crew were full of the greatest, most unique and interesting people. We bonded quickly over the insanity of the experience and despite the challenges of being in a show that was universally mocked, we had a genuine blast every night for the four months we ran on Broadway. It was never boring! And, I understudied the lead role and went on in the second and third previews which was a total thrill. So many amazing and beautifully bizarre memories!

JHPENTERTAINMENT: Also in the ensemble of In My Life was our mutual friend Kilty Reidy. I just adore him. To that end, can you speak on the importance of forging friendships with fellow members of a company’s ensemble?

COURTNEY BALAN: I just adore him too!! The friendships I’ve made throughout my career have been monumental. What I missed most during the recent theatre shutdown and the months of isolating at home was a sense of community; of creating and surrounding myself with people. The vulnerability and sheer amount of time required to do a show can create a family and deep friendships unlike any other business. 

JHPENTERTAINMENT: Ok, I can’t not ask about Hatchet Face, the role you played on Broadway in Cry Baby, based on the John Waters film. What was the most fun aspect of that role?

COURTNEY BALAN: The most fun aspect of playing the gloriously grotesque and raunchy Hatchet Face was the freedom. There were no limits or restrictions because she was totally unfiltered and unabashed. 

JHPENTERTAINMENT: Back to The Prom. You were part of the show’s Broadway company cast as Olivia Keating, the Broadway Mania reporter who’s seen at the beginning for the opening of Eleanor. You also understudied Dee Dee. When did you first take to the stage in the role of Dee Dee and what do you remember about that night?

COURTNEY BALAN: That’s right. I was in the “adult ensemble” in The Prom on Broadway and understudied Dee Dee and Mrs. Greene. I made my debut as Dee Dee on Broadway in March 2019 after we were running for a few months. The night I went on for the first time, a Thursday, I actually had a scheduled night off to see my husband’s opening night of The Drowsy Chaperone at the high school where he is the head of Theatre. I got a call from Glynn Turner, The Prom stage manager at about three in the afternoon and he said, can you come in? 

The whole night was a blur, but I did go on for the majority of the weekend and that was such a gift. The more I did it, the more I found my rhythm and I had a ridiculous amount of fun. The joy and laughter coming from the audience was palpable. And getting to work with the principal cast on Broadway was beyond my wildest dreams. 

JHPENTERTAINMENT: Dee Dee’s song, It’s Not About Me is one of my favorite moments in the show. What’s yours?

COURTNEY BALAN: I really love any moment when I am onstage with the entire company. It’s Not About Me is one of those moments! Playing with all the cast members and getting that supportive energy from them is wonderful. The opening number, Changing Lives, into the first scene is also one of my favorites. Since The Prom is a completely original musical, it’s fun to feel the audience, most of whom don’t know the story, see the plot unfold.

JHPENTERTAINMENT: As I prepped these questions, I began thinking back to my own Proms. Truth be told, they measured somewhere between disaster and abysmal. Did you attend yours? If so, did you fare any better than me?

COURTNEY BALAN: Ugh! I’m sorry to hear that!! Mine was….fine. Pretty standard. Went with friends, danced, spent the weekend down the shore (that’s what you do in Jersey!) I loved my dress which was totally chic and fabulous, but I was and always will be a theatre nerd. Days later I was performing as a clown at a fair, so….. That’s my high school realness.

JHPENTERTAINMENT: Having understudied Dee Dee, and now making the role your own in the National Tour, do you still find yourself finding new ways to bring her to life night after night?

COURTNEY BALAN: I have understudied many, many times. Dee Dee was my fifth Broadway understudy gig. So, at that point, I had figured out how to find a nice balance between what the primary actor had created and who I am, and what I bring to the role. Luckily, in each experience, I’ve always had a creative team that fully supports that notion. The Prom was no exception. Now, in this case, the role is based on the actress who played her on Broadway, Beth Leavel, so that was a unique experience. I always say that I take the elements that best suit me as a starting point and go from there. As an understudy, it’s your job to make the other actors and company feel as if their show isn’t compromised and that the version of the story they created is in tact. So, when I was on for Dee Dee on Broadway, I definitely leaned into Beth’s version for that reason. The most challenging part, to be honest, was dropping those habits and creating the role for myself on the tour after understudying. It was a process to start a new discovery into who my version is without any restrictions. Now that I am in the fifth month of playing the role consistently, I can say that yes, I am definitely finding new things all the time. That’s the beauty of live theatre. It’s constantly evolving.

JHPENTERTAINMENT: I love that Dee Dee keeps her two Tonys in her purse. What’s the most interesting thing you keep in yours?

COURTNEY BALAN: I’m not sure if I have anything interesting… but I can say that these days you won’t find me without a mask and hand sanitizer.

JHPENTERTAINMENT: You share many scenes with your co-stars Patrick Wetzel as Barry Glickman, Emily Borromeo as Angie Dickinson, Bud Weber as Trent Oliver and Sinclair Mitchell as Tom Hawkins. How much fun is life on the road with this cast?

COURTNEY BALAN: This group is a dream. A DREAM!!!! From the principal cast that I get the honor of playing with onstage everyday to the ensemble who are so full of life, humor and talent. That sense of community that I yearn for is so fulfilled in this group both onstage and off.

 

RAPID FIRE WITH SINCLAIR MITCHELL, MR. HAWKINS IN THE PROM

JHPENTERTAINMENT: While chatting with your co-star, Courtney Balan, I asked her about life on the road with you and the other main adult cast, so turnabout is fair play. What’s Courtney like as a scene partner?

SINCLAIR MITCHELL:  Courtney is extremely talented, consistent and giving.  She is a true professional in every sense of the word.  This is extremely important as a scene partner to feed off of, making each scene honest and true.       

JHPENTERTAINMENT: I also asked Courtney about her own prom experiences after admitting mine weren’t exactly memorable. Did you attend your proms as a high schooler and if so, how’d that work out for you?

SINCLAIR MITCHELL:  I only had one prom at my High School and I attended it with not one but two classmates!  They didn’t have dates and neither did I…it wasn’t romantic but it was a lot of fun.

JHPENTERTAINMENT: If memory serves, you were part of the National Tour of School of Rock, which played Nashville’s TPAC September of 2018. Something that wasn’t around then, but has recently opened is the National Museum of African American Music, so you gotta check it out. Is there anything else you hope to see or do while the tour is in Music City?

SINCLAIR MITCHELL:  The National Museum of African American Music is definitely on my list.  Obviously the Grand Ole Opry…and I must find the best place to get Nashville’s world famous hot chicken, suggestions welcome!   IG: @sinclairdmitchell

JHPENTERTAINMENT: Since you mentioned it, you gotta check out Prince’s Hot Chicken Shack. After all, it’s the OG Hot Chicken. While there, ask a member of the family how hot chicken came to be. It’s THE BEST origin story ever. Speaking of sightseeing while on tour, a quick stalk of…er..um..uh…I mean peek at your insta revealed you recently had the chance to visit the Smithsonian Museum of African American History where you posted about Muhammad Ali’s Olympic torch. In the post you mentioned high school memories of running the torch. Can you tell me more about that?

SINCLAIR MITCHELL:  Running the Olympic Torch for the Atlanta Games was definitely a highlight in my life, an experience I will never forget.  Running through Churchill Downs in Louisville, KY and passing off the torch in front of my High School, duPont Manual/YPAS, with all the students, faculty, staff, and my family cheering me on was a momentous occasion.    

JHPENTERTAINMENT: Ok, so you were in high school in 1996, back to the subject of The Prom. I gotta know, did your prom fashion sense reflected that mid-90s oversized vibe? Or were you more of a traditional black tux/white shirt kinda guy?

SINCLAIR MITCHELL:  Baggy clothes was never my look so I definitely was a form fitting black tux/white shirt/patent leather shoes kinda guy.

JHPENTERTAINMENT: If you could play another role in The Prom, regardless of whether you’re ‘right of the part’, what would it be and why?

SINCLAIR MITCHELL:  Mrs. Green, who is played by my dear friend Ashanti J’Aria, who is fantastic in the role.  The reason being she’s the show’s antagonist but she’s not a villain.  I feel audience members can relate to this character in one way or another. She loves her daughter Alyssa and wants nothing but the best for her despite Alyssa’s need to be open about who she truly is. Watching Mrs. Greene resist evolving until she is faced with the possibility of losing her daughter is a life lesson for the audience to not make those same mistakes.

JHPENTERTAINMENT: The character you portray in The Prom seems the main voice of reason and equality. How important is that message to you as you bring Mr. Hawkins to life each night?

SINCLAIR MITCHELL: As a true Christian and knowing no one’s perfect, I feel a certain responsibility to preach love, teach understanding, and to have those morals shine as a beacon of light to others in my own life.  To have a role like Mr. Hawkins teaching the community, his students, and a Broadway star to be more inclusive and understanding of others, is a responsibility and honor to play onstage each night.

JHPENTERTAINMENT: Among your theatrical credits, you were part of the Broadway company of The Lion King. The current tour was just here last month and among the creatives, my friend Geoffrey Myers, the tour’s Dance Supervisor. Which brings to mind the subject of choreography. As Mr. Hawkins, do we get so see some of your dance moves?

SINCLAIR MITCHELL:  Casey Nicholaw’s choreography is fantastic with high energy and intricate steps. Luckily for me, I get to show off my dancing prowess in the finale and curtain call!

JHPENTERTAINMENT: The main plot of The Prom centers around a young female student who just wants the equal opportunity to enjoy her high school prom with her girlfriend. As a Black man, you’ve no doubt experienced prejudices yourself. Was that part of why you chose to audition for this role?

SINCLAIR MITCHELL:  Discrimination and bullying against anyone is something I will always have fault with. I pride myself in standing up for others who don’t have a voice. Also because of Covid and not being able to perform in almost two years, I jumped at the chance to do what I love to do while sharing this important message.

JHPENTERTAINMENT: Not exactly a spoiler alert, but those familiar with the show know that Mr. Hawkins falls for Courtney’s Dee Dee, flaws and all. As their attraction grows, Dee Dee seems to become more enlightened and willing to change from her self-centered origin to truly caring about others. To your way of thinking, is that a main message of the show?

SINCLAIR MITCHELL:  That is definitely a huge part of the main message, but this piece believe it or not is more than that.  The Prom is also about looking outside the box, evolving, and accepting one another’s truth.  It’s about being a good person, no matter what differences we have.     

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Based on an original concept by Jack Viertel with direction and choreo by Casey Nicholaw, book by Bob Martin and Chad Beguelin (the latter who also wrote the show’s lyrics) and music by Matthew Sklar, The Prom plays Nashville’s TPAC February 22-27. CLICK HERE for tickets or more information.

Not in Nashville but hoping to see The Prom during its National Tour? Follow the show on Facebook, Twitter, Instagram and YouTube for more information and to check out the tour’s remaining cities and dates.

Next up for TPAC as they continue their current Broadway Season and Special Presentations is Dear Evan Hansen onstage March 2-6. The season then continues with Summer: The Donna Summer Musical, March 22-27, What the Constitution Means to Me, March 29-April 3, Come From Away, April 19-24, Oklahoma!, May 3-8 and the debut presentation of May We All: A New Country Musical, June 7- July 17. 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!

Last night, Thursday, February 10, Nashville Repertory Theatre presented Opening Night of the regional debut of Jocelyn Bioh’s Off-Broadway hit, School Girls; or the African Mean Girls Play, the first production in The Rep’s long history to feature an all Black Female cast. I was scheduled to attend in order to review the show, but sadly, had to miss out last-minute. Lucky for me, though, earlier this week, I had the opportunity to pose five questions each to Tosha Marie, Joy Pointe, Cynthia Harris and Tamiko Robinson Steele—four members of the cast—for my latest Rapid Fire 20 Q.

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RAPID FIRE 20Q WITH CAST OF SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY

RAPID FIRE Q&A WITH TOSHA MARIA, SCHOOL GIRLS’ ERICA BOAFO

JHPENTERTAINMENT: What can you tell me about Ericka Boafo?

TOSHA MARIE: Ericka is an American girl who is thrown into this new country/culture and is trying to figure out who she is and how she fits in during a very difficult time in her life. She is hopeful and is looking to make some new friends in this foreign land she now calls home while still battling some inner demons. She also looks different from everyone else! So she is navigating being the lightest girl in the school and how that affects her confidence and social standing, and as these things tend to be… It’s never quite as simple as you think. 

JHPENTERTAINMENT: In addition to acting, Nashville’s theatre community is also very familiar with your work as a choreographer. In fact, you recently choreographed Nashville Rep’s Ragtime. I’d imagine your background in dance might give you an extra understanding of the importance of subtle movements that often help the audience understand a character even when they’re not speaking. Do you think that’s a fair assessment?

TOSHA MARIE: That’s very fair! Even though there isn’t any dancing in the show, I am physically exhausted by it because of the tension I hold in certain areas of my body. There are moments when Ericka is super unsure of herself and the physicality that it evokes in me is a different way than how I live my life. You don’t learn that much about Ericka until closer to the end of the play, so putting all of her background into my physical being is very fun for me. You can kinda be like… ok, what is going on with this chick? Also, it’s very hard for me to not move so that presents its own challenges as I tend to twirl and bob about a lot and Ericka is not really a dancer like Tosha is!

JHPENTERTAINMENT: This is the first time School Girls has been performed in Nashville, so it’s pretty safe to say the majority of the audience won’t be familiar with the show. How exciting is it to in essence, create a role for a particular audience?

TOSHA MARIE: Exciting and terrifying! Haha! I want to do her justice because there aren’t very many roles created about this topic for people that look like me and I know this might be the first time some people may hear this type of story be told. So I hope people like her and relate to her and learn a bit more about what it means to be a light skinned black woman.

JHPENTERTAINMENT: When not involved in live theatre productions, you also own and run TMProductions, a successful dance studio and performing arts space. You recently posted about your company’s diversity initiative. Can you tell me a little about that and the passion behind it?

TOSHA MARIE: Gladly! I started TMProductions because I was really tired of the cliquish and elitist nature of the Nashville theatre scene. Connected people meeting other connected people in their small privileged circles was causing me to have to continue to fight to be seen by professional companies to no avail, even though I’ve been in the business for over a decade and felt like I had proved my worth on many occasions. So when I lost all my income in 2020 I decided to do something about it. I had spent so long hustling for scraps from other companies, it was time to hustle for myself and try to make it easier for other people to break into the business. Thus TMP was born. Our mission states “TMProductions exists to serve the driven and underrepresented creative. We provide equity with access to knowledge, clarity of what it takes to have a career in the performing arts, in-house resources and opportunities to support that pursuit, and an intentional safe, inclusive atmosphere that nurtures, honors, and celebrates the authentic and unique self.” So with our popularity increasing and more theatre companies coming to us to have auditions and rehearsals we felt like we had to have a concrete policy regarding diversity as most of the organizations approaching us were predominately white with non-existent/tense relationships with the BIPOC community. So many people have expressed their struggles with me that I couldn’t not do something to help my community. Our policy encourages diversity from cast and crew, to leadership positions within the organizations hopefully creating positions for traditionally marginalized groups. I must say, as nervous as I was about it, I think it will make an impact on our local scene and I hope you can start to see a beautiful array of talent on and behind the stage starting next season. 

JHPENTERTAINMENT: School Girls touches on the subjects of conformity, sameness and fitting in, first and most obviously in the subtle costume concept of the girls all wearing uniforms, but also in the inclusion of a subplot involving the practice of bleaching one’s skin. As a light skinned Black woman yourself, can you speak on the struggle of fitting in while also being individual enough to stand out?

TOSHA MARIE: Well, blackness often gets lumped as a monolith of experiences with light skinned people being seen as getting more privileges. Which can be very true. I see more casting calls for “ethnically ambiguous” people (aka lighter skinned) than I do for dark skin. But what people don’t always know is that being biracial is its own struggle. Feeling like you don’t belong with either white or black identities, and when growing up, there were very few other biracial children to relate to. My mom was born in the 60’s during the civil rights movement, so her whole generation started their lives segregated. The fact that she, as a white woman, had me out of wedlock with a black man was a huge scandal in the south. So out of all of my years of education I can literally name 2 other mixed kids that I went to school with. Which means by nature, I stood out. All I wanted was to fit in. A lot of times I was too white for the black kids and too black for the white kids. So I did my best to just be me. There has been a lot of searching to figure out who that is, and I still struggle with it today, but I’m learning to love and appreciate myself and my identity. This cast and creative team have created such a safe and encouraging space to explore that and really help each one of us in not only this artistic endeavor, but our personal journeys as well.

RAPID FIRE Q&A WITH JOY POINTE, SCHOOL GIRLS’ PAULINA SARPONG

JHPENTERTAINMENT: Tell me about Paulina Sarpong.

JOY POINTE: Paulina is a senior at Abri Girls School, and the queen bee of her friend group. Paulina operates in cruelty and pettiness to hide her own insecurities and fear of being left out, left behind, or forgotten. She uses the word “influential” for herself at least twice in the show, and that’s exactly how she wants and even needs to be seen. If someone could be described as strong and scared, I think Paulina would fit.

JHPENTERTAINMENT: This production of School Girls is the very first production in Nashville Rep’s 37 year history to feature and all-Black female cast. What’s it like knowing you’re making history?

JOY POINTE: It is humbling and incredible. It took me a very long time to really love every part of my very black self. I grew up hearing “you talk White,” and “I’m more Black than you,” from a lot of White people around me, and I wasn’t confident in who I was. Now I know that what I experience IS the Black experience because I am Black and I’m Proud. I’m honored to be Black History happening right now.

JHPENTERTAINMENT: Your role as Paulina marks a return to Nashville Rep’s stage. What is it about the company that drew you back for this show?:

JOY POINTE: I absolutely love working for Nash Rep. This company as a whole is inclusive, down to earth, and protective. I’ve never felt more safe doing a production in a pandemic world. The communication with different departments and levels of admin is great. The whole staff is always supportive in getting us what we need to make a production happen, and I couldn’t be more thankful.

JHPENTERTAINMENT: All of the action of the play takes place in the cafeteria of the school. Do you think that was a purposeful decision by the playwright, Joselyn Bioh? Perhaps to present school as a microcosm of society as a whole?:

JOY POINTE: I do believe the setting choice was purposeful, maybe even in a deeper level than just convenience of staging. Obviously, it’s easier to play in one space without having to move set and staging and adding a bunch of crew members if you keep it in one place, but it can be said and even observed that this setting is just a fractional look into what can be seen in the grander view.

JHPENTERTAINMENT: Without giving too much away, during the course of the play, the audience is privy to Paulina’s own insecurities and the source of her attitude towards others and her behaviors. How important is the message in School Girls to break such cycles of infighting and bullying among young women, not just young Black women, but all young women?:

JOY POINTE: Honestly, and without giving too much away, I don’t believe the main focus is about breaking bullying cycles. It’s a narrative we’ve heard and seen over and over again. Even most young people are familiar with it, understand underlying reasons for bullying, and are encouraged to be kind because you never know what others are going through. There’s so much more in this story that I believe people will be taught, maybe even for the first time.

RAPID FIRE Q&A WITH CYNTHIA HARRIS, SCHOOL GIRLS’ HEADMISTRESS FRANCIS

JHPENTERTAINMENT: What can you tell me about Headmistress Francis?

CYNTHIA HARRIS: Headmistress is dedicated to protecting and educating all her students.  She loves her girls and wants to help them succeed through education. 

 JHPENTERTAINMENT: When the audience first see’s Headmistress Francis interacting with the fabulous Tamiko Robinson Steele’s Eloise Amponsah, they’re quick to see parallels between their relationship and that of Paulina and Ericka. This points to the adage, as Dame Shirley Bassey once sang, “its all just a little bit of history repeating”. How important is it to recognize the patterns of tearing each other down to give one’s self the sense of building themselves up?

CYNTHIA HARRIS: I think both pairs show us what happens when our power, or part of our identity is challenged or threatened.  Eloise has her pageant title and Paulina feels security in being leader of the pack.  Ericka and Headmistress interrupt Paulina and Eloise’s narratives.  

JHPENTERTAINMENT: From what I understand, that this marks your Nashville Rep debut?  How has the experience been so far?

CYNTHIA HARRIS: Yes, this is my Rep debut.  I stepped into the role the night before rehearsal began to replace another actor.  It was an immediate YES to work with Alicia on this play.  It has been a  wonderful experience.  We’ve bonded and I think I’m now an official auntie to many of my castmates.  Alicia Haymer, the show’s director, created a space for us to explore the text, the colorism experienced by women of color across the African Diaspora, Western or Colonized Beauty standards, and so much more.  It is a joy to walk into rehearsal and play with each other.  

JHPENTERTAINMENT: You, yourself are a playwright. Given that, how does that enhance your performance in this role?

CYNTHIA HARRIS: I love stories about Black women. I love understanding the nuance and complexity of our lives and our decisions.  I’m in my happy place with this play by Ms. Bioh. 

JHPENTERTAINMENT: Beyond School Girls, among your future projects, Actors Bridge Ensemble will soon present your original play The Calling is in the Body. What can you tell me about it?

CYNTHIA C. HARRIS; TCIITB is about a young HIV Educator in the 90s, Deidre Williams.  She was the first African American to share her status and work as a peer educator.  I met her as a teen and she’s had a lifelong impact on me.  Over the past few years, I’ve met and interviewed people that remember her work with Nashville CARES, worked with her, cared for her, or were her friends.  I’m excited to lift her name and to make sure that her impact can still be felt.  

RAPID FIRE Q&A WITH TAMIKO ROBINSON STEELE, SCHOOL GIRLS’ ELOISE AMPONSAH

JHPENTERTAINMENT: Alright, it’s no secret that you are one of my theatre crushes. I just adore everything you do. Who is Eloise Amponsah and what does she represent to you?

TAMIKO ROBINSON STEELE: Awwwww Jonathan! Flatter me darling, flatter me! lol Ms. Amponsah represents the idea of “It’s a dog eat dog world!” She feels that she has had to fight for everything, and has been overlooked. She will do everything *in her power* to “win.”

JHPENTERTAINMENT: Aside from the character you portray, do you recognize aspects of the other girls in people you knew when you were in school, yourself?

TAMIKO ROBINSON STEELE: Of course! Even myself. I was more shy and sensitive in grade school, and so I would’ve identified with Nana. 

JHPENTERTAINMENT: Growing up, I think most people deal with bullying to some degree. Some, like the character, Paulina, are the aggressor, while others, like Ama, Mercy, Gifty and Nana, bear the brunt of the bullying. What’s the lesson to be learned from such behavior?

TAMIKO ROBINSON STEELE: DON’T DO IT! That’s so much easier to say, I know. But I think it’s important when people notice that behavior that they speak up. Be a voice for the voiceless. 

JHPENTERTAINMENT: While the title of the show fully acknowledges some slight similarities between this play and Tina Fey’s Mean Girls, School Girls touches on and deals with much heavier themes in a more serious manner. How do you find a balance between the seriousness of the subject matter on stage and an enjoyable work experience behind the scenes?

TAMIKO ROBINSON STEELE: I just have to be present. Take it all in. We did some amazing work with an emotional support coach in the rehearsal period. I try to remember the exercises we did, and lean in to those to cover my real self outside of the character. 

JHPENTERTAINMENT: Speaking of balance, the show is perfectly balanced with humor and thought-provoking circumstances. What do you hope audiences take away after seeing School Girls; or the African Mean Girls Play?

TAMIKO ROBINSON STEELE: I hope they leave thinking of the people who have had to walk through life with society pressing down on them. I also hope they feel the love and joy, that even under those circumstances, black women carry. 

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School Girls; or, the African Mean Girls Play continues its Tennessee debut run at Nashville Repertory Theatre now through Sunday, February 20 with evening performances at 7:30p.m. Feb. 11, 12, 17, 18 & 19, and 2p.m. matinees on Feb. 13, 19 & 20. A quick look at The Rep’s ticketing site reveals limited tickets remain for each performance, so you better act fast. CLICK HERE to purchase tickets.

Up next at Nashville Rep is Disney and Cameron Mackintosh’s Mary Poppins playing April 28-May 8, 2022 in TPAC’s Andrew Johnson Theatre. Check out Nashville Rep online HERE and follow them on Facebook, Twitter, YouTube and Instagram.

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

 

Mean Girls, the Broadway musical based 2004, hilarious coming-of-age story written by Tina Fey is making Fetch Happen right here in Music City as the National Tour comes to Nashville’s TPAC February 8-13. With less than a week until all of Nashville will be conspiring to add names to their burn books, and wearing pink, regardless of whether it’s Wednesday or not, and I recently had a chance to chat with two of the stars of the show, Jonalyn Saxer, who’s playing my favorite member of The Plastics, Karen and Nashville’s own Kabir Bery, who’s playing everyone’s favorite smooth-talking mathlete, Kevin G. What follows are those conversations, first with Jonalyn Saxer, and then, Kabir Bery.

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RAPID FIRE WITH MEAN GIRLS‘ KAREN, JONALYN SAXER

JHP ENTERTAINMENT: Before we even really get started, I just gotta say it…I love your first name! I mean those of us with similar spellings have to stick together, right? So, is it a family name, or, like my folks, was it something your parents just liked and thought sounded good?

JONALYN SAXER: Thanks! My parents named me after my grandparents on my Dad’s side, Kay and John. So they wanted a female version of the name John, and found “Jonalyn” in a random baby names book! Then my middle name is Kay. I do go by a lot of nicknames though, I get called Jon, Jonni, JK, or even just J sometimes!

JHP ENTERTAINMENT: From what I understand, you’ve been with Mean Girls from the very beginning first as an ensemble member in the labs and out of town tryouts, then onto the Broadway company and for the last few years, the tour, During that time, what other roles have you covered besides your current as Karen?

JONALYN SAXER: Correct! I originated the Ensemble track named Taylor Wedell (who is also the girl who doesn’t go here), and I understudied Karen, Cady, and Regina. 

JHP ENTERTAINMENT: Of course Mean Girls is based on the movie of the same name, the brainchild of Tina Fey. In fact, Tina even wrote the book of the musical, with Tina’s husband, Jeff Richmond and Nell Benjamin providing the music and lyrics respectively. To my way of thinking, Tina is this generation’s Lucille Ball. She’s hilariously funny, ridiculous talented and just as impressive as the talent or the creative force behind the scenes. What’s been your most cherished aspect of working with her, Jeff and the entire creative team?

JONALYN SAXER: What I love about Tina, Jeff, Nell, and Casey is their willingness to let you be you, and their openness to change. The show went through so many different versions from the lab, to the out of town, to broadway, and even with some changes on tour. They weren’t precious with anything, if it wasn’t working, they’d come in the next day with a whole new scene or a whole new song. I think we had something like 7 new songs going into broadway rehearsals from the out of town. That kind of work environment gives everyone the freedom to try things that might fail, and to be creative and grow in the process. I also appreciate that throughout it all, they always encourage us to be our own version of the characters. When I was in rehearsal for the tour, they made sure I knew that I didn’t have to be Kate. I had the freedom to do my own version of Karen. Which you don’t always get in a show. 

JHP ENTERTAINMENT: If my research proves correct, during your time as a member of the Broadway production, you stepped into the role of Karen some fifty times. Do you remember anything specific about your first night as everyone’s favorite pink-wearing seemingly ditzy blonde member of The Plastics?

JONALYN SAXER: I remember getting off the subway at 50th station, on my way to my normal call for my ensemble track, turning off airplane mode, and getting about a dozen calls and messages from our Stage manager and our dance captain. I walked into the building, went straight to the office and said “so I’m on? Okay!” It all was really a blur, but I remember Ashley Park being just so, so supportive. She even said at one point during the show “you’re doing great! You could literally just play this role!” And here I am now, doing just that! I also remember that I was so nervous during the entrance, that my mouth got so tense from being frozen in a smile while Regina is singing, that it started twitching so bad. I must have looked crazy.

JHP ENTERTAINMENT: While Amanda Seyfried originally brought Karen to life in the film, with Kate Rockwell initially portraying her in the Broadway production. What’s the biggest challenge of not only bringing such an iconic character to the stage night after night, but also making her your own?

JONALYN SAXER: I think it was a little difficult to transition from being an understudy to doing the role in the tour. As an understudy, I always try to honor what the person does every night. Mostly because the other actors on stage have built their show around that version of the character. Obviously, I will never be someone else, but I try to keep the beats in the same world. When we went in to tour rehearsal, I had to make the character completely my own, because Karen is also not a stand alone character. My Karen is very dependent on who the Gretchen and Regina are. Megan and I have built Karen and Gretchen together, so making it my own was actually the easier choice. 

JHP ENTERTAINMENT: There’s so many classic lines in the film, and now, the musical. Is there a line, a scene or scenario, whether yours or someone else’s, that still makes you giggle?

JONALYN SAXER: Weirdly, I never really plan how to say (and I’m hesitant to say the line and give away the joke) “And that’s why I only get naked with people in person.” I think I really feel the moment with how the audience is responding, and I truly surprise myself every night. It doesn’t help that I’m staring our Cady and Damien in the eyes and I can see them also laughing at me. 

JHP ENTERTAINMENT: Speaking of iconic lines, “On Wednesdays, we wear pink”. That line leads me to my next two questions. First…Gregg Barnes costumes for the show are perfection. Who get’s the award for your personal favorite costume of the entire show?

JONALYN SAXER: Oh I love Gregg Barnes so much. Not only does he make literally everyone look amazing, he also is so about making sure YOU feel personally comfortable and happy with how you look. I love so many costumes for so many different reasons in the show. But I secretly love how Regina starts World Burn in a black outfit, but ends it in a white outfit. Such a great way to accentuate the storytelling of the moment. 

JHP ENTERTAINMENT: Secondly…what color best represents Jonalyn and why?

JONALYN SAXER: PINK. It’s so hilarious because Pink has always been my favorite color. It’s the color of my favorite princess, Aurora (aka Sleeping Beauty), and I just love everything pink. So when I booked this show I was so excited. Unfortunately, not a lot of other people feel the same way that I do about pink. So a lot of our Merch/gifts for openings and such were not pink. I was always sad that we weren’t only getting aggressively pink things. 

JHP ENTERTAINMENT: Your acting resume from your Broadway debut in Bullets Over Broadway and more Broadway roles in Cats, Honeymoon in Vegas and Holiday Inn to your recent feature film debut in Steven Spielberg’s West Side Story. What can you tell me about your thoughts on some of those career highlights?

JONALYN SAXER: You know, I get asked all the time what is my favorite show of the ones I’ve done. And I have a really hard time choosing, because every single job has been a huge learning experience. Each show has given me so much in experience as well as the people I have met. I truly am the performer I am today because of each experience. I don’t think I would have been able to handle being an understudy in Mean Girls if I hadn’t had the experience I had swinging Cats. I was in a place in Mean Girls that made me free and able to walk into the room at West Side Story and be sure of myself and go for it. I guess a highlight would be dancing for Steven Spielberg and Justin Peck? Or being fresh out of college and doing my toddlers in tiaras impression for Susan Stroman? Telling Rob McClure when he asked if we had met before, that maybe he was thinking of the time I stage doored Chaplin? It’s truly all so unbelievable to me, and I’m just so thankful. So everyday I come to work I am so grateful and take it as such a blessing. 

JHP ENTERTAINMENT: It’s crazy to think it’s been nearly 20 years since 2004’s Mean Girls movie. Heck, it’s been four years since the musical debuted. Even so, the themes have been and will be relatable forever. Aside for tons of laughs, is there an underlying message or ideal you hope the show’s new generation of young fans take with them after seeing the show?

JONALYN SAXER: Of course! I think one of the main messages of the show is that, we should all just be the wonderful, unique people we are. What makes the show so relatable over many years, unfortunately, is that we all go through that time early in our lives, and even (honestly) all throughout life, where we just want to belong with those around us. We’re all fighting to belong and to be liked, when the true key is to just be our own, true selves. It’s a message that I’m grateful to hear every night. In the past 4 years I’ve gone through major life changes and growth, and I got to come to work and have someone remind me, that I’m awesome the way I am. It’s great for every generation to connect that we’re really all struggling with the same thing at its core. 

RAPID FIRE 10 Q WITH MEAN GIRLS‘ KEVIN G, KABIR BERY

JHP ENTERTAINMENT: Before we get going, I should probably just admit that while doing a little research to chat with you, I checked in with your high school theatre teacher, my friend Daron Bruce for a little insider info. Having gone to Hume-Fogg, how much does it mean to you to be playing Kevin G in Mean Girls…in your own hometown while on tour?

KABIR BERY: I love Mr. Bruce! He does wonders for high school students interested in the performing arts, and I am lucky to call him a mentor and friend. To answer your question, getting the opportunity to perform at TPAC is something I have been dreaming of since I was a kid. I feel honored to be able to say I grew up in Nashville, and I cannot wait to give the community a great show!  

JHP ENTERTAINMENT: During your high school career, you appeared in productions of West Side Story, Hairspray and Cabaret and were featured in Spelling Bee, The King and I and Sweeney Todd, and according to Daron, you did a particularly memorable turn as Usnavi in In The Heights. I’m sure your memories of appearing in all those shows are many, but do you have a personal highlight you feel like you’ll never forget?

KABIR BERY: Every show I was fortunate enough to be a part of at Hume-Fogg was incredibly memorable. That said, playing Usnavi in In The Heights was the highlight of my high school career given the fact that it was my last show there and I got to do it along side my best friends. Not to mention the fact that it was the last time I got to step out onto the HFA stage. I will never forget that final curtain call. 

JHP ENTERTAINMENT: You joined the Mean Girls family when the tour began in September 2019. As with all live theatre, the tour took an unexpected hiatus in March 2020, but resumed November 2021. What was it like stepping back onstage when the tour returned?

KABIR BERY: It felt like I never left. There is just something so magical about the Mean Girls cast and crew, and it truly feels like a family. In my experience, whenever you reunite with family, you kind of just pick up where you left off. 

JHP ENTERTAINMENT: Your Mean Girls character, Kevin G—for those who might need a refresher—is a confident ladies man who’s also Captain of North Shore High’s Mathletes. Two attributes that don’t alway seem to go together when thinking of a teenage boy. How much fun is it to be playing him?

KABIR BERY: Kevin G is easily one of the most fun roles in all of musical theater. I could not have asked for a better role to make my debut. I get to be a goof with a heart of gold that raps and dances every night. Sometimes twice a day! What more could you ask for?

JHP ENTERTAINMENT: Fans of the movie no doubt remember Kevin G’s rap. For the musical adaptation, Kevin’s featured prominently in not one, but two raps, Whose House is This? and Do This Thing, both high energy numbers. Do you have any pre-show rituals to help you keep your energy up?

KABIR BERY: My pre-show ritual starts when I wake up. During the run of a show like Mean Girls, you have to tailor your day to the show. Eating the right things, exercising, and drinking tons of water are all things that aid in a better and smoother show for me. A little caffeine here and there also doesn’t hurt.

JHP ENTERTAINMENT: Both of your featured numbers also include many members of the ensemble. You mentioned earlier that returning felt like reuniting with family. Is it cliche to say the ensemble becomes family, especially while touring the country in a show like Mean Girls?

KABIR BERY: It couldn’t be more true. The whole cast is a family. This group of people is easily one of the most talented, supportive, and loving that I have ever had the pleasure to work with.

JHP ENTERTAINMENT: As I mentioned above, the TPAC stop brings you home. Now, I know with the continuing safety protocols, downtime while on tour looks a little different these days, but have your fellow castmates began hitting you up to play tour guide while in Music City? and…What are your top three things to see/do while in Nashville?

KABIR BERY: I have definitely gotten quite a few recommendation requests! My top 3 things to do are 1) eat at Hattie B’s, 2) check out the Frist, and 3) go explore Opryland!

JHP ENTERTAINMENT: When I spoke with Jonalyn for the first half of this Rapid Fire 20 Q, I asked her about being with the show since its early days in lab and pre-Broadway. Danielle Wade, who’s starring in the tour as Cady, also appeared in the Broadway run. How important is it to you to forge friendships with your castmates in an effort to glean life lessons from them?

KABIR BERY: Friendships within the cast happen organically. The amount of experience that is in this cast is infinite, and I have definitely learned a lot from all of my castmates. They are superstars; I am in awe of them everyday.

JHP ENTERTAINMENT: In preparing for our conversation, I read a bit about the Mean Girls Artist Impact Team and @changeisfetch.. Can you tell me a little about that initiative?

KABIR BERY: CHANGE IS FETCH is an initiative led by members of our company that are dedicated to inspiring change and providing positive ways to take action. It is a wonderful endeavor, and I encourage all readers to go check it out!

JHP ENTERTAINMENT: Is there a life lesson, obvious, or otherwise, among Mean Girls that you yourself try to remember and bring into practice?

KABIR BERY: Be yourself. It’s a cliche, but it’s so valid and important. Too often, people try to fit a certain mold in attempts to be liked by their peers. I think it’s important to allow yourself to be you. The right people for you will gravitate towards that. 

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Mean Girls comes to TPAC’s Jackson Hall February 8 and continues through February 13. Curtain for Tuesday the 8th -Thursday the 10th is at 7:30p.m. Friday the 11th’s performances begins at 8p.m. Saturday the 12th and Sunday the 13th are two show days with a Saturday matinee at 2p.m., a Saturday evening performance at 8p.m. and a Sunday matinee at 1 and early evening performance at 6:30p.m. CLICK HERE for tickets or more information.

As TPAC continues their commitment to their patron’s safety, certain protocols are in place. To that end, attendees age 12+will be required to show proof of vaccination or a negative COVID test dated within 72 hours of their selected performance. All patrons age 6+ must wear masks inside the venue. CLICK HERE for more on TPAC‘s Patron Health initiative.

Not in Nashville or can’t make it to TPAC for Mean Girls? Be sure and check out Mean Girls‘ official site for future dates as the national tour continues. You can also follow Mean Girls on Facebook, Twitter, YouTube and Instagram.

For the latest on TPAC and their upcoming Broadway Season and Special Presentations, including The Prom, Dear Evan Hansen, Summer: The Donna Summer Musical, What the Constitution Means to Me, Come From Away, Oklahoma! and May We All, 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!

 

I first became aware of singer/songwriter and keyboardist, Patrick Thomas during the debut season of NBC’s music competition show, The Voice, when he, as a member of Team Blake, became an audience favorite, making in through to the live shows. Fast forward a couple of years and I had the pleasure of seeing him live onstage in a handful of local theatre productions including Studio Tenn’s  The Battle of Franklin: The Tale of a House Divided, for which he served as musical director as well as composing the score. He’s also appeared in their holiday concerts and starred as The Beast in the company’s production of Disney’s Beauty and the Beast (for which he kindly chatted with me for a December 2018 Rapid Fire 20Q. So, of course when I heard he was bringing his solo holiday show Christmas with Patrick Thomas to The Franklin Theatre for a one-night-only event on Monday, December 6 at 7p.m., I added catching up with Patrick to my Christmas wish list. Because he’s definitely on Santa’s Nice List, he kindly obliged. In the spirit of the Christmas season, I decided it would be fun to let my interview feature live up to its name, at least in part, as I posed 10 Holiday-centric Rapid Fire questions to kick things off, followed by 10 more detail queries.

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RAPID FIRE 20 Q WITH PATRICK THOMAS

JHP: Christmas snow, or Santa by the surf?

PATRICK THOMAS: I love the beach but give me snow for Christmas.

JHP: Hot Chocolate or Egg Nog?

PATRICK THOMAS: Eggnog (but add a little bourbon please)

JHP: How The Grinch Stole Christmas or A Charlie Brown Christmas?

PATRICK THOMAS: The Grinch, and it must be the Jim Carey version.  My wife and I can quote the entire movie…one of the ways we knew it was true love.

JHP: White Christmas lights or Multicolor?

PATRICK THOMAS: White Christmas lights. Keep it classy please.

JHP: Gift Cards or Presents?

PATRICK THOMAS: Definitely presents.  The thoughtfulness behind a gift, good or bad, is truly what makes it.

JHP: It’s a Wonderful Life or Miracle of 34th Street?

PATRICK THOMAS: Miracle on 34th Street for me.  Although I did see a Studio Tenn production of It’s a Wonderful Life that moved me to tears.

JHP: Peppermint Bark or Reindeer Chex Chow?

PATRICK THOMAS:Peppermint Bark

JHP: Santa Baby by Eartha Kitt or Madonna?

PATRICK THOMAS: Eatha Kitt! 

JHP: Early Shopping or Last-Minute?

PATRICK THOMAS: Early. I’m way too neurotic for the stress of last-minute shopping

JHP: Best Scrooge?

PATRICK THOMAS: Michael Caine. I’m a big fan of A Muppet Christmas Carol.

JHP: You’ve been doing a Christmas show for a few years now. How did it originally come about?

PATRICK THOMAS: My good friend Benji Kern and Studio Tenn asked me to be the holiday entertainment in 2019.  I’ve never been more thrilled.  I spent months arranging the show and recording a Christmas record with my buddy and producer-extraordinaire, Sean Neff, and will never forget that first year of shows.  Even though this year the show is self-produced at the Franklin Theatre, it’s a Christmas tradition I certainly plan on keeping.  I’d love to expand the number of shows and take it on the road in the near future.

JHP: With the pause in live performances last year, how excited are you to be back on stage with your Christmas concert this year?

PATRICK THOMAS: How long do you have?  No industry was truly untouched by COVID-19 but the live performance was hit particularly hard.  I did get the chance to perform a stripped down version of the show last year, (in Texas), which did wonders for my soul. Still, to have it back in the Nashville/Franklin area means the world to me.

JHP: Do you have any favorite holiday memories you’d care to share?

PATRICK THOMAS: I grew up in a very musical family.  I will always treasure the hours spent around the piano harmonizing in 4 parts, (my mom, dad, sister, and me), and sometimes more when relatives would stop by.  I’ll also never forget when my sister and I left water out for Santa’s Reindeer and walked outside to find the water was light red from Rudolph’s nose :). 

JHP: For those who’ve seen your show in previous iterations, what tried-and-true elements can we expect to return?

PATRICK THOMAS: The show is still very much piano-driven. You can expect all of the holiday favorites and more, and a heck of a band.

JHP: On the flip-side, any changes or additions you can reveal?

PATRICK THOMAS: I think I’ll keep it close to the vest, but I’ve definitely changed the set list a bit this year and added some songs that I am really thrilled to perform.

JHP: You’ve previously included special guests. Will anyone be joining you for a duet or two this go round?

PATRICK THOMAS: Oh yes…and you’re in for a treat.  The incredibly talented, local singer-songwriter, Briana Tyson will be joining me. She’ll do some of the duets that Rachel Potter and I have performed in the past but will also sing a solo or two that will blow you away. She needs her own Christmas show!

JHP: Speaking of our mutual friend, Rachel Potter, any talk of the two of you touring together again anytime soon?

PATRICK THOMAS: We never go too long without performing together.   In fact, on Saturday, December 11, just 4 days after the show at The Franklin Theatre, we will be flying to South Carolina to perform Home for the Holidays with the Aiken Symphony Orchestra. 

JHP: Being a songwriter as well as a singer and musician, can we expect to hear any original holiday tunes during your Christmas show?

PATRICK THOMAS: Actually yes! I didn’t include any originals in previous iterations because it’s hard to beat the classics, but this year I decided to go out on a limb. I really hope the audience will enjoy it.

JHP: Whether it’s included in your show or not, do you have a personal favorite holiday tune?

PATRICK THOMAS: O Holy Night. It’s not only my favorite Christmas song, but my favorite song period.  My first live performance was actually singing O Holy Night as a duet with my mom when I was four years old. 

JHP: Beyond Christmas with Patrick Thomas, what’s coming up for you career-wise after the holidays?

PATRICK THOMAS: I have been busier than I would like to admit preparing to join the US and Canada Tour of The Simon and Garfunkel Story, where I play Paul Simon.  It’s 27 songs and a TON of difficult finger-picking on the guitar.  I’ll be on the road with them on and off throughout 2022.  Additionally, I’m planning on releasing a Sinatra meets country record in the new year, although that has been put on the back-burner at the moment. I think I’m still picking up speed after taking an extended, pandemic-induced break, but I have a feeling that 2022 will be a year of lots of new music and hopefully many more new fans.

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As of this posting, all Cabaret Seating and Premium Classic Seats have sold out for Monday, December 6’s Christmas with Patrick Thomas at The Franklin Theatre but select Classic and Balcony seating remains priced at $40 and $45, so if you’re looking for a Cool start to your Yule celebrations, CLICK HERE.

For more about Patrick Thomas, check out his site and find him on Facebook, Instagram, Twitter, YouTube and Spotify. To listen to his current single, On My Way to You, CLICK HERE.

As always, if you wanna follow JHPEntertainment for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook, JHP Entertainment 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!

Once again, the holidays are upon us. After the past several months, it’s definitely time to celebrate with the gift of live theatre! As Angela Lansbury sang in the Broadway favorite, Mame, We Need a Little Christmas…NOW. To that end, husband and wife creative team Barry and Dari Anne Amato have joined forces with the owners of Fiddle Dee Farms (7526 Swift Rd, Greenbrier, TN 37073) to present We Need a LOT of Christmas, an all-new dinner theatre experience at Fiddle Dee Farms’ Barn. Dinner theatre in a barn…sounds familiar, right? Well, guess what? Joining in on the fun are some of Nashville’s best known performers, a few of which just so happen to have performed in a number of shows at Nashville’s beloved Chaffin’s Barn Dinner Theatre. Joining the Amatos and Chaffin’s alumni, there’s a couple other performers. One whose career is just beginning, another who’s making their return to Nashville after a stint in New York, and yet another who’s magic has delighted audiences across the globe. One thing’s for certain, all of them are coming together to make the season bright with select performances now through the end of the year.

As the cast readied the show and themselves for their Friday, November 26 opening night, I recently had a opportunity to chat with a few of the featured performers about the show, their holiday memories and the excitement of the holidays for my latest Rapid Fire 20Q interview feature.

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RAPID FIRE 20 Q WITH CAST OF FIDDLE DEE FARMS’ WE NEED A LOT OF CHRISTMAS; OPENING FRIDAY, NOVEMBER 26

RAPID FIRE WITH WE NEED A LOT OF CHRISTMAS’ BARRY AND DARI ANNE AMATO

JHP: From what I understand you two met while performing at Opryland USA. Since then you’ve worked together many times and even co-run a production company, We Need a Lot of Christmas being your latest venture. Gotta ask…What’s the best part of being married to your business partner and co-star?

BARRY AND DARI ANNE AMATO: Since our early days at Opryland, we have never known anything else except being together 24/7 while working.  For some, that may be a hard thing to do but we have always found the joy in not only being husband and wife but sharing our gifts together creatively.  We both bring different strengths to the table which makes for a successful partnership.  When we do step apart to do individuals things, it just doesn’t feel right to us.

JHP: For those not familiar, what can you tell me about The Barn at Fiddle Dee Farms and why it’s the perfect venue for this show’s debut?

BARRY AND DARI ANNE AMATO: For us, The Barn at Fiddle Dee Farms is perfect for a couple of reasons.  We have always been big time fans of the movie, White Christmas and have always said, “wouldn’t it be great to produce a Christmas show in a setting just like the movie?”  Little did we know that would be in our paths.  The barn is, for starters is a beautiful venue but also provides the backdrop of what the theme of White Christmas is mainly about.  On the other hand, the barn also fills a void of the beloved Chaffin’s Barn Dinner Theatre that was one a Nashville’s treasure.  This gives patrons an opportunity to create a new tradition with Fiddle Dee Farm.

JHP: Unless it purely coincidental, among the cast is Magician Bruce Amato, i’m guessing y’all are related. Having performed throughout the US and Europe. What can you tell me about Bruce and his contributions to the show?

BARRY AND DARI ANNE AMATO: It’s exciting to have our brother Bruce involved in this production.  He is one of the main reasons there is a show since co-owners Karen and Craig Pulley have always wanted to do a Christmas show with him involved.  He brings a fun element to the production that helps buffer all the different scenes.  Bruce comes to the stage with many years of experience as a professional illusionist having worked with David Copperfield and is also highly sought after in the world of magicians for lectures, performances and professional guidance.

JHP: Tell me more about how We Need a Lot of Christmas came about?

BARRY AND DARI ANNE AMATO: Ironically, Dari Anne was helping a friend with a wedding that was being held at Fiddle Dee Farms.  Karen Pulley said to Dari Anne, “you and your husband are show producers…right?”  My brother Bruce has performed for their fall festival for years and had mentioned our names to her and her husband, Craig.  At that time, we were totally unaware that her husband, Craig, use to be the director of the television show we produced for The Nashville Network, The Wildhorse Saloon dance television series.  We didn’t realize that he, along with Karen, own Fiddle Dee Farms. So all along we had a indirect affiliation that stems back years and didn’t even know it at first. Funny how certain people in your life come around full circle!

JHP: Having been married nearly 25 years, do you two have a favorite Christmas memory?

BARRY AND DARI ANNE AMATO: Christmas is such special time of the year for us.  We try to create new memories every year but I would have to say the most precious memory to us was Christmas 1993.  We were both performing in Dollywood’s production, Christmas In the Smokies.  It was a wonderful season of renewal of our faith in God and following Jesus.  It was such an overwhelming since of calling and our lives have never been the same!

RAPID FIRE WITH WE NEED A LOT OF CHRISTMAS’ BILLY DITTY

JHP: In recent years you’ve kept yourself busy primarily behind the scenes as a one of Music City’s go-to choreographers and costumers for some of Nashville’s most-cherished performance organizations. That said, what’s it like returning to the stage as a featured performer?

BILLY DITTY: I would like to say that it was just like riding a bicycle, but the reality is that I had to get my mental game back on point. It took me some time in rehearsal, to get by brain up to speed as far as focus and retention. I’ve always kept a few plates spinning at one time but post Covid I feel like I had to let a few plates go and focus on fewer things to handle to the real work onstage.The work has paid off. The amount of joy I receive each day from this show feels great!I’m tired but its a good tired.

JHP: You and I have known each other for years and if memory serves, some of your earliest performances happened onstage at Chaffin’s Barn Dinner Theatre. To that end, this show features a few Chaffin’s alum. Given that, and the fact that this show is being mounted at That Barn at Fiddle Dee Farms, does the experience give you familiar vibes?

BILLY DITTY: It does bring back great memories of those times, the Holiday shows I worked on there and how much we laughed. The laughter is very similar. We are also a  funny, high spirited, opinionated, talented group that sometimes acts like family.

JHP: On the subject of your fellow castmates, this cast’s theatre credits are brimming with choreographers. Does that mean audiences might get a chance to see some Dittyography in the mix?

BILLY DITTY: Yes, I was asked to contribute a few sections. I used my dance class students at Bellevue Performing Arts Center (where I teach) as Guinea Pigs to work out some sections before presenting choreography to the cast.  All of the cast was invited to collaborate in the creation of this piece.  We are a talented group of strong minded creatives so the urge to just step forward and solve the creative problem is strong.  We have been really respectful about offering up our individual wisdom at the right time. It feels more like support, that way!

JHP: Do you have favorite segment of the show?

BILLY DITTY: Probably the Men’s Medley. There is no choreography but the vocals are delicious and worth the sweat. The music is mesmerizing to me. I’m going to rehearse it again right after these questions…..

JHP: What is your Christmas wish this year?

BILLY DITTY: My wish is for the world to allow the Arts to come back in a bigger better, meaningful way. Theater is certainly back, in one form or another, and I’m thankful for any performing art. The natural growth of the arts in Nashville has been stunted and it may be some time before it gets fully back on track as far as money, budgets, growth, staff numbers, pay scale, production, talent, outreach programs. I’m it for the long haul and I need it to work for me, my tribe and for Nashville’s overall culture.

RAPID FIRE WITH WE NEED A LOT OF CHRISTMAS’ CHARLYNN CARTER-LATTO

JHP: After more than a year of no live theatre, how excited are you to be onstage again?

CHARLYNN CARTER-LATTO: More than you can even imagine because for me, It’s been even longer.  I haven’t really been onstage since before the birth of my son so it’s been over three years for me.I’m so thrilled that the theater world is coming back to life and that I get to be a part of it.

JHP: When I saw you were part of the cast of We Need a Lot of Christmas, I knew I had to chat with you. So, what’s been the best aspect of being part of this show for you?

CHARLYNN CARTER-LATTO: Performing with some of my best friends who also just happen to be some of the most talented people in Nashville.  It’s a total joy to be onstage with people you’ve loved for years.

JHP: If my social media stalking and math skills serve me well, your precious little boy will be nearly 3 by the time Santa comes this year. Is this shaping up to the be best Christmas ever at your house?

CHARLYNN CARTER-LATTO: That’s right! And yes!  We are having the best time.  He calls Santa Christmas and loves everything about Christmas so far which makes it so much more fun for me.  I’ve always loved the Holidays but there’s something magical about experiencing it through the eyes of a child that makes it so much better.

JHP: From what I know, this show is presented in segments grouping specific types of holiday tunes together. Without even knowing what songs are included, I’m guessing my favorite will be the Movie Music offerings. Do you have a favorite segment or song, whether you’re part of the performance or not?

CHARLYNN CARTER-LATTO: I’m with you on that one!  I’ve watched White Christmas so many times I could quote the entire movie so so tunes are a favorite for sure.  But I think the spiritual section might be my favorite of this show.  

JHP: What’s your ideal Christmas Day consist of?

CHARLYNN CARTER-LATTO: We start big on Christmas Eve in my family.  Niko is playing a sheep in the church Christmas Eve nativity program which is going to be wonderful and hilarious I’m sure.  He’s got quite the personality.  And then we always go to my mom’s house for a huge appetizer spread and gifts.  And my mom happens to be the best cook on earth!  Then Christmas morning with Niko is going to be nothing short of magical.  I can’t wait.

RAPID FIRE WITH WE NEED A LOT OF CHRISTMAS’ CURTIS REED

JHP: When I chatted with Billy, I noted this show is chock-full of choreographers, including yourself. Did you contribute to any of the show’s choreo?

CURTIS REED: There are quite a few multi-faceted performers in this show and I am definitely lucky enough to be one of them. While I didn’t contribute heavily to the choreo, we all helped each other finesse the dance numbers and lent our services where needed. I helped quite a bit with the development of the show and the writing for the comedic sketches we have sprinkled throughout. Having this show as a collaborative effort just makes it that much better!

JHP: Among your co-stars is the lovely Jenny Norris. Like yourself, she’s another Chaffin’s alumni. How much fun are the two of you having?

CURTIS REED: Anytime someone puts Jenny and I in a show together, comedy and mischief will ensue! She is most definitely my “person” and we have been in shows together every year since I first moved here back in the fall of 2014. I am so very very fortunate that we continue to share the stage together and our hijinks have not gotten us into too much trouble! LOL There are several Chaffin’s Barn Alumni in this show that we hope our Barn patrons will want to see in action again! Aside from Jenny and Myself, we have Billy Ditty who had a very long stint at the Barn along with Charlynn Grace (Carter) Lotto. In fact, my very first show at Chaffin’s (All Shook Up), Jenny, Myself and Charlynn all shared the stage together! Now we are all together again and it feels like one big happy family!

JHP: There’s also a few cast members Nashville audiences might not be as familiar with, including Jordan Long, who recently returned to Tennessee after a stint in New York and a couple of national Broadway tours, and Amanda Disney, a life long performer who marked her professional stage debut just a few months ago.If you were helping Santa with his Naughty and Nice lists, which each of them end up on and why? And remember, Santa’s watching so choose your words carefully.

CURTIS REED: Well Jonathan, everyone’s a little bit naughty LOL. I have had so much fun with everyone in this cast! Getting together with old friends and making new ones in the process. I was fortunate enough to work with Amanda on her Nashville debut which is how we ended up in this show together! The level of talent and skill in this cast is just outstanding! Now, to answer that question, If I HAD to inform Santa as to who might be naughty, that list would definitely include myself, Billy Ditty, the surprise attack naughty elf, Jenny – because as before-mentioned, she is my partner in crime, Jordan, who is very quick-witted and funny and Charlynn, the unassuming southern belle. We definitely make up the naughty list in this show……. in the BEST way possible. I will say, there is a point at every rehearsal where we must have reached the witching hour and we all start egging each other on and the belly laughs are contagious. That to me is the best part of working with such a close cast.

JHP: I understand this show is a musical review, that’s woven together with a few vignettes of dialogue. Furthermore, you help pen said dialogue. Can you tell me a little about that process?

CURTIS REED: I was so humbled that Barry and Dari Anne trusted me and wanted my input on the comedic aspect of this show as well as how the show would be structured. Working with them is always amazing and being a big part of this inaugural behemoth of a show was something I was definitely ready for after the year and a half we all had to deal with. Quite honestly, dealing with the lack of theater and covid and other hardships helped us really hone in on what we wanted to bring a lightness to and poke fun at if you will. Having to get used to new technologies like Zoom calls, learning through Youtube videos and the Internet, being apart from human contact, all that helped fuel our funnies. I think that our stand-out comedic moments are sure to get plenty of belly laughs from the audience and make their Holiday Season that much brighter.

JHP: I still remember the Christmas that Santa brought me my Evel Knieval Scramble Van and Stunt Cycle…and my Six Million Dollar Man and Bionic Woman action figures. Do you remember and specific Christmas gifts from your childhood?

CURTIS REED: Oooo that’s a good one! I do remember the one year I found a fish bowl with two goldfish in it that I was VERY excited about. I promptly named them Goldie and Lucky. There was another Christmas that I was a little too young to remember, however the photo proof and stories I have been told lend me to believe the year I got a Giant Stuffed Unicorn that Little Curtis could ride on was also a big hit. Apparently after that gift was opened all others were forgotten and all I wanted to do was hug and cuddle with the Unicorn. I mean, can you blame me though?

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We Need a Lot of Christmas opens Friday, November 26 and runs through December 31 with evening and matinee performances on select dates. Evening performances begin at 7:30p.m. and prices range from $69.95 to $74.95, both including a full dinner buffet courtesy The Bakery Box and featuring your choice of Spinach Stuffed Chicken or Smoked Pork Loin with Apple Chutney. Side options include Au Gratin Potatoes, Green Beans with Almond Slivers, Salad and Fresh Rolls and a selection of Dessert options.

 Matinee performances are $49.95, with the show beginning at 1p.m. and featuring a gourmet box lunch. Tickets are also available for a special New Year’s Eve performance beginning at 8p.m. for $110.00. The New Year’s Eve celebration includes the above-mentioned holiday buffet plus a meet and greet with the cast and producers, fun and games, party favors, noisemakers, post-show dancing with music provided by a DJ, dance lessons courtesy the cast, more magic from Bruce Amato, post-show hors d’oeuvres and holiday desserts and of course, champagne at midnight. CLICK HERE for tickets. For more, check out We Need a Lot of Christmas on Facebook and Instagram.

As always, if you wanna follow JHPEntertainment for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook, JHP Entertainment 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!

It’s been a year and seven months since I last stepped foot inside TPAC for a show, so the second I heard Broadway was coming back to Music City’s beloved performing arts center, and that the first show of their revamped 2021-2022 season was The Band’s Visit, I jumped at the chance to chat with one of the members of the remarkable show’s ensemble.

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Rapid Fire Q&A with Kendal Hartse, Iris in The Band’s Visit National Tour

JHP: Before we begin, I just want to thank you for taking the time to chat with me, I know life on the road can be demanding, and I suspect, especially now, considering the past eighteen months of uncertainty where live theatre is concerned. Speaking of the global pandemic and theatre going dark, to kick off our chat, tell me how if felt to learn that the National Tour of The Band’s Visit would resume, and that you’d be part of it?

KENDAL HARTSE: Coming out of such a long period of time, not only of complete global catastrophe, but also a complete shut down of the entire industry, it was an unbelievable relief to know I had this show to return to. We shut down in Pittsburgh on March 12th and resumed again 18 months later. The idea all along was that The Band’s Visit would be remounted when it was safe to do so, and knowing that I had a job, and such an amazing job as this, waiting for me on the other side, was a life saver and helped me keep some hope on the horizon throughout everything.

 

JHP: What can you tell me about Iris, the character you play in The Band’s Visit?

KENDAL HARTSE: Iris is such a wonderfully complex character. She is a woman who made plans for her life, set them in motion, and is now coming to terms with the limitations of her circumstances. “End of her rope” is a phrase that often comes to mind. This is a character who receives very little help from the people in her life and has tried to push through taking care of things on her own. The night the action of The Band’s Visit takes place, Iris has reached the limit of how much she can carry on her own.

 

JHP: Clay Singer plays Iris’ husband, Itzik. While your onstage relationship is tense, at best, how’s Clay as a scene partner?

KENDAL HARTSE: I could not be more grateful to get to work with Clay. He is a generous, present, and exciting scene partner. It’s always a relief to get to work on tough material with actors who you know you can trust. I have to go to some challenging emotional places in the play and completely trust that Clay is there to support me and knows that I am there to support him. When the material is heavy or tense it’s buoying to have a scene partner who you really like, it makes the tough stuff much easier.

 

JHP: Speaking of sharing the stage, Sasson Gabay–who created the role of Tawfiq in the 2007 film upon which the show is based–is back in the role as the tour resumes. What do you admire most about his performance?

KENDAL HARTSE: There is so much to admire about Sasson both as a person and an actor. It’s an absolute gift to get to watch him every night. He fills every breath and every moment with such nuance and specificity and is always open and available to new thoughts and ideas. His performance is incredibly moving and I am in deep awe of his ability to continue to mine the material for more and more depth.

 

JHP: While Iris and Itzik’s marriage is, shall we say…rocky, in researching to chat with you, I discovered your real-life marriage is apparently flourishing. In fact, if my Insta-stalking, I mean…research is correct, the day before the tour comes to Nashville’s TPAC, you celebrate your wedding anniversary. Is being away from your husband the hardest aspect of life on the road?

KENDAL HARTSE: I am very blessed to be with a wonderful partner named Austin Regan who is a brilliant director and artist. Being on the road means being far away from each other for extended periods of time and yes, missing milestones like anniversaries. It is definitely one of the hardest challenges of life on the road. Luckily, since Austin is also an artist, he understands that travel and distance comes with the territory and we have gotten very good at keeping in touch and making time to visit each other as often as possible. The only thing harder than time apart is probably finding places to do laundry while traveling!

 

JHP: In preparing for our chat, I also discovered we have a few mutual acquaintances, among them, the remarkable LaChanze, who you appeared alongside in Summer: The Donna Summer Musical. Congrats on the Chita Rivera Awards nomination for Outstanding Ensemble for your work in that show, by the way! Aside from the Chita nom, do you have a favorite memory of your time in Summer on Broadway?

KENDAL HARTSE: Working with LaChanze was such a treat, she is absolutely fantastic. And thank you! A large portion of my career was spent as a dancer and the Chita Rivera Award nomination was truly and honor and a huge highlight of the experience. Other than that, my favorite memory of Summer would have to be experiencing the audience go absolutely wild at the end of the show. I have never heard such sheer volume of cheers and applause or seen so many people leap to their feet and start dancing along during a Broadway show. It was so fun!

 

JHP: Summer wasn’t your first Broadway show, having made your debut in the 2011 revival of On a Clear Day You Can See Forever, then two short years later, you returned to Broadway in the ensemble of Rodgers and Hammerstein’s Cinderella. How would you describe stepping onstage for the first time before a live audiences, whether on Broadway, or on tour?

KENDAL HARTSE: Something that I find very beautiful about being an actor is that it almost always feels the same before you step onstage. It could be in a community theatre or on a Broadway stage, but that moment before exists on its own. That moment, to me, is when everything else is still and I take the time to quiet my thoughts, take a deep breath, and prepare myself to tell a story, whatever that story is. It’s a special and sacred moment to me.

 

JHP: Just as Summer wasn’t your first Broadway show, The Band’s Visit isn’t your first National Tour, having been part of Cabaret’s 2016 outing. During your time with the show, you appeared, at various times as Texas, Fraulein Kost, Fritzie and in the lead as Sally Bowles. I’d imagine Sally would be a dream role for many actresses. Since you’ve already tackled Sally, is there a role that you consider your dream role?

KENDAL HARTSE: Playing Sally Bowles was such a dream role experience and honestly one I would do again in a heartbeat! There is just so much there. It’s interesting to consider “dream roles” to me. So much of my career has been in musical theatre and while I love the art form I am itching to focus on plays. Singing and dancing is definitely part of my skill set, but I definitely am an actor before anything else. So while I don’t know that I have a specific dream role, I’d love to tackle some Shakespeare or some Tennessee Williams one of these days. Sign me up for Rosalind or Stella any day.

 

JHP: Back to The Band’s Visit, in one of the show’s most heartfelt moments, the company joins Joshua Grosso’s Telephone Guy during the unexpectedly sombre 11 o’clock number, Answer Me. Yesterday while prepping for this interview, I not only stalked your socials, but I also rewatched the 2007 film and listened to the show’s cast album on repeat, and I’m not gonna lie, my eyes began to ‘sweat’ while listening to this number in particular. Has there been a time in your life when you were waiting for someone to Answer You?…and was it worth the wait?

KENDAL HARTSE: In so many ways I feel like we are all always waiting for someone to Answer. While the Telephone Guy is specifically waiting for the phone to ring, to hear from his girlfriend, the rest of us in the show are seeking and awaiting our own answer. I find that the more I seek, the more I hope for an answer to any question. Whether I’m waiting for a friend or a loved one to connect with me or waiting to hear about work, or looking inward and asking a question of myself, I think whatever answer comes it is always worth the wait as it brings a new knowledge and understanding of life, yourself, your situation.

 

JHP: Thanks again or taking time to chat with me. Can’t wait to see you and the entire company on The Band’s Visit on opening night in Nashville at TPAC’s Jackson Hall!  Alright, our time is almost up, so one final question…is there a message, an idea or a moment in The Band’s Visit that you think/hope audiences will reflect on long after the footlights dim on the show? Oh, one last thing…the closest Arby’s is on Rosa Parks Blvd, just 2 miles from TPAC.;-)

KENDAL HARTSE: I hope that audiences will reflect on the question of hope. What does it mean to wait and wait and wait for something to change? Maybe it won’t look like what you thought. Maybe it’s something small and simple but it’s enough. Thank you so much for these lovely questions and for that Arby’s location. I’ll be celebrating our Nashville opening with some Curly Fries and a Jamocha Shake!

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The Band’s Visit begins the Nashville leg of its National Tour with a 7:30p.m. performance at TPAC‘s Jackson Hall on Tuesday, October 19. 7:30p.m. evening performances continue Wednesday and Thursday, October 20 & 21. As the tour stop continues in Music City, Friday and Saturday evening performances will be at 8p.m. Saturday’s matinee will be at 2p.m. On the show’s final day in Nashville there will be a Sunday matinee at 1 p.m. and an early evening performance at 6:30p.m. To purchase tickets, CLICK HERE.

As TPAC reopens its doors for their Broadway series, their commitment to their patron’s safety is key. To that end, attendees age 12+will be required to show proof of vaccination or a negative COVID test dated within 72 hours of their selected performance. All patrons age 6+ must wear masks inside the venue. CLICK HERE for more on TPAC‘s Patron Health initiative.

Not in Nashville or can’t make it to TPAC for The Band’s Visit? Be sure and check out The Band’s Visit website for details on upcoming tour stops in Pittsburgh, Buffalo, Worcester, Hartford, Los Angeles, Portland, San Francisco and more, throughout cities across the US through Summer 2022.

For the latest on TPAC and their upcoming Broadway Season and Special Presentations, including Disney’s The Lion King, Mean Girls, The Prom, Dear Evan Hansen, Summer: The Donna Summer Musical, What the Constitution Means to Me, Come From Away, Oklahoma! and May We All, 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.

For more about The Band’s Visit, check them out on Facebook, Instagram, Twitter and 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, JHP Entertainment 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, Welcome back live performances and #GoSeeTheShow!