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Rapid Fire Q&A with Disney’s Frozen National Tour’s Olaf and Kristoff, Broadway stars Jeremy Davis and Nicholas Edwards; at TPAC May 7 thru May 18

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Since the 2013 release of Disney’s Frozen, Anna, Elsa, Kristoff, Olaf and the rest of the residents of Arendelle have become an undeniable part of a world-wide pop culture phenomenon. The box-office-breaking original prompted a film sequel (with two more film entries coming). There’s been a televised holiday special, a line of character costumes, hundreds of toys, books and board games, video games, even a Frozen-themed Disney on Ice…heck, you name it and it probably exists in the Frozen universe. Fans just won’t Let it Go! Of all the Frozen tie-ins, Frozen: The Broadway Musical has proven just as beloved as the original film. Frozen debuted on Broadway in March 2018 and enjoyed a popular run until March 2020 due to the pandemic. Midway through the Broadway run, a North American National Tour and several international tours began. Following a brief hiatus in 2020, the US National Tour began again in September 2021. Earlier this year, the US tour celebrated its 1000th performance.

On May 7, For the First Time in Forever, Music City will get the chance to experience Frozen: The Broadway Musical when the National Tour descends on TPAC’s Jackson Hall for performances through May 18. For the latest installment of my recurring Rapid Fire interview feature, in advance of Frozen: The Broadway Musical’s Nashville tour stop, I recently had the chance to chat with two of the show’s stars, Jeremy Davis and Nicholas Edwards, who play Olaf and Kristoff, respectively, What follows are those conversations.

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RAPID FIRE Q&A WITH DISNEY’s FROZEN NATIONAL TOUR’s JEREMY DAVIS and NICHOLAS EDWARDS

RAPID FIRE WITH FROZEN’s OLAF, JEREMY DAVIS

JHPENTERTAINMENT: A quick peek at your show bio reveals you’ve been part of Frozen since the show was workshopped prior to its Broadway debut. Then you were initially part of the Broadway ensemble and understudy for Olaf. When did you first take the stage as Olaf and what do you remember most about that night?

JEREMY DAVIS: I first went on about two months after we opened. It was planned, so there was a lot of rehearsal and build-up to it. For weeks, the whole company worked to help me get ready. When the day finally came, I was on stage doing my first scene, and I looked offstage to find the whole company packed in the wings watching me. It was so galvanizing to feel such immense support, and it made my debut a very special experience.

JHPENTERTAINMENT: For those who’ve not seen the Broadway adaptation, rather than have you in a giant Olaf costume, Olaf is presented as a puppet with you dressed in winter wear controlling his movement and providing his voice. I understand you’d never worked with puppetry prior to taking on this role. What was your rehearsal period like prior to taking on the role?

JERMEY DAVIS: Since I started as an understudy, I had the advantage of watching and learning from Greg Hildreth, the original Olaf in the Broadway production. Greg is a true artist and comedian, and I was very lucky to be able to have him as a role model. And he was so good with the puppet! The first time I worked with Olaf in rehearsal, I couldn’t believe how hard it was. Greg made it look so easy, but I felt like I was trying to push a pile of rocks around. But like everything else, the more I did it, the easier it got. After a couple of weeks of practice, it started to feel like the puppet and I were dancing. Now, after all this time, we waltz around the stage like we were meant to be together.

JHPENTERTAINMENT: Frozen wasn’t your first Broadway show… Heck, that count’s up to 10 Broadway shows if my research serves me right, 2005’s Dirty Rotten Scoundrels marking your Broadway debut. What do you remember most about taking to the Broadway stage for the very first time?

JERMEY DAVIS: The thing I remember most from that night was the curtain call. I went out to take my bow, and as I looked out over the applauding audience, I was thrown back in time to my childhood bedroom where I was having a daydream that one day I would be a Broadway actor. I started crying as I took my bow for Scoundrels because I realized that a childhood dream had come true.

Jeremy Davis as Olaf (photo by Matthew Murphy/courtesy frozenthemusical.com)

JHPENTERTAINMENT: OK, I have to admit something. I’ve never seen Frozen, Frozen II, or even the made-for-tv holiday special, Olaf’s Frozen Adventure! I KNOW, I KNOW!!! But what can I say? I don’t have kids and my nieces were all grown with their own kids by the time the movies came out. That said, I’ve not been living under a rock, so of course I have soaked up some knowledge of the characters and basics of the storyline. All that to ask…what’s it like being part of such an iconic pop culture phenomenon?

JERMEY DAVIS: First of all, WATCH FROZEN! It’s a great film, and it’s not just for kids. I’m a full grown adult (allegedly), and I love it!

As for what it’s like to be a part of this amazing phenomenon, it’s awesome! Every night, I walk out on stage to a crowd that’s already in love with Olaf, and it’s an amazing feeling to be at the center of all that love. It makes the job so easy and fun!

JHPENTERTAINMENT: If you could incorporate one aspect of Olaf’s personality or ideology, what would it be?

JERMEY DAVIS: The thing I love most about Olaf is his perspective on the world. He sees everything that happens, every moment, as an opportunity for joy. He meets a new person, and they’re his best friend. He walks into a new place, and he sees it as a theme park. He falls to pieces, and he rolls all his parts on the ground in glee. After all this time playing Olaf, his outlook has started to become part of my real life perspective, and I can’t really put into words how much better it’s made my life to look at the world in that way.

RAPID FIRE Q&A WITH FROZEN’s KRISTOFF, NICHOLAS EDWARDS

JHPENTERTAINMENT: I admitted when I chatted with your Frozen co-star, Jeremy Davis earlier that I’ve never seen any of the Frozen universe of movies, tv specials or short films. So, for the uninitiated, who is Kristoff and how much fun are you having playing him?

NICHOLAS EDWARDS: Kristoff is a local Arendellian ice harvester mountain man who alongside his best friend Sven (who happens to be a reindeer), gets swept up in this majestic quest to help princess Anna climb the North Mountain and save Arendelle from the eternal winter brought on by the ice queen Elsa! I am having the time of my life! I get to help save Arendelle 8x a week!

JHPENTERTAINMENT: For the stage version, Kristoff’s role has been amped up a bit, including being featured in a few new musical numbers. Do you have a favorite musical moment in the show, whether it’s one you’re featured in, or one you just enjoy from the wings?

NICHOLAS EDWARDS: I mean Let it Go is truly one of the most magical theatrical moments in a musical ever, but I really love the two sister’s duet I Can’t Lose You. It’s a new song written for the tour and it really helps flesh out the relationship between the two sisters, and of course the song itself is just thrilling! The vocals are insane!

JHPENTERTAINMENT: Like Jeremy you also come to the tour after having appeared in the Broadway production. With a National Tour, you’re performing on a different stage each week. To that end, I’m curious how much rehearsal or run-though you all get in each city, or do you simply adapt to each venue as you go?

NICHOLAS EDWARDS: Each city we do a sound check and quick spacing rehearsal that lasts around 3 hours the day of the first show. Outside of that we do a few lift and fight calls as a check in throughout the week, but yes- we adapt and stay on our toes as learn the ins and outs of each venue. Safety first!

Nicholas Edwards as Kristoff @nickedwardsnyc Instagram

JHPENTERTAINMENT: Between your time with Frozen on Broadway and the current National Tour, you also appeared on Broadway in & Juliet as Lord Capulet and Sly. Have your found any similarities between these characters?

NICHOLAS EDWARDS: Definitely not! Lord Capulet is a powerful father figure who sentences his daughter to life in a nunnery- Kristoff would never do that!

JHPENTERTAINMENT: I like to end my interviews by asking a variation of the following…What do you hope audiences come away remembering long after seeing Frozen?

NICHOLAS EDWARDS: A lot of families who come to see Disney shows are experiencing their first Broadway musical- I can only hope that this sparks something inside them to continue to want to come back and experience more of the magic that live theatre brings to audiences.

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Disney’s Frozen: The Broadway Musical comes to TPAC’s Jackson Hall with the following performance schedule: Tuesday-Sunday, May 7-12 and Tuesday thru Saturday, May 14-18. Tuesday-Saturday evening performances begin at 7:30p.m. with Saturday matinee’s at 2p.m. and Sunday performances at 1p.m. and 6:30 p.m. Tickets range in price from $53 to $198. CLICK HERE to purchase tickets or for more information. Follow Frozen on Facebook, YouTube, Instagram and TikTok. Or check out their official Frozen On Tour Site.

Not in Nashville? Not to worry. As the tour continues, Frozen: The Broadway Musical is headed to Majestic Theatre in San Antonio, TX May 22-June 2, Austin, TX’s Bass Concert Hall at University of Texas at APAC June 5-16, Buell Theatre in Denver, CO June 19-July 3, Vancouver, BC’s Queen Elizabeth Theatre July 9-July 21, First Interstate Center for the Arts in Spokane, WA July 24-August 4, Boise, ID’s Morrison Center for the Performing Arts August 7-18 and San Jose Center for the Performing Arts in San Jose, CA August 21-September 1 with more dates expected to be added soon as the tour continues.

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

Rapid Fire Q&A with Rainey Trevino, Stefanie Londino, Charlotte Woertler and Christopher Swan from National Tour of ‘Annie’; Limited Engagement at TPAC March 27-30

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March 27 is World Theatre Day and I can’t think of any better way to celebrate than chatting with members of the cast and crew of the current National Tour of Annie, one of theatre’s most beloved and enduring musicals. As the company readied for their March 27-30 Music City tour stop at TPAC‘s Jackson Hall, I recently had a chance to pose a few questions to members of the company including: Rainey Trevino, who stars as Annie, Stefanie Londino, the show’s deliciously villainous Miss Hannigan, Sandy’s handler, Charlotte Woertler and Christopher Swan, who plays Oliver Warbucks for the latest installment of my recurring interview feature, Rapid Fire 20Q.
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RAPID FIRE Q&A WITH ANNIE NATIONAL TOUR CAST AND CREW

RAPID FIRE WITH ANNIE STAR, RAINEY TREVINO

JHPENTERTAINMENT: You’ve been with the current tour since it began in the fall of 2023. How did you find out you would be playing the title role in Annie?

RAINEY TREVINO: The audition process was fairly long. I sent an audition tape in March 2023 and was called to an in-person callback in NYC in the middle of June. A couple of days later I was visiting family in Washington State and my manager called to tell me that I had booked the title role. That was the best moment of my life and I think I was in shock. This has been a dream of mine as long as I can remember. I had the summer off to get everything in order like switching to homeschooling, hanging out with and saying goodbye to friends and my younger sister, and I even had to get my braces removed after only having them on for four months. Then on Labor Day we started a month of rehearsals before hitting the road.

JHPENTERTAINMENT: I love that the current National Tour of Annie is being directed by Jenn Thompson, who at age ten, appeared as Pepper in the original Broadway production of Annie. During rehearsals, did Jenn tell you and the other young actors anything about her experience with the show back then? AND…did she offer any advice on doing the work, but enjoying yourselves in the process?

RAINEY TREVINO: Jenn is such an amazing director and she has a unique perspective on the show having worked with Martin Charnin, lyricists and the original director of Annie! She shared a lot of insights and advice with the entire cast and a lot of the history of the show and history of the time period that Annie is set. She emphasized the significance of hard work and dedication while also encouraging us to have fun and find joy in the work.

JHPENTERTAINMENT: Speaking of the original Broadway production, as your time with the tour began, you received a video message from Andrea McArdle, who originated the role of Annie on Broadway back in 1977, How cool was that?

RAINEY TREVINO: The message from Andrea McArdle had me star-struck. I have listened to her Broadway version of the Annie soundtrack a million times and it was crazy that she was talking to me! I still watch the video every week when we sit in a new city to get ready to play this iconic character.

JHPENTERTAINMENT: As Annie you share the stage with several other young actors who play Annie’s pals and fellow orphans. I’d imagine you’ve all become very close, celebrating birthdays on the road and exploring cities together when there’s an off-day. Are you enjoying getting to know your fellow young cast members?

RAINEY TREVINO: The other girls on this tour are my best friends and I can’t imagine what this tour would be like without them. We are like one big family. We do almost everything together. We are so close in age 10 and 11 and we are doing this unique thing of traveling the U.S. playing in over 50 cities for more than 200 performances this year, and being with other kids who have similar experiences makes this crazy life seem more normal, and I wouldn’t have it any other way.

JHPENTERTAINMENT: Not only do you share the stage with several young actors, you also share several scenes with Seamus and Kevin, the two pups who alternate in the role of Sandy. I’d imagine they each have their own personalities. What’s your favorite thing about getting to work with the two of them.

RAINEY TREVINO: Working with the two dogs that play Sandy is a dream come true. I am an animal lover and have three dogs and so many other animals at home. Seamus and Kevin are the most professional actors on the stage and they do have very different personalities. You might even be able to see some of those differences on stage if you come to the show on different nights as they each have a slightly different take on their version of Sandy. I love that I get to rehearse their scenes when I first arrive at the theatre and get to cuddle and play with them. I have some moderately quick changes and hair fixes where I get to have bonding moments in the wings with them before heading back on stage. I really love this part of the job.

RAPID FIRE WITH ANNIE’s SANDY BY WAY OF TRAINER, CHARLOTTE WOERTLER

JHPENTERTAINMENT: First off, thanks, Charlotte for interpreting Seamus and Kevin’s answers. I understand this is your first national tour, after more than two decades of training animals for the stage. When did you first know this was the career for you and how did you yourself ‘train’ for this gig?

CHARLOTTE WOERTLER: I knew I wanted to be an animal trainer when I was about 8yrs old. I grew up in Los Angeles going to live tappings of tv shows and was enthralled by the incredible animals on I’d see on set. They always connect so strongly with the audience. To prepare for Annie I familiarized myself with the show both from an audience and backstage perspective so that I could begin breaking down the behaviors that would be necessary to deliver each scene. Next it was about acclimating both myself and our wonderful dogs to the sights and sounds of a live theater environment. 

 

JHPENTERTAINMENT: Charlotte, what are some of the challenges working with Seamus and Kevin on tour as opposed to being on a movie or TV set or at one venue for a stage show?

CHARLOTTE WOERTLER: Tour is an exciting new challenge! Both Seamus and Kevin have been so adaptive and assured in navigating this new chapter. The biggest difference is how we’re able to communicate with the dogs as trainers. In a live theater setting you don’t want to see or hear the trainer cueing the dogs so we’ve had to be creative in developing new subtle ways to work with them. We also spend lots of quality time with the actresses who play Annie. This helps to foster a strong relationship between them and allows them to step into the role of “trainer” while onstage with the dogs. They make a great team!

JHPENTERTAINMENT: Seamus is a Wheaten Terrier mix, while Kevin is a labradoodle. Aside from breed, what’s another distinct difference between these two dog stars?

CHARLOTTE WOERTLER: They each definitely have their own personality. Kevin is more of the class clown and loves to play ball while Seamus is the consummate professional and his favorite game is tug-o-war. 

JHPENTERTAINMENT: Are there particular scenes that Seamus and Kevin each seem to enjoy performing in more than others?

CHARLOTTE WOERTLER: They both really look forward to taking their bows. The whole cast has a great relationship with the dogs and they get so excited to run out on stage with all their friends. Waiting in the wings they’ll see Annie coming down the stairs for her bow and the dogs simply light up with excitement and can’t wait to get out there and soak it all in. 

JHPENTERTAINMENT: What’s your favorite aspect of life on tour with Annie?

CHARLOTTE WOERTLER: Meeting so many kind people and getting to experience so many new places has been an absolute treat. The dogs and I will go explore local sights and everyone always loves meeting Sandy.

RAPID FIRE WITH ANNIE’s MISS HANNIGAN, STEFANIE LONDINO

JHPENTERTAINMENT: You are back as Miss Hannigan after having toured with the show during its 2022 season. This time around you’ve got Rainey as Annie. How much fun are you having being back in the role and back on tour?

STEFANIE LONDINO: Yes, it’s my pleasure to be back with a whole new batch of chickens in the orphanage. I’m honored to step back into those snakeskin pumps for a second season of Annie!

JHPENTERTAINMENT: Researching to chat with you, I discovered that in addition to your work in theatre, you’re also a personal trainer. While I’d imagine the show itself is quite the workout, do you try to work in a workout during your downtime?

STEFANIE LONDINO: Yes, definitely. Workouts are a regular part of staying healthy on the road— I’m so glad for my training and time as a CPT, for all it brought into my life and all I was able to share with my clients.

JHPENTERTAINMENT: Vaudeville comedian W.C. Fields famously said ‘never work with children or animals’, yet here you are…I won’t ask the worst, but what’s the best part of working with the young actresses who play the orphans and the dogs who play Sandy?

STEFANIE LONDINO: Well I don’t know about Mr. Fields, but kids and dogs are some of the best coworkers I’ve ever had. They bring an incredible authenticity and an infectiously joyfulness to our tour family. I’m so grateful for the pups and my chickens every day!

JHPENTERTAINMENT: I think it’s safe to say audiences have a love/hate relationship with Miss Hannigan. She’s just so terrible, but it’s terribly fun to watch her. Over the years, she’s been played on stage and screen by everyone from Dorothy Loudon, Nell Carter and Jane Lynch to Carol Burnett, Kathy Bates and Cameron Diaz. How are you putting your on spin on such an enjoyably wicked character?

STEFANIE LONDINO: Oh, she’s the best. It’s an honor to stand in this line of legends and give new life to such an iconic character. I knew from the beginning that I wanted to play her real, a human, not a caricature. Her struggle is real, her rage comes from that pain. And the comedy hits harder for that balance, the dark justifying the light. It’s been humbling to have the response be that she’s deeply relatable.

JHPENTERTAINMENT: Among your adult co-stars are Christopher Swan as Oliver Warbucks, Julia Nicole Hunter as Grace Farrell, Jeffrey T. Kelly as Rooster Hannigan and Samantha Stevens as Lily St. Regis. Using one word for each, describe your co-stars. 

STEFANIE LONDINO: That’s an impossible distillation! All I can say is that I’m honored to share the stage and the road with them. I learn from them each every day. Tour life has made us family.

RAPID FIRE WITH CHRISTOPHER SWAN, OLIVER WARBUCKS IN ANNIE

JHPENTERTAINMENT: Just prior to chatting with you, I had the chance to pose a few questions to your Annie co-star, Stefanie Londino. Both you and Stefanie are on your second season of the Annie tour, so I’ll start by asking you a similar question to one I asked Stefanie. What is it about Warbucks that prompted you to come back for another National Tour? AND…how much fun are you having with Stefanie back as well?

CHRISTOPHER SWAN: Simply…it’s a great job. Singing, dancing, acting…Warbucks has it all. And as you get older in this business, you don’t get as many opportunities to stretch ALL your skills in one role like that.  And a chance to spend this much time with a character is rare. Three months in and you suddenly have a new thought or a take on moment, and that would never happen on a three week regional contract. And having a lot of principles return has really strengthened the frame of the show; given us confidence that we know it so well that we can just be in the moment as real people. Steph and I have shared a wish that Warbucks and Hannigan had more stage time together. We pretty much have separate shows. But I enjoying hearing her performance every night as I’m getting ready in the dressing room. She brings such life to this show. Really embraces this role and the audience and they absolutely love her. Glad she’s back.

JHPENTERTAINMENT: On the subject of previous roles…I gotta ask…how was it sharing the stage with Nina West during the Hairspray 20th Anniversary Tour?

CHRISTOPHER SWAN: A highlight of my touring life. Nina…Andrew Levitt in real life..is truly a magical being. I hadn’t followed Drag Race before Hairspray and was a little nervous about working opposite a popular drag queen in their first big touring role. How do you address them? Will they be demanding? But Andrew was the sweetest. Kind, humble and nervous.  He was so thrilled and honored to be playing Edna and nobody in the cast was more committed to working hard and doing their best than he was. He LOVED performing the show. We had so much fun together doing the love duet, You’re Timeless to Me; Andrew’s joy and energy leapt off the stage every night. Nina/Andrew are the real deal and I’m honored to call them a friend.

JHPENTERTAINMENT: Annie debuted as a comic strip in 1924…What’s it like to think you’re part of an American institution that’s celebrating its 100th anniversary this year?

CHRISTOPHER SWAN: Well, needless to say it’s an honor. The musical will be celebrating it’s 50th anniversary next year and love for the show is as strong as ever. I can’t think of any musical from that era that has had this kind of staying power. But you feel it every night on the road. And I’m so happy that I’m part of it.  We met Annie’s composer Charles Strouse when he saw the show in New Haven, and that really brought it all home for me. The time, the talent, the history behind this show is immeasurable.

JHPENTERTAINMENT: Obviously Warbucks has chanced a bit over the last 100 years. For one, I’ve noticed he’s no longer referred to as Daddy Warbucks, but rather, simply Warbucks. On a more personal note, are there aspects of your portrayal of Warbucks that have morphed or changed since you first stepped into the role?

CHRISTOPHER SWAN: Well, he has to earn the title of “Daddy” Warbucks, as he does over the course of the show. But when we meet him he is Oliver Warbucks, dissatisfied multi-millionaire. His journey through the show is very moving for me. He would never have predicted what ends up happening to him or how it would make him feel. Annie has a strong sense of self from the very beginning, but Warbucks changes. He doesn’t really know who he is until he meets Annie. And working on this role hasn’t actually been a straight, steady line. It’s strangely cyclical. Some weeks he’s the gruff business man who fights against his own feelings and then there’s some weeks where I find he’s more eager to change but doesn’t know how. It’s probably only a subtle difference that may not be noticed by most, but for me it helps keep my performance fresh.

JHPENTERTAINMENT: What theme, idea or sentiment seen within Annie do you hope audiences reflect on long after seeing the show?

CHRISTOPHER SWAN: There’s so many wonderful elements to Annie. I would say, pick your favorite. Family, openness, optimism, perseverance, love. And cooperation. Whether it’s political cooperation in FDR and Warbucks working together, or Warbucks’ staff all pitching in to help Annie. Look for the helpers in Annie; they’re there.

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The National Tour of Annie begins its Nashville tour dates on Wednesday, March 27 with a 7:30p.m. curtain at TPAC’s Jackson Hall and continues with 7:30p.m. performances Thursday, Friday and Saturday. March 28-30. On Saturday, March 30, there’s also a 2p.m. matinee. Tickets for Annie at TPAC begin at $50.90. CLICK HERE to purchase tickets.

For more information on Annie, or to catch the show in another city during the tour, CLICK HERE. Upcoming tour stops include: Pensacola, FL, Orange, TX, New Orleans, LA, Sacramento, CA, Bozeman, MT, Casper, WY and more. You can also follow the tour on their official socials: Instagram, X and Facebook.

Following Annie, TPAC plays host to a full slate of entertainment for the whole family including Nashville Opera’s upcoming performance of The Magic Flute, Nashville Repertory Theatre’s The Color Purple and Nashville Ballet’s Romeo and Juliet. TPAC will also serve as the venue for a number of acts hitting Music City as part of Nashville Comedy Festival. April will also see TPAC hosting three Arts Adventure youth workshops: one featuring Moana (for ages 7-12), one featuring Beetlejuice (ages 13-17) and the third, an all ages (9-17) titled Let’s Dance, featuring choreography from shows in this season’s Broadway at TPAC series. Speaking of Broadway at TPAC, next up is Disney’s Frozen, taking to the stage at Jackson Hall May 7-18. For further details on these and more entertainment headed to TPAC, CLICK HERE or follow TPAC on Instagram, X, YouTube and Facebook.

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

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

Tennessee Performing Arts Center announces 24/25 Broadway Season; Music City premieres of ‘Moulin Rouge’, ‘Clue’, ‘MJ’ and ‘Kimberly Akimbo’ among shows coming to TPAC

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At 10am on Tuesday, February 20, Tennessee Performing Arts Center announced their upcoming 2024/2025 Broadway at TPAC season. Included in the announcement are six Music City premieres and two returning favorites.

Just a couple weeks ago, when TPAC began teasing their 24/25 Season Announcement as 1 Spectacular Season, they did so by revealing one of the six premiere productions headed to Music City as Moulin Rouge! What’s more, it will be in Nashville for a special two-week engagement October 8-20, 2024.

Back in December, another of the six coming premieres was announced early when it was revealed that the National Tour of Shucked would be coming to TPAC’s Jackson Hall November 5-10 of 2024. Not only is Shucked coming to TPAC, it’s also kicking off the National Tour with the Nashville dates, which makes perfect sense considering Music City is home to both Brandy Clark and Shane McAnally, the show’s composers.

With the official announcement hitting their socials first thing Tuesday morning, the rest of the season was unveiled. Below are details about each show taken directly from TPAC’s Season Announcement:

Clue (Nashville Premiere)

September 10-15, 2024

Murder and blackmail are on the menu when six mysterious guests assemble at Boddy Manor for a night they’ll never forget! Based on the cult 1985 Paramount movie and inspired by the classic Hasbro board game, Clue is the ultimate whodunit that will leave you dying of laughter and keep you guessing until the final twist.

Moulin Rouge! The Musical (Nashville Premiere)

October 8-20, 2024

Pop the champagne, Moulin Rough! The Musical is the winner of 10 Tony Awards® — including Best Musical! Enter a world of glitz, grandeur, and glory! Baz Luhrmann’s revolutionary film comes to life onstage, remixed in a new musical extravaganza. Moulin Rouge! is more than a musical — it is a state of mind.

Shucked (National Tour Opening)

November 5-10, 2024

Shucked is the Tony Award®–winning musical comedy The Wall Street Journal calls “flat out hilarious!” Featuring a book by Tony Award winner Robert Horn (Tootsie), a score by the Grammy® Award–winning songwriting team of Nashvillians Brandy Clark and Shane McAnally, and directed by Tony Award winner Jack O’Brien (Hairspray), this corn-fed, corn-bred American musical is sure to satisfy your appetite.

Peter Pan (Newly Imagined Classic)

January7-12, 2025

This high-flying musical has been thrilling audiences of all ages for close to 70 years and is now being brought back to life in a new adaptation by celebrated playwright Larissa FastHorse, directed by Emmy Award® winner Lonny Price and choreography by Lorin Latarro. Peter Pan embraces the child in us all – your entire family will be Hooked!

& Juliet (Nashville Premiere)

February 11-16, 2025

Created by the Emmy®-winning writer from Schitt’s Creek, this hilarious new musical flips the script on the greatest love story ever told. & Juliet asks: what would happen next if Juliet didn’t end it all over Romeo? Get whisked away on a fabulous journey as she ditches her famous ending for a fresh beginning and a second chance at life and love—her way.

Mamma Mia! (Global Smash Hit)

March 18-23, 2025

A mother. A daughter. Three possible dads. And a trip down the aisle you’ll never forget! For nearly 25 years, people all around the world have fallen in love with the characters, the story, and the timeless hits of ABBA that make Mamma Mia! the ultimate feel-good show.

Kimberly Akimbo (Nashville Premiere)

April 8-13, 2025

Winner of five 2023 Tony Awards® including Best Musical, Kimberly Akimbo is about teenager, Kim who recently moved with her family to a new town. She is forced to navigate family dysfunction, a rare genetic condition, her first crush…and possible felony charges. Ever the optimist, she is determined to find happiness against all odds and embark on a great adventure.

MJ (Nashville Premiere)

April 29 – May 11, 2025

One of the greatest entertainers of all time. Now, Michael Jackson’s unique and unparalleled artistry comes to Nashville as MJ, the multi Tony Award®-winning new musical begins a tour of its own. Created by Tony Award®-winning Director/Choreographer Christopher Wheeldon and two-time Pulitzer Prize winner Lynn Nottage, MJ offers a rare look at the creative mind and collaborative spirit that catapulted Michael Jackson into legendary status.

If you’re a current season ticket subscriber, CLICK HERE to renew your season tickets. New season ticket subscribers will have the option to purchase 2024-2025 Season Tickets beginning in April. Broadway at TPAC Season Tickets for all eight shows are available in five different price levels ranging from $378 to $884, depending on seat selection. For a visual map of seat level section, pricing options and more information,  CLICK HERE.

Of course you don’t have to wait until September to see great Broadway shows at TPAC, as the current season continues. Next, for a limited two-night engagement is Jagged Little Pill, onstage at Jackson Hall March 1 & 2. CLICK HERE for tickets or more information. Then Beetlejuice take to the stage March 12-17. CLICK HERE for tickets. Be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org,  TPAC on Instagram,  TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

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

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

 

 

 

 

Rapid Fire 20Q with Cast of ‘The Cher Show’; on stage at TPAC’s Jackson Hall as National Tour Continues

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With a career spanning seven incredible decades (and a number-one chart-topping single in each of those seven decades), Cher continues to break records, kick ass and take names. A 2018 Kennedy Center Honors recipient, as well as garnering a multitude of awards throughout her career, including an Emmy, an Oscar and a Grammy, everything Cher touches seems to turn to gold. Proving, as Cher herself might sing that, The Beat Goes On. A prime example of Cher’s lasting mettle comes in the form of The Cher Show, the recent Broadway hit jukebox musical, currently on a cross-country, tune-filled journey as the show embarks on its first-even National Tour.

Knowing that The Cher Show was coming to Music City for a limited two-day engagement, January 19 and 20 at Jackson Hall inside Tennessee Performing Arts Center, I knew I just had to reach out and pose a few questions to the cast. The Cher Show presents Cher in three distinctive eras. There’s Star—Cher in her modern era, played on tour by Morgan Scott. Then there’s Babe—Cher as a young woman in late teens and early Sonny and Cher years, played by Ella Perez. Rounding out the trinity of Chers is Catherine Ariale as Lady—revealing Cher as a solo artist, actress, business woman and mother. If you read my column with any regularity, you know my recurring interview feature is called Rapid Fire 20Q. Seeing as how 20 doesn’t easily divide by three, I soon realized I needed to choose a fourth interview subject. A little research of the show quickly revealed that the choice for a fourth interviewee was obvious when I discovered that among the supporting cast of characters a member The Cher Show ensemble not only appears as Cher’s mother, Georgia Holt, but also as Cher’s mentor and friend, Lucille Ball…that’s right, my celebrity obsession! Done…Lucy Werner , who appears as both Georgia and Lucy, would be my fourth interview for this edition of Rapid Fire 20Q featuring the cast of The Cher Show.

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RAPID FIRE 20Q WITH MEMBERS OF THE CAST OF THE CHER SHOW

RAPID FIRE WITH THE CHER SHOW’s MORGAN SCOTT

JHPENTERTAINMENT: In the National Tour of The Cher Show, you play Star, Cher in more recent times. What is one aspect of Cher’s current persona that you’d like to mimic in your own life?
MORGAN SCOTT: Her never quit attitude! She just got ANOTHER #1 Hit which means she has a charted a #1 hit for 7 straight decades. That’s just incredible and goes to show, it ain’t over til Cher says it’s over!

JHPENTERTAINMENT: I understand you have ties to Tennessee, Any plans to catch up with former classmates and friends while so close during your Nashville tour stop in Nashville at Tennessee Performing Arts Center?

MORGAN SCOTT: I grew up in Memphis and then went to college at the University of Tennessee Knoxville where I received my BA in theater. I have many family and friends coming to the Nashville shows!! One of my college theater friends is actually flying down from New York (where he lives currently) to stay with his family here in Nashville so he can come support and see the show. Another close college friend who I traveled cross country with 20 years ago, is also coming with his family. It’s going to be a really magical experience here back in my home state.

JHPENTERTAINMENT: On the subject of Tennessee connections, we have a mutual acquaintance…my friend Carol Mayo Jenkins. Not Cher-related, I know, but anytime someone knows or has worked with Carol, I have to ask…what do you remember most about working with Carol in a theatrical production?

MORGAN SCOTT: Oh my goodness, Carol Mayo Jenkins is my hero. Anyone who went to UT with me, involved in theater, knows that she was my mentor and completely took me under her wing. I was fortunate enough that during my time at UT, she created a new master class for a select group of undergrad theater students. She then made sure I was introduced to all the resident guest actors and teachers that came in. Her words of wisdom, quickly followed by her iconic “Do you know?” live with me on the daily. I distinctly remember being overwhelmed with fear/nerves before presenting a monologue and she looked at me and said, “You did the work. Now just let it happen. It’s there.” …Also, going back to the never quit attitude: CMJ lives and breathes it. She is still absolutely crushing it on stage.

JHPENTERTAINMENT: Can we just take a minute to gush about Bob Mackie? Cher’s celebrated long-time costume designer recreated numerous iconic looks for the Broadway run and the tour. Do you have a favorite costume, whether it be yours or that of one of your fellow-Chers?
MORGAN SCOTT: How does one even choose between these works of art!!? I think I can speak for most of us that during our costume fittings core memories were unlocked. If I had to choose… one of my finale looks, that is the “Goddess Warrior” concert look, just makes me feel incredible. I think it will always rank as one of my favorites because it just represents everything that was just accomplished.

JHPENTERTAINMENT: As Star, you share stage time with Mike Bindeman and Gary Paul Bowman as Cher’s second husband, rocker, Gregg Allman and younger boyfriend, Rob Camilletti, respectively. Of course the tabloids gave a version of both relationships, as does The Cher Show, but what about the men behind the roles? Describe each of your two leading me using only one word each.

MORGAN SCOTT: Mike Bindeman – Enigmatic Gary Paul Bowman – Pure

RAPID FIRE WITH THE CHER SHOW’s CATHERINE ARIALE

JHPENTERTAINMENT: In The Cher Show, you play Lady, as Cher navigates the post-Sonny & Cher years as a solo artist. What more can you tell me about the role?
CATHERINE ARIALE: Lady steps into the spotlight when Babe (youngest Cher) freezes in front of a crowd – being too nervous to continue. Lady is a confident version of the younger Cher the audience sees in the beginning of the show. She comes into the story during peak Sonny and Cher success. She is witty and commanding in front of a crowd. We see Lady at a major crossroads in her life – tension in her work and love life is getting to be too much, and we watch her make choices that will affect her personal and professional life moving forward. I love getting to play Lady because she bridges the gap between the naive young cher and the confident, iconic, diva we all know and love today.

JHPENTERTAINMENT: A little pre-chat digging revealed that you received your BFA from New York’s Pace University in 2019, then made the move to NYC where you’ve appeared off- Broadway at Triad Theatre and Theatre Four and now you’re playing Cher in the first National Tour of The Cher Show. Was getting cast as the iconic songstress a “pinch me” moment?

CATHERINE ARIALE: One hundred percent! It was a “pinch me” moment and more!! Leading a national tour has always been a dream of mine, so to officially get the offer was surreal. I remember feeling a bit stunned when I first got the call, it didn’t really sink in until the next day. I went to a little cafe by myself to get breakfast and watch the bootleg on my laptop, and I remember tearing up at the Vegas sequence because that’s when Lady takes over the story for a bit. I couldn’t help but feel so excited and grateful that that was going to be me. I’m sure the patrons around me in the cafe thought I looked crazy!

JHPENTERTAINMENT: The National Tour of The Cher Show kicked off back in November and is set to travel to 57 cities. This being your first National Tour, what’s been your favorite aspect of life on the road thus far?
CATHERINE ARIALE: By far my favorite aspect of tour life has been getting to explore the cities we visit. There are so many parts of the country I have never been to, so the fact that I get to travel for my job and take time to explore cute little towns while performing every day is a gift. I always make a point to find a cute local coffee shop, bookstore, or thrift store!

JHPENTERTAINMENT: With Cher’s career and life divided so clearly between Babe, Lady and Star, there are very distinctive looks for each character. While the bangs of Babe and the straight raven tresses of Lady are indeed iconic, to me, it’s the bigger than life bouncing curls of Star that are my favorite Cher look. What can you tell me about Roxanne de Luna’s wig designs and the how donning the wig aides you in your transformation as you prepare for each night’s show?

CATHERINE ARIALE: It is surreal going from a rehearsal room without costumes or wigs, to performing the show at full speed with all glitz and glam on stage. I felt quite connected to the material and my character beforehand, but let me tell you – it completely changes and transforms once you put those costumes and that wig on! Our head of hair and makeup, Lisha Michel, informed me the other day that everytime she puts my Lady wig on, she notices my whole demeanor and body changes – she says I sit up straighter and my face gets longer. This all must be subconscious, because to me, it just feels as though my character is truly complete and I am ready to go onstage! The wig really is the perfect cherry on top.

JHPENTERTAINMENT: As Lady, you share a scene and musical number near the top of Act 2 that’s of particular interest to me because I’m completely obsessed with all-things Lucille Ball. In the scene Cher gets a little advice from the legendary comedian, played by Lucy Werner. First of all, how surreal is that scene, bringing two of the most recognizable women together on stage for the audience and secondly, how is Lucy Werner as a scene partner?
CATHERINE ARIALE: Getting to do that scene is so much fun – it’s two of the most iconic women ever! The crowd always gets a kick out of the aside Star gives to the audience, “Hand to God guys, this conversation actually happened”, because it really is wild to think of these two women chatting it up and helping one another out during this crossroad in Cher’s life. I couldn’t ask for a better scene partner than Lucy Werner. She comes on with such energy, generosity, and incredible talent every single night. She never fails to bring the house down with her grit and sparkle.

RAPID FIRE WITH THE CHER SHOW’s ELLA PEREZ

JHPENTERTAINMENT: You play Babe in The Cher Show, 1960s era Cher. Who is Babe to you and what are her strongest characteristics?
ELLA PEREZ: Babe is Cher’s inner child, who comes back throughout the show to remind us of the little girl with big dreams who got her to where she is today. She’s shy but very spunky, she’s passionate, she’s driven, and she’s going to get what she wants no matter what. I just love her.

JHPENTERTAINMENT: A quick peek at your performing resume reveals you’ve had extensive dance training. While Cher herself seems to have certain signature moves, The Cher Show, as choreographed by Antoinette DiPietropo is packed with choreo. Is there a dance sequence in the show that you’re particularly fond of?
ELLA PEREZ: I might be biased, but definitely The Beat Goes On. I don’t know how else to describe it besides “So Broadway”.

JHPENTERTAINMENT: On the subject of dance, during the rehearsal period, what was a typical day like for you and your fellow Chers?
ELLA PEREZ: For me, it started out on the Long Island Railroad, with an iced latte and breakfast sandwich. Initially, we would break up into two different rooms- one for scene work with our fabulous director Casey Hushion, and the other for dance numbers with our choreographer Antoinette. After a few hours of the ensemble and principals working separately, we would merge and put pieces together, which was always so much fun. Eventually we would just run the show once in the morning, take a lunch, and clean specific spots in the afternoon. They were long days, but we had so much fun.

JHPENTERTAINMENT: As Babe, you share the stage with Lorenzo Pugliese as Sonny. A couple years ago, I had the chance to chat with Lorenzo when he was starring in SpongeBob: The Musical. What’s he like as a scene partner?
ELLA PEREZ: Lorenzo is SO much fun to work with. He definitely keeps me on my toes, and is so giving with his energy and charisma on stage. Working with him felt so natural from the jump.

JHPENTERTAINMENT: With Babe firmly planted in the 60s, Cher presents what would be the first of many iconic looks. If you could time travel, do you think you’d have fared well in the 1960s and what do you think you would have enjoyed from that time period?
ELLA PEREZ: Absolutely. That hair? The crazy eyeliner? I would have thrived back then. I think I would have loved the music the most. It had such a unique sound, and brought about so many musical trailblazers. And I definitely would have been a crazy Beatles fangirl, considering my passion for One Direction growing up.

RAPID FIRE WITH THE CHER SHOW’s LUCY WERNER

JHPENTERTAINMENT: Alright, I’m just gonna admit it…when presented the opportunity to chat with some of the stars of The Cher Show National Tour, Yes, I wanted to chat with the three actresses who play Cher during various parts of her life, but I also wanted to talk to you…because not only do you play Cher’s Mom, Georgia Holt throughout the show, but you also play Lucille Ball in a very telling Act 2 scene. And yes, I’d be remiss if I didn’t mention the fact that this dual casting is very meta considering Georgia appeared in a 1956 episode of I Love Lucy as a fashion model in the hilarious Lucy Gets a Paris Gown episode, but I digress. How much fun are you having in this show?

LUCY WERNER: Oh my goodness, I need to watch that episode! Did not know this fun fact. I am having an absolute ball, especially playing my namesake. I have always strived to be like Lucille Ball – she was undeniably confident, unapologetically fearless and most of all she was absolutely real. Her timing was impeccable. Watching tv interviews of her astounds me with how authentic she was, which is why she was so funny. Playing her feels very right, I’m so grateful to get to draw on those lips every night.

JHPENTERTAINMENT: As Georgia, you get to perform one of the show’s lesser-known Cher tunes, You Better Sit Down Kid, which Cher originally released in 1967 as part of her With Love, Cher album. While modern audiences might not be that familiar with it, the song broke the Top 10, become Cher’s second hit. What’s your favorite aspect of performing this particular song?

LUCY WERNER: Yes, I had never heard this song before. Something I love about Chers earlier music is how she’s always telling a story. This song feels so poignant to this plot point in the show that I wasn’t sure it was a real song! It just goes to show she was always a remarkably authentic artist in her own way. She told stories through her songs that she could relate to, or even very personal to her life. I enjoy singing this song because it really has an emotional depth. A father figure leaving the home is a very difficult thing for a child to go through, as well as the single mother left behind – especially during that era. Cher and her mother Georgia went through it many times together I believe.

JHPENTERTAINMENT: As mentioned above, you also play Lucille Ball. Talk about icons…Cher and Lucy! As portrayed within the contest of the show, Georgia and Lucy give Cher advice and encouragement. Who in your own career has played the role of mentor and advisor?
LUCY WERNER: I love this question! Most certainly my mother has always been an amazing advisor for me, a sounding board. What you need most from an advisor is empowerment and honesty. Someone to tell you that you are actually doing a good job and to just keep going. To take the scary leap of faith, someone who encourages you to jump! As for a mentor I try to find mentorship wherever I can. Try to learn from all the people that have come in and out of my life, and as someone who has performer for the past ten years that has been many many people! I would love to find one serious mentor though, I think that would be really special. Maybe if I could just stay still for a few years I will find them 😉

JHPENTERTAINMENT: Can you share with me the logistics and backstage goings-on of transforming into Georgia for the top of Act 1, then to Lucy for the beginning of Act 2 and back to Georgia for the end of the show?
LUCY WERNER: Getting into the first Georgia look really just involves some light blush and my favorite wig. As you mentioned I come in and out of the show so I have plenty of time backstage to meander about and slowly change into my next costume. But going from Georgia to Lucille requires a bit of a lipstick exaggeration and a little more blue eye shadow. I love putting on Lucille’s bling, it’s an outside-in transformation for sure. Add a faux cigarette and Lucille is complete! Once again I just need to transform my face and wig to get back to being Georgia. And I have at least 30 minutes for that one so you can imagine it’s nice and relaxed transition!

JHPENTERTAINMENT: Lately, I’ve ended most of my interviews by asking one final question. Since you’re my last interview for The Cher Show, I’ll ask…What do you hope audiences remember most about The Cher Show?
LUCY WERNER: I hope audiences walk away empowered! I hope each individual feels that if Cher could accomplish what she did despite the adversity she faced as a woman in a “man’s world” then it should go to show that anyone with such commitment, determination and gusto can make their dreams happen too. Regardless of what she was told and experienced repeatedly Cher declared it is actually a Woman’s World and that might be true today in great part because of her. To quote the show: “It’s about being shit scared and facing it anyway.”

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With that, my conversations with the cast of The Cher Show concluded, but as Cher might lyrically put it, you better Believe, you haven’t seen the last of them. I got you, babe, because the beat goes on when The Cher Show takes to the stage of TPAC’s Jackson Hall Friday and Saturday, January 19 and 20 as the National Tour continues. Nashville performances of The Cher Show are Friday, January 19 at 8p.m. and two shows Saturday, January 20, a 2p.m. matinee and an 8p.m. evening performances. CLICK HERE for tickets.

Following the Nashville tour stop, The Cher Show heads to Conway, Arkansas’s Reynolds Performance Hall on January 21; Muncie, Indiana’s Emens Auditorium on January 23, The Vern Riffe Center for the Arts in Portsmouth, Ohio on January 25; Lexington Opera House in Lexington, Kentucky on January 26-28; E.J. Thomas Performing Arts Hall in Akron, Ohio January 30&31; The Capitol Theatre in Wheeling, WV on February 1 and many more cities across the US through Spring of 2024. CLICK HERE for the full tour schedule and to purchase tickets in a city near you.

You an also follow The Cher Show on socials. CLICK HERE to check out the official site, and follow them on Facebook and Instagram.

Folowing The Cher Show, TPAC‘s HCA/TriStar Broadway at TPAC season continues with Girl From the North Country from Tuesday, January 30-Sunday, February 4. CLICK HERE for tickets or more information. 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!

Theatre Review: ‘Here You Come Again’ new musical featuring Dolly Parton tunes, concludes Tennessee debut Memorial Day Weekend at The Franklin Theatre

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Written by Bruce Vilanch, Gabriel Barre and Tricia Paoluccio, Here You Come Again is a jukebox musical featuring songs written and made popular by National Treasure and Tennessee Goddess, Dolly Parton. Following a successful premiere in October of 2022 at the Deleware Theatre Company, and a popular December run in West Palm Beach, the musical comedy has come to Dolly’s home state for its Tennessee debut in collaboration with Studio Tenn at The Franklin Theatre with shows Wednesday, May 17 through Sunday, May 28.

As for the premise, it’s a clever, but simple plot. At the beginning of the pandemic, Kevin (played in this production by Zach Sutton), a well-meaning, but down-on-his-luck waiter/aspiring comic is forced to move into his parent’s upstate New York home to set quarantine when the world shuts down. Further complicating things, Kevin’s Mom, a bit of a germaphobe before there was such a thing, has  relegated her son to living in the attic, rather than in the main level of the house with his parents. She’s even devised a sort of makeshift dumbwaiter to deliver his food without contact by setting a tray on the drop-down attic stairs, which he retrieves by hooking to the end of a garden tool of some sort.

Further isolating Kevin, his parents are never seen in the play, and only his Mom’s voice is heard from off-stage from time to time. As the play begins, the audience gets their first glimpse at the show’s only set, the attic. Brilliantly created by Scenic Designer Anna Louizos with assistance from D. Craig M Napoliello, with lighting by Alessandra Docherty and assistant Isabella Gill-Gomez, the attic is easily recognized as both the family’s preferred storage area for seasonal decoration and Kevin’s former childhood playroom/teenage hangout. With pop culture relics from the far-distance 1980s, the attic set design is cleverly littered with things like a discarded GameBoy, an old Chineses Checkers boardgames and what appeared to be a single right Nike Air. But it’s the shrine to everyone’s favorite Country Music Songbird, Dolly Parton that’s most impressive…and I must admit relatable. I mean, switch all the Dolly posters, magazine pictures and photographs covering the walls for, say The Bionic Woman’s Lindsay Wagner, and you’d have my childhood bedroom.

As Sutton’s Kevin paces around the attic, he offers the audience a bit of exposition by breaking the fourth wall and explaining the above-mentioned romantic breakup and current living situation to kick things off. In an obvious state of depression, Kevin then walks over the a small tabletop record player, carefully takes out his vintage copy of Dolly Parton’s 1977 hit record, Here You Come Again, puts the needle on, then walks over to the twin bed across the room picks up a Costco-sized tub of Cheesy Puffs, lovingly caresses the tub and covers himself with the bed sheet.

As the light dims, the tune playing on the record swells and as if by divine intervention…or make that DIVA-ne intervention, the life-size image from the poster on the back of the attic door comes to life as Dolly herself steps forward into the room belting out a familiar tune. Here’s the thing, though. The song isn’t really playing on the record player. The familiar instrumentation is actually coming from backstage courtesy the show’s houseband featuring Miles Aubrey on Guitar, Jeff Cox on Bass, Jon Epcar on Drums and Eugene Gwozdz on Piano. As for the vocals, no Dolly didn’t drive across town from her nearby Brentwood home, instead is actress/singer and aforementioned co-writer of the show, Tricia Paoluccio as an apparition/vision/guardian angel in the form of the Double-D Diva herself.

Before seeing the show, I kept hearing from friends at Studio Tenn, including the company’s Artistic Director, Patrick Cassidy, that if you “close your eyes, you’d swear it was Dolly herself”. Now, here’s the thing, I’m a huge Dolly fan, and over the years I’ve had the absolute thrill and honor to meet her, chat with her a time or two and get to know her and a few of her siblings. Shoot, the night I saw Here You Come Again, Dolly’s youngest sister, Rachel was sitting at the table next to me and we chatted a bit. NO, that’s not a name-drop, ‘cause like I always say, “I never drop a name I can’t pick up”. It’s just a fact, a fact of living and working in Music City. You just never know who you’re gonna see or get to know.

Cassidy was right, she does indeed sound like Dolly when she sings. She’s got Dolly’s vocal infections down-pat, although with Paoluccio’s own musical theatre background (she’s appeared on Broadway in productions of Fiddler on the Roof, A View from the Bridge and The Green Bird) there are times when she makes the tunes her own by adding a bit more of a theatrical flourish, extending a note here, or revealing her talent with a run there. What’s more, thanks to Makeup Designer, Brian Strumwasser, Costume Designer, Bobby Pierce and other assets, whether God-given or man-enhanced, Paoluccio looks like Dolly…well, 70s/80s era Dolly at any rate. Yes, if you close your eyes, you can almost hear the Appalachian songstress, but in certain scenes, when Paoluccio turns just so in profile, that she looks the spitting image of Dolly, herself. But that’s not where Paoluccio’s Dolly transformation ends. She’s even got Dolly’s unique joy-filled speaking voice down! And I mean down…down to what I call Dolly’s “giggle squeak”. If a rhinestone could talk and sing, it’d sound just like Dolly, and so does Paoluccio!

A bit more about the wardrobe. When Paoluccio’s Dolly first steps forward from the door poster, she’s wearing a cocktail-length bedazzled number with billowing bell sleeves. I noticed almost immediately that the fabric of the dress was reminiscent of a butterfly’s markings and yes, when Paoluccio raised both arms at the crescendo of the opening song, the bell sleeves did mimic the silhouette of a butterfly in flight, a wonderful wink to Bob Mackie-designed dress Dolly wore. In fact, it was created for the 1979 tv special Dolly and Carol in Nashville, co-starring Carol Burnett. Considering that special was filmed right here in Nashville, the butterfly dress, while gorgeous, provided a fun little If You Know You Know moment for true Dolly nerds like myself.

Other costume choices, while not as obviously based on Dolly’s own wardrobe, all have that sparkle, that spirit, that gussied-up bigger-than-life 80s Dollyesque vibe. Which works perfectly considering the tunes featured in the show were all originally released between 1969 (the Jack Clement-penned Dolly and Porter Waggoner hit, Just Someone That I Used to Know) and 1989 (Why’d You Come in Here Lookin’ Like That from Dolly’s 1989 offering, White Limozeen).

While the full title of the show is Here You Come Again: How Dolly Parton Saved My Life in 12 Easy Songs, there’s actually a total of 15 toe-tappin’, finger-snappin’ Dolly favorites featured within the show. On the subject of tunes included in the show, like most jukebox musicals, the music helps move the story along or support the narrative. In the case of Here You Come Again, Music Director Gwozdz and the show’s writers have done a fantastic job of peppering Dolly hits throughout the show at just the right moments to accentuate or propel the storyline. Hush-A-Bye Hard Times, a sweet, but lesser-known tune originally included on Dolly’s 1980 crossover hit album 9 to 5 and Odd Jobs near the top of the show, perfectly expresses what I think we all felt during the early days of the pandemic. Same for Two Doors Down, another hit from Dolly’s Here You Come Again release. Included herein to parallel the FOMO we all experienced during isolation.

And Yes, megahits like Jolene, 9 to 5, as well as the bizarro Me and Little Andy and showstopper, I Will Always Love You also find there way into the show and each one is performed with enthusiasm and a touch of Dolly-worthy fun and excitement.

While most of the songs featured were written by Dolly, even the prolific singer/songwriter occasionally records tunes penned by others. Why’d You Come in Here Lookin Like That, Sing For the Common Man and the Dolly Parton/Kenny Rogers megahit, Islands in the Stream are all prefect placed and wonderfully sung. Interestingly, Islands, written by the Bee Gees, is followed by a funny, but very un-Dolly bit of snark courtesy Vilanch’s script.

Speaking of duets, Paoluccio’s Dolly gets a bit of help from time to time as Sutton’s Kevin joins her for a handful of songs throughout the show, showcasing his own talents as a singer.

As I mentioned above, Bruce Vilanch created the show alongside Paoluccio and Barre. Specifically, Vilanch is credited in the playbill as Book Writer, in layman’s terms, the spoken dialogue of the show, alongside director, Barre and star, Paoluccio. Whether you know Vilanch by name, or by sight, you’ve likely heard his work, as he’s a six-time Emmy-winning writer, having won two for writing special material for the Academy Awards and four for work on various television variety show specials. Over the years he’s written for the Academy Awards numerous times, as well as the Tonys, the People’s Choice Awards and many other awards shows. Bringing it all full-circle, Vilanch also wrote a handful of episodes of Dolly Parton’s late-80s variety series, Dolly, so who better to sprinkle a little Dolly dust into the lines of Here You Come Again?

With Paoluccio’s absolute near-perfect Dolly helping Sutton’s Kevin rediscover his own worth, refocus on his own life and reignite his passions through the comfortable familiarity of Dolly’s music, Here You Come Again is a joy from start to finish.

Studio Tenn’s special presentation of Here You Come Again wraps with a final show Sunday, May 28 at 2 p.m. Tickets range in price from $90 for cocktail table seating and the first few rows of theatre seats to $70 for the majority of theatre seats on to $55 for balcony. CLICK HERE for tickets. Didn’t make it to the Tennessee performances? Follow Here You Come Again on Instagram to see where Paoluccio and company are headed next.

Following Here You Come Again, Studio Tenn wraps their current season with a production of the Rodgers and Hammerstein classic, The Sound of Music co-presented by CPA Arts on stage at CPA’s Soli Deontaes Center from June 22- July 16. CLICK HERE for tickets or more information. Be sure to check out Studio Tenn online at StudioTenn.com or on social media at Facebook, Instagram and Twitter.

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The 2020-2021 Broadway Season calendar looks like this: 

Come From Away – July 28-August 2, 2020 

Ain’t Too Proud – August 11-16, 2020 

1776 – November 3-8, 2020 

Mean Girls – November 17-22, 2020 

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

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

The Band’s Visit – March 2-7, 2021 

The Prom – May 25-31, 2021 

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

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

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

The Vagina Monologues-August 18-23, 2020

Les Miserables – September 15-20, 2020

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

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

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

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

COME FROM AWAY 

Nashville Premiere 

July 28 – August 2, 2020 

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

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

Nashville Premiere 

August 11-16, 2020 

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

Get ready – ‘cause here they come! 

1776 

Nashville Premiere 

November 3-8, 2020

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

MEAN GIRLS

Nashville Premiere 

November 17-22, 2020 

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

Disney’s THE LION KING 

Back by Popular Demand 

February 3-27, 2021 

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

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

THE BAND’S VISIT 

Nashville Premiere 

March 2-7, 2021 

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

THE PROM 

Nashville Premiere 

May 25-31, 2021 

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

Elton John & Tim Rice’s AIDA  

Back by Popular Demand 

June 15-20, 2021 

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

BROADWAY SPECIAL PRESENTATIONS: 

WHAT THE CONSTITUTION MEANS TO ME 

Nashville Premiere 

July 14-19, 2020 

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

THE VAGINA MONOLOGUES

August 18-23, 2020

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

LES MISERABLES

September 15-20, 2020

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

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

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

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

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

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


Theatre Review: Blue Man Group’s North American Tour at TPAC thru Sunday, February 16

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Blue Man Group, North American Tour on stage at TPAC’s Jackson Hall February 11-16/photo by Lindsey Best

Having seen Blue Man Group right here in Nashville at TPAC twice before, and once in Las Vegas, I wasn’t sure if I’d enjoy them as much a fourth time during their current North American Tour, at TPAC’s Jackson Hall now thru Sunday, February 16. Then again, each of the previous times I’ve seen them, the show’s been slightly different and the laughter and entertainment as ensured I left the theatre in anything but a blue mood, so I was game to check them out once again and Spoiler Alert: they’re just as fun the fourth time around.

Much like the three primary colors present throughout any Blue Man Group performance, their shows also contain three primary elements, sight, sound and happiness. As always, save a few pre-recorded audible proclamations that put the audience in mind of Big Brother, or perhaps an alien life form visiting we mere earthlings, Blue Man Group members never utter a single word. 

From the moment the audience enters the venue and gets a look at the futuristic set, featuring a wall of led screens, lights and a matrix of electronics, speakers and various other goodies, it’s evident they’re in for an evening of high-energy, high-decibel entertainment. 

Having celebrated their thirtieth anniversary back in 2017, Blue Man Group continues to blend fresh ideas and concepts with tried and true…or should I say tried-and-blue audience favorites that captivates audiences ranging in age from tikes to, well, blue hairs. OK, OK, I’ll stop with the blue puns…maybe.

For the current national tour (there’s also concurrent permanent shows in New York, Boston, Chicago, Vegas, Orlando and Berlin), the Boys in Blue (Meridian, Mike Brown, Steven Wendt and Adam Zuick—thought I’m not sure who’s who) began Music City’s Opening Night Tuesday, February 11 with a shower of confetti raining down on the stage from what looked like one of those air-propelled plexiglass drums used in picking lotto numbers. In true blue ‘did they mean to do that?’ fashion, the second drum full of confetti didn’t seem to work, as the spotlight shined on it revealing it was still full and hadn’t released it confetti contents, causing the Blue Man Group to examine it with perplexed looks, eventually giving up and addressing the plethora of confetti that littered the stage.

Taking full advantage of the current Standing Broomstick Challenge that’s been all the rage on social media the last few days, Blue Man Group goes for the obvious and uber-timely laugh by bringing on a bright yellow broom that, yes, stand on its own. Some clever pass-the-broom hijinks later and the odd man out sweeps up the mess.

If you’ve ever attended a Blue Man Group show before, you know that a good portion of the show involves audience reaction and interaction. 

To that end, when the audience erupts in laughter or thunderous applause, the members of Blue Man Group blankly stares out towards the audience with a dumbfounded expression…you know, like a puppy who can’t quite figure out if he should stay, sit or roll over. 

As far as audience interaction, the current Blue Man Group touring show is full of fun, and unpredictable moments. The night I attended, the first of which began with Blue Man Group venturing out into the audience to retrieve a volunteer who ends up being involved in a surprisingly rhythmic musical sequence of squeaks courtesy a rubber chicken.

As mentioned above, some tried-and-blue aspects of the show remain, including the whimsical, yet oddly melodic PVC woodwinds, paintball art and the always crowd-pleasing marshmallow sculpture. Seriously! How does he catch that many marshmallows in his mouth after having them tossed to him from across the stage?

Blue Man Group audience members get in on the act
Photo by Evan Zimmerman for MurphyMade

Another audience moment came when two mostly unsuspecting volunteers were selected. Once the two were seated on stage with Blue Man Group between them, they were each handed a telephone. When their respective phones rang, they, and the audience soon discovered that they were on each other’s line—and conveniently piping through the speaker system of the theatre. With silent, but understood encouragement from Blue Man Group, the two strangers were then encouraged to carry on a conversation. On Opening Night, one audience member seemed a little more excited to be on stage and part of the show than the other, leading to some hilarious interaction. As a reward for his enthusiasm, Blue Man Group posed for a group pic, and, perhaps as punishment for the other’s lack of enthusiasm, she was relegated to taking the photo. I’m sure this bit plays out similarly each night, but Blue Man Group has been at it so long, you’d think each night plays out in a completely different manner.

Paint Drumming
photo by Lindsey Best

Next, three members of Blue Man Group took center stage and proceeded to play what will remind audience members of a certain age of an old aerial tv antenna. Think a multi-tiered, larger than life menorah, which they preceded to strike in various places, playing it like a xylophone condominium. 

Always keeping up with the times, current events and our obsession with the latest technology, there’s a humorous bit involving the fickleness of social media likes/dislikes, as well as another audience participation gag centered ‘round electronic devices and facial recognition.

A little over halfway through the 90ish minute show, there was an all-in audience dance break when Blue Man Group motioned for everyone to get up on their feet and follow along with their dance moves. 

Another seemingly unplanned ‘mishap’ involved hundreds of ping pong balls. Sorry, not sorry. Dozens and dozens of ping pong balls bouncing all around the stage, much to the dismay of Blue Man Group will always be funny.

This was followed by yet another instrumental performance, this time, picture a box fan, with blades made from long PVC pipe. Anyone who’s ever talked into the whirling wings of an oscillating fan as a kid can relate, and enjoy this particular segment. As a matter of fact, I leaned over and whispered to my friend who was accompanying me Opening Night and commented on how the resulting tones would be a soothing ambient sleep noise option.

photo by Evan Zimmerman for MurphyMade

Near the end of the show Blue Man Group held up bight neon pieces of paper and again, without murmuring a single word, instructed the audience to open their programs and take out the neon paper insert, tear it up and at the appropriate time, throw them into the air. The result, a rave-tactic celebration. 

Blue Man Group closed the show with what is surely now their trademark, a colorific percussion extravaganza pounding three large drums center-stage as primary color lights stream down from above and coordinating primary color paint splashes with each beat of the drums. Oh, and if you go, don’t arrive late…or do…because you’ll be called out, spotlight, humorous proclamation and all.

Blue Man Group continues the Nashville leg of their current North American Tour with shows thru Sunday, February 16. CLICK HERE for tickets or for more information. Following the Music City dates, Blue Man Group continues on tour with shows in Chattanooga, Paducah, Evansville, Knoxville, Richmond, Atlanta, Muncie, West Lafayette, Springfield(s) (IL and OH)…and that’s just through March. So, if you’re not in Nashville but want to catch them on the road, CLICK HERE for dates and specifics in your area. You can always keep up with Blue Man Group by liking them on Facebook and following them on Instagram, Twitter and YouTube.

One of Blue Man Group’s most iconic moments
Photo by Evan Zimmerman for MurphyMade

Up next at TPAC’s Jackson Hall as their Broadway at TPAC season continues, is Jesus Christ Superstar, on stage March 3-8. Discover all the latest from TPAC by checking them out online or on Facebook, Instagram and Twitter.

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

Rapid Fire 20 Q with director, Jef Ellis and cast of Circle Players’ ‘La Cage aux Folles’; at Looby Theatre January 17-February 2

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Michael Baird (center) as Zaza, surrounded by Les Cagelles in Circle Players’ “La Cage aux Folles’ (production photos by Ashley Eve Newnes)

Being a lifelong fan of Broadway composer, Jerry Herman, I have been looking forward to Circle Players’ upcoming production of Herman’s and Harvey Fierstein’s legendary La Cage aux Folles , the mid-80s musical centered ’round a mostly happy-go-lucky gay couple who own and work at a drag club in Saint- Tropez, whose lives take a tailspin when their son, Jean-Michel arrives with news of his pending nuptials to a sweet young girl from an ultra conservative family. When Herman passed away the day after Christmas, the fact that I’d not only be seeing the show, but that Nashville theatre luminary, Jef Ellis is directing, seemed a comfort, because if there’s anyone in this town who understands and honors the reverence of classic American musical theatre, it’s Ellis. Given those thoughts, you know I just had to chat with Jef and some of his La Cage cast members, including: Macon Kimbrough, Michael Baird, Kristian Dambrino and Ann Street Kavanagh for the latest edition of my recurring interview feature, Rapid Fire 20 Q.

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RAPID FIRE WITH LA CAGE DIRECTOR, JEF ELLIS

JHP: Having first directed La Cage aux Folles for  Circle Players in 1999 for the company’s 50th anniversary season, how did the idea to have you direct it again all these years later come about?

JEF ELLIS: You know, it’s funny: I’ve never had the desire to return to a show that I have already directed until now. I submitted a proposal to direct a different show for Circle Players, but since this is their 70th Anniversary Season, they wanted to do a season of the company’s “greatest hits,” as it were, and when I saw La Cage on the list of possibilities, there was no way I was going to let the opportunity pass me by. I submitted a proposal for the show and I was selected to helm another production of the very first show I ever directed. And in so doing, I’ve discovered how much La Cage aux Folles, the Tony Award-winning musical from Jerry Herman and Harvey Fierstein means to me and how closely I identify with it. It’s been a complete joy to have another go at it.

JHP: Kevin Amburgey-Walton, who starred as Zaza in your ‘99 production, is working behind the scenes on this one as the show’s choreographer, making this a La Cage reunion of sorts for the two of you. What’s it been like creating a new look at an old classic with your longtime friend and fellow creative?

JEF ELLIS: Kelvin and I have worked together on other shows (he also choreographed Damn Yankees for me some years back) and I so wanted to include him in this revival because he was my first Zaza. He’s been so lovely to work with again and has offered so much insight into the character of Zaza/Albin and has helped my new Zaza, Michael Baird move seamlessly into the role. The great thing about Kelvin is I know he always has my back — and I hope he feels the same about me — and I can turn to him and ask for anything and he responds quickly, with complete good humor and confidence. That’s what comes from trusting each other.

JHP: This past week, you posted a funny little happening regarding one of your younger cast members who, when you remarked that he resembled Wynonna Judd, didn’t know who you were talking about. This got me to thinking…what is it about Harvey Fierstein’s book and Jerry Herman’s music that still engages audiences? And are there lessons in LGBT history to be learned by watching this show? 

JEF ELLIS: The stories told in La Cage aux Folles are timeless and universal and they are just as important and vital today as they were when the show opened on Broadway in the 1983-84 season. The music is wonderful — lyrical, optimistic and memorable — and you can’t help but leave the theater singing it. It’s a quintessential Jerry Herman score and it so very clearly comes direct from his heart. Harvey Fierstein’s script is terrifically funny, yet poignant — which is exactly what we have all come to expect from him. La Cage aux Folles is a musical set in a gay nightclub in St. Tropez in 1984, to be certain, but more importantly it’s about family, loyalty and love — however you may define it on your own terms. Jeez. I’m puddling up just thinking about it (which happens more often than not as I get older and more sentimental and nostalgic).

JHP: I Am What I Am,—which closes Act 1 on an emotional high—is, without a doubt, the show’s most beloved tune. Taking a bit of artistic liberty with the lyrics, how would you finish this line…”I am what I am and what I am is _____”?

JEF ELLIS: “…an illusion.” I won’t touch Jerry Herman’s lyrics: they’re perfect and touching and heartwarming. That number is such a powerful moment in the show and an example of the fine line walked by Herman and Fierstein in transferring this story to the musical theater stage. At one moment, La Cage aux Folles is ridiculously funny and flamboyant, and at the next it’s heartbreaking and emotionally draining. In other words, it’s everything musical theater should be.

RAPID FIRE WITH MACON KIMBROUGH, GEORGES IN LA CAGE

JHP: At the top of the show Georges welcomes the audience to La Cage aux Folles saying ‘Open your eyes’ rather than something like ‘Feast your eyes’. It would appear that Fierstein and Herman purposely worded it the way they did, don’t you think? 

MACON KIMBROUGH: I think Fierstein was very deliberate with the book. Perhaps in using “open your eyes” rather than “feast your eyes”, he’s encouraging the audience to go deeper in their usual involvement in a show; to open your mind and, perhaps, take any blinders off and drop any preconceived notions. Not only at the Cagelles – who’s a man?/who’s a woman? – but also to realize that this is a love story even though the main couple is two men, not the traditional male/female. 

JHP: Last year you were part of the cast as Jef directed The Boys in the Band, another vital part of LGBT theatre history. What keeps you coming back to work under Jef’s direction in such shows?

MACON KIMBROUGH: The first show I saw Jef direct was The Little Foxes. Jef knows his material and really has a knack for assembling a cast that works well together. And I noticed that he seems to have control of my biggest pet peeve watching theater: pacing.

JHP: The show takes place during the early 80s, when it first debuted on Broadway. Heck, I remember watching the ‘84 Tony Awards and sobbing during their musical performance. When were you first aware of La Cage and has your perception of the work changed since then?

MACON KIMBROUGH: Yes. We didn’t have the web then so we had to catch glimpses on talk/variety shows or the Tonys. I have always been a Jerry Herman fan. His music goes through me like a knife, but in a good way. He gives his characters a vulnerability like no other lyricist. I remember seeing bits of the show on the Tonys. I Am What I Am was, of course, the show stopper and became the gay anthem. However, when I saw Gene Barry sing Song On The Sand, I knew then that I wanted to play that role and sing that song. I’ve always seemed to take the other route than most people.

JHP:  Speaking of I Am What I Am, when I chatted with Jef, I asked him to take a bit of artistic liberty with the lyrics. So I’ll ask you…how would you finish this line…”I am what I am and what I am is…..”?

MACON KIMBROUGH: I know this may seem strange or even rude, but I might finish “I am what I am, and what I am” with “is nobody’s business”. Hear me out – We judge and are judged, it seems, not just on first impressions but at first glance. If you want to know who I am or who anyone is, take the time. And if you don’t, don’t judge.

RAPID FIRE WITH MICHAEL BAIRD, ALBIN/ZAZA IN LA CAGE

JHP: While you’ve appeared on stage in and around the St Louis area, your performance in La Cage marks your Circle Players debut and also your Nashville area debut as well. How does it feel working not only with Nashville’s oldest continuing theatre company, but also with Jef, one of our community’s most respected and revered directors and critics?

MICHAEL BAIRD: The highlight of being in this show has been working with Jef. I moved to Nashville six months ago, and this was the first show that I auditioned for. Admittedly, I did not know who Jef was when auditioning, but I am thankful that he is my first director in Nashville. He has such a great way of pulling the best attributes out of a person when developing a character. He and I have very similar senses of humor–which has made the process that much easier.  He seems to know what I’m thinking, as I tend to know what he is thinking. It’s great!  I am also very thankful to Circle Players for giving me this opportunity.  

JHP: Zaza might be your Circle debut, but it’s not your first time to appear on stage, or in drag for that matter, having appeared as Frank N. Furter in The Rocky Horror Picture Show at Family Musical Theatre and having starred as Hedwig at Stray Dog Theatre—two St. Louis theatre companies. When, during the process of becoming Zaza, do you feel her presence—the wig, the lashes, the makeup, the body pads, costume…or something else?

MICHAEL BAIRD: In A Little More Mascara, Albin expresses how all of these external attributes contribute to his transformation–the lashes, more mascara, the heels, etc. My transformation into the character is more internal. I feel her ferocity as the key to the big “switch.” She is a performer, and when Zaza is present, there is nothing or no-one who can stand in her way. It is great fun to be a part of that and own the stage.   

JHP: Since you play Albin, and his stage persona, Zaza, I’m wondering, which aspects of each character do you admire most?

MICHAEL BAIRD: I admire Albin’s big heart. It is clear that he has great love for his family, and he will stop at nothing to make sure they are taken care of. Pertaining to Zaza, I will have to stick with the aforementioned ferocity. There is something about being fierce/ferocious and knowing that all eyes are on you. Additionally, her self-assuredness is something to commend. She is so confident in every aspect of her life, and I think that is something that all human beings desire.

JHP: When I chatted with Jef and Macon, I posed the following question to both of them. I think it has potential to be very telling, so I’m asking you and the others as well…”I am what I am and what I am is _____”?

MICHAEL BAIRD:  Persistent. I won’t/don’t stop. Just ask those close to me.  

RAPID FIRE WITH KRISTIAN DAMBRINO, JACQUELINE IN LA CAGE

JHP: While Jacqueline doesn’t appear until about 40 minutes in, the role is a patented scene stealer. Was that potential to ham it up and steal the scene part of what attracted you to the role?

KRISTIAN DAMBRINO: Oh absolutely. When Jef told me she was a manipulative, charismatic and flirtatious club owner AND that the musical is set in France in the 1980’s – that sounded like a sequined dream for this ex-Miss Mississippi. But what sold me on Jacqueline was the opportunity to throw in the French flair and accent. I’ve been studying the language for a year now, extending my own jazz repertoire to include songs from some of my favorite French composers and vocalists. I love the phonetics of the French language, and find there is a lot of built-in comedy in speaking and singing (and flirting) in « Franglais » in this musical. So Jacqueline is for sure my alter ego.

JHP: Why do you think Jacqueline feels such a closeness to Georges and Albin?

KRISTIAN DAMBRINO: Jacqueline’s brilliance lies in her ability to project this superfluous vibe, when in reality there are many layers to who she is and how she relates to all kinds of people. She deflects with humor and dramatic flair, but connects with George’s and Albin’s complexity as individuals, as well as their collective bravery and capacity for love. This perhaps sounds like a world peace kind of answer, and trust me – she LOVES Zaza’s panache. But Jacqueline cannot be put in a box and, to quote the script, « won’t take no for an answer. » This is perhaps how I relate to her the most. And you’ll have to come to the musical to get the rest of the story on this question (insert « ooh la la »). Jacqueline is full of surprises.

JHP: Much like composer Jerry Herman did in Mame with It’s Today, in Act 2 of La Cage, Jacqueline joins Zaza and the entire company for the equally uplifting and optimistic The Best of Times is Now. He was kind of right, wasn’t he?

KRISTIAN DAMBRINO: Yes, he was. I believe in the power of staying present in each moment to really get the most out of life. Whatever that means. If it’s singing, if it’s experiencing pain, if it’s laughing. If we drift too far from this moment, from now, we miss the transformational gift of immersion. Or we forget our lines lol.

JHP: I’ve concluded my interviews with Jef and your other cast mates with this one, so here’s your chance to answer it as well…how would you finish this line…”I am what I am and what I am is _____”?

KRISTIAN DAMBRINO: a Franglish chameleon.

RAPID FIRE WITH ANN STREET-KAVANAGH, MARIE IN LA CAGE

JHP: From the moment Marie enters, her physicality and broad reactions—to everything from Georges’ man-servant, Jacob (Russell Forbes) to Michael Baird’s Albin in disguise as Sybil—establish her as one to watch. Are there Maries in your past upon whom you drew your characterization ?

ANN STREET-KAVANAGH:  Not really. There are a few bits and pieces, but no one in particular. When I first saw myself in costume, I thought of Barbara Bush…just from the neck down! We know she was conservative and that she had a great sense of humor. Marie is both of those things, though she doesn’t let the humor out until she lets her hair down, so to speak.

JHP: Mentioning her costume is the perfect segue to my next question…Mirroring her rather conservative nature, Marie’s wardrobe is among the show’s more conservative, while Zaza and Les Cagelles are dressed to the nines in sparkling gowns courtesy the shows three costume designers Lisa McLaurin, Dan Hayes and Blake Danford. Any specific costume envy?

ANN STREET-KAVANAGH: I am EXTREMELY envious of The Cagelles! All those sequins and spangles! Zaza wears a wig that is reminiscent of Marilyn Monroe when she appears as Sybil. It looks gorgeous! I’m jealous of that, as well!!

JHP: During Cocktail Crosspoint, the chaos of the  imbroglio can be quite confusing if not performed with precision and skill from all involved. What’s it been like rehearing this particular number?

ANN STREET-KAVANAGH: We’ve had a lot of fun with Cocktail Counterpoint!  Leila Jones choreographed it. She used simple steps and blocking that lends itself  to be driven by characterization. Because of this, each of us has been able to put our own stamp on it, adding to the fun!

JHP: Alright. I’ve asked your director and co-stars this next one, so I might as well make it five for five…How would you complete the lyric as it pertains to you…”I am what I am and what I am is _____”? 

ANN STREET-KAVANAGH: This is hard to answer in one word! I’m a mom and a wife. I was lucky enough to have been a full time actor/singer for almost 20 years before having my kids, but I haven’t performed very much in the last 16 years, choosing to stay close to my children. They’re pretty self sufficient now and I’m ready to trod the boards with everything I’ve got! I don’t regret a minute spent with my family, but my inner artistic being has been so neglected that sometimes I’ll cry just hearing an overture. So, to answer…I am what I am and what I am is…energized! I’ve missed it SO much!

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Callum Ammons (center) as Jean-Michel) surrounded by Les Cagelles in Circle Players’ “La Cage aux Folles”

To be a part of the energized, eclectic vibe that is Circle Players’ La Cage aux Folles, CLICK HERE to purchase tickets as the show runs Friday, January 17 through Sunday, February 2 at Z. Alexander Looby Theatre (2301 Rosa Parks Blvd). Tickets are $15 for Thursday performances and $20 Fridays-Sundays. To keep up with the latest from Circle Players follow them on Facebook, Instagram and Twitter 

If you’ve enjoyed this latest Rapid Fire 20 Q, be sure and CLICK HERE to check out previous conversations. if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram, Twitter and Facebook.

Theatre Review: There’s no such thing as too much hype to describe the theatrical experience that is ‘HAMILTON’; on stage in Nashville at TPAC’s Jackson Hall thru January 19

by

Joseph Morales and members of the cast of ‘Hamilton’/all photos by Joan Marcus, courtesy Hamilton National Tour

Nashville theatre audiences have anxiously awaiting the arrival of Lin-Manuel Miranda’s Broadway blockbuster, Hamilton, right here in Music City since Tennessee Performing Arts Center first announced its eventual 2020 arrival during the season announcement party back in April of 2018. Well, the wait is over! Hamilton has ascended upon TPAC’s Jackson Theatre.

Before attending the show Tuesday night, I had honestly never listened to the soundtrack, other than catching occasional televised performances on the Tonys, the Grammys, the Olivier Awards and the like. Partly because I initially hoped to see it on Broadway or Chicago, where I had friends in both companies, but mostly because I kept hearing Hamilton described as a hip-hop musical. While I consider myself musically well-rounded, I’m not exactly a hip-hop aficionado, or a history buff, for that matter. I just didn’t know if I wanted to sit through a two and a half hour musical that tells the tale of Alexander Hamilton through rap and hip-hop. Damn. I’m here to tell you, after experiencing it live, on stage, in a packed house. I was foolish to deny myself this long.

When I say there was a packed house, I’m not exaggerating. My best friend and I arrived to the theatre Tuesday night an hour and a half before curtain (normally, I breeze in as the house opens half and hour before the show begins). When we arrived, valet was surprisingly quick, which reassured me we were simply early. Nope. Once inside TPAC’s lobby, we walked into the biggest crowd of folks I’ve ever seen at the venue and you could feel the buzz of excitement. Hamilton had arrived and Nashville was ready.

As time ticked away, the hour wait flew by. Some passed the time waiting in line for a photo op at the Hamilton selfie wall, while many visited the merch booth for the usual t-shirts and mugs, or Hamilton-centric items like golden quill pens. I myself managed to thankfully find a spot on a bench near the theatre entrance and struck up a conversation with a lady and her daughter who were excited to be there. What’s more, they were there because they had entered TPAC’s ticket lottery and had won the chance to purchase two prime seating tickets for $10 each! CLICK HERE for more about the Hamilton/TPAC ticket lottery.

Once inside the theatre, more selfies were taken as patrons flooded the room. There it was. The set. The first glimpse of what some have described as the most important theatrical experience of our generation. Set Designer, David Korins–whose work includes everything from Pee Wee Herman’s playhouse for its recent stage run to Beetlejuice’s frighteningly fanciful Broadway set–created the Hamilton set. Upon first glance, it appears nautical in nature, with ropes, pulleys and wooden platforms invoking ideas of a ship. Perfect, as we soon discover through the lyrics of the show’s first tune, Alexander Hamilton that the founding father was not only an immigrant orphan, but that he also worked on a trade charter as a young teen.

To the casual viewer, the set seem to remain the same throughout the show. But with the added technical craft of lighting designer Howell Binkley, the set, at times represents everything from a courtroom to the physical representation of the growing age of enlightenment that was New York in the early 18th century. Such a seemingly simplistic set, but so cleverly utilized and smart. While many current shows seem to be following the trend to feature completely realistic projections, Korin’s wooden scaffolding set, complete with a surprise dual…or should I say duel (see the show, you’ll get the reference)…turntable floor feature, enhances the action of the show and the music, but doesn’t distract from it.

On the subject of the music of Hamilton, as mentioned above, yes, hip-hop is predominant, and not just in style, but in reverence to the genre itself. It can’t be coincidence that the show’s second musical number, My Shot, begins with Hamilton spelling out his name in a rhythmic patter, “A-L-E-X/A-N/D/ER”. That’s surely a nod to legendary rapper Notorious B.I.G., who rapped, “N-O/T-O/R-I/O/U-S” within the lyrics of his iconic 1997 cross-over hit, Going Back to Cali. That’s not the only Biggie nod, as midway through act one’s Ten Dueling Commandments commands memories of B.I.G.’s The Ten Crack Commandments, a track from the performer’s final studio recording. Notorious B.I.G. isn’t the only hip-hop artist Miranda pays homage to. The opening of Cabinet Battle #1 has a Jay-Z Izzo intro vibe. Heck, the cabinet battles themselves are even staged like classic rap battles, mic-drop and all., There’s also a similarity between Hamilton’s Meet Me Inside to DMX’s Party Up in Here. 

It’s not just hip-hop that’s references in Miranda’s brilliant soundtrack. There’s also more than a few winks to the art of showtunes themselves. The most obvious, nods to Gilbert and Sullivan, Jason Robert Brown and Rodgers and Hammerstein. For Gilbert and Sullivan, it’s the hilarious inclusion of a direct lyrical lift from Pirates of Penzance, featured during Hamilton’s Right Hand Man when General George Washington refers to himself as “the very model of a modern major general”. Jason Robert Brown’s The Last Five Years’ Nobody Needs to Know, pops into Hamilton during Say No To This. My favorite of these three…during My Shot, Hamilton references South Pacific’s Carefully Taught.

Other lyrical nods may or may not be intentional, but rather, perhaps only coincidental, but I doubt it. Miranda has proven himself a true lover of musical theatre by including lyrical taps to things like 1776: The Musical’s Sit Down, John. While it covers the same subject matter as Hamilton’s The Adams Administration, it’s given a decidedly edgier and hilarious feel when accompanied by an unexpected expletive. There are literally a couple dozen theatre references, intentional or not, throughout the show, but I digress.

Rap and Showtunes are just two of the musical genres Miranda includes within Hamilton. Perfectly setting the scene with acknowledgement to the factual time during which the action is set, Hamilton also includes period-authentic instrumentation. During King George’s Act 1 jewel, You’ll Be Back, a harpsichord is featured. What’s the significance? A harpsichord perfectly repersents the time period as many composers of the day included parts for the now oft-forgotten instrument in their arrangements. Then there’s an actual piece originally composed by composer Wilhelm Richard Wagner included in Hamilton during Helpless, when Alexander proposes to Eliza. The classic piece in question…commonly known as Here Comes the Bride, is actually titled Bridal Chorus and was first presented by Wagner during his 1850 opera, Lohengrin.

OK, enough…probably too much…about the trivial musical winks, but I had to mention, as listening for them and recognizing them became one of my favorite aspect of seeing the show for the first time.

Because of its continued success and popularity, Hamilton is still on Broadway, while simultaneously embarking on their National Tour…there are two current US tours in fact,—The Philip Tour and the Angelica Tour. Nashville’s TPAC is playing host to The Philip Tour.

Starring as Alexander Hamilton is Joseph Morales, who was previously part of Hamilton’s Chicago company. As Hamilton, Morales plays the founding father , whom we first meet at age 19 when he arrives in New York in 1776. For those droves of Hamilton fans, Morales, and anyone who ever plays Hamilton, has the unenviable task of stepping into the role orignated by Miranda himself, daunting, indeed. To his absolute credit, Morales approaches young Hamilton during Act 1 with a convincing naïveté paired perfectly with an excitement to make his mark on the new world. I’m not gonna lie. From his first notes of the eponymous Alexander Hamilton to the finale, Morales evoked chills as I learned more about Hamilton than I ever realized I needed to know. Morales portrays Hamilton from enthusiastic young man with a vision through the pain of losing his son, jeopardizing his marriage and his ultimate untimely death, running the gamut of emotion in a believable, but unforced way

Cast as Hamilton’s counterpoint and eventual assassin–Come on…that’s no Spoiler..even I knew that–is Jared Dixon as Aaron Burr. Alright, I have to admit it, the only reason I know Aaron Burr killed Alexander Hamilton is thanks to an early 90s Got Milk? commercial (directed by Michael Bay, btw) in which a Hamilton historian misses out on a radio trivia contest while eating peanut butter sandwich with not enough milk to wash it down…again….I digress. 

Dixon as Burr, the OG frienemy, is not only the perfect foil for Morales’ Hamilton, but also the perfect scene partner, their lyrical sparring make for some of the show’s most enjoyable moments. Plus there’s the running gag of the way everyone lingers on then pronunciation of Burr’s surname, which begins with the tune Aaron Burr, Sir and continues throughout the show.

The Schuyler Sisters

As well-known to Hamilfans as Hamilton and Burr there’s also The Schuyler Sisters, Angelica, Eliza…and Peggy (see the show, you’ll get the reference). Cast as Hamilton’s love interest and eventual wife, Eliza is Erin Clemons. Her physical beauty, and that of the actresses playing her sisters, only accentuated by the glorious costumes courtesy costume designer Paul Tazewell, Clemons is the perfect scene partner for Morales’ Hamilton, not only vocally holding her own, but wowing the audience during numbers like the gorgeous Helpless, an r&b ballad with a healthy dose of the romanticism of a Cole Porter standard. 

As Angelica, Ta’Rea Campell is mesmerizing. Presented not only as Eliza’s selfless sister, but also as Hamilton’s unrequited love, Campbell’s performance presents a subtle depth to the character, especially during her featured turn alongside Clemons and Morales during the gorgeous Satisfied.

Nyla Sostra’s Peggy is memorable, mostly because the character herself is played as forgettable. That said, Sostra snags the spotlight in the dual role of Maria Reynolds, with whom Hamilton had an ill-fated illicit affair that would prove a potential thorn in his political side. In a wardrobe move straight out of Bette Davis’ Jezebel, when Sostra takes to the stage in a red dress as Reynolds, the heat is on.

As expected, other historical figures present in Miranda’s Hamilton include the aforementioned King George III, George Washington and Thomas Jefferson.

Joseph Morales and Marcus Choi in ‘Hamilton’

As George Washington, Marcus Choi plays our first president with a bit of wit and wisdom, making me personally long for a leader with those same qualities. Songs like Right Hand Man, Stay Alive and One Last Time showcase Choi’s talents perfectly.

Neil Haskell as King George III is everything you’d hope a self-centered royal would be…and then some. With equal parts Sir Elton John at his campiest mixed with your anything-but-average spoiled monarch, Haskell steals every scene he’s in…and interestingly, he interjects himself throughout the action of the play, even though it all takes place stateside.Haskell’s King George puts the ham in Hamilton in the best way possible during You’ll Be Back, What Comes Next and I Know Him…all containing a happy sing-song 60s Brit-pop melody. A nice contrast the the soundtrack predominately heavier rap aesthetic.

King George III

Warren Egypt Franklin’s Thomas Jefferson—clad in a purple topcoat that rivals anything rock royalty Prince ever wore and strutting like a banty rooster with a cockiness that’s reminiscent of another Jefferson…TV’s George Jefferson as played in the 70s by Sherman Hemsley—he too holds his own and steals the limelight whenever he’s on stage. What’d I Miss, Cabinet Battle #1 and Election of 1800, among his musical highlights. Franklin also does double duty appearing as Marquis de Lafayette, changing it up a bit donning a humorously heavy accent and a less flashy topcoat for the role.

Also doing double duty in two supporting roles Desmond Sean Ellington as Hercules Mulligan and James Madison, Elijah Malcomb as John Laurens and Philip Hamilton, the aforementioned Nyla Sostre and Nick Sanchez who plays three roles: Philip Schuyler, James Reynolds and Doctor. 

These actors, along with the rest of the ensemble and the leads, bring the story of Hamilton to glorious life. 

In addition to Lin-Manuel Miranda’s inventive book, music and lyrics, Hamilton also boasts an electrifying array of movement as choreographed by Andy Blankenbuehler. To that end, the visual presentation of the ensemble dancers, whether dressed in full military garb, or stripped down to petticoats and form-fitting pants and sleeveless undershirts, as dressed by Tazewell, perfectly accentuates the movement. At times, while the leads perform vocally, the ensemble beautifully accentuates their words with movement. Much like the genre-crossing inclusion of music, many dance forms are presented in Hamilton, from ballet, to jazz, hip-hop and even touches of traditional tribal dance. Proving once again, Miranda and company deserve every bit of hype, but more importantly, praise for THE musical of our time.

Hamilton continues its extended run at TPAC’s Jackson Hall with performance through January 19. To follow Hamilton, check them out on Facebook, Instagram and Twitter.

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

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