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Carole King

Rapid Fire 20Q with Cast of ‘Beautiful: The Carole King Musical’; Continuing at The Keeton Through February 23

February 14, 2025 by Jonathan

As the cast of BEAUTIFUL: THE CAROLE KING MUSICAL readied for their second of three weekends at The Keeton Dinner Theatre (108 Donelson Pike, Nashville, TN), I recently had the opportunity to pose a few questions to the show’s four leads, Layla Frankel, Dylan Kim, Kimberly Wolff and Jacob Armstrong for the latest installment of my recurring interview feature, Rapid Fire 20Q. What follows are those conversations.

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RAPID FIRE 20Q WITH CAST MEMBERS OF THE KEETON’s BEAUTIFUL

RAPID FIRE WITH KIMBERLY WOLFF, WHO PLAYS CYNTHIA WEIL IN BEAUTIFUL

JHPENTERTAINMENT: Who is Cynthia Weil to you?

KIMBERLY WOLFF: To me, Cynthia Weil is a grounded, confident, trailblazing talent of a woman. What she has accomplished in her lifetime is nothing short of amazing. I see her as someone who is not afraid to take a chance and she knows what she wants. 

JHPENTERTAINMENT: Keeton patrons will no doubt recognize you for your recent role as Miss Shields in A Christmas Story, which you also choreographed and as Evita Perón in Keeton’s Evita last year.  McKenna Driver choreographed Evita and is back as choreographer for BEAUTIFUL. While the role of Cynthia doesn’t really require any choreo, are there any Beautiful choreo moments you’ve enjoyed watching during the rehearsal process? 

KIMBERLY: McKenna is an extremely talented choreographer. Her vision is always spot on, and she is a great teacher. It has been incredible watching The Drifters, and The Shirelles come to life. I think my favorite though, is Locomotion. It is so energetic and fun to watch. What McKenna has created with Beautiful, is, well…Beautiful. 

JHPENTERTAINMENT: Much like Carole King and her professional partnership with her husband, Cynthia Weil and Barry Mann were also involved professionally and personally. For The Keeton’s BEAUTIFUL, you’re paired with Jacob Armstrong as Barry Mann. What’s Jacob like as a scene partner?

KIMBERLY WOLFF: It has been fun working with Jacob. It has been easy from the start. We are both open to listening to each other’s ideas and we both have the same goal. We want to do everything we can to bring these characters to life and do them justice. It has been great getting to share the stage with him. 

JHPENTERTAINMENT: IF there were to be a Cynthia Weil jukebox musical, what would it be called?

KIMBERLY WOLFF: Somewhere Out There! While doing a deep dive on the internet to learn more about Cynthia, and to get to know her better, I found out she wrote one of my favorite songs. Somewhere Out There, is from An American Tail. One of my absolute favorite movies growing up. That song has always been a favorite of mine.  I sing it to my daughter sometimes to put her to sleep. Something that has been so mind blowing to me, is seeing how many hit songs all 4 of these main characters have written. I had no idea there were so many songs we all know. 

JHPENTERTAINMENT: As portrayed in BEAUTIFUL, is there a facet of Cynthia’s personality that you might try to incorporate into your own?

KIMBERLY WOLFF: She comes across as being so sure of herself with a great confidence. You don’t see much self doubt. It’s admirable. Sometimes I can tend to stand in my own way. I’d love to tell myself to “MOVE OVER” a little more often.

RAPID FIRE WITH JACOB ARMSTRONG, APPEARING AS BARRY MANN IN BEAUTIFUL  

JHPENTERTAINMENT: You were last seen at The Keeton in their Spring 2024 production of The Music Man as a member of that show’s barbershop quartet and now you’re co-starring as Barry Mann in BEAUTIFUL. What can you tell me about this role?

JACOB ARMSTRONG: Barry is a delightfully neurotic character to play. I feel like he has quite a few insecurities that he covers with humor. I relate to Barry quite a bit. He is so much fun to play, and I absolutely love is sarcastic one liners. Though his real concerns do later pop through in the show in a real way. 

JHPENTERTAINMENT: When I chatted with Kimberly, I asked her about you as a scene partner, so turn about is fair play…What is your favorite thing about sharing the stage with Kimberly Wolff, who plays Mann’s writing partner and love interest, Cynthia Weil?

JACOB ARMSTRONG: Kim is so easy to share the stage with. Though, I think my favorite moments we share together happen back stage. We find ourselves sometimes having to hold on to each other out of fear of missing a scene that we both apparently think does not exist. This has resulted in many laughs together. 

JHPENTERTAINMENT: When you auditioned for BEAUTIFUL, did you specifically audition for the role of Barry Mann?

JACOB ARMSTRONG: When auditioning, Barry was the only character I had in mind. I really wanted to play this comedic part, it felt like it would be a great fit from the beginning. 

JHPENTERTAINMENT: In researching the role, were there songs Mann penned that you were familiar with but didn’t realize he’d written?

JACOB ARMSTRONG: Yes! I had no idea he was involved with You’ve Lost That Loving Feeling, and On Broadway.

JHPENTERTAINMENT: As he is written in BEAUTIFUL, Mann provides some of the show’s funniest comebacks and lines. Do you have a favorite?

JACOB ARMSTRONG: My favorite line by far is, “I’ve realized I’m just as miserable without you as I am with you. So I figured if I’m going to be miserable, I might as well have the sex that goes a long with it.” This always gets a great laugh! 

RAPID FIRE WITH BEAUTIFUL’s GERRY GOFFIN ACTOR, DYLAN KIM

JHPENTERTAINMENT: Were you familiar with Gerry Goffin prior to joining the cast of The Keeton’s BEAUTIFUL: THE CAROLE KING MUSICAL?

DYLAN KIM: Honestly, I hadn’t heard of Gerry Goffin before this role. I knew Carole King’s music, of course, but diving into the show was my introduction to Gerry’s story. It’s been eye-opening to discover how integral he was to shaping so many iconic songs and the complexities of his partnership with Carole. Learning about his legacy—both the brilliance and the struggles—has been a huge part of preparing for this character. 

JHPENTERTAINMENT: This marks your third Keeton show in the last several months. What keeps you coming back?

DYLAN KIM: The community, hands down. The Keeton feels like a second home—everyone from the cast to the crew radiates this infectious passion for storytelling. It’s rare to find a space where you’re equally challenged and supported, and that balance keeps me hooked. 

JHPENTERTAINMENT: Do you have a favorite moment in the show, whether you’re part of it or not?

DYLAN KIM: You’ve Got a Friend gets me every time. Right after Carole’s weathered so much, that scene feels like a warm embrace. There’s this quiet power in its simplicity, and the way the audience leans into it… it’s magic.  

JHPENTERTAINMENT: Some of Gerry’s darker moments are represented in BEAUTIFUL. Do you do anything specific to prepare for those scenes 

DYLAN KIM: I lean into Stanislavski’s psychophysical action—using small, deliberate movements to anchor myself in Gerry’s emotions. It’s less about forcing feelings and more about letting the body guide you. And shoutout to my scene partner, Layla—she brings such honesty to those moments that it’s easy to meet her halfway.

JHPENTERTAINMENT: Donna Driver is directing this production. What can you tell me about Donna’s style as a director? 

DYLAN KIM: Donna’s done her homework—she knows this era and these characters backward and forward. But what stands out is her ability to pull greatness out of people. She’ll spot a spark in your performance you didn’t even see, then nudge you to fan it into a flame. She trusts actors to take risks, and that freedom lets everyone shine.

RAPID FIRE WITH BEAUTIFUL STAR, LAYLA FRANKEL

JHPENTERTAINMENT: I understand playing singer/songwriter Carole King in The Keeton’s BEAUTIFUL: THE CAROLE KING MUSICAL marks your Keeton debut. How familiar were you with the company prior to auditioning?

LAYLA FRANKEL: I actually had not heard of the Keeton until a friend from my previous show encouraged me to audition for this part.  She had great things to say about Donna as a director and I was excited about the role so I figured I would give it a shot.  I’m so glad to have found the Keeton! Their team is so passionate and committed to delivering high-quality productions; it’s been a pleasure working with them!

JHPENTERTAINMENT: While it’s your Keeton debut, the same can not be said for the role, as you recently appeared in another company’s production of BEAUTIFUL where you understudied the lead role. Not only did you understudy, you also appeared in the lead role a couple times during the run. How excited are you to be taking on this role again and making it truly your own?

LAYLA FRANKEL: Beyond excited. I was really grateful for the opportunity to spend more time with Carole and her story.  In my experience as understudy, I knew the part well enough to perform it, but my performances essentially felt like three dress rehearsals that happened to be in front of audiences. I didn’t have the chance to perform as confidently in the part as I had hoped.  It is an incredibly demanding lead role (think 13 costume changes, 3 wigs,12 songs, plus piano parts) but I was driven to do the character justice.  As a songwriter myself, Carole King is one of my creative heroes and has been influential for my own songwriting journey. I’ve had a blast doing a deep dive into her songs and story, and just learning more about who she is.  I feel very connected to this character, she’s truly an inspiration in every way. 

JHPENTERTAINMENT: As Carole, you share quite a bit of stage time with Dylan Kim as Carole’s first husband and frequent writing partner, Gerry Goffin. What’s your favorite aspect of Dylan as a scene partner?

LAYLA FRANKEL: First off, Dylan is an incredible talent and there are many things that I really appreciate about our scenes together.  He’s a joy to perform with.  One thing that I really appreciate is his ability to be really present in the scene every time we go on stage in a way that I think shows how practiced he is as an actor. I feel like I’m a better actor for it; like I’m able to connect more to our stage relationship because he’s so present. It’s been fun to see our stage chemistry grow more and more with each show.  

JHPENTERTAINMENT: During the rehearsal process and early run of the show has there been a particular song of Carole’s that’s become a personal favorite to perform?

LAYLA FRANKEL: There are so many good ones! The One Fine Day Reprise at the end of Act 1 is one of my favorites to sing because there’s so much emotion packed into that moment and I can put it directly into the song.  It’s a really satisfying end to the first act.  But I also enjoy singing Will You Still Love Me Tomorrow and It’s Too Late and trying to find Carole-isms in my own voice.  She has such a unique, raspy quality to her voice that I cannot physically match, but – and this may sound very vocal-nerdy – I’ve really enjoyed the task of studying her deliveries and trying as best I can to mimic her phasing and melodic choices.  She’s such a nuanced, dynamic singer and it’s exciting to find moments when I remind myself of Carole.  It feels like the ultimate success in the role. 

JHPENTERTAINMENT: What do you hope audiences take with them after seeing BEAUTIFUL: THE CAROLE KING MUSICAL?

LAYLA FRANKEL: There’s a line that a 16-year-old Carole says in the show: “When I hear a good song, I feel like someone understands me.  Even if I’m all alone, it’s like I’ve got a friend in the room.”  I would hope that audiences leave feeling like they’ve heard music and a story they can connect to.  Music that maybe takes them back to another moment in their lives.  But beyond that, I hope that the show can provide audiences with a moment of respite from some of the external chaos of the news and media at the moment. 

One of the things I love most about live theatre is the magic of so many talented people coming together to create something spectacular, tell a story, and share creative beauty with an audience all together in one moment in time.  There is so much power and purpose in that communal experience. I hope this show leaves audiences feeling excited and inspired to move and sing and be more present in their own stories.  And, hopefully, buy a ticket to the next Keeton show.

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The Keeton Dinner Theatre’s BEAUTIFUL: THE CAROLE KING MUSICAL continues with performances Friday, Saturday & Sunday, February 14-16 and Thursday-Sunday, February 20-23. Tickets range in price from $30 to $47. Adult Dinner and Show tickets are $40. Child Dinner and Show tickets are $35 and Show Only Tickets are $30. Thursdays are Show Only performances with doors opening at 6:30pm and show at 7pm. Friday and Saturday doors are at 5:45pm with dinner served at 6pm and show at 7pm. Sunday matinees doors at 12:45pm, meal at 1pm and show at 2pm. For the dinner aspect of this run, The Keeton is offering Dinner Salad, Vegetable Lasagna, Mediterranean Vegetable Blend, Dinner Rolls and Carrot Cake. (Salmon may be substituted for the entree for a slight uncharge). At the time of this interview, Limited Tickets are still available for all performances except for Sunday, February 16, which has now SOLD OUT. CLICK HERE or call the box office at 615.231.1231 for tickets and availability.

Next up at The Keeton, it’s Neil Simon’s Barefoot in the Park with performances April 11-27. So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

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

Filed Under: Entertainment, Rapid Fire 20 Q, Theare Tagged With: Beautiful, Beautiful The Carole King Story, Carole King, Dinner Theatre, Interview, Rapid Fire 20 Q, The Keeton, The Larry Keeton Dinner Theatre, Theatre

Rapid Fire 20Q with Director Jef Ellis and Cast of ‘Beautiful: the Carole King Musical’; at Center for the Arts in Murfreesboro November 8-24

November 8, 2024 by Jonathan

When I heard that Jef Ellis was directing BEAUTIFUL: The CAROLE KING MUSICAL Nov. 8-24 at Center for the Arts (110 West College Street, Murfreesboro, TN 37130), I knew I wanted to chat with Ellis and members of his cast for the latest installment of my recurring interview feature. Having seen the National Tour of the show back in 2017, and being somewhat familiar with Carole King’s contributions to the world of music, thanks to my favorite Aunt, I was truly drawn in from the start. Not only is the music one of those “soundtracks of our lives” as the saying goes, but the story is actually interesting.

Obvious reasons aside, I also knew I wanted to feature Ellis and company because just as King has made innumerable contributions to music, Ellis is himself legendary within the Tennessee theatre community. With the announcement that Ellis was helming the project, came the news that this will be the last time Ellis directs a show. After devoting his life and life’s work to lifting up the Middle Tennessee theatre community as a director, critic and all-round patron saint of the performing arts, Ellis has recently made the difficult decision to step away from active duty within the theatre world to focus some much-deserved attention on himself and his health. In light of that news, I wanted to feature Ellis and the cast of BEAUTIFUL for my latest Rapid Fire 20Q. What follows are those conversations.

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Rapid Fire 20Q with director and cast of BEAUTIFUL: THE CAROLE KING MUSICAL

Rapid Fire with BEAUTIFUL: THE CAROLE KING MUSICAL director, Jef Ellis

JHPENTERTAINMENT: How did directing BEAUTIFUL: THE CAROLE KING MUSICAL come about?

JEF ELLIS: I have to give credit to my friend Allison Hall (who was my musical director for both SINGIN’ IN THE RAIN and for LITTLE WOMEN), who mentioned in the course of a conversation that Center for the Arts had announced their 2024 season and if I had any desire to direct again. I really had no plans to direct anything at that time, but when I saw BEAUTIFUL on their season, I knew I would throw my hat in the ring. It’s probably my favorite of all the so-called “jukebox musicals” due to my deep respect for Carole King and my love, in particular, for her Tapestry album.

 JHPENTERTAINMENT: What’s your earliest memory of truly grasping what an iconic songwriter Carole King is?

JEF ELLIS: When I turned 13, my big sister Charlotte gave me Tapestry for my birthday – it was my first-ever album (heretofore I had only owned 45s) and I played it all the time. It remains my favorite album of all-time and cemented my fanatical love of everything written by Carole King. In fact, when I was a senior in high school, I wrote a musical based on her 1974 album Wrap Around Joy, which has never been produced (did I mention my script was awful?). I’ve followed her career since I was 13 and as I have discovered more and more about her, I have realized how much there is to admire about Carole King.

One of my favorite Carole King-centric memories is when she was a Kennedy Center Honoree in 2023. During the telecast, you could see how absolutely thrilled she was to be there and how her delight was apparent when each performer came onstage to perform for her. I’ve never witnessed a Kennedy Center Honoree as exhilarating as her in the audience!

 

JHPENTERTAINMENT: Is there a scene or song in the musical that speaks to you on a personal level?

JEF ELLIS: There are two moments in the show that make me more emotional than others: (1) During the performance of You’ve Got A Friend, I am taken back to my childhood home, listening to that song all through high school, knowing that someday I would find my people who would elicit in my own heart in that spirit of camaraderie and belonging expressed in the song. (2) The climactic performance of Beautiful in the show, part of Carole’s 1971 concert at Carnegie Hall, is an electrifying moment that every audience member will share in each performance. Emily Summer’s performance is breathtaking.

And it’s not a song, but there is a scene backstage at Carnegie Hall that is heartbreakingly genuine and never fails to land in my heart – Ross Canales delivers an emotional wallop you’ll think about for days to come.

JHPENTERTAINMENT: As he is with most productions at Center for the Arts’ Royce Phillips is music director. How has working with Royce been during the rehearsal process for BEAUTIFUL?

JEF ELLIS: Royce and I previously worked together on THE SECRET GARDEN, so even before I submitted my proposal to direct BEAUTIFUL, he was the first person I asked to join my production team. I knew he would be respectful of Carole and her music, and of Gerry Goffin, Cynthia Weil and Barry Mann and he would honor their legacies and the legacies of all the tremendous musical performers to whom we pay tribute in the show. Royce is a great collaborator and he helps every performer achieve their very best, which is our goal in bringing BEAUTIFUL to life.      

JHPENTERTAINMENT: I’m about to chat with three of your lead actors, Emily Summers, Kelly Cline and Ross Canales. What can you tell me about these three talented individuals?

JEF ELLIS: I first saw Emily in Circle Players’ IF/THEN and was gobsmacked by her talent and her unerring ability to be totally authentic and believable onstage. Subsequently, I’ve seen her take on other characters with the same intensity. I think I knew she should play Carole King a long time ago and she provides the very heart of our production. I am honored to direct her in my final show.

Kelly walked into auditions and performed her song and Royce and I looked at each other and said, “I think we have our Cynthia!” She has so much stage presence and absolutely commands you to watch her – and she is such a lovely presence in any room, with so much grace radiating from her. She has a perfectly droll sense of humor and her comic timing is impeccable.

I first saw Ross earlier this year in IS Productions’ CLOSER and I was impressed by his ability to play a challenging character with such focus (at that first introduction, I was seating maybe a foot away from him in his initial appearance onstage) and such an amazing range. When he came in to claim the role of Gerry Goffin, he possessed everything necessary to bring Gerry to life with a complete understanding of his character’s dramatic arc. He also possesses that indefinable quality all actors strive for: you believe everything he says onstage.

Rapid Fire with Kelly Cline, Cynthia Weil in BEAUTIFUL: THE CAROLE KING MUSICAL

JHPENTERTAINMENT: Who is Cynthia Weil to you?

KELLY CLINE: Confident. Timeless. Sharp-Witted. Loyal friend. I feel so honored to have the opportunity to portray such a strong, confident character who was such a pioneer for women in the music industry. The songs she wrote in partnership with her husband, Barry Mann, have shaped our American Songbook. What a legacy she’s left us all. 

JHPENTERTAINMENT: This show marks director Jef Ellis’ self-proclaimed ’Swan Song’ as a director after decades of not only presenting memorable theatrical productions but of course also covering theatre as a critic. Were you aware of Jef’s status in the theatrical community prior to auditioning? AND…What’s been the most beautiful aspect of working with Jef during BEAUTIFUL?

KELLY CLINE: Prior to auditioning I didn’t know Jef, but quickly learned about him as I was preparing to audition. What an incredible opportunity to be cast by him – especially in a show that is the grand finale to such a fantastic career. I’m truly honored. Jef is a passionate director – what a gift it is to be in the room with someone who cares so deeply about creating beautiful work onstage. He encourages us to remember the magic of theatre, and how transformative and transportive the craft is. In addition, Jef challenges you as the actor to continue to find instincts, intentionality, and aspects of your character throughout the rehearsal process. I’ve loved working with him!

JHPENTERTAINMENT: A bit of a subplot of BEAUTIFUL presents the initial competitive nature of Carole King’s relationship with Cynthia Weil. In real life, as in the show, their relationship eventually morphed into a close friendship. To that end, how is Emily Summers, this production’s Carole King, as a scene partner?

KELLY CLINE: Oh my word! How long do you have? What a talent. I count myself so lucky to share the stage with Emily. The scenes we have together are some of my favorites in the entire show. She’s incredibly generous as a scene partner – what she brings to every moment is so natural and authentic. There’s such an ease in doing scenes with her. Additionally, I think the friendship our characters develop onstage has a lot to do with the friendship we’ve been able to cultivate off the stage. If I ever get the opportunity to work with her again, I’d say “Yes” in a heartbeat! 

JHPENTERTAINMENT: When I saw the National Tour of BEAUTIFUL a few years back, I was surprised my favorite Cynthia Weil song, I’m Gonna Be Strong isn’t part of the show (of course it’s NOT the Cynthia Weil story per se, but still). The song, originally recorded by Frankie Laine in 1963, but familiar to me because of Cyndi Lauper’s 1980 cover. While preparing to portray Cynthia Weil, have you discovered any songs she wrote that you particularly enjoy?

KELLY CLINE: Dolly Parton’s Here You Come Again is a song I grew up listening to, but I had no idea Cynthia Weil had a hand in writing it! That was a fun discovery and connection point. 

JHPENTERTAINMENT: This show is jam-packed with not only tunes written by King and Weil, but a number of other hits from 60s/early 70s era. Is there a musical moment, whether it be yours or that of one of your co-stars that you particularly enjoy?

KELLY CLINE: Oh goodness, forgive me but I can’t pick just one! Every time our amazingly, talented ensemble sings You’ve Lost That Loving Feeling I have to stop and take it in. They do this timeless song justice and are just so fun to listen to– I think Barry and Cynthia would be proud. When Aaron Johnson (our Barry Mann) sings We Gotta Get Out of This Place it’s going to tear the roof off the theatre. Aaron makes rock n’ roll look easy and has one of the most sensational voices. Lastly, You’ve Got a Friend will forever be one of my favorite moments in the show. This song is all heart and I love sharing it with Emily and Aaron. It’s a moment I look forward to every time we do the show.

Rapid Fire with Ross Canales, Jerry Goffin in BEAUTIFUL: THE CAROLE KING MUSICAL

JHPENTERTAINMENT: Before seeing the show, is there anything audiences might need to know about Gerry Goffin, the role you play in BEAUTIFUL: THE CAROLE KING MUSICAL?

ROSS CANALES: Gerry Goffin is a lovable, yet complicated, and troubled individual. All he wants is to get the most out of his life and to seize opportunities as they come. He unfortunately has a hard time maintaining a good moral compass in his pursuit of life fulfillment. 

JHPENTERTAINMENT: Alongside Carole King, Gerry Goffin wrote some of the most beautiful songs of their era. Do you have a favorite that you get to sing alongside your Carole, Emily Summers?

ROSS CANALES: One of my favorites from the show is Some Kind of Wonderful. In the show Gerry and Carole only sing part of the song, but they sing it in a very heartfelt part of the show. It is sung as a conversation between two lovers that finishes with beautiful harmonies. 

JHPENTERTAINMENT: As Gerry, you’re tasked with some of the show’s more dramatic moments. How do you mentally prepare for these scenes and what helps you come back out of them to a more peaceful mindset?

ROSS CANALES: Gerry definitely has some dark places he reaches in his life. Preparing for those moments, I tend to need silent reflection of prior events in my life that can bring out similar emotions. I try to focus on my senses in those moments. What I heard, what it physically felt like, what I might have smelled, or saw in the moment. The more I can feel those senses again, the better I can portray those emotions and connect to the audience. Coming out of it is easy when you have such an amazing, fun, and supportive cast that can make you smile. All the inside jokes and laughs you have during the rehearsal process carry over in the performances and create easy avenues to make lighthearted jokes when they are needed. 

JHPENTERTAINMENT: BEAUTIFUL marks Jef Ellis’ self-announced final directorial effort. What do you admire most about Jef’s directing style?

ROSS CANALES: With Jef being one of the biggest theater lovers I know and a critic for decades he has a unique perspective of where a show could be lacking. Being able to identify those missing elements early gives him the ability to change what is needed. That could be something as small as where actors are placed on stage, to an emotional feel of a scene. An average theater goer might not be able to identify those elements, but they can feel the difference between a performance that has taken care of the lack and ones that haven’t. I admire Jef’s ability to spot those elements and find a change to make the performance better. 

JHPENTERTAINMENT: Carole King has always recognized the importance of Gerry Goffin’s presence in her early life, both professionally and personally. Is there someone who has been in your corner since the beginning and what does that sort of support mean to you?

ROSS CANALES: I took 10 years off of theater during college and started back in summer of 2022. My wife Zoe has been along for the ride since my comeback to theater. She has observed the commitment, hard work, and dedication it takes to be in a show. Although the time away from home is difficult, as most people in relationships can understand, the support she gives is truly heartwarming. I can’t express my gratitude for her understanding and love through the process. She keeps me grounded and gives me encouragement when rehearsals get tough. She means the world to me! I couldn’t follow my pursuit of acting without her. 

Rapid Fire with Emily Summers, Carole King in BEAUTIFUL: THE CAROLE KING MUSICAL

JHPENTERTAINMENT: You, like Carole King, are a singer/songwriter. Has that helped you tap into how you’re playing the famed songwriter in BEAUTIFUL: THE CAROLE KING MUSICAL?

EMILY SUMMERS: Absolutely. I remember being sixteen with all that passion and drive, when all I wanted to do with my spare time was sit in my room with my guitar and write songs. There’s a moment in the show when Carole says, “When I hear a good song, I feel like someone understands me. […] I want to do that for people!” I feel that line deeply.

JHPENTERTAINMENT: Continuing on that built-in kinship with Carole, is there a scene to which you particularly relate?

EMILY SUMMERS: Without giving away any spoilers, there’s a scene in act two in which Carole’s heart is especially broken. She goes to the piano and sings a verse of an old song, with lyrics that are fitting and poignant for the pain she’s feeling. There’s a real catharsis that comes from putting all your emotion into a song like that. I’m always moved by that scene, and I pull emotion from similar moments of heartbreak I’ve experienced in my own life.

JHPENTERTAINMENT: Does portraying a real-life person, as opposed to a fully fictional character influence your performance?

EMILY SUMMERS: It’s definitely a challenge. I want to honor Carole in my performance and avoid putting too much of my own spin on the character. Typically when I have trouble connecting with part of a script, I step back and ask myself, “How would I say this in the context of my real life?” This time, I’m watching interviews, studying her cadence and her mannerisms, and asking myself, “How might Carole say this in the context of her life?”

JHPENTERTAINMENT: On the subject of icons, there’s been much buzz about the Middle Tennessee theatre community surrounding the fact that this show will mark Jef Ellis’ final directorial effort. How has your experience with Jef as a director been thus far?

EMILY SUMMERS: It has been a joyful experience! Jef has so much passion, and he’s putting his whole heart into this show. That’s motivating, not only because I want him to be proud of his directorial swan song but also because he is so endeared toward this story and this music, and that sentiment is contagious. 

JHPENTERTAINMENT: What do you hope audiences take with them after seeing BEAUTIFUL: THE CAROLE KING MUSICAL?

EMILY SUMMERS: By the end of the show, audiences undoubtedly will have learned something about Carole’s life and the story of how she became the legend she is. And while that story is moving and important, more than that, I hope audiences leave with a new appreciation for who she is. I hope my performance does justice to her heart, her humility, and the guts it must have taken to achieve so much, at such a young age, as a woman in an industry ruled by men. 

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BEAUTIFUL: THE CAROLE KING MUSICAL opens at Center for the Arts on Friday, November 7 and continues weekends through Sunday, November 24. Friday and Saturday evening performances are at 7:30p.m. Saturday and Sunday matinees are at 2p.m. Tickets are $22 for Adults ($20 for Seniors/Military/Students/Children). CLICK HERE to purchase tickets. To follow Center for the Arts, check them out at their Official Site or follow them on Facebook, Instagram, X and TikTok.

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Filed Under: Entertainment, Rapid Fire 20 Q, Rapid Fire Q&A, Theare Tagged With: 2024, Beautiful, Boro Arts, Carole King, Center for the Arts, Interview, Jef Ellis, Live Performance, live theatre, Murfreesboro, Musical, Musical Theatre, Nashville, Nashville Theatre, Q&A, Rapid Fire, Rapid Fire 20 Q

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