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Christmas

Rapid Fire 20Q with director and cast of The Keeton’s ‘A Christmas Story’; on stage thru December 22

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“You’ll shoot your eye out!”…arguably a phase almost as synonymous with the holidays as “Merry Christmas” itself, thanks to the now-classic 1983 film adaptation of A Christmas Story, humorist Jean Shepherd’s take on holidays of days gone by. This holiday season, The Keeton Dinner Theatre (108 Donelson Pike, Nashville, TN) is presenting A Christmas Story: The Musical as their holiday offering. I’m not gonna lie, I came to A Christmas Story relatively late in the game, never having seen the film, and only first becoming fully familiar with it when another area theatre company mounted the non-musical stage version a few years running. That said, once I witnessed the fun of the show, I was all in! So you know I had to reach out to my friends at The Keeton to chat with the show’s director, Jacob Waid and four of his cast members, including Toby Turner who’s playing The Narrator, Chelsea Ranelle who’s playing Mother, Kimberly Wolff who’s choreographing the show and playing Mrs. Shields and young Noah Owens, who’s playing Ralphie! So grab a cup of hot cocoa and check out my latest Rapid Fire 20Q.

 

 

Rapid Fire 20Q with director, choreographer and cast of The Keeton’s A Christmas Story

Rapid Fire with Noah Owens, Ralphie in The Keeton’s A Christmas Story

JHPENTERTAINMENT: What’s your favorite part of playing Ralphie in A Christmas Story?

NOAH OWENS: I love working with my stage family, Ryman, Kevin, and Chelsea. We have really developed a strong relationship with inside jokes and even a pre-show ritual. I also LOVE the songs! The first time I heard Ralphie to the Rescue (a song from the show), I could not stop singing it for 3 DAYS!    

JHPENTERTAINMENT: As Ralphie, there’s a hilarious scene involving a department store Santa, played by Elliott Winston Robinson in The Keeton’s A Christmas Story. How much fun are you having sharing the stage with Elliott?

NOAH OWENS: It is so fun because Elliot is extremely funny even when he is pretending he hates us kids. 

JHPENTERTAINMENT: Other than A Christmas Story, what’s your favorite Christmas movie or tv special?

NOAH OWENS: Without a doubt I would say another great Christmas comedy, The Santa Clause, starring Tim Allen.

JHPENTERTAINMENT: What’s at the top of your Christmas list this year?

NOAH OWENS: My family and I like to have experiences so I am asking for us to get to go to an Escape Room!

Rapid Fire with Chelsea Ranelle, Mother in The Keeton’s A Christmas Story

JHPENTERTAINMENT: What’s your favorite aspect of Mother, the character you play in The Keeton’s A Christmas Story?

CHELSEA RANELLE: I love how caring she is with her children in the moments where it counts. She’s a busy, frazzled, boy mom but she still knows when to slow things down and make special moments for her babies. 

JHPENTERTAINMENT: A little online sleuthing revealed that you’re a high school teacher by day. Has the day job helped you relate to your younger cast mates?

CHELSEA RANELLE: For sure! It’s felt totally natural. I’ve enjoyed being in this cast with our amazing youth ensemble. They are truly fantastic young people. They’ve been a an inspiration to me and an absolute joy to work with! 

JHPENTERTAINMENT: While most are familiar with A Christmas Story by way of the now-classic film, this particular stage version is a musical. Is there a particular musical moment that you love, whether it be one you’re part of, or one you simply enjoy from the wings?

CHELSEA RANELLE: I really love working with my stage family. Kevin is incredibly natural on stage which makes him an interesting scene partner to play off of. Noah is so in the moment; I love seeing him light up and make choices on stage. He’s truly phenomenal! And Ryman is just as wonderful on stage and off. He’s a super strong singer and a really lovely kid to spend time with. My favorite number to watch from the wings is You’ll Shoot Your Eye Out. It’s lively and the women’s ensemble is stunningly talented! 

JHPENTERTAINMENT: Since A Christmas Story centers-round Ralphie’s most memorable Christmas, What’s one of your favorite holiday memories from your own childhood?

CHELSEA RANELLE: No Christmas stands out in particular. My childhood Christmases remind me of the Parkers’. My step-father was born in the 40’s and he reminds me of Mr. Parker in many ways. Stressed with work during the year, using words my mother would have preferred he hadn’t, and Jimmy-rigging everything that ever broke in our house! Christmas time, though freezing where we lived in the hills of West Virginia, was always warm and joyful. It was my dad’s favorite season. He’d alway take us to get a huge flocked tree which my mother would decorate just like the Parkers—with big colored lights and silver tinsel. My mother, like Mrs. Parker, worked hard to make Christmas perfect, inventing and carrying on many traditions that we still have today. Even though I’m now in my mid 30’s, she still insists on our traditions and I’m glad she does! One of my favorite traditions was the colored bubble lights we had on our tree. I loved watching the lights bubble at night while snow was falling outside. Everything felt at peace during those Christmas seasons. 

Rapid Fire with Kimberly Wolff, Miss Shields in The Keeton’s A Christmas Story

JHPENTERTAINMENT: Who is Miss Shields to you?

KIMBERLY WOLFF: Miss Shields to me, is a nice teacher. She is fair but firm, and slightly quirky. Especially if you don’t pay attention to the MARGINS!!!! I see her as a teacher that students enjoy, but at the same time, she’s not someone you can get things by too easily. 

JHPENTERTAINMENT: Not only are you playing Miss Shields, you’re also choreographing the show. What that experience been like thus far?

KIMBERLY WOLFF: Although slightly challenging, I have loved every second of it. Getting to be a part of this show as Miss Shields, and creating all the dances has been so fulfilling. Miss Shields has a whole tap number to “You’ll Shoot Your Eye Out.” Tapping had always been a huge passion of mine and getting to do it in this show has been so much fun. I would say, that tap number and Ralphie to the Rescue have been my favorite dances to create and see them come life with our incredible cast. 

JHPENTERTAINMENT: On the subject of choreography, do you have a favorite Christmas musical movie? AND…What is it about that film that makes it required holiday viewing for you?

KIMBERLY WOLFF: Well, since we are talking choreography and Christmas musicals, I think it would have to be White Christmas. The precision and difficulty of dancing that takes place in that movie is incredible and they make it look so effortless and easy. The talent is unmatched and it just makes it such an enjoyable movie to watch!

JHPENTERTAINMENT: YES! White Christmas is my absolute favorite musical movie! Since you play a teacher, I gotta ask. What teacher from your formative years do you still think of fondly?

KIMBERLY WOLFF: There are a handful of teachers that will always stick out to me. From 5th grade all the way through high school. However, when I reached high school we had an incredible principle. Mr. Carl. He genuinely cared for all of the students in our school and would take the time to get to know everyone. Every morning, rain, shine, or snow, he would stand on the corner with Mr. Rankin, and greet the kids and made sure everyone got in safely. He took notice of my passion and abilities and would always ask about the things I was doing. By the time I reached my senior year, he had heard me and another student sing The Prayer by Celine Dion and Andrea Bocelli at a choir concert. He asked us to sing it at my graduation ceremony and it was a moment I will never forget. I am thankful for the teachers who care and create a positive impact on kids lives. It’s not an easy job. 

Rapid Fire with Toby Turner, Jean Shepherd in The Keeton’s A Christmas Story

JHPENTERTAINMENT: You play Jean Shepard, the narrator of A Christmas Story. What’s been the most challenging aspect of playing this character?

TOBY TURNER: There’s a lot in this show that reflects on Jean’s relationship with his parents–especially his father.  I don’t think I’ve ever heard my own father utter a single curse word, but there’s still a lot of similarities between my old man and The Old Man.  Earlier this year my dad had a stroke and it has severely impacted his life.  It’s been difficult to draw upon the intensity of the emotions I am feeling about my own relationship with my dad while filtering out the sadness and frustration of the current situation

JHPENTERTAINMENT: Since you’re playing the man who actually wrote the film and the short story upon which it’s based, If you were to write a story about your most memorable Christmas, what would it be about?

TOBY TURNER: I’m willing to bet that A Christmas Story combines a couple of different years in Jean’s life and mine would be similar.  There was a year my mom wrapped up a pet crate with a kitten in it.  We knew things were out of the ordinary when my mom insisted we open a specific present first.  More recently, I took my wife and daughter to spend Christmas in New York City.  It was tremendously fun for me to go by a tree down the street and carry it back to our rented apartment.  We took our daughter to her first Broadway show – Winnie the Pooh.  She was vibrating with glee the entire time.  At one point during the performance, the little 5 year old grabbed my face, pulled it to hers, stared into my eyes and silently screamed with joy.  We even got a light coating of snow on Christmas morning.

JHPENTERTAINMENT: What’s one holiday activity you look forward to each year?

TOBY TURNER: I never cared about turkey stuffing or dressing my whole life until I met my wife.  The way she cooks it is mind blowing.  I spend all of January through October dreaming about her stuffing and all of November and December begging her to cook some more for me.

JHPENTERTAINMENT: They say write about what you know…to that end, settle it once and for all, is Jean Shepard Ralphie grown up?

TOBY TURNER:  I think the answer is mostly yes.  However, I bet there’s either one really good story that didn’t actually happen to Jean and he didn’t want to take full credit for it.  Or, there’s one really embarrassing story that did happen to him and he doesn’t want to admit it…. maybe Jean was the one who stuck his tongue to a flagpole?  Or maybe Jean was actually the bully Scut Farkus before getting taught a lesson.

JHPENTERTAINMENT: What is it about A Christmas Story that draws audiences year after year?

Rapid Fire with The Keeton’s A Christmas Story director, Jacob Waid

JACOB WAID: Ultimately, it’s a classic story we all connect with. It’s timeless and full of heart, capturing the chaos, humor, and joy of the holidays in a way that feels so real. Everyone can see themselves in the family onstage—whether it’s the funny moments, the big holiday dreams, or the mishaps that somehow become your favorite memories.

We’ve all had that one Christmas where something didn’t go as planned or that one gift we couldn’t stop thinking about. This show taps into those experiences, blending laughter and nostalgia to remind us what makes the holidays so special. It’s about family, traditions, and the magic of seeing Christmas through a child’s eyes. Whether it’s your first time watching or a tradition of its own, A Christmas Story always feels like coming home for the holidays. 

JHPENTERTAINMENT: In the show, Ralphie is laser-focused on getting that ONE Christmas present he’s been dreaming of. As a kid, was there an equivalent to Ralphie’s Red Ryder Carbine Action 200-shot Range Model air rifle for you that you just had to have as a gift?

JACOB WAID: As a kid, there were definitely a few things I just had to have—computer games, a Gameboy, and one year…a hamster! But honestly, I’ve never been too focused on the gifts themselves unless they were tied to memories or something sentimental. For me, the magic of Christmas was always about the experience, the memories, and the family traditions.

I loved the tradition of putting out cookies for Santa and waking up to see if he’d enjoyed them. One of my favorite memories was being allowed to open one gift on Christmas Eve with just me and my mom prior to opening the gifts that Santa brought on Christmas morning. Christmas felt magical because of the little things: the candlelight service on Christmas Eve, the time spent with family, Kenny G’s Christmas album playing in the background, and, of course, the food—always the food! Those are the memories and traditions that have stayed with me and made the holidays so special.

JHPENTERTAINMENT: What do you hope audience remember long after seeing The Keeton’s production of A Christmas Story?

JACOB WAID: I hope that audiences remember the joy of the season, the memories made with friends and family, and the spirit that ties it all together. Whether you celebrate Christmas, Hanukkah, Kwanzaa, or no holiday at all, this time of year is a chance to embrace the energy of the season—or even just the beauty of winter’s beginning.

This show is about nostalgia and the moments that bring us together. I hope people leave with that warm and fuzzy feeling, reminded to treasure all of the memories, laugh through the chaos, and find ways to keep the magic of the season alive. My goal with this production was to fill every moment—both the heartfelt and the hilarious—with the wonder of this time of year. I hope it inspires our audiences to carry that magic with them, celebrating in their own way, and sharing it with those they love.

The Keeton’s A Christmas Story: The Musical runs weekends through December 22. At the time these interviews were posted, The Keeton’s socials indicate that the entire run of the show has SOLD OUT, that said, be like Ralphie, be persistent! It can’t hurt to call the box office at 615.231.1231 just to check to see if any last-minute tickets might open up. You can also email boxoffice@thekeeton.org. 

Next up at The Keeton it’s Beautiful: The Carole King Musical, onstage February 7-23. CLICK HERE for tickets or more information. To be sure 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!

 

Rapid Fire 20Q with Director, Playwright and Cast Members of Rabbit Room Theatre’s ‘A Christmas Carol’; on stage December 7-22

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On Saturday, December 7, and continuing through Sunday, December 22, Rabbit Room Theatre and Matt Logan Productions present an all-new retelling of Charles Dickens’ A Christmas Carol on stage at FSSDPAC (Franklin Special School District Performing Arts Center 1030 Excellence Way, Franklin, TN). Having been completely entranced by their 2022 teaming for The Hiding Place, I’m just gonna say it, anytime there’s a collaboration between Matt Logan Productions and Rabbit Room Theatre, I’m there! Matt Logan’s genius eye for stage and costume design detail paired with Rabbit Room Theatre’s Pete Peterson’s thoughtful and thought-provoking mastery as a playwright and the results are always spectacular. When I heard the these two powerhouses in regional theatre were coming together to present their vision of A Christmas Carol, I knew I had to feature them in the latest installment of my recurring interview feature, Rapid Fire 20Q. Rounding out the questions to a full 20, I requested a little time with the show’s Ebenezer Scrooge, Chip Arnold and The Ghost of Christmas Past, Ruthy Berends. What follows are all four conversations.

Rapid Fire 20Q with Director, Playwright and Cast Members of Rabbit Room Theatre’s A Christmas Carol

Rapid Fire with Rabbit Room Theatre’s A Christmas Carol playwright, Pete Peterson

JHPENTERTAINMENT: As a playwright, I’d imagine adapting a story so beloved might be a bit daunting. What was the catalyst for taking on A Christmas Carol?

PETE PETERSON: It’s not only beloved by audiences and readers worldwide, it’s beloved by ME. I love this book. I love Dickens. I think stepping up to the plate for a chance to retell a story that has entered the annals of literary history is a real privilege and challenge. And like storytellers have been doing for all of history, retelling the great tales of our language is a way of participating in the long tradition of Story in our culture. We tell stories and retell them over and over, and hopefully each new telling shows us a different facet of the tale so that it takes on new meanings and new relevance. That’s a great challenge and opportunity for a writer. It’s an honor.

JHPENTERTAINMENT: Is there a line you’ve written for A Christmas Carol that you’re particularly proud of?

PETE PETERSON: Again and again, people who read or see the show seem to find resonance in the line “What is hidden cannot heal.” The story is all about these Ghosts revealing hard truths to Scrooge in the hopes that he will change, and those truths are often about how wounded he has been in life and how the covering up of those wounds is what keeps him bitter and alone. Those hurts and traumas from his youth need to be exposed and dealt with if he’s to have any hope of healing and joy. That’s a phrase that’s original to my adaptation and I’ve been really moved by how deeply audiences have responded to it. I think it’s an idea that’s latent in Dickens’ prose throughout the original, and effectively giving it voice through that line is satisfying.

JHPENTERTAINMENT: Rabbit Room Theatre’s A Christmas Carol marks the latest collaboration between you and the show’s director, Matt Logan. Previously Matt helmed productions of The Battle of Franklin and Frankenstein, two of your other plays. What is it about Matt that makes it easy to entrust your written word?

PETE PETERSON: I feel like our imaginations are aligned in some mysterious way. He tends to intuit the way I tell stories and make them better with the design and staging and emotional intelligence he brings to them.. And I like to think I’ve learned to write in a way that allows his imagination to flourish. It’s been a really healthy collaboration. We tend to have a lot of back and forth as the shows develop, so that he can riff off of my ideas and I can riff off of his.

JHPENTERTAINMENT: While I’m sure Chip Arnold is your current favorite Scrooge on stage, which cinematic turn of the past stands out most in your mind?

PETE PETERSON: I feel like it’s a cliche to say The Muppets’ but like all cliches, they are cliches for a reason. It’s hard to beat Muppets. But otherwise I grew up with George C Scott, and I really like the animated version by Zemekis and Carrey. 

JHPENTERTAINMENT: After attending a performance of Rabbit Room Theatre’s A Christmas Carol, what do you hope audiences take with them?

PETE PETERSON: One of the questions I’ve tried to wrestle with in the writing process is whether a man is changed (by some external force) or whether a man changes (by his own agency). Ultimately, I think the answer is both–and either way there’s a Spirit involved in the process. I hope folks will go home thinking about how we all might be more open to the people around us and how we all have the opportunity for change, both internal and external.

Rapid Fire with Rabbit Room Theatre’s A Christmas Carol director and designer, Matt Logan

JHPENTERTAINMENT: I think I say this every time I get the opportunity to chat with you about a show, but in my estimation, you are one of the most talented directors and designers the Nashville-area theatre company has ever seen. Your attention to detail is such a joy to experience. What’s been the most rewarding aspect of directing and designing Rabbit Room Theatre’s A Christmas Carol

MATT LOGAN: Wow, you are so kind. I do love theater design, but most of all it’s story and the impact it has on our lives that keeps bringing me back to the theater. In this process, my favorite part has been reconnecting with the childlike imagination that brings about theatrical magic. In all aspects of this piece, we tried to find the magical way to help tell the story of Ebenezer Scrooge . Sometimes it’s finding a new approach to period costume design or it’s using simple things to create ghosts and water. I will always be drawn to theater magic over realism. I hope that with everything I do, there is a strong approach to emotional realism and theatrical magic.

JHPENTERTAINMENT: When I spoke with Pete, I noted that A Christmas Carol is just the latest in a line of collaborations between the two of you as playwright and director. What keeps you saying yes to bringing his work to the stage?

MATT LOGAN: Haha! It’s such a joy working with Pete. Our gifts are completely different and yet we find a common goal for excellence. I will forever be in awe of Pete’s writing . His gift for language astounds me. On top of that he knows my work and my collaborators so well, that it gives us a shorthand on each project. In many ways, he envisions what I’m going to do with a piece as he’s writing it. We just fit together nicely and it’s a great blessing to have that synchronicity

JHPENTERTAINMENT: I understand this production will feature an original score. Can you tell me a bit about that?

MATT LOGAN: Yes, Anthony Matula is composing an original score for the piece. As you can imagine this is a very difficult thing to do with an original play. So much was in development and not set until the very end. So even now we are trying to finalize the details, but Tony offers such a unique sensibility to the score. He comes from the film world and has brought an incredible perspective to each scene. Our goal is to enhance the cinematic feel of our theater production 

JHPENTERTAINMENT: On the subject of music, what’s your favorite holiday tune? And why does it hold such a special place in your mind?

MATT LOGAN: Hard to say, but I’ll Be Home for Christmas is my all-time favorite. I’ve sung it many times on stage because I was away from my hometown for about 12 years. This is when I lived in Los Angeles and New York. Nothing brought me greater joy than when I could come home for Christmas. I longed for it. My parents and grandparents always made the season so full of love. I’m definitely a Christmas guy, I love this time of year. And that’s why I’m so grateful to be sharing this season with Rabbit Room Theatre, our incredible cast, and this Middle Tennessee community. 

JHPENTERTAINMENT: As alluded to in my first question for you, your attention to detail in even the most minute props or set design elements is always such fun to see. Is there something in this show that you’re hoping audience members will spot and get a smile from?

MATT LOGAN: Haha! There is so much of me in this piece. From real items to my designs for this show, my fingerprints are all over it. On my 21st birthday my mom gave me a Shakespeare bust. Years later I bought another one that is almost life size. Somehow this bust reminds me of the delight I found in theatre class with my high school drama teacher Paula Flautt. The idea of the stage and how I feel in love with it is symbolized by that bust. I had to add it to the stage pictures! 

Rapid Fire with Ruthy Berends, Ghosts of Christmas Past and Future in Rabbit Room Theatre’s A Christmas Carol

JHPENTERTAINMENT: I just chatted with Matt Logan, your director and designer for A Christmas Carol. I saw a social media post previewing your wardrobe for The Ghost of Christmas Past. Of course it’s truly gorgeous. How much does wardrobe enhance your portrayal on stage?

RUTHY BERENDS: Ugh isn’t it glorious?! Wardrobe always helps me feel more connected to a role, but the magic and grandeur of the costumes Matt has created for Past (and Yet To Come) are especially impactful. Past is whimsical and twinkly and mysterious, and the dress Matt designed not only helps capture that for the audience, but also for me. I slip into it and immediately feel myself raising an eyebrow, putting my shoulders back, and really embodying the role we have all worked to create.

JHPENTERTAINMENT: Speaking of The Ghost of Christmas Future, you’re playing that role as well. Two very different roles. How much fun are you having in this duality?

RUTHY BERENDS: It’s a total delight. I love the contrast and the continuity I keep finding between the two. On the surface, they are very different; Past is spritely, light, and sparkly, and Future is dreadful, dark, and decrepit. Their demeanors are different, their costumes are different, they move very differently. But they’re also after the same thing: to help Scrooge see himself more fully and move him toward change. It’s been so fun getting to play with the different characters and their almost opposite tactics for achieving the same goal. 

JHPENTERTAINMENT: A Christmas Carol marks your return to live theatre after having focused on tv and film in recent years. To my estimation, Matt Logan is a very cinematic director, so has that made the return to the stage easier for you?

RUTHY BERENDS: I’ve been working with Matt since I was 14 years old, so I feel very at home under his direction. It’s funny, in my audition for A Christmas Carol, Matt immediately gave me the same note he’s been giving me since I was a teenager – “Do it again but for the back of the room!” which made us both chuckle with knowing. He has always provided a safe and creative space to play and explore, and his approach was a huge reason I wanted to be an actor in the first place. And I definitely have a new appreciation for his ability to blend theatre and cinema after these years focusing on film, and his whole approach has made this experience a delight. 

JHPENTERTAINMENT: I understand you’re a relatively new Mom. Given that, have you thought of any Christmas traditions, activities or holiday specials and movies that you are excited to introduce to you child as the years progress?

RUTHY BERENDS: Yes, my son just turned two! I would love for the arts to be a part of it, whether it’s seeing a play or going to the symphony or a choral recital. Definitely watching all of the Christmas movies: Home Alone, Elf, The Santa Clause, Christmas Vacation. And honestly, I can’t wait to see A Christmas Carol with him one day and talk all about its meaning. It’s become such an important story to me over these last several months.

JHPENTERTAINMENT: As written by the playwright, Pete Peterson, what’s your favorite aspect of the ghosts you play?

RUTHY BERENDS: Oh man, it’s so hard to name just one. I guess for Past I would say her wonder and humor. Pete has written her so beautifully as both deep/wise and funny/light-hearted, and I love playing with those different aspects in one character. It’s very complex and mysterious. And with Future, I love that she is not the usual hooded black shroud that one typically associates with A Christmas Carol. In this version, she is more akin to a decaying bride, a representation of all Scrooge has lost and still could lose if he stays on his curmudgeonly path. And the challenge of playing a character who does not speak but has so much to impart, is so fun.

Rapid Fire with Chip Arnold, Scrooge in Rabbit Room Theatre’s A Christmas Carol 

JHPENTERTAINMENT: Having previously played Scrooge a few years in a row in another area theatre company’s production of A Christmas Carol, what stands out to you about this particular incarnation as adapted by Rabbit Room Theatre’s artistic director, Pete Peterson?

CHIP ARNOLD: A few things stood out immediately: Pete Peterson’s beautiful integration of his words with Dickens words. They are dense, beautiful, and require savory chewing.  Then Pete’s incorporation of the spirit world beyond Marley, and his three ghostly ambassadors. And finally, Scrooge’s inner child is a revelation. 

JHPENTERTAINMENT: This adaptation is directed by Matt Logan, another member of the area theatre community with whom you’ve worked with in the past. What’s your favorite aspect of Matt as a director?

CHIP ARNOLD: His vision. Matt is a visionary and the clarity with which he creates this vision. His generosity as he invites the actors into this vision and gives us the freedom to play and explore as we find ourselves becoming contributors to the story.

JHPENTERTAINMENT: In your estimation, is Scrooge villain or victim?

CHIP ARNOLD: Actually, neither. Modern cultures have created a one-dimensional character with descriptors such as “miserly” and “greedy.” This is not villainous. These of symptoms of hurt and rejection. In Pete’s version of the story, we explore the reasons why these choices were made.

JHPENTERTAINMENT: What’s one of your most cherished holiday memories?

CHIP ARNOLD: A tradition my wife and I started years ago with our grands is what we call the Christmas Tree Fairies who will come to our farm the day after Thanksgiving and leave a Christmas tree somewhere in the woods and we hike back to the woods in search of the treasure. 

JHPENTERTAINMENT: What is it about this story that has proven a beloved part of the holiday season for 181 years?

CHIP ARNOLD: It is a story of rescue and redemption. And, for me personally, it is tied to the Nativity story that so many celebrate at this time of year. The point of the arrival of the Christ child was to save humankind. The point of the arrival of Marley and the Three Spirits was to save Ebenezer Scrooge. That tale never grows old.

Matt Logan Productions and Rabbit Room Theatre’s A Christmas Carol opens Saturday, December 4 and continues through Sunday, December 22 with performances Wednesdays, Saturdays and Sundays. Saturday and Sunday performances are at 2:30pm and 7:30pm. Wednesday shows are at 7:30pm. The final week of the run, there’s also a Thursday evening show at 7:30pm. Tickets start at $45. CLICK HERE to purchase tickets or for more information.

Check out The Rabbit Room online or follow them on Facebook and Instagram. To keep with all things creative from Matt Logan Productions, check out their Facebook and Instagram.

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

Rapid Fire 20Q with cast of Studio Tenn’s ‘It’s A Wonderful Life: A Live Radio Play’; onstage at Turner Theatre December 7- December 24

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I can’t get enough of this time of year when even my recurring interview feature, Rapid Fire 20Q gets into the holiday spirit. To that end, here’s another Christmas-themed Rapid Fire 20Q! This time I’m chatting with Geoff Davin, Caleb Shore, Mariah Parris and Gerold Oliver, cast members of Studio Tenn’s holiday offering It’s A Wonderful Life: A Live Radio Play, opening this week at Studio Tenn’s recently renovated and renamed Turner Theatre located inside The Factory at Franklin (230 Franklin Road, Franklin, TN). Having first presented this unique adaptation of the familiar story of George Bailey and the folks from Bedford Falls in the winter of 2021, It’s A Wonderful Life: A Live Radio Play will once again delight holiday audiences beginning Thursday, December 7 and continuing for an extended run through Christmas Eve, Sunday, December 24.

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RAPID FIRE 20Q WITH CAST OF STUDIO TENN’s IT’s A WONDERFUL LIFE: A LIVE RADIO PLAY

RAPID FIRE Q&A WITH IT’s A WONDERFUL LIFE’s GEOFF DAVIN

JHPENTERTAINMENT: Among the characters you portray in Studio Tenn’s It’s A Wonderful Life: A Live Radio Play, you play radio station announcer Freddie Filmore. What’s one trait of Freddie’s personality that you’re enjoying exploring?  Side Note: Did you know Freddie Filmore is an apparent wink to I Love Lucy in that there was a recurring character with that name who was an announcer and TV game show host in several episode of the classic sitcom?

GEOFF DAVIN: First of all…NO I did not know that reference to I Love Lucy! I love that!!!

And secondly…what’s fun about Freddie is that there is something just so satisfying about leaning into that 1940’s radio announcer. There’s a warmth and home-iness to him that just brings to mind a family gathered around their radio, in front of their fireplace, the snow gently falling, the lights on the Christmas tree twinkling. While he is probably the character that I spend the least amount of time inhabiting, we come back to him every so often throughout the show. So he’s a wonderful reset button. A warm place to come home to after we’ve been all over Bedford Falls.

JHPENTERTAINMENT: Presents on Christmas Eve or Christmas Morning?

GEOFF DAVIN: Definitely Christmas morning.

JHPENTERTAINMENT: Rudolph or Frosty?

GEOFF DAVIN: That’s such a hard one. I love them both. But I’m going to say Frosty. Because while Rudolph leads the sleigh every year, and Santa couldn’t do it without him, old Frosty is around for only a short while. The magic in that old silk hat is fleeting. So we need to be a little extra grateful for the time that we have with him. 

JHPENTERTAINMENT: 1987’s A Muppet Family Christmas or 2002’s A Very Merry Muppet Christmas Movie?

GEOFF DAVIN: Without a doubt, 1987’s A Muppet Family Christmas.

JHPENTERTAINMENT: Favorite Christmas Memory?

GEOFF DAVIN: I was very fortunate in that my parents did many things right. But one thing they truly knocked out of the park was their ability to create Christmas magic. There are simply years and years of beautiful Christmas memories to sift through. The smell of the box of ornaments after a year in the attic, going door to door throughout our neighborhood to sing Christmas carols, the annual visit to the town center tree lighting ceremony/nativity viewing, running outside Christmas morning to find the bits of carrot that we left for the reindeer scattered around the yard, and of course the cookie crumbs that Santa left on his plate of cookies. And then, on Christmas morning, we couldn’t just run to the tree. Oh no! There was an order of business. We had to wait in the hallway. Then our parents would take us around to the room where our stockings were hung by the chimney with care…literally. And only after we were done there, could we enter the room with the tree. Even during the years when the family belt had to be tightened, the magic never wavered.

Then we would pile into the car to visit both sets of grandparents. But it wasn’t just the grandparents. Everyone in the family…aunts, uncles, cousins, would gather at those two houses. So we got to share the day with all of our extended family. The food. The conversation. The music. I’m actually getting emotional just typing this. I’m so grateful for the beautiful traditions that my parents created and gave to us. Because of them, Christmas will always be a magical time of year. 

RAPID FIRE Q&A WITH IT’s A WONDERFUL LIFE’s MARIAH PARRIS

JHPENTERTAINMENT: This year you and a couple of your cast mates are returning to the roles you portrayed when Studio Tenn debuted their production of It’s A Wonderful Life: A Live Radio Play. You’re cast as radio personality Sally Applewhite who then voices Mary Bailey in the station’s presentation of It’s a Wonderful Life. What’s it like retuning to the role?

MARIAH PARRIS: It’s an absolute pleasure. Performing this show two years ago really surprised me in that this story has stuck with me and permanently altered my heart. It helped reframe my personal views on community and inspired me to live a more connected life all year long. I’m excited to return to the role to refresh this lesson and I hope the audience will have the same take away! 

JHPENTERTAINMENT: Shared names not swaying your answer, who’s the real Christmas Diva…Mariah Carey or Michael Bublé?

MARIAH PARRIS: I think we all know Christmas officially starts the first time we hear All I Want For Christmas is You….enough said 

JHPENTERTAINMENT: Do you prefer Santa in a full-length Victorian Robe or the more modern two-piece fur-trimmed suit? 

MARIAH PARRIS: Modern Santa all the way- you can’t tell me that the Victorian robe is practical for getting in and out of that sleigh! 

JHPENTERTAINMENT: The Santa Clause movies or Home Alone franchise?

MARIAH PARRIS: I grew up watching Home Improvement so it’s gotta be Tim Allen for me 

JHPENTERTAINMENT: Favorite Christmas Memory?

MARIAH PARRIS: One year when I was still in elementary school, my parents surprised me with a super cool bunk bed that had a futon couch on the bottom. We finished opening presents and they told me to put my gifts in my room. When I opened the door there it was: the most beautiful big kid bed I’d ever seen. I still have no idea how they set it up without me noticing. Total Christmas magic. Thanks mom and dad! 

RAPID FIRE Q&A WITH IT’s A WONDERFUL LIFE’s CALEB SHORE

JHPENTERTAINMENT: You’re back again having performed the dual roles of radio personality Jake Laurentis and It’s A Wonderful Life’s George Bailey. Revisitng George, are there aspects of his personality you are more conscious of in your portrayal this go-round?

CALEB SHORE: Finding George a second time means I get to pick up where I left off two years ago. Having Mariah Parris back as Mary and Gerold Oliver as Harry and Clarence make the process totally seamless. 

This time around I’ve peered deeper into George’s passions. His dreams are grand. His love runs deep. His willingness to go the extra mile wins the day every time. He’s smart and poetic, even when he lets his goofy side take the wheel. 

A character only gets to live as long as the actor inhabits them. We’ve now doubled George’s lifespan with me, so once I reacquainted myself with his voice and movement I got to let him walk around and see the world again. He gets more time to spend with his friends and his family.  He gets to fall in love, encounter heartbreaking loss, and discover himself more and more. Mariah and Gerold play characters George holds very dear. That they are back showing his world just as he remembers it makes the whole experience so rewarding.

Now I don’t know if any of this long-winded answer will be visible to audiences. They may come away thinking everything looks the same, and that’s okay. But for us, for me, every look and movement and sound carries more weight, because we’ve been around longer to live them. 

JHPENTERTAINMENT: Fruit Cake or Pumpkin Roll?

CALEB SHORE: Pumpkin Roll

JHPENTERTAINMENT: A Charlie Brown Christmas or The Nightmare Before Christmas?

CALEB SHORE: A Charlie Brown Christmas, but if we’re talking true favorites I have to mention Home Alone, The Preacher’s Wife, and Elf.

JHPENTERTAINMENT: Old fashioned Christmas Tree decorations like strings of popcorn and paper chains or blinged out store bought fabulousness?

CALEB SHORE: Our tree is usually decorated with personal ornaments that remind us of times gone by. Anything we can find while traveling, we’ll buy to remember that trip.

JHPENTERTAINMENT: Favorite Christmas Memory?

CALEB SHORE: One favorite Christmas memory I have is from the first Christmas after I got married back in 2015. My wife and I brought home our kitten, Cashew. I’d kept the secret for weeks and it was a terrific surprise.

RAPID FIRE Q&A WITH IT’s A WONDERFUL LIFE’s GEROLD OLIVER

JHPENTERTAINMENT: Like Mariah and Caleb you’re back at Studio Tenn, having debuted the role of Harry ‘Stacks’ Heywood in their 2021 production of It’s A Wonderful Life: A Live Radio Play. What’s your favorite aspect of Stacks’ personality?

GEROLD OLIVER: The thing I like most about Stacks is that he’s a lot like me. He’s fun, he’s silly, and he doesn’t take himself too seriously.

JHPENTERTAINMENT: The classic stop-action animated Christmas special, The Year Without a Santa Claus features the Miser Brothers…Heat Miser and Snow Miser…which would you prefer to be?

GEROLD OLIVER: Snow Miser! Definitely!

JHPENTERTAINMENT: What one Christmas song truly embodies your thoughts of the holiday season?

GEROLD OLIVER: Any time you hear the first word of Mariah Carey’s All I Want for Christmas you know the song, the singer, and most importantly, you know the season!

JHPENTERTAINMENT: Baked Ham or Turkey and Dressing?

GEROLD OLIVER: Baked Ham. Especially with honey!

JHPENTERTAINMENT: Favorite Christmas Memory?

GEROLD OLIVER: I’ll never forget when I got both Pokémon Gold Version and Pokémon Silver Version for Christmas. Best day ever.

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With that, my conversations with the cast of Studio Tenn’s It’s A Wonderful Life: A Live Radio Play drew to a close, but George Bailey’s life-altering adventures in Bedford Falls…and beyond, are just beginning as the show opens Thursday, December 7 at Studio Tenn’s Turner Theatre inside The Factory at Franklin. Showtimes are Thursday-Sunday evenings at 7:00p.m. with additional matinee performances at 2:00 p.m. Saturdays and Sundays. (On Christmas Eve, Sunday, December 24, the final performances will take place at the 2:00p.m. matinee…even George Bailey needs to be home for Christmas Eve night). Tickets range in price from $35 to $70. CLICK HERE for tickets.

Up next for Studio Tenn, the current season continues with Driving Miss Daisy starring Emmy and Golden Globe winning actress Sally Struthers as Miss Daisy on stage at Turner Theatre March 7-17, 2024! Struthers of course starred as Gloria Bunker-Stivic in TV’s All In The Family and counts among her may stage credits, starring alongside Brenda Vaccaro in Neil Simon’s gender-flipped version of his hit Broadway play, The Odd Couple. Taking on the role of Miss Daisy won’t be Struthers‘ first appearance at Studio Tenn as she was last seen on Studio Tenn‘s stage during the 2021/2022 season when she appeared alongside John Schuck in a limited engagement of  the two-person play, Love Letters. For tickets or more information on Driving Miss Daisy, CLICK HERE for tickets or more information, then 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. Then #GoSeeTheShow!

Rapid Fire 20Q with cast of ‘A Tuna Christmas’; Opening at Playhosue 615 December 1

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Each holiday season there’s a handful of theatrical offerings from classics like A Christmas Carol to more modern fare such as Elf. Nestled hilariously somewhere in the middle of these wide-ranging shows is A Tuna Christmas, the brainchild of Joe Sears and Jaston Williams. With only two actors playing every character in the fictitious town of Tuna, Texas, A Tuna Christmas is truly a knee-slappin’, belly-laughin’ good time that will warm your spirits quicker than a shot of brandy in eggnog. Playhouse 615 (located at 11920 Lebanon Road in Mt. Juliet, TN) will be presenting their production of the holiday favorite beginning this weekend as the show opens Friday, December 1 and runs through Sunday, December 17. Directed by Memory Strong-Smith, with set design by Eric Crawford, Matthew N. Smith and Daniel Vincent star as the citizens of Tuna, Texas as they ready for the holiday season.

Earlier this week as the director, set designer and two-man cast prepared for the show’s opening, I had a chance to pose a few questions to each of them for the latest installment of my recurring interview feature, Rapid Fire 20Q. As I have done the last few years, you’ll notice the questions, like everything else around us this time of year, have a decidedly holiday theme.

RAPID FIRE 20Q WITH CAST & CREW OF PLAYHOUSE 615’s A TUNA CHRISTMAS

RAPID FIRE Q&A WITH A TUNA CHRISTMAS DIRECTOR, MEMORY STRONG-SMITH

JHPENTERTAINMENT: What has been the most rewarding aspect of directing Playhouse 615’s holiday offering, A Tune Christmas?

MEMORY STRONG-SMITH: Seeing the whole project cone together. This show has lived in my head for about a year, and it’s really lovely to see everything- lights, costumes, set, characters, trees, and sound come to insane life. It took a village to get us to this point and I am so grateful to Matt and Daniel, Eric who designed and almost singlehandedly built the set, our dresser and ASM Tony Barrow for keeping the chaos as contained as possible back stage, and Nikki Nelson-Hicks who took ownership of running the lights and sound like she was born to it. It’s a LOT and I’m so grateful to each of them for partnering with me on this journey. 

JHPENTERTAINMENT: Are you more likely to return a gift or regift it?

MEMORY STRONG-SMITH: Depends on the gift. If it’s something I think someone else could use or want, I’ll pass it along. 

JHPENTERTAINMENT: Snowball fight or building a snowman?

MEMORY STRONG SMITH: Snowman. 

JHPENTERTAINMENT: Die Hard or Love Actually?

MEMORY STRONG-SMITH: Oh man! I love them both!! Die Hard, tho edges out Love Actually, but a nose hair! 

JHPENTERTAINMENT: Favorite Christmas memory?

MEMORY STRONG-SMITH: There are many, but I have to say the last Christmas I got to spend with my mom before she died. We put on Mariah’s 1st Christmas album (this was 1995), drank adult beverages, got a bit tipsy, and decorated the tree. It was just a lovely time spent together and I so cherish that memory. 

RAPID FIRE Q&A WITH A TUNA CHRISTMAS STAGE MANAGER/SET DESIGNER/GRUMPY ELF, ERIC CRAWFORD

JHPENTERTAINMENT: As Stage Manager/Set Designer/Grumpy Elf for Playhouse 615’s A Tuna Christmas, is there a detail in the set that you’re most proud of?

ERIC CRAWFORD: The Christmas trees. This show features 7 Christmas trees which determine the setting for each scene. I put a lot of thought into capturing Matt and Daniel’s interpretations of the characters and what each character’s Christmas tree would look like. 

JHPENTERTAINMENT: Christmas Breakfast, Christmas Lunch or Christmas Dinner?

ERIC CRAWFORD: Dinner

JHPENTERTAINMENT: Sleep late or up early for presents?

Sleep late is always the appropriate answer. 

JHPENTERTAINMENT: Gift Bag or meticulously wrapped presents? 

I tend to be involved with holiday productions, so I usually wind up paying my son, Ace, to wrap for me. 

JHPENTERTAINMENT: Favorite Christmas memory?

How about one theme? Family.  So many memories of my relatives revolve around Christmas, especially those who have passed.  

RAPID FIRE Q&A WITH A TUNA CHRISTMAS STAR, MATTHEW N. SMITH

JHPENTERTAINMENT: Of the myriad of characters you play in A Tuna Christmas, do you have a favorite? 

MATTHEW N. SMITH: Every character is special to me for one reason or another and I can’t say I have a favorite but I’m going to go with Arles Struvie because he has a really touching relationship that develops through the show (leaving out details to avoid giving away the plot). 

JHPENTERTAINMENT: A walk in the wintery woods or a stroll through a decorated neighborhood?

MATTHEW N. SMITH: I’m going to go with the decorated neighborhood. It sounds slightly less freezing. 

JHPENTERTAINMENT: Who was the better Scrooge…Bill Murray in Scrooged, Jim Carrey in 2009’s A Christmas Carol or Uncle Eider as Scrooge McDuck? 

MATTHEW N. SMITH: The answer will never not be Bill Murray.

JHPENTERTAINMENT: Would you prefer a ride on the Polar Express or a Horse-drawn Sleigh? 

MATTHEW N. SMITH: Since I have an affinity for the traditional and picturesque, I’ll take the sleigh. Under a warm blanket with a hot toddy and my Mine.

JHPENTERTAINMENT: Favorite Christmas memory? 

MATTHEW N. SMITH: When I was 17, my mother gave me a Fender acoustic guitar. It’s been through everything with me ever since and though we’re both a little the worse for wear, we can still strum a pretty nice tune. 

RAPID FIRE Q&A WITH A TUNA CHRISTMAS STAR, DANIEL VINCENT

JHPENTERTAINMENT: Like your costar, you also play a ton of characters in A Tuna Christmas. Who’s your favorite?

DANIEL VINCENT: Though Inita Goodwin, the sassy waitress, is a lot of fun, I’d have to say that Bertha Bumiller is my favorite. She’s the heart of the show and delivers some of the most country and hilarious one-liners.

 JHPENTERTAINMENT: Emmet Otter’s Jug-Band Christmas or John Denver and The Muppets: A Christmas Together?

DANIEL VINCENT: Emmet Otter’s Jug-Band Christmas is a classic, but I’m going to pretty much always go with The Muppets any time there is a choice.

 JHPENTERTAINMENT: Handcrafted presents or store-bought with thought?

DANIEL VINCENT: I don’t really have a preference here as long as it’s something practical or that I can enjoy throughout the year. I’m not a fan of tchotchkes.  

 JHPENTERTAINMENT: Ice Skating or Caroling?

DANIEL VINCENT: I’ve only tried ice skating once and it was a tremendous and painful failure. I’m a singer, so I’m going with caroling. Fewer bruises and broken bones.

 JHPENTERTAINMENT: Favorite Christmas memory?

DANIEL VINCENT: We didn’t have money growing up, so my mother made sure Christmas was more about service to others than getting things on your wish list. My favorite Christmas memory is probably the first time I volunteered with my rugby team to deliver meals on Christmas Day with Nashville Cares. It was humbling as well as heart-warming and brought home what the season is really about. I’ve done it every year since. It’s become a part of my holiday traditions.

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With that my conversations with the cast of Playhouse 615’s A Tuna Christmas came to a close, but it’s just the beginning of the riotous laughter they’ll be providing during the holiday season as the show opens Friday, December 1 and continues weekend through Sunday, December 17. CLICK HERE for tickets or call the box-office at 615.319.7031. When available, tickets can also be purchsed at the door an hour before each performance.

Following a brief holiday break, up next at Playhouse 615 is The 39 Steps., directed by Diane Bearden-Enright, onstage February 16- March 3. For more on these shows and to keep up with Playhouse 615, check out their website or find them on Facebook.

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

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

RAPID FIRE 20Q WITH CAST OF LARRY KEETON THEATRE’s ‘WHITE CHRISTMAS’

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If you know me at all, or you’ve read any of my holiday reviews over the last decade or so, you likely know Irving Berlin’s White Christmas is my hands-down favorite movie musical, in any incarnation.  Doesn’t matter whether we’re talking about the classic 1954 film, or the subsequent stage musical. I love all things White Christmas. Given that bit of insider info about myself, of course I had to chat with Kevin Raymond, Micheal Walley, Casey Cuba and Dani Haines for my latest Rapid Fire 20Q. The quartet of talented performers are starring in White Christmas directed by Keith Hardy at The Larry Keeton Dinner Theatre (108 Donelson Pike) beginning tonight, Thursday, December 1and continuing through Sunday, December 18.

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RAPID FIRE 20Q WITH THE CAST OF THE LARRY KEETON THEATRE’S WHITE CHRISTMAS

Kevin Raymond as Bob Wallace

RAPID FIRE WITH KEVIN RAYMOND, BOB WALLACE IN WHITE CHRISTMAS

JHPENTERTAINMENT: Tell me a little about Bob Wallace.

KEVIN RAYMOND: Bob Wallace is a lovable character but sometimes he appears to be a bit sarcastic because he’s missing something in his life. There’s no romance going on he doesn’t have anybody to love. Even his partner Phil points out that he should “add a little romance to his life“ and maybe he’d be happier. He spends most of his time working on business deals and the Wallace and Davis act on his entire life since the army. The transition of his character in White Christmas is truly a beautiful one through his rocky relationship with Betty Haynes. Hopefully, you’ll have a chance to see the love in his heart, his joy in his business and performing as well as his general love for his fellow mankind.

JHPENTERTAINMENT: Taking on the role made famous by Bing Crosby…daunting,  a dream, or a combination of both?

KEVIN RAYMOND: I have to say, it is a daunting task! Bob sings a majority of the music in the show and appears in every scene except for two in the entire musical. One of the biggest things that I’ve enjoyed about this is the challenge set before me. But to be perfectly honest, this has been a dream role for my entire life. I feel as if I’m in an age right now to be the perfect Bob Wallace because 10 years ago I may have been too young and 10 years from now I’ll definitely be too old to play this character. 

JHPENTERTAINMENT: Your creative credits go beyond on-stage performing, you’ve also been involved in a number of productions at The Keeton and other theatre companies behind the scenes. Do you think that gives you an advantage when cast in a show?

KEVIN RAYMOND: I’m delighted to also be the choreographer for this production and one of the things that I generally always tell the cast is to think like a director or to think like a choreographer. I feel as if it’s a life learning lesson to have someone nurture you to the fact that if there’s an even number of people on stage, someone will split the center line when it comes to blocking a dance. If there’s an odd number of people on stage someone will always be on that center line. If you have thoughts like this in your head going in to a learning experience then it makes life so much more easy for you. Also, when you’re moving set pieces think about what might need to go off before some thing else comes on and vice versa. The knowledge that it takes to be able to pull things off like that is a vital life lesson for the arts. I think that my interaction with people and all of the previous artistic elements I’ve been involved in at the Keeton certainly help me to develop this and others as well. On top of that, because I generally think like a Director and Choreographer, blocking, staging and other elements come really easy for me and I can pour that natural instinct into a character. 

Kevin Raymond

JHPENTERTAINMENT: Speaking of other gigs, a couple years ago you released a Christmas cd. What can you tell me about that project?

KEVIN RAYMOND: Christmas music is and always will be my favorite! I love being in the studio and creating art on a recorded medium. It’s very different than live performing because you can do quite a few takes and pick the best one or splice things together very easily. The CD was basically a labor of love and a really fun project that one of my best friends, Gabe Wateski, recorded and produced for me. The title of the CD is called Christmas Is… and can be found on my website at kevinfraymond.com. It has 18 truly wonderful tracks, some old and familiar and some new material. 

JHPENTERTAINMENT: I’m about to chat with you costars, so I gotta ask…what’s it been like to share the stage with Micheal Walley’s Phil Davis to your Bob Wallace?

KEVIN RAYMOND: Micheal is an absolute joy! I’m so thankful that the director, Keith Hardy, cast him because if I was directing, he would’ve gotten my first vote as well! Filling the shoes of Phil Davis (not to mention having everyone always comparing you to Danny Kaye)  is not an easy one because he hast to be an absolute funny man. Every successful vaudeville act has to have two comedians where one is acting in the funny man capacity and the other as the straight man. Micheal is the perfect funny man for the show. He brings Phil to a light that I could’ve never even imagined. It is so easy to work off of him that I’m truly blessed to be on stage with Micheal. In real life, Micheal is a tremendously likable young man with a great personality and though I only met him when we started rehearsals for the show I feel as if I’ve known him forever already. I think at the Wallace and Davis combo along with the Haynes Sisters will leave you very pleased with White Christmas!

Micheal Walley as Phil Davis

RAPID FIRE WITH MICHEAL WALLEY, PHIL DAVIS IN WHITE CHRISTMAS

JHPENTERTAINMENT: I just interviewed your co-star, Kevin and asked about working with you, so turn about is fair play…how is Kevin as a scene partner?

MICHEAL WALLEY: Oh, Kevin! When I auditioned for the show and read a scene with Kevin, I thought to myself, “I really would love to play opposite that guy!” It’s been a dream. Kevin truly is the ideal song-and-dance man, and getting to feed off of his energy and stage presence is so much fun. He and I also accidentally showed up wearing matching shirts at rehearsal one day, so he has great style.

JHPENTERTAINMENT: I last saw you at the Darkhorse Theatre in Bucket List Productions’ Assassins earlier this year, but first saw you in Chaffin’s Barn Dinner Theatre’s Minnie Pearl: All the News from Grinder’s Switch. All very diverse roles. What draws you to a role?

MICHEAL WALLEY: It’s been so fun getting to bring to life all sorts of different characters. Honestly, I’m grateful to do any role that is offered- whatever the type of role! I went a long time without doing any sort of theatre, and am in awe that people have trusted me with some really wonderful roles. The incredible team at Chaffin’s Barn (gosh – I miss it!), the cast mates that became family in Assassins, and the new friends in White Christmas have made Nashville feel like home. Each role has pushed me to be a better performer, and I’m so grateful for the community here. I’d jump at any chance to work with the wonderful people that make up the Nashville theatre community! 

JHPENTERTAINMENT: If you could apply an aspect of Phil’s character into your real life, what would it be?

MICHEAL WALLEY: I love Phil’s optimism and glass-half-full nature. I’m usually an optimistic person, but man, the pandemic and the past few years have affected us all, and it’s a little harder to look on the bright side of things. I’m challenged to refocus and reconnect with my own optimism to ensure Phil’s joy is authentic onstage. 

Micheal Walley

JHPENTERTAINMENT: Snow is my favorite moment in the show…what’s yours?

MICHEAL WALLEY: I absolutely adore the Act 2 opener, I Love a Piano. While I’m sad that Choreography from the movie isn’t in the live stage show, this song is a pretty good substitute and a blast to perform. It’s such a big production number, and I’m really proud of what the cast has accomplished with it over the past few weeks. Plus – the costumes are fantastic! 

JHPENTERTAINMENT: Singing, dancing, comedy and a little bit of drama…White Christmas has it all. I understand you co-star, Kevin is also the show’s choreographer. What has rehearsal been like?

MICHEAL WALLEY: Yes, the choreographer is none other than our Bob Wallace, Kevin Raymond. Kevin has pushed us beyond what we thought was possible. At our first rehearsal, I said, “I hope people watch my face and not my feet” because I don’t consider myself a great dancer. But Kevin has been a fantastic, patient teacher and I’ve learned so much from him. He’s helped create something really impressive on the Keeton stage, and we can’t wait for the audience to see our tapping feet! In the words of Clark Griswold, “This will be the hap, hap, happpiest Christmas since Bing Crosby tap-danced with Danny…Kaye!”

Casey Cuba as Betty Haynes

RAPID FIRE WITH CASEY CUBA, BETTY HAYNES IN WHITE CHRISTMAS

JHPENTERTAINMENT: While preparing for the role of Betty Haynes, what or who have you drawn from to channel certain attributes?

CASEY CUBA: Looking the part of Betty during this time period, I focused on the elegance and poise of my grandmothers. I always loved looking at their old photographs from the 1940s and envied how glamorous life seemed. As for the character of Betty, I have drawn on my own raw emotions, vulnerability, and life experiences. Betty is very independent and strong willed, traits that sometimes cause her to sabotage her own happiness. I often recognize these traits in myself.   

JHPENTERTAINMENT: Of course there are parallels between the two featured couples…Betty and Bob share more serious traits while Phil and Judy are a bit more carefree. In real life are you more a Betty or a Judy?

CASEY CUBA: I am definitely more of a Judy in real life! I am the one finding humor in almost ANY situation. Who doesn’t enjoy laughing?  

JHPENTERTAINMENT: I’ve said it a hundred times…White Christmas isn’t just my favorite Christmas movie. Heck, it’s my favorite stage musical…of all-time. Aside from White Christmas, naturally…what’s your favorite holiday viewing?

CASEY CUBA: I can only choose one?!? Planes, Trains, and Automobiles is my favorite movie for Thanksgiving, but for Christmas…there are so many good ones! My top 2 favorites are probably It’s a Wonderful Life and Christmas Vacation.  

Casey Cuba

JHPENTERTAINMENT: The wardrobe…can we talk about the wardrobe? The show’s director, Keith Hardy is doing double duty as the costumer as well. Do you have a favorite look?

CASEY CUBA: Yes, Keith is also the costumer. How amazing is that? He has knocked it out of the park…per usual. The dresses for Sisters, the iconic blue dresses and fans, are UNREAL! They are just gorgeous. But my absolute favorite look in the show is the black velvet gown that Betty wears for her solo of Love, You Didn’t Do Right By Me. It was made to look just like the gown Rosemary Clooney wore in the film and it is just stunning. I feel so connected to Betty in that scene with the glamour and the raw emotion. It’s just beautiful.  

JHPENTERTAINMENT: If you hadn’t been cast as Betty, regardless of whether you’re the ‘type’, what other White Christmas role would you love to play?

CASEY CUBA: I would love to play Rita or Rhoda!  Haha I mean c’mon!  I think it would be so fun to play a ditzy, blonde bimbo!   Their lines are so ridiculously funny and their costumes are hysterical!  

Dani Haines as Judy Haynes

RAPID FIRE WITH DANI HAINES, JUDY HAYNES IN WHITE CHRISTMAS JHPENTERTAINMENT: I’ve heard playing Judy a dream role for you. What is is about Judy Haynes that drew you to the part?

DANI HAINES: I’ve always had a connection with Judy since I first saw the movie when I was younger. She was a charismatic and dynamic performer and I think that really influenced how I’ve approached all the roles I’ve gotten the chance to do throughout my stage career.

JHPENTERTAINMENT: I understand you’re a relative newcomer to Nashville and this is your first show at The Keeton. How’s your time in Music City been thus far and are you enjoying being part of the Keeton family?

DANI HAINES: I’ve lived in a lot of different places in my life, and Nashville has been one of my favorites! I’m excited to put down roots in a diverse, entertaining city. Joining a new theatre family will always come with unique challenges and barriers, but I’ve learned so much about myself and the community through the experience; and I’m extremely grateful for the love and support from my new friends.

JHPENTERTAINMENT: The role of Judy is dance-heavy, having first been portrayed on screen by the iconic Vera-Lynn. Do you have a dance background?

DANI HAINES: I’ve actually been a dancer most of my life! I started lessons at a young age in various genres of dance, and that was what created the gateway to my love for musical theatre. I’m so fortunate to have had the experiences I’ve been given and use them in this show.

Dani Haines

JHPENTERTAINMENT: A little online sleuthing revealed when you’re not on stage, you work at an escape room. If you could create a White Christmas-themed escape room, what would it consist of?

DANI HAINES: Hmmm… Without a doubt, there would have to be a lot of music! I’d probably create a puzzle involving the iconic songs of the movie and the show. The theme would be “backstage and get ready so the show can go on”!

JHPENTERTAINMENT: What do you hope audiences take with them after seeing White Christmas at The Keeton?

DANI HAINES: One of the biggest lessons this show teaches its viewers is that a kind heart and goodwill towards others never goes out of style. I hope that this show serves as a reminder to us all that compassion and generosity should be celebrated year round, not just during the holiday seasons. I also hope they take home fun memories and some tapping toes!

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Irving Berlin’s White Christmas celebrates the holidays at The Larry Keeton Dinner Theatre with performances December 1-18. At the time of this posting, it would appear the entire run has sold out, but you just never know…some Scrooge might have to cancel at the last minute. You might want to call 615.231.1231 and check on last-minute availability. Dinner and Show tickets are $35/Adult and $25/children. Show Only tickets are $30/$20. CLICK HERE for more information.

Up next at The Keeton Dinner Theatre is Newsies. February 10-26. CLICK HERE for tickets. To keep up with the latest from The Larry 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.

Rapid Fire Q&A with actor/playwright/director David Alford; ‘A Holiday To Remember’ recitations of Truman Capote’s ‘The Thanksgiving Visitor’ and ‘A Christmas Memory’ at Belmont Mansion this holiday season

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You may know David Alford by way of his six-season role as Bucky Dawes, manager to Connie Britton’s Rayna Jaymes on the hugely popular CMT/ABC drama series Nashville, multiple tv and film roles including The Good Fight, The Blacklist and The Last Castle, his recent appearance alongside Laura Linney, Cynthia Nixon, Richard Thomas and Michael McKean in the 2017 revival of Lillian Hellman’s The Little Foxes on Broadway, or for having created Spirit: The Authentic Story of the Bell Witch, which recently celebrated its twentieth year in nearby Adams, TN. Either way, or even if you don’t know David, you’ll definitely want to check out A Holiday to Remember, Alford’s presentation of two of Truman Capote’s most-cherished stories, The Thanksgiving Visitor and A Christmas Memory, being presented in the Grand Salon of Nashville’s beautiful and historic Belmont Mansion with select performances November 23-December 17.

Having known David for years, not only by his aforementioned accolades, but through a mutual friend, as well as his tenure as Executive Artistic Director of Nashville Repertory Theatre a few years ago, when it was known as Tennessee Repertory Theatre, as soon as I learned he was returning to the Nashville theatre scene to perform this latest iteration of not one, but two Capote treasures, I knew I had to chat with him for my latest RAPID FIRE Q&A.

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RAPID FIRE Q&A WITH ‘A HOLIDAY TO REMEMBER’ STAR, DAVID ALFORD

JHPENTERTAINMENT: In preparing to chat with you, I rewatched the mid-60s television presentations of both The Thanksgiving Visitor and A Christmas Memory starring Geraldine Page as Sook. I remember seeing them on TV about a decade later when I was a kid. These stories were my introduction to Truman Capote. What was yours?

DAVID ALFORD: My first introduction to Capote, like many other people, was seeing him on The Tonight Show with Johnny Carson. I was young. He struck me as a strange fellow with a funny voice that the adults seemed to find terribly amusing. I knew he had a reputation as being a bit of a provocateur, someone who liked pushing boundaries. It was many years later, shortly after graduating drama school and being cast in a stage adaptation of his holiday stories, that I learned that he was much more than his public persona. He was a true literary genius, with extraordinary range. The stories from his childhood featuring his eccentric cousin Miss Sook Faulk are beautifully written and deeply moving.

JHPENTERTAINMENT: Speaking of introductions, ABC’s recent drama series, Nashville may have served as an introduction to you for millions of TV viewers, but those of us in the actual town of Nashville have known you through your theatrical works for years. In fact, just last month you celebrated the 20th anniversary of your play, Spirit: The Authentic Story of the Bell Witch of Tennessee. Before we get into A Holiday to Remember, What was it like to revisit Spirit as director again this year?

DAVID ALFORD: Rewarding and humbling. I wrote and directed the first production in 2002, and then directed a revision I did in 2008. Other than that, I have been involved only as an unofficial advisor from time to time until this year. The group behind the production, CSI (Community Spirit, Inc.) has not only kept the show going every year, but they’ve grown the play into a month-long festival. The show’s success is really a testament to their commitment and hard work.  Every performance this year was sold out. I’d look into the audience and see men in John Deere caps seated next to women in business attire with a few occultists thrown into the mix. It’s hard to describe the sense of gratitude I feel looking at an audience of people from wildly different backgrounds seated next to each other and experiencing the same story. It’s become its own unique phenomenon.

JHPENTERTAINMENT: Now on to A Holiday to Remember. Over the years you’ve presented a variation of this show from time to time. If memory serves, I believe it’s been 30-some years since you performed A Southern Christmas Sampler and about a decade since the former iteration, Christmas Down Home was presented here in Music City. What prompted you to revisit and revise it this year at Belmont and to include not only A Christmas Memory, but also Capote’s other holiday offering, The Thanksgiving Visitor?

DAVID ALFORD: I stopped doing A Christmas Memory mainly because of my commitments to the TV show. Then I moved away for a while. I’m back home now and it felt like the time was right. I’m a little older and can bring a little more life-experience to it. Plus, I’ve missed doing the piece. I still feel very connected to it. As far as pairing it with The Thanksgiving Visitor, we actually did it before in 2004 when I was Artistic Director at Tennessee Rep (now Nashville Rep) in the Polk Theatre at TPAC. It went well, though I thought the show might have worked better in a more intimate space. This is a chance to try that. Plus, it’s an opportunity to work my memorization muscles a bit. With both pieces, it’s me doing Capote’s words for about an hour-and-a-half. I like the challenge.

Composer/Guitarist Paul Carroll Binkley’s music accompanies David Alford’s storytelling in “A Christmas Memory”

JHPENTERTAINMENT: As you have done in previous incarnations, you’ve once again enlisted the talents of your friend, Paul Carrol Binkley whose original music is featured. How did you and Paul first connect? 

DAVID ALFORD: I met Paul in 1985 at Austin Peay Statue University in Clarksville, where we were both students. He became the guitarist and band leader for a group I’d earlier formed with some high school friends called The Red River Boys. We gigged a lot together, and of course Paul was already composing and playing his own music at the time. Right before I went to Juilliard, he was the music director for a production of The Robber Bridegroom I was in at APSU, and he really knocked it out of the park. So I knew he had theatre chops. When I came back to Nashville in 1994 to start Mockingbird Theatre, Paul was one of the first people I called. He did the music for our second production, Tennessee Williams‘ The Glass Menagerie, and that started a long and successful working relationship. When I had the idea to do A Christmas Memory as the centerpiece for a potential Mockingbird holiday show (which became our Southern Christmas Sampler) I asked Paul to create some underscoring for it. He did, and it was perfect. Those original musical ideas have become an irreplaceable part of the performance for me. I can’t imagine doing the piece without Paul. I still get choked up every time I hear him play the opening phrase. 

JHPENTERTAINMENT: This isn’t the first time you’ve performed at Belmont Mansion in the Grand Salon. What makes it such an ideal venue for these stories?

DAVID ALFORD: Well, it’s an incredibly evocative space, and the acoustics are excellent. Both pieces are about Truman’s childhood and set in the early 1930s, and though Belmont Mansion was around long before that, there are still echoes of the past that help underscore the context. And while I love working in traditional theaters, sometimes matching content with an appropriate nontraditional performance space can really resonate with an audience. I think this show in the mansion does that pretty well.

JHPENTERTAINMENT: For those who may not have seen your previous presentations, what can the audience expect?

DAVID ALFORD: The show is me doing Capote’s text uncut from memory with Paul’s original underscoring. The Thanksgiving Visitor is first. It has a four-piece combo and is a little more energetic in feel with me mostly on my feet. For A Christmas Memory, we’re performing it the same way we have since the beginning: I’m seated on a stool, with Paul in a chair just behind. It’s me, Capote’s words, and Paul’s guitar.

JHPENTERTAINMENT: Aside from Buddy, the young boy at the center of both The Thanksgiving Visitor and A Christmas Memory, both stories feature his Cousin, Sook, an eccentric relative, and Buddy’s best friend. Research also revealed that you once cited your grandmother as your voice inspiration for your Sook. What can you tell me about finding the voice for each of the characters? 

DAVID ALFORD: Good question! Thankfully the stories are mostly Capote’s narrative prose, so I don’t have to do a huge amount of vocal characterization. It’s mostly Sook and Buddy (her nickname for young Truman) with a handful of other characters sprinkled in. The challenge is to honor the text and what Capote’s trying to accomplish from a narrative perspective, while finding voices that stay true to the setting (a small town in the depression-era Deep South). And then within that framework, to find enough variation so the audience doesn’t get confused. Mostly it’s a lot of experimentation and trying to use as much of my vocal range as I can!

JHPENTERTAINMENT: On the subject of voices and characters, Capote, himself was quite a character and he possessed a very distinctive voice. I mentioned earlier the mid-60s teleplays. Capote served as narrator for those, so I gotta know…do you narrate in a Capote-esque voice?

DAVID ALFORD: I do not, for a couple of reasons. First, I think trying to replicate Truman’s voice calls too much attention to the performer and not enough to the words on the page. Instead, what I try to do in the narration is present Truman’s literary voice, his written voice, which is substantially more expressive and has greater range than his speaking voice ever did. His writing in these stories is masterful: funny, lyrical, and at times breathtakingly beautiful. I wouldn’t want any impression I did to get in the way of that. There’s definitely a specific southern flavor of course: accent, playfulness, and wit, but less affectation. But also, from a practical perspective, I think the more important voice is Sook’s and the other characters, and it’s hard to imagine someone with Truman’s voice being able to alter their tonality enough to make those voices convincing. So you’re either doing Truman all the way through (including the other character’s voices) or you’re finding the voices of the other characters and making the narration more neutral. I don’t think you can do both. So I do the latter.

Belmont Mansion’s Grand Salon 

JHPENTERTAINMENT: Oh, I knew we should have gone ahead and done a full Rapid Fire 20Q, but I didn’t want to take up too much of your time…so….Can you share a little about cherished holiday memories of your own?

DAVID ALFORD: Well, of course, I have many, most of them from my childhood and from people that are gone now. My dad rarely provided the things on our Christmas lists, but he always made it special. He was a pastor, and this was his favorite time of year. One of the things that brings people back to A Christmas Memory is that Capote acknowledges the full range of memories of the people we love who are no longer with us. Those memories can be funny, touching, sweet, warm, awkward, joyful: but they can also make us feel a keen sense of loss. Leave it to his genius to be able to encapsulate all that in a short story. But to answer your question directly, and at the risk of sounding schmaltzy, the truth is that many of my most treasured holiday experiences have been sharing this story with a roomful of fellow human beings.

JHPENTERTAINMENT: I usually end these chats with basically the same question…What do you hope audiences take away from seeing A Holiday to Remember?

DAVID ALFORD: That Truman Capote is an under-appreciated genius and one of the greatest writers of the 20th century. That all people, no matter how odd, eccentric, or marginalized, have value and can teach us something. That love always makes a difference.

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David Alford’s A Holiday to Remember begins Wednesday, November 23 with subsequent performances November 25 & 26 and December 1,3,15 and 16. All Performances begin at 7:30 p.m. and will take place in the Grand Salon on Belmont Mansion (On the campus of Belmont University at the corner of Acklen Avenue and Belmont Blvd- behind Freeman Hall, 1901 15th Ave S., Nashville, TN 37212) Tickets to each performance are $45 and include lite refreshments and a peek at the holiday decorations of the Mansion’s first floor. CLICK HERE to purchase tickets. For more about David Alford, CLICK HERE. If you’re interested in learning more about Belmont Mansion or perhaps scheduling a full tour during the holiday, CLICK HERE.

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

Lythgoe Family Panto officially an annual Music City event as ‘Aladdin and His Winter Wish’ plays TPAC’s Polk Theatre through December 22

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Kira Kosarin and Damon J. Gillespie starring in Aladdin and His Winter Wish/

Just as they did by presenting their take on Peter Pan during the holiday season last year, The Lythgoe Family has once again teamed up with TPAC to present yet another familiar tale with a decidedly modern twist as Aladdin and His Winter Wish continues its two-week run at Polk Theatre thru Sunday, December 22.

While based on the centuries old Middle Eastern folk tale, with a couple of lighthearted winks to a certain Arabian tale from the House of Mouse, Lythgoe Family’s Aladdin and His Winter Wish steps right into the 21st Century by combining elements from the original story, and classic British Pantomime with pop tunes and enough Nashville-centric one-liners, jokes and jabs to keep the audience in stitches whether they be 8 or 80. 

For the uninitiated, as I did when I reviewed Peter Pan last year, allow me to explain a little about traditional British Pantomime. It’s a centuries old theatrical art-form known as Panto for short. Granted, when most Americans hear the word pantomime, thoughts of mimes with clown-white faces mimicking attempts of escaping non-existent boxes come to mind. While that is indeed a type of pantomime, this pantomime is much different.

With roots tracking back nearly as far as recorded time itself, pan-to—in the more modern sense—presents a familiar story, usually a favorite children’s fairy tale, but with comedy, music, encouraged audience interaction and just enough double-entendre to keep parents entertained as well.

Not only are there local mentions of things like Pedal Taverns and Nashville and surrounding cities (sorry Memphis, but you kinda deserve being the brunt of a few jabs), the show is chocked full of modern pop tunes that drive the story along. 

Opening the show with a high energy belly dance-vibe take on The Pussycat Dolls’ 2009 mega-hit Jai Ho!, the ensemble gives a hint of the fun to come. As the story of Aladdin and his brother Wishee Washee (what can I say, their Mom, The Widow Twankey owns a laundry service) unfolds (pun fully intended), we learn that the two street rats dream of bettering life for themselves and their mother. This leads to the brothers joining forces for their take on the early 80s hit, Matthew Wilder’s Break My Stride. When Aladdin meets the Princess, there’s a little classic country flavor as he wistfully croons You Don’t Know Me, a song made popular in the 1950s by country legend, Eddy Arnold.

Bruce Vilanch as The Widow Twankey, flanked by sons, Aladdin (Gillespie) and Wishee Washee (Jonathan Meza)

The Widow Twankey then kicks things up a notch alongside the ladies of the chorus for a rollicking cover of Old Time Rock and Roll. 

As the story continues and we learn that Aladdin believes his way into the Princess heart is through some miracle of riches, the audience is treated to his version of the Bruno Mars hit, Billionaire. Keeping it in an R&B vein, the Genie closes out Act 1 on a high note with a simply perfect rendition of Earth, Wind and Fire’s Fantasy.

Act 2 opens with another Bruno Mars tune, Treasure, performed by the company. Not forgetting one of Aladdin’s most treasured moments…Spoiler Alert….the magic carpet scene is, well, magical indeed. Perfectly framed by the sappy but sweet On the Wings of Love and the optimistic Walking on Sunshine. By show’s end, there’s the inevitable wedding followed by a wonderful winter surprise as the cast sings a faithful Let it Snow…another Spoiler Alert…you better believe it does…IN the theatre! Always a crowd pleaser!

And that’s just the music. The entire show is brimming with hilarious one-liners, clever jokes, a few bad-but still laugh inducing-puns and more than a handful of inside jokes referencing the actors and their previous claims to fame.

Audiences may not be readily familiar with The Lythgoe Family name, but chances are they’re very familiar with some of the projects they’ve spearheaded for television. Case in point, Nigel Lythgoe, the family’s patriarch, alongside son, Simon Lythgoe, have at one time both produced everything from So You Think You Can Dance to American Idol, while son Kris Lythgoe also worked with the family on So You Think You Can Dance and other projects.

This brings us back to Lythgoe Family Panto, which Kris and wife Becky Lythgoe began in 2010 with their take on Cinderella. 

As was the case during last year’s Nashville presentation of Peter Pan, the company of Aladdin and His Winter Wish is also peppered with well-known talent of all ages and a healthy selection of Music City performers both on stage and behind the scenes.

In the title role is Tennessee native, Damon J. Gillespie. While he’s got roots in Tennessee, and seems to only be beginning his career, he, too has an impressive resume, having appeared on Broadway in Newsies and Aladdin, as well as television shows like Rise, Empire and Inside Amy Schumer. As Aladdin, Gillespie is perfectly mischievous and quite the charmer.

While Disney fans might be expecting Aladdin’s love interest to be named Jasmine, for this iteration, his intended is simply referred to as The Princess, as played by Kira Kosarin, who garnered popularity as well as three Kid’s Choice Award nominations for Favorite TV Actress for her starring role as Phoebe on Nickelodeon’s The Thudermans during the show’s four season run. Kosarin’s Princess is naturally beautiful with an enchanting voice to match. Who can blame Aladdin for doing whatever it takes to win her heart?

Richard Karn and Kira Kosarin as The Sultan and The Princess

Starring as The Princess’ father is Richard Karn as The Sultan. Karn, of course starred alongside Tim Allen in the hugely popular ABC sitcom, Home Improvement as Al Borland, Tim’s best friend and co-host. Karn’s comedic timing is perfectly suited for this type of interactive theatre where they encourage the audience to cheer to good guys and jeer the bad. Heck, on opening night, there was a minor snafu with a line or two and at one point the door of the set didn’t work as expected, but Karn and company rolled with the punches, even occasionally cracking up themselves. A truly endearing occurrence reminding older audiences of such classic comedy moments as The Carol Burnett Show when she and her co-stars couldn’t help but laugh at themselves.

Unlike that famous animated tale, this Aladdin isn’t an orphan. To that end, Jonathan Meza co-stars as Aladdin’s appropriately named brother, Wishee Washee. While Meza may be new to Nashville theatre, he’s no stranger to Lythgoe Family Panto as this marks his eighth show with the company. Audience members in the pre-teen to teenage range might also be familiar with Meza as Josh from the popular Nick Jr. bilingual musical series Jumpitz. Meza’s Wishee Washee not only plays second banana (and leap frog partner) to brother Aladdin, he also serves as narrator, therefore constantly breaking the fourth wall to get audience responses and reactions to what’s going on within the story. Another aspect of Panto that makes it fun for the whole family.

Rounding out Aladdin’s family is comedy icon and LGBT legend, Bruce Vilanch as Aladdin and Wishee Washee’s mother, the Widow Twankey. As a comedy writer, Vilance has provided the scripted banter for the Oscars and Emmy Awards for years. Early in his career, he wrote for and worked with everyone from Bette Midler and Donny and Marie Osmond and even penned two of my all-time favorite holiday specials, The Paul Lynde Halloween Special and the unforgettable (as much as George Lucas would like to try) Star Wars Holiday Special! Fans of a certain age will no doubt remember him as a frequent panelist (and writer) for Hollywood Squares in the late 90s and early 2000s. Of course this isn’t the first time Vilanch has appeared onstage stage in dresses and women’s wigs. In 2002, he took over the coveted role of Edna Turnblad during Broadway’s original run of Hairspray, then the following year, join the National Tour in the same role. As the Widow Twankey, Vilanch steals every scene he’s in, especially when she takes a shine to the evil sorcerer. 

Josh Adamson as the evil Abanazar

Speaking of…Josh Adamson stars as Abanazer, the show’s villain…think Jafar. Adamson, a native Aussie, has previously been seen in number of regional theatrical productions, including several Lythgoe Family Pantos, both here and in Australia, including Cinderella, Snow White and previous productions of Aladdin. Perfectly evil, but not so much as to truly scare younger audience members, Adamson is the consummate bad guy, maniacal laugh and all.

Rounding out the main cast are Mykal Kilgore as Genie and Alexis Gilbert as Alexa, the Slave of the Ring. 

Mykal Kilgore and Damon J. Gillespie as The Genie and Aladdin

As for Kilgore he’s yet another performer familiar to many theatre-goers having appeared on Broadway in Hair, the first national tour of Book of Mormon. He was also seen in both recent televised musical productions of Jesus Christ Superstar and The Wiz. With more than a few nods to Will Smith’s recent turn as Genie for the big screen, Kilgore holds his own and makes the role truly his with a voice as smooth as Stevie Wonder and some fabulous moves.

Gilbert once again joins the Lythgoes, having previously appeared on stage in Aladdin as the Slave of the Ring, as well as previously appearing on Season 14 of So You Think You Can Dance. As a professional dancer, she’s worked with everyone from You Tube star Matthew Santoro, as well as pop superstar Pharrel Williams and electronic music superstars Daft Punk. And, Yes, you better believe the take full advance of the name Alexa with a number of jokes at that other Alexa we’re all so fond of talking to on our personal devices. While she floats in and out of the story, at the common of whomever is wearing the ring, Gilbert steals every scene she’s part of, thanks to her remarkable dance moves.

Which leads me to the ensemble. With the Lythgoe Family’s ties to dance, the remainder of the company is made up largely of phenomenal dance talent including Daniel Thomas, Albanus Thierry, Anna Melendres, Rachel Melendres, and Nashville’s own Chelsea Hough.

Speaking of Nashville, directing Aladdin and His Winter Wish is Ernie Nolan, known to Music City audiences for his work as Executive Artistic Director at our beloved Nashville Children’s Theatre. The show’s choreographer, Chase Benz is also another Nashville native. Now residing in Los Angeles, Benz’s impressive resume drops names like Brittney Spears, JLo, Rihanna, Back Street Boys and many more.

TPAC’s own Christi Dortch co-produced the show, alongside primary producers Becky and Kris Lythgoe, Kris also wrote the show.

Aladdin and His Winter Wish continues its holiday run in Nashville at TPAC‘s Polk Theatre with six performances remaining. On Friday, December 20, there’s a 7p.m. evening performance, on Saturday, December 21, there’s an 11a.m. morning performance as well as a 3p.m. matinee and a 7p.m. evening show and on Sunday, December 22, 12noon matinee and a 5p.m. final early evening performance. Tickets range in price from $45-$55. CLICK HERE to purchase tickets.

In case you don’t make it to Aladdin, I have it on good authority that the Lythgoe Family plans to continue to bring these entertaining American Pantos to Nashville with yet another new-to-Music City production next year!

Immediately following a very brief holiday break, TPAC’s Broadway series returns with the highly anticipated Nashville premier of the first-ever touring company of Hamilton onstage at TPAC’s Jackson Hall from December 31 thru January 19. CLICK HERE for tickets or more information. CLICK HERE to learn about TPAC’s recently announce $10 ticket lottery for every single Music City Performance. You can also 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 Q&A with Pipeline-Collective’s David Ian Lee; ‘Star Wars Holiday Special LIVE’ staged reading at Jamison Hall tonight, Wednesday, December 11

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Having made my parents stand in line at the Belle Meade Theatre back in the spring of 1977 to be among the first of my friends to see the original Star Wars movie, you better believe I eagerly sat inches away from my 13″ black and white TV in my bedroom later that next year to tune into The Star Wars Holiday Special. You also better believe I totally geeked out when I heard Pipeline-Collective‘s Producing Artistic Director David Ian Lee was assembling some of Nashville’s favorite theatre folk to recreate the classic, beloved and yes, oft ridiculed holiday special LIVE on stage!

A long time ago in a galaxy far, far away….OK, OK,…last week–by way of email–I I had the chance to pose a few questions to Lee for the latest installment t of my recurring interview feature, Rapid Fire as he and his cast prepared to go where no man has gone before….Oh, wait! Wrong franchise…as he and some of my theatre crushes take to The Factory at Franklin‘s Jamison Hall on Wednesday, December 11 to present a one-night-only staged reading of The Star Wars Holiday Special benefitting Make-A-Wish.

RAPID IFIRE WITH THE STAR WARS HOLIDAY SPECIAL LIVE DIRECTOR, DAVID IAN LEE

JHP: I’m old enough to have actually tuned into the one and only televised broadcast of the original Star Wars Holiday Special. When did you first become aware of it?

DAVID IAN LEE: Growing up you’d hear whispers about the special, but the whole thing sounded like a fever dream or like some kind of prank. In the late 90s – as the Internet became a thing and George Lucas started to talk about making Episodes I, II, and III –clips and images began to circulate, and any evidence that the special had once existed was like catnip.  In 2003 I bought a bootleg on eBay, and when the package arrived I felt I’d obtained explicit contraband. I took a day off of work to watch it, I was so pumped… and then I watched it. Whatever you’ve heard about The Star Wars Holiday Special – however you might imagine it in your mind – it’s like the Grand Canyon or The Matrix: You have to see it for yourself. 

JHP: Where did the idea come from to present a staged reading of the special?

DAVID IAN LEE: My wife, Karen also happens to be my co-Producing Artistic Director, which means that we talk a lot about Pipeline and also a lot about Star Wars; or, maybe more accurately, she listens to me talk a lot about Star Wars. I call myself a Completist in that I watch and I love it all: The original films, the prequels, the Ewok movies, every animated series, and, yes, even the Holiday Special. About a year ago I got my hands on a copy of an original shooting script, and an idea began to form that we might adapt the text into a staged reading: We’d retain as much dialogue as possible, translate descriptive action into narration, and substitute any copy written music with more earthly holiday songs. And we’d lean into the camp. I’d tell people about my half-ironic passion project, and I was encouraged that responses ranged from enthusiastic to emphatic that we had to do this. Karen wasn’t sold right away; the Holiday Special is an obscure bit of ephemera for folks who haven’t seen it, and for people who have… Well, they’ve seen it. While I was away on a job this summer I spent my downtime adapting the shooting script, and when I got home we had a reading of the piece in our living room with a bunch of friends and collaborators. Everyone’s sides hurt from laughing, and with that the die was cast for A Very Special Live Staged Reading of The Star Wars Holiday Special: LIVE, On Stage… and Special! (or AVSLSRoTSWHS:LOS…AS! for short), provided we could find the right charitable organization to support and a space that would have us. The second concern resolved itself when Benji Kern generously offered Studio Tenn’s space on a dark night to stage the reading. 

JHP: For those not familiar, can you tell me a bit about Pipeline-Collective?

DAVID IAN LEE: Pipeline-Collective’s work is guerilla-style, with emphasis on the craft of the actor, dynamic storytelling, and theatrical magic on a shoestring budget. We foster relationships and collaborations that cross state lines and into non-arts realms. Through innovative programming such as the Playground Series (which seeks to make “dark nights” a thing of the past), The Salon (a new works project run in collaboration with Studio Tenn), and theatrical benefits that call attention to the work of charitable organizations, Pipeline-Collective extends the reach of the arts, empowering theatremakers to tell their stories.

JHP: The special performance will benefit Make A Wish Foundation. How did this partnership occur?

DAVID IAN LEE: Pipeline’s inaugural production was Anne Nelson’s The Guys, presented on the anniversary of September 11th by a team almost entirely comprised of expat New Yorkers. Proceeds benefited the FealGood Foundation, whose mission is in service of first responders. We found such value in that project that now about once a year Pipeline presents a theatrical event intended to raise awareness of and funds for a charitable organization. When we decided to explore an adaption of The Star Wars Holiday Special, we knew that we wanted to create a theatrical benefit, but finding the appropriate charitable organization took some time. The 501st Legion is such a wonderful organization, with a mission equally devoted to having fun and doing good work. The 501st Legion Make-A-Wish Endowment Fund allows Make-A-Wish America and Make-A-Wish International to grant Star Wars-related wishes to children diagnosed with life-threatening medical conditions. We’re thrilled to do our small part to contribute to this worthy cause.

JHP: What can you tell me about the cast you’ve assembled for the staged reading?

DAVID IAN LEE: The problem with this cast is that they’re all impossibly brilliant, and every one of them – in a “normal” show – could be regarded as a ringer. Of course, AVSLSRoTSWHS:LOS…AS! is anything but normal, and when you’ve got a cast overflowing with ringers it means that what you really have is just a damn fine cast. There are too many people to single out individually, and I don’t want to give anyone short shrift, so let’s just say I just cannot believe our good fortune to have such a company. We’ve been posting images of our performers to Facebook and Instagram, so folks should check out the embarrassment of riches there. We have such a marvelous aggregation of Nashville’s theatrical talent! 

JHP: Most staged readings are simply actors sitting on stage reading the script, but the show is billed as A Very Special LIVE staged reading The Star Wars Holiday Special, Live on stage…and SPECIAL! So, I gotta ask…what makes it so special? 

DAVID IAN LEE: Well, a fine dose of hyperbole and humor goes a long way towards making the case for satire, but also  – though our reading has great affection for the Holiday Special  – we do treat the 1978 variety show as a jumping-off place, resulting in what Lucas might have called “a few new surprises.” Our narrative is streamlined, and our musical numbers are intended to evoke the spirit of the original special while commenting on the absurdity of the whole endeavor – plus, we send folks back into the street giddy with holiday cheer. And, I mean, how many staged readings feature appearances by the Dark Lord of the Sith and the man with the bag?

JHP: As a legit fan of the original special, which includes an animated segment that introduced Boba Fett, a full two years before his film debut in 1980’s Empire Strikes Back, I’m curious…how do you plan on presenting that in the staged reading? 

DAVID IAN LEE: Tragically, certain aspects of the original special didn’t translate to our reading, including a ten-minute animated sequence created by Nelvana Ltd.  People have fond memories of this sequence: the animation is cool, the voice performances include Carrie Fisher, Harrison Ford, and Mark Hamill, and Boba Fett is introduced in appropriately mysterious and sinister fashion. For a time, we explored different ways of translating the animated sequence to the reading; we talked about puppets, about acting the sequence out with action figures, about piping the actual audio into the theatre. But, at the end of the day, a problem remained that the animated sequence itself is a self-contained in-universe short film that Chewbacca’s son, Lumpy, watches in order to distract himself from dangerous Stormtroopers that have forced their way into his home. We wanted to keep our focus on Chewie and his family, and so: This is the way.  Still, for those seeking some sweet, sweet Mandalorian action, might I strongly recommend Disney+.

JHP: Another aspect of the original special that I love was the appearance of Diahann Carroll as Mermiah, a holographic entertainer. I totally stan Meggan Utech, who’s cast as Mermiah. What can you divulge about her performance?

DAVID IAN LEE: Do not allow my previous answer to crush your spirits on Life Day: Oh, Mermeia absolutely appears in our reading! How could she not? The infamous sequence in which Chewbacca’s father, Itchy, is given a mind-evaporator cassette by Art Carney and conjures up a Holographic WOW is, frankly, one of the things that drives people to seek out bootlegs of The Star Wars Holiday Special. The original sequence is readily available on YouTube – as is the full special – and I strongly encourage anyone curious as to why the special is considered to be something halfway between camp and a synaptic breakdown to check it out. Meggan’s Mermeia is delightful, evoking the spirit of Diahann Carroll’s iconic performance while finding her own fun, playful, flirtatious take on the character. Instead of This Minute Now, she’ll be singing a song that’s equally appealing while in the vein of our take on the material. 

JHP: Pipeline-Collective’s AVSLSRoTSWHS:LOS…AS! is a one-night-only event. Any chance for a fully fleshed-out stage production with an extended run in the future?

DAVID IAN LEE: Here and now there’s so much spectacular storytelling happening in Star Wars: I was in California for the opening weekend of Galaxy’s Edge (which means I’ve yet to experience Rise of the Resistance). All I want for Christmas is Jedi: Fallen Order (and I know my co-Producing Artistic Director is reading this, so that’s a cheap plug). The Mandalorian and Resistance are great television programs. And, of course, a week after our reading I have tickets to Rise of Skywalker. But… Who knows? Pipeline has yet to announce our summer programming. And always in motion is the future.

JHP: What’s you holiday wish for family and friend this Life Day season? 

DAVID IAN LEE: I try to write a daily inspirational quote on my office door. The only quote I repeat is Princess Leia, from The Star Wars Holiday Special, which I write every year at this time: “No matter how different we appear, we’re all the same in our struggle against the powers of evil and darkness. I hope that this day will be a day of joy, in which we can reconfirm our dedication and our courage. And, more than anything else, our love for one another. This is the promise of the Tree of Life.”

What better way to end out chat than with a quote from Princess Leia herself? As for AVSLSRoTSWHS:LOS…AS!, you’re only hope of witnessing this one-night-only benefit event at Jamison Hall inside The Factory at Franklin (230 Franklin Road, Franklin, TN) is to CLICK HERE to purchase tickets. This event is General Admission. All tickets are $15. Members of The 501st Legion will be on-hand to take photos with those in attendance so be sure and arrive when the doors open at 6:30p.m. to give yourself time to enjoy an extra bit of fun before the 7:30p.m. curtain.

Can make it tonight, but feeling generous as Life Day approaches, CLICK HERE to make a donation to Make-A-Wish.

To keep up with the latest from Pipeline-Collective, find them online at Pipeline-Collective.com, ’like’ them on Facebook and Instagram.

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

Theatre Review: ‘Peter Pan and Tinker Bell: A Pirate’s Christmas’ sprinkles a little fairy dust on the holiday season; continuing at TPAC’s Polk Theatre thru December 23

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Tegan Marie as Wendy, Diana DeGarmo as Tinker Bell, and Garrett Clayton as Peter Pan in “Peter Pan and Tinker Bell – A Pirate’s Christmas” at the Tennessee Performing Arts Center. (all photos by Derrick Minyard)

While the basic story might be familiar, Peter Pan and Tinker Bell: A Pirate’s Christmas, presented by Lythgoe Family Panto and currently playing Nashville at TPAC’s Polk Theatre, offers a whole new take on the classic. Interestingly, that new take is largely due a centuries old theatrical artform known as pantomime, or panto for short. When most Americans hear the word pantomime, thoughts of mimes with clown-white faces mimicking attempts of escaping non-existent boxes come to mind. While that is indeed a type of pantomime, this pantomime is much different.

With roots tracking back nearly as far as recorded time itself, panto—in the more modern sense—presents a familiar story, usually a favorite children’s fairy tale, but with comedy, music, encouraged audience interaction and just enough double-entendre to keep parents entertained as well.

Lythgoe Family Panto’s Kris Lythgoe has written a holiday version of the legendary tales of Peter Pan, Tinker Bell, Captain Hook and the Darling children, brothers Michael & John and sister, Wendy and set it all to tunes ranging from recent hits like Bruno Mars’ Uptown Funk and Rachel Platten’s Fight Song to modern classics like Blue Swede’s Hooked on a Feeling and The Village People’s In The Navy.

John O’Hurley as Captain Hook

What’s more, said chart-toppers are performed by a brilliant mix of talented performers that also run the gamut on the entertainment scale. Case in point, Captain Hook is played to the deliciously sinister tongue-in-cheek max by none other than John O’Hurley. From his memorable 90s gig as J. Peterman, Elaine’s boss at the outdoorsy clothing catalogue company on Seinfeld, and his turn as lawyer Billy Flynn on Broadway and in a more recent national tour of Chicago to his annual TV host duties on Thanksgiving for Purina’s National Dog Show since 2002, O’Hurley has done it all. Heck, he even competed on Dancing With the Stars. As Captain Hook, he’s equal parts villain and ham—the perfect combination for a family-friendly show that manages to keep the adults entertained as well. O’Hurley’s musical moments—both the aforementioned Hooked on a Feeling and In The Navy are presented with his faithful sidekick, Smee and a rag-tag trio of pirates doing their best impersonations of Elvis Presley, John Lennon and Michael Jackson by his side as Captain Hook and the boys earn every single cheer and jeer from the audience. (don’t forget, in panto, audible reaction from the audience isn’t just encouraged, it’s expected)

Mason Trueblood as Pirate Lennon…I’m guessing legal reasons prevent them crediting him as Pirate John Lennon, but I digress…gets the fun of nearly every response he utters also being a Beatles’ song title, just another layer to the show for the grown-up in the audience. Meanwhile, Pirate Elvis as played by Dan Castiglione, offers a hip-swiveling, lip-curling wink to nearby Memphis and Malcolm Buchanan as Pirate Jack (as in Michael Jackson…more legalese, I’m sure) provides some comical moon-walking, crotch-grabbing and high-pitch squealing.

Clarice Ordaz as Tiger Lily

Having nabbed a spot in the Top Five from Season 8 of So You Think You Can Dance, Clarice Ordaz appears in Peter Pan as Tiger Lily, the indian princess who befriends Peter and the Lost Boys. Albeit bordering on political incorrectness…what isn’t lately?…I personally found the character of Tiger Lily and the rest of the indians, in particular their clever choreography, quite funny.

Mason Trueblood and Ben Giroux

Speaking of funny, no one in the show is funnier than Ben Giroux as Smee. Smee is Hook’s figural right hand man (remember the captain’s literal right hand was chomped off by a crocodile). Rather than describing Smee as Captain Hook’s right-hand man, perhaps it’s more accurate to refer to him as his second banana, especially since Giroux is so dang hilarious—Google Back to the 90s for a peek at Giroux’s comedic genius. A huge part of what makes this Peter Panto so enjoyable, at least for the over 12 set, is Giroux’s quick witted delivery. As for the kiddies, they might recognize Giroux as the pint-sized villain, The Toddler from Nickelodeon’s Henry Danger. Several side jokes, many playing to the Music City audience by making reference to Nashville-centric themes, are so slyly delivered by Gireox that if you’re not paying full attention, you’ll miss them. One I found particularly humorous made reference to the fact that Tinker Bell wasn’t the only fairy in the story, but I’ll leave that one alone.

Diana DeGarmo as Tinker Bell

Speaking of fairies—the traditional kind—Tinker Bell is enchantingly, buzzily, brilliantly played by current Nashville resident, Diana DeGarmo. DeGarmo, while perhaps best known for being voted runner-up on season 2 of the original run of American Idol, DeGarmo has gone on to star on Broadway, in national tours and numerous regional musical theatre productions. From her opening duet with Tegan Marie’s Wendy on Nature Boy, DeGarmo sprinkles pixie dust, cheer and an entertaining helping of mischief into her portrayal of Tinker Bell. Diana, if you’re reading this, get to the studio ASAP and record your version of Nature Boy. It is ethereal and simply beautiful. Proving she can belt or ballad, Diana provides the show’s most musically glorious moment when she proves once and for all that big things do indeed come in small packages with her show-stopping rendition of the Aretha Franklin classic, Think. I was lucky enough to have been in the audience a few weeks ago for the December installment of Music City’s monthly Nashville House Concerts when DeGarmo performed a preview of her take on the iconic tune and it was marvelous. Should she ever assume the role of Tinker Bell again, I see #ThinkTink trending! An interesting bit of synergy: As mentioned above, DeGarmo got her big break on American Idol, Among Idol’s original producers— Nigel Lythgoe, who just so happens to be Peter Panto creator Kris Lythgoe’s father)

Tegan Marie and Garrett Clayton as Wendy Darling and Peter Pan

As for DeGarmo’s Nature Boy duet partner, Tegan Marie, who not only is the youngest female singer to sign a major country music record deal since Tanya Tucker, is also making her musical theatre debut with this show. As Wendy Darling, Tegan Marie is, well…darling, indeed. Garnering a huge and very devoted fan base of young girls just like herself, she began her career at a very young age by posting videos of herself covering classic songs, so covering The Chainsmokers Don’t Let Me Down as Wendy in this panto seems like a great way to ease her into musical theatre. Not that she needs to be eased into anything. At only 15, she’s so comfortable on stage in the role of Wendy, that playing Mother to Peter and the Lost Boys is a perfect fit. It’s no coincidence, that among Wendy’s songs in Peter Pan and Tinker Bell: A Pirate’s Christmas, Tegan Marie also performs her own current single, Make a Boy Cry within the show, providing another perfectly synergistic moment.

More Music City synergy comes in the casting of Wendy’s younger siblings, John and Michael, as well as the Lost Boys, as all these roles are played by Nashville youth. Alan Harrison Foeder and Lucas Shane alternating in the role of Michael and Andrew Hansen and Jackson Nolan rotating in the role of John.

Garrett Clayton as Peter Pan

Then there’s Peter Pan himself, played by former Disney heartthrob Garrett Clayton. After achieving success starring in two installments of the Disney Teen Beach Movie franchise, Clayton’s teen trajectory continued with the recurring role of Chase Dillon on The Fosters which aired on the Disney-owned ABC Family/Freeform network and a starring role as Link Larkin in TV’s Hairspray LIVE! Breaking out of the house of mouse, Clayton turned in a surprisingly adult and critically acclaimed performance in King Cobra, a bio pic centering ‘round the adult film industry, alongside James Franco in 2016. in 2017, he co-starred with his Peter Pan co-star Giroux in the previously referenced Back to the 90s and earlier this year Giroux produced Clayton’s hauntingly hot I Put a Spell on You just in time for Hocus Pocus‘ 25th anniversary. While Clayton continues to showcase his range from drama to musicals, Peter Pan is the perfect role. With his boyish matinee idol looks and boundless energy, he scarcely needs the high-flying wires as he leaps across the stage as the boy who’ll never grow up. His musical moments in Peter Pan are just as cleverly interwoven as the rest. Near the show’s opening sequence, Clayton performs Believe, a song made famous by Josh Groban as included in the hit Christmas movie, The Polar Express. With lyrics: “Believe in what your heart is saying. Hear the melody that’s playing” and “Give your dreams the wings to fly” is the perfect Peter Panto anthem. When he joins forces with DeGarmo on Fight Song the audience can’t help but believe that anything can happen second star to the right and straight on till morning.

Peter Pan and Tinker Bell: A Pirate’s Christmas continues its holiday run in Nashville at TPAC‘s Polk Theatre with matinee performances Friday and Saturday, December 21 and 22 at 1 p.m. and Sunday, December 23 at 11 a.m. and evening performances Friday, December 21 at 7:30 p.m., Saturday, December 22 at 6 p.m. and a final afternoon performances Sunday, December 23 at 4 p.m. Ticket prices start at $35, with a limited number of $25 Rush Tickets available 60 minutes prior to each remaining show’s start time. Click Here to purchase tickets.

Following a brief holiday break, TPAC’s Broadway series returns with the Nashville premier of the touring company of On Your Feet! the Story of Emilio & Gloria Estefan onstage at TPAC’s Jackson Hall from Tuesday, January 15 thru Sunday, January 20. Click Here for tickets or more information. You can also 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 cast of Studio Tenn’s ‘Beauty and the Beast’; onstage at Jamison Hall in The Factory at Franklin now thru December 30.

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‘Beauty and the Beast” opens at Studio Tenn on Friday, December 7 and continues through Sunday, December 30 (graphics and production images by Tony Matual/MA2LA/courtesy Studio Tenn) Actor headshots courtesy the artists)

For their holiday offering this year, Studio Tenn is presenting Disney’s Beauty and the Beast. As the company readied for the show’s Friday, December 7 opening night at Jamison Hall at The Factory at Franklin, I recently had the opportunity to chat with members of the cast for my latest Rapid Fire 20 Q.

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RAPID FIRE WITH HATTY KING, BELLE IN BEAUTY AND THE BEAST

JHP: Tell me about Belle?

HATTY KING: Belle is a lovely balance of strong and soft. Her mother died when she was young, so she had to grow up quickly to care for her father-this is where her strength comes from- but it didn’t harden her. Instead, it gave her an appreciation for life, and a thirst or adventure. She realizes that life is precious, and she longs to live fully.

JHP: What about Belle’s personality do you most identify with?

HATTY KING: There’s a youthful exuberance about Belle. She’s smart and grounded, but would totally race you to climb a tree. The idea of maintaining a childlike playfulness is certainly something close to my heart.

JHP: Studio Tenn has quite the reputation for creating gorgeous costumes for their shows. While aspects of Belle’s looks tend to follow the now-iconic and recognizable blue peasant girl and gold ballgown wardrobe pieces, something tells me Blake Danford, who’s costuming the show, has put his own spin on things. What’s your favorite Belle look in the show?

HATTY KING: The gold dress, oh my. It’s the perfect combination of authentic 1700’s decadence and classic Belle…and I’m not kidding about the decadence. Most of the dress is hand-sewn and it’s exquisite.

JHP: Two yeas ago you were Ariel in a local production of The Little Mermaid and now you’re starring as Belle, who, unlike Ariel, marries into her princess title. Which princess still remains on your to-do list?

HATTY KING: I recently got to see Anastasia in New York, and the role of Anya captured my heart. I’d love play her!

RAPID FIRE WITH PAUL BASWELL, GASTON IN BEAUTY AND THE BEAST

JHP: You’re playing Gaston. What’s the best party of being such an over-the-top narcissistic character?

PAUL BASWELL: Overall, the self confidence he exudes has been really fun to play with. It’s really taught me a lot personally.

JHP: This is your first time in a Studio Tenn production, right? What’s the experience been like so far?

PAUL BASWELL: I’d have to say it’s greatly exceeded my expectations. The talent in Nashville is astounding, and this has to be one of the most professional companies I’ve ever had the pleasure to work with. There’s nothing better than getting to go to work and laugh everyday.

JHP: As Gaston, you get to share a few scenes with on of my favorites, Curtis Reed, who’s playing Gaston’s loyal sidekick, Le Fou. Are you guys having fun?

PAUL BASWELL: He is actually one of the first friends I made when I moved to Nashville just over a year ago! I was so excited when I found out we would get to work side by side. We belly laugh every single day! He is insanely talented and creative and is always coming up with great ways to add depth to our scenes together. I couldn’t imagine doing this without him!

JHP: Gaston isn’t just your character’s name, it’s also the title of your big production number. Does choreographer Anna Perry have some fun surprises in store for fans of Gaston’s self-adoring sequence?

PAUL BASWELL: Without giving too much away, I’ll be chugging beer and belching! : Anna has done an amazing job with the entire show, and I can guarantee that you won’t be disappointed with Gaston. Everyone knows she can create gorgeous dance sequences, but the audience will be pleasantly surprised to see that she also has a knack for staging delightful bar scenes and brawls!

RAPID FIRE WITH JENNIFER WHITCOMB-OLIVA, MADAME DE LA GRANDE BOUCHE IN BEAUTY AND THE BEAST

JHP: Tell me about Madame De La Grande Bouche.

JENNIFER WHITCOMB-OLIVA: The Madame is quite the character. She is the life of the party, and she’s always ready for one! She’s kind of like the wacky Aunt at all of your family gatherings.

JHP: In the classic 1991 animated film, your character, though called simply Wardrobe, was voiced by hilarious comedian, Jo Anne Worley. In the 2017 live action remake, Garderobe was played by the always divalicious Audra McDonald. Having known you for a few years now, I can totally see aspects of both of these grande dames in you. Would Playful Diva accurately describe your Madame De La Grande Bouche?

JENNIFER WHITCOMB-OLIVA: I think my Madame definitely has a sense of play. I think she comes off silly at times, only because she is completely serious in everything she does. Before she was Enchanted, she was THE opera diva. She was commanding the royal stage. So she is ready to bring in thunderous applause, but she also has no patience for ridiculousness. Madame Bouche would not be the woman to anger. As long as you let her be the center of attention, you can sit with her.

JHP: It’s been a minute since you’ve been in a Studio Tenn production. What are you enjoying most about being part of this show?

JENNIFER WHITCOMB-OLIVA: I am just absolutely having a ball! I love fantasy so much! What could possibly be better, than playing and enchanted object, and singing a Disney score?! I also love any chance I get to use my classical voice. My roots are in classical music, so it always feels special when I get to sing it.

JHP: As Madame De La Grande Bouche, many if your scenes are with Hatty. What’s she like as a scene partner?

JENNIFER WHITCOMB-OLIVA: Hatty is such a treasure. I love every moment I get to share with her. She’s such a warm, and giving scene partner. She has a way of making everything seem so natural. The way she glides from song to scene with such passion, is so wonderful to watch.

RAPID FIRE WITH BRADLEY GALE, LUMIERE IN BEAUTY AND THE BEAST

JHP: What do we need to know about Lumiere?

BRADLEY GALE: I’d say the only thing you really need to know about Lumiere is that he’s sassy, the opposite of tight-lipped, never afraid to be in the “spotlight”, but most importantly loyal and loving (sometimes to a fault!)

JHP: Lumiere is frequently paired on-stage with Cogsworth, played in this production by Shawn Knight. Tell me about working opposite him?

BRADLEY GALE: It’s always a little nerve wracking when you’re the new kid in school especially when the teacher pairs you up to partner on a project with someone like Shawn Knight! But after our first encounter in callbacks he immediately pushed my fears aside. Shawn is a master class in timing and moreover a generous and supportive scene partner. From day one we started a witty banter full of the perfect balance of loath and love and now we’ve taken it to the stage.  I’ll let the audience be the ultimate judge; but I’m very proud of what we’ve been able to create together in such a short amount of time; as Shawn said on day one of rehearsals, “when shopping for Cogsworth memorabilia at Disney World…You just can’t buy Cogsworth without Lumiere!”.  And I wouldn’t want it any other way!

JHP: Aside from the show’s titular tune, Something There is probably my favorite. Wanna take a minute to just gush about what it’s like to be in a show with such a gorgeous score written by musical theatre legends Alan Menken, Tim Rice and Howard Ashman?

BRADLEY GALE: Singing the music of Beauty and the Beast is nearly every musical theatre kids dream come true. Its themes are probably some of the most recognizable musical themes of our time and the harmonies you’ll hear are EXACTLY what you want to hear at the end of every belty show-stopping number! When you add in voices like those assembled for this production its a soundtrack that I’ll happily be listening to on repeat through the month of December. Aside from the on stage voices just wait till you hear this orchestra under Stephen Kumer!

JHP: I frequently say I could live on a Studio Tenn set. Mitch White is designing the set for Beauty and the Beast. What can you tell me about it and other technical aspects of the show?

BRADLEY GALE: Mitch White never disappoints and this one is a doozy. You’ll walk in to Jamison Hall and immediately feel like you’ve walked into the castle. I don’t want to ruin any surprises but let’s just say;  it’s huge and it is Blue-tiful. ;-P. Don’t even get me started on the costumes and wigs! Blake Danford has designed and executed amongst numerous other magical pieces, a set of the coolest Candle stick hands I’ve ever seen…And yes they do light up!!!  Also, Allison Hearn has made me feel like a gorgeous hair model from Versailles! Much love and gratitude to our amazing design team!

RAPID FIRE WITH PATRICK THOMAS, THE BEAST IN BEAUTY AND THE BEAST

JHP: Who is The Beast to you?

PATRICK THOMAS: The Beast, though a magical Disney character, is still very much a human like any of us. He is any one who has ever let their circumstances define them. He blames a world he does not understand instead of his own shortcomings for his misfortunes. Unable to see the goodness around him he is temperamental, withdrawn, and full of self-loathing. In the most human way possible, it takes real love and inner beauty to thaw a heart that had long grown cold.

JHP: Playing The Beast isn’t just extra hair/makeup/prosthetics. I’m guessing it’s also a different approach to your physicality, speech and attitude. Is there one of these aspect that, once you’ve adapted it, you feel you become The Beast?

PATRICK THOMAS: Not necessarily. It’s a combination of the costume, the lower vocal placement, wider stance, broader shoulders, all of it really. Needless to say I’ve spent lots of time in front of a mirror lately in an effort to get it just right.

JHP: Some Studio Tenn audiences might remember you best for your appearances in the company’s popular Legacy series or the performance-heavy Christmas specials. Those are pretty straight-forward music performances, rather than theatrical characters with a bit of dialogue and character development. How much fun are you having stepping into a character like The Beast?

PATRICK THOMAS: This feels like a return to my roots (though most wouldn’t know it.) Both my parents were Broadway actors so I grew up hearing musical theatre. Having the chance to act and sing in a totally different style has been quite freeing. It’s a nice break from my pop/country music career.

JHP: While The Beast eventually shows his softer side, much of the show sees him grousing and gnarling at those closest to him. Do you see parallels between The Beast’s emotional transformation and the overall moral of the show?

PATRICK THOMAS: Of course. No one tells a story like Disney and there’s a reason this one is such a classic. Hopefully as audiences watch this magical production they will pick up on the underlying theme. Beauty is indeed found within. And hey, even if they miss it, at the very least we hope everyone will leave thoroughly entertained.

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With Studio Tenn’s flawless history of presenting Broadway-worthy productions time and time again, there’s no doubt their production of Beauty and the Beast will be talked about until the final petal falls. Studio Tenn’s Beauty and the Beast plays Jamison Hall at The Factory at Franklin with select matinee and evening performances from Friday, December 7 thru Sunday, December 30. Thursday thru Sunday evening performances begin at 7 p.m. Saturday and Sunday matinees begin at 2 p.m. Special Wednesday, December 26 performances will be at 2 p.m. and 7 p.m. Tickets range in price from $30-$90. CLICK HERE to purchase tickets.

Following the 7 p.m. Sunday, December 9 performance, Studio Tenn is offering an exclusive post-show Meet and Greet with Belle for an additional $5. CLICK HERE to purchase the additional Meet and Greet tickets. On Saturday, December 15 and Saturday, December 22, Studio Tenn is offering Backstage Tours at 12noon prior to the 2 p.m. matinee performance on those two days. CLICK HERE to purchase the additional Backstage Tour tickets.

After Beauty and the Beast, Studio Tenn’s 2018/2019 Season continues with Tennessee William’s Cat on a Hot Tin Roof from Friday, February 8 thru Sunday, February 17. That will be followed by this year’s Legacy Series entry, The Sinatra Legacy: A Tribute to Ol’ Blue Eyes, onstage at The Franklin Theatre, Thursday, March 14-Sunday, March 17. Studio Tenn will wrap their current season with Damn Yankees from Friday, May 17 until Sunday, June 2. 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.