JHP Entertainment

Entertainment News, Reviews and Interviews

Dinner Theatre

Rapid Fire 20 Q with director and cast of ‘Barefoot in the Park’; at The Keeton Dinner Theatre April 11-27

by

During the time Neil Simon’s BAREFOOT IN THE PARK played Broadway, the prolific playwright was enjoying major success, at one point having a total of four plays running simultaneously on the Great White Way. For its initial effort, the play received four Tony nods, taking home Best Director for Mike Nichols. Opening in 1963 and closing in 1967, BAREFOOT IN THE PARK become Simon’s longest-running Broadway show, and Broadway’s tenth longest-running non-musical ever. The year the play closed on Broadway, a film adaptation premiered in theaters, transferring the success of the show to the big screen and widening the audience to movie-goers world-wide.

With such rich history, it’s no wonder The Keeton Dinner Theater has chosen BAREFOOT IN THE PARK as their latest endeavor. Directed by Lenny West and starring Regan Aycock, Evan Fenne, Aleah Christian, Steve Mook and Chad Stem, The Keeton’s BAREFOOT IN THE PARK opens Friday, April 11 and continues through Sunday, April 27. Earlier this week, literally days before the show’s opening, I had a chance to chat with the director and three of the show’s stars for my latest Rapid Fire 20Q. What follows are those conversations.

—————

Rapid Fire 20 Q with director and cast of The Keeton’s BAREFOOT IN THE PARK

Rapid Fire with BAREFOOT IN THE PARK’s Corie, Regan Aycock

JHPENTERTAINMENT: What can you tell me about Corie Bratter, the character you play in The Keeton’s BAREFOOT IN THE PARK?

REGAN AYCOCK: She’s so lovely, she loves life, she loves love, she’s quick to emotion, but quite literally always just wants to have a good time. I think Corie is the little voice in the back of all of our heads that tells us to get mad or get excited, or cry tears of joy. She’s truly all of us, especially those of us who are in love. On the surface though, she’s a 21-year-old new wife that’s trying to start her life with her new husband. Just a girl.

JHPENTERTAINMENT: In preparing to chat with you and the other company members of BAREFOOT IN THE PARK, I discovered the 1981 HBO presentation starring Richard Thomas, Bess Armstrong and Barbara Barrie is available on YouTube. Pretty sure I saw it back then, but It’s been years since I’ve seen this Neil Simon classic live on stage. How excited are you to be part of this particular production?

REGAN AYCOCK: Funny you mention it! That production is actually how I memorized Cories lines, I listened to it day in and day out for weeks in order to get lines down! As for excitement—you have no idea. I wept like a baby when Lenny offered me Corie. I’ve been off the stage for quite some time now, and Barefoot auditions were simply just to get my feet wet again in terms of acting. I had no inclination that I would get Corie. Now I get to spend a little time with her every day. When I told Lenny I was going to take good care of her, I meant it. This is also such a lifelong goal of mine. I’ve been doing theatre for over a decade, and I can’t say I’ve ever been THE girl. Every actor has that dream of getting to lead a show, and Lenny gave me the opportunity to cross that off my list–It just so happens that Corie is also genuinely lovely. I’ll thank him every day for the experience.

JHPENTERTAINMENT: BAREFOOT IN THE PARK takes place in a small New York apartment of newlyweds Corie and Paul Bratter. In fact, the first half-hour of the play centers around the young marrieds settling in, so I gotta ask…What do you remember most about your first apartment after moving out from your parent’s home?

REGAN AYCOCK: I still live in it! I was very fortunate to have some help moving from St. Louis to Nashville, so my apartment wasn’t in quite the state that Corie and Paul’s is (plus, there’s an elevator rather than six flights of stairs) It was scary when I first moved though, I lived by myself so I didn’t know how to fill the time. It was a brand new building however, so things did break often–but on the bright side, I had a bathtub!

JHPENTERTAINMENT: The show’s title comes from Corie’s carefree attitude towards life, as she encourages her rather uptight business-minded newlywed husband to seize unconventional opportunities in life. Is that an attitude to which you yourself subscribe?

REGAN AYCOCK: To be honest, the biggest challenge that came with playing Corie was her energy. Having to pull her loveliness and energy was difficult, as I’m a bit more of a Paul in real life. I wish to be more like Corie, she just has so much fun no matter what she’s doing. What I do have in common with her though is I think with my heart first rather than my head, there are a few lines in act 1 where I think to myself “I don’t even need to act right now”.

JHPENTERTAINMENT: How much fun are you having being ‘married’ to your onscreen hubby, Evan Fenne?

REGAN AYCOCK: I’ve actually known Evan for a little bit now, we did a show together back in 2022, but hardly interacted, if at-all. It’s been great actually getting to connect with him, he’s a phenomenal actor, and an even sweeter guy. It’s nice having so much trust in a scene partner. Getting to be married is something that I’m having a lot of fun with, and it only got easier as myself and Evan got to be better friends. I can’t say enough good things about him, truly—he’s a class act.

Rapid Fire with BAREFOOT IN THE PARK’s Paul, Evan Fennel

JHPENTERTAINMENT: Who is Paul Bratter to you?

EVAN FENNE: To me, Paul Bratter is a guy who can’t fight the fact that he is a very particular and neat person, no matter how hard he tries. I think his whole life, he has been trying to prove that he can be “fun.” And he does like to have fun, just the Paul way.

JHPENTERTAINMENT: Is there an aspect of Paul’s character that you’d like to incorporate into your own life?

EVAN FENNE: I really love the heart of the story being how two people who are so different can be so in love and value each other so much. Paul’s ability to love Corrie for all the ways she balances him out is one I’d like to exemplify in any of my relationships, not just romantic. Even when they’re fighting, I know Paul is saying everything with the implication that he still loves her.

JHPENTERTAINMENT: How familiar were you with the role prior to auditioning? AND…what was it about this show and this role in particular that prompted you to audition?

EVAN FENNE: I actually portrayed Paul in an acting class and read the play when I was at Belmont, so I was fairly familiar. After that, Paul became a dream role for me. I love Neil Simon’s sense of humor, and I immediately understood and loved Paul. When I saw that the Keeton was putting it up, I was immediately excited to audition. I’m very thankful that I was cast, and the experience has been amazing.

JHPENTERTAINMENT: Quite often, it’s little details within the set decoration or props that prove the most interesting. Is there an aspect of the set that you enjoy and hope audiences take note of?

EVAN FENNE: The use of color in the set is particularly awesome to me. It’s the perfect amount and balance where it’s fun to look at but not too much. The space is also filled so well, and to be honest, it’s better decorated than my own apartment!

JHPENTERTAINMENT: When I chatted with Regan Aycock, I asked her about sharing the stage with you as young marrieds on stage, so I’ll ask you about having Regan as your ‘wife’? How is she as a scene partner?

EVAN FENNE: It’s been wonderful and a breeze to share the stage with Regan. We both have a lot of fun during the big argument because Paul and Corrie are trying to push each other’s buttons, while Evan and Regan are borderline trying to make each other break. She also cares greatly about making sure each of us feels comfortable and safe during scenes, for which I’m very grateful.

Rapid Fire with BAREFOOT IN THE PARK’s Ethel, Aleah Christian

JHPENTERTAINMENT: Keeton audience will no doubt recognize you, having portrayed Belinda Blair in their 2024 production of NOISES OFF. Loved you in that role, by the way! Now you’re playing Ethel Banks, aka Mother in BAREFOOT IN THE PARK. How would you describe Ethel?

ALEAH CHRISTIAN: Ethel is such a fun character to portray.  She’s a devoted mom who’s spent most of her life doing what’s expected of her, but there’s this spark in her that hasn’t gone out—she just hasn’t had a reason to let it shine in a long time. Throughout the show, you see her get a little bolder, a little braver, and it’s really heartwarming. I love that she has more interest in her character than just “The Mom.” Ethel is rediscovering parts of herself.

JHPENTERTAINMENT: What’s your favorite scene or bit of dialogue from the show?

ALEAH CHRISTIAN: There’s a scene where Ethel has just climbed all those infamous stairs and is trying so hard to act like she’s completely fine. The physical comedy is so relatable—like when you’re trying to look composed but your body is saying, “Nope!”

JHPENTERTAINMENT: If research serves, this isn’t your first time being directed by West, having starred as M’Lynn in a 2019 production of STEEL MAGNOLIAS under his direction. What is one aspect of West’s direction that you appreciate as an actress?

ALEAH CHRISTIAN: I love working with Lenny. He’s so intuitive and creates a space where actors feel supported but also challenged in the best way. He gives you the freedom to make bold choices, but he’s always there with a thoughtful note that somehow unlocks a deeper layer of the character. His timing is just spot on. He knows how to bring out the best in a cast. Lenny is selfless and meticulous in overseeing every detail. Honestly, I could go on… I am so grateful for the opportunity to work with him again!

JHPENTERTAINMENT: Some of the show’s funniest scenes happen between Ethel and Victor Vilasco, the rather eccentric upstairs neighbor of Paul and Corie. In this production, Victor is played by Steve Mook. What’s been the best thing about sharing the stage with Steve?

ALEAH CHRISTIAN: Steve has been a joy to work with! He brings so much charm and spontaneity to Victor. We’ve had a blast finding that chemistry between our characters. We are still discovering moments. He’s one of those actors who keeps you on your toes in the best way, you never feel like you’re just going through the motions. He is a great scene partner and it’s been a lot of fun sharing the stage with Steve. 

JHPENTERTAINMENT: At one point, playwright Neil Simon had four plays running in four Broadway theatre at the same time, BAREFOOT IN THE PARK being one of them. While that was during the mid-60s, his work is just as timeless, entertaining and funny today. Why do you think his work holds up so well?

ALEAH CHRISTIAN: Neil Simon’s writing is rooted in real people. Even with all the comedy, his characters feel familiar. They are flawed, funny, and trying to figure things out…just like the rest of us. His dialogue is so sharp, but also full of heart. You laugh because it’s funny, but also because you recognize yourself (or someone you know) in these characters. In essence, his work is timeless and relatable on so many levels. 

Rapid Fire with BAREFOOT IN THE PARK director, Lenny West

JHPENTERTAINMENT: I understand this is your third time to direct BAREFOOT IN THE PARK. So, I gotta ask…What keeps you coming back to this particular work?

LENNY WEST:  You are correct!  This is indeed my third time in the director’s chair for this gem of show.  BAREFOOT IN THE PARK is the very first play I ever directed, so it absolutely holds a special place in my heart and that’s certainly part of what keeps me coming back to it.  Getting to check in with Paul, Corie, Mrs. Banks, Mr. Velasco & Harry Pepper every 10-ish years is like getting a warm hug from an old friend.  I think it’s also a terrifically funny script.  Most people will know Neil Simon from The Odd Couple, his most famous play, but I personally think Barefoot in the Park is his best.  It’s story and the circumstances our characters find themselves in, while a bit exaggerated for comic effect of course, are pretty true to life and many people will recognize themselves in it. It’s one of the classic comedies of the American theater, and classics are classics for a reason.  They deserve to be taken out, dusted off and revisited every now and then.  Also, the opportunity just  keeps presenting itself!    

JHPENTERTAINMENT: Having directed the show three times, some might think you simply just plug in the new cast from each company, so what it is about this piece that allows you to find new ideas as a director from production to production?

LENNY WEST: That’s a great question, and it comes down to primarily two things:  First, my perspective and life experience has been different each time, so it’s impossible to not bring a bit of that to the project.  22-year-old-me saw the world and this play very differently from 34-year-old-me who sees things even more differently from (almost!) 45-year-old-me.  I think a great work of art is one that you can revisit over and over and each time it will speak to you in a new way based on where you are on this crazy journey called life.  While the bones of the play obviously stay the same and the truths at the center of the story remain, fresh nuances are revealed each time I come back to the play.  The second thing is the performers I have been fortunate enough to work with each time.  Each actor brings their own experience and interpretation and talent and those things of course will inform how they inhabit their roles  As a director, I learned a long time ago to never ever try to squeeze a performer into a prior interpretation of the role.  It never works!  And what a gift it has been to see three very different groups of individuals bring this universal story to life!  I’ve been incredibly lucky.  

JHPENTERTAINMENT: BAREFOOT IN THE PARK marks your debut with The Keeton. How did directing this show for Keeton come about?

LENNY WEST: This opportunity sort of sought me out, actually.  Nashville theater legend Linda Speir is a dear friend and one of The Keeton’s board members.  She has been nudging me for a few years (sometimes gently, sometimes no so gently!) to come and work at The Keeton in some capacity, but the timing was never quite right and the right project hadn’t presented itself.  Last spring after The Keeton’s new season was announced, Linda nudged again and the time and the project were both right, and one thing led to another and here we are!.  And I’m glad she kept nudging!  I’ve had a great time at The Keeton.  

JHPENTERTAINMENT: The entirety of BAREFOOT IN THE PARK takes place in a relatively small fifth floor New York walkup. What are the challenges and advantages of directing, what is a single set piece?

LENNY WEST: Ordinarily, I’d say that a play with a single set is a huge advantage in that once it’s built and decorated, you’re essentially finished and can move on to making the staging and movement of the actors interesting and visually appealing, which admittedly can be a challenge on a static set.  However, with Barefoot in the Park the conceit is that the first scene takes place the day that Corie & Paul move into their tiny apartment–so essentially an empty room–, and the next scene is four days later after furniture has arrived and after the room has been decorated and brought to full, colorful life.  So, sure, it’s one single set, but there is a MAJOR scene change that must occur.  No spoilers here as to how we accomplish it–to find out, you’ll just have to come see the show!  

JHPENTERTAINMENT: What do you hope audiences remember long after seeing The Keeton’s production of BAREFOOT IN THE PARK?

LENNY WEST: BAREFOOT IN THE PARK is first and foremost a delightful, often laugh-out-loud comedy with a huge heart, so I hope audiences will remember that they (hopefully!) had a great time watching the trials and tribulations of Corie & Paul’s first week of marriage.  But Neil Simon–that old sneaky devil–doesn’t let us off that easily.  The moral of story as I see it is that to make any kind of relationship successful, there must be compromise, there must be give and take, and everyone involved must be willing to take a small step outside of their comfort zone in order to see world from the other person’s perspective.  We shouldn’t only seek to be understood but we must also seek to understand.  We should see and appreciate and celebrate differences and eccentricities in others rather than finding fault with them.  ….and if can do that, you just might find something beautiful.   These things are necessary in order to really connect with another person, and in a world that is increasingly isolated and divided, we need connection now more than ever.  That Neil Simon….he might’ve been on to something, eh?  

—————

The Keeton’s BAREFOOT IN THE PARK opens Friday, April 11 and continues through Sunday, April 27 with 7pm shows Thursday through Saturday and a 2pm matinee on Sunday. Thursdays are Show Only nights (Show Only tickets are $30). As always, The Keeton’s dinner offering is a perfect compliment to their current show. For BAREFOOT, The Keeton is serving Dinner Salad, Pork Chop with Gravy, Mashed Potatoes, Green Beans, a Rolle and Apple Cobbler with Ice Cream. Dinner and Show tickets are $40 (plus a $2 fee) For Adults and $35 (plus $2 fee) for Children. For a slight uncharge, Salmon can be substituted as the main entree. For groups of 15 or more, The Keeton offers a group rate of $38 (plus $2 fee) per person. CLICK HERE for tickets.

Following BAREFOOT IN THE PARK, The Keeton will host their annual fundraising gala, A Night Under The Stars. Tickets to the event are $60. CLICK HERE for tickets or more information. Following the gala, The Keeton’s current season continues with COMPANY June 13-29. CLICK HERE for tickets and more information.

So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

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

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

by

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

_____

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

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

JHPENTERTAINMENT: Who is Cynthia Weil to you?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH BEAUTIFUL STAR, LAYLA FRANKEL

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

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

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

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

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

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

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

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

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

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

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

_____

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

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

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

Theatre Review: Playwright William Inge’s ‘Bus Stop’ at The Keeton proves the wheels of love and longing still turn some 68 years after show’s Broadway debut

by

Before checking out The Keeton’s presentation of William Inge’s 1955 play, Bus Stop (on stage at The Keeton Dinner Theatre/108 Donelson Pike, Nashville, TN 37214 thru Sunday, October 27), I revisited the now-famous 1956 film adaptation starring Marilyn Monroe, as well as the early-80s HBO teleplay featuring Superman’s Lois Lane, actress Margo Kidder to refamiliarize myself with the piece. I was immediately struck with how different the play version is from the film. I also couldn’t help but notice some of the action of the play seems a bit dated, so I was curious how Erin Grace Bailey, who’s directing the show for The Keeton would approach the material.

The play takes place in the mid-1950s in Kansas on a wintery night where we find a quartet of travelers and their bus driver unexpectedly snowed in at Grace’s Diner, a little roadside eatery that also serves as a regular stop of passing busses routes. The bus driver, a jovial fellow with a strictly ‘passing through’ relationship with the diner owner, brings his passengers into the diner for shelter from the storm. The passengers include a mouthy young cowboy, his longtime friend and right-hand-man, a nightclub singer and an alcoholic, womanizing professor. The diner is operated by a middle-aged woman and her teenage waitress. Rounding out the cast of characters is the local sheriff, who frequents the diner most days.

As the play began, my mid-century-loving heart warmed at the sight of the set designed by Kevin Driver, The Keeton’s resident technical director. Driver has outdone himself with Grace’s Diner. On occasion, The Keeton sets are a bit rudimentary and one-dimensional, but not this time. From the lunch counter and barstools to the wood-burning stove and period-appropriate wall phone and soda pop signs…perfection. Heck, there’s a magazine rack boasting cover images of some of the 1950s biggest names, including Elizabeth Taylor, Jackie Gleason, Lucille Ball and Desi Arnaz (you know I loved that). There’s even a clever wink to the aforementioned Monroe on the cover of Life Magazine…all recreated by The Keeton’s go-to graphic designer, Danny Proctor.

Gotta acknowledge the incidental music played before the show and during intermission. I’m almost certain I heard a little Doris Day and Ella Fitzgerald among the period-perfect tunes. Speaking of, if you’re looking for a recreation of Marilyn Monroe’s infamous interpretation of That Old Black Magic, sad to say, you’re out of luck. For some reason, the show’s nightclub singer performs Stars Fell on Alabama instead. I disappointment for yours truly, for That Old Black Magic is even what the playwright mentions in the original script and in every production of Bus Stop that I’ve seen through the years, it’s always a memorable moment in the show.

Nonetheless, when the action starts, the audience meets Jena Salb as Grace Hoylard, the diner owner and Hazely Sanderson as Elma Duckworth, her high school-aged waitress. Salb’s Grace, like the set, is right out of the 50s, all cigarettes and sass. The kind of role actresses like Mary Wickes or Ann Southern played. OK, so Salb’s Grace isn’t all sass..the show contains scenes that show kinder side of Grace, in particular with her interactions and caring for young Elma. As for Elma, Sanderson’s portrayal is sweet, curious and a bit naive. A recent high school graduate herself, this role marks Sanderson’s first post-high school production. Mark my words, Nashville, keep an eye on this talented young woman.

Cherie as played by Fiona Barrett’s, presents the character as a self-described chanteuse who’s been kidnapped by a brutish, but childish cowboy. Cherie’s entrance is worth the wait, after all, she’s taking on the role that Marilyn made famous, right? Comparisons stop right there. Yes, the actress is wearing a platinum blonde wig in an effort to evoke memories of Marilyn, but Barrett, as directed by Bailey, quickly lets the audience know that she’s making Cherie her own. Where Marilyn employed her usual breathy baby talk as Cherie, Barrett is unapologetically loud. She’s funny when the script calls for it, but also equally real and emotional at times, and makes no secret of her initial disdain for the cowboy. Now if they could just set the body makeup so the actress’s tatted and makeup-covered arms didn’t smear concealer all over her lilac dress, I could have focused more on her performance. But at least they attempted to cover her ink, which is more than was done at The Keeton’s recent Footloose run. I’d never seen so many high school kids with tats, but I digress.

About that dress, though…Kudos to the show’s costumer, Donna Driver, who also happens to be The Keeton’s Managing Administrator. Cherie’s lilac dress and floral coat, not to mention her later literal and figural red hot chanteuse costume, and other aspects of the show’s wardrobe, are indeed spot on. I loved the bold choice of Virgil’s western shirt and Bo’s fringe jacket, and the diner uniforms. It’s the attention to details like this that can easily make or break the believability of a period piece and Driver’s eye for detail is evident herein.

Following a brief, but notable role as one of the hoodlum friends in The Keeton’s recent Footloose, Josh Mertz shines as the 21-year-old rodeo rider, Bo Decker. Presenting Bo as a spoiled-rotten brat of a man child, his tantrums almost become a bit too much, but thankfully, the director has reigned him in just enough. He’s another younger actor that I’m sure we’ll be seeing more of.

Rich Moses as local sheriff, Will Masters is just about as good as it gets. His rough and tumble attitude when dealing with Bo’s outrageousness, nicely balanced with a bit of Will’s more tender side when consoling Cherie. Strength and compassion, Moses’ Will possesses both. When we chatted last week for my Rapid Fire 20Q, I mentioned that Claude Akins had played the role of Will in the 1982 teleplay and funnily enough, Moses admitted he’d been though of Akins’ Sheriff Lobo from the BJ and the Bear sitcom…and it showed.

Dean Bratton, a relative newcomer to the Nashville theatre scene, is enjoyable as Virgil, Bo’s friend and frequent voice of reason. If Jiminey Cricket were a looming presence of a man, he’d be Bratton’s Virgil. He too gets a tender moment with Cherie, as well as a much-deserved what’s what chat with Bo, allowing Bratton to showcase a bit of range as a performer.

Mick Grayson, who’s had a very busy few months, having recently appeared in local productions of Sordid Lives, An Ideal Husband and Aunt Sally’s Wild Ride, while undeniably charming and likable, is unfortunately miscast as Dr, Gerald Lyman. Not even the old high school drama department trick of spraying a little grey in his hair can convince the audience he’s the thrice married lothario he’s portraying. Nonetheless, Grayson steps up as much as he can and delivers an enjoyable drunken reenactment of Shakespeare’s Romeo and Juliet’s balcony scene alongside Dr. Lyman’s latest attraction, Sanderson’s Elma.

Rounding out the cast is Eric Crawford as Carl, the bus driver. Crawford’s Carl is hilarious. His flirtations with Salb’s Grace, including some “did they really just say that?” lines that must have shocked some mid-50s audiences back in the day, bring a light-hearted tone.

When I interviewed the cast before the show opened last week, I noted that Bus Stop is a slice of life play. More accurately, it’s a slice of nostalgia play. Are there plot elements that today’s audience might find cringe-worthy as the kids of 2020 might have said? Yes. After all, the set up for the entire show is Cherie runs off the bus as soon as it stops, with suitcase in hand, in hopes of escaping Bo, who forcibly carried her onto the bus and told her he was taking her to Wyoming to marry him…and this after just one night together. On that subject, I love that the playwright, even back in 1955, allowed Cherie to own her sex and sexuality. When it’s revealed that Cherie has had numerous suitors, while Bo’s actions could be attributed to the fact that Cherie was his first, there’s a sweet line in the show to the effect that Cherie’s experiences balance out Bo’s lack thereof.

Rest assured director Bailey successfully maneuvers the story—occasional antiquated ideals et al—thanks to her talented cast, presenting Inge’s Bus Stop as a look back at theatre when show’s depended on heart, not special effects. All in all, The Keeton’s Bus Stop is definitely a worth a visit.

The Keeton’s Bus Stop continues through October 27. Dinner and Show tickets are $40 for Adults and $35 for Children. Show Only tickets are $30. For evening performances, doors open at 5:45p.m. with dinner served at 6p.m. and the show beginning at 7:30p.m. Shows with a Thursday show only performance open doors at 6:30p.m. with show at 7p.m. Sunday matinee hours are as follows: doors at 12:45p.m./lunch at 1p.m. and show at 2p.m. CLICK HERE to purchase tickets. As always, The Keeton coordinates their dinner menu to compliment the show. For Bus Stop, the pre-show meal will consist of a Dinner Salad, Country Fried Steak with Pepper Gravy served with sides of Mashed Potatoes, Green Beans and Roll with Cookies and Cream Pie for dessert. 

Next up at The Keeton is A Christmas Story: The Musical, with performances December 5-22.  WATCH THIS LINK for tickets or more information soon.

To keep up with the latest from 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 cast of William Inge’s ‘Bus Stop’; Opening at The Keeton October 11 thru 27

by

For their latest dinner theatre offering, The Keeton Theatre will present William Inge’s 1955 Tony-winning play, Bus Stop with performances Friday, October 11 thru Sunday, October 27. Directed by Erin Grace Bailey, Bus Stop features among its cast Josh Mertz, Fiona Barrett, Rich Moses and Jena Salb. As the cast and crew put the finishing touches on the show, I had the chance to chat with the four stars to get their take on the play, the characters they’re playing, and yes, the famous folk who’ve come before them in previous stage and screen adaptions of this classic slice-of-life work. What follows are those conversation.

—————

Rapid Fire 20Q with Cast of The Keeton Theatre’s Bus Stop

Rapid Fire with Josh Mertz, Bo Decker in Bus Stop

JHPENTERTAINMENT: Keeton audiences last saw you in the supporting role of Travis in their recent production of Footloose and now you’re playing leading man, Bo in Bus Stop. How excited are you to step front and center with this role?

JOSH MERTZ: It is such an honor and a privilege to get to perform at the Keeton. I used to see shows here growing up and dreamed of one day being on that stage. I’m very grateful for the theater family that I have made over the past couple months . I am very blessed that Erin Grace(our director) trusted me to tell her vision of the show as Bo Decker. He is such a fun role to play because yes, of course he’s the comedic relief but also his character arc is about his journey in finding true love and growing up. I believe there isn’t any small roles in theatre because at the end of the day, every actor upon that stage affects how story is told to the audience. 

JHPENTERTAINMENT: On the exterior, Bo seems to be a bit of a ruffian. How much fun are you having playing this type of character?

JOSH MERTZ: Bo Decker is one of the wildest characters I’ve ever portrayed on stage. Developing the mannerisms, voice And even walk of this character has been the most fun I’ve had with a role in a while. I feel like with every rehearsal was bringing something new to the table and I’m still finding things to incorporate with the character. I can’t wait for everyone to see who Bo really is. 

JHPENTERTAINMENT: Within the context of Bus Stop, Bo is said to be a rodeo champion. I understand you’re a Nashville native yourself, so I gotta ask…any experiences or interactions with livestock in your own background?

JOSH MERTZ: The closest I’ve ever been to something of that nature is my grandmother lives out in the country of South Carolina and owns horses and goats. I absolutely love animals and I’ve seen a couple of rodeo shows growing up. I actually hope one day to go horseback riding again. 

JHPENTERTAINMENT: Bo has fellow cowboy Virgil Blessing (played by Dean Bratton) as a bit of a mentor and occasional voice of reason. Is there a Virgil in your own life who sets you straight now and again?

JOSH MERTZ: The Virgil of my life was definitely my Pawpaw David Atchison. We lost him about a year and a half ago from a long battle with COPD. Anytime I ever had a life question or just needed to get something off my chest or needed better guidance on something, I would go and sit in my Pawpaw‘s room and talk about it. He was one of the best men I’ve ever known and I miss him every day. he always knew the right answer and lived his whole life with love and compassion towards others. He wanted me to follow my dreams so this is why I dedicate all my performances since to him. 

JHPENTERTAINMENT: I’m about to chat with Fiona Barrett, who plays Cherie to your Bo. What’s she like as a scene partner?

JOSH MERTZ: Getting to know this whole cast  has been such a blessing in my life. Everybody brings such an amazing energy to the show and it’s magical to be in. Fiona as a scene partner has been so fun to work with. She’s never afraid to make bold choices and very willing to try new things on stage. Could not ask for a better Cherie to my Bo.

Rapid Fire with Fiona Barrett, Cherie in Bus Stop

JHPENTERTAINMENT: Who is Cherie to you?

FIONA BARRETT: Cherie, to me, is a symbol of strength and perseverance, with a dash of fun and carefree nature. I say this to not only reflect her character in general, but also when thinking about the things she’s had to overcome in her past and present. She’s survived the lowest of lows and the highs of being on top; that, to me, creates a well-rounded character with depth, blended beautifully with a cheeky attitude.

JHPENTERTAINMENT: From your bio, I understand the role of Cherie marks the end of a five-year hiatus from the theatre. What’s it like being back on stage?

FIONA BARRETT: It’s truly been a gift; no exaggeration. Being back on stage feels like I’ve come home again. I spent a good fifteen years of my life doing theatre in my younger years, and I forgot how much joy it brought me until the rehearsal process started for Bus Stop. It’s revived my love for theatre and I won’t be stopping any time soon!

JHPENTERTAINMENT: Doing a little research in preparation to chat with you and your fellow cast mates, I revisited 1956’s film adaptation, which came out one years after the Broadway debut of the stage play. In it, Marilyn Monroe plays up Cherie’s naive sex kitten side. I also checked out 1982’s HBO teleplay in which Margot Kidder (Lois Lane in 1977’s Superman: The Movie) approaches the role with a bit of humor and clumsy charm. I’m curious how you’ve chosen to play the iconic role?

FIONA BARRETT: While I auditioned with the mindset of visually portraying Marilyn, my interpretation of Cherie comes forward with strength and wittiness, combined with that charm and appeal you may have seen in the past. I wanted to bring my own interpretation of the character itself to life based upon the text, but I also wanted to acknowledge that Cherie is still a beautiful young girl with a sense of humor and sweet disposition. To me, Cherie isn’t just a bombshell blonde dancer; she’s a young woman that’s grown up more quickly than most and has developed a keen sense of navigation of the world around her, even if it hasn’t been as kind to her as she’d like for it to be.

JHPENTERTAINMENT: One of my favorite scenes, regardless of who’s playing Cherie is the moment she gets to show off her talents as a ‘chanteuse’. Can you give us any insider info on ‘That Old Black Magic’?

FIONA BARRETT: I agree! I love the fact that I get to show off Cherie’s chanteuse side! Given that I’ve played primarily musical roles in the past, it’s so fun being able to give that duality onstage. However, even though That Old Black Magic is one of Cherie’s best numbers and the one that got Bo’s attention, she chooses a different song to sing when given the opportunity to shine in the diner. What song, you ask? Come see the show to find out! 😉

JHPENTERTAINMENT: Over the past couple years I’ve gotten to know your director, Erin-Grace Bailey, for her work both onstage as an actress and behind the scenes as a director. What’s your experience been like having her the director of Bus Stop?

FIONA BARRETT: I couldn’t have asked for a better director to work with upon my re-introduction to theatre, and I say that with my whole heart. Erin-Grace directs with intelligence and purpose, but also continuously ensures that the actors involved are comfortable with the direction given, especially in places where the text is more intense. She creates a collaborative environment between herself and the people she works with, but also leads with a keen sense of storytelling ability that you don’t see very often. I credit her with helping me find a version of Cherie that has depth and strength along with charm, beauty, and confidence. I hope I get the opportunity to work with her in future productions!

Rapid Fire with Rich Moses, Will Masters in Bus Stop

JHPENTERTAINMENT: What can you tell me about Will Masters, the character you play in Bus Stop?

RICH MOSES: Will is the local sheriff of our small town. He’s a big hearted guy, looking to protect the ladies of the diner as well as the passengers who are stranded due to the storm. While he’s a no-nonsense sort of sheriff, he also has a positive outlook on life and is willing to give everyone the benefit of the doubt. He takes his past experiences and uses them for good, even trying to help out a certain cowboy. He loves life and everything about it, and people love him for it.

JHPENTERTAINMENT: How familiar were you with Bus Stop prior to auditioning for the show?

RICH MOSES: I was familiar with the basic premise of the story along with the fact that it was a star vehicle for Marilyn Monroe but had not seen the movie. I try to avoid seeing any productions of a show I audition for prior to the run of our show. I feel like it helps me establish a character as my own, letting me put my own spin on things rather than being influenced by other actors and their character choices whenever possible.

JHPENTERTAINMENT: Keeton audiences might recognize you from your recent role in their production of The Music Man, among other Keeton shows. What is it about The Keeton that keeps you coming back?

RICH MOSES: Bus Stop will be my ninth production “trodding the boards” at Keeton. It’s one of my favorite theaters along with Playhouse 615 in Mt. Juliet. I keep coming back to the Keeton for a multitude of reasons. They do a great job with play selection, the directors are always fabulous and push actors to become better onstage, and I love working with the actors who perform there. Quite a few of us have been in multiple shows together, so the chemistry and fun we share onstage always shines through. The audiences are absolutely incredible as well. They bring the energy in the house and are always engaged in the show, which makes for a better production all around.

JHPENTERTAINMENT: When I chatted with Fiona, I mentioned that I had rewatched not only the 1956 film version of Bus Stop, but also the early 80s HBO teleplay. In the latter, Claude Akins played Will Masters. In both, Masters is the good-hearted everyman. What’s your favorite aspect of playing a character that’s just so likable?

RICH MOSES: Funny story – when I was reading the script and preparing for auditions I pictured Claude Akins as someone who could play that role, especially after his time as Sheriff Lobo on BJ and The Bear and The Misadventures of Sheriff Lobo back in the 70s and early 80s, and wasn’t aware he had performed in the 80s teleplay.

The best part of playing a likable character is the fact that it gives me an opportunity to make the audience smile and really enjoy the show. Those sort of characters are always memorable for audiences and they love to root for them and their impact on the story. I think we are always looking for the good in people and they can identify with someone on stage who exudes that positivity.

JHPENTERTAINMENT: Within the context of the play, Will seems to have a bit of a crush on Grace, the owner of the roadside diner where the action of Bus Stop takes place. Jena Salb plays Grace to your Will. Since I’m about to wrap up this Rapid Fire 20Q by chatting with her, what are you enjoying most about sharing the stage with Jena?

RICH MOSES: This will be my second show with Jena after performing with her last year in Arsenic and Old Lace. We had a ball for that show and are having just as much fun this time. She was so excited to audition for this show with me that she asked for me to yell at her during auditions “like I did in Arsenic for old times sake.” Jena is a master actress on stage with her comedic timing  and ability to bond with other characters. Her passion for the stage is infectious, and I love playing alongside her.

Rapid Fire with Jena Salb, Grace Hoylard in Bus Stop

JHPENTERTAINMENT: What can you tell me about Grace, the character you play in Bus Stop?

JENA SALB: Grace is a conundrum. She’s a little bit of everything, but mostly she’s tough. Not because she wants to be, but because she has to be. She’s a little selfish, but not in a mean way. She just has to look out for herself over anyone else, because she knows that’s the only person she can rely on. She’s snarky, but not bitter, and takes life as it comes. She’s a lot like me to be honest, which is what drew me to her.

JHPENTERTAINMENT: Most everyone knows Marilyn Monroe starred as Cherie in the 1956 film adaptation of Bus Stop, but while researching to chat with you and your fellow cast mates, I learned that Elaine Stritch, one of the most beloved theatre actors of the modern era originated the role Grace on Broadway a year prior to the film’s release. Does knowing the legacy of a role mean anything to you as an actor, or do you approach each role as though you’re the first and only one to step into it?

JENA SALB: Elaine Stritch is an icon! But, I haven’t looked at anything she did with the role. If I did that, it would just be a terrible Elaine Stritch impression and I’m saving that for when I’m old enough to play Joanne in Company. 

JHPENTERTAINMENT: From what I’ve seen on social media, Kevin Driver, Bus Stop’s technical director has outdone himself with the set. Grace’s roadside diner looks perfectly charming and authentic. Is there a piece of set decor that you particularly enjoy?

JENA SALB: I love anything that Kevin Driver does. He’s just the best person and we are so lucky to have him residency here at the Keeton. This set is really spot on and when I’m up there behind the counter, it really brings me back to my waitressing days at a diner downtown. I think I love all of the clutter on the walls the most. Just don’t spend too much time looking at all of it, because you’ll miss the little moments happening in the background by all of my cast mates.

JHPENTERTAINMENT: I gotta tell you, Grace is one of my favorite characters in this play. Rewatching the 1956 film and the early 80s teleplay, I literally LOL’d each time when Grace says, “I love a fight”. She’s got such great lines throughout. Do you have a favorite line or scene in the show?

JENA SALB: I love the end of the show when she is just tired of everyone’s shenanigans and wants them out so she can go to bed. Or it just a front and she loves having all of these crazies here to keep her company? I’ll let you decide that…

JHPENTERTAINMENT: I always end these Rapid Fire 20Qs with a version of the same final question and since you’re my last piece of this puzzle…What do you hope audience remember after having seen Bus Stop at The Keeton?

JENA SALB: I hope it just leaves them thinking. When I see a show, I know it’s a good one if I’m leaving having a discussion with who I saw it with. And even better if we disagree with each other! I hope they see these very flawed people with a human lens and see that they aren’t good or bad. They are just a product of their experiences. 

—————

The Keeton’s Bus Stop runs October 11-27. Dinner and Show tickets are $40 for Adults and $35 for Children. Show Only tickets are $30. For evening performances, doors open at 5:45p.m. with dinner served at 6p.m. and the show beginning at 7:30p.m. Shows with a Thursday show only performance open doors at 6:30p.m. with show at 7p.m. Sunday matinee hours are as follows: doors at 12:45p.m./lunch at 1p.m. and show at 2p.m. CLICK HERE to purchase tickets. As always, The Keeton coordinates their dinner menu to compliment the show. For Bus Stop, the pre-show meal will consist of a Dinner Salad, Country Fried Steak with Pepper Gravy served with sides of Mashed Potatoes, Green Beans and Roll with Cookies and Cream Pie for dessert. 

Next up at The Keeton is A Christmas Story: The Musical, with performances December 5-22.  WATCH THIS LINK for tickets or more information soon.

To keep up with the latest from 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 Cast of ‘Arsenic and Old Lace’; Opening April 14 at Larry Keeton Dinner Theatre

by

Since its Broadway debut back in 1941, and thanks largely to the 1944 film adaptation starring Cary Grant as directed by Frank Capra, playwright Joseph Kesselring’s Arsenic and Old Lace has been a fan favorite. While the Cary Grant film is indeed a classic, I gotta admit, I prefer the 1969 tv adaptation starring Bob Crane, but mostly because Helen Hayes and Lillian Gish co-starred as the hilariously murderous Brewster sisters in that one. When I heard The Larry Keeton Dinner Theatre was mounting a production of the show, I knew what I’d feature in the latest installment of my recurring interview feature, RAPID FIRE 20Q. To that end, what follows are chats with Matt Smith, Linda Speir, Adele Akin and Brad Morgan as the prepare for opening night of Arsenic and Old Lace, on stage at The Larry Keeton Dinner Theatre (108 Donelson Pike, Nashville, TN 37214) Friday, April 14 through Sunday, April 30.

————————

RAPID FIRE 20Q WITH CAST OF KEETON THEATRE’s ARSENIC AND OLD LACE

RAPID FIRE WITH MATT SMITH, ARSENIC AND OLD LACE’s MORTIMER BREWSTER

JHPENTERTAINMENT: What can you tell me about Mortimer, the character you play in The Keeton Theatre’s Arsenic and Old Lace?

MATT SMITH:  Mortimer was raised in Brooklyn by two elderly aunts who adore him and who he adores. But given his family’s checkered past and his view of Brooklyn as old-fashioned and stifling, he leaves for the excitement and possibility of New York City and eventually becomes a prominent theater critic. This is ironic, as he “loathes” the theater and considers it to be on its last legs. Still, it pays the bills much more handily than his passion for Henry David Thoreau ever could and lends him a bit of big-city arrogance when he returns to visit his humble hometown. When he falls for the local minister’s daughter, who lives next door to his Aunts, his visits become more frequent. He ultimately discovers that the Brewster family has more dark secrets than he could have possibly imagined, which sets him on a frantic but entirely earnest course of action to protect the ones he loves…and all manner of hilarity ensues!

 JHPENTERTAINMENT: Written by playwright Joseph Kesselring, the work became more widely known thanks to the 1944 film adaptation starring Cary Grant as Mortimer as directed by Frank Capra. In preparing for the role, did you revisit previous incarnations?

MATT SMITH:  Although I have seen the film, I try not to let any previous incarnation of any role inform my approach to creating a character. I find that especially important if the role is as iconic as this one. Meisner said, “Acting is behaving truthfully under imaginary circumstances,” and I believe that may be the best bit of acting advice I’ve ever heard. I think it’s impossible for any person to behave truthfully on stage while letting the choices another actor has made inform their own. It creates too many layers between you and the character if that makes sense. And besides, I don’t walk talk or look like Cary Grant, so there’s certainly no reason to try to!

JHPENTERTAINMENT: As mentioned above, the ’44 film adaptation was directed by Capra. Michael Welch is directing this production. How has it been working with him on this project?

MATT SMITH: Michael is a dear friend, but one of the things I admire about him is that once he arrives at the theater he’s there to work. Period. No wasted time, no messing around, no favoritism. We’re here to put on the best show we can for everyone who’s gracious enough to part with their hard-earned money to see it. This is my first time working with him as a director and I’ve been impressed with his commitment and clear vision for the project, his work ethic and his attention to quality and detail. 

JHPENTERTAINMENT: For a play that’s been produced around the world for some eighty years, what do you think keeps audiences dying to see it? (See what I did there?)

MATT SMITH: The simplest answer is, it’s really freakin’ funny. It’s well-written and plays like a freight-train on fire as it races to its hilarious climax. And while I’m no deep thinker or psychiatrist, I think it’s pretty clear that there’s a long-standing precedent in the history of human art-making that death and darkness make for the best and most popular comedy. Murder kills! (See what I did there?)

JHPENTERTAINMENT: Alright, since I won’t be chatting with Tim Bush, Let’s give a little shout out to him. After all, he plays Jonathan Brewster, and since the character shares my first name, and has been played by some pretty iconic actors including Boris Karloff, Raymond Massey and Fred Gwynne, and you yourself recently played Jonathan just last year in Playhouse 615’s production of Arsenic and Old Lace, I gotta ask…how does Tim’s take on the creepy character measure up?

MATT SMITH: I’ve had the opportunity to play different roles in the same play a few times before and it’s a fascinating experience to have “your” lines given to you, as I’m hearing Tim do in the current production. Jonathan Brewster is a role he is physically perfect for, as he towers over everyone else on the stage (and no Tim, I’m not implying that you look like Boris Karloff). I’m a pretty big Tim Bush fan. We were in “I Hate Hamlet” together several years ago and I’m sure it’s not hard to imagine how great he was as Barrymore. Beyond that, he’s a damn fine actor and a wonderful human being. As to his take on the role, I find his approach to Jonathan to be refreshingly non-one-dimensional, by which I mean that he’s not just menacing. He is that and I’m really enjoying the psychological warfare we’re engaging in during the show. But he’s also done a wonderful job of discovering the comic opportunities “hidden” in the role. I’m very much looking forward to our game of cat and mouse as well as the opportunity to finally face Mortimer’s fears in our standoff. I think his Jonathan is going to be a lot of fun for audiences to experience.

RAPID FIRE WITH LINDA SPEIR, ARSENIC AND OLD LACE’s ABBY BREWSTER

JHPENTERTAINMENT: When you and I chatted about me interviewing some of the cast, you noted that Abby is described a “plump little darling” in the character description in the script. You’re darling, but hardly plump…Was there ever any discussion of making your more dowdy in the role?

LINDA SPEIR: There was no discussion of how I would play the role.  I just looked to the script  for my character and played my version of Aunt Abby.  I may have played her a little stronger in spots than the script intended but I always play a bit of myself in all of my roles.  

JHPENTERTAINMENT: When I chatted with Matt, I mentioned the fact that Arsenic and Old Lace has been around for 80-plus years. In that time, some of Broadway and Hollywood’s greatest leading ladies have played the Brewster sisters, among them: Josephine Hull, who originated the role of Abby on Broadway and revisited the role for the Cary Grant 1944 film; Dorothy Stickney and Helen Hayes, who each played Abby in mid-century TV adaptations. Heck, even All in the Family’s Jean Stapleton stepped into the role in a late-80s national tour. How much fun are you having making her your own? 

LINDA SPEIR: I’m having a great deal of fun playing Aunt Abby.  We do have to remember she is  somewhat crazy!  She (in my interpretation) is just a wee bit flirtatious with her “gentlemen”.. Think the spider and the fly.  

JHPENTERTAINMENT: What’s your favorite aspect of playing Abby?

LINDA SPEIR: She is a lovely, gracious lady but underneath there’s a layer of insanity.  After all Arsenic is a dark comedy. 

JHPENTERTAINMENT:  I understand the show is being costumed by Donna Driver. What can you tell me about the wardrobe choices in the show?

LINDA SPEIR:  There were some difficulties in finding clothing that looked period; however, Donna did a good job. The Aunts are not very up to date or showy.   Of course I have my own “old lady shoes”  that I ordered sometime back as I have done other period shows.

JHPENTERTAINMENT: As one half of the Brewster sisters, you share much of your stage time alongside Adele Akin as Martha Brewster. I understand this isn’t your first time to appear onstage with her. How is she as a scene partner?

LINDA SPEIR: I’ve known Adele for perhaps 25 years.  We’ve been on stage together several times at several theatres including ACT 1, Boiler Room and more recently at Pull Tight Theatre.  We were in Waiting in the Wings at Pull Tight in January-February 2020 before the world shut down due to Covid.  We interact well with each other both on and off stage.  She is a delight as the slightly addled Aunt Martha. 

RAPID FIRE WITH ADELE AKIN, ARSENIC AND OLD LACE’s MARTHA BREWSTER

JHPENTERTAINMENT: Who is Martha Brewster to you?

ADELE AKIN: Martha is a sweet caring woman. She lives to do good for others.

JHPENTERTAINMENT: Longtime Keeton patrons might recognize you from previous roles, including appearances in productions of The Spitfire Grill and A Scattered, Smothered & Covered Christmas and more. How much fun are you having being back on the Keeton stage?

ADELE AKIN: It’s like coming home! I was in the inaugural season which began with Nuncrackers in 2004. I know there are ticket holders who have seen every play in the last almost 20 years. It will be a great reunion!

JHPENTERTAINMENT: When I chatted with your fellow Brewster sister, Linda, I asked her about sharing scenes with you, so it’s only fair to get your response to sharing the stage with her. How is Linda as a scene partner?

ADELE AKIN: The best! We have known each other for probably 30 years and have been in several productions together but never opposite each other as we are in this show. I’ve been hoping for this for a long time. I respect Linda’s work immensely and I’m so happy to be working with her! The entire cast is terrific but Linda holds a special place in my acting heart. 

JHPENTERTAINMENT: For a show that features multiple murders, it’s dang funny. What’s your favorite line or scene whether it’s yours or someone else’s?

ADELE AKIN: Actually, my favorite line is spoken by Officer O’Hara played by Jenna Salb. She says “Where else would you eat?”  I will not explain that.

JHPENTERTAINMENT: In the spirit of the play, IF you were to do it, how would you get away with it?

ADELE AKIN: What a great question! I guess I’d have to live in a small cabin somewhere in the woods where the only witnesses would be the deer and the foxes with a couple of skunks thrown in there.

RAPID FIRE WITH BRAD MORGAN, ARSENIC AND OLD LACE’s TEDDY BREWSTER

JHPENTERTAINMENT: I understand you’re a recent Nashville transplant. What drew you to the area and how has your experience in Nashville and with the Keeton been thus far?

BRAD MORGAN: Yes, I just moved here in November. I had visited Nashville several times over the last two years to help a friend move to the area and found that I really liked Nashville. I am a musician and what better place to relocate to than Music City. Also, being involved in Theatre for the past 45 years, I thought auditioning for a local  theater group would help me acclimate to the area and make some new friends. The Larry Keeton Dinner Theatre is close to my house so I decided to audition and was lucky enough to get cast. I had never done Arsenic and Old Lace and so far it’s been a great deal of fun.

JHPENTERTAINMENT: You play Teddy Brewster, who thinks he’s Teddy Roosevelt. You’ve actually played Roosevelt before, having appeared in Cider Mills Playhouse’s Tintypes back in 2012. Did having played Roosevelt in the past influenced your character in Arsenic and Old Lace?

BRAD MORGAN: Not at all. Two very different characters. First of all Tintypes is a musical and an Ensemble cast that play multiple roles. Teddy Roosevelt was one of multiple characters I played, and was only in two or three scenes. Also, that character was more of a historical depiction of Teddy Roosevelt. Whereas, Teddy Brewster is more of an impersonation of Teddy Roosevelt. Teddy Brewster’s interpretation of Teddy Roosevelt, but still very much Teddy Brewster.

JHPENTERTAINMENT: On the subject of your previous acting experience, your credits include quite a few well-known shows, including The Rainmaker, Death of a Salesman, Man of La Mancha and more, but what caught my eye…you appeared in One Life to Live and Another World. I can’t lie, I still watch Days of Our Lives…so, its the soap credits for me…what do you recall from your appearances on those two classic soaps?

BRAD MORGAN: Well, at first, it was very exciting but ultimately it just turns into another job. I really don’t like camera and film work. It’s very tedious and boring. A great deal of waiting around for the technical aspects like lighting, camera angles, sound and reshooting of scenes. I much prefer acting on stage and the process of creating a character for a live audience.

JHPENTERTAINMENT: Kevin Driver has designed the set. What can you tell me about the Brewster home as envisioned by Driver?

BRAD MORGAN: I am not a designer, so I have a great deal of admiration and respect for designers, scenic, lighting, costumes, etc.

JHPENTERTAINMENT: What do you hope audiences will recalling after having seen Arsenic and Old Lace?

BRAD MORGAN: That they had a good laugh at the crazy world of the Brewsters.

————————

Arsenic and Old Lace opens at The Larry Keeton Dinner Theatre Friday, April 14 with performances Friday-Sunday, April 14-16, Thursday, April 20-Sunday, April 23 and Thursday, April 27-Sunday, April 30. Thursdays are Show Only. Friday and Saturday evenings and Sunday matinees offer Dinner/Lunch and Show tickets, OR Show Only Tickets. CLICK HERE to purchase tickets or for more information.

Following Arsenic and Old Lace, The Keeton Theatre closes out their 2022/2023 Season with Memphis: An Original Story of Love, Soul & Rock ’N’ Roll onstage June 9-25, 2023. CLICK HERE for tickets or more info. Season Subscribers may purchase tickets to Memphis beginning April 13. General Public tickets available beginning April 20.

In the meantime, 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 20Q WITH CAST OF LARRY KEETON THEATRE’s ‘WHITE CHRISTMAS’

by

 

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.

———————————————

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!

———————————————

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 20 Q with director and cast of ‘Breaking Up Is Hard To Do’; at Chaffin’s Barn February 6-29 with a special Valentine’s Day performance February 14.

by

Jukebox musicals—a theatrical piece that features songs from one particular artist, era or genre—are hugely popular. Such shows as Mamma Mia, Jersey Boys and Smokey Joe’s Cafe frequently find their way among the favorites of local and regional theatre companies’ go-to offerings, but leave it to Chaffin’s Barn Dinner Theatre to reach a little deeper into the jukebox musical genre as they present Breaking Up Is Hard To Do, onstage at Chaffin’s from Thursday, February 6-29. If you’re like me, you may never have heard of this particular show which features the music of Neil Sedaka, as it tells a 1960s tale of Marge Gelman (played by Melissa Silengo) a young woman who, after being left at the alter, decides to take her best girlfriend Lois Warner (Jenny Norris) along on what would have been her honeymoon trip to the Catskills at the end of summer, where they encounter locals Del Delmonico, (Liam Searcy) a good looking up-and-coming crooner, his friend, Gabe Green (Curtis Reed) who just so happens to be the force behind his music, Harvey Feldman (Scott Stewart) a stand-up comedian and Esther Simowitz (Vicki White) the owner of a popular nightspot.The fact that Chaffin’s is presenting a show that’s completely new to me, coupled with the fact that once I began researching the music included, I realized I knew virtually all of the tunes (I just didn’t necessarily know they were penned by Sedaka) and I knew I had to chat with director Joy Tilley-Perryman and members of her cast for my latest Rapid Fire 20 Q.

——————————

Rapid Fire 20 Q with Breaking Up Is Hard To Do director and cast members

Rapid Fire with Breaking Up is Hard to Do director, Joy Tilley-Perryman

JHP: I understand the show takes place in The Catskills during the 60s, a little Dirty Dancing romance with a dose of Cyrano de Bergerac and even a tad Bye Bye Birdie…is that a fair assessment?

JOY TILLEY-PERRYMAN: That is a fair assessment, with a great deal of zippy zingers, some awesome dance lifts and juggling thrown in for good measure.

JHP: The Catskills, in their prime, seem like a dream vacation. What’s your favorite vacation spot?

JOY TILLEY-PERRYMAN: My favorite vacation spot is Kauai, Hawaii. It is paradise and it has been far too long since I have been to the Waimea Falls. It is the island that Elvis made famous in Blue Hawaii and the island that Hurricane Iniki almost wiped out in 1992. I love the rhythm of  island time and the blissful energy of the Hawaiian islands. If you have never been, do yourself a favor and go!

JHP: I haven’t but it’s definitely on my To Do List. So, what is it about this show that makes it the perfect addition to Chaffin’s current season?

JOY TILLEY-PERRYMAN: This show is truly a love story for everyone. We have couples of all ages included here. And for people of a certain age (ie me), this music is so familiar and comfortable and just plain fun. Fun fact, I had a baton routine to Love Will Keep Us Together when I was 10 or 11 and if pressed, I can still remember parts of it. Just don’t ask me to do any double elbow rolls or two hand spins into an aerial release. I would fall and quite possibly break a hip these days. 

JHP: What can you tell me about your cast?  

JOY TILLEY-PERRYMAN: This cast is full of my loves and and also a fresh face making his Barn debut. I love working with Scott, Vicki, Jenny, Curtis and Melissa and have found working with Liam to be an absolute delight. You would be hard pressed to find 6 more beautiful voices. They just make me smile! Also, this show has tons of audience participation, so come on out and see if you are in Mrs. Futternick’s chair or Mr. Weinblatt’s seat or are you the lucky lady who gets to come on stage and be serenaded by Del.

Rapid Fire with Breaking Up Is Hard To Do choreographer and co-star, Curtis Reed

JHP: When I chatted with Joy, I noted a bit of a comparison in one of the show’s plots to Cyrano, in that your character Gabe Greene, is basically the guy behind the success of popular Catskills performer Del Delmonico, making you Cyrano to Liam’s Christian.  Does that sound about right?

CURTIS REED: I believe so. Liam plays Del who is oozing with charm but in all actuality is not that nice. And he is also only pretending to like Marge to get to Marge’s father, who Del thinks is a big Music Manager. My character is the nerdy, behind-the-scenes type who pines for the girl who goes unnoticed by most, but who is number one in his eyes. Gabe has the passion and the heart for music, while Del only has the looks and the voice.

JHP: Speaking of Searcy, while this is his first Chaffin’s show, you two shared the stage during Studio Tenn’s recent mounting of Joseph and the Amazing Technicolor Dreamcoat, right?

CURTIS REED: This is Liam’s first Barn show and we are so excited to have him as part of this cast. I loved working with Liam on Joseph at Studio Tenn. He is a great performer and always willing to learn and better himself. I challenged him on a few dance moves both solo and with Jenny and he is a total team player. 

JHP: As I mentioned in my intro, you’re not only playing Gabe Greene, but you’re also the show’s choreographer. The 60s were such a fun time for iconic dance moves, have you had fun incorporating some of them into the show?

CURTIS REED: You will definitely see some nods from Dirty Dancing and from a lot of the background singers/dancers of the DoWop groups that were popular in that time period. Super cute, nothing too crazy (except for Liam and Jenny’s fast-paced Stupid Cupid duet so be on the lookout for that one!)

JHP: What’s your favorite musical number in the show and why?

CURTIS REED: For me it’s a toss up. I love Laughter in the Rain because it’s the duet I share with Melissa’s Marge, where Gabe, in his own way, professes his affection for her. It’s super touching and still has that nerdy 16 Candles vibe that is so heartwarming. My other favorite is the only number in the entire show where you hear all six actors at once and that is the finale, Love Will Keep Us Together. I mean how can you not love that feel-good song made popular by The Captain and Tennille?! I’m almost certain we will have audience members singing along with us throughout the show with so many memorable songs by Neil Sedaka!

Rapid Fire with Breaking Up Is Hard To Do’s Harvey, Scott Stewart

JHP: How would you describe Harvey Feldman?

SCOTT STEWART: Harvey is a veteran comic and long time performer at a Catskills resort in The Borscht Belt. His roots are in Vaudeville. Harvey still loves what he does but is lonely- and ready to open up about it.

JHP: What’s your favorite aspect of playing Harvey?

SCOTT STEWART: 

My father had a lot of comedy albums and I grew up listening to the likes of Stiller & Meara, Mel Brooks, Carl Reiner, Fanny Brice, etc… many whom started in the Catskills. To get to pretend to be among those in a blast! And I’ve always been intrigued by the whole Catskills era of America. Getting to spend an entire summer in the mountains playing?! Wow!

JHP: The show features an all-Neil Sedaka songbook. Would you say you were a fan of his music prior to being cast in this show?

SCOTT STEWART: I am a fan of Neil Sedaka!  I really didn’t learn who he was til, as a preteen, I heard The Captain & Tennille sing Love Will Keep Us Together and in the fade out of that song they sing “Sedaka is back”. I think it was Casey Kasem that explained who that was one week, and then I started to learn more about him. But this show has some songs with which I was not familiar.

JHP: As Harvey, you share scenes with Vicki White’s Esther. You’ve done several shows together. How much fun is she as a co-star?

SCOTT STEWART: Oh man, she is the best!  Vicki has a unique way of rehearsing her characters and she puts so much thought into them, but it’s often not til late in the process when I see what she’s doing, and understand how to interact and play with her character. I love it! Keeps me from getting lazy.

Rapid Fire with Breaking Up Is Hard To Do’s Esther, Vicki White 

JHP: What is your favorite aspect of playing Esther?

VICKI WHITE: Nothing keeps Esther down. She is fun, feisty, and a survivor. 

JHP: When I chatted with Scott, I mentioned that you two share scenes. You’ve done a few shows together, right? Isn’t he just fantastic?

VICKI WHITE: Yes! I am lucky enough to have done many shows with the talented Scott Stewart.  He is funny, down to earth, and has a beautiful voice. This has been my first opportunity to play opposite of Scott as a romantic interest and it has been a blast!

JHP: The 60s, the Catskills…if you could go back in time and experience that in real life, what do you think you’d enjoy most?

VICKI WHITE: Fancy clothes and cocktails. Everything was such an event, from the different activities to dinner and shows. They made a vacation last an entire summer. I am a huge fan of Mrs. Maisel and Dirty Dancing. I would LOVE to time travel with my family for a vacation in the Catskills!

JHP: Looking at the songs included in the show, I gotta admit, even though I have always loved The Captain and Tennille’s Love Will Keep Us Together, I didn’t realize it was a Neil Sedaka song. (In case you’re keeping up, yes, that makes four for four with mention of this particular tune, but I digress) Are there any songs in the show you were surprised to learn he had written?

VICKI WHITE: I was so surprised to find out that he had written Where the Boys Are. I knew it as this iconic song from the sixties that I had always associated with Connie Francis.

Rapid Fire with Breaking Up Is Hard To Do’s Lois, Jenny Norris

JHP: You play Lois Warner. How is the character most like yourself?

JENNY NORRIS: She is loyal and would do anything for those she loves. I would say those are two big parts of who I am. 

JHP: As Lois, you’re best pals with Marge Gelman played by Melissa Silengo. Marge has been left at the altar and decided to bring her bestie Lois on the honeymoon instead. What’s the advantage of taking a girlfriend on your honeymoon?

JENNY NORRIS: Having a shopping buddy! 

JHP: Chaffin’s resident costumer, Miariam Creighton is providing the wardrobe for the show. What’s your favorite 60s aesthetic as seen in the show, whether it be part of Lois’ wardrobe or that of one of your co-stars?

JENNY NORRIS: I have enjoyed the high waisted look in shorts and pants for ladies. It has inspired several of my recent Poshmark purchases. Plus big volume hair is always a favorite of mine! 

JHP: Sedaka’s titular lyrics suggest that reconciliation is the solution. What do you think?

JENNY NORRIS: Well although he says breaking up is hard to do, I say sometimes being with the wrong one is harder. You’ll have to come see if Marge realizes it or not! 

——————————

Melissa Selingo, Liam Searcy and Jenny Norris in a scene from “Breaking Up Is Hard To Do”

As Norris suggests, audience members will have their chance to see how Marge deals with her breakup as Breaking Up Is Hard To Do plays Chaffin’s Barn Dinner Theatre Thursday, February 6 thru Saturday, February 29. CLICK HERE or call 615.646.9977 for reservations. Thursday matinees begin at 12 noon (doors at 11a.m.), while Thursday, Friday and Saturday evening performances begin at 7:30p.m. (doors at 5:30). Sunday matinees begin at 2 p.m. (with doors at noon for lunch service.

Thursday matinee tickets are $20 for show only or $28.50 for show and a Box Lunch. Evening show tickets are $18 for children 12 and under, $25 for youth/students and $47 for adults. 

Of course, being Chaffin’s Barn Dinner Theatre, they also offer a full buffet option or a la carte menu items for their evening and Sunday lunch matinee performances. Chaffin’s delicious buffet, featuring a choice of entrees (including a veggie option), and a number of side items is available for an additional $15.95, while the ‘a la carte menu items (also quite tastily) range in price from $6.95 to $10.95. Plus there’s a wide array of dessert options to choose from $2.50 to $5.00. CLICK HERE to check out the menu. 

On Friday, February 14, Chaffin’s will host a special Valentine’s Day performance of Breaking Up Is Hard To Do which will feature a special Valentine’s Day menu and three ticket level options. First, for $150 per couple, patrons can enjoy the show, buffet dinner, a bottle of champaign or sparkling cider, a special dessert plate with chocolate strawberries and cheesecake, a rose for that special someone and a chance to win some fabulous prizes. For $220, you can secure a private four-top table for two, plus all of the above-listed amenities. For $330, two couples can enjoy a private six-top table for four with all the above amenities. CLICK HERE to view the special Valentine’s Day Menu. Please call the box office to book these special reservations. 

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

If you’ve enjoyed this edition of Rapid Fire, CLICK HERE to check out previous conversations. 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: With ‘Singin’ in the Rain’ on stage at Chaffin’s Barn thru November 30, forecast for the magic stage is all-singin’, all-dancin’ with a deluge of talent

by

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rapid Fire 20 Q with the director and cast of ‘Annie’; at Chaffin’s Barn July 11-August 3

by

For nearly 100 years, popular culture has had a soft spot for the precocious yet lovable curly-headed orphan girl known simply as Annie. From her 1924 debut as cartoonist Harold Gray’s main character and the star of her own Broadway show, which premiered in 1977, on to 1982’s beloved film adaptation featuring Aileen Quinn, Albert Finney, Carol Burnette, Ann Reinking, Tim Curry and Bernadette Peters and even popular, abeit less successful redos in 1995, 1999 and 2011, Annie and her wide-eyed optimism remains a positive and uplifting reminder that the sun will in fact come out tomorrow. Well, lucky for Nashville theatre audiences, they don’t have to wait for tomorrow as Chaffin’s Barn Dinner Theatre’s Annie opens today, July 11 and runs through August 3.

Earlier this week, with the show’s opening only a day away, I had the opportunity to chat with the show’s director, a few of the adult co-stars and both you actresses who’re playing Annie for my latest Rapid Fire 20 Q interview. That’s right, because of the rigors of this tune and dance-filled show, Chaffin’s is working with two youth casts. What follows are my conversations with Ava Rivera and Elle Wesley—the two Annies; Joy Tilley Perryman, the shows director; Galen Fott, who plays Daddy Warbucks; Jenny Norris, who’s appearing as Miss Hannigan and Curtis LeMoine, cast as Rooster.

——————————

RAPID FIRE 20 Q WITH CAST AND CREW OF CHAFFIN’S ANNIE

RAPID FIRE WITH CHAFFIN’S ANNIE STAR, AVA RIVERA

JHP: How excited are you to be playing Annie at Chaffins?

AVA RIVERA: I am so thankful to God and Chaffin’s for the opportunity to play my dream role of Annie! This theatre is well known so this is a very big deal for me. I love working with everyone there especially my new friend Elle Wesley. I hope I can someday perform at Chaffin’s in the future! 

JHP: What’s it been like working with Rufus, the dog who’s playing Annie’s canine pal, Sandy?

AVA RIVERA: Rufus is one of the sweetest and cutest dogs in the world. We worked real hard together to be a great team. I’ll let you in on a secret, He is the real star of this show! 

RAPID FIRE WITH CHAFFIN’S ANNIE STAR, ELLE WESLEY

JHP: What’s the best part of being Annie at Chaffin’s?

ELLE WESLEY:  That’s difficult because there are so many fun things!  If I had to choose it would be all the friends I have made and the new people I have met.  I will always remember the connections I have made with the orphans, Sandy the dog, all the servants, Grace, Warbucks, EVERYONE! That’s the best thing about being Annie – you get to connect with EVERYONE in the cast at some point in the show.  We really have fun together and it shows on stage. The smiles and laughter are all very real.  It’s a great cast and I feel really blessed to be a part of it!

JHP: Hard Knock Life is one of my favorite Annie moments. Are you enjoying working with the show’s choreographer, Miss Lauri Dismuke and the other orphans during this sequence?

ELLE WESLEY:  Oh yes!  It’s one of my favorite moments too!  I have made such good friends with the orphans especially the ones I have to hate like Pepper, July, and Duffy.  And I LOVE Miss Lauri!  She is so helpful and encouraging to all of us.  She worked really hard with us to make sure that song was really fun for the audience to watch.  There are a lot of twist and turns and tricks that are really cool.  It’s one of the best parts of the show.

RAPID FIRE WITH CHAFFIN’S ANNIE DIRECTOR, JOY TILLEY PERRYMAN

JHP: With two young actresses playing Annie and two separate youth cast as the orphans, what has the rehearsal process been like?

JOY TILLEY PERRYMAN: We started with the orphans and the Annies a week before the adult cast came on board. We called that week Annie Camp and we had a blast. It really helped make the process so streamlined. On the day of the table read, the orphans were ready to blow away the adult cast with Hard Knock Life!

JHP: If memory serves me, I believe Annie was last mounted at Chaffin’s in 2011. What is it about the show that makes it a classic crowd-pleaser time and time again?

JOY TILLEY PERRYMAN: It is such an optimistic show. It is a feel good story and a rags to riches tale. See also, cute kids! And adorable dogs!

JHP: Which leads perfectly to my next question…They say to never work with kids or animals in show business, yet here you are directing a show about a girl and her dog. How’s that working out for you?

JOY TILLEY PERRYMAN: It is actually going great. I get along well with both those groups, kids and dogs, so here we are.

JHP: As the director, is there a particular scene that you’ve put your particular spin on that you’re especially proud of, or think ‘THIS is MY Annie’ while watching from the sidelines?

JOY TILLEY PERRYMAN: I think I do have a distinctive style when it comes to comedy, so there are a couple of scenes, that definitely have my fingerprints all over them, but I am going to let you watch and pick them out!

RAPID FIRE WITH ANNIE’S DADDY WARLOCKS, GALEN FOTT

JHP: A few days ago, on your social media, you posted your transformation to the clean-shaven, bald-headed Daddy Warbucks. I commented on your post that I had just been talking about you and the role. Kudos to you for going all in on the physical look. Nothing I hate more than someone playing Warbucks with a head full of hair. Is this physical transformation the most extreme you’ve gone through for a character?

GALEN FOTT: The only thing that comes close was going to the opposite extreme. About 30 years ago, right after doing my only other show at the Barn (The 1940’s Radio Hour), I played the Hairy Man in Wiley and the Hairy Man at Nashville Children’s Theatre. Scot Copeland helped me design my wonderful makeup, which included fake full beard, fake bushy mustache, fake long straggly hair, fake eyebrows, and fake nose. I was a shaggy sight! Yet underneath it all — for the show’s final moment when the Hairy Man loses his hair — I had to wear a bald cap, making for an extremely hot performance. Actually shaving for Daddy Warbucks is a much cooler option!

JHP: Because of the dual casts, you are working with two Annies. Let’s play a little word association. In a single word, how would you describe each of your pint-sized leading ladies?

GALEN FOTT: Now, that’s tough. Both these girls are so wonderful, it’s going to be necessary for everyone to attend the show twice so they can see them both. But they do have their unique qualities, and while both girls embody both of these words, if you’re going to pin me down I’ll go with:

Ava — spunky

Elle — determined

JHP: Of course Annie isn’t your only on-stage love in the show. There’s also Grace, Daddy Warbucks’ faithful assistant. Natalie Rankin is playing Grace. What’s she like as a scene partner?

GALEN FOTT: Natalie is spunky, yet determined. No wait, sorry, that’s Annie…ah, Natalie! She is completely amazing. I just saw her in Street Theatre Company‘s Hedwig and the Angry Inch, playing a character as far from Grace Farrell in Annie as you could possibly get. She’s totally believable and compelling in both roles. Natalie wasn’t as familiar with Annie as I was, from having listened to the cast album since I was 13 (and desperately wishing it was called Andy instead). So it’s been illuminating for me to work with Natalie in reexamining the slightly sketchy Warbucks/Grace relationship from a more contemporary viewpoint.

JHP: What’s Daddy Warbucks’ most redeeming quality?

GALEN FOTT: I’d say “open-mindedness”. He’s initially reluctant to have Annie spend the Christmas holidays — he was anticipating a boy orphan — but he quickly grows to love her. A Republican himself, Warbucks is at first resistant to F.D.R. and his policies, but he’s willing to reconsider and work together for the betterment of the country. Single-mindedly committed for decades to making money, he’s still able to reexamine his life and find a place for loving relationships with Annie and Grace. Who knows…maybe one day he’ll reconsider that hairstyle!

RAPID FIRE WITH ANNIE’S MISS HANNIGAN, JENNY NORRIS

JHP: Last time I attended a show at Chaffin’s, you shared with me your slight apprehension of playing the baddie, Miss Hannigan in Annie. Have you since embraced the villainy?

JENNY NORRIS: Well my nervousness was more based upon the typical portrayal of Miss Hannigan being outside much of what I’ve had the opportunity to play thus far in my career. I wanted to create my own version of Miss Hannigan that served the story but also stayed true to the parts of her I discovered within my own understanding to how this woman ended up cynical, desperate, and unkind, without doing an impersonation of the great portrayals that came before me. I hoped to create a real person, not a caricature and I hope I have done that, villainy and all.   

JHP: Do you find yourself going out of your way to be sweet to the young cast members when not on stage camping it up as Miss Hannigan?

JENNY NORRIS: They are easy to be sweet to as they work really hard and are great kids. I think to some extent, I’ve stayed a little more distant bc I want their characters to feel some nervousness onstage in our scenes.  I want them to see Miss Hannigan when they see me, not Jenny, even though I would like to give em a big hug when we leave the stage and I have just screamed at them. 

JHP: Is Miss Hannigan simply misunderstood? Is there a heart in there somewhere?

JENNY NORRIS: I feel she was raised to believe the way you get ahead in life is to lie, steal, and cheat. She is a romantic that hopes to find love but has been used and tossed away her whole life and that has further solidified her belief that she has to be out for number 1, always. At some point she winds up in charge of all these orphans and its a constant power struggle. In her mind, them versus her. She IS the villain: cruel, selfish, cynical. But there are reasons why she ended up there. 

JHP: Of course the optimistic anthemic Tomorrow is the show’s most recognizable number, but the show has several memorable musical moments. Miss Hannigan’s Act 1 number, Little Girls is my personal favorite from the entire show. What can you tell me about working with the show’s musical director, Rollie Mains?

JENNY NORRIS: I love working with Rollie! He is so talented and always attacks everything from the perspective of telling the story first and foremost. He gives you the freedom to develop your character and sing your songs in a manner that fits that character you have created. He gives you important things to consider and guidance when needed, but the lead-way to feel uninhibited in your creativity. But trust me, he will reel you back on in if you get too far out there! 

RAPID FIRE WITH ANNIE’S ROOSTER, CURTIS LEMON

JHP: Rooster is a scamp and a con-artist. Basically the polar opposite of you. What’s it like to play such a rascal?

CURTIS LEMOINE: I love playing the bad guy, especially if there is a comedic aspect to the character! Believe it or not, I have played several notable villains, or villains-by-proxy: Lord Farquaad, LeFou, Joey and now Rooster. Rooster is particularly ruthless though. While Miss Hannigan is looked upon as the main villain, Rooster is the one who decides to do away with Annie while Miss Hannigan shows a moment of remorse. 

JHP: As Rooster, your paired on-stage with Christina Candelora, who plays Lily St. Regis. You’re both among my theatre crushes. What’s among the perks of sharing stage time with her?

CURTIS LEMOINE: Christina is a joy to work with! She is not afraid to make bold choices and is a great scene partner to try gags with and physical comedy with. Not to mention, she is an absolute bombshell so I’m quite flattered to be her onstage squeeze!

JHP: Rooster and Lily’s big number is Easy Street. You two share it with Miss Hannigan. How would you categorize this epic musical moment, as presented by you three?

CURTIS LEMOINE: As a kid, watching all the animated Disney films, I was always enamored by the songs that all the villains got to sing. You can argue if you’d like but quite honestly, I think the villains always got some of the best songs in those movies. This is no different. I look at it as a chance for the three of us to have our big show-stopping Disney villain number. And we aim to please! The staging, the choreography, and the added harmonies we have worked out with Rollie Mains are spot on and we cannot wait to share it with a live audience. 

JHP: Anyone who knows you, or has had the pleasure of seeing you spark the stage dancing as if your life depended on it in recent shows like Chaffin’s Kiss Me, Kate and Studio Tenn’s Joseph and the Amazing Technicolor Dreamcoat, likely knows you’re a skilled dancer and choreographer. On the subject of choreography, Lauri Dismuke is helming that aspect of the show. Can you sneak peek any choreo moments to watch out for in Annie?

CURTIS LEMOINE: I am so impressed with both casts of Orphans that we have! Both Hard Knock Life and Never Fully Dressed Without A Smile are definite numbers to watch out for because those kids are working it! The ensemble in this show is fairly new to The Barn but we have some fabulous movers in this cast and Hooverville is definitely a number that is quirky, filled with character, and is super fun to watch. And of course, we have a lot of my favorite style of dance in this show….. TAP!

——————————

Chaffin’s Barn Dinner Theatre’s Annie runs through August 3 with performances Thursday-Sunday. Thursday matinees begin at 12 noon (doors at 11a.m.), while Thursday, Friday and Saturday evening performances begin at 7:30p.m. (doors at 5:30). There will be a 2 p.m. (doors at noon) Sunday matinee on July 21. The Thursday, July 25 noon matinee will featuring signing for the hearing impaired, and there will be a Wednesday matinee on July 31 at noon (doors at 11a.m.). 

Thursday matinee tickets are $19 for show only or $27.50 for show and a Box Lunch. (Wednesday matinee will also offer the Box Lunch option). Evening show tickets are $13 for children 12 and under, $20 for youth/students and $35 for adults. Living up to their Barn Dinner Theatre name, Chaffin’s also offers a full buffet option or a la carte menu items for their evening and Sunday lunch matinee performances. Chaffin’s delicious buffet, featuring a choice of entrees (including a veggie option), and a number of side items is available for an additional (but completely worth it) $15.95, while the a la carte menu items (also quite tastily) range in price from $6.95 to $10.95, plus there’s a wide array of desert options to choose from $2.50 to $5.00. CLICK HERE to check out the menu.  CLICK HERE to purchase tickets or call 615.646.9977 to make reservations with the box office. To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

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

Theatre Review: Neil Simon’s ‘God’s Favorite’ provides retro laughs and surprising thoughtfulness; at Chaffin’s Barn Dinner Theatre thru June 22

by

John Mauldin, Scott Stewart (center) and Jenny Wallace lead the hilarious cast of Neil Simon’s “God’s Favorite” at Chaffin’s Barn Dinner Theatre thru June 22. (photo courtesy Chaffin’s Barn Dinner Theatre)

God’s Favorite, now onstage at Chaffin’s Barn thru June 22 may not be as widely known as  legendary playwright Neil Simon’s other works like The Odd Couple or his somewhat autobiographical Brighton Beach Memoirs, Biloxi Blues and Broadway Bound, but when presented by one of Nashville’s favorite theatre companies, especially when under the direction of Joy Tilley Perryman and featuring several Music City favorites among the cast, rest assured the laughs are heaven-sent.

With a plot that heavily borrows from THE Good Book’s story of Job, God’s Favorite swaps the biblical leading man’s name from Job to Joe, Joe Benjamin at that, perhaps a wink to the $100 bill, for you see, Joe is a wealthy cardboard box magnate who’s trust in God and love of his family has showered him with success and happiness.

Set in the 1970s, complete with a perfectly retro wardrobe courtesy Miriam Creighton and a simplistic but groovy set, lighting and overall look from Perryman’s technical team including stage manager Catherine Forman, sound engineer Stephen Platea, lighting designer Austin Olive, set construction by Robin Lawshe and production assistance from Delaying Rizer, the play begins at the stroke of midnight when a mysterious stranger arrives at Joe’s home and reveals that he is indeed God’s Favorite, but that his trust in the lord will be tested unless he renounces him.

While this may not read like the stuff of which a Neil Simon comedy is made, you just have to have a little faith in Perryman and company to deliver the goods. Resplendent with seventies references including nods to The Exorcist, Robert Redford, a hilarious bit of schtick involving a rotary phone and such, the script may seem dated at times, but Perryman takes full advantage, even having her sound guy play a bit of The Exorcist theme between scenes just when things start to go awry for Joe and family.

Leading the cast is John Mauldin, who in the last few years has indeed become a Chaffin’s favorite. As Joe, Mauldin is the perfect embodiment of the ‘everyman’. Jolly and pleased with his happy life, Mauldin’s Joe brings to mind Archie Bunker…if Archie were ever in a great mood. Even when tested with the loss of his business, plagued with aches and pains and the destruction of his home, Maudlin’s Joe keeps his positivity, an aspect I suspect the actor himself maintains in his real life.

Cast opposite Mauldin is yet another Barn Dinner favorite, Jenny Wallace as Joe’s wife, Rose. Having made her Chaffin’s debut three decades ago, Wallace has appeared in some three dozen plays at The Barn. As Rose, Wallace at first seems the typical well-bred, well-off woman, first appearing oblivious to any and all slightly uncomfortable situations around her, but as Joe’s faith is tested, Wallace’s Rose seems to have a bit of a metamorphosis as she comes to also value the importance of familial love over material belongings.

Speaking of familiar love, The Benjamin’s are blessed with three young offspring. Returning for his third and most significant role to date at Chaffin’s is Elijah Wallace as David Benjamin, the family’s eldest son and a bit of a seemingly lost cause. Having enjoyed Wallace in his campily flamboyant portrayal as Charles Nelson Reilly in The Barn’s The Game Show Show during the holiday season, I was happy to see him take on this role. Though peppered with easy-target drunk jokes and pratfalls, the role of David provides some of the show’s most poignant moments and Wallace handles the range of his character with ease and conviction.

Marking his debut performance at The Barn is Ben Woods as Ben Benjamin. Most of Wood’s on-stage time is shared Annika Burley as Sarah Benjamin, Ben’s twin sister. You’d never know these two weren’t longstanding members of the Chaffin’s family, as they fit easily into the comfortable, fun atmosphere. At the top of the show there’s a running gag of young Sarah repeating every line spoken by her father and brother. Under the direction of a less-confident director, this scene—heck, this entire play—could easily play a bit droll and reaching for obvious laughs, but with Perryman at the helm, it’s truly charming and unexpectedly though-provoking.

Speaking of Perryman, in addition to directing, she also appears in the show, playing Mady, one of The Benjamins’ servants. Like Mauldin and Wallace and Wood and Burley, Perryman is also paired with a recurring scene partner throughout the show in the form of yet another Chaffin’s favorite, Charlie Winton as Morris, The Benjamin’s butler. Perryman and Winton are relegated to brief scenes, but as seasoned performers, they make the most of their time on stage and are always a delight.

Rounding out the cast is Scott Stewart as Sidney Lipton, the aforementioned mysterious guest who…Spoiler Alert…is actually a messenger from God…or maybe Satan…I”m still not 100% clear on that. Nonetheless, Stewart, yes, another Barn favorite, is an absolute joy to watch. It’s funny that I mentioned Charles Nelson Reilly earlier in this review…interesting because Reilly created the role of Sidney Lipton in the original 1974 Broadway production of God’s Favorite. For Scott’s Sidney, he goes the nebbish nerdy route, and he does so perfectly, affecting his normally commanding voice to come across a bit more uncertain and nervous. But you gotta love when Sidney is pushed and needs to be a bit more assertive, Stewart belts out a booming line or two that are divine indeed.

As is typical for a Neil Simon play, the jokes come at you at lightning speed, one-liner after one-liner, typically served with a heavy dose of sarcasm and wit, but it’s the not-so-hidden message behind the laughs, the message of faith and family that makes this little charmer worth the watch.

While the plot is outrageous at times and the resolution a bit unbelievable and ever-so neatly packaged within the show’s two-hour run-time, as presented by director Perryman and stars Mauldin, Stewart and company, God’s Favorite will surely be a favorite amongst Chaffin’s patrons.

God’s Favorite continues at Chaffin’s Barn Dinner Theatre with shows through June 22.  Showtimes are Thursdays at 12 noon, Friday and Saturday evenings at 7:30p.m. and a Sunday, June 16 matinee at 2 p.m. Tickets range in price from $13 for Children 12 and under and $20 for  Youth/Student tickets to $35 for Adults. CLICK HERE to purchase tickets.

Being Nashville oldest continuing dinner theatre, Chaffin’s also offers a few dining options in addition to the show ticket pricing. As always, there’s the buffet option, or patrons can also choose items from an a la carte dinner menu with a full range of starters, small plates and desserts. CLICK HERE to check out the menu.

Up next at Chaffin’s Barn Dinner Theatre will be the family favorite, Annie, on the MainStage from July 11-August 3. CLICK HERE for tickets or for more information. To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

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