Disney

Rapid Fire 20 Q with cast of Studio Tenn’s ‘Beauty and the Beast’; onstage at Jamison Hall in The Factory at Franklin now thru December 30.

December 8, 2018 by Jonathan

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

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

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

JHP: Tell me about Belle?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JHP: Tell me about Madame De La Grande Bouche.

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

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

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

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

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

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

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

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

JHP: What do we need to know about Lumiere?

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

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

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

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

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

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

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

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

JHP: Who is The Beast to you?

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

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

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

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

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

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

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

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

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

After Beauty and the Beast, Studio Tenn’s 2018/2019 Season continues with Tennessee William’s Cat on a Hot Tin Roof from Friday, February 8 thru Sunday, February 17. That will be followed by this year’s Legacy Series entry, The Sinatra Legacy: A Tribute to Ol’ Blue Eyes, onstage at The Franklin Theatre, Thursday, March 14-Sunday, March 17. Studio Tenn will wrap their current season with Damn Yankees from Friday, May 17 until Sunday, June 2. CLICK HERE for tickets or more information.Be sure to check out Studio Tenn online at StudioTenn.com or on social media at Facebook, Instagram and Twitter.

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

Review: EXTRA!! EXTRA!! Circle Players presents Broadway-quality production of Disney’s ‘Newsies’: on stage thru August 26

August 15, 2018 by Jonathan

Circle Player’s “Newsies”, onstage at Looby Theatre thru August 26 (photo courtesy Circle Players)

When the performance rights to Disney’s Newsies recently opened up enabling regional theaters across the country to present the show, about half a dozen Nashville area organizations snatched them up like a New Yorker snatches up their morning paper. Just last month an all-youth production garnered praise for the area’s first of many productions to come. With so many coming productions of Newsies on the horizon, leave it to Circle Players, Nashville’s oldest continuing theatre company, to seize the day by setting the bar extremely high with their current presentation of Newsies, on stage at the Looby Theatre, now through Sunday, August 26.

Based on the eponymous 1993 musical film which fictionalized the real-life New York Newsboy’s Strike of 1899, set to tunes by musical legend Alan Menken, Newsies made the unorthodox backwards transition from screen to stage with a Broadway debut in 2012. Proving just as popular as the modern classic film, the stage adaptation of Newsies reached an even broader audience (and a generation of new fans) when the Broadway production was filmed and released in movie theaters with special screenings in early 2017 and later available for digital download. If there’s one thing Disney knows how to do, It’s give the kids what they want.

So too does Circle Players know how to give the people what they want, having previously scored big with their productions of other Disney favorites including The Little Mermaid and The Hunchback of Notre Dame, so it’s the perfect marriage for Circle Players to present yet another Disney Theatricals production with Newsies.

Speaking of the perfect marriage, by choosing Jim Manning as the show’s director, with Tosha Marie Pendergrast as the show’s choreographer, Circle has found a powerhouse creative team to be reckoned with. Manning, known for his attention to detail as one of Music City’s most gifted set designers and Pendergrast, one of Nashville’s rising choreographers to watch have come together to create a truly Broadway-quality production.

From the moment the curtain rose during the opening weekend performance I attended, I marveled at Manning’s thoughtfully clever set. Rather than going the standard route of either presenting your stereotypical turn-of-the-century New York streetscape or a more stripped-down catwalk-laden industrial look, Manning chose to create his set by brilliantly crafting larger-than-life letter press print blocks and constructing them in a way to not only visually appeal and connect the viewer with imagery of how newspapers are printed, but to also double as the buildings and structures of the story. Pure creative genius, I tell ya.

Then there’s Pendergrast’s equally thoughtful choreography. From the show’s cheer-inducing wow-factor tumbles to what can only be called crutchography and some of the finest and completely synchronized tap and all-in dance number throughout, Pendergrast proves she’s a choreo dream come true.

Also making up Circle’s Newsies creative dream team are DaJuana Hammonds as the show’s musical director, and Kate Veglio as the production’s stage manager. Hammond and the eight piece orchestra she’s assembled—including lead keyboard-Nathan Girard, second keyboard-Francis Ho, guitarist-Dale Herr, bassist-Tom D’Angelo, percussionist-Dennis Palmer, trumpeter-Peter Duarte, woodwind-Raymond Ridley and cellist Julie Adams—perfectly punctuation the action and are proof positive why the show’s original score nabbed a Tony Award during the show’s Broadway run.

Unlike the labors of the director, the choreographer and the musical director, Veglio’s work as stage manger is, for the most part, unnoticed by even the most astute audience member. As stage manager, Veglio is charged with keeping thirty actors—yes there are thirty actors in Newsies—aware of rehearsal schedules, costume fittings and all manner of behind-the-scenes details the average patron probably never even takes into consideration.

Speaking of the thirty cast members, Circle’s Newsies features more than a few new faces and a nice mix of tried and true Circle favorites. Cast in the lead role of Jack Kelly, the newsboy who leads the charge for change by calling for the boys to strike and better pay, is Mike Sallee. The epitome of the triple-threat, Sallee is as gifted an actor as he is dancer and singer, and handsome to boot. Playing Jack with equal parts likability and determination, it’s easy to see why the other newsboys look to him for guidance and why rookie reporter Katherine (Melissa Silengo) is smitten.

Of Silengo’s performance as Katherine, she plays her with a sincerity and a healthy dose of moxie. When she and Sallee duet on Act 2’s Something to Believe In it is absolutely pure Disney magic.

Earlier I referred to some crutchography. For Newsies newbies, let me explain. One of Jack’s best pals goes by the nickname Crutchie because he walks with the aide of a crutch. Cast as Crutchie is Christian Redden. Having first reviewed Redden in Circle Players’ 13: The Musical back in 2011, I was anxious to see how he’d matured as a performer. Because I too walk with the aide of crutches, I was also interested to see how realistically his physicality was portrayed. No surprise Redden’s charm and talent has only flourished with the passage of time, Kudos to him, director Manning and choreographer Pendergrast for skillfully executing Crutchie with believability and dignity, and that aforementioned crutchography…bravo! (Side Note: during the post show meet and greet while chatting with Redden, I did suggest he not wear his long hair in a top-top sticking out the back of his newsboy cap, but rather tuck it behind his ears and wear it down behind the cap for the remainder of the run, as it was a bit distracting and not period accurate). Just another reason why I love my theatre community. Whether he heeds my advice or not, he received it with grace and kindness.

Dwayne Mitchell and Addison Bowen as brothers Davey and Les also turn in noteworthy performances. Leading the charge on the show-stopping Seize the Day near the end of Act 1, the final notes of the song were drowned out the night I attended by the audiences exuberant and well-deserved applause and cheers. Full Disclosure: My eyes may or may not have began to sweat during this all-in call-to-action scene. Mitchell’s Davey begins timid, but when the occasion (and script) calls for it, he tackles the role head-on turing in a near-perfect performance.

As for Bowen’s Les, she (yes, she’s a girl, a fact I didn’t realize until my grand-niece pointed it out) is a scene-stealer of the first degree, forcing the audience to watch her every move and react to her every line. Here’s hoping Circle utilizes the talents of these two while they can.

Like any good Disney story, you have to have at least a few adults in the mix, usually one on the side of the kids and one as the villain. Newsies is no exception. To that end Katharine Boettcher—who I readily admit is one of my current theatre crushes, having fallen under he spell first as Ursula in Circle’s The Little Mermaid, then continued my obsession when she played Lily in Town Center Theatre’s The Secret Garden—is once again perfectly cast, this time as Medda, the vaudeville chanteuse who befriends Jack and the boys and allows them to use her theatre to organize and carry out their strike. She may only have one solo in the entire show, Act 1’s That’s Rich, but she utilized the opportunity to prove why she landed the role. Gush-worthy indeed.

Opposing the strike, there’s Brian Jones newspaper magnate Joseph Pulitzer. Seemingly typecast, due largely because of his rich booming voice and innate ability to intimidate with one searing look, Jones is the perfect Disney villain. Unlike previous roles in prior Circle productions, the majority of Jones’ stage time is spoken and not sung. Effective at both, you still gotta love when he reveals his true business nature by way of the lyrics of Act 1’s The Bottom Line and its Act 2 reprise.

Other notable performances come courtesy William Robinson’s Romeo and Jake Rybczyk’s Tommy Boy, alongside Mitchell’s Davey. Each time these guys dance/tumble across the stage, the audience is wowed. Not to be completely outdone by the boys, Megan Castleberry and Kinsey Burchett as Buttons and Blue turn in a few impressive dance moves of their own, as did the entire company. I swear, not a misstep to be seen from the whole cast, and if there was, with so much action and excitement on stage, who’d notice?

Also watch-worthy are Carter Wright’s Specs, Nick Spencer’s Governor Roosevelt, Sawyer Latham as Morris, Nicholas Page as Mike, Tyler Inabinette as Spot, Austin Jeffrey Smith as Albert and Clay Hillwig in multi-roles of Weizel, Jacobi and the Mayor of NYC.

With a cast of thirty, all of them giving their performance 100%, I could go on and on ad nauseam singing the praises of each and every cast member, and believe me, they each deserve it. The entire cast shines throughout, from Carrying the Banner and the powerful The World Will Know to Act 2’s Brooklyn’s Here and each reprise of the aforementioned Seize the Day, Circle’s Newsies is sure to go down in Nashville history as headline-making, record-breaking musical theatre.

Circle Players’ Newsies continues its three-week run at the Looby Theatre (2301 Rosa Parks Blvd) with performances through Sunday, August 25. Thursday-Saturday evening performances begin at 7:30 p.m. Sunday matinee performances are at 3 p.m. The Sunday, August 19 performance will be a special Sing-A-Long Sunday during which the audience is encouraged to join in the fun by belting out their favorite tunes along with the cast. Tickets for Thursday performances are $15. Tickets for Friday-Sunday are $20. CLICK HERE to purchase tickets.

After Newsies, Circle Players will present Hair directed by Jason Lewis. Be sure to follow Circle Players on Facebook, Instagram and Twitter for the latest news, tickets and details about the rest of their 69th Season.

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.