FRANKLIN THEATRE

Rapid Fire 20Q with ‘Variety on Main’ co-hosts Mandy Barnett and Monica Ramey; monthly showcase of seasoned performers and newcomers continues at Franklin Theatre Monday, March 18

March 17, 2024 by Jonathan

Variety on Main, a new concert event happening on the third Monday of each month at The Franklin Theatre (419 Main Street, Franklin, TN 37064) showcases seasoned performers as well as rising talent. Co-hosted and co-created by Mandy Barnett and Monica Ramey, two truly gifted vocalists, as the event title suggests, Variety on Main showcases and celebrates a variety of not only music genres, but a wide-range of talent. The upcoming March 18 Variety on Main at The Franklin Theatre continues that concept by including performances by Carlene Carter, Becky Isaacs Bowman, The Rakish Paddys, Gretchen Peters, Blue Mother Tupelo and featuring Pat Coil and the Mainstays, as well as the show’s hosts, Mandy Barnett and Monica Ramey. Having attended their inaugural Variety on Main back in January, and witnessing first-hand the wide array of talent these two have brought together, I knew I wanted to chat with Mandy and Monica for the latest installment of my recurring interview feature, Rapid Fire 20 Q.

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RAPID FIRE 20 Q WITH VARIETY ON MAIN CO-HOSTS and CO-CREATORS MANDY BARNETT AND MONICA RAMEY

RAPID FIRE WITH VARIETY ON MAIN’s MANDY BARNETT

JHPENTERTAINMENT: How would you describe Variety on Main?

MANDY BARNETT: It is a multi-genre show at the historic Franklin Theatre, there are two sets, a house band made up of incredible musicians, the artists range from seasoned pros to up and coming talent, the common thread, is quality.

JHPENTERTAINMENT: Before we get into Variety on Main, let’s give my readers a little refresher…Early in your career, you performed at Dollywood, what’s your favorite memory of those early days as a young performer?

MANDY BARNETT: Some of my earlier days I performed at various variety shows, from the WNOX Tennessee Barndance, Archie Campbell’s Hee Haw Village and Dollywood. They were all located in East Tennessee. Some of my favorite memories of Dollywood are connected to Dolly’s family, they all performed there. I met so many nice people and it was a great experience to get to perform some shows with Dolly and with her family.

JHPENTERTAINMENT: Of course most folks know that you garnered critical acclaim and a huge fanbase when you starred as Patsy Cline in the debut production of Always…Patsy Cline, at the iconic Ryman Auditorium. What do you see as the most gratifying aspect of your time with that show?

MANDY BARNETT: This year marks my 30th anniversary since I started doing Always…Patsy Cline, which was among the first jukebox musicals – a truly life changing endeavor. Having Patsy’s family and peers play a significant role in my life has been incredibly special. It’s astonishing how someone i never knew or met could so profoundly influence the direction of my life in countless positive ways. Patsy Cline is iconic and to portray her at the Ryman Auditorium, where she herself performed, was an experience full of meaning. This role and the connections it fostered have been the most gratifying aspects of my time with the show.

JHPENTERTAINMENT: Industry insiders and fans agree, you are frequently referred to as one of the most gifted vocalist around. When you hear such praise, what goes through your mind?

MANDY BARNETT: This recognition means everything to me, especially considering the internal struggles I faced early in my career. I often agonized over whether to pursue the path of becoming a commercial commodity or to focus solely on honing my craft and collaborating with my heroes. Ultimately i chose the latter aiming to reach a point in my life where i could look back with satisfaction and no regrets, regardless of the outcome. This affirmation validates that decision, and for that, I am truly thankful.

JHPENTERTAINMENT: How did Variety on Main come about?

MANDY BARNETT: The concept of Variety On Main emerged from discussions with both Monica Ramey and the Franklin Theatre about some upcoming performances for my concerts which I had already been doing for quite some time. During our brainstorming sessions we toyed with the idea of creating a versatile Monday night show that could feature a broad spectrum of musical talent from an exceptional jazz trumpeter to a high energy bluegrass band. The driving force behind this idea was my personal desire for diversity in music. I find myself quickly losing interest when the music is too monotonous. We wanted to craft an energetic and dynamic experience that would keep the audience engaged and open to discovering music genres they previously might not have explored. The goal was to create a space where every performance offers a new color and a fresh perspective ensuring an exciting, varied musical performance for our audience.

JHPENTERTAINMENT: Having attended the first Variety On Main myself, I was impressed with the true variety of the talent. I love that the lineups for Variety on Main truly live up to the idea of ‘variety’, not only representing different genres, but also a true variety of talents. How important was that to you in planning these productions?

MANDY BARNETT: My aim was to create a platform that highlights the incredible range and depth of talent across different musical landscapes. It’s about creating moments where every performance is a discovery, an opportunity to be moved, inspired and surprised.

I deeply understand the significance of providing opportunities to talent who might not otherwise have the chance to shine on stage. Looking back at my own journey as a singer, I recognize the immense impact that working with professionals had on my development. It’s about creating a platform where both established artists and emerging talents, including children with exceptional abilities, can come together and showcase their skills. This inclusive approach not only makes for a a better show but also provides invaluable, potentially life-changing experiences for someone who is developing their sound.

JHPENTERTAINMENT: If anyone knows of someone who might want the chance to be part of an upcoming Variety On Main, how can they contact you and Monica for consideration?

MANDY BARNETT: There is a talent submission form on our site.

Photo by Cyndi Hornsby (Courtesy Variety on Main)

JHPENTERTAINMENT: As co-host and co-creator of Variety on Main, you share the stage with Monica Ramey.

MANDY BARNETT: We have a long history, similar goals and we have different strengths that make us a really great team. Monica is a seasoned performer, she brings elegance and polish to every performance.

JHPENTERTAINMENT: Speaking of collaborating with Monica…any chance audiences might get a chance to hear the two of you duetting onstage, or on record?

MANDY BARNETT: We have definitely talked about it. I’m sure as we hit our stride things will happen organically.

JHPENTERTAINMENT: In addition to your monthly Variety on Main shows and frequent performances at The Grand Ole Opry, on April 22, you’re among a stellar group of performers honoring Patsy Cline as part of Walkin’ After Midnight: The Music of Patsy Cline at the historic Ryman Auditorium. What can you tell me about that event?

MANDY BARNETT: I’m really excited about this show, they have put together some amazing and diverse artists. At this point that’s all I know, other than I think it’s going to be a very special night!

RAPID FIRE WITH VARIETY ON MAIN’s MONICA RAMEY

JHPENTERTAINMENT: Collaborating with Mandy Barnett as co-host and co-creator of Variety on Main seems to be the perfect partnership. Not only are you both gifted vocalist, but beyond that, you grew up in Francesville, a small town in Indiana, while she grew up in equally rural Crossville, TN. Continuing the parallels, you both began performing at an early age. What was the first time you performed for a sizable audiences and do you remember much about it?

MONICA RAMEY: I remember singing for about 3000 people at a Farm Bureau convention in Indianapolis when I was around 4 years old. The details are foggy, but I remember getting to go to my favorite ice cream shop afterwards. That was better than money for me at that age!

JHPENTERTAINMENT: Have you always been drawn to jazz music? AND…who were some of your earliest jazz influences?

MONICA RAMEY: I was always drawn to the Great American Songbook. I listened to a lot of broadway, popular recordings and jazz standards as a kid. My earliest musical influences were Barbra Streisand, Lena Horne and Rosemary Clooney.

JHPENTERTAINMENT: From what I understand, after studying music performances at Indiana State University, you eventually moved to Los Angeles where you interned for NARAS Foundation. What can you tell me about that period in your life.

MONICA RAMEY: Interning for NARAS was a great learning and cultural experience for me. It was just a few months during college but the people who worked there invited me to everything! I heard so much great music and met people for whom I deeply respected.

JHPENTERTAINMENT: From LA to Nashville nearly twenty-five years ago. What prompted the move to Music City?

MONICA RAMEY: I was supposed to have moved to LA after college, but I actually was encouraged to give Nashville a try. I love LA and I learned a lot – but I’m glad I made the decision to move to Nashville for sure.

JHPENTERTAINMENT: When folks talk about Mandy, inevitably Patsy Cline makes her way into the conversation. When folks talk about you, the late, great jazz pianist Beegie Adair is frequently mentioned. How did your association with Beegie come to be and what’s among your most cherished memories of collaborating with her?

MONICA RAMEY: Beegie was family. We both wore a lot of hats for each other and she was, without question, the most influential and supportive person I’ve ever known. I remember right before we were supposed to go on stage for a show in NYC, she turned around to me and said “this is just the beginning for you” and then walked out on the stage. She was full of kindness and grace and those moments stick with me like glue. She always had a lot of faith in me and I miss her terribly.

JHPENTERTAINMENT: On the subject of collaborating, when did you and Mandy first toy with the idea of collaborating to create and co-host Variety on Main?

MONICA RAMEY: I was working with the Franklin Theatre to develop a couple of other projects and telling Mandy about them one day. She asked “how about a variety show?” As daunting as that sounded, I loved the idea. And, she was forward thinking enough to envision how creative and successful it could be. She was right!

JHPENTERTAINMENT: Having attended the first Variety on Main, I was immediately struck by how perfect the venue is. Was it a no-brainer that that’s where these shows would take place?

MONICA RAMEY: It sure was. The Franklin Theatre is a beautiful, historic theatre and the crew we work with there is amazing. I’m proud to work with them and to support them.

JHPENTERTAINMENT: Aside from the monthly Variety on Main shows, you’re a frequent guest artist at Rudy’s Jazz Room. I have to tell you, the last time I saw you there, I had the best time. When’s your next gig there and are there any surprises you can share with me about what to expect?

MONICA RAMEY: Oh, thank you! That means a lot to me. I’ll be back there on March 29th at 5:30pm. I sing the Great American Songbook and jazz standards and the only surprises will be guests who might possibly be invited to join us on stage for a song or two.

JHPENTERTAINMENT: In addition to you and Mandy co-hosting each Variety on Main event, you both also perform a number or two. To that end, the ‘house band’ for Variety on Main is Pat Coil and the Mainstays. How much fun are you having not only performing alongside them, but also listening to them from the wings while they back many of the guests artists?

MONICA RAMEY: Oh my gosh – I’m discovering a lot of new talent just like the audience, so my jaw is on the floor most of the show. Working with Pat Coil, Sam Hunter, Brian Allen and Larry Aberman is an honor. The energy and joy around the show is very real.

JHPENTERTAINMENT: What do you hope audiences come away remembering after having attended a Variety on Main event?

MONICA RAMEY: I hope the audience not only leaves gratefully discovering new talent, but also the joy of being entertained and forgetting about the outside world for a couple of hours on a Monday night. It means a lot to see folks already committing to attending the shows regularly.

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As mentioned earlier, the Monday, March 18 Variety on Main features performances by Carlene Carter, Becky Isaacs Bowman, The Rakish Paddys, Gretchen Peters, Blue Mother Tupelo, Pat Coil and the Mainstays and of course the show’s hosts and creators, Mandy Barnett and Monica Ramey. Door open one hour before the 7:30p.m. start time. Tickets for Variety on Main are as follows: Cabaret seating (cocktail tables at the front of the stage) are $75/each, Premium Classic (Rows A-D) are $70/each, Classic and Balcony are $65/each. At the time this interview went live, there were only a handful of seats available at each price level. CLICK HERE for tickets.

Can’t make Monday’s show? On Monday, April 15, Mandy Barnett and Monica Ramey and Variety on Main’s house band, Pat Coil and the Mainstays welcome Malpass Brothers, Gail Davies, Grey Delise and Bennett Hall Band. CLICK HERE for tickets. You can also follow Variety on Main online or on their Facebook, Instagram and Threads socials for the latest information, updates on upcoming shows and lineups and more.

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

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

May 28, 2023 by Jonathan

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rapid Fire 20 Q with members of Studio Tenn’s ‘The Sinatra Legacy’; select tix remain to this weekend’s limited-run musical event

March 13, 2019 by Jonathan

Studio Tenn presents “The Sinatra Legacy” on stage at The Franklin Theatre March 13-17 (select production graphics and images by Tony Matula/MA2LA/courtesy Studio Tenn)

Season after season, Studio Tenn produces some of the best dramatic and musical theatre experiences around. For the past six years, in addition to more standard offerings, Studio Tenn has presented their Legacy Series, a limited-engagement celebration of icons in the world of music. This weekend, the company is once again including another installment in the mix of their theatrical season as they present The Sinatra Legacy: A Musical Tribute to Ol’ Blue Eyes, on stage at The Franklin Theatre in nearby Downtown Franklin from March 13-17.

I often say Studio Tenn is as close to Broadway-quality as middle-Tennessee theatre-goers get without booking a vacation to New York City’s theatre district and the inclusion of their Legacy Series proves just that, featuring some of the most talented performers in Music City (or anywhere for that matter) and presenting them in an intimate setting as though a group of friend—albeit ridiculously talented friends—have gathered together to celebrate the musical heritage of one of the 20th Century’s most gifted performers.

Previous Studio Tenn Legacy Series offerings honoring Hank Williams, Johnny Cash, Ray Charles and most recently, Glen Campbell, have been performed on the stages of the company’s usual home, Jamison Hall at The Factory at Franklin, as well as The Schermerhorn Symphony Center and The Ryman Auditorium. This weekend’s upcoming Sinatra Legacy marks the first time since heir inaugural Legacy show that Studio Tenn will once again set up shop at The Franklin Theatre, the beautifully restored historic movie house/live music venue that originally hosted the company’s Hank William Legacy debut back in 2013.

As is usually the case for Studio Tenn’s Legacy Series, the entire run of the show is nearly SOLD OUT, with just a handful of tickets remaining. That said, I was thrilled to get the chance to chat with members of the company for the latest in my recurring interview feature, Rapid Fire 20 Q. Among the conversationalist for this edition, Matt Giraud, frequent Studio Tenn performer who gained notice during 2009’s Season 8 of American Idol for his smooth vocal skills,infectious smile and charming stage presence that landed him in the Top Five. Then I chat with Belmont alum, Maggie Richardson, singer/dancer/choreographer, returning to Studio Tenn, for the first time since having portrayed Dainty June in the company’s 2015 production of Gypsy. Next up is Jaimee Paul, an acclaimed vocalist who, when not providing backup for superstars like Kelly Clarkson and Wynona, has worked with noted producers David Foster and Michael Omartian. Rounding out this edition of Rapid Fire 20 Q is Nashville native, William Hall, who, after studying classical voice at the University of North Carolina Chapel Hill has returned to his hometown to continue his education at Vanderbilt while pursuing music right here in Music City.

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RAPID FIRE 20 Q WITH CAST MEMBERS OF STUDIO TENN’S THE SINATRA LEGACY: A MUSICAL TRIBUTE TO OL’ BLUE EYES

RAPID FIRE WITH THE SINATRA LEGACY’S MATT GIRAUD

JHP: From what I remember, Studio Tenn’s 2016 The Ray Legacy, celebrating the music of Ray Charles, marked your debut with the company and now you’re back for this year’s Sinatra Legacy. What is it about these Legacy shows that sets them apart from standard musical theatre?

MATT GIRAUD: Well, before these shows I hadn’t really acted since I was in elementary school and it was the perfect way to get my feet wet, being such a fan of musical theater and this company in general. I’ve learned so much working with them and am absolutely honored to be surrounded by such talented musicians and artists every day. These shows are so special because the quality that they put into them is unlike anything I’ve seen in a live show in Nashville. It’ll take you right back to the Rat Pack era and you’ll forget you live in the present day.

JHP: Some folks likely first took note of you from your time on American Idol. That season’s Top 5 theme was Rat Pack Standards, during which you performed your take on Sinatra’s version of My Funny Valentine. Any chance you’ll revisit the tune during this week’s Sinatra Legacy?

MATT GIRAUD: Ha! We will have to see! With Frank’s catalog there are countless numbers of tunes to pick from and I’m sure some we wish had time for just won’t make it in. Either way, we are definitely going to come out swinging Plus that song got me kicked off of Idol so I kind of hope we don’t! Haha.

JHP: Speaking of The Rat Pack, if you had to name your squad, what would you call yourselves and why?

MATT GIRAUD: Probably The Ignance! Cause we’re all pretty ignant. (Slang for silly/over the top)

JHP: This year marks the first year the Legacy Series returns to The Franklin Theatre. What is it about that historic venue that lends itself perfectly to this type of musical event?

MATT GIRAUD: It will be my first time on stage at the lovely Franklin theater. It’s such an intimate beautiful room that really does have a timeless feel to it. I think it’s a perfect spot to transport each audience back in time for a smokin’ hot, classy, jazz-filled evening.

JHP: Sinatra’s music is timeless. Why do you suppose that is?

MATT GIRAUD: Taking the time to learn and truly live the lyrics to these songs has really shed new light on this music. Yes, some of these tunes were covered by many artists but Frank put a special kind of playful joy or deep sadness on these tunes. He could really break your heart if he wanted to with one song and make you want to dance to the next…just that easily. Listening to him taught me how to truly express these gorgeous lyrics. A reminder to really think about what I am singing to connect with the audience and take them with me emotionally rather than just sing a song. His delivery and the depth in his renditions will always make Frank truly timeless.

RAPID FIRE WITH THE SINATRA LEGACY’S MAGGIE RICHARDSON

JHP: You just choreographed a local production of Singin’ in the Rain, which takes place in the 1930s and now you’re performing in Studio Tenn’s The Sinatra Legacy. Sinatra’s first big break came in the mid-30s thanks to a radio show audition. What is it about that time period that you think was so magical?

MAGGIE RICHARDSON: I love the glamour and romance of this time period. Movies and music were all about stepping into a totally different world. They were a form of escape and a creative outlet where people were given permission to dream. If you look at Frank’s early songs, the romance of the lyrics might actually make you sick (in the best way)!

JHP: Studio Tenn audiences might recognize you from your turn as Dainty June in their 2015 presentation of Gypsy. Is this your first time back with the company? How’s it been so far?

MAGGIE RICHARDSON: Yes! I am absolutely thrilled to be back, after doing theatre around the country and coming back to the Nashville area to raise my precious daughter. Studio Tenn always creates a safe and fun work environment, and they put on incredible shows. I feel SO blessed to be working at this amazing company with these incredible people.

JHP: If you could emulate one aspect of Sinatra’s swagger, what would it be?

MAGGIE RICHARDSON: He had a special way of connecting with the audience and people- a little glimmer of something different that you couldn’t quite put your finger on. I hope to embody and portray that zing.

JHP: I can’t talk Studio Tenn without mentioned one of my theatre crushes, Laura Matula. What’s it like to share the stage with her and the rest of the performers in The Sinatra Legacy?

MAGGIE RICHARDSON: Same! It is magical. I have been looking up to Laura for years, and this is our first time actually working together. I could go on about how much I have learned from her as a performer and as a person. She’s BRILLIANT. And I can’t even tell you how many times I have almost straight up exploded while listening to and watching my fellow cast members perform. They are just insane.

JHP: Speaking of Laura, she’s co-directing alongside Studio Tenn’s Interim Artistic Director, Benji Kern. With these two at the helm, I’m sure we’re in for some surprising takes on Sinatra classics. Can you reveal just a hint of a particular song to look out for?

MAGGIE RICHARDSON: Oh my goodness yes, they are a power team. I will say this…in this show, you’ll be taken on a moody journey and get caught up in moments that take you by surprise. You’ll get everything you came for, but SO much more than you knew you even wanted! My favorite (which is different every day) is Laura and Jaimee’s intimate version of the song Something Stupid.

RAPID FIRE WITH THE SINATRA LEGACY’S JAIMEE PAUL

JHP: Is this your first time working with Studio Tenn?

JAIMEE PAUL: Yes…and I’m so excited about it!

JHP: What is it about The American Songbook style of music that appeals to you as a performer?

JAIMEE PAUL: The lyrics…the songs were so simply written, but yet said so much.

JHP: To put it into the modern vernacular, you could say that Sinatra and the Rat Pack were the original Squad Goals. What famous female singers would be your ideal squad?

JAIMEE PAUL: Bette Midler, Barbra Streisand, and Tina Turner.

JHP: While The Rat Pack seemed quite the boys club, many influential and successful women were also associated with Sinatra and the rest. From Marlene Dietrich and Lauren Bacall to Angie Dickinson and Marilyn Monroe. If you could chat with one of the Rat Pack women, who would it be and what might you ask?

JAIMEE PAUL: I would say Marilyn Monroe…I would ask her, “when you were a little girl, what did you want to do when you grew up?” I’d also love to ask Liza Minnelli, “What it was like growing up with Judy Garland as your mom?”

JHP: Oh, that’s right! Liza was indeed a member of The Rat Pack, touring with Sinatra and Sammy Davis, Jr. after Dean Martin dropped out of the Ultimate Event Tour in the late 80s. Good Call! Is there one particular song in The Sinatra Legacy that you just can’t get enough of, whether it’s one you’re performing, or someone else?

JAIMEE PAUL: I absolutely LOVE, It Was A Very Good Year. Not only does John-Mark McGaha absolutely nail it, but I now want to add it to my show!

RAPID FIRE WITH THE SINATRA LEGACY’S WILLIAM HALL

JHP: Last year you were part of the audio team for Studio Tenn’s Glen Campbell Legacy and now you’re featured as one of the performers of The Sinatra Legacy. What’s the experience been?

WILLIAM HALL: It has been an absolute blast. I am so thankful to be part of such an amazing cast of singers and musicians. I feel like every rehearsal has been a masterclass in singing and performing, so I am just trying to soak it all in. I’ve been in love with this music since I was young and it’s such a pleasure to get to sing it.

JHP: One thing I love about Studio Tenn’s Legacy Series is that it always seems like a group of friends just hanging out and celebrating music. Is that a fair assessment?

WILLIAM HALL: Absolutely. I think that is one of the things that makes this Legacy process so unique; it’s all about the music. That perspective allows us to be casual and collaborative onstage and let the music speak for itself. I think I speak for everyone when I say that we really do enjoy watching each other perform.

JHP: The promo shoot for The Sinatra Legacy resulted in some fantastic shots of you and your co-stars.. Tony Matula totally captured that Sinatra vibe. What was working on that photo shoot like?

WILLIAM HALL: To be honest I was really nervous! I had never done any kind of photo shoot before. Tony was awesome to work with and I can’t thank him enough for being patient with me. He has an amazing vision and he knows how to make you feel comfortable and like yourself in a laid-back way. We were actually on the set of Always…Patsy Cline for the shoot which added a whole other dramatic element and made it feel more natural. Frank Sinatra had an incredible swagger and cool about him and Tony knew how to play off of those subtleties.

JHP: While The Sinatra Legacy centers on his music, Sinatra also enjoyed a hugely successful film career. What’s your favorite non-musical Sinatra movie?

WILLIAM HALL: From Here to Eternity. I love the behind the scenes story about the film helped pull Frank out of a career slump. It’s also the one that I am most familiar with. For some reason I imagine that Sinatra’s character, Maggio’s feistiness in the movie captured some of his own personality.

JHP: If you could pick a Sinatra career highlight to have witnessed in person—-from crooner to movie star to Vegas headliner to his later comeback—which would you choose?

WILLIAM HALL: I would say either Sinatra Live at the Sands in Vegas, or any of the Rat Pack performances at the Sands around 1965 or so. I have the Live at the Sands recording and I just love the energy of his voice live, the way he phrases things, and interacts with the band. As far as the Rat Pack goes, I love the way that they play off of each other. They always look like they are really having fun and they are masters of their craft.

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Speaking of masters of their craft really having fun, while most of The Sinatra Legacy‘s five-day run performances are indeed SOLD OUT, at the time of this article, single seat tickets remained for select shows, so say a prayer to the Rat Pack gods and CLICK HERE to try your luck. If you miss out on The Sinatra Legacy, fear not, Studio Tenn’s next musical, Joseph and the Amazing Technicolor Dreamcoat takes the stage at Jamison Hall from May 17-June 2. As for their Legacy Series, I have it on great authority you will not be disappointed with next year’s offering. CLICK HERE for tickets or more information on Studio Tenn or follow them online at StudioTenn.com or on social media at Facebook, Instagram and Twitter.

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