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Rapid Fire 20Q with cast of Theatre of Gadsden’s ‘Steel Magnolias’; onstage at the Ritz February 9-18

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The cast of Theatre of Gadsden’s ‘Steel Magnolias’

When Joy Tilley Perryman not only told me she had been cast in Theatre of Gadsden’s upcoming production of Steel Magnolias, but that it’s a show she’s longed to perform in, I knew I had to chat with her a some of her cast mates for my latest Rapid Fire 20 Q. With the show opening at the historic Ritz Theatre (310 North 27th Street, Gadsden, Alabama) Friday, February 9 and running thru Sunday, February 18, I reached out to Joy, who’s playing Clairee, Cheryl Sington, the show’s Ouiser, Courtney Linam as Truvy and their Shelby, Macy Sauls for the latest installment of my recurring interview feature, Rapid Fire 20Q. So grab a cuppa and settle in as the ladies of Steel Magnolias share a few secrets.

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RAPID FIRE 20Q WITH CAST OF THEATRE OF GADSDEN’S STEEL MAGNOLIAS

RAPID FIRE WITH STEEL MAGNOLIAS’ CLAIREE, JOY TILLEY PERRYMAN

JHPENTERTAINMENT: While this isn’t your first time auditioning for a production of Steel Magnolias, it is your first time to be cast…tell me a little of your Steel Magnolia’s journey.

JOY TILLEY PERRYMAN: So, I call myself the Susan Lucci of Steel Magnolias because I have auditioned 9 times for this show and this is the first time I have ever been cast. I auditioned both professionally and at the community theatre level in Nashville for this show. I have loved it since 1986! But for whatever reason I was never cast. I told myself I would just never audition for it again and then it simply wouldn’t matter and would just be a funny story to tell at parties. But when Theatre of Gadsden put the show on the 2024 season, I decided I would give it one more try. And though my heart has always wanted to play Truvy, I am right where I need to be with Clairee. I did not realize how much I needed her!

 

JHPENTERTAINMENT: What’s your favorite aspect of Clairee as a character?

JOY TILLEY PERRYMAN: Clairee is just so much fun! But to me Clairee’s greatest asset is her capacity to love. She loves Shelby and the other ladies just like her own. And man, how she loves her own! Her dedication to her nephew Marshall is so uplifting and affirming. Harling really went out on a limb wither Clairee’s acceptance of Marshall being gay, in 1985 that was not the norm. And I love how Clairee does not suffer a fool. Let’s not forget her words about Nancy Beth’s intelligence!

 

JHPENTERTAINMENT: You’re a southern girl yourself…is there anyone in your personal life you’ve drawn inspiration from in your portrayal of Clairee?

JOY TILLEY PERRYMAN: My Grandmother Tilley! Clairee really is so much like my Grandmother Tilley. So I loved that. Grace McAfee Tilley always looked like she was turned out of a band box. Always put together. She was a terrific cook and lover of animals (Boston Terriers named Jill) and a huge football fan. We sang her out of the church at her memorial service to the Auburn fight song. But more than anything, if you were in her orbit, you felt the fierce love that she radiated. To be loved by her was a blessing indeed!

JHPENTERTAINMENT: In addition to playing Clairee, you’re also doing costumes, wigs and props. With a show so synonymous with the 80s, thanks in part to the all-star feature film adaptation, what’s been the most challenging/fun of gettin that 80s look just right for yourself and your fellow cast mates?

JOY TILLEY PERRYMAN: You know I am a child of the 80s so this has been such a fun walk down memory lane. My biggest challenge has been in that I have too many costumes. I could costume all of us twice over. Most of the clothes are from my own stock and that has been fun. When you see the show, see if you can’t spy a little set dressing of Shelby with her fire batons. That is my majorette costume from 1982! The wigs were almost overwhelming but I just picked up my Aquanet and got to teasing.

JHPENTERTAINMENT: Clairee has some of the best lines in the show. Do you have a favorite?

JOY TILLEY PERRYMAN: This is so hard to answer! But I think it might be this: “The only thing that separates us from the animals is our ability to accessorize”.

RAPID FIRE WITH STEEL MAGNOLIAS’ OUISER, CHERYL SINGTON

JHPENTERTAINMENT: Alright, before we get into Steel Magnolias talk, I understand you were a dancer alongside Michael Jackson in THE Thriller video. How did that come about and what’s something about that shoot that you still think of to this day?

CHERYL SINGTON: I was taking class with Jaime Roger’s and he chose people out of his class to go audition for Michael Peters who was choreographing. We had no idea what we were auditioning for or that it would be what it would be! One of the most memorable things I took from that was watching Michael and Michael throw out choreography with each other and see which steps/combos worked best. It was artistic genius at work right in front of our eyes! Amazing to watch it come to life! 

JHPENTERTAINMENT: You’re playing Ouiser. What’s your favorite thing about the character?

CHERYL SINGTON: Her raw honesty

JHPENTERTAINMENT: Not gonna lie, Ouiser is my favorite character, mostly because I too have been in a very bad mood for 40 years. What’s your favorite Ouiser line? CHERYL SINGTON: “Can I help it men find me desirable?”

JHPENTERTAINMENT: Within the context of the play, Ouiser’s frequent verbal sparring partner is Clairee. Having known Joy Tilley Perryman, who’s playing Clairee for quite a while myself, I gotta ask, how is she as a scene partner?

CHERYL SINGTON: Joy is very professional, but most of all, giving on the stage. Many actors you work with are all about themselves. Joy is about the ensemble and making sure she is giving her all to the cast and the show. She is truly a gem and a pleasure to work with! 

JHPENTERTAINMENT: What is it about Steel Magnolias that has kept it a sure-fire success all these years?

CHERYL SINGTON: I believe Steel Magnolias has kept its strength through the years because of its “truth”. It is soft but raw and real! There is not a person, man or woman, who cannot connect with the story! 

RAPID FIRE WITH STEEL MAGNOLIAS’ TRUVY, COURTNEY LINAM

JHPENTERTAINMENT: Although most folks likely remember Dolly Parton’s portrayal of Truvy from the 1989 film adaptation, the role of Truly in the original off-Broadway production was originated by Margo Martindale. In the subsequent tv series adaptation, Sally Kellerman played Truvy and in the 2012 Lifetime TV film, singer/actress Jill Scott took on the role. Who is Truvy to you, and how are you making her your own?

COURTNEY LINAM: Truvy’s a vivacious and sassy southern woman who runs a home-based beauty salon. She is known for her big heart, quick wit, and nurturing nature. She serves as a confidante and friend to the women who frequent her salon, offering not just hair and beauty services but also emotional support and camaraderie. Truvy’s salon becomes a gathering place where the women share their joys, sorrows, and laughter, forming deep bonds of friendship. Throughout the play, Truvy’s strength and resilience shine through as she navigates life’s challenges with grace and humor.

Truvy has certainly been portrayed by some incredibly talented actors over the years, each bringing their unique interpretation to the role. When I tell people I am going to play Truvy, they usually say, “oh, you’re going to be Dolly!” Rather than focusing on trying to emulate Dolly Parton’s portrayal, I am trying to embrace the qualities and strengths that I can bring to the character. I have made it a point to learn about the background and personality traits of Truvy. What drives her? What are her strengths and weaknesses? How does she relate to the other characters? I’ve tried to connect with the character on an emotional level and let my authenticity shine through in my performance. 

JHPENTERTAINMENT: Another key element of Truvy’s character is her ability to find good in any situation. A great example of that is her unlikely friendship with Annelle. Who’s playing Annelle and how has she been as a scene partner?

COURTNEY LINAM: Working with Carly Sims has been an absolute pleasure. Despite me joining the cast a bit later, she has been incredibly supportive and helpful throughout our scenes together. Her dedication to her role as Annelle shines through, and it’s been inspiring to collaborate with her. She’s been great at listening and reacting, which has really elevated our scenes. Overall, I feel fortunate to have her as my scene partner, and I’m excited to continue working together to bring our characters to life on stage.

JHPENTERTAINMENT: Like all the ladies of Steel Magnolias, Truvy has some fantastic lines. What’s your favorite?

COURTNEY LINAM: One of my favorite lines from Truvy in Steel Magnolias is when she says, “Laughter through tears is my favorite emotion.” This line captures Truvy’s outlook on life – finding humor and joy even in a time of sadness and tears. It’s a reminder of the resilience and strength of the human spirit, and it reflects the heartwarming and often humorous tone of the play.

JHPENTERTAINMENT: I was told I should ask you how long you’ve been doing theatre….so…spill it?

COURTNEY LINAM: My theater journey truly began in 2020, but it wasn’t until 2022 that I stepped onto the stage for the first time, in the production of Johnny Cash Ring of Fire: The Musical.  We faced postponements—eight, maybe nine times—due to the pandemic. Our perseverance paid off when we clinched the Broadway Regional Award for Best Ensemble. In one show, I gained invaluable years of experience and forged connections that will last a lifetime. I thought it would simply be a checkmark on my bucket list, but I was wrong—I was hooked!

From there, I delved into a whirlwind of productions: Big River, Godspell, Always…Patsy Cline, and Sordid Lives. Even during a supposed break in A Christmas Carol, I found myself enlisted for makeup duty. It was a blast, but let me tell you, it gave me a whole new appreciation for the hard work of the support crew—something I already deeply valued. Five shows in two years—it’s been a wild ride, but one I wouldn’t trade for anything. Steel Magnolia‘s will be the sixth production of my theatre career. 

JHPENTERTAINMENT: Doing a little digging, I kept running across mentions of you alongside $till Broke Band. Who are they and what’s next for you all?

COURTNEY LINAM: Oh, the $till Broke Band! This group has been rocking stages for years, usually with a male lead singer. But when Sid Brown, our drummer and band manager, invited me to join a few years back, something just clicked. We’ve had some unforgettable performances together, though not as many as we’d like. Between my commitments to theatre and life’s twists and turns, we’ve had to take some breaks. I managed to convince Sid to take on the drums for the Patsy Cline band, and we’ve even added a few Patsy tunes to the $till Broke set list. It’s been a blast blending our musical worlds. But it hasn’t all been smooth sailing. We suffered a devastating loss when our dear friend and incredible guitarist, Greg Tolbert, passed away. Since then, we’ve had some amazing guitarists step in to fill Greg’s shoes, but we’re still on the lookout for a permanent member. If anyone out there’s got the chops and the passion, we’re all ears! Despite the challenges, we’re keeping the music alive. We’ve got some exciting gigs coming up, like a car show in Anniston at Greenway CDJR to benefit wounded warriors and a fundraiser for the Humane Society in March. And hey, if you need some live music for your event, wedding, or just a good ol’ party, you know who to call—the $till Broke Band’s got you covered.

RAPID FIRE WITH STEEL MAGNOLIAS’ SHELBY, MACY SAULS

JHPENTERTAINMENT: Who is Shelby to you?

MACY SAULS: Shelby to me is the epitome of strong will and strength. She will do anything for what she believes in. Her mother, M’Lynn, played by Robin Black, is also very strong willed and they tend to clash until they can reach common ground. Both of these women are pillars of strength and poise, while still upholding the beauty of the relationships around them. 

JHPENTERTAINMENT: I’d imagine growing up in Gadsden, and still living there, you can relate to the small-town vibe of Steel Magnolias. What’s the best and worst part of small-town living?

MACY SAULS: The best part of living in a small town is the connections you make go far. When you get to know somebody, you’re automatically linked to hundred of other people in that area that you may or may not already know. The worst part is that because everybody know everybody, your business is community business. It’s hard to get away with things in a small town! 

JHPENTERTAINMENT: I understand you studied Biomedical Science at Troy University and are currently doing a bit of post-graduate studies at the University of Alabama in Birmingham. What’s your focus now and what do you hope to do with it?

MACY SAULS: My focus now is in the study of the Anthropology of Peace and Human rights at University of Alabama at Birmingham. I plan on studying health disparities in our local community and becoming a medical anthropologist! 

JHPENTERTAINMENT: I’ve asked each of your cast mates what’s their favorite line, so I might as well keep it going…What’s your favorite Shelby line in the show?

MACY SAULS: My favorite line is definitely either “Forget the damn juice!” or “I would rather have thirty minutes of wonderful than a lifetime of nothing special.” It’s hard to choose! 

JHPENTERTAINMENT: Lately I conclude my Rapid Fire 20Q’s by asking my last interviewee a variation of this same questions….so here goes…What theme, idea or message do you hope audiences will remember long after having seen Theatre of Gadsden’s Steel Magnolias?

MACY SAULS: I hope that they see the beauty, solidarity, strength and love that comes with womanhood and friendship. These women in the cast display brilliant strength and camaraderie that brings these themes to life.

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Theatre of Gadsden’s Steel Magnolias opens Friday, February 9 at The Ritz Theatre (310 North 27th Street, Gadsden, Alabama, 35904), and running through Sunday, February 18. Performances are Fridays and Saturdays at 7p.m. and Sundays at 2p.m. Door open 45 minutes before curtain. Tickets are $20/Adults, $18/Seniors/Students/Military. Groups of 10 or more $15/each. Groups of 20 or more $13/each. To hear all the latest gossip at Truvy’s Beauty Spot and witness every heartfelt moment of laughter through tears of Theatre of Gadsden’s Steel Magnolia’s, CLCK HERE to purchase tickets. For more info call 256.547.7469.

Up next at Theatre of Gadsden is The Outsiders with shows May 3 through May 12. Auditions for The Outsiders will be held February 19 and 20. For more information, CLICK HERE. Follow Theatre of Gadsden on Facebook, Instagram and Twitter for more details.

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

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

Rapid Fire 20Q with Director and Cast of Nashville Rep’s ‘Indecent’; onstage at TPAC’s Johnson Theatre February 2-11

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I love it when our local theatre companies take risks and present something other than the expected. With Nashville Repertory Theatre’s production of Paul Vogel’s Indecent, at TPAC’s Johnson Theatre February 2-11, they’re taking just such a risk. Vogel’s Indecent first debuted in winter of 2015 as a co-production between Yale Repertory Theatre and La Jolla Playhouse before opening Off-Broadway in 2016 and eventually playing Broadway in 2017. Examining the true story of the brief 1923 two-week Broadway run of playwright Sholem Asch’s The God of Vengeance, Indecent delves into the controversies surround The God of Vengeance, including the fact that the entire cast, the producer and the theatre owner all eventually faced prosecution for violating obscenity laws. I’ll save more on that for my review after I attend an opening weened performance.

For now, what follows are my conversations with Indecent’s current director and members of Nashville Rep’s cast for the latest installment of my recurring interview feature, Rapid Fire 20Q. First up is Nashville Rep Artistic Director, Micah-Shane Brewer who’s at the helm of this production, then it’s on to my chats with cast members Thomas DeMarcus, Sarah Aili and Eric Sorrels.

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RAPID FIRE 20Q WITH DIRECTOR AND CAST OF NASHVILLE REP’S INDECENT

RAPID FIRE WITH INDECENT DIRECTOR, MICAH-SHANE BREWER

JHPENTERTAINMENT: As I mention in my intro, one thing I love about Nashville Repertory Theatre is you guys aren’t afraid to mix it up and present shows your audiences may never have had the chance to see. Indecent, on stage at TPAC’s Johnson Theatre February 2-11, is a perfect example. How did Indecent come to be selected as part of the current season? 

MICAH-SHANE BREWER: I saw the Broadway production of Indecent about 7 years ago. I went in not really knowing anything about the play. I left the theatre in awe of the experience I had received. It blended so many theatrical conventions into one – the style of storytelling and the passage of time, the music, the ensemble work, the stagecraft. It was compelling, moving and beyond anything I had witnessed in the theatre. I thought about the play for days. 

A couple of years ago, we were discussing plays and Indecent came up as an option. Last year, as we were finalizing decisions for this season, I picked it back up and read through it again. I was struck at how timely it is. Here we are today fighting the same battles as the characters are in this play: censorship, antisemitism, gay rights, women’s rights. We’re in the midst of so much strife in our country, and the voices of hate have been given a larger and louder platform over the last few years. We’re seeing history repeat itself in so many ways, and sometimes, it feels like we’re going backwards as a society. It felt right and it felt like it was time for us to tell this story. But it did (and does) scare me – in all the good ways a challenging piece of theatre should. It’s not easy, and there are so many moving parts to this production. 

JHPENTERTAINMENT: A bit of a follow-up…as Nashville Rep’s Artistic Director, do you automatically get first choice of the show’s you direct each season, or is there a process followed by eligible candidates interested in directing?

MICAH-SHANE BREWER: I suppose the answer to this question is yes; however, I give a great deal of thought to the needs of each production, especially for directors. For example, it was important to me to have female directors for both 9 to 5 and POTUS. It was very important to have a black director for The Color Purple. The programming of the season ALWAYS comes first, and then directors are chosen after. I chose to direct Indecent because this story and subject matter mean a great deal to me.

JHPENTERTAINMENT: When I first heard Nashville Rep was presenting Indecent, I gotta be honest. I knew next to nothing about the show. Researching to chat with you and some of your cast, I’ve learned a bit, but for those unfamiliar, can you tell me what it’s about?

MICAH-SHANE BREWER: Indecent is based on actual events. The play follows a troupe of Jewish artists who risked their lives to perform a work deemed “indecent.” It’s the story of Sholem Asch, a Jewish playwright, who, in 1906, wrote a play called The God of Vengeance. It was produced in Yiddish and had successful productions all over Europe. In 1922, there was a production on the Lower East Side in New York City and it was translated into English. The show then transferred to the Apollo Theatre on Broadway in 1923. It was promptly shut down and the cast and producer were arrested for obscenity and put on trial. Indecent is a love letter to the power of theatre, a cautionary tale of the consequences of censorship, and a reminder that love always triumphs over hate.

JHPENTERTAINMENT: Representation matters. It’s a phrase…and practice… you hear more and more as people become increasingly aware of sensitivity towards others. To that end, as the director was there concern that certain stereotypes, whether in speech or mannerism be avoided? Did the cast work with a dialect coach or a Yiddish consultant in an effort to represent the Jewish characters as authentically as possible? 

MICAH-SHANE BREWER: Of course, representation does matter, and it’s important that all of us do the work to be authentic, truthful storytellers. The actors play a wide range of characters and use varying types of dialects and accents throughout the play. Although some of the characters are Yiddish, the majority of the time they are speaking in English. There are some Yiddish phrases and songs used throughout. Luckily, we’ve had a great team to give assistance to our actors. Nettie Craft is our Dialect and Voice coach and has been doing excellent work with each cast member crafting the correct sounds of each dialect. There’s a lot of technique when it comes to dialect and accents, and it takes a good ear, understanding of the vocal instrument and placement, and repetition for each actor to achieve the muscle memory of creating the exact sounds that are unique and authentic. We’ve also had the good fortune of having Howard Snyder as our dramaturg. Howard has been invaluable to this process by providing excellent research for so many areas of our production. Whenever you’re working with a story based on real people and events, it’s imperative to understand the historical context of the culture and the people you’re representing. Indecent spans almost 50 years, so there’s a lot to unpack: world events, Jewish culture, the political and social implications of the times, theatre history. Being a theatre artist means being an excavator; you have to dig for the details. You have to be a lover of learning. This cast has put in the time and attention to understanding and honoring every person, culture and moment in this story. 

JHPENTERTAINMENT: What about casting Jewish actors? Was there a consciences effort to include Jewish actors among the cast of Indecent? 

MICAH-SHANE BREWER: The goal was to have as many Jewish actors as possible. Part of the callback process is getting to know more about the actors and their background and connection to the material. Some of our actors are Jewish, and some descend from Jewish (and even Yiddish) cultures. On the first day of rehearsal, we had a lot of time to share about our history and backgrounds, and I was very moved at some of the personal stories shared. Some spoke of their grandparents and family members who immigrated to the United States. One of cast members shared that their grandmother was turned away at Ellis Island and had to return. Another cast member’s father grew up speaking Yiddish and provided assistance to the actor. 

As a director, I’ve always said that the biggest success of a show is its casting, and sometimes you just know when you see the actor who’s right for a certain role, and we struck a wonderful balance of actors for this production. This ensemble is one of the most thoughtful, caring, hard working, respectful, talented ensembles I’ve had the pleasure to work with. A lot of care has been given to the work throughout this process. Everyone holds this story close to their hearts. We honor the ones who are represented in this play who sacrificed their work, their reputations and even their lives. What’s great about the casting is that I feel everyone in this ensemble was MEANT to be in this cast; it was somewhat serendipitous how this casting came together so perfectly. I’m a lucky guy to be working with such a fantastic team.  

RAPID FIRE WITH INDECENT’s THOMAS DeMARCUS

JHPENTERTAINMENT: Last time we chatted you were appearing as Mrs. Trunchbull in a local production of Matilda back in 2019. You’ve appeared in a number of productions since, and now you’re about to take the stage at TPAC’s Johnson Theatre as Lemml, The Stage Manager in Nashville Rep’s Indecent. What can you tell me about Lemml?

THOMAS DeMARCUS: Oh, sweet sweet Agatha Trunchbull…you are about as far away from Lemml as one can get! I’m so thrilled to make my Nashville Rep debut with Indecent! There are many real people referenced in the play but Lemml is a fictional creation of the genius of playwright Paula Vogel. This play begs for the intimacy that the Johnson Theatre can provide. Lemml is a tailor from a small village who happens to attend the first reading of The God of Vengeance with his cousin and it will change the entire course of his life. He believes in the play. He wants to see it thrive. He tackles the role of stage manager with the utmost respect and reverence. He comes through Ellis Island with a dream like so many others. Lemml personifies hope.

JHPENTERTAINMENT: Indecent touches on so many themes of injustice, acceptance and equality that are as relevant today as they were when The God of Vengeance, the play within the play was first written in 1906, then later mounted on Broadway in 1923. Here we are 100 years later and this play is still frequently described as ‘controversial’. What’s so controversial about equality?

THOMAS DeMARCUS: It has long been confusing to me that when underserved groups ask for equal rights, that the message twists into a loss of rights for others. That the balance of freedom for all has to come at a cost of losing the freedoms for some. It is never about having more rights than you, but having the same as you. The controversy, to some extent, must be that people hate the idea of losing their foothold on power and control. If one group can use the water fountain while another group can’t, and then one day everyone can use the water fountain, what has the first group truly lost? It doesn’t feel controversial, and yet oppression and suppression still linger.

JHPENTERTAINMENT: I noticed on Nashville Rep’s socials where they intro the cast, you cite that this performance is dedicated to your son, Leo. How important is it that audiences truly take in the messages presented in Indecent?

THOMAS DeMARCUS: I think it’s always noteworthy to self-evaluate how you might respond in a crisis or when your back is up against the wall, but perhaps it’s more important to evaluate your behavior when the thing fighting for its life is someone else, or some group, or some cause. How do you respond then? Indifference? Ignorance? Assistance? I want my son to grow up in a fair and loving household and I want that extended to a fair and loving world. To teach him right and wrong and to know how to use his voice but also his eyes and ears. I say this with no hyperbole, Leo is the greatest human who has ever lived, but I want the audience to fight for him just as hard as he will fight for them.

JHPENTERTAINMENT: What aspect of Lemml and his circumstances has been most challenging/gratifying to play? 

THOMAS DeMARCUS: After nearly 30 years of acting, I finally get to play a narrator! This show spans multiple countries, languages, and time periods so the challenge with Lemml is that he’s the audience’s through-line for the entire show. He introduces the troupe and he’s with the show all over Europe and when it comes to New York. Lemml is solid in his beliefs. He’s certainly naive and innocent when we first meet Lemml, but as the world around him consistently disappoints, he’s tasked with finding these fleeting pockets of hope. The gratifying part is I only have to play Lemml, while the rest of the cast has to switch characters multiple times. Thank goodness they are talented!

JHPENTERTAINMENT: This may seem an obvious question, but what is it about a 2015 play examining the circumstances surrounding a 1923 play that will pique audiences’ interest?

THOMAS DeMARCUS: There are two lines in the show where the audience can easily draw a connection to today: “it won’t happen here” and “these things happen”. In the play, they refer to anti-Semitism but isn’t this the same back and forth with gun-control debates? with hate-crimes? with domestic terror? with natural disasters? We have a tendency to assume that a nightmare cannot happen to us in our own community. Then it happens and we shrug our shoulders when the people in power fail to protect us. This play is telling you to not just fight for what you believe, but to defend those that cannot always fight back.

JHPENTERTAINMENT: Indecent, not only examines the controversies of The God of Vengeance, but the closeness of community. I frequently ask actors I’m interviewing to speak of the community of actors as it relates to their current show. Do you feel a closeness to those you’re sharing the stage with?

THOMAS DeMARCUS: I have been extremely impressed by Nashville Rep‘s professionalism throughout this rehearsal process. Not just the immediate company, but this extends to our brilliant designers, our hard-working crew, and to our very thoughtful dialect coach and our very thorough dramaturg. Our director, Micah-Shane Brewer comes to each rehearsal with new ideas and new questions for us to ponder. I’ve known him for 12 years and it has been an honor to work with him on Indecent. It feels like everyone is taking this material with the seriousness that it deserves and we all want to make an important show. I’d like to believe that Nashville’s theatre community is loving and supportive, and this group has not changed that opinion. I have worked with only one member of this company before (Garris Wimmer; Spamalot; Studio Tenn; 2017) but I’d heard of so many others. And I would get texts from friends saying “oh you will LOVE Rona Carter” or “so many great people in this company!” and yes…they’re right. This show demands an ensemble that is on the same page, and thankfully that’s what this show has!

RAPID FIRE WITH INDECENT’s SARAH AILI

JHPENTERTAINMENT: A quick look at Indecent’s character list reveals you play Halina, among others. Can you speak a little about the process of creating differentiality between the roles you’re presenting in a single work?

SARAH AILI: Yes! Apart from portraying Halina in “The Middle,” I also take on roles like Manke, Immigrant, Freida, Dorothee Nelson/Dine, Dr. Hornig, and one of the Bagelman Sisters. Playing these characters consecutively provides a profound lesson in staying completely present. Once the initial challenge of getting my lines, blocking, choreo, quick change moments etc… right, immersing myself in the storyline becomes more seamless. In terms of character development, I prefer starting with physicality, tone, and melody. Exploring how my characters walk, move, shape vowels, hold themselves etc…leads to discovering the character’s essence. It’s akin to slipping in and out of a well-fitted coat. Making specific choices helps me swiftly embody these characters, crucial in a fast-paced show like this!

JHPENTERTAINMENT: If memory serves, the last time I saw you onstage at Nashville Rep was their 2018 production of Avenue Q. There’s been a few chances in staff at Nashville Rep since your last involvement. Are you enjoying being back and working with the current staff and creatives?

SARAH AILI: Oh yes, VERY much! Every experience I’ve had with Nashville Rep has been stellar. I adore Micah-Shane Brewer, working with him has been a true delight! 

JHPENTERTAINMENT: What can you tell me about Halina, the primary character you play in Indecent?

SARAH AILI: Halina, a woman in the prime of her life, a woman who has been through love and loss, pain and celebration, embraces the opportunity to portray compelling and juicy roles in Indecent. Immersed in playing a female character with tenacity in her soul, the experience of bringing her to life is genuinely fulfilling for me!

JHPENTERTAINMENT: While Indecent isn’t a musical, it incorporates music, dance and song as part of the full experiences. What’s the typical rehearsal schedule like incorporating all those elements?

SARAH AILI: From the initial rehearsal day of Indecent, our musicians have been integral members of the troupe, seated at the table with us. The seamless intertwining of music and dialogue is paramount to the poignant essence of the show. Without this precise harmony between story and song, I couldn’t envision Indecent coming to life in such a profound way. Our synchronization with the music is in perfect rhythm, and the music effortlessly aligns with the scenes in every instance.

JHPENTERTAINMENT: Without revealing too much, do you have a favorite moment in the show? 

SARAH AILI: The entire show captivates me – its fluid movement, effortless exploration of profound depths, and the inherent ease and beauty it carries. The ensemble, a vital part of the narrative, is what I cherish the most. Sharing the stage with this group of immensely passionate and talented performers is my favorite aspect.

RAPID FIRE WITH INDECENT‘s ERIC SORRELS

JHPENTERTAINMENT: When I spoke with your cast mate, Thomas DeMarcus earlier, he revealed that Indecent will be his first Nashville Rep show. I understand it also marks your debut with the company. What’s the experience been like thus far?

ERIC SORRELS: It continues to be a wonderful experience. I grew up outside of Nashville in Lebanon, so being here feels a little bit like a homecoming. It’s also been a reunion with Micah-Shane Brewer, with whom I shared the stage in Knoxville several times at the Clarence Brown Theatre. In my experience, the way a particular theatre company feels hinges on the leadership of the director. From day one with Indecent, Micah-Shane fostered a room that allowed us to bond as an ensemble, put us all on the same foot as equals, and motivated me to bring my very best self to rehearsal each day. The only issue with the rehearsal process was that insane arctic weather we had for about a week. But even then, that was just a chance for me to see how dedicated Nashville Rep is to its people; Micah-Shane and our stage manager Isaac Krispin would go out of their way to pick up actors on the way to rehearsal to ensure everybody could make it there safely. Needless to say, I’d come back to work with Nashville Rep anytime they’ll have me.

JHPENTERTAINMENT: While it may be your Nashville Rep debut, you’ve got quite the career resume. Your credits reveal you were among the cast of North Carolina Theatre’s production of Beautiful: The Carole King Musical where you were not only part of the ensemble, but also appeared as Neil Sedaka, Lou Adler and half of the music duo, The Righteous Brothers. What was your favorite aspect of that production?

ERIC SORRELS: One of the reasons I love Beautiful is because even though Carole is obviously at the center, every cast member has a chance to shine. As the Righteous Brothers, we would get entrance applause before we even started singing — that’s how excited the audience was to hear You’ve Lost That Lovin’ Feeling. But to bring the question back to this production: there’s a moment in Indecent when the characters talk about how they gather at the wings of the theatre to watch a very special scene take place night after night. In Beautiful, I was that actor gathering at the wings to watch our Carole (Elena Ricardo) perform Some Kind of Wonderful, It’s Too Late and You’ve Got a Friend. Watching her shine never got old.

JHPENTERTAINMENT: Back to Indecent, you play Moriz Godowsky. What can you tell me about him?

ERIC SORRELS: The musicians don’t actually have any lines in the play, so I’m really free to bring a lot of myself to Moriz. To that end, he’s a pretty mild-mannered guy, self-taught on the accordion and ukulele, and he gets a lot of joy out of watching his actor companions tell this beautiful story and transform into so many different characters. One fun detail we discovered is that Otto the Elder (played by Garris Wimmer) and Moriz share the same last name in the script. We’re not really sure why, and it doesn’t affect the storytelling all that much, but we’ve agreed that Otto and Moriz must be family.

JHPENTERTAINMENT: As you mentioned, Moriz plays the accordion during interwoven musical segments featuring Klezmer music. Here’s a two-parter for you…For the uninformed, what is Klezmer and is it true you just first picked up the accordion just over a year ago for a production of The Great Comet of 1812? 

ERIC SORRELS: Klezmer is a musical tradition originated by the Ashkenazi Jews of Central and Eastern Europe. It’s a really expressive and dramatic musical style, with melodies that evoke big human emotions. The instrumentation is key too — klezmer music typically includes violin, accordion, clarinet, and percussion, as is the case for Indecent. I first encountered klezmer music as a member of the professional choir at Temple Emanu-El in New York City (a synagogue which Indecent references at one point!). I think it speaks to the unique experience of the Jewish diaspora that klezmer has made its way across time and space from centuries ago in Europe to Music City, USA in 2024. 

Yes! I have a background as a piano player, but the first time I ever held an accordion was October 2022 for Theatre Raleigh’s production of The Great Comet. The versatility of this instrument continues to amaze me. It’s kind of like walking around with a pipe organ strapped to your chest. The score of Indecent has been an opportunity for me to take my accordion-playing to the next level, and learning some of the trickier passages of this score has been extremely rewarding.

JHPENTERTAINMENT: Lately, I’ve ended my interviews by asking the last person I speak with a variation on this same question…What do you hope audiences take with them after having experienced Indecent at Nashville Rep?

ERIC SORRELS: I think for me, Indecent is a reminder of why we make theatre, why we attend the theatre, and why theatre will always be a vital part of human expression. The theatre is a sacred space where we can hold and examine our collective memory. I’m reminded of a classic Arthur Miller line from Death of a Salesman: “Attention must be paid.” We go to the theatre to pay attention; to remember parts of human history that would otherwise be forgotten; to find ourselves in a character who appears to have totally different experience from us. This play also reminds us that as long as there have been artists willing to show all the facets of humanity, from innocence to depravity, there have been those wishing to censor what they judge to be unsavory, immoral, or — yes, I’m going to say it — indecent. To that end, I hope audiences leave with a renewed appetite to see, support, and make more daring theatre.

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Nashville Repertory Theatre’s Indecent plays TPAC’s Johnson Theatre Thursday, February 2 thru Sunday, February 11. CLICK HERE for tickets to this powerful play. Following Indecent, Nashville Rep will host two nights of staged readings of playwright Lydia R. Diamond’s Stick Fly at Nashville Public Television’s Rains Avenue studio as part of their REPaloud series. Visit nashvillerep.org to secure your FREE spots for either night. Next up, The Rep will continue their regular season with The Color Purple on stage at TPAC’s Polk Theatre. The beloved musical based on Alice Walker’s classic novel will run April 5-14.  In the meantime, check out Nashville Rep online and follow them on Facebook, X, YouTube and Instagram.

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

Rapid Fire Q&A with ‘Girl From The North Country’ cast members Matt Manuel and Jeremy Webb; National Tour plays Music City January 30 thru February 4

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Girl From The North Country, written by Conor McPherson, and featuring nearly two dozen tunes penned by legendary singer/songwriter, Bob Dylan is a musical that takes place in midwest Duluth, Minnesota during the fall of 1934. While the show features Dylan’s music and is set in the musician’s hometown, it’s not a jukebox musical and certainly not a bio-musical. Instead, the plot introduces audiences to the Laine family, proprietors of a local boarding house that, like the rest of the country, has fallen on hard times. Among those taking up residence with the Laine family are a Preacher and a Boxer, played in the National Tour of Girl From The North Country by Jeremy Webb and Matt Manuel, respectively. As the tour cast and crew prepared for the show’s debut Nashville dates at TPAC’s Jackson Hall January 20-February 4, I recently had the chance to pose a few questions to Manuel and Webb for the latest installment of my recurring interview feature, Rapid Fire Q&A. What follows are those conversations.

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RAPID FIRE Q&A WITH GIRL FROM THE NORTH COUNTRY’s MATT MANUEL

JHPENTERTAINMENT: Girl From The North Country takes place in Depression Era Duluth, Minnesota in the fall of 1934 and centers ‘round the inhabitants and visitors of a run-down guest house. The national tour kicked off at The Orpheum (a theatre Dylan one owned), not terribly far from Duluth, which also happens to be Dylan’s birthplace. Was it surreal to open the tour in this way?

MATT MANUEL: It was VERY surreal to open the tour up this way. I can’t think of a better way to have opened up this tour. The audiences really didn’t disappoint. They were with us in every show. From the moment we opened our mouths to sing the first song, to the moment we took our bows. If anything, I feel a bit spoiled by that experience!

JHPENTERTAINMENT: In Girl From The North Country, you play Joe Scott, an ex-con/boxer. What more can you tell me about Joe?

MATT MANUEL: Joe was actually always a boxer! He had a promising boxing career until his wrongful arrest which caused him to lose everything. By the time you meet him in the boarding house, you see a man who is determined to rebuild his life. He stays to himself. He is incredibly respectful, but definitely not someone whose bad side you should ever end up on as audience members will see. There is also no coincidence that the softer side of Joe comes out in the presence of Marianne. 

JHPENTERTAINMENT: When Joe shows up at the house, he’s traveling with a seemingly unlikely companion, the Reverend Marlowe, played by Jeremy Webb, who I’ll be chatting with as the second part of this Rapid Fire Q&A. What’s Jeremy like as a scene partner?

MATT MANUEL: Jeremy is one of the best humans in this business! On and off stage, we have a very close relationship. I can ask him advice or guidance on anything, and he will make time to sit with me. On stage, we have so much fun together playing off of each others acting choices. He is ever present and always ready for the curveballs we like to throw at each other. Offstage, we look out for each other and are very protective of each other, and when we hop on stage, we enjoy our very tennis-esc scenes where we volley our lines and physical choices back and forth to try and throw the other off. I could not have prayed to God for a better scene partner than the one I have been given in Jeremy Adonis Webb. Also, that is not his middle name. I just made it up!

JHPENTERTAINMENT: While doing a little digging prior to our conversation, I discovered you and I share a degree of separation….American Idol! I was an assistant to the coordinating producer during the first two seasons back in the day, while you were a contestant in 2013. Stick with me here…How did trying out for Idol prepare you for auditioning and landing later gigs like Broadway’s Ain’t Too Proud and your experience on tour with Motown the Musical?

MATT MANUEL: Wow! That is a cool degree of separation!!! American Idol actually helped me with my camera awareness as well as my mindfulness as a performer. There is so much more to being a performer than singing. A fun fact is I booked all three of those things in my hometown of Detroit at open calls. Playing David Ruffin in Ain’t Too Proud really made me put those things into practice. I had to learn how to be comfortable commanding a space and being front and center.

Matt Manuel in the GIRL FROM THE NORTH COUNTRY North American tour (photo by Evan Zimmerman for MurphyMade).

JHPENTERTAINMENT: Speaking of your previous experiences, the upcoming Nashville leg of Girl from the North Country won’t be the first time you’ve appeared onstage in Music City. You were one of the stand-out performances just two short years ago as Dustin, in the premiere presentation of May We All, which had it’s National debut at TPAC. What was your favorite aspect of that experience? AND…now that you’re familiar with Nashville, are there any things you’ll insist your fellow cast mates check out while in Music City?

MATT MANUEL: My favorite aspect of doing May We All was truly making friends. We had such a great cast! We enjoyed building that world together through our story telling and to this day, our group text thread is still active. Now that I am going back, I will definitely be getting some hot chicken and I encourage my cast mates to do the same! I may take a trip up to carter vintage and play some guitar as well!

RAPID FIRE Q&A WITH GIRL FROM THE NORTH COUNTRY’s JEREMY WEBB

JHPENTERTAINMENT: In researching to chat with you, I read one review of a previous production of Girl From The North Country that describes the character you play, the Reverend Marlowe as “non-practicing’. That made me laugh. Is that a fair assessment of the character’s current religious conviction? AND…what more chan you tell me about the Reverend?

JEREMY WEBB: Thank you so much for having me and for asking to do this interview about Girl From The North Country by Conor McPherson and Bob Dylan. I love your question about the character I play, The Reverend James Marlowe and the assessment suggested above! I like to think about James as a person who is doing what he must do in order to survive. We are in 1934, it’s the height of The Depression and there is no social safety net. James has had a tough life and selling Bibles is a transactional means to an end. And as I see him, he also has an authentic connection to the mystic and to spirituality. And while I agree that he is maybe not the most devout man of the cloth you have ever met, we have to remember the dire and strained circumstances of the play.

JHPENTERTAINMENT: Girl From The North Country, at least in story and character, seems to be getting a bit of comparison Thornton Wilder’s Our Town…how do you describe the play yourself?

JEREMY WEBB: It’s the week before Thanksgiving at a boarding house in Duluth, Minnesota and a group of restless Americans gather by necessity and circumstance to share community, food, warmth and shelter. No one wants to be there, but everyone has a strong need that connects them to the boarding house. What transpires is a tale of love, jealousy, graft, mysticism and at its core, a perfect miracle.

JHPENTERTAINMENT: I have a confession to make…generally speaking, I’m not exactly a huge Dylan fan. I KNOW…I KNOW…but, Will I be after seeing Girl From The North Country?

JEREMY WEBB: Of course you will! He is America’s troubadour! His lyrics won him a Nobel Prize IN LITERATURE! What a treat to get to experience Dylan’s remarkable gift for storytelling and his gut-punch lyrics in a fresh setting and sung by this astonishing company. Especially with these Tony Award-winning orchestrations and arrangements sung by Broadway’s Best! Wait until Matt Manuel sing his heart out and watch him act his face off! It is as if Dylan (who is all about reinvention anyway) has been reborn through this material.

Jeremy Webb in the GIRL FROM THE NORTH COUNTRY North American tour (photo by Evan Zimmerman for MurphyMade)

JHPENTERTAINMENT: If you could adopt one aspect of the Reverend’s personality and character into your own life, what would it be and why?

JEREMY WEBB: James’ badass hairstyle is key for me. I started out as a young actor in Drama School as very method-oriented and have become much more “outside in” as I have progressed through the many roles I have played in my career. When I settled into James’ badass hairstyle, something clicked for me. There is something telling and unique about the person who never feels the need to run a comb through his hair (we all know one!). So if I had to say, I’d say James’ badass hairstyle. It’s freeing! Less combs! More tangles!

JHPENTERTAINMENT: I frequently like to end these chat with this…what do you hope audiences take away with them after having seen Girl From The North Country?

JEREMY WEBB: I know that this musical provokes conversation. On the way home from the theatre and the next morning as well. Don’t try to “get” it all: there is a lot coming at you from this boarding house… sit with us for 2 + hours and feel Dylan stir your soul. And then go away having one of those juicy conversations with your seat mate or family member that only a brilliant piece of theatre can inspire! 

Thanks for the great questions.

See you at the theatre!

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Indeed they will see me there, as I look forward to attending Opening Night of Girl From The North Country’s Nashville dates. Girl From the North Country plays TPAC’s Jackson Hall Tuesday, January 30 through Sunday, February 4 with evening performances Tuesday-Sunday and additional matinees both Saturday and Sunday afternoon. CLICK HERE for tickets or more information.

Can’t make it to Nashville for these dates? Catch the show as the National Tour continues with upcoming stops in Greenville, Chicago, Philadelphia, Boston, Tampa and more. Be sure and check out Girl From The North Country’s Official Site at North Country Tour, or follow them on Facebook, X, Instagram and YouTube.

Following Girl From the North Country , TPAC‘s HCA/TriStar Broadway at TPAC season continues with TINA-the Tina Turner Musical, February 13-18. CLICK HERE for tickets or more information. Be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org,  TPAC on Instagram,  TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

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

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

Rapid Fire 20Q with Cast of ‘The Cher Show’; on stage at TPAC’s Jackson Hall as National Tour Continues

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With a career spanning seven incredible decades (and a number-one chart-topping single in each of those seven decades), Cher continues to break records, kick ass and take names. A 2018 Kennedy Center Honors recipient, as well as garnering a multitude of awards throughout her career, including an Emmy, an Oscar and a Grammy, everything Cher touches seems to turn to gold. Proving, as Cher herself might sing that, The Beat Goes On. A prime example of Cher’s lasting mettle comes in the form of The Cher Show, the recent Broadway hit jukebox musical, currently on a cross-country, tune-filled journey as the show embarks on its first-even National Tour.

Knowing that The Cher Show was coming to Music City for a limited two-day engagement, January 19 and 20 at Jackson Hall inside Tennessee Performing Arts Center, I knew I just had to reach out and pose a few questions to the cast. The Cher Show presents Cher in three distinctive eras. There’s Star—Cher in her modern era, played on tour by Morgan Scott. Then there’s Babe—Cher as a young woman in late teens and early Sonny and Cher years, played by Ella Perez. Rounding out the trinity of Chers is Catherine Ariale as Lady—revealing Cher as a solo artist, actress, business woman and mother. If you read my column with any regularity, you know my recurring interview feature is called Rapid Fire 20Q. Seeing as how 20 doesn’t easily divide by three, I soon realized I needed to choose a fourth interview subject. A little research of the show quickly revealed that the choice for a fourth interviewee was obvious when I discovered that among the supporting cast of characters a member The Cher Show ensemble not only appears as Cher’s mother, Georgia Holt, but also as Cher’s mentor and friend, Lucille Ball…that’s right, my celebrity obsession! Done…Lucy Werner , who appears as both Georgia and Lucy, would be my fourth interview for this edition of Rapid Fire 20Q featuring the cast of The Cher Show.

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RAPID FIRE 20Q WITH MEMBERS OF THE CAST OF THE CHER SHOW

RAPID FIRE WITH THE CHER SHOW’s MORGAN SCOTT

JHPENTERTAINMENT: In the National Tour of The Cher Show, you play Star, Cher in more recent times. What is one aspect of Cher’s current persona that you’d like to mimic in your own life?
MORGAN SCOTT: Her never quit attitude! She just got ANOTHER #1 Hit which means she has a charted a #1 hit for 7 straight decades. That’s just incredible and goes to show, it ain’t over til Cher says it’s over!

JHPENTERTAINMENT: I understand you have ties to Tennessee, Any plans to catch up with former classmates and friends while so close during your Nashville tour stop in Nashville at Tennessee Performing Arts Center?

MORGAN SCOTT: I grew up in Memphis and then went to college at the University of Tennessee Knoxville where I received my BA in theater. I have many family and friends coming to the Nashville shows!! One of my college theater friends is actually flying down from New York (where he lives currently) to stay with his family here in Nashville so he can come support and see the show. Another close college friend who I traveled cross country with 20 years ago, is also coming with his family. It’s going to be a really magical experience here back in my home state.

JHPENTERTAINMENT: On the subject of Tennessee connections, we have a mutual acquaintance…my friend Carol Mayo Jenkins. Not Cher-related, I know, but anytime someone knows or has worked with Carol, I have to ask…what do you remember most about working with Carol in a theatrical production?

MORGAN SCOTT: Oh my goodness, Carol Mayo Jenkins is my hero. Anyone who went to UT with me, involved in theater, knows that she was my mentor and completely took me under her wing. I was fortunate enough that during my time at UT, she created a new master class for a select group of undergrad theater students. She then made sure I was introduced to all the resident guest actors and teachers that came in. Her words of wisdom, quickly followed by her iconic “Do you know?” live with me on the daily. I distinctly remember being overwhelmed with fear/nerves before presenting a monologue and she looked at me and said, “You did the work. Now just let it happen. It’s there.” …Also, going back to the never quit attitude: CMJ lives and breathes it. She is still absolutely crushing it on stage.

JHPENTERTAINMENT: Can we just take a minute to gush about Bob Mackie? Cher’s celebrated long-time costume designer recreated numerous iconic looks for the Broadway run and the tour. Do you have a favorite costume, whether it be yours or that of one of your fellow-Chers?
MORGAN SCOTT: How does one even choose between these works of art!!? I think I can speak for most of us that during our costume fittings core memories were unlocked. If I had to choose… one of my finale looks, that is the “Goddess Warrior” concert look, just makes me feel incredible. I think it will always rank as one of my favorites because it just represents everything that was just accomplished.

JHPENTERTAINMENT: As Star, you share stage time with Mike Bindeman and Gary Paul Bowman as Cher’s second husband, rocker, Gregg Allman and younger boyfriend, Rob Camilletti, respectively. Of course the tabloids gave a version of both relationships, as does The Cher Show, but what about the men behind the roles? Describe each of your two leading me using only one word each.

MORGAN SCOTT: Mike Bindeman – Enigmatic Gary Paul Bowman – Pure

RAPID FIRE WITH THE CHER SHOW’s CATHERINE ARIALE

JHPENTERTAINMENT: In The Cher Show, you play Lady, as Cher navigates the post-Sonny & Cher years as a solo artist. What more can you tell me about the role?
CATHERINE ARIALE: Lady steps into the spotlight when Babe (youngest Cher) freezes in front of a crowd – being too nervous to continue. Lady is a confident version of the younger Cher the audience sees in the beginning of the show. She comes into the story during peak Sonny and Cher success. She is witty and commanding in front of a crowd. We see Lady at a major crossroads in her life – tension in her work and love life is getting to be too much, and we watch her make choices that will affect her personal and professional life moving forward. I love getting to play Lady because she bridges the gap between the naive young cher and the confident, iconic, diva we all know and love today.

JHPENTERTAINMENT: A little pre-chat digging revealed that you received your BFA from New York’s Pace University in 2019, then made the move to NYC where you’ve appeared off- Broadway at Triad Theatre and Theatre Four and now you’re playing Cher in the first National Tour of The Cher Show. Was getting cast as the iconic songstress a “pinch me” moment?

CATHERINE ARIALE: One hundred percent! It was a “pinch me” moment and more!! Leading a national tour has always been a dream of mine, so to officially get the offer was surreal. I remember feeling a bit stunned when I first got the call, it didn’t really sink in until the next day. I went to a little cafe by myself to get breakfast and watch the bootleg on my laptop, and I remember tearing up at the Vegas sequence because that’s when Lady takes over the story for a bit. I couldn’t help but feel so excited and grateful that that was going to be me. I’m sure the patrons around me in the cafe thought I looked crazy!

JHPENTERTAINMENT: The National Tour of The Cher Show kicked off back in November and is set to travel to 57 cities. This being your first National Tour, what’s been your favorite aspect of life on the road thus far?
CATHERINE ARIALE: By far my favorite aspect of tour life has been getting to explore the cities we visit. There are so many parts of the country I have never been to, so the fact that I get to travel for my job and take time to explore cute little towns while performing every day is a gift. I always make a point to find a cute local coffee shop, bookstore, or thrift store!

JHPENTERTAINMENT: With Cher’s career and life divided so clearly between Babe, Lady and Star, there are very distinctive looks for each character. While the bangs of Babe and the straight raven tresses of Lady are indeed iconic, to me, it’s the bigger than life bouncing curls of Star that are my favorite Cher look. What can you tell me about Roxanne de Luna’s wig designs and the how donning the wig aides you in your transformation as you prepare for each night’s show?

CATHERINE ARIALE: It is surreal going from a rehearsal room without costumes or wigs, to performing the show at full speed with all glitz and glam on stage. I felt quite connected to the material and my character beforehand, but let me tell you – it completely changes and transforms once you put those costumes and that wig on! Our head of hair and makeup, Lisha Michel, informed me the other day that everytime she puts my Lady wig on, she notices my whole demeanor and body changes – she says I sit up straighter and my face gets longer. This all must be subconscious, because to me, it just feels as though my character is truly complete and I am ready to go onstage! The wig really is the perfect cherry on top.

JHPENTERTAINMENT: As Lady, you share a scene and musical number near the top of Act 2 that’s of particular interest to me because I’m completely obsessed with all-things Lucille Ball. In the scene Cher gets a little advice from the legendary comedian, played by Lucy Werner. First of all, how surreal is that scene, bringing two of the most recognizable women together on stage for the audience and secondly, how is Lucy Werner as a scene partner?
CATHERINE ARIALE: Getting to do that scene is so much fun – it’s two of the most iconic women ever! The crowd always gets a kick out of the aside Star gives to the audience, “Hand to God guys, this conversation actually happened”, because it really is wild to think of these two women chatting it up and helping one another out during this crossroad in Cher’s life. I couldn’t ask for a better scene partner than Lucy Werner. She comes on with such energy, generosity, and incredible talent every single night. She never fails to bring the house down with her grit and sparkle.

RAPID FIRE WITH THE CHER SHOW’s ELLA PEREZ

JHPENTERTAINMENT: You play Babe in The Cher Show, 1960s era Cher. Who is Babe to you and what are her strongest characteristics?
ELLA PEREZ: Babe is Cher’s inner child, who comes back throughout the show to remind us of the little girl with big dreams who got her to where she is today. She’s shy but very spunky, she’s passionate, she’s driven, and she’s going to get what she wants no matter what. I just love her.

JHPENTERTAINMENT: A quick peek at your performing resume reveals you’ve had extensive dance training. While Cher herself seems to have certain signature moves, The Cher Show, as choreographed by Antoinette DiPietropo is packed with choreo. Is there a dance sequence in the show that you’re particularly fond of?
ELLA PEREZ: I might be biased, but definitely The Beat Goes On. I don’t know how else to describe it besides “So Broadway”.

JHPENTERTAINMENT: On the subject of dance, during the rehearsal period, what was a typical day like for you and your fellow Chers?
ELLA PEREZ: For me, it started out on the Long Island Railroad, with an iced latte and breakfast sandwich. Initially, we would break up into two different rooms- one for scene work with our fabulous director Casey Hushion, and the other for dance numbers with our choreographer Antoinette. After a few hours of the ensemble and principals working separately, we would merge and put pieces together, which was always so much fun. Eventually we would just run the show once in the morning, take a lunch, and clean specific spots in the afternoon. They were long days, but we had so much fun.

JHPENTERTAINMENT: As Babe, you share the stage with Lorenzo Pugliese as Sonny. A couple years ago, I had the chance to chat with Lorenzo when he was starring in SpongeBob: The Musical. What’s he like as a scene partner?
ELLA PEREZ: Lorenzo is SO much fun to work with. He definitely keeps me on my toes, and is so giving with his energy and charisma on stage. Working with him felt so natural from the jump.

JHPENTERTAINMENT: With Babe firmly planted in the 60s, Cher presents what would be the first of many iconic looks. If you could time travel, do you think you’d have fared well in the 1960s and what do you think you would have enjoyed from that time period?
ELLA PEREZ: Absolutely. That hair? The crazy eyeliner? I would have thrived back then. I think I would have loved the music the most. It had such a unique sound, and brought about so many musical trailblazers. And I definitely would have been a crazy Beatles fangirl, considering my passion for One Direction growing up.

RAPID FIRE WITH THE CHER SHOW’s LUCY WERNER

JHPENTERTAINMENT: Alright, I’m just gonna admit it…when presented the opportunity to chat with some of the stars of The Cher Show National Tour, Yes, I wanted to chat with the three actresses who play Cher during various parts of her life, but I also wanted to talk to you…because not only do you play Cher’s Mom, Georgia Holt throughout the show, but you also play Lucille Ball in a very telling Act 2 scene. And yes, I’d be remiss if I didn’t mention the fact that this dual casting is very meta considering Georgia appeared in a 1956 episode of I Love Lucy as a fashion model in the hilarious Lucy Gets a Paris Gown episode, but I digress. How much fun are you having in this show?

LUCY WERNER: Oh my goodness, I need to watch that episode! Did not know this fun fact. I am having an absolute ball, especially playing my namesake. I have always strived to be like Lucille Ball – she was undeniably confident, unapologetically fearless and most of all she was absolutely real. Her timing was impeccable. Watching tv interviews of her astounds me with how authentic she was, which is why she was so funny. Playing her feels very right, I’m so grateful to get to draw on those lips every night.

JHPENTERTAINMENT: As Georgia, you get to perform one of the show’s lesser-known Cher tunes, You Better Sit Down Kid, which Cher originally released in 1967 as part of her With Love, Cher album. While modern audiences might not be that familiar with it, the song broke the Top 10, become Cher’s second hit. What’s your favorite aspect of performing this particular song?

LUCY WERNER: Yes, I had never heard this song before. Something I love about Chers earlier music is how she’s always telling a story. This song feels so poignant to this plot point in the show that I wasn’t sure it was a real song! It just goes to show she was always a remarkably authentic artist in her own way. She told stories through her songs that she could relate to, or even very personal to her life. I enjoy singing this song because it really has an emotional depth. A father figure leaving the home is a very difficult thing for a child to go through, as well as the single mother left behind – especially during that era. Cher and her mother Georgia went through it many times together I believe.

JHPENTERTAINMENT: As mentioned above, you also play Lucille Ball. Talk about icons…Cher and Lucy! As portrayed within the contest of the show, Georgia and Lucy give Cher advice and encouragement. Who in your own career has played the role of mentor and advisor?
LUCY WERNER: I love this question! Most certainly my mother has always been an amazing advisor for me, a sounding board. What you need most from an advisor is empowerment and honesty. Someone to tell you that you are actually doing a good job and to just keep going. To take the scary leap of faith, someone who encourages you to jump! As for a mentor I try to find mentorship wherever I can. Try to learn from all the people that have come in and out of my life, and as someone who has performer for the past ten years that has been many many people! I would love to find one serious mentor though, I think that would be really special. Maybe if I could just stay still for a few years I will find them 😉

JHPENTERTAINMENT: Can you share with me the logistics and backstage goings-on of transforming into Georgia for the top of Act 1, then to Lucy for the beginning of Act 2 and back to Georgia for the end of the show?
LUCY WERNER: Getting into the first Georgia look really just involves some light blush and my favorite wig. As you mentioned I come in and out of the show so I have plenty of time backstage to meander about and slowly change into my next costume. But going from Georgia to Lucille requires a bit of a lipstick exaggeration and a little more blue eye shadow. I love putting on Lucille’s bling, it’s an outside-in transformation for sure. Add a faux cigarette and Lucille is complete! Once again I just need to transform my face and wig to get back to being Georgia. And I have at least 30 minutes for that one so you can imagine it’s nice and relaxed transition!

JHPENTERTAINMENT: Lately, I’ve ended most of my interviews by asking one final question. Since you’re my last interview for The Cher Show, I’ll ask…What do you hope audiences remember most about The Cher Show?
LUCY WERNER: I hope audiences walk away empowered! I hope each individual feels that if Cher could accomplish what she did despite the adversity she faced as a woman in a “man’s world” then it should go to show that anyone with such commitment, determination and gusto can make their dreams happen too. Regardless of what she was told and experienced repeatedly Cher declared it is actually a Woman’s World and that might be true today in great part because of her. To quote the show: “It’s about being shit scared and facing it anyway.”

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With that, my conversations with the cast of The Cher Show concluded, but as Cher might lyrically put it, you better Believe, you haven’t seen the last of them. I got you, babe, because the beat goes on when The Cher Show takes to the stage of TPAC’s Jackson Hall Friday and Saturday, January 19 and 20 as the National Tour continues. Nashville performances of The Cher Show are Friday, January 19 at 8p.m. and two shows Saturday, January 20, a 2p.m. matinee and an 8p.m. evening performances. CLICK HERE for tickets.

Following the Nashville tour stop, The Cher Show heads to Conway, Arkansas’s Reynolds Performance Hall on January 21; Muncie, Indiana’s Emens Auditorium on January 23, The Vern Riffe Center for the Arts in Portsmouth, Ohio on January 25; Lexington Opera House in Lexington, Kentucky on January 26-28; E.J. Thomas Performing Arts Hall in Akron, Ohio January 30&31; The Capitol Theatre in Wheeling, WV on February 1 and many more cities across the US through Spring of 2024. CLICK HERE for the full tour schedule and to purchase tickets in a city near you.

You an also follow The Cher Show on socials. CLICK HERE to check out the official site, and follow them on Facebook and Instagram.

Folowing The Cher Show, TPAC‘s HCA/TriStar Broadway at TPAC season continues with Girl From the North Country from Tuesday, January 30-Sunday, February 4. CLICK HERE for tickets or more information. Be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org,  TPAC on Instagram,  TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

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

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

Rapid Fire 10Q with Vegard Wikne, lead vocalist of Norway’s Dobbeltgjenger; new single ‘F.M.L.’ available on all platforms Friday, January 12

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Recently I had the opportunity to listen to an advance copy of F.M. L., the newest single from Norwegian rockers Dobbeltgjenger. One listen is all it took. With the Friday, January 12 release of their latest single serving as an introduction to North American audiences courtesy a streaming distribution partnership with newly formed Soundcrest Music Group, I knew I needed to know more about the band. To that end, I chatted with lead singer Vegard Wikne for the latest installment of my recurring interview feature, Rapid Fire.

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JHPENTERTAINMENT: As we begin, I have to tell you I love the name of the band. In fact, I have long said that doppelgänger, the 19th century spelling, is my favorite word. What went into deciding to name the band Dobbeltgjenger?

DOBBELTGJENGER’s VEGARD WIKNE: Thank you! Well, we were actually called Doppelganger the first couple of weeks, but ended up changing it to the Norwegian version, Dobbeltgjenger. It was originally a Twin Peaks reference and I just loved the feel of the name! And nobody else is called that!

JHPENTERTAINMENT: Dobbeltgjenger, being based in Norway, might not be familiar quite yet to American audiences. Let’s change that! For those not familiar, who’s who in Dobbeltgjenger?

DOBBELTGJENGER’s VEGARD WIKNE: I (Vegard Wikne) write most of the songs, sing and play the guitar (and now sampler!) live.

Jone Kuven is our trusted bassist and bass-synthist!

Bastian Veland plays the guitar and synths.

Sondre Veland (Bastian’s cousin) plays drums and piano.

JHPENTERTAINMENT: How long has Dobbeltgjenger been together?

DOBBELTGJENGER: This line up (the final form!) has been together since around 2020. The band Vegard and friends has been going since the first album in 2015.

JHPENTERTAINMENT: Your new single is F.M.L. but that acronym is a flip of what most people might initially think it stands for. How did you come up with the clever wordplay for the single?

DOBBELTGJENGER’s VEGARD WIKNE: The song was written about my ADHD, and the demo for it was called F.M.L. for some reason, haha. Probably a bad ADHD day… Then I really wanted to hold on to that title and wrote the chorus and made it an acronym for Feed Me Love. The concept revolves around ADHD and the fleeting connection with other people, with a  juxtaposition of the intense need for love and closeness.

‘F.M.L.’ cover art by Sierra McLean

JHPENTERTAINMENT: How did F.M.L. come to be your newest single?

DOBBELTGJENGER’s VEGARD WIKNE: It was one of the more driving and «hooky» songs of our bunch of songs (that will be released as an album in June). Just felt like a single!

JHPENTERTAINMENT: F.M.L. is quite the earworm: catchy melody and clever lyrics. How would you describe the song musically?

DOBBELTGJENGER’s VEGARD WIKNE: The song started with a mission: to make a song that sounds like ADHD. So I would describe it as kind of hectic, relentless and driving alternative rock/pop song. The song started with the jumpy synths that kind of reminded me of thoughts jumping around in ones head. And then I wanted a pumping and kind of random drum beat, with these crazy random fills, haha. I really think it sounds like the inside of my head.

JHPENTERTAINMENT: On the subject of the lyrics, my favorite F.M.L. lyric comes at the end of the first verse, “Life is a test for me, but I’m a bumblebee. Heavy and small-winged beast. I’m gonna fly even though I can’t.” Is there a lyric within F.M.L. that really speaks to you?

DOBBELTGJENGER: It’s probably that one. That line is the hope in the song. The resilience. Even though you have your dispositions, circumstances and things going against you, you go even harder at life to overcome it. You can fly even though you can’t, like a bumblebee.

JHPENTERTAINMENT: F.M.L. has a decidedly different vibe than Rocket Shoes, your 2022 release. And a quick search online categorizes Dobbeltgjenger as alt-rock…can Dobbeltgjenger be defined by one genre?

DOBBELTGJENGER’s VEGARD WIKNE: The short answer to that is probably no. The slightly longer answer is that we really don’t want to limit our music to a single genre. The most important thing to me is making music that feels real and that it feels interesting and engaging to me and the others in the band.

JHPENTERTAINMENT: The F.M.L. single artwork is by Canadian graphic artist Sierra McLean. McLean also provided cover art for your previous album The Twins and the aforementioned Rocket Shoes single. What is it about McLean’s visual aesthetic that embodies Dobbeltgjenger‘s sound and creative spirit?

DOBBELTGJENGER’s VEGARD WIKNE: I love Sierra’s art so much. I stumbled over her work on Tiktok last year and have worked closely with her ever since. She just has this playful but at the same time melancholic feel to her work, which I love and also think fits our music well.

JHPENTERTAINMENT: With the release of F.M.L., you’re working for the first time with newly formed Soundcrest Music Group for North American distribution and promotion. How excited are you for this new partnership and the prospect of more exposure in the US?

DOBBELTGJENGER’s VEGARD WIKNE:  We are all super excited about this! This is the first time we have had any type of representation in the US and it’s just amazing to have people working to get our music out of Europe and into, hopefully, a lot of American ears!

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To check out Dobbeltgjenger’s new single, F.M.L., CLICK HERE. Wanna keep up with the band? Check them out on their OFFICIAL SITE, or give them a follow on Facebook, Instagram, YouTube and Tiktok.

If you’ve enjoyed this latest Rapid Fire, 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, #ListenToTheMusic!

Rapid Fire 20Q with director and cast of Circle Players’ The Lion in Winter; onstage at Looby Theater January 12-28

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If memory serves, it’s been since 2009-nearly 15 years-since Nashville audiences have had the chance to see a theatrical presentation of The Lion in Winter. All that changes Friday, January 12 as Circle Players presents the James Goldman-penned retelling of a certain drama-filled Christmas of 1183 hosted by England’s King Henry II, his long-imprisoned but still willful wife, Eleanor of Aquitaine and their children as the fate of this successor dominates the occasion. Directed by Clay Hillwig, Circle’s The Lion in Winter features among its cast, Jack E. Chambers as Henry II, Kay Ayers as Eleanor of Aquitaine and Elizabeth Burrow as Alais Capet. Recently, as the director and cast were readying the show for Friday’s opening, I had the opportunity to pose a few questions to Hillwig, Chambers, Ayers and Burrow for the latest installment of my recurring interview feature, Rapid Fire 20 Q.  

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RAPID FIRE 20Q WITH DIRECTOR AND CAST OF CIRCLE PLAYERS’ THE LION IN WINTER 

RAPID FIRE WITH THE LION IN WINTER DIRECTOR, CLAY HILLWIG

JHPENTERTAINMENT: How did you come to direct The Lion in Winter for Circle Players? 

CLAY HILLWIG: It appears to have been destiny. I had originally agreed to direct the play Clue in this same time slot, which would have been a lot of fun. But, due to a Broadway touring revival of the show, the rights became unavailable. The board then asked me to submit a list of shows that I would be interested in. After putting a list together, which included The Lion In Winter, I knew that this was the only show I really wanted to submit. So, I took a chance and only sent them this show. I then offered to meet with the board to share my vision and why I felt so strongly that this show should be a part of their season. Within the hour, I received a response that they were submitting for the rights. Like I said…destiny.

JHPENTERTAINMENT: What is is about this particular play that interests you as a director?

CLAY HILLWIG: I love plays that have a strong family dynamic. Even if the story is not necessarily directly centered around the family, I am generally moved with the relationship aspects of the story. A great example of this is The Godfather. While perceived to be a book and movie about organized crime, in reality the story was written about family. In this script, we see the power struggle within the royal monarchy, but the family relationships are the driving force within the story. Many of these same issues, can be found in the everyday lives of average families that we know or have experienced them first-hand within our own families. Parents struggling with their own marital issues. Children caught in between the two parents, all the while struggling to find their own identities in life. One of the most power scenes is the Father (Henry) and Son (Richard) conflict that many families know so well. One of the reasons that I felt strongly about the timing of putting this show up is the popularity of the HBO show Succession. The power struggle between the children within this media mogul family is very similar to what we see here in The Lion In Winter. Aside from the story line itself, it is the language is that I really love. Playwright, James Goldman has provided us with a script that is clever and very quick witted.  It lends to some wonderful interaction between characters and pacing that keeps an audience engaged. Besides, how can you not love Henry and Eleanor of Aquitaine?

JHPENTERTAINMENT: Many audience members, myself included may primarily be familiar with the piece thanks to the 1968 film adaptation starring Katharine Hepburn and Peter O’Toole or perhaps the more recent 2003 Showtime remake starring Patrick Stewart and Glenn Close. When were you first made familiar with the play itself?

CLAY HILLWIG: In regards to the 1968 film, I saw this in the early 70’s as a teenager. Even then, I was fascinated with the characters and story line. And of course, the performances by both Katharine Hepburn and Peter O’Toole are in my opinion some of their finest work. It was an ACT I production directed by Melissa Williams that first introduced me to the stage version. Brian Hill played Henry and the wonderful Maggie Bowden played Eleanor. It was a wonderful production. I left the theater knowing that I either wanted to play Henry, direct this show or hope for opportunities to do both. Not in the same show of course. Now I am blessed to direct the show and to be jealous of Jack Chambers for playing Henry all at the same time.

JHPENTERTAINMENT: Playwright James Goldman based The Lion in Winter, at least in part, around Henry II and historical elements regarding his hopes of his successor. WIth that in mind, how important is it to you as a director to present the story as authentically as possible?

CLAY HILLWIG: It was important to me, to spend time in table reads and relationship building prior to putting the show on its feet. As part of our process, we spent a couple of weeks just working through the character dynamics of the script and how it relates to history. It was important for us to learn not only the events prior to our story, but also what was to come post-Christmas 1183. It was fascinating to learn where they had been and where the family ended up in history. Each actor was committed to taking  it upon themselves, to learn everything they could about their characters place in history. In relation to how this plays on stage, we put full trust in the playwright. Goldman did a wonderful job of representing the entire family. Each individual is well represented as far as their place within the struggle for succession to the throne. In my opinion, he puts a real emphasis on the struggle that Henry had in his relationship with his sons and the decision of who would succeed him in greater detail than the movies previously mentioned did.

JHPENTERTAINMENT: What do you hope audiences come away from The Lion in Winter remembering about this production?

CLAY HILLWIG: One of the most important things that I hope with impact our audiences, is that there is still a place for classic pieces of theater. We seem to have moved to the newer shiny productions, often leaving creative gems such as The Lion In Winter, not given the attention they deserve.

RAPID FIRE WITH JACK E. CHAMBERS, HENRY II IN THE LION IN WINTER

JHPENTERTAINMENT: What is your favorite aspect of Henry II as he’s written in the script of The Lion in Winter?

JACK E. CHAMBERS: I love that Henry is a warrior, but he’s a word-wielding warrior with intelligence, strategy, cunning, and deadly humor in addition to being an actual soldier. The language of the play, especially the interplay between Henry and Eleanor, is just outstanding — some combination of the banter of 1940s comedies and the razor-sharp merciless attacks of Succession. He’s described as a phenomenal warrior, but all of the joy in playing him is in the satisfaction of the language, especially offsetting the fact that he’s starting to fade physically.

JHPENTERTAINMENT: During your three decades+ career, you’ve appeared in a number of Circle Players productions. What is is about Nashville’s oldest continuing theatre company that keeps you coming back?

JACK E. CHAMBERS: Circle is a Community Theatre in the truest sense of the word. I know folks whose Circle time goes back decades further than my own, and mine goes back 30 years at this point. I love the “all are welcome” spirit of a true Community company, and really selfishly appreciate that over those years, Circle hasn’t just been doing Oklahoma or Arsenic and Old Lace over and over — half the shows I’ve done with them were Nashville premieres.

JHPENTERTAINMENT: On the subject of previous Circle shows, back in 2010, you appeared in a production of The Grapes of Wrath, directed by Clay Hillwig, who’s directing The Lion in Winter. Are you enjoying working with Clay again and how is he as a director?

JACK E. CHAMBERS: I haven’t gotten to work with Clay since then — you end up in different places and it happens sometimes, right? — but I loved getting to pick right back up with him. Something I love about Clay is that he has the vision to imagine beautiful things *and* the skills to make them happen at the same time. He’ll throw out high-concept stuff, big-picture stuff, and also “hey just try this one little tweak” ideas, which is great. And again selfishly, when we did Grapes, I was a musician in the show as well, and pitched a mini-concert to him; we got to play period songs all through pre-show and intermission, which was a blast.

JHPENTERTAINMENT: As the central patriarch, you share the stage with Kay Ayers as Eleanor, Henry’s Queen, as well as Elizabeth Burrow, Henry’s rumored mistress. What’s been it been like sharing the stage with each of these actresses?

JACK E. CHAMBERS: I’ve known Kay for most of the years I’ve been in town — we did And Then There Were None together back in 1997 — and have loved playing off her. She’s a match for anybody physically or verbally, with wit and spirit and daring. She’s great. I just met Elizabeth this past year, and she’s been lovely; Alais is the single-most vulnerable character in the show, but shows crystal-clear understanding of the goings-on around her and true strength to persevere, and Elizabeth has nailed that balance. She’s a total charmer.

JHPENTERTAINMENT: A quick peek at your professional bio would indicate that throughout your stage career you’ve played a variety of characters often utilizing your prowess with varying dialects. The Lion in Winter being set in Medieval England in the year 1183, did the cast work with a dialect coach or were you each left to your own devices in that regard?

JACK E. CHAMBERS: I’d say it was some combination of “own devices plus tweaking as we went,” with additional discussions as required. Because we’re technically in Middle English, setting-wise, there’s a fascinating, not-historically-accurate-but-entertaining mix of Middle English, 20th century patter, anachronistic traditions, French terms and names and places, Shakespearean rhythms, Broadway Golden Age character types — it’s such a great stew. Although we didn’t work with a dialect coach, we did work with a linguistic consultant — a collaborator and friend of mine from college who’s an Old- and Middle English specialist — on people and place names, sources, literary origins for some of the references… it was fascinating!

RAPID FIRE WITH KAY AYERS, ELEANOR IN THE LION IN WINTER

JHPENTERTAINMENT: In Circle Players’ The Lion in Winter, you play Queen Eleanor of Aquitaine. Iconic actresses Rosemary Harris, Joan Fontaine and Stockard Channing all starred in stage productions while Katharine Hepburn and Glenn Close lit up the big and small screens respectively in the role you’re now taking on. So, not only are you playing an actual historical figure, but one with a luminous stage and screen history. How excited are you to put your own spin on Eleanor?

KAY AYERS: Excited would be an understatement. Thrilled with a touch of gobsmacked is close to my emotion! When I received the casting call, I don’t think I spoke for 30 seconds. This really is a once in a lifetime chance. I’m so lucky that I’ve been given this opportunity. And yes, I’m experiencing a lot of nervousness to get this character “right”.

JHPENTERTAINMENT: The Lion in Winter marks a bit of a homecoming for you, having made your Nashville acting debut back in 1994 in a Circle Players production. What was the show and what’s it like to be back with the company where it all started?

KAY AYERS: The Three Musketeers in Circle’s 46th season was my introduction to Nashville theatre and to Circle in particular. My first audition and show were in TPAC’s Johnson Theatre, where I went on to perform in numerous productions. Coming back to perform at Circle was a goal of mine for some years now. The stars aligned perfectly! Walking into the rehearsal space I helped move into, set up, and clean brought back a flood of emotions. We’ve lost so many of those individuals who gave their heart and soul to Circle over the years. I’m just blessed to have known most of the “old guard” and to have gleaned knowledge over the years, making me into the actress I am today.

 JHPENTERTAINMENT: In preparing to chat with you and your cast mates, I revisited the above mentioned 2003 telefilm. I love all the barbs and quick quips among the royals. Eleanor in particular has some great lines. My favorite, at least in the 2003 tv adaptation occurs in a scene involving Eleanor, John and Richard in which Richard threatens John with a knife. John says to their mother, “He has a knife”. Eleanor quickly replies, “We all have knives. It’s 1183. We are barbarians”. Do you have a favorite line in the show, whether it be yours or someone else’s?

KAY AYERS: Eleanor really does have the best lines! I relish several of those barbs she flings at her opponents! But one of the most deeply truthful lines, and weighty, is one that is delivered by Elizabeth Burrow, our enchanting Alais “I haven’t got a thing to lose: that makes me – dangerous.”  It’s so telling. All the other characters have a twisted and complicated series of moves they’re making. And here Alais stands, ready to take them all on. Because she really doesn’t have anything to lose and everything to gain. It’s just a powerful line.

JHPENTERTAINMENT: While you’ve shared the stage with Clay Hillwig in the past, this marks the first time he’s directed you in a show. During the rehearsal process, what is it about Clay’s directorial style that you admire most?

KAY AYERS: It’s crucial for an actor to bring their own creativity and artistry to a character or a scene. To be able to play and discover with my fellow actors is my favorite part of the rehearsal process. Clay allows us to do that. He doesn’t dictate or demand we do something. It’s a very collaborative process, and vital for successful production. Clay and I often laugh because I will throw an idea out, and then he shows me a note in his script with the exact same idea! It’s happened more than a handful of times!

JHPENTERTAINMENT: Something I love about period piece dramas is the costuming. Add to that a royal aspect and that’s a whole other level. What can you tell me about Costume Designer Grace Montgomery’s choices for The Lion in Winter and in particular your wardrobe as Eleanor?

KAY AYERS: The whole concept for the production isn’t to be ostentatious. Yes, they’re royalty, they’re rich, but it’s still 1183. The entire family has gathered for the first time in a long while. Grace has hit the mark with an even level of embellishments for each character. Eleanor is in a deep red throughout the show. While all the others are in a jeweled palate, hers definitely stands out a bit more than the rest. Grace was so determined to find the right color on one velvet dress, she dyed it 4 times to obtain what she wanted!  And I couldn’t be more pleased. It really adds to the regality of the character.

RAPID FIRE WITH ELIZABETH BURROW, AlAIS IN THE LION IN WINTER

JHPENTERTAINMENT: You’re playing Alais Capet in Circle Players’ The Lion in Winter. How familiar were you with the real-life Alais prior to being cast? AND..have  you researched the true history of the events within the play as you’ve developed your take on the character?

ELIZABETH BURROW: I did not know anything about Henry II nor Eleanor of Aquitaine before this show, let alone Alais Capet. I read that her mother, Constance of Castile, was the second wife of Louis VII after Eleanor and died giving birth to Alais. Her older sister Margaret was married to Henry III who died in 1183, the same year the play takes place, so there was a lot of pressure from the French for her to marry and keep the French-English alliance strong. After Henry’s death, Richard was no longer willing to marry her, so her brother King Philip brought her back to France where she married William IV Talvas, a small ruler of a French province when she was 34 years old.

JHPENTERTAINMENT: Is there an aspect of Alais that you’d like to incorporate into your own life or that you feel you truly share with the character as she’s presented in this piece?

ELIZABETH BURROW: Alais is a very sweet soul who doesn’t have the same manipulative tendencies as the rest of the characters in the show, and her intentions are always for the well being of Henry, even at her possible detriment. I think it’s something that I and anyone can strive to emulate more in our lives. Alais and I both tend to wear our hearts on our sleeves, and it’s a joy to share that in common with her as she goes through so much emotional turmoil throughout the play.

JHPENTERTAINMENT: I understand this is your first Circle show. Were you familiar with the company and how has the experience been thus far?

ELIZABETH BURROW: I had previously seen Peter and the Starcatcher (where I saw the brilliant Ezra High for the first time!) and their most recent production of Urinetown, but this is the first time I will be on stage for Circle Players, and it has been a wonderful experience to work with the cast and creative team. Being a smaller show than most, it brings a real sense of intimacy to the relationship not only between the characters but my castmates as well. It’s our own version of a family, though it resembles a much happier one than what we portray on stage.

JHPENTERTAINMENT: In addition to your on-stage role, you’ve also been part of the technical crew for The Lion in Winter, as scenic painter. What can you tell me about the set?

ELIZABETH BURROW: Clay is also our wonderful set designer for the show and approached me about painting for the stone walls backdrop that is a majority of the set. We wanted to replicate all the moodiness a medieval French castle offers as the single setting for the show, so most of the work was geared toward pulling out natural shadows that would occur in such a big and intimidating chateau. Like Henry, most of the set pieces are of a simple and non ostentatious nature, which assist in bringing a sense of reality and familiarity to the space.

JHPENTERTAINMENT: As Alais, you have two leading men, Jack E. Chambers as Henry II, with whom Alais is having an affair, and Sawyer Latham as Richard the Lionheart, with whom Alais has been betrothed since she was eight. Heck, even Ezra High’s John is interested in Alais. Of the three, IF you could choose who Alais ended up with, who would it be and why?

ELIZABETH BURROW: This is a difficult one. Many times in history, English royals have chosen heart over duty and sorely regretted their mistakes, and vice versa as well. As for John, I think she would’ve made a better babysitter than wife, though she possibly could have prevented some of John’s failures during his reign as king if he’d had a better companion to consult with. I am tempted to choose Richard as her husband as they could’ve lived their own separate lives and produced heirs and brought more stability to the kingdoms of France and England. However, I wouldn’t want to force that upon her, as she desperately tries to prevent the marriage from happening in the play (the heart wants what it wants.) I think her staying under Henry’s protection until his death was the right path to take, as I don’t think she ever wanted to have the title and power of Queen.

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Circle Players’ The Lion In Winter opens Friday, January 12 and runs through Sunday, January 28 at Z.  Alexander Looby Theatre (2301 Rosa L. Parks Blvd) (2301 Rosa Parks Blvd). Reserved seating tickets for The Lion in Winter are $27.  CLICK HERE to purchase tickets. Following The Lion in Winter, Circle Players will present another rarely seen theatrical experience, The Best Little Whorehouse in Texas, onstage March 15-31. For more information and to keep up with the latest from Circle Players follow them on Facebook and Instagram.

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!

 

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

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

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

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

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

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

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

JHPENTERTAINMENT: Presents on Christmas Eve or Christmas Morning?

GEOFF DAVIN: Definitely Christmas morning.

JHPENTERTAINMENT: Rudolph or Frosty?

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

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

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

JHPENTERTAINMENT: Favorite Christmas Memory?

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

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

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

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

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

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

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

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

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

JHPENTERTAINMENT: The Santa Clause movies or Home Alone franchise?

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

JHPENTERTAINMENT: Favorite Christmas Memory?

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

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

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

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

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

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

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

JHPENTERTAINMENT: Fruit Cake or Pumpkin Roll?

CALEB SHORE: Pumpkin Roll

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

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

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

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

JHPENTERTAINMENT: Favorite Christmas Memory?

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

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

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

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

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

GEROLD OLIVER: Snow Miser! Definitely!

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

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

JHPENTERTAINMENT: Baked Ham or Turkey and Dressing?

GEROLD OLIVER: Baked Ham. Especially with honey!

JHPENTERTAINMENT: Favorite Christmas Memory?

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

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

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

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

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

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

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

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

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

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

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

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

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

JHPENTERTAINMENT: Snowball fight or building a snowman?

MEMORY STRONG SMITH: Snowman. 

JHPENTERTAINMENT: Die Hard or Love Actually?

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

JHPENTERTAINMENT: Favorite Christmas memory?

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

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

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

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

JHPENTERTAINMENT: Christmas Breakfast, Christmas Lunch or Christmas Dinner?

ERIC CRAWFORD: Dinner

JHPENTERTAINMENT: Sleep late or up early for presents?

Sleep late is always the appropriate answer. 

JHPENTERTAINMENT: Gift Bag or meticulously wrapped presents? 

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

JHPENTERTAINMENT: Favorite Christmas memory?

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

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

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

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

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

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

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

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

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

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

JHPENTERTAINMENT: Favorite Christmas memory? 

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

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

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

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

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

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

 JHPENTERTAINMENT: Handcrafted presents or store-bought with thought?

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

 JHPENTERTAINMENT: Ice Skating or Caroling?

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

 JHPENTERTAINMENT: Favorite Christmas memory?

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

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

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

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

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

Rapid Fire 20Q with cast of Nashville Rep’s ‘9 to 5: the Musical’; onstage at TPAC’s Polk Theatre September 8-17

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Alright, Y’all KNOW I’m obsessed with any and all things Dolly Parton, so when I heard that Nashville Repertory Theatre was presenting 9 to 5: the Musical, based on Dolly’s 1980 film and featuring songs written by Dolly, I knew I’d have to chat with some of the show’s stars for one of my Rapid Fire 20Q interview features. What follows are my conversations with Megan Murphy Chambers, Allyson A. Robinson, Mariah Parris and Geoffrey Davin.

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Rapid Fire 20Q with cast of Nashville Repertory Theatre’s 9 to 5: the Musical

Rapid Fire with Megan Murphy Chambers, Doralee in 9 to 5

JHPENTERTAINMENT: You‘ve played Dolly’s Steel Magnolias role of Truvy on stage and now you’re appearing in Nashville Rep’s 9 to 5 as Doralee, another Dolly film role. Are there similarities between the two characters?

MEGAN MURPHY CHAMBERS: Definitely!  Dolly herself radiates such tremendous sparkle, humor, and humanity, it’s nearly impossible to separate her from her more iconic characters.  So not only was she beautifully suited for the roles and their accompanying words on the page, but she imbued them with such a unique style and appeal, you can’t help but find similarities.  Being cast in these two parts has been such a joy and honor, particularly if it means that anyone draws even the smallest similarity between me and Ms Parton herself.  

JHPENTERTAINMENT: Not only are you two-for-two with Dolly’s iconic roles, you’re also two-for-two with Beki Baker, who directed you in Steel Magnolias for Studio Tenn and is now directing Nashville Rep’s 9 to 5. What’s an aspect of Beki’s directorial style that you appreciate?

MEGAN MURPHY CHAMBERS: How many words am I allowed?  🙂  Beki is such a gift in the room – so enthusiastic, so prepared, so supportive, such an easy leader to follow.  I love the way she comes in with a clear plan and lots of problems solved before we even encounter them, which leaves her designers and performers so much room to play and take big swings.  Beki values the product AND the process, and every minute of it has been a delight and an inspiration!

JHPENTERTAINMENT: If you were to exact revenge on a chauvinistic boss, which of the tactics from 9 to 5 would you likely choose? Or have you thought up your own revenge scheme?

MEGAN MURPHY CHAMBERS: This is my favorite question ever, and I’d like to dedicate it to a former supervisor who shall remain nameless.  It would be delightful to brand his ass, Doralee style, and that thought alone will keep me boosted up as we slog through the last of tech.

JHPENTERTAINMENT: I often use the phrase “Only in Nashville”. Earlier this week Nashville Rep posted an “Only in Nashville” type post when Dolly herself sent a video message to the cast and crew of 9 to 5. In the message she not only drops the possibility that she might attend a performance, but also mentions that Gregg Perry, who arranged and associate produced (an apparently provided the iconic opening typewriter sounds) for the original recording of 9 to 5 is part of this production’s orchestra, music directed by Randy Craft. How’s it been working with Randy on this show, and do you have a favorite musical moment?

MEGAN MURPHY CHAMBERS: I LOVE Randy, and the show is sounding absolutely incredible.  I look forward to singing the end of Change It every night, and look forward to hearing Heart to Hart even more.  But nothing gets my blood moving more than the end of the opening number, 9 to 5, when everyone is finally onstage and singing together. Iconic!!!

JHPENTERTAINMENT: As mentioned earlier…Truvy…CHECK! Doralee…CHECK! So, any plans or hopes of playing Miss Mona in Best Little Whorehouse in Texas? Until then, what’s next for you following 9 to 5?

MEGAN MURPHY CHAMBERS: I was literally just talking to someone about my Miss Mona dreams just the other day, so SIGN ME UP.  In the meantime, I have a season lined up that I’m so eager to tackle – I’m heading to Nashville Children’s Theater next to play Mrs. Gloop in Charlie and the Chocolate Factory and Foofinella in The Gingerbread Kid, after which I’m heading south to play Sally Bowles in Cabaret at Studio Tenn!

Rapid Fire with Allyson A. Robinson, Violet in 9 to 5

JHPENTERTAINMENT: If my research in preparing to chat with you proves correct, having a lifelong history of performing from an early age, you’re a Detroit native whose passion for the arts really took wing during recent years in Atlanta, is that right?

ALLYSON A. ROBINSON: It is! I was born and raised in church, which meant that I was doing all the plays and cantatas. My family is also full of musicians so it wasn’t hard to get into the same flow and onto the same path they’d been carving for years. But the full transition into performing didn’t come until high school, when it was brought to my attention that I could sing classical music and opera. So I stepped into that and it took off from there! Went to Kentucky State University for music and then attended the University of Kentucky for a few years. During my first year there, I discovered I had nodules and a month after that my dad passed away. So I was dealing with a lot of identity issues because singing was who I was, but my relationship with it was more for the benefits of being well known and praised, not for the passion of performing. So I stepped away from music for a decade. I became a teacher and taught here in the states and then in Abu Dhabi, and then once we returned back to the states, I became a set teacher for kids in TV/Movies. Watching all the actors and actresses perform on camera awakened something inside of me and I wanted to take advantage of that feeling. I started taking acting classes and book a few short films, got an agent, and then booked a role on a feature film as well! It felt so good to be back!

Then after moving to Nashville in July 2022, I started working at a tech company here in town, who happened to be putting on a Black History Month program. Randomly during lunch, a short clip of a voice recording of my singing started to play because I hit the wrong button. Erika, who was in charge of the program, happened to be sitting next to me. She looked at me and said “I didn’t know you could sing! You’ll sing for our program!” So I was volun-told. I called my friend Ron, who’s an amazing voice teacher and performer from graduate school and told him what happened. So we decided to start up some lessons to prepare for the program, and I discovered that my voice was in pretty good shape! After the program, I told him that I wanted to continue singing and finding opportunities in the area if I could. 

JHPENTERTAINMENT: I understand 9 to 5 marks your Nashville Rep debut. How did landing the role of Violet Newstead come about?

ALLYSON A. ROBINSON: So after doing the program with my job, I realized that I wanted to keep this momentum going. I was loving where my voice was, I had fallen back in love with performing, and I didn’t want to lose it. So my friend and I started to research things happening in the area and came across Nashville Rep’s audition season. I was terrified because I hadn’t done this in over 10 years, but I was willing to just go in and get an audition under my belt, and have fun doing it. So we prepped my music and I already have some monologues from doing auditions. I went into the audition room with no expectations of booking anything. I just wanted to go in and say I did it after so long. Prove to myself that I could still do it after all this time. 

A few weeks later, I received three emails for callbacks, one of them being Violet. My mind was BLOWN. 

I took some time, looked through the music and the scenes and just had fun building this character. I was in this to have fun, not prove anything to anyone but myself. We had a dance call first, which I was freaking out about because I’m 34, a mom of twins, and had just started to build a workout routine. I didn’t feel as if I was in ANY shape to get up and dance. And add onto that of course, that I hadn’t done this in 10 years. BUT I made it through!

When we got to the scenes, I was excited to simply work with the others in the room. Nashville is full of so many talented artists and being new the scene, I was interested in meeting and experiencing their talents… and I was blown away. There are so many talented artists here in Nashville, and they’re triple threats! Dancers, singers, and actors, and some of them have even more in their toolbox than that!

When I made it through cuts, I was in complete shock. They had chosen only three people to move forward for my role, and my name was the last one they called. 

When I left the auditions, I smiled. I cried. I had so much fun and in reality, I wasn’t expecting much…and then I was at work and my phone rang. Ms. Yolanda Treece from Nashville Rep asked if I was sitting down. When she let me know that they wanted to offer me the role of Violet, I jumped out of my seat and just cried. I’m crying typing this story out all over again! It was hands down, one of the best days of my life. It was such a beautiful surprise and I am forever grateful to Beki Baker for this opportunity, 

JHPENTERTAINMENT: As Violet, you share a few scenes with one of Nashville theatre community’s rising young stars, Jalen Walker, who plays Violet’s son, Josh. A mother of twins in real life, has your maternal instinct benefitted your working relationship with Jalen?

ALLYSON A. ROBINSON: Oh absolutely! My maternal instincts kick in whenever there is someone under the age of 18 around. Honestly, it never really shuts off! But when I first met Jalen, he and I were excited because of how much we actually look alike! (Shoutout to Beki for her phenomenal casting). There have been times on set that he’s practiced skateboarding and my eyes are immediately latched onto him to make sure he doesn’t fall. When he comes to rehearsal from school, one of my first three questions is “How was school?”. 

Being a former set teacher, it adds another layer of a protection and a care for any minor whose a performer. They are some of the most courageous artists because they have to balance school and being a performer, while also trying to have a social life and deal with raging hormones all at the same time. I admire him for the amazing work he’s doing with the show and outside of here. He’s definitely one to watch.

JHPENTERTAINMENT: If you hadn’t been cast as Violet, what other 9 to 5 role might you enjoy playing?

ALLYSON A. ROBINSON: Roz, hands down. Roz is a complex, but incredible character built to weave such an amazing element of joy and entertainment throughout the show and it’s such a breath of fresh air. But there’s no way I could replace the incomparable Evelyn O’Neal in our show as Roz. She is one of the most talented artists I’ve had the pleasure of meeting and working with. Her songs and scenes are consistently getting funnier and funnier. I can’t wait for the Nashville and beyond to experience her on stage in this show.

JHPENTERTAINMENT: I’m just gonna be honest, when I first saw the film version of 9 to 5 back in 1980 (yes, I’m that old) the themes of workplace inequality were lost on my teenage mind. Is there a scene in the stage musical or even a passing line of dialogue that addresses that theme that you hope audience pay particular attention to?

ALLYSON A. ROBINSON: The last scene of 9 to 5 is such a powerful scene. My character Violet takes the time to call out the inequalities in the workplace between those at the top who take all the credit and the “little guy” who does all the work that those at the top take the credit for. This scene reveals the realities of the workplace that we are still dealing with today in 2023. I believe it’s a moment that the audience can take in at the end as a revelation that things in our current world still need to change and adjust because the “little guy” is still being stepped on for other to make their way to the top. I hope that during this scene, audience members feel seen and affirmed in their own “9-5” journey and experience in the workplace and will empower them to speak up be out against injustices they and their co-workers experience on a day to day basis. 

Rapid Fire with Mariah Parris, Judy in 9 to 5

JHPENTERTAINMENT: Before we get started, I just have to say how much I enjoyed you as Jen in Nashville Rep’s The Cake. How excited are you to get back at The Rep for 9 to 5?

MARIAH PARRIS: Thank you so much! That show was such a special experience. In fact, every time I’ve get the opportunity to work at The Rep I have an amazing time. It is not lost on me what a privilege it is to work here and I feel so lucky every time I get the call saying that I get to!

I was specifically excited to get the call for 9 to 5 because I have admired Beki Baker for years (over a decade at least?) and this is my first time getting to work with her as a director. She is an awesome human and an excellent leader.

JHPENTERTAINMENT: What is your favorite aspect of playing Judy Bernly?

MARIAH PARRIS: My favorite aspect of Judy Bernly is her courage. She really starts the show from such a broken place and surprises herself at so many points along the way that she is stronger and more capable than she ever realized. I think we can all relate to feeling scared and doing the scary thing anyway, and I really enjoy stepping into that energy.

JHPENTERTAINMENT: As Judy, you’re teamed with Megan Murphy Chambers and Allyson A Robinson. Describe your 9 to 5 cohorts using a single word each.

MARIAH PARRIS: Ooof this is hard. How to sum up such kaleidoscopic women? Allyson: Wisdom. Megan: Excellence. 

JHPENTERTAINMENT: I’m totally an attention to details kind of guy, so…The show takes place in an office setting during the late 70s/early 80s. With a set designed by Gary Hoff and props from Lauren Yawn-Kell, is there something about the set or a particularly period-authentic prop that you’re just really into?

MARIAH PARRIS: Gary Hoff is a genius and every set he touches is magical. This is my first time working with Lauren and she has absolutely crushed it.

For me it’s the set color scheme: avocado, harvest gold, and….more avocado. My favorite props are probably all the made up accolades adorning Franklin Hart’s office bookshelf… they are hilarious.   

JHPENTERTAINMENT: Long after the tap tap tap of the typewriter from the show’s title tune is just a distant memory, what do you hope audiences will remember about this production of 9 to 5?

MARIAH PARRIS: I hope this show inspires the audience to consider the dynamics in their own lives- be it home, workplace, or otherwise- and consider where people are perhaps being held back from their fullest potential because of outside forces keeping them down. I hope people consider how they can be less of a hindrance or more of a help to others finding their own ways to shine.

Rapid Fire with Geoff Davin, Mr. Hart in 9 to 5

JHPENTERTAINMENT: What can you tell me about Mr. Hart, as far as your perception of the character?

GEOFF DAVIN: Well, Mr. Hart has been a challenge. Of course you never want to villainize a villain when you’re playing the antagonist. Your goal is always to empathize with them and try to see how they’re right. But gosh, Mr. Hart makes it awfully hard. He’s just such a deliciously sleazy fellow. He always says the most terrible things with absolutely no concept of how terrible his comments are. And he’s his own greatest fan. 

JHPENTERTAINMENT: Mr. Hart is the show’s villain. How much fun are you having playing the baddie opposite your three leading ladies?

GEOFF DAVIN: I’m having an absolute blast. I couldn’t have asked for a more gracious, talented, fun, and giving trio of power houses to play opposite of on stage. 

JHPENTERTAINMENT: Even the chauvinistic Mr. Hart has his admirers. What is one aspect of Mr. Hart’s character that you see as possibly redeemable?

GEOFF DAVIN: Well Violet says that she’s never seen someone leap frog to the top as quickly as he has. So he’s certainly tenacious and wildly driven. 

JHPENTERTAINMENT: With 9 to 5 being set in the late 70s/early 80s, I’m guessing Mr. Hart’s wardrobe, as envisioned by costumer Lori Gann-Smith, might consist primarily of leisure suits. They say all fashion is cyclical. Is it time for the return of the leisure suit, and do you think you could rock it off stage?

GEOFF DAVIN: I would 100% wear my opening suit it in real life. 

JHPENTERTAINMENT: There’s long been talk of a 9 to 5 sequel, at least for the original film adaptation. If there were a sequel, where do you see Mr. Hart in the future?

GEOFF DAVIN: I think Mr. Hart stayed on the island. He now works for the Amazonians, harvesting coffee beans. They’ve even given him a little nickname. I’m not sure how to write it in their language. But it roughly translates to “skinny and sweet”. 

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Nashville Repertory Theatre’s 9 to 5: the Musical plays TPAC’s Polk Theatre September 8 through 17 with Friday and Saturday evening performances at 7:30p.m. and Saturday and Sunday matinees at 2p.m. CLICK HERE for tickets or more information. Following 9 to 5, Nashville Repertory Theatre rings in the holidays with A Christmas Carol onstage at TPAC’s Polk Theatre from December 1-17. CLICK HERE for tickets or more information.

In the meantime, check out Nashville Rep online HERE and follow them on Facebook,  Twitter,  YouTube and Instagram.

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

Rapid Fire Q&A with Theatre of Gadsden’s ‘Sordid Lives’ cast members; onstage at The Ritz in Gadsden, Alabama September 8 thru 17

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When I heard my friend Joy Tilley Perryman was once again portraying Sordid Lives’ Noleta Nethercott—this time in Theatre of Gadsden’s production at The Ritz (310 North 27th Street, Gadsden, Alabama)—I knew I had to chat with her, having seen (and loved) her previous turn as Noleta in Nashville back in 2013. It was a nice added surprise when I learned that one of her costars this go-round is Billy Jenkins as Brother Boy, having gotten the chance to chat with him recently for a previous Rapid Fire 20Q. Add to that the chance to get to speak to Kathleen Jensen, who’s playing Juanita Bartlett, one of my all-time favorite characters, and I was fully in!

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Rapid Fire with Theatre of Gadsden’s Sordid Lives’ stars Billy Jenkins, Kathleen Jensen and Joy Tilley Perryman

Rapid Fire with Billy Jenkins, Brother Boy in Theatre of Gadsden’s Sordid Lives

JHPENTERTAINMENT: Who is Earl “Brother Boy” Ingram?

BILLY JENKINS: Brother Boy Ingram is a gay, cross dressing, Tammy Wynette female impersonator, who was wrongly put into a mental institution by his mother because he was beaten up for being gay. Brother Boy represents what all gay men have experienced: bullying, defamation, a search for identity, and a search for belongingness in a world where being bullied for being gay isn’t a crime, where defamation of a gay person is not considered taboo, where our search for identity seems like a never-ending process, and where our search for belongingness, if we are lucky, ends in a place of happiness.

JHPENTERTAINMENT: Billy, I gotta admit, when Joy and I first talked about me doing a Rapid Fire 20Q with you Sordid Lives folks, I was excited to get to chat with you again, having previously featured you in conversation about your participation in Joy’s Jubilations presentation of Listen to Your Mother. In that interview you talked about your late mother a bit. Gotta ask. What would your Mom make of Brother Boy?

BILLY JENKINS: Well, first of all, my mom never saw me in any production (unless you count my first grade play where I was a funny valentine), because she passed away when I was 21 and it wasn’t until after her passing that I got involved in theater. As far as what she would think about Brother Boy….. first of all, she’d be impressed that her baseball playing, high school football playing son could walk and run in stiletto heels. Secondly, I think she’d be proud of my character because Brother Boy’s character is NOT how I act in real life. I had to study his mannerisms very hard and dig a little to find this character. And lastly, I think she’d be like Latrelle in the show, where she always knew that I was gay since I was a little boy. You see, I was my mom’s favorite of her six children, and like Ty and Latrelle in the show, I think her knowing that I was different was what bonded us.

 JHPENTERTAINMENT: Of course I can’t take about Brother Boy without thinking of Leslie Jordan, who created the role on stage, the big screen and in the Sordid Lives tv series. I was fortunate to have gotten to know Leslie over the years. Knowing that role is such an iconic role, particularly to the LGBTQIA+ community, is there an extra sense of getting the balance of humor and heart just right?

BILLY JENKINS: OMG!!! So much pressure! When I first watched the movie, I fell in love with Leslie Jordan and his talent.  I have always wanted to do this role. Many guys in theater dream of being Jan Val Jean or The Phantom, but I remember seeing Leslie Jordan’s genius and setting my goal of playing this role at least once in my life. I am PROUD to play this role as a member of the LGBTQIA+ community. This role not only personifies what gay people had to endure 25 years ago, it solidifies the idea that being gay doesn’t mean we need to be locked up in a looney bin. This role is significant because it represents a “stereotype” of what people think being gay means, but in reality, we come in all shapes, sizes, attitudes, and mannerisms and accepting those differences (even within the gay community) leads to a more unified and coherent community. Getting the balance between what needs to be funny and what audiences need to take seriously is tricky, but doable.

JHPENTERTAINMENT: Brother Boy is a legend (in his own mind at least) for this portrayals of his Country Queens, Tammy, Loretta and Dolly. If you were to do a music tribute yourself, who would you honor and why?

BILLY JENKINS: I am finding out very quickly that I was NEVER meant to do drag. My feet hurt in heels, makeup takes too long, and my undergarments are extremely uncomfortable. With that being said, I don’t think I could ever do a female musical tribute (I might make an exception for Dolly, though) but if I had to pick, I’d say Johnny Cash. He was a musical genius, down to earth, and his music is still going strong. I do have to mention that I’m like a fifth cousin to Conway Twitty (Harold Jenkins), so I hope he doesn’t roll over in his grave because I picked Johnny Cash.

JHPENTERTAINMENT: Aside from a smile on their faces and side-splitting laughter, what theme, idea or thought do you hope audiences take away after seeing Theatre of Gadsden’s Sordid Lives?

BILLY JENKINS: I hope all mommas who have gay sons walk away from the show as a proud momma of a gay son. I hope all gay men who are ashamed of who they are walk away from the show being proud of who they are. I hope all bullies who have ever bullied someone because they are gay walk away from the show with regret of having ever done so. I hope all fathers who have told their sons that real men don’t cry walk away from the show knowing that crying doesn’t make you less of a man. And, I hope all people walk away from the show realizing that family is family and no matter what our differences are, families need to love each other.

Rapid Fire with Kathleen Jensen, Juanita Bartlett in Theatre of Gadsden’s Sordid Lives

JHPENTERTAINMENT: I understand this is your first time doing a show with Theatre of Gadsden. How much fun are you having so far?

KATHLEEN JENSEN: I am having a blast! It’s been since 2020 that I’ve been on stage. Wow, have I missed it!

JHPENTERTAINMENT: While this is your first time playing Juanita and your first show with Theatre of Gadsden, this isn’t your first foray into the world of Del Shores. Having met Del a time or two, was there anything he’s said that you’ve now put into practice as you approach the role of Juanita?

KATHLEEN JENSEN: I have worked with Del on a few occasions at TNT with his one man show. He also saw a production of “Daddy’s Dyin’ Who’s Got The Will”. The one thing that he has always stressed is that these are real people, not just characters. 

JHPENTERTAINMENT: One of my favorite of Juanita’s scenes involves a story about a particular childhood craft project, “Ol Cock-a-doodle”. Were you a crafty kid and is there any evidence anywhere around or did your crafts go the way of Juanita’s beloved rooster art?

KATHLEEN JENSEN: I was a very crafty kid! Some of it went the way of ol cockadoodle, but when I cleaned out my mom’s house I was surprised to find more than a few pieces still in existence. One was a framed paint by number of a horse. I have it in my home now. 

JHPENTERTAINMENT: The tagline for Sordid Lives is: “A black comedy about white trash”. There’s something a little white trash in all of us. What about you? What’s the most unashamed white trash thing about yourself?

KATHLEEN JENSEN: Just because I like PBR draft don’t mean I’m white trash! LOL

JHPENTERTAINMENT: Another great Juanita scene involves the art of reapplying her lipstick while never removing the cigarette from her lips. Have you mastered this unique ability as well?

KATHLEEN JENSEN: I’ve spent time working on it. I guess you’ll have to come to the show to find out! 

Rapid Fire with Joy Tilley Perryman, Noleta Nethercott in Theatre of Gadsden’s Sordid Lives

JHPENTERTAINMENT: You have a bit of history with Sordid Lives, having played Noleta in a production in Nashville that I was thrilled to have seen. Between that production and this iteration, are there aspects of Noleta’s character that you’ve discovered, or things that you’ve expanded upon in your portrayal of her?

JOY TILLEY PERRYMAN: That is a loaded one JHP. Between my last Noleta and this one I have lost the love of my life and I suppose that makes me even more aware of marriages. What makes good ones and what makes bad ones and why some people should never even try! G.W. and Noleta don’t have a good marriage but there was something there once upon a time. I think Noleta is grieving the demise of her marriage and I understand that grief all too well. This Noleta is sad in a way that I had not thought of in 2013.

JHPENTERTAINMENT: In addition to playing Noleta, you’ve also worked behind the scenes on costumes and wigs, right?

JOY TILLEY PERRYMAN: And props and set dressing. I made all the faux food that is on Sissy’s table and gathered all the 1 million lighters, compacts, and hankies that are in this show. I cannot however, take credit for Sissy’s fabulous wig. That would be the creation of my immensely talent friend, Molly Page.

JHPENTERTAINMENT: You likely know that I’ve known Sordid Lives’ creator, Del Shores for a couple decades now. You’ve also had the chance to meet him. What is it about Del and his writing that is so perfect?

JOY TILLEY PERRYMAN: I did know! And I have met him while taking one of his comedy masterclasses in Nashville. First, he, himself is so hysterically funny and just a Texas boy at heart. For me, his writing is so perfect because it so relatable. Now, you may not have left your two wooden legs in the middle of a hotel room floor and caused your lover’s demise, but we all have done things we deeply regret and wish we could take back. Or like Latrelle we are all living in a bit of denial. These are real people that we all know.

JHPENTERTAINMENT: Del fully admits many of his characters are based on his actual family and friends from his days as a boy growing up in Winters, TX. If you were to write a play about your relatives, what would it be called and who would be the main character?

JOY TILLEY PERRYMAN: You know that I have already started this very thing. It’s working title is Granny’s Girls and a character very loosely based on my maternal Grandmother, Mildred Smith, is at the heart of it. In this her name is Granny Griggs.

JHPENTERTAINMENT: Is Theatre of Gadsden ready for Sordid Lives?

JOY TILLEY PERRYMAN: They better question is, is Sordid Lives ready for Theatre of Gadsden? LOL! No, seriously, maybe so? I hope so? Or as Billy Ditty’s Grandmother used to say, “this is going to happen, whether they want it to or not”!

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Theatre of Gadsden’s Sordid Lives opens Friday, September 8 at The Ritz Theatre (310 North 27th Street, Gadsden, Alabama, 35904), and running through Sunday, September 17. Performances are Fridays and Saturdays at 7p.m. and Sundays at 2p.m. Door open 45 minutes before curtain. Tickets are $20/Adults, $18/Seniors/Students/Military. Groups of 10 or more $15/each. Groups of 20 or more $13/each. CLCK HERE to purchase tickets. For more info call 256.547.7469.

Up next at Theatre of Gadsden is Anne of Green Gables with shows October 7 at 2p.m. and 7p.m. and October 8 at 2p.m. Follow Theatre of Gadsden on Facebook, Instagram and Twitter for more details.

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

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