Kristian Dambrino

Rapid Fire 20 Q with director, Jef Ellis and cast of Circle Players’ ‘La Cage aux Folles’; at Looby Theatre January 17-February 2

January 16, 2020 by Jonathan

Michael Baird (center) as Zaza, surrounded by Les Cagelles in Circle Players’ “La Cage aux Folles’ (production photos by Ashley Eve Newnes)

Being a lifelong fan of Broadway composer, Jerry Herman, I have been looking forward to Circle Players’ upcoming production of Herman’s and Harvey Fierstein’s legendary La Cage aux Folles , the mid-80s musical centered ’round a mostly happy-go-lucky gay couple who own and work at a drag club in Saint- Tropez, whose lives take a tailspin when their son, Jean-Michel arrives with news of his pending nuptials to a sweet young girl from an ultra conservative family. When Herman passed away the day after Christmas, the fact that I’d not only be seeing the show, but that Nashville theatre luminary, Jef Ellis is directing, seemed a comfort, because if there’s anyone in this town who understands and honors the reverence of classic American musical theatre, it’s Ellis. Given those thoughts, you know I just had to chat with Jef and some of his La Cage cast members, including: Macon Kimbrough, Michael Baird, Kristian Dambrino and Ann Street Kavanagh for the latest edition of my recurring interview feature, Rapid Fire 20 Q.

———————————————

RAPID FIRE WITH LA CAGE DIRECTOR, JEF ELLIS

JHP: Having first directed La Cage aux Folles for Circle Players in 1999 for the company’s 50th anniversary season, how did the idea to have you direct it again all these years later come about?

JEF ELLIS: You know, it’s funny: I’ve never had the desire to return to a show that I have already directed until now. I submitted a proposal to direct a different show for Circle Players, but since this is their 70th Anniversary Season, they wanted to do a season of the company’s “greatest hits,” as it were, and when I saw La Cage on the list of possibilities, there was no way I was going to let the opportunity pass me by. I submitted a proposal for the show and I was selected to helm another production of the very first show I ever directed. And in so doing, I’ve discovered how much La Cage aux Folles, the Tony Award-winning musical from Jerry Herman and Harvey Fierstein means to me and how closely I identify with it. It’s been a complete joy to have another go at it.

JHP: Kevin Amburgey-Walton, who starred as Zaza in your ‘99 production, is working behind the scenes on this one as the show’s choreographer, making this a La Cage reunion of sorts for the two of you. What’s it been like creating a new look at an old classic with your longtime friend and fellow creative?

JEF ELLIS: Kelvin and I have worked together on other shows (he also choreographed Damn Yankees for me some years back) and I so wanted to include him in this revival because he was my first Zaza. He’s been so lovely to work with again and has offered so much insight into the character of Zaza/Albin and has helped my new Zaza, Michael Baird move seamlessly into the role. The great thing about Kelvin is I know he always has my back — and I hope he feels the same about me — and I can turn to him and ask for anything and he responds quickly, with complete good humor and confidence. That’s what comes from trusting each other.

JHP: This past week, you posted a funny little happening regarding one of your younger cast members who, when you remarked that he resembled Wynonna Judd, didn’t know who you were talking about. This got me to thinking…what is it about Harvey Fierstein’s book and Jerry Herman’s music that still engages audiences? And are there lessons in LGBT history to be learned by watching this show?

JEF ELLIS: The stories told in La Cage aux Folles are timeless and universal and they are just as important and vital today as they were when the show opened on Broadway in the 1983-84 season. The music is wonderful — lyrical, optimistic and memorable — and you can’t help but leave the theater singing it. It’s a quintessential Jerry Herman score and it so very clearly comes direct from his heart. Harvey Fierstein’s script is terrifically funny, yet poignant — which is exactly what we have all come to expect from him. La Cage aux Folles is a musical set in a gay nightclub in St. Tropez in 1984, to be certain, but more importantly it’s about family, loyalty and love — however you may define it on your own terms. Jeez. I’m puddling up just thinking about it (which happens more often than not as I get older and more sentimental and nostalgic).

JHP: I Am What I Am,—which closes Act 1 on an emotional high—is, without a doubt, the show’s most beloved tune. Taking a bit of artistic liberty with the lyrics, how would you finish this line…”I am what I am and what I am is _____”?

JEF ELLIS: “…an illusion.” I won’t touch Jerry Herman’s lyrics: they’re perfect and touching and heartwarming. That number is such a powerful moment in the show and an example of the fine line walked by Herman and Fierstein in transferring this story to the musical theater stage. At one moment, La Cage aux Folles is ridiculously funny and flamboyant, and at the next it’s heartbreaking and emotionally draining. In other words, it’s everything musical theater should be.

RAPID FIRE WITH MACON KIMBROUGH, GEORGES IN LA CAGE

JHP: At the top of the show Georges welcomes the audience to La Cage aux Folles saying ‘Open your eyes’ rather than something like ‘Feast your eyes’. It would appear that Fierstein and Herman purposely worded it the way they did, don’t you think?

MACON KIMBROUGH: I think Fierstein was very deliberate with the book. Perhaps in using “open your eyes” rather than “feast your eyes”, he’s encouraging the audience to go deeper in their usual involvement in a show; to open your mind and, perhaps, take any blinders off and drop any preconceived notions. Not only at the Cagelles – who’s a man?/who’s a woman? – but also to realize that this is a love story even though the main couple is two men, not the traditional male/female.

JHP: Last year you were part of the cast as Jef directed The Boys in the Band, another vital part of LGBT theatre history. What keeps you coming back to work under Jef’s direction in such shows?

MACON KIMBROUGH: The first show I saw Jef direct was The Little Foxes. Jef knows his material and really has a knack for assembling a cast that works well together. And I noticed that he seems to have control of my biggest pet peeve watching theater: pacing.

JHP: The show takes place during the early 80s, when it first debuted on Broadway. Heck, I remember watching the ‘84 Tony Awards and sobbing during their musical performance. When were you first aware of La Cage and has your perception of the work changed since then?

MACON KIMBROUGH: Yes. We didn’t have the web then so we had to catch glimpses on talk/variety shows or the Tonys. I have always been a Jerry Herman fan. His music goes through me like a knife, but in a good way. He gives his characters a vulnerability like no other lyricist. I remember seeing bits of the show on the Tonys. I Am What I Am was, of course, the show stopper and became the gay anthem. However, when I saw Gene Barry sing Song On The Sand, I knew then that I wanted to play that role and sing that song. I’ve always seemed to take the other route than most people.

JHP: Speaking of I Am What I Am, when I chatted with Jef, I asked him to take a bit of artistic liberty with the lyrics. So I’ll ask you…how would you finish this line…”I am what I am and what I am is…..”?

MACON KIMBROUGH: I know this may seem strange or even rude, but I might finish “I am what I am, and what I am” with “is nobody’s business”. Hear me out – We judge and are judged, it seems, not just on first impressions but at first glance. If you want to know who I am or who anyone is, take the time. And if you don’t, don’t judge.

RAPID FIRE WITH MICHAEL BAIRD, ALBIN/ZAZA IN LA CAGE

JHP: While you’ve appeared on stage in and around the St Louis area, your performance in La Cage marks your Circle Players debut and also your Nashville area debut as well. How does it feel working not only with Nashville’s oldest continuing theatre company, but also with Jef, one of our community’s most respected and revered directors and critics?

MICHAEL BAIRD: The highlight of being in this show has been working with Jef. I moved to Nashville six months ago, and this was the first show that I auditioned for. Admittedly, I did not know who Jef was when auditioning, but I am thankful that he is my first director in Nashville. He has such a great way of pulling the best attributes out of a person when developing a character. He and I have very similar senses of humor–which has made the process that much easier. He seems to know what I’m thinking, as I tend to know what he is thinking. It’s great! I am also very thankful to Circle Players for giving me this opportunity.

JHP: Zaza might be your Circle debut, but it’s not your first time to appear on stage, or in drag for that matter, having appeared as Frank N. Furter in The Rocky Horror Picture Show at Family Musical Theatre and having starred as Hedwig at Stray Dog Theatre—two St. Louis theatre companies. When, during the process of becoming Zaza, do you feel her presence—the wig, the lashes, the makeup, the body pads, costume…or something else?

MICHAEL BAIRD: In A Little More Mascara, Albin expresses how all of these external attributes contribute to his transformation–the lashes, more mascara, the heels, etc. My transformation into the character is more internal. I feel her ferocity as the key to the big “switch.” She is a performer, and when Zaza is present, there is nothing or no-one who can stand in her way. It is great fun to be a part of that and own the stage.

JHP: Since you play Albin, and his stage persona, Zaza, I’m wondering, which aspects of each character do you admire most?

MICHAEL BAIRD: I admire Albin’s big heart. It is clear that he has great love for his family, and he will stop at nothing to make sure they are taken care of. Pertaining to Zaza, I will have to stick with the aforementioned ferocity. There is something about being fierce/ferocious and knowing that all eyes are on you. Additionally, her self-assuredness is something to commend. She is so confident in every aspect of her life, and I think that is something that all human beings desire.

JHP: When I chatted with Jef and Macon, I posed the following question to both of them. I think it has potential to be very telling, so I’m asking you and the others as well…”I am what I am and what I am is _____”?

MICHAEL BAIRD: Persistent. I won’t/don’t stop. Just ask those close to me.

RAPID FIRE WITH KRISTIAN DAMBRINO, JACQUELINE IN LA CAGE

JHP: While Jacqueline doesn’t appear until about 40 minutes in, the role is a patented scene stealer. Was that potential to ham it up and steal the scene part of what attracted you to the role?

KRISTIAN DAMBRINO: Oh absolutely. When Jef told me she was a manipulative, charismatic and flirtatious club owner AND that the musical is set in France in the 1980’s – that sounded like a sequined dream for this ex-Miss Mississippi. But what sold me on Jacqueline was the opportunity to throw in the French flair and accent. I’ve been studying the language for a year now, extending my own jazz repertoire to include songs from some of my favorite French composers and vocalists. I love the phonetics of the French language, and find there is a lot of built-in comedy in speaking and singing (and flirting) in « Franglais » in this musical. So Jacqueline is for sure my alter ego.

JHP: Why do you think Jacqueline feels such a closeness to Georges and Albin?

KRISTIAN DAMBRINO: Jacqueline’s brilliance lies in her ability to project this superfluous vibe, when in reality there are many layers to who she is and how she relates to all kinds of people. She deflects with humor and dramatic flair, but connects with George’s and Albin’s complexity as individuals, as well as their collective bravery and capacity for love. This perhaps sounds like a world peace kind of answer, and trust me – she LOVES Zaza’s panache. But Jacqueline cannot be put in a box and, to quote the script, « won’t take no for an answer. » This is perhaps how I relate to her the most. And you’ll have to come to the musical to get the rest of the story on this question (insert « ooh la la »). Jacqueline is full of surprises.

JHP: Much like composer Jerry Herman did in Mame with It’s Today, in Act 2 of La Cage, Jacqueline joins Zaza and the entire company for the equally uplifting and optimistic The Best of Times is Now. He was kind of right, wasn’t he?

KRISTIAN DAMBRINO: Yes, he was. I believe in the power of staying present in each moment to really get the most out of life. Whatever that means. If it’s singing, if it’s experiencing pain, if it’s laughing. If we drift too far from this moment, from now, we miss the transformational gift of immersion. Or we forget our lines lol.

JHP: I’ve concluded my interviews with Jef and your other cast mates with this one, so here’s your chance to answer it as well…how would you finish this line…”I am what I am and what I am is _____”?

KRISTIAN DAMBRINO: a Franglish chameleon.

RAPID FIRE WITH ANN STREET-KAVANAGH, MARIE IN LA CAGE

JHP: From the moment Marie enters, her physicality and broad reactions—to everything from Georges’ man-servant, Jacob (Russell Forbes) to Michael Baird’s Albin in disguise as Sybil—establish her as one to watch. Are there Maries in your past upon whom you drew your characterization ?

ANN STREET-KAVANAGH: Not really. There are a few bits and pieces, but no one in particular. When I first saw myself in costume, I thought of Barbara Bush…just from the neck down! We know she was conservative and that she had a great sense of humor. Marie is both of those things, though she doesn’t let the humor out until she lets her hair down, so to speak.

JHP: Mentioning her costume is the perfect segue to my next question…Mirroring her rather conservative nature, Marie’s wardrobe is among the show’s more conservative, while Zaza and Les Cagelles are dressed to the nines in sparkling gowns courtesy the shows three costume designers Lisa McLaurin, Dan Hayes and Blake Danford. Any specific costume envy?

ANN STREET-KAVANAGH: I am EXTREMELY envious of The Cagelles! All those sequins and spangles! Zaza wears a wig that is reminiscent of Marilyn Monroe when she appears as Sybil. It looks gorgeous! I’m jealous of that, as well!!

JHP: During Cocktail Crosspoint, the chaos of the imbroglio can be quite confusing if not performed with precision and skill from all involved. What’s it been like rehearing this particular number?

ANN STREET-KAVANAGH: We’ve had a lot of fun with Cocktail Counterpoint! Leila Jones choreographed it. She used simple steps and blocking that lends itself to be driven by characterization. Because of this, each of us has been able to put our own stamp on it, adding to the fun!

JHP: Alright. I’ve asked your director and co-stars this next one, so I might as well make it five for five…How would you complete the lyric as it pertains to you…”I am what I am and what I am is _____”?

ANN STREET-KAVANAGH: This is hard to answer in one word! I’m a mom and a wife. I was lucky enough to have been a full time actor/singer for almost 20 years before having my kids, but I haven’t performed very much in the last 16 years, choosing to stay close to my children. They’re pretty self sufficient now and I’m ready to trod the boards with everything I’ve got! I don’t regret a minute spent with my family, but my inner artistic being has been so neglected that sometimes I’ll cry just hearing an overture. So, to answer…I am what I am and what I am is…energized! I’ve missed it SO much!

———————————————

Callum Ammons (center) as Jean-Michel) surrounded by Les Cagelles in Circle Players’ “La Cage aux Folles”

To be a part of the energized, eclectic vibe that is Circle Players’ La Cage aux Folles, CLICK HERE to purchase tickets as the show runs Friday, January 17 through Sunday, February 2 at Z. Alexander Looby Theatre (2301 Rosa Parks Blvd). Tickets are $15 for Thursday performances and $20 Fridays-Sundays. To keep up with the latest from Circle Players follow them on Facebook, Instagram and Twitter

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.

Review: Keeton Theatre proves local audiences will never get enough of ‘Steel Magnolias’

August 30, 2018 by Jonathan

The cast of The Larry Keeton Theatre’s “Steel Magnolias” onstage thru Saturday, September 1. (photo by Jenny Steiner/courtesy The Keeton Theatre)

Steel Magnolias, Robert Harling’s sentimental stage play about six women who share life’s ups and downs during weekly visits to their local Louisiana beauty shop, has been an audience favorite since it’s debut in 1987. The subsequent 1989 film adaptation starring Dolly Parton and company only served to solidify the piece as a bonafide part of southern pop culture, so It should come as no surprised that nearly every theatrical season includes at least one theatre company in the Nashville area mounting a production of the stalwart southern favorite. This year, than honor/burden is in the hands of Donna Driver as she directs The Larry Keeton Theatre’s current production, continuing its three-week run with performances thru Saturday, September 1.

Appropriately, I chose to attend a Sunday matinee performance of The Larry Keeton Dinner Theatre’s Steel Magnolias. I literally came directly from church. As my friend and I arrived, we sat at a table of ladies, only adding to the magnolia mystique. Befitting any church social or as we call it, dinner on the ground, the delicious pre-show meal consisted of potato salad, mixed veggies, a healthy portion of sliced ham and a dinner roll. Pickup up on the much-lauded color scheme of Shelby Eatenton’s wedding, there was even a creamy jello-based delicious pink dessert, I’m just not sure if the dessert color was blush of bashful. If you’re familiar with Steel Magnolias—and why wouldn’t you be?—you’ll get the reference.

For this visit to Truvy’s Beauty Spot in the fictional town of Chinquepin Parish, Louisiana, director Donna Driver and her creative team offer a wonderfully detailed setting. While enjoying the meal, I had ample time to check out the set. Many previous incarnations of Steel Magnolias that I’ve attended have chosen to line three or four beauty stations side by side facing the audience, while this allows the actors to look towards the audience as they deliver their lines, it also basically ignores the rest of the space and stagnates the action to front and center. Luckily, Driver and company smartly utilize the entire stage, and in doing so, create a totally believable version of Truvy’s Beauty Spot. Instead of a row of beauty chairs, two beauty stations face each other center stage with a lighted, framed invisible mirror between them. Congratulations to Driver and her husband, Kevin Driver, who designed the set, as well as scenic construction team members Jessi Boyer and Randall Seymour for this more realistic placement of the beauty stations. Kudos also to the show’s director for keeping the actresses from looking straight through the non-existent mirror, but rather, leaning or walking around to address their co-stars positioned in the beauty station on the other side of the divider. Continuing the realness of the shop, the entrance to the shop is located in the back left corner of the stage, a wash station back center and an unseen kitchen, back left. The walls, adorned with family photos, an inspirational saying or two and an array of 80s-era decor, including the minute detail of wallpaper boarders running along the top of each wall, reinforces the 80s vibe. Also of note, design-wise, is the inclusion of a sprig of magnolia blossoms atop the shop’s waiting area. Not only a staple of design for the day, a nice wink to the show’s title. I had almost forgotten my own mom’s similar wall decor, which may or may not still be hanging in her living room (Note to self to notice next time I’m home for a visit).

On the subject of attention to detail, property mistress Melanie Ray and costumer Amy Slade deserve special mention for perfectly capturing the look and feel of the now-iconic late-80s. You gotta love the fact that following a casual reference to Cher, one of the ladies is seen thumbing through what appears to be a period-authentic copy of McCalls magazine with the Moonstruck star on the cover. Another nice atmospheric detail comes when the boom box plays Manic Monday and a few other late-80s tunes.

For the Keeton’s Steel Magnolias, director Diver has enlisted the talents of a great mix of actresses familiar to Keeton and Nashville’s theatrical community alongside a few Keeton newcomers.

Making her Keeton debut as Truvy (the Dolly Parton role for the unfortunately uninformed) is Kristian Dambrino. A former pageant girl herself, Dambrino looks and dresses more like the love-child of a younger, prettier Married with Children’s Peggy Bundy and Full House’s Kimmy Gibbler than the iconic portrayal Dolly gave the role of Truvy in the film, and that’s not exactly a bad thing. Dambrino brings the sass and sex appeal to the role that’s expected. What’s more, she does so without simply mimicking Dolly’s version of the character. Perhaps because of her own pageant history, Dambrino also seems to actually be able to ‘do’ hair, as she is seen taking down rollers, back-coming and creating a believable up-do all the while extolling words of wisdom and wise-crack as called-for in the show’s dialogue. Kudos also to Dambrino’s Truvy for being one of only a couple of the ladies to truly embrace the southern adage of “the bigger the hair, the closer to God”. After all, Steel Magnolias is, and always should be, a hair-raising dramedy.

Also making her Keeton debut is Meredith Daniel as Annelle Dupuy, Truvy’s quirkily shy new assistant. I’ll just say it…Daniel gives one of the most engaging and entertaining performances of the show. As written, the character undergoes the most changes throughout the show and Daniel embraces those transformations to the fullest. Even when she’s not the focus of the action, thanks to direction from Driver and what I can only assume is the actress’ own innate sense of being present in the action of the piece, Daniel turns in the most complete and thoroughly spellbinding performance of the show. From clutching her cross necklace or franticly flipping through her Bible for words of inspiration and solace during risqué conversation, to timidly attempting to hand a glass of water to an irritated Ouiser, I couldn’t take my eyes off Daniel’s Annelle.

Cast as Shelby Eatenton is Brianne Waters. Quite often Shelby is played with a penchant for over-exaggeration. I personally blame Julia Roberts’ gigantic mouth for that, as the image of her diabetic freak-out in the movie version is forever emblazoned in my mind. Refreshingly, Waters plays Shelby a little closer to the vest. When it comes time for the famed “drink your juice, Shelby” scene, her diabetic episode is played much more internally, only adding to the drama. The kindness Waters’ Shelby shows Daniel’s Annelle and the more serious tone of the scene with Shelby’s mother, nicely showcase Waters’ talents.

Speaking of Shelby’s mother, Kate Adams is fantastic as M’Lynn Eatenton. While her character’s hair/wig never quite achieves brown football helmet status, Adams embraces M’Lynn’s steel magnolia status to the fullest. In a classic scene, when M’Lynn and Shelby discuss Shelby’s medically ill-advised pregnancy, Adams exemplifies the unwavering emotion and immeasurable concern anyone who has a mother…or is a mother…can surely identity with. During the aforementioned “drink your juice, Shelby” scene, Adams’ M’Lynn is composed and in control. On a personal note, having had my share of medical issues as a child, and being blessed with an equally composed mom, this scene always makes my eyes sweat. Thanks to Adams’ nurturing but firm portrayal, this time was no exception.

Yet another quotable Steel Magnolia line “Here, hit Ouiser” comes late in the show when M’Lynn is dealing with the greatest loss any mother can endure. That line is delivered by Clairee Belcher, and is aimed towards Ouiser Boudreaux. The show’s odd couple, if you will, Clairee is the town’s former first lady, who just so happens to be best friends with Ouiser, the town’s grumpy old lady.

While Shirley MacLaine’s Ouiser is one of my favorite movie characters ever, it often seems lazy and uninspired for an actress to try to mimic her characterization for the stage. Thankfully, Deb Moore’s Ouiser doesn’t even try to duplicate MacLaine’s interpretation, instead offering a more realistic version. If you’re from the south,s surely you know more than one bitter old lady who’d rather hang with their dog than expose her true kindly nature. That, my friends is Moore’s Ouiser. One thing I love about her portrayal is that Moore’s Ouiser is unapologetically ill-tempted. Instead of simply being a bit of comic relief in her absurdity, as the character proudly boasts, “I’m not crazy, I’ve just been in a very bad mood for the past forty years”. I’ve never believed that line more and I can definitely relate.

Rounding out the cast is Linda Speir as Clairee, the actress’ fourth time in the role. I interviewed Speir for her second portrayal, and earlier this year, I interviewed and reviewed her third turn as Clairee. During that interview, I made the declaration that she should be cast as Clairee in all local productions going forward, so it was nice to see the Keeton agreed with me. Interestingly, when I interviewed her earlier this year, I asked her if her Clairee changes from production to production. She said it did and that the different casts and direction brought out something different to her portrayal. Having seen her interact with two casts now, and under the direction of Driver, I can absolutely attest to the fact that she spoke the gospel truth. Looking simply regal as Chinquepin Parish’s former first lady, Speir’s Clairee is the glorious personification of the well-bred southern woman. While Harling’s script never calls for Clairee to utter the classic “bless your heart”—you know, the ultimate dagger-shooting backhanded remark—Speir’s Clairee does get the chance to say some of the most outlandish things, but she does so in such a classy, molasses-laden way that should she actually slap Ouiser, Ouiser would likely thank her for it.

While the aforementioned accolades for the actresses’ portrayals are indeed warranted, enough can not be said for the director. Having witnessed more than my share of marginal Steel Magnolias performances over the years…even before the past decade of reviewing shows, I willingly attended productions of the show simply because I adore it…I’ve seen some doozies. Driver’s direction goes beyond duplicating the beloved film version. She returns the nuanced and quirky nature of Harling’s written word and thereby elevates the Keeton’s Steel Magnolias to the treasured status it deserves.

One final note. Between the action of the show’s final two scenes, he choice to include an audio snipped of Dolly Parton’s Eagle When She Flies, specifically the song’s third verse containing the lyrics: “Gentle as the sweet magnolia, strong as steel her faith and pride”, perfectly describes Harling’s beloved work…and Keeton’s faithful and moving presentation of Steel Magnolias.

Steel Magnolias wraps its three-week run at The Larry Keeton Dinner Theatre (108 Donelson Pike) with evening performances Thursday, August 30 thru Saturday, September 1 with dinner service at 6 p.m. and show beginning at 7 p.m. Dinner and Show tickets are $30 for Adults, $20 for Children 12 and under OR Show Only tickets for $25 for Adults or $15 for Children 12 and Under. Thursday night’s show is SOLD OUT, as has been the majority of the run. Limited tickets are available for Friday and Saturday night performances. Call 615.883.8375 for tickets and availability.

Next up at The Larry Keeton Dinner Theatre from Thursday, October 11-Saturday, October 27 is The 25 Annual Putnam Country Spelling Bee directed by Suzanne Spooner-Faulk. CLICK HERE for tickets or more information.

To keep up with the latest from The Larry Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

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