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Rapid Fire 20Q with Director, Playwright and Cast Members of Rabbit Room Theatre’s ‘A Christmas Carol’; on stage December 7-22

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On Saturday, December 7, and continuing through Sunday, December 22, Rabbit Room Theatre and Matt Logan Productions present an all-new retelling of Charles Dickens’ A Christmas Carol on stage at FSSDPAC (Franklin Special School District Performing Arts Center 1030 Excellence Way, Franklin, TN). Having been completely entranced by their 2022 teaming for The Hiding Place, I’m just gonna say it, anytime there’s a collaboration between Matt Logan Productions and Rabbit Room Theatre, I’m there! Matt Logan’s genius eye for stage and costume design detail paired with Rabbit Room Theatre’s Pete Peterson’s thoughtful and thought-provoking mastery as a playwright and the results are always spectacular. When I heard the these two powerhouses in regional theatre were coming together to present their vision of A Christmas Carol, I knew I had to feature them in the latest installment of my recurring interview feature, Rapid Fire 20Q. Rounding out the questions to a full 20, I requested a little time with the show’s Ebenezer Scrooge, Chip Arnold and The Ghost of Christmas Past, Ruthy Berends. What follows are all four conversations.

Rapid Fire 20Q with Director, Playwright and Cast Members of Rabbit Room Theatre’s A Christmas Carol

Rapid Fire with Rabbit Room Theatre’s A Christmas Carol playwright, Pete Peterson

JHPENTERTAINMENT: As a playwright, I’d imagine adapting a story so beloved might be a bit daunting. What was the catalyst for taking on A Christmas Carol?

PETE PETERSON: It’s not only beloved by audiences and readers worldwide, it’s beloved by ME. I love this book. I love Dickens. I think stepping up to the plate for a chance to retell a story that has entered the annals of literary history is a real privilege and challenge. And like storytellers have been doing for all of history, retelling the great tales of our language is a way of participating in the long tradition of Story in our culture. We tell stories and retell them over and over, and hopefully each new telling shows us a different facet of the tale so that it takes on new meanings and new relevance. That’s a great challenge and opportunity for a writer. It’s an honor.

JHPENTERTAINMENT: Is there a line you’ve written for A Christmas Carol that you’re particularly proud of?

PETE PETERSON: Again and again, people who read or see the show seem to find resonance in the line “What is hidden cannot heal.” The story is all about these Ghosts revealing hard truths to Scrooge in the hopes that he will change, and those truths are often about how wounded he has been in life and how the covering up of those wounds is what keeps him bitter and alone. Those hurts and traumas from his youth need to be exposed and dealt with if he’s to have any hope of healing and joy. That’s a phrase that’s original to my adaptation and I’ve been really moved by how deeply audiences have responded to it. I think it’s an idea that’s latent in Dickens’ prose throughout the original, and effectively giving it voice through that line is satisfying.

JHPENTERTAINMENT: Rabbit Room Theatre’s A Christmas Carol marks the latest collaboration between you and the show’s director, Matt Logan. Previously Matt helmed productions of The Battle of Franklin and Frankenstein, two of your other plays. What is it about Matt that makes it easy to entrust your written word?

PETE PETERSON: I feel like our imaginations are aligned in some mysterious way. He tends to intuit the way I tell stories and make them better with the design and staging and emotional intelligence he brings to them.. And I like to think I’ve learned to write in a way that allows his imagination to flourish. It’s been a really healthy collaboration. We tend to have a lot of back and forth as the shows develop, so that he can riff off of my ideas and I can riff off of his.

JHPENTERTAINMENT: While I’m sure Chip Arnold is your current favorite Scrooge on stage, which cinematic turn of the past stands out most in your mind?

PETE PETERSON: I feel like it’s a cliche to say The Muppets’ but like all cliches, they are cliches for a reason. It’s hard to beat Muppets. But otherwise I grew up with George C Scott, and I really like the animated version by Zemekis and Carrey. 

JHPENTERTAINMENT: After attending a performance of Rabbit Room Theatre’s A Christmas Carol, what do you hope audiences take with them?

PETE PETERSON: One of the questions I’ve tried to wrestle with in the writing process is whether a man is changed (by some external force) or whether a man changes (by his own agency). Ultimately, I think the answer is both–and either way there’s a Spirit involved in the process. I hope folks will go home thinking about how we all might be more open to the people around us and how we all have the opportunity for change, both internal and external.

Rapid Fire with Rabbit Room Theatre’s A Christmas Carol director and designer, Matt Logan

JHPENTERTAINMENT: I think I say this every time I get the opportunity to chat with you about a show, but in my estimation, you are one of the most talented directors and designers the Nashville-area theatre company has ever seen. Your attention to detail is such a joy to experience. What’s been the most rewarding aspect of directing and designing Rabbit Room Theatre’s A Christmas Carol

MATT LOGAN: Wow, you are so kind. I do love theater design, but most of all it’s story and the impact it has on our lives that keeps bringing me back to the theater. In this process, my favorite part has been reconnecting with the childlike imagination that brings about theatrical magic. In all aspects of this piece, we tried to find the magical way to help tell the story of Ebenezer Scrooge . Sometimes it’s finding a new approach to period costume design or it’s using simple things to create ghosts and water. I will always be drawn to theater magic over realism. I hope that with everything I do, there is a strong approach to emotional realism and theatrical magic.

JHPENTERTAINMENT: When I spoke with Pete, I noted that A Christmas Carol is just the latest in a line of collaborations between the two of you as playwright and director. What keeps you saying yes to bringing his work to the stage?

MATT LOGAN: Haha! It’s such a joy working with Pete. Our gifts are completely different and yet we find a common goal for excellence. I will forever be in awe of Pete’s writing . His gift for language astounds me. On top of that he knows my work and my collaborators so well, that it gives us a shorthand on each project. In many ways, he envisions what I’m going to do with a piece as he’s writing it. We just fit together nicely and it’s a great blessing to have that synchronicity

JHPENTERTAINMENT: I understand this production will feature an original score. Can you tell me a bit about that?

MATT LOGAN: Yes, Anthony Matula is composing an original score for the piece. As you can imagine this is a very difficult thing to do with an original play. So much was in development and not set until the very end. So even now we are trying to finalize the details, but Tony offers such a unique sensibility to the score. He comes from the film world and has brought an incredible perspective to each scene. Our goal is to enhance the cinematic feel of our theater production 

JHPENTERTAINMENT: On the subject of music, what’s your favorite holiday tune? And why does it hold such a special place in your mind?

MATT LOGAN: Hard to say, but I’ll Be Home for Christmas is my all-time favorite. I’ve sung it many times on stage because I was away from my hometown for about 12 years. This is when I lived in Los Angeles and New York. Nothing brought me greater joy than when I could come home for Christmas. I longed for it. My parents and grandparents always made the season so full of love. I’m definitely a Christmas guy, I love this time of year. And that’s why I’m so grateful to be sharing this season with Rabbit Room Theatre, our incredible cast, and this Middle Tennessee community. 

JHPENTERTAINMENT: As alluded to in my first question for you, your attention to detail in even the most minute props or set design elements is always such fun to see. Is there something in this show that you’re hoping audience members will spot and get a smile from?

MATT LOGAN: Haha! There is so much of me in this piece. From real items to my designs for this show, my fingerprints are all over it. On my 21st birthday my mom gave me a Shakespeare bust. Years later I bought another one that is almost life size. Somehow this bust reminds me of the delight I found in theatre class with my high school drama teacher Paula Flautt. The idea of the stage and how I feel in love with it is symbolized by that bust. I had to add it to the stage pictures! 

Rapid Fire with Ruthy Berends, Ghosts of Christmas Past and Future in Rabbit Room Theatre’s A Christmas Carol

JHPENTERTAINMENT: I just chatted with Matt Logan, your director and designer for A Christmas Carol. I saw a social media post previewing your wardrobe for The Ghost of Christmas Past. Of course it’s truly gorgeous. How much does wardrobe enhance your portrayal on stage?

RUTHY BERENDS: Ugh isn’t it glorious?! Wardrobe always helps me feel more connected to a role, but the magic and grandeur of the costumes Matt has created for Past (and Yet To Come) are especially impactful. Past is whimsical and twinkly and mysterious, and the dress Matt designed not only helps capture that for the audience, but also for me. I slip into it and immediately feel myself raising an eyebrow, putting my shoulders back, and really embodying the role we have all worked to create.

JHPENTERTAINMENT: Speaking of The Ghost of Christmas Future, you’re playing that role as well. Two very different roles. How much fun are you having in this duality?

RUTHY BERENDS: It’s a total delight. I love the contrast and the continuity I keep finding between the two. On the surface, they are very different; Past is spritely, light, and sparkly, and Future is dreadful, dark, and decrepit. Their demeanors are different, their costumes are different, they move very differently. But they’re also after the same thing: to help Scrooge see himself more fully and move him toward change. It’s been so fun getting to play with the different characters and their almost opposite tactics for achieving the same goal. 

JHPENTERTAINMENT: A Christmas Carol marks your return to live theatre after having focused on tv and film in recent years. To my estimation, Matt Logan is a very cinematic director, so has that made the return to the stage easier for you?

RUTHY BERENDS: I’ve been working with Matt since I was 14 years old, so I feel very at home under his direction. It’s funny, in my audition for A Christmas Carol, Matt immediately gave me the same note he’s been giving me since I was a teenager – “Do it again but for the back of the room!” which made us both chuckle with knowing. He has always provided a safe and creative space to play and explore, and his approach was a huge reason I wanted to be an actor in the first place. And I definitely have a new appreciation for his ability to blend theatre and cinema after these years focusing on film, and his whole approach has made this experience a delight. 

JHPENTERTAINMENT: I understand you’re a relatively new Mom. Given that, have you thought of any Christmas traditions, activities or holiday specials and movies that you are excited to introduce to you child as the years progress?

RUTHY BERENDS: Yes, my son just turned two! I would love for the arts to be a part of it, whether it’s seeing a play or going to the symphony or a choral recital. Definitely watching all of the Christmas movies: Home Alone, Elf, The Santa Clause, Christmas Vacation. And honestly, I can’t wait to see A Christmas Carol with him one day and talk all about its meaning. It’s become such an important story to me over these last several months.

JHPENTERTAINMENT: As written by the playwright, Pete Peterson, what’s your favorite aspect of the ghosts you play?

RUTHY BERENDS: Oh man, it’s so hard to name just one. I guess for Past I would say her wonder and humor. Pete has written her so beautifully as both deep/wise and funny/light-hearted, and I love playing with those different aspects in one character. It’s very complex and mysterious. And with Future, I love that she is not the usual hooded black shroud that one typically associates with A Christmas Carol. In this version, she is more akin to a decaying bride, a representation of all Scrooge has lost and still could lose if he stays on his curmudgeonly path. And the challenge of playing a character who does not speak but has so much to impart, is so fun.

Rapid Fire with Chip Arnold, Scrooge in Rabbit Room Theatre’s A Christmas Carol 

JHPENTERTAINMENT: Having previously played Scrooge a few years in a row in another area theatre company’s production of A Christmas Carol, what stands out to you about this particular incarnation as adapted by Rabbit Room Theatre’s artistic director, Pete Peterson?

CHIP ARNOLD: A few things stood out immediately: Pete Peterson’s beautiful integration of his words with Dickens words. They are dense, beautiful, and require savory chewing.  Then Pete’s incorporation of the spirit world beyond Marley, and his three ghostly ambassadors. And finally, Scrooge’s inner child is a revelation. 

JHPENTERTAINMENT: This adaptation is directed by Matt Logan, another member of the area theatre community with whom you’ve worked with in the past. What’s your favorite aspect of Matt as a director?

CHIP ARNOLD: His vision. Matt is a visionary and the clarity with which he creates this vision. His generosity as he invites the actors into this vision and gives us the freedom to play and explore as we find ourselves becoming contributors to the story.

JHPENTERTAINMENT: In your estimation, is Scrooge villain or victim?

CHIP ARNOLD: Actually, neither. Modern cultures have created a one-dimensional character with descriptors such as “miserly” and “greedy.” This is not villainous. These of symptoms of hurt and rejection. In Pete’s version of the story, we explore the reasons why these choices were made.

JHPENTERTAINMENT: What’s one of your most cherished holiday memories?

CHIP ARNOLD: A tradition my wife and I started years ago with our grands is what we call the Christmas Tree Fairies who will come to our farm the day after Thanksgiving and leave a Christmas tree somewhere in the woods and we hike back to the woods in search of the treasure. 

JHPENTERTAINMENT: What is it about this story that has proven a beloved part of the holiday season for 181 years?

CHIP ARNOLD: It is a story of rescue and redemption. And, for me personally, it is tied to the Nativity story that so many celebrate at this time of year. The point of the arrival of the Christ child was to save humankind. The point of the arrival of Marley and the Three Spirits was to save Ebenezer Scrooge. That tale never grows old.

Matt Logan Productions and Rabbit Room Theatre’s A Christmas Carol opens Saturday, December 4 and continues through Sunday, December 22 with performances Wednesdays, Saturdays and Sundays. Saturday and Sunday performances are at 2:30pm and 7:30pm. Wednesday shows are at 7:30pm. The final week of the run, there’s also a Thursday evening show at 7:30pm. Tickets start at $45. CLICK HERE to purchase tickets or for more information.

Check out The Rabbit Room online or follow them on Facebook and Instagram. To keep with all things creative from Matt Logan Productions, check out their Facebook 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 20Q with Director Jef Ellis and Cast of ‘Beautiful: the Carole King Musical’; at Center for the Arts in Murfreesboro November 8-24

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When I heard that Jef Ellis was directing BEAUTIFUL: The CAROLE KING MUSICAL Nov. 8-24 at Center for the Arts (110 West College Street, Murfreesboro, TN 37130), I knew I wanted to chat with Ellis and members of his cast for the latest installment of my recurring interview feature. Having seen the National Tour of the show back in 2017, and being somewhat familiar with Carole King’s contributions to the world of music, thanks to my favorite Aunt, I was truly drawn in from the start. Not only is the music one of those “soundtracks of our lives” as the saying goes, but the story is actually interesting.

Obvious reasons aside, I also knew I wanted to feature Ellis and company because just as King has made innumerable contributions to music, Ellis is himself legendary within the Tennessee theatre community. With the announcement that Ellis was helming the project, came the news that this will be the last time Ellis directs a show. After devoting his life and life’s work to lifting up the Middle Tennessee theatre community as a director, critic and all-round patron saint of the performing arts, Ellis has recently made the difficult decision to step away from active duty within the theatre world to focus some much-deserved attention on himself and his health. In light of that news, I wanted to feature Ellis and the cast of BEAUTIFUL for my latest Rapid Fire 20Q. What follows are those conversations.

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Rapid Fire 20Q with director and cast of BEAUTIFUL: THE CAROLE KING MUSICAL

Rapid Fire with BEAUTIFUL: THE CAROLE KING MUSICAL director, Jef Ellis

JHPENTERTAINMENT: How did directing BEAUTIFUL: THE CAROLE KING MUSICAL come about?

JEF ELLIS: I have to give credit to my friend Allison Hall (who was my musical director for both SINGIN’ IN THE RAIN and for LITTLE WOMEN), who mentioned in the course of a conversation that Center for the Arts had announced their 2024 season and if I had any desire to direct again. I really had no plans to direct anything at that time, but when I saw BEAUTIFUL on their season, I knew I would throw my hat in the ring. It’s probably my favorite of all the so-called “jukebox musicals” due to my deep respect for Carole King and my love, in particular, for her Tapestry album.

 JHPENTERTAINMENT: What’s your earliest memory of truly grasping what an iconic songwriter Carole King is?

JEF ELLIS: When I turned 13, my big sister Charlotte gave me Tapestry for my birthday – it was my first-ever album (heretofore I had only owned 45s) and I played it all the time. It remains my favorite album of all-time and cemented my fanatical love of everything written by Carole King. In fact, when I was a senior in high school, I wrote a musical based on her 1974 album Wrap Around Joy, which has never been produced (did I mention my script was awful?). I’ve followed her career since I was 13 and as I have discovered more and more about her, I have realized how much there is to admire about Carole King.

One of my favorite Carole King-centric memories is when she was a Kennedy Center Honoree in 2023. During the telecast, you could see how absolutely thrilled she was to be there and how her delight was apparent when each performer came onstage to perform for her. I’ve never witnessed a Kennedy Center Honoree as exhilarating as her in the audience!

 

JHPENTERTAINMENT: Is there a scene or song in the musical that speaks to you on a personal level?

JEF ELLIS: There are two moments in the show that make me more emotional than others: (1) During the performance of You’ve Got A Friend, I am taken back to my childhood home, listening to that song all through high school, knowing that someday I would find my people who would elicit in my own heart in that spirit of camaraderie and belonging expressed in the song. (2) The climactic performance of Beautiful in the show, part of Carole’s 1971 concert at Carnegie Hall, is an electrifying moment that every audience member will share in each performance. Emily Summer’s performance is breathtaking.

And it’s not a song, but there is a scene backstage at Carnegie Hall that is heartbreakingly genuine and never fails to land in my heart – Ross Canales delivers an emotional wallop you’ll think about for days to come.

JHPENTERTAINMENT: As he is with most productions at Center for the Arts’ Royce Phillips is music director. How has working with Royce been during the rehearsal process for BEAUTIFUL?

JEF ELLIS: Royce and I previously worked together on THE SECRET GARDEN, so even before I submitted my proposal to direct BEAUTIFUL, he was the first person I asked to join my production team. I knew he would be respectful of Carole and her music, and of Gerry Goffin, Cynthia Weil and Barry Mann and he would honor their legacies and the legacies of all the tremendous musical performers to whom we pay tribute in the show. Royce is a great collaborator and he helps every performer achieve their very best, which is our goal in bringing BEAUTIFUL to life.      

JHPENTERTAINMENT: I’m about to chat with three of your lead actors, Emily Summers, Kelly Cline and Ross Canales. What can you tell me about these three talented individuals?

JEF ELLIS: I first saw Emily in Circle Players’ IF/THEN and was gobsmacked by her talent and her unerring ability to be totally authentic and believable onstage. Subsequently, I’ve seen her take on other characters with the same intensity. I think I knew she should play Carole King a long time ago and she provides the very heart of our production. I am honored to direct her in my final show.

Kelly walked into auditions and performed her song and Royce and I looked at each other and said, “I think we have our Cynthia!” She has so much stage presence and absolutely commands you to watch her – and she is such a lovely presence in any room, with so much grace radiating from her. She has a perfectly droll sense of humor and her comic timing is impeccable.

I first saw Ross earlier this year in IS Productions’ CLOSER and I was impressed by his ability to play a challenging character with such focus (at that first introduction, I was seating maybe a foot away from him in his initial appearance onstage) and such an amazing range. When he came in to claim the role of Gerry Goffin, he possessed everything necessary to bring Gerry to life with a complete understanding of his character’s dramatic arc. He also possesses that indefinable quality all actors strive for: you believe everything he says onstage.

Rapid Fire with Kelly Cline, Cynthia Weil in BEAUTIFUL: THE CAROLE KING MUSICAL

JHPENTERTAINMENT: Who is Cynthia Weil to you?

KELLY CLINE: Confident. Timeless. Sharp-Witted. Loyal friend. I feel so honored to have the opportunity to portray such a strong, confident character who was such a pioneer for women in the music industry. The songs she wrote in partnership with her husband, Barry Mann, have shaped our American Songbook. What a legacy she’s left us all. 

JHPENTERTAINMENT: This show marks director Jef Ellis’ self-proclaimed ’Swan Song’ as a director after decades of not only presenting memorable theatrical productions but of course also covering theatre as a critic. Were you aware of Jef’s status in the theatrical community prior to auditioning? AND…What’s been the most beautiful aspect of working with Jef during BEAUTIFUL?

KELLY CLINE: Prior to auditioning I didn’t know Jef, but quickly learned about him as I was preparing to audition. What an incredible opportunity to be cast by him – especially in a show that is the grand finale to such a fantastic career. I’m truly honored. Jef is a passionate director – what a gift it is to be in the room with someone who cares so deeply about creating beautiful work onstage. He encourages us to remember the magic of theatre, and how transformative and transportive the craft is. In addition, Jef challenges you as the actor to continue to find instincts, intentionality, and aspects of your character throughout the rehearsal process. I’ve loved working with him!

JHPENTERTAINMENT: A bit of a subplot of BEAUTIFUL presents the initial competitive nature of Carole King’s relationship with Cynthia Weil. In real life, as in the show, their relationship eventually morphed into a close friendship. To that end, how is Emily Summers, this production’s Carole King, as a scene partner?

KELLY CLINE: Oh my word! How long do you have? What a talent. I count myself so lucky to share the stage with Emily. The scenes we have together are some of my favorites in the entire show. She’s incredibly generous as a scene partner – what she brings to every moment is so natural and authentic. There’s such an ease in doing scenes with her. Additionally, I think the friendship our characters develop onstage has a lot to do with the friendship we’ve been able to cultivate off the stage. If I ever get the opportunity to work with her again, I’d say “Yes” in a heartbeat! 

JHPENTERTAINMENT: When I saw the National Tour of BEAUTIFUL a few years back, I was surprised my favorite Cynthia Weil song, I’m Gonna Be Strong isn’t part of the show (of course it’s NOT the Cynthia Weil story per se, but still). The song, originally recorded by Frankie Laine in 1963, but familiar to me because of Cyndi Lauper’s 1980 cover. While preparing to portray Cynthia Weil, have you discovered any songs she wrote that you particularly enjoy?

KELLY CLINE: Dolly Parton’s Here You Come Again is a song I grew up listening to, but I had no idea Cynthia Weil had a hand in writing it! That was a fun discovery and connection point. 

JHPENTERTAINMENT: This show is jam-packed with not only tunes written by King and Weil, but a number of other hits from 60s/early 70s era. Is there a musical moment, whether it be yours or that of one of your co-stars that you particularly enjoy?

KELLY CLINE: Oh goodness, forgive me but I can’t pick just one! Every time our amazingly, talented ensemble sings You’ve Lost That Loving Feeling I have to stop and take it in. They do this timeless song justice and are just so fun to listen to– I think Barry and Cynthia would be proud. When Aaron Johnson (our Barry Mann) sings We Gotta Get Out of This Place it’s going to tear the roof off the theatre. Aaron makes rock n’ roll look easy and has one of the most sensational voices. Lastly, You’ve Got a Friend will forever be one of my favorite moments in the show. This song is all heart and I love sharing it with Emily and Aaron. It’s a moment I look forward to every time we do the show.

Rapid Fire with Ross Canales, Jerry Goffin in BEAUTIFUL: THE CAROLE KING MUSICAL

JHPENTERTAINMENT: Before seeing the show, is there anything audiences might need to know about Gerry Goffin, the role you play in BEAUTIFUL: THE CAROLE KING MUSICAL?

ROSS CANALES: Gerry Goffin is a lovable, yet complicated, and troubled individual. All he wants is to get the most out of his life and to seize opportunities as they come. He unfortunately has a hard time maintaining a good moral compass in his pursuit of life fulfillment. 

JHPENTERTAINMENT: Alongside Carole King, Gerry Goffin wrote some of the most beautiful songs of their era. Do you have a favorite that you get to sing alongside your Carole, Emily Summers?

ROSS CANALES: One of my favorites from the show is Some Kind of Wonderful. In the show Gerry and Carole only sing part of the song, but they sing it in a very heartfelt part of the show. It is sung as a conversation between two lovers that finishes with beautiful harmonies. 

JHPENTERTAINMENT: As Gerry, you’re tasked with some of the show’s more dramatic moments. How do you mentally prepare for these scenes and what helps you come back out of them to a more peaceful mindset?

ROSS CANALES: Gerry definitely has some dark places he reaches in his life. Preparing for those moments, I tend to need silent reflection of prior events in my life that can bring out similar emotions. I try to focus on my senses in those moments. What I heard, what it physically felt like, what I might have smelled, or saw in the moment. The more I can feel those senses again, the better I can portray those emotions and connect to the audience. Coming out of it is easy when you have such an amazing, fun, and supportive cast that can make you smile. All the inside jokes and laughs you have during the rehearsal process carry over in the performances and create easy avenues to make lighthearted jokes when they are needed. 

JHPENTERTAINMENT: BEAUTIFUL marks Jef Ellis’ self-announced final directorial effort. What do you admire most about Jef’s directing style?

ROSS CANALES: With Jef being one of the biggest theater lovers I know and a critic for decades he has a unique perspective of where a show could be lacking. Being able to identify those missing elements early gives him the ability to change what is needed. That could be something as small as where actors are placed on stage, to an emotional feel of a scene. An average theater goer might not be able to identify those elements, but they can feel the difference between a performance that has taken care of the lack and ones that haven’t. I admire Jef’s ability to spot those elements and find a change to make the performance better. 

JHPENTERTAINMENT: Carole King has always recognized the importance of Gerry Goffin’s presence in her early life, both professionally and personally. Is there someone who has been in your corner since the beginning and what does that sort of support mean to you?

ROSS CANALES: I took 10 years off of theater during college and started back in summer of 2022. My wife Zoe has been along for the ride since my comeback to theater. She has observed the commitment, hard work, and dedication it takes to be in a show. Although the time away from home is difficult, as most people in relationships can understand, the support she gives is truly heartwarming. I can’t express my gratitude for her understanding and love through the process. She keeps me grounded and gives me encouragement when rehearsals get tough. She means the world to me! I couldn’t follow my pursuit of acting without her. 

Rapid Fire with Emily Summers, Carole King in BEAUTIFUL: THE CAROLE KING MUSICAL

JHPENTERTAINMENT: You, like Carole King, are a singer/songwriter. Has that helped you tap into how you’re playing the famed songwriter in BEAUTIFUL: THE CAROLE KING MUSICAL?

EMILY SUMMERS: Absolutely. I remember being sixteen with all that passion and drive, when all I wanted to do with my spare time was sit in my room with my guitar and write songs. There’s a moment in the show when Carole says, “When I hear a good song, I feel like someone understands me. […] I want to do that for people!” I feel that line deeply.

JHPENTERTAINMENT: Continuing on that built-in kinship with Carole, is there a scene to which you particularly relate?

EMILY SUMMERS: Without giving away any spoilers, there’s a scene in act two in which Carole’s heart is especially broken. She goes to the piano and sings a verse of an old song, with lyrics that are fitting and poignant for the pain she’s feeling. There’s a real catharsis that comes from putting all your emotion into a song like that. I’m always moved by that scene, and I pull emotion from similar moments of heartbreak I’ve experienced in my own life.

JHPENTERTAINMENT: Does portraying a real-life person, as opposed to a fully fictional character influence your performance?

EMILY SUMMERS: It’s definitely a challenge. I want to honor Carole in my performance and avoid putting too much of my own spin on the character. Typically when I have trouble connecting with part of a script, I step back and ask myself, “How would I say this in the context of my real life?” This time, I’m watching interviews, studying her cadence and her mannerisms, and asking myself, “How might Carole say this in the context of her life?”

JHPENTERTAINMENT: On the subject of icons, there’s been much buzz about the Middle Tennessee theatre community surrounding the fact that this show will mark Jef Ellis’ final directorial effort. How has your experience with Jef as a director been thus far?

EMILY SUMMERS: It has been a joyful experience! Jef has so much passion, and he’s putting his whole heart into this show. That’s motivating, not only because I want him to be proud of his directorial swan song but also because he is so endeared toward this story and this music, and that sentiment is contagious. 

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

EMILY SUMMERS: By the end of the show, audiences undoubtedly will have learned something about Carole’s life and the story of how she became the legend she is. And while that story is moving and important, more than that, I hope audiences leave with a new appreciation for who she is. I hope my performance does justice to her heart, her humility, and the guts it must have taken to achieve so much, at such a young age, as a woman in an industry ruled by men. 

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BEAUTIFUL: THE CAROLE KING MUSICAL opens at Center for the Arts on Friday, November 7 and continues weekends through Sunday, November 24. Friday and Saturday evening performances are at 7:30p.m. Saturday and Sunday matinees are at 2p.m. Tickets are $22 for Adults ($20 for Seniors/Military/Students/Children). CLICK HERE to purchase tickets. To follow Center for the Arts, check them out at their Official Site or follow them on Facebook, Instagram, X and TikTok.

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, follow us on Facebook, Insta and X.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Theatre Review: Robert Coles’ ‘Lithium & Xanax and All of My Friends’ is Just What the Doctor Ordered; World Premiere Performances Continue Through October 12 at Darkhorse Theater

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Cast members of ‘Lithium & Xanax & All of My Friends (photos by Rick Malkin/Courtesy Brand Spakin’ New Theatre)

Over the weekend, Lithium & Xanax and All of My Friends, the latest dramatic work by Nashville-based playwright, Robert Coles, enjoyed its World Premiere as presented by Brand Spakin’ New Theater. Under the direction of former Nashvillian, Bradley Moore, who’s been back in Music City the last couple months to helm the project, the play continues  at Darkhorse Theater (4610 Charlotte Ave., Nashville, TN 37209) with performances October 8, 10, 11 & 12.

Having recently attended a performance of Coles’ sweet and funny southern comedy, Aunt Sally’s Wild Ride, but hearing that this one sets a completely different tone, I wasn’t sure what to expect. It’s always exciting to see a new work, but having reviewed as many shows as I have over the years, when there’s the added bonus of getting the opportunity to see actors with whom I’m not all that familar, there’s opportunity for an even more exhilerating night of theatre, and this show delivers on all counts.  Lithium & Xanax and All of My Friends presents Adam (Payton Justice) a young wannabe novelist who yearns to finish his long-awaited first book while struggling with internal demons. On the night Adam has determined he will finish things once and for all, he’s visited by a few not always welcomed friends, who inevitably stir memories and feelings of Adam’s often-traumatic past. Justice presents Adam in such a relatable state. You don’t have to have shared traumas with the character, but if you have, get ready to swallow that bitter pill once more. Justice’s portrayal is so emotionally charged, that one can’t help but feel what he’s feeling.

Adam’s friends are also perfectly prescribed, played by a cast of talented actors as varied as the numerous medications Adam is currently taking to deal with the aforementioned traumas. During the course of the night’s action, his friends drop in one by one and offer equal doses of advice, criticism and encouragement on why he hasn’t finished his novel and how he might achieve his final act.

First up is Lee, as played by Sky Roberts. Lee has known Adam the longest, having first encountered the embattled playwright a few years prior to the action of the play when the two were first introduced while Adam was in hospital. As played by Roberts, Lee seems to balance out Adam’s more high-strung tendencies. He’s the perfect every friend, casual, supportive, but encouraging.

We next meet Brianca Renfro as Annie, who pops in with yoga matt in hand dressed like a reject from a hippie commune. Renfro’s Annie quickly encourages the boys to center themselves with a bit of meditation. Renfro’s zen-like performance is the ideal mix of stereotypical wellness-minded individuals, but played with a decidedly humorous wink.

By the time Adam’s friend Wil (Ezra High) appears, if the audience wasn’t clued into what’s going on, his lurking, silent, almost non-present presences will surely do the trick. Is he there? Is he not? Does it really matter? As written by the playwright, Coles, and expertly directed by Moore, High, without uttering one word for the first several minutes he is onstage, changes the mood of the show.

Just when things seem to even out, enter Remy (Andrew Hosale). Remy’s that one friend who’s loud, a bit obnoxious, energetic, but ultimately truthful. As Remy, Hosale’s high is addictive. With things seemingly on an upward swing, and Adam beginning to gain a little insight into his inability to follow through, why no bring his parents into the equation, right?

That said, Taryn Pray as Adam’s Mom is a blissful depiction of the universal Mom. Caring, intrusive, judgmental, unaware…all the things. In addition to playing Mom, Pray also appears throughout the piece in various other roles, none more enjoyable than during a trippy daydream/hallucination presented as some sort of warped game show. Pray taking on the role of the emcee and each of Adam’s friends offering a bit of comedic lightheartedness as they rapid-fire repeat certain side effects of their relationship with Adam.

Coles’ abilities as a playwright are most beautifully exhibited in two vastly different scenes. At one point in the play, Adam is confronted by his friends and forced to face his demons head-on. Under Moore’s direction, this scene is almost cinematic. Justice’s Adam downstage, is surrounded by the cast in a circle around him. If this were a film, you could totally visualize Adam center screen with the friends literally circling around him. Blissfully manic.

On the other end of that spectrum, there’s two scenes involving Adam and Mom that are ‘eye sweat’ inducing. One, when the duo are saying goodbye to Adam’s dying father, the other, an unexpected sweet musical moment between Mom and Adam. Even though the rest of the cast is still on stage during these intimate moments, thanks to Moore’s direction and some beautiful work by the show’s lighting designer, Robert Allen, the intimacy of these very personal moments shared between mother and son play as though they’re the only ones in the room. So intimate in fact that for those moments I dare say each audience member felt as though they were the only witness.

Speaking of the talented crew Moore assembled for the project, Jaymes Campbell’s set design, a slightly run-down city apartment feels inviting and comfortable, but also a bit serile and barely lived-in. Campbell’s attention to detail, seen in the fact that when the refrigerator is opened, there’s a glowing ominous hue to the bulb inside. That, plus the fact that the microwave actually works and the coffee actually brews, speak volumes to Campbell’s craft.

Moore himself provided the props peppered throughout the set, and he did so with purpose, for upon closer examination, there are visual clues hidden among the artwork on the walls in Adams apartment. The same can be said for Moore’s sound design. From the first beep of the microwave to the final beat of the father’s life support, that tone becomes its own character.

Costume designer Cat Eberwine’s wardrobe choice are without fault, subtly but sublimely capturing the recent past during which the play is set, while simultaneously mirroring the characteristics of each of Adam’s friends…Lee is dress all comfy cosy (loved the Evanescence visual cue by way of his 2021 concert t), while Annie is boho from head to toe. Wil’s attire is a bit nondescript while Remy’s is tad edgy. Even Adam and Mom’s wardrobe choices reflect their personalities. It’s a true joy as an audience member, and a self-admitted theatre nerd when such care is evident in the smallest of details.

All in all, Lithium & Xanax and All of My Friends is an unexpected whirlwind of emotion and a journey all too many can relate to. Brand Spankin’ New Theatre’s World Premiere production of Lithium & Xanax and All of My Friends continues October 8 thru 12 at the Darkhorse Theatre (4610 Charlotte Ave, Nashville, TN 37209). Tickets are $20 and can be purchased HERE. Remaining run performance schedule is as follows: Tuesday, October 8 at 7:30p.m., Thursday, October 10 at 7:30p.m. (Thursday’s performances offers a special 2-for-1 ticket price), and Friday & Saturday, October 11 & 12 at 7:30p.m. CLICK HERE for more info. Check out Brand Spankin’ New Theatre‘s Official Site HERE or follow 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 ‘Waitress’; Opening Nashville Rep’s 40th season with shows at TPAC’s Polk Theatre thru Sunday, September 22

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Following last weekend’s hugely successful opening, Nashville Repertory Theatre continues celebrating their 40th season opener as the sweet treat that is Waitress: The Musical resumes with its second and final week on stage at TPAC’s Polk Theatre with performances Thursday-Sunday, September 19-22. Based on the 2007 film of the same name, the stage musical, with music and lyrics by Sara Bareilles and a book by Jessie Nelson, made its Broadway debut in 2016, garnering four Tony nominations during the show’s initial run.  As the 2024/2025 season opening at Nashville Rep, their presentation is directed by Lauren Shouse and features a cast lead by Sarah Aili, Annabelle Fox and Piper Jones. Last week, while the cast was readying for Opening Night, I had the chance to chat with these four talented individuals for my latest Rapid Fire 20Q interview feature. What follows are those conversations.

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Rapid Fire 20 Q with cast members and director of Nashville Rep’s Waitress: The Musical

Rapid Fire with Waitress star, Sarah Aili

JHPENTERTAINMENT: Who is Jenna to you?

SARAH AILI: Jenna is life unfolding. Jenna is a dreamer and someone who doesn’t know that she’s allowed to believe in herself. Jenna is a remarkable woman and human who gets stuck in the folds of what her small town would call “normal”, or at least what the webs of her family patterns would call “normal” and she, through relationships and her own will to breathe in life, overcomes the weight of her circumstances. She is a raw, radiant and real woman. 

JHPENTERTAINMENT: Among you co-stars is Dustin Davis, who plays Jenna’s domineering husband, Earl. There are some volatile scenes between the two. How do you prepare for those moments and what helps you put those tense feelings aside afterwards? 

SARAH AILI: Wow, that’s a big question! Honestly, I’m so grateful for the rehearsal process—that’s where I find my truth in the emotions and circumstances of each scene. When it comes to high-stakes moments like the ones between Jenna and Earl, I like to draw from my own life experiences. I connect to something real that I’ve felt, something similar to the emotions in the scene, and allow myself to fully feel it. From there, I make decisions as an actor about what will best serve both my scene partner and the show. It’s a bit like choosing the right spices for a pie! To let it all go, to the best of my ability, I put my attention on what is in front of me and with this show, there is so much joy, on and off stage!

JHPENTERTAINMENT: What is it about the character of Jenna, or the story of Waitress that you find relatable?

SARAH AILI: Jenna and I share a lot in common as women—we dream, we doubt, we love fiercely, we crave, we bake, we love our mamas, we have complex relationships, we face our fears, we rely on the important women around us, and above all, we are human. What resonates most with me about Jenna, and the show as a whole, is its genuine humanity. None of us are perfect, and all of us are deserving of the life we want to live, surrounded by the people we call family.

JHPENTERTAINMENT: Just between us…pie or cake?

SARAH AILI: PIE!! With berries and a little vanilla bean ice cream please! Throw in pecans and I’m a happy camper! Although, if we are talking about Guava Cake, that’s truly IT for me. Guava Cake above all else! 

JHPENTERTAINMENT: A Soft Place to Land, which Jenna performs alongside Dawn and Becky, is among my personal favorites in the show. How much fun are you having with Annabelle Fox and Piper Jones, who play Dawn and Becky?

SARAH AILI: Piper Jones and Annabelle Fox are the icing on the cake for me in this show. I absolutely love sharing the stage with them, and we’ve had such a blast exploring these roles and relationships together. Offstage, it’s just as special. I genuinely look forward to spending time with these two amazing, talented people every day. Honestly, I feel that way about the entire cast!

Rapid Fire with Waitress co-star, Piper Jones

JHPENTERTAINMENT: What’s your favorite aspect of Becky, the character you play in Waitress?

PIPER JONES: I’ve really enjoyed getting to know Becky and finding the very human, relatable parts about her. She’s funny and real. She’s the friend who isn’t afraid to hold the mirror up to your face and call you in instead of out. I’ve loved playing against the “sassy” trope (don’t get me wrong, she’s still got the fire) and digging into her other layers. 

JHPENTERTAINMENT: In Act 2, you get your solo chance to truly shine with I Didn’t Plan It. Having known you for years, I cannot wait for this moment. Have you been given the opportunity to offer input collaborating with Sarah Michele Bailey, the show’s musical director?

PIPER JONES: Sarah Bailey (SMB) is truly fantastic. It’s been a joy working with her on this show! We’ve gotten to see many iterations of each other— her as MD, me as MD, being in a cast together, singing in the studio. It’s always a blast to create with Sarah. Jenna, Dawn, and Becky sing several trio numbers together and SMB has given me the opportunity to sort of act as a bit of a vocal captain with the girls. I appreciate the vote of confidence and I’ve enjoyed getting to pull some vocal nuances out of our trio. I’m excited about I Didn’t Plan It, too. It’s definitely an in-your-face way to start Act 2.

JHPENTERTAINMENT: Within the context of the show, Jenna chooses Becky and Dawn to be godmothers to her daughter, Lulu (played by Rosemary ‘Roxy’ Delger. As an educator in your off-stage life, you’re used to working with kids, right? How has that aided you in your on-stage time with Roxy (and perhaps even some of your more childlike co-stars )?

PIPER JONES: I haven’t really had to wear my educator hat much during this process. You know, Roxy is already an old pro and my goodness she’s a cutie pie! Roxy is always on her mark (honestly, more than I am most of the time haha!).

JHPENTERTAINMENT: I saw on your Facebook that you, in another media moment promoting Waitress, cited your Mama’s Chess Pie as your all-time favorite. Heck, I think you and I might hold the record for most Chess Pie-related Facebook posts. So, a two-parter… 1) What is it about your Mama’s Chess Pie? AND…2) I think you might like my Mama’s Chess Pie, too, so when are we gonna trade recipes?

PIPER JONES: Ha! I do post about her Chess Pies a lot. It’s probably because she only makes the around the holidays, so it’s a special little treat that only comes around once a year. And honestly, I’m not even sure why I love her pies as much as I do. I know she’s particular about what brands of sugar (which must be a freshly opened bag), butter (you gotta buy the good stuff), and flour (which also must be freshly opened)…see what I did there? Anyway, I think her Chess Pie is the right balance of gooey sweetness, where you can kinda see that layer of sugar in the middle and the texture is always just right. Most of the time I can manage to sneak a piece right out of the oven (she hates that, though. They’re supposed to set up as they cool). But I mostly think I love them because of the nostalgia they hold. I bet your mama makes a great chess pie! And swapping recipes? You’d have to ask Dr. Jones if she’d part with hers 😉

JHPENTERTAINMENT: Oh, I see what you did there, and I italicized accordingly! Which leads perfectly to my final question for you…Waitess’ opening number, What’s Inside begins with the hypnotically repetitive mantra-like lyrics ‘Sugar, Butter, Flour’. In keeping with the recipe theme…what ‘ingredients’ make up What’s Inside you on your best days?

PIPER JONES: My best days are coffee, music, naps.

Rapid Fire with Waitress co-star, Annabelle Fox

JHPENTERTAINMENT: How familiar were you with Waitress prior to auditioning for the role of Dawn?

ANNABELLE FOX: I was lucky enough to see the original cast of Waitress on Broadway back in 2015! My friend impulsively bought us tickets and I didn’t know much about the show other than the fact that the music was written by Sara Bareilles. Sitting in the audience that evening, I realized then and there that Dawn would soon become a dream role of mine; one I would chase… until now. 

JHPENTERTAINMENT: How would you describe Dawn?

ANNABELLE FOX: Dawn is particular, organized, controlled, and incredibly sweet. She is a little awkward but I think that’s what makes her so lovable! 

JHPENTERTAINMENT: About midway through Act 1, you’re tasked with performing When He Sees Me, arguably one of the show’s most memorable musical moments. I love that it ranges from comedic to heartfelt. What’s it like performing this song and have you found a personal connection to the lyrics?

ANNABELLE FOX: Performing When He Sees Me is SUCH a gift. It is such a well written song and takes Dawn along with the audience on a beautiful journey of self discovery and assuredness. I love getting to embody her quirks, spunk, and dance with my wonderful cast mates! I loved the song instantly when I saw the show on Broadway and have sung the song in many concerts and for numerous auditions. I’m so excited to get to share my version of the song with Nashville!

JHPENTERTAINMENT: On the subject personal connections, among your cast mates is your real-life husband, Douglas Waterbury-Tieman who plays Dawn’s latest suitor, Ogie. Of course this isn’t the first time the two of you have shared the stage, having first met while you both were attending Belmont. What’s your favorite aspect of being on stage together?

ANNABELLE FOX: Getting to perform with Douglas is always so fun. The last time we performed together was in his original musical Johnny & the Devil’s Box at the Cumberland County Playhouse in December 2022. Playing opposite each other in a show we have loved for many years is a dream. The biggest advantage is our comfortability with each other. Ogie and Dawn are such heightened silly personalities so it’s super fun just being goofy with my husband! He is so wonderful and SO FUNNY so it’s quite the challenge to not break character! 

JHPENTERTAINMENT: The show is choreographed by Joi Ware. How is Joi as a choreographer AND…What’s a typical choreo rehearsal been like?

ANNABELLE FOX: Joi is absolutely wonderful and the choreography in our production is so moving, story centric, and engaging. She has done such a wonderful job of bridging dance and transition and helping each moment flow seamlessly, backed by our incredible ensemble and leads. A typical choreo rehearsal looks like learning, Joi breaking down the choreography for us, workshopping the movement, figuring out spacing, running the choreography a few times, and then filming it to keep on file to go back to and review with. With such a quick rehearsal process this has been essential! The whole creative team has been so warm, supportive, and passionate during this process and I feel so grateful for the ways they have empowered our whole cast to rise up to tell the very best version of this story. Enjoy! 

Rapid Fire with Waitress director, Lauren Shouse

JHPENTERTAINMENT: How did you come to direct Waitress for Nashville Rep?

LAUREN SHOUSE: This is the third show with baked goods I have directed for the Rep after Superior Donuts and The Cake, so clearly I love sweet plays. This musical had been on my list for some time as I love a heart-centered story and I am a huge Sara Bareillis fan, so when Micah-Shane Brewer told me they were programming it, I jumped at the opportunity. I have been so lucky to be able to call Nashville Rep an artistic home over the years – this is my 10th production with the company as director.

JHPENTERTAINMENT: What is it about the show that drew you to the project?

LAUREN SHOUSE: Besides being a fan of the music, I love to tell stories about women and transformation. This is a story about how we get unstuck and the resilience it takes to break a cycle and start a new life. There is a beautiful core of female friendship in this play and the way we need our fellow women to help us break free. While it is a musical comedy, I love the mess we see in this play and how authentic it feels to our real lives — when we feel stuck, we often make a bunch of hasty choices to shake things up. The characters in this play are no different and are driven by this core question of: what if I will never be more than what I have already become? I relate to that question at this point in my own life and I imagine many of our audience members will as well.

JHPENTERTAINMENT: The publicity photos seem very straight-forward and could easily be direct from the Broadway production. How have you found balance as a director in presenting the basics of what fans of the show expect, while putting your (and your talented cast’s) own stamp on it?

LAUREN SHOUSE: As someone who teaches directing students to always find their own unique point of view on a production, it is especially challenging when there is a wonderful pro-shot of the Broadway production that many people have recently seen. But from the beginning of this process, we talked about keeping some of the iconic moments that fans expect, but really making it our own intimate story. One of the things we have tried to do is deepen the backstory of Jenna and her mother – I wanted to add her to the song Soft Place to Land to show the story of where Jenna got her dreams and that she can be a good mother because she had a good mom, but she will need the support of her chosen family in Becky and Dawn to keep her going. We also wanted to lean more into the struggle of the waitresses’ everyday routine at the top of show — the women find refuge in each other, but not necessarily the work and the patrons. That way we see a real change in the final number as they have had to fight to make change. And in collaboration with our amazing choreographer Joi Ware, we have really tried to put our own stamp on the movement of the ensemble throughout the play and in the specifics of the big production numbers. 

JHPENTERTAINMENT: When I chatted with members of your cast, I touched on their thoughts on working with some of the behind the scenes folks including your musical director and choreographer, so I’ll continue with another vital piece of the pie (pun fully intended). What sort of discussions did you have with scenic designer, Gary Hoff concerning the set design and overall look of the show?

LAUREN SHOUSE: We wanted it to feel intimate and in a bigger space like the Polk that really meant pulling the action as close to the audience as possible. We talked about how much we loved the style of the original Adrienne Shelly movie and used that for inspiration of making it feel like we are looking inside a cherry pie… extending the metaphor that Jenna hides in her baking and part of her journey is breaking through the crust to make peace with what’s inside. We wanted the band to be on stage as an expression of her inner self (similar to the ensemble) and we wanted the structure of the diner to always be there as it is such a fixture in Jenna’s life and ultimately transforms at the end as she does.

JHPENTERTAINMENT: I always like to end these conversations by asking a variation on the following…What do you hope audiences remember long after seeing Waitress at Nashville Rep?

LAUREN SHOUSE: That everything changes and we all have the power within ourselves to make that change. We all deserve a slice of that pie. 

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Nashville Repertory Theatre’s Waitress continues at TPAC’s Polk Theatre with performances Thursday-Sunday. Thursday-Saturday evenings at 7:30p.m. & Saturday and Sunday matinees at 2p.m. CLICK HERE for tickets or more info.

Following Waitress, Nashville Rep’s 40th Anniversary Season continues with Our Town onstage at TPAC’s Johnson Theatre October 25-November 3 CLICK HERE for tickets. 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!

Theatre Review: The Cast of ‘Clue’…in Jackson Hall…with razor-sharp dialogue and killer comedic timing; National Tour based on mystery board game and beloved 80s farce in Nashville at TPAC thru Sunday, September 15

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Whether or not you’ve played the board game Clue (Cluedo if you’re from across the pond), or have seen the 1985 star-studded movie adaptation, or even the lesser-known more recent teen-drama miniseries reboot, the stage adaptation, Clue Live on Stage, currently on a National Tour and playing Music City at TPAC’s Jackson Hall thru Sunday, September 15, is just plain fun. For clarity’s sake, it should be noted that this is the straight comedy play, not the poorly received 90s musical adaptation.

Taking a cue from Clue’s own history, the play takes place in the 1950s. Appropriate, considering the original board game first appeared in shops in the UK in 1949 by British game manufacturer, Waddingtons, with a US launch by Parker Brothers following. That bit of Parker Brothers knowledge will serve you well when you see the show, as a bit of clever dialogue makes reference to the famed siblings.

At the time of the game’s initial release, murder mystery writer Dame Agatha Christie’s fame was at its height, so a board game in which the players assume the roles of a group of people who’s seemingly only shared experience is being at the wrong place at the wrong time when a murder is committed seemed perfect fodder for a new board game. The movie, and now the stage version, go one step further, making mention of the Red Scare of the time and cleverly tying all the players into a political web of lies and deceit. Sound’s oddly current, right?  Not to worry, there’s only a jab or two at modern day politics.

All of the action of the play takes place at Boddy Manor, a stately New England mansion on a dark and stormy night, where six supposed strangers are summoned via mysterious letters inviting each of them to attend a dinner party, under assumed names. On the subject of Body Manor, Set Designer Lee Savage’s Boddy Manor is the stuff of which haunted mansions are made. Again, those familiar with the game will delight as the rooms of the mansion are explored as memories of commercials for the board game reenter their collective subconscious. I remember many a Saturday morning watching my favorite cartoons and seeing Clue commercials in which players attempting to solve the mystery would declare their guesses, “Mr. Green…in the study…with a knife” or “Mrs. Peacock…in the library…with a rope” and so on.

Where character portrayal is concerned, Clue could be considered a bit of a theatrical anomaly. Typically actors stepping into roles made famous by others are charged with making the character their own, but Clue, a true farce, almost demands that the company present the characters pretty much as those who portrayed the roles in the film had done. That’s not to discredit the actors in any way, but to thank them for brilliantly recreating moments and actions of the film to glorious life live on stage.

As the curtain rose at Jackson Hall Opening Night, Elisabeth Yancy’s Yvette, the French Maid was the first of the familiar characters to be seen as she stood centerstage drying a cocktail glass with a white cloth. Why was such a mundane task noticeable, you might ask. Because she was doing so in perfect syncopated rhythm to the mood-setting music. It’s little details like this peppered throughout the show that help to make Clue such an enjoyable night of theatre.

Next the audience meets Wadsworth, the Butler, played opening night by James Taylor Odom (filling in for a mysteriously  absent Mark Price). Of course Tim Curry played Wadsworth in the film and in doing so, created an iconic interpretation of the character. To his credit, Odom stepped up to the plate during his performance and played Wadsworth with the perfect amount of cheek, sarcasm and charm.

The manor staff is rounded out by Mariah Burks as The Cook. Sassy and indifferent towards a former employer (remember, earlier I said they were all seemingly strangers…well, they’re not). Burks’ Cook, though her time on stage is limited, makes the most of her scenes. Spoiler Alert: Even in mortem, Burks’ Cook continues to provide laughs by way of being anything but a dead weight. Added Bonus: Burks reappears later in the play in another of the most memorable moments, but I’ll not spoil that.

Then there’s the evening’s host, the aptronymically named Mr. Boddy played by Alex Syiek. Brooding and thuggish, it makes sense that Mr. Boddy would become the night’s first victim…or does he?

As for the suspects, Christina Anthony’s Miss Scarlet is among my favorites. A wonderful departure from Lesley Ann Warren’s Miss Scarlet in the film, I love that every time she utters a double-entendre line that could be considered cringe by today’s easily offended audience, she breaks the fourth wall, winces and smiles as through she’s almost embarrassed at how silly what she’s just said is. Scarlet is the perfect color, as her performance is red hot!

John Treacy Egan as Colonel Mustard is as perfectly bumbling as Martin Mull was in the movie. Watch closely kids. While the entire cast is running throughout the mansion trying to find particular pieces of evidence that incriminates them all, Egan holds up a larger than life map of the join that will delight board game nerds. I may or may not have laughed a little too loud at that moment.

Joanna Glushak’s Mrs. Peacock is a lovely nod to the slightly ditzy way the character was played in the film by Eileen Brennan. Professor Plum, played by Jonathan Spivey, seems a bit more nefarious than Christopher Lloyd’s portrayed him back in 1985. This slightly darker element works well in separating Plum from the other characters.

John Shartzer’s Mr. Green (the Michael McKean role in the film) is the scene stealer of the show. With precise comedic timing, hilariously deadpan reactions and borderline acrobatic slapstick movement, Shartzer is suspect Number 1 is so many ways.

If any character besides Wadsworth is more closely associated with the film version, it’s Madeline Kahn’s Mrs. White. To that end, Tari Kelly takes full ownership of the role for the current stage presentation, and she does so with hilarious result. Near show’s end, when she stepped forward and uttered THE lines…you know the ones…”Flames! Flames on the side of my face!”, yours truly may or may not have gotten a little verklempt while spontaneously applauding. I gotta be honest, I felt Nashville’s Opening Night crowd didn’t appreciate this great moment in theatre as much as I did.

And can we just talk about the last few minutes of the show…again, with a huge ole wink to the film, in particular the multiple alternate ending scenarios ear the close of the show. For context, at the time of the film’s release, three prints of the film were distributed in each major city with three distinct endings naming a different murderer. So, you’d only know the three different endings IF you saw the movie more than once, and in a different theatre each time, each time. Genius marketing and a guaranteed box office boost, right? But I digress…at play’s end, Wadsworth and company perform a comedic rapid rewind again and again when each of the suspects takes the spotlight as various scenarios of who did what to whom and where play out in hilarious succession. WIth each retelling, the action gets more frantic and the reenactments more delightfully raucous.

Clue Live on Stage! will play Nashville from September 10 thru September 15 at TPAC’s Jackson Hall. For Tickets or more info, CLICK HERE. Not in Music City? Clue continues its National Tour through Spring of 2025 with stops across the US. CLICK HERE for Clue’s current schedule. You can always follow Clue Live on Stage! by visiting their official site, or by following them on Facebook and Instagram.

Next up in TPAC’s 2024/2025 HCA TriStar Broadway Season, it’s Moulin Rouge! The Musical (on stage October 8-20). CLICK HERE for tickets. For further details on more entertainment headed to TPAC, CLICK HERE or follow TPAC on Instagram, X, YouTube and Facebook.

In preparation of attending Opening Night of Clue Live on Stage! In Nashville, I did a little research to refamiliarize myself. After all, it’s been 75 years since the board game was first introduced (I was NOT around for that by the way) and it’s been nearly 40 years since I first saw the movie (and YES, during its original theatrical release, I was among the many fans fell for the above-mentioned marketing gimmick and saw it three times in three different theaters. Simply because I did my research I’ll share the following tidbits:

  • Waddingtons produced the game in the UK, while the US version was initially distracted by Parker Brothers.
  • Both companies were purchased by Hasbro in the 1990s.
  • The original UK board game was named Cluedo, A combination of the English word ‘Clue’ and the Latin word ‘Ludo’ which means “I play”.
  • Ludo was also the name of an existing board game, but because American audiences wouldn’t be familiar, the game was simply called Clue for its American debut.
  • The original concept featured 10 characters…nine suspects and one victim. During development, Mr. Brown, Mr. Gold, Miss Grey and Mrs Silver were eliminated, while Nurse White and Colonel Yellow became Mrs. White and Colonel Mustard.
  • The UK version has Reverend Green while the US version has Mr. Green.
  • The concept board first featured 11 room. The Gun Room and The Cellar were eventually eliminated leaving The Library, The Kitchen, The Conservatory, The Lounge, The Billiards Room, The Hall, The Study, The Ballroom and The Dining Room.
  • Weapons initially included such things as syringe, bomb, walking stick, fireplace poker, axe and poison.
  • Over the years there have been more than a dozen versions of the board game.
  • TV commercials have featured everyone from Sherlock Holmes and Watson to an inept detective reminiscent of Inspector Clouseau from The Pink Panther films.
  • The 1985 film adaptation wasn’t exactly a box office hit, but did garner a cult following in later years.
  • Jonathan Lynn (who’d go on to direct My Cousin Vinnie), directed the feature film.
  • Lynn cowrote the screenplay with John Landis (among Landis’ accolades, he directed An American Werewolf in London, Trading places and Michael Jackson’s Thriller video).
  • The movie was produced by Debra Hill (best known for having co-produced the original Halloween).
  • As early as 2009, there’s been talk of a remake of the 1985 film.
  • The musical adaptation debuted in 1995 and was presented off-Broadway in 1997.
  • The musical version closed after 17 previews and 29 performances.
  • One favorable aspect of the musical involved a bit of interactive theatre, allowing the audience to proclaim the murderer.
  • In 2011, a mini-series based on Clue, and starring six teenage/twenty-somethings premiered on The Hub, a network joint venture between Harbro and Discovery Kids.
  • Original 1985 film screenplay co-writer Jonathan Lynn adapted the story for the stage in 2017.
  • The stage play premiered in 2017 at Bucks County Playhouse adapted by Hunter Foster, whose sister is Sutton Foster.
  • The stage play was further revised by Sandy Rustin, premiering in 2020.
  • The current national tour, directed by Casey Hushion began in 2024.

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 Stars of ‘The Beauty Queen of Leenane’; onstage at Playhouse 615 beginning June 21

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Having premiered in Ireland in 1996, playwright Martin McDonagh’s The Beauty Queen of Leenane quickly made its way to The West End, then in 1998, to Broadway where it received six Tony nominations, taking home four. On Friday, June 21, The Beauty Queen of Leenane comes to Playhouse 615 with performances through Sunday, July 7.

Directed by Playhouse 615’s Artistic Director, Joel Meriwether, The Beauty Queen of Leenane stars Cat Eberwine, KC Bragg, Andrew Gately and Lindsey Patrick-Wright. Earlier this week as the cast and crew were preparing for their Friday, June 21 opening night, I had the opportunity to pose a few questions to Eberwine and Wright for the latest edition of my recurring Rapid Fire Q&A interview feature. What follows are those conversations.

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RAPID FIRE Q&A WITH CAST MEMBERS OF PLAYHOUSE 615’s THE BEAUTY QUEEN OF LEENANE

RAPID FIRE WITH THE BEAUTY QUEEN OF LEENANE’s MAG, CAT EBERWINE

JHPENTERTAINMENT: For those unfamiliar, what’s the basic plot of The Beauty Queen of Leenane?

CAT EBERWINE: At it’s core, I believe it’s about desperation, fear, and longing and the absolute driving need to feel loved and the fucked up ways people choose to show that love. It touches on mental illness, dysfunctional family dynamics, aging, abuse, and the “unnecessary neediness of a parent upon a child and the harm we inflict upon one another when our dreams don’t come to fruition”. We follow members of two Irish family’s who have lived in the same small town of Leenane all their lives, with very brief moments of escape, but they always return. When we meet them, all but one is desperate to get away.  It could appear on its surface to be a “day in the life” play, until it turns into an episode of Creepshow or Twilight Zone.

JHPENTERTAINMENT: How familiar were you with the work prior to auditioning?

CAT EBERWINE: Not at ahl, as dey say. I was just finishing up with Nunsense and didn’t have any other projects lined up, but I had missed the initial set of auditions due to opening weekend. Joel graciously loaned me the script the night before callbacks and I finished reading it about an hour before they started. I just knew enough from the text to get an idea of who Mag and Maureen were…and I can’t resist the chance to do an Irish accent!

JHPENTERTAINMENT: You play Mag, Maureen’s manipulative aging mother. Recently, you offered a sneak peak via social media of your physical transformation in the role. What can you tell me about how you and director, Joel Meriwether decided on Mag’s look AND how does the drastic change in your physical appearance enhance your ability to engulf yourself in the role?

CAT EBERWINE: The age of Mag, being almost twenty years older than I am, and Playhouse 615 being such an intimate theatre, in addition to the fact that Joel wanted the set to be placed really far downstage, made me a little hesitant to accept the role. I didn’t want to be a caricature of a old woman, so we had a long talk about it and when I felt confident he would give me the freedom to “do it right”, I accepted the role, even though I was not thinking I had been seriously considered for Mag until he called and offered it to me. The first thing I found was Mag’s voice, which is lower and slightly more gravely than my typical speaking voice, with a rural, Galway County Irish accent, with a few words she likes to pronounce incorrectly just to drive Maureen nuts. The rest Joel graciously let me design, which started, believe it or not, with my favorite pair of work boots, which, at this point, are practically falling off my feet and still spattered with the mud from when I shoveled out my driveway. For some reason, those boots helped me become Mag before anything else. And, as I love wigs, I found a grey one in a style I am very fond of, and once I put it on, it was a huge help. I found a picture of a woman online when I Googled “70 year old Irish woman on a farm” and this became the inspiration for Mag’s braids. I then started adding a few different costume pieces, but, even before doing ANY old age makeup, I got a white contact which I put in one eye. I had ordered it thinking it would be cloudy and not completely white, but it just creeped everyone out so much, we knew it was perfect. But the cherry on the cake of Mag, finally came when someone brought in a beautifully weathered driftwood cane…then she really came to life…banging it on the ground to emphasize her point, leaning on it to indicate how bored she is with the conversation, or using it to reach the cookie tin on the top of the cupboard that Maureen has put out of her reach just to be mean. The actual “old age” makeup will be minimal and I’m still trying to land on a design I like, but it really is the voice, the boots, and the cane if I had to narrow it down. However, when it comes down to it, and to answer the last part of your question, I don’t need a thing to engulf myself in Mag…she’s pretty much just me in a cranky foul mood.

JHPENTERTAINMENT: In addition to your primary co-star, Lindsey Patrick-Wright, who I’ll be chatting with next, you share scenes with Andrew Gately as Ray. What do you admire most about Andrew’s portrayal as Ray?

CAT EBERWINE: Oh, Andrew is wonderful and I am so excited to be on stage with him after seeing and costuming him in Lakewood‘s Christmas Carol as Fred. He has such a great voice and presence on stage and he is so “easy” to be on stage with…as are all the actors in this play…it’s been a joy rehearsing. He’s got great timing and understanding of the character, we never even talked about anything, just started reading the scene and it took off. His character is considered the “comic relief”, and a lesser actor could very easily have taken it in a direction that didn’t serve the overall mood of the play, but his scenes allow the audience to breathe a bit and chuckle, but still keeps you in the world of the production. And he’s got one of the best final exits ever, makes me “LOL out loud” every night.

JHPENTERTAINMENT: Mag seems villainous in her controlling nature. As cynical as I am, I still believe there’s good in everyone. What’s Mag’s best character trait?

CAT EBERWINE: I’m glad you said she “seems” villainous, because the way McDonagh writes this play, it can be difficult to determine at times. Maureen’s stay in the mental hospital is an undetermined time prior to the play, but it’s clearly stated that she remains an out-patient as long as she’s in Mag’s care, but we don’t exactly know why, but we know that it’s not just “nerves”. Does she puts up with Maureen’s abuse out of a desperate fear of being alone, as it is established that she CAN care for herself if she has to?  I’m convinced that, in her way, she loves her daughter, and there is something more behind her being manipulative in order to keep Maureen close, I think she’s scared FOR her…not scared OF her.  Good or bad, her “strongest” character trait I would say is “determination”. She is so determined to keep Maureen at home, whether it’s because she REALLY is just so desperately lonely or “afeared’ of having to care for herself, or is it because of what she knows about Maureen’s “condition” and knows that it’s really Maureen who can’t survive alone in the big, bad world.

RAPID FIRE WITH THE BEAUTY QUEEN OF LEENANE’s MAUREEN, LINDSEY PATRICK-WRIGHT

JHPENTERTAINMENT: To begin, I must admit, I only have a vague familiarity with The Beauty Queen of Leenane, remembering it won four of the six Tony awards for which it was nominated, including Marie Mullen taking home the Best Leading Actress statuette for her portrayal as Maureen. Now you’re taking on that same role. Who is Maureen to you?

LINDSEY PATRICK-WRIGHT: This process has been so interesting, because I have found myself being very overprotective of Maureen. She is so complicated and so raw at times, but I admit I fell in love with her when I saw this play performed 20ish years ago in Memphis. Maureen is the embodiment of the power of hope – at the end of the day, it can either ensure survival or destruction and that dichotomy seems to drive Maureen. 

JHPENTERTAINMENT: Playhouse 615’s own Joel Meriwether is directing. What is it about Joel’s style as a director that lends perfectly to helming this particular piece?

LINDSEY PATRICK-WRIGHT: Joel has made this an incredibly collaborative process. Starting with building a cast of actors ready to show up and explore. We spent a lot of time on table work to gain an understanding of these four characters and what makes them tick and connect. For this show, Joel is working with an Assistant Director Preston Alexander Raymer who also embraced the collaborative spirit. The show can be extremely heavy at times, so they would encourage us to play (they would say “let’s get weird!”) to find the beautifully-written (and needed) levity in the script. That sense of play and adventure has allowed us to find the musicality of the changing tones within the scenes.

JHPENTERTAINMENT: The subject matter seems to have hints of classics like The Glass Menagerie or even Flannery O’Conner’s A Good Man is Hard to Find. Do you think that’s a fair assessment AND…what sets it apart and makes it its own? 

LINDSEY PATRICK-WRIGHT: Absolutely! I have also compared it to Sam Shepard plays since we have a less-than-functional family, long held secrets, and a claustrophobic setting, similar to his American plays. But this play feels even more isolated, likely due to the Irish setting – another thing Joel allowed us to explore in-depth- including having a taste-testing one evening with all the very Irish food and drink talked about in the show. The setting, set, and stage business are as much characters in the show as Mag and Maureen.

JHPENTERTAINMENT: Among your co-stars is KC Bragg as Maureen’s potential new suitor, Pato. Are you enjoying KC as a scene partner?

LINDSEY PATRICK-WRIGHT: KC’s Pato is the heart of this show. He requires a sincere and delicate portrayal to make him believable and KC absolutely nails that. This is the first time I have worked with KC and what a professional he is! KC is a generous scene partner and flexible with changes that some of our “getting weird” moments uncovered. It’s been an honor to work with him and I hope it’s not the last time!

JHPENTERTAINMENT: What do you hope audiences come away remembering most about having seen The Beauty Queen of Leenane?

LINDSEY PATRICK-WRIGHT: I mentioned seeing this show in Memphis years ago and what I remember most is how it made me FEEL. I want people to leave feeling anything but neutral about what they just watched. At the end of the show, I want them to need to shake their head to bring themselves back to here and now because they were immersed for a couple of hours into a small cottage in the Irish countryside. 

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The Beauty Queen of Leenane opens Friday, June 21 and continues weekends through Sunday, July 7 at Playhouse 615 (11920 Lebanon Rd, Mt. Juliet, TN). Evening performances are Friday and Saturday at 7:30p.m., with Sunday matinees at 2:30p.m. General Admission tickets are $20, with special discounted $17 tickets available for Seniors and Military. CLICK HERE to purchase tickets. You can also reserve your spot by calling the box office at 615.319.7031, or you can purchase tickets (if available) at the door, day of show, an hour before curtain.

Following The Beauty Queen of Leenane, Playhouse 615 will present Del Shores’ Sordid Lives, a hysterical “black comedy about white trash’ as directed by Erin Grace-Bailey from Friday, July 26 thru Sunday, August 11.  For more on the show and to keep up with Playhouse 615, check out their website or follow 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, follow us on Facebook, Instagram and Twitter.

Theatre Review: It’s Laughs On at The Keeton Dinner Theatre as their production of ‘Noises Off’ continues thru April 28; Special Show Only tickets available April 25

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The cast of The Keeton’s Noise Off (photos by Charles A. Clay III/courtesy The Keeton Dinner Theatre)

A hilarious comedic farce, Noises Off, on stage at The Keeton Dinner Theatre (108 Donelson Pike, Nashville, TN) thru Sunday, April 28, is offering a specially discounted show only performance Thursday, April 25 to usher in the final weekend of shows thru Sunday, April 28. More about that after my review.

The Keeton Theatre’s current offering gets its title from the backstage theatre direction equivalent to a movie soundstage’s “quiet on the set”. Noises Off employs the clever twist of going behind the scenes of a theatrical production to reveal the interpersonal relationships of the actors of a fictional play called Nothing On. Of course theatrical comedy farces predate the now-classic 70s sitcom Three’s Company by decades, but in my mind, and because that series was among my introductions to slapstick comedy, that’s what I think of whenever I see Noises Off.

Considering a two-story set that revolves between acts to reveal the antics backstage is integral to the show’s comedic appeal, I gotta admit, I had misgivings when I heard that The Keeton was including Noises Off in their current season. Misgivings because the venue itself doesn’t allow for a full two-story set. Of course when Noises Off was announced, The Keeton was under previous administrative and creative guidance and the current managing administrator, Donna Driver simply inherited the season. That said, upon arrival at The Keeton, I was pleasantly surprised with how set designer, Kevin Driver had adapted the usual two story set to a workable split-level, with only a few steps leading to the upstairs rooms.

Presented in three acts–all actually being various performances of the first act of Nothing On , the show within the show, the audience is first invited to a bird’s eye view of a late-night final-dress rehearsal of Nothing On.

The premise of the show within the show finds half a dozen characters unknowingly ending up at the same supposed vacant house for what they think will be a quiet, uneventful weekend. The rest of the plot of the show-within-the-show doesn’t really matter as the audience never gets to see what happens beyond the first act.

The Keeton’s Noises Off is co-directed by Aaron Gray and Caylin Maguire. Not sure why this show requires co-directors as it’s a pretty straight-forward comedy and much of the action is clearly laid out within the mishaps as written in the script. Nonetheless, it’ll be a cute story at their upcoming wedding as the co-directors are indeed engaged, as revealed in the directors’ note in the program.

During the first of two intermissions, crew rotates the ‘house’ to reveal the backstage wooden facade of the set, a visual hint of the next Act One’s behind-the-scenes action, in which the audience is privy to backstage antics as relationships between the actors begin to unravel during a matinee performance about a month into the show’s run. I love that during the set change intermission, the audience is handed out a second playbill, this one for Nothing On, which includes character headshots and bios of the fictional actors who make up the troupe performing Nothing On. Confused? You won’t be once you see the show.

Another intermission, and the set switches back to the front view of the house as we once again see the Act One action of Nothing On. It’s even more of a jumbled mess as the actors have had just about as much as they can stand of their fellow cast mates antics and ever-changing love-triangles and everything comes to a hilarious head during the final leg of the tour.

From British playwright Michael Frayn, the show was originally mounted in the early 80s (so, yes, my earlier Three’s Company comparison actually tracks). The show’s 1984 Broadway debut garnered four Tony-nominations. Its 2001 revival received two noms, star Katie Finneran taking home the award for Best Featured Actress. The show’s 2016 revival snagged another four nominations, including a mention for Best Revival.   

Of course wider audiences might be more familiar with the film adaptation. In 1992, a movie version of Noises Off was released. The star-studded romp featuring Carol Burnett, Michael Caine, Christopher Reeve, John Ritter (again, my Three’s Company reference makes even more sense), Marilu Henner and others.

For The Keeton’s presentation, co-directors Maguire and Gray have enlisted a great mix of newcomers and seasoned performers including  Jeremy James Carmichael, Ann Street-Kavanagh, Cameron Kendrick, Aleah Christian, Dylan Kim, Grace Gaddy, Nathan Basner, Emmerson Masenheimer and Kevin Waker.

Carmichael plays Nothing On’s director, Lloyd Dallas, and therefore the only cast member of Noises Off who doesn’t tackle a dual role in the show within a show. Carmichael’s Dallas is played with the splendid mix of a disenchanted task-master who’s also a bit of a lothario. To that latter end, and complicating things a bit, Lloyd is currently romancing his assistant stage manager, Poppy Norton-Taylor (enjoyably nervously played by Emmerson Masenheimer) as well as his ingenue, Brooke Ashton (vapidly, but vixenly personified by Grace Gaddy) while also throwing a occasional ego-stroking flirtatious bone to his aging star (Ann Street-Kavanagh). Kudos to the co-directors for the choice of having Carmichael’s Lloyd move from place to place among The Keeton’s Dinner Theatre patrons, especially during the first act, as it truly adds to the illusion that we’re sitting in on a dress rehearsal.

Oh, and speaking of the dinner aspect…prior to the show’s start, patrons are served salad and an entree of Chicken Alfredo with a side of Broccoli, Bread and Chocolate Cake. While the meal is enjoyable, as always The Keeton’s food is a tad on the bland side. I chalk that up to The Keeton being housed in same building as Donelson’s Fifty Forward facility at Donelson Station, a large majority of their patrons do skew slightly more mature, so the food is often prepared without the advantage of seasonings. Not to worry, a dash of pepper from the shaker and it’s a perfectly delicious meal. Heck, being Nashville’s only remaining dinner theatre, I’ll take it.

Now, back to the show…From the character’s initial entrance, Lloyd offers the first broken fourth wall as he stops the action on stage when one of the actors misses a prop cue. Carmichael’s Lloyd bellows from the audience and the fun begins. The actress Lloyd chastises for missing her cue is none other than Ann Street-Kavanagh, as middle-aged actress Dotty Otley, who’s playing the housekeeper in the show-within-a show. Street-Kavanagh is perfect for the role of Dotty as she’s never better than when she’s playing it a bit confused and daft. Like Lloyd, Dotty is also embroiled in a love triangle. All Dotty’s Nothing On character wants to do is put her feet up and enjoy the the telly. Oh, and did I mention she enjoys a snack of sardines? Worth noting, since a plate of the fishy snacks result in much of the show’s hilarity when left about, or taken off, cluing the other visitors in Nothing On that they’re not alone in the house.

Cameron Kendrick’s Frederick Felllows, an actor with a bit of a pious attitude, makes up the second-third of Dotty’s aforementioned love triangle. Given to nosebleeds and dropped trousers, Kendrick’s Freddy provides the audience with still more laughter.

Nathan Basner as Nothing On‘s overworked, frazzled Stage Manager, Tim Allgood proves quite entertaining as he holds his own in spite of the character’s limited stage time. A newcomer to The Keeton, Basner is a familiar face to patrons of nearby Pull-Tight Players. It’s enjoyable to see that instead of becoming completely flustered when the entire play goes awry, Basner’s Tim just seems to roll with the punches.

Another Keeton newcomer, Dylan Kim plays Garry Lejeune, the final third in Dotty’s love triangle. Kim’s physicality as Garry provides some of the show’s most slapstick moments.

Next is Aleah Christian as Belinda Blair, an actress who’s cheery disposition serves her well, as she becomes the company’s shoulder to lean on while simultaneously learning everyone’s secrets, including who’s romancing whom…and sharing them when it seems to serve her best. There’s something about Christian that reminded me of Leslie Ann Warren’s portrayal of Miss Scarlett in the movie Clue. Christian, if you’re reading this, Nashville Rep’s doing Clue in September, just saying.

Rounding out the cast is Kevin Walker as Selsdon Mowbray, a seasoned actor with a bit of a drinking problem whom director Lloyd has hired as a favor. Typically the role of Selsdon, as written, is played by a much older actor. The unfortunate eyebrow pencil lines attempting to show wrinkles a bit of a misstep. Nonetheless, Walker’s Selsdon, with overly dramatic deliver, provides many laughs thanks to him absent-mindedly missing his cue or is simply missing from set altogether, leading the remainder of the cast to search for him. The character’s penchant for booze also leads to more laughs. In an effort to keep him sober, his fellow cast mates find his hidden booze stashes, and re-hide them, then various members find them, take a nip or two, and get a bit tipsy in the process.

Filled with enough mistaken identities, pratfalls, near-misses, misplaced sardines and plenty slamming doors to keep the audience laughing for the duration, The Keeton‘s Noises Off wraps its run with shows now through Sunday, April 28. Performances Thursday-Saturday begin at 7p.m. with dinner seating begging at 6p.m. Friday and Saturday. Sunday’s final performance begins at 2p.m. with a 1p.m. lunch served. Dinner and Show tickets are $35/Adults, $25/Children. The Keeton does offer an entree upgrade of Salmon for $42/Adults or $32/Children. CLICK HERE for tickets.

The Keeton has announced a special SHOW ONLY TICKET DISCOUNT for Thursday, April 25. For tickets to Thursday’s Show Only performance, call the box office at 615.231.1231.

Next up at The Keeton is The Music Man, with performances June 14-30. CLICK HERE for tickets or more information.

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

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

 

 

Rapid Fire 20Q with cast members of Playhouse 615’s ‘Hedda Gabler’; final performances thru April 28

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While many smaller theatre companies tend to showcase audience-expected simple comedies and like, one thing I always enjoy about a Playhouse 615 season is the variety of shows presented by this intimate 60-seat theatre nestled in Mount Juliet, Tennessee. In recent years, they’ve mounted everything from classics like The Trip to Bountiful, The Glass Menagerie and Arsenic and Old Lace to more outlandish fare including No Sex, We’re Sixty, The Sugar Bean Sister and more. Having recently wrapped their run of The 39 Steps, Playhouse 615 continues their tradition of a non-traditional season with their current production, an adaptation of Henrik Ibsen’s Hedda Gabler.

Something else Playhouse 615 isn’t afraid to do…present a show for more than a quick two-week run. To that end, their production of Hedda Gabler debuted the first weekend of April and will conclude its run with shows Friday, April 26 through Sunday, April 28. Last week, with the cast midway through the run, I had a chance to chat with them for my latest Rapid Fire 20Q. Those conversations follow.

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RAPID FIRE 20Q WITH THE CAST OF PLAYHOUSE 615’S HEDDA GABLER

RAPID FIRE WITH HEDDA GABLER’s ERIN GRACE BAILEY

JHPENTERTAINMENT: You’re cast as the lead in Hedda Gabler. What can you tell me about the character? 

ERIN GRACE BAILEY: Hedda is a complicated person, and if anything, I think it makes her more realistic. I learn more about who she is and how she responds to the world around her every single time we perform the show. For this reason, I think she’s an exciting and dynamic character. Anyone who sees this show more than once isn’t going to see the same thing twice.

JHPENTERTAINMENT: In addition to starring in the show, you also adapted the play. Forgive the alliteration, but Hedda is pretty heady stuff. What drew you to adapting this work?

ERIN GRACE BAILEY: Well, it really wasn’t my intention to adapt it at first. What changed my mind was reading a bunch of adaptations over and over again. While there are some really awesome ones out there, none of them felt right to me. Hedda is a young woman who suffers from mental health issues and struggles with the gender roles put on to her by those around her. Oftentimes, there isn’t a lot of focus on these things though because Hedda is bright. She’s also a manipulator and makes some horribly harmful decisions that affects the other characters’ trajectories, but in the end, I’ve always been taught, in drama, if you can’t empathize with or care about the character, no matter how awful their decisions are, the tragedy isn’t tragic. I sort of feel like the best way to create empathy for a character is to have it written by someone who understands them, and while I haven’t been through everything Hedda has been through, I relate to her in many ways, especially being in a similar stage of life as her. When we were looking for adaptations of the play to perform, it was hard to find any adaptations written by women, especially contemporary adaptations (which was the route we already knew we wanted to go with it), so in the end, we thought creating our own adaptation would serve us better than trying to conform to someone else’s.

JHPENTERTAINMENT: When you began adapting it, was there always the idea that you’d also star in your own adapted version?

ERIN GRACE BAILEY: Yes, this project actually went a little bit backwards from the usual process. Instead of picking a script and then auditioning and casting it, this one went the other way around. Joel Meriwether, the artistic director at Playhouse, asked me to play Hedda about a year ago. After reviewing different versions of the script, none of them felt exactly right for us or like it focused on the message we wanted to convey, so I decided to adapt the script after that. 

JHPENTERTAINMENT: From what I know, the set is something a bit different for Playhouse 615 in that it not only extends from the usual stage, but also incorporates theater seating on stage. What went into that design decision?

ERIN GRACE BAILEY: I absolutely love performing in the round or on a thrust stage. I did it a lot in college, and I’ve missed it tremendously. I think it’s more intimate and realistic for the actors, and everyone in the audience gets a unique perspective of the story. So much of this particular play is about being stifled or feeling like you’re under someone’s microscope. We wanted the audience to sort of feel like they’re intruding on something, like they’re sitting in the Tesmans’ living room watching everything crumble. In the end, it also just ended up being a more practical decision as well because it gave us a little more space as actors to play.

JHPENTERTAINMENT: Henrik Ibsen’s original was written in Danish, so I have to ask. Unless you speak Danish, what version did you base your adaptation on?

ERIN GRACE BAILEY: Ha! No, I do not speak Danish. I drew inspiration from several different adaptations, but I primarily used a direct translation by Una Ellis-Fermor because I wanted to use a translation or adaptation that was written by a woman, which as I mentioned previously, was a surprisingly difficult find. Ironically, I happened upon Ellis-Fermor’s translation while on a trip to McKay’s when I wasn’t even looking for it, so whoever decided to sell their copy, it was meant to be!

RAPID FIRE WITH HEDDA GABLER’s WILL HENKE

JHPENTERTAINMENT: You’re playing Ejlert Lövborg in Playhouse 615’s Hedda Gabler. Who is Lövborg to you?     

WILL HENKE: Ejlert is a misunderstood man within his own mind and the world around him. There is a certain disconnect with the way his mind and body communicates and often sabotages one another and a most universal disconnect between his existence and his peers. His inability to conform and find meaning in his life is temporarily remedied by the company of Hedda Gabler, who may (or may not) be the missing piece to his inevitable demise.

JHPENTERTAINMENT: Is it just me, or do you hear ‘loverboy’ in the character’s name?

WILL HENKE: Funny that you say that! I always heard “I Love” in Ejlert. He’s Ibsen’s own unorthodox version of a hopeless romantic.

JHPENTERTAINMENT: How familiar were you with Hedda Gabler prior to auditioning for the role?

WILL HENKE: Without outing myself too much, I was completely unfamiliar with Hedda Gabler before the show. I’ve read A Doll’s House to fulfill my Ibsen quota, but most of my theatrical literature is devoted to contemporary pieces (see: Jackie Sibblies Drury, Brandon Jacob Jenkins for my faves).

JHPENTERTAINMENT: I just spoke with your co-star, Eric Grace Bailey, who also adapted Ibsen’s work for this production. She opted to shift the time and setting to modern day. How do you think that enhances this particular version?

WILL HENKE: I think the charm of the modernization lies in the very ability to do so. Setting Hedda in current times as opposed to 1890s Norway is a testament to the timelessness of the piece.

JHPENTERTAINMENT: Your show bio includes a mention of your theatre origin, having played Horse #3 in a high school production of Cinderella. How did that humble beginning prepare you for a life on stage? 

WILL HENKE: There are no small parts. Just small horses.

RAPID FIRE WITH HEDDA GABLER’s SAWYER LATHAM

JHPENTERTAINMENT: How would you describe Judge Brack, the character you play in Hedda Gabler?

SAWHER LATHAM: Brack, in simple terms, is a power hungry narcissist. His entire driving force is manipulating the people around him and he derives pleasure from bending people to his will. Just a stand up guy. 

JHPENTERTAINMENT: Playhouse 615 audiences might recognize you from your recent turn in their production of The Woman in Black. What is it about your experience at Playhouse 615 that prompted a return for another show? 

SAWHER LATHAM: The environment behind the scenes is one of the best in Nashville and the surrounding areas. There’s a certain feeling you get when you’re around people who care as much as you do. I get that feeling here. 

JHPENTERTAINMENT: Your admitted AI-generated acting resume, though mildly entertaining, is largely bereft of any real details of your former roles aside from Smoke during The Bell Witch Fall Festival. What was your first stage performance?

SAWHER LATHAM: My first onstage performance was with the Theatre Bug back in like 2015. I played a little techie kid in Showmance. I don’t remember too much from that process but I must have enjoyed it to still be around doing it today. 

JHPENTERTAINMENT: What is it about Hedda Gabler that continues to interest audiences and remain relevant some 131 years after Ibsen first wrote it?

SAWHER LATHAM: I mean, it’s a classic for a reason. I don’t think I can add anything to it that hasn’t been said already. Ibsen created such an interesting world with incredibly complex characters. Ahead of his time. 

JHPENTERTAINMENT: Your co-star, Eric Grace Bailey of course also adapted this particular presentation. Being the premiere production of this iteration, were there scene in her adaptation that were edited or changed as rehearsals went along?

SAWHER LATHAM: There were definitely trims along the way but in whole it’s remained mostly intact from the first draft. I was lucky so most of my things remained unchanged so I never had to

RAPID FIRE WITH HEDDA GABLER’s MILES GATHRELL

JHPENTERTAINMENT: Who is George Tesman to you?

MILES GATRELL: George is the definition of a guy who looks good on paper: kind, promising career, good family. Unfortunately, in practice he lacks the emotional intelligence for a healthy relationship. He’s someone who is always falling a little short, but can’t understand why. 

JHPENTERTAINMENT: As George, you play Hedda’s easy-going, but inevitably put-upon husband. How is Erin Grace as a co-star?

MILES GATRELL: Erin Grace is the reason I’m part of this show! We had the opportunity to work together last year in the Actor’s Bridge production of Things I Know to Be True. She’s talented, professional, and a joy to collaborate with.

JHPENTERTAINMENT: Your character also shares an on-stage relationship with Beth Henderson’s Juliana Tesman, George’s aunt. I’ve gotta tell you, I consider Beth one of my ‘theatre crushes’, having seen her in a multitude of roles through the years and always being absolutely grateful for the opportunity. How has it been to share the stage with Beth?

MILES GATRELL: This is my first time working with Beth, and I’ve very much appreciated her presence in this show. Her focus and dedication helped ground me during the process, and working our scenes has felt like a breeze.

JHPENTERTAINMENT: Alright, I’m not letting this interview end without going completely off topic to ask about your vintage toy collection. Fellow vintage toy and pop culture nerd here. My favorite item in my collection would have to be my original Bionic Woman lunchbox that I’ve had since I was a kid. What’s among your favorites?

MILES GATRELL: I’m sure some people will balk at this being considered vintage now, but I have a small Pokémon statue that was given away at the 1998 Tokyo TV Fair. As far as I can tell only one has ever been sold on eBay, and it’s quite difficult to find information about it. I managed to snag it from a junk store in Des Moines, Iowa for about four bucks.

JHPENTERTAINMENT: Like your co-star, I understand you’ve also written and produced a couple of plays. Do you believe being creative in both regards enhances your performance as an actor?

MILES GATRELL: I think dipping into playwriting can be very helpful for an actor. Performers can become very focused on their character, and what they hope to achieve in the role. I think it is important to always check back in with the larger story being told. Playwriting makes it easier to understand how your character fits into, and complements that bigger picture. 

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Playhouse 615’s Hedda Gabler completes its four-week run with performances Friday, Saturday and Sunday, April 26, 27 and 28 with evening performances at 7:30p.m. on Friday and Saturday and a final Sunday matinee at 2:30p.m. Playhouse 615 is offering a special BOGO (buy one get one) ticket offer for $20 (that’s the usual price of one ticket). CLICK HERE to purchase tickets. You can also reserve your spot by calling the box office at 615.319.7031, or you can purchase tickets (if available) at the door, day of show, an hour before curtain.

Up next for Playhouse 615 is Nunsense, directed by Daniel Vincent and starring Linda Gaille, Ann Street Kavanagh, Diane Bearden-Enright, Cat Eberwine and Takiah Ledo. Nunsense runs May 10-May 26. CLICK HERE for tickets. For more on the show and to keep up with Playhouse 615, check out their website or follow 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, follow us on Facebook, Instagram and Twitter.

Rapid Fire 20Q with director and cast of Nashville Repertory Theatre’s ‘A Christmas Carol’; onstage at TPAC’s James K. Polk Theatre December 1 thru 17

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Few Christmas classic have endured the test of time like Charles Dickens’ A Christmas Carol. First published in novella form1843, by the following year, stage adaptations and public readings (by Dickens and others) solidified the now-familiar story of Ebenezer Scrooge and his attitude-adjusting otherworldly Christmas Eve visitors as a holiday tradition. To that end, Nashville Repertory Theatre’s own Artistic Director Micah-Shane Brewer will helm this year’s holiday offering of A Christmas Carol adapted by the director himself.

A couple weeks ago, I reached out to The Rep’s Director of Marketing and Communications, Amos Glass with the idea of chatting with four members of the cast and crew of A Christmas Carol for a Christmasy edition of my recurring interview feature, Rapid Fire 20Q. When Amos asked who I’d like to chat with, I immediately requested Micah-Shane  and the three actors playing the Three Christmas Spirits. What follows are those conversations.

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RAPID FIRE 20Q WITH CAST AND CREW OF NASHVILLE REP’s A CHRISTMAS CAROL

RAPID FIRE Q&A WITH A CHRISTMAS CAROL DIRECTOR MICAH-SHANE BREWER

JHPENTERTAINMENT: As the show’s director, what is it about A Christmas Carol, and this version in particular that drew you to the project? 

MICAH-SHANE BREWER: A Christmas Carol has always held a special place in my heart.  For as long as I can remember, this story has been a part of my holiday tradition.  When I was a kid, I had a VHS tape (yes, I’m that old) of Mickey’s Christmas Carol and I would watch it over and over.  Along the way, I’ve seen numerous film and tv adaptations and grown to love certain versions. (My favorite is The Muppets Christmas Carol!) I’ve also been in and directed probably 9 or 10 different stage adaptations.  I’ve spent most of my life revisiting these characters each and every year. And every time I come back to it, it always connects in a deeper and more meaningful way. 

I think as we get older, we look back at the past and think about touchstone moments, things that we did or didn’t do, choices that may have changed the trajectory of our path, but also, looking at where we are in this moment in time and where we are heading. The power of A Christmas Carol is that it speaks to one and all, both young and old.  Its universal themes can touch us all.  There’s a reason it’s one of the most popular stories in the world, even 180 years after it was written.  

When we decided we wanted to produce A Christmas Carol, I knew I wanted to make a special production that would be a holiday event for the entire family. It’s a traditional version of A Christmas Carol. Audiences can expect a beautiful, large-scale production with something for everyone and all ages.  It’s a brand-new script, and the production designs are breathtaking.  The scenic design is spectacular – the costumes are splendid – there are over 500 different pieces used in the production.  There are some really fantastic projections designs and special effects.  Music plays an integral role in the production.  We use numerous Old English carols from the period, as well as a couple of new songs in the production.

A Christmas Carol is far more than just a classic holiday story; it is a poignant and transformative reflection of our shared human experience and an enduring reminder of the power of empathy and connection. It’s a journey of healing and a story of redemption.

JHPENTERTAINMENT: Eggnog or Hot Cocoa?

MICAH-SHANE BREWER: Hot Cocoa any day! 

JHPENTERTAINMENT: A White Christmas or Sunshine for Santa?

MICAH-SHANE BREWER: I’m going to have to say a WHITE CHRISTMAS! There’s something very peaceful about a snowy day. 

JHPENTERTAINMENT: What do you enjoy more, wrapping presents or decorating the tree?

MICAH-SHANE BREWER: That’s a no brainer for me. Decorating the trees! Every year, we put up multiple trees in our house.  I love to decorate for the holidays.  (And I’m not very good at wrapping gifts…)

JHPENTERTAINMENT: What’s your favorite Christmas memory?

MICAH-SHANE BREWER: How do I pick just one? A lot of my memories and Christmas traditions run together. I have so many memories of  Christmases when I was a kid: being with family; the rush of waking my sister up early Christmas morning and opening gifts; my grandmother’s Christmas lunch.

When you get older, Christmas changes in many ways. For many years, we hosted a huge Christmas party for our friends, and every year, the evening would conclude with friends gathering around the piano, singing Christmas carols (and sometimes showtunes). I love Christmas music, and being able to share that moment every year with friends is a special memory. 

I’m usually doing a show around the holiday season. When I was in grad school, I remember doing MANY school performances of A Christmas Carol, and one performance, a young girl stood up from her seat in the front row during the finale, all gooey eyed and mouth wide opened, and yelled “It’s SNOWING!” She really believed it was happening, and it was just one of those moments that was so special to see the magic of Christmas and theatre combined!  So every year, I think about that little girl and hope to recapture that magic for others!

RAPID FIRE Q&A WITH A CHRISTMAS CAROL’s GHOST OF CHRISTMAS PAST, KRIS SIDBERRY

JHPENTERTAINMENT: Among your roles in A Christmas Carol at Nashville Rep, you play The Ghost of Christmas Past. If you could live in a past time period, when would it be?

KRIS SIDBERRY: I was definitely not made for the modern time period. I love the Harlem Renaissance of the 1920s. 

JHPENTERTAINMENT: A Muppet Christmas Carol or Mickey’s Christmas Carol? 

KRIS SIDBERRY: Mickey’s. My Dad loved Mickey Mouse. 

JHPENTERTAINMENT: Gingerbread or Sugar Cookies?

KRIS SIDBERRY: I love both. Cookies are my fav, but I guess Gingerbread. 

JHPENTERTAINMENT: A Christmas Tree with clear lights or multicolor? 

KRIS SIDBERRY: Multicolor! White lights are so basic. 

JHPENTERTAINMENT: Favorite Christmas Memory?

KRIS SIDBERRY: Christmas was always very big deal in my house. My father was obsessed with Christmas. Sometimes he would decorate 3 different trees.  Like most young kids, every year I would set out homemade cookies and milk. I remember being about five years old, and I swear that I heard jingle bells and hooves on the roof when preparing for the visit from Santa. I’m pretty sure that my parents must’ve hooked up speakers somehow in the house and played a track, but I will never forget that memory. So magical. I believed in Santa until my pre-teens. I will always believe in magic.

RAPID FIRE Q&A WITH A CHRISTMAS CAROL’s GHOST OF CHRISTMAS FUTURE, BEN FRIESEN

JHPENTERTAINMENT: You’re cast as The Ghost of Christmas Future, among other roles in The Rep’s A Christmas Carol. If you could make a wish for the future, and I guess now that I’m asking, you can, What would it be?

BEN FRIESEN: I would wish for more opportunities like this one, where I get to do so many things that I love to do with so many wonderful people! I already feel blessed to be acting professionally, but when I get to add singing, dancing, fiddling, dialect work, and flying? Shows like this are my dream!

JHPENTERTAINMENT: Candy Canes or Peppermint Bark?

BEN FRIESEN: Nowadays I would probably go for peppermint bark, but the child in me still wants to lick one end of a candy cane until it becomes as sharp as a tack.

JHPENTERTAINMENT: Favorite traditional Christmas Carol?

BEN FRIESEN: I love Mary Did You Know—the original carol already went surprisingly hard, but Pentatonix turned it into a certified bop.

JHPENTERTAINMENT: Which do you think would keep you more in line…Elf on the Shelf or Krampus?

BEN FRIESEN: Something about the Elf on a Shelf’s beady little eyes say, “I know what you did”, which sends me into a spiral of, “What did I do this time?”—since Krampus is a physical threat, I feel like I could probably Home Alone-style defend myself against him if that situation arose.

JHPENTERTAINMENT: Favorite Christmas Memory?

BEN FRIESEN: Throughout my childhood, my siblings and I were huge Lego fans (still are). Each year, we would often ask for one larger Lego set as our main gift, and our parents would save that for last—that way, when we tore open the wrapping paper, we would all immediately run downstairs and spend the next hour or two building our new sets together in our matching Christmas PJs.

RAPID FIRE Q&A WITH A CHRISTMAS CAROL’s GHOST OF CHRISTMAS PRESENT, BRIAN CHARLES ROONEY

JHPENTERTAINMENT: Among your roles in Nashville Rep’s A Christmas Carol, you play The Ghost of Christmas Present. What’s the most fun aspect of that character?

BRIAN CHARLES ROONEY: I love the idea that he ages over the course of 24 hours! There is a lot of fun to be mined in creating that idea, subtly, via voice pitch and tone, as well as via my movement as the character. I also love working in the costume at the designers created for this character. It’s grand, it’s beautiful, and it’s actually fun to wear!  But I think my favorite aspect of this character is his determined commitment to optimism, hope, and love.  He really does root for Scrooge; and he delights in seeing Scrooge find some happiness.

JHPENTERTAINMENT: A Charlie Brown Christmas or The Grinch Who Stole Christmas?

BRIAN CHARLES ROONEY: Definitely The Grinch!!!  I’m partial to anything campy, but what I love about The Grinch is that despite the comedic aspects of the story, the tale is unapologetically woven around the idea that love conquers hate.

JHPENTERTAINMENT: Which pop Christmas tune is superior? Mariah’s All I Want for Christmas is You or Wham’s Last Christmas?

BRIAN CHARLES ROONEY: I think Mariah’s song is better written, but I will always love George Michael’s voice. Though, my friends and I play a game each year, that involves seeing which of us can avoid hearing Last Christmas before Christmas Eve. It only works if we all commit to the honor system of the game, but I almost won last year! They were only two of us left, but I heard it in Sprouts!!

JHPENTERTAINMENT: Crazy Christmas Sweater or Cozy Christmas pjs?

BRIAN CHARLES ROONEY: Definitely the PJ’s!!!

JHPENTERTAINMENT: Favorite Christmas memory?

BRIAN CHARLES ROONEY: My favorite Christmas memory, at least, from when I was a child, was the year I received a letter from Santa, on parchment paper, wrapped in a red velvet bow. It was such a wonderful, exciting, heartwarming experience! “He” had left it for me near the plate of cookies we’d left out the night before. I don’t think I’ll ever forget that morning and receiving that letter!

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With that the director and ghosts of Nashville Repertory’s A Christmas Carol vanished as if Ole Scrooge’s clock had struck its morning bell, but you can find them and the rest of the cast of this seasonal favorite on stage at TPAC’s James K. Polk Theatre beginning Friday, December 1 and continuing through Sunday, December 17. CLICK HERE for tickets or more information. Following a brief break in the new year, Nashville Repertory Theatre will present Paula Vogel’s Indecent on stage at TPAC’s Andrew Johnson Theatre as The Rep’s 2023/2024 season continues. CLICK HERE for tickets to this powerful play. 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!