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Theatre Review: ‘A Bronx Tale: The Musical’; at TPAC’s Jackson Hall through Sunday, February 17

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Joe Barbara as Sonny and Frankie Leoni as Young Calogero in “A Bronx Tale” (All Photos: Joan Marcus)

The Broadway musical, A Bronx Tale continues its first National Tour as it stops in  Music City this week with shows at TPAC’s Andrew Jackson Hall through Sunday, February 17.

Based on the 1993 Robert De Niro-directed film of the same name, A Bronx Tale’s origins go back a few years prior to the film, having its genesis as a one-man stage play created and performed by actor/writer Chazz Palminteri, based on his own childhood memories of growing up in a predominantly Italian neighborhood in the famed NY borough.

In addition to Palminteri’s book, A Bronx Tale boasts music by modern musical theatre icon Alan Menken with lyrics by his frequent partner, Glenn Slater (the duo behind Disney’s Tangled and Broadway’s The Little Mermaid). The technical spectacle doesn’t end with the spoken words and tunes of A Bronx Tale, for scenic designer Beowulf Boritt has created a gorgeous set perfectly transporting the action to an Italian-American neighborhood in 1950s New York. Also aiding in the step back in time are William Ivey Long’s costumes and Paul Huntley’s wig and makeup styling. Coupled with Howell Binkley’s lighting design, A Bronx Tale is a visually any audibly stunning recreation of a mid-century New York brownstone neighborhood.

Even before the curtain rises, a decidedly authoritarian voice cracks wise warning audience members that the use of recording devises of the taking of pictures might result in a bat over the head, giving a not-so-subtle clue of the heavy-handed, but humorous story to come.

From the beginning, A Bronx Tale evokes familiarity as it presents a classic doo-wop opening number, Belmont Avenue, reminiscent of everything from Jersey Boys and Memphis to Hairspray and Little Shop Of Horrors. Positioned under a lamppost (aren’t they always?) the Doo-Wop Guys (Sean Bell, Joshua Michael Burrage, Giovanni DiGabriele and Alex Dorf) offer up some smooth postmodern harmonies while Joey Barreiro, who’s starring as Calogero (Palminteri’s birth name, in case you’re curious) joins the guys for a  tune-filled plot exposition. During the tune we learn through lyrics that Calogero was only nine years old when he first laid eyes on neighborhood mobster, Sonny, sneeringly played to perfection by Joe Barbara. Being a soap opera aficionado, I immediately recognized Barbara for his mid-90s work as Joseph Carlino on the now defunct sudser, Another World. On stage, Barbara was a member of the Broadway company of A Bronx Tale and he also appeared in the Las Vegas mounting of Jersey Boys. Seeming destined to play mobster Sonny, Barbara also shares his name with legendary real-life mobster, Joseph Barbara but that’s probably all I should say about that.

Giovanni DiGabriele, Sean Bell, Joseph Sammour, Frankie Leoni and Joshua Michael Burrage

The opening also introduces us to nine-year-old Calogero (played at alternate performances by Frankie Leoni and Shane Pry). Opening night in Nashville featured Leoni in the role and I have to say, he absolutely stole the show. The young actor’s stage presence, timing, delivery and his ability to belt a tune and keep up with the rest of the cast as they perform Sergio Trujillo’s blissful choreography was mind-blowingly entertaining.

Richard H. Blake as Lorenzo, Frankie Leoni as Young Calogero and Michelle Aravena as Rosina

Barreiro’s teenage Calogero, nicknamed simply “C” by Sonny, narrates the action as young Calogero is joined on stage by Richard H. Blake and Michelle Araveno as his parents, Lorenzo and Rosina after Calogero witnesses Sonny shoot a man near the boy’s front stoop. In spite of his dad’s musical warning with Look to Your Heart, young Calogero decides not to rat Sonny out when the cops question the young witness, setting up a truly unique friendship between the boy and the boss that weaves together the rest of the tale.

One of my favorite scenes comes when Sonny introduces C to Sonny’s familia, as he introduces each member of his crew, he calls their names like a class roll-call. There’s Rudy the Voice (John Gardiner), then Eddie Mush (Mike Backes), JoJo the Whale (Michael Barra), Frankie Coffeecake (Robert Pieranunzi) and finally Tony 10 to 2 (Paul Salvatoreillo). When each name is called, that associate steps forward facing font, with a click of the spotlight, they then turn to profile with another click of the spotlight, a visual wink mimicking every mug-shot sequence from every gangster movie ever made. Well played, lighting designer Binkley, well played.

Joe Barbara, Frankie Leoni and the Company of “A Bronx Tale”

Young Calogero becomes integrated into Sonny’s outlet (that’s mob-speak for Mafia family), initially throwing dice for Sonny in a craps game during the musical number, Roll Em, garnering more and more trust from Sonny and the organization, and reaping their financial gratitude, C stows away handfuls of money while further driving a wedge between himself and his family.

Joey Barreiro and Frankie Leoni

I Like It, another stellar moment midway through Act 1 features both Calogero, his younger self, Sonny and members of the ensemble. Then Giving Back the Money fully illustrates the growing divide between father and son as well as a bit of unspoken history between Sonny and Lorenzo.

Focus then shifts to teenage Calogero for the remainder of the show. I have to admit, I kept waiting for the full switch and inevitable exit of Leoni as young Calogero, but was pleasantly surprised the talented young actor remained a central part of the story as long as he did.

That said, once Barreiro’s late-teen Calogero becomes the primary focus, we are also introduced to Calogero’s wannabe gang, Handsome Nick and Crazy Mario, played by previously mentioned Doo-Wop Guys DiGabriele and Dorf. Both DiGabrielle and Dorf play up their character’s names to the fullest, DiGabrielle strutting around the stage like a banty rooster while Dorf twitches and jerks like a teenage tweeker. They once again show off their harmonizing skills during the finger-poppin’,  Ain’t it the Truth, a shoo-wop lesson in street life.

Then there’s Brianna-Marie Bell as Jane, the black high school girl with whom Calogero becomes smitten. Having made her Broadway debut as Jane during the show’s recent NY run, it’s obvious she’s found her comfort zone with the sweet but forthright Jane. While they only live a few blocks away, Calogero on Belmont Ave, Jane on Webster, their relationship seems a bit of a modern nod to Shakespeare’s Romeo and Juliet. Bell’s vocal skills and perfectly executed dance moves quickly shift the mood to that of hope and vitality.

Brianna-Marie Bell (center) with Brandi Porter and Ashley McManus

With Jane’s appearance comes the arrival of her friends Denise (Ashley McManus) and Frieda (Brandi Porter) providing some much-needed female presence to this oft-male dominated piece. Much like the guys playing Calogero’s crew, McManus and Porter also make the most of their limited time on stage with expected, but thoroughly enjoyed  moments of sass and disdain.

Out of Your Head features Calogero, Jane and company as the young lovers contemplate the pursuit of love in spite of what their backgrounds warn against. Trite as it may be, at the capable hands of Barreiro and Bell, it’s truly one of the show’s best moments.

Then it’s Barbara’s time to shine with the hilarious Nicky Machiavelli as Sonny Rudy and Eddie explain the Italian philosopher’s views in a musical number that’s firmly seated between Mac the Knife and The Rat Pack.

Act 1 wraps with another all-in for the thoughtfully poignant These Streets which features Blake’s Lorenzo reminiscing about Calogero’s youth and Lorenzo’s promise as a father to assure his son won’t be a victim of the street.

The remainder of the piece kicks off on a literal high note with Bell leading Webster Avenue, a cultural flip of the show’s opening tune showcasing Bell’s Jane, Antonio Beverly as Tyrone, Jane’s brother, her aforementioned girlfriends and Barreiro’s Calogero.

When the plot touches on tensions, both racial and cultural, Act 2 offers reprisals of Out of Your Head, this time from Jane’s perspective; Ain’t It the Truth, featuring Tyrone and his friend Jesse (Jason Williams), offering a Webster Ave version of the tune’s original take and Look to Your Heart, as performed by Calogero’s Mom, Rosina in what is easily one of the show’s best vocal performances.

Brianna-Marie Bell and Joey Barreiro

Other musical moments during the second act include One of the Great Ones, in which Sonny advises Calogero to go for it with Jane, so as not to miss out on what could be one of the great loves of his life. Later, we’re treated to a reprise of One of the Great Ones.

As the action mounts and decisions must be made regarding Calogero’s romance, his potential future with the organization and the actions of his friends regarding protecting their territory from their fellow man, Hurt Someone gets at the crux of the piece…fear and misguided perceptions of power and violence have the ability to empower/destroy us all.

After the drama of Hurt Someone, interestingly, A Bronx Tale ends, at least musically speaking, not terribly far from where it began with the uplifting doo-wopish In a World Like This and the anthemic The Choices We Make.

A Bronx Tale may present Palminteri’s story, swayed perhaps by his years in Hollywood, with its amped up tried-and-true cinematic clichés, from forbidden love to a plethora of wise-crackin/bone-crackin wiseguys. That said, if a few modern mafia stereotypes would keep you from seeing this show…fuggedaboutit and go see it anyway. At its best, A Bronx Tale is a surprisingly sweet tale, not just of a young boy who finds favor with a neighborhood heavy, but of unlikely friendship, an understanding between father and son that is only possible with growth and maturity and knowing when to follow your heart, not your head.

A Bronx Tale continues this leg of its first National Tour in Nashville at TPAC’s Andrew Jackson Hall with performances through Sunday, February 17. CLICK HERE for showtimes and tickets. Following the show’s Nashville dates, the tour continues through the summer with dates in Minneapolis, Fayetteville, Oklahoma City, Chicago, D.C., Boston, Charlotte, Cleveland, Madision, Fort Lauderdale, New Haven, Fort Worth and Kansas City. For more information about the show, CLICK HERE or check out A Bronx Tale on Facebook, Instagram and Twitter.

The Company of “A Bronx Tale”

Next up at TPAC, as their Broadway series continues is the national tour of The Book of Mormon on stage at Jackson Hall, March 12-17. CLICK HERE for tickets or more information. You can also discover all the latest from TPAC by checking them out online on Facebook, Instagram and Twitter.

As always, if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Theatre Review: ‘Kiss Me, Kate’ onstage at Chaffin’s Barn through March 9, plus Valentine’s special

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Martha Wilkinson and Matthew Carlton star in Chaffin’s Barn’s “Kiss Me, Kate” (photos by Michael Scott Evans/courtesy Chaffin’s Barn Dinner Theatre)

In an era when the absurdity of misogyny is finally being examined and hopefully eliminated, Kiss Me, Kate, Cole Porter’s mid-century musical comedy play within a play take on William Shakespeare’s The Taming of the Shrew could be seen as an interesting choice for Nashville’s favorite dinner theatre, but under the carefully creative eye of director/choreographer Everett Tarlton, and with a talented cast helmed by the Nashville theatrical presence that is Martha Wilkinson, any misgivings are quickly put to rest, for neither director, Tarlton’s nor star, Wilkinson’s talents can—or should—be tamed.

Katie Bruno as Hattie

The scene is set with the show’s literal and figurative opening number Another Op’nin’, Another Show in which members of a theatrical troupe ready themselves for exactly that, all to the playful and oddly rhyming lyrics. Only Cole Porter could convince an audience that Baltimore is pronounced (at least in song) as Baltimo, because that obviously rhymes with show. From the start, Tarlton showcases his energetic cast with Katie Bruno front and center as Hattie on this virtual all-in number. It should be noted that in spite of Chaffin’s relatively small center stage, surrounded on all four sides by tables and tables of patrons, Tarlton’s direction and choreography fill every available square inch of that stage with remarkably succinct and carefully choreographed movement. Never once does it seem like the actors are crowed or that they’re moving to avoid collision. It’s all done purposely and perfectly.

Mallory Mundy as Lois

The next number, Why Can’t You Behave serves to introduce the show’s secondary plot as ingenue Lois Lane, played by the simply stunning and ridiculously effervescent Mallory Mundy, chastises and teases her ne’er do-well gambling beau, Bill Calhoun, played by Chaffin’s newcomer, Caleb Pless. Mundy is one of those Nashville theatre actors I’ve oft referred to as one of my theatre crushes, and crush it she does. She plays Lois with the perfect combination of ditz and wits. Not being familiar with Pless’ stage work prior to this role, He definitely holds his own in scenes with Mundy and when given the opportunity to showcase his talents (read on, it’s coming) he does do with skills and ease that are sure to make him a familiar face at Chaffin’s going forward.

Caleb Pless as Bill

It’s not until the show’s third number, Wunderbar that we meet the aforementioned Wilkinson as Lilli Vanessi as she makes a divalicious entrance to join her sparing partner, Matthew Carlton as her ex-husband, Fred Graham. The chemistry between Wilkinson and Carlton is no accident. When I spoke with the two as part of an upcoming Rapid Fire 20 Q, they both revealed that this isn’t the first time they’ve played these roles, having starred in a production of Kiss Me, Kate on the same Chaffin’s stage twenty-six years ago. Over the years, the two have shared many stages together, and developed a friendship. All that history, even unspoken, is evident in the playfulness in which they address these two roles.

Martha Wilkinson and Matthew Carlton

Interspersed between the now-familiar Porter soundtrack, dialogue reveals the show’s full plot. Based on the real-life on-and-off-stage tumultuous relationship between director/actor Alfred Lunt and his actress wife, Lynn Fontanne, Kiss Me, Kate tells the story of Lilli Vanessi, a famous movie star who has returned to the stage to star in a musical production of Shakespeare’s The Taming of the Shrew, which her ex, Fred (Carlton) is not only producing and directing, but also co-starring alongside her as Petrucio to her Katherine. Further complicating things, a couple of heavies arrive to collect on Bill’s gambling debt, but think Fred is the one they’re looking for. As if that weren’t enough, Lilli reveals she’s intent on marrying Harrison Howell, a wealthy war hero. Oh, and did I mention Lilli accidentally receives opening night flowers from Fred? Flowers intended for Lois.

Wilkinson as Lilli Vanessi

Back to the musical numbers…When Wilkinson belts out So In Love, one of my favorite Cole Porter tunes, she does so with a near-operatic style that’s a subtle reminder of the originals of the Broadway musicals, for Broadway was originally indeed a more accessible, popular music-infused modernization of opera. On the subject of subtle elements within Chaffin’s Kate. Whether by happy accident, or clever purpose-filled design, Wilkinson seems to be paying homage to two Hollywood icons connected to Kate and The Shrew, as she sports two distinctive looks with her character, Lilli and the character of Katherine in the show wishing the show. When Wilkinson—who in real life wears her hair in a blonde pixie hairstyle—appears as mega-movie star Lilli Vanessi, she sports a raven-hued pageboy wig with wavy side-swept bangs reminiscent of Elizabeth Taylor, who starred in 1967’s film adaptation of The Taming of the Shrew. Meanwhile, when on stage as Katherine the titular character of the play within a play, she’s seen in a long curly red wig, a la 1953’s Kiss Me, Kate’s Kathryn Grayson.

Wilkinson as Lilli as Katherine

While We Open In Venice doesn’t exactly have the same oomph as some of the show’s more familiar tunes, it does serve to illustrate the tedium of going on the road with a touring company. The audience is next treated once again to the fireball that is Mundy, this time as her Shrew character, Bianca, Katherine’s younger, less shrewish sister, as she weighs her marital options with Lucentio (Pless), Gremio (Christian Redden) and Hortensio (Curtis Reed) with the fun and decidedly mid-century Tom, Dick or Harry.

Carlton’s rich vocals shine in I’ve Come to Wive it Wealthily in Padua, a perfectly Shakespearean sing-songy number with the male ensemble. Every time I hear this song, I can’t help but think Monty Python must have been inspired by it as it is so in the Spamalot wheelhouse. With Carlton at the helm, it’s an example of talent over content as his performance gives the silly song an unexpected air of sophistication with a knowing wink.

Mallory Mundy and Timothy Fudge as Bianca and Baptista

On the subject of the show’s Shakespearean tones, Timothy Orr Fudge plays Henry who, in turn plays Baptista, Katherine and Bianca’s father. Aside from Carlton’s Petrucio, Fudge’s Baptista performs the bulk of the Shakespearean dialogue and though his stage-time is somewhat limited, he manages to steal the spotlight from Carlton, Wilkinson and the rest with his enjoyably animated reactions and expressions. A thirty year veteran of the Nashville stage, Fudge is the joy of acting personified.

Back to Wilkinson for I Hate Men, another highpoint of the show, the soundtrack and Wilkinson’s performance, for you know the words she’s singing just aren’t true. To quote Shakespeare, “The lady doth protest too much, methinks.” For as much as she alleges her distain for the supposed stronger sex in this Porter classic, she does so with a wink and bravado that tells another tale. It was at this point in the show that I realized I could just sit and listen to Wilkinson belt out show tune after show tune and be perfectly content.

Matthew Carlton as Petrucio

Soon enough, Carlton’s Petrucio attempts to court Katherine during Were Thine That Special Face…until he discovers Lilli’s has read the note attached to the flowers she intercepted that were intended for Lois. What ensues is likely the most famous scene in the entire show, especially the 1953 film adaptation, as Fred/Petrucio attempts to stay in character and in the moment of wooing/taming Lilli/Katherine while she breaks her on-stage character, becoming more defiant that ever. Since its debut performance and through the years, this scene traditionally ends with Petrucio taking Katherine over his knee and smacking her backside as if to punish her for her defiance. It helps to keep in mind the time in which Porter’s work is set and first appeared on stage, Kiss Me, Kate having debuted on Broadway in 1948. The film adaptation premiering in 1953, by which time, millions of TV viewers were tuning in week after week to see Ricky Ricardo attempt to tame his scheming wife, Lucy, often resorting to turning her over his knee and giving her a spanking. To Tarlton’s credit, the infamous Kiss Me, Kate spanking scene between strong-willed Katherine and Petrucio is played off-stage, adding doubt as to exactly who is on the receiving end of the taming.

The first act draws to a close with the title tune, another all-in as Katherine resists both the urge to continue fighting, as well as the urge to sit, thanks to the off-stage reprimand she just received. Never intended to be taken too seriously, an certainly not to promote or glorify domestic discourse, the couple eventually, albeit still unwillingly embrace at Act’s end.

Members of the ensemble heat up the stage with “Too Darn Hot”

Tarlton’s choreo skills, and the dance talents of his ensemble start off Act 2 with the appropriately titled Too Darn Hot, another of my favorite Porter tunes, it’s also another prime example of Tarlton knowing exactly how to utilize and maximize the space and those who inhabit it. Reed, Mundy, Christen Hellman and other members of the company definitely bring the heat to this seductively sassy number.

Back to the Shrew musical, Petrucio laments the coming loss of his bachelor life with Where is the Life That Late I Led? This scene seems to also indicate that Fred is mourning the loss of his life with Lilli as offstage, Lilli’s much talked about, but heretofore unseen finance, Harrison Howell (James Rudolph) shows up looking for Lilli and ready to take her to be his wife.

Mallory Munday as Lois

Mundy’s Lois goes from the heat of Too Darn Hot to the flirtatious cool-down of Always True to You in My Fashion as she attempts to explain away her burgeoning friendship with Fred to a rightly jealous Bill.

The Porter hits keep coming as Wilkinson and Rudolph duet on the torchy testament From This Moment On. Then Pless gets his moment leading the ensemble in Bianca, a lovelorn ballad extolling his love for her, in spite of his reservations…and yes, it includes the lyrics “I’d gladly give up coffee for Sanka, even Sanka, Bianca for you”. Again, in Cole Porter’s world, anything can rhyme if you try hard enough. The number features more fabulous Tarlton choreography, fabulously performed by Pless and company.

Of course lyrics aren’t the only element of these tunes that make them decidedly Cole Porter….just as proficient in composition as he was in word-play, the melodies of Porter’s songs are a force unto themselves. In the masterfully capable hands of music director Rollie Mains, who is also on-hand playing keys, alongside Randy Craft, with Dan Kozlowski on drums, Michael Meadows on bass and Raymond Ridley on woodwinds, the music accompaniment in Kiss Me, Kate is heavenly.

As Gangsters, Sawyer Wallace and Austin Olive attempt to rough up Matthew Carlton’s Fred

Speaking of company members, Austin Olive and Sawyer Wallace, who play the aforementioned heavies who’ve come to collect Bill’s gambling debt, prove their comedic acumen through the play. Whether doing their toothpick-chewing, pistol waving stereotypical best as mobsters, or when forced to become part of the Shrew cast in order to keep an eye on their target, they’re hilarious. Never more so that near the end of the show as they perform the seemingly never-ending Brush Up Your Shakespeare. Of course all’s well that ends well…well, in a Cole Porter adaptation of Shakespeare, at any rate, and by show’s end Fred does indeed get that kiss.

Chaffin’s Barn Dinner Theatre’s presentation of Kiss Me, Kate continues with performances through March 9. Thursday matinees are at 12 noon (seating and box lunch service begins at 11a.m. Thursday-Saturday evening performances are at 7:30 p.m. (doors open at 5:30 with optional dinner service until 7 p.m.) During the run of the show, there are also special performances at 2 p.m. on Sunday, February 24 (doors at 12 noon, meal until 1:30), Tuesday night, February 26 (following the regular nightly schedule) and at noon on Wednesday, February 27 (same times as Thursday matinees). Tickets for Thursday matinee performances are $19 for show only, or $27.50 for show and a box lunch option. Evening performances are $13 for Children 12 and under, $20 for Students and $35 for Adults. For an additional, but minimal fee, during evening performances, Chaffin’s now offers a select a la carte menu of small plate items as well as entrée, sides, dessert and drink options. CLICK HERE to purchase tickets, or for more information.

On Thursday, February 14, Chaffin’s is offering a Valentine’s Special that will include the show, dinner for two, a bottle of champaign, a rose for the ladies and chances to win prizes all for $150 per couple ($185 if you’d like to be seated at a private table for two). CLICK HERE to purchase Valentine’s Day tickets.

On March 7, the noon matinee will be presented accompanied by signing for the deaf and hearing impaired. CLICK HERE to purchase tickets to this special performance.

As mentioned above, be sure and check back for my upcoming Rapid Fire 20 Q with members of the cast of Chaffin’s Kiss Me, Kate. In the meantime, keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

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

Rapid Fire 20 Q with ’Singin’ in the Rain’ director Jef Ellis and cast; at Art Center of Cannon County February 8-23

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Directed by Jeffrey Ellis, Singin’ in the Rain, opens Friday, February 8 at The Arts Center of Cannon County. With Jef at the helm, and a cast including Jeffrey Austin Smith, Lindsey Mapes Duggin, Daxton Patrick and Brittany Blaire Andersen, not to mention the musical is based on one of my favorite mid-century Hollywood movie musicals, you better believe I reached out to Jef and his lead actors for a chance to chat with them in my latest Rapid Fire 20 Q. As usual, Jef did not disappoint, expanding on each question with a plethora of knowledge and expertise. To coin a phrase used frequently by Jef, he’s one of my favorites…at least this week. So sit back, relax and enjoy a peek under the umbrella of Singin’ in the Rain.

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“Singin’ in the Rain” director, Jef Ellis

RAPID FIRE WITH SINGIN’ IN THE RAIN DIRECTOR, JEF ELLIS

JHP: Let me start by saying, because of our mutual admiration of classic movies and theatre, I always love chatting with you about your latest directorial efforts. How did directing Singin’ in the Rain for ACC come about?

JEF ELLIS: To put it succinctly, they made me an offer I couldn’t refuse! I got a phone call asking if I would be interested in directing Singin’ in the Rain and was told that the role of Kathy Selden would be played by Lindsey Mapes Duggin, whom I had cast in her first show when she was eight years old: the balloon girl in Gypsy for my production for Circle Players’ 2000-2001 season.

The chance to work with Lindsey again after almost 20 years made my decision an easy one – plus, she is also my producer for this show, so we’ve really come full circle.

But it’s the score for this show – featuring many of the very best songs by Nacio Herb Brown and Arthur Freed – that really clinched the deal. How could I possibly pass up the opportunity to direct a show featuring some of my all-time favorite songs?
JHP: Speaking of the iconic film, there are certain sequences….the couch-ography during Good Morning and the literal Singin’ in the Rain that audiences expect. How do you manage to honor those beloved moments while also giving the audience something only a Jef Ellis production can offer?

JEF ELLIS: I’m so fortunate to have Maggie Richardson as my choreographer for Singin’ in the Rain…she loves movie musicals as much as I do, so audiences will be delighted by the sense of the familiar that she brings to these iconic musical moments in the show. But, as you would expect, I’ve added some touches of my own to set this production apart from others you might have seen. There are moments when you’ll see affectionate nods to some of the greatest comedy stars of old Hollywood: Buster Keaton, Harold Lloyd, Groucho Marx and Jack Benny inspired me, as have The Little Rascals from the Our Gang comedies and even The Keystone Kops – you’ll see how they figure into the production.

I tend to tell a lot of stories while working on a show, serving as my own dramaturg, if you will. I was surprised how easily these stories came out in unexpected ways during rehearsal: Obviously, I’ve read a lot about the silent film era and the transition to talkies, and I’ve always been fascinated by how “normal, everyday” people became superstars in a time that movies provided an escape from the realities of life.

As you know, I grew up watching classic black and white films and if I had a dollar for every time I’ve sing Broadway Melody to my dog while we’re out walking, I’d be a rich man indeed. Those classic movies fed my imagination growing up and now I get to capitalize on all those vivid images that still are in my heart and my mind.

Our inspiration doesn’t come from just “movie stars,” like Theda Bara, Pola Negri, Gloria Swanson, Norma Talmadge, John Barrymore, Dorothy and Lillian Gish, Douglas Fairbanks and Mary Pickford, John Gilbert and others of their ilk, however; I’ve evoked the names of directors D.W. Griffith, Cecil B. DeMille and King Vidor, producers like Mack Sennett and David O. Selznick, choreographers Hermes Pan and Busby Berkeley, and movie musical icons like Eleanor Powell, Ginger Rogers, Fred Astaire, Dick Powell and more.

All the minutiae and trivia that clutters up my brain is now paying off. In fact, I gave the note to an actor the other night at rehearsal: “Give me more Dick Powell.” He seemed to know who I was talking about and adjusted to give me just that.
JHP: Considering the above-referenced rain, I’d imagine this show could pose a potential technical nightmare. What’s it been like working through that aspect?

JEF ELLIS: No doubt about it, Singin’ in the Rain is a technical juggernaut of a show. Not only must we make it rain onstage – and it does! – but we also have fog, twinkling lights, the Hollywoodland sign in the distance, four (or is it five?) movies we made putting all our own stars to work in film, and so many other moving pieces of an incredibly elaborate puzzle.

Daxton Patrick, our very own Cosmo Brown, is our sound and lighting designer and film supervisor, so having him on-board has been particularly fortuitous: he listens intently, seemingly hearing every idea I throw out and he makes it happen! Our scenic designer Shane Lowery has created an art deco film temple, following up on my idea to create something timeless and very much of the late 1920s, design-wise. Jennifer Rice has given us a stunning black-and-white marble-looking stage floor and an expansive section of sidewalks outside Graumann’s Chinese Theatre, featuring the handprints, footprints and autographs of some of the first stars to be immortalized in the Hollywood firmament.

Another big part of Singin’ in the Rain is costuming. Our actors should be dressed like film stars of the late 1920s and designer Freda Mapes has given them the fashions of the period to help them find their characters more easily.

JHP: Unlike many theatrical musicals, Singin’ in the Rain was first presented as a movie musical in 1952, then adapted for the stage some 33 years later. Did its origin in film affect the way you approached it as a director?

JEF ELLIS: Of course! To be honest, Singin’ in the Rain has never been one of my favorite movies despite the fact I love all the music, which is a cavalcade of classic movie musical songs. As I began to research the show and to familiarize myself with the script (which is essentially the screenplay of the film and, therefore, not a straight book musical), I became enraptured by it and decided the smart thing to do would be to pay homage to all those legendary film personalities I’ve always admired.

Using them as inspiration, I was able to invite my cast to learn more about them, to steep themselves in tales of the golden age of Hollywood so that our production has a firm foundation. It’s been fascinating to introduce some of these movie legends to my cast and to see how eagerly they’ve embraced my ideas for the show.

As a result, I feel like the show – which is really a confectionary delight in many ways – has a more colorful and authentic basis that will resonate with our audiences.

Lindsey Duggin as Kathy in “Singin’ in the Rain”

RAPID FIRE WITH SINGIN’ IN THE RAIN’s KATHY SELDEN, LINDSEY MAPES DUGGIN

JHP: I understand Singin in the Rain marks a bit of a reunion for you and Jef as your director, having been part of the ensemble when Jef directed Gypsy 20 years ago. You were only nine then, but do you remember your impression of Jef at the time, and does that first impression still hold true?

LINDSEY MAPES DUGGIN: Jef is one of those directors that you never forget working with. As a 9 year old just entering this magical new world of theatre, he made an incredible impact on me and what would ultimately become a career choice. What I remember most about working with Jef that first time 20 years ago, was his passion for theatre. He always encouraged the cast to do more than simply recite lines on the stage, but to actually engage the audience, bring them into our “world”, and tell our story. His passion was contagious! He was definitely one of the people that lit that first spark in me and encouraged me along my path. To say that he is the same now is an understatement. I feel like time has only magnified his enthusiasm! Working with him again is so special. It has been one of those “full circle” accomplishments that you don’t get very often in life, and I am thankful to have this experience.

JHP: You’re playing Kathy Selden, played in the film by the fabulous Debbie Reynolds. My love for her is evidenced by a prized possession, my vintage vinyl two-record set signed personally to me from Debbie with the inscription, “Jonathan, All I do the whole day through is dream of you”. So….knowing there are superfans, yours truly among them, How are you making Kathy your own?

LINDSEY MAPES DUGGIN: Kathy Selden is something of a dream role of mine, and I’m so excited to take it on! No one could ever replace or even compare to the iconic Debbie Reynolds in this role. That being said, I have definitely taken inspiration from, and plan on playing homage to her as I take the stage. Making a part your own is one of the biggest challenges an actor can face. Especially with a role that is so iconic! I have tried to bring Kathy to life by adding some of my own personality and really trying to relate to her. Kathy has a dream of becoming a great actress, she is creative and optimistic, and she has the drive and determination to make those dreams a reality. If I can live up to those characteristics, then I can bring some truth to the character and make her relatable to the audience as well.

JHP: Because the show takes place in earlier Hollywood years between silent films and talkies, the wardrobe has gotta be pretty awesome. What can you tell me about the costumes?

LINDSEY MAPES DUGGIN: The costumes have been spearheaded by my mother, Freda Mapes. She has helped costume almost every show I have been a part of since the beginning, and seems to have a natural talent for it. She was so excited to do this show knowing Jef would be directing! This show takes place in the late 1920’s with all the flapper glam and sparkle! It has been so fun to play with accessories like hats, gloves, furs, and feathers. Some of the cast has even gotten involved by adding pieces that have belonged to family members. One of our cast members is using his grandfather’s fedora and another is using some of her grandmother’s jewelry. It makes it so special when you can add personal touches like that.  I asked my mother what her favorite musical numbers have been to costume, and she replied Broadway Melody and Beautiful Girls.

JHP: In addition to Jeffrey Austin Smith as Don Lockwood, you also share the stage with Daxton Patrick as Cosmo Brown. Using only one word each, describe your two male counterparts.

LINDSEY MAPES DUGGIN: I think this may be the hardest question in the whole interview! Ha! This is my first experience working with Austin, and If I had to describe him in one word it would be brilliant! He carries the role of Don Lockwood so well, and It is also really great to work so closely with an actor that you trust. For Daxton, I think my word would have to be remarkable! He has worked as part of the Arts Center staff with me for several months, and already took the stage by storm in the role of Jerry Lee Lewis in our production of Million Dollar Quartet. This was a completely different role for him to take on! He jumped in head first, and never looked back. Let’s just say that I am an incredibly lucky lady to have two wonderful guys by my side in this show!

Brittany Blaire Andersen as Lina in “Singin’ in the Rain”

RAPID FIRE WITH SINGIN’ IN THE RAIN’s LINA LAMONT, BRITTANY BLAIRE ANDERSEN

JHP: I love Lina Lamont, Singin’ in the Rain’s silent film star who probably should remain silent due to her Betty Boop-like voice. How much fun are you having playing her?

BRITTANY BLAIRE ANDERSEN: I am LOVING being a villain! I’ve never played such an unlikeable character before. It was a challenge at first, but I’m finding so much more depth to her in every run through. Her voice is soooo annoying! I didn’t have a hard time finding her voice, that was the easy part – incorporating her annoyingly nasal voice into a song was the biggest challenge for me! Every time I hear myself I apologize to everyone! Haha. But overall, I’m having a blast stretching myself into this larger-than-life character, while still trying to keep her grounded and authentic.

JHP: Like Jeffrey and Lindsey, you’ve also performed under Jef’s direction, having starred as Sally Bowles in Chicago a couple years back. Since Jef is notorious for proclaiming his ‘favorites’, what’s your favorite thing about him as a director?

BRITTANY BLAIRE ANDERSEN: I love Jef! I’m honored that he has enough faith in me to cast me in such challenging roles! I think my favorite thing about him as a director is how passionate he is about theatre as an art form, as well as the historical knowledge he has about the shows he directs. Knowing the historical context of any production, within its story as well as within the time the production was conceived, is hugely important as an actor.

JHP: One of my favorite aspects of the stage version of Singin’ in the Rain is the presentation of silent movies that’s usually included. I guess I love it and this musical in general, because it combines my two favorite things…movies and live theatre. I saw on social media that you guys shot your silent scenes recently. What can you tell me about that shoot day?

BRITTANY BLAIRE ANDERSEN: Isn’t that such a cool aspect of this show? That was such a fun day! We went to Centennial Park and shot a few scenes. Some lady asked us to take a pic with her, haha. We were quite the spectacle. We then finished up in Woodbury. I don’t think I’ve laughed that hard at a film shoot, ever! It was so much fun! Definitely a highlight of this production. And Dax did SUCH an awesome job filming and editing! I can’t wait for everyone to see it!

JHP: Alright…my last question with you, so it’s multi-part one…The soundtrack to Singin’ in the Rain is simply magnificent. Prior to joining the cast, did you realize most of the tunes had appeared on other films years before appearing in the 1952 classic? Did you go back and check out clips of any of them? And lastly….what’s your favorite musical moment in the show?

BRITTANY BLAIRE ANDERSEN: I have always loved this musical and its music. This may have been one of the first musicals I’ve seen in my life. (Thanks mom and dad!) I had not realized the songs were in other films! I’m definitely going to go check that out NOW! My favorite song from this show has always been Good Morning! It’s just such a well-written song and such a great moment in the show. Of course, Singin’ in the Rain is a classic and Austin does such a fantastic job with it!

RAPID FIRE WITH SINGIN’ IN THE RAIN’s COSMO BROWN, DAXTON PATRICK

JHP: You’re playing Cosmo Brown, Don Lockwood’s best pal. What traits of the character do you hope others see in you?

DAXTON PATRICK: Cosmo Brown is a very goofy and fun loving character but he has a serious side when it comes to his work. I hope that the audience can see him draw that fine line because in this story Cosmo drives all the creative decisions that are made to make the travesty that is the Dueling Cavalier into the masterpiece that the Dancing Cavalier is. If you pay attention, this story shows the rise and struggle of certain people in the movie industry when talkies took storm in the late 20’s and I would like to think Cosmo was one of those to rise to the occasion.

JHP: I understand you came into the role after a necessary cast change. What about your co-stars made that an easy transition?

DAXTON PATRICK: How I came into this role was completely unexpected. I started as only the sound designer for the show when I was asked to be in ensemble and before I knew it I was one of the 3 main characters. It was scary but I was up for the challenge. My costars have helped ease me into this with their kindness and encouragement and even the production members have helped me achieve this role with their belief in me and positive words. I am thankful for those talented people who I have the honor of sharing the stage with.

JHP: In addition to playing Cosmo, you’re also the show’s technical director. As I mentioned when I spoke with Jef, it’s definitely a tech-challenging show. What technical aspect are you most pleased with?

DAXTON PATRICK: I had a hand in lighting, sound, and video programming of this show and the script calls for tons of technical aspects but considering it is a show about movies it seems fitting. As a recent graduate of the MTSU film program, I couldn’t have graduated without my knowledge of technology. Film is very much so reliant on technology so it makes sense that a musical about such a thing is so technically challenging. I am most pleased with how the old films that will be projected came out. It’s the little details such as the sound quality and the frame rate of the films that help throw the audience back into the early 20th century cinemas.

JHP: A key element in pulling off technical marvels in a stage show must involve plenty of consults with the set designer, in this case, Shane Lowery. What can you tell me about Shane’s design?

DAXTON PATRICK: I mostly ran into dealing with the set when it came to two things. The rain mechanism and the lighting design. The rain mechanism was built and designed by Shane himself. I just helped install it, but I did have to set some boundaries before the machine could even be built. I had to study the grid above the stage to decide where the best place would be to place this type of thing. Where we could hang something that sprayed water that was far enough away from all the tech we had mounted in order to not break any of it. Shane’s rain mechanism works wonderfully with his beautiful set. His set design made it easy to design the lighting for the show. The simplistic but elegant design left me plenty of options to do what I would like with the lights. Considering there was no color to the set, it left the color up to me with the lighting design. I didn’t have to worry about colors from the LEDs clashing with certain colors on stage and it really leaves me open to the entire color spectrum. Everyone will be dazzled by Shane’s amazing design!

Dax Patrick and Austin Jeffrey Smith as Cosmo  and Don in “Singin’ in the Rain” (all photos by John Goodwin Photography)

FIRE WITH SINGIN’ IN THE RAIN’s DON LOCKWOOD, AUSTIN JEFFREY SMITH

JHP: Since I only have four questions with each of you and you’re my final interview this go-round, let’s start with a three-parter. How many shows have you appeared in under Jeff’s direction?….what keeps you coming back to work with him?…and…are you indeed his favorite?

AUSTIN JEFFREY SMITH: Singin’ in the Rain will be my seventh show under the direction of Jeffrey Ellis. Many people, both professional and community theatre alike, when asked about why theyPersonally, theatre has changed my life by story telling. Every musical is a story in which the author(s), composer(s), and choreographer(s) have combined their full creative expression to create such a wonderful, transformative world in which an imaginative, sometimes true, story comes to life.

Jeffrey Ellis as a director does this wonderfully. In every show I have been able to work with him, he has always strived to get the story to come alive more than just people on stage, in costumes, speaking lines with expression and randomly dancing.

Jef’s ability to transport an the entire audience night after night into any world comes from his direction of the actors and the use of the set. His collaboration with the set designer has never ceased to amaze both actors and audiences in the ability to time-travel and place you in the story, before a word or note had even been struck. Jef also treats everyone with the attitude and mentality of professionalism. Whether an actor is striving to become a professional, is a professional or just enjoys doing community theatre as a hobby; you will get treated no less than a professional actor.

Jef has said many, many times in various rehearsals for shows, that Theatre is a wonderful thing. Where else can you go to escape the world for two or threes hours, not even batting an eye at how long you have been sitting, and leave with a completely different demeanor or idea of the world than when you entered? This is the true magic of theatre, something Jef achieves through not only strong direction but also by entrusting in his cast and crew to come together and present a collaborative effort of a show and our art. This is why I love any chance to work with Jef; his professionalism, passion for his art and theatre, and his transformation of script to stage.

Now, in regards to being “Jef’s favorite”, I must say that anyone who knows Jef, knows he loves people. True favoritism is not shown in his personality. So whether I am his favorite, the world may never know! However, I will say this; I am honored to work with him as one of my mentors and proud to call him a fierce friend.

JHP: This show is physically demanding.  How much time will you have put into choreography rehearsal and prep by opening night?

AUSTIN JEFFREY SMITH: We have been in rehearsals for a little over two months but including outside dance practice, line memorization,  and musical practice it’s a lot! The real people are our set builders, costume designers, and musicians. They are really the ones who put in way later hours, sometimes all night just to get the show ready. When a cast leaves rehearsal one night and comes back the next night to an almost complete set, believe you me it is nothing short of impressive and gratefully appreciated. The combined amount of time we all have put into this show is unfathomable  but in the end our grand result is worth every second!

JHP: Be honest, prior to being cast, had you ever tried a little Singin (or dancin) in the Rain?

AUSTIN JEFFREY SMITH: I’m sure in my youth I played and danced in the rain at some point in my life. I can recall a time in college where during a performance outside, it began to rain. As I’ve come to learn, both in life and stage, the show must go on! Rain has never bothered me, other than being cold when you walk into the grocery store and suddenly your shivering. If this lovely show, as well as portraying Don Lockwood has taught me anything, it’s that singing in the rain is much like stopping to smell the roses, it is something in life that’s worth doing again and again.

JHP: As mentioned above, Don Lockwood, the role you’re playing in Singin in the Rain was made legendary by Gene Kelly in the original film. What’s it like putting your own spin on such an iconic character?

AUSTIN JEFFREY SMITH: It is always an amazing ride to become any character, but this one has been incredible. Don goes through a lot of emotions throughout the show, as we all do in one day sometimes. Throwing myself into Don Lockwood is no less of an emotional rollercoaster every night but why do we ride such a thrilling ride? For the fun of it!  As you put it, Gene Kelly’s performance as Don Lockwood is legendary, and no less some big shoes to fill. For me, Don has a special place in my heart because of his charm and charisma. Old Hollywood films always have these big over-lavished environments and emotions that are true to the feeling. Making this believable in 2019 is nothing short of difficult as movies, tv series and books today have made old romances like Singin’ in the Rain laughable or silly to most. Yet, the emotion is just as strong and whether people admit it or not it’s how we all feel. Jef opened my eyes to something about musical theatre in our first production together but it especially rings true with old movie musicals. When a person or an ensemble, be it stage or movie musicals, suddenly burst into song, many find that strange and non-life like. Really though, it is just the absolute explosion of emotion. Singing and dancing comes when emotion can not be expressed any other way but to expose oneself entirely. Many fans of Singin’ in the Rain will recall the song You Were Meant For Me. This is a song in which Don does just as I’ve described. I won’t go into any more details of course, you’ll just have to come see our show to find out!

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Beginning Friday night, February 8, audiences will have a chance to revel in the joys of Old Hollywood as only director Jeffrey Ellis could envision when Singin’ in the Rain debuts at The Arts Center of Cannon County (1424 John Bragg Highway, Woodbury, TN) with performances Fridays and Saturdays at 7:30 p.m. and Sundays at 2 p.m. through Saturday, February 23. Tickets are $15 for Adults, $13 for Students and Seniors (65+) and $12 for groups of 10 or more. CLICK HERE for tickets or more information or check out The Arts Center of Cannon County online or on Facebook.

Theatre Review: Gloria and Emilio Estefan musical ‘On Your Feet’ at TPAC thru Sunday

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On Your Feet opened the Nashville leg of its current National Tour on Tuesday, January 15 at TPAC’s Jackson Hall. The high-octane biographical jukebox musical—whose subheading is The Emilio and Gloria Estefan Broadway Musical—continues in Nashville with performances through Sunday, January 20.

Directed by Jerry Mitchell, On Your Feet begins even before the curtain rises, giving the feel of a attending an electrifying concert full of laser lights swirling, spotlights bouncing and the familiar beat of Gloria Estefan’s 1987 mega-hit, Rhythm is Gonna Get You, informing the audience of just that. With a story that’s true, albeit conveniently told through a slightly contrived book by Alexander Dinelaris, it’s the soundtrack of hit after hit after hit produced and recorded originally by Gloria, her husband Emilio Estefan and The Miami Sound Machine that’s the guiding force behind this musical extravaganza.

“On Your Feet” stars Christie Prades and Eddie Noel flanked by young co-stars Ana-Sofia Rodriguez and Jeanpaul Medina Solano (Image via prpop.org)

Christie Prades stars as Gloria, and, as of Tuesday’s Nashville debut, co-stars Eddie Noel as Emilio. Noel having previously been featured in the show as Gloria’s father, Jose Fajardo. Prior to headlining the current touring company, Prades was part of the show’s Broadway run as understudy for the lead and a member of the swing cast. In the spotlight, Prades not only embodies the physicality of the real Gloria Estefan, but she also perfectly matches the seven-time Grammy-winner’s deeply soulful vocal skills and that unmistakable way the beloved singer often switches octaves within a single note. As for her newest co-star, Noel’s handsome features are only surpassed by the equally impressive richness of his vocals, making the audiences quickly forget that Nashville marks his debut performance as the male lead.

Other stand-out performances amongst the cast include Nancy Ticotin as Gloria’s mother and Alma Cuervo as Consuelo, Gloria’s grandmother. Cuervo, who originated the role of Gloria’s grandmother when the show debuted on Broadway steals every single moment she’s onstage.

Speaking of scene-stealers, the younger members of the cast include Jeanpaul Medina Solano and Jordan Vergara sharing responsibilities as Young Emilio (and various other young boys throughout the show) and Ana-Sofia Rodriguez and Carmen Sanchez alternating as Little Gloria.

While the story of On Your Feet is a bit predictable, especially for anyone who grew up in the era of Miami Sound Machine and the rise of Gloria Estefan’s career from Latin sensation of cross-over legend, it’s absolutely the Rhythm that’s Gonna Get You. To that end, rather than musicians being hidden away in the orchestra pit, as is standard practice for a touring musical, On Your Feet showcases the musicians on stage and what a group of musicians they are!

This show band isn’t just any show band, for the National Tour of On Your Feet features multi-Grammy-winning musicians from actual Miami Sound Machine roster, including Music Director Clay Ostwald (keyboards), who is Assistant Music Director of Miami Sound Machine, Teddy Mulet (trombone), Mike Scaglione(reeds), Jorge Casas (bass), who is Music Director of Miami Sound Machine, and Edwin Bonilla (percussion). Other members of the orchestra include Emmanuel Schvartzman (Associate Music Director/keyboards), Jose Ruiz (trumpet), Stephen Flakus (guitar), Jean-Christophe Leroy(percussion) and Colin Taylor (drums), keyboard programmer Randy Cohen, associate keyboard programmers Jeremy King and Taylor Williams and music coordinator, Patrick Vaccariello.

As for the story itself, through flashback, On Your Feet takes the audience back to Gloria’s youth in Cuba singing and dancing for her beloved grandfather, we also see a scene in Vietnam where her father listens to a cassette recording of his daughter singing traditional Cuban songs while his fellow soldiers tease him that she should sing some Diana Ross next time. Gloria’s Tradición (a single from Gloria’s 1993 all-Spanish album) is featured during this sequence. As the story unfolds, we learn that her family fled to Miami as Batista was overthrown. Not spending too much time on Gloria’s youth in Miami, a clever scene quickly ages Gloria into an adult pursuing her dreams of performing. This portion of the narrative reveals that as an adult, Gloria was responsible for the care of her invalid father and her younger sister while her mother provided for the family. Perhaps it was her mother’s own dashed dreams of stardom—we later learn that prior to feeling Cuba she was on the verge of signing a Hollywood contract to provide the Spanish-language voiceover for Shirley Temple—or her mother’s unavoidable forced reality, whatever the cause, it’s quickly evident that Gloria’s mother isn’t 100% behind her daughter’s musical aspirations. Luckily for Gloria, her Grandmother felt differently and encouraged her. In a wink of dialogue between Gloria and her Grandmother, her abuela tells her she’d do Anything For You, nicely leading into Gloria performing a stripped-down version of the song.

Gloria quickly catches the eye of Emilio Estefan, who at the time was leader of the regionally popular Miami Latin Boys.  I See Your Smile and Here We Are nicely pair with the action of their budding romance.

Proving formulaic, the musical then switches gears to the typical girl meets boy scenario, even interjecting a few humorous jabs at Emilio’s accent reminiscent of quips frequently used strictly for laughs on I Love Lucy when Lucy would poke fun at Ricky’s heavy accent.

Dr. Beat, which cracked the Top 20 charts in nearly a dozen countries worldwide, cranks up the action and sets the pace for the rise of Gloria’s star.

One of the show’s most memorable moments comes at the end of Act 1 when, in an effort to self-promote, Gloria, Emilio and company play everything from Italian weddings and Jewish bar mitzvahs to Shriner’s conventions in Las Vegas. All set the the infectious blockbuster hit tune, Conga.

Act 2 kicks off with the high-energy Get on Your Feet and just as quickly gets to the drama of the story with strain between Gloria and her mother, and the inevitable retelling of the tragic bus accident that nearly caused Gloria’s life, ability to walk and her career. These plot lines are highlighted by musical interludes as varied as 1991’s Live for Loving You, Oye Mi Canto (from Gloria’s first solo project in 1990) and If I Never Get to Tell You, a song with lyrics by Gloria and music by her and Emilio’s daughter, Emily Estefan, that was written specifically for the musical.

An interesting choice to be sure, when Gloria is taken in for spinal surgery, the audience is privy to a strange dream-sequence akin to the oddly placed Dream Ballet from Oklahoma. Aesthetically beautiful and expertly danced by the ensemble, as choreographed by Sergio Trujillo, it’s just an odd moment in the show, especially at number’s end when Little Gloria joins her deceased relatives…perhaps a metaphor for Gloria’s growth an rebirth after the accident. Nonetheless, it’s just an odd moment.

Speaking of the show’s choreography, whether the sequences call for celebrating in the streets of Cuba, rehearsals for the up-and-coming Miami Sound Machine, full-on Concert scenes, or intimate nights between Gloria and Emilio, Trujillo and the show’s ensemble hit every mark. There’s even a scene in the second act where the ensemble, wearing wooden-heeled sandals perform a sort of tap dance to a traditional-sounding Cuban tune. Pure joy!

Thanks to a talented ensemble, scene-stealing supporting cast and leads who perfectly capture the passions and talents of Gloria and Emilio, as the National Touring company of On Your Feet continues its run in Music City and across the country, audiences are sure to heed the show’s title and get on their feet!

On Your Feet continues at TPAC’s Jackson Hall with performances Thursday, January 17-Sunday, January 20. Thursday evening’s performances begins at 7:30 p.m. Friday & Saturday evening curtain is at 8 p.m. Saturday matinee begins at 2 p.m. and on Sunday, January 20 there will be a 1:00 p.m. matinee and a final 6:30 p.m. performance. Tickets range in price from $50 to $95. Click Here to purchase tickets.

Following the Nashville dates, On Your Feet continues across the country with stops in Minneapolis, Oklahoma City, Memphis, Grand Rapids, Omaha, Dayton, Louisville, Cincinnati, Worchester, Hershey and Ft. Worth through April. For tickets or more information about the tour, CLICK HERE. You can also follow the tour on Facebook, Twitter and Instagram.

Next up at TPAC, as their Broadway series continues is the national tour of A Bronx Tale, on stage at Jackson Hall, February 12-17 CLICK HERE for tickets or more information. You can also discover all the latest from TPAC by checking them out online or on Facebook, Instagram and Twitter.

As always, if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Theatre Review: ‘Peter Pan and Tinker Bell: A Pirate’s Christmas’ sprinkles a little fairy dust on the holiday season; continuing at TPAC’s Polk Theatre thru December 23

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Tegan Marie as Wendy, Diana DeGarmo as Tinker Bell, and Garrett Clayton as Peter Pan in “Peter Pan and Tinker Bell – A Pirate’s Christmas” at the Tennessee Performing Arts Center. (all photos by Derrick Minyard)

While the basic story might be familiar, Peter Pan and Tinker Bell: A Pirate’s Christmas, presented by Lythgoe Family Panto and currently playing Nashville at TPAC’s Polk Theatre, offers a whole new take on the classic. Interestingly, that new take is largely due a centuries old theatrical artform known as pantomime, or panto for short. When most Americans hear the word pantomime, thoughts of mimes with clown-white faces mimicking attempts of escaping non-existent boxes come to mind. While that is indeed a type of pantomime, this pantomime is much different.

With roots tracking back nearly as far as recorded time itself, panto—in the more modern sense—presents a familiar story, usually a favorite children’s fairy tale, but with comedy, music, encouraged audience interaction and just enough double-entendre to keep parents entertained as well.

Lythgoe Family Panto’s Kris Lythgoe has written a holiday version of the legendary tales of Peter Pan, Tinker Bell, Captain Hook and the Darling children, brothers Michael & John and sister, Wendy and set it all to tunes ranging from recent hits like Bruno Mars’ Uptown Funk and Rachel Platten’s Fight Song to modern classics like Blue Swede’s Hooked on a Feeling and The Village People’s In The Navy.

John O’Hurley as Captain Hook

What’s more, said chart-toppers are performed by a brilliant mix of talented performers that also run the gamut on the entertainment scale. Case in point, Captain Hook is played to the deliciously sinister tongue-in-cheek max by none other than John O’Hurley. From his memorable 90s gig as J. Peterman, Elaine’s boss at the outdoorsy clothing catalogue company on Seinfeld, and his turn as lawyer Billy Flynn on Broadway and in a more recent national tour of Chicago to his annual TV host duties on Thanksgiving for Purina’s National Dog Show since 2002, O’Hurley has done it all. Heck, he even competed on Dancing With the Stars. As Captain Hook, he’s equal parts villain and ham—the perfect combination for a family-friendly show that manages to keep the adults entertained as well. O’Hurley’s musical moments—both the aforementioned Hooked on a Feeling and In The Navy are presented with his faithful sidekick, Smee and a rag-tag trio of pirates doing their best impersonations of Elvis Presley, John Lennon and Michael Jackson by his side as Captain Hook and the boys earn every single cheer and jeer from the audience. (don’t forget, in panto, audible reaction from the audience isn’t just encouraged, it’s expected)

Mason Trueblood as Pirate Lennon…I’m guessing legal reasons prevent them crediting him as Pirate John Lennon, but I digress…gets the fun of nearly every response he utters also being a Beatles’ song title, just another layer to the show for the grown-up in the audience. Meanwhile, Pirate Elvis as played by Dan Castiglione, offers a hip-swiveling, lip-curling wink to nearby Memphis and Malcolm Buchanan as Pirate Jack (as in Michael Jackson…more legalese, I’m sure) provides some comical moon-walking, crotch-grabbing and high-pitch squealing.

Clarice Ordaz as Tiger Lily

Having nabbed a spot in the Top Five from Season 8 of So You Think You Can Dance, Clarice Ordaz appears in Peter Pan as Tiger Lily, the indian princess who befriends Peter and the Lost Boys. Albeit bordering on political incorrectness…what isn’t lately?…I personally found the character of Tiger Lily and the rest of the indians, in particular their clever choreography, quite funny.

Mason Trueblood and Ben Giroux

Speaking of funny, no one in the show is funnier than Ben Giroux as Smee. Smee is Hook’s figural right hand man (remember the captain’s literal right hand was chomped off by a crocodile). Rather than describing Smee as Captain Hook’s right-hand man, perhaps it’s more accurate to refer to him as his second banana, especially since Giroux is so dang hilarious—Google Back to the 90s for a peek at Giroux’s comedic genius. A huge part of what makes this Peter Panto so enjoyable, at least for the over 12 set, is Giroux’s quick witted delivery. As for the kiddies, they might recognize Giroux as the pint-sized villain, The Toddler from Nickelodeon’s Henry Danger. Several side jokes, many playing to the Music City audience by making reference to Nashville-centric themes, are so slyly delivered by Gireox that if you’re not paying full attention, you’ll miss them. One I found particularly humorous made reference to the fact that Tinker Bell wasn’t the only fairy in the story, but I’ll leave that one alone.

Diana DeGarmo as Tinker Bell

Speaking of fairies—the traditional kind—Tinker Bell is enchantingly, buzzily, brilliantly played by current Nashville resident, Diana DeGarmo. DeGarmo, while perhaps best known for being voted runner-up on season 2 of the original run of American Idol, DeGarmo has gone on to star on Broadway, in national tours and numerous regional musical theatre productions. From her opening duet with Tegan Marie’s Wendy on Nature Boy, DeGarmo sprinkles pixie dust, cheer and an entertaining helping of mischief into her portrayal of Tinker Bell. Diana, if you’re reading this, get to the studio ASAP and record your version of Nature Boy. It is ethereal and simply beautiful. Proving she can belt or ballad, Diana provides the show’s most musically glorious moment when she proves once and for all that big things do indeed come in small packages with her show-stopping rendition of the Aretha Franklin classic, Think. I was lucky enough to have been in the audience a few weeks ago for the December installment of Music City’s monthly Nashville House Concerts when DeGarmo performed a preview of her take on the iconic tune and it was marvelous. Should she ever assume the role of Tinker Bell again, I see #ThinkTink trending! An interesting bit of synergy: As mentioned above, DeGarmo got her big break on American Idol, Among Idol’s original producers— Nigel Lythgoe, who just so happens to be Peter Panto creator Kris Lythgoe’s father)

Tegan Marie and Garrett Clayton as Wendy Darling and Peter Pan

As for DeGarmo’s Nature Boy duet partner, Tegan Marie, who not only is the youngest female singer to sign a major country music record deal since Tanya Tucker, is also making her musical theatre debut with this show. As Wendy Darling, Tegan Marie is, well…darling, indeed. Garnering a huge and very devoted fan base of young girls just like herself, she began her career at a very young age by posting videos of herself covering classic songs, so covering The Chainsmokers Don’t Let Me Down as Wendy in this panto seems like a great way to ease her into musical theatre. Not that she needs to be eased into anything. At only 15, she’s so comfortable on stage in the role of Wendy, that playing Mother to Peter and the Lost Boys is a perfect fit. It’s no coincidence, that among Wendy’s songs in Peter Pan and Tinker Bell: A Pirate’s Christmas, Tegan Marie also performs her own current single, Make a Boy Cry within the show, providing another perfectly synergistic moment.

More Music City synergy comes in the casting of Wendy’s younger siblings, John and Michael, as well as the Lost Boys, as all these roles are played by Nashville youth. Alan Harrison Foeder and Lucas Shane alternating in the role of Michael and Andrew Hansen and Jackson Nolan rotating in the role of John.

Garrett Clayton as Peter Pan

Then there’s Peter Pan himself, played by former Disney heartthrob Garrett Clayton. After achieving success starring in two installments of the Disney Teen Beach Movie franchise, Clayton’s teen trajectory continued with the recurring role of Chase Dillon on The Fosters which aired on the Disney-owned ABC Family/Freeform network and a starring role as Link Larkin in TV’s Hairspray LIVE! Breaking out of the house of mouse, Clayton turned in a surprisingly adult and critically acclaimed performance in King Cobra, a bio pic centering ‘round the adult film industry, alongside James Franco in 2016. in 2017, he co-starred with his Peter Pan co-star Giroux in the previously referenced Back to the 90s and earlier this year Giroux produced Clayton’s hauntingly hot I Put a Spell on You just in time for Hocus Pocus‘ 25th anniversary. While Clayton continues to showcase his range from drama to musicals, Peter Pan is the perfect role. With his boyish matinee idol looks and boundless energy, he scarcely needs the high-flying wires as he leaps across the stage as the boy who’ll never grow up. His musical moments in Peter Pan are just as cleverly interwoven as the rest. Near the show’s opening sequence, Clayton performs Believe, a song made famous by Josh Groban as included in the hit Christmas movie, The Polar Express. With lyrics: “Believe in what your heart is saying. Hear the melody that’s playing” and “Give your dreams the wings to fly” is the perfect Peter Panto anthem. When he joins forces with DeGarmo on Fight Song the audience can’t help but believe that anything can happen second star to the right and straight on till morning.

Peter Pan and Tinker Bell: A Pirate’s Christmas continues its holiday run in Nashville at TPAC‘s Polk Theatre with matinee performances Friday and Saturday, December 21 and 22 at 1 p.m. and Sunday, December 23 at 11 a.m. and evening performances Friday, December 21 at 7:30 p.m., Saturday, December 22 at 6 p.m. and a final afternoon performances Sunday, December 23 at 4 p.m. Ticket prices start at $35, with a limited number of $25 Rush Tickets available 60 minutes prior to each remaining show’s start time. Click Here to purchase tickets.

Following a brief holiday break, TPAC’s Broadway series returns with the Nashville premier of the touring company of On Your Feet! the Story of Emilio & Gloria Estefan onstage at TPAC’s Jackson Hall from Tuesday, January 15 thru Sunday, January 20. Click Here for tickets or more information. You can also discover all the latest from TPAC by checking them out online or on Facebook, Instagram and Twitter.

As always, if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

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

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

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

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

JHP: Tell me about Belle?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JHP: Tell me about Madame De La Grande Bouche.

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

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

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

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

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

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

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

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

JHP: What do we need to know about Lumiere?

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

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

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

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

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

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

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

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

JHP: Who is The Beast to you?

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

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

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

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

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

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

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

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

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

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

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

Theatre Review: Don’t be a Cotton-Headed Ninny Muggins! Go see Sparklejollytwinklejingley Chase Miller’s performance as Buddy in ‘Elf: The Musical’ at Chaffin’s Barn Dinner Theatre thru December 22.

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Chase Miller lights up the holidays at Chaffin’s Barn Dinner Theatre as Buddy in “Elf: The Musical” (photos by Michael Scott Evans/courtesy Chaffin’s Barn Dinner Theatre)

Dear Santa, I have a confession to make. I’ve never seen Will Farrell’s 2003 holiday hit, Elf in its entirety. Confession Number 2: After seeing Chase Miller in Chaffin’s Barn Dinner Theatre’s current production of Elf: The Musical, based up on the film, with music by Matthew Sklar, lyrics by Chad Beguelin with book by Bob Martin and Thomas Meehan, I fully realize that just might make me a Cotton-Headed Ninny Muggins.

One final confession. I’ve never been a huge fan of Farrell. After seeing Chase Miller starring in Chaffin’s Elf, I am fully convinced there’s no way in the world Farrell’s performance could hold a candle to Chase Miller’s. As I mentioned when I interviewed Miller and his fellow cast mates for a recent installment in my recurring interview feature, Rapid Fire 20 Q, with his perfect comedic timing, unabashed joy and contagious optimism, Miller was obviously born to play this part.

From the moment Miller literally and figuratively leaps upon the stage, his portrayal of Buddy warms the heart with laughter, as he sets out on his journey from the North Pole to Manhattan in search of his father. As Santa himself—fabulously, slightly caustically played by Brian Russell—reveals in clever, albeit thinly-plotted exposition…when Buddy was an infant, he crawled in to Santa’s sack, but went unnoticed until Santa returned to the North Pole where Buddy was adopted as one of Santa’s elves. After 30 years of thinking he was just a very tall elf, Buddy overhears the truth…that he’s human. He then sets out on his journey to find his real father.

As mentioned previously, I’ve not seen the entire movie, but I’ve seen enough clips and random scenes over the years as the film enjoys annual holiday airings to know that Miller’s Buddy isn’t simply a mimic of Farrell. To me, Farrell’s films frequently suffer the same fate of most Saturday Night Live skits….they just don’t know when to stop. Fortunately, Miller doesn’t have that problem. Miller’s wide-eyed childlike approach to the character is entertaining from first bounding onstage to his last hug. An actor of lesser skill could easily get lost in the role, reducing it to foolishness, but Miller’s Buddy is infectiously enthusiastic in his dream of forging a relationship with his father, so much so that he not only elicits uproarious laughter along his journey, but a genuinely sweet moment or two.

You just gotta love this show from the get. Costumer Miriam Creighton has done a splendid job of designing and constructing jolly holiday attire. Adding a bit of humor to the elven magic, ensemble members portraying elves walk on their knees—which are fitted with elf shoes, of course. Add to that Everett Tarlton’s clever choreography, Martha Wilkinson’s direction and Rollie Mains’ as music director, and you’ve got the makings of a Christmas musical guaranteed to deliver the holiday goodies.

Speaking of Tarlton’s choreography, show opener, Christmastown’s uplifting positivity perfectly mirror’s Buddy’s persona. The elf-ography in that number indeed made my belly jiggle like a bowl full of jelly. Sparklejollytwinklejingley’s frenetic fun as Buddy tries to convince some jaded department store elves to take pride in their work, continues the Christmas mood perfectly. On that note, Katie Gant’s lighting design indeed shines the light on the festive fun as the set glistens like any given Main Street across the country during the holiday season.

Act 2’s Fosse-esque Nobody Cares About Santa featuring a few less-than enthusiastic Santas including Austin Olive, David Ridley, Christian Redden and Tarlton, becomes a jazz-hot surprisingly sultry Santa sequence. That leads into an equally seductive Never Fall in Love featuring Christina Candelora lamenting love in the saddest/sexiest Christmas number since Rosemary Clooney’s White Christmas torch song, Love You Didn’t Do Right By Me—and that’s quite a feat, considering she’s singing about falling in love with an elf.

Gotta also mention Tarlton’s set design. Spoiler Alert: When the Christmas tree lowered from Chaffin’s loft (YES, the fabulous mechanical stage that lowers from above is BACK), my Mom leaned over and whispered, “that the kind of tree everybody needs”. It always amazes me with relatively limited performance space, Chaffin’s somehow manages to utilize every inch of stage, packing fully, gorgeously choreographed numbers from large casts who frequently, seamlessly, move set pieces to and fro in equally choreographed moves, so much so that the audience is barely aware. Just another example of the well-oiled machine that is Chaffin’s.

As per usual for Chaffin’s productions, the cast is top-notch. Grey Frey, a favorite at Chaffin’s, plays Walter Hobbs, Buddy’s Dad, and he does so with a perfect balance of businessman agitation and overwhelmed family man. The aforementioned Candelora is Jovie, a less-than-jovial department store elf, who soon becomes the object of Buddy’s affection. A fan pf Candelora’s for a few years, any chance to see her on stage is a joy indeed. Jessica Holtan, making her Chaffin’s debut, plays Emily, Buddy’s human step-mom. She’s perfect as the put-upon wife, who still sees a bit of practical magic in believing in the spirit of the holiday. Seth Barrett, who recently appeared as Les in Chaffin’s Newsies, plays Michael, Buddy’s younger brother who, thanks to his workaholic dad, doesn’t exactly believe in Santa. His scenes with Miller as his older brother ring true to those of us who look up to our older siblings no matter how different we may be from them.

Another notable cast member is Vicki White as Deb, Mr. Hobb’s busy-body secretary, who initially finds Buddy In The Way, but soon warms to him like a cup of hot coco on a frosty morn.

The aforementioned Russell not only plays Santa, but also Mr. Greenway—Buddy’s father’s Scrooge-like boss. Russell’s Santa is played with a decidedly curmudgeonly wink to dry-witted Bob Newhart, who played Papa Elf in the film, also gets the chance to totally turn up the crankiness in the dual role of Mr. Greenway. When I spoke with Russell for my recent all-Elf Rapid Fire 20 Q, we chatted about the fact that Russell’s involvement in Elf marks a bit of a homecoming for the actor, who got his professional theatrical start at The Barn Dinner Theatre nearly forty years back. While Chaffin’s patrons may also recognize Russell for frequently working as one of the waitstaff during the dinner portion of the shows, and Nashville theatre patrons certainly recognize him from productions all across Nashville, it’s been nearly 20 years since Russell has been seen on stage in a Chaffin’s production.

Heck, the entire ensemble, including Christen Heilman, Cassie Donegan, Matthew Hayes Hunter, Melissa Silengo, Jenny Norris, Colin Bevis, Myka Pacheco and Gabe Pacheco, is fabulous. Whether playing elves, harried shoppers or over-worked office drones, each member of the cast approaches their various roles with enough minute attention to detail, movement and expression to garner their own attention from the audience from time to time.

Predictable? Sure. Adorable? Undeniably. Infectiously fun and certain to get you in the mood for the holidays? Absolutely. Elf: The Musical continues through Saturday, December 22. As the venue’s name would imply, in addition to the show itself, Chaffin’s Barn Dinner Theatre also offers a delicious buffet-style dinner along with the show. Throughout the run, Elf will be presented Thursdays at 12noon and 7:30p.m., Fridays & Saturdays at 7p.m. Additional showtimes include matinee performances on Wednesday, November 28, December 5 & 12 at 12noon, and Sunday, December 9 & 16 at 2p.m. Tickets for Evening performances and Sunday matinees include the full buffet dinner option with Dinner and Show tickets priced at $60 for Adults & $30 for Youth and Students or Show Only tickets available for $35 for adults & $16 for Children 12 and Under. Matinee tickets are available with the option of a Box Lunch for $27.50, or show only for $19.00. For Wednesday and Thursday matinee performances, Doors Open at 11a.m. for Box Lunch patrons, with the show beginning at 12noon. For Sunday matinees, Doors Open at 12noon with buffet service until 1:30p.m. and showtime at 2p.m. Friday and Saturday evenings, Doors Open at 5p.m. with dinner service from 5:30p.m.-7p.m and Curtain at 7:30p.m.

Fair Warning: Chaffin’s Christmas shows inevitably ALWAYS SELL OUT, so get your tickets today. Tickets may be purchased by calling the Box Office at 615.646.9977 (ext. 2) or 1.800.282.2276. You can also CLICK HERE to purchase tickets online.

The holiday fun keeps coming at Chaffins with The Game Show Show: Holiday Edition in their Backstage Theatre space, with weekend performances November 23-December 22. CLICK HERE for more information.

To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

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

Rapid Fire 20 Q with cast of Chaffin’s Barn Dinner Theatre’s ‘Elf: The Musical’; on stage thru December 22

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Earlier this weekend, Chaffin’s Barn Dinner Theatre opened their production of Elf: The Musical, thus christening the unofficial start of Nashville theatre community’s Christmas Season. In anticipation of opening weekend, I recently had a chance to chat with several members of Chaffin’s cast for my latest Rapid Fire 20 Q. Seeing as how the holidays are upon us, I’ve taken the liberty to not only include fun information about the show, the actors’ performances and such, but to also ask them about their own holiday traditions, memories and hopes.

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RAPID FIRE 20 Q WITH THE CAST OF CHAFFIN’S BARN’S ‘ELF: THE MUSICAL’

RAPID FIRE WITH CHASE MILLER, BUDDY HOBBS in ‘ELF: THE MUSICAL’

JHP: Alright, I just have to tell you, when I heard you had been cast as Buddy, I immediately thought…’genius casting’. Has playing Buddy become an unexpected dream role?

CHASE MILLER: Well first of all, thank you so much! That’s incredibly kind. I remember when the show opened on Broadway back in 2010 thinking what amazing fun it would be, and now it’s real life! Playing Buddy is most definitely a dream, not to mention a whole lot of fun. The antics…the unadulterated joy…He really is a gift.

JHP: What’s one aspect of Buddy that you’d like to incorporate more into your own personality?

CHASE MILLER: One of my favorite things about Buddy is his fresh set of eyes on the “real world.” Sure, that leads to some comic cases of misunderstanding now and then, but it also allows Buddy to approach every bit of the world with an open heart and an open mind, because he doesn’t know any better. With the world being what it is these days, it’s hard not to lose a little faith in humanity, but Buddy would never dream of it. He has an innate ability to hone in on the good in people, and that’s a great reminder for me to make sure I’m putting enough love and kindness out into the world, whether I expect to get it back or not.

JHP: What’s your favorite childhood Christmas memory?

CHASE MILLER: Christmas is always a source of amazing memories for me, but if I had to choose I think “Decorating Day” would be my favorite as a kid. Usually the Saturday after Thanksgiving, we’d stay in our pajamas the whole day, blast Christmas tunes through the entire house, and we wouldn’t stop until everything was finished. Tree, lights, decor, the whole bit. Decorating for Christmas in my PJs is still one of my all-time favorite things.

JHP: The show is full of memorable scenes. What’s your favorite?

CHASE MILLER: Gosh, that’s a toughie… There are so many good ones! One that thoroughly tickles me though is when Buddy apologizes for shoving 11 cookies into the DVD player. I love playing through that scenario in my head. The thought of Buddy seeing the DVD player and 1. Assuming it was built for cookies, 2.Trying ten other times with ten other cookies, and 3. Even though the previous ten were a total bust, going in with that eleventh cookie. THAT’S  the one to determine that maybe… just maybe… it wasn’t built for that. It makes me laugh every time I think about it.

RAPID FIRE WITH CHRISTINA CANDILORA, JOVIE in ‘ELF: THE MUSICAL’

JHP: You play Jovie. What can you tell me about her?

CHRISTINA CANDILORA: She’s a tough broad. A little depressed when it comes to Christmas. She’s hard on herself because she’s a bit jaded by men. Having been on her fair share of bad dates she’s  weary about going on a date with a guy she might actually like. I think she’s got some

walls built up, thankfully buddy breaks those down.

JHP: How much fun are you having sharing the stage with Chase as Buddy?

CHRISTINA CANDILORA: I don’t think I can properly put into words how much fun I’m having with him! I have so much love and respect for him. He makes me laugh…all the time. He’s so perfect in this role. It’s an utter delight getting to bring these characters to life with him.

JHP: What’s one Christmas tradition you have with your own family that you love?

CHRISTINA CANDILORA: Christmas Eve dinner. I come from a big Italian Catholic family, so we do a thing called “The Feast of 12 Fishes”..all day long. We eat and drink and eat and drink some more! It’s a continuous amount of food with lots of laughs and love.

JHP: Chaffin’s Artistic Director, and the show’s director, Martha Wilkinson recently posted to social media that Everett Tarlton, the show’s choreographer, was quoted as saying the choreography is “very Fosse meets Sesame Street” why is that an accurate description?

CHRISTINA CANDILORA: Hah! I actually wasn’t there when that was said. However, I can see what he means by that. We are using a lot of imagination with this show. Everett’s choreo is always fierce, but it has fun child like feel added to it this time round. For example, Melissa Silengo and Everett become a puffin and a walrus at one point if that gives you an idea of the Sesame Street fun.

RAPID FIRE WITH SETH BENNETT, MICHAEL HOBBS in ‘ELF: THE MUSICAL’

JHP: Since holiday games are fun…Here’s a word game for you…How would you describe Michael in five words?

SETH BENNETT: If I was to describe Michael in five words they would be insightful, deprived, passionate, warmhearted, and honest.

JHP: Michael doesn’t believe in Santa. Tell me one reason why we should all believe in Santa.

SETH BENNETT: I think we should all believe in Santa because he inspires us to try and be kinder and more compassionate to others around us, which I think we could all use a little more of.

JHP: What makes Elf such a great holiday musical?

SETH BENNETT: Elf is such a great musical for the holidays because it is so lighthearted and warm. It is extremely humorous and even watching Buddy the Elf just makes people smile.

JHP: Do you prefer snow on Christmas or a bit of warmth and sunshine?

SETH BENNETT: Personally, I much prefer snow on Christmas rather than sunshine. Although I love being outdoors and in the sun, I feel like the snow just adds something special on Christmas. Also one of my favorite family memories involves playing in the snow, so it will always have a special place in my heart.

RAPID FIRE WITH GREG FREY, WALTER in ‘ELF: THE MUSICAL’

JHP: How would you describe Walter?

GREG FREY: I think, like so many men, Walter is just misunderstood. He’s the George Bailey, Bob Wallace, Luther Krank and other infamous Scrooge like characters that remind us that without hope and the child like ability to ‘believe’ humanity is lost. At his core he is a good guy and loves his family, but allowed himself to get trapped in the American dream and things that truly are not important!

JHP: Aside from Elf, of course, what’s your favorite Christmas movie?

GREG FREY: That’s a tough one with so many good one out there! Much depends on my mood and need for either nostalgia or a laugh. Let’s just say a Christmas season does not go by without me watching White Christmas or Christmas with the Kranks!

JHP: Peppermint bark or candy canes?

GREG FREY: For taste alone, probably Peppermint bark…. but Christmas memories usually win out with me, and candy canes are tried and true. Whether topping a tree, crushed and sprinkled on candy cane cookies, inserted in some coffee or a cup of  hot chocolate (or just your mouth), candy canes are a winner!

JHP: As a kid, was there one Christmas toy you cherished above all the others?

GREG FREY: Fortunately, I don’t remember getting too many ‘duds’ as a kid. One gift that brought hours, days, years of enjoyment for me were roller skates. These were not the type you get when you rent some at the local roller rink (do those still exist?) but were metal frames that clamped around your toes and strapped around your ankle to what ever shoe you chose to wear. Primitive, yes, but oh so fun! We had a huge finished basement with tons of room for circling forever with our 45’s blasting away on my sister’s little portable record player! Memories like that,  along with my own family treasures,  keep the Christmas Spirit alive for me year round!

RAPID FIRE WITH BRIAN RUSSELL, SANTA CLAUS in ‘ELF: THE MUSICAL’

JHP: You’re playing Santa Claus as well as Fulton Greenway. How much fun is that?

BRIAN RUSSELL: Santa’s a hoot in this script.  Yes, he’s sentimental; and yes, he’s jolly.  but he’s also a college football fan with a taste for single malt cocoa, if ya know what I mean.  Knowing this was the Bob Newhart Elf role adapted from the movie also makes playing the droll lines a whole lot easier.  Besides, with my very tall and very mean Greenway, I get my daily karmic balance in spades.

JHP: In a recent Facebook post, you shared that you got your start as a professional actor at Chaffin’s nearly 38 years ago and that it’s been nearly two decades since you last appeared on stage at The Barn. What’s it like being back?

BRIAN RUSSELL: Now that we’re open, I’m guessing I’ll have a little more time to ponder this question for real.  Since waiting tables there is also my one of my “Burger King” jobs,  driving there and being in the building has not been all that much different (rehearsals tend to keep one hopping and not musing).  I guess when the memories actually begin to hit me is when I’m viewing from an old actor’s eye the photos on the wall from our past shows, remembering the amazing times with great productions and great friends that I’ve had when I could work there, and feeling the loss of the beautiful friends and colleagues that have since passed.  I started this vagabond life out there with a load of energy and a full head of hair, so the chance to come back is truly indescribable.  And I am GRATEFUL!

JHP: A follow-up question in reference and reverence to your lengthy career on stage. Any advice for the new kids in the show?

BRIAN RUSSELL: Advice, eh….if this nutty, crazy business is your passion, if you can’t really see yourself doing anything BUT this as a career, follow that dream and do everything you can to accommodate that passion. Above all, don’t fear unemployment….heck, nothing in Nashville lasts more than 10 weeks, so being out of work is a given. Find your way to comfort and career fulfillment despite that pesky notion no work and make yourself as marketable as you can…..triple threats work A LOT!!!

JHP: Just between you and me…who among the cast is likely to wind up on the Naughty list?

BRIAN RUSSELL: Well, Martha natch.  Thinking the band is probably on that list permanently as well….

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Elf: The Musical opened Thursday, November 15 and continues through Saturday, December 22. As Nashville’s longest-running Dinner Theatre, in addition to the show itself, Chaffin’s Barn Dinner Theatre also offers a delicious buffet-style dinner along with the show. Throughout the run, Elf will be presented Thursdays at 12noon and 7:30p.m., Fridays & Saturdays at 7p.m. Additional showtimes include matinee performances on Wednesday, November 28, December 5 & 12 at 12noon, and Sunday, December 9 & 16 at 2p.m. Tickets for Evening performances and Sunday matinees include the full buffet dinner option with Dinner and Show tickets priced at $60 for Adults & $30 for Youth and Students or Show Only tickets available for $35 for adults & $16 for Children 12 and Under. Matinee tickets are available with the option of a Box Lunch for $27.50, or show only for $19.00. For Wednesday and Thursday matinee performances, Doors Open at 11a.m. for Box Lunch patrons, with the show beginning at 12noon. For Sunday matinees, Doors Open at 12noon with buffet service until 1:30p.m. and showtime at 2p.m. Friday and Saturday evenings, Doors Open at 5p.m. with dinner service from 5:30p.m.-7p.m and Curtain at 7:30p.m.

Fair Warning: Chaffin’s Christmas shows inevitably ALWAYS SELL OUT, so get your tickets today. Tickets may be purchased by calling the Box Office at 615.646.9977 (ext. 2) or 1.800.282.2276. You can also CLICK HERE to purchase tickets online.

In addition to Elf, Chaffin’s will also present a special children’s show, All I Want For Christmas is My Two Front Teeth, with morning matinees at 11a.m. Fridays & Saturdays from December 7-22. CLICK HERE for tickets.

The holiday fun keeps coming at Chaffins with The Game Show Show: Holiday Edition in their Backstage Theatre space, with weekend performances November 23-December 22. CLICK HERE for more information, or check back next week when I feature members of the cast in my next Rapid Fire 20 Q.

To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

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

Theatre Review: Dreaming of a White Christmas? Look no further than the high-energy stage version of Irving Berlin’s ‘White Christmas’ tapping its way across the country and into audiences’ hearts this holiday season

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Irving Berlin’s ‘White Christmas’ stars Kelly Sheehan, Jeremy Benton, Sean Montgomery and Kerry Conte, onstage in Nashville at TPAC’s Jackson Hall as holiday tour continues

With it’s lavish sets, gorgeous costumes and top-drawer cast, the 1954 film Irving Berlin’s White Christmas, which starred Danny Kaye, Bing Crosby, Vera-Ellen and Rosemary Clooney, has been a holiday tradition for…well…64 years. Moving the magic from screen to stage more than a decade ago, playwrights David Ives and Paul Blake adapted the story into an equally resplendent stage musical. The show is currently in Nashville at TPAC’s Jackson Hall through Sunday, November 18 as the national tour makes its way across the country guaranteeing audiences everywhere a glistening, gleaming, smiling, singing, happy, tapping, merry-making White Christmas.

While I wasn’t around in 1954 for the initial release of the film, an annual viewing has become somewhat of a holiday tradition since first discovering it by way of a late-night TV broadcast some forty years ago on Christmas Eve while staying up late to help my mom wrap those last few gifts. Fast forward to a few years back when the national tour of the stage musical played TPAC. I was in heaven, after all, what could be better than a glorious new musical featuring a soundtrack jam-packed with Irving Berlin tunes, lovingly based on a classic movie? Mind Blown.

So, how do you replicate the on-screen chemistry of Crosby and Kaye playing ‘odd couple’ best pals, let alone Clooney and Ellen as squabbling sisters? The simple answer, you cast Sean Montgomery, Nashville’s own Jeremy Benton (back for his fifth time with the tour), Kerry Conte and Kelly Sheehan. Montgomery smoothy fills the Crosby bill while Benton eases into the goofiness of Kaye while elevating the role with some of the most impressive dance moves I’ve ever seen onstage. As for the ladies, Sheehan’s Judy might look more like Clooney than Vera-Ellen, but her dance moves rival those of her character’s creator. At times Conte’s singing voice is blissfully similar to that of Rosemary Clooney, but there’s also times, especially in her line delivery, that she possesses a more regal intonation reminiscent the equally talented chanteuse, Peggy Lee. Just another interesting fun fact…when the film was released, Clooney was under contract with Columbia Records and was therefore prohibited from appearing on the film’s official soundtrack record album release. Instead, Decca Records brought in Lee to record vocals for the vinyl. (I warned you it’s my favorite).

Just as the film, White Christmas begins in 1944 near the action of a WWII battlefront at a drab army camp as besties Phil Davis (Benton) and Bob Wallace (Montgomery) attempt to bring holiday cheer to their fellow soldiers. Amidst the wartime setting, Benton and Montgomery perform heartwarming versions of composer Berlin’s classics, Happy Holiday and the title tune, White Christmas.

Conrad John Schuck and Karen Ziembra as General Waverly and Martha Watson in Irving Berlin’s ‘White Christmas’

As the boys wrap their battlefront performance, their gruff commanding officer, General Henry Waverly (Conrad John Schuck) emerges initially seeming to break up the fun, when in truth, he thanks them for their little Christmas show and wishes his men well with a speech about his hopes for them ten years in the future. Shuck, who now calls nearby Franklin, TN home, has enjoyed a prolific career in TV, film and on stage. Among his many memorable roles, he appeared in several Robert Altman films including M*A*S*H, played Sergeant Enright on TV’s McMillan & Wife, brought Herman Munster back to life in the 90s starring as the bolt-necked patriarch in the updated series Musters Today, played a comedic robot cop in one of my cherished childhood favorites, Holmes and Yoyo. Oh, and did I mention he costarred as Col. Wm F. Cody alongside Reba in her Broadway debut as Annie Oakley in Annie Get Your Gun? But I digress.

Ten years in the future it is, as action then fast-forwards to Christmastime1954. This finds Wallace and Davis, now a hugely successful performing duo, about to appear on The Ed Sullivan Show. The stark contrast from the show’s more somber setting to the vivid set and costumes of the reprise of Happy Holiday and the toe-tapping, mood-lifting Let Yourself Go put me in mind of Dorothy’s arrival in Oz as she emerges from the black and white emotionless Kansas to the vibrant wide-eyed extravaganza that is Munchkinland. This also reminded me of a bit of useless trivia. White Christmas, the film, wasn’t just shot in spectacular Technicolor. It was also the first Paramount Pictures movie to be released in VistaVision, a then-new wide-screen format that enhanced the projection area of standard 35-mm film. Think of it as mid-50s version of 4K.

Benton and Montgomery bring 50s technicolor to life onstage in ‘White Christmas’

That said, the musical’s scenic designer, Anna Louizos and costumer, Carrie Robbins brilliantly pay homage to the beautifully dreamlike, overly saturated full spectrum of colors presented in the original as they dip their respective pallets into nearly every color in the rainbow helping to create a living technicolor spectacular.

Colors aren’t the only thing saturating White Christmas. It’s also full of Berlin tunes, so much so that even the incidental musical will have Berlin-philes beaming as they hear bits and bars from several of the legendary composer other notable tunes. While the show is indeed tune-full, it’s also satiated with patented boy-meet-girl (with complications) saccharine plots. As mentioned above, this time we’ve got army buddies Bob Wallace (Montgomery) and Davis (Benton) and their chance/fateful meeting with Betty and Judy Haynes (Conte and Sheehan, respectively).

From the beginning there’s not just sparks, there’s fireworks as Montgomery’s Wallace and Conte’s Betty lock horns while Benton’s Davis and Sheehan’s Judy see through the resistance and set their sights on matchmaking. This leads to a clever duet between Montgomery and Conte. Clever because they’re each in their own dressing rooms, he, backstage at The Ed Sullivan Show and she, in her dressing room at a local nightspot while both contemplate the shared unpredictability of  Love and the Weather (one of many Irving Berlin tunes not originally featured in the film, but added for the stage musical adaptation).

Conte and Sheehan recreate the iconic ‘Sisters’

Next up is a spot-on recreation of one of the film’s most iconic scenes, Sisters in which Sheehan and Conte, twinning in gorgeous heaven-blue dresses with matching feather fans wax lovingly on the bond of sisterhood, a bond so strong that only one thing can come between the two…when one sister attempts to even think of going after the other sister’s man. Bravo to Randy Skinner, the show’s director and choreographer, for finding the perfect balance between honoring the iconic moments like this, while breathing revived life into other segments of the show. Not gonna lie. I may or may not have teared-up during this number…and a few others throughout the show.

The Best Things Happen While You’re Dancing offers Benton and Sheehan a chance to sway lovingly across the floor. The staging of this number is beautiful as the set and ensemble disappear while Benton and Sheehan’s Phil and Judy escape their surrounding in a dreamlike stage induced by the peacefulness of dancing cheek to cheek.

Any time I talk about White Christmas—you’d be surprised how often that is—I inevitably mention my hands-down favorite moment in the film in which Phil has hoodwinked Bob into a train trip to Vermont to unknowingly join the Haynes Sisters as they perform a Christmas Eve show at an inn (which just so happens to be owned by their former General). In the film, clever cinematography transforms a table napkin, an advert and pine needles into a snow-scene all atop a table in a boxcar as the quartet ride the rails. The scene is sweet as they sing of Snow, but the whole sequence only lasts about two minutes. For the stage musical, it’s an all-in as the ensemble packs the boxcar for an expanded version of the song. It’s as if Skinner is giving me my own special holiday gift every time I see this show.

On the subject of gifts to the audience, enter Tony-winner Karen Ziembra as Martha Watson. Played by Mary Wickes in the film, Martha is The General’s right-hand-woman as she oversees the day to day running of the lodge and, at least for the holidays, helps him care for his visiting granddaughter, Susan (a role shared during the tour by Emma Grace Berardelli and Kayla Carter). Ziembra, like her film-version predecessor, lights up the stage and steals the spotlight with every snide remark, every double-take and every movement, but when she belts out the opening note of her sole solo Let Me Sing and I’m Happy…DAMN! That’s how you do it, folks. Not to be too outdone by a Tony-winner, later in the show, young Susan gets her chance at the tune, to audience-cheering results.

Act 1 ends with what is easily the moral of the show, Count Your Blessings Instead of Sheep and the optimistic and gorgeous Blue Skies.

While Act 1 contains enough punch to be a show all its own, Act 2 somehow amps up the thrill of it all as it opens with a no-holds-barred I Love a Piano. A mind-boggling number than clocks in somewhere around a full nine minutes of tap triumph featuring Benton, Sheehan and a dozen ensemble members in perfect step. And YES, on opening night of the Nashville leg of the tour, several audience members leapt to their feet for a spontaneous mid-show ovation in appreciation.

Other Act 2 highlights include a hilarious gender-bending Sisters reprise courtesy Montgomery and Benton, Sheehan’s breathy, bluesy ballad, Love You Didn’t do Right By Me that morphs into a duet with Montgomery on How Deep is the Ocean, and of course the magnificent film-tactic finale. Spoiler Alert…YES, it snows on stage!

Irving Berlin’s White Christmas continues in Music City at TPAC’s Jackson Hall with five more performances thru Sunday, November 18, with a Friday evening performance at 8p.m., Saturday matinee at 2p.m. and a Saturday evening performance at 8p.m., a Sunday matinee at 1p.m. and a final Sunday evening performance at 6:30p.m.. For more information, CLICK HERE. TPAC is offering two ticketing specials for the remainder of the run. Rush Tickets are available for $30. Simply visit the box office 90 minutes prior to curtain and inquire about availability. There’s also a special on groups of four tickets, just give the promo code JOLLY.

Following the Nashville leg of the tour, White Christmas heads to Tulsa, OK from November 20-25, Atlanta, GA from November 27-December 2, Denver, CO from December 5-15, Orlando, FL from December 18-23 and finishes out the holiday season in Miami, FL, December 20-30. CLICK HERE for ticket links to all remaining cities. To keep up with all things White Christmas, CLICK HERE or follow the tour on Facebook, Twitter and Instagram.

In addition to White Christmas, TPAC’s holidays are in full swing as they host a wide variety of Christmas-themed shows including: Broadway Princess Party, Nashville Rep’s 10th and final year of A Christmas Story, The Hip Hop Nutcracker, A Drag Queen Christmas, Nashville Ballet’s annual presentation of Nashville’s Nutcracker and Peter Pan and Tinkerbell: A Pirate Christmas. CLICK HERE for the full calendar, dates and ticketing information. Follow TPAC on Facebook, Instagram and Twitter.

As always, if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

 

Review: Three decades later, ‘The Phantom of the Opera’ still mesmerizing audiences as latest national tour plays TPAC thru November 4

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Quentin Oliver Lee and Eva Tavares starring in “The Phantom of The Opera” (photo by Matthew Murphy)

When I attended opening weekend of the Nashville leg of the current national tour of The Phantom of the Opera at TPAC’s Jackson Hall, it marked the half-dozen mark for me, having originally seen the show nearly thirty years ago during its original Broadway run, as well as a handful of touring productions over the years, including at least two previous tours in the very theatre in which I sat last week. In spite of my familiarity with the story, and dare I say it, my own phandom, even before the drapery fell to reveal THAT chandelier, something was different—special even—about this show. Perhaps it was because my companion for the evening, in spite of growing up with a father who worked in New York’s theatre district, had never seen the show. That’s right, a Phantom virgin.

As we settled into our seats and the all-too-familiar prelude began to swell from the orchestra pit, I found myself surprisingly being overcome with chills. At first waving it off to me admittedly being a bit neurotic and simply loving the art of live theatre, I soon realized it was much more than that. Here I was, sitting in a near-sold-out theatre about to watch a show I’d seen time and time again, a show I knew was somewhat weak on book and character development, but a show that is simply gorgeous. Gorgeous in fantasy-inducing score, gorgeous in breathtakingly iconic costume, gorgeous in opulent set design, and thanks to Quentin Oliver Lee, Eva Tavares, Jordan Craig et al, gorgeous in breathing new life into characters as recognizable and beloved as any to have ever grace the theatrical stage.

While the beginning of the musical sets up the story, we still have to wait three scenes in before the action truly starts when the Phantom first appears…and yes, even after seeing it as many times as I have, I sill gasp a little when he first shows up.From his first appearance, Lee’s Phantom is menacing, commanding and powerful, his voice in fine condition to assume the titular role. From a physical standpoint, he’s also perfect for the role, towering above most of the cast. When he solos on Music of the Night, it is indeed enchanting.

While Richard Stilgoe and Sir Andrew Lloyd Webber have endured three decades of critics lamenting the lack of a believable story, character development and reasoning behind the tale of a masked man who lurks in the shadows of a Parisian Opera House in the early 20th century, Webber certainly knew what he was doing when he composed the accompanying score with lyrical help from Charles Hart, for it’s the show’s soundtrack that outshines even the regal opera house setting.

To that end, more gooseflesh moments occur when Lee’s Phantom is joined onstage by his Christine, Eva Tavares. Diminutive in stature, raven-haired, porcelain-skinned, Tavares is the polar opposite to her Phantom. While this could easily detract from their shared scenes, instead, it enhances the idea of why she would fall under his spell, for you have to admit, as un-PC as it is to say, a woman of her slight physical presence would have no choice but to succumb to the Phantom’s domineering ways. Here’s the thing though, what Tavares’ Christine lacks in assertive physicality, she more than makes up for in voice. Whether duetting with Emily Ramirez’s Meg near the top of the show with Angel of Music, with Lee on the show’s majestic title tune, or solo in Act 2’s hauntingly beautiful Wishing You Were Somehow Here Again, Tavares IS Christine, as beautiful as she is talented. No wonder the Phantom would be obsessed.

With a cast and orchestra totaling more than 50 company members, there’s plenty of stand-out performers. Among them, the aforementioned Craig as Raoul. Possessing perhaps the most skilled voice in the company, the night I saw him, he was perfection. It should be noted that the playbill indicates that Herb Porter and Constantine Pappas also step into the role during certain performances.

Having recently seen the national tour of Love Never Dies, at TPAC just a few months ago, I had forgotten that Madame Giry is actually likable in the original story, considering the character is a bit of a baddie in the redo. Kristie Dale Sanders is delightful as Madame Giry in this production of Phantom, especially in one of the show’s rare comedic moments in which she and several members of the Opera House’s staff have been receiving notes from the Phantom.

Also turning in fine comedic performances are David Benoit and Rob Lindley as Monsieurs Firmin and Andre, the opera house’s business associates and Trista Moldovan as Carlotta Giudicelli, the opera diva Christine is about to replace if the Phantom has any say in the matter.

Speaking of, perhaps realizing the story is less-than-believable, this current incarnation seems to have added a bit more humor. A welcomed change indeed.

Billed as producer Cameron Mackintosh’s New Production, there are other differences between this and previous incarnations. The slowly revolving tower that ascends to the Phantom’s underground lair is spell-binding. When the stairs seemingly magically appear from the flat surface of the tower as the Phantom descends them, accompanied by lighting designer Paule Constable’s perfectly-timed lighting effects illuminating each emerging step, I couldn’t help but feel anxious at the thought of a technical glitch. On the subject of the lighting, throughout the show, I found my eye wandering from the actors to their shadows cast along the walls of the set, adding yet another spooky layer to the story.

Perhaps my favorite change from the original version is the top of Act 2 with Masquerade. While the grand staircase from the original was indeed a powerful visual, the newly added mirrored ceiling piece that allows the audience a true bird’s eye view of the ballroom choreography is quite enjoyable.

Thirty years after its Broadway debut, The Phantom of the Opera— story missteps aside–is still as majestic and hypnotic a spectacle as ever.

The Phantom of the Opera continues at TPAC’s Jackson Hall with performances Friday, November 2 at 8p.m., Saturday, November 3 at 2p.m. and 8p.m. and Sunday, November 4 at 1p.m. and 6:30p.m. Tickets range in price from $55 to $105. Earlier this week, TPAC announced the limited availability of special $40 rush tickets to each remaining performance. To take advantage of that, show up 90 minutes prior to showtime and inquire at the box office. CLICK HERE for tickets or more information.

Not in Nashville, but hoping to see Phantom on tour? Following its Music City engagement, Phantom continues through Fall of 2019 with performances in Houston, November 7-18, Omaha, November 21-December 2, San Antonio, December 7-17, Dallas, December 18-January 6, Oklahoma City, January 9-20, Detroit, January 24-February 3, Kalamazoo, February 6-17, Pittsburgh, February 20-March 3, Milwaukee, March 6-17, Providence, March 21-31, Cleveland, April 3-20, Schenectady, April 24-May 5, Los Angeles, June 6-July 7, Costa Mesa, July 10-21 and Honolulu, August 7-September 1. CLICK HERE for tickets. Follow Phantom on Tour at the show’s official site HERE, on Facebook, Instagram and Twitter.

Next up at TPAC, the national tour of Irving Berlin’s White Christmas returns to the stage. CLICK HERE for tickets or more information. You can also discover all the latest from TPAC by checking them out online or on Facebook, Instagram and Twitter.

As always, if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.