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

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

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

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RAPID FIRE WITH LA CAGE DIRECTOR, JEF ELLIS

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

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

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

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

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

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

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

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

RAPID FIRE WITH MACON KIMBROUGH, GEORGES IN LA CAGE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH KRISTIAN DAMBRINO, JACQUELINE IN LA CAGE

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

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

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

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

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

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

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

KRISTIAN DAMBRINO: a Franglish chameleon.

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

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

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

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

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

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

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

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

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

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

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

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

Theatre Review: There’s no such thing as too much hype to describe the theatrical experience that is ‘HAMILTON’; on stage in Nashville at TPAC’s Jackson Hall thru January 19

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Joseph Morales and members of the cast of ‘Hamilton’/all photos by Joan Marcus, courtesy Hamilton National Tour

Nashville theatre audiences have anxiously awaiting the arrival of Lin-Manuel Miranda’s Broadway blockbuster, Hamilton, right here in Music City since Tennessee Performing Arts Center first announced its eventual 2020 arrival during the season announcement party back in April of 2018. Well, the wait is over! Hamilton has ascended upon TPAC’s Jackson Theatre.

Before attending the show Tuesday night, I had honestly never listened to the soundtrack, other than catching occasional televised performances on the Tonys, the Grammys, the Olivier Awards and the like. Partly because I initially hoped to see it on Broadway or Chicago, where I had friends in both companies, but mostly because I kept hearing Hamilton described as a hip-hop musical. While I consider myself musically well-rounded, I’m not exactly a hip-hop aficionado, or a history buff, for that matter. I just didn’t know if I wanted to sit through a two and a half hour musical that tells the tale of Alexander Hamilton through rap and hip-hop. Damn. I’m here to tell you, after experiencing it live, on stage, in a packed house. I was foolish to deny myself this long.

When I say there was a packed house, I’m not exaggerating. My best friend and I arrived to the theatre Tuesday night an hour and a half before curtain (normally, I breeze in as the house opens half and hour before the show begins). When we arrived, valet was surprisingly quick, which reassured me we were simply early. Nope. Once inside TPAC’s lobby, we walked into the biggest crowd of folks I’ve ever seen at the venue and you could feel the buzz of excitement. Hamilton had arrived and Nashville was ready.

As time ticked away, the hour wait flew by. Some passed the time waiting in line for a photo op at the Hamilton selfie wall, while many visited the merch booth for the usual t-shirts and mugs, or Hamilton-centric items like golden quill pens. I myself managed to thankfully find a spot on a bench near the theatre entrance and struck up a conversation with a lady and her daughter who were excited to be there. What’s more, they were there because they had entered TPAC’s ticket lottery and had won the chance to purchase two prime seating tickets for $10 each! CLICK HERE for more about the Hamilton/TPAC ticket lottery.

Once inside the theatre, more selfies were taken as patrons flooded the room. There it was. The set. The first glimpse of what some have described as the most important theatrical experience of our generation. Set Designer, David Korins–whose work includes everything from Pee Wee Herman’s playhouse for its recent stage run to Beetlejuice’s frighteningly fanciful Broadway set–created the Hamilton set. Upon first glance, it appears nautical in nature, with ropes, pulleys and wooden platforms invoking ideas of a ship. Perfect, as we soon discover through the lyrics of the show’s first tune, Alexander Hamilton that the founding father was not only an immigrant orphan, but that he also worked on a trade charter as a young teen.

To the casual viewer, the set seem to remain the same throughout the show. But with the added technical craft of lighting designer Howell Binkley, the set, at times represents everything from a courtroom to the physical representation of the growing age of enlightenment that was New York in the early 18th century. Such a seemingly simplistic set, but so cleverly utilized and smart. While many current shows seem to be following the trend to feature completely realistic projections, Korin’s wooden scaffolding set, complete with a surprise dual…or should I say duel (see the show, you’ll get the reference)…turntable floor feature, enhances the action of the show and the music, but doesn’t distract from it.

On the subject of the music of Hamilton, as mentioned above, yes, hip-hop is predominant, and not just in style, but in reverence to the genre itself. It can’t be coincidence that the show’s second musical number, My Shot, begins with Hamilton spelling out his name in a rhythmic patter, “A-L-E-X/A-N/D/ER”. That’s surely a nod to legendary rapper Notorious B.I.G., who rapped, “N-O/T-O/R-I/O/U-S” within the lyrics of his iconic 1997 cross-over hit, Going Back to Cali. That’s not the only Biggie nod, as midway through act one’s Ten Dueling Commandments commands memories of B.I.G.’s The Ten Crack Commandments, a track from the performer’s final studio recording. Notorious B.I.G. isn’t the only hip-hop artist Miranda pays homage to. The opening of Cabinet Battle #1 has a Jay-Z Izzo intro vibe. Heck, the cabinet battles themselves are even staged like classic rap battles, mic-drop and all., There’s also a similarity between Hamilton’s Meet Me Inside to DMX’s Party Up in Here. 

It’s not just hip-hop that’s references in Miranda’s brilliant soundtrack. There’s also more than a few winks to the art of showtunes themselves. The most obvious, nods to Gilbert and Sullivan, Jason Robert Brown and Rodgers and Hammerstein. For Gilbert and Sullivan, it’s the hilarious inclusion of a direct lyrical lift from Pirates of Penzance, featured during Hamilton’s Right Hand Man when General George Washington refers to himself as “the very model of a modern major general”. Jason Robert Brown’s The Last Five Years’ Nobody Needs to Know, pops into Hamilton during Say No To This. My favorite of these three…during My Shot, Hamilton references South Pacific’s Carefully Taught.

Other lyrical nods may or may not be intentional, but rather, perhaps only coincidental, but I doubt it. Miranda has proven himself a true lover of musical theatre by including lyrical taps to things like 1776: The Musical’s Sit Down, John. While it covers the same subject matter as Hamilton’s The Adams Administration, it’s given a decidedly edgier and hilarious feel when accompanied by an unexpected expletive. There are literally a couple dozen theatre references, intentional or not, throughout the show, but I digress.

Rap and Showtunes are just two of the musical genres Miranda includes within Hamilton. Perfectly setting the scene with acknowledgement to the factual time during which the action is set, Hamilton also includes period-authentic instrumentation. During King George’s Act 1 jewel, You’ll Be Back, a harpsichord is featured. What’s the significance? A harpsichord perfectly repersents the time period as many composers of the day included parts for the now oft-forgotten instrument in their arrangements. Then there’s an actual piece originally composed by composer Wilhelm Richard Wagner included in Hamilton during Helpless, when Alexander proposes to Eliza. The classic piece in question…commonly known as Here Comes the Bride, is actually titled Bridal Chorus and was first presented by Wagner during his 1850 opera, Lohengrin.

OK, enough…probably too much…about the trivial musical winks, but I had to mention, as listening for them and recognizing them became one of my favorite aspect of seeing the show for the first time.

Because of its continued success and popularity, Hamilton is still on Broadway, while simultaneously embarking on their National Tour…there are two current US tours in fact,—The Philip Tour and the Angelica Tour. Nashville’s TPAC is playing host to The Philip Tour.

Starring as Alexander Hamilton is Joseph Morales, who was previously part of Hamilton’s Chicago company. As Hamilton, Morales plays the founding father , whom we first meet at age 19 when he arrives in New York in 1776. For those droves of Hamilton fans, Morales, and anyone who ever plays Hamilton, has the unenviable task of stepping into the role orignated by Miranda himself, daunting, indeed. To his absolute credit, Morales approaches young Hamilton during Act 1 with a convincing naïveté paired perfectly with an excitement to make his mark on the new world. I’m not gonna lie. From his first notes of the eponymous Alexander Hamilton to the finale, Morales evoked chills as I learned more about Hamilton than I ever realized I needed to know. Morales portrays Hamilton from enthusiastic young man with a vision through the pain of losing his son, jeopardizing his marriage and his ultimate untimely death, running the gamut of emotion in a believable, but unforced way

Cast as Hamilton’s counterpoint and eventual assassin–Come on…that’s no Spoiler..even I knew that–is Jared Dixon as Aaron Burr. Alright, I have to admit it, the only reason I know Aaron Burr killed Alexander Hamilton is thanks to an early 90s Got Milk? commercial (directed by Michael Bay, btw) in which a Hamilton historian misses out on a radio trivia contest while eating peanut butter sandwich with not enough milk to wash it down…again….I digress. 

Dixon as Burr, the OG frienemy, is not only the perfect foil for Morales’ Hamilton, but also the perfect scene partner, their lyrical sparring make for some of the show’s most enjoyable moments. Plus there’s the running gag of the way everyone lingers on then pronunciation of Burr’s surname, which begins with the tune Aaron Burr, Sir and continues throughout the show.

The Schuyler Sisters

As well-known to Hamilfans as Hamilton and Burr there’s also The Schuyler Sisters, Angelica, Eliza…and Peggy (see the show, you’ll get the reference). Cast as Hamilton’s love interest and eventual wife, Eliza is Erin Clemons. Her physical beauty, and that of the actresses playing her sisters, only accentuated by the glorious costumes courtesy costume designer Paul Tazewell, Clemons is the perfect scene partner for Morales’ Hamilton, not only vocally holding her own, but wowing the audience during numbers like the gorgeous Helpless, an r&b ballad with a healthy dose of the romanticism of a Cole Porter standard. 

As Angelica, Ta’Rea Campell is mesmerizing. Presented not only as Eliza’s selfless sister, but also as Hamilton’s unrequited love, Campbell’s performance presents a subtle depth to the character, especially during her featured turn alongside Clemons and Morales during the gorgeous Satisfied.

Nyla Sostra’s Peggy is memorable, mostly because the character herself is played as forgettable. That said, Sostra snags the spotlight in the dual role of Maria Reynolds, with whom Hamilton had an ill-fated illicit affair that would prove a potential thorn in his political side. In a wardrobe move straight out of Bette Davis’ Jezebel, when Sostra takes to the stage in a red dress as Reynolds, the heat is on.

As expected, other historical figures present in Miranda’s Hamilton include the aforementioned King George III, George Washington and Thomas Jefferson.

Joseph Morales and Marcus Choi in ‘Hamilton’

As George Washington, Marcus Choi plays our first president with a bit of wit and wisdom, making me personally long for a leader with those same qualities. Songs like Right Hand Man, Stay Alive and One Last Time showcase Choi’s talents perfectly.

Neil Haskell as King George III is everything you’d hope a self-centered royal would be…and then some. With equal parts Sir Elton John at his campiest mixed with your anything-but-average spoiled monarch, Haskell steals every scene he’s in…and interestingly, he interjects himself throughout the action of the play, even though it all takes place stateside.Haskell’s King George puts the ham in Hamilton in the best way possible during You’ll Be Back, What Comes Next and I Know Him…all containing a happy sing-song 60s Brit-pop melody. A nice contrast the the soundtrack predominately heavier rap aesthetic.

King George III

Warren Egypt Franklin’s Thomas Jefferson—clad in a purple topcoat that rivals anything rock royalty Prince ever wore and strutting like a banty rooster with a cockiness that’s reminiscent of another Jefferson…TV’s George Jefferson as played in the 70s by Sherman Hemsley—he too holds his own and steals the limelight whenever he’s on stage. What’d I Miss, Cabinet Battle #1 and Election of 1800, among his musical highlights. Franklin also does double duty appearing as Marquis de Lafayette, changing it up a bit donning a humorously heavy accent and a less flashy topcoat for the role.

Also doing double duty in two supporting roles Desmond Sean Ellington as Hercules Mulligan and James Madison, Elijah Malcomb as John Laurens and Philip Hamilton, the aforementioned Nyla Sostre and Nick Sanchez who plays three roles: Philip Schuyler, James Reynolds and Doctor. 

These actors, along with the rest of the ensemble and the leads, bring the story of Hamilton to glorious life. 

In addition to Lin-Manuel Miranda’s inventive book, music and lyrics, Hamilton also boasts an electrifying array of movement as choreographed by Andy Blankenbuehler. To that end, the visual presentation of the ensemble dancers, whether dressed in full military garb, or stripped down to petticoats and form-fitting pants and sleeveless undershirts, as dressed by Tazewell, perfectly accentuates the movement. At times, while the leads perform vocally, the ensemble beautifully accentuates their words with movement. Much like the genre-crossing inclusion of music, many dance forms are presented in Hamilton, from ballet, to jazz, hip-hop and even touches of traditional tribal dance. Proving once again, Miranda and company deserve every bit of hype, but more importantly, praise for THE musical of our time.

Hamilton continues its extended run at TPAC’s Jackson Hall with performance through January 19. To follow Hamilton, check them out on Facebook, Instagram and Twitter.

You can 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: With ‘Singin’ in the Rain’ on stage at Chaffin’s Barn thru November 30, forecast for the magic stage is all-singin’, all-dancin’ with a deluge of talent

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If you read my column with any regularity, you know in addition to my love of musical theatre, I also have a penchant for classic Hollywood musical movies, so you can imagine my excitement when I learned Chaffin’s Barn Dinner Theatre was presenting their take on the stage adaptation of Singin’ in the Rain. That’s right…two of my obsessions…1950s musical movies and and all-out tune-filled stage extravaganza rolled into one.

Having seen a simply lovely production of the show in nearby Cannon County at the beginning of this year, and even though Singin’ in the Rain is one of my all-time favorite musicals, second only to the stage adaptation of the seasonal favorite, White Christmas, I honestly wasn’t sure what to expect of Chaffin’s take, but from the first notes of the show’s familar Arthur Freed/Nocio Herb Brown-penned overture, as skillfully executed by Chaffin’s musical director and keyboardist, Rollie Mains, woodwinds by Raymond Ridley, Neal Johnson on bass and drummer Dan Kozlowski, any slight trepidations were quickly laid to rest.

The stage version, like the original 1952 feature film, with screenplay by Betty Comden and Adolph Green tells the story of late-1920s silent film superstars Don Lockwood and Lina Lamont, who have been built up in the press, and by their studio, as romantic leads on…and off…the screen. Truth be told, they ‘caaaaan’t stan’ each other. There’s also Lockwood’s best bud, and frequent piano accompanist who plays the silent films musical soundtracks for the studio recordings, Cosmo Brown. He’s less than enchanted by Lamont and her diva-like ways and seems to always be looking out for his buddy’s romantic future. Further complications ensue with the advent of talking pictures. Not so much a problem for smooth and swarthy Lockwood, but for Betty Boop-voiced Lamont, that’s another story altogether. Enter young, inexperienced chorine, Kathy Selden, having just arrived in Hollywood from the legitimate stage, Selden is biding her time in the chorus until her big break. After a dismal preview of Lockwood and Lamont’s first talkie, The Dueling Cavalier, during which the audience laughs at Lamont’s fingernails on a chalkboard voice, Selden’s big break comes when Lockwood and Brown cook up a scheme to have Selden record her voice and dub it over Lina’s screech.

Fans of the film know it featured an all-star cast of Gene Kelly, Donald O’Connor, Jean Hagen and Debbie Reynolds, so you can image those being some pretty big dancing shoes to fill. To her credit, director Jenny Norris has packed Chaffin’s Singin’ with quite the who’s who of actors, most of whom are familiar to Chaffin’s patrons.

Matt Moran as Don Lockwood in Chaffin’s “Singin’ in the Rain”
(all photos by Michael Scott Evans/Courtesy Chaffin’s Barn Dinner Theatre)

Starring as Don Lockwood, the Gene Kelly role, for those familiar, is Matt Moran, most recently seen on Chaffin’s stage as the less-than-charming Glenn Gulia in The Wedding Singer. While I absolutely love Gene Kelly, especially in Singin’ in the Rain, I have to tell you, from Moran’s first entrance as Don Lockwood, I couldn’t help but notice, his matinee-idol looks and his overall command of the stage. Sorry, Gene, but Matt just might be my new favorite Don Lockwood. With a show full of wonderful tunes and numerous Lockwood-centric moments, Moran constantly shines like the star he’s play. While Moran’s bio indicates he made his stage debut at age eight, I’ve only recently come to know his work, so I knew holding his own against Curtis Reed as Cosmo Brown, Don’s best friend and former performing partner…the Donald O’Connor role in the film…would be a challenge. Spoiler Alert: Moran keeps up the pace and is the perfect compliment to his talented second-banana.

Speaking of Reed, not only is he a great comedic sidekick, and a uber-talented hoofer, he’s also the show’s choreographer. When I first saw the stage adaptation not long after its Broadway debut in the mid-80s, iconic choreographer Twyla Tharp had lovingly crafted dance sequences that paid homage to the original film moves by Kelly himself. Reed, as talented a choreographer as he is a dancer has done what might otherwise seem impossible, finding his own moves nestled smartly between the two, and I applaud that. 

Jenna Pryor as Lina Lamont With Kelsey Brodeur as Kathy Selden) in Chaffin’s “Singin’ in the Rain”

Cast as Lina Lamont is Jenna Pryor, one of my theatre crushes, having starred in a variety of local theatre productions ranging from Disney princess, Belle in Beauty and The Beast, to Leslie in American Idiot. Heck, on Chaffin’s stage alone, she’s been seen in a couple of Southern Fried productions, as well as Freaky Friday and Mamma Mia. Sporting a platinum blonde Harlow-eque wig and some form-fitting dangerous curves ahead costumes, courtesy the show’s costumer, Tammie Whited, Pryor perfectly transforms herself into the quintessential not-so-dumb-blonde and I’m here for it. I’m just gonna be honest, I couldn’t stop grinning from ear to ear from her first line on.

Rounding out the major players is Kelsey Brodeur as Kathy Selden. The native Atlantan, former New Yorker and recent Music City resident might be a relative newcomer to Chaffin’s, having appropriately made her Barn Dinner Theatre debut as Star to Be in their recent spectacular production of Annie, but Brodeur has appeared in a number of regional productions in and around the Syracuse area where she studied musical theatre and I’m here to tell you, she’s definitely one to watch. As Kathy, Brodeur finds the sweetness of Reynold’s girl-next-door, coupled with just enough sass and smarts to find what she wants and go for it.

From the show’s opening sequence, Fit as a Fiddle, which establishes the longterm friendship of Lockwood and Brown by way of ‘home movies’ projected on screens the roll down from the two corners of the stage to the mid-show literal show-stopping title tune and on to its all-in reprise at the final, Singin’ in the Rain is jam-packed with marvelous musical moments. 

Among my personal favorites in Chaffin’s production, first there’s You Stepped Out of a Dream, performed by Moran’s Don Lockwood, complete with beautiful harmonies courtesy an ‘only in a musical’ seemingly impromptu street chorus of passers by. Let’s be honest. Who wouldn’t swoon to a croon from this guy?

Kelsey Brodeur, Matt Moran (and Jenna Pryor) in Chaffin’s “Singin’ in the Rain”

Then there’s my absolute favorite number in the entire show…no, not THAT one…I’m talking about Kathy’s infectious musical entrance, All I Do is Dream of You. It’s sweet, it’s cute, it’s ironic, since she and Don aren’t exactly chummy at this point and with Brodeur’s lovely voice, a kick line of gorgeous ensemble members and Reed’s dynamic choreography, it’s perfect. 

Next on the highlight reel is Reed’s guffaw-inducing comic song and dance, Make ‘Em Laugh. Due to the confines of the space, Reed accepts the challenges and reigns victorious in a number filled with slapstick pratfalls, a great tune and some fancy footwork.

With a first act that’s nearly 90-minutes in length (as my sweet mother can attest, it flies by thanks to the fabulousness of the music, the saccharine storyline and the dedication and talent of the cast) there’s one great sequence after another. Beautiful Girls, features Daniel Bissell surrounded by…well…beautiful girls, including ensemble members, and three of my theatre crushes, Christina Candilora, Jenny Norris and Christen Heilman, in an homage to Busby Berkeley and Florenz Ziegfeld.

You Are My Lucky Star, another fan favorite, which ironically wasn’t written for the film, but rather first appeared in Broadway Melody of 1936, is among Brodeur’s most glorious vocal moments. I love that the stage musical restores the intro to the song and Brodeur’s sweet intonations fit it perfectly.

Speaking of perfect, You Were Meant For Me, in which Moran’s Don takes Brodeur’s Kathy behind-the-scenes of the movie studio, is just that…prefect. During this number, our romantic leads trip the light fantastic to more of choreographer Reed’s fancy footwork. With the aide of a large fan, fog machine, some mood-enhancing lighting, a ladder and some movie magic imagination, the relatively empty lot transforms into a balcony scene of love to rival that or Romeo and Juliet…at their happiest. Of course this scene, nor any other could come off as perfectly were it not for the real behind-the-scenes work of properties manager, Joy Tilley Perryman, technical director, Robin Lawshe, lighting designer, Daniel DeVault, audio engineer, Kaitlin Barnett and video courtesy Russ Sturgeon Productions/RSVP. On that subject, in addition to the aforementioned ‘home movies’ seen at the top of the show, RSVP’s handiwork is also seen throughout the production as the audience is treated to several Lockwood and Lamont moving pictures of both the silent and talking varieties, to much delight.

Back to the musical highlights…Reed and Moran team up for Moses Supposes, with Bissell as their straight man during a tongue-twisting, toe-tapping, tap-tastic musical delight, then Reed and Moran are joined by Brodeur for yet another of my favorite musical moments from the piece as they do a little spectacular couchography whilst singing Good Morning. Yes, it’s still my go-to wake-up alarm song.

Matt Moran, Kelsey Brodeur and Curtis Reed in Chaffin’s “Singin’ in the Rain’

This brings us to THE legendary, iconic, stupendous moment of the show…That’s right…Act 1 concludes with the title tune, Singin in the Rain. When I posted on social media that I was attending the show last weekend, a friend, who had seen the original touring production with me back in the late-80s/early 90s, who also just so happens to be a theatre professor/actor and talented director in his own right, commented asking “Does it Rain?” to which I responded, “Does it EVER”. 

As if Chaffin’s magic stage weren’t awe-inspiring enough, during the pinnacle moment of this number, thanks to some creative handiwork from Chaffn’s beloved former owner, John Chaffin himself, it not only rains it pours! As Moran’s Lockwood sings the show’s most familiar tune, it rains along all four sides of the square stage. Shoot, director Norris, during her welcoming remarks gave a little warning to audience members seated along the four sides of the magic stage that they might get a little damp, giving a whole new meaning to immersive theatre. Moran amps up the vibe even more by playfully kicking and dancing in the rain, causing it to splash towards those seated nearby, but just like a kid stomping in puddles, no one minded getting a little damp, especially considering the shower of talents they were witnessing. As the song’s lyrics say, “Come on with the rain, I’ve a smile on my face!” True Confession: I was so moved by the spectacle of it all that my eyes might have rained a little too. When the lights came up, my Mom looked at me and asked if my allergies were bothering me. A little embarrassed at just how much I love a great live musical that moves me to tears, I simply nodded yes. 

Following intermission, the music continues, but it’s plot that takes center stage as Lina finally clues in to Don, Cosmo and Kathy’s plan to dub her voice. While the second half of the show has it’s share of pleasing musical moments, Kathy’s Would You, Don’s Would You response and Don, Cosmo and company’s Broadway Melody (including the aforementioned mod dance sequence), it’s Pryor as Lina for What’s Wrong with Me that pretty much steals the second act. While Lina is predominately played strictly for laughs with her helium voice, couple with a decidedly east coast, street-wise vernacular, What’s Wrong With Me actually makes the audience feel just a little compassion for the show’s blonde baddie. Just when you’re feeling sorry for Lina, it’s back to laughing at her, thanks to the inclusion of a bit of what I’m naming skip-ography. Again….when Pryor’s Lina is on stage, I can’t stop laughing.

As is the case with any Hollywood musical worth its salt, by play’s end, everything’s tied up in a nice package just in time for the boy to get the girl as they reprise You Are My Lucky Star and the entire ensemble descends upon the stage for one final encore of the title tune.

Kudos to director Norris, choreographer Reed and everyone at Chaffin’s. Time after time, show after show I marvel at how the company seamlessly navigates what is a relatively small, albeit magic stage—yes, it still descends from the ceiling and I’ll never get over the awe of that feat alone.

The fantastic leads, with noteworthy assists from the entire cast—including Greg Frey as movie mogul RF Simpson, Nick Spencer as Rosco Dexter, Daniel Bissell as Production Tenor, Gabe Atchley as Rod, the always brilliant Katie Bruno doing double-duty as both Dora Baileyand Miss Dinsmore, Gabe Atchley as Rod and ensemble members: Seth Brown, Christina Candilora, Christen Heilman, Josh Innocalla, Benny Jones, Bethanie Lyon, Brooke Mihalek and Emmy Peurta—coupled with Reed’s double-duty as choreographer and co-star, all helmed by Norris, who not only director, but also appears on-stage as Zelda Zanders, it’s all a marvel.

Just before curtain on the night I attended, Norris, a veteran of the stage and a favorite at Chaffin’s, informed me that this show marked her directorial debut. With her winks to the gorgeousness of the original film and Reed’s choreo that includes everything from nods to the lush hyper-produced spectacles of the aforementioned Berkley and Ziegfeld, to the inevitable modern dance sequence that’s included in just about every mid-century musical, Chaffin’s Barn’s Singin’ in the Rain is just about as perfect a stage musical extravaganza as you’re likely to see outside of Broadway itself. 

Oh, and don’t forget…while I mostly refer to the venue as Chaffin’s Barn, their full name is Chaffin’s Barn Dinner Theatre! Ever since the change in ownership, the dinner aspect has vastly improved, offering patrons who choose the dinner and show tix the choice of either a huge variety of buffet items, or the option to order from their equally delicious ‘a la carte menu.

Chaffin’s Barn Dinner Theatre’s Singin’ in the Rain continues on the mainstage with shows through November 30. CLICK HERE or call 615.646.9977 for reservations. 

Thursday matinees begin at 12 noon (doors at 11a.m.), while Thursday, Friday and Saturday evening performances begin at 7:30p.m. (doors at 5:30). Sunday matinees begin at 2 p.m. (with doors at noon for lunch service.

Thursday matinee tickets are $19 for show only or $27.50 for show and a Box Lunch. (Wednesday matinee will also offer the Box Lunch option). Evening show tickets are $13 for children 12 and under, $20 for youth/students and $35 for adults. Living up to their Barn Dinner Theatre name, Chaffin’s also offers a full buffet option or a la carte menu items for their evening and Sunday lunch matinee performances. Chaffin’s delicious buffet, featuring a choice of entrees (including a veggie option), and a number of side items is available for an additional (but completely worth it) $15.95, while the ‘a la carte menu items (also quite tastily) range in price from $6.95 to $10.95, plus there’s a wide array of desert options to choose from $2.50 to $5.00. CLICK HERE to check out the menu. 

While Singin’ in the Rain continues through November 30, A Tuna Christmas begins at Chaffin’s Backstage with shows November 29-December 21, CLICK HERE for tickets or more info. Following Singin’ in the Rain, Chaffin’s will present Sanders Family Christmas on the Mainstage from December 5-21. CLICK HERE for tickets or more information. As they always do during the holidays, Chaffin’s will also present a show specifically aimed towards the younger audience as they present Jingle All The Way with Friday and Saturday shows from December 6-21. This special holiday treat is only $10 a person with kiddies two and under admitted FREE. Call the box office at the number above for details or to purchase tickets.

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.

Public on-sale date announced for Tony-winning ‘Hamilton’ National Tour in Nashville at TPAC’s Jackson Hall December 31, 2019-January 19, 2020

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Early this morning, TPAC finally announced the long-awaited details of the public sale date for the highly anticipated Music City debut performances of Hamilton. Producer Jeffrey Seller and Tennessee Performing Arts Center revealed that tickets for the Nashville leg of the first-ever National Tour of the eleven-time Tony®-winning musical will go on sale on Monday, Nov. 11 at 10 a.m. Tickets will be available at TPAC.org and in person at the TPAC box office (505 Deadrick Street) in downtown Nashville. Tickets will be available for performances Dec. 31, 2019 – Jan. 19, 2020.

 There is a maximum purchase limit of eight (8) tickets per account for the engagement. When tickets go on sale, prices will range from $79 to $199 with a select number of $349 premium seats available for all performances. Additional fees will apply to online purchases. As TPAC has offered for many of their recent shows, there will be a lottery for $10 seats for all performances. Lottery details will be announced closer to the engagement.

Jeffrey Seller noted, “It’s tempting to get tickets any way you can. There are many sites and people who are selling overpriced, and in some cases, fraudulent tickets. For the best seats, the best prices and to eliminate the risk of counterfeit tickets, all purchases for the Nashville engagement should be made through TPAC.org.”

Hamilton is the story of America’s Founding Father Alexander Hamilton, an immigrant from the West Indies who became George Washington‘s right-hand man during the Revolutionary War and was the new nation’s first Treasury Secretary. Featuring a score that blends hip-hop, jazz, blues, rap, R&B, and Broadway, Hamilton is the story of America then, as told by America now.

With book, music and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler and musical supervision and orchestrations by Alex Lacamoire, Hamilton is based on Ron Chernow’s biography Alexander Hamilton.

The Hamilton creative team previously collaborated on the 2008 Tony Award®-winning Best Musical In the Heights.

Produced by Jeffrey Seller, Sander Jacobs, Jill Furman and The Public Theatre, Hamilton features scenic design by David Korins, costume design by Paul Tazewell, lighting design by Howell Binkley, sound design by Nevin Steinberg, hair and wig design by Charles G. LaPointe, casting by Telsey + Company, Bethany Knox, CSA and General Management by Baseline Theatrical.

Hamilton will be the fourth production in TPAC’s current Broadway at TPAC 2019-2020 Season, having began the season with Dear Evan Hansen, Once on This Island and their current offering, The Spongebob Musical (on stage at Jackson Hall thru Sunday, November 10). The add-on special presentation of CATS will take to TPAC’s Jackson Hall November 19-24.

Following Hamilton, the season will continue with My Fair Lady, Escape to Margaritaville, Summer: The Donna Summer Musical and Roal Dahl’s Charlie and the Chocolate Factory, as well as add-on specials including Blue Man Group, Jesus Christ Superstar and The Color Purple. CLICK HERE for tickets or more info. 

With five shows still remaining in the current season, Flex Package Season Subscriptions are still available. CLICK HERE for more details. To keep up with what’s happening at TPAC, follow them on Facebook, Twitter and Instagram.

For more about Hamilton on Tour, CLICK HERE to check them out online or follow them onFacebook, Twitter, and Instagram.

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

Rapid Fire Q&A with ’It’s My Party’ director, Bradley Moore; Studio Tenn to host staged reading of new musical Saturday, October 5

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In recent months, Studio Tenn has announced several new initiatives from new educational outreach programs, classes and services to the development of new theatrical works. At 7 p.m. Saturday October 5, one such new work will be presented during the premiere staged reading of It’s My Party, a new musical featuring the songs of 60s pop icon Leslie Gore. Written by playwrights Jamison Lingle and Nick Hirata, It’s My Party brings the popular beach movie concept to the stage as directed by Bradley Moore with a cast including Studio Tenn darlings (and former American Idol fan favs) Diana DeGarmo and Ace Young.

Earlier this week I had a chance to chat with my friend Moore for the latest installment of my recurring interview feature, Rapid Fire Q&A to find out a little more about the project, the creatives behind it and what audiences can expect.

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Bradley Moore

JHP: How did you become involved in this project?

BRADLEY MOORE: About a year ago, I started getting together with Benji Kern (interim Artistic Director of Studio Tenn) for coffee and lunches to chat all things theatre. He’s really into reaching out to other creative folks in town and getting to know them. At one of our coffee hangs, he told me about this project. He thought that I should get together with the writers and see if we jived. And the rest is history!

JHP: I’ve attended a few staged readings over the years, but never one for a musical. How does that work?

BRADLEY MOORE: Well you know, I have directed some in the past, but never one for a musical either, so it was definitely exciting, uncharted territory for me. What I love about readings is that there are really no rules. It can be as simple as a bunch of people on stage with music stands to people with scripts moving all over the place. This show has such a great, youthful energy that I wanted to make sure that what we were presenting represented that. So our presentation is somewhere in the middle and all around. You know me, I don’t really love simple and never want to do what anyone has done before. I love what is going to be on that stage Saturday night. And yes! There will be a live band and singing!

JHP: Who have you got amongst your cast?

BRADLEY MOORE: We were so fortunate that Diana DeGarmo and Ace Young were in town and graciously agreed to be a part of this journey. It has been a thrill working with them. Both are ridiculously talented and the kindest humans you could ever hope to know. And joining them on stage are some incredible performers including Heather Hershow, Kristen Fields, Annika Burley, Emmarose Williamson, Ben George, Jackson Rector, Ty Russell, Jonah Jackson, Matthew Roberts, Zachary Waters, Kat Shannon, & Kelly Whitlow.

JHP: What can you tell me about the plot?

BRADLEY MOORE: It’s My Party is set in the 1960’s in Malibu, California. It follows a group of college coeds through love triangles, hair-brained schemes, revenge plots, mistaken identities, among other hilarious plot points. The fantastic writers, Jamison Lingle & Nick Hirata, have poured so much love and time into this project. They have really crafted a wickedly fun and well-written show. 

JHP: I’ve said it many many times in my reviews, Studio Tenn is as close to Broadway-quality as we get. How exciting to be involved with them for this piece?

BRADLEY MOORE: Extremely. I have admired Studio Tenn’s productions for years. It’s really nice to be creative with people who appreciate the complete scope of creativity. And Benji has been so supportive and trusting. It has been a dream come true. I hope there are many more projects with Studio Tenn in my future. 

JHP: You mention Benji. He’s producing, right? How is he as a producer? 

BRADLEY MOORE: Fantastic. His work-ethic and trusting nature are a beautiful thing. I am forever grateful for his faith in me. I have kind of had a very weird 18 months in the theatre world. This project has definitely helped me to believe that I am right where I should be. Sometimes one opportunity can really turn things around for someone. Benji felt that I was the right person for this project and I am so glad he did!

JHP: I understand as part of the staged reading your cast will be performing a handful of the songs featured within the musical. Who are some of the musicians you’ve been working with for the reading?

BRADLEY MOORE: Sandy Tipping. Sandy Tipping. Sandy Tipping. Sandy is our Music Director and the one who worked on the arrangements of all the songs. He is brilliant and one of the easiest humans to work with. I did not know Sandy prior to this process, but I am so grateful that I know him now. He has created some beautiful arrangements of Leslie Gore’s music with the help of the playwrights Jamison and Nick.

JHP: Speaking of Leslie Gore. Have you always been a fan of her music or is she an artist you discovered by accident? 

BRADLEY MOORE: My introduction to Lesley Gore was definitely because of the film, The First Wives Club, which to this day is still one of my favorites. For those who have not seen it, at the end of the film, Diane Keaton, Bette Midler, and Goldie Hawn perform a very enthusiastic version of You Don’t Own Me. It is amazing and super fun, not to mention you have three of the greatest actresses on this planet. I had the soundtrack to the film and wore it out. So maybe my love for that moment in that film has lead me to directing this project. A little kismet never hurt anyone!

JHP: If people want to attend the reading on Saturday, October 5 at 408 Church Street (3rd Floor) in Franklin, can they still RSVP?

BRADLEY MOORE: Yes! Just go to the link and sign up! The reading is free, but you must RSVP!

JHP: For those who miss Saturday’s staged reading, when might we see this work developed into a full stage production?

BRADLEY MOORE: Personally, I would love to see a fully staged production. Here’s hoping! It’s really ready. Usually, with any new work, there are a lot of rewrites and retooling after the initial reading/workshop phase. I’m not so sure this piece needs all that. It is pretty awesome the way it is!

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To check out just how awesome It’s My Party is, be sure and CLICK HERE to RSVP to the staged reading.

Following this weekend’s staged reading, Studio Tenn immediately dives into their next endeavor on Friday, October 18 as they present their spectacular annual fundraising gala, One Night Only, themed this year as “An Evening With Friends”. CLICK HERE for more info or to purchase tickets. Then, from December 6-29, Studio Tenn will present Rodgers and Hammerstein’s Cinderella. CLICK HERE for details. You can always check out Studio Tenn online at StudioTenn.com or follow their socials at Facebook, Instagram and Twitter.

Wanna check out previous Rapid Fire conversations? CLICK HERE. 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 the director and cast of ‘Annie’; at Chaffin’s Barn July 11-August 3

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For nearly 100 years, popular culture has had a soft spot for the precocious yet lovable curly-headed orphan girl known simply as Annie. From her 1924 debut as cartoonist Harold Gray’s main character and the star of her own Broadway show, which premiered in 1977, on to 1982’s beloved film adaptation featuring Aileen Quinn, Albert Finney, Carol Burnette, Ann Reinking, Tim Curry and Bernadette Peters and even popular, abeit less successful redos in 1995, 1999 and 2011, Annie and her wide-eyed optimism remains a positive and uplifting reminder that the sun will in fact come out tomorrow. Well, lucky for Nashville theatre audiences, they don’t have to wait for tomorrow as Chaffin’s Barn Dinner Theatre’s Annie opens today, July 11 and runs through August 3.

Earlier this week, with the show’s opening only a day away, I had the opportunity to chat with the show’s director, a few of the adult co-stars and both you actresses who’re playing Annie for my latest Rapid Fire 20 Q interview. That’s right, because of the rigors of this tune and dance-filled show, Chaffin’s is working with two youth casts. What follows are my conversations with Ava Rivera and Elle Wesley—the two Annies; Joy Tilley Perryman, the shows director; Galen Fott, who plays Daddy Warbucks; Jenny Norris, who’s appearing as Miss Hannigan and Curtis LeMoine, cast as Rooster.

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RAPID FIRE 20 Q WITH CAST AND CREW OF CHAFFIN’S ANNIE

RAPID FIRE WITH CHAFFIN’S ANNIE STAR, AVA RIVERA

JHP: How excited are you to be playing Annie at Chaffins?

AVA RIVERA: I am so thankful to God and Chaffin’s for the opportunity to play my dream role of Annie! This theatre is well known so this is a very big deal for me. I love working with everyone there especially my new friend Elle Wesley. I hope I can someday perform at Chaffin’s in the future! 

JHP: What’s it been like working with Rufus, the dog who’s playing Annie’s canine pal, Sandy?

AVA RIVERA: Rufus is one of the sweetest and cutest dogs in the world. We worked real hard together to be a great team. I’ll let you in on a secret, He is the real star of this show! 

RAPID FIRE WITH CHAFFIN’S ANNIE STAR, ELLE WESLEY

JHP: What’s the best part of being Annie at Chaffin’s?

ELLE WESLEY:  That’s difficult because there are so many fun things!  If I had to choose it would be all the friends I have made and the new people I have met.  I will always remember the connections I have made with the orphans, Sandy the dog, all the servants, Grace, Warbucks, EVERYONE! That’s the best thing about being Annie – you get to connect with EVERYONE in the cast at some point in the show.  We really have fun together and it shows on stage. The smiles and laughter are all very real.  It’s a great cast and I feel really blessed to be a part of it!

JHP: Hard Knock Life is one of my favorite Annie moments. Are you enjoying working with the show’s choreographer, Miss Lauri Dismuke and the other orphans during this sequence?

ELLE WESLEY:  Oh yes!  It’s one of my favorite moments too!  I have made such good friends with the orphans especially the ones I have to hate like Pepper, July, and Duffy.  And I LOVE Miss Lauri!  She is so helpful and encouraging to all of us.  She worked really hard with us to make sure that song was really fun for the audience to watch.  There are a lot of twist and turns and tricks that are really cool.  It’s one of the best parts of the show.

RAPID FIRE WITH CHAFFIN’S ANNIE DIRECTOR, JOY TILLEY PERRYMAN

JHP: With two young actresses playing Annie and two separate youth cast as the orphans, what has the rehearsal process been like?

JOY TILLEY PERRYMAN: We started with the orphans and the Annies a week before the adult cast came on board. We called that week Annie Camp and we had a blast. It really helped make the process so streamlined. On the day of the table read, the orphans were ready to blow away the adult cast with Hard Knock Life!

JHP: If memory serves me, I believe Annie was last mounted at Chaffin’s in 2011. What is it about the show that makes it a classic crowd-pleaser time and time again?

JOY TILLEY PERRYMAN: It is such an optimistic show. It is a feel good story and a rags to riches tale. See also, cute kids! And adorable dogs!

JHP: Which leads perfectly to my next question…They say to never work with kids or animals in show business, yet here you are directing a show about a girl and her dog. How’s that working out for you?

JOY TILLEY PERRYMAN: It is actually going great. I get along well with both those groups, kids and dogs, so here we are.

JHP: As the director, is there a particular scene that you’ve put your particular spin on that you’re especially proud of, or think ‘THIS is MY Annie’ while watching from the sidelines?

JOY TILLEY PERRYMAN: I think I do have a distinctive style when it comes to comedy, so there are a couple of scenes, that definitely have my fingerprints all over them, but I am going to let you watch and pick them out!

RAPID FIRE WITH ANNIE’S DADDY WARLOCKS, GALEN FOTT

JHP: A few days ago, on your social media, you posted your transformation to the clean-shaven, bald-headed Daddy Warbucks. I commented on your post that I had just been talking about you and the role. Kudos to you for going all in on the physical look. Nothing I hate more than someone playing Warbucks with a head full of hair. Is this physical transformation the most extreme you’ve gone through for a character?

GALEN FOTT: The only thing that comes close was going to the opposite extreme. About 30 years ago, right after doing my only other show at the Barn (The 1940’s Radio Hour), I played the Hairy Man in Wiley and the Hairy Man at Nashville Children’s Theatre. Scot Copeland helped me design my wonderful makeup, which included fake full beard, fake bushy mustache, fake long straggly hair, fake eyebrows, and fake nose. I was a shaggy sight! Yet underneath it all — for the show’s final moment when the Hairy Man loses his hair — I had to wear a bald cap, making for an extremely hot performance. Actually shaving for Daddy Warbucks is a much cooler option!

JHP: Because of the dual casts, you are working with two Annies. Let’s play a little word association. In a single word, how would you describe each of your pint-sized leading ladies?

GALEN FOTT: Now, that’s tough. Both these girls are so wonderful, it’s going to be necessary for everyone to attend the show twice so they can see them both. But they do have their unique qualities, and while both girls embody both of these words, if you’re going to pin me down I’ll go with:

Ava — spunky

Elle — determined

JHP: Of course Annie isn’t your only on-stage love in the show. There’s also Grace, Daddy Warbucks’ faithful assistant. Natalie Rankin is playing Grace. What’s she like as a scene partner?

GALEN FOTT: Natalie is spunky, yet determined. No wait, sorry, that’s Annie…ah, Natalie! She is completely amazing. I just saw her in Street Theatre Company‘s Hedwig and the Angry Inch, playing a character as far from Grace Farrell in Annie as you could possibly get. She’s totally believable and compelling in both roles. Natalie wasn’t as familiar with Annie as I was, from having listened to the cast album since I was 13 (and desperately wishing it was called Andy instead). So it’s been illuminating for me to work with Natalie in reexamining the slightly sketchy Warbucks/Grace relationship from a more contemporary viewpoint.

JHP: What’s Daddy Warbucks’ most redeeming quality?

GALEN FOTT: I’d say “open-mindedness”. He’s initially reluctant to have Annie spend the Christmas holidays — he was anticipating a boy orphan — but he quickly grows to love her. A Republican himself, Warbucks is at first resistant to F.D.R. and his policies, but he’s willing to reconsider and work together for the betterment of the country. Single-mindedly committed for decades to making money, he’s still able to reexamine his life and find a place for loving relationships with Annie and Grace. Who knows…maybe one day he’ll reconsider that hairstyle!

RAPID FIRE WITH ANNIE’S MISS HANNIGAN, JENNY NORRIS

JHP: Last time I attended a show at Chaffin’s, you shared with me your slight apprehension of playing the baddie, Miss Hannigan in Annie. Have you since embraced the villainy?

JENNY NORRIS: Well my nervousness was more based upon the typical portrayal of Miss Hannigan being outside much of what I’ve had the opportunity to play thus far in my career. I wanted to create my own version of Miss Hannigan that served the story but also stayed true to the parts of her I discovered within my own understanding to how this woman ended up cynical, desperate, and unkind, without doing an impersonation of the great portrayals that came before me. I hoped to create a real person, not a caricature and I hope I have done that, villainy and all.   

JHP: Do you find yourself going out of your way to be sweet to the young cast members when not on stage camping it up as Miss Hannigan?

JENNY NORRIS: They are easy to be sweet to as they work really hard and are great kids. I think to some extent, I’ve stayed a little more distant bc I want their characters to feel some nervousness onstage in our scenes.  I want them to see Miss Hannigan when they see me, not Jenny, even though I would like to give em a big hug when we leave the stage and I have just screamed at them. 

JHP: Is Miss Hannigan simply misunderstood? Is there a heart in there somewhere?

JENNY NORRIS: I feel she was raised to believe the way you get ahead in life is to lie, steal, and cheat. She is a romantic that hopes to find love but has been used and tossed away her whole life and that has further solidified her belief that she has to be out for number 1, always. At some point she winds up in charge of all these orphans and its a constant power struggle. In her mind, them versus her. She IS the villain: cruel, selfish, cynical. But there are reasons why she ended up there. 

JHP: Of course the optimistic anthemic Tomorrow is the show’s most recognizable number, but the show has several memorable musical moments. Miss Hannigan’s Act 1 number, Little Girls is my personal favorite from the entire show. What can you tell me about working with the show’s musical director, Rollie Mains?

JENNY NORRIS: I love working with Rollie! He is so talented and always attacks everything from the perspective of telling the story first and foremost. He gives you the freedom to develop your character and sing your songs in a manner that fits that character you have created. He gives you important things to consider and guidance when needed, but the lead-way to feel uninhibited in your creativity. But trust me, he will reel you back on in if you get too far out there! 

RAPID FIRE WITH ANNIE’S ROOSTER, CURTIS LEMON

JHP: Rooster is a scamp and a con-artist. Basically the polar opposite of you. What’s it like to play such a rascal?

CURTIS LEMOINE: I love playing the bad guy, especially if there is a comedic aspect to the character! Believe it or not, I have played several notable villains, or villains-by-proxy: Lord Farquaad, LeFou, Joey and now Rooster. Rooster is particularly ruthless though. While Miss Hannigan is looked upon as the main villain, Rooster is the one who decides to do away with Annie while Miss Hannigan shows a moment of remorse. 

JHP: As Rooster, your paired on-stage with Christina Candelora, who plays Lily St. Regis. You’re both among my theatre crushes. What’s among the perks of sharing stage time with her?

CURTIS LEMOINE: Christina is a joy to work with! She is not afraid to make bold choices and is a great scene partner to try gags with and physical comedy with. Not to mention, she is an absolute bombshell so I’m quite flattered to be her onstage squeeze!

JHP: Rooster and Lily’s big number is Easy Street. You two share it with Miss Hannigan. How would you categorize this epic musical moment, as presented by you three?

CURTIS LEMOINE: As a kid, watching all the animated Disney films, I was always enamored by the songs that all the villains got to sing. You can argue if you’d like but quite honestly, I think the villains always got some of the best songs in those movies. This is no different. I look at it as a chance for the three of us to have our big show-stopping Disney villain number. And we aim to please! The staging, the choreography, and the added harmonies we have worked out with Rollie Mains are spot on and we cannot wait to share it with a live audience. 

JHP: Anyone who knows you, or has had the pleasure of seeing you spark the stage dancing as if your life depended on it in recent shows like Chaffin’s Kiss Me, Kate and Studio Tenn’s Joseph and the Amazing Technicolor Dreamcoat, likely knows you’re a skilled dancer and choreographer. On the subject of choreography, Lauri Dismuke is helming that aspect of the show. Can you sneak peek any choreo moments to watch out for in Annie?

CURTIS LEMOINE: I am so impressed with both casts of Orphans that we have! Both Hard Knock Life and Never Fully Dressed Without A Smile are definite numbers to watch out for because those kids are working it! The ensemble in this show is fairly new to The Barn but we have some fabulous movers in this cast and Hooverville is definitely a number that is quirky, filled with character, and is super fun to watch. And of course, we have a lot of my favorite style of dance in this show….. TAP!

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Chaffin’s Barn Dinner Theatre’s Annie runs through August 3 with performances Thursday-Sunday. Thursday matinees begin at 12 noon (doors at 11a.m.), while Thursday, Friday and Saturday evening performances begin at 7:30p.m. (doors at 5:30). There will be a 2 p.m. (doors at noon) Sunday matinee on July 21. The Thursday, July 25 noon matinee will featuring signing for the hearing impaired, and there will be a Wednesday matinee on July 31 at noon (doors at 11a.m.). 

Thursday matinee tickets are $19 for show only or $27.50 for show and a Box Lunch. (Wednesday matinee will also offer the Box Lunch option). Evening show tickets are $13 for children 12 and under, $20 for youth/students and $35 for adults. Living up to their Barn Dinner Theatre name, Chaffin’s also offers a full buffet option or a la carte menu items for their evening and Sunday lunch matinee performances. Chaffin’s delicious buffet, featuring a choice of entrees (including a veggie option), and a number of side items is available for an additional (but completely worth it) $15.95, while the a la carte menu items (also quite tastily) range in price from $6.95 to $10.95, plus there’s a wide array of desert options to choose from $2.50 to $5.00. CLICK HERE to check out the menu.  CLICK HERE to purchase tickets or call 615.646.9977 to make reservations with the box office. 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 Q&A with ‘Miss Saigon’ cast members Anthony Festa and Stacie Bono; at TPAC’s Jackson Hall thru Sunday, June 9

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Earlier this week as the National Tour of Miss Saigon prepared for their current stint in Nashville at TPAC’s Jackson Hall Tuesday, June 4 through Sunday, June 9, I had the chance to pose a few questions to two of the show’s lead actors for the latest installment of my recurring interview segment, Rapid Fire Q&A. Up first is my conversation with Anthony Festa, who plays fresh-faced U.S. soldier, Chris, who, while stationed in Vietnam, meets and falls in love with a local Vietnamese teenager name Kim. Following my conversation with Festa, I had the opportunity to chat with Stacie Bono who plays Ellen. Ellen is the young American woman Chris marries following his return to the U.S. after the war.

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RAPID FIRE Q&A WITH MISS SAIGON’S ANTHONY FESTA

 JHP:  What can you tell me about Chris, the character you play in the current National Tour of Miss Saigon?

ANTHONY FESTA: Chris is an American G.I during the fall of the Vietnam war who falls in love with Kim a young girl orphaned by the war. The story of our show takes you through his life leading up to the evacuation and the impact of the war’s trauma after.

JHP: While researching to chat with you, I ran across a promo clip in which you say Miss Saigon taught you musical theatre. What do you recall about your first knowledge of this piece?

ANTHONY FESTA: The first time I ever saw this show I was 14 and my father, who has since passed away, pointed up on stage and said “this is a role for you, Anthony”. I find it full circle to be playing it now. In high school I had a CD (remember those?) that I played in my car that had half Rent songs and half Miss Saigon songs on it. I sang the songs on my way to school every day.

JHP: For those who may or may not be familiar with the show, what’s new and different about this production?

ANTHONY FESTA: Our director, Laurence Connor has re-imagined this production completely. From minor script changes to a new helicopter design that really blows the audience away ever single night. Working directly with the entire creative team and Cameron Mackintosh (the show’s original creator) himself has been an amazing experience. The entire team has brought nuance to the piece and really allowed our cast to breath a whole new life into it.

JHP: From what I know, this isn’t your first National Tour, having been part of 2016’s Wicked tour, but this is your first visit to Nashville, right? Is there anything you hope to visit and share with your current cast while here in Music City?

ANTHONY FESTA: The Wicked tour launched in 2009 and just celebrated its 10th year on the road, I wasn’t a part of it until 2016! I didn’t experience Nashville but I’m extremely excited to for the first time now. I enjoy the food and culture in all the cities we visit and I hear Nashville has quite a lot of both!

JHP: If there were a ‘Seven Wonders of Musical Theatre’ list, alongside the chandelier from Phantom, surely the helicopter from Miss Saigon would take its rightful place among the top marvels. You mentioned it above, but I’m curious…it’s  always a thrilling scene for the audience, what’s it like to play that scene night after night from city to city?

ANTHONY FESTA: It’s in a word “iconic”. The helicopter is a multi-million dollar set piece that moves on many different axis points and shutter effects. I marvel at how brilliant the design is every single night and yes it’s right up there with Elphaba flying and the chandelier falling. The audience will feel the wind of this chopper blowing their hair back and the evacuation scene, most commonly, will result in them picking their jaws up off the floor.

JHP: As Chris, you get the joy of not one, but two on-stage romances, first there’s Emily Bautista as Kim, the young local girl Chris falls in love with while stationed in Vietnam. Then there’s Stacie Bono as Ellen, the American girl Chris marries stateside. What’s your favorite aspect of sharing the stage with these two beautiful and talented actresses?

ANTHONY FESTA: Ahh man, I mean you sum it up right there. Beautiful and talented. Emily and Stacie are two amazing and empowering women in a time that I think we need that the most. The strength and journey of their characters is truly beautiful. As Kim, Emily takes on motherhood at such a young age and as Ellen, Stacie cares for an American GI with nothing but complete empathy for his war torn past and trauma.

RAPID FIRE Q&A WITH MISS SAIGON’S STACIE BONO

JHP: Having just chased with Anthony, I asked his favorite aspect of sharing the stage with you, so I’ll start our conversation by asking you…what do you enjoy most about sharing scenes with Anthony?

STACIE BONO: Anthony is so open onstage and we have built strong trust together. I’m confident that whichever direction I go in a scene, he will follow me and have my back. He’s also a super silly, lovable guy offstage and that helps to lighten up all the drama we have to endure onstage.

JHP: While Ellen is central to the action of the story of Miss Saigon, the audience doesn’t really get much backstory on her. I always find it interesting to ask actors what backstory they’ve created for their character that helps them bring a depth to the role. With that in mind…who is Ellen?

STACIE BONO: It is true that there is very little text about Ellen in the script, so I’ve had to use a lot of imagination to flush her out. It fascinated me how this woman was so tolerant of her husband’s outbursts and lack of communication – and she was dealing with this before the discovery of PTSD in 1980. My instinct was that Ellen had experienced this kind of trauma before with someone else she had loved deeply, her father, which gave her understanding and patience for her husband’s suffering. Ellen was very much against the war and went to several protests while in college and so when she falls in love with Chris, she feels it is almost her duty to heal him from what the Vietnam war did to him. Her immense compassion, warmth and empathy in dealing with Kim and Tam leads me to believe she has a career in social work or psychology. She knows how to handle people in stressful situations and keep her own emotions out of it… for the most part.

JHP: Even though the action of the piece takes place in the 1970s, there are so many elements of the story that are relevant today. What’s one aspect of the plot that you find most rewarding to shine a light to?

STACIE BONO: I fear we’ve reached a dangerous place of tribalism and isolationism in our country. We are obsessed with “Us vs. Them” and there is a lack of compassion for humans of other races and cultures. The central story of Miss Saigon is a mother’s sacrifice for her child. That is truly a binding commonality of the human condition that anyone can understand. My hope is that this story can open people’s hearts and inspire a little more tolerance and compassion for others.

JHP:  With so many gorgeous sets, costumes and scenes, what’s among your favorites? Whether you’re part of those scenes of simply admiring from side-stage?

STACIE BONO: My favorite scene is the nightmare. Now you may think it’s because of the awesome 3 ton helicopter in that scene – which is super cool – but it’s really my favorite scene because every single cast member is so committed to transporting the audience to this heartbreaking and epic moment in history. The music, lyrics and our company’s passion and devotion makes the scene so palpable. It makes me weep every time I watch it.

JHP: How’s life on the road been thus far during this tour?

STACIE BONO: Technology has definitely changed the touring life. It’s much easier to explore new cities with google maps and Uber in your back pocket and to stay in touch with your loved ones via FaceTime.

JHP: What’s the most rewarding aspect of being part of the newest chapter of such a beloved piece of musical theatre history?

STACIE BONO: It has been a dream come true to work and collaborate with the creatives of this show. These men are musical theater gods! I remember at one point in the rehearsal room, Claude-Michel Schönberg rewriting the opening of Maybe for me. That was pretty spectacular. It’s been an honor to put my little stamp on a character who has largely been maligned and misunderstood in the past. I hope my portrayal of Ellen has helped show that she is not a villain at all, but another victim of this story.

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With that my conversations with Festa and Bono came to a close, but it’s just the beginning of Miss Saigon’s Nashville tour stop as the famed helicopter lands on TPAC’s Jackson Hall stage in just a few short hours as the National Tour calls Music City home thru Sunday, June 9.

Showtimes are Tuesday-Thursday at 7:30p.m., Friday and Saturday at 8p.m. with matinees Saturday at 2p.m. and Sunday at 1p.m. with a final performances Sunday evening at 6:30p.m. Tickets range in price from $40 to $100. CLICK HERE to Purchase tickets or for more information.

Earlier today, TPAC announced the limited availability of $30 rush tickets for all performances. For a chance to purchase select seats at this special price, you must arrive at TPAC’s lobby box office 90 minutes prior to showtime, where you can enter to a ticket lottery drawing. Limit two per person while supplies last. 

If you’ve enjoyed this Rapid Fire Q&A, CLICK HERE to peruse previous conversations. Be sure and check back for my review of the show after tonight’s Nashville opening night performance.

Not in Nashville? CLICK HERE to see where Miss Saigon plays as the tour continues across the U.S. with dates announced through June of next year. For more from the National Tour of Miss Saigon, follow the company of Facebook, Twitter and Instagram. To keep up with what’s happening at TPAC, follow them on Facebook, Twitter and Instagram as well.

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 Q&A with director and cast of Expression City’s ‘Matilda’; regional premiere March 29 & 30

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It’s been three years since Nashville theatre audiences had the opportunity to see Matilda: The Musical when the National Tour came through Music City. Thanks to Curtis Reed and the team at Expression City, all that’s about to change this weekend as Bradley Moore directs the regional theatrical premiere of the beloved Roald Dahl story of a precocious young girl with a penchant for elaborate stories and a touch of telekinesis; at Expression City’s gorgeous new Roy E. Barberi Theatre (1724b Gen George Patton Drive Brentwood, TN) for three shows only, Friday and Saturday, March 29 and 30. Matilda stars Audrey Rowels in the title role and features a mix of professional actors, adults and student performers. As the cast prepared for Opening Night, I recently chatted with director, Moore and a few members of his cast, including Reed, who’s playing Agatha Trunchbull; Elizabeth Turner, cast as Mrs. Wormwood; John Mauldin, appearing as Mr. Wormwood, for the latest in my recurring interview feature, Rapid Fire Q&A.

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RAPID FIRE WITH MATILDA’S CURTIS REED

JHP: In addition to being the company’s Musical Theatre Program Director, you’re also choreographing and appearing in Matilda as Agatha Trunchbull. What can you tell me about Agatha?

CURTIS REED: Yes, I have been with the company since its start and have helped build their musical theatre program into what it is today. I have a secret love for playing the villain. It’s always a bigger stretch, and with this particular character having so much comedy built in, it has been a dream come true. I may not be 6 feet tall or taller like those who played her on Broadway, but I have a very large personality that i think makes up for what I lack in stature. 

JHP: Aside from the National Tour that played TPAC a few years back, this marks the regional theatrical debut of Matilda. How did mounting it at Expression City come about?

CURTIS REED: Allison Barberi, the owner and founder of Expression City and I have talked about it for a while now and we both said, the second it becomes available let’s apply. We were fortunate enough to be able to stage the first premiere of the show here in Nashville and that is huge for us! Especially is a growing company only 3 years old.

JHP: What is it about Matilda that makes it a perfect fit for Expression City’s current season?

CURTIS REED: These kids that are part of our program are crazy talented. We have a lot of girls and a good handful of boys. We knew this would be the next challenge that they could definitely take on. With close to 20 kids having to learn British accents and pull them off—along with a style of choreography they aren’t used to and a story that is a bit darker in nature,—they have all risen to the expectation. 

JHP: You’ve worked alongside Bradley Moore in a number of shows over the years, but this is his first time directing for Expression City. What’s been the best aspect of having him direct this show?

CURTIS REED: Not only is he a dear friend, he is a respected and admired colleague. I was so happy that I could bring him in and we could finally collaborate on a show on the same side of the table. The kids love him and we have a stellar adult cast as well. We are so looking forward to sharing this project with Nashville. Bradley’s direction keeps it fresh and constantly moving. This show is a beast!

RAPID FIRE WITH MATILDA’S BRADLEY MOORE

JHP: When I chatted with Curtis, I asked him about working with you as a director, so I’ll start by asking you about directing Curtis. How has it been working with him and the rest of the cast of Matilda?

BRADLEY MOORE: This is actually the fourth show that I have directed Curtis in and I am always so lucky to have that opportunity. He is always a team player and one of the most talented, committed performers I know. The difference on this show was that he was not only playing one of the main characters, but also the Choreographer & Music Director. So we finally had the opportunity to collaborate on all things creative. That was a gift! We have been close friends for years and always talked about working together in different capacities and it finally happened! We were both clamoring to do Matilda so this was definitely kismet. And the cast is incredible. Such a ridiculously talented group of kids and professional actors. And I get to work with Cecilia Lighthall as my Stage Manager! I could not have asked for a better situation to present this Tennessee Premiere!

JHP: This is your first time directing a show at Expression City. What was behind your decision to join the team in this capacity?

BRADLEY MOORE: The short answer: Curtis. For the past year, he had been very adamant about bringing me into the Expression City family. And for that, I am super grateful. Friends who go to bat for you and try to help you achieve your dreams are extremely rare. Then back in December, he had cast me in Newsies at Expression City, which was my first experience with the studio. I loved every minute. The kid’s passion and energy is infectious. The environment at Expression City is very positive, encouraging, and warm. I couldn’t think of a better place to create art.

JHP: What do you hope audiences come away feeling after experiencing Matilda?

BRADLEY MOORE: Matilda is one of those shows that has all the feels; It’s hilarious, heartwarming, heartbreaking, sad, scary, and a million other emotions. I think that each audience member will take something different away from the show. As long as they leave with a smile and maybe a tear in their eye, then we have definitely done our job as artists.

JHP: I understand your cast includes 18 student performers. What’s the most exciting aspect of directing theatre kids?

BRADLEY MOORE: Remembering that I was them. I think back to when I was their age and realize how much I learned from my directors and the seasoned actors I was lucky enough to work with. To possibly be that person in these kids’ lives is a powerful thing. Kids are sponges and they are so eager to learn and better their craft. And I keep saying kids, but these “young actors” are a level of professional that I don’t even think I was at their age. The whole experience has been beyond rewarding for me. 

RAPID FIRE WITH MATILDA’S ELIZABETH TURNER

JHP: You play Mrs. Wormwood. What’s your favorite thing about her?

ELIZABETH TURNER: Boy, I wish I had one ounce of her self-confidence! She literally dances like EVERYONE’S watching. 

JHP: This is your first time being in a show at Expression City. Are you having fun?

ELIZABETH TURNER: I am having a great time!  I was on a bit of a self-imposed theatre sabbatical after having my daughter Eleanor in 2017, and I am really happy this was the show that got me out of my “mom cave.” The cast is extraordinary with great chemistry. And of course, I always enjoy working with Bradley.

JHP: As Matilda’s mother, you share scenes with both Audrey Rowles, who’s playing Matilda, Braden Wahl, who plays Matilda’s brother, Michael and John Mauldin, who’s playing your on-stage husband, Mr. Wormwood. What’s it been like being part of this particular family?

ELIZABETH TURNER: Oh, you know, we’re just your typical Norman Rockwell family, with a hint of John Waters mixed in for variety!  Audrey is such a sweet, talented, and grounded young actor. She carries the lion’s share of the show’s lines and songs, and I’m so impressed with her abilities. Braden and I graduated from the same theatre program at Tennessee Tech a few years apart from one another, so it’s been a lot of fun talking about productions and mutual friends back in Cookeville. 

John has been an absolute pleasure to work with. He’s such a nice guy that it’s tricky to constantly be yelling in his face and slapping him around onstage.

JHP: A big theme behind Matilda seems to be marching to your own drum, changing your own story. I understand you have a young daughter yourself. While she’s still a toddler, have you given any thoughts of how you’ll instill that attitude in her?

ELIZABETH TURNER: Great question!  My husband (Toby Turner) and I have had many talks about what we think Eleanor will be like when she’s older. I often joke that, it’d be just our luck that the two actor parents would have a child who is only interested in sports. But, of course, we will support her interests whatever they may be, and in the end, what really matters to us is that she’s happy with who she is, both inside and out, and that she is not afraid of being her 100% authentic self. To quote Kacey Musgraves, “just follow your arrow wherever it points!”

RAPID FIRE WITH MATILDA’S JOHN MAULDIN

JHP: What can you tell me about Mr. Wormwood?

JOHN MAULDIN: He is probably an example of one of the worst parents in the world in the sense that he is not compassionate to his youngest child, Matilda, who he wished was a boy.  He is a used car salesman who has grand schemes that aren’t fully thought out which have disastrous results for the family.  Ironically, his blunderings lead to one of the most heartwarming stories in Matilda.

JHP: Matilda tells the story of a precocious 5-year old who takes refuge among the library. As a kid, what was your escape?

JOHN MAULDIN:  My imagination was my escape. I would create narratives for my G.I. Joes; ya know secret rescue missions and what not.

JHP: For this who may not be familiar with the story, Mr. Wormwood is Matilda’s father. Audrey Rowles is playing the title role. What can you tell me about your young co-star?

JOHN MAULDIN: She is an amazing kid with oodles of talent. The audience is going to love her. She has been a real treat to work with.

JHP: This is your second show with Expression City, having appeared in their recent Newsies production. What’s the most gratifying aspect of working with a theatre company focused on younger actors and audiences?

JOHN MAULDIN: It is a joy to work with these kids.  Their commitment to honing their craft is inspiring.  The performance level these kids reach is a testament to the training they receive at Expression City.  I am pleased that I may have a small part in mentoring tomorrow’s theatre artists.  It is so rewarding to be a part of the process.

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Expression City’s Matilda plays the Roy E. Barberi Theatre for  only three shows, opening Friday, March 29 at 7:00p.m. then continuing Saturday, March 30 with a 2p.m. matinee and a final performance Saturday night at 7 p.m. At the time of this article, a very limited number of tickets remained, but you can always hope for a Miracle or get a little Naughty and CLICK HERE to purchase tickets. Next up for Expression City, the company will present a Music Recital on May 11, then Thoroughly Modern Millie, Junior performances May 31-June 1, followed by a Mary Poppins Theatre Camp and performance in July. To learn more about Expression City’s Programs, Classes and more, CLICK HERE. You can also find them on Facebook, Twitter and Instagram.

If you’ve enjoyed this Rapid Fire, CLICK HERE to check out previous conversations with the who’s who of Nashville’s theatre scene.

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.

Breaking News: Ahead of this year’s upcoming Broadway season announcement event, TPAC releases ‘Hamilton’ Nashville premiere details

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The wait is finally (almost) over. Details concerning the Broadway smash hit Hamilton and its upcoming Nashville tour dates have been released. By way of a Breaking News press release, comes word that Hamilton will play TPAC’s Jackson Hall December 31-January 19, 2020.

Last April, during the 2018/2019 Broadway Season Announcement Event, TPAC patrons were among the first to learn that the Broadway smash hit, Hamilton would be coming to Nashville. That news was revealed by way of a special video message from former Nashvillian and Belmont University alum Chris Lee, who at the time played Marquis de Lafayette and Thomas Jefferson in both the Chicago and touring productions of Hamilton.

From the creative genius of Lin-Manuel Miranda, Hamilton tells the story of Founding Father Alexander Hamilton, an immigrant from the West Indies who became George Washington’s right-hand man during the Revolutionary War and was the nation’s first Treasury Secretary—all set to hip-hop, jazz, blues, rap, R&B and traditional Broadway musical styles.

TPAC.org is the only official place to purchase tickets, so be sure and CLICK HERE to stay informed about all things Hamilton in Nashville. You can also check 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: ‘Anastasia’, a visually stunning, historically based, albeit fictionalized fairytale; at TPAC thru Sunday, March 24

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Anastasia, the musical, is currently on stage at TPAC’s Jackson Hall through Sunday, March 24, as the first National Tour continues. With book by Terrence McNally (known for everything from Frankie and Johnny at the Clair de Lune and Love! Valor! Compassion! to Ragtime, The Full Monty and Chita Rivera: The Dancer’s Life), lyrics by Lynn Ahrens (Lucky Stiff, Seussical, Ragtime, the aforementioned Chita Rivera musical and more) and music by Aherns’ frequent musical theatre partner, Stephen Flaherty, Anastasia premiered on Broadway spring of 2017, with its first national tour having launched October of last year. Interestingly, the show’s Music City performances come just weeks before the original Broadway run is set to close later this month.

Adapted from both the 1956 Cinemascope spectacle starring Ingrid Bergman and Yul Brenner, and Helen Hayes, as well as the 1997 feature of the same name from animation legend, Don Bluth (An American Tale, The Land Before Time, and my personal favorite, The Rescuers–when he was still with the House of Mouse), Anastasia tells the tale of an amnesiac orphaned girl known as Anya, who resembles The Grand Duchess Anastasia, the youngest daughter of Czar Nicholas II. Although Anastasia was thought to have perished alongside the rest of her immediate family during a hostile takeover, rumors–or perhaps simply false hope by their loyal subjects–persisted that the young duchess somehow survived. Those rumors lend themselves perfect to a storyline that seemingly combines elements from Cinderella and My Fair Lady as two con men meet Anya by chance and immediately take note of her resemblance to the presumed dead heir to the royal lineage. They quickly began teaching her how to act like a duchess with a plan to present her to the only surviving member of the royal family, The Dowager Empress, in hopes of earning a reward for her safe return.

From the snowfall of one of the show easiest scenes, the visually stunning piece presents true fairytale moment after moment, courtesy of Alexander Dodge‘s sets, Aaron Rhyne‘s incredibly realistic  projections, Donald Holder’s mood-enhancing lighting design–he inclusion of illuminated streetlamps within the projected images was absolutely mind-blowingly realistic. Simply regal costuming from Linda Cho and wig/hair creations by way of Charles G. LaPointe all add up to a remarkably beautiful show. The majesty of the look of Anastasia truly rivals any show I’ve ever seen.

Completely unfamiliar with the story, having never seen the aforementioned Bergman mid-century drama, nor the Bluth animated entry (I KNOW, I KNOW), I felt at a bit of a disadvantage going into the show, especially when I spotted more than a couple FAnastasias dressed to the nines in their best attempts at recreating Anastasia’s look. From the enthusiastic applause that greeted the rise of the curtain, I knew I was among appreciative fans.

Directed by Darko Tresnjak, Anastasia presents a grand epic of a story that also cleverly contains smaller, more intimate subplots as it invites the audience to journey from the glory of Nicholas II’s palacial House of Romanov to the horrors of the Bolshevik revolution, then the journey continues across the European continent on to the glory of Paris 1920s.

Among the more visually stunning moments, snow falling outside the palace windows and the opulence of the ballroom sequence are absolutely breathtaking. On the other end of the spectrum, when the peacefulness of the snowfall dramatically morphs into sparks of fire during the attack upon the palace, you can’t help but marvel at the creative team’s talent. Then there’s the cleverness of the train trip to Paris. The train car is constructed in such a way that there are no walls or ceiling to it, alowing the audience full access to the action on-stage. Coupled with the projection of the track and the sweeping landscape passing by as the train continues on it’s journey…sheer genius.   

With themes of revolution, rising up and reclaiming one’s lost or forgotten heritage, comparisons to the sweeping epic that is Les Mis are inevitable. Anastasia does have the advantage in the alluded-to spectacular set and projection accomplishments, but the soundtrack is sadly lacking the grandeur of Les Mis.

While a handful of songs: Once Upon a December, A Rumor in St. Petersburg, Learn to Do It, Journey to the Past, Paris Holds the Key and Meant to Be–all originally featured in the musical’s animated counterpart–are in deed audience-pleasing, the majority of the remaining tunes aren’t exactly going to make it onto your playlist after leaving the theatre.

Of the musical highlights, Joy Franz and young Victoria Bingham as The Dowager Empress and Young Anastasia get this off on a high note with the above-referenced show-opening Once Upon A December. It’s such a touching moment and completely serves to set up the relationship between Anastasia and her elder relative, a vital point within the tale’s featured plotline.

Then, when Lila Coogan appears as Anya—the young woman who may or may not be Anastasia—she provides a pleasing performance, especially during her big solo numbers like In My Dreams and the animated film’s FAnastasia favorites.

Another bright, undeniable high point comes in Act Two when Vlad and Lily (one of the conmen and the Dowager Empress’ Lady in Waiting) duet on The Countess and The Common Man. The comedic timing and hilarious physicallity of Tari Kelly as The Countess Lily and Edward Staudenmayer as Vlad during this number evokes memories of Carol Burnett and Harvey Korman during their heyday on The Carol Burnette Show, spoofing many an overly melodramatic film classic. A scene perfectly suited for this show that oftentimes gets a bit bogged down in its own grand airs.

Also worth mentioning are Jason Michael Evans and Stephen Brower as Gleb and Dmitry, two young men, both interested in Anya, but for very different reasons. Every wannabe princess should be so lucky as to have these two handsome, taleneted young men in pursuit.

Also of note, the entire ensemble’s beautiful execution of Peggy Hickey’s magnificent choreography. The previously mentioned ballroom sequence, Act 1’s literally and figuratively hauntingly beautiful ‘ghost’ dance during the Once Upon A December redo featuring Anya and the ensemble, as well as segments featuring traditional Russian dance, and even a snippet of Swan Lake…all performed to perfection.

While Anastasia may lack some of the magic of a certain Mouse’s princess lineup, the sets, costumes and several standout performances are indeed each jewels in the would-be Duchess’ tiara. Anastasia wraps the Music City tour dates with matinee and evening performances Saturday and Sunday, March 23 and 24 with Saturday matinee at 2p.m., Saturday Evening at 8p.m., Sunday matinee at 1p.m. and a final Sunday evening performance at 6:30p.m. CLICK HERE for tickets, or call the TPAC Box Office at 615.2.782.4040.

Not in Nashville, but interested in seeing Anastasia as the National Tour continues with dates current scheduled through August? CLICK HERE for more information or to purchase tickets. You can also follow Anastasia on Facebook, Twitter and Instagram.

Following Anastasia, TPAC’s Broadway Season continues next with a special 10th Anniversary Tour engagement of Rock of Ages for two days (three performances only), Friday, April 12 at 8 p.m. and Saturday, April 13 at 2p.m. and 8 p.m. 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.

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