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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JHP: What’s your favorite childhood Christmas memory?

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

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

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

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

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

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

walls built up, thankfully buddy breaks those down.

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

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

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

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

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

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

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

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

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

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

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

JHP: What makes Elf such a great holiday musical?

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

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

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

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

JHP: How would you describe Walter?

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

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

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

JHP: Peppermint bark or candy canes?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Conte and Sheehan recreate the iconic ‘Sisters’

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rapid Fire 5 Q with Jason Lewis, directing Circle Players’ ‘Hair’ on stage at Looby Theatre thru Sunday, October 21

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The cast of Circle Players’ ‘Hair’ (photo courtesy Circle Players)

Circle Players’ current production, Hair wraps its three-week run with performances Friday, October 19-Sunday, October 21 at the Looby Theatre (2301 Rosa Parks Blvd). First presented on stage 50 years ago, and therefore typically thought of as late-1960s anti-war, musical love-in, the current mounting of the show becomes interestingly relatable to what’s going on in the world around us thanks to director Jason Lewis’ creative eye. Peppering his cast with a few familiar faces, Lewis also reinforces the show’s familial Tribe vibe. With just a few shows left in the run, I recently got the chance to speak with Lewis about the show, his take on it and his cast for an abbreviated version of my recurring Rapid Fire interview feature.

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RAPID FIRE 5 Q WITH HAIR DIRECTOR, JASON LEWIS

JONATHAN H. PINKERTON: Having directed for Circle before, what keeps you coming back?  

JASON LEWIS: Circle Players, through my many returns to Nashville, has always provided me a creative home, even more so now in a directorial capacity. While I was away in New York, old school Circle alums Maggie Bowden and Sue Stinemetz would try to coax me to return and direct for Circle. In the years between their subsequent passings, I faced my own personal setbacks.  I now work for Circle to honor their memories.  People always ask why I don’t just do ‘paid stuff’ since the quality of work is of such caliber and my response is always the same… “Somebody has to be the Mr. Schuester (of Glee fame).”  My background being in education, I love discovering new talent and thrive in the community theatre setting, wowing audiences by exceeding expected results.

JHP: What is it about Hair that drew you to the project?

JASON LEWIS: Well since being back I had helmed one epic show, one funny show and one of spectacle, so to me Hair was a nice middle ground. I wasn’t 100% sure until the Parkland shooting and it’s aftermath. Watching a government do nothing as our youth are (preventatively) being killed off? Watching kids march out of school in protest as we’ve not seen SINCE Vietnam? Instantly, I knew what show I HAD to do. People are on edge politically but they still need hope…and love.

JHP: Among you cast, I spotted a name or two you’ve worked with in the past. what is it about these actors that makes you want to team with them again on this project?

JASON LEWIS: Of my cast I’ve probably worked with Maggie Wood and Scotty Phillips the most.  Both were in Reefer Madness and Bring it On.  Maggie has such a versatile wide range in her abilities, thus a perfect person for each of the roles I’ve given her so far. Scotty works hard and isn’t afraid to step outside his comfort zone.  He stands out in a lead and as an ensemble member. Few local artists can claim that.

JHP: They’re not the only ones you’ve worked with amongst your cast, right?

JASON LEWIS: Besides the aforementioned,  I’ve worked with Amanda Creech, Barrett Thomas and Erica Patterson on Jesus Christ Superstar and Sara Shumway in Reefer/Bring It On and Gillion Welsh and Jarvis Bynum in Reefer, as a director. I also recently shared the stage with Seth Austin Brown, Blake Holliday & Stephanie Twomey in The Full Monty.  Besides being hard workers, the one thing they all have in common is fearlessness when it comes to getting weird, something vital in a Hair tribe member. 

JHP: As a director, what do you hope to get from your actors?

JASON LEWIS: Authenticity and vulnerability as well as completing homework character research assignments in creating their tribe member.  Hair isn’t just about singing, dancing and acting.  My tribe is honoring those actors who workshopped Hair and brought it to life by immersing themselves in 60s counter-culture. Also, I ask that they give themselves over to the uncomfortable moments freely, it is the only way to truly create the organic work of art Hair must be. Never be disingenuous to the material!

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Circle Players’ Hair continues for a final weekend with performances Friday and Saturday, October 19 & 20 at 7:30 p.m. and Sunday, October 21 at 3 p.m. All tickets are $20. Click Here to purchase tickets. For a little more about the cast, Click Here. It should be noted that Circle Players’ website does indeed offer an Audience Advisory of the  show for “nudity, strong language, simulated drug use, adult content and situations that may not be appropriate for all ages”. That said, what better reasons to join the tribe?

Be sure to follow Circle Players on Facebook, Instagram and Twitter for the latest news, tickets and details about the rest of their 69th Season.

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

 

Theatre Review: Directed by Suzanne Spooner-Faulk, Keeton Theatre’s ’Spelling Bee’ charmingly entertaining…C-H-A-R-M-I-N-G-L-Y; on stage thru October 27

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The cast of The Keeton Theatre’s “The 25th Annual Putnam County Spelling Bee” (all photos by Jenny Petit Steiner/courtesy The Larry Keeton Theatre)

Technically, The 25th Annual Putnam Country Spelling Bee, currently onstage at The Larry Keeton Theatre through October 27, isn’t Suzanne Spooner-Faulk’s debut as a director, I say technically because she co-directed the company’s production of Big River last year. It is, however, her first time to fully helm a show and to no surprise to anyone who knows her, she does so to a joyful end, presenting a show brimming with charm, humor, heart and just enough silliness to make watching a show in which adults play school-age children competing in a Spelling Bee worth watching. Doesn’t hurt matters that The Keeton itself use to be a local school, so the auditorium vibe that still exists in the theatre space perfectly adds to the play’s gymnasium setting.

For her cast, Spooner-Faulk has assembled a fun mix of actors, some of whom are returning to Keeton having previously been seen on stage, and a couple making their Keeton debut…always a welcomed choice to mix it up a bit. While it can be nice to have a company that’s completely familiar, that can sometimes result in a few miscast roles. Luckily for Spelling Bee audiences, that is not the case here, as each and every actor involved manages to find their individual character’s quirks and run with them.

Cast as the quirky spellers are Chelsea Pearce, Jason Scott, Miranda Vaqué, Toby Turner, Sydney Rogers, and Jonathan Hunter. Playing the equally quirky adult roles are David Shaw, Drew Dunlop and Jena Salb.

Once the show begins, Salb’s Rona Lisa Peretti takes to the Putnam County gymnasium to moderate the Bee. My Favorite Moment of the Bee features Salb’s Rona Lisa as she reminisces her own championship win some years back. As Rona Lisa, Salb is as perky and excited to be par too the Bee legacy as she is sweet when, during various circumstances in the show, the kids need a little bit of adult support and understanding. Having never seen Salb on stage myself, I am happy to proclaim she’s now among my ever-growing list of theatre crushes.

Joining Salb’s Rona Lisa as the Bee’s sole judge/word pronouncer is Drew Dunlop as Vice Principal Douglas Panch. Dunlop is at his best when he’s interacting with additional Bee contestants pulled from the show’s actual audience. (More about that later)

The third and final adult role comes in the form of David Shaw as Mitch Mahoney, the Bee’s comfort counselor. That’s right, it’s Mahoney’s job to send the losers off with a hug and a juice box. Shaw’s Mitch is delightful. Like several of his castmates, Shaw also appears in an additional role, playing one of two gay dads to one of the kids. You gotta love the stereotypical flamboyance of his gay dad portrayal as well as the equally expected thug look of his portrayal of Mitch, both as wrong and un-PC, funny is funny and Shaw is funny.

Chelsea Pearce, as Logainne (center) flanked by her two dads, Jonathan Hunter and David Shaw (far left and far right) in a scene from Keeton’s Theatre’s “Spelling Bee”.

Then there’s the kids. Pearce, as Logainne Schwartzandgrubenierre, the youngest contestant in the Bee, who just so happens to have two gay dads, is hilarious. Her affected way of speaking—as if she were wearing braces—and her spot-on comedic timing are the perfect combination. Proving just how quick on her feet she is on and off-book, during last weekend’s Sunday matinee when a plane seemed to be about to land on the rooftop of The Keeton Theatre, without missing a beat—and totally in character as Logainne, Pearce cracked wise that her current spelling word “made as much sense as building a community center so close to an airport”.

Scott, as returning Bee champ, Charlito “Chip” Tolentino gets his own chance to steal the spotlight in one of the show’s more surprising musical numbers, My Unfortunate Erection. Yes, you read that right, Chip, like most teenage boys experiences a sudden urge right there in the middle of the Bee. As one of the elderly ladies seated near me said at the close of his number “Oh, my! It’s like that Justin Timberlake SNL song-skit”.

Sydney Rogers, a newcomer to Keeton, plays Spelling Bee newcomer, Olive Ostrovsky. Of all the characterizations of the spellers, Rogers’ Olive truly tugs at the heartstrings as she’s just as concerned with spelling as she is her father’s absence from the audience. Early in the show, she leads the company in My Friend, the Dictionary, a telling tune that touches home with the outcast in all of us.

To be completely honest, upon first glance, Toby Turner seemed a bit miscast as William Barfeé (it’s pronounced Bar-fay), but once he gets his magic foot in motion, he proves why he was cast, as he turns what could easily be the most annoying character in the show into one of the most endearing.

Vaqué’s Marcy Park is a little Wednesday Addams, a little Buffy Summers (sans the penchant for taking out vampires). The character’s quirkiness comes from a mix of being new to the area, speaking a multitude of languages and being an over-achiever. Vaqué’s lead on I Speak Six Languages is one of the show’s more thoughtful tunes and she delivers it with just the right punch of emotion.

Rounding out the Spelling Bee contestants is Jonathan Hunter as Leaf Coneybear. Described in the playbill as being homeschooled, Hunter’s Leaf is simply my favorite. Wearing a safety helmet, a shimmering gold lame cape and clothes his character bravely admits to designing himself, Hunter’s Leaf reminded me so much of this goofy kid I went to elementary school with, it’s scary. Of course I can’t name names, he’s probably some multimillionaire inventor by now anyway. But back to Hunter, he manages to steal every scene he’s in and his solo on I’m Not That Smart will make you wanna go hug him.

A typically chaotic, yet humorous moment in “Spelling Bee”.

While these nine actors make up the cast, as indicated earlier, several of the characters also play additional minor roles as various members of the Bee contestants’ families. Also mentioned above, during each performance, four members of the audience are called up to the stage and treated as late entries to the Spelling Bee. That’s part of the charm of the show. No two shows are ever the same, in part because you just never know how the audience pulls are going to interact with the actual cast. Luckily for me and the audience during the show I attended, a couple of the audience pulls were more than ready for their fifteen minutes of fame. Don’t worry though, unlike some productions I’ve seen, the audience pulls do so willingly as they’re asked just prior to curtain if they’d be wiling to participate.

The 25th Annual Putnam County Spelling Bee continues its run at The Larry Keeton Dinner Theatre (108 Donelson Pike) with evening performances Thursday, October 18 thru Saturday, October 27 with dinner service at 6 p.m. and show  beginning at 7 p.m. Dinner and Show tickets are $30 for Adults, $20 for Children 12 and under OR Show Only tickets for $25 for Adults or $15 for Children 12 and Under. Call 615.883.8375 for tickets and availability.

Next up at The Larry Keeton Dinner Theatre is A Christmas Carol: The Musical with shows from November 29-December 16. CLICK HERE for tickets or more information.

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

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

Roxy Regional Theatre’s ‘Hairspray’ a hair-hoppin’ great time; on stage thru September 29 in Clarksville

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Jenna Leigh Miller (center) starring in Roxy Regional Theatre’s “Hairspray”

First off, I’m not sure why it has taken me a decade since first beginning to write about the Nashville area theatre scene on a regular basis to make the relatively short trek to nearby Clarksville to see a show at the Roxy Regional Theatre. Perhaps I was just waiting on an official invite. Well, thanks to Brian Best, it finally happened when I recently attending a performance of the Roxy’s current production, Hairspray, and now I can truly say I see what the buzz about the Roxy is all about.

Not only is the Roxy a simply gorgeous classic movie house that’s been renovated into a fabulous live performance venue, it’s also situated near the charming yet bustling town square. Add to that the aforementioned Brian Best in the role of Edna Turnblad and you’re most certain to be guaranteed a great night of musical theatre.

Directed and choreographed by Roxy’s Executive Director, Ryan Bowie, this production of Hairspray, based on cult movie king, John Waters’ 1988 film, the story’s eight-Tony-winning 2002 stage musical adaptation and subsequent 2007 big budget musical movie redo is surprisingly one of the best productions of the show I’ve seen, and I’ve seen it done quite a few times over the years.

Bowie has cast an all-around enjoyable cast. Obvious stand-outs include Jenna Leigh Miller, who stars as Tracy Turnblad, Edna’s plump and plucky teenage daughter whose dream is to not only dance on The Corny Collins Show, a Baltimore-based weekly music show (think American Bandstand), but to also usher in the racial integration of the show as well. Miller is simply adorable. Oblivious to the obstacles before her, or perhaps fueled by them, Miller’s Tracy commands the stage, from the show’s opening Good Morning Baltimore all the way through to Act’s 2’s all-in You Can’t Stop the Beat.

Drew Stairs approaches Corny Collins with charm and a perfectly over-inflated ego. His scenes with Miler’s Tracy are sweet and his jabs at her Barbie-doll perfect nemesis, Amber Von Tussle (Jessica Caracciolo) are executed with perfect comedic timing. Speaking of Amber, Caracciolo bratty portrayal is so fun, especially when paired with Stacy Turner as her equally self-important mother, Velma Von Tussle.

Kelly Letourneau is such fun to watch as Tracy’s best pal, the seemingly always permanently punished Penny Pingleton. Cast as Penny’s forbidden love (translation, it’s the 1960s…she’s white, he’s not) is Treston Henderson as Seaweed Stubbs. They shine during Without Love. Their on-stage chemistry is so sweet, who can blame Penny’s mother, the aptly named Prudy Pingleton (Amy Snider) for finally acquiescing. Additional kudos are in order to Snider for also appearing as the stereotypical (read lesbian) gym teacher and the no-nonsense prison matron.

Other stand-outs in the cast come courtesy Matthew Combs as Link Larkin, Jamila Hunter as the Big Blond and Beautiful Mothermouth Maybell. Her Act 2 performance of I Know Where I’ve Been, a song that temporarily refocuses the action away from the silliness of Tracy’s TV dreams to the seriousness of racial issues that sadly still exist, is hands-down the best moment in the show.  The feisty and adorable Mikquala Skelton as Little Inez is just a joy to watch. Lastly, Mairys Joaquin, Jameka Lache Horton and Alexandra West as The Dynamites, the show’s girl group trio of backup singers provide some of the show’s most gorgeous voices.

Brian Best (center) and the cast of “Hairspray”

Then there’s the aforementioned Brian Best as Edna Turnblad. In the previously mentioned original incarnations of Hairspray, the role of Edna has been played by gender-ignoring camp comedy drag legend, Divine, Broadway icon Harvey Fierstein and John Travolta…yes, even Vinnie Barbarino/Danny Zuko donned a dress to play the role of Edna Turnblad. Edna isn’t entirely new to Best, having played her a couple of years ago in another local production of the show. I was fortunate enough to have seen Best in the production as well and found it quite interesting that under the direction of Bowie, this Edna seems a bit more real, more Waters-esque. Over the top, sure—it kind of comes with the territory—but the Roxy’s Edna seems to heart-wrenchingly wallow in self deprecation while simultaneously building up her daughter in an effort to not let her fall into her mother’s patterns. Best’s Edna also has a grittier, less polished look than his previous turn, whether a choice by the actor and director, or simply by necessity of whomever did Best’s Edna makeup. Either way, it works, especially when she gets the confidence boost she needs and realizes beauty comes in all shapes and sizes.

The Roxy’s Hairspray features a talented group of actors, singers and dancers. Gotta love the school deskograpy from the get go, as well as what I’ll dub the bellography during Tracy’s dreamlike I Can Hear the Bells.

The set, designed by Bowie and Emily Rourke seems at times a bit compact, especially the Turnblad house, but it’s effective and clever, after all, what better way to emphasize the stature of Edna and her mini-me, Tracy than to present a house that’s literally busting at the seams? If there was once drawback to the production, it would have to be the fact that the actors weren’t wearing mics. As mentioned at the top of this review, this was my first time to attend a show at the Roxy, and it was my own fault for not requesting tix earlier. Perhaps because of this, my seats were near the back of the venue and right in front of a wall-mounted speaker, which may have attributed to my inability to hear certain performers and musical numbers.

Nonetheless, thanks to my own familiarity with the show and the cast’s non-stop energy, enthusiasm and all-out apparent excitement to be performing in the show, Roxy’s Hairspray is indeed worth the drive to Clarksville.

Hairspray continues at Roxy Regional Theatre (100 Franklin Street, Clarksville, TN) with performances through Saturday, September 29. Tickets are $25 for Adults and $15 for children 13 and under. CLICK HERE for showtimes, tickets or more information. To find out more about Roxy Regional Theatre, follow them on Facebook, Instagram and Twitter.

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

Music City is getting schooled by a talented band of pre-teens; Sir Andrew Lloyd Webber’s ‘School of Rock’ at TPAC thru Sunday, September 16

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Members of the cast of “School of Rock”, National Tour at TPAC thru Sunday, September 16

Just days after a win at this year’s Creative Arts Emmy ceremony for last year’s NBC live musical presentation of Jesus Christ Superstar secured Sir Andrew Lloyd Webber’s much-deserved place as an EGOT winner (artists, performers and creatives who’ve been awarded each of the four major awards—Emmy, Grammy, Oscar and Tony), the legendary Broadway composter’s School of Rock began the Nashville leg of their current national tour as the show opened to an enthusiastic crowd of all ages Tuesday, September 11 at TPAC’s Jackson Hall. The show continues at TPAC with shows through Sunday, September 16.

As the show’s title implies, School or Rock is exactly that, a musical laced with rockin’ tunes. Based on the 2003 comedy film starring Jack Black, School of Rock tells the story of a wannabe rock star who, as my late father would have said, is “living the life or Riley”. (google it, kids) Scraping by by way of the kindness of his best friend as he continues to pursue his rock n roll pipe dream, Dewey Finn unexpectedly finds himself substitute teaching a group of kids at a prestigious school. When he discovers they all posses heretofore unnurtured musical skills, Dewey sets out to cultivate a new rock band, developing a genuine concern for the kids, as well as his own true purpose, in the process. Played by former 2014 Book of Mormon Broadway star, Rob Coletti presents Dewey with a familiarity and ease that has the audience rooting from the slacker from the get. Attempting to steal the spotlight from his fellow hair-metal bandmate in the show’s concert-esque, albeit hilariously titled opening number, I’m Too Hot for You immediately reveals Dewey’s irreverent demeanor.

Easily one of the most joy-filled Lloyd Webber musical to hit the stage. A major part of that joy comes courtesy the show’s aforementioned younger cast members, mostly pre-teen, the dozen or show kids featured in the show play their own instruments, and they do so with confidence and talent far exceeding their young ages.

Among the talented youth band are: guitarist Mystic Inscho as Zack, bassist Leanne Parks as Katie, drummer Cameron Trueblood as Freddy and keyboardist Theo Michell-Penneron as Lawrence. Among the all-in musical highlights are Act 1’s You’re in the Band, Stick it to the Man and In the End of Time, as well as Act 2’s high-energy eponymous tune, School of Rock.

Borrowing a phrase from Dewey, himself, who may or may not have heard it in a Witney Houston song, after seeing these mega-musically gifted kids rock out during the entire show, I, too believe the children are our future.

In addition to Lloyd Webber’s genius score, School of Rock also features the work of lyricist Glenn Slater (Sister Act: The Musical, The Little Mermaid, and Lloyd Webber’s Phantom sequel, Love Never Dies) and book by Downton Abbey creator, Julian Fellows. , adding even more of an unexpected pedigree to the show.

While School or Rock isn’t exactly high-brow musical theatre, after all, our hero scams his way into a teaching job, and the plot features some major stereotypes like one girl’s two gay dads flitting around in overly-dramatic exasperation, and a staunch, career-driven female school principal who only has time for work. Nonetheless, Fellows’ clever and funny book presents these now seemingly un-PC characters with humor and heart, allowing the audience to not only laugh at the absurdity of the stereotypes, but to perhaps embrace them. After all, it’s easier to accept and understand things if they are presented with a wink.

Rob Colletti and Lexie Dorsett Sharp in “School or Rock”

In the role of Rosalie Mullins, the above-referenced school principal is Lexie Dorsett Sharp. Initially portrayed as a strict, but caring administrator, once she literally and figuratively lets her hair down in Act 2’s Where Did the Rock Go?, it’s evident why she was cast. Equally introspective and all-out show-stopping, it’s the most Lloyd Webber moment of the entire show and Dorsett Sharp not only rises to the occasion, she surpasses it giving Rosalie true diva status joining the ranks of Lloyd Webber’s best, including Eva, Grizabella and Christine.

It’s more than just the principle actors who attribute to the show’s rockstar quality, but also the entire ensemble. In adult roles, Layne Roate and Emily Borromeo are perfectly cast as Dewey’s put-upon roommate Ned and Ned’s overbearing, but well-meaning girlfriend, Patty.

As for the kids, in addition to the aforementioned band-mates, Sami Bray as Summer, the precocious and persnickety band manager, Grier Burke as Tomika, the seemingly shy new girl at school who not-so-surprisingly wow the audience with killer vocal skills as the lead singer, and Sammy Dell as Billy, the band’s flamboyant young stylist (draw your own conclusions about that one) are all equally charming, and as equally adept as scene-stealing as the rest of their co-stars, young or old.

On the subject of charm, anyone who’s ever felt like they weren’t measuring up to their parent’s ideals is gonna love Act 1’s bittersweet If Only You Would Listen, in which the kids give voice to…well, finding their own voice amidst their parent’s expectations and constant displeasure in the kids expressing who they are instead of who their parents want them to be. It’s the show’s most charming and heart-tugging tune.

With a rockin’ soundtrack, a charming and ridiculously talented cast and more than a few life lesson to be learned, School of Rock is a two-hour electric eclectic elective everyone in Music City should audit, because when Head Master Sir Andrew Lloyd Webber offers to teach musical theatre, you better sit up, take notes and…at least in this case…ROCK OUT!

School of Rock continues at TPAC’s Jackson Hall with performances through Sunday, September 16 with evening performances at 8 p.m. Friday and Saturday, September 14 & 15, a Saturday matinee at 2 p.m., a Sunday matinee on the 16th at 1p.m. and a final Sunday evening performance at 6:30. Tickets to School of Rock range in price from $40 to $95. Earlier this week, TPAC announced special Rush Ticket availability for each performance at a discounted rate of $25. To take advantage of the Rush Ticket price, show up at the venue’s box office just inside the lobby at TPAC 90 minutes before showtime. Click Here for tickets or more information.

Not in Nashville, but interested in seeing School of Rock? Follow the show on social media at the official School of Rock site HERE, or on Facebook, Instagram and Twitter.

While School or Rock is the first show of TPAC’s 2018/2019 Broadway season, it’s only the beginning. Next up is The Play That Goes Wrong with performances October 9-14. CLICK HERE for tickets, or more information about TPAC’s full upcoming 2018-2019 Broadway season. You can also keep up with the latest from TPAC on Facebook, Twitter and Instagram.

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.

 

 

 

Minnie Pearl musical debuts at Chaffin’s Barn Dinner Theatre; limited run continues through September 13

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Melissa Silengo as Cousin Minnie Pearl (photo by Michael Scott Evans/courtesy Chaffin’s Barn Dinner Theatre)

For their Thursday, September 6 matinee, Chaffin’s Barn Dinner Theatre unveiled the World Premiere musical, Minnie Pearl: All the News from Grinder’s Switch”, penned by Belmont University Professor of Music Business, Dr. Don Cusic. Directed by Chaffin’s own Joy Perryman, the musical examines how Sarah Cannon came to create her beloved character, Cousin Minnie Pearl, a staple on both  Nashville’s famed Grand Ole Opry and the long running CBS television series Hee Haw. From her first “HOWDEE” on WSM radio’s Opry broadcast in 1940, until her final appearance a half a century later, Cannon’s Minnie Pearl made her mark as one of our nation’s premiere female comedienne. Minnie Pearl: All the News from Grinder’s Switch continues it’s limited run through September 13.

Fresh off her return engagement as Mother Superior in Sister Act, Chaffin’s Artistic Director, Martha Wilkinson appears as Sarah Cannon as she reveals the genesis of Cousin Minnie. Melissa Silengo, who just closed her role as Katherine Plummer in Circle Players’ brilliant production of Disney’s Newsies, will play Cannon’s on-stage alter-ego, Minnie Pearl. Of her two leading ladies, Perryman said, “Both of these talented women are incredibly gifted in the same ways as Minnie Pearl. They both have the comedic chops to land a joke squarely on target and both sing like nobody’s business!” Of the duo’s musical talents (to which I too can attest), Perryman continued, “The duet that ends Act 1 might just prove to be the biggest showstopper this year”.

On playing Cousin Minnie, Silengo exclaimed, “I am so honored to have the chance to play such a well-loved Nashville legend”. Addressing the familiarity of the character, Silengo continued, “It seems everyone knows Minnie Pearl to some degree, even if it is only her price tag, and I am excited to get to know her from the inside out”. Noting more than a passing physical resemblance to Queen of Cornpone, she revealed, “A few times, people have said I reminded them of Minnie Pearl, and I always took it as a complement”. “Hopefully, I will remind people of her in the show”, noted the young Minnie co-star.

When asked about her involvement in the show itself, Silengo gushed, “I am so excited to do this show with a super-talented cast and Joy Tilley-Perryman directing at the Barn, where I know audiences will eat it up (along with the buffet). Joy knows comedy so well, especially the Southern variety,  and I trust that she can help me craft my performance with the timing and whit that Minnie Pearl deserves.” Borrowing one of her character’s trademark phrases, Silengo concluded, “I’m just so proud to be here!”

As Silengo mentioned, Cannon’s Minnie Pearl was known for wearing a straw hat brimmed with flowers and a still-present price tag. Country comedy aficionados can quickly tell you that price tag read $1.98. Legend has it, Cannon simply forgot to take the tag off before wearing the hat onstage, but thanks to her quick-wit, she cleverly worked it into her routine and decided the tag would stay. While Cousin Minnie Pearl was known for the aforementioned straw hat (tag included), she also quickly developed a signature style that usually included a gingham print dresses, complete with frilly pantaloons, white stockings and black Mary Janes.

In addition to Wilkinson and Silengo, Minnie Pearl: All the News from Grinder’s Switch will also feature Minnie’s frequent comedy partner, Rod Brasfield. Brasfield, as played by Chaffin’s favorite, Everett Tarlton. For those not in the Opry know, Brasfield began his career in the 1920s, but gained national recognition when Grand Ole Opry founder, George Hay hired him to appear on the Opry in 1944. Four years later, divine intervention occurred when Brasfield was teamed with Cannon’s Cousin Minnie created a hilarious duo. Unlike other comedy duos of the day, where one member of the team usually played the straight man, setting up the laughs for the other, Minnie and Brasfield volleyed the jokes back and forth, delivering alternate punch-lines. The two continued to frequently appear together over the next decade until Brasfield’s untimely death in 1958.

When asked about Tarlton’s portrayal of Brasfield, director Perryman predicted, “He will prove to be a more than able partner to Melissa’s Minnie”. Perryman continued by warning, “She just has to make sure he doesn’t steal the show!”

Rounding out the cast of Minnie Pearl: All the News from Grinder’s Switch are Maggie Richardson, Curtis Lemoine, Loren Ferster and Chase Miller. Of the remainder of the cast, Perryman divulged, “We have a fantastic ensemble that will be assisting in every way”.

As the show’s title might indicate, the character of Minnie Pearl is front and center in Chaffin’s production, but it does indeed touch on the woman behind the comedy classic. That stands to reason because, of course Sarah Cannon, herself, was quite a remarkable woman. Having well-established her Minnie Pearl character as a beloved part of country music, Cannon was diagnosed with breast cancer in 1985, undergoing radical treatment, including a double mastectomy. Following this personal trial, Cannon became spokeswoman for the Nashville-based women’s hospital where she received her treatment. It was as Sarah Cannon, not her fictitious alter Minnie Pearl that she took on this task. The facility was later rechristened The Sarah Cannon Cancer Center. The Sarah Cannon Research Facility is also housed in this location. As the result of a debilitating stroke in 1991, Cannon retired her Minnie Pearl character after fifty one years at The Grand Ole Opry. She passed away five years later, on March 4, 1996 but as Chaffin’s Barn Dinner Theatre’s current production proves, her legacy and laughter live on.

Having already SOLD OUT yesterday’s matinee, as well as the show’s Friday, September 7 evening performance and Thursday, September 13’s matinee, you only have two remaining chances to see this show with limited tickets still available for Saturday, September 8’s 7:30 p.m. evening performance (doors open for dinner service at 5:30 p.m) or the Sunday, September 9’s 2 p.m. matinee (door open for lunch service at noon). Evening and Sunday tickets are $62 ($37 Show Only and $18 for Children 12 and under ). As an alternative to their truly delicious buffet dinner, which features prime rib, other meats and an array of vegetable, salad and side options, Chaffin’s recently added yet another dining options with their Small Plate a la carte menu featuring separate pricing per item. Group Rates are also available. CLICK HERE or call the box office at 1-800-282-2276 for tickets or more details.

Following Minnie Pearl: All the News from Grinder’s Switch, Chaffin’s will present Disney’s Newsies onstage September 20-October 27. CLICK HERE for tickets, as this one’s sure to be another popular show for Chaffin’s. 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.

Review: Renaissance Players’ ‘Church Basement Ladies’ serves up a heavenly smorgasbord of laughter and music

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The cast of Renaissance Players’ “Church Basement Ladies”

Let me start this review by saying, I almost didn’t post it at all. Not because the show isn’t hilarious…it is. Not because the accompanying dinner isn’t church-social-worthy…it is. I almost didn’t review the show because, quite frankly, after seeing it last weekend, the remaining performances through tonight SOLD OUT earlier this week. That said, I feel Renaissance Players Gaslight Dinner Theatre production of Church Basement Ladies is indeed due any and all praise.

I’ll also admit I had never heard of Church Basement Ladies, perhaps because I didn’t grow up in the midwest and wasn’t raised Lutheran. After doing a little research, I discovered Church Basement Ladies is the musical adaptation of of Janet Letnes Martin‘s and Suzann Nelson’s 1997 book, Growing Up Lutheran. Oh, wait…I do remember that title from my years of working at Tower Books. In case you’re still not familiar…Think Nunsense, but replace Catholicism with Lutheranism and swap out the sassy nuns for a group of ladies who, as the primary cooks in the church kitchen, are the backbone of the community. Being raised Church of Christ and knowing a few church ladies myself, I can totally relate.

For Renaissance Players’ Church Basement Ladies, Brett Myers, fresh off his starring role as Seymour in Little Shop of Horrors, steps behind the scenes to direct. For his cast, he’s enlisted the help of two of his former Little Shop co-stars, Tory Gunn and Leslie Kopischke, as well as first time Ren Players Abigail Nichol and Lindsay Terrizzi Hess. Rounding out the cast is Brian Best, having most recently appeared in Audience of One’s West Side Story.

Set in 1965, Church Basement Ladies takes place in the titular church basement, which houses the aforementioned kitchen, as well as the Pastor’s office and an unseen–but key to a few subplots–boiler room. Designed and constructed by Jon Kopischke, Marc Pearson and Scott Mollenhour, the set is perfectly charming. If you’ve ever stepped foot in a church basement, or fellowship hall, you’re feel right at home as it’s complete with a refrigerator (the light actually turns on when the door opens), a stove and a freezer big enough to hide a bride or cool a menopausal church lady, but I digress.

With Closer to Heaven (in the church basement) as the show’s opening number, it’s quickly evident this isn’t some thought-provoking theatrical piece. Other clever titles range from The Pale Food Polka, My Own Personal Island (the above referenced menopausal number) and Dead Spread, a little ditty about funeral food. These are just a few of my favorites. There’s also For Good (NO, not the Wicked one) but like Elphaba’s change of heart tune, this one also encompasses on of the show’s ah-ha moments.

Gunn as Vivian, Kopischke as Mavis and Terrizzi Hess as Karin portray the main three church ladies. Gunn is the epitome of the know-it-all, self-appointed ruler of the roost as Vivian. She plays her as a doddering old lady who’s equal parts sweet and bitter. While the entire cast does an affable job with the musical numbers, it’s Gunn’s voice that shines in many of the show’s group numbers.

Kopischke’s Mavis is strictly played for laughs, think Mama’s Family’s Mother Harper mixed with the often outrageousness of any given Betty White role. An achievement in itself, considering Kopischke’s youth.

Terrizzi Hess, whom I first became aware of when she starred in The Keeton Theatre’s South Pacific, is enjoyable as Karin, the youngest of the church ladies, who’s poised to take the helm when and if a changing of the guard ever occurs within the ranks of the church basement. Cast as the mother to Nichol’s character, Terrizzi Hess plays the role with a kindness, while not allowing herself to be taken advantage of. Taking the lead on several of the musical numbers, Terrizzi Hess proves she’s got the talent to do so.

As Karin’s daughter, Signe, Nichol’s frequent visits home provide many of the show’s set-ups, as they coordinate with holidays and special occasions in which the church ladies would be in the basement preparing meals. Nichol’s Signe represents the changes, not just among the church ladies, but in the world around them as she have ventured out beyond their small town and the sanctuary of…well, their sanctuary. But just when you think the show might tackle some more serious issues, there’s a will-they or won’t-they wedding instead. While the entire show is kitschy and cute, one near-finale scene gets a little too outrageous for my taste, reminding me of some of many of the farcical shows local dinner theatre’s tend to have a penchant for.

On the subject of outrageous, Best’s Pastor Gunderson is uncharacteristically played down from the usual scene-stealing I associate with Best. Yes, he gets to guffaw it up in a bunny suit (Hey, the remains shows are SOLD OUT, so it’s not really a SPOILER, right) but it’s when he deals with the show’s more tender moments, like the death of a dedicated church employee that Best is, well…best (I”ll never stop using that when reviewing show’s he’s in…I mean, it’s right there in the name). Best serves up the laughs and the more serious emotions with equal finesse.

Speaking of serving…the dinner portion of Renaissance Players’ at the Gaslight Dinner Theatre serves up a delicious meal, catered by The Front Porch, located in nearby downtown Dickson, is the stuff of which Sunday dinner’s on the ground are made. I truly love that the area dinner theatres have all stepped up their food-game in recent years, and I credit it to The Gaslight Dinner Theatre, who’ve consistently served delicious fare from the beginning.

If you missed out on Renaissance Players’ Church Basement Ladies, considering virtually the entire run was SOLD OUT, I’m convinced saying a little prayer might bring Vivian, Mavis, Karin, Signe and The Pastor back to The Gaslight Dinner Theatre. After all, like the above-referenced Nunsense, there are–to date–five sequels to the original, including Church Basement Ladies 2: A Second Helping. If Renaissance Players is smart, they’ll be securing the rights to that one for next season.

Up next for The Renaissance Players, upstairs at the Renaissance Center in the auditorium, is Disney’s Alice In Wonderland Jr. with shows September 21-September 30. CLICK HERE for tickets. To keep up with the latest from Renaissance Players, follow them on Facebook, Twitter and Instagram.

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