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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.

Review: Street Theatre founder Cathy Street returns to mine plenty of talent in surprisingly poignant ’Burnt Part Boys’

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On the heels of previous mountings of the classic Three Penny Opera, the slightly more obscure Eclipsed and the quirky Title of Show, Street Theatre Company continues to showcase the theatre’s ability to offer up rarely presented theatre with their current production, The Burnt Part Boys; on-stage thru September 1. What’s more, Cathy Street, the company’s founder has briefly returned to Nashville to direct with musical direction from STC’s Artistic Director Randy Craft and a mood-enhancing set courtesy Will Butler.

While the story of a West Virginia coal mine set to reopen in 1962, on the tenth anniversary of a fatal cave-in that took the lives of several of the small town’s men might not seem the stuff of which musicals are made, in the more than capable hands of Street and the top-notch cast she’s assembled, The Burt Part Boys is an unexpectedly emotional coming-of-age story, the likes of which Nashville’s theatre community has rarely seen.

Surprisingly, The Burnt Part Boys isn’t the first musical to broach the subject of a mining town, lest we forget Billy Elliott the Musical, the lesser-known Floyd Collins and the oft-rumored in-the-works Loretta Lynn forthcoming autobiographical musical, but thanks to Street Theatre’s current production, it’s certain to ignite interest going forward.

Kayla Petrille, Seth Bennett and Chamberlin Little in STC’s “The Burnt Part Boys” (photos by Sarah Johnson/courtesy Street Theatre Company

The Burnt Part (named for the section of the mine where the aforementioned fatal accident occurred) is of particular interest brothers Jake (Nick Fair) and Pete (Seth Bennett) and their respective best pals Chet (Shane Kopischke) and Dusty (Chamberlin Little). As the play opens, Jake and Chet, both now grown men, are excited about the reopening of the mine and the chance to carry on their late-fathers’ legacies as they take up the literal torch to join the miners. Meanwhile, armed with a bit of TNT borrowed from Jake’s locked work-kit, younger brother Pete, who was only a toddler when the mine shut down, has other ideas, as he convinces his friend Dusty to join him on an mission to stop the mine from reopening. Along the way the two younger boys enlist the help of Francis (Kayla Petrille), orphaned by the incident, to be Sacagawea to their Lewis and Clark.

Poignantly featured throughout the piece as the men lost in the mine’s now legendary cave-in are Imari Thompson, Tyler Evick, Elliott Robinson, and Brooks Bennett. Rounding out the cast is Mike Baum as Pete and Jake’s father (and a myriad of other characters summoned courtesy Pete’s imagination.

With a hefty nod to the storytelling abilities of Mark Twain, playwright Mariana Elder has created a cast of likable young characters. To their credit, each of Street’s actors not only makes the most of their individual roles, but also portrayed this in such a nuanced way that they are uniquely their own.

Making his Street Theatre debut, Fair plays Jake with a bit of self-assuredness mixed with a sense of duty and responsibility. Poised to take up the mantle of leader for the new miners, Fair’s Jake comes across as a natural leader. Fair’s nuanced portrayal emphasizes Jake’s commanding presence by stranding tall, never slouching and walking across the stage with chest-out and arms swinging in perfect synchronized movement.  Conversely, when scenes involving his younger sibling, Jake’s nurturing side is revealed, offering the audience a different side of the seemingly stand-offish Jake.

Nick Fair and Shane Kopischke as Jake and Chet in STC’s “The Burnt Part Boys”

Kopischke’s Chet, on the other hand, while outwardly boasting about his latest romantic conquests, simultaneously talks of contentment with being Jake’s right hand man, revealing a more obvious internal self-doubt and sense of place. The above-referenced nuances of characterization are most evident in Kopischke’s Chet. In finding his character, the actor has adapted a forward-pelvic-thrusted stance and way of walking leading with his hips, perhaps to reinforce the fact that he’s no longer the little boy who lost his father in the mines. It’s a sort of redneck swagger that visually says “I’m the man, don’t f with me”.

Having seen both Fair and Kopischke in shows since they were youngsters, and knowing they have known each other since they were young, it’s nice to see them both mature as actors and to witness their growth as musical performers as well. The fact that they have a friendship off-stage certainly benefits the duo’s onstage chemistry.

As for the younger trio, Seth Bennett’s Pete comes across as the boy next door. Charming, kind, and full of determination. Alluding back to my Mark Twain, comparison, he’s definitely the Tom Sawyer of the piece.

Seth Bennett and Chamberlin Little as Pete and Dusty in STC’s “The Burnt Part Boys”

Pete’s best friend, Dusty is played to perfection by Chamberlin Little. If Pete is Tom Sawyer, think of Little’s Dusty as Tom’s faithful friend Jim, albeit much younger and, in a nice change of pace, the only of the characters whose home life is ideal, considering Pete has both is parents and as the story frequently reminds us, always has plenty of Alpha Bits cereal in stock in the family pantry. Chamberlin plays Dusty with an eagerness and devotion to his friend Pete, but with reservation about their pending mission to stop the mine from reopening. Their relationship showcases a more balanced friendship that that of Jake and Chet. While the older boys seems to be content with what would appear to almost be status differences, Dusty and Pete are equals in their friendship.

Continuing with the Twain allegory, Petrille’s Frances can be seen as equal parts Huck Finn and Becky Thatcher. Having survived in the woods near the Burnt Part since her father’s death in the mines, she’s got the street smarts—or, more accurately wood smarts of Huck Finn, but when her defenses are down, their an obviously attraction to Pete, allowing her to be just a little bit Becky Thatcher.

While Evick, Robinson, Thompson and Bennett have only limited on-stage time as the original miners, when their voices blend for the ensemble numbers, its a joyful sound indeed. Perhaps because Street Theatre is housed in the auditorium of a church, the term raise the rafters certainly applies. Limited as their appearances are, they’re key to the story and the outcome. There’s truly not a miscast actor amongst the ensemble or the entire show.

Given the fact that Pete was so young when the mining accident occurred, it’s evident he looks up to older brother, Jake as a father figure. Through dialogue and a few clever fantasy sequences, Pete’s penchant for movies of the day, as they relate to historical figures like Sam Houston, Davy Crockett and Jim Bowie is also revealed. Reinforcing the hero status of his late father, you gotta love that Baum not only plays the boy’s dad, but also appears (hilariously so, I might add) as John Wayne, Houston, Bowie and Crockett in these fantasy sequences.

The score, with music by Chris Miller and lyrics by Nathan Tysen, is absolutely beautiful with traces of period-authentic mountain music that doesn’t rest entirely on bluegrass, also incorporating the gentle resonances of mid-century gospel and more classic show tunes of the era. The tunes throughout are enjoyable, with some even evoking unexpected emotions. Heck, my eyes may or may not have sweated a time or two during the show. From Kopischke and Fair’s Eight Hours and Bennett’s telling Man I Never Knew to each and every fantasy segment featuring Baum, the songs, while perhaps not as earworm-worthy as your average Disney musical, do indeed serve the show well.

That said, to be honest, the only song I truly remember is the humorous Davy Crockett, midway through Act 1 as performed by Baum as Crockett and the rest of the company. No, they don’t do a cover of the 1955 chart-topper theme from TV’s Fess Parker-starring western (as sung by then-future Days of Our Lives legend Bill Hayes), instead, it’s a clever little ditty in which Pete imagines Davy helping him break down the fence at the entrance of The Burnt Part. With simple, but noteworthy lyrics about why Davy Crockett hates fences, there’s a definitely SPOILER ALERT hidden within the words of this song.

While that may be the only song I remember, most likely because of my affinity for all things related (even remotely) to Days of Our Lives, the show is peppered with some quite beautiful songs that, in the more than capable talents of cast members like Fair, Bennett and Petrille, serve to not only move the story along, but to also, as indicated above, move the audience as well.

With the majority of the action taking place on the side of the mountain leading to the mine, the choice by director Street and set designer Butler to not go literal with a slanted mountainside, but rather to feature a stripped-down set constructed intricately, but visually simply, of wooden slates, reminiscent of the interior of the mine shaft itself, is truly inspired. Also notable, the movement of the actors as they scale the mountainside, thanks to Street’s astute direction, it comes across as realistic, and not overly-done. Drawing the audience into the physical (and emotional) struggle of these young people as they head to their destiny.

Congrats also to lighting designer Katie Gant, whose subtle, but powerful use of lighting, from a simple flashlight to the dead miner’s headlamps, only adds to the power of the piece.

One final note…with Pete, Dusty and Frances on a course to prevent the mine from opening, and Jake and Chet hot on their their tail like Sam Houston racing to victory in San Jacinto, the fate of our five is blissfully left to interpretation, but thanks to Street’s thoughtful and meticulous direction, there are indeed hints to their fate throughout the play, whether it be as subtle as a spoken promise that comes to fruition in a single action near play’s end, or a shared glance between actors, the hints are their, it’s just perfectly left for the audience to decide, should they choose.

Street Theatre Company’s The Burnt Part Boys continues on the perfectly intimate stage located in the west wing of Holy Trinity Community Church (6727 Charlotte Pike, Nashville, TN 37209) with performances at 7 :30 p.m. Friday and Saturday, August 24 & 25 and Thursday, August 30 thru Saturday, September 1. CLICK HERE for tickets or more information. Next up for Street Theatre is Bklyn: The Musical, on stage November 2-17. Follow Street Theatre Company on Facebook, Twitter and Instagram for all the latest.

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Review: EXTRA!! EXTRA!! Circle Players presents Broadway-quality production of Disney’s ‘Newsies’: on stage thru August 26

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Circle Player’s “Newsies”, onstage at Looby Theatre thru August 26 (photo courtesy Circle Players)

When the performance rights to Disney’s Newsies recently opened up enabling regional theaters across the country to present the show, about half a dozen Nashville area organizations snatched them up like a New Yorker snatches up their morning paper. Just last month an all-youth production garnered praise for the area’s first of many productions to come. With so many coming productions of Newsies on the horizon, leave it to Circle Players, Nashville’s oldest continuing theatre company, to seize the day by setting the bar extremely high with their current presentation of Newsies, on stage at the Looby Theatre, now through Sunday, August 26.

Based on the eponymous 1993 musical film which fictionalized the real-life New York Newsboy’s Strike of 1899, set to tunes by musical legend Alan Menken, Newsies made the unorthodox backwards transition from screen to stage with a Broadway debut in 2012. Proving just as popular as the modern classic film, the stage adaptation of Newsies reached an even broader audience (and a generation of new fans) when the Broadway production was filmed and released in movie theaters with special screenings in early 2017 and later available for digital download. If there’s one thing Disney knows how to do, It’s give the kids what they want.

So too does Circle Players know how to give the people what they want, having previously scored big with their productions of other Disney favorites including The Little Mermaid and The Hunchback of Notre Dame, so it’s the perfect marriage for Circle Players to present yet another Disney Theatricals production with Newsies.

Speaking of the perfect marriage, by choosing Jim Manning as the show’s director, with Tosha Marie Pendergrast as the show’s choreographer, Circle has found a powerhouse creative team to be reckoned with. Manning, known for his attention to detail as one of Music City’s most gifted set designers and Pendergrast, one of Nashville’s rising choreographers to watch have come together to create a truly Broadway-quality production.

From the moment the curtain rose during the opening weekend performance I attended, I marveled at Manning’s thoughtfully clever set. Rather than going the standard route of either presenting your stereotypical turn-of-the-century New York streetscape or a more stripped-down catwalk-laden industrial look, Manning chose to create his set by brilliantly crafting larger-than-life letter press print blocks and constructing them in a way to not only visually appeal and connect the viewer with imagery of how newspapers are printed, but to also double as the buildings and structures of the story. Pure creative genius, I tell ya.

Then there’s Pendergrast’s equally thoughtful choreography. From the show’s cheer-inducing wow-factor tumbles to what can only be called crutchography and some of the finest and completely synchronized tap and all-in dance number throughout, Pendergrast proves she’s a choreo dream come true.

Also making up Circle’s Newsies creative dream team are DaJuana Hammonds as the show’s musical director, and Kate Veglio as the production’s stage manager. Hammond and the eight piece orchestra she’s assembled—including lead keyboard-Nathan Girard, second keyboard-Francis Ho, guitarist-Dale Herr, bassist-Tom D’Angelo, percussionist-Dennis Palmer, trumpeter-Peter Duarte, woodwind-Raymond Ridley and cellist Julie Adams—perfectly punctuation the action and are proof positive why the show’s original score nabbed a Tony Award during the show’s Broadway run.

Unlike the labors of the director, the choreographer and the musical director, Veglio’s work as stage manger is, for the most part, unnoticed by even the most astute audience member. As stage manager, Veglio is charged with keeping thirty actors—yes there are thirty actors in Newsies—aware of rehearsal schedules, costume fittings and all manner of behind-the-scenes details the average patron probably never even takes into consideration.

Speaking of the thirty cast members, Circle’s Newsies features more than a few new faces and a nice mix of tried and true Circle favorites. Cast in the lead role of Jack Kelly, the newsboy who leads the charge for change by calling for the boys to strike and better pay, is Mike Sallee. The epitome of the triple-threat, Sallee is as gifted an actor as he is dancer and singer, and handsome to boot. Playing Jack with equal parts likability and determination, it’s easy to see why the other newsboys look to him for guidance and why rookie reporter Katherine (Melissa Silengo) is smitten.

Of Silengo’s performance as Katherine, she plays her with a sincerity and a healthy dose of moxie. When she and Sallee duet on Act 2’s Something to Believe In it is absolutely pure Disney magic.

Earlier I referred to some crutchography. For Newsies newbies, let me explain. One of Jack’s best pals goes by the nickname Crutchie because he walks with the aide of a crutch. Cast as Crutchie is Christian Redden. Having first reviewed Redden in Circle Players’ 13: The Musical back in 2011, I was anxious to see how he’d matured as a performer. Because I too walk with the aide of crutches, I was also interested to see how realistically his physicality was portrayed. No surprise Redden’s charm and talent has only flourished with the passage of time, Kudos to him, director Manning and choreographer Pendergrast for skillfully executing Crutchie with believability and dignity, and that aforementioned crutchography…bravo! (Side Note: during the post show meet and greet while chatting with Redden, I did suggest he not wear his long hair in a top-top sticking out the back of his newsboy cap, but rather tuck it behind his ears and wear it down behind the cap for the remainder of the run, as it was a bit distracting and not period accurate). Just another reason why I love my theatre community. Whether he heeds my advice or not, he received it with grace and kindness.

Dwayne Mitchell and Addison Bowen as brothers Davey and Les also turn in noteworthy performances. Leading the charge on the show-stopping Seize the Day near the end of Act 1, the final notes of the song were drowned out the night I attended by the audiences exuberant and well-deserved applause and cheers. Full Disclosure: My eyes may or may not have began to sweat during this all-in call-to-action scene. Mitchell’s Davey begins timid, but when the occasion (and script) calls for it, he tackles the role head-on turing in a near-perfect performance.

As for Bowen’s Les, she (yes, she’s a girl, a fact I didn’t realize until my grand-niece pointed it out) is a scene-stealer of the first degree, forcing the audience to watch her every move and react to her every line. Here’s hoping Circle utilizes the talents of these two while they can.

Like any good Disney story, you have to have at least a few adults in the mix, usually one on the side of the kids and one as the villain. Newsies is no exception. To that end Katharine Boettcher—who I readily admit is one of my current theatre crushes, having fallen under he spell first as Ursula in Circle’s The Little Mermaid, then continued my obsession when she played Lily in Town Center Theatre’s The Secret Garden—is once again perfectly cast, this time as Medda, the vaudeville chanteuse who befriends Jack and the boys and allows them to use her theatre to organize and carry out their strike. She may only have one solo in the entire show, Act 1’s That’s Rich, but she utilized the opportunity to prove why she landed the role. Gush-worthy indeed.

Opposing the strike, there’s Brian Jones newspaper magnate Joseph Pulitzer. Seemingly typecast, due largely because of his rich booming voice and innate ability to intimidate with one searing look, Jones is the perfect Disney villain. Unlike previous roles in prior Circle productions, the majority of Jones’ stage time is spoken and not sung. Effective at both, you still gotta love when he reveals his true business nature by way of the lyrics of Act 1’s The Bottom Line and its Act 2 reprise.

Other notable performances come courtesy William Robinson’s Romeo and Jake Rybczyk’s Tommy Boy, alongside Mitchell’s Davey. Each time these guys dance/tumble across the stage, the audience is wowed. Not to be completely outdone by the boys, Megan Castleberry and Kinsey Burchett as Buttons and Blue turn in a few impressive dance moves of their own, as did the entire company. I swear, not a misstep to be seen from the whole cast, and if there was, with so much action and excitement on stage, who’d notice?

Also watch-worthy are Carter Wright’s Specs, Nick Spencer’s Governor Roosevelt, Sawyer Latham as Morris, Nicholas Page as Mike, Tyler Inabinette as Spot, Austin Jeffrey Smith as Albert and Clay Hillwig in multi-roles of Weizel, Jacobi and the Mayor of NYC.

With a cast of thirty, all of them giving their performance 100%, I could go on and on ad nauseam singing the praises of each and every cast member, and believe me, they each deserve it. The entire cast shines throughout, from Carrying the Banner and the powerful The World Will Know to  Act 2’s Brooklyn’s Here and each reprise of the aforementioned Seize the Day, Circle’s Newsies is sure to go down in Nashville history as headline-making, record-breaking musical theatre.

Circle Players’ Newsies continues its three-week run at the Looby Theatre (2301 Rosa Parks Blvd) with performances through Sunday, August 25. Thursday-Saturday evening performances begin at 7:30 p.m. Sunday matinee performances are at 3 p.m. The Sunday, August 19 performance will be a special Sing-A-Long Sunday during which the audience is encouraged to join in the fun by belting out their favorite tunes along with the cast. Tickets for Thursday performances are $15. Tickets for Friday-Sunday are $20. CLICK HERE to purchase tickets.

After Newsies, Circle Players will present Hair directed by Jason Lewis. 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.

With a newly remodeled facility and a remounting of last year’s heavenly production of ‘Sister Act: The Musical’, Chaffin’s Barn Dinner Theatre is a hard habit to break

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(l to r) Martha Wilkinson, Vicki White and Meggan Utech are back in the habit in a reworked production of “Sister Act: The Musical” onstage at a renovated Chaffin’s Barn Dinner Theatre now thru August 25 (photo courtesy Chaffin’s Barn Dinner Theatre)

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UPDATE: Last week, when this preview was first published, Chaffin’s had announced a Back to School BOGO special, unfortunately a power outage in the area prevented that from taking place. Just this morning—via email blast to patrons and supporters—another Buy One Get One Special was announced for their 7:30 p.m. Thursday, August 16 performance. The first 30 patrons to call Chaffin’s Barn Dinner Theatre’s reservation line (listed above) and mention the PROMO CODE: THIRTY can take advantage of this one-night-only BOGO Special for dinner and the show.

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Back in February, following a successful run of Disney’s Freaky Friday, Chaffin’s Barn Dinner Theatre temporarily closed up shop of some much-needed renovations to the half-century old facility. Just last weekend, the wait was over as Chaffin’s reopened to continue their 52nd Season with a re-staging of last year’s hugely popular production of Sister Act: The Musical. “We wanted to revive the show because people loved it so last year, and because we were sold out, some missed it,” said Chaffin’s Artistic Director, Martha Wilkinson. “It’s a great show to reopen with after renovations because the show is all about redevelopment, change, growth and love,” she continued.

Back in the habit for Chaffin’s rechristening is Meggan Utech as Deloris Van Cartier, the night club singer, who, after ratting out her gangster boyfriend for popping a cap in a street thug, is forced to go into witness protection as a nun.

Wilkinson also returns to her role as the no-nonsense Mother Superior who’s constantly butting heads with her new undercover charge. Longtime patrons of Chaffin’s no doubt recognize Wilkinson, who’s been a venerable part of The Barn family for three decades. In addition to being Chaffin’s Artistic Director, and co-starring as Mother Superior, Wilkinson is also at the helm of this production of Sister Act as the show’s director. Everett Tarlton is the show’s choreographer and returning once again as musical director for Sister Act is Kelsi Fulton.

Among those returning to the flock on-stage are: Devin Bowles as Curtis, Deloris’ aforementioned murderous beau, Gerold Oliver & Curtis Reed as Curtis’ bumbling henchmen, TJ and Joey, Vicki White as Sister Mary Lazarus, Jenny Norris as Michelle, David Arnold as the Monsignor and Braden Wahl as Ernie.

Of this iteration of Sister Act, Wilkinson exclaimed, “We’re having a blast!.” As for additions to the fold, Wilkinson continued, “There are some new cast members who are rocking it. Maggie Richardson as Sister Mary Robert is off the chain. Fantastic voice and energy, and she’s adorable.”

Other additions to the cast include: Megan Roberts as Sister Mary Patrick, Hallie Long as Sister Mary Bernice, Ang Madaline-Johnson as Sister Mary Martin of Tours, Jenny Wallace as Sister Mary Teresa, Everett Tarlton as Pablo, David Ridley as Sweaty Eddie, Christina Candilora as Tina and ensemble member, Andrew Neal.

A true testament to Chaffin’s storied history with Nashville Theatre, during opening weekend of Sister Act, there were Sold Out performances, with several upcoming performances already selling out as well. Of the reinvigorated interest in Chaffin’s and their newly remodeled facility, Wilkinson said, “We’re so very excited to continue the legacy!”

With that enthusiasm, there’s no doubt Sister Act is divine proof that Chaffin’s is back in the habit. Sister Act continues its run with performances through Saturday, August 25. Each week features Thursday matinee performances at noon (doors open at 11 a.m. with a Box Lunch option), Thursday-Saturday evening performances are at 7:30 p.m. (doors open at 5:30 for dinner service until 7 p.m.). There are also select Sunday matinees at 2 p.m. (doors at noon, with lunch service until 1:30 p.m. Thursday matinee tickets are $28.50 with Box Lunch ($20 Show Only). Evening and Sunday tickets are $62 ($37 Show Only and $18 for Children 12 and under ). Chaffin’s also offers a Small Plate a la carte menu option with 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 Sister Act’s run through August 25, 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.

Renaissance Players’ ‘Little Shop of Horrors’ feeds the need with a gorgeous Twoey, clever doo-wop and blood by the drop; on-stage in Dickson thru Sunday, August 5

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Audrey II and Seymour (Brett Myers) in Renaissance Players’ “Little Shop of Horrors” (all photos by Alaina Deaver/Courtesy Renaissance Players)

I’ve been a fan of all things Little Shop of Horrors since discovering the original campy horror/comedy film, its subsequent stage musical adaptation and the Frank Oz-directed film version of the musical adaptation in late 80s. Full disclosure: I may or may not admit to frequently belting Somewhere That’s Green while listening to my Walkman back in the day. So, as you can imagine, I was both excited and apprehensive to attend opening weekend of Renaissance Players’ take on the musical adaptation. To my delight it’s as bloody enjoyable as I had hoped.

Based on the aforementioned 1960 black comedy horror film, The Little Shop of Horrors, directed by schlock-master Roger Corman that quickly garnered cult status, Little Shop of Horrors dropped the ‘The’ when it got the stage musical treatment by Howard Ashman and Alan Menken in the 80s. That’s right. Before gaining notoriety for such Disney animated musicals as The Little Mermaid, Beauty and the Beast and Aladdin, Menken and Ashman collaborated on a little off-Broadway favorite about nebbish floral assistant Seymour Krelborn, his sweet, albeit dim-witted co-worker crush, Audrey and Audrey II, a bloodthirsty dionaea muscipula hybrid—that’s an amped-up Venus Flytrap for the less horticulturally inclined.

As is often the case with Renaissance Players productions, Little Shop of Horrors is somewhat of a family affair, what with Jon Kopischke directing, wife Valerie Kopischke on-board as the show’s costumer and two of the Kopischke offspring featured in the cast. Luckily for the community of Dickson, TN, they are a talented family. It’s also fortunate that the rest of the cast is also plenty capable in their assigned roles.

Peri Barnhill and Brett Myers as Audrey and Seymour in Renaissance Players’ “Little Shop of Horrors”

To that end, both Brett Myers and Peri Barnhill mark their Renaissance Players acting debuts leading the cast as Seymour and Audrey. For fans of the film, Myers does a fine job channeling popular 80s comedy actor Rick Moranis’ Seymour, charmingly awkward when in the presence of his female co-worker and geekishly stumbling in and out of doorways. Proving he’s adept at physical comedy as he is musical theatre, Myers’ plays the perfect underdog the audience instantly roots for, even in the dark comedy’s stranger moments. To clarify an earlier statement, playing Seymour may be Myers’ acting debut with Renaissance Players, but he’s a familiar face at Renaissance having directed both their productions of Annie and Beauty and the Beast last season. As an actor he’s been in a number of shows elsewhere.

Audrey II and Audrey (Peri Barnhill)

Barnhill’s Audrey, while not as ditsy as the role is often presented, plays her with a cutesiness peppered with just enough seemingly unintentional provocativeness. Add to that Barnhill’s voice and its easy to see why Myers’ Seymour is so smitten, as Audrey, Barnhill gets most of the show’s best-known tunes, including Suddenly Seymour and Somewhere That’s Green. Lyrics in the latter indicate she ‘cooks like Betty Crocker and looks like Donna Reed’. More accurately, in character as Audrey, Barnhill’s portrayal falls somewhere between two Marilyns…Monroe (impish mid-century big screen sex goddess) and Munster (of the cult classic TV sitcom, The Munsters). As mentioned above, I’m a huge fan of this show, and Audrey’s musical numbers in particular, and much to my delight, Barnhill performs these iconic Ashmen/Menken tunes beautifully.

Audrey (Peri Barnhill) and the Doo Wop girls (Tori Gunn, Ashley Birnbaum and Leslie Kopischke)

Those familiar with Little Shop likely remember the three girl singers in the show who are reminiscent of such 60s groups as The Supremes, Martha and the Vandellas, The Shirelles, The Marvelettes and others…well, whitewash them and you’ve got Renaissance Players’ Chiffon, Crystal and Ronnette, three wise-cracking, street-smart girls who not only hang out in the alley, but also provide plenty of doo-wop background harmonies throughout the show. Usually played by three….shall we say…more ethnically diverse actresses, this time around they come across more Pink Ladies than Supremes as played by Tory Gunn, Leslie Kopischke and Ashley Birnbaum. Nothing against these ladies, who do a fine job as the gum-poppin’, finger-snappin’, doo-woppin’ tuneful trio, as I understand a show can only be cast from the actors who audition for the roles.

Seymoour (Brett Myers) and Mr. Mushnik (Alex Kopischke

Another interesting casting choice comes in the form of Alex Kopischke as Mr. Mushnik, the stereotypical jewish florist owner who sees Seymour as a son and the invention of Audrey II as a chance to turn his skid row shop into a money maker. Rather than affect a yiddish dialect, Kopischke presents Muschnik with an overly-exaggerated gravelly voice. I honestly don’t know how he’ll make it through the show’s brief two-week run without causing himself to get horse from speaking that way. Interesting vocal choices aside, Kopischke’s Mushnick is fun to watch, especially when he and Myers attempt a little wink to Fiddler on the Roof choreography during  the Mushnick and Son number midway through Act 1.

Bryce Conner as Orin Scrivello, DDS

Then there’s Bryce Conner, by far the standout performer in the show. Not only is he devilishly hilarious as Orin Scrivello, DDS, Audrey’s laughing-gas-addicted dentist boyfriend, he also steals scene after scene throughout the show, playing a multitude of quick-change single-scene roles. With characters ranging from, a homeless man and a wealthy investor interested in Audrey II to customers and Mrs. Luce, a magazine editor with her eye on Seymour, it becomes simply fun wondering who Conner will show up as next. With what would appear to be a healthy affinity for Steve Martin’s portrayal of the dentist in the film adaptation, Connor hams it up during his (SPOILER ALERT) death by excessive laughing gas. Heck, I personally needed a hit of oxygen after laughing so hard as his prolonged death scene.

Rounding out the cast is Dale McCoy. Like Conner, he too plays more than one role. Primarily the voice of Audrey II, McCoy is first seen as a homeless man in the show’s full cast Skid Row number near the top of the show. Side Note: is it just me? or is Hairspray’s Good Morning Baltimore a rip-off of Skid Row?…but I digress.  A clever bit of foreshadowing, when not voicing the man-hungry plant Audrey Two, affectionally called Twoey by Seymour, McCoy’s homeless guy can be spotted carrying a cardboard sign that reads “Feed Me”, which—no-so-coincidentally— is also the title of McCoy’s big Act 1 number. McCoy is featured again during Act II Suppertime. Unfortunately, McCoy’s vocals, with his booming deep voice, after often overshadowed by the audio of the show’s soundtrack, likely because McCoy is backstage on a single mic, without the benefit of the added mics hanging above the actors who appear on stage.

Audrey II and the cast of “Little Shop of Horrors”

Finally, special mention should be made of the set designed by Robert Cooper and the Audrey II puppets, operated by Jenna Wright. When I inquired about the puppets, Director Jon Kopischke informed me they’re from Swazzle, a Glendale, California puppet company founded by brothers Sean and Patrick Johnson. Not since the mid-2000s national tour have I seen a more professional set, better lighting and such gorgeous Audrey II puppets.

Renaissance Players’ Little Shop of Horrors wraps its two-weekend run this weekend with two shows remaining. First up, Saturday, August 4 at 7 p.m., then a final Sunday matinee on August 5 at 2 p.m. Tickets are $15 for Adults, $10 for Seniors and Students and $5 for Children. Director Kopischke announced via social media on Saturday that Saturday evening’s performance will also offer a Back to School Special 1/2 price tickets for Students at the on-site Box Office. Tickets can also be purchased by calling 615.593.5520, or Click Here to purchase tickets online. Little Shop of Horrors is being presented in the larger auditorium space on the main level of The Renaissance Center (855 TN-46, Dickson, TN 37055 just 45 minutes west of downtown Nashville via 1-40 W).

Up next for Renaissance Players is the musical comedy, Church Basement Ladies. Appropriately, this show will be presented downstairs at The Renaissance Center in their smaller, more intimate Gaslight Dinner Theatre space and will include a pre-show dinner. Tickets are $40/Adults or $35/Seniors. Click Here for tickets or more information. To keep up with Renaissance Players, follow them on Facebook, Twitter and Instagram.

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Rapid Fire 20 Q with Lila Toshiko and Jennifer Whitcomb-Oliva; their original two-woman show, ‘Highness’, onstage thru Sunday at Belmont Black Box Theater

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Highness, an original two-character stage collaboration created by, written by and starring Jennifer Whitcomb-Oliva and Lila Toshiko wraps its brief weekend run with a final performance at 6 p.m. on Sunday, July 29 at Belmont’s Black Box Theatre. This latest offering in Actors Bridge Ensemble’s continuing summer series, She Said/She Said: Summer of Women’s Stories examines women in a hierarchal society. Prior to Highness’ debut, Toshiko and Whitcomb-Oliva most recently shared the stage in a production of the gender-flipping Men On Boats. Having known Whitcomb-Oliva for several years and being a huge admirer of her work on stage, I was anxious to chat with both creative forces to get the inside scoop on Highness for my latest edition of Rapid Fire 20 Q, which, incidentally marks the debut of my recurring interview feature for the new JHPEntertainment site.

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RAPID FIRE 20 Q with HIGHNESS CREATORS AND STARS, JENNIFER WHITCOMB-OLIVA and LILA TOSHIKO

Highness collaborators Lila Toshiko and Jennifer Whitcomb-Oliva

JHP: Was Actors Bridge Ensemble’s April production of Men On Boats your first time working together?

LILA TOSHIKO: Actually, Jennifer and I first worked together in the Actors Bridge Performance of Haunted. Men On Boats was our second show together.

JHP: Tell me about working with Lila and continuing the journey with this piece?

JENNIFER WHITCOMB-OLIVA: We are kind of like siblings ourselves. We both love working together, and having the chance to play strong women on stage is always appreciated. Having just played explorers in Men On Boats, the opportunity to keep the theme of women alive, was a plus!

JHP: What about sharing the stage in the past lead you to collaborate on Highness?

LILA TOSHIKO: Jennifer and I would always chat about pieces we were working on individually and when Vali Forrister of Actors Bridge asked us if we wanted to write a piece together we saw it as a perfect time to try a collaboration.

JHP: How did collaborating with Lila Toshiko on this project come into being?

JENNIFER WHITCOMB-OLIVA: We were approached after performing in Actors Bridge Ensemble’s production Men On Boats. We enjoy working together so much, that we jumped at the opportunity to play together again.

JHP: What is Highness about?

JENNIFER WHITCOMB-OLIVA: Highness is re-imagined fairytale about the stigmas that women face in a hierarchal society.

JHP: I understand the two of you play Cinderella’s step-sisters. Who plays Whom?

LILA TOSHIKO: Jennifer Plays Jo, I play Lucy.

JHP: What can you tell me about the characters in Highness?

JENNIFER WHITCOMB-OLIVA: They are the stepsisters from the classic Cinderella fairytale. Lucinda, the youngest more eager stepsister. Josephine, the eldest, and more mature stepsister.

JP: They’re typically portrayed as wicked. Is that the case in Highness?

LILA TOSHIKO: I don’t ever think any character is necessarily wicked. It’s always their backstory that has gotten them to this place and time and I definitely think that’s the case for Jo (Jennifer) and Lucy (Lila). They do what they must do to survive.

JHP: How long did it take for you two to go from concept to finished play?

JENNIFER WHITCOMB-OLIVA: I wouldn’t even call this finished. LOL. But it took us about 6 weeks to get it all together.

JHP: Earlier this week, a behind the scenes glimpse of the two of you in hair and makeup was shared to social media. From the powdered wigs and overly exaggerated clown-white makeup, it would appear the Baroque period was inspiration for the play’s setting. Is there anything else behind the extreme hair/makeup choices?

LILA TOSHIKO: From a character point of view our makeup and hair basically work as a  “Baroque Snapchat filter”. It hides the imperfections of our characters. From an actor point of view…..Jennifer and I just love to play dress up!

JHP: How excited are you to be part of the She Said/She Said series?

JENNIFER WHITCOMB-OLIVA: Extremely excited. This is the first time that I have ever had a chance, to put on a professional writer’s hat. It’s so exciting to try something new, and do something out of the box.

LILA TOSHIKO: It’s super exciting and scary all at the same time! Having your piece shown in front of a live audience is absolutely terrifying but we have been so blessed to have such great support from all the amazing ladies in this series!

JHP: Why do you think it’s a good fit for this grouping of plays?

JENNIFER WHITCOMB-OLIVA: It’s a story of women, told by women, and written by women. Shows different aspects and sides of the very things that we deal with on a day to basis.

JHP: What about exploring the stigmas of women in a hierarchal society appealed to you as a playwright?

LILA TOSHIKO: I think what appealed most to me was how not much has changed. A lot of the expectations of women still remain today.

JHP: Does the Black Box’s space lend itself Well to your vision for Highness?

JENNIFER WHITCOMB-OLIVA: Yes. This is a wonderful space. So much so, with this new script and left over set, we weren’t sure what to do with it. But I love the Belmont Black Box and it’s always nice to play here.

JHP: What were the challenges of writing a two-person play?

LILA TOSHIKO: I think the thing that made me the most nervous about a two person play is there’s no room for error. You two only have each other to count on if anything goes wrong on stage. I’m so glad I got to team up with Jennifer for this process. She made this whole process so easy!

JHP: What do you hope audience come away from Highness having experienced?

JENNIFER WHITCOMB-OLIVA: I hope that they can find something relatable, or open their eyes and ears to seeing/hearing another point of view. Maybe laugh a little!

LILA TOSHIKO: I hope it opens some eyes and encourages people to walk in someone else’s shoes before they make judgments.

JHP: After this weekend’s debut, do you have other plans for Highness?

JENNIFER WHITCOMB-OLIVA: I’m not sure. I’d definitely love to fine tune and tweak. It might be fun to see and play with this idea again.

JHP: Do you hope to collaborate on another project in the near future?

LILA TOSHIKO AND JENNIFER WHITCOMB-OLIVA: Absolutely!

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With that, my conversation with the creators and stars of Highness came to an end, but I’ve a feeling their reign over the Nashville theatre community is just beginning. CLICK HERE to purchase tickets to Highness’ final performance at 6 p.m., Sunday, July 29 at Belmont Black Box Theatre as part of Actors Bridge Ensemble’s continuing summer series, She Said/She Said. CLICK HERE for more information about the series’ final offering, Cynthia Harris’ How to Catch a Flying Woman, directed by Helen Shute-Pettaway, onstage August 3-5.  Be sure to Actors Bridge Ensemble on Facebook, Instagram and Twitter.

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Audience of One and Capitol Players’ ‘West Side Story’ a faithful and entertaining production of one of musical theatre’s most beloved shows

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Since its Broadway debut in 1957, West Side Story—with original book by Arthur Laurents, music by Leonard Bernstein, lyrics by Stephen Sondheim and original choreography by Jerome Robbins—has remained one of American musical theatre’s most treasured works. The subsequent 1961 film adaptation, which won ten of the eleven Oscars for which it was nominated, only further solidified the piece’s rightful place in musical history. Of course the fact that the show itself drew inspiration from William Shakespeare’s Romeo and Juliet hasn’t hurt its iconic status.

Taking that storied history into consideration, when a newer local theatre company bravely includes the legendary show in their current season (the company’s third), you gotta figure they either know they’ve got the talent to back it up, or they’re as starry-eyed as Shakespeare’s ill-fated young lovers. Directed by Audience Of One founder, Angie Dee, whose company is producing the show in collaboration with Capitol Players, with musical direction by Sandy Elliott and Jenny Youngman, it’s quickly evident that it’s the former, with a surprisingly talented cavalcade of young actors paying homage to the beloved musical theatre masterpiece.

I had the opportunity to attend last weekend’s opening night performance and while there were the usual opening night nerves initially present among a few of the cast members, once they got their grove, they played it cool, real cool.

Among the stand-out in the show, appropriately enough, are the two leads, Matt Gunn and Madison Graves. Gunn, who has the looks of a young Justin Timberlake, plays Tony, the golden boy of The Jets, a local gang bent on protecting their turf against the Puerto Rican gang, The Sharks. (Yes, themes of who belongs in this country and opposition to loving who you choose to love are sadly as relevant today as when this play debuted more than a half-century ago).

Mostly because of his own youth or at least his youthful appearance, as I’ve truly no idea how old he is, Gunn presents Tony with an innocence and inexperience that’s quite the welcome change from the usual local productions of the show in which it’s not uncommon for thirty-somethings to be playing the teenage characters. But more than that, when Gunn sings his share of the show’s numerous signature songs like Something’s Coming and Maria, he does so with a convincingly undeniable optimism that frequently accompanies first love. A few vocal missteps on opening night aside, as Gunn continues his training and performing, he’s surely to become a force to be reckoned with in the Nashville theatre community.

Matching Gunn’s on-stage believability scene for scene is his Maria, Madison Graves. While she may in fact be a couple years older than her leading man, (again, I truly have no real concept of her exact age) she plays the lovestruck girl with aplomb. Her dark hair and striking looks and a convincing hispanic accent simply enhancing the idea of Maria. She’s never better than when going note for note alongside Gunn’s Tony for One Hand, One Heart, one of my personal favorite musical moments in the show. Graves also shines in Act 2’s playful I Feel Pretty, a song she shares with a few of Maria’s friends. And if you don’t shed a tear during I Have a Love, I have no love for you.

Speaking of Maria’s friends, Macy Ruggiero plays the outspoken Anita (Rita Moreno’s Tony-winning role in the film, for those whose point of reference that remains). Hands-down my favorite character in the film adaptation and pretty much any production I’ve ever seen of West Side Story, Macy’s Anita does not disappoint, stealing every scene she’s in and perfectly hitting every single note of every song she’s a part of, most notably, the caustic America and the cautionary A Boy Like That. Simply blissful to watch.

Cast as Tony’s womb-to-tomb fellow Jets are Alex Dee, Daven Dee, Tanner Buttery, Brad Thompson, Abe Gibson, Tanner Myers, Jake Yoder and I can’t forget CJ Shandor as Anybodys. Tasked with opening the show with Jet Song, the boys and Anybodys come together to support each other perfectly. That same camaraderie holds true during the Jet’s other all-in, Cool.

Appearing as the Jets Girls are Rebekah White, Hope Beard, Maggie Morgan, Tessa Groves, Keely Chandler and Bently Spicer. With Gracie Youngman, Rachel Rae Poole, Stella London, Sadie Holt, Christina Ray, Emma Bastin, Julia Mowry their counterparts as The Sharks’ Girls.

Aside from Graves’ Maria, Ruggiero’s Anita, the aforementioned I Feel Pretty and Ray’s solo during Somewhere, the girls don’t exactly feature as prominently as the boys in the show. That said, they are indeed a vital part of the show and their presence during the group numbers showcases their individual voices while simultaneously blending for a powerful chorus that magnifies the glory of the famed soundtrack.

Taking on the Jets are Bernardo and the Sharks. Joseph Walker does an admirable job as Bernardo, particularly enjoyable during the show’s technically tricky choreographed fight scenes, under the direction of stage combat choreographer, Katharine Boettcher. Walker’s Bernardo also benefits from his fellow Sharks: Josh Crabtree, Will Deffendall, Derek Fry, Gibson Littlejohn, Patrick Pride, Sam Martin and Daniel Carrasquillo. Perhaps because I’m familiar with Carrasquillo, having seen him in previous productions across town, my eye kept going back to him, especially during the many dance sequences.

On the subject of dance numbers in this production of West Side Story, weeks before I even attended Opening Night, I kept seeing post after post praising the choreography in this show. Much to my delight, choreographer Rebecca Poole and the entire cast completely live up to the hype. Kudos to the whole cast for the obvious hard work and dedication to bringing this often challenging choreo-full piece to the stage in such a lovely way.

As referenced above, while the majority of the cast is younger, there are a few shall we say slightly more seasoned actors cast in the adult roles. Rich Moses plays Doc, the owner of the drugstore that’s home base for Tony and The Jets. While I personally have never seen Doc played with a southern accent—the show takes place in mid-century New York, after all—Moses’ Doc provides the boys with a likable and understanding authority figure. The same can’t be said for Brian Best’s tough-talking detective Schrank. Typically cast as a scene-stealing cut-up, it was a nice surprise to see Best in a grittier, albeit less lovable role. Logan Richardson’s Officer Krupke, the brunt of the boy’s tauntingly hilarious Gee, Officer Krupke might not be playing a lovable character, but judging from the response from eh crowd, the actor himself is a town favorite. Another fan favorite, Evan Reavis who plays Glad Hand, the hammy host of the potentially tense community dance. His every line was met with uproarious laughter and applause, leaving me as a first-timer at the venue feeling a little like a wallflower, as I just wasn’t in on the joke.

If there was one moment in this production that just didn’t flow, it’s the mid-Act 2 Procession and Nightmare. Not necessarily the fault on anyone associated with this production, the ballet-heavy sequence is simply difficult to pull off. For some reason, dream ballets were a staple in 1950s. From Oklahoma’s cornfield ballet and Singin’ In The Rain’s club scene to White Christmas’ oddly mod Choreography sequence, I’ve just never been a fan. These scenes attempt to incorporate stylistic dance moves bridging the gap between classical genres and musical theatre, and for me at least, rarely work. Oh, and did I mention that during this scene on Opening Night, the audience was accidentally privy to someone chatting backstage thanks to an unfortunately live mic issue.

The cast of Audience of One & Capitol Players’ “West Side Story” (photo by Michelle Hill Holt; courtesy AOO)

AOO & Capitol Players’ West Side Story, on stage with three more performances through Saturday, July 28, at the beautifully restored Capitol Theatre, (110 W. Main Street, in nearby Lebanon, TN) will have you believing in true love and have you snapping your fingers like the coolest of Jets…or is that Sharks…Whichever gang you roll with, AOO & Capitol Players’ West Side Story is a must see this weekend. Remaining shows are Friday, July 27 at 7 p.m., a Saturday, July 28 matinee at 1 p.m. and a final Saturday evening performance on the 28th at 7 p.m. Tickets are $20 for Adults and $13 for Senior Citizens and Children ages 3-11. Click Here for tickets. For more about Audience of One Productions, Click Here or follow them on Facebook, Twitter and Instagram.

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Actors Bridge Ensemble and Wild Card Productions team for ‘Marian, or the True Tale of Robin Hood’; final two performances Saturday, July 7 at Belmont Black Box Theatre

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Actors Bridge Ensemble and Wild Card Productions have teamed to present the gender-bending, patriarchy-smashing, Marian, or the True Tale of Robin Hood, at Belmont’s Black Box Theatre, with two final performances Saturday, July 7 at 2 p.m and 7:30 p.m. And what more perfect patriarchal stomping tale to tell, after all, anyone who thinks the idea of smashing the patriarchy is a new concept, might want to carefully consider the medieval tale of Robin Hood and his Merry Men. Their ‘steal from the rich and give to the poor’ ideology has been smashing Prince John and The Sherif of Noddingham since the 15th century, perhaps even earlier.

That said, Adam Szymkowicz’s  Marian, or the True Tale of Robin Hood continues to smash said patriarchy, while simultaneously smashing not only the tale of Robin Hood as we know it, but the money shifting swashbuckler’s identity itself. For you see, ’tis not the hooded hood who’s righting the societal wrongs, but the fair Maid Marian. That’s right, in this new tale, the fabled Robin Hood isn’t a mystery man at all, SHE’s Maid Marian in disguise. What’s more, HER Merry Men, are mostly like-minded women who’ve decreed, let playing damsel be damned.

For Actors Bridge Ensemble and Wild Card Productions’ merry mounting, they’ve enlisted Britt Byrd as director. Those who know Byrd know that when she’s not on-stage or, in this case, behind the scenes, she has a penchant for cosplaying some kick-ass women like The Joker’s minx, Harley Quinn, and Star Wars’ cunning and brave Rey, so what better piece for her to helm than a comedic costume play (with more than a few surprisingly though-provoking subplots) featuring several strong-willed women and more than a few impressively choreographed sword fight scenes?

Cast as Marian/Robin Hood is Melinda Paul. Whether in literature, on the stage, screen or even in one of my personal favorite depictions, Walt Disney’s 1973 animated feature, Robin Hood has always been portrayed with a self-assured cleverness. Paul takes that characteristic and builds on it, playing both Robin and his fairer alter-ego, Marian with equal parts confidence and concern. While she indeed swashbuckles with the best of them, her gentler scenes with Mackenzie Smith’s Little John provide the oft-outlandish comedic tone of the play with some much-appreciated sweetness. Side Note: Who wouldn’t fall for Smith? That kindness. That accent…that kilt.

True to playwright Szymkowicz’s much-touted gender-bending theme, Ashley Wolfe is spectacular as Alanna Dale, who joins Marian/Robin as one the Merry Men using the only slightly modified moniker, Alan. Wolfe, as Alanna/Alan exudes excitability in her quest to join Robin Hood as one of his Merry Men, even though, unbeknownst to her, Robin is Marian. In addition to her role within the plot, Alanna also serves as the play’s narrator, often breaking the fourth wall to address the audience directly and keep them abreast of the seemingly complicated, but quite frankly, simplistic who’s who and what’s what of the plot. Alanna’s keenness to be one ‘one of the guys’ takes an interesting turn when, as Merry Man, Alan, he falls for fellow Merry Man, Will Scarlet (Lakota Jernigan). Again, relying on the gender-bending premise, Will is, in actuality Scarlet, yet another non-distressing damsel. Scenes between Wolfe’s Alanna/Alan and Jernigan’s Will/Scarlet run the gamut from adorably awkward to an interestingly ah-ha-inducing realization that even in medieval times, love is love and always has been.

Just when you think the playwright can’t pierce the heart any more, there’s even a hilarious ‘will they or won’t they’ running subplot between JR Knowles and Gavin Jernigan as two of the Prince’s Guards. Spoiler Alert: You KNOW they will!

Speaking of his Highness, Fred Brown, as Prince John is regal indeed. That is, if inciting royally rambunctious laughter scene after scene is majestic. Playing his grandiose status to the hilt, Brown’s Prince John lands brilliantly somewhere between Hanna Barbera’s Snagglepuss and a libidinous caricature of pretty much any Richard Burton role. His dalliances with Melissa Silengo as Lucy, his favored concubine are quite hilarious.

Other stand-outs include Kate Adams as Lady Shirley and Diego Gomez as Friar Tuck. The first, with a penchant for baubles and sex, the second given to drink and…well…sex. While she’s supposed to beholden to David Wilkerson as the Sheriff of Noddingham, Lady Shirley gets more than her flirt on with the frisky Friar. Licentious doesn’t even being to describe Adams’ and Gomez’s on-stage chemistry as the randy duo.

While Gomez isn’t portraying dual roles on-stage, he is in fact wearing two hats during this production. Not only is his snagging laughs from the audience as Lady Shirley’s boytoy, he also serves behind the scenes as the show’s fight choreographer. Meanwhile the aforementioned Wilkerson plays the villainous Sheriff convincingly, but he too has a hand in the fight scenes as the show’s fight captain/consultant. I mention these two backstage credits because the fight scenes are that good. Whether wrestling, pulling punches or sword fighting, the precision and care executed by each and every cast member deserves accolades.

Making the most of their limited time on stage, the remainder of the cast consists of Alexandra Chopson as the non-gender-conforming Much the Miller’s Son; Blake Hollliday as the playfully androgynous Tommy of No Consequence and Dominique Howse and Matthew Benenson as Sir Lenny and Sir Theo.

Also of note is set design by Paul Gatrell. Belmont’s Black Box Theatre provides the perfect venue for Marian and Gatrell’s set utilizes the space marvelously. I especially appreciated the larger than life arrows plunged into the ground around the corners of the stage, offering an impressionistic interpretation perhaps of the mighty pines of Sherwood Forest.

While I’ve delved into the gender-flip prevalent throughout the show, it should be noted that the playwright, and this production’s director don’t get preachy. It’s a comedy after all and what better way to broaden thought than through humor?

Marian, or the True Tale of Robin Hood wraps its two-week run with a 2 p.m matinee Saturday, July 7 and a final evening performance Saturday at 7:30 p.m. Wild Card Productions announced a special half-price discount for the matinee. Simply use the promo code “Hot-BOGO” when ordering tickets. CLICK HERE for tickets. To keep up with what’s next for Wild Card Productions, follow them on Facebook, Instagram and Twitter. Follow Actor Bridge Ensemble on Facebook and 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, Twitter and Facebook.