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Theatre Review: Act 1’s World Premiere ’The Nightmarium Incident’ a fun start the the Halloween season

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 A genuine life-long fan of spooky stories and horror movies,—seriously, Barnabas Collins, The Bell Witch and Michael Myers are among my favorite childhood memories. So when I heard Act 1 was presenting an original tale or terror, The Nighmarium Incident, written and directed by Eric Butler as a pre-Halloween offering at Darkhorse Theatre, I was all in.

Stage manager Katie Veglio, lighting designer Kristen Dubois and sound designer Kaitlin Barnett have created a ghoulishly perfect 1980s-era set that immediately put me in mind of Frankenstein’s lab, or, perhaps more accurately, the set of Sir Cecil Creep’s Creature Feature, a weekly Saturday night horror movie presentation—a Nashville television staple from my youth.

As the Nightmarium commences we are introduced to Maureen Henson (Natalie Stone) hosting W-KIL—gotta love those morbid call letters—Channel 9’s schlocky Friday night horror presentation, The Nightmarium Creature Double Feature as Mistress Twilight. It is quickly revealed that Maureen is simply biding her time as the Elvira wannabe while she patiently waits a more serious gig as co-anchor of the station’s evening news. Stone plays the duality of Maureen/Mistress Twilight with ease, vamping it up as the cheeky horror hostess, while alternately exploring Maureen’s career-driven seriousness.

As Mistress Twilight, Stone’s Maureen is surrounded by a perfectly stereotypical cast of characters including Jarvis Bynum as Maureen’s husband Wesley, who appears on the show-within-a-show as Papa Moreaux, a voodoo priest. Bynum, too manages to differentiate between the two characters he plays, presenting Wesley a devoted husband to Maureen, then switching gears to portray the creepy Papa Moreaux.

There’s also Beth Henderson as Dale, Channel 9’s mild-mannered weatherman who doubles on the horror fest as Dr. Solomon Wretch. In part because Henderson is playing Dale, which, given the unisex nature of the character’s name, could be a man or a woman, she’s a scene-stealer from the start. Whether the playwright originally envisioned Dale as a man or not is unclear, especially considering the inclusion of more than a few punchlines aimed directly at Dale’s masculinity. Nonetheless, Dale ends up being one of the best parts of the show thanks to Henderson’s comedic timing and her ability to deliver her lines with conviction, in spite of the silliness of the show.

Henderson, Stone and Bynum of Act 1’s “The Nightmarium Incident”

While they spend the majority of the play hidden behind two Voodoo hand-puppets, Tori Simpson and Elizabeth Turner provide the show with many laughs throughout.

TJ Koomen is featured as the TV show’s technical director, Sam, offering up equal parts Alan Brady and Rob Petrie as the harried director who also has a bit of a soft side for his colleague Maureen.

Steven Kraski is perfectly weird as Luke the station’s custodian who dreams of making the leap from waaaay behind the scenes to front and center as one of the horror show’s cast members. He plays the creep factor so well in fact, I wasn’t convinced till the very end that all the trouble wasn’t simply Luke’s elaborate audition gone awry.

Stealing every single scene he’s in is Joseph Hudson as The Nightmarium’s cameraman, Joe. Hudson’s Joe is the good ole boy to end all good ole boys. Having grown up i a relatively small country town just west of Nashville, I definitely know the type and Hudson has it down to a science, rising above the predictable to riotous results.

Rounding out the show-within-a-show cast are Emmanuelle Loyer as Floor Manager Rhonda, Alyssa Borg as Sherri Peterson, the stations new seemingly vapid anchorwoman, Maureen’s main obstacle in her pursuit of being an news anchor and Matt Smith as Bill Haig, the station’s star anchor. Smith, always a joy to watch onstage, is another reason this show works. Dressed in wardrobe courtesy costumer Brooklyn Hughes reminiscent The Mary Tyler Moore Show’s self-important anchor, Ted Baxter, as played by Ted Knight or Will Ferrell’s Anchorman, Ron Burgundy—with an ego and toupee to match, Smith elicits laughter simply by standing there.

While the plot gets as murky as The Munsters’ moat…the infighting and interpersonal relationships between Maureen, her horror show co-stars and crew and her rivals at the news desk…plus the real plot of The Nightmarium Incident, when an accidental incantation brings murder and mayhem to the station…all in all, The Nightmarium Incident provides more than enough laughs, and a few frights, the perfect precursor to Halloween. With only an all-too-brief two-week run, here’s hoping Music City gets another chance to visit W-KIL and The Nightmarium Incident next season.

Act 1’s The Nightmarium Incident concludes its run with one final show Saturday, November 19 at 7:30p.m. CLICK HERE to purchase tickets in advance for $15, or purchase them at the door for $18.

Up next at Act 1 is playwright Lisa Loomer’s Distracted directed by Elizabeth Hayes, on stage November 15-17 and 21-23. CLICK HERE for more information.

To keep up with Act 1, follow them on Facebook, Instagram and Twitter.

Theatre Review: ‘Once on This Island’ National Tour kicks off in Nashville showering Music City with talent and excitement

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Kyle Ramar Freeman as ‘Asaka’ and Courtnee Carter as ‘Ti Moune’ in the North American Tour of “Once on This Island”. All photo by Joan Marcus

Earlier this week Music City finally began the transition from an unusually long, hot summer to the much-awaited chill of autumn, with even a promise of rain. As if designed by the gods themselves, those elements also seem to be present inside TPAC’s Jackson Hall as Nashville plays host to the premiere performances of the first-ever National Tour of Broadway’s Once on this Island.

Initially taking Broadway by storm (pun fully intended) when it debuted in 1990, Once on This Island tells the tropical island tale of a young girl who sacrifices her very soul to save the life of the boy she feels it is her destiny to meet, protect and love. Based on Rosa Guys’ 1985 novel, My Love, My Love: Or, The Peasant Girl, the story itself is a modern retelling of Hans Christian Andersen’s The Little Mermaid. That said, if you’re expecting a happy-go-lucky mermaid flippin’ her fin with Flounder and friends, you’re thinking the wrong mermaid tale, for Guys’ novel and this theatrical interpretation, in particular, share more in common with the original fairytale than that of the House of Mouse.

Instead, Once on This Island delivers a thought-provoking look at love, lust, dreams, faith and magic while skillfully simultaneously examining the realities of racism, classism and even colorism on a remote Caribbean Island.

Even before the action of the play actually begins, theatre patrons who arrive early are immediately swept away to a tropical oasis. Rather than a lowered curtain obscuring the stage, Once on This Island invites the audience to preview what’s to come by having the set in full view upon entry to the theatre. As cast members buzz about on stage, it seems evident all is not postcard-perfect on the island. Instead, we see islanders picking through trash strewn along the sand—yes, the stage is covered in a fine layer of sand, just one of the actual natural elements that play such a large part in the play. It soon becomes clear that we are witness to the aftermath of a tropical storm, perhaps also a bit of foreshadowing of the eye of the storm at the heart of the piece. 

Further immersing the audience into the mix, a handful of lucky patrons find their seats amongst chairs and risers on the stage itself. This particular aspect of the tour is done to attempt to replicate the show’s recent Broadway revival at Circle in the Square, one of only two Broadway theatres that utilizes a stage that is surrounded on three sides by audience seating.

Directed by Tony-nominated Michael Arden (Spring Awakening), with book and lyrics by Lynn Ahrens and music by Stephen Flaherty (Original Score Tony-winners for Ragtime), with Dane Laffrey’s authentic set design, costumer Clint Ramos’ inventive and colorful wardrobe and a company of accomplished and talented actors, Once on This Island presents a storm-wrecked island complete with ramshackle dwellings, displaced belongings and all, but also present, an obviously tight-knit community, a community of survivors. A community of love and hope for rebuilding the future and surviving the next storm. Heck, in the opening number We Dance reinforces the islander’s optimism when, as they  pick through the wreckage, they proudly sing, “We are dancing just to stay alive”.

Mimi Crossland and Courtnee Carter surrounded by cast members of “Once on This Island”

As the story begins, locals find a young girl alone and frightened the morning after a storm. Young actors Mimi Crossland and Mariama Diop share the role of the Little Girl, alternating performances. On opening night Crossland was seen in the role and she was delightfully charming.

With perhaps a wink to the Hans Cristian Andersen original mermaid lore, the young girl is initially thought to be unable to speak, but that proves to be a falsity as she gleefully joins the islanders as they tell her the tale of Ti Moune, a beautiful dark-skinned orphan girl raised by a poor but loving couple, Tonton Julian (Tony winner, Phillip Boykin) and Mama Euralie (Danielle Lee Greaves). These two present their characters with a lovely balance of guidance and understanding and immeasurable vocal skills, setting the pace for the entire show with powerful, emotional performances.

As the storytellers tell the Little Girl the story, the action transitions to a grown up Ti Moune (Courtnee Carter) as she rescues Daniel Beauhomme(Tyler Hardwick)…and yes, the character’s last name literally translates from the French as ‘beautiful man. Ti Moune meets Daniel, a light-skinned wealthy young man of both French and Caribbean descent who crashes his car on the “wrong side of the island”. Feeling it’s her true destiny, she leaves her family to journey to the other side of the island to return him to his home and nurse him back to health. Some time later, he lapses into a coma and here’s where the story veers a bit from the mermaid source material. Instead of our heroine making a deal with a sea witch in exchange for her beautiful voice, Ti Moune makes a deal with Papa Ge, the Demon God of death (played by former American Idol favorite, Tamyra Gray) to trade her life for her beloved’s. That plot twist, and its subsequent effects bring a bit of Romeo and Juliet vibe to the piece.

Gray’s Papa Ge isn’t the only god involved in the story. There’s also Erzulie, the Goddess of Love, played by Cassondra James; Jahmaul Bakare’s Agwe, the God of Water and Asaka, Mother Earth as presented by Kyle Ramar Freeman. As their character names and casting might infer, Gods, Goddesses and Demons aren’t restrained by antiquated ideals of gender norms, but rather representational of a fluidity mere mortals are finally just beginning to understand. Case in point, when the original production of Once on This Island debuted on Broadway in 1990, Papa Ge was played by a male actor. Since it’s revival, the role has been played by female actors. Meanwhile, the reverse is true for Asaka. Initially the role was portrayed by a female, but since the revival, it’s been less gender specific. Just another lesson to be learned during your visit on the island.

While the story itself is often-times familiar, both in the Little Mermaid sense, and the age-old young girl sacrificing everything for a man sense, it’s the vibrancy of the music, paired with Camille A. Brown’s energetic and emotional choreography and the powerhouse performances of the entire cast that, much like the gods who are represented, breath fire, life and air into the piece.

Carter is blissfully perfect as Ti Moune. With a voice fitting the oft-referenced mermaid, regardless of your views of perpetuated stereotype of the woman sacrificing all for the man she loves, Carter’s performance is excellently layered and heartfelt. The highpoint of her performance, and dare I say, the entire play, Ti Moune’s Dance, during which she boldly arrives to a proper cotillion dressed in a flowing island dress in her character’s signature red and performs an unabashedly passionate dance of her native culture, at once shocking and enthralling her more refined critics and onlookers, who by no coincidence of the show’s costumer, are dressed in regal, yet blandly off-white finery. I can’t be the only one who was reminded of Bette Davis’ red dress moment in the classic film Jezebel during this breathtaking scene.

Members of the company of “Once on This Island”

The Gods of Once on This Island also shine in their individual ways. Gray presents Papa Ge with a strength and presences to be reckoned with. Powerful yet perfectly sinister, her rich vocals are the stuff of which fear is made. Shoot, even her costume is partially fashioned from what appears to be caution tape, a literal warning of things to come. Bakare, aided by a Triton-esque beard fashioned from shredded fabric portrays the gentleness of the water with an ever-present ability to literally turn the tide at any moment. James’ Erzulie, complete in a flowing gown and royal headpiece, is majestic and beautiful with a voice to match. Freeman, who somehow reminds me of a gentler Evilene from The Wiz, portrays a loving Earth Mother with flair and feistiness. Gotta love a Goddess who can make a gown out of a discarded floral tablecloth. 

Credit where credit is due, t’s the midway showstopper Mama Will Provide and Ti Moune’s aforementioned dance that will linger in the audience’s mind long after the sands of time have washed away the rest of Once on This Island. 

While the show doesn’t exactly offer a traditional Happy Ending, the playwrights do offer up a simply divine finale as the entire ensemble of Once on this Islandsings the joyous finale Why We Tell the Story. It’s the perfect spirit-rejuvenating number that, in spite of the less-than storybook ending, allows the audience to leave the audience with the rhythm of the island in their bodies and the positivity of love and faith on their minds.

Once on This Island wraps its opening week at TPAC’s Jackson Hall as performances continue through the weekend with an evening performance Friday October 18, as well as matinee and evening performances Saturday and Sunday, October 19 & 20 before heading out on the road as this debut National Tour continues. CLICK HERE for tickets to this week’s remaining Nashville performances.

Following their Music City dates, Once on This Island continues their National Tour with upcoming dates across the US through June 2020. CLICK HERE to see when the show is coming to a theatre near you or follow Once on This Island on Facebook, Instagram, YouTube and Twitter.

TPAC’s 2019/2020 Broadway Season continues with The SpongeBob Musical November 5-10, CATS November 19-24, Hamilton December 31-January 19, My Fair Lady February 4-9, Blue Man Group February 11-16, Jesus Christ Superstar March 3-8, The Color Purple March 27-29, Escape to Margaritaville May 5-10m Summer: The Donna Summer Musical May 26-31 and Charlie and the Chocolate Factory June 9-14. CLICK HERE for more.

To keep up with what’s happening at TPAC, follow them on Facebook, Twitter and Instagram as well.

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

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

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

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

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Bradley Moore

JHP: How did you become involved in this project?

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

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

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

JHP: Who have you got amongst your cast?

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

JHP: What can you tell me about the plot?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Wanna check out previous Rapid Fire conversations? CLICK HERE. Interested in coverage for your latest entertaining endeavor? Click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Rapid Fire 20 Q with the director and cast of ‘Annie’; at Chaffin’s Barn July 11-August 3

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

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

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

RAPID FIRE WITH CHAFFIN’S ANNIE STAR, AVA RIVERA

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

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

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

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

RAPID FIRE WITH CHAFFIN’S ANNIE STAR, ELLE WESLEY

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

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

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

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH ANNIE’S DADDY WARLOCKS, GALEN FOTT

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

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

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

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

Ava — spunky

Elle — determined

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

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

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

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

RAPID FIRE WITH ANNIE’S MISS HANNIGAN, JENNY NORRIS

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

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

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

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

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

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

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

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

RAPID FIRE WITH ANNIE’S ROOSTER, CURTIS LEMON

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

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

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

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

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

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

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

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

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

Thursday matinee tickets are $19 for show only or $27.50 for show and a Box Lunch. (Wednesday matinee will also offer the Box Lunch option). Evening show tickets are $13 for children 12 and under, $20 for youth/students and $35 for adults. Living up to their Barn Dinner Theatre name, Chaffin’s also offers a full buffet option or a la carte menu items for their evening and Sunday lunch matinee performances. Chaffin’s delicious buffet, featuring a choice of entrees (including a veggie option), and a number of side items is available for an additional (but completely worth it) $15.95, while the a la carte menu items (also quite tastily) range in price from $6.95 to $10.95, plus there’s a wide array of desert options to choose from $2.50 to $5.00. CLICK HERE to check out the menu.  CLICK HERE to purchase tickets or call 615.646.9977 to make reservations with the box office. To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

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

Rapid Fire 20 Q: Conversations from The Emerald City as The Larry Keeton Theatre celebrates Opening Weekend of ‘The Wizard of Oz’ directed by Jef Ellis

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When you consider the fact that L. Frank Baum’s beloved The Wizard of Oz was originally released in book form in 1900 and the equally-iconic MGM musical movie adaptation itself is celebrating it’s 80th anniversary this year, it’s really no surprise that all things Oz continue to be just as mesmerizing all these years later. Proof that the story of young dreamer Dorothy Gale’s first visit to the enchanted Land of Oz is still an audience favorite is evident in the fact that The Larry Keeton Theatre opened their production of the stage adaptation earlier this week with shows continuing at the popular Nashville area dinner theatre, with performances continuing through June 29.

To celebrate Opening Weekend, I recently had an opportunity to chat with the show’s director, Jef Ellis as well as four members of his cast including Emma Brown, who plays Dorothy, J. Robert Lindsey, who’s cast as The Tin Man, The Cowardly Lion’s Sara Kistner and Thomas Gentry, who’ll be performing the role of The Scarecrow for an All-In, All-Oz Rapid Fire 20 Q.

Sara Kistner, J. Robert Lindsey, Thomas Gentry and Emma Brown in The Keeton Theatre’s “The Wizard of Oz”

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RAPID FIRE 20 Q WITH DIRECTOR & CAST OF THE LARRY KEETON THEATRE’S THE WIZARD OF OZ

RAPID FIRE WITH THE WIZARD OF OZ DIRECTOR, JEF ELLIS

JHP: What’s your first memory of The Wizard of Oz?

JEF ELLIS: I grew up as part of a generation who watched the movie on TV once a year and my earliest memory is being scared to death of those flying monkeys. In fact, we’d have to switch off the TV every time they made an appearance. I don’t think I ever saw the entire film until I was well into adulthood and could manage my flying monkey phobia with grace.

JHP: Having interviewed you in the past, I’ve noted that whenever you direct a piece that’s as beloved for its cinematic adaptation as it is its stage version, you always manage to pay homage to the Hollywood incarnation. Can you reveal, or at least tease, how you’ve achieved this with this production of Oz?

JEF ELLIS: The script is very much like the screenplay, down to the stage directions. But because I love classic films of this particular era, I have chosen to honor the golden age of Hollywood — specifically 1939 — with some of the expected tropes of moviemaking of that time and when I’ve talked about it with my cast members, I’ve often used references to the stars of that era and we’ve attempted to give the Kansas scenes a sense of classic black-and-white filmmaking and acting for the camera. It is subtle, but it’s there and it helps inspire my talented cast.

JHP: What aspect of this production has brought you the most joy as a director?

JEF ELLIS: Believe it or not, it’s working with young actors, particularly the very young actors who play a variety of roles from Munchkins to Ozians to the Wicked Witch of the West’s flying monkeys. Introducing this beloved film to a new generation is both an awesome and daunting experience. When we first started, I felt rather at sea insofar as what I was striving to do with this particular show, but one day during rehearsal, I restaged the Act One finale (the approach to the Emerald City after the experience in the field of poppies) and it suddenly dawned on me what the show is actually about and how impactful it can be on audiences, whether they are veterans like me of seeing the movie annually for years and years or if they are only just now being exposed to it.

JHP: Why does The Wizard of Oz endure?

JEF ELLIS: To my way of thinking, it’s a uniquely American fairy tale — the story of one young girl’s search for who she really is and what is most important to a life well-lived, told in a distinctly American way. I think far too often The Wizard of Oz becomes the focus of academics who try to foist their own meaning upon the story — and lord knows, I love that kind of stuff — but when I read more about L. Frank Baum and what he was trying to do, it opened up vast new vistas for me as far as storytelling is concerned. To me, the best thing about live theater is its ability to transport and to transform and there is perhaps no show I’ve directed in my career that better subscribes to that belief. The Wizard of Oz is the quintessential American fairy tale that instantly whisks audiences away to a vividly imagine world quite unlike any you might imagine on your own. Because of that, the story is timeless and we can all find something about it with which we might identify.

RAPID FIRE WITH EMMA BROWN, DOROTHY GALE IN THE WIZARD OF OZ 

JHP: Frank Baum’s The Wizard of Oz is easily one of the most beloved stories ever. What’s it like to be cast as Dorothy Gale?

EMMA BROWN: If you play an iconic character, comparisons to the original are inevitable. That kind of pressure is an exciting challenge because it’s all about bringing some of the magic from the classic to the stage. A little magic and a lot of dog treats.

JHP: Arguably, the 1939 film adaptation is just as popular, if not more so, than the classic novel. Were you a fan of either incarnation before auditioning for this production?

EMMA BROWN: We had The Wizard of Oz movie on VHS when I was little, and I used to rewind the scenes and act them out alongside the TV. One of my favorites was throwing myself off our couches to reenact when Judy Garland falls into the pig pen. Unfortunately, the stage version does not have that scene, because I would have been thoroughly prepared.

JHP: While researching to chat with you and your fellow Ozians, I ran across a recent Oz-related post on your social media in regards to your recent birthday. Care to share what your parents did to celebrate your birthday and you being cast as Dorothy?

EMMA BROWN: My mom labeled yellow napkins with letters that said, “Follow the Yellow Brick Road,” and she put them on the floor leading to the kitchen, where my Dad hung a Wizard of Oz poster that he drew himself. It had the Lion, Scarecrow, Dorothy, Tin Man, the Emerald City, apple trees, rainbows, it was incredible. The thoughtfulness of those two almost made up for the fact that Dad used up all my markers.

JHP: Somewhere Over the Rainbow is simply iconic. Do you have a favorite phrase amongst the lyrics that kind of gets you every time you sing it?

EMMA BROWN: “…And the dreams that you dare to dream, really do come true…” I love that lyric for two reasons: it speaks to anyone with passion, ambition, and hope, and it’s the only place in the song where I get to breathe.

RAPID FIRE WITH THOMAS GENTRY, THE SCARECROW IN THE WIZARD OF OZ

JHP: Which of The Scarecrow’s characteristics do you share—or would you love to adopt?

THOMAS GENTRY: Oh man, The Scarecrow and I have more in common than I ever realized. Perhaps the most obvious might be my general absent-mindedness (yeah yeah, pun-intended). Ask anyone who’s ever tried to leave the house with me; I can NEVER find my keys, wallet, phone, etc. Also, like the Scarecrow, I’m an external processor so I often put my foot in my mouth by spewing unfiltered babble or asking questions with obvious answers. I will say however, that I admire the Scarecrow’s unwavering and selfless love and support of Dorothy. To me that’s a very endearing characteristic of the Scarecrow and something that I’d like to demonstrate in any friendship.

JHP: Alright, I just gotta say…with your hair, did you initially audition for The Cowardly Lion? Because your mane is epic! But on to my real question….The Scarecrow is surprisingly a very physically demanding role. Do you have a dance background?

THOMAS GENTRY: Haha, ya know, I didn’t. But it’s been brought to my attention that I perhaps should have. Maybe I’ll lop it off for Sara, our Lion, to make a wig out of. Anyway, you are not lying about the Scarecrow being a physically demanding role. After being cast, I began watching so many different performances where the Scarecrow was doing full splits and jazz pirouettes. I thought, “uh oh.” But I do have a background of basic ballroom dancing and a shameless enthusiasm to brave any dance-based aerobics class no matter how outnumbered I am by middle-aged moms. Throw that in with a history of various board sports that have taught me how to roll and fall and I’d say I’ve attempted to adapt the part to the floppiest, most energetic version of my skill-set. Knee pads help a lot too.

JHP: One of my absolute favorite Scarecrow lines is, “Some people without brains do an awful lot of talking, don’t you think?” Given today’s social and political climate, do you expect to get big reactions from that line?

THOMAS GENTRY: I know, right? When I first read the script I thought “Oh my gosh, how did they know?” It just seemed perfectly timed. A little more research led me to the fact that the L. Frank Baum’s 1900 novel The Wonderful Wizard of Oz was always intended to be somewhat of a political allegory. Much of the allegorical structure remained in tact in the beloved 1939 film which popularized the line in question. The genius of this line is that it will always be relevant no matter who’s doing a lot of talking or who’s in power at any given time. That said, I, like every person who has heard this line since 1939, do think it seems most applicable considering today’s social and political climate and I certainly hope for big reactions from that line.

JHP: While this interpretation of The Wizard of Oz follows the 1939 film adaptation very closely, one sequence that was cut from the film, The Jitterbug, was added back to this stage version when it was first produced by the Royal Shakespeare Company In 1987. What can you tell me about this number and the show’s choreography as a whole?

THOMAS GENTRY: Initially, it seemed that much of the cast had a love/hate relationship with this number. Ya know, no one’s really heard it, it’s not exactly a crowd favorite upon first listen, and it’s certainly not the 80’s Wham hit that I first think of when I hear Jitterbug. That said, it’s one of only two instances where the leads get to sing and dance with the entire ensemble, so The Jitterbug is actually key during the second act to give the audience a little something spicy and fun featuring almost the entire cast. And ya know what? It’s actually become a pretty cool number. Our choreographer, Kevin Raymond, has really turned it in to something nice. He’s done a great job of adapting the film’s choreography to the stage, while still maintaining the look and feel of the film’s original dance numbers that the audience expects to see.

RAPID FIRE WITH SARA KISTNER, THE COWARDLY LION IN THE WIZARD OF OZ 

JHP: The Cowardly Lion is typically played by a male, so…are you playing the role as a gender-flip? non-binary? or in male drag?

SARA KISTNER: The best way to describe the way I am playing the Cowardly Lion is a mix of gender flipping and non-binary factors. I know it is difficult to technically do both, but we changed words like him to her and king to queen, but I am trying to remain true to the Cowardly Lion as everyone knows “him”. I play the Lion with a deeper voice but Queen of The Forest may catch you by surprise. I am using that gender battle of Men are tough and Women are gentle and trying to place myself amongst the other characters to really play up each of the Lion’s hurdles with courage.

JHP: When playwright John Kane and the Royal Shakespeare Company revisited the story of Oz for this iteration’s debut in 1987, the costumes were based on a combination of both the original illustrations by William Wallace Denslow from the 1900 1st edition of Baum’s book and Adrian Adolph Greenberg’s legendary costumes designed for the 1939 film adaptation. Who designed the costumes for The Keeton’s production and what’s your favorite aspect of them?

SARA KISTNER: Our costume designer Cary Street, is recreating Glinda, Dorothy, Tinman, Scarecrow, and Lion as we all remember them whether it is the film or the stage adaptation, while taking our ensemble and giving them some flare and originality. My favorite aspect of our costumes would have to be the color scheme for our ensemble members, everyone pops in their own way on stage!

JHP: Earlier this year you worked with Jef as a member of his cast of Singin in the Rain and now in Oz. While composing questions to ask you and your fellow Yellow Brick Roadies, it dawned on me, Jef is a bit like the Wizard isn’t he? I’m curious…in the spirit of Oz, what’s something surprising you’ve learned about Jef…behind the magic curtain?

SARA KISTNER: Jef is in fact a lot like Oz, he goes wherever the wind takes his balloon. We all know Oz as this big scary spectacle of a being that no one really knows much about other than the obvious, I believe that is true for Jef as well, to a degree. The way Jef directs is very much straight to the point, and we as his cast are to follow his instructions in order to reap our rewards. The difference between Jef and Oz is, Oz is pretending to be something he is not, Jef remains true to himself and his demands are for the best of the production he is working on at the time. Once the cast has completed their tasks and we begin the run of our show, that is when Jef comes out behind the curtain we receive our motivational speech and the wind takes him on to his next adventure.

JHP: The Cowardly Lion seeks courage. What does courage mean to you?

SARA KISTNER: I believe Courage is not defined by one specific thing. Courage can be as simple as facing the day when all you feel is dread, it is going out and walking with the masses whether you are a feminist, a member of LGBTQ, Black Lives Matter, or even serving the United States Military. You never know what each day may bring you, but facing each day with everything you have in your soul not knowing what may be waiting for you, that is true courage.

RAPID FIRE WITH J. ROBERT LINDSEY, THE TIN MAN IN THE WIZARD OF OZ

JHP: Prior to being cast as The Tin Man, how familiar with this particular adaptation, which debuted on stage in 1987, and more closely follows the classic film than other stagings?

J. ROBERT LINDSEY: I had the opportunity to play The Tin Man (and his farmhand counterpart, Hickory) in college.  We did this adaptation as well, so I was pretty familiar with this particular version.  As a child, I was obsessed with the movie, so having the chance to play this role in a version that so closely follows the film not only once — but twice — has been such an honor.

JHP: This mounting of The Wizard of Oz marks how many times you’ve worked under the direction of Jef? What keeps you coming back to audition when he’s at the helm?

J. ROBERT LINDSEY: Wizard is the fourth time I have worked under Jef’s direction.  I first met Jef when I played Cliff Bradshaw in his production of Cabaret followed by My Fair Lady (as Freddy Eynsford-Hill) and The Boys in the Band (as Larry). What I love about Jef as a director is that he comes into the rehearsal process with a very clear vision. As an actor, it’s great working with a director who knows exactly what he wants out of you. Jef also does a wonderful job of recreating classic films on stage. In this particular show, he pays homage to the 1939 film as well as the original novel while simultaneously adding some twists and turns along that way that audiences have never seen before.

JHP: Among the lyrics of The Tin Man’s famed If I Only Had a Heart is the line, “Just to register emotion, jealousy, devotion and really feel the part”. At what point during the rehearsal process did you ‘really feel the part’ as far as finding YOUR The Tin Man?

J. ROBERT LINDSEY: Having played this role before, I didn’t want to cop out and recreate the same exact performance. The stage version dives into some of The Tin Man’s backstory. For The Tin Man, a heart represents the life he knew before the Wicked Witch enchanted his axe and subsequently turned him into tin. During one of our rehearsals, we were running the scene where the Tin Man shares his story with Dorothy and the Scarecrow. As the words were coming out of my mouth,  I really thought about how heartbreaking (no pun intended) his story is and how that fuels this journey he goes on. For me, that’s when this incarnation of the Tin Man started to evolve.

JHP: Among the many themes of Oz, Family is key, whether it’s the family we’re born into or the family we choose. I hear actors say over and over that their casts become family. Why do you suppose that is?

J. ROBERT LINDSEY: So many of the stories we tell in theatre are centered around relationships. As the cast dives into creating their own characters and developing the relationships they have with the other characters in the show, it’s hard to completely separate yourself as an actor. It’s an emotional journey and requires a lot of energy, and the only people who can relate are the ones in the show alongside you. It truly fosters a sense of family – which is one of my favorite aspects of theatre.

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The Wizard of Oz at The Larry Keeton Theatre continues with shows thru Saturday, June 29. Thursday-Saturday shows begin at 7p.m. with Sunday matinee curtain at 2p.m. Dinner and Show tickets are available for $30 for Adults and $20 for Children 12 and Under. Show Only Tickets are available for $25 for Adults or $15 for Children 12 and Under. Unlike Dorothy, you don’t need a flying house, a bubble-hopping good witch, a hot air balloon or even ruby slippers to visit, but you do need to CLICK (just one time)….CLICK HERE for tickets.

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

If you’ve enjoyed this installment of my recurring interview feature,be sure and check out previous conversations at Rapid Fire 20 Q. 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: Neil Simon’s ‘God’s Favorite’ provides retro laughs and surprising thoughtfulness; at Chaffin’s Barn Dinner Theatre thru June 22

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John Mauldin, Scott Stewart (center) and Jenny Wallace lead the hilarious cast of Neil Simon’s “God’s Favorite” at Chaffin’s Barn Dinner Theatre thru June 22. (photo courtesy Chaffin’s Barn Dinner Theatre)

God’s Favorite, now onstage at Chaffin’s Barn thru June 22 may not be as widely known as  legendary playwright Neil Simon’s other works like The Odd Couple or his somewhat autobiographical Brighton Beach Memoirs, Biloxi Blues and Broadway Bound, but when presented by one of Nashville’s favorite theatre companies, especially when under the direction of Joy Tilley Perryman and featuring several Music City favorites among the cast, rest assured the laughs are heaven-sent.

With a plot that heavily borrows from THE Good Book’s story of Job, God’s Favorite swaps the biblical leading man’s name from Job to Joe, Joe Benjamin at that, perhaps a wink to the $100 bill, for you see, Joe is a wealthy cardboard box magnate who’s trust in God and love of his family has showered him with success and happiness.

Set in the 1970s, complete with a perfectly retro wardrobe courtesy Miriam Creighton and a simplistic but groovy set, lighting and overall look from Perryman’s technical team including stage manager Catherine Forman, sound engineer Stephen Platea, lighting designer Austin Olive, set construction by Robin Lawshe and production assistance from Delaying Rizer, the play begins at the stroke of midnight when a mysterious stranger arrives at Joe’s home and reveals that he is indeed God’s Favorite, but that his trust in the lord will be tested unless he renounces him.

While this may not read like the stuff of which a Neil Simon comedy is made, you just have to have a little faith in Perryman and company to deliver the goods. Resplendent with seventies references including nods to The Exorcist, Robert Redford, a hilarious bit of schtick involving a rotary phone and such, the script may seem dated at times, but Perryman takes full advantage, even having her sound guy play a bit of The Exorcist theme between scenes just when things start to go awry for Joe and family.

Leading the cast is John Mauldin, who in the last few years has indeed become a Chaffin’s favorite. As Joe, Mauldin is the perfect embodiment of the ‘everyman’. Jolly and pleased with his happy life, Mauldin’s Joe brings to mind Archie Bunker…if Archie were ever in a great mood. Even when tested with the loss of his business, plagued with aches and pains and the destruction of his home, Maudlin’s Joe keeps his positivity, an aspect I suspect the actor himself maintains in his real life.

Cast opposite Mauldin is yet another Barn Dinner favorite, Jenny Wallace as Joe’s wife, Rose. Having made her Chaffin’s debut three decades ago, Wallace has appeared in some three dozen plays at The Barn. As Rose, Wallace at first seems the typical well-bred, well-off woman, first appearing oblivious to any and all slightly uncomfortable situations around her, but as Joe’s faith is tested, Wallace’s Rose seems to have a bit of a metamorphosis as she comes to also value the importance of familial love over material belongings.

Speaking of familiar love, The Benjamin’s are blessed with three young offspring. Returning for his third and most significant role to date at Chaffin’s is Elijah Wallace as David Benjamin, the family’s eldest son and a bit of a seemingly lost cause. Having enjoyed Wallace in his campily flamboyant portrayal as Charles Nelson Reilly in The Barn’s The Game Show Show during the holiday season, I was happy to see him take on this role. Though peppered with easy-target drunk jokes and pratfalls, the role of David provides some of the show’s most poignant moments and Wallace handles the range of his character with ease and conviction.

Marking his debut performance at The Barn is Ben Woods as Ben Benjamin. Most of Wood’s on-stage time is shared Annika Burley as Sarah Benjamin, Ben’s twin sister. You’d never know these two weren’t longstanding members of the Chaffin’s family, as they fit easily into the comfortable, fun atmosphere. At the top of the show there’s a running gag of young Sarah repeating every line spoken by her father and brother. Under the direction of a less-confident director, this scene—heck, this entire play—could easily play a bit droll and reaching for obvious laughs, but with Perryman at the helm, it’s truly charming and unexpectedly though-provoking.

Speaking of Perryman, in addition to directing, she also appears in the show, playing Mady, one of The Benjamins’ servants. Like Mauldin and Wallace and Wood and Burley, Perryman is also paired with a recurring scene partner throughout the show in the form of yet another Chaffin’s favorite, Charlie Winton as Morris, The Benjamin’s butler. Perryman and Winton are relegated to brief scenes, but as seasoned performers, they make the most of their time on stage and are always a delight.

Rounding out the cast is Scott Stewart as Sidney Lipton, the aforementioned mysterious guest who…Spoiler Alert…is actually a messenger from God…or maybe Satan…I”m still not 100% clear on that. Nonetheless, Stewart, yes, another Barn favorite, is an absolute joy to watch. It’s funny that I mentioned Charles Nelson Reilly earlier in this review…interesting because Reilly created the role of Sidney Lipton in the original 1974 Broadway production of God’s Favorite. For Scott’s Sidney, he goes the nebbish nerdy route, and he does so perfectly, affecting his normally commanding voice to come across a bit more uncertain and nervous. But you gotta love when Sidney is pushed and needs to be a bit more assertive, Stewart belts out a booming line or two that are divine indeed.

As is typical for a Neil Simon play, the jokes come at you at lightning speed, one-liner after one-liner, typically served with a heavy dose of sarcasm and wit, but it’s the not-so-hidden message behind the laughs, the message of faith and family that makes this little charmer worth the watch.

While the plot is outrageous at times and the resolution a bit unbelievable and ever-so neatly packaged within the show’s two-hour run-time, as presented by director Perryman and stars Mauldin, Stewart and company, God’s Favorite will surely be a favorite amongst Chaffin’s patrons.

God’s Favorite continues at Chaffin’s Barn Dinner Theatre with shows through June 22.  Showtimes are Thursdays at 12 noon, Friday and Saturday evenings at 7:30p.m. and a Sunday, June 16 matinee at 2 p.m. Tickets range in price from $13 for Children 12 and under and $20 for  Youth/Student tickets to $35 for Adults. CLICK HERE to purchase tickets.

Being Nashville oldest continuing dinner theatre, Chaffin’s also offers a few dining options in addition to the show ticket pricing. As always, there’s the buffet option, or patrons can also choose items from an a la carte dinner menu with a full range of starters, small plates and desserts. CLICK HERE to check out the menu.

Up next at Chaffin’s Barn Dinner Theatre will be the family favorite, Annie, on the MainStage from July 11-August 3. CLICK HERE for tickets or 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 Q&A with ‘Miss Saigon’ cast members Anthony Festa and Stacie Bono; at TPAC’s Jackson Hall thru Sunday, June 9

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Opera Review: Nashville Opera’s ’The Cradle Will Rock’; limited engagement onstage at the Noah Liff Opera Center thru Sunday, May 12

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“The Cradle Will Rock” (All photos by Anthony Popolo/Courtesy Nashville Opera)

Just before the cast took to the stage for the Friday, May 10 opening performance of Nashville Opera’s The Cradle Will Rock, director John Hoomes welcomed the packed house with a bit of backstory to the piece. Having done a bit more research that usual prior to attending opening night—mostly because it’s been a while since I reviewed something at the opera, I was privy to much of what Hoomes relayed, so I thought I’d preface my review with a combination of details Hoomes shared, mixed with information I learned during prep for writing my review.

Back in 1937 during the worst days of the Great Depression, composer and lyricist, Marc Blitzstein teamed with director, Orson Welles and producer, John Houseman to create an American opera (alternately known as a play in music) overflowing with allegorical references to corporate greed, political corruption and filled to the brim with a cast of characters whose names frequently reflect that social and political status.

During its 1937 Broadway debut, The Cradle Will Rock’s story of a wealthy and powerful man silencing the efforts of the common man to unionize by shutting them down by whatever means necessary received an eerily similar real-life reception when, just days before the play’s scheduled opening, news came that President Roosevelt’s Works Progress Administration was temporarily closing down all new theatrical performances, going so far as to padlock the doors of the Maxine Elliott Theatre were The Cradle Will Rock was to debut. Legend has it, Welles and company felt certain this mandate had more to do with their piece’s radical pro-union themes and shuttering the theatre was a way to censor their voices.

Never one to shy away from controversy, Welles was determined to present his show, so he found a nearby theatre willing to rent him the space for a private event. On the scheduled opening night, Welles and 600 of his closest friends and patrons who had gathered outside the Elliott Theatre, walked some 20+ blocks to the Venice Theatre. Once inside, Blitzstein made his way to the stage where the piano had been brought from its original venue, while the actors sat among the audience. This was done because, in addition to the WPA ban, Actors’ Equity had stated that the cast could not perform onstage without express permission from the show’s producer, in this case, the government. Of course there was no mention as to whether or not ‘audience members’ could sing along should they by some chance know the words, so as Blitzstein began playing the opening notes of The Cradle Will Rock, the female lead stood from her seat in the audience and sang her part, with the other cast members following suit.

As Hoomes concluded his introduction to the piece, he also encouraged the audience to raise a glass as this performance not only celebrates the presentation of this legendary melding of opera and theatre, but also, on a more personal note, it marks the 10 year anniversary of Nashville Opera being housed in the gorgeous Noah Liff Opera Center.

With the piece’s backstory told—its uncanny relevance to hot-button issues still prevalent in government and society today, no doubt at the forefront of every audience member’s mind—the lights go up to reveal scenic designer Cara Schneider’s seemingly simplistic, but intricately thought-out set. As is typically tradition, given the show’s bare-bones history, it’s a mostly sparse stage, consisting only of a row of simple wooden chairs set against a painted backdrop resplendent with iconography of the day including the depiction of steel girders, American success flyers, a beautiful reproduction of Z. P. Nikolaki’s war bond advert featuring Lady Liberty using a candlestick telephone with the copy “Hello, this is Liberty speaking—billions of dollars are needed and needed NOW”, and even a hilariously tongue-in-cheek modern take on “Loose Lips Sink Ships” (I’ll leave it to you to approach the stage during intermission when you attend to catch that detail for yourself).

Megan Murphy Chambers as Moll

Megan Murphy Chambers, a darling of the Nashville theatre scene, is cast as Moll, a down on her luck young women who has turned to soliciting her body on the streets of Steeltown,USA in order to provide for herself. Equal parts vamp and vulnerable, with a spellbinding voice to match, Chambers gets things off on a high note as Moll laments I’m Checkin’ Home Now. Next up, Moll encounters a young man, Gent (Patrick Thomas in his first of two roles in the piece) looking for company…at a discount. Then the duo are interrupted by Dick (Jairus Maples), a less than honorable cop, who ends up arresting Moll after she refuses his advances.

This moves the action to the clink where Moll meets Harry Druggist (Shawn Knight) a formerly successful businessman who’s now the town drunk after a sad series of events, including the death of his son. Later in the show, Knight’s performance during the Drugstore Scene alongside Maples as his son, Steve and Charles Edward Charlton as Bug, a local heavy, is among the show’s more riveting moments.

They are soon joined by the majority of the remainder of the cast, Clerk (Brian Best), Cop (Mark Filosa) and The Liberty Committee, comprised of Yes Men and sellouts including: Reverend Salvation (Brent Hetherington), Editor Daily (Patrick Thomas in his primary role), Yasha, the violinist (Scott Rice), Dauber, the artist (Darius Thomas), Dr. Specialist (Brian Russell),  and President Prexy (Jennifer Whitcomb-Oliva). Eventually we are also introduced to Larry Foreman (Eric Pasto-Crosby), chief union organizer.

As you might have surmised by the aptronymic characters, Blitzstein wasn’t much for subtlety in that regard, or in the play’s over-all anti-capitalist slant. What you get is exactly what you see.

Members of The Liberty Committee

During the bulk of the piece, the audience is treated to exposition through song revealing who each character is, their relationship to the mysterious Mr. Mister and how they ended up where they are and how they came to be bribed, bullied and coerced into joining the committee to further his capitalist cause as they work to bust up the burgeoning unionization of the common man.

Galen Fott as Mr. Mister

Speaking of, the previously alluded-to community leader comes in the form of Galen Fott as Mr. Mister, a Trumpian figure if ever there was one complete with haughtier than thou wife Mrs. Mister (Martha Wilkinson) and dim-witted, superficial offspring Sister Mister (Jenny Norris) and Junior Mister (Chris Simonsen).

Steeped in a decidedly period-authentic jazz vibe, much of the music leans more towards early musical theatre than what is thought of as traditional opera. Chambers the obvious stand out in the more theatrical quartet of tunes that open the show.

Martha Wilkinson and Brent Hetherington as Mrs. Mister and Reverend Salvation

Other noteworthy musical moment come by way of Hetherington and Wilkinson’s hilarious duet Mrs. Mister and Reverend Salvation, during which we witness the ever-present relationship between church AND state, as the Missus leads the preacher to sermonize both sides of war, depending on her (and her husband’s) current financial opportunities where the subject is concerned).

The Freedom of the Press is another relatable, yet touchy tune as Mr. Mister and Editor Daily on what could easily been seen today as the origin of “fake news”. “News made to order” among the lyrics of a tune from 1937 is indeed still newsworthy today.

In numbers that are presented in the spirit somewhere between Nelson Eddy/Jeanette McDonald and Mickey Rooney/Judy Garland, Croon Spoon and Let’s Do Something are my personal favorites, mostly because they embody typical late-30s movie musical numbers with Norris’ giving us a breathy Mae Questel (Betty Boop) lightness matched by Simonsen’s devil-may-care swarthiness.

Chris Simonsen and Jenny Norris as Junior and Sister Mister

Keeping the mood seemingly comedic, but with tones of things to come, Honolulu shoves the unmotivated Trump Junior…er…um…uh…I mean Junior Mister off to the tropics to be a newspaper correspondent, in spite of the fact that he has no journalistic training.

The earlier-referenced Drugstore Scene plays next and is followed by Luke Harnish and Jessie Neilson in the sweet but eventually sad Gus and Sadie Love Song, during which the playwright manages to touch on bigotry and prejudices.

Matching her husband’s sense of entitlement in controlling other’s destinies, Mrs. Mister picks the arts as her playground, controlling sell-outs the Dauber (brilliantly played by Darius Thomas) and the equally scene-stealing Scott Rice as Yasha. While watching these three tease and taunt each other with the promise of prominence in their respective worlds, I couldn’t help but laugh along with the other patrons of the arts in attendance. Well-played, Blitzstein…equally well-played Hoomes! For who are we if we cannot laugh at ourselves?

Chambers takes centerstage again for the show’s most poetic tune, Nickel Under the Foot, in which she beautifully laments the haves and the have nots.

Thankfully, all is not lost in this battle of capitalism vs humanism with the late-hour introduction of Eric Pasto-Crosby as Larry Foreman, a pro-union common man arrested for “carrying cocieled deadly leaflets” Still another mirror to our current administration’s disdain for anyone speaking out against the establishment.

Eric Pasto-Crosby as Larry Foreman

Jennifer Whitcomb-Oliva as President Prexy is—no surprise—a delight. While it’s only a small role, compared to some others in the piece, Whitcomb-Oliva makes the most of what she’s given as the sole female member of the all-boys Liberty Committee. (in the original mounting, the entire Committee was played by men). During the limited time Whitcomb-Oliva is featured as the head of a local university, she shines, never once giving any indication that she wasn’t born to play this role, just as the talented actress and singer does with every role she lands. The Faculty Room Scene, in  which she is summoned by Mr. Mister to offer up one of her college’s professors who is to address young men and dissuade them from joining the union, is the perfect example of the power of persuasion and influence over young minds. Luke Harnish as Professor Trixie, who also just so happens to be the school’s football coach, hams it up to audible delight from the audience in yet another still-true stereotype that athleticism, machismo and boisterousness equals right and common sense.

Just as Mr. Mister has everything worked out to pursued the end of the union organizing, he visits Russell’s Dr. Specialist about the matter of the death of a steel worker who ‘fell to this death’…or was he pushed? Mr. hopes to convince the Dr. to release a statement saying Joe Worker was drunk.

Brooke Leigh Davis as Ella Hammer

Enter Brooke Leigh Davis as Ella Hammer, sister of the murdered steelworker, come to defend the memory of her brother when she questions Dr. about his intentions to defame her brother by indicating he was drunk. Davis, who, like many in this show, I’ve had the pleasure of seeing in a handful of productions around town, sets up the show’s crescendo ending with her powerful operatic performance during the show-stopping Joe Worker.

By the time the cast, led by resistance leader, Pasto-Crosby’s Larry Foreman, raise their defiant fists in the titular reprise, the audience can’t help but feel energized and motivated. Bravo to Hoomes, his entire cast and crew for sharing this historically significant and ever-timely piece with Nashville audiences.

Nashville Opera’s The Cradle Will Rock continues it’s limited run at Noah Liff Opera Center with an 8p.m. evening performance Saturday, May 11 and a final matinee Sunday, May 12 at 4p.m. The Cradle Will Rock is presented with cabaret seating. At the time of this review, limited seats remain with cabaret seating priced at $85 and side seating available for $26. CLICK HERE for tickets or more information.

The Cradle Will Rock stars Megan Murphy Chambers, Galen Fott, Martha Wilkinson, Eric Pasto-Crosby, Shawn Knight, Jenny Norris, Brent Heitherington, Patrick Thomas, Scott Rice, Darius Thomas, Brian Russell, Brooke Leigh Davis, Jessie Neilson, Luke Harnish, Charles Edward Charlton, Jennifer Whitcomb-Oliva Jarius Maples, Brian Best and Mark Filosa.

The Cradle Will Rock creative team is comprised of director and supertitles creator, John Hoomes, music director/pianist Amy Tate Williams, lighting director, Barry Steele, costume designer, June Kingsbury, scenic designer, Cara Schneider, wigs and makeup designer, Sondra Nottingham, prop master, Lucious Rhoads, production stage manager, Taylor Wood, technical director, Randy Williams, costume coordinator, Pam Lisenby, costume crew: Jayme Locke and Eleanna Flautt, wigs and makeup crew: Jennifer Ortiz, Alysia Faith and Tammy Potts-Merritt, supertitles operator, Anna Young.

Up next for Nashville Opera will be Madame Butterfly at TPAC’s Jackson Hall October 10-12 with tickets ranging in price from $26-$124. CLICK HERE for tickets or more information. You can also find Nashville Opera 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.

Musician Ben Folds reunites with Nashville Ballet as ‘The Ben Folds Project’ returns to Music City for three performances April 26-28 at TPAC’s Jackson Hall

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Ben Folds accompanies Nashville Ballet company members as “The Ben Folds Project: Concerto” returns to TPAC’s Jackson Hall this weekend as part of this season’s Modern Masters series. (All photos courtesy Nashville Ballet)

Proving once again that Nashville’s Music City moniker isn’t limited to twangy tunes and honky tonks, Nashville Ballet is presenting their genre-jumping collaboration with musician/singer/songwriter/composer/producer Ben Folds for the triumphant return of Nashville Ballet Artistic Director Paul Vasterling’s The Ben Fold Project: Concerto at TPAC’s Jackson Hall, April 26-28.

Having originally debuted as part of Nashville Ballet’s 2014 season, The Ben Folds Project: Concerto has since enjoyed performances at The Kennedy Center in 2017 and the Chautauqua Institution in 2018. Folds has also performed the music from the concerto with various major symphony orchestras across the country, but the upcoming TPAC dates mark the first time since the collaboration’s 2014 debut that Folds will perform the music alongside the Nashville Symphony while members of Nashville Ballet dance the piece as choreographed by Vasterling.

Nashville Ballet’s Julia Eisen

Concerto for Piano and Orchestra, composed by Folds and commissioned by Nashville Ballet, when released as a sound recording, topped both the Billboard Classical and Classical Crossover charts. The 21-minute, three movement piece will be presented as part of Nashville Ballet’s Modern Masters series, a collection of work highlighting the evolution and wide-ranging scope of the artful dance form.

The Ben Folds Project: Concerto will be followed by a brief 15-minute intermission before the presentation of three additional masterworks. Duo Concertant, Bloom Pas de Deux and The Lottery will also be presented as part of Nashville Ballet’s Modern Masters series each night of the program’s run.

According to information obtained from Nashville Ballet, “The works selected for this series illustrate the ways in which the artform has transformed in the 20th and 21st centuries by showcasing works from neoclassical and contemporary choreographers that have helped to challenge and expand ballet’s boundaries through big ideas and intriguing collaborations.”

Nashville Ballet’s Kayla Rowser

Having made it’s Nashville Ballet debut last December during Paul Vasterling’s 20th Anniversary Nashville Ballet Ball, the central pas of choreographer Annabelle Lopez Ochoa’s Bloom returns to the stage once more.

Details from Nashville Ballet reveal, “The work, set on Ballet Manila, was Lopez Ochoa’s first for an Asian dance company. As a result, Lopez Ochoa uses movements and gestures reflective of Asian culture within the choreography. Inspired by a Balinese ritual, Bloom depicts a floral offering in which the male dancer represents gratitude and the female dancer represents the flower.”  Philip Glass’ score will be performed by the Nashville Symphony as company members perform the piece while wearing costumes originally designed by the choreographer. Interestingly, Lopez Ochoa also designed the original lighting, which is being recreated by Scott Leathers.

Nashville Ballet’s Michael Burfield

Featuring George Balanchine’s original choreography and Igor Stravinsky’s beautiful music as performed for Nashville Ballet’s presentation by pianist Alessandra Volpi and violinist Christina McGann and staged by Balanchine Ballet Mistress, Victoria Simon, Duo Concertant presents the piece in such a way that the audience will no doubt immediately become immersed. In the first of the work’s five movements, dancers gather ‘round to listen to the musicians. During the next three movements, the dancers begin to feel the music, erupting in an animated dance that celebrates the joy of the music. In the fifth and final movement, the stage darkens with spotlights focusing on two dancers moving to the final notes of the piece in solitary circles of light.

Nashville Ballet’s Jamie Kopit

Even the most casual ballet fan should recognize the iconic names most-associated with Duo Concertant—legendary 19th century classical composer, Stravinsky, and Balanchine, the father of American ballet, 20th century dancer/choreographer. Stravinsky first presented the composition in 1932 when he dedicated the piece to his friend and frequent violin accompanist, Samuel Dushkin. Some forty years later, Balanchine chose to choreograph the piece as a highlight of the 1972 Stravinsky Festival, one year after the famed composer’s death.

Following a second brief intermission, Nashville Ballet will close the program by presenting the Nashville premiere of Val Caniparoli’s The Lottery. Based on Shirley Jackson’s 1948 short story, The Lottery, in its original form is the stuff thought-provoking nightmares and required book reports are made of. Choreographer Caniparoli returns the audience to the familiar, yet hauntingly thrilling story of a unjust society as townsfolk prepare for an annual mandatory lottery. Unlike most lotteries, this prize isn’t highly sought-after, for the drawing will seal one person’s fate as their life will be sacrificed for the good of the community. In a creative twist, during each night’s performance, an actual live drawing will take place, determining which company member will be chosen for the ballet’s final solo, promising that no two performances will be the same.

The Ben Folds Project, part of Nashville Ballet’s Modern Masters series, will be presented at TPAC’s Jackson Hall Friday and Saturday, April 26 & 27 at 7:30 p.m. and Sunday, April 28 at 2 p.m. Tickets to Ben Folds with Nashville Ballet featuring Concerto, Duo Concertant, Bloom Pas de Deux and The Lottery range in price from $40-$98. To purchase tickets, visit TPAC’s Box Office (505 Deaderick Street), or call the Box Office at 615.782.4040 or CLICK HERE.

Next up for Nashville Ballet, on Saturday, May 4, at 10 a.m., based on Laurence Anholt’s children’s book of the same name, members of the company will present a special FREE performance of Degas and the Little Dancer at the Williamson County Library (1314 Columbia Ave, Franklin, TN 37064).

Then, May 31-June 3, Nashville Ballet will dance to my absolute favorite classical piece, Carl Orff’s Carmina Burana on stage at Nashville’s glorious Schermerhorn Symphony Center. CLICK HERE for details and for the ballet’s full calendar of events. You can also follow Nashville Ballet on Facebook, Instagram and Twitter.

If you’ve enjoyed this preview of Nashville Ballet’s The Ben Folds Project, or if you’re 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.

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

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

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RAPID FIRE WITH MATILDA’S CURTIS REED

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

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

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

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

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

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

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

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

RAPID FIRE WITH MATILDA’S BRADLEY MOORE

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

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

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

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

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

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

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

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

RAPID FIRE WITH MATILDA’S ELIZABETH TURNER

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH MATILDA’S JOHN MAULDIN

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

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

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

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

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

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

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

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

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

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

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