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Theatre Review: ‘Book of Mormon’ still on a decidedly non-pc mission of inappropriate laughter: National Tour continues at TPAC thru Sunday

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When you think about it, 2011 doesn’t seem like such a long time ago. After all, how different could the world be in just eight years, right? Oh, wait…In that time, we’ve gone from our first black president to, well, the current administration. Some would also argue that we’ve gone from a society of speaking our minds to holding out tongues for fear of upsetting someone’s sensitivities. While kindness and forethought are indeed a good thing, I’m frequently of the opinion that it’s ok to laugh, as long as you’re laughing with, and not completely laughing at. Thankfully, The Book of Mormon—on stage in Nashville at TPAC’s Jackson Hall thru Sunday, March 17—seems to agree as it is just as bawdy, offensive, riotous and, yes, thought-provoking as when it debuted on Broadway some eight years ago.

Nine-time Tony-award winning musical, The Book of Mormon comes courtesy the genius, if not slightly twisted minds of South Park creators Trey Parker and Matt Stone and Robert Lopez (Avenue Q). The Book of Mormon (for those who’ve must have been hiding under golden plates buried on a hill in Manchester, New York) is the tale of a group of young Latter Day Saints missionaries assigned to a small village in Africa plagued by AIDS and a drug lord with a name I can’t bring myself to put into print.

Often described as ungodly, profane, crude…it is certainly all of those things, but at its core, The Book of Mormon is a story about friendship, growth and belief. Belief in the unknown (and let’s face it, the unproven), belief in the good of your fellow man, and most importantly, belief in yourself…all set to bawdily lyrical tunes and some fabulous choreography.

Earlier this week, as I attended media night and enjoyed the show for a third time—having had the great fortune of seeing it during both of its previous tours through Music City, I was finally able to find a balance between the oft shocking humor and the sweeter aspects noted above. Part of this newfound enjoyment came courtesy the chanced proximity to the slightly inebriated, but undeniably enthusiastic foursome who hadn’t yet bore witness to the glory that is The Book of Mormon, who just so happened to be seated next to me. Their exclamations of “Oh My God!” and “I can’t believe they just said that” reminded me of the first time I saw The Book of Mormon, or for that matter, the South Park movie. Both times, I thought to myself, “If the world ends right now, you’re going straight to hell right alongside everyone in this theatre.” Remember, I told you it’s THAT ballsy.

While the show is exactly the same, save a few updated references to Nikki Minaj and Neil Patrick Harris, this time around, something different clicked for me. The Book of Mormon is the All in the Family of this generation. For those old enough to remember, when Archie Bunker ruled the television airwaves, audiences were shocked week after week at what came out of the bigoted New York character’s mouth, courtesy the remarkable acting of Carroll O’Connor and the show’s creator, Norman Lear, but it was that mirror to society that somehow magically educated the masses through humor. If you’ll let it, The Book of Mormon does the exact same thing.

While the show—nor the wildly inappropriate humor—hasn’t changed, the cast has, allowing even the most jaded BOM fans like myself yet another chance to see it for the first time, as the current cast simultaneously embody the expected aspects of their respective characters, while breathing new life into them with their own talent and presence.

Tobin as Elder Price (photo courtesy Tobin’s Instagram)

This time around, Elder Price is being played by Liam Tobin, who originally joined the tour a year ago understudying the lead. Nashville audiences might remember Tobin from his stint as Gerry Goffin in Beautiful: The Carole King Musical, which played TPAC two seasons ago. As Elder Price, Tobin brings the charm and wholesomeness. HIs boy-next-door looks matched only by his Broadway-belting vocal skills. Tobin’s enigmatic presence, even when the character’s faith and friendship is tested, shines through. You gotta love a missionary who dreams of being assigned to Orlando who instead ends up in the wilds of Africa.

Pierson as Elder Cunningham

Mandated by the Church of Jesus Christ of Latter Day Saints, of course Elder Price has a companion. Enter Elder Cunningham, blissfully, nerdily, enthusiastically played by Conner Peirson. Peirson’s comedic timing and knock-em-outta-the-park vocal skills harken images of a young Jack Black. Among his finer moments, Peirson as a relationship developed with Kayla Pecchioni’s Nabulugi, a young African villager who’s name is bastardized throughout to hilarious result.

Other notable members of the cast include Ron Bohmer (who, if you check out my Rapid Fire 20 Q, you’ll see also has ties to Nashville), as Elder Price’s Dad, as well as Mormon founding father, Joseph Smith. Every member of the cast, from Monica L. Patton’s brief but unforgettable turn as Mrs. Brown and Corey Jones as The General to the entire ensemble bring energy, talent and humor coming forth so seamlessly that it keeps the show moving so quickly that you barely have time to recover from one uproarious moment to the next.

While there’s always been resistance to The Book of Mormon and those who’s cast it out as vile and unredeemable, let’s not forget…Broadway has always had a history of pushing buttons while opening eyes. From Shakespeare’s violent Titus Andronicus to the nudity and free-love of Hair, and in more recent years, the heart wrenching truths of Angels in America, theatre has frequently shocked to inform, to entertain and educate. BOM is just one of the latest to brilliantly do all of the above.

The best part…it does all this while presenting all the elements of a traditional theatre. While the laughs are often nervous with embarrassment, they’re genuine guttural guffaws. Then there’s the musical numbers. From the start, the appropriately titled Hello, arguably the show’s most well-known number, performed by our two leads and the ensemble of Mormon missionaries, starts things off on a hilariously high note. (This seems as good a time to mention a brief aside. When I chatted with Tobin recently for the latest of my recurring Rapid Fire 20 Q interview segments, I asked if actual Mormon missionaries still showed up outside the theatres handing out the real Book of Mormon. He confirmed and noted that it was more unusual if they didn’t. Much to my delight, as I got out of my car in front of TPAC earlier this week, there were indeed two mormon missionaries, dressed in black slacks, with short-sleeve white dress shirts, black ties and name plates above their left pocket handing out their religious materials. As I passed by I made eye contact with the Elder closest to me and said a quick “Hi”. To my amusement, rather that the expected “Hello”, he smiled and kindly replied, “Howdy”…well, we ARE in Nashville after all.)

Back to the show, in addition to the show’s opening Hello, The Book of Mormon is packed with by the book…the Broadway book that is…showtunes, musical numbers and some fabulous choreography. You and Me (But Mostly Me) checks off the comical duet box, Hasa Diga Eebowai, the OMG, they’re actually singing a song about this? shock value box. Then there’s Turn it Off, the show’s tap-tactic all-in mid-Act 1 wowser.

Among Act 2’s most memorable….Spooky Mormon Hell Dream, pretty much self-explanatory, complete with prerequisite effects and puppetry, not to mention nods to pop culture evils such as Hitler, Dammer and even Jonnie Cochran. I Believe follows and is the show’s unlikely anthemic entry showcasing once again Tobin’s leading man vocals and charisma. Not to be outdone, Peirson and Pechioni shine during Baptise Me, a song about Elder Cunningham baptizing Nabulungi with so much sexual innuendo you just might need a cold shower afterwards. Midway through Act 2, I Am Africa is yet another showstopper with the entire company of missionaries embracing their newfound, albeit totally appropriated, heritage. Simply, awkwardly, hilariously brilliant.

The Book of Mormon continues its Nashville tour dates at TPAC’s Jackson Hall through Sunday, March 17 with Friday and Saturday evening performances at 8 p.m., matinee performances on Saturday at 2p.m. and Sunday at 1 p.m. with a final evening performance Sunday at 6:30p.m. Tickets range in price from $45 to $115. CLICK HERE for tickets.

Just last week, TPAC announced a special ticket lottery for all Nashville performances. For each performance, a limited number of tickets will be available for only $25. To enter the ticket lottery, patrons must arrive at the box office (just inside TPAC street level entrance under the marquee at Deaderick and 6th Ave) two and a half hours before showtime of the performance they hope to attend. Upon arrival at the box office, patrons will write their name and the number of tickets (one or two tickets per entrant). Two hours before curtain, a limited number of names will be drawn for tickets in the first two rows of the Orchestra, thus allowing the winning lottery participants to purchase those tickets at the special $25 price!

Following the Nashville dates, The Book of Mormon continues across the country with stops from Grand Rapids to Salt Lake City through August. For tickets or more information about the tour, CLICK HERE. You can also follow the tour on Facebook, Twitter and Instagram.

Next up at TPAC, as their Broadway series continues is the national tour of Anastasia, on stage at Jackson Hall, March 19-24 CLICK HERE for tickets or more information. You can also discover all the latest from TPAC by checking them out online or on Facebook, Instagram and Twitter.

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

Rapid Fire 20 Q with members of Studio Tenn’s ‘The Sinatra Legacy’; select tix remain to this weekend’s limited-run musical event

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Studio Tenn presents “The Sinatra Legacy” on stage at The Franklin Theatre March 13-17 (select production graphics and images by Tony Matula/MA2LA/courtesy Studio Tenn)

Season after season, Studio Tenn produces some of the best dramatic and musical theatre experiences around. For the past six years, in addition to more standard offerings, Studio Tenn has presented their Legacy Series, a limited-engagement celebration of icons in the world of music. This weekend, the company is once again including another installment in the mix of their theatrical season as they present The Sinatra Legacy: A Musical Tribute to Ol’ Blue Eyes, on stage at The Franklin Theatre in nearby Downtown Franklin from March 13-17.

I often say Studio Tenn is as close to Broadway-quality as middle-Tennessee theatre-goers get without booking a vacation to New York City’s theatre district and the inclusion of their Legacy Series proves just that, featuring some of the most talented performers in Music City (or anywhere for that matter) and presenting them in an intimate setting as though a group of friend—albeit ridiculously talented friends—have gathered together to celebrate the musical heritage of one of the 20th Century’s most gifted performers.

Previous Studio Tenn Legacy Series offerings honoring Hank Williams, Johnny Cash, Ray Charles and most recently, Glen Campbell, have been performed on the stages of the company’s usual home, Jamison Hall at The Factory at Franklin, as well as The Schermerhorn Symphony Center and The Ryman Auditorium. This weekend’s upcoming Sinatra Legacy marks the first time since heir inaugural Legacy show that Studio Tenn will once again set up shop at The Franklin Theatre, the beautifully restored historic movie house/live music venue that originally hosted the company’s Hank William Legacy debut back in 2013.

As is usually the case for Studio Tenn’s Legacy Series, the entire run of the show is nearly SOLD OUT, with just a handful of tickets remaining. That said, I was thrilled to get the chance to chat with members of the company for the latest in my recurring interview feature, Rapid Fire 20 Q. Among the conversationalist for this edition, Matt Giraud, frequent Studio Tenn performer who gained notice during 2009’s Season 8 of American Idol for his smooth vocal skills,infectious smile and charming stage presence that landed him in the Top Five. Then I chat with Belmont alum, Maggie Richardson, singer/dancer/choreographer, returning to Studio Tenn, for the first time since having portrayed Dainty June in the company’s 2015 production of Gypsy. Next up is Jaimee Paul, an acclaimed vocalist who, when not providing backup for superstars like Kelly Clarkson and Wynona, has worked with noted producers David Foster and Michael Omartian. Rounding out this edition of Rapid Fire 20 Q is Nashville native, William Hall, who, after studying classical voice at the University of North Carolina Chapel Hill has returned to his hometown to continue his education at Vanderbilt while pursuing music right here in Music City.

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RAPID FIRE 20 Q WITH CAST MEMBERS OF STUDIO TENN’S THE SINATRA LEGACY: A MUSICAL TRIBUTE TO OL’ BLUE EYES

RAPID FIRE WITH THE SINATRA LEGACY’S MATT GIRAUD

JHP: From what I remember, Studio Tenn’s 2016 The Ray Legacy, celebrating the music of Ray Charles, marked your debut with the company and now you’re back for this year’s Sinatra Legacy. What is it about these Legacy shows that sets them apart from standard musical theatre?

MATT GIRAUD: Well, before these shows I hadn’t really acted since I was in elementary school and it was the perfect way to get my feet wet, being such a fan of musical theater and this company in general. I’ve learned so much working with them and am absolutely honored to be surrounded by such talented musicians and artists every day. These shows are so special because the quality that they put into them is unlike anything I’ve seen in a live show in Nashville. It’ll take you right back to the Rat Pack era and you’ll forget you live in the present day.

JHP: Some folks likely first took note of you from your time on American Idol. That season’s Top 5 theme was Rat Pack Standards, during which you performed your take on Sinatra’s version of My Funny Valentine. Any chance you’ll revisit the tune during this week’s Sinatra Legacy?

MATT GIRAUD: Ha! We will have to see! With Frank’s catalog there are countless numbers of tunes to pick from and I’m sure some we wish had time for just won’t make it in. Either way, we are definitely going to come out swinging Plus that song got me kicked off of Idol so I kind of hope we don’t! Haha.

JHP: Speaking of The Rat Pack, if you had to name your squad, what would you call yourselves and why?

MATT GIRAUD: Probably The Ignance! Cause we’re all pretty ignant. (Slang for silly/over the top)

JHP: This year marks the first year the Legacy Series returns to The Franklin Theatre. What is it about that historic venue that lends itself perfectly to this type of musical event?

MATT GIRAUD: It will be my first time on stage at the lovely Franklin theater. It’s such an intimate beautiful room that really does have a timeless feel to it. I think it’s a perfect spot to transport each audience back in time for a smokin’ hot, classy, jazz-filled evening.

JHP: Sinatra’s music is timeless. Why do you suppose that is?

MATT GIRAUD: Taking the time to learn and truly live the lyrics to these songs has really shed new light on this music. Yes, some of these tunes were covered by many artists but Frank put a special kind of playful joy or deep sadness on these tunes. He could really break your heart if he wanted to with one song and make you want to dance to the next…just that easily. Listening to him taught me how to truly express these gorgeous lyrics. A reminder to really think about what I am singing to connect with the audience and take them with me emotionally rather than just sing a song. His delivery and the depth in his renditions will always make Frank truly timeless.

RAPID FIRE WITH THE SINATRA LEGACY’S MAGGIE RICHARDSON

JHP: You just choreographed a local production of Singin’ in the Rain, which takes place in the 1930s and now you’re performing in Studio Tenn’s The Sinatra Legacy. Sinatra’s first big break came in the mid-30s thanks to a radio show audition. What is it about that time period that you think was so magical?

MAGGIE RICHARDSON: I love the glamour and romance of this time period. Movies and music were all about stepping into a totally different world. They were a form of escape and a creative outlet where people were given permission to dream. If you look at Frank’s early songs, the romance of the lyrics might actually make you sick (in the best way)!

JHP: Studio Tenn audiences might recognize you from your turn as Dainty June in their 2015 presentation of Gypsy. Is this your first time back with the company? How’s it been so far?

MAGGIE RICHARDSON: Yes! I am absolutely thrilled to be back, after doing theatre around the country and coming back to the Nashville area to raise my precious daughter. Studio Tenn always creates a safe and fun work environment, and they put on incredible shows. I feel SO blessed to be working at this amazing company with these incredible people.

JHP: If you could emulate one aspect of Sinatra’s swagger, what would it be?

MAGGIE RICHARDSON: He had a special way of connecting with the audience and people- a little glimmer of something different that you couldn’t quite put your finger on. I hope to embody and portray that zing.

JHP: I can’t talk Studio Tenn without mentioned one of my theatre crushes, Laura Matula. What’s it like to share the stage with her and the rest of the performers in The Sinatra Legacy?

MAGGIE RICHARDSON: Same! It is magical. I have been looking up to Laura for years, and this is our first time actually working together. I could go on about how much I have learned from her as a performer and as a person. She’s BRILLIANT. And I can’t even tell you how many times I have almost straight up exploded while listening to and watching my fellow cast members perform. They are just insane.

JHP: Speaking of Laura, she’s co-directing alongside Studio Tenn’s Interim Artistic Director, Benji Kern. With these two at the helm, I’m sure we’re in for some surprising takes on Sinatra classics. Can you reveal just a hint of a particular song to look out for?

MAGGIE RICHARDSON: Oh my goodness yes, they are a power team. I will say this…in this show, you’ll be taken on a moody journey and get caught up in moments that take you by surprise. You’ll get everything you came for, but SO much more than you knew you even wanted! My favorite (which is different every day) is Laura and Jaimee’s intimate version of the song Something Stupid.

RAPID FIRE WITH THE SINATRA LEGACY’S JAIMEE PAUL

JHP: Is this your first time working with Studio Tenn?

JAIMEE PAUL: Yes…and I’m so excited about it!

JHP: What is it about The American Songbook style of music that appeals to you as a performer?

JAIMEE PAUL: The lyrics…the songs were so simply written, but yet said so much.

JHP: To put it into the modern vernacular, you could say that Sinatra and the Rat Pack were the original Squad Goals. What famous female singers would be your ideal squad?

JAIMEE PAUL: Bette Midler, Barbra Streisand, and Tina Turner.

JHP: While The Rat Pack seemed quite the boys club, many influential and successful women were also associated with Sinatra and the rest. From Marlene Dietrich and Lauren Bacall to Angie Dickinson and Marilyn Monroe. If you could chat with one of the Rat Pack women, who would it be and what might you ask?

JAIMEE PAUL: I would say Marilyn Monroe…I would ask her, “when you were a little girl, what did you want to do when you grew up?” I’d also love to ask Liza Minnelli, “What it was like growing up with Judy Garland as your mom?”

JHP: Oh, that’s right! Liza was indeed a member of The Rat Pack, touring with Sinatra and Sammy Davis, Jr. after Dean Martin dropped out of the Ultimate Event Tour in the late 80s. Good Call! Is there one particular song in The Sinatra Legacy that you just can’t get enough of, whether it’s one you’re performing, or someone else?

JAIMEE PAUL: I absolutely LOVE, It Was A Very Good Year.  Not only does John-Mark McGaha absolutely nail it, but I now want to add it to my show!

RAPID FIRE WITH THE SINATRA LEGACY’S WILLIAM HALL

JHP: Last year you were part of the audio team for Studio Tenn’s Glen Campbell Legacy and now you’re featured as one of the performers of The Sinatra Legacy. What’s the experience been?

WILLIAM HALL: It has been an absolute blast. I am so thankful to be part of such an amazing cast of singers and musicians. I feel like every rehearsal has been a masterclass in singing and performing, so I am just trying to soak it all in. I’ve been in love with this music since I was young and it’s such a pleasure to get to sing it.

JHP: One thing I love about Studio Tenn’s Legacy Series is that it always seems like a group of friends just hanging out and celebrating music. Is that a fair assessment?

WILLIAM HALL: Absolutely. I think that is one of the things that makes this Legacy process so unique; it’s all about the music. That perspective allows us to be casual and collaborative onstage and let the music speak for itself. I think I speak for everyone when I say that we really do enjoy watching each other perform.

JHP: The promo shoot for The Sinatra Legacy resulted in some fantastic shots of you and your co-stars.. Tony Matula totally captured that Sinatra vibe. What was working on that photo shoot like?

WILLIAM HALL: To be honest I was really nervous! I had never done any kind of photo shoot before. Tony was awesome to work with and I can’t thank him enough for being patient with me. He has an amazing vision and he knows how to make you feel comfortable and like yourself in a laid-back way. We were actually on the set of Always…Patsy Cline for the shoot which added a whole other dramatic element and made it feel more natural. Frank Sinatra had an incredible swagger and cool about him and Tony knew how to play off of those subtleties.

JHP: While The Sinatra Legacy centers on his music, Sinatra also enjoyed a hugely successful film career. What’s your favorite non-musical Sinatra movie?

WILLIAM HALL: From Here to Eternity. I love the behind the scenes story about the film helped pull Frank out of a career slump. It’s also the one that I am most familiar with. For some reason I imagine that Sinatra’s character, Maggio’s feistiness in the movie captured some of his own personality.

JHP: If you could pick a Sinatra career highlight to have witnessed in person—-from crooner to movie star to Vegas headliner to his later comeback—which would you choose?

WILLIAM HALL: I would say either Sinatra Live at the Sands in Vegas, or any of the Rat Pack performances at the Sands around 1965 or so. I have the Live at the Sands recording and I just love the energy of his voice live, the way he phrases things, and interacts with the band.  As far as the Rat Pack goes, I love the way that they play off of each other. They always look like they are really having fun and they are masters of their craft.

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Speaking of masters of their craft really having fun, while most of The Sinatra Legacy‘s five-day run performances are indeed SOLD OUT, at the time of this article, single seat tickets remained for select shows, so say a prayer to the Rat Pack gods and CLICK HERE to try your luck. If you miss out on The Sinatra Legacy, fear not, Studio Tenn’s next musical, Joseph and the Amazing Technicolor Dreamcoat takes the stage at Jamison Hall from May 17-June 2. As for their Legacy Series, I have it on great authority you will not be disappointed with next year’s offering. CLICK HERE for tickets or more information on Studio Tenn or follow them online at StudioTenn.com or on social media 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.

Theatre Review: Directed by Jef Ellis, ‘Singin’ in the Rain’; a tuneful toe-tap featuring a cloudburst of talent at the Arts Center of Cannon County

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The cast of “Singin’ in the Rain” (photos provided by Jef Ellis)

Leave it to Nashville’s own theatre God, esteemed reviewer and equally accomplished director, Jef Ellis to produce the cherished musical monsoon that is Singin’ in the Rain during one of the Mid-State area’s most significant rainy seasons to date. Talk about creating a mood!

To that end, Ellis has assembled a show not only soaked with beloved tunes from the source material’s original movie 1952 musical movie, but he’s showered it with some truly talented players.

As is often the case, I count the Debbie Reynolds, Gene Kelly, Donald O’Connor  film among my favorites…I have a lot of favorites, so sue me. Imagine my delight when I heard that Ellis would be mounting the show, knowing that he and I share a love of all things Old Hollywood. With that in mind, I knew his production of Singin’ in the Rain, in spite of the bit of a road trip it takes to get from Nashville to nearby Woodbury, home of the Arts Center of Cannon County would be nothing short of a deluge of musical theatre magic. Trust me…it’s worth the drive.

Being my first time to see a show in Woodbury, upon entering ACCC, I was immediately impressed by the venue. There’s a roomy lobby, filled to capacity the night I attended the show, as well as an on-site shop filled with gift options, homemade treats and beverage choices. Once inside the theatre, Ellis’ touches as brought to life by set designer, Shane Lowery, were immediately on display, the backdrop of the set featuring Ellis’ beloved pooch, Jessie in a version of an Old Hollywood studio logo, complete with adorable mascot…think MGM’s Leo, but with more bark, less bite. The logo, framed by a decidedly art deco black and silver structure on either side, giving clue to the story’s late 20s early 30s timeframe.  Even the stage floor features another carefully devised wink to Tinseltown, replicating the famed cement encased foot- and handprints of film and stage legends of the era. I regret I didn’t take the time to get a closer look at this detail during the show’s intermission, but I digress.

As the action starts, there’s further mood set as screens located on either side of the stage flicker with the glow of projected images at an old-time movie revealing the ‘opening credits’ of the play. This clever bit of tech is utilized a few more times throughout the show as we see our stars in their last silent movie and their first talkie.

For his take on the classic movie-turned-musical (a rarity when it debuted in this form in the late 80s, but a more common practice these days), Ellis has cast Austin Jeffrey Smith as Don Lockwood, the role made famous by Gene Kelly in the film. Having appeared in more than half-a-dozen plays under Ellis’ direction, Smith has obviously developed a blissful synergy with the director and is the perfect conduit to physically manifest Ellis’ concepts. Of course it doesn’t hurt that Smith, with every role he takes on, whether under Ellis tutelage or not, hones his craft as one of Nashville’s here to stay triple threats. As expected, Smith’s highlights come with the show’s most famous tunes, Good Morning and the titular torrential tap-dance that is Singin’ in the Rain. Yes. Yes, it does indeed rain on stage ! Kudos to choreographer, Maggie Richardson, as well as each and every member of the technical crew for pulling this sequence off in such a lovely, successful manner.

Alongside Smith’s Lockwood, theres Lindsey Mapes Duggan as Kathy Selden. While Duggan was new to me, she’s known in Cannon County, as evidenced by thunderous applause each time she appeared on stage, and rightly so. As I mentioned to her when I interviewed Duggan and her fellow cast mates for my Singin’ In the Rain Rapid Fire 20 Q prior to the show’s opening weekend, among my prized possessions is a personalized autographed original copy of songs from he film signed by Debbie Reynolds, who played Kathy in the film. So you better believe I was sitting on the edge of my seat, ears piqued in anticipation of one of my quirky personal favorite musical moments, All I Do Is Dream of You, the scene in which Kathy, emerging from a larger-than-life birthday cake at a studio party, first reveals her musical prowess to Smith’s Lockwood. Absolutely charming. I’m in! She also brings a flood of musical emotion to You Are My Lucky Star as well as Act 2’s Would You, and a sweetness to Good Morning.

With no signs of the talent-drencher letting up, there’s also Dax Patrick as Cosmo Brown. In-keeping with the aforementioned cinematic counterparts, Patrick is playing the role originally brought to hilarious heights by Donald O’Connor. Again, not veering too far from it’s genesis, Patrick’s Brown provides much of the show’s sillier moments, while his co-stars play the romantic scenes. A late addition to the cast, Patrick wasn’t originally set to play the second male lead, but you ‘d never know it. As expected, his highlights include Make ‘Em Laugh, during which he trips the laughs fantastic  with a real dummy of a dance partner. No, seriously, he dances with a life-size cloth human form, and it’s delightful.  Also delightful, his Act 1 actual duet with Smith’s Lockwood, and of course, Act 2 opener, the much-mentioned and much-loved Good Morning.alongside both Smith and Duggan.  Again, not one to disappoint, Ellis and his choreogrpaher makes sure Good Morning does indeed include the always enjoyable couch-ography.

Of course you can’t have an old school Hollywood musical without a foil. To that end is the stunning Brittany Blaire Anderson totally playing against type as manipulative and demanding Lina Lamont.  Lina Lamont sounds like a really irritated Betty Boop, if Betty Boop were mean…and from Jersey. In spite of the vocal challenges of the role, Anderson gets her time to shine vocally during Lamont’s lament, What’s Wrong With Me? Like her co-stars, she also shows off her dancing skills in several of the show’s group numbers.

OK, so here’s a good time for a little plot exposition. Lockwood and Lamont are famed actors in Hollywood’s silent film era. When talkies come into vogue, the studio is eager to make the transition, but there’s one catch.Enter Kathy Selden, a chorus girl looking for her big break, who just so happens to speak with poise and sing like an angel. So Lockwood, with he help of his pal Brown, convince the studio head to not only turn their stinker of a talking into a musical, but to let Kathy provide not only Lina’s speaking voice, but her singing one as well. This is also a good time to mention how much I loved the fact that the brought out an actual working piano during a handful of Brown’s scenes…and Patrick actually played it! It’s details like that that make an Ellis production just that!

In addition to the featured foursome, Ellis has peppered his cast with several enjoyable performers. Among them, Drew Dunlop (not Dew, although, given this show’s title, the alternative might be more appropriate), Scarlett Turney, Natalie Royal, Landon Spangler, Logan Taylor, David Brown, Becky Charlton, Mark David Williams, David Campbell, Terrie Kirby, Shelby Jones, Kiana Schofill, Mary Humphrey, Trenton Brown, Sharon Bessant, Shiloh Bakalyar, Natalie Garrison, Zoe Zent, Sara Kistner, Kobe Hermann and Jackson Kinsey & Charlie Bartlett (the latter two steal the show during their brief time on stage as younger versions of the two leading men. Whether in the previously mentioned All I Do or during Beautiful Girls and the show’s all-in colorful rain-slicker-clad finale, the talent and fun these folks are sharing on stage is sure to bring a rainbow to even the cloudiest of days.

ACCC’s Singin’ in the Rain presents one final thunderstorm of talent Saturday, February 23 at 7:30 p.m. CLICK HERE for tickets. Next up at The Arts Center of Cannon County (1424 John Bragg Highway, Woodbury, TN) is The Nerd, onstage March 29-April 13. CLICK HERE for tickets or more information or check out The Arts Center of Cannon County online or on Facebook.

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 star Joel Diggs and director Jon Royal; wrapping their ‘Topdog/Underdog’ run alongside star Eddie George at Nashville Rep thru Sunday, February 24

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For their February offering, Nashville Repertory Theatre has chosen playwright Suzan-Lori Parks’ thought-provoking 2002 Broadway play, Topdog/Underdog. The debut production garnered the playwright the Pulitzer Prize for Drama, the first such honor awarded a woman of color. The two-person story centers around brothers named Lincoln and Booth (obviously those names are no coincidence and not surprisingly, key to a certain plot point) as they face the day to day struggles of making their way, and their mark on the world; a world filled with preconceived notions and expectations for men of color. Eddie George, yes, THAT Eddie George, he of the 1995 Heisman Trophy, stars as Linc, the oldest of the two brothers, while gifted Nashville-based actor, Joel Diggs stars as Booth. At the helm of Nashville Rep’s production is director, Jon Royal. Royal previously directed The Rep’s Smart People last February. Among Royal’s other notable directorial efforts, Street Theatre’s brilliant 2014 production of Passing Strange and Nashville Shakespeare Festival’s Othello, which also starred Eddie George.

Always excited to chat about shows that are a bit unfamiliar to me, I recently had the opportunity to reach out to the stars and the director for the latest in my recurring interview feature, Rapid Fire 20 Q. Unfortunately, due to circumstances beyond my control, George was unable to participate. Thankfully, Diggs and the director were available, so I give you an abbreviated, yet informative and revealing Rapid Fire 13 Q.

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Diggs (left) and George (right) star as Booth and Linc in Nashville Rep’s “Topdog/Underdog” (production photos by Michael Scott Evans/courtesy Nashville Rep)

RAPID FIRE 13 Q WITH TOPDOG/UNDERDOG STAR JOEL DIGGS AND DIRECTOR JON ROYAL

RAPID FIRE WITH TOPDOG/UNDERDOG STAR, JOEL DIGGS

Joel Diggs

JHP: How familiar were you with the work prior to being cast as Booth in Nashville Rep’s Topdog/Underdog?

JOEL DIGGS: I was somewhat familiar, in that I knew of Suzan-Lori Parks, and that she wrote this great piece, but I had never read it. I did see the production with Eddie and Jeff Carr many years ago though.

JHP: What can you tell me about Booth?

JOEL DIGGS: Booth is deeply troubled, caused by his parents abandonment of he and his brother. He is a very impulsive person, who wants love so bad, he creates fantasies to fill that void.

JHP: While the playwright delves into more serious aspects of the brother’s relationship with each other, there’s still that unbreakable bond of brotherhood. In what ways does the dynamic between you and your co-star, Eddie George mirror that of the relationship between your characters?

JOEL DIGGS: He’s someone who is very well known, and I can see how that relates to Booth admiring Lincoln, because “Linc’s the Man!” Eddie and I are relatively the same age and have many things in common, as well.

JHP: Among the subplots, there’s the inheritances the brothers were left. While Lincoln opened his and spent it, Booth kept his, never opening it, which seems somewhat uncharacteristic for Booth. What’s the significance of this?

JOEL DIGGS: I believe Booth is trying to hold on to the memory of hope in his mother.

JHP: Other subplots deal with the brothers and their relationships with women, Linc’s wife, Cookie and Booth’s girlfriend, Grace, who are spoken of, but never seen. Why do you think the playwright chose to mention the women, but not include them as part of the cast. 

JOEL DIGGS: The women can be felt very strongly, but I feel the playwright may be showing the plight of the Black man in America, the so called head, being disposable, therefore dooming the entire family.

JHP: What is it about Booth that drove you to the role?

JOEL DIGGS: I know people like him, and the challenge of bringing him to life. 

JHP: The entirety of the play is presented as a two-man show. What’s the biggest challenge and biggest reward in sharing the stage with only one other actor?

JOEL DIGGS: The reward is getting to tell such a beautifully written story, and having to deal with so many layers, an actor’s dream. The challenge is the amount of work it takes to do that!

RAPID FIRE WITH TOPDOG/UNDERDOG DIRECTOR, JON ROYAL

Jon Royal

JHP: How did directing Topdog/Underdog for Nashville Rep come about?

JON ROYAL: Rene Copeland asked me how I felt about this script last February. I told her that I loved it! She asked if I’d be up for directing it about a month later.

JHP: From the beginning, did you have a clear vision of what you wanted for the Pulitzer-winning piece?

JON ROYAL: After reading and rereading the piece, I felt like I had a clear understanding for what the script was telling me it was about, but developing that is the biggest part of my job as the director.

JHP: What was it about Eddie George and Joel Diggs’ auditions that spoke to you as a director?

JON ROYAL: I’m pretty sure that Eddie and Rene had already talked about him playing Lincoln, so that meant that the search was on for an actor to play Booth. Joel is very natural onstage. They have great chemistry together.

JHP: How would you categorize you style of directing as it relates to Topdog/Underdog?

JON ROYAL: My style of directing for this piece has been about the beautiful delicious beats that Suzan has written.

JHP: Why is this play, and this production in particular, an important piece for the Nashville theatre community?

JON ROYAL: It’s important because this play is incredible. It’s such a densely, well written piece that connects with people across all walks of life. It’s been produced here twice and a playwright of Suzan-Lori Parks’ caliber should be presented to our local audiences even more. To Rene and the Rep’s credit, this is the third season in a row that this company has produced a play written by a black woman, as part of their season. I’ve been here all of my life, I’d say this kind of consistency is long overdue. 

JHP: What do you hope audiences come away from Topdog/Underdog feeling or contemplating?

JON ROYAL: I hope that audiences contemplate what it means to be in community with each other, as in we are all family. I hope we also look at what we’ve inherited from our birth families and what we’ve inherited from America.

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Nashville Rep’s Topdog/Underdog concludes its run at TPAC’s Andrew Johnson Theatre with performances Saturday, February 23 at 2:30 p.m. and 7:30 p.m. and a final matinee on Sunday, February 24 at 2:30. CLICK HERE for tickets or more information.

Following Topdog/Underdog, Nashville Rep continues their current season with Lee Hall’s stage adaptation of the popular film, Shakespeare in Love with performances March 23-April 13. CLICK HERE for tickets. To keep up with the latest from Nashville Rep, CLICK HERE, or follow them on Facebook, Instagram and Twitter.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Joey Barreiro and Frankie Leoni

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

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

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

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

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

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

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

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

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

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

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

Brianna-Marie Bell and Joey Barreiro

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

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

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

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

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

The Company of “A Bronx Tale”

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

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

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

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

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

Katie Bruno as Hattie

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

Mallory Mundy as Lois

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

Caleb Pless as Bill

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

Martha Wilkinson and Matthew Carlton

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

Wilkinson as Lilli Vanessi

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

Wilkinson as Lilli as Katherine

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

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

Mallory Mundy and Timothy Fudge as Bianca and Baptista

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

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

Matthew Carlton as Petrucio

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

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

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

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

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

Mallory Munday as Lois

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

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

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

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

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

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

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

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

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

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

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

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

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“Singin’ in the Rain” director, Jef Ellis

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rapid Fire 20 Q with cast and crew of Studio Tenn’s ‘Always…Patsy Cline’; at The Factory at Franklin’s Jamison Theatre February 8-24

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Megan Murphy Chambers and Melodie Adams star in Studio Tenn’s “Always…Patsy Cline” (all photos by MA2LA courtesy Studio Tenn)

For their current production, Studio Tenn is tackling one of Music City’s favorite jukebox musicals about one of Nashville’s favorite legends as they present Always…Patsy Cline onstage at Jamison Theatre at the Factory in Franklin from Friday, February 8 thru Sunday, February 24. Created and originally directed by Ted Swindley, Always…Patsy Cline weaves together a unique story of friendship between Patsy Cline, the iconic country singer and a fan, Louise Seger, who continued their bond by way of a series of letters written between the two after meeting in Texas honky tonk after one of Cline’s shows. As Studio Tenn prepped for opening night, I recently had the chance to chat with the show’s director, Benji Kern, costumer, Blake Danford and stars Megan Murphy Chambers and Melodie Madden Adams for the latest edition of my recurring interview feature, Rapid Fire 20 Q.

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RAPID FIRE WITH STUDIO TENN’S ALWAYS…PATSY CLINE STAR, MEGAN MURPHY CHAMBERS

JHP: Was playing Patsy a role that was on your radar prior to Studio Tenn announcing their production?

MEGAN MURPHY CHAMBERS: Honestly, no. Since the show’s never been done in Nashville outside of the productions at the Ryman, I didn’t anticipate getting to take a crack at it.  And I’m absolutely delighted to have been wrong about that! Patsy is proving to be a stretch and a challenge in all the best ways.

JHP: Alright, I gotta ask. You may or may not know, but Mandy Barnett is a good friend of mine. Of course she is known for her portrayal of Patsy in playwright Ted Swindley’s legendary mountings of the show here in Nashville at the historic Ryman Auditorium. That said, what’s it feel like not only taking on this role, but doing it here, where you’ll no-doubt not only play to fans of Patsy, but also fans of Mandy and her portrayal?

MEGAN MURPHY CHAMBERS: I’m doing my best not to approach it from a place of comparison – it would be foolish indeed to use either of those ladies as a yardstick against myself, so I’m doing my best to go after it the same way I do any other role. Both Patsy and Mandy are Nashville icons, so I’m paying homage, looking at it with fresh eyes, and trusting Benji and Jason Tucker, the show’s musical director, to help me wring every bit of joy and musicality from the material that I can!

JHP: Speaking of friends, opposite your Patsy, you’ve got Melodie Madden Adams as Louise. I first became familiar with you both at Boiler Room Theatre several years ago. Is that when you two met?

MEGAN MURPHY CHAMBERS: It was! We met after getting cast in Guys and Dolls in (I think?) 2003 and clicked instantly.  Melodie is so hilarious, generous and talented, and we are laughing our asses off every day during rehearsal. I feel unbelievably secure on stage with her, and it’s such a boon to the show to get to skip the “getting to know you” portion of the process. Our friendship let us get right to the good stuff!

JHP: As far as Patsy’s stage clothes, you could say she had two distinctive looks, cowgirl and country queen. From what I’ve seen in promo pics, costumer Blake Danford has recreated some of Patsy’s iconic looks. What’s your favorite?

MEGAN MURPHY CHAMBERS: Way to give me a Sophie’s Choice question, Jonathan All of my costumes are being designed and built for me by Blake Danford and Allison Hearn (wardrobe supervisor), which [swoooooooon] and they’re all going to be spectacular. That said, that red cowgirl getup is beyond dreamy, and I have a feeling my little black number will be one that I want to sneak into my purse on closing night.

JHP: Had Patsy not met her untimely death at what was still the height of her career and popularity, do you think her star would have continued to burn bright, or would her fame have faded?

MEGAN MURPHY CHAMBERS: THE BRIGHTEST. Patsy’s talent was too massive for her to have faded into the background. I imagine her being a Dolly, Loretta, or Cher type; she was already a bit of a shape-shifter, and knew how to ride the wave of popular interest. I can see her enduring and evolving stylistically, and mentoring and collaborating with future generations of performers. She sang with such depth and feeling in her twenties – it haunts me to think what kind of intensity she could have served us with another 30 years under her belt.

RAPID FIRE WITH STUDIO TENN’S ALWAYS…PATSY CLINE STAR, MELODIE MADDEN ADAMS

JHP: I mentioned when I spoke to Megan that you two have a long history of sharing the stage, both in theatrical and music endeavors. How has your off-stage friendship enhanced your portrayal of the friendship between Louise and Patsy?

MELODIE MADDEN ADAMS: Honestly it really felt like such a head start on the process. Megan and I joke that we can almost speak to each other onstage telepathically and so it’s helpful with a show that is so centered around such an established relationship.

JHP: Of course the two of you also frequently share the stage as part of MAS Nashville. So you know I gotta ask…when are we getting more from MAS?

MELODIE MADDEN ADAMS: I hope really soon, but for now it’s really fun to support each other with all of our other projects we have going on!

JHP: Were you a fan of Patsy Cline’s music prior to being cast in Studio Tenn’s Always…Patsy Cline?

MELODIE MADDEN ADAMS: I was familiar with her songs for sure, but I wouldn’t call myself a fan. Even in the short time we have been rehearsing I see why her music touched so many people.

JHP: The play was inspired by Louise and Patsy’s friendship and correspondences. When’s the last time you wrote someone an actual letter?

MELODIE MADDEN ADAMS: Does a thank you note count? If not, it’s been awhile, but I’m lucky to have friends who still enjoy writing actual letters. One being Megan!

JHP: While the show is predominately about the music, by the nature of Patsy’s real-life story, there’s plenty of emotional moments. I’ve seen Always…Patsy Cline more times than I can remember, and it never fails. During key scenes, my eyes always ‘sweat’. How do you play those emotional moments night after night?

MELODIE MADDEN ADAMS: I approach those key scenes by channeling my own life experiences that relate to what’s going on onstage. For me, I really connect with the moments when you see Patsy as a mother and when she talks about her baby boy. It always makes me think of my little boy back home.

RAPID FIRE WITH STUDIO TENN’S ALWAYS…PATSY CLINE COSTUMER, BLAKE DANFORD

JHP: Having created the costumes for Studio Tenn’s Beauty and the Beast, as well as assisting on consuming for last year’s breathtaking debut of Frankenstein, you’re back for Always…Patsy Cline. How many costumes have you created for this jukebox musical?

BLAKE DANFORD: Patsy has about seven costumes, Louise stays mostly in the same look, and the band members each have one look! So about fifteen total.

JHP: What went into researching wardrobe options for Always… Patsy Cline?

BLAKE DANFORD: The great thing about creating costumes based on something someone wore so “recently”, historically speaking, is that there are a plethora of photos of the original looks, and many of them are still in existence! That definitely makes research easier, as all of that information is quite readily available. In addition to just specifically researching Patsy’s clothes, a lot of care was done to understand the era as well to influence Louise and the band.

JHP: I’ve seen promo pics of Megan in the iconic red and white cowgirl outfit. While it’s instantly recognizable, there are some subtle differences from Patsy’s actual outfit. As a designer, how do you decide when to not simply duplicate an iconic look, but rather honor the original while adding your own touches?

BLAKE DANFORD: Thank you for noticing the differences! Something I hold dear to my heart in every project I do is honoring expectation. So, I kept all the key points, (red, cream, fringe) and took the opportunity to “crisp” it up a little bit. The original was just a shirt tucked into a skirt, whereas ours is built as a jacket. The material in the original is a light cotton, where ours is a denim. It’s details like these that I feel lends a sense of gravity to the character, and convey the “character” of Patsy.

JHP: I saw on Studio Tenn’s social media that some of those involved in the show recently visited the Patsy Cline museum. From what I understand, this was after you had already designed much of the wardrobe for the show. Are you glad you waited until after you created your own versions of the iconic wardrobe?

BLAKE DANFORD: As I said previously, in the era we are in, photos of these pieces are quite readily available online, so I was able to get most of the information I needed ahead of time. It was, however, such a thrill to see those pieces in person and see the things that I got correct in my research!

JHP: In keeping with the letter writing theme that was the springboard for the creation of Always…Patsy Cline, if you could write Patsy a letter, what would you ask?

BLAKE DANFORD: Oh goodness, that’s a tough question! I don’t know that I would necessarily have one specific question, but I would love to be able to exchange letters with Patsy, herself. It would be an absolute treat to get to chat with her and hear the stories that she accumulated in her life.

RAPID FIRE WITH STUDIO TENN’S ALWAYS…PATSY CLINE DIRECTOR, BENJI KERN

JHP: Always…Patsy Cline is kind of unique in that it’s a two-person musical (plus a small band). For Studio Tenn’s production you’ve cast two of Nashville’s favorites, Megan Murphy Chambers and Melodie Madden Adams. You’ve worked with both actresses in the past. Tell me what it is about each of them that embodies the characters of Patsy and Louise?

BENJI KERN: The friendship between Patsy and Louise was really important to me coming into the production. Not only are Megan and Mel both insanely talented, but they have an offstage friendship that has created a wonderful chemistry between the figures they are portraying. Megan has a natural ear which is key to shows where you are embodying an icon. She also has the smarts to pay tribute and honor Patsy which is important as trying to do impersonations will always fall short. Mel is a fantastic story teller, inviting, and captivating. So it just made sense that these intrepid women would take on these roles.

JHP: In addition to the leading ladies, Always…Patsy Cline features a six-person band. Seeing as how the songs are nearly as vital to the story as the dialogue, and again, because Nashville is Music City, who’s musical director and who’ve you got in the band?

BENJI KERN: We are excited to be working with Jason Tucker as the music director for this show. It’s an honor to have him join the Studio Tenn family. In addition to being music director, Jason will be conducting and playing piano. Joining him are steel guitarist Michael McElravy, guitarist Lindsey Miller, bass player Luke Easterling, drummer Ben Andrews and fiddler Cassie Shudak.

JHP: Several people connected to Patsy Cline, including family members, still live in the area. Since Studio Tenn is just minutes from Music City, any chance you’ve reached out to any of them to extend an invite during the run of the show?

BENJI KERN: Yes!  We have had the great fortune to work with The Patsy Cline Museum.  In addition, one of our Board of Directors, Larry Westbrook’s father did Patsy Cline’s taxes.  He has been in contact with the family on Studio Tenn’s behalf.

JHP: The story of Always…Patsy Cline is told through the eyes of Louise Seger, a fan who randomly struck up a friendship with the star and continued that relationship via a series of handwritten correspondences. Have you ever written a fan letter, or, I guess in today’s terms…a fan email?

BENJI KERN: I have not written a fan letter in the Louise terms, but I have reached out to people via my Instagram handle.  Let me tell you, I’ve freaked out when they have responded.

JHP: Just last year, Always…Patsy Cline celebrated its 30th anniversary, Ted Swindley having debut the work back in 1988. What is it about Patsy’s music and this play that endures?

BENJI KERN: Patsy was the entire package. She was a star, captivating audiences with her earthy and authentic energy and incredible voice. She was a trail blazer, paving the way for female artists, making her way into the boys club in the music industry and holding her own.  We all know Crazy which is the number one played Juke Box song of all time. Her music continues to speak to audiences not only because of her iconic voice but most importantly, the way she told a story with each song.

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Audiences will have a chance to see exactly what Benji meant by saying, “the way Patsy Cline told a story with each song” when Studio Tenn’s Always…Patsy Cline plays Jamison Theatre at The Factory at Franklin (230 Franklin Road, Franklin, TN) from February 8-24. Shows are 7 p.m. Thursday-Saturday with Saturday and Sunday matinees at 2 p.m. Tickets range in price from $30 to $87.50. CLICK HERE for more information or CLICK HERE to purchase tickets.

Following Always…Patsy Cline, Studio Tenn will continue their 2018-2019 season with The Sinatra Legacy: A Musical Tribute to Ol’ Blue Eyes onstage at the historic Franklin Theatre in Downtown Franklin March 13-17. CLICK HERE for tickets or more information.

In the meantime, be sure to check out Studio Tenn online at StudioTenn.com or on social media at Facebook, Instagram and Twitter.

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

Rapid Fire 20 Q with ‘Jumpin’ Johnny’ director Cameron McCasland, documentary on life of Harlem Globetrotter Dr. John Kline premiering at Belcourt Thursday, January 24

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With a history fast-approaching a full century, you’d be hard-pressed to find anyone who isn’t at least somewhat familiar with the famed Harlem Globetrotters. While his name may not be initially as recognizable as some of the more famous former Globetrotters like Wilt Chamberlain, Marques Haynes or Meadowlark Lemon, Dr. John “Jumpin’ Johnny” Kline’s legacy on and off the court is indeed the stuff of legends. To that end, earlier this week, as local filmmaker Cameron McCasland and Addiction Campuses prepared for their SOLD OUT January 24th debut screening of Jumpin’ Johnny: The Incredible True Story of Dr. John Kline at Belcourt Theatre, I had the opportunity to speak with the filmmaker for my latest Rapid Fire 20 Q.

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RAPID FIRE 20 Q WITH FILMMAKER CAMERON McCASLAND

JHP: Before we get into talking about your documentary, Jumpin’ Johnny, I just have to admit…in my youth, I remember the Harlem Globetrotters being everywhere from occasional local exhibition games and being animated for their own Saturday Morning cartoon (as well as a few episodes of Scooby-Doo) and starring in their own live-action variety series and the third and final Gilligan’s Island reunion movie, The Harlem Globetrotters on Gilligan’s Island. (I may or may not own that iconic film on DVD) What’s your first memory of the basketball legends and why have they endured for nearly 100 years?

CAMERON McCASLAND: I think I’m in the same boat as you on that. Scooby Doo and Gilligan are among my first memories. And I remember they used to air at least a game a year on television that would come on right after Saturday morning cartoons. I think the Globetrotters endure because of tradition at this point. My good memories as a kid turn into me wanting to take my own children to a game, and in turn I’m certain they will do the same when the time comes.

Dr. John “Jumpin’ Johnny” Kline (front and center) with documentary filmmaker Cameron McCasland and producing partners Josh Ickes and Addiction Campuses Erin Dineen (all photos/graphics courtesy McCasland and/or Addiction Campuses)

JHP: How did doing a documentary about former Harlem Globetrotter, Dr. John “Jumpin’ Johnny” Kline come about?

CAMERON McCASLAND: I went to work for Addiction Campuses in January of 2018. Erin Dineen the creative director wanted to try new things, and she thought I was a good fit for that. The Globetrotters were coming to town at the end of the month (as they do every January in Nashville). So I was looking for a way to talk to one of those guys. Doing a little research online led me to Dr. Kline’s story. He was staying just north of town, and I did a little detective work to track him down and get him on the phone.

JHP: Was the project always intended as a full-length documentary, or did that evolve over time?

CAMERON McCASLAND: Well, yes and no. I knew I wanted to make something long form at Addiction Campuses. We had already put in motion a few docu-series that we made monthly last year. I didn’t know if this would fit into that, but I knew I wanted to talk to Dr. Kline. We did an almost five hour interview, which was quiet exhaustive for a man of 86 years old. Afterwards, I read his book, and started reaching out to people. It took on a life of its own. It was just the three of us, Myself, Erin and Josh Ickes, who I have collaborated with on several previous projects. We just kind of went all in.

JHP: How does Dr. Kline’s story connect to Addiction Campuses and their mission?

CAMERON McCASLAND: Addiction Campuses’ ultimate goal is to see people lead healthy lives and break the chains of addiction from drugs and alcohol. Dr. Kline had already been doing this both personally and professionally for longer than I have even been alive. It just seemed like a good fit. He saw this as a opportunity to educate, and we were willing students.

JHP: I can’t imagine it was too easy to connect with a former sports star who had long-since been retired. How did you track him down?

CAMERON McCASLAND: Dr. Kline has a long paper trail in terms of newspaper articles and was still somewhat active on the web. He had done a commercial for a rehab facility in Madison Tennessee. I reached out to them, but he had left months before. I was able to sweet talk one of the care givers to pass my information on to one of his family members, as they couldn’t give me his info due to privacy. From there it was a matter of a few phone calls with his family that gained us an audience.

JHP: When you finally did find him, what was that initial phone call like?

CAMERON McCASLAND: He was very humbled that I knew about his basketball career. He expressed to me that he had always hoped he could make a movie of his life, but had been disappointed with some false starts over the years. He wanted to tell the whole story, and I tried to find a balance between getting to know some initial details while at the same time wanting to hold off some of that story until we could put it on camera. When we met face to face I was impressed with how dapper he was. He was ailing from some foot surgery, but really pushed through that day to tell us all he could. Over the next six months I would visit him and we talked on the phone weekly. I’m thankful to have made him a friend, and I think by the end he trusted me to help tell his story.

Documentary filmmaker, McCasland pictured with some of Dr. Kline’s Harlem Globetrotter memorabilia

JHP: Was it difficult to pursued Dr. Kline to agree to take part in the project?

CAMERON McCASLAND: No, not really. I think having a organization like Addiction Campuses backing this project helped with that. It was easy for him to look at what they were doing, and seeing that they had the same hope he had for people who are suffering from addiction. He was just anxious for us to get it right.

JHP: You mentioned that lengthy first interview earlier. Tell me a little more about that?

CAMERON McCASLAND: Once we talked on the phone, I went to where he was staying and interviewed him on camera for almost 5 hours. Like I said before, you don’t ever know what something is until you start when it comes to documentary work. You just have to follow the story. So I just let him tell me what he wanted, and I’d chase him down the rabbit holes with follow ups. I honestly feel like it never stopped, as even when we were done he was in constant contact. I’d find an old article on him and read it to him, and he’d tell me he had not thought of that in 50 or 60 years. Then he’d fill in the gaps. His memory was excellent.

JHP: What was it like to sit down with someone who’d lived such a remarkable life?

CAMERON McCASLAND: A bit surreal. I see a lot of myself in Dr. Kline in that I worry about things like legacy, and I try to save everything that I think someone might care about later. It became very personal to me in that way. And it is a bit strange to hear about him talking about other basketball legends like Meadowlark Lemon, Goose Tatum, or Marques Haynes. Guys I had seen on Scooby-Doo as a kid. They were just his old friends. It’s like having breakfast with Superman in that way.

JHP: Were you surprised by how forthcoming he was about his past, or did you expect that, considering he had become an advocate for drug addiction recovery?

CAMERON McCASLAND: That really developed over the course of the interview. He has a few go-to stories that are in his books (he authored sixteen books). He told us those, and then I’d follow up. I think he was surprised at some of the details I had already uncovered. That brought a certain trust to the situation. I had a lot of respect for him, and he re-payed that by being very candid. So many of his team mates had already passed on, he was ready to tell it all, and trusted us to do right by him. I feel like we have honored that.

JHP: Speaking of his past, Dr. Kline has been honored with several sports-related accolades, including being inducted into his alma mater, Wayne State University’s Hall of Fame, the African American Sports Hall of Fame, the Globetrotter Legend Award. What was his reaction when asked about his own accomplishments on the court?

CAMERON McCASLAND: It’s funny because there was a duality in Dr. Kline. When you talked to him about basketball, he would tell you that was great. He was very matter of fact about that. But when it came to his work in the recovery community he was very humble and always would talk about the strength of other individuals to battle their addictions. He was very proud of his accomplishments on the court, but even more of the things he did afterwards.

JHP: Other than the first person interview, what other resources filled in the blanks during your research?

CAMERON McCASLAND: I read his books of course, and I went to the web and newspaper archives. I spent some time in the microfiche in the library which is a skill I think that has been lost to researchers and documentary film makers because the web is so much simpler. I also had access to his personal writings and digitally archived hours of old VHS tapes of things he had done over the past 30 years. I watched, read, and researched it all. I really lived in this mans journals and papers for the last year. And its funny because I have been able to share things with his family that they didn’t know.

JHP: In addition to Dr. Kline, who else did you interview for the project?

CAMERONN McCASLAND: We talked with Sharon Hill. Dr. Klines daughter who had a lot of insight to him. We also talked to Ernie Wagner who grew up with Johnny and played with him at both Wayne State and with the Globetrotters. We also talked to sports writers Chris Dortch and Ron Wynn. And Michael “Memphis” Douglas who is a former Harlem Globetrotter that currently tours the country with his organization the Harlem Legends. He gave us a lot of perspective on the pressures athletes face, and the impact they can have when using their voice.

Ickes & McCasland with Dr. Kline’s lifelong friend, Ernest “Ernie” Wagner, Jr.

JHP: Without divulging details, was there anything that was off limits during any of your interviews?

CAMERON McCASLAND: No not at all. It was kind of funny because their were some things Ernie would say out loud and then would say “I probably should’t tell that, but he’s dead anyways now.” I think both Johnny and Ernie knew that they were the last guys who could tell the tale from a first person point of view. I could make an entire other film just chronicling Ernies later life.

JHP: I understand Dr. Kline was nearly blind by the time you first met him and you mentioned earlier that as you began digging through old newspaper archives, you’d read them to him during subsequent phone conversations. Did those conversations spark further memories?

CAMERON McCASLAND: Yes, they did. Johnny’s mind was very sharp all the way to the end, but his eyes had started to go. He could read if you held something very close to his face, but he got a lot of joy when I would call him with an article that talked about his basketball days. A lot of that stuff he had not seen before as they globetrotters played nightly so by the time the game was over they were on the bus and didn’t see the newspapers that came the next morning. And for every name mentioned he had a story about those guys. It was truly fascinating.

JHP: How often did you speak with him during the course of preparing for the documentary?

CAMERON McCASLAND: It was at least weekly. I’d call him to ask questions, and he would call me to check on how things were moving along. He talked Ernie into speaking with me. Ernie had been cautious over the years as his life had been filled with criminal activity and he wanted to protect his family. I’d go visit Johnny in his daughter’s home and we would have long conversations.

JHP: Sadly, as you referenced above when quoting his friend, Ernie, Dr. Kline passed away summer of last year. How far into the process of the documentary were you at the time of his death?

CAMERON McCASLAND: We had been making the movie for about six months. He knew it had grown into a full length feature film which excited him. We all wanted him to see it, but I think he was pretty content just knowing that it was happening. He’s the one person who didn’t need to see it, as he had already lived it. And it’s hard to squeeze 86 years of life into a 90 minute movie. I feel like it’s an honest portrait, but he was so much bigger than this movie ever could be.

JHP: I  guess you could say you’ve had your own Tuesday’s With Morrie with Dr. Kline. Is there one thing he said to you, or one idea he expressed during your conversations that you keep going back to and thinking about?

CAMERON McCASLAND: His life long mantra was “Never lose.” To me, that means that when things don’t go the way you wanted, you use it as a learning experience and try again. When I saw Dr. Kline for the last time, he was asking me to bring him books about cooking for health. Even on his death-bed he was anxious to learn. I think that’s what I’ll always admire about him most. He was a student until the end.

A selfie of the filmmaker and the legend in the audience for the 2018 Harlem Globetrotter’s exhibition game in Nashville.

JHP: What all do you have in-store for Thursday’s screening at Belcourt?

CAMERON McCASLAND: I think this premiere at Belcourt is going to be a living send off for Johnny as well as introducing him to a whole new generation of people. Addiction Campuses really has pulled out all the stop for this one. The movie is already sold out, and those that were lucky enough to get a ticket are going to go home with posters and trading cards and a few lucky people will get some other cool stuff including tickets to the upcoming Globetrotters game. Additionally I think the Q&A will be eye opening.

JHP: Following Thursday night’s World Premiere Screening of Jumpin’ Johnny, what’s next for the film?

CAMERON McCASLAND: The plan is for the film to go out on the film festival circuit for 2019. We want to put it in front of as many eyes as possible with the hope it will inspire people to find healthy paths to recovery. I think this movie has the power to do that.

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To learn more about Jumpin’ Johnny: The Incredible True Story of Dr. John Kline, CLICK HERE. For details about Addition Campuses, their mission and services, CLICK HERE or follow them on Facebook, Twitter and Instagram. For more about filmmaker Cameron McCasland, CLICK HERE or follow him on Twitter and Instagram.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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