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Rapid Fire 20 Q

Rapid Fire 20Q with cast of Nashville Rep’s ‘A Christmas Carol’, returning for a second holiday season at TPAC’s Polk Theater thru December 22

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When Nashville Repertory Theatre debuted Micah-Shane Brewer’s adaptation of Charles Dickens’ A Christmas Carol last holiday season, I made the not-so difficult prediction in my review that the production was easily poised to become an instant tradition. Well, I was right. Returning to TPAC’s Polk Theater for a second year in a row, Nashville Rep’s A Christmas Carol is back. Last year I had the chance to chat with Brewer and the actors playing the Ghosts. This year for the latest installment of my recurring interview feature, Rapid Fire 20Q, I thought it would be fun to chat with a few more members of the cast including Matthew Carlton, who plays Ebenezer Scrooge, Eric Pasto-Crosby, who’s cast as Bob Cratchit and the dynamic duo of Denice Hicks and Galen Fott, returning again this year as The Fezziwigs. So get yourself a plateful of your favorite Christmas sweet treats and check out the conversations below.

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Rapid Fire 20Q with Cast Members of Nashville Rep’s A Christmas Carol

Rapid Fire with Matthew Carlton, Scrooge in Nashville Rep’s A Christmas Carol

JHPENTERTAINMENT: When I reviewed the premiere production of Nashville Repertory Theatre’s A Christmas Carol last holiday season, my headline foretold this retelling just might become a holiday tradition, and here you are, reprising your role of Scrooge in Micah-Shane Brewer’s presentation once again. How excited are you to step back into this role?

MATTHEW CARLTON: A Christmas Carol is just about my favorite story to share and I’ve played many of the characters. After taking on the mantle, Scrooge has become a wonderful, complex, challenging and most rewarding role.

JHPENTERTAINMENT: Not only are you returning, but from the looks of things, so is the majority of the cast. What’s it like to be part of a retuning troupe of fellow actors?

MATTHEW CARLTON: Comfort and joy!

JHPENTERTAINMENT: In my aforementioned review of the show’s previous run, I ranked you right alongside Sir Michael Caine among my favorite Scrooges. YES, I guess It’s become passé to mention Caine’s performance in The Muppet’s Christmas Carol, but I don’t care…it’s brilliant. SO, I gotta ask…yourself excluded, who’s your favorite Scrooge?

MATTHEW CARLTON: That is high and humbling company. I study every performance  on film, I can find. But I keep going back to Sims, for his fully rounded take. (Love Magoo though, too).

JHPENTERTAINMENT: Since this is a ‘Holiday Edition’ of my Rapid Fire interview feature, these last two remain questions are simply either/or. Which song do you think is played more at Christmas…Mariah Carey’s All I Want for Christmas OR Wham’s This Christmas? 

MATTHEW CARLTON: AIWFC. BTW, former local, Travis Harmon, is Santa on her tour this year.

JHPENTERTAINMENT: Mulled Wine or Spiked Hot Chocolate?

MATTHEW CARLTON: CHOCOLATE!

Rapid Fire with Eric Pasto-Crosby, Bob Cratchit in Nashville Rep’s A Christmas Carol

JHPENTERTAINMENT: What can you tell me about Bob Cratchit, the role you’re reprising for a second year in Nashville Rep’s A Christmas Carol? 

ERIC PASTO-CROSBY: Bob Cratchit, in my opinion, and in this year versus last year, is more of the standard of parent that people want to be. He cares, even though he’s aware of the situation to a certain degree, but he still thinks the positive in everyone. 

JHPENTERTAINMENT: While the majority of the cast is returning, there’s a few new faces among the company, including Alicia Haymer, who’s playing Cratchit’s wife, Elizabeth. What’s the best aspect of having Alicia as your scene partner?

ERIC PASTO-CROSBY: One of the things I love about working with Alicia is her warmth and her acceptance of whatever you bring to the scene. 

JHPENTERTAINMENT: Dickens’ A Christmas Carol was written 181 years ago. Why is it still among the most beloved holiday stories?

ERIC PASTO-CROSBY:  Not only have I had the privilege of two years in a row being in a production of a Christmas Carol, but I also like to read it every Christmas and I watch pretty much every movie version that I can find. I believe it’s a classic because it has lessons that we all still need to learn. And it has such a heartwarming story that you can possibly fix even some of the worst situations.  

JHPENTERTAINMENT: If you weren’t playing Cratchit, what other roles might you enjoy in A Christmas Carol?

ERIC PASTO-CROSBY: I would love to play some of the ghost, particularly Jacob Marley because in the full text, he has some amazing lines and I just think that would be fun. Also, I would get to fly. One day I’d like to be Scrooge.  

JHPENTERTAINMENT: Is there a particular Christmas, or a Holiday tradition that you recall from your childhood?

ERIC PASTO-CROSBY: A holiday tradition that my family has done because my Dad was an emergency room doctor…We always had Christmas with my family on Christmas Eve instead of Christmas Day. I had Christmas Day to do whatever I wanted to do and we would do a little bit then. These days that works out great because we have Christmas with my family on Christmas Eve and then my wife’s family on Christmas Day and my family on Christmas Day. So my son basically ends up with three or four Christmases depending on how much family is in town and I think that’s lovely giving each family their own separate holiday.

Rapid Fire with Denice Hicks, Mrs. Fezziwig in Nashville Rep’s A Christmas Carol

JHPENTERTAINMENT: When I reviewed last year’s production, I indicated that you and your co-star Galen Fott as The Fezziwigs “bubble and giggle” about. How would you describe Mrs. Fezziwig and the way you’re approaching the role?

DENICE HICKS: Mrs. Fezziwig is married to the most loving, kind, playful, and hard working man imaginable. They run a reputable business and serve their community and when it’s time to party they have the best time. She sees the good in everyone and is ever grateful for her good life. 

JHPENTERTAINMENT: On the subject of Galen Fott. How much fun are you having being back as his on-stage spouse?

DENICE HICKS: Galen IS Mr. Fezziwig to me! Kind, playful, creative and oh so talented. I feel very fortunate to be working next to him again. Last summer we played brother and sister in As You Like It and now we get to be married again. Pure joy. 

JHPENTERTAINMENT: When I chatted with Matthew Carlton, your show’s Scrooge, I mentioned my favorite A Christmas Carol film adaptation…The Muppets. A highlight of that version is Fozzie and his Mom as The Fozziwigs. Do you have a favorite film version of A Christmas Carol yourself?

DENICE HICKS: I love Alastair Sim as Scrooge in the 1951 film, but Albert Finney in the 1970 musical is my heart’s favorite. 

JHPENTERTAINMENT: For your last two questions, a little Holliday-themed THIS or THAT…Which do you like better, Peppermint Bark OR Little Debbie Christmas Tree Cakes?

DENICE HICKS: I could eat a whole pound of peppermint bark! 

JHPENTERTAINMENT: A Charlie Brown Christmas OR How The Grinch Stole Christmas?

DENICE HICKS: Hearing Boris Karloff reading The Grinch is a must for every Christmas, as is hearing David Sedaris reading The Santaland Diaries.

Rapid Fire with Galen Fottt, Mr. Fezziwig in Nashville Rep’s A Christmas Carol

JHPENTERTAINMENT: How would you describe Mr. Fezziwig, the character you play in A Christmas Carol?

GALEN FOTT: Well, Dickens describes him physically as “an old gentleman in a Welch wig”, a “Welch wig” actually being a woolen cap. I’m definitely one year closer to being an “old gentleman” than I was last year! But I would add that Fezziwig is jovial, high-spirited, generous, and big-hearted. I think he’s there to serve as a good example of how a man might behave towards his fellow men, an example that Scrooge unfortunately fails to follow as he moves through life.

JHPENTERTAINMENT: In addition to Mr. Fezziwig, you also are seen throughout the show during the caroling interludes. To that end, the show is peppered with a mix of Old English Carols and a few new, but perfectly periodesque tunes written especially for this retelling. Of the musical moments, do you have a particular favorite song or piece of lyrics?

GALEN FOTT: Well, although I don’t sing it, I love the little blessing that the Cratchits sing, which sounds for all the world like an old traditional tune, but which was actually written by Micah-Shane! Of what I get to sing and play, probably Greensleeves is my fave.

JHPENTERTAINMENT: When I chatted with your Fezziwig wife, Denice Hicks, I asked her about sharing the stage with you, so turnabout is fair play…what’s it like having Denice as a scene partner in this show?

GALEN FOTT: This is my sixth opportunity to work with the incomparable Denice Hicks, if you count her one-night-only appearance as our guest “Professor Willard” in the Rep’s Our Town. We also just played the two sibling Dukes in Nashville Shakespeare Festival’s As You Like It. Denice is eternally “in the moment” onstage, always listening, and able to adjust her performance to any unexpected nuances that might occur. She’s the best, and a real Nashville theatrical treasure.

JHPENTERTAINMENT: What’s one item you hope you never receive as a gift again?

GALEN FOTT: Nothing is coming to mind as far as a bad present I personally have received. But as a father, I must take this opportunity to talk about Slimecano. This was a Hot Wheels playset, and truly one of the worst toys ever made. It was a bunch of plastic pieces that snapped together haphazardly to create a sort of obstacle course for Hot Wheels. The major attraction was a plastic volcano that would frequently erupt with an orange slime that gummed up your Hot Wheels and permanently stained everything it came in contact with. The Amazon page for Slimecano was a masterpiece of unintentional comedy, full of people’s furious complaints about the toy. The phrase “Bah Humbug” could have been invented for Slimecano.

JHPENTERTAINMENT: Long after Scrooge sees the error of his ways and audiences return to their warm homes after seeing A Christmas Carol, what’s something you think they’ll remember from this production of the holiday classic?

GALEN FOTT: I’m very proud of this production. I think Micah-Shane did a wonderful job of preserving the heart of Dickens’ tale while translating it into the medium of theatre. It’s faithful in all the best ways. There’s plenty of theatre magic in our production; I mean, people fly across the stage! But in the end, I think people will remember exactly what Dickens intended them to. His message of generosity and compassion and empathy will stay in their minds long after the curtain comes down.

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Nashville Rep’s A Christmas Carol runs thru December 22 with matinee performances Saturdays and Sundays at 2pm and evening performances at 7:30pm, with an additional Thursday evening performance December 19. Tickets range in price from $58.50 to $96. CLICK HERE to purchase tickets or for more information.

As always, check out Nashville Rep online and follow them on Facebook, X, YouTube and Instagram.

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Rapid Fire 20Q with director and cast of The Keeton’s ‘A Christmas Story’; on stage thru December 22

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“You’ll shoot your eye out!”…arguably a phase almost as synonymous with the holidays as “Merry Christmas” itself, thanks to the now-classic 1983 film adaptation of A Christmas Story, humorist Jean Shepherd’s take on holidays of days gone by. This holiday season, The Keeton Dinner Theatre (108 Donelson Pike, Nashville, TN) is presenting A Christmas Story: The Musical as their holiday offering. I’m not gonna lie, I came to A Christmas Story relatively late in the game, never having seen the film, and only first becoming fully familiar with it when another area theatre company mounted the non-musical stage version a few years running. That said, once I witnessed the fun of the show, I was all in! So you know I had to reach out to my friends at The Keeton to chat with the show’s director, Jacob Waid and four of his cast members, including Toby Turner who’s playing The Narrator, Chelsea Ranelle who’s playing Mother, Kimberly Wolff who’s choreographing the show and playing Mrs. Shields and young Noah Owens, who’s playing Ralphie! So grab a cup of hot cocoa and check out my latest Rapid Fire 20Q.

 

 

Rapid Fire 20Q with director, choreographer and cast of The Keeton’s A Christmas Story

Rapid Fire with Noah Owens, Ralphie in The Keeton’s A Christmas Story

JHPENTERTAINMENT: What’s your favorite part of playing Ralphie in A Christmas Story?

NOAH OWENS: I love working with my stage family, Ryman, Kevin, and Chelsea. We have really developed a strong relationship with inside jokes and even a pre-show ritual. I also LOVE the songs! The first time I heard Ralphie to the Rescue (a song from the show), I could not stop singing it for 3 DAYS!    

JHPENTERTAINMENT: As Ralphie, there’s a hilarious scene involving a department store Santa, played by Elliott Winston Robinson in The Keeton’s A Christmas Story. How much fun are you having sharing the stage with Elliott?

NOAH OWENS: It is so fun because Elliot is extremely funny even when he is pretending he hates us kids. 

JHPENTERTAINMENT: Other than A Christmas Story, what’s your favorite Christmas movie or tv special?

NOAH OWENS: Without a doubt I would say another great Christmas comedy, The Santa Clause, starring Tim Allen.

JHPENTERTAINMENT: What’s at the top of your Christmas list this year?

NOAH OWENS: My family and I like to have experiences so I am asking for us to get to go to an Escape Room!

Rapid Fire with Chelsea Ranelle, Mother in The Keeton’s A Christmas Story

JHPENTERTAINMENT: What’s your favorite aspect of Mother, the character you play in The Keeton’s A Christmas Story?

CHELSEA RANELLE: I love how caring she is with her children in the moments where it counts. She’s a busy, frazzled, boy mom but she still knows when to slow things down and make special moments for her babies. 

JHPENTERTAINMENT: A little online sleuthing revealed that you’re a high school teacher by day. Has the day job helped you relate to your younger cast mates?

CHELSEA RANELLE: For sure! It’s felt totally natural. I’ve enjoyed being in this cast with our amazing youth ensemble. They are truly fantastic young people. They’ve been a an inspiration to me and an absolute joy to work with! 

JHPENTERTAINMENT: While most are familiar with A Christmas Story by way of the now-classic film, this particular stage version is a musical. Is there a particular musical moment that you love, whether it be one you’re part of, or one you simply enjoy from the wings?

CHELSEA RANELLE: I really love working with my stage family. Kevin is incredibly natural on stage which makes him an interesting scene partner to play off of. Noah is so in the moment; I love seeing him light up and make choices on stage. He’s truly phenomenal! And Ryman is just as wonderful on stage and off. He’s a super strong singer and a really lovely kid to spend time with. My favorite number to watch from the wings is You’ll Shoot Your Eye Out. It’s lively and the women’s ensemble is stunningly talented! 

JHPENTERTAINMENT: Since A Christmas Story centers-round Ralphie’s most memorable Christmas, What’s one of your favorite holiday memories from your own childhood?

CHELSEA RANELLE: No Christmas stands out in particular. My childhood Christmases remind me of the Parkers’. My step-father was born in the 40’s and he reminds me of Mr. Parker in many ways. Stressed with work during the year, using words my mother would have preferred he hadn’t, and Jimmy-rigging everything that ever broke in our house! Christmas time, though freezing where we lived in the hills of West Virginia, was always warm and joyful. It was my dad’s favorite season. He’d alway take us to get a huge flocked tree which my mother would decorate just like the Parkers—with big colored lights and silver tinsel. My mother, like Mrs. Parker, worked hard to make Christmas perfect, inventing and carrying on many traditions that we still have today. Even though I’m now in my mid 30’s, she still insists on our traditions and I’m glad she does! One of my favorite traditions was the colored bubble lights we had on our tree. I loved watching the lights bubble at night while snow was falling outside. Everything felt at peace during those Christmas seasons. 

Rapid Fire with Kimberly Wolff, Miss Shields in The Keeton’s A Christmas Story

JHPENTERTAINMENT: Who is Miss Shields to you?

KIMBERLY WOLFF: Miss Shields to me, is a nice teacher. She is fair but firm, and slightly quirky. Especially if you don’t pay attention to the MARGINS!!!! I see her as a teacher that students enjoy, but at the same time, she’s not someone you can get things by too easily. 

JHPENTERTAINMENT: Not only are you playing Miss Shields, you’re also choreographing the show. What that experience been like thus far?

KIMBERLY WOLFF: Although slightly challenging, I have loved every second of it. Getting to be a part of this show as Miss Shields, and creating all the dances has been so fulfilling. Miss Shields has a whole tap number to “You’ll Shoot Your Eye Out.” Tapping had always been a huge passion of mine and getting to do it in this show has been so much fun. I would say, that tap number and Ralphie to the Rescue have been my favorite dances to create and see them come life with our incredible cast. 

JHPENTERTAINMENT: On the subject of choreography, do you have a favorite Christmas musical movie? AND…What is it about that film that makes it required holiday viewing for you?

KIMBERLY WOLFF: Well, since we are talking choreography and Christmas musicals, I think it would have to be White Christmas. The precision and difficulty of dancing that takes place in that movie is incredible and they make it look so effortless and easy. The talent is unmatched and it just makes it such an enjoyable movie to watch!

JHPENTERTAINMENT: YES! White Christmas is my absolute favorite musical movie! Since you play a teacher, I gotta ask. What teacher from your formative years do you still think of fondly?

KIMBERLY WOLFF: There are a handful of teachers that will always stick out to me. From 5th grade all the way through high school. However, when I reached high school we had an incredible principle. Mr. Carl. He genuinely cared for all of the students in our school and would take the time to get to know everyone. Every morning, rain, shine, or snow, he would stand on the corner with Mr. Rankin, and greet the kids and made sure everyone got in safely. He took notice of my passion and abilities and would always ask about the things I was doing. By the time I reached my senior year, he had heard me and another student sing The Prayer by Celine Dion and Andrea Bocelli at a choir concert. He asked us to sing it at my graduation ceremony and it was a moment I will never forget. I am thankful for the teachers who care and create a positive impact on kids lives. It’s not an easy job. 

Rapid Fire with Toby Turner, Jean Shepherd in The Keeton’s A Christmas Story

JHPENTERTAINMENT: You play Jean Shepard, the narrator of A Christmas Story. What’s been the most challenging aspect of playing this character?

TOBY TURNER: There’s a lot in this show that reflects on Jean’s relationship with his parents–especially his father.  I don’t think I’ve ever heard my own father utter a single curse word, but there’s still a lot of similarities between my old man and The Old Man.  Earlier this year my dad had a stroke and it has severely impacted his life.  It’s been difficult to draw upon the intensity of the emotions I am feeling about my own relationship with my dad while filtering out the sadness and frustration of the current situation

JHPENTERTAINMENT: Since you’re playing the man who actually wrote the film and the short story upon which it’s based, If you were to write a story about your most memorable Christmas, what would it be about?

TOBY TURNER: I’m willing to bet that A Christmas Story combines a couple of different years in Jean’s life and mine would be similar.  There was a year my mom wrapped up a pet crate with a kitten in it.  We knew things were out of the ordinary when my mom insisted we open a specific present first.  More recently, I took my wife and daughter to spend Christmas in New York City.  It was tremendously fun for me to go by a tree down the street and carry it back to our rented apartment.  We took our daughter to her first Broadway show – Winnie the Pooh.  She was vibrating with glee the entire time.  At one point during the performance, the little 5 year old grabbed my face, pulled it to hers, stared into my eyes and silently screamed with joy.  We even got a light coating of snow on Christmas morning.

JHPENTERTAINMENT: What’s one holiday activity you look forward to each year?

TOBY TURNER: I never cared about turkey stuffing or dressing my whole life until I met my wife.  The way she cooks it is mind blowing.  I spend all of January through October dreaming about her stuffing and all of November and December begging her to cook some more for me.

JHPENTERTAINMENT: They say write about what you know…to that end, settle it once and for all, is Jean Shepard Ralphie grown up?

TOBY TURNER:  I think the answer is mostly yes.  However, I bet there’s either one really good story that didn’t actually happen to Jean and he didn’t want to take full credit for it.  Or, there’s one really embarrassing story that did happen to him and he doesn’t want to admit it…. maybe Jean was the one who stuck his tongue to a flagpole?  Or maybe Jean was actually the bully Scut Farkus before getting taught a lesson.

JHPENTERTAINMENT: What is it about A Christmas Story that draws audiences year after year?

Rapid Fire with The Keeton’s A Christmas Story director, Jacob Waid

JACOB WAID: Ultimately, it’s a classic story we all connect with. It’s timeless and full of heart, capturing the chaos, humor, and joy of the holidays in a way that feels so real. Everyone can see themselves in the family onstage—whether it’s the funny moments, the big holiday dreams, or the mishaps that somehow become your favorite memories.

We’ve all had that one Christmas where something didn’t go as planned or that one gift we couldn’t stop thinking about. This show taps into those experiences, blending laughter and nostalgia to remind us what makes the holidays so special. It’s about family, traditions, and the magic of seeing Christmas through a child’s eyes. Whether it’s your first time watching or a tradition of its own, A Christmas Story always feels like coming home for the holidays. 

JHPENTERTAINMENT: In the show, Ralphie is laser-focused on getting that ONE Christmas present he’s been dreaming of. As a kid, was there an equivalent to Ralphie’s Red Ryder Carbine Action 200-shot Range Model air rifle for you that you just had to have as a gift?

JACOB WAID: As a kid, there were definitely a few things I just had to have—computer games, a Gameboy, and one year…a hamster! But honestly, I’ve never been too focused on the gifts themselves unless they were tied to memories or something sentimental. For me, the magic of Christmas was always about the experience, the memories, and the family traditions.

I loved the tradition of putting out cookies for Santa and waking up to see if he’d enjoyed them. One of my favorite memories was being allowed to open one gift on Christmas Eve with just me and my mom prior to opening the gifts that Santa brought on Christmas morning. Christmas felt magical because of the little things: the candlelight service on Christmas Eve, the time spent with family, Kenny G’s Christmas album playing in the background, and, of course, the food—always the food! Those are the memories and traditions that have stayed with me and made the holidays so special.

JHPENTERTAINMENT: What do you hope audience remember long after seeing The Keeton’s production of A Christmas Story?

JACOB WAID: I hope that audiences remember the joy of the season, the memories made with friends and family, and the spirit that ties it all together. Whether you celebrate Christmas, Hanukkah, Kwanzaa, or no holiday at all, this time of year is a chance to embrace the energy of the season—or even just the beauty of winter’s beginning.

This show is about nostalgia and the moments that bring us together. I hope people leave with that warm and fuzzy feeling, reminded to treasure all of the memories, laugh through the chaos, and find ways to keep the magic of the season alive. My goal with this production was to fill every moment—both the heartfelt and the hilarious—with the wonder of this time of year. I hope it inspires our audiences to carry that magic with them, celebrating in their own way, and sharing it with those they love.

The Keeton’s A Christmas Story: The Musical runs weekends through December 22. At the time these interviews were posted, The Keeton’s socials indicate that the entire run of the show has SOLD OUT, that said, be like Ralphie, be persistent! It can’t hurt to call the box office at 615.231.1231 just to check to see if any last-minute tickets might open up. You can also email boxoffice@thekeeton.org. 

Next up at The Keeton it’s Beautiful: The Carole King Musical, onstage February 7-23. CLICK HERE for tickets or more information. To be sure you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

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

 

Rapid Fire 20Q with Director, Playwright and Cast Members of Rabbit Room Theatre’s ‘A Christmas Carol’; on stage December 7-22

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On Saturday, December 7, and continuing through Sunday, December 22, Rabbit Room Theatre and Matt Logan Productions present an all-new retelling of Charles Dickens’ A Christmas Carol on stage at FSSDPAC (Franklin Special School District Performing Arts Center 1030 Excellence Way, Franklin, TN). Having been completely entranced by their 2022 teaming for The Hiding Place, I’m just gonna say it, anytime there’s a collaboration between Matt Logan Productions and Rabbit Room Theatre, I’m there! Matt Logan’s genius eye for stage and costume design detail paired with Rabbit Room Theatre’s Pete Peterson’s thoughtful and thought-provoking mastery as a playwright and the results are always spectacular. When I heard the these two powerhouses in regional theatre were coming together to present their vision of A Christmas Carol, I knew I had to feature them in the latest installment of my recurring interview feature, Rapid Fire 20Q. Rounding out the questions to a full 20, I requested a little time with the show’s Ebenezer Scrooge, Chip Arnold and The Ghost of Christmas Past, Ruthy Berends. What follows are all four conversations.

Rapid Fire 20Q with Director, Playwright and Cast Members of Rabbit Room Theatre’s A Christmas Carol

Rapid Fire with Rabbit Room Theatre’s A Christmas Carol playwright, Pete Peterson

JHPENTERTAINMENT: As a playwright, I’d imagine adapting a story so beloved might be a bit daunting. What was the catalyst for taking on A Christmas Carol?

PETE PETERSON: It’s not only beloved by audiences and readers worldwide, it’s beloved by ME. I love this book. I love Dickens. I think stepping up to the plate for a chance to retell a story that has entered the annals of literary history is a real privilege and challenge. And like storytellers have been doing for all of history, retelling the great tales of our language is a way of participating in the long tradition of Story in our culture. We tell stories and retell them over and over, and hopefully each new telling shows us a different facet of the tale so that it takes on new meanings and new relevance. That’s a great challenge and opportunity for a writer. It’s an honor.

JHPENTERTAINMENT: Is there a line you’ve written for A Christmas Carol that you’re particularly proud of?

PETE PETERSON: Again and again, people who read or see the show seem to find resonance in the line “What is hidden cannot heal.” The story is all about these Ghosts revealing hard truths to Scrooge in the hopes that he will change, and those truths are often about how wounded he has been in life and how the covering up of those wounds is what keeps him bitter and alone. Those hurts and traumas from his youth need to be exposed and dealt with if he’s to have any hope of healing and joy. That’s a phrase that’s original to my adaptation and I’ve been really moved by how deeply audiences have responded to it. I think it’s an idea that’s latent in Dickens’ prose throughout the original, and effectively giving it voice through that line is satisfying.

JHPENTERTAINMENT: Rabbit Room Theatre’s A Christmas Carol marks the latest collaboration between you and the show’s director, Matt Logan. Previously Matt helmed productions of The Battle of Franklin and Frankenstein, two of your other plays. What is it about Matt that makes it easy to entrust your written word?

PETE PETERSON: I feel like our imaginations are aligned in some mysterious way. He tends to intuit the way I tell stories and make them better with the design and staging and emotional intelligence he brings to them.. And I like to think I’ve learned to write in a way that allows his imagination to flourish. It’s been a really healthy collaboration. We tend to have a lot of back and forth as the shows develop, so that he can riff off of my ideas and I can riff off of his.

JHPENTERTAINMENT: While I’m sure Chip Arnold is your current favorite Scrooge on stage, which cinematic turn of the past stands out most in your mind?

PETE PETERSON: I feel like it’s a cliche to say The Muppets’ but like all cliches, they are cliches for a reason. It’s hard to beat Muppets. But otherwise I grew up with George C Scott, and I really like the animated version by Zemekis and Carrey. 

JHPENTERTAINMENT: After attending a performance of Rabbit Room Theatre’s A Christmas Carol, what do you hope audiences take with them?

PETE PETERSON: One of the questions I’ve tried to wrestle with in the writing process is whether a man is changed (by some external force) or whether a man changes (by his own agency). Ultimately, I think the answer is both–and either way there’s a Spirit involved in the process. I hope folks will go home thinking about how we all might be more open to the people around us and how we all have the opportunity for change, both internal and external.

Rapid Fire with Rabbit Room Theatre’s A Christmas Carol director and designer, Matt Logan

JHPENTERTAINMENT: I think I say this every time I get the opportunity to chat with you about a show, but in my estimation, you are one of the most talented directors and designers the Nashville-area theatre company has ever seen. Your attention to detail is such a joy to experience. What’s been the most rewarding aspect of directing and designing Rabbit Room Theatre’s A Christmas Carol

MATT LOGAN: Wow, you are so kind. I do love theater design, but most of all it’s story and the impact it has on our lives that keeps bringing me back to the theater. In this process, my favorite part has been reconnecting with the childlike imagination that brings about theatrical magic. In all aspects of this piece, we tried to find the magical way to help tell the story of Ebenezer Scrooge . Sometimes it’s finding a new approach to period costume design or it’s using simple things to create ghosts and water. I will always be drawn to theater magic over realism. I hope that with everything I do, there is a strong approach to emotional realism and theatrical magic.

JHPENTERTAINMENT: When I spoke with Pete, I noted that A Christmas Carol is just the latest in a line of collaborations between the two of you as playwright and director. What keeps you saying yes to bringing his work to the stage?

MATT LOGAN: Haha! It’s such a joy working with Pete. Our gifts are completely different and yet we find a common goal for excellence. I will forever be in awe of Pete’s writing . His gift for language astounds me. On top of that he knows my work and my collaborators so well, that it gives us a shorthand on each project. In many ways, he envisions what I’m going to do with a piece as he’s writing it. We just fit together nicely and it’s a great blessing to have that synchronicity

JHPENTERTAINMENT: I understand this production will feature an original score. Can you tell me a bit about that?

MATT LOGAN: Yes, Anthony Matula is composing an original score for the piece. As you can imagine this is a very difficult thing to do with an original play. So much was in development and not set until the very end. So even now we are trying to finalize the details, but Tony offers such a unique sensibility to the score. He comes from the film world and has brought an incredible perspective to each scene. Our goal is to enhance the cinematic feel of our theater production 

JHPENTERTAINMENT: On the subject of music, what’s your favorite holiday tune? And why does it hold such a special place in your mind?

MATT LOGAN: Hard to say, but I’ll Be Home for Christmas is my all-time favorite. I’ve sung it many times on stage because I was away from my hometown for about 12 years. This is when I lived in Los Angeles and New York. Nothing brought me greater joy than when I could come home for Christmas. I longed for it. My parents and grandparents always made the season so full of love. I’m definitely a Christmas guy, I love this time of year. And that’s why I’m so grateful to be sharing this season with Rabbit Room Theatre, our incredible cast, and this Middle Tennessee community. 

JHPENTERTAINMENT: As alluded to in my first question for you, your attention to detail in even the most minute props or set design elements is always such fun to see. Is there something in this show that you’re hoping audience members will spot and get a smile from?

MATT LOGAN: Haha! There is so much of me in this piece. From real items to my designs for this show, my fingerprints are all over it. On my 21st birthday my mom gave me a Shakespeare bust. Years later I bought another one that is almost life size. Somehow this bust reminds me of the delight I found in theatre class with my high school drama teacher Paula Flautt. The idea of the stage and how I feel in love with it is symbolized by that bust. I had to add it to the stage pictures! 

Rapid Fire with Ruthy Berends, Ghosts of Christmas Past and Future in Rabbit Room Theatre’s A Christmas Carol

JHPENTERTAINMENT: I just chatted with Matt Logan, your director and designer for A Christmas Carol. I saw a social media post previewing your wardrobe for The Ghost of Christmas Past. Of course it’s truly gorgeous. How much does wardrobe enhance your portrayal on stage?

RUTHY BERENDS: Ugh isn’t it glorious?! Wardrobe always helps me feel more connected to a role, but the magic and grandeur of the costumes Matt has created for Past (and Yet To Come) are especially impactful. Past is whimsical and twinkly and mysterious, and the dress Matt designed not only helps capture that for the audience, but also for me. I slip into it and immediately feel myself raising an eyebrow, putting my shoulders back, and really embodying the role we have all worked to create.

JHPENTERTAINMENT: Speaking of The Ghost of Christmas Future, you’re playing that role as well. Two very different roles. How much fun are you having in this duality?

RUTHY BERENDS: It’s a total delight. I love the contrast and the continuity I keep finding between the two. On the surface, they are very different; Past is spritely, light, and sparkly, and Future is dreadful, dark, and decrepit. Their demeanors are different, their costumes are different, they move very differently. But they’re also after the same thing: to help Scrooge see himself more fully and move him toward change. It’s been so fun getting to play with the different characters and their almost opposite tactics for achieving the same goal. 

JHPENTERTAINMENT: A Christmas Carol marks your return to live theatre after having focused on tv and film in recent years. To my estimation, Matt Logan is a very cinematic director, so has that made the return to the stage easier for you?

RUTHY BERENDS: I’ve been working with Matt since I was 14 years old, so I feel very at home under his direction. It’s funny, in my audition for A Christmas Carol, Matt immediately gave me the same note he’s been giving me since I was a teenager – “Do it again but for the back of the room!” which made us both chuckle with knowing. He has always provided a safe and creative space to play and explore, and his approach was a huge reason I wanted to be an actor in the first place. And I definitely have a new appreciation for his ability to blend theatre and cinema after these years focusing on film, and his whole approach has made this experience a delight. 

JHPENTERTAINMENT: I understand you’re a relatively new Mom. Given that, have you thought of any Christmas traditions, activities or holiday specials and movies that you are excited to introduce to you child as the years progress?

RUTHY BERENDS: Yes, my son just turned two! I would love for the arts to be a part of it, whether it’s seeing a play or going to the symphony or a choral recital. Definitely watching all of the Christmas movies: Home Alone, Elf, The Santa Clause, Christmas Vacation. And honestly, I can’t wait to see A Christmas Carol with him one day and talk all about its meaning. It’s become such an important story to me over these last several months.

JHPENTERTAINMENT: As written by the playwright, Pete Peterson, what’s your favorite aspect of the ghosts you play?

RUTHY BERENDS: Oh man, it’s so hard to name just one. I guess for Past I would say her wonder and humor. Pete has written her so beautifully as both deep/wise and funny/light-hearted, and I love playing with those different aspects in one character. It’s very complex and mysterious. And with Future, I love that she is not the usual hooded black shroud that one typically associates with A Christmas Carol. In this version, she is more akin to a decaying bride, a representation of all Scrooge has lost and still could lose if he stays on his curmudgeonly path. And the challenge of playing a character who does not speak but has so much to impart, is so fun.

Rapid Fire with Chip Arnold, Scrooge in Rabbit Room Theatre’s A Christmas Carol 

JHPENTERTAINMENT: Having previously played Scrooge a few years in a row in another area theatre company’s production of A Christmas Carol, what stands out to you about this particular incarnation as adapted by Rabbit Room Theatre’s artistic director, Pete Peterson?

CHIP ARNOLD: A few things stood out immediately: Pete Peterson’s beautiful integration of his words with Dickens words. They are dense, beautiful, and require savory chewing.  Then Pete’s incorporation of the spirit world beyond Marley, and his three ghostly ambassadors. And finally, Scrooge’s inner child is a revelation. 

JHPENTERTAINMENT: This adaptation is directed by Matt Logan, another member of the area theatre community with whom you’ve worked with in the past. What’s your favorite aspect of Matt as a director?

CHIP ARNOLD: His vision. Matt is a visionary and the clarity with which he creates this vision. His generosity as he invites the actors into this vision and gives us the freedom to play and explore as we find ourselves becoming contributors to the story.

JHPENTERTAINMENT: In your estimation, is Scrooge villain or victim?

CHIP ARNOLD: Actually, neither. Modern cultures have created a one-dimensional character with descriptors such as “miserly” and “greedy.” This is not villainous. These of symptoms of hurt and rejection. In Pete’s version of the story, we explore the reasons why these choices were made.

JHPENTERTAINMENT: What’s one of your most cherished holiday memories?

CHIP ARNOLD: A tradition my wife and I started years ago with our grands is what we call the Christmas Tree Fairies who will come to our farm the day after Thanksgiving and leave a Christmas tree somewhere in the woods and we hike back to the woods in search of the treasure. 

JHPENTERTAINMENT: What is it about this story that has proven a beloved part of the holiday season for 181 years?

CHIP ARNOLD: It is a story of rescue and redemption. And, for me personally, it is tied to the Nativity story that so many celebrate at this time of year. The point of the arrival of the Christ child was to save humankind. The point of the arrival of Marley and the Three Spirits was to save Ebenezer Scrooge. That tale never grows old.

Matt Logan Productions and Rabbit Room Theatre’s A Christmas Carol opens Saturday, December 4 and continues through Sunday, December 22 with performances Wednesdays, Saturdays and Sundays. Saturday and Sunday performances are at 2:30pm and 7:30pm. Wednesday shows are at 7:30pm. The final week of the run, there’s also a Thursday evening show at 7:30pm. Tickets start at $45. CLICK HERE to purchase tickets or for more information.

Check out The Rabbit Room online or follow them on Facebook and Instagram. To keep with all things creative from Matt Logan Productions, check out their Facebook and Instagram.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook,  JHPEntertainment on Instagram  and JHPEntertainment on Twitter.

Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

Rapid Fire 20Q with Director Jef Ellis and Cast of ‘Beautiful: the Carole King Musical’; at Center for the Arts in Murfreesboro November 8-24

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When I heard that Jef Ellis was directing BEAUTIFUL: The CAROLE KING MUSICAL Nov. 8-24 at Center for the Arts (110 West College Street, Murfreesboro, TN 37130), I knew I wanted to chat with Ellis and members of his cast for the latest installment of my recurring interview feature. Having seen the National Tour of the show back in 2017, and being somewhat familiar with Carole King’s contributions to the world of music, thanks to my favorite Aunt, I was truly drawn in from the start. Not only is the music one of those “soundtracks of our lives” as the saying goes, but the story is actually interesting.

Obvious reasons aside, I also knew I wanted to feature Ellis and company because just as King has made innumerable contributions to music, Ellis is himself legendary within the Tennessee theatre community. With the announcement that Ellis was helming the project, came the news that this will be the last time Ellis directs a show. After devoting his life and life’s work to lifting up the Middle Tennessee theatre community as a director, critic and all-round patron saint of the performing arts, Ellis has recently made the difficult decision to step away from active duty within the theatre world to focus some much-deserved attention on himself and his health. In light of that news, I wanted to feature Ellis and the cast of BEAUTIFUL for my latest Rapid Fire 20Q. What follows are those conversations.

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Rapid Fire 20Q with director and cast of BEAUTIFUL: THE CAROLE KING MUSICAL

Rapid Fire with BEAUTIFUL: THE CAROLE KING MUSICAL director, Jef Ellis

JHPENTERTAINMENT: How did directing BEAUTIFUL: THE CAROLE KING MUSICAL come about?

JEF ELLIS: I have to give credit to my friend Allison Hall (who was my musical director for both SINGIN’ IN THE RAIN and for LITTLE WOMEN), who mentioned in the course of a conversation that Center for the Arts had announced their 2024 season and if I had any desire to direct again. I really had no plans to direct anything at that time, but when I saw BEAUTIFUL on their season, I knew I would throw my hat in the ring. It’s probably my favorite of all the so-called “jukebox musicals” due to my deep respect for Carole King and my love, in particular, for her Tapestry album.

 JHPENTERTAINMENT: What’s your earliest memory of truly grasping what an iconic songwriter Carole King is?

JEF ELLIS: When I turned 13, my big sister Charlotte gave me Tapestry for my birthday – it was my first-ever album (heretofore I had only owned 45s) and I played it all the time. It remains my favorite album of all-time and cemented my fanatical love of everything written by Carole King. In fact, when I was a senior in high school, I wrote a musical based on her 1974 album Wrap Around Joy, which has never been produced (did I mention my script was awful?). I’ve followed her career since I was 13 and as I have discovered more and more about her, I have realized how much there is to admire about Carole King.

One of my favorite Carole King-centric memories is when she was a Kennedy Center Honoree in 2023. During the telecast, you could see how absolutely thrilled she was to be there and how her delight was apparent when each performer came onstage to perform for her. I’ve never witnessed a Kennedy Center Honoree as exhilarating as her in the audience!

 

JHPENTERTAINMENT: Is there a scene or song in the musical that speaks to you on a personal level?

JEF ELLIS: There are two moments in the show that make me more emotional than others: (1) During the performance of You’ve Got A Friend, I am taken back to my childhood home, listening to that song all through high school, knowing that someday I would find my people who would elicit in my own heart in that spirit of camaraderie and belonging expressed in the song. (2) The climactic performance of Beautiful in the show, part of Carole’s 1971 concert at Carnegie Hall, is an electrifying moment that every audience member will share in each performance. Emily Summer’s performance is breathtaking.

And it’s not a song, but there is a scene backstage at Carnegie Hall that is heartbreakingly genuine and never fails to land in my heart – Ross Canales delivers an emotional wallop you’ll think about for days to come.

JHPENTERTAINMENT: As he is with most productions at Center for the Arts’ Royce Phillips is music director. How has working with Royce been during the rehearsal process for BEAUTIFUL?

JEF ELLIS: Royce and I previously worked together on THE SECRET GARDEN, so even before I submitted my proposal to direct BEAUTIFUL, he was the first person I asked to join my production team. I knew he would be respectful of Carole and her music, and of Gerry Goffin, Cynthia Weil and Barry Mann and he would honor their legacies and the legacies of all the tremendous musical performers to whom we pay tribute in the show. Royce is a great collaborator and he helps every performer achieve their very best, which is our goal in bringing BEAUTIFUL to life.      

JHPENTERTAINMENT: I’m about to chat with three of your lead actors, Emily Summers, Kelly Cline and Ross Canales. What can you tell me about these three talented individuals?

JEF ELLIS: I first saw Emily in Circle Players’ IF/THEN and was gobsmacked by her talent and her unerring ability to be totally authentic and believable onstage. Subsequently, I’ve seen her take on other characters with the same intensity. I think I knew she should play Carole King a long time ago and she provides the very heart of our production. I am honored to direct her in my final show.

Kelly walked into auditions and performed her song and Royce and I looked at each other and said, “I think we have our Cynthia!” She has so much stage presence and absolutely commands you to watch her – and she is such a lovely presence in any room, with so much grace radiating from her. She has a perfectly droll sense of humor and her comic timing is impeccable.

I first saw Ross earlier this year in IS Productions’ CLOSER and I was impressed by his ability to play a challenging character with such focus (at that first introduction, I was seating maybe a foot away from him in his initial appearance onstage) and such an amazing range. When he came in to claim the role of Gerry Goffin, he possessed everything necessary to bring Gerry to life with a complete understanding of his character’s dramatic arc. He also possesses that indefinable quality all actors strive for: you believe everything he says onstage.

Rapid Fire with Kelly Cline, Cynthia Weil in BEAUTIFUL: THE CAROLE KING MUSICAL

JHPENTERTAINMENT: Who is Cynthia Weil to you?

KELLY CLINE: Confident. Timeless. Sharp-Witted. Loyal friend. I feel so honored to have the opportunity to portray such a strong, confident character who was such a pioneer for women in the music industry. The songs she wrote in partnership with her husband, Barry Mann, have shaped our American Songbook. What a legacy she’s left us all. 

JHPENTERTAINMENT: This show marks director Jef Ellis’ self-proclaimed ’Swan Song’ as a director after decades of not only presenting memorable theatrical productions but of course also covering theatre as a critic. Were you aware of Jef’s status in the theatrical community prior to auditioning? AND…What’s been the most beautiful aspect of working with Jef during BEAUTIFUL?

KELLY CLINE: Prior to auditioning I didn’t know Jef, but quickly learned about him as I was preparing to audition. What an incredible opportunity to be cast by him – especially in a show that is the grand finale to such a fantastic career. I’m truly honored. Jef is a passionate director – what a gift it is to be in the room with someone who cares so deeply about creating beautiful work onstage. He encourages us to remember the magic of theatre, and how transformative and transportive the craft is. In addition, Jef challenges you as the actor to continue to find instincts, intentionality, and aspects of your character throughout the rehearsal process. I’ve loved working with him!

JHPENTERTAINMENT: A bit of a subplot of BEAUTIFUL presents the initial competitive nature of Carole King’s relationship with Cynthia Weil. In real life, as in the show, their relationship eventually morphed into a close friendship. To that end, how is Emily Summers, this production’s Carole King, as a scene partner?

KELLY CLINE: Oh my word! How long do you have? What a talent. I count myself so lucky to share the stage with Emily. The scenes we have together are some of my favorites in the entire show. She’s incredibly generous as a scene partner – what she brings to every moment is so natural and authentic. There’s such an ease in doing scenes with her. Additionally, I think the friendship our characters develop onstage has a lot to do with the friendship we’ve been able to cultivate off the stage. If I ever get the opportunity to work with her again, I’d say “Yes” in a heartbeat! 

JHPENTERTAINMENT: When I saw the National Tour of BEAUTIFUL a few years back, I was surprised my favorite Cynthia Weil song, I’m Gonna Be Strong isn’t part of the show (of course it’s NOT the Cynthia Weil story per se, but still). The song, originally recorded by Frankie Laine in 1963, but familiar to me because of Cyndi Lauper’s 1980 cover. While preparing to portray Cynthia Weil, have you discovered any songs she wrote that you particularly enjoy?

KELLY CLINE: Dolly Parton’s Here You Come Again is a song I grew up listening to, but I had no idea Cynthia Weil had a hand in writing it! That was a fun discovery and connection point. 

JHPENTERTAINMENT: This show is jam-packed with not only tunes written by King and Weil, but a number of other hits from 60s/early 70s era. Is there a musical moment, whether it be yours or that of one of your co-stars that you particularly enjoy?

KELLY CLINE: Oh goodness, forgive me but I can’t pick just one! Every time our amazingly, talented ensemble sings You’ve Lost That Loving Feeling I have to stop and take it in. They do this timeless song justice and are just so fun to listen to– I think Barry and Cynthia would be proud. When Aaron Johnson (our Barry Mann) sings We Gotta Get Out of This Place it’s going to tear the roof off the theatre. Aaron makes rock n’ roll look easy and has one of the most sensational voices. Lastly, You’ve Got a Friend will forever be one of my favorite moments in the show. This song is all heart and I love sharing it with Emily and Aaron. It’s a moment I look forward to every time we do the show.

Rapid Fire with Ross Canales, Jerry Goffin in BEAUTIFUL: THE CAROLE KING MUSICAL

JHPENTERTAINMENT: Before seeing the show, is there anything audiences might need to know about Gerry Goffin, the role you play in BEAUTIFUL: THE CAROLE KING MUSICAL?

ROSS CANALES: Gerry Goffin is a lovable, yet complicated, and troubled individual. All he wants is to get the most out of his life and to seize opportunities as they come. He unfortunately has a hard time maintaining a good moral compass in his pursuit of life fulfillment. 

JHPENTERTAINMENT: Alongside Carole King, Gerry Goffin wrote some of the most beautiful songs of their era. Do you have a favorite that you get to sing alongside your Carole, Emily Summers?

ROSS CANALES: One of my favorites from the show is Some Kind of Wonderful. In the show Gerry and Carole only sing part of the song, but they sing it in a very heartfelt part of the show. It is sung as a conversation between two lovers that finishes with beautiful harmonies. 

JHPENTERTAINMENT: As Gerry, you’re tasked with some of the show’s more dramatic moments. How do you mentally prepare for these scenes and what helps you come back out of them to a more peaceful mindset?

ROSS CANALES: Gerry definitely has some dark places he reaches in his life. Preparing for those moments, I tend to need silent reflection of prior events in my life that can bring out similar emotions. I try to focus on my senses in those moments. What I heard, what it physically felt like, what I might have smelled, or saw in the moment. The more I can feel those senses again, the better I can portray those emotions and connect to the audience. Coming out of it is easy when you have such an amazing, fun, and supportive cast that can make you smile. All the inside jokes and laughs you have during the rehearsal process carry over in the performances and create easy avenues to make lighthearted jokes when they are needed. 

JHPENTERTAINMENT: BEAUTIFUL marks Jef Ellis’ self-announced final directorial effort. What do you admire most about Jef’s directing style?

ROSS CANALES: With Jef being one of the biggest theater lovers I know and a critic for decades he has a unique perspective of where a show could be lacking. Being able to identify those missing elements early gives him the ability to change what is needed. That could be something as small as where actors are placed on stage, to an emotional feel of a scene. An average theater goer might not be able to identify those elements, but they can feel the difference between a performance that has taken care of the lack and ones that haven’t. I admire Jef’s ability to spot those elements and find a change to make the performance better. 

JHPENTERTAINMENT: Carole King has always recognized the importance of Gerry Goffin’s presence in her early life, both professionally and personally. Is there someone who has been in your corner since the beginning and what does that sort of support mean to you?

ROSS CANALES: I took 10 years off of theater during college and started back in summer of 2022. My wife Zoe has been along for the ride since my comeback to theater. She has observed the commitment, hard work, and dedication it takes to be in a show. Although the time away from home is difficult, as most people in relationships can understand, the support she gives is truly heartwarming. I can’t express my gratitude for her understanding and love through the process. She keeps me grounded and gives me encouragement when rehearsals get tough. She means the world to me! I couldn’t follow my pursuit of acting without her. 

Rapid Fire with Emily Summers, Carole King in BEAUTIFUL: THE CAROLE KING MUSICAL

JHPENTERTAINMENT: You, like Carole King, are a singer/songwriter. Has that helped you tap into how you’re playing the famed songwriter in BEAUTIFUL: THE CAROLE KING MUSICAL?

EMILY SUMMERS: Absolutely. I remember being sixteen with all that passion and drive, when all I wanted to do with my spare time was sit in my room with my guitar and write songs. There’s a moment in the show when Carole says, “When I hear a good song, I feel like someone understands me. […] I want to do that for people!” I feel that line deeply.

JHPENTERTAINMENT: Continuing on that built-in kinship with Carole, is there a scene to which you particularly relate?

EMILY SUMMERS: Without giving away any spoilers, there’s a scene in act two in which Carole’s heart is especially broken. She goes to the piano and sings a verse of an old song, with lyrics that are fitting and poignant for the pain she’s feeling. There’s a real catharsis that comes from putting all your emotion into a song like that. I’m always moved by that scene, and I pull emotion from similar moments of heartbreak I’ve experienced in my own life.

JHPENTERTAINMENT: Does portraying a real-life person, as opposed to a fully fictional character influence your performance?

EMILY SUMMERS: It’s definitely a challenge. I want to honor Carole in my performance and avoid putting too much of my own spin on the character. Typically when I have trouble connecting with part of a script, I step back and ask myself, “How would I say this in the context of my real life?” This time, I’m watching interviews, studying her cadence and her mannerisms, and asking myself, “How might Carole say this in the context of her life?”

JHPENTERTAINMENT: On the subject of icons, there’s been much buzz about the Middle Tennessee theatre community surrounding the fact that this show will mark Jef Ellis’ final directorial effort. How has your experience with Jef as a director been thus far?

EMILY SUMMERS: It has been a joyful experience! Jef has so much passion, and he’s putting his whole heart into this show. That’s motivating, not only because I want him to be proud of his directorial swan song but also because he is so endeared toward this story and this music, and that sentiment is contagious. 

JHPENTERTAINMENT: What do you hope audiences take with them after seeing BEAUTIFUL: THE CAROLE KING MUSICAL?

EMILY SUMMERS: By the end of the show, audiences undoubtedly will have learned something about Carole’s life and the story of how she became the legend she is. And while that story is moving and important, more than that, I hope audiences leave with a new appreciation for who she is. I hope my performance does justice to her heart, her humility, and the guts it must have taken to achieve so much, at such a young age, as a woman in an industry ruled by men. 

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BEAUTIFUL: THE CAROLE KING MUSICAL opens at Center for the Arts on Friday, November 7 and continues weekends through Sunday, November 24. Friday and Saturday evening performances are at 7:30p.m. Saturday and Sunday matinees are at 2p.m. Tickets are $22 for Adults ($20 for Seniors/Military/Students/Children). CLICK HERE to purchase tickets. To follow Center for the Arts, check them out at their Official Site or follow them on Facebook, Instagram, X and TikTok.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, follow us on Facebook, Insta and X.

Rapid Fire Q&A With Stars of The Other Me Theater Company’s ‘Visiting Mr. Green’; Opening Thursday, November 7 at Playhouse 615

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A few months ago I attended a performance of a play presented by The Other Me Theater Company, the show served as a relaunch of sorts for the theatre company whose mission as their site suggests, is to present thought-provoking theater performances. With their latest production, playwright Jeff Baron’s NYC Drama League-nominated Visiting Mr. Green, The Other Me Theatre Company appears to be once again rising to the challenge. With Bowd Beal as director, Visiting Mr. Green opens Thursday, November 7 at Playhouse 615 (11920 Lebanon Road, Mt. Juliet, TN 37122) and continuing through Saturday, November 16. A two-person dramatic work examining the commonalities we share in spite of our initial perceived differences, Visiting Mr. Green features Bryan Kratoska and RJ Comer As the two actors readied for opening night, I recently had the chance to chat with them for the latest in my recurring interview feature, Rapid Fire Q&A. What follows are those conversations.

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Rapid Fire Q&A with the stars of The Other Me Theater Company’s Visiting Mr. Green

Rapid Fire with Bryan Kratoska, Ross Gardiner in Visiting Mr. Green

JHPENTERTAINMENT: What can you tell me about Ross Gardiner, the character you play in Visiting Mr. Green?

BRYAN KRATOSKA: Ross is a young man learning to slow down and appreciate others, along with learning to be okay with himself along the way.

JHPENTERTAINMENT: While I had heard of the play, I gotta be honest, I was mostly unfamiliar with it prior to doing a little research in preparation of chatting with you and your costar. From what I’ve ascertained, in the broadest sense possible, it seems to be somewhere between Tuesdays with Morrie and The Odd Couple. Is that a fair assessment? AND…How might you more accurately describe what transpires during the play?

BRYAN KRATOSKA: While I don’t know Tuesdays With Morrie, I do know The Odd Couple. I would say it’s within reason to say this show is close/adjacent to The Odd Couple. This is a story of two men learning to live with both each other, and to learn to live with themselves and/or their mistakes.

JHPENTERTAINMENT: How did you come to be part of this production?

BRYAN KRATOSKA: I assistant directed Bowd Beal last year around this time in A Tuna Christmas over at Pull-Tight Players. He did a wonderful job and was a lot of fun to work with and learn from on my end. So when he called and asked if I would like to read the part with RJ, I had to at least give it a shot, and I am glad I did.

JHPENTERTAINMENT: Is there a line or a scene in the show that you particularly look forward to each time it comes up in the script?

BRYAN KRATOSKA: Act 2 Scene 1. It’s tough, and I can’t say more than that without spoilers!

JHPENTERTAINMENT: As mentioned, Bowd Beal is the show’s director. While I’ve known of him for a while, it was only recently that we met when he starred in The Other Me Theatre Company’s most recent production, The Sunset Limited. What’s been your favorite aspect of exploring these characters under Beal’s direction?

BRYAN KRATOSKA: Bowd is great at developing characters. Anyone who had the chance to see him and Chad Stem in A Tuna Christmas would know that. So combining his creative mind when it comes to building characters and the fact that he has played Ross in the past, it’s led to many in-depth conversations regarding Ross and this world. He’s also pushed me outside of my own box in a lot of ways. I typically act in musicals, so this has been a real treat to take part in and play/build Ross under his direction.

Rapid Fire with RJ Comer, Mr. Green in Visiting Mr. Green

JHPENTERTAINMENT: In researching to chat with you and your co-star, I discovered this play has not only been around since 1996, it has played in more than 50 countries world-wide. In spite of that popularity, the last time a Tennessee audience was privy to a production, was nearly fifteen years ago when a company just outside Memphis presented it. That said, The Other Me Theater Company’s presentation will undoubtedly mark many audience members’ introduction to the piece. Does being part of a show that is largely unfamiliar to the majority of its audience lend a certain freedom to the way you present the character and make it your own?

RJ COMER:  First, thank you for your interest in our production of Visiting Mr. Green and for your editorial support for live theater in this area. When it comes to playing Mr. Green, the long shadow on any actor is Eli Wallach who originated the role. But I approach my responsibility as an actor the same whether the part (or the play) is new to the audience or is very familiar to them. My job, as an actor and interpretive artist, is to find the truth of the character as revealed in the script, consistent with the director’s vision, and inhabit that truth in every way. So no, doing a part or play that is unfamiliar to an audience is no more liberating than doing one they’ve seen many times. I will say this though: it is more fulfilling, more fun, and I think more worthwhile. Live theater is a unique and powerful way to communicate and illuminate through art. So I applaud any company that produces work that middle TN audiences have not seen before. I’m equally excited about Franklin Theatrical Fellowship’s upcoming production of Goodnight Oscar (the first production of this Tony-winner since it left Broadway) and was super pleased to see Bradley Moore bring the world premiere of Lithium and Xanax to this market at The Darkhorse.  

JHPENTERTAINMENT: As I mentioned when I chatted with Bryan, I recently saw your director Bowd Beal appear onstage in The Other Me Theatre Company’s The Sunset Limited. That production marking the theatre company’s reemergence after a few years. How excited are you to be part of the rebirth of this thought-provoking theatre company?

RJ COMER: I’m stoked! I’m always excited to contribute to any company (new or established, professional or community) that seeks to elevate the offerings beyond the familiar, the safe, and the silly. Make no mistake, Mr. Green is full of LOL moments as well as charming and dramatic surprises – it isn’t an interpretive think-piece – but it transcends the identities and circumstances of the characters to address universally applicable questions about love, family, and identity. Yeah, I’m very pleased to be performing for a company committed to that kind of work.        

JHPENTERTAINMENT: I understand Bowd is not only directing, but also serves as the set designer for Visiting Mr. Green. Is there a detail in the set that you enjoy that you hope the audience might take note of?

RJ COMER: Our director, Bowd Beal, designed and built the set. It’s a typical middle-class apartment in New York, now a little run down, dim, and messy from neglect. But there are two seemingly inconsequential moments when more light appears. I hope the audience spots and appreciates the metaphor of the light in those moments. After all, this is a play about opening one’s heart, and I love it when the set in small ways does more than merely frame the action, but also helps tell the story in subtle ways.

JHPENTERTAINMENT: In 2018, two decades after Visiting Mr. Green’s debut, playwright Jeff Baron presented a sequel, So This is My Family: Mr. Green Part 2. IF The Other Me were to take on this sequel in the future, would you consider revisiting the role?

RJ COMER: Ha! Well, that depends on two things: first, whether I like the script – which I haven’t read; and second, whether our production of Visiting Mr. Green attracts and wins the hearts of this audience. I just encourage everyone to come to see this play. Then, if they like it as much as I think they will, we can talk about doing the sequel.

JHPENTERTAINMENT: What do you hope audiences will take with them long after Visiting Mr. Green?

RJ COMER: I hope the audience will be mindful that while strongly held beliefs and convictions provide structure and certainty – thereby providing security and comfort in an uncertain world – they can also lead to absurd and tragic results when not tempered by love. Love allows us to maintain the integrity of our beliefs while making room in our hearts for those who may not share them.   

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The Other Me Theater Company’s Visiting Mr. Green debuts at Playhouse 615 with 7:30pm performances Thursdays-Saturdays November 7-9 & 14-16 and a 2:30pm matinee midway through the run on Sunday, November 10. Tickets are General Admission $17/Adults and $15/Seniors. CLICK HERE to purchase tickets. To keep up with what’s next as The Other Me Theater Company continues to emerge as one of the area’s theaters to watch, check them out at their Official Site where you can Subscribe to their email list for future updates. You can also follow them Facebook.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, follow us on Facebook, Insta and X.

Rapid Fire Q&A with ‘What the World Needs Now: The Music of Burt Bacharach’ cast; on stage at WCPAC at Academy Park beginning November 1

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Last November, Williamson County Performing Arts Center debuted the World Premiere production of What the World Needs Now: The Music of Burt Bacharach, a musical tribute to the iconic songwriter. Written, directed and staged by WCPAC’s Director of Performing Arts, Victoria Reed, the show was so well-received they’re bringing it back for four performances Friday, November 1-Sunday, November 3. This year, returning cast members Craig Robinson, Justin Boyd and Miracle Ham will be joined by newcomer (to the show) Francesca Noe. All backed by an equally talented musical quartet featuring Andrew Carney on Trumpet and Flugelhorn, Eric Coveney on Bass, Neil Tufano on Drums and Trevor Willoughby on Piano. Willoughby will also lend his talents as vocalist as well as serving as the show’s bandleader. With vocal arrangements by Ricki Holmes, choreography by Alison Little, stage management by Susan Gaw and musical direction by Kelsi Fulton, this production promises to be What the World Needs Now, just as the show title suggests.

As the company readied for the show for its limited run, I had the chance to pose a few questions to two of the returning performer, Justin Boyd and Miracle Ham for the latest installment of my recurring interview feature, Rapid Fire Q&A. What follows are those conversations.

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Rapid Fire Q&A with members of the cast of WCPAC’s What the World Needs Now: The Music of Burt Bacharach

Rapid Fire Q&A with What the World Needs Now cast member Miracle Ham

JHPENTERTAINMENT:  You were part of last year’s debut of this show. Your co-stars Justin Boyd and Craig Robinson are also returning for this year’s production. As far as camaraderie and fitting together, did the company pick up right where you all left off last year?

MIRACLE HAM: I definitely believe so. It’s like we never closed the show and we’ve always gotten along so well. It’s literally like a family reunion. Constant laughs and such a good time.

JHPENTERTAINMENT: New to the cast this year is Franchesca Noe. How has it been sharing the stage and this show with her?

MIRACLE HAM: It’s been great. She’s picked up the show so fast in such a short amount of time. Such a sweet spirit and a huge talent. To be so small she has a big voice! I mean she lets the people have it. I’m happy she’s a part of the show. 

JHPENTERTAINMENT: Aside from What the World Needs Now, you previously appeared onstage at WCPAC in their 2022 production of Nunsense. What is it about this gem of a venue and theatre company that keeps you coming back?

MIRACLE HAM: Honestly, the director Victoria is what keeps me coming back. She is such a pleasure to work with and has a different but wonderful approach to her directing style, and I love it. She really knows how to help you bring your character to life in ways that you might not have thought of on your own, and she is a true visionary. 

JHPENTERTAINMENT: In What the World Need Now, you get to perform, not just one of my favorite Bacharach-written songs, but one of my all-time favorite tunes, Say a Little Prayer, made famous by Dionne Warwick in 1967 and arguably equally as relevant to its popularity, as recorded by Aretha Franklin the following year. While I’m not old enough to have remembered those initial releases, I’ll date myself my admitting I first remember it when Dionne and Aretha performed it on a 1981 episode of Solid Gold. What’s your first memory of this classic song AND How much fun are you having performing it?

MIRACLE HAM: I remember hearing this song when I was really young. It was the Aretha Franklin version. I want to say the first time I heard it, my Mom was watching a movie and it was playing in the background. I can’t remember for sure but I literally heard this song all the time during my childhood. It was just one of those songs that was always playing somewhere – in the grocery store, at the mall, in commercials, everywhere. I definitely enjoy that section of the show. It’s so much fun performing it, and I mean who doesn’t love this song??? It’s such a classic and I’m so honored to get to perform it again. 

JHPENTERTAINMENT: Is there a particular song in What the World Needs Now, whether you’re featured in it or simply watching your fellow cast-mates, that you ‘really’ feel each time you hear it?

MIRACLE HAM: Dionne Warwick’s Don’t Make Me Over has to be my favorite. The message of the song so powerful and really speaks to me. Don’t try to change who I am. Just accept me and all my flaws. Also, the overall instrumentation of the song and the way it was written specifically for Dionne’s voice is absolutely perfect. I get to perform this song and really make a statement every time I sing it. 

My second favorite song would have to be Any Day Now. It takes me back to the music that my Mom used to play growing up and reminds me of the classic biopics that we would keep on repeat on our TVs at home. Craig does an excellent job with taking you back to that time and I love his voice on that song. 

Rapid Fire Q&A with What the World Needs Now cast member Justin Boyd

JHPENTERTAINMENT: When I chatted with Miracle, I noted that several of the cast and crew were part of last year’s World Premiere presentation of What the World Needs Now: The Music of Burt Bacharach. You, too are part of that returning company. How’s it feel to be back for this year’s production?

JUSTIN BOYD: It feels like a homecoming since there are so many familiar faces returning! We had an abbreviated rehearsal process since we mainly just had to shake off the rust. At our first tech rehearsal earlier this week, everything clicked back into place, and we knew we had another great show on our hands. Special shout out to the new members of our production that came right in and didn’t miss a beat!

JHPENTERTAINMENT: This musical review is written, directed and staged by Victoria Reed. What’s it like to work with someone so involved in a show like this?

JUSTIN BOYD: It’s quite convenient having the writer, producer, dramaturge, and director at every rehearsal in case we have any questions or need guidance. She’s done an incredible amount of research into Burt’s life and career that we never really have to second guess anything she tells us about what he’s done.

JHPENTERTAINMENT: When you were first preparing to perform in this show, were there any Bacharach-penned tunes that you were surprised to learn were his?

JUSTIN BOYD: There were a great many of them! A few of the more popular ones were Raindrops Keep Falling On My Head, What’s New Pussycat, and Always Something There To Remind Me. One of the deeper cuts for me personally was the Perry Como version of Magic Moments. I only knew that song from a very brief moment in the show Forever Plaid, and it was a nice moment for me to realize Burt  and Hal David wrote it and that it was in this show!

JHPENTERTAINMENT: Kelsi Fulton serves as musical director for this production. If memory serves, you’ve worked alongside her in a number of shows in the past, right? What’s the most rewarding aspect of working with Kelsi as music director?

JUSTIN BOYD: Yes, I’ve worked with her on multiple shows including Dreamgirls, West Side Story, American Idiot and Little Mermaid just to name a few! I would say the familiarity since we’ve known each other for over a decade now! She’s also very precise with the sound she wants, and she is meticulous with the score to ensure she gets it perfect.

JHPENTERTAINMENT: What do you hope audiences remember after having attended a performance of What the World Needs Now?

JUSTIN BOYD: Music comes in all forms, shapes, and sizes. The music of today is drastically different than the music Burt would compose. I want people to either remember the beauty and elegance of Pop music from Burt’s generation, and for people in my generation and younger, to learn the history of a musical icon that shaped and led the way for what we hear on the radio today. As for the titular tune, I’m sure we can all agree that the world could use some more love!

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Williamson Country Performing Arts Center’s What the World Needs Now: The Music of Burt Bacharach returns to WCPAC at Academy Park (112 Everbright Ave. Franklin, TN 37064) from Friday, November 1 through Sunday, November 3. Performances are as follows: 2p.m. matinee Friday, November 1, 7p.m. Evening Performances Friday and Saturday, November 1&2 and a final 2p.m. matinee on Sunday, November 3. Tickets are $30 ($27.50 for Seniors and Students). All Seats are Reserved Seating. CLICK HERE to purchase tickets. Next up onstage at WCPAC, The Music Man Kids, November 8-10. Presented by STAR (Student Theatrical Arts Resource), there will be a total of six performances, showcasing three young groups of kids from three area STAR programs. Franklin Rec Cast will perform Friday, November 8th at 6:30p.m. and Saturday, November 9th at 1:30p.m. Enrichment Center Cast will take to the stage Saturday, November 9th at 4:00p.m. and Saturday, November 9th at 6:30p.m. Then, the College Grove Cast will round out the performances Sunday, November 10th at 1:30p.m. and Sunday, November 10th at 4:00p.m. Tickets are $10. CLICK HERE to purchase tickets or more information. To learn more about WCPAC‘s STAR Program, CLICK HERE. To keep up with all things WCPAC, CLICK HERE to check them out online and follow them on Insta, Facebook and X.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, follow us on Facebook, Insta and Twitter.

Rapid Fire 20Q With Cast of Playhouse 615’s ‘Dracula: a Comedy of Terrors’; onstage through November 3

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The cast of Playhouse 615’s ‘Dracula: a Comedy of Terrors’ (l to r: Jeremy James Carmichael, Robert Coles, Katie Fraley, Jonathon Joyner and Beth Henderson) on stage through November 3.

Following last weekends SOLD-OUT opening performances, Playhouse 615’s Dracula: a Comedy of Terrors is back this weekend and next, October 25-27 and November 1-3, to glamour audiences with a bloody hilarious reimagining of the Bram Stoker classic. After having seen the off-Broadway premiere just last year, Playhouse 615’s Ann Street Cavanagh quickly snagged the rights to present the Tennessee debut for this Halloween season. As the cast prepared for the remainder of the run, I had the chance to chat with each of them for the latest installment of my recurring interview feature, Rapid Fire 20Q.

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Rapid Fire 20Q with the entire cast of Playhouse 615’s Dracula: a Comedy of Terrors

Rapid Fire with Robert Coles, Mina and others in Dracula: a Comedy of Terrors

JHPENTERTAINMENT: First of all, your Mina and Dr. Van Helsing are absolute scene stealers. I honestly didn’t think I would enjoy you in these roles so much. What’s been the most challenging aspect of playing these two lovely ladies?

ROBERT COLES: Thank you! These roles have been so much fun to play. They’re so different and I’ve loved creating them. For me, they’re polar opposites. Mina is written as a horny misfit and Dr. Van Helsing is composed and serious. So, making the switch between these two (sometimes within a few seconds) is challenging. And, with them having such drastically different accents, one scene in particular where they have a full on conversation with each other is absolutely crazy! But, Ann and I worked closely on building the characters and how we wanted them to sound, their physicalities, and different traits to put into them to make them so different. Partner that with costumes and wigs, and they come together quite nicely!

JHPENTERTAINMENT: As Mina, you reminded me a bit of Bette Davis in Whatever Happened to Baby Jane, and I was there for it! What went into developing your characterization of that role?

ROBERT COLES: Oh, Mina! I just love her. She has tender moments where you really start to feel for her, then she does things so cooky and crazy that you’re back to, “Aww. Bless your heart…” For her, I just wanted to amp up the crazy and horny. I put a lot into her physical traits and how she walks, talks, and moves. Her laugh and grunts are also a favorite aspect of the character. This cast has been a dream to work with and they put up with all my crazy! Truly no two nights with Mina are the same. I feed so much off the audience’s energy, too!

JHPENTERTAINMENT: Can we just talk about the oversized hair bow? I love that it just kept falling into your face and without missing a beat, you repositioned it and went on. Who’s idea what it to have you wear it?

ROBERT COLES: That bow is the bane of my existence, but I LOVE that the audience reacts to it so much! Ann always wanted that giant bow to be sitting on the side of my head, but you throw it on top of a wig and add in a gallon of sweat (seriously, we’re running marathons during this show!) and it just won’t stay on! My favorite moment during the show opening night was when I finally got so tired of it that I just threw it into the audience! 

JHPENTERTAINMENT: Ann Street-Kavanagh is directing Dracula. Recently, you’ve worked with her as a co-star during Sordid Lives, as playwright and cast member for Aunt Sally’s Wild Ride and now as director and cast member in Dracula. How does the fact that you both are as adept on stage as behind the scenes affect your working relationship?

ROBERT COLES: Ann is an actor’s director. She comes into rehearsals knowing exactly what she wants, but allows us to play with the scene and characters and make them our own. I love her passion for this show, and for directing. She was so funny during this process and so many of our little bits were straight from her zany brain! Fun Fact: I have actually directed Ann TWICE as well! I think we have a mutual respect for each other and our crafts and it really created a harmonious relationship. When you add in this incredible cast (I mean, come ON, I’m acting with Jeremy James Carmichael, Beth Henderson, Katie Fraley, and newcomer Jonny Joyner for goodness sakes!), magic happens. We’ve become a family… Truly. This is one show I don’t want to end. Thank you, Ann, for this opportunity. It’s blessed my life in so many ways.

Rapid Fire with Beth Henderson, Renfield and others in Dracula: a Comedy of Terrors

JHPENTERTAINMENT: As I mentioned after having seen opening night of Dracula, you, along with Robert Coles, steal every scene you’re in. Was absolutely going for it and pushing the boundaries of comedy something you were initially comfortable doing or did it take a bit of coaxing from your director Ann Street Cavanagh?

BETH HENDERSON: I was all in from the audition forward. When it comes to comedy, you’re more likely to have to reign me in than push me out there.

JHPENTERTAINMENT: Thanks to Nick Cage’s recent Renfield film, I suspect more audience members might be a bit more familiar with the character. But your interpretation is anything but a carbon copy of latest big screen version. The distinct way in which your Renfield speaks gave me and several folks around me in the audience a serious case of the giggles. What went into presenting Renfield the way you do?

BETH HENDERSON: The script describes Renfield as someone with salivary issues. I think that was the key to finding the character for me. Once I figured out how to do a very slobbery cockney-like accent, the rest just fell in place. 

JHPENTERTAINMENT: In addition to Renfield, you play Dr. Westfeldt. There’s a particularly fast-paced scene in which you play both, onstage at the same time. What’s your secret to keeping straight whose line you’re delivering and when?

BETH HENDERSON: Ha! Keeping the lines straight is the easy part of that scene. It’s the wig and pipe exchange while spinning that I will never perfect.

JHPENTERTAINMENT: One thing I noticed during the opening night performance was that the audience was laughing so hard there were instances we missed what I’m sure where some equally guffaw-inducing lines. To that end, how imports is audience reaction to the energy of the cast when performing comedy?

BETH HENDERSON: The audience reaction is everything! We had rehearsed the show so much that we weren’t even sure it was funny anymore. The laughter creates this energetic buzz that kind of gives you a high as an actor. 

Rapid Fire with Katie Fraley, Lucy and others in Dracula: a Comedy of Terrors

JHPENTERTAINMENT: What do we need to know about Lucy, one of the characters you play in Dracula?

KATIE FRALEY: Lucy is a woman ahead of her time. She is not only strong and courageous, but she is unwilling to hide her true self. Lucy is also fiercely devoted to her loved ones, especially her sister Mina, so much of her fighting spirit shines through in her relationships. She maintains her independence as best she can, even though the people around her have not quite caught up to her progressive ideas. Her father, for example, still views her as a frail future housewife who needs protection. Many of Dr. Westfeldt’s comments speak to the general attitude toward women during this time. One of the things Lucy craves the most is an intellectual equal who celebrates her free spirit. I think this is where some of the conflict appears for her in the story. Because her fiancé, Jonathan, is so timid and unsure, Dracula appears as the first bold personality she has encountered for ages. It makes sense why she is drawn to him. Ultimately, these forces pull Lucy in many different directions, but whatever happens, you can be sure that she will follow her heart and intuition authentically. 

JHPENTERTAINMENT: Jeremy was the first to break character on opening night. In that same vein (see what I did there?) During the rehearsals, who had you all laughing the most with their outlandish behavior?

KATIE FRALEY: Oh gosh, we couldn’t go two minutes in any rehearsal or show without cracking up one another. This is the funniest and most caring cast I have ever worked with. I have to say though, that Robby constantly makes me howl with laughter. We have such similar (and random) senses of humor that we’ll frequently make jokes at the same time or say what the other is thinking. One of my favorite things about him is that he is so quick-witted. He finds the joke in everything and presents it perfectly. His incredible comedic timing is evident both on and off stage. Any time he does an accent it sends the whole cast into a fit. I still have to keep myself from cracking when he says “wampire.” Robby is such a great physical comedian too and uses this to fully embody each character. It’s hard to keep quiet backstage because even during shows, he is doing something to make us all laugh. Every cast member has made me break character one time or another. Keeping a straight face is an impossible task.

JHPENTERTAINMENT: In addition to Lucy, you also play a couple other roles, including the carriage driver and the elderly housekeeper. For the most part, your characters are the “straight men” to the more outlandish comic antics of some of the others. What’s the most challenging aspect of playing it straight in such an uproarious comedy?

KATIE FRALEY: Honestly the hardest part about playing these other characters is the quick changes! But in terms of playing it straight, it is definitely challenging to present exposition without as much response from the audience. These other characters are often smaller parts meant to drive the plot, so they don’t get as much character development or as many of the killer comedic lines as the main characters we each play. In a farce like this the audience reactions really drive the energy, so it takes a lot more intentional effort to keep the pace steady when playing one of these peripheral characters.

JHPENTERTAINMENT: I’m about to chat with Jonathon Joyner, who plays Lucy’s love interest, Jonathan Harker. I still can’t believe this show marks his first time on stage in a theatrical production. How has he been as a scene partner?

KATIE FRALEY: If I were to watch this show for the first time as an audience member, I would have thought he had been doing theatre for years. He’s a natural. His instincts and character choices come so easily to him. More than anything, he has understood the teamwork element of theatre since day one. He gives such great energy as a scene partner and brings authenticity to each scene. I have always felt comfortable working our scenes. Any little tweak that needed to be made, usually because of different practices between film and stage, he adapted to quickly and with grace. I selfishly hope we have converted him to a stage actor! 

Rapid Fire with Jonathon Joyner, Harker and others in Dracula: a Comedy of Terrors

JHPENTERTAINMENT: As I just mentioned in my chat with your co-star, Katie, while you’ve previously focused on film work, this show marks your stage debut, not just your Playhouse 615 debut, but your first time ever in a theatrical production. What lead you to audition for this show?

JONATHON JOYNER: Yes! this is my first time ever on stage and I just want to thank Ann first and foremost for giving me the opportunity. I came by the audition through a mutual friend, Mick Grayson. He referred me to the audition that was open and I decided to take a chance. I have always been interested in the stage but have maintained my focus on film. I now know the benefits of both and the wonderful expression that you get to convey on the stage. 

JHPENTERTAINMENT: When I saw you after the show on opening night, I shared with you my connection to the character of Harker, and I love that you’re playing a character who shares your first name (though spelled slightly different). Had you ever read the original book or seen any Dracula movies? AND…Did you realize there was a character that bore your first name? 

JONATHON JOYNER: I have not read the original book but I have seen many of the Dracula adaptations so I have been familiar with the story. Despite this I do not believe I had ever realized the connection in name, but I am so happy that I do now. I do believe I will go back and read the original work now!

JHPENTERTAINMENT: Speaking of names, I love the fun name drops peppered throughout the script, including the ship being named the SS Stoker, a nod to Dracula author, Bram Stoker. Is there a scene or line in the show that you find particular amusing?

JONATHON JOYNER:  I think that one of my favorite scenes is the scene where I play a gravedigger and the character has this cockney accent, I find it particularly amusing because cockney has always been one of my favorite accents. I recently watched Legend with Tom Hardy where his character has a cockney accent and I always find it so humorous and engaging. The juxtaposition of standard received pronunciation with Jonathan Harker and the fun animated nature of cockney always brings me joy. There is also a line where I say “I want to introduce you to my cousins Mary and Shelly” a nod to the author of Frankenstein which I always always always love delivering.

JHPENTERTAINMENT: Once bitten, your character undergoes a bit of a transformation. How much fun are you having vamping it up?

JONATHON JOYNER: The energy from the audience when coming out from the transformation is what makes it the most fun. Flipping to a complete opposite form allows me to loosen up on stage and enjoy the energy that is being thrown at me from the audience, I love it so much. It is almost like a release up to that point of my own personal energy being contained and an almost woosah type of moment once the transformation happens haha. 

Rapid Fire with Jeremy James Carmichael, Dracula in Dracula: a Comedy of Terrors

JHPENTERTAINMENT: When I interviewed you recently about your role in Aunt Sally’s Wild Ride, I asked you to describe your character in five words. You responded in the most cheekily arrogant way possible. Now you’re playing Dracula in an equally cheeky and arrogant way. So a two-parter for you: 1) How much fun are you having in this role? AND 2) Ever feel like you are being typecast? 😉

JEREMY JAMES CARMICHAEL: 1) Dracula is a blast to play, but it’s even more fun being supported by an incredible ensemble of hilarious and talented actors. I couldn’t be the Dracula you see in this show without the banter and trust I have with each of my co-stars. And Dracula changes from night to night depending on the energy of the audience, and how my scene partners feed me the lines; I’ve played him more petulant and melancholy at some shows, but hyper and more self-absorbed at others. The beauty of live theater! 2) Well gee, Jonathan (an actual line of mine in the show)… I like to think of it as excelling in one certain facet, or being able to demonstrate mastery in a particular trait. But yes, I do think I get type-cast a lot. When I look back at my work, I see many of the same characters: Billy Flynn, Conrad Birdie, Danny Zuko, Sam Carmichael. I hope audiences know that’s not me in real life; I’d consider myself fairly opposite of all those roles I play. But I wish I had their confidence and… cajones.

JHPENTERTAINMENT: When I attended the show opening night, the audience couldn’t stop laughing. I found myself wondering how you all keep it together, then, about an hour in, you broke character, attempting to stifle the giggles during a particularly hilarious scene opposite Robert Coles. During rehearsals, who had the hardest time keeping it together?

JEREMY JAMES CARMICHAEL: How dare you. But yes, breaking character happens to the best of us. Something magical happened the first night the five of us met for our table read; only two had known each other before, but we clicked and then bonded faster and harder than any cast I’ve worked with, and I’ve been doing this for 47 years. Our team is rock-solid, and our love for each other is palpable. When you have that trust, the show can skyrocket. I’ve told my scene partners I have no limits; lean into the comedy if the audience is eating it up. And sometimes jokes go farther than we’ve taken them before, and sometimes — yep. It’s too dang funny to keep inside. My four castmates are BRILLIANT. And so I constantly find myself lost in their performances and sometimes reacting, out of character. I’m only human.

JHPENTERTAINMENT: Let’s talk about those vampire teeth. What’s the most challenging aspect of wearing fangs while trying to deliver your lines?

JEREMY JAMES CARMICHAEL: They hurt! But I think they’re kinda sexy so I always keep them in right after the show. I’m always hoping to get pulled over on my way home.

JHPENTERTAINMENT: Why should folks come see Dracula: a Comedy of Terrors. AND After seeing Dracula: a Comedy of Terrors, what do you hope they come away thinking of long after those two mysterious blood spots fade on their necks?

JEREMY JAMES CARMICHAEL: The show is FUN. Sometimes are is provocative; sometimes it’s used as an agent for social justice or change. And sometimes it’s just damn fun. We’re in a heavy time in our nation and I think the escapism that theater provides is a real benefit. Trust me — you won’t be thinking about your problems for the 90 minutes you spend with us. I think audiences will leave happy, and sometimes, that’s the best you can ask for.

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Playhouse 615’s Dracula: a Comedy of Terrors continues with performances through November 3. At the time of this publication, Limited Tickets remain for the rest of the run with the exception of Saturday, October 26, which has SOLD OUT. Limited seating remains for October 25 & 27 and November 1-3. CLICK HERE to purchase, or contact the box office at 615.319.7031.

Next up at Playhouse 615, Joel Meriwether will direct Every Christmas Story Ever Told (And Then Some!) with performances December 6-22. WATCH THIS LINK for ticket info when it becomes available. For more on the show and to keep up with what’s next at Playhouse 615, check out their website or follow them on Facebook.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, follow us on Facebook, Instagram and Twitter.

Rapid Fire 20Q with director and cast members of ‘For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf’; Opening Circle Players’ 75th Season, at Looby Theater thru October 20

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Last Sunday afternoon, I had the opportunity to attend an Opening Weekend performance of Circle Players’ 75th Season Opener, For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf. Since it’s 1976 off-Broadway debut, playwright Ntozake Shange’s creative, emotional piece has has given voice to generations of Black women, but more than that, it’s presented the oft-too-rare opportunity for a theatrical work to not only shed light of difficult subject matter, but to do so to ultimately uplifting and positive result. With those thoughts in mind, as the director, Cynthia Harris, and cast members Kamaryn Robinson, Jailin Roberts, Lauren Fitzgerald and the rest of the company readied for the show’s second and final weekend, I had the chance to pose a few questions for my latest Rapid Fire 20Q.

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Rapid Fire 20Q with cast members and diretor of Circle Players’ For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf

Rapid Fire with Kamaryn Robinson, For Colored Girls’ Lady in Brown

JHPENTERTAINMENT: What can you tell me about Lady in Brown, the character you play in For Colored Girls?

KAMARYN ROBINSON: Lady in Brown is the youngest of 7 and she calls upon her sisters after experiencing something traumatic with her partner. Throughout the play she takes in these rich amazing stories her sisters have to tell her about black women and love. Like many younger sisters, Lady in Brown has a very vivid imagination and vibrant spirit. She represents innocence and self-discovery.

JHPENTERTAINMENT: The first thing I noticed while attending an Opening Weekend performance was the balance of toughness and heart in the way you play Lady in Brown. Do you share those characteristics in your real life?

KAMARYN ROBINSON: I most definitely do. This play is about black women and all that they go through, the good and the bad so I naturally relate. It took a second for me to be able to dig deep and reach that point of vulnerability to show onstage but once our director, Cynthia coached me to that point, Lady in Brown and I became one. As for real life, I am a young woman who is too searching for her identity and discovering empowerment as I grow older.

JHPENTERTAINMENT: What is your earliest memory of theatre? AND…did you know immediately that that was something you wanted to pursue?

KAMARYN ROBINSON: In elementary school, I was cast in my first production as Cinderella. From that moment performing became an immediate passion of mine. Since elementary school, I have not stepped off the stage since and I don’t plan to anytime soon. Theater is a form of healing and therapy that not only the audience receives but the performers receive it too. In every production I perform in I have the same number one fan in the audience, my Mom!

JHPENTERTAINMENT: From what I understand, while you appeared in a few productions at Tennessee State University, including Chicken & Biscuits, Steel Magnolias and Zooman & the Sign, this is your first show at Circle. What’s been the most rewarding aspect of being in a Circle show as the company celebrates their 75th anniversary?

KAMARYN ROBINSON: Being apart of the Circle Players family has been such a huge blessing and amazing experience. This is my community theatre debut and what a better way to start than with Circle Players. This company has the most incredible and talented people and I have been so lucky to be connected with beautiful black women who uplift me. I can’t wait to work with them again!

JHPENTERTAINMENT: What’s the most challenging aspect of playing Lady in Brown?

KAMARYN ROBINSON: The challenging aspect is navigating the complex emotions. Lady in Brown begins the play in a very hard place questioning how the world really sees black women. She then moves to a youthful optimistic moment that requires a lot energy while also portraying the pain of losing a sense of innocence. Finding that joy inside of the pain was very difficult for me especially while I worked alongside this ensemble of six other women. Portraying this story was a group effort and took a lot of connecting and trust in each other to be able to tell these relatable stories in a safe space.

Rapid Fire with Jailin Roberts, For Colored Girls’ Lady in Yellow

JHPENTERTAINMENT: As Lady in Yellow, you’re among the first to recite a monologue, and what a monologue it is. When I chatted with your director, I noted the juxtaposition of joy and pain peppered throughout the piece. Your first segment is a prime example of that. Do you have a pre-show routine to get it the right mindset for such an emotional show?

JAILIN ROBERTS: I actually have a pretty long pre-show routine to center myself before I step on stage! I start by listening to my gospel playlist to take a moment to praise and give thanks to God. It’s such a blessing to perform and I never want to take it for granted. I also believe that as a Black woman For Colored Girls is a spiritual experience and if I don’t feel grounded I might miss out on it. I have the tendency to get extremely nervous before I perform. Before places I stand in front of this mirror backstage with my headphones on and go through all my lines! To free up the “what if I forget/mess up” so I can play with my sisters on stage. Lastly, I stretch for my splits while praying and giving myself a lot of affirmations! 

JHPENTERTAINMENT: Since first being published in 1976, For Colored Girls has been described as a work of choreopoetry. On the choreo side, this production features movement choreographed by Tosha Marie, who also happens to be Circle Players’ newly appointed Board President. You worked with Tosha in TMProductions’ Pippin back in 2022. How is Tosha as a choreographer?

JAILIN ROBERTS: Let me tell you! I absolutely adore Ms.Tosha and her work ethic. She is such a light and as a choreographer she knows how to encourage and push. As artist we can limit ourselves or believe the talents we display before honing in on our craft is the cap. Ms.Tosha always sees more than what we tell ourselves. As a teacher, trainer, and choreographer she has shown me that performers are also athletes and we should train our talents like one. Most importantly she’ll always want whoever she’s directing to believe in themselves and exercise grace in the learning process. Ms.Tosha is truly amazing and I am always excited when she’s choreographing.

JHPENTERTAINMENT: Who is Lady in Yellow to you?

JAILIN ROBERTS: To me she is who I am as a storyteller. Lady in yellow is how we have fun catching up with our cousins and aunties. How our moms lived many lives and think it’s funny to let us in on it at random times. Lady in Yellow is me, my mom, and all the Black women/girls who indulge in telling stories. It’s what I do on and off the stage. I love to bring life to the experiences I relay. I believe it’s what makes graduation nite so much fun because it’s how I express myself naturally.

JHPENTERTAINMENT: If you were to do this show again, what other Lady could you see yourself portraying and what is it about that role that might interest you?

JAILIN ROBERTS: I would love to portray Lady in Brown if I am blessed enough to do this show again. Her opening monologue is so beautiful and moving. It’s the starting point of the show that gives a voice to all the Black women on stage and in the crowd. Brown has so much power in that moment I would love to have my own rendition someday. 

JHPENTERTAINMENT: Circle Players is Nashville’s oldest continuing theatre company. What’s it like knowing you’re part of not just their important 75th Season milestone, but also a much-needed new direction for Circle?

JAILIN ROBERTS: I’m very excited and proud that the Board chose this show as their season opener. It’s exciting because it’s a statement that we’re here and we have voices to uplift. It’s important that we recognize that there isn’t enough Black theater. Our stories are ones that need to be told consistently! Black women have such a unique experience. Circle Players opening up the conversation at our talkbacks and shedding light on the complexities of our many experiences was on purpose. Having the amazing director Cynthia Harris take on this project was on purpose. We need more people supporting black theatre and uplifting our voices and stories. I give my flowers to Circle Players Board, Tosha Marie, and Cynthia Harris for contributing this show to the community. 

Rapid Fire with Lauren Fitzgerald, For Colored Girls’ Lady in Blue

JHPENTERTAINMENT: What do I need to know about Lady in Blue?

LAUREN FITZGERALD: Lady in Blue is everyone’s favorite auntie! She is going to catalyze the hard conversations and also catalyze the healing. She is a straight shooter that loves and cares deeply about her sisters and the world around her. Lady in blue is a Capricorn with a Libra moon rising.

JHPENTERTAINMENT: You earned a degree in Theatre at UT Knoxville. Anytime I hear UT and Theatre, I’m gonna ask about my friend Carol Mayo-Jenkins…did you study under Carol? AND…What’s your favorite memory of your time at UT?

LAUREN FITZGERALD: I surely did study under Carol Mayo-Jenkins. She was an incredible influence on my career and journey as an artist and performer. I’m deeply grateful that she, and the rest of the theatre faculty believed in me and poured into my craft.  I had two experiences that stand out at UT. One moment on stage at UT was my performance in The Story of Opal. It was my first opportunity to perform in an ensemble cast. The story that was rooted in a young girl’s exploration of nature and society. It was written from a single voice with rather obscure language and was devised by 5 diverse performers and a non traditional musician. That collective exploration was deeply impactful and has informed how I approached other creation processes. The other was being able to embody Alma Hix in The Music Man, primarily because it was a huge cast and we got to play with talent not just from the student body but from the community and our professors (including Carol Mayo-Jenkins). I’d also be remiss if I didn’t mention the profound impact that the Carpetbag Theatre, then led by Obie award winning playwright, Linda Parris Bailey, influenced me during my journey at UT. Having interned and performed there all through my time at UT, I found a theatre community that embraced me and nurtured my love for works like For Colored Girls who Committed Suicide/When the Rainbow is Enuf. I found home in Carpetbag and I am forever grateful.

JHPENTERTAINMENT: I love the feistiness in which you play Lady in Blue, as evidenced in one of your earliest lines: “you gave it up in a Buick?”. I literally LOL’d when I heard that while attending Opening Weekend. Gotta know…did you draw that feistiness and energy from your own personality or is there a Lady in Blue in your family or friends circle upon which you borrowed some of her traits?

LAUREN FITZGERALD: It’s all me, and I am all the women in my family. I am that auntie. Serendipitously, I did not get called back for Lady in Blue. But, after getting cast in the role I knew that I had a lot of my personality that I could contribute to the role. My friend circle is a strong mix of all of the colors. We show up different in different ways depending on the time and the circumstance. But, if you would ask my friends who my personality most aligns with, it would be Lady in bBlue.

JHPENTERTAINMENT: Your cast bio concludes with, “she believes in the color yellow”…for the uninitiated, care to elaborate?

LAUREN FITZGERALD: Sure! To elaborate (and ramble a bit lol)I believe I am bit synesthetic. I can see sounds sort of like how Pharrell Williams has described in interviews. I believe that when I experience the color yellow rather it be visual or sonically, it has the power to rejuvenate or reset my nervous system. It makes me feel good. I am an optimistic person by nature. So I feel like the color yellow almost resets my optimism should it be wavering for whatever reason. Alice Walker found her love for the color purple by noticing shadows in nature and how purple is everywhere which is so beautiful. However my belief in yellow is kind of similar yet opposite. The color yellow, also everywhere, represents light to me. Light is what brings understanding and sight. My passion is bridging understanding and bringing light to build genuine connections. Yellow represents light and love in a world with so much darkness. 

JHPENTERTAINMENT: Why is For Colored Girls as relevant for today’s audiences….of ANY race as it was when it first premiered?

LAUREN FITZGERALD: This timeless piece tackles multiple intersections of belonging and care. It particularly addresses how marginalization can impact families. For me, this is just one perspective of how the social atrocities of this country have impacted our relationships, our ability to sustain healthy families, our self identities, and the health of our mind and bodies (both men and women; considering Beau Willie Brown). It helps us by listening to this story and considering how we might look to our own individual power or develop empowerment to find a sense of yellow, a sense of light and love to help rectify and combat these issues of humanity. 

Rapid Fire with For Colored Girls’ director Cynthia Harris

JHPENTERTAINMENT: You mention in your director’s note in the For Colored Girls’ program that you first read Ntozake Shange’s work when you were in the 5th grade. Do you remember your initial thoughts on the piece?

CYNTHIA HARRIS: Absolutely! I remember looking at the cover and reading the title while My Aunt Joyce explained how important the book/script was to her. She also told me I was old enough to read it. Being old enough made me feel special. I used the poem No Assistance by Lady in Red as my poem for a 5th grade Forensics competition at Meigs Magnet. My drama teacher approved of keeping the one cuss word and I was thrilled. I understood the pieces then, but not anywhere near the way I understand and have lived these words in my 46 years.

JHPENTERTAINMENT: In some way, was it that early connection to the work that ultimately lead you to direct this production?

CYNTHIA HARRIS: It made sense to me as a young person. It affirmed that the stories I overheard while my mother worked in her beauty salon or as she talked to her sisters on the phone, that they were as important or powerful as I felt they were. This is absolutely a full circle moment for me. As a playwright, my chosen format is the choreopoem. It gives me the most liberty to tell Southern Black women’s stories in an uninterrupted format. When Circle Players’ Board President Tosha Marie asked me to direct, it didn’t take me anytime to say yes. I have always wanted to direct this play. 

JHPENTERTAINMENT: I’ve always been intrigued by the duality of the show’s title. The juxtaposition of the bleakness of the thought of suicide paired with the hopefulness of a rainbow. The show itself is a brilliant balance of emotions. Do you have segments that stand out to you?

CYNTHIA HARRIS: And in that bleak juxtaposition is also the remedy. The rainbow of women in our lives can and do save us by witnessing our stories and declarations of power. I love them all. I can’t choose one. One of my favorite lines from No More Love Poems is “being Black and being colored is a metaphysical dilemma I haven’t conquered yet.” Also from that section, “I’m finally being real, no longer symmetrical and impervious to pain.” For me the sadness, anxiety and depression are increased by the emotional labor expected of Black women and other women of color. If we can strip all the layers of performance we do to keep others happy or just to survive, we can find our joy and our rainbows. 

JHPENTERTAINMENT: Over the years, I’ve seen a few productions of For Colored Girls. Typically, it’s presented almost like a poetry reading, where the primary orator takes center stage, but I love that you’re presenting it more like a girls’ weekend wherein the women seem to be sharing their stories with one another. You speak a little about this decision in your director’s note, but for those who’ve not yet seen the show, can you tell me a little more about presenting the show in this manner?  

CYNTHIA HARRIS: For that reason you observed. It is usually presented in a more abstract and minimalist way. The play is 50 years old, and I wanted to do something different. I wanted color and costume changes. I wanted to layer this idea that the characters are all Sisters, who are reuniting because one has experienced something traumatic. The creative challenge was to add this layer of story and not change any of the words or their order in the choreopoem. I also wanted to show my relationship to this sacred text over time. I show it in my music exploration and use in transitions throughout the show. I also thought about all the places that I have come together with my women friends to retreat and reset. We sit together in living rooms on sofas, playing games and having long conversations. We sit in kitchens around tables with meals we’ve lovingly prepared for each other. We sit on the porch; we’re Southerners after all. I wanted to mirror back to the audience their everyday brilliance and resilience. 

JHPENTERTAINMENT: What do you hope audiences take with them after having seen For Colored Girls?

CYNTHIA HARRIS: That BIPOC women and female identifying people are seen and loved. We are complex humans and God/Higher Power is with us in all our experiences and choices, good or bad. I want them to find God in themselves and to LOVE HER FIERCELY!!!

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Circle Players’ For Colored Girls Who Have Considered Suicide/When the Rainbow is Enuf wraps its two-week run with performances at Z. Alexander Looby Theatre (2302 Rosa Parks Blvd, Nashville, TN 37228) Friday, October 18 at 7p.m., Saturday October 19 at 2p.m. and 7p.m. and Sunday, October 20 at 2p.m. CLICK HERE for tickets.

Following For Colored Girls, Circle Players will begin preparing for their Winter presentation, And The World Goes ‘Round, a musical review of the songs of Kander and Ebb. Auditions will be held Saturday, November 2 at CLICK HERE for more info, character details and to sign up to audition. Performances of And The World Goes ‘Round will be January 10-26, 2025. CLICK HERE for tickets. Be sure and follow Circle on Facebook, Insta and TikTok for the latest news from Nashville’s oldest continuing regional theatre company.

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. In the meantime, #GoSeeTheShow!

Rapid Fire 10Q with Director and Cast of ‘Lithium & Xanax & All of My Friends’; World Premiere production onstage at Darkhorse Theatre October 4-12

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Lithium & Xanax and All of My Friends, a thought-provoking play centering ‘round a young gay man struggling to finish his long-promised novel while simultaneously dealing with self-doubt and cerebral upheaval is the latest work from Nashville-based playwright, Robert Coles. Quite the departure from his most recent production, the southern comedy Aunt Sally’s Wild Ride, which recently wrapped a sold out run in Nashville.

Having first been introduced by way of a Zoom reading during the COVID-19 pandemic, Lithium & Xanax and All of My Friends enjoyed a successful workshop in New York in August 2024. Now comes time for a fully fleshed-out production as Brand Spankin’ New Theatre presents the World Premiere production of Coles’ Lithium & Xanax & All of My Friends at the Darkhorse Theatre beginning Friday, October 4 and continuing through Saturday, October 12.

As the cast and crew ready the piece for their Music City opening night, I recently had the opportunity to pose a few questions to the show’s director, Bradley Moore and cast members Payton Justice and Taryn Pray for my latest Rapid Fire Q&A interview in an effort to get a little insight into the show. What follows are those conversations.

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Rapid Fire 10Q with Director and Cast of Lithium & Xanax & All of My Friends

Rapid Fire Q&A with Lithium & Xanax & All of My Friends lead actor, Payton Justice

JHPENTERTAINMENT: How would you describe Adam, the character you play in Lithium & Xanax & All of My Friends?

PAYTON JUSTICE: Adam’s a young writer who’s indecisive, headstrong, and a bit neurotic. Honestly, just a lovable mess just trying to figure things out. He’s been through a lot—losing his dad, the trauma of conversion therapy, dealing with manic depression, and having to manage a lot of guilt from his past mistakes. He spends a lot of time in his own head, which really trips him up.

JHPENTERTAINMENT: The subject matter of the work is some pretty heady stuff. How do you prepare for the intensity of the scenes? AND…what’s your favorite way to decompress after such intense work?

PAYTON JUSTICE: It gets intense for sure. I try to remind myself of my own personal experiences to find the emotions he’d be feeling. I try to remember a similar conversation or conflict, and remind myself of how that felt or something that was said. 

Bradley Moore’s been awesome in helping me fine-tune Adam’s intentions. Truly a fantastic director. The cast has been awesome too. They push me through tough moments, and sometimes their choices completely change how I see a scene, which is really cool.

To decompress, I try to leave the work in the rehearsal room or at the theater. My cats and video games definitely help me unwind too.

JHPENTERTAINMENT: While Adam is aware of his shortcomings, he doesn’t seem to know how to move past them. Heck, I can totally relate myself. Has exploring this aspect of the character motivated you to move full-steam ahead in any aspect of your own life?

PAYTON JUSTICE: Yeah, totally. Playing Adam has been a bit of a wake-up call. I moved to Nashville at the beginning of 2020, right before everything went crazy, and it’s taken time to find my rhythm. I’m really feeling ready to focus in on acting and let go of all the things that don’t matter in the bigger picture.

Rapid Fire Q&A with Lithium & Xanax & All of My Friends cast member Taryn Pray

JHPENTERTAINMENT: What can you tell me about Mom, the character you play in Lithium & Xanax & All of My Friends?

TARYN PRAY: What I love about this role is yes, the main character I play is “Mom,” but I also play a few flashback and ancillary characters as well – which is so much fun as an actor! There is a lot of comedy in the other characters that I play, and then I get to be this very complex character of “Mom,” as she is trying to navigate her broken relationship with her son in his darkest moment.  It is very compelling because you understand her perspective as well as Adam’s – not one person is to blame. Before I read this play, I thought the mother might be the villain in this story, but she is not. Is she flawed? Absolutely. Did she make some mistakes? Yes. But what is really beautiful to me is that they come to understand each other and can move forward.    

JHPENTERTAINMENT: I understand the character of Mom wasn’t even really a character in the earlier iteration of the play, only a ‘flashback’ as played by another cast member, but following the recent NYC workshop of the piece, the playwright revised the script and fleshed out Mom as a full character. That said, how excited are you to be bringing this character to life on stage for the first time anywhere?

TARYN PRAY: I absolutely love acting in new works! It’s really exciting to originate a role and bring your own take, without any reference to how other actors have performed it.  Also knowing that this play is very much rooted in the playwright’s own life story, I feel a tremendous amount of responsibility and honor in playing this role. I am thrilled that this character was expanded as a result of the workshop, and love seeing the nuance in her complicated relationship with Adam.

JHPENTERTAINMENT: From what your director told me, you two had sort of worked together previously…I say sort of because during the pandemic, you were part of a couple of Bradley Moore’s The Big Read Zoom events, in which he presented readings of some iconic film scripts as performed by area actors. I gotta tell you, those readings were such a blessing to the theatre community as they allowed us to connect—though virtually—during a time when theatre was so missed. Now you’re working with Bradley face-to-face and in person as your director, so I gotta ask..how has the experience been so far and what do you appreciate most about Bradley as a director?

TARYN PRAY: Oh my goodness, yes! I met Bradley for the first time virtually, and those readings truly were such a bright light in a dark time. Having the opportunity to perform when we were all stuck at home was definitely a blessing.  And now getting to work with him in this play has been an incredible experience. What I love about Bradley is he has such a clear vision as a Director; he has brought out so much from the cast as we are developing these characters, while still giving us space to make them our own, and he has created some truly beautiful imagery on stage. He really thinks through and has a purpose in all the little details he gives in his direction, and I’m just so excited for people to see it. Also, he’s just a blast to work with 😉

Rapid Fire with Lithium & Xanax & All of My Friends director, Bradley Moore

JHPENTERTAINMENT: How did you come to direct Lithium & Xanax & All of My Friends?

BRADLEY MOORE: I was actually lucky enough to perform in the first reading of this play on Zoom & FB Live way back in the Covid-y days of 2020. I was totally honored when the playwright, Robert M. Coles, reached out to me earlier this year and told me he had been working on the script and wanted me to direct the world premiere of the show. I even spent some time in NYC this summer observing the workshop of the play, where some things changed and so much subtext was explored. It has been a wonderful journey from my first connection to the piece to where we are today. The show is definitely ready for its Nashville maiden voyage, especially with this insanely talented cast.

JHPENTERTAINMENT: What can you tell me about your cast?

BRADLEY MOORE: They are bananas. I have not directed a show in Nashville in five years; it was so cool to have auditions for this show and see that the talent in Nashville is still just as incredible as it has always been. This cast is filled with six dynamic artists who take risks, make strong choices, challenge themselves, challenge me, crave collaboration, exude passion, and blow me out of the water every single day with their insane talent. Not to mention, each and every one of them are kind and empathetic humans who just love what they do. I love the family we have built these past five weeks. And their connections and chemistry really come out on stage and through these complex characters they have created.

JHPENTERTAINMENT: You’ve not just assembled a talented cast, but you’ve surrounded yourself with a who’s who crew, among them, Cat Eberwine as your costumer. When does the play take place and how important is wardrobe in completing the look and feel of the show?

BRADLEY MOORE: This play takes place in 2022, so basically, the recent past. Costumes should always enhance the characters and assist in bringing them to life. We made more simplistic choices with the costumes, but the choices really do help to define these characters. As a director, I love some subtle Easter eggs hidden throughout the show. We definitely achieve that with this show through the set and costumes. It helps to keep production elements fresh and exciting, plus adds a layer of intrigue to the whole experience. This show is a journey, not just for the characters, but the audience too. Our costume and set choices are designed to really enhance that circumstance. I am so fortunate to have had Cat Eberwine as our Costume Czar and Jaymes Campbell as our Set Magician. These are two people who know me well, know my process and style, and really just knocked it out of the park. We could not have done this show without them. Also, big shoutout to Mary Hankins for always being an incredible stage manager, Robert Allen for his beautiful lighting, and Josiah Kareck for understudying every single role. Truly, surrounded by the best, on and off-stage. 

JHPENTERTAINMENT: What do you hope audiences come away thinking about long after seeing Lithium & Xanax and All of My Friends?

BRADLEY MOORE: As a director, I always say — if the audience walks away feeling something, then we have done our job. However, it is impossible for us to always know what the audience will feel. With a play like Lithium, I believe people’s life experiences will inform what they take away from this show. The play is funny, yet beautifully heavy and impactful. I don’t think it is possible to sit through this 75 minute show and not feel a single thing; in fact, I think it is more likely that someone watching will experience all the feels. It is a rollercoaster ride, so just buckle in and get ready to take a journey. I am excited to see the feedback we get from this tremendous piece that Robert gifted us.

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Brand Spankin’ New Theatre’s World Premiere production of Lithium & Xanax and All of My Friends kicks off Friday night, October 4 at the Darkhorse Theatre (4610 Charlotte Ave, Nashville, TN 37209). Tickets are $20 and can be purchased HERE. The show runs thru Saturday, October 12. Performance schedule is as follows: Opening Night, Friday, October 4 at 7:30p.m. (There’s a Show+Opening Night Party ticket option available for $40), Saturday, October 5 at 7:30p.m., Sunday, October 6 at 2:30p.m., Tuesday, October 8 at 7:30p.m., Thursday, October 10 at 7:30p.m. (Thursday’s performances offers a special 2-for-1 ticket price), and Friday & Saturday, October 11 & 12 at 7:30p.m. CLICK HERE for more info. Check out Brand Spankin’ New Theatre‘s Official Site HERE or follow them on Facebook.

As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook, JHPEntertainment on Instagram  and JHPEntertainment on Twitter. Got an event or show we should know about, drop us a line at the Contact tab. Till then, #GoSeeTheShow!

Rapid Fire 20Q with cast of ‘Waitress’; Opening Nashville Rep’s 40th season with shows at TPAC’s Polk Theatre thru Sunday, September 22

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Following last weekend’s hugely successful opening, Nashville Repertory Theatre continues celebrating their 40th season opener as the sweet treat that is Waitress: The Musical resumes with its second and final week on stage at TPAC’s Polk Theatre with performances Thursday-Sunday, September 19-22. Based on the 2007 film of the same name, the stage musical, with music and lyrics by Sara Bareilles and a book by Jessie Nelson, made its Broadway debut in 2016, garnering four Tony nominations during the show’s initial run.  As the 2024/2025 season opening at Nashville Rep, their presentation is directed by Lauren Shouse and features a cast lead by Sarah Aili, Annabelle Fox and Piper Jones. Last week, while the cast was readying for Opening Night, I had the chance to chat with these four talented individuals for my latest Rapid Fire 20Q interview feature. What follows are those conversations.

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Rapid Fire 20 Q with cast members and director of Nashville Rep’s Waitress: The Musical

Rapid Fire with Waitress star, Sarah Aili

JHPENTERTAINMENT: Who is Jenna to you?

SARAH AILI: Jenna is life unfolding. Jenna is a dreamer and someone who doesn’t know that she’s allowed to believe in herself. Jenna is a remarkable woman and human who gets stuck in the folds of what her small town would call “normal”, or at least what the webs of her family patterns would call “normal” and she, through relationships and her own will to breathe in life, overcomes the weight of her circumstances. She is a raw, radiant and real woman. 

JHPENTERTAINMENT: Among you co-stars is Dustin Davis, who plays Jenna’s domineering husband, Earl. There are some volatile scenes between the two. How do you prepare for those moments and what helps you put those tense feelings aside afterwards? 

SARAH AILI: Wow, that’s a big question! Honestly, I’m so grateful for the rehearsal process—that’s where I find my truth in the emotions and circumstances of each scene. When it comes to high-stakes moments like the ones between Jenna and Earl, I like to draw from my own life experiences. I connect to something real that I’ve felt, something similar to the emotions in the scene, and allow myself to fully feel it. From there, I make decisions as an actor about what will best serve both my scene partner and the show. It’s a bit like choosing the right spices for a pie! To let it all go, to the best of my ability, I put my attention on what is in front of me and with this show, there is so much joy, on and off stage!

JHPENTERTAINMENT: What is it about the character of Jenna, or the story of Waitress that you find relatable?

SARAH AILI: Jenna and I share a lot in common as women—we dream, we doubt, we love fiercely, we crave, we bake, we love our mamas, we have complex relationships, we face our fears, we rely on the important women around us, and above all, we are human. What resonates most with me about Jenna, and the show as a whole, is its genuine humanity. None of us are perfect, and all of us are deserving of the life we want to live, surrounded by the people we call family.

JHPENTERTAINMENT: Just between us…pie or cake?

SARAH AILI: PIE!! With berries and a little vanilla bean ice cream please! Throw in pecans and I’m a happy camper! Although, if we are talking about Guava Cake, that’s truly IT for me. Guava Cake above all else! 

JHPENTERTAINMENT: A Soft Place to Land, which Jenna performs alongside Dawn and Becky, is among my personal favorites in the show. How much fun are you having with Annabelle Fox and Piper Jones, who play Dawn and Becky?

SARAH AILI: Piper Jones and Annabelle Fox are the icing on the cake for me in this show. I absolutely love sharing the stage with them, and we’ve had such a blast exploring these roles and relationships together. Offstage, it’s just as special. I genuinely look forward to spending time with these two amazing, talented people every day. Honestly, I feel that way about the entire cast!

Rapid Fire with Waitress co-star, Piper Jones

JHPENTERTAINMENT: What’s your favorite aspect of Becky, the character you play in Waitress?

PIPER JONES: I’ve really enjoyed getting to know Becky and finding the very human, relatable parts about her. She’s funny and real. She’s the friend who isn’t afraid to hold the mirror up to your face and call you in instead of out. I’ve loved playing against the “sassy” trope (don’t get me wrong, she’s still got the fire) and digging into her other layers. 

JHPENTERTAINMENT: In Act 2, you get your solo chance to truly shine with I Didn’t Plan It. Having known you for years, I cannot wait for this moment. Have you been given the opportunity to offer input collaborating with Sarah Michele Bailey, the show’s musical director?

PIPER JONES: Sarah Bailey (SMB) is truly fantastic. It’s been a joy working with her on this show! We’ve gotten to see many iterations of each other— her as MD, me as MD, being in a cast together, singing in the studio. It’s always a blast to create with Sarah. Jenna, Dawn, and Becky sing several trio numbers together and SMB has given me the opportunity to sort of act as a bit of a vocal captain with the girls. I appreciate the vote of confidence and I’ve enjoyed getting to pull some vocal nuances out of our trio. I’m excited about I Didn’t Plan It, too. It’s definitely an in-your-face way to start Act 2.

JHPENTERTAINMENT: Within the context of the show, Jenna chooses Becky and Dawn to be godmothers to her daughter, Lulu (played by Rosemary ‘Roxy’ Delger. As an educator in your off-stage life, you’re used to working with kids, right? How has that aided you in your on-stage time with Roxy (and perhaps even some of your more childlike co-stars )?

PIPER JONES: I haven’t really had to wear my educator hat much during this process. You know, Roxy is already an old pro and my goodness she’s a cutie pie! Roxy is always on her mark (honestly, more than I am most of the time haha!).

JHPENTERTAINMENT: I saw on your Facebook that you, in another media moment promoting Waitress, cited your Mama’s Chess Pie as your all-time favorite. Heck, I think you and I might hold the record for most Chess Pie-related Facebook posts. So, a two-parter… 1) What is it about your Mama’s Chess Pie? AND…2) I think you might like my Mama’s Chess Pie, too, so when are we gonna trade recipes?

PIPER JONES: Ha! I do post about her Chess Pies a lot. It’s probably because she only makes the around the holidays, so it’s a special little treat that only comes around once a year. And honestly, I’m not even sure why I love her pies as much as I do. I know she’s particular about what brands of sugar (which must be a freshly opened bag), butter (you gotta buy the good stuff), and flour (which also must be freshly opened)…see what I did there? Anyway, I think her Chess Pie is the right balance of gooey sweetness, where you can kinda see that layer of sugar in the middle and the texture is always just right. Most of the time I can manage to sneak a piece right out of the oven (she hates that, though. They’re supposed to set up as they cool). But I mostly think I love them because of the nostalgia they hold. I bet your mama makes a great chess pie! And swapping recipes? You’d have to ask Dr. Jones if she’d part with hers 😉

JHPENTERTAINMENT: Oh, I see what you did there, and I italicized accordingly! Which leads perfectly to my final question for you…Waitess’ opening number, What’s Inside begins with the hypnotically repetitive mantra-like lyrics ‘Sugar, Butter, Flour’. In keeping with the recipe theme…what ‘ingredients’ make up What’s Inside you on your best days?

PIPER JONES: My best days are coffee, music, naps.

Rapid Fire with Waitress co-star, Annabelle Fox

JHPENTERTAINMENT: How familiar were you with Waitress prior to auditioning for the role of Dawn?

ANNABELLE FOX: I was lucky enough to see the original cast of Waitress on Broadway back in 2015! My friend impulsively bought us tickets and I didn’t know much about the show other than the fact that the music was written by Sara Bareilles. Sitting in the audience that evening, I realized then and there that Dawn would soon become a dream role of mine; one I would chase… until now. 

JHPENTERTAINMENT: How would you describe Dawn?

ANNABELLE FOX: Dawn is particular, organized, controlled, and incredibly sweet. She is a little awkward but I think that’s what makes her so lovable! 

JHPENTERTAINMENT: About midway through Act 1, you’re tasked with performing When He Sees Me, arguably one of the show’s most memorable musical moments. I love that it ranges from comedic to heartfelt. What’s it like performing this song and have you found a personal connection to the lyrics?

ANNABELLE FOX: Performing When He Sees Me is SUCH a gift. It is such a well written song and takes Dawn along with the audience on a beautiful journey of self discovery and assuredness. I love getting to embody her quirks, spunk, and dance with my wonderful cast mates! I loved the song instantly when I saw the show on Broadway and have sung the song in many concerts and for numerous auditions. I’m so excited to get to share my version of the song with Nashville!

JHPENTERTAINMENT: On the subject personal connections, among your cast mates is your real-life husband, Douglas Waterbury-Tieman who plays Dawn’s latest suitor, Ogie. Of course this isn’t the first time the two of you have shared the stage, having first met while you both were attending Belmont. What’s your favorite aspect of being on stage together?

ANNABELLE FOX: Getting to perform with Douglas is always so fun. The last time we performed together was in his original musical Johnny & the Devil’s Box at the Cumberland County Playhouse in December 2022. Playing opposite each other in a show we have loved for many years is a dream. The biggest advantage is our comfortability with each other. Ogie and Dawn are such heightened silly personalities so it’s super fun just being goofy with my husband! He is so wonderful and SO FUNNY so it’s quite the challenge to not break character! 

JHPENTERTAINMENT: The show is choreographed by Joi Ware. How is Joi as a choreographer AND…What’s a typical choreo rehearsal been like?

ANNABELLE FOX: Joi is absolutely wonderful and the choreography in our production is so moving, story centric, and engaging. She has done such a wonderful job of bridging dance and transition and helping each moment flow seamlessly, backed by our incredible ensemble and leads. A typical choreo rehearsal looks like learning, Joi breaking down the choreography for us, workshopping the movement, figuring out spacing, running the choreography a few times, and then filming it to keep on file to go back to and review with. With such a quick rehearsal process this has been essential! The whole creative team has been so warm, supportive, and passionate during this process and I feel so grateful for the ways they have empowered our whole cast to rise up to tell the very best version of this story. Enjoy! 

Rapid Fire with Waitress director, Lauren Shouse

JHPENTERTAINMENT: How did you come to direct Waitress for Nashville Rep?

LAUREN SHOUSE: This is the third show with baked goods I have directed for the Rep after Superior Donuts and The Cake, so clearly I love sweet plays. This musical had been on my list for some time as I love a heart-centered story and I am a huge Sara Bareillis fan, so when Micah-Shane Brewer told me they were programming it, I jumped at the opportunity. I have been so lucky to be able to call Nashville Rep an artistic home over the years – this is my 10th production with the company as director.

JHPENTERTAINMENT: What is it about the show that drew you to the project?

LAUREN SHOUSE: Besides being a fan of the music, I love to tell stories about women and transformation. This is a story about how we get unstuck and the resilience it takes to break a cycle and start a new life. There is a beautiful core of female friendship in this play and the way we need our fellow women to help us break free. While it is a musical comedy, I love the mess we see in this play and how authentic it feels to our real lives — when we feel stuck, we often make a bunch of hasty choices to shake things up. The characters in this play are no different and are driven by this core question of: what if I will never be more than what I have already become? I relate to that question at this point in my own life and I imagine many of our audience members will as well.

JHPENTERTAINMENT: The publicity photos seem very straight-forward and could easily be direct from the Broadway production. How have you found balance as a director in presenting the basics of what fans of the show expect, while putting your (and your talented cast’s) own stamp on it?

LAUREN SHOUSE: As someone who teaches directing students to always find their own unique point of view on a production, it is especially challenging when there is a wonderful pro-shot of the Broadway production that many people have recently seen. But from the beginning of this process, we talked about keeping some of the iconic moments that fans expect, but really making it our own intimate story. One of the things we have tried to do is deepen the backstory of Jenna and her mother – I wanted to add her to the song Soft Place to Land to show the story of where Jenna got her dreams and that she can be a good mother because she had a good mom, but she will need the support of her chosen family in Becky and Dawn to keep her going. We also wanted to lean more into the struggle of the waitresses’ everyday routine at the top of show — the women find refuge in each other, but not necessarily the work and the patrons. That way we see a real change in the final number as they have had to fight to make change. And in collaboration with our amazing choreographer Joi Ware, we have really tried to put our own stamp on the movement of the ensemble throughout the play and in the specifics of the big production numbers. 

JHPENTERTAINMENT: When I chatted with members of your cast, I touched on their thoughts on working with some of the behind the scenes folks including your musical director and choreographer, so I’ll continue with another vital piece of the pie (pun fully intended). What sort of discussions did you have with scenic designer, Gary Hoff concerning the set design and overall look of the show?

LAUREN SHOUSE: We wanted it to feel intimate and in a bigger space like the Polk that really meant pulling the action as close to the audience as possible. We talked about how much we loved the style of the original Adrienne Shelly movie and used that for inspiration of making it feel like we are looking inside a cherry pie… extending the metaphor that Jenna hides in her baking and part of her journey is breaking through the crust to make peace with what’s inside. We wanted the band to be on stage as an expression of her inner self (similar to the ensemble) and we wanted the structure of the diner to always be there as it is such a fixture in Jenna’s life and ultimately transforms at the end as she does.

JHPENTERTAINMENT: I always like to end these conversations by asking a variation on the following…What do you hope audiences remember long after seeing Waitress at Nashville Rep?

LAUREN SHOUSE: That everything changes and we all have the power within ourselves to make that change. We all deserve a slice of that pie. 

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Nashville Repertory Theatre’s Waitress continues at TPAC’s Polk Theatre with performances Thursday-Sunday. Thursday-Saturday evenings at 7:30p.m. & Saturday and Sunday matinees at 2p.m. CLICK HERE for tickets or more info.

Following Waitress, Nashville Rep’s 40th Anniversary Season continues with Our Town onstage at TPAC’s Johnson Theatre October 25-November 3 CLICK HERE for tickets. In the meantime, check out Nashville Rep online and follow them on Facebook, X, YouTube and Instagram.

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