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Rapid Fire 20Q with cast members of ‘MJ: The Michael Jackson Musical’; National Tour at TPAC’s Jackson Hall through May 11

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The term soundtrack of a generation might be overused, but with a solo career that spanned 45 years and included 13 number-one hits, 30 top ten singles, six decades of hits as an artist, 8 Grammys, and 26 American Music Awards…just to name a few accolades…it’s easy to say that Michael Jackson not only provided the soundtrack of a generation, but of GENERATIONS! That said, when I heard that the four-time Tony-winning Broadway musical, MJ: THE MUSICAL National Tour was headed to Music City, playing TPAC’s Jackson Hall thru May 11, I knew I had to chat with members of the company for my latest Rapid Fire 20Q. When I reached out to my TPAC contact, I found out I would be chatting with Anastasia Talley who plays Jackson’s Mom, Katherine Jackson, J. Daughtry who takes on the role of Motown hitmaker Berry Gordy, JoJo Carmichael, the company’s Dance Captain and Nashville’s own, Devin Bowles, who stars as Jackson family patriarch, Joe Jackson, so I knew these interviews were sure to be a Thriller!

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RAPID FIRE 20Q WITH CAST AND CREATIVES OF MJ: THE MUSICAL NATIONAL TOUR

RAPID FIRE WITH DEVIN BOWLES, JOE JACKSON IN MJ: THE MUSICAL

JHPENTERTAINMENT: You play Joe Jackson, the patriarch of the Jackson family in MJ: THE MUSICAL. What can you tell me about Joe, as he is written in the show?

DEVIN BOWLES: Joe Jackson is the Sun and everyone else and every thing navigates around him. We see the dominate and influential grip that he had on Michael and the remanence of his teachings. The environment that Joe created for his family was very controlling, abusive, and filled with mental schemes but all stemmed back to a tough love ideology that we showcase in this show.

JHPENTERTAINMENT: Devin, I gotta tell you, when I heard you were joining the tour as Joe, I was so excited. It’s always fun for me seeing actors I knew from the local theatre scene go on to bigger things. Heck, I recall seeing you in shows at Chaffin’s Barn Dinner Theatre and Studio Tenn. What’s most exciting about returning to Nashville for a tour stop at TPAC?

DEVIN BOWLES: It’s truly so surreal being back in Nashville! This city is where I began my professional career, it’s where my found my first community of artist, it’s the soil that ignited the ambition to be where I am now and to keep going. From Chaffin’s and to Studio Tenn, it’s a reminder of the power of manifestations, prayer, and full circle moments. I’m excited to continue to expand my artistry and career with this show and furthermore.

JHPENTERTAINMENT: As expected, the show is overflowing with classic MJ tunes. A few lesser-known Jackson songs are also among the mix. Money, a track from 1995 release HIStory: Past, Present and Future, Book I is one that you’re featured on. What’s the significance of this song appearing in Act 2?

DEVIN BOWLES: There’s for sure some songs that wasn’t too known me when I began this journey, Money was also one of these songs. In this show, Joe sings about Money as substance that controls people and with that, he compares himself to it. He believes he owns Michael and is proclaiming that he will do anything for him and for the product he is trying to make.

JHPENTERTAINMENT: Having been with the tour since the onset back in August of ’23, as Joe, you share the stage with all the actors portraying Michael at various points in his life. The current lineup includes Jordan Markus as MJ, Deaundré Woods at MJ (Alternate), Erik Hamilton as Michael and Quentin Blanton Jr. and Bane Griffith sharing the role of Little Michael. Using one word each, how would you describe the actors playing Michael?

DEVIN BOWLES:

Jordan Markus- Powerhouse

Erik Hamilton-Consistant

Dre Woods-Mastermind

Bane Griffith-Iconic

Quentin Blanton Jr.-Light

JHPENTERTAINMENT: As I mentioned earlier, you’re current Music City dates mark a homecoming for you. What are a couple of the ‘Must See’ Nashville things you hope to share with your cast mates while in town?

DEVIN BOWLES: I have already shared a list of restaurants, bars, lounges, and just all around great spots with the cast. I’m definitely going to dive into the food here that I have missed while being on the road, there’s nothing like it.

RAPID FIRE WITH JOJO CARMICHAEL, MJ THE MUSICAL’s DANCE CAPTAIN

JHPENTERTAINMENT: For those who might not be fully familiar, what exactly does being Dance Captain for MJ: THE MUSICAL entail?

JOJO CARMICHAEL: A number of responsibilities come with being dance captain for MJ: THE MUSICAL. One of them being, upholding the integrity of the choreography that we were taught day one. This can be married to making sure everyone is moving as one and the visuals are clean, clear and effective. I am also a swing, so I have the opportunity to perform. When new cast members join our company, I assist in teaching them the show. And I also teach classes across the country that are inspired by the movement we do in the show which I thoroughly enjoy. I’ve been able to learn so much through this position, as dance captain, and it is an opportunity I don’t take lightly.

JHPENTERTAINMENT: It’s not a stretch to say that Michael Jackson might be the most iconic pop star with some of the most memorable dance sequences ever. Is there a choreo moment in the show that you absolutely love performing night after night?

JOJO CARMICHAEL: My favorite number to perform would have to be the Fosse sequence into Smooth Criminal at the top of act two. There’s a sense of ferocity intertwined with mystery that comes with the movement which I find so fun to play with. Considering that it’s the only number in the show where it’s just MJ and the dancers on stage, it introduces a different energy to the show as well.

JHPENTERTAINMENT: When did you know a career in movement was the life for you?

JOJO CARMICHAEL: Around eighth grade is when I started to look at dance as a professional career. For the longest time, I wanted to be a neurosurgeon and dance was just gonna be a hobby or side hustle. So my Mom arranged a conversation with a neurosurgeon who was in their residency at the time, and they shared with me that it’s about fifteen years of schooling. I couldn’t compute how to go to school for that long and still dance, so I chose dance and never looked back.

JHPENTERTAINMENT: One key element of MJ: THE MUSICAL is the family. Michael always had his family whether onstage as part of The Jackson 5 to their behind-the-scenes support. You always hear that theatre is family, too. I’d imagine that sense of family is only amplified on a National Tour, traveling together, performing together and likely spending off-hours together. What does the family aspect of tour life mean to you?

JOJO CARMICHAEL: On tour we only have each other. We celebrate birthdays, we console and support each other through hardships. We look after each other as if we are family. And this cast and crew is truly a beautiful group of human beings that I am proud to call family. In general, family is something that I heavily value and prioritize in my life. So, to now have this connection with my cast is one thing I’m most grateful for MJ: THE MUSICAL bringing into my life.

JHPENTERTAINMENT: In addition to being Dance Captain, you’re also Swing, meaning you cover a multitude of roles stepping in to fill in when a member of the ensemble is out. What’s the most fun aspect of being Swing for a show like MJ?

JOJO CARMICHAEL: The most fun aspect of being a swing for this show is simply sharing the stage with  this cast. We have a lot of fun up there. Even when we’re tired we find ways to lift each other’s spirits or make someone laugh. Being a swing also keeps my mind working, attentive and requires me to stay present which I find just as enjoyable as it is challenging.

RAPID FIRE WITH J. DAUGHTRY, BERRY GORDY/NICK in MJ: THE MUSICAL

JHPENTERTAINMENT: What can you tell me about your dual roles as Berry Gordy and Nick in MJ: THE MUSICAL?

J. DAUGHTRY: Nick is a savvy tour manager keeping things on track during rehearsals for Michael Jackson’s 1992 Dangerous World Tour. As Berry Gordy, I appear in flashbacks as the legendary founder of Motown Records—the man who first recognized young Michael’s extraordinary talent. Both roles highlight the forces shaping Michael’s artistic journey, from the business demands of the present to the mentorship and music legacy of his past.

JHPENTERTAINMENT: How did you come to be part of the tour?

J. DAUGHTRY: I love the Motown story  in fact the music is a part of the fabric of my life. So anytime there is a show related to Motown I make sure I audition. There was a position opening up on Broadway and I threw my hat in the ring. I didn’t get the role on Broadway but I was blessed with the tour.

JHPENTERTAINMENT: There are so many Michael Jackson looks, from his preteen natural hair and bellbottoms during the Jackson 5 era and his red leather Beat It jacket to single gloves and military-style regalia. Do you have a favorite wardrobe moment represented in the show?

J. DAUGHTRY: Absolutely! There are so many but surprisingly my favorite looks of MJ in the musical are when he’s in a simple blue silk shirt, white tee shirt and black slacks with the iconic loafers.

JHPENTERTAINMENT: As I indicated in my intro to this piece, Michael Jackson’s music can truly be called the soundtrack of a generation. Which era is your favorite and why?

J. DAUGHTRY: I am an 80’s baby so I quite literally grew up on his music. I would have to say the Jackson 5 music is my favorite only because it’s what I grew up on.

JHPENTERTAINMENT: Is there a song included in the musical that you weren’t as familiar with that you are now obsessed with hearing night after night?

J. DAUGHTRY: Yes, Keep the Faith. I had never heard the song and now it is a moment of inspiration.

RAPID FIRE WITH ANASTASIA TALLEY, KATHERINE JACKSON IN MJ: THE MUSICAL

JHPENTERTAINMENT: Who is Katherine Jackson to you? 

ANASTASIA TALLEY: Katherine Jackson is the matriarch of the Jackson family and the mother of one of the greatest artists of our time. She is an undeniable source of love and compassion, and Michael Jackson was vocal about the influence she had in his life. This is portrayed beautifully in her song with MJ in the show.

JHPENTERTAINMENT: Having been a fan of the Jacksons pretty much my whole life, I have this image of Katherine as the quieter, supportive parent, whereas Joe always seems to be portrayed in the media as the more business-oriented force behind the family. As she’s written in MJ: THE MUSICAL, what’s the most surprising aspect of Katherine’s persona that you’ve discovered? 

ANASTASIA TALLEY: While it’s perhaps not surprising, I find myself deeply moved by the quiet but profound love she shows for her son and his artistry. Though often imagined as the reserved, supportive parent, the depth and fierceness of her devotion are portrayed with such clarity that it catches me off guard every time. There is a quiet power in her presence — deliberate, unwavering, and fiercely tender — and that quiet strength lingers with me more than I expect.

JHPENTERTAINMENT: Speaking of Joe, to kick off this Rapid Fire 20Q, I chatted with Devin Bowles, who plays your on-stage husband. What’s it like sharing the stage with Devin night after night? 

ANASTASIA TALLEY: It is an absolute joy to share the stage with Devin. He is an incredibly curious, compassionate, and growth-focused human being, and it truly shines through in his acting. His generosity as an actor is tremendously grounding, and that generosity serves as the perfect inspiration for the cast to discover and rediscover the scenes every night. Side note: Devin Bowles is HILARIOUS offstage! He also treats everyone with genuine warmth and care. A true class act.

JHPENTERTAINMENT: As Katherine you’re featured in Act 1 alongside Little Michael and MJ on I’ll Be There, one of The Jackson 5’s more poignant songs. What does that scene and that song mean to you? 

ANASTASIA TALLEY: I have sung that song literally hundreds of times with the show, and the way the meaning of the song deepens and changes never fails to astound me. The song is such a powerful display and vow of love. It’ is also a promise to show up, not just in words, but in action, for the people you love. It is a reminder that love is a verb. It is also a decision. I think the lyrics of the song depict that truth beautifully. 

JHPENTERTAINMENT: What do you hope audiences come away remembering long after they’ve seen MJ: THE MUSICAL? 

ANASTASIA TALLEY: I hope audiences remember the artistry, the music, the history, and the call to action: make the world a better place through change. 

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MJ: THE MUSICAL wraps its two-week engagement at TPAC’s Jackson Hall with performances through May 11. CLICK HERE for tickets. While MJ: THE MUSICAL closes out TPAC’s current Broadway at TPAC season, there’s no stopping the art and entertainment. Among TPAC’s upcoming events: the annual Spotlight Awards: Nashville High School Musical Theatre Awards takes to the stage May 17. TPAC presents Paul Taylor Dance Company May 30-31, CAMP TPAC returns with theatre-centered intensives for various ages throughout June, plus much more entertainment throughout the summer. TPAC’s Broadway at TPAC 2025-2026 Season kicks off September 23-28 with THE WIZ. For more on these and all TPAC events, CLICK HERE. You can also follow TPAC on socials: TPAC on Instagram, X, YouTube and Facebook.

Following it’s Music City dates, MJ: THE MUSICAL continues its National Tour with performances in Fort Worth, TX May 13-18, Fayetteville, AR May 20-25, Milwaukee, WI May 27-June 1, Appleton, WI June 3-8 and more. For the full schedule of dates, or to purchase tickets in your city, CLICK HERE.You can also follow MJ: THE MUSICAL on their socials, so check them out on Facebook, Bluesky, Insta, YouTube 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, 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 Q&A with Aristophanes’ Lysistrata co-director and lead actors; at Playhouse 615 January 31-February 16

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Originally written in 411BC, Aristophanes’ Lysistrata tells the tale of the women of Greece attempting to end the Peloponnesian war by using arguably the most powerful weapon of all…sex. The effort is spearheaded by Lysistrata, a woman who’s grown tired of the failures of men running things. While considered one of the most well-known Greek plays ever written, Lysistrata isn’t exactly among the most-performed plays in today’s theatre world.

That said, leave it to Playhouse 615 to present it. Once again veering from the typical musical of the moment or guaranteed asses in seats retread of shows everyone in town is doing, Playhouse 615 is currently presenting Lysistrata as adapted by playwright Robert Coles, whose original play, Aunt Sally’s Wild Ride, recently debut at Playhouse 615.

As the cast and crew readied for week two of their three week run, I recently had the chance to chat up cast members Abby Waddoups and Daniel Vincent, the aforementioned playwright, Robert Coles, and director, Diane Bearden-Enright for the latest installment of my recurring interview feature Rapid Fire 20Q. What follows are those conversations:

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Rapid Fire 20Q with playwright, director and leads of Playhouse 615’s new adaptation of Aristophanes’ Lysistrata

Rapid Fire with Lysistrata lead, Abby Waddoups

JHPENTERTAINMENT: For the uninitiated, who is Lysistrata and what can you tell me about the plot?

ABBY WADDOUPS: Lysistrata is a comedy from Ancient Greece written by Aristophanes. Basically, the women want to end a decade long war and bring the men home safely for the good of the whole city of Athens and their families. The main way they go about this is by withholding from their husbands. Well, Lysistrata persuades all women in Greece to withhold those privileges and wait for the men to negotiate peace. It’s a battle of the sexes, Hilarity ensues…

JHPENTERTAINMENT: Not gonna lie, I vaguely remember scanning the Cliff Notes for Aristophanes’ Lysistrata for some lit or theatre class back in my college years, but beyond that, I never saw a production or read the full script. How familiar were you with the piece prior to auditioning

ABBY WADDOUPS: I was a theatre major, so I had read it in college. It’s a pretty memorable plot and character… but I am convinced the only people familiar with Lysistrata today were either theatre majors or a student of classic literature. Other than in my research, I hadn’t stumbled across another production of Lysistrata to see live, so it’s rare. 

JHPENTERTAINMENT: What was it about this role that prompted you to audition? AND…did you come into the auditions with Lysistrata and only Lysistrata in mind to play?

ABBY WADDOUPS: I don’t usually hold out for lead roles when auditioning. I trust the director’s vision with who else auditions and I have played plenty of secondary roles in my time – But I thought I had a good chance for Lysistrata. I am truly honored to play this fierce woman, a leader and a force to be reckoned with. 

JHPENTERTAINMENT: In researching to chat with you all about the show, I fell down a video rabbit hole of various interpretations and productions of Lysistrata. Some seemingly very faithful to Aristophanes’ original antiquated ideals and some, more modern takes. Where does this one fall as adapted by Robert Coles?

ABBY WADDOUPS: Robby did an amazing job adapting this! As advertised, it is a modern take on a classic, with plenty of laughs, witty bits, but the language holds true to the intent and Lysistrata is one of the only serious characters, a stark contrast from the others. This take was adapted for the Playhouse stage and our middle TN audience, pushing the envelope just enough, but not as raunchy or in your face as other interpretations of it. 

JHPENTERTAINMENT: Speaking of Robert, you shared the stage him in Playhouse 615’s Sordid Lives, and you and Lysistrata director Diane Bearden-Enright appeared alongside each other in their recent production of The Sugar Bean Sisters. Is there an ease or advantage of having shared the stage with the two of them, now that they’re directing you in this show?

ABBY WADDOUPS: Diane and I have worked on several shows together and in different capacities over the past few years. We first met at Playhouse 615 in Steel Magnolias in 2021. Robby and I haven’t known each other but a few months, though it feels longer and we did get close with Sordid Lives. I love working with both of them and am so happy we all get to work together again on Lysistrata! There is definitely an ease and built in trust working with people again who have become friends. Playhouse 615 in general is a wonderful venue and like being a part of a family, which is why so many of us keep returning. In addition to a few familiar faces, we have several new cast members in Lysistrata who you must see! It’s clear there is some magic at Playhouse and people feel comfortable to explore and play and bring engaging, intimate theatre to the greater Nashville area.

Rapid Fire with Lysistrata’s Magistrate, Daniel Vincent

JHPENTERTAINMENT: Who is Magistrate to you?

DANIEL VINCENT: He’s lawful good. He sees the issues and does sympathize with Lysistrata’s plight, but rules, traditions, and politics get in his way. Order must be maintained.

 JHPENTERTAINMENT: How excited are you to be back onstage after quite some time behind the scenes?

DANIEL VINCENT: I’m having a lot of fun with this cast. At first, I was only signed on to build the set, but Diane and Robby persuaded me to audition and I’m very glad they did. It feels great to re-engage the actor in me after wearing so many other hats this past year.

 JHPENTERTAINMENT: A quick peek at your bio reveals even though you’ve been an integral part of Nashville’s theatre community for nearly three decades, this adaptation of Lysistrata marks your first time appearing in a Greek classic. What took you so long?

DANIEL VINCENT: Well, to my knowledge there aren’t a lot of Greek classics being mounted around Nashville, but in fairness, I’ve never sought them out. Modern plays and musicals have always kept me very busy. I’ve always enjoyed reading plays by Aristophanes, Euripides, Aeschylus, and others, particularly the tragedies, but the opportunity to perform one never really presented itself.

 JHPENTERTAINMENT: Robert Coles, who adapted this version of the show, was kind enough to allow me to peruse the script in preparation of my conversations with you and others involved in the show. There are some truly hilarious moments therein. Even if it’s totally out of context for this interview, do you have a favorite line or scene you could share?

DANIEL VINCENT: There are so many hilarious moments in the show, but my favorite scene has to be one with Lysistrata (Abby Waddoups). She and I are trying to convince the other in what I would call “a dance of persuasion”. In the one conversation we go back and forth, constantly shifting tactics from blatant, full contact seduction to posturing to threats and everything in between. It goes from steamy to hilarious and back, turning on a dime.

 JHPENTERTAINMENT: What is it about Lysistrata, this version in particular, that you hope will resonate with audiences?

DANIEL VINCENT: I’m hoping people will see that as far as we’ve come in the 2400 years since this was written, we haven’t really gotten very far. The issues are still relevant and relatable. The struggle for power and having a voice, sexual politics, and the needs inherent in being human haven’t changed all that much.

Rapid Fire with Lysistrata adapter and co-director, Robert Coles

JHPENTERTAINMENT: While researching to chat with you, I’ve found several articles about Aristophanes’ Lysistrata indicating that over the years, the tone has changed from his original intent to mock women and their roles as sexual property. Does your adaptation address/alter this original concept?

ROBERT COLES: We live in a society that already mocks women enough. My goal with this adaptation was to put the power back with the women and showcase how important women are to society. In the script, the story does place a lot of emphasis on a woman’s place at home as a caretaker, but there are subtle (and some not so subtle) nods to how this is an outdated system and women deserve equal rights. I feel this argument is more powerful and timely than ever. 

JHPENTERTAINMENT: I gotta ask…why revisit this particular piece rather than just present a standard production of the original or write a new work altogether?

ROBERT COLES: I’ve always wanted to adapt a piece. I’ve never done an adaptation before, and when Diane approached me to write this, I dove all in. I read probably 15 different adaptations, as well as one that almost follows the original to the word, and I realized I wanted to do something new. We very much honor the original Greek text and language styles, but we’ve brought it to a more modern context to give audiences a fresh take. As for writing a new work, I’ve always got one up my sleeve! This was just a particularly fun challenge for me as a writer. 

JHPENTERTAINMENT: In adapting this play, you added scenes/characters that weren’t present in Aristophanes’ original, right?

ROBERT COLES: Yes! That’s the fun with adaptations! You get to play fast and loose with the original. Diane wanted a script that was funny and heartfelt and showcased powerful women. In building that world, I had to add in a few scenes to weave the story together and take it out of the original context. Additionally, we had so many amazingly talented actors come out an audition for this that we really decided at the last minute to expand the original draft of the script and incorporate a larger men’s and women’s chorus. We kept with the traditional Greek theatre style of synchronized speech, but incorporated some theatre of the absurd styles that I love so much as a director. This cast, with Diane’s expert leadership, has really embraced the absurdity. I laugh every night at something new!

JHPENTERTAINMENT: Lysistrata is just the latest in your on-going relationship with Playhouse 615 having appeared in their recent production of Sordid Lives, and having written their premiere engagement of your southern comedy, Aunt Sally’s Wild Ride. Full disclosure, you’re also the company’s marketing guru and a board member. What is it about Playhouse 615 that has drawn you in?

ROBERT COLES: I could talk for days about the magic that happens at Playhouse 615. I’ve never felt more loved, accepted, and understood. Playhouse 615’s Joel Meriwether and Ann Street-Kavanagh have built a safe space for actors, writers, and creators to do what they do best. When you add in the board of directors and host of volunteers that come together eight times a year to put on superior productions that keep our audiences coming back for more, you have a recipe for something really, really special. At Playhouse, the stage is so close to the audience that you feel like you get to know them intimately, and I love that. 

JHPENTERTAINMENT: Not only have you adapted this piece, but you’re also serving as this production’s co-director, alongside the show’s primary director, Diane Bearden-Enright. I’m about to chat with Diane, so I’ll wrap out chat by asking what it is about Diane’s style of directing that ensures your adaptation will be presented in a way that will honor your words?

ROBERT COLES: Diane is a visionary director. She comes in with a concept and knows what she wants, and won’t stop until she gets it! I love working with people like that. She comes to every rehearsal prepared and makes the cast feel like they’re part of the process and building the world together. I’ve learned so much watching her. As a playwright, it’s important to have trust in the director bringing your work to life for the first time, and I trust Diane completely. 

Rapid Fire with Lysistrata director, Diane Bearden-Enright

JHPENTERTAINMENT: What was it about this project that piqued your interest as a director?

DIANE BEARDEN-ENRIGHT: I have always loved this story. I read it years ago in school and later, in graduate school, had the opportunity to appear in a different adaptation. I love these powerful, cunning women.  

JHPENTERTAINMENT: Robert Coles not only adapted this particular version, based on Aristophanes’ classic Greek comedy, but he is also serving as your co-director. What’s the advantage of having the playwright as you co-director?

DIANE BEARDEN-ENRIGHT: Oh my goodness, what a joy! It’s rare to have the playwight sitting there beside you. I always have questions along the way and having Robby there to answer them is a luxury. He has also been a wonderful Assistant Director. We make a great team.

JHPENTERTAINMENT: On the flip side, has there been a challenging aspect of having the playwright as your co-director?

DIANE BEARDEN-ENRIGHT: In all honesty, there were no challenges. Robby just let me do my thing and never tried to over step, only support.

JHPENTERTAINMENT: Among the rather large cast, there’s a few familiar names as well as some folks who are new to Playhouse 615. How exciting is it to work with this particular mix of actors?

DIANE BEARDEN-ENRIGHT: I am very fortunate to have this talented cast. Variety is the spice of life! We have some familiar faces in the cast but also a large number of first-timers! You will meet, a bevy of beautiful ladies and some rather handsome men. Oh, and they happen to be very talented to boot!

JHPENTERTAINMENT: What do you hope audience take with them after having seen  this production of Lysistrata?

DIANE BEARDEN-ENRIGHT: A new found appreciation for Greek comedy? Who knew it could be so funny and so relevant to today’s world.  It’s fascinating how themes repeat throughout history and how relatable this story is for modern audiences. Theatre is here to educate and hold the up the mirror, right?  Most of all, I want folks to sit back, relax and laugh their asses off! 

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Playhouse 615’s Lysistrata continues its run with performances Friday February 7 thru Sunday, February 16. Friday and Saturday performances are at 7:30pm with Sunday matinees at 2:30pm. Tickets are $17 for Seniors and Military and $20 for Adults. All seating is General Admission. Tickets are available online at or by calling the box office at 615.319.7031.

Next up at Playhouse 615 it’s Samuel D. Hunter’s The Whale directed by Bowd Beal and running March 21-April 6. 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, Insta and X.

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 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 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 20Q with Cast and Creatives of ‘Moulin Rouge’; National Tour at TPAC beginning October 8

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Having been a fan of Moulin Rouge since first seeing the Baz Luhrmann‘s 2001 film, I was trilled to learn that the recent 10-time Tony-winning Broadway stage musical would be making its way to TPAC as part of their current Broadway at TPAC season!

My excited expanded ten-fold when I was recently given the opportunity to interview members of the tour…and not just anybody associated with the company, but three of the show’s lead actors AND the show’s wardrobe supervisor.

So put on your sparkliest of diamonds and get ready for my most Spectacular! Spectacular! Rapid Fire 20Q ever!

Rapid Fire 20Q with Cast and Creatives of Moulin Rouge National Tour

Rapid Fire with Moulin Rouge’s Harold Zidler, Robert Petkoff

JHPENTERTAINMENT: I’m just gonna be honest…I LOVE the character Harold Zidler, the role you play in the National Tour of Moulin Rouge. He’s truly one of the most flamboyant, hilariously brilliant roles in modern musical theatre. Who is Harold Zidler to you and how much fun have you been having playing him this past year?

ROBERT PETKOFF: For me Harold is this very complicated man who has one goal when the show starts: Keep the party going. Harold is so many things. Harold is the consummate showman. A charmer, a father figure, a grifter, a survivor.  He and Satine have both made it from the mean streets to the pinnacle of entertainment in Paris of the 1890’s through talent, sheer grit and determination. I think he’s both a kitten and tough as nails when he needs to be. He is truly one of the most fun characters I’ve ever played. There are so many different versions of himself that he shows throughout the evening and that’s an actor’s dream.

JHPENTERTAINMENT: While Moulin Rouge is a jukebox musical, it’s so much more. Heck there’s something like fourteen songs featured in the opening number alone! Speaking of the music, a year after taking on the role of Zidler for the tour, is there a musical moment that you still revel in being a part of night after night?

ROBERT PETKOFF: I really enjoy hearing the audience when I begin singing Chandelier. They start to laugh when they realize what the song is and that Harold is going to sing it. I love the song and NEVER thought I would be singing it on a stage.  It’s a perfect song for the character because the chorus has the feel of a party but there’s a sense of desperation at its core.

JHPENTERTAINMENT: When not onstage, you also enjoy an award-winning career as a audiobook narrator and voice over artist. What’s been the most bizarre or most memorable commercial or audiobook gig you’ve had?

ROBERT PETKOFF: The first thing that comes to mind is doing part of Hamlet‘s “To Be Or Not To Be” monologue as a dog for a commercial years ago. I sounded a bit like Scooby Doo. It was crazy. Some of the audiobook work can feel so insane as I’m voicing every part. It can be quite interesting (and funny) doing love scenes with myself, for instance. The voice work I’ve done has been a real lifesaver in my career allowing me to pick and choose roles in my stage career.

JHPENTERTAINMENT: While Zidler’s excited and excitable showman voice is a huge part of the character, there’s also the look. What can you tell me about your transformation to Zidler with the help of Hair and Makeup Supervisor, Tereza Cordeiro?

ROBERT PETKOFF: When I first joined the company I was asked to use my own hair and let it get wild.  A combination of volumizing hair powder and lots of hairspray. I have to say it REALLY helps me get into the character to do the hairstyle.  Looking at myself in the mirror and seeing that hair and my mustache and goatee really propels me into Harold. It’s a very showy look that I get to work against from time to time. When Harold gets very serious it is an odd juxtaposition with my look but I think that makes it much more interesting.

JHPENTERTAINMENT: Of course Moulin Rouge is just the latest National Tour of which you’ve been a part. If memory (and a little research) serves, your last visit to Nashville during a tour that occurred back in 2017 when you appeared at TPAC as Bruce in Fun Home. During that visit did you discover any Music City spots that you hope to introduce to your Moulin Rouge family during your upcoming Nashville tour stop?

ROBERT PETKOFF: Well, the first thing that comes to mind is all of the honky tonks on Broadway.  I loved walking down Broadway at night after the performance of Fun Home and passing place after place with amazing live music.  There’s such fantastic energy there. So I can’t wait to introduce that experience to some of my castmates. 

Rapid Fire with Moulin Rouge’s Christian, Christian Douglas

JHPENTERTAINMENT: While preparing to chat with you, I did my usual Internet sleuthing..I love that your insta lays it out so clearly..”a songwriter named Cristian playing a songwriter named Christian. How would you describe Christian?

CHRISTIAN DOUGLAS: I would describe Christian as a heart-forward hopeless romantic, who comes to Paris seeking art, adventure and above all else, love.  His journey through the show is a stripping away of his innocence and his naive view of the world.

JHPENTERTAINMENT: It’s been just over a year since you took over the role of Christian on tour. Has your perception and portrayal of Christian changed in the past year?

CHRISTIAN DOUGLAS: My portrayal and perception hasn’t necessarily changed but rather deepened.  I have always felt connected to Christian, the character, but after a year of performing the same role, I think you start to sink a little deeper and find new moments of stillness and groundedness amidst the sometime chaotic world of the Moulin Rouge, allowing for the heightened moments to really pop and the real, more serious moments live in a more authentic place. 

JHPENTERTAINMENT: Baz Luhrmann directed, produced and co-wrote the 2001 film upon which the stage musical is based. I, myself have been a fan of everything Baz since Strictly Ballroom. What was your introduction Luhrmann’s work and what is it about his creativity that you admire most?

CHRISTIAN DOUGLAS: I first saw Moulin Rouge when I was in high school and loved it ever since.  I think he has a genius way intertwining the larger than life, spectacular and farcical elements, of the story with the realistic, emotional and heartbreaking elements of the love story.  He truly transports you to another world. 

JHPENTERTAINMENT: Prior to taking on your current role, you’ve previously been part of equally iconic theatre, including Muny’s West Side Story and the Off-Broadway revival of Kinky Boots. These shows, like Moulin Rouge, boasts fabulous musical moments. On that subject, Act 1’s closer Elephant Love Medley, a personal favorite musical moment of mine from the film and a continuing favorite from the stage musical’s score, features a few updates. Do you have a favorite musical moment in the show yourself?

CHRISTIAN DOUGLAS: While I love the epic nature of El Tango de Roxanne, I always love singing Come What May the most.  The song is so timelessly beautiful and that moment between Christian and Satine always feels really special.  It is their last moment to connect before things start to go south. 

JHPENTERTAINMENT: I’m about to chat with your new leading lady, Arianna Rossario, who assumed the role of Satine just a few weeks ago, almost a year to the day of you taking on Christian full time. Did you offer her any advice as she stepped into the spotlight?

CHRISTIAN DOUGLAS: No advice needed! She is an absolute star and a pleasure to share the stage with.  I’m just excited to share in this new chapter of leading the show together. 

Rapid Fire with Moulin Rouge’s Satine, Arianna Rosario

JHPENTERTAINMENT: After having been part of the Broadway ensemble in 2022, you initially joined the tour as the alternate for the role of Satine, but as of the tour’s recent Detroit dates, you’ve now assumed the role of Satine. What’s your Moulin Rouge journey been like so far and how excited are you to be taking on the pivotal role of Satine full time?

ARIANNA ROSARIO: My Moulin Rouge journey so far has been unlike anything I’ve ever experienced. I was a huge fan of the film when it originally came out and always felt like it would lend itself well to a stage adaptation. I originally saw the Broadway production on reopening night, 9/24/21 and was so blown away that I knew that I wanted to be a part of the show at some point in my career. I joined the Broadway company a few months later in March of 2022 as a part of the Heels Ensemble and cover for Arabia, during my time there the directing team reached out to see if I would be interested in doing a work session for possible coverage of Satine. Flash forward to going out on tour as the Alternate for Satine September of 2023, and now officially taking over the full time role of Satine 9/24/24. It feels like a huge full circle moment. It’s not easy trying to change the perception of what you are capable of doing when in the ensemble of a show, sometimes this industry likes to put people in boxes so that its easier for the people that make the decisions to find a place for you. I am forever grateful to our Creative Team for seeing something in me and in turn trusting me to tell this beautiful story every night. 

JHPENTERTAINMENT: Is there an aspect of Satine’s personality that you admire most and might want to incorporate into your own life?

ARIANNA ROSARIO: I feel like in my real life I have more of a quiet confidence to me whereas Satine has this fierceness about her that is so apparent from the second she comes down on the swing. She’s definitely taught me how to be more comfortable standing in my power as a woman. 

JHPENTERTAINMENT: Like you, I’ve been in love with Moulin Rouge since seeing the film back in 2001. I can’t tell you how excited I am to finally see the stage musical. What more can you share about your memories of being introduced to Baz’s work?

ARIANNA ROSARIO: I absolutely loved the film when it came out, I used to create my own dance numbers to the soundtrack and perform them for an imaginary audience in my bedroom. There’s something special about the worlds that Baz is able to create, it allows you to suspend reality for a second and become so immersed in the story being told. 

JHPENTERTAINMENT: Can we just talk about Satine’s entrance with the swing? It’s such a huge moment int he show. Is that something that has to be adjusted for each city on the tour depending on the venue logistics and capabilities? What was the rehearsal process like for this iconic scene in particular?

ARIANNA ROSARIO: When venues book our show they usually have a reference of the space we are going to need to do the show in its entirety. We travel to each city with our own show deck, which gets broken down and set up with each venue change. That deck has tracks for set pieces and scenery which are typically automated. The rigging for the swing is also something that lives in the fly space above the stage, so its going to be the same city to city as well and because of that we’ve never had to adjust it. The rehearsal process is actually quite quick. In preparation for my initial put -in (its a rehearsal where we run the show with costumes and all of the normal show elements without an audience) I had a day where I was able to go up in the swing and figure out how I needed to move to minimize the swinging from side to side. Then the day of my put-in I was able to go up once more in costume to see how that felt in the corset.

JHPENTERTAINMENT: A huge part of the visual excellence of Moulin Rouge comes in the form of the gorgeous costumes. I’m about to chat with Michael Hannah, the company’s Wardrobe Supervisor, so to transition into that…do you have a favorite Satine costume? AND…why is it your favorite?

ARIANNA ROSARIO: They are all so incredibly beautiful it’s hard to choose just one! I have two for different reasons, the first would have to be the corset I wear during Chandelier as The Green Fairy. The detail in the beading on it is so beautiful and it’s so different from a lot of the other corsets in the show. My second favorite is the red dress I wear for Roxanne. It reminds me so much of the dress Nicole Kidman wears in the Elephant Love Medley in the film and just feels so iconic for Satine. 

Rapid Fire with Moulin Rouge Wardrobe Supervisor, Michael Hannah

JHPENTERTAINMENT: Alright, let’s just get into it…how many costumes are there in Moulin Rouge?

MICHAEL HANNAH: There are 220 complete costumes in the show.

JHPENTERTAINMENT: As Wardrobe Supervisor, you’re entrusted to the care and maintenance of each and every piece of wardrobe originally conceived by the show’s Tony-winning costume designer, Catherine Zuber. Is that fact still a pinch me moment for you?

MICHAEL HANNAH: It is quite an honor to be entrusted with the care of these beautiful costumes.  I admire Catherine and her work a great deal.

JHPENTERTAINMENT: Of course you’re not alone in those responsibilities. You not only have a wardrobe team, but I understand that in each city of the tour, you bring in local wardrobe artisans to help keep the costumes show ready. Does that help keep your job fresh and exciting?

MICHAEL HANNAH: I have 2 Assistants that travel with the show as well as an advance person.  In each city we hire 9 Dressers, a full time Stitcher and a full time Laundry person.  Moving to different cities with the show is sometimes challenging but exploring new places is always exciting.

JHPENTERTAINMENT: Which cast member has the most wardrobe changes and how many are there for them?

MICHAEL HANNAH: Satine has approximately 14 costume changes some of which need to take place in 45 seconds for her to make her next entrance.

JHPENTERTAINMENT: I typically end these interviews with a variation of this question…What do you hope audiences come away from Moulin Rouge remembering log after the lights dim and the music fades?

MICHAEL HANNAH: I feel one of the most exciting aspects of Moulin Rouge is the lavish decadence of the era in which the show is set.  The audience is exposed to a colorful feast for the eyes.  Along with the beautiful love story and all of the music  is a visual experience that I think the audience will take with them.

 

Moulin Rouge brings is sparkling musical magic to TPAC with shows Tuesday, October 8 thru Sunday, October 20. CLICK HERE for tickets. Not in Nashville, but wanna catch the show on tour? Well, you certainly can can can..CLICK HERE for the show’s official site and follow on Facebook, X, Insta and YouTube to see where they’re headed next.

Following Moulin Rouge, TPAC‘s Broadway season continues with Shucked, November 5-10. CLICK HERE for more info and to see what else is headed to TPAC. You can also follow TPAC at their official site  and on socials: TPAC on Instagram, X, YouTube and 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 playwright and cast of ‘Aunt Sally’s Wild Ride’; World Premiere presentation on stage at Playhouse 615 Friday, September 13 thru Sunday, September 29

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On Friday, September 13, up-and-coming Nashville-based playwright Robert Coles’ Aunt Sally’s Wild Ride will mark its World Premiere with three weeks of performances at Playhouse 615 under the direction of Joel Meriwether. Earlier this week as the company prepared for Opening Night, I had the opportunity to chat with the playwright and members of the cast for my latest Rapid Fire 20Q.

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Rapid Fire 20Q with playwright and cast members of Aunt Sally’s Wild Ride

Rapid Fire Q&A with Aunt Sally’s Wild Ride star Linda Speir

JHPENTERTAINMENT: How excited are you to be the first actress to play the role of Sally Shavers?

LINDA SPEIR: I’m very excited to be the first to play Aunt Sally. I have created this character from what others say about me as well as my actions and dialogue given to me by the playwright. Then I throw in a dash of Linda and I have Aunt Sally! 

JHPENTERTAINMENT: Prior to chatting with you all, the playwright was kind enough to let me read the script to give me some idea of the characters. As I read, so many of the characters spoke to me, having been born and raised right here in Nashville. Is there anything about Aunt Sally that you found similar to any of your own relatives?

LINDA SPEIR: I love the characters in this play because I know some of them. I’m Southern to the core and so are these characters. Two of them remind me of some of my mother’s friends from church. Catherine reminds me a bit of my sister.

JHPENTERTAINMENT: What is your favorite Aunt Sally trait that you might consider incorporating into your own life?

LINDA SPEIR: I love that Aunt Sally is very forthright. I already have that trait. I wish I could be more like her in that, to an extent, she doesn’t care what others think. She’s living HER life. 

JHPENTERTAINMENT: You know you’re my favorite regional actress to have played some of my favorite southern women, including Daisy Werthan (Driving Miss Daisy) and Clairee Belcher (Steel Magnolias). When you think about it, there are similarities in these two iconic character with Aunt Sally, but what I want to know is…What in your estimation, makes Aunt Sally different from these two?

LINDA SPEIR: Aunt Sally is similar in some respects to both Daisy and Clairee.  Southern women  have traits in common with other southern women though they may not be of the same class.  Sally is different in that she is more flamboyant.

JHPENTERTAINMENT: I you could play any other character in Aunt Sally’s Wild Ride, who would it be and why?

LINDA SPEIR: I’d love to play either Rita Ruth or Tippy because they are so zany.         

Rapid Fire Q&A with Aunt Sally’s Wild Ride co-star Jeremy James Carmichael

JHPENTERTAINMENT: Describe Jim Halpren in five words.

JEREMY JAMES CARMICHAEL: Like. So. Super. Good. Looking. Hahahahahaha

JHPENTERTAINMENT: Um…ok…moving on…As Jim, most of your scenes are with Amber Boyer as Jim’s wife, Penny Pennabaker-Halpren and Ann Street Cavanagh as Jim’s sister, Catherine McMahan. What’s it like having these two talented regional favorites as scene partners?

JEREMY JAMES CARMICHAEL: I love learning from the actors I get to work with; I’m not the same performer I was a year ago, and I won’t be the same next year. I’ve been lucky enough since moving to Nashville to work with some of the biggest names in the local theater business, and I’ve tried to watch and emulate as much as I can from them. I always say it’s never me acting in a show; it’s a combination of hundreds of directors and fellow actors who have poured into me.

JHPENTERTAINMENT: How much freedom has your director given you in making Jim your own?

JEREMY JAMES CARMICHAEL: I think we’ve all had a lot of freedom in creating these characters, particularly since we’re originating the roles. We use whatever the script provides and then color the characters in ways we think stays true to the text but allows us as artists to infuse our own ideas and personality.

JHPENTERTAINMENT: Playwright Robert Cole has written a script that presents a great balance between humor and heart. Without revealing any plot spoilers, do you have a favorite scene, whether funny, or sweet?

JEREMY JAMES CARMICHAEL: I absolutely have a favorite scene, but I can’t say anything about it. It’s near the end of act two between Jim’s wife (Amber Boyer) and his cousin Cat (Ann Street Kavanaugh). Just when you think it’s a comedy, it is not. It. Is. Not.

JHPENTERTAINMENT: Because it’s my website and I can do what I want, I’m going to go off-script for your last question….After Aunt Sally’s Wild Ride, when no on-stage, you’ve got a charity event your heading coming up…tell me about Scarfapolooza.

JEREMY JAMES CARMICHAEL: Thank you for this question!! My family started a charity event the night before Thanksgiving each year; we gather as many friends as we can to collect winter clothing items, and then hit the streets of Nashville to deliver to those living on the streets. It’s a fantastic way to be a blessing to others during a holiday of gratitude, and I honestly think those participating are more blessed than those receiving the gifts. It’s all about showing up for people and letting them know they matter.

Rapid Fire Q&A with Aunt Sally’s Wild Ride co-star Amber Boyer

JHPENTERTAINMENT: Ok, I have to start my conversation with you by telling you how excited I was when I saw that you’d been cast in this show! You never disappoint on stage. That said, who is Penny Pennabaker-Halpren to you?

AMBER BOYER: That’s incredibly sweet of you to say. Thank you! 🤗 To me, Penny is the quintessential misunderstood/underestimated character in this script. Everyone judges her simply because of how she dresses, without taking the time to actually get to know her. She’s spunky, friendly, loyal, loving, and a bit ditsy sometimes, but is unabashedly herself, and will give her brutal honesty when provoked.

JHPENTERTAINMENT: I love that Penny Pennabaker-Halpren insists on the full hyphenated name. Lord knows being from the south myself, I know my share of folks who gotta make sure you know who they are and who they come from. So…a completely nonsensical question…if you could go by any made up hyphenated name yourself, what would it be?

AMBER BOYER: Huh. . . I’ve never thought about that before. I honestly don’t have an answer.

JHPENTERTAINMENT: Penny Pennabaker-Halpren’s wardrobe choices are…interesting to say the least. Did you create your character’s look or does the show have a costumer that you worked with?

AMBER BOYER: We do have our wonderful costumer, Denese Evans, and it’s been kind of a collaborative effort between myself, the playwright, the director and customer. Penny is very sexy-tacky, if you can picture that.

JHPENTERTAINMENT: The script describes Penny Pennabaker-Halpren (YES, I’m going to honor her wishes and use her full hypenated name every time) as ‘ditsy’. Those that know you, even a little, know you’re anything but. How much fun are you having playing this character?

AMBER BOYER: I am having such a blast creating this character! Playing “the ditsy one” is always fun. I’ve admittedly been pulling personality traits from different TV characters and people I’ve met in my real life. There are deeper aspects to Penny than people care to see at first glance because of her clothes (or lack there of), and I’m really enjoying bringing some depth to the ditz, so to speak.

JHPENTERTAINMENT: As the story unfold, the audience finds out there’s more to Penny Pennabaker-Halpren that meets the eye. Is that part of the reason you chose to take on this role?

AMBER BOYER: I honestly hadn’t even read the full script until we received them at our first read-thru, so I was pleasantly surprised to see the character arc that she has in Act II. I accepted the role because I really do enjoy performing comedic shows, and the opportunity to bring a brand new script to life was too tempting to pass up (even if I am “scantily clad” at 41! 🤣)

Rapid Fire Q&A with Aunt Sally’s Wild Ride playwright Robert Coles

JHPENTERTAINMENT: First off, thank you, not only for taking the time to do this Q&A, but also for allowing me a sneak peek at the script in order to familiarize myself with the story and characters in preparation for these conversations with you and your cast. I couldn’t help but notice some seemingly obvious (to me anyway) nods to everything from Robert Harling’s Steel Magnolias to Del Shores’ Daddy’s Dying Who’s Got the Will and Sordid Lives. Where those nods conscious or subconscious?

ROBERT COLES: Absolutely! It’s always a pleasure to do these Q&As! I will always have a spot in my heart for Steel Magnolias. It was the first movie I saw in theaters when I was two (my babysitter canceled and my parents had to take me with them), and I’ve directed the show three times. I love strong female characters, so there are probably some nods in the script, though subconscious. As for Del Shores’ scripts, I’ll confess, I didn’t start reading his material until I was in Sordid Lives this past summer, but now I’m a huge fan. This script was written (at least the first draft) four years ago. 

JHPENTERTAINMENT: In the same vein, who are some of your favorite playwrights?

ROBERT COLES: That’s a good question! I’m currently loving the works of Isaac Byrne, who I’m also involved in Writer’s Block with. Writer’s Block is a playwriting creative group lead by the amazing Haley Rice, who was in a workshop of one of my other plays in New York City . I’m also a huge fan of Tennessee Williams. Cat on A Hot Tin Roof is probably one of my favorite scripts, and a bucket list production for me both as a director, and as an actor. Neil Simon will always be one of my writing heroes, and I’ll always have a love of anything by John Patrick (A Bad Year for Tomatoes, The Curious Savage, et al). 

JHPENTERTAINMENT: The story takes place in a spacious Belle Meade mansion, one of the Nashville area’s most affluent neighborhoods. In contrast, the venue chosen for the World Premiere presentation, Playhouse 615 is one of the more intimate theatre spaces in Nashville. Who’s your set director and how have they met the spacial challenge?

ROBERT COLES: To me, when trusting this production with a theatre company, Playhouse 615 was my first and only choice. I knew I wanted to try it in an intimate venue and the work they do is absolutely brilliant. They use the space so cleverly. The set designer, James Bealor, has done an amazing job at using every square inch of available space while still giving levels and building the grandeur of this estate. Eric Crawford and Abby Waddoups are a powerhouse set decorator and set painter team, and their work has blown me away. A special note about this set, Joel Meriwether, the director, allowed me to inject my family into the show. After all, this show IS my family. Aunt Sally is based on my grandmother, Catherine is my mom, Liam is me, and the rest of the characters are people I know and grew up with. So, they let me put my own family photos on the set, which has made this feel like a big family affair for me. 

JHPENTERTAINMENT: As you mention, Playhouse 615 co-founder, Joel Meriwether is directing. What is it about Joel’s directing style that has instilled confidence that he’ll handle your work with care?

ROBERT COLES: I love Joel and his work. He’s such a talented person and director, and he has a great ability to make brilliant casting choices and pull strong performances out of each of his actors. Additionally, Joel knows these characters. He went to Lipscomb, has lived in Nashville for years, and was so protective over my script and words throughout the whole process. 

JHPENTERTAINMENT: What do you hope audiences will take away after seeing this debut production of Aunt Sally’s Wild Ride? AND..what’s next for the show?

ROBERT COLES: I hope audiences will laugh and think. The show is funny, but it also deals with some pretty heavy themes. I hope audiences leave feeling the love of this family, my family. Next for this show, some minor rewrites, a possible new title, and licensing worldwide! I can speak too much on the licensing yet, but I’m very excited to see the future for this little project! 

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At the time these conversations were uploaded to JHPEntertainment.com, Opening Weekend of Aunt Sally’s Wild Ride is completely SOLD OUT, but there are still tickets available for the remainder of the run September 20-29. Tickets are $20 ($17 for Seniors and Military). CLICK HERE to purchase tickets. To keep up with what’s next for Aunt Sally’s Wild Ride, CLICK HERE to follow the show’s Facebook page.

Following Aunt Sally’s Wild Ride, Playhouse615 will present Dracula: A Comedy of Terrors just in time for the Halloween holiday with performances October 18-November 3. CLICK HERE for tickets or more information.

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 cast, producer and director of ‘An Ideal Husband’; on stage at Nicky’s Coal Fired August 17-21 to benefit CASA Nashville

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I’ve been a fan of 19th century novelist, playwright and bon vivant, Oscar Wilde since friends first started making jokes about a certain dilapidating portrait in my attic (if you know the reference, we can be friends), so when I heard that up-and-coming Nashville theaterati Erin Grace Bailey and Evan Fenne were teaming to present an immersive performance of Wilde’s political scandal satire, An Ideal Husband, I knew I’d need to chat with them and some of their cast for the latest installment of my recurring interview feature, Rapid Fire 20Q. When I learned this presentation was being presented FREE, but with a suggestion of donating to CASA Nashville—Court Appointed Special Advocates, who serve abused and neglected children in the foster care system—theatre for a cause…come on! I was all in. What follow are those conversations.

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RAPID FIRE 20Q WITH CAST AND DIRECTOR OF OSCAR WILDE’s AN IDEAL HUSBAND

RAPID FIRE WITH AN IDEAL HUSBAND’s SIR ROBERT CHILTERN, ANDREW GATELEY

JHPENTERTAINMENT: What can you tell me about Sir Robert Chiltern?

ANDREW GATELEY: Sir Robert is a politician who ends up making a poor decision in his career that almost costs him his marriage. A marriage that he does not want to loose because he truly does love his wife. He’s a good guy with a good heart, and his poor decision gives him this layer of humanity which is what draws me to the character.

JHPENTERTAINMENT: Last year you appeared in Playhouse 615’s The Glass Menagerie as the gentleman caller of Erin Grace Bailey’s Laura Wingfield and now you’re playing brother and sister in An Ideal Husband. What’s your favorite aspect of Erin Grace as a scene partner?

ANDREW GATELEY: Her commitment to the character. She really puts her all into her performance and the character. Finding these little things to include to enhance the character and make them more believable.

JHPENTERTAINMENT: You’re also sharing the stage with Emily Colquette as your on-stage wife, Lady Gertrude Chiltern. Have you worked with Emily previously? AND How much are you enjoying being ‘married’ to her?

ANDREW GATELEY: I have worked with her before! She’s absolutely wonderful! Getting to be her on-stage husband has really been quite the treat, as she is one of the sweetest and kindest people I know.

JHPENTERTAINMENT: There’s a scandalous secret surrounding Sir Robert. In fact the show’s title comes from a key scene during which that secret is revealed. What’s the most challenging aspect of playing an emotionally fueled scene like this?

ANDREW GATELEY: Holding the intensity. It can be quite challenging to do an emotional scene and keep that same level of intensity throughout the whole scene. Plus, with it being such an important part of the story I feel it’s more important than ever to keep audiences locked in and be true to the character.

JHPENTERTAINMENT: Regardless of whether you’re ‘the type’ or not, what other roe in An Ideal Husband might you one day like to play, and why?

ANDREW GATELEY: Lord Goring. I actually thought I was going to get Lord Goring when I auditioned. So, imagine my surprise when they offered me Sir Robert instead! Lord Goring just seems like such a fun character to play. He’s so carefree yet such a great friend.

RAPID FIRE WITH AN IDEAL HUSBAND’s LADY CAVERSHAM, ANN STREET-KAVANAGH

JHPENTERTAINMENT: Being a fan of the work, it took me just a minute when perusing the cast list to realize that liberties were taken in your character, Lady Caversham. For in the original presentation of An Ideal Husband, and dare I say, every production in the past 129 years, the role of Caversham has been played by a man, as it was originally The Earl of Caversham, not Lady Caversham. Did your producer or director address their reason behind the character gender flip with you?

ANN STREET-KAVANAGH: I had no idea going in. They mentioned that it had been written for a man, but I don’t recall a reason for flipping it. It has been fun, though, saying things that a woman, perhaps, would not have said in the late 1800’s. Since she’s speaking mainly with her son, it adds a playfulness and I feel like they adore each other and enjoy each other’s company. Some of the lines would probably be taken much more harshly if delivered by a father. 

JHPENTERTAINMENT: You’re playing the mother of Lord Goring, as played by Abe Gibson. What can you tell me about Abe and sharing the stage with him?

ANN STREET-KAVANAGH: I’d only met Abe during this rehearsal process. He brings a wonderful energy and playfulness to his character!  He’s been quite fun to work with as a scene partner.

JHPENTERTAINMENT: Oscar Wilde’s An Ideal Husband is typically presented as a period piece. For this immersive presentation, is it still set in the 1890s, or have liberties been taken there as well?

ANN STREET-KAVANAGH: The show is still set in the 1890’s. It doesn’t matter which year it is set in, it has a sharp wit and contemporary subject matter.

JHPENTERTAINMENT: My personal favorite adaptation of An Ideal Husband is the 1947 film starring Michael Wilding, Paulette Goddard, Glynis Johns and C. Aubrey Smith as the Earl of Caversham. Of course there’s an equally star-studded more modern 1999 adaptation which starred Rupert Everett, Cate Blanchett, Minnie Driver and Julianne Moore. How familiar were you with the piece prior to auditioning?

ANN STREET-KAVANAGH: I wasn’t really familiar with it at all, other than a few trailers.  It has been great fun delving in with no preconceived ideas! 

JHPENTERTAINMENT: An Ideal Husband deals with scandal, politics, blackmail, public perception vs. private realities…all as timely now as when the play was written. What drew you to the project?

ANN STREET-KAVANAGH: Honestly, Erin-Grace approached me and asked if I’d play the role.  I did not know much about the play. I just adore her, and when she told me the details, it sounded very interesting. To not be in a traditional theatre space and have a chance to work with so many young actors, I couldn’t resist!  They are all quite impressive actors.  The relatability to current times was just the frosting on the cake! 

RAPID FIRE WITH ERIN GRACE BAILEY, PRODUCER AND CO-STAR OF AN IDEAL HUSBAND

JHPENTERTAINMENT: This production of An Ideal Husband is being described as an immersive experience. Can you elaborate?

ERIN GRACE BAILEY: Well, a good part of the show takes place at a party, so we wanted the audience to feel like they’re part of that. For anyone who sees the word “immersive” and feels a little triggered by it, I would definitely tell them not to worry. We’re not asking the audience to do anything out of the ordinary, but the actors may come sit at your table. They may loop you into a conversation or make sly comments. Sort of think of it like Disney World for big fans of British period pieces, almost like you got to step into an episode of Bridgerton for a day.

JHPENTERTAINMENT: You’re not only producing, but also co-starring in the role of Miss Mabel Chiltern. Not only that, the fabulous production of Sordid Lives you directed just closed. In that multi-tasking spirit, a two-part question for you…Are you running on adrenaline at this point? AND How are you balancing producing with acting in this production? 

ERIN GRACE BAILEY: Haha! I’m running off adrenaline and a whole lot of love and support from the Nashville theatre community, which I am so incredibly grateful for. Evan makes my job as a producer very easy. He knows what he wants, and he communicates that clearly. Really, the most challenging part was finding a place to perform (which we’re so appreciative of Nicky’s for giving us the opportunity). Once that happened, the rest of it was pretty straightforward. 

As far as the acting side of things goes, I adore Oscar Wilde, and I am so excited to bring my version of her to life. It’s actually been a nice balance. Mabel isn’t a huge role; she’s just such a memorable one. It’s sort of a full-circle moment because I auditioned with one of her monologues for the theatre program at Belmont. Seven years later, I’m playing the role in my own production and working for the Theatre and Dance department full time, and I sort of wish I could go back and pat myself on the head back then and let my eighteen year old self know that it’s all going to work out.

JHPENTERTAINMENT: An Ideal Husband debuted on the stage in 1895. Now here we nearly 130 years ago yet the themes and scenarios seem just as prevalent today. Of the themes, do you have one that you are most interested in highlighting within the context of the show?

ERIN GRACE BAILEY: Oh gosh, I’m going to try to keep this answer short, but I could completely nerd-out on it. I’ve been reading thesis papers and all sorts of other things on this play. In summation, Oscar Wilde really wrote this play to make a statement on the cultural shift that started around the turn-of-the-century. The Victorian generations had this sort of choke-hold on certain values, views, and this black and white sense of morality. But as 1900 drew closer, younger generations, particularly young women, started to question these values, it caused a lot of societal and political turmoil but resulted in women’s suffrage and the formation of more ethical labor laws. Wilde simplified this in An Ideal Husband to only concern the household of one particular politician who finds himself in a “gray area” or morality which was essentially unacceptable according to Victorian values. With our current political climate, its extremes, and my generation sort of coming into adulthood and questioning everything, I think this play is particularly timely. Oscar Wilde just puts it in a way that’s palatable, comedic, and relatable no matter who you are.

JHPENTERTAINMENT: What is your favorite aspect of playing Mabel Chiltern?

ERIN GRACE BAILEY: She’s just everything I wish I could be all the time. She’s boisterous, silly, smart, romantic, and not to mention, incredibly witty. She doesn’t take anything too seriously, and she’s just her own beautiful person in spite of what anyone  thinks about her. 

JHPENTERTAINMENT: I’m about to wrap this edition of Rapid Fire 20Q by chatting with your director, Evan Fenne. How long have you known each other and what is it about An Ideal Husband that presented the perfect opportunity for him to direct and you to produce?

ERIN GRACE BAILEY: In the grand scheme of things, we really haven’t known each other that long (a little over a year maybe?), which feels unreal to think about because we’ve been through so much together in that little bit of time. He assistant directed me in a show at Actors’ Bridge and then assistant directed for me back last fall. Then, this fall, we’ll actually be acting alongside each other as well, which will be a good time. Aside from being a great artist with tremendous instincts, Evan is just a kind person, which is always the first thing I tell anyone about him. We just work well together and decided we wanted to do a project for fun. We read, like, every staple British comedy play you can think of and finally settled on this one because of its message and timeliness. 

RAPID FIRE WITH AN IDEAL HUSBAND DIRECTOR, EVAN FENNE

JHPENTERTAINMENT: How did the idea of presenting Oscar Wilde’s An Ideal Husband come about?

EVAN FENNE: Erin Grace Bailey and I were looking into British farces from that era to put up, and after reading An Ideal Husband, I was amazed by its relevance. A lot of plays are able to have sustaining themes that relate more to the individual human experience, but this one also has themes that apply to social and cultural aspects of our society, a society that at first glance seems completely different from that of Oscar Wilde’s time. All of that being combined with Wilde’s sarcastic and dry humor, which I love, made this play one I wanted to direct and see happen.

JHPENTERTAINMENT: Oscar Wilde has always been a favorite of mine, both on the page and in his real life. What was your first introduction to Wilde?

EVAN FENNE: Like most, my first introduction to Oscar Wilde was reading The Importance of Being Ernest in eighth grade. It was one of the few things we read that I actually loved a ton. I then saw it produced at a high school close to mine, and I remember the audience experience of that performance being so much fun. It wasn’t until a couple years ago that I actually learned about him and what he was like as a person. It only made me admire and enjoy him more.

JHPENTERTAINMENT: As mentioned above, you’ve teamed with Erin Grace Bailey, who’s not only producing, but also co-starring. When I spoke with her, I asked her about your working relationship, so I’ll ask you similarly…I understand you and Erin haven’t known each other that long. How did you meet and how is she as a producer?

EVAN FENNE: Though we both went to Belmont University, we first met a year ago when I assistant directed a play that she was in, and soon after, I assistant directed a play under her direction. The show was a serious drama, and towards the end, we talked about how we would love to work together again on something lighter: a comedy. She’s been a great producer, even with her stacked summer of shows, and as a young director, it’s been wonderful to have her support and encouragement.

JHPENTERTAINMENT: I love that instead of selling tickets, this production of An Ideal Husband is being presented as a free theatrical experience with the suggestion of donations to CASA. Can you tell me a bit about CASA and the decision to use this production as a means of raising money for this worthwhile organization?

EVAN FENNE: I only recently learned about CASA, and their mission immediately caught my attention and support. They train volunteers to be court-appointed advocates for abused and neglected children in the Davidson County area. We knew we wanted to raise money for a charity in the process of putting up this show, and CASA is a cause that I especially want to support. There’s nothing more valuable to a child than a safe and loving home, and the more we can do to help make that happen, the better.

JHPENTERTAINMENT: What do you hope audiences come away remembering after seeing An Ideal Husband?

EVAN FENNE: I really want audiences to see themselves in the characters of this show; I want them to see people from their own lives. I directed it in a way that acknowledges the audience, and I hope their immersion in that world ends up leaving them surprised at how easy it is to empathize with each character. I know I was when I first read it.

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An Ideal Husband directed by Evan Fenne and produced by Erin Grace Bailey will be presented on stage at The Maxwell Room of Nicky’s Coal Fired (5026 Centennial Blvd. Nashville, TN 37209) for five consecutive days from Saturday, August 17 until Wednesday, August 21. Aug. 17 & 18 performances will begin at 1:30p.m. with Aug. 19-21 performances beginning at 7p.m. CLICK HERE for FREE tickets. Can’t make the show but still want to donate to CASA? CLICK HERE!

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

Rapid Fire Q&A with Disney’s Frozen National Tour’s Olaf and Kristoff, Broadway stars Jeremy Davis and Nicholas Edwards; at TPAC May 7 thru May 18

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Since the 2013 release of Disney’s Frozen, Anna, Elsa, Kristoff, Olaf and the rest of the residents of Arendelle have become an undeniable part of a world-wide pop culture phenomenon. The box-office-breaking original prompted a film sequel (with two more film entries coming). There’s been a televised holiday special, a line of character costumes, hundreds of toys, books and board games, video games, even a Frozen-themed Disney on Ice…heck, you name it and it probably exists in the Frozen universe. Fans just won’t Let it Go! Of all the Frozen tie-ins, Frozen: The Broadway Musical has proven just as beloved as the original film. Frozen debuted on Broadway in March 2018 and enjoyed a popular run until March 2020 due to the pandemic. Midway through the Broadway run, a North American National Tour and several international tours began. Following a brief hiatus in 2020, the US National Tour began again in September 2021. Earlier this year, the US tour celebrated its 1000th performance.

On May 7, For the First Time in Forever, Music City will get the chance to experience Frozen: The Broadway Musical when the National Tour descends on TPAC’s Jackson Hall for performances through May 18. For the latest installment of my recurring Rapid Fire interview feature, in advance of Frozen: The Broadway Musical’s Nashville tour stop, I recently had the chance to chat with two of the show’s stars, Jeremy Davis and Nicholas Edwards, who play Olaf and Kristoff, respectively, What follows are those conversations.

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RAPID FIRE Q&A WITH DISNEY’s FROZEN NATIONAL TOUR’s JEREMY DAVIS and NICHOLAS EDWARDS

RAPID FIRE WITH FROZEN’s OLAF, JEREMY DAVIS

JHPENTERTAINMENT: A quick peek at your show bio reveals you’ve been part of Frozen since the show was workshopped prior to its Broadway debut. Then you were initially part of the Broadway ensemble and understudy for Olaf. When did you first take the stage as Olaf and what do you remember most about that night?

JEREMY DAVIS: I first went on about two months after we opened. It was planned, so there was a lot of rehearsal and build-up to it. For weeks, the whole company worked to help me get ready. When the day finally came, I was on stage doing my first scene, and I looked offstage to find the whole company packed in the wings watching me. It was so galvanizing to feel such immense support, and it made my debut a very special experience.

JHPENTERTAINMENT: For those who’ve not seen the Broadway adaptation, rather than have you in a giant Olaf costume, Olaf is presented as a puppet with you dressed in winter wear controlling his movement and providing his voice. I understand you’d never worked with puppetry prior to taking on this role. What was your rehearsal period like prior to taking on the role?

JERMEY DAVIS: Since I started as an understudy, I had the advantage of watching and learning from Greg Hildreth, the original Olaf in the Broadway production. Greg is a true artist and comedian, and I was very lucky to be able to have him as a role model. And he was so good with the puppet! The first time I worked with Olaf in rehearsal, I couldn’t believe how hard it was. Greg made it look so easy, but I felt like I was trying to push a pile of rocks around. But like everything else, the more I did it, the easier it got. After a couple of weeks of practice, it started to feel like the puppet and I were dancing. Now, after all this time, we waltz around the stage like we were meant to be together.

JHPENTERTAINMENT: Frozen wasn’t your first Broadway show… Heck, that count’s up to 10 Broadway shows if my research serves me right, 2005’s Dirty Rotten Scoundrels marking your Broadway debut. What do you remember most about taking to the Broadway stage for the very first time?

JERMEY DAVIS: The thing I remember most from that night was the curtain call. I went out to take my bow, and as I looked out over the applauding audience, I was thrown back in time to my childhood bedroom where I was having a daydream that one day I would be a Broadway actor. I started crying as I took my bow for Scoundrels because I realized that a childhood dream had come true.

Jeremy Davis as Olaf (photo by Matthew Murphy/courtesy frozenthemusical.com)

JHPENTERTAINMENT: OK, I have to admit something. I’ve never seen Frozen, Frozen II, or even the made-for-tv holiday special, Olaf’s Frozen Adventure! I KNOW, I KNOW!!! But what can I say? I don’t have kids and my nieces were all grown with their own kids by the time the movies came out. That said, I’ve not been living under a rock, so of course I have soaked up some knowledge of the characters and basics of the storyline. All that to ask…what’s it like being part of such an iconic pop culture phenomenon?

JERMEY DAVIS: First of all, WATCH FROZEN! It’s a great film, and it’s not just for kids. I’m a full grown adult (allegedly), and I love it!

As for what it’s like to be a part of this amazing phenomenon, it’s awesome! Every night, I walk out on stage to a crowd that’s already in love with Olaf, and it’s an amazing feeling to be at the center of all that love. It makes the job so easy and fun!

JHPENTERTAINMENT: If you could incorporate one aspect of Olaf’s personality or ideology, what would it be?

JERMEY DAVIS: The thing I love most about Olaf is his perspective on the world. He sees everything that happens, every moment, as an opportunity for joy. He meets a new person, and they’re his best friend. He walks into a new place, and he sees it as a theme park. He falls to pieces, and he rolls all his parts on the ground in glee. After all this time playing Olaf, his outlook has started to become part of my real life perspective, and I can’t really put into words how much better it’s made my life to look at the world in that way.

RAPID FIRE Q&A WITH FROZEN’s KRISTOFF, NICHOLAS EDWARDS

JHPENTERTAINMENT: I admitted when I chatted with your Frozen co-star, Jeremy Davis earlier that I’ve never seen any of the Frozen universe of movies, tv specials or short films. So, for the uninitiated, who is Kristoff and how much fun are you having playing him?

NICHOLAS EDWARDS: Kristoff is a local Arendellian ice harvester mountain man who alongside his best friend Sven (who happens to be a reindeer), gets swept up in this majestic quest to help princess Anna climb the North Mountain and save Arendelle from the eternal winter brought on by the ice queen Elsa! I am having the time of my life! I get to help save Arendelle 8x a week!

JHPENTERTAINMENT: For the stage version, Kristoff’s role has been amped up a bit, including being featured in a few new musical numbers. Do you have a favorite musical moment in the show, whether it’s one you’re featured in, or one you just enjoy from the wings?

NICHOLAS EDWARDS: I mean Let it Go is truly one of the most magical theatrical moments in a musical ever, but I really love the two sister’s duet I Can’t Lose You. It’s a new song written for the tour and it really helps flesh out the relationship between the two sisters, and of course the song itself is just thrilling! The vocals are insane!

JHPENTERTAINMENT: Like Jeremy you also come to the tour after having appeared in the Broadway production. With a National Tour, you’re performing on a different stage each week. To that end, I’m curious how much rehearsal or run-though you all get in each city, or do you simply adapt to each venue as you go?

NICHOLAS EDWARDS: Each city we do a sound check and quick spacing rehearsal that lasts around 3 hours the day of the first show. Outside of that we do a few lift and fight calls as a check in throughout the week, but yes- we adapt and stay on our toes as learn the ins and outs of each venue. Safety first!

Nicholas Edwards as Kristoff @nickedwardsnyc Instagram

JHPENTERTAINMENT: Between your time with Frozen on Broadway and the current National Tour, you also appeared on Broadway in & Juliet as Lord Capulet and Sly. Have your found any similarities between these characters?

NICHOLAS EDWARDS: Definitely not! Lord Capulet is a powerful father figure who sentences his daughter to life in a nunnery- Kristoff would never do that!

JHPENTERTAINMENT: I like to end my interviews by asking a variation of the following…What do you hope audiences come away remembering long after seeing Frozen?

NICHOLAS EDWARDS: A lot of families who come to see Disney shows are experiencing their first Broadway musical- I can only hope that this sparks something inside them to continue to want to come back and experience more of the magic that live theatre brings to audiences.

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Disney’s Frozen: The Broadway Musical comes to TPAC’s Jackson Hall with the following performance schedule: Tuesday-Sunday, May 7-12 and Tuesday thru Saturday, May 14-18. Tuesday-Saturday evening performances begin at 7:30p.m. with Saturday matinee’s at 2p.m. and Sunday performances at 1p.m. and 6:30 p.m. Tickets range in price from $53 to $198. CLICK HERE to purchase tickets or for more information. Follow Frozen on Facebook, YouTube, Instagram and TikTok. Or check out their official Frozen On Tour Site.

Not in Nashville? Not to worry. As the tour continues, Frozen: The Broadway Musical is headed to Majestic Theatre in San Antonio, TX May 22-June 2, Austin, TX’s Bass Concert Hall at University of Texas at APAC June 5-16, Buell Theatre in Denver, CO June 19-July 3, Vancouver, BC’s Queen Elizabeth Theatre July 9-July 21, First Interstate Center for the Arts in Spokane, WA July 24-August 4, Boise, ID’s Morrison Center for the Performing Arts August 7-18 and San Jose Center for the Performing Arts in San Jose, CA August 21-September 1 with more dates expected to be added soon as the tour continues.

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!