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Rapid Fire 20Q with Director and Cast of Nashville Rep’s ‘Indecent’; onstage at TPAC’s Johnson Theatre February 2-11

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I love it when our local theatre companies take risks and present something other than the expected. With Nashville Repertory Theatre’s production of Paul Vogel’s Indecent, at TPAC’s Johnson Theatre February 2-11, they’re taking just such a risk. Vogel’s Indecent first debuted in winter of 2015 as a co-production between Yale Repertory Theatre and La Jolla Playhouse before opening Off-Broadway in 2016 and eventually playing Broadway in 2017. Examining the true story of the brief 1923 two-week Broadway run of playwright Sholem Asch’s The God of Vengeance, Indecent delves into the controversies surround The God of Vengeance, including the fact that the entire cast, the producer and the theatre owner all eventually faced prosecution for violating obscenity laws. I’ll save more on that for my review after I attend an opening weened performance.

For now, what follows are my conversations with Indecent’s current director and members of Nashville Rep’s cast for the latest installment of my recurring interview feature, Rapid Fire 20Q. First up is Nashville Rep Artistic Director, Micah-Shane Brewer who’s at the helm of this production, then it’s on to my chats with cast members Thomas DeMarcus, Sarah Aili and Eric Sorrels.

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RAPID FIRE 20Q WITH DIRECTOR AND CAST OF NASHVILLE REP’S INDECENT

RAPID FIRE WITH INDECENT DIRECTOR, MICAH-SHANE BREWER

JHPENTERTAINMENT: As I mention in my intro, one thing I love about Nashville Repertory Theatre is you guys aren’t afraid to mix it up and present shows your audiences may never have had the chance to see. Indecent, on stage at TPAC’s Johnson Theatre February 2-11, is a perfect example. How did Indecent come to be selected as part of the current season? 

MICAH-SHANE BREWER: I saw the Broadway production of Indecent about 7 years ago. I went in not really knowing anything about the play. I left the theatre in awe of the experience I had received. It blended so many theatrical conventions into one – the style of storytelling and the passage of time, the music, the ensemble work, the stagecraft. It was compelling, moving and beyond anything I had witnessed in the theatre. I thought about the play for days. 

A couple of years ago, we were discussing plays and Indecent came up as an option. Last year, as we were finalizing decisions for this season, I picked it back up and read through it again. I was struck at how timely it is. Here we are today fighting the same battles as the characters are in this play: censorship, antisemitism, gay rights, women’s rights. We’re in the midst of so much strife in our country, and the voices of hate have been given a larger and louder platform over the last few years. We’re seeing history repeat itself in so many ways, and sometimes, it feels like we’re going backwards as a society. It felt right and it felt like it was time for us to tell this story. But it did (and does) scare me – in all the good ways a challenging piece of theatre should. It’s not easy, and there are so many moving parts to this production. 

JHPENTERTAINMENT: A bit of a follow-up…as Nashville Rep’s Artistic Director, do you automatically get first choice of the show’s you direct each season, or is there a process followed by eligible candidates interested in directing?

MICAH-SHANE BREWER: I suppose the answer to this question is yes; however, I give a great deal of thought to the needs of each production, especially for directors. For example, it was important to me to have female directors for both 9 to 5 and POTUS. It was very important to have a black director for The Color Purple. The programming of the season ALWAYS comes first, and then directors are chosen after. I chose to direct Indecent because this story and subject matter mean a great deal to me.

JHPENTERTAINMENT: When I first heard Nashville Rep was presenting Indecent, I gotta be honest. I knew next to nothing about the show. Researching to chat with you and some of your cast, I’ve learned a bit, but for those unfamiliar, can you tell me what it’s about?

MICAH-SHANE BREWER: Indecent is based on actual events. The play follows a troupe of Jewish artists who risked their lives to perform a work deemed “indecent.” It’s the story of Sholem Asch, a Jewish playwright, who, in 1906, wrote a play called The God of Vengeance. It was produced in Yiddish and had successful productions all over Europe. In 1922, there was a production on the Lower East Side in New York City and it was translated into English. The show then transferred to the Apollo Theatre on Broadway in 1923. It was promptly shut down and the cast and producer were arrested for obscenity and put on trial. Indecent is a love letter to the power of theatre, a cautionary tale of the consequences of censorship, and a reminder that love always triumphs over hate.

JHPENTERTAINMENT: Representation matters. It’s a phrase…and practice… you hear more and more as people become increasingly aware of sensitivity towards others. To that end, as the director was there concern that certain stereotypes, whether in speech or mannerism be avoided? Did the cast work with a dialect coach or a Yiddish consultant in an effort to represent the Jewish characters as authentically as possible? 

MICAH-SHANE BREWER: Of course, representation does matter, and it’s important that all of us do the work to be authentic, truthful storytellers. The actors play a wide range of characters and use varying types of dialects and accents throughout the play. Although some of the characters are Yiddish, the majority of the time they are speaking in English. There are some Yiddish phrases and songs used throughout. Luckily, we’ve had a great team to give assistance to our actors. Nettie Craft is our Dialect and Voice coach and has been doing excellent work with each cast member crafting the correct sounds of each dialect. There’s a lot of technique when it comes to dialect and accents, and it takes a good ear, understanding of the vocal instrument and placement, and repetition for each actor to achieve the muscle memory of creating the exact sounds that are unique and authentic. We’ve also had the good fortune of having Howard Snyder as our dramaturg. Howard has been invaluable to this process by providing excellent research for so many areas of our production. Whenever you’re working with a story based on real people and events, it’s imperative to understand the historical context of the culture and the people you’re representing. Indecent spans almost 50 years, so there’s a lot to unpack: world events, Jewish culture, the political and social implications of the times, theatre history. Being a theatre artist means being an excavator; you have to dig for the details. You have to be a lover of learning. This cast has put in the time and attention to understanding and honoring every person, culture and moment in this story. 

JHPENTERTAINMENT: What about casting Jewish actors? Was there a consciences effort to include Jewish actors among the cast of Indecent? 

MICAH-SHANE BREWER: The goal was to have as many Jewish actors as possible. Part of the callback process is getting to know more about the actors and their background and connection to the material. Some of our actors are Jewish, and some descend from Jewish (and even Yiddish) cultures. On the first day of rehearsal, we had a lot of time to share about our history and backgrounds, and I was very moved at some of the personal stories shared. Some spoke of their grandparents and family members who immigrated to the United States. One of cast members shared that their grandmother was turned away at Ellis Island and had to return. Another cast member’s father grew up speaking Yiddish and provided assistance to the actor. 

As a director, I’ve always said that the biggest success of a show is its casting, and sometimes you just know when you see the actor who’s right for a certain role, and we struck a wonderful balance of actors for this production. This ensemble is one of the most thoughtful, caring, hard working, respectful, talented ensembles I’ve had the pleasure to work with. A lot of care has been given to the work throughout this process. Everyone holds this story close to their hearts. We honor the ones who are represented in this play who sacrificed their work, their reputations and even their lives. What’s great about the casting is that I feel everyone in this ensemble was MEANT to be in this cast; it was somewhat serendipitous how this casting came together so perfectly. I’m a lucky guy to be working with such a fantastic team.  

RAPID FIRE WITH INDECENT’s THOMAS DeMARCUS

JHPENTERTAINMENT: Last time we chatted you were appearing as Mrs. Trunchbull in a local production of Matilda back in 2019. You’ve appeared in a number of productions since, and now you’re about to take the stage at TPAC’s Johnson Theatre as Lemml, The Stage Manager in Nashville Rep’s Indecent. What can you tell me about Lemml?

THOMAS DeMARCUS: Oh, sweet sweet Agatha Trunchbull…you are about as far away from Lemml as one can get! I’m so thrilled to make my Nashville Rep debut with Indecent! There are many real people referenced in the play but Lemml is a fictional creation of the genius of playwright Paula Vogel. This play begs for the intimacy that the Johnson Theatre can provide. Lemml is a tailor from a small village who happens to attend the first reading of The God of Vengeance with his cousin and it will change the entire course of his life. He believes in the play. He wants to see it thrive. He tackles the role of stage manager with the utmost respect and reverence. He comes through Ellis Island with a dream like so many others. Lemml personifies hope.

JHPENTERTAINMENT: Indecent touches on so many themes of injustice, acceptance and equality that are as relevant today as they were when The God of Vengeance, the play within the play was first written in 1906, then later mounted on Broadway in 1923. Here we are 100 years later and this play is still frequently described as ‘controversial’. What’s so controversial about equality?

THOMAS DeMARCUS: It has long been confusing to me that when underserved groups ask for equal rights, that the message twists into a loss of rights for others. That the balance of freedom for all has to come at a cost of losing the freedoms for some. It is never about having more rights than you, but having the same as you. The controversy, to some extent, must be that people hate the idea of losing their foothold on power and control. If one group can use the water fountain while another group can’t, and then one day everyone can use the water fountain, what has the first group truly lost? It doesn’t feel controversial, and yet oppression and suppression still linger.

JHPENTERTAINMENT: I noticed on Nashville Rep’s socials where they intro the cast, you cite that this performance is dedicated to your son, Leo. How important is it that audiences truly take in the messages presented in Indecent?

THOMAS DeMARCUS: I think it’s always noteworthy to self-evaluate how you might respond in a crisis or when your back is up against the wall, but perhaps it’s more important to evaluate your behavior when the thing fighting for its life is someone else, or some group, or some cause. How do you respond then? Indifference? Ignorance? Assistance? I want my son to grow up in a fair and loving household and I want that extended to a fair and loving world. To teach him right and wrong and to know how to use his voice but also his eyes and ears. I say this with no hyperbole, Leo is the greatest human who has ever lived, but I want the audience to fight for him just as hard as he will fight for them.

JHPENTERTAINMENT: What aspect of Lemml and his circumstances has been most challenging/gratifying to play? 

THOMAS DeMARCUS: After nearly 30 years of acting, I finally get to play a narrator! This show spans multiple countries, languages, and time periods so the challenge with Lemml is that he’s the audience’s through-line for the entire show. He introduces the troupe and he’s with the show all over Europe and when it comes to New York. Lemml is solid in his beliefs. He’s certainly naive and innocent when we first meet Lemml, but as the world around him consistently disappoints, he’s tasked with finding these fleeting pockets of hope. The gratifying part is I only have to play Lemml, while the rest of the cast has to switch characters multiple times. Thank goodness they are talented!

JHPENTERTAINMENT: This may seem an obvious question, but what is it about a 2015 play examining the circumstances surrounding a 1923 play that will pique audiences’ interest?

THOMAS DeMARCUS: There are two lines in the show where the audience can easily draw a connection to today: “it won’t happen here” and “these things happen”. In the play, they refer to anti-Semitism but isn’t this the same back and forth with gun-control debates? with hate-crimes? with domestic terror? with natural disasters? We have a tendency to assume that a nightmare cannot happen to us in our own community. Then it happens and we shrug our shoulders when the people in power fail to protect us. This play is telling you to not just fight for what you believe, but to defend those that cannot always fight back.

JHPENTERTAINMENT: Indecent, not only examines the controversies of The God of Vengeance, but the closeness of community. I frequently ask actors I’m interviewing to speak of the community of actors as it relates to their current show. Do you feel a closeness to those you’re sharing the stage with?

THOMAS DeMARCUS: I have been extremely impressed by Nashville Rep‘s professionalism throughout this rehearsal process. Not just the immediate company, but this extends to our brilliant designers, our hard-working crew, and to our very thoughtful dialect coach and our very thorough dramaturg. Our director, Micah-Shane Brewer comes to each rehearsal with new ideas and new questions for us to ponder. I’ve known him for 12 years and it has been an honor to work with him on Indecent. It feels like everyone is taking this material with the seriousness that it deserves and we all want to make an important show. I’d like to believe that Nashville’s theatre community is loving and supportive, and this group has not changed that opinion. I have worked with only one member of this company before (Garris Wimmer; Spamalot; Studio Tenn; 2017) but I’d heard of so many others. And I would get texts from friends saying “oh you will LOVE Rona Carter” or “so many great people in this company!” and yes…they’re right. This show demands an ensemble that is on the same page, and thankfully that’s what this show has!

RAPID FIRE WITH INDECENT’s SARAH AILI

JHPENTERTAINMENT: A quick look at Indecent’s character list reveals you play Halina, among others. Can you speak a little about the process of creating differentiality between the roles you’re presenting in a single work?

SARAH AILI: Yes! Apart from portraying Halina in “The Middle,” I also take on roles like Manke, Immigrant, Freida, Dorothee Nelson/Dine, Dr. Hornig, and one of the Bagelman Sisters. Playing these characters consecutively provides a profound lesson in staying completely present. Once the initial challenge of getting my lines, blocking, choreo, quick change moments etc… right, immersing myself in the storyline becomes more seamless. In terms of character development, I prefer starting with physicality, tone, and melody. Exploring how my characters walk, move, shape vowels, hold themselves etc…leads to discovering the character’s essence. It’s akin to slipping in and out of a well-fitted coat. Making specific choices helps me swiftly embody these characters, crucial in a fast-paced show like this!

JHPENTERTAINMENT: If memory serves, the last time I saw you onstage at Nashville Rep was their 2018 production of Avenue Q. There’s been a few chances in staff at Nashville Rep since your last involvement. Are you enjoying being back and working with the current staff and creatives?

SARAH AILI: Oh yes, VERY much! Every experience I’ve had with Nashville Rep has been stellar. I adore Micah-Shane Brewer, working with him has been a true delight! 

JHPENTERTAINMENT: What can you tell me about Halina, the primary character you play in Indecent?

SARAH AILI: Halina, a woman in the prime of her life, a woman who has been through love and loss, pain and celebration, embraces the opportunity to portray compelling and juicy roles in Indecent. Immersed in playing a female character with tenacity in her soul, the experience of bringing her to life is genuinely fulfilling for me!

JHPENTERTAINMENT: While Indecent isn’t a musical, it incorporates music, dance and song as part of the full experiences. What’s the typical rehearsal schedule like incorporating all those elements?

SARAH AILI: From the initial rehearsal day of Indecent, our musicians have been integral members of the troupe, seated at the table with us. The seamless intertwining of music and dialogue is paramount to the poignant essence of the show. Without this precise harmony between story and song, I couldn’t envision Indecent coming to life in such a profound way. Our synchronization with the music is in perfect rhythm, and the music effortlessly aligns with the scenes in every instance.

JHPENTERTAINMENT: Without revealing too much, do you have a favorite moment in the show? 

SARAH AILI: The entire show captivates me – its fluid movement, effortless exploration of profound depths, and the inherent ease and beauty it carries. The ensemble, a vital part of the narrative, is what I cherish the most. Sharing the stage with this group of immensely passionate and talented performers is my favorite aspect.

RAPID FIRE WITH INDECENT‘s ERIC SORRELS

JHPENTERTAINMENT: When I spoke with your cast mate, Thomas DeMarcus earlier, he revealed that Indecent will be his first Nashville Rep show. I understand it also marks your debut with the company. What’s the experience been like thus far?

ERIC SORRELS: It continues to be a wonderful experience. I grew up outside of Nashville in Lebanon, so being here feels a little bit like a homecoming. It’s also been a reunion with Micah-Shane Brewer, with whom I shared the stage in Knoxville several times at the Clarence Brown Theatre. In my experience, the way a particular theatre company feels hinges on the leadership of the director. From day one with Indecent, Micah-Shane fostered a room that allowed us to bond as an ensemble, put us all on the same foot as equals, and motivated me to bring my very best self to rehearsal each day. The only issue with the rehearsal process was that insane arctic weather we had for about a week. But even then, that was just a chance for me to see how dedicated Nashville Rep is to its people; Micah-Shane and our stage manager Isaac Krispin would go out of their way to pick up actors on the way to rehearsal to ensure everybody could make it there safely. Needless to say, I’d come back to work with Nashville Rep anytime they’ll have me.

JHPENTERTAINMENT: While it may be your Nashville Rep debut, you’ve got quite the career resume. Your credits reveal you were among the cast of North Carolina Theatre’s production of Beautiful: The Carole King Musical where you were not only part of the ensemble, but also appeared as Neil Sedaka, Lou Adler and half of the music duo, The Righteous Brothers. What was your favorite aspect of that production?

ERIC SORRELS: One of the reasons I love Beautiful is because even though Carole is obviously at the center, every cast member has a chance to shine. As the Righteous Brothers, we would get entrance applause before we even started singing — that’s how excited the audience was to hear You’ve Lost That Lovin’ Feeling. But to bring the question back to this production: there’s a moment in Indecent when the characters talk about how they gather at the wings of the theatre to watch a very special scene take place night after night. In Beautiful, I was that actor gathering at the wings to watch our Carole (Elena Ricardo) perform Some Kind of Wonderful, It’s Too Late and You’ve Got a Friend. Watching her shine never got old.

JHPENTERTAINMENT: Back to Indecent, you play Moriz Godowsky. What can you tell me about him?

ERIC SORRELS: The musicians don’t actually have any lines in the play, so I’m really free to bring a lot of myself to Moriz. To that end, he’s a pretty mild-mannered guy, self-taught on the accordion and ukulele, and he gets a lot of joy out of watching his actor companions tell this beautiful story and transform into so many different characters. One fun detail we discovered is that Otto the Elder (played by Garris Wimmer) and Moriz share the same last name in the script. We’re not really sure why, and it doesn’t affect the storytelling all that much, but we’ve agreed that Otto and Moriz must be family.

JHPENTERTAINMENT: As you mentioned, Moriz plays the accordion during interwoven musical segments featuring Klezmer music. Here’s a two-parter for you…For the uninformed, what is Klezmer and is it true you just first picked up the accordion just over a year ago for a production of The Great Comet of 1812? 

ERIC SORRELS: Klezmer is a musical tradition originated by the Ashkenazi Jews of Central and Eastern Europe. It’s a really expressive and dramatic musical style, with melodies that evoke big human emotions. The instrumentation is key too — klezmer music typically includes violin, accordion, clarinet, and percussion, as is the case for Indecent. I first encountered klezmer music as a member of the professional choir at Temple Emanu-El in New York City (a synagogue which Indecent references at one point!). I think it speaks to the unique experience of the Jewish diaspora that klezmer has made its way across time and space from centuries ago in Europe to Music City, USA in 2024. 

Yes! I have a background as a piano player, but the first time I ever held an accordion was October 2022 for Theatre Raleigh’s production of The Great Comet. The versatility of this instrument continues to amaze me. It’s kind of like walking around with a pipe organ strapped to your chest. The score of Indecent has been an opportunity for me to take my accordion-playing to the next level, and learning some of the trickier passages of this score has been extremely rewarding.

JHPENTERTAINMENT: Lately, I’ve ended my interviews by asking the last person I speak with a variation on this same question…What do you hope audiences take with them after having experienced Indecent at Nashville Rep?

ERIC SORRELS: I think for me, Indecent is a reminder of why we make theatre, why we attend the theatre, and why theatre will always be a vital part of human expression. The theatre is a sacred space where we can hold and examine our collective memory. I’m reminded of a classic Arthur Miller line from Death of a Salesman: “Attention must be paid.” We go to the theatre to pay attention; to remember parts of human history that would otherwise be forgotten; to find ourselves in a character who appears to have totally different experience from us. This play also reminds us that as long as there have been artists willing to show all the facets of humanity, from innocence to depravity, there have been those wishing to censor what they judge to be unsavory, immoral, or — yes, I’m going to say it — indecent. To that end, I hope audiences leave with a renewed appetite to see, support, and make more daring theatre.

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Nashville Repertory Theatre’s Indecent plays TPAC’s Johnson Theatre Thursday, February 2 thru Sunday, February 11. CLICK HERE for tickets to this powerful play. Following Indecent, Nashville Rep will host two nights of staged readings of playwright Lydia R. Diamond’s Stick Fly at Nashville Public Television’s Rains Avenue studio as part of their REPaloud series. Visit nashvillerep.org to secure your FREE spots for either night. Next up, The Rep will continue their regular season with The Color Purple on stage at TPAC’s Polk Theatre. The beloved musical based on Alice Walker’s classic novel will run April 5-14.  In the meantime, check out Nashville Rep online and follow them on Facebook, X, YouTube 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 10Q with Vegard Wikne, lead vocalist of Norway’s Dobbeltgjenger; new single ‘F.M.L.’ available on all platforms Friday, January 12

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Recently I had the opportunity to listen to an advance copy of F.M. L., the newest single from Norwegian rockers Dobbeltgjenger. One listen is all it took. With the Friday, January 12 release of their latest single serving as an introduction to North American audiences courtesy a streaming distribution partnership with newly formed Soundcrest Music Group, I knew I needed to know more about the band. To that end, I chatted with lead singer Vegard Wikne for the latest installment of my recurring interview feature, Rapid Fire.

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JHPENTERTAINMENT: As we begin, I have to tell you I love the name of the band. In fact, I have long said that doppelgänger, the 19th century spelling, is my favorite word. What went into deciding to name the band Dobbeltgjenger?

DOBBELTGJENGER’s VEGARD WIKNE: Thank you! Well, we were actually called Doppelganger the first couple of weeks, but ended up changing it to the Norwegian version, Dobbeltgjenger. It was originally a Twin Peaks reference and I just loved the feel of the name! And nobody else is called that!

JHPENTERTAINMENT: Dobbeltgjenger, being based in Norway, might not be familiar quite yet to American audiences. Let’s change that! For those not familiar, who’s who in Dobbeltgjenger?

DOBBELTGJENGER’s VEGARD WIKNE: I (Vegard Wikne) write most of the songs, sing and play the guitar (and now sampler!) live.

Jone Kuven is our trusted bassist and bass-synthist!

Bastian Veland plays the guitar and synths.

Sondre Veland (Bastian’s cousin) plays drums and piano.

JHPENTERTAINMENT: How long has Dobbeltgjenger been together?

DOBBELTGJENGER: This line up (the final form!) has been together since around 2020. The band Vegard and friends has been going since the first album in 2015.

JHPENTERTAINMENT: Your new single is F.M.L. but that acronym is a flip of what most people might initially think it stands for. How did you come up with the clever wordplay for the single?

DOBBELTGJENGER’s VEGARD WIKNE: The song was written about my ADHD, and the demo for it was called F.M.L. for some reason, haha. Probably a bad ADHD day… Then I really wanted to hold on to that title and wrote the chorus and made it an acronym for Feed Me Love. The concept revolves around ADHD and the fleeting connection with other people, with a  juxtaposition of the intense need for love and closeness.

‘F.M.L.’ cover art by Sierra McLean

JHPENTERTAINMENT: How did F.M.L. come to be your newest single?

DOBBELTGJENGER’s VEGARD WIKNE: It was one of the more driving and «hooky» songs of our bunch of songs (that will be released as an album in June). Just felt like a single!

JHPENTERTAINMENT: F.M.L. is quite the earworm: catchy melody and clever lyrics. How would you describe the song musically?

DOBBELTGJENGER’s VEGARD WIKNE: The song started with a mission: to make a song that sounds like ADHD. So I would describe it as kind of hectic, relentless and driving alternative rock/pop song. The song started with the jumpy synths that kind of reminded me of thoughts jumping around in ones head. And then I wanted a pumping and kind of random drum beat, with these crazy random fills, haha. I really think it sounds like the inside of my head.

JHPENTERTAINMENT: On the subject of the lyrics, my favorite F.M.L. lyric comes at the end of the first verse, “Life is a test for me, but I’m a bumblebee. Heavy and small-winged beast. I’m gonna fly even though I can’t.” Is there a lyric within F.M.L. that really speaks to you?

DOBBELTGJENGER: It’s probably that one. That line is the hope in the song. The resilience. Even though you have your dispositions, circumstances and things going against you, you go even harder at life to overcome it. You can fly even though you can’t, like a bumblebee.

JHPENTERTAINMENT: F.M.L. has a decidedly different vibe than Rocket Shoes, your 2022 release. And a quick search online categorizes Dobbeltgjenger as alt-rock…can Dobbeltgjenger be defined by one genre?

DOBBELTGJENGER’s VEGARD WIKNE: The short answer to that is probably no. The slightly longer answer is that we really don’t want to limit our music to a single genre. The most important thing to me is making music that feels real and that it feels interesting and engaging to me and the others in the band.

JHPENTERTAINMENT: The F.M.L. single artwork is by Canadian graphic artist Sierra McLean. McLean also provided cover art for your previous album The Twins and the aforementioned Rocket Shoes single. What is it about McLean’s visual aesthetic that embodies Dobbeltgjenger‘s sound and creative spirit?

DOBBELTGJENGER’s VEGARD WIKNE: I love Sierra’s art so much. I stumbled over her work on Tiktok last year and have worked closely with her ever since. She just has this playful but at the same time melancholic feel to her work, which I love and also think fits our music well.

JHPENTERTAINMENT: With the release of F.M.L., you’re working for the first time with newly formed Soundcrest Music Group for North American distribution and promotion. How excited are you for this new partnership and the prospect of more exposure in the US?

DOBBELTGJENGER’s VEGARD WIKNE:  We are all super excited about this! This is the first time we have had any type of representation in the US and it’s just amazing to have people working to get our music out of Europe and into, hopefully, a lot of American ears!

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To check out Dobbeltgjenger’s new single, F.M.L., CLICK HERE. Wanna keep up with the band? Check them out on their OFFICIAL SITE, or give them a follow on Facebook, Instagram, YouTube and Tiktok.

If you’ve enjoyed this latest Rapid Fire, be sure and CLICK HERE to check out previous conversations. if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram, Twitter and Facebook. Till then, #ListenToTheMusic!

Rapid Fire 20Q with director and cast of Circle Players’ The Lion in Winter; onstage at Looby Theater January 12-28

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If memory serves, it’s been since 2009-nearly 15 years-since Nashville audiences have had the chance to see a theatrical presentation of The Lion in Winter. All that changes Friday, January 12 as Circle Players presents the James Goldman-penned retelling of a certain drama-filled Christmas of 1183 hosted by England’s King Henry II, his long-imprisoned but still willful wife, Eleanor of Aquitaine and their children as the fate of this successor dominates the occasion. Directed by Clay Hillwig, Circle’s The Lion in Winter features among its cast, Jack E. Chambers as Henry II, Kay Ayers as Eleanor of Aquitaine and Elizabeth Burrow as Alais Capet. Recently, as the director and cast were readying the show for Friday’s opening, I had the opportunity to pose a few questions to Hillwig, Chambers, Ayers and Burrow for the latest installment of my recurring interview feature, Rapid Fire 20 Q.  

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RAPID FIRE 20Q WITH DIRECTOR AND CAST OF CIRCLE PLAYERS’ THE LION IN WINTER 

RAPID FIRE WITH THE LION IN WINTER DIRECTOR, CLAY HILLWIG

JHPENTERTAINMENT: How did you come to direct The Lion in Winter for Circle Players? 

CLAY HILLWIG: It appears to have been destiny. I had originally agreed to direct the play Clue in this same time slot, which would have been a lot of fun. But, due to a Broadway touring revival of the show, the rights became unavailable. The board then asked me to submit a list of shows that I would be interested in. After putting a list together, which included The Lion In Winter, I knew that this was the only show I really wanted to submit. So, I took a chance and only sent them this show. I then offered to meet with the board to share my vision and why I felt so strongly that this show should be a part of their season. Within the hour, I received a response that they were submitting for the rights. Like I said…destiny.

JHPENTERTAINMENT: What is is about this particular play that interests you as a director?

CLAY HILLWIG: I love plays that have a strong family dynamic. Even if the story is not necessarily directly centered around the family, I am generally moved with the relationship aspects of the story. A great example of this is The Godfather. While perceived to be a book and movie about organized crime, in reality the story was written about family. In this script, we see the power struggle within the royal monarchy, but the family relationships are the driving force within the story. Many of these same issues, can be found in the everyday lives of average families that we know or have experienced them first-hand within our own families. Parents struggling with their own marital issues. Children caught in between the two parents, all the while struggling to find their own identities in life. One of the most power scenes is the Father (Henry) and Son (Richard) conflict that many families know so well. One of the reasons that I felt strongly about the timing of putting this show up is the popularity of the HBO show Succession. The power struggle between the children within this media mogul family is very similar to what we see here in The Lion In Winter. Aside from the story line itself, it is the language is that I really love. Playwright, James Goldman has provided us with a script that is clever and very quick witted.  It lends to some wonderful interaction between characters and pacing that keeps an audience engaged. Besides, how can you not love Henry and Eleanor of Aquitaine?

JHPENTERTAINMENT: Many audience members, myself included may primarily be familiar with the piece thanks to the 1968 film adaptation starring Katharine Hepburn and Peter O’Toole or perhaps the more recent 2003 Showtime remake starring Patrick Stewart and Glenn Close. When were you first made familiar with the play itself?

CLAY HILLWIG: In regards to the 1968 film, I saw this in the early 70’s as a teenager. Even then, I was fascinated with the characters and story line. And of course, the performances by both Katharine Hepburn and Peter O’Toole are in my opinion some of their finest work. It was an ACT I production directed by Melissa Williams that first introduced me to the stage version. Brian Hill played Henry and the wonderful Maggie Bowden played Eleanor. It was a wonderful production. I left the theater knowing that I either wanted to play Henry, direct this show or hope for opportunities to do both. Not in the same show of course. Now I am blessed to direct the show and to be jealous of Jack Chambers for playing Henry all at the same time.

JHPENTERTAINMENT: Playwright James Goldman based The Lion in Winter, at least in part, around Henry II and historical elements regarding his hopes of his successor. WIth that in mind, how important is it to you as a director to present the story as authentically as possible?

CLAY HILLWIG: It was important to me, to spend time in table reads and relationship building prior to putting the show on its feet. As part of our process, we spent a couple of weeks just working through the character dynamics of the script and how it relates to history. It was important for us to learn not only the events prior to our story, but also what was to come post-Christmas 1183. It was fascinating to learn where they had been and where the family ended up in history. Each actor was committed to taking  it upon themselves, to learn everything they could about their characters place in history. In relation to how this plays on stage, we put full trust in the playwright. Goldman did a wonderful job of representing the entire family. Each individual is well represented as far as their place within the struggle for succession to the throne. In my opinion, he puts a real emphasis on the struggle that Henry had in his relationship with his sons and the decision of who would succeed him in greater detail than the movies previously mentioned did.

JHPENTERTAINMENT: What do you hope audiences come away from The Lion in Winter remembering about this production?

CLAY HILLWIG: One of the most important things that I hope with impact our audiences, is that there is still a place for classic pieces of theater. We seem to have moved to the newer shiny productions, often leaving creative gems such as The Lion In Winter, not given the attention they deserve.

RAPID FIRE WITH JACK E. CHAMBERS, HENRY II IN THE LION IN WINTER

JHPENTERTAINMENT: What is your favorite aspect of Henry II as he’s written in the script of The Lion in Winter?

JACK E. CHAMBERS: I love that Henry is a warrior, but he’s a word-wielding warrior with intelligence, strategy, cunning, and deadly humor in addition to being an actual soldier. The language of the play, especially the interplay between Henry and Eleanor, is just outstanding — some combination of the banter of 1940s comedies and the razor-sharp merciless attacks of Succession. He’s described as a phenomenal warrior, but all of the joy in playing him is in the satisfaction of the language, especially offsetting the fact that he’s starting to fade physically.

JHPENTERTAINMENT: During your three decades+ career, you’ve appeared in a number of Circle Players productions. What is is about Nashville’s oldest continuing theatre company that keeps you coming back?

JACK E. CHAMBERS: Circle is a Community Theatre in the truest sense of the word. I know folks whose Circle time goes back decades further than my own, and mine goes back 30 years at this point. I love the “all are welcome” spirit of a true Community company, and really selfishly appreciate that over those years, Circle hasn’t just been doing Oklahoma or Arsenic and Old Lace over and over — half the shows I’ve done with them were Nashville premieres.

JHPENTERTAINMENT: On the subject of previous Circle shows, back in 2010, you appeared in a production of The Grapes of Wrath, directed by Clay Hillwig, who’s directing The Lion in Winter. Are you enjoying working with Clay again and how is he as a director?

JACK E. CHAMBERS: I haven’t gotten to work with Clay since then — you end up in different places and it happens sometimes, right? — but I loved getting to pick right back up with him. Something I love about Clay is that he has the vision to imagine beautiful things *and* the skills to make them happen at the same time. He’ll throw out high-concept stuff, big-picture stuff, and also “hey just try this one little tweak” ideas, which is great. And again selfishly, when we did Grapes, I was a musician in the show as well, and pitched a mini-concert to him; we got to play period songs all through pre-show and intermission, which was a blast.

JHPENTERTAINMENT: As the central patriarch, you share the stage with Kay Ayers as Eleanor, Henry’s Queen, as well as Elizabeth Burrow, Henry’s rumored mistress. What’s been it been like sharing the stage with each of these actresses?

JACK E. CHAMBERS: I’ve known Kay for most of the years I’ve been in town — we did And Then There Were None together back in 1997 — and have loved playing off her. She’s a match for anybody physically or verbally, with wit and spirit and daring. She’s great. I just met Elizabeth this past year, and she’s been lovely; Alais is the single-most vulnerable character in the show, but shows crystal-clear understanding of the goings-on around her and true strength to persevere, and Elizabeth has nailed that balance. She’s a total charmer.

JHPENTERTAINMENT: A quick peek at your professional bio would indicate that throughout your stage career you’ve played a variety of characters often utilizing your prowess with varying dialects. The Lion in Winter being set in Medieval England in the year 1183, did the cast work with a dialect coach or were you each left to your own devices in that regard?

JACK E. CHAMBERS: I’d say it was some combination of “own devices plus tweaking as we went,” with additional discussions as required. Because we’re technically in Middle English, setting-wise, there’s a fascinating, not-historically-accurate-but-entertaining mix of Middle English, 20th century patter, anachronistic traditions, French terms and names and places, Shakespearean rhythms, Broadway Golden Age character types — it’s such a great stew. Although we didn’t work with a dialect coach, we did work with a linguistic consultant — a collaborator and friend of mine from college who’s an Old- and Middle English specialist — on people and place names, sources, literary origins for some of the references… it was fascinating!

RAPID FIRE WITH KAY AYERS, ELEANOR IN THE LION IN WINTER

JHPENTERTAINMENT: In Circle Players’ The Lion in Winter, you play Queen Eleanor of Aquitaine. Iconic actresses Rosemary Harris, Joan Fontaine and Stockard Channing all starred in stage productions while Katharine Hepburn and Glenn Close lit up the big and small screens respectively in the role you’re now taking on. So, not only are you playing an actual historical figure, but one with a luminous stage and screen history. How excited are you to put your own spin on Eleanor?

KAY AYERS: Excited would be an understatement. Thrilled with a touch of gobsmacked is close to my emotion! When I received the casting call, I don’t think I spoke for 30 seconds. This really is a once in a lifetime chance. I’m so lucky that I’ve been given this opportunity. And yes, I’m experiencing a lot of nervousness to get this character “right”.

JHPENTERTAINMENT: The Lion in Winter marks a bit of a homecoming for you, having made your Nashville acting debut back in 1994 in a Circle Players production. What was the show and what’s it like to be back with the company where it all started?

KAY AYERS: The Three Musketeers in Circle’s 46th season was my introduction to Nashville theatre and to Circle in particular. My first audition and show were in TPAC’s Johnson Theatre, where I went on to perform in numerous productions. Coming back to perform at Circle was a goal of mine for some years now. The stars aligned perfectly! Walking into the rehearsal space I helped move into, set up, and clean brought back a flood of emotions. We’ve lost so many of those individuals who gave their heart and soul to Circle over the years. I’m just blessed to have known most of the “old guard” and to have gleaned knowledge over the years, making me into the actress I am today.

 JHPENTERTAINMENT: In preparing to chat with you and your cast mates, I revisited the above mentioned 2003 telefilm. I love all the barbs and quick quips among the royals. Eleanor in particular has some great lines. My favorite, at least in the 2003 tv adaptation occurs in a scene involving Eleanor, John and Richard in which Richard threatens John with a knife. John says to their mother, “He has a knife”. Eleanor quickly replies, “We all have knives. It’s 1183. We are barbarians”. Do you have a favorite line in the show, whether it be yours or someone else’s?

KAY AYERS: Eleanor really does have the best lines! I relish several of those barbs she flings at her opponents! But one of the most deeply truthful lines, and weighty, is one that is delivered by Elizabeth Burrow, our enchanting Alais “I haven’t got a thing to lose: that makes me – dangerous.”  It’s so telling. All the other characters have a twisted and complicated series of moves they’re making. And here Alais stands, ready to take them all on. Because she really doesn’t have anything to lose and everything to gain. It’s just a powerful line.

JHPENTERTAINMENT: While you’ve shared the stage with Clay Hillwig in the past, this marks the first time he’s directed you in a show. During the rehearsal process, what is it about Clay’s directorial style that you admire most?

KAY AYERS: It’s crucial for an actor to bring their own creativity and artistry to a character or a scene. To be able to play and discover with my fellow actors is my favorite part of the rehearsal process. Clay allows us to do that. He doesn’t dictate or demand we do something. It’s a very collaborative process, and vital for successful production. Clay and I often laugh because I will throw an idea out, and then he shows me a note in his script with the exact same idea! It’s happened more than a handful of times!

JHPENTERTAINMENT: Something I love about period piece dramas is the costuming. Add to that a royal aspect and that’s a whole other level. What can you tell me about Costume Designer Grace Montgomery’s choices for The Lion in Winter and in particular your wardrobe as Eleanor?

KAY AYERS: The whole concept for the production isn’t to be ostentatious. Yes, they’re royalty, they’re rich, but it’s still 1183. The entire family has gathered for the first time in a long while. Grace has hit the mark with an even level of embellishments for each character. Eleanor is in a deep red throughout the show. While all the others are in a jeweled palate, hers definitely stands out a bit more than the rest. Grace was so determined to find the right color on one velvet dress, she dyed it 4 times to obtain what she wanted!  And I couldn’t be more pleased. It really adds to the regality of the character.

RAPID FIRE WITH ELIZABETH BURROW, AlAIS IN THE LION IN WINTER

JHPENTERTAINMENT: You’re playing Alais Capet in Circle Players’ The Lion in Winter. How familiar were you with the real-life Alais prior to being cast? AND..have  you researched the true history of the events within the play as you’ve developed your take on the character?

ELIZABETH BURROW: I did not know anything about Henry II nor Eleanor of Aquitaine before this show, let alone Alais Capet. I read that her mother, Constance of Castile, was the second wife of Louis VII after Eleanor and died giving birth to Alais. Her older sister Margaret was married to Henry III who died in 1183, the same year the play takes place, so there was a lot of pressure from the French for her to marry and keep the French-English alliance strong. After Henry’s death, Richard was no longer willing to marry her, so her brother King Philip brought her back to France where she married William IV Talvas, a small ruler of a French province when she was 34 years old.

JHPENTERTAINMENT: Is there an aspect of Alais that you’d like to incorporate into your own life or that you feel you truly share with the character as she’s presented in this piece?

ELIZABETH BURROW: Alais is a very sweet soul who doesn’t have the same manipulative tendencies as the rest of the characters in the show, and her intentions are always for the well being of Henry, even at her possible detriment. I think it’s something that I and anyone can strive to emulate more in our lives. Alais and I both tend to wear our hearts on our sleeves, and it’s a joy to share that in common with her as she goes through so much emotional turmoil throughout the play.

JHPENTERTAINMENT: I understand this is your first Circle show. Were you familiar with the company and how has the experience been thus far?

ELIZABETH BURROW: I had previously seen Peter and the Starcatcher (where I saw the brilliant Ezra High for the first time!) and their most recent production of Urinetown, but this is the first time I will be on stage for Circle Players, and it has been a wonderful experience to work with the cast and creative team. Being a smaller show than most, it brings a real sense of intimacy to the relationship not only between the characters but my castmates as well. It’s our own version of a family, though it resembles a much happier one than what we portray on stage.

JHPENTERTAINMENT: In addition to your on-stage role, you’ve also been part of the technical crew for The Lion in Winter, as scenic painter. What can you tell me about the set?

ELIZABETH BURROW: Clay is also our wonderful set designer for the show and approached me about painting for the stone walls backdrop that is a majority of the set. We wanted to replicate all the moodiness a medieval French castle offers as the single setting for the show, so most of the work was geared toward pulling out natural shadows that would occur in such a big and intimidating chateau. Like Henry, most of the set pieces are of a simple and non ostentatious nature, which assist in bringing a sense of reality and familiarity to the space.

JHPENTERTAINMENT: As Alais, you have two leading men, Jack E. Chambers as Henry II, with whom Alais is having an affair, and Sawyer Latham as Richard the Lionheart, with whom Alais has been betrothed since she was eight. Heck, even Ezra High’s John is interested in Alais. Of the three, IF you could choose who Alais ended up with, who would it be and why?

ELIZABETH BURROW: This is a difficult one. Many times in history, English royals have chosen heart over duty and sorely regretted their mistakes, and vice versa as well. As for John, I think she would’ve made a better babysitter than wife, though she possibly could have prevented some of John’s failures during his reign as king if he’d had a better companion to consult with. I am tempted to choose Richard as her husband as they could’ve lived their own separate lives and produced heirs and brought more stability to the kingdoms of France and England. However, I wouldn’t want to force that upon her, as she desperately tries to prevent the marriage from happening in the play (the heart wants what it wants.) I think her staying under Henry’s protection until his death was the right path to take, as I don’t think she ever wanted to have the title and power of Queen.

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Circle Players’ The Lion In Winter opens Friday, January 12 and runs through Sunday, January 28 at Z.  Alexander Looby Theatre (2301 Rosa L. Parks Blvd) (2301 Rosa Parks Blvd). Reserved seating tickets for The Lion in Winter are $27.  CLICK HERE to purchase tickets. Following The Lion in Winter, Circle Players will present another rarely seen theatrical experience, The Best Little Whorehouse in Texas, onstage March 15-31. For more information and to keep up with the latest from Circle Players follow them on Facebook and Instagram.

If you’ve enjoyed this latest Rapid Fire 20 Q, be sure and CLICK HERE to check out previous conversations. if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram, Twitter and Facebook. Till then, #GoSeeTheShow!

 

Rapid Fire Q&A with ‘Funny Girl’ National Tour Stars Katerina McCrimmon & Stephen Mark Lukas; at TPAC’s Jackson Hall January 2-7

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Tennessee Performing Arts Center is kicking off the new year and the second half of their 23/24 HCA/TriStar Broadway at TPAC season with the Broadway hit musical Funny Girl. Based in part on the true-life story of popular vaudeville-era superstar, Fanny Brice and her oft-tumultuous relationship with charming but unsavory gambler, Nicky Arnstein, the National Tour of Funny Girl stars Katerina McCrimmon as Fanny and Stephen Mark Lukas as Nicky. Taking a break from their holiday time off, McCrimmon and Lukas kindly agreed to answer a few questions for my latest Rapid Fire Q&A before the show opens at TPAC’s Jackson Hall Tuesday January 2 with a run through Sunday, January 7. What follows are those conversations:

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Rapid Fire Q&A with Funny Girl stars Katerina McCrimmon and Stephen Mark Lucas

Rapid Fire Q&A with Katerina McCrimmon, Fanny Brice in Funny Girl

JHPENTERTAINMENT: You’re currently starring in the national tour of Funny Girl. Prior to being cast, how familiar were you with Fanny Brice, the multi-talented performer upon whom the musical is loosely based, AND…did you do any further research on her after being cast?

KATERINA McCRIMMON: Besides dialect work and learning the material, becoming Fanny came quite easily to me. We both have this drive and zest for life and we know that our purpose on this Earth is to share our gift in artistry and make people feel something. During the rehearsal process, I strived to always have fun like I know Fanny would and connect to the emotional life of Fanny through her fears and desires. I did research on her scanning through her videos and her biography, but I knew at the end of the day I had to trust in my essence and try not to be a carbon copy of her – especially since the show is so loosely based on her life. 

JHPENTERTAINMENT: What’s one aspect of the character of Fanny Brice that you hope to adapt in your own life long after the tour is over?

KATERINA McCRIMMON: Fanny Brice is one of, if not the hardest role in the musical theatre canon and I’m so grateful our creative team has entrusted me to portray her. She’s funny, powerful, wears her heart on her sleeve, and through playing her I’ve definitely learned to champion these things about myself.

JHPENTERTAINMENT: Funny Girl features songs by Bob Merrill & Jule Stine. Among the tunes is Don’t Rain on My Parade. What’s the easiest way someone can rain on your parade?

KATERINA McCRIMMON: I’d rather focus on the positive – I think someone can easily make my parade through joy and laughter. It takes a lot to upset me – I just don’t think it’s worth my energy. 

JHPENTERTAINMENT: Within the plot, Fanny finds love with Nick Arnstein. In real-life, you’ve found it with your musician husband Matias Sanes, whom you married in 2021, so basically you’re still honeymooners as far as I’m concerned. While on tour, does Matias get the chance to occasionally fly to you? How are you staying connected?

KATERINA McCRIMMON: Matias and I are both artists in our own right and so we both stay quite busy and fulfilled in our own creative projects. He’s the bass player in many bands and one called Kore Rozzik has been consistently opening for Ace Frehley of KISS. We give each other space to explore our own artistic pathways and then once we’re aching for each other, we book a flight to reunite. I would say that happens every two to three weeks. It’s been challenging, but a huge opportunity for growth and I’m grateful for that. 

JHPENTERTAINMENT: Speaking of connections, your on-stage scene-partner Stephen Mark Lucas who’s playing Nicky, Fanny’s most infamous husband. I’m about to chat with him, so I’ll end my time with you by asking…what’s your favorite aspect of sharing the stage with Stephen?

KATERINA McCRIMMON: Stephen is such a dear scene partner. He’s always so sensitive and kind. We love to sneak jokes to each other onstage and we’ll always check in to see how our spirits are holding up. There was one day during tech rehearsal when he made me laugh harder than anyone else has during this entire process. I think it was a mix of the fact that he caught me off guard (Stephen is usually pretty serious) and that we were so delirious from a 10 hour day in the theater. I was still laughing at his joke the next morning. 

Rapid Fire Q&A with Stephen Mark Lukas, Funny Girl’s Nicky Arnstein

JHPENTERTAINMENT: I just chatted with Katerina and ended my questions for her asking her about having you as a scene partner, so I’ll start our conversation by asking you what you appreciate most about Katerina as your character Nick Arnstein’s tumultuous love interest?

STEPHEN MARK LUKAS: I’ve absolutely loved having Kat as a scene partner. Her vocal prowess and musicianship are unmatched- listening to her sing this score every night is heaven. In addition, she has a very raw vulnerability underneath all of that power that is so endearing. She is so connected onstage, and we always have each other’s backs.  It’s impossible not to fall in love with her. 

JHPENTERTAINMENT: Who is Nick Arnstein to you?

STEPHEN MARK LUKAS: I’ve really grown very fond of Nicky! He, like Fanny, is ambitious and hell- bent on succeeding at all costs. He is charming, funny, and very much a romantic. There is also a dark side to him and a rage simmering just below the surface of his polished exterior. It’s fun to play with that dichotomy. 

JHPENTERTAINMENT: Having understudied the role of Nicky on Broadway, are there nuances of the character that you’re enjoying discovering and developing as the tour continues?

STEPHEN MARK LUKAS: I have had a great time finding the humor in the scenes with Fanny. I guess my continued exploration is how to connect with his vulnerability in the second act as we see him start to unravel. I think it’s always interesting to find the humanity in a character who may be troubled- what drives someone to make mistakes when they’re humiliated or desperate? It’s finding that empathy again and again, as well as deepening the onstage marriage between Nick and Fanny that drives the story. 

JHPENTERTAINMENT: Is there a line, a scene or a song in the show that resonates with you personally?

STEPHEN MARK LUKAS: I love hearing the song People every night. It’s a very intimate moment between Nick and Fanny, and you can just hear the audience sigh with delight when she begins singing it. It’s really a beautiful moment. 

JHPENTERTAINMENT: What do you hope audiences come away remembering about Funny Girl?

STEPHEN MARK LUKAS: I hope that audiences can really enjoy the beautiful score by Jule Styne and a show that is an unapologetic love letter to the grandeur of Broadway. I hope they’ll take a heartfelt emotional journey with us. There is a lot that resonates today in this classic that everyone thinks they know-  Fanny’s journey is inspiring to anyone who has ever been told that they can’t or shouldn’t try to pursue their dreams. 

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With not a cloud in the sky an no chance of any rain on the parade of Funny Girl‘s Music City Opening Night, the people of Nashville are invited to find out they lyrical answer to What Do Happy People Do? when Funny Girl sets up shop at TPAC’s Jackson Hall Tuesday, January 2 through Sunday, January 7. CLICK HERE for tickets or more information. You can also follow Funny Girl on Instagram, X (Twitter) and Facebook or visit The Official Funny Girl site for more info on the show or future tour stop details.

Following Funny Girl’s January 2-7 Nashville tour stop, next up for Broadway at TPAC is a limited two-night engagement of the National Tour of The Cher Show with performances January 19 and 20. CLICK HERE for tickets or more info. Be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org,  TPAC on Instagram,  TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

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

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

Rapid Fire 20Q with cast of Studio Tenn’s ‘It’s A Wonderful Life: A Live Radio Play’; onstage at Turner Theatre December 7- December 24

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I can’t get enough of this time of year when even my recurring interview feature, Rapid Fire 20Q gets into the holiday spirit. To that end, here’s another Christmas-themed Rapid Fire 20Q! This time I’m chatting with Geoff Davin, Caleb Shore, Mariah Parris and Gerold Oliver, cast members of Studio Tenn’s holiday offering It’s A Wonderful Life: A Live Radio Play, opening this week at Studio Tenn’s recently renovated and renamed Turner Theatre located inside The Factory at Franklin (230 Franklin Road, Franklin, TN). Having first presented this unique adaptation of the familiar story of George Bailey and the folks from Bedford Falls in the winter of 2021, It’s A Wonderful Life: A Live Radio Play will once again delight holiday audiences beginning Thursday, December 7 and continuing for an extended run through Christmas Eve, Sunday, December 24.

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RAPID FIRE 20Q WITH CAST OF STUDIO TENN’s IT’s A WONDERFUL LIFE: A LIVE RADIO PLAY

RAPID FIRE Q&A WITH IT’s A WONDERFUL LIFE’s GEOFF DAVIN

JHPENTERTAINMENT: Among the characters you portray in Studio Tenn’s It’s A Wonderful Life: A Live Radio Play, you play radio station announcer Freddie Filmore. What’s one trait of Freddie’s personality that you’re enjoying exploring?  Side Note: Did you know Freddie Filmore is an apparent wink to I Love Lucy in that there was a recurring character with that name who was an announcer and TV game show host in several episode of the classic sitcom?

GEOFF DAVIN: First of all…NO I did not know that reference to I Love Lucy! I love that!!!

And secondly…what’s fun about Freddie is that there is something just so satisfying about leaning into that 1940’s radio announcer. There’s a warmth and home-iness to him that just brings to mind a family gathered around their radio, in front of their fireplace, the snow gently falling, the lights on the Christmas tree twinkling. While he is probably the character that I spend the least amount of time inhabiting, we come back to him every so often throughout the show. So he’s a wonderful reset button. A warm place to come home to after we’ve been all over Bedford Falls.

JHPENTERTAINMENT: Presents on Christmas Eve or Christmas Morning?

GEOFF DAVIN: Definitely Christmas morning.

JHPENTERTAINMENT: Rudolph or Frosty?

GEOFF DAVIN: That’s such a hard one. I love them both. But I’m going to say Frosty. Because while Rudolph leads the sleigh every year, and Santa couldn’t do it without him, old Frosty is around for only a short while. The magic in that old silk hat is fleeting. So we need to be a little extra grateful for the time that we have with him. 

JHPENTERTAINMENT: 1987’s A Muppet Family Christmas or 2002’s A Very Merry Muppet Christmas Movie?

GEOFF DAVIN: Without a doubt, 1987’s A Muppet Family Christmas.

JHPENTERTAINMENT: Favorite Christmas Memory?

GEOFF DAVIN: I was very fortunate in that my parents did many things right. But one thing they truly knocked out of the park was their ability to create Christmas magic. There are simply years and years of beautiful Christmas memories to sift through. The smell of the box of ornaments after a year in the attic, going door to door throughout our neighborhood to sing Christmas carols, the annual visit to the town center tree lighting ceremony/nativity viewing, running outside Christmas morning to find the bits of carrot that we left for the reindeer scattered around the yard, and of course the cookie crumbs that Santa left on his plate of cookies. And then, on Christmas morning, we couldn’t just run to the tree. Oh no! There was an order of business. We had to wait in the hallway. Then our parents would take us around to the room where our stockings were hung by the chimney with care…literally. And only after we were done there, could we enter the room with the tree. Even during the years when the family belt had to be tightened, the magic never wavered.

Then we would pile into the car to visit both sets of grandparents. But it wasn’t just the grandparents. Everyone in the family…aunts, uncles, cousins, would gather at those two houses. So we got to share the day with all of our extended family. The food. The conversation. The music. I’m actually getting emotional just typing this. I’m so grateful for the beautiful traditions that my parents created and gave to us. Because of them, Christmas will always be a magical time of year. 

RAPID FIRE Q&A WITH IT’s A WONDERFUL LIFE’s MARIAH PARRIS

JHPENTERTAINMENT: This year you and a couple of your cast mates are returning to the roles you portrayed when Studio Tenn debuted their production of It’s A Wonderful Life: A Live Radio Play. You’re cast as radio personality Sally Applewhite who then voices Mary Bailey in the station’s presentation of It’s a Wonderful Life. What’s it like retuning to the role?

MARIAH PARRIS: It’s an absolute pleasure. Performing this show two years ago really surprised me in that this story has stuck with me and permanently altered my heart. It helped reframe my personal views on community and inspired me to live a more connected life all year long. I’m excited to return to the role to refresh this lesson and I hope the audience will have the same take away! 

JHPENTERTAINMENT: Shared names not swaying your answer, who’s the real Christmas Diva…Mariah Carey or Michael Bublé?

MARIAH PARRIS: I think we all know Christmas officially starts the first time we hear All I Want For Christmas is You….enough said 

JHPENTERTAINMENT: Do you prefer Santa in a full-length Victorian Robe or the more modern two-piece fur-trimmed suit? 

MARIAH PARRIS: Modern Santa all the way- you can’t tell me that the Victorian robe is practical for getting in and out of that sleigh! 

JHPENTERTAINMENT: The Santa Clause movies or Home Alone franchise?

MARIAH PARRIS: I grew up watching Home Improvement so it’s gotta be Tim Allen for me 

JHPENTERTAINMENT: Favorite Christmas Memory?

MARIAH PARRIS: One year when I was still in elementary school, my parents surprised me with a super cool bunk bed that had a futon couch on the bottom. We finished opening presents and they told me to put my gifts in my room. When I opened the door there it was: the most beautiful big kid bed I’d ever seen. I still have no idea how they set it up without me noticing. Total Christmas magic. Thanks mom and dad! 

RAPID FIRE Q&A WITH IT’s A WONDERFUL LIFE’s CALEB SHORE

JHPENTERTAINMENT: You’re back again having performed the dual roles of radio personality Jake Laurentis and It’s A Wonderful Life’s George Bailey. Revisitng George, are there aspects of his personality you are more conscious of in your portrayal this go-round?

CALEB SHORE: Finding George a second time means I get to pick up where I left off two years ago. Having Mariah Parris back as Mary and Gerold Oliver as Harry and Clarence make the process totally seamless. 

This time around I’ve peered deeper into George’s passions. His dreams are grand. His love runs deep. His willingness to go the extra mile wins the day every time. He’s smart and poetic, even when he lets his goofy side take the wheel. 

A character only gets to live as long as the actor inhabits them. We’ve now doubled George’s lifespan with me, so once I reacquainted myself with his voice and movement I got to let him walk around and see the world again. He gets more time to spend with his friends and his family.  He gets to fall in love, encounter heartbreaking loss, and discover himself more and more. Mariah and Gerold play characters George holds very dear. That they are back showing his world just as he remembers it makes the whole experience so rewarding.

Now I don’t know if any of this long-winded answer will be visible to audiences. They may come away thinking everything looks the same, and that’s okay. But for us, for me, every look and movement and sound carries more weight, because we’ve been around longer to live them. 

JHPENTERTAINMENT: Fruit Cake or Pumpkin Roll?

CALEB SHORE: Pumpkin Roll

JHPENTERTAINMENT: A Charlie Brown Christmas or The Nightmare Before Christmas?

CALEB SHORE: A Charlie Brown Christmas, but if we’re talking true favorites I have to mention Home Alone, The Preacher’s Wife, and Elf.

JHPENTERTAINMENT: Old fashioned Christmas Tree decorations like strings of popcorn and paper chains or blinged out store bought fabulousness?

CALEB SHORE: Our tree is usually decorated with personal ornaments that remind us of times gone by. Anything we can find while traveling, we’ll buy to remember that trip.

JHPENTERTAINMENT: Favorite Christmas Memory?

CALEB SHORE: One favorite Christmas memory I have is from the first Christmas after I got married back in 2015. My wife and I brought home our kitten, Cashew. I’d kept the secret for weeks and it was a terrific surprise.

RAPID FIRE Q&A WITH IT’s A WONDERFUL LIFE’s GEROLD OLIVER

JHPENTERTAINMENT: Like Mariah and Caleb you’re back at Studio Tenn, having debuted the role of Harry ‘Stacks’ Heywood in their 2021 production of It’s A Wonderful Life: A Live Radio Play. What’s your favorite aspect of Stacks’ personality?

GEROLD OLIVER: The thing I like most about Stacks is that he’s a lot like me. He’s fun, he’s silly, and he doesn’t take himself too seriously.

JHPENTERTAINMENT: The classic stop-action animated Christmas special, The Year Without a Santa Claus features the Miser Brothers…Heat Miser and Snow Miser…which would you prefer to be?

GEROLD OLIVER: Snow Miser! Definitely!

JHPENTERTAINMENT: What one Christmas song truly embodies your thoughts of the holiday season?

GEROLD OLIVER: Any time you hear the first word of Mariah Carey’s All I Want for Christmas you know the song, the singer, and most importantly, you know the season!

JHPENTERTAINMENT: Baked Ham or Turkey and Dressing?

GEROLD OLIVER: Baked Ham. Especially with honey!

JHPENTERTAINMENT: Favorite Christmas Memory?

GEROLD OLIVER: I’ll never forget when I got both Pokémon Gold Version and Pokémon Silver Version for Christmas. Best day ever.

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With that, my conversations with the cast of Studio Tenn’s It’s A Wonderful Life: A Live Radio Play drew to a close, but George Bailey’s life-altering adventures in Bedford Falls…and beyond, are just beginning as the show opens Thursday, December 7 at Studio Tenn’s Turner Theatre inside The Factory at Franklin. Showtimes are Thursday-Sunday evenings at 7:00p.m. with additional matinee performances at 2:00 p.m. Saturdays and Sundays. (On Christmas Eve, Sunday, December 24, the final performances will take place at the 2:00p.m. matinee…even George Bailey needs to be home for Christmas Eve night). Tickets range in price from $35 to $70. CLICK HERE for tickets.

Up next for Studio Tenn, the current season continues with Driving Miss Daisy starring Emmy and Golden Globe winning actress Sally Struthers as Miss Daisy on stage at Turner Theatre March 7-17, 2024! Struthers of course starred as Gloria Bunker-Stivic in TV’s All In The Family and counts among her may stage credits, starring alongside Brenda Vaccaro in Neil Simon’s gender-flipped version of his hit Broadway play, The Odd Couple. Taking on the role of Miss Daisy won’t be Struthers‘ first appearance at Studio Tenn as she was last seen on Studio Tenn‘s stage during the 2021/2022 season when she appeared alongside John Schuck in a limited engagement of  the two-person play, Love Letters. For tickets or more information on Driving Miss Daisy, CLICK HERE for tickets or more information, then be sure to check out Studio Tenn online at StudioTenn.com or on social media at Facebook, Instagram and Twitter.

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

Rapid Fire 20Q with cast of ‘A Tuna Christmas’; Opening at Playhosue 615 December 1

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Each holiday season there’s a handful of theatrical offerings from classics like A Christmas Carol to more modern fare such as Elf. Nestled hilariously somewhere in the middle of these wide-ranging shows is A Tuna Christmas, the brainchild of Joe Sears and Jaston Williams. With only two actors playing every character in the fictitious town of Tuna, Texas, A Tuna Christmas is truly a knee-slappin’, belly-laughin’ good time that will warm your spirits quicker than a shot of brandy in eggnog. Playhouse 615 (located at 11920 Lebanon Road in Mt. Juliet, TN) will be presenting their production of the holiday favorite beginning this weekend as the show opens Friday, December 1 and runs through Sunday, December 17. Directed by Memory Strong-Smith, with set design by Eric Crawford, Matthew N. Smith and Daniel Vincent star as the citizens of Tuna, Texas as they ready for the holiday season.

Earlier this week as the director, set designer and two-man cast prepared for the show’s opening, I had a chance to pose a few questions to each of them for the latest installment of my recurring interview feature, Rapid Fire 20Q. As I have done the last few years, you’ll notice the questions, like everything else around us this time of year, have a decidedly holiday theme.

RAPID FIRE 20Q WITH CAST & CREW OF PLAYHOUSE 615’s A TUNA CHRISTMAS

RAPID FIRE Q&A WITH A TUNA CHRISTMAS DIRECTOR, MEMORY STRONG-SMITH

JHPENTERTAINMENT: What has been the most rewarding aspect of directing Playhouse 615’s holiday offering, A Tune Christmas?

MEMORY STRONG-SMITH: Seeing the whole project cone together. This show has lived in my head for about a year, and it’s really lovely to see everything- lights, costumes, set, characters, trees, and sound come to insane life. It took a village to get us to this point and I am so grateful to Matt and Daniel, Eric who designed and almost singlehandedly built the set, our dresser and ASM Tony Barrow for keeping the chaos as contained as possible back stage, and Nikki Nelson-Hicks who took ownership of running the lights and sound like she was born to it. It’s a LOT and I’m so grateful to each of them for partnering with me on this journey. 

JHPENTERTAINMENT: Are you more likely to return a gift or regift it?

MEMORY STRONG-SMITH: Depends on the gift. If it’s something I think someone else could use or want, I’ll pass it along. 

JHPENTERTAINMENT: Snowball fight or building a snowman?

MEMORY STRONG SMITH: Snowman. 

JHPENTERTAINMENT: Die Hard or Love Actually?

MEMORY STRONG-SMITH: Oh man! I love them both!! Die Hard, tho edges out Love Actually, but a nose hair! 

JHPENTERTAINMENT: Favorite Christmas memory?

MEMORY STRONG-SMITH: There are many, but I have to say the last Christmas I got to spend with my mom before she died. We put on Mariah’s 1st Christmas album (this was 1995), drank adult beverages, got a bit tipsy, and decorated the tree. It was just a lovely time spent together and I so cherish that memory. 

RAPID FIRE Q&A WITH A TUNA CHRISTMAS STAGE MANAGER/SET DESIGNER/GRUMPY ELF, ERIC CRAWFORD

JHPENTERTAINMENT: As Stage Manager/Set Designer/Grumpy Elf for Playhouse 615’s A Tuna Christmas, is there a detail in the set that you’re most proud of?

ERIC CRAWFORD: The Christmas trees. This show features 7 Christmas trees which determine the setting for each scene. I put a lot of thought into capturing Matt and Daniel’s interpretations of the characters and what each character’s Christmas tree would look like. 

JHPENTERTAINMENT: Christmas Breakfast, Christmas Lunch or Christmas Dinner?

ERIC CRAWFORD: Dinner

JHPENTERTAINMENT: Sleep late or up early for presents?

Sleep late is always the appropriate answer. 

JHPENTERTAINMENT: Gift Bag or meticulously wrapped presents? 

I tend to be involved with holiday productions, so I usually wind up paying my son, Ace, to wrap for me. 

JHPENTERTAINMENT: Favorite Christmas memory?

How about one theme? Family.  So many memories of my relatives revolve around Christmas, especially those who have passed.  

RAPID FIRE Q&A WITH A TUNA CHRISTMAS STAR, MATTHEW N. SMITH

JHPENTERTAINMENT: Of the myriad of characters you play in A Tuna Christmas, do you have a favorite? 

MATTHEW N. SMITH: Every character is special to me for one reason or another and I can’t say I have a favorite but I’m going to go with Arles Struvie because he has a really touching relationship that develops through the show (leaving out details to avoid giving away the plot). 

JHPENTERTAINMENT: A walk in the wintery woods or a stroll through a decorated neighborhood?

MATTHEW N. SMITH: I’m going to go with the decorated neighborhood. It sounds slightly less freezing. 

JHPENTERTAINMENT: Who was the better Scrooge…Bill Murray in Scrooged, Jim Carrey in 2009’s A Christmas Carol or Uncle Eider as Scrooge McDuck? 

MATTHEW N. SMITH: The answer will never not be Bill Murray.

JHPENTERTAINMENT: Would you prefer a ride on the Polar Express or a Horse-drawn Sleigh? 

MATTHEW N. SMITH: Since I have an affinity for the traditional and picturesque, I’ll take the sleigh. Under a warm blanket with a hot toddy and my Mine.

JHPENTERTAINMENT: Favorite Christmas memory? 

MATTHEW N. SMITH: When I was 17, my mother gave me a Fender acoustic guitar. It’s been through everything with me ever since and though we’re both a little the worse for wear, we can still strum a pretty nice tune. 

RAPID FIRE Q&A WITH A TUNA CHRISTMAS STAR, DANIEL VINCENT

JHPENTERTAINMENT: Like your costar, you also play a ton of characters in A Tuna Christmas. Who’s your favorite?

DANIEL VINCENT: Though Inita Goodwin, the sassy waitress, is a lot of fun, I’d have to say that Bertha Bumiller is my favorite. She’s the heart of the show and delivers some of the most country and hilarious one-liners.

 JHPENTERTAINMENT: Emmet Otter’s Jug-Band Christmas or John Denver and The Muppets: A Christmas Together?

DANIEL VINCENT: Emmet Otter’s Jug-Band Christmas is a classic, but I’m going to pretty much always go with The Muppets any time there is a choice.

 JHPENTERTAINMENT: Handcrafted presents or store-bought with thought?

DANIEL VINCENT: I don’t really have a preference here as long as it’s something practical or that I can enjoy throughout the year. I’m not a fan of tchotchkes.  

 JHPENTERTAINMENT: Ice Skating or Caroling?

DANIEL VINCENT: I’ve only tried ice skating once and it was a tremendous and painful failure. I’m a singer, so I’m going with caroling. Fewer bruises and broken bones.

 JHPENTERTAINMENT: Favorite Christmas memory?

DANIEL VINCENT: We didn’t have money growing up, so my mother made sure Christmas was more about service to others than getting things on your wish list. My favorite Christmas memory is probably the first time I volunteered with my rugby team to deliver meals on Christmas Day with Nashville Cares. It was humbling as well as heart-warming and brought home what the season is really about. I’ve done it every year since. It’s become a part of my holiday traditions.

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With that my conversations with the cast of Playhouse 615’s A Tuna Christmas came to a close, but it’s just the beginning of the riotous laughter they’ll be providing during the holiday season as the show opens Friday, December 1 and continues weekend through Sunday, December 17. CLICK HERE for tickets or call the box-office at 615.319.7031. When available, tickets can also be purchsed at the door an hour before each performance.

Following a brief holiday break, up next at Playhouse 615 is The 39 Steps., directed by Diane Bearden-Enright, onstage February 16- March 3. For more on these shows and to keep up with Playhouse 615, check out their website or find them on Facebook.

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

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

Rapid Fire Q&A with Theatre of Gadsden’s ‘Sordid Lives’ cast members; onstage at The Ritz in Gadsden, Alabama September 8 thru 17

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When I heard my friend Joy Tilley Perryman was once again portraying Sordid Lives’ Noleta Nethercott—this time in Theatre of Gadsden’s production at The Ritz (310 North 27th Street, Gadsden, Alabama)—I knew I had to chat with her, having seen (and loved) her previous turn as Noleta in Nashville back in 2013. It was a nice added surprise when I learned that one of her costars this go-round is Billy Jenkins as Brother Boy, having gotten the chance to chat with him recently for a previous Rapid Fire 20Q. Add to that the chance to get to speak to Kathleen Jensen, who’s playing Juanita Bartlett, one of my all-time favorite characters, and I was fully in!

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Rapid Fire with Theatre of Gadsden’s Sordid Lives’ stars Billy Jenkins, Kathleen Jensen and Joy Tilley Perryman

Rapid Fire with Billy Jenkins, Brother Boy in Theatre of Gadsden’s Sordid Lives

JHPENTERTAINMENT: Who is Earl “Brother Boy” Ingram?

BILLY JENKINS: Brother Boy Ingram is a gay, cross dressing, Tammy Wynette female impersonator, who was wrongly put into a mental institution by his mother because he was beaten up for being gay. Brother Boy represents what all gay men have experienced: bullying, defamation, a search for identity, and a search for belongingness in a world where being bullied for being gay isn’t a crime, where defamation of a gay person is not considered taboo, where our search for identity seems like a never-ending process, and where our search for belongingness, if we are lucky, ends in a place of happiness.

JHPENTERTAINMENT: Billy, I gotta admit, when Joy and I first talked about me doing a Rapid Fire 20Q with you Sordid Lives folks, I was excited to get to chat with you again, having previously featured you in conversation about your participation in Joy’s Jubilations presentation of Listen to Your Mother. In that interview you talked about your late mother a bit. Gotta ask. What would your Mom make of Brother Boy?

BILLY JENKINS: Well, first of all, my mom never saw me in any production (unless you count my first grade play where I was a funny valentine), because she passed away when I was 21 and it wasn’t until after her passing that I got involved in theater. As far as what she would think about Brother Boy….. first of all, she’d be impressed that her baseball playing, high school football playing son could walk and run in stiletto heels. Secondly, I think she’d be proud of my character because Brother Boy’s character is NOT how I act in real life. I had to study his mannerisms very hard and dig a little to find this character. And lastly, I think she’d be like Latrelle in the show, where she always knew that I was gay since I was a little boy. You see, I was my mom’s favorite of her six children, and like Ty and Latrelle in the show, I think her knowing that I was different was what bonded us.

 JHPENTERTAINMENT: Of course I can’t take about Brother Boy without thinking of Leslie Jordan, who created the role on stage, the big screen and in the Sordid Lives tv series. I was fortunate to have gotten to know Leslie over the years. Knowing that role is such an iconic role, particularly to the LGBTQIA+ community, is there an extra sense of getting the balance of humor and heart just right?

BILLY JENKINS: OMG!!! So much pressure! When I first watched the movie, I fell in love with Leslie Jordan and his talent.  I have always wanted to do this role. Many guys in theater dream of being Jan Val Jean or The Phantom, but I remember seeing Leslie Jordan’s genius and setting my goal of playing this role at least once in my life. I am PROUD to play this role as a member of the LGBTQIA+ community. This role not only personifies what gay people had to endure 25 years ago, it solidifies the idea that being gay doesn’t mean we need to be locked up in a looney bin. This role is significant because it represents a “stereotype” of what people think being gay means, but in reality, we come in all shapes, sizes, attitudes, and mannerisms and accepting those differences (even within the gay community) leads to a more unified and coherent community. Getting the balance between what needs to be funny and what audiences need to take seriously is tricky, but doable.

JHPENTERTAINMENT: Brother Boy is a legend (in his own mind at least) for this portrayals of his Country Queens, Tammy, Loretta and Dolly. If you were to do a music tribute yourself, who would you honor and why?

BILLY JENKINS: I am finding out very quickly that I was NEVER meant to do drag. My feet hurt in heels, makeup takes too long, and my undergarments are extremely uncomfortable. With that being said, I don’t think I could ever do a female musical tribute (I might make an exception for Dolly, though) but if I had to pick, I’d say Johnny Cash. He was a musical genius, down to earth, and his music is still going strong. I do have to mention that I’m like a fifth cousin to Conway Twitty (Harold Jenkins), so I hope he doesn’t roll over in his grave because I picked Johnny Cash.

JHPENTERTAINMENT: Aside from a smile on their faces and side-splitting laughter, what theme, idea or thought do you hope audiences take away after seeing Theatre of Gadsden’s Sordid Lives?

BILLY JENKINS: I hope all mommas who have gay sons walk away from the show as a proud momma of a gay son. I hope all gay men who are ashamed of who they are walk away from the show being proud of who they are. I hope all bullies who have ever bullied someone because they are gay walk away from the show with regret of having ever done so. I hope all fathers who have told their sons that real men don’t cry walk away from the show knowing that crying doesn’t make you less of a man. And, I hope all people walk away from the show realizing that family is family and no matter what our differences are, families need to love each other.

Rapid Fire with Kathleen Jensen, Juanita Bartlett in Theatre of Gadsden’s Sordid Lives

JHPENTERTAINMENT: I understand this is your first time doing a show with Theatre of Gadsden. How much fun are you having so far?

KATHLEEN JENSEN: I am having a blast! It’s been since 2020 that I’ve been on stage. Wow, have I missed it!

JHPENTERTAINMENT: While this is your first time playing Juanita and your first show with Theatre of Gadsden, this isn’t your first foray into the world of Del Shores. Having met Del a time or two, was there anything he’s said that you’ve now put into practice as you approach the role of Juanita?

KATHLEEN JENSEN: I have worked with Del on a few occasions at TNT with his one man show. He also saw a production of “Daddy’s Dyin’ Who’s Got The Will”. The one thing that he has always stressed is that these are real people, not just characters. 

JHPENTERTAINMENT: One of my favorite of Juanita’s scenes involves a story about a particular childhood craft project, “Ol Cock-a-doodle”. Were you a crafty kid and is there any evidence anywhere around or did your crafts go the way of Juanita’s beloved rooster art?

KATHLEEN JENSEN: I was a very crafty kid! Some of it went the way of ol cockadoodle, but when I cleaned out my mom’s house I was surprised to find more than a few pieces still in existence. One was a framed paint by number of a horse. I have it in my home now. 

JHPENTERTAINMENT: The tagline for Sordid Lives is: “A black comedy about white trash”. There’s something a little white trash in all of us. What about you? What’s the most unashamed white trash thing about yourself?

KATHLEEN JENSEN: Just because I like PBR draft don’t mean I’m white trash! LOL

JHPENTERTAINMENT: Another great Juanita scene involves the art of reapplying her lipstick while never removing the cigarette from her lips. Have you mastered this unique ability as well?

KATHLEEN JENSEN: I’ve spent time working on it. I guess you’ll have to come to the show to find out! 

Rapid Fire with Joy Tilley Perryman, Noleta Nethercott in Theatre of Gadsden’s Sordid Lives

JHPENTERTAINMENT: You have a bit of history with Sordid Lives, having played Noleta in a production in Nashville that I was thrilled to have seen. Between that production and this iteration, are there aspects of Noleta’s character that you’ve discovered, or things that you’ve expanded upon in your portrayal of her?

JOY TILLEY PERRYMAN: That is a loaded one JHP. Between my last Noleta and this one I have lost the love of my life and I suppose that makes me even more aware of marriages. What makes good ones and what makes bad ones and why some people should never even try! G.W. and Noleta don’t have a good marriage but there was something there once upon a time. I think Noleta is grieving the demise of her marriage and I understand that grief all too well. This Noleta is sad in a way that I had not thought of in 2013.

JHPENTERTAINMENT: In addition to playing Noleta, you’ve also worked behind the scenes on costumes and wigs, right?

JOY TILLEY PERRYMAN: And props and set dressing. I made all the faux food that is on Sissy’s table and gathered all the 1 million lighters, compacts, and hankies that are in this show. I cannot however, take credit for Sissy’s fabulous wig. That would be the creation of my immensely talent friend, Molly Page.

JHPENTERTAINMENT: You likely know that I’ve known Sordid Lives’ creator, Del Shores for a couple decades now. You’ve also had the chance to meet him. What is it about Del and his writing that is so perfect?

JOY TILLEY PERRYMAN: I did know! And I have met him while taking one of his comedy masterclasses in Nashville. First, he, himself is so hysterically funny and just a Texas boy at heart. For me, his writing is so perfect because it so relatable. Now, you may not have left your two wooden legs in the middle of a hotel room floor and caused your lover’s demise, but we all have done things we deeply regret and wish we could take back. Or like Latrelle we are all living in a bit of denial. These are real people that we all know.

JHPENTERTAINMENT: Del fully admits many of his characters are based on his actual family and friends from his days as a boy growing up in Winters, TX. If you were to write a play about your relatives, what would it be called and who would be the main character?

JOY TILLEY PERRYMAN: You know that I have already started this very thing. It’s working title is Granny’s Girls and a character very loosely based on my maternal Grandmother, Mildred Smith, is at the heart of it. In this her name is Granny Griggs.

JHPENTERTAINMENT: Is Theatre of Gadsden ready for Sordid Lives?

JOY TILLEY PERRYMAN: They better question is, is Sordid Lives ready for Theatre of Gadsden? LOL! No, seriously, maybe so? I hope so? Or as Billy Ditty’s Grandmother used to say, “this is going to happen, whether they want it to or not”!

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Theatre of Gadsden’s Sordid Lives opens Friday, September 8 at The Ritz Theatre (310 North 27th Street, Gadsden, Alabama, 35904), and running through Sunday, September 17. Performances are Fridays and Saturdays at 7p.m. and Sundays at 2p.m. Door open 45 minutes before curtain. Tickets are $20/Adults, $18/Seniors/Students/Military. Groups of 10 or more $15/each. Groups of 20 or more $13/each. CLCK HERE to purchase tickets. For more info call 256.547.7469.

Up next at Theatre of Gadsden is Anne of Green Gables with shows October 7 at 2p.m. and 7p.m. and October 8 at 2p.m. Follow Theatre of Gadsden on Facebook, Instagram and Twitter for more details.

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

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

Rapid Fire 20Q with cast of ‘Move Over Mrs. Markham’; onstage at Playhouse 615 August 4 thru August 20

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Recently, during their final days of rehearsal, I had the opportunity to chat with cast members of Playhouse 615’s latest presentation, Move Over Mrs. Markham. A British farce written by Ray Cooney and John Chapman as directed by Playhouse 615’s Joel Meriwether, the show opens Friday, August 4 and running through August 20. Among the cast are Beth Henderson as Miss Olive Harriet Smythe, Craig Hartline as Henry Lodge, Eric Crawford as Phillip Markham and Lindsey Patrick-Wright as Joanna Markham. What follows are my conversations about their characters, the show, company and more.

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RAPID FIRE 20Q WITH CAST OF PLAYHOUSE 615’s MOVE OVER MRS. MARKHAM

RAPID FIRE WITH BETH HENDERSON, MOVE OVER MRS. MARKHAM’S MISS OLIVE HARRIET SMYTHE 

JHPENTERTAINMENT: Not being all that familiar with Move Over Mrs. Markham myself, I got my hands on the script. Move Over Mrs Markham seems like its somewhere between Billy Wilder’s The Apartment and the bed-hopping farce within the farce of Noises Off. Do you think that’s a fair assessment?

BETH HENDERSON: It definitely has elements of both. It has The Apartment’s plot line of the flat being used for multiple trysts. And it shares Noises Off’s farcical elements of slamming doors and ladies in nighties. But, what really makes this show funny is everyone pretending to be someone else in order to persuade a very prudish and clueless author that they are just the wholesome upright publishing company she wants to sign with.

JHPENTERTAINMENT: Speaking of said author, what can you tell me about Miss Olive Harriet Smythe?

BETH HENDERSON: She’s a rather prudish and proper children’s book author who is outwardly appalled by sex (although I think she secretly relishes in it, at times). She’s also pretty flighty and constantly saying things that come across in a completely unintended way. Oh, and she’s completely obsessed with dogs.

JHPENTERTAINMENT: Audiences will surely recognize you from you most recent role as Mrs.Wingfield in Playhouse 615’s The Glass Menagerie, or perhaps 2022’s Trip to Bountiful, two classic dramatic roles. Now, with Miss Smythe, you’re fully immersed in farcical comedy. Do you prepare differently for comedy as opposed to a more dramatic role?

BETH HENDERSON: I can’t really say that I prepare for them differently. For me, whether it’s a comedy or a drama, the first and most important thing to do is get to know the character beyond the covers of the script: their history, what makes them tick, how they feel about things, etc. However, I will say that in comedy, more often than in drama, finding my costume can really help create the character. That was 100% the case in this show.

JHPENTERTAINMENT: You’ve not only been part of several productions at Playhouse 615, but you’re also on the company’s Board of Directors. How long have you been on the board and what does that entail?

BETH HENDERSON: I’ve only been on the board for about five months, so I’m pretty new. I’ve been fortunate enough to have been on the boards of several Nashville theaters over the past 15 years, so it’s nice to bring that experience to a newer theater that’s just starting to take off. 

JHPENTERTAINMENT: If you weren’t playing Miss Smythe, what other role would you enjoy, whether you’re “right for the part” or not, and why?

BETH HENDERSON: They’re all such fun roles, so it’s hard to say. Maybe Alistair, because of his cheekiness. And Linda pretending to be Helga would be such over-the-top fun.

RAPID FIRE WITH CRAIG HARTLINE, MOVE OVER MRS. MARKHAM’S HENRY LODGE

JHPENTERTAINMENT: Who is Henry Lodge to you?

CRAIG HARTLINE: Henry Lodge to me is a bit of a spoiled little boy, pretending to be a man. He has had some success in the children’s book business, but he spends his time and money, pursuing women for his own pleasures. He’s a bit of a cad, lovable, but a cad.

JHPENTERTAINMENT: Henry is a children’s book publisher. If you were to write a children’s book, what  would it be about?

CRAIG HARTLINE: Wow, that is a tough question. It would probably be about a puppy who grows up with two smart parents who try to teach him about the world around him. However, he is more interested in chasing butterflies and playing in mud puddles to listen. It’s only when he moves into the real world, that he discovers, he should have listened more. In the end, he finally achieves the life his parents wanted for him after remembering what lessons they tried to teach him.

JHPENTERTAINMENT: You were last seen onstage at Playhouse 615 in Sex Please, We’re Sixty, and now, just two months later, you’re back for your second production with the company. What is it about the company that brought you back so quickly?  

CRAIG HARTLINE: I have thoroughly enjoyed working with Playhouse 615. The Board Members are determined to achieve what actors in Nashville and the surrounding counties have been looking for, a place where actors can stretch their wings, so to speak and build on their craft. The actors I have had the privilege to work with are hard working and dedicated to their craft. I look forward to the chance to come back and work again with this production company.

JHPENTERTAINMENT: As Henry Lodge, you have two leading ladies. Anne Street-Kavanagh plays Henry’s wife, Linda, while Em Genovese plays…um…how shall I put this?..NOT his wife, Miss Wilkinson. How much fun are you having sharing the stage with these two?         

CRAIG HARTLINE: These two lovely ladies are a thrill to work with. Anne is a funny and talented lady who brings out the best in each and every role she is in. Her dedication to her craft inspires me to be better. Anne and I created a chemistry together in Sex Please, We’re Sixty, that brings a smile to my heart. I believe we bring the same chemistry on stage in Move Over, Mrs. Markham.

This is the first time I have worked with Em, but I surely hope it is not the last. She has been acting for many years, and despite her young age, she is a true professional. Her ability to understand the character, taking the words written on the page and bringing it to life, is a true testament to where I believe her career will go. If I were the audience, I would make a strong mental note of the name, Em Genovese, she well may be the next name you see on the “telly”.

JHPENTERTAINMENT: What is it about slamming doors and farcical comedy?

CRAIG HARTLINE: The action of slamming doors is a large part of the action in this comedy. The chaos of characters coming in and going out of each scene adds to the rapid fire action from the actors. The timing of those opening and slamming doors is crucial to the play. Without that action, the play would be rather tame and loose that rapid fire of lines between the actors.

RAPID FIRE WITH ERIC CRAWFORD, MOVE OVER MRS. MARKHAM’S PHILLIP MARKHAM

JHPENTERTAINMENT: What do we need to know about Phillip Markham?

ERIC CRAWFORD: Philip is the antithesis of farce.  He would be totally appalled at the thought of being involved in any shenanigans. 

JHPENTERTAINMENT: Move Over Mrs. Markham marks your Playhouse 615 debut. Was it the role or the company that prompted your interest in auditioning for the role of Phillip?…Or a combination of the two?

ERIC CRAWFORD: A bit of both. I’m in an online theatre group and a couple of folks had been in different productions and all had a blast. I’m new to this theatre company but Nashville is a pretty small acting community so I already knew a couple of folks that were auditioning and had done multiple performances with 615. 

JHPENTERTAINMENT: The show is set in a posh top floor London flat, so let’s talk about accents and dialect. One of my pet peeves as a theatre reviewer is when the accents don’t ring true. Was a dialect coach brought in to assist the cast with honing their accents?

ERIC CRAWFORD: Yes, we were very fortunate to have a wonderful dialogue coach. A first for me. We had some online group and private coaching sessions. I like performing with accents, so a coach was a real treat. 

JHPENTERTAINMENT: What is it about a farce that keeps audiences interested?

ERIC CRAWFORD: Two things. Never a dull moment and the unpredictability of where the wrong turns will lead you. 

JHPENTERTAINMENT: Has there ever been an occurrence in your own life that you think might make for a good farcical comedy?

ERIC CRAWFORD: Well it started at birth…. I grew up thinking Lucy Ricardo had the right idea attitude towards life so I think all of the ironies of growing up in the Missouri boot-heel, getting a doctorate in genetics, and  having a deep seated need to perform is somewhat farcical in itself. 

RAPID FIRE WITH LINDSEY PATRICK-WRIGHT, MOVE OVER MRS. MARKHAM’S JOANNA MARKHAM

JHPENTERTAINMENT: What is your favorite aspect of Joanna as a character?

LINDSEY PATRICK-WRIGHT: Joanna has been so much fun to play because she has truly been thrown into the madness of this evening through no fault of her own and she continues to just roll with the punches. I think Joanna is a genuinely caring person and wants the best for the people around her even when their behavior is less than admirable. Also, Joanna’s willingness to lie for her friends while being really lousy at it, has been a particularly juicy part of the role!

JHPENTERTAINMENT: Move Over Mrs. Markham is set in the late sixties/early seventies, which usually indicates some groovy fashions. Who’s the costumer for the show and do you have a favorite look, whether it be your own or that of a fellow cast mate?

LINDSEY PATRICK-WRIGHT: I think we were all so excited about costuming, we all just dove into finding costumes for our characters. Denese Evans helped us fill in any gaps for hard-to-find items. Since I spend most of the show in various stages of undress, I would have to say that Alistair’s (Jonathan Wilbur) suit is “really with it” as Joanna says in the show, so it is probably my favorite!  I personally LOVE this time period and would say that at least half the set is made up of furniture and decor from my own home – including the Big Eye Girl painting in Joanna’s bedroom.

JHPENTERTAINMENT: I have a confession…I had never heard of this play before Joel told me it was coming to Playhouse 615, but I had heard of Ray Cooney, who, along with John Chapman wrote the script. Cooney having written nearly twenty plays including Run for Your Wife, which ran for many years on The West End. Were you familiar with the show before auditioning?

LINDSEY PATRICK-WRIGHT: No! Not at all! I was able to get my hands on a script before auditioning and I believe this is exactly what I said to Joel after reading it “This show is absolutely ridiculous. I love it!” 

JHPENTERTAINMENT: Typical for farces, the laughs usually run the gamut from subtle to outlandish. I’d imagine rehearsals have been quite fun. Who’s the biggest cut-up among the cast?

LINDSEY PATRICK-WRIGHT: While we all have our moments of cutting up, I think that Eric Crawford and Craig Hartline, playing best buds Phillip and Henry respectively, cut up the most. They have been known to continue on, in character, after the scenes end doing their own two-man improv show for us. I think even Ray Cooney himself would admit their behind-the-scenes, in-character antics are hilarious. Everyone in this cast has such great comedic chops that we have had a blast during rehearsals.

JHPENTERTAINMENT: What is it about farces, and Move Over Mrs. Markham in particular that you think will appeal most to Playhouse 615 audiences?

LINDSEY PATRICK-WRIGHT: Having just come from acting in Playhouse 615’s last show The Shadow Box (a moving play about death, dying, and the stages of grief) this play is a very different kind of catharsis. Move Over Mrs. Markham, like other farces, is fast-paced, energetic and just pure FUN. I told my family and friends to BYOT (bring your own tissues) to this show, too, because if they are anything like me in rehearsals, they will be crying from laughing.

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Move Over Mrs. Markham opens Friday, August 4 at Playhouse 615 (11920 Lebanon Road, Mt. Juliet, TN 37122). The show runs through Sunday, August 20 with 7:30pm performances Fridays and Saturdays and Sunday matinees at 2:30pm. Tickets are $18. Call the Box Office at 615.319.7031 to reverse tickets or CLICK HERE to purchase them via the company’s Eventbrite page. Tickets may also be purchased in person at the theatre just prior to showtime.

Next up at Playhouse 615 is The Sugar Bean Sisters, running September 8-24. For more on these shows and to keep up with Playhouse 615, check out their website or find them on Facebook.

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

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

Rapid Fire 20Q with cast members of Piedmont Players’ ‘Bye Bye Birdie’, onstage at The Meroney July 14-30

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When my friend Bradley Moore told me he’d be directing the July 14-30 run of Bye Bye Birdie for Piedmont Players Theatre at the Meroney Theatre (213 S. Main St, Salisbury, NC Salisbury), I knew I’d want to chat with members of his cast. Partly because I just love the show, but mostly because, aside from a kindergarten production of Chicken Little (I played Turkey Lurkey), Bye Bye Birdie was the first full-fledge stage musical I was a part of, having been cast in a high school production back in the last century. What follows are my conversations with Bye Bye Birdie’s Caroline Monroe, who plays high-school Birdie superfan, Kim McAfee, Bailey Daugherty, the show’s title character, pop idol, Conrad Birdie, Daniel Keith, overwrought music agent, Albert Peterson and Leslie Roberts as Rosie Alvarez, Albert’s beautiful secretary, the true brains behind the publicity stunt that brings them all together.

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RAPID FIRE 20Q WITH CAST OF PIEDMONT PLAYERS’ BYE BYE BIRDIE

RAPID FIRE WITH CAROLINE MONROE, KIM McAFEE IN BYE BYE BIRDIE

JHPENTERTAINMENT: Bye Bye Birdie was my first time to appear onstage, having played Kim’s brother when I was in seventh grade. What was your first theatrical experience?

CAROLINE MONROE: I actually got a little bit of a late start to theatre! My junior year of high school, the theatre teacher asked me to be in the ensemble of The Wiz. I will forever be grateful to her for helping me get my start on stage!

JHPENTERTAINMENT: Tell me about Kim McAfee, the character you play in Bye Bye Birdie.

CAROLINE MONROE: Kim McAfee, is a typical 15 year old girl who was just “pinned” by her boyfriend Hugo. She, like all of the other girls in their town of Sweet Apple, is infatuated with Conrad Birdie. When chosen to be Conrad’s final kiss before being deployed, Kim explores what it truly means to be a woman and tries to act more mature in order to be desirable to Conrad, who is much older than she. When things don’t go the way she had planned with Conrad, she decides to finally settle down with Hugo. 

JHPENTERTAINMENT: As Kim, you’re chosen to share One Last Kiss with her rock star crush, Conrad Birdie before he joins the army. When you were younger, who was your first celebrity crush?

CAROLINE MONROE: Justin Bieber was 100% my first celebrity crush! I can remember decorating my room with posters that I got out of magazines and listening to his, My World 2.0 CD on repeat. Would I really have been a true fan if I didn’t regularly wear my Justin Bieber t-shirt? If Justin Bieber were to have been in Conrad Birdie’s shoes, I would have definitely hoped to be his last kiss! 

JHPENTERTAINMENT: The plot of Bye Bye Birdie, at least in part, drew inspiration from Elvis Presley being drafted into the Army in 1957. Just for fun…among current pop singers, who do you think would join up and who would dodge the draft?

CAROLINE MONROE: I can’t imagine the press if this were to happen today, so this is a really intriguing question. Currently, I think that Shawn Mendes would join up, but Drake would absolutely dodge the draft. 

JHPENTERTAINMENT: How’s it been sharing the stage with Bailey Daugherty as Conrad?

CAROLINE MONROE: It is such an honor to share the stage with Bailey. He has such undeniable talent that he is so humble about and puts his all into his role. I think it’s even more special to share the stage with Bailey because he is one of my best friends offstage. It is such a joy to watch him truly embody Conrad Birdie and to have seen him learn the ins and outs of this character. I cannot think of anyone else I would rather play Kim opposite of. You are in for a treat when he takes the stage! 

RAPID FIRE WITH BAILEY DAUGHERTY, CONRAD BIRDIE IN BYE BYE BIRDIE

JHPENTERTAINMENT: I just chatted with Caroline. I ended our conversation by asking her about sharing the stage with you, so I’ll start my chat with you by asking the same…How is Caroline as a scene partner?

BAILEY DAUGHERTY: I feel so blessed to work with Caroline. She is incredibly talented and truly lives in every moment on-stage. Working with her is always a gift, because she gives so much to work off of. 

JHPENTERTAINMENT: How familiar were you with Bye Bye Birdie prior to auditioning?

BAILEY DAUGHERTY: I actually didn’t know about the show until a few years ago, when I saw the 1995 movie with Jason Alexander and Vanessa Williams. I remember thinking that my favorite number was One Last Kiss, and that I wanted to sing it one day.

JHPENTERTAINMENT: You play the title character of Conrad Birdie, a pop star who finds himself in the middle of a publicity stunt in the days before he’s drafted into the army. Has there been anything surprising that you’ve discovered while developing your take on the character?

BAILEY DAUGHERTY: Yes! I believe Conrad’s most interesting facet is his love for the music, but disdain for the social expectations of fame. In the show, he deals with a lot of feelings on how he should act and how he just wants to live; which has been really interesting to explore during this creative process.

JHPENTERTAINMENT: Since Bye Bye Birdie premiered on Broadway in 1960, Conrad Birdie’s look has traditionally been pure Elvis…pompadour hair, sideburns and showy gold lamé stage costumes…your director, Bradley Moore has opted to forego the traditional portrayal and present a more modern feel and look for Conrad. What’s your favorite aspect of Bradley’s vision?

BAILEY DAUGHERTY: Bradley is such a wonderful director and always brings a fresh take to each of his shows. My favorite aspect of both this show and all of his other shows is his want for depth. It doesn’t matter what the show is, he always strives to dig deeper into the music and acting to extract those human truths that hold us together. I think that is really shown in the Overture of this show, which is so simple and small, yet communicates a moving message.

JHPENTERTAINMENT: Tod Kubo is choreographing the show. Is there a favorite dance sequence, whether you’re involved in it or not, that you are particularly fond of in Bye Bye Birdie?

BAILEY DAUGHERTY: Tod has done amazing work on this show, and I’d be lying if I didn’t say that I love all of his numbers. I think that the number of his that I am most fond of is the last number in the show, Rosie. It is so sweet and simple.

RAPID FIRE WITH DANIEL KEITH, ALBERT PETERSON IN BYE BYE BIRDIE

JHPENTERTAINMENT: Who is Albert to you?

DANIEL KEITH: Albert always looks for the best in someone, which is where I think we relate. He is a self-proclaimed “mama’s-boy” and very oblivious to the people and relationships around him. I like to think of him as a pretty neurotic character, but he’s always loyal to those around him and I think that’s most important. 

JHPENTERTAINMENT: As Albert, you get to perform one of the show’s most well-known numbers, Put on a Happy Face. I have to be honest, until doing a little research to chat with you and your co-stars, I didn’t realize this iconic song was indeed written for and introduced in this musical. Taking a cue from the lyrics, what do you do in your personal life to “put on a happy face”?

DANIEL KEITH: What personal life? Haha. Theatre always puts a smile on my face. This will be my third full-production musical this year, so I stay pretty busy in the Theatre scene. I’m sharing the stage with my beautiful fiancée (She plays Ursula Merkle). She always keeps me smiling. We have a dog, two cats, and a bunny and they keep a smile on my face a majority of the time. 

JHPENTERTAINMENT: The role of Albert is among the show’s most iconic, in part thanks to Dick Van Dyke having originated the role on Broadway, then again in the 1963 film adaptation. How much fun are you having in the role?

DANIEL KEITH: I am having a blast! This cast is super talented and Bradley is a creative genius. I’m super excited to open and while I know I’m no Dick Van Dyke, I hope I can bring a smile to the audience, much as he did.

JHPENTERTAINMENT: I understand this is your first PPT show. How has your experience with the company been so far?

DANIEL KEITH: This is indeed my first PPT show. I’ve had friends that have done shows here and actually my first show I saw at the Meroney was Kinky Boots earlier this year, which a close friend of mine (Michael Fargas) played Lola. After seeing the production quality, I instantly knew I needed to meet Bradley and make sure he knew who I was. Since then, the experience has been amazing. 

JHPENTERTAINMENT: When I spoke with Bailey, I noted that director Bradley Moore has opted to offer a more modern take on Conrad Birdie’s aesthetic. I understand the set and props are also more minimal than what audiences might be expecting. Do you think these creative decisions will enhance the audience experience? 

DANIEL KEITH: Absolutely. It’s funny because I was just discussing this with Bradley last night but having a minimalist approach to the set leaves so much more freedom for characterization. The audience doesn’t have to find something to focus on, because the focus is always towards the character. The set, while minimal, is still quite large and the amount of levels and stairs that Bradley chose to incorporate really make the visualization that much more interesting. 

RAPID FIRE WITH LESLIE ROBERTS, ROSIE ALVAREZ IN BYE BYE BIRDIE

JHPENTERTAINMENT: You play Rosie. What can you tell me about Rosie as you see her?

LESLIE ROBERTS: I see Rose as a strong, intelligent, and independent woman for her time. She knows what she wants and she isn’t afraid to go for it even when there are obstacles in her path. She perseveres and she knows her worth. So many women of the late 1950’s-early 1960’s were trying to find their voice in a male dominated world and it was even more difficult for women of color in those days. I feel honored to get to portray her and hopefully bring dignity and resolve to her character.

JHPENTERTAINMENT: PPT audiences will surely recognize you from previous productions including Ragtime, Legally Blonde and A Gentleman’s Guide to Love and Murder. What is it about Piedmont Players that keeps you coming back?

LESLIE ROBERTS: I think it is the welcoming atmosphere. I like that I can come into the theater and know that I get to work and play with other people who just really want to be there. I feel like our director, musical directors, and choreographers encourage us in a very motivating way to be the best we can be and I like that they aren’t afraid to try new things or cast someone that others may overlook.

JHPENTERTAINMENT: When I chatted with Daniel, I mentioned Dick Van Dyke, who originated his role. As for Rosie, you’re following in the perfectly choreographed footsteps of legendary performers Chita Rivera, who originated Rosie on Broadway and in the 1963 film, Ann Reinking, who did a 90s National Tour and Vanessa Williams who starred as Rosie in the 1995 telefilm. How exciting to bring your own interpretation to this storied role?

LESLIE ROBERTS: Yes, I am excited. Like many people, I first fell in love with the story when I saw the original movie as a kid. I remember falling in love with the music and of course the love stories involving Rosie and Albert, and Kim and Hugo. Years later, I was in the ensemble of a highschool community theater production of Bye Bye Birdie. My character didn’t have a name so we jokingly created a character (Harvey Johnson’s mom). It was a lot of fun! I am excited to get to play Rosie this time around. I look up to the women you mentioned. I could never live up to those performances, but what I do hope is that our audiences will be able to feel what I put into the story with my interpretation and that they can relate to her on some level. I hope that they can see how important it is to be yourself, and love yourself as Rosie does.

JHPENTERTAINMENT: Speaking of the 1995 telefilm, Bradley tells me he’s including a few musical moments from the various productions of Bye Bye Birdie, including Rosie’s number Let’s Settle Down, which the original songwriting team of Charles Stouse and Lee Adams penned specifically for the 1995 TV broadcast. How cool that you’ll to be performing a song that even some Birdie fans might not be that familiar with?

LESLIE ROBERTS: Yes! I like how the ’95 film added to the original. The new song is not only beautifully written, but it gives the audience some more insight to Rosie’s point of view. Bye Bye Birdie is one of those shows that is a time capsule and unfortunately, sometimes there are things about it that just don’t age well in our modern era. What our production seeks to do is to bring the story so many know and love to a modern audience. I think Bradley liked the direction the 1995 film was going in and so we are continuing with that with a fresh take on a classic. Including the song Let’s Settle Down.

JHPENTERTAINMENT: Like many of your co-stars, you’ve appeared in previous shows with PPT and at the historic Meroney Theatre. Do you feel the 100-plus years of history of the venue whenever you return to the stage for each new show?

LESLIE ROBERTS: It’s cool to be a part of something that has such a long history! I think that’s part of the appeal to being in that theater. Perhaps100 years ago, there weren’t any actresses that looked like me on that stage, but it’s cool how there is a growing diversity in the arts in our area. People love hearing stories and that includes many different voices. I am proud to be one voice in that history and am excited to see what kinds of stories get told on the Meroney stage in the years to come!

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Piedmont Players Theatre’s Bye Bye Birdie opens Friday, July 14 and runs through Sunday, July 30 at the Meroney Theatre with 7:30p.m. shows Fridays and Saturdays and Sunday Matinees at 2:30p.m. CLICK HERE for tickets or more information. Check out Piedmont Players Theatre online and follow them on Facebook and Instagram. 

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Rapid Fire 20Q with cast of Studio Tenn & CPA Arts’ ‘The Sound of Music: on stage at Soli Deo Center June 22-July 16

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Since opening on Broadway in 1959, Rodgers and Hammerstein‘s The Sound of Music has been an audience favorite. 1965’s film adaptation simply solidified the musical’s universal appeal, so it makes perfect sense that Studio Tenn, one of the Mid-South’s favorite regional theatre companies, would round out their current season by presenting their take on the classic. Produced in conjunction with CPA Arts and presented on stage at Christ Presbyterian Academy‘s gorgeous Soli Deo Center, The Sound of Music opens Thursday, June 22 and continues through July 16. With just days before show’s open, I recently had the chance to chat with The Sound of Music‘s Laurie Veldheer, John-Mark McGaha, Jennifer Whitcomb-Oliva and Brian Charles Rooney for my latest Rapid Fire 20Q interview feature.

RAPID FIRE 20Q WITH CAST OF STUDIO TENN AND CPA ARTS THE SOUND OF MUSIC 

RAPID FIRE Q&A WITH LAURIE VELDHEER, MARIA IN THE SOUND OF MUSIC

JHPENTERTAINMENT: While you might be a new name to Studio Tenn audiences, you’ve a connection with Studio Tenn’s Artistic Director, Patrick Cassidy, having shared the stage with him a few years back in a production of A Little Night Music at San Francisco’s American Conservatory Theatre. Did Patrick reach out to you about auditioning for the role of Maria and what’s it been like to work with him again with this production?

LAURIE VELDHEER: Yes, Patrick reached out to me several months ago asking if I’d be interested in auditioning for Maria in his production of The Sound Of Music at Studio Tenn. I told him I’d love to audition! Over the last few years I’ve really been yearning to play this role! It’s been so wonderful getting to work with Patrick again but this time seeing him as the artistic director of a theater – he is so kind, caring, generous, enthusiastic, just such a great guy and good friend, I’m really proud of him. And so happy to be playing Maria in his production at Studio Tenn and CPA Arts!

JHPENTERTAINMENT: Your theatre credits include Broadway (Mamma Mia, Newsies, Plaza Suite), National Tours (Fiasco Theatre’s Into the Woods, Hairspray) and several regional productions, but I want to talk about a certain 1998 production of The Sound of Music at Grand Rapids Civic Center in which you played Brigitta von Trapp. Another two-part question…What do you remember most about that time and how cool is it to now be starring as Maria?

LAURIE VELDHEER: I would love to talk about this, because I truly have the fondest memories! YES! I did play Brigitta and my sister was Louisa at a theater in our hometown of Grand Rapids, MI. I REALLY wanted to be Brigitta, I loved the movie so much, loved that role, I was the right age, I kind of looked like the young girl from the movie too as I had super long dark hair. So I was THRILLED when I was cast. And the children were also double casts in our production! I just loved everything about being in the show – I loved the role, all Brigitta’s special moments like entering reading the book, her little solo in Do Re Mi, and her moments with Maria in the party scene, plus all the kid’s songs, I just had a blast! I think some of my favorite memories were some of my costumes actually – I loved our uniforms, wedding dresses, and my favorite was my curtain/play clothes outfit – I also remember loving the party scene because of all the little moments I had with the actors playing the Captain, Max, and Maria. Very very special memories. 

And now, I love playing MARIA! It’s a little crazy for me at times because I actually remember auditioning for Brigitta, I remember rehearsals, all my lines, pretty much everything, so now to be the adult and looking down at these little faces, especially the little Brigitta’s, and seeing them learn the show and having them watch Maria teach them, only now I’m Maria, is pretty wild! And now I’ve fallen in love with the character of Maria! I think she’s amazing – wonderful, complex, filled with so much spirit, and dealing with complicated feelings and emotions like the arc of going from being a Postulant to a wife and mother of seven children – has been a wonderful challenge and I’m truly loving every moment getting to play this amazing role.

JHPENTERTAINMENT: One of the show’s most-loved tunes is My Favorite Things. In your real life, what makes that list?

LAURIE VELDHEER: Oh my gosh what a great question! I’m not sure I’ve ever thought of this for myself. Let’s see, my favorite things … well, first thing that comes to mind is cake, my favorite food! But other things I love would have to include – spending time with my family and friends, singing, being in a show, seeing theatre, New York City, listening to live symphonies, going to church on Sunday mornings, walking on the beach looking for shells, sunsets, walking through parks in the Fall and seeing all the leaves changing, watching the snow fall, baking, a yummy meal, all the desserts, napping, comfy clothes, my first cup of coffee in the morning. I mean this list could literally go on forever because I have so many favorite things!!!

JHPENTERTAINMENT: They say never to work with animals or children. In this production there’s a song about a Lonely Goatherd, but as far as I know, no actual goats. You and your cast are working with kids of the other kind, and lots of them, as there’s dual casts of the six von Trapp children. What’s the rehearsal process like with dual casts?

LAURIE VELDHEER: Haha yes! Well I was one of those little theater kids growing up, so I think that has really helped me connect with them. It’s been so fun getting to know each of the kids and what they bring to their role. I think they bring so much life and joy and spontaneity to the show, I love it! The biggest aspect of the dual casts is that we have to make sure we’re going through everything twice because each cast of kids really needs to go through each scene and song, but everyone else in the scenes with the kids needs to go through everything with both casts because it’s slightly different with different kids!

JHPENTERTAINMENT: Can’t think of the von Trapp kids without recalling that moment made famous by Julie Andrews and company in the film version when the whole lot show up in matching outfits courtesy of Maria and some cleverness with the bedroom drapery. All that silliness to ask about this production’s costume designers Devon Renee Spencer and Lauren Terry-McCall’s handywork. Do you have a “favorite thing” among the wardrobe, yours or someone else’s?

LAURIE VELDHEER: Oh my gosh I LOVE my costumes! Devon and Lauren have done such an amazing job!! This is a cast of almost 40 people and most people have at least two costumes or more, I myself have eight different costumes in the show, and the kids have at least six costumes each and there are seven kids and two casts! I think my favorites are my green dress, which is the one Maria makes once given new material, and my honeymoon/festival outfit, especially the green jacket! Every time they give me something to wear I love it – I really do love all my costumes in this show so much – they work so hard and have put so much time and thought and effort into each costume – I know the show is going to look amazing!

 

RAPID FIRE Q&A WITH JOHN-MARK McGAHA, CAPTAIN von TRAPP IN THE SOUND OF MUSIC

JHPENTERTAINMENT: Fans of Studio Tenn will no doubt recognize you from having wowed audiences with your voice as part of The Ray Legacy, The Cash Legacy & The Sinatra Legacy, their former tribute concert series  highlighting the music of Ray Charles, Johnny Cash and Frank Sinatra. You also headlined Studio Tenn’s NewYear’s Eve Celebration. What is it about Studio Tenn and their level of artistry that keeps you coming back?

JOHN-MARK McGAHA: Studio Tenn was not only the place where I fell in love with theatre again, it’s the place where I got to know and fell in love with Nashville. This beautiful city appropriately named the Music City has a uniquely concentrated amount of talent, professionalism, and passion. Studio Tenn has capitalized on the amazing culture of this city and in addition to that pulled on the strengths and talents from all stars talents from other places to produce a level of work that has been unlike anything I’ve ever seen. 

JHPENTERTAINMENT: In The Sound of Music, as Captain von Trapp, your big musical moment happens with Act 2’s Edelweiss, a fan favorite interestingly added for the film adaptation, then worked into the stage version thereafter. What’s it like performing such a beloved classic?

JOHN-MARK McGAHA: It’s an amazing experience. Truly. The Sound of Music was the first musical that I ever saw, and has been my favorite show for all of my life. Playing this role, and singing this song is truly a dream come true.

JHPENTERTAINMENT: The role of Captain von Trapp has minimal musical moments, instead depending more on dialogue. Other than the obvious musical accompaniment, is there a difference in memorizing dialogue vs lyrics?

JOHN-MARK McGAHA: Absolutely! It’s a huge difference for me. He is such a complicated man. One that I have had to truly get to know in order to assume this role. He’s grieving in the wake of his beloved wife, and now preparing for the loss of his beloved country as the rise of the Nazi regime has literally come to his front door. All this while trying to raise children he has to prepare to live in a world that is one he himself isn’t sure of, and that’s just the beginning. All of his words are coming from a very deep place. Memorizing his words, and more than that, communicating his intentions through those words has been very challenging. The songs on the other hand are so well written that the marriage of notes and lyrics do so much of that work for you. The songs bring a beautiful simple clarity to this beautifully complicated man. 

JHPENTERTAINMENT: Expanding on that, what’s your favorite aspect of Captain von Trapp?

JOHN-MARK McGAHA: He’s not confused about good and evil and where he stands. As confusing as his world was during that time, and as many things as he was attempting to sort through, he was yet relentless and unyielding to what was right and true even in the face of danger. He was a true hero. 

JHPENTERTAINMENT: I understand two of your children are also in the show. Have you shared the stage with them before? And what does this experience mean to you as a father?

JOHN-MARK McGAHA: No, I have never shared the stage with them, and this experience is something above and beyond anything I could have ever even prayed for. 

 

RAPID FIRE Q&A WITH JENNIFER WHITCOMB-OLIVA, SISTER BERTHE IN THE SOUND OF MUSIC

JHPENTERTAINMENT: What can you tell me about Sister Berthe, the role you’re playing in Studio Tenn’s The Sound of Music?

JENNIFER WHITCOMB-OLIVA: Sister Berthe is one of the nuns in the Nonnberg Abbey. She is the right hand of Mother Abbess. 

JHPENTERTAINMENT: When researching to chat with you, I love that the character descriptions of Sister Berthe frequently included “quick of tongue”. Knowing you as a friend for quite a few years, I’d say that aspect of the character might come easy to you as you and I both often have plenty to say, and aren’t afraid to do so. What other aspects of the sister do you look forward to bringing to the stage?

JENNIFER WHITCOMB-OLIVA: I remember watching this film as a child. It always came across that she was kind of mean. She’s not really. She’s just very stern. I think she takes her job very seriously, and loves God deeply. So she’s very matter of fact, and only wants what’s best for the the Sisters. Which does not equal, Maria. She has a dry sense of humor. Which I have been enjoying immensely. 

JHPENTERTAINMENT: I was trying to remember how many shows you’ve done with Studio Tenn. You were in their debut production of The Battle of Franklin, as well as their Cinderella, A Christmas Carol & Steel Magnolias. Have I missed any?

JENNIFER WHITCOMB-OLIVA: I was also in Big River and The Miracle Worker.

JHPENTERTAINMENT: When I spoke to Laurie, I asked her about the shows costumers, but I gotta ask…what’s the best and not-so-great  aspects of wearing a wimple and habit while singing and dancing?

JENNIFER WHITCOMB-OLIVA: The Habit is roomy and free flowing. It’s been quite a while since I have been in one. I keep forgetting there aren’t any pockets! I love a good pocket. I’m not sure if nuns are allowed to wear makeup in real life or not. But let me tell you.. those white bands across the forehead are not make up friendly. 

JHPENTERTAINMENT: Among your musical moments with the Sisters of Nonnberg Abbey is the song Maria, with its tuneful query “How do you solve a problem like Maria?” so, I gotta ask…How DO you solve a problem like Maria?

JENNIFER WHITCOMB-OLIVA: I feel like Sister Berthe would say..remove the problem. Everyone knows Sister Berthe is not a Maria fan, because she’s “Not an asset to the Abbey.” So.. I don’t know. Great question. Put her in arts and crafts? 

 

RAPID FIRE Q&A WITH BRIAN CHARLES ROONEY, MAX DETWEILER IN THE SOUND OF MUSIC

JHPENTERTAINMENT: Alright, I just gotta start by asking…you received such high praise for your role as Lucy Brown in the 2006 Broadway revival of Threepenny Opera. How did that ‘hot outta the gate’ reception affect you as a performer?

BRIAN CHARLES ROONEY: I think it was a wonderful opportunity, for a number of reasons, not the least of which was having the chance to work with several extraordinarily talented people like Alan Cumming, Ana Gasteyer, Jim Dale, and Cyndi Lauper. It was also a chance for me to show my versatility as a singing actor. I particularly loved the designs for that show and working with the designers; Isaac Mizrahi created the costumes, and he was very interested in collaborating with each actor to convey character through clothing. He cared about how comfortable we were, or weren’t, and he wanted to know as much as he could about what we were developing for our characters. It was wonderful!  

JHPENTERTAINMENT: From the reviews I read in preparation of our chat, I understand you’ve got quite the vocal range, having performed as a male soprano as well as a tenor in previous roles. So, a bit of a technical question…what is your vocal range and what to you find is an advantage of such a range?

BRIAN CHARLES ROONEY: My voice has, perhaps, best been described by a critic who once described it as having “multiple personality disorder” (it was a positive review)! My vocal range is unusual, and technically, I am a Tenor-based Sopranista, with a consistent span of four octaves. The difference between what I do, and what a countertenor does is that my soprano, (a first soprano tone vs the mezzo soprano tone of a countertenor) is produced with a full hit of the vocal folds. Countertenors sing in falsetto. Falsetto is a term that has come to mean something different, colloquially, than what it actually indicates. When a person sings in falsetto, it means the vocal folds are fluttering against each other, rather than completing a full contact hit. The term has less to do with the tone/sound, and more to do with how the sound is produced. Regardless, I am capable of singing in various styles, in various ranges, while sounding like different people. For example, I was part of a hit off-Broadway show, in which I had to sing in the range and style of Celine Dion. However, when I performed on the national tour of The Music of Andrew Lloyd Webber, I sang the Phantom’s songs from The Phantom of the Opera, in a more classical tenor, and Jesus’s songs from Jesus Christ Superstar in a rock tenor. On Broadway, in The Threepenny Opera, I sang first soprano as Lucy Brown. So, I am grateful for the versatility I have, because I’ve been able to play so many different and interesting roles, and to help create a lot of new characters in new shows, that I might not otherwise have been able to create.

JHPENTERTAINMENT: Directing you in The Sound of Music is Emily Tello Speck, whose husband Jake co-founded Studio Tenn. How is Emily as a director?

BRIAN CHARLES ROONEY: I’ve enjoyed working with Emily so much! This show is not easy to direct, especially because the story is emotionally impactful, and there are so many people in the cast! Its Director needs to be able to move people through the story swiftly, and gracefully, in order to clearly communicate the story of the main characters. However, the director also needs to be able to create the correct mood and tone, in coordination with the set & lighting designers; and to reinforce any subtext the supporting characters help to reveal. She has been able to accomplish all of this, while being generous with the cast, providing each of us the room to explore and take chances.

JHPENTERTAINMENT: What can you tell me about Max and what aspect of his character would you like to carry on into your daily life long after the show ends?

BRIAN CHARLES ROONEY: Max is an intelligent critical thinker, who cares deeply about the people who matter to him. He also knows how to survive. He understands the power of art, and the value of supporting those with talent and potential. He also understands the power of humor, and he often uses humor to deal with the incredible stress of impending danger.  I feel akin to him because of all of this, which is one of the reasons I am glad I’m playing the role.  

JHPENTERTAINMENT: Most of your professional career has taken place in New York, but as of late, Nashville audiences have gotten the chance to experience your gifts, having previously starred as Buddy in Nashville Repertory Theatre’s Elf this past holiday season. Are you a full-fledged Nashvillian now and what drew you to Music City?

BRIAN CHARLES ROONEY: My family and I have been able to spend a lot more quality time with extended family members who are based here, since setting up a home base in Nashville. One of the great things about being here has been the opportunity to work in the theater, and with multiple companies in the area. I’ve met so many talented, kind, and creative people! I still have strong ties to New York City, and I grew up right outside of it. I am also still called to work there regularly, so I get the best of both worlds!  I would love to see even more collaboration between the various theater companies in Nashville, and their supporters. There is so much substantive, beautiful work going on in Nashville because of companies like Studio Tenn, Nashville Rep, CPA Arts, Street Theatre Co, Verge, TM Productions, The Nashville Shakespeare Festival, Nashville Theater School, Nashville Children’s Theatre, The Theater Bug, etc.  I hope anyone coming to see The Sound of Music will be encouraged to support all of these companies and their efforts over the coming season!  If you do, you’ll run into me again; it’s going to be an exciting season across the board!

 

 

Studio Tenn and CPA Arts‘ The Sound of Music opens at Soli Deo Center Thursday, June 22 and continues through July 16. Tickets range in price from $35-$70. CLICK HERE to purchase tickets.

Up next for Studio Tenn, not only does their 23/24 Season, dubbed A Season of Icons, open October 19-29 with Million Dollar Quartet, that production also marks the inaugural presentation in Studio Tenn‘s new state-of-the-art home at the newly constructed The Turner Theatre at The Factory at Franklin. CLICK HERE for tickets to Million Dollar Quartet as well as the rest of the coming season, including: It’s a Wonderful Life, Driving Miss Daisy and Cabaret. In the meantime, be sure to check out Studio Tenn online at StudioTenn.com or on social media at Facebook, Instagram and Twitter.

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