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Studio Tenn

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 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!

Theatre Review: ‘Here You Come Again’ new musical featuring Dolly Parton tunes, concludes Tennessee debut Memorial Day Weekend at The Franklin Theatre

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Written by Bruce Vilanch, Gabriel Barre and Tricia Paoluccio, Here You Come Again is a jukebox musical featuring songs written and made popular by National Treasure and Tennessee Goddess, Dolly Parton. Following a successful premiere in October of 2022 at the Deleware Theatre Company, and a popular December run in West Palm Beach, the musical comedy has come to Dolly’s home state for its Tennessee debut in collaboration with Studio Tenn at The Franklin Theatre with shows Wednesday, May 17 through Sunday, May 28.

As for the premise, it’s a clever, but simple plot. At the beginning of the pandemic, Kevin (played in this production by Zach Sutton), a well-meaning, but down-on-his-luck waiter/aspiring comic is forced to move into his parent’s upstate New York home to set quarantine when the world shuts down. Further complicating things, Kevin’s Mom, a bit of a germaphobe before there was such a thing, has  relegated her son to living in the attic, rather than in the main level of the house with his parents. She’s even devised a sort of makeshift dumbwaiter to deliver his food without contact by setting a tray on the drop-down attic stairs, which he retrieves by hooking to the end of a garden tool of some sort.

Further isolating Kevin, his parents are never seen in the play, and only his Mom’s voice is heard from off-stage from time to time. As the play begins, the audience gets their first glimpse at the show’s only set, the attic. Brilliantly created by Scenic Designer Anna Louizos with assistance from D. Craig M Napoliello, with lighting by Alessandra Docherty and assistant Isabella Gill-Gomez, the attic is easily recognized as both the family’s preferred storage area for seasonal decoration and Kevin’s former childhood playroom/teenage hangout. With pop culture relics from the far-distance 1980s, the attic set design is cleverly littered with things like a discarded GameBoy, an old Chineses Checkers boardgames and what appeared to be a single right Nike Air. But it’s the shrine to everyone’s favorite Country Music Songbird, Dolly Parton that’s most impressive…and I must admit relatable. I mean, switch all the Dolly posters, magazine pictures and photographs covering the walls for, say The Bionic Woman’s Lindsay Wagner, and you’d have my childhood bedroom.

As Sutton’s Kevin paces around the attic, he offers the audience a bit of exposition by breaking the fourth wall and explaining the above-mentioned romantic breakup and current living situation to kick things off. In an obvious state of depression, Kevin then walks over the a small tabletop record player, carefully takes out his vintage copy of Dolly Parton’s 1977 hit record, Here You Come Again, puts the needle on, then walks over to the twin bed across the room picks up a Costco-sized tub of Cheesy Puffs, lovingly caresses the tub and covers himself with the bed sheet.

As the light dims, the tune playing on the record swells and as if by divine intervention…or make that DIVA-ne intervention, the life-size image from the poster on the back of the attic door comes to life as Dolly herself steps forward into the room belting out a familiar tune. Here’s the thing, though. The song isn’t really playing on the record player. The familiar instrumentation is actually coming from backstage courtesy the show’s houseband featuring Miles Aubrey on Guitar, Jeff Cox on Bass, Jon Epcar on Drums and Eugene Gwozdz on Piano. As for the vocals, no Dolly didn’t drive across town from her nearby Brentwood home, instead is actress/singer and aforementioned co-writer of the show, Tricia Paoluccio as an apparition/vision/guardian angel in the form of the Double-D Diva herself.

Before seeing the show, I kept hearing from friends at Studio Tenn, including the company’s Artistic Director, Patrick Cassidy, that if you “close your eyes, you’d swear it was Dolly herself”. Now, here’s the thing, I’m a huge Dolly fan, and over the years I’ve had the absolute thrill and honor to meet her, chat with her a time or two and get to know her and a few of her siblings. Shoot, the night I saw Here You Come Again, Dolly’s youngest sister, Rachel was sitting at the table next to me and we chatted a bit. NO, that’s not a name-drop, ‘cause like I always say, “I never drop a name I can’t pick up”. It’s just a fact, a fact of living and working in Music City. You just never know who you’re gonna see or get to know.

Cassidy was right, she does indeed sound like Dolly when she sings. She’s got Dolly’s vocal infections down-pat, although with Paoluccio’s own musical theatre background (she’s appeared on Broadway in productions of Fiddler on the Roof, A View from the Bridge and The Green Bird) there are times when she makes the tunes her own by adding a bit more of a theatrical flourish, extending a note here, or revealing her talent with a run there. What’s more, thanks to Makeup Designer, Brian Strumwasser, Costume Designer, Bobby Pierce and other assets, whether God-given or man-enhanced, Paoluccio looks like Dolly…well, 70s/80s era Dolly at any rate. Yes, if you close your eyes, you can almost hear the Appalachian songstress, but in certain scenes, when Paoluccio turns just so in profile, that she looks the spitting image of Dolly, herself. But that’s not where Paoluccio’s Dolly transformation ends. She’s even got Dolly’s unique joy-filled speaking voice down! And I mean down…down to what I call Dolly’s “giggle squeak”. If a rhinestone could talk and sing, it’d sound just like Dolly, and so does Paoluccio!

A bit more about the wardrobe. When Paoluccio’s Dolly first steps forward from the door poster, she’s wearing a cocktail-length bedazzled number with billowing bell sleeves. I noticed almost immediately that the fabric of the dress was reminiscent of a butterfly’s markings and yes, when Paoluccio raised both arms at the crescendo of the opening song, the bell sleeves did mimic the silhouette of a butterfly in flight, a wonderful wink to Bob Mackie-designed dress Dolly wore. In fact, it was created for the 1979 tv special Dolly and Carol in Nashville, co-starring Carol Burnett. Considering that special was filmed right here in Nashville, the butterfly dress, while gorgeous, provided a fun little If You Know You Know moment for true Dolly nerds like myself.

Other costume choices, while not as obviously based on Dolly’s own wardrobe, all have that sparkle, that spirit, that gussied-up bigger-than-life 80s Dollyesque vibe. Which works perfectly considering the tunes featured in the show were all originally released between 1969 (the Jack Clement-penned Dolly and Porter Waggoner hit, Just Someone That I Used to Know) and 1989 (Why’d You Come in Here Lookin’ Like That from Dolly’s 1989 offering, White Limozeen).

While the full title of the show is Here You Come Again: How Dolly Parton Saved My Life in 12 Easy Songs, there’s actually a total of 15 toe-tappin’, finger-snappin’ Dolly favorites featured within the show. On the subject of tunes included in the show, like most jukebox musicals, the music helps move the story along or support the narrative. In the case of Here You Come Again, Music Director Gwozdz and the show’s writers have done a fantastic job of peppering Dolly hits throughout the show at just the right moments to accentuate or propel the storyline. Hush-A-Bye Hard Times, a sweet, but lesser-known tune originally included on Dolly’s 1980 crossover hit album 9 to 5 and Odd Jobs near the top of the show, perfectly expresses what I think we all felt during the early days of the pandemic. Same for Two Doors Down, another hit from Dolly’s Here You Come Again release. Included herein to parallel the FOMO we all experienced during isolation.

And Yes, megahits like Jolene, 9 to 5, as well as the bizarro Me and Little Andy and showstopper, I Will Always Love You also find there way into the show and each one is performed with enthusiasm and a touch of Dolly-worthy fun and excitement.

While most of the songs featured were written by Dolly, even the prolific singer/songwriter occasionally records tunes penned by others. Why’d You Come in Here Lookin Like That, Sing For the Common Man and the Dolly Parton/Kenny Rogers megahit, Islands in the Stream are all prefect placed and wonderfully sung. Interestingly, Islands, written by the Bee Gees, is followed by a funny, but very un-Dolly bit of snark courtesy Vilanch’s script.

Speaking of duets, Paoluccio’s Dolly gets a bit of help from time to time as Sutton’s Kevin joins her for a handful of songs throughout the show, showcasing his own talents as a singer.

As I mentioned above, Bruce Vilanch created the show alongside Paoluccio and Barre. Specifically, Vilanch is credited in the playbill as Book Writer, in layman’s terms, the spoken dialogue of the show, alongside director, Barre and star, Paoluccio. Whether you know Vilanch by name, or by sight, you’ve likely heard his work, as he’s a six-time Emmy-winning writer, having won two for writing special material for the Academy Awards and four for work on various television variety show specials. Over the years he’s written for the Academy Awards numerous times, as well as the Tonys, the People’s Choice Awards and many other awards shows. Bringing it all full-circle, Vilanch also wrote a handful of episodes of Dolly Parton’s late-80s variety series, Dolly, so who better to sprinkle a little Dolly dust into the lines of Here You Come Again?

With Paoluccio’s absolute near-perfect Dolly helping Sutton’s Kevin rediscover his own worth, refocus on his own life and reignite his passions through the comfortable familiarity of Dolly’s music, Here You Come Again is a joy from start to finish.

Studio Tenn’s special presentation of Here You Come Again wraps with a final show Sunday, May 28 at 2 p.m. Tickets range in price from $90 for cocktail table seating and the first few rows of theatre seats to $70 for the majority of theatre seats on to $55 for balcony. CLICK HERE for tickets. Didn’t make it to the Tennessee performances? Follow Here You Come Again on Instagram to see where Paoluccio and company are headed next.

Following Here You Come Again, Studio Tenn wraps their current season with a production of the Rodgers and Hammerstein classic, The Sound of Music co-presented by CPA Arts on stage at CPA’s Soli Deontaes Center from June 22- July 16. CLICK HERE for tickets or more information. 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. Until then, #GoSeeTheShow!

 

RAPID FIRE Q&A with singer/songwriter Crystal Bowersox; starring in ‘Trauma Queen’, presented by Studio Tenn at historic Franklin Theatre

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At 7p.m. on Saturday, October 26, former American Idol season 9 favorite, singer/songwriter Chrystal Bowersox, who now calls Nashville home, will star in Trauma Queen a new musical theatre piece presented by Studio Tenn at The Franklin Theatre, just off the square in downtown Franklin, TN.

 Bowersox broke the Idol mold when she appeared on the original run of the wildly popular reality competition series porting dreads and tattoos instead of the typical teen pop look of many of her fellow Idol hopefuls. Finishing her Idol season as the runner-up, Bowersox is still marching and singing to her own beat and Trauma Queen proves it as she invites Saturday night’s audience to join her for an original night of theatre. Trauma Queen is indeed an original night of theatre in every sense of the term as she combines everything from a predominately one-woman-show and a concert along with heavy doses of musical theatre and even a touch of single-mom real talk.

Earlier this week, as Bowersox was preparing for this weekend’s show, I had the opportunity to pose a few questions to her for the latest in my recurring interview feature, Rapid Fire.

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RAPD FIRE Q&A WITH CRYSTAL BOWERSOX

 JHP: Having worked on Idol myself during the first two original seasons, I know a little about the behind-the-scenes. As a former Idol contestant, what do you look back at with fondness?

CRYSTAL BOWERSOX: Well, you know it’s a crazy ride, then!! Thanks for taking the time to do this interview. A lot of it was and still is a blur to me – it was a trying time in my personal life having just had a baby a few months prior to the audition. I struggled to find quality child care for my son during the process and my mind was way more focused on the well being of my child than on my participation in the competition. That dynamic made it difficult for me to just sit back and enjoy the trajectory our life was on. I was simultaneously struggling to afford my insulin and healthcare costs pertaining to my Type 1 Diabetes, but things got easier once I advanced past the top 10 stage of the competition. I fondly remember the moments on set with the crew and contestants – the jokes and conversations had with vocal coaches, hair and make-up personnel – visits from the well known celebrities and their families in the green rooms after show tapings – experiencing Los Angeles restaurants with a little bit of status – all of these things were new and incredibly unfamiliar to me having grown up poor on a farm in the midwest. It was all very strange and wonderful at the same time. I am especially grateful for the stability the show brought to the life of my son and I.

JHP: Alright, just gotta ask…what’s your oddest Idol memory?

CRYSTAL BOWERSOX: Ha! There were so many odd moments. One that was televised was right after a live performance of the song, People Get Ready. I had cried at the end of the song because I’d spotted my father in the audience wearing sunglasses (he only wears them indoors if he knows he’s going to cry). I was overwhelmed with gratitude in that moment for everything that was happening, for how far I’d come in just a few months. I went from crashing on my dad’s couch, basically homeless with a baby, to being carted around by drivers and covered in expensive clothes and make-up on prime time television. When Ryan Seacrest came over to talk to me after the performance, I saw a handkerchief peeking out of his breast pocket. I grabbed for it to dry my eyes, but it wouldn’t budge. So I pulled harder and when it ripped out of his pocket, I realized that it was only the corner of an actual handkerchief, just taped into place. I still have it. Laughing through tears, I said, “Ugh…. Hollywood!!” Nothing is quite as it seems there.

JHP: Oh, wow. I totally remember watching that. What was the genesis of Trauma Queen as a stage show?

CRYSTAL BOWERSOX: It’s been nearly 10 years since my time on American Idol. A LOT has happened in my personal and professional life since then. About 2 years ago, my mother lost her home to a devastating fire. The farm house that I grew up in burned to the foundation. It was a rough upbringing. I didn’t have a lot of fond memories in the house. So there were a lot of feelings to sort through with the loss of it, and emotions that I hadn’t yet sorted through regarding my past relationships, traumatic life experiences and issues with addiction. What better way to sort through them all of them but by creating a piece of art? My music has always existed that way – My pain put into words and music has been healing for not only myself, but also for my audiences. I wanted to continue that effort in a new, unique way.

JHP: I understand you’ve collaborated with two-time Pulitzer Prize nominee and Peabody winner, Willy Holtzman and singer/songwriter/producer Marty Dodson (who’s penned songs recorded by everyone from Plain White T’s to George Strait) on this project. How did you guys meet and come to work together?

CRYSTAL BOWERSOX: Willy Holtzman is an amazing human being. One of my absolute favorites. I’m so honored to work with him, and with Marty Dodson, who writes incredible songs for many well known artists. I met both Willy and Marty in New York City. I was reading for a part in another musical that they were both working on. Willy approached me one day and said, “I’m pretty sure your wikipedia page doesn’t do your story justice. Let’s write it out.” I resisted the idea at first – there were parts of my personal story that I wasn’t very proud of. The thought of putting it all out there was terrifying. As we went through the process of writing the script (which took about a year) Willy helped me realize that by talking openly about my mistakes, missteps and triumphs I could liberate myself from any guilt or shame I held. He convinced me that by sharing my story, I could possibly help others heal and do the same. I’m grateful he kept pushing me out of my miserably comfortable zone. Ha!

JHP: How did you get connected with Studio Tenn to collaborate on Trauma Queen?

CRYSTAL BOWERSOX: The first mention to me of Studio Tenn was from Bob and Merle Higdon, just about a year before I actually connected with Studio Tenn. Bob and Merle had mentioned to me then that Melinda Doolittle worked with Studio Tenn frequently and suggested she and I connect. When Willy Holtzman and I finished our script, he reached out to Benji Kern who he had worked with years prior and suggested we all work together on our new show Trauma Queen. Studio Tenn has been trying to reach me through the cosmos for a while! I feel as though it has been the intention of the universe for quite some time that we should all come to know one other.

JHP: As you mentioned, my pal Benji Kern, Studio Tenn’s interim artistic director is producing. How has it been working with him on this project?

CRYSTAL BOWERSOX: Oh my goodness, I LOVE working with Benji. He is a man of big, wonderful ideas, and has the determination to bring them to fruition. He has been so inspiring to watch and learn from. I admire his talent and work ethic. He’s not the kind of person who sits and simply wonders, “It would be cool if this happened”. He makes it happen! Benji is my spirit animal.

JHP: Gotta admit, Trauma Queen is indeed an intriguing show title. Was it immediately the title, or were there other contenders?

CRYSTAL BOWERSOX: Initially, the title, Trauma Queen was a little ha-ha joke of an idea. But I spent a lot of time with it and the phrase developed into a much deeper title in my heart. Women (and men, especially) are often told not to be so dramatic… We are taught from a young age to harden the emotional parts of ourselves – that our feelings should be squelched and minimized so as to not ruffle any feathers and make others around us more comfortable. I do not agree with this. I believe that the practice of hiding parts of our hearts does more damage than good. I prefer to be open and honest with my feelings. A Trauma Queen is defined in my opinion as a woman, a person, who has the courage to truly conquer their demons. Someone who has learned from their mistakes and chooses to rule over them like battle scars, replacing shame and guilt with a sense of accomplishment and pride, rather then letting negativity take control of their psyche – which will cause all sorts of other disfunction in life. A Trauma Queen is anyone who has been to hell and back emotionally but decides to rise like a phoenix from the ash of their past.

JHP: What can audiences expect from Trauma Queen?

CRYSTAL BOWERSOX: Bring your Hollywood hankies! We’ve been calling this a “Theatrical Rock Concert” rather than a musical, because the majority of songs included in the show are ones that I’ve released previously on past albums. Some of the songs are brand new and help support the characters and stories. I explain the genesis of each song as if I’m in that moment of my life, in real time. Actors play out the different characters in each story, as the music plays on. We shine a spotlight on the generational cycle of abuse and disfunction in families, with the triumphant realization that history doesn’t have to be repeated. There will be tears; however, there will be a lot of laughs, too. I’ve managed to cope with my past through a lens of humor despite the darkness of some of the stories.

JHP: One of the aspects of your life you touch on in Trauma Queen is being a single mom. Has that experience affect you in regard to presenting your authentic self as a performer?

CRYSTAL BOWERSOX: I haven’t spoken publicly about my son’s father. Trauma Queen will change that. I’ve written songs about the loneliness of it all, for myself and from my son’s perspective, but have never really touched on any of the details surrounding that chapter in our lives. American Idol was adamant that I not publicly share that story as it didn’t fall in line with the “America’s Sweetheart” persona. There is such a stigma surrounding the phrase, “Single Mother”. I am determined to change someone’s mind about it. I didn’t want to be a single mom. That was my son’s father’s choice. I knew it would be the most difficult road to travel. While that remains true, I am so grateful that my life has played out this way. Every ounce of strength I’ve ever had has come from my love and devotion to my son, and from my determination to give him a better life than I ever had before him. He will never have to question how loved he is. I try to teach him that living authentically and honestly is important, and that you absolutely can make a living doing something you’re passionate about every day of your life if you’re determined to work hard and make it a reality.

JHP: Following this weekend’s presentation of Trauma Queen, what’s next for you…and the show?

CRYSTAL BOWERSOX: I can’t predict the future, but my hope is that people will have been inspired by it enough that interest will grow in the production, and the show will be able travel to different cities and theaters. After the show this weekend, I will be launching a KickStarter crowd sourcing campaign to hopefully fund my next independent album release. The record will include a few of the songs from Trauma Queen. I’ll continue to tour in November and release the new record sometime in the spring of 2020.

And I think I’ll finally be due for a real vacation with my boy. I haven’t taken a single one in ten years. Yeah, I think it’s time. He and I deserve it.

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Crystal Bowersox’s Trauma Queen will be presented by Studio Tenn at 7p.m. Saturday, October 26 at The Franklin Theatre (419 Main Street, Franklin, TN). At the time of this interview, a select number of tickets remain. CLICK HERE to purchase tickets. To keep up with the latest from Crystal, CLICK HERE or follow her on Facebook, Instagram, YouTube and Twitter.

Up next at Studio Tenn is Rodgers and Hammerstein’s Cinderella on stage at Jamison Hall at The Factory at Franklin from December 6-29. CLICK HERE  for tickets or more information. You can always check out Studio Tenn online at StudioTenn.com or follow their socials at Facebook, Instagram and Twitter.

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

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

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

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

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Bradley Moore

JHP: How did you become involved in this project?

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

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

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

JHP: Who have you got amongst your cast?

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

JHP: What can you tell me about the plot?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH THE SINATRA LEGACY’S MATT GIRAUD

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH THE SINATRA LEGACY’S MAGGIE RICHARDSON

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH THE SINATRA LEGACY’S JAIMEE PAUL

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

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

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

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

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

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

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

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

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

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

RAPID FIRE WITH THE SINATRA LEGACY’S WILLIAM HALL

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

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

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

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

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

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

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

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

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

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

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

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

Theatre Review: Studio Tenn’s ‘Always…Patsy Cline a Honky Tonk Merry Go Round of music, fun and friendship; final performances this weekend

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Megan Murphy Chambers and Melodie Madden-Adams star as Patsy Cline and Louise Seger in Studio Tenn’s ‘Always…Patsy Cline” (Photos by Anthony Matula/MA2LA/courtesy Studio Tenn)

Studio Tenn‘s Always…Patsy Cline finishes it’s third and final week of performances at Jamison Theatre inside the Factory at Franklin with three remaining shows this weekend, thru Sunday, February 24. As I mentioned when I chatted with Megan Murphy Chambers and Melodie Madden-Adams a few weeks ago for my Always…Patsy Cline Rapid Fire 20 Q, mounting Ted Swindley’s jukebox musical celebrating the brief, but poignant friendship between the country music legend and a Texas fan right, here in Music City is indeed a bold choice for Studio Tenn, but if anyone could pull it off they could…and they have.

While many in the Nashville area (myself among them) associate the iconic singer and the nearly-equally beloved musical with local mega-talent Mandy Barnett, who’s many performances in the role are as near to seeing Cline herself as anyone can get, director Benji Kern and star Chambers make wise choices in the way Chambers presents Cline. While Barnett mystifyingly embodies the icon, so much so, you might begin to believe in reincarnation, Chambers makes her turn as Cline her own, and in doing so, putting the emphasis on both jukebox and musical, offering audiences something between a tribute show and a modern take on the esteemed theatrical piece and the woman for whom the show is named.

Chambers, a consummate performer, as anyone who witnessed her recent one-woman show, Fun can attest, doesn’t steal the spotlight, she powers it. Her mega-watt smile and twinkling eyes matched only by her ballsy delivery and magnificent voice. Think Toy Story’s Jessie the Yodeling Cowgirl mixed with a modern day Mae West with the vocal skills of Jill Scott and you’ve just about got Chambers’ Patsy Cline.

Madden-Adams’ Louise Seger, upon who’s chance meeting at a Patsy Cline concert and resulting continuing correspondences with the  star the show is based, is equally divine. Having seen my share of productions of the show over the years, Seger is often played a bit like the character of Florence Jean Castleberry, from 80s TV’s Alice. While Madden-Adams’ Louise does indeed have the sass of Flo, she also presents her Louise with an inherent sadness and longing for connectivity with others. That longing, coupled with the scripts quick quips and one-liners, elevate Madden-Adams’ Louise from narrator to a universally relatable character. After all, who are we without our connection to others?

Then there’s the show’s wardrobe, courtesy Blake Danford, the show’s costume designer. Much like the stars’ portrayals of Cline and Seger, Danford also pays homage to the oft recognizable wardrobe pieces, while putting his own spin on them. Among my favorites, the blue denim dress and of course Cline’s red and white cowgirl ensemble, nearly as synonymous to Cline as the music itself.

Scenic designer Mitch White puts another jewel in the Studio Crown with his seemly simplistic, but ultimately effective set. From obvious nods to the hallowed stage of The Grand Ole Opry to smaller details seen within Seger’s fabulously mid-century kitschy kitchenette, White’s set is a minimalist’s dream.

Madden-Adams as Louise

While the stars find a beautiful middle-ground in presenting their versions of the two women at the crux of the story, the technical crew bring it all home to the idealized Cline from the look and feel of the show, to the work’s incredible music. Thanks to conductor, Jason Tucker and the in-house band comprised of Michael McElravy, Lindsey Miller, Luke Easterling, Ben Andrews and Cassie Shudak, and a soundtrack packed with more than two-dozen songs from Cline’s brief but memorable songbook, there’s never a lull in the musical action of the show. All the songs are there, and I mean all of them…from must-haves like Crazy, I Fall to Pieces, Walking After Midnight and Sweet Dreams to Stupid Cupid, Three Cigarettes in an Ashtray and Seven Lonely Days…plus so many more, and they’re all done to perfection thanks to Chambers, Madden-Adams and the band.

Director Kern seizes every opportunity, not only to showcase Chambers’ vocal skills, but to build upon the chemistry of his leading ladies, for you see, Chambers and Madden-Adams are longtime friends off the stage, as well as on, having first met several years ago while appearing in a show together. Their chemistry and genuine friendship move the story along in a gorgeous way.

While much of the show volleys between Louise addressing the audience was she remembers her encounter with Patsy and Patsy’s song breaks, there are several instances when the two ladies interact, and thanks to some fun choice from he director, a couple of audience participation scenes that help to bring the viewer into the story even more.

With only three more chances to see Studio Tenn’s Always…Patsy Cline, Saturday, February 23 at 2 p.m. and 7 p.m. and a final Sunday matinee, February 24 at 2 p.m., I would encourage…in the words or Patsy Cline herself, to “Come on in and sit right down and make yourself at home” at Jamison Hall at the Factory at Franklin before the show’s nothing more than a Faded Love. CLICK HERE to purchase tickets.

With hardly a break between productions, Studio Tenn follows Always…Patsy Cline with The Sinatra Legacy: A Tribute to Ol’ Blue Eyes, the latest in their ongoing Legacy series. The Sinatra Legacy will take to the stage of the Historic Franklin Theatre in Downtown Franklin for five performances only from Thursday, March 14-Sunday, March 17. CLICK HERE for tickets or for more information.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rapid Fire 20 Q with cast of Studio Tenn’s ‘Beauty and the Beast’; onstage at Jamison Hall in The Factory at Franklin now thru December 30.

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‘Beauty and the Beast” opens at Studio Tenn on Friday, December 7 and continues through Sunday, December 30 (graphics and production images by Tony Matual/MA2LA/courtesy Studio Tenn) Actor headshots courtesy the artists)

For their holiday offering this year, Studio Tenn is presenting Disney’s Beauty and the Beast. As the company readied for the show’s Friday, December 7 opening night at Jamison Hall at The Factory at Franklin, I recently had the opportunity to chat with members of the cast for my latest Rapid Fire 20 Q.

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RAPID FIRE WITH HATTY KING, BELLE IN BEAUTY AND THE BEAST

JHP: Tell me about Belle?

HATTY KING: Belle is a lovely balance of strong and soft. Her mother died when she was young, so she had to grow up quickly to care for her father-this is where her strength comes from- but it didn’t harden her. Instead, it gave her an appreciation for life, and a thirst or adventure. She realizes that life is precious, and she longs to live fully.

JHP: What about Belle’s personality do you most identify with?

HATTY KING: There’s a youthful exuberance about Belle. She’s smart and grounded, but would totally race you to climb a tree. The idea of maintaining a childlike playfulness is certainly something close to my heart.

JHP: Studio Tenn has quite the reputation for creating gorgeous costumes for their shows. While aspects of Belle’s looks tend to follow the now-iconic and recognizable blue peasant girl and gold ballgown wardrobe pieces, something tells me Blake Danford, who’s costuming the show, has put his own spin on things. What’s your favorite Belle look in the show?

HATTY KING: The gold dress, oh my. It’s the perfect combination of authentic 1700’s decadence and classic Belle…and I’m not kidding about the decadence. Most of the dress is hand-sewn and it’s exquisite.

JHP: Two yeas ago you were Ariel in a local production of The Little Mermaid and now you’re starring as Belle, who, unlike Ariel, marries into her princess title. Which princess still remains on your to-do list?

HATTY KING: I recently got to see Anastasia in New York, and the role of Anya captured my heart. I’d love play her!

RAPID FIRE WITH PAUL BASWELL, GASTON IN BEAUTY AND THE BEAST

JHP: You’re playing Gaston. What’s the best party of being such an over-the-top narcissistic character?

PAUL BASWELL: Overall, the self confidence he exudes has been really fun to play with. It’s really taught me a lot personally.

JHP: This is your first time in a Studio Tenn production, right? What’s the experience been like so far?

PAUL BASWELL: I’d have to say it’s greatly exceeded my expectations. The talent in Nashville is astounding, and this has to be one of the most professional companies I’ve ever had the pleasure to work with. There’s nothing better than getting to go to work and laugh everyday.

JHP: As Gaston, you get to share a few scenes with on of my favorites, Curtis Reed, who’s playing Gaston’s loyal sidekick, Le Fou. Are you guys having fun?

PAUL BASWELL: He is actually one of the first friends I made when I moved to Nashville just over a year ago! I was so excited when I found out we would get to work side by side. We belly laugh every single day! He is insanely talented and creative and is always coming up with great ways to add depth to our scenes together. I couldn’t imagine doing this without him!

JHP: Gaston isn’t just your character’s name, it’s also the title of your big production number. Does choreographer Anna Perry have some fun surprises in store for fans of Gaston’s self-adoring sequence?

PAUL BASWELL: Without giving too much away, I’ll be chugging beer and belching! : Anna has done an amazing job with the entire show, and I can guarantee that you won’t be disappointed with Gaston. Everyone knows she can create gorgeous dance sequences, but the audience will be pleasantly surprised to see that she also has a knack for staging delightful bar scenes and brawls!

RAPID FIRE WITH JENNIFER WHITCOMB-OLIVA, MADAME DE LA GRANDE BOUCHE IN BEAUTY AND THE BEAST

JHP: Tell me about Madame De La Grande Bouche.

JENNIFER WHITCOMB-OLIVA: The Madame is quite the character. She is the life of the party, and she’s always ready for one! She’s kind of like the wacky Aunt at all of your family gatherings.

JHP: In the classic 1991 animated film, your character, though called simply Wardrobe, was voiced by hilarious comedian, Jo Anne Worley. In the 2017 live action remake, Garderobe was played by the always divalicious Audra McDonald. Having known you for a few years now, I can totally see aspects of both of these grande dames in you. Would Playful Diva accurately describe your Madame De La Grande Bouche?

JENNIFER WHITCOMB-OLIVA: I think my Madame definitely has a sense of play. I think she comes off silly at times, only because she is completely serious in everything she does. Before she was Enchanted, she was THE opera diva. She was commanding the royal stage. So she is ready to bring in thunderous applause, but she also has no patience for ridiculousness. Madame Bouche would not be the woman to anger. As long as you let her be the center of attention, you can sit with her.

JHP: It’s been a minute since you’ve been in a Studio Tenn production. What are you enjoying most about being part of this show?

JENNIFER WHITCOMB-OLIVA: I am just absolutely having a ball! I love fantasy so much! What could possibly be better, than playing and enchanted object, and singing a Disney score?! I also love any chance I get to use my classical voice. My roots are in classical music, so it always feels special when I get to sing it.

JHP: As Madame De La Grande Bouche, many if your scenes are with Hatty. What’s she like as a scene partner?

JENNIFER WHITCOMB-OLIVA: Hatty is such a treasure. I love every moment I get to share with her. She’s such a warm, and giving scene partner. She has a way of making everything seem so natural. The way she glides from song to scene with such passion, is so wonderful to watch.

RAPID FIRE WITH BRADLEY GALE, LUMIERE IN BEAUTY AND THE BEAST

JHP: What do we need to know about Lumiere?

BRADLEY GALE: I’d say the only thing you really need to know about Lumiere is that he’s sassy, the opposite of tight-lipped, never afraid to be in the “spotlight”, but most importantly loyal and loving (sometimes to a fault!)

JHP: Lumiere is frequently paired on-stage with Cogsworth, played in this production by Shawn Knight. Tell me about working opposite him?

BRADLEY GALE: It’s always a little nerve wracking when you’re the new kid in school especially when the teacher pairs you up to partner on a project with someone like Shawn Knight! But after our first encounter in callbacks he immediately pushed my fears aside. Shawn is a master class in timing and moreover a generous and supportive scene partner. From day one we started a witty banter full of the perfect balance of loath and love and now we’ve taken it to the stage.  I’ll let the audience be the ultimate judge; but I’m very proud of what we’ve been able to create together in such a short amount of time; as Shawn said on day one of rehearsals, “when shopping for Cogsworth memorabilia at Disney World…You just can’t buy Cogsworth without Lumiere!”.  And I wouldn’t want it any other way!

JHP: Aside from the show’s titular tune, Something There is probably my favorite. Wanna take a minute to just gush about what it’s like to be in a show with such a gorgeous score written by musical theatre legends Alan Menken, Tim Rice and Howard Ashman?

BRADLEY GALE: Singing the music of Beauty and the Beast is nearly every musical theatre kids dream come true. Its themes are probably some of the most recognizable musical themes of our time and the harmonies you’ll hear are EXACTLY what you want to hear at the end of every belty show-stopping number! When you add in voices like those assembled for this production its a soundtrack that I’ll happily be listening to on repeat through the month of December. Aside from the on stage voices just wait till you hear this orchestra under Stephen Kumer!

JHP: I frequently say I could live on a Studio Tenn set. Mitch White is designing the set for Beauty and the Beast. What can you tell me about it and other technical aspects of the show?

BRADLEY GALE: Mitch White never disappoints and this one is a doozy. You’ll walk in to Jamison Hall and immediately feel like you’ve walked into the castle. I don’t want to ruin any surprises but let’s just say;  it’s huge and it is Blue-tiful. ;-P. Don’t even get me started on the costumes and wigs! Blake Danford has designed and executed amongst numerous other magical pieces, a set of the coolest Candle stick hands I’ve ever seen…And yes they do light up!!!  Also, Allison Hearn has made me feel like a gorgeous hair model from Versailles! Much love and gratitude to our amazing design team!

RAPID FIRE WITH PATRICK THOMAS, THE BEAST IN BEAUTY AND THE BEAST

JHP: Who is The Beast to you?

PATRICK THOMAS: The Beast, though a magical Disney character, is still very much a human like any of us. He is any one who has ever let their circumstances define them. He blames a world he does not understand instead of his own shortcomings for his misfortunes. Unable to see the goodness around him he is temperamental, withdrawn, and full of self-loathing. In the most human way possible, it takes real love and inner beauty to thaw a heart that had long grown cold.

JHP: Playing The Beast isn’t just extra hair/makeup/prosthetics. I’m guessing it’s also a different approach to your physicality, speech and attitude. Is there one of these aspect that, once you’ve adapted it, you feel you become The Beast?

PATRICK THOMAS: Not necessarily. It’s a combination of the costume, the lower vocal placement, wider stance, broader shoulders, all of it really. Needless to say I’ve spent lots of time in front of a mirror lately in an effort to get it just right.

JHP: Some Studio Tenn audiences might remember you best for your appearances in the company’s popular Legacy series or the performance-heavy Christmas specials. Those are pretty straight-forward music performances, rather than theatrical characters with a bit of dialogue and character development. How much fun are you having stepping into a character like The Beast?

PATRICK THOMAS: This feels like a return to my roots (though most wouldn’t know it.) Both my parents were Broadway actors so I grew up hearing musical theatre. Having the chance to act and sing in a totally different style has been quite freeing. It’s a nice break from my pop/country music career.

JHP: While The Beast eventually shows his softer side, much of the show sees him grousing and gnarling at those closest to him. Do you see parallels between The Beast’s emotional transformation and the overall moral of the show?

PATRICK THOMAS: Of course. No one tells a story like Disney and there’s a reason this one is such a classic. Hopefully as audiences watch this magical production they will pick up on the underlying theme. Beauty is indeed found within. And hey, even if they miss it, at the very least we hope everyone will leave thoroughly entertained.

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With Studio Tenn’s flawless history of presenting Broadway-worthy productions time and time again, there’s no doubt their production of Beauty and the Beast will be talked about until the final petal falls. Studio Tenn’s Beauty and the Beast plays Jamison Hall at The Factory at Franklin with select matinee and evening performances from Friday, December 7 thru Sunday, December 30. Thursday thru Sunday evening performances begin at 7 p.m. Saturday and Sunday matinees begin at 2 p.m. Special Wednesday, December 26 performances will be at 2 p.m. and 7 p.m. Tickets range in price from $30-$90. CLICK HERE to purchase tickets.

Following the 7 p.m. Sunday, December 9 performance, Studio Tenn is offering an exclusive post-show Meet and Greet with Belle for an additional $5. CLICK HERE to purchase the additional Meet and Greet tickets. On Saturday, December 15 and Saturday, December 22, Studio Tenn is offering Backstage Tours at 12noon prior to the 2 p.m. matinee performance on those two days. CLICK HERE to purchase the additional Backstage Tour tickets.

After Beauty and the Beast, Studio Tenn’s 2018/2019 Season continues with Tennessee William’s Cat on a Hot Tin Roof from Friday, February 8 thru Sunday, February 17. That will be followed by this year’s Legacy Series entry, The Sinatra Legacy: A Tribute to Ol’ Blue Eyes, onstage at The Franklin Theatre, Thursday, March 14-Sunday, March 17. Studio Tenn will wrap their current season with Damn Yankees from Friday, May 17 until Sunday, June 2. CLICK HERE for tickets or more information.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.

Studio Tenn annual gala, ‘One Night Only’ at Nashville’s War Memorial Auditorium Friday, October 19

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On Friday, October 19, Studio Tenn will present their annual fundraising gala, One Night Only, this year dubbed—A Red Carpet Affair. An incredible night of entertainment, food and fun, including an always impressive silent auction, it’s truly one of my personal favorite social events of the season. This year’s party promises to continue the high-energy, stellar talent, Broadway-quality event for which the relatively young theatre company is known. Changing things up a bit, for the first time in the event’s brief but impressive history, Studio Tenn’s One Night Only will take place at War Memorial Auditorium in Downtown Nashville.

Co-charing the event this year are Bob Deal and Jason Bradshaw, who I like to call Nashville’s bon vivant dynamic duo. When asked how they came to co-chair Studio Tenn’s One Night Only, Deal and Bradshaw revealed something very interesting, “Two friends asked if we would be interested in helping out Studio Tenn with their annual Gala, One Night Only as Co-Chairs for the 2018/2019 Season. We both quickly responded with, What’s Studio Tenn?”, they recalled with a grin. That said, apparently all it took was seeing one of Studio Tenn’s gorgeously produced shows earlier this year and they were in. “After seeing a fabulous production of the recent hit, Grease; meeting the talents of the brilliant crew whom make up Studio Tenn; and seeing and hearing those whom are fans of this incredible organization rave about this professional theatre troupe, it all made sense to say YES as Chairmen.”

Bradshaw and Deal also raved about DKates Catering, who’ll be providing the dinner for attendees who opt in for the full sit-down-dinner experience at the gala saying, “Danielle Kates of DKates Catering is doing the delicious food. We had a tasting of fourteen at our home alfresco on September 26. It was lovely. The evening was perfect.”

As for this year’s silent auction, attendees—and this who just like to take advantage of the opportunity to snag a fun and unique action item—have been given a sneak preview via the live online auction co-chaired by Lynne McAlister and Milton White. Having been friends with White for more years than either of us will admit, I reached out to him for his take on working with Bradshaw, Deal and McAlister in preparation of One Night Only. “I loved working with Bob, Jason and Lynne!”, he exclaimed. When asked for details about what the auction has to offer, White eagerly revealed, “This auction has a something for everyone—fabulous food and fashion as well as signed guitars and the chance to dine on the set of Beauty and the Beast!” (the company’s upcoming holiday offering). For a chance to bid on this and all the other items offered at the gala, CLICK HERE.

Speaking of Beauty and The Beast, Laura Matula, a member of the Studio Tenn family known to theatre-goers for her gorgeous vocal skills, having wowed audiences playing everyone from Grease’s Rizzo to The Wizard of Oz’s Wicked Witch, confessed, “I absolutely cannot wait to sing the title song of Beauty and the Beast with my absolute favorite singer, John-Mark McGaha. I will for sure be living out all my Celine Dion childhood dreams and I couldn’t feel any luckier.”

Matula is just one of the many well-known performers who’ll be on stage during this year’s One Night Only. What’s more, she’s also the event’s Music Director/Supervisor. In the weeks leading up to it, she’s organized performers schedules, charted tunes, run rehearsals and coordinated musical equipment staging—a true musical Jill-of-all-trades.

When asked about the mind-blowing musical talent assembled for this year’s even, Matula gushed, “I am astounded by the amount of talent that can fit on one stage whenever I am involved with a Studio Tenn gala. This year’s One Night Only is no exception. We have Broadway performers, American Idols, songwriters and recording artists, Nashville based superstars, and more—phenomenal vocal talents all around plus the most stellar assortment of Nashville musicians: Matt Giraud, Diana DeGarmo, Ace Young, Piper Jones, Melodie Madden Adams, John-Mark McGaha, Libby Black, Megan Murphy Chambers, Eden Espinosa, Bradley Gale, Marissa Rosen…and me, plus an extra special number from Jake Speck and Matt Logan!”

When asked about the change in venue for this year’s gala, Matula revealed, “This year will mark the largest assortment of talent onstage with 12 singers and 13 band members plus some special guests I canąt tell you about! Thank goodness we are at War Memorial Auditorium in downtown Nashville so we can fit everyone on stage! I canąt wait for you to hear the sound of this group!”

I couldn’t chat with Matula without begging for a hint of what to expect. To that end, she teased, “The theme of the music this year is Songs from the Movies. This gave us such a wealth of incredible music to pull from and boy this set list is on fire! We have everything from James Bond to Barbra Streisand to songs from The Greatest Showman, The Bodyguard, Jungle Book, Beauty and the Beast, Cabaret, Moulin Rouge, and more! It’s bigger and better than ever but with the same intimate feeling the singers on stage bring as members of the incredible Studio Tenn family of artists and entertainers.”

Something many fans, patrons and company members are thinking about is the recent news that Matt Logan, one of Studio Tenn’s co-founders will be leaving his position as Artistic Director, with One Night Only marking his final official event with the troupe. Matula addressed this by adding, “It will also be incredibly emotional as we share our endless love and gracious hearts with Matt Logan as he departs the Studio Tenn family. He is a storyteller and art maker and I am so grateful to be able to be a part of celebrating him for an incredible night.”

With that, I reached out to Logan for his take on the evening. “I’m so excited to hear our powerhouse vocalists. I think it is no secret that I am a huge fan of these Broadway and Tennessee stars. They are not only great friends but the best singers in the world”. He continued, “I know that many of our patrons love their talent but I do think that the patrons love seeing how much we love each other. We have a great community and we don’t take it for granted.”

Of his pending departure, Logan added, “The bittersweet element of my last night is in saying goodbye to a community that has blessed me so richly. do believe that every great chapter must come to an end. The timing is right for me to move on but Im gonna miss it terribly.”

Speaking of bittersweet, as alluded by Matula, Friday’s One Night Only will also feature an on-stage reunion between Logan and Studio Tenn’s other founding member, Jake Speck. Earlier this year, Speck left his position at the company when he accepted a job with a theatre company in Texas. Of the pair’s upcoming One Night Only re-teaming, Logan divulged, “Jake and I will do some talk and song. It’s nothing major, but it will be a final goodbye to the thing we created. We know Studio Tenn will carry on but this chapter will be at an end for us.” Thinking back on the journey that brought him to this point, Logan shared, “The funny thing is that we both were high school buddies growing up in Tennessee and then we were given the chance to bring back what we learned and effect the artistic landscape of Middle Tennessee. Even now, it is hard for me to wrap my brain around the enormous gift we were given. This evening will be a great moment to thank everyone who made Studio Tenn what it is.”

While the evening does mark the end of an era for Studio Tenn, rest assured the company is ready for what the future holds. Of their hopes for the evening, Bradshaw and Deal enthused, “We are honored and delighted to be a part of this event and hope they take back with them, like we did, that special moment that uniquely makes Studio Tenn…a 10!”

One Night Only will not only be chocked-full of jaw-dropping entertainment, festive music and great food, it will also remind attendees just how fabulous the company is as they continue their ninth season and look forward to their history-making tenth year. Select tickets for One Night Only are still available. Table Seating on the Main Floor includes drinks, a delicious dinner, silent auction access and an up-close and personal view of the evening’s entertainment. Tickets are $325.00. Mezzanine/Late Party tickets, which include  pre-show libations, hors d’oeuvres, access to the silent auction and an amazing second story view of the evening’s entertainment are available for $95. CLICK HERE for tickets.

Up next for Studio Tenn, just in time for an enchanted holiday, they’re presenting Disney’s Beauty and the Beast, with performances December 7-30. CLICK HERE for tickets or more information. Following Beauty and the Beast, Studio Tenn’s 2018/2019 Season continues with Tennessee William’s Cat on a Hot Tin Roof from Friday, February 8 thru Sunday, February 17. That will be followed by this year’s Legacy Series entry, The Sinatra Legacy: A Tribute to Ol’ Blue Eyes, onstage at The Franklin Theatre, Thursday, March 14-Sunday, March 17. Studio Tenn will wrap their current season with Damn Yankees from Friday, May 17 until Sunday, June 2. CLICK HERE for tickets or more information.

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.