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The Larry Keeton Dinner Theatre

Rapid Fire 20 Q with director and cast of ‘Barefoot in the Park’; at The Keeton Dinner Theatre April 11-27

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During the time Neil Simon’s BAREFOOT IN THE PARK played Broadway, the prolific playwright was enjoying major success, at one point having a total of four plays running simultaneously on the Great White Way. For its initial effort, the play received four Tony nods, taking home Best Director for Mike Nichols. Opening in 1963 and closing in 1967, BAREFOOT IN THE PARK become Simon’s longest-running Broadway show, and Broadway’s tenth longest-running non-musical ever. The year the play closed on Broadway, a film adaptation premiered in theaters, transferring the success of the show to the big screen and widening the audience to movie-goers world-wide.

With such rich history, it’s no wonder The Keeton Dinner Theater has chosen BAREFOOT IN THE PARK as their latest endeavor. Directed by Lenny West and starring Regan Aycock, Evan Fenne, Aleah Christian, Steve Mook and Chad Stem, The Keeton’s BAREFOOT IN THE PARK opens Friday, April 11 and continues through Sunday, April 27. Earlier this week, literally days before the show’s opening, I had a chance to chat with the director and three of the show’s stars for my latest Rapid Fire 20Q. What follows are those conversations.

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Rapid Fire 20 Q with director and cast of The Keeton’s BAREFOOT IN THE PARK

Rapid Fire with BAREFOOT IN THE PARK’s Corie, Regan Aycock

JHPENTERTAINMENT: What can you tell me about Corie Bratter, the character you play in The Keeton’s BAREFOOT IN THE PARK?

REGAN AYCOCK: She’s so lovely, she loves life, she loves love, she’s quick to emotion, but quite literally always just wants to have a good time. I think Corie is the little voice in the back of all of our heads that tells us to get mad or get excited, or cry tears of joy. She’s truly all of us, especially those of us who are in love. On the surface though, she’s a 21-year-old new wife that’s trying to start her life with her new husband. Just a girl.

JHPENTERTAINMENT: In preparing to chat with you and the other company members of BAREFOOT IN THE PARK, I discovered the 1981 HBO presentation starring Richard Thomas, Bess Armstrong and Barbara Barrie is available on YouTube. Pretty sure I saw it back then, but It’s been years since I’ve seen this Neil Simon classic live on stage. How excited are you to be part of this particular production?

REGAN AYCOCK: Funny you mention it! That production is actually how I memorized Cories lines, I listened to it day in and day out for weeks in order to get lines down! As for excitement—you have no idea. I wept like a baby when Lenny offered me Corie. I’ve been off the stage for quite some time now, and Barefoot auditions were simply just to get my feet wet again in terms of acting. I had no inclination that I would get Corie. Now I get to spend a little time with her every day. When I told Lenny I was going to take good care of her, I meant it. This is also such a lifelong goal of mine. I’ve been doing theatre for over a decade, and I can’t say I’ve ever been THE girl. Every actor has that dream of getting to lead a show, and Lenny gave me the opportunity to cross that off my list–It just so happens that Corie is also genuinely lovely. I’ll thank him every day for the experience.

JHPENTERTAINMENT: BAREFOOT IN THE PARK takes place in a small New York apartment of newlyweds Corie and Paul Bratter. In fact, the first half-hour of the play centers around the young marrieds settling in, so I gotta ask…What do you remember most about your first apartment after moving out from your parent’s home?

REGAN AYCOCK: I still live in it! I was very fortunate to have some help moving from St. Louis to Nashville, so my apartment wasn’t in quite the state that Corie and Paul’s is (plus, there’s an elevator rather than six flights of stairs) It was scary when I first moved though, I lived by myself so I didn’t know how to fill the time. It was a brand new building however, so things did break often–but on the bright side, I had a bathtub!

JHPENTERTAINMENT: The show’s title comes from Corie’s carefree attitude towards life, as she encourages her rather uptight business-minded newlywed husband to seize unconventional opportunities in life. Is that an attitude to which you yourself subscribe?

REGAN AYCOCK: To be honest, the biggest challenge that came with playing Corie was her energy. Having to pull her loveliness and energy was difficult, as I’m a bit more of a Paul in real life. I wish to be more like Corie, she just has so much fun no matter what she’s doing. What I do have in common with her though is I think with my heart first rather than my head, there are a few lines in act 1 where I think to myself “I don’t even need to act right now”.

JHPENTERTAINMENT: How much fun are you having being ‘married’ to your onscreen hubby, Evan Fenne?

REGAN AYCOCK: I’ve actually known Evan for a little bit now, we did a show together back in 2022, but hardly interacted, if at-all. It’s been great actually getting to connect with him, he’s a phenomenal actor, and an even sweeter guy. It’s nice having so much trust in a scene partner. Getting to be married is something that I’m having a lot of fun with, and it only got easier as myself and Evan got to be better friends. I can’t say enough good things about him, truly—he’s a class act.

Rapid Fire with BAREFOOT IN THE PARK’s Paul, Evan Fennel

JHPENTERTAINMENT: Who is Paul Bratter to you?

EVAN FENNE: To me, Paul Bratter is a guy who can’t fight the fact that he is a very particular and neat person, no matter how hard he tries. I think his whole life, he has been trying to prove that he can be “fun.” And he does like to have fun, just the Paul way.

JHPENTERTAINMENT: Is there an aspect of Paul’s character that you’d like to incorporate into your own life?

EVAN FENNE: I really love the heart of the story being how two people who are so different can be so in love and value each other so much. Paul’s ability to love Corrie for all the ways she balances him out is one I’d like to exemplify in any of my relationships, not just romantic. Even when they’re fighting, I know Paul is saying everything with the implication that he still loves her.

JHPENTERTAINMENT: How familiar were you with the role prior to auditioning? AND…what was it about this show and this role in particular that prompted you to audition?

EVAN FENNE: I actually portrayed Paul in an acting class and read the play when I was at Belmont, so I was fairly familiar. After that, Paul became a dream role for me. I love Neil Simon’s sense of humor, and I immediately understood and loved Paul. When I saw that the Keeton was putting it up, I was immediately excited to audition. I’m very thankful that I was cast, and the experience has been amazing.

JHPENTERTAINMENT: Quite often, it’s little details within the set decoration or props that prove the most interesting. Is there an aspect of the set that you enjoy and hope audiences take note of?

EVAN FENNE: The use of color in the set is particularly awesome to me. It’s the perfect amount and balance where it’s fun to look at but not too much. The space is also filled so well, and to be honest, it’s better decorated than my own apartment!

JHPENTERTAINMENT: When I chatted with Regan Aycock, I asked her about sharing the stage with you as young marrieds on stage, so I’ll ask you about having Regan as your ‘wife’? How is she as a scene partner?

EVAN FENNE: It’s been wonderful and a breeze to share the stage with Regan. We both have a lot of fun during the big argument because Paul and Corrie are trying to push each other’s buttons, while Evan and Regan are borderline trying to make each other break. She also cares greatly about making sure each of us feels comfortable and safe during scenes, for which I’m very grateful.

Rapid Fire with BAREFOOT IN THE PARK’s Ethel, Aleah Christian

JHPENTERTAINMENT: Keeton audience will no doubt recognize you, having portrayed Belinda Blair in their 2024 production of NOISES OFF. Loved you in that role, by the way! Now you’re playing Ethel Banks, aka Mother in BAREFOOT IN THE PARK. How would you describe Ethel?

ALEAH CHRISTIAN: Ethel is such a fun character to portray.  She’s a devoted mom who’s spent most of her life doing what’s expected of her, but there’s this spark in her that hasn’t gone out—she just hasn’t had a reason to let it shine in a long time. Throughout the show, you see her get a little bolder, a little braver, and it’s really heartwarming. I love that she has more interest in her character than just “The Mom.” Ethel is rediscovering parts of herself.

JHPENTERTAINMENT: What’s your favorite scene or bit of dialogue from the show?

ALEAH CHRISTIAN: There’s a scene where Ethel has just climbed all those infamous stairs and is trying so hard to act like she’s completely fine. The physical comedy is so relatable—like when you’re trying to look composed but your body is saying, “Nope!”

JHPENTERTAINMENT: If research serves, this isn’t your first time being directed by West, having starred as M’Lynn in a 2019 production of STEEL MAGNOLIAS under his direction. What is one aspect of West’s direction that you appreciate as an actress?

ALEAH CHRISTIAN: I love working with Lenny. He’s so intuitive and creates a space where actors feel supported but also challenged in the best way. He gives you the freedom to make bold choices, but he’s always there with a thoughtful note that somehow unlocks a deeper layer of the character. His timing is just spot on. He knows how to bring out the best in a cast. Lenny is selfless and meticulous in overseeing every detail. Honestly, I could go on… I am so grateful for the opportunity to work with him again!

JHPENTERTAINMENT: Some of the show’s funniest scenes happen between Ethel and Victor Vilasco, the rather eccentric upstairs neighbor of Paul and Corie. In this production, Victor is played by Steve Mook. What’s been the best thing about sharing the stage with Steve?

ALEAH CHRISTIAN: Steve has been a joy to work with! He brings so much charm and spontaneity to Victor. We’ve had a blast finding that chemistry between our characters. We are still discovering moments. He’s one of those actors who keeps you on your toes in the best way, you never feel like you’re just going through the motions. He is a great scene partner and it’s been a lot of fun sharing the stage with Steve. 

JHPENTERTAINMENT: At one point, playwright Neil Simon had four plays running in four Broadway theatre at the same time, BAREFOOT IN THE PARK being one of them. While that was during the mid-60s, his work is just as timeless, entertaining and funny today. Why do you think his work holds up so well?

ALEAH CHRISTIAN: Neil Simon’s writing is rooted in real people. Even with all the comedy, his characters feel familiar. They are flawed, funny, and trying to figure things out…just like the rest of us. His dialogue is so sharp, but also full of heart. You laugh because it’s funny, but also because you recognize yourself (or someone you know) in these characters. In essence, his work is timeless and relatable on so many levels. 

Rapid Fire with BAREFOOT IN THE PARK director, Lenny West

JHPENTERTAINMENT: I understand this is your third time to direct BAREFOOT IN THE PARK. So, I gotta ask…What keeps you coming back to this particular work?

LENNY WEST:  You are correct!  This is indeed my third time in the director’s chair for this gem of show.  BAREFOOT IN THE PARK is the very first play I ever directed, so it absolutely holds a special place in my heart and that’s certainly part of what keeps me coming back to it.  Getting to check in with Paul, Corie, Mrs. Banks, Mr. Velasco & Harry Pepper every 10-ish years is like getting a warm hug from an old friend.  I think it’s also a terrifically funny script.  Most people will know Neil Simon from The Odd Couple, his most famous play, but I personally think Barefoot in the Park is his best.  It’s story and the circumstances our characters find themselves in, while a bit exaggerated for comic effect of course, are pretty true to life and many people will recognize themselves in it. It’s one of the classic comedies of the American theater, and classics are classics for a reason.  They deserve to be taken out, dusted off and revisited every now and then.  Also, the opportunity just  keeps presenting itself!    

JHPENTERTAINMENT: Having directed the show three times, some might think you simply just plug in the new cast from each company, so what it is about this piece that allows you to find new ideas as a director from production to production?

LENNY WEST: That’s a great question, and it comes down to primarily two things:  First, my perspective and life experience has been different each time, so it’s impossible to not bring a bit of that to the project.  22-year-old-me saw the world and this play very differently from 34-year-old-me who sees things even more differently from (almost!) 45-year-old-me.  I think a great work of art is one that you can revisit over and over and each time it will speak to you in a new way based on where you are on this crazy journey called life.  While the bones of the play obviously stay the same and the truths at the center of the story remain, fresh nuances are revealed each time I come back to the play.  The second thing is the performers I have been fortunate enough to work with each time.  Each actor brings their own experience and interpretation and talent and those things of course will inform how they inhabit their roles  As a director, I learned a long time ago to never ever try to squeeze a performer into a prior interpretation of the role.  It never works!  And what a gift it has been to see three very different groups of individuals bring this universal story to life!  I’ve been incredibly lucky.  

JHPENTERTAINMENT: BAREFOOT IN THE PARK marks your debut with The Keeton. How did directing this show for Keeton come about?

LENNY WEST: This opportunity sort of sought me out, actually.  Nashville theater legend Linda Speir is a dear friend and one of The Keeton’s board members.  She has been nudging me for a few years (sometimes gently, sometimes no so gently!) to come and work at The Keeton in some capacity, but the timing was never quite right and the right project hadn’t presented itself.  Last spring after The Keeton’s new season was announced, Linda nudged again and the time and the project were both right, and one thing led to another and here we are!.  And I’m glad she kept nudging!  I’ve had a great time at The Keeton.  

JHPENTERTAINMENT: The entirety of BAREFOOT IN THE PARK takes place in a relatively small fifth floor New York walkup. What are the challenges and advantages of directing, what is a single set piece?

LENNY WEST: Ordinarily, I’d say that a play with a single set is a huge advantage in that once it’s built and decorated, you’re essentially finished and can move on to making the staging and movement of the actors interesting and visually appealing, which admittedly can be a challenge on a static set.  However, with Barefoot in the Park the conceit is that the first scene takes place the day that Corie & Paul move into their tiny apartment–so essentially an empty room–, and the next scene is four days later after furniture has arrived and after the room has been decorated and brought to full, colorful life.  So, sure, it’s one single set, but there is a MAJOR scene change that must occur.  No spoilers here as to how we accomplish it–to find out, you’ll just have to come see the show!  

JHPENTERTAINMENT: What do you hope audiences remember long after seeing The Keeton’s production of BAREFOOT IN THE PARK?

LENNY WEST: BAREFOOT IN THE PARK is first and foremost a delightful, often laugh-out-loud comedy with a huge heart, so I hope audiences will remember that they (hopefully!) had a great time watching the trials and tribulations of Corie & Paul’s first week of marriage.  But Neil Simon–that old sneaky devil–doesn’t let us off that easily.  The moral of story as I see it is that to make any kind of relationship successful, there must be compromise, there must be give and take, and everyone involved must be willing to take a small step outside of their comfort zone in order to see world from the other person’s perspective.  We shouldn’t only seek to be understood but we must also seek to understand.  We should see and appreciate and celebrate differences and eccentricities in others rather than finding fault with them.  ….and if can do that, you just might find something beautiful.   These things are necessary in order to really connect with another person, and in a world that is increasingly isolated and divided, we need connection now more than ever.  That Neil Simon….he might’ve been on to something, eh?  

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The Keeton’s BAREFOOT IN THE PARK opens Friday, April 11 and continues through Sunday, April 27 with 7pm shows Thursday through Saturday and a 2pm matinee on Sunday. Thursdays are Show Only nights (Show Only tickets are $30). As always, The Keeton’s dinner offering is a perfect compliment to their current show. For BAREFOOT, The Keeton is serving Dinner Salad, Pork Chop with Gravy, Mashed Potatoes, Green Beans, a Rolle and Apple Cobbler with Ice Cream. Dinner and Show tickets are $40 (plus a $2 fee) For Adults and $35 (plus $2 fee) for Children. For a slight uncharge, Salmon can be substituted as the main entree. For groups of 15 or more, The Keeton offers a group rate of $38 (plus $2 fee) per person. CLICK HERE for tickets.

Following BAREFOOT IN THE PARK, The Keeton will host their annual fundraising gala, A Night Under The Stars. Tickets to the event are $60. CLICK HERE for tickets or more information. Following the gala, The Keeton’s current season continues with COMPANY June 13-29. CLICK HERE for tickets and more information.

So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

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

Rapid Fire 20Q with Cast of ‘Beautiful: The Carole King Musical’; Continuing at The Keeton Through February 23

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As the cast of BEAUTIFUL: THE CAROLE KING MUSICAL readied for their second of three weekends at The Keeton Dinner Theatre (108 Donelson Pike, Nashville, TN), I recently had the opportunity to pose a few questions to the show’s four leads, Layla Frankel, Dylan Kim, Kimberly Wolff and Jacob Armstrong for the latest installment of my recurring interview feature, Rapid Fire 20Q. What follows are those conversations.

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RAPID FIRE 20Q WITH CAST MEMBERS OF THE KEETON’s BEAUTIFUL

RAPID FIRE WITH KIMBERLY WOLFF, WHO PLAYS CYNTHIA WEIL IN BEAUTIFUL

JHPENTERTAINMENT: Who is Cynthia Weil to you?

KIMBERLY WOLFF: To me, Cynthia Weil is a grounded, confident, trailblazing talent of a woman. What she has accomplished in her lifetime is nothing short of amazing. I see her as someone who is not afraid to take a chance and she knows what she wants. 

JHPENTERTAINMENT: Keeton patrons will no doubt recognize you for your recent role as Miss Shields in A Christmas Story, which you also choreographed and as Evita Perón in Keeton’s Evita last year.  McKenna Driver choreographed Evita and is back as choreographer for BEAUTIFUL. While the role of Cynthia doesn’t really require any choreo, are there any Beautiful choreo moments you’ve enjoyed watching during the rehearsal process? 

KIMBERLY: McKenna is an extremely talented choreographer. Her vision is always spot on, and she is a great teacher. It has been incredible watching The Drifters, and The Shirelles come to life. I think my favorite though, is Locomotion. It is so energetic and fun to watch. What McKenna has created with Beautiful, is, well…Beautiful. 

JHPENTERTAINMENT: Much like Carole King and her professional partnership with her husband, Cynthia Weil and Barry Mann were also involved professionally and personally. For The Keeton’s BEAUTIFUL, you’re paired with Jacob Armstrong as Barry Mann. What’s Jacob like as a scene partner?

KIMBERLY WOLFF: It has been fun working with Jacob. It has been easy from the start. We are both open to listening to each other’s ideas and we both have the same goal. We want to do everything we can to bring these characters to life and do them justice. It has been great getting to share the stage with him. 

JHPENTERTAINMENT: IF there were to be a Cynthia Weil jukebox musical, what would it be called?

KIMBERLY WOLFF: Somewhere Out There! While doing a deep dive on the internet to learn more about Cynthia, and to get to know her better, I found out she wrote one of my favorite songs. Somewhere Out There, is from An American Tail. One of my absolute favorite movies growing up. That song has always been a favorite of mine.  I sing it to my daughter sometimes to put her to sleep. Something that has been so mind blowing to me, is seeing how many hit songs all 4 of these main characters have written. I had no idea there were so many songs we all know. 

JHPENTERTAINMENT: As portrayed in BEAUTIFUL, is there a facet of Cynthia’s personality that you might try to incorporate into your own?

KIMBERLY WOLFF: She comes across as being so sure of herself with a great confidence. You don’t see much self doubt. It’s admirable. Sometimes I can tend to stand in my own way. I’d love to tell myself to “MOVE OVER” a little more often.

RAPID FIRE WITH JACOB ARMSTRONG, APPEARING AS BARRY MANN IN BEAUTIFUL  

JHPENTERTAINMENT: You were last seen at The Keeton in their Spring 2024 production of The Music Man as a member of that show’s barbershop quartet and now you’re co-starring as Barry Mann in BEAUTIFUL. What can you tell me about this role?

JACOB ARMSTRONG: Barry is a delightfully neurotic character to play. I feel like he has quite a few insecurities that he covers with humor. I relate to Barry quite a bit. He is so much fun to play, and I absolutely love is sarcastic one liners. Though his real concerns do later pop through in the show in a real way. 

JHPENTERTAINMENT: When I chatted with Kimberly, I asked her about you as a scene partner, so turn about is fair play…What is your favorite thing about sharing the stage with Kimberly Wolff, who plays Mann’s writing partner and love interest, Cynthia Weil?

JACOB ARMSTRONG: Kim is so easy to share the stage with. Though, I think my favorite moments we share together happen back stage. We find ourselves sometimes having to hold on to each other out of fear of missing a scene that we both apparently think does not exist. This has resulted in many laughs together. 

JHPENTERTAINMENT: When you auditioned for BEAUTIFUL, did you specifically audition for the role of Barry Mann?

JACOB ARMSTRONG: When auditioning, Barry was the only character I had in mind. I really wanted to play this comedic part, it felt like it would be a great fit from the beginning. 

JHPENTERTAINMENT: In researching the role, were there songs Mann penned that you were familiar with but didn’t realize he’d written?

JACOB ARMSTRONG: Yes! I had no idea he was involved with You’ve Lost That Loving Feeling, and On Broadway.

JHPENTERTAINMENT: As he is written in BEAUTIFUL, Mann provides some of the show’s funniest comebacks and lines. Do you have a favorite?

JACOB ARMSTRONG: My favorite line by far is, “I’ve realized I’m just as miserable without you as I am with you. So I figured if I’m going to be miserable, I might as well have the sex that goes a long with it.” This always gets a great laugh! 

RAPID FIRE WITH BEAUTIFUL’s GERRY GOFFIN ACTOR, DYLAN KIM

JHPENTERTAINMENT: Were you familiar with Gerry Goffin prior to joining the cast of The Keeton’s BEAUTIFUL: THE CAROLE KING MUSICAL?

DYLAN KIM: Honestly, I hadn’t heard of Gerry Goffin before this role. I knew Carole King’s music, of course, but diving into the show was my introduction to Gerry’s story. It’s been eye-opening to discover how integral he was to shaping so many iconic songs and the complexities of his partnership with Carole. Learning about his legacy—both the brilliance and the struggles—has been a huge part of preparing for this character. 

JHPENTERTAINMENT: This marks your third Keeton show in the last several months. What keeps you coming back?

DYLAN KIM: The community, hands down. The Keeton feels like a second home—everyone from the cast to the crew radiates this infectious passion for storytelling. It’s rare to find a space where you’re equally challenged and supported, and that balance keeps me hooked. 

JHPENTERTAINMENT: Do you have a favorite moment in the show, whether you’re part of it or not?

DYLAN KIM: You’ve Got a Friend gets me every time. Right after Carole’s weathered so much, that scene feels like a warm embrace. There’s this quiet power in its simplicity, and the way the audience leans into it… it’s magic.  

JHPENTERTAINMENT: Some of Gerry’s darker moments are represented in BEAUTIFUL. Do you do anything specific to prepare for those scenes 

DYLAN KIM: I lean into Stanislavski’s psychophysical action—using small, deliberate movements to anchor myself in Gerry’s emotions. It’s less about forcing feelings and more about letting the body guide you. And shoutout to my scene partner, Layla—she brings such honesty to those moments that it’s easy to meet her halfway.

JHPENTERTAINMENT: Donna Driver is directing this production. What can you tell me about Donna’s style as a director? 

DYLAN KIM: Donna’s done her homework—she knows this era and these characters backward and forward. But what stands out is her ability to pull greatness out of people. She’ll spot a spark in your performance you didn’t even see, then nudge you to fan it into a flame. She trusts actors to take risks, and that freedom lets everyone shine.

RAPID FIRE WITH BEAUTIFUL STAR, LAYLA FRANKEL

JHPENTERTAINMENT: I understand playing singer/songwriter Carole King in The Keeton’s BEAUTIFUL: THE CAROLE KING MUSICAL marks your Keeton debut. How familiar were you with the company prior to auditioning?

LAYLA FRANKEL: I actually had not heard of the Keeton until a friend from my previous show encouraged me to audition for this part.  She had great things to say about Donna as a director and I was excited about the role so I figured I would give it a shot.  I’m so glad to have found the Keeton! Their team is so passionate and committed to delivering high-quality productions; it’s been a pleasure working with them!

JHPENTERTAINMENT: While it’s your Keeton debut, the same can not be said for the role, as you recently appeared in another company’s production of BEAUTIFUL where you understudied the lead role. Not only did you understudy, you also appeared in the lead role a couple times during the run. How excited are you to be taking on this role again and making it truly your own?

LAYLA FRANKEL: Beyond excited. I was really grateful for the opportunity to spend more time with Carole and her story.  In my experience as understudy, I knew the part well enough to perform it, but my performances essentially felt like three dress rehearsals that happened to be in front of audiences. I didn’t have the chance to perform as confidently in the part as I had hoped.  It is an incredibly demanding lead role (think 13 costume changes, 3 wigs,12 songs, plus piano parts) but I was driven to do the character justice.  As a songwriter myself, Carole King is one of my creative heroes and has been influential for my own songwriting journey. I’ve had a blast doing a deep dive into her songs and story, and just learning more about who she is.  I feel very connected to this character, she’s truly an inspiration in every way. 

JHPENTERTAINMENT: As Carole, you share quite a bit of stage time with Dylan Kim as Carole’s first husband and frequent writing partner, Gerry Goffin. What’s your favorite aspect of Dylan as a scene partner?

LAYLA FRANKEL: First off, Dylan is an incredible talent and there are many things that I really appreciate about our scenes together.  He’s a joy to perform with.  One thing that I really appreciate is his ability to be really present in the scene every time we go on stage in a way that I think shows how practiced he is as an actor. I feel like I’m a better actor for it; like I’m able to connect more to our stage relationship because he’s so present. It’s been fun to see our stage chemistry grow more and more with each show.  

JHPENTERTAINMENT: During the rehearsal process and early run of the show has there been a particular song of Carole’s that’s become a personal favorite to perform?

LAYLA FRANKEL: There are so many good ones! The One Fine Day Reprise at the end of Act 1 is one of my favorites to sing because there’s so much emotion packed into that moment and I can put it directly into the song.  It’s a really satisfying end to the first act.  But I also enjoy singing Will You Still Love Me Tomorrow and It’s Too Late and trying to find Carole-isms in my own voice.  She has such a unique, raspy quality to her voice that I cannot physically match, but – and this may sound very vocal-nerdy – I’ve really enjoyed the task of studying her deliveries and trying as best I can to mimic her phasing and melodic choices.  She’s such a nuanced, dynamic singer and it’s exciting to find moments when I remind myself of Carole.  It feels like the ultimate success in the role. 

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

LAYLA FRANKEL: There’s a line that a 16-year-old Carole says in the show: “When I hear a good song, I feel like someone understands me.  Even if I’m all alone, it’s like I’ve got a friend in the room.”  I would hope that audiences leave feeling like they’ve heard music and a story they can connect to.  Music that maybe takes them back to another moment in their lives.  But beyond that, I hope that the show can provide audiences with a moment of respite from some of the external chaos of the news and media at the moment. 

One of the things I love most about live theatre is the magic of so many talented people coming together to create something spectacular, tell a story, and share creative beauty with an audience all together in one moment in time.  There is so much power and purpose in that communal experience. I hope this show leaves audiences feeling excited and inspired to move and sing and be more present in their own stories.  And, hopefully, buy a ticket to the next Keeton show.

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The Keeton Dinner Theatre’s BEAUTIFUL: THE CAROLE KING MUSICAL continues with performances Friday, Saturday & Sunday, February 14-16 and Thursday-Sunday, February 20-23. Tickets range in price from $30 to $47. Adult Dinner and Show tickets are $40. Child Dinner and Show tickets are $35 and Show Only Tickets are $30. Thursdays are Show Only performances with doors opening at 6:30pm and show at 7pm. Friday and Saturday doors are at 5:45pm with dinner served at 6pm and show at 7pm. Sunday matinees doors at 12:45pm, meal at 1pm and show at 2pm. For the dinner aspect of this run, The Keeton is offering Dinner Salad, Vegetable Lasagna, Mediterranean Vegetable Blend, Dinner Rolls and Carrot Cake. (Salmon may be substituted for the entree for a slight uncharge). At the time of this interview, Limited Tickets are still available for all performances except for Sunday, February 16, which has now SOLD OUT. CLICK HERE or call the box office at 615.231.1231 for tickets and availability.

Next up at The Keeton, it’s Neil Simon’s Barefoot in the Park with performances April 11-27. So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

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

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

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

 

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JHPENTERTAINMENT: Who is Miss Shields to you?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Theatre Review: Playwright William Inge’s ‘Bus Stop’ at The Keeton proves the wheels of love and longing still turn some 68 years after show’s Broadway debut

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Before checking out The Keeton’s presentation of William Inge’s 1955 play, Bus Stop (on stage at The Keeton Dinner Theatre/108 Donelson Pike, Nashville, TN 37214 thru Sunday, October 27), I revisited the now-famous 1956 film adaptation starring Marilyn Monroe, as well as the early-80s HBO teleplay featuring Superman’s Lois Lane, actress Margo Kidder to refamiliarize myself with the piece. I was immediately struck with how different the play version is from the film. I also couldn’t help but notice some of the action of the play seems a bit dated, so I was curious how Erin Grace Bailey, who’s directing the show for The Keeton would approach the material.

The play takes place in the mid-1950s in Kansas on a wintery night where we find a quartet of travelers and their bus driver unexpectedly snowed in at Grace’s Diner, a little roadside eatery that also serves as a regular stop of passing busses routes. The bus driver, a jovial fellow with a strictly ‘passing through’ relationship with the diner owner, brings his passengers into the diner for shelter from the storm. The passengers include a mouthy young cowboy, his longtime friend and right-hand-man, a nightclub singer and an alcoholic, womanizing professor. The diner is operated by a middle-aged woman and her teenage waitress. Rounding out the cast of characters is the local sheriff, who frequents the diner most days.

As the play began, my mid-century-loving heart warmed at the sight of the set designed by Kevin Driver, The Keeton’s resident technical director. Driver has outdone himself with Grace’s Diner. On occasion, The Keeton sets are a bit rudimentary and one-dimensional, but not this time. From the lunch counter and barstools to the wood-burning stove and period-appropriate wall phone and soda pop signs…perfection. Heck, there’s a magazine rack boasting cover images of some of the 1950s biggest names, including Elizabeth Taylor, Jackie Gleason, Lucille Ball and Desi Arnaz (you know I loved that). There’s even a clever wink to the aforementioned Monroe on the cover of Life Magazine…all recreated by The Keeton’s go-to graphic designer, Danny Proctor.

Gotta acknowledge the incidental music played before the show and during intermission. I’m almost certain I heard a little Doris Day and Ella Fitzgerald among the period-perfect tunes. Speaking of, if you’re looking for a recreation of Marilyn Monroe’s infamous interpretation of That Old Black Magic, sad to say, you’re out of luck. For some reason, the show’s nightclub singer performs Stars Fell on Alabama instead. I disappointment for yours truly, for That Old Black Magic is even what the playwright mentions in the original script and in every production of Bus Stop that I’ve seen through the years, it’s always a memorable moment in the show.

Nonetheless, when the action starts, the audience meets Jena Salb as Grace Hoylard, the diner owner and Hazely Sanderson as Elma Duckworth, her high school-aged waitress. Salb’s Grace, like the set, is right out of the 50s, all cigarettes and sass. The kind of role actresses like Mary Wickes or Ann Southern played. OK, so Salb’s Grace isn’t all sass..the show contains scenes that show kinder side of Grace, in particular with her interactions and caring for young Elma. As for Elma, Sanderson’s portrayal is sweet, curious and a bit naive. A recent high school graduate herself, this role marks Sanderson’s first post-high school production. Mark my words, Nashville, keep an eye on this talented young woman.

Cherie as played by Fiona Barrett’s, presents the character as a self-described chanteuse who’s been kidnapped by a brutish, but childish cowboy. Cherie’s entrance is worth the wait, after all, she’s taking on the role that Marilyn made famous, right? Comparisons stop right there. Yes, the actress is wearing a platinum blonde wig in an effort to evoke memories of Marilyn, but Barrett, as directed by Bailey, quickly lets the audience know that she’s making Cherie her own. Where Marilyn employed her usual breathy baby talk as Cherie, Barrett is unapologetically loud. She’s funny when the script calls for it, but also equally real and emotional at times, and makes no secret of her initial disdain for the cowboy. Now if they could just set the body makeup so the actress’s tatted and makeup-covered arms didn’t smear concealer all over her lilac dress, I could have focused more on her performance. But at least they attempted to cover her ink, which is more than was done at The Keeton’s recent Footloose run. I’d never seen so many high school kids with tats, but I digress.

About that dress, though…Kudos to the show’s costumer, Donna Driver, who also happens to be The Keeton’s Managing Administrator. Cherie’s lilac dress and floral coat, not to mention her later literal and figural red hot chanteuse costume, and other aspects of the show’s wardrobe, are indeed spot on. I loved the bold choice of Virgil’s western shirt and Bo’s fringe jacket, and the diner uniforms. It’s the attention to details like this that can easily make or break the believability of a period piece and Driver’s eye for detail is evident herein.

Following a brief, but notable role as one of the hoodlum friends in The Keeton’s recent Footloose, Josh Mertz shines as the 21-year-old rodeo rider, Bo Decker. Presenting Bo as a spoiled-rotten brat of a man child, his tantrums almost become a bit too much, but thankfully, the director has reigned him in just enough. He’s another younger actor that I’m sure we’ll be seeing more of.

Rich Moses as local sheriff, Will Masters is just about as good as it gets. His rough and tumble attitude when dealing with Bo’s outrageousness, nicely balanced with a bit of Will’s more tender side when consoling Cherie. Strength and compassion, Moses’ Will possesses both. When we chatted last week for my Rapid Fire 20Q, I mentioned that Claude Akins had played the role of Will in the 1982 teleplay and funnily enough, Moses admitted he’d been though of Akins’ Sheriff Lobo from the BJ and the Bear sitcom…and it showed.

Dean Bratton, a relative newcomer to the Nashville theatre scene, is enjoyable as Virgil, Bo’s friend and frequent voice of reason. If Jiminey Cricket were a looming presence of a man, he’d be Bratton’s Virgil. He too gets a tender moment with Cherie, as well as a much-deserved what’s what chat with Bo, allowing Bratton to showcase a bit of range as a performer.

Mick Grayson, who’s had a very busy few months, having recently appeared in local productions of Sordid Lives, An Ideal Husband and Aunt Sally’s Wild Ride, while undeniably charming and likable, is unfortunately miscast as Dr, Gerald Lyman. Not even the old high school drama department trick of spraying a little grey in his hair can convince the audience he’s the thrice married lothario he’s portraying. Nonetheless, Grayson steps up as much as he can and delivers an enjoyable drunken reenactment of Shakespeare’s Romeo and Juliet’s balcony scene alongside Dr. Lyman’s latest attraction, Sanderson’s Elma.

Rounding out the cast is Eric Crawford as Carl, the bus driver. Crawford’s Carl is hilarious. His flirtations with Salb’s Grace, including some “did they really just say that?” lines that must have shocked some mid-50s audiences back in the day, bring a light-hearted tone.

When I interviewed the cast before the show opened last week, I noted that Bus Stop is a slice of life play. More accurately, it’s a slice of nostalgia play. Are there plot elements that today’s audience might find cringe-worthy as the kids of 2020 might have said? Yes. After all, the set up for the entire show is Cherie runs off the bus as soon as it stops, with suitcase in hand, in hopes of escaping Bo, who forcibly carried her onto the bus and told her he was taking her to Wyoming to marry him…and this after just one night together. On that subject, I love that the playwright, even back in 1955, allowed Cherie to own her sex and sexuality. When it’s revealed that Cherie has had numerous suitors, while Bo’s actions could be attributed to the fact that Cherie was his first, there’s a sweet line in the show to the effect that Cherie’s experiences balance out Bo’s lack thereof.

Rest assured director Bailey successfully maneuvers the story—occasional antiquated ideals et al—thanks to her talented cast, presenting Inge’s Bus Stop as a look back at theatre when show’s depended on heart, not special effects. All in all, The Keeton’s Bus Stop is definitely a worth a visit.

The Keeton’s Bus Stop continues through October 27. Dinner and Show tickets are $40 for Adults and $35 for Children. Show Only tickets are $30. For evening performances, doors open at 5:45p.m. with dinner served at 6p.m. and the show beginning at 7:30p.m. Shows with a Thursday show only performance open doors at 6:30p.m. with show at 7p.m. Sunday matinee hours are as follows: doors at 12:45p.m./lunch at 1p.m. and show at 2p.m. CLICK HERE to purchase tickets. As always, The Keeton coordinates their dinner menu to compliment the show. For Bus Stop, the pre-show meal will consist of a Dinner Salad, Country Fried Steak with Pepper Gravy served with sides of Mashed Potatoes, Green Beans and Roll with Cookies and Cream Pie for dessert. 

Next up at The Keeton is A Christmas Story: The Musical, with performances December 5-22.  WATCH THIS LINK for tickets or more information soon.

To keep up with the latest from The Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

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

Rapid Fire 20Q with cast members of ‘Footloose: The Musical’; onstage at The Keeton beginning August 9

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Some 25 years after its Broadway debut, and 40 years after the source material’s film premiere, The Keeton Theatre (108 Donelson Pike, Nashville, TN 37214) is ready to cut loose as they present Footloose: The Musical. Just days before their Friday, August 9 opening, I recently had the chance to chat with the show’s stars Konnor Dolberry and Bryli Evans, who play Ren McCormack and Ariel Moore, as well as Kevin Driver (The Reverend Moore) and Laura Amond (Ethel McCormack) for my latest Rapid Fire 20Q. What follows are those conversations.

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RAPID FIRE 20Q WITH CAST OF THE KEETON DINNER THEATRE’S FOOTLOOSE: THE MUSICAL

RAPID FIRE WITH FOOTLOOSE’s REN McCORMACK, KONNOR DOLBERRY

JHPENTERTAINMENT: I understand getting the chance to perform in Footloose on stage has been a longtime coming, as you were to have played Ren McCormack in your high school production back in 2020, but the world had other plans. How excited are you to be getting the chance now?

KONNOR DOLBERRY: It’s literally a dream come true. Ever since I was cast for this role the first time, I felt a real connection to the character, and it almost became a part of me after it was cancelled. Now finally getting to revisit it 4 years later, It’s allowed me to see the whole story through a different lens, and I think it was definitely worth the wait!

JHPENTERTAINMENT: Not only will this be your debut as Ren, it’s also your debut with The Keeton, the only dinner theatre in the Nashville area. What’s your Keeton experience been like thus far?

KONNOR DOLBERRY: The Keeton has been nothing but welcoming throughout this whole process. Those who have been around the Keeton for a while have really brought me into the family!

JHPENTERTAINMENT: Who is Ren McCormack to you?

KONNOR DOLBERRY: Ren is a High School kid who is wildly misunderstood by just about everyone except for his Mom Ethel, his best friend Willard, and his new girlfriend Ariel. He’s charming, witty, and doesn’t care about what anyone thinks of him, but after his Dad left and he was forced to move from Chicago to Bomont, it leaves him wounded in ways that are revealed to him throughout the show.

JHPENTERTAINMENT: Roger Hutson serves as Music Director for The Keeton’s Footloose. A musician yourself, how has it been working with him in this capacity?

KONNOR DOLBERRY: It has been wonderful working with Roger! He always brings the jokes to rehearsals which is always fun, and he is always willing to go the extra mile to help you with parts!

JHPENTERTAINMENT: As alluded above, when not pursuing your acting career, you’re frequently onstage in another capacity, as frontman for The Band Light. What similarities do you find between these two seemingly different styles of performing?

KONNOR DOLBERRY: Theatre has always been at the heart of what I do with The Band Light, as we all met through our high school’s theatre program. It’s a defining part of who we each are as individuals, and as a band. Any time I step out on stage, my number one goal is to entertain the audience, but when performing in a musical, It allows me to completely escape into this other world, and get to express myself in a new way. It has been almost 2 years since I have done Theatre in any capacity, so this show has definitely reminded me of my love for it!

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RAPID FIRE WITH FOOTLOOSE’s ARIEL MOORE, BRYLI EVANS

JHPENTERTAINMENT: You play Ariel Moore in The Keeton’s Footloose. How are you most like the character you’re playing?

BRYLI EVANS: Ariel is very headstrong and independent and I would like to think I share those qualities with her. I feel like as soon as I was cast, I could instantly relate to her in many ways, but those are the two biggest similarities. 

JHPENTERTAINMENT: On the flip, what is it about Ariel’s persona that is farthest away from your own personality?

BRYLI EVANS: There’s a song in the show called The Girl Get’s Around… which I would think is pretty self explanatory. To keep it simple, this girl doesn’t really get around. 

JHPENTERTAINMENT: Anyone who’s seen the original Kevin Bacon/Lori Singer film or the musical adaptation knows there’s plenty of choreo. I mean it IS the story of a small town that outlawed dancing and the kid who challenges that. To that end, Heidi Buyck is the show’s choreographer. How has it been to work with Heidi and what’s your favorite choreo moment in the show, whether it be your own, or that of your co-stars?

BRYLI EVANS: I cannot even begin to explain how incredible Heidi is – she is a GENIUS!! Working with her has been a dream come true. She has been so patient with me (I’m really not much of a dancer) and has pushed me to be the best version of my character in a way that no one has ever really pushed me before. I absolutely adore her. And the choreography in Let’s Hear it for the Boy HAS to be my favorite! 

JHPENTERTAINMENT: Ariel’s best friends are Rusty, Wendy Jo and Urleen, played by T-Cat Ledo, Julia Mowry and Abby Webb respectively. Can you give me one word each to describe these besties?

BRYLI EVANS: It’s so hard to just pick one word for each of them, I feel like I could write three whole paragraphs on how incredible they are. Julia has one of the kindest hearts I’ve ever known, Abby was an instant friend to me and has done nothing but make me smile during every interaction we’ve ever had, and T-Cat has this electric energy that you can’t help but gravitate towards. I have had the BEST time working with these wildly talented ladies!!

RAPID FIRE WITH FOOTLOOSE’s REVEREND MOORE, KEVIN DRIVER

JHPENTERTAINMENT: Who is the Reverend Moore to you?

KEVIN DRIVER: Reverend Moore is the minister of the church most of the residents of the small town of Bomont attend. I think Moore’s caring boundaries are extensive, but they center around his family. He’s overly protective of his remaining child. He would like to keep her in bubble wrap if he could to keep her safe. Ultimately, he knows he can’t control everything she does, so he is worried all the time.

JHPENTERTAINMENT: Keeton patron’s no doubt know you not only for recent on-stage roles in recent productions of Memphis, Songwriter Night and Evita, but also for having designed and built each and every set for the past three Keeton seasons. In fact, in addition to playing Reverend Moore, you’re also tasked with the behind-the-scenes gig of the show’s Technical Director. For the uninitiated, what all does that job entail?

KEVIN DRIVER: My goal is to make sure the director’s vision is met with regards to the set design and build to the best of my ability and stay in budget. I help the stage managers with organization backstage so that they can run the smoothest show possible. I also work closely with the lighting and sound designers to make sure they have what they need. I try to prioritize the set at the very beginning of the rehearsal period to get it built and usable as soon as possible. Being an actor in this show, I want to give both my roles as Technical Director and actor all of my attention, so I try to focus more on the technical end at the beginning so I can flip the switch and put my focus on my acting. It’s difficult to schedule it all, especially because I have a full-time job during the weekdays, and it’s why I don’t perform in the shows that often.

JHPENTERTAINMENT: Another little fun BTS bit of info…as Reverend Moore, you’re leading lady, Vi Moore is being played by your real-life leading lady, your wife, Donna Driver who’s also Keeton’s Managing Administrator. What’s the advantage of playing opposite your wife? 

KEVIN DRIVER: Being the real-life husband of the woman who plays my wife on stage does have a lot of benefits. We can rehearse on our own time and work on our scenes. I can tap into her acting knowledge and advice. In the scenes, my acting choices feel more genuine instead of staged. We’ve also raised our three combined daughters through their teenage years into adulthood. Discussions about their behavior and choices aren’t new to us, so we are able to tap into those memories and feelings.

JHPENTERTAINMENT: The Reverend is pegged as the show’s antagonist. Heck, did you know the character even has his own entry on Villains Wiki? Convince me he’s NOT the villain of the piece?

KEVIN DRIVER: I don’t believe you can be a villain if you have good intentions behind your actions. The whole town suffered after the Potawney Bridge accident that killed four teens, including his son. Reverend Moore strove to help everyone and himself through the grieving by trying to prevent this kind of pain from happening again. He’s convinced that dancing leads to dangerous behaviors, and the adults of the town agree with him. He’s holding too tightly to his pain and has to learn, through Ren and his daughter Ariel, to change and grow. Yes, he’s an antagonist for Ren, but he’s not a villain. 

JHPENTERTAINMENT: I’m guessing you were familiar with the source material. Now, fast-forward 40 years since the film’s debut and you’re father to two daughters yourself. Has your personal perception of the Reverend changed since first viewing the film back in 1984.

KEVIN DRIVER: When the movie came out, I was twenty years old. I grew up here in Tennessee, so the setting of a small rural town was familiar to me. I definitely sided more with Ren, the teens, and their rebellious need to find fun things to do. Now, forty years later, I am more able to see Reverend Moore’s side of the story better. As I mentioned, I have two daughters and have raised my step-daughter most of her life. Sometimes their choices have made me angry, frustrated, or scared, and sometimes I’ve felt powerless to help. It’s difficult to judge when to step in and when to back off. I still think Ren should get his dance, but I better understand now why Reverend Moore is so set against it.

RAPID FIRE WITH FOOTLOOSE’s ETHEL McCORMICK, LAURA AMOND

JHPENTERTAINMENT: What is it about the role of Ethel that made you want to audition?

LAURA AMOND: As a single mom myself, I can really identify with Ethel. She is navigating the uncertainty and challenges of life as a single mom, while trying to remain strong for her son. She says at the top of the show that she’s not one of those “strong single mothers”, but truly, her heart and spirit are. She is Ren’s consummate cheerleader in the face of diversity, and pillar of wisdom who lifts him up when he needs reminded of his own strength. Ethel reminds me that I am also stronger than I sometimes believe and that in the end, love is all we need.

JHPENTERTAINMENT: You mention in your bio that you’re among the few cast members who remembers the original film version. It’s a little mind-blowing that it’s been 40 years since Kevin Bacon danced across the screen as Ren McCormick, now here you are playing Konnor Dolberry’s Ren’s Mom. As a Mom in real life, what motherly advice would you offer the younger costars?

LAURA AMOND: Honestly, Jonathan, I think I learn from my younger costars every day. They remind me to embrace every opportunity, to take constructive criticism as an opportunity to grow, to show kindness and relentless support for one another, and to practice gratitude in all things. Most of all, they remind me about the importance of community and just how much my extended theatre family has shaped my life in the very best way possible.

JHPENTERTAINMENT: For those of us of a certain age, there’s just something about the beginning beat of the title tune made famous by Kenny Loggins when it was included on the movie soundtrack. Of course as musical, the score has been expanded to include familiar tunes and material written specifically for the stage adaptation. What’s your favorite musical moment in the show, and why?

LAURA AMOND: Oh goodness, it’s so tough to choose just one! Footloose was absolutely one of the soundtracks of my teenage years, so the songs bring back a ton of personal memories. Was there any high school prom in 1984 that didn’t have an Almost Paradise theme?!

Specific to this production, there are so many brilliant moments given the stellar vocals of the entire cast.  Familiar tunes from the soundtrack, Almost Paradise (performed to perfection by Konnor Dolberry and Bryli Evans); Let’s Hear it for the Boy (Takiah Ledo SLAYS!), and two songs performed by the trio of Takiah Ledo, Julia Mowry and Abby Webb, Somebody’s Eyes and I Need A Hero are even better than the original with these gals at the helm. Trust me, they are FIRE! 

With respect to the songs written specifically for the stage adaptation, there are numbers which bring levity and reflection. Mama Says brings down the house as performed by Riley Morris and the trio of Jack Forte, William Richardson, and Levi Carter. More sentimental moments come from the adult cast.  Learning to Be Silent (Donna Driver, Bryli Evans and myself) reflects on the patriarchal suppression of women’s voices, Heaven Help Me (Kevin Driver at his absolute best) shows the Reverend’s internal struggle with being the moral leader of the town amidst a personal struggle, and Donna Driver’s poignant Can You Find it in Your Heart depicts the loyal wife trying to help her family find balance again after tragedy.

JHPENTERTAINMENT: Footloose is being directed by Susan Walsworth. You both first shared the stage back in 2012 in Circle Players’ production of Titanic. How’s Susan as a director?

LAURA AMOND: I can’t say enough about Susan! You’re right, we shared the stage in 2012 and many times since, most recently (if 2018 can be considered recent) in Circle Players’ The Full Monty where she was absolutely brilliant as Jeannette. To know Susan is to love her – on and off stage. She is kind, generous with her time and talent, and passionate about everything she does. I know Susan as a mom, a friend, a castmate and now a director, and I can honestly say she leads with her heart in every role she plays.

For the people who come to see the show, it’s clear that Susan is equally talented as a director as she is on the stage. Her eye for casting is evident with the talent she has assembled in this production. Her attention to detail with blocking, transitions and sharing her vision take an already stellar performance to the next level. She treats every individual with kindness and respect and in so doing, brings out the best in every artist. She makes you feel safe to make bold choices and knows when to reel you in. And because Susan’s humility is second-to-none, I know she would want me to say that she is made better by her production team for bringing her vision to life (Heidi Buyck/choreographer, Roger Hutson/music director, Dylan Kim/stage manager, Madison Soper/assistant stage manager, Kevin Driver/set design, Megan Whitney/costumes, Tabby Ragland/props).

I have been proud to share the stage with Susan many times and it has been inspiring to see my friend shine as director. I will not hesitate to audition for any production in the future with her at the helm, because her passion breeds joy throughout the process. This show has been a gift to me in so many ways, and I have Susan to thank for that.

JHPENTERTAINMENT: I like to end these chats by asking a variation of this question, so since you’re my final chat today, it’s all you…What do you hope audiences come away remembering after seeing The Keeton’s production of Footloose?

LAURA AMOND: In this time of division in our society, I think Footloose is a great reminder of the power of the collective to affect change. It celebrates the human spirit and the idea that some norms need to be challenged in order to evolve. The true champions of the show are the young people who help to lead their community to a more joyful future. Every day the young cast inspires me with their wisdom, passion, and commitment to this theme, and I am reminded that our collective future is in good hands with the younger generation today. Perhaps we should follow the lead of Reverend Shaw by listening more often so that we can realize a future of acceptance, joy, celebration and harmony. 

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Footloose: The Musical opens at The Keeton Friday, August 9 thru Sunday, August 25. Dinner and Show tickets are $40 for Adults and $35 for Children*. Show Only tickets are $30. CLICK HERE to purchase tickets. Next up at The Keeton is William Inge’s Bus Stop, with performances October 11- 27.  WATCH THIS LINK for tickets or more information soon.

To keep up with the latest from The Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

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

*at the time of this article, most of the performances of Footloose: The Musical had already SOLD OUT, but don’t put away your dancing shoes just yet. Check the schedule and if there’s a show date you want to attend, give the box office a call to see if there’s any tickets available.

 

Rapid Fire 20Q With Cast of ‘Arsenic and Old Lace’; Opening April 14 at Larry Keeton Dinner Theatre

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Since its Broadway debut back in 1941, and thanks largely to the 1944 film adaptation starring Cary Grant as directed by Frank Capra, playwright Joseph Kesselring’s Arsenic and Old Lace has been a fan favorite. While the Cary Grant film is indeed a classic, I gotta admit, I prefer the 1969 tv adaptation starring Bob Crane, but mostly because Helen Hayes and Lillian Gish co-starred as the hilariously murderous Brewster sisters in that one. When I heard The Larry Keeton Dinner Theatre was mounting a production of the show, I knew what I’d feature in the latest installment of my recurring interview feature, RAPID FIRE 20Q. To that end, what follows are chats with Matt Smith, Linda Speir, Adele Akin and Brad Morgan as the prepare for opening night of Arsenic and Old Lace, on stage at The Larry Keeton Dinner Theatre (108 Donelson Pike, Nashville, TN 37214) Friday, April 14 through Sunday, April 30.

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RAPID FIRE 20Q WITH CAST OF KEETON THEATRE’s ARSENIC AND OLD LACE

RAPID FIRE WITH MATT SMITH, ARSENIC AND OLD LACE’s MORTIMER BREWSTER

JHPENTERTAINMENT: What can you tell me about Mortimer, the character you play in The Keeton Theatre’s Arsenic and Old Lace?

MATT SMITH:  Mortimer was raised in Brooklyn by two elderly aunts who adore him and who he adores. But given his family’s checkered past and his view of Brooklyn as old-fashioned and stifling, he leaves for the excitement and possibility of New York City and eventually becomes a prominent theater critic. This is ironic, as he “loathes” the theater and considers it to be on its last legs. Still, it pays the bills much more handily than his passion for Henry David Thoreau ever could and lends him a bit of big-city arrogance when he returns to visit his humble hometown. When he falls for the local minister’s daughter, who lives next door to his Aunts, his visits become more frequent. He ultimately discovers that the Brewster family has more dark secrets than he could have possibly imagined, which sets him on a frantic but entirely earnest course of action to protect the ones he loves…and all manner of hilarity ensues!

 JHPENTERTAINMENT: Written by playwright Joseph Kesselring, the work became more widely known thanks to the 1944 film adaptation starring Cary Grant as Mortimer as directed by Frank Capra. In preparing for the role, did you revisit previous incarnations?

MATT SMITH:  Although I have seen the film, I try not to let any previous incarnation of any role inform my approach to creating a character. I find that especially important if the role is as iconic as this one. Meisner said, “Acting is behaving truthfully under imaginary circumstances,” and I believe that may be the best bit of acting advice I’ve ever heard. I think it’s impossible for any person to behave truthfully on stage while letting the choices another actor has made inform their own. It creates too many layers between you and the character if that makes sense. And besides, I don’t walk talk or look like Cary Grant, so there’s certainly no reason to try to!

JHPENTERTAINMENT: As mentioned above, the ’44 film adaptation was directed by Capra. Michael Welch is directing this production. How has it been working with him on this project?

MATT SMITH: Michael is a dear friend, but one of the things I admire about him is that once he arrives at the theater he’s there to work. Period. No wasted time, no messing around, no favoritism. We’re here to put on the best show we can for everyone who’s gracious enough to part with their hard-earned money to see it. This is my first time working with him as a director and I’ve been impressed with his commitment and clear vision for the project, his work ethic and his attention to quality and detail. 

JHPENTERTAINMENT: For a play that’s been produced around the world for some eighty years, what do you think keeps audiences dying to see it? (See what I did there?)

MATT SMITH: The simplest answer is, it’s really freakin’ funny. It’s well-written and plays like a freight-train on fire as it races to its hilarious climax. And while I’m no deep thinker or psychiatrist, I think it’s pretty clear that there’s a long-standing precedent in the history of human art-making that death and darkness make for the best and most popular comedy. Murder kills! (See what I did there?)

JHPENTERTAINMENT: Alright, since I won’t be chatting with Tim Bush, Let’s give a little shout out to him. After all, he plays Jonathan Brewster, and since the character shares my first name, and has been played by some pretty iconic actors including Boris Karloff, Raymond Massey and Fred Gwynne, and you yourself recently played Jonathan just last year in Playhouse 615’s production of Arsenic and Old Lace, I gotta ask…how does Tim’s take on the creepy character measure up?

MATT SMITH: I’ve had the opportunity to play different roles in the same play a few times before and it’s a fascinating experience to have “your” lines given to you, as I’m hearing Tim do in the current production. Jonathan Brewster is a role he is physically perfect for, as he towers over everyone else on the stage (and no Tim, I’m not implying that you look like Boris Karloff). I’m a pretty big Tim Bush fan. We were in “I Hate Hamlet” together several years ago and I’m sure it’s not hard to imagine how great he was as Barrymore. Beyond that, he’s a damn fine actor and a wonderful human being. As to his take on the role, I find his approach to Jonathan to be refreshingly non-one-dimensional, by which I mean that he’s not just menacing. He is that and I’m really enjoying the psychological warfare we’re engaging in during the show. But he’s also done a wonderful job of discovering the comic opportunities “hidden” in the role. I’m very much looking forward to our game of cat and mouse as well as the opportunity to finally face Mortimer’s fears in our standoff. I think his Jonathan is going to be a lot of fun for audiences to experience.

RAPID FIRE WITH LINDA SPEIR, ARSENIC AND OLD LACE’s ABBY BREWSTER

JHPENTERTAINMENT: When you and I chatted about me interviewing some of the cast, you noted that Abby is described a “plump little darling” in the character description in the script. You’re darling, but hardly plump…Was there ever any discussion of making your more dowdy in the role?

LINDA SPEIR: There was no discussion of how I would play the role.  I just looked to the script  for my character and played my version of Aunt Abby.  I may have played her a little stronger in spots than the script intended but I always play a bit of myself in all of my roles.  

JHPENTERTAINMENT: When I chatted with Matt, I mentioned the fact that Arsenic and Old Lace has been around for 80-plus years. In that time, some of Broadway and Hollywood’s greatest leading ladies have played the Brewster sisters, among them: Josephine Hull, who originated the role of Abby on Broadway and revisited the role for the Cary Grant 1944 film; Dorothy Stickney and Helen Hayes, who each played Abby in mid-century TV adaptations. Heck, even All in the Family’s Jean Stapleton stepped into the role in a late-80s national tour. How much fun are you having making her your own? 

LINDA SPEIR: I’m having a great deal of fun playing Aunt Abby.  We do have to remember she is  somewhat crazy!  She (in my interpretation) is just a wee bit flirtatious with her “gentlemen”.. Think the spider and the fly.  

JHPENTERTAINMENT: What’s your favorite aspect of playing Abby?

LINDA SPEIR: She is a lovely, gracious lady but underneath there’s a layer of insanity.  After all Arsenic is a dark comedy. 

JHPENTERTAINMENT:  I understand the show is being costumed by Donna Driver. What can you tell me about the wardrobe choices in the show?

LINDA SPEIR:  There were some difficulties in finding clothing that looked period; however, Donna did a good job. The Aunts are not very up to date or showy.   Of course I have my own “old lady shoes”  that I ordered sometime back as I have done other period shows.

JHPENTERTAINMENT: As one half of the Brewster sisters, you share much of your stage time alongside Adele Akin as Martha Brewster. I understand this isn’t your first time to appear onstage with her. How is she as a scene partner?

LINDA SPEIR: I’ve known Adele for perhaps 25 years.  We’ve been on stage together several times at several theatres including ACT 1, Boiler Room and more recently at Pull Tight Theatre.  We were in Waiting in the Wings at Pull Tight in January-February 2020 before the world shut down due to Covid.  We interact well with each other both on and off stage.  She is a delight as the slightly addled Aunt Martha. 

RAPID FIRE WITH ADELE AKIN, ARSENIC AND OLD LACE’s MARTHA BREWSTER

JHPENTERTAINMENT: Who is Martha Brewster to you?

ADELE AKIN: Martha is a sweet caring woman. She lives to do good for others.

JHPENTERTAINMENT: Longtime Keeton patrons might recognize you from previous roles, including appearances in productions of The Spitfire Grill and A Scattered, Smothered & Covered Christmas and more. How much fun are you having being back on the Keeton stage?

ADELE AKIN: It’s like coming home! I was in the inaugural season which began with Nuncrackers in 2004. I know there are ticket holders who have seen every play in the last almost 20 years. It will be a great reunion!

JHPENTERTAINMENT: When I chatted with your fellow Brewster sister, Linda, I asked her about sharing scenes with you, so it’s only fair to get your response to sharing the stage with her. How is Linda as a scene partner?

ADELE AKIN: The best! We have known each other for probably 30 years and have been in several productions together but never opposite each other as we are in this show. I’ve been hoping for this for a long time. I respect Linda’s work immensely and I’m so happy to be working with her! The entire cast is terrific but Linda holds a special place in my acting heart. 

JHPENTERTAINMENT: For a show that features multiple murders, it’s dang funny. What’s your favorite line or scene whether it’s yours or someone else’s?

ADELE AKIN: Actually, my favorite line is spoken by Officer O’Hara played by Jenna Salb. She says “Where else would you eat?”  I will not explain that.

JHPENTERTAINMENT: In the spirit of the play, IF you were to do it, how would you get away with it?

ADELE AKIN: What a great question! I guess I’d have to live in a small cabin somewhere in the woods where the only witnesses would be the deer and the foxes with a couple of skunks thrown in there.

RAPID FIRE WITH BRAD MORGAN, ARSENIC AND OLD LACE’s TEDDY BREWSTER

JHPENTERTAINMENT: I understand you’re a recent Nashville transplant. What drew you to the area and how has your experience in Nashville and with the Keeton been thus far?

BRAD MORGAN: Yes, I just moved here in November. I had visited Nashville several times over the last two years to help a friend move to the area and found that I really liked Nashville. I am a musician and what better place to relocate to than Music City. Also, being involved in Theatre for the past 45 years, I thought auditioning for a local  theater group would help me acclimate to the area and make some new friends. The Larry Keeton Dinner Theatre is close to my house so I decided to audition and was lucky enough to get cast. I had never done Arsenic and Old Lace and so far it’s been a great deal of fun.

JHPENTERTAINMENT: You play Teddy Brewster, who thinks he’s Teddy Roosevelt. You’ve actually played Roosevelt before, having appeared in Cider Mills Playhouse’s Tintypes back in 2012. Did having played Roosevelt in the past influenced your character in Arsenic and Old Lace?

BRAD MORGAN: Not at all. Two very different characters. First of all Tintypes is a musical and an Ensemble cast that play multiple roles. Teddy Roosevelt was one of multiple characters I played, and was only in two or three scenes. Also, that character was more of a historical depiction of Teddy Roosevelt. Whereas, Teddy Brewster is more of an impersonation of Teddy Roosevelt. Teddy Brewster’s interpretation of Teddy Roosevelt, but still very much Teddy Brewster.

JHPENTERTAINMENT: On the subject of your previous acting experience, your credits include quite a few well-known shows, including The Rainmaker, Death of a Salesman, Man of La Mancha and more, but what caught my eye…you appeared in One Life to Live and Another World. I can’t lie, I still watch Days of Our Lives…so, its the soap credits for me…what do you recall from your appearances on those two classic soaps?

BRAD MORGAN: Well, at first, it was very exciting but ultimately it just turns into another job. I really don’t like camera and film work. It’s very tedious and boring. A great deal of waiting around for the technical aspects like lighting, camera angles, sound and reshooting of scenes. I much prefer acting on stage and the process of creating a character for a live audience.

JHPENTERTAINMENT: Kevin Driver has designed the set. What can you tell me about the Brewster home as envisioned by Driver?

BRAD MORGAN: I am not a designer, so I have a great deal of admiration and respect for designers, scenic, lighting, costumes, etc.

JHPENTERTAINMENT: What do you hope audiences will recalling after having seen Arsenic and Old Lace?

BRAD MORGAN: That they had a good laugh at the crazy world of the Brewsters.

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Arsenic and Old Lace opens at The Larry Keeton Dinner Theatre Friday, April 14 with performances Friday-Sunday, April 14-16, Thursday, April 20-Sunday, April 23 and Thursday, April 27-Sunday, April 30. Thursdays are Show Only. Friday and Saturday evenings and Sunday matinees offer Dinner/Lunch and Show tickets, OR Show Only Tickets. CLICK HERE to purchase tickets or for more information.

Following Arsenic and Old Lace, The Keeton Theatre closes out their 2022/2023 Season with Memphis: An Original Story of Love, Soul & Rock ’N’ Roll onstage June 9-25, 2023. CLICK HERE for tickets or more info. Season Subscribers may purchase tickets to Memphis beginning April 13. General Public tickets available beginning April 20.

In the meantime, to keep up with the latest from The Larry Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

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

RAPID FIRE 20Q WITH CAST OF LARRY KEETON THEATRE’s ‘WHITE CHRISTMAS’

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If you know me at all, or you’ve read any of my holiday reviews over the last decade or so, you likely know Irving Berlin’s White Christmas is my hands-down favorite movie musical, in any incarnation.  Doesn’t matter whether we’re talking about the classic 1954 film, or the subsequent stage musical. I love all things White Christmas. Given that bit of insider info about myself, of course I had to chat with Kevin Raymond, Micheal Walley, Casey Cuba and Dani Haines for my latest Rapid Fire 20Q. The quartet of talented performers are starring in White Christmas directed by Keith Hardy at The Larry Keeton Dinner Theatre (108 Donelson Pike) beginning tonight, Thursday, December 1and continuing through Sunday, December 18.

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RAPID FIRE 20Q WITH THE CAST OF THE LARRY KEETON THEATRE’S WHITE CHRISTMAS

Kevin Raymond as Bob Wallace

RAPID FIRE WITH KEVIN RAYMOND, BOB WALLACE IN WHITE CHRISTMAS

JHPENTERTAINMENT: Tell me a little about Bob Wallace.

KEVIN RAYMOND: Bob Wallace is a lovable character but sometimes he appears to be a bit sarcastic because he’s missing something in his life. There’s no romance going on he doesn’t have anybody to love. Even his partner Phil points out that he should “add a little romance to his life“ and maybe he’d be happier. He spends most of his time working on business deals and the Wallace and Davis act on his entire life since the army. The transition of his character in White Christmas is truly a beautiful one through his rocky relationship with Betty Haynes. Hopefully, you’ll have a chance to see the love in his heart, his joy in his business and performing as well as his general love for his fellow mankind.

JHPENTERTAINMENT: Taking on the role made famous by Bing Crosby…daunting,  a dream, or a combination of both?

KEVIN RAYMOND: I have to say, it is a daunting task! Bob sings a majority of the music in the show and appears in every scene except for two in the entire musical. One of the biggest things that I’ve enjoyed about this is the challenge set before me. But to be perfectly honest, this has been a dream role for my entire life. I feel as if I’m in an age right now to be the perfect Bob Wallace because 10 years ago I may have been too young and 10 years from now I’ll definitely be too old to play this character. 

JHPENTERTAINMENT: Your creative credits go beyond on-stage performing, you’ve also been involved in a number of productions at The Keeton and other theatre companies behind the scenes. Do you think that gives you an advantage when cast in a show?

KEVIN RAYMOND: I’m delighted to also be the choreographer for this production and one of the things that I generally always tell the cast is to think like a director or to think like a choreographer. I feel as if it’s a life learning lesson to have someone nurture you to the fact that if there’s an even number of people on stage, someone will split the center line when it comes to blocking a dance. If there’s an odd number of people on stage someone will always be on that center line. If you have thoughts like this in your head going in to a learning experience then it makes life so much more easy for you. Also, when you’re moving set pieces think about what might need to go off before some thing else comes on and vice versa. The knowledge that it takes to be able to pull things off like that is a vital life lesson for the arts. I think that my interaction with people and all of the previous artistic elements I’ve been involved in at the Keeton certainly help me to develop this and others as well. On top of that, because I generally think like a Director and Choreographer, blocking, staging and other elements come really easy for me and I can pour that natural instinct into a character. 

Kevin Raymond

JHPENTERTAINMENT: Speaking of other gigs, a couple years ago you released a Christmas cd. What can you tell me about that project?

KEVIN RAYMOND: Christmas music is and always will be my favorite! I love being in the studio and creating art on a recorded medium. It’s very different than live performing because you can do quite a few takes and pick the best one or splice things together very easily. The CD was basically a labor of love and a really fun project that one of my best friends, Gabe Wateski, recorded and produced for me. The title of the CD is called Christmas Is… and can be found on my website at kevinfraymond.com. It has 18 truly wonderful tracks, some old and familiar and some new material. 

JHPENTERTAINMENT: I’m about to chat with you costars, so I gotta ask…what’s it been like to share the stage with Micheal Walley’s Phil Davis to your Bob Wallace?

KEVIN RAYMOND: Micheal is an absolute joy! I’m so thankful that the director, Keith Hardy, cast him because if I was directing, he would’ve gotten my first vote as well! Filling the shoes of Phil Davis (not to mention having everyone always comparing you to Danny Kaye)  is not an easy one because he hast to be an absolute funny man. Every successful vaudeville act has to have two comedians where one is acting in the funny man capacity and the other as the straight man. Micheal is the perfect funny man for the show. He brings Phil to a light that I could’ve never even imagined. It is so easy to work off of him that I’m truly blessed to be on stage with Micheal. In real life, Micheal is a tremendously likable young man with a great personality and though I only met him when we started rehearsals for the show I feel as if I’ve known him forever already. I think at the Wallace and Davis combo along with the Haynes Sisters will leave you very pleased with White Christmas!

Micheal Walley as Phil Davis

RAPID FIRE WITH MICHEAL WALLEY, PHIL DAVIS IN WHITE CHRISTMAS

JHPENTERTAINMENT: I just interviewed your co-star, Kevin and asked about working with you, so turn about is fair play…how is Kevin as a scene partner?

MICHEAL WALLEY: Oh, Kevin! When I auditioned for the show and read a scene with Kevin, I thought to myself, “I really would love to play opposite that guy!” It’s been a dream. Kevin truly is the ideal song-and-dance man, and getting to feed off of his energy and stage presence is so much fun. He and I also accidentally showed up wearing matching shirts at rehearsal one day, so he has great style.

JHPENTERTAINMENT: I last saw you at the Darkhorse Theatre in Bucket List Productions’ Assassins earlier this year, but first saw you in Chaffin’s Barn Dinner Theatre’s Minnie Pearl: All the News from Grinder’s Switch. All very diverse roles. What draws you to a role?

MICHEAL WALLEY: It’s been so fun getting to bring to life all sorts of different characters. Honestly, I’m grateful to do any role that is offered- whatever the type of role! I went a long time without doing any sort of theatre, and am in awe that people have trusted me with some really wonderful roles. The incredible team at Chaffin’s Barn (gosh – I miss it!), the cast mates that became family in Assassins, and the new friends in White Christmas have made Nashville feel like home. Each role has pushed me to be a better performer, and I’m so grateful for the community here. I’d jump at any chance to work with the wonderful people that make up the Nashville theatre community! 

JHPENTERTAINMENT: If you could apply an aspect of Phil’s character into your real life, what would it be?

MICHEAL WALLEY: I love Phil’s optimism and glass-half-full nature. I’m usually an optimistic person, but man, the pandemic and the past few years have affected us all, and it’s a little harder to look on the bright side of things. I’m challenged to refocus and reconnect with my own optimism to ensure Phil’s joy is authentic onstage. 

Micheal Walley

JHPENTERTAINMENT: Snow is my favorite moment in the show…what’s yours?

MICHEAL WALLEY: I absolutely adore the Act 2 opener, I Love a Piano. While I’m sad that Choreography from the movie isn’t in the live stage show, this song is a pretty good substitute and a blast to perform. It’s such a big production number, and I’m really proud of what the cast has accomplished with it over the past few weeks. Plus – the costumes are fantastic! 

JHPENTERTAINMENT: Singing, dancing, comedy and a little bit of drama…White Christmas has it all. I understand you co-star, Kevin is also the show’s choreographer. What has rehearsal been like?

MICHEAL WALLEY: Yes, the choreographer is none other than our Bob Wallace, Kevin Raymond. Kevin has pushed us beyond what we thought was possible. At our first rehearsal, I said, “I hope people watch my face and not my feet” because I don’t consider myself a great dancer. But Kevin has been a fantastic, patient teacher and I’ve learned so much from him. He’s helped create something really impressive on the Keeton stage, and we can’t wait for the audience to see our tapping feet! In the words of Clark Griswold, “This will be the hap, hap, happpiest Christmas since Bing Crosby tap-danced with Danny…Kaye!”

Casey Cuba as Betty Haynes

RAPID FIRE WITH CASEY CUBA, BETTY HAYNES IN WHITE CHRISTMAS

JHPENTERTAINMENT: While preparing for the role of Betty Haynes, what or who have you drawn from to channel certain attributes?

CASEY CUBA: Looking the part of Betty during this time period, I focused on the elegance and poise of my grandmothers. I always loved looking at their old photographs from the 1940s and envied how glamorous life seemed. As for the character of Betty, I have drawn on my own raw emotions, vulnerability, and life experiences. Betty is very independent and strong willed, traits that sometimes cause her to sabotage her own happiness. I often recognize these traits in myself.   

JHPENTERTAINMENT: Of course there are parallels between the two featured couples…Betty and Bob share more serious traits while Phil and Judy are a bit more carefree. In real life are you more a Betty or a Judy?

CASEY CUBA: I am definitely more of a Judy in real life! I am the one finding humor in almost ANY situation. Who doesn’t enjoy laughing?  

JHPENTERTAINMENT: I’ve said it a hundred times…White Christmas isn’t just my favorite Christmas movie. Heck, it’s my favorite stage musical…of all-time. Aside from White Christmas, naturally…what’s your favorite holiday viewing?

CASEY CUBA: I can only choose one?!? Planes, Trains, and Automobiles is my favorite movie for Thanksgiving, but for Christmas…there are so many good ones! My top 2 favorites are probably It’s a Wonderful Life and Christmas Vacation.  

Casey Cuba

JHPENTERTAINMENT: The wardrobe…can we talk about the wardrobe? The show’s director, Keith Hardy is doing double duty as the costumer as well. Do you have a favorite look?

CASEY CUBA: Yes, Keith is also the costumer. How amazing is that? He has knocked it out of the park…per usual. The dresses for Sisters, the iconic blue dresses and fans, are UNREAL! They are just gorgeous. But my absolute favorite look in the show is the black velvet gown that Betty wears for her solo of Love, You Didn’t Do Right By Me. It was made to look just like the gown Rosemary Clooney wore in the film and it is just stunning. I feel so connected to Betty in that scene with the glamour and the raw emotion. It’s just beautiful.  

JHPENTERTAINMENT: If you hadn’t been cast as Betty, regardless of whether you’re the ‘type’, what other White Christmas role would you love to play?

CASEY CUBA: I would love to play Rita or Rhoda!  Haha I mean c’mon!  I think it would be so fun to play a ditzy, blonde bimbo!   Their lines are so ridiculously funny and their costumes are hysterical!  

Dani Haines as Judy Haynes

RAPID FIRE WITH DANI HAINES, JUDY HAYNES IN WHITE CHRISTMAS JHPENTERTAINMENT: I’ve heard playing Judy a dream role for you. What is is about Judy Haynes that drew you to the part?

DANI HAINES: I’ve always had a connection with Judy since I first saw the movie when I was younger. She was a charismatic and dynamic performer and I think that really influenced how I’ve approached all the roles I’ve gotten the chance to do throughout my stage career.

JHPENTERTAINMENT: I understand you’re a relative newcomer to Nashville and this is your first show at The Keeton. How’s your time in Music City been thus far and are you enjoying being part of the Keeton family?

DANI HAINES: I’ve lived in a lot of different places in my life, and Nashville has been one of my favorites! I’m excited to put down roots in a diverse, entertaining city. Joining a new theatre family will always come with unique challenges and barriers, but I’ve learned so much about myself and the community through the experience; and I’m extremely grateful for the love and support from my new friends.

JHPENTERTAINMENT: The role of Judy is dance-heavy, having first been portrayed on screen by the iconic Vera-Lynn. Do you have a dance background?

DANI HAINES: I’ve actually been a dancer most of my life! I started lessons at a young age in various genres of dance, and that was what created the gateway to my love for musical theatre. I’m so fortunate to have had the experiences I’ve been given and use them in this show.

Dani Haines

JHPENTERTAINMENT: A little online sleuthing revealed when you’re not on stage, you work at an escape room. If you could create a White Christmas-themed escape room, what would it consist of?

DANI HAINES: Hmmm… Without a doubt, there would have to be a lot of music! I’d probably create a puzzle involving the iconic songs of the movie and the show. The theme would be “backstage and get ready so the show can go on”!

JHPENTERTAINMENT: What do you hope audiences take with them after seeing White Christmas at The Keeton?

DANI HAINES: One of the biggest lessons this show teaches its viewers is that a kind heart and goodwill towards others never goes out of style. I hope that this show serves as a reminder to us all that compassion and generosity should be celebrated year round, not just during the holiday seasons. I also hope they take home fun memories and some tapping toes!

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Irving Berlin’s White Christmas celebrates the holidays at The Larry Keeton Dinner Theatre with performances December 1-18. At the time of this posting, it would appear the entire run has sold out, but you just never know…some Scrooge might have to cancel at the last minute. You might want to call 615.231.1231 and check on last-minute availability. Dinner and Show tickets are $35/Adult and $25/children. Show Only tickets are $30/$20. CLICK HERE for more information.

Up next at The Keeton Dinner Theatre is Newsies. February 10-26. CLICK HERE for tickets. To keep up with the latest from The Larry Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

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

Theatre Review: ‘Blithe Spirit’ attempts to conjure laughter; Noel Coward farce continues at Larry Keeton Dinner Theatre thru October 30

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‘Blithe Spirit’ (all photos by Thomas Gentry/courtesy The Larry Keeton Dinner Theatre)

Just before chatting with members of the cast of the Larry Keeton Dinner Theatre’s current presentation of Blithe Spirit for my latest Rapid Fire 20Q, I rewatched the classic mid-40s film adaptation which I hadn’t seen in a decade or longer. Remembering it fondly, I again reveled in the quaintly nostalgic portrayal of an British novelist who finds himself in unlikely comedic trouble when he and his wife host a couple of friends and a kooky medium for a seance meant to inspire his next novel. What happens instead is the medium somehow summons the ghost of his first wife. Things get further complicated when an accident befalls his second wife and he finds himself doubly haunted by the ghosts of both wives past.

During my conversations with the cast for my latest Rapid Fire 20Q, I learned that the show’s director Donna Driver had opted to update the time and place of what is considered by many to be the playwright’s best work. I get it. The original having been set in the English countryside in the early 1940s, might seem a bit stale for a modern audience, and I’ll be honest. There’s little I despise more than a local theatre company attempting accents that end up being all over the place and inauthentic.

That said, you gotta wonder why then did the director opt to set the action in 1980s Texas, but only one cast member speaks with a decidedly Texan drawl? The set, however, designed and constructed by Kevin Driver, does indeed invoke visions of 80s abundant living, with ornate brocade furniture (I swear my Mom still has that sofa in her living room), bookcases filled with Reader’s Digest Book Club volumes and Encyclopedias and the occasional ginger jar. Heck, even the walls are painted in what can only be described as hints of Dark Rose and Forest Green. Donna Driver also serves as the show’s costumer, dressing her cast in some decidedly 80s trends with nods to the wrap-dress, the country club look and more. All in all, a nice representation of the 80s.

Seeing as how the show is about ghosts, I was curious how the special effects would be presented. What few there are are fun, but it seems a shame that they’re mostly left to near the end of the show, rather than being peppered throughout.

Abby Waddoups, Aaron Gray and Erin Grace Bailey in ‘Blithe Spirit’

Aaron Gray is cast as Charles Condomine, the aforementioned author. He does a fine job in the role, and as he revealed during our Rapid Fire 20 Q, he’s created the perfect backstory for his as he calls it ‘rock star’ look, but I feel compelled to mention, the constant, likely unconscious action of brushing his long tresses away from his face became quite distracting. Gray does present a perfectly flustered husband and his on-stage chemistry with both his leading ladies is enjoyable.

Abby Waddoups plays Charles’ current wife, Ruth. While she doesn’t speak with a traditional Texas accent—as mentioned earlier, only one character does, and we’ll get to her soon enough—Abby does approach Ruth with an air of sophistication. Again, a perfect reflection of that 80s-era new-money vibe. As Ruth, she brings a bit of caustic fire to her every line.

Then there’s Charles’ late wife, Elvira played by Erin Grace Bailey. OK, I know this is being super picky, but in every other stage production, film adaptation and televised presentation, Elvira isn’t pronounced like the Cassandra Peterson Mistress of the Dark character, it’s pronounced Elveeera, so this new pronunciation took me a minute to adjust. Newcomer to the Larry Keeton Theatre, Erin Grace Bailey is quite the scene-stealer as Elvira. While her name may now be pronounced like an 80s vampire, she’s just your above-average vampy ghost. She takes the tongue-in-cheek storyline and makes the most of it.

Drew Ann Borsos as Madame Arcati

Speaking of making the most of things, Drew Ann Borsos is simply perfect as Madame Arcati, the medium who helms the seance. Borsos peppers her Madame Arcati with equal parts  bumbling Aunt Clara from Bewitched and every blissfully quirky character Shirley MacLaine has played since the 80s. Every line, every movement seems both organic and spontaneous while you just know its all carefully crafted and executed brilliantly. Coward knew what he was doing when he created this character with his words and Borsos more than does it justice.

Rounding out the cast are Shelby Anderson as Edith, the maid, Michael Welch as Charles’ friend and doctor, Dr. George Bradman and Suzette Williamson as Mrs. Bradman. Anderson is quite fun as the scatterbrained, nervous maid and we even get to hear her sing a bit, which is a fun bonus. Welch and Willamson, who basically only appear in two scenes, one during the first act and one in Act 2, are amusing as marrieds, but seem to be a little overzealous in their portrayals and should perhaps reign in their reactions and facial-pulling just a bit. Then again, there’s no pulling attention from Borsos and Bailey, so why even try.

Blithe Spirit continues its three-week run onstage at The Larry Keeton Theatre (108 Donelson Pike, Nashville, TN 37214) now thru October 30. To Purchase Tickets, CLICK HERE or call the box office at 615.231.1231. Adult Dinner and Show tickets are $35. Child Dinner and Show tickets are $25. Show Only tickets are $30 and $20 respectively. During the run, the schedule is as follows: Thursdays-Doors at 6:30p.m./Show at 7p.m. (Thursdays are Show Only days). Fridays and Saturdays-Doors at 5:45p.m./Dinner at 6p.m. and Show at 7p.m. Sundays-Doors at 12:45p.m./Lunch at 1p.m. and show at 2p.m.

Following Blithe Spirit, the Larry Keeton Dinner Theatre ushers in the holidays with Irving Berlin’s White Christmas, onstage December 1-18. CLICK HERE for tickets or more information.

To keep up with the latest from The Larry Keeton Dinner Theatre, follow them on Facebook, Twitter and Instagram.

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

Rapid Fire 20Q with cast of the Larry Keeton Theatre’s ‘Blithe Spirit’; Noel Coward classic onstage October 14-30

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It’s been quite some time since I’ve attended a show at The Larry Keeton Theatre, one of Nashville’s only, if not the only remaining Dinner Theatre, so you can imagine my delight when a friend, who just so happens to be one of the theatre’s board members, reached out extending an invitation to come see their upcoming production of Noel Coward’s high-spirited classic, Blithe Spirit. I then inquired if they’d be willing to have some of the cast take part in the latest installment of my recurring interview feature, Rapid Fire 20 Q. Given the fact that even before I began writing about theatre more than a decade ago, I was a season subscriber at the Keeton and have always enjoyed their productions, I’m thrilled to be writing about them again.  To that end, what follows are my conversations with Erin-Grace Bailey, Abby Waddoups, Aaron Gray and Drew Ann Davis Borsos, just days before they open at the Keeton Theatre in Blithe Spirit.

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RAPID FIRE 20Q WITH CAST OF THE KEETON THEATRE’s BLITHE SPIRIT

RAPID FIRE WITH ERIN-GRACE BAILEY, ELVIRA IN BLITHE SPIRIT

JHPEntertainment: What can you tell me about Elvira, the character you’re playing in The Larry Keeton Theatre’s production of Noel Coward’s Blithe Spirit?

Erin-Grace Bailey: Charles refers to Elvira as “rather light and irresponsible,” which I think is a great way to describe her. She’s just a joy to play. To me, in her life, she would have been the person to arrive fashionably late at a party and just completely light up the room. She’s witty, feminine, and she isn’t afraid to say whatever comes to her mind.

JHPEntertainment: Playing Elvira and apparitions in general aren’t a new phenomenon to you are they? Tell me a bit about your side gig as a Ghost Tour guide? 

Erin-Grace Bailey: Indeed. It’s kind of funny. I applied to be a tour guide with the ghost tours because I am a huge history nerd and always thought being a tour guide would be fun (and it is). I lead walking tours of some haunted historical sites and get to share Nashville history and ghost stories a couple times a week. The gig has sort of led me into getting involved in a lot of entertainment on the spookier side as well, including murder mysteries, a show based on the works of Edgar Allen Poe, and now Blithe Spirit. Ironically, I scare very easily, and if you’d have told me five years ago that a lot of my current work would look like it does now, I would have said you are dead wrong! 

JHPEntertainment: What’s been the most fun aspect of playing a ghostly figure?

Erin-Grace Bailey: Elvira is unapologetically who she is. She gets to do and say whatever she wants, and, aside from her husband, no one else witnesses it. Playing a ghost takes away these life or death stakes we see so often in plays, and she really gets to let loose. It’s not very often we get to do something like that as actors. 

JHPEntertainment: I understand this is your first show with the Keeton Theatre. What’s the experience been like so far?

Erin-Grace Bailey: It has been so lovely, and I’ve been so grateful to get to know and work with these people. I’m thankful to Donna for trusting me to take on this role and perform this text. Everyone on this team has been so supportive since the beginning. I can’t wait for the audience to see all of the love that’s been put into every aspect of this project – from the acting, to the set, to the sound design, and more.

JHPEntertainment: While it’s your first Keeton show, this isn’t your first time appearing in a work written by the great Noel Coward, having played Julia in a production of Fallen Angels. Prior to our chat you indicated Coward is your favorite playwright. What is it about his style that you enjoy?

Erin-Grace Bailey: The first time I was exposed to Noel Coward, I was in an acting class in undergrad. I was assigned a scene from Blithe Spirit, playing Madame Arcati actually, and I had a terrible time of it at first. Coward writes like you’re on a racetrack, and you don’t stop unless it’s absolutely necessary to change the tires. I had several acting classes end in tears, but once it clicked with me, I felt like it really clicked. I’ve adored him ever since. Coward’s scripts are written very intentionally. The wit in his dialogue is unmatched, and he leaves enough of his scripts up to interpretation that his works have remained relevant for the past hundred years. One of my favorite things about Blithe Spirit specifically has to do with the way he has written the female characters, particularly Ruth and Elvira. They completely juxtapose one another, yet neither of them are perfect. There aren’t these unrealistic expectations of perfect beauty or manners in either of them. I love getting to play a character who is incredibly light and feminine but also quick-witted, confrontational, and outright funny. Female identifying characters from the time period this play was written are often meant to be one thing or another, and part of why I think Coward’s works are still so cherished is that a great deal of his characters don’t fall into this trap.

RAPID FIRE WITH ABBY WADDOUPS, RUTH IN BLITHE SPIRIT

JHPEntertainment: In the Larry Keeton Theatre’s production of Noel Coward’s Blithe Spirit, you play Ruth. How would you describe her?

Abby Waddoups: Ruth is a devoted wife to Charles and considers her position of wealth and managing their household very important. Her whole world is shook when Charles believes he sees the ghost of his first wife, which continues to live with them for several days. She is naturally upset and emotional about the whole ordeal.

JHPEntertainment: As Ruth, you get the fun opportunity to play two aspects of the same character, one–her earthly human form, the other–her ghostly incarnation. Are there subtle differences in the way you play her in each of the two configurations?

Abby Waddoups: Yes, Ruth definitely has a range of emotions throughout the show and those are the best characters to play. The difference in live Ruth and spirit Ruth are great. Our director, Donna Driver, has pushed the spirits to be fun and light. I take this as the worries in the real world have been lifted from Ruth’s shoulders in death. By accepting her death, she is able to be more carefree. 

JHPEntertainment: The original script sets the action in the English countryside. Accents can always be an issue with local productions, so I’m wondering…Did the cast work with a dialect coach Or has the setting been changed?

Abby Waddoups: The Keeton theatre decided to change the setting and time period of this production. They apparently have other British farces set at the same time and thought their audience would get tired of it. The setting has been changed to 1980s Dallas. It is still in keeping with the British humor, but with small changes of locations.

JHPEntertainment: Like Erin, this is also your first time doing a Keeton show, so I’ll ask you the same question I asked her. What’s it been like thus far?

Abby Waddoups: Working at Keeton has been great! The people are all very nice and professional. The stage is on the larger side and deep for a community theatre, so that’s fun. The theatre itself has a good reputation around town and is an important part of their community. Audiences should be large and I’m sure they will enjoy the show!

JHPEntertainment: Since Blithe Spirit features a couple of séances…If you could summon the ghost of any famous person, who would it be and what would you asked of them?

Abby Waddoups: Wow, that’s an interesting question that I’ve never thought of before… of course their are multiple classic actors who would make my list, but my first instinct goes to a specific rock star, David Bowie, and I’d ask him to play a duet with me.

RAPID FIRE WITH AARON GRAY, CHARLES IN BLITHE SPIRIT

JHPEntertainment: You play Charles, a man who’s visited by not one, but two ghosts, both of whom were married to him. Describe each of your two leading ladies in three words each.

Aaron Gray: Well to begin with these two ladies are great to share the stage with. Their performances counter and compliment one another comedically. It has been awesome to work with them.

Abby Waddoups, who plays Ruth, is powerful, surprising, and engaging on and off stage. Erin-Grace Bailey as Elvira is fierce, exciting, and witty in everything she does. 

JHPEntertainment: Blithe Spirit is typically set in 40s, the time period during which it was first presented on stage. A quick look at rehearsal images reveals your longer hairstyle isn’t exactly period-authentic. I was going to ask you about that, but while chatting with one of your costars, the aforementioned Abby, about whether or not there was a dialect coach to aide with the British accents, she revealed that your production is no longer set in England, nor the 1940s. So instead I’ll ask…what do you think of the director’s decision to update the timeframe and the locale?

Aaron Gray: Great question. Our director had the idea to set the play in 1980s Dallas before we even had auditions. This is a cool spin on the play and gives it a new unique style. Charles only has a few published books, but i see him as if he thinks he is some sort of new celebrity. His recent success inspires him to keep his hair long as he likes to think he is living the 80s “rockstar” lifestyle. I was willing to cut my hair for the role if needed, but after some character development and the vision of Donna, I think the hair fits the show we are going to portray.

JHPEntertainment: Keeton patrons will no doubt recognize you as you’ve been in a few shows there. What is it about the Keeton that keeps you coming back?

Aaron Gray: After graduating from MTSU with a bachelors in theatre in 2019, the Keeton was the first theatre I auditioned for. I was cast in Mamma Mia just before the pandemic hit. When that production finally opened after being on hold for over a year, I found a family and community here that I fell in love with. For me, the Keeton isn’t just about the shows we build onstage, its about the friendships we build backstage, too.

JHPEntertainment: What’s your favorite characteristic of Charles?

Aaron Gray: Charles is an interesting character because although he is funny and relatable, he also has selfish and unlikable qualities. I personally aspire to live as a generous and good person, so to play a character like Charles has been a fun change of pace. Playing Charles’s more selfish and indignant motivations throughout the play is what makes playing him so interesting and fun. 

JHPEntertainment: Charles is a novelist struggling for inspiration for his next work. If you were to write a novel, what would it be titled and what would it be about?

Aaron Gray: I used to love creative writing in school, so portraying a novelist has reminded me of those days. I would have to say that I would write a children’s story. I have a 3 year old son that means everything to me. He inspires me to tell stories and create art that means something. So, to create a story that he’d love would mean a lot to me. It would be about growing up and embracing who you are no matter what life throws at you. I would call it The You That You Are. I would want my son to know that no matter what anyone says, the best thing he can be is himself. 

RAPID FIRE WITH DREW ANN DAVIS BORSOS, MADAME ARCATI IN BLITHE SPIRIT

JHPEntertainment: You’ve got the scene-stealing plum role of Madame Arcati, a role originated on the stage and in the classic 1945 film adaptation by Margaret Rutherford and subsequently by everyone from Geraldine Page and Angela Lansbury to Jennifer Saunders and, in the current 2022 film, Judi Dench. Those are some big turbans to fill. How do you feel you’ve made her your own?

Drew Ann Davis Borsos: I am tickled pink to play Madame Arcadi! I love physical comedy and playing eccentric, quirky characters. My last role was Daisy in Driving Miss Daisy. Her character was sedate, dignified, and reserved. My director, Vickie Bailey, had to reign me in constantly! I am thrilled to be able to go all out for Madame Arcadi! Our director, Donna Driver, has given me room to make Madame Arcadi bigger than life. Is she an act, or is she the real deal? She is passionate, boisterous, and self assured. Margaret Rutherford’s own personal characteristics along with Noel Coward’s words, made that part comical for which she earned an Oscar. But, I can’t imagine her, or Judi Dench, jumping, running, and throwing themselves on the furniture, or Angela Lansbury being overly melodramatic. I was sorry to hear that Angela Lansbury passed over this week.

JHPEntertainment: Since you play a medium, What are your thoughts on ghosts and such, and Have you ever attended a seance?

Drew Ann Davis Borsos: I would never be part of a real life seance, or go to a Fortune Teller, or seek out someone who talks to your deceased loved ones. My character talks to the dead! I have learned that there are different kinds of ghosts in the spirit world…Poltergeists, Emanations, Elementals, etc! My personal belief is that the spirit world is very powerful, very real, and not something to be mocked. Ghosts stories, movies, and plays can be entertaining, but let’s not forget that there is a dark power at work in the world, and it is deceptive. But, as far as participating in Halloween is concerned, it is about opening your doors to your neighbors and getting candy!

JHPEntertainment: As mentioned above, Madame Arcati is easily the most-desired role in Blithe Spirit. Had you not been cast as her, is there another role, regardless of whether you fit the ‘type’ or not, that you’d love to also play?

Drew Ann Davis Borsos: If I had not been cast as Madame Arcadi, I would love to play the role of “Edith”. Edith can be any age, and any gender. I love the the awkwardness and naivety of the character. Also, there are less lines to memorize!

JHPEntertainment: Has it really been a decade since you starred in the Keeton Theatre’s production of Lend Me a Tenor? The theatre has gone through a number of changes since then. What do you think is the best aspect of the current support system and crew at the Keeton?

Drew Ann Davis Borsos: There are a lot of improvements in the building and the theater, which had to be a joint venture with the staff and volunteers over the years. It is more secure and we now have a bathroom backstage!! I noticed right away that there is more organization and communication between the Staff, Board Members, Director, and Crew. It is not everywhere that an actor can walk into the first rehearsal and have a set already done, and costumes and props already provided. That gives us time to learn lines and to deliver a well rehearsed performance. I’m pleased to see in the last few years, there have been more staged plays, and not just musicals. The Larry Keeton Theatre is not just the community theatre hidden behind the Senior Center, but it is now a prime Nashville attraction.

JHPEntertainment: Blithe Spirit is celebrating its eighth decade since it was first staged. What is it about the show, and Noel Coward’s brand of comedy hijinks that makes it just as enjoyable today as ever?

Drew Ann Davis Borsos: Words, Words, Words! It is rich in vocabulary and every sentence is full of little gems. There is a beauty and art form in the way he constructed sentences. Most of us these days don’t know how to talk so eloquently. Or, is that just a British thing! The audience feels for the leading man and lady who gradually lose control of the situation, and has to rely on a bumbling clairvoyant, who got them into this mess in the first place, try to get them out of it. And who wouldn’t love to see the special effects and portrayal of ghosts on screen or in live theater?

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As Borsos’ Madame Arcadi’s says, Who wouldn’t love to see it. To catch Blithe Spirit during its three-week run onstage at The Larry Keeton Theatre (108 Donelson Pike, Nashville, TN 37214).For more information or to Purchase Tickets, CLICK HERE or call the box office at 615.231.1231. Adult Dinner and Show tickets are $35. Child Dinner and Show tickets are $25. Show Only tickets are $30 and $20 respectively. There is a special Pay What You Can Industry Night for fellow actors and crew who might not be able to make the weekend performances due to their own shows about town. For Blithe Spirit, Industry Night is Wednesday, October 12 with doors at 6:30p.m. and curtain at 7p.m. Industry Night show only tickets are a suggested $15. During the run, the schedule is as follows: Thursdays-Doors at 6:30p.m./Show at 7p.m. (Thursdays are Show Only days). Fridays and Saturdays-Doors at 5:45p.m./Dinner at 6p.m. and Show at 7p.m. Sundays-Doors at 12:45p.m./Lunch at 1p.m. and show at 2p.m.

To keep up with the latest from The Larry Keeton Dinner Theatre, follow them on Facebook, YouTube and Instagram.

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

Rapid Fire 20 Q: Conversations from The Emerald City as The Larry Keeton Theatre celebrates Opening Weekend of ‘The Wizard of Oz’ directed by Jef Ellis

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When you consider the fact that L. Frank Baum’s beloved The Wizard of Oz was originally released in book form in 1900 and the equally-iconic MGM musical movie adaptation itself is celebrating it’s 80th anniversary this year, it’s really no surprise that all things Oz continue to be just as mesmerizing all these years later. Proof that the story of young dreamer Dorothy Gale’s first visit to the enchanted Land of Oz is still an audience favorite is evident in the fact that The Larry Keeton Theatre opened their production of the stage adaptation earlier this week with shows continuing at the popular Nashville area dinner theatre, with performances continuing through June 29.

To celebrate Opening Weekend, I recently had an opportunity to chat with the show’s director, Jef Ellis as well as four members of his cast including Emma Brown, who plays Dorothy, J. Robert Lindsey, who’s cast as The Tin Man, The Cowardly Lion’s Sara Kistner and Thomas Gentry, who’ll be performing the role of The Scarecrow for an All-In, All-Oz Rapid Fire 20 Q.

Sara Kistner, J. Robert Lindsey, Thomas Gentry and Emma Brown in The Keeton Theatre’s “The Wizard of Oz”

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RAPID FIRE 20 Q WITH DIRECTOR & CAST OF THE LARRY KEETON THEATRE’S THE WIZARD OF OZ

RAPID FIRE WITH THE WIZARD OF OZ DIRECTOR, JEF ELLIS

JHP: What’s your first memory of The Wizard of Oz?

JEF ELLIS: I grew up as part of a generation who watched the movie on TV once a year and my earliest memory is being scared to death of those flying monkeys. In fact, we’d have to switch off the TV every time they made an appearance. I don’t think I ever saw the entire film until I was well into adulthood and could manage my flying monkey phobia with grace.

JHP: Having interviewed you in the past, I’ve noted that whenever you direct a piece that’s as beloved for its cinematic adaptation as it is its stage version, you always manage to pay homage to the Hollywood incarnation. Can you reveal, or at least tease, how you’ve achieved this with this production of Oz?

JEF ELLIS: The script is very much like the screenplay, down to the stage directions. But because I love classic films of this particular era, I have chosen to honor the golden age of Hollywood — specifically 1939 — with some of the expected tropes of moviemaking of that time and when I’ve talked about it with my cast members, I’ve often used references to the stars of that era and we’ve attempted to give the Kansas scenes a sense of classic black-and-white filmmaking and acting for the camera. It is subtle, but it’s there and it helps inspire my talented cast.

JHP: What aspect of this production has brought you the most joy as a director?

JEF ELLIS: Believe it or not, it’s working with young actors, particularly the very young actors who play a variety of roles from Munchkins to Ozians to the Wicked Witch of the West’s flying monkeys. Introducing this beloved film to a new generation is both an awesome and daunting experience. When we first started, I felt rather at sea insofar as what I was striving to do with this particular show, but one day during rehearsal, I restaged the Act One finale (the approach to the Emerald City after the experience in the field of poppies) and it suddenly dawned on me what the show is actually about and how impactful it can be on audiences, whether they are veterans like me of seeing the movie annually for years and years or if they are only just now being exposed to it.

JHP: Why does The Wizard of Oz endure?

JEF ELLIS: To my way of thinking, it’s a uniquely American fairy tale — the story of one young girl’s search for who she really is and what is most important to a life well-lived, told in a distinctly American way. I think far too often The Wizard of Oz becomes the focus of academics who try to foist their own meaning upon the story — and lord knows, I love that kind of stuff — but when I read more about L. Frank Baum and what he was trying to do, it opened up vast new vistas for me as far as storytelling is concerned. To me, the best thing about live theater is its ability to transport and to transform and there is perhaps no show I’ve directed in my career that better subscribes to that belief. The Wizard of Oz is the quintessential American fairy tale that instantly whisks audiences away to a vividly imagine world quite unlike any you might imagine on your own. Because of that, the story is timeless and we can all find something about it with which we might identify.

RAPID FIRE WITH EMMA BROWN, DOROTHY GALE IN THE WIZARD OF OZ 

JHP: Frank Baum’s The Wizard of Oz is easily one of the most beloved stories ever. What’s it like to be cast as Dorothy Gale?

EMMA BROWN: If you play an iconic character, comparisons to the original are inevitable. That kind of pressure is an exciting challenge because it’s all about bringing some of the magic from the classic to the stage. A little magic and a lot of dog treats.

JHP: Arguably, the 1939 film adaptation is just as popular, if not more so, than the classic novel. Were you a fan of either incarnation before auditioning for this production?

EMMA BROWN: We had The Wizard of Oz movie on VHS when I was little, and I used to rewind the scenes and act them out alongside the TV. One of my favorites was throwing myself off our couches to reenact when Judy Garland falls into the pig pen. Unfortunately, the stage version does not have that scene, because I would have been thoroughly prepared.

JHP: While researching to chat with you and your fellow Ozians, I ran across a recent Oz-related post on your social media in regards to your recent birthday. Care to share what your parents did to celebrate your birthday and you being cast as Dorothy?

EMMA BROWN: My mom labeled yellow napkins with letters that said, “Follow the Yellow Brick Road,” and she put them on the floor leading to the kitchen, where my Dad hung a Wizard of Oz poster that he drew himself. It had the Lion, Scarecrow, Dorothy, Tin Man, the Emerald City, apple trees, rainbows, it was incredible. The thoughtfulness of those two almost made up for the fact that Dad used up all my markers.

JHP: Somewhere Over the Rainbow is simply iconic. Do you have a favorite phrase amongst the lyrics that kind of gets you every time you sing it?

EMMA BROWN: “…And the dreams that you dare to dream, really do come true…” I love that lyric for two reasons: it speaks to anyone with passion, ambition, and hope, and it’s the only place in the song where I get to breathe.

RAPID FIRE WITH THOMAS GENTRY, THE SCARECROW IN THE WIZARD OF OZ

JHP: Which of The Scarecrow’s characteristics do you share—or would you love to adopt?

THOMAS GENTRY: Oh man, The Scarecrow and I have more in common than I ever realized. Perhaps the most obvious might be my general absent-mindedness (yeah yeah, pun-intended). Ask anyone who’s ever tried to leave the house with me; I can NEVER find my keys, wallet, phone, etc. Also, like the Scarecrow, I’m an external processor so I often put my foot in my mouth by spewing unfiltered babble or asking questions with obvious answers. I will say however, that I admire the Scarecrow’s unwavering and selfless love and support of Dorothy. To me that’s a very endearing characteristic of the Scarecrow and something that I’d like to demonstrate in any friendship.

JHP: Alright, I just gotta say…with your hair, did you initially audition for The Cowardly Lion? Because your mane is epic! But on to my real question….The Scarecrow is surprisingly a very physically demanding role. Do you have a dance background?

THOMAS GENTRY: Haha, ya know, I didn’t. But it’s been brought to my attention that I perhaps should have. Maybe I’ll lop it off for Sara, our Lion, to make a wig out of. Anyway, you are not lying about the Scarecrow being a physically demanding role. After being cast, I began watching so many different performances where the Scarecrow was doing full splits and jazz pirouettes. I thought, “uh oh.” But I do have a background of basic ballroom dancing and a shameless enthusiasm to brave any dance-based aerobics class no matter how outnumbered I am by middle-aged moms. Throw that in with a history of various board sports that have taught me how to roll and fall and I’d say I’ve attempted to adapt the part to the floppiest, most energetic version of my skill-set. Knee pads help a lot too.

JHP: One of my absolute favorite Scarecrow lines is, “Some people without brains do an awful lot of talking, don’t you think?” Given today’s social and political climate, do you expect to get big reactions from that line?

THOMAS GENTRY: I know, right? When I first read the script I thought “Oh my gosh, how did they know?” It just seemed perfectly timed. A little more research led me to the fact that the L. Frank Baum’s 1900 novel The Wonderful Wizard of Oz was always intended to be somewhat of a political allegory. Much of the allegorical structure remained in tact in the beloved 1939 film which popularized the line in question. The genius of this line is that it will always be relevant no matter who’s doing a lot of talking or who’s in power at any given time. That said, I, like every person who has heard this line since 1939, do think it seems most applicable considering today’s social and political climate and I certainly hope for big reactions from that line.

JHP: While this interpretation of The Wizard of Oz follows the 1939 film adaptation very closely, one sequence that was cut from the film, The Jitterbug, was added back to this stage version when it was first produced by the Royal Shakespeare Company In 1987. What can you tell me about this number and the show’s choreography as a whole?

THOMAS GENTRY: Initially, it seemed that much of the cast had a love/hate relationship with this number. Ya know, no one’s really heard it, it’s not exactly a crowd favorite upon first listen, and it’s certainly not the 80’s Wham hit that I first think of when I hear Jitterbug. That said, it’s one of only two instances where the leads get to sing and dance with the entire ensemble, so The Jitterbug is actually key during the second act to give the audience a little something spicy and fun featuring almost the entire cast. And ya know what? It’s actually become a pretty cool number. Our choreographer, Kevin Raymond, has really turned it in to something nice. He’s done a great job of adapting the film’s choreography to the stage, while still maintaining the look and feel of the film’s original dance numbers that the audience expects to see.

RAPID FIRE WITH SARA KISTNER, THE COWARDLY LION IN THE WIZARD OF OZ 

JHP: The Cowardly Lion is typically played by a male, so…are you playing the role as a gender-flip? non-binary? or in male drag?

SARA KISTNER: The best way to describe the way I am playing the Cowardly Lion is a mix of gender flipping and non-binary factors. I know it is difficult to technically do both, but we changed words like him to her and king to queen, but I am trying to remain true to the Cowardly Lion as everyone knows “him”. I play the Lion with a deeper voice but Queen of The Forest may catch you by surprise. I am using that gender battle of Men are tough and Women are gentle and trying to place myself amongst the other characters to really play up each of the Lion’s hurdles with courage.

JHP: When playwright John Kane and the Royal Shakespeare Company revisited the story of Oz for this iteration’s debut in 1987, the costumes were based on a combination of both the original illustrations by William Wallace Denslow from the 1900 1st edition of Baum’s book and Adrian Adolph Greenberg’s legendary costumes designed for the 1939 film adaptation. Who designed the costumes for The Keeton’s production and what’s your favorite aspect of them?

SARA KISTNER: Our costume designer Cary Street, is recreating Glinda, Dorothy, Tinman, Scarecrow, and Lion as we all remember them whether it is the film or the stage adaptation, while taking our ensemble and giving them some flare and originality. My favorite aspect of our costumes would have to be the color scheme for our ensemble members, everyone pops in their own way on stage!

JHP: Earlier this year you worked with Jef as a member of his cast of Singin in the Rain and now in Oz. While composing questions to ask you and your fellow Yellow Brick Roadies, it dawned on me, Jef is a bit like the Wizard isn’t he? I’m curious…in the spirit of Oz, what’s something surprising you’ve learned about Jef…behind the magic curtain?

SARA KISTNER: Jef is in fact a lot like Oz, he goes wherever the wind takes his balloon. We all know Oz as this big scary spectacle of a being that no one really knows much about other than the obvious, I believe that is true for Jef as well, to a degree. The way Jef directs is very much straight to the point, and we as his cast are to follow his instructions in order to reap our rewards. The difference between Jef and Oz is, Oz is pretending to be something he is not, Jef remains true to himself and his demands are for the best of the production he is working on at the time. Once the cast has completed their tasks and we begin the run of our show, that is when Jef comes out behind the curtain we receive our motivational speech and the wind takes him on to his next adventure.

JHP: The Cowardly Lion seeks courage. What does courage mean to you?

SARA KISTNER: I believe Courage is not defined by one specific thing. Courage can be as simple as facing the day when all you feel is dread, it is going out and walking with the masses whether you are a feminist, a member of LGBTQ, Black Lives Matter, or even serving the United States Military. You never know what each day may bring you, but facing each day with everything you have in your soul not knowing what may be waiting for you, that is true courage.

RAPID FIRE WITH J. ROBERT LINDSEY, THE TIN MAN IN THE WIZARD OF OZ

JHP: Prior to being cast as The Tin Man, how familiar with this particular adaptation, which debuted on stage in 1987, and more closely follows the classic film than other stagings?

J. ROBERT LINDSEY: I had the opportunity to play The Tin Man (and his farmhand counterpart, Hickory) in college.  We did this adaptation as well, so I was pretty familiar with this particular version.  As a child, I was obsessed with the movie, so having the chance to play this role in a version that so closely follows the film not only once — but twice — has been such an honor.

JHP: This mounting of The Wizard of Oz marks how many times you’ve worked under the direction of Jef? What keeps you coming back to audition when he’s at the helm?

J. ROBERT LINDSEY: Wizard is the fourth time I have worked under Jef’s direction.  I first met Jef when I played Cliff Bradshaw in his production of Cabaret followed by My Fair Lady (as Freddy Eynsford-Hill) and The Boys in the Band (as Larry). What I love about Jef as a director is that he comes into the rehearsal process with a very clear vision. As an actor, it’s great working with a director who knows exactly what he wants out of you. Jef also does a wonderful job of recreating classic films on stage. In this particular show, he pays homage to the 1939 film as well as the original novel while simultaneously adding some twists and turns along that way that audiences have never seen before.

JHP: Among the lyrics of The Tin Man’s famed If I Only Had a Heart is the line, “Just to register emotion, jealousy, devotion and really feel the part”. At what point during the rehearsal process did you ‘really feel the part’ as far as finding YOUR The Tin Man?

J. ROBERT LINDSEY: Having played this role before, I didn’t want to cop out and recreate the same exact performance. The stage version dives into some of The Tin Man’s backstory. For The Tin Man, a heart represents the life he knew before the Wicked Witch enchanted his axe and subsequently turned him into tin. During one of our rehearsals, we were running the scene where the Tin Man shares his story with Dorothy and the Scarecrow. As the words were coming out of my mouth,  I really thought about how heartbreaking (no pun intended) his story is and how that fuels this journey he goes on. For me, that’s when this incarnation of the Tin Man started to evolve.

JHP: Among the many themes of Oz, Family is key, whether it’s the family we’re born into or the family we choose. I hear actors say over and over that their casts become family. Why do you suppose that is?

J. ROBERT LINDSEY: So many of the stories we tell in theatre are centered around relationships. As the cast dives into creating their own characters and developing the relationships they have with the other characters in the show, it’s hard to completely separate yourself as an actor. It’s an emotional journey and requires a lot of energy, and the only people who can relate are the ones in the show alongside you. It truly fosters a sense of family – which is one of my favorite aspects of theatre.

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The Wizard of Oz at The Larry Keeton Theatre continues with shows thru Saturday, June 29. Thursday-Saturday shows begin at 7p.m. with Sunday matinee curtain at 2p.m. Dinner and Show tickets are available for $30 for Adults and $20 for Children 12 and Under. Show Only Tickets are available for $25 for Adults or $15 for Children 12 and Under. Unlike Dorothy, you don’t need a flying house, a bubble-hopping good witch, a hot air balloon or even ruby slippers to visit, but you do need to CLICK (just one time)….CLICK HERE for tickets.

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