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Theatre Review: ‘Ain’t Too Proud: The Life and Times of the Temptations’ at TPAC’s Jackson Hall through Sunday, March 26 as National Tour continues

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Not even a little rain on opening night of the Nashville leg of Ain’t Too Proud: The Life and Times of the Temptations National Tour could dampen the excitement for TPAC’s Jackson Hall’s packed house. In fact, rain, and the emotions it evokes, perfectly set the mood for what would be a night of electric moves, a shower of hit songs, a tsunami of talent and thunderous applause all evening long.

Featuring more than 30 tunes, most of them some of Motown’s biggest and best loved hits, Ain’t Too Proud ranks, in my opinion, as one of the best jukebox musicals. All too often, jukebox musicals struggle to find the balance between storytelling and tune placement. Not the case with Ain’t Too Proud. Dominique Morisseau, who wrote the book of the musical, not only based the storytelling elements on the book by The Temptations’ only surviving founding member, Otis Williams, but also wisely broadened the musical inclusions to incorporate not just The Temptations’ music, but also that of a few of their contemporaries like The Supremes, The Isley Brothers, The Five Satins and Tammi Terrell. By doing this, the narrative flows perfectly with each tune the ideal musical accompaniment to flesh out the story. Said story is presented by Michael Andreaus as Otis Williams, breaking the fourth wall to tell his tale directly to the audience.

Joining Andreaus as The Temptations’ original members, aka “The Classic 5” are E. Clayton Cornelious as Paul Williams, Jalen Harris as Eddie Kendricks, Harrell Holmes, Jr. as Melvin Franklin and Elijah Ahmad Lewis as David Ruffin. The show also introduces a couple of other Temptations, including Devin Price as Al Bryant, Dwayne P. Mitchell as Dennis Edwards, Devin Holloway as Richard Street and Omar Madden as Damon Harris. We also meet Berry Gordy (Jeremy Kelsey), Shelly Berger (Ryan Hunt), Smokey Robinson (Omar Madden), Mary Wilson (Brittny Smith), Florence Ballard (Shayla Brielle G.) and the aforementioned Diana Ross (Amber Mariah Talley) and Tammi Terrell (Shayla Brielle G.).

Among my personal favorite musical moments, of course the title track is simply magical. The Supremes medley is a fun added bonus, though opening night in Music City, the ladies’ mics seemed a bit low. At the top of this review, I noted that it was raining outside the theatre. Well, I’m here to tell you that during the emotional I Wish it Would Rain, a 1967 Top Ten for the group, it was ‘raining’ on my face as my eyes began to sweat. Powerful, indeed.

Running the gamut of emotions, I absolutely loved the way Cloud Nine (a 1968 hit) started off as the musical manifestation of the group’s success, then plunges the depths of the cost of fame as a double entendre as a literal cloud of smoke, making mention of some behind-the-scenes drug usage.

Another somber moment comes with War, YES, the Edwin Starr mega-hit, was originally recorded by The Temptations, but withheld as a single so as not to alienate their more conservative fanbase. Within the context of the show, it perfectly punctuates the troubled times following the assassination of Dr. Martin Luther King, Jr.

While the show does indeed touch on a bit of drama here and there, Ain’t Too Proud is, as a whole, an upbeat, dancing in the isles, feel good musical.Choreographer Sergio Trujillo perfectly captures and builds upon the moves so closely associated with The Temptations that you just can’t help but get into the groove.

Speaking of getting on your feet and getting into the groove, Nashville’s Opening Night audience gave the company a well-deserved Standing Ovation. What’s more, as the company was taking their bows, lead actor Andreaus quieted the audience and asked them to return to their seats for a moment. It was then we got a fantastic surprise as Andreaus thanked us for our energetic response to the show and revealed that this performance was particularly special to him and the company because it was the first time he had gotten the opportunity to perform the role of Otis Williams…in the presence of THE Otis Williams!!! That’s right!!! The legend himself, the OG OG OG Temptation, Dr. Otis Williams was in the house! WIth that, Andreaus introduced the 81-year-old icon, Dr. Otis Williams, who arrived onstage to yet another Standing Ovation. Only in Music City, y’all!

Ain’t Too Proud: The Life and Times of The Temptations continues at TPAC’s Jackson Hall with shows thru Sunday, March 26. CLICK HERE for tickets.

Not in Nashville, but want to fill your soul as you feel the soulful sounds of The Temptations? CLICK HERE to check out where the show’s headed next.

As for TPAC’s Broadway Series, next up is the Music City premiere engagement of Disney’s Aladdin coming to TPAC’s Jackson Hall May 2-7. CLICK HERE for tickets.

Be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org, TPAC on Instagram, TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

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

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

Theatre Review: Circle Players’ Agatha Christie’s ‘Murder on the Orient Express’

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When I learned that Circle Players was mounting a production of playwright Ken Ludwig’s stage adaptation of Murder on the Orient Express, on stage through January 29 at The Looby Theatre (2301 Rosa Parks Blvd), I was thrilled. In audience on opening weekend of Agatha Christie’s beloved mystery, I may have had higher expectation than some of the other theatre patrons in attendance. As I alluded when I chatted with the cast for one of my latest Rapid Fire 20Q interview, those higher expectations stem from the fact that I’m a bit of an Agatha Christie purist and nerd, having read my first of her works when I was probably no more than ten or eleven. My obsession didn’t stop there. I began to read her books thematically, in that when I’d travel with family on summer break vacations, I’d read such titles as Death in the Clouds (my first plane ride), The Floating Admiral (while on a boat) and The Blue Train (you get the idea). In October I’d read and reread Hallowe’en Party and darn it if December doesn’t still sees me revisit Hercule Porot’s Christmas. Heck, I’ve seen every film adaptation from Margaret Rutherford as Miss Marple in the 1960s to Kenneth Branagh’s portrayal of Hercule Poirot in last year’s Death on the Nile, so yes, you could say I’m a superfan.

I love that Christie’s Estate contacted Ken Ludwig to ask if he’d be interested in adapting one of her books for the stage. Ludwig, known for writing such plays as Lend Me A Tenor, Moon Over Buffalo and the musical Crazy for You. He has also adapted a number of works for the stage based on characters created by others. Among Ludwig’s adaptations there’s Baskerville: A Sherlock Holmes Mystery, Tiny Tim’s Christmas Carol and Sherwood: The Adventures of Robin Hood. Of course adapting Christie’s 250+ page tale for the stage required a bit of editing for Ludwig’s stage version. Most notably missing are about a third of the suspects. While Christie’s novel includes a very purposeful 12 suspects, Ludwig had narrowed that down to eight. Purist that I am I’m still wrestling with that, mostly because the reason behind Christie having 12 suspects in this particular story was sheer genius, just a very clever A Ha! moment during the final reveal. I get it through, twelve suspects plus Poirot, plus the victim and one other character who is seemingly above suspicion…that’s a lot of people on stage, especially since the entire play takes place aboard a train, therefore limited the physical staging of the show itself. Again, this is just my weird obsessive brain working overtime. Back to my review…

Elliott Robinson as Hercule Poirot

Elliott Robinson, who’s graced the stage of multiple shows, not only at Circle but all over Nashville, might not seem the obvious choice to play the seemingly uptight, no-nonsense Hercule Poirot, but Hillwig knew what he was doing when he cast him. Robinson might not have waxed his stache, but beyond that he perfectly personifies the quirky Belgian master sleuth. Aided by Ludwig’s cheekily written retorts…the script teeters very closely to full-on farce without completely crossing that line…Robinson’s Poirot becomes even more endearing and fun to watch. There’s even a scene or two in which Robinson delivers a bit of dialogue or a witty reply to a fellow actor, then with knowing look, a smile or pause, gives the audience time to process the snark.

Antonio Nappo as Monsieur Bouc is the perfect choice to share the stage with Robinson’s Poirot. In Christie’s novel, Monsieur Bouc is written as almost a younger, less perceptive Poirot, eager to assist the detective in his investigation, but coming up short when connecting the dots, or seeing the many clues to the identity of the guilty. Nappo plays the part with a joyful vigor. Give him a few years and time to train his facial follicles, and I could totally see Nappo taking on the role of Poirot himself one day in the near future.

Tim Bush as Ratchett, a gruff, assertive businessman, is just fantastic. Playing the part to the hilt, it’s easy to see why he ends up (Spoiler Alert!!!) dead in his bed. It’s funny, my companion for the Sunday matinee I attended, leaned over at one point and said she didn’t care for Bush as Ratchett. Knowing what was coming, I thought to myself,”then he’s playing it perfectly”. Shoot, even after the murder, Bush further shows his skills by lying there motionless while the rest of the cast buzz around his character’s berth looking for clues and discussing motive.

As for the suspects, Catherine McTamaney as Princess Dragomiroff is my new favorite. My friend and I both noticed that she was a fully committed to her role in that when she enters the stage, she does so in character. How can I explain it? Some actors walk ’to’ their scene, McTamaney walks ‘through’ hers if that makes sense. She is Princess Dragomiroff. Staunch, unimpressed and mostly unbothered.

Bailey Borders makes some interesting choices as Helen Hubbard. As I mentioned when I chatted with her for my Rapid Fire 20Q interview, the character of Mrs. Hubbard was brought to the screen first by Lauren Bacall, then by Michelle Pfeiffer. Both women played her with an air of refinement and class, coupled with a bit of sass. While Borders’ Hubbard provided plenty of laughs by her boldness, the choice to have her speak with a southern accent, rather than a dialect more fitting the character, put me in mind of Dixie Carter’s Julia Sugarbaker, rather than the aforementioned Mrs. Bogart.

Rounding out the cast are Claire Landers as Greta Ohlsson, Gary Miller as Hector McQueen, Kaleigh Ruiz as Countess Andrenyi, Nick Spencer as Colonel Arbuthnot, Emily Summers as Mary Debenham and Barrett Thomas in the dual role of Michel the Conductor and Marcel, the waiter, oh, and Michael Hutson as the voice of the announcer. Each member of the company plays well off each other and easily convince the audience not only are their on-stage relationships plausible, but so are their accents…for the most part. I mention this because this show is comprised of characters from all over the globe, from the US to Germany, with Russian, Hungary and other places of origin thrown in for good measure. That said, the cast pulls off a multitude of accents…almost as well as the culprit pulls of the murder.

On the technical side of things, not only is Hillwig directing Murder on the Orient Express, he also designed the set. While the majority of the action does indeed take place aboard a moving train, there are actually a few sets. First here’s a cafe at the train station, then the exterior of a smaller train, the exterior of the Orient Express, the sleeping berths and the dining car. There’s also scenes that take place in the rail’s communications room and the back rail of the caboose. I don’t know if my eyes were playing tricks on me or not, but I swear, by clever usage of lighting cues courtesy Daniel Default, the exterior or the trains took on a different look between being the Taurus Express (at least that’s the name of the connecting train in the novel) and the more exclusive Orient Express. While watching the cast of characters board the Orient Express, the thought did cross my mind that I wished the exterior of the Orient Express look a little more grand and stately. Those ideals were put to rest once later when the set rotated to reveal the interior dining car. Hillwig, his master carpenter, Tony Nappo and props courtesy Suzanne Spooner-Folk together, created a perfectly lush look for the dining car, complete with what appeared to be lacquered woodgrain panels, hanging sconces, a bar cart and the like.

Hillwig’s staging is also to be commended, even in the final scenes in which Poirot reveals the truth, and the entire cast (save the victim) are on stage, it never seems crowded or forced and Hillwig’s staging and direction allow the audience to witness even the most subtle of movements and reactions of the guilty as the beloved detective unravels the mystery once and for all.

Before wrapping up the cast of the theatre review, I should mention that during the intermission I overheard a group of friends in the row behind me discussing who they through the murderer might be. I can’t tell you how much it thrilled my Agatha-loving heart that of the four who weren’t familiar with the outcome of the play…a story that’s based on a book that’s nearly 90 years old, mind you…each had a different suspect in mind.

As a lover of all things Christie, I can say without hesitation that director Clay Hillwig and his cast, lead by Elliott Robinson bring Christie’s beloved story of mystery, deceit and murder to the stage with such finesse—and thanks to Ludwig having peppered the script with some punchy dialogue—a great deal of unexpected humor than even the most ardent fan will be happy they were along for the ride.

Circle Players’ Agatha Christie’s Murder on the Orient Express pulls out of the station for two more mystery-filled rides Saturday, January 28 at 7:30pm and Sunday, January 29 at 3pm. All tickets are $27 (including fees). CLICK HERE for tickets.

Next up for Circle Players is Peter and the Starcatcher, directed by Jim Manning with musical direction by Teal Davis, on stage at the Looby Theatre March 10-26. CLICK HERE for tickets. To keep up with the latest from Circle Players follow them on Facebook,  Instagram and Twitter.

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

Rapid Fire 20 Q with director, Jef Ellis and cast of Circle Players’ ‘La Cage aux Folles’; at Looby Theatre January 17-February 2

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Michael Baird (center) as Zaza, surrounded by Les Cagelles in Circle Players’ “La Cage aux Folles’ (production photos by Ashley Eve Newnes)

Being a lifelong fan of Broadway composer, Jerry Herman, I have been looking forward to Circle Players’ upcoming production of Herman’s and Harvey Fierstein’s legendary La Cage aux Folles , the mid-80s musical centered ’round a mostly happy-go-lucky gay couple who own and work at a drag club in Saint- Tropez, whose lives take a tailspin when their son, Jean-Michel arrives with news of his pending nuptials to a sweet young girl from an ultra conservative family. When Herman passed away the day after Christmas, the fact that I’d not only be seeing the show, but that Nashville theatre luminary, Jef Ellis is directing, seemed a comfort, because if there’s anyone in this town who understands and honors the reverence of classic American musical theatre, it’s Ellis. Given those thoughts, you know I just had to chat with Jef and some of his La Cage cast members, including: Macon Kimbrough, Michael Baird, Kristian Dambrino and Ann Street Kavanagh for the latest edition of my recurring interview feature, Rapid Fire 20 Q.

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RAPID FIRE WITH LA CAGE DIRECTOR, JEF ELLIS

JHP: Having first directed La Cage aux Folles for  Circle Players in 1999 for the company’s 50th anniversary season, how did the idea to have you direct it again all these years later come about?

JEF ELLIS: You know, it’s funny: I’ve never had the desire to return to a show that I have already directed until now. I submitted a proposal to direct a different show for Circle Players, but since this is their 70th Anniversary Season, they wanted to do a season of the company’s “greatest hits,” as it were, and when I saw La Cage on the list of possibilities, there was no way I was going to let the opportunity pass me by. I submitted a proposal for the show and I was selected to helm another production of the very first show I ever directed. And in so doing, I’ve discovered how much La Cage aux Folles, the Tony Award-winning musical from Jerry Herman and Harvey Fierstein means to me and how closely I identify with it. It’s been a complete joy to have another go at it.

JHP: Kevin Amburgey-Walton, who starred as Zaza in your ‘99 production, is working behind the scenes on this one as the show’s choreographer, making this a La Cage reunion of sorts for the two of you. What’s it been like creating a new look at an old classic with your longtime friend and fellow creative?

JEF ELLIS: Kelvin and I have worked together on other shows (he also choreographed Damn Yankees for me some years back) and I so wanted to include him in this revival because he was my first Zaza. He’s been so lovely to work with again and has offered so much insight into the character of Zaza/Albin and has helped my new Zaza, Michael Baird move seamlessly into the role. The great thing about Kelvin is I know he always has my back — and I hope he feels the same about me — and I can turn to him and ask for anything and he responds quickly, with complete good humor and confidence. That’s what comes from trusting each other.

JHP: This past week, you posted a funny little happening regarding one of your younger cast members who, when you remarked that he resembled Wynonna Judd, didn’t know who you were talking about. This got me to thinking…what is it about Harvey Fierstein’s book and Jerry Herman’s music that still engages audiences? And are there lessons in LGBT history to be learned by watching this show? 

JEF ELLIS: The stories told in La Cage aux Folles are timeless and universal and they are just as important and vital today as they were when the show opened on Broadway in the 1983-84 season. The music is wonderful — lyrical, optimistic and memorable — and you can’t help but leave the theater singing it. It’s a quintessential Jerry Herman score and it so very clearly comes direct from his heart. Harvey Fierstein’s script is terrifically funny, yet poignant — which is exactly what we have all come to expect from him. La Cage aux Folles is a musical set in a gay nightclub in St. Tropez in 1984, to be certain, but more importantly it’s about family, loyalty and love — however you may define it on your own terms. Jeez. I’m puddling up just thinking about it (which happens more often than not as I get older and more sentimental and nostalgic).

JHP: I Am What I Am,—which closes Act 1 on an emotional high—is, without a doubt, the show’s most beloved tune. Taking a bit of artistic liberty with the lyrics, how would you finish this line…”I am what I am and what I am is _____”?

JEF ELLIS: “…an illusion.” I won’t touch Jerry Herman’s lyrics: they’re perfect and touching and heartwarming. That number is such a powerful moment in the show and an example of the fine line walked by Herman and Fierstein in transferring this story to the musical theater stage. At one moment, La Cage aux Folles is ridiculously funny and flamboyant, and at the next it’s heartbreaking and emotionally draining. In other words, it’s everything musical theater should be.

RAPID FIRE WITH MACON KIMBROUGH, GEORGES IN LA CAGE

JHP: At the top of the show Georges welcomes the audience to La Cage aux Folles saying ‘Open your eyes’ rather than something like ‘Feast your eyes’. It would appear that Fierstein and Herman purposely worded it the way they did, don’t you think? 

MACON KIMBROUGH: I think Fierstein was very deliberate with the book. Perhaps in using “open your eyes” rather than “feast your eyes”, he’s encouraging the audience to go deeper in their usual involvement in a show; to open your mind and, perhaps, take any blinders off and drop any preconceived notions. Not only at the Cagelles – who’s a man?/who’s a woman? – but also to realize that this is a love story even though the main couple is two men, not the traditional male/female. 

JHP: Last year you were part of the cast as Jef directed The Boys in the Band, another vital part of LGBT theatre history. What keeps you coming back to work under Jef’s direction in such shows?

MACON KIMBROUGH: The first show I saw Jef direct was The Little Foxes. Jef knows his material and really has a knack for assembling a cast that works well together. And I noticed that he seems to have control of my biggest pet peeve watching theater: pacing.

JHP: The show takes place during the early 80s, when it first debuted on Broadway. Heck, I remember watching the ‘84 Tony Awards and sobbing during their musical performance. When were you first aware of La Cage and has your perception of the work changed since then?

MACON KIMBROUGH: Yes. We didn’t have the web then so we had to catch glimpses on talk/variety shows or the Tonys. I have always been a Jerry Herman fan. His music goes through me like a knife, but in a good way. He gives his characters a vulnerability like no other lyricist. I remember seeing bits of the show on the Tonys. I Am What I Am was, of course, the show stopper and became the gay anthem. However, when I saw Gene Barry sing Song On The Sand, I knew then that I wanted to play that role and sing that song. I’ve always seemed to take the other route than most people.

JHP:  Speaking of I Am What I Am, when I chatted with Jef, I asked him to take a bit of artistic liberty with the lyrics. So I’ll ask you…how would you finish this line…”I am what I am and what I am is…..”?

MACON KIMBROUGH: I know this may seem strange or even rude, but I might finish “I am what I am, and what I am” with “is nobody’s business”. Hear me out – We judge and are judged, it seems, not just on first impressions but at first glance. If you want to know who I am or who anyone is, take the time. And if you don’t, don’t judge.

RAPID FIRE WITH MICHAEL BAIRD, ALBIN/ZAZA IN LA CAGE

JHP: While you’ve appeared on stage in and around the St Louis area, your performance in La Cage marks your Circle Players debut and also your Nashville area debut as well. How does it feel working not only with Nashville’s oldest continuing theatre company, but also with Jef, one of our community’s most respected and revered directors and critics?

MICHAEL BAIRD: The highlight of being in this show has been working with Jef. I moved to Nashville six months ago, and this was the first show that I auditioned for. Admittedly, I did not know who Jef was when auditioning, but I am thankful that he is my first director in Nashville. He has such a great way of pulling the best attributes out of a person when developing a character. He and I have very similar senses of humor–which has made the process that much easier.  He seems to know what I’m thinking, as I tend to know what he is thinking. It’s great!  I am also very thankful to Circle Players for giving me this opportunity.  

JHP: Zaza might be your Circle debut, but it’s not your first time to appear on stage, or in drag for that matter, having appeared as Frank N. Furter in The Rocky Horror Picture Show at Family Musical Theatre and having starred as Hedwig at Stray Dog Theatre—two St. Louis theatre companies. When, during the process of becoming Zaza, do you feel her presence—the wig, the lashes, the makeup, the body pads, costume…or something else?

MICHAEL BAIRD: In A Little More Mascara, Albin expresses how all of these external attributes contribute to his transformation–the lashes, more mascara, the heels, etc. My transformation into the character is more internal. I feel her ferocity as the key to the big “switch.” She is a performer, and when Zaza is present, there is nothing or no-one who can stand in her way. It is great fun to be a part of that and own the stage.   

JHP: Since you play Albin, and his stage persona, Zaza, I’m wondering, which aspects of each character do you admire most?

MICHAEL BAIRD: I admire Albin’s big heart. It is clear that he has great love for his family, and he will stop at nothing to make sure they are taken care of. Pertaining to Zaza, I will have to stick with the aforementioned ferocity. There is something about being fierce/ferocious and knowing that all eyes are on you. Additionally, her self-assuredness is something to commend. She is so confident in every aspect of her life, and I think that is something that all human beings desire.

JHP: When I chatted with Jef and Macon, I posed the following question to both of them. I think it has potential to be very telling, so I’m asking you and the others as well…”I am what I am and what I am is _____”?

MICHAEL BAIRD:  Persistent. I won’t/don’t stop. Just ask those close to me.  

RAPID FIRE WITH KRISTIAN DAMBRINO, JACQUELINE IN LA CAGE

JHP: While Jacqueline doesn’t appear until about 40 minutes in, the role is a patented scene stealer. Was that potential to ham it up and steal the scene part of what attracted you to the role?

KRISTIAN DAMBRINO: Oh absolutely. When Jef told me she was a manipulative, charismatic and flirtatious club owner AND that the musical is set in France in the 1980’s – that sounded like a sequined dream for this ex-Miss Mississippi. But what sold me on Jacqueline was the opportunity to throw in the French flair and accent. I’ve been studying the language for a year now, extending my own jazz repertoire to include songs from some of my favorite French composers and vocalists. I love the phonetics of the French language, and find there is a lot of built-in comedy in speaking and singing (and flirting) in « Franglais » in this musical. So Jacqueline is for sure my alter ego.

JHP: Why do you think Jacqueline feels such a closeness to Georges and Albin?

KRISTIAN DAMBRINO: Jacqueline’s brilliance lies in her ability to project this superfluous vibe, when in reality there are many layers to who she is and how she relates to all kinds of people. She deflects with humor and dramatic flair, but connects with George’s and Albin’s complexity as individuals, as well as their collective bravery and capacity for love. This perhaps sounds like a world peace kind of answer, and trust me – she LOVES Zaza’s panache. But Jacqueline cannot be put in a box and, to quote the script, « won’t take no for an answer. » This is perhaps how I relate to her the most. And you’ll have to come to the musical to get the rest of the story on this question (insert « ooh la la »). Jacqueline is full of surprises.

JHP: Much like composer Jerry Herman did in Mame with It’s Today, in Act 2 of La Cage, Jacqueline joins Zaza and the entire company for the equally uplifting and optimistic The Best of Times is Now. He was kind of right, wasn’t he?

KRISTIAN DAMBRINO: Yes, he was. I believe in the power of staying present in each moment to really get the most out of life. Whatever that means. If it’s singing, if it’s experiencing pain, if it’s laughing. If we drift too far from this moment, from now, we miss the transformational gift of immersion. Or we forget our lines lol.

JHP: I’ve concluded my interviews with Jef and your other cast mates with this one, so here’s your chance to answer it as well…how would you finish this line…”I am what I am and what I am is _____”?

KRISTIAN DAMBRINO: a Franglish chameleon.

RAPID FIRE WITH ANN STREET-KAVANAGH, MARIE IN LA CAGE

JHP: From the moment Marie enters, her physicality and broad reactions—to everything from Georges’ man-servant, Jacob (Russell Forbes) to Michael Baird’s Albin in disguise as Sybil—establish her as one to watch. Are there Maries in your past upon whom you drew your characterization ?

ANN STREET-KAVANAGH:  Not really. There are a few bits and pieces, but no one in particular. When I first saw myself in costume, I thought of Barbara Bush…just from the neck down! We know she was conservative and that she had a great sense of humor. Marie is both of those things, though she doesn’t let the humor out until she lets her hair down, so to speak.

JHP: Mentioning her costume is the perfect segue to my next question…Mirroring her rather conservative nature, Marie’s wardrobe is among the show’s more conservative, while Zaza and Les Cagelles are dressed to the nines in sparkling gowns courtesy the shows three costume designers Lisa McLaurin, Dan Hayes and Blake Danford. Any specific costume envy?

ANN STREET-KAVANAGH: I am EXTREMELY envious of The Cagelles! All those sequins and spangles! Zaza wears a wig that is reminiscent of Marilyn Monroe when she appears as Sybil. It looks gorgeous! I’m jealous of that, as well!!

JHP: During Cocktail Crosspoint, the chaos of the  imbroglio can be quite confusing if not performed with precision and skill from all involved. What’s it been like rehearing this particular number?

ANN STREET-KAVANAGH: We’ve had a lot of fun with Cocktail Counterpoint!  Leila Jones choreographed it. She used simple steps and blocking that lends itself  to be driven by characterization. Because of this, each of us has been able to put our own stamp on it, adding to the fun!

JHP: Alright. I’ve asked your director and co-stars this next one, so I might as well make it five for five…How would you complete the lyric as it pertains to you…”I am what I am and what I am is _____”? 

ANN STREET-KAVANAGH: This is hard to answer in one word! I’m a mom and a wife. I was lucky enough to have been a full time actor/singer for almost 20 years before having my kids, but I haven’t performed very much in the last 16 years, choosing to stay close to my children. They’re pretty self sufficient now and I’m ready to trod the boards with everything I’ve got! I don’t regret a minute spent with my family, but my inner artistic being has been so neglected that sometimes I’ll cry just hearing an overture. So, to answer…I am what I am and what I am is…energized! I’ve missed it SO much!

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Callum Ammons (center) as Jean-Michel) surrounded by Les Cagelles in Circle Players’ “La Cage aux Folles”

To be a part of the energized, eclectic vibe that is Circle Players’ La Cage aux Folles, CLICK HERE to purchase tickets as the show runs Friday, January 17 through Sunday, February 2 at Z. Alexander Looby Theatre (2301 Rosa Parks Blvd). Tickets are $15 for Thursday performances and $20 Fridays-Sundays. To keep up with the latest from Circle Players follow them on Facebook, Instagram and Twitter 

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

Lythgoe Family Panto officially an annual Music City event as ‘Aladdin and His Winter Wish’ plays TPAC’s Polk Theatre through December 22

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Kira Kosarin and Damon J. Gillespie starring in Aladdin and His Winter Wish/

Just as they did by presenting their take on Peter Pan during the holiday season last year, The Lythgoe Family has once again teamed up with TPAC to present yet another familiar tale with a decidedly modern twist as Aladdin and His Winter Wish continues its two-week run at Polk Theatre thru Sunday, December 22.

While based on the centuries old Middle Eastern folk tale, with a couple of lighthearted winks to a certain Arabian tale from the House of Mouse, Lythgoe Family’s Aladdin and His Winter Wish steps right into the 21st Century by combining elements from the original story, and classic British Pantomime with pop tunes and enough Nashville-centric one-liners, jokes and jabs to keep the audience in stitches whether they be 8 or 80. 

For the uninitiated, as I did when I reviewed Peter Pan last year, allow me to explain a little about traditional British Pantomime. It’s a centuries old theatrical art-form known as Panto for short. Granted, when most Americans hear the word pantomime, thoughts of mimes with clown-white faces mimicking attempts of escaping non-existent boxes come to mind. While that is indeed a type of pantomime, this pantomime is much different.

With roots tracking back nearly as far as recorded time itself, pan-to—in the more modern sense—presents a familiar story, usually a favorite children’s fairy tale, but with comedy, music, encouraged audience interaction and just enough double-entendre to keep parents entertained as well.

Not only are there local mentions of things like Pedal Taverns and Nashville and surrounding cities (sorry Memphis, but you kinda deserve being the brunt of a few jabs), the show is chocked full of modern pop tunes that drive the story along. 

Opening the show with a high energy belly dance-vibe take on The Pussycat Dolls’ 2009 mega-hit Jai Ho!, the ensemble gives a hint of the fun to come. As the story of Aladdin and his brother Wishee Washee (what can I say, their Mom, The Widow Twankey owns a laundry service) unfolds (pun fully intended), we learn that the two street rats dream of bettering life for themselves and their mother. This leads to the brothers joining forces for their take on the early 80s hit, Matthew Wilder’s Break My Stride. When Aladdin meets the Princess, there’s a little classic country flavor as he wistfully croons You Don’t Know Me, a song made popular in the 1950s by country legend, Eddy Arnold.

Bruce Vilanch as The Widow Twankey, flanked by sons, Aladdin (Gillespie) and Wishee Washee (Jonathan Meza)

The Widow Twankey then kicks things up a notch alongside the ladies of the chorus for a rollicking cover of Old Time Rock and Roll. 

As the story continues and we learn that Aladdin believes his way into the Princess heart is through some miracle of riches, the audience is treated to his version of the Bruno Mars hit, Billionaire. Keeping it in an R&B vein, the Genie closes out Act 1 on a high note with a simply perfect rendition of Earth, Wind and Fire’s Fantasy.

Act 2 opens with another Bruno Mars tune, Treasure, performed by the company. Not forgetting one of Aladdin’s most treasured moments…Spoiler Alert….the magic carpet scene is, well, magical indeed. Perfectly framed by the sappy but sweet On the Wings of Love and the optimistic Walking on Sunshine. By show’s end, there’s the inevitable wedding followed by a wonderful winter surprise as the cast sings a faithful Let it Snow…another Spoiler Alert…you better believe it does…IN the theatre! Always a crowd pleaser!

And that’s just the music. The entire show is brimming with hilarious one-liners, clever jokes, a few bad-but still laugh inducing-puns and more than a handful of inside jokes referencing the actors and their previous claims to fame.

Audiences may not be readily familiar with The Lythgoe Family name, but chances are they’re very familiar with some of the projects they’ve spearheaded for television. Case in point, Nigel Lythgoe, the family’s patriarch, alongside son, Simon Lythgoe, have at one time both produced everything from So You Think You Can Dance to American Idol, while son Kris Lythgoe also worked with the family on So You Think You Can Dance and other projects.

This brings us back to Lythgoe Family Panto, which Kris and wife Becky Lythgoe began in 2010 with their take on Cinderella. 

As was the case during last year’s Nashville presentation of Peter Pan, the company of Aladdin and His Winter Wish is also peppered with well-known talent of all ages and a healthy selection of Music City performers both on stage and behind the scenes.

In the title role is Tennessee native, Damon J. Gillespie. While he’s got roots in Tennessee, and seems to only be beginning his career, he, too has an impressive resume, having appeared on Broadway in Newsies and Aladdin, as well as television shows like Rise, Empire and Inside Amy Schumer. As Aladdin, Gillespie is perfectly mischievous and quite the charmer.

While Disney fans might be expecting Aladdin’s love interest to be named Jasmine, for this iteration, his intended is simply referred to as The Princess, as played by Kira Kosarin, who garnered popularity as well as three Kid’s Choice Award nominations for Favorite TV Actress for her starring role as Phoebe on Nickelodeon’s The Thudermans during the show’s four season run. Kosarin’s Princess is naturally beautiful with an enchanting voice to match. Who can blame Aladdin for doing whatever it takes to win her heart?

Richard Karn and Kira Kosarin as The Sultan and The Princess

Starring as The Princess’ father is Richard Karn as The Sultan. Karn, of course starred alongside Tim Allen in the hugely popular ABC sitcom, Home Improvement as Al Borland, Tim’s best friend and co-host. Karn’s comedic timing is perfectly suited for this type of interactive theatre where they encourage the audience to cheer to good guys and jeer the bad. Heck, on opening night, there was a minor snafu with a line or two and at one point the door of the set didn’t work as expected, but Karn and company rolled with the punches, even occasionally cracking up themselves. A truly endearing occurrence reminding older audiences of such classic comedy moments as The Carol Burnett Show when she and her co-stars couldn’t help but laugh at themselves.

Unlike that famous animated tale, this Aladdin isn’t an orphan. To that end, Jonathan Meza co-stars as Aladdin’s appropriately named brother, Wishee Washee. While Meza may be new to Nashville theatre, he’s no stranger to Lythgoe Family Panto as this marks his eighth show with the company. Audience members in the pre-teen to teenage range might also be familiar with Meza as Josh from the popular Nick Jr. bilingual musical series Jumpitz. Meza’s Wishee Washee not only plays second banana (and leap frog partner) to brother Aladdin, he also serves as narrator, therefore constantly breaking the fourth wall to get audience responses and reactions to what’s going on within the story. Another aspect of Panto that makes it fun for the whole family.

Rounding out Aladdin’s family is comedy icon and LGBT legend, Bruce Vilanch as Aladdin and Wishee Washee’s mother, the Widow Twankey. As a comedy writer, Vilance has provided the scripted banter for the Oscars and Emmy Awards for years. Early in his career, he wrote for and worked with everyone from Bette Midler and Donny and Marie Osmond and even penned two of my all-time favorite holiday specials, The Paul Lynde Halloween Special and the unforgettable (as much as George Lucas would like to try) Star Wars Holiday Special! Fans of a certain age will no doubt remember him as a frequent panelist (and writer) for Hollywood Squares in the late 90s and early 2000s. Of course this isn’t the first time Vilanch has appeared onstage stage in dresses and women’s wigs. In 2002, he took over the coveted role of Edna Turnblad during Broadway’s original run of Hairspray, then the following year, join the National Tour in the same role. As the Widow Twankey, Vilanch steals every scene he’s in, especially when she takes a shine to the evil sorcerer. 

Josh Adamson as the evil Abanazar

Speaking of…Josh Adamson stars as Abanazer, the show’s villain…think Jafar. Adamson, a native Aussie, has previously been seen in number of regional theatrical productions, including several Lythgoe Family Pantos, both here and in Australia, including Cinderella, Snow White and previous productions of Aladdin. Perfectly evil, but not so much as to truly scare younger audience members, Adamson is the consummate bad guy, maniacal laugh and all.

Rounding out the main cast are Mykal Kilgore as Genie and Alexis Gilbert as Alexa, the Slave of the Ring. 

Mykal Kilgore and Damon J. Gillespie as The Genie and Aladdin

As for Kilgore he’s yet another performer familiar to many theatre-goers having appeared on Broadway in Hair, the first national tour of Book of Mormon. He was also seen in both recent televised musical productions of Jesus Christ Superstar and The Wiz. With more than a few nods to Will Smith’s recent turn as Genie for the big screen, Kilgore holds his own and makes the role truly his with a voice as smooth as Stevie Wonder and some fabulous moves.

Gilbert once again joins the Lythgoes, having previously appeared on stage in Aladdin as the Slave of the Ring, as well as previously appearing on Season 14 of So You Think You Can Dance. As a professional dancer, she’s worked with everyone from You Tube star Matthew Santoro, as well as pop superstar Pharrel Williams and electronic music superstars Daft Punk. And, Yes, you better believe the take full advance of the name Alexa with a number of jokes at that other Alexa we’re all so fond of talking to on our personal devices. While she floats in and out of the story, at the common of whomever is wearing the ring, Gilbert steals every scene she’s part of, thanks to her remarkable dance moves.

Which leads me to the ensemble. With the Lythgoe Family’s ties to dance, the remainder of the company is made up largely of phenomenal dance talent including Daniel Thomas, Albanus Thierry, Anna Melendres, Rachel Melendres, and Nashville’s own Chelsea Hough.

Speaking of Nashville, directing Aladdin and His Winter Wish is Ernie Nolan, known to Music City audiences for his work as Executive Artistic Director at our beloved Nashville Children’s Theatre. The show’s choreographer, Chase Benz is also another Nashville native. Now residing in Los Angeles, Benz’s impressive resume drops names like Brittney Spears, JLo, Rihanna, Back Street Boys and many more.

TPAC’s own Christi Dortch co-produced the show, alongside primary producers Becky and Kris Lythgoe, Kris also wrote the show.

Aladdin and His Winter Wish continues its holiday run in Nashville at TPAC‘s Polk Theatre with six performances remaining. On Friday, December 20, there’s a 7p.m. evening performance, on Saturday, December 21, there’s an 11a.m. morning performance as well as a 3p.m. matinee and a 7p.m. evening show and on Sunday, December 22, 12noon matinee and a 5p.m. final early evening performance. Tickets range in price from $45-$55. CLICK HERE to purchase tickets.

In case you don’t make it to Aladdin, I have it on good authority that the Lythgoe Family plans to continue to bring these entertaining American Pantos to Nashville with yet another new-to-Music City production next year!

Immediately following a very brief holiday break, TPAC’s Broadway series returns with the highly anticipated Nashville premier of the first-ever touring company of Hamilton onstage at TPAC’s Jackson Hall from December 31 thru January 19. CLICK HERE for tickets or more information. CLICK HERE to learn about TPAC’s recently announce $10 ticket lottery for every single Music City Performance. You can also discover all the latest from TPAC by checking them out online or on Facebook, Instagram and Twitter.

As always, if you are interested in coverage for your latest entertaining endeavor, simply click the contact page and drop me a note. You can also follow JHP Entertainment on Instagram and Facebook.

Public on-sale date announced for Tony-winning ‘Hamilton’ National Tour in Nashville at TPAC’s Jackson Hall December 31, 2019-January 19, 2020

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Early this morning, TPAC finally announced the long-awaited details of the public sale date for the highly anticipated Music City debut performances of Hamilton. Producer Jeffrey Seller and Tennessee Performing Arts Center revealed that tickets for the Nashville leg of the first-ever National Tour of the eleven-time Tony®-winning musical will go on sale on Monday, Nov. 11 at 10 a.m. Tickets will be available at TPAC.org and in person at the TPAC box office (505 Deadrick Street) in downtown Nashville. Tickets will be available for performances Dec. 31, 2019 – Jan. 19, 2020.

 There is a maximum purchase limit of eight (8) tickets per account for the engagement. When tickets go on sale, prices will range from $79 to $199 with a select number of $349 premium seats available for all performances. Additional fees will apply to online purchases. As TPAC has offered for many of their recent shows, there will be a lottery for $10 seats for all performances. Lottery details will be announced closer to the engagement.

Jeffrey Seller noted, “It’s tempting to get tickets any way you can. There are many sites and people who are selling overpriced, and in some cases, fraudulent tickets. For the best seats, the best prices and to eliminate the risk of counterfeit tickets, all purchases for the Nashville engagement should be made through TPAC.org.”

Hamilton is the story of America’s Founding Father Alexander Hamilton, an immigrant from the West Indies who became George Washington‘s right-hand man during the Revolutionary War and was the new nation’s first Treasury Secretary. Featuring a score that blends hip-hop, jazz, blues, rap, R&B, and Broadway, Hamilton is the story of America then, as told by America now.

With book, music and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler and musical supervision and orchestrations by Alex Lacamoire, Hamilton is based on Ron Chernow’s biography Alexander Hamilton.

The Hamilton creative team previously collaborated on the 2008 Tony Award®-winning Best Musical In the Heights.

Produced by Jeffrey Seller, Sander Jacobs, Jill Furman and The Public Theatre, Hamilton features scenic design by David Korins, costume design by Paul Tazewell, lighting design by Howell Binkley, sound design by Nevin Steinberg, hair and wig design by Charles G. LaPointe, casting by Telsey + Company, Bethany Knox, CSA and General Management by Baseline Theatrical.

Hamilton will be the fourth production in TPAC’s current Broadway at TPAC 2019-2020 Season, having began the season with Dear Evan Hansen, Once on This Island and their current offering, The Spongebob Musical (on stage at Jackson Hall thru Sunday, November 10). The add-on special presentation of CATS will take to TPAC’s Jackson Hall November 19-24.

Following Hamilton, the season will continue with My Fair Lady, Escape to Margaritaville, Summer: The Donna Summer Musical and Roal Dahl’s Charlie and the Chocolate Factory, as well as add-on specials including Blue Man Group, Jesus Christ Superstar and The Color Purple. CLICK HERE for tickets or more info. 

With five shows still remaining in the current season, Flex Package Season Subscriptions are still available. CLICK HERE for more details. To keep up with what’s happening at TPAC, follow them on Facebook, Twitter and Instagram.

For more about Hamilton on Tour, CLICK HERE to check them out online or follow them onFacebook, 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 20 Q with the director and cast of ‘Annie’; at Chaffin’s Barn July 11-August 3

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For nearly 100 years, popular culture has had a soft spot for the precocious yet lovable curly-headed orphan girl known simply as Annie. From her 1924 debut as cartoonist Harold Gray’s main character and the star of her own Broadway show, which premiered in 1977, on to 1982’s beloved film adaptation featuring Aileen Quinn, Albert Finney, Carol Burnette, Ann Reinking, Tim Curry and Bernadette Peters and even popular, abeit less successful redos in 1995, 1999 and 2011, Annie and her wide-eyed optimism remains a positive and uplifting reminder that the sun will in fact come out tomorrow. Well, lucky for Nashville theatre audiences, they don’t have to wait for tomorrow as Chaffin’s Barn Dinner Theatre’s Annie opens today, July 11 and runs through August 3.

Earlier this week, with the show’s opening only a day away, I had the opportunity to chat with the show’s director, a few of the adult co-stars and both you actresses who’re playing Annie for my latest Rapid Fire 20 Q interview. That’s right, because of the rigors of this tune and dance-filled show, Chaffin’s is working with two youth casts. What follows are my conversations with Ava Rivera and Elle Wesley—the two Annies; Joy Tilley Perryman, the shows director; Galen Fott, who plays Daddy Warbucks; Jenny Norris, who’s appearing as Miss Hannigan and Curtis LeMoine, cast as Rooster.

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RAPID FIRE 20 Q WITH CAST AND CREW OF CHAFFIN’S ANNIE

RAPID FIRE WITH CHAFFIN’S ANNIE STAR, AVA RIVERA

JHP: How excited are you to be playing Annie at Chaffins?

AVA RIVERA: I am so thankful to God and Chaffin’s for the opportunity to play my dream role of Annie! This theatre is well known so this is a very big deal for me. I love working with everyone there especially my new friend Elle Wesley. I hope I can someday perform at Chaffin’s in the future! 

JHP: What’s it been like working with Rufus, the dog who’s playing Annie’s canine pal, Sandy?

AVA RIVERA: Rufus is one of the sweetest and cutest dogs in the world. We worked real hard together to be a great team. I’ll let you in on a secret, He is the real star of this show! 

RAPID FIRE WITH CHAFFIN’S ANNIE STAR, ELLE WESLEY

JHP: What’s the best part of being Annie at Chaffin’s?

ELLE WESLEY:  That’s difficult because there are so many fun things!  If I had to choose it would be all the friends I have made and the new people I have met.  I will always remember the connections I have made with the orphans, Sandy the dog, all the servants, Grace, Warbucks, EVERYONE! That’s the best thing about being Annie – you get to connect with EVERYONE in the cast at some point in the show.  We really have fun together and it shows on stage. The smiles and laughter are all very real.  It’s a great cast and I feel really blessed to be a part of it!

JHP: Hard Knock Life is one of my favorite Annie moments. Are you enjoying working with the show’s choreographer, Miss Lauri Dismuke and the other orphans during this sequence?

ELLE WESLEY:  Oh yes!  It’s one of my favorite moments too!  I have made such good friends with the orphans especially the ones I have to hate like Pepper, July, and Duffy.  And I LOVE Miss Lauri!  She is so helpful and encouraging to all of us.  She worked really hard with us to make sure that song was really fun for the audience to watch.  There are a lot of twist and turns and tricks that are really cool.  It’s one of the best parts of the show.

RAPID FIRE WITH CHAFFIN’S ANNIE DIRECTOR, JOY TILLEY PERRYMAN

JHP: With two young actresses playing Annie and two separate youth cast as the orphans, what has the rehearsal process been like?

JOY TILLEY PERRYMAN: We started with the orphans and the Annies a week before the adult cast came on board. We called that week Annie Camp and we had a blast. It really helped make the process so streamlined. On the day of the table read, the orphans were ready to blow away the adult cast with Hard Knock Life!

JHP: If memory serves me, I believe Annie was last mounted at Chaffin’s in 2011. What is it about the show that makes it a classic crowd-pleaser time and time again?

JOY TILLEY PERRYMAN: It is such an optimistic show. It is a feel good story and a rags to riches tale. See also, cute kids! And adorable dogs!

JHP: Which leads perfectly to my next question…They say to never work with kids or animals in show business, yet here you are directing a show about a girl and her dog. How’s that working out for you?

JOY TILLEY PERRYMAN: It is actually going great. I get along well with both those groups, kids and dogs, so here we are.

JHP: As the director, is there a particular scene that you’ve put your particular spin on that you’re especially proud of, or think ‘THIS is MY Annie’ while watching from the sidelines?

JOY TILLEY PERRYMAN: I think I do have a distinctive style when it comes to comedy, so there are a couple of scenes, that definitely have my fingerprints all over them, but I am going to let you watch and pick them out!

RAPID FIRE WITH ANNIE’S DADDY WARLOCKS, GALEN FOTT

JHP: A few days ago, on your social media, you posted your transformation to the clean-shaven, bald-headed Daddy Warbucks. I commented on your post that I had just been talking about you and the role. Kudos to you for going all in on the physical look. Nothing I hate more than someone playing Warbucks with a head full of hair. Is this physical transformation the most extreme you’ve gone through for a character?

GALEN FOTT: The only thing that comes close was going to the opposite extreme. About 30 years ago, right after doing my only other show at the Barn (The 1940’s Radio Hour), I played the Hairy Man in Wiley and the Hairy Man at Nashville Children’s Theatre. Scot Copeland helped me design my wonderful makeup, which included fake full beard, fake bushy mustache, fake long straggly hair, fake eyebrows, and fake nose. I was a shaggy sight! Yet underneath it all — for the show’s final moment when the Hairy Man loses his hair — I had to wear a bald cap, making for an extremely hot performance. Actually shaving for Daddy Warbucks is a much cooler option!

JHP: Because of the dual casts, you are working with two Annies. Let’s play a little word association. In a single word, how would you describe each of your pint-sized leading ladies?

GALEN FOTT: Now, that’s tough. Both these girls are so wonderful, it’s going to be necessary for everyone to attend the show twice so they can see them both. But they do have their unique qualities, and while both girls embody both of these words, if you’re going to pin me down I’ll go with:

Ava — spunky

Elle — determined

JHP: Of course Annie isn’t your only on-stage love in the show. There’s also Grace, Daddy Warbucks’ faithful assistant. Natalie Rankin is playing Grace. What’s she like as a scene partner?

GALEN FOTT: Natalie is spunky, yet determined. No wait, sorry, that’s Annie…ah, Natalie! She is completely amazing. I just saw her in Street Theatre Company‘s Hedwig and the Angry Inch, playing a character as far from Grace Farrell in Annie as you could possibly get. She’s totally believable and compelling in both roles. Natalie wasn’t as familiar with Annie as I was, from having listened to the cast album since I was 13 (and desperately wishing it was called Andy instead). So it’s been illuminating for me to work with Natalie in reexamining the slightly sketchy Warbucks/Grace relationship from a more contemporary viewpoint.

JHP: What’s Daddy Warbucks’ most redeeming quality?

GALEN FOTT: I’d say “open-mindedness”. He’s initially reluctant to have Annie spend the Christmas holidays — he was anticipating a boy orphan — but he quickly grows to love her. A Republican himself, Warbucks is at first resistant to F.D.R. and his policies, but he’s willing to reconsider and work together for the betterment of the country. Single-mindedly committed for decades to making money, he’s still able to reexamine his life and find a place for loving relationships with Annie and Grace. Who knows…maybe one day he’ll reconsider that hairstyle!

RAPID FIRE WITH ANNIE’S MISS HANNIGAN, JENNY NORRIS

JHP: Last time I attended a show at Chaffin’s, you shared with me your slight apprehension of playing the baddie, Miss Hannigan in Annie. Have you since embraced the villainy?

JENNY NORRIS: Well my nervousness was more based upon the typical portrayal of Miss Hannigan being outside much of what I’ve had the opportunity to play thus far in my career. I wanted to create my own version of Miss Hannigan that served the story but also stayed true to the parts of her I discovered within my own understanding to how this woman ended up cynical, desperate, and unkind, without doing an impersonation of the great portrayals that came before me. I hoped to create a real person, not a caricature and I hope I have done that, villainy and all.   

JHP: Do you find yourself going out of your way to be sweet to the young cast members when not on stage camping it up as Miss Hannigan?

JENNY NORRIS: They are easy to be sweet to as they work really hard and are great kids. I think to some extent, I’ve stayed a little more distant bc I want their characters to feel some nervousness onstage in our scenes.  I want them to see Miss Hannigan when they see me, not Jenny, even though I would like to give em a big hug when we leave the stage and I have just screamed at them. 

JHP: Is Miss Hannigan simply misunderstood? Is there a heart in there somewhere?

JENNY NORRIS: I feel she was raised to believe the way you get ahead in life is to lie, steal, and cheat. She is a romantic that hopes to find love but has been used and tossed away her whole life and that has further solidified her belief that she has to be out for number 1, always. At some point she winds up in charge of all these orphans and its a constant power struggle. In her mind, them versus her. She IS the villain: cruel, selfish, cynical. But there are reasons why she ended up there. 

JHP: Of course the optimistic anthemic Tomorrow is the show’s most recognizable number, but the show has several memorable musical moments. Miss Hannigan’s Act 1 number, Little Girls is my personal favorite from the entire show. What can you tell me about working with the show’s musical director, Rollie Mains?

JENNY NORRIS: I love working with Rollie! He is so talented and always attacks everything from the perspective of telling the story first and foremost. He gives you the freedom to develop your character and sing your songs in a manner that fits that character you have created. He gives you important things to consider and guidance when needed, but the lead-way to feel uninhibited in your creativity. But trust me, he will reel you back on in if you get too far out there! 

RAPID FIRE WITH ANNIE’S ROOSTER, CURTIS LEMON

JHP: Rooster is a scamp and a con-artist. Basically the polar opposite of you. What’s it like to play such a rascal?

CURTIS LEMOINE: I love playing the bad guy, especially if there is a comedic aspect to the character! Believe it or not, I have played several notable villains, or villains-by-proxy: Lord Farquaad, LeFou, Joey and now Rooster. Rooster is particularly ruthless though. While Miss Hannigan is looked upon as the main villain, Rooster is the one who decides to do away with Annie while Miss Hannigan shows a moment of remorse. 

JHP: As Rooster, your paired on-stage with Christina Candelora, who plays Lily St. Regis. You’re both among my theatre crushes. What’s among the perks of sharing stage time with her?

CURTIS LEMOINE: Christina is a joy to work with! She is not afraid to make bold choices and is a great scene partner to try gags with and physical comedy with. Not to mention, she is an absolute bombshell so I’m quite flattered to be her onstage squeeze!

JHP: Rooster and Lily’s big number is Easy Street. You two share it with Miss Hannigan. How would you categorize this epic musical moment, as presented by you three?

CURTIS LEMOINE: As a kid, watching all the animated Disney films, I was always enamored by the songs that all the villains got to sing. You can argue if you’d like but quite honestly, I think the villains always got some of the best songs in those movies. This is no different. I look at it as a chance for the three of us to have our big show-stopping Disney villain number. And we aim to please! The staging, the choreography, and the added harmonies we have worked out with Rollie Mains are spot on and we cannot wait to share it with a live audience. 

JHP: Anyone who knows you, or has had the pleasure of seeing you spark the stage dancing as if your life depended on it in recent shows like Chaffin’s Kiss Me, Kate and Studio Tenn’s Joseph and the Amazing Technicolor Dreamcoat, likely knows you’re a skilled dancer and choreographer. On the subject of choreography, Lauri Dismuke is helming that aspect of the show. Can you sneak peek any choreo moments to watch out for in Annie?

CURTIS LEMOINE: I am so impressed with both casts of Orphans that we have! Both Hard Knock Life and Never Fully Dressed Without A Smile are definite numbers to watch out for because those kids are working it! The ensemble in this show is fairly new to The Barn but we have some fabulous movers in this cast and Hooverville is definitely a number that is quirky, filled with character, and is super fun to watch. And of course, we have a lot of my favorite style of dance in this show….. TAP!

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Chaffin’s Barn Dinner Theatre’s Annie runs through August 3 with performances Thursday-Sunday. Thursday matinees begin at 12 noon (doors at 11a.m.), while Thursday, Friday and Saturday evening performances begin at 7:30p.m. (doors at 5:30). There will be a 2 p.m. (doors at noon) Sunday matinee on July 21. The Thursday, July 25 noon matinee will featuring signing for the hearing impaired, and there will be a Wednesday matinee on July 31 at noon (doors at 11a.m.). 

Thursday matinee tickets are $19 for show only or $27.50 for show and a Box Lunch. (Wednesday matinee will also offer the Box Lunch option). Evening show tickets are $13 for children 12 and under, $20 for youth/students and $35 for adults. Living up to their Barn Dinner Theatre name, Chaffin’s also offers a full buffet option or a la carte menu items for their evening and Sunday lunch matinee performances. Chaffin’s delicious buffet, featuring a choice of entrees (including a veggie option), and a number of side items is available for an additional (but completely worth it) $15.95, while the a la carte menu items (also quite tastily) range in price from $6.95 to $10.95, plus there’s a wide array of desert options to choose from $2.50 to $5.00. CLICK HERE to check out the menu.  CLICK HERE to purchase tickets or call 615.646.9977 to make reservations with the box office. To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

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

Rapid Fire 20 Q: 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.

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

If you’ve enjoyed this installment of my recurring interview feature,be sure and check out previous conversations at Rapid Fire 20 Q. 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: Neil Simon’s ‘God’s Favorite’ provides retro laughs and surprising thoughtfulness; at Chaffin’s Barn Dinner Theatre thru June 22

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John Mauldin, Scott Stewart (center) and Jenny Wallace lead the hilarious cast of Neil Simon’s “God’s Favorite” at Chaffin’s Barn Dinner Theatre thru June 22. (photo courtesy Chaffin’s Barn Dinner Theatre)

God’s Favorite, now onstage at Chaffin’s Barn thru June 22 may not be as widely known as  legendary playwright Neil Simon’s other works like The Odd Couple or his somewhat autobiographical Brighton Beach Memoirs, Biloxi Blues and Broadway Bound, but when presented by one of Nashville’s favorite theatre companies, especially when under the direction of Joy Tilley Perryman and featuring several Music City favorites among the cast, rest assured the laughs are heaven-sent.

With a plot that heavily borrows from THE Good Book’s story of Job, God’s Favorite swaps the biblical leading man’s name from Job to Joe, Joe Benjamin at that, perhaps a wink to the $100 bill, for you see, Joe is a wealthy cardboard box magnate who’s trust in God and love of his family has showered him with success and happiness.

Set in the 1970s, complete with a perfectly retro wardrobe courtesy Miriam Creighton and a simplistic but groovy set, lighting and overall look from Perryman’s technical team including stage manager Catherine Forman, sound engineer Stephen Platea, lighting designer Austin Olive, set construction by Robin Lawshe and production assistance from Delaying Rizer, the play begins at the stroke of midnight when a mysterious stranger arrives at Joe’s home and reveals that he is indeed God’s Favorite, but that his trust in the lord will be tested unless he renounces him.

While this may not read like the stuff of which a Neil Simon comedy is made, you just have to have a little faith in Perryman and company to deliver the goods. Resplendent with seventies references including nods to The Exorcist, Robert Redford, a hilarious bit of schtick involving a rotary phone and such, the script may seem dated at times, but Perryman takes full advantage, even having her sound guy play a bit of The Exorcist theme between scenes just when things start to go awry for Joe and family.

Leading the cast is John Mauldin, who in the last few years has indeed become a Chaffin’s favorite. As Joe, Mauldin is the perfect embodiment of the ‘everyman’. Jolly and pleased with his happy life, Mauldin’s Joe brings to mind Archie Bunker…if Archie were ever in a great mood. Even when tested with the loss of his business, plagued with aches and pains and the destruction of his home, Maudlin’s Joe keeps his positivity, an aspect I suspect the actor himself maintains in his real life.

Cast opposite Mauldin is yet another Barn Dinner favorite, Jenny Wallace as Joe’s wife, Rose. Having made her Chaffin’s debut three decades ago, Wallace has appeared in some three dozen plays at The Barn. As Rose, Wallace at first seems the typical well-bred, well-off woman, first appearing oblivious to any and all slightly uncomfortable situations around her, but as Joe’s faith is tested, Wallace’s Rose seems to have a bit of a metamorphosis as she comes to also value the importance of familial love over material belongings.

Speaking of familiar love, The Benjamin’s are blessed with three young offspring. Returning for his third and most significant role to date at Chaffin’s is Elijah Wallace as David Benjamin, the family’s eldest son and a bit of a seemingly lost cause. Having enjoyed Wallace in his campily flamboyant portrayal as Charles Nelson Reilly in The Barn’s The Game Show Show during the holiday season, I was happy to see him take on this role. Though peppered with easy-target drunk jokes and pratfalls, the role of David provides some of the show’s most poignant moments and Wallace handles the range of his character with ease and conviction.

Marking his debut performance at The Barn is Ben Woods as Ben Benjamin. Most of Wood’s on-stage time is shared Annika Burley as Sarah Benjamin, Ben’s twin sister. You’d never know these two weren’t longstanding members of the Chaffin’s family, as they fit easily into the comfortable, fun atmosphere. At the top of the show there’s a running gag of young Sarah repeating every line spoken by her father and brother. Under the direction of a less-confident director, this scene—heck, this entire play—could easily play a bit droll and reaching for obvious laughs, but with Perryman at the helm, it’s truly charming and unexpectedly though-provoking.

Speaking of Perryman, in addition to directing, she also appears in the show, playing Mady, one of The Benjamins’ servants. Like Mauldin and Wallace and Wood and Burley, Perryman is also paired with a recurring scene partner throughout the show in the form of yet another Chaffin’s favorite, Charlie Winton as Morris, The Benjamin’s butler. Perryman and Winton are relegated to brief scenes, but as seasoned performers, they make the most of their time on stage and are always a delight.

Rounding out the cast is Scott Stewart as Sidney Lipton, the aforementioned mysterious guest who…Spoiler Alert…is actually a messenger from God…or maybe Satan…I”m still not 100% clear on that. Nonetheless, Stewart, yes, another Barn favorite, is an absolute joy to watch. It’s funny that I mentioned Charles Nelson Reilly earlier in this review…interesting because Reilly created the role of Sidney Lipton in the original 1974 Broadway production of God’s Favorite. For Scott’s Sidney, he goes the nebbish nerdy route, and he does so perfectly, affecting his normally commanding voice to come across a bit more uncertain and nervous. But you gotta love when Sidney is pushed and needs to be a bit more assertive, Stewart belts out a booming line or two that are divine indeed.

As is typical for a Neil Simon play, the jokes come at you at lightning speed, one-liner after one-liner, typically served with a heavy dose of sarcasm and wit, but it’s the not-so-hidden message behind the laughs, the message of faith and family that makes this little charmer worth the watch.

While the plot is outrageous at times and the resolution a bit unbelievable and ever-so neatly packaged within the show’s two-hour run-time, as presented by director Perryman and stars Mauldin, Stewart and company, God’s Favorite will surely be a favorite amongst Chaffin’s patrons.

God’s Favorite continues at Chaffin’s Barn Dinner Theatre with shows through June 22.  Showtimes are Thursdays at 12 noon, Friday and Saturday evenings at 7:30p.m. and a Sunday, June 16 matinee at 2 p.m. Tickets range in price from $13 for Children 12 and under and $20 for  Youth/Student tickets to $35 for Adults. CLICK HERE to purchase tickets.

Being Nashville oldest continuing dinner theatre, Chaffin’s also offers a few dining options in addition to the show ticket pricing. As always, there’s the buffet option, or patrons can also choose items from an a la carte dinner menu with a full range of starters, small plates and desserts. CLICK HERE to check out the menu.

Up next at Chaffin’s Barn Dinner Theatre will be the family favorite, Annie, on the MainStage from July 11-August 3. CLICK HERE for tickets or for more information. To keep up with the latest from Chaffin’s Barn Dinner Theatre, find them online at ChaffinsBarnTheatre.com, ’like’ them on Facebook and follow them on Instagram and Twitter.

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

Rapid Fire 20 Q with cast of Nashville Rep’s ‘Shakespeare in Love’ onstage at TPAC’s Johnson Theatre thru April 13

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Directed by René Copeland, Shakespeare in Love is making its Nashville stage debut as Nashville Repertory Theatre’s current offering. Adapted for the stage by Lee Hall and based on the screenplay by Tom Stoppard and Marc Norman, it’s been 20 years since the Gwyneth Paltrow/Joseph Fiennes/Geoffrey Rush film premiere. I remember enjoying the movie, but considering the time that has passed since I’ve seen it and the fact that I’ve never seen the stage version…full confession: I had no idea it even existed…I had to get the low-down on. When I found out one of my absolute “theatre crushes”, Jennifer Whitcomb-Oliva was cast as Queen Elizabeth 1 for The Rep’s mounting, alongside Rep newcomers Joe Leitess as Will Shakespeare, Cailen Fu as Viola and Sewanee professor, James Crawford as Henslowe, as well as local theatre favorite, David Wilkerson, who’s not only cast as Tilney, but also serving as the show’s fight choreographer, I knew this group would result in a fun-filled Rapid Fire 20 Q, and by Bard, I was right.

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RAPID FIRE WITH SHAKESPEARE IN LOVE’S JENNIFER WHITCOMB-OLIVA

JHP: You’re playing Queen Elizabeth 1, so tell me…is it really true what they say? IS it good to be the Queen?

JENNIFER WHITCOMB-OLIVA: It’s soooo good! Big dresses, royal treatment, bowing, parties! Queen Elizabeth was quite the woman. She’s a total rockstar! I’m really enjoying portraying her.

JHP: From what I know, this is your sixth time to appear onstage at Nashville Rep. What keeps you coming back?

JENNIFER WHITCOMB-OLIVA: Nashville Rep continues to bring in theatrical gems. The plays are always so engaging, and full of wonderful surprises. I am so challenged each time from production to production. I am grateful for each opportunity I get, to play something meaningful and outside of the box. I strive to play roles and characters that are beyond the norm.

JHP: Alright, you’ve already mentioned the big dresses…I LOVE the publicity photo of you all done up in QE1 drag. What can you tell me about the gorgeous wigs and the costumes designed by Lori Gann-Smith for Shakespeare in Love?

JENNIFER WHITCOMB-OLIVA: I can tell you to brace yourself! Queen Elizabeth was not one to do casual. These costumes are absolutely gorgeous! They are big, colorful, decadent and exquisitely made. If you don’t ooo and aah, I don’t know how to help you. Also…being a redhead is fun!

JHP: With themes of love, marriage, equality, gender and even the creative life, Shakespeare in Love and Shakespeare’s own writings are just as vital now as when audiences were first exposed to them. Among the themes, which do you think rings most true, in relation to this work?

JENNIFER WHITCOMB-OLIVA: The creative life for sure. This play is truly about the life of the man. It’s about the actors and the world they live in. It’s such a lovely view into the fantastical world of theatre, and why we all fall in love with it over and over again.

RAPID FIRE WITH SHAKESPEARE IN LOVE’S CAILEN FU

JHP: In Shakespeare’s time, it wasn’t unusual for male actors to portray female roles. In a bit of a gender flip, as Viola de Lesseps, you spend part of your time on stage in disguise in male drag. While there’s a large element of comedy, in that the audience is in on the gag, how did you prepare for the duality of the role(s)?

CAILEN FU: My approach to Viola’s disguise is completely based on her idea of what it means to “be an actor.” In Shakespeare’s time, like you said, only men could be actors, so I tried to draw from the men who she would have been influenced or surrounded by for most of her life. This meant looking to her father, the men she met at court and mostly, the actors she saw on stage. While technically she IS going into male drag, I’m making the effort to go more in the direction that she is completely the same person, but she’s just seeing the world and it’s circumstances through a different pair of eyes.

JHP: Speaking of research, have you ever been to Play Dance Bar on a Thursday night for their Drag Kings show? If not, do you think that might be the perfect cast outing?

CAILEN FU: I have not but I think we’d all have a bunch of fun!

JHP: I understand this marks your Nashville Rep debut. What’s the experience been like so far?

CAILEN FU: Yes, this is my Nashville debut! I am having a blast. The entire company of Shakespeare in Love has been so welcoming and lovely. I am loving my time here!

JHP: Shakespeare in Love is of course filled with nods to Romeo and Juliet, as well as many of The Bard’s other works. Do you have a favorite reference included in the play?

CAILEN FU: Oh my, there are so many references! I don’t think I have favorite but I really love how each reference is cleverly woven into the script.

RAPID FIRE WITH SHAKESPEARE IN LOVE’S JOE LEITESS

JHP: You’re playing Shakespeare opposite Cailen’s Viola. What’s the best aspect of having her as your leading lady?

JOE LEITESS: It’s hard to pick just one thing! I admire her ability to jump right into the work. In an abbreviated rehearsal process it can be daunting to tackle these huge scenes about love, loss, and grief- especially with someone you just met. Cailen’s bravery makes that work much easier and more rewarding.

JHP: When I spoke with Cailen, I mentioned her gender flip. Not to give too much away, but you also have a brief moment playing the opposite sex in Shakespeare in Love. What’s something about playing a woman, albeit, mostly for laughs, that you didn’t anticipate?

JOE LEITESS: I was surprised by the physical effect that clothing has- especially with Elizabethan costumes. Dresses, headwear, and footwear change the way you stand, breathe, speak, and relate to other people in space. Doubly so if you’re wearing a corset or something that restricts range of movement. My cast mates sing, play instruments, and dance their way through this play so gracefully while being cinched in- it’s very impressive. I was relieved to learn my brief gender-flip scene doesn’t include a corset.

JHP: Like Cailen, this show marks your Nashville Rep debut. Are you enjoying it so far?

JOE LEITESS: I love it. Our director René Copeland, the cast, crew, and design team are delightful people who do beautiful work.

JHP: I also asked Cailen about the many references and winks to multiple Shakespeare plays within the dialogue and subplots of Shakespeare In Love, so I’ll ask you as well. What’s one nod to The Bard within this work that makes you smile every time it’s uttered?

JOE LEITESS:

Will: This is a dream.

Viola: Dreams are the children of an idle brain, begotten of vain fantasy which is as thin of substance as the air.

Will: …Did you really just say that?

 Of all the references and winks in the show, this one really feels like Will is stealing quotes from the people around him-a good trick for an aspiring writer. I imagine him going home and feverishly rewriting conversations from memory, trying to capture on the page what people say off the cuff.

RAPID FIRE WITH SHAKESPEARE IN LOVE’S JAMES CRAWFORD

JHP: I understand you teach in the department of theatre and dance at Sewanee. How did being part of Nashville Rep’s Shakespeare in Love come about?

JAMES CRAWFORD: I just showed up at the Nashville Rep auditions last year, and I’m so happy that I’m getting to make my Nashville debut in Shakespeare in Love. I feel really lucky. Continuing to act makes me a better teacher, and teaching has made me a better actor.

JHP: Aside from the written word, I understand music plays a part in conveying the spirit of this play. What can you tell me about the inclusion of music in Shakespeare in Love?

JAMES CRAWFORD: Considering this play is not technically a musical, there’s a tremendous amount of live music in it, and it’s beautiful. The cast has over twenty people in it, and it turns out that a few of the actors are also amazingly talented musicians, each of whom plays several instruments. They create a really magical world that the rest of us get to play in.

JHP: You’re playing Philip Henslowe, the owner of The Rose Theatre, a character based in reality, as Henslowe’s The Rose was indeed the first public theatre to stage Shakespeare’s plays. Does portraying a historical figure affect the way you approach the character?

JAMES CRAWFORD: Because Henslowe’s a real person, I did do some research about him. He left a diary that’s very important to people who study theatre history.  It’s full of facts about how much money he spent and how much money he earned, and all kinds of details about what it was like producing plays four hundred years ago. But there’s not a lot of personal information in the diary. Some historians think he was a very generous man, lending his actors money when they needed it, and others think he was more of a ruthless landlord. My job is to honor the version of Henslowe that the writers of Shakespeare in Love imagined.  And, lucky for me, he’s a very funny, delightful character.

JHP: You’re part of a fantastically talented cast, among them, Joel Diggs as Kit Marlowe, fresh off his incredible turn in Nashville Rep’s Topdog/Underdog. What can you tell me about sharing the stage with Joel and this company?

JAMES CRAWFORD: I got to see Joel in Topdog/Underdog the week before we started rehearsing together. It’s always thrilling to see someone make a wonderful leap like that, jumping from playing a bitter three card monte hustler to a wise Elizabethan playwright. As a newcomer to the Nashville theatre scene, I had a memorable experience on the first day of rehearsal. We read the play aloud, and I got to listen to all of these actors, most of whom I’d barely met. It was wonderful, discovering how many exceptionally talented actors are in this cast.

RAPID FIRE WITH SHAKESPEARE IN LOVE’S DAVID WILKERSON

JHP: You’re playing Edmund Tilney, Master of the Revels. Am I dumbing it down to much to say he was the OG party planner?

DAVID WILKERSON: I guess you could say that. Although in the play, he’s a party planner who hates parties then, he’s the person in control of theatre in London and he HATES theatre and actors.

JHP: IF there’s a villain to this piece, you could say TIlney is it, for….SPOILER ALERT…he’s the one who finds out Viola is performing on stage in male drag. What’s the best part of playing Tilney?

DAVID WILKERSON: I always love playing characters who ask for big choices. Tilney is so stuffy and condescending and fun to play!

JHP: In addition to portraying Tilney, you’re also working behind the scenes as the show’s fight choreographer. How much rehearsal goes into fight choreography for a show like this?

DAVID WILKERSON: There is a LOT of fighting in this show. Not counting the slaps and face burnings and wrestling and all that, there are three sword fights. And they are completely different. One is a rehearsal fight, one is a bunch of actors playing, and one is a real life-and-death fight. And they all need to feel different. So we started day one. When you only have two and a half weeks before tech, you have to make the most of every moment.

JHP: Having the unique opportunity of working with the show’s director, René Copeland both on stage as an actor and behind the scenes as fight choreographer, what do you hope audiences take away with them after seeing The Rep’s Shakespeare in Love?

DAVID WILKERSON: Shakespeare in Love is joyous. I hope people come to laugh and cry and along the way realize that art and artists hold an important role in society.

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If you want to experience the joy that is Shakespeare in Love, you have several more chances remaining as performances continue thru Saturday, April 13. Wednesday and Thursday performances at 6:30p.m., Friday evenings at 7:30p.m. and Saturday matinee and evening performances at 2:30p.m. and 7:30p.m. CLICK HERE to purchase tickets or CLICK HERE for more information. Next week, on Thursday, April 4, Nashville Repertory Theatre will announce the coming 2019-2020 season at their 35th Season Reveal Party. Following Shakespeare in Love’s run, The Rep will host the company’s 4th Annual Broadway Brunch fundraising gala at City Winery on May 5. CLICK HERE for tickets.

To keep up with the latest from Nashville Rep, CLICK HERE, or follow them on Facebook, Instagram and Twitter.

If you’ve enjoyed this Rapid Fire, CLICK HERE to check out previous conversations with the who’s who of Nashville’s theatre scene.

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

RAPID FIRE 20 Q with playwright and cast of ‘Stop Me If You’ve Heard This One’; limited engagement Backstage at Chaffin’s Barn beginning Thursday, March 28

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Having garnered second place in Chaffin’s Barn Dinner Theatre’s second annual Clash of the Playwrights competition, Stop Me If You’ve Heard This One will make its stage debut with a limited three-day engagement Backstage at The Barn beginning with a Thursday matinee March 28 at noon and two evening performances Friday and Saturday, March 29 and 30.

Written by Vanderbilt English Professor, Judy Klass, Stop Me If You’ve Heard This One tells the story of what happens when a nice Jewish man gets an emergency call from his retired parents in Florida urging him to come visit. Under the impression his trip is because of his father’s medical emergency, he soon discovers the family is plotting to fix him up with his niece’s nanny.

Earlier this week, as the playwright and cast prepared for their opening performance, I had the opportunity to chat with them about the play, family, dating and all things Stop Me If You’ve Heard This One for my latest Rapid Fire 20 Q.

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RAPID FIRE WITH STOP ME IF YOU’VE HEARD THIS ONE PLAYWRIGHT, JUDY KLASS

JHP: What’s your play about?

JUDY KLASS: It’s about a family. It’s about how people you love drive you crazy, and it’s still worth putting up with it, and working through problems, because your time with them is precious. And it’s about how jokes, no matter how long and shaggy they are, can be a means of communication between people.

JHP: Your play is being presented this weekend Backstage at The Barn after having come in second at Chaffin’s playwright competition. How excited were you to learn your play had taken that prize?

JUDY KLASS: I was very excited. The play won the Dorothy Silver Award some years back, but it was never fully staged. Other plays of mine have gone up elsewhere, but I’ve never had a full-length play produced in Nashville before, though I’ve lived here thirteen years. So, to have this play produced at last, and to have that kind of recognition in the place where I live, is a wonderful thing. I’m happy that people I know here are coming to see it.

JHP: It’s often said that playwrights and fiction writers in general, draw inspiration from what they know…are these characters based on your own family, friends or acquaintances? If so…do they know?

JUDY KLASS: Yes, this play draws on aspects of my own family. My father, close to twenty years ago, told me a joke over the phone. I said: “That actually would work as the first scene of a play.” I got off the phone and imagined dramatizing the joke as a scene. It’s an old Jewish joke, and I imagined writing a comedy where characters would tell each other jokes, many of them old Jewish jokes, and that dramatized-joke-scene would kick things off. I figured I’d ask my father to write the play with me, or at least contribute the jokes I’d need along the way. Then, my father, Morton Klass, suddenly died in the spring of 2001. And I figured: that’s it, I can’t write that play. Forget the whole thing. Some months or a year later, I reconsidered. I felt that I should write the play, and quickly, while I still had so many jokes my father had told me in my head, and I could still hear his inflections — his way of telling them. So, that’s what I did, and in a sense, it’s still the kind of collaboration I hoped to have with him. And I tried to capture things that I liked about my family when I was growing up. It’s got a bit of the flavor of our household when people gathered for a holiday — a bit of us in our element, as a family. Some family members attended a reading of it in NYC.

JHP: I understand you visited Backstage at The Barn during rehearsal. Can you describe the feeling of seeing your characters in the flesh?

JUDY KLASS: It was wonderful to sit in on a rehearsal. Joy Tilley Perryman is doing a terrific job as director, and the whole cast is top-notch — it’s a professional production. The play has had five more or less staged readings — one at the Cleveland Playhouse when it won the Dorothy Silver Award, the reading in NYC, two in Florida and one in San Diego. But it was exciting to see actors really learning their parts, off book, with blocking, and to see this play receiving the care that goes into a full production, with actors playing moments again and again to get the humor and the serious aspects right. I feel very good about it going up at Chaffin’s Barn.

RAPID FIRE WITH STOP ME IF YOU’VE HEARD THIS ONE’s  AUSTIN OLIVE

JHP: You play Alan. How would you describe him?

AUSTIN OLIVE: Alan is definitely high strung. I think deep down he has a good heart. He just spends most of his time wrapped up in his own life and pursuits. He spends a lot of his time worrying about other people’s perception of him. He has found success in New York as a writer, but there is still a void in his life that leaves him deeply unhappy. He does love his family, but those feelings often manifest as sarcasm and combativeness.

JHP: A subplot of the show revolves around Alan being set up with a girl he doesn’t know. Have you ever been set up on a date?

AUSTIN OLIVE: Fortunately, I have managed to avoid being set up on a blind date with anyone so far. I tend to not like the feeling of not knowing or having control of my circumstances. I would like to keep my dating experience confined to people I have had the chance to meet and decide for myself whether or not I like them.

JHP: Speaking of your unexpected date…Cassie Donnegan is cast as Lisa, the aforementioned set up, who also happens to be your character’s nieces’ au pair. What’s Cassie like as a scene partner?

AUSTIN OLIVE: Cassie is a wonderful scene partner. We have done several shows together in the past couple of years. I always enjoy working with Cassie. It always helps to work with someone who you know well. There is a certain level of comfort that allows us to joke around and have fun while we’re working.

JHP: I understand Daniel Bissell and LaDarra Jackel are playing Alan’s somewhat stereotypical Jewish parents. What would be the best thing about having those two as parents in real life?

AUSTIN OLIVE: LaDarra and Daniel are two of the funniest people I know. I absolutely love working with them. They are certainly not old enough to be my parents in real life, but if they were, the best thing about having them as parents would be the warmth and support they both give to everyone. They are two of the most genuinely delightful people I have had the opportunity to work with.

RAPID FIRE WITH STOP ME IF YOU’VE HEARD THIS ONE’s LaDARRA JACKEL

JHP: Tell me about Ida.

LaDARRA JACKEL: She is loving, opinionated, and has a passion for life. Family is the most important thing to her and she is at her happiest when everyone is together.

JHP: One of the early plot points has Alan basically being tricked by his father to travel from New York to Florida. What’s the craziest thing family has ever convinced you to do?

LaDARRA JACKEL: I have some family that lives in Texas. When they moved into their house my Uncle asked us to come visit for our vacation. When we got there he put us to work and had us laying the sod in his yard. It was so hot that summer and we all still complain about it to this day.

JHP: Joy Tilley-Perryman is directing this show. What’s it like working with her as a director?

LaDARRA JACKEL: Joy is wonderful! She really has an eye for comedy and encouraged us to become a family unit organically.  I also appreciate that she is always respectful of our time and keeps us laughing daily.

JHP: Young Kylan Ritchie plays Ida’s granddaughter, Sandra. Knowing most of the cast myself, I’m just gonna ask…Have you guys warped her young innocent mind yet?

LaDARRA JACKEL: I hope not! Let’s be real though. She’s a teenager in a social media world. She has probably seen or heard worse.

RAPID FIRE WITH STOP ME IF YOU’VE HEARD THIS ONE’s, JENNY NORRIS

JHP: Who is Abbie?

JENNY NORRIS: Abbie is the daughter of Ida and Murray. She is opinionated and intelligent, but also kind hearted and family oriented. 

JHP: With this being the first full staging of the show. How much fun are you having creating this character?

JENNY NORRIS: Creating a character so the audience will say “ I know that person” is my favorite part of doing any show. So having the opportunity to do that with a brand new character is the most fulfilling creating process.   

JHP: When I chatted with Judy, the playwright, I asked her about dropping in on a rehearsal. What was it like having the person who wrote the lines you’re performing there during that stage of the production?

JENNY NORRIS: Ha! Well I could lie and say its no sweat but… 

JHP: What is it that keeps you coming back to The Barn show after show?

JENNY NORRIS: Well it helps that they keep offering. But, seriously, they believe in me and trust me and that means everything to me as an actor. Plus they are truly my family. Whether I’m in the show, waiting tables, or doing sales for the barn, coming to work is a joy bc I’m surrounded by people I love to be around and inspire me daily. Norma, Martha, Joy, Everett, Curtis, Miriam, Donnie*, the entire cast of this show, and so many others I’ve had the honor of being in- they are the smartest, funniest, most talented, kindest people I know, so surrounding myself with them is my privilege. 

*to expand upon Jenny’s response, Norma Luther is Chaffin’s current owner; Martha Wilkinson, the company’s Artistic Director; Joy Tilley Perryman, production manager, props mistress and this show’s director; Everett Tarlton, Chaffin’s social media coordinator, as well as frequent actor/director/choreographer; Curtis LeMoine, frequent Chaffin’s actors/choreographer; Miriam Creighton, the company’s costumer and Donnie Hall, Chaffin’s Director of Operations.

RAPID FIRE WITH STOP ME IF YOU’VE HEARD THIS ONE’s J. ROBERT LINDSEY

JHP: You’re cast as Howard. What’s the best way to describe him?

J. ROBERT LINDSEY: Howard is the son-in-law of this very close-knit family.  He is a bit dorky, but also very warm.  I’ve based my portrayal of him on my experiences of meeting past boyfriends’ families.  While Howard has had several years to get to know his wife’s parents and brother, there is still that bit of awkwardness and disconnectedness that comes along with not being on the “inside” of the family.

JHP: While this show has had a couple of staged readings, this marks its first full staging. What’s it like bringing a show to the stage for the first time?

J. ROBERT LINDSEY: I always enjoy originating a character and being part of the development of a piece.  It gives you freedom to create the character without a previous portrayal from which to draw.  While I enjoy playing iconic characters as well, there is often pressure to pay homage to prior performances.  With an original show, you get to be much freer during the whole process.

JHP: Within the show, you’re married to Jenny’s character, Abbie. Jenny is one of my ‘theatre crushes’. What’s something about Jenny as an actor that your admire?

J. ROBERT LINDSEY: Jenny has become one of my “theatre crushes” as well!  I have thoroughly enjoyed playing her stage husband.  One of the things I admire about Jenny is her ability to completely transform into the character she is portraying.  Not only does that make her performance authentic, she is also able to build extremely believable on-stage relationships with the other characters.  I also love that we try to make each other laugh with our husband and wife ad libs.

JHP: If there’s a lesson to be learned from Stop Me If You’ve Heard This One, what would it be?

J. ROBERT LINDSEY: The lesson in this show is that you’ve got to be yourself – no matter what.  There is also a message of accepting and loving others for who they are – no matter what.  At the heart of this play is a family that really loves each other, and that has been something really fun to portray.

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Austin Olive (foreground) receives a phone call from parents LaDarra Jackel and J. Robert Lindsey (background left to right) in playwright Judy Klass’ ‘Stop Me If You’ve Heard This One’, Backstage at The Barn Thursday, March 28-Saturday, March 30.

As I prepared to post this Rapid Fire 20 Q, I learned that both Friday and Saturday evening’s performances have SOLD OUT! There are a selection of tickets available for Thursday’s matinee. Backstage at the Barn offers two ticket options. Show Only tickets are $19 while their Show and Box Lunch option is $27.50. If you are looking for some midday laughs, get your weekend started early and CLICK HERE or call 615.646.9977 to purchase tickets.

Following this premiere production of Stop Me If You’ve Heard This One, Chaffin’s will be bringing back last year’s Clash of the Playwrights winner, Ollie’s Diner by Ron Osbourne. Having initially had its limited debut run Backstage at the Barn, when the show returns for a full run this season from October 17 to November 2, it will be presented on Chaffin’s Main Stage. Call 615.646.9977 for tickets or more information.

To learn more about Stop Me if You’ve Heard This One playwright, Judy Klass, CLICK HERE. For more about Chaffin’s Barn Dinner Theatre, CLICK HERE or follow them on Facebook, Instagram and Twitter.

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