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Theatre Review: Directed by Suzanne Spooner-Faulk, Keeton Theatre’s ’Spelling Bee’ charmingly entertaining…C-H-A-R-M-I-N-G-L-Y; on stage thru October 27

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The cast of The Keeton Theatre’s “The 25th Annual Putnam County Spelling Bee” (all photos by Jenny Petit Steiner/courtesy The Larry Keeton Theatre)

Technically, The 25th Annual Putnam Country Spelling Bee, currently onstage at The Larry Keeton Theatre through October 27, isn’t Suzanne Spooner-Faulk’s debut as a director, I say technically because she co-directed the company’s production of Big River last year. It is, however, her first time to fully helm a show and to no surprise to anyone who knows her, she does so to a joyful end, presenting a show brimming with charm, humor, heart and just enough silliness to make watching a show in which adults play school-age children competing in a Spelling Bee worth watching. Doesn’t hurt matters that The Keeton itself use to be a local school, so the auditorium vibe that still exists in the theatre space perfectly adds to the play’s gymnasium setting.

For her cast, Spooner-Faulk has assembled a fun mix of actors, some of whom are returning to Keeton having previously been seen on stage, and a couple making their Keeton debut…always a welcomed choice to mix it up a bit. While it can be nice to have a company that’s completely familiar, that can sometimes result in a few miscast roles. Luckily for Spelling Bee audiences, that is not the case here, as each and every actor involved manages to find their individual character’s quirks and run with them.

Cast as the quirky spellers are Chelsea Pearce, Jason Scott, Miranda Vaqué, Toby Turner, Sydney Rogers, and Jonathan Hunter. Playing the equally quirky adult roles are David Shaw, Drew Dunlop and Jena Salb.

Once the show begins, Salb’s Rona Lisa Peretti takes to the Putnam County gymnasium to moderate the Bee. My Favorite Moment of the Bee features Salb’s Rona Lisa as she reminisces her own championship win some years back. As Rona Lisa, Salb is as perky and excited to be par too the Bee legacy as she is sweet when, during various circumstances in the show, the kids need a little bit of adult support and understanding. Having never seen Salb on stage myself, I am happy to proclaim she’s now among my ever-growing list of theatre crushes.

Joining Salb’s Rona Lisa as the Bee’s sole judge/word pronouncer is Drew Dunlop as Vice Principal Douglas Panch. Dunlop is at his best when he’s interacting with additional Bee contestants pulled from the show’s actual audience. (More about that later)

The third and final adult role comes in the form of David Shaw as Mitch Mahoney, the Bee’s comfort counselor. That’s right, it’s Mahoney’s job to send the losers off with a hug and a juice box. Shaw’s Mitch is delightful. Like several of his castmates, Shaw also appears in an additional role, playing one of two gay dads to one of the kids. You gotta love the stereotypical flamboyance of his gay dad portrayal as well as the equally expected thug look of his portrayal of Mitch, both as wrong and un-PC, funny is funny and Shaw is funny.

Chelsea Pearce, as Logainne (center) flanked by her two dads, Jonathan Hunter and David Shaw (far left and far right) in a scene from Keeton’s Theatre’s “Spelling Bee”.

Then there’s the kids. Pearce, as Logainne Schwartzandgrubenierre, the youngest contestant in the Bee, who just so happens to have two gay dads, is hilarious. Her affected way of speaking—as if she were wearing braces—and her spot-on comedic timing are the perfect combination. Proving just how quick on her feet she is on and off-book, during last weekend’s Sunday matinee when a plane seemed to be about to land on the rooftop of The Keeton Theatre, without missing a beat—and totally in character as Logainne, Pearce cracked wise that her current spelling word “made as much sense as building a community center so close to an airport”.

Scott, as returning Bee champ, Charlito “Chip” Tolentino gets his own chance to steal the spotlight in one of the show’s more surprising musical numbers, My Unfortunate Erection. Yes, you read that right, Chip, like most teenage boys experiences a sudden urge right there in the middle of the Bee. As one of the elderly ladies seated near me said at the close of his number “Oh, my! It’s like that Justin Timberlake SNL song-skit”.

Sydney Rogers, a newcomer to Keeton, plays Spelling Bee newcomer, Olive Ostrovsky. Of all the characterizations of the spellers, Rogers’ Olive truly tugs at the heartstrings as she’s just as concerned with spelling as she is her father’s absence from the audience. Early in the show, she leads the company in My Friend, the Dictionary, a telling tune that touches home with the outcast in all of us.

To be completely honest, upon first glance, Toby Turner seemed a bit miscast as William Barfeé (it’s pronounced Bar-fay), but once he gets his magic foot in motion, he proves why he was cast, as he turns what could easily be the most annoying character in the show into one of the most endearing.

Vaqué’s Marcy Park is a little Wednesday Addams, a little Buffy Summers (sans the penchant for taking out vampires). The character’s quirkiness comes from a mix of being new to the area, speaking a multitude of languages and being an over-achiever. Vaqué’s lead on I Speak Six Languages is one of the show’s more thoughtful tunes and she delivers it with just the right punch of emotion.

Rounding out the Spelling Bee contestants is Jonathan Hunter as Leaf Coneybear. Described in the playbill as being homeschooled, Hunter’s Leaf is simply my favorite. Wearing a safety helmet, a shimmering gold lame cape and clothes his character bravely admits to designing himself, Hunter’s Leaf reminded me so much of this goofy kid I went to elementary school with, it’s scary. Of course I can’t name names, he’s probably some multimillionaire inventor by now anyway. But back to Hunter, he manages to steal every scene he’s in and his solo on I’m Not That Smart will make you wanna go hug him.

A typically chaotic, yet humorous moment in “Spelling Bee”.

While these nine actors make up the cast, as indicated earlier, several of the characters also play additional minor roles as various members of the Bee contestants’ families. Also mentioned above, during each performance, four members of the audience are called up to the stage and treated as late entries to the Spelling Bee. That’s part of the charm of the show. No two shows are ever the same, in part because you just never know how the audience pulls are going to interact with the actual cast. Luckily for me and the audience during the show I attended, a couple of the audience pulls were more than ready for their fifteen minutes of fame. Don’t worry though, unlike some productions I’ve seen, the audience pulls do so willingly as they’re asked just prior to curtain if they’d be wiling to participate.

The 25th Annual Putnam County Spelling Bee continues its run at The Larry Keeton Dinner Theatre (108 Donelson Pike) with evening performances Thursday, October 18 thru Saturday, October 27 with dinner service at 6 p.m. and show  beginning at 7 p.m. Dinner and Show tickets are $30 for Adults, $20 for Children 12 and under OR Show Only tickets for $25 for Adults or $15 for Children 12 and Under. Call 615.883.8375 for tickets and availability.

Next up at The Larry Keeton Dinner Theatre is A Christmas Carol: The Musical with shows from November 29-December 16. CLICK HERE for tickets or more information.

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

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

Theatre Review: There’s something so right about ‘The Play That Goes Wrong’; National Tour onstage at TPAC’s Jackson Hall thru Sunday

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Members of the cast of ‘The Play That Goes Wrong’ (All Photos: Jeremy Daniel)

Described as “Monty Python meets Sherlock Holmes”, The Play That Goes Wrong is a guffaw-inducing, laugh-a-minute, play-within-a-play joy-ride of a farce that centers ‘round a fictional polytechnic school’s drama society as they present the whodunnit mystery, The Murder at Haversham Manor. Having taken London’s West End by storm, The Play That Goes Wrong is currently enjoying its Broadway debut run in New York while the touring company bumbles and stumbles across America on the show’s first US National Tour, Nashville and TPAC’s Jackson Hall being the tour’s current stop with shows thru Sunday, October 14.

From the moment patrons are handed their playbill as they enter the theatre to see a performance of The Play That Goes Wrong, it’s evident they aren’t in for an average run-of-the-mill night of theatre, for you see, even the program book seems to have had a bit of a printing mishap resulting in the cover graphic being printed slightly off-register. Then, as the audience settles into their seats, there’s a bit of a kerfuffle onstage as what appears to be tech crew members appear to be making last-minute adjustments to set pieces. Meanwhile, one of the stars of the show walks out into the audience introducing himself as the director and star while still others bustle about in search of a Duran Duran cd box set…and a dog named Winston. All this before the show technically starts.

From there, it’s two and a half-hours of pratfalls, missed cues, forgotten lines and face-hurting laughter. It’s like those clips of old Carol Burnett Show sketches in which one slight snicker amongst the actors results in an all-out uncontrollable laugh-riot for both the actors and the audience.

Reinforcing the show-within-a-show idea, a quick look at the playbill reveals two sets of information, one for The Murder at Haversham Manor, and one for The Play That Goes Wrong. The fictional bios for the drama society members, all in their touring debut, coincidentally, are hilarious and worth a read in their own right. Meanwhile, the actual cast bios reveal some very impressive credits, including at least two cast members making their return to Nashville, having previously starred in touring productions of other shows, as well as one cast member who previously appeared in the Broadway production of The Play That Goes Wrong.

Leading the cast as the aforementioned director and star of the the whodunnit is Evan Alexander Smith, who plays Chris Bean. In additional to Smith’s Bean being listed in the Murder program as director, he’s also credited as the show-within-a-show’s producer, prop maker, box office manager and about ten other behind-the-scenes crew titles. Oh, and Bean also plays Inspector Carter, who is called to Haversham to investigate a murder. As is the case when a director casts himself in a show (yes, it’s one of my actual theatrical pet peeves), wearing too many hats usually results in disaster. Smith seriousness as Bean is evident from the beginning, when Bean addresses the audience and in doing so, reveals some rather humorous facts about the company, including the budget-necessitating previous presentation of Cat (the obvious joke being they didn’t have the funds to present the better-known Cats). It them follows that Bean’s seriousness as Inspector Carter and the show’s director as the show goes wrong time and time again from the get, sets the hilarious pace for the inevitable unraveling of the show…and the cast.

Evan Alexander Smith

With initial misplaced props and missed cues, Smith’s Bean barely flinches as the powers through, but when a later scene calls for him to find ledger tucked in the cushions of a chaise lounge…or should I say…chaise longue…but I digress….anyway, the ledger isn’t where it’s supposed to be and Bean’s boiling-point is reached, to hilarious result. As if they knew exactly what to do, an audience member shouts out, “It’s under the chaise lounge”. Smith’s Bean breaks the fourth wall, chastises the audience for laughing and suggests perhaps they’d be better suited to be at a Honky Tonk, or perhaps, The Grand Ole Opry– – -two Nashville-centric entertainment options – – -which, of course, only results in more laughter and thunderous applause from the audience for the clever inclusion of a bit of local flavor from the touring company. One joke, about Hamilton, however, might not play as well in Nashville as it does across the country, seeing as how Nashville audiences will have to wait another season for tickets to that hot item.

Smith as Bean is just the tip of the iceberg…YES, I use that reference purposely, because the show, with it’s cleverly choreographed and write mishaps appears to sink quicker than the Titanic, but to blissfully, purposeful results.

Scott Cote, last seen by TPAC audiences as Brother Jeremiah in last year’s national tour of Something Rotten, is hilarious as Dennis Tyde. His fictitious Murder cast bio indicates he’s new to acting, having only joined the Drama Society after failing tryouts in a number of sports. In Murder, Cote’s Dennis is cast as Perkins, the butler. I know what you’re thinking…and while I did indeed as Cote is the butler did it when I interviewed him for my most recent Rapid Fire 20 Q, I cannot include his response as a Spoiler Alert here. What I can tell you is Cote’s Dennis is the epitome of the newbie thespian. He garners his biggest laughs from the audience when he no-so-casually glances at his hands where he’s evidently scribbled certain words of dialogue he has trouble pronouncing, then proceeds to mispronounce them anyway.

Ned Noyes and Scott Cote in ‘The Play That Goes Wrong’

Ned Noyes , who was part of Broadway’s The Play That Goes Wrong prior to being cast in the touring company, is scene-stealing as Max Bennett who plays Cecil Haversham, owner of the manor house in which the murder occurs. Early on, when Cecil goofs a line and gets a bigger response from the audience that had he executed the line perfectly, Noyes’ Bennett begins to over exaggerate his delivery as Cecil, thus receiving even bigger laughs. Being a huge fan of Lucille Ball (no secret to anyone who knows me), this reminded me of the classic comedy legend whenever her Lucy Ricardo character would goof onstage at Ricky’s nightclub. The bigger the audience response, the bigger the delivery of each subsequent line. My face truly began to hurt from laughing so much whoever Noyes was onstage opening night.

Peyton Crim portrays Robert Grove. His fictional bio references such roles as Lame Horse in Black Beauty and Dopey in Show White and The Tall Broad Gentleman. Crim’s Grove sees himself as one of the show’s more serious actors. in Murder, Grove is cast as Thomas Colleymoore, prime suspect in the murder of his sister’s intended, who’s got a bit of a secret himself. In spite of Grove’s serious nature, or perhaps because of it, the physical comedy his character endures as the set literally begins to fall apart, is all the more enjoyable for the audience. My companion for opening night in Nashville commented during one of Crim’s more physically demanding scenes that insurance for The Play That Goes Wrong must be astronomical. I suspect she’s right.

Brandon J. Ellis is subtly wonderful as sound tech, Trevor Watson. His fictional bio reveals he’s only part of The Murder at Haversham Manor to fulfill a requirement for an engineering course. During the entire show, Ellis’ Watson is seen to the left of the stage at his light and sound board. Frequently nodding off or otherwise distracted by his cellphone, Watson misses light and sound cues, only adding to the hilarity onstage, but nothing’s funnier than when Ellis’ Watson is forced on-stage to step into the role of Murder’s female lead when both she and the stage manager-unplanned understudy are knocked out cold.

Jamie Ann Romero being hoisted out the window by members of the cast of ‘The Play That Goes Wrong’

Speaking of the female lead and the stage manger, Jamie Ann Romero and Angela Grovey portray those roles respectively. Romero plays Sandra Wilkinson. Wilkinson’s Murder bio indicates she’s the company’s most experienced member, having been with the company eleven seasons. Romero, as Wilkinson, plays Florence Colleymoore, the above-mentioned fiancee to the murder victim. Romero’s Wilkinson is played with diva-like disdain for her fellow cast mates, but when things go awry, Romero shines as she exhibits simply astonishing physicality.

Part of that physicality comes courtesy a bit of rivalry between Murder’s leading lady and the only other female in the company, Angela Grovey as Annie Twilloil, the company’s stage manager. Grovey, like her co-star, Cote, is also making a return to TPAC’s stage, having previously played Medda in the first national tour of Disney’s Newsies. As stage manger Annie, Grovey seems to be the glue that holds the company together. Annie’s fictional Murder bio backs this up, siting that after Murder, she’ll leave the company to intern with the Oregon Shakespeare Festival. Throughout the show Annie can be seen—much to her horror—racing onstage to grab a falling piece of the set or place a forgotten prop, but when the show’s leading lady gets knocked out, Annie gets a taste of the spotlight and even though she’s reading her lines from a binder, it’s obvious she’s enjoying her time in the spotlight, for when the leading lady reemerges its a battle of the Florences with both actresses reciting their lines in unison until they literally push each other out the set’s window. While these two have limited stage time, compared to some of the show’s other cast members, when they’re on…THEY ARE ON. When I chatted with Grovey for my recent Rapid Fire 20 Q, I asked her about her on-stage rivalry with Romero, and their backstage friendship. For her response, check out the interview via the hyperlink above.

Rounding out the cast is Yaegel T. Welch, as Jonathan Harris as murder victim, Charles Haversham. His fictitious bio reveals a recent career switch from model to actor, perfect for a character who’s dead to begin with. As the curtain rises on the show, Welch’s Harris isn’t quite on his mark, making it even funnier that the corpse is moving. When cast members step on his hand, he moves, eliciting uproarious laughter form the audience. Offering a bit of unintentional foreshadowing to Charles’ undead state, he frequently shows up throughout the play uttering a line whose time has not yet come and whenever he realizes his mistake, he quickly folds his arms across his chest a la Lily Munster and backs his way off the stage. Simply hilarious. Besides, he’s playing a character named Jonathan Harris, so you KNOW I gotta love that (what else did you think the JH in JHPEntertainment stood for?)

To say that’s the entire cast is a bit inaccurate, for you see, Nigel Hook’s set, which won the Tony Award for the show’s current Broadway run, is as much a character and integral part of the show as any of the actors.  The ridiculously clever and technically intricate set mishaps—what with it’s falling wall sconces, crashing portraits, broken mantlepieces, combusting elevator and a collapsing second story study—enhance the slapstick, pratfalls and goofs throughout. While the dialogue and mishaps themselves would indeed be humorous to witness, thanks to a more-than clever story written by Henry Lewis, Jonathan Sayer and Henry Shields, as directed by Matt DiCarlo, the added visual of the deterioration of the set as the cast themselves descend into disaster is amplified a thousand times by Hook’s brilliant set design and this company of actors who are secure enough in their comedic craft to make playing a troupe of inept thespians seem effortless.

While this review can only attempt to convey the unbridled hilarity, you truly must see it to fully appreciate the true brilliance of the show, its physical humor and the impeccably timed delivery. For a real testament to the show’s creative genius, just go up to anyone who’s seen The Show That Goes Wrong, and repeat lines like “I’m taking the stairs”, “She’s having an episode” or the simple words “ledger” and ‘cyanide”. The resulting grins, snickers and spontaneous laughter are proof positive The Show That Goes Wrong is indeed the show that goes oh so right as far as a great time enjoying a night out at the theatre is concerned.

The National Touring company of The Play That Goes Wrong continues at TPAC’s Jackson Hall with shows thru Sunday, October 14. Friday and Saturday evening performances at 8 p.m. There’s also a Saturday matinee at 2 p.m. and Sunday performances at 1 p.m. and 6:30 p.m. Tickets to The Play That Goes Wrong range in price from $30 to $90. CLICK HERE for tickets or more information.

Not in Nashville, but interested in seeing The Play That Goes Wrong? Follow the show on social media at the official The Play That Goes Wrong site HERE, or on Facebook, Instagram and Twitter.

Following The Play That Goes Wrong, TPAC’s current Broadway Season continues with a return engagement of The Phantom of The Opera, playing Jackson Hall October 24-November 4. CLICK HERE for tickets or for more information.

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.

Roxy Regional Theatre’s ‘Hairspray’ a hair-hoppin’ great time; on stage thru September 29 in Clarksville

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Jenna Leigh Miller (center) starring in Roxy Regional Theatre’s “Hairspray”

First off, I’m not sure why it has taken me a decade since first beginning to write about the Nashville area theatre scene on a regular basis to make the relatively short trek to nearby Clarksville to see a show at the Roxy Regional Theatre. Perhaps I was just waiting on an official invite. Well, thanks to Brian Best, it finally happened when I recently attending a performance of the Roxy’s current production, Hairspray, and now I can truly say I see what the buzz about the Roxy is all about.

Not only is the Roxy a simply gorgeous classic movie house that’s been renovated into a fabulous live performance venue, it’s also situated near the charming yet bustling town square. Add to that the aforementioned Brian Best in the role of Edna Turnblad and you’re most certain to be guaranteed a great night of musical theatre.

Directed and choreographed by Roxy’s Executive Director, Ryan Bowie, this production of Hairspray, based on cult movie king, John Waters’ 1988 film, the story’s eight-Tony-winning 2002 stage musical adaptation and subsequent 2007 big budget musical movie redo is surprisingly one of the best productions of the show I’ve seen, and I’ve seen it done quite a few times over the years.

Bowie has cast an all-around enjoyable cast. Obvious stand-outs include Jenna Leigh Miller, who stars as Tracy Turnblad, Edna’s plump and plucky teenage daughter whose dream is to not only dance on The Corny Collins Show, a Baltimore-based weekly music show (think American Bandstand), but to also usher in the racial integration of the show as well. Miller is simply adorable. Oblivious to the obstacles before her, or perhaps fueled by them, Miller’s Tracy commands the stage, from the show’s opening Good Morning Baltimore all the way through to Act’s 2’s all-in You Can’t Stop the Beat.

Drew Stairs approaches Corny Collins with charm and a perfectly over-inflated ego. His scenes with Miler’s Tracy are sweet and his jabs at her Barbie-doll perfect nemesis, Amber Von Tussle (Jessica Caracciolo) are executed with perfect comedic timing. Speaking of Amber, Caracciolo bratty portrayal is so fun, especially when paired with Stacy Turner as her equally self-important mother, Velma Von Tussle.

Kelly Letourneau is such fun to watch as Tracy’s best pal, the seemingly always permanently punished Penny Pingleton. Cast as Penny’s forbidden love (translation, it’s the 1960s…she’s white, he’s not) is Treston Henderson as Seaweed Stubbs. They shine during Without Love. Their on-stage chemistry is so sweet, who can blame Penny’s mother, the aptly named Prudy Pingleton (Amy Snider) for finally acquiescing. Additional kudos are in order to Snider for also appearing as the stereotypical (read lesbian) gym teacher and the no-nonsense prison matron.

Other stand-outs in the cast come courtesy Matthew Combs as Link Larkin, Jamila Hunter as the Big Blond and Beautiful Mothermouth Maybell. Her Act 2 performance of I Know Where I’ve Been, a song that temporarily refocuses the action away from the silliness of Tracy’s TV dreams to the seriousness of racial issues that sadly still exist, is hands-down the best moment in the show.  The feisty and adorable Mikquala Skelton as Little Inez is just a joy to watch. Lastly, Mairys Joaquin, Jameka Lache Horton and Alexandra West as The Dynamites, the show’s girl group trio of backup singers provide some of the show’s most gorgeous voices.

Brian Best (center) and the cast of “Hairspray”

Then there’s the aforementioned Brian Best as Edna Turnblad. In the previously mentioned original incarnations of Hairspray, the role of Edna has been played by gender-ignoring camp comedy drag legend, Divine, Broadway icon Harvey Fierstein and John Travolta…yes, even Vinnie Barbarino/Danny Zuko donned a dress to play the role of Edna Turnblad. Edna isn’t entirely new to Best, having played her a couple of years ago in another local production of the show. I was fortunate enough to have seen Best in the production as well and found it quite interesting that under the direction of Bowie, this Edna seems a bit more real, more Waters-esque. Over the top, sure—it kind of comes with the territory—but the Roxy’s Edna seems to heart-wrenchingly wallow in self deprecation while simultaneously building up her daughter in an effort to not let her fall into her mother’s patterns. Best’s Edna also has a grittier, less polished look than his previous turn, whether a choice by the actor and director, or simply by necessity of whomever did Best’s Edna makeup. Either way, it works, especially when she gets the confidence boost she needs and realizes beauty comes in all shapes and sizes.

The Roxy’s Hairspray features a talented group of actors, singers and dancers. Gotta love the school deskograpy from the get go, as well as what I’ll dub the bellography during Tracy’s dreamlike I Can Hear the Bells.

The set, designed by Bowie and Emily Rourke seems at times a bit compact, especially the Turnblad house, but it’s effective and clever, after all, what better way to emphasize the stature of Edna and her mini-me, Tracy than to present a house that’s literally busting at the seams? If there was once drawback to the production, it would have to be the fact that the actors weren’t wearing mics. As mentioned at the top of this review, this was my first time to attend a show at the Roxy, and it was my own fault for not requesting tix earlier. Perhaps because of this, my seats were near the back of the venue and right in front of a wall-mounted speaker, which may have attributed to my inability to hear certain performers and musical numbers.

Nonetheless, thanks to my own familiarity with the show and the cast’s non-stop energy, enthusiasm and all-out apparent excitement to be performing in the show, Roxy’s Hairspray is indeed worth the drive to Clarksville.

Hairspray continues at Roxy Regional Theatre (100 Franklin Street, Clarksville, TN) with performances through Saturday, September 29. Tickets are $25 for Adults and $15 for children 13 and under. CLICK HERE for showtimes, tickets or more information. To find out more about Roxy Regional Theatre, 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.

Music City is getting schooled by a talented band of pre-teens; Sir Andrew Lloyd Webber’s ‘School of Rock’ at TPAC thru Sunday, September 16

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Members of the cast of “School of Rock”, National Tour at TPAC thru Sunday, September 16

Just days after a win at this year’s Creative Arts Emmy ceremony for last year’s NBC live musical presentation of Jesus Christ Superstar secured Sir Andrew Lloyd Webber’s much-deserved place as an EGOT winner (artists, performers and creatives who’ve been awarded each of the four major awards—Emmy, Grammy, Oscar and Tony), the legendary Broadway composter’s School of Rock began the Nashville leg of their current national tour as the show opened to an enthusiastic crowd of all ages Tuesday, September 11 at TPAC’s Jackson Hall. The show continues at TPAC with shows through Sunday, September 16.

As the show’s title implies, School or Rock is exactly that, a musical laced with rockin’ tunes. Based on the 2003 comedy film starring Jack Black, School of Rock tells the story of a wannabe rock star who, as my late father would have said, is “living the life or Riley”. (google it, kids) Scraping by by way of the kindness of his best friend as he continues to pursue his rock n roll pipe dream, Dewey Finn unexpectedly finds himself substitute teaching a group of kids at a prestigious school. When he discovers they all posses heretofore unnurtured musical skills, Dewey sets out to cultivate a new rock band, developing a genuine concern for the kids, as well as his own true purpose, in the process. Played by former 2014 Book of Mormon Broadway star, Rob Coletti presents Dewey with a familiarity and ease that has the audience rooting from the slacker from the get. Attempting to steal the spotlight from his fellow hair-metal bandmate in the show’s concert-esque, albeit hilariously titled opening number, I’m Too Hot for You immediately reveals Dewey’s irreverent demeanor.

Easily one of the most joy-filled Lloyd Webber musical to hit the stage. A major part of that joy comes courtesy the show’s aforementioned younger cast members, mostly pre-teen, the dozen or show kids featured in the show play their own instruments, and they do so with confidence and talent far exceeding their young ages.

Among the talented youth band are: guitarist Mystic Inscho as Zack, bassist Leanne Parks as Katie, drummer Cameron Trueblood as Freddy and keyboardist Theo Michell-Penneron as Lawrence. Among the all-in musical highlights are Act 1’s You’re in the Band, Stick it to the Man and In the End of Time, as well as Act 2’s high-energy eponymous tune, School of Rock.

Borrowing a phrase from Dewey, himself, who may or may not have heard it in a Witney Houston song, after seeing these mega-musically gifted kids rock out during the entire show, I, too believe the children are our future.

In addition to Lloyd Webber’s genius score, School of Rock also features the work of lyricist Glenn Slater (Sister Act: The Musical, The Little Mermaid, and Lloyd Webber’s Phantom sequel, Love Never Dies) and book by Downton Abbey creator, Julian Fellows. , adding even more of an unexpected pedigree to the show.

While School or Rock isn’t exactly high-brow musical theatre, after all, our hero scams his way into a teaching job, and the plot features some major stereotypes like one girl’s two gay dads flitting around in overly-dramatic exasperation, and a staunch, career-driven female school principal who only has time for work. Nonetheless, Fellows’ clever and funny book presents these now seemingly un-PC characters with humor and heart, allowing the audience to not only laugh at the absurdity of the stereotypes, but to perhaps embrace them. After all, it’s easier to accept and understand things if they are presented with a wink.

Rob Colletti and Lexie Dorsett Sharp in “School or Rock”

In the role of Rosalie Mullins, the above-referenced school principal is Lexie Dorsett Sharp. Initially portrayed as a strict, but caring administrator, once she literally and figuratively lets her hair down in Act 2’s Where Did the Rock Go?, it’s evident why she was cast. Equally introspective and all-out show-stopping, it’s the most Lloyd Webber moment of the entire show and Dorsett Sharp not only rises to the occasion, she surpasses it giving Rosalie true diva status joining the ranks of Lloyd Webber’s best, including Eva, Grizabella and Christine.

It’s more than just the principle actors who attribute to the show’s rockstar quality, but also the entire ensemble. In adult roles, Layne Roate and Emily Borromeo are perfectly cast as Dewey’s put-upon roommate Ned and Ned’s overbearing, but well-meaning girlfriend, Patty.

As for the kids, in addition to the aforementioned band-mates, Sami Bray as Summer, the precocious and persnickety band manager, Grier Burke as Tomika, the seemingly shy new girl at school who not-so-surprisingly wow the audience with killer vocal skills as the lead singer, and Sammy Dell as Billy, the band’s flamboyant young stylist (draw your own conclusions about that one) are all equally charming, and as equally adept as scene-stealing as the rest of their co-stars, young or old.

On the subject of charm, anyone who’s ever felt like they weren’t measuring up to their parent’s ideals is gonna love Act 1’s bittersweet If Only You Would Listen, in which the kids give voice to…well, finding their own voice amidst their parent’s expectations and constant displeasure in the kids expressing who they are instead of who their parents want them to be. It’s the show’s most charming and heart-tugging tune.

With a rockin’ soundtrack, a charming and ridiculously talented cast and more than a few life lesson to be learned, School of Rock is a two-hour electric eclectic elective everyone in Music City should audit, because when Head Master Sir Andrew Lloyd Webber offers to teach musical theatre, you better sit up, take notes and…at least in this case…ROCK OUT!

School of Rock continues at TPAC’s Jackson Hall with performances through Sunday, September 16 with evening performances at 8 p.m. Friday and Saturday, September 14 & 15, a Saturday matinee at 2 p.m., a Sunday matinee on the 16th at 1p.m. and a final Sunday evening performance at 6:30. Tickets to School of Rock range in price from $40 to $95. Earlier this week, TPAC announced special Rush Ticket availability for each performance at a discounted rate of $25. To take advantage of the Rush Ticket price, show up at the venue’s box office just inside the lobby at TPAC 90 minutes before showtime. Click Here for tickets or more information.

Not in Nashville, but interested in seeing School of Rock? Follow the show on social media at the official School of Rock site HERE, or on Facebook, Instagram and Twitter.

While School or Rock is the first show of TPAC’s 2018/2019 Broadway season, it’s only the beginning. Next up is The Play That Goes Wrong with performances October 9-14. CLICK HERE for tickets, or more information about TPAC’s full upcoming 2018-2019 Broadway season. You can also keep up with the latest from TPAC on Facebook, Twitter and Instagram.

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.

 

 

 

Studio Tenn has created a monster hit with newly written reimagining of ‘Frankenstein’; limited run continues with performances thru Sunday, September 9

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Euriamis Losada stars as The Creature in Studio Tenn’s gorgeous retelling of “Frankenstein” on stage thru Sunday, September 9 (all photos by MA2LA/Courtesy Studio Tenn)

Broadway quality original theatre is ALIVE and well courtesy Studio Tenn’s latest offering, Frankenstein, onstage at Jamison Theatre in The Factory at Franklin. Opening just last weekend, on Friday, August 31, the show will wrap it all-too-brief World Premiere run with three remaining shows this weekend.

Having penned Studio Tenn’s hugely popular musical The Battle of Franklin, playwright A.S. Peterson has collaborated with the company to retell the story of Frankenstein. What’s more, 2018 marks the bicentennial of when novelist Mary Shelley first published the tale in what is widely considered the first gothic horror tale.

As with most Studio Tenn productions, first and foremost, it’s simply a gorgeous production. Matt Logan, Studio Tenn’s genius Artistic Director is once again, not only at the helm as the show’s director, but also onboard as Costume and Scenic Designer. From the first glimpse of the set, there’s a sense of the familiar, with a medical skeleton, a bookcase full of what’s presumed to be medical journals and such to the left and an eerie wooden casket and graveyard to the right. All these elements are necessary and recognizable to anyone who’s read Shelly’s original tale of a not-so-mad scientist who discovers he as the power to reanimate the dead. While those elements are expected, it’s the stunningly gorgeous glass structure center stage that breathes new life into the centuries old tale. Logan has constructed a central focus set piece that at various times during the show seems reminiscent of stained glass, a kaleidoscope, a patchwork quilt, a broken mirror or perhaps the burgeoning industrial age, prompting the audience to evoke associations with everything from Dr. Frankenstein’s God-like power of creation, the literal construction of another human being, the idea that we are all part of a greater picture or perhaps, or most accurately, what we see as broken in others is usually a reflection of our own shortcomings. Then again, maybe it’s just a pretty set piece (I highly doubt that). That’s the beauty of Logan’s design, it’s open to interpretation.

Expected from any Studio Tenn production, the cast of Frankenstein is top-notch. Jared Reinfeldt as Dr. Victor Frankenstein is handsome an earnest as he struggles to maintain a romantic relationship with his betrothed while simultaneously attempting to measure up to his father and the memory of his late mother.

Jared Reinfeldt and Euriamis Losada as Master and Creation.

Euriamis Losada as The Creature is mesmerizing. Unlike many interpretations of the story, this creature speaks and when he does its with a powerful booming voice. As handsome as his creator, Losada shaved his head for the role, and though its covered with a patchwork of stitches—perhaps a visual tie to the above-referenced patchwork look of the background set piece—his beauty shines through. Fitting, as a recurring theme of the piece is to not judge one for their outward appearance, but rather their inner beauty. Losada’s Frankenstein is equally effective whether lumbering around menacingly or revealing his scared uncertain side. I loved the visual detail of the hem of The Creature’s cloak being ragged and mud clodded, a perfect subliminal reference to the struggles he’s endured hiding away from society. Just another serene Matt Logan touch.

Doomed Lovers Reinfeldt and Morgan Davis as Victor and Elizabeth

Morgan Davis is cast as Elizabeth Lavenza, Frankenstein’s cousin who also just so happens to be his love interest (it is the early 1800s after all). Her beauty is only enhanced by Logan’s gorgeous, detailed and period-accurate costumes. Her black and grey gown is simply stunning. Like her co-stars, Davis’ Elizabeth, through her no-holds-barred dialogue with Frankenstein, reinforces the ideal of everyone feeling like an outsider from time to time. She also perfectly represents the changing attitudes of women and their place in society. Also appreciated, a single line in which Davis’ Elizabeth casually notes that perhaps she’ll write a book about Victor’s experiments, a clever tip-of-the-hat to the fact that it was indeed a female who wrote the story of Frankenstein.

Appearing in dual roles is Henry Arnold as both Victor’s father, Alphonse Frankenstein and the seafaring Captain Winthrop. As usual, Arnold, a staple of Nashville area theatre, turns in a fantastic performance…times two. Rounding out the stellar cast are Regan Holmberg, Amanda Card, Austin Olive, Matthew Rose, Margaret Rodgers and Liam Searcy.

Being a bit of a Frankenstein fan myself, I appreciate the playwright’s nods to, not only the original source material, but also iconic adaptations through the ages. While the original novel tells the tale by way of letters written by a sea captain to his sister, playwright Peterson honors that origin by having Dr. Victor Frankenstein mysterious appear aboard Captain Winthrop’s ship at the top of the action, where he commences to tell the story of what brought him their. Not long after, The Creature also appears to tell his side of the story. When this sequence occurs, I literally got chills when the aforementioned mirrored background suddenly morphed into what can only be described as the vastness of outer space, thanks to lighting designer Stephen Moss and technical director Mitch White. Appropriately, when The Creature speaks of his creation, the background projects an endless seas of microscopic stars in the galaxy, a literal allusion to the creation.

The Creature speaks of his creation

Another nod to previous incarnations of the story occurs in Frankenstein’s appearance. I for one appreciate the wink to James Whale’s 1931 Universal Pictures film…no Frankenstein’s not square- headed with bolts jutting out of his neck like film’s iconic Boris Karloff, but he is wearing similar footwear…YES, Studio Tenn’s Frankenstein is seen with ultra-sensible orthotics.  Also in reference to the film is a scene involving a flower and another involving a kindly old blind man (played with his usual humor by frequent Studio Tenn actor, Garris Wimmer).

While Peterson’s script does indeed pay homage to previous incarnations, he adds his own twist to this new adaptation. One twist involves the shocking outcome of an encounter with Frankenstein’s little brother (charmingly portrayed by young Micah Williams), but I’ll save the details of that twisted scene for those attending the show.

Overall, the show is a surprisingly fresh take on Shelley’s original. With a bit of editing in Act 1 to tighten up some unnecessarily lengthy scenes, this show deserves a full run. Perhaps, as they did with the playwright’s previous work for Studio Tenn, they’ll revisit Frankenstein for a lengthier run during a future season, or perhaps Peterson could follow up with The Bride of Frankenstein. After all, by play’s end, there seems to be an obvious choice for who could play the title role as Morgan Davis’ Elizabeth seems reminiscent of Billie Piper’s performance as Lily from the recent Showtime series, Penny Dreadful.

Frankenstein wraps it’s run this weekend with a 2 p.m. matinee and a 7 p.m. evening show Saturday, September 8 and a final Sunday matinee at 2 p.m. on September 9. CLICK HERE for tickets.

Up next for Studio Tenn is their annual One Night Only Patron Party on Thursday, October 4, followed by the One Night Only Gala on Friday, October 19. Their 2018/2019 season continues with Disney’s Beauty and the Beast from Friday, December 7-Sunday, December 30. Then, it’s Tennessee William’s Cat on a Hot Tin Roof from Friday, February 8 thru Sunday, February 17. That will be followed by this year’s Legacy Series entry, The Sinatra Legacy: A Tribute to Ol’ Blue Eyes, onstage at The Franklin Theatre, Thursday, March 14-Sunday, March 17. Studio Tenn will wrap their current season with Damn Yankees from Friday, May 17 until Sunday, June 2. CLICK HERE for tickets or more information.

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

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

Minnie Pearl musical debuts at Chaffin’s Barn Dinner Theatre; limited run continues through September 13

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Melissa Silengo as Cousin Minnie Pearl (photo by Michael Scott Evans/courtesy Chaffin’s Barn Dinner Theatre)

For their Thursday, September 6 matinee, Chaffin’s Barn Dinner Theatre unveiled the World Premiere musical, Minnie Pearl: All the News from Grinder’s Switch”, penned by Belmont University Professor of Music Business, Dr. Don Cusic. Directed by Chaffin’s own Joy Perryman, the musical examines how Sarah Cannon came to create her beloved character, Cousin Minnie Pearl, a staple on both  Nashville’s famed Grand Ole Opry and the long running CBS television series Hee Haw. From her first “HOWDEE” on WSM radio’s Opry broadcast in 1940, until her final appearance a half a century later, Cannon’s Minnie Pearl made her mark as one of our nation’s premiere female comedienne. Minnie Pearl: All the News from Grinder’s Switch continues it’s limited run through September 13.

Fresh off her return engagement as Mother Superior in Sister Act, Chaffin’s Artistic Director, Martha Wilkinson appears as Sarah Cannon as she reveals the genesis of Cousin Minnie. Melissa Silengo, who just closed her role as Katherine Plummer in Circle Players’ brilliant production of Disney’s Newsies, will play Cannon’s on-stage alter-ego, Minnie Pearl. Of her two leading ladies, Perryman said, “Both of these talented women are incredibly gifted in the same ways as Minnie Pearl. They both have the comedic chops to land a joke squarely on target and both sing like nobody’s business!” Of the duo’s musical talents (to which I too can attest), Perryman continued, “The duet that ends Act 1 might just prove to be the biggest showstopper this year”.

On playing Cousin Minnie, Silengo exclaimed, “I am so honored to have the chance to play such a well-loved Nashville legend”. Addressing the familiarity of the character, Silengo continued, “It seems everyone knows Minnie Pearl to some degree, even if it is only her price tag, and I am excited to get to know her from the inside out”. Noting more than a passing physical resemblance to Queen of Cornpone, she revealed, “A few times, people have said I reminded them of Minnie Pearl, and I always took it as a complement”. “Hopefully, I will remind people of her in the show”, noted the young Minnie co-star.

When asked about her involvement in the show itself, Silengo gushed, “I am so excited to do this show with a super-talented cast and Joy Tilley-Perryman directing at the Barn, where I know audiences will eat it up (along with the buffet). Joy knows comedy so well, especially the Southern variety,  and I trust that she can help me craft my performance with the timing and whit that Minnie Pearl deserves.” Borrowing one of her character’s trademark phrases, Silengo concluded, “I’m just so proud to be here!”

As Silengo mentioned, Cannon’s Minnie Pearl was known for wearing a straw hat brimmed with flowers and a still-present price tag. Country comedy aficionados can quickly tell you that price tag read $1.98. Legend has it, Cannon simply forgot to take the tag off before wearing the hat onstage, but thanks to her quick-wit, she cleverly worked it into her routine and decided the tag would stay. While Cousin Minnie Pearl was known for the aforementioned straw hat (tag included), she also quickly developed a signature style that usually included a gingham print dresses, complete with frilly pantaloons, white stockings and black Mary Janes.

In addition to Wilkinson and Silengo, Minnie Pearl: All the News from Grinder’s Switch will also feature Minnie’s frequent comedy partner, Rod Brasfield. Brasfield, as played by Chaffin’s favorite, Everett Tarlton. For those not in the Opry know, Brasfield began his career in the 1920s, but gained national recognition when Grand Ole Opry founder, George Hay hired him to appear on the Opry in 1944. Four years later, divine intervention occurred when Brasfield was teamed with Cannon’s Cousin Minnie created a hilarious duo. Unlike other comedy duos of the day, where one member of the team usually played the straight man, setting up the laughs for the other, Minnie and Brasfield volleyed the jokes back and forth, delivering alternate punch-lines. The two continued to frequently appear together over the next decade until Brasfield’s untimely death in 1958.

When asked about Tarlton’s portrayal of Brasfield, director Perryman predicted, “He will prove to be a more than able partner to Melissa’s Minnie”. Perryman continued by warning, “She just has to make sure he doesn’t steal the show!”

Rounding out the cast of Minnie Pearl: All the News from Grinder’s Switch are Maggie Richardson, Curtis Lemoine, Loren Ferster and Chase Miller. Of the remainder of the cast, Perryman divulged, “We have a fantastic ensemble that will be assisting in every way”.

As the show’s title might indicate, the character of Minnie Pearl is front and center in Chaffin’s production, but it does indeed touch on the woman behind the comedy classic. That stands to reason because, of course Sarah Cannon, herself, was quite a remarkable woman. Having well-established her Minnie Pearl character as a beloved part of country music, Cannon was diagnosed with breast cancer in 1985, undergoing radical treatment, including a double mastectomy. Following this personal trial, Cannon became spokeswoman for the Nashville-based women’s hospital where she received her treatment. It was as Sarah Cannon, not her fictitious alter Minnie Pearl that she took on this task. The facility was later rechristened The Sarah Cannon Cancer Center. The Sarah Cannon Research Facility is also housed in this location. As the result of a debilitating stroke in 1991, Cannon retired her Minnie Pearl character after fifty one years at The Grand Ole Opry. She passed away five years later, on March 4, 1996 but as Chaffin’s Barn Dinner Theatre’s current production proves, her legacy and laughter live on.

Having already SOLD OUT yesterday’s matinee, as well as the show’s Friday, September 7 evening performance and Thursday, September 13’s matinee, you only have two remaining chances to see this show with limited tickets still available for Saturday, September 8’s 7:30 p.m. evening performance (doors open for dinner service at 5:30 p.m) or the Sunday, September 9’s 2 p.m. matinee (door open for lunch service at noon). Evening and Sunday tickets are $62 ($37 Show Only and $18 for Children 12 and under ). As an alternative to their truly delicious buffet dinner, which features prime rib, other meats and an array of vegetable, salad and side options, Chaffin’s recently added yet another dining options with their Small Plate a la carte menu featuring separate pricing per item. Group Rates are also available. CLICK HERE or call the box office at 1-800-282-2276 for tickets or more details.

Following Minnie Pearl: All the News from Grinder’s Switch, Chaffin’s will present Disney’s Newsies onstage September 20-October 27. CLICK HERE for tickets, as this one’s sure to be another popular show for Chaffin’s. 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.

Review: Keeton Theatre proves local audiences will never get enough of ‘Steel Magnolias’

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The cast of The Larry Keeton Theatre’s “Steel Magnolias” onstage thru Saturday, September 1. (photo by Jenny Steiner/courtesy The Keeton Theatre)

Steel Magnolias, Robert Harling’s sentimental stage play about six women who share life’s ups and downs during weekly visits to their local Louisiana beauty shop, has been an audience favorite since it’s debut in 1987. The subsequent 1989 film adaptation starring Dolly Parton and company only served to solidify the piece as a bonafide part of southern pop culture, so It should come as no surprised that nearly every theatrical season includes at least one theatre company in the Nashville area mounting a production of the stalwart southern favorite. This year, than honor/burden is in the hands of Donna Driver as she directs The Larry Keeton Theatre’s current production, continuing its three-week run with performances thru Saturday, September 1.

Appropriately, I chose to attend a Sunday matinee performance of The Larry Keeton Dinner Theatre’s Steel Magnolias. I literally came directly from church. As my friend and I arrived, we sat at a table of ladies, only adding to the magnolia mystique. Befitting any church social or as we call it, dinner on the ground, the delicious pre-show meal consisted of potato salad, mixed veggies, a healthy portion of sliced ham and a dinner roll. Pickup up on the much-lauded color scheme of Shelby Eatenton’s wedding, there was even a creamy jello-based delicious pink dessert, I’m just not sure if the dessert color was blush of bashful. If you’re familiar with Steel Magnolias—and why wouldn’t you be?—you’ll get the reference.

For this visit to Truvy’s Beauty Spot in the fictional town of Chinquepin Parish, Louisiana, director Donna Driver and her creative team offer a wonderfully detailed setting. While enjoying the meal, I had ample time to check out the set. Many previous incarnations of Steel Magnolias that I’ve attended have chosen to line three or four beauty stations side by side facing the audience, while this allows the actors to look towards the audience as they deliver their lines, it also basically ignores the rest of the space and stagnates the action to front and center. Luckily, Driver and company smartly utilize the entire stage, and in doing so, create a totally believable version of Truvy’s Beauty Spot. Instead of a row of beauty chairs, two beauty stations face each other center stage with a lighted, framed invisible mirror between them. Congratulations to Driver and her husband, Kevin Driver, who designed the set, as well as scenic construction team members Jessi Boyer and Randall Seymour for this more realistic placement of the beauty stations. Kudos also to the show’s director for keeping the actresses from looking straight through the non-existent mirror, but rather, leaning or walking around to address their co-stars positioned in the beauty station on the other side of the divider. Continuing the realness of the shop, the entrance to the shop is located in the back left corner of the stage, a wash station back center and an unseen kitchen, back left. The walls, adorned with family photos, an inspirational saying or two and an array of 80s-era decor, including the minute detail of wallpaper boarders running along the top of each wall, reinforces the 80s vibe. Also of note, design-wise, is the inclusion of a sprig of magnolia blossoms atop the shop’s waiting area. Not only a staple of design for the day, a nice wink to the show’s title. I had almost forgotten my own mom’s similar wall decor, which may or may not still be hanging in her living room (Note to self to notice next time I’m home for a visit).

On the subject of attention to detail, property mistress Melanie Ray and costumer Amy Slade deserve special mention for perfectly capturing the look and feel of the now-iconic late-80s. You gotta love the fact that following a casual reference to Cher, one of the ladies is seen thumbing through what appears to be a period-authentic copy of McCalls magazine with the Moonstruck star on the cover. Another nice atmospheric detail comes when the boom box plays Manic Monday and a few other late-80s tunes.

For the Keeton’s Steel Magnolias, director Diver has enlisted the talents of a great mix of actresses familiar to Keeton and Nashville’s theatrical community alongside a few Keeton newcomers.

Making her Keeton debut as Truvy (the Dolly Parton role for the unfortunately uninformed) is Kristian Dambrino. A former pageant girl herself, Dambrino looks and dresses more like the love-child of a younger, prettier Married with Children’s Peggy Bundy and Full House’s Kimmy Gibbler than the iconic portrayal Dolly gave the role of Truvy in the film, and that’s not exactly a bad thing. Dambrino brings the sass and sex appeal to the role that’s expected. What’s more, she does so without simply mimicking Dolly’s version of the character. Perhaps because of her own pageant history, Dambrino also seems to actually be able to ‘do’ hair, as she is seen taking down rollers, back-coming and creating a believable up-do all the while extolling words of wisdom and wise-crack as called-for in the show’s dialogue. Kudos also to Dambrino’s Truvy for being one of only a couple of the ladies to truly embrace the southern adage of “the bigger the hair, the closer to God”. After all, Steel Magnolias is, and always should be, a hair-raising dramedy.

Also making her Keeton debut is Meredith Daniel as Annelle Dupuy, Truvy’s quirkily shy new assistant. I’ll just say it…Daniel gives one of the most engaging and entertaining performances of the show. As written, the character undergoes the most changes throughout the show and Daniel embraces those transformations to the fullest. Even when she’s not the focus of the action, thanks to direction from Driver and what I can only assume is the actress’ own innate sense of being present in the action of the piece, Daniel turns in the most complete and thoroughly spellbinding performance of the show. From clutching her cross necklace or franticly flipping through her Bible for words of inspiration and solace during risqué conversation, to timidly attempting to hand a glass of water to an irritated Ouiser, I couldn’t take my eyes off Daniel’s Annelle.

Cast as Shelby Eatenton is Brianne Waters. Quite often Shelby is played with a penchant for over-exaggeration. I personally blame Julia Roberts’ gigantic mouth for that, as the image of her diabetic freak-out in the movie version is forever emblazoned in my mind. Refreshingly, Waters plays Shelby a little closer to the vest. When it comes time for the famed “drink your juice, Shelby” scene, her diabetic episode is played much more internally, only adding to the drama. The kindness Waters’ Shelby shows Daniel’s Annelle and the more serious tone of the scene with Shelby’s mother, nicely showcase Waters’ talents.

Speaking of Shelby’s mother, Kate Adams is fantastic as M’Lynn Eatenton. While her character’s hair/wig never quite achieves brown football helmet status, Adams embraces M’Lynn’s steel magnolia status to the fullest. In a classic scene, when M’Lynn and Shelby discuss Shelby’s medically ill-advised pregnancy, Adams exemplifies the unwavering emotion and immeasurable concern anyone who has a mother…or is a mother…can surely identity with. During the aforementioned “drink your juice, Shelby” scene, Adams’ M’Lynn is composed and in control. On a personal note, having had my share of medical issues as a child, and being blessed with an equally composed mom, this scene always makes my eyes sweat. Thanks to Adams’ nurturing but firm portrayal, this time was no exception.

Yet another quotable Steel Magnolia line “Here, hit Ouiser” comes late in the show when M’Lynn is dealing with the greatest loss any mother can endure. That line is delivered by Clairee Belcher, and is aimed towards Ouiser Boudreaux. The show’s odd couple, if you will, Clairee is the town’s former first lady, who just so happens to be best friends with Ouiser, the town’s grumpy old lady.

While Shirley MacLaine’s Ouiser is one of my favorite movie characters ever, it often seems lazy and uninspired for an actress to try to mimic her characterization for the stage. Thankfully, Deb Moore’s Ouiser doesn’t even try to duplicate MacLaine’s interpretation, instead offering a more realistic version. If you’re from the south,s surely you know more than one bitter old lady who’d rather hang with their dog than expose her true kindly nature. That, my friends is Moore’s Ouiser. One thing I love about her portrayal is that Moore’s Ouiser is unapologetically ill-tempted. Instead of simply being a bit of comic relief in her absurdity, as the character proudly boasts, “I’m not crazy, I’ve just been in a very bad mood for the past forty years”. I’ve never believed that line more and I can definitely relate.

Rounding out the cast is Linda Speir as Clairee, the actress’ fourth time in the role. I interviewed Speir for her second portrayal, and earlier this year, I interviewed and reviewed her third turn as Clairee. During that interview, I made the declaration that she should be cast as Clairee in all local productions going forward, so it was nice to see the Keeton agreed with me. Interestingly, when I interviewed her earlier this year, I asked her if her Clairee changes from production to production. She said it did and that the different casts and direction brought out something different to her portrayal. Having seen her interact with two casts now, and under the direction of Driver, I can absolutely attest to the fact that she spoke the gospel truth. Looking simply regal as Chinquepin Parish’s former first lady, Speir’s Clairee is the glorious personification of the well-bred southern woman. While Harling’s script never calls for Clairee to utter the classic “bless your heart”—you know, the ultimate dagger-shooting backhanded remark—Speir’s Clairee does get the chance to say some of the most outlandish things, but she does so in such a classy, molasses-laden way that should she actually slap Ouiser, Ouiser would likely thank her for it.

While the aforementioned accolades for the actresses’ portrayals are indeed warranted, enough can not be said for the director. Having witnessed more than my share of marginal Steel Magnolias performances over the years…even before the past decade of reviewing shows, I willingly attended productions of the show simply because I adore it…I’ve seen some doozies. Driver’s direction goes beyond duplicating the beloved film version. She returns the nuanced and quirky nature of Harling’s written word and thereby elevates the Keeton’s Steel Magnolias to the treasured status it deserves.

One final note. Between the action of the show’s final two scenes, he choice to include an audio snipped of Dolly Parton’s Eagle When She Flies, specifically the song’s third verse containing the lyrics: “Gentle as the sweet magnolia, strong as steel her faith and pride”, perfectly describes Harling’s beloved work…and Keeton’s faithful and moving presentation of Steel Magnolias.

Steel Magnolias wraps its three-week run at The Larry Keeton Dinner Theatre (108 Donelson Pike) with evening performances Thursday, August 30 thru Saturday, September 1 with dinner service at 6 p.m. and show  beginning at 7 p.m. Dinner and Show tickets are $30 for Adults, $20 for Children 12 and under OR Show Only tickets for $25 for Adults or $15 for Children 12 and Under. Thursday night’s show is SOLD OUT, as has been the majority of the run. Limited tickets are available for Friday and Saturday night performances. Call 615.883.8375 for tickets and availability.

Next up at The Larry Keeton Dinner Theatre from Thursday, October 11-Saturday, October 27 is The 25 Annual Putnam Country Spelling Bee directed by Suzanne Spooner-Faulk. CLICK HERE for tickets or more information.

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

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

Review: Street Theatre founder Cathy Street returns to mine plenty of talent in surprisingly poignant ’Burnt Part Boys’

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On the heels of previous mountings of the classic Three Penny Opera, the slightly more obscure Eclipsed and the quirky Title of Show, Street Theatre Company continues to showcase the theatre’s ability to offer up rarely presented theatre with their current production, The Burnt Part Boys; on-stage thru September 1. What’s more, Cathy Street, the company’s founder has briefly returned to Nashville to direct with musical direction from STC’s Artistic Director Randy Craft and a mood-enhancing set courtesy Will Butler.

While the story of a West Virginia coal mine set to reopen in 1962, on the tenth anniversary of a fatal cave-in that took the lives of several of the small town’s men might not seem the stuff of which musicals are made, in the more than capable hands of Street and the top-notch cast she’s assembled, The Burt Part Boys is an unexpectedly emotional coming-of-age story, the likes of which Nashville’s theatre community has rarely seen.

Surprisingly, The Burnt Part Boys isn’t the first musical to broach the subject of a mining town, lest we forget Billy Elliott the Musical, the lesser-known Floyd Collins and the oft-rumored in-the-works Loretta Lynn forthcoming autobiographical musical, but thanks to Street Theatre’s current production, it’s certain to ignite interest going forward.

Kayla Petrille, Seth Bennett and Chamberlin Little in STC’s “The Burnt Part Boys” (photos by Sarah Johnson/courtesy Street Theatre Company

The Burnt Part (named for the section of the mine where the aforementioned fatal accident occurred) is of particular interest brothers Jake (Nick Fair) and Pete (Seth Bennett) and their respective best pals Chet (Shane Kopischke) and Dusty (Chamberlin Little). As the play opens, Jake and Chet, both now grown men, are excited about the reopening of the mine and the chance to carry on their late-fathers’ legacies as they take up the literal torch to join the miners. Meanwhile, armed with a bit of TNT borrowed from Jake’s locked work-kit, younger brother Pete, who was only a toddler when the mine shut down, has other ideas, as he convinces his friend Dusty to join him on an mission to stop the mine from reopening. Along the way the two younger boys enlist the help of Francis (Kayla Petrille), orphaned by the incident, to be Sacagawea to their Lewis and Clark.

Poignantly featured throughout the piece as the men lost in the mine’s now legendary cave-in are Imari Thompson, Tyler Evick, Elliott Robinson, and Brooks Bennett. Rounding out the cast is Mike Baum as Pete and Jake’s father (and a myriad of other characters summoned courtesy Pete’s imagination.

With a hefty nod to the storytelling abilities of Mark Twain, playwright Mariana Elder has created a cast of likable young characters. To their credit, each of Street’s actors not only makes the most of their individual roles, but also portrayed this in such a nuanced way that they are uniquely their own.

Making his Street Theatre debut, Fair plays Jake with a bit of self-assuredness mixed with a sense of duty and responsibility. Poised to take up the mantle of leader for the new miners, Fair’s Jake comes across as a natural leader. Fair’s nuanced portrayal emphasizes Jake’s commanding presence by stranding tall, never slouching and walking across the stage with chest-out and arms swinging in perfect synchronized movement.  Conversely, when scenes involving his younger sibling, Jake’s nurturing side is revealed, offering the audience a different side of the seemingly stand-offish Jake.

Nick Fair and Shane Kopischke as Jake and Chet in STC’s “The Burnt Part Boys”

Kopischke’s Chet, on the other hand, while outwardly boasting about his latest romantic conquests, simultaneously talks of contentment with being Jake’s right hand man, revealing a more obvious internal self-doubt and sense of place. The above-referenced nuances of characterization are most evident in Kopischke’s Chet. In finding his character, the actor has adapted a forward-pelvic-thrusted stance and way of walking leading with his hips, perhaps to reinforce the fact that he’s no longer the little boy who lost his father in the mines. It’s a sort of redneck swagger that visually says “I’m the man, don’t f with me”.

Having seen both Fair and Kopischke in shows since they were youngsters, and knowing they have known each other since they were young, it’s nice to see them both mature as actors and to witness their growth as musical performers as well. The fact that they have a friendship off-stage certainly benefits the duo’s onstage chemistry.

As for the younger trio, Seth Bennett’s Pete comes across as the boy next door. Charming, kind, and full of determination. Alluding back to my Mark Twain, comparison, he’s definitely the Tom Sawyer of the piece.

Seth Bennett and Chamberlin Little as Pete and Dusty in STC’s “The Burnt Part Boys”

Pete’s best friend, Dusty is played to perfection by Chamberlin Little. If Pete is Tom Sawyer, think of Little’s Dusty as Tom’s faithful friend Jim, albeit much younger and, in a nice change of pace, the only of the characters whose home life is ideal, considering Pete has both is parents and as the story frequently reminds us, always has plenty of Alpha Bits cereal in stock in the family pantry. Chamberlin plays Dusty with an eagerness and devotion to his friend Pete, but with reservation about their pending mission to stop the mine from reopening. Their relationship showcases a more balanced friendship that that of Jake and Chet. While the older boys seems to be content with what would appear to almost be status differences, Dusty and Pete are equals in their friendship.

Continuing with the Twain allegory, Petrille’s Frances can be seen as equal parts Huck Finn and Becky Thatcher. Having survived in the woods near the Burnt Part since her father’s death in the mines, she’s got the street smarts—or, more accurately wood smarts of Huck Finn, but when her defenses are down, their an obviously attraction to Pete, allowing her to be just a little bit Becky Thatcher.

While Evick, Robinson, Thompson and Bennett have only limited on-stage time as the original miners, when their voices blend for the ensemble numbers, its a joyful sound indeed. Perhaps because Street Theatre is housed in the auditorium of a church, the term raise the rafters certainly applies. Limited as their appearances are, they’re key to the story and the outcome. There’s truly not a miscast actor amongst the ensemble or the entire show.

Given the fact that Pete was so young when the mining accident occurred, it’s evident he looks up to older brother, Jake as a father figure. Through dialogue and a few clever fantasy sequences, Pete’s penchant for movies of the day, as they relate to historical figures like Sam Houston, Davy Crockett and Jim Bowie is also revealed. Reinforcing the hero status of his late father, you gotta love that Baum not only plays the boy’s dad, but also appears (hilariously so, I might add) as John Wayne, Houston, Bowie and Crockett in these fantasy sequences.

The score, with music by Chris Miller and lyrics by Nathan Tysen, is absolutely beautiful with traces of period-authentic mountain music that doesn’t rest entirely on bluegrass, also incorporating the gentle resonances of mid-century gospel and more classic show tunes of the era. The tunes throughout are enjoyable, with some even evoking unexpected emotions. Heck, my eyes may or may not have sweated a time or two during the show. From Kopischke and Fair’s Eight Hours and Bennett’s telling Man I Never Knew to each and every fantasy segment featuring Baum, the songs, while perhaps not as earworm-worthy as your average Disney musical, do indeed serve the show well.

That said, to be honest, the only song I truly remember is the humorous Davy Crockett, midway through Act 1 as performed by Baum as Crockett and the rest of the company. No, they don’t do a cover of the 1955 chart-topper theme from TV’s Fess Parker-starring western (as sung by then-future Days of Our Lives legend Bill Hayes), instead, it’s a clever little ditty in which Pete imagines Davy helping him break down the fence at the entrance of The Burnt Part. With simple, but noteworthy lyrics about why Davy Crockett hates fences, there’s a definitely SPOILER ALERT hidden within the words of this song.

While that may be the only song I remember, most likely because of my affinity for all things related (even remotely) to Days of Our Lives, the show is peppered with some quite beautiful songs that, in the more than capable talents of cast members like Fair, Bennett and Petrille, serve to not only move the story along, but to also, as indicated above, move the audience as well.

With the majority of the action taking place on the side of the mountain leading to the mine, the choice by director Street and set designer Butler to not go literal with a slanted mountainside, but rather to feature a stripped-down set constructed intricately, but visually simply, of wooden slates, reminiscent of the interior of the mine shaft itself, is truly inspired. Also notable, the movement of the actors as they scale the mountainside, thanks to Street’s astute direction, it comes across as realistic, and not overly-done. Drawing the audience into the physical (and emotional) struggle of these young people as they head to their destiny.

Congrats also to lighting designer Katie Gant, whose subtle, but powerful use of lighting, from a simple flashlight to the dead miner’s headlamps, only adds to the power of the piece.

One final note…with Pete, Dusty and Frances on a course to prevent the mine from opening, and Jake and Chet hot on their their tail like Sam Houston racing to victory in San Jacinto, the fate of our five is blissfully left to interpretation, but thanks to Street’s thoughtful and meticulous direction, there are indeed hints to their fate throughout the play, whether it be as subtle as a spoken promise that comes to fruition in a single action near play’s end, or a shared glance between actors, the hints are their, it’s just perfectly left for the audience to decide, should they choose.

Street Theatre Company’s The Burnt Part Boys continues on the perfectly intimate stage located in the west wing of Holy Trinity Community Church (6727 Charlotte Pike, Nashville, TN 37209) with performances at 7 :30 p.m. Friday and Saturday, August 24 & 25 and Thursday, August 30 thru Saturday, September 1. CLICK HERE for tickets or more information. Next up for Street Theatre is Bklyn: The Musical, on stage November 2-17. Follow Street Theatre Company on Facebook, Twitter and Instagram for all the latest.

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With a newly remodeled facility and a remounting of last year’s heavenly production of ‘Sister Act: The Musical’, Chaffin’s Barn Dinner Theatre is a hard habit to break

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(l to r) Martha Wilkinson, Vicki White and Meggan Utech are back in the habit in a reworked production of “Sister Act: The Musical” onstage at a renovated Chaffin’s Barn Dinner Theatre now thru August 25 (photo courtesy Chaffin’s Barn Dinner Theatre)

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UPDATE: Last week, when this preview was first published, Chaffin’s had announced a Back to School BOGO special, unfortunately a power outage in the area prevented that from taking place. Just this morning—via email blast to patrons and supporters—another Buy One Get One Special was announced for their 7:30 p.m. Thursday, August 16 performance. The first 30 patrons to call Chaffin’s Barn Dinner Theatre’s reservation line (listed above) and mention the PROMO CODE: THIRTY can take advantage of this one-night-only BOGO Special for dinner and the show.

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Back in February, following a successful run of Disney’s Freaky Friday, Chaffin’s Barn Dinner Theatre temporarily closed up shop of some much-needed renovations to the half-century old facility. Just last weekend, the wait was over as Chaffin’s reopened to continue their 52nd Season with a re-staging of last year’s hugely popular production of Sister Act: The Musical. “We wanted to revive the show because people loved it so last year, and because we were sold out, some missed it,” said Chaffin’s Artistic Director, Martha Wilkinson. “It’s a great show to reopen with after renovations because the show is all about redevelopment, change, growth and love,” she continued.

Back in the habit for Chaffin’s rechristening is Meggan Utech as Deloris Van Cartier, the night club singer, who, after ratting out her gangster boyfriend for popping a cap in a street thug, is forced to go into witness protection as a nun.

Wilkinson also returns to her role as the no-nonsense Mother Superior who’s constantly butting heads with her new undercover charge. Longtime patrons of Chaffin’s no doubt recognize Wilkinson, who’s been a venerable part of The Barn family for three decades. In addition to being Chaffin’s Artistic Director, and co-starring as Mother Superior, Wilkinson is also at the helm of this production of Sister Act as the show’s director. Everett Tarlton is the show’s choreographer and returning once again as musical director for Sister Act is Kelsi Fulton.

Among those returning to the flock on-stage are: Devin Bowles as Curtis, Deloris’ aforementioned murderous beau, Gerold Oliver & Curtis Reed as Curtis’ bumbling henchmen, TJ and Joey, Vicki White as Sister Mary Lazarus, Jenny Norris as Michelle, David Arnold as the Monsignor and Braden Wahl as Ernie.

Of this iteration of Sister Act, Wilkinson exclaimed, “We’re having a blast!.” As for additions to the fold, Wilkinson continued, “There are some new cast members who are rocking it. Maggie Richardson as Sister Mary Robert is off the chain. Fantastic voice and energy, and she’s adorable.”

Other additions to the cast include: Megan Roberts as Sister Mary Patrick, Hallie Long as Sister Mary Bernice, Ang Madaline-Johnson as Sister Mary Martin of Tours, Jenny Wallace as Sister Mary Teresa, Everett Tarlton as Pablo, David Ridley as Sweaty Eddie, Christina Candilora as Tina and ensemble member, Andrew Neal.

A true testament to Chaffin’s storied history with Nashville Theatre, during opening weekend of Sister Act, there were Sold Out performances, with several upcoming performances already selling out as well. Of the reinvigorated interest in Chaffin’s and their newly remodeled facility, Wilkinson said, “We’re so very excited to continue the legacy!”

With that enthusiasm, there’s no doubt Sister Act is divine proof that Chaffin’s is back in the habit. Sister Act continues its run with performances through Saturday, August 25. Each week features Thursday matinee performances at noon (doors open at 11 a.m. with a Box Lunch option), Thursday-Saturday evening performances are at 7:30 p.m. (doors open at 5:30 for dinner service until 7 p.m.). There are also select Sunday matinees at 2 p.m. (doors at noon, with lunch service until 1:30 p.m. Thursday matinee tickets are $28.50 with Box Lunch ($20 Show Only). Evening and Sunday tickets are $62 ($37 Show Only and $18 for Children 12 and under ). Chaffin’s also offers a Small Plate a la carte menu option with separate pricing per item. Group Rates are also available. CLICK HERE or call the box office at 1-800-282-2276 for tickets or more details.

Following Sister Act’s run through August 25, Chaffin’s will present Disney’s Newsies onstage September 20-October 27. CLICK HERE for tickets, as this one’s sure to be another popular show for Chaffin’s. 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.

Renaissance Players’ ‘Little Shop of Horrors’ feeds the need with a gorgeous Twoey, clever doo-wop and blood by the drop; on-stage in Dickson thru Sunday, August 5

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Audrey II and Seymour (Brett Myers) in Renaissance Players’ “Little Shop of Horrors” (all photos by Alaina Deaver/Courtesy Renaissance Players)

I’ve been a fan of all things Little Shop of Horrors since discovering the original campy horror/comedy film, its subsequent stage musical adaptation and the Frank Oz-directed film version of the musical adaptation in late 80s. Full disclosure: I may or may not admit to frequently belting Somewhere That’s Green while listening to my Walkman back in the day. So, as you can imagine, I was both excited and apprehensive to attend opening weekend of Renaissance Players’ take on the musical adaptation. To my delight it’s as bloody enjoyable as I had hoped.

Based on the aforementioned 1960 black comedy horror film, The Little Shop of Horrors, directed by schlock-master Roger Corman that quickly garnered cult status, Little Shop of Horrors dropped the ‘The’ when it got the stage musical treatment by Howard Ashman and Alan Menken in the 80s. That’s right. Before gaining notoriety for such Disney animated musicals as The Little Mermaid, Beauty and the Beast and Aladdin, Menken and Ashman collaborated on a little off-Broadway favorite about nebbish floral assistant Seymour Krelborn, his sweet, albeit dim-witted co-worker crush, Audrey and Audrey II, a bloodthirsty dionaea muscipula hybrid—that’s an amped-up Venus Flytrap for the less horticulturally inclined.

As is often the case with Renaissance Players productions, Little Shop of Horrors is somewhat of a family affair, what with Jon Kopischke directing, wife Valerie Kopischke on-board as the show’s costumer and two of the Kopischke offspring featured in the cast. Luckily for the community of Dickson, TN, they are a talented family. It’s also fortunate that the rest of the cast is also plenty capable in their assigned roles.

Peri Barnhill and Brett Myers as Audrey and Seymour in Renaissance Players’ “Little Shop of Horrors”

To that end, both Brett Myers and Peri Barnhill mark their Renaissance Players acting debuts leading the cast as Seymour and Audrey. For fans of the film, Myers does a fine job channeling popular 80s comedy actor Rick Moranis’ Seymour, charmingly awkward when in the presence of his female co-worker and geekishly stumbling in and out of doorways. Proving he’s adept at physical comedy as he is musical theatre, Myers’ plays the perfect underdog the audience instantly roots for, even in the dark comedy’s stranger moments. To clarify an earlier statement, playing Seymour may be Myers’ acting debut with Renaissance Players, but he’s a familiar face at Renaissance having directed both their productions of Annie and Beauty and the Beast last season. As an actor he’s been in a number of shows elsewhere.

Audrey II and Audrey (Peri Barnhill)

Barnhill’s Audrey, while not as ditsy as the role is often presented, plays her with a cutesiness peppered with just enough seemingly unintentional provocativeness. Add to that Barnhill’s voice and its easy to see why Myers’ Seymour is so smitten, as Audrey, Barnhill gets most of the show’s best-known tunes, including Suddenly Seymour and Somewhere That’s Green. Lyrics in the latter indicate she ‘cooks like Betty Crocker and looks like Donna Reed’. More accurately, in character as Audrey, Barnhill’s portrayal falls somewhere between two Marilyns…Monroe (impish mid-century big screen sex goddess) and Munster (of the cult classic TV sitcom, The Munsters). As mentioned above, I’m a huge fan of this show, and Audrey’s musical numbers in particular, and much to my delight, Barnhill performs these iconic Ashmen/Menken tunes beautifully.

Audrey (Peri Barnhill) and the Doo Wop girls (Tori Gunn, Ashley Birnbaum and Leslie Kopischke)

Those familiar with Little Shop likely remember the three girl singers in the show who are reminiscent of such 60s groups as The Supremes, Martha and the Vandellas, The Shirelles, The Marvelettes and others…well, whitewash them and you’ve got Renaissance Players’ Chiffon, Crystal and Ronnette, three wise-cracking, street-smart girls who not only hang out in the alley, but also provide plenty of doo-wop background harmonies throughout the show. Usually played by three….shall we say…more ethnically diverse actresses, this time around they come across more Pink Ladies than Supremes as played by Tory Gunn, Leslie Kopischke and Ashley Birnbaum. Nothing against these ladies, who do a fine job as the gum-poppin’, finger-snappin’, doo-woppin’ tuneful trio, as I understand a show can only be cast from the actors who audition for the roles.

Seymoour (Brett Myers) and Mr. Mushnik (Alex Kopischke

Another interesting casting choice comes in the form of Alex Kopischke as Mr. Mushnik, the stereotypical jewish florist owner who sees Seymour as a son and the invention of Audrey II as a chance to turn his skid row shop into a money maker. Rather than affect a yiddish dialect, Kopischke presents Muschnik with an overly-exaggerated gravelly voice. I honestly don’t know how he’ll make it through the show’s brief two-week run without causing himself to get horse from speaking that way. Interesting vocal choices aside, Kopischke’s Mushnick is fun to watch, especially when he and Myers attempt a little wink to Fiddler on the Roof choreography during  the Mushnick and Son number midway through Act 1.

Bryce Conner as Orin Scrivello, DDS

Then there’s Bryce Conner, by far the standout performer in the show. Not only is he devilishly hilarious as Orin Scrivello, DDS, Audrey’s laughing-gas-addicted dentist boyfriend, he also steals scene after scene throughout the show, playing a multitude of quick-change single-scene roles. With characters ranging from, a homeless man and a wealthy investor interested in Audrey II to customers and Mrs. Luce, a magazine editor with her eye on Seymour, it becomes simply fun wondering who Conner will show up as next. With what would appear to be a healthy affinity for Steve Martin’s portrayal of the dentist in the film adaptation, Connor hams it up during his (SPOILER ALERT) death by excessive laughing gas. Heck, I personally needed a hit of oxygen after laughing so hard as his prolonged death scene.

Rounding out the cast is Dale McCoy. Like Conner, he too plays more than one role. Primarily the voice of Audrey II, McCoy is first seen as a homeless man in the show’s full cast Skid Row number near the top of the show. Side Note: is it just me? or is Hairspray’s Good Morning Baltimore a rip-off of Skid Row?…but I digress.  A clever bit of foreshadowing, when not voicing the man-hungry plant Audrey Two, affectionally called Twoey by Seymour, McCoy’s homeless guy can be spotted carrying a cardboard sign that reads “Feed Me”, which—no-so-coincidentally— is also the title of McCoy’s big Act 1 number. McCoy is featured again during Act II Suppertime. Unfortunately, McCoy’s vocals, with his booming deep voice, after often overshadowed by the audio of the show’s soundtrack, likely because McCoy is backstage on a single mic, without the benefit of the added mics hanging above the actors who appear on stage.

Audrey II and the cast of “Little Shop of Horrors”

Finally, special mention should be made of the set designed by Robert Cooper and the Audrey II puppets, operated by Jenna Wright. When I inquired about the puppets, Director Jon Kopischke informed me they’re from Swazzle, a Glendale, California puppet company founded by brothers Sean and Patrick Johnson. Not since the mid-2000s national tour have I seen a more professional set, better lighting and such gorgeous Audrey II puppets.

Renaissance Players’ Little Shop of Horrors wraps its two-weekend run this weekend with two shows remaining. First up, Saturday, August 4 at 7 p.m., then a final Sunday matinee on August 5 at 2 p.m. Tickets are $15 for Adults, $10 for Seniors and Students and $5 for Children. Director Kopischke announced via social media on Saturday that Saturday evening’s performance will also offer a Back to School Special 1/2 price tickets for Students at the on-site Box Office. Tickets can also be purchased by calling 615.593.5520, or Click Here to purchase tickets online. Little Shop of Horrors is being presented in the larger auditorium space on the main level of The Renaissance Center (855 TN-46, Dickson, TN 37055 just 45 minutes west of downtown Nashville via 1-40 W).

Up next for Renaissance Players is the musical comedy, Church Basement Ladies. Appropriately, this show will be presented downstairs at The Renaissance Center in their smaller, more intimate Gaslight Dinner Theatre space and will include a pre-show dinner. Tickets are $40/Adults or $35/Seniors. Click Here for tickets or more information. To keep up with Renaissance Players, follow them on Facebook, Twitter and Instagram.

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