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Rapid Fire 20 Q with Lila Toshiko and Jennifer Whitcomb-Oliva; their original two-woman show, ‘Highness’, onstage thru Sunday at Belmont Black Box Theater

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Highness, an original two-character stage collaboration created by, written by and starring Jennifer Whitcomb-Oliva and Lila Toshiko wraps its brief weekend run with a final performance at 6 p.m. on Sunday, July 29 at Belmont’s Black Box Theatre. This latest offering in Actors Bridge Ensemble’s continuing summer series, She Said/She Said: Summer of Women’s Stories examines women in a hierarchal society. Prior to Highness’ debut, Toshiko and Whitcomb-Oliva most recently shared the stage in a production of the gender-flipping Men On Boats. Having known Whitcomb-Oliva for several years and being a huge admirer of her work on stage, I was anxious to chat with both creative forces to get the inside scoop on Highness for my latest edition of Rapid Fire 20 Q, which, incidentally marks the debut of my recurring interview feature for the new JHPEntertainment site.

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RAPID FIRE 20 Q with HIGHNESS CREATORS AND STARS, JENNIFER WHITCOMB-OLIVA and LILA TOSHIKO

Highness collaborators Lila Toshiko and Jennifer Whitcomb-Oliva

JHP: Was Actors Bridge Ensemble’s April production of Men On Boats your first time working together?

LILA TOSHIKO: Actually, Jennifer and I first worked together in the Actors Bridge Performance of Haunted. Men On Boats was our second show together.

JHP: Tell me about working with Lila and continuing the journey with this piece?

JENNIFER WHITCOMB-OLIVA: We are kind of like siblings ourselves. We both love working together, and having the chance to play strong women on stage is always appreciated. Having just played explorers in Men On Boats, the opportunity to keep the theme of women alive, was a plus!

JHP: What about sharing the stage in the past lead you to collaborate on Highness?

LILA TOSHIKO: Jennifer and I would always chat about pieces we were working on individually and when Vali Forrister of Actors Bridge asked us if we wanted to write a piece together we saw it as a perfect time to try a collaboration.

JHP: How did collaborating with Lila Toshiko on this project come into being?

JENNIFER WHITCOMB-OLIVA: We were approached after performing in Actors Bridge Ensemble’s production Men On Boats. We enjoy working together so much, that we jumped at the opportunity to play together again.

JHP: What is Highness about?

JENNIFER WHITCOMB-OLIVA: Highness is re-imagined fairytale about the stigmas that women face in a hierarchal society.

JHP: I understand the two of you play Cinderella’s step-sisters. Who plays Whom?

LILA TOSHIKO: Jennifer Plays Jo, I play Lucy.

JHP: What can you tell me about the characters in Highness?

JENNIFER WHITCOMB-OLIVA: They are the stepsisters from the classic Cinderella fairytale. Lucinda, the youngest more eager stepsister. Josephine, the eldest, and more mature stepsister.

JP: They’re typically portrayed as wicked. Is that the case in Highness?

LILA TOSHIKO: I don’t ever think any character is necessarily wicked. It’s always their backstory that has gotten them to this place and time and I definitely think that’s the case for Jo (Jennifer) and Lucy (Lila). They do what they must do to survive.

JHP: How long did it take for you two to go from concept to finished play?

JENNIFER WHITCOMB-OLIVA: I wouldn’t even call this finished. LOL. But it took us about 6 weeks to get it all together.

JHP: Earlier this week, a behind the scenes glimpse of the two of you in hair and makeup was shared to social media. From the powdered wigs and overly exaggerated clown-white makeup, it would appear the Baroque period was inspiration for the play’s setting. Is there anything else behind the extreme hair/makeup choices?

LILA TOSHIKO: From a character point of view our makeup and hair basically work as a  “Baroque Snapchat filter”. It hides the imperfections of our characters. From an actor point of view…..Jennifer and I just love to play dress up!

JHP: How excited are you to be part of the She Said/She Said series?

JENNIFER WHITCOMB-OLIVA: Extremely excited. This is the first time that I have ever had a chance, to put on a professional writer’s hat. It’s so exciting to try something new, and do something out of the box.

LILA TOSHIKO: It’s super exciting and scary all at the same time! Having your piece shown in front of a live audience is absolutely terrifying but we have been so blessed to have such great support from all the amazing ladies in this series!

JHP: Why do you think it’s a good fit for this grouping of plays?

JENNIFER WHITCOMB-OLIVA: It’s a story of women, told by women, and written by women. Shows different aspects and sides of the very things that we deal with on a day to basis.

JHP: What about exploring the stigmas of women in a hierarchal society appealed to you as a playwright?

LILA TOSHIKO: I think what appealed most to me was how not much has changed. A lot of the expectations of women still remain today.

JHP: Does the Black Box’s space lend itself Well to your vision for Highness?

JENNIFER WHITCOMB-OLIVA: Yes. This is a wonderful space. So much so, with this new script and left over set, we weren’t sure what to do with it. But I love the Belmont Black Box and it’s always nice to play here.

JHP: What were the challenges of writing a two-person play?

LILA TOSHIKO: I think the thing that made me the most nervous about a two person play is there’s no room for error. You two only have each other to count on if anything goes wrong on stage. I’m so glad I got to team up with Jennifer for this process. She made this whole process so easy!

JHP: What do you hope audience come away from Highness having experienced?

JENNIFER WHITCOMB-OLIVA: I hope that they can find something relatable, or open their eyes and ears to seeing/hearing another point of view. Maybe laugh a little!

LILA TOSHIKO: I hope it opens some eyes and encourages people to walk in someone else’s shoes before they make judgments.

JHP: After this weekend’s debut, do you have other plans for Highness?

JENNIFER WHITCOMB-OLIVA: I’m not sure. I’d definitely love to fine tune and tweak. It might be fun to see and play with this idea again.

JHP: Do you hope to collaborate on another project in the near future?

LILA TOSHIKO AND JENNIFER WHITCOMB-OLIVA: Absolutely!

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With that, my conversation with the creators and stars of Highness came to an end, but I’ve a feeling their reign over the Nashville theatre community is just beginning. CLICK HERE to purchase tickets to Highness’ final performance at 6 p.m., Sunday, July 29 at Belmont Black Box Theatre as part of Actors Bridge Ensemble’s continuing summer series, She Said/She Said. CLICK HERE for more information about the series’ final offering, Cynthia Harris’ How to Catch a Flying Woman, directed by Helen Shute-Pettaway, onstage August 3-5.  Be sure to Actors Bridge Ensemble on Facebook, Instagram and Twitter.

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Audience of One and Capitol Players’ ‘West Side Story’ a faithful and entertaining production of one of musical theatre’s most beloved shows

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Since its Broadway debut in 1957, West Side Story—with original book by Arthur Laurents, music by Leonard Bernstein, lyrics by Stephen Sondheim and original choreography by Jerome Robbins—has remained one of American musical theatre’s most treasured works. The subsequent 1961 film adaptation, which won ten of the eleven Oscars for which it was nominated, only further solidified the piece’s rightful place in musical history. Of course the fact that the show itself drew inspiration from William Shakespeare’s Romeo and Juliet hasn’t hurt its iconic status.

Taking that storied history into consideration, when a newer local theatre company bravely includes the legendary show in their current season (the company’s third), you gotta figure they either know they’ve got the talent to back it up, or they’re as starry-eyed as Shakespeare’s ill-fated young lovers. Directed by Audience Of One founder, Angie Dee, whose company is producing the show in collaboration with Capitol Players, with musical direction by Sandy Elliott and Jenny Youngman, it’s quickly evident that it’s the former, with a surprisingly talented cavalcade of young actors paying homage to the beloved musical theatre masterpiece.

I had the opportunity to attend last weekend’s opening night performance and while there were the usual opening night nerves initially present among a few of the cast members, once they got their grove, they played it cool, real cool.

Among the stand-out in the show, appropriately enough, are the two leads, Matt Gunn and Madison Graves. Gunn, who has the looks of a young Justin Timberlake, plays Tony, the golden boy of The Jets, a local gang bent on protecting their turf against the Puerto Rican gang, The Sharks. (Yes, themes of who belongs in this country and opposition to loving who you choose to love are sadly as relevant today as when this play debuted more than a half-century ago).

Mostly because of his own youth or at least his youthful appearance, as I’ve truly no idea how old he is, Gunn presents Tony with an innocence and inexperience that’s quite the welcome change from the usual local productions of the show in which it’s not uncommon for thirty-somethings to be playing the teenage characters. But more than that, when Gunn sings his share of the show’s numerous signature songs like Something’s Coming and Maria, he does so with a convincingly undeniable optimism that frequently accompanies first love. A few vocal missteps on opening night aside, as Gunn continues his training and performing, he’s surely to become a force to be reckoned with in the Nashville theatre community.

Matching Gunn’s on-stage believability scene for scene is his Maria, Madison Graves. While she may in fact be a couple years older than her leading man, (again, I truly have no real concept of her exact age) she plays the lovestruck girl with aplomb. Her dark hair and striking looks and a convincing hispanic accent simply enhancing the idea of Maria. She’s never better than when going note for note alongside Gunn’s Tony for One Hand, One Heart, one of my personal favorite musical moments in the show. Graves also shines in Act 2’s playful I Feel Pretty, a song she shares with a few of Maria’s friends. And if you don’t shed a tear during I Have a Love, I have no love for you.

Speaking of Maria’s friends, Macy Ruggiero plays the outspoken Anita (Rita Moreno’s Tony-winning role in the film, for those whose point of reference that remains). Hands-down my favorite character in the film adaptation and pretty much any production I’ve ever seen of West Side Story, Macy’s Anita does not disappoint, stealing every scene she’s in and perfectly hitting every single note of every song she’s a part of, most notably, the caustic America and the cautionary A Boy Like That. Simply blissful to watch.

Cast as Tony’s womb-to-tomb fellow Jets are Alex Dee, Daven Dee, Tanner Buttery, Brad Thompson, Abe Gibson, Tanner Myers, Jake Yoder and I can’t forget CJ Shandor as Anybodys. Tasked with opening the show with Jet Song, the boys and Anybodys come together to support each other perfectly. That same camaraderie holds true during the Jet’s other all-in, Cool.

Appearing as the Jets Girls are Rebekah White, Hope Beard, Maggie Morgan, Tessa Groves, Keely Chandler and Bently Spicer. With Gracie Youngman, Rachel Rae Poole, Stella London, Sadie Holt, Christina Ray, Emma Bastin, Julia Mowry their counterparts as The Sharks’ Girls.

Aside from Graves’ Maria, Ruggiero’s Anita, the aforementioned I Feel Pretty and Ray’s solo during Somewhere, the girls don’t exactly feature as prominently as the boys in the show. That said, they are indeed a vital part of the show and their presence during the group numbers showcases their individual voices while simultaneously blending for a powerful chorus that magnifies the glory of the famed soundtrack.

Taking on the Jets are Bernardo and the Sharks. Joseph Walker does an admirable job as Bernardo, particularly enjoyable during the show’s technically tricky choreographed fight scenes, under the direction of stage combat choreographer, Katharine Boettcher. Walker’s Bernardo also benefits from his fellow Sharks: Josh Crabtree, Will Deffendall, Derek Fry, Gibson Littlejohn, Patrick Pride, Sam Martin and Daniel Carrasquillo. Perhaps because I’m familiar with Carrasquillo, having seen him in previous productions across town, my eye kept going back to him, especially during the many dance sequences.

On the subject of dance numbers in this production of West Side Story, weeks before I even attended Opening Night, I kept seeing post after post praising the choreography in this show. Much to my delight, choreographer Rebecca Poole and the entire cast completely live up to the hype. Kudos to the whole cast for the obvious hard work and dedication to bringing this often challenging choreo-full piece to the stage in such a lovely way.

As referenced above, while the majority of the cast is younger, there are a few shall we say slightly more seasoned actors cast in the adult roles. Rich Moses plays Doc, the owner of the drugstore that’s home base for Tony and The Jets. While I personally have never seen Doc played with a southern accent—the show takes place in mid-century New York, after all—Moses’ Doc provides the boys with a likable and understanding authority figure. The same can’t be said for Brian Best’s tough-talking detective Schrank. Typically cast as a scene-stealing cut-up, it was a nice surprise to see Best in a grittier, albeit less lovable role. Logan Richardson’s Officer Krupke, the brunt of the boy’s tauntingly hilarious Gee, Officer Krupke might not be playing a lovable character, but judging from the response from eh crowd, the actor himself is a town favorite. Another fan favorite, Evan Reavis who plays Glad Hand, the hammy host of the potentially tense community dance. His every line was met with uproarious laughter and applause, leaving me as a first-timer at the venue feeling a little like a wallflower, as I just wasn’t in on the joke.

If there was one moment in this production that just didn’t flow, it’s the mid-Act 2 Procession and Nightmare. Not necessarily the fault on anyone associated with this production, the ballet-heavy sequence is simply difficult to pull off. For some reason, dream ballets were a staple in 1950s. From Oklahoma’s cornfield ballet and Singin’ In The Rain’s club scene to White Christmas’ oddly mod Choreography sequence, I’ve just never been a fan. These scenes attempt to incorporate stylistic dance moves bridging the gap between classical genres and musical theatre, and for me at least, rarely work. Oh, and did I mention that during this scene on Opening Night, the audience was accidentally privy to someone chatting backstage thanks to an unfortunately live mic issue.

The cast of Audience of One & Capitol Players’ “West Side Story” (photo by Michelle Hill Holt; courtesy AOO)

AOO & Capitol Players’ West Side Story, on stage with three more performances through Saturday, July 28, at the beautifully restored Capitol Theatre, (110 W. Main Street, in nearby Lebanon, TN) will have you believing in true love and have you snapping your fingers like the coolest of Jets…or is that Sharks…Whichever gang you roll with, AOO & Capitol Players’ West Side Story is a must see this weekend. Remaining shows are Friday, July 27 at 7 p.m., a Saturday, July 28 matinee at 1 p.m. and a final Saturday evening performance on the 28th at 7 p.m. Tickets are $20 for Adults and $13 for Senior Citizens and Children ages 3-11. Click Here for tickets. For more about Audience of One Productions, Click Here or follow them on Facebook, Twitter and Instagram.

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Actors Bridge Ensemble and Wild Card Productions team for ‘Marian, or the True Tale of Robin Hood’; final two performances Saturday, July 7 at Belmont Black Box Theatre

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Actors Bridge Ensemble and Wild Card Productions have teamed to present the gender-bending, patriarchy-smashing, Marian, or the True Tale of Robin Hood, at Belmont’s Black Box Theatre, with two final performances Saturday, July 7 at 2 p.m and 7:30 p.m. And what more perfect patriarchal stomping tale to tell, after all, anyone who thinks the idea of smashing the patriarchy is a new concept, might want to carefully consider the medieval tale of Robin Hood and his Merry Men. Their ‘steal from the rich and give to the poor’ ideology has been smashing Prince John and The Sherif of Noddingham since the 15th century, perhaps even earlier.

That said, Adam Szymkowicz’s  Marian, or the True Tale of Robin Hood continues to smash said patriarchy, while simultaneously smashing not only the tale of Robin Hood as we know it, but the money shifting swashbuckler’s identity itself. For you see, ’tis not the hooded hood who’s righting the societal wrongs, but the fair Maid Marian. That’s right, in this new tale, the fabled Robin Hood isn’t a mystery man at all, SHE’s Maid Marian in disguise. What’s more, HER Merry Men, are mostly like-minded women who’ve decreed, let playing damsel be damned.

For Actors Bridge Ensemble and Wild Card Productions’ merry mounting, they’ve enlisted Britt Byrd as director. Those who know Byrd know that when she’s not on-stage or, in this case, behind the scenes, she has a penchant for cosplaying some kick-ass women like The Joker’s minx, Harley Quinn, and Star Wars’ cunning and brave Rey, so what better piece for her to helm than a comedic costume play (with more than a few surprisingly though-provoking subplots) featuring several strong-willed women and more than a few impressively choreographed sword fight scenes?

Cast as Marian/Robin Hood is Melinda Paul. Whether in literature, on the stage, screen or even in one of my personal favorite depictions, Walt Disney’s 1973 animated feature, Robin Hood has always been portrayed with a self-assured cleverness. Paul takes that characteristic and builds on it, playing both Robin and his fairer alter-ego, Marian with equal parts confidence and concern. While she indeed swashbuckles with the best of them, her gentler scenes with Mackenzie Smith’s Little John provide the oft-outlandish comedic tone of the play with some much-appreciated sweetness. Side Note: Who wouldn’t fall for Smith? That kindness. That accent…that kilt.

True to playwright Szymkowicz’s much-touted gender-bending theme, Ashley Wolfe is spectacular as Alanna Dale, who joins Marian/Robin as one the Merry Men using the only slightly modified moniker, Alan. Wolfe, as Alanna/Alan exudes excitability in her quest to join Robin Hood as one of his Merry Men, even though, unbeknownst to her, Robin is Marian. In addition to her role within the plot, Alanna also serves as the play’s narrator, often breaking the fourth wall to address the audience directly and keep them abreast of the seemingly complicated, but quite frankly, simplistic who’s who and what’s what of the plot. Alanna’s keenness to be one ‘one of the guys’ takes an interesting turn when, as Merry Man, Alan, he falls for fellow Merry Man, Will Scarlet (Lakota Jernigan). Again, relying on the gender-bending premise, Will is, in actuality Scarlet, yet another non-distressing damsel. Scenes between Wolfe’s Alanna/Alan and Jernigan’s Will/Scarlet run the gamut from adorably awkward to an interestingly ah-ha-inducing realization that even in medieval times, love is love and always has been.

Just when you think the playwright can’t pierce the heart any more, there’s even a hilarious ‘will they or won’t they’ running subplot between JR Knowles and Gavin Jernigan as two of the Prince’s Guards. Spoiler Alert: You KNOW they will!

Speaking of his Highness, Fred Brown, as Prince John is regal indeed. That is, if inciting royally rambunctious laughter scene after scene is majestic. Playing his grandiose status to the hilt, Brown’s Prince John lands brilliantly somewhere between Hanna Barbera’s Snagglepuss and a libidinous caricature of pretty much any Richard Burton role. His dalliances with Melissa Silengo as Lucy, his favored concubine are quite hilarious.

Other stand-outs include Kate Adams as Lady Shirley and Diego Gomez as Friar Tuck. The first, with a penchant for baubles and sex, the second given to drink and…well…sex. While she’s supposed to beholden to David Wilkerson as the Sheriff of Noddingham, Lady Shirley gets more than her flirt on with the frisky Friar. Licentious doesn’t even being to describe Adams’ and Gomez’s on-stage chemistry as the randy duo.

While Gomez isn’t portraying dual roles on-stage, he is in fact wearing two hats during this production. Not only is his snagging laughs from the audience as Lady Shirley’s boytoy, he also serves behind the scenes as the show’s fight choreographer. Meanwhile the aforementioned Wilkerson plays the villainous Sheriff convincingly, but he too has a hand in the fight scenes as the show’s fight captain/consultant. I mention these two backstage credits because the fight scenes are that good. Whether wrestling, pulling punches or sword fighting, the precision and care executed by each and every cast member deserves accolades.

Making the most of their limited time on stage, the remainder of the cast consists of Alexandra Chopson as the non-gender-conforming Much the Miller’s Son; Blake Hollliday as the playfully androgynous Tommy of No Consequence and Dominique Howse and Matthew Benenson as Sir Lenny and Sir Theo.

Also of note is set design by Paul Gatrell. Belmont’s Black Box Theatre provides the perfect venue for Marian and Gatrell’s set utilizes the space marvelously. I especially appreciated the larger than life arrows plunged into the ground around the corners of the stage, offering an impressionistic interpretation perhaps of the mighty pines of Sherwood Forest.

While I’ve delved into the gender-flip prevalent throughout the show, it should be noted that the playwright, and this production’s director don’t get preachy. It’s a comedy after all and what better way to broaden thought than through humor?

Marian, or the True Tale of Robin Hood wraps its two-week run with a 2 p.m matinee Saturday, July 7 and a final evening performance Saturday at 7:30 p.m. Wild Card Productions announced a special half-price discount for the matinee. Simply use the promo code “Hot-BOGO” when ordering tickets. CLICK HERE for tickets. To keep up with what’s next for Wild Card Productions, follow them on Facebook, Instagram and Twitter. Follow Actor Bridge Ensemble on Facebook and 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, Twitter and Facebook.