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Rapid Fire 20Q with cast of ‘CHICAGO’; National Tour at TPAC’s Jackson Hall January 28- February 2

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Considering the original 1975 Broadway smash hit CHICAGO came to the stage with musical pedigree in hand, thanks to music by John Kander, lyrics by Fred Ebb and an equally engaging book by Ebb and Bob Fosse, it should be no real shock that fifty years later, it’s still one of the most beloved musicals of all time. Proving it’s popularity, the 1996 revival now not only holds the record as Broadway’s longest-running musical revival and the longest running American musical in Broadway history. So naturally I was among the droves of fans excited to hear that the current National Tour is making its way back to Nashville as part of TPAC’s current HCA Healthcare/TriStar Health Broadway at TPAC series.

As the cast and crew of CHICAGO readied for their return to Music City at TPAC’s Jackson Hall January 28-February 2, I recently had the chance to chat up four of the show’s cast. So settle in as CHICAGO stars Taylor Lane, Ellie Roddy, Connor Sullivan and Illy Kirven take the stand for the latest edition of my recurring interview feature, Rapid Fire 20Q.

Rapid Fire 20Q with cast of CHICAGO; National Tour at TPAC’s Jackson Hall January 28- February 2

Rapid Fire with Taylor Lane, Velma Kelly in CHICAGO National Tour

JHPENTERTAINMENT: The current National Tour of the iconic CHICAGO kicked off just a few months ago. What has it been like to step into the role of Velma Kelly thus far?

TAYLOR LANE: Stepping into the role of Velma Kelly has been an absolute thrill. It’s a dream come true to bring such an iconic character to life. I’ve loved diving into her strength, sass, and complexity, and it’s been an incredible challenge to embody her boldness while making her my own.

JHPENTERTAINMENT: As Velma, you are front and center leading the ensemble during the show’s spectacular, high-octane All That Jazz. Of course renowned choreographer Bob Fosse created the moves for the original production, and his style is typically honored by incorporating some Fosse-esque moves. The current national tour is using the equally iconic 1996 revival Ann Reinking choreo with Gregory Butler recreating Reinking’s choreography. Do you have a particular dance-centric moment in the open, or elsewhere in the show, that you absolutely love performing night after night? 

TAYLOR LANE: Absolutely! There’s no better feeling than rising onto the stage, Fosse-walking to center stage, and diving into the intricate, precise moves of All That Jazz with the entire ensemble dancing in perfect unison behind me. The energy is electric, and it’s surreal to perform these legendary dance steps that we had the great honor of learning from Gregory Butler passed down from Ann Reinking. Some of my favorite moves in the show include the ‘pippin’ and ‘the lola’.

JHPENTERTAINMENT: Another choreo-heavy number is I Can’t Do It Alone. I can’t wait to see this company take on this ‘act of desperation’. On the subject of choreography. How much time goes into rehearsing the dance sequences for a show like CHICAGO?

TAYLOR LANE: We rehearsed for three weeks in New York City before heading out on the road. During that time, we learned all the music, choreography, and the book of the show, including lines and staging. Now that we’re performing regularly on tour, our dance captains give us notes to keep the show as sharp and clean as possible. We also have scheduled brush-up rehearsals with our choreographer to ensure we’re staying true to the original intention behind the choreography.

JHPENTERTAINMENT: Some audience members may not realize it, but CHICAGO is actually based on real life murderesses. Belva Gaertner, a thrice-married cabaret singer who murdered her married lover in 1924. Have you done any research on Belva in preparation for the role?

TAYLOR LANE: Yes, I’ve done some research on Belva Gaertner, the real-life inspiration behind Velma Kelly. It’s fascinating to learn about her story and how her persona influenced the character. Understanding the historical context and her bold, unapologetic attitude has helped me bring depth to Velma while still making her my own. It’s incredible to step into a role rooted in real history but reimagined with all the flair and style of CHICAGO.

JHPENTERTAINMENT: Since I’m about to chat with Ellie Roddy, who plays Roxie opposite your Velma, can tell me how it’s been to share the stage with her?

TAYLOR LANE: It’s such an honor to share the stage with the brilliance that is Ellie Roddy. Unlike our characters, who have a rivalry in the show, I absolutely adore her and love performing with her every night. She’s an incredible actress, and I truly enjoy getting to play off her energy onstage. My absolute favorite moment is singing Nowadays and dancing Hot Honey Rag with her at the end of the show. There’s something so special about dancing together as two powerful women—it brings me so much joy.

Rapid Fire with Ellie Roddy, Roxie Hart in  CHICAGO National Tour

JHPENTERTAINMENT:  When I spoke with Taylor Lane, I mentioned the fact that CHICAGO is based on real life murderesses. Your character, Roxie Hart is based on Beulah May Annan, a bookkeeper, who, while arguing with her lover, ‘reached for the gun’. What can you share about your creative process in playing Roxie?

ELLIE RODDY: It really was such a journey, and it’s still ever evolving. I find I continue to learn more and more nuances about this character the more I perform the role! They gave me a lot of freedom, creatively speaking. What’s really unique about CHICAGO is that yes, it is set staging and choreography that’s been on the Broadway stage since 1997, but it’s tailored to each and every individual and caters to their strengths. They play with each person’s individuality for each company member that is joining the CHICAGO family. It was a lot of trial and error for me. I’d try out a bit or try a certain inflection for certain lines, and they’d tweak it or we’d start fresh from the drawing board. It was one of the greatest gifts to receive as an actor, the trial and error with a safe space to play. 

JHPENTERTAINMENT: In the previous question, I alluded to the song We Both Reached for the Gun. This number is one of my favorites in the show–admittedly there are several favorites. I love that Roxie is so bent on stealing the spotlight from Velma as the latest notorious murderess that she’s willing to do whatever her hot shot lawyer Billy Flynn (played by Connor Sullivan) tells her. How much fun have you are you and Connor having in fine-tuning this particular number?

ELLIE RODDY: On a scale of 1-10 I’d say 100. Oh, it is one of my absolute favorite parts in the show. It’s such a smart song and plot line. And not only is it catchy, but Greg Butler’s choreography and specificity with it is brilliant within the story telling aspect of it as well. Everything is so mapped out to a tee, and it’s so much fun to get to do. And to hear the crowd roar for Connor is nothing less than spectacular. 

JHPENTERTAINMENT: Of course Roxie’s big number is, well..Roxie. If you had to rate the level of razzle dazzle in this particular sequence, what would you rate it, and why?

ELLIE RODDY: That is such a great question! Because it’s the first time in the show you really get to see her honesty and her point of view (now whether or not it is entirely the truth is up for debate) but it’s the first time where she gets to be stripped down as herself, vamped by a walking bass and piano line. When rehearsing the monologue into the song, David Hyslop and Greg Butler encouraged me to think of something like “Judy Garland’s one woman show, sitting at the front of the stage, microphone in hand, sharing a story with lots of charm and charisma.” So, with that in mind, it’s not so much flashy razzle dazzle, it’s little sparks and glitters weaved within. It’s more internal, and you get to go on the journey with Roxie and her dream and learn about her WHY. It just happens to be in a little tongue-in-cheek way. 

JHPENTERTAINMENT:  Since the show tells the tale of a group of felonious females, I’m just gonna ask….IF you could get away with murder, how would you choose to pull off the ultimate crime?

ELLIE RODDY: Ooh, I have never been asked this question before! Personally, I do watch some true crime documentaries/tv shows and have listened to some podcasts in the past, because I find the topic so fascinating. IF I could get away with murder, I think I would probably claim an act of self-defense, such as Roxie. Again, emphasis on IF! 

JHPENTERTAINMENT: In spite of the fact that much of the show takes place in the Cook County Jail, CHICAGO features some gorgeous period-authentic 1920’s fashions courtesy six-time Tony-winning costume designer William Ivy Long. What’s your favorite piece of wardrobe in the show?

ELLIE RODDY: I think my favorite piece that I personally wear is the open back dress when I do Roxie. It’s a gorgeous tight fit lace dress with an open back, and I think it’s so sleek and classy, but has a little edge to it. As for the entire show, I think the costume that Faith Jordan Candino (Mona) or Serena Kozusko (Swing/DC) wears! I feel fortunate enough that during our rehearsal process in NYC this past September, I got to go to William Ivey Long Studios in person, and try on a handful of archived costume pieces to find the perfect fit! It was such an honor. 

Rapid Fire with Connor Sullivan, Billy Flynn in National Tour of Chicago

JHPENTERTAINMENT: Who is Billy Flynn to you?

CONNOR SULLIVAN: To me, Billy is a person who loves what he does and works hard to make sure he stays at the top of his field. He views the legal system as a game, and he is fiercely competitive. His goal is to win, and he feels no qualms about doing whatever he needs to in order to make that happen. 

JHPENTERTAINMENT:  Billy Flynn, like most lawyers, comes off as suave, manipulative and driven by the opportunity to gain notoriety and success by painting his murderous clients as victims themselves. Those are a few of Billy’s less-savory characteristics. Have you discovered any redeeming qualities while creating your version of him?

CONNOR SULLIVAN: Billy is passionate about defending his clients and protecting his people. There are aspects of loyalty and verve to him that are, if not redeeming, at least somewhat positive. Once you are on his team, he will do whatever it takes to get you over the finish line with him. 

JHPENTERTAINMENT:  If you weren’t cast as Billy, who would you ‘kill’ to play in the show?

CONNOR SULLIVAN: I would love to play Velma Kelly. She has such a fearless tenacity that I think would be fun to embody every night. However, I could never do the role justice the way that Taylor Lane does – she’s currently playing Velma on our tour! 

JHPENTERTAINMENT:  One of your big numbers as Billy is Razzle Dazzle. It speaks of giving it everything you’ve got to wow the crowd. What is it about your three female co-stars: Taylor, Ellie and illy that will ‘razzle dazzle’ Nashville’s audiences?

CONNOR SULLIVAN: Ellie Roddy is a true triple threat performer. Her acting, vocal, and dance chops all shine through in her performance. Taylor Lane really captures the essence of who Velma is – her performance is self assured, grounded, and edgy. Illy is an incredible vocalist and has one of my favorite numbers in the show. She brings such a powerful presence to the stage and to our company! 

JHPENTERTAINMENT: CHICAGO first opened on Broadway in 1975. The 1996 revival, from which this tour was born, is now the longest running revival in the history of Broadway. What’s it like being part of such a storied show?

CONNOR SULLIVAN: It has been such a huge blessing to be part of a show with the legacy that CHICAGO has. Working with our incredible creative team, some of whom have been with the show since the revival opened in 1996, has been the biggest honor of my career! 

Rapid Fire with Illeana ‘illy’ Kirven, Matron Mama Morton in CHICAGO National Tour

JHPENTERTAINMENT:  As Mama Morton, you get to belt out the show-stopping tune When You’re Good To Mama. It’s just one in a show full of wickedly wonderful tune by Broadway legends Kander and Ebb. How magical is it to perform such iconic tunes?

ILLY KIRVEN: From the time Matron Mama Morton is announced, the crowd is ready for her. Every night I am blessed to take to the stage to sing this incredibly iconic song. It truly feels like a gift. It’s a gift I’ve been given to give, but I also receive great gifts back from each audience, every single show. I’m completely humbled and honored to follow in the footsteps of so many iconic women who have filled Mama’s shoes. It really does feel quite magical. 

JHPENTERTAINMENT: Which leads me to my next question…With such a grand theatrical history, there’s been so many fabulous actresses who’s brought Mama Morton to life. From Mary McCarty who originated the role on Broadway to my pal, Roz Ryan, who’s played her more than any other actress, having appeared both on Broadway in the revival and numerous subsequent tours. Can you reveal just a hint of how you’re making Mama your own?

ILLY KIRVEN: I love Ms. Roz Ryan so much. How amazing that you get to call this legend “friend”. I actually have photos that were printed for me for continuous inspiration with many of the ladies who have portrayed Mama including Ms. Ryan and Ms. McCarty. I did quite a bit of research for the role. Every video or sound byte I could find of various Mama’s singing voices and speaking styles were taken into consideration. I put lots of bits and pieces together of my own in order to let the director mold me into the Mama that works best for this current production. I like to think that I carry parts of all of them within me while putting myself fully into the soul of Mama. I won’t give away any more, but I hope the ladies would appreciate the performance if they were in the audience.

JHPENTERTAINMENT:  CHICAGO first debuted on Broadway in 1975, then was revived in 1996 and is still running both on Broadway and as a tour in both the US and UK. Since you play the prison matron, I’ll ask you…what makes CHICAGO such arresting entertainment?

ILLY KIRVEN: I believe it is such “arresting entertainment” because it completely captivates you from the very first introduction. Even the opening announcements draw you in before one note is played or sung. You can literally see audience members leaning forward and trying not to miss a single moment. 

CHICAGO, the Musical is written so well. Even the words have rhythm. And it’s got all the aspects that bring excitement to live entertainment: greed, corruption, violence, romance, coupled with beautiful performers and incredible song and dance. It is a show that continues to WOW audiences. Whether it’s their first time or their fifth time seeing it, it has a tendency to win fans over who come back over and over again. I think it’ll be around for many years to come. I’d definitely love and appreciate that. 

JHPENTERTAINMENT: When we began chatting, I mentioned Mama’s big number, When You’re Good To Mama, so I gotta ask…what’s it take to be good to Illeana?

ILLY KIRVEN: Honestly, I’m not complicated. I like simple things. I enjoy learning, traveling and exploring. I really love my family, friends, cast, orchestra, crew and people who are genuinely kind.  That’s all. 

JHPENTERTAINMENT:  Alright, one last question for you before this inquisition is over…What do you hope audiences take with them long after the last lights out at the Cook County Jail?

ILLY KIRVEN: I hope the show leads them to want to learn more about the real Roxie, Velma &  other characters in the show. A lot of people do not realize that the musical is based on real life happenings. I hope audiences are inspired to want to know more. 

But mostly, I want our audiences to leave feeling fully entertained. I’d want them to go home energized with some really great music in their hearts for a long time. 

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CHICAGO  TPAC’s Jackson Hall January 28 thru February 2. CLICK HERE for tickets. After their Music City dates, CHICAGO heads to Dayton, OH, Knoxville, TN, College Station, TX and more as the tour continues through June. To follow Chicago on Tour, check out their Official Website, or find them on Facebook, X, Instagram and YouTube.

Up next for Broadway at TPAC, it’s the Music City premiere engagement of the Broadway hit & Juliet, playing Jackson Hall February 11-16. CLICK HERE. You can also follow TPAC on socials: TPAC on Instagram, X, YouTube and Facebook.

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

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

Theatre Review: ‘Once on This Island’ National Tour kicks off in Nashville showering Music City with talent and excitement

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Kyle Ramar Freeman as ‘Asaka’ and Courtnee Carter as ‘Ti Moune’ in the North American Tour of “Once on This Island”. All photo by Joan Marcus

Earlier this week Music City finally began the transition from an unusually long, hot summer to the much-awaited chill of autumn, with even a promise of rain. As if designed by the gods themselves, those elements also seem to be present inside TPAC’s Jackson Hall as Nashville plays host to the premiere performances of the first-ever National Tour of Broadway’s Once on this Island.

Initially taking Broadway by storm (pun fully intended) when it debuted in 1990, Once on This Island tells the tropical island tale of a young girl who sacrifices her very soul to save the life of the boy she feels it is her destiny to meet, protect and love. Based on Rosa Guys’ 1985 novel, My Love, My Love: Or, The Peasant Girl, the story itself is a modern retelling of Hans Christian Andersen’s The Little Mermaid. That said, if you’re expecting a happy-go-lucky mermaid flippin’ her fin with Flounder and friends, you’re thinking the wrong mermaid tale, for Guys’ novel and this theatrical interpretation, in particular, share more in common with the original fairytale than that of the House of Mouse.

Instead, Once on This Island delivers a thought-provoking look at love, lust, dreams, faith and magic while skillfully simultaneously examining the realities of racism, classism and even colorism on a remote Caribbean Island.

Even before the action of the play actually begins, theatre patrons who arrive early are immediately swept away to a tropical oasis. Rather than a lowered curtain obscuring the stage, Once on This Island invites the audience to preview what’s to come by having the set in full view upon entry to the theatre. As cast members buzz about on stage, it seems evident all is not postcard-perfect on the island. Instead, we see islanders picking through trash strewn along the sand—yes, the stage is covered in a fine layer of sand, just one of the actual natural elements that play such a large part in the play. It soon becomes clear that we are witness to the aftermath of a tropical storm, perhaps also a bit of foreshadowing of the eye of the storm at the heart of the piece. 

Further immersing the audience into the mix, a handful of lucky patrons find their seats amongst chairs and risers on the stage itself. This particular aspect of the tour is done to attempt to replicate the show’s recent Broadway revival at Circle in the Square, one of only two Broadway theatres that utilizes a stage that is surrounded on three sides by audience seating.

Directed by Tony-nominated Michael Arden (Spring Awakening), with book and lyrics by Lynn Ahrens and music by Stephen Flaherty (Original Score Tony-winners for Ragtime), with Dane Laffrey’s authentic set design, costumer Clint Ramos’ inventive and colorful wardrobe and a company of accomplished and talented actors, Once on This Island presents a storm-wrecked island complete with ramshackle dwellings, displaced belongings and all, but also present, an obviously tight-knit community, a community of survivors. A community of love and hope for rebuilding the future and surviving the next storm. Heck, in the opening number We Dance reinforces the islander’s optimism when, as they  pick through the wreckage, they proudly sing, “We are dancing just to stay alive”.

Mimi Crossland and Courtnee Carter surrounded by cast members of “Once on This Island”

As the story begins, locals find a young girl alone and frightened the morning after a storm. Young actors Mimi Crossland and Mariama Diop share the role of the Little Girl, alternating performances. On opening night Crossland was seen in the role and she was delightfully charming.

With perhaps a wink to the Hans Cristian Andersen original mermaid lore, the young girl is initially thought to be unable to speak, but that proves to be a falsity as she gleefully joins the islanders as they tell her the tale of Ti Moune, a beautiful dark-skinned orphan girl raised by a poor but loving couple, Tonton Julian (Tony winner, Phillip Boykin) and Mama Euralie (Danielle Lee Greaves). These two present their characters with a lovely balance of guidance and understanding and immeasurable vocal skills, setting the pace for the entire show with powerful, emotional performances.

As the storytellers tell the Little Girl the story, the action transitions to a grown up Ti Moune (Courtnee Carter) as she rescues Daniel Beauhomme(Tyler Hardwick)…and yes, the character’s last name literally translates from the French as ‘beautiful man. Ti Moune meets Daniel, a light-skinned wealthy young man of both French and Caribbean descent who crashes his car on the “wrong side of the island”. Feeling it’s her true destiny, she leaves her family to journey to the other side of the island to return him to his home and nurse him back to health. Some time later, he lapses into a coma and here’s where the story veers a bit from the mermaid source material. Instead of our heroine making a deal with a sea witch in exchange for her beautiful voice, Ti Moune makes a deal with Papa Ge, the Demon God of death (played by former American Idol favorite, Tamyra Gray) to trade her life for her beloved’s. That plot twist, and its subsequent effects bring a bit of Romeo and Juliet vibe to the piece.

Gray’s Papa Ge isn’t the only god involved in the story. There’s also Erzulie, the Goddess of Love, played by Cassondra James; Jahmaul Bakare’s Agwe, the God of Water and Asaka, Mother Earth as presented by Kyle Ramar Freeman. As their character names and casting might infer, Gods, Goddesses and Demons aren’t restrained by antiquated ideals of gender norms, but rather representational of a fluidity mere mortals are finally just beginning to understand. Case in point, when the original production of Once on This Island debuted on Broadway in 1990, Papa Ge was played by a male actor. Since it’s revival, the role has been played by female actors. Meanwhile, the reverse is true for Asaka. Initially the role was portrayed by a female, but since the revival, it’s been less gender specific. Just another lesson to be learned during your visit on the island.

While the story itself is often-times familiar, both in the Little Mermaid sense, and the age-old young girl sacrificing everything for a man sense, it’s the vibrancy of the music, paired with Camille A. Brown’s energetic and emotional choreography and the powerhouse performances of the entire cast that, much like the gods who are represented, breath fire, life and air into the piece.

Carter is blissfully perfect as Ti Moune. With a voice fitting the oft-referenced mermaid, regardless of your views of perpetuated stereotype of the woman sacrificing all for the man she loves, Carter’s performance is excellently layered and heartfelt. The highpoint of her performance, and dare I say, the entire play, Ti Moune’s Dance, during which she boldly arrives to a proper cotillion dressed in a flowing island dress in her character’s signature red and performs an unabashedly passionate dance of her native culture, at once shocking and enthralling her more refined critics and onlookers, who by no coincidence of the show’s costumer, are dressed in regal, yet blandly off-white finery. I can’t be the only one who was reminded of Bette Davis’ red dress moment in the classic film Jezebel during this breathtaking scene.

Members of the company of “Once on This Island”

The Gods of Once on This Island also shine in their individual ways. Gray presents Papa Ge with a strength and presences to be reckoned with. Powerful yet perfectly sinister, her rich vocals are the stuff of which fear is made. Shoot, even her costume is partially fashioned from what appears to be caution tape, a literal warning of things to come. Bakare, aided by a Triton-esque beard fashioned from shredded fabric portrays the gentleness of the water with an ever-present ability to literally turn the tide at any moment. James’ Erzulie, complete in a flowing gown and royal headpiece, is majestic and beautiful with a voice to match. Freeman, who somehow reminds me of a gentler Evilene from The Wiz, portrays a loving Earth Mother with flair and feistiness. Gotta love a Goddess who can make a gown out of a discarded floral tablecloth. 

Credit where credit is due, t’s the midway showstopper Mama Will Provide and Ti Moune’s aforementioned dance that will linger in the audience’s mind long after the sands of time have washed away the rest of Once on This Island. 

While the show doesn’t exactly offer a traditional Happy Ending, the playwrights do offer up a simply divine finale as the entire ensemble of Once on this Islandsings the joyous finale Why We Tell the Story. It’s the perfect spirit-rejuvenating number that, in spite of the less-than storybook ending, allows the audience to leave the audience with the rhythm of the island in their bodies and the positivity of love and faith on their minds.

Once on This Island wraps its opening week at TPAC’s Jackson Hall as performances continue through the weekend with an evening performance Friday October 18, as well as matinee and evening performances Saturday and Sunday, October 19 & 20 before heading out on the road as this debut National Tour continues. CLICK HERE for tickets to this week’s remaining Nashville performances.

Following their Music City dates, Once on This Island continues their National Tour with upcoming dates across the US through June 2020. CLICK HERE to see when the show is coming to a theatre near you or follow Once on This Island on Facebook, Instagram, YouTube and Twitter.

TPAC’s 2019/2020 Broadway Season continues with The SpongeBob Musical November 5-10, CATS November 19-24, Hamilton December 31-January 19, My Fair Lady February 4-9, Blue Man Group February 11-16, Jesus Christ Superstar March 3-8, The Color Purple March 27-29, Escape to Margaritaville May 5-10m Summer: The Donna Summer Musical May 26-31 and Charlie and the Chocolate Factory June 9-14. CLICK HERE for more.

To keep up with what’s happening at TPAC, follow them on Facebook, Twitter and Instagram as well.

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.

Theatre Review: ‘Book of Mormon’ still on a decidedly non-pc mission of inappropriate laughter: National Tour continues at TPAC thru Sunday

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When you think about it, 2011 doesn’t seem like such a long time ago. After all, how different could the world be in just eight years, right? Oh, wait…In that time, we’ve gone from our first black president to, well, the current administration. Some would also argue that we’ve gone from a society of speaking our minds to holding out tongues for fear of upsetting someone’s sensitivities. While kindness and forethought are indeed a good thing, I’m frequently of the opinion that it’s ok to laugh, as long as you’re laughing with, and not completely laughing at. Thankfully, The Book of Mormon—on stage in Nashville at TPAC’s Jackson Hall thru Sunday, March 17—seems to agree as it is just as bawdy, offensive, riotous and, yes, thought-provoking as when it debuted on Broadway some eight years ago.

Nine-time Tony-award winning musical, The Book of Mormon comes courtesy the genius, if not slightly twisted minds of South Park creators Trey Parker and Matt Stone and Robert Lopez (Avenue Q). The Book of Mormon (for those who’ve must have been hiding under golden plates buried on a hill in Manchester, New York) is the tale of a group of young Latter Day Saints missionaries assigned to a small village in Africa plagued by AIDS and a drug lord with a name I can’t bring myself to put into print.

Often described as ungodly, profane, crude…it is certainly all of those things, but at its core, The Book of Mormon is a story about friendship, growth and belief. Belief in the unknown (and let’s face it, the unproven), belief in the good of your fellow man, and most importantly, belief in yourself…all set to bawdily lyrical tunes and some fabulous choreography.

Earlier this week, as I attended media night and enjoyed the show for a third time—having had the great fortune of seeing it during both of its previous tours through Music City, I was finally able to find a balance between the oft shocking humor and the sweeter aspects noted above. Part of this newfound enjoyment came courtesy the chanced proximity to the slightly inebriated, but undeniably enthusiastic foursome who hadn’t yet bore witness to the glory that is The Book of Mormon, who just so happened to be seated next to me. Their exclamations of “Oh My God!” and “I can’t believe they just said that” reminded me of the first time I saw The Book of Mormon, or for that matter, the South Park movie. Both times, I thought to myself, “If the world ends right now, you’re going straight to hell right alongside everyone in this theatre.” Remember, I told you it’s THAT ballsy.

While the show is exactly the same, save a few updated references to Nikki Minaj and Neil Patrick Harris, this time around, something different clicked for me. The Book of Mormon is the All in the Family of this generation. For those old enough to remember, when Archie Bunker ruled the television airwaves, audiences were shocked week after week at what came out of the bigoted New York character’s mouth, courtesy the remarkable acting of Carroll O’Connor and the show’s creator, Norman Lear, but it was that mirror to society that somehow magically educated the masses through humor. If you’ll let it, The Book of Mormon does the exact same thing.

While the show—nor the wildly inappropriate humor—hasn’t changed, the cast has, allowing even the most jaded BOM fans like myself yet another chance to see it for the first time, as the current cast simultaneously embody the expected aspects of their respective characters, while breathing new life into them with their own talent and presence.

Tobin as Elder Price (photo courtesy Tobin’s Instagram)

This time around, Elder Price is being played by Liam Tobin, who originally joined the tour a year ago understudying the lead. Nashville audiences might remember Tobin from his stint as Gerry Goffin in Beautiful: The Carole King Musical, which played TPAC two seasons ago. As Elder Price, Tobin brings the charm and wholesomeness. HIs boy-next-door looks matched only by his Broadway-belting vocal skills. Tobin’s enigmatic presence, even when the character’s faith and friendship is tested, shines through. You gotta love a missionary who dreams of being assigned to Orlando who instead ends up in the wilds of Africa.

Pierson as Elder Cunningham

Mandated by the Church of Jesus Christ of Latter Day Saints, of course Elder Price has a companion. Enter Elder Cunningham, blissfully, nerdily, enthusiastically played by Conner Peirson. Peirson’s comedic timing and knock-em-outta-the-park vocal skills harken images of a young Jack Black. Among his finer moments, Peirson as a relationship developed with Kayla Pecchioni’s Nabulugi, a young African villager who’s name is bastardized throughout to hilarious result.

Other notable members of the cast include Ron Bohmer (who, if you check out my Rapid Fire 20 Q, you’ll see also has ties to Nashville), as Elder Price’s Dad, as well as Mormon founding father, Joseph Smith. Every member of the cast, from Monica L. Patton’s brief but unforgettable turn as Mrs. Brown and Corey Jones as The General to the entire ensemble bring energy, talent and humor coming forth so seamlessly that it keeps the show moving so quickly that you barely have time to recover from one uproarious moment to the next.

While there’s always been resistance to The Book of Mormon and those who’s cast it out as vile and unredeemable, let’s not forget…Broadway has always had a history of pushing buttons while opening eyes. From Shakespeare’s violent Titus Andronicus to the nudity and free-love of Hair, and in more recent years, the heart wrenching truths of Angels in America, theatre has frequently shocked to inform, to entertain and educate. BOM is just one of the latest to brilliantly do all of the above.

The best part…it does all this while presenting all the elements of a traditional theatre. While the laughs are often nervous with embarrassment, they’re genuine guttural guffaws. Then there’s the musical numbers. From the start, the appropriately titled Hello, arguably the show’s most well-known number, performed by our two leads and the ensemble of Mormon missionaries, starts things off on a hilariously high note. (This seems as good a time to mention a brief aside. When I chatted with Tobin recently for the latest of my recurring Rapid Fire 20 Q interview segments, I asked if actual Mormon missionaries still showed up outside the theatres handing out the real Book of Mormon. He confirmed and noted that it was more unusual if they didn’t. Much to my delight, as I got out of my car in front of TPAC earlier this week, there were indeed two mormon missionaries, dressed in black slacks, with short-sleeve white dress shirts, black ties and name plates above their left pocket handing out their religious materials. As I passed by I made eye contact with the Elder closest to me and said a quick “Hi”. To my amusement, rather that the expected “Hello”, he smiled and kindly replied, “Howdy”…well, we ARE in Nashville after all.)

Back to the show, in addition to the show’s opening Hello, The Book of Mormon is packed with by the book…the Broadway book that is…showtunes, musical numbers and some fabulous choreography. You and Me (But Mostly Me) checks off the comical duet box, Hasa Diga Eebowai, the OMG, they’re actually singing a song about this? shock value box. Then there’s Turn it Off, the show’s tap-tactic all-in mid-Act 1 wowser.

Among Act 2’s most memorable….Spooky Mormon Hell Dream, pretty much self-explanatory, complete with prerequisite effects and puppetry, not to mention nods to pop culture evils such as Hitler, Dammer and even Jonnie Cochran. I Believe follows and is the show’s unlikely anthemic entry showcasing once again Tobin’s leading man vocals and charisma. Not to be outdone, Peirson and Pechioni shine during Baptise Me, a song about Elder Cunningham baptizing Nabulungi with so much sexual innuendo you just might need a cold shower afterwards. Midway through Act 2, I Am Africa is yet another showstopper with the entire company of missionaries embracing their newfound, albeit totally appropriated, heritage. Simply, awkwardly, hilariously brilliant.

The Book of Mormon continues its Nashville tour dates at TPAC’s Jackson Hall through Sunday, March 17 with Friday and Saturday evening performances at 8 p.m., matinee performances on Saturday at 2p.m. and Sunday at 1 p.m. with a final evening performance Sunday at 6:30p.m. Tickets range in price from $45 to $115. CLICK HERE for tickets.

Just last week, TPAC announced a special ticket lottery for all Nashville performances. For each performance, a limited number of tickets will be available for only $25. To enter the ticket lottery, patrons must arrive at the box office (just inside TPAC street level entrance under the marquee at Deaderick and 6th Ave) two and a half hours before showtime of the performance they hope to attend. Upon arrival at the box office, patrons will write their name and the number of tickets (one or two tickets per entrant). Two hours before curtain, a limited number of names will be drawn for tickets in the first two rows of the Orchestra, thus allowing the winning lottery participants to purchase those tickets at the special $25 price!

Following the Nashville dates, The Book of Mormon continues across the country with stops from Grand Rapids to Salt Lake City through August. For tickets or more information about the tour, CLICK HERE. You can also follow the tour on Facebook, Twitter and Instagram.

Next up at TPAC, as their Broadway series continues is the national tour of Anastasia, on stage at Jackson Hall, March 19-24 CLICK HERE for tickets or more information. You can also discover all the latest from TPAC by checking them out online or on Facebook, Instagram and Twitter.

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

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.

Rapid Fire 20 Q with cast members from ‘The Play That Goes Wrong’; National Tour at TPAC October 9-14

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The cast of ‘The Play That Goes Wrong’; National Tour at TPAC’s Jackson Hall beginning Tuesday (photo: Jeremy Daniel)

Typically, in order to see a Broadway show during its debut run, audiences must make the trek to New York City, but that’s not exactly the case with Broadway’s current farcical hit, The Play That Goes Wrong. While the Broadway production continues its premiere run through January of next year, a concurrent production of the show recently set out on a National Tour. As the touring company prepared to head to TPAC’s Jackson Hall for the Nashville leg of the tour, I recently had an opportunity to chat with two members of the cast for the latest installment of my recurring interview feature, Rapid Fire 20 Q. While researching to chat with stars Scott Cote and Angela Grovey, I discovered they each had ties to Music City, both having played Nashville while part of previous national touring companies, and one having even co-starred with country music’s favorite daughter. So, while the Play might go wrong, I knew the interviews would go just right.

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Angela Grovey and Scott Cote during one of many side-splitting scenes in ‘The Play That Goes Wrong’ (Photo: Jeremy Daniel)

RAPID FIRE 20 Q WITH THE PLAY THAT GOES WRONG STARS SCOTT COTE AND ANGELA GROVEY

RAPID FIRE WITH ANGELA GROVEY, ANNIE IN THE PLAY THAT GOES WRONG

Angela Grovey

JONATHAN H. PINKERTON: Alright, I just have to start by asking about your recent Broadway stint in Jimmy Buffett’s Escape to Margaritaville since you shared the stage with Eric Petersen in that show. I met Eric when he toured with Shrek. What’s your favorite memory of being on Broadway in that show?

 ANGELA GROVEY: I had a blast doing Escape to Margaritaville and singing some of Jimmy’s music. Occasionally Jimmy would join us during bows and we’d watch the crowd go NUTS. On our closing night Jimmy joined us for bows and sang to the crowd and then did Lovely Cruise for the company of Escape to Margaritaville. It was very special because that moment reflected the love and respect we each shared for each other and the show. It’s something I will cherish always.

JHP: You know, we have a Jimmy Buffett’s Margaritaville restaurant in Nashville, located on our Broadway (instead of theatres, we have honky-tonks, go figure!)…if time permits, do you plan to sight-see while in Music City?

ANGELA GROVEY: I am a HUGE fan of the music scene in Nashville and I’m a southern girl so I will, without question, be visiting some places down Broadway and Music Row. One of the gifts that comes with touring is we get to be a working tourist for a week. I’m looking forward to my week in Nashville.

JHP: Speaking of Broadway, The Play That Goes Wrong is simultaneously playing the other Broadway and on tour. How exciting to be offering folks across the country the chance to see a show that’s still enjoying its initial Broadway run?

ANGELA GROVEY: I’m thrilled that a PLAY is touring and we get to be the “first” play for people.
This play is HILARIOUS and to be able to be spreading laughter around this country warms my heart. 

Angela Grovey as Annie in ‘The Play That Goes Wrong’ (Photo: Jeremy Daniel)

JHP: What can you tell me about Annie?

ANGELA GROVEY: Annie is the American stage manager of the Drama Society. It’s her 3rd year working with the company and looks forward to her time with this particular company. Annie is in charge of all things that happen on the stage and takes great joy is being the best at any job she does.

JHP: I understand there’s a little All About Eve element between Annie and Sandra, the female lead. How much fun is that rivalry to play?

ANGELA GROVEY: It’s great fun!!! We as actors are always looking for the “conflict” and Annie’s “conflict” switches mid show to Sandra.

JHP: Jamie Ann Romero plays Sandra. While you’ve only just started the tour, how have you ladies bonded offstage thus far?

ANGELA GROVEY: Jamie and I happen to have the same agents in New York City so we have had many opportunities to get to know each other professionally and on a personal level. We recently got manicures and pedicures together in Greenville and decided that we MUST make this a tradition. I know we just started the tour but it was very apparent while rehearsing that we have an AMAZING group of humans on this tour.

JHP: Has playing a stage manager given you a deeper appreciation for The Play That Goes Wrong’s actual crew?

ANGELA GROVEY: My first tour with Disney’s Newsies reminded me that the actors are only one part of the puzzle that must come together to put on a show. Fun fact- my production stage manager from Newsies is my production stage manager for The Play That Goes Wrong. I have carried that respect with me into my life practices. The Play That Goes Wrong Tour is top notch. And—especially with this show—we as actors could not do what we do without our crew.

JHP: Seeing as how The Play That Goes Wrong is a farce, and a theatrical show within a show farce at that, you and the rest of the cast are tasked with intentionally over-acting and basically playing bad actors. How fun/challenging is that?

ANGELA GROVEY: I have a very fun challenge with Annie because i am an actor playing a stage manager, forced into a stage managers WORST nightmare.

JHP: The set for The Play That Goes Wrong, designed by Nigel Hook, is Tony-winning. What’s your favorite aspect of the set?

ANGELA GROVEY: I can’t say I have just one favorite. The design is well deserving of  the Tony Award. When I first saw the show in NYC I was shocked at the set, now I get to see how it all works and I’m still amazed.

JHP: Because I’m a total dork, when I saw the cast list for The Play That Goes Wrong, I recognized you from your appearance in the 2012 film, Joyful Noise, which starred Queen Latifah and Dolly…so beloved here in Music City, she needs no last name. Gonna see Dolly while you’re in Nashville?

ANGELA GROVEY: I will definitely reach out and say ‘Hello’ while I’m in Nashville, but Dolly is one of the hardest working women, so I don’t know if I’ll see her. But if I do see her I’ll try not to gasp as loudly as I did when I first met her.

RAPID FIRE WITH SCOTT COTE, DENNIS IN THE PLAY THAT GOES WRONG

Scott Cote

JONATHAN H. PINKERTON: If memory serves me, weren’t you just in Nashville about a year ago while touring with Something Rotten?
SCOTT COTE: Yes, that is correct. I played Brother Jeremiah in that production.

JHP: Since you’ve been in Nashville before, anything you plan to revisit and share about Music City with your fellow The Play That Goes Wrong cast mates?
SCOTT COTE: I plan to visit the Country Music Hall of Fame again. I also loved strolling down Broadway and hearing the music from all the different honky tonks.

JHP: From what I know about The Play That Goes Wrong, it’s a bit of a mashup between Monty Python-esque outrageous humor, with a good dose of Sherlock Holmes mystery thrown in. How else would you describe the show?
SCOTT COTE: That is exactly how I describe the show to people so you hit the nail right on the head. People should just plan on laughing for 2 hours from start to finish.

JHP: I’ve also heard comparisons (at least the intended mystery aspect of the play within the play, to a good ole Agatha Christie. Just so happens, I just returned from being on holiday in Portugal. While away, I re-read Christie’s Hercule Poirot mystery, Death in The Clouds as I was composing questions for this interview. Were you ever a fan of books or film adaptations by Sir Arthur Conan Doyle or Christie?
SCOTT COTE: Oh yes. In high school we read Sherlock Holmes and And Then There Were None. I enjoy a good mystery novel from time to time.

Ned Noyes and Scott Cote in ‘The Play That Goes Wrong’ (Photo: Jeremy Daniel)

JHP: Seeming to draw inspiration from, or—pay homage to—Noises Off, The Play That Goes Wrong is a play within a play. Given that, you’re cast not only as Dennis, a bit of an amateur thespian, but, in the murder mystery, the butler. What are your favorite characteristics of Dennis…and his portrayal of the butler?
SCOTT COTE: I love his earnestness and his wanting to do a good job so the rest of the cast will like him. When he does fail at something, it really bothers him and he thinks he’s ruined the play. It’s fun to try and play that on stage every night.

JHP: Simultaneously on Broadway and on tour, among the show’s producers is JJ Abrams…so, how are you plotting to parlay that into future acting roles for the popular producer?
SCOTT COTE: I’m just going to keep doing my job and hopefully JJ will have one of his many friends in the business come to see the show and want to use me in one of their future productions. I’ll gladly play a Storm Trooper in the next installment of Star Wars!!

JHP: The National Tour only just launched in September. What’s the energy like being part of a brand new touring company?
SCOTT COTE: The energy level is pretty high right now. We are all having a great time. For a few people in the cast this is their first time touring so it’s been fun teaching them the ropes of touring. Where to eat, what to do, what hotel to stay in. etc.

JHP: Based in what you remember from having played Nashville’s TPAC last year, do you think Music City audiences will embrace The Play That Goes Wrong?
SCOTT COTE: I sure hope they do. If they loved Something Rotten last year, I think they will equally love this play. Its 2 hours of non stop laughter!! Who wouldn’t like that?

JHP: Matt DiCarlo is directing the touring production. What he like as a director?
SCOTT COTE: He’s a great collaborator! He knows this show like that back of his hand, but he is so willing and open to our ideas for our characters. He would let us play and find things and then would just tighten moments that needed tightening. He trusts us all.

JHP: Dang…One last question…OK, so you play the butler in a murder mystery…just between us…did the butler do it?
SCOTT COTE: Well you’ll just have to come see the show to found that out. 🙂

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‘The Play That Goes Wrong’; at TPAC October 9-14 (Photo: Jeremy Daniel)

While Scott remained mum about whodunnit, Nashville audiences will have eight chances to figure  it out—and have a hilarious time doing so—when The Play That Goes Wrong sets up shop at TPAC’s Jackson Hall with shows from Tuesday, October 9-Sunday, October 14. Evening performances Tuesday-Thursday begin at 7:30 p.m. with 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.