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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rapid Fire 20Q with dancers Jade Primicias and Seah Hagan, on tour now with MOMIX Alice; at TPAC January 27-28

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MOMIX Alice, an evening of dance that puts a new spin on characters first introduced in Lewis Carroll’s beloved tales of a young inquisitive girl’s adventures in Wonderland is headed to TPAC’s Polk Theatre for a limited two-night engagement Friday and Saturday, January 27 and 28. Highlighted by theatricality, mood-setting lighting, gorgeous costumes, ever-morphing props and sets, the current tour marks MOMIX Alice‘s Music City premiere. As the company prepared for their Nashville debut, I had the opportunity to chat with two of featured dancers, Jade Primicias and Sean Hagan for my the latest installment in my recurring interview feature, Rapid Fire 20Q.

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RAPID FIRE 20Q WITH MOMIX ALICE’s JADE PRIMICIAS AND SEAH HAGAN

RAPID FIRE WITH JADE PRIMICIAS

JHPENTERTAINMENT: Thanks so much for taking the time to chat with me. A huge fan of everything Alice, I’m excited about the show. Before we get into specifics about the show itself, let’s chat a bit about your dance history. How old were you when you discovered dance?

JADE PRIMICIAS: I think dance actually discovered me. Some of my earliest memories involve prancing along with the dancers on TV, or giving my family little recitals in our living room. Like so many of us, I’ve been a dancer since I was in the womb.

JHPENTERTAINMENT: Did you take lessons from an early age?

JADE PRIMICIAS: My first dance lesson was at age five, thanks to two women who saw me dancing at a Spice Girls concert. They asked my parents if I was enrolled in classes, then assured them that I should be.

JHPENTERTAINMENT: What’s the biggest misconception about dancers?

JADE PRIMICIAS: Previously, I would have answered that some people hold the misconception that dancers aren’t intellectual or chose the arts because of an inability to achieve something more lucrative or “difficult,” however, as my career has progressed I’ve learned that it runs even deeper than that. There exists, unfortunately, a general disrespect or overall ignorance regarding the value of the arts as a tenable career field. Many people disregard or don’t understand its existence as a profession and rather view it as more of a hobby, more commonly in the South, especially further from metropolitan areas. This could, of course, be attributed to the lack of value placed on dance and arts education in public schools as well as the inaccessibility of funding for the arts, rendering artists and dance companies less able to perform in lower income or otherwise underserved communities.

As valedictorian of my high school class and a University Honors College graduate, I’m proud to say that dancers are overwhelmingly intelligent, hard workers who experience both the joy and suffering that come with many other valid careers. The arts are incredibly important to our culture and to sustaining human life, and I’m incredibly thankful to be able to serve my community by sharing my art with audiences around the world.

JHPENTERTAINMENT: When did you realize you could have a thriving career in dance?

JADE PRIMICIAS: I don’t think I ever came to that realization, to be honest. Perhaps it was towards the end of my senior year of high school, when I had just accepted a scholarship geared toward women entering the field of engineering; I had my future planned out ahead of me, but I realized that it meant giving up my truest passions: what I knew could make the biggest impact. I changed my plans and double majored in Dance and Creative Writing instead, and I never looked back. I didn’t know if a successful career would come of it, or anything for that matter– I just knew I couldn’t leave it behind. Simultaneously, much of my success is rooted in privilege. It’s often quite expensive to engage in the arts, and I’m very lucky to have had a strong familial support system, reliable housing, and the ability to work multiple jobs while pursuing my dance career.

JHPENTERTAINMENT: While researching to chat with you, I discovered you’ve not only got ties to Tennessee, but also neighboring Kentucky. What can you tell me about your southern ties, and will playing Nashville’s TPAC afford you the chance to reconnect with friends and former colleagues?

JADE PRIMICIAS: It absolutely will! I was born, raised, and educated in Western Kentucky and currently live in Memphis, although with our tour schedule I’m usually away from home. Performing in Nashville provides the opportunity for many of my communities, friends, and loved ones to come together to see the show that is so near and dear to my heart, many of whom haven’t seen me dance since I was a kid– or at all. It will be an emotional weekend of performances for sure!

JHPENTERTAINMENT: For those not familiar, how would you describe MOMIX in three words?

JADE PRIMICIAS: Look, no hands!

JHPENTERTAINMENT: How did your association with MOMIX begin?

JADE PRIMICIAS: I first heard about MOMIX while training with Pilobolus, the plant from which MOMIX was propagated, following their performance in Germantown, Tennessee. They were describing companies who created work along a similar vein, using strong partnering and improvisational techniques, and my interest was piqued. Two years later, I saw MOMIX on the same stage where I’d also seen Pilobolus for the first time, and I knew that I’d found my people– or in that show’s case, bugs. After an incredible stroke of fate, I saw them for a second time the following year and met up with one of the dancers after the show. I teared up as I expressed how much I loved the shows and saw myself in the work, and the dancer gave me the most mind-blowing piece of advice yet: just audition. As a small town, Kentucky girl, this possibility had never occurred to me. With more luck and the support of the incredible Memphis dance community, I made my way up to Connecticut (leaving during bows for a Tennessee Ballet Theater show I was directing with Erin Walter) to catch the last flight to New York on a Sunday night, and the rest is history.

JHPENTERTAINMENT: Fans of Lewis Carroll‘s Alice character are loyal indeed. I can attest to that fact as one of my dearest friends is absolutely Alice obsessed. Considering the fandom, in what ways does MOMIX Alice honor Carroll’s beloved characters?

JADE PRIMICIAS: Our Artistic Director Moses Pendleton did his due diligence in researching Alice, sharing fun facts about Lewis Carroll and his inspiration for the famous stories along the way and even incorporating the “original” Alice into the show. Moses was sure to include the timeless White Rabbit, the hypnotic Caterpillar, Mad Hatter(s), the incorrigible Queen of Hearts, chaotic playing cards, red roses, and of course Alice herself, but we invited some of the lesser known characters into the mix as well, giving the show an even more authentic charm. The Cheshire Cat, for example, appears and disappears perhaps before Alice sees it herself… Fans will recognize even more obscure references, such as in the section of the show entitled “The Tweedles” which pays homage to both its namesake and to the “Pig and Pepper” scene from the book, during which a baby that Alice is holding turns into a pig. The Mock Turtle even makes an appearance, singing her lament. Finally, bonus points go to those who can identify the song, or poem, to which the lobsters perform their quadrille!

JHPENTERTAINMENT: That covers the original nods, so, on the flip-side…are there elements in this retelling that are unique and new that you yourself particularly enjoy?

JADE PRIMICIAS: Moses loves wordplay, and of course it’s MOMIX tradition to bend the rules of reality. In addition to growing taller and smaller, in our version, Alice multiplies! These Alices appear and disappear throughout the show, taking the audience deeper into wonderland as we fall again and again into the rabbit hole–or perhaps into chimneys—in Lewis Carroll’s imagination. Another more imaginative section of the show lies within the Garden of Molar Bears & Other Creatures… audiences will stumble upon characters that Alice may not have spied in the book, but that must have spied-her. One of my favorite curious creatures is what we call Datura, named for the beautiful yet deadly nightshade flower it sometimes resembles. Truly, Lewis Carroll lulls Alice into a whimsical dream-state starting from the show’s opening piece, where he guides her into wonderland and beyond. Every time I “fall asleep” on that ladder, I wake up and I am Alice, excited to take the audience with me on the adventure of a lifetime.

RAPID FIRE WITH SEAH HAGAN

JHPENTERTAINMENT: While researching to chat with you I discovered you’re a third-generation dancer, so I’m guessing if the phrase “Born to dance” was ever true, it was true in your case. Would you agree?

SEAH HAGAN: Dance has been a part of my life since I can remember… I grew up in the theatre and watching, living, and breathing dance. So more than born to dance I was “born into dance”!

JHPENTERTAINMENT: On the subject of your family’s connection to dance, you even studied under both your parents, Natalia Botha and Charles Hagan at Southern Academy of Ballet Arts. What’s more challenging, being a student of your parents in dance, or in life?

SEAH HAGAN: My parents have always been extremely supportive of me both inside and outside of the studio. They have been my toughest critics but also my biggest fans throughout my life. To have professional dancer/teacher parents and grand parents gave me a unique upbringing. One I am very grateful to have had. Not everyone understands the rigors of a professional dance career, the training it takes to get there, and the sacrifices made, so to have your parents in your corner though all of that is a one-of-a-kind sort of support that I am beyond grateful. Also, because they know me so well, they are always sure of what I am capable of so there is always room to be pushed further when necessary and also when to be nurtured in the moments needed.

JHPENTERTAINMENT: What’s the most valuable lesson you’ve learned from your parents? Again, you can answer this as it relates to dance, or as it relates to life itself…

SEAH HAGAN: My parents taught me the value of hard work. It doesn’t go unnoticed even if you think it is. Someone is always watching and taking note of the space so always put your best foot forward no matter the situation.

JHPENTERTAINMENT: When and how did your association with MOMIX begin?

SEAH HAGAN: My parents trained another dancer who is now former MOMIX member many years ago. I saw a MOMIX show many years ago when I was too young to remember, unfortunately, but I grew up hearing the name and when I saw the company’s work I was in awe. I audition in 2017 for MOMIX and did my first tour less than a month later. I was freshly 18 years old when I got the job and my whole world turned upside in the best way possible.

JHPENTERTAINMENT: Thus far, you’ve danced in three MOMIX shows. What’s your favorite aspect of being a member of the company?

SEAH HAGAN: MOMIX is unlike any other company. Not only is the work one of a kind, but also the atmosphere. Having the honor of working with Moses Pendleton and Cynthia Quinn—our Artistic Director and Associate Director—is incredible. Both have so much valuable insight into dance and movement that not only applies to the work but can be taken into the outside world as well. The other dancers in the company also each have a unique blend of skills that you are constantly learning from by just being around them and you are forever pushed to explore new limits and comfort zones in the studio. I could go on forever. The touring life too is so special. We travel and preform most of the days out of the year and are a very tightly knit group who essentially work, eat, dance, live, and grow together which forms bonds as deep as family. The memories made here are the best of the best. We go to incredible places all over the world from Europe to Asia and all across the United States and each place is just as special as the last.

JHPENTERTAINMENT: You have been with Alice since the beginning. What’s most gratifying about seeing a project from inception to presentation?

SEAH HAGAN: Watching and being a part of Alice’s creation and ever-changing development has been a journey. Much as Alice the character is traveling though the different parts of Wonderland, Alice, the production, is on a voyage through different stages of MOMIX-land. It’s been very special to watch the show come together and deepen over the years.

JHPENTERTAINMENT: Is MOMIX Alice like most theatrical presentations in that…certain dancers are cast as certain characters? Or might someone dance the role of Alice one show and the next tour stop, they might be the Mad Hatter?

SEAH HAGAN: We occasionally have changes to casting but typically have a set “tack” we preform throughout the show. The production is different in the sense though that we all play multiple characters. For example, in this show I am: Alice, a rabbit, part of the Lobster Quadrille, the Queen of Diamonds and Hearts, one of the creature in the garden, the Wolf Spider, and then back to Alice many times throughout the show. Each dancer has a similar arrangement of roles so there are many different “hats” to be worn throughout the show!

JHPENTERTAINMENT: Dance is a very demanding profession, requiring constant body maintenance, whether it be stretching, working out, or simply finding time and space to move, rehearse and tune your craft. How does that work while on the road?

SEAH HAGAN: We are preforming most every day on tour so our workout comes mostly from the show. We take a ballet class every day to warm up, so we are maintaining our technique as well. A lot of the dancers supplement here and there by practicing yoga or doing Pilates. Personally, ballet or riding a bike is my exercise of choice. Also, we definitely get our steps in by exploring the cities we are preforming in before the shows and on days off. It’s most difficult on long travel days with fights or extended drives but we all have our own personal ways to tend to our bodies as needed.

JHPENTERTAINMENT: Wardrobe, set design and lighting play a supporting role in dance performance. Is there a particular scene, segment or look…whether your’s or one of your fellow dancers…that you simply love?

SEAH HAGAN: The whole show is a visual spectacle, so every scene has something to look for. I would say the lobster quadrille is always very eye-catching to the audience and fun to perform as the dancers are manipulating large hoop-skirts into different shapes and accessories. This piece is challenging from a dancer perspective because the piece is really a dance for the prop and learning how to remain understated personally while still performing is quite difficult at first.

JHPENTERTAINMENT: Alright, we’ve come to the end of our chat. I usually like to close my interviews by asking….What do you hope audiences come away with after having witnessed MOMIX Alice?

SEAH HAGAN: I hope the audience lets Alice take them on a trip though Wonderland in the abstract design it was created in. I always like to tell people to let their imagination run wild and don’t be afraid to let your natural reactions out whether it be laughter, curiosity, or amazement. Come with us into the world of Alice and let us transport you to another dimension!

MOMIX Alice invites Nashville audiences to travel down the Rabbit Hole with two Music City performances at TPAC’s Polk Theatre, Friday, January 27 and Saturday, January 28 at 8pm each night. At the time of this interview, limited tickets remain for both performances. Tickets start at $55 and are available HERE. For even more of an insider’s look, patrons are invited to attend a special TPAC INSIDE/OUT WORKSHOP: MASTERCLASS WITH MOMIX from 3pm until 4:30pm on Saturday, January 28 at TPAC’s Rehearsal Hall. Tickets to the workshop are $10. CLICK HERE to reserve your spots.   

Not in Nashville, but interested in seeing MOMIX Alice in a town near you? You can keep up with the the company and the tour by following MOMIX on Facebook, Instagram, Twitter and YouTube.

Following MOMAX Alice‘s Nashville engagement, TPAC continues to celebrate dance with  Shen Yun returning February 3 & 4 and Nashville Ballet‘s premiere presentation of Attitude: Anthology February 10-12. Then, TPAC’s Perspectives series returns with Why Would I Mispronounce My Own Name? February 10-12. Broadway at TPAC continues with the Nashville debut performances of the National Tour of SIX the Musical February 21-26…just to name a few upcoming events. For the full calendar of performing arts coming to TPAC, check them out online and on socials by clicking any of the following:  TPAC.org, TPAC on Instagram, TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

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

TPAC announces 2020-2021 Broadway Season; ‘Mean Girls’, ‘’The Prom’ and Temptations Musical among coming shows

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Rather than hosting patrons, members of the media and fans for their annual Season Announcement Party, Tennessee Performing Arts Center cut to the chase by announcing the coming 2020-2021 Broadway Season by sending out an early morning email and sharing the exciting line-up via social media.

In a prepared statement included in the press release,, TPAC President and CEO Jennifer Turner said, “This season is alive with a remarkable energy. TPAC’s creation 40 years ago was a catalyst for our performing arts community, and we’re excited to chart a new course for the future with a renewed commitment to providing high quality arts entertainment.” She continued, “We can’t think of a better way to launch our 40th anniversary than with a full year of fresh, spirit-lifting, thought-provoking Broadway productions. Truly, the best is yet to come.”

There are seven shows making their Music City debut in the coming season, including: Come From Away, Ain’t Too Proud -The Life and Times of The Temptations, Mean Girls, The Band’s Visit, The Prom, What the Constitution Means to Me and a special pre-Broadway engagement of 1776.

Returning favorites Les Miserables, Elton John and Tim Rice’s AIDA, The Vagina Monologues an extended Nashville run of the ever-popular Disney phenomenon, The Lion King round out the jam-packed ten-show season.

The 2020-2021 Broadway Season calendar looks like this: 

Come From Away – July 28-August 2, 2020 

Ain’t Too Proud – August 11-16, 2020 

1776 – November 3-8, 2020 

Mean Girls – November 17-22, 2020 

Disney’s The Lion King – February 3-27, 2021 

(With season subscriber priority ticketing – February 3-9, 2021) 

The Band’s Visit – March 2-7, 2021 

The Prom – May 25-31, 2021 

As usual, TPAC also offers a few Broadway Special Presentations peppered throughout the season. That calendar is as follows:

Elton John & Tim Rice’s AIDA – June 15-20, 2021 

What the Constitution Means to Me– July 14-19, 2020

The Vagina Monologues-August 18-23, 2020

Les Miserables – September 15-20, 2020

For those not familiar with the coming shows, TPAC’s email blast offered the following:

The 2020-21 season and special presentations feature the Nashville premieres of The New York Times Critics’ Pick, COME FROM AWAY; AIN’T TOO PROUD – THE LIFE AND TIMES OF THE TEMPTATIONS, the electrifying new musical that follows The Temptations’ extraordinary journey from the streets of Detroit to the Rock and Roll Hall of Fame; a re-imagining of the Tony Award®-winning musical 1776 prior to its Broadway engagement at Roundabout Theatre Company; MEAN GIRLS, the hilarious hit musical from the award-winning creative team of Tina Fey, Jeff Richmond, Nell Benjamin and Casey Nicholaw; THE BAND’S VISIT, the critically-acclaimed smash hit musical winner of 10 Tony Awards including Best Musical; the Drama Desk Award winner for Best Musical THE PROM, a new musical comedy about big Broadway stars on a mission to change the world, and WHAT THE CONSTITUTION MEANS TO ME, the 2019 Tony nominated Best Play and Pulitzer Prize finalist by famed writer Heidi Schreck. 

Back by popular demand are LES MISÉRABLES, the enthralling story of broken dreams and unrequited love, passion, sacrifice and redemption and Elton John and Tim Rice’s AIDA, a retelling of the passionate and timeless story for today’s audiences. 

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Further information on each show from the press release comes directly from each show’s publicity department:

COME FROM AWAY 

Nashville Premiere 

July 28 – August 2, 2020 

Broadway’s COME FROM AWAY is a Best Musical winner all across North America! This New York Times Critics’ Pick takes you into the heart of the remarkable true story of 7,000 stranded passengers and the small town in Newfoundland that welcomed them. Cultures clashed and nerves ran high, but uneasiness turned into trust, music soared into the night, and gratitude grew into enduring friendships. Don’t miss this breathtaking new musical written by Tony® nominees Irene Sankoff and David Hein and helmed by this year’s Tony-winning Best Director, Christopher Ashley. Newsweek cheers, “It takes you to a place you never want to leave!” On 9/11, the world stopped. On 9/12, their stories moved us all. 

AIN’T TOO PROUD – THE LIFE AND TIMES OF THE TEMPTATIONS 

Nashville Premiere 

August 11-16, 2020 

AIN’T TOO PROUD is the electrifying new smash-hit Broadway musical that follows The Temptations’ extraordinary journey from the streets of Detroit to the Rock & Roll Hall of Fame. The winner of the 2019 Tony Award for Best Choreography, it’s a thrilling story of brotherhood, family, loyalty, and betrayal during a decade of civil unrest in America. Set to the beat of the group’s treasured hits, including “My Girl,” “Just My Imagination,” “Get Ready,” “Papa Was a Rolling Stone,” AIN’T TOO PROUD tells the unforgettable story of the legendary quintet that Billboard Magazine named the greatest R&B group of all time. 

Get ready – ‘cause here they come! 

1776 

Nashville Premiere 

November 3-8, 2020

They knew they would make history, but not what history would make of them. Fed up with living under the tyranny of British rule, John Adams attempts to persuade his fellow members of the Continental Congress to vote in favor of American Independence and sign the Declaration. But how much is he willing to compromise in the pursuit of freedom? And to whom does that freedom belong? Direct from the American Repertory Theater at Harvard University, visionary director Diane Paulus reexamines a pivotal moment in American history in a re-imagining of the Tony Award®-winning musical 1776 prior to its Broadway engagement at Roundabout Theatre Company.

MEAN GIRLS

Nashville Premiere 

November 17-22, 2020 

Direct from Broadway, MEAN GIRLS is the hilarious hit musical from an award-winning creative team, including book writer Tina Fey (“30 Rock”), composer Jeff Richmond (“Unbreakable Kimmy Schmidt”), lyricist Nell Benjamin (Legally Blonde) and director Casey Nicholaw (The Book of Mormon). Cady Heron may have grown up on an African savanna, but nothing prepared her for the vicious ways of her strange new home: suburban Illinois. Soon, this naïve newbie falls prey to a trio of lionized frenemies led by the charming but ruthless Regina George. But when Cady devises a plan to end Regina’s reign, she learns the hard way that you can’t cross a Queen Bee without getting stung. New York Magazine cheers, “MEAN GIRLS delivers with immense energy, a wicked sense of humor and joyful inside-jokery.” USA Today says, “We’ll let you in on a little secret, because we’re such good friends: Get Your Tickets Now!” 

Disney’s THE LION KING 

Back by Popular Demand 

February 3-27, 2021 

Disney’s The Lion King US North American Tour, Rafiki Tour cast: Brandon McCall (Simba)

More than 100 million people around the world have experienced the phenomenon of Disney’s THE LION KING, and now you can, too, when Nashville’s best-loved musical returns to Nashville. Winner of six Tony Awards®, including Best Musical, this landmark musical event brings together one of the most imaginative creative teams on Broadway. Tony Award®-winning director Julie Taymor brings to life a story filled with hope and adventure set against an amazing backdrop of stunning visuals. THE LION KING also features some of Broadway’s most recognizable music, crafted by Tony Award®-winning artists Elton John and Tim Rice. There is simply nothing else like THE LION KING. 

THE BAND’S VISIT 

Nashville Premiere 

March 2-7, 2021 

THE BAND’S VISIT is the winner of 10 Tony Awards, including Best Musical, making it one of the most Tony-winning musicals in history. In this joyously offbeat story, set in a town that’s way off the beaten path, a band of musicians arrive lost, out of the blue. Under the spell of the desert sky, and with beautiful music perfuming the air, the band brings the town to life in unexpected and tantalizing ways. Even the briefest visit can stay with you forever. With a Tony- and Grammy-winning score that seduces your soul and sweeps you off your feet, and featuring thrillingly talented onstage musicians, THE BAND’S VISIT rejoices in the way music makes us laugh, makes us cry, and ultimately, brings us together.   

THE PROM 

Nashville Premiere 

May 25-31, 2021 

Everyone’s invited to the joyous Broadway hit that New York Magazine hails as “smart and big-hearted” while The New York Times declares it “makes you believe in musical comedy again!” THE PROM is a new musical comedy about big Broadway stars on a mission to change the world and the love they discover that unites them all. THE PROM features direction and choreography by Tony Award winner Casey Nicholaw (Mean Girls, The Book of Mormon), a book by Tony Award winner Bob Martin (The Drowsy Chaperone) and Tony Award nominee Chad Beguelin (Aladdin), music by Tony Award nominee Matthew Sklar (Elf) and lyrics by Tony Award nominee Chad Beguelin. 

Elton John & Tim Rice’s AIDA  

Back by Popular Demand 

June 15-20, 2021 

A love story written in the stars. The New Yorker says, “Disney’s done it again!” The winner of four Tony® Awards returns to the stages of North America. With a Grammy® and Tony® Award-winning score by the legendary Elton John and Tim Rice, the hit Broadway musical AIDA returns to the stages of North America in a thrilling new production, reinterpreted for today’s audiences by the original Tony® Award-winning creative team. From the producers of The Lion King and Frozen, comes a compelling tale of star-crossed lovers belonging to feuding nations. Through the stirring contemporary score, and a timeless and powerful love story, AIDA reveals that we have the power to change history, but only when we make brave choices. 

BROADWAY SPECIAL PRESENTATIONS: 

WHAT THE CONSTITUTION MEANS TO ME 

Nashville Premiere 

July 14-19, 2020 

Direct from Broadway, the 2019 Tony® nominated Best Play and Pulitzer Prize finalist, WHAT THE CONSTITUTION MEANS TO ME, by famed writer Heidi Schreck, arrives in Nashville for a strictly limited engagement. This boundary-breaking play breathes new life into our Constitution and imagines how it will shape the next generation of Americans. Fifteen-year-old Heidi earned her college tuition by winning Constitutional debate competitions across the United States. In this hilarious, hopeful, and achingly human new play, she resurrects her teenage self in order to trace the profound relationship between four generations of women and the founding document that shaped their lives. Schreck’s timely and galvanizing play, directed by Oliver Butler, became a sensation off-Broadway last fall before transferring to Broadway where it received two Tony Award® nominations among countless other accolades. See the play The New York Times hails as “not just the best play on Broadway, but also the most important.” 

THE VAGINA MONOLOGUES

August 18-23, 2020

The show on everyone’s lips this year is The Vagina Monologues. Twenty years after first shocking and empowering audiences, Eve Ensler’s groundbreaking, wildly entertaining phenomenon is returning to the stage in a star-studded National Tour, reminding us all at this monumental time in our history how important it is to laugh, to cry, to come together, raise our voices, and speak out before it is too late. Don’t miss your opportunity to think inside the box – and to be a part of something truly revolutionary.

LES MISERABLES

September 15-20, 2020

By popular demand, Cameron Mackintosh’s acclaimed production of Alain Boublil and Claude-Michel Schönberg’s Tony Award-winning musical phenomenon, LES MISÉRABLES returns to TPAC. Set against the backdrop of 19th-century France, Les Misérables tells an unforgettable story of heartbreak, passion, and the resilience of the human spirit. Featuring the beloved songs “I Dreamed A Dream,” “On My Own,” “Stars,” “Bring Him Home,” “One Day More,” and many more, this epic and uplifting story has become one of the most celebrated musicals in theatrical history. With its glorious new staging and dazzlingly reimagined scenery inspired by the paintings of Victor Hugo, this breathtaking new production has left both audiences and critics awestruck, hailed as the “Les Miz for the 21st Century.” 

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Season ticket packages are available on Monday, Feb. 24 at 10 a.m. An eight-show season package for the 2020-21 HCA Healthcare / TriStar Health Broadway at TPAC Season series starts at $325. Season ticket holders receive the best seats at the best price compared to purchasing shows individually, and are entitled to additional exclusive benefits, such as easy exchange privileges, flexible payment plans, and savings on dining, hotels, and additional single tickets for any 2020-21 Broadway show at TPAC. 

For more information on the 2020-21 HCA Healthcare / TriStar Health Broadway at TPAC Season, visit TPAC.org/Broadway, where season tickets may be purchased, or call TPAC Patron Services at 615-782-6560. You also may visit the TPAC Box Office located at 505 Deaderick St. 

With all the excitement of the 2020-2021 Broadway Season at TPAC, let’s not forget that the current 2019-2020 Broadway Season is currently ongoing. Up next as TPAC’s current season continues is Jesus Christ Superstar, on stage March 3-8, followed by The Color Purple March 27-29, Escape to Margaritaville May 5-10 and Charlie and the Chocolate Factory June 9-14.

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: Blue Man Group’s North American Tour at TPAC thru Sunday, February 16

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Blue Man Group, North American Tour on stage at TPAC’s Jackson Hall February 11-16/photo by Lindsey Best

Having seen Blue Man Group right here in Nashville at TPAC twice before, and once in Las Vegas, I wasn’t sure if I’d enjoy them as much a fourth time during their current North American Tour, at TPAC’s Jackson Hall now thru Sunday, February 16. Then again, each of the previous times I’ve seen them, the show’s been slightly different and the laughter and entertainment as ensured I left the theatre in anything but a blue mood, so I was game to check them out once again and Spoiler Alert: they’re just as fun the fourth time around.

Much like the three primary colors present throughout any Blue Man Group performance, their shows also contain three primary elements, sight, sound and happiness. As always, save a few pre-recorded audible proclamations that put the audience in mind of Big Brother, or perhaps an alien life form visiting we mere earthlings, Blue Man Group members never utter a single word. 

From the moment the audience enters the venue and gets a look at the futuristic set, featuring a wall of led screens, lights and a matrix of electronics, speakers and various other goodies, it’s evident they’re in for an evening of high-energy, high-decibel entertainment. 

Having celebrated their thirtieth anniversary back in 2017, Blue Man Group continues to blend fresh ideas and concepts with tried and true…or should I say tried-and-blue audience favorites that captivates audiences ranging in age from tikes to, well, blue hairs. OK, OK, I’ll stop with the blue puns…maybe.

For the current national tour (there’s also concurrent permanent shows in New York, Boston, Chicago, Vegas, Orlando and Berlin), the Boys in Blue (Meridian, Mike Brown, Steven Wendt and Adam Zuick—thought I’m not sure who’s who) began Music City’s Opening Night Tuesday, February 11 with a shower of confetti raining down on the stage from what looked like one of those air-propelled plexiglass drums used in picking lotto numbers. In true blue ‘did they mean to do that?’ fashion, the second drum full of confetti didn’t seem to work, as the spotlight shined on it revealing it was still full and hadn’t released it confetti contents, causing the Blue Man Group to examine it with perplexed looks, eventually giving up and addressing the plethora of confetti that littered the stage.

Taking full advantage of the current Standing Broomstick Challenge that’s been all the rage on social media the last few days, Blue Man Group goes for the obvious and uber-timely laugh by bringing on a bright yellow broom that, yes, stand on its own. Some clever pass-the-broom hijinks later and the odd man out sweeps up the mess.

If you’ve ever attended a Blue Man Group show before, you know that a good portion of the show involves audience reaction and interaction. 

To that end, when the audience erupts in laughter or thunderous applause, the members of Blue Man Group blankly stares out towards the audience with a dumbfounded expression…you know, like a puppy who can’t quite figure out if he should stay, sit or roll over. 

As far as audience interaction, the current Blue Man Group touring show is full of fun, and unpredictable moments. The night I attended, the first of which began with Blue Man Group venturing out into the audience to retrieve a volunteer who ends up being involved in a surprisingly rhythmic musical sequence of squeaks courtesy a rubber chicken.

As mentioned above, some tried-and-blue aspects of the show remain, including the whimsical, yet oddly melodic PVC woodwinds, paintball art and the always crowd-pleasing marshmallow sculpture. Seriously! How does he catch that many marshmallows in his mouth after having them tossed to him from across the stage?

Blue Man Group audience members get in on the act
Photo by Evan Zimmerman for MurphyMade

Another audience moment came when two mostly unsuspecting volunteers were selected. Once the two were seated on stage with Blue Man Group between them, they were each handed a telephone. When their respective phones rang, they, and the audience soon discovered that they were on each other’s line—and conveniently piping through the speaker system of the theatre. With silent, but understood encouragement from Blue Man Group, the two strangers were then encouraged to carry on a conversation. On Opening Night, one audience member seemed a little more excited to be on stage and part of the show than the other, leading to some hilarious interaction. As a reward for his enthusiasm, Blue Man Group posed for a group pic, and, perhaps as punishment for the other’s lack of enthusiasm, she was relegated to taking the photo. I’m sure this bit plays out similarly each night, but Blue Man Group has been at it so long, you’d think each night plays out in a completely different manner.

Paint Drumming
photo by Lindsey Best

Next, three members of Blue Man Group took center stage and proceeded to play what will remind audience members of a certain age of an old aerial tv antenna. Think a multi-tiered, larger than life menorah, which they preceded to strike in various places, playing it like a xylophone condominium. 

Always keeping up with the times, current events and our obsession with the latest technology, there’s a humorous bit involving the fickleness of social media likes/dislikes, as well as another audience participation gag centered ‘round electronic devices and facial recognition.

A little over halfway through the 90ish minute show, there was an all-in audience dance break when Blue Man Group motioned for everyone to get up on their feet and follow along with their dance moves. 

Another seemingly unplanned ‘mishap’ involved hundreds of ping pong balls. Sorry, not sorry. Dozens and dozens of ping pong balls bouncing all around the stage, much to the dismay of Blue Man Group will always be funny.

This was followed by yet another instrumental performance, this time, picture a box fan, with blades made from long PVC pipe. Anyone who’s ever talked into the whirling wings of an oscillating fan as a kid can relate, and enjoy this particular segment. As a matter of fact, I leaned over and whispered to my friend who was accompanying me Opening Night and commented on how the resulting tones would be a soothing ambient sleep noise option.

photo by Evan Zimmerman for MurphyMade

Near the end of the show Blue Man Group held up bight neon pieces of paper and again, without murmuring a single word, instructed the audience to open their programs and take out the neon paper insert, tear it up and at the appropriate time, throw them into the air. The result, a rave-tactic celebration. 

Blue Man Group closed the show with what is surely now their trademark, a colorific percussion extravaganza pounding three large drums center-stage as primary color lights stream down from above and coordinating primary color paint splashes with each beat of the drums. Oh, and if you go, don’t arrive late…or do…because you’ll be called out, spotlight, humorous proclamation and all.

Blue Man Group continues the Nashville leg of their current North American Tour with shows thru Sunday, February 16. CLICK HERE for tickets or for more information. Following the Music City dates, Blue Man Group continues on tour with shows in Chattanooga, Paducah, Evansville, Knoxville, Richmond, Atlanta, Muncie, West Lafayette, Springfield(s) (IL and OH)…and that’s just through March. So, if you’re not in Nashville but want to catch them on the road, CLICK HERE for dates and specifics in your area. You can always keep up with Blue Man Group by liking them on Facebook and following them on Instagram, Twitter and YouTube.

One of Blue Man Group’s most iconic moments
Photo by Evan Zimmerman for MurphyMade

Up next at TPAC’s Jackson Hall as their Broadway at TPAC season continues, is Jesus Christ Superstar, on stage March 3-8. 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 no such thing as too much hype to describe the theatrical experience that is ‘HAMILTON’; on stage in Nashville at TPAC’s Jackson Hall thru January 19

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Joseph Morales and members of the cast of ‘Hamilton’/all photos by Joan Marcus, courtesy Hamilton National Tour

Nashville theatre audiences have anxiously awaiting the arrival of Lin-Manuel Miranda’s Broadway blockbuster, Hamilton, right here in Music City since Tennessee Performing Arts Center first announced its eventual 2020 arrival during the season announcement party back in April of 2018. Well, the wait is over! Hamilton has ascended upon TPAC’s Jackson Theatre.

Before attending the show Tuesday night, I had honestly never listened to the soundtrack, other than catching occasional televised performances on the Tonys, the Grammys, the Olivier Awards and the like. Partly because I initially hoped to see it on Broadway or Chicago, where I had friends in both companies, but mostly because I kept hearing Hamilton described as a hip-hop musical. While I consider myself musically well-rounded, I’m not exactly a hip-hop aficionado, or a history buff, for that matter. I just didn’t know if I wanted to sit through a two and a half hour musical that tells the tale of Alexander Hamilton through rap and hip-hop. Damn. I’m here to tell you, after experiencing it live, on stage, in a packed house. I was foolish to deny myself this long.

When I say there was a packed house, I’m not exaggerating. My best friend and I arrived to the theatre Tuesday night an hour and a half before curtain (normally, I breeze in as the house opens half and hour before the show begins). When we arrived, valet was surprisingly quick, which reassured me we were simply early. Nope. Once inside TPAC’s lobby, we walked into the biggest crowd of folks I’ve ever seen at the venue and you could feel the buzz of excitement. Hamilton had arrived and Nashville was ready.

As time ticked away, the hour wait flew by. Some passed the time waiting in line for a photo op at the Hamilton selfie wall, while many visited the merch booth for the usual t-shirts and mugs, or Hamilton-centric items like golden quill pens. I myself managed to thankfully find a spot on a bench near the theatre entrance and struck up a conversation with a lady and her daughter who were excited to be there. What’s more, they were there because they had entered TPAC’s ticket lottery and had won the chance to purchase two prime seating tickets for $10 each! CLICK HERE for more about the Hamilton/TPAC ticket lottery.

Once inside the theatre, more selfies were taken as patrons flooded the room. There it was. The set. The first glimpse of what some have described as the most important theatrical experience of our generation. Set Designer, David Korins–whose work includes everything from Pee Wee Herman’s playhouse for its recent stage run to Beetlejuice’s frighteningly fanciful Broadway set–created the Hamilton set. Upon first glance, it appears nautical in nature, with ropes, pulleys and wooden platforms invoking ideas of a ship. Perfect, as we soon discover through the lyrics of the show’s first tune, Alexander Hamilton that the founding father was not only an immigrant orphan, but that he also worked on a trade charter as a young teen.

To the casual viewer, the set seem to remain the same throughout the show. But with the added technical craft of lighting designer Howell Binkley, the set, at times represents everything from a courtroom to the physical representation of the growing age of enlightenment that was New York in the early 18th century. Such a seemingly simplistic set, but so cleverly utilized and smart. While many current shows seem to be following the trend to feature completely realistic projections, Korin’s wooden scaffolding set, complete with a surprise dual…or should I say duel (see the show, you’ll get the reference)…turntable floor feature, enhances the action of the show and the music, but doesn’t distract from it.

On the subject of the music of Hamilton, as mentioned above, yes, hip-hop is predominant, and not just in style, but in reverence to the genre itself. It can’t be coincidence that the show’s second musical number, My Shot, begins with Hamilton spelling out his name in a rhythmic patter, “A-L-E-X/A-N/D/ER”. That’s surely a nod to legendary rapper Notorious B.I.G., who rapped, “N-O/T-O/R-I/O/U-S” within the lyrics of his iconic 1997 cross-over hit, Going Back to Cali. That’s not the only Biggie nod, as midway through act one’s Ten Dueling Commandments commands memories of B.I.G.’s The Ten Crack Commandments, a track from the performer’s final studio recording. Notorious B.I.G. isn’t the only hip-hop artist Miranda pays homage to. The opening of Cabinet Battle #1 has a Jay-Z Izzo intro vibe. Heck, the cabinet battles themselves are even staged like classic rap battles, mic-drop and all., There’s also a similarity between Hamilton’s Meet Me Inside to DMX’s Party Up in Here. 

It’s not just hip-hop that’s references in Miranda’s brilliant soundtrack. There’s also more than a few winks to the art of showtunes themselves. The most obvious, nods to Gilbert and Sullivan, Jason Robert Brown and Rodgers and Hammerstein. For Gilbert and Sullivan, it’s the hilarious inclusion of a direct lyrical lift from Pirates of Penzance, featured during Hamilton’s Right Hand Man when General George Washington refers to himself as “the very model of a modern major general”. Jason Robert Brown’s The Last Five Years’ Nobody Needs to Know, pops into Hamilton during Say No To This. My favorite of these three…during My Shot, Hamilton references South Pacific’s Carefully Taught.

Other lyrical nods may or may not be intentional, but rather, perhaps only coincidental, but I doubt it. Miranda has proven himself a true lover of musical theatre by including lyrical taps to things like 1776: The Musical’s Sit Down, John. While it covers the same subject matter as Hamilton’s The Adams Administration, it’s given a decidedly edgier and hilarious feel when accompanied by an unexpected expletive. There are literally a couple dozen theatre references, intentional or not, throughout the show, but I digress.

Rap and Showtunes are just two of the musical genres Miranda includes within Hamilton. Perfectly setting the scene with acknowledgement to the factual time during which the action is set, Hamilton also includes period-authentic instrumentation. During King George’s Act 1 jewel, You’ll Be Back, a harpsichord is featured. What’s the significance? A harpsichord perfectly repersents the time period as many composers of the day included parts for the now oft-forgotten instrument in their arrangements. Then there’s an actual piece originally composed by composer Wilhelm Richard Wagner included in Hamilton during Helpless, when Alexander proposes to Eliza. The classic piece in question…commonly known as Here Comes the Bride, is actually titled Bridal Chorus and was first presented by Wagner during his 1850 opera, Lohengrin.

OK, enough…probably too much…about the trivial musical winks, but I had to mention, as listening for them and recognizing them became one of my favorite aspect of seeing the show for the first time.

Because of its continued success and popularity, Hamilton is still on Broadway, while simultaneously embarking on their National Tour…there are two current US tours in fact,—The Philip Tour and the Angelica Tour. Nashville’s TPAC is playing host to The Philip Tour.

Starring as Alexander Hamilton is Joseph Morales, who was previously part of Hamilton’s Chicago company. As Hamilton, Morales plays the founding father , whom we first meet at age 19 when he arrives in New York in 1776. For those droves of Hamilton fans, Morales, and anyone who ever plays Hamilton, has the unenviable task of stepping into the role orignated by Miranda himself, daunting, indeed. To his absolute credit, Morales approaches young Hamilton during Act 1 with a convincing naïveté paired perfectly with an excitement to make his mark on the new world. I’m not gonna lie. From his first notes of the eponymous Alexander Hamilton to the finale, Morales evoked chills as I learned more about Hamilton than I ever realized I needed to know. Morales portrays Hamilton from enthusiastic young man with a vision through the pain of losing his son, jeopardizing his marriage and his ultimate untimely death, running the gamut of emotion in a believable, but unforced way

Cast as Hamilton’s counterpoint and eventual assassin–Come on…that’s no Spoiler..even I knew that–is Jared Dixon as Aaron Burr. Alright, I have to admit it, the only reason I know Aaron Burr killed Alexander Hamilton is thanks to an early 90s Got Milk? commercial (directed by Michael Bay, btw) in which a Hamilton historian misses out on a radio trivia contest while eating peanut butter sandwich with not enough milk to wash it down…again….I digress. 

Dixon as Burr, the OG frienemy, is not only the perfect foil for Morales’ Hamilton, but also the perfect scene partner, their lyrical sparring make for some of the show’s most enjoyable moments. Plus there’s the running gag of the way everyone lingers on then pronunciation of Burr’s surname, which begins with the tune Aaron Burr, Sir and continues throughout the show.

The Schuyler Sisters

As well-known to Hamilfans as Hamilton and Burr there’s also The Schuyler Sisters, Angelica, Eliza…and Peggy (see the show, you’ll get the reference). Cast as Hamilton’s love interest and eventual wife, Eliza is Erin Clemons. Her physical beauty, and that of the actresses playing her sisters, only accentuated by the glorious costumes courtesy costume designer Paul Tazewell, Clemons is the perfect scene partner for Morales’ Hamilton, not only vocally holding her own, but wowing the audience during numbers like the gorgeous Helpless, an r&b ballad with a healthy dose of the romanticism of a Cole Porter standard. 

As Angelica, Ta’Rea Campell is mesmerizing. Presented not only as Eliza’s selfless sister, but also as Hamilton’s unrequited love, Campbell’s performance presents a subtle depth to the character, especially during her featured turn alongside Clemons and Morales during the gorgeous Satisfied.

Nyla Sostra’s Peggy is memorable, mostly because the character herself is played as forgettable. That said, Sostra snags the spotlight in the dual role of Maria Reynolds, with whom Hamilton had an ill-fated illicit affair that would prove a potential thorn in his political side. In a wardrobe move straight out of Bette Davis’ Jezebel, when Sostra takes to the stage in a red dress as Reynolds, the heat is on.

As expected, other historical figures present in Miranda’s Hamilton include the aforementioned King George III, George Washington and Thomas Jefferson.

Joseph Morales and Marcus Choi in ‘Hamilton’

As George Washington, Marcus Choi plays our first president with a bit of wit and wisdom, making me personally long for a leader with those same qualities. Songs like Right Hand Man, Stay Alive and One Last Time showcase Choi’s talents perfectly.

Neil Haskell as King George III is everything you’d hope a self-centered royal would be…and then some. With equal parts Sir Elton John at his campiest mixed with your anything-but-average spoiled monarch, Haskell steals every scene he’s in…and interestingly, he interjects himself throughout the action of the play, even though it all takes place stateside.Haskell’s King George puts the ham in Hamilton in the best way possible during You’ll Be Back, What Comes Next and I Know Him…all containing a happy sing-song 60s Brit-pop melody. A nice contrast the the soundtrack predominately heavier rap aesthetic.

King George III

Warren Egypt Franklin’s Thomas Jefferson—clad in a purple topcoat that rivals anything rock royalty Prince ever wore and strutting like a banty rooster with a cockiness that’s reminiscent of another Jefferson…TV’s George Jefferson as played in the 70s by Sherman Hemsley—he too holds his own and steals the limelight whenever he’s on stage. What’d I Miss, Cabinet Battle #1 and Election of 1800, among his musical highlights. Franklin also does double duty appearing as Marquis de Lafayette, changing it up a bit donning a humorously heavy accent and a less flashy topcoat for the role.

Also doing double duty in two supporting roles Desmond Sean Ellington as Hercules Mulligan and James Madison, Elijah Malcomb as John Laurens and Philip Hamilton, the aforementioned Nyla Sostre and Nick Sanchez who plays three roles: Philip Schuyler, James Reynolds and Doctor. 

These actors, along with the rest of the ensemble and the leads, bring the story of Hamilton to glorious life. 

In addition to Lin-Manuel Miranda’s inventive book, music and lyrics, Hamilton also boasts an electrifying array of movement as choreographed by Andy Blankenbuehler. To that end, the visual presentation of the ensemble dancers, whether dressed in full military garb, or stripped down to petticoats and form-fitting pants and sleeveless undershirts, as dressed by Tazewell, perfectly accentuates the movement. At times, while the leads perform vocally, the ensemble beautifully accentuates their words with movement. Much like the genre-crossing inclusion of music, many dance forms are presented in Hamilton, from ballet, to jazz, hip-hop and even touches of traditional tribal dance. Proving once again, Miranda and company deserve every bit of hype, but more importantly, praise for THE musical of our time.

Hamilton continues its extended run at TPAC’s Jackson Hall with performance through January 19. To follow Hamilton, check them out on Facebook, Instagram and Twitter.

You can 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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Richard Karn and Kira Kosarin as The Sultan and The Princess

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

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

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

Josh Adamson as the evil Abanazar

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

For more about Hamilton on Tour, CLICK HERE to check them out online or follow them onFacebook, Twitter, and Instagram.

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

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.

Rapid Fire Q&A: A ‘bisl of a schmooze’ with Mel Weyn, Natalie Powers and Ruthy Froch, three of Tevye’s five daughters in ‘Fiddler on The Roof’; National Tour in Nashville at TPAC’s Jackson Hall thru Sunday, June 30

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The current National Tour of Fiddler on the Roof—based upon director Bartlett Sher’s triumphant 2015 Broadway revival, opened in Music City last night, Tuesday, June 25 at TPAC’s Jackson Hall. Just days before the touring company made their way to Nashville, I had the opportunity to pose a few questions to Mel Weyn, Natalie Powers and Ruthy Froch, who play the three eldest daughters Tzeitel, Chava and Hodel to Yehezkel Lazaro’s eponymous roof-fiddling Tevye, for the latest installment of my recurring interview feature, Rapid Fire Q&A. What follows are our conversations about the show, their relationships on and off the stage and their thoughts about being part of such a legendary show steeped in tradition.

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Natalie Powers, Mel Weyn and Ruthy Froch (l to r) star as Tevye’s eldest daughters in Fiddle on the Roof, at TPAC thru Sunday. (all photos by Joan Marcus/courtesy FiddlerMusical.com)

RAPID FIRE Q&A WITH FIDDLER ON THE ROOF’S ELDEST DAUGHTERS RUTHY FROCH, NATALIE POWERS AND MEL WEYN

RAPID FIRE WITH FIDDLER ON THE ROOF’S TZEITEL, MEL WEYN

JHP: What can you tell me about Tzeitel?

MEL WEYN: Tzeitel is Tevye and Golde’s eldest daughter in Fiddler on the Roof. She is like the mini-mama of the family. Full of heart and compassion but also has a fire to her. She is so brave and speaks her mind, but it always comes from a place of fierce love. I really admire her spirit and courage to be the first of her family to defy/question the rules of this society and the traditions.

JHP: From my research in preparing to chat with you, I discovered you’re not only playing the eldest sister in Fiddler, but you’re also a big sister in real life. Do you think your own sisterly dynamic has helped you bring Tzeitel to life on the stage?

MEL WEYN: I am! And I do. I love my sister so much (hey Becca). I think having my younger sister in real life made it really easy to tap into that dynamic with my new onstage sisters. Being the oldest comes naturally to me and I hope it comes across that way onstage. Getting to work and travel with Ruthy, Natalie, Danielle Allen and Emmy Glick in this capacity has been really interesting to witness in how our sisterly dynamic grows and changes over the months. My individual relationships with them seep into the onstage performances making them that more layered and rich. I feel so lucky to have had these gals by my side this year – they are all wonderful

JHP: This isn’t your first national tour, having previously toured with The Sound of Music. It’s also not your first time playing Tzeitel, having played her back in 2012 during a summer stock production at the Arrow Rock Lyceum Theatre in Missouri. So this question is two-fold…What’s your favorite aspect of life on tour?…and…How has your portrayal of Tzeitel changed now that you’re seven years older than when you first approached the character?

MEL WEYN: Oh wow! I love touring for a plethora of reasons. I love to travel and see new cities – there are so many that I would have never have gotten a chance to visit if it wasn’t for touring. So many amazing small town coffee shops to visit and sites to see. I try to go to a museum in every city we have visited on Fiddler. I also love the family it gives you. Being away from home for a year at a time is tough but, you are all in it together. The bonds I have made with this cast are life long and that is something so special.

I think that I understand Tzeitel much more than I did seven years ago. I can comprehend the gravity and reality of her situations in a deeper way after having a little more life experience. She loves Motel with her entire heart and the possibility of not getting to be with him is a heartbreak in of itself. On top of that, she gets betrothed to the butcher who is less than appealing. To really lock in to those stakes and ground her reactions from a place of truth has been easier this time around. Instead of playing the idea of being hurt or the idea of who the character of Tzeitel is, I find her coming from my core. Breathing in the situations and scene partners in front of me and responding in a more authentic way.

JHP: Fiddler opens with Tradition, one of the show’s many memorable tunes. What’s a family tradition you hold dear?

MEL WEYN: My family and I are very close. Every summer my dad’s whole side of the family spends a week together at the beach in North Carolina and its something we all look forward to. Not because of the nice summer location or the amenities (although those aren’t so bad), but the time with one another. We all live in different parts of the country so the time we get to connect and spend together is cherished. They are hilarious and giving and we always have a great time. I am really thankful for a family that makes it a priority to be with each other. The sense of community and ritual that comes along with an annual gathering is one of a kind. I definitely feel the parallels of that family trip with moments in our show.

JHP: I’m about to chat with Natalie and Ruthy, so…How would you describe these two on-stage sisters?

MEL WEYN: Oh they are wonderful. I remember the first table read being so impressed by both of them and the portrayals of Hodel and Chava and, how as a trio, we fit together so well. Ruthy is a peacekeeper by nature – so compassionate and understanding with everyone she encounters. Natalie is so multi-talented and has this quiet humor and wit to her that always gets me. I am really thankful for both of them and this journey we have gotten to take together. They will always be my sisters and I can’t wait to continue these friendships outside of the show where it all started.

RAPID FIRE WITH FIDDLER ON THE ROOF’S HODEL, RUTHY FROCH

JHP: From your perspective, who is Hodel?

RUTHY FROCH: Because Fiddler on the Roof focuses on Tevye’s three eldest daughters, I like to think of Hodel as the middle child. You have Tzeitel, who is Mama’s favorite, and the first for everything, and then you have Chava, everybody’s favorite child, and then there is Hodel in the middle. She is super intelligent, and quick-witted. In my eyes, she wants to find where she belongs, where someone sees her for who she truly is, where she can be important.

JHP: I understand this is your first national tour. What’s it been like thus far?

RUTHY FROCH: It truly has been such a dream! Touring is such an incredible way to see the nation, and it’s really bringing out the explorer in me. It has been such a gift to tell this important story in so many different cities, and share my love for Fiddler, and my culture with so many different people!

JHP: While Hodel is one of five, my research revealed that you yourself have a large family. Where do you fall within your sibling birth-order and has having a big family affected your take on Hodel and the way she interacts on stage with her sisters?

RUTHY FROCH: I’m actually the oldest in my family! I have a younger brother, and I’m the first grandchild on both my mom and my dad’s side. I’m really close with my cousins so it does feel like they are siblings in a way. Watching everyone grow up in my family and being the oldest allowed me to see how everyone has their “role” in the family. It definitely affected how I interact on stage with my sisters and my creation of Hodel.

JHP: So much of Fiddler’s appeal—at least to my way of thinking—comes from the deep history of the Jewish faith and culture. A prime example, the gorgeous and intricate choreography. What can you tell me about the show’s choreo?

RUTHY FROCH: The choreography in our production is very grounded, pedestrian, and in my opinion so traditionally Jewish. Hofesh Shechter, our choreographer, reimagined Jerome Robbins’ original choreography. Fiddler has such iconic moments, like the bottle dance, filled with such excitement and tension. I love to hear audiences reactions to our wedding dance, whether they are cheering throughout or clapping along, it really is something we can all experience together. Hofesh’s choreography is specific and intentional, it all blossoms out of the circumstances and helps to move the characters forward.

RAPID FIRE WITH FIDDLER ON THE ROOF’S CHAVA, NATALIE POWERS

JHP: You’re playing Chava, Tevye’s middle daughter and the youngest of the three eldest siblings at the center of the show’s action. Sharing that older daughter dynamic onstage with Ruthy and Mel, I’m curious, have you all developed a sister-like bond that continues during your off-stage time?

NATALIE POWERS: Definitely! This whole tour cast has started to feel like family. All four of my onstage sisters have been a wonderful support system on the road. I know who to go to for every occasion too — whether it be for a laugh, to vent, to cry or even just for a hug.

JHP: What aspect of Chava’s personality do you wish you could emulate more in your own life?

NATALIE POWERS: Her voracious appetite for reading! I personally love reading, but in a leisurely way. I would love to read books cover to cover every day like she does!

JHP: Being a period piece, the costumes for Fiddler are always beautiful. Do you have a favorite look in the show, whether it be yours or someone else’s?

NATALIE POWERS: I am so in love with Catherine Zuber’s designs for this show. I have a purple vest that I wear during Matchmaker that has a lot of intricate quilting work. I would have to say that is my favorite piece!

JHP: That’s a perfect lead-in to my next questions…Matchmaker is among the show’s most recognizable musical moments. Have you ever played matchmaker, or been the recipient of matchmaking?

NATALIE POWERS: I actually have not! I have noticed that people tend to gravitate towards similar minded people and like to watch matches happen organically that way!

JHP: On a broad,more obvious scale, Fiddler is about family, tradition and change. Is there an underlying theme within the show that you’ve discovered while performing the piece night after night?

NATALIE POWERS: Through Chava’s storyline, I’ve realized that what you take out of the show really depends on where you are in your own life. For instance, a mother seeing the show will absorb something totally different than a son. One of the lessons that resonates with me right now is that sometimes you have to make choices that are right for you, knowing that it may not be possible to please everyone.

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My conversations with Tevye’s eldest daughters may have ended, but it’s just the beginning of your chance to get in on the family celebration as Nashville tour dates of Fiddler on the Roof continue at TPAC’s Jackson Hall through Sunday, June 30. Remaining performances are Wednesday and Thursday at 7:30p.m., Friday and Saturday at 8p.m. Saturday matinee at 2p.m., Sunday matinee at 1p.m. and a final Sunday evening performance at 6:30p.m. Tickets range in price from $40 to $100. CLICK HERE to purchase tickets or for more information.

On Monday, TPAC announced a digital lottery for $25 tickets to Fiddler on the Roof that is available via the TPAC Concierge app. The lottery is open from 10:00 a.m. – 4:00 p.m. the day before the show patrons wish to see. Winners will be notified a few minutes after the lottery closing time and will have 60 minutes to accept/purchase the tickets. CLICK HERE for more information on the digital lottery, or CLICK HERE to download the TPAC Concierge App via the Apple App Store or CLICK HERE to download the app via Google Play.

Not in Nashville, but want to be part of the Fiddler on the Roof simkhe? Following their Nashville tour stop, Fiddler continues on through spring of 2020 with upcoming engagements across the US. CLICK HERE for specifics. You can also follow Fiddler on the Roof via Facebook, Twitter, Instagram and YouTube.

While Fiddler on the Roof closes out TPAC’s current Broadway Season, they’re hard at work on the 2019 TPAC Gala, an annual fundraising event that helps support the organizations educational, cultural and outreach initiatives. This year’s Gala theme, is Hamilton, in anticipation of the landmark musical’s upcoming Nashville debut as part of the 2019-2020 season.

Then it’s on to TPAC’s next Broadway Season  with the Music City premiere engagement of Dear Evan Hansen on stage at TPAC September 10-15. CLICK HERE for Season Ticket options.  To keep up with what’s happening at TPAC, follow them on Facebook, Twitter and Instagram as well.

If you’ve enjoyed this installment of Rapid Fire, CLICK HERE to check out previous chats with local and national theaterati. 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 Q&A with ‘Miss Saigon’ cast members Anthony Festa and Stacie Bono; at TPAC’s Jackson Hall thru Sunday, June 9

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Earlier this week as the National Tour of Miss Saigon prepared for their current stint in Nashville at TPAC’s Jackson Hall Tuesday, June 4 through Sunday, June 9, I had the chance to pose a few questions to two of the show’s lead actors for the latest installment of my recurring interview segment, Rapid Fire Q&A. Up first is my conversation with Anthony Festa, who plays fresh-faced U.S. soldier, Chris, who, while stationed in Vietnam, meets and falls in love with a local Vietnamese teenager name Kim. Following my conversation with Festa, I had the opportunity to chat with Stacie Bono who plays Ellen. Ellen is the young American woman Chris marries following his return to the U.S. after the war.

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RAPID FIRE Q&A WITH MISS SAIGON’S ANTHONY FESTA

 JHP:  What can you tell me about Chris, the character you play in the current National Tour of Miss Saigon?

ANTHONY FESTA: Chris is an American G.I during the fall of the Vietnam war who falls in love with Kim a young girl orphaned by the war. The story of our show takes you through his life leading up to the evacuation and the impact of the war’s trauma after.

JHP: While researching to chat with you, I ran across a promo clip in which you say Miss Saigon taught you musical theatre. What do you recall about your first knowledge of this piece?

ANTHONY FESTA: The first time I ever saw this show I was 14 and my father, who has since passed away, pointed up on stage and said “this is a role for you, Anthony”. I find it full circle to be playing it now. In high school I had a CD (remember those?) that I played in my car that had half Rent songs and half Miss Saigon songs on it. I sang the songs on my way to school every day.

JHP: For those who may or may not be familiar with the show, what’s new and different about this production?

ANTHONY FESTA: Our director, Laurence Connor has re-imagined this production completely. From minor script changes to a new helicopter design that really blows the audience away ever single night. Working directly with the entire creative team and Cameron Mackintosh (the show’s original creator) himself has been an amazing experience. The entire team has brought nuance to the piece and really allowed our cast to breath a whole new life into it.

JHP: From what I know, this isn’t your first National Tour, having been part of 2016’s Wicked tour, but this is your first visit to Nashville, right? Is there anything you hope to visit and share with your current cast while here in Music City?

ANTHONY FESTA: The Wicked tour launched in 2009 and just celebrated its 10th year on the road, I wasn’t a part of it until 2016! I didn’t experience Nashville but I’m extremely excited to for the first time now. I enjoy the food and culture in all the cities we visit and I hear Nashville has quite a lot of both!

JHP: If there were a ‘Seven Wonders of Musical Theatre’ list, alongside the chandelier from Phantom, surely the helicopter from Miss Saigon would take its rightful place among the top marvels. You mentioned it above, but I’m curious…it’s  always a thrilling scene for the audience, what’s it like to play that scene night after night from city to city?

ANTHONY FESTA: It’s in a word “iconic”. The helicopter is a multi-million dollar set piece that moves on many different axis points and shutter effects. I marvel at how brilliant the design is every single night and yes it’s right up there with Elphaba flying and the chandelier falling. The audience will feel the wind of this chopper blowing their hair back and the evacuation scene, most commonly, will result in them picking their jaws up off the floor.

JHP: As Chris, you get the joy of not one, but two on-stage romances, first there’s Emily Bautista as Kim, the young local girl Chris falls in love with while stationed in Vietnam. Then there’s Stacie Bono as Ellen, the American girl Chris marries stateside. What’s your favorite aspect of sharing the stage with these two beautiful and talented actresses?

ANTHONY FESTA: Ahh man, I mean you sum it up right there. Beautiful and talented. Emily and Stacie are two amazing and empowering women in a time that I think we need that the most. The strength and journey of their characters is truly beautiful. As Kim, Emily takes on motherhood at such a young age and as Ellen, Stacie cares for an American GI with nothing but complete empathy for his war torn past and trauma.

RAPID FIRE Q&A WITH MISS SAIGON’S STACIE BONO

JHP: Having just chased with Anthony, I asked his favorite aspect of sharing the stage with you, so I’ll start our conversation by asking you…what do you enjoy most about sharing scenes with Anthony?

STACIE BONO: Anthony is so open onstage and we have built strong trust together. I’m confident that whichever direction I go in a scene, he will follow me and have my back. He’s also a super silly, lovable guy offstage and that helps to lighten up all the drama we have to endure onstage.

JHP: While Ellen is central to the action of the story of Miss Saigon, the audience doesn’t really get much backstory on her. I always find it interesting to ask actors what backstory they’ve created for their character that helps them bring a depth to the role. With that in mind…who is Ellen?

STACIE BONO: It is true that there is very little text about Ellen in the script, so I’ve had to use a lot of imagination to flush her out. It fascinated me how this woman was so tolerant of her husband’s outbursts and lack of communication – and she was dealing with this before the discovery of PTSD in 1980. My instinct was that Ellen had experienced this kind of trauma before with someone else she had loved deeply, her father, which gave her understanding and patience for her husband’s suffering. Ellen was very much against the war and went to several protests while in college and so when she falls in love with Chris, she feels it is almost her duty to heal him from what the Vietnam war did to him. Her immense compassion, warmth and empathy in dealing with Kim and Tam leads me to believe she has a career in social work or psychology. She knows how to handle people in stressful situations and keep her own emotions out of it… for the most part.

JHP: Even though the action of the piece takes place in the 1970s, there are so many elements of the story that are relevant today. What’s one aspect of the plot that you find most rewarding to shine a light to?

STACIE BONO: I fear we’ve reached a dangerous place of tribalism and isolationism in our country. We are obsessed with “Us vs. Them” and there is a lack of compassion for humans of other races and cultures. The central story of Miss Saigon is a mother’s sacrifice for her child. That is truly a binding commonality of the human condition that anyone can understand. My hope is that this story can open people’s hearts and inspire a little more tolerance and compassion for others.

JHP:  With so many gorgeous sets, costumes and scenes, what’s among your favorites? Whether you’re part of those scenes of simply admiring from side-stage?

STACIE BONO: My favorite scene is the nightmare. Now you may think it’s because of the awesome 3 ton helicopter in that scene – which is super cool – but it’s really my favorite scene because every single cast member is so committed to transporting the audience to this heartbreaking and epic moment in history. The music, lyrics and our company’s passion and devotion makes the scene so palpable. It makes me weep every time I watch it.

JHP: How’s life on the road been thus far during this tour?

STACIE BONO: Technology has definitely changed the touring life. It’s much easier to explore new cities with google maps and Uber in your back pocket and to stay in touch with your loved ones via FaceTime.

JHP: What’s the most rewarding aspect of being part of the newest chapter of such a beloved piece of musical theatre history?

STACIE BONO: It has been a dream come true to work and collaborate with the creatives of this show. These men are musical theater gods! I remember at one point in the rehearsal room, Claude-Michel Schönberg rewriting the opening of Maybe for me. That was pretty spectacular. It’s been an honor to put my little stamp on a character who has largely been maligned and misunderstood in the past. I hope my portrayal of Ellen has helped show that she is not a villain at all, but another victim of this story.

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With that my conversations with Festa and Bono came to a close, but it’s just the beginning of Miss Saigon’s Nashville tour stop as the famed helicopter lands on TPAC’s Jackson Hall stage in just a few short hours as the National Tour calls Music City home thru Sunday, June 9.

Showtimes are Tuesday-Thursday at 7:30p.m., Friday and Saturday at 8p.m. with matinees Saturday at 2p.m. and Sunday at 1p.m. with a final performances Sunday evening at 6:30p.m. Tickets range in price from $40 to $100. CLICK HERE to Purchase tickets or for more information.

Earlier today, TPAC announced the limited availability of $30 rush tickets for all performances. For a chance to purchase select seats at this special price, you must arrive at TPAC’s lobby box office 90 minutes prior to showtime, where you can enter to a ticket lottery drawing. Limit two per person while supplies last. 

If you’ve enjoyed this Rapid Fire Q&A, CLICK HERE to peruse previous conversations. Be sure and check back for my review of the show after tonight’s Nashville opening night performance.

Not in Nashville? CLICK HERE to see where Miss Saigon plays as the tour continues across the U.S. with dates announced through June of next year. For more from the National Tour of Miss Saigon, follow the company of Facebook, Twitter and Instagram. 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.