There’s something wonderfully reassuring about a play that suggests the people society considers crazy might actually have a better handle on life than those who insist they’re perfectly normal. John Patrick’s The Curious Savage delivers plenty of eccentric comedy, but beneath the laughs lies a pointed observation about money, family, compassion, and the absurdity of judging people by society’s standards. Currently onstage at The Keeton Theatre through October 25, director Michael Welch takes on this 1950 classic with a story that feels surprisingly relevant, reminding audiences that good manners don’t necessarily make good people, and a healthy bank account doesn’t guarantee a happy life.
The premise is deliciously simple. Wealthy widow Ethel Savage wants to use her late husband’s fortune to help people pursue their dreams rather than surrender it to her greedy stepchildren, Titus, Lily Belle, and Samuel. Their solution? Have Ethel committed to The Cloisters, where they expect to bring her to her senses. Instead, Ethel discovers a community of wonderfully unconventional individuals whose humanity puts her supposedly respectable family to shame.
Welch’s production understands that the comedy works best when the characters are treated as people rather than punchlines. The residents’ eccentricities provide the laughs, but their vulnerability and capacity for compassion give the play its heart. The result is a reminder that perhaps the most troubling behavior comes not from those who see the world differently, but from those convinced their own way is the only acceptable one.
Ann Street-Kavanagh’s Ethel Savage is, to borrow a phrase, a performance of “tenacious mediocrity unhampered by taste.” I kid, I kid. (See the show and you’ll get the joke.) Seriously, this might be Street-Kavanagh’s shining moment in local theatre. She seems to have been born to play Ethel Savage, balancing the character’s whimsical nature with a quiet determination that makes her impossible to dismiss. She is the heart of the production, and watching her navigate Ethel’s determination to live life on her own terms is a genuine pleasure. The night I attended, Street-Kavanagh’s mic pack slipped from her dress mid-scene. Without missing a beat, she simply grabbed it, held it in her hand, and finished the scene like a pro. It was an impressively unfussy bit of theatrical problem-solving that demonstrated exactly the kind of composure you want from a seasoned performer.
As Titus Savage, Jason Rainwater delivers the haughty, self-important attitude that fits perfectly into the world of the societal Savages. Titus is a man accustomed to having his opinions respected and his expectations met, and Rainwater captures the character’s sense of entitlement without losing sight of the comedy. He represents the kind of respectable authority that playwright Patrick enjoys skewering, proving that a distinguished public image and a decent moral compass are two entirely different things. Yet another reason this 76-year-old play still feels oh so relevant.
Frederick ‘Rick’ Heiman Jr.’s Samuel Savage brings an authenticity to the character’s disdain for just about anything that inconveniences him. A judge whose own values are considerably less impressive than his professional title suggests, Samuel is driven by greed and an impressive capacity for irritation. Heiman makes that self-serving attitude part of the character’s comic appeal, giving Samuel the air of a man who considers everyone else’s existence a personal affront.
Katie Delaune’s Lily Belle Savage is an especially enjoyable balancing act. She understands Lily Belle’s concern with appearances and what other people think while also allowing a genuine concern for her stepmother to peek through. That little bit of humanity makes Lily Belle more interesting than a simple caricature of an avaricious socialite. Delaune also demonstrates terrific comedic prowess, particularly in one late-hour scene when Lily Belle drops behind the sofa and re-emerges a little worse for wear to riotous laughter. It’s a perfectly timed physical-comedy moment that earns every giggle.
Among the residents of The Cloisters, Brittany Mask brings gentleness and humanity to Florence, the grieving mother who carries a doll she believes to be her young son, John, lost to illness five years previous. In researching to chat with some of the cast for my recent Rapid Fire 20Q, I discovered that some recent productions have chosen to portray the child as presence throughout the play, but The Keeton’s presentation follows the original 1950 production’s approach, allowing the doll to represent Florence’s son as she understands him. It’s a choice that keeps the focus squarely on Florence’s emotional reality, and Mask handles the character with tenderness rather than turning her grief into a cheap laugh. Her performance brings an affecting humanity not only to Florence but to the play itself, reminding us that the residents’ eccentricities often have deeply personal roots.
And speaking of John, young Logan Dowlen makes a brief appearance as Florence’s son during the dream sequence at the play’s end, earning the distinction of cutest co-star, ever. It’s a fleeting moment, but one that adds a sweet punctuation mark to Florence’s story.
As Hannibal, Damon Cathey brings a kind of Forrest Gump-ish simplicity to the role. His character’s conviction that he is a concert violinist is another example of the play’s fascination with the realities people create for themselves. Cathey leans into Hannibal’s guileless quality, adding another distinct personality to the ensemble without making the character’s eccentricity the whole point.
Riley Basner’s Jeffrey is notable for his perfectly presented shyness. An all-too-young war veteran carrying emotional scars, Jeffrey is a character whose reticence speaks volumes. Basner’s understated approach provides a welcome contrast to some of the production’s broader comic personalities, giving Jeffrey space to be vulnerable without pushing the sentiment too hard.
Kathy Crisp’s Ms. Paddy is captivating—and relatable. After all, my mantra is quite often “I hate everybody,” so a woman who only speaks to list the things she hates is my kind of woman. Crisp’s otherwise nonverbal Ms. Paddy is a silent scene-stealer, proving that a character doesn’t need a mountain of dialogue to leave a memorable impression. Her expressive presence and wonderfully sour outlook make her one of the production’s most entertaining eccentricities.
Christina Shandor’s Fairy May is the group’s resident optimist, comedically bespectacled and wigged in what can only be described as a cross between Little Orphan Annie and Pippi Longstocking. Her sunny disposition and colorful imagination provide plenty of comic opportunities, but there’s a more vulnerable character underneath all that cheerfulness. Fairy May’s insistence on seeing the good in everything is also a way of protecting herself from the harsher realities of the world. Shandor brings an infectious energy to the role, and you absolutely have to stay until the end to see not just how Fairy May sees herself, but how Mrs. Savage sees her and her fellow inhabitants. It’s a lovely final touch that gives the audience one more reason to reconsider the assumptions they’ve made about the people of The Cloisters.
The staff of The Cloisters provides another perspective on the institution and its residents. Tony Barrow’s textbook performance as Dr. Emmett works well within the sterile, mechanical atmosphere of a sanitarium. His recitative, unfluctuating delivery offers a contrast to the unpredictable personalities in his care, reinforcing the system-desired orderly framework surrounding the residents’ unconventional lives.
Kathleen McClanahan’s Miss Willie, meanwhile, mixes kindness with empathy and a little unexpected spirit. As the nurse who remains at The Cloisters to care for her husband, a war pilot who has lost his memory, Miss Willie embodies the complicated intersection of love and obligation. McClanahan gives the character warmth while allowing glimpses of the determination beneath her gentle exterior. I have always found it odd that the revelation about her relationship doesn’t happen sooner in the play, as it is almost lost when it finally comes to light. It’s an important piece of her story, and one that might carry greater emotional weight if the audience had more time to absorb its implications.
Behind the scenes, Welch is supported by stage manager Hailey Pelletier, and a team of skilled artisans. Technical director and set designer Kevin Driver brings authenticity to the play’s mid-century setting by peppering the stage with a console tube radio, the de rigueur framed print of Thomas Lawrence‘s portrait of Pinkie and other touches. Though I do question the publication date of a certain magazine located on the coffee table. (I’m sure The Keeton’s go-to graphic designer Danny Proctor, or even I could provide a vintage mag if asked, but I digress). Costumer Denese René Evans‘ work, most notably via wardrobe choices of Florence and Lily Belle again reinforce the vintage era. Mrs. Savage is decked out in finery–though that sparkle-accented jacket reads a bit too modern and those black character shoes are, well, out of character for a woman of her status. Sound designer Steve Love, and lighting designer Jesse Watts. work seamlessly in tandem to help establish the institutional, yet inviting world of The Cloisters, providing the setting for a story that moves between comic absurdity and genuine emotional reflection.
Ultimately, The Curious Savage is less interested in defining madness than in exposing the peculiar behavior of people who are convinced they have everything figured out. Ethel’s stepchildren may have money, status, and social standing, but the residents of The Cloisters offer something far more valuable: compassion, companionship, and the freedom to be themselves.
The Keeton Theatre’s production gives this classic comedy an opportunity to remind us that kindness matters more than appearances, that wealth cannot buy genuine affection, and that the people who make life worthwhile are often those who understand us without demanding that we change. After all, a little eccentricity may be the least of our problems. And if Ethel Savage has anything to teach us, it’s that a generous heart and an independent mind are worth considerably more than a fat bank account and a family tree full of people waiting to cash in.
The Keeton‘s The Curious Savage continues through Sunday, October 25. CLICK HERE for tickets. For Friday and Saturday performances, doors are at 5:45pm with dinner service until 6:45 and show beginning at 7pm. Thursdays are show only with doors at 6:30pm and show at 7pm. For Sunday matinees, doors open at 12:45pm with meal service until 1:45pm and showtime at 2pm.
Next up following The Curious Savage, The Keeton presents their holiday offering Scrooge in Love on stage December 3-20. So you don’t miss out on upcoming shows at The Keeton Dinner Theatre, follow them on Facebook, X 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. In the meantime, #GoSeeTheShow!
As Gomez Addams, Brian Michael Jones is the consummate master of ceremonies for this gloriously peculiar household. Familiar to Studio Tenn audiences, Jones marks his fourth production with the company, and his turn as the amorous, quick-witted patriarch is another welcome addition to that relationship. Gomez must balance his devotion to Morticia with his protective instincts as a father, all while navigating the family’s increasingly complicated affairs. Jones handles the character’s comic timing and romantic sincerity with ease, giving Gomez the charm and theatrical flair the role demands. He makes it clear that, beneath the pinstripes and the mischief, this is a man who adores his family—even when that family makes his life considerably more complicated.
Sandra Allen’s Morticia Addams is a vision of dark glamour and commanding theatricality. Allen possesses a voice that is every bit as alluring as Morticia herself, and she uses it to glorious effect throughout the production. Her movement is equally impressive, particularly in “Tango de Amor,” where she brings the character’s sensuality and precision together in a number that practically sizzles. And then there’s that dress. Yes, that dress, cut down to Venezuela! It’s a jaw-dropping bit of costuming that would make even Morticia’s famously expressive eyebrows arch in approval. Allen understands that Morticia’s power lies in her composure, her wit, and her ability to command a room without appearing to exert the slightest effort. She is the very definition of dark elegance, with a vocal presence and physical confidence that make every entrance an occasion.
Jacob Waid’s Uncle Fester is an absolute delight, combining vocal strength, romantic exuberance, and an endearingly off-kilter sincerity that makes the character impossible not to love. Fester’s devotion to the moon is one of the musical’s most wonderfully ridiculous romantic conceits, and Waid embraces it with the enthusiasm of a man who has finally found his celestial soulmate. During “The Moon and Me,” he looks positively the bee’s knees in his swimsuit, an unexpected visual treat that only adds to the number’s goofy charm. But Waid’s performance is more than a collection of laughs and eccentricities. His commitment to Fester is evident in every detail, right down to the transformation required for the role. Usually quite hirsute, Waid has shaved his head AND his lumbersexual beard to become the bald, delightfully peculiar Fester. That’s dedication, folks! His performance once again backs up why he was named Best Stage Actor in Nashville Scene’s recently announced annual Best of issue. Between the vocals, the physical comedy, and the sheer joy he brings to the role, Waid makes a compelling case for the honor all over again.
As Lurch, Scott Patrick Wilson breathes life—and a generous helping of heavy sighs—into the Addams family’s towering butler. Lurch is a character whose impact often depends on stillness, timing, and the occasional perfectly placed vocalization, and Wilson understands the assignment. His imposing presence and unhurried delivery provide a terrific counterpoint to the household’s more animated personalities. But don’t mistake his near-silent demeanor for a lack of theatrical contribution. Spoiler alert: Wilson is front and center in the show’s “Move Toward the Darkness” finale, proving that he’s not just a tall drink of Acrimonium. His contribution to the closing number is a particularly satisfying payoff for audiences who have watched this seemingly stoic servant hover in the background.
Rounding out the cast as the Addams Ancestors is a virtual who’s who of area up-and-comers and established favorites: Kelsey Brodeur, Maria Logan, Ryann Katherine Perkins, Meggan Utech, O’Neal Black, Alex Dee, Jonah M. Jackson, and Douglas Waterbury-Tieman. They provide the production with much of its visual richness and theatrical energy, helping establish the sense that the Addams family’s eccentricities stretch far beyond the living. The ancestors are more than atmospheric decoration; they contribute to the musical’s sense of tradition, history, and delightfully unconventional family values. Their collective presence gives the ensemble sequences added dimension and helps make the world of the show feel fully populated.
What impresses most about Studio Tenn’s THE ADDAMS FAMILY is the way it balances spectacle with character. The familiar black-and-white iconography, the dark humor, and the outrageous family dynamics are all present, but they’re supported by performances that understand the people beneath the eccentricities. Gomez and Morticia are devoted partners. Wednesday is a young woman discovering that love may be more complicated than she imagined. Lucas is a romantic caught between affection and bewilderment. Alice and Mal must confront the distance between the lives they present and the lives they actually lead. Even Pugsley’s desperate attempts to keep his sister close spring from a recognizably human fear of being left behind.
Studio Tenn’s THE ADDAMS FAMILY MUSICAL is a terrific showcase for a talented local company working at the top of its game. Cassidy’s assured direction, the cast’s spirited performances, the sumptuous costumes, the polished production values, and the score’s infectious theatricality combine to create an evening that feels every bit as ambitious and entertaining as the material deserves. From Allen’s show-stopping Morticia to Waid’s irresistible Fester, Jones’ winning Wednesday, and a supporting company that makes every corner of the Addams universe feel alive, this production delivers the goods.
RAPID FIRE WITH THE SOUND OF MUSIC‘s CAPTAIN GEORG VON TRAPP, KEVIN EARLEY 
RAPID FIRE WITH THE SOUND OF MUSIC‘s ELSA SCHRAEDER, KATE LOPREST
RAPID FIRE WITH 
RAPID FIRE WITH THE SOUND OF MUSIC‘s HERR ZELLER, DANIEL ROBERT SULLIVAN
Norah Younger’s Shelby Holcomb might not be in the opening scene, but once onstage, immediately commands attention. Younger gives Shelby an appealing intelligence and quickness, but wisely show restraint and uncertainty. There is something more complicated happening underneath Shelby’s rapid-fire observations, and Younger gradually reveals those layers with an impressive combination of confidence and vulnerability.
Advika Ravishankar’s Raelynn Nix is equally compelling. Ravishankar finds the humanity in a character who has spent much of her young life navigating expectations—expectations about who she should be, how she should behave and what her relationships should look like. Watching those assumptions begin to crack is one of the production’s more affecting journeys, and Ravishankar handles that evolution with considerable sensitivity. One of my personal favorite Raelynn moments comes early on in the play when she fires off a rapid succession monologue of exposition to catch up Nell, the newest student, she ends the fast-paced info dump with “and that’s what you missed on Glee”—taking a cue from the intro phrase from the iconic teen-driven TV series that always started each episode.
And then there are the adults of the piece Lucas Calhoun as Mr. Carter Smith and McKenna Steel as Ms Bailey. Lucas Calhoun’s Carter Smith, who finds just the right balance in the production’s adult male presence. As the English teacher and faculty advisor to the girls’ newly formed feminism club, Carter occupies an interesting position within the story. Calhoun doesn’t make him a conveniently enlightened adult who always knows exactly what to say. Instead, there is a humanity to his performance that allows Carter to listen, learn and occasionally realize that the most useful thing he can do is get out of the way. That makes Calhoun’s performance considerably more interesting—and considerably more believable. Calhoun’s Mr. Smith is the teacher we all remember from high school. Just a little older than the students, good looking, interested, but not hovering…again reference Glee, think Matthew Morrison as Mr. Will Schuester. 
Rounding out the cast and reppin’ the boys, Lorenzo Rivera’s Mason Adams and Brent Bentley’s Lee Turner provide some of the production’s lighter moments without ever allowing their characters to become broad caricatures. In the hands of less skilled young actors, both roles could easily be stereotypes…Mason the jokester, Lee the cocksure jock, but as played by Rivera and Bentley, they reveal layers of uncertainty, self-doubt and eventual understanding, not only of themselves but of their female counterparts. Don’t get it twisted though, this play is about the young women. That said, it is an impressive company from top to bottom.
Because Belflower’s play is ultimately about authenticity. It’s about the difference between the story we’ve been handed and the story we experience ourselves. It’s about the danger of accepting a narrative simply because it has become familiar. It’s about the uncomfortable realization that the people we have been taught to admire may not always deserve our admiration—and that people we’ve been taught to dismiss may have considerably more to say than we ever bothered to hear.
Belflower’s writing is smart enough to leave room for disagreement, while Shouse’s direction keeps that disagreement rooted in character rather than turning the production into a lecture. And that’s an important distinction. This isn’t a play telling an audience what to think. It’s a play encouraging an audience to think. 
The thread connecting the personal drama to the larger historical elements is masterfully presented by Matthew Carlton’s Storyteller. As with any show in which he appears, Carlton’s presence assures those familiar with his work that they’re in for quite the performance. His Storyteller keeps the audience grounded in the broader story without turning the production into a some sort of yawn-fest history lesson. OK, OK, I admit it. History was never my strong suit, but with this cast and this story, it’s just as much an evocative tale as it is a tale of yesteryear as well as a bit of a cautionary tale of the plight of today’s agricultural foundation in homegrown products far beyond the scope of the tobacco industry.
Playwright David Alford, who also wrote the music and lyrics, has created a Broadway-worthy bluegrass score with a dark side.
Following SMOKE, the 
The Bell Witch Fall Festival then culminates October 22–31 with the annual presentation of David Alford’s spellbinding SPIRIT: The Authentic Story of the Bell Witch, presented on the hallowed grounds where the legendary Bell Witch is said to have roamed. Festival grounds open nightly at 6pm, with seating at 7pm and the show at 7:30pm, giving visitors time to explore vendors, grab dinner and settle in for an evening of history, entertainment and a little supernatural intrigue. SPIRIT tickets range in price from $27.38 to $43.14. 
RAPID FIRE WITH JOHN PROCTOR IS THE VILLAIN‘s LUCAS CALHOUN
RAPID FIRE WITH JOHN PROCTOR IS THE VILLAIN‘s
RAPID FIRE WITH JOHN PROCTOR IS THE VILLAIN
And then there are the three people at the center of that world. DéYonté Jenkins, as Henry Jekyll and Edward Hyde, takes on one of musical theatre’s great dual-role challenges and makes the transformation between the two personalities feel like an actual psychological unraveling rather than a theatrical gimmick. With the seemingly simple act of letting down his hair, increasing his audible breathing, snarling and yes, a bit of sweat and snotting, Jenkins transforms from Jekyll to Hyde in a scarily brilliant manner. Jekyll’s idealism, desperation and obsession gradually give way to Hyde’s darker liberation, and Jenkins makes that descent increasingly compelling. Again, the intimacy of this venue works with the show, not against it. Let’s not sleep on Jenkins’ vocals either. From Jekyll’s first musical number “Lost in the Darkness” to his final public transformation during “The Wedding”, whether as the meek and smooth as silk voiced Jekyll or the growling, guttural Hyde, Jenkins’ vocal control is enchanting. Those familiar with the musical can rest assured when Jenkins tackles “This is The Moment”, it’s not just a song title, it is the truth.
As Emma Carew, Dr. Henry Jekyll’s intended, Rebekah Joy brings an emotional strength to the production that keeps the character from becoming merely the devoted woman waiting for the troubled man she loves to come to his senses. There is genuine resilience beneath Emma’s affection, and Joy gives that emotional journey considerable weight. Vocally, Joy puts the opera in gothic opera. “Take Me As I Am”, Emma and Jekyll’s Act 1 duet showcases Joy’s control and power as a vocalist and as an actress. During this number you could have heard a pin drop in the sold out audience as Joy’s Emma hit that final note. Same goes for her Act 2 showstopper, “Once Upon a Dream”—goosebumps. 
Then there is Francesca Noe as Lucy Harris, whose performance may be the production’s most heartbreaking. Noe gives Lucy vulnerability without ever making her fragile, allowing us to see a woman desperately searching for a way out of a world that has offered her precious few choices. Let’s face it, Lucy is the OG Pretty Woman, a hooker with a heart. Matching her co-stars note for note Noe’s vocal performance is gorgeous, but it is the emotional storytelling underneath those vocals that makes Lucy so affecting. From the rousing, rambunctious “Bring On the Men” to the Act 1 11 o’clock showstopper, “Someone Like You” Noe’s Lucy is stunningly captivating.
Skillfully aiding our lead as he navigates the uncertainty of his transformation is Elliott Robinson as Gabriel John Utterson, who initially serves up a bit of narrative exposition. Not gonna lie…knowing Robinson was among the cast was reason enough for me to check out this production. As he has done with any role he has taken on over the last two decades that he’s been a staple of area theatre, Robinson, simply by his presence, elevates the production. While this production doesn’t necessarily need any extra help in elevation, Robinson’s Utterson is the perfect unexpected ally to Jenkins’ troubled duality. Early on, Robinson’s Utterson joins the crowd for ‘Facade’ where he sings the telling line, “Each man you meet in the street isn’t one man, but two!” And how! It’s a simple phrase that could easily be lost if uttered by a lesser performer, but in Robinson’s capable hands, you’re like…Damn right.
From the spooky frothing magic potion that turns Jekyll to Hyde to those candles that light the lab and books that become almost unnoticeably more disheveled and chaotic as the transformations become more frequent and uncontrolled…it’s those little touches by the set, scenic and props crew that bring you in this gothic world, and keep you there. Oh, and be sure and take notice of the handbills, notices and posters pasted to the wall just to the right of the main stage. My companion for the evening and I had fun during intermission figuring out what classic London lore each one represented. Nice touch! There’s also a fun, albeit completely out of place nod to our own skyline mixed in amongst the 1880s London skyline.
RAPID FIRE WITH CLINT RANDOLPH, DENNIS DUPREE IN ROCK OF AGES
RAPID FIRE WITH SMOKE DIRECTOR GALEN FOTT
SMOKE: A Ballad of the Night Riders signifies the opening of this year’s annual installment of Bell Witch Festival with performances weekends Thursday October 1 thru Saturday, October 10. Specific show dates are October 1, 2, 3, 8, 9 & 10. Each evening the grounds at the Bell School Community Complex (7517 US-41 Adams, TN 37010) open at 6pm giving attendees the time and opportunity to peruse the grounds, the gift shop and vendors, including food trucks for a delicious meal before the at Kay Bagby Theatre and Brooksher Outdoor Pavilion seating opens at 7pm for the 7:30pm showtime. Grass Lawn tickets are $22.13 to 27.38. Seating at the covered pavilion range in price from $37.89 to $27.35 (prices include fees).