As I mentioned in my review of Summer: The Donna Summer Musical, I’m a literally a lifelong fan of the diva herself. That said, in the days prior to the National Tour of Summer: The Donna Summer Musical’s arrival in Nashville for their current tour stop in Music City at TPAC’s Jackson Hall as part of this season’s Broadway at TPAC lineup, I put in a dream request to chat with all three lead actresses who play the iconic songstress at varying times during the legendary singer’s life. Now, typically, when I put in such requests, because of the rigors of tour life and the logistics of replying to my query via emails, I’ll often be granted the opportunity to chat with one, maybe two cast members, so imagine my excitement when I was told Yes, I could pose questions to all three of the talented ladies portraying the one-time Nashville resident and iconic diva!
So, it is with great appreciation and admiration for both these talented performers and the women they all portray that I present my latest Rapid Fire Q&A, a special Divalicious Rapid Fire Q&A with Amahri Edwards-Jones, Charis Gullage and Brittny Smith, the stars of Summer: The Donna Summer Musical.
A DIVALICIOUS RAPID FIRE Q&A WITH THE STARS OF SUMMER: THE DONNA SUMMER MUSICAL
RAPID FIRE Q&A WITH AMAHRI EDWARDS-JONES, DUCKLING DONNA IN SUMMER: THE DONNA SUMMER MUSICAL
JHPENTERTAINMENT: As Duckling Donna, you portray Donna Summer’s younger years from about age 11-15. While researching to chat with you and your fellow-Donnas, I learned you spent those years of your own life as a student at The Governor’s School for the Arts in Norfolk, Virginia. Has performing always been something you’ve been drawn to?
AMAHRI EDWARDS-JONES: Yes, performing has always been in my life. I started singing in my church choir at the age of two. Church is also where I was exposed to dance. I played sports up until the age of 11, but decided that I really wanted to focus more of my time on performing. I went from playing parks and rec basketball to taking my first musical theatre acting, dance and vocal classes at The Hurrah Players in Norfolk, VA. I enjoyed going to those after school classes almost every day of the week. Once I started musical theatre, I knew there was no going back. I had been hearing about The Governor’s School for the Arts because I had family members who attended in different departments. So of course I was devastated when I didn’t get accepted my first year of high school, but I re-auditioned and I’m so glad that I did. GSA taught me so much and really made me feel confident enough to be able to professionally perform today.
JHPENTERTAINMENT: Nashville is super excited to have you and the entire company of Summer here in Music City, especially given the fact that Donna herself had many ties to Nashville, having moved here in the mid-90s. Heck, back then I waited on her and her young daughters from time to time when she’d bring them in to peruse the shelves of the children’s section of the bookstore where I worked. Which brings my next question to mind. Even before moving to Nashville, Donna teamed with another Diva, Dolly Parton in 1980, when Dolly recorded Starting Over Again, a tune penned by Donna and her husband Bruce Sudano. Given these Nashville connections, and there are plenty, have you thought of doing a little Donna Summer tour of Music City? Here’s a little head’s up, her former Oak Hill home is located about 15 minutes south of TPAC at 914 Overton Lea Road.
AMAHRI EDWARDS-JONES: First, I’d like to say how cool it is that you personally met Donna Summer and daughters! And of course, I’d love to explore different places Donna Summer has lived and worked. The impact that she left on people’s lives has been a beautiful thing to learn and hear about and I am very excited to come to Nashville.
JHPENTERTAINMENT: While you’re not as young as the Donna you portray, you’re still relatively young, so I gotta ask. How familiar were you with Donna Summer and her music before landing this gig?
AMAHRI EDWARDS-JONES: I wasn’t very familiar with Donna Summer. I knew a couple of songs like, Last Dance and She Works Hard for the Money, but I didn’t know much about her. What really made me start to look up more about her was by listening to Beyonce’s song Naughty Girl. Beyonce sampled Love to Love You Baby in the very beginning of that song. Learning that about Naughty Girl led me to discover more of Donna Summer’s music, and when the Broadway show and cast album came out, I listened to it often.
JHPENTERTAINMENT: This is your first National Tour, right? Thus far, what’s been the best aspect of life on the road?
AMAHRI EDWARDS-JONES: Honestly, the best part of touring has been creating meaningful relationships with my castmates. Being with kind people has made my experience so enjoyable. We go out and explore different attractions in cities together, we have game nights throughout the week, and one of my closest friends here, Layla Brent-Tompkins, has introduced me to the Marvel Universe. Since November we have been watching marvel movies in order and we plan on finishing the movies and different series by the end of the tour, so wish us luck!
JHPENTERTAINMENT: Your first featured turn in the show comes as Duckling Donna headlines I Remember Yesterday, a 1977 #1 on the US Dance chart and a Top 20 hit on the UK Pop chart. Now, I’m a huge Donna Summer fan, but I gotta be honest, I wasn’t familiar with this one. I’ve heard that Love to Love You Baby is your favorite song in the show, but what I want to know is…is there one Donna Summer song you wish was yours to perform and what is it about that particular song that you love to love?
AMAHRI EDWARDS-JONES: Love to Love You Baby is definitely my favorite Donna Summer song. Charis Gullage who plays Disco Donna performs it beautifully. But to answer your question, I would very much like to be in She Works Hard For the Money. The choreography is so fierce. Whenever I am able to, I watch that scene from the wings and I’m just in awe of my castmates. Brittny Smith, Diva Donna, sings it with so much passion and meaning. Brittny’s portrayal of Donna Summer plus our amazing ensemble dancers is just a joy to watch. I’d actually want to sing the song as a Duet with Brittny if I could. One song I do wish that was in the show, and I’d like to sing, is Love Has a Mind of Its Own from Donna Summer’s She Works Hard For the Money Album. It’s a lovely duet between her and Matthew Ward.
RAPID FIRE Q&A WITH CHARIS GULLAGE, DISCO DONNA IN SUMMER: THE DONNA SUMMER MUSICAL
JHPENTERTAINMENT: You play Disco Donna, arguably, the most iconic period of Donna Summer’s career. What’s more, like your fellow Donna, Amahri, who I just chatted with, this is also your first National Tour. To borrow a popular song title from the show, you gotta be feeling like Hot Stuff about right now, huh?
CHARIS GULLAGE: It still does not feel real yet! I am so grateful for this amazing opportunity! Even though we have been on the road for over 5 months, I still get nervous every show. I think it is mainly due to the fact that all audiences are so different, and everyone parties so differently. I AM LOVING IT!
JHPENTERTAINMENT: Now, that initial question isn’t to say you haven’t Worked Hard for the Money (yup, the lyrical puns continue) to get where you are. To that end, I gotta hear about two of your previous stage experiences…Pinky Tuscadero in Grease at Broadway Palm and your award-winning performance as Dorothy in The Wiz at Delgado Community College.
CHARIS GULLAGE: Yes! I am originally born and raised in New Orleans, Louisiana. New Orleans is where I also received a lot of my professional training. I went to the New Orleans Center for Creative Arts and received my Certificate in Artistry and my high school diploma. Then I received my B.A. at Loyola University New Orleans. During that time, I had the opportunity to play Dorothy in The Wiz at another theatre in the city, and I won a Big Easy Award for Best Actress in a Musical. That show was one of the most memorable theatre experiences I have had thus far. It was amazing to perform with so many talented black artists, and to be unapologetically ourselves. I was definitely in shock when I won the award because there were so many wonderfully talented artists that were nominated that had been in the industry much longer than I had. After graduating I performed at the Broadway Palm in Florida in 2020 (during the pandemic), and I had the opportunity to understudy Pinky Tuscadero and perform the role a few times. It was definitely memorable to be done in face shields, but we still were having the times of our lives in both Fort Myers and Lancaster, PA because it was a transfer show.
JHPENTERTAINMENT: I understand we both admire my talented friend Syndee Winters who I first met when she was touring with The Lion King. Of course she was also on Broadway in Hamilton as Eliza. Did my research reveal correctly that the role of Eliza is a bit of a bucket list role for you?
CHARIS GULLAGE: YES. YES. YES. I would love to play that role!! Anyone or anything in Hamilton is a bucket list role for me. The show is truly a masterpiece, and to be part of it would be the greatest honor!
JHPENTERTAINMENT: Until then, you’re playing Disco Donna! As I said above, the most iconic of Donna’s career, both in the number of mega hits that timeframe produced and in those now-legendary looks. How fun are the costumes designed by Emmy and Tony-winning costumer, Paul Tazewell? And…is there one you’d secretly like to sneak home with you?
CHARIS GULLAGE: Yes, definitely! There is a tie! My final two costumes are my all-time favorites! My blue dress that I perform Hot Stuff in, and my white one that makes a grand appearance during Last Dance are just a Disco Dream! I would wear them out if I could find the right place haha!
JHPENTERTAINMENT: Of course the costumes are instrumental in created the look, but it’s some classic disco dancing that really helps bring it home. Originally choreographed by Sergio Trujillo on Broadway and now under the watchful eye of choreographer Natalie Caruncho and associate choreographer Angelica Beliard, can you tell me a little about the rehearsal process as far as the choreo is concerned?
CHARIS GULLAGE: The choreography process was incredible, but also very specific. I say this because we not only had to embody the Disco Era, but also add the layer of Donna Summer as well who WAS the Disco Era. By the end of the learning process, it need to be clear when portraying the character that she not only belonged to the Disco Era, but that she pioneered it. Disco style of dance became a character within itself so we had to make sure we did it justice. A lot of time went into that process, but our choreographers always lead with love and it meant the world!
RAPID FIRE Q&A WITH BRITTNY SMITH, DIVA DONNA IN SUMMER: THE DONNA SUMMER MUSICAL
JHPENTERTAINMENT: As Diva Donna, you not only portray Donna Summer in her later years, you also narrate the show. What’s a fact, or just an aspect of her life or career you didn’t know about Donna prior to taking on the role that you now love sharing with the audience each night?
BRITTNY SMITH: Donna really dealt with so much in the music industry that I knew nothing about. She was so resilient and really fought to have agency over herself and artistic property. Learning more about her struggles and strength there has been so empowering to embody and share every night!
JHPENTERTAINMENT: The role of Diva Donna was originated by my friend LaChanze, who received a Tony nomination for her portrayal and of course won the Tony a few year prior for her role as Celie in The Color Purple. Prior to taking on the role for the tour, had you seen Summer: The Donna Summer Musical?
BRITTNY SMITH: My goodness, LaChanze is THE QUEEN!! I just love her. What an amazing blueprint for this role. I truly won in being able to not only study Donna, but LaChanze in preparation for this role. I had never seen the show while on Broadway but I saw many videos of the original cast. Seeing the original production on video made so many things make sense and added a lot of context and color
JHPENTERTAINMENT: When I chatted with your fellow-Donna, Amahri, we talked about her actually playing two roles, first as Duckling Donna, and later as Donna’s daughter, Mimi. You also have double-duty during the show. In addition to portraying Diva Donna, you also appear onstage as Mary Gaines, Donna’s mother. How do you approach these two roles differently? Is there something in your movement or physicality that differentiates them in your mind?
BRITTNY SMITH: Diva Donna is such a meaty role, specifically from a through line narrator perspective. I am charged with the task of embodying Donna the regal, evolved woman and artist and then in an instant transforming to a mother figure. I love the challenge, actually. For Diva I lower my speaking voice and keep it in a cadence that’s evident of internal thought and wisdom. I live in the sensual freedom that age and experience gives you as well., With Mary, I do things like lighten my voice and slow down my walk. I approach Mary with more tenderness and care versus prowess.
JHPENTERTAINMENT: Prior to our conversation, I not only chatted with Amahri, but also Charis, who plays Disco Donna. While chatting with her I mentioned Paul Tazewell’s fabulous costumes. Of course another visual spect of Donna that delineates various eras of her life and career are the hairstyles. To that end, Brandon T. Miller is the show’s wig and hair designer. When during the process while backstage preparing for each night’s opening scene do you see your reflection in the dressing room mirror and think “There! There’s Donna?” Is it the hair, the makeup, the wardrobe, your inner thoughts, or a combination of everything?
BRITTNY SMITH: I definitely think it’s a combination of everything! The hair and costumes are so fitting and there’s nothing like putting on one of those beaded gowns to immediately put you in that Donna stratosphere. It’s an epic feeling. I truly feel like “ok, here’s the money maker” when the entire look is on.
JHPENTERTAINMENT: Pandora’s Box, which you perform alongside Amahri’s Duckling Donna, might be a deep dive for even the most ardent Donna Summer fans, but thanks to my very cool Aunt Charlene, who had an extremely extensive vinyl record collection, I was familiar with the 1975 Love to Love You Baby track. That said, is there a Summer tune in the show that you’ve discovered since joining the cast?
BRITTNY SMITH: interestingly enough, I knew many the songs included in the show prior to joining the cast which made for an even greater experience getting to sing them every night. Songs that are included in the show like Unconditional Love and I Remember Yesterday were tunes that I hadn’t heard before. I love the combination of her major disco hits and songs that were a bit lesser known yet mighty. I have absolutely delved more into the world of Donna Summer and her discography since joining the cast! How could you not?!
With that, my conversations with the three Donnas came to an end, but it’s not quite the Last Dance for Nashville fans as Summer: The Donna Summer Musical continues it’s Music City run at TPAC’s Jackson Hall with a 2p.m. matinee and an 8p.m. evening performance on Saturday, March 26 and a 1p.m. matinee and a 6:30p.m. final performance on Sunday, March 27. CLICK HERE for tickets. Not in Nashville? The National Tour continues with stops in Binghamton, NY, Worchester, MA, Erie, PA, Huntington, WV, Knoxville, TN and more with dates on through till, well, SUMMER! For details on the remaining tour dates, or more info on the show, CLICK HERE or follow the show on Twitter, Facebook, Instagram and YouTube.
Next up for TPAC as they continue their current Broadway Season and Special Presentations it’s What the Constitution Means to Me on stage March 29-April 3, followed by Come From Away, April 19-24, Oklahoma!, May 3-8 and the debut presentation of May We All: A New Country Musical, June 7- July 17. 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.
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Adding to the spellbinding feel of the play, Tinkerbell appears in the form of a rod and arm puppet, beautifully constructed by MoonBull Studios, and brought to glorious pixie-dusted life by Zanotti. On the subject of puppetry featured throughout, MoonBull Studios also provides stick puppets, controlled by the actors playing Peter and Wendy as the beloved duo take to the skies. Mixing stick puppets with shadow puppetry, while flying, the actors and their puppets moved behind a fabric wall and the puppets take to the sky by way of their shadows. During this particular scene at the performance I attended, a enthusiastic young audience member seated just behind me to my left, audibly pointed out that he could see the actors legs and feet below scrim while there stick puppet selves hovered high above. At first I wondered why the scrim hadn’t been constructed as to fully conceal the actors’, then it dawned on me…If the actors had indeed been completely concealed during this moment, younger audience members’ minds might not have been challenged to realize just what all it takes to create such a fanciful moment. As it is presented, the audience is in on the magic of the performance, the magic that just might encourage them to one pursue taking to the stage themselves. Another type of puppet is utilized during the show as well, a fully articulated large-scale joined puppet, scarily appearing as Tick-Tock, the alligator.
