Jonathan

Having first been announced Disney and Cameron Mackintosh’s Mary Poppins as an intended part of their 2020 season, Nashville Repertory Theatre’s Mary Poppins, as directed by Micah-Shane Brewer, made its debut last week on April 28 to a near-sold out crowd at TPAC’s Polk Theatre, featuring some of the Nashville theatre community’s most-beloved actors, as well as a few newer faces. Unable to attend opening night, but it being one of my favorite shows, I was thrilled to catch the show during its second evening performance.

While the literary world was first introduced to self-professed practically perfect nanny Mary Poppins in author P. L. Travers‘ 1934 children’s book of the same name, as well as seven subsequent sequels through 1988, it’s likely Julie Andrews‘ iconic portrayal in Disney’s 1964 film that most think of when they hear the name. In 2004, the theatrical division of Disney, who had already enjoyed success by adapting both Beauty and the Beast and The Lion King for the Broadway stage, did the same for Mary Poppins. With Book by Julian Fellows (yes, that Julian Fellows, of Downton Abbey and The Gilded Age fame) and additional music and lyrics by George Stiles and Anthony Drewe, added to original music featured in the Disney film by Richard and Robert Sherman, the creative team breathed new life into the magical world of Poppins, her jack-of-all-trades friend Bert and The Banks family who reside at No. 17 Cherry Tree Lane.

Upon entering the Polk Theatre last weekend, my eye immediately fixed upon the the scrim concealing the set, as the canvas curtain features the exterior of the familiar row of houses on Cherry Tree Lane. What struck me so what the illustration-like nature of the scene for it looks as if it might have somehow been rendered in pen and ink, not unlike the drawings by Mary Shepard that accompanied the original books by Travers when the stories were first published. According to the program, Scenery for Nashville Rep’s production of Mary Poppins has been provided by Music Theatre of Wichita and designed by J. David Branson. When the scrim rises, the interior set pieces of 13 Cherry Tree Lane continue to pay homage to Shepard’s illustrations with corners and shadows created by hashmarks and layering of color. 

For Nashville Rep’s Mary Poppins, has cast Nashville Rep newcomer, Christine McNeal in the title role. Among McNeal’s theatrical credits, a solo show at 54 Below and an international tour as Daphne in Scooby Doo Live. Near the top of the show, upon decided for herself that she’ll be hired by The Banks family to take charge of their young children Jane and Michael, McNeal’s Mary Poppins extols her qualifications in Practically Perfect, the first of many gloriously infectious tunes; some new, some carried over from the Disney film as mentioned above. Under the direction of director Brewer, McNeal is playing the role with a hint more prudent sternness than I’ve seen in the past. The children seem to have a genuine respect for her as their Nanny. That said, McNeal also finds interesting layers in the often single-dimensional character perhaps taking to heart the lyrics from A Spoonful of Sugar, “In ever job that must be done, there is an element of fun. Find the fun and snap! The job’s a game”. McNeal gets the job of portraying Mary Poppins done, but again, to borrow a lyrical phrase…”in the most delightful way”.

The aforementioned Banks family comes to life by way of Geoff Davin as Mr. George Banks, Natalie Rankin as Mrs. Banks and two sets of young actors alternating the roles of the Banks’ offspring and Mary Poppins’ charges, Michael and Jane Banks. At various performances, Jackson Benfield & Danny Davis play Michael, while Mia Blaise Campbell and Sarah Hedrick alternate duties as Jane. The night I saw the show, the children were played by Benfield and Campbell.

Davin as Mr. Banks, has the daunting task of being the family’s business-minded task master. A role he plays to the hilt, balancing a seemingly stern exterior with the deeper love and first priority of his family’s success and happiness. The softer side of Mr. Banks is revealed in Act 1’s lighthearted Cherry Tree Lane and the thoughtful A Man Has Dreams. The latter of which gets a reprise near the end of Act 2. Interestingly, Mr. Banks’ more self deprecating number, Good for Nothing which is in some stage versions that I’ve seen in the past, was absent from this production.

Rankin is fabulous as Banks’ loving wife with a mind of her own. She hold’s her on as wife, mother and lady of the house with an undeniable feistiness. Musically, Rankin’s high point as Winifred Banks comes in the sentimental but telling, Being Mrs. Banks.

As Jane and Michael, Benfield and Campbell light up every scene they’re in, as I’m sure their cohorts do during their alternate appearances. Their interaction with McNeal’s Mary Poppins and the rest of the cast is truly blissful. I particularly enjoyed Benfield and Campbell’s mischievousness regarding their behavior around Gavin’s Mr. Banks. They also seem to genuinely be having a blast as Michael and Jane during many of the show’s familiar moments with Mary and Bert.

Speaking of Bert, the man of many occupations who’s got the inside track on Mary Poppins. Also making his Nashville Rep debut, Jeremy Benton is happiness personified. Having first seen Benton  in the National Tour of Broadway’s Anything Goes, then again in the tour of White Christmas, I’ve known for a while the Tennessee native is an accomplished singer/dancer/actor…a true triple threat. Benton is front and center in many of the evening’s breathtaking dance sequences, as well he should be. Having seen several iterations of the show, both on Broadway, on tour and regional, I was curious if Nashville Rep would present the full Step in Time experience where Bert magically walks up the wall of the proscenium, then proceeds to perform a tap-tastic upside down dance across the ceiling. Indeed they did and Benton is not only gravity-defying, he does this with excitement, energy and an obvious abundance of joy. Y’all! It’s truly one of the most spectacular theatrical moments I’ve ever been witness to in my life. I think because it happens in a theatrical company I have grown to love and being performed by a talent I’ve come to truly admire and consider one of my theatre crushes, just makes it all the more special.

Christine Zimmerman’s choreography crushes it with her faithful nod to original choreography featured in the Broadway show. An Associate Professor of Dance at Ball State, Mary Poppins also marks Zimmerman’s first Nashville Rep show. Yup. She’ll be back.

Special mention has to be made of Katie Bruno, Jonah M. Jackson and Dennis R. Elkins. Bruno and Jackson play The Banks Family’s house staff, Mrs. Brill and Robertson Ay, respectively. These two obviously feed off each other perfectly giving the audience some of the show’s best snark and silliest slapstick physical comedy moments. I always think of character actresses like Mary Wickes and Hermione Baddeley when I see Bruno in a supporting comedic role. Interestingly, both Wickes and Baddeley themselves have ties to Poppins. Wickes played the lead in a 1949 TV adaptation, while Baddeley played the maid in the Disney film. Jackson goes all in for laughs, pratfalls and all leading into and out of one of the show’s most popular numbers, A Spoonful of Sugar.

As for Elkins, who plays Admiral Boom, the Park Keeper and the Bank Chairman, where has this treasure of a character actor been? According to his bio, he’s got more than two decades of theatre experiences in Tennessee, Georgia and Colorado and is currently working with Encore Theatrical Company in Morristown, but I’ve a feeling now that Nashville Rep has featured him in this myriad of charming character roles, each of which he plays to the hilt, Nashville audiences will surely see more of him.

Then there’s the magical unicorn of a talent, Jennifer Whitcomb-Oliva. Whitcomb-Oliva pulls triple-duty in Mary Poppins appearing first near the end of Act 1 as Mrs. Corry, then briefly as the Statue of Queen Victoria, and finally as Miss Andrew, George Banks’ own Nanny, three characters created and expended when the musical was adapted for the stage. When Mary takes the children on a walk in the park, they encounter Mrs. Corry, who runs the Talking Shop, a place to buy conversations and gingerbread stars. What? What else pairs well with letters of the alphabet for sale? Come on, it’s Mary Poppins, just go with it. That leads to an all-in moment and another familiar tune, Supercalifragilisticexpialidocious. With a brightly colored costume and wonderfully whacky wig for Whitcomb-Oliva it’s another moment in the show I dare anyone who sees it to try not to sing and clap along. On that note, as my friend, Bryce and I were walking into the lobby, I ran into Nashville Rep’s Executive Director, Drew Ogle. As we chatted, he mentioned that opening night he, and the cast were surprised when the audience randomly, unanimously erupted into syncopated applause during a couple of the numbers. I guess they’re used to it by now, because the same spontaneous magic happened the night I attended.

While Whitcomb-Oliva’s Mrs. Corry is a hand-clapping delight, it’s her more playfully sinister turn as the strict Miss Andrew that’s simply marvelous. As the darkly-dressed villainous Miss Andrew, complete with a Jane Russell-esque swirl of gray among her severely styled raven-colored wig, Whitcomb-Oliva revels in the role during the lyrically frightful Brimstone and Treacle near the top of Act 2 and again during a good vs. evil mashup of Brimstone and Spoonful with McNeal’s Mary Poppins towards the end of the show.

Speaking of that moment, the larger than life birdcage that (Spoiler Alert!) soon houses Miss Andrew, features a giant version of Mary Poppins’ parrot umbrella topper, complete with winking eye. Gorgeous!

I can’t review Nashville Rep’s Mary Poppins without special mention of Denise Hicks. Hicks, a legend among the Nashville theatre community, plays not only Miss Lark, the puppy-carrying neighbor to the Banks family, but she’s also featured as the Bird Woman, the elderly lady who sells bird seed for “tuppence a bag”. Knowing Hicks was cast in the role, as Bryce and I settled into our seats, I leaned over and told him to avert his glance away from me during the heart-wrenching moment when Hicks’ Bird Woman sings Feed the Birds, and as certain as Mary Poppins comes in on the east wind, when Feed the Birds happened, I was once again thankful that masks are still being required in the theatre because my eyes began to sweat as I sobbed uncontrollably.

As for the technical aspects of the show, musical director and conductor,Randy Craft and the in-house orchestra, Nate Stasser, Ming Aldrich-Gan, Michael Meadows, Brad Williamson, Melodie Chase, Harry Ditzel, Michelle McClary, Robbie Shankle, Matthew Davich, Garen Webb and Casey Brefka do a tremendous job bringing music—familiar and new—to life.

Sound designer Tanner Roman and Lighting designer Mike Wood and every single person involved in this production deserves high praise for the stunningly beautiful job they’ve done. In particular, Nashville Rep’s resident costume goddess, Lori Gann-Smith and her incredible team, who according to a recent  behind-the-scenes post on The Rep’s socials, reveals they constructed a mind-boggling 80 pieces for the show. From Mary Poppins’ signature blue topcoat, flower-festooned black straw hat and ever-present parrot umbrella to her iconic white with red accented Jolly Holiday dress and from Bert’s chimney sweep tattered clothing to his white and red striped jacket and bright white pants park attire and everything in between it’s all there and looking lovelier than ever.

There’s a line in Anything Thing Can Happen, the show’s final number that says, “If you reach for the heavens you get the stars thrown in”. Nashville Rep’s Mary Poppins has certainly done both, reached for and attained heavenly musical theatre status and the show’ is certainly chocked full of stars!

Mary Poppins continues through May 8 at TPAC‘s Polk Theatre. CLICK HERE to purchase tickets or for more information. In case you missed it, CLICK HERE to check out my recent Rapid Fire 20Q when I got the chance last week to chat with Mary Poppins’ stars Christine McNeal, Jeremy Benton, Geoff Davin and Natalie Rankin.

While Mary Poppins marks the end of Nashville Rep’s current season, they’ll be back with their 22-23 Season in the fall starting with RENT September 16-25, The Cake October 21-30, Elf: The Musical December 21-January 1, August Wilson’s Fences March 3-5, The Curious Incident of the Dog in the Night Time March 24-April 2 and Violet May 12-21. Season Tickets just went on sale earlier this week. CLICK HERE to purchase Season Tickets or for more info. Check out Nashville Rep online HERE and follow them on Facebook, Twitter, YouTube and Instagram.

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!

Studio Tenn’s much anticipated season closer, Camelot opens Thursday, May 5 and runs through Sunday, May 15 at the theatre’s home stage, Jamison Hall at The Factory in Franklin. As the company prepared for Opening Night, I had the opportunity to chat with four members of the cast for the latest installment of my recurring interview feature, Rapid Fire 20 Q. In conversation this time, I’m putting the spotlight on Brian Gligor, who plays King Arthur, his Guenevere, Steffanie Leigh, her other on-stage love interest, Bryce Dunn, as Lancelot, and Abram Guice, who plays troublesome Mordred.

RAPID FIRE Q&A WITH BRIAN GLIGOR, KING ARTHUR IN STUDO TENN’s CAMELOT

JHPENTERTAINMENT: What’s your favorite character trait—whether good or not so good—about King Arthur?

BRIAN GLIGOR: What most strikes me about King Arthur is his compassion for individuals from all walks of life. The  brilliance in the lore of King Arthur is that he wasn’t born into a royal family. He grew up a peasant, serving as a page to his cousin, and only became King because of the miracle that took place when he removed Excalibur from the stone. Because of this, he understands both the life of a peasant and that of royalty, and he embarks on creating a new order of chivalry where the powerful use their advantages to help those who are less fortunate. His tale is the birth of democracy. His Achilles Heel is that his broad ideals don’t function the same in his personal life.

JHPENTERTAINMENT: This isn’t exactly your first time at The Round Table, having appeared in the 2014 production of Monty Python’s Spamalot at UT Knoxville’s Clarence Brown Theatre where you played Galahad. So, a two-parter….First, Do you think  the bawdiness of Spamalot has helped bring a little more fun to your portrayal as Arthur? And…Second,….stay with me here…Speaking of the Clarence Brown, among your many shows there, you also shared the stage with the inimitable Carol Mayo Jenkins as recently as 2019 during her triumphant turn as Aurelie, the titular role in Madwoman of Chaillot. Totally a selfish question as I’ve adored her since I was a kid and have gotten to know her in recent years. What’s it like to share the stage with her?

BRIAN GLIGOR: Ooooh Yes. I grew up watching Monty Python’s The Holy Grail on repeat, and the Clarence Brown Theatre’s production of Spamalot was outstanding. King Arthur’s tale is of course much more profound in Camelot than in Spamalot, but I approached the mythos and lore of King Arthur much more comically, and I like to think Lerner & Loewe would have approved.

Camelot is a Musical Comedy, but like many in its day this musical mixes larger themes into the narrative. There is a quote from the French theatre-maker Molière that I love: “the duty of comedy is to correct men by amusing them.” I hope the comedy in our show helps engage our audience with its broader themes.

As for Carol, I have had the immense fortune to share the stage with Carol Mayo Jenkins in four productions, and I credit her for teaching me how to handle heightened text. She is a master at this art-form, and I was her student in my graduate studies at the University of Tennessee. She was relentless, and I think I’d make her proud in Camelot. I am extremely grateful for my time with her as a student and as a co-star. Yes, watching her as Aurelie in Madwoman of Chaillot was incredible, but a highlight of my career was playing Charles with Jenkins as Madame Arcati in Blithe Spirit. That’s where we really got to make some magic happen together.

JHPENTERTAINMENT: On the subject of working with others, Studio Tenn’s production of Camelot is directed by Phil McKinley, whose directorial credits range from Ringling Brothers and Barnum & Bailey Circus to The Boy From Oz and Spider-Man: Turn Off The Dark. What’s something unexpected director Phil McKinley has encouraged from you in the role of King Arthur?

BRIAN GLIGOR: I continue to find movement as a profound skill for storytelling on stage. I have studied Suzuki, Corporeal Mime, Viewpoints, and many other movement practices to cleanly and clearly tell stories physicality. Phil and I absolutely connect on this front. We’ve been sharing clips of movement pieces that inspire us. I’ve built much of the Royal formality you’ll see in our show from his expertise with movement and my experience with corporeal mime.

JHPENTERTAINMENT: While prepping questions for these conversations I rewatched the 1967 Richard Harris/Vanessa Redgrave film adaptation. Early on in the film, when Arthur first sees Guenevere, while telling her about Merlin, he say, “He doesn’t age, he youthes”, further explaining that he can see the future and tell you what you’ll do in it. If you could have the ability to do the same, would you? 

BRIAN GLIGOR: That isn’t in this story of Camelot. Merlin can’t see the future, but he does express to Arthur that whatever choice Arthur makes is the right choice. Arthur’s choice is the new reality. Arthur is King, so it is definitely the new reality! 

I ultimately agree with the sentiment, which I see as a commitment to whatever ideal you put in place at a young age. Stay focused on that. Point your arrow in that direction. There are many references in Camelot about finding your path. Find your path.

JHPENTERTAINMENT: Arthur also reveals to Guenevere that Merlin would change him into animals to teach him various lessons. If you could be any animal what would it be and why?

BRIAN GLIGOR: Merlin often turns Arthur into a hawk. Oddly that seems very right for me. I’d like to say “turn me into a Labrador,” but I think really I’m a hawk.  They seem peaceful up there, aloft, free, and yet very aware. And they’ll get you if they want to.

RAPID FIRE Q&A WITH STEFFANIE LEIGH, GUENEVERE IN STUDIO TENN’s CAMELOT

JHPENTERTAINMENT: First of all, I have to say how lovely to have met you out and about here in Nashville at our mutual friend Curtis Reed’s cabaret show. If you had to describe Lady Guenevere in five words, and I guess since I’m asking you to, you do…what would they be?

STEFFANIE LEIGH: It was lovely to meet you as well! Guen in five words… I would say vivacious, fiery, naive, an exhibitionist, and carefree. 

JHPENTERTAINMENT: Having been on Broadway, both as the lead in Mary Poppins and in the company of War Paint starring Patti LuPone and Christine Ebersole, I gotta ask…What’s among your favorite memories of those shows and your time in them?

STEFFANIE LEIGH: Ah, so many amazing memories! Mary was my Broadway debut, and I will never forget flying over the audience at the end of the show, looking down, making eye contact with my parents, and immediately welling up. And of course, in War Paint, getting to watch two musical theatre legends leaving their hearts out on the stage every night (and then grabbing the occasional drink with them after) was an opportunity I never dreamed I would be lucky enough to have. 

JHPENTERTAINMENT: Though she is betrothed to King Arthur, Guenevere falls for Sir Lancelot. To that end, as Guenevere, you’ve got not one, but two leading men. Brian Gligor as Arthur and Bryce Dunn as Lancelot. What’s your favorite aspect of sharing the stage with each of them?

STEFFANIE LEIGH: Yeah, I’m one lucky lady! It is so fun to get to tell this story with both of these actors. Brian brings such a unique blend of warmth, vulnerability, and strength to his portrayal of Arthur that is absolutely riveting to watch, and Bryce has this striking purity that effortlessly emanates from him. 

JHPENTERTAINMENT: Camelot, thanks largely to this show, and of course Jacqueline Kennedy’s use of the term to describe her late husband’s presidency and their relationship, has come to mean an idyllic existence. To that end, what is your real-life Camelot?

STEFFANIE LEIGH: I suppose it would be an existence where everyone truly realized and valued their own individuality. An existence devoid of competing to be the “better than“ and needing to prove oneself, and instead honored the beautiful uniqueness that everyone has to offer. I know, it sound very pie in the sky, but I guess that is what ideals are for. 

JHPENTERTAINMENT: As Guenevere, your costumes must be simply divine. Neno Russell and Lauren Roark are the show’s Costumer Designers. What can you tell me about Guenevere’s various looks?

STEFFANIE LEIGH: Neno and Lauren have done such an incredible job with the design of this show. Because our version of Camelot does not include the actors leaving the stage very often for “normal costume changes,” they have created looks that layer together and convert onstage in front of your very eyes. It’s pretty genius! And I get to live out my full feminine, medieval, royal, Game of Thrones dreams in these beautiful clothes every night! 

RAPID FIRE Q&A WITH BRYCE DUNN, LANCELOT IN STUDIO TENN’S CAMELOT

JHPENTERTAINMENT: What can you tell me about Lancelot?

BRYCE DUNN: Lancelot is an archetype of chivalry itself. He is both pious and courageous, as well as the ultimate hero. At the show’s beginning, Lancelot views himself as a sort of warrior monk. He would consider himself a consecrated virgin and defender of Christendom. However, Lancelot must come to grips with his humanity when he is bewitched by the beautiful Guinevere and finds himself in the middle of an illicit affair. 

JHPENTERTAINMENT: As Lancelot, you not only have an affair with Guenevere, but you also defend her honor. To that end, Eric Pasto-Crosby is the show’s Fight Choreographer. Can you speak a little about the process of staging as it relates to the fight scenes?

BRYCE DUNN: The fight scenes are the stuff I dreamed of as a boy, swords clanging, saving damsels in distress. It’s like I’m dreaming. And yet, the fight scenes are challenging, both in skill and physical demand. I’m sure these moments will not disappoint our audience. 

JHPENTERTAINMENT: Studio Tenn has been promoting the show, as directed by Phil McKinley, as a reimagining and different from previous productions of the Lerner and Loewe classic. You yourself are relatively young, so I have to ask…How familiar were you with the source material prior to joining the cast?

BRYCE DUNN: I have loved the Arthurian Romances, beginning with reading Sir Gawain and the Green Knight in high school. I adore the score for this show! My favorite piece of Arthurian Literature is The Lady of Shalott by Alfred Lord Tennyson.

JHPENTERTAINMENT: Lancelot takes the lead on two of the show’s many beloved tunes, C’est Moi and If Ever I Would Leave You. What’s it like taking on such classic show tunes?

BRYCE DUNN: Certainly, there are some big shoes to fill with the legacy of Robert Goulet, but I am very excited about the challenge and hope the audience will be pleased with my work. 

JHPENTERTAINMENT: Are there any themes within Camelot that you think you’ll take with you once the show wraps?

BRYCE DUNN: I look at Camelot (particularly this production) within the tradition of Tragedy. The most prevalent theme that I have found in Camelot is the duty of the state to hold society together amid the dangers of human frailty. 

RAPID FIRE Q&A WITH ABRAM GUICE, MORDRED IN STUDIO TENN’s CAMELOT

JHPENTERTAINMENT: Who is Mordred as you see him?

ABRAM GUICE: At the end of the day, Mordred a child who has been abused. There are many different iterations of these characters, and this one I feel is the most fun.

JHPENTERTAINMENT: Researching to chat with you, I discovered you have been in a number of shows at Act Too Players, the youth theatre company overseen by the fabulous Sondra Morton. How has your time with Act Too prepared you for being amongst the cast of Studio Tenn’s Camelot?

ABRAM GUICE: Yes, it definitely has. I wouldn’t be doing any of this if it weren’t for them. They gave me the confidence to be the performer I am today, and are truly my family. They taught me almost everything I know about the stage. 

JHPENTERTAINMENT: As Mordred, you take center stage during the show’s second act, especially during The Seven Deadly Virtues. What can you tell me about this musical moment and the show as a whole, as choreographed by Everett Tarlton?

ABRAM GUICE: It is so much fun! Everett is a king, and truly the best at what he does.  The movement and dance in our version is nothing like you’ve seen before in any production of Camelot. It really keeps the audience as well as the actors as entertained and engaged as possible. 

JHPENTERTAINMENT: Many people’s first introduction to King Arthur was by way of  T. H. White’s The Once and Future King. For me, it was an old Disney animated movie, The Sword and the Stone. What was yours?

ABRAM GUICE: Initially it was the T.V show Merlin, but after that I fell down a rabbit whole of studying Arthurian Legend all throughout high school. Some was just for fun, and some was to write mini skits or short stories to try and create in my film class. 

JHPENTERTAINMENT: Camelot first opened on Broadway in 1960. Some sixty two years later, what is it about this story and these characters that still enthralls actors and audiences alike?

ABRAM GUICE: To me, it’s the history. I mean, almost every kid at once in their life wanted to be a warrior or knight, and the idea of King Arthur’s Round Table always kept that alive for me. These Arthurian Legends have been around for a very long time, and it’s hope that they aren’t going anywhere. 

---

Studio Tenn‘s Camelot opens at Jamison Hall in The Factory at Franklin on Thursday, May 5 at 7p.m. and continues through Sunday, May 15. For all dates, showtimes and to purchase tickets, CLICK HERE.

Following Camelot, Studio Tenn will once again join forces with TPAC to present a Second Season of their hugely popular Cabaret On Stage series, featuring four intimate evenings at TPAC’s Jackson Hall. First, on July 2 it’s award-winning actor and multi-platinum recording artist, Sam Harris (The Life, The Producers) with composer/pianist/theatrical producer, John McDaniel (Daytime TV’s The Rosie O’Donnell Show, Broadway’s 1999 Annie Get Your Gun revival and Patti LuPone Live!). On August 20, Emmy Award-winning actress and recording artist Liz Callaway (Boston TV’s Ready to Go and Broadway’s Merrily We Roll Along, Baby, CATS) and Broadway, television and film actor Jason Graae (A Grand Night For Singing, Falsettos, Wicked) take the stage together. Next up, on September 10, it’s the incomparable Emmy and Tony-winning actress and singer, Kristin Chenoweth (TV’s Pushing Daisies, Schmigadoon! and Broadway’s Wicked, You’re A Good Man Charlie Brown). Rounding out the series on October 15, four-time Tony nominated actress/singer Judy Kuhn (The Mystery of Edwin Drood, Les Misérables, She Loves Me, Fun Home), who also sang the title role in Disney’s animated modern classic, Pocahontas, will be joined by the aforementioned John McDaniel.

For ticket to these special performances, as well as Studio Tenn’s upcoming 2022/2023 season announcement, be sure to check out Studio Tenn online at StudioTenn.com or on social media at Facebook, Instagram and Twitter.

As always, if you’re 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. Till then, #GoSeeTheShow.

In 2019, Daniel Fish’s bold new interpretation of the musical theatre classic Rodgers and Hammerstein’s Oklahoma! debuted on Broadway. Later that year the show won the Tony Award for Best Revival of a Musical. In October of 2021, casting for the National Tour was announced alongside tour dates across the US from November 2021 through October 2022. Just last week, as Oklahoma! prepares for their Music City debut on stage at TPAC’s Jackson Hall with shows Tuesday May 3 through Sunday, May 8, I got the chance to pose a few questions to cast members Benj Mirman and Christopher Bannow for the latest installment of my recurring interview feature, Rapid Fire 20Q.

———————————————

RAPID FIRE Q&A WITH BENJ MIRMAN, ALI HAKIM IN OKLAHOMA

JHPENTERTAINMENT: Who is Ali Hakim to you?

BENJ MIRMAN:  A simple man.  He loves the ladies, loves to make money and, perhaps unexpectedly, loves to dance. 

JHPENTERTAINMENT: Being part of the tour must feel like a bit of a full-circle moment for you, given the fact you played Ali Hakim in the 2015 workshop  of director Daniel Fish’s Oklahoma that preceded this iteration’s Broadway run. Has your Ali changed, first from the original source material then to the 2015 presentation and on to Broadway and the tour?

BENJ MIRMAN: The 2015 Bard production was very much a full production but it’s been a joy to see how much our director, Daniel Fish, has really dug into his ideas.  Choices that were bold in 2015 are all the more bolder and clearer now in our touring production.  I’ve changed (and hopefully grown!) a lot as a person and actor since 2015, but Ali Hakim has always been the same Ali Hakim.

JHPENTERTAINMENT: When first presented at Bard College’s Fisher Center and then on Broadway at Circle in the Square, scenic designer Laura Jellinek’s set truly incorporated the audience into the action. By nature of the venues hosting the National Tour, the proximity between the actors and the audience isn’t physically possible. How has that challenge been addressed?

BENJ MIRMAN:  It’s quite different, that’s for sure.  I think one of the gifts of the proscenium is that the audience really has a chance to take in everything, all at once.  Certainly the physical intimacy between actor and audience has changed, but my hope is that the intimacy of the production as a whole remains intact. 

JHPENTERTAINMENT: From what I understand, this is your first National Tour. What’s the best aspect of being on the road?

BENJ MIRMAN: It’s a thrill to eat and drink my way through these new cities. I’m a tour newbie, so I’m surely doing some part of this experience “wrong”, but I’m having a great time just wandering around new places.

JHPENTERTAINMENT: As the world seems to be getting back to pre-pandemic normalcy, are there things you hope to do or see while on tour across the country?

BENJ MIRMAN:  I would love to go see more performances while we are on the road (specifically live music but open to all!).  The COVID anxiety of being at small venues that don’t necessarily have COVID protocols in place can be a bit stressful with our testing regimen.  I look forward to that worry going away!

JHPENTERTAINMENT: If you could step into another role, even if just for one night, and regardless of whether you fit the type or not, what character would it be and why?

BENJ MIRMAN:  I’m not qualified for a variety of reasons, but it’s Curly for me.  I’m a sucker for all the songs he sings (and the cue to the green lights in “Surrey…”).  I couldn’t hold a candle to my good pal Sean Grandillo, but maybe he could teach me a couple guitar chords just for fun.

JHPENTERTAINMENT: As far as Broadway National Tours go, the company of Oklahoma is relatively small. Has that enabled a better sense of family amongst the cast while preparing for the tour and now that you’re on the road?

BENJ MIRMAN:  I’m very grateful that our group is so small.  It really does feel like this rag tag, motley crew.  I’ve been able to spend quality time with the vast majority of our company and I’m not sure that would’ve been the case if there were 30 of us. 

JHPENTERTAINMENT: Ali Hakim takes the lead on It’s a Scandal! It’s a Outrage! lamenting Ali’s predicament of being forced into marriage. Grammatical titular error aside, what’s your favorite aspect of performing in this particular number?

BENJ MIRMAN:  Somewhere on the internet, there’s a linguistics podcast discussing the title of the song…not sure what it’s called but it’s out there.  I love connecting with both the audience and my castmates during the song, really trying to find someone who truly understands Ali’s frustration and plight. 

JHPENTERTAINMENT: Speaking of Ali’s proposed pending intended, who much fun are you having sharing scenes with Sis as Ado Annie Carnes?

BENJ MIRMAN:  I’m having a wonderful time.  One of the strengths of this production is we are all encouraged to bring ourselves to our roles and that means that Ado Annie is strong, funny, opinionated and not a pushover.  We have good fun up there. 

JHPENTERTAINMENT: Is there a message, or an idea within the context of this update of Oklahoma that you hope audiences remember long after the wind has swept down the plain?

BENJ MIRMAN: It’s okay to leave the theater asking questions and it’s okay to be uncomfortable with what’s happening in front of you. 

RAPID FIRE Q&A WITH CHRISTOPHER BANNOW, JUD FRY IN OKLAHOMA

JHPENTERTAINMENT: You play Jud in the National Tour of director Daniel Fish’s boldly reimagined Oklahoma. Who is Jud Fry?
CHRISTOPHER BANNOW: He’s the poorest person on stage, and he’s an employee. He works as a farmhand, he lives in a smokehouse on the farm, he’s been working hard day and night for two years, and he just wants to be with Laurey and finally have a meaningful relationship in his life. He wants his life to have some meaning, and the action of the play shows what happens to him when he tries to make that a reality.

JHPENTERTAINMENT: Prior to being cast as Jud in the tour, you appeared in the Tony-winning Broadway revival understudying a multitude of roles, including Jud. Now that you’ve taken on the role full-time, are their nuances of the character that you’ve discovered or now elaborate on?
CHRISTOPHER BANNOW: Yeah it’s been a gift to have both perspectives. There’s so much I was able to learn watching Patrick Vaill do it on Broadway. Watching him change and grow in the role from the outside really gave me a solid foundation to work from. It supplied me with a bunch of options that I knew worked. And being on the inside now, I’m able to marry some of those options with things I’ve found organically. I’ve been interested recently in Jud’s lack of action in the show. He asks Laurey to go to the Box Social, he tries to bid on her hamper, and then the play takes a turn. But before that, for the first 2/3rds of the show, he really is doing nothing wrong. The way that the other characters treat him in those first 2/3rds, the harshness they treat him with, really is not congruent with his actions. So feeling those first 2/3rds of the play catalyze the final 1/3rd has been a recent discovery.

JHPENTERTAINMENT: You made your Broadway debut in the 2014 revival of The Elephant Man which starred Bradley Cooper and Patricia Clarkson. What do you remember about the first time you stepped out onto the Broadway stage?
CHRISTOPHER BANNOW: I remember being backstage with Bradley, we both entered from the same place more or less. And for his first entrance he was shirtless and wearing rags and basically had a bag over his head, but there we were, just so excited, he and I were equally pumped,, and we were both just geeking out together at how cool this moment in time was. And when I entered the stage and I saw all those bodies crammed so closely together and the energy of a sold out house on Broadway, I felt like I was where I was supposed to be.

JHPENTERTAINMENT: While your career focus has been on stage as of late, you also have experience behind the scenes, having assistant directed a couple of productions during your undergrad years at Boston University’s College of Fine Arts. Do you think your experiences behind the scenes have helped your performance on stage?

CHRISTOPHER BANNOW: Most definitely. At BU I assistant directed, and then at Yale I directed two or three productions. I really love that side of it, and who knows maybe that will be a bigger part of my life at some point. But absolutely, understanding the needs of a director is a huge asset for an actor. The director needs to figure out how to tell the story, so that an audience can receive it as fully as possible. There are 1,000’s of options within any given play, and the job of the director and actor is to figure out which version of the story both parties find most compelling. If you can help the director do that, you become sort of a VIP and people will want to have you in the room.

JHPENTERTAINMENT: As you mentioned you followed your BFA at Boston with an MFA from Yale School of Drama. Among your coursework there, you studied Speech/Dialect and Stage Combat. I’m guessing both those classes are coming in pretty handy in your current role as Jud?

CHRISTOPHER BANNOW: You know I’ve never fired a gun in real life, and probably never will. But onstage I have fired many firearms, I’ve punched so many people, I’ve had a couple of duels, and I’ve been thrown around like a paper doll. Rick Sordelet works nonstop over the country and he was our Stage Combat teacher and I really value the time I had with him there. And speech work is so important, and although I don’t warm up as much as I should I still have recordings from speech guru Beth McGuire from 2nd year at Yale that I play every now and then to keep in shape.

JHPENTERTAINMENT: As Jud, you share several scenes with Sasha Hutchings’ Laurey, who was also part of the Broadway production. What’s the best thing about Sasha as a scene partner?
CHRISTOPHER BANNOW: Sasha is the definition of a professional. She shows up every night and never holds back and is always in pursuit of the best possible version of the show. We both understudied on Broadway and so we know that these roles are a huge responsibility and a privilege to be trusted with, and it can’t be taken for granted. She’s really wonderful. Everyone should hire her.

JHPENTERTAINMENT: While Jud is enamored by Laurey, he’s hindered by Curley, played by Sean Gandillo. The two of you are featured in the show’s most volatile scenes. How do you prepare for the gravity of those scenes night after night?
CHRISTOPHER BANNOW: You know a lot of that has to do with our trust in each other. I enter the stage at the very top of the show and listen for about an hour before Sean and I start going in our scene. It’s a huge gift for me that I can be fully present in everything else that is happening on stage and then instantly when Sean and I make eye contact we begin. There’s no prep or warning, there’s no run up. We both take a breath and see where the scene takes us every night. And when we exit we always give each other a little hug. I super appreciate his willingness to be vulnerable with such heavy material.

JHPENTERTAINMENT: Speaking of Curley. Near the end of Act 1, Curley comes up with an interesting way to eliminate his competition as laid out in Poor Jud is Daid. What’s your favorite aspect of this particular number?
CHRISTOPHER BANNOW: Mmm yeah. Well for anyone who sees the show they’ll know that it’s both a very private and very public moment. My job every night is to stay grounded in the privateness of it, the intimacy of it, and listen to Sean and be present with him. It’s easier said than done but I love the challenge of it.

JHPENTERTAINMENT: Jud’s main musical moment comes with Lonely Room. The revival’s musical arranger, Daniel Kluger’s work during this number is among my favorite in the show as it seamlessly transitions from melancholy to angst-ridden determination. Is there a particular musical moment—your’s or someone else’s—that you truly love hearing each performance?

CHRISTOPHER BANNOW: Yeah I really love Lonely Room too, I never get tired of going through that journey. But in addition to that moment I really love hearing the entire cast (sans me) sing Oklahoma the first time. I’m the only one offstage and I can’t really see what’s happening but I can hear everyone’s voices and the blending of melodies and the energy as it ramps up and the true celebration of the moment that really shines through in that song. This cast really sounds good together and it’s a joy to get to be on the receiving end.

JHPENTERTAINMENT: Is there a message, a vibe or a feeling you hope audiences take with them after seeing Oklahoma?
CHRISTOPHER BANNOW: The vibe I hope you take away is Rodgers and Hammerstein meets America 2022 meets You.

———————————————

Rodgers and Hammerstein’s Oklahoma! premieres in Nashville at TPAC’s Jackson Hall Tuesday, May 3 with performances thru Sunday, May 8. CLICK HERE for tickets.

Not in Nashville? Oklahoma! continues its North American Tour with dates across the US through the fall. CLICK HERE for show dates and locations or follow Oklahoma! on Facebook, Twitter and Instagram.

For more from Benj Mirman and Christopher Bannow check out their Instas.

As for TPAC, next up is the World Premiere 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.

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

Earlier this week, while the cast of Nashville Repertory Theatre‘s Mary Poppins was in the midst of their final rehearsal before opening night Thursday, April 28, four of the show’s leads were gracious enough to take time out of their busy schedules to take part in my latest Rapid Fire 20 Q. Up first, it’s Mary Poppins herself, Christine McNeal. I followed my conversation with Christine by chatting with Jeremy Benton, who’s playing Bert. After chatting with Christine and Bert, it was time to pose a few questions to  Mr. and Mrs. Banks, Geoff Davin and Natalie Rankin. 

——————————

RAPID FIRE Q&A WITH MARY POPPINS STAR, CHRISTINE MCNEAL

JHPENTERTAINMENT: Other than the obvious Practically Perfect response, what is it about Mary Poppins that drew you to this role?

CHRISTINE McNEAL: I have adored Julie Andrews and the movie Mary Poppins ever since I can remember. So, that was the beginning of my love with the role, but then that love grew. She is loving, direct, confident, quick witted, AND she sings and dances. Mary is such a complex character, especially once you dive into the books and other resources and it has been one of the great honors of my life to get to know her so well. 

JHPENTERTAINMENT: This also marks your Nashville Rep debut. They’ve long been one of my favorite local theatre companies. What’s been the most surprising aspect of working with this company?

CHRISTINE McNEAL:  It has been such an absolute joy working with the Nashville Rep. The theatre community in Nashville is very new to me, so I came in not quite knowing what to expect, but it has been such a delight. I think the biggest thing that has stuck out to me is the instant sense of community. We went through the beginning of covid together, and everyone had everyone’s back throughout this whole process. I feel always seen and heard by them, and I see them doing that for all the cast and crew members. 

JHPENTERTAINMENT: While this is your first time portraying the role of Mary Poppins, this isn’t your first time being part of the show, having appeared as an ensemble member in a couple of summer stock productions in Georgia in 2014 and in Idaho in 2015. How exciting is it for your to now be front and center portraying one of the most beloved characters of stage, screen and the page?

CHRISTINE McNEAL: It is truly a dream come true to be playing Mary, and I have to pinch myself nearly every day. I so admired the actresses that I saw play the role in those productions I was in, and I felt like that was invaluable prep for auditioning for this production. It feels like the biggest honor as well because this story, character, and the music are so beloved to many people out there. I just want to do Mary justice for them. 

JHPENTERTAINMENT: While there are certain iconic looks, thanks to Disney’s original 1964 film adaptations, I’d image the show’s costumer, Lori-Gann Smith is putting her own touch of magic to the costumes. What’s your favorite look, your’s or any other cast member’s in this production?

CHRISTINE McNEAL: Ooo yes, the costumes are some of my favorite parts! I love that there are nods to some of the film looks that people will recognize and be excited by, but there are also surprises that the audience will love too. There is a blue skirt suit that Mary wears that feels very iconic and fresh at the same time, and I just adore the whole outfit. 

JHPENTERTAINMENT: Can’t chat with Mary Poppins without asking about the aerial effects. Can you tell me a little about that?

CHRISTINE McNEAL: Yes! This is my first time flying in a show, and it has been very exciting. I thought it would feel a bit scarier at first, but it has been a lot of fun. We just had our first dress rehearsal with the flying, and that really made the magic come alive for me. I think that the audience is going to be absolutely thrilled with all of the aerial surprises in this show, and I cannot wait to feel that joy alongside them. 

RAPID FIRE Q&A WITH JEREMY BENTON, BERT IN MARY POPPINS

JHPENTERTAINMENT: Alright, you gotta know you’re one of my Theatre Crushes. I first saw you alongside Rachel York in the National Tour of Anything Goes, then again in my all time favorite Christmas musical, White Christmas. Now you’re Bert in Nashville Rep’s Mary Poppins. From what I understand this is your first show with Nashville Rep. How’s it going so far?

JEREMY BENTON:  Oh gosh, ha, well, thank you!  I feel SO lucky to have gotten a chance to not only play some of my “bucket list” roles, but that I got to tour through TPAC while playing those roles! And yes indeed, this is my very first show with Nashville Rep.  I am absolutely thrilled that they trusted me with the role. It’s a dream role, and one of those movie roles made iconic by another song-and-dance hero of mine, the incomparable Dick Van Dyke. When I met with Drew Ogle and Micah-Shane Brewer about the possibility of making this happen, I knew right away that I’d love working with them and the incredible cast/crew/and team that they’d assembled.  The talent is absolutely top notch, the management crew is dedicated and fearless, the crew is ferociously attentive to detail and safety, and the design/creative team is absolutely dreamy.

JHPENTERTAINMENT: While it’s your first time with Nashville Rep, it’s not your first time playing Bert, having played him in back in 2015. Any nuances of this portrayal of Bert that you’ve honed under the direction of Micah-Shane Brewer, who’s directing Nashville Rep’s production?

JEREMY BENTON: Absolutely!  First of all, I was allowed to come in about 2 weeks late into the rehearsal process due to me being in an industry workshop of the new play Merman: A Backwards Tale About Ethel in NYC. To say that I was appreciative of this allowance would be the understatement of the year, haha. Upon arriving late to the process, I jumped right in and hit the ground running. (MUCH to the credit of some extra rehearsals with our fabulous dance captain, Ray Gleaves, and my superstar understudy, Mike Sallee). After a few stumble throughs of each act, Micah-Shane had some really insightful notes for me about Bert’s role in the play, some layers of character that really help with gluing the evening together, but most of all, he allows us as actors to “Sure!  Try it. Let’s play with it and see where it leads”… These words are pure gold for actors.  Feeling the freedom to explore, but knowing that it will be shaped by a director that thoroughly understand the play is one of the best feelings to have during rehearsals.

JHPENTERTAINMENT: In addition to the aforementioned roles, you’ve also played Don Lockwood, the Gene Kelly role in Singin’ in the Rain and Fred Astaire in Backwards in High Heels…Gene Kelly, Fred Astaire and Dick Van Dyke…they’re some sort of Holy Trinity of Musical Theatre Dance, right? How’s it feel to continue the tradition on stage as you dance your way into the hearts of audiences night after night?

JEREMY BENTON: Let’s not forget Bob Hope in the musical about James Cagney titled Top Of The World! Haha! (A lot of folks don’t know that Mr. Hope was also a top notch song-and-dance man himself).  Yes, there does seem to be a theme to my career: playing the Old Hollywood song-and-dance movie stars of yesteryear, or at least the roles they made famous on film. Fred, Gene, Dick, Bob, Donald O’Conner, Ray Bolger.. yes, definitely a theme! To be honest, I do take it as a sort of responsibility… to always honor the genius and memory of these icons. But at the same time, not to “imitate”. I always describe it as finding the essence of them, or their performance, and then sprinkling that on top of a performance from me that comes from a very honest place.  I also try to remember and recapture that feeling of joy and awe that I had as a little kid, watching these movies for the first time.  My theory is that if I’m finding and sharing my own joy, the audience more than likely will always come along with me.

JHPENTERTAINMENT: While preparing to chat with you, I fell own a rabbit hole of Mary Poppins conspiracy theories…you read that right…among my favorites, conspiracies that Mary was Bert’s Nanny when he was a boy. Thoughts?

JEREMY BENTON: WHAT?! Oh my gosh, I had not heard that one!  Well, that adds quite a few “layers to the onion” as we say in showbiz, haha! 😆

JHPENTERTAINMENT: You know I could do an entire Rapid Fire 20Q with you, but alas, I’ve got a couple more of your cast members to chat with for the remainder of my questions, so I’ll leave you with this…What aspect of Bert’s personality would you like to adapt to your own life?

JEREMY BENTON: This is such a great question.  You know, it’s actually close to something I’ve already been thinking about, and noticed about this role that, in a few ways, parallels my actually life and outlook these days.  My sister has four kids, making me Uncle Jeremy of two nieces and two nephews.  While running a few scenes with the kids in our show, I felt that “Uncle Energy”, ha. You know what I mean?  I find that, in a way, playing Bert feels quite similar to being an uncle.  A quirky, song-and-dance uncle, but an uncle none the less.  And the role of Bert reminds me of an important mission that I am forever working towards:  protecting, listening to, and breathing life into my own inner child.  Bert as a character does this effortlessly.  In that aspect, I’m sort of envious of him.  But playing him onstage is like going to the “inner child” gym.  It strengthens those “play” muscles, and Bert’s outlook is a bit infectious.  I hope it stays with me a long time after Mary Poppins closes.

RAPID FIRE Q&A WITH GEOFFREY DAVIN, MR. BANKS IN MARY POPPINS

JHPENTERTAINMENT: I just finished chatting with Christine and Jeremy, both of whom are making their Nashville Rep debut in this production. You however, are no doubt familiar to Nashville Rep audiences, having appeared in a handful of shows throughout the last decade, most recently in Ragtime, their return to live theatre post-shutdown. What’s it like to be back again and now playing Mr. Banks?

GEOFF DAVIN: Well of course this was the show that we were working on back in 2020 when Covid shut everything down. So this show was definitely unfinished business for many of us. It was very much like a reunion coming back in on that first day of rehearsal. And I truly can’t wait to share it with the Nashville community. It’s a magical piece. And I think we all need a little magic in our lives right now.

JHPENTERTAINMENT: As Mr. Banks, you’re among the show’s characters who undergoes a bit of a transformation in attitudes. How gratifying as an actor is a role like this?

GEOFF DAVIN: I am very grateful for the chance to play this role. And actually, in many ways, I understand George more now than I did back in 2020. So it’s actually quite cathartic to get to take this journey and be reminded each day of what’s truly important in life.

JHPENTERTAINMENT: Many Mary Poppins fans no doubt likely associate Mr. Banks with Brit-born character actor, David Tomlinson who portrayed him in the 1964 Disney film adaptation. How are you making the role your own?

GEOFF DAVIN: I haven’t seen the film since I was a child. So I purposely have not rewatched it. But my goal with any character that has already been defined by another actor’s performance is to honor the essence of it while throwing out the details of that actor’s portrayal. Even when you think you know a character, it’s important to always start by searching for their truth and approach the character with compassion and understanding…never judgement. And in doing so, I trust that my lens is going to be different than Mr. Tomlinson’s lens. 

JHPENTERTAINMENT: Quite often, the actor portraying Mr. Banks also appears throughout the show in a variety of other smaller roles. Is that the cast with this production?

GEOFF DAVIN: I actually didn’t know that. That surprises me. I can’t picture how he would be able to do that. But no, that is not the case here. I am only Mr. Banks. 

JHPENTERTAINMENT: As Mr. Banks, you share many scenes with the Missus, Mrs. Banks, played by Natalie Rankin. Since I’m about to chat with Natalie, How has it been to have her as a scene partner?

GEOFF DAVIN: While George and Winifred’s relationship is struggling, they do ultimately love each other. So as an actor, when your character has to love another character, it’s your job to make a connection with that actor and to make yourself emotionally vulnerable to that person. And I hate to say it, but that’s not always easy to do. But fortunately, Natalie makes it incredibly easy. She is just the loveliest human being and always brings such a great energy to the rehearsal room. So I’m very grateful for that.

RAPID FIRE Q&A WITH NATALIE RANKIN, MRS. BANKS IN MARY POPPINS

JHPENTERTAINMENT: Much like Bert, who’s been a chimney sweep, a one-man band, a sidewalk chalk artist, and a kite salesman, Winifred Banks, at least in all the incarnations from books to film to musical has been a suffragette, a socialite, a mom and an actress. Aside from actress, what’s your life resume look like?

NATALIE RANKIN: What a great question! Aside from Actress, my life roles have included Barista, Nanny, and Yogi – and most recently have shifted to Vocal Coach, Plant Lady, and Wife.

JHPENTERTAINMENT: OK, I gotta admit, while I do indeed enjoy Supercalifragilisticexpialidocious (and yes, I typed that out with absolutely NO spellcheck or autocorrect), two of my favorite moments in the show are Feed The Birds and your solo, Being Mrs. Banks. What are your favorite moments in the show, whether you’re involved or not?

NATALIE RANKIN: This is a tough one! Those are some of my favorite moments, as well. They capture the range and heart of this whole story so well. My favorite moment to be a part of is the scene when we sing Anything Can Happen. Mary and the children sing to encourage Winifred to be bold and strong in a world where women aren’t really allowed to be so. As Winifred, I get to see, in action, the perspective and empowerment that Mary Poppins has instilled in my children, and as Natalie, I am offered a beautiful, rhyming pep talk from Christine McNeal Toole and whichever pair of awesome young people is playing Michael and Jane that night (shout out to my pals Mia Blaise, Jackson, Sarah, and Danny) – like, what a treat! My favorite moment to watch from the wings is Jolly Holiday, for sure. Every aspect of that number is absolute magic: Christie’s choreography, Lori’s swirly, twirly dress designs, and our incredible ensemble come together so deliciously, and I just get to bask in their glow and sing along!

JHPENTERTAINMENT: When I chatted with Geoff, I asked him about sharing the stage with you as a scene partner, so it’s only fair I ask you how he rates as an on-stage spouse?

NATALIE RANKIN: Oh, he is excellent! In Geoff Davin, I have not only a fabulous scene partner, but a real friend, and a fellow artist to bounce ideas with. Working with him to create our George and Winnie has been so much fun. He makes it so easy to become Winifred! There are many moments where she shows compassion and concern for a troubled George, and all I have to do is imagine how I would console or comfort Geoff in real life. Piece of cake.

JHPENTERTAINMENT: When I spoke with Geoff, I also mentioned that his character likely goes through the biggest transformation, in the way the think of themselves and the world around them, but the more I think of it, Mrs. Banks also has a bit of an internal awakening. Can you tell me a little about how you approach the characters growth in the context of how she feels about herself and her role in life?

NATALIE RANKIN: Of course! Like you, the more I’ve thought about and gotten to know Winifred, the more clearly I’ve seen her story’s arc. I’ll be honest – since I am not a mother myself, in our first few rehearsals, I felt like a total fraud. How could I possibly represent this person if I don’t have children of my own? On top of that, as an actor whose projects have been limited for the last couple years thanks to a global pandemic, I felt rusty. I felt awkward and phony, and like I was doing everything wrong. One day, it clicked in my mind that, for most of this play, Winifred is also feeling awkward and phony and like she’s doing everything wrong. So I started to empathize with her, and in turn, with myself. Throughout the rehearsal process, I began to find my footing and trust myself as an actor again, but it took time. Eventually, I decided to make every effort to just keep showing up and trying different ways to feel confident and comfortable in this role, no matter the outcome. It was my only option, other than totally shutting down from fear of failure. What if people come to see this show and can see how rusty I am? So what! What if this isn’t the way someone else would play Winifred? Who cares! What if someone doesn’t think I am good enough to play this part? That’s their opinion! By rediscovering my own inner strength and character, I discovered Winifred’s. I hope that the mothers who see the show see themselves in Winifred, and that those who feel they have lost themselves in worrying about what is “appropriate” or shrink themselves for fear of making a mistake will feel that encouraging nudge in Anything Can Happen. With every run of the show, I feel more and more proud of Winifred for being bold and taking that risk, and I feel more and more proud of myself for the same reason.

JHPENTERTAINMENT: Sort of along those lines, what lessons can Mary Poppins and the rest teach audiences?

NATALIE RANKIN: So, I’ll be frank. When I first heard that the Rep was doing Mary Poppins, I thought, “Oh boy, another bubbly Disney musical,” with, admittedly, a little bit of an eye roll. All I really remembered about the movie was Spoonful of Sugar and Jolly Holiday. But after studying the source material of this story and getting to spend time with these characters, it’s become clear to me that Mary Poppins has timelessly relevant lessons to teach audience members of all ages. Never judge a person by their appearance. Even grown-ups need help sometimes. Anything can happen if you let it. You never know when someone special will swoop into your life and help you rediscover your humanity. Oh, and it’s never too late to learn how to fly a kite

 

---

Mary Poppins runs April 28-May 8 at TPAC‘s Polk Theatre. CLICK HERE to purchase tickets or for more information.

While Mary Poppins marks the end of Nashville Rep’s current season, they’ll be back with their 22-23 Season in the fall starting with RENT September 16-25, The Cake October 21-30, Elf: The Musical December 21-January 1, August Wilson’s Fences March 3-5, The Curious Incident of the Dog in the Night Time March 24-April 2 and Violet May 12-21. Season Tickets just went on sale earlier this week. CLICK HERE to purchase Season Tickets or for more info. Check out Nashville Rep online HERE and follow them on Facebook, Twitter, YouTube and Instagram.

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!

In the days prior to the National Tour of Broadway’s Come From Away’s Nashville tour stop at TPAC’s Jackson Hall, I had the chance to pose questions to Australian actress/singer, Marika Aubrey, who plays Beverly Bass for my latest Rapid Fire 10Q. As the show wraps it’s Music City dates with matinee and evening performances Saturday and Sunday, April 23 & 24, here’s that conversation.

———————————————

RAPID FIRE 10Q WITH COME FROM AWAY star MARIKA AUBREY

JHPENTERTAINMENT: Captain Beverly Bass, one of the many  characters you portray in the show, wasn’t just one of the pilots of planes diverted to Newfoundland on 9/11, she’s also the first female captain to ever fly a commercial plane for American Airlines. How did you research playing her?

MARIKA AUBREY: We are so fortunate to have access to the original interview transcripts, so I found those really insightful. It’s a helpful reminder of how big and raw our feelings were over the days of 911.

JHPENTERTAINMENT: One of my personal favorite aspects of the show is the spotlight it shines on both the things we all have in common and the differences among us. Can you speak a little about that?

MARIKA AUBREY: I think it’s the major theme that resonates for audiences from the show, especially right now in the world, when there is so much division. There really is more that unites us, more commonality of the heart, than what makes us different. 

JHPENTERTAINMENT: On the Edge is s such a powerful moment in a show full of surprisingly emotional scenes. What do you do to mentally prepare each night?

MARIKA AUBREY: With any show, but possibly more so in a production that gear-changes so quickly, the challenge and joy is to live exactly in each moment to the next. It’s the simplest, and sometimes hardest thing to do. But therein lies the magic for our audiences, and the power of every show feeling like a fresh unique live experience.

JHPENTERTAINMENT: Let’s talk about the cardiologist scene. How much fun do you have with that one?

MARIKA AUBREY: SO MUCH! It’s a moment of true high play in the show. All those Annette fantasies are a treat. And I get to play with all our sweet boys!

JHPENTERTAINMENT: While the choreography of the show might not be what people typically associate with a Broadway show, every movement seems purposeful. That said, can you give me a little insider info on the rehearsal process involved in mounting a National Tour?

MARIKA AUBREY: Yeah, whilst it may look like there isn’t much traditional choreography in the show, the reality is that nearly every single moment is physically directed. From the pop of pressing the airplane light, to all the chair work. Kelly Devine’s choreography is the foundation, the language, of how we tell this story, with so many characters, so clearly, in 1hr 42 mins. The rehearsal process of learning what is essentially a long form movement piece is rather like a dance. We would learn tiny chunks of 1-2 mins, with each of the 12 of us individually being directed on how to move, then we would thread it together beat by beat. It’s a very specific process, but if we do it well the work is barely noticeable.

JHPENTERTAINMENT: As Captain Beverly, you get your moment in the spotlight with Me and the Sky. Among the song’s lyrics is “No one saying you can’t or you won’t.” Must be so empowering to lead the rest of the female cast in that number.

MARIKA AUBREY: 100%. I am very aware of how this anthem speaks to people, particularly women and young girls. I get messages almost every day from females, often pursuing a path in a male dominated field, and they need to tell me how “seen” the song makes them feel.

JHPENTERTAINMENT: Has being part of this show affected the way you interact with others when you travel?

MARIKA AUBREY: Ha ha. Yes. I hope I am a little more patient and kind. I’m also nerdily observing the pilots and flight personnel for insight!

JHPENTERTAINMENT: If you weren’t playing Captain Beverly, which other featured character would you 

like to step into, even if just for one night?

MARIKA AUBREY: Nick. I love dialect work, and I do a sharp Brit! But also, the scenes between Nick and Diane are sweet and perfect and funny, and it must be lovely to share in that journey and partnership each night. Who doesn’t love a bit of romance?

JHPENTERTAINMENT: What’s your personal favorite message conveyed within Come From Away?

MARIKA AUBREY: That being kind and generous, particularly in times of crisis (when being kind and generous may not feel natural) is fulfilling. It’s the connective tissue of us humans, and if we all do a little more to help each other, how much richer we all would be. Also, GIRLS CAN DO ANYTHING.

———————————————

Come From Away wraps its time at TPAC’s Jackson Hall with performances thru Sunday, April 24. In case you missed my review of the show, click the above image that contains my quote from my review to check it out.  CLICK HERE for tickets.

Not in Nashville? There’s still plenty of chances to see the show as Come From Away continues its North American Tour with dates across the US and Canada through the fall. CLICK HERE for show dates and locations or follow Come From Away on Facebook, Twitter, Instagram, YouTube & TikTok.

For more about Marika Aubrey, check her out on Instagram, Twitter and YouTube.

As for TPAC, as their Broadway Season and Special Presentations continue, next up is Oklahoma!, May 3-8 followed by the World Premiere 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.

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

Ask anyone “Where were you on 9/11?” and you’ll get a myriad of responses, but that’s the thing, you’ll get an answer. Like Kennedy’s assassination a generation before and the bombing of Hiroshima the generation before that, if you lived through these moments in American history, you’ll always remember exactly where you were and what you were doing. Now, ask the inhabitants of Gander, Newfoundland, a seeming unassuming island town located on the northeast corner of the Canadian providence of Newfoundland and Labrador, and you’ll get a decidedly unique answer. The National Tour of Broadway’s Come From Away, currently on tour at TPAC’s Jackson Hall April 19 thru 24, provides a heartfelt look into the minutes, hours and days after 9/11 during which 38 planes carrying nearly 7000 passengers from across the globe were diverted to Gander International Airport.

With book, music and lyrics by married creatives Irene Sankoff and David Hein, Come From Away begins with the rock-solid uptempo Welcome to the Rock, in which the Mayor of Gander, played by Kevin Carolan joins the rest of the company as they poke a little lyrical fun at themselves with such lines as “Welcome to the rock if you come from away, you’’ probably understand about a half of what we say”. Then just as quickly, they extol the best aspects of their small town living with “They say no man’s an island, but an island makes a man ‘specially when one comes from one like Newfoundland”.

Half spoken word, have lyrical, the opening number also serves to offer a brief bit of exposition, explaining that Gander International Airport was, in its heyday, one of the largest airports in the world, a favorite of international flights as a refueling stop. Most of the cast is introduced during this opening number, many of whom are based on real-life Gander residents.

Marika Aubrey plays Annette, a primary school teacher at Gander Academy, but it’s her heartfelt turn as Beverly Bass, the first female American Airlines pilot, that steals the show. Captaining a Boeing 777 from Charles de Gaulle Airport to DFW when the terrorist attack occurred, Bass’ flight was among the 38 diverted to Gander.

Sharone Sayegh is Bonnie, a local SPCA worker, mom of three. Savegh’s Bonnie offers some of the show’s sweeter moments as she not only shows concern for the humans diverted, but also the animals aboard the flights, including a cat in need of its daily medication, a vocal little dog and a pair of bonobo apes, one a fan of slinging his own poop, the other, an expectant mom-to-be.

Bonnie is married to air traffic controller, Doug, played by Chamblee Ferguson. Ferguson also appears as Nick, a British oil engineer. Christine Toy Johnson plays Diane a traditional southern divorcee from Texas, who, once her worries about her son’s safety on that day are eased, experiences a new lease on life when she embarks on a romance with Nick.

James Earl Jones II plays Bob, an uneasy New Yorker who goes from worrying why everyone is so nice to embracing the kindness of others.

Jeremy Woodard and Nick Duckart play Kevin T and Kevin J., vacationing boyfriends (yes they’re both named Kevin and as they say in the context of the show, “it was cute for a while”) who also work together at an environmental energy company Kevin T founded.

Julie Johnson as Beulah, head of the Gander Legion, has a son who’s a local firefighter, thus instantly bonding her to Hannah, played by Danielle K. Thomas. Harter Clingman plays Oz, Gander’s good-natured constable…in a police force of two. Julia Knitel as Janice, the local TV station’s rookie reporter, becomes the voice of the town for the rest of the world when thrown into the action on her first day on the job.

With a stripped-down set designed be Beowulf Boritt (Be More Chill, A Bronx Tale, 25th Annual Putnam County Spelling Bee, among others), Come From Away focuses on the relationships of its characters. As evidenced by the character descriptions above, those relationships are plentiful. Among my personal favorites, the budding romance between Diane and Nick and the frankly unexpected acceptance of the relationship between Kevin and Kevin. The bar scene is just one of the show’s many examples of humor and heart.

On the subject of humor and heart, the show walks a perfect line between the two. After all, a musical about 9/11, but removed from the true horror of ground zero to a virtually unknown island on the eastern coast of the continent…sheer genius. Without spoiling some of this brilliance, key phrases, words or scenes to watch for include: Titanic, Xanax, The Mayors, Top Six Cardiologist and Kiss the Fish.

Speaking of Kiss the Fish, that moment comes courtesy the laugh-filled Screech In, lead by Kevin Carolan as The Mayor initiates a few newly christened Newfoundlanders during a moment of joy at a local pub. This is followed by a gloriously music-filled moment showcasing the company’s band, who provide the music throughout the show, but are front and center during this scene. The band consists of Cameron Moncur, Isaac Alderson, Kiana June Weber, Billy Bivona, Martin Howley, Sean Rubin, Steve Holloway & Ben Morrow. Oh, and don’t go anywhere after the initial curtain call…trust me. On opening night, Music City proved its name worthy and greatly appreciative and that’s all I’ll say about that.

While the show is full of entertaining musical numbers, 15 in total, and the majority of them performed by the entire company, it’s not exactly the sort of show you’ll leave the theatre humming your favorite just-witnessed tune. That said, in the moment, musical moments like 38 Planes, 28 Hours, On The Edge and Somewhere in the Middle of Nowhere are moving, thought-provoking and emotional.

Perhaps the most emotional musical moment comes with Prayer, as Jeremy Woodard and fellow cast mates sing a medley of faith-based tunes ranging from Prayer of St.Francis to Osseh Shalom. Regardless of what faith you might practice, it’s moments like this that have the potential to restore faith in not just your fellow human, but yourself.

In a glorious moment of empowerment, Marika Aubrey’s Captain Beverly and the female members of the cast come together for the beautiful written and performed Me and the Sky, on the surface, a simple narrative of Captain Bass’ life and career, but it’s so much more than that. Even as I headed home after Opening Night in Nashville, I kept remembering four simple words from this song…”I am suddenly alive”.

If you want to feel suddenly alive and be reminded to be kind to others and be in the moment, come from wherever you are to see Come From Away at TPAC’s Jackson Hall thru Sunday, April 24. CLICK HERE for tickets.

Not in Nashville, Come From Away continues its North American Tour with shows across the US and Canada through the fall. CLICK HERE for show dates and locations or follow Come From Away on Facebook, Twitter, Instagram, YouTube & TikTok.

As for TPAC, as their Broadway Season and Special Presentations continue, next up is Oklahoma!, May 3-8 followed by the World Premiere 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.

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

If you know me at all, you know I’m not much of a history buff and to be perfectly transparent, I know very little about politics or the ins and outs of government, so when I heard a show called What the Constitution Means to Me was playing TPAC’s Polk Theatre as part of their current Broadway season, my initial inclination was to skip it. Then, I did a little research, even checking out the filmed adaptation currently available on Amazon Prime, and within minutes I wasn’t just in, I was intrigued. After all, any show who’s lead performer recalls having an imaginary friend named Reba McIntyre (no relation to the beloved country music icon), and I’m immediately vested. Add to that, the playwright’s ability to work an unexpected laugh centered ‘round Penny Johnson, the Catskills dancer who received a botched abortion in the now-classic film, Dirty Dancing, and I’m not just intrigued, I’m kinda all about it. Cleverly devised, the pop culture mentions only scratching the surface of what playwright Heidi Schreck has achieved with her Pulitzer Prize nominated show, now at TPAC’s Polk Theatre starring Cassie Beck.

Beyond the clever references, which also include a quick Wonder Twins mention, sweet childhood memories of a sock monkey, his descendant and his best friend, there’s also equally clever and surprisingly easily understandable lessons about the show’s titular subject matter by why of playwright Schreck’s lightly fictionalized personal and familial stories.

At the top of the play, Beck introduces herself as Heidi. With Shreck having originally performed the role during its Broadway 2019 debut in the days before the pandemic darkened theatre for nearly two years and also starring in the aforementioned Amazon Prime film version, Beck has her work cut out for her. Not only is she playing the woman who created the though-provoking piece, she also plays her as a young teenager. Worry not though, as Beck more than rises to the challenge, perfectly embodying both versions of Schreck with ease and conviction.

Early on Beck’s Heidi, dressed in a bright yellow blazer, informs the audience that she’ll be navigating the role occasionally as Schreck’s younger self, who at age 15 became a scholarship-winning constitutional debater appearing at numerous American Legion-sponsored debates where the Dirty Dancing and Salem witch trial-obsessed teen spoke on the founding document as a crucible or a witches’ cauldron, noting with humor her occasional opponent in these teenage debates frequently used the analogy of a patchwork quilt to describe the same document.

Under the direction of Oliver Butler, who also directed the Broadway production, Beck’s teenage Heidi is confident, a little cocky and surprisingly downright hilarious at times. I say surprisingly, because, come on…it’s a show about the Constitution. Who’d have thought it would be so dang entertaining? Beck is equally at east as modern-day Heidi as she shares the playwright’s words convincingly as though they were her own. It’s that ability, coupled with the universality that while the stories may indeed be those experienced by Heidi and conveyed now via Beck, they’re not entirely unique, but instead universally relatable.

Throughout the play Beck’s Heidi shares a number of the playwright’s often heart wrenching stories of multi-generational events, all with unsuspected ties to the wording of the constitution, in particular, Amendments 9 and 14. These memories range from Heidi’s great-great-grandmother, a mail order bride, who died of ‘melancholy’ in her mid-30s a patient of a mental hospital, to themes of immigration, spousal abuse, abortion, equality and more during the show’s hour and forty-minute run-time. Pretty heady subject matter, but again, thanks to Schreck’s carefully constructed stream of consciousness dialogue that’s peppered with equal parts heart, humor and eye-opening information, it all adds up to an enjoyable and informative event.

In addition to personal and family stories impacted by the document, Heidi also occasionally cites actual proceedings in which the Constitution and its interpretation has come into question. One such instance is 2005’s Castle Rock vs Gonzales in which an indigenous Colorado woman who had taken a restraining order against her abusive husband sought help from the police, who repeatedly refused. Her husband later kidnapped and murdered their three daughters. The woman sued the Castle Rock police. The Fourteenth Amendment was invoked and she won the case. Sadly the city appeared and the verdict was eventually overturned by the Supreme Court. During Heidi’s monologue about the case, mind-boggling audio of Antonin Scalia, who wrote the final decision, is played for the audience. In it, we’re privy to the decision that even though the Amendment says law enforcement ‘shall’ protect its citizens, it doesn’t mean they ‘must’.

Y’all. The fact that I retained this bit of info is further proof that the playwright, director and star have brilliantly come together to present the subject matter in such a way that even the least history/politically-minded audience member can and will take something away from this unique theatrical experience.

As mentioned earlier, Beck not only plays blazered teenage Dirty Dancing-referencing Heidi, she also takes on Heidi’s modern day persona. Even the tongue-in-cheek way she transitions out of teen Heidi into adult Heidi is sheer genius. She literally takes off the yellow blazer and says she’s gonna be adult Heidi from now on. It’s the quirky little details, simple as they are, that keep the audience engaged and entertained.

Joining Beck’s Heidi onstage in what is otherwise essentially a one-woman-show is Gabriel Marin, who appears as a Legionnaire. Primarily Marin sits quietly and only speaks when he, as the Legionnaire, informs teenage Heidi what her speech topic is, or to quell the applause from the audience. Once Heidi begins addressing the audience as her adult self she even makes a joke at Marin’s expense stating that she’s not really sure why he’s still there. A bit later, Marin steps out of the Legionnaire role to speak as himself as he shares an early experience of machismo mentality. I must admit, while Marin’s dialogue was interesting, that of Schreck’s Broadway co-star, as seen in the filmed version, and his personal story of suppressing traditionally though of as more feminine feelings as a young man, seemed a bit more impactful.

Near the show’s final third, Beck steps off the American Legion set, and in doing so, steps away from the character of Heidi, teen or otherwise, and performs the final few minutes as the actress, Beck, herself. She reveals she attended college in nearby Memphis, shares a bit about her background as an actress and then invites Jocelyn Shek, a high school junior from Los Angeles versed in debate to join her onstage for a live debate centered ‘round the idea of abolishing or keeping the Constitution. (at some designated performances Emilyn Toffler, a teenage trans actor/debater from LA, steps into the role as Beck’s debate opponent). While TPAC ushers distribute pocket-sized books of the Constitution (donated by the ACLU), Marin once again acts as moderator for the debate segment. At the end of their debate, a random audience member, who now represents the audience as a whole, is asked to judge who won the debate. Once they vote, they’re instructed to read from a corresponding card revealing their decision. This live debate segment and the rando audience participation assures each performance end in a way unique to itself. You know, kind of how each and every person’s interpretation of the Constitution has the potential to not only mean something unique to each and every one of us, but also the ability to potentially affect each and every one of us in a truly unique way.

What the Constitution Means to Me continues at TPAC thru Sunday, April 3. Then, as they continue their current Broadway Season and Special Presentations, next up at TPAC, it’s Come From Away, April 19-24, followed by 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.

You can also follow What The Constitution Means to Me via their Official Site or on Facebook, Instagram and Twitter.

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!

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.

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

Of all the show’s in this season’s Broadway at TPAC lineup, the National Tour of Summer: The Donna Summer Musical, currently on stage at TPAC’s Jackson Theatre through Sunday, March 27 is THE musical I have most been looking forward to seeing this year. Partly because Donna Summer has always been among my personal Top Five Divas and mostly because I was fortunate enough to have met her a few times during her years living right here in Music City.

I first met her while at lunch with a friend when we spotted her in line ahead of us and my friend commented that she “looks like Donna Summer”. I believe my response was “That’s because it IS Donna Summer. Still not convinced, a few minutes later, my friend approached her and asked if she was who he thought she was. She laughed and said, “I am if you think I’m Donna Summer.” My friend and I fanboy’d a bit before leaving her to enjoy her lunch. You know how when you meet someone, you then see them everywhere? Well, not long after that chance encounter, Donna Summer and her two youngest daughters began shopping in the children and young adult sections of the bookstore where my friend and I worked. It was during those shopping excursions that I sort of got to know her and my admiration and appreciation only increased.

All that to reiterate how excited I was to attend Opening Night earlier this week. Now, I have to also admit that prior to seeing the show, fan that I am, I was aware of a few things in the Queen of Disco’s career and life that might make for a very drama-filled biopic…Kelly Rowland, I’m talking to you!. I also had seen reviews of Summer: The Donna Summer Musical lamenting the fact that the book by Colman Domingo, Robert Cary and director Des MacAnuff is unbalanced and often-times weak, and while that’s true, honestly, who cares? When the music is as recognizable and as brilliantly performed by this talented troupe of singers and dancers, truthfully, the acting and story are secondary.

Summer: The Donna Summer Musical falls in the theatrical category known as a jukebox musical, basically a musical stage show that features well-known music, rather than new tunes written specifically for the show. Often, jukebox musicals like Summer, not only showcase one particular artist’s music, but like The Cher Show, Tina and a favorite right here in Nashville, Always, Patsy Cline, they tell the story of the artist known for the tunes featured.

One thing that sets Summer: The Donna Summer Musical apart from other jukebox musicals is that we get not one, not two, but three Donnas. By this I mean three actresses play Donna during three distinctive periods of her life and career. First there’s Amahri Edwards-Jones as Duckling Donna—Donna the early years. Next, there’s Charis Gullage as Disco Donna—Donna at the height of her 70s sensation. Lastly, Brittny Smith plays Diva Donna—Donna of her post disco era and last few years of the singer’s much too short life. That’s right, three times the Diva, three times the attitude and three times the talent. Each of these ladies manages to embody Donna perfectly in their respective era and they do so with voices that are indeed reminiscent of Donna during the various stages of her recording career.

Even before curtain, as the audience filters in, disco music by contemporaries of the diva blast on the sound system, perfectly creating the mood. Once the curtain rises, Smith’s Diva Donna, apparently emulating Summer’s final concert appearance, welcomes the audience to what she refers to as the concert of a lifetime. That double-entendre line serves as a plot reveal for what is to come is a non-linear narrative waffling back and forth between various timelines of the diva’s life.

As Diva Donna, Smith opens the show alongside the mostly female cast with the appropriately lyric’d The Queen is Back, a lesser-known Summer tune from her seventeen and final studio album, 2008’s Crayons. While the song’s title and lyrics are a good start, the show really begins when Smith eases into I Feel Love, Summer’s huge 1977 hit, confirming it’s the songs that brought us here.

Smith’s Donna is confident, yet retains an air of restrained, something that comes with a life lived. Smith’s Diva Donna is also the story’s narrator. This is mostly achieved by banter with the audience, much like many artists do during an actual concert. She also frequently interact with the other versions of herself extolling advice or warning, things that only come after experience, which are again, primarily for the benefit of the audience. When not belting classics like I Feel Love, Smith also appears as Mary Gaines, Summer’s—né LaDonna Adrian Gaines’ mother. This is achieved in the simplest of fashion…literally, for when Smith is Mary, she simply dons a dowdy overcoat, a scarf or a church hat. If the book ever truly focused on dialogue for more than just a spoken interlude between songs, this might be hard to follow, but as it is, Smith’s transitions between Diva Donna and Mother Mary are obvious and easy.

Charis Gullage’s Disco Donna, likely the most iconic and best remembered Donna for even the casual fan, definitely looks the part and she sings the role splendidly. Early on, Gullage is charged with recreating one of Summer’s most-rumored and notorious early career moments, the moment when she allegedly laid on the studio floor in the dark to record the provocative, sultry and down-right O-emulating vocals for Love to Love You Baby. Mega fan that I am, I found it interesting that this retelling gives Donna all the credit–and the girl power–for recording the vocals in this manner, while various sources over the years have indicated that it was famed producer and record exec, Giorgio Moroder who suggested/insisted she record it this way.

Here’s a good place to mention that this show, which credits Summer’s husband Bruce Sudano as a story consultant, really showcases Summer’s resilience and strength as a female artist in a male-dominated and controlled industry, something sadly as true today as it was during her career heyday.

The action then hits the rewind button as Duckling Donna, innocently and blissfully embodied by Amahri Edwards-Jones takes to the stage for the title track from 1977’s I Remember Yesterday. Another all but forgotten track, 1979’s On My Honor, perfectly fits the early Donna narrative while simultaneously spotlighting Jones’ breathtakingly beautiful vocal skills.

While the show is resplendent with massive hits like MacArthur Park (we are treated to all three Donnas taking on this one), Heaven Knows (a bit of foreshadowing as this one features Disco Donna and future husband Bruce Sudano played by John Guaragna), No More Tears and more, again, as a lifelong fan, I truly enjoyed some of the deeper catalogue dives.

Once such moment comes with a quick little snippet of White Boys, half the song, Black Boys/White Boys from the musical Hair. That’s right! Early in her career, Donna Summer appeared in a German production of Hair. Within the context of our story, this song is quite effectively used to show Summer’s dating life in a very fun, tongue-in-cheek manner.

On the flipside, some of Summer’s more dramatic moments, albeit primarily glossed-over, also take full advantage of the artist’s extensive catalog. A prime example comes in the inclusion of a song called Pandora’s Box another track from her Love to Love You Baby 1975 release, used in the musical to reveal the conflict of young Donna who hid the truth of sexual abuse by a family friend, which, according to the show’s narrative, seems to have been the start of blurred lines between love and control by various men in her life, both personal and professional. These men include her father, Andrew Gaines (played, I might add, by former Nashvillian, Porter Lee Anderson, III), first husband, Helmuth Sommer (Francisco Risso), Giorgio Moroder, David Geffen (both roles played by Kyle Southern), record producer Neil Bogart (Christopher Lewis) and aforementioned second husband, Bruce Sudano (played by the aforementioned John Guaragna).

Speaking of the male cast and characters, the one casting misstep for me comes in the head-scratching decision to cast a female in not one, but two male speaking roles, without even the slightest effort to lower her speaking voice or even take on more masculine mannerisms. Not sure why this choice was made. Maybe current restrictions on the size of the cast, but even so, why not have one of the handful of male ensemble members take on these small, but noticeable male characters? Nothing against the actress playing them, but it basically reminded me of an all-girls school production where the girls play all the roles. It’s not like this is some sort of statement or a reversal of Shakespeare or anything. Just seemed a interesting casting option.

Back to the actual male members of the cast, Guaragna, as Sudano, and Gullage’s Disco Donna appear in one of the show’s silliest but simultaneously sweet and entertaining moments as they are seen onstage in what can only be described as the theatrical equivalent of bumper cars while Disco Donna drives around listening to and singing along to…On The Radio. Now, according to the storyline, while the two had met in the studio, this traffic jam jammin’ meet cute symbolizes the start of their romantic relationship.

There’s also a healthy nod to the umbrellaography of Singin’ in the Rain, around this time, courtesy the show’s choreographer Natalie Caruncho and associate choreographer Angelica Beliard. Not gonna lie…the day after I saw the show, while in my car, I did indeed turn up On The Radio and sang at the top of my lungs, so well played Summer and company, well played.

Other highlights comes with Bad Girls (complete with a quick mention of rough street life in her early days), She Works Hard For the Money (Donna’s struggle to be more in control of her own career) and Dim All The Lights (the death of a friend and business associate at a crucial point in her career). And while I Believe in Jesus is meant to reaffirm, to some audience members Donna’s born-again era still holds a sour note as it was during that time that Donna may or may not have made comments during a particular concert equating the AIDS crisis to God’s punishment on the gay community, long her biggest audience. The show glosses over this, almost making fun of it with the Adam and Eve, not Adam and Steve comment, but then gets right back on track with Donna revealing she, like so many others, not only lost fans because of the remarks, but also lost friends to the devastation of the disease.

Musically, the show gets back on track as well, with Unconditional Love, which features Smith’s Diva Donna alongside her costars and ensemble members portraying Donna’s three daughters. Another drama comes to light as the show nears its end. Again, mega fan that I am, I gotta admit, knowing what was coming, my eyes began to sweat as Diva Donna and family learn she has cancer.

Also once again, the show manages to lift spirits with Disco Donna and company heating things up one last time for Hot Stuff before all three Donnas and the entire company take to the stage for an all-in disco dancin’, hand-clappin’, on your feet, party to end all parties Last Dance.

Summer: The Donna Summer Musical continues it’s Music City run at TPAC’s Jackson Hall with shows through Sunday. 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.

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

For their current production, Nashville Children’s Theatre is presenting Peter Pan: Wendy’s Adventure to Neverland, an all-new story by NCT’s own Ernie Nolan with music and lyrics by David Weinstein making its World Premiere. Onstage now through March 27, this newly created escapade involving everyone’s favorite boy who’ll never grow up is, of course, based on the beloved works of J.M. Barrie.

While Barrie’s enchanting novel, Peter and Wendy was published in 1911, the character Peter Pan first appeared within the pages of Barrie’s 1902 novel, The Little White Bird. Within that work, geared towards an adult audience, by the way, Barrie devoted half a dozen chapters to newborn Peter, who mysteriously leaves his London nursery for an unexpected adventure in Kensington Gardens where fairies and feathered friends teach him to fly. Two short years after the book’s publications, Barrie expanded on the character of Peter Pan for a Christmastime-debut stage play, Peter Pan, or The Boy Who Wouldn’t Grow Up. The play proved so successful that Barrie’s publisher got the idea to take the chapters of The Little White Bird that featured Peter Pan, and release them as their own book titled Peter Pan in Kensington Gardens. Fully realizing there was more magical life in the character, Barrie expanded the tales of Peter and friends for the aforementioned 1911 novel.

As the audience enters the theatre the ghost light is seen giving just enough light to the stage. For those not familiar, the ghost light is a single bulb on a stand, centerstage left illuminated to light the way for crew and others who might be in the theatre between performances. During the last two years, the ghost light has taken on an more symbolic meaning to the theatre family worldwide as that time between performances lasted longer than anyone ever imagined. That makes what happens next with the ghost light even more poignant, as a member of the company approaches it mysteriously captures the light in their hand and, invoking the powers of pixie dust, enchantingly transfers the ghost light’s amber glow to the string of lights above the stage doubling as the night’s sky glittering with stars. Witnessing this, I remembered seeing a post from NCT’s Ernie Nolan. Posted on the show’s opening morning, it was a photo of a line of school buses parked outside the theatre as the company welcomed children back to the audience for the first time since the pandemic. In that moment, in my mind, the ghost light became Nashville Children’s Theatre and the celestial beings suspended high above the stage, represented the hundreds of children whose first theatre experiences wait inside that theatre.

It’s interesting to note that within the pages of The Little White Bird, Peter is first described as a boy who is “betwixt and between a boy and a bird”. That said, it’s evident that NCT’s Nolan and Weinstein did their homework, because the opening number of Peter Pan: Wendy’s Adventure to Neverland’s opening number is indeed titled Betwixt and Between.

In that opening number, the audience gets a first glimpse of a troop of actors who are about to perform the timeless tale of Peter Pan and Wendy Darling. Literally and figuratively at the helm is Megan Murphy Chambers as The Actress. Costumed for her role in the show within the show as Captain Hook, Chambers is a fantastical vision, complete with a faceted silver lamé hook! Just imagine if Helena Bonham Carter were cast as Hook in a production directed by Tim Burton, and you’re there. If it’s possible to have a crush on Captain Hook, I confess, I indeed have, especially in the form of one of my longtime theatre crushes, the commanding presence that is Megan Murphy Chambers.

Gerold Oliver as Peter Pan, with his perfectly playful approach to the role invites the audience along for the journey. No sooner than the play begins, a young girl comes up from the audience interrupting the action as she expresses doubt that magic and fairies exist.  As The Girl, Amanda Rodriguez finds the perfect balance between childlike innocence, wonder and questioning. Determined to waylay The Girl’s misgivings, Oliver’s Peter Pan and company, not only challenge The Girl to step into the role of Wendy, but also pose the challenge by way of the song If You Believe, knowing full well, even the simple magical effect of being on stage itself is likely enough to make her…and us believe.

As for the rest of the company, Nolan has gathered a truly enchanting ensemble. Joining Oliver, Rodriguez and Chambers are Jennifer Whitcomb-Oliva as Smee, Sarah Zanotti as Tinkerbell, Piper Jones as The Never Bird, Jonah Jackson as Tootles and Alex Pineiro as Slightly with Erika Johnson as Backstage Crew and Jack Tanzi as Assistant Stage Manager.

Whitcomb-Oliva’s Smee, like every role this uber-talented performer takes on, is blissfully fun. As adept at comedy as she is at possessing and beautifully sharing one of the richest voices the Nashville stage has ever seen, Whitcomb-Oliva, especially when volleying scenes with Chambers, is indeed perfection. The camaraderie between these two gifted performers is especially fabulous during Right Hand Man, a hilariously fun ditty full of double meaning of the funniest kind as Captain Hook may or may not be alternating the title meaning between Smee, his right hand man, and/or the aforementioned shimmering wrist accoutrement.

With a core audience ranging in ages from the very young, to the young at heart, Nolan and Winstein prove they are masters at their craft by keeping the action going at all times. To that end, come Jackson and Pineiro as Lost Boys Tootles and Slightly, respectively. For this production, Jackson and Pineiro’s Tootles and Slightly are firmly planted somewhere between the old school slapstick humor of Oliver and Hardy and the mildness antics of Jim Carrey and Jeff Daniels as Lloyd and Harry in the Dumb and Dumber film franchise. The show’s next tune, Don’t Blame Me proves this point as these two actors, alongside Oliver’s Peter Pan and Zanotti’s Tinkerbell, attempt to weasel their way out of a bit of blame.

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.

While the show’s next number, Lagoon Toon—featuring Oliver’s Peter Pan, Whitcomb-Oliva and Jones as a couple of shell-wearing Mermaids, and ensemble members as various sea creatures—is cute, it might be a tad too reminiscent of a certain Under the Sea calypso tune from a particularly popular fish tale…or is that tail? Nonetheless, it offers yet another chance for the audience to marvel at the wonder of a full-scale (see what I did there?) musical number as presented by a near-perfect ensemble.

Another mostly all-in tune, If I Had a Mother, features Hook, Smee and various ensemble as The Pirates as they lament their lack of love, centering is squarely on the absence of a caring maternal figure. This number also moves the familiar plot along as they scheme to force Wendy into being that mother figure.

Speaking of that certain mermaid, and I was earlier, Piper Jones, who starred as Ursula in NCT’s The Little Mermaid in 2018, gets her moment to shine as The Never Bird during Never Say Never. Showcasing her marvelous voice, Jones is never better than when she’s front and center belting out a showstopper like this hummable tune.

The turning point in the thinking of the young addition to the company within the show comes when Rodriguez’s Wendy takes the lead on Do You Believe in Fairies. This is also the point in the show where the audience gets involved in a bit of call and response, and the answer is a resounding YES, of course we do indeed believe in fairies. I mean, you’d have to be a motherless, vile, lonely pirate not to, right?

With showtunes whose titles reveal the simple but enthralling plot of the rest of the show, Rodriguez then joins the Lost Boys and Tink for We Have a Mother. Then, for Peter Pan: Wendy’s Adventure to Neverland’s finale, the entire company wraps up the story and the show with With All of My Heart, and I’m here to tell you, I loved every second of this show…with all of mine.

This retelling contains all the expected elements of not only the beloved source material, but the equally beguiling animated Disney adaptation and even the more recent live action adaptations, but thanks to the creative imaginations of Nolan, Weinstein, and their entire creative team, including Scenic Designer, Scott Boyd, Lighting Designer, Scott Leathers, Costumer, Tommy Macon and others, it contains the perfect balance of familiarity peppered…no, Pixie Dusted…with a freshness that is bewitching indeed.

Peter Pan: Wendy’s Adventure to Neverland continues its engaging engagement with performances for school children during the week and public performances each Saturday and Sunday through Sunday, March 27. Click Here for tickets. Educators are encouraged to Click Here to book a field trip to see upcoming performances at Nashville Children’s Theatre.

Speaking of upcoming performances, next up for NCT, it’s another World Premiere from Ernie Nolan as the musical earworm Baby Shark comes to life on the stage April 2-June 19. Then, from June 25-July 17, Nashville Children’s Theatre presents the Nashville regional company premiere of The SpongeBob Musical to close out the current season.

For all the latest from Nashville Children’s Theatre, Check out their Official Site, or follow them on socials. You can find NCT on Twitter, Facebook and Instagram.

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!