Jonathan Pinkerton

Having worked in the book industry for nearly a decade back in my early post-college days, I had the great fortune of not only meeting Stephen King when my local bookstore (remember those?) hosted the celebrated author during a signing. I also saw him and fellow authors Amy Tan, Mitch Albom, Dave Barry, Matt Groening, Scott Turow and others perform their unique music talents under the band name Rock Bottom Remainders during that same time. Plus, who doesn’t love a good Stephen King story, so when I heard Playhouse 615 was presenting the Tennessee premiere of William Goldman’s stage adaptation of Misery, based on King’s 1987 bestseller that then became a hugely successful 1990 film, I was intrigued to say the least. Having opened earlier this month, the show wraps its run this weekend with performances Friday and Saturday evenings June 17 and 18 at 7:30p.m. and a final matinee at 2:30p.m. on Sunday, June 19.

I dare say if you’ve not read Misery, chances are you may have seen the movie. Full disclosure: while I absolutely devoured the book when it was release in ’87, I somehow never saw Kathy Bates’ Oscar-winning turn as Annie Wilkes opposite James Caan’s Paul Sheldon. I also had sort of forgotten that the stage version even existed, even though the 2015 Broadway run starred Bruce Willis and Laurie Metcalf. The latter of which received a Tony nomination for her performance.

Considering it has been thirty something years since I read the source material, when my friends and I attended a Playhouse 615’s Sunday matinee, I pretty much entered the theatre not knowing what to expect. I gotta admit, I was pleasantly surprised. Playhouse 615, located in a tiny strip of shops at 11920 Lebanon Road in Mt Juliet, TN, is a hidden jewel among the area’s theatre community. From its nondescript exterior, you’d never even know it’s theatre space, and once inside, you just have to marvel that artist director, Joel Meriwether and company are able to achieve what they do in this intimate space.

That’s the thing though, the intimacy of venue is absolutely perfect for this particular work, for all of the action of Misery takes place within the confines of a small farmhouse nestled in the western slope of the Rocky Mountains. As in the book and the film that preceded this adaptation, the story centers ‘round a famous writer, Paul Sheldon who’s known to retreat to Silver Creek, Colorado whenever he’s working on his next novel. Among those who know Sheldon’s penchant for getting away from it all to concentrate on his writing, is his self-professed biggest fan, the seemingly unassuming owner of said farmhouse. The set-up of how these two meet happens before the curtain rises, when Paul’s vehicle careens off the road and crashes near Annie’s farm. As the action begins Paul (played by Harry Marsh) is heard writhing and moaning in pain as he wakes in a strange bed. I’m just gonna say it, when I saw the show, at first I thought the painful cries a tad overdone, but luckily as the action continued, the wailing subsided, but I digress. We soon learn that Annie (played by Ann Street-Kavanagh) happened upon Paul, managed to get him out of the wreckage and brought him to her farmhouse to recover.

We also soon learn the reason she didn’t seek medical attention is that the roads are blocked from a snowstorm and the phone lines dead…or are they? Now, unless you’ve been living under a rock for the past three decades, you likely know a little more of the plot. Turns out Annie may or may not be completely obsessed with Paul, to the point of psychotic episodes as he regains his strength and begins to question their extended solitude.

Marsh’s Paul Sheldon is entertaining to watch, a looming presence of a man, confined and captive. But it’s Street-Cavanagh’s Annie that makes the show a truly sinisterly thrill-ride. She manages to find a perfect off-balance between meek, good-natured, christian woman literally and figuratively becoming the good samaritan to helpless Paul to vindictive, abusive captor. One note of concern, whenever Annie is headed into a fit of rage, Mitchell Miller, who’s credited in the show’s playbill as ‘lighting execution’ chooses to flash a strobe erratically. When this first occurred during the performance I attended, I initially thought there was some technical glitch and the lights were malfunctioning. This effect might be better served to begin when Annie starts to rage and the strobe continue throughout her fit, ending when she seemingly returns to her more calm self. Just an observation.

Speaking of technical aspects of the show, kudos to Meriwether, who also serves as the show’s ‘sound execution’….I guess that makes him ‘sound executioner’, befitting the gruesomeness of the piece. Throughout the show I noted time and time again the perfect accompanying interstitial music, from haunting versions of such known tunes as Amazing Grace, Every Breath You Take, I Will Always Love You, Hurt and more, plus a little Liberace for good measure (there’s motion of Lee in the script). These musical interludes quickly became another character for me.

In popular culture, there’s a term called ‘Easter eggs’. It refers to the inclusion of images, sight gags, jokes or other references that fans might recognize. King frequently includes Easter eggs in his work and Misery is no exception. It may contain the ultimate Easter egg. I mean, let’s face it, Paul Sheldon IS basically a fictionalized version of Stephen King, what with retreating to write, being the author of multiple bestsellers and all. So to further wink towards King, Meriwether and the show’s prop  and set departments have peppered the set with winks to the author and his other works. At one point, when the local sherif (Joe Russell) pays a visit, he sips coffee from a mug emblazoned with a graphic from IT, King’s ’86 horror classic that in recent years has become a hugely successful film franchise. There’s also a floor runner in the hallway, the pattern of which will conjure images of creepy twins for anyone who’s seen King’s 1980 masterpiece, The Shining, for it’s the same pattern as the hallways of the Overlook Hotel. Even the religious iconography throughout Annie’s farmhouse is a nod to King’s Carrie. Heck, I may be reaching, but you could even say there’s a bonus nod to Carrie coupled with Firestarter when things between Annie and Paul get a little…shall we say…heated. These little extras, while perhaps unnoticed by some casual audience members, were indeed appreciated by this King fan.

Street-Kavanagh and Marsh also deserve praise for the physicality of the show. From Marsh’s Sheldon attempts to escape while bound to a wheelchair to the height of the action when Street-Kavanagh renders Sheldon immobile by way of the now-classic mallet and woodblock scene, these two performers approach the physical aspects of their respective roles with gusto and visceral emotion. With only two performances left, if you’re looking for something to do this weekend, check out Playhouse 615’s Misery. Tickets are $18 and may be purchased online CLICK HERE or at the door. For details on upcoming shows at Playhouse 615, check out their website or find them on Facebook.

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

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

Prior to attending the Music City Opening Night performance of the current National Tour of Rodgers and Hammerstein’s Oklahoma!, which continues at TPAC’s Jackson Hall through Sunday, May 8, I had heard a wide range of opinions about Daniel Fish’s Tony-winning revival. Heck, I’d even formed a few preconceived notions myself, considering the original 1943 production, and Hollywood’s iconic film adaptation that followed a decade later are the stuff of which legends are made.

Among the rumblings, folks seem to be out of joint for a variety of reasons. Some feel it’s too dark and brooding. Others don’t care for the ‘checking every box’ overly-politically correct nature of the casting, or the striped down consolidation of the action now all taking place at a barn dance, rather than the typical multiple set-changes. Still others apparently have their petticoats in a twist because of the amped-up sexual tension, potentially triggering subject matter and interesting choices concerning everything from the choreography to the over-exaggerated accents.

I’m here to tell you, within the first few minutes, for me at least, very little of that mattered. Even as the audience made their way to their seats, Jackson Hall was lit a little brighter than usual, thanks to the curtain being up on the stage and Scott Zielinski’s overly-saturated bright white lighting making the sparse set almost glow. As for the set, Laura Jellinek’s simply but purposeful stark set which seems to depict the interior of a barn or social gathering spot with a few rows of picnic tables and a wall lined with rows and rows of gun racks full of rifles. The play is set in Indian Territory in 1906, after all.  This might not be the farmhouse, surrey, corale or paddocks to which audience have grown accustomed, nonetheless, it still seems familiar and easy.

In preparation for my recent Rapid Fire 20Q during which I chatted with members of the cast of Oklahoma!, I fell down a YouTube rabbit hole and discovered an old black and white clip of an early stage mounting of the show, so as soon as I saw the scrim that covers the back of the stage with it’s simple graphic of a farmhouse and a barn set along the great expanse of the land, I realized it’s a brilliant nod to Lemuel Ayers’ original Broadway set design for that early scrim is almost identical. From the familiar opening number, Oh What a Beautiful Morning, now presented in a less-than-optimistic slower tempo, it’s indeed evident this is not only a revival, but a complete reimagining. Sean Grandillo’s Curly, completely opposite the usual strapping buck of a leading man, is a slight young young thing…with straight hair at that. But here’s what he has going for him in spite of his less-than-intimidating presence, this Curly’s got swagger, confidence, a strong tenor voice and can play a mean lick on his guitar.

On the subject of the show’s soundtrack, gone are the sweeping full orchestrations of previous incarnations, replaced instead by a 7-piece on-stage orchestra. Alright, calling it an orchestra seems a little grandiose. In keeping with this new Oklahoma!, it’s more like a house-band made up of Andy Collopy who serves as conductor, as well as playing the accordion and drums; associate conductor, Dominnic Lamorte, who also plays upright bass; Rick Snell on mandolin & electric guitar; Liz Faure on pedal steel, acoustic and electric guitar; Justin Hiltner on Banjo, Libby Weitnauer on Violin (come on, that’s a fiddle) and Grace Hartman Parce on Cello. I mention the band early on simply because Daniel Kluger’s new orchestrations and arrangements are a vital part of why this production skews darker than we’re used to.

Another genius aspect of this incarnation is that while the tempo of the tunes and the emotion and intonation of the delivery may have changed, the lyrics, and for that matter, the dialogue is the exact same as it has always been. A prime example of how this affects the mood and meaning of the show is seen when Curly attempts to woo Laurey (Sasha Hutchings) as he describes the fancy horse-drawn surrey he intends to take her to the comping social in. With no change at all in the lyrics, but a slower, more seductive delivery, he describes taking her on a date, keeping her out all night and waking up still in the surrey together. The tune’s lyrics “whoa! You team, and just keep a-creepin’ at a slow clip clop. Don’t you worry with the surrey with the fringe on the top” suddenly take on a new meaning. Is Curley telling Laurey not to worry if anyone see’s their surrey ride of shame the next morning as the top of the carriage will keep their secret? Maybe. Maybe not.

As for Laurey, Hutchings strikes a gorgeous, tall figure of a woman and her voice possesses a raw throaty quality. It’s almost as if she’s singing from the back of her mouth and not at full power, but it kinda works. It adds to Laurey’s predicament of being the object of affection to more than one man. I do have to say this, though. Both my companion for the evening and I noticed Hutchings kept futzing with her hair, constantly doing an almost exaggerated sweeping motion with her hand, pushing it up and presumably away from her face. It became an odd distraction for me and my friend.

Hennessey Winkler is cast in the role of Will Parker, who takes on the next song in the show, Kansas City, a tune that extols the fabulousness of the nearby modern town. In the playfully capable hands of Winkler, who was quoted in a recent interview admitting Ado Annie was a dream role, until he transitioned to male, you gotta wonder though, have they indeed “gone about as far as they can go”? While singing about a particularly voluptuous female he encountered at a burlesque show, he recalls, “One of the gals was fat and pink and pretty. As round above as she was round below”. Y’all! Those lyrics! And again, thanks to his delivery, that description takes on a whole other super-sexualized meaning. Made all the more obvious by Winkler picking up a shucked ear of corn on the nearby picnic table and holding it just so, as to suggest…how shall I say this…the early 1900s equivalent of today’s eggplant emoji. Hilariously, a similar suggestive ideal comes later when the ladies all shuck corn, then violently begin to break the cobs in half as they toss them into a barre during Many a New Day. I can’t be the only person who saw these not so subtle things and thought these bawdy campy thoughts, right?

Speaking of camp, enter Ado Annie played by trans actress and activist, Sis. Here’s the deal, I myself am a member of a couple of less-than-equally-represented demographics, one being I was born with a neuromuscular disorder that now requires I use forearm crutches to walk, so when Fish debuted his Oklahoma! on Broadway coinciding with the show’s 75th anniversary and he cast wheelchair-using actress/singer Ali Stoker as Ado Annie, who subsequently won the Tony, I was all for it. Now, when the tour was announced and Stoker’s star was on the rise, I figured she wouldn’t join the tour, but I had kinda thought they might cast another wheelchair’d actress. Nope. Sis won the role. Again preconceived notions and my own thoughts of the powers that be overcompensating for decades of Broadway literally and figuratively being the great white way, by checking all the boxes was my initial reaction. But the minute Sis breaks into Ado Annie’s signature song, I Cain’t Say No, I was done…in the best way possible. Sis, who is the very definition of a big, Black, beautiful woman, owns that song, the stage and everything that comes with it. As if the first few verses aren’t enough, she goes to the rear of the stage, grabs the mic from the stand by the band, comes back to the edge of the stage and breaks out into a rollicking reprise. Plus, the juxtaposition of Winkler’s Will Parker and Sis’ Ado Annie, is a perfect comedic role reversal in every sense of the word. Yes, it’s ok to laugh, ‘cause guess what, they’re totally in on it.

Other standout performances come by way of Benj Mirman as Ali Hakim and Barbara Walsh as Aunt Eller. Mirman’s Hakim, the Persian peddler who finds himself unexpected betrothed to Ado Annie at her father’s (Mitch Tebo) insistence, gets his shining moment with It’s a Scandal, It’s a Outrage. As for Walsh’s Aunt Eller, she gets a section of choice comebacks and knowing glances throughout the show, as well as featuring prominently during most of the all-in moments.

Then there’s Christopher Bannow’s Jud Fry, in spite of the fact that Jud doesn’t really say much during the first half of the show, thanks to director Fish’s keen sense of anticipation, even when Jud is just sitting there at one of the picnic tables while Curly flirts with Laurey, he can be seen, reacting. Doing things as seemingly inconsequential as shifting in his seat, or sitting up a little straighter when Laurey walks near him or listening more intently when she’s talking. All of this leads up to one of the show’s most volatile and creative scenes.

Curly, realizing Jud also has his eye on Laurey, pays Jud a visit. While there, he goes so far as to suggest that Jud hang hmself, explaining by the lyrically sinister Pore Jud is Daid that if he offs himself, he will finally garner the love and empathy of Laurey and the entire town. Adding to the drama of this scene, the entire theatre goes completely black and the two men talk to each other using handheld mics. Suddenly out of the darkness, Jud’s face is projected in black and white on the scrim behind the stage, thanks to a member of the crew and a handheld video cam. It’s at this precise moment that the rows of seats between the audience and the actors effectively disappear, making the audience truly feel part of the show. Interesting, considering the fact that during the show’s Broadway run, it was housed in the very intimate Circle In The Square Theatre, a 776 seat theatre in the round, where the audience surround the stage on all four sides. Furthermore, during the first act of the Broadway run, the cast literally made chili and cornbread which they served to the audience during intermission.

Of course that intimacy isn’t possible for a National Tour, but the dimming of the lights and then the projection of the actors faces in severe close up, for that moment, bridges the distance and effectively achieves that closeness. Jud’s Lonely Room follows and his isolation and emotion during this song, simply heart wrenching.

The blackout effect is successfully used a second time when Laurey and Curly get a little intimate on a date, unfortunately, the smacking of their lips into their handheld mics during this scene turn a heated romantic moment into an uncomfortable exaggeration.

Another major difference between traditional mountings of the show and the current version is the fact that the Dream Ballet, originally choreographed by Agnes de Mille, and the stuff of which legends are made, has shifted from the end of Act 1 just after Laurey solo’s on Out of My Dreams, to the top of Act 2. Not only that, gone are the stunningly ethereal movements of most of the cast members and they bring to life Laurey’s dream/nightmare of being torn between two men. Instead, a single barefoot dancer emerges wearing an iridescent white t-shirt emblazoned with the message “Dream Baby Dream”. This might be my one biggest disappointment with the update. I get that it’s modern dance, but scooting across the stage like a puppy with a clogged gland, that’s not dance, that’s just bizarre. Now, I’m no dancer, though I did win the dance contest at homecoming in high school one year, but let’s face it, it was a popularity vote, but I digress. Again, my companion for the evening had a little to say about this particular moment. She is a trained dancer, so there’s some merit in her reaction. She too felt as if we were watching the equivalent of a young child performing for the family in the living room after Sunday dinner, noting the lack of proper extensions and a pointless pointe. That said, we both appreciated the final seconds of the Dream Ballet, when an ensemble member joined the soloist onstage and they embrace whilst the lighting shifts, casting their shadow large across the wall. Another beautiful nod to the original and the film version.

The story’s still-shocking conclusion is handled in an interesting way when the groom and his intended are about to say their I Dos and they’re interrupted by a third party. There’s a gunshot, the after effects of which result in the white-clad marital couple staining not only their wedding attire with the red splatter of the moment, but potentially also staining their future happiness. (How’s that for an attempt at not spoiling a 75-year-old musical theatre moment?

With that the rollercoaster of emotion that is Oklahoma! ends, and just like any good traditional musical theatre icon, the cast, even the daid one, returns to the stage for curtain call and one last rousing version of the titular tune. And yes, the audience stood for a well-deserved ovation.

Rodgers and Hammerstein’s Oklahoma!  continues in Nashville at TPAC’s Jackson Hall 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!

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. 

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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.

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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.

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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. 

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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

 

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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.

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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.

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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!