Jonathan Pinkerton

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Summer: The Donna Summer Musical continues it’s Music City run at TPAC’s Jackson Hall with shows through Sunday. CLICK HERE for tickets. Not in Nashville? The National Tour continues with stops in Binghamton, NY, Worchester, MA, Erie, PA, Huntington, WV, Knoxville, TN and more with dates on through till, well, SUMMER! For details on the remaining tour dates, or more info on the show, CLICK HERE or follow the show on Twitter, Facebook, Instagram and YouTube.

Next up for TPAC as they continue their current Broadway Season and Special Presentations it’s What the Constitution Means to Me  on stage March 29-April 3, followed by Come From Away, April 19-24, Oklahoma!, May 3-8 and the debut presentation of May We All: A New Country Musical, June 7- July 17. Be sure to check out TPAC online and on socials by clicking any of the following:  TPAC.org, TPAC on Instagram, TPAC on Facebook, TPAC on Twitter and TPAC on YouTube.

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

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

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

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

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

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

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

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

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

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

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

Adding to the spellbinding feel of the play, Tinkerbell appears in the form of a rod and arm puppet, beautifully constructed by MoonBull Studios, and brought to glorious pixie-dusted life by Zanotti. On the subject of puppetry featured throughout, MoonBull Studios also provides stick puppets, controlled by the actors playing Peter and Wendy as the beloved duo take to the skies. Mixing stick puppets with shadow puppetry, while flying, the actors and their puppets moved behind a fabric wall and the puppets take to the sky by way of their shadows. During this particular scene at the performance I attended, a enthusiastic young audience member seated just behind me to my left, audibly pointed out that he could see the actors legs and feet below scrim while there stick puppet selves hovered high above. At first I wondered why the scrim hadn’t been constructed as to fully conceal the actors’, then it dawned on me…If the actors had indeed been completely concealed during this moment, younger audience members’ minds might not have been challenged to realize just what all it takes to create such a fanciful moment. As it is presented, the audience is in on the magic of the performance, the magic that just might encourage them to one pursue taking to the stage themselves. Another type of puppet is utilized during the show as well, a fully articulated large-scale joined puppet, scarily appearing as Tick-Tock, the alligator.

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

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

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

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

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

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

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

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

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

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

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

Tennessee Performing Arts Center revealed their coming 2022-2023  Broadway at TPAC season earlier today. Among the coming shows headed to TPAC’s Jackson Hall, there’s the return of the blockbuster hit musical, Hamilton, plus Music City debuts of seven shows and a special add-on engagement of a beloved classic.

To kick off the season from July 26 through August 7, 2022, Lin-Manuel Miranda’s Tony, Grammy, Olivier, Kennedy Center Special Presentation and Pulitzer Prize-winning masterpiece Hamilton will make it’s triumphant return to Nashville after having first played TPAC to sold-out audiences for an extended run back in December 2019/January 2020.

Making its Nashville debut from August 9 until August 14, 2022, TPAC will be home to Academy Award winner Aaron Sorkin’s recent adaptation of the Harper Lee classic, To Kill a Mockingbird, which 60 Minutes called “the most successful American play in Broadway history”. Directed by Tony winner Barlett Sheer, this national tour of the Pulitzer-winning classic will feature Emmy winning actor, Richard Thomas (The Waltons) in the lead role as Atticus Finch.

Marking another Music City premiere, Pretty Woman: The Musical will play TPAC’s Jackson Hall from September 27 through October 2, 2022. Based on the beloved film, the musical comes courtesy two-time Tony-winning director/choreographer choreographer Jerry Mitchell and film & stage producer Paula Wagner, whose credits include movies like Mission: Impossible, Vanilla Sky and The Others (all alongside her C/W Productions partner, Tom Cruise) and theatre credits such as Mothers and Sons, The Heiress and Grace. The musical features an original score by Grammy winner Bryan Adams and Jim Vallance, and a book by the movie’s legendary director Garry Marshall and screenwriter J. F. Lawton.

Two weeks ago, TPAC teased the coming Broadway season by revealing the next show, also making its Nashville debut. Running November 1-6, 2022, it’s eight-time Tony winner, Hadestown. At the 2019 Tony Awards, Hadestown took home honors for Best Musical, Best Original Score, Best Actor, Best Scenic Design, Best Lighting, Best Sound, Best Orchestration and a Best Director nod for Rachel Chavkin.

While not technically part of the 2022-2023 Broadway season, but rather a Special Add-On presentation, TPAC has also announced the return of one of the most beloved musical, Les Misérables, headed to TPAC January 10-15, 2023. Cameron Mackintosh presents the acclaimed production of Boublil and Schönberg’s Tony Award-winning musical phenomenon, Les Misérables. To take early advantage of this add-on special, Season Ticket Holders are urged to upgrade their season ticket package to include this added presentation.

Yet another Music City premiere performances comes February 21-26, 2023 as Six: The Musical, a spectacular stage show that transforms Henry the XIII’s ill-fated wives from Tudor Queens to Pop Princesses. You read that right. Instead of a yawn-inducing trip through the history of those famously divorced, beheaded, dead, divorced, beheaded, survived ladies, audiences are privy to a pop diva concert retelling written by Toby Marlow and Lucy Moss. 

Just last week, TPAC offered another tease of the coming season with still another Nashville premiere, Ain’t Too Proud to Beg-The Life and Times of The Temptations, heading to TPAC March 21-26, 2022. Covering the legendary Motown groups iconic journey from the streets of Detroit to their 1989 inductions into the Rock and Roll Hall of Fame, Ain’t Too Proud snagged 12 Tony nonitions, winning for Best Choreography at the 2019 Tony Awards ceremony. Featuring more than two dozen Temptations classics, Aint’ Too Proud proves once again why Billboard Magazine dubbed the group the Greatest R&B Group of all time. 

Continuing the string of premieres is Disney’s Aladdin, onstage May 2-7, 2023. Based on the 1992 animated classic, Aladdin brings one of the most treasured stories to life with a book by Chad Beguelin (Elf The Musical, The Wedding Singer, The Prom), It also features many of the familiar tunes by Alan Menken, Howard Ashman and Tim Rice. Adding more magic to the piece, the stage music also includes three songs by Menken and Ashman that were originally written for the film, but never used, plus new tunes by Menken and Beguelin.

Closing out the season is still another Nashville premiere as 1776: The Musical comes to TPAC from June 20-25, 2023. Fed up with living under British rule, John Adams attempts to persuade his fellow members of the Continental Congress to vote in favor of American Independence. But how much is he willing to compromise in the pursuit of freedom? Jeffrey L. Page and Diane Paulus (A.R.T. Terrie and Bradley Bloom Artistic Director) direct a new production of the Tony Award-winning musical, reexamining this pivotal moment in American history with a cast that reflects multiple representations of race, gender, and ethnicity.

Of the coming Broadway Season, TPAC President and CEO, Jennifer Turner said in a press release issued earlier today, “We’re thrilled to bring a new season of the hottest Broadway titles directly to your door. You don’t need to go to New York to see the latest shows because as a season ticket holder, you can experience all of them here at home with great savings and other benefits.”  Turner continued,“It’s an honor to serve our city and region with world-class theatrical entertainment and this spectacular lineup featuring fresh perspectives of some of the most captivating, human, and inspiring stories for our time.”

Season ticket packages are available starting Monday, Feb. 28, through March 25. Packages start as low as $40 per show when you book all eight shows. Season ticket holders receive the best seats at the best price compared to purchasing shows individually and are entitled to additional exclusive benefits, such as easy exchange privileges, flexible payment plans, and savings on additional single tickets for any 2022-23 Broadway show at TPAC.

For full benefits, pricing and seat map, visit TPAC.ORG/Broadway, where season tickets may be purchased, or call TPAC Patron Services at 615-782-6560.

For updated entry policies and other health and safety information, visit TPAC.ORG/PatronHealth.

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!

 

On Tuesday, February 22, the National Tour of The Prom comes to Nashville’s TPAC for an eight-performance run through Sunday, February 27. From director/choreographer Casey Nicholaw, who’s Mean Girls just wrapped their Music City tour stop, The Prom is a Drama Desk Award winner for Best Musical and multiple Tony-nominated show that tells the tale of a Broadway Diva and friends who descend upon small-town Edgewater, Indiana to help a high school girl who’s small-minded town has banned her from bringing her girlfriend to prom. Think of it as a modern day Footloose, except instead of being opposed to dancing, the town is seemingly opposed to love.

As the company prepares to bring the show to TPAC, I had the chance to chat with two of the show’s stars, Courtney Balan and Sinclair Mitchell. Balan plays Dee Dee Allen, the aforementioned Broadway Diva, while Mitchell plays Mr. Hawkins, the high school’s principal, who actually opposes the ban and just so happens to be a big fan of the Broadway star.

———————————————

RAPID FIRE 20Q WITH THE PROM’s COURTNEY BALAN and SINCLAIR MITCHELL

RAPID FIRE WITH COURTNEY BALAN, DEE DEE ALLEN IN THE PROM

JHPENTERTAINMENT: As Dee Dee Allen, you play a two-time Tony-winning Broadway Diva. What more is there to Dee Dee that audiences should know?

COURTNEY BALAN: It’s not easy to put the powerhouse, force of nature that is Dee Dee Allen into words. She is everything I wish I could be when it comes to confidence and success. She is a Broadway diva with dozens of starring roles on her resume and a couple of Tony awards. Her incredible success as a performer makes her a bit narrow minded when it comes to the rest of the world and to healthy relationships. As she is getting older and her career isn’t what it used to be, her life as she knows it is challenged. That’s where we meet her in the first scene of THE PROM. 

JHPENTERTAINMENT: While researching to chat with you, I learned that you made your Broadway debut in Joseph Brooks’ In My Life. That show lives on in the hearts of theatre nerd everywhere. What was it like to be a part of that show?

COURTNEY BALAN: It was a totally bizarre show that took place both on earth and in heaven. We dressed as pirates, danced with skeletons and sang pop music jingles. It was so much fun and such a fabulous first Broadway experience. The cast and crew were full of the greatest, most unique and interesting people. We bonded quickly over the insanity of the experience and despite the challenges of being in a show that was universally mocked, we had a genuine blast every night for the four months we ran on Broadway. It was never boring! And, I understudied the lead role and went on in the second and third previews which was a total thrill. So many amazing and beautifully bizarre memories!

JHPENTERTAINMENT: Also in the ensemble of In My Life was our mutual friend Kilty Reidy. I just adore him. To that end, can you speak on the importance of forging friendships with fellow members of a company’s ensemble?

COURTNEY BALAN: I just adore him too!! The friendships I’ve made throughout my career have been monumental. What I missed most during the recent theatre shutdown and the months of isolating at home was a sense of community; of creating and surrounding myself with people. The vulnerability and sheer amount of time required to do a show can create a family and deep friendships unlike any other business. 

JHPENTERTAINMENT: Ok, I can’t not ask about Hatchet Face, the role you played on Broadway in Cry Baby, based on the John Waters film. What was the most fun aspect of that role?

COURTNEY BALAN: The most fun aspect of playing the gloriously grotesque and raunchy Hatchet Face was the freedom. There were no limits or restrictions because she was totally unfiltered and unabashed. 

JHPENTERTAINMENT: Back to The Prom. You were part of the show’s Broadway company cast as Olivia Keating, the Broadway Mania reporter who’s seen at the beginning for the opening of Eleanor. You also understudied Dee Dee. When did you first take to the stage in the role of Dee Dee and what do you remember about that night?

COURTNEY BALAN: That’s right. I was in the “adult ensemble” in The Prom on Broadway and understudied Dee Dee and Mrs. Greene. I made my debut as Dee Dee on Broadway in March 2019 after we were running for a few months. The night I went on for the first time, a Thursday, I actually had a scheduled night off to see my husband’s opening night of The Drowsy Chaperone at the high school where he is the head of Theatre. I got a call from Glynn Turner, The Prom stage manager at about three in the afternoon and he said, can you come in? 

The whole night was a blur, but I did go on for the majority of the weekend and that was such a gift. The more I did it, the more I found my rhythm and I had a ridiculous amount of fun. The joy and laughter coming from the audience was palpable. And getting to work with the principal cast on Broadway was beyond my wildest dreams. 

JHPENTERTAINMENT: Dee Dee’s song, It’s Not About Me is one of my favorite moments in the show. What’s yours?

COURTNEY BALAN: I really love any moment when I am onstage with the entire company. It’s Not About Me is one of those moments! Playing with all the cast members and getting that supportive energy from them is wonderful. The opening number, Changing Lives, into the first scene is also one of my favorites. Since The Prom is a completely original musical, it’s fun to feel the audience, most of whom don’t know the story, see the plot unfold.

JHPENTERTAINMENT: As I prepped these questions, I began thinking back to my own Proms. Truth be told, they measured somewhere between disaster and abysmal. Did you attend yours? If so, did you fare any better than me?

COURTNEY BALAN: Ugh! I’m sorry to hear that!! Mine was….fine. Pretty standard. Went with friends, danced, spent the weekend down the shore (that’s what you do in Jersey!) I loved my dress which was totally chic and fabulous, but I was and always will be a theatre nerd. Days later I was performing as a clown at a fair, so….. That’s my high school realness.

JHPENTERTAINMENT: Having understudied Dee Dee, and now making the role your own in the National Tour, do you still find yourself finding new ways to bring her to life night after night?

COURTNEY BALAN: I have understudied many, many times. Dee Dee was my fifth Broadway understudy gig. So, at that point, I had figured out how to find a nice balance between what the primary actor had created and who I am, and what I bring to the role. Luckily, in each experience, I’ve always had a creative team that fully supports that notion. The Prom was no exception. Now, in this case, the role is based on the actress who played her on Broadway, Beth Leavel, so that was a unique experience. I always say that I take the elements that best suit me as a starting point and go from there. As an understudy, it’s your job to make the other actors and company feel as if their show isn’t compromised and that the version of the story they created is in tact. So, when I was on for Dee Dee on Broadway, I definitely leaned into Beth’s version for that reason. The most challenging part, to be honest, was dropping those habits and creating the role for myself on the tour after understudying. It was a process to start a new discovery into who my version is without any restrictions. Now that I am in the fifth month of playing the role consistently, I can say that yes, I am definitely finding new things all the time. That’s the beauty of live theatre. It’s constantly evolving.

JHPENTERTAINMENT: I love that Dee Dee keeps her two Tonys in her purse. What’s the most interesting thing you keep in yours?

COURTNEY BALAN: I’m not sure if I have anything interesting… but I can say that these days you won’t find me without a mask and hand sanitizer.

JHPENTERTAINMENT: You share many scenes with your co-stars Patrick Wetzel as Barry Glickman, Emily Borromeo as Angie Dickinson, Bud Weber as Trent Oliver and Sinclair Mitchell as Tom Hawkins. How much fun is life on the road with this cast?

COURTNEY BALAN: This group is a dream. A DREAM!!!! From the principal cast that I get the honor of playing with onstage everyday to the ensemble who are so full of life, humor and talent. That sense of community that I yearn for is so fulfilled in this group both onstage and off.

 

RAPID FIRE WITH SINCLAIR MITCHELL, MR. HAWKINS IN THE PROM

JHPENTERTAINMENT: While chatting with your co-star, Courtney Balan, I asked her about life on the road with you and the other main adult cast, so turnabout is fair play. What’s Courtney like as a scene partner?

SINCLAIR MITCHELL:  Courtney is extremely talented, consistent and giving.  She is a true professional in every sense of the word.  This is extremely important as a scene partner to feed off of, making each scene honest and true.       

JHPENTERTAINMENT: I also asked Courtney about her own prom experiences after admitting mine weren’t exactly memorable. Did you attend your proms as a high schooler and if so, how’d that work out for you?

SINCLAIR MITCHELL:  I only had one prom at my High School and I attended it with not one but two classmates!  They didn’t have dates and neither did I…it wasn’t romantic but it was a lot of fun.

JHPENTERTAINMENT: If memory serves, you were part of the National Tour of School of Rock, which played Nashville’s TPAC September of 2018. Something that wasn’t around then, but has recently opened is the National Museum of African American Music, so you gotta check it out. Is there anything else you hope to see or do while the tour is in Music City?

SINCLAIR MITCHELL:  The National Museum of African American Music is definitely on my list.  Obviously the Grand Ole Opry…and I must find the best place to get Nashville’s world famous hot chicken, suggestions welcome!   IG: @sinclairdmitchell

JHPENTERTAINMENT: Since you mentioned it, you gotta check out Prince’s Hot Chicken Shack. After all, it’s the OG Hot Chicken. While there, ask a member of the family how hot chicken came to be. It’s THE BEST origin story ever. Speaking of sightseeing while on tour, a quick stalk of…er..um..uh…I mean peek at your insta revealed you recently had the chance to visit the Smithsonian Museum of African American History where you posted about Muhammad Ali’s Olympic torch. In the post you mentioned high school memories of running the torch. Can you tell me more about that?

SINCLAIR MITCHELL:  Running the Olympic Torch for the Atlanta Games was definitely a highlight in my life, an experience I will never forget.  Running through Churchill Downs in Louisville, KY and passing off the torch in front of my High School, duPont Manual/YPAS, with all the students, faculty, staff, and my family cheering me on was a momentous occasion.    

JHPENTERTAINMENT: Ok, so you were in high school in 1996, back to the subject of The Prom. I gotta know, did your prom fashion sense reflected that mid-90s oversized vibe? Or were you more of a traditional black tux/white shirt kinda guy?

SINCLAIR MITCHELL:  Baggy clothes was never my look so I definitely was a form fitting black tux/white shirt/patent leather shoes kinda guy.

JHPENTERTAINMENT: If you could play another role in The Prom, regardless of whether you’re ‘right of the part’, what would it be and why?

SINCLAIR MITCHELL:  Mrs. Green, who is played by my dear friend Ashanti J’Aria, who is fantastic in the role.  The reason being she’s the show’s antagonist but she’s not a villain.  I feel audience members can relate to this character in one way or another. She loves her daughter Alyssa and wants nothing but the best for her despite Alyssa’s need to be open about who she truly is. Watching Mrs. Greene resist evolving until she is faced with the possibility of losing her daughter is a life lesson for the audience to not make those same mistakes.

JHPENTERTAINMENT: The character you portray in The Prom seems the main voice of reason and equality. How important is that message to you as you bring Mr. Hawkins to life each night?

SINCLAIR MITCHELL: As a true Christian and knowing no one’s perfect, I feel a certain responsibility to preach love, teach understanding, and to have those morals shine as a beacon of light to others in my own life.  To have a role like Mr. Hawkins teaching the community, his students, and a Broadway star to be more inclusive and understanding of others, is a responsibility and honor to play onstage each night.

JHPENTERTAINMENT: Among your theatrical credits, you were part of the Broadway company of The Lion King. The current tour was just here last month and among the creatives, my friend Geoffrey Myers, the tour’s Dance Supervisor. Which brings to mind the subject of choreography. As Mr. Hawkins, do we get so see some of your dance moves?

SINCLAIR MITCHELL:  Casey Nicholaw’s choreography is fantastic with high energy and intricate steps. Luckily for me, I get to show off my dancing prowess in the finale and curtain call!

JHPENTERTAINMENT: The main plot of The Prom centers around a young female student who just wants the equal opportunity to enjoy her high school prom with her girlfriend. As a Black man, you’ve no doubt experienced prejudices yourself. Was that part of why you chose to audition for this role?

SINCLAIR MITCHELL:  Discrimination and bullying against anyone is something I will always have fault with. I pride myself in standing up for others who don’t have a voice. Also because of Covid and not being able to perform in almost two years, I jumped at the chance to do what I love to do while sharing this important message.

JHPENTERTAINMENT: Not exactly a spoiler alert, but those familiar with the show know that Mr. Hawkins falls for Courtney’s Dee Dee, flaws and all. As their attraction grows, Dee Dee seems to become more enlightened and willing to change from her self-centered origin to truly caring about others. To your way of thinking, is that a main message of the show?

SINCLAIR MITCHELL:  That is definitely a huge part of the main message, but this piece believe it or not is more than that.  The Prom is also about looking outside the box, evolving, and accepting one another’s truth.  It’s about being a good person, no matter what differences we have.     

———————————————

Based on an original concept by Jack Viertel with direction and choreo by Casey Nicholaw, book by Bob Martin and Chad Beguelin (the latter who also wrote the show’s lyrics) and music by Matthew Sklar, The Prom plays Nashville’s TPAC February 22-27. CLICK HERE for tickets or more information.

Not in Nashville but hoping to see The Prom during its National Tour? Follow the show on Facebook, Twitter, Instagram and YouTube for more information and to check out the tour’s remaining cities and dates.

Next up for TPAC as they continue their current Broadway Season and Special Presentations is Dear Evan Hansen onstage March 2-6. The season then continues with Summer: The Donna Summer Musical, March 22-27, What the Constitution Means to Me, March 29-April 3, 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!

Last night, Thursday, February 10, Nashville Repertory Theatre presented Opening Night of the regional debut of Jocelyn Bioh’s Off-Broadway hit, School Girls; or the African Mean Girls Play, the first production in The Rep’s long history to feature an all Black Female cast. I was scheduled to attend in order to review the show, but sadly, had to miss out last-minute. Lucky for me, though, earlier this week, I had the opportunity to pose five questions each to Tosha Marie, Joy Pointe, Cynthia Harris and Tamiko Robinson Steele—four members of the cast—for my latest Rapid Fire 20 Q.

———————————————

RAPID FIRE 20Q WITH CAST OF SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY

RAPID FIRE Q&A WITH TOSHA MARIA, SCHOOL GIRLS’ ERICA BOAFO

JHPENTERTAINMENT: What can you tell me about Ericka Boafo?

TOSHA MARIE: Ericka is an American girl who is thrown into this new country/culture and is trying to figure out who she is and how she fits in during a very difficult time in her life. She is hopeful and is looking to make some new friends in this foreign land she now calls home while still battling some inner demons. She also looks different from everyone else! So she is navigating being the lightest girl in the school and how that affects her confidence and social standing, and as these things tend to be… It’s never quite as simple as you think. 

JHPENTERTAINMENT: In addition to acting, Nashville’s theatre community is also very familiar with your work as a choreographer. In fact, you recently choreographed Nashville Rep’s Ragtime. I’d imagine your background in dance might give you an extra understanding of the importance of subtle movements that often help the audience understand a character even when they’re not speaking. Do you think that’s a fair assessment?

TOSHA MARIE: That’s very fair! Even though there isn’t any dancing in the show, I am physically exhausted by it because of the tension I hold in certain areas of my body. There are moments when Ericka is super unsure of herself and the physicality that it evokes in me is a different way than how I live my life. You don’t learn that much about Ericka until closer to the end of the play, so putting all of her background into my physical being is very fun for me. You can kinda be like… ok, what is going on with this chick? Also, it’s very hard for me to not move so that presents its own challenges as I tend to twirl and bob about a lot and Ericka is not really a dancer like Tosha is!

JHPENTERTAINMENT: This is the first time School Girls has been performed in Nashville, so it’s pretty safe to say the majority of the audience won’t be familiar with the show. How exciting is it to in essence, create a role for a particular audience?

TOSHA MARIE: Exciting and terrifying! Haha! I want to do her justice because there aren’t very many roles created about this topic for people that look like me and I know this might be the first time some people may hear this type of story be told. So I hope people like her and relate to her and learn a bit more about what it means to be a light skinned black woman.

JHPENTERTAINMENT: When not involved in live theatre productions, you also own and run TMProductions, a successful dance studio and performing arts space. You recently posted about your company’s diversity initiative. Can you tell me a little about that and the passion behind it?

TOSHA MARIE: Gladly! I started TMProductions because I was really tired of the cliquish and elitist nature of the Nashville theatre scene. Connected people meeting other connected people in their small privileged circles was causing me to have to continue to fight to be seen by professional companies to no avail, even though I’ve been in the business for over a decade and felt like I had proved my worth on many occasions. So when I lost all my income in 2020 I decided to do something about it. I had spent so long hustling for scraps from other companies, it was time to hustle for myself and try to make it easier for other people to break into the business. Thus TMP was born. Our mission states “TMProductions exists to serve the driven and underrepresented creative. We provide equity with access to knowledge, clarity of what it takes to have a career in the performing arts, in-house resources and opportunities to support that pursuit, and an intentional safe, inclusive atmosphere that nurtures, honors, and celebrates the authentic and unique self.” So with our popularity increasing and more theatre companies coming to us to have auditions and rehearsals we felt like we had to have a concrete policy regarding diversity as most of the organizations approaching us were predominately white with non-existent/tense relationships with the BIPOC community. So many people have expressed their struggles with me that I couldn’t not do something to help my community. Our policy encourages diversity from cast and crew, to leadership positions within the organizations hopefully creating positions for traditionally marginalized groups. I must say, as nervous as I was about it, I think it will make an impact on our local scene and I hope you can start to see a beautiful array of talent on and behind the stage starting next season. 

JHPENTERTAINMENT: School Girls touches on the subjects of conformity, sameness and fitting in, first and most obviously in the subtle costume concept of the girls all wearing uniforms, but also in the inclusion of a subplot involving the practice of bleaching one’s skin. As a light skinned Black woman yourself, can you speak on the struggle of fitting in while also being individual enough to stand out?

TOSHA MARIE: Well, blackness often gets lumped as a monolith of experiences with light skinned people being seen as getting more privileges. Which can be very true. I see more casting calls for “ethnically ambiguous” people (aka lighter skinned) than I do for dark skin. But what people don’t always know is that being biracial is its own struggle. Feeling like you don’t belong with either white or black identities, and when growing up, there were very few other biracial children to relate to. My mom was born in the 60’s during the civil rights movement, so her whole generation started their lives segregated. The fact that she, as a white woman, had me out of wedlock with a black man was a huge scandal in the south. So out of all of my years of education I can literally name 2 other mixed kids that I went to school with. Which means by nature, I stood out. All I wanted was to fit in. A lot of times I was too white for the black kids and too black for the white kids. So I did my best to just be me. There has been a lot of searching to figure out who that is, and I still struggle with it today, but I’m learning to love and appreciate myself and my identity. This cast and creative team have created such a safe and encouraging space to explore that and really help each one of us in not only this artistic endeavor, but our personal journeys as well.

RAPID FIRE Q&A WITH JOY POINTE, SCHOOL GIRLS’ PAULINA SARPONG

JHPENTERTAINMENT: Tell me about Paulina Sarpong.

JOY POINTE: Paulina is a senior at Abri Girls School, and the queen bee of her friend group. Paulina operates in cruelty and pettiness to hide her own insecurities and fear of being left out, left behind, or forgotten. She uses the word “influential” for herself at least twice in the show, and that’s exactly how she wants and even needs to be seen. If someone could be described as strong and scared, I think Paulina would fit.

JHPENTERTAINMENT: This production of School Girls is the very first production in Nashville Rep’s 37 year history to feature and all-Black female cast. What’s it like knowing you’re making history?

JOY POINTE: It is humbling and incredible. It took me a very long time to really love every part of my very black self. I grew up hearing “you talk White,” and “I’m more Black than you,” from a lot of White people around me, and I wasn’t confident in who I was. Now I know that what I experience IS the Black experience because I am Black and I’m Proud. I’m honored to be Black History happening right now.

JHPENTERTAINMENT: Your role as Paulina marks a return to Nashville Rep’s stage. What is it about the company that drew you back for this show?:

JOY POINTE: I absolutely love working for Nash Rep. This company as a whole is inclusive, down to earth, and protective. I’ve never felt more safe doing a production in a pandemic world. The communication with different departments and levels of admin is great. The whole staff is always supportive in getting us what we need to make a production happen, and I couldn’t be more thankful.

JHPENTERTAINMENT: All of the action of the play takes place in the cafeteria of the school. Do you think that was a purposeful decision by the playwright, Joselyn Bioh? Perhaps to present school as a microcosm of society as a whole?:

JOY POINTE: I do believe the setting choice was purposeful, maybe even in a deeper level than just convenience of staging. Obviously, it’s easier to play in one space without having to move set and staging and adding a bunch of crew members if you keep it in one place, but it can be said and even observed that this setting is just a fractional look into what can be seen in the grander view.

JHPENTERTAINMENT: Without giving too much away, during the course of the play, the audience is privy to Paulina’s own insecurities and the source of her attitude towards others and her behaviors. How important is the message in School Girls to break such cycles of infighting and bullying among young women, not just young Black women, but all young women?:

JOY POINTE: Honestly, and without giving too much away, I don’t believe the main focus is about breaking bullying cycles. It’s a narrative we’ve heard and seen over and over again. Even most young people are familiar with it, understand underlying reasons for bullying, and are encouraged to be kind because you never know what others are going through. There’s so much more in this story that I believe people will be taught, maybe even for the first time.

RAPID FIRE Q&A WITH CYNTHIA HARRIS, SCHOOL GIRLS’ HEADMISTRESS FRANCIS

JHPENTERTAINMENT: What can you tell me about Headmistress Francis?

CYNTHIA HARRIS: Headmistress is dedicated to protecting and educating all her students.  She loves her girls and wants to help them succeed through education. 

 JHPENTERTAINMENT: When the audience first see’s Headmistress Francis interacting with the fabulous Tamiko Robinson Steele’s Eloise Amponsah, they’re quick to see parallels between their relationship and that of Paulina and Ericka. This points to the adage, as Dame Shirley Bassey once sang, “its all just a little bit of history repeating”. How important is it to recognize the patterns of tearing each other down to give one’s self the sense of building themselves up?

CYNTHIA HARRIS: I think both pairs show us what happens when our power, or part of our identity is challenged or threatened.  Eloise has her pageant title and Paulina feels security in being leader of the pack.  Ericka and Headmistress interrupt Paulina and Eloise’s narratives.  

JHPENTERTAINMENT: From what I understand, that this marks your Nashville Rep debut?  How has the experience been so far?

CYNTHIA HARRIS: Yes, this is my Rep debut.  I stepped into the role the night before rehearsal began to replace another actor.  It was an immediate YES to work with Alicia on this play.  It has been a  wonderful experience.  We’ve bonded and I think I’m now an official auntie to many of my castmates.  Alicia Haymer, the show’s director, created a space for us to explore the text, the colorism experienced by women of color across the African Diaspora, Western or Colonized Beauty standards, and so much more.  It is a joy to walk into rehearsal and play with each other.  

JHPENTERTAINMENT: You, yourself are a playwright. Given that, how does that enhance your performance in this role?

CYNTHIA HARRIS: I love stories about Black women. I love understanding the nuance and complexity of our lives and our decisions.  I’m in my happy place with this play by Ms. Bioh. 

JHPENTERTAINMENT: Beyond School Girls, among your future projects, Actors Bridge Ensemble will soon present your original play The Calling is in the Body. What can you tell me about it?

CYNTHIA C. HARRIS; TCIITB is about a young HIV Educator in the 90s, Deidre Williams.  She was the first African American to share her status and work as a peer educator.  I met her as a teen and she’s had a lifelong impact on me.  Over the past few years, I’ve met and interviewed people that remember her work with Nashville CARES, worked with her, cared for her, or were her friends.  I’m excited to lift her name and to make sure that her impact can still be felt.  

RAPID FIRE Q&A WITH TAMIKO ROBINSON STEELE, SCHOOL GIRLS’ ELOISE AMPONSAH

JHPENTERTAINMENT: Alright, it’s no secret that you are one of my theatre crushes. I just adore everything you do. Who is Eloise Amponsah and what does she represent to you?

TAMIKO ROBINSON STEELE: Awwwww Jonathan! Flatter me darling, flatter me! lol Ms. Amponsah represents the idea of “It’s a dog eat dog world!” She feels that she has had to fight for everything, and has been overlooked. She will do everything *in her power* to “win.”

JHPENTERTAINMENT: Aside from the character you portray, do you recognize aspects of the other girls in people you knew when you were in school, yourself?

TAMIKO ROBINSON STEELE: Of course! Even myself. I was more shy and sensitive in grade school, and so I would’ve identified with Nana. 

JHPENTERTAINMENT: Growing up, I think most people deal with bullying to some degree. Some, like the character, Paulina, are the aggressor, while others, like Ama, Mercy, Gifty and Nana, bear the brunt of the bullying. What’s the lesson to be learned from such behavior?

TAMIKO ROBINSON STEELE: DON’T DO IT! That’s so much easier to say, I know. But I think it’s important when people notice that behavior that they speak up. Be a voice for the voiceless. 

JHPENTERTAINMENT: While the title of the show fully acknowledges some slight similarities between this play and Tina Fey’s Mean Girls, School Girls touches on and deals with much heavier themes in a more serious manner. How do you find a balance between the seriousness of the subject matter on stage and an enjoyable work experience behind the scenes?

TAMIKO ROBINSON STEELE: I just have to be present. Take it all in. We did some amazing work with an emotional support coach in the rehearsal period. I try to remember the exercises we did, and lean in to those to cover my real self outside of the character. 

JHPENTERTAINMENT: Speaking of balance, the show is perfectly balanced with humor and thought-provoking circumstances. What do you hope audiences take away after seeing School Girls; or the African Mean Girls Play?

TAMIKO ROBINSON STEELE: I hope they leave thinking of the people who have had to walk through life with society pressing down on them. I also hope they feel the love and joy, that even under those circumstances, black women carry. 

———————————————

School Girls; or, the African Mean Girls Play continues its Tennessee debut run at Nashville Repertory Theatre now through Sunday, February 20 with evening performances at 7:30p.m. Feb. 11, 12, 17, 18 & 19, and 2p.m. matinees on Feb. 13, 19 & 20. A quick look at The Rep’s ticketing site reveals limited tickets remain for each performance, so you better act fast. CLICK HERE to purchase tickets.

Up next at Nashville Rep is Disney and Cameron Mackintosh’s Mary Poppins playing April 28-May 8, 2022 in TPAC’s Andrew Johnson Theatre. 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!

 

On Tuesdays we wear pink. No, that’s not an autocorrect or typo. It was just the apparent preferred outfit of the day (#OOTD if you speak internet abbreviations) of many patrons attending Nashville’s Opening Night of Mean Girls National Tour and the hilarious Broadway show settles in at TPAC now thru Sunday, February 13 for their Music City tour stop. Of course the fit choice and misquote above are in reference to one of Mean Girls’ most quotable quotes when The Plastics, the girls that rule the school proudly proclaim to new girl Cady, “On Wednesdays we wear pink”.

Based on 2004’s teen comedy of the same name, from the brilliant mind of SNL alum, Tina Fey, the Mean Girls musical presents a cautionary tale about teens trying to fit in while simultaneously hoping to stand out. Though it’s based on the 2004 film, and does indeed contain the majority of the source material’s now quotable lines and catchphrases, the creative team wisely chose to update the pop culture references. This is evidenced even before the action begins as the scrim on stage is projected with images from the burn book, revealing current trash talk slang and digs.

As mentioned, this is a cautionary tale. Heck, the opening number is even titled A Cautionary Tale, in which emo-ish Janis (Mary Kate Morrisey) and the fabulously “too gay to function” Damian Hubbard (Eric Huffman), though song, neatly explain the primary plot of how far one would go to be popular.

The subjects of Janis and Damian’s warning are new students Cady Heron (Danielle Wade) and the aforementioned Plastics: Karen Smith (Jonalyn Saxer), Gretchen Wieners (Megan Masako Haley) and Plastics’ queen bee, Regina George (Nadina Hassan). Offering a hilariously relatable take on the tried and true fish out of water scenario, Cady’s family have recently moved from Kenya to Illinois, and as Cady soon learns and extols in the show’s second number It Roars, she’s basically traded one jungle for another. Even the school mascot is a lion and It Roars cleverly marks the similarities between the animals of the jungle and the animalistic traits of teens. As if the lion mascot and pride lands comparisons weren’t blatant enough, even the LED set design of It Roars smartly spoofs that other pride lands musical…you know the one. In fact, it just wrapped its latest Nashville visit last month, but I digress.

On her first day at North Shore High, Cady meets Janis and Damian. In the cafeteria, Damian channels the likes of Gene Kelly and Old Hollywood musicals as he poses the age old high school hierarchy query Where Do You Belong?. Y’all! I’m here to tell you the number’s all-in, over-the-top tray-ography is the best high school musical lunchtime number since Hot Lunch from OG high school musical movie, Fame. Think Stomp meets 42nd Street and you’re almost there.

Meet the Plastic, simply does as it suggests, it serves to introduce Cady (and the audience) to Regina and company. Regina begins the number with a sultry and seductive sequence that beautifully showcases Hassan’s vocal talents. Next up, it’s Gretchen’s intro featuring a fast-paced frantic tempo, perfectly mimicking the character’s position in regards to Regina. Masako Haley plays the unconfident second fiddle to the hilt. Lastly, Saxer’s Karen wraps the intro in the most concise and brief way imaginable. Spot on for the seemingly vapid Karen.

As is the case with most teen stories, in addition to the clique system, there’s also, inevitably, a love story. To that end, meet Aaron Samuels (Adante Carter), with his chisled features, no wonder Cady finds herself falling in Stupid Love at first sight. Spoiler Alert: Aaron is Regina’s ex. (Ok, so that shouldn’t be a spoiler alert to many, considering the movie upon which all this is based was released nearly 20 years ago).

Next up, it’s time for Morrisey’s Janis to shine as she warns Cady not to get too close to Regina in Apex Predator. Not to sound as dim as Karen, but I had never heard the term before, so I looked it up. This is one of my favorite moments in the entire show. Here’s the thing though, the entire show is filled with favorite moments. While attending Tuesday’s performance, my friend Kat Bailess and I found ourselves saying “that’s my favorite number so far” after pretty much every single numbers.

Not long after, Masako Haley’ Gretchen gets the spotlight in the telling What’s Wrong with Me? With lyrics like “Mama called me beautiful but I don’t believe that anymore”, it’s an anthem of uncertainty, that’s no double relatable to each and everyone who’s ever had even the slightest doubt about their place in the world. I’ve a feeling these past two years have made us all a little more uncertain on this front. Again, a prime example of the variety of tunes featured throughout the show. Some might say that makes this production formulaic, but to me, if honors the genre of musicals as a whole, from the expected big production numbers to the more intimate glimpses into the characters’ very souls.

Sexy follows. For fans of the movie, this is the Halloween costume party sequence. Saxer’s Karen is brilliantly funny in this number, as are some of the costumes, including Sexy Corn, Sexy Jaws, Sexy Abe Lincoln, Sexy Eleanor Roosevelt and yes, Sexy Rosa Parks. Choreo for this number also lives up to its name with a little shimmy, shake and the occasional bump & grind. Pretty sure I saw nods to everything from Hamilton to Magic Mike amongst the moves throughout Mean Girls, and I loved every one of them.

The remainder of Act 1 continues to escalate the drama. First Regina reveals to Aaron that Cady has a crush on him while simultaneously—and purposely—luring him back to her with Somebody Gets Hurt. Janis, Damian and Cady join forces to retaliate during Revenge Party. Then Fearless sees a shift in power as Cady stands up to Regina and in doing so, gets support from Karen and Gretchen, all four numbers lay the groundwork for the action of Act 2.

Following intermission, Damian, realizing Cady’s in too deep advises with the show’s most tap-tactic number, Stop. Next, Gretchen offers up a reprise of What’s Wrong With Me?. Then Kevin G (Nashville’s own Kabir Bery) who’s been primarily background during Act 1, steps front and center alongside Cady, Gretchen, Karen and the ensemble for the high energy Whose House is This? There’s just something magical about seeing a performer back in their hometown and whether the majority of the audience knew it or not, the energy of that performance was high octane fabulousness.

Another highlight of Act 2 comes midway through with World Burn. Yes, this is the moment when Regina takes the Burn Book and uses it to take down Cady. The lighting, the digital images and Regina’s stark, sinister monochromatic black on black fit blend perfectly illuminate the sinister nature of her actions.

Of course, like all teen drama, real of fictionalized, everything eventually wraps up in a neat little happy ending package but not before yet another high energy rap courtesy Kevin G, more revelations from Cady and a touching final number, I See Stars.

As she had done for the 2004 film, Tina Fey wrote the book of the musical, while husband Jeff Richmond (30 Rock, SNL, Unbreakable Kimmy Schmidt and more) wrote the music and Nell Benjamin (Legally Blonde, Because of Winn Dixie) crafted the lyrics. The entire creative team deserves praise, including director and choreographer Casey Nicholaw, scenic designer Scott Pack, costumer Gregg Barnes, et al.

Mean Girls continues its Nashville tour stop through Sunday, February 13. Curtain for Tuesday the 8th -Thursday the 10th is at 7:30p.m. Friday the 11th’s performances begins at 8p.m. Saturday the 12th and Sunday the 13th are two show days with a Saturday matinee at 2p.m., a Saturday evening performance at 8p.m. and a Sunday matinee at 1 and early evening performance at 6:30p.m. CLICK HERE for tickets or more information.

As TPAC continues their commitment to their patron’s safety, certain protocols are in place. To that end, attendees age 12+will be required to show proof of vaccination or a negative COVID test dated within 72 hours of their selected performance. All patrons age 6+ must wear masks inside the venue. CLICK HERE for more on TPAC‘s Patron Health initiative.

Not in Nashville or can’t make it to TPAC for Mean Girls? Be sure and check out Mean Girls‘ official site for future dates as the national tour continues. You can also follow Mean Girls on Facebook, Twitter, YouTube and Instagram.

For the latest on TPAC and their upcoming Broadway Season and Special Presentations, including The Prom, Dear Evan Hansen, Summer: The Donna Summer Musical, What the Constitution Means to Me, Come From Away, Oklahoma! and May We All, 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!

 

 

Mean Girls, the Broadway musical based 2004, hilarious coming-of-age story written by Tina Fey is making Fetch Happen right here in Music City as the National Tour comes to Nashville’s TPAC February 8-13. With less than a week until all of Nashville will be conspiring to add names to their burn books, and wearing pink, regardless of whether it’s Wednesday or not, and I recently had a chance to chat with two of the stars of the show, Jonalyn Saxer, who’s playing my favorite member of The Plastics, Karen and Nashville’s own Kabir Bery, who’s playing everyone’s favorite smooth-talking mathlete, Kevin G. What follows are those conversations, first with Jonalyn Saxer, and then, Kabir Bery.

————————-

RAPID FIRE WITH MEAN GIRLS‘ KAREN, JONALYN SAXER

JHP ENTERTAINMENT: Before we even really get started, I just gotta say it…I love your first name! I mean those of us with similar spellings have to stick together, right? So, is it a family name, or, like my folks, was it something your parents just liked and thought sounded good?

JONALYN SAXER: Thanks! My parents named me after my grandparents on my Dad’s side, Kay and John. So they wanted a female version of the name John, and found “Jonalyn” in a random baby names book! Then my middle name is Kay. I do go by a lot of nicknames though, I get called Jon, Jonni, JK, or even just J sometimes!

JHP ENTERTAINMENT: From what I understand, you’ve been with Mean Girls from the very beginning first as an ensemble member in the labs and out of town tryouts, then onto the Broadway company and for the last few years, the tour, During that time, what other roles have you covered besides your current as Karen?

JONALYN SAXER: Correct! I originated the Ensemble track named Taylor Wedell (who is also the girl who doesn’t go here), and I understudied Karen, Cady, and Regina. 

JHP ENTERTAINMENT: Of course Mean Girls is based on the movie of the same name, the brainchild of Tina Fey. In fact, Tina even wrote the book of the musical, with Tina’s husband, Jeff Richmond and Nell Benjamin providing the music and lyrics respectively. To my way of thinking, Tina is this generation’s Lucille Ball. She’s hilariously funny, ridiculous talented and just as impressive as the talent or the creative force behind the scenes. What’s been your most cherished aspect of working with her, Jeff and the entire creative team?

JONALYN SAXER: What I love about Tina, Jeff, Nell, and Casey is their willingness to let you be you, and their openness to change. The show went through so many different versions from the lab, to the out of town, to broadway, and even with some changes on tour. They weren’t precious with anything, if it wasn’t working, they’d come in the next day with a whole new scene or a whole new song. I think we had something like 7 new songs going into broadway rehearsals from the out of town. That kind of work environment gives everyone the freedom to try things that might fail, and to be creative and grow in the process. I also appreciate that throughout it all, they always encourage us to be our own version of the characters. When I was in rehearsal for the tour, they made sure I knew that I didn’t have to be Kate. I had the freedom to do my own version of Karen. Which you don’t always get in a show. 

JHP ENTERTAINMENT: If my research proves correct, during your time as a member of the Broadway production, you stepped into the role of Karen some fifty times. Do you remember anything specific about your first night as everyone’s favorite pink-wearing seemingly ditzy blonde member of The Plastics?

JONALYN SAXER: I remember getting off the subway at 50th station, on my way to my normal call for my ensemble track, turning off airplane mode, and getting about a dozen calls and messages from our Stage manager and our dance captain. I walked into the building, went straight to the office and said “so I’m on? Okay!” It all was really a blur, but I remember Ashley Park being just so, so supportive. She even said at one point during the show “you’re doing great! You could literally just play this role!” And here I am now, doing just that! I also remember that I was so nervous during the entrance, that my mouth got so tense from being frozen in a smile while Regina is singing, that it started twitching so bad. I must have looked crazy.

JHP ENTERTAINMENT: While Amanda Seyfried originally brought Karen to life in the film, with Kate Rockwell initially portraying her in the Broadway production. What’s the biggest challenge of not only bringing such an iconic character to the stage night after night, but also making her your own?

JONALYN SAXER: I think it was a little difficult to transition from being an understudy to doing the role in the tour. As an understudy, I always try to honor what the person does every night. Mostly because the other actors on stage have built their show around that version of the character. Obviously, I will never be someone else, but I try to keep the beats in the same world. When we went in to tour rehearsal, I had to make the character completely my own, because Karen is also not a stand alone character. My Karen is very dependent on who the Gretchen and Regina are. Megan and I have built Karen and Gretchen together, so making it my own was actually the easier choice. 

JHP ENTERTAINMENT: There’s so many classic lines in the film, and now, the musical. Is there a line, a scene or scenario, whether yours or someone else’s, that still makes you giggle?

JONALYN SAXER: Weirdly, I never really plan how to say (and I’m hesitant to say the line and give away the joke) “And that’s why I only get naked with people in person.” I think I really feel the moment with how the audience is responding, and I truly surprise myself every night. It doesn’t help that I’m staring our Cady and Damien in the eyes and I can see them also laughing at me. 

JHP ENTERTAINMENT: Speaking of iconic lines, “On Wednesdays, we wear pink”. That line leads me to my next two questions. First…Gregg Barnes costumes for the show are perfection. Who get’s the award for your personal favorite costume of the entire show?

JONALYN SAXER: Oh I love Gregg Barnes so much. Not only does he make literally everyone look amazing, he also is so about making sure YOU feel personally comfortable and happy with how you look. I love so many costumes for so many different reasons in the show. But I secretly love how Regina starts World Burn in a black outfit, but ends it in a white outfit. Such a great way to accentuate the storytelling of the moment. 

JHP ENTERTAINMENT: Secondly…what color best represents Jonalyn and why?

JONALYN SAXER: PINK. It’s so hilarious because Pink has always been my favorite color. It’s the color of my favorite princess, Aurora (aka Sleeping Beauty), and I just love everything pink. So when I booked this show I was so excited. Unfortunately, not a lot of other people feel the same way that I do about pink. So a lot of our Merch/gifts for openings and such were not pink. I was always sad that we weren’t only getting aggressively pink things. 

JHP ENTERTAINMENT: Your acting resume from your Broadway debut in Bullets Over Broadway and more Broadway roles in Cats, Honeymoon in Vegas and Holiday Inn to your recent feature film debut in Steven Spielberg’s West Side Story. What can you tell me about your thoughts on some of those career highlights?

JONALYN SAXER: You know, I get asked all the time what is my favorite show of the ones I’ve done. And I have a really hard time choosing, because every single job has been a huge learning experience. Each show has given me so much in experience as well as the people I have met. I truly am the performer I am today because of each experience. I don’t think I would have been able to handle being an understudy in Mean Girls if I hadn’t had the experience I had swinging Cats. I was in a place in Mean Girls that made me free and able to walk into the room at West Side Story and be sure of myself and go for it. I guess a highlight would be dancing for Steven Spielberg and Justin Peck? Or being fresh out of college and doing my toddlers in tiaras impression for Susan Stroman? Telling Rob McClure when he asked if we had met before, that maybe he was thinking of the time I stage doored Chaplin? It’s truly all so unbelievable to me, and I’m just so thankful. So everyday I come to work I am so grateful and take it as such a blessing. 

JHP ENTERTAINMENT: It’s crazy to think it’s been nearly 20 years since 2004’s Mean Girls movie. Heck, it’s been four years since the musical debuted. Even so, the themes have been and will be relatable forever. Aside for tons of laughs, is there an underlying message or ideal you hope the show’s new generation of young fans take with them after seeing the show?

JONALYN SAXER: Of course! I think one of the main messages of the show is that, we should all just be the wonderful, unique people we are. What makes the show so relatable over many years, unfortunately, is that we all go through that time early in our lives, and even (honestly) all throughout life, where we just want to belong with those around us. We’re all fighting to belong and to be liked, when the true key is to just be our own, true selves. It’s a message that I’m grateful to hear every night. In the past 4 years I’ve gone through major life changes and growth, and I got to come to work and have someone remind me, that I’m awesome the way I am. It’s great for every generation to connect that we’re really all struggling with the same thing at its core. 

RAPID FIRE 10 Q WITH MEAN GIRLS‘ KEVIN G, KABIR BERY

JHP ENTERTAINMENT: Before we get going, I should probably just admit that while doing a little research to chat with you, I checked in with your high school theatre teacher, my friend Daron Bruce for a little insider info. Having gone to Hume-Fogg, how much does it mean to you to be playing Kevin G in Mean Girls…in your own hometown while on tour?

KABIR BERY: I love Mr. Bruce! He does wonders for high school students interested in the performing arts, and I am lucky to call him a mentor and friend. To answer your question, getting the opportunity to perform at TPAC is something I have been dreaming of since I was a kid. I feel honored to be able to say I grew up in Nashville, and I cannot wait to give the community a great show!  

JHP ENTERTAINMENT: During your high school career, you appeared in productions of West Side Story, Hairspray and Cabaret and were featured in Spelling Bee, The King and I and Sweeney Todd, and according to Daron, you did a particularly memorable turn as Usnavi in In The Heights. I’m sure your memories of appearing in all those shows are many, but do you have a personal highlight you feel like you’ll never forget?

KABIR BERY: Every show I was fortunate enough to be a part of at Hume-Fogg was incredibly memorable. That said, playing Usnavi in In The Heights was the highlight of my high school career given the fact that it was my last show there and I got to do it along side my best friends. Not to mention the fact that it was the last time I got to step out onto the HFA stage. I will never forget that final curtain call. 

JHP ENTERTAINMENT: You joined the Mean Girls family when the tour began in September 2019. As with all live theatre, the tour took an unexpected hiatus in March 2020, but resumed November 2021. What was it like stepping back onstage when the tour returned?

KABIR BERY: It felt like I never left. There is just something so magical about the Mean Girls cast and crew, and it truly feels like a family. In my experience, whenever you reunite with family, you kind of just pick up where you left off. 

JHP ENTERTAINMENT: Your Mean Girls character, Kevin G—for those who might need a refresher—is a confident ladies man who’s also Captain of North Shore High’s Mathletes. Two attributes that don’t alway seem to go together when thinking of a teenage boy. How much fun is it to be playing him?

KABIR BERY: Kevin G is easily one of the most fun roles in all of musical theater. I could not have asked for a better role to make my debut. I get to be a goof with a heart of gold that raps and dances every night. Sometimes twice a day! What more could you ask for?

JHP ENTERTAINMENT: Fans of the movie no doubt remember Kevin G’s rap. For the musical adaptation, Kevin’s featured prominently in not one, but two raps, Whose House is This? and Do This Thing, both high energy numbers. Do you have any pre-show rituals to help you keep your energy up?

KABIR BERY: My pre-show ritual starts when I wake up. During the run of a show like Mean Girls, you have to tailor your day to the show. Eating the right things, exercising, and drinking tons of water are all things that aid in a better and smoother show for me. A little caffeine here and there also doesn’t hurt.

JHP ENTERTAINMENT: Both of your featured numbers also include many members of the ensemble. You mentioned earlier that returning felt like reuniting with family. Is it cliche to say the ensemble becomes family, especially while touring the country in a show like Mean Girls?

KABIR BERY: It couldn’t be more true. The whole cast is a family. This group of people is easily one of the most talented, supportive, and loving that I have ever had the pleasure to work with.

JHP ENTERTAINMENT: As I mentioned above, the TPAC stop brings you home. Now, I know with the continuing safety protocols, downtime while on tour looks a little different these days, but have your fellow castmates began hitting you up to play tour guide while in Music City? and…What are your top three things to see/do while in Nashville?

KABIR BERY: I have definitely gotten quite a few recommendation requests! My top 3 things to do are 1) eat at Hattie B’s, 2) check out the Frist, and 3) go explore Opryland!

JHP ENTERTAINMENT: When I spoke with Jonalyn for the first half of this Rapid Fire 20 Q, I asked her about being with the show since its early days in lab and pre-Broadway. Danielle Wade, who’s starring in the tour as Cady, also appeared in the Broadway run. How important is it to you to forge friendships with your castmates in an effort to glean life lessons from them?

KABIR BERY: Friendships within the cast happen organically. The amount of experience that is in this cast is infinite, and I have definitely learned a lot from all of my castmates. They are superstars; I am in awe of them everyday.

JHP ENTERTAINMENT: In preparing for our conversation, I read a bit about the Mean Girls Artist Impact Team and @changeisfetch.. Can you tell me a little about that initiative?

KABIR BERY: CHANGE IS FETCH is an initiative led by members of our company that are dedicated to inspiring change and providing positive ways to take action. It is a wonderful endeavor, and I encourage all readers to go check it out!

JHP ENTERTAINMENT: Is there a life lesson, obvious, or otherwise, among Mean Girls that you yourself try to remember and bring into practice?

KABIR BERY: Be yourself. It’s a cliche, but it’s so valid and important. Too often, people try to fit a certain mold in attempts to be liked by their peers. I think it’s important to allow yourself to be you. The right people for you will gravitate towards that. 

————————-

Mean Girls comes to TPAC’s Jackson Hall February 8 and continues through February 13. Curtain for Tuesday the 8th -Thursday the 10th is at 7:30p.m. Friday the 11th’s performances begins at 8p.m. Saturday the 12th and Sunday the 13th are two show days with a Saturday matinee at 2p.m., a Saturday evening performance at 8p.m. and a Sunday matinee at 1 and early evening performance at 6:30p.m. CLICK HERE for tickets or more information.

As TPAC continues their commitment to their patron’s safety, certain protocols are in place. To that end, attendees age 12+will be required to show proof of vaccination or a negative COVID test dated within 72 hours of their selected performance. All patrons age 6+ must wear masks inside the venue. CLICK HERE for more on TPAC‘s Patron Health initiative.

Not in Nashville or can’t make it to TPAC for Mean Girls? Be sure and check out Mean Girls‘ official site for future dates as the national tour continues. You can also follow Mean Girls on Facebook, Twitter, YouTube and Instagram.

For the latest on TPAC and their upcoming Broadway Season and Special Presentations, including The Prom, Dear Evan Hansen, Summer: The Donna Summer Musical, What the Constitution Means to Me, Come From Away, Oklahoma! and May We All, 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 transformed TPAC’s Jackson Hall into the magical, musical land of Pride Rock, the home and playground of future Lion King, Simba back in 2006, and again in 2013, Disney’s The Lion King once again returns to Nashville, TPAC for an extended engagement with shows January 6-23.

Based on the blockbuster 1994 Walt Disney Animation Studios’ animated film that featured music by Elton John, lyrics by Tim Rice, and book by Roger Allers and Irene Mecchi, with additional music and lyrics by Lebo M, Mark Mancina, Jay Rifkin, Julie Taymor, and Hans Zimmer, since its Broadway debut back in 1997, directed by Taymore, Disney’s The Lion King has become the world’s highest grossing musical playing to more than 100 million audience members who’ve witnessed the spectacle by way of 25 productions around the globe. During the last near-quarter century, The Lion King has garnered 70 major theatre awards world-wide. Among those awards, the original Broadway production received 11 Tony nods, taking home six, including Best Musical, Best Direction of a Musical and Best Costume Design (both awarded to Julie Taymor), Best Choreography given to Garth Fagan for his majestic moves as well as Best Scenic Design and Best Lighting Design awarded to Richard Hudson and Donald Holder  respectively.

The current tour, known as the Rafiki Tour first began in October of 2017, following on the heels, or perhaps I should say…paws of two previous US tours, Gazelle Tour (April 2002-July 2017) and Cheetah Tour (April 2003-March 2008). Like all live theatre, the Rafiki Tour of The Lion King was paused during the global pandemic, but the company resumed performances October 1, 2021 in Cleveland at the city’s Playhouse Square.

As The Lion King roars back onto the stage and returns to TPAC’s Jackson Hall, the pack will be lead by Kentucky native, Darian Sanders, who assumed the role of Simba during the company’s recent return to preforming following the aforementioned pause. Sanders previously understudied the role of Simba since joining the tour in 2019 and previously appeared in a number of regional productions at The Lexington Theatre, University of Kentucky and Kentucky Conservatory Theatre.

In addition to Sanders, the cast will include Spencer Plachy as Scar, a role he’s played since 2018, Pacific Islander Gerald Ramsey, who began his Lion King journey during the Gazelle Tour, is once again portraying Mufasa. Nick Cordileone, who has been with the show for a decade now, will once again give voice to wise-cracking Timon. Jürgen Hooper, who fans of TV’s Chicago Med, might recognize for his work as Dr. Jason Wheeler, is playing Zazu. Ben Lipitz, who has clocked in more than 6, 200 performances as Pumbaa as a longtime member of  the Lion King family, is once again appearing as Pumbaa. Kayla Cyphers, who previously performed the title role in yet another Elton John/Tim Rice musical, Aida at the John W. Engeman Theatre in Northport, NY in 2019, is now starring as Nala. Gugwana Dlamini plays Rafiki, having played the role in a multitude of worldwide productions of The Lion King since 2002, mostly recently on the West End in London. Keith Bennett, Martina Sykes and Robbie Swift play the show’s secondary antagonists, Banzai, Shenzi and Ed, the trio of trouble-making spotted hyenas.

Rounding out the cast in principle roles are Newark, New Jersey native, Charlie Kahler shares the role of Young Simba with Memphis’ Jaylen Lyndon Hunter, while Chicago-born Kalandra Rhodes and California native Nia Mulder share duties as Young Nala. For more about the cast, CLICK HERE.

Disney’s The Lion King will play TPAC’s Jackson Hall January 6-23, with matinee and evening performances at various times during the three-week Nashville engagement. CLICK HERE for dates/times and to purchase tickets.

As a reminder, as TPAC reopens its doors for their Broadway series, their commitment to their patron’s safety is key. To that end, attendees age 12+will be required to show proof of vaccination or a negative COVID test dated within 72 hours of their selected performance. All patrons age 6+ must wear masks inside the venue. CLICK HERE for more on TPAC‘s Patron Health initiative.

Not in Nashville or can’t make it to TPAC for The Lion King? Be sure and check out The Lion King official site for future dates as the national tour continues. You can also follow The Lion King on Facebook, Twitter, YouTube and Instagram.

For the latest on TPAC and their upcoming Broadway Season and Special Presentations, including Mean Girls, The Prom, Dear Evan Hansen, Summer: The Donna Summer Musical, What the Constitution Means to Me, Come From Away, Oklahoma! and May We All, 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!

 

 

 

 

 

“Every time a bell rings, an angel gets his wings.” Perhaps one of the most well-known, and certainly one of the most beloved lines ever written for a film. Of course that film is Frank Capra’s 1946 touching drama, It’s a Wonderful Life, based on Phillip Van Doren Stern’s 1943 short story, The Greatest Gift. For their holiday offering, and their return to full production with a full in-person audience after nearly two years of what we can all agree upon wasn’t exactly a wonderful life, Studio Tenn is back at Jameson Hall in The Factory at Franklin with playwright Joe Landry’s stage adaptation It’s a Wonderful Life: A Live Radio Play which opened December 9 and will present a final performances the remainder of this week, including a closing matinee of Christmas Eve, December 24.

When I attended the show last week, as I walked into Jameson Hall, I fully expected a wave of emotion to sweep over me, having missed my favorite theatre company more than I can fully express here. I asked the usher about a playbill and she pointed towards a stack of what looked like a local daily newspaper. Yes, even the program sets the mood, as it’s printed courtesy the Williamson Herald, Franklin’s local paper. What’s more, the playbill has the appearance of a special edition.  Upon entering the theatre space itself, that nostalgic ambiance kicked into high gear thanks to scenic designer Andrew Cohen, tech director Mitch White and the team of electricians, carpenters and crew, Jameson Hall has been transformed into a perfectly idyllic version of WAKM AM 950, Franklin’s oldest continuing radio station. Nerd that I am, I feel compelled to mention that the play takes place Christmas Eve, 1946, and while WAKM is indeed Franklin’s oldest radio station, it wasn’t founded until the early 50s, but I digress. Aiding in the transformation to mid-century fictional Bedford Falls, the show is peppered with a few radio commercial spots, highlighting the actual sponsors of Studio Tenn’s production. And yes, the commercials do indeed include a couple of swell jingles.

If you’ve seen the film, and honestly, I’d be very concerned with your entire being if you haven’t, you know It’s a Wonderful Life is the story of George Bailey, a young man who’s always been there for his family, often sacrificing his own hopes and dreams for the sake of others, who, when life gets to be too much, contemplates taking a fatal plunge off a bridge, but whose near-fatal act is thwarted by a guardian angel who shows him that while life is indeed filled with heart-wrenching challenges, in the end, it is indeed the wonderful aspect of it that make it worth living.

That’s right, one of the holiday’s most beloved stories deals with some heady subject matter. Oh wait, there’s more. Along his life’s journey George saves his brother from drowning, presents his pharmacist employer from accidentally poisoning a customer, faces bankruptcy, turns to the bottle and risks his marriage. But here’s the thing, Capra and company, and with this iteration, Landry, craft all these serious happenings with such heart, compassion and a healthy sprinkling of humor that you can’t help but love this story.

As the action began, the small cast of five actors: Caleb Shore, Gerold Oliver, Matthew Carlton, Galen Crawley and Marian Parris, and on-stage piano accompanist Mitchell Beard appear onstage as their characters arrive at work to the radio station on Christmas Eve to perform a live radio play for their listeners. The audience, then becomes the equivalent of a studio audience for the radio play. The inclusion of applause signs that occasionally light up just adds to the nostalgia and the illusion.

Among the first to arrive is Jake Laurentis, played by Shore. As he settles in for his performance as George Bailey, he’s seen walking around the radio station’s recording booth casually checking out the various items used as sound effects for the broadcast. First he picks up a pair of shoes and taps the soles together a few times. Yes, that’s exactly how radio dramas would give the illusion of a character walking in and out of a room. Then he reaches for a tiny bell on the end of the foley table and gently rings it. Maybe it was the emotion and anticipation of seeing my first straight play after nearly two years. Maybe I’m just a sucker at heart. Or maybe I’m like Pavlov’s dog, but from the first tinkling of that bell, which of course immediately reminded me of the aforementioned beloved line of dialogue, to that final curtain bows, I was a weeping, crying mess, or as my dear uncle would say, my eyes were ‘sweating’ the entire time. Thank goodness for Studio Tenn’s covid safety compliance and required face mask policy. At least my tears fell into the mask and only my date for the day saw me crying.

Of course it wasn’t just the Pavlovian bell that rang true, but also the performances of the entire cast. In most theatrical performances, it would seen challenging enough to play a single character, but in a show like this, the actors are charged, not only with their primary character, but being a radio play within a play, they’re also entrusted with playing the townsfolk of the fictional Bedford Falls once that “On Air” sign illuminates. Given the immense popularity and consciousness-saturating of the source material for the last 70-something years, it would seem quite the undertaking to mount such a popular and well-known story, whose characters seem engrained in our brains thanks to the revered film.

Shore, as George Bailey, the character iconically portrayed by Jimmy Stewart in the film is simply splendid. Being only slightly familiar with Shore through mutual friends in the film and television world, I knew he’d be great, if for no other reason than the fact that his natural speaking voice is perfectly similar to the beloved low-tones and occasional hesitations of Stewart himself. Under the watchful, skilled eye of Patrick Cassidy, Artistic Director at Studio Tenn and the show’s director, Shore’s George Bailey is blissfully perfect. He teases the audience with the Stewartisms, but never to the point of mimic or impersonation, expertly conveying both the beloved actor’s treasured original, while simultaneously making the role his own. Early in the radio play, when Shore is portraying a very young George, the timidity in his voice builds the anticipation of the George Bailey to come.

Alongside Shore as the only other performer to not subsequently portray a multitude of characters in the show within the show is Mariah Parris as Sally Applewhite, who in turn voices Mary Bailey, George’s Wonderful Life wife. Parris may be familiar to local theateratti having appeared in Nashville Repertory Theatre’s Urinetown, as well as Nashville Shakespeare Festival’s Macbeth as the Lady, herself. Parris’ Mary Hatch is the quintessential mid-century woman. Content with home and family, but with a palpable passion for life and all it has to offer. Speaking of passion, the scene when George is shyly courting Mary at her home and she receives a phone call from another suitor, Sam Wainwright, who just happens to be one of George’s pals, is so unexpected bubbling with chemistry. In the film, the two hold the telephone receiver between them. Under Cassidy’s detail-rich direction, and with this being a radio play the two stand breath-to-breath at the microphone as they listen to Sam blather on. I swear, even I got lost in the palpably executed spark between the two and couldn’t tell you a thing about the phone call itself. Chemistry, direction and execution…it’s all there in that one scene and thankfully, throughout the show.

As for the rest of the players–who tackle among them, somewhere around half a dozen characters each–they are Matthew Carlton, Galen Crawley and Gerold Oliver. Carlton, who is, in my humble estimation, the Grand Duke of Theatre ‘round here, plays radio personality Freddy Filmore. Alright, if you know me at all, you know I’m a huge Lucille Ball fan and collector, and if you’re a fellow Baller (yes, I just coined that because it’s hilarious), you, too will recognize the name Freddy Filmore, for that’s the character’s name in a particularly funny episode of I Love Lucy in which Lucy appears on a radio game show Females are Fabulous! Now, I’ve seen previous productions of It’s A Wonderful Life:  A Live Radio Play, but I’ve somehow never noticed this character’s name before. Heck, it’s even in the play when he’s introduced that he’s the host of Females are Fabulous. How have I missed this? But back to the play…as Filmore, Carlton gives voice to the Angel Joseph, who assigns AS2 Clarence to George’s predicament. Among the other characters Carlton brings to life in the radio drama, he’s also the villainous Mr. Potter, George’s kind but bumbling Uncle Billy. To that end, I’ve never been more entertained by Carlton than when he’s in a scene with himself as Potter and Bill. Not only does he do this by the expected turning from side to side as his dual characters confront each other, but his physicality, mannerisms and even his facial expressions drastically change, helping the audience keep up. I mean, you can never have too much Matthew Carlton on stage, so seeing him bring a multitude of characters to life is indeed a joyous occasion.

Galen Crawley plays radio ingenue, Lana Sherwood. Crawley, like Parris, might also be familiar to local theatre patrons for her work with Nashville Rep, having also appeared in their production of Urinetown, as well as The Last Five Years, but it’s this Studio Tenn debut that I’ll now forever remember her by. Compete with platinum blonde wig, a smart ensemble—courtesy the show’s costumer, Lauren Terry, whose nostalgic expertise wholly embodies the era for all the cast—and some gum-poppin’ to rival Jean Harlow, Crawley’s Lana easily voices Violet Bick. You remember that character. She’s the childhood friend of Mary and George, who, after admitting she likes George, Mary says, “You like every boy”, to which young Violet replies, “What’s wrong with that?” While her Violet is feisty and flirty, Crawley’s range as an actress comes through in a few of her other voiced characters, including George’s mother, Mrs. Bailey, but most notably as Zuzu Bailey, George and Mary’s youngest child. The audience knows we are looking at a grown woman, but Crawley’s childlike intonations and deliciously juvenile mannerisms are a bright spot throughout. Hopefully my face mask muffled not only my tears during the petal scene and the much-mentioned bell-ringing, but also my audible guffaw during the scene when the narrator mentions George and Mary’s children and Crawley not only voices the cries of the babies at birth, but physically bounds from one spot on stage to another to indicate the difference between Janie, the Bailey’s older daughter, and young Zuzu.

Rounding out the cast, and stealing virtually every moment he’s on stage is Gerold Oliver as Harry ‘Stacks’ Heywood. I first took note of Oliver back in 2017 when he lit up the stage as Seaweed in a local production of Hairspray. I next saw him in Chaffin’s Barn Dinner Theatre’s Annie. In more recent times, he appeared earlier this year in Nashville Shakespeare’s outdoor performance of August Wilson‘s Jitney. Here he plays Clarence, George’s heaven-sent guide through the various stages of his wonderful life, but Oliver also voices various townspeople, one of the Bailey’s sons, a brawl-lovin’ husband and Mr. Martini, the proprietor of a local bar. A favorite aspect of Oliver’s performance comes when he switches from one character to his primary role as Clarence. With the twinkling run of the scales of the xylophone atop the nearby foley table, regardless of where Oliver is on stage and what character he just voiced, he gets a focused look quickly moves to stand facing the audience and jumps right back into his Clarence persona. I’m certain my description doesn’t fully serve justice to just how exquisite those moments are.

It’s a Wonderful Life: A Live Radio Play is full of exquisite moments. From the gorgeous set, wigs and costumes, to the technical aspects of the show including musical accompaniment, lighting, sound design to the stage direction and excellent performances all ‘round, Studio Tenn’s return to full live production is proof positive indeed that it is indeed a wonderful life, and I for one am overcome with excitement to see what’s next as they’re set to soon announce the coming season.

It’s a Wonderful Life: A Live Radio Play concludes its holiday run with a final week of performances Tuesday, December 21 through Friday, December 24. Tuesday, Wednesday and Thursday evening performances are at 7p.m. with a 2p.m. Thursday matinee and the show’s final Friday performance a 2p.m. Christmas Eve matinee. CLICK HERE for tickets.

Following It’s a Wonderful Life the theatre company will ring in the new year at The Franklin Theatre with New Year’s with Studio Tenn hosted by Patrick Cassidy with special musical guests, John Mark McGaha and Jackie Burns. CLICK HERE for tickets and more information.

Be sure to check out Studio Tenn online at StudioTenn.com or on social media at Facebook, Instagram and Twitter.

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.

 

 

I first became aware of singer/songwriter and keyboardist, Patrick Thomas during the debut season of NBC’s music competition show, The Voice, when he, as a member of Team Blake, became an audience favorite, making in through to the live shows. Fast forward a couple of years and I had the pleasure of seeing him live onstage in a handful of local theatre productions including Studio Tenn’s  The Battle of Franklin: The Tale of a House Divided, for which he served as musical director as well as composing the score. He’s also appeared in their holiday concerts and starred as The Beast in the company’s production of Disney’s Beauty and the Beast (for which he kindly chatted with me for a December 2018 Rapid Fire 20Q. So, of course when I heard he was bringing his solo holiday show Christmas with Patrick Thomas to The Franklin Theatre for a one-night-only event on Monday, December 6 at 7p.m., I added catching up with Patrick to my Christmas wish list. Because he’s definitely on Santa’s Nice List, he kindly obliged. In the spirit of the Christmas season, I decided it would be fun to let my interview feature live up to its name, at least in part, as I posed 10 Holiday-centric Rapid Fire questions to kick things off, followed by 10 more detail queries.

____________________

RAPID FIRE 20 Q WITH PATRICK THOMAS

JHP: Christmas snow, or Santa by the surf?

PATRICK THOMAS: I love the beach but give me snow for Christmas.

JHP: Hot Chocolate or Egg Nog?

PATRICK THOMAS: Eggnog (but add a little bourbon please)

JHP: How The Grinch Stole Christmas or A Charlie Brown Christmas?

PATRICK THOMAS: The Grinch, and it must be the Jim Carey version.  My wife and I can quote the entire movie…one of the ways we knew it was true love.

JHP: White Christmas lights or Multicolor?

PATRICK THOMAS: White Christmas lights. Keep it classy please.

JHP: Gift Cards or Presents?

PATRICK THOMAS: Definitely presents.  The thoughtfulness behind a gift, good or bad, is truly what makes it.

JHP: It’s a Wonderful Life or Miracle of 34th Street?

PATRICK THOMAS: Miracle on 34th Street for me.  Although I did see a Studio Tenn production of It’s a Wonderful Life that moved me to tears.

JHP: Peppermint Bark or Reindeer Chex Chow?

PATRICK THOMAS:Peppermint Bark

JHP: Santa Baby by Eartha Kitt or Madonna?

PATRICK THOMAS: Eatha Kitt! 

JHP: Early Shopping or Last-Minute?

PATRICK THOMAS: Early. I’m way too neurotic for the stress of last-minute shopping

JHP: Best Scrooge?

PATRICK THOMAS: Michael Caine. I’m a big fan of A Muppet Christmas Carol.

JHP: You’ve been doing a Christmas show for a few years now. How did it originally come about?

PATRICK THOMAS: My good friend Benji Kern and Studio Tenn asked me to be the holiday entertainment in 2019.  I’ve never been more thrilled.  I spent months arranging the show and recording a Christmas record with my buddy and producer-extraordinaire, Sean Neff, and will never forget that first year of shows.  Even though this year the show is self-produced at the Franklin Theatre, it’s a Christmas tradition I certainly plan on keeping.  I’d love to expand the number of shows and take it on the road in the near future.

JHP: With the pause in live performances last year, how excited are you to be back on stage with your Christmas concert this year?

PATRICK THOMAS: How long do you have?  No industry was truly untouched by COVID-19 but the live performance was hit particularly hard.  I did get the chance to perform a stripped down version of the show last year, (in Texas), which did wonders for my soul. Still, to have it back in the Nashville/Franklin area means the world to me.

JHP: Do you have any favorite holiday memories you’d care to share?

PATRICK THOMAS: I grew up in a very musical family.  I will always treasure the hours spent around the piano harmonizing in 4 parts, (my mom, dad, sister, and me), and sometimes more when relatives would stop by.  I’ll also never forget when my sister and I left water out for Santa’s Reindeer and walked outside to find the water was light red from Rudolph’s nose :). 

JHP: For those who’ve seen your show in previous iterations, what tried-and-true elements can we expect to return?

PATRICK THOMAS: The show is still very much piano-driven. You can expect all of the holiday favorites and more, and a heck of a band.

JHP: On the flip-side, any changes or additions you can reveal?

PATRICK THOMAS: I think I’ll keep it close to the vest, but I’ve definitely changed the set list a bit this year and added some songs that I am really thrilled to perform.

JHP: You’ve previously included special guests. Will anyone be joining you for a duet or two this go round?

PATRICK THOMAS: Oh yes…and you’re in for a treat.  The incredibly talented, local singer-songwriter, Briana Tyson will be joining me. She’ll do some of the duets that Rachel Potter and I have performed in the past but will also sing a solo or two that will blow you away. She needs her own Christmas show!

JHP: Speaking of our mutual friend, Rachel Potter, any talk of the two of you touring together again anytime soon?

PATRICK THOMAS: We never go too long without performing together.   In fact, on Saturday, December 11, just 4 days after the show at The Franklin Theatre, we will be flying to South Carolina to perform Home for the Holidays with the Aiken Symphony Orchestra. 

JHP: Being a songwriter as well as a singer and musician, can we expect to hear any original holiday tunes during your Christmas show?

PATRICK THOMAS: Actually yes! I didn’t include any originals in previous iterations because it’s hard to beat the classics, but this year I decided to go out on a limb. I really hope the audience will enjoy it.

JHP: Whether it’s included in your show or not, do you have a personal favorite holiday tune?

PATRICK THOMAS: O Holy Night. It’s not only my favorite Christmas song, but my favorite song period.  My first live performance was actually singing O Holy Night as a duet with my mom when I was four years old. 

JHP: Beyond Christmas with Patrick Thomas, what’s coming up for you career-wise after the holidays?

PATRICK THOMAS: I have been busier than I would like to admit preparing to join the US and Canada Tour of The Simon and Garfunkel Story, where I play Paul Simon.  It’s 27 songs and a TON of difficult finger-picking on the guitar.  I’ll be on the road with them on and off throughout 2022.  Additionally, I’m planning on releasing a Sinatra meets country record in the new year, although that has been put on the back-burner at the moment. I think I’m still picking up speed after taking an extended, pandemic-induced break, but I have a feeling that 2022 will be a year of lots of new music and hopefully many more new fans.

____________________

As of this posting, all Cabaret Seating and Premium Classic Seats have sold out for Monday, December 6’s Christmas with Patrick Thomas at The Franklin Theatre but select Classic and Balcony seating remains priced at $40 and $45, so if you’re looking for a Cool start to your Yule celebrations, CLICK HERE.

For more about Patrick Thomas, check out his site and find him on Facebook, Instagram, Twitter, YouTube and Spotify. To listen to his current single, On My Way to You, CLICK HERE.

As always, if you wanna follow JHPEntertainment for my take on the latest local and national theatre, music and movie offerings, find us at JHPEntertainment on Facebook, JHP Entertainment 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!